Learning Studios for Introductory Accounting

Although originally designed for science courses, learning studios have been introduced at over 100 college campuses in a variety of disciplines. Our study focuses on the differences between classrooms designed as lecture spaces versus classrooms designed as learning studios. The impetus is the growing number of learning studios and proponents’ claim of better collaboration and learning within them. Given the substantial cost of a learning studio and greater demand at the authors’ university than supply, we questioned whether the university administration should be encouraged to build more. Learning studios are classrooms in which the seating arrangement places the students in a face‐to‐face orientation with one another. Our study measures the differences between learning studios and traditional classrooms both quantitatively and qualitatively. The learning studio did not result in higher retention rates (the percentage of students completing the course during the semester) or significant differences in total points earned by students in a learning studio compared to a traditional classroom. When examined by gender, however, a significant difference in total points is apparent. For all students in the study, the ability to interact with other students as well as the instructor was greater in the learning studio.     

Adapted Verbal Feedback,Instructor Interaction and Student Emotions in the Landscape Architecture Studio

In light of concerns with architectural students’ emotional jeopardy during traditional desk and final‐jury critiques, the authors pursue alternative approaches intended to provide more supportive and mentoring verbal assessment in landscape architecture studios. In addition to traditional studio‐based critiques throughout a semester, we provide privately held, one‐on‐ one feedback at the semester's close that follows a mentor–trainee model of purposeful interface and a vision of where the student is going. This article reports 82 landscape architecture students’ experience of this adapted verbal feedback. The findings suggest an overwhelming positive student experience, and we conclude that these sessions help balance the emotional challenge of architectural study with nurturing support. Furthermore, the students’ positivity was not influenced by their experiences in the previous class. We therefore conclude that the adapted feedback sessions provide appropriate closure, even when (perhaps particularly when) a student has had a negative emotional experience during the class.     

Active Learning and Teaching through Digital Technology and Live Performance: ‘Choreographic Thinking’ as Art Practice in the Tertiary Sector

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.     

Graduate Design Education: The Case for an Accretive Model

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.     

Non‐Career Teachers in the Design Studio: Economics,Pedagogy and Teacher Development

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.     

The Online Studio: Cultures,Perceptions and Questions for the Future

We investigated the impact of the transition to online architectural design studios in response to the COVID-19 pandemic at the University of New South Wales in Sydney, Australia. The study focussed specifically on student and tutor perceptions of online design studio before the sudden transition to online delivery, and how those perceptions shifted through the initial months of online delivery. We consider the pedagogical context in which the shift to online teaching took place and the evident successes and failures in the early iterations of online studio. We discuss similar and contrasting perceptions in student and tutor groups and observe the changes in these perceptions prior to and after teaching and learning in online studios. The paper concludes with a series of questions directed to the architectural design studio teaching community regarding the apparent inevitability of a future in which both FTF and online-only studios are surpassed with hybrid design studios.     

Online Design Education: Meta‐Connective Pedagogy

Rapid technological advancement has changed the landscape of design education to be integrated with educational technology, and the worldwide COVID‐19 pandemic has further accelerated its transition to online education. Pedagogical engagement with online education is unavoidable to ensure that the transition is successful when the situation ends. Yet, many prior studies on online design education remain focused on technical and administrative uses of digital technologies. In this article, meta‐connective pedagogy is introduced to enable educators and researchers critically to engage with pedagogical concerns emerging from the connective nature of the digitally networked world. Meta‐connective pedagogy is to focus on we are always‐being‐connected and argue that authentic learning and teaching are determined by diverse forms of pre‐existing connectivity. This article consists of four parts. First, it is argued that studio‐based learning has developed a ‘resistant’ stance towards online education, which justifies the omission of understanding connective features from its discourses. Second, four up‐to‐date studies on online design education are critically reviewed in a comparative manner, as their views are split into technical and pedagogical aspects. Third, meta‐connective pedagogy is introduced to address why and how connectivity becomes an emerging pedagogical concern for online education. Fourth and last, a schematic form of meta‐connective design education is articulated, and new roles and responsibilities of educators are addressed. Overall, it is argued that the whole concept of design education is subverted towards connectivity that is inclusive of social components of traditional design studios in a more efficient way.     

Analysing the Effects of Critique Techniques on the Success of Interior Architecture Students

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.     

Collaborative learning in architectural education: Benefits of combining conventional studio,virtual design studio and live projects

Combinations of Conventional Studio and Virtual Design Studio (VDS) have created valuable learning environments that take advantage of different instruments of communication and interaction. However, past experiences have reported limitations in regards to student engagement and motivation, especially when the studio projects encourage abstraction or are detached from context or reality. This study proposes a hybrid approach that overcomes these limitations by blending conventional studio, VDS and live projects. This blend aims to foster opportunities from within a real design situation, while promoting different levels of motivation and engagement. Two case studies comprising academic projects between the University of Los Andes, Colombia and the University of Nottingham, UK were used to validate the approach. In these, students interacted with peers, teachers, people from industry and the community to build 1:1 scale projects, with budgets and timeframe constraints. The study proved that students could successfully work collaboratively and build confidence in their own abilities when placed in a real setting, which enabled interactions face‐to‐face and at a distance to solve a challenge and achieve a common goal. The article reports on lessons learnt from these collaborative learning experiences, which reflect on contemporary cross‐cultural design practiced today.     

The Education of Instructional Designers: Reflections on the Tripp Paper

In a recent issue of this journal, Steven D. Tripp proposed some innovations in the education of instructional designers based on his analysis of education practices in other design professions. His principal proposals were that students should analyze great instructional designs of the past and that instructional design studios should form part of the educational preparation of students entering the profession. This paper proposes some extensions and modifications to Tripp's original ideas. These include extending his concept of the analysis of great lessons of the past to the analysis of current examples of expert work, the use of an expanded jury system to incorporate peer and practitioner evaluation of students' work, and the criticality of students developing solutions to actual performance problems during the instructional design studio experience. Finally, it is proposed that opportunities for critical reflection on the process of instructional design be built into the studio experience.     

Curiositas and Studiositas: Investigating Student Curiosity and the Design Studio

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.     

Becoming an Architect: The Role of Work-Based Learning in Architect Training

This article examines the work-based placements of trainee architects in the United Kingdom to examine how trainees become architects. The trainee architects in this study experienced varying levels of participation and responsibility during their yearlong placements. Despite this diversity, developing the trainees on placement was found to be integral to the professional role of the architect. The university-based element of architecture training focused almost exclusively on abstract design while their placements involved practical problem-solving. However, the apparent tension between these elements encouraged the trainees to integrate architectural theory and practice while on placement so they developed both aesthetically and technically. Moreover, the trainees’ presence in the studios helped to nurture fresh design and so helped to feed the central design core of architectural practice. Nevertheless, the trainees’ experience of working in an architectural studio on placement often confounded their expectations of architects’ practice. Yet, becoming an architect retained its personal significance. Issues remain, though, around the unequal access to opportunities on placement and how this inequality might affect trainee architects’ learning.     

Dyslexia and the Studio: Bridging the Gap between Theory and Practice

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

Research at home: Being creative in running an undergraduate final research project in Food Science amidst the COVID‐19 crisis

The pandemic of coronavirus disease (COVID‐19) in early 2020 has led to tremendous disruptions in education systems worldwide, including the closure of majority of education institutions and the shifting from face‐to‐face learning toward remote learning. More than 70% of the world's student population were affected by such a disruptive event, inclusive of undergraduate students in their final year preparing their research project. Senior students in Food Science generally perform laboratory‐oriented research project, which can be problematic due to the closure of laboratories and universities. I wrote this article to give an insight into conducting final year research projects from home amidst the COVID‐19 crisis based on my personal experience as a research supervisor. The research methods discussed include literature review, analysis of secondary data, survey research, simple food processing, remote sensory evaluation, and glycemic index analysis. Regardless of the type of research chosen, consistent guidance and support from a research supervisor toward the student, both academic and moral, appears to be a fundamental factor determining the success of the student in completing his/her final research project, particularly during these difficult times.     

A Cross‐Cultural and Interdisciplinary Collaboration in a Joint Design Studio

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.     

技术支持下的化学专业大学生工作室实践研究

依据＂导师制下项目驱动教学模式＂开辟化学专业大学生工作室,融入学习共同体理念,强化技术在学习中的作用,在大学生的高阶思维与创新能力提高方面体现了积极作用.     

Teaching and Learning How to Create in Schools of Art and Design

This article describes the studio model—a cultural model of teaching and learning found in U.S. professional schools of art and design. The studio model includes the pedagogical beliefs held by professors and the pedagogical practices they use to guide students in learning how to create. This cultural model emerged from an ethnographic study of two professional schools of art and design. A total of 38 professors from a total of 15 art disciplines and design disciplines were interviewed and their studio classes were observed. A grounded theory analysis was used to allow the studio model to emerge from audio recordings of interviews and video recordings of studio classes. The model was then validated by 16 different professors at six additional art and design schools. The studio model was found to be general across art and design disciplines and at all eight institutions. The central concept of the studio model is the creative process, with three clusters of emergent themes: learning outcomes associated with the creative process, project assignments that scaffold mastery of the creative process, and classroom practices that guide students through the creative process.     

Assessment Focus in Studio: What is Most Prominent in Architecture,Art and Design?

What can be learned about assessment from what educators in the creative practices focus their studio publications on? What should form the focus of assessment in architecture, art and design studios? In this article we draw on 118 journal articles on studio published over the last decade in three disciplines; architecture, art and design to inform the focus of studio assessment. We believe that what is published by educators themselves in these disciplines reveals what matters most to them. In addition, we argue that regardless of the primary emphasis placed in each discipline, assessment in studio should encompass a broad set of indicators. Within the wider literature including in architecture, art and design, a view of assessment is emerging that recognises the process and the person, beyond a view that positions the product or art/design arte‐fact above all else. Therefore, drawing on what educators in architecture, art and design mentioned most in the journal publications analysed, as well as the literature on good assessment, we offer a holistic model to guide and take studio assessment in the creative disciplines further.     

The Importance of Conceptual and Concrete Modelling in Architectural Design Education

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.     

Project Selection in the Design Studio: Absence of Learning Environments

Project selection is an essential matter of design teaching. Based on observations of a specific curriculum, the author claims that a wide repertoire of subjects including offices, restaurants, hotels, and other public places are used to prepare design students, but that schools and other “learning environments/ schools” are similarly ignored. Considering this, the study unfolds reasons why interior design studios do not assign “learning environments” as design projects. Moreover, it analyzes a specific learning environment, in terms of its considerable scope and adequate complexity, as a design problem.