International Journal of Art & Design Education最新文献

‘The Children's Sensorium – art, play and mindfulness for post-pandemic recovery’ was an exhibition that brought together sensory-based art installations featuring First Nations Connection to Country with mindfulness and embodiment strategies to enhance well-being for children (ages 4–11). As the COVID-19 pandemic slowly moves from the centre of public attention, we are starting to gauge the impact of the world's longest lockdown in Melbourne, Australia, on children's well-being and resilience. ‘The Children's Sensorium’ exhibition was created with children and their well-being in mind. In this article, we focus on insights from the exhibition evaluation and address the ways artistic and sensory-based mindful engagement can support children's well-being and resilience. Evaluation of The Sensorium exhibition provides a view into the potential of sensory-based artworks to create a stimulating environment, positive emotions, mindful awareness of their senses and the environment and a sense of playful agency for children. The Sensorium provoked a fresh way of thinking about art exhibitions for children: one that centred a child-friendly, strength-based artistic space where children felt agency to be creative and explore the complexity of their emotions, hopes and fears in the wake of the global pandemic.

Design education in Australia is still largely dominated by Westphalian perspectives, values, histories and ways of learning. The focus on Euro-western aesthetics, technologies, timelines and processes marginalises other identities, cultures and places. This signals to students that they should internalise, value and master dominant narratives, knowledges and ways of designing. Responding to this legacy, this article details the development of an intersectional and transformative framework to guide pedagogy for design education futures. Drawing from intersectional, student-centred and transformative learning theories, we argue that students can develop self-awareness and critical evaluation skills through understanding and designing within their own histories and cultures. In applying our framework, we reflect on how we developed a communication design history curriculum that centres on previously marginalised designers and prioritises pluralistic work that comes out of diverse cosmologies, perspectives and points of view. Early results demonstrate that offering spaces for students to connect design to their own intersectional identities increases self-reflection and belonging, while engaging students to contribute new knowledges and perspectives to design history than we have had in the past. We hope this framework contributes to design education moving towards and respecting expanded ways of thinking, seeing and teaching design.

Increasingly, doctoral education is being challenged to reflect and act on issues of access and equity. I argue that in art and design the expanding doctoral expectations and emphasis on doctoral community impact the multiple and intersectional concerns around diversity, equity and belonging that urgently need to be acknowledged and addressed. The benefits of community are widely acknowledged in the literature on doctoral education, and it is increasingly recognised that there are specific nuances to the needs of practice research doctoral communities. Prompted by insights from interviews with art and design doctoral researchers, I examine available data on participation in doctoral research in art and design in the United Kingdom in conjunction with literature on doctoral education and practice research. My aim is to highlight concerns relating to privilege and belonging in art and design doctorates that should make us increasingly uncomfortable. I believe that as a community art and design in higher education urgently needs to actively consider these issues. As well as indicating the necessity for further research, I argue that conversations are needed to devise and advocate for more inclusive and culturally responsive doctoral education specific to the needs of practice research in art and design.

This research aims to question the effect of adopting non-formal and informal learning environments into architectural education on the overall learning experiences of architecture students. In this context, a series of out-of-school activities organised within the scope of Maltepe University, Faculty of Architecture and Design, which are based on a variety of different non-formal and informal learning methods, are discussed. Although there are various out-of-school activities, the significance of these comprehensive extracurricular activities relies on being an entire student initiative from planning to execution and consisting of symposiums, workshops and organisation processes that bring non-formal and informal learning experiences together. Unlike most of the research discussing non-formal/in-formal activities through final products, our research focuses on the learning experience of the students and the learning process itself. Based on the participant observation method, we gathered data through observing behaviours and interactions, casual conversations, unstructured and informal interviews, and reviews of the participants' studies. The findings revealed the learning acquisitions and benefits that students gained intentionally or unintentionally throughout the process from integrated learning environments, which are required to compete with the complex challenges of architectural education and the profession, as emerging technologies, materials, design trends and societal conditions. This reality forces architectural education programs to embrace and integrate informal and non-formal learning experiences into their curricula. Flexible learning models need to be designed and adapted to formal education to provide a well-rounded educational experience for architecture students, emphasising self-directed learning and practical experience in real-world contexts.

As one of the most literary and transdisciplinary cultural practices, speculative design has become one of the best mediums for discussing emerging technologies, the Anthropocene and the ecological crisis. When design history is merely perceived as established knowledge about the past and fails to engage in dialogue with reality or individual interaction, it often struggles to inspire students' agency in learning and willingness to deep involvement in research. Alternative design history, however, serves as a type and method of historiography that actively constructs history and alternatively imagines the past. It aims to situate historical knowledge as the context for design problem exploration rather than an end goal of education. This approach guides educators and learners to co-speculate on historical design knowledge. By ‘reversing’ specific elements of historical experience, such as gender mentioned in this article, and employing alternative imagination to form what-if scenarios and pose inquiries about existing historical facts, a distinct form of ‘counterfactual history’ emerges that diverges notably from traditional design history. Throughout speculation within ‘counterfactual history’, students can distinguish between historical facts and realities, which enables students to comprehend the construction of historical knowledge, the individuality of historical narratives, and the standpoint of historical discourse. In this way, it helps students cultivate a historical interest that ‘starts from the self’, guiding them to foster resilient historical thinking and a critical awareness of reality.

The first year architectural education is based on understanding the nature of creativity in design thinking, which serves to build a solid base for a real design process; and in studios several methods are used to develop it. This study aims to discuss how using fairy tales can serve as a tool for encouraging creativity in first year design studios. It is based on a 6-week-long basic design II summer school course where 20 architecture and interior architecture students were asked to write fairy tales in a fantasy genre and visualise their fairy tale environment. At the end of this experimental study, we learned four important lessons: (a) when Gen Z students meet design issues first, they can be more involved and interested if they are given the opportunity to reveal their dreams and imaginations without any restriction; (b) they can show their open-mindedness, and accept the fact that a good presentation performance even with hand drawing is possible, without using technological tools; (c) fairy tales with their unique structures can lead them to advance their “out of the box” thinking. Combining phantasy with reality might be a good tool for liberating the power of imagination which ultimately can bring good design thinking abilities and enhanced creativity, and finally (d) a further study about how they implemented this experiment in their second year design problem is worthy of further analysis.

In 2021 the Crafts Council launched its national education programme, Craft School, alongside the pedagogical framework Make First. Both Craft School and Make First were a culmination of decades of learning, experience, and research from staff at the Crafts Council and are underpinned by anti-racist and anti-ableist learning methodologies. Through this we hoped to work towards methodologies for equal and equitable access to craft education, by considering flexible approaches to delivering and participating in craft activities across different key stages. This paper outlines the Make First approach and some indications of its impact on teachers and learners, as well as exploring some of the challenges and areas for further development as we continue to build anti-racist and anti-ableist approaches to craft education.

The majority of art education research in the United Kingdom originates from England; however, the devolved nations each have responsibility for education resulting in four different curricula working concurrently across Great Britain. It can be argued that in comparison to England, art and design education research in Scotland is an under-researched area though one that is increasingly garnering interest. This paper contributes to the field by presenting and discussing some of the findings from a survey of teachers focused on art and design education in Scottish primary schools in 2022. A total of 110 teachers participated and the survey examined the value of the subject, the current delivery in schools, the future of the subject and support for teachers. A wealth of data were gathered so this paper focuses particularly on the value of the subject among staff, confidence levels regarding delivery and the role of training and professional learning. The paper concludes that while the value of the subject among staff is strong, confidence levels with regard to teaching the subject are not. Staff felt that training had left them unprepared to teach the subject, and there was limited awareness of professional learning opportunities in their geographical area.

This article reflects on 4 years of research activities in the fields of horticulture and creative praxis. The initial project was a personal one and set out with a simple methodology of collecting, observing, and recording a specific genus of plants, that of Mentha. But as the specific question of whether a garden can, or should, be thought of as a work of art was raised it developed into an interactive, more-than-human dynamic between the researcher and multiple species. Ultimately, this led to a consideration of the positionality and interactions of the creative practitioner as critical, in order to develop a transdisciplinary praxis that explores the ecological and transformative potential of learning and healing through gardening. Through a reflexive narrative approach, the role of gardening in education, therefore, is positioned as an art and design praxis and as a partial remedy for several salient, contemporary global issues and challenges. A praxis that if not the complete remedy might at least help, in part, to remedy the damaging ecological experiences of adult and child learners alike, and as such, this article concludes with a provocation for teachers as artists and activists.