In the scope of design, research has been a difficult issue to respond to the real necessitiesthroughout the process of thinking. Even the “design” word is meant to beused in several different fields of knowledge and practice (from industrial design,computation systems to architecture).Concerning Research by Design (RbD), there is a sense of vagueness, both in terms ofmethodology and aims. That’s the result of its own essence: design is the result of abig creative endeavour and research is focused in concrete results due to certain questionsor problems.Focusing in the architecture discipline, RbD is commonly the most used work methodology.In this sense, we can say that there are so many RbD as many architects andarchitecture students in the world. So can we improve this kind of research and take itto another level, integrating it into the field of the so called traditional research?The purpose of this paper is to understand more about the “exploratory phase” in theRbD approach. This phase is based in data and collected information as well as individualexperience. This paper tries to understand and improve the critical thinkingimplicit in the “exploratory research”. This critical thinking is linked to certain “strategicquestions” and “operational links” that guide the researcher into a more understandable research practice. The final aim is to lead the RbD to a more sustainedinternal validity (satisfactory conclusions among the variables experimented) andexternal validity (generalise the findings to an appropriate community).Keywords: Research by Design, Architecture, Exploratory Research Phase, CriticalThinking, Creative Thinking
See Full PDF See Full PDFThe Beaux-Arts programme was structured around a series of anonymouscompetitions that culminated in the grand prix de ‘l'Académie Royale’, more wellknown as the ‘Grand Prix de Rome’, for its winner was awarded a scholarship and aplace at the French Academy in Rome. During the stay in Rome, the ‘pensionnaire’would be expected to regularly send his work in progress back to Paris. Contestantsfor the Prix were assigned a theme from the literature of Classical Antiquity; theirindividual identities were kept secret to avoid any suspicion of favour.These competitions ensured that the fundamental hierarchy of the members of theacademia (the teachers and juries: who defined what good art and architecture was)and those that would ascend to it (the students: who were prized and hence were thegood artists and architects) and perpetuated a secular way to ascend to stardom.The use of competitions in the traditional ‘studio’ class is still a current practice inuniversities. The class is provided with a ‘live’ project or a model case study problem, asite and a context, a fixed timetable, and each student is expected to research inarchitecture in order to present (using predetermined models and mediums) his finalconclusions (statements). Each personal architectural research is in fact subjected toan ‘informal’ (unstated) merit competition (were the teachers take the part of clients,sponsors and juries), to a peer evaluation, in order to prove its author’s right to, stepby step, become a graduated architect. The research is validated by the competitionand assures the originality of the research, its significance and rigour.There are of course mixed feelings towards competitions by different parts -architects; clients; juries or sponsors – and in face of personal past experience. Yet, itis undeniable the role and value of competitions in the process of generating aqualitative built environment. In general, competitions can bring out the best inpeople and are a way to achieve excellence in design. It can be stated that a largemajority of competitions is experienced daily either as users or as passers-by sincemost public buildings in Europe are subjected to competitions procedures.Therefore, along their professional practice, licenced architects outside the academiaand in praxis, seem to continue a personal architectural research within professionalarchitectural competitions. There are evidences that, besides the investment indeliberate or improvised practice’s business strategies, architects use competitions asfundamental research opportunities.So I intend to put forward that competitions served once (and still do) as a specificway of peer evaluating the architectural research in academia. Architecturalcompetitions are in fact a time and a space were academia and praxis connect andmay, to certain extent, constitute prove of Schon’s research-in-action and Till’sevidence of “architecture [as] a form of knowledge that can [, is] and should bedeveloped through research”.
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The Beaux-Arts programme was structured around a series of anonymouscompetitions that culminated in the grand prix de ‘l'Académie Royale’, more wellknown as the ‘Grand Prix de Rome’, for its winner was awarded a scholarship and aplace at the French Academy in Rome. During the stay in Rome, the ‘pensionnaire’would be expected to regularly send his work in progress back to Paris. Contestantsfor the Prix were assigned a theme from the literature of Classical Antiquity; theirindividual identities were kept secret to avoid any suspicion of favour.These competitions ensured that the fundamental hierarchy of the members of theacademia (the teachers and juries: who defined what good art and architecture was)and those that would ascend to it (the students: who were prized and hence were thegood artists and architects) and perpetuated a secular way to ascend to stardom.The use of competitions in the traditional ‘studio’ class is still a current practice inuniversities. The class is provided with a ‘live’ project or a model case study problem, asite and a context, a fixed timetable, and each student is expected to research inarchitecture in order to present (using predetermined models and mediums) his finalconclusions (statements). Each personal architectural research is in fact subjected toan ‘informal’ (unstated) merit competition (were the teachers take the part of clients,sponsors and juries), to a peer evaluation, in order to prove its author’s right to, stepby step, become a graduated architect. The research is validated by the competitionand assures the originality of the research, its significance and rigour.There are of course mixed feelings towards competitions by different parts -architects; clients; juries or sponsors – and in face of personal past experience. Yet, itis undeniable the role and value of competitions in the process of generating aqualitative built environment. In general, competitions can bring out the best inpeople and are a way to achieve excellence in design. It can be stated that a largemajority of competitions is experienced daily either as users or as passers-by sincemost public buildings in Europe are subjected to competitions procedures.Therefore, along their professional practice, licenced architects outside the academiaand in praxis, seem to continue a personal architectural research within professionalarchitectural competitions. There are evidences that, besides the investment indeliberate or improvised practice’s business strategies, architects use competitions asfundamental research opportunities.So I intend to put forward that competitions served once (and still do) as a specificway of peer evaluating the architectural research in academia. Architecturalcompetitions are in fact a time and a space were academia and praxis connect andmay, to certain extent, constitute prove of Schon’s research-in-action and Till’sevidence of “architecture [as] a form of knowledge that can [, is] and should bedeveloped through research”.Keywords: Architectural competitions, architectural research, studio, architecturaleducation, architectural praxis
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Academic research in architecture has mainly become a theoretical activity driven away from its subject’s core, focusing in complementary fields. Analytical investigations are common – concerning historical character, theoretical, constructive or technological – as well as propositional thesis – mainly regarding construction and technology. Yet, you can find much investigation in this scientific area, which find its significance in other domains. However, project-based theses in architecture, in which there are no antagonism or exclusion between theory and practice but rather promote complementarity, are quite scarce. This paper aims to answer the question that seems natural and consistent with the above scenario: how can we define a new paradigm, in which architecture would be understood and portrayed as a system for producing and spreading knowledge?
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AE. Revista Lusófona de Arquitectura e Educação Architecture & Education Journal 241 Theme I
The paper stresses the potential of a Design Studio as a critical part of the inquiry process in Urbanism Research, using the experience of Studio Sao Paulo as case study. It explores what is a process of inquiry in a context of research in urbanism, discoursing on the potential of the design process as a tool to reveal hidden questions and processes on a territorial scale The research and its case study led to the establishment of Studio Sao Paulo, an undergraduate design studio in KULeuven, in which students develop their masters thesis in the context of Tietê´s flood plain. The experience so far, more than defining conclusions, stress some challenges to overcome, regarding research by design as methodological tool in an Urbanism PHD context.
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