Design Studio

The main aim of this study is to gain a better understanding of the role of verbal concepts in the architectural design processes of the students in a studio context. To serve this purpose, we carried out a 15-week studio in an urban architectural masters design studio at KU Leuven Faculty of Architecture. We observed the use of verbal concepts in time during this studio and analyzed the design processes of the students based on their self-report logs on the studio web platform. Based on these, we conducted a statistic analysis and a network mapping study. We found that early concepts provide a starting point for developing fully-fledged specialized design ideas. Furthermore, a higher number of links between concepts indicated their importance during the process. In addition, the data collection and research methods proved to be reliable for mapping the design process of the students as well as revealing the evolution of the ideas in the studio.

Parametric design techniques offer obvious advantages for engineering and manufacturing processes, now architects emerge to apply these methods in their creation of design suggesting solutions at an earlier stage of the process. Through the coupling of architectural design with parametric modelling methods, the paper presents novel techniques that enhance architects’ contribution to building processes based on parametric design creation. This allows a deeper comprehension of the design objectives and aids designers in their decisions to find solutions.

The design and implementation of even the simplest architectural projects are almost exclusively collaborative endeavors, often requiring individuals of diverse experience and background, working together to achieve a singular goal. Each highly trained in their respective areas, yet few (if any) are formally trained authorities in the skills of collaboration. This includes architects, individuals who are often put at the lead of design projects which include people of varied backgrounds, working styles and areas of expertise.
Historically, the education of an architect has been a highly individualized pursuit, focused on the development of an individual skill set that seldom includes collaboration beyond that of student and professor. While this individualized hand’s on approach to education has been highly revered by many, it often falls short of its potential and fails to recognize that the greatest design accomplishments of humankind have been the undertaking of collaborative enterprise. Furthermore, architecture students are being prepared in a manner that is contrary to the highly collaborative nature of the architectural practice they will enter.
As Collaborative methods begin to see increased popularity in the design studios, the next generations of architects will have a greater capacity to work within the growing range of complexities of architectural practice. It is no longer possible for an architect to build anything substantial without the help of multiple sources, whether it is within their own team or from outside contributors. This paper begins by exploring the need for collaborative design pedagogy by looking at what goals this methodology seeks to achieve and the methods by which it has been and currently is being implemented. After making a case for the use of collaborative design pedagogy the paper concludes by examining the anatomy of a collaborative design studio recently conducted with a group of first years graduate students in architecture.

♦ 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
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✔ 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.

Design ist sozio-materielle Konstruktionsarbeit. Diskursiv, visuell und materiell zerlegt das Design zunächst unsere alltäglichen Objektwelten und arrangiert so eine spezi-fische Unsicherheit. Unsicherheiten bilden den Ausgangspunkt für neue Kombinatio-nen bekannter Sinn-und Wirkungszusammenhänge im Design. Valentin Janda zeichnet mit seiner ethnografischen Untersuchung detailliert die Arbeit in einem Designlabor nach und entwickelt dabei-auf der Grundlage des Pragmatis-mus-einen soziologischen Begriff des Designs. Kultur-und techniksoziologische De-batten rund um Kreativität und Innovation bekommen mit dieser Untersuchung eine empirisch und theoretisch fundierte Erörterung der praktischen Herstellung von »Neu-heit« zur Seite gestellt, die über Argumente der Labor-und Studiostudien hinausweist. Valentin Janda (Dr. phil.) forscht bei der Bundesanstalt für Arbeitsschutz und Arbeits-medizin. Er promovierte bei Werner Rammert und Ignacio Farias an der Technischen Universität Berlin. Seine Forschungsschwerpunkte sind Design, Kreativität, digitali-sierte Arbeit sowie Fragen der Usability und Interaktion mit Technik. Weiteren Informationen und Bestellung unter: www.transcript-verlag.de/978-3-8376-4413-5

Course Description: Introductory course providing students with an understanding of the fundamental principles and language of architecture. The course will teach students design principles that inform classical architecture which are found in the order, proportion, archetypal geometry, and patterns found in nature and the cosmos. This sets a solid foundation for learning and applying architecture’s vocabulary and syntax to compose poetic and meaningful buildings.

The aim of this issue is to contribute to the global debate on architectural education with a view to complement the discourse advanced in the Global North rather than to compete, compare or contest. Both the five research-based essays and project-based articles selected for this issue of Charrette deal with critical arguments and frameworks for architectural and urban design pedagogy in the Global South. While the research-based essays are supported by empirical investigations or case studies and reflective discussions and conclusions, the project-based articles establish links between research and context explorations, where the milieus and realities of design actions become fundamental aspects and where the design learning is purposive, inquisitive, informed, methodical, and communicable. Primarily, these contributions are envisaged to offer eight encounters and eight voices presenting key aspects of architectural pedagogy in the Global South and to postulate potential opportunities for bringing writings on architectural education and design studio teaching/learning practices to the mainstream discussions generated in the Global North.

/ Poster Design by Emine Köseoğlu / 

fsmvü department of arch. 19-20 fall fsmvü mimarlık ve tasarım fakültesi mimarlık bölümü 2019-2020 güz dönemi MİM201E / MİM201 ARCH. DESIGN 1

e n c o u n t e r s
k a r ş ı l a ş m a l a r

h a n d c r a f t s
z a n a a t






Poster tasarımı: Emine Köseoğlu

Background: There is a growing interest in STEAM (STEM 1 the Arts) education as a means to enhance the creativity of STEM students and broaden interest in STEM fields. Many art educators, however, object to the instrumental justification for study in the arts as a way to improve student performance in other areas.

Purpose: Drawing on the first two authors’ engagement in an interdisciplinary design studio, this study develops an expanded view of how STEAM might enrich engineering education in ways that more closely align with the pedagogical commitments of the arts.

Design/Method: This article is written as a collaborative autoethnography between the first two authors, educators in environmental engineering and art education, respectively. The study is grounded in the educational philosophy of arts advocate Maxine Greene, who views learning as an active, collaborative search for meaning, “wide-awakeness,” and social change.

Results: Our dialogue reveals the potential for STEAM to provide students and educators with opportunities to explore personally relevant connections between materials, design, society,
and the natural environment and to critically engage with implicit and explicit facets of disciplinary identity.

Conclusions: This view of STEAM simultaneously complements and challenges current conceptions of this emerging educational movement that, almost without exception, are underpinned
by calls for competitive economic growth and technological development. We hope future research will build on our perspectives to continue a conversation about STEAM that
considers the diverse contributions of, and mutual benefits to, all parties involved.

Purpose-This study examines the attitudes of students in higher educational institutions in Jordan towards the use of online design studios during COVID-19 lockdown and discusses how their use could enhance the learning process. Design/methodology/approach-615 undergraduate students studying architecture in Jordanian universities were recruited to explore the factors that constituted and affected their perceptions of online design studios. Findings-The findings of this study highlight that many of the participants felt uncertain about aspects of their online learning experience and wanted more guidance and support. Reasons of this disengagement include technical factors, such as poor network quality and lack of familiarity with the new applications. Students and tutors' personal situations when working and studying from home are also relevant due to the tutors' lack of expertise in online teaching, and the limitations of peer interaction. Together, these factors can make the experience of the online design studio more challenging. Research limitations/implications-The sample was nationally representative of architecture students from various institutions. However, the study was limited to an exploration of students' opinions, and it did not include the points of view of tutors and decision makers. Originality/value-This research was conceived during the period of the COVID-19 lockdown, whilst both tutors and students were experiencing dramatic changes in their modes of teaching and learning due to the sudden move from on-campus design studios to a virtual alternative, with only the bare minimum of resources and relevant experience. Learners' perspectives can enhance understanding of online design studios to assess their quality and effectiveness.

Salama, A. M. (1995). New Trends in Architectural Education: Designing the Design Studio. Tailored Text and Unlimited Potentials, Raleigh, North Carolina, United States. ISBN # 0964795000.

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This book presents a wide range of innovative concepts and practical ideas for teaching architectural design. It explores different aspects of studio teaching and what impact they have on the attitudes, skills, methods, and tools of architects. It offers a comparative analysis of contemporary trends that are committed to shaping and identifying studio objectives and processes. The book includes five chapters:

1) Introduction: Problems in the Practice of Architecture;
2) The Architect and Society;
3) Design Education and Studio Work in the Conventional Approach;
4) Revolutionary Concepts for Teaching Architectural Design - Design Studio Teaching Models; and
5) Expanding the Knowledge Base in the Architectural Design Studio.

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Review by Jon T. Lang, University of New South Wales, Australia

This is an invaluable guide to architectural educators because Dr. Salama has not only captured the body of knowledge about architectural designing and studio teaching and put it in a pithy form but he has also developed a typology of kinds of architectural studios, explaining what experiences each offers the student.

Design Studio is the core of Architectural education. The current crisis in Architectural practice and education in Asia can be attributed partly to the problems in the design studio, which failed to produce good Architects with excellent design ideas. Studio culture should be and can be restored-in order to return the credibility of Architectural education and practice in this regionthrough good pedagogy and education system based on sound accountability, open cross-recognition, and effective networking.

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.

Abstract. Parametric design techniques offer obvious advantages for engineering and manufacturing processes, now architects emerge to apply these methods in their creation of design suggesting solutions at an earlier stage of the process. Through the coupling of architectural design with parametric modelling methods, the paper presents novel techniques that enhance architects’ contribution to building processes based on parametric design creation. This allows a deeper comprehension of the design objectives and aids designers in their decisions to find solutions.

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.

This article includes a comparison of two student groups which differ according to their previous learning within a design studio course in the department of interior design. The first group is the students who have enrolled in the department through a transition exam applied after the graduation of vocational schools, and the other group consists of standard students who enrolled according to the score of a central exam. The distinguishing feature of the first group is that they have passed to the faculty after two years of vocational education. The transition students have different backgrounds for their previous learning. As it is known, the design studio is an opportune environment to observe the design process and students’ performances. Also student factor in design studios is currently being discussed intensively to improve the content of design education. From this perspective, it is aimed to evaluate success circumstances of these two groups scientifically through the design studio environment. The success levels of standard and transition students were compared based on performances of the design studios. Consequently, no statistically significant difference was found depends on the backgrounds of students, however some qualitative inferences were made through interpretation in the scope of the study.

Digital technology is reshaping the way higher education subjects are taught, including design. Various design disciplines use studio teaching as a pedagogy to educate students for professions in art and design. Studio teaching bases a high premium on face-to-face interactions which guide learning through dialogue and feedback on individual work. Many design educators believe it is difficult or even impossible to teach design online because of studio-based interactions. Is design one of those disciplines that cannot be taught online because of the studio culture? This study explores that question by investigating the effectiveness of teaching design subjects that employ a virtual classroom to manage peer-to-peer critiques, instructor feedback, and assignments. Twenty-eight first-year students participated in two online design subjects that required them to interact with fellow students and the design instructor via a Learning Management System. The experienced benefits and challenges of students and instructors are presented, and future research is highlighted.

Résumé
La technologie numérique transforme la façon dont sont enseignées les disciplines de l'éducation postsecondaire, y compris le design. Différentes branches du design se servent de l'enseignement en studio comme pédagogie permettant de former les étudiants pour les métiers des arts et du design. L'enseignement en studio accorde une importance considérable aux interactions en personne qui orientent l'apprentissage par l'entremise du dialogue et de la rétroaction offerte sur le travail individuel. De nombreux enseignants de design croient qu'il est difficile, voire impossible, d'enseigner le design en ligne à cause des interactions en studio. Le design est-il l'une de ces disciplines que l'on ne peut pas enseigner en ligne à cause de la culture des studios? Cette étude explore la question en investiguant l'efficacité de sujets qui étudient le design à l'aide d'une salle de classe virtuelle, qui sert à gérer les critiques entre les pairs, les rétroactions de l'instructeur, ainsi que les travaux à effectuer. Vingt-huit étudiants de première année ont pris part à deux cours de design en ligne qui exigeaient d'eux qu'ils interagissent avec leurs camarades et avec l'instructeur par l'entremise d'un système de gestion de l'apprentissage.

Bu çalışmanın amacı mimari tasarım stüdyosunda mimarlık ürününün kentsel mekânla kurduğu diyaloğun, mekânın parazitik bir şekilde yeniden sahiplenildiği ve anlamlandırıldığı tasarım yaklaşımları bağlamında ele alındığı projenin ürünlerinin paylaşılmasıdır. Parazit mimari konusunun bir mekan tasarımı stratejisi olarak ele alındığı 3 haftalık bir tasarım projesinin ürünleri üzerinde durulan çalışmada, mimari pa-razitlerin biçimlenişi ve kent içindeki yayılmaları strüktürel, çevresel, deneyimsel bağlamları gözetilerek analiz edilmiş ve mekânın yeniden kullanabilme potansiyelleri sorgulanmıştır. Günümüzde mimarlık literatüründe yer bulan parazit mimari konusu, kendi yaşamını devam ettirme savıyla, var olan kentsel mekânlara, yapılara ya da altyapı elemanlarına eklemlenerek nüfuz eden, onlardan yararlanarak tek taraflı faydacı bir ilişki kuran, esnek, adapte edilebilir, geçici ama sürdürülebilir bir mekânsal yaklaşımı tarif etmektedir. Parazit mimari ev sahibi yapıya eklemlenirken, yeni bir program getirerek, farklı işlevsel olasılıklar ortaya koyarak, hem yapısal hem de deneyimsel anlamda yeni bir var olma biçimi tanımlamaktadır. Bu çerçevede mimarinin kalıcı olma savına ve durağanlığına alternatif olacak şekilde geçici ya da göçebe mekânlar ortaya koymakta, bu mekânlarda hayat bulan eylemler yeni yaşam biçimlerini doğurmaktadır. Bu çalışmada parazit mimarinin kentsel mekânda daha önce farkında olunmayan yeni mekânsal olasılıkları görünür hale getiren tasarım stratejisinin mimari tasarım stüdyo-sunda öğrenme sürecine katkıları üzerinde durulmuştur. Alternatif mekânsal potansiyelleri sorgulatan bu tasarım stratejisinin amacı, kriter-leri ve yapısal ve kentsel ölçekte ortaya koyduğu değerler 2. sınıf mimarlık öğrencileri tarafından ele alınmış, kendi deneyimledikleri kentsel mekanlar üzerinden parazit mimari ürününe ilişkin yer önerilerini program önerileriyle ilişkisini kurarak belirlenmiş, kentsel kullanıcılarının kimler olacağı irdelenmiş, ve yerle kurulan ilişkinin deneyim olgusu üzerinden nasıl tanımlanabileceği araştırılmıştır. Anahtar sözcükler: Eklemlenme; mekân; mimari tasarım eğitimi; parazit mimari; strüktür. This study is an analysis of the outcomes of a three-week architectural design studio project that used the parasitic intervention and appropriation of urban space as its starting point. The project examined the structural, environmental, and experiential context of parasitic architecture and considered the re-use potential of space. Parasitic architecture has found a place in contemporary architectural discourse as a spatial approach that uses existing urban spaces, structures, or infrastructure and establishes a one-sided utilitarian relationship as a way of existence. Flexibility, adaptability, temporality, and sustainability are the essential qualities of these parasitic structures. While they are attached to an existing structure, architectural parasites add new structural, programmatic, and experiential features. They are new, temporary spaces and new alternatives to the claims of permanence and stability of architecture. This study examines the contribution of parasitic architecture as a design strategy, making visible new spatial possibilities of urban space previously unrecognized. The design projects of second-year architecture students are examined in terms of the design objectives, criteria, and values of architectural parasites on a structural and an urban scale. The projects also addressed how the relationship to a space can be defined through personal experience.

This literature review has been prepared to address the question; " what aspects of the learning environment enhance adequate learning for design students? " The review is organized into five sections reflecting major themes in design education: creativity, collaboration, innovation, flexibility, and inspiration. Within each section, both physical design and psychological considerations of the learning environment are discussed.

Salama, A. M. and El-Attar, M.S. (2010). Student Perceptions of the Architectural Design Jury, Archnet-IJAR–International Journal of Architectural Research, 4(2-3), pp. 174-200. ISSN # 1938 7806.

The jury system is a traditional architectural learning assessment tool. Since the early years of the 20th century, it has been imported to schools of architecture throughout the Arab world by foreign expatriates and native scholars educated in the United States and Europe. The system has been well documented through the study of its evolution, the analysis of its processes, and also was criticized heavily in the literature of the Western world. However, there appears to be a severe lack of research and documentation in this area in the Arab world. The purpose of this paper is to fill this informational gap and attempts to answer the questions of how jury practices are performed in the context of the Arab world and how students perceive the jury system and its underlying practices in such a context? In an attempt to answer these questions, a multilayered methodology is deployed. First, to induct generalities between the two contexts (Western and Arab) an extensive literature review is conducted on the educational value of the jury system and the embedded communication processes. Second, to deduct particularities concerning specific contexts of the Arab world, two empirical studies are carried out with the intention of investigating jury practices and student perceptions within the context of selected cases from Egypt and Saudi Arabia. The understanding and portrayal of the Jury system and its associated problems contribute to the development of a set of recommendations to improve the performance of the Jury and its acceptability to architecture students.

Abstract

Italo Calvino (1923-1985) is well known to architects as well as architecture students with his book La Citta Invisibili [Invisible Cities, 1972] which is in fact part of a trilogy, together with If on a Winter’s Night a Traveler (1979) and The Castle of Crossed Destinies [1973]. For more than forty years Invisible Cities has been a core text for imagination worldwide: It has been, and still is, one of the extensively consumed fictions in architecture schools as a course material, not to mention in studios. The present writer, as a fan of Calvino, made a detour to his oeuvre after 25 years –this time not as a student but as a professor at the school of architecture. In Studio for Potential Architecture (POMI), which is an architectural design course that I have been conducting since 2002, I decided to go deeper, and avoid shallow interpretations – which are not uncommon for this book. As architects conventionally define themselves as draughtsmen rather than readers, there exist not a single attempt to reinterpret this text in an archi-fictional way, by taking the cities into account in their entirety, not as singular objects to be visualized or remodeled. In How I Wrote One of My Books [1983], one of his lesser known masterpieces devoted to Oulipo (the French surrealist literature group of the 60s), Calvino “explained” how he wrote his Traveler [1979]. In this minor masterpiece, Calvino maps out his novel by using A. J. Greimas’ semiological/grammatological model, known as the semiological square. To the reader’s surprise, this model is not only appropriate for the Traveler, but also for the two other volumes of the trilogy.

This paper deals with the process of unravelling of Invisible Cities – word by word, image by image, in my studio. This resulted in the production of more than a thousand unique word/image cards of the book that would lead to a “Calvino Chess”. The aim was to create an architecture-game - a game that could create the ambiguity of the book endlessly, each time it was played. The outcome of the studio is a box game with a set of rules that give shape to each city and section in the book without repetition. This paper tells the story of the complicated and joyful design process through this terra incognita, explicates the steps of the creation of the game in detail, and calls for a more creative reading of playful literature like Calvino’s.

Keywords: Italo Calvino, Invisible Cities, oulipo, architectural design studio, architecture and literature.


The trilogy Our Ancestors by the famous novelist, story writer, master of fiction, and Oulipo member Italo Calvino (1923-1985) is very well-known. However, he wrote another trilogy as famous as the former, and much more of interest to architecture, with regards to its structure. This trilogy consists of Invisible Cities [1972], The Castle of Crossed Destinies [1973], and If on a Winter’s Night a Traveler [1979], in chronological order. This trilogy is one of the most significant literary works of twentieth century in terms of its structure; and for many years it has been in the scope of POMİ (Studio for Potential Architecture), the studio course I have been conducting in the faculty of architecture. This is why I am writing this paper.

Before explaining what POMI is, and how my students and I deal with Calvino’s Invisible Cities, I would like to frame the context I consider Invisible Cities belongs to. I have to accept in advance that the context I will attempt to define will be far from being complete and definitive. There exist many similar cases; and as all have been doing since Jenkins claimed it, I have to accept that each and every contextualization is a distorted historicization. All I can do is to present an incomplete picture. I also accept that each historicization involves a personal variant, depends on recognized cases, and probably reburies the texts which were never allowed to reveal. Thus, I desperately warn the reader to be aware of such risks.

After these follow the section in which I examine the search for a model, and the preliminary findings in that process. Then comes another process where the research tends towards a detailed phase that lacks any models.

Salama, A. M. (2015). Spatial Design Education: New Directions for Pedagogy in Architecture and Beyond, Ashgate Publishing Ltd, Surrey/London, United Kingdom. ISBN # 978-1-4724-2287-3 (Routledge New Edition).

Design education in architecture and allied disciplines is the cornerstone of design professions that contribute to shaping the built environment of the future. In this book, design education is dealt with as a paradigm whose evolutionary processes, underpinning theories, contents, methods, tools, are questioned and critically examined. It features a comprehensive discussion on design education with a focus on the design studio as the backbone of that education and the main forum for creative exploration and interaction, and for knowledge acquisition, assimilation, and reproduction. Through international and regional surveys, the striking qualities of design pedagogy, contemporary professional challenges and the associated sociocultural and environmental needs are identified. Building on twenty-five years of research and explorations into design pedagogy in architecture and urban design, this book authoritatively offers a critical analysis of a continuously evolving profession, its associated societal processes and the way in which design education reacts to their demands. Matters that pertain to traditional pedagogy, its characteristics and the reactions developed against it in the form of pioneering alternative studio teaching practices. Advances in design approaches and methods are debated including critical inquiry, empirical making, process-based learning, and Community Design, Design-Build, and Live Project Studios. Innovative teaching practices in lecture-based and introductory design courses are identified and characterized including inquiry-based, active and experiential learning. These investigations are all interwoven to elucidate a comprehensive understanding of contemporary design education in architecture and allied disciplines. A wide spectrum of teaching approaches and methods is utilized to reveal a theory of a ‘trans-critical’ pedagogy that is conceptualized to shape a futuristic thinking about design teaching. Lessons learned from techniques and mechanisms for accommodation, adaptation, and implementation of a ‘trans-critical’ pedagogy in education are conceived to invigorate a new student-centered, evidence-based design culture sheltered in a wide variety of learning settings in architecture and beyond.

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Review by Halina Dunin-Woyseth, Oslo School of Architecture, Norway

This is indeed an inspiring and thought provoking contribution to the field of design pedagogy in its fullest sense. Calling for new forms of pedagogy, the argument for civic engagement, critical inquiry, and reflective design practices is elucidated to reflect emerging understandings of design education. With substantial international experience, the author offers an authoritative account of spatial design pedagogy with a focus on architectural and urban design education, covering a diverse range of topics in a wide variety of contexts. Tracing evolutionary theories and approaches of education from the second half of the 20th century to the present is a commendable aspect of this work. This is a must-have book for both design students and built environment professionals, but most importantly, it is essential reading for every design educator worldwide.

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Review by Tammy Gaber, Laurentian University School of Architecture, Canada

Spatial Design Education: New Directions for Pedagogy in Architecture and Beyond is a proactive book that transparently presents promising approaches to tap into latent potentials and exciting opportunities in teaching architecture. Salama's candid review and analysis importantly fills a gap in literature on architecture pedagogy. The book is comprehensive, critical and experimental and very much analogous to the way we all want to teach architecture.

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Review by Michael J. Crosbie, University of Hartford, USA

No other profession has undergone as dramatic a transformation in the past decade as architecture. In this well-researched, intelligent, and provocative examination of the history, current state, and future prospects of architectural pedagogy on a global scale, Ashraf Salama challenges us to both broaden and deepen the debate about how professional education might, indeed must, change.

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Review by Jeff Hou, University of Washington, USA

With the voice of an experienced educator on the frontline of architectural education, Ashraf Salama offers an audacious yet thoroughly researched examination of design pedagogies and ethics in a changing world. More than just a condemnation of outmoded studio culture, this book presents insightful accounts of both historic development as well as past and emerging innovations in design education. An extraordinary sourcebook for design educators and students.

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Review by Karen Keddy, Ball State University, USA

Building on a rigorous and critical examination of a wide spectrum of architectural design pedagogies over time, Ashraf Salama constructs a convincing argument for the need for a design pedagogy that is more responsive to today's social and environmental demands. Salama's well-articulated description of a multi-layered trans-critical pedagogy that promotes a democratic and inclusive theory of education couldn't be more timely. This book is ground breaking in its attempt to identify pedagogical approaches to the challenges faced in the profession by the changing role of the architect and is invaluable for researchers, practitioners, graduate students and educators in architecture.

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Review by Harriet Harriss, Oxford Brookes University, UK

Due to EU directives, UK architectural education is facing imminent change - specifically, to become shorter, more affordable, and more practice integrated - so that it matches the programs offered by its EU university counterparts/competitors. What Professor Salama's book offers is a methods statement - an invaluable resource book for educators needing to rethink their curricula to meet this demand for change. It provides passionate educators, participation-inclined practitioners and engaged students with practical inspiration from a range of excellent case studies that demonstrate experimental, spatially and socially innovative pedagogies.

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Review by Jeffrey Haase, The Ohio State University, USA

As a professor who constantly looks to unlock the doors of innovative thought and practice in the studio-based classroom, this book, Spatial Design Education by Ashraf Salama, is the master key. Salama creates the convincing argument for pedagogical change and then systematically evaluates examples of current evolving paradigms that are making that change happen. If you want to be part of that change then this book should be your guide.

Salama, A. M., & Crosbie, M. J. (Eds.) (2010). Design Education: Explorations and Prospects for a Better Built Environment. Archnet-IJAR: International Journal of Architectural Research 4(2-3), 1-466.

This volume marks the conclusion of the fourth year since Archnet-IJAR was established. A considerable effort has been put into this volume, which addresses timely and pressing questions that pertain to design pedagogy in the built environment related fields. This special edition combines the second and third issues of volume 4 and integrates the efforts of more than 45 contributors from 12 countries presented in 32 papers. In response to our call on the web in August 2009 for papers, we have received more than 80 expressions of interest and more than 65 abstracts. The papers included in this edition are those of the accepted abstracts that were developed into full papers and followed the typical review process of the journal. These figures underscore a rising interest in writing about educating future architects and urban designers. In fact, they manifest a commitment to the field of design education in its broadest sense. Design education is the cornerstone of design professions. The approach to and the content of it are the backbone of design practices. This suggests that it has to be encountered and to be dealt with as a rich field of pedagogical discourse whose foundations, underlying theories, contents, and methods can be questioned and critically analyzed. Reaching across the boundaries of cultures and regions, the theme of this volume addresses design education in its fullest sense in order to reflect its worldwide status in 2010. Contributions to the volume exemplify worldwide efforts in shaping the future of design pedagogy.

This study dwells predominantly on the teaching strategies employed by Graphic Design teachers and the learning outcomes of their students. The study purposefully examines the pedagogical approaches of teachers, considering the limited resources available, and how they affect students’ acquisition of concepts and skills. Observation, interviews and questionnaires were the instruments used for collecting pertinent data. Having gathered substantial data from the target teachers and their students in eight Senior High Schools in the Kumasi metropolis, it was evident that there were inadequate professional graphic design teachers, lack of studios, computer laboratory, equipment and other facilities for the execution of Graphic Design works. Besides, the lecture method of teaching was mainly employed by the teachers, and this affected the students’ skills acquisition and academic achievements. It was also observed that there were no Ghana Education Service (GES) recommended text books for the teaching of Graphic Design and teachers had to depend on unapproved books published by individuals for the teaching of the subject. Lack of these material resources, coupled with incompetent use of some relevant design software and incomprehensive evaluation criteria by the teachers, students’ learning outcomes were found to have been affected negatively. 

Keywords: Pedagogy, Typography, Instruction, Graphic Design and Learning Outcomes.

Salama, A. M. (2009). Transformative Pedagogy in Architecture and Urbanism. Umbau-Verlag, Solingen, Germany ISBN # 978-3937954-042.

As a new round of pedagogical dialogue on architecture and urbanism it resets the stage for debating future visions of transformative pedagogy and its impact on design education. This is a forward looking effort that comes to amalgamate concerns, concepts, and practices that Ashraf M. Salama has explored and introduced over a period of two decades. It is about balancing the creative act required for creating responsive environments and the social and environmental responsibilities that should be embedded in this act. It is also about understanding how knowledge is produced, what the components of such knowledge are, and what are the learning processes and social practices that can be used to transmit it. Structured in five chapters the book presents a wide range of innovative and practical methodologies for teaching architectural and urban design. It traces the roots of architectural education and offers several contrasting ideas and strategies of design teaching practices. The book includes five chapters:

1) A New Theory for Transformative Pedagogy in Architecture and Urbanism
2) The Architect, the Profession, and Society
3) The Conventional Approach to Studio Teaching Practice
4) Against the Conventional Studio Pedagogy
5) Empowering Transformative Pedagogy

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Review by Nikos A. Salingaros, University of Texas at San Antonio, USA

Professor Salama brings here a career's worth of insights into architectural education. Most importantly, his experience spans across many continents and cultures, and is thus extremely valuable for world architecture... And so we have at hand a vast new resource for adapting the design studio to the real needs of architectural education.

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Review by Henry Sanoff, North Carolina State University, USA

Ashraf Salama aggressively identifies the ritualistic aspects of architectural education that act as constraints to innovation. this is an important book because it probes into the motivations of design educators by placing a mirror before them and allows for a critical examination of the design studio. Dr. Salama paves the way for design educators to openly discuss and debate the delivery system of architectural education and its impact on the future role of the architect.

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Review by Amira Elnokaly
http://archnet.org/publications/5355

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Review by Smita Khan
http://archnet.org/publications/5468

/ Poster Design by Emine Köseoğlu  / 

2018-2019 bahar I fsmvü mimarlık bölümü  I 
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dr. öğr. üyesi onur şimşek

raportör
arş. gör. özlem akyol

ON THE MORNING of November 22, 2016, a journalist in the Kitchener-Waterloo region of Ontario, Canada broke a news story presenting new evidence in a cold case that had baffled police for nearly a full century. Her story was based on an interview with a middle-aged local woman named Janneth C. Smith whom she had tracked down through Facebook and contacted by email. Lisa Drew tantalized her avid audience with historical artifacts and old news clippings belonging to Smith’s family that suggested a solution to the hundred year old mystery: the abrupt and absolute disappearance of Toronto theatre magnate Ambrose Small in 1919 after cashing a cheque for one million dollars, leaving behind his baffled wife, his secretary, and his empire of numerous theatres. Police investigations of the high profile case, and rewards offered, even the clairvoyants they interviewed, came to nothing. While Ambrose Small never really left the public imagination due to his role in Michael Ondaatje’s famous historical novel In the Skin of a Lion, Small was an intriguing character in his own right, immensely wealthy and powerful, whose buildings concealed more than theatre machinery: there were secret apartments and hidden rooms within their walls. As the sensational report ran on 570 News, Facebook searches for Janneth C. Smith surged into the hundreds of thousands.
There was only one problem with the viral news story. The news anchor had unknowingly reported on a transmedia fiction. She had inadvertently tumbled down a ‘rabbit hole’ intended for game-players of an Alternate Reality Game designed by my second year architecture students as the collective term project in their Cultural History course. The students, of course, were elated, as they had just discovered at first hand the role of the imagination in how history is made.

Studio culture is one of the basic subject in design education. Since many design education curriculum had design studios in which design education take place as a special type of educational environment students and teachers in the studios interacted in a very special way. Studio culture basically came into architectural education in late 1990s at schools of architecture of United States of America. American Institute of Architecture Students prepared a report for studio culture in architectural education. The basic approach of this report base on the interactions and behaviors of actors in between the architectural design studio with stakeholders. The methodology used in this study is based on the investigation on correlation between the studio culture parameters suggested by American Institute of Architecture Students in the 2002 report which are summarized as Design-thinking skills, Design process as much as design product, Leadership development, Collaboration over competition, Meaningful community engagement and service, The importance of people, clients, users, communities, and society in design decisions, Interdisciplinary and cross-disciplinary learning, Confidence without arrogance, Oral and written communication to complement visual and graphic communication, Healthy and constructive critiques, Healthy and safe lifestyles for students, Balance between studio and non-studio courses, Emphasis on the value of time, Understanding of the ethical, social, political, and economic forces that impact design, Clear expectations and objectives for learning, An environment that respects and promotes diversity, Successful and clear methods of student assessment, Innovation in creating alternative teaching and learning methodologies. Methodology of this paper based on the problem of finding interaction between studio culture approaches of 10 architectural schools of USA in bachelor and graduate level out of top 20 according Times Higher Education 2019 field ranking with parameters defined by American Institute of Architecture Students. Findings show us that each school define its studio culture policy according to its own corporate culture, although there is a common similarity in the criteria defined by accreditation body.

Salama, A. M. (2012). Knowledge and Design: People-Environment Research for Responsive Pedagogy and Practice, Procedia-Social and Behavioral Sciences-Elsevier Imprint, 49, pp. 8-27. ISSN #1877-0428. (Based on Proceedings of the 1st National Conference on Environment-Behavior Studies, Shah Alam, Malaysia, November 2009).

This paper argues for introducing a theory for knowledge integration in architectural design education. With a focus on human behavior and people-environment research, a contextual analysis of the reasons for developing a theory is introduced and reasons categorized. The milieu of the theory is constituted in several contextual elements. The theory encompasses a number of underlying theories and concepts derived from other fields that differ dramatically from architecture, with three major components: disciplinary component; cognitive-philosophical component; and inquiry-epistemic component. Possible mechanisms for knowledge acquisition are an indispensable component of the theory, whose aim is to foster the development of responsive knowledge critical to the successful creation of built environments.

This PhD project explores the relationship between three specific design processes, namely, triggering concepts, representations and reorganisations of the studio setting by examining experiments, practices and positions in architectural design studios within the framework of six lenses: systematicity, linearity, simultaneity, participation, limitation and complexity. These three processes are deemed essential in stimulating the students to develop novel ideas and make new associations to recognise architectural qualities.
The enquiry assumes a mixed-method approach in data gathering and analyses, which involves literature review, action research, structured interviews, network analysis and thematic analysis. Furthermore, the mixed-method approach relies upon methodological triangulation as a means to avoid pitfalls and to cross-check evidences from a range of data sets. First, pedagogical experiments from the second half of the twentieth century are thoroughly reviewed. Second, three successive design studio experiments are practised with action research method at KU Leuven and Istanbul Technical University. Third, twenty structured interviews are conducted with studio tutors from architecture schools around the world to reveal the current opinions and positions in architectural design studios. The relationship with six lenses and the positions are then discussed through the findings from the literature review, the action research and thematic analysis of the interviews. Discussions propound the implications of employing the initial three design processes, the evolution of featured themes in design studios and the future potentials of these implications for architectural curriculum.
Finally, this study provides discussions on pedagogical experiments, design studio practices and curricular positions through reviews, actions and interviews to explore the trajectory of educational advance in architecture. Findings from the research revealed that the six lenses had different weights among precedents and current approaches which can prognosticate a potential change in future through collaboration, experimenting, new production techniques, empowering students, making processes, collective design, and improvisation.