Journal of Design Studio
EISSN : 2687-2838
Published by: Journals of Design Studio (10.46474)
Total articles ≅ 22
Latest articles in this journal
Journal of Design Studio, Volume 3, pp 19-36; doi:10.46474/jds.927181
The Covid-19 outbreak has significantly influenced all disciplines from economics to politics, especially health, and forced every discipline to develop new strategies to adapt to this situation. For this reason, education has been suspended as of mid-March 2020 in our country; after the break, education methods have changed in a mandatory and rapid way and largely switched to distance education. This compulsory transformation has required the creation of new methods and approaches, especially for applied courses. In this context, this article focuses on a remote architectural design studio experience and explores this experience's problems and potential. This research is in the framework of an adapted architectural design studio setup enriched by authors with online environment-specific tools, including components that centralize participatory production (collaborative learning approach) and enable interaction such as workshops and seminars. The studio (201 A) was experienced in the 2020-21 fall semester by remote conducting with 2nd-grade architecture students. In the article, the process is revealed in detail, and the architectural design studio has been discussed extensively with the student survey and the instructors' experiences. As a result, it has been observed that the studio's components, such as interaction, collectivism, multilayeredness, dynamism, making criticism, and juries, can survive in distance education. Although verbal communication difficulties were experienced in the remote studio, visuality/screen sharing supported the communication throughout the process. However, it is obvious that the content, methods, and tools for remote architectural design studio education should be developed with a different and new approach than face-to-face education. In order to develop more effective methods in this scope, research is required to continue, prepare a large number of experience environments supported by these studies and, most importantly, share these experiences.
Journal of Design Studio, Volume 3, pp 117-123; doi:10.46474/jds.935636
This paper examines a case study part of an ongoing PhD research at Queensland University of Technology, Brisbane, Australia. The case study investigates how architecture students can employ media architecture design with real-time-render software tools to empower people without permanent residence. As part of the assignment students developed a media architecture structure during the semester to support people who are facing homelessness. The target participants of this study were master architecture students at Queensland University of Technology. Students participated in an online survey and semi-structured interviews at the end of the semester to provide feedback about their learning experience during the master class. The data was analysed with thematic analysis. The study results explore the potential of technology to face the ongoing issues of homelessness. It opens the discussion how media architecture can be utilised to target issues such as displacement and marginalization. The results allow to refine future studio education and endeavour how to employ real-time software in a studio context.
Journal of Design Studio, Volume 3, pp 71-81; doi:10.46474/jds.938258
This paper presents a critical assessment of an interior design studio that was constructed face-to-face then online as an extended studio environment through spatial and technological means. In the Interior Design Studio III, students were expected to design an experiential retail store aiming at answering the contemporary customer and brand interactive experience. The concept of ‘interactive experience’ was central not only in terms of a project outcome but also of the studio process: an experiential learning environment is designed to enhance the understanding of the design studio. Within this scope, the collaboration with the maker lab of the university provided technological interfaces and analog model making methods while also expanding the limits of studio space. The interactive experience would not only result in the project outcome but also be integrated to the studio model. This studio model and the topic was conducted face-to-face in the campus three semesters consecutively, while the following two were held online. The study is based on exploratory research using qualitative techniques to analyze the design process of the students in the face-to-face and online experiential learning environment. The main objective is to overview and assess the interior design studio by providing a new perspective to the students about space and user relationship regarding interaction and atmosphere not only in terms of the given design problem but also the ‘environment’ they are experiencing the ways of design.
Journal of Design Studio, Volume 3, pp 37-48; doi:10.46474/jds.886400
In the twentieth century, as a result of the transition to a scientific approach in design, intuition lost its validity and design became a rational act. In well-defined problems, the design process could be structured with this scientific approach, however, in an ill-defined structure, rationality needs to be combined with intuition to analyzing the design problems, decisions making and generate solutions by supporting the creativity of design students. In this respect, intuition can assist to strengthen and develop the required abilities during the process. Accordingly, the aim is to understand the role of intuition, how students use it to work creatively through sketches, and conceptual ideas, and the problematic process of transformation into architectural knowledge in the design process. The study carried out a literature review to draw an understanding of the dimensions of intuition and its role in the architectural design studio. The results of the study demonstrate that intuition has a crucial role in the design process. Relatedly, the lack of intuition becomes problematic, due to the non-conveyable character that it cannot find a place for itself in the design education in terms of crits from tutors, and alteration of intuition into concrete representations leads to a gap between intuition and the final project. Furthermore, these problems could be eliminated through the coherent use of two features which are rational approach and intuition. In this respect, intuition, creativity, and rationality is needed to perform together in order to achieve success by deciphering the potentials of the project through the process.
Journal of Design Studio, Volume 3, pp 83-95; doi:10.46474/jds.904192
Learning in design studios is a complex process that overwhelms the students and results in common mutual-misunderstandings between student-teacher. This research aims to tackle teachers' role in the design studio and explore how they can help students navigate the design learning complexities. The emphasis in learning design is primarily on students who are not aware of their learning. This puts teachers at a disadvantage, sometimes not knowing what to do or concentrating on students' learning but not knowing their teaching, or even focusing on their teaching but not aware of the importance of learning how to teach. What is the teacher-student interaction patterns that can help students get over/deal with complexities in design studios learning environments? Can building up awareness of the teachers' role help the students learn and enhance their teaching methods? The research carried out a literature review to draw a holistic understanding of the dimensions of complexities in design studios and teachers' role to solve these difficulties. It can be concluded the importance of the teacher's role in teaching design is as essential as the role of the students in learning design. Teacher-student interaction enhances the students' design learning and the teachers' design teaching. Students should be aware of their roles as learners and the role of their teachers. Agreeing with the students makes the teaching-learning journey more fruitful while students get rid of their uncertainty and be more confident.
Journal of Design Studio, Volume 3, pp 97-106; doi:10.46474/jds.929495
The case study will examine online and face-to-face learning experiences of the two different groups of students who have never been enrolled in an interior design studio, where they see their classmates and encounter an “interior architecture” project as a problem for the first time. As the “living spaces” were the main problematic of this design studio, the interaction, the time management in design development, means of representation, inputs and outputs of the studio, perception of space and scale were the main parameters that differed and varied within separate learning environments, and will be read through the feedback of the students.
Journal of Design Studio, Volume 3, pp 59-70; doi:10.46474/jds.930642
The pandemic causes acceleration in the development of online education. Relatedly, instructors have started to transform already applied methods in studio education and have produced new teaching methodologies in remote education. Since the communication channel in the new system is exposed to a change that creates that open an area for the search of situated learning in terms of interaction among students and between students and instructors that is strongly associated with Vygotsky’s theory of the zone of proximal development in which social interactions is emphasized in learning. In this paper, the components of situated learning will be reading through an online design studio in architectural education. The changing concept of studio culture will be inquired from the issues of the learning environment and situations executed after the shift from physical to digital encountering. Moving of design studio into the online environment brings particular changes to the two aspects of the studio culture, which are studio as a method and studio as an environment. In this respect, an online design studio will be examined as a contextual framework with the theory of situated learning.
Journal of Design Studio pp 3-4; doi:10.46474/jds.editorialv3n1
Journal of Design Studio, Volume 3, pp 49-58; doi:10.46474/jds.929594
Higher education has experienced momentous changes in 2020-21 due to the COVID-19 restrictions disrupting face-to-face education. An immediate shift to online education that draws on diverse digital platforms and interfaces took place worldwide. This study aims to present insights into this transition process from the perspective of place attachment and sense of belonging with a focus on the design studio, and it specifically looks at the transition to online education carried out by the Faculty of Arts, Design, and Architecture (FADA) at MEF University. The study draws on semi‐structured interviews conducted with students from the faculty. Responses from the students indicate that they have felt the effects of the transition process in social relationships, time-space routines, safe space, and changes in their perceptions of personal space. Recent research has demonstrated that sense of belonging and place attachment in educational environments positively affect students' academic performance. The data obtained through this study reiterates the significance of these bonds in the design studio context. The discussion introduces a fresh insight into exploring these critical concepts by focusing on the now burgeoning field of online design education.
Journal of Design Studio, Volume 3, pp 5-18; doi:10.46474/jds.910234
This paper analyses the predominant trend between the students to follow, frame, and develop a concept in the architectural thesis design. The research targets to question how the students derive their inspiration from diverse sources and influencers into the architectural design concept. The research methodology was based on semi-structured questionnaires with Likert scale questions to analyse and interpret data through the Chi-Square test in SPSS software. The findings revealed that first, the students preferred to employ more symbolic and poetic elements for the design than real projects, second, to create their concepts under influences of supervisors and juries than research, third, to follow personal procedure than the structured process of the course. In conclusion, the results revealed that the students adopted a personal procedure under the influences of the supervisors to design a concept that is closely aligned with a subjective approach, rather than a structured research process.