"Art and design education has broadly settled on two categories of pedagogical frameworks, both evolutions from historical precedents. The first of these categories is driven by the spirit of the 'design collective', and comprises the art school studio or atelier model. This was established by the private Florentine art schools of the renaissance from around the 15th Century (King, 2003), always with a focus on making as well as learning from the group - from both peers and Masters. Later, this model of learning through practice carried over to the art schools of England: in his 1858 inaugural address for the Cambridge School of Art, John Ruskin (Ruskin, 1858) spoke about the relative futility of formal teaching per se and instead the pressing need for students to learn by repeated and applied making. For applied craft and design, this studio approach was the method under the influential Bauhaus School (1919-1933) in Germany (Droste, 2005). The second category derives from the teaching of industrial arts and is typically driven by the far greater student volume processing needs of the institution. This category comprises the 'hot desking' or increasingly the 'no-desking' model, with large taught classes in lecture format, and occasional group tutorials. Such a model is often the norm for universities' academic courses. The model spread to the creative courses that were more typically offered by polytechnics in the UK. The first polytechnic dates back to the early nineteenth century (Fox, 1832-1854), although most were established in the 1960's with a remit of applied education in industry and science for work. In many countries, the term 'technical college' is the same as a polytechnic - in both the UK and Australia, many of these colleges converted into universities in the last 30 years."
(Ashley Hall and Tom Barker, 2010)
Hall, A. and T. Barker (2010). "Design collectives in education: evaluating the atelier format and the use of teaching narrative for collective cultural and creative learning, and the subsequent impact on professional practice". In Alternative Practices in Design: Past Present and Future. H. Edquist and L. Vaughan. Melbourne, Victoria, RMIT University: Design Research Institute.
"the husband and wife-run Halas & Batchelor, sometimes called the British Disney – which for more than 50 years produced adverts, public information pieces, feature films, TV cartoons and serious award-winning animation respected the world over.
Today, 15 years after the studio's last release, the British Film Institute will announce that it has been given the Halas & Batchelor archive, including film prints, stills, scripts, correspondence and original cells. It is the largest ever single donation of British animation and was welcomed as 'an extraordinarily rich gift' by the BFI director, Amanda Nevill. 'We look forward to working on ensuring these films and artefacts are enjoyed by the widest possible group of people in years to come,' she said. ...
Curator Jez Stewart hopes that the BFI will be now be able to open up Halas & Batchelor to new generations of animation fans and practitioners. Aardman Animation's Nick Park said he had fond memories of watching the company's animated educational films at school. 'They have always been part of my life,' he said. 'John Halas was the judge on the first animated competition I ever entered – I didn't win, but admired him and looked up to him as a great figure in British animation.'"
(Mark Brown, 3 December 2010, The Guardian)
"The Hugh Lane Gallery removed the contents of Francis Bacon's studio at 7 Reece Mews in August 1998. This operation was conducted with the assistance of a team of archaeologists who mapped the space, and tagged and noted the positions of the objects. The reconstructed studio features the original door, walls, floors, ceiling and shelves. Over 7,000 items were found in the studio and these were catalogued on a specially designed database before their replacement in the studio. The Francis Bacon Studio Database is the first computerised archive of the entire contents of a world ranking artist's studio. Every item in the studio has a database entry. Each entry consists of an image and a factual account of an object. The database has entries on approximately 570 books and catalogues, 1,500 photographs, 100 slashed canvases, 1,300 leaves torn from books, 2,000 artist's materials and 70 drawings. Other categories include the artist's correspondence, magazines, newspapers and vinyl records."
(Dublin City Gallery, The Hugh Lane, 14 December 2004)