Survey : The design studio now

In this book for the AASA I provide a response to the question asked by the editors: What is Architecture Studio?

Transcending Boundaries of Creativity: Active learning in the Design Studio

This essay investigates the changing dynamics of interaction and paradigm of communication in the design studio. It analyses the process of practical implementation of interactive tools in architectural education which placed the
diversity of students’ cultural experiences, contextual awareness and individual interests as crucial resource for design innovation and inquiry. Building on Brian Lawson’s thesis on creativity in design thinking, this research project undertook
comprehensive investigation of students’ satisfaction of their roles in the studio and the room for liberal thought they are given to elaborate on genuine approach to architectural matters. The cyclical development of interactive learning strategy is explored through two different settings: first, it analyses architectural students’ position as passive/active in the studio, considering their relationships with tutors’ ideals; second, it reports on empirical strategy of students-led workshops at British schools of architecture, during which students have taken the lead of their creative design agenda. The practical implementation of interactive learning tools proved influential in helping students to personalize their design direction and to build a sense of confidence and independence.

The design studio as liminal space

This study focuses on the efficacy of design studio as a form of teaching and learning, where traditional approaches can act to position the tutor as a defender of the knowledge community rather than a discourse guide for the student. The broad curriculum of architectural education with its divergent outcomes resulting from project based learning also makes it difficult to agree on what constitutes the fundamental elements of the curriculum. The research used an approach based on threshold concepts to assist in identifying and overcoming these shortcomings. Such approaches have been described as 'liminal': holding the learner in a supportive 'in-between' state where learning resources can be directed to that which is troublesome and conceptually difficult. The study involved the use of practices to identify troublesome knowledge in design studio and conceptualise blended learning as part of a liminal studio space.

The impact of teaching models, group structures and assessment modes on cooperative learning in the student design studio

As a result of ever diminishing teaching resources, an increasing number of architectural educators are setting group design projects, rather then spreading their time thinly over a large number of individual projects. This allows them to co-ordinate longer and more in-depth review sessions on a smaller number of assignment submissions. However, while the group
model may offer an authentic learning model by reflecting design in practice, the approach is not without its obvious shortcomings as a teaching archetype for the assessment of the knowledge and skill competencies of individual students. Hence, what is clear is the need for a readily adoptable andragogy for the teaching and assessment of group design projects.
The following paper describes the background, methodology and findings of a Strategic Teaching and Learning Grant funded research project carried out in the year 2005 at the School of Architecture and Building at Deakin University. The project aimed to inform a change of classroom/studio practice governing the assemblage, teaching and assessment of student design teams. The development through these changes of cooperative and student centred learning principles focused on effective design collaboration and fair assessment should, it will be argued, lead to an enhanced group-learning experience in studio, which will subsequently and ultimately enhance professional practice.

Architect as composer: engaging architecture students with music in the design studio

This paper explores the engagement of architectural students with music in a second year design studio, through a Game and two design projects. A ‘Game’, in the context of this research, is a low-risk learning activity derived from the model established in the CUTSD ‘Reflective Making’ project. The Game required students to complete one of three tasks; to compose and record a piece of electronic music; to research the works of a composer within a digital presentation or to design a prototype musical instrument. This was used as a generative device to inform the design of a Music Room: a space for the contemplation and composition of music. A third stage of the project involved the actual construction of 8 Music Rooms, a high-risk, high-reward activity that requires physical resolution of an established relationship between music and architecture.

This paper will focus on the engagement of architecture students with the Game and related design projects. Student perceptions of the project are used to inform an evaluation of the project as an authentic learning experience and as a valuable component of their architectural education.

Cross-discipline collaboration and innovation in the design studio : drawing on the Bath model

As information expands and comprehension becomes more complex, so the need increases to develop focused areas of knowledge and skill acquisition. However, as the number of specialty areas increases so the languages that define each separate knowledge base become increasingly remote. Hence, concepts and viewpoints that were once considered part of a whole become detached. This phenomenon is typical of the development of tertiary education, especially within professional oriented courses, where disciplines and sub-disciplines have grown further apart and the ability to communicate has become increasingly fragmented.
One individual and visionary who was well acquainted with the shortcomings of the piecemeal development between the disciplines was Professor Sir Edmond Happold, the leader of the prestigious group known as Structures 3 at Ove Arup and Partners, who were responsible for making happen some of the landmark buildings of their time, including Sydney Opera House and the Pompidou Centre, and the founding professor of the Bath school of Architecture and Civil Engineering in 1975. While still having a profound respect for the knowledge bases of the different professions within the building and construction industry, Professor Happold was also well aware of the extraordinary synergies in design and innovation which could come about when the disciplines of Architecture and Civil Engineering were brought together at the outset of the design process.
This paper discusses the rational behind Professor Happold’s cross-discipline model of education and reflects on the method, execution and pedagogical worth of the joint studio-based projects which formed a core aspect of the third year program at the School of Architecture and Civil Engineering at the Bath University.

The design studio: fabricating a sense of architecture in drawing

The purpose of this paper is to provide a platform for investigating the relationship between the student and the tutor via the design drawing and in particular the idea that what gives grounds for architecture to embody something is what is imagined is expressed in the design drawing. It is suggested that in architectural education the sense of architecture's fabricated properties find their apparent expression from the convergence of the tutor and student toward these drawings. In an act of perceptual contortion, there is an endeavour to reconcile what they see with what they think the drawing might suggest. Part of this mental reconstruction is based on the expectation that something is in the drawing to see. The drawing is produced based on the supposition that it will be read, generating a particular conditioning of the student's attitude toward the relevance of the drawing. It is engaged as the receptacle of ideas about what architecture is. The result is that sometimes the emphasis on the drawing as something to be consumed implies a permeation of the supposed sensory qualities of architecture imagined by the student designer, the portrayal of which is indubitably a product of the medium. While this might be commonly experienced in studios, it is proposed that this may be perpetuated in architectural education not merely by the act of drawing itself and what the drawing is, but how the student/tutor exchange contributes to the consciousness of what is portrayed.

How social is the virtual design studio? A case study of a third year design studio

With the advent of social networks, it became apparent that the social aspect of designing and learning plays a crucial role in students’ education. Technologies and skills are the base on which learners interact. The ease of communication, leadership opportunity, democratic interaction, teamwork, and the sense of community are some of the aspects that are now in the centre of design interaction. The paper examines Virtual Design Studios (VDS) that used media-rich platforms and analyses the influence the social aspect plays in solving all problems on the sample of a design studio at Deakin University. It studies the effectiveness of the generated social intelligence and explores the facilitation of students’ self-directed learning. Hereby the paper studies the construction of knowledge via social interaction and how blended learning environments foster motivation and information exchange. It presents its finding based on VDS that were held over the past three years.

Developing online construction technology resources in tectonic design education

We outline issues of importance in relation to tectonic design within the architectural profession and the relationship to architectural education in Australia. Twelve years of research and curriculum development at Deakin University is discussed, involving the creation of online resources and case studies, digitally-integrated projects relating to building construction and design studio education. The ethos behind the Construction Primer of engaging students as ‘amateur researchers’ in a way that ensures ‘that student research work is worth more than course assessment’ forms the pedagogical foundation of much of this work. A model of Socially Networked Construction Technology education has been developed that integrates social networks and the Internet to engage students in tectonic design within and outside the classroom through authentic curricula. Through the use of Virtual Galleries, Blogs, YouTube and social networks, a culture of peer learning and sharing has been developed. Through shared knowledge facilitated through social networks, great potential lies for expanding the synergies between higher order learning and online resource development for design decision support.

Virtual design studio via social networks

With the advent of social networks, it became apparent that the social aspect of designing and learning plays a crucial role in students’ education. The ease of communication, leadership opportunity, democratic interaction, teamwork, and the sense of community are some of the aspects that are now in the centre of design interaction. Online interactions, multimedia, mobile computing and face-to-face learning create blended learning environments to which some Virtual Design Studios (VDS) have reacted. On the sample of a design studio at Deakin University the paper discusses details of the Social Network VDS, its pedagogical implications to PBL, and presents how it is successful in empowering architectural students to collaborate and communicate design proposals that integrate a variety of skills, deep learning, and construction of knowledge. It studies the effectiveness of the generated social intelligence and explores the facilitation of students’ self-directed learning. Hereby the paper studies the construction of knowledge via social interaction and how blended learning environments foster motivation and information exchange.

The design studio as liminal space

The context of this research focuses on the efficacy of design studio as a form of teaching and learning. The established model of project-based teaching makes simple parallels between studio and professional practice. However, through comparison of the discourses it is clear that they are of different character. The protocols of the tutorial tradition can act to position the tutor as a defender of the knowledge community rather than a discourse guide for the student. The question arises as to what constitutes the core knowledge that would enable better self-directed study. Rather than focus on key knowledge, there has been an attempt in other fields to agree and share ‘threshold concepts’ within disciplinary knowledge. Meyer and Land describe threshold concepts as representing “a transformed way of understanding, or interpreting or viewing something without which the learner cannot progress [1]. The tutor’s role should be to assist in transforming student’s understanding through the mastery of the ‘troublesome knowledge’ that threshold concepts may embody. Teaching and learning environments under such approaches have been described as ‘liminal’: holding the learner in an ‘in-between’ state new understanding may be difficult and involve identity shifts. Research on the consequence of pressures on facilities and studio space concur, and indicate that studio spaces can be much better used in assisting the path of learning [2]. Through an overview map of threshold concepts, the opportunities for blended learning in supporting student learning in the liminal space of the design studio become much clearer [3] Design studio needs to be recontextualised within the discourse of higher education scholarship, based on a clarified curriculum built from an understanding of what constitutes its threshold concepts. The studio needs to be reconsidered as a space quite unlike that of the practitioner, a liminal space. 1. Meyer, J.H.F. and R. Land, Threshold concepts and troublesome knowledge. Overcoming Barriers to Student Learning: Threshold concepts and troublesome knowledge., 2006: p. 19. 2. Cai, H. and S. Khan, The Common First Year Studio in a Hot-desking Age: An Explorative Study on the Studio Environment and Learning. Journal for Education in the Built Environment 2010. 5(2): p. 39-64. 3. Pektas, S.T., The Blended Design Studio: An Appraisal of New Delivery Modes in Design Education. Procedia - Social and Behavioral Sciences, 2012. 51(0): p. 692-697.

Learning Environments in Design Studio Culture

The paper reports on a study of design studio culture from a student perspective. Learning in design studio culture has been theorised variously as a signature pedagogy emulating professional practice models, as a community of practice and as a form of problem-based learning, all largely based on the study of teaching events in studio. The focus of this research has extended beyond formally recognized activities to encompass the student’s experience of their social and community networks, working places and study set-ups, to examine how these have contributed to studio culture and how there have been supported by studio teaching. Semi-structured interviews with final year undergraduate students of architecture formed the basis of the study using an interpretivist approach informed by Actor-network theory, with studio culture featured as the focal actor, enrolling students and engaging with other actors, together constituting an actor-network of studio culture. The other actors included social community patterns and activities; the numerous working spaces (including but not limited to the studio space itself); the equipment, tools of trade and material pre-requisites for working; the portfolio enrolling the other actors to produce work for it; and the various formal and informal events associated with the course itself. Studio culture is a highly charged social arena: The question is how, and in particular, which aspects of it support learning? Theoretical models of situated learning and communities of practice models have informed the analysis, with Bourdieu’s theory of practice, and his interrelated concepts of habitus, field and capital providing a means of relating individually acquired habits and modes of working to social contexts. Bourdieu’s model of habitus involves the externalisation through the social realm of habits and knowledge previously internalised. It is therefore a useful model for considering whole individual learning activities; shared repertoires and practices located in the social realm. The social milieu of the studio provides a scene for the exercise and display of ‘practicing’ and the accumulation of a form of ‘practicing-capital’. This capital is a property of the social milieu rather than the space, so working or practicing in the company of others (in space and through social media) becomes a more valued aspect of studio than space or facilities alone. This practicing-capital involves the acquisition of a habitus of studio culture, with the transformation of physical practices or habits into social dispositions, acquiring social capital (driving the social milieu) and cultural capital (practicing-knowledge) in the process. The research drew on students’ experiences, and their practicing ‘getting a feel for the game’ by exploring the limits or boundaries of the field of studio culture. The research demonstrated that a notional studio community was in effect a social context for supporting learning; a range of settings to explore and test out newly internalised knowledge, demonstrate or display ideas, modes of thinking and practicing. The study presents a nuanced interpretation of how students relate to a studio culture that involves a notional community, and a developing habitus within a field of practicing that extends beyond teaching scenarios.

Informal networked learning as teamwork in design studio Cmyview: using mobile digital technologies to connect with student's everyday experiences

CmyView is a research project that investigates how mobile technologies have the potential to facilitate new ways to share, experience and understand the connections that people have with places. The aim of the project is to theorise and develop a tool and a methodology that addresses the reception of architecture and the built environment using mobile digital technologies that harness ubiquitous everyday practices, such as photography and walking. While CmyView is primarily focused on evidencing the reception of places, this chapter argues that these activities can also make a contribution to the core pedagogy of architectural education, the design studio. This chapter presents findings of an initial pilot study with four students at an Australian university that demonstrates how CmyView offers a valuable contribution to the educational experience in the design studio.

Changing relationships: activating student and staff engagement in a design studio

In the design studio learning environment, traditional student and staff expectations are of close contact teaching and learning. In recent years at QUT students have experienced reduced personal staff attention, and have increasingly felt “anonymous” and correspondingly disengaged, to the detriment of quality learning (Carbone 1998: 8; Biggs 2003). Concurrently, there has been a necessary increase in teaching by sessional staff at QUT with varied levels of experience and assurance. This paper outlines the first iteration of an action research project exploring whether changing the current QUT design studio student and staff relationships may lead to more engaged, dynamic learning environments. “Engagement” is understood as a primarily emotional, rather than operational student concern (Solomonides and Martin 2008; Austerlitz and Aravot 2007). The project inverted the standard QUT design studio teaching structure, and evaluated the new structure and activation of student engagement across four identified markers: attendance, participation, learning and performance (ACER 2009; NSSE 2005; Chapman 2003). Student and staff surveys and focus groups, corporate data, and informal feedback informed these evaluations. Overall, the results support the premise that when students and staff feel part of a reasonably-sized studio class with a dedicated lecturer and self-selected project, the majority are inclined to value these relationships, to feel actively engaged, and to experience some improvement in their learning and teaching performances.

Changing relationships : Re-activating student and staff engagement in the design studio learning environment

QUT Teaching and Learning Support Services 'Revisiting University Teaching’program for mid-career academics. 'Innovations in Teaching at QUT' presentations. Presentations were part of a 2 day program that provides opportunities for experienced academic staff with responsibilities for teaching to review their current teaching practices and explore innovations in teaching that will assist them to enhance student learning and develop their own scholarship of teaching. The presenter responded to the following: 1.What is the innovation you have incorporated into your teaching? - give a brief overview/ description/ demonstration of the innovation 2.What challenges/issues prompted you to make changes in your approach? Were they discipline specific? Operational? Opportunistic? 3.What factors did you need to consider in implementing these changes? Which factors enabled success or hindered? 4.What has this innovation achieved so far? How have learners responded? How have the broader teaching team and academic staff from other units in your course responded? 5.How could this innovation be used by other academics in their teaching? What do you see as the possibilities for further expansion of this innovation? (NB. This question could be answered as part of a final sharing of group discussion). Presenter: Shannon Satherley