Record of Observation 2

On Thursday the 30^th of February, I joined Eden for her morning session at the Chelsea College of Arts teaching the Graduate Diploma Interior Design in her capacity of technician and media tutor. My observation started at 10am (start of the studio day) and ended at 11:30.

The session was structured in 2 different rooms. Room 1: students were working individually and had the opportunity to have 1:1 tutorial with Eden or the tutor in charge. Room 2: was set up for presentations and group discussions (feedback) with students and tutor sitting around a table and sharing the work on the wall using a projector.

Eden started in room 01 with a ‘hands-on’ 1:1 tutorial, specifically looking at ‘what’ the student was trying to produce in terms of drawings/graphic content and showing ‘how’ to do it. She run the student through the software, took the actions step by step, shared the digital skills needed to fulfil the specific task, and asked the student to apply the learning there and then, making sure they could do by themselves.

Then, she moved to room 2 and joined the group tutorials and presentations. There, I saw 3 student presentations/tutorials. Across all 3, Eden’s feedback was very focused on the different ‘media’ students were using to explore and communicate their research, ideas and design work. Eden was very precise and clear in her feedback pointing it out, for example:

• Where a ‘collage’ was being used effectively to graphically communicate important elements of the design project. 
• When ‘photography’ of the existing site became crucial to anchor a project into a specific context.
• Where ‘mapping’ was not being used to its full potential, providing clear suggestions of how to improve/add to the map drawing to further explore the idea of an experiential journey.
• Where and how ‘physical models’ were being used effectively to experiment, develop and communicate the spatial structures and ideas.
• How ‘3D modelling’ was being under-explored as a tool when used to look/develop a structure from a distant top-down view, instead of used as a tool to explore internal spatial qualities such as views, inside/outside relationships, light and so on.
• And, how ‘plans’ can communicate complexity, challenging the student to use graphic overlays and annotation to communicate ideas of time, light, movement and inhabitation in their plan drawings.

By focusing on the media and technical aspects of the work, Eden showed a great level of sensibility. Her approach was at the same time very constructive for the students, who are learning this new graphic language (design language), and respectful and complementary to the design tutor running the session, who focused their feedback on more conceptual and qualitative aspects of the design (design thinking).

Suggestion:

My one thought was that it could have been beneficial to share some references/precedents of drawings and techniques, either during the sessions or after (via email). By looking and studying ‘plan drawings’ that successfully communicate the idea of movement and time, for example, students can get inspired and understand how different graphic elements/devices were used, prompting them to explore something new. This would require extra work to build up, and constantly update, a portfolio/library of references (including student work from previous years), but something that might be worthy.

Fernanda’s suggestion to provide more references is indeed an area where I recognise a gap in my teaching approach. I have only recently become more aware of this, particularly through my closer engagement with studios and, even more so, in my temporary role as an Associate Lecturer. One possible reason I have overlooked this aspect until now is the ambiguity of my role. While I am contracted as a technician, I am also involved in studio support—an aspect I find both enriching and complementary. Providing feedback on student projects often requires having a broader set of references readily available to guide their research process effectively.

I have already started compiling references directly related to my technician role, such as those relevant to 3D printing and 3D scanning. The suggestion to build a library of references is particularly valuable, and I intend to implement this promptly. However, I anticipate a few challenges in doing so:

• Time investment: Building a meaningful and well-structured reference library will take time, as will regularly revisiting it to keep it fresh in my mind. To address this, I may dedicate time after my sessions—possibly on a weekly basis—to engage in research and update my collection.
• Providing references in the interim: While sending references to students after sessions would be beneficial, it is also time-consuming and does not strictly fall within my responsibilities, as I am not an academic. However, it could serve as a temporary measure while I develop a more structured reference system.
• Managing references for diverse student groups: I work with a large number of students across six different courses, spanning multiple year groups. This diversity necessitates a clear classification methodology to ensure that references are relevant to each specific cohort. I have encountered this challenge before when preparing presentations on 3D printing; for instance, the most suitable examples for MA Design and Maker students may differ from those best suited to first-year BA Interior Design students.

Although these challenges require careful consideration, I recognise that improving my ability to provide relevant references will enhance the support I offer to students.