International Journal of Art & Design Education最新文献

This paper aims to interrogate the design studio conversations between teachers and students in order to explore the indicators regarding empathy. To investigate design conversations occurring between design teachers and design students, participant observation studies were conducted at two universities in Finland and Turkey. As an empathic indicator, we addressed (1) how design teachers take the perspective of other agencies and (2) what deliveries are utilised for empathic perspective-taking. It was understood that design teachers identify themselves with both human and non-human agencies as design students, users and materials. Moreover, deliveries leading to the identification of design teachers with these agencies included both discursive and performative means.

This article reports on research focused on a visual arts education course offered during a primary teacher training in Chile. It was driven by the increasing cultural diversity in Chilean schools, the potential of art education to respond to this context and the limited space that this field has in the national curriculum, an issue that is replicated in most teachers’ training programmes. Intercultural and students’ cultural funds of knowledge theories informed a framework that was implemented in the investigated course to strengthen pre-service teachers’ cultural identity and the adoption of culturally inclusive practices. Through focus groups with the students and analysis of their visual journals, the research explored whether the course impacted their perception of visual arts education, and their cultural identities. Through a/r/tography, an arts-based methodology that articulates art, research and education, the study presents the students’ voices and imagery, testimonies that contributed to reassess the space given to art education in primary schools and teacher training programmes.

We compare epistemologies and aesthetics in the International Baccalaureate Diploma Programme and the Australian New South Wales Stage 6 Visual Arts Syllabus, focusing on curriculum content, pedagogical praxis, and assessment strategies. Both curricula feature making, reflexivity, and critique. International Baccalaureate components are Exhibition, the Process Portfolio, and the Comparative Study. In New South Wales Visual Arts they are the Body of Work and Visual Diary. Issues are the teacher as curriculum; uneven resources; shifting contexts and formulating standardized expectations. In both, qualitative assessment and examination are achieved via articulating criteria and levels of achievement, and examiner training. In International Baccalaureate, what counts as good work can vary in relation to Principal Examiner standards, particularities of context, pedagogy, and resources, with work ranging from sophisticated installations, to anime, to the school art style. In New South Wales Visual Art aesthetic conventions are reinforced because the system is less distributed than International Baccalaureate, where aesthetics become engrained, perpetuating conventions around what counts as good art. In spite of supervening assessment structures, teaching, learning, and assessment in visual arts education is always highly qualitative, unfolding, and rooted in the situated shifting conditions and ways of being in the world of each teacher, student, artwork, examiner, artist, and scholar.

This article investigated the multifaceted role of artists in educational programmes, focusing on the challenges they face while balancing their identity as artist-teacher, artist teacher, artist-educator, and artist educator. This research was conducted in two phases. Phase one interrogated the effectiveness of artists taking on dual roles as both artists and educators/teachers within international and New Zealand's educational programmes. This phase advocated for artists to embrace their original role as artists without the additional burdens of other roles. Moving to phase two, this research employed the method of document analysis to investigate the historical and current engagement of artists in students' museum education within the context of New Zealand. Historically, artists were considered as art technicians with no direct involvement in art teaching or creation. Although the current LEOTC and ELC programmes in New Zealand value artists' contributions to art education, they do not indicate artists' involvement in these two programmes. Drawing from the findings of phase one and two, the study proposed a novel model that emphasises the integration of three elements: learning environment (art museum), people (artists), and objects (artworks). This model suggested that the combined action of these three elements could lead to a transformation from teacher-led teaching to student-centred learning in art education. Such a transition held the potential to enrich students' educational experience through collaborative efforts between artists, museum educators, and schoolteachers, and also enhance students' interdisciplinary learning experiences.

‘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.