No full-text available
To read the full-text of this research,
you can request a copy directly from the author.
Graphic Thinking for Architects & Designers
... Graphics in architectural education serve as essential means of communication, translating abstract design concepts into tangible plans for architects, designers, and builders (Laseau, 2017). These drawings act as a universal language within the field, facilitating collaboration and communication among professionals involved in design and construction (McCarter, 2013). ...
... From ancient civilizations to the modern era, they served as essential tools for architects to communicate design ideas and specifications. According to Laseau (2017), Graphics trace back to ancient Egyptian and Mesopotamian civilizations, depicting structures and construction methods. The Egyptians created detailed architectural drawings on papyrus scrolls, showcasing their understanding of proportion and spatial relationships, guiding builders and craftsmen. ...
... The 19th and early 20th centuries witnessed significant advancements due to the Industrial Revolution and architectural engineering. Standardized drawing conventions, such as orthographic projections and axonometric drawings, improved accuracy and clarity (Laseau, 2017). ...
This paper employs a literature review methodology to explore the evolution and profound implications of Graphics in architectural education and design processes, with a specific focus on the integration of digital tools. The historical development, ranging from traditional manual techniques to computer-aided design (CAD) software, is traced, emphasizing the impact of digital technologies, including Building Information Modelling (BIM), virtual reality (VR), and augmented reality (AR). The study highlights the role of Graphics in enhancing spatial visualization skills, promoting collaboration, and improving design efficiency. Acknowledging challenges such as standardization and compatibility issues in digital workflows, the paper recommends strategies for balancing traditional and digital drawing techniques and emphasizes continuous learning for architects. In conclusion, the study calls for further research to assess the long-term impact of digital tools and explore user experience, sustainability, and ethical considerations. Ultimately, this paper underscores the significance of embracing digital advancements while preserving traditional drawing skills to foster sustainable and innovative design processes in architectural education.
... However, the trichotomy of Vitruvius was based on aspects of design including firmness, commodity, and delight (Proudfoot, 2000) than processes (Fields, 2000). It is supposed students in studios understand the design process activities to start studying, analyzing, drawing, conceptualizing, and mapping their own ideas, assumptions, and concepts through textual, visual, and graphical outputs (Tafahomi & Nadi, 2021b) in terms of conceptual, figurative, and diagrammatic design (Goldschmidt, 1991;Laseau, 2000;Trancik, 1986;Tschumi, 2014). ...
... Schon (Schon, 1984; explained the processes of design studios in terms of reflection of "learning by doing" through a continuous dialogue between instructors and students in daily activities gradually to achieve the results. It means that students draw their ideas, show them to the studio's leader, get feedback, and go for revision on sketches, drawing, and redrawing (Ching, 2015;Laseau, 2000). This process sometimes includes juries, and visiting lectures to lead students. ...
... Precedents studies and analysis have been a significant part of the design studios to inspire students for the design project (Clark & Pause, 1996;Schon, 1984). While this inspiration resulted in some level of pressure on the students to follow the original projects (Tafahomi, 2021a), the process resulted in the compositional form of the project to draw an either integrated or reformed generation of ideas and concepts (Laseau, 2000;. This tradition came from Beaux Art. ...
This paper aims to trace the influences of Hegel’s philosophical thoughts and ideas on the architecture design studios’ activities. Hegel is a key figure in the modern history of philosophy that lived in the time of establishing Beaux Art on the skeleton of Academie d’Architecture. Despite the many developments in different areas of education, seemingly, there are still some common grounds between Hegelian philosophy and architecture design studio activities that need to be highlighted and criticized. Content analysis and storytelling based on the structured observation applied in this research to compare two foundations. The results reveal four connections between Hegelian philosophy and architecture design studio activities, including precedents studies and historical dialectic, learning by doing and self-consciousness, crits (critiques) and idealism, and master-apprentice and master-slave theories, respectively. The findings highlight that activities in architecture design studios regenerate through studios, which run based on traditions, disciplines, and styles under the influences of Hegel’s philosophy. In conclusion, while Hegelian thoughts spread through successor philosophers in phenomenology, hermeneutics, existentialism, Marxism, and structuralism, education in architecture design studios has continued without the regeneration of ideas.
... Buxton, 2007). The sketching process, a supportive practice to make ideas of the early design stages tangible and to advance design development (Laseau, 2000;Lawson, 2004;Lawson, 2005;Suwa & Tversky, 1997;Lertsithichai, 2005), can be described as a constant back-and-forth of elaboration of ideas into many alternatives or variants and reduction through selecting the most promising solutions or solution aspects (Laseau, 2000;Buxton, 2007). ...
... Buxton, 2007). The sketching process, a supportive practice to make ideas of the early design stages tangible and to advance design development (Laseau, 2000;Lawson, 2004;Lawson, 2005;Suwa & Tversky, 1997;Lertsithichai, 2005), can be described as a constant back-and-forth of elaboration of ideas into many alternatives or variants and reduction through selecting the most promising solutions or solution aspects (Laseau, 2000;Buxton, 2007). ...
... The described steps of Wang et al. (2019) are used to adapt their conceptual framework (see Figure 1), created for medical diagnoses, for the specific target group of architects using reference building during the early design stages (see Section Related Work). A literature review is conducted on the workflow, architectural quality, design requirements, design tools and architectural design process (Laseau, 2000;Lawson, 2004;Lawson, 2005;Buxton, 2007;Schön & Wiggins, 1992;Darke, 1979;Harputlugil et al., 2014;Suwa & Tversky, 1997;Negroponte, 1973;Lee, Chuang & Wu, 2011;Lertsithichai, 2005;Richter, 2010) in order to clarify the user's reasoning goals (Step 1), as well as identify possible biases during the process and for supporting intelligent systems (Step 2). This theoretical research is triangulated in Bielski, Langenhan, Ziegler, Eisenstadt, Petzold et al. (2022) through a case study utilising a digital paper prototype, based on the deduced explanation methods and explanation visualisations (Step 3), and implemented as a highfidelity clickdummy of a hypothetical application of an intelligent design for tablet devices (Step 4). ...
In order to meet the housing demands of the future, architects need to work faster and more efficiently while improving architectural quality. The metis projects aim to create an intelligent design assistant supporting architects during the early design stages through suggesting further design steps for spatial layouting, based on the best practice of reference buildings. By enhancing suggestions with explainability, the system offers insight to improve Human-System-Interaction (HSI), bridging the ‘black box’ problem. The explanations aim to either support the reasoning process or mitigate possible biases of architects, which can be rooted in the heuristic ‘System 1’, as well as the analytical ‘System 2’, drawing from the ‘dual process model’. Within this paper, we propose our approach to clarify the four main heuristic biases and the logical errors of architects, when using reference buildings, and their respective representation during the architectural design decision-making process.
... Therefore, architects use sketches to understand, argue, observe the forms, and realize functional ideas (Do 2005). In addition, the sketch is an artist's self-directed creativity , modeling (Zell 2008), knowledge transfer (Laseau 2001), expression and communication tool and helps the main structure of thought to transform, store, and reach other focal points (Ching 1990;Goel 1995). In the early stages of design, it also helps to bring about new ideas and assists thinking (Cross 1999;Newell and Simon 1972), strengthening the mind (Cold 1995) and transforming ideas into reality (Hanks and Belliston 1977), supports flexible thinking (Cross 1999) and stores, transfers, and develops images (Goldschmidt 1992). ...
... state that it is a tool for thinking, learning, and sheer expression lines. Do (2005) and Laseau (2001) Sketch, like a graphic thought, is a tool for communication and visual thoughts among people, and it is necessary for the development of architectural design education. Edwards (2008) states that sketching is a crucial part of the design stage, as it is used for recording design and making analysis. ...
Sketching, a vital tool in architectural design and education, not only aids in the exploration of abstract concepts but also plays a significant role in fostering an architectural mindset. Over the history of architecture and design, researchers have extensively studied its characteristics to understand its role in architectural education. This study explores key factors in sketching and its evolving influence on architectural practice. A bibliometric analysis was conducted using VOS viewer software to examine significant trends in sketch-related research. The dataset, consisting of 3,391 English-language publications from Scopus, was analyzed across various document types and research categories, with filters applied for publications from 1976 to 2025. The research identified 4,487 keywords, with 138 meeting the essential criteria for further analysis. VOS viewers were selected for their ability to map scientific data, identify frequently cited authors, and visualize recurring themes within literature. The findings highlight several fundamental aspects of sketching, including creativity, communication, representation, visual thinking, inventiveness, perception, and visualization. These elements contribute significantly to sketching's role in the design process. This research provides valuable insights into the historical progression of sketch-related studies and their impact on design studios. This study offers a comprehensive overview of sketching's academic significance, enhancing understanding of its influence on architectural design education.
... Di Napoli (2011) asserts that this profound yet linear explanation of drawing is still valid. For designers, there is no difference between thinking and drawing; a thought flows in the mind of the designer as the line flows on paper with the help of the eye (Laseau, 2001). ...
... What enables students to develop drawing ability, to create, and generate design knowledge from it? The anxiety, the fear of drawing, and the misbeliefs accounted by the students participating in Fava's study (2020), as well as the intricate connection, at times imperceptible, between designer and drawing instruments (Di Napoli, 2004;Gregotti, 2014;Laseau, 2001;Sennet, 2009) suggest that drawing ability goes beyond the influence of technology and design curricula. Further research on drawing ability should explore the emotional and motivational aspects as potential determinants of drawing ability. ...
“I can’t draw” are three simple words, yet they formulate a statement that might conceal students’ feelings of drawing inability and powerlessness. These words also represent the major concern perceived among lecturers in design, that many students lack the necessary drawing abilities to transform ideas into representations. Discussions about this problem occur where drawing is the main language of communicating ideas, particularly in the classroom where the problem reveals its (harsh) reality. What are the roots of the design students’ lack of drawing abilities? In an attempt to formulate an answer to this research question, this paper presents a literature review within the lens of contemporary design production and education. Based on a systematic literature search of conceptual works and empirical studies, this paper employed a narrative approach to discuss the results, with particular attention to design praxis and design education. The main findings revealed that the problem of drawing ability has its roots in a) the use of the computer and loss of design thinking process, as well as the decline of hand-drawing practice; b) reduced drawing tuition and change of the meaning of drawing in higher education. All these factors tend to contribute, explicitly or implicitly, to the lack of drawing ability of design students. The aim of this paper is to invite educators to a critical reflection on drawing ability and its practices in design education and to provide an opportunity where drawing debates are not only encouraged but a necessary part of the learning-teaching paradigm.
... Perbedaan mendasar pada (a) kontribusi, kepentingan pertama menghasilkan teori sementara kedua menghasilkan desain; (b) fokus waktu, kepentingan pertama terfokus masa lalu dan atau saat ini, sementara kedua terfokus untuk digunakan di masa yang akan datang berupa desain serta (c) pendorong, kepentingan pertama termotivasi oleh pertanyaan, sementara kedua oleh problem (Groat & Wang, 2013). Pada kepentingan desain, penelitian disebutkan mempunyai posisi penting sebelum mengeluarkan ide-ide desain (Hershberger, 2015;Laseau, 2001;Peña & Parshall, 2001). ODAP dengan tujuan akhir adalah mengkolaborasikan desain lama dan baru sudah seharusnya menggunakan metode perancangan yang tepat. ...
... Pada kasus ODAP, bukti yang dilihat adalah ketidakoptimalan pada fungsi bangunan saat ini berdasarkan bentuk fisik. Pernyataan tersebut sesuai ahli programming yang menjelaskan bahwa salah satu tahapan desain adalah mengevaluasi kinerja bangunan dari perilaku atau aktivitas pada layout ruang dalam dan bentuk utamanya setelah dihuni (Hershberger, 2015;Laseau, 2001;Sailer et al., 2008). ...
Bangunan pusaka atau pada undang undang disebut dengan bangunan cagar budaya mempunyai arti penting yang melekat dalam waktu lama, sudah sewajarnya harus dilestarikan, tanpa menafikkan akan adanya penambahan atau adaptasi dengan metode yang tepat untuk optimalisasi fungsi. Olah desain dibutuhkan pada tahapan pengembangan bentuk, karena tuntutan fungsi dan upaya pelestarian sebagai bagian dari penataan ruang kota. Masih adanya pertentangan pemahaman pelestarian dan minimnya contoh metode desain yang bisa digunakan menjadikan permasalahan dalam pengembangan desain bangunan bersejarah. Oleh karena itu, dalam tulisan ini dibahas tentang Olah Desain Arsitektur Pusaka (ODAP) atau Infill Design in Heritage Architecture (IDHA) atau istilah lainnya adalah Adaptive Reuse in Heritage Architecture (ARHA), dengan tiga contoh kasus bangunan bersejarah di Kota Medan, yaitu eks Warenhuis, eks Deli Maatschappij Hospitaal dan eks Radio Republik Indonesia Kota Medan. Metode penelitian yang digunakan dalam tahapan olah desain adalah Evidence Based Design (EBD) dengan pendekatan Post Ocupation Evaluation (POE) yang mengkaji arti penting bangunan masing-masing sebagai dasar penentuan rekomendasi perlakuan pada bangunan serta ide-ide desain pada tahap pengembangan bentuk desain.
... During this process architects apply inductive and analogical reasoning, e.g. explorative creation of alternatives to select the most promising solutions or solution aspects (Laseau, 2000). This kind of reasoning is supported by contrastive ('Why?', 'Why not?'), counterfactual ('What if?'), and transfactual ('How to?') explanations to iterate the priority ranking of selected criteria and sub-criteria, e.g. through pairwise comparison (e.g. ...
... In order to determine the right time for the explanation visualisations, we aim to integrate the findings of our sketch study analysing the design process on the backdrop of the design phases (Lawson, 2004;Laseau, 2000), described within our papers of CAADRIA 2022 and ICCC 2022. By utilising these findings, we are enabled to determine the timing for the suggestions and their respective explanation visualisations to avoid answering to future questions or implying "that more is known about the solution than is really the case" (Lawson, 2004, p. 53). ...
... Design to him is trial and error process upon which arrangement of working stages, division of labour, and fast execution of work depend. The act of drawing based on Laseau's (1980) point of view shows the importance of graphic thinking to designers, is divided into two specialized activities. The first is the design drawing in which the designer expresses his or her idea. ...
... The second is the drafting, which is used to instruct the builder. Laseau (1975) emphasized the importance of design drawing as models of the design problem. To him design problems are best solved through design drawings. ...
The discipline of environmental design is a branch of the physical fields of design. Architectural design is a discipline of environmental design. Architectural design styles is of four categories; styles influenced by other styles, styles transmitted to other places, physical revived styles, and spiritual revived styles. Each one comprises of different styles.
The research looks at the impact of the introduction of intensive architectural design educational programs, fair architectural design competitions, economical considerations, and finally the political wills have on diversified creative and innovative architectural design styles. As the research adopted the four categories mentioned earlier each one is exemplified by one building considered as the case study. These four criterions; the advanced technology of the time, which leads to costly money expenditure, the unique design concepts and philosophies, the compatibility with the site, and the solvency symbolism especially when has effects in people’s socio-cultural lives were studied and analyzed in this order in each case study.
These four criterions are chronologically studied and analyzed in each of the four architectural design styles categories in the three following geographical levels; the worldwide, the regional and the local. The local is limited to Greater Khartoum in which all the competition prize winning corporate headquarters are located. The order of these levels is based on the chronological sequence in which these exemplars emerged. Architectural design competitions’ prize winning projects show fair case studies selections. Corporate headquarters are chosen as the most suitable building types for case studies due to the fortune capability they reflect stylishly better than all other building types. Prize winning corporate headquarters buildings already built are as well analyzed chronologically.
The thesis hypothesis concluded that the upgrading of architectural design educational programs, the adoption of architectural design competition which is characterized by fairness, and finding both ambitious economical consideation and influencial political wills with regard to buildings styles could possibly produce diversified creative and innovative architectural design styles.
... Lawson (2004) proposes both temporal and relational segments for classifying sketch protocols, while introducing the subclasses Analysis, Synthesis, Evaluation and Communication for defining the design phases. In addition to that, Laseau (2000) further partitions the Synthesis into two different subclasses as the Exploration and Discovery, while Barelkowski (2013) focuses on dividing the Analysis into Knowing and Understanding for a more distinguished look on the involved knowledge management. This also results in the separation of the Evaluation as a final decision, as well as a tool for creating more information as Evaluation -(informing) Knowing. ...
... The implementation of the custom loss function improved the accuracy by 6-8 percent, compared to accuracy of the models trained without the BCE loss function. Thus, we contribute a successful approach for predicting the current and next design phase, based on the categorisation by Laseau (2000), Lawson (2004;2005) and Barelkowski (2013), using an RNN trained with quantified design process data, to the research field. This novel approach includes the workflow for pre-processing of the design process data, quantified with the sketch analyser tool, the LSTM model architecture and finally, interventions to improve accuracy. ...
... Architects usually apply symbols in their drawings to identify different design concerns such as functionality or architectural configurations (Herbert 1993;Fraser & Henmi 1994;Laseau 1989). They may use colors, different types of lines, or text to indicate different design concepts. ...
... The cycle of graphic thinking. Source:Laseau, 1989. ...
... Source: Google maps photos, 2025 In 1980, Paul Laseau [13] argued that the field of architecture was facing significant challenges in the postmodern era. In response, architects must shift their focus from designing buildings for their users to a more proactive approach, one that involved actively engaging with these users to understand their needs and the choices they faced. ...
The design reference for public buildings should be reflective of the institutions' orientation and the public' demographics. This underscores the necessity to establish a linkage between architectural and social perspectives, recognizing that social disparities among societies invariably influence architectural outcomes. This necessitates a study of the design of these institutions within their context, in what is known as "sociological relativism". The study definitively reveals that social impediments arise during the design process of police buildings in countries with conservative regimes according to international standards for police buildings design. This is particularly salient in contexts where liberal and conservative police regimes differ significantly. Methodologically, a qualitative approach was adopted, examining the Egyptian context as a case study. Egypt as a subject is chosen because of the architectural development of its police stations, which have been characterized by a conservative system, during the period spanning from 2019 to 2024. The primary sources for this approach rely on an ethnographic component, which is achieved through field observation of conservative police buildings with behavioral mappings, photographs, and field notes. Semi-structured interviews are also conducted with architectural consultants and administrative leaders involved in the process of developing these buildings. These sources are used to reach the design criteria that achieve the optimal architectural model for police buildings with conservative systems, specifically police stations, in accordance with the nature of their inner work and the nature of the public who deal with them.
... Antoniades further categorizes architectural transformation into three types: Traditional, Borrowing, and Decomposition. This theoretical study of transformation is also supported by Laseau (2001), who categorized the process of architectural form transformation into four types (Fig. 4): ...
Introduction: Urban areas in Indonesia are experiencing significant cultural and architectural shifts towards modernization. This trend is particularly noticeable in major cities where tall, contemporary buildings are becoming more prevalent, reducing the influence of local cultures. For instance, the profound historical legacy of Majapahit culture is gradually fading. The erosion of local cultural identity is exacerbated by fast-paced lifestyles and evolving societal norms, exemplified by the emergence of large, multi-functional buildings that consolidate various functions. Thus, it is deemed paramount to restore fading cultural values. Purpose of the study: We aimed to explore the optimal transformation of traditional Majapahit architecture in Indonesia within the context of modern times, as an example of preservation efforts. Methods: This qualitative research uses a descriptive-analytical approach to explore the cultural values of Majapahit architecture and modern high-rise buildings. It outlines the scope of their study concerning current developments, with transformation theory as a foundation. Through interpretation approach, it aims to generate potential for local-modern transformations. These transformation possibilities are then selected and visualized in 3D using modeling and rendering applications to clarify their visual outcomes. Results and discussion: The 3D visual render of the transformation potential reveals elements that should be preserved in their original form attributed to Majapahit culture and aspects that can be modernized to align with current trends. This serves as a model of modern design integrating local culture to safeguard indigenous heritage.
... yaratıcılıklarını serbestçe ifade etme ve tasarım düşüncelerini hızlı bir şekilde test etme imkânı sunar.Eskizlerin belirsiz ve açık uçlu olma özellikleri, tasarımcılara esneklik ve kavramsal düşünme becerisi kazandırır. Bu özellikler, tasarımcıların düşünsel süreçlerini serbestçe ifade etmelerine ve yeni düşüncelerin ortaya çıkmasına imkân tanır.Laseau (2001)'nun belirttiği gibi, eskizler tasarımcıların düşünce dünyasında keşif yapmalarına yardımcı olarak tasarım sürecini sınırların ötesine taşır. Tasarımcılar, çizimler aracılığıyla soyut kavramları anlamlandırabilir, farklı perspektiflerden bakabilir ve yaratıcı düşünme becerilerini geliştirebilirler.Eskizler, tasarımcıların kavramsal karma ...
Bu çalışma, tasarım sürecinde eskiz kavramının tanımı, çeşitleri ve önemi üzerine odaklanmaktadır. Eskiz, tasarım sürecinde önemli bir araç olarak kabul edilmekte olup, tasarımcının düşüncelerini somutlaştırmasına, görselleştirmesine ve iletişimine yardımcı olmaktadır. Tasarımın her aşamasında kullanılan eskizler, yaratıcılığın görsel düşünme ve ifade edilme süreçlerinde önemli bir rol oynamaktadır. Ayrıca, geleneksel eskizlerin yanı sıra yapay zekâ destekli eskizlerin de tasarım sürecindeki rolünü incelemektedir. Geleneksel eskizlerin yerini alıp alamayacağı, tasarımın yaratıcılığına ve üretkenliğine katkı sağlayıp sağlamadığı, yapay zekâ ile üretilen eskizlerin tasarım sürecindeki rolü ve etkileri detaylı bir şekilde ele alınmaktadır. Bu bağlamda, yapay zekâ ile üretilen eskizlerin, tasarımcının yaratıcılığını ve üretkenliğini nasıl etkilediği, geleneksel eskizlerle karşılaştırıldığında avantajları ve dezavantajları neler olduğu incelenmektedir. Tasarım sürecinde yapay zekâ destekli eskizlerin kullanımının artmasıyla birlikte, tasarımın farklı aşamalarında nasıl bir rol oynadığı ve tasarımın yaratıcılığına nasıl katkı sağladığı da detaylı bir şekilde ele alınmaktadır.
Anahtar Kelime: Mimari Tasarım, Eskiz, Yaratıcılık, Tasarım Araçları, Yapay Zekâ
... Goldschmidt (1991) proposed the concept of "seen as seen that", Schön and Wiggins (1992) introduced "seeing more seeing", and Geol (1995) discussed "lateral and vertical transformation". These methods not only serve as tools for design thinking but also as means of communicating with others (Lawson, 1990) and platforms for simultaneously perceiving and seeing a large amount of information (Laseau, 2001). ...
Architectural education has a significant history with Sketch, which has consistently held a prominent position in design. This study investigates the various types of sketches used in the design studio and their impact on architectural education. Sketches, including figural and verbal techniques, are essential for advancing students in design studios. Knowing sketches and their use in the design process can significantly increase students' creativity in the design studio. The research explores how figural and verbal sketches influenced creativity within the design studios. A sample of 107 students was selected from the 2022 Spring Semester and 2023 Fall Semester at Architecture Design 1 at Yildiz Technical University. The Torrance Tests of Creative Thinking and questionnaires were used in this methodology. The data was examined using SPSS version 26, and data analysis t-test, Pearson correlation, and Mann-Whitney U statistical tests were applied. Our research results demonstrate the effectiveness of figural (drawing, diagram, and modeling) and verbal (textual expression and dialogue) sketches in students' design process. These tools also affect students' creative thinking in various design stages. Furthermore, figural and verbal sketches are used in different project stages to develop innovative ideas and thinking and identify fresh solutions and problem-solving during the design problem.
... Bu yalınlığın bir karşılığı olarak ortaya çıkan eskiz kâğıdındaki muğlaklık yorumlanmaya açık çizgilerin varlığına işaret etmektedir. Açık uçlu bir düşünce ortamı ise, esnek ve kavramsal bir tasarım altyapısı ortaya koymaktadır (Laseau, 2001). Tıpkı zihinde şekillenen her tasarım fikrinin evrimi gibi, eskiz kâğıdına da aktarılan fikirler değişken özelliktedir. ...
Bir düşünme aracı olarak eskiz, insanın aldığı karmaşık bilgiyi zihnin çeşitli süzgeçlerinden geçirdiği sürecin bir ürünüdür. Bu süreçte bilgi, zihne birtakım çağrışımlarla, sözcüklerle, görsellerle, sesle ve hatta koku ile dahi ulaşmış olabilir. Bu makalede farklı ifade yollarından gelen bilginin, hayal etme ve yaratıcı düşünme sürecinde ne kadar esneklik sağladığı sorusuna, eskizin katmanları üzerinden cevap aramak amaçlanmaktadır. Bu amaç doğrultusunda bir deney ortamı hazırlanmış ve katılımcılardan çok katmanlı bir eskiz çalışması yapmaları istenmiştir. Çalışma için soyut bir anlatım dili olan Büyük Budapeşte Oteli filminin hapishaneden kaçış sahnesi bölümü seçilmiş ve bu sahneden yola çıkılarak dört farklı ifade yolu üzerinden seçilen konu aktarılmıştır. Deney çalışmasında katılımcılardan; kavramsal, anlatısal, görsel ve işitsel bilgiler ile aynı kâğıt üzerinde ve her bir aşamada farklı bir renk eskiz kalemi kullanarak çok katmanlı bir eskiz çalışması üretmeleri beklenmiştir. Elde edilen çıktıların sistematik değerlendirmesi ile eskiz yapma sürecin de alınan bilginin detayı ve somut gerçekliğe yakınlığı arttıkça, düşünceyi aktaran çizgilerin yaratıcılık ve özgünlük değerinin düştüğü söylenebilmektedir. Bununla birlikte, bilginin farklı biçimlerde ve aşamalı ediniminin hem düşünmeye ayrılan zamanı arttırması hem de algısal olarak başka noktalara hitap etmesi nedeniyle eskiz üretimini zenginleştirme konusunda etkili olduğu ortaya konulmuştur.
... Schița reprezintă un instrument de învățare, practicarea în mod regulat a desenului liber de mână dezvoltă gândirea grafică. Desenul reprezintă o parte integrantă din procesul creativ și are un impact semnificativ asupra gândirii și găsirii de soluții la diversele probleme de proiectare 15 . În parcursul educativ al proiectelor de arhitectură, desenul liber poate fi utilizat atât în observarea contextului în care sunt dezvoltate cât și în imaginarea soluțiilor de proiectare 16 . ...
Introducere: Disciplina Sinteza Proiectării de Arhitectură aferentă anilor de studii IV-V-VI de la Facultatea de Arhitectură, din cadrul UAUIM, vizează dezvoltarea proiectelor cu funcțiuni, forme și structuri complexe, stimulând spiritul critic al studenților întotdeauna ca un răspuns specific, particular, raportat la un sit real. Abordarea disciplinei de proiectare este proprie fiecărui atelier și echipe de îndrumare, ridicându-se adesea controverse asupra rolului desenului, schițelor (ce, cum și cât), pe parcursul proiectelor. Într-un context cu dublă solicitare, general (al digitalizării și inteligenței artificiale) și particular (al anilor finali de studiu în care studenții își caută propriul drum și își conturează propria personalitate creatoare), desenul de mână, chiar și premergător soluțiilor de arhitectură devine, în anii mari, din ce în ce mai puțin prezent.
Scop și obiective: Articolul chestionează rolul schițelor, crochiurilor, desenelor atât în geneza proiectelor de arhitectură, din curricula de studii a anilor IV-V-VI, cât și pe parcursul acestora până la punctul final, din dublă perspectivă, atât din partea studenților cât și a cadrelor didactice. Discursul teoretic se concentrează pe actul pedagogic în cadrul corecturilor de la atelier, evaluând-cantitativ și calitativ- permanenta ajustare a raportului desen-discuții libere, în sensul unui raport optim pentru rezultatele studenților.
Materiale și metode: Cercetarea este de tip calitativ și sunt utilizate studiile de caz în analiza comparativă pe proiecte îndrumate la anii IV-V-VI de studiu, în perioada 2020-2024, pe parcursul a două generații de studenți, la Facultatea de Arhitectură din cadrul UAUIM.
Rezultate: Proiectele finale ale studenților relevă, pe fiecare an de studiu, importanța desenului de arhitectură în cadrul corecturilor de la atelier, atât la partea de concept cât și la conturarea soluțiilor finale. La anul IV se remarcă importanța discuțiilor libere pentru facilitarea trecerii într-o nouă etapă de sinteză, secondate de parte grafică, necesară avansării studenților în proiectare. La anul V, raportul desen-polemică devine matur pentru a-și releva excelența în cadrul proiectelor de diplomă de la finalul anului VI.
Concluzii: Raportul optim între corecturi desenate și discuții libere, ajustat în funcție de fiecare student, de proiect, etapă, an de studiu, nivel de complexitate și obiective didactice, reprezintă cheia bunelor rezultate atât pedagogice cât și de proiect final. Desenul-secondat în permanență de polemici profesionale- se dovedește, în activitatea personală de îndrumare a studenților un instrument interactiv, provocator, care stimulează creativitatea, curiozitatea, gândirea în afara cutiei și care, în final, contribuie la formarea unor arhitecți competitivi, care vor utiliza, la rândul lor, desenul liber în practica profesională.
Cuvinte cheie: schiță, mentorat, gândire vizuală, discurs arhitectural, sinteza proiectării de arhitectură
... There are some levels of interpretation in qualitative methods (Krippendorff, 2003) in applying for the deep analysis of the data (Groat & Wang, 2002;Neuman, 2006). The qualitative methods in architecture areas were applied through graphical analysis (Ching, 2015;Crowe & Laseau, 2011;Laseau, 2000;Tafahomi & Nadi, 2021), descriptive (Chiarella, 2005;Mugerauer, 1995), analytical (Carmona, 2001;LaGro Jr, 2008;Lang, 2005), research by doing (Adams, 2008;Boradkar, 2010;Goldschmidt, 2002;Koskinen et al., 2011). A few studies referred to the philosophical aspects of architecture (Franz, 1994;Groat & Wang, 2002;Tafahomi, 2022a;Wang, 2006). ...
The paper aims to investigate some philosophical and epistemological foundations in collecting knowledge in three important schools of architecture including Beaux Art, Polytechnique, and Bauhaus. Those three schools not only had differentiation in the time and location but also different ontological views of the built environment. Despite the less philosophical arguments on the architecture education, the curriculum and structure of the design studios (ateliers) referred to the beliefs, ideology, and philosophy even though they were not explicit. The content analysis, logical argument, and interpretation techniques were applied in this research to compare, investigate, and analyze the content of design studios and curricula to demonstrate the epistemological approach and the philosophical foundations in those three schools. The findings of the research show some linkages between the contextual and philosophical movements in the times of the schools and the structure of teaching. The effective philosophical foundations in those schools included neoclassicism, idealism, and romanticism for Beaux Art, rationalism, empiricism, and functionalism for Polytechnique, and socialism, modernism, and constructivism for Bauhaus. While it was not possible to draw a distinctive line between other philosophical thoughts from the schools, however, those philosophical schools were more related. In conclusion, the research realized a significant connection between four factors that form any architecture school, curriculum, and studio including philosophical and ontological context, epistemological discourses on knowledge, architecture projects and context, and architect’s beliefs and ideology. These four factors orient architecture education. The results could be useful for architecture schools, which will guide the other schools to select their orientation in the future.
... A sketch is an excellent example of an expressive visual representation that is highly simplified. The act of sketching has been described as "a conversation with ourselves in which we communicate with sketches" [144,225,256]. Sketches consist of only strokes, and often only a limited number of strokes. ...
Visual communication, dating back to prehistoric cave paintings, is the use of visual elements to convey ideas and information. In today's visually saturated world, effective design demands an understanding of graphic design principles, visual storytelling, human psychology, and the ability to distill complex information into clear visuals. This dissertation explores how recent advancements in vision-language models (VLMs) can be leveraged to automate the creation of effective visual communication designs. Although generative models have made great progress in generating images from text, they still struggle to simplify complex ideas into clear, abstract visuals and are constrained by pixel-based outputs, which lack flexibility for many design tasks. To address these challenges, we constrain the models' operational space and introduce task-specific regularizations. We explore various aspects of visual communication, namely, sketches and visual abstraction, typography, animation, and visual inspiration.
... As a result, the sketch cannot be decomposed into a coherent sequence of strokes that reflects the drawing process. In contrast, humans draw iteratively, stroke by stroke, incorporating visual feedback and continuously adapting-a dynamic, evolving process that fosters creativity, ideation, and communication [60,98,112]. ...
Sketching serves as a versatile tool for externalizing ideas, enabling rapid exploration and visual communication that spans various disciplines. While artificial systems have driven substantial advances in content creation and human-computer interaction, capturing the dynamic and abstract nature of human sketching remains challenging. In this work, we introduce SketchAgent, a language-driven, sequential sketch generation method that enables users to create, modify, and refine sketches through dynamic, conversational interactions. Our approach requires no training or fine-tuning. Instead, we leverage the sequential nature and rich prior knowledge of off-the-shelf multimodal large language models (LLMs). We present an intuitive sketching language, introduced to the model through in-context examples, enabling it to "draw" using string-based actions. These are processed into vector graphics and then rendered to create a sketch on a pixel canvas, which can be accessed again for further tasks. By drawing stroke by stroke, our agent captures the evolving, dynamic qualities intrinsic to sketching. We demonstrate that SketchAgent can generate sketches from diverse prompts, engage in dialogue-driven drawing, and collaborate meaningfully with human users.
... Ahora bien, específicamente en el ámbito de la arquitectura podemos hablar de un pensamiento gráfico o pensamiento arquitectónico. Este concepto (acuñado por Laseau, 2001) funciona para designar un modo de razonar y pensar a través del dibujo. Es un medio por medio del que se razona y arriba algún tipo de resultado, los dibujos son un proceso, donde imagen y pensamiento se encuentran relacionados. ...
La carrera de arquitectura, particularmente en su ciclo nivelatorio e inicial, despliega para sus estudiantes una serie de contenidos y aprendizajes que los/as preparan para adentrarse en un universo gráfico: una de las principales formas de expresión en el diálogo con la arquitectura.
En este ámbito, es frecuente encontrarse con metáforas como la mano que piensa (Pallasmaa, 2012) o pensar con las manos (Campo Baeza, 2009), para significar el modo en que al dibujar evocamos un proceso cognitivo que también implica elaborar un pensamiento. Invocar las manos representa una metáfora corporal que alude a un sentido artístico que subraya un eje central: la arquitectura se proyecta y comprende, principalmente, a partir de lenguajes visuales/gráficos, implicando una destreza central y un saber específico de la alfabetización disciplinar.
En este trabajo pretendo revisar los aprendizajes orientados a incorporar el lenguaje gráfico como un sentido singular y propio en el ejercicio de la arquitectura. Como también problematizar las metáforas ancladas en procesos perceptivos vinculados al cuerpo y el arte, basadas en lógicas esencialistas y un tanto acorralados en dicotomías que escinden cuerpo y mente, arte y ciencia, emocional y racional, subjetivo y objetivo. Por último, incorporar algunas reflexiones que aporten a superar dichas dicotomías a partir de perspectivas relacionales, como posibilidad de potenciar los modos de expresión y pensamiento.
... Not only typology things like style are also their consideration in finding the required precedent. Laseau (2000) mentioned the client's wants and needs from the design program. However, some students need help determining keywords for their precedent search. ...
A precedent is a piece of design knowledge that acts as an input to the design process. On the other hand, the originality of architectural design is built from many interpretations that occur within the designers, including the performance in the precedent study. However, more information still needs to be provided about how students seek, read, and apply precedents during the naturally occurring design process. Architecture students have limitations in developing a design, considering they need more experience and knowledge than practitioners. This research is based on the learning-by-doing experienced by architecture students when designing a housing project. The research is conducted with the participant of second-year architecture students, which includes observation during the studio class and interview. The portfolio documents are also used to support the data itself. The result shows that architectural precedents are sought almost in every phase of the design process. The precedent that has already been seen or even analyzed becomes part of the designer’s tacit knowledge.
... Metaphors and analogies can help understand ideas of imagination in urban history through abstract thinking based on mental imagery. Architects rely on their self-perception to imagine and generate ideas, using their intellectual and cognitive abilities, intuition, and expectation to find similarities that can inspire their work [115,116]. Here are sources of inspiration, including natural sources like the human body and living organisms, such as plants and animals. ...
This review article explores how metaphors and analogies used throughout urban history can simulate mental imagery to inspire innovation. The study addresses three critical questions using qualitative literature review methods like text data mining and content analysis. The results yielded from the first question showed a link between mental imagery and architectural discourse. The second question yielded the crucial role of metaphor and analogy as literary devices that can enhance mental imagery. The answer to the third question yielded five procedures of how literary devices foster innovation. The discussion found a complex interplay between recalling mental imagery and imagination and using metaphors and analogies. While recognizing their effectiveness in inspiring innovative ideas, the review cautions against oversimplification and cultural biases. The review of literature offers a nuanced understanding of their theoretical and practical foundations, shedding light on their role in shaping architectural mental imagery within urban history narratives.
... The identification of the physical and ecological features of urban open space is based on Catherine Dee's book "Form and Fabric in Landscape Architecture" and other authors' works on field sketch drawing. Chip Sullivan, in "Garden and Climate, " highlighted the elements of earth, air, water, and fire to discover features of a garden through drawing [7] Paul Laseau, in "Graphic Thinking for Architects and Designers, " emphasized the investigation of physical, organic, and cultural analogies in urban open space [4]. In this research, we adopted Dee's approach and identify five elements of the landscape fabric that constitute the physical and ecological features of urban open space: spaces, paths, edges, foci, and thresholds. ...
This research explores how field sketch drawing can help in understanding, and analysing urban open spaces, and their potential roles for their experiential dimension. The research begins with a theoretical interpretation of the term “Place” and an examination of the components that make up an urban open space. This is followed by an analytical study of field sketch drawing techniques, which are selected and applied to develop an inclusive approach for analysing urban open spaces via field sketching. The final product of this research includes a theoretical study of urban space components and field sketching, serving as a comprehensive guide for analysing urban spaces through field sketching. The research findings highlight the potential of field sketch drawing as a valuable method for understanding and analysing urban open spaces, and its ability to enhance the experiential dimension of these spaces. The proposed inclusive field sketching approach provides a practical tool for designers and planners to conduct on-site analysis and generate preliminary design proposals for urban open spaces. The results of this research contribute to the field landscape architecture and design by providing insights and recommendations for incorporating field sketching as a valuable approach in the analysis and design of urban open spaces.
... Somutlaştırma eylemi kişiye özgü davranışlarla gerçekleşir. Kaynak:Laseau, 1937 Biçime doğru yol alan süreçte ise, tasarımcının gözetmek zorunda olduğu birçok teknik gerçeklik bulunacaktır. Mekan tasarımcısı, konseptini tasarıma uyarlarken, oranlama sistemini, renk ve doku kararlarını, kullanacağı malzemelerini, yani her tür somut adımını, kavramlaştırma sistemine paralel şekilde, bir bütün halinde düşünmek durumundadır.Mekanı oluşturan nesnel elemanlar çok sayıda uyaran aracılığı ile algısal sürece konu olurlar. ...
... Esta afirmación hace pensar que la dinámica creativa de Scarpa permitía la convivencia del pensamiento visual con el de pensamiento gráfico, concepto donde el pensamiento es asistido por el dibujo (Laseau, 2001), apoyando, catalizando y exteriorizando su materialización. En cierta manera, el pensamiento gráfico complementará al visual, permitiendo una retroalimentación durante el proceso creativo. ...
Carlo Scarpa, considerat un dels mestres de l’arquitectura moderna de la segona meitat del segle XX, conjuga arquitectura i disseny mitjançant una metodologia projectual que prioritza la reflexió gràfica davant la inspiració immediata. El seu procés creatiu escrupolós es reflecteix en la documentació gràfica de l’arquitecte que, progressivament, s’ha anat concentrant a l’arxiu d’arquitectura del MAXXI de Roma. Els aproximadament trenta mil documents de l’arxiu permeten entendre i seqüenciar el procés projectual, que utilitzava el dibuix com a eina central creativa i de reflexió. Aquest article pretén aprofundir en el procés de pensament creatiu, analitzant les tècniques i els procediments gràfics que l’arquitecte venecià va utilitzar a l’hora d’abordar el disseny dels seus projectes, així com la seva evolució durant els anys de professió. La investigació va requerir l’estudi comparatiu dels documents gràfics i va revelar exemples inèdits que il·lustren l’essència del plantejat. Per ordenar idees i seqüència evolutiva del seu mètode, es va recórrer a l’anàlisi d’escrits rellevants, entrevistes i transcripcions de les classes, ordenant cronològicament els documents gràfics per poder evidenciar els canvis suscitats al llarg del temps. D’aquesta anàlisi es conclou que Scarpa presenta una sensibilitat creativa única, guiada per una recerca de la perfecció que el portarà a un nivell de depuració i sofisticació del mètode projectual en què destaca la capacitat per fer servir el dibuix com a instrument de pensament, disseny i comunicació.
Carlo Scarpa, considered one of the masters of modern architecture of the second half of the 20th century, combines architecture and design through a project methodology that prioritizes graphic reflection over immediate inspiration. His scrupulous creative process is reflected in the architect's graphic documentation, which has progressively been concentrated in the MAXXI architecture archive in Rome. The approximately thirty thousand documents in the archive allow us to understand and sequence his project process, which used drawing as a central tool for reflection. This article aims to delve into the creative thought process, analyzing the graphic techniques and procedures that the Venetian architect used when approaching the design of his projects, as well as his evolution during his years of profession, perfecting his project methodology. The investigation required the comparative study of the graphic documents, revealing unpublished examples that illustrate the essence of what is defended. For the ordering of ideas and the evolutionary sequence of his method, we used the analysis of relevant writings, interviews, and transcripts of his lectures, ordering the graphic documents chronologically in order to demonstrate the changes that have occurred over time. From this analysis it is concluded that Scarpa presents a unique creative sensibility, a search for perfection, a level of purification and sophistication of the project method in which his ability to use drawing as an instrument of thought, design and communication stands out.
Carlo Scarpa, considerado como uno de los maestros de la arquitectura moderna de la segunda mitad del siglo XX, conjuga arquitectura y diseño mediante una metodología proyectual que prioriza la reflexión gráfica frente a la inspiración inmediata. Su escrupuloso proceso creativo se refleja en la documentación gráfica del arquitecto que progresivamente ha ido concentrándose en el archivo de arquitectura del MAXXI de Roma. Los aproximadamente treinta mil documentos del archivo permiten entender y secuenciar su proceso proyectual, que utilizaba el dibujo como herramienta central creativa y de reflexión. Este artículo pretende profundizar en el proceso de pensamiento creativo, analizando las técnicas y procedimientos gráficos que el arquitecto veneciano utilizó a la hora de abordar el diseño de sus proyectos, así como su evolución durante sus años de profesión. La investigación requirió del estudio comparativo de los documentos gráficos, revelando ejemplos inéditos que ilustran la esencia de lo planteado. Para la ordenación de ideas y de la secuencia evolutiva de su método, se recurrió al análisis de escritos relevantes, entrevistas y transcripciones de sus clases, ordenando cronológicamente los documentos gráficos para poder evidenciar los cambios suscitados a lo largo del tiempo. De este análisis se concluye que Scarpa presenta una sensibilidad creativa única, guiada por una búsqueda de la perfección que lo llevará a un nivel de depuración y sofisticación del método proyectual en el que destaca su capacidad para usar el dibujo como instrumento de pensamiento, diseño y comunicación.
... The activities in design studios are constructed on continuous dialogue and interaction between the students and the instructor (Schon, 1987). The design studio is where the students spend most of their educational time studying, drawing, presentation, and learning activities (Ching, 2015;Laseau, 2000). Working together in a design studio has created a specific title for studio culture based on the presentation, interaction, and communication as a small society in academia (Schon, 1984). ...
COVID-19 has challenged educational systems in whole parts of the world, including convenient courses and programs such as architecture. The architecture program is designed based on the design studios that deliver major parts of the activities in the program, such as design productions, project presentations, and receiving comments on the design activities from both instructors and juries. To test the students' satisfaction level with social interactions in design studio activities, a five-scale questionnaire was designed, and through Google Forms, the results were analyzed in SPSS. The findings reveal that communication, social interaction, and design activities are significant for the students. The students demonstrate overall satisfaction with the quality of the course delivery. However, the detailed design illustrates that students and instructors adopted an adapted way to the condition to reduce the risk by minimizing the group work and increasing the individual desk crits. This result shows that teamwork and peer learning were reduced during the pandemic.
... Prinsip berpikir inilah menjadi dasar arsitek melakukan eksplorasi dan inovasi desain. Hasil karya inovasi arsitektur tidak berarti bebas secara subyektif sang arsitek berkarya namun harus memperhatikan aspek manusia, waktu, biaya maupun lingkungan [1]. Sehingga karya yang dihasilkan tidak hanya sekedar mengejar bentuk fisik semata tetapi inovasi yang bertanggung jawab. ...
Seorang arsitek dalam melakukan proses perancangan harus berpikir kreatif untuk menghasilkan alternatif solusi perancangan yang inovatif. Dalam perspektif Islam, manusia harus menggunakan akal pikirannya dalam bertindak dan menerima sebuah informasi tidak boleh “Taqlid”, yaitu tanpa memahaminya tapi sekedar meniru atau cara berpikir dogmatis. Sebaliknya Islam mendorong berpikir inovatif dengan membuka pintu “Ijtihad”, yaitu penyelesaian permasalahan selama tidak bertentangan dengan Al Quran dan Hadist. Proses inovasi harus dilandasi ilmu, proses berpikir dan menggali permasalahan secara rasional dan bertanggung jawab, tidak subjektif. Prinsip berpikir inilah menjadi dasar arsitek melakukan eksplorasi dan inovasi desain. Penelitian ini mengupas arsitektur masjid Raya Pati, Jawa Tengah, yang merupakan hasil inovasi desain dengan mengacu nilai-nilai Islami. Masjid Raya Pati merupakan masjid inovatif dengan sentuhan arsitektur baru yang berbeda dengan kebanyakan arsitektur masjid pada jamannya. Metoda penelitian ini menggunakan pendekatan deskriptif - kualitatif, melalui pengumpulan dan analisis data rancangan bangunan masjid Raya Pati secara mendalam. Hal ini untuk memahami inovasi desain pada rancangan masjid tersebut. Hasil penelitian mengungkapkan bahwa proses eksplorasi desain pada Masjid Raya Pati ini menghasilkan inovasi baru pada sebuah arsitektur masjid, baik bentuk maupun strukturnya namun tetap rasional. Islam membuka peluang eksplorasi gagasan desain inovatif untuk mencari sesuatu yang baru secara rasional dan bertanggung jawab dengan tetap memenuhi nilai-nilai Islami, etika dan norma-norma terhadap manusia maupun lingkungan.Kata kunci: Inovasi, Masjid, Perancangan, Perspektif Islam
... Basic ideas related to each goal contribute to the development of the most comprehensive design concept that is called a design 'parti'. These design parties have an enduring mechanism used by designers to establish the fundamental organization of a building and guide the entire process of design development (Laseau 2000). ...
The importance of the design process in architecture is one of the most popular subjects for the researchers in this field. By reviewing the literature on the subject of design methods in architecture, the authors suggested a model of four types of conceptual design: analogical, typological, pragmatic and theoretical. Also, based on the previous studies of brain dominancy, individuals can be divided into four main groups. In order to find the relation between brain dominancy of architecture students and their preferred conceptualization methods in design, over 350 students of architecture participated in this research in Iran. Using Ned Herrmann’s brain physiology model, the findings concluded that the participants who use their A quadrant of brain prefer pragmatic and theoretical approaches. The preference of participants with B and C quarter-brain dominance is respectively typological and theoretical methods. Participants who use their D quadrant of brain prefer analogical and theoretical methods.
... The relationships between the instructor and the students follow the interactions in the sessional meetings to discuss the design project through critics and comments that have emerged between the students, instructor, and the design project (Bold & Hutton, 2007;Franz, 1994;McClean & Hourigan, 2013;Tafahomi, 2021a). It was widely discussed that architectural education uses p henomenology and interpretation based on a fundamental hermeneutic to understand, interpret, and explore the meaning and objective of the design project (Krippendorff, 2003;Mugerauer, 1995;Mugerauer, 2014) through physical (Franz, 1994;Schon, 1987), conceptual (Laseau, 2000;Lawson, 2005;Tafahomi, 2021a), and graphical features (Ching F. D., 2010;Ching F. D., 2015;Tafahomi, 2009;Tafahomi & Nadi, 2021). However, social distance has affected this interaction in the design studios based on the new model of education during the pandemic (Buldan, 2021). ...
The pandemic condition changed the style of teaching and learning in the wide world. Particularly some measurements such as warning masks and social distance influenced the quality of the education in the higher education. A five-scale Likert questionnaire was designed to ask the architecture students to evaluate the quality of the delivery of the theoretical courses in the department. SPSS was applied to analyze data with quantitative methods. The results revealed that the students generally were satisfied with the quality of courses and the delivery methods. However, the Chi-square analysis demonstrated that just a few factors were associated with the quality of the delivery of the courses and other factors did not statistically associate with the evaluation of the students. In conclusion, the students evaluate the quality of the teaching in a holistic approach and apparently contextual factors influence the judgment of the students during the pandemic time of teaching and learning.
... The various modes of representation open them to a variety of ways of seeing. The development of a unique style, individual mode of expression through drawings and paintings, involves the growth of their authors' strong sense of identity [1]. know -teachers, peers, as well as strangers -observers and residents. ...
The article presents the experiences from open-air drawing workshops in Hrubieszów, Poland (2022) and Kraków, Poland (2019-2022), organised for landscape architecture students from the Faculty of Architecture at Cracow University of Technology (FA-CUT), Kraków, Poland. The objective is to emphasise that open-air drawing workshops are useful in developing drawing skills and individual artistic means of expression, as well as in developing observation skills and spatial imagination. The conducted research supports the view that open-air drawing workshops enhance the teaching process by preparing students for their future design work. It improves their competencies and provides them with an opportunity to learn new skills through intense experience, reflection, thinking and active experimentation. The majority of FA-CUT landscape architecture students who took part in the drawing professional practice in the period 2019-2022, confirmed in surveys that they found the experience important for the education of landscape architects and they expressed the opinion that the most important goals of the workshops had been achieved.
... This part of the design action also has been considered as "graphic thinking", a communication process. (Laseau, 1989) As for the second phase here, in a sense, the drawing with ruler just reflects directly what the architect want to express, while the media itself does not join the design during the process. Such a phase always was considered as just a process of representing the result of a design. ...
Objective
This article aims to explore architectural-rich insights derived from users’ experiences within everyday practice in palliative environments and provides a practical framework for healthcare organisations, architects and researchers involved in (re)designing palliative environments for person-centred care.
Methods
An ethnographic study involving participatory observation was undertaken to gain insight into the influence of palliative environments on the diverse users’ subjective experiences. This immersive research took place across multiple palliative environments, encompassing a palliative care unit, a day care centre for palliative care and a hospice located in Belgium. Also, informal conversations and photo-elicitation interviews were conducted with residents, family members, healthcare professionals, volunteers and maintenance staff.
Results
Analysing the subjective experiences yielded a practical framework of four architectural atmospheres (proximity, support, engagement, comfort) intended to serve as guiding principles for designing palliative environments. To shape these atmospheres, this article elaborates on 17 spatial aspects and aligns them with real-life experiences of users within palliative environments, thereby enriching and contextualising these insights.
Conclusions
This study presents a practical framework encompassing atmospheres, spatial aspects and overarching insights. It is augmented by supplemental material featuring real-life user experiences, all directed towards guiding the design of palliative environments in pursuit of person-centred palliative care. This article advocates for a collaborative, interdisciplinary, holistic design approach that acknowledges these considerations’ interconnectedness and considers the users’ multiple perspectives. Ultimately, this approach serves as a means of bridging design intentions and actual experiences encountered by users in their real-life contexts to assist healthcare organisations and architects in creating environments for person-centred palliative care.
Education at all levels is being transformed, impacting teaching methods, materials, and the physical learning environment. Over recent years, efforts have been made to align school architecture with contemporary educational practices to create stimulating and responsive teaching and learning environments. In this context, Evidence-Based Design (EBD) is an important source of scientific knowledge that can be applied to the design process, while the pattern language developed by Alexander et al. (A pattern language: Towns, buildings, construction, Oxford University Press, 1977) has been at the forefront of translating design information into a design method based on Design Patterns (DPs) for the past 50 years. This study applied these concepts, when undertaking a scoping review of the literature that gathered EBD information related to school buildings, with an emphasis on middle schools. The insights gained were subsequently transformed into 15 architectural DPs with aligned graphical representations, with the intention of supporting improved school design processes. The collection and organisation of evidence-based information undertaken in this study are anticipated to help to guide the production of better school buildings—appropriate to their context—through the translation of evidence-based insights into informative graphical and textual language.
In this brief presentation, we question the importance and possibility of hand drawing or analog methods in the presence of digital technologies, as well as its role in architect education. We argue for its coexistence alongside digital technologies and emphasize its significance in the training of future architects. We assert that drawing is a form of communication intrinsic to human existence. Furthermore, it is a kinesthetic-cognitive act where perception, memory, and reasoning are intertwined in the process of architectural design conception.
In her essay titled "The Unforeseeable in the Design Process," Natalie Weinmann challenges the prevailing view that unforeseeable events in design are merely mistakes to be avoided. Instead, she seeks to highlight the productive potential inherent in the unforeseeable. Weinmann delves into dimensions of the design process often overlooked in contemporary discourse, aiming to elucidate the diverse manifestations of the unforeseeable. She explores the necessity of interruptions in chains of actions and demonstrates how perception, interpretation, and unconscious responses to the unforeseeable can shape design approaches. Through various examples, Weinmann illustrates the impact of hands-on approaches to making and underscores the importance of designers' expectations, prior experiences, knowledge, and imagination. Ultimately, her essay aims to foster awareness and appreciation for the role of the unforeseeable in strengthening designers and design projects, prompting reflection on the changes necessary to accommodate this awareness in the future.
Tasarım dünyasında eskizlerin, tasarım bilgisinin oluşmasında ve tasarım düşüncesinin geliştirilmesinde bir aktarım aracından daha fazla rolü bulunmaktadır. Eskizler sahip oldukları özgür, yaratıcı ve esnek yapılarından dolayı görsel düşünmeye veriler sağlamaktadır. Tasarım- tasarımcı- eskiz arasında sürekli döngüsel ve sınırları belirsiz bir ilişki bulunmaktadır. Pallasmaa (2009), beyindeki düşüncenin, imgenin zihinde ve üretilen eskizlerde eş zamanlı oluştuğunu savunmaktadır. Eskizde yer alan çizimin mi yoksa zihindeki düşüncenin mi önce oluştuğunu bilmenin imkansız olduğunu söyleyerek, zihindeki imgenin eskiz ile kendiliğinden oluştuğunu da ayrıca belirtmiştir. Mimari tasarım sürecinde yaratıcılık, hayal gücü, görsel düşünme ve eskizin önemli yeri olduğu bilinmektedir. Çalışmada, yaratıcı düşünme, hayal gücü ve eskiz ilişkisi bütüncül olarak ele alınmıştır. Tasarım sürecinde sorgulama ve çözümleme eylemleri bulunmaktadır. Bu sürecin bitişinde, yaratıcı ve özgün ürünlerin ortaya çıkmasında görsel düşünme ile eskiz, baskın rol oynamaktadır. Eskiz; tasarımcının düşünme, düşünceyi aktarma ve bilgi türetme eylemlerini zihinde kurguladığından öteye taşır. Eskiz çalışmaları beyindeki soyut düşünceyi, somutlaştırarak düşünceyi geliştirecek yaratıcı katkılar sağlamaktadır. Zihindeki düşüncelerin somutlaşması ile yeni bilgiler oluşur ve bu yeni bilgiler tekrar zihinde yorumlanır ve somutlaştırılır. Böylece yeni bilgiler gelişir ve başka bilgilerin oluşmasını sağlar. Bu çalışma; bu sistematik süreç içerisinde eskizi, eskizin rolünü ve işleyişini araştırmakta ve mimari tasarımdaki yaratıcı düşünmenin ortaya çıkışında kendine özgün bir dile ve anlayışa sahip eskizin sınırlarını-sınırsızlığını tartışmaktadır. Mimarlık eğitiminin bir parçası olan tasarım sürecinde, hayal gücü ve yaratıcı düşünce, yaratıcı düşünceyi geliştirmenin eskiz ile arasındaki ilişkinin araştırıldığı bu çalışmada; verilen bir tasarım problemine karşı eskizlerle görsel anlatımın nasıl oluşturulduğu ve hangi sonuçlara ulaşıldığı amaçlanmaktadır. Bu amaçla Mimarlık bölümü 1. ve 2. sınıf öğrencileri ile ‘‘görsel düşünme ve görsel anlatım ilişkisi’’ üzerine bir uygulama çalışması gerçekleştirilmiştir. Uygulama çalışmasının ilk aşamasında öğrencilere bir tasarım problemi verilmiş olup sınırlı süre içerisinde bu probleme karşı geliştirdikleri tasarımlarını eskizlerle anlatmaları istenmiştir. Sonrasında oluşturulan tasarım örnekleri; eskiz ve eskizin yaratıcı düşüncedeki sınırsızlığı ilişkisi çalışmalarda içerik, biçim, sorgulama- çözümleme ilişkilerine göre incelenmiştir. Çalışmanın ikinci aşamasında, öğrencilerin yaptıkları eskizler sınıf ortamında tartışılmış ve eskiz sahiplerinin imgeleri ile eskizi inceleyen bireylerdeki imgelerin durumları karşılaştırılmıştır.
Niniejszy artykuł poświęcony jest procesowi kształcenia w zakresie rysunku odręcznego i malarstwa oraz tego jak nabyte umiejętności wykorzystywane są przez studentów w procesie projektowania na dalszym etapie studiów. W publikacji zwrócono uwagę na istotę rysunku i malarstwa w procesie projektowania. Celem pracy jest analiza metody kształcenia w ramach przedmiotu z Rysunku odręcznego, grafiki i malarstwa oraz Projektowania domów jednorodzinnych. Ukazano w jaki sposób nabyte umiejętności oraz wiedza z zakresu sztuki w ramach jednego przedmiotu prowadzonego na I roku Architektury, wykorzystywana jest podczas realizacji zadań projektowych w ramach drugiego przedmiotu. Autorka przedstawia własne doświadczenia w zakresie nauczania rysunku odręcznego studentów Architektury, Politechniki Lubelskiej. W artykule wykorzystano metodę obserwacji, dokonano analizy prac studentów oraz przeprowadzono wywiad wśród studentów i prowadzących dane przedmioty. Zaprezentowane badania pokazały, że umiejętne posługiwanie się warsztatem rysunkowym i malarskim oraz podstawowa wiedza w zakresie sztuki jest niezbędna w procesach twórczego projektowania architektury szczególnie wtedy gdy wyobrażenie pomysłu nie jest wystarczające do rozwiązania problemu projektowego.
Kabupaten Pacitan memiliki keragaman potensi wisata baik alam maupun budaya. Saat ini pemasaran potensi wisata baru dilaksanakan melalui fasilitas yang seadanya di Kantor Dinas Pariwisata Kabupaten Pacitan. Pembangunan Pusat Informasi Wisata merupakan salah satu rencana pencapaian target bidang kepariwisataan di Kabupaten Pacitan. Naskah ilmiah ini membahas mengenai perancangan pusat informasi wisata di Kabupaten Pacitan dengan menggunakan pendekatan arsitektur kontekstual. Arsitektur Kontekstual digunakan sebagai dasar pendekatan dengan tujuan agar mampu memberikan nilai tambah secara visual pada desain Pusat Informasi Wisata. Kontekstualisme, sebagaimana diketahui, muncul dari keinginan untuk menyelesaikan persoalan-persoalan keselarasan desain bangunan baru dengan lingkungan kota dan struktur alam serta budaya sekitarnya (Çizgen, 2012). Implementasi konsep yang diterapkan pada desain, disesuaikan dengan teori arsitektur kontekstual yang berkesinambungan terhadap kondisi lingkungan kota dan budaya sekitar. Pertimbangan desain berpedoman pada prinsip desain arsitektur kontekstual, yaitu penyesuaian terhadap modul, tipologi, dan lansekap bangunan sekitar, serta aspek klimatologi, budaya, dan permasalahan pengguna bangunan. Karya tulis ilmiah ini merumuskan arahan desain pusat informasi wisata dengan menerapkan konsep arsitektur kontekstual, pada desain zoning dan denah, fasade atau pelingkup bangunan serta elemen pola lansekap.
The house is the result of the culture of an ethnic group which produces specific dwellings based on tradition in the process of its formation. One manifestation of this cultural product is the Stilt House of the Ranau community, which is one of the tribes in South Sumatra Province, which is located in Pagar Dewa Village, Warkuk Ranau Selatan, Ogan Komering Ulu Selatan District. The people of the Pagar Dewa Village Stilt House are currently experiencing changes in space in the area below the house and the area above the house which forms a new spatial pattern with various factors causing the changes. The purpose of this study was to determine the typographical form of changes in the space on stilts in the Pagar Dewa village community, to determine the factors causing the changes in space and to categorize the forms of changes in space into several types of changes. This research uses a qualitative approach with descriptive methods. For the sampling technique, the sample was taken purposively random, with the Quota Sampling model, namely determining the leading key area and the key group (respondents) determined based on the hamlet that became the first hamlet to start civilization in Pagar Dewa Village (Dusun I), a hamlet that has educational facilities, bridges and other facilities. Religious (Dusun II), a hamlet that has a direct orientation towards the river and rice fields (Dusun VII). In this study, 3 forms of typography were obtained from the changes in the space on the stilt houses of the Pagar Dewa village community.Keyword: Tipology, Transformasion of Space, Stilt HouseAbstrak: Rumah merupakan sebuah hasil kebudayaan sebuah suku bangsa yang menghasilkan hunian yang spesifik berdasarkan tradisi dalam proses pembentukannya. Salah satu wujud dari hasil kebudayaan tersebut adalah Rumah Panggung masyarakat Ranau yang merupakan salah satu suku di Provinsi Sumatera Selatan yang berada di Desa Pagar Dewa Kecamatan Warkuk Ranau Selatan Kabupaten Ogan Komering Ulu Selatan. Rumah Panggung masyarakat desa Pagar Dewa saat ini banyak yang mengalami perubahan ruang pada area bawah rumah dan area atas rumah yang membentuk sebuah pola ruang baru dengan berbagai factor penyebab perubahannya. Tujuan dari penelitian ini adalah untuk mengetahui bentuk tipologi perubahan ruang rumah panggung masyarakat desa Pagar Dewa, mengetahui faktor penyebab perubahan ruang dan mengelompokan bentuk perubahan ruang tersebut menjadi beberapa tipe perubahan. Penelitian ini menggunakan pendekatan kualitatif dengan metode deskriptif. Teknik sampling Sampel diambil secara purposive random, dengan model Quota Sampling yaitu menetapkan terdahulu key area dan key group (responden) ditentukan berdasarkan Dusun yang menjadi Dusun Pertama memulai peradaban di Desa Pagar Dewa (Dusun I), Dusun yang memiliki fasiltas Pendidikan, Jembatan dan fasilitas Keagamaan (Dusun II), Dusun yang memiliki orientasi langsung ke arah sungai dan sawah (Dusun VII ). Pada penelitian ini mendapatkan 3 bentuk tipologi perubahan ruang rumah panggung masyarakat desa Pagar Dewa.Kata Kunci: Tipologi, Perubahan Ruang, Rumah Panggung
People perceive, understand, and read the environment through the senses. Vision and hearing, the two most effective senses in sensing space, provide much more effective and lasting information. The mechanism of action of eyesight and hearing and the determination of the factors affecting these senses are especially important in terms of space design. The study, it is aimed to reveal how and to what extent the visual and hearing sensations affect space design in isolation and together. In this way, the contribution of auditory and visual information to improving the human space experience was investigated. To determine this, the positive and negative effects of the auditory and visual information experienced by people were observed. In the study, One-to-one and collective survey method was followed. The application was carried out with 9 sound and 9 visual materials. Sound, visual materials, and a standard questionnaire were applied to 271 participants. As a result of the study, it was revealed that different combinations of sound, image, and the combination of both are effective on people's perception of space and under what conditions the effect occurs.
The application of the customized handicraft in accordance with the needs of users will strengthen the interior of a room both commercial area and private area. The community desire to have private business in accordance with the development of the trend is there to be one of the establishment of GABs interior as a service company of the interior consultant that handle the area of public and private with application customized handicraft on each design as its value added.The application of customized handicraft which are succulent wall panels and artistic wall decor will be done to Rest-Art Cafe as thematic cafe with the theme of the warehouse. The election of furniture and interior accessories are also making the visitors look like being in the warehouse. Cafe is also equipped with open kitchen area that make visitors can watch the making of molecular gastronomy dessert that is become the excellence of this cafe
Lately, the development of interior design is growing rapidly. People have higher demand towards children interior because of higher purchasing power and they think children are their priority. As the side effect of AFTA, people are more into children design. It triggers the market in Indonesia to produce more and more of children design as the international market makes a great influence. The tenants from abroad causing the increase in demand of children interior design. The company is taking those opportunities to give the best solution on their children interior design. According to most of interior design company, they are focusing on the aesthetic without considering the growth of the children. JesGio Interior Architecture has the ability to indicate the greatness of the design and considering the development of the children, so that it will be a great investment. The company will give good services and trustworthiness to build a great relation with the customers. JesGio Interior Architecture is focusing on children project with a big hope to serve well our next generation. ABC CASTLE Child Development Center is one of the project created by JesGio Interior Architecture. ABC CASTLE has the combination of education purpose with entertainment. The concept will give the essence of learning and helpful in any kind of study.
With the progress of modern and current era, Indonesia has seen a steady growth, weather in its economy, technology and its society’s lifestyle. This progress has been centered aroundthe big cities in Indonesia, one of which is Surabaya. People here are keeping up with the progress and modernity, especially in economy and lifestyle. Surabaya have various new businesses, specifically in culinary field, which targets the Surabaya market that’s prioritize on lifestyle, considering that having a meal together and hanging out with family and friend as an important lifestyle. This culinary business needs to be supported by some important factors such as location, quality of food and the design of the restaurant. Niki Sae restaurant is located in the residential area of East Surabaya with upper middle class inhabitant (Ir. H. Soekarno-Hatta street and Dharmahusada Indah I street) which caters Indonesian cuisine withnatural modern concept, also indoor-outdoor restaurant system. The problem it faces is the desire for design concept that is modern by selling particular Indonesian cuisine, hence the design combines Indonesian elements in a natural modern restaurant concept.
ResearchGate has not been able to resolve any references for this publication.