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.     

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.     

Mandatory Virtual Design Studio for All: Exploring the Transformations of Architectural Education amidst the Global Pandemic

Virtual design studio (VDS) has been a part of the discourse of architectural pedagogy for the past two decades. VDS has been showcased as a potential educational tool in schools of architecture often in controlled, pre‐designed experiments. However, the global COVID‐19 pandemic has forced most schools to move their design studios into virtual space. This article aims to explore the potential advantages and shortcomings of VDS during the COVID‐19 quarantine from the perspective of students in a department of architecture. The study investigates three aspects of VDS namely, participating students’ evaluation of the virtual studio experience, the effectiveness of VDS in achieving the studio’s expected learning outcomes and the evaluation process for final design projects. Some 360 students from eight consecutive design studios participated in the study. The results indicate improvement in students’ ability to conduct independent research and in learning new computer‐aided design (CAD) software. Furthermore, the study finds VDS to be much more applicable for third‐ and fourth‐year students. The results also show a significant decline in background informal peer learning among students. Further studies are needed to address the implementation of a more immersive social experience in VDS.     

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.     

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.     

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.     

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.     

构建“工作室制”的工学结合教学模式探讨

工作室的教学与实践模式,为教师和学生提供了一个开放式的教学实践环境,它比传统的实践教学拥有更多的自主权和更广泛的实践教学面。成立工作室并构建“工作室制”符合当前教育部大力提倡在高职院校开展工学结合的指示。并且对“工作室制”工学结合教学组织形式和企业化管理的构建形式作了必要的分析。     

Effects of Studio Space on Teaching and Learning: Preliminary Findings from Two Case Studies

Recognizing that traditional classrooms do not facilitate active learning, colleges and universities are increasingly converting traditional classroom space into studio space. Research indicates positive effects on student learning when studio classroom space is combined with active learning pedagogy, but the research does not separate the effect of the space from the effect of the pedagogy or address the effect of the space on teaching. The case studies described in this article suggest that studio space can launch teachers into active learning pedagogy and can increase the positive effects of that pedagogy on learning. Teachers and students perceived direct effects of the space itself. Summer Smith Taylor is Director of the Master of Arts in Professional Communication Program and the Advanced Writing Program at Clemson University, and she is Associate Professor of English. She has a Ph.D. in Rhetoric and Composition from The Pennsylvania State University. Taylor’s research focuses on assessment of students’ technical writing by writing and engineering faculty. She may be reached at slsmith@clemson.edu.     

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.     

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.     

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.     

提升工科新生专业学习能力新路径探析

缺乏学习动力成为高校大一新生最大的学习问题,如何帮助大一新生明确目标,找到努力的方向和前进的动力成为高校对大一新生教育引导的首要任务。"学长专业指导制"是以开放工作室为平台,选拔专业学习优秀,动手能力强,综合素质高,曾经获得省级及以上专业竞赛奖项的优秀学生,利用开发工作室平台,通过学长课堂、课堂制作、项目指导等方式对新生进行专业引导学习和培养,让新生提前接触专业知识,并从实践中提高对专业的认识和兴趣,从而引导他们自主学习,明确学习目标,为将来的学业生涯和职业生涯做好规划。     

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.     

Transforming an Introductory Programming Course: From Lectures to Active Learning via Wireless Laptops

Within the framework of MIT’s course 1.00: Introduction to Computers and Engineering Problem Solving, this paper describes an innovative project entitled: Studio 1.00 that integrates lectures with in-class demonstrations, active learning sessions, and on-task feedback, through the use of wireless laptop computers. This paper also describes a related evaluation study that investigated the effectiveness of different instructional strategies, comparing traditional teaching with two models of the studio format. Students’ learning outcomes, specifically, their final grades and conceptual understanding of computational methods and programming, were examined. Findings indicated that Studio-1.00, in both its extensive- and partial-active learning modes, enhanced students’ learning outcomes in Java programming. Comparing to the traditional courses, more students in the studio courses received “A” as their final grade and less failed. Moreover, students who regularly attended the active learning sessions were able to conceptualize programming principles better than their peers. We have also found two weaknesses in the teaching format of Studio-1.00 that can guide future versions of the course.     

基于工作室的“岗位超市”人才培养模式研究

要实现高职人才培养目标,提高教育教学质量,必须创新人才培养模式。基于工作室的"岗位超市"人才培养模式以学生兴趣爱好为引导,以职业岗位能力为核心,以专业工作室为载体,以"零距离"上岗为目标,通过构建自主、开放的工作岗位和学习环境,促进不同个性、不同潜能的学生全面、均衡发展。     

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.     

Sustaining affective resonance: Co-constructing care in a school-based digital design studio

Based on two years of ethnographic engagement in a school-based digital design studio in a high school on the West Side of Chicago, Illinois, this paper conceptualizes the development and maintenance of an ethos of care in teaching and learning through sustaining affective resonance. Adopting musical metaphors as a vocabulary for affective movements, we operationalize practical and practiced methods for sustaining (actively extending) affective (care-giving and care-taking intensities) resonance (shared meaning making and cultural production). Sharing examples across years, we show the specific ways that mentors and students in the digital design studio built and nurtured care-full practices. The purpose of the paper is to explicate the development and enactment of mentoring practices that we observed in the design studio and then to consider how these practices might be shared, spread, and adapted across contexts of teaching and learning.     

依托工作室模式的大学生创新能力培养探究

作为教育科研组织创新的大学生创新实践工作室,与传统的课堂教学等共同构成了多层次、全覆盖的大学生创新能力培养体系,并彰显其独特价值。这是因为工作室培养模式在实践教学中完成了从"预成论"到"生成论"的教学观念转化,冲破了通识教育、课堂教育与应用能力培养的藩篱,施行了智力因素与非智力因素协调发展的全人教育。学生在主体能动性下获得"内生能力",得到"内生性"的完善与超越。教师完成了角色的现代性转换,在增强教学、科研、服务地方等专业能力的同时,提升教师的德行涵养、人格魅力,形成教学相长的机制。     

Learning styles of design students and the relationship of academic performance and gender in design education

The study focuses on design education using Experiential Learning Theory (ELT) and explores the effects of learning styles and gender on the performance scores of freshman design students in three successive academic years. Findings indicate that the distribution of design students through learning style type preference was more concentrated in assimilating and converging groups. Further study indicates that the first and third groups were found to be more balancing while the second group being mostly a southerner. The learning style preferences did not significantly differ by gender in all three groups. Although there is no consistency in all three groups, results indicate that the performance scores of males were higher in technology-based courses, whereas scores of females were higher in artistic and fundamental courses and in the semester academic performance scores (GPA). Also, it was found that the performance scores of converging and diverging students differed significantly in favor of converging students only in design courses. In design education, instructors should provide a strategy that is relevant to the style of each learner in design studio process.