论文代写价格 STUDY OF THE CHANGING NATURE OF DESIGN STUDIOS

论文代写价格 STUDY OF THE CHANGING NATURE OF DESIGN STUDIOS

论文代写价格 STUDY OF THE CHANGING NATURE OF DESIGN STUDIOS

设计工作室是设计教育的不可或缺的组成部分。它在未来设计师的培训中起着重要的作用,代表了实验和创造性活动的一个重要的空间。在设计教育的其他元素相比,工作室给学生的设计过程中的第一手的经验和设计的实际方面。它介绍了他们的创造力的概念,并给他们的创意设计过程的经验和知识。本文论述了通过其发展的„浪漫‟概念创新的关系探讨面对当代设计工作室的问题。本文认为,这是一个悖论,在当前的教育实践中,由于设计学科‟持续的迷恋与创造力的浪漫模式隐;模型,理解创新的,与生俱来的,自发的能力,不能教或评估。

The design studio is integral to design education. It plays an important role in the training of future designers, representing a key space for experimentation and creative activity. In contrast to other elements of design education, the studio gives students first hand experiences of the design process and the practical aspects of designing. It introduces them to the concept of creativity and gives them experiences of and knowledge about the creative design process. This paper discusses the problems facing the contemporary design studio through an exploration of its development and its relationship to the „romantic‟ notion of creativity. The paper argues that there is a paradox implicit in current educational practice which is due to the design disciplines‟ continual fascination with the romantic model of creativity; a model which understands creativity as an, innate, spontaneous ability that cannot be taught or assessed.

Keywords

设计工作室,创意,设计,浪漫主义,设计教育,评价

The design studio, creativity, design, romanticism, design education, assessment

INTRODUCTION

During the last fifty years, architectural and design education have become increasingly focussed around the idea of the design studio. The design studio has been described as being „the heart of architectural education‟ [5: 63], as the „key place for all [design] educational activities‟ [23: 65], and as „central to the pedagogy of architectural education‟ [19: 241]. In relation to architectural education, Mark Wigley proposes an educational model wherein „[e]verything is organized around the design studio as it should be‟ [24: 17, emphasis added]. The design studio represents a mode of teaching and learning that encourages creative endeavour, imagination and experimentation, critical thinking, contemplation and collaboration [7]. As such, the studio provides ideal opportunities for students to develop a range of skills required by the design profession. However, the educational benefits of the studio have been repeatedly challenged in recent years. There is no consensus view as to what the design studio is and how it can best achieve its aspired learning outcomes [6, 16]. As de la Harpe et al. [6: 38] explain, the studio is scrutinised on issues such as „best practice in studio; characteristics that are valued and need to be retained, as well as characteristics that need to be discarded; and strategies for change in studio cultures‟ [see also 7, 10]. The studio has been criticised for creating an unhealthy „clannishness‟ between students [5: 65], for encouraging professional isolation [2], for being so internally focused that students are separated from the world in which design is produced [15], and for promoting a singular form of enculturation at the expense of education [22]. The critique reflects the historical origins of the studio as a specialist education associated with distinguished masters.

This paper explores some of the challenges facing the studio through an exploration of its historical origins and its connection to the romantic model of creativity. The paper is divided into two main parts. It begins with an exploration of the historical development of the design studio as a space for teaching and learning. The paper will then trace the changing theories of creativity and discuss how historical perceptions of creativity are reflected in the studio. It is argued that some of the current problems in the design studio, especially as they relate to assessment, can be traced back to a lack of clear alignment between 132

contemporary studio practice and contemporary models of creativity.1

1 The paper forms part of the Australian Learning and Teaching Council (ALTC) funded project entitled Assessing Creativity: Strategies and Tools to Support Teaching and Learning in Architecture and Design, which considers the assessment of creativity in higher education in Australia. The project aims to arrive at a model of creativity and a set of strategies for assessing creativity in design education. The project is ongoing but is set to finish at the end of 2011.

2 This section is based upon the discussion „A historical perspective‟ published by Ostwald and Williams as part of the book Understanding Architectural Education in Australasia [17].

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