Design Studio Teaching

♦ ENGLISH:
Design education around the world has rethinked several educational models in recent decades. We ask ourselves, on the one hand, from different terrains, how much the general approach in our institutions has been rethought. On the other hand, on whom it depends to move towards a more integrating formation of different perspectives of knowledge construction. The intention is to move towards the teaching of Design with an interdisciplinary approach, to build knowledge from complexity.


♦ SPANISH:
La enseñanza del diseño alrededor del mundo ha replanteado varios modelos educativos en las últimas décadas. Nos preguntamos, por un lado, desde diferentes terrenos, cuánto se ha replanteado verdaderamente el enfoque general en nuestras instituciones. Por otro lado, de quien depende avanzar hacia una formación más integradora de diferentes perspectivas de construcción del conocimiento. La intención es avanzar hacia la enseñanza del Diseño con un enfoque interdisciplinar, para construir el conocimiento desde la complejidad.

✔ Source / Fuente:
https://fido.palermo.edu/servicios_dyc/publicacionesdc/vista/detalle_articulo.php?id_libro=821&id_articulo=16974
__________________________
✔ PUBLISHED (Digital and print editions):
Paper: "Hacia la enseñanza del Diseño con un enfoque interdisciplinar. La construcción del conocimiento desde la complejidad."
Journal / Book: Reflexión Académica en Diseño y Comunicación. Nº XLIV pp. 123-127. November 2020. Facultad de Diseño y Comunicación. Universidad de Palermo. ISSN: 1668-1673.

This paper discusses parametric design systems integration in the design studio as a mechanism for improving parametric design thinking among architectural design students at a second year under-graduate level. The merits of parametric design processes within architectural design practice have been discussed at length and are well established. Their ability to improve productivity, create adaptive design models and inform complex design systems continue to evolve and are useful for the quantification and comparison of variables in complex design systems. However, these processes are nuanced in their development, requiring great expertise. Additionally, a clear understanding of the variables that effect design is implicitly established. This represents a significant problem for the developing design student. Both the technical expertise and time required to generate a functioning and informed parametric system makes success near impossible. These issues are compounded as the student’s design thinking skillset is still in development. As a result, students do not absorb the value of parametric design thinking, a fundamental design approach, limiting their understanding of these processes. The following is the results of an eight week design studio project aimed at enabling technical engagement of instruments involved in parametric design and developing an understanding of parametric design processes.

The rapid transformations experienced by many contemporary Asian societies have radically challenged their built environments’ cultural integrity and cohesion. Several historic buildings and neighbourhoods are erased in the name of the ‘development’ (read ‘economic benefits’). It consequently disinfects the place of its identity and leaves it bland and out-of-date after a while.
Wilke argues that “a sense of continuity does not have to stop new ideas – just the opposite. The deeper the root, the greater the range of nutrients”. In this vein, this studio advocates critical thinking and understanding of place/ building, understanding of change, and stewardship as part of continuing evolution. Applying conservation principles to assess the scope for a  new intervention, students will strategise and deliver innovative ways to actively managing change to our historic urban landscape by protecting and adapting historic buildings/ places to achieve a balance that ensures that their significant cultural values are reinforced rather than diminished by
change.

Space syntax is a significant theory / tool, describing buildings and cities as evolutionary processes and offering valuable support to architectural and urban design. However, theory and analytical research are different from the processes that characterise the generation of ideas in design practice. This chapter elaborates first, on the differences and intersections of analytical knowledge and intentional design; second, on some projects charged with integrating space syntax analysis in the studio. Considering design as a propositional field manipulating elements and relations through intuition and logical order, we argue that classification forms a crucial concept in design thinking, serving as a tool for design generation and invention. We propose a 'bisociative' approach as the intellectual synthesis of relations in two domains, the 'form-of-a-class' and the 'syntax-of-a-class'. The former refers to conceptual relations of similarity and difference in design, while the latter describes topological properties among elements of built space. Based on the membership of elements in the same or different domains, we identify two fundamental modes of design operation, the 'convergent' and 'divergent' modes. Bisociation can be used in the design studio to generate ideas while maintaining intellectual synthesis and rigour. 6.1 Introduction Doing architecture involves intuition, imagination and virtuosity. Equally important is engaging deeply with a design through intellectual thinking. When we do architecture, we deal with making and reflecting on what we make at the same time. How do we interface designing and reflecting, action and reasoning, evaluation and formulation? How do designs employ analytic understanding and design experimentation? Bill Hillier suggests that architects use quasi-theoretical ideas derived from a wide range of forms which are intuitively evaluated in the design process. He argues for an analytic theory, underpinning his proposition that architecture involves comparative theoretical knowledge about a wide range of configurations in the field of possibility, aiming at innovation rather than cultural reduplication (Hillier

The extensive practice of collaborative design-based learning and the increasing cultural plurality of design courses in Design Education is becoming relevant. Students' critical reflection on teamwork experience through structured activities of self-, peer and group evaluation can provide a space for students to ask themselves relevant questions and to discuss together with the team about each one's reflections. A guided sharing of personal perspectives on teamwork reveals to students the existence of multiple viewpoints and perceptions and supports an increasing mutual understanding and sensitivity. To this extent a colour-based assessment tool for teams, the Teamwork Colour Matrix (TCM), was designed with the idea that colours can take on very different associations for each individual and therefore can leave more freedom of expression, especially when it comes to evaluating teamwork. Students intuitively coded their experience in relation to the different moments of teamwork and represented it inside of the TCM by using eight given colours. The paper presents the qualitative data collected during the redesign and remote application of the TCM, showing how it can both support students to reflect and evaluate plural remote teamwork, and teachers to monitor team dynamics within collaborative design-based learning courses. The test also provided rich data about the challenges that students experienced in the current collaborative distance learning context, which could contribute to acknowledge learning trajectories of students in this type of courses.

This research examines the effect of applying Storytelling as a learning tool in architecture design studios classes. It aims to help overcome some of the current learning challenges and shortcomings in students’ design skills learning. Newly graduated students from schools of architecture are encountered with challenges surrounding their design skill capability when entering the professional practice. The researcher believes that these difficulties start in design studio classes. The gap between academic learning and practicing profession is a concern many scholars are continuously trying to tackle. The researcher investigates the shortcomings in design studio learning and suggests that Storytelling can be a learning tool to help students and teachers overcome these shortcomings. The researcher conducted a two-phase experiment in a design studio class at Okan University. In the first phase the Researcher collected data using quantitative and qualitative methods that illustrate the current condition of students’ design skills, as well as areas of shortcomings and challenges that need to be addressed. In the second phase, the Researcher used action research methodology and applied Storytelling as a strategy of combining reflective and experience learning theories in design studio class. According to the outcomes at the final jury and collected questionnaires, the results of this experiment were generally successful. Most of the students proved significant progress in terms of design skills and creativity. Moreover, students’ presentation skills showed broad improvement and in return their self-confidence and understanding of submissions has advanced drastically. The researcher recommends this research to work as a model study for other scholars to adopt, develop and lead more similar researches in the future.

Paper presented at [in]arch conference - THE STORIES OF INTERIOR
Multiple Perspectives on Interiority, 30-31 January 2018
Universitas Indonesia, Jakarta.

This paper addresses the current emphasis on interiority in the discipline of interior design with a particular focus on the urban environment. The Situationists are a much-cited precedent for this line of thinking; their constructed situations aimed to ‘provide a décor and ambience of such power that it would stimulate new sorts of behaviour, a glimpse into an improved future social life based upon human encounter and play’ (Sadler, 1998, 105). In the twenty-first century, the relation between interior/exterior, interiority/exteriority continues to be a critical topic in relation to the question of inhabitation. The philosopher Gilbert Simondon’s concept of individuation offers a different way of thinking about interiority from one which is premised on the subjectivity of the individual. He writes of the individual as a product of individuation where movement and temporality, change and contingency are foregrounded; inverting individuation as something produced by the individual. This moves interior design from phenomenological and psychological frameworks, which centre the subject and work from the inside out, to an ecology of subjectivity and entertaining the potential of the production of interiority as a ‘subjectification isn’t even anything to do with a “person”: it’s a specific or collective individuation relating to an event (a time of day, a river, a wind, a life …). It’s a mode of intensity, not a personal subject’ (Deleuze, 1990, 98–9). Urban + Interiority, a workshop held in Nicosia, Cyprus I was invited to lead as part of the 10th IMIAD (International Masters of Interior Architectural Design) Workshop – Inhabiting Nicosia: Interior Strategies for the Public Realm – is a key project discussed in this paper.
Keywords: individuation, urban, exteriority, Deleuze, Guattari

PT
Este trabalho pretende discutir as interfaces entre os domínios público, coletivo e privado, postos em relação por meio do programa de projeto proposto pelo Atelier Integrado 1 (FAU/UFRJ), entendendo o público como os espaços abertos de livre acesso; o coletivo como os espaços semiabertos ou fechados de acesso público; e o privado como os espaços de acesso restrito; e refletir sobre a importância dessas noções no ensino de arquitetura e urbanismo na contemporaneidade. Para fundamentar as reflexões, estabeleceremos um diálogo entre autores buscando conciliar algumas ideias de arquitetura e urbanismo do século XX, aproximando lições da arquitetura moderna com ensinamentos do período posterior de crítica do mesmo, e, ao mesmo tempo, inserindo alguns conceitos emergentes sobre o tema em questão.

EN
This paper discusses the interfaces between the public, collective and private domains, brought into relation through the project program proposed by Integrated Atelier 1 (FAU / UFRJ), understanding the public as the open spaces of free access; the collective as the half open or closed spaces of free access; and the private as the spaces with restricted access; and reflect on the importance of these notions in teaching architecture and urbanism in contemporary times. In support of the reflections, we will establish a dialogue between authors seeking to reconcile some ideas of architecture and urbanism of the twentieth century, bringing lessons of modern architecture and ideas from the period of its criticism, and at the same time, inserting some emerging concepts on the subject in question.

In order to understand why the fortifications of Malta evolved as they did, we need to study them in the context of the technical publications and military academies of the period. The science of fortification that developed during the three-century presence of the Knights on the island is a European science and the result both of theoretical debate and practical trials. This debate, which went on in military academies and in a variety of texts, discussed the merits and limitations of different models of attack and defence.

Historically, the inhabitants of the Kathmandu Valley in Nepal, the Newars, have for more than a thousand years contributed to a large part of the country's cultural heritage, traditions, and built environment. The Newars are culturally very rich, and have a long history, immersed with socio-cultural-religious traditions, festivals, craftsmanship, as well as a deep understanding of architecture and urbanism, particularly seen in their design of public spaces. In architectural design, we generally design the walls, floors, windows, and other building elements. But how aware are we of the space that these elements actually enclose? In other words, how much are we concerned with the shape and quality of space itself? In the first semester of 2017, at Nepal Engineering College, a design studio was conducted to explore the theme of semi-public open spaces as well as internal environments for a Newari Cultural Center to be designed at the UNESCO world heritage site of Bhaktapur. For this project, the idea and functions of a cultural centre were open to interpretation. However, it was not to be of one singular building, but rather multiple building blocks and projects had to address how to arrange these building blocks according to ideas of a cultural theme. The central question all projects had to investigate was: how to design, not just the buildings, but the spaces between the buildings? The theme of space as primary is central to the research proposed in this paper and through the case study of this particular design studio, this paper highlights how design education shows the mutual relationship between culture and design. Particular emphasis will be placed on the method and process of design with regards to the pedagogical strategies employed to enhance students' appreciation and understanding of their own cultural values in relation to space and architecture.

This study re-contextualizes the debates on the challenges and opportunities of assessment in design education into the broader context of the literature on assessment in higher education by highlighting key issues of particular relevance to the design feedback procedures and studio-based learning. The focus in this paper is on three main problematic issues: (1) the role of ingrained conventions of assessment that informs the design studio tutors' teaching practices, (2) the role of language and one-to-one communication in design feedbacks, and (3) the difficulty of evaluating the subjective design process objectively. The study is based on a qualitative research and the data collection process covers a systematic and extensive literature survey with a special focus on formative assessment in higher education, and its implications to assessment in design education. The literature survey is followed by an in-depth thematic analysis of publications that is based on identifying the key themes related with the research questions. In this study it is revealed that formative assessment feedback plays a critical role in encouraging the active participation of design students in the learning processes and supporting their development as self-assessors. The study presented a valuable framework for moving the research agenda further into how design studio assessment practices can be improved in order to support studio-based learning in design education and how assessment can be reconsidered in a way to foster learning throughout life.

Bu bildiri kapsamında, İstanbul Bilgi Üniversitesi Mimarlık Fakültesi Endüstri Ürünleri Tasarımı Bölümü 2. Sınıf ID 202 Tasarım Stüdyosu dersi kapsamında 2013 yılından beri devam etmekte olan bir eğitim yaklaşımı ve bu model üzerinden tasarım eğitiminin dönüşümü ve yeni
yöntemlerin olasılıkları tartışılmaktadır. İstanbul kent içi küçük üretim bölgeleri, malzeme ve üretim tekniklerinin anlaşılması ve pratik edilmesi için önemli fırsatlar sunmaktadır. Bugüne kadar tasarım lisans eğitiminde sanayi ile olan ortak çalışmalar öncelikli olmuş ve bu tür kent
içi küçük üretim bölgelerinin, zanaat atölyelerinin eğitime katkısı yeterince ve etkin bir şekilde değerlendirilmemiştir. Bu model ile kentteki zanaat atölyelerinin ve sahip oldukları yerel malzeme, üretim tekniklerinin daha aktif bir şekilde tasarım eğitimine eklemlenmesine çalışılarak stüdyo dersi kampüsten kente, zanaat atölyelerine taşınmıştır. Böylece ikinci sınıf tasarım öğrencileri hem çırak olarak zanaat atölyelerinde aktif üretime katılmakta, yaparken öğrenmekte hem de süreçleri içeriden deneyimleme şansı elde ederek geniş bir zaman diliminde gözlem yapabilmektedirler.
Bu modelde ardışık tasarım ve üretim süreçleri yerine ikisinin birlikte olduğu, etkileşimli bir tasarım, üretim ve eğitim süreci gerçekleştirilmekte; malzeme, üretim teknikleri, zanaatkarın bilgisi ve atölye ortamı tasarıma doğrudan girdi oluşturmakta; yaparken düşünme ve tasarlama devreye sokulmaktadır. Stüdyo süresince öğrenciler Şişhane ve Galata bölgesindeki zanaat ağında yer alan metal, ahşap, abajur, avize, tel, pantograf, akrilik, saz atölyeleri
gibi farklı malzeme ve üretim tekniklerinde uzmanlaşmış atölyelerle eşleştirildi. Öğrenciler ikili gruplar halinde seçtikleri atölyelerde ustaların yanında çırak olarak çalıştı ve üretim sürecinin bir parçası oldular. Böylelikle malzeme ve üretim tekniklerini sürecin içerisinden anlama, araştırma ve deneme şansına sahip oldular; bir yandan da işbirliği yaptıkları aktörleri tanırken toplumsal ve kentsel kesitte yeni deneyimler ve farkındalık kazandılar. İstanbul Bilgi Üniversitesi, Endüstri Ürünleri Tasarımı Bölümü’nün tasarım eğitiminde izlediği çoğulcu bakış açısıyla uygulamaya giren ve sahada çalışmalar yapmakta olan Made in Şişhane projesi ile işbirliğinde önerilen bu model, alandaki deneyimler, öğretim kadrosunun katkısı, öğrenciler ve atölyelerden gelen geri bildirimlerle geliştirilmeye, yapılandırılmaya devam etmektedir.
Anahtar Kelimeler: Tasarım Eğitimi, zanaat, atölye, ustalık, çıraklık, malzeme, kentiçi üretim, okuldışı eğitim, İstanbul, Şişhane, Galata

Focusing on the forgotten lessons and potential legacy of the urban projects proposed by the Japanese avant-garde architectural movement of Metabolism, which emerged in the 1960s, and on the critical and comparative study of large-scale waterfront regeneration and design in Tokyo and Sydney, 2 education and research projects have been initiated at UNSW-School of the Built Environment in 2019 and 2021 with the aim to look at the future of the city in an age of climate change, global warming and rising sea levels.
Structured around a variety of international workshops, joint design studios, collaborative archive and documentary reviews, multi-disciplinary seminars, and international symposia with the participation of national and international academics and scholars, both research projects are in progress with the support of competitive research grants from the Japan Foundation, the Australia-Japan Foundation (AJF), the Australian Department of Foreign Affairs and Trade (DFAT), and other internal grants from the Faculty of Art, Design and Architecture (ADA) at UNSW Sydney.

This paper analyses the predominant trend between the students to follow, frame, and develop a concept in the architectural thesis design. The research targets to question how the students derive their inspiration from diverse sources and influencers into the architectural design concept. The research methodology was based on semi-structured questionnaires with Likert scale questions to analyse and interpret data through the Chi-Square test in SPSS software. The findings revealed that first, the students preferred to employ more symbolic and poetic elements for the design than real projects, second, to create their concepts under influences of supervisors and juries than research, third, to follow personal procedure than the structured process of the course. In conclusion, the results revealed that the students adopted a personal procedure under the influences of the supervisors to design a concept that is closely aligned with a subjective approach, rather than a structured research process.

Keynote Presentation as part of KLAF 2018, Kuala Lumpur Architecture Festival, Malaysia, 4 July 2018.
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DATUM:EDU
04 July 2O18, 9:OOam - 6:00pm, Plenary Hall KL Convention Centre

The architectural profession is today confronted with an increasingly complex and challenging environment. From the local to the global, the international to the vernacular, architects have to continually adjust and adapt their practice in a fast changing milieu to engage with new shifting conditions both within the profession and externally. The new generation of architects are called upon to provide better answers and solutions, to lead and inspire in a world requiring ideas, beauty, optimism and inspiration. As part of the yearly Datum:KL conference, the inaugural Datum:EDU conference is a one-day event that seeks to explore the different methods of pedagogical approaches and formats of institutions and academies across the region and internationally. How does architectural education keep track with the CHANGES in our contexts and circumstances to remain relevant in an age of the contingent. Delegates from the South East Asia (ASEAN region), Malaysia and internationally will gather in Kuala Lumpur this July 4th, 2018 to meet, network and discuss current issues on architectural education and its direction.

This study aims to make a critical reading on the constraints and potentials that emerge through the transition from face-to-face to screen-to-screen teaching and learning experiences in design education during the COVID-19 pandemic. By making a critical reading of current discussions, mostly in narrative surveys, on architectural design education, it is attempted to re-contextualize the emerging concepts of the remote teaching and learning to the broader context of design studio pedagogy literature. The theoretical framework of the study is based on the model developed by Shaffer (2003) regarding the three main elements of the design studio pedagogy as (1) "surface structures", (2) "pedagogical forms" and (3) "epistemological principles." The study revealed that the current situation, on the one hand, opened the ways for us to test "new" tools, methods and experiences of teaching and learning, and on the other hand, allowed us to better understand the potentials and well-functioning aspects of the "existing" pedagogical models. Rather than reducing the discussions on remote teaching and learning to a 'technology-driven' paradigm change in design education, future research should focus on the effects of changing pedagogical tools and practices on the manifold dimensions of 'human learning', which in turn will have implications for the epistemology of design pedagogy.

♦ ENGLISH: Design in general and Industrial Design in particular has a clear relationship to the visual, we see and experience objects through sight, but what happens with the rest of our senses? What do we feel when we hear a spoon falling to the floor? How much does the sensation of a velvet-like texture influence the use of a chair? In a lot of cases the relationship of the user with the senses is a key factor in an object, and we are looking for design to give us new experiences that introduce us to these sensations. In the case of sound, this relationship between objects and users is not always thought through. Sound is always present and latent within an object, and whether by design or not, it's part of our experience with it. In this paper we want to dive into some of these relationships starting from something we all perceive and enjoy: music.

This paper is based on our innovative educational experience "Design and Music: sensory experiences" that was introduced in Industrial Design Studio at The University of Buenos Aires in 2016.Taking an interdisciplinary approach, we seek to move beyond the borders of the traditional design teaching, which is mainly focused on aesthetics and function, and let students explore other dimensions within design, like sound in this case.

♦ SPANISH: El diseño en general y en particular el Diseño Industrial tiene una clara relación con lo visual, vemos y experimentamos nuestros objetos de uso a través de la vista; ¿pero qué ocurre con el resto de nuestros sentidos? ¿Qué sensación nos atraviesa al escuchar el sonido de una cuchara cayendo al piso? ¿Cuánto influye en una silla la sensación de tocar una textura aterciopelada? En muchos casos la relación del usuario con lo sensorial es determinante en un objeto, y desde el diseño buscamos nuevas experiencias que nos acerquen a estas sensaciones.
En el caso del sonido esta relación entre los objetos y sus usuarios no siempre está pensada, lo audible está presente en un objeto, y, diseñado o no, forma parte de nuestras sensaciones. En este escrito queremos profundizar en algunas de las relaciones desde algo que casi todos percibimos y disfrutamos: la música.

Este paper académico se basa en nuestra experiencia didáctica innovadora "Diseño y Música: experiencias sensoriales", introducida en el Taller de Diseño Industrial en la UBA el año 2016.  Acercándonos al tema de manera interdisciplinar, buscamos trabajar fuera de los límites establecidos en el tema de la enseñanza tradicional del diseño, que se centra principalmente en lo estético y en lo funcional. En nuestro caso buscamos dejar que los estudiantes exploren otras dimensiones del diseño, como el sonido en este caso.

✔ Source / Fuente:
https://fido.palermo.edu/servicios_dyc/publicacionesdc/vista/detalle_articulo.php?id_libro=821&id_articulo=17019
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✔ PUBLISHED (Digital and print editions):
Paper: " Diseño y música: experiencias sensoriales."
Book: Reflexión Académica en Diseño y Comunicación. Nº XLIV pp. 187-189. November 2020. Facultad de Diseño y Comunicación. Universidad de Palermo. ISSN: 1668-1673.

As the powershift from material culture to media culture accelerates, architecture finds itself in the midst of a clash between centuries-old analog design methods and the new digital systems of production.  Schools and offices are confronting this very real situation as they struggle to integrate computers in their work without having clear methods, techniques, and theories to relate old and new systems of production.  Recent investigations on the use of multiple iterations between digital and analog media to advance architectural production show promising results.  However, these experiments have not yet developed a theoretical foundation tying these procedures and approach to a larger conceptual framework.  This paper articulates the relevancy of such interfacial propositions in light of the forces driving our contemporary civilization and profession.  These premises are further clarified in the productive context of a design studio

Salama, A. M. (2006). Committed Educators are Reshaping Studio Pedagogy. Open House International. Volume 31, Issue 3, Special Issue on Design Studio Teaching Practices, PP. 4-9. ISSN # 0160-2601.

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The process of educating future architects and designers around the world varies dramatically. However, there is one striking similarity – the dominance of the design studio as the main forum for knowledge acquisition and assimilation, and for creative exploration and interaction. Such a setting encompasses intensive cognitive and physical activities, which ultimately result in conceptualizing meaningful environments proposed to accommodate related human activities. The design studio is the primary space where students explore their creative skills that are so prized by the profession; it is the kiln where future architects are molded. It has occupied a central position since architectural education was formalized two centuries ago in France and later in Germany, the rest of Europe, North America, and the rest of the world. My personal experience of the design studio comes principally from being academic, studio educator, and researcher on architectural education and studio teaching practices for over fifteen years. Continuous endeavors have resulted in a number of publications that analyzed traditional studio while probing into the motivations of my colleague educators and allowing for critical examination of studio pedagogy (Salama, 1995; 1996; 1998; 1999; 2002; 2005; 2006). My passion for a continued exploration and investigation of the studio underlying rituals, teaching styles and learning outcomes, design processes and studio projects motivated me to entertain the idea of guest editing this issue and to venture a call for contributions for soliciting visions and experiences on the theme. This initiation was further encouraged and supported by the Editor in Chief – Nicholas Wilkinson. This issue of Open House International-OHI is concerned with the studio pedagogy’s increasing importance within the context of contemporary architectural and design education, a crucial subject that poses itself confidently on the map of current academic research. Twelve papers are included; of them, nine were selected from over 30 submission responses to the call for contributions. These are of Nisha Fernando; Kevin Mitchell, Malika Bose, Eliza Pennypacker, and Tom Yahner; Tasoulla Hadjiyanni; Carlos Balsas; Rabee Reffat; Jeffrey Hou and Min-Jay Kang; Jamal Al Qawasmi; and Jeffrey Haase. Three papers were selected as they won the first three awards of the International Architectural Education Competition entitled "Alternative Educational Ways for Teaching and Learning Architectural Design," which was organized in 2005 by Open House International and the Faculty of Architecture, Eastern Mediterranean University, Northern Cyprus. Results were announced in April 2006 and the three winners were Joongsub Kim (1st Prize); Noam Austerlitz & Avigail Sachs, (2nd Prize); and Guita Farivarsadri & Ustun Alsac (3rd Prize).

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The design review forms a contiguous part of assessment in architectural education. This approach has been well documented in different parts of the world, investigating is strengths and weaknesses across the years, resulting in both praise and criticism in relation to the evolving nature of architectural education.  It is also increasingly evident that educational pedagogy is contextually based, and thus the one size fits all design review may not be appropriate for all. This is particularly in places where architectural pedagogy was imported wholesale from Europe directly, or via the United States, but never been localized, resulting in some challenges with the approaches in use, which typically cause tensions in their application, often forcing students to dispense with their own contextual experiences in order to participate in the ritualization of architectural education. The limited research on architectural education across sub-Saharan Africa, suggests that there are significant areas that need further investigation in order to fill the information gap in our appreciation of architectural education in this context. In an attempt to answer a key question: how do students perceive the design review in architectural education, a review of data gathered from a previous study of architectural education was made, seeking to mine the data from that study in order to provide answers to this question.  Supporting this study, was an extensive literature review on the design review, and it embedded processes. This paper reveals student’s views of the architectural design review, suggesting that there are significant tensions between instructors ad students, and that learning and values imparted through this assessment tool, as desirable outcomes of the process, are not as evident for students. The paper concludes with some suggestions for overcoming the challenges found.

Information Visualization (InfoVis) is the field devoted to the study of methods for displaying data in information-rich domains. Although most of the InfoVis solutions have been developed by scientists and engineers, artists and designers have began to bring in their expertise to advance the state of the art. The role that architects may play in this development could be substantial. Yet, participating in this new design frontier means to master skills and knowledge not necessarily covered by traditional architectural education. This paper presents a four-year effort devoted to develop such InfoVis curricula in an architectural context. The course encodes knowledge harvested over almost 10 year of InfoVis research bridging 5 disciplines and delivering many successful academic, technological, and commercial products. In particular, the class investigates the use of architecture as (1) a fundamental data organizational device and (2) a research method of examination, response, and communication for InfoVis problems.

This article addresses an experimental urban design studio conducted in Bilkent University in Ankara, which problematized the protests that initially started in Gezi Park in Istanbul and shook Turkey in the summer of 2013. As will be argued in detail below, we claim that the Gezi event represents an urban crisis. The particular event was the rapid escalation of a small protest against the destruction of a public space into a nationwide anti-government insurrection. But it also represented a larger urban crisis: the increasing influence of neoliberalism on the city, as the protests were the outcome of a period marked by zealous commodification of urban space. In both instances, such urban conflicts have to be addressed by urban designers, since they produce the renewal projects that gentrify urban spaces and, at the same time, seek possible alternatives for a better urban environment.

Studio Description for Advanced Architectural Design: Utopian Urbanism Design Studio titled 'Destination Moon' run in the School of Architecture at the University of Queensland in Semester 1 2019.

Half a century after the first manned Moon landing, the long-imagined possibilities of outposts and colonies in space have yet to be realised. In the lead up to the 50th anniversary of the Moon landing, this studio invites students to revisit this seminal moment in human history, by designing a lunar colony, and exploring new and utopian possibilities for the Moon.

Kendini eleştirel konumlayan ve ‘Gelecek Vizyonları @ …’ temalı mimari tasarım stüdyosu metropollerin (New York, İstanbul, Moskova, Atina, İzmir) ‘sınır-boyları’na odaklanır; katmanlı bir okuma, deşifre ve hayale dayalı ‘imgelemler’ girişimi olarak ‘mimari-sinematografik’ kesitler/montajlar üzerinden tasarlamaktan vazgeçmez; ‘geleceğe fırlatmalar’ üzerinden tasarım ufkunu genişletmeye, kent ve mimarlığa dair yaratıcı edimler gerçekleştirmeye gayret eder. Metin, stüdyo üyelerinin bilgi, veri ve deneyimi nasıl elde ettiklerine, kısaca stüdyonun dört aşamalı araştırma süreci aracılığında (Moskova örneği üzerinden) yerin bağlamına nasıl bağlandıklarına odaklanacaktır. “Konstrüktivizm -ve sonrası- Yeni Kentlilik, Yeni Mimarlık” başlıklı aşama haritalama, deşifre etme ve farklı profillerden kentlilerin mekan ve rotaları rehberliğinde kenti anlamaya dayanan ‘3 Profil’ araştırma yöntemini içerirken; “Vizyoner Tasarım Yaklaşımları” ‘ütopya/distopya’ odağındaki makaleler ve edebi metinlerin okunması ve tartışılması ile başlar ve manifesto yazımı ve imgesinin üretilmesiyle sonuçlanır. “Mimari Programlama” ve “Metropol Mimarlığının Poetikası” ise uzaktan stüdyo pratiğinin katkılarıyla ön kabulsüz biçimde metropoldeki yerin ve zamanın ruhunu (genius loci, zeitgeist) ve atmosferin keşfedilmesini içerir.

Abstract
Critically self-positioned and ‘Future Visions @ …’ themed architectural design studio concentrates on the ‘border-lines’ of the metropolises (New York, İstanbul, Moskova, Atina, İzmir), designs through the ‘architectural-cinematographic’ sections/montages as an attempt of layered reading and deciphering and ‘imaginations’, efforts to broaden the horizon of design and the creative actions about city and architecture by ‘pushing forward to the future’. The text will focus on that how the studio members get the information, data and experience, briefly how they can attach to the context of the place (Moscow sample) by examining the four-staged research process of the studio. The stages are “(after) Constructivism New Urbanity & New Architecture” includes the ‘3 profile’ research method which is based on mapping, deciphering and understanding the city under the guidance of the routes and places of the citizens (locals?) from different profiles; “Visionary Design Approaches” begins with the reading and discussion of the ‘utopia/distopia’ based articles and literary texts and finishes with the production of self-manifested text and image; “Architectural Programming” and “Poetics in Metropolitan Architecture” experienced the contribution of the studio practice from a distance into the exploration of the genius loci and zeitgeist of the metropolis and its atmosphere without any presumption.

The design studio is the main central concern in architecture education. The modifications in architectural design studio are not accompanying today's fast-changing world. The TRIZ, developed by Altshuller is an organized method for problem solving. Su-Field analysis is one of the analytical tools of TRIZ. The aim of this study is to examine this method of the modelling design problems for architecture students in design studio. Three design problems were chosen and modeled with the design studio students. The results showed that accompanying systematic method with critique and collaborative methods increased the motivation of students in the design studio task.

Integrating computers in architectural design means to negotiate between centuries-old analog design methods and the new digital systems of production. Analog systems of architectural production use tracing paper, vellum, graphite and ink, clipboard, clay, balsa wood, plastic, metal, etc. Analog systems have also been termed “handmade”, “manual”, “material” or “physical”. Digital systems of architectural production use scanning, image manipulation, visualization, solid modeling, computer aided drafting, animation, rendering, etc. Digital systems have also been called “electronic”, “computer-aided”, “virtual”, etc.The difficulty lies in the underdeveloped state of the necessary methods, techniques, and theories to relate traditional and new media. Recent investigations on the use of multiple iterations between manual and electronic systems to advance architectural work show promising results. However, these experiments have not been sufficiently codified, cross-referenced and third party tested to conform a reliable knowledge base. This paper addresses this shortcoming by bringing together reported experiences from diverse researchers over the past decade. This summary is informed by more than three years of continuous investigation in the impacts of analog-digital conversations in the design process. The goal is to establish a state-of-the-art common foundation that permits instructors, researchers and practitioners to refer to, utilize, test, criticize and develop. An appendix is included providing support for the paper’s arguments.

Interactions avec les médias et processus de design: Établissement d’une base de connaissancesL’intégration des ordinateurs dans le processus de conception architecturale nécessite un dialogue entre les anciennes méthodes analogues, utilisées depuis des siècles, et les méthodes digitales modernes. Les difficultés se situent au niveau de l’état sous-développé des méthodes et théories pour relier les nouvelleset les anciennes techniques. Des recherches récentes sur l’utilisation d’itérations multiples entre systèmes manuels et électroniques pour avancer le travail de l’architecte ont produit de résultats intéressants.Cependant, ces résultats n’ont pas été suffisamment codifiés, référés, et testés pour former une base de connaissances fiable. Ce papier vise à combler ce manque en réunissant des témoignages sur diverses recherches effectuées au cours du décennie dernier. Ce reportage résulte de plus de trois ans d’investigations continuelles concernant l’impact du dialogue analogue-digital sur le processus de la conception architecturale. Le but est d’établir une base commune que les enseignants, les chercheurs et les étudiants peuvent utiliser, vérifier, critiquer et développer d’avantage. Une appendice contient les preuves à l’appui des arguments des auteurs.

"The title of this exhibit is inspired in a short text written by renown architect Le Corbusier on the miraculous possibilities afforded by the simplest architectural geometry: a box!  Yet, we hardly need the Modern master to remind us of the wondrous nature of buildings. Since time immemorial, peoples across Earth have counted on such ineffable dimension of architecture to design and build sacred spaces. How else to explain the ability of seemingly inert form, space, and matter to invoke and secure the presence of God in their midst?

With these ideas at heart, CUA architecture faculty Julio Bermudez and Luis Boza and visiting professor Spanish architect Alberto Campo Baeza (the 2012 Walton Critic) directed a group of graduate and undergraduate students to imagine what a 21st Century Catholic Convent could be like. The site chosen for this inquiry was next by the Potomac River, within the C&O Canal National Park (Northwest Washington DC). The building program called for a facility supporting the monastic life and practice of 12 monks.

This exhibit shows selected works from this studio."

An introductory course on computational design for architecture freshmen is described and discussed. In separate theory and lab hours, the course gives basic computing knowledge such as algorithms, computer numerical control in production together with the context and culture of digital design and manufacturing, a glimpse
of the historical development of computational thinking and skills in application of computational thinking through solving conceptual design problems.

The extensive practice of collaborative design-based learning and the increasing cultural plurality of design courses in Design Education is becoming relevant. Students' critical reflection on teamwork experience through structured activities of self-, peer and group evaluation can provide a space for students to ask themselves relevant questions and to discuss together with the team about each one's reflections. A guided sharing of personal perspectives on teamwork reveals to students the existence of multiple viewpoints and perceptions and supports an increasing mutual understanding and sensitivity. To this extent a colour-based assessment tool for teams, the Teamwork Colour Matrix (TCM), was designed with the idea that colours can take on very different associations for each individual and therefore can leave more freedom of expression, especially when it comes to evaluating teamwork. Students intuitively coded their experience in relation to the different moments of team...