scholarly journals Architecture as a system and innovation design discipline

Author(s):  
Christos Chantzaras

Talking about architecture means talking not only about buildings but also about processes or systems. In the latter context, architecture is a way of thinking and looking at people, spaces, interrelations and interactions. Proclaimed by IDEO’s Tim Brown as one of the best system design forms of education available, architecture has potential in fields beyond the physical. In keeping with the views of renowned systems thinker Russell Ackoff, who graduated in architecture before focusing on operations research, the question arises whether the skills of architects can be applied more broadly in system and innovation design. This paper describes how architects deal with context and complexity from the perspective of the practice-oriented architectural programming method. From its early days in the 1960s, it offered architects a viable basis for an applied architectural design thinking method, but did not receive widespread attention from practitioners and academics. The method is critically assessed and compared to the known forms of design thinking from the viewpoint of industrial design. By describing a real-life project and students’ work from a newly created seminar in a department of architecture, the paper investigates the current and future relevance of an advanced version of architectural programming for architectural practice and education. It stresses the desirability of reinforcing the core skills of architects by developing a design thinking method rooted in architecture, which needs to be taught, developed and disseminated. In the long term, it is argued, architecture should be considered and integrated as a ‘systems and innovation design discipline’ in the fields of systems thinking and innovation research.

2017 ◽  
Vol 18 (3) ◽  
pp. 341-358 ◽  
Author(s):  
Valentina C. Tassone ◽  
Giel Dik ◽  
Thekla Anna van Lingen

Purpose While empowerment for sustainability is considered a major objective within sustainability-oriented educational programs and policies, little is known about the actual process of empowering students for sustainability through higher education. This study aims to explore this field, by introducing the EYE (Educating Yourself in Empowerment) for Sustainability learning tool and by analyzing the effects of its application within a higher education context, including a reflection about key aspects contributing to students’ empowerment for sustainability. Design/methodology/approach The effects of the EYE tool are analyzed by means of questionnaires. Through a qualitative codification process and quantitative analysis, the authors have reflected on the effects of the EYE tool and on the empowerment process as perceived by the students exposed to the EYE at Wageningen University. Findings Results suggest that the EYE is a comprehensive and adaptive tool, conducive to empowerment for sustainability. Adopting, only partly, an instrumental approach to education and, largely, an emancipatory one appears to be a possible and successful combination. A key aspect contributing to students’ empowerment for sustainability is the development and execution of a real-life project of own choice. Learning about the diverse worldviews underlying the search for sustainability appears to be an eye opener for the students. Empowerment does not seem to require long-term training. Rather, it emerges and is experienced by university students within a few weeks. Originality/value This paper introduces a novel tool and discusses insights deriving from the application of this tool. The value of the paper lies in its potential to support educators in reflecting upon and designing their educational strategy for empowering students for sustainability.


2021 ◽  
Vol 13 (4) ◽  
pp. 1943
Author(s):  
Jan Nicolai Hennemann ◽  
Bernd Draser ◽  
Katarina Repkova Stofkova

This article addresses the question of why initiatives in the field of green business and sustainable development often fail. Therefore, it dismantles some typical patterns of failure and shows—as a case study—how these patterns can be challenged through an innovative educational concept: the green business and sustainable development school. The applied methodology is a real-life project that is designed through methodological elements stemming from business model canvas, theory U, stakeholder participation, and design thinking. The results of the school initiative are discussed and evaluated by four distinctive stakeholder groups and the school’s supporting potential to overcome typical patterns of failure in the green business and sustainable development arena by the younger generation in the future is outlined. This article concludes with ideas to enhance the school concept to reach even more stakeholder-groups and increase its reliability and viability.


Author(s):  
Jan Nicolai Hennemann ◽  
Bernd Draser ◽  
Katarina Repkova Stofkova ◽  
Christa Liedtke

This article addresses the question why initiatives in the field of green business and sustainable development often fail. Therefore, it dismantles some typical patterns of failure and shows – as a case study – how these patterns can be challenged through an innovative educational concept: the green business and sustainable development school. The applied methodology is a real-life project that is designed through blended, interdisciplinary elements from business model canvas, Theory U, participation and design thinking. The results of the school initiative are discussed and evaluated by four distinctive stakeholder groups and outline the school’s supporting potential to overcome typical patterns of failure by the younger generation in the future. This article concludes with ideas to enhance the school concept reaching out to even more stakeholder-groups to increase its reliability and viability.


Author(s):  
Cheng-Leun Hsueh ◽  
Paul Chu Hoi Shan ◽  
Brian McGrath

The digital production of hyper-rendered scenes has come to dominate architectural practice. Jean Baudrillard’s warning that simulation will replace the real is now obvious and ubiquitous in our wirelessly networked mediated lives. CAD monkeys, rendering farms, and out-sourcers form the cabal behind the global production of seductive computer generated imagery detached from real people and places. This paper builds on the premise that physical places, designed and marketed through digital imagery, set the stage for the “social scenes” of tourism, leisure and consumption, and that privatized public spaces become “images” in themselves. Providing a setting for ways of people seeing, and being seen by others, these images encourage us to mimic the poses and gestures of architectural renderings. Standing against our growing obsession with rendered architectural scenes suggests that, as digital modes of creation and representation increasingly become objectives in and of themselves, architectural practice is prone to blindness in the face of social developments which exist independently of architecture’s digital turn. The paper highlights the possible integration of the social and the technological through documenting a series of design, professional, and pedagogical projects which have, during the thirty-year period of architecture’s ‘digital turn’, increasingly incorporated ‘the digital’, but which have persistently continued to foreground the social.


2013 ◽  
Vol 357-360 ◽  
pp. 1939-1944
Author(s):  
Fei Jin Xu ◽  
Ning Wu

With trational planning concept, the overall architectural design and landscape design thinking, according to the current education development trends and the students' own characteristics, to create a unique place for students to learn and communicate, to reach the perfect fit for building meaning and the spirit of place. The implementation of design must meet the needs of the Dongxiang one’s a short and long term development of quality education; it is also an important area of Dongxiang County's cultural heritage and showing.


Dimensions ◽  
2021 ◽  
Vol 2 (1) ◽  
pp. 51-60
Author(s):  
Wiktor Skrzypczak

Abstract An architect trying to predict the spatial effect of their design on its inhabitants often faces a dilemma. Their professional experience and personal feeling allows them to intuit its effect. Such intuition, however, might lack legitimacy in the dominant design practice. For over a century, the question of the felt space in architecture has been a topic of theoretical discussion, which led to the insight that the answer might lay not so much in studying the architectural structures, but rather in studying the bodies that inhabit them. And still the dominant architectural practice follows the outdated dualistic (mis-)understanding of the felt space. Another historical development took place in dance. Here, since the 1960s,the traditionally formalistic and objectifying understanding of dance has been strongly influenced by techniques of bodily sensitization, stemming from the field of somatics. In themselves rather diverse, these techniques have been institutionally delineated through the principles of somatic movement education. One of their characteristics is that somatic techniques are constantly re-emerging - not from a priori knowledge but from the study of one’s own body and its interactions with the environment. This article envisages how such principles might be applied to architectural design practice and give rise to new embodied design practices - which might foster architects’ sensory expertise and thus legitimize the felt knowledge in professional contexts.


1995 ◽  
Vol 1 (2) ◽  
pp. 16-21
Author(s):  
Eric Parry

This paper looks at the case for studio design work taught in a unit system at Diploma/RIBA Part II level to be considered as a fundamental tool of research with a direct contribution to contemporary architectural practice. A case study of unit proposals for one year at the Architectural Association School of Architecture in London and its subsequent adoption by practitioners is used to illustrate the discussion.


Author(s):  
Konstantin V. Kiyanenko

Today both international and national documents, regulating architectural design, impute the responsibility of the architect for the development of project briefs ("technical assignments" or "design assignments"). To what extent the status quo in Russian design institutions is in line with this prescription? How closely are our architects associated with "architectural programming", as this activity is called abroad, and how they estimate this job? In order to answer these questions, the author undertook a pilot questionnaire survey of Russian architects. Its' results are discussed in this paper. Almost all respondents are shown to participate in the development of project briefs - either by adjusting the initial data of the client, or by compiling a program "from scratch". Often this work is not paid. In half of situations, the customer does not submit even draft versions of the task to the architect, and in the rest - the format of one or two pages of text dominates. Methodically, "architectural programming" is very poorly supported, and the guidance materials available on this topic - are the latest, to which architects resort. Every second respondent agrees that "programming" is a duty of the architect and relies upon his contacts with the client and the accumulated experience in the development of project briefs. This procedure is a complex "study" rather than a technical "compilation" as it is used to be considered


Sign in / Sign up

Export Citation Format

Share Document