1. Objectifying the Subjective: Assessment and Feedack in Creative Arts Studio Learning and Teaching – Christiaan 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…
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…
3. Engaging Staff and Students in an explicit and integrated approach to the Development of Graduate Attributes in a School of Design – Darrall 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…
4. Modifying the Critique for Student-CentredLearning – Louise 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…
5. Capturing, Analysing and Critiquing the Visual Image Using Web 2.0 in Studio Classes – Lynette 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…
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…
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…
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…
9. Student Conversation and Formative Assessment: Reflections on the First Year Design Studio at UQ – Michael 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…