Journal of Design Studio
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2687-2838
Updated Thursday, 30 December 2021

2021 ◽  
Vol 3 (2) ◽  
pp. 223-235
Author(s):  
Merve Eflatun ◽  

Interdisciplinary approaches and distinctive representation methods are needed to expand the range of meaning in the architecture and to consider the design process in unique frameworks. Literature disrupts the static images produced for the city in the context of the imaginative weight and the various dynamics it makes with the reader also uses the city, space, and architecture to create a different dimension of representation. This situation, which is inspected in the article regarding the relationship between literature, city, and architecture, will be examined through the "Laughable Places" workshop, that is part of the e-workshop days held at Gebze Technical University in February 2021. In this sense, firstly the relationship between literature and architecture and the revealing of their potentials are handled through the imaginative, representational and textual dimensions. Than through various workshops where the relationship between fictional narrative and architecture is applied, it is reviewed in which contexts fictional narrative can be included in the intellectual process of design. This review has been grouped according to the method in the workshop setups, using the fictional narrative based on literary works or the writing fictional narratives by participants. The workshop process was interpreted through the hybridity of the two approaches.


2021 ◽  
Vol 3 (2) ◽  
pp. 237-259
Author(s):  
Ayorinde S. Oluyemi ◽  
◽  
E. Bankole Oladumiye ◽  
Oluwafemi S Adelabu ◽  
◽  
...  

The purpose of this design is to create a Zobo tea package design prototype allied with African indigenous onomastics. African indigenous products are effective in terms of functionality; however, industrialized products gained more attention because of aesthetics, safety, hygiene, and other advanced technology put into consideration during production. This seems to boost the inferiority of indigenous products. Hence, the present study focuses on indigenous Zobo tea in terms of creating a conceptual package design prototype enhanced with product onomastics. Twenty-two names are derived for indigenous Zobo tea by making use of linguistics techniques. These names are used as label for designing a conceptual package prototype for indigenous Zobo tea. A Delphi technique is adopted for the evaluation of this creative process. The findings show that homonym as an onomastics will enhance the branding and development of indigenous Zobo tea even in the international market. This will remodel the inferiority of the aesthetics of Zobo indigenous products. Hence, research on the choice of an appropriate name for a particular product should be a contemporary research area to improve the present situation of our indigenous product branding and graphic design. It is believed that the outcome of this research could provide guidelines for effective naming in product package design for indigenous product development; as creative designers must not only understand the vocabulary of graphic design but be aware of extraneous constraints that could affect their designs.


2021 ◽  
Vol 3 (2) ◽  
pp. 261-270
Author(s):  
Derya Adiguzel Ozbek ◽  

In this study, the structure of the basic design studio that started with face-to-face education and had to end with online education due to the COVID-19 pandemic, which was set over Bakhtin's dialogic concept, is discussed. The three main components of the basic design studio; studio space, studio process and studio content and the combination of these components have changed in the transition from face-to-face education to online education. With these changes, dialogic relations are defined in the basic design studio's setup that extends from the face-to-face to the online education, and a structure that is shaped not as a sharp transition but as a flow has been developed. The basic design studio structure, which is shaped by the concept of dialogue, is presented as an approach proposal for online education, which is still ongoing and is expected to continue.


2021 ◽  
Vol 3 (2) ◽  
pp. 191-203
Author(s):  
Bulent Unal ◽  
◽  
H. Merve Demirci ◽  
Emrah Demirhan ◽  
◽  
...  

It is essential to reflect the strategic connotations of the brand on the products while creating and developing a product design that fits the brand identity. Therefore, for a company, it is a critical issue to place the right messages that support the strategic brand identity in the design elements. From the designers' point of view, they are expected to have design skills such as analyzing a brand's uniqueness and brand knowledge and reflecting the results of these analyses on the aesthetics, function and overall meaning of the product. For this reason, as a part of the Industrial Design curriculum, brand identity focused product design has been restructured in Atılım University, Industrial Design program. In this studio course, the aim was for design students to acquire skills of brand identity and product identity analysis, in addition to basic design knowledge and skills. During 16 weeks, the data were collected by doing a participant observation and conducting semi-structured interviews with the course students. The data gathered from the semi-structured interviews and participant observation were analysed by using an inductive coding approach. Thus, product design suggestions that were suitable for the identity of the brand were analysed with the questions asked by the instructors during the design process. The results show that the questions asked by the instructors and the examples they gave, led the students to research, think, question, understand and make sense of the importance of information. As a result, the students obtained design outputs suitable for brand identity.


2021 ◽  
Vol 3 (2) ◽  
pp. 205-221
Author(s):  
Rahman Tafahomi ◽  
◽  
Reihaneh Nadi ◽  

The purpose of this study is to gain an understanding of how the architecture students deploy a range of graphical features to visualize SWOT, standing for Strengths, Weaknesses, Opportunities, and Threats. Architectural design studios provide students with a range of analytical techniques, and SWOT analysis is considered to be useful and effective, particularly at urban-scale design projects. However, it is a text-based framework and needs to be converted to thematic analysis maps across architecture and design fields. The main issue is that the determining factors affecting the way in which students choose graphical features to map the outputs of SWOT analysis is unclear at architectural design studios. The research employed qualitative methods, specifically observation, focus group, and graphical analysis, to examine SWOT maps produced by the architecture students. The findings demonstrated that the selection of graphical features in the process of producing SWOT analysis maps are dependent on scale of study (macro, meso, and micro), as well as location, spatial connection, and size of elements derived from SWOT matrix. For instance, lines and planes were most frequent features at macro level while the variety of symbols remarkably increased at micro level. In conclusion, the students personalized the process of mapping, meaning that they applied point, line, plane (shape), color, texture, and typography in several different ways. Therefore, SWOT analysis not only help architecture students to better understand the problems of their design projects, organize and consolidate information, and visualize opportunities and constraints, but could lead to the representation of realistic solutions in an innovative way.


2021 ◽  
Vol 3 (2) ◽  
pp. 175-190
Author(s):  
Rahman Tafahomi ◽  

The aim of this paper is to evaluate the application of a theoretical framework in the architecture thesis project to discover the effectiveness of the exercise on the thesis projects. It was common to observe that the students prepared the architectural thesis project with limited, unstructured, or disconnected studies to analysis, programming, and conceptualization phases. A theoretical framework model was tested to evaluate the effects on the learning outcomes of the students. The methodology of the research was designed based on structured observation and content analysis. The findings of the research reveal that the students perceive and understand the studies and the theoretical framework differently. The students demonstrated their theoretical framework with four categorical specifications including information, application, presentation, and communication. The information referred to data and structure of the organization, the application implied the relation between the data collection, analysis and other phases of the thesis project, the presentation illustrated how they applied graphical tools to illustrate the data, and communication revealed the interaction between the students and the panel of juries and participants. In conclusion, the theoretical framework connects the studies to the concept generation and opens a new door for the discussion of the architectural studies and lessons learnt between the panel of juries, the students, and peers. For an effective expectation from the theoretical framework outputs, detailed guidelines could harmonize the students’ outputs due to the varieties of the application, interpretation, and demonstration of the architectural theoretical frameworks.


2021 ◽  
Vol 3 (2) ◽  
pp. 159-173
Author(s):  
Ugur Tuztasi ◽  
◽  
Pinar Koc

As well as a design process, experimental practices in architectural education are associated with the analytical approaches of visual thinking and visual reasoning. The main purpose of this study was to explore creative methods for devising a vertical construction through visual reasoning. In terms of experimental practices, design research is based on exploration while the primary research area in architecture is reframed by constantly renewed approaches. Accordingly, the hypothesis of this study was that creative methods would improve when the creation of a vertical construction in architectural education is nourished by visual stimuli. The study searched for a construction that plasticized the vertical spatiality of Sivas Grand Mosque’s minaret. The method was shaped by a prerequisite dialogue that rests on visual stimuli. The expected outcome of this dialogue was that the minaret as a pure form would be subjected to an abstraction and, a design proposal then developed for its current structural problems. The results indicated a two-fold appreciation of design. First, when the minaret was maintained within the idea of stabilization rather than being construed as a pure form, the search for a creative method of vertical construction was handled in the context of static preservation. Second, when Sivas Grand Mosque’s minaret as an imaginary design tool was construed as a pure form and the abstraction level increased through visual reasoning, the outcomes gradually demonstrated an approach akin to experimental practices


2021 ◽  
Vol 3 (2) ◽  
pp. 141-157
Author(s):  
Esen Gokce Ozdamar ◽  
◽  
Gokcen Firdevs Yucel Caymaz ◽  
Hulya Yavas ◽  

This article focuses on the effects of the decreased ability to perceive touch in distance learning for all of the actors in architectural design studios during the ongoing Covid-19 pandemic. As part of face-to-face architectural pedagogy, the tactile experience of architectural materials, models, and corporeality in the studio environment assumes great importance. However, in contrast, these aspects are diminished when it comes to digital education, generating new topics for discussion. This article asks how and to what extent distance education models can affect the process of learning, understanding, discussing, and designing architecture, amidst the prospect of continuous digital education in the post-pandemic period. Hence, it examines the awareness and experiences of haptic perception of first-year students at the Istanbul Aydın University Department of Architecture through in-depth interviews recorded on Zoom. Between 2020 and 2021, the interviews investigated haptic perception, observed construction techniques, factors affecting design materials, the way and place in which materials were perceived, the methods of sharing and transferring designs with studio instructors, questions about the obstacles encountered, and expectations for the post-pandemic period. The outcomes of these in-depth interviews showed that there is a close relationship between the students’ bodily interests and their awareness with regards to perceiving materials and that the former indicated a tendency towards making models. It was observed that students had preferred digital design tools in the pre-pandemic period, and in addition to the digital tools that students often use as a design approach, they negotiated as designing through hand-drawing in order to gain the “thinking with one’s hands” experience in this study. This emphasizes the need for haptic experiences in an architectural educational environment.


2021 ◽  
pp. 117-123
Author(s):  
Waldemar Jenek ◽  
◽  
Glenda Caldwell ◽  
Jared Donovan ◽  
Veronica Garcia-Hansen ◽  
...  

This paper examines a case study part of an ongoing PhD research at Queensland University of Technology, Brisbane, Australia. The case study investigates how architecture students can employ media architecture design with real-time-render software tools to empower people without permanent residence. As part of the assignment students developed a media architecture structure during the semester to support people who are facing homelessness. The target participants of this study were master architecture students at Queensland University of Technology. Students participated in an online survey and semi-structured interviews at the end of the semester to provide feedback about their learning experience during the master class. The data was analysed with thematic analysis. The study results explore the potential of technology to face the ongoing issues of homelessness. It opens the discussion how media architecture can be utilised to target issues such as displacement and marginalization. The results allow to refine future studio education and endeavour how to employ real-time software in a studio context.


2021 ◽  
pp. 107-116
Author(s):  
Bilgen Tuncer Manzakoglu ◽  
◽  
Renk Dimli Oraklibel ◽  

Industrial design as profession has begun to expand its scope in business practices with the recent developments in design management, design thinking, and technology. However, curricula of industrial design studio remain traditional and mainly focuses on designing products. In fact, design management and design thinking go beyond product design and expand design’s scope to establishing business strategies, design innovation and service design by positioning humans and their needs at the center. Besides, the technological shift happened through Industry 4.0 enables to adapt IT hardware into systems, products and services, and make them smart and unified. To keep up with these paradigm changes and prepare our students to the rapidly changing business environment, we initiated a Smart Product Service System (Smart-PSS) design project with the 3rd-grade students of Bahçeşehir University in the 2019-2020 Spring semester during which online education had just become a part of our lives. In this article, we present three student projects as case studies of Smart-PSSs designed in three stages as system design, product design, and interface design. As a result, students gain a more holistic approach toward the design process, acknowledge the new expansions of industrial design, and its transformative role for businesses.


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