Having shared various initial ideas for my ARP in my previous post, it may be unsurprising to learn that I have decided to continue pursuing the theme which I initially identified in my Inclusive Practices Intervention Proposal.
In summary, I am concerned and curious about low student uptake of my course’s* open-access workshop and technical space, and asking what intervention/s could be introduced that might increase non-timetabled usage of our space. (*BA User Experience Design at LCC).
It is worth noting that since I wrote my original intervention proposal, our timetabling has been adjusted in a way which effectively forces students to use the studio (by inserting more unstructured sessions into their formal timetabling), and thus removing all ‘non-timetabled’ availability of the space.
That said, I do believe that my research is still relevant, as what I aim to learn is the historic reasons behind students reluctance to use the space other than when mandated. I hope that by gaining these insights and enacting interventions accordingly, I may be able to improve overall student satisfaction, comfort and success during their time spent in our studio.
Why does it matter?
I previously explored these ideas in more depth in my IP Intervention Proposal, but as a refresher:
Orr and Shreeve (2017) note that the studio is a signature pedagogy of art and design.
“A space may not seem like pedagogy, but in its widest sense the studio helps structure what can and does take place when students learn, and it has been a central part of organised learning in visual arts for more than a century. This space also echoes those found in professional working environments… There is usually no central focus for the lecturer to hold forth, but rather students create a social learning environment discussing amongst peers and enabling the tutor to explore progress and work and to hold group or individual tutorials.” (p88 – 90)
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.
Students’ participation and engagement with the physical space of the studio is a vital part of both their own growth as practitioners and creatives, and their preparation for professional life (for many of them, this will involve work in a studio setting). Additionally, by fully engaging with the active social and study life of the studio, students will build connections with their peers and tutors, which can transcend learning outcomes, and build true bonds of support and solidarity which will guide them through their (often early adulthood) university years. I have previously explored Ray Oldenburg’s ideas about ‘third places’, where he describes how:
“…regulars “do for one another,” as they would for blood relatives and old friends. They give things they no longer need; they loan items they still want; they do what they can to relieve hardship when it befalls “one of the gang.” When someone doesn’t “show” for a couple of days, somebody goes around to check on them.” (p20)
Oldenburg, R. (1999) The Great Good Place: Cafes, Coffee Shops, Bookstores, Bars, Hair Salons, and Other Hangouts at the Heart of a Community. 3rd edition. New York : Berkeley, Calif.: Da Capo Press.
This type of mutual support and connection is, in my view, a vital part of university life which should be fostered and encouraged at all opportunities.
As well as this, given UAL’s incredibly diverse cohort, the studio, as an unprogrammed, open-access space, can and should be a place for mutual understanding and connection to grow, both amongst and across different groups of students.
“Identities such as race, class, gender, ethnicity, religion, and disability are important social aspects of learning, and play an important role as students begin to explore and understand their own positionality and how that positionality intersects with systems of oppression in academic spaces.” (p4)
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
S0 with all these reasons why the studio is important, I feel it is vital to reflect on why it is not always students’ preferred place for working, and why many miss out on its associated benefits.
There are a wide variety of reasons why this might be the case — I am particularly interested in the socio-economic and accessibility issues which might cause students to choose to work elsewhere. As noted in my IP intervention proposal, while some of these may be outside of my control, it still feels important to understand and consider them.
I have discussed these issues in more depth here, (with accompanying reading) but am keen to approach my research here afresh, as I unpack the actual stories which students and staff bring to me during the course of my research.
In my next blog post, I will share my planned research methodologies, and the background behind these.