The Potential for Collectively Produced Architectural Narratives: from the Market to Education in the Design Studio

Individual vendors and their market booths constitute a collective atmosphere in the marketplace by getting together with spatial arrangements, operational collaborations and event‐based dynamics. The base of study is how these dynamic interactions in a marketplace can find a place within the education process and representations of the architectural design studio. The workshop which was organised in this context consists of personal representations (drawings are produced for each individual market booth and represent all movements and time‐varying conditions on market booths by superposed layers) and collectively produced narratives (which emerged by gathering personal representations together in the studio). In this study, collective and generative potentials of education in a design studio will be discussed thanks to the transfers from the marketplace.     

浅议建筑装饰专科学生建筑设计能力的培养

建筑设计是建筑装饰专业的核心课程,但学生在学习过程中还存在着诸多问题,应从课程设置、教育手段和学习方法三个方面采取有力措施,即在课程设置上要统筹考虑各年级学生的特点,合理安排教学内容和进度;在教育手段上要加强对学生的艺术教育力度,提高学生在建筑设计中的艺术表现力;在学习方法上要端正态度并强化平时训练。只有这样,才能更好地培养学生的建筑设计能力。     

Art and Design Blogs: a Socially‐Wise Approach to Creativity

Many images of the ‘artist’ or ‘designer’ pervade the media and popular consciousness. Contemporary images of the artist and creativity that focus solely on the individual offer a very narrow depiction of the varying ways creativity occurs for artists and designers. These images do not capture the variety of creative processes and myriad ways artists and designers work. Young creatives in particular are choosing to work with a social approach to creativity. An example of this approach is the world of blogging, a form of social media where young creatives have a very active voice. This article explores how creative bloggers, that is, artists, designers and makers who blog about their practice, use a social approach to foster creativity with a sense of community, environmental and ethical awareness, a value framework that is in opposition to the market‐driven notion of liberal individualism. Is there a way to include participation in the broader art and design blogging world as part of art and design education? What can we learn from such a social approach to learning in higher education art and design programmes? This article explores these questions and shares findings of an ethnographic approach to an analysis of art and design blogs. In doing so it argues for a socially‐wise approach to creativity in art and design education as a means of promoting values other than those usually connected to the market.     

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 Framework for the Design Studio in Web‐Based Education

Design education should integrate design concepts and skills with practical and theoretical knowledge through collaborative learning. Computer‐mediated communication systems used in web‐based education systems are quite appropriate for this principle by enabling global access to course material as well as allowing interaction of participants at distributed learning environments at anytime. Course design broadly requires the organization of time, space and activities considering the tools and methods used. Based on these issues, this study proposes a framework for the design of a web‐based studio course with respect to the nature of the design process. An implementation of a sample web‐based course design is included to support the idea. Considering the benefits and limitations, the nature of web‐based design courses is explored first. Then, the sociological, ideological, epistemological and pedagogical aspects of a design studio are examined within the framework of objectives (why), objects (what), methodology (how) and management (who) with special emphasis given to synchronous and asynchronous communication.     

Assessing Millennials in College‐Level Fashion Design Studios: A Study of Evidence‐Based Practice

Providing quality feedback that is both positive and effective while maintaining the required student grade confidentiality is a conundrum for faculty. This issue is particularly complex for faculty teaching studio courses (e.g. fashion design) with performance or creativity components where feedback has traditionally been given publicly as desktop reviews in the open studio. The difficulty of giving feedback in the studio‐style classroom is compounded when teaching millennial college students who tend to reject any criticism, public or otherwise, of their work. Previous research on assessment, rubrics and feedback as well as personal experience with studio classes provide background to this evidenced‐based study comparing three feedback and delivery methods: abbreviated rubric, extensive rubric and one‐to‐one meetings (e.g. dialogical assessment) guided by a project list. Grade consistency and ranking of grades were evaluated. Studio projects from a fashion design course were graded across two semesters using the multiple methods. Comparisons were made based on: (a) student reaction, (b) quality of rework and (c) time to grade. The outcomes showed that the one‐to‐one meetings as a feedback and delivery method of assessment had several benefits over two other methods, including added student engagement and improvement of rework.     

‘That Tricky Subject’: The Integration of Contextual Studies in pre‐Degree Art and Design Education

Contextual studies (CS), ‘theory’, ‘visual culture’ or ‘art history’ (amongst other labels) refer to a regular and often compulsory feature in art and design education. However, this takes many forms and can sit in a variety of relationships with the practical elements of such courses. This article is based on mixed method research on CS in the BTEC Extended Diploma in Art and Design, a course that makes up a substantial proportion of pre‐degree provision in the UK. We describe aspects of the wider study then draw on two cases to illustrate and discuss the implications of different approaches to the curriculum and its integration. Our analysis suggests that a seemingly progressive flight from a discrete CS towards a designed form of integration can have unintended negative consequences, and in the light of this we suggest some ways in which course teams might reflect on their practices.     

Arts‐Based Educational Research: The Challenges of Social Media and Video‐Based Research Methods in Communication Design Education

This article discusses the practical and ethical challenges and benefits of using social media and video‐based research methods – also known as Photovoice – to investigate contemporary Communication Design education. The two visual research methods discussed include the social media mobile application Snapchat^® and participant‐generated GoPro^® video filming. The investigation focused on understanding students’ on‐the‐ground, lived experiences of studio learning within two distinctive higher education case study settings in the United Kingdom and Australia. This study employed Participatory Action Research (PAR) as an inquiry process and incorporated a methodological framework involving a combination of narrative inquiry, visual Participatory Design (PD) and visual ethnography. The findings of this study revealed the impact of specialised studio and classroom‐based Technology Enhanced Learning (TEL) on student learning and engagement as the participants expressed differing responses to their own learning and community of practice at each site. The choice of arts‐based educational research methods used for this study allowed the relationships between place, lived experience, and community to be explored. Students, in effect, became investigators of their own practice through engagement in a rigorous set of visual methods, which placed the tools directly into their hands.     

高职院校建筑设计专业虚拟仿真教学初探——以《建筑设计初步》课程为例

文章分析了《建筑设计初步》课程教学所存在的问题,以及产生问题的原因,提出了在课程中“加入虚拟仿真体验式教学”以及“打破章节割裂,知识点自由组合”的建议。     

Developing Design through a Creative Problem‐Solving Process: A Group Community Art Project

For the past few years, creativity has gradually become an important element in the national cultivation of talent in Taiwan. Although traditionally art education is closely linked with creativity, the academic research on general art education is very insufficient. Therefore, the goal of this research is to investigate how creativity could be cultivated in curriculum planning for general art education at technology universities as well as what students’ learning process was when they participated in a course's creative activity. The research applied the theory and steps of creative problem‐solving (CPS) on a general art course to design a group practical activity combining with the local community. This involved converting the steps of creative problem‐solving into different stages of group design activities with the goal of constructing a design process equivalent to the process of problem‐solving. The main research results revealed that students could experience the problem‐solving process through group design activities and develop their divergent and convergent thinking at the same time. Moreover, the cooperative learning model is the most appropriate teaching strategy for students from non‐art‐related departments when cultivating their creativity.     

高校艺术设计人才培养模式与地区文化创意产业发展互动研究

创意产业的高知识密集、高附加值等特征,对于提升我国产业发展水平、转变经济增长方式具有极大的促进作用。因此,在全球文化创意产业迅速发展形势下,对当今艺术设计教育也提出了新的要求,从传统灌输式教育向培养创新精神的现代教育思想的转变,以培养高素质创新型设计人才为根本。     

Co‐Design Education Based on the Changing Designer's Role and Changing Creativity

The field of fashion design relies on the originality of fashion designers and information on design trends, and design education also focuses on the creative ideas of designers; in this field, design through co‐design is a very limited area. However, with the proliferation of participatory culture, the need to diversify fashion design education methods has also emerged. The purpose of this study is to present an educational framework and an instructional strategy for co‐design based on the changing role of the designer and to obtain educational insight through the implementation of an actual education prototype. To do this, we developed an educational prototype and implemented it with six undergraduate students. Through this study, the participants engaged in the process of design development with the consumer and analysed the instructional insight. As a result, this study redefines the roles and design methods of designers for co‐design and identifies creativity characteristics through the co‐design process. The results of this study can be used as basic data for co‐design education and can contribute to the expansion of fashion design educational methods.     

An Experimental Study in an Architectural Design Studio: the Search for Three‐Dimensional Form and Aesthetics through Clay

In architectural design education, the main objective is to help students, especially first‐year students, improve their design ideas, creativity, perception of three dimensions and ways of expressing them. Thus, as an embedded concept in architecture, art has been emphasized here as a design method. In other words, the necessary help to enable students to think more freely has been provided by ceramic art. The concept dealt with in this article is an interdisciplinary approach to space design as an experimental method in design education. Just as fine art students are inspired from the principles of architecture, clay, as basic material to fine art students, makes a creative material and design tool for architecture students. A workshop was organised in the design courses by the first author, the instructor, for the first‐ and third‐year architecture students. The second author, a ceramics artist and lecturer, has participated in the workshop as a visiting instructor and contributed with her own studies related to space, house, building and materials.     

Mindfulness‐Based Design Practice (MBDP): A Novel Learning Framework in Support of Designers within Twenty‐First‐Century Higher Education

While the interconnected and technological nature of the twenty‐first century can bring about many positive global connections, the importance of prioritising the development of the ‘inner world’ of designers is receiving less attention; similarly, time for contemplation, reflection and stillness is becoming scarcer. This article discusses mindfulness training from the Buddhist perspective, and how it can act as a pathway to personal introspection and as a supportive method for mental illnesses. With a special focus on design education, it discusses a novel framework, Mindfulness‐Based Design Practice (MBDP), and how it can potentially offer opportunities for design students to foster positive mind qualities such as mindfulness, compassion, resilience, and recognising the true nature of phenomena for becoming more ethical designers. Therefore, this article looks to bridge the gap between the significant lack of contemplative mindfulness‐based methods within the higher design education sector and the increasing mental health crisis within that sector. Thus, the primary concern of the MBDP is to advance both the individual and the collective development of the contemporary designer’s mind. Referring to the mind of the designer as the ‘inner designer’, this article forms an unfolding dialogue of the novel framework MBDP in support of mindful learning within twenty‐first‐century design education.     

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.     

Immersed in Design: Using an Immersive Teaching Space to Visualise Design Solutions

A significant component of design pedagogy is the need to foster critical design thinking and to support students in understanding links between educational exercises and their potential application in professional design practice. Problem solving is central to design so it is also essential that students understand that there can be multiple solutions to a design brief, and are supported in creative experimentation and in generating imaginative outcomes. This article examines some innovative approaches to addressing these pedagogical needs. It investigates the effectiveness of pedagogical design incorporating the Immerse Lab, a three‐wall projection room at an Australian university, as a learning context for design practice, for generating ideas and for supporting learning involving the comparative display of design outcomes. Anonymous student survey results revealed that the majority of students found learning in the Immerse Lab to be beneficial; comparative review more effective than in standard tutorial rooms; that the activity generated new ideas; it encouraged students to think differently about their designs; and it inspired students to develop their existing designs or create new ones. The project demonstrated that curricula involving immersive spaces can be effective in supporting engaging and relevant design pedagogy.     

Subjectivity in Design Education: The Perception of the City through Personal Maps

Our mental maps related to the cities are limited by our personal perception and fragmented in the process. There are many inner and outer effects that shape our mental maps, and as a result the fragmented whole refers to the total city image in our minds. To represent this image, an experimental study has been conducted with a group of students. They used mapping techniques to design subjective maps. Maps, in general, are objective, and produced by standardised techniques which connote similar meanings for everyone. In contrast, artists and designers use maps as liberating objects of representations. Thus, using mapping techniques, inventing new ways of narration and gaining new understandings towards the city we dwell in are the basic aims of this study. Final designs can be evaluated as tools to question subjectivity in both design and architectural education.     

Art‐Based Action Research for Art Education in the North

This article introduces the art‐based action research (ABAR) methodology as part of the international discussion of art‐based educational research (ABER). The participatory and dialogical approach of ABAR was inspired by a consideration of the pressure for change in art education stemming from the practices of relational and dialogical contemporary art. The need for ABAR as a tool of culturally decolonising, sustainable art education research was identified in multidisciplinary collaboration with the University of Lapland's (UoL) northern and circumpolar network. The methodology was developed collaboratively by a group of art educators and researchers at UoL to support the artist/teacher/researcher with professional skills for seeking solutions to recognised problems and to promote future actions and aspirations in the changing North and Arctic. This article describes how ABAR has been used in school projects, in doctoral theses and finally in a development project with an impact on regional development in the North. These examples show how art education developed through the ABAR method has supported decolonisation, revitalisation and cultural sustainability in schools, communities and businesses.     

Modelling Experiential Knowledge Ethically: An Artefact‐Based Approach to Visually Documenting a Participatory Design Process with Young People

This article contributes to the growing debate within art and design education research about the role, legitimacy and accountability of artefacts in the creation and generation of knowledge. I present an artefact‐based approach to visually documenting and disseminating my doctoral practice‐based fieldwork that protected the anonymity of the participants whilst supporting my exploration of the situational, interactional and tacit dimensions of participation. Constructing a three‐dimensional scaled model of the fieldwork setting and using narratives from my field notes, I undertook a cyclical reflective process where I reconstructed critical moments that took place. This was used as both a tool for communicating my participatory design educational practice and for evaluating my findings with the participants. By sharing this sense‐making process, I offer an ethical means of visually documenting fieldwork when working in sensitive contexts and with vulnerable participants, setting out the dual role this design artefact played as both a producer and carrier of experiential knowledge.