FARU - 2011http://dl.lib.uom.lk/handle/123/147092024-03-29T05:21:07Z2024-03-29T05:21:07ZInterdependency and the individual! Socialisation as a formal learning constructMcClean, Dhttp://dl.lib.uom.lk/handle/123/83902019-08-15T03:33:45ZInterdependency and the individual! Socialisation as a formal learning construct
McClean, D
One of the enduring and memorable, properties and qualities of the 'unique situational
laboratory' of design studio as a learning environment (Travar and Radford, 2003) is its ability to
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support and foster social interaction. As such, together with the opportunity for collaboration
and sharing, socialisation serves as a significant contributory component and stimulant of
learning (Parnell, 2001), at leas| informally. Indeed it is argued that the most significant attribute
of design studio is the culture that it develops, as it is this, propagated by the learning
environment, that acquires lasting significance (Koch et a I, 2002). From a pedagogic perspective,
therefore, the social dynamic of studio is deemed crucial. Additionally, interaction in studio
facilitates the development of mutual emotional and morale support, and in the face of duress or
adversity the social mechanisms appear to act as support structures founded on interdependence
and camaraderie between students. The developing culture, which Thomas Fisher describes as a
'fraternity' culture (1999) cultivates bonds between individuals that can be very powerful and
frequently endure over the course of a lifetime.
However, a considerable body of literature has developed over the last 20 years that challenges
some of the habituated behaviours and rituals that are commonly associated with studio, and
which can inadvertently run counter to educational theory. For example, despite its inherent
social properties and reliance on discourse, the learning process typically introduces 'power
asymmetries' that suppress the individual (Dutton, 1999), and offers limited recognition of the
individual in terms of experience and perspective (Webster, 2003). Instead, the collective
educational model has traditionally been more of a tool of normalisation and professional
acculturation in relation to values, beliefs, and behaviours, as well as skills.
With a few exceptions such as the 'review' or 'crit' process, interdependent or peer learning has
tended to occur through informal interaction, enabled by studio but remaining relatively
unstructured. However, a number of educators have begun to explore methods for the
structured incorporation of socialised learning into formal pedagogical constructs. Taking Piaget's
constructivism and Vygotsky's socio-cultural notion of 'proximal development' as the theoretical
underpinnings of studio enables the development of pedagogical frameworks for formalised
interdependent learning. The aim is primarily to release latent potential within studio, thereby
further enhancing its potency as a learning environment. This paper presents pedagogic
development being undertaken at the School of Architecture in Aberdeen, Scotland, that seeks to
enhance discourse through use of peer learning as the principal pedagogic structure, as well as
introducing methods of learning that embrace the diversity represented by the student body as a
rich and hitherto under-exploited resource for learning.
3+2 versus 5 : A comparison of the structure of architectural education with reference to course changes at University of MoratuwaChandrasekara, DPhttp://dl.lib.uom.lk/handle/123/83922019-08-15T03:28:48Z3+2 versus 5 : A comparison of the structure of architectural education with reference to course changes at University of Moratuwa
Chandrasekara, DP
The architectural education system at University of Moratuwa (UOM) was changed to a direct 05
year Bachelor of Architecture degree from the 2003 new entrants. Prior to that, the format of the
architectural education at UOM was a 03 year B.Sc . (Built Environment) degree and a 02 year
M.Sc.(Architecture) postgraduate degree with a minimum of 1 year gaining in between.
The structural change of the duration of the course was combined with other major revisions
such as the "semesters" and "modules" replacing the "terms" and "subjects" of the old system
respectively. The contents of the courses were also changed with the introduction of new areas
of studies and elective modules
The studio work of architectural design was the forte of both systems. The old system had yearend
examinations for theory subjects. The new B.Arch . opted for semester- end examination.
The main advantage in the new was that there were lesser possibilities of missing the batch by
students due to poor performances in the theory modules.
The objectives of this study is to compare the effectiveness of the two systems of education from
the perspective of the students. A sample of 30 students; 15 from the last M.Sc. batch and 15
students from the first two batches of B.Arch. students wgfe selected on a random basis. All of
them have now completed the part three examination of the Sri Lanka Institute of Architects and
are chartered architects. The respondents were divided into two categories "Good students" and
"Average Students" based on their performances at UOM.
The findings of the study shows that 80% of the "good students" who had followed the B.Arch.
programme opt for the same course given a chance to study architecture agaWr 100% of the
"average students" select B.Sc. + M.Sc. as their preferred system to study architecture.
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Around 82% of the former B.Arch. students who selected B.Sc + M.Sc path stated that the main
reason for the selection is that it gives a postgraduate qualification in addition to the 3 year
bachelor degree.
Those who selected old system stated that shorter duration and recognition to undergraduate
degree as important factors which influenced their decision.
Architecture, urbanism and critical theoryGoonewardena, Khttp://dl.lib.uom.lk/handle/123/83912019-08-15T03:30:54ZArchitecture, urbanism and critical theory
Goonewardena, K
How should architects educate themselves in Sri Lanka today? Approaching this question from
the standpoint of cities, I will present in the form of theses the basic lessons to be drawn from
attempts made by modernist architects—in collaboration with avant-garde artists and thinkers—
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to change the world. These include critical reflections on not only the moment of modernism, but
also the epoch of postmodernism in the West. I argue that the experiences of both modernism
and postmodernism remaiixvital for postcolonial contexts as well—especially in situations such as
post-war Sri Lanka, where urban planning assumes a leading role in the drama called
development. To wit: whereas the mutation of modernism into modernization and the
subsequent abandonment of urban space to market forces known as postmodernism present us
with scenarios to be avoided at any cost, the combination of art, technology and politics alloyed
in the unfinished project of modernism in the early decades of the last century still raise key
questions for our architects and urbanists: how did our cities come to be what they are, what
kind of cities do we want, and how do we go from the cities we have to the cities we love?
Imagining architecture: science fiction as a source of futuristic designPerera, SVDhttp://dl.lib.uom.lk/handle/123/83942019-08-15T03:33:04ZImagining architecture: science fiction as a source of futuristic design
Perera, SVD
The profound changes that are happening based on new discoveries and new interpretations, of
the world not only changes Architecture "as we know it", but also demands a reconfiguration of
the way one looks at and approaches the discipline.. Thus designing for the future becomes more
challenging as it belongs to the realms of "unknown" and "uncertain" that requires Architects to
transcend from present realities and perceptions and engage in creative "imagination of futures".
Such an approach requires inputs from many disciplines particularly through cross fertilization
understanding to use other disciplines as channels of creativity, and mostly exploring unexplored
territories that exist in realms that are unfamiliar to most Architects.
Therefore, this paper argues that "science fiction" although quite an unexplored territory among
architects, is a possible source that could be used in designing for the future. It attempts to bring
to light the possibilities contained in the idea "form follows fiction" or more precisely "form
follows science fiction" in futuristic designs and highlights ways of using it.
Indeed the future of Architecture lies in such explorations which will provide the ideas,
conceptualizations and tools to venture into the future which the contemporary approaches
seem to be unable to provide.