Generative Processes: Thick Drawing

This article presents techniques and theories of generative drawing as a means for developing complex content in architecture design studios. Appending the word ‘generative’ to drawing adds specificity to the most common representation tool and clarifies that such drawings are not singularly about communication or documentation but are also productive instruments for architectural inquiry. A particular aspect of generative drawings is their potential to directly activate conceptualisation processes. Such advancement is demonstrated through evidence of continued design thinking development rather than isolation of schemes at a particular point in a process. Generative drawings offer the means of advancing multiple paths of inquiry rather than singular research channels typified in introductory pedagogies. The relevance of drawings as polemical instruments or tools of critique and history is well established, but the intellectual and physical techniques of generative drawing that advance multiple modes of architectural research are less explicit. The use of drawings as discursive instruments is a critical step towards the alignment of authorship as but one category of priority alongside the rich and complex field of forces beyond individual intuition. The recognition of design research as a category of inquiry commensurate with scientific or historical disciplines requires that our instruments have explicitly defined purpose. By discussing specific techniques and the reasons for communicating such intuitive or inexplicit architectural conditions, this article seeks to disperse the mysterious haze that obscures the legibility of architectural drawing from the uninitiated.     

装饰制图课程的施工图教学探析

施工图是建筑装饰工程重要的技术指导文件,也是建筑装饰制图课程重要的教学内容。长期以来,由于缺乏行业标准和管理措施,施工图设计在装饰行业中极不规范,缺乏应有的深度,在高校制图课程教学中也存在同类问题。针对建筑装饰行业的现状和高职院校装饰制图课程施工图教学中出现的问题,结合建筑装饰行业逐步实行规范化管理的发展趋势,提出制图课程教学应加强施工图教学环节的把控,尤其是对教学重点的把控,并重视国家制图标准的应用,使学生真正具备建筑装饰行业施工图设计岗位的职业能力。     

Problem-Solving Correlates of new Assessment Forms in Architecture

In the figural response item format, proficiency is expressed by manipulating elements of a picture or diagram. Figural response items in architecture were contrasted with multiple-choice counterparts in their ability to predict architectural problem-solving proficiency. Problem-solving proficiency was measured by performance on two architecture design problems, one of which involved a drawing component, whereas the other required only a written verbal response. Both figural response and multiple-choice scores predicted verbal design problem solving, but only the figural response scores predicted graphical problem solving. The presumed mechanism for this finding is that figural response items more closely resemble actual architectural tasks than do multiple-choice items. Some evidence for this explanation is furnished by architects' self-reports, in which architects rated figural response items as "more like what an architect does" than multiple-choice items.     

建筑工程图课程内容体系的改革与思考

介绍了建筑制图课程内容体系改革初步实施，阐述了建筑阴影透视课程教学及教学改革的思考，提出建筑工程图教师缺乏的解决途径。     

‘Drawing Out’ ‐ a Humanist Approach to Drawing

Over the past twenty‐five years as an art teacher I have sought answers to three questions: 1. In what ways and to what extent can drawing practice explore both conscious and unconscious thought processes? 2. In what ways can the participant individuate his or her experience through the practice of drawing? 3. In what ways can drawing form a dialogue between personal philosophy and experience? Refering to my own experience and pedagogy I define some of the historical, pschological and philosophical contexts for my perception of drawing, including comments from my students, in the process making no special distinction between child and adult art. I have studied the evolution of pupil’s drawing practices and particularly those of my own children, as they assert their own perceptions and responses to experience, conceptualising feelings both sensuous and emotional through telling stories and defining realities. Throughout history the will to draw has persisted, its function differing and changing through time and cultural contexts. Beuys commented that everyone can be an artist, if they want to be; can anyone really afford not to draw?     

Intention and Meaning in Young Children's Drawing

In this article I present some ideas, based on qualitative research into young children's drawing, related to the developing discourse on young children's thinking and meaning making. I question the relationship between perception and conception and the nature of representation, challenging traditional ideas around stage theory and shifting the focus from the drawings themselves to the process of drawing, and thus to the children's own purposes. I analyse examples of my observations (made in naturalistic settings within a nursery classroom) to reveal the range of representational purposes and meaning in children's drawing activity. My analysis shows that, rather than being developmentally determined, the way children configure their drawings is purposeful; children can recognise the power of drawing to represent, and that they themselves can be in control of this. I explore aspects of the process, including transformation and talk to show the importance of understanding drawing in its specific contexts. I show how children's drawing activity is illuminated by the way in which it occurs and the other activities linked to it, presenting drawing as part of children's broader, intentional, meaning‐making activity. As an aspect of the interactive, communicative practices through which children's thinking develops, representation is a constructive, self‐directed, intentional process of thinking in action, through which children bring shape and order to their experience, rather than a developing ability to make visual reference to objects in the world. I suggest that in playing with the process, children are actively defining reality rather than passively reflecting a given reality.     

采用AutoCAD软件绘制建筑施工图墙体

分解建筑施工图墙体绘制的步骤,打破常规复杂、繁琐的绘图方法,利用绘制好的直线的端点,结合快速标注、多线设置等命令,快速、精确的完成墙体绘制,形成一套用于绘制施工图墙体的新技巧。     

‘Latino spaces have always been the most violent’: Afro-Latino collegians’ perceptions of colorism and Latino intragroup marginalization

Abstract

This study centers on the racialized experiences of Afro-Latino undergraduates at historically White institutions. Of particular interest, I examine how six Afro-Latino collegains experience intragroup marginalization due to colorism. The research design is undergirded by critical race theory and a critical race methodology. Participants’ narratives reflect how colorism manifests in the lives of Afro-Latino collegians. In drawing attention to a population that has been rendered invisible in higher education, findings from this study guide implications for future research and practice for higher education and student affairs leaders.     

Sustainability in the Architectural Design Studio: A Case Study of Designing On‐Campus Academic Staff Housing in Konya and Izmir,Turkey

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.     

Narrative analysis: exploring experiences of observational drawing and dyspraxia

Narrative analysis offers a powerful and accessible means of understanding the ways in which individuals experience learning across a range of educational sites. Drawing on a recent study that explored ‘dyspraxic’ pupils' experiences of drawing from observation, this paper offers an insight into the potential that narrative analysis has for enhancing our understanding of the ways in which individuals experience complex contexts for learning, where the fields of art education, ‘special’ education and inclusion intersect. I argue here that a narrative approach can enhance our understanding of pupils' experiences of learning by a capacity to resist the compartmentalization of experience. The ‘natural’ drive to use narrative as an interpretive procedure for explaining departures from the ‘norm’ is also discussed, with the concepts of ‘breach and exception’ offering a useful frame for exploring the spaces between centres of practice in art education and the potentially ‘de-centred’ ‘dyspraxic’ learner.     

Finding our way

Conclusion The guidelines presented here are based on my experience as a classroom teacher and a staff development coordinator for technology, and upon my study of the literature regarding the use of technology for instruction. I do not present these guidelines as a recipe for success in integrating the use of computers into instruction, nor as an exhaustive list of what must be done for integration to occur. To do so would be an oversimplification of a complex issue. There are many difficult decisions that schools need to make, and I offer these guidelines as a means for drawing upon the experience of those of us who are in the process of integrating technology into instruction. Even those of us who are heavily involved in this work feel as though we are just finding our way. I hope that what I have shared in this article will help others to find their way as well. He has taught math, science, and computer programming at the secondary level in the North Syracuse (New York) School District for the past nine years. During 1999–2000 school year, he coordinated the district’s staff development program for technology in addition to his teaching duties     

再论中国绘画价值观的演变

中国先秦两汉时期绘画价值观追求的是认识功能和伦理教育，至魏晋南北朝时期，画论价值观转向审美。关于这一转变的原因，以往论者都集中在社会风气和思潮变化的讨论上，但是我们认为，除此以外，还有一个直接的原因，就是画论提出者由以往的思想家、哲学家、统治阶级而转换为艺术家本人。     

篇章强化与输入频率对高中生注意和习得英语虚拟语气的影响

本研究通过试验设计调查了篇章强化和输入频率对中国高中生注意和习得英语虚拟语气的影响。结果表明,篇章强化能有效促进学习者对虚拟语气的注意和习得,输入频率能促进虚拟语气的习得,对虚拟语气的注意效果不明显,篇章强化和输入频率两者结合效果最明显。这进一步证明了在有意义的语境下适当的引导学习者的注意力,可以提高她们的语法意识,影响学习者的形义及输入-吸收加工过程,进而促进目的语形式的习得。     

高校建筑学专业钢笔画教学新探

钢笔画是建筑美术教育的重要课程。随着中国建筑设计行业的蓬勃发展,钢笔画教学在已往的基础上,要突破传统观念,求个性,有创新,探索新的教学手段与内容,更好地强化学生的钢笔画训练,并提高创造性思维能力,以适应时代的需要。     

虚拟现实技术在城市建筑环境设计中的应用——以Quest3D在上海思南路历史风貌保护区规划改造项目为例

虚拟现实（简称VR）技术是一种可以创建和体验虚拟世界的计算机系统。介绍了虚拟现实技术在虚拟体验真实世界中的应用,以及虚拟现实技术如何辅助城市规划设计和建筑环境设计,以求实现建筑设计从现在传统三维建筑设计到高度交互式三维建筑和规划设计的飞跃。     

现代绘画构图艺术

构图是绘画的灵魂，通过实验、总结和探索，我们受到了前人的启示又有了新知。在我们的绘画创作中，充分发挥构图的各种功能，达到了理想的效果。在现代绘画的构图中，边框具有规范、骨架、语言、审美、引伸的功能。位置布局具有主次分明、突出主题、增强表现力度的功能。     

略谈工艺专业素描教学观念的转变

我国艺术院校工艺专业的素描教学中存在着用“绘画素描”代替“设计素描”的现象 ,要改变这种现象必须转换观念 ,只有师生共同努力 ,才能使“设计素描”为工艺专业的教学发挥作用。     

高职“手绘效果图表现技法”课程教学策略与实施

基于高职院校建筑室内设计专业学生专业手绘基本功薄弱现状,在“手绘效果图表现技法”课程教学中,深入研究教学实施策略,提出明确教学目标、重构教学内容、优化教学方法、集合优质资源、采用多元全过程评价五方面实施策略。通过课前探究学习、课中分层教学及课后拓展训练的教学实践,实现建筑室内设计专业学生技术素养与艺术素养同步提升,培养新时代综合性专业设计人才。     

Confidence and Mathematics: A gender issue?

In the many studies undertaken on pupils' attitudes to mathematics, confidence has been recognised as a contributing factor to gender differences in participation. A number of issues have been identified which affect confidence. In this paper we discuss the 'confidence factor' and the part it plays in pupils' mathematics learning. We then outline three intervention strategies which may encourage girls to develop confidence, drawing on our own experience of using these strategies in Britain.     

A New Paradigm for Design Studio Education

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.