scholarly journals ANALYSIS OF THE ASSIGNMENTS IN THE ARCHITECTURE DESIGN STUDIO : History of architecture design education at department of architecture, the university of Tokyo(Education)

2006 ◽  
Vol 12 (23) ◽  
pp. 459-464 ◽  
Author(s):  
Yukari NIWA ◽  
Hidetoshi OHNO
Keyword(s):  
Design Education ◽  
Design Studio ◽  
Architecture Design ◽  
History Of ◽  
History Of Architecture ◽  
The University

scholarly journals Six Traditions

2019 ◽  
pp. 176-189
Author(s):  
Bruno Gil
Keyword(s):  
Group Work ◽  
Modern Architecture ◽  
Evolutionary Trees ◽  
History Of ◽  
History Of Architecture ◽  
Directed Research ◽  
Charles Jencks ◽  
The University ◽  
Academic Year

In the academic year 2017-2018, an experience was launched in 4 course units: Theory of Architecture I and II, and History of Architecture III and IV. The researched object would be the same, while aiming at its intrinsic variations as a way to unravel common and uncommon grounds between theory and history. Besides my voice in the “role of directed research” and the students’ voice in “the role of play”, I felt the need to introduce a third voice, one that would help to “free up the habitual links between things”, in theory and in history. It was how Charles Jencks was introduced to students. The challenge was to question his mappings of architectural evolution, by scrutinising his “evolutionary trees”. In 1973, Charles Jencks published Modern Movements in Architecture, a book resulting from his doctoral dissertation with Reyner Banham’s guidance. It presented a critical mapping of modern architecture, as a solely movement, through the rereading of moments, objects and actors according to “Six Traditions”: logical, idealist, self-conscious, intuitive, activist, and unself-conscious (80% of environment). The permanently incomplete and questionable “evolutionary tree” – yet always intriguing –, had been updated by Jencks himself: in 2000 (Fig.1), and in 2015 (Fig.2). With the latter, new six traditions replaced the previous ones. The Exhibition “Six Traditions” aimed to reveal these two updates. In History of Architecture III and IV, the works focused on the themes of the twentieth century, while in Theory of Architecture I and II, the focus was on the themes of the last twenty years. In group work, written essays introduced, described and questioned the topics within the maps, and were complemented by posters, which would be the core of the Exhibition “Six Traditions”. The work was displayed at the Department of Architecture of the University of Coimbra between January 15th and February 28th, 2019.

The Design Studio

2014 ◽  
pp. 93-110
Keyword(s):  
Environmental Sustainability ◽  
Cultural Sensitivity ◽  
Design Education ◽  
Action Theory ◽  
Design Studio ◽  
University Culture ◽  
Reflection In Action ◽  
Technical Rationality ◽  
To Come ◽  
The University

The design studio is the prototype of design education, particularly for architects but more and more for engineers too – though engineers prefer the word “lab” to “studio.” Although the design studio is known today mainly through the “reflection in action” theory of Donald Schön (1984, 1988), this manner of education first developed at the École des Beaux-Arts in Paris in the seventeenth century for the promotion of neoclassical aesthetic values, and it has continued ever since to be used, even by the Bauhaus in Germany in the early twentieth century after function had replaced form as the primary architectural value. The principal value of the design studio for Schön is that it properly emphasizes creativity for designers, instead of analysis and criticism, as preferred by the “technical rationality” of university culture as a whole. The university has responded by criticizing the design studio for being too subjective and therefore isolated within the academic world. In recent years the design studio has also been criticized for being elitist by focusing too much on aesthetic concerns, instead of promoting cultural sensitivity to social justice and environmental sustainability. Other critics complain that the design studio still relies on paper and hand drawings too much, instead of committing fully to ICTs and the virtual reality (VR) of cyberspace. Such criticisms, however, tend to be overstated, and the design studio is likely to continue in its present form for some time to come, because that is where most designing students learn the culture of design and develop a lifelong identification with their instructors and their fellow students.

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 Biographies of Power: Personalities and Architectures

2017 ◽  
pp. 170-200
Author(s):  
Jorge Figueira ◽  
Bruno Gil
Keyword(s):  
Personal Relationship ◽  
Main Theme ◽  
History Of ◽  
History Of Architecture ◽  
American Architecture ◽  
The University ◽  
Work Done ◽  
Academic Year

This section displays the work produced by the students of the Department of Architecture of the University of Coimbra (DARQ, UC) for the courses History of Architecture III and History of Architecture IV in the academic year 2016-2017. The main theme for the practical works of both course units was Biographies of Power: Personalities and Architectures. The work was exhibited in the gallery of DARQ, UC in September 2017. The works presented for Biographies of Power: Personalities were focused on the passage of testimony between Louis Sullivan and F. L. Wright. While they crucially contributed to the identity of a modern and American architecture, they carried out a professional and personal relationship that was also guided by the measurement of forces. The work done by the students for Biographies of Power: Architectures resulted from an observation of a set of buildings that goes beyond their architectural and physical contours, or which precisely searches for their actual description, in the light of any ideology that is ultimately represented or even reinforced by its own architectural condition. 

scholarly journals Fonti per la storia dell'architettura, della città, del territorio

2008 ◽  
Keyword(s):  
Physical Space ◽  
Environmental Context ◽  
Architecture Design ◽  
Collective Work ◽  
Profound Knowledge ◽  
Design Culture ◽  
History Of ◽  
History Of Architecture ◽  
The City ◽  
Research Representation

The contributions presented at the study day held in Empoli in May 2006 – now collected in book form – are intended to provide a contribution to the debate on the relations between the teaching of history of architecture, design and historiography. Each essay addresses a specific issue, proposing an analysis and valorisation of the sources (documents, images, diaries etc.) and the resources available for research, representation and design. Taken as a whole, the collective work aims at defining a history of architecture focused on a knowledge and understanding of how, at different times and in different places, man has interacted with the geographical or environmental context to organise the physical space. A history of architecture in seamless relation with that of the city and the territory. A history of architecture that posits itself as an essential component in the design culture of architects and town planners, fostering a mode of intervention generated by a profound knowledge of the complex realities in which it takes shape.

scholarly journals Flávio Lichtenfels Motta

2017 ◽  
Vol 2 (4) ◽  
Author(s):  
Hugo Segawa
Keyword(s):  
Sao Paulo ◽  
São Paulo ◽  
Introductory Essay ◽  
History Of ◽  
History Of Architecture ◽  
The University

Professor Flávio Motta (1923-2016) was one of the founders of the Department of History of Architecture and Aesthetics of Project of the Faculty of Architecture and Urbanism of the University of São Paulo. His passing in July 2016 and the silence of academia motivated this introductory essay of his role in the formation of generations of architects of FAU USP, from the testimony of a former student who took the path in the field of History of Architecture.

scholarly journals Carlo Scarpa: arquitectura, abstracción y museografía

2019 ◽  
Vol 6 (2) ◽  
pp. 147
Author(s):  
Andrés Ros Campos
Keyword(s):  
History Of ◽  
History Of Architecture ◽  
The University

The last year that Carlo Scarpa taught at the IUAV, he proposed a civic museum as the topic of the course, in particular in the old Santa Caterina Convent in Treviso, which is currently the headquarters of the archive of the architect. The issue of the museology was developed during the lessons given at the University and dealt with several of his most recognised projects, in order to expose the guidelines of his museology approach. The message he conveyed in his classes did not describe precise details as much as acting strategies. But nevertheless, the approach to the work of Carlo Scarpa reveals a scale of museum detail that has never been experienced before. This care for the solutions of encounters and for the suitability of expositions constitutes a true contribution to the history of architecture and is, therefore, a model of the contemporary museology theory. The interest of the interventions of Scarpa, lies in the abstraction and refinement, both of his exhibition spaces and of the support elements of the works to be exhibited. This allows on occasions to be recreated in nuances that enrich the pieces with a delicacy that we could almost describe as a work of goldsmithing.

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