Anchoring the design process

This thesis proposes a framework to address the design process in design education. Building upon the assumption that teachers, being professional designers, do not discuss the design process in the architectural design studio and do not have a vocabulary to do so, five generic elements or anchor points are defined which represent the basic design skills. The validity of the framework and the assumption is tested respectively in interviews with a variety of designers and in observations of dialogues between teachers and students. In the final test the design process is addressed in the design studio: the first experiences show that students’ understanding and self-efficacy may increase. The five elements enable teachers and students to address the designerly attitude. The way designers reason consist of: (1) experimentation; an experimentation-based way of thinking; how to explore and reflect, (2) the frame of reference; a knowledge-based way of thinking; how to work with common and proven ‘professional’ knowledge, and (3) the guiding theme; a value-based way of thinking; how to take a position in the design process. Next to that, (4) the laboratory is the (visual) language or set of means designers use to think designerly, and (5) the domains are the playing field of the designer, the product aspects s/he should address.

Storytelling as a learning tool in creative education: A case study in an architecture design studio

Cultural schema and design activity in an architectural design studio

The advancements in Information and Communication Technology (ICT) are reshaping the architectural design studio teaching and design practices. The digital-imperative to switch from analog to digital mode has already begun to manifest itself at the schools of design. This paper introduces the application of two approaches representing various dimensions of revitalizing architectural design studio teaching using ICT: a paperless design studio and collaborative virtual design studio. The paper reflects on the practical implementations of these two approaches including the design process, communication and presentation, studio pedagogy, and students’ learning. The next step ahead for architectural design studio teaching in which ICT acts as a partner is introduced. Virtual reality is a technological breakthrough that stimulates reality perception. Virtual reality is a new technology that merges the virtual and real worlds and offers support for the architectural design process. Technologies are important tool to conceptualize and implement by making a concrete contribution. Several digital interfaces had been developed over the years that utilize the Virtual reality technologies for visualizing the architectural project digitally in an interactive manner. This paper presents the actual simulation possibilities and challenges of Virtual reality in the field of experiencing the design process. It also describes a study of user perception in a customized environment by proposing with the aim of promoting innovativeness and real time simulation. The research focuses on how virtual reality can be effective for the architecture students in improving their designs. An experiment was done with the students to see how they respond to Virtual Reality in perceiving 2-dimensional to 3-dimensional. The virtual design studio established the fact of skill development among students for better perception. This paper will evaluate the effectivity of VR and pose some questions which we, as teachers, should address if we are to use the experience of a VR to the students’ advantage.

Purpose This paper aims to establish a notion of speculation in the design process in architecture studios as a way to invent new ways of thinking and making beyond narrow pedagogical approaches in the service of designing buildings. The notion of speculation is formulated on the basis of the concept of practical judgment, and articulated as a way of going beyond habitual ways of teaching architecture. The article discusses a design studio process where different cultural artifacts are juxtaposed on each other in an iterative process that sets out a hermeneutical horizon for new possibilities of seeing and understanding to emerge. Design/methodology/approach Unrelated to each other, a filmic narrative and a cityscape are combined in collage studies to initiate imaginative readings of both. These initial studies are followed by other constructs in various media, to form the history of a thinking process where the constructed objects open up in iterative reverberations to establish a sense of place in the design process. A tectonic and spatial emphasis on lived experience underlines the speculative and improvisational aspects of this iterative/generative procedure. Combined through certain experiential threads, the design studio project emerges as the culmination of this history of thinking and making. Findings The design studio shows the effectiveness of using different cultural artifacts to establish a conceptual/poetic framework in the design process where the constructs are infused with creative narratives in the pursuit of meaningful places. It also shows the viability of an iterative/generative design sequence that moves between various scales and media, from hand drawings to physical models to digital makings and reflections. A key discussion in the process is the complementary modalities of physical and digital productions where each step not only reflects back on the previous but also projects further experiential possibilities. Originality/value This study is an attempt to bring cultural disciplinary reflection into the design studios at a time when the mainstream cultural narratives and practices that shape our lives continually diminish the range of meaningful human experiences. Architecture today is consumerized on Instagram, Pinterest and TikTok with its sleek forms. The profession of architecture more and more sees itself as a service provider to developers, authority and power, comfortably sustaining an image of individuality projected by consumer and social media. Where more and more students join architectural schools for an architecture degree itself rather than a well-rounded architectural education, and where academia is also being restructured on corporate business models, to encourage the professional degrees over disciplinary thinking, this study brings in a critical voice to architectural pedagogy and shows ways of pursuing architectural design as a creative reflection on human existence.

240 Children, Youth and Environments Vol. 20 No. 2 (Fall 2010) ISSN: 1546-2250 Linking Architecture and Education: Sustainable Design for Learning Environments Taylor, Anne (2009). Albuquerque: University of New Mexico Press; 451 pages. $100. ISBN 9780826334077. In Linking Architecture and Education, Anne Taylor has compiled a career of research into an extensive resource for architects, administrators, educators, and anyone else involved in the design of learning environments. Dr. Taylor founded and served as director of the Institute for Environmental Education in the School of Architecture and Planning at the University of New Mexico, where she directed research that examined the effects of the built environment on children. In this book she advocates for a series of design principles developed through years of teaching, research, and professional consultancy on the design of learning environments. The book places primary emphasis on the design of schools and schoolyards, with consideration also given to informal learning spaces such as museums and playgrounds. Aimed at providing a common language for design professionals and educators, Taylorattempts to link educational goals and learning theories to design principles through the use of numerous charts and graphics woven throughout the volume. The book is loosely organized around five key themes: philosophical foundations, organizational strategies, the building as a teaching tool or “threedimensional textbook,” future trends, and fostering ecological stewardship. The first four themes serve as the topics for the book sections, providing a sequential organization and unifying structure to the extensive literature. Stewardship is addressed in four separate chapters—one for each section of the book. The organization of the book is driven by Taylor’s aspirations to transform the educational built environment through a series of holistic-design guidelines including: design criteria that is informed by the users’ developmental needs; architectural form that evolves from curriculum and learning theory; educational spaces that are 241 flexible and modeled after the design studio; learning landscapes; community engagement through co-location, multi-use design, and the community as living laboratory; and post-occupancy user guides and evaluation. Along the way she incorporates supplemental information in the form of case studies, photographs, charts, and visual and verbal commentary from colleagues. These are organized in a brilliantly colored and graphically coded format of sidebar information, design tools, designer perspectives, and stewardship forums. At times this rich array of resources and varied perspectives disrupts the flow of the book—obscuring the points presented instead of punctuating them. But, perhaps more significantly, they also create the possibility for an alternative, nonlinear, reading of the book. Students, design and education professionals, parents, and community members may find this secondary organization helpful in using the text as a sourcebook of examples and best practices both to inform the design of new learning spaces as well as to identify opportunities to make more effective use of existing spaces. The link between pedagogy and architectural design is made clear throughout the book, with related concepts often introduced through charts and diagrams and further reinforced by case examples. In section one, for example,Taylor links philosophical theories to the roles of the learner and teacher, the curriculum, and instructional strategies. She also links these theories to the role of the architect, the design process, and the form of the physical environment. A case study of Reggio Emilia preschools inItaly then demonstrates how aspects of the building design can support the educational philosophy of the school. Stakeholders in design processes may benefit from understanding how philosophy informs practice, and Taylorjustifies combining this information into a single chart as a starting point for design discussion between disciplines. Often such diagrams in the book successfully illustrate key relationships between architecture and education, but at times the format is problematic. For example, the chart could easily be misinterpreted by the reader as a prescription for a particular design process or architectural style based on the educational philosophy of the client. In general, however, Taylor successfully relates educational and architectural concepts in clear and meaningful 242 ways. Design students and practitioners may appreciate the succinct overview of major educational theories in section two, whereas educators may find section three particularly useful for the long list of suggestions about how to use the educational facility...

Studies reveal that subjective knowledge and irrational creativity dominate architectural design studios in the current scenario. With an intention to facilitate ‘problem-driven outcomes’ in a design studio, we framed a series of tasks specific to the framed design problem planned. The tasks were introduced sequentially at the beginning of design studio. For this purpose, a design problem with a time frame of 12 weeks of focusing on ‘multifunctional spaces’ was introduced to two groups of students pursuing second-year architecture To examine the effectiveness of the strategy, 39 students participated voluntarily in framed tasks like ‘story boards’, ‘reels to reality’, ‘collage’ and ‘dialogue between known and unknown context’ to construct appropriate knowledge. Triangulation of qualitative and quantitative analysis of the emergent outcomes processes from three different perspectives was investigated. The performances of the two groups display a stark difference in problem structuring, design processes and the outcomes. Keywords: Art, facilitate, effectiveness, design studio, problem-driven outcome.

Aim: Based on the argument that the abstract representation of topography makes new design possibilities visible it is aimed to evaluate the design processes of students within the scope of design studio. The scope of the study was determined as the analysis of the topographic structure of the place through instrumentalization. This study was determined within the framework of making the possibilities of representation visible in the architectural design process and observing the interaction of students with these representational levels. The design period is limited to the fourteen-week period of architectural education. A defined design problem given to the students forms the upper frame of the studio. Method: The method of this research was created by recording the ideas, discussions and criticisms of the students on a design problem of the learning processes that took place in the architectural design studio. Results: Making a topography model with a different method than usual changes the student’s perspective on design. Conclusion: It has been observed that starting the first-year architectural design studio education with a tool that the student can use in the design process carries the acquisition of design skills to an advanced level.

Bridging the gap between research and schematic design phases in teaching architectural graduation projects

The Covid-19 pandemic has forced daily activities, including educational activities, to prevent or minimize the transmission or spread of the disease caused by a coronavirus. Online architecture education demands significant adjustments in the embedded learning methods, especially those that entail architecture design studio. An architecture design studio that commonly involves direct interaction in physical spaces should be performed through online media and computer screens. Architecture students' comprehension of site or design contexts is usually formed by collecting information through on-site observation. In an online architecture design studio, an on-site survey is replaced by observing visual representation of the site. This study aims to identify how well architecture students in architecture design studios can comprehend the site when they have to rely on data acquired from virtual observation and/or on secondary data and how beneficial the comprehension to their design process is. Students' understanding of the site was measured with thirteen attributes of the site. It can be concluded that when architecture students depend on mere audio and/or visual data collected from the internet and/or other people, without visiting the site, they tend to have partial comprehension regarding the site as context. Contextual and responsive design demands a comprehensive understanding of all attributes of the site. The architecture design studio should incorporate on-site observation concerning the site according to the health protocol, so that the architecture students involved in the studio can have a better understanding of the site and create more contextual and responsive designs

This article presents the results of a study that investigates the status of colour information use in the design process and generates ideas for a colour tool. Face‐to‐face interviews with senior designers and brand managers from the packaging and branding fields were conducted as the primary data collection method. The results are categorized into six topics: colour decision, types of colour information considered to be important in the design process, reasons for considering colour information important in the design process, current use of colour information, design professionals' preferences for existing colour tool types and data types and suggestions for a colour tool. It is concluded that there are problems with existing colour resources and tools regarding their availability and usefulness; there is a strong demand for a colour tool in the packaging design and branding processes. The insight from this work will help researchers, design professionals and colour tool developers to make informed decisions on the areas on which they should focus, how they should do so and why. This will facilitate better provisions and uptake of useful colour information for design professionals in the design process and strategy fields.

Reconstructing a Framework for Criteria-based Assessment and Grading in Architecture Design Studio

The paper aims to re-thinking limits in architecture through an educational approach. A study on the concept of limits in architecture provides an understanding of architecture's sensitivity, responsibility, and bindingness. To investigate the effect of limits on design, the paper has conducted a discussion of a design studio experience as a case study. As a method in the study, an architectural design studio where students are asked to produce architectural solutions by giving physical legal, and social limits has been established. In the architectural design studio scenario, Garipce Village, a fisher village located on the border of Istanbul and a first-degree protection area by the Bosphorus zoning laws, was given as a design problem to second-year architecture students. The design solutions that the students brought to the limits of the village both exemplified how architectural design sought an answer to the limits and demonstrated how to approach rural areas. The limits of conservation areas, the social implications of the conservation sites, and the physical limitations of the village compose a limitation set for the design problem of the rural area. The outputs of the design studio are discussed in the context of architectural solutions for limits. The results revealed how questioning the concept of "limit" transformed students' learning experiences in the design studio. It has been observed that the act of designing with limits improves students' awareness, strengthens the relationships established with the context, and incorporates the social dimensions of architectural design into the design.

Purpose Creativity as an outcome of our thoughts and actions is a controversial concept that has been discussed by many disciplines in different ways. In the light of cognitive research on creativity, this study aims to deal with the components of the idea generation process specific to interior design education. Based on the study conducted in the interior design studio, this paper introduces the infographic model of design thinking. the main purpose of the model is to summarize how design students initiate the design process, create their own design ideas, and also how they lead design thinking for a spatial solution. Design/Methodology/Approach The cross-disciplinary research paper within the context of the psychological studies on creative cognition consists of a detailed analysis of the design process in the design studio. A case study was conducted in the second-year undergraduate interior design studio at Hacettepe University in order to observe the students’ experiences during one semester. In the wake of this qualitative research, the data obtained from 15 design students selected have been analyzed gradually and a design thinking model has been generated with the findings. Findings In addition to the interpretation of the creativity models from the literature, initial analyses showed that design thinking can be explained in three main stages as preparation, conceptualization, and spatialization that underlie the internal and external process of design thinking in the design studio. With subsequent analyses, these stages have been divided into different strategical layers according to students’ experiences. As a result, the infographic model of the design thinking process is structured based on the evaluations of these components and the design approaches identified. Research Limitations/Implications The data acquired from the case study undertaken by the author were compared so as to identify the similarities and diversities of these processes. More research on different stages of the design process can shed more light on design thinking. In addition to this, qualitative data are based on a small group of students to get detailed information about the process. The proposed model can be adapted for different studies in the context of the design studio with more participants. Practical/Social Implications The proposed model in the research is intended to be used as a content map that shows the alternative ways of thinking in design ideation, and also an analysis method of the design process for future studies. In other words, the paper shows the two-way implications of the design thinking model on design education. One of which is a guide for practical use for design students and the other is an analytical tool for studio instructors or researchers. Originality/Value This study brings to focus on conceptualization and spatialization for creative idea generation in design studio education. On the basis of drawn from creativity models, the paper introduces a new process model that provides an original interpretation of existing models in design. The proposed model differs from previous cognitive studies, as it expands the ideation process with both internal and external operations.

ABSTRACTIn current educational practices within the discipline of architecture, the systematic use of conceptualization within the design process has not yet been extensively developed and applied. Though utilizing concepts within the design process has been discussed hitherto by educators and scholars, the conventional education system in architectural design may prevent its proper application in the studio process. Furthermore, because conceptualization describes an activity that has peculiarly visual and verbal dimensions, the coordinated use of drawing and language as the representation systems also refers to the main character of the design process. In these respects, by offering a systematic alternative for conceptualization within the design process, this study presents a new educational pattern. The study was implemented during the sixth semester of the architectural design studio and includes an examination of the relationships and functions of drawing and language as the very media of conceptualization within the discipline of architecture.