Developing strategies for effectively delivering content, engaging students and assessing their work is an on-going process. I make an effort to ask questions of other educators, especially my departmental colleagues, about teaching techniques, strategies and methods. The strategies listed below are not new by any means, which speaks to their effectiveness as pedagogical tools. However, I’ve had to learn how to effectively use them in my classes, which for me has meant finding the balance between how much I give the students and how much I let them to discover. The dedicated attention we give each student in our department allows for a high degree of customization of content delivery. I find myself frequently sitting with a student discussing their project and something comes up that addresses another’s problem. I am constantly reminded that the students learn as much (possibly more) from working alongside their peers than they do from me.
Following are brief descriptions of strategies I have employed with some success in the studio courses I teach.
IN-CLASS DEMONSTRATIONS. It is incredibly valuable to students to watch me do what I expect them to do. They get to witness the process of thinking and making, how to adapt to (or correct) a problem, and how to evaluate what has been created. I’ve also found that it empowers the students – they start to see that they can do the work in their own way. I feel like this is one of my strengths in the classroom.
“He was very thorough with instruction and critique. He knew the material extremely well and was very passionate about the subject.” DSGN 242 Student, Fall 2011
“He took the time to draw out examples of what we are doing on a particular project, which has helped me understand the work more.” DSGN 242 Student, Fall 2011
“Very familiar and practiced on materials and techniques covered in lessons. Knows what to do and can demonstrate it and explain it clearly to students. Very well articulated and ensures that all students are up to speed during lectures and demonstrations.” DSGN 211 Student, Spring 2011
PROVIDING PRECEDENT. I often times provide real-world examples of similar problems, concepts and projects for my students to evaluate. This can provide a great source of inspiration, but can also seem too far removed from where they are in their development. In an effort to illustrate the potential they may be unaware of, I show them examples of student work addressing similar problems. We discuss what works and what doesn’t in these examples. Students tend to gravitate toward these examples and begin to acknowledge their own ability in providing creative solutions.
After returning from the Ghost Architectural Lab in Nova Scotia, I developed a project for DSGN 341: Architectural Design I based on my experiences with the design/build workshop. I taught the students methods for evaluating, understanding and analyzing the regional context, as well as the local building traditions and culture. I also was able to show them several incredible examples of regional architecture because of my time and experience in that place. All of this provided a rich background for their own design project, which was based on the same site where I had helped construct a boathouse only months before.
“I liked seeing all the examples, it helped me understand what you were looking for.” ART 353 Student, Spring 2009
“He used examples of past design projects of students, gave us a detailed description of our assignment, held class critiques and gave us real clients to work with.” ART 353 Student, Spring 2010
SITE VISITS. If there is an opportunity for us to take the class out of the classroom, I take advantage of it. Frequently, I assign projects based in Abilene, which allows us to visit the site for observation and analysis. Being on-site tends to transform gathered information, like environmental conditions, orientation and context, from an abstract notion to a concrete reality. In DSGN 251: Construction I, which is a new course I developed for the Architecture curriculum, I take the students on several field trips throughout the semester so they can see first-hand the materials and methods of construction. The knowledge they receive from being in a manufacturing plant, stone quarry and construction site is something I simply cannot replicate in the classroom.
“He is very invested in the students as well as the subject and will take us to different areas around campus in order to show us what he wants us to learn.” DSGN 442 Student, Spring 2012
“Field trips emphasized the coursework learned in the classroom. You are enthusiastic about the course material and though this is the first time this course was taught, I think it was effective.” DSGN 251, Spring 2013
DESK CRITIQUES. I spend a lot of time in class visiting with students individually, discussing their work and demonstrating potential methods for solving a particular problem. This is essentially the equivalent of an in-class apprenticeship, and an extremely effective way to connect with the student on a personal level. This is probably the most exhausting but rewarding part of my job. Every solution is different and requires a unique response, which keeps me on my toes. I could not have predicted how much energy this task requires but feel confident it is time well spent based on the feedback I have received time and time again from my students. This type of individualized attention is at the heart of our department’s ethos and creates a community of honesty and trust.
“He was always willing to help and made an effort to individually talk to the students about their design.” DSGN 242 Student, Fall 2009
“He walked around to each of the students and made sure to give each person input on their design process and ideas. If something wouldn’t work, he gave us ideas to improve our structure but never forced us to take his advice.” DSGN 341 Student, Fall 2010
“During class time, he was helpful in taking time to check on each student individually to help and suggest different solutions to the project.” DSGN 211 Student, Spring 2011
CRITIQUES. The critique is a fundamental part of an education in art and design. Through this process, students hone their oral and graphic presentation skills, justify their decisions, respond to questions and collect useful comments for further improvement. Critiques can take many forms, but there are three primary types: desk (individual, mentioned above), group (peer review) and juried (panel of jurors). I utilize all three types of critique at different points in a project, and I am constantly evaluating the method and effectiveness of the critique. One area of improvement for teaching effectiveness reflected in my teacher evaluations, especially in the first couple of years, is related to critiques. Several comments suggested shorter, more efficient critiques. The critiques seemed to fatigue the students. As a result, I have become better at planning the length of critiques and use smaller group critiques more extensively. Regardless of the type of critique, I emphasize thoughtful examination, informative responses and constructive criticism from both the reviewer and the presenter.