Conference Proceedings 2010 [pdf] - Art & Design Symposium ...

make money and ensure that authentic Indian-made crafts are sold at fair prices. The location of the FPHC in
Goldsboro/Wayne County is a central NC location and easily accessible.
Methodology
Dreamweaver visited the studio the first day in regalia to begin the students’ journey into NC Woodland Indian
folklore and history. This was the first project of this kind in either institution, and it was critical that students
start early to relearn some American history lessons. With the combination of two institutions, two different
programs, the inherent tendency to work within one’s comfort zone, and in unfamiliar surroundings for part of
the time for each group, the instructors take three weeks to deliver group activities that are at times silly—egg
drops or thought-provoking—portable shelters, or educational—Sustainable Jeopardy. By rotating students
through various team configurations, there is a likelihood that they will work with a number of students that they
did not know on the first day. At the end of three weeks, students form interdisciplinary teams for the
competition and the design process begins.
The real learning began when teams realized what they did not know, and had not been given. They had to
determine how to obtain the information. Field trips to the proposed site, the National Museum of the American
Indian, as well as other locations around the state, formed the foundation for the research and design
development. When students asked questions based on their research, and their sensitivity to their lack of
knowledge about the American Indian culture, our client shared more stories about the First People, and the
important symbolism within their culture. The design development continued and the student’s work
increasingly exhibited greater depth of cultural awareness, symbolism, and sensitivity to place—another way of
knowing that was expressed in their exit interviews.
Outcome: Relevance of the Design Process to Social Justice
Interior designers may take the design process for granted as a tool for learning about clients’ explicit
(functional needs) and implicit (cultural, aesthetic) needs; but they may find themselves on the leading edge of
what Pink describes as the Conceptual Age, “…an age animated by a different form of thinking…the capacity
to detect patterns and opportunities, to craft a satisfying narrative, and to combine seemingly unrelated ideas
into something new” (Pink, 2006, p.2). The design process provides the opportunity to gather and craft client
information such that the outcome is transformative and synergistic. For design students, the participation in
the design process with a real client, who demonstrates a clear vision and steady guidance and lives with a
different cultural heritage, yields more than just an exercise in process. It opens a way for students and faculty
to experience an immersion in cultural awareness, sensitivity, and a new American history lesson that raises
thoughts about discrimination, social equity, and what a (student) designer might contribute to make a
difference.
Outcome: Relevance of Service-Learning to Social Justice
The successful outcome of the project illuminates new ways of thinking about the value of service learning
opportunities and the ability to affect social justice issues through design. Hawken (2007, p. 18) states in
Blessed Unrest, a movement of a reimagination of political and social institutions and sustainable thinking, is
emerging from “place, culture and people.” It is also fundamentally based in a sense of fairness and equity for
everyone that shares the resources of this planet. The design process becomes an instrument of social justice
in its inquiry and dialogue with clients that may result in a design solution that touches affective faculties
creating a sense of place from another way of knowing.
Reflection on Learning
Each student in the class meets with the faculty during the exam time to have a 15 minute exit interview. The
consensus of the reflections was that lessons about cultural stereotyping were learned and the transformative
work that can happen with research, active listening, reflecting, and sensitive design solutions will bring social
enlightenment. The impact of the work was expressed by Dreamweaver. He said that for many years he had a
vision in his mind of what the FPHC would look like, and the student’s designs exceeded even his
expectations. The 100+ guests, dignitaries and academics from the two institutions also had learning
experiences—the power of collaboration can create great designs, and students are motivated to make a
difference in their community. At the end, a student commented that faculty did not emphasize sustainable
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