The space in which students work can have a huge impact on their ability to learn. At its worst, a poor space can actively hinder studies, while at its best, a positive, welcoming studio environment can enhance and uplift learning outcomes. Orr and Shreeve describe the studio as a ‘signature pedagogy’ in art and design education, which shows its critical role (1).
In my current teaching setting on BA User Experience Design at LCC, we are lucky to have a dedicated studio space in which all our sessions take place, which is known as ‘the Atelier’.
The studio space is also available to students outside of scheduled sessions, however uptake of this open access workspace is currently very low.
I would like to undertake a qualitative, participatory study of my student group’s needs and preferences at the start of the new academic year, (as each year’s group will have their own unique expectations and needs). From this, I will endeavour to make whatever alterations to the space I can (both during session time and outside of it) which would cater to their needs. The findings from this research will directly shape both our own studio space for that year, and provide students with their own toolkits to construct optimal working spaces and systems for themselves.
For students with neurodiversity or physical disabilities, it is easy to see how a closer study of their preferences and needs can make for a more hospitable work setting. Meanwhile, fostering an inclusive studio space which offers a welcome to all can better support students in many other ways. For example, for students experiencing financial hardship or difficult home life, ensuring that they have a reliable and welcoming workspace can be an extremely practical tool in aiding their studies. For other students, a workspace which is visibly inclusive and welcoming to all can foster a greater sense of belonging, again, contributing to greater presence in the space and better study outcomes.
References:
(1) Orr, S. and Shreeve, A. (2017) Art and Design Pedagogy in Higher Education: Knowledge, Values and Ambiguity in the Creative Curriculum. 1st edition. London ; New York: Routledge. (P.88 – 90)
Additional references and themes I plan to explore:
“The Atelier” in a Montessori context
Fattizzo, T. and Vania, P. (2021) ‘Montessori Creativity Space: Making a Space for Creativity’, in D. Scaradozzi et al. (eds) Makers at School, Educational Robotics and Innovative Learning Environments. Cham: Springer International Publishing, pp. 113–117. Available at: https://doi.org/10.1007/978-3-030-77040-2_15.
M.Ed), J.B. (M A. (2023) The Artist’s Studio: The Atelier and Atelierista, BarrKinderplay. Available at: https://www.barrkinderplay.com/post/the-artist-s-studio-the-atelier-and-atelierista (Accessed: 23 May 2024).
The ‘design studio’ as a general concept
Salama, A. (2006) ‘Editorial: Committed Educators are Reshaping Studio Pedagogy’, Open House International, 31(3), pp. 4–9. Available at: https://doi.org/10.1108/OHI-03-2006-B0001.
Race and space
Sibrian, A., Thomas, N., Moses, T., Mercer, L.E., (2023) Designing Collective Racial Healing Spaces https://dl.designresearchsociety.org/cgi/viewcontent.cgi?article=1122&context=iasdr
Disability and space
Charleston, E., Foale, K.,Joynt-Bowe, S., Gendered Intelligence, and The Greater Manchester Coalition of Disabled People (2023) The Trans Dimension Guide to Inclusive Events. Available at https://gfsc.studio/assets/pdf/Trans-Dimension-Guide-To-Inclusive-Events_1.0.pdf (Accessed: 23 April 2024)
Class and design studies
Matos, A. (ed.) (2022) Who can afford to be critical?: An Inquiry Into What We Can’t Do Alone, as Designers, and Into What We Might Be Able to Do Together, as People. 1st edition. Eindhoven: Set Margins’ publications.
And many more to come