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1.
Mi Jeong Kim Seo Ryeung Ju Lina Lee 《The International Journal of Art & Design Education》2015,34(1):102-120
A design studio is a critical venue for design students, as they are educated to develop design thinking and other skills through studio courses. This article introduces a design studio project in which Korean and Malaysian students worked jointly for one semester to design affordable urban housing. The Korean students were interior design majors and the Malaysian students were architecture majors; thus it was thought that the students' areas of expertise were likely to differ. It was also anticipated that the students would display cultural differences in terms of housing and planning practices. The motive for starting the joint design studio was the idea that a cross‐cultural collaborative working setting could redefine students' thinking styles and stimulate students to obtain non‐routine perspectives on the design of buildings and spaces. Through observation and interviews, we explored how students tackled affordable housing problems within the context of cross‐cultural and interdisciplinary design education. Collaborative learning in a joint studio situation supplemented students' expertise, re‐orienting approaches to design and opening up a holistic approach to the design issues of affordability, sustainability and community. Overall, the practical learning in the joint studio project validated the importance of exploring alternative solutions based on varied levels of information, and input of those from different educational and cultural backgrounds. The cross‐cultural and interdisciplinary collaboration allowed for a previously unavailable enhancement of design education by encouraging students to obtain divergent thinking for innovative design ideas. 相似文献
2.
Karl Wallick Michael Zaretsky 《The International Journal of Art & Design Education》2010,29(3):303-312
This article tracks the generative role of research and fragmentation as a means for integrating technology and form within an architecture technology lecture class and a co‐requisite design studio. The complexity of teaching building systems integration within a design studio context is achieved by removing any expectation of building design completion on a comprehensive scale. Typically, in a comprehensive studio, students will design an entire building at a general scale, but at the expense of detailed technical design. However, with use of building fragments, students will design a building corner or a structural bay in great detail while leaving the rest of the building less developed. With our approach, integration occurs through interrogation of case‐study buildings and student projects in the technical course which is complemented by a series of fragmental design studies in the studio. We propose that designing fragments encourages constructive thinking at multiple scales rather than design as a singular problem solving process. As a result, design is not seen as the creation of objects, but as the guidance of multiple, simultaneously acting forces into an integrated assembly. The co‐requisite technical course also embraces fragmentation for research purposes: three professors provide three different technical (structures, environment and construction) and conceptual viewpoints for three distinct building pairs. Various forces within those building pairs are compared to illuminate strategic thinking for comprehensive building design. The intense focus on selective technical systems within these building pairs is intended to support the same development of integrative strategic thinking in the studio. 相似文献
3.
Nancy Spanbroek 《The International Journal of Art & Design Education》2010,29(2):111-120
The designers of our future built environment must possess intellectual tools which will allow them to be disciplined, flexible and analytical thinkers, able to address and resolve new and complex problems. In response, an experimental and collaborative design studio was designed to inspire and build on students' knowledge and their creative thinking abilities through a series of explorative exercises and modelling. The learning experience of students undertaking this studio was enabled and guided by a collaboration of teachers experienced in both teaching and creative practice. A series of guest creative practitioners joined the studio's intensive 10‐week hands‐on workshop sessions within which students undertook set exercises. These creative research workshops then served to inform subsequent design development of the students' work through planning and documentation over a period of 4 weeks. Strategic teaching is central to the creative development process. The driving educational belief, as idea and practice, is that by bringing ideas to life in design, by working with full‐scale three‐dimensionality, students are able to cement their commitment to ‘working the process’, towards becoming excellent designers. This ambitious strategy enables students to work on the many different aspects of the design problem towards meeting their design outcome at the highest level of resolution and intent. Through a combination of pragmatic tasks – writing and developing design briefs – and visual tasks – evidence gathering and analysis of design through photographic, modelling and diagramming exercises – students were encouraged to think outside and beyond the ‘normal’ realm of design practice. 相似文献
4.
Beyhan Bolak Hisarligil 《The International Journal of Art & Design Education》2012,31(3):256-264
This article demonstrates the outcomes of taking a hermeneutic phenomenological approach to architectural design and discusses the potentials for imaginative reasoning in design education. This study tests the use of literature as a verbal form of art and design and the contribution it can make to imaginative design processes – which are all too often limited by physical constraints. It has been observed that a person reading a novel can choose to suspend their disbelief and become entangled in the events of the book – where they become involved with the art not only subjectively, but also as a form of play. In the words of Hans‐Georg Gadamer: ‘understanding occurs in interpreting’. This study asked design students to read three of Franz Kafka's books –The Metamorphosis, The Trial and The Castle– prior to designing a Franz Kafka museum. The students found themselves drawn into numerous worlds that they were compelled to play along with; and demonstrating the productive role that literature can play in studio design, the students were observed to reconstruct the text and authorial context as a spatio‐temporal frame of reference, in this case a museum, and thus provide museum visitors with a Kafkaesque spatial experience of the narrative world in terms of design. 相似文献
5.
Michelle E. Jordan 《理论付诸实践》2016,55(3):197-206
This conceptual article explores teaching as design work, arguing that a critical thing teachers do is design systems that enable their students to learn. Designing occurs when teachers generate new learning activities or modify curricular programs to create coherence for themselves and their students. Nonetheless, few teacher education programs include instruction in learning how to engage in design thinking. Here, designing is explored as a means to help pre-service teachers develop their facility for adaptive teaching practice by incorporating design thinking at an early stage in their teacher education programs. Literature is drawn from traditional design fields to articulate design capacities and to describe design studio pedagogy practices often used in the education of designers. As an illustrative example is presented of such practices were incorporated throughout one 15-week educational psychology course embedded in an undergraduate elementary-education program to support pre-service teachers development of design thinking. The goal was not to prepare students to use particular instructional innovations, but to collaboratively design such innovations themselves. 相似文献
6.
Does Critical Thinking and Logic Education Have a Western Bias? The Case of the Nyāya School of Classical Indian Philosophy 
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下载免费PDF全文 ANAND JAYPRAKASH VAIDYA 《Journal of Philosophy of Education》2017,51(1):132-160
In this paper I develop a cross‐cultural critique of contemporary critical thinking education in the United States, the United Kingdom, and those educational systems that adopt critical thinking education from the standard model used in the US and UK. The cross‐cultural critique rests on the idea that contemporary critical thinking textbooks completely ignore contributions from non‐western sources, such as those found in the African, Arabic, Buddhist, Jain, Mohist and Nyāya philosophical traditions. The exclusion of these traditions leads to the conclusion that critical thinking educators, by using standard textbooks are implicitly sending the message to their students that there are no important contributions to the study of logic and argumentation that derive from non‐western sources. As a case study I offer a sustained analysis of the so‐called Hindu Syllogism that derives from the Nyāya School of classical Indian philosophy. I close with a discussion of why contributions from non‐western sources, such as the Hindu Syllogism, belong in a Critical Thinking course as opposed to an area studies course, such as Asian Philosophy. 相似文献
7.
In 2008 the University of Melbourne began implementation of the Melbourne Model, its new vision for higher education in Australia. Six broad undergraduate university degrees have been introduced and graduate schools created. Students may now progress from an undergraduate generalist degree, with major, to a professional Masters. Alternatively, graduate lateral entry is available for students to pursue a professional qualification without prior preparation. This acceleration has significant implications for design studio teaching. Students with no design background but with an undergraduate degree are now able to study architecture or landscape architecture in just three years, compared to the previous four‐to six‐year undergraduate degrees. This article reviews and analyses the outcomes of an ‘accretive’ design studio (Christie 2002) devised for beginning Masters students which attempts to translate a new mandate of ‘acceleration’ into design pedagogy. Analysis of student focus groups, together with the work produced, revealed not only the value of the accretive model in delivering a cohesive understanding of the design process and a student engagement that exceeds the outcomes of traditional design studio but also highlights the value of an immediate immersion into a community of practice (Lave & Wenger, 1991). We argue that immersion, as distinct from conventional educational models which position education as ‘training’ for a future participation in a discipline, is central to any acceleration model, serving to position students as active definers of the discipline rather than passive observers and thereby increasing ownership of their learning experience. 相似文献
8.
R. Keith Sawyer 《学习科学杂志》2018,27(1):137-181
This article describes the studio model—a cultural model of teaching and learning found in U.S. professional schools of art and design. The studio model includes the pedagogical beliefs held by professors and the pedagogical practices they use to guide students in learning how to create. This cultural model emerged from an ethnographic study of two professional schools of art and design. A total of 38 professors from a total of 15 art disciplines and design disciplines were interviewed and their studio classes were observed. A grounded theory analysis was used to allow the studio model to emerge from audio recordings of interviews and video recordings of studio classes. The model was then validated by 16 different professors at six additional art and design schools. The studio model was found to be general across art and design disciplines and at all eight institutions. The central concept of the studio model is the creative process, with three clusters of emergent themes: learning outcomes associated with the creative process, project assignments that scaffold mastery of the creative process, and classroom practices that guide students through the creative process. 相似文献
9.
Intelligent design: student perceptions of teaching and learning in large social work classes 总被引：2，自引：1，他引：1
Nicole Therese Moulding 《高等教育研究与发展》2010,29(2):151-165
Research into the effects of large classes demonstrates that students are disadvantaged in terms of higher order learning because interactions between teachers and students occur at lower cognitive levels. This has significance for social work education, with its emphasis on the development of critical thinking and problem solving, both higher order cognitive skills. This paper reports on quantitative and qualitative research that explored social work students’ perceptions of different teaching and learning strategies in a large mental health course designed with reference to principles of student‐centred learning and constructive alignment. Findings revealed that well‐integrated design, relevance to the real world and teacher enthusiasm were seen as most useful by students, rather than particular learning strategies per se. Higher satisfaction ratings and grades were also associated with this student‐centred course compared with an earlier traditional lecture‐style course. The paper concludes that design based on the interplay between diverse learning activities, including lecture input, strengthened the student‐centred orientation of learning and recommends further research that compares learning outcomes associated with these contrasting approaches to professional education. 相似文献
10.
Reinterpreting City as a Critical Ground in Atelier 1 Projects: Some Prospects and Projections on Ankara 下载免费PDF全文
下载免费PDF全文 This article is based on the critical approaches developed in Atelier 1, an architectural design studio in the Gazi University Faculty of Architecture, Department of Architecture in Ankara, Turkey. The main theme of Atelier 1 Projects in the 2014–15 academic year was the ‘City as a Critical Ground’, in which the city, ground and criticism were discussed within the interdisciplinary theoretical field of architecture. Atelier 1, involving second, third and fourth year undergraduate students, reinterpreted and redesigned the urban ground of Ankara with a critical approach to reveal its unique identities and implicit values. Ground, accepted as the main critical material in the design process, was criticised not only in its physical sense, but also its social, cultural, political, economic, technological and even psychological aspects. The students were able to discover their own design methods from their criticisms of the urban ground, which also allowed them to determine their sites and programmes. In this way, Atelier 1 promoted freedom and flexibility as well as criticality in the design process, and pointed out that the relationship of architecture with city, ground and criticism should be discussed from a new theoretical perspective, primarily in the architectural design studio, as the core of architectural education. Atelier 1, as a theory‐based architectural design studio, motivated the students to develop a critical approach to the urban ground of Ankara so as to replace the rising formalism with criticism in architecture. 相似文献
11.
Tomorrow's professionals will require an enhanced capacity for collaboration, cooperation and creative thinking. Markauskaite and Goodyear (Markauskaite, L., and P. Goodyear. 2016. Epistemic Fluency and Professional Education: Innovation, Knowledgeable Action and Actionable Knowledge. Springer) have posited epistemic fluency as the pedagogical approach necessary to prepare graduates for increasingly complex challenges. They have provided a framework for creating epistemic learning environments but not a clear implementation strategy. This paper draws parallels between epistemic fluency and design thinking to position the design studio as a relevant pedagogical model with an established set of strategies for facilitating epistemic fluency. A series of experiments undertaken to optimise the studio environment for the development of epistemic fluency will be drawn on to illustrate its suitability. The intent is to provide guidance for how studio learning could be adapted for use within other disciplines and to highlight the challenges teachers need to address within this process; particularly, that epistemic environments require the continuous exercise of design thinking by both teacher and learner. 相似文献
12.
Meltem Ö. Gürel 《The International Journal of Art & Design Education》2010,29(2):184-199
This article argues that a design studio can be a dynamic medium to explore the creative potential of the complexity of sustainability from its technological to social ends. The study seeks to determine the impact of an interior design/architecture studio experience that was initiated to teach diverse meanings of sustainability and to engage the participants with refined design applications that used sustainable choices. A teaching scheme that utilised a team of instructors with varying degrees of knowledge and competence in different aspects of the topic, mediated the education of both the students and the instructors themselves. The results were documented through observing the students and, later, a survey of the graduates. The study revealed that this studio experience developed a heightened awareness of sustainability as a multidimensional concept that requires critical thought processes, and greatly influenced the recognition of environmentally responsible design as an imperative in education. The findings also suggested that, ideally, sustainability should be addressed earlier, at lower levels, and needs to be woven into every aspect of a curriculum. 相似文献
13.
Self‐directed learning is an important feature in using experiential approaches with adult students. It is both part of a theorisation and the basis of certain kinds of practices which together form a ‘discourse’ of self‐directed learning. The paper critically examines the general characteristics of this discourse and considers the consequences of the assumptions made about adult learning and teaching. Case studies of practice involving experiential teaching approaches with two different groups of adult students are then presented and analysed. The idea is to show how the discourse of self‐directed learning relates to these actual situations of practice, it is clear that the discourse since it cannot take account of context misleadingly assumes adult learners to be naturally self‐directing. Practitioners, therefore, need to have a critical awareness of the frameworks of thinking and action which can be imposed by any discourse even if it purports to be ‘student‐centred’. 相似文献
14.
Elke Altenburger Isabella Falche Haley Gwin 《The International Journal of Art & Design Education》2023,42(1):69-85
This article reports about a study developed to understand the effectiveness of instructional strategies to manage sketch inhibition in design students through studio-based pedagogy. Sketch inhibition among students and recent graduates of design programs is a prominent aspect of the prevailing digitization of the design industry and education. While traditional and digital media are ideally complementary tools to facilitate the complex process of designing, studio instructors struggle to effectively integrate both into their students’ conceptions and practices. Primary data sources were ethnographic fieldnotes, semi-structured interviews, and students’ responses to open-ended survey questions. Whiteboards used as an impermanent medium, requests for quantity of sketches, and gentle enforcement of time limits were incorporated into studio practices on the foundation of theoretical grounding. Students understood the purpose and advantages of using hand sketches at strategic moments during the design process. Inhibited students responded to this combination of interventions by relaxing enough to focus on engaging with the relevant design tasks rather than focusing on how best to avoid them. Production of rich records, documenting their projects’ progression, served as supporting evidence that sketching had become a more normal and accepted part of the design process than for previous studio cohorts. The authors suggest more experimentation with these strategies and propose that sketching instructors prioritize and nurture ‘thinking sketches’ over ‘persuasive sketches’ to transfer attention from the representation of design solutions toward the design process and the development of mature design solutions. 相似文献
15.
The educational literature, the popular press, and educated laypeople have all echoed a conclusion from the book Academically Adrift by Richard Arum and Josipa Roksa (which has now become received wisdom), namely, that 45% of college students showed no significant gains in critical thinking skills. Similar results were reported by Pascarella, Blaich, Martin, and Hanson after the publication of Arum and Roksa's book in 2011. However, these authors' statistical tests were conducted incorrectly, and therefore this 45% finding is fundamentally untrue. We demonstrate that a correct statistical analysis would have found that far fewer students show significant gains in critical thinking. However, this does not reflect on student learning; instead, it reflects on how hard it is to find a statistically significant result when assessing student change on a student‐by‐student basis. This article discusses valid methods for testing the significance of gain scores of individual students. 相似文献
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17.
Joanna Tapper 《高等教育研究与发展》2004,23(2):199-222
Critical thinking is a highly valued outcome of university study, although its nature is difficult to define. Most students are not directly taught critical thinking, but are expected to display it in at least some of their assignments. We do not know much about student perceptions of their development as critical thinkers in their degree programs. This paper presents research into student perceptions of instruction in critical thinking and aspects of its development as they study in an undergraduate degree program in agriculture. Twenty‐one students across four years of study were interviewed. They received direct instruction in critical thinking only in the first year of study, and the literature review emerged as a key genre in which critical thinking was perceived to be important by later‐year students. The final sections highlight the importance of considering the disciplinary contexts in which students develop their critical thinking, and of preparing them for transfer to post‐study contexts. 相似文献
18.
As the economic pressure to teach more students with fewer (and less costly) instructors has increased in higher education, the utilisation of non‐career teachers has become more prevalent. Design education has not escaped this phenomenon; non‐career teachers, such as graduate and undergraduate students or design practitioners, have become commonplace in design education, including the design studio. The studio, however, is a unique teaching and learning environment in higher education. It poses distinct socio‐academic challenges for both students and teachers. The utilisation of non‐career teachers in studios raises a number of ethical and pedagogical questions. Teacher development is one serious concern. Here, the authors articulate the major challenges confronted by non‐career studio teachers, especially student teaching assistants, and strategies for their development. 相似文献
19.
Jacob W. Neumann 《Educational Philosophy and Theory》2016,48(6):634-644
Paulo Freire’s work is often characterized and used in terms that seek to produce widespread political and economic changes across societies. Peter Roberts, however, in his book Paulo Freire in the twenty-first Century, offers readers a much different way of approaching Freire’s work. Throughout his book, Roberts presents Freire as recognizing the limitations of educational initiatives, as not seeking specific macro-political objectives, and as emphasizing openness to alternative discourses. These themes weave throughout each chapter of the book, in which Roberts examines a wide range of topics, from Freire and Dostoevsky to reason and emotion to political correctness to Freire and the Tao Te Ching. In this review essay, I engage a number of purposes. I elucidate and trace these three themes as they weave throughout and support the various topics that Roberts examines in his book. I illustrate how Roberts’s treatment of these themes challenges many of the interpretations of Freire’s work found within the critical literature, and, through this critique, it offers readers new ways of thinking about Freire’s thinking. Lastly, I discuss how Roberts’s thoughts suggest new ways that Freire’s work, and critical education in general, might begin to make more meaningful and practical inroads into public education and might develop new avenues of scholarship on Freire’s work. 相似文献
20.
依据＂导师制下项目驱动教学模式＂开辟化学专业大学生工作室,融入学习共同体理念,强化技术在学习中的作用,在大学生的高阶思维与创新能力提高方面体现了积极作用. 相似文献