|Published Online: August 18, 2016||$US5.00|
With the social landscape changing and needs altering, the First World War brought with it a new world of complex identities. This world engaged the machine as the basis to form its very nature. The shift from manual to machine, from cutting down of space and steps to accommodate more efficiency, started to build up a new way of thinking and progressing; hence, entering the world of the modern. Bauhaus in Germany catered to such inspiration. Gropius’ idea for the Bauhaus aimed at facing the requirements of the age. This paper intends to investigate the role of memory and the manipulation of preconceived ideas to explore design pedagogy that brings forward the "new way of thinking." It is an attempt to establish a certain ground, aiming to suggest improvements in the interdisciplinary benefits of combining talents that reciprocate to communal will. Given the history and colonial context of the sub-continent Pakistan has adapted to the very system of design instruction, which presents a very interesting case of comparison and juxtaposition between the new and old, the prevalent and the borrowed and the native and the other. Teaching formal design in the context of Pakistan and especially a suburban city like Islamabad raises questions of balance and negotiation between the vernacular, regional and global design language as an experience of collective memory.
|Keywords:||Creative Learning, Critical Analysis, Studio Pedagogy, Collective Memory|
Assistant Professor, School of Art Design and Architecture, National University of Sciences and Technology, Islamabad, Pakistan
Lecturer, School of Art Design and Architecture, National University of Sciences and Technology, Islamabad, Pakistan