2560 Leon Guinto Street

Singalong, Malate, Manila




The Studio

1. The Studio: The Structure and Psychological Setting

We have to understand what it is that we need to know about The Studio . First, learners are confronted with a course structure that requires a very different role for students than traditional forms of instruction usually demand. Second, we can assume that the first experience of a new learning environment sets the stage for remaining learning projects within that particular environment and influences strongly how students will approach more advanced courses in the future. Therefore, it seems a crucial task to analyze how well the existing learning environment supports the processes of adaptation and enculturation of these new participants in The Studio. (Fiedler, 1999)

Among others, The Studio is the Arts and Design counter-part for a regular or standard classroom . While it is a “classroom” its physical setting is totally different from physical settings of classrooms. One is immediately transported, upon entering an art and design studio, to a dimension totally indifferent to our normal experience for a learning space. It instantaneously bring us to the notion that the art and design studio is an arena for some sort of production, personal conversation, movement and others.






The Studio environment offers a great and almost overwhelming variety of potential resources for the personal learning projects of the (artist/designer) learners. It is the responsibility of the individual learner to select appropriate resources and to gradually design her or his own “curriculum.” {Fiedler, 1999) Its furniture- donkey stools, easels and drawing boards- all help direct our understanding to this. These physical structure and features of the art-studio is our first psychological setting we have to adjust with. It invites a paradigm shift, a new tabula rasa , and instill in us a different decorum. The success of artistic/design productivity will depend on this environment. Every object, every space, light, its lavatory, disposal container and platform facilitate a level learning process in a manner experienced by artist/designer students as they go through every stage of artistic or design production. It is here that artist/design- learners go through the activities that are learner-centered. The process of selectivity, adding-up, elimination and relating resources empowers learners to carry out their learning styles that help them to focus and attain their goals and purposes effectively and comfortably. Learners have to consider their body postures and the ergonometric space it would need. Proximity or distance, light intensity are several concerns that may result to their personal requirement for conic register/perception of objects set before them. These are but only a few that may be required by the art/design-students. Hence, “appropriate resources” would mean the artist/designer-student personal conditioned requirement that allows each of them to initiate, go through a process/stages and terminate a project activity.

Perhaps, we should consider what Fiedler has to say about the studio.

The design of The Studio is based on a “constructivist perspective”
on learning that is largely shared among the faculty of the department
Rieber et al. (1999) characterize the core ideas of this perspective as:
“ 1) learning is an active process in which meaning is constructed by each
individual; 2) learning is a social activity founded on a collaboration and
mutual respect of different viewpoints; 3) learning is embedded in the in
the building of artifacts that are shared and critiqued by one’s peers.”

In summary, The Studio , its structure, setting, furniture, lights and artifacts of models and props must harmonize with orcontribute significantly with the teaching and learning styles of both Art Mentor and Artists-learners. The Studio is then not only a learning space and locale but a strategic teaching instrumen t for knowledge and upgrading of processing levels ofthe artist/designer learners.