Interior designing classes in chennai - Aleesha Institute
That which is embedded in studio classes gets attention. The rest? Not so much. Play, experimentation, and the exploration of materials, media, and ideas are all part of learning. From Jean Piaget to John Dewey, and from an advocacy for “educative experience” to collective parallel play in a digital context applied to a design studio or lab-based course, learning occurs when the student can create meaning—that is, when what’s being learned is relevant to a larger goal and knowledge base.1–3 Much of the literature about the constructivist approach to education and cognitive development refers to young children or to traditional teaching by lecturing.4 However, we can look at university-level students—at least beginning-level architecture and design students—as older children (regardless of age) who are discovering and fi nding their way. But, at this point, they’re also making conscious decisions about what they want to learn and do. So, how do aspiring designers learn to use the media necessary to create original works? In what contexts and sequence do architecture and design students discover how to use and manipulate various tools? The following case study provides some suggestions.
Methodology and Sequence
The New Jersey Institute of Technology’s (NJIT’s) College of Architecture and Design has used two models to successfully teach beginning design students about computer graphics. (Actually, the two nominally different implementations are variants of the same model.) The fi rst model, used at NJIT’s School of Architecture, embeds computer graphics instruction in the discipline-specifi c design studio (see Figure 1) and teaches students how to use media when creating their designs. The second model, used at NJIT’s School of Art + Design, reverses the order by blending design disciplines (in this case, interior, industrial, and digital design) in the students’ fi rst year. That year’s courses have objectives such as skill-based acquisition of and facility in the creative uses of digital and traditional media. Taught by designers, artists, and architects, these courses embed creative opportunities and design instruction and critiques into focused design projects. Because of the design component of the exercises and instruction, students call their graphics-based foundation classes “studio.” Successful implementations of both models share two traits. First, instructors and administrators must be knowledgeable in, and committed to, using digital media in the design processes and products at the beginning of design education. Second, computer graphics instruction must be embedded in design courses. Or, at the very least,met the courses must require students to creatively apply information technology to visual-design product deliverables. Designers use graphics to communicate with themselves, colleagues, teachers or mentors, and clients.5 How and what gets communicated is often a collaboration between the designer and the media. But regardless of the media and intended audience, the work usually has a purpose. Practical students who apportion their time with great care can be inspired to learn about material they might not immediately see as directly linked to their chosen profession, if you can show them how that material makes them better designers or architects. Because they’re visually oriented, you can also convince them to perform a task if they know the end result will be a product representing their efforts.
Sources abound to inspire students, impart lessons about art and design, and provide opportunities to learn or improve their image-creation skills. Furthermore, teachers can develop tasks that not only go beyond rote learning and skill acquisition in the simplest form but also broaden students’ cultural exposure, leveling the playing field for those who enter the academy with varying backgrounds. The best projects leverage our knowledge of associated disciplines. This premise isn’t restricted to computer graphics; it includes craft in physical construction (model or full-scaled), structures, and a host of other categories. Each of the two curricular models relies on realizing that the design disciplines are sufficiently complex that no one tool or computer application will optimally satisfy all requirements for a multifaceted, real project. This means that tools must be selected to fit the required task, and tasks must be carefully selected to emphasize and utilize the strengths of particular tools being used and taught
Comments
Post a Comment