Derek Lawlor PGCert 2025

24/25 Theories, Policies and Practices

Introduction 

At the start of the session I introduced myself, my position at Central Saint Martins and my practice. The purpose of this session is for my peers to look back at a body of work compiled over 15 years.

Aims of the session 

As an object-based learning session, it looked at human engagement with objects. It focused on establishing the given context of a body of textiles in a neutral, unrelated environment i.e. a classroom. This session was a reflection on a past body of work to generate new ideas through analysis and documentation.    

As part of the session, I explained that my chosen objects were from a collection of textiles from my own practice. I wanted my peers to recognise them as objects and not think about their function.

To start with, everyone was given an envelope containing a sketchbook, drawing materials and a series of questions which they would respond to as part of the exercise. Everyone was given textile pieces from my archive; they were asked to either drape on the body (if they felt comfortable) or use the space (furniture and surroundings).

I wanted the session to be lively and interactive which was why I asked them to move to different areas of the room. Each had 5-6 minutes to analyse what they were looking at in pairs. As I walked around the room, I interacted with my peers triggering responses to aid with the questions and observations of the fabrics. 

Further into the session, I asked them to reflect and use the drawing materials and viewfinders provided to translate their answers into hand-rendered responses.

At the end of the session I presented a series of images of the textiles in their context. The purpose of this was for peers to see them in their given environment. This revealed their end function as well as their provenance (the year, the collection, the composition) for additional context. 

Personal reflection

Something that I learned was the power of offering more productive silence so the peers could get to grips with and analyse what I was asking them.

Peers could have had more time to discuss the answers as well as having more reflections on their findings. By the end there might have been a slight disconnect between the analysis of the objects and the activities given. 

Going forward, I feel the visual understanding and materiality of the textiles would have been enough for the class to explore, or would have worked as a design exercise to create something from what they were looking at instead of attempting both. I question if there was enough time for all the class to achieve my objective of understanding and what you can achieve from looking at materials in different contexts. 

In my own teaching, I realise I can allow more time and space to spark conversations and reflections on objects.

Session/artefact to be observed/reviewed: Group Tutorials 

Size of student group: 6 second years

Observer: Linda Aloysius

Observee: Derek Lawlor

What is the context of this session/artefact within the curriculum?

Tutorials with Year 2 Weave students as part of ReWeave and Re:roll Sation Lab 2.0

How long have you been working with this group and in what capacity?

I have been working with Year 2 since September 2023 – I have taught on Year 1 Projects and Year 2 Pathway Rotations 

What are the intended or expected learning outcomes?

For this project students will be exploring their own approaches to sustainability as responsible designers. Students will be introduced to different approaches to sustainable practise as well as increasing their brand awareness and experience of designing for a client.

Students will be exploring methods of making experimental yarns from waste which they may weave with and creating woven textile swatches for fashion clothing and/or accessories.

Students will be using commercial waste materials as your own and deadstock yarns

which are available in the Weave workshop.

What are the anticipated outputs (anything students will make/do)?

This is the first tutorials of the project to discuss research and talk about the project in general. 

Are there potential difficulties or specific areas of concern?

Ensuring that all students feel they can be conversational and share their ideas. I will encourage students to offer feedback to their peers, so it is not just they tutor.

How will students be informed of the observation/review?

-We can explain to them at the beginning of the sessions

What would you particularly like feedback on?

-General feedback – observation of tutorials, interaction and knowledge exchange

How will feedback be exchanged?

Discussion of Lesson Plan (recorded) and key points noted in the ‘Suggestions’ area. 

Part Two

Thank you, Derek, for sharing your Lesson Plan with me and for discussing your ideas and thoughts in relation to this. It was great to hear about how you approach the session with your students and your sensitivity towards them is to your credit. 

Suggestions:

There are a couple of key points that arose from our discussion, which may be useful going forward:

• We discussed the possibility of you sending a (group) email to your students, prior to the session, to tell them that you are looking forward to working with them again and to reinforce their perception / understanding of ‘research’ to help them to prepare for the session ahead. Outlining very clearly – to the extent of breaking this down into different points or different sections – what ‘research’ entails, in this particular context, and what you expect them to bring with them to the session, should help them to arrive engaged and – ideally – impassioned and eager for more learning and knowledge exchange.  

• Emphasising to your students that the session is about team work and them helping one another, as they would be expected to in an industry setting, may help them to offer feedback to one another and encourage more verbally confident students to help less verbally confident students in speaking up; in other words, re-framing the session not so much as a series of one-to-one tutorials with peers joining in, and where the emphasis is on what research has been brought into class for discussion, but more as a co-taught, team session in which the central task is to help everyone to feel able to offer verbal feedback and the ‘content’ of the research for discussion is not the main focus as such. As you and I discussed this idea, the further ideas of using objects to help shy students to feel more confident about speaking and also asking students to physically move around – possibly at the start of the session – also arose. I subsequently wondered whether playing some music at the start of the session, as they move around, might also help to change the pace and tone of their day, given that you see them at the end of a long day, so that they are more engaged from the outset. You could emphasise team work and re-framing the session as a team task in the email that you send out to them prior to the session and again at the start of the task and you could also offer verbal rewards – praise, thanks, compliments – to students whenever they show willingness to work as a team and help one another, so that the idea of co-teaching, team work and equality are continually emphasized throughout their learning experience with you.

Part Three

Thank you Linda for your observations and comments;

Going forward I think it is a good idea to reach out to students prior to tutorials. As this is their first research tutorial in the the project it would be beneficial for students to know what is expected to bring to the tutorial. There could be more emphasis on research and ideas to discuss even if they haven’t managed to build enough research to show in the tutorial.

Students have been briefed by their pathway leader prior to the tutorial but I think it is important for them to know what is expected when they come to their first tutorial of a project. I could explain more about what the research should consist of and what I would like them to present.I would like this to be an opportunity to create further ideas/references to explore.

Often students are coming to a tutorial after a workshop, I think it would be good to start the tutorials with an activity to allow them to feel more engaged. This could be a brainstorming session connect to the project but not forward focused on a particular student allowing them to feel comfortable within the group tutorial setting.

Session/artefact to be observed/reviewed: Drop Spindle Spinning workshop

Size of student group: 6 second years

Observer: Derek Lawlor

Observee: Rosa Pearks – Weave Technician

What is the context of this session/artefact within the curriculum?

-Teaching 2^nd years to spin using a drop spindle, as part of a day long yarn-making workshop. This is a skill they can use in the upcoming ‘ReWeave’ project where they may want to experiment with using their own yarns.  

How long have you been working with this group and in what capacity?

-I’ve been the technician in the workshop since they started in first year.

What are the intended or expected learning outcomes?

-Students will learn to card and spin yarn using a drop spindle

What are the anticipated outputs (anything students will make/do)?

-Students will make some of their own yarn from wool roving

Are there potential difficulties or specific areas of concern?

-Can be a little physically tricky to pick up/perfect spinning

How will students be informed of the observation/review?

-We can explain to them at the beginning of the sessions

What would you particularly like feedback on?

-General feedback? Unsure

How will feedback be exchanged?

-There may be a short break between workshops to discuss, if not we can discuss at the end of the day, after the workshops finish at 5pm

Part Two

The workshop was introduced by explaining the different activities taking place and timings for the day. A clear explanation of what would be learnt was followed by questions to students

Observer to note down observations, suggestions and questions:

“Have you done this type of workshop before”

“This is an introduction so you can spend more time afterwards developing what you have learnt today”

A demonstration was given of yarn making through the different stages, from separating fleece, spinning to carding including an explanation of tools and materials that would be used in the workshop. There was also a discussion over the difficulties of the process and what to do when something might go wrong. 

There was a demonstration of hand movement involved in the yarn making which gave reassurance for students who may find it difficult to interpret from an explanation or diagram. 

Students were positioned around a large table allowing you to walk around and speak to each student as the workshop progressed. This felt very inclusive allowing each student to have the same shared experience.

The Workshop was very positive and you were approachable with students, offering reassurance as you spoke to them individually, it felt very comfortable.

As walking around speaking to students you openly discussed the possibilities of what the spun yarn might be used for and asking students to think about how the process could be used in their current project.

Suggestions

It would have been good to see examples of spun yarns used within fabrics allowing students to visualise how they look in woven textiles. 

References to past students/ designers who are using this technique and process could allow students to recognise further possibilities. 

A handout and technical Moodle demonstration might be beneficial for students to have after the workshop.

Part Three

I’m pleased to hear that the learning environment I created felt comfortable and inclusive, as this is always how I aim for activities in the weave workshop to feel.

It’s also good to hear the instructions were clear and the demonstration was helpful. We only teach this workshop once a year so I sometimes feel my spinning skills are a little rusty, but it’s good to know my instructions were understandable. 

I think all the suggestions are really great ideas and I would love to implement them all, the only slight problem, as usual, is time constraints. The spinning workshop is a very small part of the project and not an assessed element, so I don’t have much time to dedicate to this, however I think the suggestions would be possible to implement before the workshop next year. 

It would be great to create some samples using spun yarn for when we next run this workshop and I think this would be really helpful for the students to see. Since spinning is a very slow process, it is often faster and more effective to use spun yarns as ‘accent yarns’ (only using them in small amounts). I think having some samples would demonstrate how it is possible to get exciting effects from using the yarn sparingly. I will try to weave some samples during the holidays using yarn I have spun, which we can show at next years spinning workshop.

I think having some imagery of past students and designers who work with spun yarn would also be good. I will collect some reference images, names, websites and Instagram accounts of past students who have used spinning in their collections, and continue to look out for hand spun yarn in future students’ collections. I will also do some more research into designers who have used handspun yarn in their work and again try to find some references for the students to look at. 

While it could be helpful for me to create my own spinning video to upload to technical moodle, I think there may be more useful videos already on YouTube by people who have much more experience spinning than I do. I can collate some of these links into a padlet so students can access the most useful ones easily. Since students can only use the spinning equipment when they are in the weave workshop (they are not allowed to take carders or drop spindles home), I am happy to teach them again individually in-person. With this process I think it is easier for me to help students and improve technique if I can be there to see what they are doing. In the workshop next year, I will make it clear that I can teach them to spin again after the workshop if they need me to or if they forget.  

Session/artefact to be observed/reviewed: Group Tutorials 

Size of student group: 6 Year 2 Students

Observer: Rosa Pearks – Weave Technician

Observee: Derek Lawlor – Joint Course Leader BA Textile Design

Part One

What is the context of this session/artefact within the curriculum?

Tutorials with Year 2 Weave students as part of ReWeave and Re:roll Station Lab 2.0

How long have you been working with this group and in what capacity?

I have been working with Year 2 since September 2023 – I have taught on Year 1 Projects and Year 2 Pathway Rotations 

What are the intended or expected learning outcomes?

For this project students will be exploring their own approaches to sustainability as responsible designers. Students will be introduced to different approaches to sustainable practise as well as increasing their brand awareness and experience of designing for a client.

Students will be exploring methods of making experimental yarns from waste which they may weave with and creating woven textile swatches for fashion clothing and/or accessories.

Students will be using commercial waste materials as your own and deadstock yarns

which are available in the Weave workshop.

What are the anticipated outputs (anything students will make/do)?

This is the first tutorials of the project to discuss research and talk about the project in general. 

Are there potential difficulties or specific areas of concern?

Ensuring that all students feel they can be conversational and share their ideas. I will encourage students to offer feedback to their peers, so it is not just they tutor.

How will students be informed of the observation/review?

-We can explain to them at the beginning of the sessions

What would you particularly like feedback on?

-General feedback – observation of tutorials, interaction and knowledge exchange

How will feedback be exchanged?

Discussion of Lesson Plan (recorded) and key points noted in the ‘Suggestions’ area. 

Part Two

Observer to note down observations, suggestions and questions:

Observer Rosa Pearks

The tutorials started with an explanation of what would be happening in the session, checking students understood the brief and clarifying any questions they had around it. You made it clear that students could ask questions at any time, and the session was a group discussion that they could all participate in to share ideas. 

Students were quick to volunteer to talk about their projects and you involved the whole group in discussions, asking for feedback and making it an active and involved activity. You also gave good feedback to the whole group which despite being general, was relevant to everyone. You reminded students of the equipment and resources at their disposal, referring them to different workshops as appropriate and encouraging them to risk-take. 

The questions you asked prompted long in-depth responses from the students about their projects, while also encouraging them to think more about their research and how to develop their ideas. You also made suggestions to push the projects in new directions, allowing students to think about different ideas. The feedback you gave to the group was practical and clear and gave advice on concrete ideas such as yarn choices, materials, samples etc. All the points you made were actionable ideas that would prompt the expansion of research. 

Throughout the tutorials you continually referred back to the brief, helping students to contextualise their work. You also discussed your own practise to engage the group and give examples of different working processes used for developing research. Your feedback was concise, keeping the tutorials on time and keeping a good pace for the group. At the end of the tutorials, you brought the group back together to check in, check their understanding of feedback, and allow time for comments or questions from the group, rounding off the session well. 

Suggestions:

While you made it clear the tutorials were a group discussion, not many students gave feedback to their peers, (probably partly to do with it being the end of the day). I wonder if there is some way to include all the students in the discussion or a way they could all give feedback without necessarily having to speak. 

Some students had very little research and it might have been good to reiterate how much was expected, and make sure they understood that they would need much more research to be ready for warp planning the following week.  

Part 3

Response to Rosa

I recognise that the tutorials being at the end of the day may of impacted on student interaction through feedback to other peers. It was a busy day of workshops and groups tutorials, the morning tutorials felt more conversational with feedback, perhaps a I need to create more momentum through a shared discussion/ activity before we go in to tutorials.

Going forward it would be good to reiterate how much is expected in terms of research. Being their first tutorial of the project I wanted it to be more open to discussion however being ready for warp planning the following week I think students should be more aware about what is needed.

A critique is an “examination of an idea, phenomenon, or artifact. Within design, use of the term also includes that evaluation of an idea as well as the act itself” (Hokanson, 2012, p. 74 cited in McDonald and Michela, 2019). Critiques are a primary method by which instructors evaluate students’ work and design ability, both formatively and summatively (Cennamo,et al., 2011 cited in McDonald and Michela, 2019). However, this evaluative function is just one aspect of their significance. Through critiques, instructors communicate design knowledge (Adams et al., 2016 cited in McDonald and Michela, 2019), model how practicing designers think and act (Budge, 2016 cited in McDonald and Michela, 2019), and provide a framework for novice designers to develop their professional identity (Percy, 2004 cited in McDonald and Michela, 2019).

Rather than using the term ‘critique’, I prefer to use the word ‘review,’ which I see as a more communal way to evaluate work. There’s often not enough time or space for this to happen. Students work on long- term projects that may involve tutorials, but they rarely have the opportunity to view the full body of work they have completed. 

In my practice, I use the word ‘review’ to create a safe space to allow students to present their work and receive feedback. I ensure I offer positive reflections as well as suggestions for areas of improvement. Additionally, I encourage students to view and discuss each other’s work, providing enough space in these ‘reviews’ for students to feedback to their peers. This makes the process more conversational and less didactic. 

I believe it is essential for students to be able to see what others have been working on and to talk about their outcomes — if they feel comfortable doing so. Within larger cohorts, this approach allows everyone to be heard, as group tutorials are often smaller. For those who don’t feel confident to speak in that space, I will still highlight areas of success and offer productive feedback that encourages their involvement. 

Finally, within these reviews, I want students to feel they have something to take away that empowers them and improves their outlook on the project. While it might not be a review of the final outcome, it often provides an opportunity to showcase and understand the research and design development that has gone into the project, and to see the work everyone has created. 

References:

Macdonald, J.K and Michaela, E. (2019) The design critique and the moral goods of studio pedagogy.

Contextual Background

I have recognised that feedback given to students can be different in the format that it is given from different tutors. This can include tone, learning outcomes and accessibility.

With a wide range of tutors assessing there can be differences in the feedback that is given to students and parity across pathway departments.

Evaluation 

‘We are quickly back to assessment. A common cry is that students will not spend time learning a topic if they think it is not going to be assessed. Therefore, the word goes out that a topic will be assessed, and so they had better study it’ J. Biggs (2003)

I recognise that there can be a disparity between permeant members of staff and hourly paid lecturers.

Hourly Paid Lecturers will teach for at least five days on a project and I think there is an assumption that because assessment is included in their contract that they are fully aware of how to undertake it but often there is questioning about the assessment days over teaching. I question whether this impacts the way they assess because of time available.

I have become aware that assessment can be different for each tutor but I think is important that we all understand assessment & feedback principles within our course. 

Moving forwards

BATD Assessment workshop

As a course we have organised a Assessment and Feedback Workshop for the BATD Team discussing how we feel about assessment and highlighting particular strategies that we have developed and can use as good practice and knowledge exchange. 

Its important to understand what we find most challenging and recognise what we enjoy about assessing as this will help use be more efficient. 

Wider Workshop – HPL Staff 

Going forward we have now arranged a bigger workshop with permanent and HPL Staff to talk through the Assessment workshop and share our experience and knowledge collectively.

Its important as a course leader that we are communicating with Associate Lecturers regarding any changes to assessment and feedback to ensure that there is parity across our course which is truly beneficial to the students.

Principles we have recognised to take forward 

• Acknowledge student work and effort, in a specific way to identify that this is the correct feedback 
• Use Clear and accessible language
• Ensuring the tone matches the marks, and avoid condescending comments
• Ensuring assessment criteria justifies the grades we are giving
• Suggesting specific ways to improve work with references to learning outcomes
• Encouraging reflection about the work when appropriate
• Balancing Positive and Negative comments 
• Feedforward – suggesting follow up work and references 
• Accessibility – making sure feedback is constructed and organised 
• Assessment literacy – integrating discussions around assessment and feedback into the Unit

Diagnostic Feedback

Going forward I recognise that its important to create more of a dialogue with students through and suggest we think about the following;

• Asking students to indicate what they want feedback on
• Asking questions in our feedback to students
• Acknowledging a students perspective/ What they have tried to achieve
• Exploring possibilities of learning journals 
• Exploring peer activities 

References:

Biggs, J. B., & Tang, C. (2011). Teaching for quality learning at university (4th ed.). Open University Press.

Contextual Background

I run a workshop as part of Year 1 BA Textile Design called ‘Order of Things’ Project. This is an introductory workshop where students generate a body of paper experimentation and 3D design developments. I have found that due to time limitation students often struggle making the jump from 2D to 3D forms.

Evaluation 

As part of my lesson plan I feel I have been over ambitious with expectations from students. I need to recognise that this is a foundation for new ways of working for students.

Being a one day workshop where students will be working with a range of media and materials I need to understand that there is a lot involved in the activities and more time should be spent through interpretation and reflection of the objects that students are looking at.

Moving forward

Follow Up Workshop 

A follow up workshop would be beneficial, allowing the students to take their practice to the next level, compounding their learning and incorporate these 2D/3D designs into their projects and use information from the introductory workshop to take further in their own practice. Having worked with new materials and exercises, I want to allow time for students to reflect on what they have learned and created in the workshop.

‘Design objects can provide unique and effective learning experiences when placed physically in the hands of learners in the context of the university studio that is away from the confines of the traditional museum. The use of design objects can create different experiences and learning and teaching approaches to the more conventional museum trip and can enable students to develop their engagement with objects’ Hardie (2015)

Work In Progress

Being an introductory workshop I want students to recognise that this is ‘work in progress’ and there will be more opportunity to use skills learned to push further in other projects. This could take the form of a brainstorming lesson to acknowledge the successful and challenges experienced in the workshop and reflection on what they would like to be developed further.

Review of Work

In the past due to time limitation students do not have enough time to view the work they and their peers have produced in the workshop. I think it would be rewarding to set aside time during and at the end of workshop for students to see each others work and acknowledge the variety of outcomes being produced. This can be more conversational and peer led feedback to encourage students to feel excited about what they have enjoyed working on and and thereby encourage them to take the practice further into their own projects.

References:

Hardie, K., 2015. Innovative pedagogies series: Wow: The power of objects in object-based learning and teaching. Higher Education Academy, pp.1-24.

Contextual Background

Being Joint Course Leader of BA Textile Design I am aware of the variety of learning differences that students have on our course. Students will have Individual Student Agreements (ISA) in place to acknowledge that these differences exist, however these ISAs are not always effective, disadvantaging students experience on the course

Evaluation 

‘As part of the conversation about consent to share information, the Disability Adviser will ask the student for permission to update their disability status on the student records system. This information is stored as a numeric code; there are different codes for types of conditions, impairments and Specific Learning Differences (e.g. dyslexia). This information is used for anonymized statistical monitoring and planning purposes‘ UAL Confidentiality Guide 2024

I have acknowledged during my time as a senior lecturer that there are many students disclosing differences. 

ISAs outline reasonable adjustments which will support students to access their studies. ISAs also include Guidance for inclusive teaching and learning

I recognise that during the past ISAs have not been used effectively to offer practical guidance. They can feel generic, failing to capture the nuances of neurodiversity and the ways that these learning differences can manifest in a teaching scenario (ibid).

For example a student may have an agreement in place allowing them to arrive late or leave a session early if needed, sometimes a tutor may not be aware that this is in place therefore there is an assumption that the student is not committed.

Moving Forward

I have had feedback from students who feel they are not being fully supported regarding their Individual Support Agreement which has added extra stress to myself as a course leader as it generates extra work to ensure tutors fully understand the support required.

1 to 1 ISA Tutorials

I have now put in place individual tutorials with students who have an ISA to discuss their agreement in person and how we can support them. With the consent from the student we will read through the Individual Student Agreement and acknowledge specific adjustments to support them on the course.

ISA Training

As a conversation with our wide team course I have now organised ISA training for all staff on BA Textile Design to understand what an Individual Support Agreement is how to support students. We have also organised training from Counselling and Student health to support this. During the training we will share good practice that we are doing already and exchange knowledge how we think we can support a student with certain differences.

HPL Converstaion

I acknowledge that its important for Hourly Paid Lecturers (HPL) and Visiting Lecturers to recognise a students Individual Support Agreement at the beginning of a project. I have organised separate meetings with tutors to discuss ISAs ahead of a project so students feel there is a consistency of support across the departments.

Understanding of Briefs

I understand that when we have visiting lecturers or HPL’s teaching on a certain project they may not be fully aware of submission requirements and learning outcomes of the Unit. This can cause anxiety to a student that may ask specific questions regarding this and the tutors don’t fully know the answer. 

References:

Disability Service Inclusive, individual, empowering : Confidentiality Guide

https://www.arts.ac.uk/students/student-services/disability-and-dyslexia/disability-and-dyslexia-what-to-expect

In the exhibition catalogue for the exhibition of Hi! Fashion, curator and writer Gemma A. Williams: “While the design and process in this exhibition reach out to a wider interdisciplinary context, is it firmly rooted in the fashion object alone. Increasingly, current trends in fashion curation often situate the subject within the labyrinthine context of other support objects. Here, the emphasis is placed solely on the garments to instigate a purely fashion dialogue. which then opens doorways into new cultural references and inspirations.” (Williams, G year, pg. ?)

In my practice, I see myself as an artist working across interdisciplinary areas including fashion, editorials, performance and interiors. I recognise that being a maker helps to drive the design process, but often, as a creator, one is not necessarily thinking about where the work will fit within the broader world or environment. The BA Textile Design at Central Saints Martins is very open, and at the beginning, students often don’t know which pathway they want to specialise in. However, as they progress, they become more technical and develop skills that help them visualise what their textiles will be used for. Some are open to various areas, but the majority require more guidance on how to best place their work. This guidance comes through market research, and how they communicate and visualise their work. 

Having shown student work in the Letherby Gallery for the last four years, I’ve often noticed that the students are eager to display their full body of work. This can sometimes feel less curated and more like an overall assessment. However, when it comes to the graduate shows, I am very conscious of the gallery setting, meaning we must be more selective and mindful of the context. I need to consider the various ways in which the students want their work to be seen— whether it’s fashion, product or textile art— and how it will be perceived by the wider industry.

Through various projects, specifically in the final stages of the degree, I want students to take ownership of how they want their work to be contextualised. I have noticed that this is often driven  by specific outcomes, such as film, writing, physical and visual information, which  allows an outside perspective to appreciate how they work. This has proven to be more encouraging for both the industry and the students, as it enables everyone to recognise and celebrate what they are looking at.

References:

Williams, G. A 2018. Hi! Fashion exhibition catalogue. 

Reflection from innovative pedagogies series: Wow: The power of objects in object-based learning and teaching Dr Kirsten Hardie (2015), Associate Professor Arts University Bournemouth. 

This was a paper provided prior to my micro-teaching session which I found incredibly informative. It helped me to recognise the importance of object-based learning in a creative teaching practices.  

In my role as a senior lecturer on BA Textile Design at Central Saint Martins, I have observed how objects can stimulate conversation by allowing you to analyse their form, function, and how they relate to your design practice.  

Having read Wow: The power of objects in object-based learning and teaching Dr Kirsten Hardie (2015), Associate Professor Arts University Bournemouth, I can now better analyse and theorise why I have been using objects as part of my pedagogical practice. 

As Dr Kirsten Hardie writes: “Traditionally, design objects encased and showcased in museums have provided a key resource for design undergraduates to learn about design and its related history and contexts. In many instances objects may be seen but not touched. Likewise books, websites and digital databases present objects for study: rich resources, however, the physical handling of an item is denied.” (Hardie, 2015, p. 7). 

I counter this statement by offering students the opportunity to physically touch and handle objects as part of my sessions. Through their interaction with these objects, I believe this experience is integral to their understanding, as it facilitates discussions around materiality, construction and the techniques used. It allows them to comprehend how these pieces are made and the narratives they represent. I often use my own collection of textiles, which I feel opens up a more personal dialogue. This allows students to feel more comfortable and be more inquisitive about what they are handling. 

These objects are the starting point of a curated workshop. However, by the end of the session, students frequently realise that their responses to these objects inspire their own body of work and design approach going forward. 

References:

Hardie, K., 2015. Innovative pedagogies series: Wow: The power of objects in object-based learning and teaching. Higher Education Academy, pp.1-24.