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The Potential of 3D Visualisation Technology in Art & Design Education

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The Potential of 3D Visualisation Technology in Art & Design Education The Potential of 3D Visualisation Technology in Art & Design Education Marianne Patera Digital Design Studio, The Glasgow School of Art Thesis submitted in partial fulfilment for the degree of Doctor of Philosophy The Glasgow School of Art / University of Glasgow May 2009 © Marianne Patera, May 2009 ii Abstract This thesis investigates the potential of 3D visualisation technology for learning and teaching in Art and Design higher education. Unlike most educational technology studies, this research follows a learning event-centred approach as opposed to a technology centred approach. Recent studies seem to give more emphasis on the technology and less on the experience of learning and teaching. The aim of this research was not merely to employ the 3D technology but also to identify, design and evaluate an engaging and effective learning event. The technology alone cannot improve learning; therefore, it is crucial to integrate it seamlessly in an activity that is based on learning and teaching methods that are in line with the educational ethos of the academic discipline. In particular, learning and teaching in Art and Design is mainly studio-based and project-based. Educational technologies that have been successfully employed for years in other disciplines may not directly match the model of studio-based learning; this raises further challenges for educators and developers. Three empirical studies were conducted as part of this investigation on the topics of: Colour Theory, Colour Experience and Spatial Understanding. The method followed here was first to identify a limitation in the current learning and teaching method, analyse the problems that learners and tutors face, and propose a solution that would improve both the learning and teaching experience. For the topics presented in this thesis, the proposed solution involved some form of 3D visualisation technology. The next stage was to design a learning activity and evaluate the effectiveness of both the activity and the technology on learning outcomes and experience. The research methods applied were primarily qualitative, in the form of observations, open-ended questionnaires, interviews and group discussions. Some quantitative data was also gathered where appropriate and possible. The purpose of this study was to evaluate the effectiveness of the learning activity in its entirety, for learners, tutors and institutions. In addition, the type of software and hardware required is a matter of consideration since the proposed technology should be easy for students and tutors to use and feasible, physically and economically, to set up in the studio space. Apart from the learning objectives, other objectives relevant to cost and space have been taken into account in all three studies. This research demonstrated that different educational topics may require different technological solutions. It proved that the implementation of carefully designed educational technology can enhance current learning, teaching and assessment processes by immersing students and tutors in an activity that is productive and enjoyable for both. iii Acknowledgements I would like to convey my gratitude to my supervisor Ian Johnston for his guidance during the course of this research and for giving me a much-needed boost during the final stage. My warmest appreciation goes to my second supervisor Dr. Steve Draper, who supported me throughout this process by so patiently discussing my ideas as well as my worries, and providing me with the confidence to carry on in moments of self-doubt. I would like to extend my thanks to my friends and colleagues at GSA for their help and advice. In particular I would like to thank Dr. Martin Naef, Dr. Parnian Tabib, Dr. Vassilis Charissis, Dr. Mairghread McLundie and Chloe Matus for giving so freely and generously their time to assist with this research. I also owe gratitude to the head of the interior design department at GSA, Drew Plunkett, for his time and advice, and for allowing me access to the studio and the students. I would also like to thank Digger Nutter and Morven McWhirr for their valuable help and collaboration in the studies. I wish to thank the 56 participants who took part in the first study and all the interior design students who participated so actively and enthusiastically in the subsequent studies. I would like to thank the State Scholarships Foundation (IKY) in Greece for supporting me financially during the first year of this endeavour. Finally, I am eternally grateful to my family for the huge amount of support and encouragement they offered me throughout this journey. Without their help this research would not have been completed. iv Contents Abstract iii Acknowledgements iv Contents v List of Tables xi List of Figures xii CHAPTER 1: Introduction 1 1. 3D Visualisation Technology 2 2. Motivation 3 3. The Scope of this Research 3 4. Thesis Outline 4 4.1 Theoretical Framework 4 4.2 Empirical Studies 5 CHAPTER 2: The Ethos of Art and Design Education 8 1. The Art and Design Subject 9 2. Studio-based Learning 9 3. Project-based Learning 10 4. Learning by Doing 11 5. Dialogue 12 6. Constructivism 13 7. Assessment 15 8. The Effect of Current Changes in Art and Design Education 17 9. Summary 20 CHAPTER 3: Educational technology in Art and Design 21 1. Educational technology in Art and Design 22 1.1 Virtual Learning Environments (VLEs) 23 1.2 Specialist software packages 24 1.3 Interactive Multimedia Applications 24 v 1.4 3D Simulations 26 1.5 Social 3D Worlds 26 1.6 3D Virtual Environments 27 2. Educational Technology: Trends and Issues 37 3. Summary 39 CHAPTER 4: Study 1 - Colour Theory 40 1. The Topic: Colour Theory 41 2. How is Colour Theory Taught? 42 2.1 Lack of Colour Education 43 2.2 A Review of Current Colour Courses 46 2.3 Why is Colour Education Important? 54 3. Identify the Educational Problem 55 4. The Proposed Solution 58 5. Designing the Learning Activity 59 5.1 Educational Objectives 60 5.2 Educational Theories 60 5.3 Participants 62 5.4 The Topic: Runge’s Colour Sphere 63 5.5 The Educational Media 66 5.5.1 The material version 66 5.5.2 Text version 67 5.5.3 The digital version 68 5.6 The Design of the Study 70 6. The Study 71 6.1. Learning by Exploration: LBE-material version 71 6.2 Text Version 75 6.3 Learning by Exploration: LBE-digital version 75 7. The Results 76 7.1 The Quantitative Data 77 7.2 Observations 80 8. Discussion 83 8.1 About the Findings 83 8.2 Limitations 85 8.3 The ‘Learning by Exploration’ Application 86 9. Conclusions 89 vi CHAPTER 5: Study 2 - Colour Experience 92 1. The Topic: Colour Experience 93 1.1 Colour Emotion and Colour Preference Studies 93 1.2 The Rationale behind the Selection of Interior Design 95 2. How is Colour Taught in Interior Design? 95 2.1 Basic colour courses 96 2.2 Colour Education in Interior Design: Courses and Methods 96 2.3 Methods Used for Creating and Visualising Colour Schemes 99 3. Identify the Educational Problem 103 3.1 Why is Colour Education Important for Interior Designers 103 3.2 What Seems to be the Educational Problem? 104 4. The Proposed Solution 104 5. Designing the Learning Activity 106 5.1 Educational Objectives 107 5.2 Educational Theories 109 5.3 Participants 109 5.4 The 3D Model 110 5.5 The Colour Palette 111 5.6 The Technology: The Semi-immersive VR Display 112 5.7 The Structure of the Study 113 5.7.1 First session 113 5.7.2 Second session 113 6. The Study 118 6.1 The Pilot 118 6.2 The Learner Trials 119 6.2.1 The first session 120 6.2.1.1 Colour selection 120 6.2.1.2 The intention behind the selected colour scheme 120 6.2.2 The second session 122 6.2.2.1 Responses to the first questionnaire 122 6.2.2.2 The VR session 125 6.2.2.3 Responses to the second questionnaire 126 6.2.2.4 The group discussion 130 6.3 Post-Interviews 133 7. The Post-Interviews 133 7.1 The Colour Learning Activity 133 vii 7.2 VR in Interior Design Education 135 8. Discussion 137 8.1 About the Findings 137 8.2 About the Study 138 8.3 Issues and Limitations 140 9. Conclusions 141 CHAPTER 6: Study 3 - Spatial Understanding 142 1. The Topic: Spatial Understanding 143 1.1 The Rationale behind the Selection of the Topic 143 1.2 Spatial Ability, Spatial Skills and Spatial Visualisation 143 1.3 Spatial Design Ability 144 2. Visualisation Methods Used in Interior Design 145 2.1. Sketches and Drawings 145 2.2 2D Plans, Sections, Orthographic and Axonometric Views 146 2.3 3D Physical Models (mock-ups) 146 2.4 3D Digital Models 149 2.5 3D Animations: Fly-overs and Walk-throughs 150 2.6 3D Virtual Environments (VEs) 150 3. Identify the Educational Problem 151 4. The Proposed Solution 153 5. Designing the Learning Activity 156 5.1 Objectives 157 5.1.1 Educational objectives 157 5.1.2 Cost and space objectives 158 5.2 Educational Theories 158 5.3 Participants 159 5.4 The 3D Models: The Cubehouse Project 160 5.5 The Technology: The VR Display and the Widescreen Wall Projection 162 5.6 The Structure of the Study 163 6. The Study 165 6.1 Observations 166 6.1.1 Navigation 166 6.1.2 Scale 167 6.1.3 Complexity 168 6.1.4 Comfort and facilitation of group learning 168 viii 6.1.5 Glitches 168 6.2 The Group Discussion 169 7.
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