The design studio environment has remained the same throughout the past century. As the Studio Culture Task Force of the American Institute of Architecture Students （ALAS） （Koch et al., 2006） noted, the ongoing ch...The design studio environment has remained the same throughout the past century. As the Studio Culture Task Force of the American Institute of Architecture Students （ALAS） （Koch et al., 2006） noted, the ongoing changes in architecture education are not aligned with today＇s fastchanging world, especially in the context of architectural practice. The AlAS analyzed the design studio problem and expressed doubts on the effectiveness of current studio practices in providing adequate design-thinking education. The report indicates that studio culture values project appearance instead of the actual design process. In recent years, similar problems have been the topic of debates in Khartoum. Criticisms are mostly centered on the observation that students show no interest in the design process and tend to focus on form making. As a result, efforts to teach design methods and to restore the balance between creativity and rationality in the design process have failed. The reason is related to the difficulties associated with the implicit nature of conventional design methods. These difficulties, which are common in architecture schools, include the lack of a clearly defined design methodology and the misunderstood role of the systematic approach to design in the studio. Nevertheless, signs of change are gradually emerging, as demonstrated by the global call for change in the studio environment. This call for change indicates a general agreement on the need for the reorientation of architectural design education toward an engaging policy that considers the social responsibility of architects. This study proposes that the route for change is through the return of rationalism in the studio. Since the 1960 s, many writers have recognized the importance of balancing rationality and creativity, which are mutually interdependent, in the design process. From this perspective, the research question is drawn： how can we bridge the gap between the rational and the creative design activities in the design process？ A theor展开更多
文摘The design studio environment has remained the same throughout the past century. As the Studio Culture Task Force of the American Institute of Architecture Students （ALAS） （Koch et al., 2006） noted, the ongoing changes in architecture education are not aligned with today＇s fastchanging world, especially in the context of architectural practice. The AlAS analyzed the design studio problem and expressed doubts on the effectiveness of current studio practices in providing adequate design-thinking education. The report indicates that studio culture values project appearance instead of the actual design process. In recent years, similar problems have been the topic of debates in Khartoum. Criticisms are mostly centered on the observation that students show no interest in the design process and tend to focus on form making. As a result, efforts to teach design methods and to restore the balance between creativity and rationality in the design process have failed. The reason is related to the difficulties associated with the implicit nature of conventional design methods. These difficulties, which are common in architecture schools, include the lack of a clearly defined design methodology and the misunderstood role of the systematic approach to design in the studio. Nevertheless, signs of change are gradually emerging, as demonstrated by the global call for change in the studio environment. This call for change indicates a general agreement on the need for the reorientation of architectural design education toward an engaging policy that considers the social responsibility of architects. This study proposes that the route for change is through the return of rationalism in the studio. Since the 1960 s, many writers have recognized the importance of balancing rationality and creativity, which are mutually interdependent, in the design process. From this perspective, the research question is drawn： how can we bridge the gap between the rational and the creative design activities in the design process？ A theor
