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1.
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   

2.
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   

3.
Design education should integrate design concepts and skills with practical and theoretical knowledge through collaborative learning. Computer‐mediated communication systems used in web‐based education systems are quite appropriate for this principle by enabling global access to course material as well as allowing interaction of participants at distributed learning environments at anytime. Course design broadly requires the organization of time, space and activities considering the tools and methods used. Based on these issues, this study proposes a framework for the design of a web‐based studio course with respect to the nature of the design process. An implementation of a sample web‐based course design is included to support the idea. Considering the benefits and limitations, the nature of web‐based design courses is explored first. Then, the sociological, ideological, epistemological and pedagogical aspects of a design studio are examined within the framework of objectives (why), objects (what), methodology (how) and management (who) with special emphasis given to synchronous and asynchronous communication.  相似文献   

4.
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   

5.
In environmental education the construction of appropriate knowledge is not enough, but is undoubtedly a fundamental component of individual and collective environmental responsiveness. The aim of this study was to investigate fifth graders' changes of conceptions about the greenhouse effect and global warming, due to socio‐cognitive interaction developed in small and large group discussions in an authentic classroom context during the implementation of an environmental education curriculum unit. We hypothesized that a classroom transformed into a community of discoursei.e. a learning environment which stimidates and supports giving verbal explanations, comparing and critically evaluating different points of view on the examined environmental phenomenon, would be a fruitful breeding ground for knowledge revision. The results show that classroom discussions, the core of the proposed learning activity, led the children, although at different levels, to the integration of new scientific knowledge into their conceptual ecology, based on the personal revision of pre‐instructional conceptions. As hypothesized, a high positive correlation was found between conceptual change and metaconceptual awareness of the changes in pre‐existing representations of the examined phenomenon. Some implications are drawn from the standpoint of environmental education.  相似文献   

6.
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   

7.
不同的经济体制产生并支撑与此相适应的思想教育观念,我国的经济体制已由计划经济体制转为市场经济体制,对此也应树立与社会主义市场经济体制适应的思想教育观念,从无私观念转为追求企业和个人利益与集体和国家利益相结合的观念,唯此才有利于完善社会主义市场经济体制。  相似文献   

8.
Providing quality feedback that is both positive and effective while maintaining the required student grade confidentiality is a conundrum for faculty. This issue is particularly complex for faculty teaching studio courses (e.g. fashion design) with performance or creativity components where feedback has traditionally been given publicly as desktop reviews in the open studio. The difficulty of giving feedback in the studio‐style classroom is compounded when teaching millennial college students who tend to reject any criticism, public or otherwise, of their work. Previous research on assessment, rubrics and feedback as well as personal experience with studio classes provide background to this evidenced‐based study comparing three feedback and delivery methods: abbreviated rubric, extensive rubric and one‐to‐one meetings (e.g. dialogical assessment) guided by a project list. Grade consistency and ranking of grades were evaluated. Studio projects from a fashion design course were graded across two semesters using the multiple methods. Comparisons were made based on: (a) student reaction, (b) quality of rework and (c) time to grade. The outcomes showed that the one‐to‐one meetings as a feedback and delivery method of assessment had several benefits over two other methods, including added student engagement and improvement of rework.  相似文献   

9.
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   

10.
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   

11.
Our mental maps related to the cities are limited by our personal perception and fragmented in the process. There are many inner and outer effects that shape our mental maps, and as a result the fragmented whole refers to the total city image in our minds. To represent this image, an experimental study has been conducted with a group of students. They used mapping techniques to design subjective maps. Maps, in general, are objective, and produced by standardised techniques which connote similar meanings for everyone. In contrast, artists and designers use maps as liberating objects of representations. Thus, using mapping techniques, inventing new ways of narration and gaining new understandings towards the city we dwell in are the basic aims of this study. Final designs can be evaluated as tools to question subjectivity in both design and architectural education.  相似文献   

12.
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   

13.
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   

14.
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   

15.
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   

16.
The use of drawings as representations of personal mental models or images is one method of analyzing personal beliefs. This article discusses the development of the Draw‐An‐Environment Test and Rubric (DAET‐R) for assessing the mental models or images of the environment held by pre‐service teachers. It also provides results of preliminary research using the DAET‐R to assess pre‐service teachers’ personal beliefs and understandings about the environment, as interpreted from their drawings. Results of this pilot study using the DAET‐R for scoring early childhood pre‐service teachers’ drawings of the environment suggest that the participants’ mental models of the environment are incomplete. Results of this study also show that the DAET‐R can provide information about pre‐service teachers’ beliefs about the environment useful to teacher educators in the development and delivery of environmental education.  相似文献   

17.
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18.
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   

19.
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   

20.
This article reports the interim findings of historical research, funded by the British Academy (2007), which is exploring the possibilities of prosopography (the study of biographies linked through a common purpose, philosophy or practice) in researching the relationship between educational thought and school design since World War Two. Through oral history and archival research, the lives of leading figures in the post‐war period of English school design have been examined in relationship with one another. The research has uncovered networks of individual architects and educationists who together constructed a particular vision of education and subsequently a process of school design during the third quarter of the twentieth century. The research suggests that current efforts to visualise school as a transformational and transformed learning environment might profit from the notion of prosopography in the sense that it may help to expand our understanding of contemporary networks that are engaged in constructing a common vision of school for the twenty‐first century. The article begins with a brief discussion of discourses of educational vision set in the context of the contemporary UK government Building Schools for the Future (BSF) and Primary Capital Building programmes. It then moves on to demonstrate how a network of individuals, linked to three key protagonists in school/education design, developed in England during the post‐war period of reconstruction a collective vision of school which gave a special significance to what came to be understood as the education of the eye. This research suggests that while vision is important, the history of visualising school offers another still relevant set of references to those generally chosen today.  相似文献   

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