Abstract
Reflective of the impact that a multicultural student body has had on my evolving philosophy of teaching interior design, this article presents the argument to switch from a teaching approach that is primarily chronological, geographical, and stylistic to one that is thematic. This nontraditional reorganization of a course on the history of decorative arts deviates from a linear and progressive format in favor of stressing global awareness, regional sensitivity, multiculturalism, and critical thinking. It seeks to sketch out the “big picture,” ask “big questions,” and make connections among students in diverse majors or as an elective.
The article outlines the opportunities that a thematic format offers students in a studio–based curriculum, while pointing out its relevance to nonmajors across campus. The discussion does not seek to prove the proposed format's effectiveness; rather, it is intended to be a thought–provoking case study in progress.
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