The Bologna Process applied to creative experiences

Abstract

The Bologna Process was born in 1999, with the intention to improve the competitiveness of European Higher Education in the global market, especially in relation to USA. The idea was to create a common and consistent European framework of qualifications, by developing a shared system of degrees for undergraduate and graduate cycles. One of the main goals was to increased mobility of students and academics to share innovative experiences that gave a response to the new challenges of our society (1). Each country compromised to develop the necessary reforms to adapt their standards to the new common premises. In the case of Spain, there were some important changes to implement: - First, the adoption of a two-cycle study system, with the introduction of a doctoral level as a third one, which meant the link of higher education with research and innovation. In addition, the subjects started to run by semesters to facilitate the semi-annual mobility, which forced us to split and rearrange subjects. - Secondly, the shift from a theoretical orientation to a practical one, with an important reduction of teaching hours, increasing the external workload of the students. - Traditionally the study system had a very strict and close path, followed by every student, but the system based on ECTS credits (European Credit Transfer System), not only opened up the possibilities but also encouraged and forced the student’s mobility in Europe. - Another important issue was the existing gap between University and labor market. With the Bologna plan, the study system had to be adapted to respond to the real needs of that market and include the need of constant transformation. - Finally, Bologna marked as a priority the internationalization of studies, which effectively meant a great challenge for the Spanish system at that time. When it was definitely launched, in 2010, there was a certain degree of uncertainty and indeterminacy that required progressive adjustments. This unpredictability was especially dramatic in the case of creative careers with extremely open and variable parameters, such as Architecture. Along this paper, we will try analyze the implementation of Bologna Plan in the teaching of Architecture, nine years later. We will focus on the teaching of Drawing, affected as well by the challenging transition from analogue to digital resources. We might need to develop a deep reflection and research on the mechanisms and educative strategies used over these nine years. It has been fundamental the implementation of specific training programs in educational innovation for the teaching of drawing, with the use of highly productive resources, supported by innovative strategies concerning the learning process. In addition, the new conditions of time and organization imposed by the framework of Bologna, have forced us to rethink the teaching of drawing, considered as an essential tool to address the design process. The teaching of design is complex, as it is a discipline riding between art and technique that implies the articulation of different disciplines. In short, Architecture pretends to transforms a physical environment to host human behaviors designed with the highest functional, technical and esthetic level. The architectural project is a simulation of this transformation, and it requires the drawing as a comprehensive / productive tool. This paper will analyze the different strategies followed to adapt this creative learning to the new framework of Bologna.