Arts Design & Architecture

Publication Search Results

Now showing 1 - 10 of 6683
  • (1998) Armour, William Spencer
    Journal Article
    Traditionally, the LOTE teacher is positioned as the learners' language model. Ingram argues that since the L2 is both the target and the medium of instruction 'the teacher is often the principal (if not sole) model of the language for the student'. This implies that the language of instruction should define the particular teaching method. In practice, however, the teacher speaks and writes model dialogues or more precisely model texts that act as the major source of L2 input, especially in the initial stages of learning the language. Model dialogues are those 'simulated conversation dialogues found at the beginning of textbook language lessons' presented to learners at any time during a class. These models appear not only in textbooks, but also on cassette tapes, in computer 'interactive' multimedia software packages, on photocopied worksheets, the blackboard, and from teachers' mouths. Erickson describes model dialogues as 'stilted' and sometimes 'stereotypical'. The purpose of this paper is to examine the relationships between model dialogues, teachers, learners, and other stake holders by investigating what aspects of social reality model dialogues attempt to characterise; why model dialogues are used extensively as motifs representing actuality, motifs which learners (and teachers) are expected to memorise and use in the future; and whether it would be possible to teach and learn Japanese without using model dialogues.

  • (2004) Armour, William Spencer
    Journal Article
    This article discusses how Sarah Lamond, a Japanese language teacher in Sydney, Australia has juggled three of her identities: second language (L2) learner, L2 user, and L2 teacher. Data come from four interviews used to create an edited life history. These data are used to draw attention to the relationship between L2 learner and language user. The concept of “identity slippage” is briefly discussed and is introduced as a way of explaining this relationship. Although these three identities are foregrounded, it was found that Sarah's other identities of wife and mother also played a significant part in her becoming a Japanese language learner. Furthermore, Sarah's story also raises the native versus nonnative language teacher issue and in turn explores notions of authentic and impostor.

  • (2003) Armour, William Spencer
    Journal Article
    This paper addresses the questions of how and what kinds of multiple self-presentations may inhabit the same narrative space. I draw on two types of data, both of which highlight changes that have occurred to individuals who have learned another language. By foregrounding the topical life histories of two Anglo-Celt Australians who have learned Japanese as an additional language after the age of 11 years, it was possible to investigate: (i) the extent to which multiple self-presentations are 'scaffolded' by the ability to make meaning in Japanese as an additional language; and (ii) the process of 'identity slippage' as part of the social semiotic construction of a bilingual self. In this paper, I challenge how 'Asian', and more specifically, 'Japanese' identities have been traditionally described.

  • (2001) Armour, William Spencer
    Journal Article
    This paper addresses two issues within a general theory of cross-cultural adaptation. The first concerns the extent to which cross-cultural adaptation is activated by the ability to make meaning in Japanese as a foreign language. The second investigates the phenomenon of 'identity slippage'. Six life histories taken from informants who had learned Japanese after the age of 11 years have been used as narratives to provide qualitative date to shed light on issues concerning additional language development, and especially some of the consequences of learning Japanese on each informant's sense of self. It was found that making and interpreting meaning with a different set of appropriated linguistic, non-verbal and pivotal information plays a major role in cross-cultural adaptation. It was also discovered that 'identity slippage' is a multilayered phenomenon which relies, in part, on the ability to make meaning in a location and with an audience. Those who can and do identity slip challenge the notions of native and non-native.

  • (2007) Segal, Arlene
    Conference Paper
    Adopting an empirical teaching/working experience against an urban design theory backdrop, this paper investigates ‘Design Thinking’ from a personal view. It explores the interplay between the different design disciplines and offers an interpretation on how the lines between them blur and how they may connect(ED) through teaching programs. A brief history of urban design introduces the subject, demonstrates the dynamic forces of the city, touches on the ongoing tussle for definition of Urban Design and ultimate recognition of it’s distinction from Architecture, Planning & Landscape Architecture as an independent profession. Once the lines are drawn, it is time to move on and acknowledge the indispensable value of crossing the lines & connecting design fields, a function that recognises; ‘…that designing is a multi-layered thing, to be learned slowly, layer by layer, but designers must combine all the layers at once, and understand their interaction…’ (Venturi2004) It is this layering that requires a learning experience and the input of a ‘thousand designers’ in order to create rich and meaningful built environments. With the advent of information technology the design process has been accelerated and the sharp lines of separation between the design disciplines are blurring. A powerful common visual tool has been created that encourages a cross communication of design ideas and broadens the scope for discovery, invention and connection. The educational imperative is determined through a program aimed at a holistic approach to urban design, available to students across the design disciplines in the Faculty of the Built Environment. The philosophy is based on communicating new visual insights, through an interactive participation program that draws on the valuable contribution of personal experiences of students on the course. The program, as a Seminar offers an appreciation of the complexity of the subject through understanding the parts; as in-situ investigations, readings, discussion, drawing, debate & presentation. The focus is the fascination of urban design interventions in the 21st Century and the propensity for rapid change as part of the dynamic process of cities. Intrinsic to the program are primary links to Planning, Architecture and Landscape Architecture in addition to diverse design associated activities. ‘…the new millennium will depend on the creation of bridges that unite conservation technology with an earthcentric philosophy and the capacity of designers to transform these integrated forces into a new visual language’ (Wines 2000: 236).

  • (2007) Misawa, Fumiko; Hirota, Kiko
    Conference Paper
    This paper discusses a new approach to an education program about timber architecture for a sustainable future and rehabilitation in relation to the forestry industry, the community as well as architectural education. Due to global concerns of environmental sustainability, forestry and timber architecture have been chosen as key building environments. However, in Japan, there is a knowledge gap in the education program for more than 30 years relating to a specific aspect of timber architecture. In 1995, design problems of modern Japanese timber architecture were revealed in the aftermath of the Hanshin Awaji Great earthquake. Gifu Academy of Forest Science and Culture decided to adopt a new type of timber architecture curriculum for “Learning with Forests”, consisting of three major projects. They are: 1) self-build project, 2) local project and 3) intensive design studio project. In these projects, four major characteristics of timber architecture were selected as core educational focuses, in addition to community partnership and local culture. They are: structure, materials, space and function. This methodology has already been applied to local projects in Japan and the collaboration design studio with The University of New South Wales (UNSW). This paper highlights the final project of this intensive design studio and documents the outcome of this novel approach to modern timber architecture program in terms of environmental, social and cultural sustainability.

  • (2007) MacMahon, William
    Conference Paper
    Since the year 2000 Matthew Johnson, artist, and myself, Bill MacMahon, architect and lecturer in the Interior Architecture program at UNSW, have been collaborating upon the incorporation of artworks into buildings. Such multidisciplinary work is having a direct outcome upon my architectural design practice and my work in design studio with Interior Architecture students. As interior architects often work in collaborative teams involving the development of their ideas designs within the work of architects so the work of Matthew and myself might act as a model for Interior Architecture practice. Lessons learnt in the negotiations of changes to architect’s designs can be taught to students of Interior Architecture. It offers lessons in the contextualization of design.

  • (2007) Alic, Dijana
    Conference Paper
    This paper discusses the relevance of historical studies to the ways that architects and architecture students approach the issue of interpretation and representation of "Other". It examines how an architect's "placement" informs the construction and reproduction of architectural knowledge. Adopting a flexible historical framework the paper explores three selected cases of cultural encounters between architects and the historic precinct of Baščaršija, the Ottoman established core of the city of Sarajevo. With the objective of gaining a historically grounded awareness of the complexities of cultural identities the paper considers: (1) The design studio teachings of the well-known Slovenian architect and academic Jože Plečnik who advocated the study of historic architecture as an essential part of an architect's education. (2) The attempts by Plečnik's student and colleague Dušan Grabrijan to open up the terms of engagement with history and allow for a more fluent interpretation of what constituted an understanding of place and its history by introducing the ideas of space, volume and culture. (3) The positions taken by the two architects are finally considered in their relationship to the understanding of the cultural and historical context of Baščaršija presented by the third and fourth year architecture students at UNSW, Sydney Australia in their design of the Town Hall building in Sarajevo. The students' physical and cultural distance from the specifics of the site led to the simultaneous promotion and contestation of the relevance of the historic studies and context analysis.

  • (2007) Ward, Stephen
    Conference Paper
    Industrial designers use various types of drawings, computer illustrations and physical models to represent the things they are designing. These representations are used not only to communicate a design to others but also for the designer to evaluate and stimulate their own thinking. A design process is usually facilitated by movement between different types of representations to explore different aspects of the design. Sometimes, however, student industrial designers appear to become stuck in their design process, favouring one type of design representation and not using another that may have been more informative at the time. In particular, we have noticed students making inadequate use of scale drawings to check the size and arrangement of the elements of a design. This paper presents two examples of teaching and learning scale drawing that are intended to emphasise its role particularly within the early, exploratory stages of a design process. In the first example students were required to measure the external shape of an existing product and then make a 3D model that represents the shape through a sequence of crosssections. A scale drawing of the surface contours of the original object was a necessary step in this process. In the second example students used 2D CAD to make a technical drawing of an object with some moving parts. The drawings were then developed into a sequence to make a “flip book” animation of the movement. In both cases the intention was to create a design project in which measurement and scale drawing were a necessary step towards achieving a successful outcome. The principles underlying the development of these learning experiences are discussed in this paper.