Studio Teaching in Higher Education

Boling, Elizabeth; Schwier, Richard A.; Gray, Colin M.; Smith, Kennon M.; Campbell, Katy

doi:10.4324/9781315697420

Cited by 29 publications

(11 citation statements)

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“…Design courses today can rarely afford separate dedicated studios, specialist workshop technicians, or resources that embrace both traditionally wet and digitally dry creative practice (Boling et al . , 161). Thus, the students’ experiential learning of this specialised discipline, and its range of production methods, would seem to be lessening as traditional resources and space become less common (Scott‐Webber ).…”

Section: Communication Design and Experiential Learningmentioning

confidence: 99%

Arts‐Based Educational Research: The Challenges of Social Media and Video‐Based Research Methods in Communication Design Education

Marshalsey¹,

Sclater²

2019

Int J Art Design Ed

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This article discusses the practical and ethical challenges and benefits of using social media and video‐based research methods – also known as Photovoice – to investigate contemporary Communication Design education. The two visual research methods discussed include the social media mobile application Snapchat® and participant‐generated GoPro® video filming. The investigation focused on understanding students’ on‐the‐ground, lived experiences of studio learning within two distinctive higher education case study settings in the United Kingdom and Australia. This study employed Participatory Action Research (PAR) as an inquiry process and incorporated a methodological framework involving a combination of narrative inquiry, visual Participatory Design (PD) and visual ethnography. The findings of this study revealed the impact of specialised studio and classroom‐based Technology Enhanced Learning (TEL) on student learning and engagement as the participants expressed differing responses to their own learning and community of practice at each site. The choice of arts‐based educational research methods used for this study allowed the relationships between place, lived experience, and community to be explored. Students, in effect, became investigators of their own practice through engagement in a rigorous set of visual methods, which placed the tools directly into their hands.

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Section: Communication Design and Experiential Learningmentioning

confidence: 99%

Arts‐Based Educational Research: The Challenges of Social Media and Video‐Based Research Methods in Communication Design Education

Marshalsey¹,

Sclater²

2019

Int J Art Design Ed

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“…Conversely, online studios can pose a challenge to people forming trust within a group, with periods of technological interruptions, inaccessibility and time limitations also causing frustration (Saghafi et al, 2012). In the current ever-changing educational landscape, tension exists between the need to deliver both technological and craft-orientated forms of learning by doing while maintaining creativity and innovation in Communication Design (Boling et al, 2016; Montgomery, 2012; Rigley, 2011). Therefore, to understand contemporary design and design education, one needs to also understand how differing international studio settings operate today.…”

Section: Challenges Facing Communication Design Education and Studio mentioning

confidence: 99%

Critical perspectives of technology-enhanced learning in relation to specialist Communication Design studio education within the UK and Australia

Marshalsey

Sclater

2018

Research in Comparative and International Education

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This paper investigates the widespread integration of technology-enhanced learning (TEL) within specialist Communication Design studio education in the UK and Australia. The impetus for this paper has grown from the challenges facing day-to-day design studio education and the recognition that the use of technology in higher education today has increased dramatically. Conventional design studio facilities are being reconfigured into blended studio-based classroom learning spaces (often generically termed as ‘studio’). This study compares the lived experiences of students interacting with technology within two differing international studio settings. The two case studies used a Participatory Action Research approach and employed sensory affect as a lens through which learning within studio education was investigated using Participatory Design practice-led methods. The study finds that the Australian participants working within a TEL classroom-based environment faced significant obstacles to engagement and that their UK counterparts, who were situated within a conventional studio environment, much less so. This paper aims to support Communication Design students as they engage with studio education via the proposed transferable methodological framework – the Methods Process Model.

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“…Art and Design education appears to have seen a shift from closed classrooms to open-plan, live-in to dropin, and, to some extent, physical to digital learning and teaching. In recent decades, studio learning has become fashioned by activities and events rather than the space itself, with students, in some institutions, attending the studio space solely for necessary critiques, group work, project launches, or assessment purposes (Boddington & Boys, 2011;Boling, Schwier, Gray, Smith, & Campbell, 2016;Scott-Webber, Branch, Batholomew, & Nygaard, 2014). Today, Communication Design practice and learning often spans the formal educational (studio) environment of institutions, informal environments of home and non-owned spaces, such as museums and cafés, and physical and digital forms of learning space.…”

Section: The Role Of the Studio And The Current Challenges Affecting mentioning

confidence: 99%

“…Therefore, because studio pedagogy is perceived and practised in various formal and informal spaces and embedded in a wide range of curriculum programmes, the character and delivery of studio activities can vary. Students are now experiencing the studio without a consistent sharing of studio features or attributes in an irregular landscape of provision (Boling et al, 2016). In consideration of these changes, recent literature now points to studio learning as being dissimilar to traditional studios.…”

Section: The Role Of the Studio And The Current Challenges Affecting mentioning

confidence: 99%

“…The opposite of existential insideness is what he labelled existential outsideness: a sense of strangeness and alienation (Relph, 2008). Developing an understanding of a sense of place in higher education is important in order for students to foster a deep immersion in learning spaces, to mediate the feelings they experience in these spaces, and to understand how these might impact on their learning and engagement (Boling et al, 2016;Harrison & Hutton, 2014;Rappaport, 2013). Developing a sense of place is aligned to both the conscious and unconscious ways in which students are enabled to work, guided by their senses as an integral part of their learning.…”

Section: A Sense Of Placementioning

confidence: 99%

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Supporting students’ self-directed experiences of studio learning in Communication Design: The co-creation of a participatory methods process model

Marshalsey

Sclater

2018

AJET

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This interdisciplinary paper discusses the meaning of open, critical, communal, and discursive learning spaces in higher education. It draws on recent research (Marshalsey, 2017) that illuminates the relationship between sensory affect and learning in studio education. It focuses on the extension and development of new learning configurations in the design studio, augmented by technology enhanced learning. Sensory affect is a form of feedback that can be used by learners to analyse and interpret the impact of the learning environment around them. This study used sensory affect as a lens through which to understand students’ experiences of practice-based learning in Communication Design spaces in two distinct higher education settings in the United Kingdom and Australia.The evolution of specialist design studio learning spaces, from physical studios to a blend of virtual and online educational environments, has led to significant debate about how to design, use and evaluate learning spaces for practice-based design disciplines. The paper uses the methods process model, based on participatory design tools (Marshalsey, 2017; Sanders & Stappers, 2008). The MPM supports students and educators to qualitatively interpret and critique their learning spaces more explicitly within their design education.

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Studio Teaching in Higher Education

Cited by 29 publications

References 0 publications

Arts‐Based Educational Research: The Challenges of Social Media and Video‐Based Research Methods in Communication Design Education

Arts‐Based Educational Research: The Challenges of Social Media and Video‐Based Research Methods in Communication Design Education

Critical perspectives of technology-enhanced learning in relation to specialist Communication Design studio education within the UK and Australia

Supporting students’ self-directed experiences of studio learning in Communication Design: The co-creation of a participatory methods process model

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