Architectural Pedagogy

AR5721 Critical writing

Architectural pedagogy

Submitted by

Anish Jeyadev A S 2019701504 Keerthana S 2019701517 Sathiya Naarayana N M 2019701026

SCHOOL OF ARCHITECTURE AND PLANNING

ANNA UNIVERSITY, CHENNAI 600 025

TABLE OF CONTENT 1) ABSTRACT 2) INTRODUCTION 3) CHALLENGES IN ARCHITECTURAL PEDAGOGY 4) HISTORY OF ARCHITECTURE EDUCATION IN INDIA 5) INCLUSIVITY IN ARCHITECTURAL EDUCATION 6) ALTERNATIVES IN ARCHITECTURE EDUCATION AND PRACTICE 7) VERNACULAR EDUCATION IN ARCHITECTURE 8) ARCHITECTURAL CURRICULUM 9) EXPERIENCE-BASED LEARNING IN ARCHITECTURE 10) RETHINKING ARCHITECTURE PRACTICE AND EDUCATION 11) CONCLUSION

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ABSTRACT

The evolution of architecture as a profession is a recent phenomenon that necessitates a new approach and pedagogy. Current architectural education is struggling to keep up with the rapid growth of the urban world and student engagement in real-world applications. Innovative interdisciplinary strategies in architecture education must be organised in such a way that they result in better architecture and urban-rural environments. Architecture education is always an interactive process that involves group work as well as collaborative teaching and learning to help students develop their creative skills. It is a complicated issue because it requires both theoretical and practical knowledge. This paper examines the current state of architectural education in India, the gaps between education and architectural practice, and possible alternatives.

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INTRODUCTION Variations in education arise in relation to changes in society, its needs, the emergence of new construction processes or the development of information technology. But the fundamental pillar of architectural education today is almost always the hands-on architect. That is, a tutor who teaches individual students or very small groups of students in a studio. In such cases, don't students lose the feeling of discussion and a real working environment? Learning architecture is a very complex issue as it is a combination of theoretical and practical knowledge.

It goes beyond architecture. It covers a wide range of other areas. How does architectural pedagogy respond to context, people, and anthropology? What does the future of architectural education look like? Is architecture really necessary in the future? The role of the architect is changing with the use of new technologies and methods such as 3D printing and drones. Is it possible to acquire the necessary knowledge and skills just through experience at an architectural firm? Can this role be filled by technological advances and increasingly reliability automation? Architecture is an act of choice, a relationship between people, buildings, and the environment. Perceptions, thoughts, and emotions are also often triggered by architecture. According to Zumthor, design is an exploratory approach to childhood memories. The strength of the good design

lies

in

our

ability

to

perceive

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ourselves

and

the

world.

3.CHALLENGES IN ARCHITECTURAL PEDAGOGY 3.1 What are the challenges that architectural pedagogy faces in recent times?

In the last two decades, the profession of architecture has changed dramatically, but the process of architectural pedagogy has been slow to respond to this change. With changes in the structure of contemporary society, the emergence of housing problems squatter settlements, the deterioration of historic cities, and the emergence of large structures and new building types, new knowledge became necessary for architects and educators. This eventually set the standard for skills, architects need and the manner in which they should organize these skills. In response to this change, one can argue that architectural pedagogy should offer a wider knowledge base for students to become real professionals.

3.2 Commodity, Firmness, and Delight: The History / Theory Dilemma Architecture has been theorized and defined in the 1' century BC by Vitruvius, and restated in the 17th century by Sir Henry Wotton (Morgan, 1960).

Three complex phenomena form the definition of architecture: commodity, firmness, and delight. Commodity expresses the functional aspects of architecture, the way buildings house human activities, and how people live and societies operate in the physical environment. Firmness represents physical strength and structural integrity. Delight exemplifies the aesthetic aspects since architecture seeks to express ideal concepts of beauty that emerge from symbols embedded in a particular culture. Each of the three phenomena has an interdependent relationship with the other two. The balance of these interdependencies forms a continuing challenge to architectural educators.

Examining the courses of history and theory of architecture and the way knowledge is transmitted in several schools of architecture reveals that functional and human aspects are not emphasized by history and theory teachers (Salama,

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1995). The priority is always given to solutions of plans and formal aspects of architecture accompanied, in some cases, by structural aspects. Several studies support this argument (Schon, 1988; Rapoport, 1990). In this respect, the formal aspects of architecture can be linked to socio-behavioural and structural aspects.

However, the integration between these three components of architecture remains a challenge.

3.3 The Split Between Lectures and Studios This challenge is widely recognised by many architectural educators.

According to Gerlenter (1988), almost every school of architecture employs a basic curricular split between lectures and studios. On one hand, in lectures, it is assumed that students will learn the general principles and fundamental bodies of knowledge that inform all aspects of designing. On the other hand, in design studios, it is assumed that students apply the universal information learned in lectures in order to confront a particular design problem. Unfortunately, however, the experience of many architectural educators suggests that this relationship does not work appropriately, since many professors complain that the essential concepts they have taught about, such as person-environment relations, do not appear in the students' design projects (Seidel, 1981), while studio instructors complain that students do not know the basic knowledge of a subject even though they have completed several years of lectures on that subject. Gerlenter (1988) argues that the evidence of many student design schemes would support these complaints.

3.4 The Unpopularity of Environmental-Behaviour Studies in Design Studio Teaching Practices Social science literature is ignored or oversimplified in the educational process of architecture (Salama, 1998)

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The discussion of the challenges that face the integration of EBS into teaching practices of architecture suggests that the educational system implements positivistic philosophical positions, neglecting viable and important alternative positions, which in turn enables future architects and urban designers to establish long-term attachments to international professional values. However, it distances them from local populations and potential occupants of built environments, their behavioral attitudes, their social contexts, and their traditions, beliefs, and preferences.

4. HISTORY OF ARCHITECTURE EDUCATION IN INDIA 4.1 How did western architectural practice and education come to India?

In India, colonialism and around 200 years prior, are where modern architecture and architectural education have its roots. Since colonialism introduced modernization concepts to India, they are foreign to the country.

However, in the sense that the intellectual elites accepted and modified them, they have now become indigenous. Only pragmatic topics are considered while thinking about design in India, and these concepts are then turned into educational goals for architects. People think of education as a "quick route" to practise.

The student is not required to study theory in the traditional sense because practice itself is closely tied to meeting the wants of an ignorant elite. History lectures are still dull and consist of reciting facts without any motivation.

The issues in architectural education in India are not too dissimilar to those existing in the West. However, there exists unique constraints and opportunities in the Indian context which offer quite different challenges. A concerned educationist examining these alternatives will have to reconsider the significance of the inherited educational curriculum to the duality in the cultural circumstances prevailing in society.

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5. INCLUSIVITY 5.1 Problems in architecture pedagogy 5.1.1 The problem in the structure The necessity for universities to behave as competitive entities have progressively transformed the educational panorama, evaluations based on ranking and reputation within an entrepreneurial reality. Today's architectural educational institutions are companies like any other, relying on results and profitability rather than experience and creativity

5.1.2 The problem with Goal Some schools focus on teaching architecture, others propose to train architects.

Is architecture a language, a tool, a process, a built result, a capacity to organize in space complex data, and an act socially and politically engaged? All of that.

Students at the Architecture Schools are asked how they chose to pursue a career in architecture. Many students claimed to have chosen architecture for drawing skills, creativity and exploratory course that doesn't involve physics, chemistry and mathematics; some considered architecture the means to access a certain social status.

Graduates' capabilities and experiences are expressed through the nature and quality of projects they develop within their studies, not necessarily with the diploma and title they obtain. In some cases, the diploma becomes a pass for the right to practice, serving more the interests of the corporate profession than defining the abilities and talents of young professionals.

The traditional studio-based teaching and the acceleration of studies towards

professionalization

might

reverse

the

proportion

of

determined/undetermined students and progressively constrain the creative scope of the most hopeful and open-minded ones. According to Buckminster Fuller, "What usually happens in the educational process is that the faculties are dulled, overloaded, stuffed and paralyzed so that by the time most people are mature, they have lost their innate capabilities".

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5.1.3 The problem is the distance from reality Architecture is, in some ways, a concrete discipline, most commonly observed lacunae among students who have completed their studies lies in the abstraction of the projects they develop. Despite the growing number of design/build architectural studios within universities, most students finish their studies without having ever experimented with the full reality of an architectural project. Absent from the traditional pedagogical curriculum, students do not experience the necessary confrontation with clients and local communities. Their appetite for action and their need for experimentation are illustrated through the growing engagement of self-organized networks of students.

Ivan Illich's Deschooling Society argues that "universal education through schooling is not feasible". Illich further argues that educational structures shall be thought of in terms of organic webs instead of centralized institutions, giving one the opportunity to transform each moment of living into a moment of learning, sharing, and caring. In other words, Illich’s educational prescription is based on present experience and peer-to-peer exchanges rather than hierarchical structures and expected results.

6. ALTERNATIVES IN ARCHITECTURE EDUCATION AND PRACTICE

6.1 Learning by doing in architecture The concept of architectural education has evolved into the concept of 'architect's education. In addition to formal education, integration of informal education with the education of the architect is thought to be important in gaining and updating such knowledge, skills, and competencies. Informal education means out-of-class education with no hierarchy between learner and teacher outside the existing system and rules. In this type of education, all environments can be used as training and observation areas for candidate of architects.

Informal education is recognized to have positive results in "experiencing abstract

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design knowledge and developing design thinking skills, intuitive knowledge and creativity".

Such training is thought to be effective in ensuring sustainability in the education of the architect. Learning by doing method is based on such topics as: Thinking and doing, cooperation (teamwork, unity of purpose, awareness of responsibility) and service to the community. (Source: learning by doing in architecture education) Professor Gurdev Singh brings in his large experience as an architect and an academician from across Australia, middle east and India, while sharing with us his unique way of teaching architecture. He unhesitatingly talks about the cross learning he wishes to offer at the Mudra Takshashila Institute of Design and Architecture, where he is a professor. He propagates the cross learning amongst various architecture and design disciplines with a simple argument: “The more cross learning you do.. more the options you get into. Why can’t an architect become a fashion designer or an interior designer become an architect?….I think learning from each other is an important component. The more you expand the better the learning you can get.” - Professor Gurdev Singh He also hugely advocates the concept of ‘learning by doing’: a hands-on approach for learning technical subjects such as building construction, structure and environmental science. For the same reason, the new building for design and architecture courses at MTIDA is being proposed as a laboratory for students.

Not only students enrolled in the university, but students of other colleges will also be encouraged to participate in the construction of the building “One of the reasons for the belief in ‘learning by doing … The new building actually has a lot of new technology like glulam, rammed earth, stabilized bamboo, and mud skins. The building will have a whole lot to experiments, rather than a similar vocabulary; something that constantly keeps changing. We will have a shell and a roof, which will remain constant, and a whole lot of partitions and sub-connections will keep on changing … and the kids will be involved in all

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that. So instead of giving them a finished building, they will be involved in the making of the building. And by itself a good learning process.”

“There is a sense of pride that comes when you make something and that is very important. That is a very important aspect in learning by doing, the sense of pride, which will remain for the rest of their life rather than the lecture which comes and they forget.”

Apart from ‘learning by doing, ‘learning from nature is also important to architectural pedagogy, and Professor guide Singh believes that the challenges of climate can be best understood by studying nature. He gives a compelling example of the termite nests which orient themselves to avoid heating up and has a perfect shape to allow the hot air to rise and escape: a valuable lesson for passive cooling in dry climates.

Principles derived by observing nature are carried on to the design processes in the studio and even in technical subjects. The technical subjects are taught with a ‘problem-based learning approach where the students get a chance to put the lessons derived from nature into practice.

6.2 Digital tool While we may learn better from direct interaction, the possibilities enabled by contemporary digital tools provide a new field for experimentation. As people always say, everything is on the net. Naturally, architecture needs materials, physicality and spaces, but the Internet allows global networks to form.

Domenico Di Siena defines Civic Design as a new discipline inherent to the development of urban environments through participatory processes. The question of the governance and legal entity of the community is constantly discussed among the members through a dedicated forum and a Slack channel, a Google drive, and a set of online videos. Those examples, all experimental, open the door to more to come. If one engages voluntarily in learning, the task becomes suddenly easier - long-lasting results observed in alternative schools where teachers act as moderators show the efficiency of a learning system based

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on self-motivation. By implying that students, participants, or citizens are the best ones to evaluate their own experience, those schools provide non-judgmental environments and authorize failure as a productive and necessary means to learn.

Globally, institutions involved in imparting architectural education are trying to achieve these objectives, through:

i. State of Art Architectural Learning By changing the culture of the studio: —Making the studio the focal point of experimental learning in architecture, involving: application of concepts or ideas in practise, to learn from experience rather than ideas, applied education outside of the classroom. Organizing workshops on the creation of useful products, such as models or architectural designs or construction techniques or graphics. encouraging learning while being committed to the environment, society, accessibility, and sustainability. establishing Chairs to advance innovations and conduct research tasks. Making use of modern technologies to teach students how to use laser cutting equipment, CNC machines, and volumetric models. Refocusing the teaching and learning process to create: Personal Competency—critical thinking, creativity, ability to plan and organise, teamwork, leadership, self-discipline, dedication, analysis, synthesis, skills, etc.—students will be able to improve their core competencies.

Specialization in the following areas- ability to build functional and beautiful architecture, fostering learning by planning and taking part in competitions educating pupils to behave globally while thinking locally the capacity to recognise and comprehend the connections between people, places, the environment, and society; projects for research and consulting. In order to dispel the myth that an architecture student must only be trained to be a designer, students must be given the freedom to chart their own educational path and decide whether they want to become a designer, construction manager, sustainable designer, landscape architect, architectural critic, journalist, photographer, structure expert, etc. based on their interests and skills. Students must have the choice and atmosphere to choose their own course for learning 12

and advancement at the institute. Education focuses on teaching students how to use their five senses—hearing, seeing, smelling, tasting, and analysing—to understand, enjoy, and distinguish between good and bad architecture as well as the factors that go into each. Understanding the role that green buildings play in promoting sustainability, reducing carbon emissions from the built environment, and preventing global warming. ii. Focussed Architectural Teaching Increasing the breadth of education by collaborating across levels, i.e., teaching

subjects

in

a

cross-cutting/transversal

manner

for

improved

understanding/interaction with other professions. involving both visiting and permanent Professional Architects of Eminence in the faculty. encouraging a strong connection between industry and academia to adapt architecture education to the evolving demands of the industry, society, and technology.

In the Learning Processes/Methodology, the emphasis is on the process rather than the product to make the architectural objective focused. Making the classroom into a research lab where students' self-learning is encouraged via experimentation, innovation, and freedom of thought and action. encouraging innovation and investigation in the process of teaching and learning. Focusing on preparing students to handle professional duties in a suitable manner. Along with fostering sustainability, making sure students are aware of their place in the community, society, state, and environment. Making sure that students comprehend and value the whole range of a building's anatomy, its effect on how people live, and alternatives for making the most use of nature and its renewable resources to construct healthy and useful structures. Recognizing and rewarding faculty distinction in order to advance quality and innovation in architecture education iii. Empowering Students through; Creating Forums - planning meetings with experts, architects, and other groups on a local to the international scale. Giving pupils individualised attention through coaching and guidance by designating an academic counselor and a

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qualified coach. establishing a national/international job bank to help students find employment both locally and internationally Providing cutting-edge infrastructure, both soft and hard, to encourage academic performance. arranging frequent study trips/visits to significant modern complexes/buildings as well as historical and contemporary architecturally significant locations. fostering interaction with centers of excellence in architecture locally, nationally, and internationally. encouraging faculty and student exchanges with world-class international institutions. A focused selection of qualified professors with the skills, dedication, knowledge, and capacity to instruct and involve students in learning.

Providing options in learning based on students' capacity- liking, understanding, etc to make optimum use of their skills. Recognizing and awarding merit among Students to promote quality and innovations in architectural learning. (https://spav.ac.in/pdf/ae2020.pdf) pg 20,21

7. VERNACULAR EDUCATION IN ARCHITECTURE

7.1 Importance of vernacular style education in architecture According to its etymology, "Verna" means native and "architecture" is to design buildings, thus vernacular architecture is an architecture style that is built to meet the present needs, keeping in mind the local climate, culture, and materials. It is purely regional and its diverse nature makes it difficult to be propounded into a singular style with a name. In 1964 an exhibition held by Bernard Rudofsky, called "Architecture without Architects", established the significance of the term "vernacular architecture" amongst architects, which was followed by amplification by ace architects like Le Corbusier, Adolf Loos, and Frank Lloyd Wright. (Source: rethinking architecture-article:” why architects must study vernacular architecture” As Frank Lloyd Wright says, we have to create an architecture that speaks for its time and place and yet yearns for timelessness. An architect cannot and

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should not create spaces without sensitivity and awareness towards the historical interventions, making it imperative to understand the factors that help designing spaces that are contextual with the surroundings and yet eternal.

With the onset of modern architecture, the latest technologies and construction methods, manufactured and processed materials became a norm, but in reality, they are energy drainers and impact the environment on huge levels. On the contrary, vernacular architecture is sustainable in its approach. It has less the carbon footprint, hence reduces the pressure on the environment.

7.2 Culture and architecture: what is the impact that culture creates in architecture? Does modern architecture have any relevance to the culture of the context?

Before it has become so easy to travel between different countries and architectural divides between cultures has begun to disappear, counties around the world had very unique architectural styles representing their cultures.

Looking at the traditional design of buildings from a culture’s history, it would be impossible to get one confused for another. We know that those strong, sturdy columns belong to Greece or Rome. A pagoda makes us think of China and the other Asian countries it has influenced. Talking about India, it is a land full of assorted cultures that include festivals, religions, foods, attires, and occupations, thus breeding various examples of vernacular architecture. The notion of modernity is overshadowing the need to protect the cultural heritage.

Among the foremost things that decide the role of architecture or space, culture plays a very significant role. The location of a space, the size required for that function and the way through which it connects all are aided by the basic cultural significance space is being designed for. Space and culture are interlinked together to the extent that space cannot be analysed without that factor coming into play. The well-renowned Vastu Shastra, the rules and regulations for space as dictated by the Hindu religion is being followed by the Hindu people. The Chinese have the Fengshui or chi. All these rules or

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instructions have been drafted in accordance with the cultural practices of the people following that religion.

Along the way, with the advent of modernism, this principle has been forgotten. Buildings don’t have a unique style; they don’t even come close to creating or even maintaining identities.

While we are living in times when we can export and import materials nationally and internationally on a phone call, we also increase the cost of the project, which in turn creates a gap in the economic growth of the country. In introspection, the vernacular architecture uses local materials thus cutting down on various costs like the processing and manufacturing, the transport, and the cost of intricate construction processes for its application, then why not shift to a more local approach. These materials that are used depend on the location, they can be wooden in earthquake-prone regions and brick and clay in hot and humid climates.

Thus, understanding Vernacular Architecture and its characteristics are very important for architects, as it can help regulate the brimming problem of environmental degradation and also help society stay true to its culture and heritage. A proper approach has to be adapted in the induction of these vernacular values in architects, which has to begin at the grass-root level that is the ‘education’. Education is the basic for all the changes that is happening around us and whatever change we expect, it has to be implemented in educational policies.

The Eurocentric architectural education as a result of industrialization and globalization created a huge impact in the environment and social values of different communities around the world. Architecture is highly Contextual and based on local climate and anthropology. It should be vernacular. The local history of the place should be given higher importance with instead of the

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European architectural history. Because history is where we can know about the past and design for the future.

Due to the nature of the concept, a study in vernacular architecture requires an inter-disciplinary fusion of anthropology, cultural geography, archaeology, history and architecture (Rapaport, 1969).

7.3 Why Architecture School Needs Interdisciplinary Training?

Like many fields, architecture is increasingly influenced by the call for more collaboration among disciplines. In practice, the emphasis is on improved collaborative processes, like integrated project delivery. In higher education, administrators attempt to soften the boundaries between disciplinary silos with incentives, such as funding, for faculty and students from different departments to work together. The first advantage is an increase in the quantity and quality of novel ideas. When architecture students are intent on understanding unfamiliar topics, such as the workings of natural organisms, their chances to develop innovative designs expand. Another outcome is the sharpened awareness of the nature of architecture as a discipline. By working with biologists, architecture students are immediately conscious of the fundamental approaches, techniques, and conceptual thinking that architects employ— especially when working with collaborators who use entirely different methods.

Most importantly, the qualities that define architecture percolate to the surface.

Next advantage is the development of new ways that architecture can help to advance other fields. Despite these benefits, caution remains. For example, students might be distracted and directionless unless well-defined objectives are established at the outset. Furthermore, students may require additional time to develop necessary disciplinary expertise within an increasingly specialized field. A balance must therefore be struck between architecture-focused education and interdisciplinary learning.

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8. ARCHITECTURAL CURRICULUM

8.1 Importance of sketching in architecture Sketching is an impressive and expressive tool to portray ideas. It is an effective problem-solving tool with detailed solutions. The uninterpreted flow of thoughts is possible only at scribbling and sketching manually “Architecture is not created, it is discovered – the hand will find solutions before the mind can even comprehend them.”

— Glenn Murcutt

8.2 The gaps between practice and education- can it be solved through architectural curriculum?

“In theory, there is no difference between theory and practice, But in practice there is …”

– Jan L.A.Van de Snepsche

Academic training lacks a practical aspect as it presents larger goals and images to students and research institutes. Good buildings always come from field experience, but are diminishing day by day due to various technical interventions. The missing link in the overall scenario is the slow introduction of students into the specialization. In many scenarios, a delayed introduction to the field or fewer introductory sessions erodes student confidence in the learning and development process. Professional practices are established as facilitators to serve the community and understand and respond to the needs of different classes and masses. This is an extension of academic learning with a real-time implementation. Academies can have large programs, one that prepares students to face and contribute to the field, and another that sows the seeds for broadening the horizons of the profession. In both cases, students receive comprehensive development from the founding year of the institution itself. The

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overall quality of learning is often assessed primarily based on the educational experience they have received during their studies.

Design- build projects is one of the most motivating learning approaches for students. It is a simulation of practice with the opportunity to finalize the project until its physical construction. This model is becoming widely popular because it enables students to work with materials, structures, and tools that enrich their practical skills. Besides becoming familiar with fieldwork, they learn how to coordinate teamwork of many specialists, craftsmen, and schoolmates, while improving their communication skills.

The new/contemporary way of teaching architecture is the digital studio using IT, which is tightly connected to simulation and generative programs. New technologies and programming are becoming an integral part of contemporary architecture and need to be reflected in architectural study programs. An emerging topic is introducing the concept of design culture within the CAD software interface - a sort of corporate work standard.

Direct contact with a practicing studio through such tutors may allow students to visit the construction site or if they prove their qualities, subsequent employment in the studio. Due to the often-one-sided typological focus and distraction by practice and laws, practicing architects might tend to limit the students' creativity. Therefore, sharing their own mistakes is of great importance.

The practicing studio model completely abolishes the school as an architectural container of knowledge. Education is provided solely by practice, as was the case in the past (e.g., Renaissance workshops). The tutor as a practicing architect chooses his pupils to work in his or her studio team.

8.3 Crit - a celebration of one’s individual creativity or conformity of solution to the problem or an open-ended learning?

The 'crit', short for 'criticism', is an assessment practice central to the education of the architect, internationally. It aims to place the student at the centre of the learning experience and allow them to develop creative thinking and skill19

by-doing. But evidence suggests that crits encourage conformity rather than creativity and serve dominant cultural paradigms rather than the ideal of openended learning. As the architect and academic, Helena Webster describes it: The research undoubtedly brings into question the formerly accepted intention that the crit is a collective and liberal celebration of individual student creativity and achievement.

The ‘crit’ system began in the 19th Century at the École des Beaux-Arts in Paris, where originally juries of tutors assessed a student’s work behind closed doors; this ‘closed jury’ system became an ‘open jury’ in the 20th century, where tutors commented on work in public in front of the student’s peers. The main advantages of this format are that all students can hear feedback from reviewers on each other’s projects, in order to learn about their own work, and that students gain some experience in presenting their work.

According to Kathryn Anthony in Design Juries on trial, 1991, ‘Crits are an opportunity for the student to present the process and solution to a design problem. The crit should be providing the student with encouragement as well as stimulus to continue exploration.

Donald Schon argues that conversation about architecture – the ‘crit’ - is the essence of the design education process. Schon sees the ‘crit’ as an equal debate between student and tutor, or an exchange of learned opinions rather than delivery of facts.

The crit places the tutor as the person who knows 'the' correct solution to every difficulty, with the crit being seen to endorse 'acceptable knowledge'. The ideal of equal learning is replaced with enforcing a code of conduct. Students absorb aesthetic, motivational, and ethical practices as well as language and even dress as outlined by Thomas Dutton’s Voices in Architectural Education, Cultural Politics and Pedagogy, 1991 - broadly speaking what the philosopher, Pierre Bourdieu refers to as “habitus”4 i.e., embodied habits of seeing, acting and thinking. Students may come to regard the tutor's approval as indicative of

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approval by other powerful groups in society, on which they are dependent for status and earning ability.

8.4 CRIT IN EXISTENCE AND PRACTICE

8.4.1 TYPICAL FORMAT: The typical student crit involves a single student presenting for between 5 and 10 minutes, followed by a 20-minute discussion. The total number of people involved in the typical crit is relatively small. Most common (mode) number of tutor critics in the most recent crit experience of the respondents was 2. The average (mean) number is a little higher at 2.5, reflecting that in some cases there were 3, 4 or even in one case, 5 critics (and 6 critics for the crit involving 100 students).

8.4.2 IMPACT OF FORMAT ON LEARNING: Crits with too many students, that were poorly managed, or in a poor space with distractions in the background were seen as problematic. students described a highly destructive 'star' guest critic as their worst crit experience. The success of a crit depends upon what might be interpreted as relatively subtle differences in the behaviour of staff and students.

8.4.3 EXPERIENCE: When asked to describe their experiences of the crit, most students described a tense, nerve-wracking or awkward atmosphere. At its best, the crit was described as a place of enthusiasm and discovery, with an energy or buzz. Some students described the crit as the 'worst part of the year'.

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first impression of crit

8.4.4 DIALOGUES: 'A Good Crit is defined by a sense that people were interested in the project presented, that our personal ideas are coming. Through the presentation, the esteem of other students regarding the drawing- put on the wall, positive and constructive feedback from other students and an inclusive dialogue with peers.

Overly negative feedback and a lack of constructive criticism were the most frequently given descriptions of students' worst crit experiences.

8.4.5 STUDENT BEHAVIOR: Student apathy, poor student work and overly nervous or shy students can all have a negative impact on the success of a crit. Students also report a lack of confidence, lack of sleep, and too much pressure. The stressfulness of the situation is seen to reduce the potential for learning.

8.4.6 TUTOR BEHAVIOR: The critique "may be an enriching experience for tutor, guests, and students alike, but can, in some situations, lead to confrontation and defensive responses as a result of student input," one tutor wrote. Worst crit experiences include tutors interrupting student presentations, patronizing them, not listening to them, and acting disrespectful toward the student. Respondents, on the other hand, praised reviewers who were kind, acknowledged the work they had made, gave pupils the chance to defend their positions, and clarified their viewpoints.

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8.5 ROLE OF CRIT: Critique in the design studio is intended to develop the reflective and metacognitive abilities of the design student, encouraging discursive exploration of processes, decisions, and outcomes. Critique is a dialogue that enhances knowledge regarding design situations, it is advice, suggestions, and questions regarding a project.

The impact of employing the practice of critique in architectural design studio

8.6 TYPES OF CRITS: Analysis of the various critique methods applied in architectural schools led to the classification of assessment instruments in architectural design studios in 7 categories.

Critique sessions type

The theoretical model for applying the appropriate critique session for each stage of the design process

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8.7 AN ALTERNATIVE APPROACH TO CRIT - ASSESSMENT AND REVIEW THROUGH ACTION RESEARCH The most productive design studios are those where conventional power structures are dismantled. In these studios, the students actively participate in the process. There should be an effort to solve these fundamental problems by taking into account the various design phases that occur throughout project creation and by fostering a more collaborative, student-centred, and equitable learning environment.

1.

Round table: The emphasis was on group collaboration, so students and staff were encouraged to take part as equals in the learning process.

2.

Submission: Closed Juries & Open Feedback: Students were given a deadline to turn in their work, which tutors examined in private. After an open feedback session, they gave both written feedback and grades to the students. After that, pupils had individual meetings with their tutors to go over the criticism as it was described in Anthony McCarthy's Design Juries and Milton Cameron's The Jury's Out.

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3.

Online learning: Students were asked to upload their project to an online community in groups of ten made up of the students, staff and external practitioners.

Comments were invited and students then summarized the online comments along with their drawings in a presentation. Online leads to seeing

4.

the

work

together

as

a

dialogue.

Red dot review: In the fourth and final stage, students and staff viewed an exhibition of all the students' work. Based on Professor Ledewitz's approach, they were invited to place one red dot by a scheme that they wished to hear discussed. Doidge and Parnell describe these broadly as student led discussions. The student gets marks and written feedback at the end of each stage so as to aid their reflection.

Benefits 1. Clarity of feedback: ‘Constantly know where we stand;’ ‘Assessment was made clear; feedback sheets were incredibly helpful.

2. Stress reduction and productivity: ‘Not having to stress about pin-ups and instead using the time to actually do the work;’ ‘It is more of a conversation;’ ‘Less draining than a crit.

3. Peer learning: ‘Seeing other students’ working process and how their schemes are progressing;’ ‘Like a conversation.

4. Changing the Power Imbalance: ‘The simple positioning, seated around a table of work, is something I find makes me less nervous and equal or level with a tutor.’ ‘The discussion between students and teachers was good and very engaging, because generally, in crits, you don’t interrupt.

McCarthy, Cameron, and Anthony contend that a reformist strategy is required rather than a radical transformation. The foundation of architectural, artistic, or design-led education is this alternate form of assessment and review, which

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emphasizes reflection, critical evaluation, and an appreciation of the contributions made by all.

In a crit environment, student anxiety and stress are likely to prevent learning. The results indicate that the crit is still not clearly defined, or at least not narrowly focused, in terms of its intended influence on learning. This should not be interpreted as a call to "go easy" on kids, but rather as a professional appeal to educators to recognise and openly discuss stress as a crucial component of the success of learning and teaching strategies. Due to its ability to challenge and advance current dominant knowledge, debate as a foundation for learning is appealing. Many students emphasized the risk that the critique could serve as a "shaping instrument" that implicitly indoctrinates pupils into the value systems and related pre-existing knowledge of the tutor-critics.

8.8 Joy of learning: The Montessori method is based on observation, first and foremost. Observe the child, in order to discover his unique personality, needs, tendencies, and talents.

It is preparation of educational material in the environment to meet these needs; it is respect for each child’s rhythm and choices, interests, and ways of processing information; and, it is a profound respect for – and protection of – the crucial periods of concentration and contemplation, that nurture the child, and reveal the normal human: peaceful, happy, kind, generous, focused, hard-working, healthy, and creative. The Montessori prepared environment supports this method. In it, the world is introduced with joy, and through precise work with the hands and the mind; it is an environment where learning and work are seen as the means to happiness, self-construction, and a deep love for others, and the world. Sparked by their innate curiosity, children learn by using their eyes, ears, hands, nose and mouth to discriminate, compare and classify. The materials and activities in the Montessori classroom are designed to stimulate and refine a child’s powers of observation, so she will acquire judgment and understanding.

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This method of education makes the students to learn by themselves by enjoying the process of learning. Infusing joy with purpose can decrease student and teacher stress, foster community, and help students feel a greater sense of belonging. It should be included in all levels of schooling.

9. EXPERIENCE BASED LEARNING 9.1 What is experiential learning?

Experiential learning is a process through which students develop knowledge, skills, and values from direct experiences outside a traditional academic setting. Experiential learning encompasses a variety of activities including internships, service learning, undergraduate research, study abroad, and other creative and professional work experiences. Well-planned, supervised and assessed experiential learning programs can stimulate academic inquiry by promoting interdisciplinary learning, civic engagement, career development, cultural awareness, leadership, and other professional and intellectual skills.

Learning

that

is considered

"experiential"

contain

all the following

elements: Reflection, critical analysis and synthesis. Opportunities for students to take initiative, make decisions, and be accountable. A designed learning experience that includes the possibility to learn from natural consequences, mistakes, and successes. Experiential learning is an effective model for education.

9.2 Hands-on approach in building construction: A new building actually has a lot of new technology like glulam, rammed earth, bamboo and mud skins. Construction education is critical for the strength of the industry. A hands-on approach for learning technical subjects such as building construction, structure and environmental science. Most programs offer a variety of courses in construction technology and management philosophy along with courses from other disciplines to strengthen students' knowledge and skills. Furthermore, construction management education focuses on the entire life cycle of a project.

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9.3 Fieldwork in Vernacular Architecture: The study of vernacular architecture goes beyond the spatial, structural, material, cultural and environmental factors of indigenous built forms to the arduous tasks of design and build. Design in this context involves spatial arrangement using materials with non-standardized sizes, often unprocessed; less reliance on mechanical systems for ventilation and air flow as well as, lighting. Oliver (2006) in discussing about the need to study vernacular architecture mentions the changes that have occurred in the teaching approach in the Architecture Association School. He highlights the shift from simply making models of tribal or folk shelter to building investigation, documentations or restoration exercises involving actual travelling and hands-on projects. The idea of design-build has already been explored by some schools of architecture with positive results and incorporated into their curriculum.

9.4 'Live Projects Participation' in Architectural Education Architecture

practises

have

frequently

expressed

concerns

that

architecture schools do not offer students with the necessary abilities. Schools frequently justify their instruction by highlighting the significance of universities in fostering creative and aesthetic qualities that will result in competent designers and, eventually, good structures and places. This type of instruction is typically conducted in a studio setting, where students are presented with fictitious rather than 'real time' difficulties that are thought to be more likely to yield visionary and creative design output obtained via "hands-on" learning.

Until they graduate, the majority of architectural students have no contact with customers or the consulting process. Working on a Live projects not only addresses this but they also enable students to gain practice-ready professional experience such as job running, as well as develop a sense of civic social engagement and gain an education that is aimed at nurturing tomorrow's citizens for lives of consequence.

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9.5 What is the significance of experiential learning in the field of architecture? how the hands-on learning approach is fruitful for the mankind and environment?

The study of architecture requires a multi-disciplinary approach. From analysing surroundings, and planning and designing a structure to constructing a live building with functioning parts, the profession demands in-depth knowledge of sciences, arts and problem-solving. An architect is not only responsible for creating the structure itself but is also responsible for communicating with and leading a team of individuals with different specializations.

Historically, the master-apprentice system relied on practical training and real-life exposure to build skills. Today, students are confined by studio walls for the majority of their studies. Though in-house lectures can prepare one for the theoretical functionality of a structure, an architecture student can never be prepared for the real world without getting their hands dirty. Hands-on workshops allow students to engage in activities and interact with one another instead of just listening to a speaker.

10. RETHINKING ARCHITECTURE PRACTICE AND EDUCATION

10.1 Is it time to reframe architecture from a solitary work of art to a social science that develops from local contexts? What design in India needs is radical considering. Rethinking architecture designing in India...

We must reconsider structure and design as a social science that develops from local realities in a country as overpopulated as India. Without much effort design began to cross the threshold into irrelevance in the 90s, the moneyed era of globalisation. Why then is today's architecture and design mired in such anonymity? what would it take to rethink architecture as a social science that emerges from local situations, rather than an isolated object of art? A couple of years ago, Rajesh Advani, a young architect, reacting precisely to such a call, 29

advanced an elaborate initiative called Unbuilt India — an active search for a collective of architectural ideas that could change the country. If there is a future scenario for design in India, it will mostly step away from merely trying to fulfil the required statistics on roads, housing, utilities, industries, and infrastructure. It will instead consider what to build, what to adapt and change, and what to not build.

10.2 Is architectural education Urban biased?

Gandhiji once stated, "India lives in its villages. Currently, 67% of people reside in areas. Rural architecture in India is still largely unexplored, like many other facets of the country's rural life. Like many other areas of design & innovation, the study of architecture in India is confined to urban areas. The only authentic type of Indian architecture that is still in existence is rural Indian architecture. Everything else was open to intervention and control, yet rural communities still prosper thanks to the "for human" philosophy. There are already millions of sustainable structures in India while we talk about sustainable buildings and consequent design. The lovely side of the inherent connection between architecture and society may be seen in rural architecture. In addition to defining areas, walls serve as a repository for cultural, traditional, and moral memories that are passed down unbroken through the centuries. the belief of the peasants in their own intelligence, and progressively 'urban-like' structures have turned into a status symbol. If solutions for responsive design are not offered, the villages will disappear and be replaced by a chaotic jumble of suburban construction. India's rural architecture must be maintained because of its simplicity and humanist outlook. The architecture's scope and research should be in line with 67% of the population. Architects should work in rural areas so that unnecessary development does not happen in cities and deplete city’s resources.

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10.3 What is the significance of ephemeral structures in architecture? Does architectural education teach about structural temporality?

It is a proven fact that learning-through-making can create a more vibrant and democratic city than the more flattened, top-down, centrally planned, factorymade version. In the pre-industrial city, the making process was located on-site, embedded within its intended setting, and fine-tuned incrementally to the landscape. In Loose Fit City, the author argues that hands-on engagement with making is an 'urban learning forum' capable of much greater depth, inventiveness and discovery than focus group or local planning consultation. Industrial production, planning law and building regulation generalise the tacit and particular experiential learning possible within the process of making places.

Since the 1950s, cities have been divided into two zones: the formal sector where laws and regulations are enforced; and the informal sector where they are not.

This book challenges the assumption that there is nothing to be learned from the informal which cannot better be found in the formal.

This book takes its inspiration from the slums of India and West Africa as well as those of the Dulas Valley in north Wales. It is divided into three parts: Part One, Context, Historical and Theory - covering the historical and theoretical context within which ideas of loose fit have evolved.

10.4 Does architectural education only focus on the formal sector of construction-industrial based mass-produced materials?

In the pre-industrial city, the making process was located on site, embedded within its intended setting and fine-tuned. In contrast, today's factory-based mass production is standardised to maximise cheapness and efficiency. Colin McFarlane's Learning the City explores how this way of learning can be scaled up to facilitate engagement with the polls and enrich democratic city culture. The book challenges the assumption that there is nothing to be learned from the informal which cannot better be found in the formal. It argues that hands-on engagement with making is an 'urban learning forum' capable of greater depth,

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inventiveness and discovery than the focus group or local planning consultation currently employed by city authorities.

Lefebvre presents a radical vision for a city in which users manage urban space for themselves, beyond the control of both the state and capitalism.

However, while it calls for profound change, Lefebvre’s vision is also eminently practical; it can very much serve as a guide and inspiration for concrete action to change the city today.

CONCLUSION

It will be important to objectively and critically analyse and rationalise the full spectrum of architectural education to make it more focused, relevant, reasonable, effective, and efficient. This would entail a revision of the study curriculum and educational delivery methods. To ensure that the student understands what is being stated to them, the pattern must be changed from endproduct based to process based. Adopting a process-based approach would be critical in encouraging better learning and raising the level of architectural education. Architectural education will become dynamic, student-centric, outputbased, performance- and ability-oriented with a high degree of student-teacher interaction and the incorporation of innovations and experiments into the teaching and learning process. Education must be a collaborative process. Rethinking architecture through digital tools, context, and art in a radical thinking to bring out a new experience in lives of people. The architecture needs to be focused on rural to uplift the economic growth and conditions. It also gives people an idea and a model of sustainable built environment.

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