{"id":693,"date":"2022-11-11T11:08:11","date_gmt":"2022-11-11T11:08:11","guid":{"rendered":"https:\/\/designliteracy.net\/symposia\/?p=693"},"modified":"2023-01-24T23:45:11","modified_gmt":"2023-01-24T23:45:11","slug":"derya-yorgancioglu","status":"publish","type":"post","link":"https:\/\/designliteracy.net\/symposia\/2022\/11\/11\/derya-yorgancioglu\/","title":{"rendered":"The Role of Digital Literacy in the Development of Design Literacy Skills of First-year Architecture Students"},"content":{"rendered":"\n

Derya Yorganc\u0131o\u011flu<\/em><\/strong>*<\/em> & Esin K\u00f6mez Da\u011fl\u0131o\u011flu<\/em><\/strong>~<\/em>
*\u00d6zye\u011fin University
~Daglioglu Middle East Technical University
Turkey<\/p>\n\n\n\n

derya.yorgancioglu@ozyegin.edu.tr<\/a><\/em>
komez@metu.edu.tr<\/a><\/em><\/p>\n\n\n\n

By the end of the 90s, the field of higher education has witnessed the widespread use of digital technology tools and platforms, which gained momentum in the 2000s and is defined as the \u201cdigital turn.\u201d In the literature, the digital turn as an ongoing process is associated with the concepts such as \u201cdigital literacy\u201d (Gilster, 1997) and \u201cknowledge economy\u201d (Pacione 2010). Digital literacy and digital learning have essential implications for design literacy that is defined as \u201cempowering individuals to use multiple modes of knowledge to produce material word\u201d (Nielsen and Br\u00e6nne, 2013). Within this framework, more emphasis is given to the development of \u201cdesign thinking\u201d skill as an essential component of 21st century learning approaches that promotes getting aware of real-life problems and developing alternative solutions for them (Razzouk and Shute, 2012; Koh et al., 2015). It is observed that this issue is considered as a fundamental issue in the strategic planning of education at all levels. Directive document by the European Design Leadership Board (EDLB), 2012, is a striking example in which the growing significance of design literacy for educational planning is made manifest: it is mentioned that due to the \u201crevolutionary impact\u201d of \u201ctoday\u2019s rapid development of digital networks and communications technologies\u201d on the society, educational policies should consider to \u201craise the level of design literacy for all the citizens of Europe by fostering a culture of design learning for all at every level of the education system\u201d and to \u201cencourage Member States to support the development of design competencies for the 21st century by embedding the strategic role of design across disciplines in higher education.\u201d
Particularly, the COVID-19 pandemic experienced worldwide in 2019 has revealed how vital the skills of digital literacy and learning nourished through design thinking are, both in the realms of individual\/social life and professional\/academic practice. It is observed that the effective use of digital platforms and tools will persist in the post-pandemic period, pointing to the emergence of a new learning paradigm (in terms of skills and mindset) in education at all levels. In this context, the role of design literacy within the framework of today\u2019s digitalized world and knowledge-empowered economy becomes a topic of research in higher education and, particularly in design education.
In the last 3 years, within the framework of the conditions revealed by the COVID-19 pandemic, we as design studio tutors experienced 3 different teaching\/learning models at the studio: We had to transform the face-to-face design education of the 2019 fall semester of into \u201cemergency remote teaching\u201d (Green et al., 2020; Asadpour, 2021) in the spring term of 2020, and we continued in this way for 3 terms; In the fall and spring semesters of 2021-2022, we physically returned to the campus, but we mostly conducted \u201chybrid\u201d (Wolford et al., 2021; Guppy et al., 2022) design education as the pandemic conditions partially continued. While the last 3 years have provoked us to explore the effective and improvable aspects of traditional design studio pedagogy and to develop alternative teaching\/learning strategies, this process also underscored the importance of digital literacy in the development of design skills of architecture students. The contributions of digital design literacy to students\u2019 adaptation to educational technology and emerging digitalized (design) learning models has become more observable.
The objective of this study is to examine the effects of the \u201cdigital turn\u201d experienced in higher education on introductory design education and the role of digital literacy in the development of design literacy skills of first-year architecture students. The study raises the following research questions: What are the implications of the growing engagement of first-year design students with digital tools\/platforms for (1) reconceptualizing the notion of design, and (2) reconsidering models for design learning and knowledge production? Methodologically, this examination will dwell on the case study analysis of ARCH 101 design studio practices of 2021\u20132022 academic year executed in two different Bachelor of Architecture programs at \u00d6zye\u011fin University Department of Architecture and Middle East Technical University Department of Architecture, which we have experienced as first-year design studio tutors. The use of digital tools and platforms as both representation and generative design tools, as well as its contribution to structuring the studio organization, project submissions, and assessment practices such as weekly design crits and juries will be examined. In addition, how the development of students\u2019 ability to use these digital tools and platforms affects their design skills will be evaluated both through student studies and the tutors\u2019 on-site observations and reflective evaluations.<\/p>\n\n\n\n

References<\/strong><\/h2>\n\n\n\n

Asadpour, A. (2021). Student challenges in online architectural design courses in Iran during the COVID-19 pandemic. E-Learning and Digital Media<\/em>. https:\/\/doi.org\/10.1177\/20427530211022923<\/a><\/p>\n\n\n\n

Bolinas, J. C. F. (July 2022). Mapping current research and future directions of Design Literacy with systematic quantitative literature review (SQLR). Design and Technology Education: an International Journal, [S.l.], v. 27, n. 2, p. 92-114. Available at: <https:\/\/ojs.lboro.ac.uk\/DATE\/article\/view\/3104<\/a>>. Date accessed: 11 sep. 2022.<\/p>\n\n\n\n

Bower, M. (2017). Design Thinking and Learning Design. In Design of Technology-Enhanced Learning<\/em> (pp. 121-158). Emerald Publishing Limited. https:\/\/doi.org\/10.1108\/978-1- 78714-182-720171008<\/a><\/p>\n\n\n\n

Bohemia, E. and Ghassan, A. (2011). \u201cOpening Doors Broadening Designers\u2019 Skill Set,\u201d Diversity and Unity: Proceedings of IASDRD2011, the 4th<\/sup> World Conference on Design Research, N. F. M. Roozenburg & P. J. Stappers (Eds.), 31 October-4 November, Delft, the Netherlands.<\/p>\n\n\n\n

Buckingham, D. (2015). \u201cDefining digital literacy What do young people need to know about digital media?\u201d Nordic Journal of Digital Literacy<\/em>, 4, 21\u201334. DOI: 10.18261\/ISSN1891-943X-2006-04-03<\/p>\n\n\n\n

Burdick, A., & Willis, H. (2011). Digital learning, digital scholarship and design thinking. Design Studies, 32(6), 546-556. https:\/\/doi.org\/10.1016\/j.destud.2011.07.005<\/a><\/p>\n\n\n\n

Cross, N., (1982) Designerly ways of knowing. Design Studies<\/em>, 3(4), pp. 221-227.<\/p>\n\n\n\n

Donaldson, J., & Smith, B. (2017). Design thinking, designerly ways of knowing, and engaged learning. Learning, Design, and Technology: An International Compendium of Theory, Research, Practice, and Policy, 1-24. https:\/\/doi.org\/10.1007\/978-3-319-17727-4_73-1<\/a><\/p>\n\n\n\n

Eshet-Alkalai, Y. (2004). \u201cDigital Literacy: A Conceptual Framework for Survival Skills in the Digital Era,\u201d Jl. of Educational Multimedia and Hypermedia<\/em>, 13(1),93-106.<\/p>\n\n\n\n

European Commission. (2012). the European Design Leadership Board\u2019s (EDLB) design directive: Designed for growth: Design to push innovation. <\/p>\n\n\n\n

Gilster, P. (1997), Digital literacy. <\/em>New York: Wiley Computer Publications.<\/p>\n\n\n\n

Green, J.K., Burrow, M.S., & Carvalho, L. (2020). \u201cDesigning for transition: Supporting teachers and students cope with emergency remote education,\u201d Postdigital Science and Education<\/em>, 2, 906\u201322. https:\/\/doi.org\/10.1007\/s42438-020-00185<\/a><\/p>\n\n\n\n

Guppy, N., Verpoorten, D., Boud, D., Lin, L., Tai, J., & Bartolic, S. (2022). The post-COVID-19 future of digital learning in higher education: Views from educators, students, and other professionals in six countries. British Journal of Educational Technology<\/em>, 00, 1\u201316. https:\/\/doi.org\/10.1111\/bjet.13212<\/a><\/p>\n\n\n\n

Koh, J. H. L., Chai, C. S., Wong, B. and Hong, Huang-Yao (2015). \u201cChapter 3: Design Thinking and 21st Century Skills\u201d In, Design Thinking for Education; Conceptions and Applications in Teaching and Learning<\/em> (pp. 33-46), Springer.<\/p>\n\n\n\n

Lankshear, C. and Knobel, M. (2015). \u201cDigital Literacy and Digital Literacies: Policy, Pedagogy and Research Considerations for Education\u201d Nordic Journal of Digital Literacy<\/em>, 4, p. 8\u201320. DOI: 10.18261\/ISSN1891-943X-2015-Jubileumsnummer-02<\/p>\n\n\n\n

Lawson, B. (2006). How Designers Think: The Design Process Demystified<\/em> (4th ed.). Amsterdam, Boston, London, New York: Architectural Press.<\/p>\n\n\n\n

Lerner, F. (2018). Visual\u2010Spatial Art and Design Literacy as a Prelude to Aesthetic Growth. International Journal of Art & Design Education, 37<\/em>(1), 65-73. https:\/\/doi.org\/10.1111\/jade.12110<\/a><\/p>\n\n\n\n

Lutn\u00e6s, E. (2020). Empowering Responsible Design Literacy: Identifying Narratives in a New Curriculum. RChD: creaci\u00f3n y pensamiento, 5<\/em>(8), 11-22. https:\/\/doi.org\/10.5354\/0719- 837X.2020.56120 <\/p>\n\n\n\n

Nielsen, L. M., & Br\u00e6nne, K. (2013). Design literacy for longer lasting products. Inside Making, 09<\/em>. http:\/\/materialthinking.org\/papers\/125<\/a><\/p>\n\n\n\n

Pacione, C. (2010). Evolution of the mind: A case for design literacy. Interactions, 17<\/em>(2), 6-11. https:\/\/doi.org\/10.1145\/1699775.1699777<\/a><\/p>\n\n\n\n

Pacione, C. (2017). Let\u2019s Do Right by Design by Helping Everyone Else Do Design Right. Design Management Review, 28<\/em>(4), 29-31. https:\/\/onlinelibrary.wiley.com\/share\/RJVURMC5ZU3EZKSSFGSA?target=10.1111\/drev. 12098<\/a><\/p>\n\n\n\n

Pangrazio, L. (2016). Reconceptualising critical digital literacy. Discourse: Studies in the cultural politics of education, 37<\/em>(2), 163-174<\/p>\n\n\n\n

Poggenpohl, S. H. (2008). Design literacy, discourse and communities of practice. Visible language, 42<\/em>(3), 213. https:\/\/www.proquest.com\/docview\/232913459?pqorigsite=gscholar&fromopenview=true<\/p>\n\n\n\n

Razzouk, R., & Shute, V. (2012). What is design thinking and why is it important? Review of educational research, 82<\/em>(3), 330-348. https:\/\/doi.org\/10.3102\/0034654312457429<\/a><\/p>\n\n\n\n

Rowe, P.G., (1987) Design thinking. <\/em>The MIT Press, The Massachusetts Institute of Technology, Cambridge, Massachusetts.<\/p>\n\n\n\n

Yorganc\u0131o\u011flu, D., & Tunali, S. (2020). Critique\u2019s Role in the Development of Design Literacy in Beginning Design Education. RChD: creaci\u00f3n y pensamiento, 5<\/em>(8), 49-62. https:\/\/doi.org\/10.5354\/0719-837X.2020.57651<\/a><\/p>\n\n\n\n

Wolford, C., Zhao, Y., Kashyap, S., and Gray, C. M. (2021), Critique assemblages in response to emergency hybrid studio pedagogy, in Bohemia, E., Nielsen, L.M., Pan, L., B\u00f6rek\u00e7i, N.A.G.Z., Zhang, Y. (eds.), Learn X Design 2021: Engaging with challenges in design education, 24-26 September, Shandong University of Art & Design, Jinan, China. https:\/\/doi.org\/10.21606\/drs_lxd2021.14.171<\/a><\/p>\n\n\n

\n
\"Derya<\/figure>\n<\/div>\n\n\n

Derya Yorganc\u0131o\u011flu <\/strong>received her B.Arch degree from Y\u0131ld\u0131z Technical University (YTU) Department of Architecture (2000), and M.Arch (2004) and Ph.D. (2010) degrees in Architecture from Middle East Technical University (METU) Department of Architecture, Turkey. She took part in numerous research projects as a Ph.D. student at the Unit for Strategy Development in Education and Research, the Research and Implementation Centre for Built Environment and Design (RICBED) of METU Faculty of Architecture between 2006-2010. She worked as the founding chair of the Department of Architecture at Kemerburgaz University between 2011-2017. She is currently working at \u00d6zye\u011fin University Department of Architecture. She conducted short term research studies at Queen\u2019s University of Belfast, Center for Educational Development (CED) in 2017 and Indiana University, Bloomington, Center for Innovative Teaching and Learning in 2018 as a visiting researcher. She conducted a two-year research project (215K234) funded by The Scientific and Technological Research Council of Turkey (TUBITAK) on the topic of teaching and learning as a reflective practice in architectural education. Her research interests cover the fields of theory and research in architecture, architectural education, design studio pedagogy, learning space design, scholarship of teaching and learning in higher education.<\/p>\n\n\n

\n
\"Esin<\/figure>\n<\/div>\n\n\n

Esin Komez Daglioglu <\/strong>is assistant professor at the Architecture department at the Middle East Technical University, Turkey. She received her bachelor and master degrees magna cum laude from Middle East Technical University (METU) Department of Architecture where she also worked as a research and teaching assistant from 2008 to 2012. She completed her PhD research in 2017 at Delft University of Technology (TU Delft), Department of Architecture where she also taught design and theory courses at the Chair of Architectural Composition and Public Building. Among others, she has published in the Architectural Theory Review, METU JFA and OASE. Esin\u2019s research areas include architectural design education, postwar and postmodern architectural and urban theory.<\/p>\n\n\n\n

back to the Symposium Programme<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The objective of this study is to examine the effects of the \u201cdigital turn\u201d experienced in higher education on introductory design education and the role of digital literacy in the development of design literacy skills of first-year architecture students. The study raises the following research questions: What are the implications of the growing engagement of first-year design students with digital tools\/platforms for (1) reconceptualizing the notion of design, and (2) reconsidering models for design learning and knowledge production? Methodologically, this examination will dwell on the case study analysis of ARCH 101 design studio practices of 2021\u20132022 academic year executed in two different Bachelor of Architecture programs at \u00d6zye\u011fin University Department of Architecture and Middle East Technical University Department of Architecture, which we have experienced as first-year design studio tutors. The use of digital tools and platforms as both representation and generative design tools, as well as its contribution to structuring the studio organization, project submissions, and assessment practices such as weekly design crits and juries will be examined. In addition, how the development of students\u2019 ability to use these digital tools and platforms affects their design skills will be evaluated both through student studies and the tutors\u2019 on-site observations and reflective evaluations.<\/p>\n","protected":false},"author":1,"featured_media":799,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_lmt_disableupdate":"","_lmt_disable":"","ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"enable","ocean_disable_heading":"on","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"off","ocean_gallery_id":[],"footnotes":""},"categories":[17],"tags":[29,30],"class_list":["post-693","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-abstracts","tag-derya-yorgancioglu","tag-esin-komez-daglioglu","entry","has-media"],"modified_by":"Erik 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