CTAN
RESEARCH
Having Fun and Learning through Tinkering
Summary
Petrich, Wilkinson, and Bevan (2013) explore three areas of design principles
related to tinkering. The authors share their thinking related to the activity
design, environmental design, and facilitation practices involved in creating
and supporting rich tinkering experiences for museumgoers. They wrote a
chapter on tinkering, which describes how the group initiated, cultivated,
and facilitated a making and tinkering space on the floor of a museum.
Specifically the chapter outlines principles for the activity design, the
tinkering space, and the facilitation practices. The authors conclude by
connecting these principles to conceptions of learning in general and
engineering practices more specifically.
Research Design
Petrich et al. wrote a chapter on tinkering, which describes how the group
initiated, cultivated, and facilitated a making and tinkering space on the
floor of a museum. Specifically the chapter outlines principles for the activity
design, the tinkering space, and the facilitation practices. The museum
group spent four years conducting interviews and observations of museum
attendees engaged in tinkering community and shared the general
principles they used to design and facilitate the tinkering space.
Findings
The chapter explores three areas of design principles related to
tinkering. The authors share their thinking related to the activity design,
by MOLLY SHEA | exploratorium JUNE 2015
BRIEF
WHY IT MATTERS TO YOU
This chapter ended with key learning
dimensions to consider as people design
learning environments that are open-
ended and involve inquiry-based tinkering
projects. The team designed for and studied
engagement, intentionality, innovation, and
solidarity occurring within tinkering by noting
the duration and frequency of participation in
projects, expressions of joy, personalization of
tinkering projects, and if groups shared ideas
across groups. These dimensions can be useful
for important for other educators interested in
designing tinkering activities. They also suggest
that the space around the activity is important.
Educators may want to ask:
• Can participants access materials?
• Are participants able to share ideas and
learn from people nearby?
• Are there examples of past projects nearby
to inspire creativity?
Finally facilitation of tinkering activities is a
crucial aspect of this work. Educators should be
mindful of when and how they ask questions,
provide new or related content knowledge, and
handle the projects of participants.
environmental design, and facilitation practices involved in creating and
supporting rich tinkering experiences for museumgoers. First the design
of rich tinkering activities involves building on learners’ prior interests and SOURCE ARTICLE
knowledge, which included using found objects and materials that are Petrich, M., Wilkinson, K., & Bevan, B. (2013) It looks
recognizable from everyday life. An example includes dissecting mechanical like fun but are they learning? In Honey, M., & Kanter,
clocks and then building on the theme of telling time in other available D. E. (Eds.). Design, Make, Play: Growing the Next
tinkering projects. Other elements important for designing tinkering Generation of STEM Innovators. Routledge.
activities include providing materials that are surprising, complex, and allow http://tinkering.exploratorium.edu/sites/default/files/
for people to observe, inquire, and make iterations as they play. In addition pdfs/PetrichWilkinsonBevan-ItLooksLikeFun.pdf
to materials, activity design should invite learners to explore multiple
pathways for inquiry using tools and concepts from science as a means to
greater discovery and play. For example light play activities learners use
multiple light sources, objects, and distances to project light paintings on
a screen. This activity requires learners that explore “relationships between LEARN MORE
the light source, the shadow maker (the object), and the screen (on which
the shadow is projected)” (p. 60) in order to create the image they desire on Explore other related research briefs in our
the screen. As people tinker, they go deeper into inquiries and complexify Connected Collection: Tinkering in
their projects and their thinking as they design. STEM Education
http://www.exploratorium.edu/sites/default/files/
As the authors developed and adjusted the environmental design of pdfs/connectedcollection_tinkering.pdf
tinkering space, they intended to help museumgoers “transition from the
free-roaming browsing behaviors of the museum to the more focused
activities of a workshop-like setting” (p. 61). Some important environmental design elements include displaying past projects to
inspire new ideas, creating activity stations that enable people to talk to each other across stations, and putting all materials out in
accessible ways so that as visitors ideas and needs change, they can also adjust materials without waiting for assistance. Finally the
authors place tables with materials and supplies near the edges of the space to encourage people to look at other projects and
share ideas with others as they gather more supplies for their own projects.

Facilitators play a critical role in the tinkering studio on the museum floor. They set the tone for hesitant visitors to encourage
them to engage and feel welcomed to create in the workshop-like space. The facilitators help people get started by letting them
know that the space is open to anyone, place some initial materials in front of them, and show them a few initial moves for the
given activity to help museum goers start a project. They allow people to follow their ideas, avoid trying to jump in and instruct
or tell tinkers that they might get stuck if they try something, but respond when learners communicate that they feel stuck.
Sometimes they will notice, reflect, and focus the participants’ attention on particular materials to guide them out of a challenge
without solving problems for them. Finally facilitators play a role in reflecting on the tinkering process, the creations people had
made, and clarifying participant’s thinking based on their inquiries and designs.

Theoretical Basis
The chapter draws heavily on Constructionism, which emphasizes the construction of artifacts as a “process of being, doing,
knowing, and becoming” (p. 53). In addition to constructionism, the authors reference Vygotsky and his discussion of learning as
an ever-expanding participation in the social world where people are continually making connections across places, kinds of skills,
and ways of valuing the world.

+ P
R RESEARCH + PRACTICE COLLABORATORY
Funded by the National Science Foundation (NSF) under Grant DRL-1238253. Opinions expressed are not necessarily those of the Foundation.