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Full-Text Articles in Education
Power, Linguistic Diversity And Education, Eva Núñez-Méndez
Power, Linguistic Diversity And Education, Eva Núñez-Méndez
World Languages and Literatures Faculty Publications and Presentations
Brief editorial outlining the author's views on issues around diversity, bilingualism and multiculturalism, arguing for the benefits of multilingualism.
Design's Community Of Knowledge: Identifying And Organizing Design's Fundamental Concepts To Support Teaching And Learning, William R. Benedict
Design's Community Of Knowledge: Identifying And Organizing Design's Fundamental Concepts To Support Teaching And Learning, William R. Benedict
Proceedings of the 18th National Conference on the Beginning Design Student
The words we use and the concepts they represent affect how we see, think and talk about the world. Each community of knowledge (e.g., Architecture, Physics, Sociology, etc.) has a language that is specific to that community or discipline. Membership in a community of knowledge involves learning the community's language and developing an understanding of the concepts that it identifies. Our level of understanding of a community's language can either obscure or clarify-it can help or hinder communication. The degree to which we understand the language and concepts of a community of knowledge is directly related to our ability to …
The Space Of Mondrian, Lori Brown
The Space Of Mondrian, Lori Brown
Proceedings of the 18th National Conference on the Beginning Design Student
How does one introduce a beginning design student to spatial concepts and spatial ways of seeing? As John Hejduk states the architect begins from the abstract - a world of ideas, of concepts, of aspirations - and gravitates toward built form. Students must first see and critically assess and question this abstract world before they can make the jump toward the real world. They arrive with so many misconceptions about architecture yet have no conceptions about the abstract world.
Educating Emerging Vision, Marcella Eaton, Karen Wilson Baptist
Educating Emerging Vision, Marcella Eaton, Karen Wilson Baptist
Proceedings of the 18th National Conference on the Beginning Design Student
Learning to see requires practice, risk-taking, and a deliberate awakening of conscious perception. Vision which can be interpreted as an integrated human capacity that emerges from the world of lived experience, is participatory and engaged rather than detached and observatory. Learning to look - vision- is deeply subjective, emerging from experience and critical consciousness. When vision becomes clear, students become aware of what was once hidden, lost, or invisible to them. Awakened vision requires a response. Educators must teach learners to balance their vision with action.channeling 'seeing' as a force against fear, and isolation, (that so often occurs in the …
Design As Language, Patrick Louis Carrico
Design As Language, Patrick Louis Carrico
Proceedings of the 18th National Conference on the Beginning Design Student
Good design has many faces; one is articulated well by the principals of Gestalt, while another is formed by tradition and style. When teaching design, it is important to delineate between the two. What makes the Mona Lisa universal and the cover of "Staying Alive" doomed is that the former uses good design grammar; and the latter uses an obsolete design dialect. Understanding their difference is integral in deciding the line between less expressive designs, like commercial design, and the design layer of a cathartic painting. Design is a language.
While Mind Dances With Heart: Nurturing Design Vocabularies Through Personal And Cultural Identities, Shenglin Chang
While Mind Dances With Heart: Nurturing Design Vocabularies Through Personal And Cultural Identities, Shenglin Chang
Proceedings of the 18th National Conference on the Beginning Design Student
Although there are many ways of approaching design. my aims "in teaching young student designers was to have them understand the importance of finding the balance between the intuitive with the rational." (Mirochnik, 2000: 65) The approach that I take in teaching my beginning landscape design studio is one in which I draw upon my former career as a dancer/ choreographer. I have found that within the process of creating and performing dance, the rational and the visceral constantly intersect: choreography and performance are processes in which the mind dances with the heart. I educate my beginning design students to …
Bounding Space, Jeffrey L. Day, Brian T. Rex
Bounding Space, Jeffrey L. Day, Brian T. Rex
Proceedings of the 18th National Conference on the Beginning Design Student
The cognition and description of spatial conditions are essential components of any foundation for design and the visual arts. However, the ability to discern subtle spatial distinctions and the limits of spatial boundaries is often clouded by habit and apparent familiarity with the conditions in question. For example, one thinks one "knows" the spatial make-up of one's bedroom, but can one real ly see the space of the room from a position outside of this perceived familiarity? Can pre-cognitive knowledge be converted into critical understanding? Or, to invert the question, how can one know a space that one sees with …
Intelligent Shape Sorting, Esther Dudley
Intelligent Shape Sorting, Esther Dudley
Proceedings of the 18th National Conference on the Beginning Design Student
It is a familiar scene. Each September brings its new crop of would-be graphic designers, diverse in their experiences and ambitions, brought together in the lecture theatre by an appointment on their induction calendar; indicating an introduction to design research. It is my task to explain the pattern that this study will take in the opening modules. In this first year of study design research will take place on Wednesdays, regardless of studio projects It will constitute a certain number of lectures and tutorials, concluding with a specified brief which represents the first phase of assessment. As the routine unfolds …