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1.
It is important to engender a 'sustainable’ architectural consciousness in the students who will be the next generation architects. In architectural education, design decisions taken during the early phases of the design process play an important role in ensuring concern for the sustainability issue. But, in general, all discussions about the site that have been held since the beginning of the semester get forgotten, and at the end of the design process students usually create projects that ignore the site criteria. In this article, a specific teaching methodology which supports the sustainability issue in the design studio is presented as a teaching/learning experience. The article is an overview of the design studio process illustrated by a case study on academic staff campus housing in Konya and ?zmir, Turkey. To solve the same problem with the same brief in different regions requires developing sensitivity to climate issues. The resulting product is good evidence that teaching about sustainability in the design studio is effective.  相似文献   

2.
We investigated the impact of the transition to online architectural design studios in response to the COVID-19 pandemic at the University of New South Wales in Sydney, Australia. The study focussed specifically on student and tutor perceptions of online design studio before the sudden transition to online delivery, and how those perceptions shifted through the initial months of online delivery. We consider the pedagogical context in which the shift to online teaching took place and the evident successes and failures in the early iterations of online studio. We discuss similar and contrasting perceptions in student and tutor groups and observe the changes in these perceptions prior to and after teaching and learning in online studios. The paper concludes with a series of questions directed to the architectural design studio teaching community regarding the apparent inevitability of a future in which both FTF and online-only studios are surpassed with hybrid design studios.  相似文献   

3.
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   

4.
The design studio is the heart of architectural education. It is where future architects are moulded and the main forum for creative exploration, interaction and assimilation. This article argues for a ‘studio‐based learning’ approach in terms of the impact of design tools, especially sketching and concrete modelling, on the creativity or problem‐solving capabilities of a student. The implementation of a ‘vertical design studio’ model at Gazi University Department of Architecture is reported with examples of students’ works.  相似文献   

5.
In architectural design education, the most significant part in the curriculum is the design studio, where students learn how to design. Critique has a crucial role in the design studio, and in determining the best and most beneficial critique type for the architectural design education process. Student attitudes toward critiques and student satisfaction level with each critique technique are also significant. To that end, this article explores design studio learning by reviewing the design learning process and types of design critiques. Focusing on three critique techniques used in design education (desk critiques, pin‐up critiques and group critiques), the article analyses correlations between student attitudes toward each technique and its contribution to the design process. Research was conducted with 84 third‐year interior architecture students from the 2014–15 Fall semester at a university. No statistically significant differences were found between group and pin‐up critiques in terms of students’ preferences and their final performance scores; however, there was a statistically significant relationship between student preferences toward desk critiques and student success. Furthermore, the contribution of a critique technique to the design process was found to be highly correlated with student preference for this technique.  相似文献   

6.
ABSTRACT

A good working relationship between an architect and a client is crucial to the success of any architectural project. However, client engagement is often absent or difficult to replicate within the classroom teaching of architecture students. In order to address some of these gaps and also to attempt to inculcate a sense of a client–architect relationship within an architectural design studio, the author turned to literary texts. Reading and writing have powerful abilities to affect change, and immersion in reading and writing can propel students to new levels of awareness and enhance their critical reflection. The focus of this article is a consideration of the role of fictocriticism and prose fiction within the design studio context. Reading and writing were harnessed for their transformative potential, enabling students to better envision, develop and communicate their designs. Students were instructed in a method for designing which focused on employing fictocriticism and prose fiction, to foster students’ abilities to critically engage, produce and reflect. This article discusses the design activities employed and provides examples of studio work to illustrate the transdisciplinary learning development and outcomes. The significance of fictocriticism and prose fiction in the design process is also outlined, concluding with implications for the client–architect working relationship, outcomes impacting the students’ future professional practice, and implications for teaching in the twenty-first century tertiary classroom.  相似文献   

7.
Individual vendors and their market booths constitute a collective atmosphere in the marketplace by getting together with spatial arrangements, operational collaborations and event‐based dynamics. The base of study is how these dynamic interactions in a marketplace can find a place within the education process and representations of the architectural design studio. The workshop which was organised in this context consists of personal representations (drawings are produced for each individual market booth and represent all movements and time‐varying conditions on market booths by superposed layers) and collectively produced narratives (which emerged by gathering personal representations together in the studio). In this study, collective and generative potentials of education in a design studio will be discussed thanks to the transfers from the marketplace.  相似文献   

8.
The design of a utopia was devised as a studio project in order to bring critical thinking into the design studio and to stimulate creativity. By suggesting a utopia, the pedagogical aim was to improve progressive thinking and critical thought in the design education of architectural students — and also future architects. From this perspective, the utopia called Edilia, from the book Spaces of Hope by the critical geographer David Harvey, was taken as a basis for the students to design a utopic environment. In addition to Harvey's book, students were not only challenged by the idea of an alternative society but also by the idea of a different space. Utopia, as an inter‐disciplinary subject, brought various issues and different perspectives into the design studio such as public and private realms, everyday life, work, leisure, nature, technology and sustainability. With the help of the concept of utopia, a theoretically‐informed design studio enabled students to criticise the existing world, dream about an alternative one and make the design of their dreams in a creative way.  相似文献   

9.
Virtual design studio (VDS) has been a part of the discourse of architectural pedagogy for the past two decades. VDS has been showcased as a potential educational tool in schools of architecture often in controlled, pre‐designed experiments. However, the global COVID‐19 pandemic has forced most schools to move their design studios into virtual space. This article aims to explore the potential advantages and shortcomings of VDS during the COVID‐19 quarantine from the perspective of students in a department of architecture. The study investigates three aspects of VDS namely, participating students’ evaluation of the virtual studio experience, the effectiveness of VDS in achieving the studio’s expected learning outcomes and the evaluation process for final design projects. Some 360 students from eight consecutive design studios participated in the study. The results indicate improvement in students’ ability to conduct independent research and in learning new computer‐aided design (CAD) software. Furthermore, the study finds VDS to be much more applicable for third‐ and fourth‐year students. The results also show a significant decline in background informal peer learning among students. Further studies are needed to address the implementation of a more immersive social experience in VDS.  相似文献   

10.
This article examines the work-based placements of trainee architects in the United Kingdom to examine how trainees become architects. The trainee architects in this study experienced varying levels of participation and responsibility during their yearlong placements. Despite this diversity, developing the trainees on placement was found to be integral to the professional role of the architect. The university-based element of architecture training focused almost exclusively on abstract design while their placements involved practical problem-solving. However, the apparent tension between these elements encouraged the trainees to integrate architectural theory and practice while on placement so they developed both aesthetically and technically. Moreover, the trainees’ presence in the studios helped to nurture fresh design and so helped to feed the central design core of architectural practice. Nevertheless, the trainees’ experience of working in an architectural studio on placement often confounded their expectations of architects’ practice. Yet, becoming an architect retained its personal significance. Issues remain, though, around the unequal access to opportunities on placement and how this inequality might affect trainee architects’ learning.  相似文献   

11.
The present research investigates academic social climate in architectural studies as perceived by students. It studies the importance that the various measures of academic social climate have in the studio and in architectural classes. It also investigates the relation between the personal background of students and their sense of academic social climate. Academic social climate is evaluated with regard to the eight factors proposed by Moos (1979) dealing with: orientation to study material, innovation, academic social connections, teachers’ support, competitiveness, academic‐social involvement, order and organisation, teachers’ control and an index for general academic social climate by means of a survey. Findings show that academic social climate was higher in the studio than in the regular classes in social connections, students’ involvement, teacher support, and order and organisation; while academic social climate measures were higher in the regular classes in teacher control and in the orientation of learning material. The highest academic social climate measures in both studio and classes were students’ involvement and competence, and the lowest measures were teacher support, and order and organisation. Some items of students’ personal and educational background were found to affect their sense of academic social climate. The implications of these findings for architectural design education are presented.  相似文献   

12.
There is a feeling among many design educators today that the discipline has reached a crisis in its development, and that change is needed immediately in the way that design educators articulate their epistemology and their methodology. The architectural studio can be seen as the model for design education, and its culture is exemplary. Donald Schön has often argued that the professional education of architectural students – and other design students – should be aimed at making them into ‘reflective practitioners’. At the core of his argument is the idea that design education must sacrifice intellectual rigour in order to achieve social relevance, yet critics have argued that this trade‐off has caused design education to be marginalised in relation to the university model of education. Design is focused on subjective creativity, but the positivist university paradigm is focused on objective rationality. In order for design education to become more rigorous – and more academically respectable – it must either become more rational or it must embrace a new paradigm that values creative experience. This article argues that the emerging paradigm of complexity offers design education the rigour it has been lacking, for this paradigm constructs studio projects not as problems with rational solutions but as systems that need to be explored in order to discover their relational meanings and values – precisely what creativity, balanced with rationality, can accomplish in both Western nations and rapidly developing East Asian nations such as China.  相似文献   

13.
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   

14.
This article argues that interior/architectural design education favours a dominance of final presentation over the design process in the studio environment, particularly in the evaluation of a project. It suggests that the appeal of design juries for pleasant drawings, which may shift the emphasis from the project itself to its representation, may be recognized as a discursive habit with limited contribution for educational concerns. The theoretical stance argues that the interest for graphical presentation has primarily remained within a formalist aesthetic agenda and has rarely been conceptualized beyond this convention. With this in mind a series of questions is developed in order to reform the relationship between graphical presentation and the design education process.  相似文献   

15.
In light of concerns with architectural students’ emotional jeopardy during traditional desk and final‐jury critiques, the authors pursue alternative approaches intended to provide more supportive and mentoring verbal assessment in landscape architecture studios. In addition to traditional studio‐based critiques throughout a semester, we provide privately held, one‐on‐ one feedback at the semester's close that follows a mentor–trainee model of purposeful interface and a vision of where the student is going. This article reports 82 landscape architecture students’ experience of this adapted verbal feedback. The findings suggest an overwhelming positive student experience, and we conclude that these sessions help balance the emotional challenge of architectural study with nurturing support. Furthermore, the students’ positivity was not influenced by their experiences in the previous class. We therefore conclude that the adapted feedback sessions provide appropriate closure, even when (perhaps particularly when) a student has had a negative emotional experience during the class.  相似文献   

16.
Supervision of students engaged in research projects and theses is an important site of teaching. Schon's (1987) well-known framework–educating for reflective practice–proves aptly suited for this teaching forum, offering insights for research supervision at multiple university levels. Conceptually, a research and writing studio where a practicum takes place is substituted for Schon's illustrative architectural design studio. The framework is mined for its fine-grained analysis of student-coach interaction and its emphasis on bringing self-reflection, a practice consistent with social work ideals, to three levels: research and writing, the student-coach dialogue and the relationship in which it is embedded.  相似文献   

17.
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   

18.
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   

19.
Curiosity is often considered the foundation of learning. There is, however, little understanding of how (or if) pedagogy in higher education affects student curiosity, especially in the studio setting of architecture, interior design and landscape architecture. This article provides a brief cultural history of curiosity and its role in the design studio. The study also used quantitative and qualitative research methods to investigate curiosity among design students. Findings showed no significant relationship between curiosity and academic achievement, no significant difference in curiosity levels between female and male design students, and no significant difference in curiosity levels across various year levels or age groups. Results also revealed that the studio environment played a minor role in the origin and influence of student interests; student curiosities were affected more by travel, internships, family and non‐studio courses.  相似文献   

20.
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   

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