The Craft of Learning:
- Bryan Cush
- Aug 5
- 13 min read
Updated: Aug 8
Lessons in Applied Learning from the Workshop Floor
by Bryan Cush
PART A
Introduction
This study aims to analyse, compare, and contrast three woodworking education programmes, two of which are delivered as in-person classes, while the third provides online learning through a paid subscription platform. The objective is to identify instances of applied learning within each program and to select one for more detailed investigation.
Case Study 1: Victorian Woodworkers Association (VWA)
VWA__The Institution
Founded in 1979, the Victorian Woodworkers Association (VWA) is one of Australia’s leading woodcraft centres. Its diverse membership includes professionals, artists and students. The VWA runs workshops, artist-in-residence programs, and member events from its North Melbourne workshop and operates as a not-for-profit supported by both volunteers and paid staff.
VWA__The Program
I have chosen to analyse the VWA’s Fixed Project Class (FPC), a 10-week beginner course where students all build the same mid-century-inspired nightstand while learning basic workshop skills. Unlike the VWA’s open design studio classes for intermediate learners, the FPC offers a structured, accessible entry into woodworking. At $1,300 (including timber), it may be financially restrictive for some but remains more affordable than purchasing personal tools and equipment, serving as a practical foundation for those entering the craft.
VWA__The Students
Based on my experience as a VWA tutor, students are typically retirees or professionals from non-woodworking fields seeking a creative outlet. Evening classes suit their schedules, and the VWA’s proximity to Melbourne's CBD offers convenient access for those with the disposable income to enrol.
VWA__Applied Learning Practices
Hands-on woodworking fosters kinaesthetic, experiential learning through direct engagement with tools and materials, reinforcing knowledge through repetition and muscle memory. In the FPC, students develop safe workshop habits, collaborate, and engage in problem-solving within informal groups—an approach supported by Cash (2010), who highlights the value of peer learning in such settings.
Case Study 2: Ex_Lab @ Melbourne School of Design
MSD__The Institution
Melbourne School of Design (MSD), part of the Faculty of Architecture, Building and Planning, is ranked 2nd in Australia and 26th globally (University of Melbourne, Facts and Figures). Although the University is not-for-profit, the cost of tertiary study and HECS debt may be prohibitive for some students. International students, who comprise 45% of enrolments, pay significantly higher fees than domestic students.
Ex_Lab__The Program
The Experimental Design Lab (Ex_Lab) is a semester-long elective within the Master of Architecture, Planning, and Landscape Architecture programs. It blends hands-on making, digital fabrication, and architectural thinking, reflecting a shift toward material exploration, digital design, and embedded sustainability. Students explore materials through full-scale prototyping, leading to innovative furniture outcomes.
Ex_Lab__The Students
The students are postgraduates within MSD and are assumed to have an advanced level of design understanding and critical reflection. They commence the course without prior woodworking or fabrication skills but possess strong research abilities and student-led learning practices.
Ex_Lab__Applied Learning Practices
Ex_Lab demonstrates experiential, project-based, and inquiry-driven learning—hands-on approaches that develop technical and design skills in real-world contexts. The program fosters peer learning and collaboration, with tutors encouraging student agency through open-ended questioning and critical reflection. Guest lecturers assist students in forging industry links and gaining tutelage from design professionals. Figgis (2009) highlights the value of exposing students to professional environments.
Case Study 3: Nick Pedullà - Patreon Online Learning
Nick Pedullà__The Maker
Founder of the Sydney-based Pedullà Studio, Nick Pedullà is a qualified cabinetmaker with over 15 years of experience. Combining traditional craftsmanship with contemporary design, he independently manages all aspects of his studio—including content creation for his popular YouTube and Patreon channels. In 2021, he shifted his business away from private commissions to full-time online teaching and content production.
Nick Pedullà__The Program
As part of his pivot into education, Pedullà expanded his YouTube channel with a subscription-based Patreon which offers advanced, project-based woodworking tutorials. The platform features step-by-step guides for furniture builds, downloadable plans, and access to a Discord community. Two subscription tiers (AU$8.50 and AU$16.50) provide varying levels of content and support.
Nick Pedullà__The Students
The program is aimed at aspiring designer-makers, vocational students, and skilled amateurs looking to refine skills and understand professional workflows. Though affordably priced, it assumes intermediate woodworking ability and access to personal tools. Self-paced videos support independent, practice-based learning.
Nick Pedullà__Applied Learning Practices
This online model demonstrates applied learning through project-based, practice-led instruction. Students learn to build complex furniture, developing technical skills and design thinking through hands-on practice. Detailed video tutorials convey both procedural and tacit knowledge, such as hand-tool control and material judgment. The self-paced format encourages independence, while the Discord forum fosters communal peer learning. Although Figgis (2009) notes e-learning’s limitations, Pedullà’s engaging and entertaining content effectively connects with audiences.
Measuring Against UNESCO's 'Five Pillars of Learning' 1996
Case Study 1: Victorian Woodworkers Association (VWA)
5 Pillars | Application in VWA FPC course | Rating |
Learning to Know | Strong practical tuition, but lack of investigations in conceptual designs or critical theory. | ★★★ |
Learning to Do | High emphasis on practical skill development through full project completion of the nightstand. | ★★★★★ |
Learning to Be | Encourages mastery of basic skills but offers limited opportunities for personal creative expression. | ★★★ |
Learning to Live Together | Some informal peer interaction, but limited levels of structured collaborative learning. | ★★★ |
Learning to Transform Oneself | Focus on basic skill acquisition rather than fostering design thinking or broader societal and sustainability impacts. | ★ |
Case Study 2: Ex_Lab
5 Pillars | Application in Ex_Lab course | Rating |
Learning to Know | Student-led learning through deep research into materials, sustainability, digital fabrication, and advanced design theories. | ★★★★ |
Learning to Do | Strong focus on hands-on making, prototyping, and fabrication skills. | ★★★★★ |
Learning to Be | Students are empowered to take ownership of their ideas, explore distinctive material outcomes, and cultivate a personal design identity. | ★★★★★ |
Learning to Live Together | Peer-based studio learning and active collaborative critique culture. | ★★★★★ |
Learning to Transform Oneself | Students address real-world challenges through sustainable design practice. | ★★★★★ |
Case Study 3: Nick Pedullà
5 Pillars | Application in Pedullà Patreon | Rating |
Learning to Know | Learners develop a solid foundation in woodworking and design through technical and theoretical instruction. | ★★★★ |
Learning to Do | Hands-on, project-based builds with process-based videos reflect authentic, applied learning. | ★★★★★ |
Learning to Be | Fosters self-discipline, creative expression, and personal skills growth. | ★★★★ |
Learning to Live Together | Promotes online community engagement via Discord and comment threads which engages shared learning experiences. | ★★★ |
Learning to Transform Oneself | Promotes sustainable design and empowers students by democratising affordable access to craft education. | ★★★★ |
Conclusion
In my experience as both a student and instructor, the strength of community and face-to-face peer learning at a tertiary design studio level surpasses what can be achieved through online instruction or entry-level woodworking programs. This physical interaction is key to helping learners think critically and independently, ultimately leading to stronger design outcomes. Although it should be noted that the associated high cost of Tertiary education reduces it's level of universal accessibility.
One major shortcoming of the VWA’s FPC is its limited focus on design. While this may be appropriate for an entry-level woodworking course, it constrains critical thinking in ways the other two programs do not.
Ex_Lab’s high level of hands-on learning gives it a distinct advantage over online environments such as Patreon. While students may learn observationally from Pedullà’s working practices, participating in a group workshop with a larger cohort fosters richer, multi-observational peer learning.
In Part B, I aim to develop and expand on the investigation into the applied learning methods in relation to the historical, cultural and social contexts of Ex_Lab and the Melbourne School of Design (MSD).
Part B
Ex_Lab : A Deep Dive
1.0 Background: Ex_Lab and it’s Historical Context
The first step in examining the successes, limitations, and applied learning within Ex_Lab requires a comparison with the subject it superseded.
In 2014 Ex_Lab replaced the MSD's Timber Furniture Design elective (of which I was a graduate) that ran for nearly 25 years and was taught by highly respected woodworkers Hamish Hill and Dr. Alex Selenitsch. The contrast between the pedagogical models of the two courses is stark. The Timber Furniture Design Studio employed more traditional applied teaching methods — ranging from group researching of 20th century precedents, to the methods of concept development and ultimately, to the handcrafting of final pieces.
Students explored conceptual ideas through balsa wood scale models, enabling rapid prototyping using skills developed in undergraduate architectural model-making. By working with their hands students began to build tangible and tactile engagements with their designs. Hand tools were primarily used for the production of the furniture pieces which meant that students had to familiarise themselves with safe work practices, woodworking theory and the fine tuning and hand-sharpening of chisels and planes. This established a core foundation in woodworking skills and theory, supporting further development of advanced design and technical skills.
A similarity of the teaching approaches to the two courses is that they were designed for postgraduate students. Therefore, it is assumed that students undertaking the course have a solid grasp of design principles and are well-practiced in group work, including giving and receiving critique.
2.0 Applied Learning Frameworks within Ex_Lab
Based on my experience as a student of Timber Furniture Design and as a guest tutor of Ex_Lab, I have identified the following applied learning styles embedded within the teaching methods of both subjects:
2.1 Passive Instruction and Experiential Learning
2.2 Project-Based and Sustainable Design Practices
2.3 Situational and Vocational Learning
2.1 Passive Instruction & Experiential Learning
Ex_Lab instructors adopt a passive teaching style, using presentations and tutorials designed to inspire and prompt students to embark on their own paths of research and experimentation. This approach aligns with teaching methods I have observed while studying and tutoring in tertiary-level design education. Tutors typically avoid direct instruction, instead posing open-ended questions to foster inquiry-based learning. Ex_Lab Educators are selected for their strengths in both academia and professional practice—for example, award-winning designer, maker, and architect Adam Markowitz (pictured below).
Design professionals are also regularly invited as guest speakers to present their work, design approaches and critique student projects. As Ovenden-Hope and Blander (2017) note, incorporating voices from industry can inspire new discussions and insights among students.
The influence of passive instruction and self-reflective learning models (e.g., Kolb’s Experiential Learning Cycle, 1984) is evident, encouraging students to interrogate and critically reflect on their experiences—both positive and negative—in order to develop more effective personal design strategies. Griffin (2006) suggests that this form of self-regulated learning positions students as active agents in their education, making them more responsible for goal setting and self-assessment, while the teacher’s role is redefined as that of a guide and mentor.
"The process involved, ripping the timber down into strips, soaking it, and then bending the timber utilising a method called Hot-Pipe Steam Bending. These components were then inserted into a 3D lasered aluminium pipe and pinned along the edges using book fasteners, to create the rigidity and strength required for the modular driven design. Special consideration was also taken regarding the type of timber used, to ensure bendability without splintering."
Student Reflection by Maya Lim.
Ex_Lab Graduate 2017
In my experiences of teaching in similar workshop settings to Ex_Lab I observed that the most students respond positively to passive, peer-based learning. However this approach can leave more introverted students feeling isolated. In such environments, tutors must ensure all students—especially those less confident or introverted—feel empowered to ask questions about tool and machine use to reduce injury risk and support learning. This limitation of passive instruction must be addressed through clear demonstrations. With a high proportion of international students enrolled at the Melbourne Design School, many of whom may not speak English as their first language, it is essential that tutors listen and understand the students queries and communicate with clear, concise instructions which is free of unnecessary technical jargon.
Based on my observations, passive instruction appears to be most effective when paired with group work, where students support and learn from one another. Chun and Cennamo (2022) highlight that peer learning uses social and structured interactions within group settings to support applied, reflective, and collaborative learning.
In studio and workshop settings, students often learn by observing how their peers approach problem-solving and idea generation. Peer learning may assist students develop an understanding of expectations related to safety, craftsmanship quality, and sustainability. This indirect instruction fosters student agency and reduces reliance on tutors. While this approach benefits both learners and instructors, it does carry the risk of students adopting poor or unsafe practices—highlighting the importance of ongoing tutor supervision and sustained safety awareness.
2.2 Project-based Learning & Sustainable Design Practices
Sustainability is a core pillar of applied learning within both Ex_Lab and Timber Furniture Design. In the latter, students were encouraged to examine the source of their timber and determine whether the required material could be salvaged or reclaimed to reduce reliance on newly harvested lumber. Following the recent introductions of native logging bans across several Australian states, this critical material analysis is now more pertinent than ever. Students were also expected to consider the piece’s application and lifecycle analysis—two key factors that could inform the selection of timber species and the specific joinery methods employed. Tutors emphasised that accurate cut-lists and well-planned re-sawing strategies could minimise material wastage.
Students were responsible for sourcing and purchasing their own timber, which often reshaped projects based on availability, stock sizes, or budget. Unlike basic woodworking courses—where tutors often supply and prepare materials, limiting students experiences to assembly and finishing—Timber Furniture Design provided a more authentic glimpse into real world vocational scenarios. However, it should be noted that the course placed restrictions on timber being the primary material, which may have limited student agency and their ability to explore and evaluate alternative materials.
Ex_Lab places no such limitations on material choices, instead students were actively encourage to conduct sustainability and material investigations centred strongly around the reuse and repurposing of waste materials. Waste was not to be considered as a by-product, but instead could be celebrated as a driver of the student’s conceptual design experimentations. Learners were encouraged to push the boundaries of the material’s properties through the production of large scale prototypes and critical reflection. Calculated risk-taking is promoted, and meaningful failures are recognised as valuable learning outcomes, equal in importance to successes.
An example of Ex_Lab alumni work that fully embodies the subject’s approach to embracing waste is Re:Bean coffee stool by Kristen Wang (2019). The stool is crafted from reconstituted coffee grounds and is fully biodegradable. It was awarded the coveted Intesa Sanpaolo Award at the Milan Salon Satellite and stands out as a shining example of how student research can begin to inform professional design industries on critical thinking around sustainable design principles.
2.3 Situational & Vocational Learning
Ex_Lab provides access to a cutting-edge workshop equipped with hand tools, high-end woodworking machinery (e.g., bandsaws, table saws), and contemporary digital technologies (e.g., CNC machines, 3D printers, 3D scanners). By introducing students to a professional-grade work environment, the space itself becomes a form of situational learning, where its physical arrangement acts as a teaching medium. Kilbrink et al (2021) investigated how students begin to learn from the layout, the workflow, and through observing how their peers utilise a well-designed workshop.
The prime location of the Ex_Lab workshop, situated at the entrance of the MSD lobby demonstrates the high value that the institution places on the program. The workshop blurs the boundaries between a traditional woodworking space and a scientific laboratory, and is flanked by large glass partitions allowing full visual connectivity from the lobby and external courtyard spaces to the students working within. As it is often the first thing that many visitors see upon entering the school, the exposure of the workshop may foster a sense of pride among students and encourage them to strive for excellence - another example of situational learning. However, some students may feel self-conscious or vulnerable working in a space so openly visible to the public.
In line with other design modules within architecture schools, Ex_Lab culminates in a presentation of student work to a panel of peers and professionals, followed by a public exhibition. This process simulates real-world vocational skills that graduates must begin to apply when entering employment in an architecture studio. Groat and Wang (2013) state that equipping students with the confidence and rigour to reflect on their work, articulate its strengths, and respond to critique from a panel of tutors and peers is a central component of architectural education.
The high-pressure nature of presentation environments may however have detrimental effects on some less confident students and I would personally focus more on how the student performed throughout the semester and their end product rather than their performance in a peer-reviewed presentation.
3. Conclusion
The main concern that I identified within the structure of Ex_Lab is the over-reliance on automated technologies such as CNC, which may come at the expense of a comprehensive understanding of the historical evolution of handcraft and fundamental design principles. To address this gap in Ex_Lab’s teaching methods, it may be beneficial to precede the course with a shorter, undergraduate-level subject—Introduction to Furniture Design and Craft—to provide students with a basic grounding in traditional handcrafting principles and woodworking theory before progressing to Ex_Lab.
While Ex_Lab may risk becoming too heavily centred around technology and automated manufacturing, it is impossible to argue that the program has not been incredibly successful in addressing the materiality restrictions imposed on students within the Timber Furniture Design Studio. Ex_Lab’s teaching methods and student-driven research philosophy exemplify deep learning practices focused around hand’s-on learning, peer review and self-reflection.
Throughout the subject there is a critical awareness of environmental issues — in an industry which often treats sustainability with a degree of tokenism. The high quality of the students’ final designs meet or exceed professional industry standards, with pieces regularly forming the centrepiece of graduate exhibitions within the faculty, being exhibited both interstate and internationally and receiving a range of industry awards.
Many of the final works are made available for purchase through representation by Sydney-based, Gallery Sally Dan Cuthbert, demonstrating the program’s standing within a professional design context.
About the author: Bryan Cush is founder and lead designer / maker of Ballarat-based woodworking studio, Sawdust Bureau. He is currently undertaking his Masters of Teaching.
References
Cash, R. M. (2010). Advancing differentiation: Thinking and learning for the 21st century. Free Spirit Publishing.
Chun, J. & Cennamo, K. (2022). A Theoretical Model of Peer Learning Incorporating Scaffolding Strategies. International Journal of Teaching and Learning in Higher Education, 33(3), 385–397.
Dewey, J. (1997). Experience and education (1st Touchstone ed.). Touchstone. (Original work published 1938)
Figgis, J. (2009). Regenerating the Australian landscape of professional VET practice: Practitioner-driven changes to teaching and learning [Open access].
Griffin, P. (Ed.). (2018). Assessment for Teaching (2nd ed.). Cambridge University Press. Chapter: Self‑Regulated Learning (pp. 141–160)
Groat, L., & Wang, D. (2013). Architectural Research Methods (2nd ed.). Wiley.
Kilbrink, N., Asplund, S.-B., Asghari, H., & Arvidsson, M. (2021). Vocational learning – empirical examples from vocational education workshop sessions. In C. N.gele, N. Kersh, & B.E. Stalder (Eds.), Trends in vocational education and training research, Vol. IV. Proceedings of the European Conference on Educational Research (ECER), Vocational Education and Training Network (VETNET) (pp. 144–149). https://doi.org/10.5281/zenodo.5172401
Kolb, D. A. (1984). Experiential learning: Experience as the source of learning and development. Englewood Cliffs, NJ: Prentice Hall.
Lave, J., & Wenger, E. (1991). Situated learning: Legitimate peripheral participation. Cambridge University Press.
Ovenden-Hope, T., & Blandford, S. (2017). Understanding applied learning: Developing effective practice to support all learners. Taylor & Francis Group.
Appendix
I gathered further information from Nick Pedullà about his practice and teaching model from a series of interviews I conducted with him on The Shop Stool Podcast, a fortnightly podcast that I co-host. The interviews can be accessed to via Youtube at the following links:
Additional research sources:
Fedyk, D. (2019, December). The Ex_Lab experiment. Wood Review Magazine, (107).
Delors, J., & UNESCO. (1996). Learning: The treasure within: Report to UNESCO of the International Commission on Education for the Twenty-first Century. UNESCO Publishing. UNESCO's 5 Pillars of Learning
McDonald, M. (2024, March 19). The Australian woodcutter taking social media by storm. The Sydney Morning Herald. https://www.smh.com.au/culture/art-and-design/the-australian-woodcutter-taking-social-media-by-storm-20240319-p5fdht.html
Acknowledgments
The word count of this blog was reduced with the assistance of Chat GPT. I have critically assessed and validated any generated feedback. The final version of the content is my own creation.
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