Beyond the gap: great liberation through architectural design teaching in the bardo?

Tibetan Buddhists articulate the bardo as the gap that exists between one fundamental stage of existence and another. Its most common usage is to describe the interval between death and reincarnation, but more literally, bar means 'in-between' and do 'island' or 'mark'. The 'bardo experience' is thus any one in which the 'past situation has just occurred and the future situation has not yet manifested itself. Instruction in architectural design attempts to provide guidance in the process of guiding students across the bardo from intention, analysis, and theorisation, to the creation of architectural representations and products. As such the architectural academy operates within a history of methods and codifications which try to quantify and bring a level of certainty to this process.
Recently however, there has been a questioning of traditionally accepted ways of ‘knowing’ the world, which has manifested in challenges to received ‘truths’ and increasing interest in other, previously marginalised histories and knowledges. The critiques that flow from this questioning contend that objective cultural ‘truths’ are simply the discursive result of the dominance of particular ways of perceiving the world. The practice of architecture has not been immune from this. The field has become a subject, for instance, of sociological, feminist and postcolonial critiques. However, their bearing on the pedagogy of composing architecture remains fragmentary and contested. My interest in this subject is derived from a desire to use the opportunities presented by contemporary cultural shifts to develop design-based architectural research that will assist future architects to operate in the uncertainties of an irreducibly plural global community. This paper will explore some ways in which academic research might bear upon the design studio’s negotiation of architectural bardos.

Graphical authentication : an architectural design specification

Graphical authentication is proposed as an alternative to password, smartcard, and biometric authentication as it uses the innate ability of humans to recognise visual stimuli. Despite passionate debate surrounding their privacy and invasiveness issues, smartcards and biometrics require an excessive amount of extra hardware for widespread deployment. Conversely graphical authentication extends existing infrastructure as it builds largely on the foundations of passwords with one important difference: it takes humans into account as they are better at recognising visual stimuli than recalling text-based passwords. This paper follows a preceding proof of concept paper and essentially outlines the architectural and technical design for a graphical authentication solution.

Children and university architecture students working together : a pedagogical model of children’s participation in architectural design

Increasing efforts have been made to engage children in the design of the built environment, and several participatory models have been developed. The aim of this paper is to propose a pedagogical model for children's genuine participation in architectural design, developed in an architectural education context. According to this pedagogical model, children (primary school students) and youth (university architecture students) work in teams to develop the architectural design proposals. This model was developed through a joint educational project between Deakin University and Wales Street Primary School (both institutions are based in Victoria, Australia). In the four-week duration of the project, first year architecture students worked with Grade 3 and 4 primary school children to design a school playground. The final product of the project was a 1:20 scale model of a playground, which was installed and presented at the end of the fourth week. The project received positive feedback from all the participants, including children, architecture students, university lecturers, primary school teachers and architects. In addition, it achieved a high level of children's genuine participation. This model can be refined and applied in new situations, and potentially with other primary schools working with Deakin University.

Creative architectural design with children: a collaborative design project informed by Rhodes's theory

Since the United Nations adopted the Convention on the Rights of the Child in 1989, there has been global consensus that children need to be involved in the planning and design of their environment. There exist various international initiatives that support collaborative design with children, with co-design projects conducted in different areas of the world. Evolving from the global context of co-design, this project explores creativity in relation to architectural design with children. Between October and December 2011, a team of architecture students from Deakin University worked with children from Roslyn Primary School (both institutions located in Victoria, Australia) to design a playground structure. Informed by Rhodes’s (1961) theory, creativity in this co-design project was addressed through the four dimensions of creative designers, creative context, creative process, and creative design outcomes. The findings of this study corroborate Rhodes’s theory of creativity, and suggest that it is useful to engender creative architectural design with children.

Perspectives on architectural design research : what matters - who cares - how

Perspectives on Architectural Design Research is a collection of short essays, projects and edited transcripts that offers current perspectives on design research in architecture and aligned disciplines. Contributors include international figures Donald L. Bates, Richard Blythe, Nat Chard, Murray Fraser, Dorita Hannah, Jonathan Hill and Vivian Mitsogianni. What emerges from the multiple perspectives is that contemporary design research – transdisciplinary, multi-scalar and concerning place, people, space and time – provides a collective and subtle mechanism that is propositional and transformative. The shared optimism of the contributors is that this propositional mode of research can be of catalytic value for contemporary culture and society

Introduction to perspectives on architectural design research

If something called ‘design research’ was to begin tomorrow, what might we want it to encompass: how designers design, how they learn to design, what the limits and shapers of design might be? What other aspects of architectural activity should it deal with? Minimally, there is a range of possible social, cultural and environmental matters which could be considered and which certainly impinge on questions of why designing is undertaken and who, or what, it is for. But, such issues were central prior to there being something called ‘design research’. In grumpier moments over two decades it has been tempting to suspect some architects of using the term to fashionably relabel what they do. Enriched accounts, such as the range offered in this book, are required to clarify whether or not it is a useful construct. Since I am a fabricator and make things (up) as a way of designing, let me engage in a little fabricating around design research: tales of its history, present context, and of ideas for its future.

Occupant behaviour simulation for cellular offices in early design stages - Architectural and modelling considerations

Building simulation is most useful and most difficult in early design stages. Most useful since the optimisation potential is large and most difficult because input data are often not available at the level of resolution required for simulation software. The aim of this paper is to addresses this difficulty, by analysing the predominantly qualitative information in early stages of an architectural design process in search for indicators towards quantitative simulation input. The discussion in this paper is focused on cellular offices. Parameters related to occupancy, the use of office equipment, night ventilation, the use of lights and blinds are reviewed based on simulation input requirements, architectural considerations in early design stages and occupant behaviour considerations in operational stages. A worst and ideal case scenario is suggested as a generic approach to model occupant behaviour in early design stages when more detailed information is not available. Without actually predicting specific occupant behaviour, this approach highlights the magnitude of impact that occupants can have on comfort and building energy performance and it matches the level of resolution of available architectural information in early design stages. This can be sufficient for building designers to compare the magnitude of impact of occupants with other parameters in order to inform design decisions. Potential indicators in early design stages towards the ideal or worst case scenario are discussed.

Feature nodes : an interaction construct for sharing initiative in design exploration

Exploration with formal design systems comprises an iterative process of specifying problems, finding plausible and alternative solutions, judging the validity of solutions relative to problems and reformulating problems and solutions. Recent advances in formal generative design have developed the mathematics and algorithms to describe and perform conceptual design tasks. However, design remains a human enterprise: formalisms are part of a larger equation comprising human computer interaction. To support the user in designing with formal systems, shared representations that interleave initiative of the designer and the design formalism are necessary. The problem of devising representational structures in which initiative is sometimes taken by the designer and sometimes by a computer in working on a shared design task is reported in this paper. To address this problem, the requirements, representation and
implementation of a shared interaction construct, the feature node, is
described. The feature node facilitates the sharing of initiative in formulating and reformulating problems, generating solutions, making
choices and navigating the history of exploration.

Teaching and learning in collaborative group design projects

The 200 years of apprentice/master tradition that underpins the atelier studio system is still at the core of much present-day architectural design education. Yet this tradition poses uncertainties for a large number of lecturers faced with changes in the funding of tertiary education. With reductions in one-to-one staff/student contact time, many educators are finding it increasingly difficult to maintain an atelier teaching model. If these deficiencies remain unchecked and design-based schools are unable to implement strategies to reduce the resource intensity of one-to-one studio teaching programmes, then, for many higher-education providers, current architectural education may be based on an untenable course structure. Rather than spreading their time thinly over a large number of individual projects, an increasing number of lecturers are setting group projects. This allows them to coordinate longer and more in-depth review sessions on a smaller number of assignment submissions. However, while the group model may reflect the realities of the design process in professional practice, the approach is not without shortcomings as a teaching and learning archetype for the assessment of individual student skill competencies. Hence, what is clear is the need for a readily adoptable andragogy for the teaching and assessment of group design projects. The following is a position paper that describes – with a focus on effective group structures and assemblage and fair assessment models – the background, methodology and early results of a Strategic Teaching and Learning Grant currently running at the School of Architecture and Building at Deakin University in Australia.

Establishing best-practice principles for the teaching of group design projects

As student-to-staff ratios escalate, increasing numbers of undergraduate architects are finding the reduction of ‘one-to-one’ studio supervision an impediment to learning. Group design projects are becoming a widespread solution to this problem. However, little analysis has been undertaken as to their effectiveness both in terms of student assessment and as a design teaching methodology.
The two hundred years of apprentice/master tradition that underpins the atelier studio system is still at the core of much present day architectural design education. Yet this tradition today poses uncertainties for a large number of co-ordinating lecturers faced with current changes in the nature of tertiary education and its funding structure. In particular, with reductions in staff/student contact time, in sessional funding sources and in the relative weighting of design-based subjects with respect to other subject areas, many design teachers are finding it increasingly difficult to maintain an atelier system that has shaped both their learning and, more pointedly, their teaching. If these deficiencies remain unchecked and design-based schools are unable to implement strategies that successfully overcome the resource intensive one-to-one teaching program, then architecture may prove to be an untenable course structure for many institutions.
Rather then spreading their time thinly, many co-ordinating lecturers are setting group projects in order to review less assignments but at greater depth. However, while this learning model better reflects design teams in practice, this approach may pose other pedagogical and assessment questions. What is clear is the urgent need for structured research into the teaching and assessment problems experienced by design teachers, and for a readily adoptable pedagogy for group design projects. At Deakin University, research is underway aimed at establishing best-practice principles for group design projects by analysing students’ performance and recording and implementing their feedback to adjustments made to the pedagogical fundamentals of assessment, group configuration, and program structure. There are after two years of preliminary studies already clear indications of what changes can be made to these to encourage more effective team learning. This paper will present the findings of these studies.

Environmental design : incorporating a rating tool into the design of commercial buildings

Environmental performance assessment or green building rating tools for commercial buildings are one of the more recent responses to encourage green solutions for commercial buildings. This paper discusses the initial stages of a research project that looks at the impact of a rating tool, such as Green Star, on design. There are numerous ways in which an architect can design commercial buildings, but environmental design solutions have consistently failed to become accepted practice. Therefore, how will this tool be incorporated into the building design process? Developed to assist the designer can the inclusion of a rating tool such as Green Star provide an effective framework to encourage the inclusion of environmental design strategies in commercial buildings? A field study, recording the design process of a commercial building, anticipates that a whole building assessment approach towards design, as proposed through the Green Star Rating Tool, will provide an effective framework to set and monitor design targets in order to optimise the environmental design goals in commercial buildings.

Defuturing an architecture of destruction: a reconciliation of Van Berkel and Bos to the new design philosophy of Tony Fry

For some time now Tony Fry has promoted the idea of 'The Sustainment', an idea that asserts a paradigm shift in attitudes to consumption. 'The Sustainment' recognises that increasingly human futures are products of self-determination and not chance. Fry’s hypothesis can be understood through his concept of Defuturing, a philosophy that questions the role of design and the responsibility of designers to facilitating the ability to sustain (Fry 1999).
Central to Fry’s philosophy is an awareness that it is in the best interests of designers and their clients, as inhabitants of cultures increasingly driven by technology, to be aware of the relationships between the products and theories of design and the processes and implications of technological change. This is an awareness that is central to the concepts, work, and methodologies of the ‘UN Studio’ of Van Berkel and Bos described and elaborated upon in Move – Imagination, Techniques, and Effects (Van Berkel & Bos 1999). Here, Ben Van Berkel defines the parameters and methodologies employed by UN Studio in an environment of technological and socio-economic change. The Dutch practice could be said to exemplify something of a zeitgeist in current architectural design that sees architects, as Van Berkel and Bos view them, as “fashion designers of the future, dressing events to come and holding up a mirror to the world (Van Berkel & Bos 1999, back cover).” It is a zeitgeist that Fry might see as aligned to the resilient hype of ‘new creativity’, ‘globalisation’ the ‘romance with technology’, and the vacuous-ness of the world of fashion. (Fry The Voice of Sustainment: on Design Intelligence 2005).
A source of breaking down such design propaganda is identified by Fry in the notion of ‘scenarios,’ which “provide a mechanism for politico-practice assemblage in which dialogues and narratives of change can be rehearsed in ways that enable participants to re-educate themselves via critical confrontations” (Fry The Voice of Sustainment: on Design Intelligence 2005). From such a perspective this paper aims to practically illustrate and ground the Defuturing of Fry by establishing a dialogue between his writings and the theories that have generated the architectural designs of Van Berkel and Bos and there UN Studio. This will be a ‘scenario’ that examines therefore an appropriation and transformation of the applied intellectual practice of Van Berkel and Bos. Through this confrontation we shall explore the question of why sustainability appears to be so low in the agenda of many pre-eminent contemporary architects, and how we might refocus therefore practice and theory on the ability to sustain.