Correspondences and Divergences between Teachers and Students in the Evaluation of Design Creativity in the Design Studio

Abstract

The assessment of design creativity is a fundamental issue in the educational curriculum in schools of architecture. Assessment in the form of criticism is carried out in the design studio, where students acquire skills and knowledge, forge judgments about their design outcomes, and get feedback from their instructors. This study focuses on the assessment of creativity in design problem solving. The major objective of this research was to test to what extent architects and design students share the same conceptions of creativity, and how similar they are. Contrasting differences were found between the two groups. While architects focused on innovation aspects, students paid more attention to operational aspects, such as dealing with design requirements. It is maintained that handling these differences by means of intervention programs in the design studio may promote the acquisition of design processes and procedures by the students, and also that, it will contribute to bridging the gap between the way teachers and students perceive and evaluate design creativity.

Hidden Dimensions of Creativity Elements in Design Process

“…Christiaans and Venselaar (2005) studied the amount and type of knowledge used in design process and found a close relationship between the amount of process knowledge and the creativity of the product. Casakin and Kreitler (2008) focused on the correspondences and divergences between teachers and students in assessing creativity in the design studio. Simonton (2003) claimed that creativity ''has three essential components: (a) the products that contain the creative ideas, (b) the persons who conceived those ideas, and (c) the processes those persons used to do so'' (p. 490).…”

Exploring the learning problems and resource usage of undergraduate industrial design students in design studio courses

“…The studio pedagogy is the principal and most important teaching method in design education (Casakin and Kreitler 2008;Jacobs Reimer and Douglas 2003), especially in architectural and industrial design (Green and Bonollo 2003;Reimer and Douglas 2003;Zehner et al 2010). In the studio, students learn how to design by engagement with a design process or a suite of possible design methodologies and to reveal knowledge about concepts, situations, or both through the act of designing (Attoe and Mugerauer 1991;Budd et al 1999;Smith et al 2009;van Niekerk et al 2010).…”

The Relationship Between Tolerance of Ambiguity and Creativity in Architectural Design Studio

“…Here lies the significance of the second assumption, which contends that creativity is domain specific and that measures of aptitude in specific areas or assessments of certain products are more convenient in assessing creativity. On the other hand, the traditional way to assess creativity of students' products in academia is based on the agreement among the evaluators that relies on both their understanding of creativity and their subjective judgment (Casakin & Kreitler, 2008). Hence, and based on the previous debate, the researchers decided to use a design task along with TTCT to assess architecture students' creativity.…”