Student-Centered Learning Spaces Idea Book

Al e x a King School of I nte riors U ni versi t y of K e nt ucky

C ontents Addre ssing the need for student-centered learning space s

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Understanding interiors

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Inve stigating 21 st century students

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Ch a n g in g C o u rse : C o n n e ct in g C amp u s De s i gn to a N e w K i n d o f S tu de n t A H i g h- P e rfo rm a n ce P l ace f o r L e ar n i n g

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Di sc u ssio n

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Bal ancing Education

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Bloo m ’ s T hre e D o m a in s o f L e ar n i n g Maslo w ’ s Hie ra rchy o f N e eds Le a r n in g T he o rie s

Applying de sign c oncep ts E le me n t s o f d e sig n Pri n cip le s o f D e sig n

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De signing student-centered space s

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Forwarding the need

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Student-Centered Learning Spaces Idea Book

Addre ssi ng t h e ne e d fo r stu d e n t- c e n te re d L e a rn in g Spac e s

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he changes and advancements of the 21st century are prompting researchers, designers, and educators to rethink how learning environments can

accommodate students, especially in higher education. Student-centered learning spaces support individual student needs and interests by promoting autonomy and democracy. Presently, educators and interior designers acknowledge how interior spaces affect human relationships, human psychology, and learning.1 This scholarship explores the collaboration of education and interior design to enhance student-centered learning spaces. Three initiatives of student-centered spaces inform this idea book: enhancing learning, fostering community, and empowering individuality. Lastly, this document includes a catalog of contemporary spatial layouts, furnishings, and products that support student-centered environments.

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Student-Centered Learning Spaces Idea Book

Understa nd i ng i nt e r i o r s

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o understand interiors, one must know the practical and theoretical definitions of interiors. First and foremost, the Council for Interior Design Qualification

provides a practical definition of professional interior design as...

“Interior design encompasses the analysis, planning, design, documentation, and management of interior non-structural/non-seismic construction and alteration projects in compliance with applicable building design and construction, fire, life-safety, and energy codes, standards, regulations, and guidelines for the purpose of obtaining a building permit, as allowed by law. Qualified by means of education, experience, and examination, interior designers have a moral and ethical responsibility to protect consumers and occupants through the design of code-compliant, accessible, and inclusive interior environments that address wellbeing while considering the complex physical, mental, and emotional needs of people.”1

In summary, professional interior designers design inclusive and safe interior spaces that promote psychological and physical wellbeing. Theoretically speaking, the Latin meaning of interior is defined as inner, intimate, and remote.2 Also, the Latin term aligns with another variation of the word interiors - interiority. The term interiority represents the psychological state of being within. Interiority expresses “the individual’s inner life, rich and set in opposition to the pressures of the world.”3 Since the beginning of humanity, humans have psychologically constructed inhabitable interiors from the surrounding natural landscapes, such as a row of trees as walls, lawns as carpets, and skies as ceilings. Environmental features such as the Chauvet Cave or Christianity’s interpretation of the Garden of Eden are examples of inhabitable interiors within nature.4 This physical concept of interiors is known as the interior condition, defining interiors based on spatial components.5 However, as mentioned in the previous paragraph, the interpretation of interiors exceeds beyond physical space.

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The physical interior protects users from interior and external disturbances, allowing users to be introspective within the interior of their minds. Within the interior condition, users have experiences that create memories, influencing their perspective about that particular place. Students need to develop positive feelings about their learning environments to achieve academic success. Professional Interior Designers can help design healthy student-centered learning spaces that meet user needs, support engagement, and spaces for introspection.

Notes 1. Definition of Professional Interior Design, Council for Interior Design Qualification, Inc. , accessed March 2021, https://www.cidq.org/definition-of-interior-design.

2. Kevin D. Mahoney, “Interior, interior, interius.” https://latin-dictionary.net/definition/24421/interior-interior-interius.

3. Mark Pimlott, “Interiority and the Conditions of Interior,” Interiority 1, no. 1 (2018), https://doi. org/10.7454/in.v1i1.5.

4. Stanley Abercrombie, A Philosophy of Interior Design. 1st ed. ed. (New York: New York : Harper & Row, 1990).

5. Robert McCarter, The Space Within: Interior Experience as the Origin of Architecture. vol. 57734 (London: London: Reaktion Books, 2016).

Student-Centered Learning Spaces Idea Book

Inve stig at i ng 2 1 st ce nt u ry stu d e n ts

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ensler, a global design firm, countered the outdated “one-size-fits-all” learning model by undertaking two design research projects: “Changing Course:

Connecting Campus Design to a New Kind of Student” and “A High-Performance Place for Learning.” These two studies provide practical methodologies and outcomes, serving as precedents for higher education institutions looking to design student-centered learning spaces.

Changing Course : Connecting Campus Design to a New Kind of Student In this research study, Gensler’s sample (n=250) included 68% of undergraduate students and 32% of graduate students from 116 colleges and universities in the United States. Gensler sent six surveys in a three-month timeframe, consisting of one profile survey and five learning mode surveys: lectures, collaboration, working alone, group studying, and time between classes. Gensler collected data via text as a convenient line of communication to retain participation and capture real-time experiences. Gensler reported a 73% retention rate of participants at the end of the project. From the results, Gensler found three opportunities where higher-education environments can meet the needs of 21st century students (figure 1).1 The first need addresses students’ preference for pedagogical activities and classroom design to support active student collaboration. By positively interacting with others, students foster a deep emotional connection, known as “sense of place,” to their physical learning spaces and form “place attachment.”2 Well-designed interior environments designed for students further solidify students’ attachment and affiliation to their learning environments will increase student success An example of students’ preferred learning environment is called blended learning environments. Educators in blended learning environments assign individual work, such

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FIGURE 1 : Three Opportunitie s to Changing C ourse

as listening to lecturing, outside of the classroom. When class is in session, students participate in group activities and collaborate with their peers.3 According to this study, students value peer-to-peer engagement over technology, though technology does bolster students’ learning experience. Traditional campus design, such as lecture halls, does not support the blended learning approach.

The last preference addresses the lack of quiet individual work areas on campuses.

Traditional campus design of “in-between” spaces outside the classroom offers plenty of furniture options for social engagement, but not many options for quiet individual work. The researchers indicate that three out of four students prefer to work alone when not in a class, the single most reported activity undertaken on campuses by students.4 Blended learning environments offer students choice and the flexibility to complete individual assignments wherever they please.

Interior designers support this need by implementing the prospect-refuge theory within the built environment. The prospect-refuge theory suggests that humans flourish in environments where humans observe others (prospect) without feeling exposed

Student-Centered Learning Spaces Idea Book

(refuge).5 Designers maximize the effects of prospect-refuge theory by designing alcoves, vantage points (balconies, overlooks, and terraces), raising floor plates, and lowering ceilings along the perimeter of an immense open space.6 As stated before, the interior is a place where experiences are formed. To conclude, later in this present paper will provide how interior design can create a meaningful learning environment by implementing effective spatial planning, furnishings, and the artistic compositions of the principles and elements of design.

A H igh- Perf ormanc e P l ac e fo r Le a r n i n g For this research, Gensler partnered with the Silicon Schools Fund, a non-profit organization promoting innovative learning environments in the San Francisco Bay area. Gensler researchers were curious to learn if existing educational landscapes met students’ learning needs. The Gensler researchers collected prerequisite data by conducting field visits at learning spaces and interviewing leaders at various San Francisco Bay schools. After collecting the prerequisite data, Gensler partnered with one of the schools to perform the following research phase.7 The design research team was curious if rapid prototyping produces innovative interior design solutions for high-performance learning. The researchers designed and staged interactive prototypes of learning environments at a school for five weeks.

Design researchers developed several iterations of the prototypes based on continuous feedback from focus groups. After synthesizing the data, the research team identified three design opportunities to enhance student-centered learning environments (figure 2).8 The first design opportunity is mode-shifting, permitting users to seamlessly transition from one activity to the next due to the design of the interiors (i.e. furniture and

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FIGURE 2 : Three Opportunitie s for high Performance

furnishings). The researchers propose that the interior space needs to be attractive and inviting to motivate students extrinsically. Another interior design tip to support modeshifting is designing in the round, encouraging social engagement. Also, standing zones offer room for seamless transitions from one activity to the next. These standing spaces can also accommodate standing workstations, an ergonomic alternative to sitting. Also, the movability of non-disruptive, modular furniture allows users to create temporal learning and collaborative spaces. The last design suggestion for mode-shifting is integrating technology into learning environments as learning tools.9 The subsequent finding from this study is supporting focus. Per the study, students prefer semi-enclosed interior conditions to enhance focus by sheltering students from the front or back to buffer visual or audible distractions. Semi-enclosed learning spaces support students’ need for self-directed learning and studying. Additionally, these enclosed spaces are large enough to accommodate at least two users for collaborative learning.10 Theoretically, semi-enclosed spaces also meet students’ emotional needs. The

Student-Centered Learning Spaces Idea Book

pleasure-arousal-dominance hypothesis claims that environments can emotionally influence user behavior. Pleasure (positive feelings), arousal (excitement + challenge), and dominance (control) represent three emotions that affect student productivity and learning.11 Semi-enclosed spaces offer students a controlled environment. Due to the minimal amount of disturbances, students experience the intrinsic pleasure of learning and develop a positive association with their learning environments.

The final design goal suggests the importance of redefining spatial zones. Gensler researchers found that defining zones by using a central node is more effective than perimeter schemes. Interior designers can emphasize centrality by arranging furniture, non-structural partition walls, furnishings, and selecting material finishes that incorporate the elements and principles of design that emphasize centrality. However, if designers redefine spatial zones using perimeter schemes, it is best to use non-structural walls, planters, bookshelves, or room screens to define boundaries. These objects should not hinder students’ visual acuity and mobility, instilling positive emotions such as certainty and confidence in their safety while in the learning environment.12 In closing, the design study Changing Course, researchers share the learning environment preferences of 21st century higher-ed students. In A High-Performance Place for Learning, researchers elaborate how the three design considerations - modeshifting, semi-enclosed spaces, and redefining spatial zones support high-performance learning spaces for various teaching and learning modes. The findings from both studies seem to build upon each other (figure 3). Both design research studies reiterate the need for student-centered learning spaces to be aesthetically pleasing, support collaborative and individual work, non-disruptive to enhance focus, and modular.

Overall, these studies support this report’s thesis that student-learning spaces enhance learning, foster communities, and empower individuality. This information is valuable for interior designers, who wish to design learning spaces that meet the needs of 21st century students in a meaningful way.

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FIGURE 3 : four Observations for Student- Centered learning Space s

Student-Centered Learning Spaces Idea Book

Notes 1. Mark F., Maddy Burke-Vigeland, Christine Barber, Rachel Ganin, Tim Pittman, Meng Sung. “Changing Course: Connecting Campus Design to a New Kind of Student” (2012), https://www.gensler.com/ research-insight/gensler-research-institute/education-environments-index-student-survey.

2. Dak Kopec, Environmental psychology for design, 2nd ed. (New York: New York : Fairchild Books, 2012).

222.

3. Steelcase Education, Blended Learning Ideabook (2018), https://www.steelcase.com/content/ uploads/2018/08/Blended-Learning-Ideabook-PDF.pdf.

4. Maddy Burke-Vigeland et al., Changing Course: Connecting Campus Design to a New Kind of Student 5. Jay Appleton, The Experience of Landscape (London, New York: London, New York, Wiley, 1975).

6. Kevin Rosenstein Art Gensler, Gervais Tompkin, Erin Cubbison, Evan Dobelle, Lewis Knight, Ashley Marsh, Clark Sept, Emily Shields, John Glover (Alpha Public Schools), Brian Greenberg (Silicon Schools Fund), Diane Tavenner (Summit Public Schools), A High-Performance Place for Learning (2016), https:// www.gensler.com/research-insight/gensler-research-institute/a-high-performance-place-for-learning.

7. Art Gensler, A High-Performance Place for Learning. 5.

8. Ibid.

9. Ibid.

10. Ibid.

11. Kopec, Environmental Psychology for Design. 28.

12. Art Gensler, A High-Performance Place for Learning. 5.

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Student-Centered Learning Spaces Idea Book

Bal ancing E d u cat i o n

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here exists a classical debate regarding how to educate students. The word education derives from two Latin roots - educare and educere - which may

help frame the ongoing discussion between educators and administrators. Educare means to train or mold, while educere means bringing forth or leading out.1 Educare argues the importance of preserving traditional knowledge, teaching students to be good citizens and disciplined workers. Rote memorization represents a common educare learning strategy. In contrast, educere values creativity and the importance of preparing for future uncertainties, requiring critical thinking, problem-solving, and innovating. Though traditionally educational systems value educare over educere; the two teaching methods must harmoniously work together to support a holistic, balanced education for 21st century students.2 A balanced education is defined “as one in which basics are only one factor in the total learning experience,”3 refers to the “three R’s” - writing, reading, and arithmetic.4 Beyond these foundational practices, a balanced education brings to bear other aspects of student abilities and interests beyond academics. This more holistic approach, one which values the development of “every person’s intellectual, emotional, social, physical, artistic, creative and spiritual potentials,”5 has the potential to transform ideas about both learning and teaching across a broad spectrum of educational institutions with significant impact on individuals and communities.

T hre e D omains of L earning Bloom’s learning domains - cognitive, affective, and psychomotor – further supports the concept of a balanced education when all the learning domains are incorporated in the learning environment (figure 5).

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FIGURE 4 : Bloom’s Three Domains of Learning

Student-Centered Learning Spaces Idea Book

The updated version of Bloom’s taxonomy regarding the cognitive domain better aligns with students’ cognitive learning processes at play in the classroom in the present century.6 The cognitive domain represents mental intelligence. Bloom says remembering is the first order of the cognitive thinking process, exhibiting educare pedagogy, while the remaining five thinking orders describe educere. When analyzing the blended learning model to Bloom’s taxonomy, online learning can support remembering, understanding, and applying, while face-to-face result in analyzing, evaluating, and creating.7 The Psychomotor domain of learning endorses active learning spaces, such as maker spaces or fabrication labs where students can create. Psychomotor skills are physical movements based on cognitive processes. This concept aligns with the saying, “learning by doing,” embraced by educational theorist John Dewey. Dewey further expresses the importance of active learning in his book, Democracy and Education: “Why is it that, in spite of the fact that teaching by pouring in, learning by passive absorption, are universally condemned, that they are still so entrenched in practice? That education is not an affair of “telling” and being told, but an active constructive process, is a principle almost as generally violated in practice as conceded in theory. Is not this deplorable situation due to the fact that the doctrine is itself merely told? But its enactment in practice requires that the school environment be equipped with agencies for doing...to an extent rarely attained.”8

Bloom’s affective domain acknowledges the importance of emotional growth while learning. Affective learning takes into account students’ emotional and behavioral responses during the learning process. Students who are taught affective learning are said to be attentive listeners to others (receiving phenomena); participates in class (responds to phenomena); understand the democratic process (valuing); strikes a balance between freedom and responsible behavior (organization); self-reliant when tasked with individual work (internalizes value).9 To reiterate, the pleasure-arousaldominance theory hypothesizes that the environment influences students’ emotions and behaviors. However, learning is affected by the environment and students’ emotional

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intelligence, confirming why curriculum should include affective learning. Again, this scholarship considers a “balanced” curriculum to include all three learning domains.

Mas low ’s Hierarchy of Needs The idea that “balanced education is a need” provides the opportunity to explore the well-established human needs theory by Abraham Maslow. The first iteration of Maslow’s hierarchy of needs was a framework prioritizing five categories of human needs from most essential to the most ideal: physiological, safety, community, esteem, and self-actualization.10 However, towards the end of his life, Maslow reconsidered this framework, adding self-transcendence as the pinnacle. Maslow refers to selfactualization as: “[…] the [person’s] desire for self-fulfillment, namely, to the tendency for him to become actualized in what he is potentially. The specific form that these needs will take will of course vary greatly from person to person. In one individual it may take the form of the desire to be an ideal mother, in another it may be expressed athletically,and in still another it may be expressed in painting pictures or in inventions.”11

As defined by Maslow, self-transcendence is described as: “The fully developed (and very fortunate) human being working under the best conditions tends to be motivated by values which transcend his self. They are not selfish anymore in the old sense of that term. Beauty is not within one’s skin nor is justice or order. One can hardly class these desires as selfish in the sense that my desire for food might be. My satisfaction with achieving or allowing justice is not within my own skin . . . . It is equally outside and inside: therefore, it has transcended the geographical limitations of the self. Thus one begins to talk about transhumanistic psychology.”12

Higher education institutions give students the opportunity to self-actualize, offering students a career trajectory, which may lead to self-transcendence. Self-actualized individuals must deploy their knowledge and service to self-transcend, ability to look

Student-Centered Learning Spaces Idea Book

beyond oneself to do good for others. Most importantly, students’ capability to realize their “potential” is the ultimate learning outcome for student-centered learning spaces.

Lea r nin g Theorie s A student-centered approach to teaching and learning occurs when the built environment matches the pedagogical activities. How might learning theories support learning spaces? The design research project, “Learning Theory Expertise in the Design of Learning Spaces: Who Needs a Seat at the Table,” demystifies this question. This study focused on the design of Kraus Innovation Studio, which is a learning facility located at Pennsylvania State University. The authors of this design research project discuss the importance of including learning theory experts during the design process to ensure the design aids teaching and learning activities.13 The researchers consider learning spaces successful when learning theories help guide design decisions, referred to as built pedagogy. Based on the learning activities and the space affordances, designers design room layouts to include furniture and technology that support the preferred educational theory. Well-designed spaces help instructors and students experience high-performance learning. For this reason, learning theory experts should be involved early in the design process to guarantee that the built pedagogy supports learning experiences and outcomes.14 The remaining part of this section will share how the humanistic, social constructivist, and experiential learning theories collectively contribute to blended learning environments, align with student-centered learning space initiatives (enhancing learning, fostering community, empowering individuality), and relate to Bloom’s three learning domains.

The ultimate goal of humanistic educators is the hope that students establish a deep

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understanding of themselves, leading to self-actualization. Teachers and students focus on developing the “whole” person through the emotional and cognitive domains. Under this theory, self-actualized individuals gain a high level of self-efficacy, responsibility and become lifelong learners with an overall positive mindset. Humanistic learning environments call on students to be empathetic, open-minded to other perspectives, and respectful to their peers in the class, translating to how they treat others in society.

Students are granted the autonomy to personalize their learning process based on their needs and interest, an individualized teaching and learning approach.15 Humanistic educators strive to instill Carl Rogers’s Core Conditions for effective

FIGURE 5 : Maslow ’s Hierarchy of Needs

Student-Centered Learning Spaces Idea Book

humanistic learning: congruence, empathic understanding, and unconditional positive regard. Congruence generates respectful and trusting relationships between educators, learners, and peers. Empathetic understanding acknowledges sensitivity toward an “internal frame of reference.” Unconditional positive regard is the ability to place a person in a positive light, regardless of their learning productivity and behavior, resulting in more profound relationships and learning among students and teachers. Plus, if students feel a sense of belonging to their learning community, they will be more receptive to their peers, leading to increased learning opportunities.16 Social constructivists believe cognitive knowledge strengthens verbal-linguistic intelligence to expand knowledge, achieved by fostering learning communities.

Students strengthen linguistic skills by working with peers by completing group work through collaboration, Socratic discussion, and feedback. This theory suggests two types of development to facilitate learning, actual and potential. Actual development describes students who complete tasks without guidance. Proximal development requires instructor or peer assistance to aid student learning. Through repetition and support from the learning community, all students learn how to master learning tasks independently. This learning theory confirms the importance of collaborative and active classrooms.17 The experiential learning approach consists of four phases: concrete experience, reflective observation, conceptual thinking, and active experimentation.18 The experiential learning approach empowers students through hands-on experience to augment learning, creativity, and the construction of knowledge. With this theoretical approach, the instructor organizes problem-solving activities inspired by real-world challenges. After the concrete experience, students are tasked with analyzing their observations through a reflective process. Through the reflective process, students begin to develop their hypotheses to their assigned challenge. With the hypothesis, students conduct active experimentation to test their theory and draw conclusions.19

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FIGURE 6 : The interc onnectedne ss of Student-Centered Space s

Student-Centered Learning Spaces Idea Book

As mentioned earlier, maker spaces or fabrication labs are a new learning space that advocates for experiential learning.

The Reggio Emilia Approach is an excellent example of a learning approach that infuses humanistic, social constructivism, and experiential learning theories. The Reggio Emilia approach believes that students’ desire to learn is based on self-interest, curiosity, and exploration. Educators using the Reggio Emilia approach values student autonomy and peer-to-peer collaborative learning and considers the community and environment to be places for learning.20 Place-identity theory and place-based learning serve as foundational theories for this approach. Place-identity theory, developed by environmental and social psychologists, posits: “The sub-structure of the self-identity of the people consisting of, broadly conceived, cognitions about the physical world in which individuals live. These cognitions represent memories, ideas, feelings, attitudes, values, preferences, meanings, and conceptions of behavior and experience which relate to the variety and complexity of physical settings that define the day-to-day existence of every human being.”21

Our associations with our physical environments and the people in them affect how we view ourselves in our places. Students need positive and meaningful associations with peers and educators to develop a positive sense of self and attachment to their learning environment. Similar to place-identity theory, place-based learning is dependent on the community to serve as an extension of the classroom and community members as learning facilitators. The place-based approach teaches students to value their places and fellow community members by constructing knowledge to help others.22 It is interesting to imagine what higher education would be like if administrators and educators adopted the Reggio Emilia approach. All and all, these learning theories support the need for a balanced education and student-centered learning spaces.

Again, educational theories are relevant not only to educators but also to interior designers. Later on, this idea book shares interior layouts, furnishings, and products that

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endorse learning theories; However, the next section introduces the design principles + design elements. Higher education administrators and educators benefit from knowing design terms to communicate their and students’ needs to designers. These theories provide holistic and diverse learning methods ranging from individual, community, and experiential learning. The student-centered learning outcomes, enhancing learning, fostering community, and empowering individuality, are common themes found in humanistic, social-constructivist, and experiential learning.

Student-Centered Learning Spaces Idea Book

Notes 1. Randall V. Bass and J. W. Good, “Educare and Educere: Is a Balance Possible in the Educational System?,” The Educational forum (West Lafayette, Ind.) 68, no. 2 (2004), https://doi. org/10.1080/00131720408984623. 162.

2. Bass and Good, “Educare and Educere: Is a Balance Possible in the Educational System?.” 163-64.

3. Bass and Good, “Educare and Educere: Is a Balance Possible in the Educational System?.” 165.

4. Spencer A. Rathus, Psychology: concepts and connections, media & research update, 8th ed. ed.

(Belmont, California Wadsworth, 2007). 352.

5. “Balanced education is key to academic and life achievment “, 2017, 2021, https://www.ippmedia. com/en/safu/balanced-education-key-academic-and-life-achievement.

6. Ashley Sorrell, “Bloom’s Taxonomy of the Cognitive Domain “ in GS 610 : Backwards Design Lecture

(University of Kentucky, 2021).

7. Steelcase Education, Blended Learning Ideabook (2018), https://www.steelcase.com/content/up loads/2018/08/Blended-Learning-Ideabook-PDF.pdf.

8. Roger C. Schank, What We Learn When We Learn by Doing, Institute for the Learning Sciences North western University (1995), http://www.cogprints.org/637/1/LearnbyDoing_ Schank.html.

9. Susan Gano-Phillips, “Affective learning in general education,” Special topic: Assessment in university general education program 6, no. 1 (2009).

10. Abraham Harold Maslow, “A theory of human motivation,” Psychological review 50, no. 4 (1943).

11. Mark E Koltko-Rivera, “Rediscovering the later version of Maslow’s hierarchy of needs: Self-tran scendence and opportunities for theory, research, and unification,” Review of general psychology 10, no. 4 (2006). 303.

12. Koltko-Rivera, “Rediscovering the later version of Maslow’s hierarchy of needs: Self-transcendence and opportunities for theory, research, and unification.” 306.

13. Michael M Rook, Koun Choi, and Scott P. McDonald, “Learning Theory Expertise in the Design of

Learning Spaces: Who Needs a Seat at the Table?,” 2015 4, no. 1 (2015-07-08 2015), http:// libjournal.uncg.edu/jls/article/view/1046/819.

14. Ibid.

15. Rod Farmer, “Humanistic education and self-actualization theory,” Education 105, no. 2 (1984).

16. Katherine E Purswell, “Humanistic Learning Theory in Counselor Education,” Professional Counselor

9, no. 4 (2019). 359.

17. “Social Constructivism,” Berkley University of California accessed January 2021, https://gsi.berkeley. edu/gsi-guide-contents/learning-theory-research/social-constructivism/.

18. “Pedagogy of Experiential Education,” Brock University, accessed 2021, https://brocku.ca/ pedagogical-innovation/resources/experiential-education/pedagogy-of-experiential-education/.

19. “What is Experiential Education?,” Association for Experiential Learning accessed January 2021, https://www.aee.org/what-is-ee.

20. “Values and Principles of the Reggio Approach,” Davis Publications 2021, https://www.reggiochildren. it/en/reggio-emilia-approach/.

21. Harold M. Proshansky, Abbe K. Fabian, and Robert Kaminoff, “Place-identity: Physical world socialization of the self,” Journal of environmental psychology 3, no. 1 (1983), https://doi. org/10.1016/S0272-4944(83)80021-8. 59.

22. What is Place-Based Education and Why Does It Matter?, Getting Smart (2017), https://www.getting smart.com/wp-content/uploads/2017/02/What-is-Place-Based-Education-and-Why-Does-it-Matter-3. pdf.

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Student-Centered Learning Spaces Idea Book

Ap p lying d e s i gn c o nce p t s

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he principles + elements of design terminology are the building blocks in design. Design enthusiasts can master these design terms to articulate their

design thoughts to designers. The skill to fluently discuss design preferences with the designer is essential, especially for student-centered learning spaces.

E le men ts of de sign

L in e

Shape

F orm

Space

Ligh t

C o lo r

Pat te rn

Te xtu re FIGURE 7 : elements of de sign

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L in e First, let us begin with the first design element - line. There are three basic line types - horizontal, vertical, and dynamic. On a coordinate plane, a horizontal line is parallel to the x-axis, while a vertical line runs parallel with the y-axis. Dynamic lines consist of diagonal, zigzag, and curvilinear lines. All three line types help guide the eye through space and create a sense of movement. Designers intentionally incorporate lines to accentuate a feature or to change the perception of space. For example, in the maker space below, lines are incorporated into the floor design to designate circulation. Also, the graffiti wall art consists of dynamic, colorful lines.

1 : S m i t h System

Student-Centered Learning Spaces Idea Book

S h ap e + Fo r m Designers utilize lines to produce shapes and forms. Shapes are two-dimensional planes, while forms are three-dimensional objects. Shapes and forms are either organic or geometric. A classical architectural saying is form follows function, and this saying is especially true regarding the interiors of learning spaces. The form of furniture must function well and provide comfort for students. Well-designed spaces establish consistency by incorporating shapes and forms with similar design features. The image below is of a lounge space with seating options with soft filleted edges, favoring comfortability and movability through space.

2 : s teelc ase

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S pac e Dimensional space refers to length, width, and height. Within the dimensional space, space is either negative (empty or open) or positive (occupying people or objects).

Building codes have strict egress regulations that require safe circulation paths. Users of a space should feel confident that they can safely exit a building without being hindered by objects or overcapacity.

All in all, the ability to strike a balance between these two types of spaces is essential. A room with too much negative area can feel too exposed, whereas too much positive area can feel too confined. The image below is of a learning commons precisely illustrates negative and positive space.

3 : s t eelc ase

Student-Centered Learning Spaces Idea Book

L igh t Light is sourced either naturally or electrically. The light within a space can serve different functions, such as ambient, task, and accent lighting. Ambient lighting provides the overall light coverage to a room. Task lighting supports focus and concentration, while accent lighting highlights the space’s focal point, art, or interior architecture. The educational learning space below maximizes daylight and uses LED lights. This space has a low-contrast lighting design to allow visceral acuity throughout the entire space.

Natural lighting is a sustainable lighting option that seeps into the space from the current glass wall. The space below has a circular contemporary LED integrated fixture, creating a focal point for individual work pods. The pods include lamps for task lighting.

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C o lo r Colors have the power to augment our physical environments and influence our emotional experience within a space. Colors are byproducts of the visible light spectrum that reveals the hue, saturation, and brightness of a particular light. Humans can perceive color due to the photoreceptors in our eyes. Color can change the perception of spaces, altering our perception of temperature and spaciousness. There are different color schemes, such as achromatic, monochromatic, analogous, complementary, split complementary, and double complementary. The color scheme of the classroom below is analogous. While the yellowish-green and blue are vibrant, the two colors are close enough on the color wheel to create a space that is not overstimulated by color.

5 : s t eelc ase

Student-Centered Learning Spaces Idea Book

Pat te r n Intricate patterns with contrasting colors and dynamic lines can liven up learning space, as illustrated in the image below. A designer develops patterns used for textileone-directional, two-directional, or random patterns. For example, a small room may have a sparse number of patterns, while patterns in a large room can emphasize a focal point in the space. There are various types of patterns prints, such as oriental, floral, natural + organic, and geometric and abstract prints.

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Te x tu r e Texture is associated with the tactile quality of finishes in a space. A designer will select textures based on the activity of the space and its intended sensorial experience.

There are two different types of texture – visual texture and actual texture. Visual texture is not physical but is the implied surface quality. Actual texture has a “hand,” refering to how the texture feels. Layering textures can enhance the visual interest of the space.

For example, the image below is an example of a semi-enclosed space defined by a curvilinear boundary of vertical felt strips. The felt appears to have a soft hand. Within the enclosed space the Hosu lounge chair bas-relief texture and is situated on a grassy textured area rug. The floor of this space is a hard yet smooth-surfaced wooden floor.

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Prin ciple s of De sign

Bal a n c e

E mp h asi s

c ontrast

sca l e + Proporti o n

Rhythm

Mov e ment

Ha rm ony

U ni t y FIGURE 8 : elements of de sign

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Bal an c e Creating a balanced design will retain students’ visual interests and establish a sense of certainty when in the space. There are four primary elements of balance asymmetrical, symmetrical, radial, and mosaic. Symmetrical balance occurs when objects are identical and have equal weight when divided in the middle. An example of radius balance is picturing lines evenly arrayed and spiraling out from a central point.

An asymmetrical balance occurs when the composition on either side of the middle dividing line represents different components but has the same visual weight. Mosaics have a disorderly pattern that creates a balanced visual weight. Unbalanced designs create tension, so incorporating balance in the design of learning spaces is beneficial for student retention. Below, the arrangement of the lounge seating demonstrates asymmetrical balance.

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E m p h as is Designers direct attention to a particular area, object, or interior architectural feature by designing emphasis. Emphasis can inform users on how to move and behave in the space. Designers develop focal points or emphasis by using lines or implied lines from interior objects or architectural features within a space. Design elements such as light, color, texture, pattern, and form can emphasize the focal point. Below, this space informs users that this area is meant for social interaction and rest through its design.

The circular area rugs emphasis the social gathering zones, while the negative space encourages movement.

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C o n tr as t Incorporating contrast into a space adds depth and visual interest. Designers can apply contrast through dynamic lines, color, shapes, patterns, lighting, and texture. The designers add drama or promote a striking difference between objects through contrast.

The space below is an “in-between” space at a college campus. Contrast is evident by the vibrant colors of the furniture in comparison to the colors of the walls and flooring.

Overall, the color of the furniture invites students to take time to relax, collaborate with another student, or work independently.

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S c ale + P r o p o rt i o n It is easy for non-designers to confuse the terms scale and proportion when describing an object’s scale or proportion. Scale is used when associating an object’s size (length, width, and height) in context to its locality or in relation to the human body.

Proportion consists of single components of the object, which altogether make scale.

For example, the classroom design below contains a new and flexible seating option called Oodle. Designers who designed Oodle consider various human shapes and sizes by designing the surface’s width 17”. Proportion is evident in this seat because the stackable components are versatile and can change the seat’s overall scale by adding or removing an Oodle.

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R h y th m + Move me n t

A designer accomplishes rhythm through the execution of repetition, alternation,

and movement. Repetition is the reoccurrence of a visual or physical feature in a space. Alternation interchanges two or more elements that can repeat or mirror each other throughout the pattern. The last element of rhythm is progression when interior elements or objects are arranged based on a gradient scale or color. Progression can also create a sense of movement within the design space. Overall, incorporating rhythm into a space can enhance the energy and harness visual interest to keep people in the space (shown below).

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H ar m o n y When contextualizing the idea of harmony, consider the word sameness. When a space is harmonious, the colors, shape/form, and surface quality + texture material finishes of the space all share similar qualities. For example, the classroom below is an example of an accented achromatic color scheme with a navy-blue ceiling and seat cushions. All surfaces and textures are relatively flat and smooth. The shapes and forms in the space are consistent and balanced. Overall, this classroom is an excellent example of harmony because all elements of design share similar qualities.

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U n it y Unity is achieved when various elements of design complement each other and share a visual relationship. Although different, each element supports the overall interior design concept but does not overpower the design. There are six ways to achieve unity: alignment, continuation, similarities, proximity, repetition, and overlapping. Alignment is a phenomenon when vertical or horizontal edges of objects adhere to a grid-like system.

Continuation creates a seamless transition from one object to the next by a continuing implied line, defined by the direction and edge conditions. Similarities in colors, shapes/ forms, values, textures, and lines allow interior objects to correspond. Designers place diverse objects close to each other; the viewer can group the elements into one unit. Repetition unifies differing elements through the grouping of similarities. Lastly, overlapping can forge a relationship among different elements and create a group that will establish unity.

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De signing s t u d e nt-ce nt e re d spac e s

T

his catalog shares how interior spaces support the initiatives of studentcentered design spaces - enhancing learning, fostering community, and

empowering individuality - through spatial layout, furniture, products, finishes, and technology.

Air ³ “Air³ acoustic pod range can act as a freestanding meeting room, private space, phone booth or touchdown room.”1

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Away f r o m t h e D e s k “Away from the desk seamlessly integrates individual spaces with larger, more collaborative working configurations.”2

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Br o dy Wo r k lo u n g e + d e s k “[...] private workspaces that are designed to be good for your body and good for your brain – providing places to get away without going away.”3

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F l e x Table s “With their modern vibe, soft corners and a variety of material options [...]. Used alone or together, they are just right for any way you work.”4

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F l e x M ar k e r b oa r d “Grab a fresh markerboard and use it with the stand for a quick brainstorm. Add it to the wall rail with the rest of your ideas.”5

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Th r e ad “Thread simplifies power distribution, providing power to the devices we use and the places where we work and learn.”6

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Tu r n s to n e B uoy “Height-adjustable and designed to promote movement in the workplace, Turnstone’s Buoy’s curved base engages your core as you tilt, wobble and spin.”7

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Tu r n s to n e C a mp f i r e p e r s o na l Ta bl e s “Work anywhere with Turnstone’s mobile Campfire Personal Table. With a work surface large enough for your laptop, this modern table works as hard as you do.”8

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verb “Verb is an integrated collection of classroom furniture including tables, whiteboards, and instructor stations designed to support a full range of teaching and learning styles.”9

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V.I . A .

“V.I.A. is Vertical Intelligent Architecture that not only defines space, but redefines the role vertical real estate plays in today’s workplace.”10

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Wo r k Te n t s C o l l e c t i o n ““From simple screens to small enclosures, Work Tents provide privacy and shelter in the office - in an unexpected and delightful way.”11

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Notes 1. “Air³ Acoustic Pod by Orangebox.” Pods. Steelcase, February 11, 2021. https://www.steelcase.com/ products/pods/air/.

2. “Away from the Desk Collaborative Office Furniture by Orangebox.” Lounge Chairs. Steelcase, January 21, 2021. https://www.steelcase.com/products/lounge-chairs/away-from-the-desk/?drawer_main=images&drawer_sub=on-white.

3. “Brody Privacy Lounge Chair & Study Pod.” Lounge Chairs . Steelcase, January 21, 2021. https:// www.steelcase.com/products/lounge-chairs/brody/.

4. “Buoy Active Sitting Task Chair by Turnstone.” Benches + Ottomans. Steelcase, January 21, 2021. https://www.steelcase.com/products/benches-ottomans/buoy/.

5. “Steelcase Desk Privacy Work Tents Collection.” New Architecture + Space Division. Steelcase, February 26, 2021. https://www.steelcase.com/products/new-architecture-space-division/steelcasework-tents-collection/.

6. “Steelcase Flex Moveable Markerboard Walls & Wall Holder.” Screens . Steelcase. Accessed March 2021. https://www.steelcase.com/products/screens/steelcase-flex-markerboard-solutions/.

7. “Steelcase Flex Standing Height & Rolling Tables.” Desks. Steelcase. Accessed March 5, 2021. https://www.steelcase.com/products/desks/steelcase-flex-tables/.

8. “Thread Freestanding Power Outlet.” Power + Flooring . Steelcase, February 11, 2021. https://www. steelcase.com/products/power-flooring/thread/.

9. “Turnstone Campfire Personal Table & Mobile Office.” Occasional Tables. Steelcase, February 26, 2021. https://www.steelcase.com/products/occasional-tables/campfire-personal-table-2/.

10. “Verb Rolling Tables & Whiteboard Easels for Classroom.” Organization Tools. Steelcase, February 11, 2021. https://www.steelcase.com/products/organization-tools/verb/.

11. “V.I.A. Office Glass & Architectural Wall Systems for Office Interiors.” Modular Walls. Steelcase, March 4, 2021. https://www.steelcase.com/products/walls-work-walls/via/.

12. “Steelcase Desk Privacy Work Tents Collection.” (2021, February 26). Retrieved March, 2021, from https://www.steelcase.com/products/new-architecture-space-division/steelcase-work-tents-collection/

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Student-Centered Learning Spaces Idea Book

Forwardi ng t he ne e d

T

his idea book demonstrates how interior design support teaching experts today by designing educational landscapes that meet the needs of 21st-century

students. The interior design of learning environments must align with pedagogical activities and the student-centered learning initiatives. The three initiatives of studentcentered spaces are enhancing learning, fostering community, and empowering individuality. The interior environment has a potent effect on users’ emotional and physical well-being, and is where memories and experiences are formed. This scholarship calls for balanced curricula and well-design student-centered learning spaces to promote student success. Optimistically, this idea book’s material will serve as a precedent for those who wish to advocate for student-centered learning spaces.

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Image Notes 1. Activating the classroom. Photograph. steelcase. Accessed March 2021. https://www.steelcase.com/ spaces-inspiration/active-learning-spaces-classrooms/.

2. Essential Elements. Photograph. Steelcase. Accessed March 2021. https://www.steelcase.com/microsoft-steelcase/creativity/respite-room/ 3. Node. Photograph. Steelcase. Accessed March 2021. https://www.steelcase.com/images/18-0113743/.

4. Node-2. Photograph. Steelcase. Accessed March 2021. https://www.steelcase.com/images/19-0115260/ 5. Makers Space. Photograph. Smith Systems. Steelcase . Accessed March 2021. https://www. steelcase.com/brands/smith-system/.

6. B-Free. Photograph. Lounge Chairs. Steelcase. Accessed March 2021. https://www. steelcase.com/products/lounge-chairs/b-free/.

7. Future-Ready Libraries. Photograph. Rethinking Libraries . Steelcase. Accessed March 2021. https:// www.steelcase.com/spaces-inspiration/active-learning-spaces-libraries/.

8. A Sweet Retreat. Photograph. What's New: A Sweet Retreat. Steelcase. Accessed March 2021. https://www.steelcase.com/products/sweet-retreat/.

9. Classroom Spaces. Photograph. Research + Insight . Steelcase. Accessed March 2021. https://www. steelcase.com/spaces-inspiration/active-learning-spaces-classrooms/.

10. Support the Evolving Library. Photograph. Rethinking Libraries . Steelcase. Accessed March 2021. https://www.steelcase.com/spaces-inspiration/active-learning-spaces-libraries/.

11. Hosu Chair in Respite Room. Photograph. Respite Room . Steelcase . Accessed March 2021. https:// www.steelcase.com/microsoft-steelcase/creativity/respite-room/.

12. Western Sydney University Lounge Sitting. Photograph. Archdaily . Nicole England. Accessed March 2021. https://www.archdaily.com/874224/western-sydney-university-parramatta-campus-woods-bagot.

13. The Prow Community Living Room. Photograph. A Look Inside Calagary Public Library's New Central Library . Neil Zeller. Accessed March 2021. http://blog.buzzbishop. com/calgary/look-inside-calgary-public-librarys-new-central-library/.

14. Classroom Spaces. Photograph. Research + Insight . Steelcase. Accessed March 2021. https://www. steelcase.com/spaces-inspiration/active-learning-spaces-classrooms/.

15. Smith System Classroom. Photograph. Woodworking Network . Smith System Manufacturing Co. Accessed March 2021. https://www.woodworkingnetwork.com/news/woodworking-industry-news/ steelcase-acquire-education-furniture-maker-smith-system.

16. Western Sydney University Corridor. Photograph. Archdaily . Nicole England. Accessed March 2021. https://www.archdaily.com/874224/western-sydney-university-parramatta-campus-woods-bagot.

17. Learning Spaces . Photograph. Market Focus: Education. Knoll. Accessed March 2021.https://www. knoll.com/design-plan/market-focus/education.

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18. Community Spaces . Photograph. Market Focus: Education . Knoll . Accessed March 2021. https:// www.knoll.com/design-plan/market-focus/education.

19. Air³. Photograph. Https://Www.steelcase.com/Products/Pods/Air/. Steelcase. Accessed March 2021. https://www.steelcase.com/products/pods/air/.

20. Away from the Desk. Photograph. Lounge Chairs. Steelcase. Accessed March 2021. https://www. steelcase.com/products/lounge-chairs/away-from-the-desk/?drawer_main=images&drawer_sub=on-white.

21. Brody . Photograph. Lounge Chairs. Steelcase . Accessed March 2021. https://www. steelcase.com/products/lounge-chairs/brody/?drawer_main=images&drawer_sub=on-white.

22. Flex Table . Photograph. Desk Systems. Steelcase . Accessed March 2021. https://www. steelcase.com/products/desk-systems/steelcase-flex-collection/.

23. Steelcase Flex Markerboard Solutions. Photograph. Screens . Steelcase. Accessed March 2021. https://www.steelcase.com/products/screens/steelcase-flex-markerboard-solutions/.

24. Thread . Photograph. Power + Flooring. Steelcase. Accessed March 2021. https://www. steelcase.com/products/power-flooring/thread/.

25. Turnstone Buoy. Photograph. Benches + Ottomans. Steelcase, n.d. Accessed March 2021.

26. Turnstone Campfire Personal Table. Photograph. Occasional Tables. Steelcase. Accessed March 2021. https://www.steelcase.com/products/occasional-tables/campfire-personal-table-2/.

27. Verb. Photograph. Organization Tools. Steelcase . Accessed March 2021. https://www. steelcase.com/products/organization-tools/verb/.

28. V.I.A. Photograph. Modular Wall . Steelcase. Accessed March 2021. https://www. steelcase.com/products/walls-work-walls/via/.

29. Steelcase Work Tents Collection. Photograph. New Architecture + Space Division.

Steelcase. Accessed March 2021. https://www.steelcase.com/products/new-architec ture-space-division/steelcase-work-tents-collection/#steelcase-work-tents-collection.

30. Buoy. Photograph. Design Farm. https://www.designfarm.com.au/products/buoy-stool/.

Figures Notes King, Alexa. “Figure 1: Three Opportunities to Changing Course.” March 2021.

———. “Figure 2: Three Opportunities for High Performance.” March 2021.

———. “Figure 3: Four Observations for Student-Centered Learning Spaces.” March 2021.

———. “Figure 4: Maslow’s Hierarchy of Needs.” March 2021.

———. “Figure 5: Bloom’s Three Domains of Learning.” March 2021.

———. “Figure 6: The Interconnectedness of Student-Centered Spaces.“ March 2021.

———. “Figure 7: Elements of Design.” March 2021.

———. “Figure 8: Principles of Design.” March 2021.