Studio One

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(…) alternative teaching model called Studio One (Offered at University of California (UC) Berkeley’s Department of Architecture in the College of Environmental Design), which seeks to facilitate new dynamic links between architecture and other disciplines based on the interplay between fundamental research, design exploration, and practical application (…) At the core of this class is the study of biological structures and the development of bio-inspired construction principles for architectural design(…) he curriculum itself is designed to mediate between education and research. Aside from gaining basic knowledge within their own fields, the students also gain experience outside of their comfort zones by learning from other disciplines (…) In the first semester, students work individually or in small groups. In the second semester, the students join forces and build one project together as a team (…) the class is also supported by a wide network of academic research institutions as well as professionals inside and outside the building industry (…) With its partners, Studio One is contributing to a newly-formed, campus-wide teaching and research initiative called Design Innovation from Nature (…) the key idea behind biomimetics or bio-inspiration is not the imitation of natural forms and shapes but the transfer of functional principles to technological applications (…) To implement these biomimetic concepts, the students approached the work in the class from two directions as defined (…) The first, called “biology push”, relates to a bottom-up approach. The second is referred to as “technology pull” and describes a top-down process. While the term “biology push” describes a development that is initiated from basic knowledge in biology, “technology pull” refers to the aim of solving a certain technical problem in order to improve an already existing design solution or process.

Students worked on 4 separate case studies drawing from the study of natural forms: an Insect-Inspired Lightweight Facade; a Plant-Inspired Kinetic Facade Shading System and two research pavilions (2017, 2018)

Schleicher, S., Kontominas, G., Makker, T., Tatli, I. & Yavaribajestani, Y. (2019). Studio One: A New Teaching Model for Exploring Bio-Inspired Design and Fabrication. In Biomimetics (Basel) 4(2), 34. doi: 10.3390/biomimetics4020034

The Circular Economy Concept in Design Education

http://h2020repair.eu/

This is an experiment in the framework TU Delft led Horizon 2020 Project called REPAiR: two MSc courses were transformed to integrate aspects of different fields of expertise. Students were introduced to two resource flows that were previously identified as key flows by the local stakeholders: food waste, and construction and demolition waste and were expected to show a deep understanding of CE and its spatial implications

(…) incorporating the concept of CE in an integrative manner in urban design and planning courses is challenging because of its metabolic and complex nature (…) (1) the city is a complex, self-organizing system, where economy is an important factor, but not the dominant one; (2) the focus of CE approaches on the production side of the value chain and the under-representation of the need for sustainable consumption patterns as crucial aspect for the transition towards a CE; (3) the exclusion of land as a resource although it is one of the most valuable resources of regions; (4) the neglecting of infrastructure, both as a resource, but also as an instrument to steer circular policies; and (5) that the dominant approach ignores the importance of different scales for closing resource loops (…) overcoming these inadequacies requires the integration of expertise on resource flows and industrial processes.

Challenges of integrating practices of circular economy in education were overcome by collaboration with researchers in a situated environment that allowed: “an enhanced problem definition, a substantial participation of societal partners in education and an enhanced valorisation of student work via partner institutes.” Supporting course elements were also integrated such as lectures; workshops and tutor preparation. An overall of 200 students participated in the courses whose work was later evaluated as to the integration of CE principles and resources flows.

One clear effect of the integration of the CE concept into teaching was that the students understood that they needed to address challenges from a systemic perspective rather early into the design process.

References: Wandl, Alexander, Verena Balz, Lei Qu, Cecilia Furlan, Gustavo Arciniegas and Ulf Hackauf. “The Circular Economy Concept in Design Education: Enhancing Understanding and Innovation by Means of Situated Learning.” Urban Planning 4, no. 3, (2019): 63-75. DOI: 10.17645/up.v4i3.2147, full article available here

Design-Build: Definitions and Criticisms

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Definitions

Abdullah, 2011: separation of design and building could be the philosophical difference between thinkers (designers) and doers (builders)

Harriss & Widder, 2014: Design build projects exist between the two tectonic plates of learning in academia and practice

Vlahos, 2000: Conventional studio projects present a disconnect from the needs of people and places and the understanding of different cultures. The outcomes of the theoretical studio projects are strongly developed, controlled, formal solutions with little understanding of the architectural intervention in communities. Students engage predominantly with theoretical, fictional projects.

Nepveux, 2010: Being involved physically in building allows students to reconcile their drawings with real structures they can build, weld, wire and plumb

Delport, 2016: Design-build projects have as outcome a physical product made through a process that can vary greatly in scope, focus and intent. They bring in tacit knowledge to the curriculum. The object contributes to social change and improving the lives of others

Van der Wath, 2013: it is an oscillation between the abstract to the concrete that allows students to develop the intellectual agility to tackle the complexities of arch innovation and experimentation that they will use in prof. practice

Brown, 2014: Live Projects’ greatest opportunity is not that it is a place to reflect on one’s own learning but, that it is a place to share that learning and reflection with others (Engestrom: a collective activity system is driven by a deeply communal motive)

Criticism

Erdman, 2002: hands-on built projects in attempting to close the gap between designing and building replace the reflective process of design with the active process of building (-) they resist theorizing and critical discourse (-)

Chiles & Till, 2004: balance between practice and education encourages students to position themselves politically (+) prevarication is also not possible as the luxury of long-term studio development is removed (+)

Christenson & Srivastava, 2005: Focus on completion within a specific time frame overrides the value of process

Foot, 2012: where the completion and the focus on the end product are taken out of the equation, the notion of reflection, open-endedness and non linearity allows students to discover a variety of possible solutions

References

Hermie Elizabeth Delport, 2016, Towards Design-Build Architectural Education and Practice: Exploring Lessons from Educational Design-Build Projects, PhD Thesis, Prof Johannes Cronjé, Faculty of Informatics and Design at the Cape Peninsula University of Technology

ACSA-EAAE Conference Presentation

Re conceptualizing the role of tutors in research-based pedagogy: the tutor(s) as the curriculum

The paper presents the efforts made to experiment with the pedagogical framework and the operational model of a postgraduate urban design studio based on the reconceptualization of the role of tutors. In the model examined here, the curriculum was devised as an open and evolving network of the tutors’ resources and affiliated researchers from within or outside the setting of the academy. This mosaic consisted of different individual research and design practices that are problem-focused and context-specific, communicated directly to students by the very people responsible for their conception and development. Learners were required to investigate the instrumentality of these practices according to their own personal pursuits; to make their own networks of connections, and were even encouraged to create their own personal schemata of design research. In fact, the second major shift of the rethink lay in recognizing learner autonomy and diversity, thus establishing a new operational framework for the two to prosper. An amalgam of interconnected learning spaces provided the conditions necessary for all these networks to co-exist and interact. The paper describes the different aspects of the tutors’ involvement and contributions in the design and implementation of this model, as they assumed a number of roles, but most importantly, as they became learners themselves.

MYOM: Make your own Masters

https://www.makeyourownmasters.com/

This is something I bumped into today and I am really, really impressed. This woman has indeed re-conceptualized design education in such a simple and subtle way that makes me wonder, why didn’t anyone think of this before. Genius, bravo!

Stacie Woolsey approached four practising designers she admired: Thomas Thwaites, Alexandra Daisy Ginsberg, Seetal Solanki and a contact at Room Y, the innovation arm of UK department store John Lewis. She asked each of them to set her design briefs to complete in her own time – an idea she describes as “freelance learning” – and completed all four briefs over 18 months of self-directed study (…) Woolsey didn’t feel that she could burden the designers with every question, so she started approaching industry professionals with different skills and asked them to be mentors, for project-specific help. She built her own network of peers – one of the benefits of attending an established institution – by approaching people her age across a variety of fields and asking them to follow her progress and be her first port of call. She hosted meetings as a way to set deadlines and present her projects (…) Rather than try to get her course of study accredited, which “felt a bit irrelevant” and would be “almost cheating on the idea a little bit”, Woolsey searched for a means to “validate it in a different way”. Instead, each of the designers who set briefs are writing a statement to say how well they think she answered it – more like a reference than a grade.

Dezeen: Stacie Woolsey creates her own masters course as “viable alternative” to design education

The designer is exhibiting the results in a “degree show” she named Make Your Own Masters, which opens this week at Somerset House in London.