Basic Design

The purpose of this study is to investigate the theatre as an architecture learning strategy in Basic Design Education. Hence, the study examines the art as a tool in Basic Design Education through the concept of the " body " , which is the common point of Architecture and Theatre discipline. Human being has used different ways to transfer feelings and thoughts. Theater is one of them. Theatre is staged feelings and thoughts through with space and body, by different topics and event patterns. The body becomes physical reflection of the soul and space accompanies to it. As Merleau-Ponty (2005) explains: " The human is not a body and a soul, it is a soul with a body. We able to access our outside of every asset if and only can access through our body; our outside of every asset becomes a mixture of soul and body with assumes the characteristics of human. " In this way, the soul and space are integrated. Body movements draw boundaries of space and also space draws the boundaries of the body. Body and space become complement and provision to each other. Architectural design activities are founded on " body and space " which are two basic elements. In the context of body and space relationship; a different training method was tested together with performance art that is " theater " and building art that is " architecture " over Basic Design Education. Transferring of the human body to a designed structure has been revealed by direct and (or) indirect way.

Space is not only a means to counter to a merely pragmatic function through its indicators but also acts as a means of producing emotions. While emotion and emotion production which can be considered as the area of interest of Plastic Arts, it has been seen that the conceptual studies started to be designed together with function within the last century. Nowadays, people want to consume more of the products that have a similar approach in parallel with their own lifestyle. This shift in people’s understanding of consumption has necessitated the designers to consider the conceptual expectations of consumers while seeking answers to be functional questions.

Space is the interest of PHILISOPHY, AESTETICS and SCIENCE, as an expression of the idea it is carrying [SEMANTICS], the form it is being used for [PRAGMATIC] & the technology it is made of [SENTACTICS]. It Space can be perceived by EXPERIENCE and experience can be regarded as a transformation problem where OBJECTIVE REALITY is transferred into the SUBJECTIVE REALITY.

This study, discusses the perception through sense & sensory mechanizms, was carried out with the 1st year students of TOBB ETU, Department of Interior Architecture & Environmental Design in the 2017-2018 Academic year, under the Basic Design course

La Psicologia della Gestalt nasce e si sviluppa in Europa nel '900 e cerca di spiegare e strutturare i fenomeni psicologici della percezione, trattandoli come insiemi di "regole" organizzate e strutturate, piuttosto che come somma delle singole parti costitutive. Si dissocia in questo dallo strutturalismo (con la sua tendenza ad analizzare i processi mentali e percettivi come somma di sensazioni elementari) ed accentua concetti come proprietà emergenti, olismo e contesto. Le teorie della Gestalt, sono state lungamente studiate in ambito grafico e compositivo, queste pagine web tenteranno di dimostrare un approccio "audio". Il lavoro è stato realizzato da Francesco Fumelli, docente di "Elementi di Informatica e Basic Design" all'ISIA di Firenze e da Andrea Fumelli diplomato in chitarra al Conservatorio Mascagni di Livorno. Nei 5 lavori presentati, si è tentato di riprodurre acusticamente soltanto 5 delle leggi percettive della Gestalt. Si tratta di un lavoro "in itinere", di uno studio preliminare più che di un lavoro terminato. Una trattazione esausitiva richiederà una analisi più completa ed approfondita. E' infatti indubbio che la componente sonora sia elemento fondamentale nella percezione del mondo fenomenico. Introduzione Realtà fisica e realtà fenomenica, definizione. La realtà fisica o transfenomenica è quella accessibile al dominio degli strumenti di misurazione tipici di discipline quali la fisica, la chimica, la biologia, l'astrofisica… La realtà fenomenica è la realtà percepita attraverso gli organi di senso e la mente; è la realtà risultante da processi di autoorganizzazione tipici degli apparati sensoriali.

مشروع التكوينات الاثنى عشر
الهدف من هذه التمارين هو فهم وتطبيق المبادئ والأسس التكوينية للخطوط والمستويات والحجوم. مثلا النظام ، والنسبة، والإيقاع ، والتباين ، والاستمرارية ، والاتساق ، والتسلسل ، واللون .

يتناول هذا المشروع سلسلة من 12 تكوينة هندسية من الخطوط والمستويات والاحجام ، والتي يجب أن يكون فيما بينها تواصل بصري .
وعند الانتهاء من كل واحدة من التكوينات، يمكن للطالب تصورها  بمثابة لوحة أو نحت، أو نمط تبليط أو ساحة مدينة، ولكن في جميع الحالات يجب أن يكون هناك اتساق بصري واستمرارية نمطية بين جميع التكوينات.

"Dalla IV di copertina

Sentire il design significa cogliere sensazioni con l'orecchio, ma anche tastare, odorare, vedere, gustare il progetto. L'abilità del progettista visivo sta certo nel far vedere, nel definire gerarchie percettive fra scritture e figure, ma anche nella capacità di orchestrare i registri sensoriali e di scegliere cosa lasciar catturare all'occhio e cosa invece agli altri sensi. Ciò non vale solo per artefatti pluriregistro come i multimedia; anche un libro comporta un coinvolgimento sensoriale plurimo, ha una tattilità, un peso, un odore, produce sonorità nell'azione dello sfogliare. Il volume mostra l'importanza, i caratteri e i modi di una progettazione mirata alla totalità del sensorio. Affronta gli aspetti fondamentali che legano sinestesia, comunicazione visiva e formazione del designer, delineando le conoscenze scientifiche sull'interazione sensoriale e sulla sinestesia ed esemplificando manifestazioni e casi propri della scrittura e, più in generale, del design della comunicazione. L'autrice rilegge alcuni esempi storici della grafica - dalla tipografia futurista alle esperienze formative del Bauhaus, fino ai recenti sviluppi indotti dal digitale con artefatti cinetici e interattivi - cercando ogni volta di ricostruire le relazioni fra gli intrecci fenomenici e i corrispettivi linguistici, tra le sensazioni e le parole. "

"Dalla IV di copertina

Capita, talvolta, di percepire sensazioni multiple o, meglio, contemporanee, come per esempio un suono o un gusto che ha una valenza di colore, un azzurro alla voce di un flauto, uno scarlatto con un sapore aspro, quasi che i nostri sensi non siano solo cinque, ma esista anche una capacità di percezione sensoriale simultanea, quella che viene definita sinestesia. Questa realtà, indagata sin dai tempi antichi, viene esplorata dall'autrice in una prospettiva progettuale, partendo dal fatto che il nostro rapporto con gli oggetti d'uso quotidiano sottende il coinvolgimento dei sensi nella loro singola specificità, ma ancor più esalta i naturali meccanismi d'interdipendenza presenti fra i sistemi sensoriali dell'uomo.
Gli artefatti, gli ambienti, sono da intendere non solo come forme che assolvono a determinate funzioni, ma anche - e primariamente - come fattori che provocano un aggregato di percezioni.
Il libro è idealmente distinto in due parti: la prima è rivolta all'analisi dell'interiorità delle sensazioni e delle loro modalità d'interagire in presenza di percezioni simultanee, con il coinvolgimento di saperi presi a prestito dalla filosofia, dalla medicina, in particolare dalla neurologia, e dalla psicologia della percezione; la seconda è rivolta all'esame dell'esteriorità dei dati sensibili - suoni, colori, forme, animazioni - e dei loro modi di essere rappresentati, con esemplificazioni di pratiche sinestesiche tratte dalla letteratura, dalle arti visive e musicali, dalla storia degli oggetti e dai prodotti della multimedialità.
Se il lavoro dei progettisti si deve confrontare, e sempre più intensamente, con la manipolazione di dati sensoriali (visivi, ma anche tattili, propriocettivi, vestibolari e uditivi), Sinestesie per il design risponde all'istanza di una guida nella caotica presenza di stimoli di questa nostra epoca multimediale."

معايير وقواعد لتصميم فراغات المسكن
القواعد العامة لتحديد مقاسات فراغات المسكن بالنسبة لاحتياجات الانسان ومع الأخذ بعين الاعتبار أهمية الهندسة الإنسانية
المعيار  الذي يجب الرجوع اليه دائما هو شكل الإنسان، ومقاساته ، وعاداته، واحتياجاته، وحيث ينبغي ان لا ننسى عامل "التكلفة" التي قد يقيد أو يوسع من عدد الحلول الممكنة لتنظيم فراغات المسكن.

Abstract

Faculty of Fine Arts and Architecture aims to analyze technical, functional and aesthetic data in design problems. In this respect, the Basic Design course, which is usually given in the first two semesters of the departments related to the design faculties, is a course providing the formation of the eight-semester design skill in the education curriculum. In this lesson, along with that it is thought that a single point of view, theory, model or curriculum can not be used; it is aimed to develop the artistic skills of the students, to gain the visual consciousness and to increase the courage to create the fictional mind by removing it from the molds.With this point of view, especially the design studios trying to meet the requirements of the self-renewal time; it is aimed to strengthen individual design motivations with the possibilities offered by flexibility creating a flexible content that supports most of the other lessons of department and out of the usual basic design concepts of design education students.

In the first semester of Basic Design courses; dot, line, stain, shape, surface, form, volume, space etc. are transferred by being restricted to design principles; In the second semester, in addition to concepts such as light, color and texture, the ability to edit spatial volume according to design elements, tools and principles is gained. In the light of this information, Italo Calvino's "Invisible Cities" book has been chosen as the text adaptations of the last work in the course of "Basic Design". Italo Calvino, depicted as the fairytale teller of the modern world, describes Marco Polo's journey on the Kublai Khan horseman, in his book "Invisible Cities". Thus, as the last project project within the scope of Basic Design course, students have chosen one of their suitable cities by reading Calvino's stories and assimilating them. 55 cities were proposed to provide students with strong data in terms of design. Like Marco Polo's journey, students have set from a story of their own choice to a journey where they were fed with basic design principles. They have created spatial finctions of the cities which they read and dreamt about by reducing abstract geometric form for five weeks by reading the story numerous times, enter into the story with the help of drawings and passing through the paths that Marco Polo passed through. This study aims to develop students' experience of design process of a written text in the process of intellectual design by combining two different disciplines and to improve interdisciplinary adequacy of first grade students in design frame.

In the continuation of the work, the spatial volume fictions produced by the student studies were produced as models and the models, the selection of the cities, the methods of handling the cities, the reasons for choosing the key words referring to the work were questioned and all approaches related to color, material, form, texture and spatial organization have been analized with the text that constitutes the universe of the study.

Her tasarım disiplini bir ifade dilidir; moda giyim tasarımı görsel, elle tutulur yapısı ile insanların yaşam tarzlarının beden üzerinde yansıtıldığı biçimsel bir ifade şeklidir. Moda görünüş ait olduğu kültürün değerlerinin ve zamanının estetik anlayışının güncellenen temsilidir. Bu makalenin amacı; moda kavramını ve yaratım sürecini temel tasarım öğeleri bağlamında yeniden ele almak; moda tasarımı alanında yeni başlayan öğrencilere, moda takipçilerine, moda tasarımcılarına ilham verici bir kaynak teşkil etmektir. Makalede, tasarlama sürecini belirleyen temel tasarım öğelerinin moda tasarımcısı bakış açısı ile beş başlık altında analiz edilmektedir.

Resumen: Definir el curso de diseño básico de arquitectura como tema de investigación implica la definición de aspectos tales como la relación entre forma, estructura y contenido. Esta intención se puso en práctica mediante un ejercicio en el que se integró la creación de la forma (de la manera en que se enfoca en los cursos de diseño básico), la concepción constructiva (como esencia del hecho arquitectónico) y el contenido (mediante la valoración de la experiencia arquitectónica). Se partió de la recolección de información sobre tectónica, se procedió con ejercicios de práctica y análisis sobre la información inicial y se concluyó con el ejercicio de síntesis para el cual se tuvo al puente como tema. Finalmente, se logró la definición de un ejercicio de diseño básico con carácter netamente arquitectónico, donde los estudiantes obtuvieron su primer nivel de formación en términos de conciencia del lugar. Palabras claves: Aprendizaje de la arquitectura, concepción tectónica, tecnología constructiva, diseño básico

A mixture of Benzene – Toluene with z Benz = 0.45 is fed to a distillation column with flow rate equal to 25000 kg/h (291.72 kmol/h) and inlet temperature T = 40° C. The distillation column, operating at P = 1 atm, is used to obtain two liquid streams with top benzene composition x D = 0.995 and bottom benzene composition x W = 0.002 (for every calculus see calculus sheet annex). 1. We start doing an overall mass balance to find the flow rate and the composition of the outlet products:

A stream with 20000 kg/h of a mixture of Benzene and Butane at 50 % mol has to be completely condensed. Water from a cooling tower is available for the operation (for every calculus see calculus sheet annex). An assessment of fluids, temperatures, pressure, corrosion, fouling and other relevant features to heat exchangers design leads to the determination of the condenser configuration. A horizontal TEMA'E'-shell and tube condenser was chosen for this case. The main advantages of this geometry include the suitability for most industrial process cooling application, the counter-flow fluid circulation and the lowest cost; its disadvantages are higher head loss (i.g. with respect to TEMA " J " , split flow configuration), possible temperature " pinch " , difficulties in extraction of non-condensable gases. 1. Since the mixture is condensing and the water is just heating up, we put the condensing mixture in the shell side and the water in the tube side. We want to determine the pressure and the temperature of the condensate outlet. In order to do this, we assume that the condensation is isobaric: at the end of the procedure we will verify that the pressure drops shell side are a negligible percentage of the total pressure (<7%), so that our assumption is justified. By the way, in every design we will analyze, we will always allow pressure drops less than 10% of the total pressure. Since we are dealing with a mixture of hydrocarbons we can assume that the activity coefficients of both Butane and Benzene are 1. Then, we apply Raoult's law for ideal mixtures (from now on subscript 1 is for Butane and subscript 2 is for Benzene):

ABSTRACT The editing of the design instruction, with its dynamic structure and by the execution styles, are different then the other diciplines studios by the expression ways of the subject. The studios, where are indispensable areas of the design departments; are the fields where designer candidates and course instructors create together, beginning from the starting point of the design process and experiencing this process with all their phases. In this study, which deals with types of criticism in the studio environment, the importance of criticism in terms of design education is handled.

Özet Kavram temsili ile biçim üretimi arasındaki bağlılaşık ilişkiyi öğrencilerin tasarım ideleri ve başarı düzeyleri üzerinden yorumlayan bu araştırma kapsamında iki hipotez kurulmuştur. Birinci hipotez, tasarımına somut kavramlar ile başlayan öğrencilerin soyut kavramlarla başlayan öğrencilere göre daha başarılı olduğu önermesine dayanmaktadır. İkinci hipotez ise, çalışmasına somut kavramlarla başlayan öğrencilerin biçim üretimine yönelik kararları daha kolay aldığı düşüncesi ile üretilmiştir. Oluşturulan hipotezleri sınamak amacıyla kurgulanan çalışma doğrultusunda öğrencilerden somut (dönüşüm, hareket, sonsuzluk) ve soyut (cesaret, risk, yanılsama) kavramlardan birini tasarı izlemi olarak seçmeleri ve seçtikleri kavramları mekânsal ölçekte ifade etmeleri istenmiştir. Bu bağlamda İstanbul Gedik Üniversitesi, Güzel Sanatlar ve Mimarlık Fakültesi, İç Mimarlık ve Çevre Tasarımı Bölümünde 2019-2020 Eğitim-Öğretim yılı Güz yarıyılında Temel Tasarım I dersini geçer not ile tamamlayan toplam 65 öğrencinin katılımı ile gerçekleştirilen araştırma çerçevesinde öğrencilerin tasarım kararlarına etki eden parametreleri tespit etmek için 8 soruluk yarı yapılandırılmış görüşme formu; kavramsal temsiller üzerinden gerçekleştirilen yaratım süreçlerinin temel tasarım literatürü içerisindeki konumunu belirlemek için ise 20 soruluk 5'li Likert tipi sormaca formu kullanılmıştır. Elde edilen tüm verilerin SPSS yazılımı ile analiz edildiği araştırma sonucunda sınanan iki hipotez de sayımlamalı olarak doğrulanmış ve temel tasarım eğitiminde biçim üretmek için referans alınan soyut kavramların öğrencilerin hem tasarım süreçlerini hem de başarım düzeylerini olumsuz yönde etkilediği bulgularına ulaşılmıştır.

With the developments in computer technology, it’s observed that the disciplines of architecture and 3D animation, in parallel, improved significantly. These improvements were the modulation of 2D to 3D in animation and in addition to this in architecture, the use of computers turned into designing medium from presentation and drawing. These two disciplines, which look very different at first glance, are both utilized in the design process of 3D architectural scenes where imaginary characters live in. And as a result, this combination of animation and computers turned out to be an important research field. In this study, concepts like “cartoons”, “animation”, “stylization” are defined as a priority and then the chronological growing process of animation films are examined thoroughly. At the stages where the use of architectural disciplines in 3D animation films are mentioned, production processes of films are described in an order with examples and also the tools and softwares used to make films are explained shortly. Under the title “The Use of Architecture in 3D Animation Films”, use of architecture and the aid function of architecture in 3D films are examined with references from former stages. In addition to these, architectural forms in films are interpreted and limited with concepts related to the fundaments of architecture like “form”, “principals and elements of basic design”, “architectural styles”. With the accompaniment of scientific findings, 3D films like “The Incredible”, “Chicken Little”, “Beowulf”, “The Flush Away” and “The Monster House” which have rich contents about the architectural usage in 3D films are examined thoroughly. With the perspective of an architect, subjects researched in the scope of this thesis include critical film reviews of articles from film observations about 3D animation in the production of film scenes. With this reference, this thesis may be a “source” for architecture students, architects who want to be in 3D animation film works; also for animation students and 3D animators. Key Words: 3D Animation Films, Scene Design, Computer Aided Design, Stylization. --- Bilgisayar teknolojilerinin gelişimiyle birlikte 3B animasyon ve mimarlık disiplinlerinin birbirine paralel bir yenilenme süreci içine girdiği izlenmektedir. Bu gelişimler, 3B animasyon disiplinine, ikinci boyuttan üçüncü boyuta geçiş şeklinde, mimarlık disiplinine ise bilgisayarın bir sunum ve çizim aracı olarak kullanılmasından, bir tasarım ortamına dönüşmesi şeklinde yansımıştır. İlk bakışta birbirinden çok farklı gibi gözüken bu iki disiplinin, filmlerdeki sanal karakterlerin yaşadığı 3B mekânların tasarımı aşamasında birbirine oldukça yaklaştığı ve mimarlık için önemli bir araştırma alanına dönüştüğü düşünülmektedir. Bu çalışmada, öncelikle “çizgi film”, “animasyon”, “stilizasyon” gibi kavramlar tanımlanmış ve animasyon filmlerin kronolojik gelişim süreçleri incelenmiştir. 3B animasyon filmlerdeki mimarinin kullanımının araştırıldığı bölümlerde, tanımlamalarının yardımcı olacağı düşünülen filmlerin yapım aşamaları, örneklerle sıralanmış ve filmlerin yapımında kullanılan araçlara kısaca değinilmiştir. Daha sonra, “3B Animasyon Filmlerde Mimarlık” bölümü altında, filmlerdeki mimarinin kullanımı, önceki bölümden alınan referanslarla incelenmiş, 3B animasyon filmlerdeki mimarinin yeri ve yardımcı fonksiyonu açıklanmaya çalışılmıştır. Bununla birlikte filmlerdeki mimari oluşumlar “form”, “temel tasar ilke ve öğeleri”, “akımlar” gibi mimari tasarımın temelleriyle ilişkili kıstaslarla sınırlandırılarak değerlendirilmiştir. Elde edilen bilimsel bulgular eşliğinde, 3B animasyon filmlerde mimarinin kullanımına veri yönüyle zengin olup örnek teşkil ettiği düşünülen “The Incredibles”, “Chicken Little”, “Beowulf”, “The Flush Away” ve “The Monster House” 3B animasyon filmleri incelenmiştir. Tez kapsamında araştırılan konularda, özellikle filmlerden yapılan okumalarla ortaya çıkan inceleme yazılarında, 3B animasyon filmlerdeki sahne tasarımına yönelik değerlendirme kriterleri ve bakış açıları, mimar gözüyle sunulmaya çalışılmıştır. Bu referansla tezin, hem 3B animasyon filmlerde bulunmak isteyen mimarlar ve mimarlık öğrencileri için, hem de 3B animatörler ve animasyon bölümü öğrencileri için bir kaynak niteliği taşıyacağı düşünülmektedir. Anahtar Kelimeler: 3B Animasyon Filmler, Sahne Tasarımı, Bilgisayar Destekli Tasarım, Stilizasyon.

Özet

Bu araştırma İstanbul Gedik Üniversitesi, İç Mimarlık ve Çevre Tasarımı Bölümü’nde Temel Tasarım dersini alan yirmi öğrenci üzerinden gerçekleştirilmiştir. Araştırmanın kuramsal zeminini oluşturan çalışmanın birinci kademesinde öğrencilerden, sınırlandırılmış bir düzlem üzerinde, seçtikleri temel geometrik formları kullanarak yüzeysel biçim ilişkilerine yönelik kararlar içeren iki boyutlu kompozisyonlar oluşturmaları istenmiştir. En az iki temel tasarım ilkesi barındırması beklenen çalışmanın son aşamasında ise, geometrik formlar ile temsil edilen yüzeysel kurguların hacimsel ortamda nasıl değerlendirildiğine ilişkin tüm süreçler maket çalışmaları ile tamamlanmıştır. Sonuç ürünleri üzerinden öğrencilerin tasarım reflekslerine ilişkin yaklaşımları tespit edebilmek için yedi soruluk yarı yapılandırılmış görüşme formu kullanılmıştır. Elde edilen verilerin içerik analizi yöntemi ile frekansları tespit edilmiş ve bu frekans değerleri üretilen teknik anlatımlar ile tanımlı hale getirilmiştir. Ayrıca, araştırmanın kuramsal kısıtlılıklarına yeni bir bakış açısı kazandırabilmek ve nesnel yorumlar elde edebilmek için kapsamlı literatür taraması yapılmış ve temel tasarım ilkeleri ile biçim üretimine dair kabul gören uluslararası yaklaşımlar tanımlı hale getirilerek yüzeyden hacime geçiş temrinlerinin temel tasarım dersinde temsil edilmesi fikri detaylandırılmıştır. Öğrencilerin yüzeyden hacime geçiş kararları ile biçim üretimine yönelik yaklaşımları arasında temel tasarım ilkeleri ölçeğinde iletişim kuran bu araştırma ile mevcut tasarım yazınına ve tasarım odaklı lisans programlarında aktarılan temel tasarım eğitimlerine yönelik izlencelerin geliştirilmesine katkı sağlamak amaçlanmıştır.

Abstract

This research has been conducted on twenty students who are taking the Basic Design class in the Department of Interior Architecture and Environmental Design in İstanbul Gedik University. In the first stage of the study which composes the theoretical background of the research, students were asked to create two-dimensional compositions, on a limited level, that contains decisions about the superficial shape relations by using the basic geometrical forms that they chose. In the last stage of the study that is expected to have at least two basic design principles; all processes about how superficial fictions that are represented with geometrical forms, evaluated in the spatial environment have been completed with model studies. To determine approaches concerning the design reflexes of the students through result products, a semi-structured interview form with seven questions has been used. Frequencies of the acquired data have been determined with content analysis technique and these frequency values have been defined with the produced technical expressions. Also, to bring a new point of view to the theoretical constraints of the research and to get objective commentary, a detailed literature scan has been done and by defining the well-accepted international approaches about production of forms with basic design principles, idea of presenting the practicing of transition from surface to spatial in the basic design class has been detailed. With this study which makes contact between students transition decisions from surface to spatial and approaches for production of shape in the scale of basic design principles, it has been aimed to contribute to the development of current design literature and programmes devoted to conveyed basic design educations in design-oriented license programs.

OZET:
Bildiride, tasarım eğitiminde özgür düşünce ve sınırlamaların birbirini nasıl etkilediğini değerlendirmek amacıyla Kırklareli Üniversitesi, Mimarlık Fakultesi, Temel Tasarım Atölyesi deneyimi üzerinden “Sınırlar Özgürleştirir mi?” sorusuna cevap aranmaktadır.  Klasik temel tasarım eğitiminden farklı olarak, KLU Mimarlık Fakültesi Temel Tasarım Ortak Atölyesi’nin içeriği, mekânı sadece algıya dayalı fiziksel bileşenlerden değil, sosyal ağlar ve akışların tanımladığı karmaşık bir yapı olarak ele alacak biçimde zenginleştirilerek kurgulanmıştır. Bu özgün atölye, 2014-2015 güz eğitim-öğretim döneminde, mimar ve şehir plancısı öğrencilerinin mekâna ait deneyimlerini birlikte paylaştıkları, farklı ölçeklerdeki yaklaşımların ortak paydada buluştuğu bir uygulama atölyesi olarak gerçekleştirilmiştir. Bildiri kapsamında, ortak anlatım diline ulaşmayı amaçlayan bu özgün temel tasarım yönteminin; algılama, anlama ve aktarma süreçlerinden geçen öğrenci çalışmalarına nasıl yansıdığı sorgulanmış, temel tasarım eğitimi içerisinde verilen sınırlamaların özgün ve yaratıcı üretim süreçlerine olumlu ve olumsuz etkileri tartışılmıştır.  Yapılan değerlendirmelerde, sınırlayıcıların belirli ölçüde malzeme, renk ve doku standardizasyonu getirmesine karşılık elde edilen çalışmalarda farklı ve özgün yaratıcı düşüncelerin geliştirildiği belirlenmiştir. Tasarım sürecinde, mekânın fiziksel bileşenlerinden de öte onu oluşturan görünmeyen ağlar ve akışları da tanımlayan, ortak bir dil ifadesi içerisinde birseysel ve ekip çalışması ölçeğinde ürünler elde edilmiştir. Sonuç olarak, önceden tanımlanmış sınırların yüksek soyutlama niteliğine sahip yaratıcı ürünler elde edilmesinde etkili olduğu belirlenmiştir.
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ABSTRACT:
This Assessment is aiming to seek answer the question for “Can boundaries be liberating?” through the experience of Kırklareli University (KLU) Faculty of Architecture Integrated Basic Design Studio in order to assess how limitations and free thought affect each other.  Distinct from classic term of basic design approach, program content of KLU Faculty of Architecture Integrated Basic Design Studio has enhanced to focus on territorial space, not only for to understand its physical components but its complex structure defined by social networks and flows. This unique design studio has been realized during 2014-2015 fall semester with participation of both urban planning and architectural design first year students to share their own experiences of place and different scale of problem solving approaches. It is being questioned how boundaries were considered in student works through the process of perception, comprehension and expression, according to KLU Basic Design Program aiming to reach common expression language. Also through this methodology positive and negative affects of limitations on creative production processes are being discussed. Despite the predefined limitations have brought certain amount of visual standardisation in material, texture and colour, development of distinctive and variant thoughts has been determined through basic design studies. During the design process territorial space understood as a whole with its structural aspects and further more combined with invisible social networks and flows. Individual and group works have been completed in the context of common pattern language that served as communication tool. As a result, positive affect of predefined limitations on achieving high abstraction level of creative design works have been determined.

Basic Design courses aim to enable the students to produce creative designs with original and aesthetic perspectives in Interior Architecture Education in Turkey. In this study, it was aimed to develop the skill to use creative thinking of the students studying Interior Architecture and to bring the childish creativity back in the Basic Design course. Firstly, the Interior Architecture students were made to prepare an individual preliminary design work within the workshop carried out for this purpose. One week after the individual work, a workshop was held together with the kindergarten students. The aim of the workshops held in the scope of Basic Design course is to make the students generate ideas more quickly, be aware of the new design methods, and to gain the skill of working with individuals from various age groups in harmony. A survey was carried out with the participation of 16 academicians in the field of Interior Architecture and the designs obtained in the beginning and end of the study were evaluated by comparing them in terms of the use of creative thinking. To conclude, it can be said that the interior architecture students used creative thinking more effectively together with kindergarten students.

Basic Design known since the Bauhaus by such other terms  as preparatory course or foundation course is one of the ardently discussed subjects of design education. We are still lacking a sifting and a historical documentation of the widely spread material concerning the various contributions. To clarify this subject we publish an article written by an architect-educator who studied at the U!m School of Design. This article is illustrated with student exercises, although they were not made at the HfG; for they are aiming in a direction shared by the HfG. We intend to continue this subject matter in a later issue of 'ulm'. We will publish material concerning the specific contribution of the HfG, at which the first foundation course with a synthesis of perception theory, symmetry theory and topology was given in 1955. All works published in this article were made under William S. Huff by stundents in the Department of Architecture at the Carnegie lnstitute of Technology, Pittsburgh/USA.
The AUTHOR is only William S. HUFF.
Claudio Guerri only uploaded the article.

Basic Design is a crucial course for design education. This course is offered in the first year to initiate students to the theory, practice and communication of design and to lay a basis on which more advanced and specialized knowledge will be gathered throughout the rest of their design education and careers. However, the course's results, influence in design education and methods of conduct receives many criticisms from students, educators, designers and researchers. Even though the course plays a founding role in design education and is criticized for not being successful, there are very few studies on how this course should be formulated or updated. For this reason, a study is conducted in two stages with the students and instructors of METU Department of ID in order to assess basic design education within the scope of this department. The results of the fieldwork are examined in consideration of the criticisms found in literature to determine the major problems of this course and to offer suggestions for improvement.

The International Typographic Style of the 1950s—asymmetric sans-serif typography, modular grid systems, and denotative photography—is largely the result of work and teaching at the Kunstgewerbeschule Basel. The Basel School of Design is often
described as dogmatic and conservative in respect to post-modern trends in graphic design practice. While this description may accurately reflect certain aesthetic tendencies, it does not reflect the essence of its pedagogy. This paper presents a case
study of projects originating from the Kunstgewerbeschule Basel, introduced to the Foundations Program at The American University of Sharjah in the United Arab Emirates. The Basel approach to teaching design fosters formal discovery conducive
to contextual awareness and critical responsiveness to specific environments. The studio experience in Basel endorses form making as a structure for knowledge production. Ideas arise from the act of making and manipulating visual form. The
pedagogical methodologies of the Kunstgewerbeschule Basel are much more significant than the specific design artifacts that mark its place in design history.

“The ultimate aim of any creative activity is building… architects, sculptors, painters, we all must become craftsmen again… no essential difference exists between the artist and the craftsman, the artist is a craftsman of heightened awareness… but the basis of craftsmanship is indispensable to all artists. It is the prime source of all creative work”, Walter Gropius, from Bauhaus Manifesto of Foundation/Basic Course, 1919.“Basic Design”, also known as “Foundation Courses” or “Enseignement Préliminaire”, formed the basis of the pedagogy of the classical schools of design and architecture. That is, the “Vhutemas”, the “Bauhaus”, the “Chicago Bauhaus”, and the “Ulm School” (Hochschule Fur Gestaltung). This teaching approach, which has undergone multiple changes since the 1920s, lost much of its importance from the 1960s onwards, and at times even disappeared from educational programs in Germany. However, the past 20 years or so have witnessed a rebirth of “Basic Design Education” through many debates and pedagogical propositions (Boucharenc, 2006). In the light of this truth, it can be said that, the basic design has the same importance at all disciplines, although it differentiates on applications in the educations, and this importance is being increased day by day. In the context of this research, especially it will be focused on the basic design education in art and architecture and this concept will be related with these disciplines. The aim of this research is to put forward the right definitions for basic design concept and to evaluate it with relating its own elements and principles, if the design steps are built with a concept, it will be able to see the differences in its properties and right thought, in producing an idea and the effect of composing a concept on defining design power.

This study overviews the historical development of design education for Japanese children and considers the meaning of non-professional design education. There are two significant histori- cal events that have influenced the development of design education in Japan. First, during the first half of the 1930s, with the introduction of the Bauhaus practice, the modernist method of art education began to attract schoolteachers who were dissatisfied with merely sketching objects. Kōsei education, which Renshichirō Kawakita established, played a pivotal role in this movement. Second, during the late 1950s, the word “design” became widespread in the Japanese language. It was in 1958 when the Ministry of Education first included “design work” in the new Course of Study for school art curriculum. This binding requirement encouraged public discussion on design education for children; however, the fundamental ambiguity of the concept has been a constant bone of contention. What does children’s design imply when the children are not professional designers? What is the purpose of design education for children who will not necessarily become professional designers?

The design boom was witnessed from the late 1950s, and it peaked during the 1964 Tokyo Olympics. Consequently, during this period, there were numerous discussions about design practice for children. However, design practice in school, which was originally introduced with modern movement, has gradually lost its charm since the 1970s. Instead, the new concept of zōkei play has gained a stable position in the art curriculum for elementary school. Zōkei play is children’s physical involvement in the outside world characterized by joy. It encourages site-related creations as well as the amusing treatment of materials. Zōkei play, comprising the essence of contemporary art, adequately took over the fundamental plastic work for younger children.

What was once referred to as design practice has dissolved into the free composition of es- thetic elements or the arrangement of useful things. In general, as part of children’s art curriculum, design practice has been content with its obscure position. Today, the concept of design has been incorporated in all social activities such as rebuilding lost communities. We should now move past the current standards of art education to rethink the possibilities of design edu- cation for children.

From my editor Thanos Kalamidas:
"Η Dr. Emine Koseoglu είναι φίλη και συνεργάτης για πολλά χρόνια και μου έχει δοθεί η ευκαιρία σε αυτά τα χρόνια να παρουσιάσω πολλές φορές τη δουλειά της που είναι πέρα από την αρχιτεκτονική αισθητική που έχουμε συνηθίσει.

Η Emine είναι ο αρχιτέκτονας ακαδημαϊκός που συνδυάζει τη φιλοσοφία, την εφαρμοσμένη τέχνη και το σεβασμό για το περιβάλλον σε όλη τη δουλειά της. Οι φωτογραφίες που θα δείτε έχουν όλα τα παραπάνω συν την αγάπη για τον άνθρωπο που την διακρίνει.

Για μένα είναι τιμή που παρουσιάζω αυτό το πολύ μικρό μέρος από τη δουλειά της, για πρώτη φορά σε ένα Ελληνικό κοινό.
Θάνος Καλαμίδας"

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The primary purpose of this study is to show that works of art (painting, music, sculpture, literature, etc.) can be used as means of guidance for the designers, and triggering creativity. On the other hand, the secondary purpose is to prove the mettle art of calligraphy as a tool of guidance for the freshmen and a trigger for creativity in the context of basic design discipline.

This note links Concrete Art (l'art concret), a visual art form originating around 1925, with Basic Design as taught in first-year design courses. It extends this view by approaching the topic from a rule-based, meta-design perspective using METAPOST and Nicola Vitacolonna's engine for TeXShop.

Tasarımda form oluşturma süreci, pek çok farklı alanın esin kaynağı olarak kullanılabildiği bir süreçtir. Bu alanlardan biri olan biyomimikri, doğa ile tasarımı bir araya getirmektedir. Doğadan esinlenilerek tasarlanan çalışmaların bazılarında doğal formların birebir kopyalanarak sonuç ürüne aktarıldığı görülmüştür. Bu yaklaşımla ortaya çıkan ürünler ise doğanın birer taklidi olmaktadır. Bunun yanı sıra, doğadan esinlenerek tasarlamak, tasarım eğitiminde kullanılan yaratıcı yaklaşımlardan biridir. Doğadaki formların soyutlanarak tasarıma aktarılması eğitimde faydalı bir pratik olmaktadır. Bu bağlamda çalışmada, doğadaki formlardan esinlenen tasarım anlayışının sonuç ürününe yansıması konusu örnekler üzerinden araştırılmış ve mimari tasarım eğitimindeki yansımaları incelenmiştir. Nitel olarak ele alınan araştırma için veriler, veri tabanı tarama yöntemi ile toplanmıştır. Araştırma sonucunda, biyomimikri yaklaşımının mimari tasarım eğitiminin sınırlarını geliştirerek fayda sağladığı ve öğrencilerde realist ve yaratıcı bir bakış açısı geliştirdiği tespit edilmiştir. ////// Design is inspired by many different areas in the form creation process. Biomimicry, one of these areas, combines nature and design. In some nature inspired works, it was seen natural forms were copied and directly transferred to the final design. The products that emerge with this approach are imitations of nature. Besides, the concept of design inspired by nature is one of the creative approaches used in design education. Designing by abstracting forms in nature is a beneficial practice in education. In this context, designs inspired by nature were investigated through examples, and the reflections of the approach in architectural design education were examined. The research is qualitative, and the data were collected by database scanning method. As a result of the study, it was determined that the biomimicry approach benefited by improving the limits of architectural design education and developed a realistic and creative perspective in students.

Basic design education, as an introduction of design principles to novice students, has two-way of teaching which are design thinking and professional training, since Bauhaus. Initiated in 2009, the Computation-based Basic Design Studio creates a common ground through discussions between students, academics, and professionals from various backgrounds. In this paper, the implementation of parallel courses named Computation-based Basic Design Studio and Design Geometry is discussed upon final assignment of the first semester-New Year's Lanterns. The given assignment structured as a cyclic process through constant feedback between geometric relations, material performance, and, joinery details to achieve novel outcomes that exceed the preliminarily set structural criteria. In relation to individual processes and outcomes of the final assignment, observed tendencies developed by students', at the end of their first-term in design education, will be discussed as final remarks.