Loughborough University Library: Open Journals
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Un Coup De Dés
Full text linkThe collages illustrated here made by hand from original copies of the French newspaper La Grande Illustré (1904) They form a visual novel inspired by Stéphane Mallarmé’s Un Coup de Dés, that dates 1897. Like the poem, the collages presented here are heterogeneous and their protagonists are ‘found’, both in terms of their scale and detail, in the dramatized newspaper of the period. The engravings are a snapshot of the terrible uncertainties, reported disasters and social unrest that coloured Parisian life at the time. The re-invented figures, scenes and architectural settings are offered as spatial analogues to the poetic passages, exploring the non-perspectival space of the text, its content and poetic imagery as much as it’s solipsism and incoherence. There is no overarching narrative intended, but all narratives that are available to the reader, all possible connections and dislocations
Is the Design Studio Dead? - An International Perspective on the Changing Shape of the Physical Studio across Design Domains
Full text linkThe process of moving the physical design studio experience, where social interaction is a guiding principle, into a detached virtual environment during the Covid pandemic has prompted design educators to re-evaluate what constitutes a traditional studio-based learning system. This shift is based on classroom experiences after design educators moved their courses online as physical classrooms closed. Early research findings indicate that design educators and students adapted surprisingly well to an online classroom during the pandemic. But is this equally the case across all design domains? The author argues that it is unhelpful to generalise across design domains when setting out to construct alternative digital learning and teaching environments. This study contextualises varying responses to the online design studio and offers a unique international perspective on differences in design domains impacting future plans to offer blended or online learning. The research is underpinned by the epistemology of pragmatism. The interpretation of data is based on surveys filled out by 90 highly experienced design educators representing eight design domains in seven countries. Results indicate a clear shift toward long-term acceptance of select online elements even in design domains focused on physical studio skills. It is clear that design domains will differ in their adoption and development of blending face-to-face and online teaching in the future
Refining a pedagogical approach for employing design thinking as a catalyst
Full text linkThere is an increasing interest in design and creative thinking processes in the Sciences, Technology, Engineering, and Mathematics (STEM) and health education disciplines. Many new degree programs are integrating design thinking into their syllabi, with the intention of bringing creative problem-solving methods to these disciplines. In reality, the exposure these students get is minimal, and it does not provide enough foundation for them to use the knowledge and apply the process(es) in real-life situations. There is an increased awareness of the importance of design thinking in the innovative process. More and more STEM, business, and health establishments are embedding trained designers into their research teams – yet many designers are not equipped to work on interdisciplinary teams. Design students tend to approach problems more intuitively, opportunistically, and build on creative leaps of imagination whereas, STEM and health disciplines are often more algorithmic, systematic, and rationale. This can often generate tension in interdisciplinary teams, especially when traditional disciplines (e.g., Engineering, Sciences) are integrating relatively newer thinking (e.g., design thinking).
In this paper, we share the outcome of a phenomenological study on a high-functioning interdisciplinary team working on a health innovation project focused on aging with a disability. This case study illustrates the skill-set needed for designers, health and technology professionals to make a significant contribution to its overall outcome. We identified key attributes that contribute towards being an effective member of interdisciplinary teams. Based on this study, we propose a pedagogical approach to better equip design, STEM, and Health students to be more competitive in changing economic expectations and ensure more impactful design outcomes
"Here’s what we really want your class to be about!"
Full text linkThis case study describes many changes to the curriculum of a design thinking for social innovation class at a private university in New Orleans that were prompted by the COVID-19 pandemic. The pre-COVID version of the course offered a practical, experience-based introduction to design-thinking (DT) tools and methods. Students learned to apply these tools to social innovation for collective impact through discussion, studio and fieldwork, and close collaboration with colleagues and members of the New Orleans community. The challenge during the COVID-19 pandemic was how to re-create this experiential learning while working remotely. The paper aims to demonstrate how the pandemic-related changes such as the all-remote delivery of instruction, community involvement, as well as a change in philosophy due to the racial unrest in the United States in 2020 led to a re-design of the class. The theme of the class, Sustainable Development Goal #3, “Good Health and Well-being'' was requested by residents of New Orleans, in light of the impact of the pandemic on communities of colour in the city. Despite being a remote class, the residents were also present in the class regularly throughout the semester. The remote delivery of the class forced a need for intentional and empathetic community building among the students and with the community members. The redesigned class included conversations about race, periodic drop-in visits from community members, guest lectures from professors in other cities, feedback sessions via social media, and critiques by panels composed of community members and visiting designers from around the world
Playful absence / absence of play:
Full text linkWhile the pandemic has had a tremendous negative impact on societies, it has nonetheless provided us with a sort of living lab for investigating and exposing consolidated models of design education. The design studio, often conceptualized as a spatio-temporally inhabited milieu with translocal norms and conventions, became a blended environment where students and instructors alike had to establish new conventions and ways of knowing and inquiring. Employing Sicart’s notions of play and playfulness as our theoretical lens, this paper argues how online learning has opened up a space for students and instructors to blur the boundaries of the design studio through the intersection of play and absence. Absence of things gives rise to being playful, and absence of play is required to sustain collaborative play. Through student interviews and our personal reflections, our findings reveal how play spatio-temporally fragments the design studio. In the absence of pre-existing conventions, play negotiates the boundaries of the design studio. Moreover, creating the virtual design studio can be understood as an emergent act of play; by being playful, we partly leave behind the norms and assumptions of the physical design studio to create something new. In addition, and paradoxically, creating a personalized and community-based way of being helped in seeing the immediate surroundings as the studio. Here, creating new methods for working in the studio playfully created boundaries for play. Theoretical and pedagogical implications shed light on the future of design studio and education as spaces that can be collaboratively enacted
From Sharing Screens to Sharing Spaces
Full text linkThe enforced move to remote teaching delivery over the last year has brought many challenges to studio-based courses and the traditional modes of delivery that are often associated with UK Art Schools. Central to these challenges has been the loss of the design studio as a focal point for engagement and learning within a community of practice. However, the conviction that design is a subject that can be taught not just learnt through communal experience has propelled alternative remote modes of engagement to be explored through this period of separation from our on-campus environments. This study details the use of the on-line application Miro as an analog to the traditional ‘physical’ design studio in facilitating remote delivery to studio based undergraduate design and craft students. Reflecting on the delivery of five projects between November 2020 and April 2021 the authors describe how Miro was used as a platform to structure teaching delivery, share creative content and as an environment to foster remote dialogue amongst students. Through an evaluation of each project's delivery within digital spaces the authors identify the emergence of new behaviours and new opportunities that can support students working in digital studios to move beyond sharing screens to sharing spaces
The implementation and embedding of digital skills and digital literacy into the curriculum considering the Covid-19 pandemic and the new SQE
Full text linkThis paper focuses on the introduction of a new model of digital teaching and resource provision for the University of Law (ULaw) Library Service, during the Covid-19 pandemic. It details the processes and steps we took to achieve the three core aims of: a new mode of online skills delivery, the creation of self-directed, independent learners in the various student cohorts at the university and the creation of a flexible self-assessment platform to provide an incremental learning journey for both students and staff. This paper also highlights some of the challenges and difficulties we faced, arising from a project of this size and nature
The Ones Who Have Never Been Physically in a Studio
Full text linkDesign and architecture students who have started university in 2020, unlike the students before, attended virtual studios without experiencing the physical studio environment. Vast majority of them attended classes from their rooms or living rooms of their homes in different cities and tried to meet the requirements of the courses. Their computer screen turns into their eyes and its speakers turn into their ears. They had no other experience to compare this with, yet they have lived a studio environment, juries and more, even they are virtual. This research focuses on their experiences with an emergency remote teaching basic design studio and their expectations of a design studio environment. By making short, semi-structured interviews with first year architecture students (n=14), this study explores how pandemic experience of 2020 might affect the basic design studio environments of the future. As a result of the study, two themes emerged based on the analysis of the data: The first one, called the myths of the studio, reveals the expectations of the students about the design studios and how they try to realize these expectations virtually. The second theme, defined as hacking the studio, emphases how these students perform some actions that they cannot do in a physical studio environment by using the technologies they have
Making the studio smaller
Full text linkThe studio is a space apart in the university, an environment unique to creative and design disciplines. As we emerge into the pre-dawn light of the post-COVID era, we should use the insight gained from the pandemic to speculate about the future. This article invites the reader to speculate about the possibility of a smaller design studio in architectural education: one that is smaller in its spatial, temporal, pedagogical and cultural dimensions. What if, instead of demonstrating the plurality of architectural practice through the breadth and diversity of elective studio ‘units’, we reduce the scope of design courses to create space for others