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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.
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   

3.
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   

4.
As online education continues to grow, instructors from traditional classrooms are being asked to design online courses. In this study, data from interviews with thirty-three public four-year college and university instructors, who had experience designing online courses, were used to understand the instructor’s perspective on online course design. Using grounded theory, data were analyzed, sorted, and coded to uncover the strategies instructors use to design online courses. Results revealed instructors adapt to the online environment by using strategies to mimic elements of face-to-face courses: in essence, adaption comes through assimilation. Instructors expressed interest in helping students navigate online to encourage active participation in courses. They described using technology and learning management system (LMS) features (e.g., videos, discussion forums) to “hear” and “see” students, as a way to increase interaction and presence, familiar elements from face-to-face education. They spoke of creating authentic assignments to increase student engagement. The implications of this study include effective design and instructional strategies for online courses, as well as understanding the motivation of instructors who design online courses. The study results are relevant to a broad audience including online instructors, instructional designers, LMS organizations, and administrators.  相似文献   

5.
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   

6.
Studio-based instruction, as traditionally enacted in design disciplines such as architecture, product design, graphic design, and the like, consists of dedicated desk space for each student, extended time blocks allocated to studio classes, and classroom interactions characterized by independent and group work on design problems supplemented by frequent public and individual critiques. Although the surface features and pedagogy of the studio have been well-documented, relatively little attention has been paid to student and teacher participation structures through which design knowledge is co-produced among instructors and students within the studio. The purpose of this study was to investigate the nature of faculty?Cstudent interactions through which students learn to think and act as designers. To that end, we have collected and analyzed ethnographic data from five studio classrooms across three design disciplines (architecture, industrial design, and human?Ccomputer interaction). Our findings provide insight as to the ways that dialogue??the ??right kind of telling????and particular social practices in the studio support students as they learn to solve ill-structured design problems while being simultaneously inducted into practices that reflect the professional world of their discipline. In each of the studio classrooms, the instructors were able to create an environment where students and faculty practiced reflection-in-action and listening-in as a form of intentional participation, design knowledge was conveyed through modeling and meta-discussions, and focused assignments and in-progress critiques enhanced opportunities for the individual and group processes through which design knowledge was co-constructed in these studio classrooms.  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.
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   

9.
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   

10.
《Learning and Instruction》2007,17(3):345-359
The study focuses on design education using Experiential Learning Theory (ELT) and explores the effects of learning styles and gender on the performance scores of freshman design students in three successive academic years. Findings indicate that the distribution of design students through learning style type preference was more concentrated in assimilating and converging groups. Further study indicates that the first and third groups were found to be more balancing while the second group being mostly a southerner. The learning style preferences did not significantly differ by gender in all three groups. Although there is no consistency in all three groups, results indicate that the performance scores of males were higher in technology-based courses, whereas scores of females were higher in artistic and fundamental courses and in the semester academic performance scores (GPA). Also, it was found that the performance scores of converging and diverging students differed significantly in favor of converging students only in design courses. In design education, instructors should provide a strategy that is relevant to the style of each learner in design studio process.  相似文献   

11.
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   

12.
In a recent issue of this journal, Steven D. Tripp proposed some innovations in the education of instructional designers based on his analysis of education practices in other design professions. His principal proposals were that students should analyze great instructional designs of the past and that instructional design studios should form part of the educational preparation of students entering the profession. This paper proposes some extensions and modifications to Tripp's original ideas. These include extending his concept of the analysis of great lessons of the past to the analysis of current examples of expert work, the use of an expanded jury system to incorporate peer and practitioner evaluation of students' work, and the criticality of students developing solutions to actual performance problems during the instructional design studio experience. Finally, it is proposed that opportunities for critical reflection on the process of instructional design be built into the studio experience.  相似文献   

13.
This article presents the development and application of group feedback videos (GFVs) in design education. A case study shows how visually‐rich GFVs were developed in a practice‐based design studio subject where learners were required to work in teams and independently calibrate an ability to form judgements on the qualities of their own work. Breaking away from traditional models of individual written feedback, students were instead provided with holistic reviews of project outcomes in a GFV format. Assessment examples were presented from across the cohort with the goal of encouraging open discussion and self‐reflection on studio practice. GFVs supported learning processes through three key characteristics: information richness, group learning and sharing, and formative engagement. What differentiated this approach from previous studies was the focus on audio‐visual group delivery to enhance feedback's richness. By replicating an in‐class group critique session, GFVs allowed commonly summative assessment stages to be seen as formative. This study contributes to existing literature through an application framework that may be used by design educators who are seeking to implement GFV methods within their own studio teaching practice.  相似文献   

14.
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   

15.
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   

16.
Interior design, as a field of study, is a rapidly growing area of interest — particularly for teenagers in the United States. Part of this interest stems from the proliferation of design‐related reality shows available through television media. Some art educators and curriculum specialists in the nation perceive the study of interior spaces as a ‘practical application’ of the arts. This article discusses an experiential design problem, originally used in higher education interior design studio courses that was modified and shared with students in third grade to address national academic standards. Later, this same project was modified for use with high school students in the educator's community and with international design students in South Korea. Lastly, the project was presented in a workshop to art education students at a higher education institution. The project was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem‐solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. Findings indicate that the project supported several visual art standards, including perception and community. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting art education.  相似文献   

17.
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   

18.
Promoting student epistemological development is seen as a goal of higher education. Further, the epistemological beliefs of instructors have been shown to affect their teaching beliefs and behaviors. Some argue that only when instructors are epistemologically advanced will they be able to engage in pedagogical activities that encourage student epistemological development. This study examines the impact of the design of constructivist learning environments on university instructors’ epistemological belief systems. Constructivist learning environments are technology-based environments that present learners with authentic problems, that are supported by cases similar to the problem being posed, and learning-support strategies such as modeling, coaching, and scaffolding. Instructors’ epistemologies might be impacted by engaging in constructivist learning environment design because the process requires instructors to think about their discipline in non-traditional ways. Results of this qualitative inquiry suggests that instructors who are in a zone of ‘readiness’ for intellectual growth could experience epistemological growth from this experience.  相似文献   

19.
This paper reports on a collective case study of three blended courses taught by different instructors in a higher education institution, with the purpose of identifying the different types of blend and how the blend supports student learning. Based on the instructors’ and students’ interviews, and document analysis of course outlines, two major principles, consolidation and extension, differentiating the design of the three courses, are identified. The consolidation principle emphasises designing different types of activities for students to think again, so that their knowledge can be consolidated. The extension principle emphasises the extension of the space of learning and catering the diverse needs of students. There are also design principles commonly found, with the emphases on student autonomy, interaction and feedback, and the awareness of student diversity. The findings contribute to the design of blended learning, especially on how the face-to-face and online components can be combined.  相似文献   

20.
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   

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