View in EDS HTML Full Text PDF Full Text

Tales on Soles: Driving Design via Design Activism

Saved in:
Bibliographic Details
Title: Tales on Soles: Driving Design via Design Activism
Language: English
Authors: Chamila Subasinghe (ORCID 0000-0003-2832-9281)
Source: Teaching in Higher Education. 2024 29(1):53-74.
Availability: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
Peer Reviewed: Y
Page Count: 22
Publication Date: 2024
Document Type: Journal Articles
Reports - Descriptive
Education Level: Higher Education
Postsecondary Education
Descriptors: Foreign Countries, Design, Activism, Educational Innovation, College Students, Experiential Learning, Skill Development, Problem Based Learning, Educational Facilities, Creativity, Educational Technology, Competition, Evaluation Methods, Interdisciplinary Approach
Geographic Terms: Australia
DOI: 10.1080/13562517.2021.1962272
ISSN: 1356-2517
1470-1294
Abstract: Studio, a breeding ground for curiosity and wonder, has become more of a confined space for innovation lately. Infrastructure shortage also has triggered a somewhat impersonal attitude to studio learning. Can Design-Activism mitigate such stresses on the studio by becoming an alternative mode of driving studio processes? Reflectively, this study reports on upskilling students via alternative modes of learning to overcome infrastructure dependency. Participants of Tales on Soles (ToS) student design competition, embarked on an exploratory excursion to turn the studio into a place to adventure in a different way: emancipation of studio via activism. Narrated via reflective accounts of the author and the stakeholders, ToS delves into intricacies of innate nuances of a pertinent pedagogy: studio. The improvised studio infrastructure via transformed didactic models demonstrated Design-Activism's ability to harness alternate modes of driving studio. The themes deduced from the process demonstrate activism as an emancipation tool for studio innovations.
Abstractor: As Provided
Entry Date: 2024
Accession Number: EJ1413661
Database: ERIC
Full text is not displayed to guests.
FullText Links:
  – Type: pdflink
    Url: https://content.ebscohost.com/cds/retrieve?content=AQICAHj0k_4E0hTGH8RJwT4gCJyBsGNe_WN95AvKlDbXJGqwxwGNUOsO66Sh0vzRgDbZb4fKAAAA4jCB3wYJKoZIhvcNAQcGoIHRMIHOAgEAMIHIBgkqhkiG9w0BBwEwHgYJYIZIAWUDBAEuMBEEDNP5YfJKNwqXk1Sx7AIBEICBmnZ1uGnIySKR34npRwyNWQFLjUDOiGNj6ubJ8creH-G_QeRYCZJvQH6WK-lPMyfnaUYtwl-gBVwAXu_AsvOGw2NUrKL3TGRzpGG1-G-lvc9GhQoiPE05-5y0DOOevoISHmpSGCi9Onb4qQWf9kCfPYtWy68WxlWbpAIKbQw1vClua0wEIgdq-73Ye5u09Ge2QOwpwIkLWRLrr-Y=
Text:
  Availability: 1
  Value: <anid>AN0175604423;thd01jan.24;2024Feb26.05:12;v2.2.500</anid> <title id="AN0175604423-1">Tales on Soles: driving design via Design Activism </title> <p>Studio, a breeding ground for curiosity and wonder, has become more of a confined space for innovation lately. Infrastructure shortage also has triggered a somewhat impersonal attitude to studio learning. Can Design-Activism mitigate such stresses on the studio by becoming an alternative mode of driving studio processes? Reflectively, this study reports on upskilling students via alternative modes of learning to overcome infrastructure dependency. Participants of Tales on Soles (ToS) student design competition, embarked on an exploratory excursion to turn the studio into a place to adventure in a different way: emancipation of studio via activism. Narrated via reflective accounts of the author and the stakeholders, ToS delves into intricacies of innate nuances of a pertinent pedagogy: studio. The improvised studio infrastructure via transformed didactic models demonstrated Design-Activism's ability to harness alternate modes of driving studio. The themes deduced from the process demonstrate activism as an emancipation tool for studio innovations.</p> <p>Keywords: Design studio; Design Activism; learning design; stakeholder narratives</p> <hd id="AN0175604423-2">Introduction</hd> <p>Tales on Soles aka ToS received its baptism from one of the most charged moments of a student design competition-based learning process where learners used soles of their worn-out shoes to share propound stories of their journey as a university student. The stories they wrote on the soles of shoes they often wore to the university was a part of installation to ascertain students' emotive responses to their learning environments, particularly to studio related Infrastructure. A form of a social engagement endeavour, ToS let students take their shoes off, penned the cherished memories on shoe soles and walk barefooted on the very grounds of their learning during the installation. This engagement focused on a practise such as writing on shoes that reflect a deliberate prioritisation of the materiality of writing over its semantic content (Mirza [<reflink idref="bib37" id="ref1">37</reflink>]). Design education, the canvas or broader context of ToS has been going through critical scrutiny as it distinctly differs from typical classroom instruction. Although the design education has not significantly shifted from its studio-based approach, the one that inherited from the Ecole Des Beaux-Arts (1819–1914) and later revived in the Bauhaus (Broadfoot and Bennett [<reflink idref="bib7" id="ref2">7</reflink>]), the current design studio is more of reflective practice rather than traditional supervision, consultation and discussion-driven model. The current model is a collaborative clinical hub in which learners engage themselves in practical tasks and projects. According to Schön ([<reflink idref="bib47" id="ref3">47</reflink>]), it is a dialogue of thinking and doing where a learner gets more skilled. Real-world-based problems that come in through tasks and projects are another key characteristic of design education. A key attribute of this project or problem-based learning is its hesitations to articulate clear definitions from a practical curriculum development point of view (Lee [<reflink idref="bib29" id="ref4">29</reflink>]). However, it is not quite different from the way a practitioner reconstructs an experience in writing, considers its meaning, identifies actions and carries them out (Bell and Gillett [<reflink idref="bib4" id="ref5">4</reflink>]). Unlike a typical learner, a studio learner learns design via a multidisciplinary, convergent mode where learning occurs on a multitude of aspects at different scales and levels (Visser [<reflink idref="bib53" id="ref6">53</reflink>]). Particularly, such problem-based learning essentialise regular communication and demonstration in a formal or simulated workplace where a learner achieves learning through holistic sociocultural production of design (Park [<reflink idref="bib39" id="ref7">39</reflink>]).</p> <p>Intrinsically, design education poses challenges in explaining its characterisation, particularly for those who have not experienced it (Powers [<reflink idref="bib41" id="ref8">41</reflink>]). Studio, the core of design education, a place that offered learning-by-doing within the traditions of project-based and problem-based education has always been subjected to anarchy within the university context (Green and Bonollo [<reflink idref="bib23" id="ref9">23</reflink>]). Although studio denoted a way of thinking and learning rather than a just space marked studio, it has lately become more of an assemblage of physical infrastructure for an extremely wide range of competency levels (Maitland [<reflink idref="bib34" id="ref10">34</reflink>]). Adding to this, increasing student numbers with a lower staff-to-student ratio and limited exhausted infrastructure has further triggered a somewhat impersonal approach to studio education. Where a reciprocal relationship between infrastructure dependence and shortage existed, ToS engaged a strategic approach to design learning (Biggs [<reflink idref="bib6" id="ref11">6</reflink>]. This strategic approach augmented Design Activism through contested reactions within oneself and among peers in forms of strategy-value feedback, competency citations and extended exposure beyond good grades (Schunk and Rice [<reflink idref="bib48" id="ref12">48</reflink>]). In the process, ToS's learning activities employed three central principles of learning and understanding: (<reflink idref="bib1" id="ref13">1</reflink>) understanding as a product of interactions with the environment, (<reflink idref="bib2" id="ref14">2</reflink>) cognitive conflict as a stimulus for learning, and (<reflink idref="bib3" id="ref15">3</reflink>) evolution of knowledge through social negotiation (Savery and Duffy [<reflink idref="bib45" id="ref16">45</reflink>]). These interpreted notions resonate with problem-based and self-driven thinking and learning where participation is metacognitive, motivational, and behaviour-based (Powers [<reflink idref="bib41" id="ref17">41</reflink>]; Zimmerman [<reflink idref="bib57" id="ref18">57</reflink>]).</p> <p>Knowledge construction scaffolded by staff and activism through reflections on prior experience in authentic contexts encourages students to be active participants in redefining the studio process (Joon [<reflink idref="bib25" id="ref19">25</reflink>]). Executed through a semester-long design project, problem-solving marks the learning catalyst for studio processes. To capacitate the level of complexity that can be handled internally, project-based problem solving deploys mental and visual communication dialogues via sketching, drawing, modelling, etc. (Cross [<reflink idref="bib12" id="ref20">12</reflink>]).</p> <hd id="AN0175604423-3">Intervention</hd> <p>Tales on Soles (ToS), a discoursed Design Activism pilot scheme took place in a contested studio setting where it lacked a traditional playfield (defined design briefs, conclusive site, and imaginary stakeholders with high malleability) and characteristic players (studio masters with predictable pedagogical inclinations) of a typical architecture studio. Like many other similar institutions, the studio setting was contested by strained resources and reserves when traditional design studio welcome extenuating circumstances of creative imagination via extended spaces and equipment in information visualisation, fabrication process, and communication (Jann [<reflink idref="bib24" id="ref21">24</reflink>]). Instead, it had an active design brief that required specific definitions, inconclusive site, and real stakeholders in which the studio participants were key stakeholders with accountability. Therefore, the title ToS came from a charged Learning and Teaching (L&T) intersection that anchored the core of the studio to Design Activism. Via direct engagement of the participants' studio processes, the intervention intention focused on the use of the stakeholder process as a pedagogical tool to innovate alternative delivery modes for design.</p> <p>The studied university and design-related disciplines reached a point where both conventional studio-learning and inadequate infrastructure became quite problematic. Additionally, iconic yet faithful reproduction of modernist architecture, the current facility continuously struggled to keep up with the building codes. Hence, the long-overdue new facility development had an exhaustive story of space shortages, a leaky roof, expensive repairs, and endless maintenance resulting in a plethora of restoration and remodelling proposals to the current facility. Consequently, the development of a new facility came into existence as a response to an inescapable stressor but with a strategic view of integrating the new facility into the University's Master Plan. Defined by the synergies of research, business, and entrepreneurial enterprise, the master plan outlined the university's vision to transform its main campus from an isolated suburban university into a vibrant city university. Accordingly, ToS' emphasis on studio makeover via Design Activism facilitated a hands-on forum of direct engagement for students with the project's custodians. This close collaboration with the custodians including the school leadership, University Properties, the Department of Planning and Construction Management, enabled students to engage in the stakeholder process constructively. As a decisive force of the stakeholder process, ToS targeted a voice for two primary-user groups which typically tend to get alienated in such hectic processes via a continuous feed of the latest updates: students and casual staff. Via involvement of nearly 450 undergraduate students and 10 staff members from Architecture and Interior Architecture, Planning and Geography, and Construction and Project Management programmes on a semester-long design competition, ToS actioned stakeholder engagement for these user groups. In reconfiguring the design studio, ToS articulated the new facility as spatial and aspatial reintegration intervention to address two grave matters of concern: turning students' reactionary attitude to the existing facility into reflective and innovative design ideas for new facility development and consequently to harvest students' voices on the new facility development as a form of activism.</p> <p>Approached through a student design competition based on a dynamic interaction between an infrastructure issue and pedagogically shifted timeline, ToS devised a hybrid of tools (digital platforms, reflexive journaling and modelling) and activities (collaborative research and design with interdisciplinary partners), to reinvigorate the studio processes. Based on the participants' direct response to their learning environment, the twofold design activism criteria used reflective activities to map learning experience via social experiments.</p> <hd id="AN0175604423-4">Social inquiries</hd> <p>ToS saw these experiments as limited opportunities for conclusions, yet watering holes for fresh thoughts that could potentially influence the stakeholder process. Based on Savery and Duffy's ([<reflink idref="bib45" id="ref22">45</reflink>]) percepts of learning and understanding, these experiments desired creative curation of cues and codes related to</p> <p></p> <ulist> <item> studio infrastructure of direct use (the Good, the Bad and the Ugly) and</item> <p></p> <item> personal items of daily use (The Battered Shoe) to play a role in studio processes.</item> </ulist> <p>For example, the iconic school building of late brutalist architecture provided an opportunity for 'the good, the bad, and the ugly' (Figure 1). While indeed based on open discussion, this interactive, emotional exchange instigated the primary space users to record the good (iconic and spacious presence of the existing facility), the bad (things to rethink), and the ugly (future that lies in our own hands). Although this macro bricolage was an outlet for reflective journaling, it eventually took an integral part in the design brief definition of the studio project. Likewise, the 'Battered Shoe' curation and installation elicited autographical and shared memories of campus life to internalise memorable moments captured on the participants' worn-out shoes. A vent, as well as value-added, to the design process, the outcome of the installation, was channelled into alternative modes of learning design: design by reflexive journaling (Figure 1).</p> <p>Graph: Figure 1. The good, bad and the ugly, a three-sided prism at major gallery cum through fare of the iconic school building; the centre image conceptualises three percepts of learning and understanding through unwinding (Left); the battered shoe installation on the main entrance steps of the school building.</p> <hd id="AN0175604423-5">Pedagogical approach</hd> <p>A distinctive ideological impetus for Design Activism stemmed from an adversarial design that confronts and contests spatial politics (DiSalvo [<reflink idref="bib14" id="ref23">14</reflink>]). The underlying theory behind Design Activism involves a notion of 'knowing-in-practice', most of which is tacit for experienced practitioners, but still unknown for budding designers or students (Schön [<reflink idref="bib46" id="ref24">46</reflink>]). Valuable in dealing with the uncertain and complex situation of society, however, such knowhow cannot be elevated to knowledge without putting into continuous cycles of practice (Cross [<reflink idref="bib12" id="ref25">12</reflink>]). Similar to a performance, an act of design, perhaps, has the potential to narrow the gap between know-how and knowledge where the studio becomes a way that allows awareness: activism (Burnard et al. [<reflink idref="bib9" id="ref26">9</reflink>]). Performing arts activism: Conceptualising an eco-artistic intercultural choreographic practice and performance called 'Melting Ice' for addressing climate change. Choreographic Practices. Launched in the early 1990s, design activism in Australia took a mode of a 'shake-up' route where the education sector led by local governments demanded innovation (Julier [<reflink idref="bib26" id="ref27">26</reflink>]). Reporting on the SIEVX Memorial Project on illegal immigrants to Australia, Ware ([<reflink idref="bib54" id="ref28">54</reflink>]) presented a case of design work being physical catalysts for social change. A similar notion was encapsulated in heritage storytelling related to 'Brisbane Art-Deco'. This engaged the community in extending the useful life of buildings (Wilson [<reflink idref="bib56" id="ref29">56</reflink>]). Although somewhat embryonic and unchartered in tertiary education, Design Activism has shown its influence in the way students apply sociocultural concepts as it appeals to common human nature via positive socio-environmental change (Fuad-Luke [<reflink idref="bib21" id="ref30">21</reflink>]; Lou [<reflink idref="bib32" id="ref31">32</reflink>]; Manzini [<reflink idref="bib35" id="ref32">35</reflink>]). Many attributes of Design Activism and its allied notions including but not limited to effective listening and guided reflection have shown 'change within' i.e. increased visibility, enhanced voices, differential aesthetics, levelled inequalities and unlocked aspirations for a future built on values of solidarity and recognition (Bennett et al. [<reflink idref="bib5" id="ref33">5</reflink>]; Caspersz and Stasinska [<reflink idref="bib10" id="ref34">10</reflink>]; DiSalvo et al. [<reflink idref="bib15" id="ref35">15</reflink>]; Lenskjold, Olander, and Halse [<reflink idref="bib30" id="ref36">30</reflink>]; Frediani [<reflink idref="bib20" id="ref37">20</reflink>]; Koskinen and Hush [<reflink idref="bib28" id="ref38">28</reflink>]).</p> <p>According to Prensky ([<reflink idref="bib42" id="ref39">42</reflink>]), direct feedback from students has demonstrated overwhelmingly positive results where Design Activism played a pivotal role in analysing and speculating results for non-hypothetical issues. It also has proven effective where design is the focus for addressing intricate issues of environmental deprivation due to limited spatial and intellectual infrastructure. A signpost of Design Activism, scenario/project-based tasks, offers an uninhibited platform for students to reflect on their current knowledge through action and to exploit such knowledge to develop know-how. Design Activism further hypothesises that know-how eventually builds the capacity to deal with a familiar environment by making it unfamiliar through a desensitisation process (Song and Lou [<reflink idref="bib50" id="ref40">50</reflink>]). While project/scenario-based tasks prompt content learning, Design Activism signifies informing, explaining, and activating people to participate in design actions that could potentially address existing concerns in local and global contexts (Seliger [<reflink idref="bib49" id="ref41">49</reflink>]). Design Activism nurtures skills and capabilities that facilitate learning by application. It could also provide cues for identifying strategic learning points in places where they appear themselves. Once spotted, these strategic learning points could enforce and reinforce learning outcome to make them more accessible, effective, lasting, and replicable (Manzini [<reflink idref="bib35" id="ref42">35</reflink>]). Both a problem-solver and a sense-maker, Design Activism enables forms of collaboration, multi-disciplinary integration, and proactive intervention essentialised in innovative learning (Margolin and Margolin [<reflink idref="bib36" id="ref43">36</reflink>]; Manzini [<reflink idref="bib35" id="ref44">35</reflink>]).</p> <p>Although ToS has employed Design Activism as an emancipatory tool, it did not take the route of theorising Design Activism as a confrontational platform to battle ideological inhibitions. Instead, Design Activism was seen here as a participatory platform to learn from one's own feelings and emotions to emulate personal and communal boundaries. Hence, the ToS didactic model was deployed to prevent narrow focuses that theorised Design Activism as a tension mediator or a conflict resolver towards a potential generator bias. On the contrary, Design Activism conceptualised contested emotions as potential precursors for emancipated studio learning. ToS further focused on therapeutic and performative aspects of Design Activism that established alignments with studio culture whilst retreating from parallel or alternative themes such as 'social design', 'design sociology', 'community architecture', 'participatory design', 'design for purpose', 'design for the other half', 'co-design' and 'citizen designer' (Fineder and Geisler [<reflink idref="bib19" id="ref45">19</reflink>]; Steven and Véronique [<reflink idref="bib51" id="ref46">51</reflink>]). Furthermore, based on the Fuad-Luke ([<reflink idref="bib21" id="ref47">21</reflink>]) notion that Design Activism, in addition to achieving social change, can change the activists themselves, the ToS's author architected the stakeholder voices to unfold the processes. Consequently, the author reported and appropriated evidence instead of using altruistic rationalisation or romanticisation of ToS's rhetoric and direct merits.</p> <hd id="AN0175604423-6">Learning design</hd> <p>Simulated in Design Activism, ToS' learning design anticipated studio-like interactions to pop up outside the studio through a series of purposefully positioned Learning and Teaching (L&T) devices. The main device, Work Integrated Learning (WIL) was aimed at scenario-based interdisciplinary tasks that could be easily explainable by tutors and would be tangible for learners. It also required collaborative L&T practices with teachers, peers, and civil society to happen through decoded complex sociocultural and techno-environmental issues via unanswered questions and iterative pilot studies. Even for assignments, ToS' favoured work-in-progress over task-mastering and thus, the learning design found its reliance on Design Activism helpful in developing a participatory approach towards social art (Brydon-Miller, Greenwood, and Maguire [<reflink idref="bib8" id="ref48">8</reflink>]). In the process, the ToS's author took the role of the content officiator with tutorial staff joining in as spokespersons. The professionalism in L&T necessitated redefinition of studio roles, even for informal interactions with the stakeholders.</p> <p>I definitely believe the level of teaching was stepped up from the previous semester, particularly in terms of professionalism with how the class was expected to participate/present themselves & informal critiques on blue carpet rather than studios. I think the drive and persistence were certainly there in terms of (staff) dedication to the class. (Student 1)</p> <p>With the subsequent online delivery of the unit in mind, all lectures, design charrettes, and design blogs took the form of an autonomous learning incubator where independent online consumption could occur. Particularly, the charrettes anticipated meeting minds and joining hands among stakeholders to achieve a specific design objective within a given period of time for improved collaboration and confidence-building (Nubani, Kim, and Nazmy [<reflink idref="bib38" id="ref49">38</reflink>]). The ToS online gallery further allowed incremental growth through continuous feedback from multiple forums on progressive design thinking and its consequent outputs.</p> <p>An interactive multi-folded brochure, another key L&T device of the learning design, exposed students to evaluating the scaffoldings of ToS's as sequenced through project vision, objectives, programme, and timeline (Figure 2). A form of roadmap or a project blueprint on a page, this brochure relieved the participants from getting distracted from multiple reiterations and news feed of the project, which even could be quite daunting to well-seasoned practitioners. As a critical tool of upskilling process, the unfolding sequence of the brochure followed the logic of the studio-improvisation process in the format of a parable narrative with multiple rumination points that culminated in a climax: a curated exhibition at the university's flagship facility in the city. Simultaneously, this 'pocket map' targeted an uncomplicated navigation system to coordinate multiple interdisciplinary interaction points among interdisciplinary student cohorts. The deadlines free brochure emphasised knowledge maturation and subsequent saturation on a critical path over timely demonstration of achievements in assessment.</p> <p>Graph: Figure 2. Unfolding sequence of the brochure; first row: project theme and title (1st column), philosophy (2nd column-bottom), objectives (top); second row: objectives (left), timeline (top right) and programme (bottom left).</p> <hd id="AN0175604423-7">Discussion</hd> <p>Operationalised in Design Activism informed pedagogical concepts, the following themes narrate ToS's specific turning points in the process of studio redefinition. This was a result of students' direct involvement in the stakeholder process where they claimed certain authority over definition of L&T environments (Dow et al. [<reflink idref="bib16" id="ref50">16</reflink>]). Also supported by the assertions from students, staff, jurors, visitors, and critics, the following themes detailed pedagogical interventions and their theoretical underpinnings for studio-improvisations. Under the big umbrella of design activism, the themes baptism on the L&T innovation involved the question of 'how studio-based design can contribute to democracy' (DiSalvo [<reflink idref="bib14" id="ref51">14</reflink>]). The process aimed at eliciting descriptors in three focus areas identified by Ejsing-Duun and Skovbjerg ([<reflink idref="bib18" id="ref52">18</reflink>]), under which the listed themes emerged from the structured observations made by the author:</p> <p></p> <ulist> <item> the design practice (to be a good designer and innovate good designs),</item> <p></p> <item> Task alleviation</item> <p></p> <item> Stress relegation</item> <p></p> <item> Excitement over assessment</item> <p></p> <item> Good practice via evaluation</item> <p></p> <item> a given research area, and</item> <p></p> <item> Interdisciplinary incurrence</item> <p></p> <item> Reflection via contestation</item> <p></p> <item> Independent learning via authenticity</item> <p></p> <item> Evidence-based yet imaginative</item> <p></p> <item> societal issues.</item> <p></p> <item> Alternative support networks</item> <p></p> <item> Reality checks</item> <p></p> <item> Gatekeepers, partakers</item> <p></p> <item> Variety is the spice</item> </ulist> <hd id="AN0175604423-8">A 1. Task alleviation</hd> <p>The task alleviation focused on creative progression over prompting a product. Instead of completing an assignment or concluding a product, ToS vested in curatorial tasks as it offered a conceptual framework for the work-in-progress type of learning (Brydon-Miller, Greenwood, and Maguire [<reflink idref="bib8" id="ref53">8</reflink>]). These hands-on or making-oriented tasks to synthesise multimode learning that is desirable for the studio-based education as reflected in some form of a participatory approach, action learning, praxis, co-learning and design, collaborative inquiry, action inquiry, and cooperative inquiry (Whyte [<reflink idref="bib55" id="ref54">55</reflink>]; Lewin [<reflink idref="bib31" id="ref55">31</reflink>]; Peters and Robinson [<reflink idref="bib40" id="ref56">40</reflink>]). Research aspects of activism such as distinction, investigation, and application allow complex design concepts to reach students in a non-threatening manner as a result of its consciousness to 'ideas that empower' as inculcated in Design Activism. Task alleviation via spontaneous process curation required co-design with academics, civil society, and students as stakeholders with the intent of active participation in familiar spatial issues by un-familiarizing them via many unanswered questions and unresolved debates. As defaulted in Design Activism, such curious yet combative attitude to design needed a form of sequential scenarios for learning by engagement. Therefore, inherent abilities of Design Activism to provide hands-on, immersive yet controlled learning applications targeting effective interdisciplinary engagement of intra-disciplinary student cohorts were needed in ToS' operationalisation (Tversky [<reflink idref="bib52" id="ref57">52</reflink>]). Notably, task alleviation through working by meeting affected the way some students perceive and programme their assessment production as a series of deliverables towards a capstone project.</p> <p>Regular attendance required for this class makes me extremely nervous; I might consider taking studio online. (Student 2)</p> <p>Resistance to heavy emphasis on discursive aspects of the sequential learning tasks that required regular attendance and contribution to collaborative hands-on tasks manifested in forms of unrest towards unit coordination, teamwork participants and interdisciplinary partners. Some felt that the task alleviation was a ploy to engage the methodology of 'divide and conquer'. Additionally, attempting new digital and craft skills also caused a 'who's good at what' type of tensions among participants.</p> <hd id="AN0175604423-9">A 2. Stress relegation</hd> <p>Thinking by doing involves quite an exhaustive, iterative process of many failed attempts (Schön [<reflink idref="bib47" id="ref58">47</reflink>]). What Koskinen ([<reflink idref="bib28" id="ref59">28</reflink>]) identified as agonistic, convivial, and conceptual 'aesthetics outside the market' found its way into the pedagogical interpretation of Design Activism. Found in various social networking sites and blogs, reactionary student responses to the existing facilities, particularly to the iconic school building, provided an opportunity for 'the good, the bad, and the ugly' social experiment (Figure 3). While indeed based on open discussion, this interactive, emotional exchange allowed the primary users of the building to record the good (iconic and spacious presence of the existing facility), the bad (things to rethink), and the ugly (future that lies in our own hands).</p> <p>It's not what you usually do after sleepless nights of work, but it certainly helped, at least to keep my eyes open. (Student 3)</p> <p>Graph: Figure 3. Instructions on the writing pad: 'the good, the bad and the ugly' social experiment. Each side of the triangular prism installation was dedicated to an aspect of the three commentaries.</p> <p>Although it occurred quite early into the process, participants did demonstrate how these experiments continued to allow parallel thinking that assisted them to avoid the consequences of the adversarial approach in an interdisciplinary learning environment (deBono [<reflink idref="bib13" id="ref60">13</reflink>]). Enabled by the performative and reflective nature of the experiment, some participants took the lead to filter constructive thoughts from the explosive emotions while the rest took a more academic route to it. Later, thoughts woven into emotive narratives went through a distillation process towards their design briefs. Complemented by the social experiment, another similar evocative experience titled 'the battered shoes' offered a creative outlet to curate the treasured moments of participants' university life on the main entrance steps of the iconic architecture building using their worn-out shoes. Some remarks made on the stories revealed mild tensions between storytellers and the characters memorised on shoes including peers, tutors and administrators (Figure 4).</p> <p>Graph: Figure 4. Tales on Soles: the curated exhibition announcement with images of shoes at the entrance, physical models and drawings of the student designs.</p> <hd id="AN0175604423-10">A 3. Excitement over assessment</hd> <p>While assessments contribute to anxiety, excitement brings out suppressed creativity (Mahmoud, Kamel, and Hamza [<reflink idref="bib33" id="ref61">33</reflink>]). Immersed in the exuberant spirit of the competition-based studio process, students found formative design activities in between summative assessment tasks such as 'the battered shoe' and 'the good, the bad and the ugly' refreshing. Perhaps, such autonomous reflective tasks surrounded students with much-needed excitement around the project that eventually led summative outcome to become spontaneous, less taxing, even enjoyable, as it confronted the unexplored territories of the learner's creative faculties (Sadler [<reflink idref="bib44" id="ref62">44</reflink>]). Sequentially, the following pre, during and post-assessment activities aimed to keep the creative spirit of learning via activism intact.</p> <p></p> <ulist> <item> Pre-assessment seminars for early expectation sharing processes (value instilation) through 'read-along-with' type of exercises – to ensure aligned Unit Learning Outcomes (ULO) were clear and logical for students.</item> <p></p> <item> During assessment listening-points among interdisciplinary groups (theory instigation) – to review the assessment criteria and style face-to-face with the assessors.</item> <p></p> <item> During assessment negotiation-points (theory building) – members of interdisciplinary teams to negotiate with each other using a peer team as a silent jury.</item> <p></p> <item> Post Assessment curatorial workshops for introspective learning (theory testing) – to set the agenda for 'what else to be seen' or 'what missed' where interdisciplinary teams engage with the unit coordinators to reflect on the overall assessment process.</item> </ulist> <p>Although all assessments took the form of competitive interdisciplinary checkpoints in its first run, the fourfold interdisciplinary assessment coordination took a less ambitious yet robust 'keeping the boat afloat' (intra-disciplinary assessment) attitude. However, it further laid the foundations for its second, third, and fourth rounds for forthcoming semesters: 'sailing the boat' (intra-disciplinary assessment and intra-disciplinary rubrics) and then 'rocking the boat' (interdisciplinary assessment on intra-disciplinary rubrics) and finally taking 'a voyage' to new lands of L&T discovery (interdisciplinary assessment on interdisciplinary rubrics).</p> <p>Having the opportunity to present to an entirely external panel is an experience not even thesis students receive. Despite it being a very hard semester for everyone, I think it has been one of the most productive and that is evident in the work which was produced. (Student 3)</p> <p>The required cross navigation between unfamiliar learning techniques and familiar learning products through a competitive design process did not allow familiar shortcuts to bypass the steps in the learning sequence. This worked for the highly motivated student who would walk an extra mile to achieve excellence, but it was also a constant reminder of the expected level of competencies which may have caused additional stress to some students.</p> <p>However, the indigenous yarning influenced constructive feedback and reflective assessment criteria resulted in early spotting of difficulties relating to unfamiliar learning techniques, particularly in the interdisciplinary assessment criteria (Dubb [<reflink idref="bib17" id="ref63">17</reflink>]). As per peer-evaluations, it made the multiple assessment points less cumbersome for both ToS authors and interdisciplinary partners.</p> <p>Simulated on the design-bidding process, the final jury criteria expected a stress-free, celebratory mood for students and also a performative aspect to the assessment execution. As it was unaffected by individual achievement levels, the exhibition and presentation compensated for the lack of graduation ceremonies for a three-year period.</p> <p>I'm writing to express the gratitude of all third years for the time and effort put into yesterday's event. Despite it being a turbulent semester I'm sure everyone that attended was touched by the thought and attention to detail of yesterday's proceedings (jury criteria). (Student 3)</p> <p>Conceptualised in the multiple stability status of an equilateral tetrahedron, the fourfold assessment operatives focused any of the four operatives to become the base or the key evaluation point of the criteria (Figure 5). The 'shot scale' based evaluation method during the improvised 'grad show' further facilitated an introspective evaluation point with peers, parents, and enthusiasts (Figure 5).</p> <p>Graph: Figure 5. Conceptualised tetrahedron shows the fourfold status of equilibrium via parametric, linear and crystalised manifestations for interdisciplinary assessment coordination.</p> <hd id="AN0175604423-11">A 4. Good practices via evaluation</hd> <p>Supported by the transformative, interdisciplinary, didactic model and the incentivised assessment process, ToS's process-driven learning design necessitated an impact evaluation system (Augsburg et al. [<reflink idref="bib1" id="ref64">1</reflink>]). Interdisciplinary evaluations during and after the semester demanded the following semesters' interdisciplinary tasks to be more formative and also systemised into an interdisciplinary master schedule of combined tasks, submission points and peer/self-evaluation sessions. In addition to Assessment Quality Process (AQP) indicators, the teaching staff noticed increased enrolments, higher retention, professional conduct, rigour of work, and enhanced teachability among the following year postgrad students, of which a great majority came from the ToS studio.</p> <p>I suppose one should be a bit reserved about this but I just wanted to say how much I admire your poetic voice, your determination to do what's right, your incredible reading list and references, your hard work and kindness. It was such a fabulous contrast to the previous semester. (Staff 1)</p> <p>As much as the general tone of evaluation from administrators, staff and students expressed appreciation for single-authored, transformed learning design, it also suggested a quite ambitious approach to T&L that may have been confrontational. The multi-layered evaluations indicated certain degrees of difficulties in comparison with conventional learning tasks or post-learning free, hypothetical project-based learning. Consistently, across all forms of evaluation, undercurrents of hesitation for the juried competition-based studio were expressed in an undertone of exhaustion.</p> <hd id="AN0175604423-12">B 1. Interdisciplinary incurrence</hd> <p>By virtue of being an interdisciplinary art, training for real-world practice of architecture necessitates development of professionalism (Clarke [<reflink idref="bib11" id="ref65">11</reflink>]). Operationalisation of Design Activism not only aimed at ownership over disciplinary tasks but also prompted a championship channel to extend the discipline knowledge to allied disciplines. Consequently, preparation of competitive design bids became somewhat less cumbersome as it offered options for kinaesthetic learning on activism-based negotiation platforms for interdisciplinary incurrences. Concurrent engagement of all allied disciplines on a consortium platform further necessitated an effective, efficient and empathetic guidance system from academics on allied yet distinctly different outputs. Interdisciplinary jamborees and design charrettes among partners targeted curiosity that led to recognisable levels of enthusiasm both in and outside the classes. Apparent enthusiasm was a direct response to focused feedback built on multiple intelligences conceived in interdisciplinary, co-learning, and co-assessment criteria (Gardner [<reflink idref="bib22" id="ref66">22</reflink>]).</p> <p>Incredible opportunity to mess with stuff I absolutely needed but dreaded. Never considered BIM (Building Information Modelling) until I met my cost planning guy. A few tricks, hello BIM! (Student 2)</p> <p>Participants with particular knowledge and skill limitations may have found alternatives modes of learning via direct engagement with their interdisciplinary partners who had discipline-specific learning shortcuts to share. For example, interdisciplinary milestones keyed into the Google+ platform performed semi-automated cross correspondence to allow organic growth of interpersonal communication. The platform collated academic and social networking contacts, links to assessment submittals, and indicative progress of intra-disciplinary assessment tasks for 460 students and 10 staff across disciplines. However, the anxiety over dealing with partners from different disciplines with unfamiliar technical jargon created tensions among some students, which eventually found their way to course coordination and some even escalated to the school level.</p> <hd id="AN0175604423-13">B 2. Reflection via contestation</hd> <p>Based on Kolbs' reflective cycle theory, these reflection points offered opportunities to confront past rendezvous, to share present expectations and also to negotiate future aspirations related to essential spaces of participants' secondary abode: learning environments (Kolb [<reflink idref="bib27" id="ref67">27</reflink>]). It was hoped that the students and staff would seize these opportunities to reconcile and come to terms with present nitty-gritties and take charge of transformations towards a more resilient future. Such introspective learning targeted retreats for students to evaluate options for extended or alternative competencies beyond expected learning outcomes. These hands-on reflective learning practices based on storytelling brought active engagement with one of the critical aspects of the studio-based L&T: multiple intelligences (Gardner [<reflink idref="bib22" id="ref68">22</reflink>]).</p> <p>Imaginative use of standard as well as non-traditional feedback sources provided a contested ground for participants to reflect and calibrate complex comments on their work objectively.</p> <p>The master plan is progressing very well and we will see in that new part of the campus more student accommodation and also a new academic building for (facility) and I was very impressed just a few weeks ago to see some of the students presenting on their ideas for the new building, wonderful plans, and really very talented students. (Administrator 1)</p> <p>Enabling improved communication, ToS augmented an element of ease to the stakeholder engagement process. However, it also created a conflict of interest among parties who claimed the ownership of different segments of the stakeholder engagement process. This over-enthusiasm led to promotion of distinct ideologies, which caused a different kind of stress for students, particularly those who sought additional assistance from their preferred consultation channels.</p> <hd id="AN0175604423-14">B 3. Alternative support networks</hd> <p>Perhaps, the nuanced yet verifiable operational rationale of ToS unlocked certain preconceived notions and prejudices which often challenge the confrontational nature of the studio education. To level inequalities in traditional modes of support and allow aspirations, ToS launched a supplementary yet crucial network of support via jamborees, charrettes and extended feedback sessions with mentors and experts via a reward scheme (Frediani [<reflink idref="bib20" id="ref69">20</reflink>]). This extended web of support included non-traditional industry practices outside the academic and professional spheres including media and marketing, event organisation, set design, entrepreneurial leadership, and many more. Participants also had options to gain essential professional skills via multiple correspondence criteria directly related to the business of architecture, both practice and promotion. Nominated by peers, based on the quality of individual contribution to in-class critiques, a few students had further opportunities to spend a coffee chat with invited experts weekly. As anticipated, some coffee chat recipients became informants, reporting back on the outcome of their discussions with the experts to the class as part of building a bridge between students and industry via informants and gatekeepers (Beckingham and Nerantzi [<reflink idref="bib3" id="ref70">3</reflink>]).</p> <p>A turbulent semester, a one that needed all the support one can get; glad I found it in unusual places and people I've met in interdisciplinary jamborees. (Student 4)</p> <p>Representative distribution of Semester Weight Averages (SWA), gender, and enrolment status (local/international) of students across all tutorial sectors augmented championship groups outside the established friendship circles.</p> <p>New groups complemented the format for tutorials although it interfered with established friendship circles; students found new partnerships, multiple ways of 'getting along', and the unforeseen merits of circumnavigation. However, the intense studio-based learning overwhelmed established peer networks and some participants found the environment too tense for establishing new support webs.</p> <hd id="AN0175604423-15">B 4. Independent learning via authenticity</hd> <p>Authenticity was seen as an essential conflict between imagination and evidence. Therefore, reflective cycle theory embedded in the learning design necessitated interim evaluation points to encourage independent learning via self-assessment. Clear manifestations of graduate competencies were also required through project brief, lesson plans, and grading rubrics along with the aligned ULO which focused on easily interpretable learning tasks – those that encourage interdisciplinary interactions (Kolb [<reflink idref="bib27" id="ref71">27</reflink>]). Co-submission of a digital repository of precedents along with the main deliverables targeted visual plagiarism, a highly problematic issue in studio assessments and thus, credits were given for relevance, richness, and appropriation of the precedents in the studio outcome. Another aspect of authentic production of imaginative ideations involved a triangulated quality assurance process that evolved from all summative and formative assessments, dress rehearsals prior to jury criteria, 'design clinics' (direct diagnosis and treatment of design issues/symptoms identified during reviews), and 'check and fix' lists (self-directed improvements via a checklist of standard errors and solutions). Instead of intradisciplinary staff guidance, it was expected that direct guidance from the interdisciplinary staff would assure an extra element of authenticity and reality, particularly for summative assessments.</p> <p>Some of your knowledge was genuinely the best I'd received from tutors who would otherwise act as guides but not necessarily 'teach' you anything you didn't know in the past ... so it certainly opened my eyes as a 'thinker' particularly in 1 on 1 critiques. (Student 1)</p> <p>At the design clinics and dress rehearsals, self, peer, and mentor critiques focused on enhanced educational authenticity as prompted <emph>by students-for-students</emph>. However, in generating authentic products of learning, students started stereotyping teachers against coaches which eventually made the ideological inclinations a harsh reality to deal with.</p> <p>It's always invigorating to be challenged and inspired by fresh thought. I was impressed with the quality of all student work and on their immense efforts. (External Juror 2)</p> <p>Instead of focusing on the ceremonial outcome at the end of the project, the studio residues were utilised for rigorous curation to ensure production of authentic artefacts for use beyond the course of study. With professional curatorial assistance from the state gallery system, introspective pieces from 'the battered shoe' and 'the good, the bad and the ugly' narratives subsequently found thematic significance for a collection. This post-learning portion of the project was put in place to ensure a dual process of cross-examination of educational authenticity via decoding the creative process from inspiration (precedents) to outcome (completion package) coherently.</p> <hd id="AN0175604423-16">C 1. Gatekeepers, partakers</hd> <p>One of the key objectives of the Design Activism was to synchronise expectations between the University Properties and the school's leadership to turn the students' reactionary attitude towards the existing infrastructure shortage into reflective practices of hands-on learning. The University Properties invested in the project through formal lectures, design reviews, and stakeholder engagement meetings but most importantly via continuous channelling of the project updates to primary user groups who usually have no direct access to unedited corporate knowledge. Therefore, it was expected that the altruistic attitude of involving representative student voices in the actual project would build excitement around the programme. Extended sponsorship from the University Properties to showcase the curatorial outcome of students' final design tasks at the university's flagship CBD facility indicated substantiation of the synchronised expectations between the University Properties and the school. The tiny tasks of bigger bricolage also caught The West Australian art critic's attention.</p> <p>On the soles of these shoes, they've shared their stories, personal experiences and intimate reflections. The soles of these shoes lay bare many thoughts-the nerves of the first day on campus, the parents who draw inspiration to study from their children, those who travel far to make their family proud, to simple observations on student life-each one tells a different story of a common goal. The West Australian ARTEFACTS, 2017. (Critic 1)</p> <p>While the media coverage allowed required cooperate exposure for the gatekeepers, partakers took advantage of updating their resumes with the recognition from The Western Australian. Some students, whose work was not included in the exhibition, took an extended time to process the ToS online gallery to aid their portfolio preparation as expected in the post-learning design. On official social media sites of the school and student chapter, although many students expressed their excitement for the exhibition promotional materials, the web analytics revealed few visits to the ToS web gallery. Although not conclusive, higher numbers of visits during the online study period suggested alternative user groups 'during-learning' who gained direct benefits from 'post-learning' of on-campus students.</p> <hd id="AN0175604423-17">C 2. Evidence-based yet imaginative</hd> <p>Embedded into the semester-long competition process, the learning design employed three applied research techniques where each technique informed an aspect of interdisciplinary learning: discursive inputs enabling design-thinking, prescriptive inputs requiring task-mastering, and procedural efficiency. Therefore, the learning design necessitated a customisable hybrid of mini learning pods within the grand scheme of self-directed, interdisciplinary learning. Offered through physical and cost planning partnerships, these pods further facilitated individualisation, specialisation, and innovation where students performed in an immersive consortium environment of multiple intelligences (Gardner [<reflink idref="bib22" id="ref72">22</reflink>]).</p> <p>... teaching practices, assessment styles, critiquing methods assisted the improvement and overall development of myself as an architecture student resulting in me winning the inter-disciplinary Design Competition in my final year of Bachelors at ... ... ... ... University. (Student 3)</p> <p>Another imaginative aspect of ToS being the social experiment (the good, the bad and the ugly) and place memoir (the battered shoe) resulted in reflective forums not only for architecture students but also for all users of the existing facility to discuss 'space we learn' constructively. Curation and installation of personal and shared memories further strove for a contemplative learning experience for large student cohorts during verbal presentations, particularly for students who usually tend to disengage from the human-to-human contact and seek solace from online social networking circles while waiting for their turn to present.</p> <hd id="AN0175604423-18">C 3. Reality checks</hd> <p>A targeted spread of 10 keynotes and 2 design charrettes across the competition process enabled students to read the mindset of clinicians from multiple worldviews. Didactically, calibrated between research and practice, clinical authorities of Built Environment design, from the award-winning designers of cutting-edge infrastructure developments in West coast to authors of East coast's leading education facility designers, were invited to provide task-realistic feedback at critical milestones (Rampersad and Jane [<reflink idref="bib43" id="ref73">43</reflink>]). Made possible through the University Properties, continuous feed of the new project's updates and simultaneous involvement of informants and gatekeepers in learning tasks focused on simulating real-estate logics of education infrastructure production.</p> <p>Your organisation and ability to secure funding is something that our year group has rarely experienced from staff and it is incredibly valuable to such resource starved students. (Student 3)</p> <p>The harsh reality of the real-world practice of built environment necessitated the presence of a critical support network at milestone learning tasks. As opposed to failure and success or trial and error, an alternative reality of 'lessons learned' was utilised to demonstrate rigour and efforts behind option elimination, thus allowing communication among stakeholders of effective and appreciative learning.</p> <p>The parents approached to tell me how proud and surprised they are of their kids' extraordinary performance. (Administrator 2)</p> <hd id="AN0175604423-19">C 4. Variety is the spice</hd> <p>Variety in assessment formats was designed to address students who tend to react to human-to-human feedback and staff who preferred to calibrate their feedback before formalisation (Beaumont, O'Doherty, and Shannon [<reflink idref="bib2" id="ref74">2</reflink>]). From the assessment design to the feedback criteria, it took the form of sharing human stories with a range of reviewers from academics to clinicians, artists to scientists, and makers to curators. While the internal jury of SoBE (heads of departments and directors) and the University Properties (portfolio managers and directors) shortlisted 10 projects from 110 proposals, the grand jury (representatives from 3 award-winning built-environment practices across Australia) filtered 3 outstanding proposals from those shortlisted. To retain the tone and the intensity of impact afresh, the fourfold moderation process targeted feedback and grade release in a single business day. This also involved creative choreography of moderation with <emph>intra-moderation</emph> at progress-review milestones, <emph>during moderation</emph> on Thursdays at reviews, <emph>post moderation</emph> immediately after the reviews, and finally, <emph>grande moderation</emph> on Fridays. It enabled just the right amount of detachment from the intense moderation process which strove higher levels of objectivity. The targeted results released on the following Monday allowed further flagging of outliers via a <emph>Blackboard (workflow) moderation</emph>; a grade distribution across all tutorials processed for specific feedback and assessment/course review purposes. This detailed moderation process was needed for economising time and resources spent on reiteration and restatement of verbal and written feedback while ensuring consistent recording of those responses. Perhaps this variety in structural measures for quality assurance led to the benchmarking of transformed ToS learning design as a catalyst for architecture accreditation and also for curriculum review.</p> <p>If this is the quality of work at bachelors' level, we can score a home run at Architecture accreditation. The Year 3 Sem. 2 studio you ran last year was not only excellent but a critical point in the curriculum. I'm looking to showcase this and highlight the good work that has been done. (Internal Juror 1)</p> <p>While internal jury criteria scrutinised the alignment with Unit-Learning, the outcome-based interdisciplinary objectives, the <emph>shot scale</emph> of the external jury criteria assessed the application of those outcomes to a broader framework of good built environment practice. The <emph>shot scale</emph> offered statistical ease of comparison for the shortlisted projects as well as a visual synthesis of achievement levels as similar to a 'hitting the target' (Figure 6).</p> <p>Graph: Figure 6. The shot scale based on fivefold grading criteria allowed comparative analysis among the shortlisted.</p> <hd id="AN0175604423-20">Conclusion</hd> <p>The philosophical stance of ToS and Design Activism leveraged intense emotional reactions to infrastructure issues by providing alternative systems of learning support, inclusive assessment criteria, and most importantly, post-learning opportunities. In the process, learners objectively traversed the familiar, investigated the unfamiliar for its parts so that it became familiar, and applied the new familiar to unfamiliar. Without entirely relying on compromised physical infrastructure, low staff-to-student ratio and limited studio hours, the reflective L&T model of ToS proposed a learning design that enabled participants to take charge of their learning as catalyst in activism. Hence, design pedagogy models that synthesise Design Activism with WIL demonstrated a pathway to studio rejuvenation via self-expression social crtique. The learning design theorised in Design Activism and pragmatised in WIL indicated signs of reduced dependence on conventional studio props. ToS curatorial tasks at key reflection points substantiate direct benefits of formative, process assessments over summative, outcome assessments; the intensity of curatorial chaos to fuel situations for improvised studio processes outside the classroom, both planned and spontaneous.</p> <p>Based on the focus areas established by Ejsing-Duun and Skovbjerg ([<reflink idref="bib18" id="ref75">18</reflink>]) and seen through the eyes of the author, tutors, staff, jurors, students, and visitors, ToS discovered a narrow window for structured observations to elicit prototype themes. These themes revealed that infrastructure dependency could be rerouted to exceed expected-learning-outcomes by upskilling students via alternative pedagogies and improvised studio props. Elevating emotive gestures into rigorous drivers of design through activism-based acclimatisations such as 'the battered shoe' and 'the good, the bad and the ugly' have shown impetus for innovation of such alternative pedagogies. Owing to these self-expressive social inquries, a majority of participants overcame their initial reservations, although some participants found explorative learning design creatively exhausting yet exciting. Meticulous excecution of these self-expressive yet introspective debuts via interdisciplinary engagements indicated possibilities for circumnavigation of physical infrastructure shortage. These interdisciplinary oscillations among cultures, contexts, and circumstances revealed possibilities for enhanced and enlightened attitudes to studio-learning for present resource-deprived studio cultures.</p> <p>More than the outcome, the impact of ToS process demonstrates new possibilities for multifaceted activism scenarios that could potentially bring back the quarrelsome and speculative nature of studio innovation. Even though not conclusive, the outcome demonstrated that Design Activism can enhance the way learners seize the complex spatial as well as aspatial issues related to built-environment production via studio improvisations. The based theory (Fuad-Luke [<reflink idref="bib21" id="ref76">21</reflink>]) that Design Activism can change the activists themselves was proven for a particular segment of learners who actively participated in the heavily choreographed L&T process. The rest, the activism scenario furnished an alternative perspective of the studio learning on which they applied their value systems. Finally, although the Schön ([<reflink idref="bib47" id="ref77">47</reflink>]) notion that the design studio is a dialogue of thinking and doing where a learner gets more skilled still is valid, the studio now has evolved into activism that could potentially influence transformation of building skills to upskilling of activists themselves.</p> <hd id="AN0175604423-21">Disclosure statement</hd> <p>No potential conflict of interest was reported by the author(s).</p> <ref id="AN0175604423-22"> <title> References </title> <blist> <bibl id="bib1" idref="ref13" type="bt">1</bibl> <bibtext> Augsburg, T., B. M. Bekken, K. Hovland, J. T. Klein, D. B. Luckie, B. L. Madison, P. J. S. Martin, W. H. Newell, M. Sortor, and R. Vaz. 2013. " Insights on Interdisciplinary Teaching and Learning." In White Paper, edited by Aaron M. McCright and Weston Eaton. East Lansing, MI : Michigan State University.</bibtext> </blist> <blist> <bibl id="bib2" idref="ref14" type="bt">2</bibl> <bibtext> Beaumont, C., M. O'Doherty, and L. Shannon. 2011. " Reconceptualising Assessment Feedback: A Key to Improving Student Learning? " Studies in Higher Education 36 (6): 671 – 687.</bibtext> </blist> <blist> <bibl id="bib3" idref="ref15" type="bt">3</bibl> <bibtext> Beckingham, S., and C. Nerantzi. 2015. " Scaling-up Open CPD for Teachers in Higher Education Using a Snowballing Approach." Journal of Perspectives in Applied Academic Practices 3 (1): 109 – 121. doi: 10.14297/jpaap.v3i1.148.</bibtext> </blist> <blist> <bibl id="bib4" idref="ref5" type="bt">4</bibl> <bibtext> Bell, M., and M. Gillett. 1996. " Developing Reflective Practice in the Education of University Teachers, Different Approaches: Theory and Practice in Higher Education." Proceedings of the HERDSA Conference 1996, Perth, Western Australia, 8–12 July (online). <ulink href="http://www.herdsa.org.au/confs/1996/bell.html">www.herdsa.org.au/confs/1996/bell.html</ulink> (accessed 3 March 2020).</bibtext> </blist> <blist> <bibl id="bib5" idref="ref33" type="bt">5</bibl> <bibtext> Bennett, D., A. Power, C. Thomson, B. Mason, and B.-L. Bartleet. 2016. " Reflection for Learning, Learning for Reflection: Developing Indigenous Competencies in Higher Education." Journal of University Teaching & Learning Practice 13 (2): 1 – 19.</bibtext> </blist> <blist> <bibl id="bib6" idref="ref11" type="bt">6</bibl> <bibtext> Biggs, J. B. 1991. " Student Learning in the Context of School." In Teaching for Learning: The View from Cognitive Psychology, edited by J. B. Biggs, 27–39. Hawthorn : ACER.</bibtext> </blist> <blist> <bibl id="bib7" idref="ref2" type="bt">7</bibl> <bibtext> Broadfoot, O., and R. Bennett. 2003. Design Studios: Online? Comparing Traditional Face-to-Face Design Studio Education with Modern Internet-Based Design Studios.</bibtext> </blist> <blist> <bibl id="bib8" idref="ref48" type="bt">8</bibl> <bibtext> Brydon-Miller, M., D. Greenwood, and P. Maguire. 2003. " Why Action Research? " Action Research 1 (1): 9 – 28.</bibtext> </blist> <blist> <bibl id="bib9" idref="ref26" type="bt">9</bibl> <bibtext> Burnard, P., P. Cook, S. Jasilek, B. Bauer-Nilsen, and P. Burnard. 2018. " Performing Arts Activism: Conceptualising an Eco Artistic Intercultural Choreographic Practice and Performance Called 'Melting Ice' for Addressing Climate Change." Choreographic Practices 229–242.</bibtext> </blist> <blist> <bibtext> Caspersz, D., and A. Stasinska. 2015. " Can We Teach Effective Listening? An Exploratory Study." Journal of University Teaching and Learning Practice 12 (4): 15.</bibtext> </blist> <blist> <bibtext> Clarke, J. 2013. " Actions Speak Louder: Victor Papanek and the Legacy of Design Activism." Design and Culture 5 (2): 151 – 168.</bibtext> </blist> <blist> <bibtext> Cross, N. 2011. Design Thinking: Understanding how Designers Think and Work. Oxford : Berg.</bibtext> </blist> <blist> <bibtext> deBono, E. 1993. Parallel Thinking. Ringwood : Penguin Books.</bibtext> </blist> <blist> <bibtext> DiSalvo, C. 2012. Adversarial Design. Cambridge, MA : MIT Press.</bibtext> </blist> <blist> <bibtext> DiSalvo, C., M. Louw, D. Holstius, I. Nourbakhsh, and A. Akin. 2012. " Toward a Public Rhetoric through Participatory Design: Critical Engagements and Creative Expression in the Neighborhood Networks Project." Design Issues 28 (3): 48 – 61.</bibtext> </blist> <blist> <bibtext> Dow, M., C. Boettcher, J. Diego, M. Karch, A. Todd-Diaz, and K. Woods. 2015. " Case-Based Learning as Pedagogy for Teaching Information Ethics Based on the Dervin Sense-Making Methodology." Journal of Education for Library and Information Science Online 56 (2): 141 – 157.</bibtext> </blist> <blist> <bibtext> Dubb, S. 2018. "Culture, Inclusion, and Non-profit Competence: The Unbreakable Links." February 2. https://nonprofitquarterly.org/2018/01/26/culture-inclusion-nonprofit-competence-unbreakable-links/.</bibtext> </blist> <blist> <bibtext> Ejsing-Duun, S., and H. M. Skovbjerg. 2018. " Design as a Mode of Inquiry in Design Pedagogy and Design Thinking." The International Journal of Art & Design 38 (2): 445 – 460.</bibtext> </blist> <blist> <bibtext> Fineder, M., and T. Geisler. 2011. "'Design Clinic' Can Design Heal the World? Scrutinising Victor Papanek's Impact on Today's Design Agenda." Design History Society Annual Conference: Design Activism and Social Change, Barcelona, Spain.</bibtext> </blist> <blist> <bibtext> Frediani, A. 2016. " Re-imagining Participatory Design: Reflecting on the ASFUK Change by Design Methodology." Design Issues 32 (3): 98e111.</bibtext> </blist> <blist> <bibtext> Fuad-Luke, A. 2009. Design Activism. London : Earthscan.</bibtext> </blist> <blist> <bibtext> Gardner, H. 1993. Multiple Intelligences. New York, NY : Basic Books Hons of Learning Harper Collins Publ. Inc.</bibtext> </blist> <blist> <bibtext> Green, N. G., and E. Bonollo. 2003. " Studio-Based Teaching: History and Advantages in the Teaching of Design." World Transactions on Engineering and Technology Education 2 (2): 269 – 273.</bibtext> </blist> <blist> <bibtext> Jann, M. 2012. "Challenges and Recommendations for 'Visitors' Teaching Design in the Developing World Towards Sustainable Equitable Futures: Four Divided Nations."</bibtext> </blist> <blist> <bibtext> Joon, S. 2009. "Exploring Students' Beliefs About Teaching and Learning in Relation to Their Perceptions of Student-Centered Learning Environments." August 1. <ulink href="http://ugakr.libs.uga.edu/xmlui/handle/10724/25855">http://ugakr.libs.uga.edu/xmlui/handle/10724/25855</ulink>.</bibtext> </blist> <blist> <bibtext> Julier, G. 2019. " From Design Culture to Design Activism." In The social Design Reader, edited by Elizabeth Resnick, 327 – 344. London : Bloomsbury Visual Arts.</bibtext> </blist> <blist> <bibtext> Kolb, D. A. 1984. Experiential Learning: Experience as the Source of Learning and Development (1). Englewood Cliffs, NJ : Prentice-Hall.</bibtext> </blist> <blist> <bibtext> Koskinen, Ilpo and Gordon Hush. 2016. " Utopian, Molecular and Sociological Social Design." International Journal of Design 10 (1): 65 – 71.</bibtext> </blist> <blist> <bibtext> Lee, K. S. 2009. " Listening to Students: Investigating the Effectiveness of an Online Graduate Teaching Strategies Course." MERLOT Journal of Online Learning and Teaching 5 (1): 72 – 87.</bibtext> </blist> <blist> <bibtext> Lenskjold, Tau Ulv, Sissel Olander, and Joachim Halse. 2015. " Minor Design Activism: Prompting Change from Within." Design Issues 31 (4): 66 – 77. doi: 10.1162/DESI_a_00352.</bibtext> </blist> <blist> <bibtext> Lewin, K. 1946. " Action Research and Minority Problems." Journal of Social Issues 2 : 34 – 46.</bibtext> </blist> <blist> <bibtext> Lou, Y. 2015. " Design Activism in an Era of Transformation." Chinese Journal of Design 267 : 17 – 19.</bibtext> </blist> <blist> <bibtext> Mahmoud, N. E., S. M. Kamel, and T. S. Hamza. 2020. " The Relationship Between Tolerance of Ambiguity and Creativity in Architectural Design Studio." Creativity Studies 13 (1): 179 – 198.</bibtext> </blist> <blist> <bibtext> Maitland, B. M. 1991. " Problem-Based Learning for an Architecture Degree." In The Challenge of Problem-Based Learning, edited by D. Boud and G. Feletti, 42–46. London : Kogan Page.</bibtext> </blist> <blist> <bibtext> Manzini, E. 2015. Design When Everybody Designs – An Introduction to Design for Social Innovation. Cambridge : MIT Press.</bibtext> </blist> <blist> <bibtext> Margolin, V., and S. Margolin. 2002. " A Social Model of Design: Issues of Practice and Research." Design Issues 18 : 24 – 29.</bibtext> </blist> <blist> <bibtext> Mirza, S. 2017. " Shoes, Writing: Unspeaking Writing in the Material Culture of Pre-Islamic Arabia and Early Islam." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 24 (2): 159 – 176. doi: 10.1086/696997.</bibtext> </blist> <blist> <bibtext> Nubani, L. N., S. K. Kim, and H. Nazmy. 2018. " Using Design Charrettes in Interior Design Education to Improve Learning Outcomes and Collaboration with Professionals." Journal of Architectural and Planning Research 35 (3): 218 – 234.</bibtext> </blist> <blist> <bibtext> Park, Y. (2011, February). " A Pedagogical Framework for Mobile Learning: Categorizing Educational Applications of Mobile Technologies into Four Types." The International Review of Research in Open and Distributed Learning 12 (2).</bibtext> </blist> <blist> <bibtext> Peters, M., and V. Robinson. 1984. " The Origins and Status of Action Research." Journal of Applied Behavioral Science 20 (2): 113 – 124.</bibtext> </blist> <blist> <bibtext> Powers, M. 2016. Self-Regulated Design Learning. doi: 10.4324/9781315746081.</bibtext> </blist> <blist> <bibtext> Prensky, M. 2001. Digital Natives, Digital Immigrants, On the Horizon. Bradford : MCB University Press.</bibtext> </blist> <blist> <bibtext> Rampersad, G., and J. Jane. 2013. " Developing Innovation Skills Through Work-Integrated Learning." Global Perspectives on Engineering Management 2 (4): 165 – 174.</bibtext> </blist> <blist> <bibtext> Sadler, D. R. 1998. " Formative Assessment: Revisiting the Territory." Assessment in Education: Principles, Policy & Practice 5 (1), 77 – 84.</bibtext> </blist> <blist> <bibtext> Savery, J., and T. Duffy. 1995. " Problem Based Learning: An Instructional Model and its Constructivist Framework." Educational Technology 35 : 31 – 38.</bibtext> </blist> <blist> <bibtext> Schön, D. 1983. The Reflective Practitioner: How Professionals Think in Action. New York, NY : Basic Books, Inc.</bibtext> </blist> <blist> <bibtext> Schon, D. A. 1987. Educating the Reflective Practitioner: Toward a New Design for Teaching and Learning in Professions. Jossey-Bass higher education series. San Francisco.</bibtext> </blist> <blist> <bibtext> Schunk, D. H., and J. M. Rice. 1992. " Influence of Reading-Comprehension Strategy Information on Childrens Achievement Outcomes." Learning Disability Quarterly 15 (1): 51 – 64.</bibtext> </blist> <blist> <bibtext> Seliger, M. 2014. "Visual Rhetoric in Design Activism." Proceedings of the 9th Conference of the International Committee for Design History and Design Studies. doi: 10.5151/desproicdhs2014-0087.</bibtext> </blist> <blist> <bibtext> Song, D., and Y. Lou. 2016. " Design Activism: Action Research as an Approach When Design Meets Social Innovation." In Making Trans/national Contemporary Design History: 10th Conference of the International Committee for Design History & Design Studies, edited by Wendy Siuyi Wong, Yuko Kikuchi, and Tingyi Lin, 284 – 290. São Paulo: Blucher. doi: 10.5151/desproicdhs2016-03_018.</bibtext> </blist> <blist> <bibtext> Steven, H., and V. Véronique. 2003. Citizen Designer: Perspectives on Design Responsibility. New York, NY : Allworth Press.</bibtext> </blist> <blist> <bibtext> Tversky, B. 2001. " Spatial Schemas in Depictions." In Spatial Schemas and Abstract Thought, edited by M. Gattis, 79 – 111. Cambridge : MIT Press.</bibtext> </blist> <blist> <bibtext> Visser, J. 2008. Constructive Interaction with Change: Implications for Learners and the Environment in which they Learn. In Learners in a Changing Learning Landscape: Reflections from a Dialogue on New Roles and Expectations, edited by J. Visser and M. Visser-Valfrey, 11 – 35. Dordrecht : Springer.</bibtext> </blist> <blist> <bibtext> Ware, C. 2008. Visual Thinking: For Design. London : Elsevier.</bibtext> </blist> <blist> <bibtext> Whyte, W. F. (ed.). 1991. Participatory Action Research. Newbury Park, CA : Sage.</bibtext> </blist> <blist> <bibtext> Wilson, J. Z. 2011. " Australian Prison Tourism: A Question of Narrative Integrity." History Compass 9 (8): 562 – 571.</bibtext> </blist> <blist> <bibtext> Zimmerman, B. J. 2011. " Motivational Sources and Outcomes of Self-Regulated Learning and Performance." In Educational Psychology Handbook Series. Handbook of Self-Regulation of Learning and Performance, edited by B. J. Zimmerman and D. H. Schunk, 49 – 64. New York: Routledge/Taylor & Francis Group.</bibtext> </blist> </ref> <aug> <p>By Chamila Subasinghe</p> <p>Reported by Author</p> </aug> <nolink nlid="nl1" bibid="bib37" firstref="ref1"></nolink> <nolink nlid="nl2" bibid="bib47" firstref="ref3"></nolink> <nolink nlid="nl3" bibid="bib29" firstref="ref4"></nolink> <nolink nlid="nl4" bibid="bib53" firstref="ref6"></nolink> <nolink nlid="nl5" bibid="bib39" firstref="ref7"></nolink> <nolink nlid="nl6" bibid="bib41" firstref="ref8"></nolink> <nolink nlid="nl7" bibid="bib23" firstref="ref9"></nolink> <nolink nlid="nl8" bibid="bib34" firstref="ref10"></nolink> <nolink nlid="nl9" bibid="bib48" firstref="ref12"></nolink> <nolink nlid="nl10" bibid="bib45" firstref="ref16"></nolink> <nolink nlid="nl11" bibid="bib57" firstref="ref18"></nolink> <nolink nlid="nl12" bibid="bib25" firstref="ref19"></nolink> <nolink nlid="nl13" bibid="bib12" firstref="ref20"></nolink> <nolink nlid="nl14" bibid="bib24" firstref="ref21"></nolink> <nolink nlid="nl15" bibid="bib14" firstref="ref23"></nolink> <nolink nlid="nl16" bibid="bib46" firstref="ref24"></nolink> <nolink nlid="nl17" bibid="bib26" firstref="ref27"></nolink> <nolink nlid="nl18" bibid="bib54" firstref="ref28"></nolink> <nolink nlid="nl19" bibid="bib56" firstref="ref29"></nolink> <nolink nlid="nl20" bibid="bib21" firstref="ref30"></nolink> <nolink nlid="nl21" bibid="bib32" firstref="ref31"></nolink> <nolink nlid="nl22" bibid="bib35" firstref="ref32"></nolink> <nolink nlid="nl23" bibid="bib10" firstref="ref34"></nolink> <nolink nlid="nl24" bibid="bib15" firstref="ref35"></nolink> <nolink nlid="nl25" bibid="bib30" firstref="ref36"></nolink> <nolink nlid="nl26" bibid="bib20" firstref="ref37"></nolink> <nolink nlid="nl27" bibid="bib28" firstref="ref38"></nolink> <nolink nlid="nl28" bibid="bib42" firstref="ref39"></nolink> <nolink nlid="nl29" bibid="bib50" firstref="ref40"></nolink> <nolink nlid="nl30" bibid="bib49" firstref="ref41"></nolink> <nolink nlid="nl31" bibid="bib36" firstref="ref43"></nolink> <nolink nlid="nl32" bibid="bib19" firstref="ref45"></nolink> <nolink nlid="nl33" bibid="bib51" firstref="ref46"></nolink> <nolink nlid="nl34" bibid="bib38" firstref="ref49"></nolink> <nolink nlid="nl35" bibid="bib16" firstref="ref50"></nolink> <nolink nlid="nl36" bibid="bib18" firstref="ref52"></nolink> <nolink nlid="nl37" bibid="bib55" firstref="ref54"></nolink> <nolink nlid="nl38" bibid="bib31" firstref="ref55"></nolink> <nolink nlid="nl39" bibid="bib40" firstref="ref56"></nolink> <nolink nlid="nl40" bibid="bib52" firstref="ref57"></nolink> <nolink nlid="nl41" bibid="bib13" firstref="ref60"></nolink> <nolink nlid="nl42" bibid="bib33" firstref="ref61"></nolink> <nolink nlid="nl43" bibid="bib44" firstref="ref62"></nolink> <nolink nlid="nl44" bibid="bib17" firstref="ref63"></nolink> <nolink nlid="nl45" bibid="bib11" firstref="ref65"></nolink> <nolink nlid="nl46" bibid="bib22" firstref="ref66"></nolink> <nolink nlid="nl47" bibid="bib27" firstref="ref67"></nolink> <nolink nlid="nl48" bibid="bib43" firstref="ref73"></nolink>
Header DbId: eric
DbLabel: ERIC
An: EJ1413661
AccessLevel: 3
PubType: Academic Journal
PubTypeId: academicJournal
PreciseRelevancyScore: 0
IllustrationInfo
Items – Name: Title
  Label: Title
  Group: Ti
  Data: Tales on Soles: Driving Design via Design Activism
– Name: Language
  Label: Language
  Group: Lang
  Data: English
– Name: Author
  Label: Authors
  Group: Au
  Data: <searchLink fieldCode="AR" term="%22Chamila+Subasinghe%22">Chamila Subasinghe</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0003-2832-9281">0000-0003-2832-9281</externalLink>)
– Name: TitleSource
  Label: Source
  Group: Src
  Data: <searchLink fieldCode="SO" term="%22Teaching+in+Higher+Education%22"><i>Teaching in Higher Education</i></searchLink>. 2024 29(1):53-74.
– Name: Avail
  Label: Availability
  Group: Avail
  Data: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
– Name: PeerReviewed
  Label: Peer Reviewed
  Group: SrcInfo
  Data: Y
– Name: Pages
  Label: Page Count
  Group: Src
  Data: 22
– Name: DatePubCY
  Label: Publication Date
  Group: Date
  Data: 2024
– Name: TypeDocument
  Label: Document Type
  Group: TypDoc
  Data: Journal Articles<br />Reports - Descriptive
– Name: Audience
  Label: Education Level
  Group: Audnce
  Data: <searchLink fieldCode="EL" term="%22Higher+Education%22">Higher Education</searchLink><br /><searchLink fieldCode="EL" term="%22Postsecondary+Education%22">Postsecondary Education</searchLink>
– Name: Subject
  Label: Descriptors
  Group: Su
  Data: <searchLink fieldCode="DE" term="%22Foreign+Countries%22">Foreign Countries</searchLink><br /><searchLink fieldCode="DE" term="%22Design%22">Design</searchLink><br /><searchLink fieldCode="DE" term="%22Activism%22">Activism</searchLink><br /><searchLink fieldCode="DE" term="%22Educational+Innovation%22">Educational Innovation</searchLink><br /><searchLink fieldCode="DE" term="%22College+Students%22">College Students</searchLink><br /><searchLink fieldCode="DE" term="%22Experiential+Learning%22">Experiential Learning</searchLink><br /><searchLink fieldCode="DE" term="%22Skill+Development%22">Skill Development</searchLink><br /><searchLink fieldCode="DE" term="%22Problem+Based+Learning%22">Problem Based Learning</searchLink><br /><searchLink fieldCode="DE" term="%22Educational+Facilities%22">Educational Facilities</searchLink><br /><searchLink fieldCode="DE" term="%22Creativity%22">Creativity</searchLink><br /><searchLink fieldCode="DE" term="%22Educational+Technology%22">Educational Technology</searchLink><br /><searchLink fieldCode="DE" term="%22Competition%22">Competition</searchLink><br /><searchLink fieldCode="DE" term="%22Evaluation+Methods%22">Evaluation Methods</searchLink><br /><searchLink fieldCode="DE" term="%22Interdisciplinary+Approach%22">Interdisciplinary Approach</searchLink>
– Name: Subject
  Label: Geographic Terms
  Group: Su
  Data: <searchLink fieldCode="DE" term="%22Australia%22">Australia</searchLink>
– Name: DOI
  Label: DOI
  Group: ID
  Data: 10.1080/13562517.2021.1962272
– Name: ISSN
  Label: ISSN
  Group: ISSN
  Data: 1356-2517<br />1470-1294
– Name: Abstract
  Label: Abstract
  Group: Ab
  Data: Studio, a breeding ground for curiosity and wonder, has become more of a confined space for innovation lately. Infrastructure shortage also has triggered a somewhat impersonal attitude to studio learning. Can Design-Activism mitigate such stresses on the studio by becoming an alternative mode of driving studio processes? Reflectively, this study reports on upskilling students via alternative modes of learning to overcome infrastructure dependency. Participants of Tales on Soles (ToS) student design competition, embarked on an exploratory excursion to turn the studio into a place to adventure in a different way: emancipation of studio via activism. Narrated via reflective accounts of the author and the stakeholders, ToS delves into intricacies of innate nuances of a pertinent pedagogy: studio. The improvised studio infrastructure via transformed didactic models demonstrated Design-Activism's ability to harness alternate modes of driving studio. The themes deduced from the process demonstrate activism as an emancipation tool for studio innovations.
– Name: AbstractInfo
  Label: Abstractor
  Group: Ab
  Data: As Provided
– Name: DateEntry
  Label: Entry Date
  Group: Date
  Data: 2024
– Name: AN
  Label: Accession Number
  Group: ID
  Data: EJ1413661
PLink https://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=eric&AN=EJ1413661
RecordInfo BibRecord:
  BibEntity:
    Identifiers:
      – Type: doi
        Value: 10.1080/13562517.2021.1962272
    Languages:
      – Text: English
    PhysicalDescription:
      Pagination:
        PageCount: 22
        StartPage: 53
    Subjects:
      – SubjectFull: Foreign Countries
        Type: general
      – SubjectFull: Design
        Type: general
      – SubjectFull: Activism
        Type: general
      – SubjectFull: Educational Innovation
        Type: general
      – SubjectFull: College Students
        Type: general
      – SubjectFull: Experiential Learning
        Type: general
      – SubjectFull: Skill Development
        Type: general
      – SubjectFull: Problem Based Learning
        Type: general
      – SubjectFull: Educational Facilities
        Type: general
      – SubjectFull: Creativity
        Type: general
      – SubjectFull: Educational Technology
        Type: general
      – SubjectFull: Competition
        Type: general
      – SubjectFull: Evaluation Methods
        Type: general
      – SubjectFull: Interdisciplinary Approach
        Type: general
      – SubjectFull: Australia
        Type: general
    Titles:
      – TitleFull: Tales on Soles: Driving Design via Design Activism
        Type: main
  BibRelationships:
    HasContributorRelationships:
      – PersonEntity:
          Name:
            NameFull: Chamila Subasinghe
    IsPartOfRelationships:
      – BibEntity:
          Dates:
            – D: 01
              M: 01
              Type: published
              Y: 2024
          Identifiers:
            – Type: issn-print
              Value: 1356-2517
            – Type: issn-electronic
              Value: 1470-1294
          Numbering:
            – Type: volume
              Value: 29
            – Type: issue
              Value: 1
          Titles:
            – TitleFull: Teaching in Higher Education
              Type: main
ResultId 1