at Jamia Millia Islamia ( Department of Architecture, Faculty of Architecture and Ekistics, New Delhi) and a comparison was drawn amongst the freshmen and seniors. Firstly, the Honey and Mumford learning style questionnaire( for Activists, reflectors, Pragmatists and Theorists) was tested on a random sampling of 10 students each from the first, second and third years of B.Arch. This Paper sets out to explore how the learning and thinking styles of an individual effect his/her design process in the architecture studio.
Hence thinking styles and learning styles may /may not be linked but they are definitely linked to their individual design processes. However varied the experiences and backgrounds of architecture students may be, their thinking styles may match according to the nature of the design project. Thinking style is his preferred way to process the information he receives. Design approach also showcases his thinking style. Learning styles is his preferred method to receive information. Often these approaches are linked to his learning and thinking style. A student has a particular approach to design thinking or the creative process. He has technology at the flick of a button and global knowledge at his fingertips. In this age of technical and electronic revolution, the student just needs a small light to flare to a beacon. Last but not least, in accordance to the results of this study, and based on the fact that design is a process which moves from the inner-self to the outer world it seems that the collage method is a design approach which makes use of the images of conscious and subconscious mind of the designer, while mainly contributing to the success of this method in materialization of the personal views of the designer within the framework of the ultimate architectural design.Īrchitectural Education is a combination of myriad exposures, factual learning, cognitive endeavors and corrective guidance by esteemed faculties. In a bid to analyze outcomes, the ultimate process and product of students of architecture, who have applied this design method, have been studied. This study, upon the usage of descriptive-analytic methodology, library-based approach, and written and verbal documents, introduces the collage method and scrutinizes the phenomenon of subjective images, as the pillars behind creation of a work. In this writing, the collage method is researched as an approach for depiction of the designer's inner-self with the utilization of his evident and latent subjective images. How valuable it would be if such a spark would originate from the designer's inner-self. Design which is also referred to as the design process is in need of a sparking idea to start.
Thus, the study of approaches and arrangements for design in an effort to attain a correct method, which makes the accomplishment of this task feasible in the best possible manner, is seemingly a must. Discovery of an appropriate response to the terms of architectural creation necessitates maintenance of an in-depth outlook toward a range of concepts and approaches (solutions). In order to design, there is neither a unique, appropriate approach, nor a single path for the related process. These works come from four of his collage series, including Chimera, Je est un autre, as well as the previously unpublished Prisons of Invention and Piranesian Maps of Berlin. Additionally, there are photographs of Ziggurat, an outdoor sculpture with a design based on a collage from Chimera. The full-color plates are supplemented with essays by critic and curator Aaron Betsky, scholar of art history and archaeology Anna Arabindan-Kesson, Santa Barbara Museum of Art’s curator James Glisson, and Marshall Brown that outline the conceptual foundations of Brown’s intriguing exploration of an intersection of architecture and art.Design is an intricate means, comprised of creativity and logic, which is brought about as the result of the designer's subjective and objective activities. Published in conjunction with the exhibition The Architecture of Collage: Marshall Brown at the Santa Barbara Museum of Art, the beautifully designed book features some forty collages by Marshall Brown. In Brown’s view, collage changes the terms of architectural authorship and challenges outdated definitions of originality. The work of Marshall Brown, an architect and artist, demonstrates the power of collage as an architectural medium. Despite its consistent presence in architectural practice throughout the twentieth and twenty-first centuries, collage has never been considered a standard form of architectural representation like drafting, model making, or sketching.
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