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1.
Information and Communication Technologies (ICTs) appear to be well fitted to the education of design professionals, such as architectural and engineering students, mainly because of the unique culture of these professional schools, where the emphasis is on creativity, collaboration, social relevance and rapid communication of ideas. Attention is focused on the reflection‐inaction theory of Donald Schön as well as the educational paradigm of constructivism as it is articulated by Dewey and Vygotsky. It is also argued that the full implementation of ICTs for professional education would also be extremely beneficial to the development of professional collegiality beyond the borders of geography and culture. All of this is followed by a consideration of important criticisms brought to bear upon both the use of ICTs in the classroom and the commonly held assumption that constructivism is the optimal educational paradigm.  相似文献   

2.
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   

3.
Rapid technological advancement has changed the landscape of design education to be integrated with educational technology, and the worldwide COVID‐19 pandemic has further accelerated its transition to online education. Pedagogical engagement with online education is unavoidable to ensure that the transition is successful when the situation ends. Yet, many prior studies on online design education remain focused on technical and administrative uses of digital technologies. In this article, meta‐connective pedagogy is introduced to enable educators and researchers critically to engage with pedagogical concerns emerging from the connective nature of the digitally networked world. Meta‐connective pedagogy is to focus on we are always‐being‐connected and argue that authentic learning and teaching are determined by diverse forms of pre‐existing connectivity. This article consists of four parts. First, it is argued that studio‐based learning has developed a ‘resistant’ stance towards online education, which justifies the omission of understanding connective features from its discourses. Second, four up‐to‐date studies on online design education are critically reviewed in a comparative manner, as their views are split into technical and pedagogical aspects. Third, meta‐connective pedagogy is introduced to address why and how connectivity becomes an emerging pedagogical concern for online education. Fourth and last, a schematic form of meta‐connective design education is articulated, and new roles and responsibilities of educators are addressed. Overall, it is argued that the whole concept of design education is subverted towards connectivity that is inclusive of social components of traditional design studios in a more efficient way.  相似文献   

4.
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   

5.
This article draws on current research investigating the notion of design for an unknown future. It reflects on recent thinking about the role of creativity in design practice and discusses implications for the development and assessment of creativity in the design studio. It begins with a review of literature on the issues and challenges associated with the assessment of creativity in design education. It then discusses and distinguishes three significant assessment models in design and creative arts education and emphasises the importance of opening debate on notions of creativity within the discipline. Following this, the article examines recent developments in the way that creativity is being practised, driven, fostered and implemented in contemporary design practice, and argues that these recent developments must feature in current scholarship about the development and assessment of creativity in design education. The article recommends areas for future research that pay close attention to developments in the rapidly expanding field of design practice.  相似文献   

6.
It is a fact that architectural design education has become the focus of an extremely complicated set of issues and conscientious debates. Therefore, to extend and challenge educational understanding in architecture it becomes crucial to exchange pedagogical practices. In this article, a specific theoretical approach and teaching methodology, which supports the necessity of contextual study in the architectural design studio, is presented. The article presents an overview of the design studio process by illustrating the case study “Library and Public Communication and Information Center Design in the Manufacturing Zone of Central Eskis,ehir” in Turkey.  相似文献   

7.
Professional architectural education is overwhelmingly predicated on skills development. Consequently, the humanities are given short shrift. Students overburdened with an abundance of practical tasks cannot be expected to do much beyond completing studio project work with any degree of depth. Such splitting has a negative outcome: at the end of their education, many graduates still have difficulty constructing a convincing argument about their own work. And when professional qualification is achieved, many architects are arguably missing the humanities half of their education. Such a narrowly focused training surely contributes to the general low quality of the built environment that we inhabit. The apparent causes and effects of the current situation are analysed here, especially the degree to which the rise of an academic culture in architecture has paradoxically exacerbated a split between the humanities and design. By widening the divide between speculative, theoretical and historical research and the professional education delivery systems that architectural researchers teach into, the ascendancy of (humanities‐based) research in architecture schools has intensified the separation of theory and history from design. Ultimately, only if the production model that so often organises architecture education is rethought, will it be possible to recuperate a strong humanities stream in design education.  相似文献   

8.
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   

9.
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   

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12.
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   

13.
In a democracy, education needs to be popular if it is to be effective; it must be engaging as well as accessible. Current bureaucratic reform proposals overlook the need to address the way curriculum experience is contextualized and shaped in the individual school. This paper seeks to throw light on the realization of popular education as a school‐based activity by drawing a parallel with the making of cultural artifacts that both entertain and enlighten. By examining in detail the 1942 film Casablanca‐‐the creative process that fashioned it and the institutional character of the Warner Bros studio that produced it‐‐it is argued that coherent curriculum experiences result not from deterministic models of rationality, but from a naturalistic approach that focuses on the deliberative solution of practical problems. Analogies are drawn with the curriculum writings of Joseph Schwab and with the management precepts of W. Edwards Deming.  相似文献   

14.
Education for Creative Potential   总被引：2，自引：0，他引：2  
One trend in the creativity literature is towards unambiguous expressions of talent. This trend follows from an interest in scientific rigour, but if we are interested in children, it is creative potential that is the primary concern, rather than unambiguous creative performance. Educators and others working with children should define creativity in very literal terms, as thinking or problem solving that involves the construction of new meaning. This in turn relies on personal interpretations, and these are personal and new for the individual, not on any larger scale. This approach is consistent with the educational premise 'to understand is to invent', and it allows educators to target self-expression. The emphasis is thus on the individual, the self. Equally significant for educators is that this view of creativity posits that creativity is widely distributed. A wide distribution is implied because virtually every individual has the mental capacity to construct the personal interpretations that are involved. Creativity is, then, something we can find in every child, not just the gifted or highly intelligent.  相似文献   

15.
李雪  李爱民 《教育技术导刊》2009,19(10):255-257
在教育信息化2.0时代,微课是组成“互联网+教育”的一种数字化资源。虚拟演播室技术是一种电视节目制作技术,将虚拟演播室技术与微课制作相结合,探讨利用FREELANCE虚拟演播室设计制作多种媒体符号相加、多画面相结合的优质微课,以推动优质教育资源的设计与开发。该方式可提高微课制作水平,从而实现更好的教学效果。  相似文献   

16.
This paper investigates the prominence of rationalism in the major Western pedagogical theories of Plato, Rousseau, and Dewey, all of whom conceptualize formal teaching, as the inculcation of rationality in individual learners. After each of their theories has been described, the argument turns against the tradition of pedagogical rationalism to question what happens in the education of artists, quasi-artists, and creative designers. The answer given is that imagination must be paramount and strongly encouraged in the education of such students, despite the problematic fact that imagination – seeing the truth – cannot be taught the way that rationality can, relying instead on the analysis of successful works of art and design as exemplary and allowing students to freely pursue their own individual inspirations.  相似文献   

17.
现代教育观念的知识学反思   总被引：8，自引：0，他引：8  
科学知识时代,世界各国的教育改革充分体现出经验理性(实证知识)的诉求,现代教育理念的正当性就是得自这种实证主义知识论的论证。建立在实证主义知识论基础上的现代社会教育正面临根本困境,教育的危机本质上是实证主义知识观的危机。在一个时代的教育观念中,必须同时具有信仰、理性和知识三个要素,教育不仅是传授知识,更要形成信仰、培养人的理性能力,要通过教育活动培养禀赋自由、尊严、自尊、个性和有创造力的生命个体。  相似文献   

18.
This article starts from an assumption that the essence of technology is a realm of discovery. Within this realm, humanity and the tools of technology are engaged in a dialogue. The author challenges the objectivism of technical rationality which fragments this dialogue and replaces people's creativity with rigorous, but often useless, propositions. It suggests that, at least in the field of education, it is time to break away from technical rationality and its accompanying focus on mastery of information.
The author looks at some of educational technology's metaphors and discusses how they reflect determinism and consumerism. She explores an alternative approach, the musical metaphor (Hlynka & Nelson, 1986), which encourages both rigour and creativity. She concludes with an appeal to researchers in the field of educational technology to grapple with new metaphors to help us cope with the exponential growth of information. She further suggests that educational technology need not be limited by the legacy of positivism, but can ally itself with communications technologies and the fine arts.  相似文献   

19.
个性化教育的本质及我国的策略选择   总被引：1，自引：0，他引：1  
个性化教育是在充分认识教育效果基础上所提出的一个热点话题。个性化教育对提高一个国家的国际竞争力存在深远影响。美俄等发达国家通过实施个性化的课程设置、培养个性思维，使得个性化教育得到充分发展，个性化教育的内涵在于从人的主体性、创造性着手，使教育具有针对性，这种教育模式着眼现在、放眼未来。个性化教育、创新教育和素质教育三者是统一的，我国应该通过发展研究型教育推进个性教育的发展。  相似文献   

20.
Balancing the competing demands of research and teaching has long been lamented by academics. The challenges associated with Covid‐19 will make this increasingly difficult. An integrated approach to research and teaching, where students are directly engaged in the production of research, may provide a useful strategy to support ongoing research within the design disciplines whilst befitting student learning. The production of original research requires a willingness to engage in – and manage –uncertainty. Contemporary higher education acknowledges that global challenges are increasing in complexity and, thus, students require opportunities to learn to productively manage this complexity. Utilising teacher observations and student feedback, this article reflects critically on a studio model, iteratively refined over two semesters, with the deliberate intent of exacerbating the complexity already present within studio pedagogy for the production of new knowledge. It outlines a set of strategies for making manageable this uncertainty for students to ensure it is beneficial for their learning. It also identifies a number of challenges educators can face when assuming a duel role as teacher and research partner; and provides advice for negotiating these challenges.  相似文献   

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