<?xml version="1.1" encoding="utf-8"?>
<article xsi:noNamespaceSchemaLocation="http://jats.nlm.nih.gov/publishing/1.1/xsd/JATS-journalpublishing1-mathml3.xsd" dtd-version="1.1" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><front><journal-meta><journal-id journal-id-type="publisher-id">LNE</journal-id><journal-title-group><journal-title>Lecture Notes in Education, Arts, Management and Social Science</journal-title></journal-title-group><issn>3083-1091</issn><eissn>2705-053X</eissn><publisher><publisher-name>Bio-Byword Scientific Publishing Pty. Ltd.</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.26689/LNE.v4i7.15944</article-id><article-categories><subj-group subj-group-type="heading"><subject>Article</subject></subj-group></article-categories><title>Integrating Museum Collections into Art and Design Education: A Collection-to-Design Learning Framework</title><url>https://artdesignp.com/journal/LNE/4/7/10.26689/LNE.v4i7.15944</url><author>LiuYang</author><pub-date pub-type="publication-year"><year>2026</year></pub-date><volume>4</volume><issue>7</issue><history><date date-type="pub"><published-time>2026-07-26</published-time></date></history><abstract>Museum collections can support art and design learning beyond the role of visual reference, but classroom use often remains episodic: students visit, photograph, select familiar elements, and move quickly into production. This paper uses a focused narrative synthesis of object-based learning, museum education, and design pedagogy to identify four recurrent discontinuities: unfocused observation, weak links to studio briefs, surface-level reuse of cultural forms, and assessment centered on final outcomes. It proposes a six-stage Collection-to-Design Learning Framework comprising task framing, object encounter, analytic decomposition, contextual interpretation, transformation trials, and critique and assessment. An evidence-to-design matrix links collection evidence to student activity and process evidence. The framework is a course-planning scaffold rather than a validated model; its purpose is to make the connection between source study and design decisions more visible across art and design disciplines.</abstract><keywords>Museum collections, Art and design education, Object-based learning, Studio pedagogy, Visual literacy</keywords></article-meta></front><body/><back><ref-list><ref id="B1" content-type="article"><label>1</label><element-citation publication-type="journal"><p>[1] International Council of Museums (ICOM), 2022, Museum Definition. International Council of Museums, viewed&amp;nbsp;July 4, 2026, https://icom.museum/en/resources/standards-guidelines/museum-definition/
[2] Cook B, Reynolds R (eds.), 2010, Museums and Design Education: Looking to Learn, Learning to See. Routledge, London.
[3] Reading C, 2009, Sources of Inspiration: How Design Students Learn from Museum Collections and Other Sources of Inspiration. Art, Design &amp;amp; Communication in Higher Education, 8(2): 109&amp;ndash;121. https://doi.org/10.1386/adch.8.2.109/1
[4] Chatterjee HJ, Hannan L (eds.), 2015, Engaging the Senses: Object-Based Learning in Higher Education. Routledge, London.
[5] Reiley K, DeLong M, 2023, The Student Learning Experience: A Case Study in Object-Based Learning. Clothing and Textiles Research Journal, 41(1): 57&amp;ndash;70. https://doi.org/10.1177/0887302X221131035
[6] Cheung JMY, Thogersen J, Guerry E, et al., 2024, Educating Pharmacy Students with Museum Collections - A Case for Object-Based Learning. Journal of Museum Education, 49(3): 377&amp;ndash;385. https://doi.org/10.1080/10598650.2023.2282306
[7] Hinton M, 2012, What Do Art and Design Students Draw at the V&amp;amp;A, and Why? Art, Design &amp;amp; Communication in Higher Education, 11(1): 33&amp;ndash;47. https://doi.org/10.1386/adch.11.1.33_1
[8] Willcocks J, 2015, The Power of Concrete Experience: Museum Collections, Touch and Meaning-Making in Art and Design Pedagogy, in Chatterjee HJ, Hannan L (eds.), Engaging the Senses: Object-Based Learning in Higher Education. Routledge, London, 43&amp;ndash;56.
[9] German SC, 2024, Object-Based Teaching in Post-Pandemic Higher Education in the US. Journal of Museum Education, 49(3): 386&amp;ndash;394. https://doi.org/10.1080/10598650.2023.2283825
[10] Rislow M, Nelson A, 2020, Artist Files and Art Students: Expanding Audience Through Collaboration Between an Art Museum Library and a Contemporary Art History University Course. Journal of Museum Education, 45(2): 166&amp;ndash;175. https://doi.org/10.1080/10598650.2020.1732117
[11] Barton G, Willcocks J, 2017, Object-Based Self-Enquiry: A Multi- and Trans-Disciplinary Pedagogy for Transformational Learning. Spark: UAL Creative Teaching and Learning Journal, 2(3): 229&amp;ndash;245. https://sparkjournal.arts.ac.uk/index.php/spark/article/view/75
[12] Arriaga A, Aguirre I, 2020, Museum-University Collaboration to Renew Mediation in Art and Historical Heritage: The Case of the Museo de Navarra. Arte, Individuo y Sociedad, 32(4): 989&amp;ndash;1008. https://doi.org/10.5209/aris.66295
[13] Noble K, 2021, Getting Hands On with Other Creative Minds: Establishing a Community of Practice Around Primary Art and Design at the Art Museum. International Journal of Art &amp;amp; Design Education, 40(3): 615&amp;ndash;629. https://doi.org/10.1111/jade.12371
[14] Tam CO, Hui CKY, 2024, Teaching Visual Arts Using Virtual Exhibitions: An Investigation of Student Usage and Impact on Learning. Studies in Art Education, 65(3): 371&amp;ndash;387. https://doi.org/10.1080/00393541.2024.2355728</p><pub-id pub-id-type="doi"/></element-citation></ref></ref-list></back></article>
