Journal of Iranian Architecture & Urbanism(JIAU)

Abstract Extended Abstract Background and Objectives: In the process of educating students in the basic design studio, it is essential to develop skills in study, planning formation, architectural creation of an idea, and social interaction. Therefore, effective education that facilitates learning while simultaneously enhancing the students’ ability to design and collaborate in building knowledge in the Architectural Basic Design Studio is crucial. There is a recognized need to explain the collaborative education model as a support for architectural activities and objectives. The key question is: what educational methods are involved in the collaborative architecture learning model in the basic design studio? The aim is to clarify this model in the context of architectural basic design studio. According to previous research, various collaborative learning methods across disciplines, especially in theoretical courses, have been shown to produce positive learning outcomes. However, the present study specifically seeks to explain the collaborative learning model for basic design studio, an area where research findings are less documented. According to the research aim and questions, this study focuses on identifying both collaborative learning methods and suitable activities for the architectural basic design studio.
Methods: A qualitative research strategy and an action research method were used in this study. The research process involves the cycle of cognition and recognition, model suggestion, model application, performance observation, and the explanation of the collaborative education model in the architectural basic design studio. Data collection techniques include document and bibliographic analysis, such as books and articles on collaborative and architectural education, and observation methods, including note-taking as an instructor, photographs, and videos during the model’s implementation in the architectural basic design studio. Data analysis and interpretation are conducted in three steps. Data analysis and interpretation consists of three steps. Data is categorized and hypotheses are formed. Conceptual codes of architectural education control indicators and collaborative education activities were defined and general review and corrections were implemented in the model.
Findings: In the first session, the instructor should explain the methods and benefits of collaborative learning in both architecture education and the profession. This includes explaining the methods and goals of the design studio, the importance of collaboration in architectural design, the student assessment process, and the promotion of both individual and collective abilities. It is possible to change the layout based on the training method and for modeling activities, presenting posters and various items in the space of design studios. The collaborative learning model was applied in the architectural basic design studio III. Based on observations and evaluations, three criteria were used to measure success: how information was received, creating space by expanding data, and the level of collaboration Five people participated in the creativity test in the pre-test stage, and after training in participatory methods in the middle of the creativity test, participation in production and presentation reached 100%. To assess students’ understanding of building analysis, a descriptive test was conducted using images of buildings, with two of the ten buildings not discussed in the studio. Sixty-one percent of students analyzed all of the buildings, while the remaining students analyzed an average of 75%. In the final exam, 79% of students participated in the presentation and construction. The teaching methods showed good variety, aligning well with architectural education practices and contributing to improved learning outcomes for architecture students.
Conclusion: The collaborative learning model in the architectural basic design studio is divided into four parts: brainstorming, group discussion, jigsaw, and evaluation. Creativity testing, building analysis, and volume and space design activities are carried out within the framework of these methods. Collaboration among all students is essential for understanding the content. Therefore, participation in studies, model design, building analysis, and sketches by all students in the studio is mandatory, with critiques from the entire group. In building analysis questions and answers, isolated students should be encouraged to actively participate. At the beginning of the semester, students are introduced to collaborative learning methods such as brainstorming and group discussion on architectural design topics, helping them to better understand each other’s ideas and professional skills. In the second half of the semester, the jigsaw method is introduced, where each student builds and completes part of the final project. All students work toward the same goal, fostering a sense of responsibility both to themselves and their peers. Critical and creative thinking is promoted when students’ designs are interconnected, allowing them to critique each other’s work. It is recommended to reiterate t assessments at the beginning and middle of the semester, because the content of the lesson and teaching strategies can be changed by using the pre-test and recognizing the students’ abilities. This approach enhances student motivation, helps them better evaluate themselves and their peers, and enables the teacher to more accurately assess learning progress and the effectiveness of teaching methods. The final evaluation involves completing and critiquing the design, presentation, and collaboration. In the design studio, a deeper understanding of the problem can be achieved by expanding knowledge and clarifying ambiguous or complex aspects.

Abstract Extended Abstract
Background and Objectives: Design is a complex and vital human creative activity, requiring unique capacities and knowledge. Research in design has been around for several decades in ways. While early studies focused on practical design methods, recent research delves into the intricate aspects of design work, problem-solving, and the design process itself. This article aims to explore the nature of design knowledge and to build knowledge within a constructive learning settings through a constructivist lens, using qualitative methods and theoretical analysis. The central questions are: What is the nature of design knowledge from a constructivist learning perspective, and how can one acquire design knowledge in a constructivist learning environment? It seems the knowledge used by designers is compatible with the knowledge production approach from a constructivist perspective, hence attempts are made to investigate the nature of design knowledge from a constructivist learning perspective.
Methods: This study employed a qualitative approach, utilizing the Grounded Theory research technique to gain a deep understanding of “nature of design knowledge from a constructivist learning “perspective. Data collection methods included document reviews of articles from credible international journals (e.g., Design Studies, Architectural Research, Architectural Education), as well as Iranian researchers, interviews with esteemed professors in the field of architecture education, and on-site observations during Architectural Design Workshops 2 and 3 over two semesters. MAXQDA software was used for data analysis. The analysis consisted of three coding phases: one for the literature review, one for interview data, and one for field observations. The field study incorporated an observation method, offering a detailed description of design knowledge based on a model by David William Shaffer (2003) derived from the MIT University design workshop (Shaffer, 2003). 
Findings: Design knowledge is not visible, though it can be seen through conduct, as it manifests itself in design workshops via drawing, handwriting, modeling, etc. Professionals also embody their design knowledge through their work, which grows through experience, repetition, and skill acquisition. In a constructivist learning environment, knowledge develops during teacher-student interactions, allowing students to engage with their personal knowledge, beliefs, and attitudes. This approach emphasizes the learning process and the thought processes involved in design, rather than just the final product. In the design process, problems are performed in a process-oriented form. The effective components in constructivism and knowledge building in this style of learning are somewhat similar to the nature of the knowledge applied by designers in their own designs. The constructivist learning approach to knowledge building is very similar to the nature of knowledge, while design training can be very successful for learners based on this approach. Design knowledge is distinct from other bodies of knowledge and can be acquired by specific means. Most of the time, this body of knowledge is unconscious and challenging to articulate. A large part of this body of knowledge is tacit and indescribable. In reality, design is learned through conduct. Because design knowledge is by itself a different body of knowledge, the way knowledge is acquired is obtained by changing the conduct of work. The nature of design knowledge hinges on practical tasks and the individual’s unique capacities, evolving with experience, context, and the stages of its acquisition.
Conclusion: The nature of design knowledge, like the pre-determined bodies of knowledge in the education system, is individualized and must be constructed by the learner within the classroom. Thus, each person’s previous knowledge and experience is a prerequisite to building a new body of knowledge. Interaction with peers and dialogue about the design process are essential for building design knowledge. High mental processes in human beings are constructed through social interaction, in which individuals share information and understanding that they have acquired from their previous perspectives, cognition and experiences, thereby helping to raise each other’s knowledge level. In a constructivist approach, the goal of learning is not to transmit knowledge from one source to another. Learning environments avoid imposing restrictions on pre-established knowledge. The constructivist approach to knowledge closely aligns with the essence of design knowledge. Consequently, an improved constructive learning environment can significantly contribute to the development of design knowledge in architectural workshops. An optimal teaching approach for an architectural design workshop involves adopting the constructive method. The activities within these workshops align with the design process, particularly addressing design challenges, where the emphasis lies on the problem-solving journey. Design tasks incorporating constructivist principles should be real and authentic. This entails meeting not only the requirements set by professional designers but also considering the unique abilities of each student. The teacher’s role extends beyond mere knowledge transfer; instead, they act as a mentor and facilitator within the workshop, where the student takes the responsibility of shaping the design process and making solutions. During design process instruction, the teacher can guide students by explaining and interpreting the design, helping them recognize the concepts they have formulated. This is achieved through active dialogue, questioning, and encouragement to reflect on their designs. Consequently, students articulate their plans consciously, with the teacher taking on a supportive role rather than being the primary explainer.

Abstract Extended Abstract
Background and Objectives: There are multiple challenges in teaching and learning the basic architectural design studio, since students are at their novice skill level, and they are unfamiliar with the nature of the design knowledge and the interaction with their teachers. The most important activity in these studios, which leads to developing the students’ novice design skills, is the “teacher-student interactions” during the student’s progress. “Donald Schon”, a philosopher and researcher in the field of design education, has described one of the main theories in teaching the design studios. The results of Schon’s research show that “action with reflection” is the main knowledge-making factor in the studio. According to Schon’s theory, different levels of reflection take place in the context of teacher-student interaction. For this reason, it is necessary to analyze these interactions to improve and facilitate education in basic design studios. Understanding the different aspects of these interactions as well as their effective components can be operative in improving the training of novice designers.
Methods: Linkography method is the latest and most accurate method to analyze the designer’s way of thinking when faced with a design problem by analyzing design sessions. Linkography is a structural-applied method for examining and analyzing the production of design ideas as a communication network. This method was first studied and introduced by Goldschmidt (1990) to study the design protocols and then accepted by other researchers. A linkograph illustrates the design movements and the relationship between the designs. In this method, what has happened audibly between the teacher and the student during the design critique session is written and the resulting text is coded (FBS). In 1990, Jane Jero introduced the FBS encoding method, which is compatible with the linkography method. In FBS coding, codes are design issues, and their relationship defines design processes. Linkography is a method that transforms the conceptual connection between codes into illustrated representations and thus allows the analysis and identification of the designers’ thinking. In this research, linkography method is applied to scrutinize and analyze the interactions between novice students and their teachers in the basic architectural design studio.
Findings: The results show that establishing positive and constructive interactions between the teacher and students improves the students’ design skills and facilitates their brainstorming. The context in which the “dialogue” between the teacher and the novice students takes place can provide the conditions for this type of interaction. In general, the teacher takes the lead in the studio in three roles: friend, coach, and commander. As a friend, the teacher always encourages the student’s performance positively, and this leads to a permanent agreement between the two. However, this type of communication rarely improves the design ability of the novice student and is more effective in expanding the social and emotional connections. As a commander, the teacher treats the students based on competence and power. In this case, the students try to fulfill the teacher’s wishes without hesitation to attract attention or avoid reprimand. As a result, their design skills do not improve, and if a positive result is achieved in the design process, this result belongs to the teacher and not the student. As a coach, the main teacher’s task is to guide, advise and facilitate. By having sufficient experience and knowledge, the teacher anticipates the problem situation and guides the student to face these situations. At the same time, there is a space for conversation, and the students can explain their ideas and opinions. Placing the teacher and the student in such a situation creates positive interactions, and the process of reflection in practice is realized in a context of positive interactions.
Conclusion: Providing the context for establishing positive and constructive interactions in the basic architectural design studio depends on the emergence of individual and behavioral components of the teacher’s and the student’s behavior. The results of the present study have identified and introduced these components. For the students, components such as: culture, background, knowledge, experience, visual and spatial perception, gender, and values are effective in interactions. For the teachers, components such as: culture, knowledge, experience, and values are influential. 
The behavioral components of the teacher and the student are also different. Based on Schon’s text analysis and the results of the analysis of the session, the “good student” has behavioral characteristics such as: Trusting the teacher, Having practical attention and listening to the teacher, Discounting their previous ideas, Showing reflective imitation of the teacher’s performance, Admiring the teacher (not for attention or the fear of reprimand, but because of merits), Recognizing the teacher as a source of knowledge and competence, Showing mutual respect.
The teacher also has different behavioral components and plans in the studio. As mentioned in the previous section, the effective teacher’s role in establishing fruitful interactions is the “coaching role”. The teacher’s presence as a guide in the studios leads to a dialogue between the teacher and the novice students. The conversation about the progress of the design project is an important part of the interaction between the teacher and the student. Hence,  the behavioral components of the “coaching role” are:
Guidance and supervision, facilitation, Creating a safe ambiance for the student to explain their opinions and ideas, Not using the monophonic instruments of power, Avoiding hierarchy, Predicting possible future situations in the design process, Creating equal opportunities in conversation, Reflecting on student practice, Not giving explicit expression of positions and desires (because the subconscious leads to imitation of a novice student without reflection).

Abstract Extended Abstract
Background and Objectives: The main purpose of this study is to evaluate and determine the criteria and indicators affecting the creation of sensory qualities in human-centered urban spaces and the reproduction of these factors in contemporary urban spaces. This study is conducted in “Taq-e Bostan”  pedestrian way, located in the historical fabric of Kermanshah, as a case study. This sidewalk has been one of the most important pedestrian ways of the city and manifests Kermanshah identity. This pedestrian way has unique environmental features such as straightness, with no slopes, and a view to the mountainous heights of Taq-e Bostan. It benefits from good thermal comfort conditions due to the existence of the vegetations. In addition, the historical monuments of Taq-e Bostan have given identity to this pedestrian way. Since machine life has caused anonymity and reduced the sensory qualities in urban spaces, this urban space is abandoned and empty of people. Therefore, the present study pursues the main purpose of the research and specifically seeks to recognize the impact of physical and activity factors on creating sensory qualities in this pedestrian way and the promotion of this urban space. Also, this research is based on the research aim and context and tries to understand and analyze the relationship between physical and functional factors and develop and enhance the sensory qualities in such environments.
Methods: The present study is an applied research, and it is considered a descriptive survey research in terms of research method. Therefore, the theoretical foundations have been explained by referring to documentary and bibliographic studies in a descriptive method. The research objectives have been achieved based on survey studies and survey methods. In order to conduct the research in line with the research goals, the indicators related to the environmental quality of urban public spaces were extracted by reviewing the theories of researchers. Regarding the early hypothesis that considered some features of Taq-e Bostan pedestrian way compatible with the extracted indicators, the case study was chosen to evaluate the research hypothesis. In the next step, a questionnaire was provided to evaluate the extracted indicators. Each indicator was asked in the questionnaire and assessed through the five-point Likert scale. For validating the questions based on the sampling volume by Morgan table method and based on observing the number of users in one hour of a day in a particular part of space, a number of 220 questionnaires were completed to be analyzed in SPSS software. The statistical community was comprised of random age and gender groups of the space users. Finally, the relevant data was analyzed, and the main factors and the sample scores in each of the physical and activity criteria were achieved by inferential statistics analysis in SPSS software.
Findings: In this research, the independent variables of the research that can create and improve sensory qualities in Taq-e Bostan pedestrian way in Kermanshah were determined to achieve the research objectives. These variables are as follows: activity criteria (environmental vitality and mobility), physical criteria (environmental desirability and suitability, structure, environmental facilities. The findings of this study indicate that there is a direct and significant relationship between all independent research variables (activity criteria, physical criteria (structure, desirability and environmental suitability, and environmental facilities). The highest correlation was seen between activity criteria (environmental vitality and mobility). The sensory qualities of space in Taq-e Bostan pedestrian way in Kermanshah is mostly affected by the activity criteria. In the second stage, the correlation of physical criteria (environmental facilities and facilities) indicates a close relationship between independent variables and dependent variables. The lowest level of correlation is observed in the other criteria (desirability and environmental friendliness). In order to measure the collective effect of independent variables on the dependent variable, a multiple regression was used. The results indicate that independent variables simultaneously affect the development of sensory qualities. The multiple correlation coefficient of R = 0.798 and the coefficient of determination of R2 = 0.746 show that 74.6% of the changes of the dependent variable are interpreted by the independent variables.
Conclusion: In this study, the independent variables that develop and promote the sensory qualities in Kermanshah Taq-e Bostan pedestrian way (the dependent variable) were analyzed. Based on the results obtained from the analysis by SPSS software, a direct and significant relationship was recognized between all the criteria of the physical and functional variables and the development and improvement of sensory qualities in Taq-e Bostan pedestrian way. However, the obtained analytical results indicate the importance of activity criteria (environmental vitality and mobility) in achieving research objectives. It seems that sociable spaces with people’s presence and activity have a higher potential to become pedestrian-centered urban spaces. Therefore, planners and urban designers should consider this issue in defining space areas in the city. Finally, providing appropriate facilities for humans will lead to a higher presence of people and ultimately improve the sensory qualities in urban areas.