Together but Apart: Creating and Supporting Online Learning Communities in an Era of Distributed Studio Education

Abstract

It would seem that technological campuses of tomorrow have manifested in 2020 as an essential spontaneous response to a world event. This article examines the current crisis in physical art and design studio learning in higher education as a consequence of the COVID‐19 outbreak and the sector’s response to the fast‐track conversion of blended learning to a distributed model. Universities are focusing on virtual community building where group work, ‘crits’ and presentations are being carried out online. Moving assessment and engagement to online formats has consequences for practice‐based art and design courses: distributed learning changes how we teach and learn. This article discusses the implications of art and design studio education in a time of distributed learning. It considers the loss of control over a physically based, practical curriculum and the repercussions for students unable to perform to the depth and rigour required for creative art and design practice. Studio education is considered a signature pedagogy, and has a distinct set of guiding principles such as facilitating critical play, thinking and making, and a pedagogy of ambiguity. This article examines the successes and challenges of moving these pedagogical principles into distributed spaces to support student engagement, using Cultural Historical Activity Theory (CHAT) as a research framework. The article also examines pedagogical strategies that support students to engage in physical forms of creative practice that enable them to connect their lived experience in a time of crisis.

Situated Learning in Online Architectural Studio Education

“…In the process, while they are working on the projects, reflective practice, and a dialogue of thinking and doing, they learn how to design (Schon, 1983). In terms of learning, the studio includes observations, experimentations, crits, making, doing, and reflective thinking (Boling, 2016;Marshalsey and Sclater, 2020). In these processes knowing, thinking, and acting are executed within a reciprocal relationship.…”

“…(Maher et al, 1999;Nakapan and Gu, 2011). Accordingly, the emergence of global teams and acceleration in cultural interaction supports teaching design education virtually (Marshalsey and Sclater, 2020). In this respect, creating a collaborative environment becomes the hot topic since this online environment can collect people from different regions in a platform and enables them to work together.…”

“…The spatial learning environment of the studio provides a good opportunity for its users in terms of creating social interaction (Marshalsey and Sclater, 2020). Informally or formally, it is assumed as a collaborative working environment, in which students, instructors, or other members of the studio learn collaboratively (Boling, 2016;Vaughan et al, 2008).…”

Talking to Art and Design Students at Home: Evaluating the Differences in Student Engagement Online

“…Many studies have emerged in the last year which address the various consequences and revelations to the online pivot in higher education. These include Marshalsey & Sclater's (2020) study examining strategies and systems to support online learning communities in an era of distributed studio education. These strategies highlighted themes across technological platforms and tools, artistic practice and the production of artefacts, community (collective and social encounters), individual and collective cognition, and pedagogical engagement.…”

Structuring knowledge-building in online design education

“…The very recent impact of COVID-19 pressured all higher education institutions, including design schools to rapidly migrate to online learning (Dignan, 2020 ; Sahu, 2020 ), impelling many design educators to utilize a methodology they previously dismissed. There have been online design learning applications during the pandemic, that showcased success (Ahmad et al, 2020; Fleischmann, 2020b ; Marshalsey & Sclater, 2020 ). For the large part, however, the problems exposed by this sudden shift was addressed via improvised or temporary solutions based on casual observations, occasional student interactions, or interpreting teaching evaluations.…”