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International Industrial Design Studio Project: Some Australian Findings to Date on Preparing Industrial Design Students for the Global Emerging EconomyMauricio Novoa
This case study follows on previous presentations to several international conferences (i.e. ConnectED 07, ISOTL 07, EPDE 08 and 09, International Sociology Association 08, IEEE CSCWD 09) and describes the progress and some of the Australian findings relating to an international industrial design studio project extending over four years between universities in Australia and the Americas. Primarily the project was run from the third year Industrial Design Studio 4 unit at UWS, the last creative design studio before students enter either Honours, Coursework or leave to become Design and Technology teachers. Later it benchmarked students with counterparts elsewhere in Canada and Chile.
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Invaresk Co-location: Integrating formal and informal learning to unlock art ecologiesTess Dryza, Steve Watts and Penny Mason
In 2002 the University of Tasmania's School of Visual and Performing Arts and The Tasmanian Polytechnic (then TAFE) came together to form The Academy of the Arts, co-located at what was once the Inveresk rail yards. Originally Tasmania's largest industrial site, Inveresk and York Park is now the major cultural precinct in Launceston, Tasmania's northern city. It is home to The Academy of the Arts, the School of Architecture & Design, the School of Fine Furniture, the Australian Technical College and the Aurora Stadium. All these facilities are greatly enhanced by their proximity the Queen Victoria Museum and Art Gallery (QVMAG). UTAS has two major campuses, one in Hobart and one in Launceston. The Launceston campuses are in Newnham and Inveresk, together catering for approximately 5000 students in the north of the state. rnrn
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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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Objectifying the Subjective: Assessment and Feedback in Creative Arts Studio Learning and TeachingChristiaan Willems
This paper examines the Assessment and Feedback aspects of Studio Teaching as Creative Arts pedagogy. Prompted by USQ's newly offered Bachelor of Creative Arts (BCA), the author has developed an Assessment Matrix specifically designed to satisfy a number of imperatives, including: 'objectifying' the subjective aspects of creative practice as assessable coursework/research; providing the means by which accurate, detailed, personalised and confidential feedback may be provided to students individually; providing consistent, accurate, meaningful assessment records for student, lecturer, and institution; ensuring consistency, continuity, and transparency of assessment processes and records to satisfy quality audits; minimising marking and assessment time, whilst maximising assessment integrity and depth; requiring only basic level skills and knowledge of a computer application already in common use (Microsoft Excel); and adaptability to a range of creative courses - across disciplines. This Assessment Matrix has been in development (and trialled) since January 2009.rn
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The Copulation of Theory and Practice in the Creative ArtsSean Lowry and Jocelyn McKinnon
The integration of theory within all practical studio courses at an undergraduate level equips students with the skills and knowledge necessary to position their chosen creative direction(s). We argue that critical and theoretical awareness enhances creative production and vice versa in a fluid and dynamic manner. We find that a central part of a Creative Arts education is an appreciation of the agency with which art can transform ways in which cultural issues are conceived and therefore possess an active and performative cultural function. A Creative Arts education should provide a broad introduction to the plurality of contemporary cultural production, encourage critical thinking and develop visual literacy. Meeting these demands requires a balance between structure and experimentation.
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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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Introducing the Interdisciplinary: The Foundations Year and the Open StudioDaniel Mafe
For twenty years the foundation or first year visual arts studio at Queensland University of Technology has been run on genuine interdisciplinary lines. With no studio specific areas as such, the course is constructed on conceptual lines largely determined by students emerging interests. The students also determine the media they will use. These student conceptual orientations are structured by projects (one per semester) that are broad and 'soft edged'. Within these projects students are invited to explore their sensibilities as artists not students. What is proposed within this studio study is a mapping of this unique approach. This mapping will explore the approaches and strategies for introducing an interdisciplinary approach in visual arts to undergraduates and explore both the positives and negatives of such a studio approach as well as the rationales for such an approach.
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Too Many Cooks? Co-Creating and Co-Teaching Studio Courses in the Creative Media Context: A Career-Focussed Approach Stuart Thorp and Christiaan Willems
This Case Study relates to the creation and implementation of career-focussed courses in Creative Media for film, television, animation, broadcast and web contexts. The paper examines the advantages and disadvantages of co-teaching, and how different professional and academic backgrounds and disciplines can productively inform curriculum design and delivery in the academic/professional context. The authors, as co-creators and co-lecturers, have developed a number of courses which represent current working models for intermediate to advanced level academic/professional study, and attract students from across the creative disciplines; including theatre, media, visual arts and music. These courses are structured to develop in students a wide range of aesthetic and technical skills, as well as their ability to apply those skills professionally within and across the creative media industries. Issues regarding the balance between academic rigour, practical hands-on skill development, assessment, logistics, resources, teamwork and other issues, are examined in the paper.rn
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IA (Interior Architecture) and the New CityLynn Churchill
This case study looks at the 2008 trespass 3rd Year Interior Architecture studio at Curtin University. The students' task was to re-think urban space on their terms, to consider the culture, politics, society and micro-economics of urban as interior space, to deploy interior strategies and sensibilities in an unfamiliar, cross disciplinary realm. The context for studio program was Perth where the weather is fabulous, the beaches are the best, the economy is strong but the city is 'boring'. To extend the boundaries of their existing knowledge, students were introduced to other ways of seeing and experiencing city space through a screening of Peter Greenaway�s The Cook the Thief His Wife and Her Lover. A series of readings included topics such as �La Donna �: Agoraphobia, Women and Urban Space�, �Crime�, �Borders�, �Female Fetish and Urban Form�, �Case Study: New Babylon�, �We Deserve a City that Fires up the Imagination�, �CCTV�, �Crime�, �Skateboarding�, �Graffiti�, and �I�ll Take the Recycled, Light-Green One Please�. Collegiality was encouraged between students, and interdisciplinary collaboration was enabled via a stream of guest lecturers and tutors from disciplines including economic development, crime and design, theatre and puppetry, fashion and urban design. No doubt this was a stretch for the IA students. How were they to position their work within the diversity of this framework? This case study presents studio structure, process, outcomes, feedback and reflection in relation to the 2008 trespass studio.
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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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Ararat Field Studio: A Master of Architecture Elective Design Studio Undertaken in Intensive Fieldwork ModeNaomi Stead and Adam Haddow
This intensive studio aimed to engage students, collectively and individually, in identifying opportunities and constraints via a process of mapping, interviewing and observing. As an urban design studio students were encouraged to draw from specific site conditions to 'find' a final project. In some cases these projects would result in built outcomes, in others the proposal of community programs and in others long term strategic planning initiatives. The essence of the project was to engage with both the paying client (council) and the inferred client (the community) and develop skills in client liaison, negotiation and plain English presentation while producing a highly considered and resolved architectural or urban design outcome.
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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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Continuous City: A First Year Architecture Studio ProjectRoss Anderson
The architectural design studio project Continuous City is conducted in the second semester of Year 1 of the Bachelor of Design in Architecture degree at the University of Sydney. It is a sustained collective meditation on the contemporary city, advancing the architectural themes of assemblage and transformation with an emphasis on the generation of a single architectural proposal in a complex urban context. It commences at an urban scale. A 'generic city' of strict geometry has been fused with 11 actual cities (Dubrovnik, Madrid, Isfahan, Tunis, Tokyo, Amsterdam, Venice, Jerusalem, Paris, Stockholm and New York) to create distinct 'quarters' which are nevertheless woven into an overall urban order that is stabilized by two major diagonal axes, one land and one water.
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Cross-Sector Initiatives: Charles Sturt University and TAFE NSW Integrated Delivery of Bachelor of Arts (Fine Art) and Advanced Diploma in Fine Arts and CraftsJulie Montgarrett
The integrated Fine Art program, an initiative between Riverina Institute of TAFE and CSU (2005), was originally available only to local Riverina based-students. The scope of the program has expanded with increasing availability of CSU subjects by Distance Education, realising demand from students in other regional NSW locations since 2008 (Tamworth; Dubbo; Albury and Orange). Students undertake local TAFE programs (as available locally) or TAFE programs as available locally across NSW. Students complete TAFE Advanced Diploma and 10(8) CSU subjects as Studio Minors and Art History subjects depending on year level of entry. The original integrated course structure was based on an integrated TAFE/University model from the Faculty of Business at Griffith University.
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The Bachelor of Digital Media: A Partnership between TAFE Illawarra and University of WollongongBrogan Bunt
This case study provides an overview of a new Bachelor of Digital Media program, which combines TAFE Illawarra study in digital film-making and animation with University of Wollongong (UOW) study in Media Arts. The program is closely integrated so that students can obtain a TAFE Certificate IV at the end of the first year, a TAFE Diploma at the end of the second year and a UOW Bachelor of Digital Media at the end of the third year. The program will begin in 2010 at new purpose built facilities at the UOW Innovation campus. Apart from summarising the structure of the new degree, this case study will also address the process of its development and the various practical issues that have emerged in terms of developing an effective educational partnership.
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The First Three Weeks: First Years and the Trilogy ProjectGene Bawden
Studio teaching is core to a successful graphic design education. A great deal of information can be learned and analysed through a lecture and tutorial paradigm, but it is only through the doing that a design student can genuinely comprehend all that discussed verbally. Studio environments are, at their core, intellectual and social engagements between like-minded people determined to succeed both personally and professionally. It runs off a potent mix of competition, comradeship, enthusiasm and ambition. �The trilogy project� aims to harness this energy in first year such that the studio teaching paradigm is altered from a benign and forgettable learning environment to a memorable acquisition of practical, academic and life skills.
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The Introduction of the Art Studio Practice Course as a Pre-tertiary Subject in Tasmanian SchoolsPeta Collins and Jane Giblin
Art Studio Practice is a year 12 subject accredited in December 2008. The course sits alongside art production and art appreciation. Students must have art production or equivalent to gain access. Art Studio Practice filled a gap in Tertiary entrance scoring for those students serious about a future in the visual arts. Significantly it provides students with a new pre-tertiary visual art subject and the opportunity to continue their visual arts studies into year 12 through the consolidation of their studio practice. It has been designed to enable students to develop meaningful conceptual knowledge through research and studio practice. It challenges students to engage in reflective and critical analysis to refine, evaluate and articulate their ideas. The course provides for practical and authentic art investigations that ensure a student learns from their local art community as well as contemporary, historical, national and international art resources. Students learn to develop a proposal encompassing the production of a body of work that is more substantial in quantity and resolution than their year 11 art production. The year culminates in an exhibition and interview. rn
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Student Design Presentations using the Pecha Kucha MethodSusan Shannon
Design students are often underprepared and ill-equipped when verbally presenting their completed projects for critique, often running over the allocated time or not communicating clearly their design intent and process.This case study looks as how The University of Adelaide has adopted an increasingly popular presentation method called Pecha Kucha (20 slides x 20 seconds each) in its First Year Bachelor of Design Studies Program which has enabled students to present their work in a manner that is succinct, focused, comprehensive and engaging.
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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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The Use of 3D Computer Gaming Technology in Architectural Design Studio TeachingRussell Lowe
This case study describes how gaming technology can assist architectural students design a 3D environment. The process allows students to be immersed in their designs while making decisions that affect that space. It encourages students to experiment more rigorously with light, materials, colour, etc when compared to the more traditional 3D model making materials such as balsa and card. Furthermore, the speed of this process maximises the design development phase of architectural design by eliminating time-consuming standard drawing conventions
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Collabor8 Project: Cross-cultural, Trans-national StudiosIan McArthur
Collabor8 (C8) 2008 built on Collabor8 Projects (2003 to 2005) developed by Ian McArthur while working as Program Director of Graphic Design at LDHU (Donghua University) and Head Teacher of Art and Design NCI (TAFENSW). Collabor8 2008 formed a pilot study examining the online interactions of ninety-four graphic design and visual communications students from universities and colleges in Australia and China to examine the relationship between cultural background, cognition and media types in collaborative online design education. rnrnThe data gathered revealed a complex interplay of internal and external dynamics suggesting that a disjuncture in many students understanding of was expected of them regardless of media used to deliver the lectures and briefs in the project. Language, divergent student expectations, different levels and styles of knowledge production, and outside forces such as the Sichuan earthquake, are important areas of focus in this study exposing what might be described as multiple realities within the project.rn
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Project X: The Experience of Student-led Multidisciplinary Design Courses across 3 Faculties at UNSWCarol Longbottom, Graham Bell, Zora Vrcelj, Mario Attard, Richard Hough and John Carrick
This case study describes two elective multidisciplinary courses involving the design, development and fabrication of a built work to a brief, timeframe and budget on the main campus of the University of New South Wales. The courses involved collaboration between three Faculties of the University, namely, the Faculty of the Built Environment, the College of Fine Arts and the Faculty of Engineering.
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Engaging Staff and Students in an explicit and integrated approach to the Development of Graduate Attributes in a School of DesignDarrall Thompson
The main essence of this case study is to do with the question: How can the idea of graduate attribute development become engaging and explicit for both staff and students in the practicalities of a studio-based subject? It is all very well to say to students (and include in documentation) that the aim of the studio subject they are engaging with is to develop the graduate attributes that we believe are essential for a professional designer. However, saying it and writing it down do not amount to an engagement for students or staff in understanding how this can be made explicit in the design and assessment of the subject.rnrnThe example given is fairly complex to describe. The specific studio subject described is a core third year Community Project subject from the four-year BDesign Visual Communication (honours) course at UTS.rnrnAn important aspect of the School of Design context was that a list of approximately 25 attributes that staff wanted students to gain had been grouped into 5 categories: rnCreativity and Innovation, rnCommunication and Interpersonal Skills, rnAttitudes and Values, rnPractical and Professional Skills, rnCritical Thinking and Research Skills.rnrnAn online system called ReView that was used as the main assessment method in this subject was originally developed to engage staff in rethinking their assessment criteria and colour-coding them in relation to these meta categories (see the ReView pdf attached). The majority of assessment criteria for tasks in the School of Design are now coded in this way, and students can see a progressive development chart across subject boundaries in the 5 categories of attributes they are developing
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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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Capturing, Analysing and Critiquing the Visual Image Using Web 2.0 in Studio ClassesLynette Zeeng
This case study describes how Web 2.0 is used to improve critical thinking and analysis of the image and to ensure timely feedback and meaningful peer review processes. Students' photographic images are critiqued by staff or students from the wider cohort rather than just from their own studio class. Part of the peer feedback is incorporated into the assessment as well as students' interaction in discussion boards. Student surveys have clearly identified the importance of the feedback on their learning and creativity.
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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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Video Feedback: A Practical Tool for Student Critique and AssessmentFiona Fell
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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1,930 KB
Spoken Feedback using Mobile TechnologyMary Jane Taylor and Coralie McCormack
The critique, or spoken feedback, in art and design education is critical to the knowledge construction associated with creative project outcomes. It has been suggested that the traditional model of the spoken face-to-face design critique has become stuck with historical boundaries. Students and teachers report that spoken design feedback remains a weak component and a strong dissatisfaction within art, architecture and design education. This case study reports perceptions by graphic design students and their lecturers of the advantages and disadvantages of recorded spoken feedback emailed to students as a digital voice file.
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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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Porosity Studio: an Interdisciplinary Studio based on Critical Investigation of Contemporary Urban Space and the Intersections of Public and Private SpaceRichard Goodwin
Porosity Studio is a special interdisciplinary course for undergraduate and postgraduate students in Fine Art, Design, Media Studies, Architecture, Urban Design, Landscape Architecture, Planning and Engineering. This intensive studio centres on a critical investigation of contemporary urban space and the intersections of public and private space, and begins with the need for architecture to be porous in relation to pubic space, hence the name 'Porosity.' Often held in overseas locations, with the collaboration of local institutions, the course places student artists, architects, designers and engineers into a collaborative studio on a level plane to develop collaborative art and design interventions rethinking the nature of public space and architecture in the city.rnStudents are encouraged to bring their developing modes of practice, and spatial intelligence, into the studio and test them at another scale within the city.
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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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Third Year Combined Studio Theory (CSTR)John Vella
CSTR (pronounced sister) is a compulsory part of study in the third year studios of E-Media, Furniture, Graphic Design, Painting, Printmaking, Photography and Sculpture. CSTR is not a stand alone unit but a component that interfaces with all third year minor/major studio units.Through providing a platform through which to develop context, methodology and conceptual approach, CSTR is designed to complement students studio practice. This case study will focus on the development and delivery of the semester 1 CSTR program and reference some key points related to the semester 2 program (currently in progress).In semester 1, CSTR lectures cover a broad spectrum of art/design practice and research. Each lecture is followed by either a panel discussion (Big CSTR) or a workshop session (Little CSTRs) that involves undertaking set tasks leading to two assessable outcomes. The semester 1 CSTR program was first delivered in semester 1 2009 and is divided into 3 key areas: Developing a working proposal2. Understanding and articulating the context of your practicern3. Presenting and evaluating your studio outcomesIt is worth noting that in semester 2 the CSTR Lecture Program focuses on professional practice. A series of guest speakers provide information on: avenues for the support, promotion and presentation of your work; potential career pathways; and relevant postgraduate study for emerging artists and designers. In semester 2 the Little CSTR�s will run Cross Media Group Critique Sessions where students expand their capacity to articulate ideas to a broader audience and gain valuable feedback on the resolution and presentation of their studio project/s.
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