International Journal of Art & Design Education最新文献

Researchers have highlighted the need for ongoing design pedagogy reform in order to reflect worldwide transformations, changing socio-cultural contexts and the expanding scope of design practice. New pedagogical models have emerged in architectural education that incorporate stakeholder perspectives and encourage community engagement. Participatory Design (PD) methodology has become a promising pedagogical approach to engage diverse stakeholders and communities in the design process. The twofold goal of this article is to describe and categorise student learning experiences in an architecture studio and to delineate the benefits of applying PD methodology to architecture studio pedagogy. Students from a graduate level integrated architectural studio participated in the study and led a series of three participatory co-creation activities with diverse stakeholders who were planned for the front, middle and backend of the design process. Observations, questionnaires and interviews were used to describe and categorise student learning experiences as well as determine the benefits of integrating PD methodology into a design studio. The study results demonstrate that participatory activities positively impact student learning experiences as well as greatly enhance student empathy for stakeholders, thus integrating the social and technical aspects of their experience and demonstrating the importance of stakeholder engagement in collective and creative experimentation.

This article introduces a pedagogical approach in design education referenced as creative authenticity. Creative authenticity is defined as an ongoing process of learning to create through intrinsically motivated, self-aware and self-affirming actions and rationales. The concept is grounded in Constructivist learning theory, Postmodernist views of pluralism and cultural position, Anthony Giddens’ theory of reflexive identities, and scholarship on intrinsic motivation in learning. This ideology seeks to personalise the learning experience for each student in ways that are meaningful to their person, not just useful to the design industry, at large. This conversation proposes four samples of methodology by which to infuse creative authenticity into curriculum as a starting point for shaking off implicit biases; focusing on student learning and growth; initiating meaningful and empowering discussions; and redefining success through collaborative and participatory educational design. This work promotes teaching with creative authenticity as a foundation to help students realise their strengths through their ever-evolving identities. In a broader context, authenticity in education supports marginalised groups to see themselves, their histories and their experiences authentically reflected in their education and work.

There is a significant amount of research into gender differences in academic performance in the science, technology, engineering and maths (STEM) fields. This has identified important differences between the academic achievement of men and women as measured through grade point averages and time to completion. However, the specific STEM fields of design have not been thoroughly explored. This research investigates the long-term academic performance of a large group of architecture, industrial design, interior design and landscape architecture students at a major Australian university. The study followed the progress of 472 students over an 11-year period. In most fields the academic achievement of students follows expected patterns; the difference in academic grades for male and female students reduces over time. However, in interior design, there are significant differences that increase with time, to the favour of women. A range of social, cultural and contextual influences are discussed including the signature pedagogy of the design studio and the hidden curriculum of design education.

Upon entering the gallery, we are met with directives, narratives, and impositions set forth by an authoritative presence. Please remove your backpack. Do not run. Do not speak too loudly. Do not touch. Do not stand too close to the artworks. The presence of security guards or invigilators enforce these instructions on how it is assumed we are to behave in such a space. But do these instructions restrict participation for the visitor? Or do they enable another type of engagement; play? Once perplexed by the visitor behaviour associated with the “museum selfie” culture, this paper will suggest the value of play in the gallery, as an initiative of the visitor to curate their own participation and engagement. In order to demonstrate these ideas of the gallery and their visitors, I will exemplify the participatory practices of Erwin Wurm's One Minute Sculptures (2017), Eva Rothschild's Boys and Sculpture (2012) and Yayoi Kusama's Infinity Rooms, to illustrate the inherent connection between play, learning and embodiment and the gallery visitor.

At a time of seemingly endless political and social unrest across the globe, many are reacting strongly to injustices and oppression through protest and other forms of resistance. Key among efforts are the ways that art can be used as a form of activism as is expressed through craftivism or the merging of art and craft. Often associated with domestic and feminist materials, proponents claim that craftivism offers an alternative to more demonstrative forms of protest yet critics claim it to be a mostly white, global north form of activism that lacks inclusivity. This article explores the perspectives of university undergraduates enrolled in an introductory craftivism course to understand how their exploration of craftivism, contributed to or challenged their understanding of protest and activism. In this interpretive inquiry, the researcher examines student's written artefacts and research fieldnotes. Findings suggest that the students gained a greater understanding of their beliefs about protest and the nuances and relational intricacies associated with protest, resistance and social action. They also recognised that acts of resistance, fall along a spectrum of negotiations across varying intentions and can fall short of arresting, dismantling and eradicating injustices and if not carefully implemented can even marginalise or disregard the intentions and ideas of others.

Design thinking fundamentally relies on abductive reasoning. Diverse thinking types such as divergent thinking, systems thinking, and empathetic thinking have been adopted in design thinking education. Yet, it is very rare to address abductive reasoning to be integrated in a design thinking course because of deductive validity and inductive strength. In practice, the quality of design thinking is judged from design outcomes in terms of creativity and innovation rather than the application of abductive reasoning in thinking that is necessary for educators to develop diverse instructional strategies for design thinking. Through a design thinking experiment where abductive reasoning was structured for groups of students to modify their chosen fairy stories by challenging identified lessons/values/beliefs, we articulated relevant strategies from case analysis. As a result, we discovered the following six strategies for abductive reasoning: questioning on socially given identity; restructuring a hierarchy of values; de- and re-contextualisation; perspective-taking; being intersubjective through body swapping; and developing imaginative empathy for compassion. The six strategies support pedagogical aspects of design thinking such as collaborative problem-solving and analytic and empathetic engagement; and thus, design educators can use them in developing instructional strategies to facilitate abductive reasoning in design thinking.

At this time when interdisciplinary education in higher education is in trend, the Bauhaus is in its prime again as it celebrates 100th anniversary. Anni Albers, a seminal figure in textiles, art education and modern art in America, was one of the few artists who were present in both of the experimental art colleges of the century- Bauhaus in Germany and Black Mountain College in the United States. Many versions of her story exist to date, however this article focuses on the version of her own story, which has not been highlighted either in media or academia. It has been widely accepted that 1) gender inequality existed in Bauhaus, 2) the shift of Albers’ medium derived from wanting recognition from the art world, and 3) a structured curriculum educated many of the artists graduated from Bauhaus. However, in this study, two oral interviews of Anni Albers, seventeen years apart, were compared with public perception, which has dominated understanding of the artist and Bauhaus for centuries. The interviews change our perspective, particularly on gender equity, craft, fine art, and curriculum at Bauhaus in the life of Anni Albers.

The notion of ‘academic resilience’ has been established to contextualise the term for higher education research and practice, concerned with the everyday challenges of academic life as experienced by the majority of students. In the largest disruption to education systems in human history, the pandemic is the most recent catalyst for attention to resilience strategies. Calls for addressing resilience within curriculum at a subject level have been increasing, with a shift in emphasis from reliance on student support services to ‘whole university’ approaches to student wellbeing. This thematic literature review commences from here interested the potential pedagogical value of academic resilience for art and design education. Four thematics are established to explore this: academic resilience and creative arts learning; contestation and critique; meaningfulness; and pedagogical responses. The politics and theory of resilience highlight the need for critical approaches that reframe conceptualisations for higher education. This review revealed the complexities of a concept of academic resilience for creative arts learning. The instability of the subject matter and the uncertainties of the creative process as well as the stabilising effects of being involved in artistic production and meaning making suggest a distinctive, discipline specific interpretation is useful. The findings provide a basis for influencing further research and curriculum development.

Through a conversational form, we weave together our experiences of making curious and conscious encounters with a work of art in a gallery, while grounding our nonlinear understandings of our shared aesthetic experience on the works of Maxine Greene, Peter de Bolla and Arnold Berleant. Holding, as our conceptual framework, seeds a kind of sensibility in us towards holding space to be dynamically in relation to each other and the work of art. The embodied and textual ways of conversing in this paper become a form of invitation to critically and creatively engage with the diverse meanings of aesthetic experience; an invitation to pause with and contemplate about how our embodied togetherness in the gallery led us to unexplored potentialities for seeking alternative ways of encountering the work aesthetically and internalising the aesthetic sensibilities and qualities that we experienced together in the gallery.

Since craft education was absorbed into higher education (HE), the concept of crafts and the demographic profiles of crafts practitioners have evolved, yet little is known about the extent to which craft programmes in HE are adapting to 21st-century changes and trends. This study aimed to investigate current HE crafts curricula in South Korea, focusing on students' perception of the efficacy of academic crafts training, and to identify the knowledge and skillsets required for competence in creative industries. A content analysis of craft curricula in HE and a focus group interview and survey of students revealed that students are interested in the blurred territories between artistry and entrepreneurship and the application of crafts with the opportunities enabled by new technologies. Accordingly, HE craft programmes are reforming to meet the needs of the new generation of practitioners, but traditional discipline-specific training with a fine arts approach and the division between studio/theory and academic/professional course content persists. We suggest that HE programmes offer more craft-specific entrepreneurial education integrated into studio-based courses with hands-on practice and interdisciplinary content to meet students' needs and foster the flexible mindset required to become a craft practitioner.