Dialogue in the studio: Supporting comprehension in studio-based architectural design tutorials
01 Oct 2020-Art, Design and Communication in Higher Education (Intellect)-Vol. 19, Iss: 2, pp 149-165
TL;DR: In this paper, the authors examine perceptions regarding the purpose and delivery of tutorials in the architectural design studio that can support how students comprehend feedback, and they highlight that a comprehension-oriented praxis as opposed to an assessment-oriented Praxis can better enable dialogic practice, allowing learners to realize, position and comprehend their own voice amongst the divergent views.
Abstract: This article examines perceptions regarding the purpose and delivery of tutorials in the architectural design studio that can support how students comprehend feedback. It draws on literature on ‘dialogic feedback’ and theoretical accounts of ‘dialogue’, framing the notion of the dialogic as one in which meanings and identities are realized through a multi-voiced state, questioning the extent to which studio-based tutorials can be considered dialogic. The study uses thematic analysis to reflect on 212 accounts of educators and students at a UK-based architecture school. The article highlights that a comprehension-oriented praxis as opposed to an assessment-oriented praxis can better enable dialogic practice, allowing learners to realize, position and comprehend their own voice amongst the divergent views. The article extends the critical body of work dedicated to evaluating feedback delivery in one-off review sessions, to the context of tutorials and their longitudinal implications on the learning experience.
01 Jan 2016
TL;DR: In this paper, the authors identify three principal feedback typologies: direct suggestions, reflectinging questions and abstract suggestions, and a principal comment typology, clarifying questions, and propose a concise theoretical framework predicated on dialogue and enquiry for design tutorials and reviews that can become part of the training for design teachers.
Abstract: In an architect’s education, the design review is an event where students present a design scheme in front of a panel of critics, in order to receive feedback. The nature of feedback is usually more evaluative than informative, and its delivery is predominantly instructive and in the form of monologues. In an environment that appears to be more authoritative, students often feel intimidated, and some are reluctant to participate in a dialogue and interact. This thesis through the observation and classification of oral feedback in undergraduates’ architectural design review, explores dialogic enquiry as means of teaching and assessment that can promote interaction. The research draws on the method of Grounded Theory to identify three principal feedback typologies: Direct Suggestions, Reflecting Questions and Abstract Suggestions, and a principal comment typology, Clarifying Questions. Based on empirical evidence, four student-presentation factors seem to influence the typologies’ frequency: Well Comprehended Scheme, Poorly Comprehended Scheme, Less Communicative Student, and Well Developed Scheme. Students' and critics’ participation duration was also documented. A new method for recording design reviews produces coded transcripts designed to accommodate these objectives. The results assist in understanding dialogic enquiry as a condition that promotes interaction, which can constitute design review a social, participatory, and experiential activity. The outcomes suggest the need for more dialogue and more questions, and more importantly, a shift in the general mentality of approaching design reviews from ‘fault-finding’ and prescriptive feedback, to a more exploratory learning situation that sets an example on how to be critical of someone’s work and share ideas in a professional and social environment. The research proposes a concise theoretical framework predicated on dialogue and enquiry for design tutorials and reviews that can become part of the training for design teachers in Schools of Architecture, as well as Schools of Design.
TL;DR: In this paper , the authors conducted a study to determine how art students evaluate the role of their learning environments in achieving their learning goals, and what kind of feedback they consider important for their artistic development.
Abstract: At universities and academies, teaching and learning occur in a range of environments as art students continue to develop their skills. The aims of the study were to determine how art students evaluate the role of their learning environments in achieving their learning goals, and what kind of feedback they consider important for their artistic development. Therefore, ten university students were interviewed. They were advanced art students who had successfully completed different courses in sculpting. The findings indicate that during studio learning the students addressed technical or formal problems related to their artworks, as well as how to implement their artistic intentions, with the help of feedback from lecturers and fellow students. All participants referred to experimentation and trying out different materials, forms or motifs as central to their artistic development and said that exhibiting their own artworks in public as part of university projects motivated them to continue.
TL;DR: In this paper , the authors examine how a designer's sense of self can contribute to their method of practice and propose a new methodology (Narrative-based Dialogic Design-NDD) that can allow a decentralization of the sense of Self to facilitate the uptake of narrative positions of others.
Abstract: This paper questions the degree of inclusivity and equity in the treatment of voices at play in the architectural design process and advocates for an approach whereby architecture can be realized as a harmonious and polyphonic composition of multiple voices and values. Based on a dialogic ontology, the paper examines how a designer’s sense of self can contribute to their method of practice and proposes a new methodology (Narrative-based Dialogic Design-NDD) that can allow a decentralization of the sense of self to facilitate the uptake of narrative positions of others.
TL;DR: Thematic analysis is a poorly demarcated, rarely acknowledged, yet widely used qualitative analytic method within psychology as mentioned in this paper, and it offers an accessible and theoretically flexible approach to analysing qualitative data.
Abstract: Thematic analysis is a poorly demarcated, rarely acknowledged, yet widely used qualitative analytic method within psychology. In this paper, we argue that it offers an accessible and theoretically flexible approach to analysing qualitative data. We outline what thematic analysis is, locating it in relation to other qualitative analytic methods that search for themes or patterns, and in relation to different epistemological and ontological positions. We then provide clear guidelines to those wanting to start thematic analysis, or conduct it in a more deliberate and rigorous way, and consider potential pitfalls in conducting thematic analysis. Finally, we outline the disadvantages and advantages of thematic analysis. We conclude by advocating thematic analysis as a useful and flexible method for qualitative research in and beyond psychology.
TL;DR: In this article, the authors present a procedure for having two or more judges independently categorize a sample of units and determine the degree, significance, and significance of the units. But they do not discuss the extent to which these judgments are reproducible, i.e., reliable.
Abstract: CONSIDER Table 1. It represents in its formal characteristics a situation which arises in the clinical-social-personality areas of psychology, where it frequently occurs that the only useful level of measurement obtainable is nominal scaling (Stevens, 1951, pp. 2526), i.e. placement in a set of k unordered categories. Because the categorizing of the units is a consequence of some complex judgment process performed by a &dquo;two-legged meter&dquo; (Stevens, 1958), it becomes important to determine the extent to which these judgments are reproducible, i.e., reliable. The procedure which suggests itself is that of having two (or more) judges independently categorize a sample of units and determine the degree, significance, and
01 Jan 1978
TL;DR: In this paper, Cole and Scribner discuss the role of play in children's development and play as a tool and symbol in the development of perception and attention in a prehistory of written language.
Abstract: Introduction Michael Cole and Sylvia Scribner Biographical Note on L S Vygotsky Basic Theory and Data 1 Tool and Symbol in Child Development 2 The Development of Perception and Attention 3 Mastery of Memory and Thinking 4 Internalization of Higher Psychological Functions 5 Problems of Method Educational Implications 6 Interaction between Learning and Development 7 The Role of Play in Development 8 The Prehistory of Written Language Afterword Vera John-Steiner and Ellen Souberman Notes Vygotsky's Works Index
01 Jan 1962
TL;DR: Kozulin has created a new edition of the original MIT Press translation by Eugenia Hanfmann and Gertrude Vakar that restores the work's complete text and adds materials that will help readers better understand Vygotsky's meaning and intentions as discussed by the authors.
Abstract: Since it was introduced to the English-speaking world in 1962, Lev Vygotsky's highly original exploration of human mental development has become recognized as a classic foundational work of cognitive science. Vygotsky analyzes the relationship between words and consciousness, arguing that speech is social in its origins and that only as children develop does it become internalized verbal thought.Now Alex Kozulin has created a new edition of the original MIT Press translation by Eugenia Hanfmann and Gertrude Vakar that restores the work's complete text and adds materials that will help readers better understand Vygotsky's meaning and intentions. Kozulin has also contributed an introductory essay that offers new insight into the author's life, intellectual milieu, and research methods.Lev S. Vygotsky (1896-1934) studied at Moscow University and acquired in his brief lifespan a nearly encyclopedic knowledge of the social sciences, psychology, philosophy, linguistics, literature, and the arts. He began his systematic work in psychology at the age of 28, and within a few years formulated his theory of the development of specifically human higher mental functions. He died of tuberculosis ten years later, and Thought and Language was published posthumously in 1934.Alex Kozulin studied at the Moscow Institute of Medicine and the Moscow Institute of Psychology, where he began his investigation of Vygotsky and the history of Soviet psychology. He emigrated in 1979 and is now Associate Professor of Psychiatry (Psychology) at Boston University. He is the author of Psychology in Utopia: Toward a Social History of Soviet Psychology (MIT Press 1984).
01 Jan 1986
TL;DR: Holquist as mentioned in this paper discusses the history of realism and the role of the Bildungsroman in the development of the novel in Linguistics, philosophy, and the human sciences.
Abstract: Note on Translation Introduction by Michael Holquist Response to a Question from the Novy Mir Editorial Staff The Bildungsroman and Its Significance in the History of Realism (Toward a Historical Typology of the Novel) The Problem of Speech Genres The Problem of the Text in Linguistics, Philology, and the Human Sciences: An Experiment in Philosophical Analysis From Notes Made in 1970-71 Toward a Methodology for the Human Sciences Index