MAKing (an ISSUU)

Evolution of the design of restorative elements using CAD software. Š Amit Zoran, images used with permission.

JULY 2014

Making dissolves the distinctions between domains such as arts, humanities, engineering, and science.

MAKing

SKETCH, DOODLE, INVENT, MAKE, TRY, FAIL, TINKER....

JUST GET THE IDEA OUT OF YOUR HEAD

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Using My Words When we recognize the overlaps/parallels be-

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tween the techniques, tools, and processes are used and taught in physics, auto shop, and the art studio, we will stop sorting kids into winners and losers.

Reggio Emilia

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Think studio or atelier spaces for young children.

Like a workshop, the Reggio Emilia approach provides kids an inteface with a wide range of materials, viewpoints, emotions, collaboration and the opportunity for free self-expression (Katz, 1993).

John Dewey

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John Dewey argued that students learn in a community driven environment with subject matter selected with the local community in mind (Stankiewicz, 2001).

Project Based Learning

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PBL teaches students by working through a project by posing a solution to a driving question. To solve that question the students research, gather data, prototype and reflect.

Design Thinking

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...best described as generating a solution through a formal process where many aspects of the problem can be evaluated, typically a “building” project (Cross, 1982). Rolf Faste of Stanford has furthered the early work of Robert McKim (1973) by promoting design thinking as a creative endeavor.

Design-Build

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Design-Build is an Industry interdisciplinary approach to project delivery. The term Design-Build has been around for thirty to forty years, however, it has deep roots in the “master builder� movement of the 20th century.

The Maker-Movement

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I observed people tinkering, doodling, painting, sketching, playing, seeking, a lot of words.... all these are preludes to serious ideas. They are preparation to making.

Common Ground

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Putting it all together. What are the commonalities of Project Based Learning, Design Thinking, Design-Build and the Maker-Movement?

The Studio Environment

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Courtesy of the Open Architecture Network, an in depth write up of a modular, portable, deconstructable, mobile classroom.

My Ideas For the Future

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Art and Making: On The Move!

Creative Director: Daniel Brooks Senior Designer: Dan Brooks, Junior Designer: Morgen Brooks, Maren Brooks, Stella Brooks

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Using My WORDS

Editor: Daniel Brooks, AIA

Text: Daniel Brooks Photograph: Daniel Brooks

What if we could dissolve the compartmentalization of engineering, humanities, science and art in education? “Making” does that. More importantly, it eradicates the unproductive attitude between vocational and academic education. When we recognize the overlaps/parallels between the techniques, tools, and processes are used and taught in physics, auto shop, and the art studio, we will stop sorting kids into winners and losers.

Inception

designer, we are dependent on many sources and no suc-

I came to the field of Art Education because my son started

cessful project is completed alone or in a vacuum. A project

school and I learned there were no art teachers. With profes-

may begin in a limited fashion but yield sketches that serve

sional training and experience in Architecture and Design,

as inspiration throughout a project. That art may be static.

I felt charged to do something about that.. But I was left

But, the design is ever-changing; design never stops. And as

wondering, how does my background position me within Art

the design progresses from vague, if not esoteric, beginnings

Education? I was concerned that what I was doing wouldn’t

towards highly technical construction documentation, the

be useful or would be considered self-serving. It’s my hope

architect is constantly learning and teaching those associated

that others will find my investigation of the links and common

with the project what is necessary to communicate an effec-

ground across disciplines useful. I am passionate about this

tive set of documents which in essence teaches the builder

research and feel it could be helpful for anyone struggling to

how to construct the painting on the wall into an inhabitable

connect their field to that of education, specifically industry

sculpture.

design experts and creatives seeking a involvement in education.

It’s within this collaborative process I discovered my passion for teaching. Not in a professorial way but in a collaborative

Art Education Utopia

dialogue between the teachers guiding the student with

Architecture and Design are, by nature, collaborative efforts.

constant feedback. I believe that like design, teaching never

Despite the long lasting myth of the hero architect or star

stops. We all have the potential to be teachers.

– MAKING IN THE 21ST CENTURY

- Ideas becoming real.

On photo: From 2D scriblle to 3D design development modeling

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Blandy (2011) encourages us to stay mindful of sustainabil-

may be artists in their own right, in the classroom they are

ity, participatory culture and the performance of democracy.

teachers. And as such, should draw from any source available

While some cultures bring to mind iconic imagery and events,

to inform their practice. So what do we call designers who

many others are less accessible or less represented. One

are using art to solve problems and artists that use design to

commonality across cultures is our environment. Another is

make art? My research does not strive to answer these ques-

the political system in which we exist. Regardless of exact

tions but I do feel the need to acknowledge them.

physical location, the place in which you live has a history and a future and how you interact with it impacts the community

The key difference in the Maker Movement?

across socio-political constructions. As art educators we

Makers are serious people, but often, they just don’t know

need to mentor students to be “free agent” learners who can

about what. Yet some have a focus, they may even have a

learn in different pedagogies, draw upon any influence, and

product, they may have funding and support. They are active-

participate by becoming pure creators (Blandy, 2011).

ly seeking tools and the mssing links to complete their work.

Prior to becoming a “maker” I observed people tinkering,

Is Design Art?

doodling, painting, sketching, playing, seeking, a lot of words....

When looking at how industry design processes can inform

all these are preludes to serious ideas. They are preparation

art education I have to address an elephant in the room. Are

to making.

designers artists? Oftentimes, there’s a fingernails-on-the-

....these are preludes to serious ideas.

chalkboard reaction to calling a designer an artist. Is design art? Art typically deals with pure form and expression. Art may tell a story or be non-representational and simply exist, open to any interpretation. But design strives to solve a problem. Now add to the mix Art Educators. While art educators

MAKing (an ISSUU) Acknowledgment

Quote 001

Quote 002

I need to thank my wife and kids for their

“I crave ideas, and when an idea hits me, it

“Sir or Madam, will you now please justify

endless support. I also must thank Dr.

grips me and tortures me until I master it.”

your existence.”

Jodi Kushins and Dr. Craig Roland at The

- Gene Simmons

- George Bernard Shaw

University of Florida for their guidance.

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H I S T O RY

On photo: John Dewey (1859-1953)

M AT T E R S

ARISTOTLE

DEWEY ST THOMAS AQUINAS MICHEL FOUCAULT JOHN LOCKE

JEAN-JACQUES ROUSSEAU MARIA MONTESSORI LEV VYGOTSKY JEAN PAIGET

PROJECT LEARNING

“ONE MUST LEARN BY DOING THE THING, FOR THOUGH YOU THINK YOU KNOW IT, YOU HAVE NO CERTAINTY UNTIL YOU TRY.” - ARISTOTLE Learning through action

spirit of art, history and science. When the school

Learning by doing is not a new practice. It has

introduces and trains each child of society into

been around for thousands of years. It’s fair to

membership within such a little community, satu-

say that humans have been learning by doing

rating him with the spirit of service, and providing

since early homo sapiens rubbed two sticks

him with instruments of effective self-direction, we

together and discovered fire. But if there’s one

shall have the deepest and best guarantee of a

person that was first to adopt and apply the term

larger society which is worthy, lovely and harmoni-

“project learning” to the field of education, that

ous (Dewey, 1909, pg.44).” Dewey theorized that

person was is John Dewey.

education is integral to one’s life, not just as a preparatory act.

John Dewey lived during the Industrial Age, a time of massive change. He is considered one of the

Dewey was also a leader in the Progressive

most influential educational theorists of his time

School Movement. Progressivism was based on

and perhaps the 20th century. He was a propo-

four goals. First, broaden educational functions to

nent of learning that focused on the individual

address children’s health and family, incorporate

with an eye towards society. His educational

the use of psychology and sociology by teachers,

concept focused on meaningful activities and

expanding curriculum to be relevant to student’s

participation in a classroom democracy.

lives and the idea that everyone should participate in the arts. Most Progressives felt individual free-

John Dewey argued that students learn in a com-

dom was good and children should follow their

munity driven environment with subject matter se-

creative impulses. Others, felt learning should

lected with the local community in mind (Stankie-

still be structured and that freedom be developed

wicz, 2001). Dewey wrote in The School and

through systematic choices. (Stankiewicz, 2001)

Society “an embryonic community life, active with types of occupations that reflect the life of the larger society and permeated throughout with the On photo: Maria Montessori, her kind eyes

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FROEBEL “Play is the highest expression of human development in childhood for it alone is the free expression of what is in a child’s soul.”

-Friedrich Fröbel

The Dewey Connection Current programs such as STEM & STE(A)M (Science Technology Engineering, Arts, & Math), Project Based Learning (PBL), and Design Thinking (DT) have trendy labels, but at some point, you have to wonder why we feel the need to create jazzed-up 21st century acronyms and marketing campaigns for an old (but good) idea: hands-on learning through building visible progress.

We can’t get sidetracked by fighting futile, distracting battles, people will always have to confront selling themselves without selling out. The Maker movement and collaborative project learning tap into Dewey’s views towards a participatory democracy. Attendance at these makerspaces and Fablabs is optional and the projects are chose by the individual. Dewey was a proponent of this. And while the public school teacher may have to provide structure and utilize a defined process that might limit freedom of choice Dewey strived for, the goal should be for students to develop their own process and way of thinking that allows them to grow and not lose faith by exposure to endless teaching pedagogies.

The Fröebel Connection Fredrick Froebel’s philosophical foundations were influenced by Rousseau, Greek philosophers and religious teachings. While a devout Christian, Froebel did not preach or evangelize. He believed that an unsullied conscious and freedom to discover a divine inner law would reveal the parallels of the natural, physical, mental and spiritual worlds (Sienkiewicz, 1985).

Humans are productive and creative- fulfillment comes through developing harmony with nature and the world.

We need to develop in children, through interaction with the natural world, an ability to see the interconnectedness of all things. Through exploring the environment, the child’s understanding of the world unfolds. Frobel believed in the importance of play in a child’s learning as a creative activity.

(Sienkiewicz, 1985) On photo: Froebel’s 14th Gift; paperweaving & Piet Mondrian’s New York City I, 1942.

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H I S T O RY

M AT T E R S

REGGIO EMILIA Reggio Emilia Approach Think studio or atelier spaces for young children. Like a workshop, the Reggio Emilia approach provides kids an inteface with a wide range of materials, viewpoints, emotions, collaboration and the opportunity for free selfexpression (Katz, 1993). But it is more thatn that, the work ‘project’ doesn’t quite account for what Reggio is doing.

Themes might start from a planned event but also from chance. Topics are born from student interests. They are long-term, and in-depth on environment, science, or culture that students have expressed an interest in.

Parents interact with teacher frequently and children work in small groups to foster collaborative problem solving and dialogue (Malaguzzi, 1993).

Reggio schools ‘evolved as a system to enhance teachers’ full potential, as well as the children’s (Lenham-Benham, 2006, pg. 26).’ This understanding that teacher’s must have continuing proffessional educational must be a part of the teachers role. It will only stregthen a teacher’s standing in the education field.

On photo: Reggio studio happenings

LORIS MALAGUZZI 9

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A teaching philosophy that children should have control over their learning and learn through fully experiencing their environment by using all their senses.

Children learn from their classmates and must be able to explore the world of materials and textures around them. This philosophy tries to provide the students with maximum opportunities for self-expression (Katz, 1993).

On photo: Loris Malaguzzi (Founder of the Reggio Emilia Approach)

The Hundred Languages No way. The hundred is there.

They tell the child: to discover the world already there

The child and of the hundred is made of one hundred.

they steal ninety-nine.

The child has a hundred languages a hundred hands

They tell the child:

a hundred thoughts

that work and play

a hundred ways of thinking

reality and fantasy

of playing, of speaking.

science and imagination

sky and earth A hundred always a hundred

reason and dream

ways of listening are things of marveling, of loving

that do not belong together.

a hundred joys for singing and understanding

And thus they tell the child

a hundred worlds

that the hundred is not there.

to discover a hundred worlds

The child says:

to invent No way. The hundred is there. a hundred worlds to dream.

-Loris Malaguzzi (translated by Lella Gandini) (Founder The child has

of the Reggio Emilia Approach)(Malaguzzi, 2005)

a hundred languages (and a hundred hundred hundred more) but they steal ninety-nine.

The school and the culture separate the head from the body.

No way.

The hundred is there.

They tell the child: to think without hands

to do without head to listen and not to speak to understand without joy

to love and to marvel only at Easter and at Christmas.

prototype.

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On photo: Arduino interactive sculputure-

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Project DO.IT.

BASED LEARNING Text: Daniel Brooks, Photograph: Daniel Brooks

Does project mean product? What if we interupted the the burden if linearity created through a closed process and focused more on progress? Couldn’t one class pick up where the previous left off? This is the nature of research and learning. Forwarding an idea, reinvestigating, verification and pushing on are implied nodes of the Project Based Learning (PBL) sequence.

Project Based vs. Project Oriented

of what they’ve done and they look great. And

Maybe it’s best to start talking about project-

there might be some good science, if it’s a sci-

based learning in the context of what it isn’t

ence project, or if it’s an art project there might

versus what it is. Project-based learning isn’t

be some really interesting work. But it’s not

necessarily covering all the state standards or

project-based learning because the kids do not

reading the standards out loud or following a

have to learn all these things to get the project

set curriculum and getting worksheets done and

done (Bell, 2010).

some tests and quizzes conducted.

This is what project work-based learning is, it’s

If you do all these things you’ve probably

project oriented learning, it’s kind of like Nobel

covered yourself but in reality all these things

Laureate Elie Wiesel said, “the opposite of

are for the teachers and administrators. They’re

love isn’t hate, the opposite of love is indiffer-

not for the students. And then about two weeks

ence” and opposite of project-based learning is

before the end of the semester you say, “kids

project oriented learning not straight lecturing.

we’re going to do a project.” The project is ori-

For example, project oriented learning goes

ented towards the things that the kids studied

through the essays, problems (book learning)

in class and then they make the project they

and then does a project. PBL requires students

don’t really have enough time to edit it or revise

to research the project from the start.

it. Then on the final day or two of class they’ll present their projects and they’re all very proud

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PBL Process ---------------------------------------->> Let’s look at these phases and essentials in greater detail. open-ended and higher-level question that focuses on real-world issues that students should answer before given instruction.

The culminating challenge is an introduction of an authentic assessment or performance to the students that will demonstrate mastery and content and skills students can be given a guided choice and demonstrating knowledge and skills. After brainstorming solutions, students will develop a clear driving question that will give students a sense of purpose. Driving questions should be abstract, open-ended, complex and connected to the instructional goal (Bell, 2010).

On photo: PBL Process visualized

The introduction of a driving question is a meaningful

COMMENT

Next, students begin the research phase. It’s also known

Praesent aliquam nisl nec porttitor dapibus.

as developing the subject matter. Authentic tasks should

Pellentesque mollis, velit eget congue faucibus,

require students to utilize collaboration, communication, creative and critical thinking skills, as well as use of technology or in other words, 21st century skills. Inquiry

eros purus euismod velit, a dignissim quam tellus et urna. In hac habitasse platea dictumst.

and innovations is also present here. Students will find answers through the teacher books articles websites and experts the gathered information will be used to create a product.

The next phase is actually doing of the culminating challenge. This phase is the performance assessment for the students to demonstrate their “expertise” in the new concept. Ideally, a subject matter expert would be involved to assess student work. Ideally the presence of a subject matter expert could provide valuable and immediate feedback to the students.

Finally, the summative assessment and public project presentation occurs. Products of the culminating challenge are presented to numerous audiences, including parents, peers, experts and the global community if you will. This motivates students to create high-quality products. The summative assessment measures the learning objectives of each student.

On photo: Arduino based interactive sculpture. What? You wanted them to build a radio?

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On photo: ROLF ARNE FASTE (1943-2003) Faste furthered the work of Robert McKim and Herbert Simon. He defined and helped popularized the term “design thinking.”

On photo: visual ideation wall, Makerhaus

Design

THINKING Text: Daniel Brooks

Not everyone can be a great designer, but a great designer can come from anywhere.

Always ask, What comes next? What do we need

The Design Thinking process embodies a “bias towards ac-

next?

tion” or a “just do it” attitude. By making models or prototypes

Observe-Define-Ideate-Prototype-Test-Reflect

of ideas, problems can be identified and fixed early in the design cycle. Tangible objects or simulated experiences allow students to obtain more informed feedback from users before committing the time and resources to a final version (Razzouk

Design Thinking Process

& Shute, 2012).

Active listening and curiosity are practiced and enhanced as a critical skill of DT. Through direct lessons and extensive practice, students become proficient inquisitors who recognize

Designers bring an open mind and a novice or blank-slate

the power of beginning questions with, “Why?” Solving even

mindset of “not knowing” in order to collect both positive and

a small part of a large issue is worthy of effort. We need to

negative feedback to improve their solutions. Experimenta-

foster an attitude of optimism that is supported by the tools of

tion as well as failures are valued for their information and

the Design Thinking process.

because they contribute to future success. Students use the feedback to better their prototypes.

13 Using additional research and brainstorming and the information they have collected, they decide how best to proceed. Should we change our prototype? Have we answered our questions? Do we need more information and ideas? Should we scrap this and start over?

Collaboration

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COMMENT “That’s what all we are: amateurs. We don’t live long enough to be anything else.”

-Charlie Chapman

Beyond the DT standard process step is the inherent need for collaboration. Using basic techniques of project planning and time management, students practice how On photo: nam id tellus bibendum, porta turpis id

to monitor their progress and meet deadlines. I also observed the need to monitor team dynamics. Having individual “check-ins” with the instructor to voice concerns and work collectively. It is also important to monitor the motivation of a team. If the various stages of DT are visited without enthusiasm the results are likely to be less than innovative. Design Thinking teaches more than Design or positive production, it teaches teamwork and leadership skills (Razzouk & Shute, 2012).

Brainstorming Brainstorming is a set of skills as well as an attitude. By adhering to a few rules, teams and individuals learn to turn off their judging brains in order to increase the fluency of

On photo: Design Thinking applied, the new doesn’t always copy the old, urban infill project, Chicago.

of their ideas. I observed many students using a version of sketch brainstorming or idea/concept mapping to allow them to rapidly capture their ideas (Razzouk & Shute, 2012).

DesirabilityFeasibility-Viability

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On photo: Fabricated wall display case

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KEY IDEA

The builder typically has a better handle on costs and construction methods - as they are the one typically purchasing materials and “building” the design - this aides in avoiding time consuming changes during prototyping and construction.

Interdisciplinary approach Design-Build is an Industry interdisciplinary approach to project delivery. The term Design-Build has been around for thirty to forty years, however, it has deep roots in the “master builder” movement of the 20th century and humans have been designing and building, or making, for millennia.

In practice-oriented fields of research, such as architecture and design, field observation and hands-on project design is essential. The ability to practice design is based upon previous experiences and a deepening repertoire of “projects.”

These projects are based either on personal experience or are model cases established within the profession. Further, with having field experience of working with the builder (if not onein-the-same as designer) will deepen the skill of the designer.

The knowledge base we are seeking to build is activated when their work is based on comparisons between known projects and actual design program parameters.

On photo: Visualization of the Design-Build process.

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Design-

BUILD Text: Daniel Brooks Illustrations: Daniel Brooks

On photo: Design communication isn’t always straight lines

THE GIST In Design-Build, the designer is not necessarily the same person. However, both the designer and the builder are on the same team from the start of the design.

“The initial sketch is always an emotion, not a

Design-Build is PBL At its core, Design-Build is project-based learning. Certainly,

concept.” - Samuel Mockbee

designers with paying clients goal is to serve them well, and clients want the master not the apprentice, but the successes and failures on any given project will only heighten the quality

Design-Build-Perversion

of the next.

The Design-Build ideal was to have a team where the

Why make it real?

designer and builder were working hand in glove with each

Typically, in art and design courses, students have an exhibi-

other. And some firms work in that manner. But in my expe-

tion, earn a grade, and move on. But learning happens when

rience the designer has become a token role on the team and

you figure out, now my model or concept has to deal with real

the builder takes control of the design in order to keep the

world interactions. You may get dissenting opinions or have

construction quick and easy at the sacrifice of good design.

to compromise some of the ideals incubated in the safer stu-

The architect or designer becomes and advisor with little or

dio environment. I’ve stated before that design never stops.

no decision making ability. So in many instances the client

In fact, it may not really start until it is out in the world.

who was expecting a better product by using the design-build approach is actually getting a lesser.

On photo: Field sketch, Ping-pong while peer reviewing, Makerhaus

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On photo: Sip & Skecth event, Makerhaus

Maker-movement

This coexisting and blending of disciplines reminds

What is it? It’s a studio environment for learning-by-

me of a powerful event in art history, the Armory

doing in a social setting. “Making” represents the per-

Show. The 1913 Armory Show was subversive and

fect storm of new technological materials, expanded

undermined assumptions and expectations of art-

opportunities, learning through firsthand experience,

making that had been stoic since the Renaissance

and the basic human impulse to create. Clinicly, it an

(Doss, 2005). Until then, Americans had not seen

uprising of student, teachers and industry creatives

experimental modern art, not to mention cubism, fu-

that are seeking a studio environment (think 21st

turism, fauvism or other work that challenged classical

century shop class) where tools are shared, work

art. This work challenged the notion that art should be

critiqued and progress witnessed. Tools, Materials, and

a “window” to the world.

Mentorship.

The maker-movement exemplifies in a Marxian way If something is worth doing, it’s worth skipping lunch

that workers can afford to produce. Kickstarter has

for. That may not be the official motto of Tracy Rudzi-

made fundraising only from large investors unneces-

tis’s students at The Computer School in New York

sary. One concern in this world of makers and the

City, but it might as well be. On any given day, 50 of

do-it-yourself, Esty, Pinterest explosion is that when

the sixth through eighth graders gather during lunch-

we are all entrepreneurs it becomes more difficult to

time in the school’s “Maker Space” to design their own

get others excited about your project. Your new and

video games, build robots, mix squishy circuit dough

interesting thing becomes more about your ability to

on a hot plate, or sew a wearable computer. Really.

attract attention.

Tools, Materials, Mentorship.

This also connects the Maker movement to the Arts and Crafts Movement of the late 19th century and

Armory Show, Dada and Arts & Crafts

early 20th century. Albeit a more radical faction of

While many makers are creating a “product” I don’t

the Arts and Crafts Movement, that furthered worker

think they are fully geared towards the capitalism of

autonomy as goal of the movement over the wing

creating a business. It’s the reverse, they using capi-

more concerned with good taste, self-fulfillment and

talism to support their motivation in making new and

beautiful objects. The Arts and Crafts Movement

interesting things. They are investing in themselves.

occurred in defiance of mechanical production. The

They are connecting multiple genres and disciplines

Maker movement is part of a 21st century Arts and

and coexisting.

Crafts renaissance.

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Makermovement Q: If project making and learning has been around since, well forever, what about the Maker Movement makes it so popular, or new?

A: Because at some point we all became perfectionists and forgot how to trust our processes and urges to create, invent, design or make something that make others happy. We quit. But this generation might have the tools to avoid that pitfall.

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PROJECT-BASED LEARNING, DESIGN THINKING, DESIGNBUILD & MAKER

common ground Collaboration, Brainstorming & Ideation, Mutli-modal Thinking, Optimism, The Studio Environment, Visual & Design Communication Collaboration

Brainstorming & Ideation

Across these processes a commonal-

Designers want to “make something bet-

ity is collaboration and cooperation. It’s

ter” and in my research of Project-Based

key to recognize the difference between

Learning, Design Thinking, and Design-

these two words, we usually use these

Build their process starts with brainstorm-

to words interchangeably, but cooperat-

ing. I observed many Makerhaus students

ing is more enabling someone to do

using a version of sketch brainstorming or

something through shared resources

idea/concept mapping to allow them to

while collaboration is actually working

rapidly capture their ideas. Brainstorming

together to achieve the goal. So much so,

in these environments is a set of skills as

that the work of any one ream member is

well as an attitude. By adhering to a few

indistinguishable. Another way to look at it

rules, teams and individuals learn to turn

is that cooperation can be non-interfering

off their judging brains in order to increase

or passive, while collaboration is active.

the fluency of their ideas. I observed many students using a version of sketch

Collaboration makes the relationship

brainstorming or idea/concept mapping to

between teacher and student flexible. The

allow them to rapidly capture their ideas.

burden is still on the teacher or mentor to

Some even created abstract paintings as a

give up their typical authoritarian role.

source of inspiration. Visual communication through drawing and sketching are

Additionally, I observed independent

integral to the process.

artists and designers coming together to design and build the tools they needed

Not only have I observed several types of

to complete their projects. For example,

brainstorming I have observed designers

at Makerhaus in Seattle, WA a group

utilize brainstorming in multiple phases.

was made to design and build a low-cost

For example, the maker had identified the

foundry for melting and casting metals.

problems, had the goal, had the design,

Not only does this help the maker com-

but during the prototyping phase ran

munity accomplish their goals, it provides

into materiality problems. The maker

a new tool for use by the next cycle of

went back and utilized his brainstorming

makers in the space.

method but in a focused way on what materials offered a better solution.

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Multi-modal Thinking Common between projects and programs is that they alternate maximum divergent thinking with bouts of intense convergent thinking. Brainstorming is an example of divergent thinking. Perhaps this is an easier way to relate to these terms, divergent thinking is the “big picture” and convergent is the “details.”

I observed in the field divergent thinking used in conjunction with convergent thinking. Covergent thinking is then following a process of step to create one, best solution. I believe it is fair to say the methods of Project Based Learning, Design Thinking and Design-Build are example of convergent processes that

On photo: laser cut & engraved mixed media art, Makerhaus

utilize within them rounds of divergent thinking. Once the brainstorming phase was over makers and designers moved on

On photo: Field observation sketch, Idea & Concept mapping, Makerhaus

to prototyping, building and making.

On photo: “Brainstorm” - get it?

“Harmony, that’s the word that’s stuck in my mind, its not about what’s lasting or permanent, it’s about individual voices coming together for a moment … and that moment lasts the length of a breath…”

-Francis Underwood

commonalities 20

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Materiality

I also observed another version of brainstorm-

I encourage your to check out Leah Buech-

ing, makers call it “material hacking.” The mak-

ley’s TED Talk titled “How to Sketch with

ers salvage as much stuff as they can, furniture,

Electronics” at URL: http://www.ted.com/

electronics – not just junk, high-end technology

talks/leah_buechley_how_to_sketch_with_

and anything else they can get their hands on

electronics#t-265283. Buechley illustrates

and rip it, hacksaw, laser cut and reassemble

interactive art accomplished primarily through

into something else that does, something. To

conductive ink and integrated electonics. Or,

a material hacker, there is no high tech or low

from another perspective, she show tools that

tech, only tools, only materials.

treat electronics like paper and pen, like a piano you draw and then play. You have to see it to

Some might call this “tinkering.” And it is, but

believe it. Project learnign and Makers use any-

it is also done without regard to a designed

hting as a material. To Makers “tech” and “code”

reassemblage. They are purely harvesting

are just as textural as clay or paint.

materials and letting material aid in driving the design.

On photo: Sketching, analog and digital, Metrix Create: Space

QUESTION What if your motivation was to transform the original work into a new object in which both the deconstruction (tinkering) and the construction functioned as a memorial to the old, how would you do that?

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The Studio Environment What is a studio?

Optimism & Excitment Attendance at maker spaces and fablabs is optional. When creatives are utilizing a process such as PBL and DT they appear more active and engaged in the project. They are building visual progress and experiencing, if not full-on success, then they are learning through their failures. I didn’t observe people that were bored, they were excited to be there. The instructors or experts weren’t just following the curriculum and the students were focused. This should be the norm not the exception. At some point kids become

I started this research thinking there was no high tech or low tech, only tools. I now

perfectionists and forget how to brainstorm or just

see the work produced via the digital side,

produce work that will aide in the final product or

or tools, are instrinsically reproducable.

quit instead of getting the idea out of their head.

are individually produced by hand.

Do “Makers” succesfully combine digital fabrication with craft?

On photo: Artists in the Art Studio, Zoya Kriminskaya, used with permission

In stark contrast, traditional craft artifacts

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Studio work, printmaking

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ENVIRONMENT

Studio “...Children have their own laws. What right have grown-up people to interfere? They should draw as they feel. And all children have feelings and something to express!”

-Franz Cizek Enabling Element The classroom is a mutable framework in which we conduct learning to achieve greater meaning and relation to the world in which we exist. The very definition of classroom must be expanded beyond the literal physical qualities. The environment I, and these authors, are discussing are experiences and exposures of students to anything that will drive their artistic and aesthetic development.

Whether it’s by creating a safe zone, free from

fear and rejection, or creating an environment conducive to pondering essential questions, the classroom space in which any style or vision of art education is the enabling element. Curating this environment also facilitates Judith Burton’s (2001) observation that Viktor Lowenfeld desired to protect the right of young people “to construct their own meanings and speak in their own voices” (p. 35) and thereby battling forces of determinism and essentialism.

Burton said, “Artistry is imbedded in our shared humanness, its outcomes are trans-cultural and trans-historical

The Study Group for Holistic Approaches in Art Education

and permit public discourse and conversations across

affirms safe learning environments where students can

national boundaries and time” (p. 36). Further, develop-

cooperate, support and engage art of utmost importance

ment will not occur in any real sense without a proper

(Carroll, 2006). Mary Wolfe (2004, p. 38) says, “You

supporting environment that supports art creation beyond

are not here to prove yourself. You are here to improve

simple material exposure (Burton, 2001).

yourself.”

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The activating element of the student’s environment

this children infer art is not a high priority. Thereby

is the teacher role. London (2003) discusses the

making cognitive choices to eliminate or further mar-

“I-Thou” teacher and student relationship. In this

ginalize their art education. (Eisner, 1980)

relationship it is made clear to each student that they have value information to share and the teacher is sincerely interested in what they have to say.

What I’ve Seen If the teacher is the activating element, then we need

My experience as an art educator is limited to a few

be concerned with what type of environment they

weeks at College For Kids each summer during my

are activating. What qualities should we look for in a

undergraduate years. I also volunteer as an art docent

teacher that will create trust from the student? Atten-

at my sons school and have volunteered at Sanctu-

tiveness without judgment, asking the right questions,

ary Art Center. I have an architectural background

sincere eye contact, self-knowledge, wisdom, capacity

and am a current practicing architect. Admittedly,

to focus on others needs (Carroll, 2006).

until now, I have put limited thought into perspectives on art development and teaching attitudes. But my

Much like Eisner’s (1980) arguments towards a wider

architectural sensibilities have given me a height-

view of cognition, to require an active organism that

ened awareness of my environment. Coupled with

must interact with the environment, the environment

the art educational environments the authors earlier

presented must be filled with proper opportunities

discussed it is reasonable and important to focus on

from which to choose. Art education is marginalized,

the environment surrounding the art student.

small time allocations, poor scheduling and through My classroom experience as a student was focused primarily on technical aspects. As an art teacher I don’t want to focus on only the technical aspects. I want to teach art in a different way and art that is different. I like to think that art and art education, in a sense, is beyond these things. Art should be focused on beauty or creation and innovation towards a novel and creative approach.

This environment becomes the activating element for transformative learning and holistic learning. The youth I experience seems to have a heightened sense of awareness in their world and culture. They aren’t just passing through onto the next typical phase of human development, they are really struggling and fighting everyday for some sign of success and justification for living in their current circumstances. It is essential to respect youth as equals in our humanness.

On photo: Relocatable Classroom Design, editorial use of image approved

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01

Design Strategy This approach incorporates simple, fundamental strategies of passive environmental design, prefabrication, and on-site modular assemblage while ensuring optimal, natural indoor light and air quality. The spaces immediately outside of the classroom are considered to be equally important learning and social environments and designed to be directly accessible from the main interior classroom space.

Based on a system of prefabricated 4’ x 10’ building panels, our classroom proposal can be customized to meet varying size requirements. Flexibility, sustainability, durability and adaptability are central tenets of the design that influenced the priority for quick assembly with only the use of hand tools.

The supervision of only one skilled carpenter is required to lead a small group of 6 to 8 volunteers to realize the classroom building. The prefabricated panel system is designed so that it can be safely and easily assembled in remote sites with no access to electricity, crane or rigging equipment. The entire building system can be delivered to the site as a flat pack, lifted and assembled by volunteers working in small groups from two to four people. Each standard, prefabricated panel is made with prefinished corrugated metal cladding, engineered, laminated wood, and rigid insulation and can be modified to serve multiple purposes from acting as a shear structural panel to a completely open aperture frame. A variety of prefabricated panels include doors, operable and non-operable windows and venting. Additionally, the panel is designed as a moment frame that is directly connected to the main structural box-beam and joist system below the flooring; an incorporated tie connection to the rafters supporting the secondary and primary roofs completes the overall structural frame of the building. Our design utilizes a double-roof system, which has many advantages, among which is the reduction in both conductive and convective thermal transfer from the roof to the interior ceiling.

03

Relocatable Classroom/ Portable Makerspace 25

– MAKING IN THE 21ST CENTURY

The Open Architecture Network is an online, open-source community dedicated to

improving living conditions through innovative and sustainable design.This bonafide classroom has the ability to be quickly deconstructed and moved to a new location or be stored during times of unuse.

02

Use

Design-Build Process

There are two entrances to the building located on op-

The design team is centered on the philosophy that

posite sides of the classroom. One entrance is made

design and building processes are dialectically inter-

wheelchair accessible by a gentle ramp leading to the

dependent. A building is not simply a result, outcome,

main entry porch. Inside, the students’ desks can be

or even a product of design, but an inextricable, in-

organized in a variety of ways to take advantage of a

vestigative, collaboration well informed by thoughtful

single, sliding chalkboard panel or the panel can be

research, substantive interdisciplinary exchanges, and

split into two chalkboards that can be used to teach

direct community involvement. We see challenges

two groups of students at opposite ends of the room;

related to budget and logistics as opportunities to

in this scenario, the room would be subdivided by a

better inform the design and not limits to the creative

sound absorptive curtain. The main interior classroom

process; architecture and engineering, academic and

circulation is located opposite the teaching wall and

professional, and non-profit community partnerships

the sliding chalkboard panels and is on axis with the

are essential to effectively address these challenges.

two egresses; this simple and effective circulation

Well integrated passive environmental systems and

path is designed for the safe and orderly exiting of the

making pragmatic use of alternative building materials

classroom in case of an emergency while giving the

and volunteer skill sets certainly matter in the design

teacher unobstructed sightlines across the room to

of this project, but – most importantly – realize its so-

all students and points of egress. The prefabricated

cial significance and community value should only be

panels also include a variety of storage bin sizes

measured in terms of the transformative opportunities

and shapes located at different heights that could

a place of education would offer children – regardless

be appropriately accessed by students and teachers.

of the surrounding circumstances.

Tables fold out of the storage cabinets and can be used as student group tables as well as a teacher’s desk. The storage panels also incorporate computer stations and additional writing surfaces for small group projects and lab activities.

04 1

On photo: Modular wall cabinets house special functions as well as construct the wall.

2

On photo: Bird’s eye view of space, multiple floorplan configurations.

3

On photo: Exploded axonometric model illustrating prefabricated wall panel system.

4

On photo: Building section, illustrates minimal foundation work and light-weight materials.

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01

02

03 04

05

05

27

1

On photo: The ideal - Bus Concept, ©Peter Simon, used with permission.

2

On photo: The reality - budgets are real - sweat equity is needed

3

On photo: Concept sketches

4

On photo: Puget Sound art education ecosystem

5

On photo: An example, existing art bus

– MAKING IN THE 21ST CENTURY

M.A.R.V. Through projects geared toward hands-on learning, use of speakers

and field trips, and a variety of “shop tools” will provide students with the opportunity to aggressively explore the link between art and design with maker-movement technology and coding.

MOBILITY

Text: Daniel Brooks Photograph: Peter Simon, Daniel Brooks

Why MARV?

the learner’s subsequent experiences (Clark,

The problems I had (which spurred my “aha!”

1993). Visitors of MARV will find meaning and

moment), “How can we reach more common

through self-reflection, integration, coherence

people with art?” and “What’s missing in

and complexity of understanding occurs (Carroll,

Seattle’s art ecosystem?” When studying the

2006). Further Mezirow (1997) states that we do

art ecosystem of Puget Sound I quickly realized

not make transformative changes in the way we

there were a multitude of programs available.

learn as long as the new material fits comfort-

The Nurture & Heal, Build & Improve and Inspire

ably in our existing frames of reference. MARV,

& Mobilize and Educate & Inform sectors of

while welcoming, is also a way to get people out

William Cleveland (2010) Art Ecosystem are well

of their comfort zones, if only for a little while.

covered. That is, as long as the end user can

MARV seeks to provide challenges and oppor-

get to them. And that was my ‘aha!’ moment.

tunities for citizens to engage in the community

MARV was born. We’ll bring the art to you.

through participation.

Transformative Learning

Creative Placemaking

Facilitating a productive environment will assist

Instead of a single arts center and cultural

in producing Transformational Learning. Trans-

institutions MARV envisions a decentralized

formational learning is when deep learning and

creation of contemporary placemaking. MARV

integration occur. It can further be defined as

becomes a hub that reflects the ethic or historic

learning that induces more far-reaching change

character of the place and invite residents and

in the learner, especially learning experiences

transients alike across boundaries to visit, pa-

which shape the learner and produce a signifi-

tronize and enjoy.

cant impact, or paradigm shift, which affects

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On photo: The four seasons of Dan

DAN BROOKS

covered a lot of ground here and if I can circle the wagons around Just one. ------> I’ve just one idea of what it all means it is this; regardless of chosen curphilosophy, or process, if one is truly focused on furthering their more. thing. riculum own individualized process you have to stay aware of what you are doing. Unless it is done with purpose and rigor we will fall into a maze of random intuitiveness. And while there is some value in that serious art and design is done with intention.

Daniel Brooks had been a practicing archi-

Daniel has been interested in architecture

tect for over fifteen years. He is licensed

since the age of 10 and designed and built

in Washington, Oregon, Alaska and Cold

his first residential structure by the age

Region Engineering certified as well as

of 16. More than eight years of residential

National Council of Architectural Registra-

design and construction followed. Daniel

tion Boards (NCARB) certified. Dan is also

studied architecture in abroad in England,

a Leadership in Energy and Environmental

Spain, Italy, Egypt and Pakistan. He won

Design Accredited Professional (LEED

an international design competition

AP). He is also a member of the Ameri-

On photo: Collograph print, 2013

can Institute of Architects (AIA), National Art Educators Association (NAEA) and a board member of the Mt. Tahoma Post of the Society od American Military Engineers (SAME). He graduated from Iowa State University with a professional degree in Architecture.

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– MAKING IN THE 21ST CENTURY

sponsored by Domus magazine. Since graduation from Iowa State University, he has worked for corporate clients such as Albertson’s, Jack in the Box, McDonald’s, Payless Shoes and Starbucks. Dan also has experience working on U.S. Department of Housing and Urban Development funded multi-family residential and assisted living facilities in Washington and Oregon.

Daniel served in the U.S. Army and Reserves. His current architectural focus is military projects at Joint Base LewisMcChord (JBLM) and other installations, involving everything from American Disabilities Act and Anti-Terrorism/Force Protection compliance, building renovation

On photo: Me and the kids.

and historic preservation, to repurposing, sustainment, and new construction.

He’s worked on a variety of project types, including headquarters, training facilities, recreation and gym facilities, and administrative buildings.

Dan enjoys spending time with his family. They cheer on the Seattle Seahawks, garden, make art, make forts and fish. He loves making watercolor monotype prints with his son and daughter. They live near

On photo: Collaborative printmaking, UF summer studio 2013

Seattle, WA.

On photo: LEGO monotype print, by my son Morgen Brooks

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REFERENCES: Bell, S. (2010). Project-Based Learning for the 21st Century: Skills for the Future. The Clearing House: A Journal of Educational Strategies, Issues and Ideas, 83(2), 39-43.

Burton, J. M. (2001). Lowenfeld, another look. Art Education, 54(6), 33-42.

Blandy, D. (2011). Sustainability, participatory culture, and the performance of democracy: Ascendant sites of theory and practice in art education. Studies in Art Education, 52(3), 243-255.

Carroll, K. L. (2006). Development and learning in art: Moving in the direction of a holistic paradigm for art education.

Visual Arts Research, 32(1), 16-28.

Clark, M. C. (1993). Transformational learning, New Directions For Adult And Continuing Education, (57), 47-56.

Dewey, J., (1907). The School and Society. The University of Chicago Press, Chicago, IL. Doss, Chap. 3: Avant-Garde Art and Experimentation (53-72).

Eisner, W. & Day, M.D. (Eds.), (1980).Handbook of research and policy in art education (pp 299-328). Reston, VA: National Art Education Association.

Katz, L., (1993). Edwards, C., Gandini, L., Forman, G. (Eds), ed. The Hundred Languages of Children: The Reggio Emilia Approach to Early Childhood Education. Norwood, NJ: Ablex Publishing Corporation. p. 19-37.

Lewin-Benham, A. (2006). Possible Schools: The Reggio Approach to Urban Education. New York: Teachers College Press.

Malaguzzi, L. (1993). Your Image of the Child: Where Teaching Begins. Child CAre Information Exchange. March/April 1994.

Magaluzzi, L. (2005). ‘The Hundred Languages of Children’, in The Hundred Languages of Children: The Exhibit (5th edn.).

Reggio Emilia: Reggio Children.

Mezirow, J (1997). Transformative learning: Theory to practice. New Directions for Adult and Continuing Education, 74, 5-12.

Razzouk, R. & Shute, V. (2012). What is Design Thinking and Why is it Important? Review of Educational Research, Vol. 82, No. 3, pp. 330-348. Article Stable URL: http://www.jstor.org/stable/23260048 Sienkiewicz, C. (1985). The Froebelian kindergarten as an art academy. In B. Wilson & H. Hoffa (Eds.), The history of art education: Proceedings from the Penn State conference (pp. 125-137). Reston, VA: National Art Education Association.

Stankiewicz, M. A. (2001). Freeing the Child Through Art. In M. A. Stankiewicz, Roots of art education practice (pp. 25-43).

Worcester, MA: Davis Publications.

Tavin, Kevin M.; Anderson, David. 2003. Teaching (Popular) Visual Culture: Deconstructing Disney in the Elementary Art Classoom. Art Education. Vol. 56, no. 3: 21-4, 33.

Wolfe, M. (2004). Creating safe environments for troubled youth. In P. London & The Study for Holistic Art Education (Eds.) Toward as Holistic Paradigm in Art. Eisenberg, Michael, & Buechley, Leah. (2008). Pervasive Fabrication: Making Construction Ubiquitous in Education. Journal of Software, 3(4), 62– 68.

Zoran, A. & Buechley, L. (2013). Hybrid Reassemblage: An Exploration of Craft, Digital Fabrication and Artifact Uniqueness. Leonardo, Vol. 46, No. 1, pp. 4-10, 38.

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