şirket mi stüdyo mu | or from the studio directly into the firm

paker-kahvecioğlu, nurbin; architectural design studio organization and creativity, in A|Z, ITU journal of the faculty of architecture, vol4 no2, fall 2007, pp6-26

[we were right to be suspicious about this ideology of creativity (when we were working on the “like-rectangle" workshop). despite all its joy and pleasure, in fact, creativity, is basically a competitive tool for production and distribution, more than ever, in our recent era.. that’s why it comes to prominence, but this may be problematic. (sanki-dikdörtgen’de bu yaratıcılık ideolojisinden kıllanmakta haklıydık, bütün heyecan ve keyfine rağmen, aslında yaratıcılık, içinde bulunduğumuz dönemde, bir üretim ve dağıtım aracı, bir rekabet aracı... o yüzden de böyle sitayişle ön plana çıkarılıyor, ama burası sorunlu bir alan olabilir...)]

defining creativity and innovation:
p9. “essentially, in simple terms, creativity means seeing a relation between new information and a previous experience and developing a fresh combination out of this perspective. (paker-kahvecioğlu 2001). individuals who are successful in making new associations from unrelated elements tend to have unusual access to the potential new input (canaan, 2003).”
“moreover, ideas that support creativity as a phenomenon that can be gained through ‘time, experience and education’ have more credibility than the idea that it is a natural gift. creativity is an attitude not a mysterious gift (amabile 1991; takala, 1993; sternberg and lubart, 1999; paker-kahvecioğlu, 2001)”

p11. architectural design (studio) teaching/coaching: creative versus ‘skill-based’ / ‘hands-on’ approaches:
“the main strategy of architectural education can be defined as the provision of the teaching and learning process through constructing and forming “new thought(s), information(s), or design / product(s) over time with a certain accumulation of knowledge through this process. architecture is an intellectual field of study and experiment; and (architectural) design and its education are fed by intellectual curiosity, energy and awareness (yürekli, 2007). this approach, as stated earlier, supports the idea that the design process and creativity that is formed through this process is a learned process. the main aim of design education is to provide different design experiences; to guide in the taking of an active role and / or the taking of risks in different fields of design; to facilitate knowledge acquisition, exchange and processes; to provide a powerful communication and motivation medium and to direct it to student-designers that have different cognitive styles and intellectual superiorities. active components for realizing this are “design studio as a communication medium”, “design task or problem”, “design knowledge” and “different communications media” and the persons are “student-designers and studio instructors” (paker kahvecioğlu 2001)” [problemi çözdüren araçlar yok bu listede, tasarlama araçları eksik, sadece temsil araçları var... makalede bir mesele daha dikkatimi çekti: tamamını alıntılamadım ama yer yer stüdyodan ziyade bir şirket için yaratıcılığın olanaklarını araştırır görünen ifadeler var...]
p12 “within the collective transformation in beliefs, values and practices, which are implied by the concept of learning, lies a distinction between adaptation and innovation. this distinction suggests that the changes occur either within a given framework or imply a break that goes beyond the given and represents something creative. in the creative type the learner not only evaluates outcomes or chooses methods, but also defines the task and the conditions in hand – diagnosing the situation. creative learning (CL) occurs when groups of individuals begin to reflect upon and transform established routines, structures and practices. according to holmquis (2007), this type of learning is similar to what piaget calls accomodative learning, as argyris and schön (1978) call, double-loop learning; as march calls, explorative learning; as senge calls, generative learning and as engeström calls, expansive learning. (CL) can be stimulated by a Creative climate (CC). a (CC) is characterized by shared information, open communication and a focus on human and professional development. (CC) is described as positive approaches to creative ideas, supported by a relevant reward system. through architectural studio (as aCC) instruction, students face diverse problematic situations that present themselves as unique cases. because “the unique” falls outside the categories of existing theory and technique, a student cannot treat it as an instrumental problem to be solved by applying one of the rules in her / his stock of previous knowledge. if one is to deal with it competently, then one must do so by a kind of improvisation, invention and test situational strategies of one’s creation. from this perspective short term studies, informal practices or workshops present new potentials for innovations dealing with exceptional problematic cases.”
p13. “... design education is required to be in a structure that directs the student-designer towards a multi-dimensional and dynamic process of thinking and “ways of knowing as a designer” (cross, 2006; schön, 1987)”
p17. “design studio milieu” as a creative organizational climate
“more than just being a place for knowledge transfer and sharing, the design studio medium should be a social environment triggering creativity. today’s architectural design studios differ from those of former times in terms of critique, knowledge acquisition, educational strategies, products and so on. design studio results in ‘knowing how to design’ and the process of design with an emphasis on studio organization.”
“if the most critical characteristic of the new design studio environment is accelerating the pace of change, then the ability to develop quickly and creatively and implement new strategies and the organization designs required to make them work will become a major source of competitive differentiation.” [şirket mi tarif ediyor, okul mu?]
p18. “design studio tutoring is an act that relies heavily on interaction. it is like a kind of performance art. the interactions between tutor, student, the subject taught and the studio setting from a phenomenon of non-scripted drama. there is no one-way, clear-cut, step-by-step routine procedure to perform adequately in the act ...”
p19. “the studio instructor as a leader should not be the arbiter and the only expert. on the contrary, the student should have a more active role, and become a person who experiences and produces rather than being a passive learner. pedagogically speaking, a studio instructor is placed in design studio organization on the strength of his / her instruction and leading performance rather than individual skills and creative potential.”
“beyond analytical, cognitive, psychological, symbolic and discursive activities, we identify four sets of activities carefully coined to acknowledge the everyday work of the project managerinvolved in creative projects. [buradaki 'project manager' dil sürçmesi mi?.. oldukça manidar..] it may be suggested that the studio instructor acts as a sense-maker, a game-master, a chess-player or a flow-balancer.”
p20. “the design studio changes from a place that uses traditional analogue systems and their tools for presentation (such as sketches, drawings, reproduction-models, 2d 3d graphics...) to a place that opens itself to various media (such as photography, cinematography, audio-visual recordings, computer-based representations –animation, 3d4d, virtual or hybrid mediums...-graphic-art-based presentations –collages, pictograms, ideograms, calligraphies...-)”

kaynakçadan seçtiklerim:
canaan, d.; 2003; research to fuel the creative process, design research: methods and perspectives; ed. laurel, b.; the mıt press
cros, s. (ed.), 2005, OPOP: operative optimism in architecture, actar, barcelona
cross, n., 2006, designerly ways of knowing, springer-verlag, london.
earl, c., johnson, j. and eckert, c. 2005, complexity, design process improvement: a review of current practice, eds clarckson, j. and eckert, c. springer-verlag, london
gurteen, d., 1998, “knowledge, creativity and innovation”, journal of knowledge management, vol.2, n.1, september 1998
hargreaves, d. 2000, towards education for innovation, qualifications and curriculum authority (qca), 22nd november 2000, london, uk, 2
nickerson, r.s., 1999, enhancing creativity, handbook of creativity, ed. sternberg, r.j., cambridge university press, cambridge, uk,
paker-kahvecioğlu n. 2001, interaction of knowledge and creativity in architectural design education, phd thesis, itu, istanbul
schön, d.a. 1985 the design studio: an exploration of its traditions and potentials, riba publications ltd, london
schön, d.a. 1987, educationg the reflective practicioner: toward a new dsign for teaching and learning in the professions, san francisco: jossey-bass