framework for the implementation of a virtual design studio model in ...
framework for the implementation of a virtual design studio model in ... framework for the implementation of a virtual design studio model in ...
students to identify and build on new dimensions which ultimately challenged their original perceptions. Throughout this reflective process, Goodwin operationalised a metaphorical, collective approach to urban design, employing the city‟s historical origins and functional importance as a basis for the design projects. Chosen specifically to give the project a rich sense of diversity, the contributors stimulated creativity, and through Goodwin‟s emphasis on metaphor the students could freely develop their projects in accordance with the suitability of Cardiff‟s history and identity. Final Installation To give the project a sense of finality the films were then screened at the finale installation. Serving to boost creativity, the films aided the students‟ storytelling, allowing them to exhibit the material they had gathered over the course of the project. Based on the students‟ original metaphors, the films were silent in order to cross the language barriers. The films explored metaphors, including a pomegranate and soap bubbles. With regards to the segregated, diverse, ethnic groups on the outskirts of Cardiff, one of the students saw the pomegranate as a metaphor to “bring the outside in”. Another student suggested that soap bubbles represented small businesses in Cardiff, and that they should be joined together just like the bubbles. The installation took place at the National Westminster Bank on Bute Street and served to encourage public critique, create a sense of achievement and pride within the students, and to give the project closure. The project also received press attention, adding to its prestige for future projects. Summary The case study took two weeks of intensive and thorough observation of the studio activities. The tools utilised in the studio to promote students‟ creative thinking proved its effectiveness. The students were encouraged to not limit their thinking and open their horizons. The 111
students were encouraged to ask questions and wander freely to discover the surroundings. The afternoon lectures acted as an aid for the students to observe examples of metaphoric thinking. The re-mixing technique also encouraged the student to adapt and build on each other ideas, share vision and identify their goals. The use of technological tools was limited to the traditional CAD and basic drawing software that are located in the labs nearby. 5.16 The University of Sharjah Case Study � Participants Three faculty members participated in the project. One of Dr. Hassan Radoine (a Moroccan) was the head of the Architecture department in the University of Sharjah, and his participation lent importance to the project. He also helped inject ideas that brought participants back to reality after the studio coordinators set them to fly high in their imagination when conducting the studio tasks. The other members Dr. Lomker (a German Instructor) and Randa Taher (Canadian female Instructor) specialised in design. The German lecturer specialised in the Virtual Design Studio applications and the Canadian lecturer specialised in creativity in design which served as a good participation for the project. In the evaluative stage of the final phase (Phase Three) the data is collected by the researcher and an assistant. The researcher‟s role was to lead the focus group sessions for the students, interview the instructors and observe the students‟ behaviour as they were working on the project in their groups. The assistant‟s role was to take notes in the interviews and the focus groups. Since the data was collected mainly by the researcher some subjectivity is expected. The assistant‟s role was important in the sense that it minimised subjectivity enforced by the researcher. Beside the researcher and the research assistant there are many faculty members plus the students aged between 18 and 23, studying 112
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students were encouraged to ask questions and wander freely to<br />
discover <strong>the</strong> surround<strong>in</strong>gs. The afternoon lectures acted as an aid <strong>for</strong><br />
<strong>the</strong> students to observe examples <strong>of</strong> metaphoric th<strong>in</strong>k<strong>in</strong>g. The re-mix<strong>in</strong>g<br />
technique also encouraged <strong>the</strong> student to adapt and build on each o<strong>the</strong>r<br />
ideas, share vision and identify <strong>the</strong>ir goals.<br />
The use <strong>of</strong> technological tools was limited to <strong>the</strong> traditional CAD and<br />
basic draw<strong>in</strong>g s<strong>of</strong>tware that are located <strong>in</strong> <strong>the</strong> labs nearby.<br />
5.16 The University <strong>of</strong> Sharjah Case Study<br />
� Participants<br />
Three faculty members participated <strong>in</strong> <strong>the</strong> project. One <strong>of</strong> Dr. Hassan<br />
Rado<strong>in</strong>e (a Moroccan) was <strong>the</strong> head <strong>of</strong> <strong>the</strong> Architecture department <strong>in</strong><br />
<strong>the</strong> University <strong>of</strong> Sharjah, and his participation lent importance to <strong>the</strong><br />
project. He also helped <strong>in</strong>ject ideas that brought participants back to<br />
reality after <strong>the</strong> <strong>studio</strong> coord<strong>in</strong>ators set <strong>the</strong>m to fly high <strong>in</strong> <strong>the</strong>ir<br />
imag<strong>in</strong>ation when conduct<strong>in</strong>g <strong>the</strong> <strong>studio</strong> tasks. The o<strong>the</strong>r members Dr.<br />
Lomker (a German Instructor) and Randa Taher (Canadian female<br />
Instructor) specialised <strong>in</strong> <strong>design</strong>. The German lecturer specialised <strong>in</strong> <strong>the</strong><br />
Virtual Design Studio applications and <strong>the</strong> Canadian lecturer specialised<br />
<strong>in</strong> creativity <strong>in</strong> <strong>design</strong> which served as a good participation <strong>for</strong> <strong>the</strong><br />
project.<br />
In <strong>the</strong> evaluative stage <strong>of</strong> <strong>the</strong> f<strong>in</strong>al phase (Phase Three) <strong>the</strong> data is<br />
collected by <strong>the</strong> researcher and an assistant. The researcher‟s role was<br />
to lead <strong>the</strong> focus group sessions <strong>for</strong> <strong>the</strong> students, <strong>in</strong>terview <strong>the</strong><br />
<strong>in</strong>structors and observe <strong>the</strong> students‟ behaviour as <strong>the</strong>y were work<strong>in</strong>g on<br />
<strong>the</strong> project <strong>in</strong> <strong>the</strong>ir groups. The assistant‟s role was to take notes <strong>in</strong> <strong>the</strong><br />
<strong>in</strong>terviews and <strong>the</strong> focus groups. S<strong>in</strong>ce <strong>the</strong> data was collected ma<strong>in</strong>ly by<br />
<strong>the</strong> researcher some subjectivity is expected. The assistant‟s role was<br />
important <strong>in</strong> <strong>the</strong> sense that it m<strong>in</strong>imised subjectivity en<strong>for</strong>ced by <strong>the</strong><br />
researcher.<br />
Beside <strong>the</strong> researcher and <strong>the</strong> research assistant <strong>the</strong>re are many faculty<br />
members plus <strong>the</strong> students aged between 18 and 23, study<strong>in</strong>g<br />
112