This recipe comes from working with video in design research, participatory design and education for many years. While video is a powerful medium for documentation and communication of material practices of design, it can be extremely time-consuming to work with and the editing process gives the editor the last word on the content, rather than people in the video. 

The one-shot video format changes the role of video-making and its productive value in collaborative activities, as well as when working collaboratively over distance. The technique has become an excellent medium for tutoring over a distance, allowing a student or student team to present their tutor an up close look at their work-in-progress, whether rough sketches, physical materials or a combination.

One-Shot Video is a technique where participants use a smartphone to create a short video that illustrates their work in detail. The participant(s) are challenged to present their thinking as the video rolls over the supporting content in a limited time frame. One-Shot Video not only captures scripted performances, but it can also push participants to produce their best thinking constrained by a specific timeframe.

Ingredients

• A subject you need to communicate over distance
• Material you wish to show   
• A cameraphone or digital camera (quality doesn’t matter)
• A video hosting service or site
• (Optional) A learning or assessment activity that would benefit from a dialogic presentation

Method

You can watch and One Shot Video of the method here: One-Shot Video. There’s an example One-Shot Video and further support materials at the end of this recipe.

1. Prepare: Choose your material, identify who will speak about what, and what path the camera should take.  
   • Have an outline script or core message
   • Have something you will film as you talk about it
   • Think about where the camera will go 
2.  Film in one shot while describing what you are showing: 
   • Overview: Outline the topic and the purpose of the video
   • The details: Talk through the specifics you wish to share. Give examples! Point to the material! 
   • Conclude: Repeat the most important point(s) to remember. Describe what happens next? 
   • As you film:
     • Hold the camera horizontally for best viewing 
     • Get close to the content
     • Point at what you are talking about
     • Keep it rough
     • Dare to rehearse
3. Upload & send: Upload as an “unlisted” file on Youtube or similar platform or to your online learning system and share the link. 

Additional background & uses

When I worked at Interactive Institute in Sweden, I finally developed some support material for introducing one-shot video for practical purposes, both a video introduction and print material. This technique has been introduced and used by hundreds of students (Umeå Institute of Design, Konstfack, KADK, University of Southern Denmark), and professionals in a variety of projects and daily work practices over the years.  

And finally, here’s an example One-Shot Video:

References

Clark, Brendon. “Generating Publics through Design Activity.” In Design Anthropology: Theory and Practice, edited by Wendy Gunn, Ton Otto, and Rachel Charlotte Smith, 199–215. Bloomsbury Publishing, 2013.

Clark, Brendon, and Melissa Caldwell L. “Design Anthropology On the Fly: Performative Spontaneity in Commercial Ethnographic Research.” In Design Anthropological Futures, 169–82. London ; New York: Bloomsbury, 2016.

Lilja, Niina, Arja Piirainen-Marsh, Brendon Clark, and Nicholas B. Torretta. “The Rally Course: Learners as Co-Designers of Out-of-Classroom Language Learning Tasks.” In Conversation Analytic Research on Learning-in-Action, edited by John Hellermann, Søren W. Eskildsen, Simona Pekarek Doehler, and Arja Piirainen-Marsh, 38:219–48. Educational Linguistics.

Lawrence, Jill, and Brendon Clark. “Building Alignment and Sparking Momentum with Tangible Future Scenarios – Dimensions.” Design Management Review 29, no. 2 (2018): 20–25.

Introduction

The final design review, also known as the portfolio review or design jury, is a well-established but widely contested practice in architecture and design education (Anthony, 1991; Dannels, 2005; Lymer, 2009; Marie & Grindle, 2014; Oh et al., 2013; Webster, 2007). It is a prominent summative assessment tradition for students to showcase and defend their final design projects, for design tutors to celebrate their teaching results, to inspire and motivate fellow students and to benchmark academic standards. Grading and feedback are provided by internal and external critics or jury panel members, including local and external academics and professionals (Murphy et al., 2012). At some universities, other stakeholders like community representatives are also sometimes invited to serve on the panel of critics or the jury. 

Based on current international online conversations among architecture and design faculty, it appears that those who have access to digital platforms are coping reasonably well with the temporary transition to online learning and teaching in response to the Covid-19 crisis (Marshalsey, 2020). However, the upcoming assessment period is being met with unease and apprehension by those faculty and staff who are not accustomed to online methodologies (Salmon, 2020). Care must, therefore, be taken to properly design online alternatives to limit stress and anxiety, to allow fairness without compromising academic standards, and to promote learning. 

Many architecture and design schools in the northern hemisphere are preparing for final assessments, but few examples of online final design review models exist. This recipe is the result of three colleagues based in Africa, Europe and Australia, thinking about how to ‘whip up’ the final review online, drawing on their collective experiences of onsite and online architecture education. Curtin University offers onsite and fully online Masters in architecture programs, the Cape Peninsula University of Technology presents a blended undergraduate architecture course with a prominent online component, and Hasselt University has recently moved their onsite Bachelors, Honours and Masters in architecture programs online in response to the pandemic situation. 

Online design education relies on the use of multiple synchronous and asynchronous digital technologies and tools. These must be employed through careful consideration of their respective affordances (Salmon, 2020). For example, when moving a final design review online, we suggest that the traditional onsite experience should not be replicated, for example, in a Zoom online session. Not only will this option be data-intensive (Stanford, 2020), but also tiring and overwhelming (Degges-White, 2020). Instead, we suggest that a suitable combination of synchronous and asynchronous onsite and online modes be employed to achieve the desired experiences and required outcomes. This move towards effective and durable online solutions rather than emergency remote teaching (ERT) (Hodges et al., 2020), suggests a shift from ‘contingency to sustainability’ – creating ‘the future in a situation of uncertainty’ (Salmon, 2020). Such a future may require a certain degree of flexibility to move between onsite and online modes, as the circumstances allow. 

This recipe is for a sandwich model comprising a synchronous online Review phase in between asynchronous  Pre-review and Post-review phases. The Review session takes the form of an online discussion, Q & A or interview, focusing on clarification and feedback, rather than a design presentation. Instead, the student’s work is submitted in a presentation bundle comprising drawings, text and video, prior to the online Review session. Should circumstances allow, the Review session can still be conducted onsite. If not, it can be hosted equally well online. In this case, the Pre-review and Post-review phases remain unchanged. The digital format of student submissions allows for onsite or online Reviews.

Ingredients

1. Asynchronous communication tools: email or online forums via google docs or an LMS (e.g. Blackboard, Moodle, etc). 
2. Synchronous communication tools: webinar tools e.g. Blackboard Collaborate, Zoom, Jitsi Meet, BigBlueButton, Google Meet etc. for synchronous online discussion sessions.  When selecting the tools, consider university policies on security and intellectual property.
3. Production and media sharing tools: StoryMaps, moviemaker, screencast-o-matic, Loom, voicethread, Camtasia etc. to produce presentation videos; and Instagram, issuu, Behance etc. to publicly share students’ work.

Preparation

1. Design and plan an optimal workflow, and assign the different roles and responsibilities. The plan should include who communicates what to whom by when. Include a backup plan, for example, in case of connectivity problems, power outage or other technical problems. Assign moderators’ rights to more than one person, but make sure they know how to apply them. Involve students in the design and planning stage and encourage them to take the lead if university policy allows. 
2. Compile a critic briefing pack. This can include written invitations to critics to participate, the study guide or syllabus, project brief documents, rubrics and assessment guidelines, student grades and mark sheets, a repository of student submissions, the link to the online Review session platform, with instructions, and a Review schedule. Consider whether it is possible, or desirable, to allow students to take the lead here too.
3. Compile a student briefing pack. This can include guidelines for the online submission of work, required submission formats for the different components that form part of the presentation bundle (e.g. a thesis document, booklet or poster with high resolution renders of 300 DPI minimum, and a video), maximum file sizes, filename protocols and rubrics. It should explain how the online Review session will be conducted, explaining the roles, responsibilities and rules, as well as the online Review schedule. Students may want to set up a dry run to prepare for the online Review.
4. Teachable moments. Online sessions dedicated to the development of specific skills necessary for this assessment method can be offered to students by faculty, fellow students or invited presenters. Topics may include, for example, how to develop a powerful narrative, using drawings only to do so, how to respond to trick questions, how to behave and perform in an interview, how to use online media and platforms, and critical thinking. 

Method

Pre-review (asynchronous)

Students submit work in digital format for faculty and critics to study in preparation of the online Review session

In the absence of a live presentation, student submissions should engage multimedia to clearly convey their design intent and process. They can draw inspiration from competition submission formats, like booklets or posters, supported by short (max duration should be specified, say 5 – 7 minutes) narrated presentations or videos. Video submissions can be any suitable combination of a narrated screencast or video, including photos or video of physical models, drawings etc. 

Students should submit their work well in advance as agreed with faculty, to allow the critics adequate time to study the material. Submission information including penalties for late or non-submissions etc. should be clear, agreed up front and guided by university policy. Digital work can be submitted on the LMS, Google Drive or another digital repository. Designated faculty should collect the files, collate them and share them with the critics. 

The critics, in turn, guided by clear rubrics, should peruse the student work in preparation for the upcoming Design Review. They may choose to assign a provisional mark or decide to leave the grading until the Review session. Whilst working through the student work, critics should record all comments and questions to direct at the students in the upcoming online design Review session. 

Review (synchronous)

Students, critics and faculty meet online to discuss the submitted work

Students meet critics and design tutors in an online webinar session (Bush, 2020) to respond to questions and comments, and to clarify where needed, using audio, screen-sharing, on-screen pointing and drawing. The use of the webcam can be limited to the start of the session when the introductions are made.

The session starts with the appointed moderator welcoming participants, explaining the timeframe and protocols. Students get, say, approximately 20 – 30 minutes each, starting with a 2-minute introduction and allowing 5-minute transitions in between. For example, a 2-hour session can accommodate five students. Short breaks in between sessions can be reserved for comfort breaks and marks discussions. Observers may use the chatbox for questions and comments and the session moderator can respond where needed. The moderator must make sure that everyone gets an equal opportunity to engage and contribute, managing permissions of participants appropriately.

This online Review session can be recorded for quality assurance, record-keeping and educational purposes, if allowed by the university and if participants agree. Critics and design tutors finalise their marks, using a clear rubric, and record notes where needed. 

Post-review (synchronous or asynchronous)

Finalisation of marks, feedback on the review process and public display of student work

Critics and design tutors meet in breakout online spaces to clarify, compare observations and to discuss marks for finalisation and sign off. This process can also be conducted via email, on completion of the design Reviews.

Critics’ and students’ feedback on the review process and organisation can be invited through short online surveys, to inform future events. The online publication of student work can be via e-book tools or social media. Here, too, students can be invited to take the lead.

Variations 

• This sandwich method allows the final design review to be switched reasonably easily between onsite and online modes, as demanded by the circumstances. A flexible approach can lead to more robust assessment design. If it is impossible for students, design tutors and critics to be in the same place at the same time, e.g. when students are based remotely, or during periods of social distancing, the final design Review can be conducted online as described above. Should it be uncertain whether an onsite final review will be possible, the same Preview stage and submission requirements as described above, can be followed. If circumstances change and a final design Review becomes possible and it is preferred onsite, students can verbally present their work bundles using projection. 
• Students can share their work with their peers (or publicly via social media) prior to the Review stage, to invite asynchronous feedback to help them prepare for the Review. Public sharing of student work is subject to university rules and policy.
• In times of crisis like the current Covid-19 pandemic, it might be necessary to adopt pass/ fail or outcomes achieved/ achieved well/ not yet achieved grading protocol instead of numerical grades. Depending on the context or circumstances, it may even be necessary to completely reconceptualise the assessment strategy and instruments.

References

Anthony, K.H. (1991) Design juries on trial: the renaissance of the design studio. Van Nostrand Reinhold, New York. 

Bush, L. (2020) An Online Teaching Survival Guide. Teaching Innovations and Practices. [online] Available at: https://lccteaching.myblog.arts.ac.uk/an-online-teaching-survival-guide/

Dannels, D. P. (2005) ‘Performing Tribal Rituals: A Genre Analysis of “Crits” in Design Studios’, Communication Education, Routledge, vol. 54, no. 2, pp. 136–160 [Online]. DOI: 10.1080/03634520500213165.

Degges-White, S. (2020) Zoom Fatigue: Don’t Let Video Meetings Zap Your Energy. Some ‘cheats’ to help you beat Zoom fatigue before it beats you. [Online] Available at: https://www.psychologytoday.com/us/blog/lifetime-connections/202004/zoom-fatigue-dont-let-video-meetings-zap-your-energy

Hodges, C., Moore, S., Lockee, B., Trust, T. and Bond. A. 2020.  The Difference Between Emergency Remote Teaching and Online Learning. Educause Review. [online] Available at: https://er.educause.edu/articles/2020/3/the-difference-between-emergency-remote-teaching-and-online-learning

Lymer, G. (2009) Demonstrating Professional Vision: The Work of Critique in Architectural Education, Mind, Culture, and Activity, 16:2, 145-171, DOI: 10.1080/10749030802590580

Marie, J. and Grindle, N. (2014) How Design Reviews Work in Architecture and Fine Art, Charrette, 1: 36-48.

Marshalsey, L. (2020) The preliminary successes and drawbacks of a turn to distance design studio learning. Distance Design Education. [online] Available at: https://distancedesigneducation.com/2020/04/24/the-preliminary-successes-and-drawbacks-of-a-turn-to-distance-design-studio-learning/

Murphy, K.M., Ivarsson, J., and Lymer, G. (2012) Embodied reasoning in architectural critique, Design Studies, Volume 33, Issue 6. Pages 530-556, ISSN 0142-694X [online] Available at: https://doi.org/10.1016/j.destud.2012.06.005

Oh, Y., Ishizaki, S., Gross, M. D. and Yi-Luen Do, E. (2013) A theoretical framework of design critiquing in architecture studios, Design Studies, vol. 34, no. 3, pp. 302–325 [Online]. DOI: 10.1016/j.destud.2012.08.004

Salmon, G. (2020) Covid-19 is the pivot point for online learning. Whonke. [online] Available at: https://wonkhe.com/blogs/covid-19-is-the-pivot-point-for-online-learning/?fbclid=IwAR3vxMkUXrOTwqqE2aVdeJghoNb3PIyGLVT2UsqBMS4heNUs8SFY5cQAiq4

Stanford, D. (2020) Videoconferencing Alternatives: How Low-Bandwidth Teaching Will Save Us All | IDDblog: Instructional Design Tips, Advice, & Trends for Online & Distance Learning | Educational Technology and Online Course Design Help. [online] Available at: https://www.iddblog.org/videoconferencing-alternatives-how-low-bandwidth-teaching-will-save-us-all/

Webster, H. (2007) The Analytics of Power, Journal of Architectural Education 60(3), pp21-27. Doi:10.1111/j.1531-314X.2007.00092.x

‌ Artwork by _mariana_art_ 

We have created publicly available design videos focusing on multidisciplinary teamwork, design processes, and skills for the future. Whilst shooting the videos for the third season during summer 2019, we realized they could be used in a multitude of ways, and as a result we started toying around with the micromodule concept.

In essence, one micromodule corresponds to roughly three hours of students’ effort, meaning that nine micromodules counts as one credit in the European Credit Transfer System (ECTS). 

Of course, this is only our estimate, and the main point here is that the material can be used in many different way but particularly to  offer students a balancing act for all the real-time teaching sessions happening via Zoom or similar products.

Below, we give an example of one micromodule focusing on compassion and courage in teamwork This micromodule can be utilized as a way to kickstart a team project during your course or alternatively as a session to reflect on the teamwork experience so far.

Method: Micromodule on compassion and courage in teamwork

This method gives a recipe on how to create a micromodule on compassion and courage in teamwork. See the General method below if you want to create your own micro module

1. Assign students into teams. A good team size is 3 or 4 people to allow everyone to contribute.
2. Ask the participants to watch Nordic Rebels Season 1 Episode 2
   • Long version: https://youtu.be/bDAvj3zuZpg (33 minutes)
   • Short version: https://youtu.be/lxMn-IfLlL4 (13 minutes)
3. Next, the participants should discuss the episode in their team and fill out our Team Contract
   • Team discussion on the episode and collectively creating a mind map, for example (30 to 45 minutes)
   • Using the discussion as a basis for filling out the Team Contract (30 to 45 minutes)
4. Finally, a reflection and debriefing session with the whole class (30 to 45 minutes)
   • Mind maps created by the teams can be uploaded to the course platform so they can be accessed by everyone 
   • Teacher facilitates the discussion focusing on the episode and reflecting on the Team Contract and its relevance
   • If you are running this micro module as part of a larger project, this is the opportunity to relate it to that.

Following this template, this micromodule should cover approximately 100 to 165 minutes. It can be made longer by including relevant readings, for example, or shortened by focusing on the episode only (leaving out the Team Contract activity and emphasizing team discussion instead). 

General Method

1. Go through the Nordic Rebels episodes and see which of them resonate with the course you are teaching, and choose one. (To help you go through the episodes quickly, we have created a teacher’s manual for each episode. This document is being updated on a regular basis.)
2. Start from the session’s learning outcomes and the key message, what would you like to leave the participants with. (In other words, learning outcomes for the session from your course you were thinking of transforming into a micromodule). Consider the individual or team-based activity that connects with the episode.
3. Consider any additional readings or material you might need to offer a comprehensive topic or to fit with your learning outcomes and activity.
4. As we mentioned above, one micromodule roughly corresponds to three hours of work, but based on our experiences these hours should be spread out to avoid attrition. One option would be to spread out the micromodule on three consecutive days: pre-material (Day 1), activity (Day 2), reflection (Day 3). 
5. Provide the students with a brief to the micromodule: what are the learning outcomes, what happens and when, where the participants can find the material, and how does the micromodule link to the overall learning outcomes of the course.
6. In terms of the activities, we recommend doing offline activities to balance the time spent in front of the computer. Having said that, reflections can also be done offline, the main thing here is to focus on ensuring the participants do not spend too much time in front of their devices (most likely they will do that after courses when binging on Netflix, for example). 
7. For activities and reflections, make sure to have concrete outputs. They can be letters, visualizations, audio recordings – producing something concrete in the end ensures the participants remember the experience better.

If you would like to know more about our approach to micromodules, you can read more about it in a recent blog post we wrote on our website.  We hope it gives you an idea for how you can start creating your own micromodules.

At the same time, the activity has to: introduce students to distance learning; introduce them to the subject of design; show that design is and active thing; encourage them to express idea; get students to broadcast ideas; encourage them to share ideas with other people; get them interacting with other students (especially ‘passively’); show them what they get from doing this; etc…

When you unpick it, it’s actually quite complex. But the truth is, like a lot of creative design, it all starts with a simple, fun, and interesting activity.

Remember, this is a starting activity: it’s good at generating energy and community in the initial stages of a course. But to build on that to develop communities of practice you need follow-on activities and to build on what you’ve started (more on this in future recipes).

Ingredients

• Some quick, creative design activities (see below for examples)
• A repository Virtual Design Studio (VDS), either (depending on students’ connection):
  • Online repository service:
  • Social media page (that supports image uploads)
  • WhatsApp; WeChat.
• Asynchronous commenting space (ideally part of your VDS)

Method

The recipe works particularly well for large groups of students (greater diversity of work to see), so you might have to reconsider timings and/or types of activity for smaller groups.

1. Set a series of quick activities (about 30 minutes) for students to complete over a short period of time (about 3-5 days). These activities should be:
   • Simple to communicate: ideally, an instruction of a single sentence is good. Anything longer than a paragraph might turn into a design project…
   • Engaging and intriguing: the activities have to capture students’ attention and imagination, or reveal something as students give them a try.
   • Material: having a physical activity or output introduces further variability to the activity and outcome, even if this is just in the representation of it. But remember, this should not be a test of skill or ability.
   • Genuine: activities should not be purely random in subject or too far away from your own students’ skills, and ability levels. This is the tricky bit – making a fun activity that also has some relevance to the subject they signed up for. But the truth is that most designers can make use of almost anything.
   • Variable: the activities have to have variable outputs to make them interesting to share and look at. How people interpret and respond to these is what brings them to life.
   • Rewarding: the activity has to have something at the end of it that rewards students, either the output of the activity itself or the interaction that follows from looking at other activity.
2. When students complete their activity they upload an image of it to the VDS with a short comment to suit the activity.
3. Encourage students to browse the work of other students and comment / engage in any way. Remember, just browsing and looking at other students’ work is OK (Jones et al., 2020).
4. (Optional) for each activity, have additional material to support the activity. This could be material that explains where the activity comes from or to show the activity in use in a real design context. This helps some students realise that the fun is also serious. For example, in U101 we have a “Use masking tape to make a person outline” activity which we also link to a video on how designers still use masking tape to design cars.
5. (Optional) Set aside time at the end of the week for a mini show or feedback session, where you encourage students to come together synchronously or semi-synchronously to comment on the activities.

Examples of activities are below (suggest more in the comments):

Activity examples

The following are a few examples of activity you could try with your student group. Feel free to let us know how you get on and add your own to this list (contact us).

Make a banana out of masking tape.

You’d be surprised at how competitive the world of masking tape bananas is … This activity is good for medium-large groups and as a social, introductory activity.

Create a poem from a pile of books using their titles.

Here's an example:

Make your own sound effect for something. After 48 hours, update your post to include an image of how you made the sound.

It’s incredible how Foley Artists make some sound effects for film and radio: gloves with paper clips become animal claws; sand becomes snow; and birds sound better as feather dusters: https://www.youtube.com/watch?v=UO3N_PRIgX0

Cover image: Sonia Skowron, 2010

The live online crits described here are conducted via webinar / web conferencing. They are comparable to the desk crit and for formative rather than summative assessment (Morkel, 2017; Poulsen & Morkel, 2016). Participants can join live (synchronously), using audio, webcam, screen-sharing, and text-chatting.

The use of the webinar platform for final portfolio reviews or design jury warrants a separate discussion. Have a look at the tools available for this on the Resources page (under Communicating).

Ingredients

Three important ingredients for setting up a live online desk crit are:

1. Intent: Consider the expected outcomes of the session in relation to the project brief. Think about how the selected webinar platform may support these outcomes, and what the next steps are.
2. Context: Keep the discipline, subject area, and level of study in mind. Employ the online crit as part of a larger learning system, including formal and informal, synchronous and asynchronous learning and teaching tools and strategies.
3. Empathy: Think about who the students and staff are, their respective contexts, available resources, including internet access, bandwidth and available data, and their skills and challenges. Involve students as co-designers to establish online crit protocols.

Notes on ingredients

• Focus on the pedagogy rather than the technology
• Regularly reflect and revise; consider student and staff feedback to make improvements as needed

Method

Preparation

1. Introduce students and staff to the use of the software by setting up practice runs.
2. The webinar software might be able to run on computer, mobile, tablet/ iPad, but functionality should be tested on the various expected devices.
3. Organise and schedule sessions into 2-hour slots, each with around 6 – 8 students and one or two tutors, and any number of observing students or staff.
4. When scheduling sessions, consider and accommodate different participant time zones.
5. Get students to upload their work prepared for the crit, to the LMS in pdf format, a day or two prior to the session, for the tutor/s to preview. Alternatively, students should update work in the relevant online workspaces where it can be accessed and shared. Examples of workspaces are Concept board, Bluescape, Mural, Padlet, or Trello.
6. Set up back channels on WhatsApp or another suitable social media platform, with student representatives and staff.
7. If possible, engage two tutors in each session, for back-up as needed. One tutor can take the lead with the verbal and graphic engagement and the other can manage the text chat window, and deal with student queries.
8. Appoint a time-keeper (a student or tutor) to ensure that students get equal opportunity to share and discuss their work allowing approx. 20 – 30 minutes per student or as much time is needed.
9. Ensure your device is connected to a mains power supply (do not rely solely on battery power). Also, make sure to have a backup for the Wi-Fi.
10. Encourage students and staff to find quiet spaces where they can connect online without interruptions.
11. Find a good headset with an integrated mic and test the sound, mute and volume settings on the mic and computer.
12. Remember to mute all other devices, apps and programmes you may have running which has notification tones. Close any unnecessary window tabs so that they’re not visible when screen-sharing.
13. Consider privacy settings to avoid unwanted guests joining – refer to recent instances of Zoombombing.
14. Decide on a focus or agenda for the crit session, related to the project brief and programme, to guide the conversation.
15. If possible, keep a copy of the submitted student work open on another screen or device for orientation and cross-referencing, whilst the crit is in progress.

Running the online crit

1. Join the session at least 20 minutes prior to the start time. Connect the audio and then mute your mic, and type a short welcoming message in the text chat window, for those who arrive early.
2. Set up the necessary permissions i.e. moderator, panellist, presenter and participant, to allow staff to control the session (e.g. muting and screen share) and to limit the risk of students accidentally disrupting or ending the session.
3. Appoint a tutor as a presenter, for screen-sharing and to navigate the students’ displayed work. Alternatively, students can take turns to share their screens displaying their own work. In this case, the presenting student should temporarily be given presenter status. The work can be in pdf format or live in the cloud, in a repository or in a digital workspace like Concept board, Bluescape, Mural, Padlet, or Trello.
4. Student work can contain different media, 2D and 3D visualisations, freehand sketches, photos of physical models, digital models, static images, video, mind maps and text.
5. If allowed by your institution, and if so, with the required permissions, sessions can be recorded by the lead tutor or individually by students for later viewing.
6. Limit the use of webcams. Instead, students and tutors use audio, speaking to the visuals on the screen, using cursor pointing and on-screen markings. Assign different colour pens to recognise different participants’ markings.
7. Make use of the text chat to engage non-presenting participants, to remind students of the crit sequence, to share additional links in support of the crit conversation, and to respond to student questions and comments.
8. If possible, allow for some social interaction before or after sessions or during breaks. Invite students to assign a resident online DJ to provide music, or encourage students to co-create an artwork on the whiteboard during break-times.
9. Foster a spirit of generosity and adaptability to accept when things go wrong.
10. Have at least one back-up plan ready in case something goes wrong.
11. Mute staff and students’ mics (or ask them to do so) when they’re not talking. Remember to unmute your mic before you start talking.
12. Prompt students to articulate their understanding and actions, to reflect on their decisions, and to explore and test alternatives.
13. Actively model designerly behaviour and use on-screen markings to demonstrate the design process.
14. Pay attention to social presence in times of social distance – don’t forget the human aspect. Be professional, clear and firm, but also use humour, and be kind.

References

• Morkel, J. 2017. An exploration of Socratic learning in a webinar setting. Architecture Connects 2017 aae Conference Proceedings, 6 – 9 September 2017, pp 336 – 344, Oxford, England.
• Poulsen, L., Morkel, J. 2016. Open Architecture: a blended learning model for architectural education, Architecture South Africa: Journal of the South African Institute of Architects, 78:28-33, Mar/Apr 2016.
• Artwork by  _mariana_art_

The Blackboard became the central organising technology for the general studio curriculum. It was a single point of contact and information, responsive and agile to update if the studio ‘needed’ it, and it helped act as a focus for a community of practice between students and tutors.

This recipe outlines a way you could try this online. (NOTE – we haven’t had the chance to test this properly yet, only prototype. So if anyone does try it, let us know how you get and what type of recipe you made with it.)

Ingredients

• A project, portfolio, or open studio curriculum.
• A single online place (URL/weblink or service) that will become The Blackboard.
• A Virtual Design Studio (VDS) or image sharing service/repository.
• (Optional) An asynchronous group communication method (email list; messaging service; Social Media group).
• (Optional) A synchronous group communication method with whiteboard

Method

Preparation

• Set up an online space with a single location (weblink/URL) as The Blackboard. What is critical is that The Blackboard is a key orientation point for students, so it should be:
  • a single place to get information
  • a place where only the most important information is communicated
  • updated regularly and predictably,
  • consistent in structure or content
  • Top Tip: An online tool that helps you can create a single page summary (no scroll, links to other info.).
• The mode you choose for The Blackboard is critical to meet these conditions and you should start with whatever you feel most comfortable with. Have a look at the following tools:
  • A workflow tool like Trello;
  • A workspace tool like Mural.
  • A web page or blog you can edit directly (and easily) like WordPress
  • An actual blackboard, whiteboard or piece of paper, digital camera and online image service/repository

You can find examples of all 4 of these Blackboards at the end of this recipe.

Running the studio

1. Check-in. Have a regular (e.g. Monday morning) check-in where students access and check the Blackboard for the week’s activity.
   • Take feedback and questions from students on The Blackboard plan for the week. Update the Blackboard as necessary and notify students of any major updates.
   • This can be done asynchronously (forum, messaging board, SMS, app – e.g. set aside 1 hour for Questions on WhatsApp or SMS) or synchronously (web conferencing; online meeting service; phone in – e.g. hold a Blackboardwhiteboard session).
2. Studio. During the week, students work largely independently and offline but should have regular check-in points to either check The Blackboard; share work on the VDS; or met as a group for planned feedback points.
3. Community. Encourage peer-peer contact during this work in whatever way suits the studio and group best (e.g. the VDS; social media; forum; anything). Remember that having multiple options and choices here is OK – just as it is in normal studio.
4. Resources. Use The Blackboard to share, host and distribute any other material that supports students work in a week: links, reading, online tools, shared work, etc. This is ‘focused sharing’ around the week’s studio, distinct from any other normal sharing that might take place in the VDS.
5. Support. The check-in point(s) are good opportunities to make contact with any students you feel might need support. Holding an end of week session can be useful to bring things to a close for students too – hold open and dialogic feedback on their work and yours (the design of the studio!).
6. Social. Use The Blackboard to host more than curriculum matters – it should be a social thing too. For example, Steve’s original blackboard also advertised the winner of the Your Desk is Mingin’ weekly award for the messiest studio desk. This is most definitely still possible online… Similarly, if your students are planning a meetup or event then let them share that too.

The idea behind preparation is that designers make use of certain types of cognition to create new ideas. What this cognition is (precisely) is slightly harder to specify but the outcome is, as creativity experts agree, creativity is an outcome of a functioning, thinking mind (Craft, 2001; Heilman, Nadeau & Beversdorf, 2003; Sawyer, 2011)

But there are a couple of necessary conditions to this that this recipe focuses on (you might recognise these as central to Ken Robinson’s definition of creativity (2001): ‘the intentional creation of value’):

• Value. That the ideas we are connecting have some kind of synergy, proximity or similarity, whether superficially or conceptually, and that this is valuable.
• Intentional. That to create a new idea requires a further step that many people forget – doing something about your new thought to represent it and make it ‘real’ (more real than only a thought, anyway…)

So this recipe aims to work on these aspects of creative design cognition – preparing your mind

Ingredients

• Asynchronous communication method (for instructions and
• Sketchbooks, pens, pencils
• (Optional but recommended) Virtual Design Studio to share specific outputs
• (Optional) digital sketchbook
• (Optional) Synchronous meeting space

Method

Studio activity:

Run this method as a regular activity as part of a larger curriculum plan or studio. For example you might run it as a weekly (ongoing) activity with a get together – a ‘show and tell’. Or you could run a Blackboard Studio with a Weekly Preparation Session for students if they are preparing for a portfolio or journal assessment. You can also set this as an elective Free Design Time period each week to allow students to explore any personal interest or simply encourage it as a design behaviour.

Set students the challenge of Preparing your mind (see section below for ideas). The aim is:

• To engage in new thinking that might be challenging
• To make use of that new thinking to create new ideas
• To get into habits of design behaviour – observation, thinking, recording, sketching, ideas creation, concept development

Make sure students keep a sketchbook, design diary, journal, anything, to make notes, sketches and doodles of things you come across. Direct students to keep some space in their sketchbooks for future ideas!

Encourage students to regularly go back through their sketchbook and add any other ideas or scribbles they think of. In particular, get them to pay attention to potentially interesting ideas and to even take a photo of these to share with the studio.If you’re running this as a studio, have students upload A sketch a day

Prepare your mind:

Ask students to Prepare by encouraging them to do something different

1. Read something totally different:
   • Pick a random publication and read it. Then read it. You don’t necessarily have to understand or even like it – but there are hundreds of potential ideas waiting to emerge. To get you started, try Spudman, the publication for people interested in all things potato.
   • Have a look at anything at all on www.brainpickings.org
   • Pick a random Wikipedia page and read it. Follow up on anything interesting (and think about editing it if it needs a touch up).
   • Go to your (online) university library and BROWSE! (It’s like using Google but a bit harder)
2. Do something different:
   • Take up a brand new hobby or pastime – something you would not normally try (different thinking leads to new ideas…). Yoga? Karate training at home? Or a but of Body Percussion? (Do this carefully and with extra safety in mind to avoid unnecessary hospital visits).
   • Have a regular making project that only you know about (such as making the world a better place by adding stick-on eyes to things to give them a face).
   • Try a daily observation of particular things (e.g. sunsets; views from a window; – take pictures, notes or videos. Doing this extends your thinking into recording.
   • Have a go at the Daily Create, the digital storytelling MOOC, DS106
     (Groom, 2011).
3. Learn something new:
   • Take an adult education class in something different to you. Try something from OpenLearn
   • Attend a video lecture at your institution that you wouldn’t normally attend and really try to make sense of the subject
   • Try a technique tutorial in a medium you are unfamiliar with (search YouTube for pen and ink or ‘I hate photoshop’
   • Try to limit your tools and draw like Leonardo
   • If all else fails, try Bob Ross
4. Listen to something different:
   • Listen to a genre of music you normally wouldn’t
   • Pick a totally different radio station
   • Select a random podcast
5. Communicate something (your already know) differently:
   • A 10-year-old child / your grandparents
   • Someone who doesn’t have much time
   • Someone who doesn’t read
   • Someone who despises creativity
   • Someone who really doesn’t understand
6. Feel something new: look around you and interrogate a physical thing you see. Try to go beyond the superficial material and focus on your experience of the object as well as your thinking. Pick a physical object and ask:
   • Why is it like that? Who uses it and why? What does it feel like?
   • What are the properties of the object that make it the way it is?
   • How does what I think about the object affect it?
   • Now, see if you can change it…
7. Regularly and deliberately create new ideas – For 10-15 minutes each day, be deliberately creative and generate ideas. Use specific methods to be creative and try to think which ones work best for you. (See if you spot any patterns…)

References

We’ve chosen to use recipes to communicate a lot of the ideas in this blog.

This is because the recipe is a good way to share lots of different types of knowledge (research, practice, experience, tips, stories) from many different contributors (students, tutors, academics, anyone with a story…).

The recipe is a ‘sticky concept – people understand it easily; it can be shared quickly; and (most importantly) it can be applied directly.

It’s an effective and efficient way to share knowledge, experience, and practice – and we think that’s quite useful right now.

So, if you have something useful in your teaching practice that might be useful to share with other design educators then please have a go at writing a recipe:

• You can find a blank Google Doc recipe template here (please make a copy first if you’re going to use it…)
• You can find example recipes from the blog here (but yours doesn’t have to be as long or as detailed):
• Or you can suggest a recipe and write it with us by getting in touch or adding a question to the Big #DistanceDesignEd FAQ.

Some more guidance

The best way to write a recipe is to simply tryit for yourself first (you don’t even have to look at other recipes or even the template if you don’t want to!).

We found in the past that the best recipes come from your own voice and experience. So please write in whatever way you feel comfortable, using whatever language and style you prefer.

You can (if you want) use the recipe structure to suit your way of communicating. For example, you may prefer a longer Background to tell a story; or you may be more interested in the Ingredients and things you worked with; or you may want to focus on what you did so that others can try it by having a detailed Method.

• Background can provide context, experiential reporting, observations, positioning, proposing, relevance, and importance – all the things one might, in fact, expect as the necessary preconditions for some piece of research in context.
• Ingredients can describe elements, artefacts, items, and other things, and can include conceptual elements such as attitudes, approaches, and ideas. As with the background, the ingredients can form a natural language for organising items.
• Method can provide steps for replication, recreation or simply description. More importantly, since this is a recipe metaphor, it can also allow for ‘maybes’ and ‘possibilities’ – not simply the definite elements.

The other sections (Serve to…, Cost, Time, Dificulty, Tips, etc.) are all optional. You can add to these or not.

So, give it a go and let us know when you have a recipe ready.

We can help with editing and you’ll get full credit on the blog (but note that all content on the blog is licensed using a Creative Commons Attribution 4.0 International License

In design terms, you could think of a chunk as a mini design method – it’s a short process you follow, adapting it as necessary as you go, in order to make progress with something.

In distance learning we use chunks a lot because we know that we won’t be there to guide students with far more complex and convoluted sets of instructions (Note that I mean complex in terms of explaining the learning – not complex brief or complex client instructions – these can be chunked in themselves!)

This is a studio based on chunks: weekly, daily and activity chunks (more on chunks in another post – see the here). And that means it can be converted relatively easily to a distance and online version.

Ingredients

• A week long project or activity (with spare time for circumstances)
• An asynchronous group communication method (email list; messaging service; Social Media group)
• A synchronous group communication method with whiteboard
• A Virtual Design Studio (VDS) using a repository-based service, like Padlet, Mural, or Are.na
• Students with low-moderate internet access

Method

Preparation

• Set a one week design challenge – something like a mini-project, extended activity or a design stage goal. It has to be something that has a realistic 5-day turnaround given circumstances.
• Sketch out a curriculum / process, including activities that have a high degree of flexibility in terms of activity type and timings. Include:
  • 2 or 3 ideas for activities or design process stages
  • Regular (daily) uploads to the online studio space
  • Check-in points for you and students – ideally an interim meetup as part of the process or a pastoral check-in session
• Prepare a brief based on the above to use as instructions/prompt for students, focusing on outputs and key stages. Send this to all participants in advance.

Here’s an example of a generic 5 day intensive short creative studio (Synchronous chunks are solid colour fill; dotted outlines indicate flexible timing allowances; arrows indicate uploads :

(You can find the above diagram here, free to use, re-use, adapt, whatever)

Start the week

1. Start the week by having a synchronous meetup to discuss the 1 Week Design Challenge using your brief as the artefact of discussion.
2. Treat it like a design studio meetup and be open to changing your plan based on student feedback and circumstances.
3. Live note your session (e.g. use Google Docs) to share the project schedule and give instant feedback and notes to the group. Or use a shared whiteboard. Share your notes in your VDS if possible (using the VDS yourself is a good exemplar of behaviour).

Activity chunk:

1. Students undertake daily activities independently (physically, digitally, or blended) and these should be flexible in terms of content and time to allow work over a period of time (e.g. an activity that could be completed in an hour set over a 5 hour period).
2. Use asynchronous messages to remind students of each activity. Keep your communication short – the aim is to keep the design process going (not check up or direct or control).
3. For each activity, students upload an output from the activity to the VDS. This can be anything that suits the activity but visual artefacts with short text are good to make submission easier and to encourage peer interaction.

Studio Check-ins

1. Key to this chunking are studio check-ins, where students look at other students’ work in the VDS regularly (either after uploading theirs, as a first-thing activity each day, or both!)
2. Comment on students’ uploads and encourage students to comment on each others work too. If the repository you’re using doesn’t support commenting very well, use another method (e.g. VLE forums or social media).
3. If it’s relevant, provide a commenting rubric or guide to help students provide constructive criticism, possibly focusing on the week goal.

Interim submission

1. At some point during the week, hold a synchronous check-in to bring the group back together.
2. If you’re running a design process, make this an interim stage or part of the process (e.g. a Client check-in) and provide feed-forward aimed to work towards the final presentation.
3. Otherwise, hold it an informal peer feedback session.
4. Alternatively, if your process doesn’t really need a synchronous check-in, you could check-in with individual students depending on activity.
5. Pastoral Check: At some point in the week do a check on your students to see how they are doing. Check their activity in the studio and make contact if necessary.

End of the week

1. End the studio with a submission to the VDS (to suit the brief)
2. Hold a synchronous feedback session and run this to suit your curriculum, for example:
   1. Peer discussion and feedback
   2. Structured feedback using specific rubric / themes
   3. Simulated client feedback session
   4. Simulated design studio session
3. Have students to look back at their work in the VDS and reflect on the design process itself – how their work developed over time.
4. Hold a close-out session to bring all the feedback together and get feedback on the activity itself. This is better as a synchronous session but can be done asynchronously if you use a suitable form.
5. Finally, provide feed-forward to students to help them focus on future work and specific actions they might take in the next studio

Therefore, any design studio is far more than the physical object itself and the curriculum and support around a studio is a critical part of it. This is especially true of online and distance studios – Virtual Design Studios (VDS).

There are no clear definitions or boundaries of what a studio is or what it comprises so this is a practical Getting Started guide to VDS use in distance design education.

With that in mind, your studio should be:

• what you need it to be for you, your students, and the subject you are teaching – you will come across a lot of tech solutions and shiny products. You need to be aware of these but not driven by them.
• flexible and agile in response to student and tutor needs – as students develop, their studio needs change hence your studio needs to change. Similarly, if a bit of your studio isn’t working then dump it.
• the basics first and complex stuff later. Chances are you will end up with multiple tools and services. This is OK and quite normal – most studios are blended studios (your existing studio is already blended!)

And remember, a studio is as much an idea and concept as anything physical of digital.

Curriculum

It might seem a strange place to start but a significant driver of an online studio is your curriculum. What, how, when, and why you do things (i.e. curriculum) in a studio informs what the studio can become. Our experience and research shows that studios separated from curriculum (or vice versa) do not work in the way they are intended to. Develop your curriculum in conjunction with what your studio currently is. 

Start by sketching out what your overall plan is:

• Process-based project (e.g. a basic research>brief>ideas>test>iterate model)
• Project with outputs (e.g. project based on client deliverables (simulated or real); )
• Staged Project (e.g. Formal stage-gate process project)
• Series of design activities (e.g. precedent analysis; user studies; idea testing; etc.)
• Series of prompts with student-led work (e.g. a theme of ‘Fairness” with open-ended response)
• Large student-led project (e.g. Higher or Masters level self-directed student interest or portfolio)
• Etc

This gives you a starting point to work with, so try to keep it top-level and relatively descriptive.

Even better is if you can add to this some value or aim to be your Guiding Principle (Lawson, 2005). For example, you might set out a single thing you want students to ‘become’ at the end of it: ‘Independent designers’, ‘Creative tinkerers’, ‘Confident with uncertainty’. This can be useful when you are unsure at a later stage – you can go back and ask ‘will this decision help my guiding principle?’

Dimensions

Once you have your curriculum sketch, there are some dimensions to the studio that are worth thinking about and that you can apply to your plan.

These are:

• Public – Private (what are the levels of sharing you need? Public? Semi-public? Semi-private? Private?)
• Social – Personal (Is the focus of the studio the group and community identity? Or is it the development of individual professionals? This changes over time, by the way)
• Formative or Summative Assessment (Is the reason for the studio primarily formative or summative assessment? Do you need to see process or outputs? Learning or achievements?)
• Output – Activity (Is the focus on the design process and activity? Or what is being produced? Constructivist-Behavioural?)
• Specialist – General (how specialised or general is the curriculum and what does that require in the studio?)
• Synchronous – Asynchronous (how synchronous do the activities need to be? Is it staged? )
• Distributed – Focused (Is it for a deliberately large set of contributors or large-scale contribution (OpenIDEO)? Or for a specific group focus? Or even individual?)
• Finite – Open-ended (Do you have specific cut-off points, such as assessments? Or is it a continuous studio (such as DS106)?)

Different studios make use of these dimensions in very different ways and this is just as true in online studios as it is anywhere else (Lanig, 2019; Jones et al, 2020).

Studio Types

Now that we have some dimensions for our studio we can have a look at Types of studio, where these dimensions are prioritised in different ways to suit the studio need. The following is by no means a complete list – we simply don’t have the research and knowledge on this topic yet.

Repository type studios

A very common VDS is the online repository type where students upload material to an online space. This replicates a core Studio Property – that activity centres around artefacts (we draw, touch models, create shapes with material). The core pedagogy centres around these artefacts and what you and students do with them.

Some repository studios focus on single media modes (such as images) and this can help really focus students’ attention to particular modes of work. For example, a photography course focusing on teaching only in that medium.

Fnstagram, Pinterest, Flickr and Google Photos are relatively commonplace examples of this type of studio. Creating shared albums or using tags can bring this work together to allow sharing and critique (either synchronously or asynchronously).

Other repository studios allow a range of media to be shared (e.g. images, video, links, audio clips, etc.) and this can be particularly useful for sketchbook, research, or pinboard type design activity.

Here’s an example of a Padlet Studio – feel free to have a go and add a #DistanceDesignEd resource yourself:

Repository studio dimensions (approx only):

• Public – Private Good for public or private
• Social – Personal For social, needs to support interaction on artefacts
• Assessment – Process Good for assessment. OK for process but needs support in curriculum.
• Output – Activity Most favour outputs but activity via artefacts can work well in Padlet or Evernote
• Specialist – General Either, although particularly good for specialist and focused work
• Synchronous – Asynchronous Primarily asynchronous
• Distributed – Focused Primarily focused (on artefact, groupings, student, task etc.)

Social and social media studios

The primary focus of this type of studio is social connection, often within an identifiable community, identity or shared purpose. The purpose of this community can be primarily subject or pastorally oriented and most end up being some blend of both. The core pedagogy is a social constructivist model: students learn from proximity to other learners in a similar context. In doing so they are also supporting other learners.

Creating a social network is difficult and it’s far better to allow a number of opportunities to encourage networks to emerge. For example, social media has already augmented physical design studios and you will probably find that students have been connecting already.

But if you don’t have an existing community, a good way to start is with a social augmented studio, where the main design activity (the ‘visible’ component) is supported by a social component (that acts as informal subject and pastoral support). A simple social overlay can operate through existing social media services: Twitter, Facebook, Google, WhatsApp, WeChat, etc.

Quick Tip: It’s a good idea to stay out of some student groups. Just as teachers have (or had!) staffrooms, it’s critical that students also have places to moan about tutors too!

A well-blended studio model is one that uses both social and repository studio types to build on one another. This is the primary model we use at The Open University with OpenStudio. But this does take time to set up and design with your curriculum and even this model requires additional social overlays to make it suit student need.

Social studio dimensions (approx only):

• Public – Private Mainly public and semi-public (within a defined class/year cohort or qualification)
• Social – Personal Mainly social (but allow for degrees of engagement, including less active contributors)
• Assessment – Process Good for sharing and checking process with others. Assessment can be challenging – tip for this is to assess individual contribution; never ‘groupwork’
• Output – Activity Favours activity and can capture this very well
• Specialist – General Tends to be general, although blends with specialist well
• Synchronous – Asynchronous Primarily asynchronous
• Distributed – Focused Primarily focused (on artefact, groupings, student, task etc.)

Domain and subject specific studios

Specific domains and subject areas in design often have proprietary or professional software solutions and these are often taught in specialist studios or blended with traditional studio spaces.

These software solutions are increasingly cloud-based or distributed, offering opportunities to teach directly in shared digital models. For example, models in architecture, engineering and construction, Building Information Modelling (BIM) or Product Lifecycle Modelling (PLM) in product design.

But this does require access to hardware and software that might not be available to students.

(This is only partially my area of expertise and I know there are many other domains – so please contact me so we can add them!)

Autodesk: https://www.autodesk.co.uk/ Autodesk provide a range of software and digital tools that can be used as clients to explore a shared or hosted model (although this is technically and resource demanding for students and tutors). Autodesk also offers cloud solutions that reduce the connection loads required, such as Autodesk 360. If anyone has a recipe sharing their experience of using solutions like this then let us know!

Adobe Creative Cloud: https://www.adobe.com/uk/creativecloud.html – although it’s not really a studio space in itself, the suite of products and some of the tools in the suite can be used together to create a professional studio. Hence, one virtual studio model would be to take a professional studio approach if your students are at a suitable level to do so. But it is quite expensive, depending on what products are used, making it less inclusive than some other options.

• Public – Private Semi-private, usually focusing on specific groups, projects, or workflows.
• Social – Personal With a shared model, the focus is firmly on groupwork and collaboration
• Assessment – Process Better for assessment of interim or final artefacts (a lot can be gained from studying the ‘tidiness’ of a model or set of files… ). Process can be difficult to see and assess.
• Output – Activity Favours activity for formative work and output for summative.
• Specialist – General Specialist (although it can be a useful interdisciplinary learning space – albeit )
• Synchronous – Asynchronous Semi-synchronous depending on activity setup. Handling synchronisation is part of working professionally in these environments
• Distributed – Focused Primarily focused but with a groupwork and collaborative component

Finally, here are a couple of example models to show how the above goes together to create a virtual design studio.

Example Model – An Introductory, repository social design Studio

This is one of the primary models we use at the OU, where we have a high number of students (4-800) starting a course, and we need to engage and interest them quickly, and have to encourage them to act in certain ways to start their learning journey positively (without being there all the time to do this).

The recipe we use is the Quick social studio one and the model is particularly for new design students, including students who have no experience of design. The aims are:

• To: Engage students and initiate their interest and motivation (Time on Task is critical)
• To: Get students doing design (design is doing, not just reading)
• To: Induct students into distance learning and design practice (habits, behaviours, values)
• To Enculture students into design practice: viewing, commenting, responding (building up to engaging, critiquing
• To: Develop networks and social learning / practice

To achieve this we use chunks of activity and material – short activities that are designed to engage students through activity which leads to some shareable output. The shareable output is critical in initiating social learning, which can start as simply as seeing other students working; verifying their own work; comparing their work; commenting on others’ work; and so on.

We then build on these simple social mechanisms through more advanced design activities at a suitable intensity and pace. These chunks build up to design methods that students can eventually put to use in larger design processes and projects – but they will be doing so after having been inducted into habits of work in the smaller activities.

(Will post a recipe for this model soon)

Example model 2 – Completely constructionist distributed studio

This model is at the opposite end of the curriculum scale to the previous one.

Coming soon…

References

• Crowther, P. (2013) ‘Understanding the signature pedagogy of the design studio and the opportunities for its technological enhancement’, Journal of Learning Design, vol. 6, no. 3, pp. 18–28.
• Jones, D., Lotz, N. and Holden, G. (2020) ‘A longitudinal study of Virtual Design Studio (VDS) use in STEM distance design education’, International Journal of Technology and Design Education [Online]. Available at http://oro.open.ac.uk/69782/.
• Kimbell, L. (2011) ‘Rethinking Design Thinking: Part I’, Design and Culture, vol. 3, no. 3, pp. 285–306 [Online]. DOI: 10.2752/175470811X13071166525216.
• Lanig, A. K. (2019) ‘Educating Designers in Virtual Space: A Description of Hybrid Studios’, Proceedings of DRS Learn X Design 2019, Ankara, Turkey, pp. 247–256 [Online]. DOI: 10.21606/learnxdesign.2019.01079.
• Lawson, B. (2005) How designers think, 4th edn, Abingdon, Architectural Press.
• Schön, D. A. (1985) The design studio: An exploration of its traditions and potentials, London, RIBA Publications.
• Shulman, L. S. (2005) ‘Signature pedagogies in the professions’, Daedalus, vol. 134, no. 3, pp. 52–59 [Online]. DOI: 10.1162/0011526054622015.