Thesis (M.Ed.)--University of Hong Kong, 1992. / Includes bibliographical references (leaf 95-104). Also available in print.

Thesis (M.Ed.)--University of Hong Kong, 1992. / Includes bibliographical references (leaf 137-144). Also available in print.

Design juries are one of the assessment practices that enable evaluation and criticism of students&rsquo / projects in studio based courses. This study explores the aims and attributes of design juries from students&rsquo / and jurors&rsquo / perspectives. The thesis is constructed upon a field study which consists of an observational study on design juries, a focus group study with students and interviews with the jurors of METU Department of Industrial Design. The findings of the field study indicate that design juries in their current form exhibit several issues to discuss / delivery of comments to students, duration of discussions, organization of the jury and assessment criteria are important factors to consider in design juries.

This study analyses students&rsquo / design processes within a graduation project that is devised as to approximate a real-life design task. It comprises a literature search on developments in design methodology, and two field studies, a participant observation study followed by long interviews with a selection of the observation sample. Through the literature search, a framework representing the nature of the design activity is brought together on the basis of three studies in descriptive design methodology. Together with the field studies equipped with this framework, this study sought to elucidate students&rsquo / design processes in order to provide insights for design education. Analysing students&rsquo / processes, their design problems and the academic scheme within which they operated, pertaining to their respective influences on students&rsquo / projects and progresses, implications to facilitate further developments of educational curriculum and academic schemes are reached.

The landscape of UK Higher Education has witnessed significant change in recent years, characterised by rapidly increasing numbers, widening participation, and a diminished per capita resource base. Developmental and enhancement agenda have placed greater emphasis on skills for lifelong learning, and the independent learner has thus become a prominent theme. In architecture education these factors are imposing pressures on the traditional studio-based teaching model, one that forms a universal cornerstone of architecture schools. Coincidentally, the same period has seen this model, endorsed by Schon in the 1980s, increasingly challenged. It is argued that the confluence of these factors, presents an opportunity to develop studio-based pedagogy around the notion of the independent learner, renewing studio's relevance and currency. The aim of this thesis was developed from a literature review that was divided into four sections. The first summarised developments within UK higher education, including research into the First Year Experience, and placed architecture education within this context. The second examined the origins of contemporary studio-based teaching, whilst the third discussed the theoretical roots of its pedagogy. The final chapter critiqued teaching and learning practices through comparison with the theoretical intent, revealing a number of contradictory and counter-productive aspects. From this, the position that the development of the truly independent learner in the discipline of architecture requires the formulation of new inclusive pedagogic strategies that explicitly accommodate the individual in the studio-based learning process, and address identified shortcomings in existing studio-based teaching practices, was developed. The methodology adopted an ethnographic approach that gathered data through a longitudinal study of student perceptions, together with interviews with selected academics. Analysis of the findings, whilst replicating many phenomena raised by the literature, also revealed in detail a range of perceptions of learning, and wider student life, giving insight into key challenges. In considering these against the agendum of creating the independent learner, the importance of the peer group as a vehicle for studio-based learning and pastoral support, emerged strongly. A number of recommendations were thus made aimed at reconstructing the role of the tutor in the development of future strategies, as well as harnessing the unrealised potential of the peer group as an agent in embedding independent learning in design studio. The originality of this thesis resides in the fact that it constitutes a holistic study of teaching and learning practices in first year design studio. This is viewed against the background of rapid change in UK Higher Education. Pivotal to the study was the undertaking of a longitudinal survey of student perceptions, presenting a vitally different perspective from, say, that of Schon. From a holistic standpoint, the study creates the theoretical and evidential basis for the future development of key pedagogic strategies relating to design studio. This lays the foundation for the development of learning practices that foster learner independence within the context of design studio.

The purpose of this research was to take the first steps in the creation of a simulation game, tailored for the needs of ISE-5204 Manufacturing Systems Engineering, that will provide students with the opportunity of applying their knowledge in realistic situations. The needs of ISE-5204 were established based on the course material and on interviews with appropriate faculty members. A game review showed that there is not a game available which combines all of the characteristics desirable to fit these needs. Therefore the a new simulation game is needed for use in the course. This research developed a simulation game framework, unique in driving a strategic business type game by low level production decisions. The framework consists of three components: conceptual, organizational and structural framework. The conceptual framework is based on a competitive game with a multiproduct environment, with operational decisions being the driving force. The organizational framework specifies that periodic decision are made by competing student companies and input into the game for production simulation and generation of status reports. The structural framework specifies that a discrete, next event simulation model of shop floor operation is used to model the production system and create output reports. A prototype model demonstrated the feasibility of running a high level strategic game by low level production modeling. Three competing companies were simulated for three production periods. Each company made decisions that were representative of a different strategy. Simulation outputs were indicative of the behavior characterized by the company decisions and inputs. / Master of Science

Esta Tese está dividida em três volumes: I - Croqui: representação e simulação II - O desenho e o processo de projeto III - O ensino do desenho para arquitetos Os três volumes tratam do mesmo objeto de estudo: o desenho do arquiteto e para a arquitetura, mas sob um enfoque diverso. No Volume I, além de uma abordagem teórica sobre as premissas metodológicas, o desenho é visto sob três outros enfoques: enquanto conceito relativo à problemática inerente à arquitetura, ou seja, representação e simulação do espaço; enquanto instrumento de projeto adaptado a cada momento da arquitetura; e também enquanto objeto artístico. No Volume II, estreita-se a relação entre desenho e projeto de arquitetura, tentando estabelecer relações entre um e outro método. São apresentados os resultados do acompanhamento e análise do trabalho de vários arquitetos, bem como entrevistas, na íntegra, com os arquitetos Paulo Mendes da Rocha, Joaquim Guedes e Abrahão Sanovicz. No Volume III, o ensino do desenho tem destaque com base nas teorias da escola ativa, os métodos de ensino-aprendizagem e sua adaptação ao universo da arquitetura. Nos três volumes, a intenção principal é sempre verificar os pressupostos básicos para o ensino de desenho para futuros arquitetos. Os três volumes são permeados por conclusões inerentes ao enfoque sobre o qual se referem. No final do terceiro volume, apresenta-se uma conclusão sobre o enfoque geral, tratado nos três volumes, relacionando imagem, desenho e projeto para fins didáticos. / This Thesis is divided in three volumes: I - Croquis: representation and simulation II - Design and process of the project III - Teaching of the design to architects The three volumes deal with the same object to study: the design of architect and to architecture, but under a different focus. In the first volume, besides a theoretical aproach about the metodological premisses, the design is seen under three other focuses: as a concept conected to the problematic inherente to the architecture, I mean, representation and simulation of the space; whereas instrument of the project adapted to each moment of the architecture; and even as artistic object. In the volume II, narrows the conection between design and project of architecture, trying to stablish conexions between one and other method. Here are presented the results of the attendance and analyse of the work of various architects, as well as briefinga, as a whole, with the architects Paulo Mendes da Rocha, Joaquim Guedes and Abrahão Sanovicz. In the volume III, the teaching of the design has a prominence based in the theories of the active school, the methods of teaching-apprenticeship and its adaptation to the architecture universe. In the three volumes, the main target is always verify the basic pressuposed to the teaching to the future architects. The three volumes are interposed by conclusions inherents to the focus on which they refer. At the end of the third volume, we present a conclusion about the general focused, treated in the three volumes, linking image, drawing and project to didacts aims.

Esta Tese está dividida em três volumes: I - Croqui: representação e simulação II - O desenho e o processo de projeto III - O ensino do desenho para arquitetos Os três volumes tratam do mesmo objeto de estudo: o desenho do arquiteto e para a arquitetura, mas sob um enfoque diverso. No Volume I, além de uma abordagem teórica sobre as premissas metodológicas, o desenho é visto sob três outros enfoques: enquanto conceito relativo à problemática inerente à arquitetura, ou seja, representação e simulação do espaço; enquanto instrumento de projeto adaptado a cada momento da arquitetura; e também enquanto objeto artístico. No Volume II, estreita-se a relação entre desenho e projeto de arquitetura, tentando estabelecer relações entre um e outro método. São apresentados os resultados do acompanhamento e análise do trabalho de vários arquitetos, bem como entrevistas, na íntegra, com os arquitetos Paulo Mendes da Rocha, Joaquim Guedes e Abrahão Sanovicz. No Volume III, o ensino do desenho tem destaque com base nas teorias da escola ativa, os métodos de ensino-aprendizagem e sua adaptação ao universo da arquitetura. Nos três volumes, a intenção principal é sempre verificar os pressupostos básicos para o ensino de desenho para futuros arquitetos. Os três volumes são permeados por conclusões inerentes ao enfoque sobre o qual se referem. No final do terceiro volume, apresenta-se uma conclusão sobre o enfoque geral, tratado nos três volumes, relacionando imagem, desenho e projeto para fins didáticos. / This Thesis is divided in three volumes: I - Croquis: representation and simulation II - Design and process of the project III - Teaching of the design to architects The three volumes deal with the same object to study: the design of architect and to architecture, but under a different focus. In the first volume, besides a theoretical aproach about the metodological premisses, the design is seen under three other focuses: as a concept conected to the problematic inherente to the architecture, I mean, representation and simulation of the space; whereas instrument of the project adapted to each moment of the architecture; and even as artistic object. In the volume II, narrows the conection between design and project of architecture, trying to stablish conexions between one and other method. Here are presented the results of the attendance and analyse of the work of various architects, as well as briefinga, as a whole, with the architects Paulo Mendes da Rocha, Joaquim Guedes and Abrahão Sanovicz. In the volume III, the teaching of the design has a prominence based in the theories of the active school, the methods of teaching-apprenticeship and its adaptation to the architecture universe. In the three volumes, the main target is always verify the basic pressuposed to the teaching to the future architects. The three volumes are interposed by conclusions inherents to the focus on which they refer. At the end of the third volume, we present a conclusion about the general focused, treated in the three volumes, linking image, drawing and project to didacts aims.

This statement gives an overall summary of the aims and achievements of the research work and scholarship carried out by the author during her time at The University of Manchester (and UMIST - now part of The University of Manchester) for which the publications presented give evidence. The research has been about exploring the design process, the activities and issues, and elements involved - from both an industry and student point of view. The publications explore design pedagogy, the skills required by designers and how these might fit into a curriculum for design today.In three parts it summarises the publications presented, reviews the main aspects of design and the current state of knowledge and research in design and summarises the core aspects as distilled from over 36 years practice, research and scholarship.The driver for much of the research undertaken has been to gain a better understanding of the core aspects of design - what key knowledge and skills are required by designers to allow the consistent design of better products and services which enhance the experiences of users. The work presented investigates design and design methods: the activities and processes and the elements involved. It considers responses to designs, the emotional aspect of design - why some designs are preferred over others, why some colour combinations are more desirable, and why repetition is so important to the human psyche. Underpinning the work presented are three research questions. • Are design rules and processes generic for whatever is being designed? • Can a better understanding of design theory and the emotional response to designs ensure a more effective process and thus lead to stronger designs? • Can students be educated to be better design thinkers and ultimately better designers? It concludes that: • 'design' is a process; • design is a problem-solving process and problem-solving is a design process; • for the most effective outcomes a creative and structured approach is required; • this process is based on generic rules and principles which are applicable across all discipline areas; • collaborative/cross disciplinary elements reinforce the concept that there are processes involved that are not unique to individuals or discipline specific; • a greater understanding of the process is of benefit to all individuals and organisations; • any design/problem solving activity will normally result in more than one solution option. The results of the research have informed the author's teaching practice and have been disseminated through publications to benefit the wider education arena. The work presented aims to inform students and design education practitioners.

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