جستجوی مقالات مرتبط با کلیدواژه « آموزش طراحی معماری » در نشریات گروه « هنر و معماری »

In this study the relationship between learning styles and academic performance of the students in theoretical courses and architectural design workshop is addressed based on one of the existing theories in learning styles that belongs to "Felder-Silverman". Theoretical basis of Felder-Silverman theory is based on the duality structure (lateralization) of brain processing which composed of left and right hemispheres. They used a five dimensional dichotomies including the perception (Sensory-Intuition), processing (Active-Reflective), input (Verbal-Visual) organizing (Inductive-Deductive) and understanding or apperception (Sequential-Wholistic) dimensions. In order to study the relationship between the academic performance and learning styles two types of tests were selected that the first one classified students in learning styles based on "Felder - Solomon" questionnaire and the second one analyzed and integrated academic performance of the students in architectural design workshop and theoretical courses. The results of this study showed that the number of 4th year students compared to 1st year students in intuitive, visual and wholistic styles was significantly higher. The assessment of student performance indicated that the first year students had the best performance in introduction to architectural design I course with reflective and visual styles and the 4th year students had the best performance in architectural design IV with wholistic, visual and reflective styles. Also the first year students had the best performance in construction materials (which is a theoretical course using written material) with verbal and reflective styles and the final year students had the best performance in Introduction to Islamic architecture II (presented descriptively using PowerPoint) with visual and sensory styles.

Criticism and correction sessions form the basis of evaluating architectural design projects. A valid and targeted assessment, in addition to measuring fundamental knowledge, also measures its practical application in practice. Integrating knowledge and skills stands as a primary objective within architectural studios. Therefore, evaluation plays a very important role in the process of architectural education that shapes the professionals in the future. The most important issue is to achieve different methods of criticism according to different conditions. Additionally, evaluation should extend beyond merely appraising final projects, encompassing the critique process throughout an educational period (such as an academic semester) for formative assessment. The application of the successful experiences of foreign researchers in the workshop critique process and its comparative comparison with the workshop critique process in Iran can determine our position in this field. The aforementioned comparative comparison has generally identified the similarities and differences of successful international experiences compared to domestic experiences, and by examining and discovering the reason for the existence of these similarities and differences, it is possible to (1) solve the problem, which is to identify the degree of conformity of the structure of criticism and correction sessions. Through this comparative analysis, two key objectives are addressed: aligning the structure of critique sessions with active research findings and identifying optimal criticism methods within educational contexts. Ultimately, this process leads to localization and enhancement of architectural education practices. In this study, Shahid Beheshti University views the architectural studio as a research workshop, adopting a novel approach to architectural education. Guided by fundamental principles outlined by faculty, this workshop aims to enhance the quality of architecture education, positioning itself as a successful domestic model compared to international counterparts. The primary objective of this paper is to evaluate the alignment of Shahid Beheshti University research studio critique and correction session structure with the recommendations of leading researchers in the field. Specifically, the authors seek to answer the question: to what extent does the structure of critique and correction sessions at Shahid Beheshti University research studio adhere to the standards proposed by active researchers? It is hypothesized that the level of conformity to these standards is within the average range, although empirical evidence will be necessary to confirm this assertion.

In this comparative study, researchers employed a hypothesis testing approach using a comparative strategy. The study utilized data from two sources: (a) the opinions of leading researchers in architectural education, particularly concerning the structure of criticism and correction sessions, and (b) the innovative approach of Shahid Beheshti University research studio. Ten key concepts, defining the theoretical framework of criticism and correction sessions in architectural studios, were identified through a systematic review of relevant literature from both communities. These concepts, derived from a scientific process, also align with historical perspectives on the subject. The research method employed in this study is a documentary-survey approach utilizing content analysis techniques. The process begins with the selection of keywords and concepts. In the initial step, information is gathered by extracting data from two sources: (1) scientific research articles authored by selected researchers on the broader topic of ‘criticism and correction sessions in architectural studios,’ and (2) published articles specifically related to this topic, focusing on Shahid Beheshti University. The second step involves qualitative and quantitative text analysis, including categorization and extraction of information from the selected sources. This analysis determines the frequency of topics within the categories based on textual elements. Subsequently, in the third step, the results from the second step are interpreted. Statistical analysis of quantitative data was conducted using SPSS software.

The rThe research findings indicate the identification of ten main concepts or criteria in the structure of critique and correction sessions in the research studio of Shahid Beheshti University. These concepts are: constructive studio environment, participation-oriented approach, involvement of professors and professional activists in studio sessions, criterion-based teaching and assessment method, simultaneous presence of several professors in a single studio for training and evaluation purposes, receiving critical opinions from different professors, integration of different student groups (peer and non-peer) in studio sessions, application of educational technologies in the studio, teacher-centered/ student-centered approach, assessment of judgment and final decisions.

The results reveal a direct and statistically significant relationship between the structure of critique and correction sessions in Shahid Beheshti University research studio and the proposed structure by active researchers in this field, as indicated by the ten identified concepts. This suggests that the critique and correction sessions within the university research studio adhere to a systematic and convergent framework similar to successful global models. Consequently, it is recommended as an exemplary model with the potential for broader applicability. While the research hypothesis initially suggested a moderate level of compliance, the observed correlation coefficient of 0.674 surpasses this expectation, indicating a stronger alignment than anticipated.

Nowadays it is accepted that education in architecture, is one of the topics of interest in architectural research. Since the main purpose of education in any field, is providing appropriate learning conditions, and in Iranian architecture schools, architectural education is based on design workshops, this type of research can be argued to be among the most important concerns in architecture. Due to the multidimensional nature of architecture and its relationship with different fields of knowledge, the method of teaching architectural design, compared to other disciplines, requires different needs and special approaches. Especially since design issues do not have a simple and recognizable structure and according to researchers, are ill-structured. This means that architectural design issues cannot easily and completely be defined and designers are always faced with a great deal of ambiguity at the start of a project. Therefore, it is important to focus on what is going on in the form of "design based on desk criticism" in Iranian schools of architecture. Desk criticism, are usually called as “Correction” in faculties of art and architecture. A review of the available sources shows that the traditional way of “correction” in architecture schools is struggling with failures and inefficiencies. Due to its pivotal role, in direct and face-to-face interaction with students, and its other effects, it should try not to ignore the significant differences of students in their distinguished backgrounds. Some experts believe that a good set of corrections should be managed to guide each student in finding his or her personal and distinctive answer to the design question. This study tries to examine educational theories, in the field of educational psychology, to maintain appropriate implications to achieve the components of an effective correction method which in this article is called "guiding critique". This paper can be considered as a qualitative applied research. Data collection in qualitative research utilizes data resources, documentary studies, observations (intervening and non-intervening), in-depth interviews, fieldwork, and if necessary, case studies. The Delphi technique has also been used for predictions. The necessary steps for this included defining the research problem, determining the necessary characteristics of the participants, identifying the candidates for participation and inviting them, determining important factors in consultation with panel members, determining the importance of the factors from the members' point of view and reducing the number of factors, determining the order of importance of the factors and continuing until there is a consensus among them. The result of the research provides multiple solutions from the set of educational implications of constructivist theory in the form of six main chapters in advancing the "guiding critique" in the architectural studio. These chapters included: mental structure, considering distinctions, redefining roles, focus on mistakes, tools, evaluation and measurement.

including bio, meaning life and MIMESIS means a new field that studies the best ideas of nature and imitation of these patterns and processes in solving human problems. The approach to the design processes is that designers look at nature (especially in the organisms or ecosystems) to solve a specific human need. It is also used in all sciences in particular architecture, as guidelines. Biomimicry is a science that has been evaluated from nature in design processes in form, technology, materials, and technology. This field can be expressed as the imitation of the system of life in nature and provides novel solutions in architectural design and architecture. The aim of this study is to explain the concept of biomimicry and design and its nature is related to architectural design training. The nature of this qualitative research and its method in order of theoretical foundations is descriptive - analytical method. The statistical population of the students of free Islamic university and sample size of 100 are 100 people who have been in the training program for six months and have been tested for satisfaction of the period, motivation and progress in creativity with kolmogorov smirnov test and T test. At the end of the training period during which biomimicry was applied to generate design ideas, a study of the relationship between design and design was done, the results of that intensive period and training procedure have been stated.

Training in architecture is one of the most controversial issues in educational and artistic centers around the world, as well as training in other fields of art. The structure of architectural education is formed around a nucleus called design. The most important mission of architectural education is to create comprehensive thinking that provides students with the ability to step into the process of architectural design. Ignoring student’s capabilities, tendencies, and conducting similar educational programs are Part of mistakes in teaching architectural design. The characteristics of design learners are the same as the characteristics of all human beings, which are classified as individual differences. It means that design learners differ in their ability, knowledge, insight, and transfer in design activities. It is not possible to provide a specific program for teaching the design process without gaining knowledge of the student’s differences in each educational group and without the required knowledge to guide the capabilities and improve the shortcomings. Thus, individual education seems necessary. This research seeks to provide a design process model based on learners’ differences and their corresponding educational model. The research method is Grounded Theory that seeks to construct a theory through exploration among architectural design instructor. Therefore, 100 questionnaires were distributed among the young teachers of the Islamic Azad University, and Theoretical saturation was obtained with 47 questionnaires fully answered, which is followed by the analyzed results. Through open coding, 83 pivotal followings of 9 major categories were produced, out of 472 Primary components, extracted from theoretical foundations and field studies which are: cognitive differences of the learner, objective mental processes, purposeful educational steps, learner-learner interaction, the formation of design personality, learner personality, adaptive structure of education, design system of thought and specialized empowerment. The core category was designated as a person-centered process after segregating in condition, interaction, and consequence field. The Person-centered design model was developed, using the constructive concepts of grounded theory and spiral paradigm of the design process, which is an action between Individual characteristics in terms of thought, creativity, knowledge, educational goals and experiential learning cycle, can be entered with any level of ability and any style of thinking and learning, but successful getting out of this spiral which has moved forward in time depends on individual abilities of designers. Actions between these components will form the main cycle of the design process, which are: thought, creation, and testing. The mentors’ mission is to recognize these characteristics, their growth, and developing them in line with the design goals. In the end, the educational strategies corresponding to the mentioned concepts were presented in the form of architectural design training models based on the cognitive differences of the designers. In the construction of this model, among the major categories obtained in the construction of contextual theory, 5 categories were used that are operational and can be planned and implemented by the learner. The other four categorizations are conditions, interactions, or hidden consequences in the model, which are inherent in the learner's nature or are acquired through teaching methods.

An acknowledged approach in the design process aiming at conformity with the life of inhabitants and their attitude towards the built space is using narratives. With an action research approach, this research aims to study the role of narrative approach in the architecture education, and the potentials of narrative-based methods for upgrading the design studio practice for beginning architecture students. To this end, the theoretical framework of the research was first developed; the research was then followed through a practical survey on the beginning architecture students in Ferdowsi University of Mashhad. The survey was conducted through a number of studio tasks based on scenario writing. Data was gathered by examining the students’ scenarios besides their answers to a number of key questions about the effectiveness of the investigated approach. In this survey, the narrative approach showed to be capable of; helping to interpret the design problem, facilitating thinking about solution concepts, organizing a spatial narrative due to the events of life, provoking creative thinking by activating exploratory imagination, enabling visualization of spaces, clarifying the stages and steps of the design process, helping to uncover the clues to leap over hurdles, organizing data and constructing meaning out of them, facilitating effective communication of ideas, and evaluating the design throughout the design process by repetitive narration of the conceivable presence of the users in the built space. From the mentioned roles, the better understanding of the design problem at the beginning of the design process and activation and promotion of thinking about the solutions through scenario writing was most evident in the survey results. This was made possible by focusing on the role-players, activities and the scenes as the threefold aspects of the narrative event in the written scenarios. Shedding light on the stages of the design process was the second most mentioned role. Besides the positive roles, there has also been some negative feedback and faults unfolded. Some of these are as follows: weakness of some at writing, to be solved by using non-literary forms of scenarios; discontinuity of the ideas created through scenarios in the further design levels which needs repititive use and reference of scenarios through the design process; and the lack of complete competence of design with the real life of the predicted users due to lack of time and facilities for precise field studies and limited and mostly personal narrative imagination of the students. The latter is the most important issue which needs the notice of the instructors to guide the students to more real and executable designs with more information-based scenarios. To summarize the findings, it can be declared that with guidance to avoid the flaws, narrative thinking does have a positive effect on the development of the design process. It speeds up and facilitates the design ideation for the beginning students and helps them to better explore and interpret the subject of design and finally, it can play different roles in various stages of the process, in accordance with the subject of design task as well as the competence level of the design students.

Digital technologies and the influences of software on the field of architecture, have changed architectural design tools and created questionable situation to deal with hand tools in a new condition with diverse capabilities. Each hand tools and digital applications, in the design process, have their own features and requirements and may somehow challenge the creativity in this process. So that students can take advantage of these technologies to try knowledge, ideas and demands with the mixed abilities. Creativity is a subjective process consisting of the ingenuity and flexibility and design process is based on creative developing that can be expressed by utilizing the tools of architectural design. During the design process, students thoughts acts like an intricate process of mental activity and interacts between creative and critical thinking.The main purpose of this study is to evaluate the relationship between creativity, architectural design tools, architectural design process and success rate of these tools in the promotion of this ratio.Hence reviewing of the nature, type, status and application design tool in architectural design process and comparing their efficiency analysis to achieve creative defined in this study is very important. This paper has a comparative- analytical approach. So, after reviewing related literature, the research model is developed. In the next step in a defined statistical community in a field study, status and application of design tools in all phases of the architectural design process are compared with each other about their various aspects and in this way the ability of each to promote creativity in problem-solving process in architecture, is evaluated. The comparison is carried out in two phases of qualitative (observation, interviews and document analysis) and quantitative (questionnaire) methods in architectural design studios, in academic and professional environments in Iran. Finally, summing up the conducted assessments, results of the research is obtained with multiple comparisons. Based on qualitative research, taking advantage of different types of software, specially the kinds of synchronicity, have great success in design process and in the final stage of that. This option is relative in the first stage of the process and depends on the knowledge of Individuals towards software and their type. Quantitative analysis also has confirmed this findings and endorsed the active and effective role of software and the need to complete mastery over them, in architectural design process, both in faculties and professional communities. In the current era, correct use of digital technologies in the process of architectural design, should be organized. Considering the systems development method of phasing models for different layers of architectural design, including digital technologies, and strategic planning for moving towards a dynamic and targeted structures can be helpful to promote skills related to subject, intellectual procedures and motivation in architectural design process.Therefore architectural design education with regard to the role of digital technologies and their comprehensive development, need to keep pace with all levels of strategic and practical plans to promote creativity in the process of architectural design in architectural studios.

The increased pace of contemporary life also compels architectural education to achieve rapid results. Teachers of architecture are therefore under constant pressure to reduce training time and increase their efficiency. The main question treated in this paper is whether architectural education is a training process or more of a mentoring nature. Can the architectural teacher be given a time-bound specific assignment, as is the case in some other disciplines? This paper enumerates the differences between pure training and mentoring in architectural education. Referring to existing literature and didactic reasoning, the authors claim that architectural education is essentially of a mentoring nature. A meaningful education of architecture thus requires adequate time spent in the design workshop; and consequently it is not possible to offer such education in a rapid condensed format.
Otherwise, yielding to the requirements of contemporary call for speed, will lead to a distorted education of young architects.

One of the important concerns among the educators of architecture is the enhancement of education. Towards that goal, this paper relies on literature review, and methods of deductive reasoning and field study. In the field of educational psychology, teacher- centered learning has been complemented by student- centered learning method in which exploratory learning and learning through group discussion are regarded as two instrumental means for enhancement of learning. One of the techniques common to these learning means is the introduction of the problem by the learner, and then involvement in solving the problem at hand by means of mental (and/or manual) activity, and also dialogue with peers and the tutor through to the solution. This method is also true for (design and) construction processes in real world practice of architecture. The present paper draws heavily on a close study of an educational experience within the framework of a course entitled "introduction to construction procedures”. To benefit from exploratory hearing and group discussion methods, exercise were devised for students of architecture. In accordance with the above mentioned educational approach, each student should follow the following course of action; they should devise their own design problem personally, identify the design constraints, and they should sort out proper solution to overcome those constraints, thrash mental and manual involvement with the problem solving process. In order to help students to find their way through the course of action, a sample design problem which had been solved and further crafted by an experienced tutor, or an expert designer, is introduced and analyzed in an early session of the course. In order for the students to have a close idea at the subtleties of the designing or making process, they were assigned to refer to their past memories and introduce an object that they had made, repaired, or dismantled/overhauled. They were required to explain the whole processing from the emergence of their problem through to their final solution, to their fellow students and the tutor. This assignment or exercise is called "handcrafts - personal experience". Every student's presentation, verbal and visual, is subjected to group discussion to throw light to the subtleties of making and designing procedures and to articulate the effects of design decisions on construction strategies as well as those of construction subtle difficulties on design propositions. This paper investigates the exercise in the light of the aforesaid theories, the tutor's observations, and student's survey. Results show that this exercise is in line with student-centered learning views and combines exploratory learning with learning through group discussion. Practicality, personal and exploratory nature of the exercise, the guiding role of the tutor, and cooperation of fellow students are correspondingly in agreement with Dewey, Piaget, and Vygotsky's theories of learning. Moreover, manual and experiential nature of the task is congruent with Kolb's thoughts on learning. Having drawn a theoretical perspective of the educational experience, the paper concludes with an emphasis on the necessity of such exercises which require students to strive for solving a design problem through engagement in crafting the solution

The nature of learners’ understanding is one of the most important factors that have a significant influence on the construction of architectural design studios. Based on prominent theories of learning, it is necessary to take learners into account to have maximum results in any educational setting to which architectural design studios are no exception. Accordingly, the needs and personal characteristics of learners have particularly come into focus by educational theorists over the past decades. One such personal characteristic is the learning style which exhibits the learning preferences of the individuals. Learning styles are generally categorized into three groups of cognitive, emotional and physiological. The present article tries to go into details about the cognitive learning style which was initiated by David Kolb and its implications for the students of architecture. The cognitive learning style has four subcategories which are converging, diverging, assimilating, and accommodating. In order to study the performance of students with regards to the learning styles, the present article first highlights the learning styles of students of architecture and then compares their performance in two different studio activities i.e. designing and sketching. With regards to the first activity type, the students were evaluated based on a long-term designing exercise which involved designing the library setting for the College of Arts and Architecture of Bou Ali Sina University of Hamedan. With regards to the second activity type, the students were evaluated based on their performance in six one-day sketching exercises that were held once a week throughout the semester. Accordingly, the results of the evaluations in the two studio activity types and their connection to student learning styles were studied. The present research determines the differences between the performance of students in architectural designing – which is a long-term activity – and sketching – which is a short-term activity. The results also helped the degree of weakness and success of students in each of the activities. Therefore, the research identified which learning style can lead to maximum desirable results in which studio activity type and which style to the same effect is prone to prove a failure. It is expected that the results of the present research would help overcome the potential weaknesses in different learning styles of students through an efficient training program. The results of the research showed that students with the diverging learning style had the best performance and students with the converging learning style had the weakest performance with regards to designing and sketching activities. Also, the research showed that students with assimilating and accommodating learning styles had different performances in the two studio activity types. Students with assimilating learning style had a better performance in sketching activities while accommodating students were better in designing classes. The differences between the performance of assimilating students in designing and sketching activities show that those students were better at sketching. This may be an indication that assimilating students can have a better performance in activities that are repeated. As a result, they can improve their performance over a certain type of activity through repetition. This could not be the same for accommodating students because they prefer not to be engaged in a chain of activities which are about a single theme. Therefore, repetition will not work for them as it did for assimilating students and accordingly they will have a poor performance over activities such as sketching.

In order to be successful as instructional designers, we engage in a unique creative process through which we form a bond with the learners we serve. Through design we create and deliver value in the form of learning products and activities that are constructive, effective and efficient. Achieving this value proposition requires the skill of "design thinking." "Design Thinking" is not necessarily related to architectural design. As a matter of fact "Design Thinking" is a requirement for people of every nationality, as it is considered an attempt towards cultural evolution. In "Design Thinking" mind is trained to question, reason and approach each concept as if it was a mathematical problem! One approach to design thinking is to extract the features of the designer's strategic knowledge, for which comparative studies between expert designers and novices are useful. Also, controlled experimental studies may be adopted in order to understand the nature of the idea generation process. It is obvious that: "Design Thinking" could be the foundation of a great revolution in Iranian architecture.