GETTING READY FOR VIRTUAL STUDIO

LANDSCAPE ARCHITECTURE
CREATING A HOME STUDIO ENVIRONMENT
Your creativity and thinking this year for the Studio Courses will require you to
develop a space for your work to continue. This is an important aspect of your
success as a student and in design. You must make a space to allow for
creativity, inspiration, critical insight, laughter and the enjoyment of design.
So create a space for you and your creativity to occur. Get some cork boards so
you can hang up inspirational designs or trace paper. Find a large desk and put
it in a quiet space for concentration and focus. Make a place for your tools.
Make a place for your computer and your drawing and sketching.

Where will you put your Wall of Ideas and Images? How will you have an
inspiration filled workspace? How will this space be an environment for you to
learn about design and to learn about yourself. This workspace is the anchor for
your success for the upcoming semesters. This space must allow your to explore
and review and analyse and create.
You are developing your voice - a maturing voice of you and your view towards
the world and life. The voice you create this year in these studios will stay with
you beyond the classroom.

SUSTAINABLE DESIGN FOR A CHANGING FUTURE

 LANDSCAPE ARCHITECTURE
CREATE AND DOCUMENT DESIGN IDEAS
Your home studio will allow you to best create work and execute ideas in the
production of landscape architecture design products. There are a variety of
tools which you can use - digital or analog. What other tools can you use to
learn and share with others your ideas? What apps can help you in your process
of critical thinking and designing?

You are going to link your design work and ideas to a narrative and a design
idea you have? What body of work will you be creating and sharing with the
instructor and other students? Remember, the design process - the exploration
and iteration of ideas - is an important component of your grade in Studio.

Lastly, you are responsible to conveying or documenting and communicating

your work in the best means possible, just as in the University studio; however,
there are many tools and techniques at your disposal. Smart Phones have
various levels of camera quality - but there are better settings than others.
Natural light vs flash - you need to figure this out prior to submitting work. Some
work might need to be put into Photoshop or some app/program for color and
light correction.

SUSTAINABLE DESIGN FOR A CHANGING FUTURE

 LANDSCAPE ARCHITECTURE
COMMITMENT TO EDUCATION
Dalhousie University and the Landscape Architecture Program is committed to
ensuring your online learning experience and education continues to be
delivered in an outstanding manner. Our academic quality will not suffer nor will
the education and learning experience of our students. There are many and
unique issues we will address during this semester.
COMMUNICATIONS
Online environments are normally driven by text as opposed to face-to-face lectures, with some
emphasis on live or verbal exchanges. Emphasis on the written word, whether in communication
forums or via other platforms, creates potential issues related to the interpretation of content. Students
from different cultures (local, national and international) and whose first language is not English tend to
interpret messages in text and feedback and may often decipher it differently from the original intent of
the instructor.  
We will conduct periodic assessments of your written and verbal submittals and assignments to make
sure you are maintaining a clear understanding of the course’s intent. Our feedback will be modified to
address these cultural and accessibility issues to make sure you remain engaged in the coursework.
INTERACTIONS
Cultural norms, which can be defined as “common beliefs, expectations, and practices” of a
society may impact how and when students respond to questions, including their perceived roles in a
forum. Students from Western cultures, for example, are more apt to view the instructor as a facilitator,
rather than non-Western students whose cultural norm is to view the instructor as more authoritative in
nature. They tend to value teacher feedback more than peer feedback and get frustrated when they do
not see teacher presence.
The role of the instructor is still critical, but adapting to western education culture is required. We will
be available for consultation and guidance on any issues and provide constant feedback to your work
and course progress.

PRESENCE, PARTICIPATION and CRITICAL REFLECTION

Students hesitate to ask questions, give up on discussions, or make fewer inputs when their
perspectives/experiences are different/contrary with those of other participants or with that their
teacher. This is particularly problematic when active participation in discussions, etc are highly valued
and assessed. Also, challenging and criticizing others’ ideas may not be considered culturally
appropriate in some cultural groups but highly valued in the North American/Canadian context.
We are committed to make sure the instructor efforts promote critique and divergent thinking. We strive
to create safe space where your experiences, opinions, beliefs and knowledge is valued and easily
shared.

We will check in with you often and are open to any communication we can provide to address
your concerns. We are here to support your education and success. We are here to listen.

SUSTAINABLE DESIGN FOR A CHANGING FUTURE

 LANDSCAPE ARCHITECTURE
BUILDING RELATIONSHIPS
Teaching Landscape Architecture students online is not about looking good in
front of a camera, delivering a scripted lecture, and talking at a tiny camera lens,
it’s about developing meaningful relationships.

Standard lecture approaches when taken from a classroom setting and sent
through the virtual environment sometimes leave a bad taste in the mouth,
resulting in both students and lecturers feeling disconnected. The LA Program
seeks to address this challenge and build connections which are key to student
success and make learning and teaching enjoyable. The relationships between
students and instructors affects everything from student satisfaction to their
capacity to take risks and excel, to a sense of personal efficacy and sustained
curiosity. 

Recent research on student engagement in online learning has shown the need
to focus on the quality and variety of such relationships. Online, it is important to
establish a strong teacher presence to motivate students and ensure they feel
cared for. Hearteningly, the research also found that students did not see online
platforms as the main barrier to meaningful interaction.

The LA Program will build meaningful relationships online through a variety of

methods and approaches beyond extended lectures such as small-group
tutorials, 1-on-1 video sessions, virtual group discussions, and other interactive-
based videoconferencing. Additionally, more regular BrightSpace
communications, concise and actionable feedback, and instructor participation in
online chats and discussions.

As educators and students, we need to be willing to experiment: this will be

unsettling for both staff and students at times, who have become comfortable in
their respective roles. But we both must now think seriously about relationships
and, perhaps, be more open and vulnerable in the learning and education
experience. In the early moments, it will be glitchy and awkward and
imperfect.  But these changes may in fact revitalise university education, and
make it a better reflection of the knowledge exploration and learning experience.

SUSTAINABLE DESIGN FOR A CHANGING FUTURE

 LANDSCAPE ARCHITECTURE
APPROACHING ONLINE LEARNING
The Landscape Architecture Program for the Fall of 202 will see online teaching
and learning will be the primary mode of education. This mode of teaching is not
new, it has been around for decades and there is as long list research and
methods to make sure online teaching can be as effective as face-to-face
learning, and in some cases, moreso. Evidence generally shows there are no
significant differences in students’ academic outcomes between online and face-
to-face education.

We must be prepared and ready to accept this mode of teaching and learning.
Here are some qualities of what a good on-line course in the LA Program for
2020 will look like:

• A good online course crafts a learning experience.

Courses are designed to be engaging and encourage student’s interaction.
Courses are based on clear and two-way communication in an online
environment.

• A good online course is interactive.

Courses are much more than placeholders for students to access information.
A good online course provides information such as readings or lecture videos,
but also involves interactions between professor and students and between
students and students. Engage

• A good online course is flexible

Course content is delivered through various digital technologies, students can
watch or listen at their own pace and on their own time.

• A good online course is supportive.

Courses, the LA Program, the Department and Dalhousie University will
continue to provide access and support to students and their concerns.

SUSTAINABLE DESIGN FOR A CHANGING FUTURE

 HOW TO MAKE THE MOST OUT OF VIRTUAL DESIGN STUDIO
Ask Questions: You are in a unique type of learning environment and surrounded by smart faculty and students, make the most of it.

Teach yourself: Even though you'll be learning from your teachers and fellow students, it's important to teach yourself the things that aren't always included in the
curriculum. The internet is home to a beautiful, magnificent, constantly-updated treasure trove of tutorials.

Organize & Catalog: As you visit websites, make a graphic library; take the time to organize your research and graphics - it will serve as a tool in the future.

Create Freely: University and design studio are there to open our minds. Don't let yourself or others close it. Sometimes you can’t find the reasons for a design decision you
make, Just believe in your ideas and continue to work on it until it is clear. You have these classes of total experimental freedom. Enjoy it.

Read Read Read: Look through journals and books. Follow RSS feeds and blogs. Look at websites for current ideas and designs.

Don’t be afraid to question your teachers: there are many ways to approach landscape architecture design and becoming a clone of someone else isn’t always the best
way. You’ll produce more interesting and individual designs by learning from your teachers, but also questioning them occasionally. Their feedback may not be right, but
you have to show why.

Persevere: Frustration will be part of your everyday life when designing and exploring solutions. Each assignment will test your resolve, love the work and know the big
picture.

Be Patient: Listening to an arrogant student or annoying professor might be hard, but there is always something to learn – even if it's just what not to do.

Learn to Write: Writing is an important skill in landscaoe architecture and needed to successful communicate design ideas. Write. Edit. Google Translate. Visit Writing
Center. Repeat. Better articulation results in a clearer design process, you’ll develop a better appreciation for what to say during reviews and crits by practicing in writing.

Stay Healthy: Design activities can be strenuous, but you’ll be far more effective as a fully functioning student than as an overworked zombie.

Stay Energized: Eat full meals at proper times whenever possible. When it isn’t, make sure to keep healthy snacks available - a tin of nuts or clementines can save your life.

ENJOY THE
FOR A CHANGING FUTURE OF LEARNING
EXPERIENCE
SUSTAINABLE DESIGN
 HOW TO BE A STRATEGIC DESIGNER
In order to be a good designer, you will have to first play and outline what you will do and how you will go about meeting your design goals
and the course requirements. This strategic organization is key to achieving success in your studio classes.
Writing down a schedule or a list of items you will produce is just a critical to sketching and graphically thinking about your design. You
should try to engage both sides of your brain in the design process - the linear, objective oriented side and the creative, explorative side.
Doing so will keep you on track to complete the assignments in a reasonable amount of time with a high level of quality.
Importantly, as your design ideas develop and you begin to do the work of your schedule, new ideas and new requirements will arise. But
you will need to maintain your strategy and refine your approach as needed. Landscape architecture design and problem-based learning is
not a linear process. There is no predictable sequence of events or rational approach to creating a good design. To think of design in
landscape architecture studio as a linear sequence of tasks is an illusion you must not hold on to.
Rather, design studio is a continuous process of design idea, review and assess, and improve or explore alternatives + repeat. Design, thus,
becomes an iterative process - where the exploration of design ideas and refinement of design alternatives grows and evolves from doing
the work of design and design thinking. You must synthesise ideas during this design activity.
“Iteration” according to Merriam-Webster Online:
a), constitutes “a procedure in which repetition of a sequence of operations yields results successively closer to a desired result.”
As you actively design and do the homework of design, you will see that problems become defined and clarified over time; new problems
emerge and new solutions develop only through doing this process.

SOLVINGSUSTAINABLE
COMPLEX INTERRELATED PROBLEMS THROUGH DESIGN THINKING
DESIGN
FOR A CHANGING FUTURE
 HOW TO BE A THOUGHTFUL AND THOROUGH DESIGNER

The Design Squiggle - Daniel Newman (2006)

Image from www.ign.com/blogs/vrank92

Table 1 - Design Strategies Rubric, David Crismond (2008)

DESIGNSUSTAINABLE
FOR A CHANGING IS
THINKING DESIGN ACTIVE LEARNING
FUTURE
 HOW TO APPROACH DESIGN DEVELOPMENT
Learning to be a designer is a way of thinking; there is not set of rules and checklists.
The following chart begins to outline some important strategies to complete designs within studio courses and problem-based learning.
By doing these actions within design studio project assignments, the process of learning will be activated and, when integrated with the design process of drawing,
ideation and exploration, successful project submissions will follow.

It is scary and frustrating to start a design - Where to begin? What do I focus on - there are so many things I need to know … It is easy to sit there - paralysed by this
uncertainty … what do I do? Design education is considered relativistic - students and instructors work together to complete assignments with the student directing the
design development and the instructor providing feedback and direction. Research has shown this epistemological approach to be a more meaningful way of learning,
retaining information, and establishing productive behaviours, particularly within the design disciplines (Richardson, 2013; Chance, 2012; Bagolda, 1992; Mostert, 1986). There
is no right answer in design - no dualistic direction given by the instructor with a single response. The table on the next page has some good ideas to get started.

EXPLORE
FOR A CHANGING FUTURE - ACTIVE LEARNING THROUGH DESIGN
THE CHALLENGE
SUSTAINABLE DESIGN
 HOW TO APPROACH DESIGN DEVELOPMENT
DESIGN DEVELOPMENT PHASE DO NOT DO THIS DO THIS

1 EXPLORING THE Little exploration.

Explores well, understands it has significant benefits.

CHALLENGE Makes brief readings and overlooks case study reviews and other research.
Embraces process as a means for generating new ideas and understanding site & design.

Does not use the internet wisely and efficiently.

Does not make decisions until the problems or challenges have been explored from many
Makes decisions prematurely.
different angles and perspectives (e.g. socio-cultural vs ecological).

Does not have a folder of saved information and drawings to refer to.
Seeks to map a process and outline of work to achieve success.

Does not use a sketchbook to graphically develop ideas and make notes.
Integrates existing information, case studies, and research.

Does not make a list of actions to outline their work.

Uses inquiry as a way of learning, uses internet wisely and effectively.

Looks for answers in external authorities.

Begins to understand how things and design ideas work and why.

Believes there is only one correct answer and an authority will know this.
Has folders where they save information.

Does not question authorities and other respected opinions or ideas.

Conducts quick sketches and design ideas to explore a wide range of ideas.

Seeks functional answers to solving design problems.

Creates an action list and outline of the work time for each task.

Views answers as sacrosanct, not open to questioning or exploration.

Shows evidence of listening to others opinions and ideas without judgement.

Thinks there is no context in design answers - that 1 answer will work Sees the instructor as providing correct context for exploration of knowledge.

everywhere.

2 GENERATING, DEVELOPING Works in linear steps.

Consults the instructor for feedback and help when needed to develop ideas.

AND COMMUNICATING Tries to provide answers they think the instructor wants to see.
Has a set of personal and career goals which are being met in the design project.

Does not review their work before submitting.

Uses problem-solving strategies, in any order, as needed.

IDEAS & SOLUTIONS

Does not take the time to critically think about what they read or do.
Uses words, drawings, sketches, models and other to explore ideas and show how parts
Mostly learns by imitation and copying work of others.
of the design are interconnected.

Does not follow list of actions or outline of their work.

Does not get frustrated and disappointed in their work; is able to always move forward.

Gets confused and frustrated easily.

Understands design learning includes failure and what seems like wasted time (it isn’t).

Works to receive and reproduce knowledge - not develop ideas. Seeks simplicity in their design. Ingegrates subjective and objective thought/

Considers past experiences or personal knowledge in their design development.

3 ASSESSING IDEAS AND Avoids doing iterative design - does one design once.
Uses iterative design and thinking as a means to learn.

SOLUTIONS, CRITICAL Does not explore design at multiple scales.

Explores their project design at multiple scales to understand the unique site issues.

Does not show awareness of their own design thinking or thought process.
Is aware of their behaviours and design thinking - improves where needed.

THINKING AND
Does not change behaviour even though it may not work for design learning.
Understands there is enjoyment within the design process and problem-based learning.

REFLECTION Values grades over learning how be a designer and problem-solver.

Uses feedback from instructor and others as a way to improve ideas.

Pays too much attention to simple pros & cons.

Practices reflective thinking - often in a sketchbook.

Has an unfocussed way of design thinking and project analysis.

Does not make the same mistake.

Shows little self-reflection or monitoring or action and behaviour. Develops internal standards which guides their learning.

Understands design requires a balance and trade-off of good ideas.

Exhibits good time management and adheres to well thought outlines.

Values the instructors ability to promote individual thinking and exchange of opinions.

Asks important questions to help them grow and learn as a designer and human.

Understands the role of the studio instructor is to help students evaluate various
perspectives and not give answers. The instructor is not responsible for your design
development, only for positive, productive and meaningful criticism.

Table 2 - Epistemological Development for Designers, GIPL; modified from Shannon Chance, 2012.

EXPLORE
FOR A CHANGING FUTURE - GENERATE SUSTAINABLE IDEAS
THE CHALLENGE
SUSTAINABLE DESIGN
 LANDSCAPE ARCHITECTURE

DESIGN
& PROCESS
IN LANDSCAPE ARCHITECTURE, THE PROCESS OF DESIGN REQUIRES TRIAL & ERROR.
IT REQUIRES WORK THAT IS EXPLORATORY, WORK THAT IS DIVERGENT, WORK THAT IS NOT USED.
THE POSSIBILITY OF DESIGN

YOU MUST TRY SOMETHING DIFFERENT: VARY YOUR DESIGN. DEVIATE. ANTI-CONCEPT.

WHAT IS CONTRADICTORY TO YOUR DESIGN CONCEPT. CONTRASTING. OPPOSITE.

EXPLORATORY DESIGN DOES NOT AIM TO PROVIDE THE FINAL FORMS AND ANSWERS TO THE
DESIGN, BUT MERELY EXPLORES THE DIFFERENT IDEAS WHICH COULD HAPPEN.

YOU ARE NOT SOLVING EVERY PROBLEM, BUT RATHER PICK A SINGLE ISSUE OR DESIGN AREA
AND EXPLORE, QUICKLY AND DIAGRAMMATICALLY SOMETIMES, WHAT COULD BE.

RESEARCH THROUGH
SUSTAINABLE DESIGN DESIGNING
 LANDSCAPE ARCHITECTURE

DESIGN
& PROCESS
THERE IS SATISFACTION TO BE FOUND IN THE DESIGN PROCESS.
THE DESIGN PROCESS HAPPENS DURING DINNER, DURING YOUR SLEEP, AND WHEN YOU LEAST
EXPECT IT. THE SATISFACTION COMES NOT IN THE FINAL DESIGN OR SOLUTION, BUT IN THE
JOURNEY THAT HAPPENS WHEN YOU SEARCH FOR THE DESIGN SOLUTION.

THESE DESIGN STUDIES ARE

PURPOSEFUL ALTERNATIVES
USED TO EXPLORE AND
EVALUATE A RANGE OF
DIFFERENT MEANS OR FORMS
OR THEORIES TO ACHIEVE THE
SAME DESIGN GOAL.

PROBLEM SOLVING
SUSTAINABLE WITHIN DESIGN IS NOT A LINEAR PROCESS
DESIGN
 LANDSCAPE ARCHITECTURE

DESIGN
& PROCESS
THERE IS NO CORRECT ANSWER.
DESIGN TAKES TIME. DESIGN IS DISCOVERY.
THERE IS NO CORRECT ANSWER TO LANDSCAPE ARCHITECTURAL
DESIGN AND YOUR STUDIO ASSIGNMENTS. BUT SOME ANSWERS
ARE BETTER THAN OTHERS - AND IF YOU DO NOT COMPLETE DESIGN
ALTERNATIVES, YOU WILL NOT FIND THE BETTER DESIGN AND
SOLUTION TO THE SITES ISSUES.

DESIGNSUSTAINABLE
IS THE PROCESS
DESIGN OF DISCOVERY
 LANDSCAPE ARCHITECTURE

DESIGN
& PROCESS
DESIGN IS NOT FUN.
IT IS FRUSTRATING. IT IS TIME CONSUMING. IT IS CHALLENGING AND MESSY.
THIS IS A PERSONAL DIALOGUE YOU HAVE WITH YOUR DESIGN. YOU GO DOWN
ONE PATH FOR 10 MINUTES AND PERHAPS A BETTER IDEA COMES ABOUT AND YOU
START THAT. OR YOU GO DOWN A PATH BUT IT LEADS TO NOTHING - YOU DON’T LIKE IT OR
IT DOESN’T WORK. OR, MORE IMPORTANTLY, IT DOESN’T WORK BETTER THAN
ANOTHER IDEA YOU HAVE CREATED.

THIS IS PART OF YOUR WEEKLY HOMEWORK. TRACE PAPER AND DRAWING.

DON’T FOCUS ON RESULTS. DESIGN HAS DETOURS AND DEAD ENDS. BUT THAT
IS THE ONLY WAY TO LEARN WHAT WORKS AND WHAT DOESN’T. NO ONE CAN KNOW
WITHOUT DOING THE PROCESS OF DESIGN.

DESIGNSUSTAINABLE
IS A CONTINUOUS
DESIGN STORY
 LANDSCAPE ARCHITECTURE

DESIGN
& PROCESS
WHERE DO DESIGN IDEAS COME FROM.

TIPS AND TRICKS

GO BACK TO YOUR CONCEPT STATEMENT. WHAT CLUES ARE THERE FOR IDEAS OR FORMS.
WHAT THEORY IS YOUR DESIGN BASED ON : ECO- REVELATORY? ABSTRACTION? HUMAN WELLBEING?
LANDSCAPE AS… PERHAPS YOU CAN JUST TELL A STORY IN YOUR SPACES AND SHAPES.
IS THERE A SPATIAL HISTORY TO THE SITE? ARE THERE LINES OR PATTERNS WHICH CAN BE TRACED?
ASDFAD
PUT YOURSELF IN THE SHOES OF THE USER… HOW WILL SOMEONE WALK THROUGH THIS SPACE AND
USE IT? WHAT DO THEY NEED TO IMPROVE THEIR SITUATION? WHAT WILL THEIR EYES SEE?
GOOGLE IMAGE FOR SOLUTIONS OTHERS HAVE DONE. TAKE ONE OF THOSE IDEAS FOR FORMS AND
BEGIN TO DRAW IT ON YOUR DESIGN AND SEE WHERE IT GOES.

DESIGNSUSTAINABLE
IS THE PROCESS
DESIGN OF DISCOVERY
 LANDSCAPE ARCHITECTURE

DESIGN
& PROCESS
LANDSCAPE ARCHITECTURE AND DESIGN IS A SKILL THAT
CAN ONLY BE LEARNED BY DOING.
IT IS A PROCESS OF REFINEMENT OF SOLUTIONS AND IDEAS.
IT IS A PROCESS OF INTERNAL COMMUNICATION .
IT IS A PROCESS OF IDENTIFYING WHAT REALLY IS
THE DESIGN ISSUE.

YOU MUST TRY - YOU MUST INITIATE THE DESIGN PROCESS -

AS SCARY AS IT MAY BE.

YOU MAY SEE NO ROAD TO FOLLOW, NOT KNOW WHERE TO

START. THAT IS NORMAL.

DESIGNSUSTAINABLE
IS A HANDS-ON
DESIGN PROCESS
 LANDSCAPE ARCHITECTURE

DESIGN
& PROCESS
THE LANGUAGE OF DESIGN IS VERY DIFFICULT.
THE WORDS AND CONCEPTS USED IN THE BOOKS AND WEBSITES AND BY THE INSTRUCTORS CAN
BE CONFUSING. THE DESIGN LANGUAGE IS UNIQUE AND OFTEN COMPLICATED.

BUT YOU NEED TO DEVELOP THIS LANGUAGE IN ORDER TO COMMUNICATE AND GRADUATE.

BALANCE - PROPORTION - SIMPLICITY - HIERARCHY - UNITY - SEQUENCE - TEXTURE - RHYTHM

JUXTAPOSE - VISUALISE - FOUNDATIONAL - ENGAGING - EMOTIVE - MATERIALITY - INFLUENCE
URBANISM - RESILIENT - PERMEABLE - ECOLOGICALLY SENSITIVE - PERFORMANCE - CONTEXT
CLIMATE ADAPTION - WATERSHED - IMPACT - CONNECTEDNESS - ECOSYSTEMS - CULTURAL
HUMAN WELLBEING - GREEN INFRASTRUCTURE - THEORETICAL - PRECEDENCE - EMERGENCE
RURAL - VALUE ADDED - REGIONAL ENVIRONMENT - QUALITY - COST EFFECTIVE - RICHNESS

DESIGNSUSTAINABLE
PROVIDES A MEANS TO BE AGENTS OF POSITIVE CHANGE
DESIGN
 LANDSCAPE ARCHITECTURE
THE DESIGN PROCESS IS AN APPROACH FOR BREAKING DOWN A LARGE
PROJECT INTO MANAGEABLE CHUNKS. USE THIS PROCESS TO DEFINE THE
STEPS NEEDED TO TACKLE EACH PROJECT, AND REMEMBER TO HOLD TO ALL
OF YOUR IDEAS AND SKETCHES THROUGHOUT THE PROCESS.

THE DESIGN PROCESS CONSISTS OF 6 STEPS

1. DEFINE THE PROBLEM AND DEVELOP A CONCEPT STATEMENT
YOU CAN’T FIND A SOLUTION UNTIL YOU HAVE A CLEAR IDEA OF WHAT THE PROBLEM IS.
2. COLLECT INFORMATION
MAKE SKETCHES, TAKE PHOTOGRAPHS AND RESEARCH TO GATHER DATA TO START GIVING YOU
INSPIRATION. LOOK AT PRECEDENT DESIGNS AND MAKE A FOLDER OF IMAGES
3. BRAINSTORM AND ANALYZE IDEAS
BEGIN TO SKETCH, MAKE, AND STUDY SO YOU CAN START TO UNDERSTAND HOW ALL THE DATA
AND INFORMATION YOU’VE COLLECTED MAY IMPACT YOUR DESIGN. REWRITE CONCEPT
STATEMENT.
4. DEVELOP SOLUTIONS
TAKE YOUR PRELIMINARY IDEAS AND FORM MULTIPLE SMALL-SCALE DESIGN SOLUTIONS.
5. GATHER FEEDBACK
PRESENT YOUR IDEAS TO AS MANY PEOPLE AS POSSIBLE: FRIENDS, TEACHERS, PROFESSIONALS,
AND ANY OTHERS YOU TRUST TO GIVE INSIGHTFUL COMMENTS.
6. IMPROVE
REFLECT ON ALL OF YOUR FEEDBACK AND DECIDE IF OR TO WHAT EXTENT IT SHOULD BE
INCORPORATED.

REWRITE YOUR CONCEPT STATEMENT.

IT IS OFTEN HELPFUL TO TAKE IDEAS AND SKETCHED SOLUTIONS BACK THROUGH THE DESIGN
PROCESS TO REFINE AND CLARIFY THEM.
Chicago Architecture Center

THE DESIGN PROCESS

SUSTAINABLE DESIGN IS HELPFUL
 LANDSCAPE ARCHITECTURE

CHARACTERISTICS OF A GOOD DESIGNER

ENTHUSIASTIC
DISCIPLINED
WILLINGNESS TO LEARN
CREATIVE
GOOD COMMUNICATOR THE
INSPIRED DESIGN
THICK-SKINNED PROCESS
EMPATHETIC
SELF-HONEST
CONSISTENT
LOGICAL
ABLE TO FAIL
CONFIDENT
STRONG WORK-ETHIC
Simon C. Page

SKILLS SUSTAINABLE
ARE LEARNED DESIGN AND PRACTICED
 LANDSCAPE ARCHITECTURE

DESIGN
& PROCESS
ULTIMATELY, YOU SHOULD DESIGN WHAT FEELS GOOD TO YOU.
THE DESIGN PROCESS IS A CREATIVE PROCESS. IT IS A PROBLEM SOLVING PROCESS.
IT IS AN EMOTIONAL PROCESS. IT IS YOUR PROCESS.
DESIGN THINKING FOCUSES ON IDENTIFYING THE PROBLEM TO CREATE THE BEST POSSIBLE
FUNCTIONAL SOLUTION, BUT WHAT HAPPENS WHEN ALL THOSE SOLUTIONS BEGIN TO BLEND
TOGETHER? PEDESTRIAN FUNCTIONALITY AND ECOLOGICAL FUNCTIONALITY AND HISTORICAL FORM
AND COST OR CONSTRUCTABILITY AND SEASONAL USES FUNCTIONALITY.
UNLIKE DESIGN THINKING, DESIGN FEELING EMPHASIZES DESIGNING BASED ON EMOTION AND
INTUITION, AS OPPOSED TO DESIGNING BASED ON THOUGHT, LOGIC, AND STRATEGY.
WHAT IS YOUR PERSONAL BACKGROUND AND HISTORY WHICH CAN BE BROUGHT INTO THE DESIGN
PROCESS AND IDEAS. WHAT DO YOU REMEMBER YOU LIKED ABOUT A CERTAIN DESIGN YOU VISITED?
WAS THERE A SPECIAL LANDSCAPE YOU VISITED OR SAW - WHAT MADE IT SPECIAL TO YOU? THESE ARE
STARTING POINTS FOR INSPIRATION AND PROBLEM SOLVING WITHIN THE DESIGN PROCESS.

THE GOAL IS TO CREATE

SUSTAINABLE DESIGN SOMETHING PERSONAL
 LANDSCAPE ARCHITECTURE
DESIGN
& PROCESS

(Not sure? Jump to Collect Info then return to this section)

(Not sure? Jump to Collect Info then return to this section)

Gather data to start giving you inspiration. Who is this design for?
How have other designs addressed similar problems?

Gather data to start giving you inspiration. Who is this design for?
How have other designs addressed similar problems?

Use the data and information you’ve collected to sketch ideas

that might solve the design problem.

Use the data and information you’ve collected to sketch ideas

that might solve the design problem.

© Copyright 2012-2016 Chicago Architecture Foundation.

SUSTAINABLE DESIGN FOR A CHANGING FUTURE

© Copyright 2012-2016 Chicago Architecture Foundation.
 LANDSCAPE ARCHITECTURE
DESIGN
& PROCESS

Notes:

© Copyright 2012-201 Chicago Architecture

SUSTAINABLE DESIGN FOR A CHANGING FUTURE

 LANDSCAPE ARCHITECTURE
LANDSCAPE ARCHITECTURAL EDUCATION AND THE DESIGN STUDIO
Landscape architecture education covers a wide range of factors beyond the physical aspects
of landscapes. Landscape architecture must reflect the regional conditions and communities
in which it is located - the myriad ecological factors and socio-cultural influences create a
complex multi-faceted context. Landscape architectural education concentrates on the design
of physical spaces often expressed as drawings but also incorporates history, ecology,
sustainability, technologies, construction, philosophy, theory and other interrelated areas in
the social and natural sciences. These complexities are essential to a program’s education
sequence and integration of these diverse subjects with the design studio is critical.
Compared to other courses in the landscape architecture program, design studios typically
encompass the most credit hours per week and are meant to provide students with the
knowledge necessary in order to produce innovative and competent design solutions. The
main objective of a design studio is to develop students’ creativity and problem-solving skills
in design and allow them to produce landscape architectural projects that have dialogue and
balance between artistic and pragmatic thinking. Studio-based learning (SBL), digital based
or other, is a challenging structure in which to evaluate the design efficacy of problem-based
learning (PBL) (Cennamo et al., 2011). PBL within the landscape architecture studio setting
requires varied perspectives toward solution paths including diagnosis-solution problems,
decision-making problems, site-specific/case problems, and design problems (Jonassen and
Hung, 2008), all occurring simultaneously within integrated solution paths. SBL is a specific
type of PBL (Monson et al., 2008) within the design disciplines and is primarily student-led
(i.e. student work + instructor response) but distinctly collaborative. The PBL model has
shown to inspire higher involvement in student activities and advanced levels of
comprehension (Andreucci, 2019), key components of effective learning.
Though other pedagogical mechanisms for active learning are integrated within SBL as
discussed prior, design studio outcomes must reflect a student’s ability to produce designs
that are sensitive to the needs of the society, the environment, and technology. The landscape
architecture studio provides a rich learning environment in which students must confront the
complexities of realistic design situations and, by so doing, advance their understanding and
skills.
The design studio is a pervasive sensory environment and enables learning through
observation, imitation, exploration, and participation. This is the critical skillset required by
spatial designers to address the salient problems of the 21st century. The design exploration
process provide students opportunities to improve their design thinking, problem solving,
project development, and ultimately course success.

SUSTAINABLE DESIGN FOR A CHANGING FUTURE

 LANDSCAPE ARCHITECTURE
THE DESIGN STUDIO PROJECT REVIEW AND DESIGN CRITIQUE
In a landscape architecture (LArch) design studio, students express their ideas through
multiple visual communication techniques including digital or analog drawings, physical and
computer models, photography, sketches, and others. Student knowledge and skills are
developed and refined through the project critique or ‘crit’; it is a constructive and reflective
part of the design process. The studio’s design process and desk critique involve active
learning and immediate feedback which occurs organically between the instructor and student
or group. Further support for experiential learning efficacy within studio environments comes
from Jean and Wenger’s Legitimate Peripheral Participation (LPP) theory (1991) which
highlights the participatory-based learning that occurs within the student-instructor
engagement and dialogue. The instructor facilitates and assists students in the complex
problem-solving design process, where students generate and refine design solutions,
communicate effectively both with instructor and classmates, collaborate, and experiment.
Design feedback is an essential pedagogical tool to promote student design progress, yet little
research has focused on what instructor feedback actually is in context and form (graphic,
written, etc.), what it looks like (standardised graphic methods) and their associated levels of
effectiveness. LArch design, similar to other design disciplines, is an iterative process; layers
of explorative solutions and differing ideas need to be revealed and ‘built-upon’ quickly;
particularly during a desk critique. As inspiration flows through the visualisation exercise within
design, access to prior avenues of problem solving need to be accessed quickly (See Figure).
This studio-based design critique process has traditionally been a paper-based approach
where multiple sheets of trace paper are torn and placed aside, then looked at and reviewed
later, often without context and confusion due the quick, ‘next layer’ process and lack of both a
base-map and written text for reference. This semester, we will be using technology to meet
the design studio review process.

SUSTAINABLE DESIGN FOR A CHANGING FUTURE

 LANDSCAPE ARCHITECTURE
TECHNOLOGY ENHANCED LEARNING
The integration of digital tools within a studio approach for learning bases much of its
pedagogy on principles of technology-enhanced learning (TEL) (Mor and Winters, 2007). TEL
incorporates digital tools in innovative and transformative means, particularly for the design
disciplines where TEL can impact the learning experience through co-evolutionary knowledge,
new social and cultural learning contexts, and the convergence of practical and theoretical
perspectives (Goodyear and Retalis, 2010).
Traditional design studio learning frameworks, including those pre-digital, incorporate
constructive learning paradigms. TEL design studios create an active learning environment
with familiar digital tools, methods, and learning models, allowing the synthesis and creation
of new ideas and problem solving. The theoretical framework of constructivism (Vygotsky,
1978) is generally considered the most appropriate for contemporary learning (von Glaserfeld,
1989) and supports principles found within Kolb’s Experiential Learning Theory (ELT) (Kolb,
1984; Kolb and Kolb, 1999). ELT’s knowledge development occurs through the experience of
learning itself and reflects biological, cognitive, and behavioral tenets of how a person
understands and processes the information, and allows for active changes within the
operation of learning. The learning cycle can be summarised by four stages: concrete
learning, reflective observation, abstract conceptualisation, and active experimentation
(Wang, 2011). Effective learning can be seen during multiple progressive stages and the cycle
can be entered at any stage due to its logical sequence.
Specific to the design disciplines, Donald Schön, professor of urban planning and architecture
at MIT, reflected upon the collaborative and informal knowledge acquired during studio
courses. Building upon traditional, formal education models, Schön proposed learning through
experience, a form of knowing-in-action which augments the technical knowledge delivered in
university environments to reflect real-world activities in the professional workplace (Schon,
1984). This ‘learning-by-doing’ specific to design studio courses supports the tenets of ELT
and the educational empowerment provided by instructors facilitates critical learning
outcomes. The design studio, whether in a professional office or education environment,
embodies these constructive, collaborative principles to co-develop design and solutions.
Technology within the design studio enhances learning through explicit and implicit learning
and allows for design confidence to flourish within exploration. Digital tools and the
application of TEL within design studios connect technology to minds to action and enhances
the development of innovative solutions.

SUSTAINABLE DESIGN FOR A CHANGING FUTURE