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Manual Instruction in Secondary Schools for Boys
Get PDFIntroduction1. This Circular is issued for the assistance of Governing Bodies and Masters in arranging the course of Manual Instruction in Boys' Secondary Schools. The subject in its broader aspects has been so fully covered in the Report of the Consultative Committee on Practical Work in Secondary Schools* that the Board have purposely confined this Circular in the main to suggestions on various types of equipment and methods of instruction which have been found by experience to be useful. On such points as the educational value of manual work as part of the normal Secondary School curriculum, its particular value for certain types of boy, and the need for a substantial and comprehensive course of instruction under the supervision of a regular member of the School staff, it will suffice to refer to the Consultative Committee's Report. 2. As regards the position of the subject in the school curriculum, the Board have not laid down any definite requirements under Article 8 of the Secondary School Regulations, and they desire to leave a large discretion to the schools in this matter. In general, the Board contemplates that all boys during some period of their Secondary School career should receive systematic Manual Instruction; that, as a rule, the course should extent at least up to the age of 14; that in many schools it can profitably be continued for all boys up to 16; and that in all schools there should be facilities for continuing Manual Instruction as a voluntary subject, or as a special subject for particular boys, up to the time of leaving the school
The School for Craftsmen in wood at Parnham House
Get PDFWhat makes a good designer? What course of action can he choose to ensure that he gets the best training? Should he be trained as a graduate from an art school or should he start at the bench in some form of apprenticeship? If one looks at the designers who have made their mark in their chosen field it is difficult to determine whether the type of training was responsible for their success. This is not the case with John Makepeace, who is regarded as the country's leading furniture designer and maker. John Makepeace was born in 1939 in Solihull and had no formal art school background~ Instead, from 1957 to 1959 he was a trainee cabinet-maker with Keith Cooper in Dorset. Not quite an apprenticeship, rather a two year intensive course in the realistic 'school' of a working furniture maker. Like many young aspiring craftsmen he wanted to set up his own business. In 1963, after a spell of travelling to the Scandinavian Countries, he bought Farnborough Barn near Banbury, which he and his wife Ann Sutton, the equally well known textile designer and innovator, turned into a house and a workshop. It was not long before the name of Makepeace began to appear in the leading design journals. His name was soon to become a standard both inside and around the world of furniture and furniture design. Discerning users, collectors, museums and galleries sought his work, which never seems to have fallen into a 'style'. Anyone who knows his work is quick to agree, that the wide variety of designs he has produced is indicative of his fertile imagination and his innovative approach to construction.The workshop in Banbury flourished and soon had a work force of five highly skilled craftsmen. Over the years John Makepace has trained a number of young people who have joined him as apprentices. One only needs to see their work to realise that their training has been successful. He is constantly being approached by craftsmen who wish to join his team. Not least among these devotees have been students with design training who have felt the need to learn how to make furniture at the bench, so that they in turn could set up their own furniture making workshops
Starting Points
Get PDFIt is not possible to identify any single factor that might be responsible for the rejection of CDT subjects by all but a handful of girls. Societal attitudes which inculcate 'appropriate' sex-role hehaviour in males and females undoubtedly play an important part in directing subject choice in school and career choice after school. Equally important, but less widely recognised, are the school institutional factors which reflect gender stereotyped assumptions and which lead to an im balance in educational outcomes between boys and girls. These factors operate through the timetable and option systems, welfare and career guidance, teacher expectations, teacher/pupil interaction. teaching materials and the hidden curriculum generally. Some LEAs and schools are making determined efforts to reduce the influence that institutional factors can have on the differential pattern of girls and boys su bject choice. However, as yet little attention has been given to the ways in which a subject area of itself - by what is taught, how it is taught and why it is taught - can create, in image and in practice, an ethos that is largely rejected by one sex or the other. This article examines the implications of a number of teaching approaches for girls education in Crafts, Design and Technology
Editorial
Get PDFAs 1986 draws near the prospects for CDT look very bright indeed. There is continuing and strong endorsement of the subject by the Secretary of State, Sir Keith Joseph and his colleagues. The Technical and Vocational Educational Initiative and its associated in-service programme (TRIST) is putting large sums of money into CDT facilities and those who use them in schools in most Local Education Authorities. The massively funded British School Technology project continues its momentum. The new grade-related criteria of the GCSE examinations are impelling change
Editorial
Get PDFThe commencement of Volume VI of Studies in Design Education and Craft marks the further developments in the production and presentation of the journal. The increases in size and circulation that have occurred in recent months have allowed the Editorial Board to redesign the layout along the lines suggested by many readers in a manner that should greatly facilitate their use of the journal. It has also been possible to adopt the hard-edged 'perfect' binding system. This will also be of assistance to readers in that it allows the use of a heavier paper with greater opacity and also ensures a better opening of the pages. Librarians will appreciate the title and volume indication on the spine.The technical improvements are matched by an impressive range of contents that are focused on new developments in Art and Design particularly through integration - the 'hurrah' word of our time as Greger puts it. The issue commences with an important article by Lancaster who describes a curriculum integration in a college of education in which the visual arts played an initiating role. Students worked in a situation in which attempts were made to foster self-education, experimentation, responsibility and discussion in a manner not always achieved in the more traditional programmes of 'professional' studies
Departmental Organisation and Craft, Design and Technology
No full textWhy is it that many Craft, Design & Technology departments have such problems in grasping the opportunities being offered by the current surge of interest in the subject's new conception? Staff shortage, poorly qualified staff, inadequate timetable space, low status and lack of money are all reasons which are commonly advanced. There is truth in all of these but I believe that many of them are of our own making (albeit indirectly) and that the first steps in removing them must be ours however difficult and injust this may seem. A convincing demonstration of high professional standards being applied to all aspects of our work puts the onus on our critics to say why status, money, time, etc should not be increased. One such area in which I have always felt CDT to be weak is in departmental organisation and this article follows out of our attempt at North Westminster School to correct this
Art and Design in a Multicultural Society
Get PDFThe Art and Design in a Multicultural Society (AIMS) project is based in the Leicester Polytechnic Centre for Postgraduate Studies in Education and is part of a long-standing concern in the Centre for cultural diversity in art and design. In 1982 a Local Education Authority Research Assistantship was allocated to the Centre to undertake a particular research project into the development of art and design curricula for schools which recognised both the multicultural nature of art and design and the multicultural nature of the schools' populations. Chris Toye was appointed as a Research Assistant to carry out the project and registered for a research degree with Brian Alli~on and Martyn Descombe as Director of Studies and Research Supervisor respectively. The research project reported here continued through from January 1983 to December 1985
Solving a Dog Handling Problem
Get PDFMy main aim as a teacher involved in Design Education, has been to encourage students, through design-based practical work, to become adults able to adapt to an environment founded on materials and a fast developing technology. This adaptability is of paramount importance as the pace of life quickens and the changes become more frequent and profound. The ability to 'produce' is now less important with the advancement of the micro-processor. Practical skills once essential for learning a trade or embarking on an apprenticeship or design draughting career are now almost unnecessary as many jobs are totally automated or highly specialised
Woodwork in Search of Beauty
Get PDFThis seventh grade adventure sprang from the conjunction of three disparate elements: a cumbersome map of the United States left behind by a French visitor, a longtime love for Louise Nevelson's work, and a storage room overfilled with old lumber. The map was hanging above my dresser. One morning when, from my distant bed, I was one more time weighing Nebraska versus Iowa for that pink square under Minnesota, I was struck by the idea of FIFTY. There were fifty of them, and we were fifty of us, fifty seventh graders and me. It was thrilling - even Louise Nevelson did not seem to have thought of boxing the United States. I leaped to my desk and began, with a godlike audacity, to straighten up frontiers and assemble a new square version of our country. The game was on
Designing a dust extractor
Get PDFMany schools adapt the large face-plate on the woodworking lathe as a sanding disc. As with all forms of disc sanding a considerable amount of wood dust permeates the air in the workshop. Realizing that for anyone working for a period of time in this dust-filled atmosphere there is a considerable health hazard, it was decided that a group of third form pupils following a design course would attempt to solve this dust problem. As far as we are aware there is no dust extractor of a simple nature commercially produced. The type of dust extractor fitted to some workshops are very expensive and are not always suitable for adapting to a lathe. Some examinations allow the use of a disc sander to be used in the practical examination - this means that the sanding disc could be in use for several hours - as was the case in the WJEC woodwork CSE Examination this year