PgCert in Academic Practice

Introduction 

This case study comes from my own experience, both as a dyslexic learner and currently as a lecturer in Digital Design across all three years of Interior Design course at the Chelsea College of Arts. As someone who has struggled with dyslexia throughout my education, I’m deeply invested in exploring the challenges and opportunities of educating students with similar learning differences in a field heavily reliant on visual communication. 

My inspiration for this study came from the article “Education: The Art of Being Dyslexic” by The Independent. It resonated strongly with my own struggles and ignited a passion to understand how an interior design course, traditionally text-heavy, can be adapted to cater to diverse learners, particularly those with dyslexia. Through this case study, I aim to examine effective strategies that bridge the gap between visual communication and dyslexia, fostering a more inclusive learning environment for all students. 

The Challenge   

Art schools, like the Chelsea College of Arts, attract a diverse bunch of students. Many, like myself, learn best visually. Text-heavy lectures and traditional learning methods often left me feeling overwhelmed.  

Traditional interior design education often prioritizes history and theory, emphasizing written research and storytelling as the primary learning outcomes. Students with dyslexia can struggle with these methods due to difficulties processing written language and translating it into visual representations. This focus on text-based outcome can lead to frustration, discouragement, and a sense of inadequacy in the program. Ironically, many of these students possess exceptional visual communication skills, a core strength often overshadowed by the emphasis on written work. Their visual ideas, expressed through sketches, models, or even animation, can be far more impactful than their written reports, yet current evaluation methods often fail to capture this strength, resulting in lower grades that don’t reflect their true understanding. 

Moving forward   

The article highlights the potential for dyslexic individuals to excel in visual-spatial reasoning. By acknowledging these strengths and adapting the curriculum, educators can unlock a new dimension of learning for dyslexic students. 

Here are some strategies an interior design course can implement to support dyslexic learners: 

Focus on 3D Modeling: Leverage 3D modeling software to allow students to explore and manipulate spatial concepts. This caters to their strengths in visual-spatial reasoning and provides an alternative to traditional 2D drawings. 

Model making: Incorporate physical models, textures, and materials into the learning process. Building physical representation allows students with dyslexia to grasp design concepts through hands-on experience rather than theory-based practice.  

Technologies: Utilize new technologies like text-to-speech software and audiobooks to help students access written information. This reduces the burden of processing written text and allows them to focus on design concepts. 

Alternative Assessment Methods: Move beyond traditional portfolio submission. Consider incorporating movies created by students, 3D models animation, exhibition, and practical design exercises like model making as methods of assessment. 

Collaborative Learning: Encourage collaborative learning environments where students can learn from each other’s strengths. Dyslexic students can benefit from working with peers who excel in written communication. 

By implementing these strategies, the interior design course creates a more inclusive learning environment. Dyslexic students can: 

Develop their strengths: The focus on visual-spatial reasoning and hands-on learning allows dyslexic students to excel in areas where they naturally shine. 

Boost confidence: Success in these areas fosters a sense of accomplishment and increases confidence in their abilities. 

Embrace new perspectives: The inclusion of dyslexic students enriches the learning experience for everyone by introducing new ways of approaching design challenges. 

Conclusion 

Dyslexia is not a learning disability but rather a different way of learning. By embracing this diversity and adapting teaching methods, interior design courses can unlock the full potential of all students, fostering a more inclusive and successful learning environment. 

References:  

Education: The art of being dyslexic | The Independent | The Independent 

Introduction: 

As a lecturer at Central Saint Martins, I’ve been concerned with the way we assess group projects in first-year architecture BA. After all, architects rarely work in isolation – the profession depends on teamwork. However, I’ve encountered a disconnect between this collaborative ideal and the realities of group project assessment. 

The Challenge: 

Some students contribute minimally, benefiting from the efforts of their peers. This can leave quieter students feeling overshadowed. Especially students with the language barrier. Their unique voice and skillset get lost in the final project, and worse, they might even receive lower grades that don’t reflect their individual contributions. That might potentially impacting therir self-esteem and motivation.  

This raises several ethical concerns: fairness, individual development, and transparency in recognizing each student’s effort. Is our current assessment approach truly serving these goals? 

We could look at professional architecture practices operating as collaborative units, the structure is distinct. Architecture firms assign specific roles and responsibilities, ensuring accountability for each team member. However, recognition and credit often stay with the firm, not the individual architect. Even within these professional collaborative environments, appreciate individual contribution remains uncultivated.

Moving Forward: 

How can we bridge this gap between the realities of professional practice and the needs of first-year students? Here are some strategies I’m exploring: 

Peer Assessment: Implementing peer assessment allows students to assess each other’s contributions within a group, fostering accountability and rewarding hard work. 

Process Portfolios: Requiring students to maintain individual process portfolios that document their ideas and contributions throughout the project can offer a clearer picture of each student’s journey.

Formative Assessment: Individual presentation/critique of their work during the collaborative process.  

Reflective Learning: Encouraging students to reflect on their teamwork experiences and individual growth allows them to gain valuable insights into their strengths and areas for improvement. Reflection and critical thinking as a part of learning outcomes.  

Ultimately, reevaluating how we assess group work in this crucial first year is essential. By adopting a more balanced approach, we can ensure students become not just adept collaborators, but also architects in their own right – nurturing their individuality and self-worth while laying a strong foundation for their future success. This approach might change the matter of quite unethical architecture practice.  

References: 

“Bad attitudes: Why design students dislike teamwork “by Richard Tucker https://www.jld.edu.au/article/view/227/233.html 

“Enhancing and Assessing Group and Team Learning in Architecture and Related Design Disciplines” by An Architektur:  https://scholar.google.co.uk/scholar?q=Enhancing+and+Assessing+Group+and+Team+Learning+in+Architecture+and+Related+Design+Disciplines%22+by+An+Architektur&hl=en&as_sdt=0&as_vis=1&oi=scholart 

“Peer Assessment: Channels of Operation” by Keith Topping ://www.mdpi.com/2227-7102/11/3/91 

My microteaching session focused on storytelling within the context of design practice. I initiated a playful exercise where each participant in the room contributed a sentence to a story that began with the phrase “a woman with a cat on her head.” The aim of this lighthearted activity was to inject some fun and absurdity into the design process. I emphasized to the students not to take it too seriously; it was simply a way to loosen up and allow creativity to flow freely without the fear of judgment. Storytelling is an integral aspect of design, and it’s important to remember that our narratives don’t always have to be serious or realistic. We have the freedom to be as imaginative and playful as we desire. 

In the second part of the microteaching, I divided the students into two groups and tasked them with telling horror stories. We dimmed the lights to set the mood, which helped the students immerse themselves in the atmosphere. Quickly, they embraced the thrilling ambiance, utilizing light and sound effects to enhance their narratives. Each group had two minutes to lead us through their chilling tales. 

I provided minimal guidance during this exercise, allowing the students to take on leadership roles and enjoy the process of storytelling. 

Feedback received after the teaching session: 

• It was suggested to inform students beforehand that we would be telling horror stories to ensure their preparedness. 
• Students thoroughly enjoyed the activity, finding it both fun and creative. Many expressed a desire for the session to be longer. 
• It was acknowledged that prioritizing student experience and ensuring enjoyment during teaching sessions is crucial. 
• The experience highlighted the effectiveness of incorporating silence and fun into student studies, indicating that unconventional teaching methods are welcome