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The purpose of the study was born out of a perceived need to establish an assessment strategy framework for the fashion programme of one Eastern Cape comprehensive university. The study focused on one Eastern Cape comprehensive university. The programme, National Diploma: Fashion, is offered by the university at two campuses (120km apart). Although this programme is currently offered at both of the sites under the auspices of the university, disparity exists in many of the academic functions within the programme. The most challenging is assessment and the implications of a non-existent standard framework for assessment across both campuses. This research undertook to identify a framework that would best serve the Fashion programme of the researched university. Assessment in the context of this study referred to the process of both gathering evidence of student learning as well as assigning grades to that learning. The lack of an assessment framework affects the quality of assessment. Consistency in the assessment process across both campuses is important. At present assessment is not consistent as it is done independently on each campus. This lack of consistency could prove to favour students at the one campus while marginalizing students at the other campus and vice versa. Inconsistency arises from staff having no common assessment framework to refer to when assessment takes place. This study was a case study. Interviews were conducted with a sample of lecturers and students from both sites. A document analysis of relevant policies was done. The documents included the Higher Education Quality Committee document Criteria for Programme Accreditation, 2004, the South African Qualification Authority document Criteria and Guidelines for Assessment of NQF Registered Unit Standards and Qualifications, 2001, and the South African Qualification Authority document Guidelines for Integrated Assessment, 2005. University policy documents pertaining to assessment were also included in the research.The findings of this study lead to the conclusion that there is no clear assessment framework currently in place for the National Diploma: Fashion at one Eastern Cape comprehensive university. The assessment methods currently in use are not fully understood and comprehended by lecturers or students. The assessment types are limited with little or no variety as to how assessment is practiced. Although continuous assessment is advocated in the department, a lack of understanding by lecturers and students as to the true practice of continuous assessment is evident. Much of the assessment is done at the end of a teaching module, rather than embedded in the teaching module. This means that assessment is done of learning rather than for learning.

Thesis (MTech (Design))--Cape Peninsula University of Technology, 2016. / This study explores appropriate responses to some of the challenges inherent to life today, and how a holistic design education can bring about a new reality. The approach to design learning advocated here acknowledges the present reality of fragmentation and reductionism as the fundamental and pervasive mode of understanding our world and ourselves, and seeks to develop instead a design approach grounded in inclusion, context and connectedness. Under the primary concept of profound engagement with self, culture and environment, I developed a complementary design education model exploring the role of designer as mediator between culture and nature. This model proposes future design knowing situated in environmental, social and self-awareness so as to offer a vital interface between ecology, public and the personal. Three themes emerged during the research that helped me to approach and engage with complexity during particular experiences of teaching and learning. These themes are: Wild, representing quality; Conversation, representing experience; and Transformation, representing consciousness. With these themes in mind I entered into the untamed territory of my research seeking the dynamic connections and interrelationships of living processes in education. The Ensembles or modules constituting this model evolved from the work of Rudolf Steiner’s concepts of higher perception: Imagination, Inspiration and Intuition, made clear through following Johann Wolfgang von Goethe’s phenomenological method. Goethe’s phenomenological method – “delicate empiricism” – is essentially a participatory, perceptive practice with which to harness qualitative ways of knowing. The methodology supports students to cross the divide between abstraction and holistic relational modes of knowing that are context-sensitive. The research study reconsiders the current worldview and determines ways in which to develop relational awareness through deliberate learning experiences. These ways imply re-focusing existing awareness with personal qualities and active participation. The Ensembles open up new ways of perceiving emergent process rooted in integrated, flexible and evolutionary processes. Students’ learning experiences are traced as they develop their capacity for interconnected decision making modelled on living processes. This in turn helps develop the model further, so that in the future designers may embrace ways of thinking and doing design that are more flexible, mobile, delicate and sustainable. The radical humanist perspective and qualitative methods used in the study advance the pedagogical approach embedded in human engagement and interaction, and encompass logic, intellect, creativity, imagination and philosophical reflection. Thus the critical shift, from perceiving the world as abstract and as “something out there” to a deeper inner knowing and understanding, is embedded in the education model as an opus of Ensembles reflecting a pedagogy of lived experience, grounded in embodied creative practice.

This study explored the current status of Turkish basic art education and the objectives of the first year art program at the university level in Turkey. Also, the researcher attempted to explore the objectives and expectations of Turkish art professors and to examine the applicability of certain concepts of American basic design education in the teaching of studio foundation courses in Turkish art schools. The study included the literature review concerning changes in educational philosophy related to the history of design education in the West and in Turkey.

The purpose of this study is to determine whether or not courses in design have better equipped prospective teachers of industrial arts to recognize good design as applied to woodworking projects.

This research problem represents an attempt to forestall the high school student's usual preoccupation with perceptive minutiae by placing an emphasis on the monumental or underlying structure of a work of art. The author, endeavoring to afford maximum success for the students, first stripped subject matter to its most pristine quality, the silhouette. Because it was felt that it is much easier to recognize and organize an underlying structure without the added complication of perspective, emphasis was placed on a depthless surface or decorative space to be organized into a coherent whole through application of the abstractions which are the elements and principles of design. This unit was offered to a class of high school students in an Art General class at Madison High school, Portland, Oregon. This is an elective class open to all students from freshman to senior year. Results of this unit were generally successful. Improvement was exhibited by all students. During these activities of experimenting and creating, students learned about design by doing, looking, and discussing. They became less concerned about minutiae, and they began to express an appreciation for paintings for themselves rather than for recognizable objects or superfluous delineation. It was concluded that students at this age level have the most difficulty when left to their own resources for subject matter. Many false starts were made before this particular problem was resolved. But, upon its completion, students felt that they had met a challenge of discovery, exploration, and creation on their own.

This study was conducted to explore interior design students' perceptions and attitudes toward creativity in design problem solving using CADD versus conventional drafting tools and to research whether CADD stifles or encourages students' creativity in that manner. Students' level of CADD perf onnance, past experience with CADD or other microcomputer software and level of CADD problems were used as the independent variables for this study. During the last two weeks of the spring semester 1989, 32 interior design students, who comprised the population for this study, were given two design problems, one to be done with CADD and the other with conventional drafting tools. After that period students were asked to fill out a survey questionnaire and participate in a group discussion. The collected data then was a subject of a descriptive and analytical statistical study. Findings of this study showed no relationship between students' level of CADD experience and their attitudes toward using CADD in creative design problem solving. On the other hand, a significant relationship was found between the level of CADD problems that students had and their attitudes toward CADD. As a result, although students liked using CADD in design and 78% of them did not feel intimidated by it, more than 65% of the students felt that they could come up with more design ideas with conventional drafting tools than with CADD. Most of the students attributed this attitude to their long experience with design and drafting tools. Other problems that caused discomfort to students when using CADD in design were lack of knowledge of DOS commands, unfamiliarity with computer hardware and software problems, and their limited time to work on computers. / Master of Science

This thesis is a qualitative study of current teaching practices in landscape architecture centering around instructors' understanding and use of studio teaching methods. Selected faculty, considered by their peers to be expert studio instructors, participated in one hour, open-ended interviews sing their instructional experiences and examining the teaching methods they espouse. The resulting transcripts provided a base for qualitative analyses for a small sample of current teaching practices. By documenting selected design studio instruction methods, new faculty may draw upon a pool of education possibilities ranging far beyond their experience as students. Similarly, examination of the theoretical foundations, expected outcomes, and teaching methods of professors may provide new faculty with a more holistic benchmark for gauging their professional growth. / Master of Landscape Architecture

published_or_final_version / Education / Master / Master of Education

published_or_final_version / Education / Master / Master of Education