To: The Editor in chief,

Journal of Architectural and Planning Research.

Subject: Paper for publication in JAPR.

Sir/Madam,

With due respect, I, Kirti D. Bhonsle wish to state that I am hereby sending youthe details of one of an essay on “Introducing Active learning in Basic Design”for your kind consideration so that it becomes part of the esteemed journal.

Kindly do the needful and let me know of its probable time of publication.

Thanking you,

Best wishes,

[Kirti D. Bhonsle],

CA/2001/28471,

NAGPUR, [M.S.]

M-9604939822

Introducing Active learning in Basic Design Page 1

Kirti D. Bhonsle, is an Architect and Planner at Nagpur. She is a member of the Council of Architecture and theInstitute of town planners India. She has completed her B.Arch from the Nagpur University in 2001 andMasters in Urban Planning from V.N.I.T., Nagpur in the year 2003. She is pursuing her PhD in “Environmentalpsychology in residential built areas” from V.N.I.T., Nagpur and is a faculty at the Institute of Design Educationand Architecture Studies, IDEAS, Nagpur.

Email: kirtibhonsle@gmail.com

Abstract –

The first year of architecture is a transition from the logical world of scienceto the world of art and architecture which is a major change in their overallperception of education and learning. They get to face a new language which isquite different than they used before. Basic Design- the basics of design andrightly called the “Mother of all Designs” is one such subject that opens theirminds to creativity and reasoning. Its journey begins with basic elements andculminates in Spatial Perception. Spatial perception can be perceived andexperienced very interestingly by students in the first year of Architecture. Asit is rightly said by J Christopher Jones that, the effect of design is toinitiate change in man made things, hence the design process is a systematic wayof accomplishing something.

This paper is going to discuss the sequential process of learning that wasadopted for the first semester students in basic design and visual arts which wasmore towards initiating their understanding of design by the active learningmethod wherein the student himself/herself experience as the basic elements ofdesign/visual composition. It starts with spontaneous actions and reaches to animportant awareness about design. The depth of their understanding is thenreflected in the systematically planned projects that they do as a group and thenindividually. This is also followed by evaluating oneself and then by others liketheir colleagues, seniors and faculty to recapitulate the architectural designprocess and the importance of creativity.

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Key words – Active learning, Basic design, Art and architecture, Verticalthinking, Evaluation research.

1. Introduction -

A studio is an artist's or worker's workroom, or the catchall term for an artist.This can be for the purpose of architecture, painting, pottery (ceramics),sculpture, woodworking, scrapbooking, photography, graphic design, filmmaking,animation, radio or television production broadcasting or the making of music.The term is also used for the workroom of dancers, often specified to dancestudio.

The word studio is derived from the Italian: studio, from Latin: studium, from studere,meaning to study or zeal.

In educational studios, students learn to develop skills related to design,ranging from architecture to product design. In specific, educational studios arestudio settings where large numbers of students learn to draft and design withinstructional help at a college. Educational studios are colloquially referred toas "studio" by students, who are known for staying up late hours into the nightdoing projects and socializing.

The studio environment is characterized by 2 types in education:

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1. The workspace where students do usually visually-centered work in an openenvironment. This time and space is beyond that of instructional time andfaculty guidance is not available. It allows for students to engage eachother, help each other, and inspire each other while working.

2. A type of class that takes the above mentioned workshop space, and recreatesits core component of an open working environment. It differentiates itselfbased on a topic of instruction, isolated space, instructor led/included,and an added focus of directed criticism. A great take on this latter typeis "studio classroom"

The classroom attempts to provide a safe space where learning can take placeuninterrupted by other distractions. While the classroom is clearly the dominantsetting for learning, the flexibility of classroom instruction is often calledinto question. Instead of isolating learners in a classroom, many teachers areexperimenting with integrating learning into a student's daily life. New learningtechnologies and mobile devices make it possible for learning to take place at anytime, at any place, and (perhaps most importantly) at any pace that the learnerdesires.

1.1 Theory of multiple intelligence into the classroom -

1.11 What is intelligence?

The ability of an individual to answer standardized intelligent questions.However, Intelligence as stated by Howard Gardner is, “Intelligence is thecapacity to solve problems or to fashion products that are valued in one or morecultural setting”.

The theory of multiple intelligences was proposed by Howard Gardner in his 1983book Frames of Mind: The Theory of Multiple Intelligences as a model of intelligence thatdifferentiates intelligence into specific (primarily sensory) "modalities",rather than seeing it as dominated by a single general ability.

The nine key intelligences as categorized by Gardner are:

1. Linguistic intelligence – Persons use language to express and understandcomplex meaning and use words creatively for expressive and practical purposes.Typically poets, authors, editors, journalists, orators are said to be linguistically intelligent

2. Logical-mathematical intelligence – Persons can calculate, quantify, andperform complex mathematical or logical operation. Solve problems analyticallyand creatively. Understand relationships among actions, objects or ideas. Typicallyscientist, mathematicians, engineers, economists are said to be logical-mathematically intelligent.

Introducing Active learning in Basic Design Page 4

3. Kinesthetic-bodily intelligence – They use the body in expressive and rhythmicways. Time, balance and coordinate movements. Typically sports persons, dancers, actors,aerialist and gymnasts are said to be kinesthetically intelligent.

4. Spatial intelligence – They can think in three dimensions, pictures, graphs,charts and perceive space accurately. Typically architects, interior designers, sculptors, landscapeartist, portrait artist, cartoonists are spatially intelligent.

5. Musical intelligence - Think in sounds, rhythms, melodies and rhymes.Recognize patterns in sound. Create/ reproduce music by using an instrument orthe voice

6. Interpersonal intelligence – They can think about and understand anotherperson, empathizes and interact effectively with one or more people. Typically salesand marketing persons, teacher, social worker and nurse.

7. Intrapersonal intelligence – These people can think about and understand one’sown self. Recognize one’s own strength and weakness. Reflect on and regulateone’s thoughts and feelings. Typically psychologists, counselors, researchers

8. Naturalist intelligence - They can discriminate among living / non livingthings(plant, animal ,artifacts). Have sensitivity towards features of thenatural world. Typically veterinary doctor, farmer, botanist, geologist, astronomer etc

9. Existential intelligence – They can raise and tackle deep and fundamentalquestions about human existences. Typically philosophers, spiritual leaders

Students opting for the architectural stream possess the following intelligencesor have the following personal intelligence profile -

1.12 Implications of mi in classroom-

It implies that a faculty has to structure the teaching / classroomactivities to suit the profile of his / her learners.

The teacher needs to provide opportunities to learners todemonstrate their learning through methods that match with theirpersonal intelligence profile.

The influence of faculty to strengthen the areas that appears at thelower end of the intelligence profile.

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1.13 Bloom’s taxonomy for effective teaching-

Benjamin bloom (1913-1999) developed a classification of levels of intellectualbehavior important in learning. Bloom identified six levels, popularly known asbloom’s taxonomy. From the simple recall or recognition of facts as the lowestlevel – through increasingly more complex and abstract mental levels – to thehighest order which was classified as creating.

Instruction paradigm Learning paradigm

Provides / delivers instructiononly Produces learning

Offers courses Provides powerful learningenvironment

Is faculty centered Is learning centered

Has competitive andindividualistic classroomsituations

Has co-operative,collaborative and supportiveclassroom situations

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In the studio teaching there is a need of shifting from the instruction paradigmwhich provides and delivers instructions only, offers courses, is facultycentered with competitive and individualistic classroom situations to a learningparadigm which produces learning, provides powerful learning environment, islearning centered with co-operative and supportive classroom situations.

Sıkıçakar et al. (2006) defined the studio education as an active rather than apassive process and mentioned that they aimed to establish a dynamic,experimental studio structure which is open to inputs from the students and tothe results gained from spontaneous activities. They referred to Schön’s (1985)approach that has been summarized as principle of “reflection in action”:“spontaneous knowing-in-action yields unexpected outcomes and we react to thesurprise by a kind of thinking what we are doing while we are doing it”. It isunderstood that we have used quite a similar method applied in different stepsand exercises.

Active learning is an umbrella term that refers to several models of instructionthat focus the responsibility of learning on learners. A variety of research

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studios since 1990’s has promoted an important principle, ‘guidance early andthen practice later’

“For the things we have to learn before we can do them we learn by doing them” –Aristotle

2. The transition…

The first year is a period of transition for students who come from a traditionof vertical thinking fostered by the education, hence it needs to be dismantledand a comprehensive thought process should be triggered. The syllabus of theFirst semester aims to introduce a creative stimulus and provide a starting pointtowards Visual design and Basic elements in design i.e. Points, lines, planes andsolids along with their application. The creative exercises are designed withthese elements in conjunction with the design principles. These orderingprinciples help to convert the vision into visuals.

“Nothing is taught, unless it is learnt”. (De Bono, 1984)

Design pedagogy in architecture course is the sole determinant of the mostsignificant opportunities for students to acquire skills and knowledge thatconstitute the foundation for continuous growth in later years. Experiencesacquired in the beginning design course constitute a vectorial beginning in thedesign profession. Learning theory, explicitly or implicitly has always beenfundamental to a design studio at any institute.

Design process as thinking and doing process makes the students more proactive andanalytical.

“Design is an Expression of Feeling……..Any Creative Act is Design”. (Emerson-1953).

2.1 A Creative act or Creativity is a process when an original or a new theory,a postulate or a hypothesis, results in the permutation or combination of bothare brought together to offer generative alternatives. This is the initiation ofa design process in a fresh and sensitive mind. Creative thinking involvesvisualization which is the skill and ability to convert vision into visuals. Theelement of creativity can be nurtured if creative stimulus is introduced and thetechnique of problem solving is explained.

The purpose of design education is to liberate the mind from the set pattern andtread on paths unknown. The objective is to tackle students from variedbackgrounds to a highly focused training in analytical abilities, visualization,communication and representational skills.

Introducing Active learning in Basic Design Page 8

Introduction to the creative method through design principles and taking the mindof the student from the “known to the unknown” is a continuous process. Acreative stimulus is possible if the creative stimulus is first introduced and ispreceded by design exercises. The prelude to the design exercises includeslectures by faculty, working in group to see the things taught, then working on agroup model along with peer discussions and then finally handling the exerciseindividually.

The art of expression through visual grammar and aesthetics in architectureconcerns with the philosophical difference between the two sentences: “Spaces inarchitecture,” and “Architecture in Spaces”. Every three dimensional compositionhas architectural Qualities, deals with the placement of objects in spaces,either outdoor or indoor or deals with the division of spaces. Architecture isactually the art of space arrangement but any work of building construction whichhas livable space need not have architectural qualities.

This study mentions a review of an integrated studio education, its organization,concept, process, structure and products. At IDEAS basic design studio has acertain structure that varies through the years based on an experimental nature.Instead of explaining the general method, it is preferred to present a generalmethod conducted in the first year design studio in academic year 2012-13. Thecourse was designed for over 80 students in ten groups following the same programand it was hosted by six instructors. These courses are the foundation coursesfor all students in the Faculty of Architecture of IDEAS.

Introducing Active learning in Basic Design Page 9

Mind mapping of Basic Design studio by Faculty

2.11 This paper is going to discuss a sequential structure starting fromunconscious level to reach conscious design attitudes- by considering someexamples which are outcomes of the 2012-13 academic year. The initial exercisesare related with abstractions and reaching to certain design elements. The secondphase is creating compositions by using design elements defined in the firststage and learning about design principles (each step of this phase seeks toprovide the discovery of different design principles like order, balance,harmony, repetition, contrast…etc).

In this paper first year design studio instructors present four design problems:created for the first semester. The authors used the project analysis methods forexplaining the structure of first year design studio. They selected students’projects spontaneously in order to reflect an objective image about the studioexperience.

Main aim of basic design is to teach thinking and acting creatively but in adisciplined manner. It helps students to bring their abilities into theforeground and to develop their knowledge. The basic intention of the studio wasto achieve continuity in the topics that are to be introduced and the forward andbackward linkages that can be established in the topics so covered.

Introducing Active learning in Basic Design Page 10

The structure of the studio was such that it begins with a lecture by theinstructor explaining the topic so introduced and then followed by the studentsthemselves experiencing the topic by performing things themselves as eitherpoints, lines, planes etc.This was also part of active learning wherein thestudents perform, interact as a team and understand the various conceptstogether.

2.12 It was given a distinct name of the bumbo jumbo exercise which included thefollowing two exercises -

Exercise - 1] Points – In this student wore colored tinted sheets on their headsand demarcated an area on the floor. A student then occupied a position in thatspace denoting himself as point ‘A’. Other students join point sequentially inrelation to point ‘A’ and the boundary so marked on floor. In doing so they triedto experience the various principles of visual composition as well. Volunteeringby students and discussions within were encouraged.

Exercise - 2] Lines – The students held colored ribbons in hand denotingthemselves as lines in space and demarcated an area on the floor. Two studentsthen occupied a position in that space denoting them as line ‘AB’. Other studentsjoined line ‘AB’ sequentially in relation to it and with the boundary soenclosed. In doing so they tried to experience the basic element line through the

Introducing Active learning in Basic Design Page 11

various principles of visual composition as well. Volunteering by students anddiscussions within were encouraged.

This was followed by the making of group models on a base of 2’x2’ which wasbasically intentioned to have every new topic introduced in layers. Here againthe students working together enhanced their interaction, team spirit, clarifieddoubts, with collective working. This model continued till the end and had theoverlay of every next new topic that was introduced. This also was followed bypresentations and group discussions with faculty and other students.

2.13 A topic was dealt with in four different levels-

This is how a topic trickles down in an individual.

2.2 The emphasis was not on the making of individual portfolios but on theunderstanding of the concept/ basic understanding. The understanding of thestudent in the above three levels was then reflected in the individualmodel/sheet that was prepared by the students.

S.no.

Sequence ofactivities performed

Visuals of the activities

Introducing Active learning in Basic Design Page 12

Stage – 1 introduce the topic by the studio instructorStage – 2 student’s performances/ participation in groupsStage – 3 students working together on the group modelStage – 4 students finally working individually on model or sheet that they prepare

in studiosArt

Forms

1 Understanding thevarious art formsand thecommonalities andinterdependenciesof the various artforms withstudentsperformances inthe studios likedance, music,comedy, poetryetc.

2 Study the artforms bycollectingpictures andphotos frommagazines andstudying them bytracing theelements andprinciplesportrayed in theart forms.

3 The bumbo jumboexercise on pointswith studentsexperiencingthemselves aspoints in spaceand understandingthe principlesthat can beachieved withpoint as the basicelement.

Introducing Active learning in Basic Design Page 13

Basic

Elem

ent

- Poin

t4 Students working

on the groupmodels to show aprinciple withnails marked aspoints on the plyboard.

5 Individualexercise done bythe students onsheet by going onincreasing thenumber of pointsin each square inrelation to theprevious point andthe boundary tillthe twelfth squarewith twelve pointsand then finallymaking a model ofthe same.

6 The bumbo jumboexercise on lineswith studentsexperiencingthemselves aslines in space andunderstanding theprinciples thatcan be achievedwith lines bytracingpossibilities onthe floor withchalks.

Introducing Active learning in Basic Design Page 14

Basi

c Elem

ent

- line

7 Joining the nailsas points withwoolen threads aslines to createvariousalternativesshowing certainprinciple andchoosing the bestamong them.

8 Individualexercise by thestudents ofconverting a 2dplane in 3d withstrips cut of thesame paper aslines in thecomposition.

Basi

c Elem

ent -

Plan

es

9 The study ofplanes was done byinserting planesof ohp sheets inthe group modeland bringing theline in 2d to aplane in 3d be itlinear,curvilinear etc.

Introducing Active learning in Basic Design Page 15

10

Individualexercise done bythe students withthe interlockingplanes of aparticular shapeand then composingit on the base of15x15 cm side.

Basic

Elem

ent

- V

olumes

11

Study of volumesin a space bycomposing one typeof solids inside atransparent cubeof size20x20x20cmsside in such a waythat it is evenlyfilled and thespace is properlyutilized.

12

Converting theplanes in thegroup model intovolumes byenclosing thespaces on the topor on the sideswith either woolenthreads or by thetransparentsheets.

Introducing Active learning in Basic Design Page 16

Textur

es13

Collecting thetextures ofdifferent naturaland man madematerials on paperand then making acomposition of thesame in a squareof size 20x20cms.

Colour

s

14

Study of coloursby the students bythe application ofa particularscheme on thegroup model.

2.21 The various stages in the evolution of the group model from points to linesto planes to volumes and then finally colours can be clearly seen in thefollowing pictures. The continuity in design and development from 2d to 3d can bewell understood in these pictures. Nails as points in a space of size 2x2 feetshowing the principle of unity can be seen in stage 1. Different options and waysof joining the points to form lines showing interesting principles of radiation,dominance and focus can be seen in the stages 2,3,4 and 5. Elevating the linesand projecting them up in the third dimension gives the formation of the planesbe they simple rectangular to curved to tapering and curvilinear. In the stage 7the colours have been applied on the spaces so created on the base of the modelwhich are the tint, tone and shades of violet to form a contrast with the orangecolour of the woolen threads.

Introducing Active learning in Basic Design Page 17

Stage - 1

Stage - 2

Stage – 3

Stage – 4

Stage – 5

Stage – 6

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Stage - 7

Stage – 8

2.22 In the last step, stage 8, we asked the students to study the form of themodel so created and try to figure out what function can best be associated withthat particular form. In the stage 8 one of the students has imagined the form tobe a land and water interface with the dock yard, ships, entrances and storagespaces for the goods etc. Here the students very well understood the steps in theevolution of a design if they what it to be more from oriented with conceptsgenerating from the elements and principles of design. These can be seen as thefootprints in designing while we establish various forward and backward linkagesto better understand the genesis, growth and then the culmination of the processof design by its final/ ultimate manifestation in a form. These could be thestages in the design process where the product required is more form oriented.

3. Evaluations and conclusions –

The purpose of this study was to analyze and discuss a sequential structure of afirst year starting from unconscious level to reach conscious design attitudes byconsidering some examples that are outcomes of a year. As a result of theevaluations and observations made above, students had been introduced to thecomplexity of the architectural design process and to the importance ofcreativity. However, in the beginning stage of the education the students did not

Introducing Active learning in Basic Design Page 19

have enough knowledge about architectural design. At the beginning of the firstsemester they mostly reflected their observations and possible assumptions forthe first project. Then, they learnt about the design principles (harmony,contrast, repetition, rhythm, etc.), texture, color, scale, function, structureand construction materials. They started to connect their experiences andknowledge and reflected these concerning their projects. They exercised problemsstarting from simple to complex one and experience design process in severalconnected levels throughout the year. As a result of this study, it is possibleto say that the students gained the ability of defining the problem, analyzingits nature and creating proposals in a designer discipline. It starts withspontaneous actions and reaches to an essential awareness about design.

4. Conclusions –

The focus was on the process and not the product of design with the models actingas the vehicles to allow students to gain sense of learning and explore designissues. The efforts taken were not just in imparting the facts but to prepare thestudents to solve problems. The conditions in the classroom were made conduciveenough for students to receive the material being presented. It was rightlyjudged that a class being composed of a number of students doesn’t guarantee thatall students respond to a particular way of learning a topic, hence the same wasdealt in different ways by the faculty to make it easy for the students toreceive it at their end. This compilation of the experiments done in studioregarding teaching and learning intends to create a long term induction in basicdesign by constructing a framework in architectural designs.

5. References –

Hasançebi, Ö. and Acar A. (2007), Reinforcing Sensitivity; to context inbasic design course, Livenarch III Contextualism in Architecture 3rdInternational Congress, Trabzon, Turkey, pp 895-902.

Schön, D. (1985), The Design Studio: An Exploration of its traditions andpotentials, RIBA Publications, London.

Sıkıçakar, A., Yıldız D., Dursun P., Kurtuncu B., Erem Ö., Şener E. and AvcıO. (2006), A First Year Design Studio Experience, Mimed/Arched,Architectural Education Forum 3, Global Architectural Education Area,İstanbul.

Antoniades A (1992), Theory of Design – New York: John Wiley and Sons. Antoniades A, (Sept 1979), Mount Athos “Historic Precedent to Archeological

Post Modernism”, A +U Architecture +Urbanism.

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Boucharenc D. G. (2006), “Research on Basic Design Education”. “AnInternational”, Survey, International Journal of Technology: Springer 2006.

Broadbent G (1973), “Design in Architecture” – Architecture and HumanScience, New York John Wiley and Sons.

Chauhan P (2005), “Learning Basic Design”, Mumbai: Rizvi College ofArchitecture.

Ching D. K. (1979) “Form Space and Order”, New York: Van Nostrand, ReinholdPublication.

Constantine S (1984) “An Actor Prepares “New York: Theatre Books pg. 51, 52,62.

De Bono E. (1984), “Lateral Thinking”. L A: Penguin Publication. ----“------- (1982), “Teaching Thinking”, -----------“---------- Emerson S. (1953), “Design – A Creative Approach, Scranton: Publication. Graves M (Sept. 1978), “Referential Drawings”, Journal of Architectural

Education. 32, pg. 24. Jain R (2010), “Relationship between the Design Ideology and ways of

expressing it through work of Zaha Hadid”, Nagpur: MM College ofArchitecture.

Jones C. (1980), “Design Methods – seeds of Human Futures.” New York: JohnWiley & Sons.

Jorge S. (1977), “The Beauty of shadows”, Opposition No. 9: MIT Press Pg.48.

Moore C (March 1982), “Conversation with the Author”, California: ACSAConference.

Schildt G (1984), “Alvar Alto: The Early Year” New York: Rizzoli. Sullivan L (1934), “The Autobiography of an Idea”, New York: Norton. Sweller J., Van Merienboer J., Paas F (1998) “Cognitive, Architecture and

Instructional Design”, Educational and Psychology Review, Vol. 10 No. 3,Plenum Publication corporation.

Telang M. (2005), Aesthetics, Basic Design and Creativity in Architecture,Pune: Sinhagad College of Architecture.

Wall A (Spring 1986), “Transforming Architecture”, AA Files II. Buzan Tony, “The Mind Map Book: How to Use Radiant Thinking to Maximize Your

Brain's Untapped Potential Mind Mapping” Publisher: Plume; Reprint edition(March 1, 1996)

Gardener Howard, “Frames of Mind: The Theory of Multiple Intelligences”Basic Books, 2, reprint, annotated 1993

Parashar Sushma, “Basic design studio: An ongoing research”, BKPS College ofArchitecture, Pune, India

Holness.A., Beeson.S., “Introducing design studio learning inarchitecture to new students”, Arts Institute at Bournemouth, U.K.

www.artinarchi.com

Introducing Active learning in Basic Design Page 21

6. Acknowledgements –

As a studio co-ordinator I would like to convey my sincere thanks to my seniorsand head of the institution Prof.Purohit for having believed in me and my processof conducting the basic design studio. I would also like to acknowledge my teammembers Prof.Shelke and Prof.Ghadge for all their support and good wishes andlast but not the least to all my students of Batch 4 at IDEAS who made the wholestudio with a process, experimentation, on time submissions and immense interestin participation that brought such fruitful outcomes.

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