THE CREATIVE DESIGN PROCESS SUPPORTED BY THE RESTRICTIONS IMPOSED BY BIOCLIMATIC AND SCHOOL ARCHITECTURE: A TEACHING EXPERIENCE Doris C.C.K. Kowaltowski; Lucila C. Labaki; Valeria T. de Paiva; Giovana Bianchi and Michael E. Mösch State University of Campinas / UNICAMP, School of Civil Engineering, Architecture and Urban Design, Dept. of Architecture and Building, CP 6021, Campinas/SP, +55 019 35212390, email:[email protected]

ABSTRACT This paper presents a design education experience, where the concepts of bioclimatic architecture were applied in a studio environment of the Architecture Course of UNICAMP in Campinas, Brazil. At the first PALENC – 2005 Conference the authors of this paper presented a teaching experience with results that indicated the need for new ways of bringing the feelings of comfort close to the studio design discussions. In this paper, a new teaching experience shows that associating thermal comfort theory and design practice creates a series of restrictions for the design process and that these restrictions are assets to creativity, as attested by the literature. The design of a school building was the theme of a bioclimatic design class given in 2006. Two groups of pupils were formed, one working with the impositions of the school building department of the State of São Paulo, Brazil (FDE - Fundação para o Desenvolvimento Escolar), and the other group with the concepts of organic architecture. This group developed a series of artistic activities to stimulate their creative organic design process. Both groups carried out visits to schools and their environmental comfort conditions were evaluated with technical measurements. Theoretical classes, on thermal comfort and school architecture were interspersed with design studio activities. The results showed that the imposed restrictions of FDE stimulated the development of creative student projects, with bioclimatic quality. The designs based on organic architecture were to some extend less

creative, with similarity of formal conceptual approach. These designs also lacked detailed bioclimatic considerations, mostly due to the adoption of curvilinear forms with large variations of solar orientation of facades. Thus restrictions are shown to be important in the creative process in architecture, stimulating search for quality solutions and should be used as design teaching methods. 1. INTRODUCTION In the last decades architecture schools have made important efforts in improving design education. The goals in new ways of teaching are concerned with enriching the view that architecture is pure art, through insertion of scientific knowledge and social responsibility. Environmental comfort and the question of sustainability have increased the need for technical and scientific education. Social sciences need to instill sensitivities towards the relation between human behavior and architectural elements. Results of studies on creativity should, as well, enrich and structure the design process, thus avoiding the idea that innovation stems from talent alone. Exact sciences must give future professionals a deeper understanding of the physical phenomena that are involved in aspects of thermal, lighting and acoustic conditions in buildings and open spaces. The synthesis of knowledge coming from such multidisciplinary areas continues to be a challenge in the typical design studio of most architecture schools. The studio teaching method relies mainly on the interaction of students with experienced professionals and unstructured discussions concerning the

specific mostly hypothetical design problem posed. The University of Campinas created in 1999 its Architecture and Urban Design night course with a duration of six years. An effort to reduce some of the difficulties, mentioned above, was made mainly through joining theoretical classes with design activities and multidisciplinary teaching teams present in the design studio. However, in Kowaltowski et al. (2005) the authors of this paper presented a teaching experience as with results that indicated the need for new ways of bringing the feelings of comfort close to the design discussions in the studio environment. In this paper a further teaching experience is presented, where some of the previous challenges are addressed and important findings uncovered. 2. COMBINING THEORY AND DESIGN EXPLORATION Many studies have examined the typical studio design teaching method in relation to diverse aspects (learning experiences, efficiency, quality of design, etc..). Schön (1983) describes design as a reflective conversation with the design situation, thus addressing the human thought-processes and the language (drawings, models) used to make design decisions. Other studies identified problems in architectural education as related to design communication and the introduction and application of computer-aided design in architectural courses (Nicol & Pilling, 2000). Viewing architecture as pure art has often been identified as a problem and investigations on typical professional practices have uncovered that architects often lack knowledge on or fail to anticipate users’ needs (Salama, 1997). Importance given to the artistic content may cause architects to ignore social aspects in architecture and to emphasize their self-expression. The aesthetic or formal bias is further reinforced by most architectural publications, used as teaching material in most design disciplines. Architectural criticism is virtually devoid of human content and directed towards the formal aspects of design (Kowaltowski et al, 2006). Even technical aspects, evaluation results and user

satisfaction rates are rarely present in architectural journals used by students in design classes. Recent trends in globalization of the profession have increased competitiveness and demanded higher design qualities and productivity. This new order implies that students have a deeper understanding of background knowledge and acquire new abilities and attitudes towards design. To this end the University of Campinas structured its design classes on the construction of theoretical knowledge, combined with the use of tools and the development of an individual student design processes. The first year, of the Unicamp course, concentrates on basic design elements and theoretical background on the “meaning of architecture” in today’s society, with multiple exercises developing drawing and model making abilities as well as three-dimensional vision. In the second year, the multidisciplinary nature of architectural design is explored and future professional social responsibility is addressed through discussions and design projects that bring urban reality into the studio. The next two years combine theoretical classes on environmental comfort with design problems of specific architectural typologies (schools, theaters, libraries, etc..). The last two years then attempt at increasing the complexity of design problems and specific trends found in growing cities in the developing worlds such as “verticalization” of architecture are practiced. Finally, all students must develop an individual design project accompanied by a written report with theoretical and technical justifications of architectural and urban solutions chosen. Bioclimatic design is taught in the third year and usually combined with a school building theme. Schools as an architectural type are chosen since they continue the social interest discussion of the second year. Evaluation data demonstrates that many school buildings fail to provide adequate thermal comfort conditions for the local hot and humid summer climate with dry and mild winters and most public schools are not mechanically conditioned. The principles of

bioclimatic architecture are therefore important for school design. The teaching team of this design class includes architects, engineers and physicists. Schools are discussed in relation to trends in education and bioclimatic design concepts are presented in depth (Kowaltowski et al., 2005). Students evaluate an existing school building with technical measurements and study specific thermal comfort issues through a number of exercises (climate characterization, human response to climate, thermal indicators, solar geometry and design of shading devices; ventilation conditions, building construction materials and techniques and their influence on thermal mass and heat transfer calculations). In parallel, a school building design is developed with a given site and program of an existing school in the city of Campinas. This studio situation demonstrates that a bioclimatic school building design creates a number of design restrictions with which the students must come to term. These restrictions are seen here as important aspects of design education, in so far that studies on creativity have shown that limits are essential to the creative process (Boden, 1999). 3. CREATIVITY In design education the question of creativity is often considered an implicit factor and in higher education little emphasis is given to teaching methods that develop creative, independent and individual abilities. Thus most graduating professionals are capable only of applying what is common knowledge in conventional ways (Alencar, 2004). Studies on the creative thought process have identified that it depends on characteristics of an individual: receptiveness or attitudes in search of innovative solutions, immersion into the problem at hand, dedication and motivation, questioning attitudes, analysis of ideas, especially flawed solutions (Kneller, 1978). The capacity to solve problems depends, as well, on two factors of cognition: repertoire (facts, principles, concepts, etc..) and heuristics of problem solving (systemization of insights).

Creativity can be defined as a process of becoming sensitive to a question, to a flaw or a missing link in an area of knowledge. Innovation is the identification of difficulties and the formulation of hypotheses of such flaws to finally attain a solution, test it and communicate it to a wider audience. 4. A TEACHING EXPERIENCE To test the strength of restrictions or insertion of specific artistic activities in design education, the bioclimatic architecture discipline of the Unicamp course, given in the first semester of 2006, was divided into two groups. The first group designed a school building within the recommendations (restrictions) of the local school building advisory board FDE – Fundação para o Desenvolvimento Escolar do Estado de São Paulo. The other group developed a school project under the auspices of “organic architecture”, through specific artistic activities during the semester. The two groups were separated in the studio activities, but participated together in theoretical classes (bioclimatic and school architecture) and final design presentation and “crit” activities. In the State of São Paulo public school buildings are regulated through defined architectural programs and construction techniques based on fixed materials and modular design (FDE, 2003). Comfort standards are based on local codes and simple recommendations, for example the relation of window openings to floor space. Designers obtain a catalog of school building “components” as their “brief”, with a check list of requirements. Although very much standardized, schools as “cookie cutter” designs are avoided through the participation of various professionals in the design process. Figure 1 shows a typical example of a school building in the State of São Paulo based on the FDE requirements. The first student group, of the teaching experience described here, worked within these FDE restrictions and a rational, modular approach to design. The second group was given theoretical classes on organic architecture by a tutor with

a large professional experience in designing private schools, based on organic principles in the State of São Paulo (Fig. 2). Students also developed a number of artistic activities at the beginning of the semester. These were seen as important to put them into the frame of mind of organic thinking. The second group was given theoretical classes on organic architecture by a tutor with a large professional experience in designing private schools, based on organic principles in the State of São Paulo (Fig. 2). Students also developed a number of artistic activities at the beginning of the semester. These were seen as important to put them into the frame of mind of organic thinking.

artistic activities as its foundations (Mösch, 2002).

Figure 2: Example of a school building based on organic architectural principles. Arch. M. Mösch.

5. TEACHING EXPERIENCE RESULTS

Figure1: Example of a school building based on FDE requirements, Vainer e Pauliello Arquit.

Organic architecture is considered the counter point of rational design, based on modular principles. Antoni Gaudí, Alvar Alto and Frank Lloyd Whright are considered the main representatives of this architectural language. The constructive ideal evolves from the human body. Sharp edges are avoided, giving way to fluid forms as a living organism (Tarragó, 1991). Natural materials are emphasized, as are forms inspired by nature. Scientific methodologies emphasize rational and analytical thought. The organic design process however needs

Two examples of student designs of the teaching experience, described in this paper, are presented in Figures 3 and 4. In general, the designs of the first group (FDE) were more diverse, thus demonstrating that the restrictions imposed did not curtail creativity. Also, this group was more careful in addressing bioclimatic design issues. Form and orientation of volumes, as well as façade treatment was carefully considered in most examples. Designs of this first group were able to achieve a higher level of detailing. Modular design and a rational approach helped in finding a solution faster, with time spent on construction technique definition. Students were more confident in their design solutions as a whole. The FDE restrictions stimulated students to go beyond them as a challenge to standardized solutions. Thus, the design shown in Figure 3 demonstrates that restrictions can produce creative and artistically interesting designs. Also, even though this student did not opt for the best orientation of classrooms, mainly due to site restrictions, the design presented innovative

solar control elements. Open spaces were given importance, through landscaping elements, and outdoor activities were designed into the total solution with proper shading conditions and protection from winter winds.

form for the functional necessities of their school, that bioclimatic and other comfort issues were relegated to second place. This group showed a tendency to hold on to a formal architectural form (first found), without measuring other design consequences. The search for a “perfect” overall form of the school complex was apparent, as well, in the siting of the designs. They were less sensitive to the site conditions than the former group, giving the impression that design solutions were not developed in coherence with the lot, but as isolated, independent objects.

Figure 3 Student design project based on FDE principles

The design solutions of the second group (organic) were more uniform. The artistic activities and the special classes on organic architecture induced students towards circular similar forms. This form creates a centralized distribution of spaces, which pedagogically could be a favorable solution in school buildings. However, such designs loose control over orientation and each classroom would need its special and specific solar control elements. The central space in schools also may create acoustic problems, which demand barriers and careful architectural treatment of surfaces. These problems were however not addressed by the students of the second group, which indicates that students were so concerned with finding an “organic”

Figure 4 student design project based on organic architectural principles

Climate consciousness of the first group of students was primarily represented through: recommended orientation of openings (north), form of volumes (long and thin, east-west axis), introduction of shading elements on the north elevation (extens ion of floor or roof slab), ventilated attic or insulated roof slab. Green roofs were a popular option to increase roof insulation. The second group had difficulties in combining their organic forms with bioclimatic recommendations for the local climate, although roof overhangs and

ventilated attics were part of many solutions. Both groups gave emphasis to vegetation in open spaces. 6. CONCLUSION Design is an artistic activity with the application of scientific and technological knowledge and is an investigation of finding the best form for the shelter necessities of human activities. Due to the complexity of the architectural design process there are no precise and fixed formulas that bring together form, function and site conditions. With an understanding of scientific phenomena (exact and social), experience and intuition, most designers reach heuristically their design solutions. However, not always the best solution is reached. With this in mind, design education needs the conscious introduction of: research data, design analysis tools and a structured design processes, which organizes creative thought. Design restrictions should be introduced, specifically to stimulate the creative process in finding quality solutions to design problems. The teaching experience described in this paper has shown that most students cling to their first design solution, considered aesthetically “pleasing” and are reluctant to abandon this, even when problems are pointed out. Bioclimatic issues, although of primary concern in this teaching example, were mostly treated superficially when a first non- ideal solution was chosen. One of the major problems in teaching bioclimatic design is the difficulty in representing graphically thermal phenomena (Kowaltowski et. al., 1998). Ventilation, typically represented by arrows flowing through the section or plan of a drawing, generally does not convey an accurate, physical phenomenon and may cause delusions of comfort, only discovered after a building is occupied or at commissioning time. In the teaching environment these phases are absent. Thermal comfort research is based on scientific theories and measurements, represented by graphs and tables, not directly applicable to the design drawing environment. Simulation tools are of great he lp here and have been shown to be of importance in the

teaching design studio (Kowaltowski et al., 2005). Further research is needed to test the introduction of methods that stimulate creativity in architectural design and that increase students’ sense of responsibility in relation to social and comfort impacts of design proposals 7. REFERENCES Alencar, E.M.L.S.; Fleith, D.S. (2004) “Inventory of educational practices that favor creativity in higher education level”, Psicologia: Reflexão e Crítica, Porto Alegre, v. 17, n. 1. Boden, M. A. (org.) (1999) “Dimensões da Criatividade” Porto Alegre: Artmed Editora. FDE, (2003), Fundação Para O Desenvolvimento Educacional. “Normas de apresentação de projetos de edificações - Arquitetura e Paisagismo” CDRom. Kneller, G.F. (1978) “Arte e ciência da criatividade” Trad. J. Reis. São Paulo: IBRASA. Kowaltowski, D.C.C.K., Labaki, L.C., Pina S.M.G. and Bertolli, S.R. (1998) “A Visualização do Conforto Ambiental no Projeto Arquitetônico”, IN: Proceedings of VII Encontro de Tecnologia do Ambiente Construído e Qualidade no Processo Construtivo, 27-30 de abril, Florianópolis, SC, pp.371-379. Kowaltowski, D.C.C.K.; Labaki, L.C.; Pina, S. Mikami G.; Gutierres, G.C.R. and Gomes, V.S. (2005) “The Challenges of Teaching bioclimatic architectural design”, IN: Proceedings of International Conference: Passive and low energy cooling for the built environment, PALENC 2005, Santorini, Grécia, Vol 1., pp 327 – 332. Kowaltowski, D.C.C.K.; Pina S.M.A.G. & Barros, R.M.P., (2006) “Architectural Design Analysis as a Strategy for People Environment Studies: Finding Spaces “That Work””, IN: Proceeedings of 19th IAPS Conference, International Association for People-Environment Studies, Alexandria, Egypt, 11-16 Set. 2006, CD pp. 1-6. Mösch, M. E. (2002) “A criatividade no processo de desenvolvimento de projetos de arquitetura”, AT (11/02/2007): . Nicol, D. & Pilling, S. (Ed.) (2000). Changing Architectural Education: Towards a new professionalism, E& FN Spon, London, UK. Salama, A. (1997) “New Trends in Architectural Education: Designing the Design Studio” The Anglo-Egyptian Bookstore, Cairo, Egypt. Schön, D. (1983) The reflective practitioner, New York, Basic Books. Tarragó, S. (org) (1991) “Antoni Gaudí”. Barcelona, Editora Sebral.

The social housing and sustainable design: a teaching experience S. Mikami G. Pina; D.C.C.K. Kowaltowski; V.T. de Paiva, A.M.G.

ABSTRACT The concepts of design that must be attended, especially in developing countries, are social and cultural concerns, as well as questions of environmental comfort and sustainability. The aspects of building construction’s economic and technological viability and function also have continual importance. Contemporary architecture and its urban setting have exerted specific pressures on the design process, and this in turn on formal education of professionals. Design education has however on the whole not found appropriate models to attend to the complexity of all these questions. In Brazil, as well, most schools adopt a formalistic approach to design. This paper describes a design class of the University of Campinas, Brazil, where the traditional paradigms were questioned and where urban design was the driving force of addressing sustainability in the built environment in a social interest context. 1. INTRODUCTION The search for an appropriate urban form and its impact on populations of cities, planning must touch on environmental variables, especially if one reflects on the size of cities with over one million inhabitants and the problems that such large conglomerations may induce. Urban design recommendations should address many varied issues, be place specific and sensitive to the natural environment. Preserving open space and the quality of both air and water in urban conglomerations must be a primary goal. Comfort is another concern, as is accessibility for all, incorporated in the

de Monteiro; C.R. Arias and E.T. Donadon State University of Campinas / UNICAMP, School of Civil Engineering, Architecture and Urban Design, Dept. of Architecture and Building, CP 6021, Campinas/SP, +55 019 35212390, e-mail:[email protected] principles of Universal Design. To attend to these complex issues designers need innovative strategies, paying special attention to the “ecological footprint” of individual projects. As a result, as well, design education must follow suit. This paper presents a teaching experience involving design students with a low- income housing reality of their urban habitat. The experience stimulated the students in their quest to be creative, heightened their social conscientiousness and brought the concept of sustainability into the typical design studio discussions. 2. THE CONCEPT OF SUSTAINABILITY

Studies on sustainability investigate the complex interactions between society and nature and between the symbolic and material dimensions of social practices, which depend on local cultures (Carrión, 1997). The environmental dimension of sustainability is related to water and energy consumption, as well as CO2, methane and other emissions. In the building industry environmental quality is discussed according to a wide variety of perspectives. The development’s footprint, construction density, impermeability rates, materials and soil conservation are typical indicators found in the official lists used by governments (Silva, 2003). Most sustainability indicators have quantitative measures, which permit testing, however many issues are subjective and an inclusive decision making process is essential to permit responsible design. Other concerns are related to green areas, their relative size and distribution in urban built- up areas. The concept of sustainability relates to future

usability, quality of life and healing of present, often undesirable or inadequate, conditions (urban or inside buildings). In the last decades most cities have included sustainable development into their urban planning goals, with investments channeled to optimization of space, reutilization of building stock, improvement of open spaces and mixed use zoning propositions. Historically speaking, most cities, and in Brazil this is also the case, grow in locations where geographical, climatic and other natural aspects favor human use. Large urban conglomerations have however caused serious environmental problems, often with direct consequences on human health and the preexisting ecosystem. Today, cities must regain respect for natural resources, for the sake of the quality of urban life and economic health and growth. 3. SELF-BUILT HOUSES NEIGHBORHOODS

AND

precarious. The population of such owner-built neighbourhoods is primarily concerned with providing a home for the family. Most houses are one to two story constructions, with a high built-over area. Gardens are few and residential lots are devoid of quality open spaces. The resulting neighbourhoods, as seen in Fig. 1, provide poor environmental comfort conditions (Labaki & Kowaltowski, 1998).

THEIR

Most large cities combat problems of traffic congestion, air and water pollution and a lack of open green areas, both in urban centres and on their fringes. When poverty is added to urban problems, common in cities of the developing world, including Brazil, crucial questions must address the quality of housing. Wider strategies and efficient policies are necessary to attenuate not only the specific conditions of the house, but also the neighbourhood and the services and opportunities it offers. In countries like Brazil, the houses built by owner families represent a large percentage of residential constructions and in the literature are often termed the “new vernacular” (Nolasco, 1995; Pina, 1998; Labaki & Kowaltowski, 1998, Kowaltowski et al, 2005). Owner-built subdivisions have grown since the 1980s in Brazil, when the country abandoned its national housing policy. Settlements are situated mostly in outlying areas of a municipality, not part of the continuous urban tissue. Remaining rural areas surround them and their accessibility is

Figure 1: Views of a typical owner-built neighbourhood (São José) in the city of Campinas

A self-built suburb called “São José” represents typical examples of owner-built developments around cities like Campinas. (Fig. 2) Campinas is a city of around 1 million inhabitants 100 kilometres from the major metropolitan area of São Paulo, in Brazil. The development occupies a square kilometre area, which is divided into around 20 residential blocks. The shape of these blocks is long and narrow and a north-south orientation along the long axis is predominant. This condition gives residential lots an east-west orientation. The centre of the subdivision has public areas

reserved for institutional uses (schools, daycare centre, etc..).

Figure 2: Aerial view of the owner-built neighbourhood called “São José” in the city of Campinas, Brazil.

4. DESIGN EDUCATION Design education has been largely based on the studio method, with students developing, under faculty guidance, design projects with hypothetical problems, users and locations. Many studies have examined the typical studio design teaching method in relation to diverse aspects (learning experiences, efficiency, quality of design). Schön (1983) and later Brawn (2003) describe design as a reflective conversation with the design situation, addressing the human thought-processes and the language (drawings, models) used to make design decisions. Other studies identified problems in student design communication and the application of computer-aided design in architectural courses (Nicol & Pilling, 2000). Viewing architecture as pure art is another design education difficulty, and investigations on typical professional practices have shown that architects lack knowledge on, or fail to anticipate users’ needs (Salama, 1997). The aesthetic or formal bias is further reinforced by most architectural publications, used as teaching material in design disciplines (Kowaltowski et al., 2006). Architectural criticism is virtually devoid of human content and directed towards the formal aspects of design. Even technical aspects, evaluation results and user satisfaction rates are rarely present in architectural journals, used by students in design classes.

In architectural design the decision making process is hampered by ambiguities, inherent in the design problem. These may be considered “wicked”, lacking precise information and scope limitations. For this reason, design is a reflective activity, based on rational thought, memory, and experience as well as needing time for thought development and creative insights. In the formal teaching of design, setting these conditions have to be simulated or replaced by in-depth dives into specific problem environments, such as real urban complexities. Theoretical and practical guidance is important to enable students to deal with these challenges in a responsible, conscientious and creative way. To discuss these problems in architectural education and propose new approaches to design studio activities this paper presents an academic initiative, which questioned traditional paradigms in architectural education, substituted with concepts of urban sustainable development. 5. THE TEACHING EXPERIENCE

A teaching experience of the discipline called “Theory and Design: Social Interest projects” of the architecture and urban design course of the University of Campinas, (UNICAMP) is presented here. It took place in 2006 in the São José neighbourhood. Theoretical and practical activities were part of the course. These stimulated the second year architecture students in their design quest and heightened their social conscientiousness. In a very low- income urban residential development students identified the desires and needs of its inhabitants. From this they constructed architectural necessity programs for the area. Design proposals had to attend the requirements of sustainability, bioclimatic architecture and Universal Design. Student groups were also asked to adopt a participatory design process with the local population. Creativity was considered important, especially when associated with sensitivity towards problems encountered in the specific

urban area. Studies have questioned the traditional view that creativity is a psychological phenomenon, vague and mysterious in nature and depending on inspiration, talent and intuition (Silva, 1986). A conscious design process, culminating in concrete solutions was emphasized. For creative solutions to emerge, theoretical concepts of accessible and sustainable and bioclimatic design were discussed in depth with the students. The reflections on reality in a social interest context were seen as important for a more mature outlook of students on the subjects in question. Students were formally introduced to architectural programming (briefing) methods and basic principles of Brazilian urban morphology. They also received orientation on participatory design methods and questions of professional ethics were discussed in class. Three distinct phases occurred. First, students got to know the neighborhood, questioning the population on their needs, desires and fears. Student groups produced a diagnosis of the area. Local families demonstrated their awareness of the city as a whole and had clear insights and critical views on its problems and solution sphere. In a second phase, physical models of the housing area were produced (Fig. 3) The class as a whole produced a volumetric model, with the SketchUp - CAD software, using images of Google Earth as a base (Fig. 4).

then be part of a participatory design process, to facilitate the population’s recognition of their environment. Proposals for the neighborhood were presented as posters (Fig. 5-7).

Figure 4: the Sketch-up model of a street in the São José neighborhood

Figure 5: Student design proposal of a health and commercial center

Figure 6: Student design proposal for a school

Figure 3: Student model of the São Jose neighborhood

The documentation was precise, representing the reality truthfully and could

Figure 7: Student design proposal for a linear park

Finally students singled out specific needs and developed preliminary design solutions for a school, a health center and a linear

recreational park among some of the proposals. Many projects were directed towards collective spaces, sidewalks, urban infrastructure and services. One student group wrote a handbook to aid families in the ir house building efforts. Especially the question of construction evolution (change, increase in functional areas etc..) were included in the manual and the aspects of environmental comfort, sustainability and accessibility were transformed into practical applications. The posters were presented to the population and the models were shown at this occasion too. Fig 8. shows the student group in the neighborhood during their analysis and participatory visit.

6. CONCLUSION

Many studies exist which explore participatory methods in urban planning and design processes, but most of these create unattainable expectations. Participation often cannot bridge the gap between population (users) and designers and planners. Understanding of proposals is often erroneous or very low. Detail information is lost in the conversation or written material presented in such processes. As Kaplan (1984) showed: “The discrepancies between what experts know and take for granted, and what people know and hold dear must be examined. Incorporating participation is an effective way to recognize that experts and affected groups have different knowledge, perceptions, and needs.” To overcome some of these difficulties design teaching must be specific as to its goals and bring reality to the studio. Service education is thus seen as a means of stimulating a more profound social responsibility and an environmental sensitivity in future professionals. 7. REFERENCES

Figure 8: Architecture student group in são Jo sé neighborhood.

Results showed that the concrete example was fundamental to the creative process, challenging students to develop viable solutions. All proposals were coherent in their representation of the reality. The question of sustainability was presented to the population as a means of opportunities for financial gains and an improved quality of life. The rational use of energy and water, as well as recycling of trash was explained. Accessibility was an issue incorporated into the student designs, through the concept of generous dimensions. Street paving details and urban furniture were proposed. Thus, the reality incorporated into the design decision realm, strongly stimulated responsibility and a more profound social and environmental perception.

Brawn, M., (2003), Architectural Thought: the design process and the expectant eye, Architectural Press, Elsevier, Oxford, UK. Carrión, D. (1997), A refomra urbana num contexto de sustentabilidade, IN: Metrópolis (in)sustentáveis, Rio de Janeiro, Relume -Dumará, Brazil. Kaplan, R. (1984), The impact of urban nature: a theoretical analysis. IN: Urban Ecology, 8, pp. 189-197. Kowaltowski, D.C.C.K.; Pina S.M.A.G. and Barros, R.M.P., (2006), Architectural Design Analysis as a Strategy for People Environment Studies: Finding Spaces “That Work”, IN: Proceeedings of 19th IAPS Conference, International Association for People-Environment Studies, Alexandria, Egypt, 11-16 Set. 2006, CD pp. 1-6. Kowaltowski, D.C.C.K.; Pina, S.A.M.G.; Ruschel,R.C.; Labaki L.C.; Bertolli, S.R., Borges, F. and Fávero, E., (2005), A House Design Assistance Program for the Self-Building Process of the Region of Campinas, Brazil: evaluation through a case study, IN: Habitat International, Pergamon Press, UK, v.29, 01/2005, pp. 95-111. Labaki, L.C. and Kowaltowski, D.C.C.K., (1998), Bioclimatic and Vernacular Design in Urban

Settlements in Brazil, IN: Building and Environment, Elsevier, UK, 33 (1), pp. 63-77. Nicol, D. and Pilling, S. (Ed.), (2000), Changing Architectural Education: Towards a new professionalism, E& FN Spon, London, UK. Nolasco, A.M., (1995), Caracterização do processo de autoconstrução no município de Piracicaba/SP. In: Seminário Nacional sobre Desenvolvimento Tecnológico dos Pré-Moldados e Autoconstrução, Proceedings of NUTAU - FAU USP, pp 59-70, São Paulo, Brazil. Pina, S.A.M.G., (1998), Diretrizes para projetos habitacionais populares em Campinas - São Paulo. Tese (Doutorado), Escola Politécnica, USP, São Paulo, Brazil. Salama, A., (1997), “New Trends in Architectural Education: Designing the Design Studio” The Anglo-Egyptian Bookstore, Cairo, Egypt. Schön, D., (1983), The reflective practitioner, New York, Basic Books, USA. Silva, E,. (1986), Sobre a renovação do conceito de projeto arquitetônico e sua didática. In: COMAS, C. E. (ORG.) Projeto arquitetônico disciplina em crise, disciplina em renovação. São Paulo: Projeto, Brazil. Silva, V.G., (2003), Avaliação da sustentabilidade de edifícios de escritórios brasileiros: diretrizes e base metodológica. São Paulo: Escola Politécncia da USP, (thesis), Brazil. Acknowledgements: The authors of this paper would like to thank FINEP, Fundação de Estudos e Projetos for their support the study of the neighbourhood and the students of the class of Au114, Teoria e Projeto IV: projeto de interesse social, of the School of Civil Engineering, Architecture and Urban Design for their contributions.

The ideas that should shape buildings: can they be taught effectively Vanessa Gomes da Silva and Doris C.C.K. Kowaltowski State University of Campinas / UNICAMP, School of Civil Engineering, Architecture and Urban Design, Dept. of Architecture and Building, CP 6021, Campinas/SP, +55 019 35212390, e-mail:[email protected]

Ideas that shaped buildings were based on principles or treatises and specific design processes. With Modernity and the Bauhaus formal, classical principles were abandoned and since the 1970s the desire to apply scientific methods and concerns for users have sought to improve design research and education. The ideas that shaped architecture were mainly formal aesthetic, functional, technical and economic aspects of buildings. These ideas continue important, however some new ideas have come to the forefront, which demand new ways of thinking and teaching. These ideas are 1) innovation, 2) environmental comfort, 3) psychology, 4) urban impacts and 5) sustainability. Computer aided design can be considered the sixth idea affecting the process that shape buildings. Innovation has been a driving force in the creative architectural process since principles from the treatises were abandoned and interesting prospects present themselves to test methods that stimulate creativity such as “TRIZ”. Environmental comfort has become a mandatory subject in architecture, often client imposed and environmental psychology has found its way into design through interdisciplinary approaches and participatory processes. Urban impacts are emphasized, especially to deepen concerns over public and private spheres. Lastly sustainability has had a special impact on design and has dominated many educational reforms in the building sciences. This paper addresses some related questions: Has the accumulated knowledge on the creative process been formally applied in design studios? Does user comfort permeate deeply design proposals? Must architects be made more accountable for their action? Is the concept of sustainability clear in its application to building design? Can computers participate more effectively in the design process? Does design education need changes?