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1.
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   

2.
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   

3.
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   

4.
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   

5.
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   

6.
This paper focuses on a built environment project with a mixed ability group of learners from year seven attending Deacon's School in Peterborough, England. The School caters for students aged between eleven and eighteen, from a wide range of ethnic and cultural backgrounds (including a substantial minority from the Indian Sub‐Continent); it is an active participant within the University of Cambridge Post Graduate Certificate in Education partnership and is a ‘beacon school’. In practical studio terms, the project was concerned with school students making ‘pop‐up cards’ based on first hand observation of local architecture under the guidance of the Head of Art. [1] The focus for students' learning was on their critical responses to their built environment, in and around the City of Peterborough. In particular, students were encouraged to make full use of their sketchbooks and to engage in active oral work. The approach taken builds upon that advocated by Wolff and Geahigan [2] by emphasising the relationship between students' personal engagement with art and design and their personal response to it through their own art; students were encouraged to learn about art and design objects through the process of reacting, researching, responding and reflecting. [3]  相似文献   

7.
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   

8.
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   

9.
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   

10.
A major concern in the area of television's effect on children has been how children interpret both the content and form of the medium. As a form of representation, television has its own code. Messages are transmitted by manipulating this code. The last decade has seen a growth of interest in ways of combating the influence television has on children by increasing their awareness and understanding of the conventions of the medium. The research described here is a media literacy project that takes children ‘behind the scenes’ of television's ‘magic’ by providing them with the opportunity of producing a programme for community access cable television. This was accomplished by having two groups of grade five children experience a 10‐week media literacy curriculum. Following the curriculum phase, one group ‘produced’ a programme for telecast at the local cable studio. Pre‐, post‐, and long‐term media literacy tests were administered to the two groups and a control group. Results reveal that not only did the groups who had experienced the media literacy curriculum perform significantly better on the test, but also that their scores improved significantly between post‐and long‐term testing. In conclusion, the media literacy curriculum led to significant increases in understanding of media‐related concepts.  相似文献   

11.
This article is an interdisciplinary reflective response to an intensive studio learning and teaching experience involving artists, academics and postgraduate students. The authors of this article teach, research and practise in coding, digital design, dance, and virtual and live performance. As lecturers and students we reflect upon and propose future approaches to art practice in tertiary education informed by live performance, performance capture and studio‐based responses to digital and virtual platforms. We reflect on an innovative contribution to the field of research–teaching nexus as informed by digital and virtual data capture identifying the key element of immediacy in live performance and choreographic improvisation with systems. We reflect on practice‐based inquiry via the Choreographic Coding Lab (CCL) model – a dialogical negotiation between capture technology and interdisciplinary artists in industry and academia. How can we encourage potential studio inquiry as an adapted model in tertiary learning and teaching? Our interdisciplinary voices, presented as authors’ reflections, provide suggestions for future studio‐based, active learning contexts.  相似文献   

12.
It is generally accepted that art and design related disciplines attract a higher proportion of students with dyslexia than traditional academic counterparts. Combined with this is a prevalent perception that dyslexia predominantly affects students’ writing and linguistic ability and it is this, as well as an increased visual‐spatial sensibility, that attracts students to art and design disciplines. This article examines these ideas through the experience of fine art students on a degree course with a mandatory written element. Drawing on focus groups and interviews with students, it argues that the studio component, in terms of its learning environment and teaching methods, presents an equally challenging context for students with dyslexia and that the written element or lecture‐based studies can provide students with a valuable counterpoint to their studio practice.  相似文献   

13.
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   

14.
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   

15.
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   

16.
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   

17.
在美术设计专业教学中,学生实践能力往往不能得到有效的提高。工作室教学模式的出现,在一定程度上解决了这些问题。本文主要从工作室教学模式的提出、工作室教学的主要内容及其对培养高等艺术设计人才实践能力的作用等方面,对工作室教学模式下培养学生实践能力进行相应研究。  相似文献   

18.
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   

19.
The paper presents the story of an experimental learning studio in a teacher education programme at a college in Israel. The study investigates what students found significant in the studio and more specifically, the meanings students attributed to the experiences in the studio and how it constituted a site for learning. Open ended questionnaires distributed to 171 students were used and analysed qualitatively. The analysis indicates that the studio provided students with opportunities to see elements of ‘a lesson’ from creative ways of looking at teaching and learning. Students revealed capabilities of making inferences and implications to wider phenomena based on theoretical and practical knowledge. Thus transgressing boundaries of segregated disciplines can lead to meaningful learning and more motivated students.  相似文献   

20.
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   

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