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While the COVID-19 outbreak affects all aspects of life in the world, there is also a global impact in the field of education. Within the scope of the measures to control the epidemic, distance education was started shortly after the starting of the spring semester in all primary and secondary schools and universities. In this process, architectural design courses, which are one of the most fundamental courses of architectural education, started to be held in online studios. The purpose of this paper is to investigate the evaluations of architecture students about the online design studio courses carried out during the COVID-19 outbreak.

This research used a qualitative approach to evaluate the ideas of first, second, third and fourth grade students of architectural design studios in the host university. A questionnaire was directed to students in order to see their opinions about the online design studio education.

Results shows that students think the most prominent benefit of online studios appears in the use of digital tools. Another important result is that if they are equipped with the necessary tools and given the chance to realize themselves, students can work efficiently even in the distance education process.

This study is important in terms of learning the expectations of students from the online process and to identify important issues that should be considered for the next semesters. In addition, this study will serve as a basis for comparative evaluation of architectural education during and after the epidemic. In this context, the study will shed light on future academic research.

This paper describes a studio model that attempts to bridge the gap between conventional design studio settings and professional practice, by adopting design-build principles that incorporate experiential learning theory, derived from the early research of Dewey, Lewin, and Piaget. Part of the dichotomy of the profession is the dynamic difference in the established representational tools of the trade and the result of the built environment. This disconnect exists because the tools of the trade utilize two dimensional explanations about a three dimensional place, typically comprised of drawings in the form of plans, elevations, and perspectives. Additionally, there is a dynamic difference in scale that exists between these tools and the environments they represent. Thus, design educators tend to teach representational techniques without teaching a clear understanding of what they represent. This gap in education creates a gap in the profession. The described case studies outline an alternative studio model that is intended to introduce some of the “realities” often missing in a conventional studio approach. Each of the case studies involved second year Interior Design students, who were given the parameters of an existing space with specific user needs. The students had to design and then physically construct that interior environment all within a ten week time period (one academic quarter). By creating a more “hands-on” learning environment, it is the hope that students retain that knowledge in a more meaningful and lasting way, with the ability to transfer that experience over to similar situations in other studio settings and within the professional practice.

With the ability of linking distant partners and diverse bodies of students and faculty, virtual design studios provide unique opportunities for examining cultural, contextual, and methodological differences in design and design collaboration. However, most evaluations of virtual design studio in the recent literature have focused primarily on technical and operational issues. In contrast, the social and cultural dimensions of virtual design studio and their pedagogical implications have not been adequately examined. To address this gap, this article examines the experience and outcomes of a recent virtual design studio involving international collaboration between faculty and student partners. Specifically, it looks at how presence of differences and process of dialogic learning create pedagogical opportunities in a collaborative 'virtual' environment. Based on the case study, this article argues that through dialogues, collaboration, and negotiation of cultural, contextual and methodological differences, collaborative virtual design studio offers an alternative to traditional design studio based on the primacy of individual practice and the master-apprentice model of learning. By creatively utilizing the collaborative environment involving diverse partners, virtual design studio can foster a critical understanding of cross-cultural design process and the significance of dialogues and negotiation in design.

The aim of this paper is to develop understanding of how open-access (OA) studios as creative social enterprises (CSEs) can negotiate coexisting creative, social and economic missions, and manage the motivations of stakeholders. In particular, it explores how this affects management practices and ways in which diverse social actors engage with the organisation and each other. This paper expands on the existing literature on social enterprises in relation to multiple value and stakeholder management and also contributes to the makerspace and wider creative industries literature.

This paper uses a qualitative, single-case case study of an OA studio established as a social enterprise based on analysis of secondary texts, interviews and observation.

It is identified that a multifaceted value system creates both challenges and opportunities in relation to communal resource management and community development. Tensions between the creative and economic priorities of members and both the economic imperatives of the organisation and its social mission are also highlighted. It is suggested that despite these challenges, the OA model presents an opportunity to develop more collective forms of creative practice and support a reframing of the creative economy.

As a single case study in the geographical context of the United Kingdom, limited generalisations on OA management in other countries can be made without further investigation.

There are practical implications for OA and other CSE founders in relation to resource and membership management and facilitating inclusive access. There are creative industries policy implications in the encouragement of more sustainable collaborative approaches.

This paper contributes to the literature on social entrepreneurship, makerspaces and the creative industries by developing the understanding of OA studios and CSE management and the internal dynamics that influence organisational and social outcomes.

A group of faculty at Penn State's Department of Landscape Architecture observed that the traditional master/apprentice model of studio instruction fosters greater student dependence on faculty for decision-making guidance than the faculty considers desirable. They contend that this traditional model promotes a studio dynamic that encourages students to look to the professor for design ideas and wait for faculty approval before making design decisions. The faculty considered this decision-making dependency to be in conflict with the need for students to develop the critical-thinking skills required to address the complex and ill-structured problems that are common in architecture and landscape architecture. In response to their concern this faculty team developed a studio teaching method they termed “independent design decision-making.” They speculated that by transferring the responsibility for design decisions from professor to the student, students could improve their critical thinking and gain confidence in design decision-making. The faculty conceived a set of strategies to implement in a 3rd year team-taught site planning and design studio that presents a range of complex design issues and scales. In collaboration with Penn State's Schreyer Institute for Teaching Excellence, the faculty researchers developed a 2-year comparative study to test this new teaching method in the same design studio with two consecutive student groups-evaluating the strategies implemented in the first year, refining methods, then applying and re-evaluating the results in the next year's class. These new strategies included ways students receive information to inspire their designs (“input strategies”) and ways to receive critique on their design ideas (“feedback strategies”). Two evaluation instruments were chosen to assess this method of studio teaching: 1) the Group Embedded Figures Test (GEFT), and 2) Student Assessment of Learning Gains (SALG). This paper presents this teaching/learning method and reports on the results of the comparative study.

This paper presents the design exploration of a studio conducted at the University of Hawaii at Manoa. The study began with the premise that high-rise housing in Honolulu is not a viable solution within such a unique natural and urban setting. Students have challenged the issue by testing and experimenting on a variety of distinct housing alternatives within the studio. The studio then introduced some pedagogical agenda of housing to students and required an analytical project that focused on the dwelling and its collective form to elucidate fundamentals of housing design. This study laid the groundwork of each student's design development throughout the project, upon completion a variety of different designs and solutions were proposed responded to distinct themes and problems. In this article, different types of housing prototypes and their distinctive clustering as a unique urban village as a whole are shown, and the final model of the studio as a collective form is presented. In conclusion, the pedagogical value of the design studio is discussed.

The process of educating future architects and designers around the world varies dramatically. However, there is one striking similarity - the dominance of the design studio as the main forum for knowledge acquisition and assimilation, and for creative exploration and interaction. Such a setting encompasses intensive cognitive and physical activities, which ultimately result in conceptualizing meaningful environments proposed to accommodate related human activities. The design studio is the primary space where students explore their creative skills that are so prized by the profession; it is the kiln where future architects are molded. It has occupied a central position since architectural education was formalized two centuries ago in France and later in Germany, the rest of Europe, North America, and the rest of the world.

The purpose of this study is to identify the print effects produced on selected fabrics due to the adaptation of styrofoam, plastic net and wood as stamp blocks for printing.

The art-based experimental research approach was used to produce and identify the art (prints) produced by stamp blocks on different fabrics using water-soluble print paste.

They stamp block surfaces used in the block printing process produced interesting effects or prints that are uniquely associated with each other. Fabrics such as silver and satin produced shinny print effects coupled with a tough hand or feel as compared to a paperish hand produced on the surfaces of cotton-polyester blend and linen fabrics. The addition of white glue to the paste produced a smooth and embossed-like print effect on fabrics like mercerised cotton and linen. Further results were captured to indicate the hand of these fabrics after printing due to the change in viscosity of the print paste.

The use of calabash and wood surfaces as stamp blocks used in Ghana and the rest of the world is common for printing patterns on fabrics. This study essentially reveals the possibility of using different surfaces for stamp blocks which produce aesthetically pleasing print effects. This when adopted by craftsmen and students would widen the teaching and creative scope in block printing and further produce viable prints for the market using available materials in the environment. These activities would promote and maintain the philosophy of block printing even in the era of advance printing technologies.

This paper serves as a pilot study for the education of cultural landscape heritage conservation (CLHC) and review the preparedness of landscape architecture curricula in the Philippines for the CLHC specialization. It proposes the utilization of the “Geodesign” framework in formulating a developmental process and validation of the interrelationship and collaborative activity created by the thematic areas towards landscape heritage education and professionalization. The goal of the study is to create new possibilities for the profession through the study and professionalization of cultural landscapes, thus, raising awareness and significance of cultural heritage and heritage conservation in the lenses of the Philippine landscapes.

The research opted for literature reviews, comprehensive desktop reviews of the landscape architecture syllabi of higher education institutions (HEIs) and SWOT and PESTEL analyses as qualitative assessments, including stakeholder feedback discussions with the current four (4) HEIs, Philippine Association of Landscape Architects (PALA), Technical Committee for Landscape Architecture, Commission on Higher Education (TCLA CHED), Professional Regulation Commission–Board of Landscape Architecture (PRC–BOLA) and the ICOMOS IFLA International Scientific Committee on Cultural Landscapes, National Philippine Committee (Philippine NSCCL). The data were complemented by a quantitative assessment using Leopold and Lohani and Thann assessment matrix on importance (without considering magnitude), and for this study, it is the level of preparedness and integration.

The paper brings forth to the conclusion that the landscape architecture curricula at the bachelor's degree level of the University of the Philippines – Diliman (UP – Diliman) in Quezon City and University of San Carlos (USC) in Cebu are prepared to integrate and/or consider updating their respective curriculum in accordance to the CLHC specialization. The curricula of Bulacan State University (BulSU) in Malolos, Bulacan, and the University of San Agustin (USA) in Iloilo may need to consider introducing courses related to the thematic areas to be able to create an area of basis for integration.

The study is initiated as part of the International Council on Monuments and Sites (ICOMOS) Philippines Internship programme during a master degree study wherein the research is bounded within the limit of its duration. Therefore, the study was able to only identify and chose the possible thematic areas and course concentrations for the specialization of CLHC; select, review and propose courses related to CLHC; screen courses from the landscape architecture curricula of the universities based on its course title, course information (if provided) and cross–checked with Government syllabi; and allocation of units and time per identified course as well as required prerequisite from thematic areas was not covered in this study.

The paper can be used as a tool to engage discussions with the PRC–BOLA in its development of the specialization of CLHC currently being planned. Study topics and themes identified can be the starting point of training programmes that can benefit students of the current four universities in the study and landscape architecture professionals alike. This will eventually translate to benefits to society as heritage conservation methodologies are developed by practitioners who can apply such knowledge to places of cultural and natural significance and develop learnings to concrete heritage laws and policies protecting landscapes.

This paper serves as a pilot study for the education and professionalization of CLHC in the Philippines. Significantly, the development of CLHC specialization in the Philippines shall open various opportunities in developing Philippine cultural landscape heritage conservationists trained at the local context.