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Fully Online Postgraduate Art and Design ProgramSimon McIntyre
This case study describes how a postgraduate degree in cross-disciplinary art and design can be conducted in a fully online studio environment. The program comprises a structured sequence of core-courses which contextualise a wide variety of elective choices by illuminating their theoretical, practical and disciplinary connections. Electives include subjects such as creative thinking processes, drawing, sculpture, digital illustration, art curation, textiles, photography, understanding and experiencing art, hologram design, digital animation and graphic design. Students and teachers are represented from across the world and Australia.
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Foundation Knowledge? The Case for an Accretive Studio ModelJillian Walliss and Joan Greig
This case study reviews and analyses the outcomes of an initial attempt to develop an alternative design studio model for lateral entry Masters students; one that departs from the concept of 'foundational' knowledge. The implementation of the Melbourne Model in 2008 necessitated a new approach to design studio education. Under this model, students with no design background but with an undergraduate degree are now able to study architecture or landscape architecture in only three years. We will present the outcomes of an �accretive� design studio (Christie, 2002) which translates this mandate of �acceleration� into design pedagogy. Analysis of student focus groups, together with the work produced reveals not only the value of the accretive model in delivering a cohesive understanding of the design process and a student engagement that exceeds the outcomes of traditional design studio but also highlights the value of an immediate immersion into a community of practice.
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Technical Learning in Fine Arts: A Case StudyNuala Gregory
This case study addresses the issue of deskilling of tertiary Fine Arts students. As contemporary art practice has shifted from a primarily material to an increasingly conceptual activity, Fine Arts education has been transformed accordingly. In the colleges, Critical Studies has been introduced while formal technical instruction has declined. For many students, ideas and relations matter more than mediums or skills. And for an increasing number, it's as if "the desire to make art is enough". This study acknowledges and seeks a pedagogical response to such changes. It focuses on a project that set out to provide Fine Arts students with a strong platform of technical skills � through instruction designed, led and delivered by academics in close collaboration with arts technicians. The basic premise was that students can learn a great deal from prolonged engagement with material processes and acquire insights that may complement or even counter their conceptual suppositions. The project took place in a college where disciplinary focus had been diminished and the curriculum modularised. The project had no governing theme or overarching task, but began with immediate emphasis on technique and materials. The mode of delivery was a combination of �small steps� team-teaching and group learning with relatively little one-to-one instruction. The case study describes what took place, what was learned, and how we would like to move forward.
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The Museum of Urban MythologyTom Loveday
The Museum of Urban Mythology is a studio based design project for final year Bachelor of Interior Architecture students in the Faculty of the Built Environment at University of New South Wales. The project is important and innovative for the way it includes a critical content in design and how it uses an interdisciplinary approach to design education. Like most design projects, there is a brief that describes a "client", "project" and a "site", in this case an existing building. Students are asked to carry out research tasks, make concepts designs, sketch designs and final design presentations before an assessment panel. Students work both in teams and as individuals, build on each other�s work, discuss their work with tutors each week and are progressively assessed. rn
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Pilot Study for Integrated Blended Learning in a First Year Studio Design ProgramCarol Longbottom
In 2008 COFA School of Design wished to implement a more flexible blended learning option to its program. It was decided to conduct a pilot study using its First Year Program before introducing a wider implementation of blended learning strategies across the school. The existing first year program was being taught in a face to face studio environment and included 5 separate but integrated courses.
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Modifying the Critique for Student-Centred LearningLouise Wallis, Ian Clayton, Tim Moss, Sharon Thomas
One of the key tools used to assess studio learning in architecture is the critique. Typically, the critique process requires students to present their designs and receive feedback from an assessment panel. In 2005, we became concerned that this process, in the context of second year learning was becoming less effective as students were not engaged in the process beyond their role to present. In addition, the critique process, which is considered pivotal and sacrosanct to studio learning and assessment, drew greatly on our staff and monetary resources. This case study reports on a project that began in 2005: to critically reflect on the role of the critique process and student learning. It outlines how the critique process was modified to a collaborative model, making the critique explicit in its teaching and learning role. The key concerns and learning outcomes from the students� experience are explored and conclusions drawn for further discussion.
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Kissing Frogs - again. Major Subject Revision across 2 SemestersJulie Mongarrett
This case study outlines the major review process of a foundation level Studio Design subject. The subject introduces organisational principles and concepts of visual design practice and has been running since 2002. It now requires a staged, major revision of content, conceptual frameworks; inclusion of indigenous content and a major redesign of delivery strategies and use of new technologies to accommodate a recent, rapid increase in student numbers; widely varying cohorts from divergent disciplines; contrasting learning styles and a range of needs for reliable and flexible delivery of learning materials in both on-campus and distance modes.
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Studio 4: Theatre and TheatricalityJames Curry
This intensive studio was offered to 25 second year Interior Architecture students. The studio sought to investigate issues with branding and identity, the unfolding of program over time and the relationship between the interior of a building and its urban surroundings.The studio compressed 12 weeks of core studio time within a period of 2 weeks. Due to the nature of the studio students had to respond to tasks within a shorter time frame, reducing the time for prolonged reflection and the build up of anxieties, as the studio space became more of a site of making and production of effects.
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Fostering an Interdisciplinary Learning Environment through Core Third-year Courses in a Revised BCAJanet McDonald
Keywords: interdisciplinary, creative arts, core courses, third year
This case study describes the role of a number of core courses in the third year of a Bachelor of Creative Arts degree at the University of Southern Queensland. In a major restructure of the Bachelor of Creative Arts degree, the disciplines of Music, Creative Media, Theatre and Visual Arts are linked into a single degree program and students have the opportunity to choose courses and majors across disciplines in consultation with program staff. The core third year courses described in this case study provide opportunities for students to work with peers across disciplines and to explore pathways into the profession. A strategy for encouraging hybridity through cross-disciplinary collaboration in the production of arts for public consumption is the focus of this innovative curriculum design.
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Core Studies in Art and Design 1A and 1BNeil Haddon, Tasmanian School of Art Hobart, University of Tasmania
Keywords: Art and Design, core studies, first year
Core studies in Fine Art and Design is an introduction to fundamental themes, concepts and principles common to Art and Design studio practice. The two Core studies subjects complement studio majors (Painting, Sculpture, Photography, Printmaking, E Media and Visual Communication) and facilitate interdisciplinary practice by developing a common formal language and conceptual framework between all visual art and design disciplines.
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Studio 5: Seven Houses on a BridgeLinda Marie Walker and Michael Geissler
This studio tests the repeating of a studio programme/project/brief two years in a row, incorporating refinements based on reflection on the first delivery of the studio. It uses a template into which students position the elements of their design work, for example, plan, sections, elevations, perspectives, detail and writing. It necessitates a team approach but individual responsibility. That is, the overall success is a combination of both. It asks for a detailed writing of a character and spatial scenario.
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Experiential Learning via Field Trips: Art, Natural Environment and Wilderness, and Art, Natural Environment and TechnologyMartin Walch
The Art and Natural Environment units form an introduction to the fundamental themes, concepts and principals central to engagement with, and creative representation of, the natural and altered environments in Tasmania. rnrnCentral to the delivery of each unit is the experience gained during two four-day field trips to remote areas of Tasmania.rnrnThe two subjects complement each other, as well as forming core units of the Graduate Certificate, Graduate Diploma, and Masters of Art, Design and Environment. The units are experientially based, and medium non-specific, in order to facilitate interdisciplinary practice and creative problem solving.rn
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Greenmachines: a TSAH Sculpture Workshop and Exhibition of Sculptures for Year 9 and 10 School Students at the Tasmanian Museum and Art GalleryJohn Vella
Over the course of an intensive workshop week at the Tasmanian School of Art (TSAH), each team of 3to 5 school students from across 16 state and private schools, worked collaboratively to develop sculptures under the instruction of John Vella (Head of Sculpture), technicians Ian Munday and Stuart Houghton, and a team of TSAH student volunteers. The sculptures were exhibited at the Tasmanian Museum and Art Gallery (TMAG) in response to the 2009 City of Hobart Art Prize theme (sculpture).GREENMACHINES is not a prize, or a competition, as everyone - schools, staff and students - will win through the experience. A full colour catalogue is currently being produced and will be distributed as a future learning aid.GREENMACHINES is the inaugural ART SUP PORT* initiative of the Department of Education, Tasmanian Catholic Education Office, Hobart City Council, Tasmanian Museum and Art Gallery, and the Tasmanian School of Art.SUP-PORT: Schools Universities and Professionals creating a new place for learning together. Programs are designed to bring practising artists/professionals, university lecturers and school students/staff together as a way of stimulating a new ways of learning.
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Student Conversation and Formative Assessment: Reflections on the First Year Design Studio at UQMichael Dickson
Patterns of formative assessment are commonly delivered through formalised review sessions and perhaps informal studio discussion. The structure of formal reviews usually places students in direct conversation with teachers but often excludes other students despite best efforts to be inclusive at the review. We cannot assume students develop a culture of informal peer assessment. Developing more regular, fluid and structured interactions between students and teachers as well as between students perhaps encourages a greater openness in the group and thereby strengthens both studio culture and critical conversation as a form of peer-assisted learning and formative assessment.rnrnThis case study tests these assumptions in the structure of first year architectural design at The University of Queensland.rn
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