Architectural Pedagogy

The following essay sketches varieties of imagination operative in the best architectural work. It was published in Warehouse Journal, a student-edited journal produced annually by the Faculty of Architecture, University of Manitoba. Student editors for Warehouse 25 were, Alena Rieger and Ally Pereira-Edwards.

To cite this paper:  Ford, Chris. (2003). “The Gap and Its Effect on Architectural Education” In Proceedings of Finishing School: Inquiries into the Completion of an Architectural Education. 2003 ACSA-SE Regional Meeting, University of South Florida, Tampa FL. November 2003. p.72-78.

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In plain view, the Gap is defined by the edges of where an individual’s formal architectural education ends and where one’s contribution to the profession begins. The Gap has interesting implications for architectural education. A degree in architecture signifies the completion of a curriculum that refines one’s ability to create and hones their ability to problem-solve. It is the role of the academe to create critical thinkers equipped with the sensibilities and skills to become architectural-minded problem solvers. Such a position on part of the academy has not only yielded capable
architects, but also individuals who ultimately choose to pursue sibling design disciplines. The receipt of an architectural degree signifies the acquisition of a particular abstract set of skills, and not the acquisition of the technical know-how
necessary to be an immediate contributing force to the architectural profession.
It is the role of the profession, not the academe, to educate young architects to the realities of the profession. As suggested by the atelier studio model, the profession must be reminded of its own responsibility for (and proficiency with) the education of recent graduates and interns. (The NCARB IDP program, at least in principle, is indicative of this realization.) While architectural education was first institutionalized by American universities in the late 1800s, a formal education was not required for professional licensure. The “greenlight” for professional proficiency was awarded only after having served significant time in a professional office. Yet, schools of architecture have recently been showing signs of extreme self-consciousness. Polls in architectural trade journals as well as the Carnegie / Boyer Task Force have prompted many schools of architecture to undergo both an individual and collective self-examination. The title of this very conference -- “Finishing School” – reiterates an
implied need to make a figurative distinction, however fine or broad, between the end of preparatory education and the start of professional practice.

One must recognize architectural education is the result of both our discipline’s academy and profession, together. Each serves a different role and, as such, teaches the future architect in different, yet equally beneficial ways.

Recently there has been a growing trend to encourage learning outside the classrooms, so-called 'universities without walls.' To this end, mechanisms for learning beyond the boundaries of classroom settings can provide enhanced and challenging learning opportunities. This paper introduces Appreciative Inquiry (AI) as a mechanism that integrates various forms of inquiry into learning. AI is operationalized as a Walking Tour assessment project which was introduced as part of the class Cultural and Behavioural Factors in Architecture and Urbanism delivered at the Department of Architecture, University of Strathclyde – Glasgow where thirty-two Master of Architecture students were enrolled. The Walking Tour assessment involved the exploration of 6 factors that delineate key design characteristics in three retrofitted buildings in Glasgow: Theatre Royal, Reid Building, and The Lighthouse. Working in groups, students assessed factors that included context, massing, interface, wayfinding, socio-spatial, and comfort. Findings reveal that students were able to focus on critical issues that go beyond those adopted in traditional teaching practices while accentuating the value of introducing AI and utilizing the built environment as an educational medium. Conclusions are drawn to emphasize the need for structured learning experiences that enable making judgments about building qualities while effectively interrogating various characteristics.
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Please cite this article as: Salama, A. M., Maclean, L. (2017)  Integrating Appreciative Inquiry (AI) into Architectural Pedagogy: An Assessment
Experiment of Three Retrofitted Buildings in the City of Glasgow, Frontiers of Architectural Research (2017),  http://dx.doi.org/10.1016/j.foar.2017.02.001

Curricular answers to the questions, "What is fundamental to design?" and 'What must be taught first now?" frame what students perceive as the core of their discipline and generate different student products and learning outcomes. The meth-ods students learn in the beginning set in motion ways of work-ing that can be more—or less—easily built on by future courses and instructors.
This paper tells the story of experiments in beginning design education for 3.5-year Master of Architecture (March-3) stu-dents. We examined the aforementioned questions for these students without prior architectural education. In the fragment-ed post-modern theoretical landscape of architecture schools, having faculty members align on these questions allows pro-gressional logics. In the absence of a shared framework, stu-dents attempt to construct their own knowledge systems to integrate the multiple instructors' points of view. The essence of our work was to frame six essential lines of knowledge devel-opment in building the consciousness of an architect and to identify the fundamental level (1:) of knowledge and skills for each. By this we arrive at a low complexity, level 1 to level 1 correspondence among all six related and co-defining but irre-ducible knowledge lines—yielding beginnings that are in no way proto-architecture, but rather, buildings.

Developing complexity stands in stark contrast to a common pedagogy found in our school and (with variations) in many others, focused on: 1) A single spatial-formal line of develop-ment; 2) Pre-architectural abstract composition; and 3) An addi-tive process of sequentially increasing form-driving issues over long time periods. Instead, in starting our compressed graduate program, we found success in an integrated beginning studio curriculum, teaching students to design buildings, ad-dressing at a beginning level: 1) site and context, 2) program and use, 3) form and space, 4) human experience and feeling, 5) architectural ideas and meaning, and 6) building technology. Beginning design becomes a curriculum of multiple relation-ships at 1:1, that is, among the first level of each line.

In his 1951 Darmstadt Symposium lecture “Building Dwelling Thinking,” (later published in 1954,) Martin Heidegger argued that “The essence of building is letting to dwell.” As a central theme of architectural phenomenology, Heidegger’s notion of “dwelling” is significantly unexplored. This thesis is a collection of essays on “Heidegger’s dwelling” and is an original contribution of knowledge for the study of architectural phenomenology, within the wider discourse of architectural theory and history. It is my argument that Heidegger’s dwelling, when presented as a narrative, serves as a pedagogical device for architectural theorists. Through narratives, theorists can identify with the poetic essences of buildings, and underpin that which Heidegger claimed to be “concealed in the tectonics of architecture since ancient times.” For Heidegger, it is essential that the architect consider their function in a poetic manner, as thus the role were that of a character within an epic poem. Theoretically speaking, Heidegger encourages architects to draw upon the rich poetic legacy of mythologists, and to set free the essence of building from linguistic trappings. Unlike his magnum opus “Being and Time” (1927), Heidegger’s later works (specifically the lectures “The Thing,” and “...Poetically Man Dwells...”) are primarily a philosophical departure into poetics, and the significance of the phenomena into a wider understanding of dwelling. Therefore, in accordance with the philosophical line of inquiry first established by Heidegger, I have written this thesis as a collection of essays to advance Heidegger’s specific narrative of architectural phenomenology. This thesis, like that of Heidegger’s collection of lectures, is not an attempt to provide new design ideas for buildings. Rather, it is best described as a conceptual exploration for how the body of knowledge approaches architectural phenomenology, and the poetic existence of Heidegger’s dwelling across a range of themes concerning buildings and environment.

The genealogies of doctoral education in architecture can be traced to earlier distinct academic disciplines, but in the last decade design-based dissertations have changed the discourse and valuation of qualities. This newer strand, extending from integrative /collaborative studio-based learning, aligns more closely with professional doctorates in other fields. From the sole researcher model of Harvard’s doctor of Architecture, to the group-thesis model of the Berlage Institute Rotterdam, to the current reflective practitioner model of RMIT, doctoral architecture education has been customized for crossing between academic design education and into other industries or audiences. The epistemological challenge is to produce exemplary design intelligence and a substantial body of professional knowledge, customized for individual skills and outcomes, in an increasingly decentralized and mobile profession (an Engaged PhD in Architectural Intelligences). As such, the under- examined assumption of customization in architectural design-based doctoral education is here redesigned under the promise of the Mass Customization movement of industrial production, articulated as a promise for mobility and innovation within the educational-industrial complex. From the generated insights into agility and uniqueness as the doctoral values, a new model of decentralized mastery is offered. It will then be argued that this new flexible model aligns theoretically with the Deleuzian notion of Nomad Science, and the alternative forms of knowing implicated in these itinerate models. From Mass Customization and Nomad
Science, this paper concludes with a proposal to imagine a radical type of customized and distributed emergent knowledge network, as already exists in some industries, and as seen in the multi-sited doctorates now appearing in some disciplines.

Architectural knowledge has a dynamic character and can be discovered collectively during architectural education. The place of this discovery and production process can be considered as the “studio” and this studio doesn’t have to be limited in a building. To extend the limits of the studio to city scale creates new opportunities both for the students and the locals. Visiting different parts of the city and converting those places into a studio triggers encounters. Every encounter is a creative and productive act. As a course of its nature, the city is the place of confrontations and encounters. Being, producing and discussing in the city creates an atmosphere where intellectual, imaginative and creative encounters emerge. This emergence can be considered as a flash- mob. Flash-mobs demonstrate the power of bodily experience and highlights the importance of performativity. Each student constructs a mental and muscle memory by his/her own bodily experience during the studio hours in the city. This experience let us to create an extra curriculum such as historical, socio- economical, natural and cultural aspects and everyday life practices of the place. In this paper, I would like to discuss my way of teaching as a retroactive research. I prefer to use the city – Istanbul – as a studio and visit different parts of it for my courses. In this way, an architectural course turns into a retroactive research based on bodily experience. Each event of perception opens up to its own world and the world of perception is merged with the real world itself. When you use the city as a studio, the dynamic character of architectural knowledge unfolds itself and extends its content. In this critical pedagogy, architectural education becomes interactive between the city users and the students and transforms both of them.

Salama, A. M. (2005). Skill-Based/Knowledge-Based Architectural Pedagogies: An Argument for Creating Humane Environments. In Proceedings of 7th International Conference of the IAHH-International Association of Humane Habitat-Enlightening Learning Environments,  Mumbai, India.
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This paper argues for a more responsive architectural pedagogy that enables future architects to create humane environments and that emerges from and responds to societal, cultural, and environmental needs. A critical analysis of a number of thematic issues is provided to delineate the gaps between skill-based and knowledge-based pedagogies in the educational process of architecture. The paper provides a number of scenarios that help bridge these gaps while integrating knowledge contents necessary for creating humane environments.

Jacques Lecoq is recognized as one of the most influential pedagogues of modern theatre. Nevertheless, his contribution to architectural education is little known and quite underestimated. My contribution aims to show how embodiment and enacting exercise can help architects to rediscover the value and the authentic meaning of architectural environment as theatre of life.

"This paper argues for a pre-theoretical and pro-theatrical understanding of theory. To begin, it considers the Greek tradition of theōria as practiced around the fifth century BCE in the period just before Plato appropriated the cultural practice of theōria as a model for philosophical inquiry. As will be shown, this proto-philosophical practice of theōria was profoundly theatrical, which is to say, spectacular and dramatic in social, situational, and symbolic ways. Such events of theōria involved diverse citizens participating as active witnesses in recurring festivals that had both intimate and far-reaching political, religious, and aesthetic significance. Reflecting on some present-day settings and occasions for practicing theory, this paper concludes with a disciplinary provocation: the re-engagement of theōria’s fundamental theatricality can reanimate the social, situational, and symbolic dimensions of architectural theory, without sacrificing either its relative independence or its capacity for heuristic wonder.
      Before theory was a thing, it was a practice. In ancient Greece theōria was a spatiotemporal practice thoroughly intertwined with socio-political experiences and endeavors. The cultural practice of theōria involved traveling to a foreign place, primarily for the sake of witnessing a spectacular festival and/or consulting an oracle, then returning home to share with others an account of events seen and understandings gained. All three stages of theōria – traveling, spectating, and returning with a report – were vitally important. Individuals would temporarily leave behind the familiarity of their local conditions, assumptions, and problems to immerse themselves in intensely social, synesthetic, and metaphysical encounters at a Panhellenic festival. They would then return home with the obligatory challenge of communicating the truth of what was witnessed to those who stayed behind...." — Lisa Landrum

Although much has been said about the direct relationship between art and architecture, little has been done regarding how historically significant works of art may be utilized as sources of inspiration for the architectural production of today.  We may cite several historical and aesthetic analyses on such works of art and their particular zeitgeist, but how might such a work of art illuminate and extend today's architectural process, theories and ideas? 

In other words, (1) how does the past (in)(de)(re)form the present?  and (2) how do another discipline's insights (in)(de)(re)form our discipline's process of ideation?  Having these thoughts in mind, a pedagogy was developed to make students realize that (1) architecture deals with issues and ideas that transcend the purely programmatic (i.e., 'functional') and the stereotypically formal; (2) new architectural ideas may come from old and non-architectural sources; (3) ideas are discovered and evolve through a staged critical process, as opposed to a singular act of explanation ; and (4) the role of the architect/designer is one of interpreter, as opposed to imitator, of one's surroundings, culture, tradition, etc

Learning parametric design software can be very daunting for the beginning design student, particularly those with limited software experience. By the same token, the remarkable ease of contemporary visual programming languages such as Grass- hopper can often yield a kind of banal uniformity to the work; we see this in the glut of twisty towers and endlessly panelized surfaces found in almost any architecture school. This paper presents one approach to addressing the challenge of how best to introduce these powerful tools at an early stage of a design curriculum. The approach, developed through a series of introductory courses and workshops, explores how parametric tools can be applied to two conventions of the architectural design process: iteration and representation.

"Cambiar de vida" busca establecer las particularidades que determinaron las tomas de postura de la Escuela de Arquitectura de la Universidad Católica de Valparaíso respecto a la escena pública entre los años 1967 y 1973, período caracterizado por el desarrollo de la Reforma Universitaria y una alta polarización del país. Durante estos años, cabe precisar, la Escuela vio florecer gran parte de su producción más significativa y provocadora, desde sus inicios en 1952, dentro de la cultura arquitectónica chilena moderna.

In an era where mainly growing bottom-line profits are the focus of universal corporate cultures , being creative and experimental is less affordable, and also there is a lack of equal opportunities for all. Architecture, both in practice and education terms, remains competitive and very much attached to the rich-client/genius-architect couple. In my pedagogy, I critique and challenge this enterprise by taking a different approach that allows and reinforces creativity and experimentation for students, while equipping them to become emergent professionals with skills to envision and produce a more social and more public architecture that integrates larger concerns. In doing so, I have developed a pedagogical model that is based on exhibitions and art installations which I had used and tested as part of my Thesis Lab course.

This study presents an educational programme called "YogArch" which aims to teach the structural principles of architectural elements by body experience. In this programme which is designed by the author, "yoga" is used as a medium for exploring the limits of the body and relating human body with building structures. This paper includes the schedule of the programme explaining all asanas and the structural elements in architecture that are matched. Some examples from the practise of YogaArch schedule in a number of workshops are also mentioned in the paper. Being carried out particularly or as a part of a chain of workshops, YogArch is found to be a beneficial educational programme in arising awareness on built environment.

Smriti Saraswat is trained as an architect and interior designer. She was awarded the Letter of Merit for academic excellence in Master of Interior Architecture and Design, by the CEPT University, Ahmedabad. She is currently an Assistant Professor in the Department of Architecture and Planning at IIT Roorkee (Uttarakhand, India), and a joint faculty member in the Department of Design, IIT Roorkee. She is passionate about Architectural Heritage; Tangible and Intangible Cultural Heritage; Traditional Building Practices, Indian Knowledge Systems; Indigenous Communities; Interior-Architecture; Craft and Technology; Material Culture and Design-Build Procedures; Creative and Cultural Industries; Skill Development; Entrepreneurship, Trans-Disciplinary Explorations and Cross-Sectoral Collaborations; Narratives; Anthropological Quests and Ethnographic Approaches in Architecture; Women Empowerment; Curriculum and Pedagogy Development; Research Methods.

She has worked on – prestigious projects focusing on museums and conservation while doing internship with the Development and Research Organisation on Nature, Arts and Heritage (DRONAH), Gurgaon; projects and events discussing craft & technology, design innovation and interior-architecture during her tenure as a senior researcher at Design Innovation and Craft Resource Centre (DICRC), CEPT University, Ahmedabad, with a focus on conducting workshops, prototyping, developing monographs based on these, and creating material inventories; projects and events focusing on indigenous communities (especially women artisans), art-craft-interior-architecture traditions of Uttarakhand and visual and cultural narratives from the Himalayan state with IIT Roorkee and Ministry of Culture; and, a joint project (Co – PI with Prof. Harshit Lakra, IIT Roorkee) on Model Village Development for the Juang Tribe of Odisha, funded by HUDCO. She has taken initiatives to promote the role of craftspersons, especially women artisans, in the non-traditional sectors like education and encouraged their participation in varied courses, workshops, exhibitions and events at IIT Roorkee. She got a Research Grant “Experimental Architecture and Material Culture (EAMC)”, under the Scheme ‘A New Passage to INDIA’ (2019-2022), sponsored by DAAD, Germany, in collaboration with Prof. Axel Sowa, RWTH University, Aachen that focuses on architectural heritage, material culture, building crafts and experimental architecture. The project EAMC has received an extension of duration and funding, until Dec. 2023. Currently, she is involved in the capacity of a co-investigator, in the Project “Traditional Principles of Settlement Planning in Heritage Temple Sites of Odisha/ Erstwhile Kalinga Region”, along with Prof. Rabi Mohanty, IIT BHU, sanctioned by AICTE, under the Scheme ‘Indian Knowledge Systems’

Her Ph.D. (submitted in Nov. 2022) is an attempt to explore and investigate material culture, traditional architecture and building crafts of the Himalayan state of Uttarakhand in India, with a focus on community-based knowledge systems. She has received several grants and scholarships; organised varied national and international workshops; training programmes; short term courses, including GIAN and SWAYAM NPTEL under the aegis of Ministry of Education; trans-disciplinary academic workshops at IIT Roorkee that focus on materials; heritage; craft and technology; interior-architecture; and, design innovations.; set up collaborations with National and International schools and organisations; conducted FDP courses; contributed in training and capacity building programmes; and authored several publications. She has a work experience of fifteen years. She loves to travel; document; read; create photo essays; and tell stories.

OUTREACH

Contact: smritisaraswat@gmail.com ; spacefap@iitr.ac.in ; +91 75000 611 99
Faculty Profile: https://iitr.ac.in/Departments/Architecture%20and%20Planning%20Department/People/Faculty/100600.html https://iitr.ac.in/Departments/Department%20of%20Design/People/Joint%20Faculty.html 
https://ir.iitr.ac.in/MajorProjects
https://ir.iitr.ac.in/blog/posts/961/ 
Google scholar id: https://scholar.google.co.in/citations?user=0Jj-c5oAAAAJ&hl=en 
ORCID id: https://orcid.org/0000-0001-6133-1979  ;
SCOPUS id: "Saraswat, Smriti"  56739028300
Academia: https://iitr-in.academia.edu/SmritiSaraswat

Tras rápidas consideraciones sobre la evolución de la tipología del teatro y de la escenografía, se profundiza la relación entre arquitectura y teatro a partir de la consideración del papel de la corporeidad, del movimiento y de la gestualidad. En este contexto se analizan aspectos de la pedagogía mimodinámica desarrollada por Jacques Lecoq en su escuela de teatro y, conjuntamente, durante su enseñanza a los estudiantes en arquitectura en la ENSAPLV de Paris: un método que favorece la comprensión de la relación dinámica entre el ser humano, como sujeto encarnado, y su entorno arquitectónico.

In an architect’s education, the design review is an event where students present a design scheme in front of a panel of critics, in order to receive feedback. The nature of feedback is usually more evaluative than informative, and its delivery is predominantly instructive and in the form of monologues. In an environment that appears to be more authoritative, students often feel intimidated, and some are reluctant to participate in a dialogue and interact.

This thesis through the observation and classification of oral feedback in undergraduates’ architectural design review, explores dialogic enquiry as means of teaching and assessment that can promote interaction. The research draws on the method of Grounded Theory to identify three principal feedback typologies: Direct Suggestions, Reflecting Questions, and Abstract Suggestions, and a principal comment typology, Clarifying Questions. Based on empirical evidence, four student-presentation factors seem to influence the typologies’ frequency: Well Comprehended Scheme, Poorly Comprehended Scheme, Less Communicative Student, and Well Developed Scheme. Students’ and critics’ participation duration was also documented.

A new method for recording design reviews produces coded transcripts designed to accommodate these objectives.  The results assist in understanding dialogic enquiry as a condition that promotes interaction, which can constitute design review a social, participatory, and experiential activity.

The outcomes suggest the need for more dialogue and more questions, and more importantly, a shift in the general mentality of approaching design reviews from ‘fault-finding’ and prescriptive feedback, to a more exploratory learning situation that sets an example on how to be critical of someone’s work and share ideas in a professional and social environment.

The research proposes a concise theoretical framework predicated on dialogue and enquiry for design tutorials and reviews that can become part of the training for design teachers in Schools of Architecture, as well as Schools of Design.

"As the power shift from material culture to media culture accelerates, architecture finds itself in the midst of a clash between centuries old analog design methods (such as tracing paper, vellum, graphite, ink, chipboard, clay, balsa wood, plastic, metal, etc.) and the new digital systems of production (such as scanning, video capture, image manipulation, visualization, solid modeling, computer aided drafting, animation, rendering, etc.).  Moving forward requires a realization that a material interpretation of architecture proves limiting at a time when information and media environments are the major drivers of culture.  It means to pro-actively incorporate the emerging digital world into our traditional analog work.  It means to change.

Building conservation is concerned with the sensitive treatment of old buildings, which can be expressed through both theory and practice. Both fields develop as independent sources of information, yet there has not been the equivalent development for linking these two bodies of knowledge together. There is historical evidence of architectural practice being a product of both theoretical and practical knowledge, with building craft playing a critical role in this. With the formalisation of the architectural profession leading to a more rule-based and isolated educational pathway, craft training was removed from architectural study. With building craft removed from the educational process, an architect may not be reaching optimal standards when working with listed buildings. Through the reintegration of building craft into architectural education, the study proposed this unified theoretical and practical pedagogic environment would enhance design quality within building conservation. Therefore, the aim of the study was to investigate the impact of experiential learning on the educational process of architecture, using craft as a supplemental enabler. A mixed methods approach was used to triangulate results from a series of surveys, interviews, and a true experiment. The surveys gathered opinions on the relationships within craft, architecture, building conservation and architectural academia. The interviews were conducted with heritage professionals specifically working within roles related to education, training and learning. Finally, the true experiment tested the impact of experiential learning on the design quality of architecture students. The findings suggest that experiential learning within architectural education has a significant impact on a student’s ability to understand the complexities of building materials. This understanding is not only critical within building conservation but can also encourage a more integrated approach to fulfilling the RIBA/ ARB course criteria. The results suggest that experiential learning is also beneficial within the professional heritage sector, as it helps encourage a greater understanding between heritage professionals and craftspeople, leading to the improved delivery of building conservation projects.

To cite this paper:  Ford, Chris. (2010). “The Design Studio as Public Provocateur” In G. Forsyth, ed., ConnectED 2010: Proceedings of 2nd International Conference on Design Education, University of New South Wales, Sydney Australia. ISBN: 978-0-646-54506-6. June 28-July 01, 2010.

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For the architectural educator, are service-learning design problems a reasonable strategy for design studios when students will spend their professional careers engaging and navigating the realities of architectural practice? One alternative to conventional service-learning design problems does not simulate likely design constraints in professional design problems, but rather, suspends such constraints towards exploiting the safety and creative opportunity afforded by the academic arena. After all, one must remember that a complete architectural education is the result of both our discipline’s academy and profession, together. Each serves a different role and as such, teaches the future architect in different, yet equally beneficial ways. Given these plural contexts within which future architects learn, when an educator utilizes a service-based design problem as a vehicle for fulfilling stated curricular goals, then how ought the academic design studio best incorporate this project?  This paper examines an array of issues with beneficial and detrimental effect to service-learning projects in the architecture design studio. Specifically, three design problems from annually-successive 4th year undergraduate architecture design studios are presented in terms of their fulfillment of curricular goals and transcended public value beyond the extent of fulfilling these curricular goals. In these cases, service-learning studio problems act as provocateurs as these three studio design problems are framed from a deliberately edu-preneurial sensibility. The projects featured are a Museum of Agricultural Technology (MoAT), a Center for Energy Sciences Research (NCESR), and a US Air Force Cyber Command facility (AFCYBER).

Should architectural education pull away from the design studio as the dominant form for architectural education? Can live projects offer a more relevant, inclusive, and engaging model? In order to establish points of divergence from studio-based learning and using a definition of live projects established in collaboration with Colin Priest, a comparative analysis is made between contemporary architectural live projects and the Public Art Projects led by David Harding at the Environmental Art Department, Glasgow School of Art from 1985. This comparison reveals the potential of live projects to extend collaborative ways of working beyond graduation and between the university and its community. With reference to Lave and Wenger’s theory of situated learning as legitimate peripheral participation the paper demonstrates how live project learning can be understood and valued. A case is made for a shift towards a transformative, democratic and holistic form of learning made possible by live projects.
Keywords: live projects, design studio, architectural pedagogy, public art, situated learning.
Paper available at: http://ingentaconnect.com/content/arched/char/2014/00000001/00000001

Kelly hutzell is an assistant professor of architecture at Carnegie mellon university. she holds a joint appointment between pittsburgh, pennsylvania and doha, qatar, teaching urban design studios and seminars, including the urban laboratory, urban design methods and mapping urbanism. in addition to teaching and conducting research on urban public space, she is a licensed architect in the Commonwealth of massachusetts and a leed accredited professional. Kelly is a senior associate at the multi-disciplinary boston-based practice over, under. she has over ten years of experience focused on urban design, cultural and institutional projects including the doha design Zone, university of arkansas, arizona state university and the pacific northwest College of art. rami el samahy, assistant professor, school of architecture, Carnegie mellon university, is an educator and practicing designer in the areas of urban design and architecture. el samahy is a founding member of over,under, a multi-disciplinary design studio with projects in the middle east, Central america and the united states. he has been involved in the design of projects in egypt, lebanon and guatemala, competitions in south Korea and philadelphia, a study for a red sea resort, and the re-imagining boston City hall project, sponsored by the boston society of architects. he currently holds joint appointments between Carnegie mellon's campuses in pittsburgh and in doha, qatar, where he teaches urban design and architecture studios, as well as a seminar entitled Contemporary middle eastern Cities. his current research focuses on alternative strategies for sustainable urban design.

Ultimii cinsprezece ani au însemnat o înflorire
a numeroaselor şi variatelor forme de educaţie
arhitecturală alternativă în România: ateliere
teoretice, workshop‑uri aplicate, şcoli de vară
şi tabere de arhitectură ce formează astăzi
un întreg ecosistem de educaţie nonformală
dedicat studenţilor, aflat atât în afara
învăţământului superior de arhitectură, cât şi
a practicii profesionale.

Built environment education is becoming more popular and crucial as far as a bigger percentage of the world population is living in urban areas day by day. Therefore built environment education is an essential part of urban culture. This study presents two different examples of workshops carried out with children aged between 8-12 years old. The intention of these workshops was to raise children's awareness on their built environment and architectural culture.

The purpose of this study is to examine how do architectural students transform their knowledge and data obtained at the design session, to form their decisions in the various design phases. For this purpose, a model that examines the transformation of knowledge by means of analyzing students representations, has been developed. This model was correlated with the data collection model about the design problem. Solutions demonstrated through time line, indicated the relationship between the two models, and were examined out if the designer was reformed data spatially, functionally, symbolically, typologically, technologically, or socially. The implementation of the proposed models has been fulfilled by a case study carried out at the urban design studio at the Department of Architecture at Mosul University which protracted for one semester, and the results were demonstrated graphically to declare the impact of each item of the second model on the various design phases.

ARCH 7050 M1-Arch Studio 5 + Comp. Program Report (9 credits) ARCH 7070 M2-Design Research Studio (9 credits) Prof. LISA LANDRUM Lisa.Landrum@umanitoba.ca #300 Arch 2 | 204--480--1037 COURSE OUTLINE | distributed Sept. 14 th Office Hours: Tues 3--5 http://umanitoba.ca/faculties/architecture/programs/architecture/phantasmagoria.html Phantasmagoria ... the morphine had its customary effect -that of enduing all the external world with an intensity of interest. In the quivering of a leaf -in the hue of a blade of grass -in the shape of a trefoil -in the humming of a bee -in the gleaming of a dew-drop -in the breathing of the wind -in the faint odors that came from the forest -there came a whole universe of suggestion -a gay and motley train of rhapsodical and immethodical thought... -Edgar Allan Poe, A Tale of the Ragged Mountains, 1844

The gap between the reality of a changing world and the established teaching and learning models is addressed in “The Challenge of Change in Living Environments: Implications and Opportunities for Architectural Education”. The chapter argues that changes in architectural education, in particular in housing design studios, are necessary to face the ongoing transformations in living environments in cities around the world which are driven by multiple forces: Globalization, increased mobility, massive movements of labour forces, immigration flows, technological developments, economic fluctuations and terrorism. Some of their consequences are lack of affordable housing, homelessness and overcrowding, and social integration problems. However, in spite of these ubiquitous and tangible transformations, architectural education—in particular design studio pedagogy—seems to be “an isolated island in the middle of a complex reality”. To overcome this insularity, it would be necessary to adopt “multidisciplinary approaches in studio pedagogy, going beyond disciplinary and academic boundaries, and cancelling out the tensions between global dynamics, cultural diversity and local realities”. In the same way as living environments change, so does the architectural profession. Furthermore, there is a lack of correspondence between what architects are expected to do in a changing and global society and what they learn at schools: “Architectural educators continue designing and teaching the studio on the basis of what an architect currently is or was”, rather than what they will do as professionals. Solving the incongruity between the fast-moving world and conventional academic education is an opportunity to reflect about the profession and contribute to its renewal. To undertake such transformation in architectural education and practice, the housing design studio needs to be reconstituted. It is necessary to overcome disciplinary and academic boundaries and deal with global forces and local socio-spatial realities in design studio work. In a re-formed housing design studio questions posed by society would not be taken as fixed and well-defined problems but as opportunities “to investigate how social and life patterns evolve” through research-based design. Therefore, such a design studio would not be an island detached from the complexity of the world but interwoven within it, and design would be seen not as a formal solution to a well-defined problem but as an instrument to investigate the nature of the problems in their own real context. Thus, pedagogical models based on “project-based learning”, “research as design”, “designerly research”, and “action research” would suit to the goals of this reformulated design studio.

This paper discusses Architectural History and Theory at the Graduate School of Architecture, University of Johannesburg in 2019. The curriculum is centered on a series of conversations as the means to generate forms of engagement for a plurality of voices, contested views and dialogic encounters, as a way of working toward an alternative institutional imaginary. The focus on conversation and dialogue aims to create a space for slow and shared scholarship, to become a manifestation of spatial resistance to the imperatives of the neoliberal university and global economies of higher education. This paper discusses some of the key conceptual and practical moves undertaken in the development of a new history and theory course through examples of student work. The paper points to inclusive and reflexive pedagogical methods and modes of collaboration as central to resistance, and as the means that enable generative and supportive networks across geographic and institutional boundaries.

Digital instruments are among the means of production of architecture. This improved productivity and reduced errors and inaccuracies in architectural design; however, in the case of parametric design, there is the risk of mistaking tools that may improve the overall quality of architecture for an approach that, as intrinsically scientific, guarantees quality architecture. This misunderstanding may characterise students’ first experience with parametric modelling. Therefore, a workshop has been developed as a seed to unfold the formal potentiality of parametric modelling with limited methodological bias and to inform on what to expect from parametric modelling. The workshop results show a preference for some parametric strategies over others. This tendency can be linked to those morphologies that, due to collective bias, are perceived as parametric; Consequently, the importance of working simultaneously on technical competence and cultural aspects of parametric architecture emerges as a necessity

Architecture as taught and practiced through educational institutions often tends to follow prescriptive models that can be defined as either scientific or theoretical, grounded on inductive or deductive reasoning respectively. Scientific models exemplified by the computational turn attempt to capture reality into 'accurate' 1:1 representations reducing its complexity into a problem-solution dialectic. On the other hand, theoretical models are epitomized by the reinvigoration of various -isms and the blind adherence to prevalent methodologies, styles and epistemes. This paper traces a critical alternative to practices rooted in dominant models by exploring an architectural re-iteration of Felix Guattari's "meta-model". Based on abductive logic, Guattari's four-fold metamodelization scheme traces the formation of the subject through the relationality between models (defined as patterns) and the crystallization of subjectivity as it transverses these relations. Beyond merely extending the notion of subjectivity to the making-of-territories, the methodological movements of Guattari are also applied to the creative process. By adopting a problematic approach rather than an axiomatic one, by complexifying questions rather than reducing them to a solutionist imperative and by acknowledging existing models while developing a sensibility towards their genesis, the creative process is transformed from teleological and product-oriented to a tool that explores a proliferation of quasi-methodologies and self-reflective models. In a field where difference is measured in variation of products and success into numbers, the paper acknowledges the precarity and possibility of failure of such an approach but also dwells on its queer potential to pluralize existing methodologies and destabilize dominant models. Echoing Jack Halberstam in The Queer Art of Failure, the paper concludes by folding this approach unto a de-centering of the role of the educator not as one of "leading" towards a resolution but rather one of problematizing and deterritorializing the creative process by navigating through knowledges instead of mapping existing ones.

The Routledge Companion to Games in Architecture and Urban Planning aims to identify and showcase the rich diversity of games, including: simulation games, game-like approaches, game scenarios, and gamification processes for teaching/learning, design and research in architecture and urban planning. This collection creates an opportunity for exchange and reflection on games in architecture and urban planning. Theoretical discussions, descriptive accounts, and case studies presenting empirical evidence are featured; combined with reflections, constructive critical analysis, discussions of connections, and various influences on this field. Twenty-eight international contributors have come together from eleven countries and five continents to present their studies on games in architecture and urban planning, pose new questions, and advocate for innovative perspectives.

In this paper, we discuss an academic design-build project in terms of parallels which exist between the project and professional practices of design-then-build. We establish that the academic design-build studio and professional practice create their respective identities in how they deal with common concerns such as limited time, budget and material resources and issues of liability in the design process. Yet, differences between academic design-build and professional practices exist. We argue here that design-build is not a small version of professional practice, but is in some respects its reversal or counterpoint.

There is evidence of architectural learning being a product of both theoretical and practical knowledge, with traditional building craft being part of the original route to becoming an ar- chitect, or ‘master builder’. With formalised schools of architecture emerging within the Beaux- Arts period, the educational pathway for architects distanced itself from practical ‘on-site’ ex- perience, ultimately removing building craft from architectural pedagogy. This lack of experi- ential hands-on learning within architectural education could impact an architect's ability to deliver appropriate design solutions when working with built heritage, where the knowledge of traditional building is of great importance. The impact of experiential learning was investigated within the architectural design studio, using a pilot study comparison experiment with two groups of architecture students. One of the groups was exposed to a hands-on building craft exercise (the other group was not) and the impact of this exposure was tested using a design task. The differences between the two groups approach to the design task were analysed using a one-way ANOVA. The findings of the research suggest that the incorporation of experiential hands-on learning within the architectural design studio could enhance the students’ ability to better understand the complexities of building materials, which in-turn could contribute towards more effective design solutions when working with built heritage. However, the process of implementing the pilot study revealed economic and logistical constraints which are perhaps reflective of the wider barriers that architectural institutions are confronted with when attempting to integrate this method of learning within the architectural design studio.

This publication showcases the work of 33 student projects over the two years of Unit 18 2020 - 2021 at the Graduate School of Architecture, University of Johannesburg.  The book is structured in two parts: Spectral Hauntings: Spaces of the Hyperreal in Post-Colonial Egypt (2020), and Supersurfaces: Surfaces, Skins and Screens in Johannesburg and Durban (2021). The book includes essay contributions from Sara Salem, Denise Lim and Endriana Audisho. Edited by Naadira Patel, Huda Tayob and Sarah de Villiers. (https://www.gsaunit18.com/)

Theory in Architecture is an inescapable reality. The wandering condition of Architectural trend, profession and academics today can only be resolved through elaborate reading, writing and documentation of Architecture by Architects; specifically. Paper brings to forth the value of reading and writing in Architecture; through elaboration on varying renowned books. Projects discussed in the paper were conducted in theory and design studios of B. Arch at Rizvi College Of Architecture and Vidya Pratishthan School of Architecture in anattempt to shed light on the value of Literature in Architectural.

Architectural knowledge has a dynamic character and can be discovered collectively during architectural education. The place of this discovery and production process can be considered as the "studio" and this studio doesn't have to be limited in a building. To extend the limits of the studio to city scale creates new opportunities both for the students and the locals. Visiting different parts of the city and converting those places into a studio triggers encounters. Every encounter is a creative and productive act. As a course of its nature, the city is the place of confrontations and encounters. Being, producing and discussing in the city creates an atmosphere where intellectual, imaginative and creative encounters emerge. This emergence can be considered as a flashmob. Flash-mobs demonstrate the power of bodily experience and highlights the importance of performativity. Each student constructs a mental and muscle memory by his/her own bodily experience during the studio hours in the city. This experience let us to create an extra curriculum such as historical, socioeconomical, natural and cultural aspects and everyday life practices of the place. In this paper, I would like to discuss my way of teaching as a retroactive research. I prefer to use the city-Istanbul-as a studio and visit different parts of it for my courses. In this way, an architectural course turns into a retroactive research based on bodily experience. Each event of perception opens up to its own world and the world of perception is merged with the real world itself. When you use the city as a studio, the dynamic character of architectural knowledge unfolds itself and extends its content. In this critical pedagogy, architectural education becomes interactive between the city users and the students and transforms both of them.

Focused on design process, the installation uses recent work to reveal methodologies employed in practice and teaching. The anthropocene is spatialized using 3d printed models, images, drawings, and flipbooks - individual artifacts that collectively reveal influence and their transformations through translation.

Balancing the competing demands of research and teaching has long been lamented by academics. The challenges associated with Covid-19 will make this increasingly difficult. An integrated approach to research and teaching, where students are directly engaged in the production of research, may provide a useful strategy to support ongoing research within the design disciplines whilst befitting student learning. The production of original research requires a willingness to engage inand manage-uncertainty. Contemporary higher education acknowledges that global challenges are increasing in complexity and, thus, students require opportunities to learn to productively manage this complexity. Utilising teacher observations and student feedback, this article reflects critically on a studio model, iteratively refined over two semesters, with the deliberate intent of exacerbating the complexity already present within studio pedagogy for the production of new knowledge. It outlines a set of strategies for making manageable this uncertainty for students to ensure it is beneficial for their learning. It also identifies a number of challenges educators can face when assuming a duel role as teacher and research partner; and provides advice for negotiating these challenges.