The intervention and the data set made me aware that giving some space for making and materiality was beneficial not only for the students but also for tutors and technicians.

Leaving space for embodied learning made room for urgent discussions in the Foundation:

-Its future at Lime Grove and Archway 

-The time left for students to work in the workshop

-The space left for making and materiality

-Its internal operation between all teaching staff

-Its statement toward equality of its employees: Academics and Technicians

-Its educational vision in a creative world in crisis and endangered

-Its vision for teaching and supporting future creative thinkers

-Its need to create a safe space to unlearn, learn, re-learn and construction

-Its embodied vision in terms of social justice

-Its future in terms of relevant curriculum 

-Its message is High Education

-Its vision and message for a changing society 

-Its hope for all future practitioners 

-The need of student generated material librairies

-Its hope of the design practice 

There is a sense of urgency when it comes to rethinking the emphasis the British curriculum puts on the more theoretical learning experience relaying embodied learning to the background, which today does not correspond to the reality of today’s European design creative practices.

This way of thinking is embedded with some social class discrimination and colonial and capitalist views of ultra-performing society. Putting-making is a bottom considered a non-intellectual subject linked to “low-skilled” careers perpetuating a tradition of devaluation of our hands and making.

The difference between Polytechnic and University learning exists, yet by leaving less space for hands-on learning in the University curriculum, students and academics pass beside a real occasion to create a space of linear teacher-student relationships, where can flourish learning in all camps.

They also miss the opportunity to collaborate with technicians and to create a multi-sensory space where innovation, independence, interpretation, knowledge and problem-solving are at its core.

Revaluating the role of technicians is essential and no longer consider them as only “backstage” in the student learning journey or as service provided but as collaborators in delivering the design curriculum, valuing their input, opinion and expertise.

“We are mainly value by students constanstly, but never from anyone else. The job of technician is always backstage, as it should be, but it would be nice to be supported and valued. When I say valued, means professionally value, not just receiving a odd email saying “well done to all”. (Technician A)

It also creates a more inclusive space of learning where making allows neurodiverse students to feel supported, confident, empowered and understood by tutors.

“Many people – including dyslexic individuals – prefer practical, hands-on teaching methods and learn more efficiently if they are using all sensory pathways. Sitting for long periods just listening is often not an effective way of delivering information! Weighting should be towards the visual and hands-on rather than the auditory mode.”

“Try giving learners something to hold in their hands and fiddle with whilst listening to instruction: this will improve their listening skills.”

British Dyslexia Association

Creating a friendly workspace where all parties are appreciated for their role, learning journeys but also expertise creates a dynamic model for a more equal society.

Making time for students to get confident with their hands, get to know the technicians and value their expertise, allows the Foundation to thrive by learning, where institutionalised hierarchy is challenged and where creativity and collaboration support UAL 

“Design for human equity, social and racial justice by mobilising critical thinking, humbly questioning the norms, practices and biases embedded in our societies and cultures. We recognise and reflect on our individual actions and societal values through self-awareness and reflective practice.”

Making and materiality are also at the core of the UAL Social justice agenda when it comes to Climate change. Learning making skills is crucial in rethinking the world and its materiality, the waste value and system and the potential for new material future, production and processes.

Critical thinking and materiality learning to support the climate transition and encourage tutors, technicians and students to rethink the role of design education as a creative practice for our common future and economy.

“provided opportunities for student and staff voice and activism, helping to mobilise models of co-production, rapid adaptation and student climate advocacy”

“piloted experimental approaches to change the way we teach in a ‘living lab’ model, for example, a project exploring what it means for students and staff to spend time in nature within their teaching and learning”

Deconstructing learning space as a Design Studio or Workshop and creating a hybrid space, where both the Tutor and Technicians deliver lessons blur the established line between the two for a more “living lab” experience where co-production, collaboration, fluidity of learning, critical thinking and reflection are motor for design learning.

Using objects, artefacts, and material libraries as prompts to discussions bridging gaps between non-English speakers and neurodiverse students and facilitating fluidity conversation in both the studios and workshop and in between the two spaces.

Students have shown their enthusiasm during the intervention and expressed clearly their intention to learn more practical skills to enable their idea/concept generation but also empower them to visualise, test and experiment throughout their project as well as create exciting responses into their portfolios.

Students responded well to learning new techniques and getting the confidence to play with material.

This pilot led me to understand that students need structures when learning materials and techniques in a safe space with boundaries, and health and safety rules put in place. They equally need a relaxed space where trial and error is encouraged after being trained to activate critical thinking, reflection and independent learning, which can be continued by discussion with the technicians and tutors but also with their peer feedback.

Bibliography

UAL UAL’s Climate, Racial and Social Justice principles – Laura Knight – Teaching Enhancement Team – Academics1 Dec 2022

Berger, A.A (2009) What object mean: an introduction to material culture. Walnut Creek, California: Left Coast Press.

Braddock, D (1995) What is a technician? Occupational Outlook Quarterly 39.(1), P38