PGCert Intervention Summary Proposal 

Posted on 13th July 2025 by Eden Chahal

For my intervention, I am exploring two possible directions that feel quite distinct but equally relevant to my practice. I presented both to my peers to gather feedback on their relevance and feasibility, and I will use their responses to help me decide which one to develop further. 

Intervention 1 – Reconsidering Studio References: The Case of Invisible Cities 
While teaching a first-year BA Interior and Spatial Design unit, I was asked to deliver a brief based on Invisible Cities by Italo Calvino (1972). This book was familiar to me from my own studies in architecture, and I was excited to teach it. However, I was struck by the critical conversations around its continued use, especially its limitations in terms of representation and inclusivity. 

This made me reflect on how we choose references in design education. I’d like to develop a reflective methodology to help review and expand references in meaningful ways. Rather than replacing Western texts, the aim is to question the process and support staff in navigating unfamiliar material. I will use available library resources to test how well the institution supports inclusive teaching (hooks, 1994; Ahmed, 2012). 

Intervention 2 – Accessibility in Software-Based Teaching 
In my role as a technician and digital tutor, I often teach software that use written commands, the most widespread one is Rhino 3D. These sessions rely on screen sharing and live demonstrations, which are not always accessible to all students. I would like to create a simple and adaptable toolkit to improve accessibility in technical teaching: using visual dictionaries, video loops, overlays, and printable summaries to support neurodivergent learners and non-native English speakers (CAST, 2018). 

Both interventions respond to challenges I’ve encountered in practice and aim to support a more inclusive learning environment. 

References 
Ahmed, S. (2012) On Being Included. Duke University Press. 
Calvino, I. (1972) Invisible Cities. Vintage. 
hooks, b. (1994) Teaching to Transgress. Routledge. 
CAST (2018) Universal Design for Learning Guidelines. Available at: https://udlguidelines.cast.org 

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Unit 2 – Blog post 3: Racial visibility // Structural blindness

Posted on 18th June 2025 by Eden Chahal

Coming to the UK, I was struck by how openly ethnicity and religion are requested in university applications. As I wrote in my previous blog post on religion, this was unsettling. In France, where I grew up, collecting racial data is forbidden under the principle of laïcité. Race is unspeakable and statistically invisible. This aims to protect against discrimination, but it also makes systemic inequality harder to name or address.

This contradiction became clear during my studies in a state-funded architecture school in Paris. Tuition was free, yet my cohort was almost exclusively white and from upper-middle-class backgrounds. With a 5 percent acceptance rate, long years of study, and low starting salaries, the degree favoured those with family support. The absence of racial data did not prevent exclusion, it simply made it harder to track.

Where statistics were possible, such as with gender, corrective policies like ‘positive discrimination’ were introduced. Institutions like the prestigious university Sciences Po created admissions quotas for students from disadvantaged areas (Loi sur l’égalité des chances, 2006). These efforts, though controversial, acknowledged structural barriers. They also raised questions of stigma, echoing debates around tokenism in the UK. In recent years, the number of students identifying as women has surpassed that of men. Ironically, there have even been calls for ‘positive discrimination’ in favour of men. Beyond the comical surface, this may reflect how, in elite academic spaces where most students come from privileged backgrounds, gender attainment gaps are not only closing but reversing. This shift is also evident in UK architecture: recent figures show that 51.5 percent of new architecture undergraduates are women—the highest ever—yet only 29.6 percent of registered architects are female (Aldous, 2021). In France, the pattern is similar: 66 percent of architecture students are women, but women represent only 38 percent of newly registered architects, and just 29 percent of all registered architects (Ordre des Architectes, 2024).

Watching The School That Tried to End Racism (Channel 4, 2020), I felt torn. The programme exposed how early racial bias takes root but placed children in uncomfortable positions, revealing personal struggles on camera. Still, the questions raised—which focused more on the consequences of race than race itself—were valuable. It showed how powerful structured conversations can be, even when imperfect.

In the UK, interview panels are now encouraged to include a person of colour. When I was invited to join one, I wondered if it was due to my appearance, though I had never disclosed my background. Still, I felt that my presence could help candidates feel more at ease. At the same time, I have witnessed racialised students with far more privilege than local working-class white peers. Should support be based solely on visible identity? This is where intersectionality becomes essential (Gutman and Younas, 2024).

Garrett (2024) illustrates how racialised PhD students carry the emotional labour of never being fully seen. Bradbury (2020) highlights how “neutral” policies reinforce disadvantage. These ideas resonate with my own experiences navigating education systems on both sides of the Channel.

What has stayed with me most, though, is the discomfort of being visibly different in predominantly white spaces, even when inclusion is the stated goal. This unspoken tension is often felt in subtle gestures or casual conversations that mark one as ‘other’. While not always intended to harm, they accumulate.

UAL’s anti-racism work rightly focuses on educating staff, but I believe students also need tools to navigate difference: among themselves and with staff. I have lost count of how many times students asked me where I was “from,” or even turned it into a guessing game. It often comes from curiosity, not malice, but shows how much education is still needed around respectful interaction.

References

Aldous, D. (2021) ‘Exclusive: Proportion of women entering architecture hits record high’, The Architects’ Journal, 22 February. Available at: https://www.architectsjournal.co.uk/news/exclusive-proportion-of-women-entering-architecture-hits-record-high (Accessed: 19 June 2025).

Bradbury, A. (2020) ‘A critical race theory framework for education policy analysis: The case of bilingual learners and assessment policy in England’, Race Ethnicity and Education, 23(2), pp. 241–260.

Channel 4 (2020) The School That Tried to End Racism. [Online] Available at: https://www.youtube.com/watch?v=1I3wJ7pJUjg (Accessed: 19 June 2025).

Garrett, R. (2024) ‘Racism shapes careers: Career trajectories and imagined futures of racialised minority PhDs in UK higher education’, Globalisation, Societies and Education, pp. 1–15.

Gutman, L.M. and Younas, F. (2024) ‘Understanding the awarding gap through the lived experiences of minority ethnic students: An intersectional approach’, British Educational Research Journal. Available at: https://doi.org/10.1002/berj.4108.

Loi n° 2006-396 du 31 mars 2006 pour l’égalité des chances. [Online] Legifrance. Available at: https://www.legifrance.gouv.fr/eli/loi/2006/3/31/SOCX0500284L/jo (Accessed: 19 June 2025).

Ordre des Architectes (2024) Chiffres clés 2024 de l’Ordre des Architectes. [Online] Available at: https://www.architectes.org/actualites/chiffres-cles-2024-de-l-ordre-des-architectes (Accessed: 19 June 2025).

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Unit 2 – Blog 2: Faith, Belief and the Weight of Intersectionality: Between Laïcité (french model of secularism) and Inclusion

Posted on 18th June 2025 by Eden Chahal

Kwame Anthony Appiah (2014) provocatively states that “there isn’t such a thing as a religion,” citing, among others, a Jewish rabbi who does not believe in God. Religion, he argues, is often a reductive label applied to complex cultural, historical, and spiritual practices. This raises the question: is it helpful, or even accurate, to speak of ‘religion’ in singular terms? And to what extent should these constructs affect teaching and learning?

Having grown up and studied in France, I was immersed in a model built on laïcité, the state principle of secularism, stemming from the 1905 Law separating Church and State (Loi du 9 décembre 1905, Legifrance, 2024). While this law ostensibly guarantees freedom of religion, its later applications have frequently led to the exclusion of visible religious expression. In 2004, France passed legislation banning the wearing of conspicuous religious symbols in public primary and secondary schools, including Islamic veils (Loi n° 2004-228 du 15 mars 2004, Legifrance, 2024).

Although framed as neutrality, this legal framework has disproportionately affected Muslim students, particularly girls. It has recently extended to policing so-called ‘modest’ clothing, such as long dresses suspected of being abayas, even when no explicit religious intent was stated (Carvalho, 2023). As Jawad (2022) discusses in the context of sport, Muslim women often face multiple layers of scrutiny, not just religious, but gendered.

This intersectional experience is particularly visible in France: while some girls are excluded for dressing “too modestly,” others are simultaneously reprimanded for wearing shorts or tops deemed “too revealing” (Delalande, 2018). Both reveal a contradictory system where young women are judged for both covering and uncovering their bodies, underlining the structural misogyny that overlays the question of faith. Intersectionality, as theorised by Crenshaw (1989), allows us to see how gender, race, and religion are not experienced separately, but inextricably intertwined.

By contrast, my experience in the UK, particularly at Goldsmiths, was strikingly different. The presence of a multi-faith prayer room, public celebration of diverse religious events, and visible religious attire across campus fostered a sense of belonging. It demonstrated that inclusion does not require faith to be ‘named’ or addressed frontally, but rather normalised as part of a pluralistic learning environment.

In my teaching and technician roles, these differences raise ongoing questions. How can we honour students’ beliefs without essentialising or tokenising them? Sensitivity to moments like Ramadan, when students may be fasting, or to broader social contexts such as anti-Muslim hate crimes, can lead to small but meaningful accommodations. During the anti-muslim riots in the UK over the summer of 2024, I offered online alternative to students who I assumed could feel uncomfortable commuting to university. It was slightly sensitive, as I had to make assumptions in order to suggest these tutorials. I was also really stroke by the takeaway options at catered events I learnt about in Charline’s blogpost. 

As the Trinity University video (2016) suggests, perhaps the aim is not to address religion directly, but to cultivate an environment where diverse identities—faith-based or otherwise—are acknowledged and respected. When this is embedded into the fabric of teaching practice, faith is no longer a barrier, but one thread in a rich, intersectional tapestry of experience.

References

Appiah, K.A. (2014) Is religion good or bad?. Available at: https://www.youtube.com/watch?v=ge664YJ7eDg [Accessed 18 Jun 2025].

Carvalho, L. (2023) ‘La polémique de la robe longue : entre laïcité et stigmatisation’, Le Monde, 5 September. Available at: https://www.lemonde.fr [Accessed 18 Jun 2025].

Crenshaw, K. (1989) ‘Demarginalizing the Intersection of Race and Sex’, University of Chicago Legal Forum, 1989(1), pp.139–167.

Delalande, A. (2018) ‘Les filles trop dénudées à l’école? La fabrique des polémiques vestimentaires’, Slate.fr, 11 Sept. Available at: https://www.slate.fr [Accessed 18 Jun 2025].

Jawad, H. (2022) Islam, Women and Sport: The Case of Visible Muslim Women. Available at: https://www.youtube.com/watch?v=– [Accessed 18 Jun 2025].

Legifrance (2024) Loi du 9 décembre 1905 concernant la séparation des Églises et de l’État. Available at: https://www.legifrance.gouv.fr/loda/id/JORFTEXT000000508749/ [Accessed 18 Jun 2025].

Legifrance (2024) Loi n° 2004-228 du 15 mars 2004 encadrant, en application du principe de laïcité, le port de signes ou de tenues manifestant une appartenance religieuse dans les écoles, collèges et lycées publics. Available at: https://www.legifrance.gouv.fr/jorf/id/JORFTEXT000000417977 [Accessed 18 Jun 2025].

Rekis, M. (2023) ‘Religious identity and epistemic injustice: an intersectional account’. [PDF] Provided by UAL.

Trinity University (2016) Challenging Race, Religion, and Stereotypes in the Classroom. Available at: https://www.youtube.com/watch?v=– [Accessed 18 Jun 2025].

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Unit 2 – Blog 1: Disability and Intersectionality: Systemic Barriers and Shared Responsibilities

Posted on 18th June 2025 by Eden Chahal

UAL defines disability in line with the Equality Act 2010 as “a physical or mental impairment that has a substantial and long-term negative effect on a person’s ability to do normal daily activities” (UAL, 2023). UAL also adopts the social model of disability, which shifts the focus from individual impairments to the structural barriers that exclude or disadvantage people. It encourages us, particularly as designers and artists, to shape inclusive environments. While I believe in the transformative potential of this model, my experience at UAL reveals the limitations of this vision when it is not backed by institutional commitment.

For example, in Camberwell, the lack of soundproofed environments impacts the quality of technical deliveries. This particularly affects neurodivergent students and staff or anyone with sensory processing challenges, it has been one of my biggest challenges as a Teaching and Learning technician, with these teaching contexts directly affecting my health. Though these are often considered invisible disabilities, they fall under the broader definition and should be actively accounted for. I have worked closely with two courses where course leaders were committed to inclusion, yet even with full teaching teams of architects and designers available, no one was ever consulted on the suitability of teaching spaces. Decisions were outsourced to external firms who reproduced design flaws across campuses. One course leader has been requesting acoustic panels for over two years. In another case, despite the availability of a more appropriate space, where I could have delivered my teaching in a quiet environment, the issue was dismissed without further discussion. This shows how rigid administrative practices and territorial dynamics within the institution can override access considerations.

Christine Sun Kim’s Friends and Strangers (2021) is a powerful articulation of what access means beyond ramps or captions. Her work brings attention to how education, family, and culture become accessible or not depending on state systems and public policy. She reflects on raising a child in Berlin, where state-funded childcare enabled her to balance motherhood and practice as a deaf artist. Her emphasis on collaboration, whether with interpreters, her child, or her partner, points to intersectional entanglements of disability, parenthood, and economic structures. Her statement, “I am jealous of artists who have the privilege to be misunderstood,” captures the pressure to constantly explain oneself when one’s experience falls outside dominant norms.

Similarly, Chay Brown and the co-founders of ParaPride speak to the layered experience of being LGBTQIA+, a trans man, and disabled, whilst acknowledging his privilege as white-passing cis-men, with a hidden disabilty. They discuss how access is often partial, with venues offering step-free access but lacking accessible toilets. As an architect, I recognise this as a systemic design failure that reflects how limited interpretations of access can still exclude. In my role, I often reflect on where responsibility begins and ends: is it at the border of our classroom? At the entrance of the university? At the scale of the city – ensuring accessible commute? This question itself shows the limits of individual initiatives when tackling such overwhelming subjects.

Ade Adepitan (Channel 4, 2021) also emphasises intersectionality, linking race and disability. He points out that real change often comes from systemic disruptions such as the growth of Black Lives Matter or the increased visibility of the Paralympics. Audience figures for the Paralympics doubled between the 2008 Beijing Games and London 2012, with over 2.7 million tickets sold in 2012 (IPC, 2013). He highlights how meaningful visibility allows people to thrive when they are given space to be seen. However, these moments of change do not emerge in isolation. They only become transformative when society has slowly shifted enough to be ready for them. What might feel like small or even meaningless individual actions can, over time, accumulate and create the conditions for larger change. As Raymond Williams (1977) suggests, culture is not made solely through dramatic events but through a “whole way of life,” shaped by long-term, collective effort.

The UAL disability video presents valuable intentions but places a heavy burden on individual staff. While staff should remain accountable within their remit, systemic change requires structural investment. Otherwise, we risk idealising personal action in contexts where institutional inertia persists.

Finally, I have rarely encountered students or staff with visible disabilities. This absence itself points to broader barriers, possibly occurring well before students even reach university level.

References

Channel 4 (2021) Interview with Ade Adepitan. Available at: https://www.channel4.com [Accessed 18 Jun 2025].
Crenshaw, K. (1989) ‘Demarginalizing the Intersection of Race and Sex’, University of Chicago Legal Forum, 1989(1), pp.139–167.
International Paralympic Committee (IPC) (2013) London 2012 sets new benchmark for Paralympic Games. Available at: https://www.paralympic.org [Accessed 18 Jun 2025].
Kim, C.S. (2021) Friends and Strangers. Available at: https://www.christinesunkim.com [Accessed 18 Jun 2025].
ParaPride (2022) About Us. Available at: https://www.parapride.org [Accessed 18 Jun 2025].
UAL (2023) UAL Disability and Inclusion Policy. Available at: https://www.arts.ac.uk [Accessed 18 Jun 2025].
Williams, R. (1977) Marxism and Literature. Oxford, Oxford University Press.

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Account of Microteaching

Posted on 25th March 2025 by Eden Chahal


Download

Link to the Powerpoint Presentation

PGCert Microteaching Reflection 

For my PGCert microteach, I created a session on “First Steps into 3D Modelling with Rhino”, aimed at complete beginners. The idea was to simulate an introduction to a 3D modelling environment for students who might find the software intimidating or overly technical. I designed the session to ease them into Rhino 3D by starting with a practical design challenge and introducing the interface through play and simplification. 

I showed a 3D printed model at the start, to help alleviate the potential thought of “I could never achieve anything in 3D.” I presented the final output and stated, “By the end of this session, you’ll know how to model this object and have it ready for 3D printing.” In a standard teaching context, this would normally be delivered over two hours, and I aim for students to leave feeling that they’ve successfully built their first model and learnt a lot already without noticing the extent of their abilities to absorb knowledge. 

The session was object-based, structured around the Zig-Zag Chair by Rietveld (1934). I used scenario setting as a teaching strategy, asking participants to imagine they were encountering this task for the first time, interpreting technical drawings and trying to construct a 3D object from them. 

Because Rhino can be such a technical and potentially intimidating software, I created multiple sensory cues and objects to help students feel grounded before engaging digitally. I combined a PowerPoint with printed drawings, 3D printed models, physical props, animated GIFs, and a live software demonstration. 

Gallery of props from my session: I created and used these hands-on materials—3D printed Zig-Zag Chairs, printed drawings, assembly cards, and simplified diagrams—to help guide participants through their first steps into Rhino 3D with a tactile and accessible approach.

Participants were invited to: 

  • Physically position printed views (Front / Right / Top) of the chair onto labelled bases 
  • Place pins on a printed photograph of the chair to mark its simplified polyline form 
  • Compare polylines vs lines through a printed diagram and a looping GIF 
  • Mentally reconstruct the object by assembling the printed views vertically 
  • Watch a short demo showing how the same steps translate in Rhino 

This was all designed to build confidence step by step, and to help students make connections between real-world geometry and virtual space before opening the software. 

Timed session plan (approximate and with a deviation due to technical issues)

  • Brief intro to myself, the session aim: removing the fear of Rhino. Set the scene: “You’re a designer who needs to model a simple object for rendering or 3D printing.”
  • Present the Design Challenge Show the Zigzag Chair – ask: What are the minimum commands you would use to model this? Show 3D printed version.
  • Engage with Pre-Modelling Questions Guide students to break down the object’s geometry. Ask about projection views, shapes, and construction planes.
  • Live Demo in Rhino Open Rhino and start modelling the chair. Walk through: creating polylines, extruding, offsetting surfaces. Use simple GIFs to reinforce commands.
  • Interface Overview Recap Explain command line, object types, viewport use, and Rhino feedback system. Mention shortcuts, toolbar, and how to interpret the software responses.
  • “Going Further” Prompt Present scenario: now you need the same chair in a close-up render—what would you add? Invite ideas. Show how modelling depth evolves in different settings.
A selection of animated GIFs I created for the session (I wasn’t able to include the animated version on WordPress but they can be seen when downloading the Powerpoint). These were designed to visualise key principles—such as the difference between a line and a polyline—and to support learning through visual reinforcement.

Reflection on Feedback and Teaching Approach 

I was quite nervous before the session and, surprisingly, forgot one of the short activities I had planned. I think the pressure of the setting affected me more than expected, and it made me realise how I tend to overprepare in a way that suits my own logic-driven thinking. In the future, I might try recording myself or rehearsing in a less perfectionist way, to help feel more relaxed and confident. 

Delivering my microteaching session, “First Steps into 3D Modelling with Rhino.” This moment captures the use of physical props.

The feedback from my tutor was very encouraging. He described my session as a good example of reinforced learning—a concept I wasn’t familiar with by name, but which I researched afterwards. Ormrod (2012) defines it as a teaching method that strengthens cognitive pathways through repetition and layered engagement. It helped me realise that what I had built—logical sequences, physical prompts, and visual clarity—naturally supported this kind of learning. I now use this strategy more consciously. 

It also made me aware that, although I had designed an interactive session, it was probably best suited to logical learners—people like me, who thrive on clarity and structure. Seeing five of my PGCert peers deliver their own microteaching sessions helped me notice how different personalities and teaching styles can have very different but equally successful impacts. One was described as “authentic” by our tutor, for example—someone who was so natural in their style that we forgot we were students and they were the teacher. That really stuck with me.  

From my technician perspective it was also enlighting to see common traits and differences between other fellow technicians and academics. 

A selection of my PGCert peers delivering their own microteaching sessions.

The experience helped me reflect on the tone I bring into the classroom. I often come across as serious or precise, but I now want to balance that with a more relaxed and engaging presence—especially in group settings. Reading my peers’ feedback also reminded me of the power of positive reinforcement, and how important it is to help learners see their strengths first—something I hope to carry into all forms of feedback I give going forward. 

References 

Ormrod, J.E. (2012) Human learning. 6th edn. Boston: Pearson. 

University of the Arts London (UAL) (2023) Inclusive teaching and learning: Creating supportive environments. Available at: https://www.arts.ac.uk/staff/teaching-and-learning/inclusive-teaching-and-learning (Accessed: 25 March 2025). 

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Case Study 3: Assessing learning and exchanging feedback

Posted on 25th March 2025 by Eden Chahal

Contextual Background: 
As a Specialist Technician in Digital Design and Fabrication, I support six Interior Future courses. While I do not conduct summative assessment, I regularly contribute to formative feedback through studio support and design reviews. A core challenge lies in supporting student outcomes without always having access to briefs or assessment criteria. 

Evaluation : 
Since joining UAL, I have attended reviews and studio sessions across most courses, which helped me understand how learning outcomes are interpreted in different contexts. In some instances, academic teams and I have experimented with integrating technical support more consistently into studio practice, particularly during key stages of project development. This was agreed with my line manager as a way to learn and trial ways of integrating our support. We implemented this with GDID, benefiting from a small cohort of 15 students, and with BAISD Year 1, as a technical resource available on the spot during feedback sessions. Following that first phase, it will now become a more formalised way of integrating the technical team into studio teaching. That experience made me realise how much clearer and more useful my feedback becomes when I have access to project context and learning goals. However, this level of integration isn’t yet consistent across all the programmes I support, which is something I’d like to continue working on.

Moving Forward: 
The core challenge I face is offering relevant and timely feedback when not fully included in course planning or brief development. With each course having different learning outcomes, structures, and timelines, it can be difficult to navigate expectations, especially when feedback may indirectly influence assessment outcomes. 

To address this, I’ve worked with academic teams to develop more integrated modes of support. When embedded into studio teaching, I’m better able to connect technical tools with the broader creative intentions of a project. This has led to more aligned conversations with students and greater clarity on how technical processes serve design thinking (Orr, Yorke & Blair, 2014). Encouraged by early success, this collaborative model is now being implemented more widely with enthusiastic engagement from both technicians and academics. 

Alongside this, I have refined my approach to formative feedback. Inspired by peers and PGCert discussions, I’ve adopted strategies such as providing short written takeaways—three strengths and three action points—to help students process feedback beyond the review moment (Jessop, El Hakim & Gibbs, 2014). I’ve also experimented with students taking notes for each other during critiques, fostering peer learning and shared responsibility for knowledge exchange. 

Attending a UAL mental health awareness workshop further shaped my understanding of feedback boundaries. It helped clarify what technicians can responsibly support and when we should signpost to specialised services—essential when working closely with students who may be anxious or overwhelmed (Price et al., 2011). 

These strategies align with UAL’s emphasis on feedback that is timely, actionable, and student-centred (UAL, n.d.). Going forward, I want to continue applying them while also making sure my feedback relates more explicitly to unit learning outcomes. Before undertaking the PGCert I wasn’t made aware of the Learning Outcomes; this training has helped me focus my attention on spaces I didn’t know were that central in the teaching. I plan to ask for briefings ahead of new units and explore how assessment language can be translated into more technical terms. This is an ambitious aim, working with that many students, but something that we could work on collaboratively. With that in mind, I hope to keep advocating for technician inclusion in feedback and assessment conversations—especially in final reviews, where students can benefit from both creative and technical perspectives. 

References 

Jessop, T., El Hakim, Y. and Gibbs, G. (2014) The whole is greater than the sum of its parts: a large-scale study of students’ learning in response to different types of feedback. Assessment & Evaluation in Higher Education 

Orr, S., Yorke, M. and Blair, B. (2014) Learning and teaching in the practice-based disciplines: managing the complexity of judgement-making. Arts and Humanities in Higher Education 

Price, M., Handley, K., Millar, J. and O’Donovan, B. (2011) Feedback: all that effort, but what is the effect?. Assessment & Evaluation in Higher Education 

UAL (n.d.) ‘Assessment at UAL’. Available at: https://www.arts.ac.uk/about-ual/teaching-and-learning/assessment (Accessed: 20 March 2025) 

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Review of Teaching Form: Being observed by my tutor (Tim Stephens)

Posted on 25th March 2025 by Eden Chahal

28.02.2025

Size of student group: 15 (at the time of observation it might be led in a smaller group or as a series of 1:1 tutorials)

Observer: Tim Stephens

Observee: Eden Chahal

 
Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.

Part One

What is the context of this session/artefact within the curriculum?

This is the second session of Unit 3 in the first year of BA Interior and Spatial Design. The unit is based on the book Invisible Cities by Italo Calvino. Students are expected to each choose a city and transform the written fiction into a physical model.

How long have you been working with this group and in what capacity?

This is part of a cover for the programme’s course leader. I am only covering this unit, and the observation will take place in the second session. I have been in contact with the students as part of my technician role, delivering software training.

What are the intended or expected learning outcomes?

  • LO1: Make appropriate choices regarding the selection of reliable sources and critically examine your ideas and findings (Enquiry).
  • LO2: Explore and analyse theoretical perspectives to question norms, practices, and biases embedded in societies and cultures (Knowledge).
  • LO3: Demonstrate the use of writing, drawing, and making to experiment, design, and construct a thematic scale model (Process).
  • LO4: Compose an illustrated and academically referenced journal that narrates the research and process of a theoretical and practical study (Communication).

What are the anticipated outputs (anything students will make/do)?

Students will build a model reflecting their interpretation of the city they have chosen. They are all working with a 30 × 30 cm base, allowing them to assemble their models for a small presentation/exhibition. They will also submit a design journal documenting their process, research, ideas, and final outcome (2000 words).

Are there potential difficulties or specific areas of concern?

This is a new role for me, so the main challenge is the novelty. Additionally, as this is the start of the unit, the key difficulty is getting students to kickstart their work, enabling me to provide them with feedback on their progress.

How will students be informed of the observation/review?

They have been informed via email, and I will reiterate this at the start of the session, giving them the option to have their tutorial at another time if they prefer.

What would you particularly like feedback on?

Any feedback is welcome; however, I have noticed that I tend to struggle more with groups than in individual tutorials. Any feedback that could help in that area would be particularly useful.

How will feedback be exchanged?

I am happy to receive written feedback, as I will not be able to leave the classroom at the end of the observation for a verbal discussion.

Part Two

Summary and key points

The method I use for everyone’s teaching observations is to try and note the progress of the session – this is really to remind you of the session so you can recall it. I will not cover everything you said in such complex tutorials as these. Then, I comment on any issues arising. I use “ “ to indicate actual speech and [ ] to make comments or describe.

Sorry, it’s rather long!!…this is a ‘reminder document’ to help you reflect on the session as you replay it in yr memory…but the comments are shorter, around 500 words…

[You announce the plan to the group and mention the models, the email, the plan for the day…and group.

[You explain and introduce for the first student; the scope

1st Student

“Is this a finalised thing or a representation of…

“Have you started making…?

St. responds

Are these scans or are they photos…if you can scan them….[You explain why scanning the. Is useful

“One thing you could do….is save your material…titles and references…

Is this one and this one the same, no?

St. responds and explains…[they explain an idea that is not quite integral to the brief]

“If you wanted to do that you’d have to justify it….[Explaining further, you help keep student on track and establish boundaries

“Is there a reason… it’s a little outside of the brief…you advise

[You both look through the book of drawings…St. explaining cities as memory, nostalgia…

[Have a discussion…talks through seashells idea…you explore

“What else have you…?

St. wasn’t sure about one big city or smaller…

[You feedback…”it would have been amazing if…

“This is your work….final idea, or a representation…

St. I put them on padlet..

“Maybe after the representation of the city…

“You can scan them…

[You look through the padlet or maquettes on screen…

“Is this the same…

“One thing, why did you choose this method…oh you have more..it’s really good that…

“I think there is a form/idea you are struggling with..[with clay] not an easy one to work with…[Yu explain what you think she is struggling with…and explain clay

[You explain about some possibilities…very detailed and engaged]

General form and experiment with larger fragments..

Are you still thinking about this, that’s why you didn’t have crit..?

St…[explains two separate ones] half and half and hinge…

“I wouldn’t think of both in half…if it’s important…[you explain how she should proceed about the model, and how they should connect

[There’s a fundamental question about structure and form; experimenting with more models…]

“You discuss further about quick ness (doing something quickly?), shape and modelling shapes…

[You explain about prototype…

St. explains between this one and this one…

“In terms of volumes….this one (screen) reminds me of this and this (drawing)…in this one you’ve achieved the effect…

“Are you happy with…how can you try to…[These are wonderful interventions…great phrases to use…at any time!

“Experimentation has helped you visualise how you want your model to look…

“I think this one is interesting as the half that you want…

“If you tried maybe 3 ways…

St dialogues with you..[on iterations…

“Something that covers with clay…something…The problem with clay is that is has water in it..[?] You explore the materials dimension…you bring them in a box…so you have them…

[Practical guidance

“The shape that you want, to achieve the shape and same effect that you want…

This technique that you’ve used…could also …laser cut it, wood…could be metal…you work on bending….or cardboard…[you explain properties] …if you were to cover it with clay…why cover it with clay?

[Realisation issues

St. explains why…[great problem setting….

“You could….you could…[explaining and speculating some possibilities…

Something a bit more rigid, build your own tools for cutting the clay….that could be part of your work…

Have you been to a clay workshop…? [Explaining the benefits of experimentation with method and the final goal…

“Build a slab of clay, roll it…have you worked with clay before…pattern…[detailed explanation… of small support structures….and demonstrating of a method appropriate in this case

“I think if you’re still wondering about the shape…this one, you could struggle quite a lot…

Wondering about volume…

St. thinking

“Are you happier with these ones..?

St. thinking…[more dialogue

“How do you think you can …the methodology aspect…

[You pause]

St.…same shape, mould maybe

“Ok, bearing in mind…you can start sketching….experimenting…[explain the partial completion…or 5 different iterations…with shell [?]

“It doesn’t have to ….Doesnt have to be that you do the full…

“One thing about the clay….

“I think it might be useful maybe today, go to the workshop in the afternoon, get an induction…you might want to experiment a bit more with the volume…

“..it might be through sketching…sketch what the final one is….then that can give you an indication

St responds…

“Do you think you could try today with paper…volume…[and then…

St. responds

“Maybe start thinking about ….Sketching your fabrication process, think about materiality…if you have time…

“It might be a bit more difficult

You don’t have to have the whole model…it might be more difficult to plan…

But it’s very good what you’ve shown me…experimented with …materials…

“Anything else…? Something you tried doing..that was a challenge…

St. Explains and describes….then asks what scale would the model be…

“You are always bound to the 30 by 30…

St. in the brief it says…[discuss

“Oh okay…so I thought you wanted to….depends on what’s relevant for you….that why are you asking about…\

St. explains

“Before you start thinking about shape…don’t only think about…but… where would they be relevant inside your model…do they have a relation with each other…[etc, you continue to expand

“Try not to think of it as an illustration of the city…how you are interpreting it…

“It’s more how you are…

“And then 1:20/30 1:50…we can see…

“What are you thinking about when…[you ask another great exploratory/inquiring question,

“If it’s only the music then maybe your model plays music…it might be that there’s no violin but…I’m not telling you to do it…what’s important to you is the music and not the object..

St. responds

“You don’t have to represent everything…represent just one element…can you focus on it…

“You might also want to start… Thinking about interaction with audience…are you going to..or you want people to manipulate it…interact with it…

“If can you start iterating or thinking…I’ll see you again before,,, next week,,

“Your drawing are really, really good and its really good you’ve done it in different materials and shapes [ Ending on a really positive note, well doneJ

2nd Student

“Hi, how are you?

Introduction and explanation to start….

“Do you have your models…

St…explains

“ONe thing that you can do with fragile sculptures is bring them in a shoe box or a box…[explains a level of care and practicanility…

“See for example this one it would be quite easy to…add some information…[explain the presentation…the dimension, the proportions…

“It’s hard to know…hard to know if you’re still wanting to connect these together

“Maybe for next week…

Do you want to run me through…you have your collage

St….explains…their full process..not too literal…in-between..the shapes and how to map it out…not just blocks but the pathways as well..

The collage like you said last week, not enough contrast between chaos

“That can come in the way you present it…you can say…also about materiality the parapet and symmetry…

“It was about materiality and symmetry. This part makes sense….but maybe the rest…

“You don’t have to represent everything in one image…it’s just that you write about it..you can adjust what you say

“Good to start working on your …2nd collage, because you’re going to have that in a week or two…are you going towards chaos and calm…

St. explains..acetate, colours, contrast, etc

“why did you start digitally…you mentioned the acetate helps you with that…[You discuss the collage process…

“Ok, does this feel you are on a good track…? [good question…

“Let’s look at your models….maybe working with fabric and weaving…are you still looking at this…

St. it depends if I do layers….

“It might be that you do a test….

“Thne you started with these…

St. spiral stairs…did it small…a lot of different pieces…putting them together…explains masking tape and glue process, at an agle…

“What do you think you could have done…? [Great question

St. explains…

“One thing that you could do…explain…have a bit of the structure, because the tape is not solid, but if you used cardboard….

[You handle a piece of the card model…

St. discuss

Was this easy for you to cut?

St. So small as well..

“Just at this scale you can…use,cardboard paper

“One thing…you can draw this is autoCAD ..and print it …and fold I do it in one got…scissors not the best…metal ruler, knife…really precise….also a spray of …

St. adhesive spray…

“You draw it flat….demonstrate and model with your hands the process step by step (excellent mime), spray or masking tape…outline this one…

“Think of how you’re going to fold them…mark those lines…[You go on the fully explain the process..

“Maybe you need two…not exactly the same…

If you asill want to…[checking in

St..I do like the..

“What is this representing…why the stairs?

St explains the winding roads, etc. dark…not pristine…winding…and multiple levels..

“It might be that….You’re trying to represent…….spring…central…influence…I don’t know, you’ll see…your main striucture…

St You’ve just given me an idea! [Beautiful moment…st explains…very excited and motivated…

And you are making it cental…

St. thinking about the city…stars and constellations…[?] sorry…

“That’s ok, is it….the star…

How do these two connect….Are they two separate ideas….? Tell me about this one? {great question

St…explain in full now you are full attentive and they trust you to really explain fully….moved away from the symmetry…taking away from chaotic…

Kind of looks like a maze leading up to a central square…is that part of it

St. Yes, [student pleased…

St. centre of the city…not super significant surrounded by…main focus is the centre…pattern and shape moves around the centre…

“I’d be very curious to see…on the outside…very powerful…curious to see how you imagined the central place…you mentioned Venice …city and canals…

[You articulate the issues and elaborate

[Great moments of synthesis…

St. responds and explains [she sounds happy and motivated…

Its not too simplistic…[you both agree

I’ll add a few references to mazes…can add to your miro board or put them here…what do you prefer…?

You continue… Don’t think its too simplistic you can refine it…what does this maze lead to….

[Section of flow in the discussion…lots of synergy in the conversation…

“I’ll add a few references to models of mazes…

[Discussion continued….St. I might start again, looking at curves…he does describe…

[You comment on the screen image and the structure…..

“Are you going to link these two or are you going to join them…

St. explains…

[You reassure and elaborate….

Don’t be too scared of….you have a lot of ideas…maybe one week…one week…

“I’m only talking more about this one because there is more materials…but if you have question on this one…we can also do that…

“This one I’m curious on the material you are using…

St. I kind of want to try with wood….thin wood

[You explain about…each model…this one…acrylic…this one…the wood…

Try one section, one panel…don’t have to do all of the model…

St.sturdy structure…

“I’m now understanding…[you reflect back and let her know her work is understood

“I would encourage you also to think about the central part..

“What do you think you could do today…

St. I have….Next week…

“Let’s say that today, choose one of them that you can work on to…

St. I do have one question about the …?

“You have your model…

St. Looking at the magenta…?

[Very smooth and highly interactive dialogue…

“Today, choose something…document it well..

“Anything you found challenging…?

St says…

“2k words, model, less writing in previous one… …I’m going to try and put references to you…be good by next week…you have some references…

“Anything else..? [very caring attitude of extra questioning…

St. I might try this one…

“If you do that document it too, combine hand making and model making…document your process of making it…

St thank you

St thank you

1 hour

Summary and key points

The design tutorials were wonderfully rich and complex interactions with students.

Boundary setting, you were very good at keeping the student focussed on the brief initially, great work.

Materials -you focus a LOT on the nature of the materials in terms of translating various ideas, concepts or points of view and interpretations, this is a fascinating aspect of you work and certainly a skill-strength.

Exploration, speculation – you do a LOT also of looking and sensing of their ideas in all the expressed forms and materials, then you add possibilities and speculation in the form of questions or suggestions. You have a great method of inquiry…testing questions, is this, what is this…do you feel happy with…how could you, etc, etc. Excellent, really.

Problem-solving; and technical advice -you focus a LOT equally, on technical advisory and skills sharing ideas and techniques, from the very practical, bring your work in a box, to the very technical, clay has water in, the differences between acrylic and wood in a particular maquette. And so o and so forth. This is an excellent approach to cover both ideation and technical simultaneously, that you accomplish with ease…

The first student brought lots of technical challenges which you met fully and made sure all aspects of her time outside the tutorial (her working interpedently) was structured and productive, this is honestly, again also excellent. We want to know students know what to do when they are on their own …in content, process, planning etc. You did this well.

Conversational flow – this was noticeable in the 2nd tutorial, where her realisation of your understanding really allowed the pace to pick up and the flow of ideas and conversation between you was wonderful and synergistic; her happiness and satisfaction was evident.

Additional capture questions, you had a number of ways of asking final questions, partly through care, as a net to catch any stray missing or absent thoughts or ideas, very wonderful technique – you are extremely competent about the integration of practice technique, method, ideation and process/planning.

You wanted feedback on working with groups. I’d say to use your strengths to deal with your weaknesses, as I might say in an educational sense. Talk aloud about what you (would) do and how you (would) do it, and people will listen because it makes sense. This is your expertise. Group management is clearly about boundaries, pointing them out and monitoring them, you do this well. We do not have to talk to the whole group as if they were one person; that can feel a bit thin, and sometimes people have to enact a well tested ‘persona’ which is performative to do this…and make it feel that way. Lots of public figures, teachers, or stand up comedians do this. But it’s an illusion! A bit of educational magic trickery.

We can share our process with groups as a form of acculturation, true, this is professional sharing, and very educative.  However, You can ask groups similar questions to the very good ones you ask individuals. They simply need to find ways to answer them, and in doing so, will discover a group process. You then have to give them time enough and some practical steps sometimes, permission giving, to allow themselves to work in a group.

Wonderful work, great session; you should be very proud of your capabilities as a teacher indeed!

Part Three

This is valuable feedback, pointing to specific details that I hadn’t all consciously noticed and for part was doing in an instinctive way. Seeing these through an external perspective has helped me refocus my attention and develop a more conscious awareness of my approach. It is also incredibly helpful in terms of confidence building—this was only my second time teaching as an Associate Lecturer (I’ve worked at UAL for a year as a technician, but this was a new and challenging opportunity). Knowing that Tim perceived and described positive aspects in my teaching has been encouraging and much needed at this early stage.

The focus on materiality was intentional, but I realised—unfortunately too late—that I hadn’t placed enough emphasis on the use of sustainable materials. This is something I should have been more aware of from the outset, and I felt a sense of regret towards my group of students. I could have better advised them on material choices, especially knowing that some tutors might view, for example, the use of acrylic less favourably than reused or repurposed materials. In the future, I will actively highlight sustainable options and integrate this into the way I frame experimentation with materiality.

My technician background remains close in these moments, and I naturally refer students to available resources in the 3D workshop. However, there are real constraints—such as health and safety limitations around cutting unknown plastics with the laser cutter—that can restrict access to sustainable alternatives. I think this reveals a broader issue and would benefit from a shared conversation between academic and technical staff (both workshop- and student-facing). Having now experienced both roles, I’d like to be part of that conversation and would be interested in proposing a dedicated discussion or workshop on the topic.

Regarding teaching in groups versus 1:1, I couldn’t demonstrate group teaching during the session Tim observed, and I recognise this as an area I need to develop with time and experience. The condensed microteach session earlier in the year was helpful in this regard. I recall Tim describing one of my colleagues as having an “authentic” style—he had a natural ability to smile, be present, and create a relaxed atmosphere. I don’t possess this instinctively. I tend to be shy and quite serious, which creates a certain distance when addressing a group. Connecting individually with students comes much more naturally to me.

This difference is something I’m now reflecting on more seriously, particularly because I can see the positive impact it could have on my teaching. Although not directly linked to my current job description, I am considering taking theatre classes in the future, in the hope that they might help me to loosen up and deliver with greater ease and presence in group settings.

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Blog Post 4: Teaching as a Technician, Teaching as an Associate Lecturer 

Posted on 25th March 2025 by Eden Chahal

Teaching as a technician in its multifaceted aspects

My main role at UAL is as a student-facing specialist technician in digital design and fabrication. I work across six courses under the umbrella of the Interior Futures programme, supporting students from different age groups and academic levels, from BA to MA and Graduate Diploma. Within this role, I’ve learned that there isn’t one fixed mode or output to teaching. I often find myself moving between 1:1 software support, studio-based guidance where technical input needs to respond to creative thinking, lectures and demonstrations on digital tools, and collaborative delivery involving fabrication and workshop coordination. 

Reading Sams (2016) on technicians’ conceptions of their role gave me insight into the way these positions have historically been defined within higher education. The article offered a helpful framework for understanding how technicians perceive their own practice—as facilitators, helpers, and teachers. However, as the text was written nearly a decade ago and is based on experiences within fine art disciplines, I couldn’t fully relate. My role is embedded in spatial and design practices, where the demands and types of teaching can be very different. This made me curious about whether the role of technicians at UAL has evolved, and whether expectations—especially around teaching—have shifted since the time the article was written. 

In recent years, some progress has been made in recognising the teaching contributions of technicians—one example being that the PGCert is now open to technical staff. However, this does not come with the same conditions as for academic staff: technicians typically do not receive time allocation, workload adjustment, or cover to support participation. As a result, completing the PGCert often means working additional hours and managing the course alongside full-time duties. This creates an imbalance in how professional development is experienced and reinforces the idea that teaching—when done by technicians—is somehow “extra” rather than integral. 

The PGCert has prompted me to explore how much of my teaching as a technician overlaps with more formal academic responsibilities.

My first experience as an AL and the key differences I perceived compared to my technician job

To reflect on this, I was offered an exciting opportunity to teach as an Associate Lecturer on a BAISD Year 1 unit. The unit was based on The Invisible Cities by Italo Calvino (1972), and students were asked to interpret one fictional city as a conceptual physical model. I wanted to use this opportunity to reflect on the differences and overlaps between my work as a technician and more traditional academic teaching. 

Figure 1. Poster for the Invisible Cities exhibition, designed by Year 1 BA Interior and Spatial Design students

One key difference was the continuity of engagement. As an AL, I followed the same group of students weekly and worked with them toward an outcome. This is different from the more fragmented, reactive nature of my technician role. Supporting students in a consistent, project-based way made me realise how powerful it is to build rapport over time, and how much teaching also means guiding through uncertainty—not only delivering clarity. 

Sams (2016) and Smith et al. (2004) both point out that while technicians are highly valued by students, their input when it comes to planning and autonomy often goes unrecognised institutionally. That is reflected in pay, professional development, or access to curriculum-building opportunities. 

Figure 2. Invisible Cities exhibition, showcasing the final models created by Year 1 BA Interior and Spatial Design students at UAL. The models interpreted fictional cities from Italo Calvino’s novel through materials, spatial abstraction, and storytelling.

The PGCert has been an opportunity to explore these questions openly. I’m left wondering whether we need to reframe the boundaries of teaching roles in design education—and what changes could be made to create more equity and clarity between technician and lecturer roles, especially when expectations and impact overlap. 

References  

Advance HE (2023) Professional Standards Framework for Teaching and Supporting Learning in Higher Education. Available at: https://www.advance-he.ac.uk (Accessed: 20 March 2025). 

Calvino, I. (1972) Invisible Cities. London: Vintage Books. 

Gibbs, P. and Unwin, L. (2021) Enhancing the visibility and status of technical staff in higher education. HEPI Policy Note 32. Available at: https://www.hepi.ac.uk/2021/09/16/enhancing-the-visibility-and-status-of-technical-staff-in-higher-education (Accessed: 20 March 2025). 

Sams, C. (2016) ‘Technicians’ conceptions of their role at University of the Arts London’, Spark: UAL Creative Teaching and Learning Journal, 1(2), pp. 62–69. Available at: https://www.arts.ac.uk/__data/assets/pdf_file/0020/229470/Technicians-conceptions-of-their-role-at-University-of-the-Arts-London.pdf (Accessed: 20 March 2025). 

Smith, D.N., Adams, J., Mount, D., Reeve, N. and Wilkinson, D. (2004) Highly Skilled Technicians in Higher Education: A report to HEFCE. Leeds: Evidence Ltd. Available at: https://www.sheffield.ac.uk/polopoly_fs/1.568318!/file/HEFCE_technicians_in_he_2004.pdf (Accessed: 20 March 2025). 

UAL (2023) Technician Commitment and Professional Development at UAL. Available at: https://www.arts.ac.uk/about-ual/teaching-and-learning/technical-roles-and-development (Accessed: 20 March 2025). 

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Blog Post 3 : Learning from Workshop 3: Experiences, Insights, and Expectations on Assessment 

Posted on 25th March 2025 by Eden Chahal

In our third PGCert workshop, we were invited to reflect on teaching experiences involving a challenge related to assessment, share one insight, and express a hope for the future of assessment in the arts (see Figure 1 and 2). 

As a technician, I am not directly involved in assessment. However, this activity was particularly valuable, as it drew my attention to a crucial part of the student experience that I do not engage in daily. I am frequently present in studios and asked to give feedback on students’ portfolios, technical drawings, and digital documents. To help them improve meaningfully, I need to understand how they are assessed and what criteria are being applied—otherwise, my feedback risks being misaligned with their learning objectives. Understanding assessment practices more deeply, and learning from peers who are involved in them, has helped me better support course delivery and become more aware of how I can advise students more appropriately in my role. 

Challenge: Supporting Students Without Context 

My main challenge relates to supporting a diverse range of students across different courses—often without access to any records, including those detailing learning difficulties or medical conditions. This has sometimes resulted in particularly delicate situations, where I have had to quickly assess how best to respond while remaining mindful and respectful. 

In these cases, it can be difficult to judge what students have been previously told, what expectations have been set, or how they prefer to engage. I found I was not alone—other participants in the workshop noted similar difficulties, such as “not knowing students’ contexts,” “adapting to neurodivergent learners,” or “not knowing what they were previously presented with.” These issues all highlight the challenge of working with fragmented information while trying to offer consistent support. 

Figure 1. Post-its gathered during Workshop 3 on Challenges, Insights and Expectations. Each participant contributed one challenge they had faced in relation to assessment. Personal Photo.

Following this, I attended a mental health awareness workshop at the university, which was a helpful step in building confidence. It clarified where I can direct students in need of support, and just as importantly, helped me understand the limits of my responsibility. Knowing that I can act as a bridge toward appropriate help—without overstepping boundaries—was reassuring and has helped reduce the sense of pressure I had previously felt when encountering vulnerable students (UAL Student Services, 2023). 

Insight: Giving Space and Structure 

An insight I’ve been exploring in my own teaching came directly from observing a colleague: allowing more space for students to articulate their ideas, even when they seem to struggle, rather than jumping in with feedback too quickly. In my technical role, feedback is central, and I’ve started to treat these moments as informal assessments—ones that benefit from patience and active listening (Boud and Molloy, 2013). 

Figure 2. Post-its gathered during Workshop 3 on Challenges, Insights and Expectations. Each participant contributed one Insight they had faced in relation to assessment. Photo by author.

Another strategy came from a peer’s post-it during the session: writing down three strengths and three areas to develop and handing the note to students. I applied a version of this during a co-taught session when we noticed that students were too tense and tired to fully absorb verbal feedback during final presentations. We instead wrote three actionable points for them to take away, offering a more durable and digestible form of feedback. This aligns with Nicol and Macfarlane‐Dick’s (2006) idea of feedback as a process that supports learners’ autonomy and understanding. 

Looking Ahead 

The third element of the activity—hopes for the future of assessment—was harder for me to connect with directly, but I am keeping it in mind. I know that I’ll gain a clearer understanding of both the possibilities and limitations of assessment over time. Having this conversation early in my teaching career—particularly just before stepping into my first assessment responsibilities as an Associate Lecturer—was timely and impactful. 

It has made me want to engage more actively in discussions with experienced colleagues and to refer regularly to the assessment criteria frameworks we were introduced to during the PGCert (Advance HE, 2023). These tools feel essential for ensuring fairness, clarity, and consistency, especially as I navigate the transition from technical support to marking responsibilities. 

References  

Advance HE (2023) Professional Standards Framework for Teaching and Supporting Learning in Higher Education. Available at: https://www.advance-he.ac.uk (Accessed: 15 March 2025). 

Boud, D. and Molloy, E. (2013) Feedback in Higher and Professional Education: Understanding It and Doing It Well. London: Routledge. 

Nicol, D. and Macfarlane‐Dick, D. (2006) ‘Formative assessment and self‐regulated learning: a model and seven principles of good feedback practice’, Studies in Higher Education, 31(2), pp. 199–218. doi:10.1080/03075070600572090. 

UAL Student Services (2023) Mental Health and Wellbeing Support for Staff. Available at: https://www.arts.ac.uk/students/student-services/health-advice/mental-health-support (Accessed: 15 March 2025). 

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Blog Post 2 : Reflection on the reading and discussion around bell hooks’ article Talking Art as the Spirit Moves Us (1995) 

Posted on 25th March 2025 by Eden Chahal

hooks’ Argument and Relevance Today 

In her 1995 article, bell hooks reflects on how African American artists are often only valued within mainstream art criticism when their work addresses race or politics. Rather than being seen as complex creators, they are frequently positioned as reactive or oppositional. hooks calls for a form of art engagement that recognises nuance, imagination, and spiritual expression—approaches often denied to marginalised artists (hooks, 1995). 

During our workshop discussion, we were divided on whether the article still applied today. Some of us felt that it could sadly be re-published today with very few updates; others argued that the past 30 years have seen real progress and that the text needs to be read with those evolutions in mind. 

Reflections on African American Art Visibility 

After the session, I engaged in further research and recalled two exhibitions I had seen in Paris that offered contrasting approaches to visibility. One was The Harlem Renaissance and Transatlantic Modernism at the Centre Pompidou (2023), which showcased over 150 works and aimed to reframe African American art history within a broader global modernist narrative (AP News, 2023). The other was Le Modèle Noir: de Géricault à Matisse (The Black Model: From Géricault to Matisse) at the Musée d’Orsay (2019), which focused on how Black figures were represented in French painting and explored the political and artistic implications of these depictions. While not centred on African American artists, it contributed to the ongoing institutional shift toward confronting representation and legacy in Western art. 

Figure 1. Exhibition poster for “The Harlem Renaissance and Transatlantic Modernism” at the Centre Pompidou, Paris (2023). Image source: Centre Pompidou (2023).

These exhibitions made me reflect on the broader shifts occurring in major institutions—such as the National Gallery of Art and Tate Modern—which are increasingly integrating African American artists in ways that acknowledge their work beyond protest or identity frameworks (National Gallery of Art, 2023; Tate, 2022). 

A Tangent Through Architecture and the Brazilian Case 

Our group’s conversation unexpectedly branched into architectural education, particularly through a peer’s comment about gender equity in Brazilian architecture. She noted that, arriving in the UK 30 years ago, she was shocked by how male-dominated the field was—especially compared to Brazil, where she had experienced much greater balance in architectural schools. 

This contrast piqued my interest. After the discussion, I began looking into the Brazilian context. On a first glance, data is limited, but early signs are promising: today, most registered architects and urbanists in Brazil are women (RMJM, 2021). It’s also significant that some of the few female architects I was taught about during my own studies—Lina Bo Bardi, Carmen Portinho, and Arinda da Cruz Sobral—were all Brazilian or worked predominantly in Brazil (ArchDaily, 2022). I would like to dive deeper into this case, particularly regarding the intersections of gender and class, and how inclusion plays out in different cultural contexts. 

Figure 2. Lina Bo Bardi in front of her iconic Casa de Vidro (Glass House), São Paulo, Brazil, completed in 1951.
Source: Felipe C. Albuquerque, Fernanda C. Lourenço, Giorgia H. Ferreira, and Gustavo F. Cardoso

Towards Educational Practice 

We didn’t have time during the workshop to fully address the implications of hooks’ argument on education itself, but the conversation was starting to move in that direction. Beyond teaching diverse student groups, we also began to think about our responsibilities as educators and peers to challenge internalised narratives—particularly those that might lead Black artists to believe their work is only valued when overtly political, or that critics will only engage with them through the lens of identity. 

Can education be the space where that pattern is broken? 
What conclusions could we draw, or adapt, when considering architectural and art education in the UK? 

References

Albuquerque, F.C., Lourenço, F.C., Ferreira, G.H. and Cardoso, G.F. (n.d.) Lina Bo Bardi – Casa de Vidro, 1951. Available at: Lina Bo Bardi – Teoria do Design (Accessed: 11 March 2025)

AP News (2023) Paris’ Pompidou Center Explores Harlem Renaissance and Transatlantic Modernism. Available at: https://apnews.com/article/93630fed68ff5117ae4ea9bedb1ff319 (Accessed: 11 March 2025). 

ArchDaily (2022) Pioneering Women Architects from Latin America to Spain. Available at: https://www.archdaily.com/990570/pioneering-women-architects-from-latin-america-to-spain (Accessed: 11 March 2025). 

Centre Pompidou (2023) The Harlem Renaissance and Transatlantic Modernism – Exhibition Poster. Available at: [The Harlem Renaissance and Transatlantic Modernism] (Accessed: 11 March 2025).

hooks, b. (1995) ‘Talking Art as the Spirit Moves Us’, in Women Artists at the Millennium. Cambridge, MA: MIT Press. 

Musée d’Orsay (2019) Le Modèle Noir: de Géricault à Matisse. Available at: https://www.musee-orsay.fr/en/node/403 (Accessed: 11 March 2025). 

National Gallery of Art (2023) Black Artists in the National Gallery Collection. Available at: https://www.nga.gov/features/black-artists.html (Accessed: 11 March 2025). 

RMJM (2021) The Other Half of Design: Ana Mendes. Available at: https://rmjm.com/the-other-half-of-design-ana-mendes/ (Accessed: 11 March 2025). 

Tate (2022) African American Artists and the Collection. Available at: https://www.tate.org.uk/art/art-terms/a/african-american-artists (Accessed: 11 March 2025). 

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