Comparison of Shibataea kumasasa and Equisetum hyemale as vertical greenery system for thermal and light shade in student’s architectural design studio in Surabaya

Vertical greenery system (VGS) is commonly used for facade shading. It has many advantages in its natural aesthetic, air filter, carbon sequestration, and many more. This research is the continuation of the previous research in 2019, which used Shibataea kumasasa as VGS. It was found that using Shibataea as VGS has reduced the indoor air temperature by 0.5-2°C on average, with 5°C maximum temperature difference. On the other hand, it decreased more light (in range 26-95%), made the illuminance of the room lower than the standard requirement. A studio room should have minimum 5% daylight factor or 500 lux, while on the room measurement, the lowest was 20 lux in the morning hours, the highest was only 200 lux in the afternoon. As an attempt to look for vegetation with better performance, this research uses another bamboo species, Equisetum hyemale to be examined and then being compared to Shibataea. The result is that for the thermal shade, Equisetum performs less effectively than Shibataea. As for light shade, the Shibataea reduces more illuminance than Equisetum, thus makes it a less favorable alternative. The balance of thermal-light effective performance maintained by the leaf area index can be the focus of future research.

Re-narrated Stories: A Reflection on Narrative Learning in a First Year Design Studio

This paper explores the implementation of narrative learning in first-year architectural design studios and how it can amplify the making, communicating and reflecting aspects of the study. In particular, this paper examines the estrangement technique, which enables an objective view of a story and its telling. The technique allows the students to detach an existing narrative from its context to be analysed, and then recontextualise it. We focus on the main studio project for the first-semester architecture and interior architecture students in Universitas Indonesia as the context of this study. This paper analyses their process, final outputs, and feedback to see the lesson learned from their perspective. The study suggests that learning narrative framework in architectural design studio supports the students to think systematically. In the end, estrangement technique provides the students with a way to retain some aspects of a narrative while playing with others, producing a fresh view on telling stories through enhancing their ambiguity and interaction between design author and their audience.

Intuition in the Design Studio: A Perspective on Student’s Creativity and Design Process

In the twentieth century, as a result of the transition to a scientific approach in design, intuition lost its validity and design became a rational act. In well-defined problems, the design process could be structured with this scientific approach, however, in an ill-defined structure, rationality needs to be combined with intuition to analyzing the design problems, decisions making and generate solutions by supporting the creativity of design students. In this respect, intuition can assist to strengthen and develop the required abilities during the process. Accordingly, the aim is to understand the role of intuition, how students use it to work creatively through sketches, and conceptual ideas, and the problematic process of transformation into architectural knowledge in the design process. The study carried out a literature review to draw an understanding of the dimensions of intuition and its role in the architectural design studio. The results of the study demonstrate that intuition has a crucial role in the design process. Relatedly, the lack of intuition becomes problematic, due to the non-conveyable character that it cannot find a place for itself in the design education in terms of crits from tutors, and alteration of intuition into concrete representations leads to a gap between intuition and the final project. Furthermore, these problems could be eliminated through the coherent use of two features which are rational approach and intuition. In this respect, intuition, creativity, and rationality is needed to perform together in order to achieve success by deciphering the potentials of the project through the process.

Adaptation of First-Year Architectural Design Studio Resources Through Accessibility

This paper aims to discuss possible adaptations of the essential resources for the first-year architectural design studio's second term under COVID-19 lockdown regulations through experiences from MEF University First-Year Design Studio. Design Studio fundamentals, such as accessibility and materiality, needed to be adapted to studio participants' changing opportunities and places. The second term of the first-year design studio at MEF University is built upon the basic knowledge gained from the first term by improving its physical aspects such as structure, material, and site by forming direct relationships with the resources through analysis and experimentation. Its adaptation to remote studio poses significant difficulties with its intense tactile and material state. New resources and adaptations to the remote studio are grouped under three categories: Curriculum, studio as a workspace, and site. Remote studio experiences are analyzed through changing resources to uncover new possible achievements. Even though there are still irreplaceable components of the regular studio structure, the paper searches for possible adaptations to overcome these challenges of architectural design studio during remote teaching by reassessment of the resources with the accessibility theme.

Re-considering the Architectural Design Studio after Pandemic: Tools, Problems, Potentials

The Covid-19 outbreak has significantly influenced all disciplines from economics to politics, especially health, and forced every discipline to develop new strategies to adapt to this situation. For this reason, education has been suspended as of mid-March 2020 in our country; after the break, education methods have changed in a mandatory and rapid way and largely switched to distance education. This compulsory transformation has required the creation of new methods and approaches, especially for applied courses. In this context, this article focuses on a remote architectural design studio experience and explores this experience's problems and potential. This research is in the framework of an adapted architectural design studio setup enriched by authors with online environment-specific tools, including components that centralize participatory production (collaborative learning approach) and enable interaction such as workshops and seminars. The studio (201 A) was experienced in the 2020-21 fall semester by remote conducting with 2nd-grade architecture students. In the article, the process is revealed in detail, and the architectural design studio has been discussed extensively with the student survey and the instructors' experiences. As a result, it has been observed that the studio's components, such as interaction, collectivism, multilayeredness, dynamism, making criticism, and juries, can survive in distance education. Although verbal communication difficulties were experienced in the remote studio, visuality/screen sharing supported the communication throughout the process. However, it is obvious that the content, methods, and tools for remote architectural design studio education should be developed with a different and new approach than face-to-face education. In order to develop more effective methods in this scope, research is required to continue, prepare a large number of experience environments supported by these studies and, most importantly, share these experiences.

Integrating Water Sensitive Design in the Architectural Design Studio in China: Challenges and Outcomes

Urban areas around the world are increasingly facing environmental challenges such as water scarcity, water pollution, and water-related disasters, which demands sustainable design solutions for cities. Efforts to introduce sustainable methods in architectural education are noteworthy since the early 1990s. However, Water Sensitive Design (WSD) has not been fully integrated to architectural education. WSD is an interdisciplinary approach that considers the water cycle as the primary element of design strategies, integrating the site’s ecological and social aspects to structure water management. The main objective of this study is to identify cases introducing WSD in an architecture design studio revealing its pedagogical approaches, comparing and discussing with a WSD-focused design studio. This study adapts on an exploratory and descriptive research, analyzing the literature on the topic of WSD in architectural education and documenting a graduate-level architectural design studio that proposes the development of water-oriented masterplan. The results suggest that WSD, as interdisciplinary method, can be incorporated into the design studio as the topic due to its tangible tools and strategies towards water. It also fits the proposal of a design studio to integrate knowledge from diverse disciplines. This unique study presents a comprehensive WSD introduction in an architectural design case and indicative pedagogical methods, contributing to the development of an approach for future related works.

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

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.