Toward a New P A R A D I G M in ARCHITECTURAL EDUCATION (original) (raw)
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Creativity in architectural education
The existing paradigms of architectural education can sometimes negate creativity. This paper aims to assert and substantiate that architectural education should be about questioning the existing paradigms as well as introducing, creating and testing new ones. The paper will be based on observations as a research assistant in architecture as well as on personal undergraduate experiences to question the ways in which creativity could be stimulated in the architecture studio environment. It adopts philosophical concepts used by Deleuze to dissect the relationship between creation/creativity and the architect. Some of the nuanced examples in Turkey’s architectural practice who have managed to integrate or perhaps distort the input of their architectural education into modes of interventions reciprocating the socioeconomic or cultural needs of that place are pointed out. Parallel to their production, the positive effects of young tutors to the studio environment are discussed. The paper tries to establish that confusion could be a stimulant for creative thinking. Keywords: Architectural education, creativity, studio, young tutor.
WHAT IS CREATIVE? CREATIVITY IN ARCHITECTURAL THEORY, PRACTICE AND EDUCATION
What is creative? Creativity in architectural theory, practice and education (açış konuşması), DesignTrain Congress proceedings-Vol. I, Amsterdam, June 4-7 2008, 9-25 (Keynote speech).
In this keynote speech I will expound on creativity in general. However, rather than dealing with the ways and methods of fostering creative thinking in architecture or in architectural education, I will question what creativity actually is and how exactly one discriminates the creative from the non-creative in architectural works. What are its features and properties and how can they be distinguished and/or traced?
Creativity real and imagined in architectural education
Frontiers of Architectural Research, 2014
Of all aspects of architecture what mystifies most the layman is the power of architects as 'creators', their apparent capability to invent, conceive and construct 'out of nothing' unprecedented daring forms. In the West, the idea of 'creators', defined as those who can 'make things out of nothing', is very old. It had and has far reaching influences, not always benign, that are still felt today in many disciplines related to the production of the human-made environment including architecture and architectural education. In the broad sense of the term, (that comprised poets but also the makers of machines), the definition of 'creator', one who 'makes something out of nothing', goes at least as far back as Plato's Symposium (II,201,c), while the specific idea of the architect as 'creator', emerged later, during the late Middle Ages and the Renaissance, when the architect was called demi-god, 'come semidei'to quote Cesare Cesariano, the Renaissance military architect and theoretician of architecture-"Wittkower, R., 1962. Architectural Principles in the Age of Humanism, London Lefaivre, Liane and Alexande Tzonis, 2004, Emergence of Modern Architecture: A Documentary History, from 1000 to 1800, London" and his gift to give birth to new forms was claimed to be miraculous. Accordingly, the belief in the wondrous nature of architects 'creating' 'out of nothing' 'microcosms' was so strong that people gathered to watch the famous 'inspired' seventeenth
Creative Thinking in Architectural Design Education
irbdirekt.de
Creativity is an original cognitive ability and problem solving process which enables individuals to use their intelligence in a way that is unique and directed toward coming up with a product. The most common means of identifying creativity has been through its products. The arts including sculpture, painting, and the humanities including writing, law are not only areas in which human creativity has been exhibited. Science and engineering fields are also full of discoveries and products that meet our tests of creativity. Today, there is a need for measuring creativity in different fields of disciplines and professions such as personnel selection, education and fine arts. Architectural education is one of them because, it can be defined as a design study which get it's origins from creativity. While the encouragement and rewarding of creativity is very important in all fields, it is especially important in the field of architectural education. The objective of this paper is to investigate creative thinking standards of architectural design students and to test the effectiveness of architectural design education on the improvement of general creative thinking abilities. In order to accomplish this, two sample groups are formed from different levels of education. The main method used in this research is TTCT which was first published in the USA. The test measures verbal-visual creativity and has reliability-validity studies. In the conclusion of the paper, a discussion has been made on relationship between the general creative thinking ability and architectural education.
Teaching Architectural Design through Creative Practices
METU JFA I METU Journal of the Faculty of Architecture, 2019
This article provides investigation details of teaching architectural design as a fundamental part of the architectural discipline. This line of research delves into learning about the most creative action of the architectural production process, design, taking into account that creativity must be complemented by disciplinary training that combines both theoretical knowledge and practical skills. Considering these observations, this text provides information about the experience accomplished by four teachers from the School of Architecture of the Universitat Politècnica de València (ETSA-UPV) on the subject of Design Studio 1 for the first-year studies. The propaedeutic character of this subject shows additional difficulties given the complexity of introducing the students into the field of architectural design. The article begins with a description of the historical background of teaching architecture, contextualizing the object of study and also the different processes used as reference during the accomplishment of the teaching experience. The second section includes a description of basic methodology of the specific case of the first-year subject taught in the ETSA-UPV. It provides analysis of its evolution, detection of the problems and suggested variations of the learning method in order to improve the final results. The canonical teaching method is based on a linear process starting with the theory, followed by architectural analysis, finishing with project synthesis, which generates important doubts for the first-year students when implementing the theory in the project phase. Therefore, resuming the cycle of circular learning studied by David Kolb, several creative practices have been introduced into the subject, where the order of the stages depends on the particular characteristics of each individual and learning takes place by combining practices of perception and comprehension. Keeping in mind the main goal of the new teaching approach, the third part of the text includes a description of several activities. They are designed using a methodology capable to promote the transfer of knowledge between the analysis phase and the project phase. Creative practices are based on the learning by doing process, where reflection, conceptualization and experimentation are carried out with two basic tools: hand drawing and the three-dimensional model. With the practices and these two manual tools we seek a triple objective for students: to acquire a greater creative capacity, to develop spatial vision and to recognize how materiality affects the definition and perception of space. The methodology of the practices includes thinking with the hands, folding the space, inhabiting the space and building the space, and it is compared to the results obtained during the academic year 2017-2018. Finally, these results, together with the surveys completed by the students, lead to following conclusions: introducing creative activities in the first year of architectural design has shown a substantial improvement of the work carried out by students and has allowed settling the acquired theoretical knowledge. It helps to understand it not only as concepts that can be observed and analysed in reality, but also as tools of the creative process itself. On the one hand, the construction of models supports intuitive learning, allowing the students to directly recognize the consequences of their actions during the constructive process and its implications in the final result. On the other hand, the activities developed using hand drawing techniques confirm the value of the drawn plans as a tool to define the results and verify their correctness. Experiencing architecture with the hands implicitly involves a work of reflection through which the students are able to understand that space is the actual key element of the architectural project.
ANALYSIS OF ARCHITECTURE CURRICULA IN TERMS OF CREATIVITY
This study examines the place and scope of activities focusing on creativity in architectural design education curriculum. An analysis is made on creativity oriented design education process by taking into consideration the contents and hours of lectures on practice and theory. The analysis made to ensure that the study achieves its purpose includes an examination on design lectures. The design lectures supported with creativity activities should be provided to the students with practices and theoretical infrastructure. Therefore, it is important to plan practices, lectures and activities that will contribute to the development of creativity in the curricula of several schools. The study has a diversity aspect since the analyzed architecture schools have different visions and missions. This will draw attention to the design lectures that will contribute to creativity at different architecture schools in Turkey and the lecture hours.
Association of Architectural Educators Conference 2023 Productive Disruptive, 2023
A Working Theory. V. 1.0 In architectural education, the design studio forms the core course around which all the other courses orbit. The design studio course is where students are encouraged and expected to express their creativity in the designs they create for project challenges. Computer applications and various digital methods have migrated with increasing rapidity into the architecture design studio over the past two decades and have greatly influenced the way design has been taught and learned. Within these design courses creativity is expected from students but the methods to develop their individual creativity are not taught. Artificial Intelligence (A.I.) is one of the computer technologies that has rapidly evolved as a highly influential entity in the practice of professional architecture and within architectural education. Several researchers into architectural education have begun to explore the implications and needs relating to integrating A.I. into architectural education. A.I. is now used to generate design options from the earliest stages of a project that students can adopt as their own, without exercising or developing their individual creative abilities and activating the critical neural pathways and networks that strengthen creativity when consistently used. What are the implications of outsourcing to A.I., the essential quality of creativity in architectural education? The argument is frequently given that this will free up time for the architecture student to focus on other more important parts of their project. What is lost in the process of adopting A.I. into architectural education? Will this result in less creative students? and thus only serve to continue the decline of creativity in American education? How can creativity be maintained and developed within this context? What are the methods or activities that increase individual creativity? What are the obstacles to increase creativity? The purpose of this paper is to investigate and understand declining creativity among students and seek to strengthen and develop new methodologies of teaching for creativity as an educational outcome. I will present methodologies for teaching to strengthen student creativity. The knowledge generated from this is expected to inform architectural institutions, administrators, educators, and students how to teach, learn, practice and organize for creativity as an educational outcome, especially in the age of artificial intelligence. http://hdl.handle.net/2047/D20606921 ISBN: 1-899895-28-0
Journal of Architectural Research and Education , 2023
This study explores new perspectives for transferring and promoting creativity in the teaching of "introduction to architectural design". The rationale is based on the hypothesis that "questioning the obvious" is a resource for developing creative thoughts in general and consequently that of the firstyear architecture students in particular. The study adopts creative questioning as a framework for questioning the obvious within the studio of introduction to architectural design. As a demonstration of that, it presents a teaching approach of introduction to architectural design, which practices "questioning the obvious" from National School of Architecture and urban planning, University of Carthage.
A Few People, a Brief Moment in Time: Architectural Education Experiments 1987-91
2020
This essay draws together an account of pedagogic experiments in architectural education that took place at the Polytechnic of the South Bank School of Architecture, Postgraduate Diploma (RIBA Part 2) between 1987 and 1991. Revisiting this period of holacratic autonomy and student-led collaborative education, the essay aims to shed some light on the value of manifesting transformative creative educational models in the contemporary context of design education. Charting an extraordinary period of student agency, the work considers how the notion of social and individual political resistance, manifested as creative action, can inform a transformative and liberating feminist methodology. Thirty years after these events, amidst the march of the privatisation and commodification of architectural education, the increasing homogenisation of a skills-based, profession-led curriculum, may be a moment to reconsider the potential embedded in an alternative, rebellious, feminist design studio and practice.