A comparative analysis of methods for triggering “creative thinking” in design studios

2016 ◽  
Author(s):  
Gokçe Atakan
Keyword(s):  
Comparative Analysis ◽  
Design Education ◽  
Creative Thinking ◽  
Idea Generation ◽  
Design Studio ◽  
Problem Situation ◽  
Architecture Education ◽  
Interior Architecture ◽  
Advantages And Disadvantages ◽  
Education Design

“Design Studio” is acknowledged as the core course for “spatial design” in both architecture and interior architecture education. The main idea of the design studio is based on uniting all the gathered information from other classes in a context of an architectural project. The key expectation from the studio is to teach ‘how to think creatively’. This paper, particularly concentrates on interior architecture education. Design studios in Turkey, mostly use what is referred as the “contextual model” which starts with a given problem/ situation and proceeds from that given context. During the process of this approach, the instructor guides the student, discusses space generation and corrects technical mistakes.  Taking “creative thinking” into consideration, it is important to constitute another model, which is referred as the “conceptual model”. This process starts with student’s thoughts triggered by chosen materials, and the instructor communicates through abstract and intellectual thinking, discusses idea generation and, corrects technical mistakes. In this paper, the method of comparative analysis is used to examine the advantages and disadvantages of each above mentioned design studio model. The comparison of models is done by criteria derived from Salama’s (1995) survey about the current situation in design studios. As a result of the study it is observed that, both models have some advantages and disadvantages regarding seven excogitated design studio criteria.Keywords: design education, design studio, creative thinking, ınterior architecture.

scholarly journals Designing an archaeology centre for students

2020 ◽  
Vol 7 (1) ◽  
pp. 01-09
Author(s):  
Deniz Hasırcı ◽  
Silvia Rolla ◽  
Zeynep Edes ◽  
Selin Anal
Keyword(s):  
Design Education ◽  
Design Thinking ◽  
Fine Arts ◽  
Three Dimensional ◽  
Interdisciplinary Approach ◽  
Architecture Education ◽  
Interior Architecture ◽  
Education Design ◽  
Living Unit ◽  
Second Year

This paper is about the interdisciplinary approach to the interior architecture studio education. The second year Interior Architecture and Environmental Design at the Faculty of Fine Arts and Design at the Izmir University of Economics, Izmir, Turkey, was given the task of designing a modular living unit for archaeology students. The brief expected the design of a living unit for students out of two- and three-dimensional modules. There were three aims of the project: first, the advantages of the process being interdisciplinary and collaborative working closely with the archaeology centre; second, the role of modularity introduced at the interior scale; and third, the structure of the semester enabling an understanding of the interior architecture process, delivered at the second year level. In the paper, the means by which the aims are fulfilled will be discussed with examples from students’ projects, and furthermore, directions for research are discussed with an emphasis on design thinking. Keywords: Interior architecture education, design education, design process, design thinking, archaeology.

The Analysis of A Hybrid Educational Approach in Interior Architecture Design Studio: The Case of Bahçeşehir University

2015 ◽  
Vol 40 (2) ◽  
pp. 80-87
Author(s):  
Sezin Tanrıöver ◽  
Zeynep Ceylanlı ◽  
Pınar Sunar
Keyword(s):  
Environmental Design ◽  
Design Studio ◽  
Educational Approach ◽  
Architecture Education ◽  
Interior Architecture ◽  
Human Needs ◽  
Physical Environments ◽  
Current Design ◽  
Post War ◽  
Studio Education

Architecture as a discipline has gone through a serious change since the post-war period and became a recognized profession focusing on human needs in the physical environments. The issue of educating new practitioners for the transforming field has turned out to be the subject of a lively debate for the last 10-20 years. The current position and approach in design studios of Department of Interior Architecture and Environmental Design of Bahçeşehir University, were thought to be worth putting forth and sharing with the design community to initiate a discussion for the future of the discipline in general. Consequently, this study was structured to present a paradigm in Interior Architecture Education by focusing on the case of Bahçeşehir University (BAU) Interior Architecture and Environmental Design Department design studio education. The four-year program consisting of eight academic semesters, is addressing the combination of two methods; namely, horizontally organized design studios (HODS), and vertically organized studio groups (VODS). Currently, this approach is subject to many discussions within the department due to many aspects. This approach was tested, evaluated and criticized through student and instructor comments collected via questionnaires. Results were collected and interpreted through three main issues of learning, teaching and assessment. Study moving from general design studio education to the case of Department of Interior Architecture and Environmental Design of Bahçeşehir University, concludes with general comments, mentioning the lack of literature on design studio education, and the significance of sharing different approaches and applications. Lastly and specifically, the revisions following the completion of the experiment in the department was put forth. With reference to the case of BAU, initiating a discussion regarding current design studio education was intended.

Performing a New Agenda for a First-Year Interior Architecture Studio

2021 ◽  
pp. 218-256
Author(s):  
Ethem Gürer ◽  
Firat Küçükersen
Keyword(s):  
Design Education ◽  
Complex Structure ◽  
Design Studio ◽  
First Year ◽  
Pedagogical Approach ◽  
Interior Architecture ◽  
Design Pedagogy ◽  
Final Project ◽  
And Performance ◽  
Principles Of Design

Considering the content and complex structure of design education, it is important to include the making, body, and movement in design pedagogy. In this context, thinking design with theatre opens to an aggregation of opportunities for thinking holistically and creatively about the character, elements, functioning, and the outcomes of the first-year design studio. This chapter presents a pedagogical approach for the first-year design studio through a final project, Theatre Space, which was devised as an integrated seven-week process of comprehending, interpreting, designing, fabricating, and performing Samuel Beckett's Quad 1+2, with all its components such as stage and décor, costume, accessories, makeup, light, sound, and performance. Students from the Departments of Architecture, Interior Architecture, and Industrial Design had a chance to display how they internalised and applied basic principles of design in their drawings, sketches, diagrams, writings, and collages, as well as the final physical products in 1/1 scale within a performative exhibition: Anti-Quad.

Performance Evaluation of Open and Cell Type Design Studios

2016 ◽  
Vol 41 (1) ◽  
pp. 27-34
Author(s):  
Umut Tuğlu Karsli
Keyword(s):  
Instructional Methods ◽  
Design Studio ◽  
Cell Type ◽  
Traditional Architecture ◽  
Architecture Education ◽  
Interior Architecture ◽  
Project Coordinator ◽  
Type Design ◽  
Space Organization ◽  
Spatial Use

Design studio courses take place at the core of education disciplinary design such as architecture and interior architecture. Studios in which design studio courses are conducted can also be used for other practical courses as well. Another important feature of these studios is that they are extensively used by students for individual or group work other than during class hours. Since the students, either on their own or with the project coordinator, experience design process in these studios, their spatial characteristics are highly significant to conduct this process effectively. Within this scope, the aim of the research is to evaluate open and cell type studios commonly used in traditional architecture education through Post-occupancy evaluation (POE) approach, to discuss to what extent these studios meet the spatial requirements of today’s instructional methods and to develop a suggestion for design studio spatial use by taking the strengths and weaknesses of these studios. Accordingly, technical, physical and behavioral variables determining the performance of design studios within the context of spatial requirements have been identified through reviewing the related literature. In framework of a case study, a survey formed with the aforementioned variables was administered to architecture and interior architecture students studying in open and cell type design studios in order to measure their spatial performance. Followingly, in the final part of the study, referring to survey results and evaluation of spatial requirements of today’s instructional methods and tools, a combi design studio space organization has been suggested.

scholarly journals Gamification of design process in interior architecture education: Who? with whom? where? how?

2019 ◽  
Vol 66 ◽  
pp. 01040 ◽  
Author(s):  
Gülsüm Damla Aşkın
Keyword(s):  
Design Process ◽  
Interior Design ◽  
Design Education ◽  
Creative Design ◽  
Architecture Education ◽  
Interior Architecture ◽  
Design Students ◽  
Design Ideas ◽  
First Time ◽  
Interior Design Students

The design process in Interior Architecture education is the basis of all the studio courses and design-oriented courses. In this process, it is important for students to develop their creative thoughts and find different ideas. Students find it difficult to produce creative design ideas. As well as producing ideas, students also have difficulty in determining problem status and performing user analysis. In this respect, implementation of different methods and activities are important in the process. One of these methods is the integration of gamification into the design education. This education method was conducted as a workshop with a group of Interior Design students during the Spring term of 2018–2019 in İstanbul Şehir University. The students who took the project course for the first time were included in the research. In the workshop, firstly, the game ”Who? With Whom? Where? How?" was played manually, and the user ID was defined. Secondly, the results of the game were converted to the function scheme. After the study, a survey was conducted with the students. It was observed that the method of gamification increased the motivation of the students and offered more than one alternative in design process compared to the traditional thinking methods.

scholarly journals Four Ways of Knowing: A Multidisciplinary Approach to Teaching Community-based Design

2007 ◽  
Vol 4 (1) ◽  
Author(s):  
Sally Harrison
Keyword(s):  
Urban Design ◽  
Real World ◽  
Design Education ◽  
Fine Arts ◽  
Ways Of Knowing ◽  
Design Studio ◽  
Disciplinary Culture ◽  
Community Based ◽  
Architecture Education ◽  
The Real

Design education, especially in an undergraduate course of study, seeks to prepare students for professions and for citizenship in a world they hardly know. The studio typically provides only a surrogate experience in addressing formal and spatial problems, and is limited by time, by its geographic space, and by a dialogue that is more often than not, self-referential. It very rarely engages systemic questions of public policy, or the specific challenges of implementing at full scale ideas that are conceived through representational means. The constrained intellectual context is most poignantly seen in the urban design studios where problems are situated in the real world, and where issues outside the purview of design are found embedded in a place. Form-focused studio exercises that are necessarily a part of beginning architecture education are inadequate for exploring the indeterminacy of urban space and the complexity of human environments. When students enter an urban design studio, especially when they undertake community-based projects, they must take up the mantle of citizenship and engage in an enterprise that is fundamentally relational and grounded in experience. They need more information and more ways of knowing the world than traditionally the design disciplines can offer. This paper presents the outcomes of an experimental neighborhood-based teaching project undertaken as a collaboration among classes in architecture, landscape architecture, urban geography and the fine arts at Temple University. Although initiated through the architecture faculty’s desire to enrich its own undergraduate urban design studio, all the collaborators shared our concern about the narrowing effects of disciplinary bracketing on student learning, especially when the goal was to address real world situations. Each discipline brought to the project its particular disciplinary culture -- its language, methodology and areas of concern -- and a shared aspiration to puzzle together these diverse perspectives around questions of making places that are meaningful, humane and sustainable. The struggles and synergies among disciplines were alternatively inspiring, annoying, challenging, rich and imperfect. But intense engagement with a community re-centered the dialogue from inside the academic context to outside, and framed a multidisciplinary way of thought. The community itself proved to be a powerful coalescing agent; the inherent layering of issues in the real-world context made it virtually impossible to remain insensible to interdependencies in life that transcend disciplinary boundaries. Here Richard Sennett’s definition of what constitutes a democratic urbanity was applicable. The Greek term for “public”, synkoikismos, means “to bring together in the same place people that need each other but worship different household gods.” (47) This deceptively simple public-making concept became the basis for a process of learning, and a vehicle for working with the larger truths about how cities are formed and experienced.

scholarly journals Comparative analysis between virtual education and direct education in fundamental courses in architecture, case study: “introduction to architecture design studio”, in Shiraz University

2017 ◽  
Vol 7 (3) ◽  
pp. 128-133
Author(s):  
Mohammad Nikkar ◽  
Raha Bahtooe
Keyword(s):  
Content Analysis ◽  
Comparative Analysis ◽  
Virtual Education ◽  
Design Studio ◽  
Case Study Method ◽  
Statistical Software ◽  
Analysis Techniques ◽  
Advantages And Disadvantages ◽  
Challenges And Opportunities

This paper attempts to demonstrate and compare challenges and opportunities in virtual and direct education in architecture in Iran, specifically in fundamental courses. Two different programs (direct and virtual education) have been run in two different branches of Shiraz University, in Shiraz and Dubai, for two successive fundamental courses. Both cases were observed accurately by the authors during two semesters and the result qualities were collected and assessed. The main questions of this paper are: what are the advantages and disadvantages of virtual and direct education? And which method ends to a better quality in result in architecture fundamental courses? The query is based on the case study method using a combination of strategies and content analysis techniques. The information is collected through library and fields studies, and completed through questionnaire and analyzing it's components by the statistical software. Keywords: Architecture, virtual education, direct education, statistical software, Iran.  

Thinking manifesto on basic design studios in architectural education

2018 ◽  
Vol 5 (6) ◽  
pp. 96-100
Author(s):  
Hakan Saglam
Keyword(s):  
Design Education ◽  
Architectural Design ◽  
Architectural Education ◽  
Design Studio ◽  
Basic Design ◽  
Architectural Theory ◽  
Final Project ◽  
History Of ◽  
Education Design ◽  
Education Delivery

Design education delivery is reconsidered every semester from the first basic design course through to the final project class, and while there are diverse approaches to architectural theory worldwide, the problem of teaching architectural design is a continual question to educators, especially for design educators. Over different periods of time, very different approaches to design education have been pursued. These differing theories form the basis for architectural design education. Throughout this process, the history of design education has been shaped and it is important to be able to use the accumulation of knowledge from different fields within the context of ‘architectural education’. When we consider the transformation of design education historically and the differing approaches today, such as the effects of changing theories, scientific-culturalsub-structures, transformed super structures and the ever-changing theories on architectural education, the design studio educators should incorporate the benefits of this diverse learned knowledge into the design studio education.Keywords: Basic design, architectural education, design studios.

scholarly journals Visual Communication for Students’ Creative Thinking in the Design Studio: Translating Filmic Spaces into Spatial Design

Buildings ◽  
2021 ◽  
Vol 11 (3) ◽  
pp. 91
Author(s):  
Eun Joo Park ◽  
Mi Jeong Kim
Keyword(s):  
Visual Communication ◽  
Design Education ◽  
Creative Thinking ◽  
Architectural Design ◽  
Three Dimensional ◽  
Design Studio ◽  
Conceptual Tool ◽  
Visual Communication Design ◽  
Spatial Design ◽  
Architectural Design Studio

Representing visual experiences is an essential part of architectural design education for creativity. The representation of creative ideas relates to the ability to communicate spatial design concepts. This study examined whether filmic spaces could function as visual communication to enhance students’ creative thinking in architecture. It explored how creativity can be supported throughout an architectural design studio with a conceptual tool that translates filmic spaces into spatial design. To investigate the ways to translate filmic space into spatial design tools for creative thinking, we conducted a design studio with first-year university students. Focusing on using various elements of film, including movement, frame, montage, light, and color, and scene changes to represent architectural languages, a curriculum was developed and implemented in a Visual Communication Design Studio for one semester, stimulating students to engage in expressing their ideas in three-dimensional spaces. The overall results suggested that the design education method that used the filmic space as a stimulating tool for creative thinking, emphasizing the role of visual communication, could enhance students’ creative thinking, leading to improved creative design processes.

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