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AMPS Proceedings Series 1
Smart Cities – Political Cities
The Mediated City
AMPS Proceedings Series 23.2
Part of the Research Program: Teaching + Research
AMPS PROCEEDINGS SERIES 23.2
Ball State University, Beaconhouse National University, University of Pretoria,
University of Kassel, AMPS
Virtual: 21-23 April, 2021
Online Education: Teaching in a Time of
Change
AMPS PROCEEDINGS SERIES 23.2
Ball State University, Beaconhouse National University, University of Pretoria,
University of Kassel, AMPS
Virtual: 21-23 April, 2021
Online Education: Teaching in a Time of
Change
EDITOR:
Zain Adil
EXECUTIVE EDITOR:
Eric An
COPYEDITOR:
Amany Marey
© AMPS
AMPS PROCEEDINGS SERIES 23.2. ISSN 2398-9467
Online Education: Teaching In a Time of Change
AMPS | ArchitectureMPS
Page 104
DIDACTICS AND CIRCUMSTANCE: EXTERNAL
REPRESENTATIONS IN ARCHITECTURAL DESIGN
TEACHING
Authors:
RAFAEL SOUSA SANTOS, CLARA PIMENTA DO VALE, BARBARA BOGONI, POUL
HENNING KIRKEGAARD
Affiliation:
UNIVERSITY OF PORTO, PORTUGAL; POLITECNICO DI MILANO, ITALY; AARHUS
UNIVERSITY, DENMARK
INTRODUCTION
Design critiques correspond to the key moments of interaction between professors and students in
architectural design teaching. In these sessions, communication is essentially supported by external
forms of representation, such as sketches, diagrams, plans, sections, mock-ups, digital models,
simulations, and animations of the design object. However, the present circumstance, determined by
the consequences of the pandemic emergency, demanded from the educational institutions immediate
transformations to adapt their didactic to distance education, conditioning the direct contact between
professors and students – a fundamental aspect of architectural design teaching.
With this paper it is intended to present the results of a research developed as part of an ongoing Ph.D.
thesis, on the relation between the forms of representation and the architectural design teaching. The
research had as its object the didactic approach to design of two schools of architecture – the School
of Architecture Urban Planning Construction Engineering of the Politecnico Di Milano, Italy (AUIC-
POLIMI) and the Faculty of Architecture of the University of Porto, Portugal (FAUP) – and was
guided by three main objectives: i) to consider the effects of the pandemic emergency on the
organization of design studios and on the design critiques approach, focusing on the representative
dimension; ii) to consider the new possibilities and losses introduced by the non-presential teaching
modalities; iii) to consider some of the opportunities and threats for the future of architectural design
teaching.
Visser1 proposes a definition for the designer's activity as the construction of representations, external
and internal, individual or shared, where the modalities are verbal, graphic or gestural. In line with
this idea, Milovanovic2 highlights that the design process is developed in the interaction between
external and internal or mental representations. However, it is important to consider that the
relationship between external and internal representations is not univocal, that is, an external
representation is not the externalization of a pre-conceived idea in the designer's mind3. As
Goldschmidt4 argues, the production of external representations is itself part of the cognitive design
process: the designer thinks through representation.
Online Education: Teaching In a Time of Change
AMPS | ArchitectureMPS
Page 104
DIDACTICS AND CIRCUMSTANCE: EXTERNAL
REPRESENTATIONS IN ARCHITECTURAL DESIGN
TEACHING
Authors:
RAFAEL SOUSA SANTOS, CLARA PIMENTA DO VALE, BARBARA BOGONI, POUL
HENNING KIRKEGAARD
Affiliation:
UNIVERSITY OF PORTO, PORTUGAL; POLITECNICO DI MILANO, ITALY; AARHUS
UNIVERSITY, DENMARK
INTRODUCTION
Design critiques correspond to the key moments of interaction between professors and students in
architectural design teaching. In these sessions, communication is essentially supported by external
forms of representation, such as sketches, diagrams, plans, sections, mock-ups, digital models,
simulations, and animations of the design object. However, the present circumstance, determined by
the consequences of the pandemic emergency, demanded from the educational institutions immediate
transformations to adapt their didactic to distance education, conditioning the direct contact between
professors and students – a fundamental aspect of architectural design teaching.
With this paper it is intended to present the results of a research developed as part of an ongoing Ph.D.
thesis, on the relation between the forms of representation and the architectural design teaching. The
research had as its object the didactic approach to design of two schools of architecture – the School
of Architecture Urban Planning Construction Engineering of the Politecnico Di Milano, Italy (AUIC-
POLIMI) and the Faculty of Architecture of the University of Porto, Portugal (FAUP) – and was
guided by three main objectives: i) to consider the effects of the pandemic emergency on the
organization of design studios and on the design critiques approach, focusing on the representative
dimension; ii) to consider the new possibilities and losses introduced by the non-presential teaching
modalities; iii) to consider some of the opportunities and threats for the future of architectural design
teaching.
Visser1 proposes a definition for the designer's activity as the construction of representations, external
and internal, individual or shared, where the modalities are verbal, graphic or gestural. In line with
this idea, Milovanovic2 highlights that the design process is developed in the interaction between
external and internal or mental representations. However, it is important to consider that the
relationship between external and internal representations is not univocal, that is, an external
representation is not the externalization of a pre-conceived idea in the designer's mind3. As
Goldschmidt4 argues, the production of external representations is itself part of the cognitive design
process: the designer thinks through representation.
Online Education: Teaching In a Time of Change
AMPS | ArchitectureMPS
Page 105
In the educational context, representation seems to acquire new attributes and purposes. As stated by
Milovanovic5, the set of representations elaborated by the student constitutes the key element in the
learning process: the interaction between professors and students is channeled through the
representations used during the design critiques. In addition to serving as a means of design – or as
already mentioned, a means of thinking –, student’s external representations also serve as a record of
the mental-path taken, as a means of communication with the professor, and above all as a support for
discussion and collaboration between them – as a “trading platform”, which Milovanovic refers to as
the “representational ecosystem”. The concept of “representational ecosystem” is proposed by Dorta
et al.6 as the set of produced external representations and their inter relationships, functioning as an
environment for the interaction between the student and the professor.
RESULTS
Teaching modalities
Toward the end of the first semester of 2019-2020, the pandemic emergency required schools to
immediately adapt to public health measures. At first, schools were closed, and it was adopted a non-
presential teaching modality. As expected, the main challenge within architectural education was the
conduction of practical classes, such as architectural design or hand drawing. At the end of the so-
called “covid semester”7, an attempt was made to find a hybrid solution, the mixed modality, that
would allow the practical classes to be carried out in person and the theoretical ones at the distance.
Non-presential modality
When the non-presential modality was adopted, the organization of design studios did not undergo
significant changes. Didactics, although mediated by the computer, followed the same approach.
Professors continued to monitor the students' work one by one, with the rest of the class watching or
working. In order to follow the students' work process, and not just the results brought to design
critiques, professors asked all students to place the process material in chronological order on a class
drive – such as plans, sections, elevations, perspectives or model photos. This was a way for
professors to perceive the path taken by the student in the development of the design idea. Students
were also encouraged to go to the drive and see their colleagues' work.
With the virtual classrooms, where practical classes took place simultaneously, there was an
improvement in the articulation between courses – students could leave and enter, speaking with the
professors of architectural design, construction or structural systems courses.
It should be noted that the non-presential modality represented a major challenge for professors and
students. The professors had a lot of work, going beyond the teaching hours, to be able to effectively
monitor the work of the students. A lot of time in class was wasted with technical problems on both
sides, delays or cuts in the internet connection.
Mixed modality
With the mixed modality, the practical classes were held in person, and the theoretical at the distance.
The planning of the courses was adapted so that the didactic moments whose presence was more
decisive took place at the beginning of the academic year, such as the launch of the exercises,
collective visits to the intervention site or to a reference building or urban area. There was a feeling of
constant uncertainty, and it was common for the professors to recommend students to prepare for the
inevitability of new confinement.
Online Education: Teaching In a Time of Change
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Considering the distancing rules, the classes of about 25 students were divided into two rooms. The
same professor had to follow the students' work in two different rooms. This raised problems when
the professor needed to speak to the entire class.
There was also a need to ensure the monitoring of the students who, for some reason, were confined.
The professors needed to dedicate extra-class time to these confined students, in non-presential
modality. Although the approach to design critiques was the same as in the pre-pandemic period, the
health restrictions did not allow students to follow the sessions effectively. When the professor was
following a student´s work, his colleagues could not get close. This was quite problematic, since an
important part of design teaching is based on knowledge of the colleagues´ work.
New mixed modality
In both AUIC-POLIMI and FAUP, a new design teaching modality is now being tested, combining
features of mixed and non-presential modalities. The idea is that the practical classes can be in person,
but guaranteeing online monitoring – not only for students but also for professors and assistants. For
this purpose, cameras and microphones were installed in the classrooms, as well as a projection
screen. This modality was implemented at the beginning of the second semester of 2020-2021, so it is
too early to draw conclusions.
Design critiques and representation
The effects of the pandemic on design critiques were mainly relevant in the non-presential classes,
since in the mixed modality the monitoring of the students´ works followed the previously
consolidated approach.
It is possible to identify an evolution of design critiques formats since the adoption of the non-
presential modality. At the beginning of the first general confinement, the professors of architectural
design followed and commented on the students' work without intervening in it. Some professors, on
impulse, drew on a sheet of paper and showed it to the student on the web cam. It was a very
precarious form of interaction. Other professors printed students´ work to draw on it. Then they
photographed the sheets to show students during design critiques. It was also an ineffective approach.
At a certain point, some professors started using digital platforms – such as Zoom – which allowed
them to annotate or to draw on the shared screen. Professors used the mouse to make notes about the
students' work, and often asked them to do the same. According to some professors, it seems that
students have gained some sense of participation or disinhibition with this approach, not only
commented but drawing more actively during the criticism.
Although it was difficult to draw with the mouse, it was possible, and from the first annotation
strokes, professors began to draw plans, sections and even perspectives (Figure 1). Some professors
started using the smart phone or the tablet to draw, with a digital pen, which allowed them to achieve
impressive results (Figure 2). Sometimes the students themselves, after showing a sketch to the
professor, immediately made a digital note to make their intentions clearer (Figure 3).
Online Education: Teaching In a Time of Change
AMPS | ArchitectureMPS
Page 106
Considering the distancing rules, the classes of about 25 students were divided into two rooms. The
same professor had to follow the students' work in two different rooms. This raised problems when
the professor needed to speak to the entire class.
There was also a need to ensure the monitoring of the students who, for some reason, were confined.
The professors needed to dedicate extra-class time to these confined students, in non-presential
modality. Although the approach to design critiques was the same as in the pre-pandemic period, the
health restrictions did not allow students to follow the sessions effectively. When the professor was
following a student´s work, his colleagues could not get close. This was quite problematic, since an
important part of design teaching is based on knowledge of the colleagues´ work.
New mixed modality
In both AUIC-POLIMI and FAUP, a new design teaching modality is now being tested, combining
features of mixed and non-presential modalities. The idea is that the practical classes can be in person,
but guaranteeing online monitoring – not only for students but also for professors and assistants. For
this purpose, cameras and microphones were installed in the classrooms, as well as a projection
screen. This modality was implemented at the beginning of the second semester of 2020-2021, so it is
too early to draw conclusions.
Design critiques and representation
The effects of the pandemic on design critiques were mainly relevant in the non-presential classes,
since in the mixed modality the monitoring of the students´ works followed the previously
consolidated approach.
It is possible to identify an evolution of design critiques formats since the adoption of the non-
presential modality. At the beginning of the first general confinement, the professors of architectural
design followed and commented on the students' work without intervening in it. Some professors, on
impulse, drew on a sheet of paper and showed it to the student on the web cam. It was a very
precarious form of interaction. Other professors printed students´ work to draw on it. Then they
photographed the sheets to show students during design critiques. It was also an ineffective approach.
At a certain point, some professors started using digital platforms – such as Zoom – which allowed
them to annotate or to draw on the shared screen. Professors used the mouse to make notes about the
students' work, and often asked them to do the same. According to some professors, it seems that
students have gained some sense of participation or disinhibition with this approach, not only
commented but drawing more actively during the criticism.
Although it was difficult to draw with the mouse, it was possible, and from the first annotation
strokes, professors began to draw plans, sections and even perspectives (Figure 1). Some professors
started using the smart phone or the tablet to draw, with a digital pen, which allowed them to achieve
impressive results (Figure 2). Sometimes the students themselves, after showing a sketch to the
professor, immediately made a digital note to make their intentions clearer (Figure 3).
Online Education: Teaching In a Time of Change
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Page 107
Figure 1. Shared screen during design critiques: Professor's drawings on student’s representations.
Figure 2. Shared screen during design critiques: Professor's drawing on student’s representations.
Figure 3. Shared screen during design critiques: Student’s drawings on his own work.
During the design critiques, professors also started to draw on the photos of the physical models
(Figure 4). This novelty was extensively explored and gave the model a new potential as a form of
representation (Figure 5). The model, which by its nature is less flexible and dynamic in construction
and manipulation, as stated by Rivka Oxman8, was then complemented with digital drawing.
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In fact, distance education has led to the fusion of certain forms of representation, mixing
photography, drawing, physical models, 3D models, etc. Figure 6 is an interesting example of this
representational mixing: it is possible to see that the base is a vector drawing in AutoCAD, with some
sketches in the right corner, some colored digital notes, and a digital red line made by the professor
during the criticism.
Another possibility that was introduced was the manipulation of files under construction through
digital drawing, opening a software and intervening directly in it – as an AutoCAD or a Revit file.
In the case of Figure 7, the student opened Revit, placed a perspective view suggested by the
professor, and then both drew on the screen. Even in the theoretical design classes, some professors
began to draw on the presentation slides, and sometimes invited students to do the same (Figure 8).
Figure 4. Shared screen during design critiques: Professor’s drawings on model photos.
Figure 5. Shared screen during design critiques: Professor’s drawings on model photos.
Figure 6. Shared screen during design critiques: Mixing different forms of representation.
Online Education: Teaching In a Time of Change
AMPS | ArchitectureMPS
Page 108
In fact, distance education has led to the fusion of certain forms of representation, mixing
photography, drawing, physical models, 3D models, etc. Figure 6 is an interesting example of this
representational mixing: it is possible to see that the base is a vector drawing in AutoCAD, with some
sketches in the right corner, some colored digital notes, and a digital red line made by the professor
during the criticism.
Another possibility that was introduced was the manipulation of files under construction through
digital drawing, opening a software and intervening directly in it – as an AutoCAD or a Revit file.
In the case of Figure 7, the student opened Revit, placed a perspective view suggested by the
professor, and then both drew on the screen. Even in the theoretical design classes, some professors
began to draw on the presentation slides, and sometimes invited students to do the same (Figure 8).
Figure 4. Shared screen during design critiques: Professor’s drawings on model photos.
Figure 5. Shared screen during design critiques: Professor’s drawings on model photos.
Figure 6. Shared screen during design critiques: Mixing different forms of representation.
Online Education: Teaching In a Time of Change
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Page 109
Figure 7. Shared screen during design critiques: Professor’s drawings on a Revit file.
Figure 8. Shared screen during design theoretical classes: Professor’s drawings on his own
presentation.
DISCUSSION
Considering the effects of the pandemic in the organization of design studios, in the design critiques
approach, and in the external forms of representation, it is possible to summarize some of the new
possibilities introduced and the losses involved, such as the opportunities and threats for the future of
architectural design teaching.
New possibilities
In the organization of design studios, some of the new possibilities are:
i) the direct articulation between courses through virtual classrooms;
ii) receiving guests from different geographies to participate in design critiques or lectures has
become much easier;
iii) professors and students share content and work on a collective drive, which they can access at any
time.
In the design critiques approach, some of the new possibilities are:
i) the direct participation of the whole class in individual critiques;
ii) disinhibition, increased participation of students during critiques;
iii) professors and students can open the browser during critiques to show a reference design, a
constructive detail, a part of the city, etc.
In the external forms of representation, some of the new possibilities are:
i) to draw on photos of the physical models;
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ii) to draw directly on files under construction, such as AutoCAD or Revit files;
iii) to use different forms of representation, analogue and digital, to produce the design elements.
Losses
In the organization of design studios, some of the losses involved are:
i) increased amount of work for professors and students;
ii) difficulty in rigorous student assessments;
iii) mixing between the home environment and the classroom environment.
In the design critiques approach, some of the losses involved are:
i) the loss of dynamics of the critiques, caused by technical limitations or problems on both sides;
ii) greater difficulty for professors and students to make themselves understood;
iii) all the interaction made through the computer becomes tiring for professors and students, as it
requires a particular type of attention.
In the external forms of representation, some of the losses involved are:
i) the difficulty of drawing on the computer;
ii) the difficulty of understanding aspects of representations such as scale and proportion;
iii) the accentuation of the role of the image at the expense of space, which was already a trend.
Opportunities
Opportunities are mainly associated with the external forms of representation. The greatest
opportunity seems to be related to the so-called traditional forms of representation, such as hand
drawing or sketching and physical models. Instead of being forgotten, these forms of representation
gained a new use and potential when combined with digital media. In fact, the need for distance
education seems to have underlined the particular importance of hand drawing or sketching and its
potential for wider use, both in the student's individual productions and in the interaction with the
professor during design critiques – so, as a didactic tool. Also, the physical model, by its static nature
and often referred to the mere communicational function, seems to have received a new relevance.
In general, it is possible to understand the present circumstance, determined by the consequences of
the pandemic emergency, as an opportunity in itself. An opportunity for investigation and
experimentation on the different approaches to architectural design teaching, in this case, focusing on
the role of external representations.
Threats
The set of new possibilities and losses revealed during this period seem to indicate that distance
education tends to accentuate inequalities between students, both in terms of performance and from a
socio-cultural point of view. Students with the most difficulties were the ones most affected by the
pandemic – on the one hand, due to new requests placed on them, on the other hand, due to the
difficulty of professors in following their progress. The socio-economic inequalities of the students
were also evident. It seems important not to lose the social dimension of teaching. One of the issues
has to do with sharing, with contact, with knowledge of the colleagues´ work, with the establishment
of links with professors, with the classroom environment. As Ortega y Gasset9 argues, one of the
university's missions is precisely the human and social training of the student.
Moreover, when referring to the positive results of distance education, it is necessary to bear in mind
that when the non-presential regime was adopted, it was preceded by a semester of classes in presence
or in a mixed modality. According to some professors, this initial period was essential for the
Online Education: Teaching In a Time of Change
AMPS | ArchitectureMPS
Page 110
ii) to draw directly on files under construction, such as AutoCAD or Revit files;
iii) to use different forms of representation, analogue and digital, to produce the design elements.
Losses
In the organization of design studios, some of the losses involved are:
i) increased amount of work for professors and students;
ii) difficulty in rigorous student assessments;
iii) mixing between the home environment and the classroom environment.
In the design critiques approach, some of the losses involved are:
i) the loss of dynamics of the critiques, caused by technical limitations or problems on both sides;
ii) greater difficulty for professors and students to make themselves understood;
iii) all the interaction made through the computer becomes tiring for professors and students, as it
requires a particular type of attention.
In the external forms of representation, some of the losses involved are:
i) the difficulty of drawing on the computer;
ii) the difficulty of understanding aspects of representations such as scale and proportion;
iii) the accentuation of the role of the image at the expense of space, which was already a trend.
Opportunities
Opportunities are mainly associated with the external forms of representation. The greatest
opportunity seems to be related to the so-called traditional forms of representation, such as hand
drawing or sketching and physical models. Instead of being forgotten, these forms of representation
gained a new use and potential when combined with digital media. In fact, the need for distance
education seems to have underlined the particular importance of hand drawing or sketching and its
potential for wider use, both in the student's individual productions and in the interaction with the
professor during design critiques – so, as a didactic tool. Also, the physical model, by its static nature
and often referred to the mere communicational function, seems to have received a new relevance.
In general, it is possible to understand the present circumstance, determined by the consequences of
the pandemic emergency, as an opportunity in itself. An opportunity for investigation and
experimentation on the different approaches to architectural design teaching, in this case, focusing on
the role of external representations.
Threats
The set of new possibilities and losses revealed during this period seem to indicate that distance
education tends to accentuate inequalities between students, both in terms of performance and from a
socio-cultural point of view. Students with the most difficulties were the ones most affected by the
pandemic – on the one hand, due to new requests placed on them, on the other hand, due to the
difficulty of professors in following their progress. The socio-economic inequalities of the students
were also evident. It seems important not to lose the social dimension of teaching. One of the issues
has to do with sharing, with contact, with knowledge of the colleagues´ work, with the establishment
of links with professors, with the classroom environment. As Ortega y Gasset9 argues, one of the
university's missions is precisely the human and social training of the student.
Moreover, when referring to the positive results of distance education, it is necessary to bear in mind
that when the non-presential regime was adopted, it was preceded by a semester of classes in presence
or in a mixed modality. According to some professors, this initial period was essential for the
Online Education: Teaching In a Time of Change
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Page 111
organization of classes, especially for students of the first years, considering their lack of experience
and autonomy.
CONCLUSION
With this paper it was intended to present the results of a research on the relationship between forms
of representation and architectural design teaching. Synthetically, the effects of the pandemic
emergency on the organization of design studios and design critiques approach in AUIC-POLIMI and
FAUP were shown, such as the new possibilities and the losses involved, and the opportunities and
threats for the future of architectural design teaching.
Considering the results, it is possible to conclude that the non-presential or mixed modalities can work
for short periods, but to be permanently adopted it would be necessary to rethink some fundamental
aspects of the didactic approach to design. As already mentioned, one of the aspects that is
compromised by these modalities is precisely the social dimension of teaching.
The results also show that the so-called traditional forms of representation can play a new role in
architectural design teaching. Above all, hand drawing or sketching revealed an enormous potential
for association with digital forms of representation. This may be a promising line of research in the
context of architectural education.
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NOTES
1 Willemien Visser, The cognitive artifacts of designing (New York: Lawrence Erlbaum Associates, 2006).
2 Julie Milovanovic, “Exploration of architectural design studio pedagogy: Effect of representational ecosystems
on design critiques" (PhD thesis, Loire Bretagne University, 2019).
3 Gabriela Goldschmidt, "Problem representation versus domain of solution in architectural design teaching"
Journal of architectural and planning research (1989) and "Design Representation: Private process, public
image" Automation in Construction (2014).
4 Gabriela Goldschmidt, "The Dialectics of Sketching" Creativity Research Journal 4 (1991).
5 Julie Milovanovic, “Exploration of architectural design studio pedagogy: Effect of representational ecosystems
on design critiques" (PhD thesis, Loire Bretagne University, 2019).
6 Tomas Dorta, Gokce Kinayoglu, and Sana Boudhraa, "A new representational ecosystem for design teaching in
the studio" Design Studies 47 (2016).
7 Zunino Corrado, “Università, i docenti: ‘La Didattica a distanza ha salvato gli atenei’” La Repubblica, August 3,
2020, accessed January 7, 2021, https://www.repubblica.it/scuola/2020/08/03/news/universita_i_docenti_
la_didattica_a_distanza_ha_salvato_l_universita_-263562579/.
8 Rivka Oxman. "Re-thinking digital design" Digital Architecture and Construction 90 (2006).
9 José Ortega y Gasset. Missão da Universidade e outros textos (Coimbra: Angelus Novus, 2003).
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Goldschmidt, Gabriela. 1989. "Problem representation versus domain of solution in architectural design
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Goldschmidt, Gabriela, and William L. Porter. 2014. "Design Representation: Private process, public image." In
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Herbert, Daniel. 1988. "Study Drawings in Architectural Design: Their Properties as a Graphic Medium." Journal
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University.
Ortega y Gasset, José. 2003. Missão da Universidade e outros textos. Coimbra: Angelus Novus.
Oxman, Rivka. 2006. "Re-thinking digital design." Digital Architecture and Construction 90: 239-247.
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