THE APPLICATION OF
EXPERIENTIAL EDUCATION MODELS TO STUDIO CRITIQUE:
2006 UCDA Design Educators Summit Poster Presentation

"Experiential learning occurs when carefully chosen experiences are supported by reflection, critical analysis and synthesis." (1)

This principle of experiential education refers to methods common to design education. Therefore, it invites deeper consideration of how these models could be applied to enhance studio critiques, the settings in which this processing generally occurs in design education.

Such application would not be taking these models out of context, even though experiential education is most often associated with outdoor and environmental education; indeed, the working definition of the Association for Experiential Education (AEE) makes no qualifications about the situation or field in which such practices can be put to use:

"Experiential education is a philosophy and methodology in which educators purposefully engage with learners in direct experience and focused reflection in order to increase knowledge, develop skills and clarify values." (2)

Given that design projects could be considered "direct experience" and that critiques could be considered "focused reflection," it is easy to imagine the potential contributions to design education.

In experiential education models, all factors that affect the learning experience and the processing of learning are carefully considered and facilitated: the atmosphere, the role of the educator, and the development of the group and the various relationships within it. These factors can either encourage or discourage active learning. Since such engagement is crucial in creative disciplines, effective facilitation of these factors during studio critiques has the potential to enhance critical analysis, reflection, and synthesis.

This presentation will illustrate adaptations of experiential education practices to experiment with in studio critiques. These recommendations will be based on various experiential education models and my experience as an educator in the outdoors and in the studio.

(1) & (2) http://www.aee.org/customer/pages.php?pageid=47

Visit the UCDA Design Educators Summit website ---

CATALOGING & ENVISIONING METHODS OF CRITIQUE:
2006 SECAC/MACAA Conference Panel
with Cary Staples, Graphic Design Department Chair

With thoughtful planning and skilled facilitation, critiques can be more than just rites of passage to be endured in studio classes; they can be vital learning experiences that enable art and design students to progress in craft, concept, communication, criticism, and compassion. We aim to investigate both existing and emerging critique methods that yield such enriching exchange.

Therefore, we seek models and/or case studies of various critique methods. These methods may involve proactive means by which to elicit peer feedback and ensure broad participation. They may aim to garner differing viewpoints or encourage the articulation of constructive commentary. Perhaps they are structured intellectually, socially, spatially, or temporally. We seek broadly applicable models as well as more specific ones designed to account for factors such as level of completion, class size, ability, or cultural backgrounds.

We intend to catalog these methods into an accessible collection of best practices. During the session, we will present this catalog, and accepted educators will present their models. It is our hope that such sharing will prompt all of us to be more sensitive and experimental in planning and facilitating critiques, thereby providing our students with richer and more varied experiences in this important educational context.

Visit the SECAC/MACAA Conference website ---

E X P L O R A T I O N S

DESIGNING
:PRINT
:PACKAGING
:EXPERIENCE
:WEBSITE
:MOTION
:ILLUSTRATION

MAKING
:PAINTING
:PHOTOGRAPHY
:PRINTMAKING
:FIBERS

WRITING
:ARTIST'S STATEMENT
:POSITION PAPERS
:RESEARCH PROPOSALS