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xii | |
Foreword |
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xv | |
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Preface |
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xviii | |
Acknowledgments |
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xxiii | |
Notes on Contributors |
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xxv | |
Introduction |
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1 | (1) |
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Creativity and Design Thinking |
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2 | (2) |
Research in Creativity and Development of the Creator |
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4 | (3) |
Challenges to Readiness for Creativity |
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7 | (2) |
Personal Development Is Necessary to Beginning Design Education |
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9 | (2) |
The Chapters of This Book |
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11 | (2) |
The Structure of the Book |
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13 | (14) |
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Part I Creative Traditions in the Contemporary Design Educational Context |
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27 | (24) |
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1 Beginning Design: Seven Points |
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29 | (10) |
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39 | (12) |
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Progenitors of Creativity in Beginning Design |
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40 | (6) |
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Resolving a Pedagogy of Creativity and Structure |
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46 | (2) |
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48 | (3) |
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Part II Transformative Development Through Learning Creativity |
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51 | (56) |
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3 The Touch of Hands and the Awakening of Sensibility: A Creative Thought at the Beginning Level in Architecture |
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53 | (12) |
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53 | (1) |
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54 | (2) |
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The Treasures Students Bring to Design School |
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56 | (2) |
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The Ritual Touch: Exercises for Beginners |
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58 | (1) |
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Pedagogy for Beginners in Design: The Awakening of Desire |
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59 | (3) |
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62 | (3) |
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4 The Structure of Knowledge and Beginning Design Education |
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65 | (9) |
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Creativity and the Structure of Knowledge |
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65 | (1) |
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Knowledge Domains and Their Structure |
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66 | (1) |
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Intellectual Development in the College Years |
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67 | (2) |
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69 | (1) |
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Cognitive Flexibility Theory |
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70 | (2) |
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72 | (2) |
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5 Threshold of Uncertainty and Design Education |
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74 | (16) |
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74 | (1) |
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Threshold Concepts and Liminal Spaces |
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75 | (1) |
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The Toleration of Design Uncertainty Threshold Concept |
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76 | (2) |
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Designerly Thinking and Creativity |
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78 | (1) |
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78 | (1) |
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Design Thinking as Dual Processing |
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79 | (2) |
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Parallel Lines of Thought |
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81 | (1) |
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Dual Processing and the Threshold of Design Uncertainty |
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82 | (1) |
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82 | (3) |
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85 | (3) |
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88 | (2) |
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6 Zen and/in Beginning Design Education |
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90 | (17) |
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90 | (2) |
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Beginner's Mind: When Design Mind Meets Zen Mind |
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92 | (2) |
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94 | (10) |
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104 | (3) |
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Part III Creative Decision Making, Uncertainty, Failure, and Openness |
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107 | (56) |
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7 Uncertainty and Creative Decision Making in Beginning Design Experiences |
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109 | (14) |
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Encountering the "Wickedness" of Design Problems |
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109 | (3) |
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112 | (7) |
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Beginning Design via "Wicked" Problems |
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119 | (4) |
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123 | (12) |
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125 | (6) |
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131 | (2) |
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133 | (2) |
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9 Dashed Hopes: Lessons in the Failure of Best Intentions |
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135 | (13) |
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The Behavior of Beginning |
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135 | (1) |
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The Skill of Seeking and Seeing Error |
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136 | (1) |
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137 | (1) |
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138 | (1) |
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139 | (1) |
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140 | (1) |
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141 | (2) |
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Outcomes and Observations |
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143 | (2) |
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145 | (3) |
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10 The Open Project: Field Notes for an Investigation |
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148 | (15) |
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148 | (1) |
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148 | (3) |
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151 | (4) |
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Outlining the Field of Investigation |
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155 | (2) |
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Operation of the Brief---Distance and Engagement |
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157 | (2) |
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The Presence of the Blank |
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159 | (1) |
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160 | (3) |
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Part IV Embodied and Phenomenological Approaches in Beginning Design |
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163 | (50) |
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11 The Spatial Body in the Proto-Architectural Phase of Design |
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165 | (19) |
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165 | (1) |
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166 | (2) |
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Body and Architecture Relations |
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168 | (2) |
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Building Acts on Human Bodies |
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170 | (1) |
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171 | (2) |
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173 | (7) |
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180 | (4) |
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12 Violet Light Under a Saffron Sky: Creativity, Phenomenology, and Speculative Realism in Beginning Design |
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184 | (15) |
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184 | (1) |
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A Late Afternoon in Early Spring---Saffron Sky |
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185 | (1) |
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Fall Embodiment: Seeing Slowly |
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186 | (2) |
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Fall Embodiment: Making: UFO (Uninhibited Formal Operations) |
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188 | (1) |
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Fall Embodiment in Materiality: Resistance |
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189 | (1) |
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Behind the Fall: Embodiment Crossing Three Phenomenologies |
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189 | (4) |
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Spring: Intervention in Vibrant Flow: paraSITE |
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193 | (1) |
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Spring: Givenness, Eco-phenomenology, Hyperobjects |
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194 | (1) |
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Spring Projection: Speculative Realism |
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195 | (2) |
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Coda: Care, Passion for the Hunt, and Constructing Time |
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197 | (2) |
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13 In the Making: Creative Thinking in the Architectural Design Studio |
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199 | (14) |
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199 | (1) |
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The Value of Ambiguity in Thinking |
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200 | (2) |
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202 | (2) |
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204 | (1) |
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"Speculative Thinking---Imagined Spaces" |
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205 | (5) |
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Creative Thinking Within the Design Studio |
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210 | (3) |
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Part V Creativity and Making |
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213 | (54) |
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14 Where Do Ideas Come From? A Hands-On Strategy for Designing and Building Architecture |
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215 | (10) |
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Introduction: Establishing an Attitude Toward "Craft" |
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215 | (1) |
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Developing a Critical Approach to Craft |
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216 | (3) |
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Developing Achievable Expectations Through Hands-On |
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219 | (1) |
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Experience and Learning Through Serious Play |
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220 | (1) |
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221 | (2) |
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Discovering Design Solutions That Couldn't Possibly Emerge in the Absence of Such Experimentation |
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223 | (2) |
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15 Oculata Manus: On the Role of the Body in the Making of Creative Minds |
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225 | (14) |
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Introduction: Conceptual Challenges |
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225 | (5) |
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230 | (6) |
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236 | (3) |
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16 DESIGN-BUILD Build/Design: An Inquiry-Based Approach to Teaching Beginning Design Students |
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239 | (17) |
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239 | (1) |
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Building a Bridge Between the World of Ideas and the Physical World |
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239 | (1) |
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A Critical Examination of the Predominant Design Studio Methodology |
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240 | (2) |
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Design-Build Studios as a Recognition of These Methodological Problems |
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242 | (1) |
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Rethinking How to Teach an Inquiry-Based Beginning Architectural Design Studio |
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243 | (2) |
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From the Nine-Square Grid to Build/Design |
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245 | (6) |
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Implications of Integrating Concrete and Abstract Ways of Thinking and Making |
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251 | (3) |
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254 | (2) |
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17 Think>Make and Make/Think: Beginning Steps in Architectural Design |
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256 | (11) |
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Making in the Design Process |
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257 | (2) |
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Thinking in the Design Process |
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259 | (1) |
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Think>Make vs. Make/Think |
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260 | (2) |
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Speculations on Student Predilections Toward Particular Ways of Working |
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262 | (3) |
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265 | (2) |
Index |
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267 | |