Basic Design Education

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

The aim of this work is to highlight the importance of the body in the design project, as a body capable to feel and reacts with pleasure or suffering during the interaction with objects and environment all around.
Basic Design, Synaesthesia and Multimedia are the three main themes of the thesis and they are analysed also by the point of view of their historic evolution. The integration of these concepts lead to the idea of a Laboratory where it is possible to make sensory experimentations with a basic design approach to understand how our senses react in front of particular visual, tactiles and sound stimuli and to develop products which are more suitable to real sensory human needs and behaviours.
--------------------------------------------------------------------------------------------------------------------------------------L’obiettivo di questo lavoro è di evidenziare l’importanza del corpo nel progetto, un corpo inteso come essere recettivo che sente, prova emozioni e reagisce ad esse con piacere o sofferenza.
Dopo una prima fase di studio sul tema del Basic Design, delle Sinestesie e della multimedialità, affrontati anche dal punto di vista della loro evoluzione storica nel tempo, si è approdati all’idea di un Laboratorio sensoriale nel quale poter effettuare sperimentazioni.
Il Basic Design, ha come finalità lo studio di una metodologia progettuale; esso è legato alla didattica del progetto ed è una disciplina che forma le basi del fare progettuale. Inoltre rappresenta l’attitudine a un certo modo di ragionare che viene poi applicato anche a progetti concreti e si occupa di temi formali sia bidimensionali che tridimensionali affrontando la complessa sfera della percezione. Tutto ciò che ci circonda infatti, è filtrato dal nostro modo di percepire che a volte è illusorio, in particolare quando stimoli di diversa natura si intrecciano e si influenzano a vicenda, come nel caso delle sinestesie.
Da tutte queste considerazioni nasce la proposta di un Laboratorio sensoriale inteso come luogo nel quale sperimentare i meccanismi di interazione fra i sensi in specifici contesti e sviluppare un esperimento sulle sinestesie, centrato su alcuni test effettuati su due gruppi di persone. I registri sensoriali coinvolti sono suono, vista e tatto. Segue poi l’idea di simulare una condizione sperimentale, come verifica del lavoro precedentemente impostato, utilizzando una telecamera e coinvolgendo un gruppo di 8 persone (4 più sensibili all’immagine e 4 più sensibili al suono) in un esperimento composto da 3 Test di cui due centrati sul rapporto suono-immagine e uno sul rapporto suono-materiale.

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.

Çalışma, Bauhaus’ta doğan ve onunla özdeşleşerek günümüze dek ulaşan, sanat ve tasarım ile ilgili disiplinlerde hazırlık/başlangıç eğitimi kapsamında yer verilen temel tasarım eğitimine ilişkin güncel uygulamaları iç mimarlık disiplini özelinde ele almakta ve bu uygulamaların metotlarını ortaya koymaktadır.
Çalışmanın amacı; TM-1 puan türü ile öğrenci alan ve bölüm kuruluşu itibari ile en az 10 yıl geçmişe sahip altı üniversite örneği üzerinden iç mimarlık bölümlerindeki temel tasarım eğitimine ait uygulama metotlarını ortaya koymaktır. Böylece güzel sanatlar eğitimi veren disiplinlerde oldukça önem arz eden bu eğitime dair veriler sunulacaktır. Bu veriler sayesinde; hem ilgili disiplinlerdeki ders yürütücülerine hem de bu konuda araştırma yapan kişilere kaynak sağlanmış olacaktır. Çalışma tarama modeli ile şekillenmiş ve veri toplama tekniği olarak görüşme, gözlem ve doküman analizi yöntemleri kullanılmıştır.
Hacettepe Üniversitesi, Bilkent Üniversitesi, TOBB Ekonomi ve Teknoloji Üniversitesi, Selçuk Üniversitesi, Başkent Üniversitesi ve Atılım Üniversitesi temel tasarım eğitimi uygulama metotlarının analizi üzerinden oluşturulan çalışma ile kurumlarda ilk yıl eğitimi kapsamında, tasarım eğitimine yönelik temel yetilerin kazandırılması amacıyla verilen bu dersin,  ele alınan altı kurumda; genel olarak farklı metotlarla yer aldığı ve farklı başlangıç, farklı süreç ve farklı sonuç ürünler ile şekillenen uygulamalarla sürdürüldüğü sonucuna varılmıştır. Bu doğrultuda, mevcut farklılıkların temel tasarım eğitiminin dinamik yapısı ile özdeşleştiği ayrıca bu farklılıkların eğitimi ve yaratıcılığı beslediği tespit edilmiştir.
Anahtar Sözcükler: İç Mimarlık, Temel Tasarım Eğitimi, Temel Tasarım Eğitimi Uygulamaları, Uygulama Metotları

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.

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.

Çalışma,  birçok düşünür, sanatçı ya da tasarımcı tarafından sınıflandırılan sanatın; genelde tasarım özelde ise mimarlık eğitimi ile etkileşimini konu etmektedir.
Çalışmanın amacı; resim, heykel, müzik, gösteri sanatları ve diğer tüm sanat dallarının mimarlık eğitimi ile ilişkisini ve bu etkileşimin kuramsal ve uygulamalı olarak nasıl oluştuğunu, sanatın mimarlık bilgisine dönüşüp dönüşmediğini analiz etmek ve böylece tasarım eğitiminin çok kültürlü yapısını ortaya koymaktır. Bu amaç doğrultusunda tasarım eğitimi veren kurumlar arasından belirlenen Karadeniz Teknik Üniversitesi, Başkent Üniversitesi ve Bilkent Üniversitesi temel tasarım eğitimi stüdyolarındaki çalışmalar üzerinden analiz yapılmıştır. Çalışmanın yöntemini literatür incelemesi, gözlem ve görüşme oluşturmaktadır.
Sanatın tasarım ve mimarlık eğitimi ile ilişkisini ele alan bu çalışma sonucunda, temel sanat/tasarım stüdyoları ile öğrencilerin sanat ile tanıştığı ve burada resim, heykel gibi sanat dallarından estetik, biçim, form yönüyle kuramsal anlamda, sanat dallarına ait ürün ya da eserlerin çalışma konusu olacak şekilde projelere konu edilmesi ile de uygulamalı anlamda, farklı yöntemler ve tasarım kültürleriyle sanattan yararlanılabildiği ortaya konulmuştur.
Anahtar sözcükler: Sanat, Tasarım, Mimarlık, Mimarlık Eğitimi, Çok Kültürlülük.

Temel Sanat Eğitimi dersinin Akademi dönemindeki kürsüleşme çalışmalarından fakülteleşme ve bölüm aşamalarına kadar geçirdiği serüvenlerde öğrencilerin yapmış olduğu uygulama örneklerinden oluşan katalog çalışması. Yayın aynı zamanda dersin tarihçesiyle ilgili bilgi veriyor. Kataloğun 1. cildinde; desen üzerine ışık-gölge biçim dili kompozisyon renk konuları yer almaktadır.
Catalog study consisting of examples of applications made by students in the adventures of basic art education course from chairing studies during the Academy period from department to facultying. The publication also provides information about the history of the basic art education in Istanbul Fine Arts Academy. In volume 1 of the catalog includes subjects of light and shadow, form language, composition, texture and color systems.

This paper aims to bring a new nexus of activities around architect and educator William Huff's work, presented here as an experimental design assignment in architectural education. After his retirement, professor Huff donated a collection of his students' work to the HfG Archive in Ulm, Germany, which inspired us, at the Institute of Art and Design in Vienna to give a semester assignment focusing on parquet deformations (PD). The open search for strategies to transfer the idea of planar PDs into 3D led to fascinating results. We discovered a field of formal research that broadened the students' horizons concerning 2 and 3-dimensional relationships enthusing them considerably by making them aware of the unlimited possibilities of spatial transformation. This is a brief report of a fruitful project in basic design education for architects and designers.

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.

Hace cien años abrió sus puertas en Weimar un proyecto ideado por Walter Gropius a partir de la fusión de la Escuela Gran Ducal Sajona de Bellas Artes con la Gran Ducal Sajona de de Artes Aplicadas que recibiría el nombre de Staatliche Bauhaus.
Este libro se ocupa de lo que aquella escuela fue mientras estuvo abierta, pero también de lo que llegó a ser una vez clausurada. Su actividad entre 1919 y 1933 fue el fundamento de un elaborado relato que serviría de modelo a miles de instituciones educativas deseosas de arrinconar la vieja formación académica que pervivía en sus aulas desde finales del siglo XIX.
Pero, aunque los orígenes de la Bauhaus se remontan a las ideas reformistas que llevaron a Gropius a impulsar la unificación de las artes en una institución liderada por la arquitectura, la guerra y la posterior revolución dieron forma a una nueva sociedad que planteaba nuevos retos. La respuesta a esos desafíos hizo que la Bauhaus se viera afectada por numerosos conflictos internos. Esas tensiones se debieron, en su mayor parte, a discrepancias pedagógicas de gran hondura y a diferentes concepciones sobre la función política y social que la escuela debía desempeñar en el momento histórico que le tocó vivir. Hannes Meyer, que ocupó la dirección tras la salida de Gropius, quiso desmarcarse del formalismo de su antecesor impulsando en la Bauhaus una orientación social que provocaría una ruptura con la tradición artística que representaban Klee y Kandinsky. Tales divergencias minaron la unidad interna en sus últimos años e hicieron más difícil afrontar el acoso político a que se vio enfrentada la escuela en sus últimos años.
Tras la llegada de Hitler al poder la escuela fue cerrada y muchos de sus profesores tuvieron que exiliarse, la mayoría de ellos en Estados Unidos. La New Bauhaus de Chicago fue un primer intento de continuidad institucional que incorporó prácticas ajenas a la tradición artística. Pero en el exilio comenzó a elaborarse un nuevo relato de la Bauhaus no del todo fiel con lo sucedido. El interés de Gropius por hacer de la escuela un elemento esencial de su carrera tuvo su consecuencia en la exposición del MoMA de Nueva York, en 1938, una primera interpretación de la Bauhaus como hito de la modernidad.
El renacimiento de la escuela en la República Federal de Alemania no puede desvincularse del marco político que supuso la Guerra Fría. Su legado sirvió para dar forma a la nueva cultura alemana que los Estados Unidos tenían en mente, y las dos Alemanias interpretaron ese legado en un mismo sentido: la Bauhaus practicaba una suerte de modernidad apolítica y era un símbolo del sistema capitalista. Por ese motivo, se dedica un amplio espacio a la Hochschule für Gestaltung de Ulm que daría dio forma en momentos diferentes a las distintas herencias de la Bauhaus (Gropius, Itten y Meyer) para terminar cerrando sus puertas en 1968 como su antecesora lo había hecho en 1933.
Pero la Bauhaus dejó una importante huella en otros países europeos. Dos ejemplos muestran esa influencia: el Institut de l’Enviroment que Claude Schnaidt, gran admirador de Meyer. dirigió en París; y el movimiento del Basic Design impulsado, entre otros, por Richard Hamilton que cambió el sistema de educación artística en el Reino Unido a partir de la adaptación de las ideas de Itten y Klee.
Para que todo ello fuera posible, y para que muchas instituciones se sintieran herederas de la Bauhaus, fue necesario que la realidad de la escuela se insertara en una construcción cultural y fuera objeto de una sistemática promoción durante décadas. Esto es lo que hizo Walter Gropius a partir de 1935, cuando asumió el papel esencial en la creación de un mito y supo dar forma a la idea que Mies van der Rohe consideraba como el principal valor de la Bauhaus. Para ello, Gropius reescribiría, manipularía y adaptaría hechos y testimonios, de manera que fueran aptos para todos los públicos; y conseguiría fundir su propia persona con la Bauhaus, y a la Bauhaus con la modernidad del siglo XX.

Bu kitapta, 2007 – 2014 eğitim ve öğretim yıları arasında, Mimar Sinan Güzel Sanatlar Üniversitesi Şehir ve Bölge Planlama Bölümü Temel Tasarım Atölyesinde uygulanan çalışmalar üzerinden, Temel Tasarım konusunun planlama öğrencileri için nasıl geliştirilebileceğine ait deneyimler aktarılmaktadır. Kavramlar üzerinden tartışmalar, saha çalışmaları ve öğrenci çalışmalarından örnekler üzerinden "yere özgü" kimliğin nasıl sorgulandığı, anlamlandırıldığı, bulguların temel tasarım araçları ve yöntemleriyle nasıl aktarıldığı pedagojik bir yöntem olarak paylaşılmaktadır. ................................................................................................................................................ In this book, the experience of how the subject of Basic Design can be developed for Urban Planning students is conveyed through the studies carried out at Mimar Sinan Fine Arts University (MSFAU), Department of City and Regional Planning, Basic Design Studio in between 2007 and 2014 academic years. Discussions over concepts, field studies and examples from student works are shared as a pedagogical process on how the "local identity" is questioned and interpreted, and how the findings are expressed through basic design tools and methods.

The shift in the last twenty years from an industrialised economy to a knowledge economy demands new modes of education in which individuals can effectively acquire 21st century competencies. This article builds on the findings and recommendations of a Knowledge Economy Market Development Mapping Study (KEMDMS), conducted in Queensland, Australia. The study was conducted to identify the value of design education programs from primary school through to the professional development level. This article considers the ability of design education as a framework to deliver on the 21 st century competences required for the three defining features of the creative knowledge economy-Innovation, Transdisciplinarity and Networks. This is achieved by contextualising key findings from the KEMDMS, including current design education initiatives, and outlining the current and future challenges faced. From this, this article focuses on the role of the tertiary education sector as the central actor in ...

Basic Design is a first year fundamental course that is taught in different disciplines such as architecture, design and fine arts. Basic Design introduces the basic concepts and principles of design and enables students to develop mental and manual skills to cope with design problems. It allows students to structure and articulate two and three dimensional spatial compositions in different media. Clay as a plastic material was chosen to develop their creativity in making 3D abstract design works. For four semesters clay was integrated into the Basic Design courses of Interior Architecture and Architecture departments of Çankaya University in Ankara, Turkey. During this period, 270 students produced 3D design works consisting of clay and/or metal based on different design concepts. The aim was to broaden their viewpoints while designing with such a plastic material and create sensual artistic works by using an extra material that contrasted with the plasticity of clay. The final products showed that students were able to use clay and/or metal as effective tools in representing their design ideas. The outcome of this design experience showed that students can utilize ceramic/clay in their design projects.

Spatial cognition and skills are of critical importance for architecture. During their education, architecture students are expected to use and develop visuospatial skills to generate/construct, retain, rotate, and manipulate space mentally and physically through physical and digital representations. This study was designed and conducted to fill the gap in researches on the first-year architecture students’ spatial skill evaluated by means of neuropsychological tests. The goal of the study was to investigate the potential connections between the visuospatial skills, university entrance exam scores and cognitive development of the first architecture students. 128 students participated to the research voluntarily. For visuospatial skills Raven Standard Progressive Matrices (RSPM) test was administrated. Logical Thinking Test was used for the assessment of cognitive development level. Participants with art training prior to university performed better in RSPM total, and RSPM subtest E....

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.

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.

Öz: Çalışma, belirlenen araştırma alanında tamamlanan yüksek lisans ve doktora tezleri üzerine yapılan eleştirel bir incelemeyi konu etmektedir. Çalışmanın amacı, tasarım eğitimi/temel tasarım eğitimi konularının yazınsal ve akademik mimari araştırmaların başlangıcından günümüze kadar ilerleyen süreçte, mimarlık ve iç mimarlık gibi disiplinlerde izlediği yolu kurgulayıp literatürde bu konudaki mevcut durumu analiz ederek var ise bir boşluk ya da eksiklik tespit etmektir. Çalışma nitel yöntem ile oluşturularak, literatür değerlendirmesi tekniğinden faydalanılmıştır. İnceleme yapılırken kavramlar önce genel olarak, ardından filtrelemelerle daraltılarak aranmış ve araştırma alanı sınırlandırılarak daha ilişkili sonuçlar elde edilmeye çalışılmıştır. Çalışma alanı olarak temel tasarım eğitimi ve bu eğitimde dijitallik, teknoloji ilişkisi seçilmiş ve bu konuda literatürde araştırma yapmak adına 'Tasarım Eğitimi', 'Temel Tasarım (Eğitimi)' ve 'Dijitalleşme' anahtar kelimelerinden faydalanılarak ulusal ve uluslararası veri tabanları aracılığı ile tamamlanmış tezlere ulaşılmıştır. Çalışma son 20 yıl ile sınırlandırılarak içinde bulunulan yüzyılın koşullarının, belirlenen konuda literatürdeki eğilimleri ya da çalışma alanlarını nasıl etkilediği konusu üzerinde tespitlerde bulunmak amaçlanmıştır. Çalışma sonucunda ulusal ve uluslararası alanda genelde tasarım eğitimi özelde temel tasarım eğitimi alanında dijitalleşme etkileşiminin çok fazla görülmediği, ilişkili birkaç çalışmanın da kuramsal olarak yer alıp uygulamaya geçirilmediği görülmektedir. Bu nedenle mevcut çalışmaların 21. yüzyıl teknolojik koşullarına cevap verecek nitelikte olmadığı, literatürde bu alanda eksiklik olduğu kanısına varılmıştır.

Attraverso la presentazione di ventiquattro esperienze didattiche, gli autori illustrano le competenze base della progettazione con l’ambizione di rispondere a due domande semplici ma impegnative: quali competenze dovrà possedere il progettista del futuro? E come si insegnano? La natura dei workshop presentati è sperimentale ed inclusiva. Sperimentale perché lasciano grande spazio all’imprevisto, all’errore, all’imperfezione e all’anomalia. L’incertezza del risultato ha reso vitale i processi esplorativi ed ha animato l’immaginazione di ognuno, che con emozione si è sorpreso di risultati inaspettati. Inclusiva perché, come si sa, le differenze sono ricchezze e coniugare i punti di vista alternativi o irregolari, e anche gli esiti inconsueti, dentro processi collettivi e collaborativi, ha esaltato le potenzialità delle intelligenze peculiari di ciascuno, rendendo le esperienze più varie, consistenti e solidali.

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 e...

Basic design education retains its seminal role in most of the architectural curricula today. Having the primary goal of getting acquainted students with knowledge and skills of design basics, basic design education supports the development of creative ways of thinking combined with hands-on learning experiences. The assignments address the articulation of the basic design in 2D and 3D elements such as lines, planes, volumes, structures and forms, while students are encouraged to experiment the potentials of different materials and techniques. Course included 9 different 2D and 3D exercises that focus on design principles and elements together by adding different design problems in process. For instance, structural problems as self-standing or modular 3D units’ penetrations and strengthens for complex design problems are added for further assignments in the schedule. In this process ‘creativity development’ is assessed and evaluated by considering the whole course schedule at the example of individual student assignments.

The objective of this paper is to make an analysis of creativity development with regard to the assessment and evaluation procedures, taking the process and products of a basic design studio as a case study. The methodological framework of this paper is based on the examination of two sets of data; (1) ‘quantitative data’ that includes the grades of assignments that are designed as part of ARCH 101 Design course of architecture program at Özyeğin University Faculty of Architecture and Design in “ARCH 101 in Fall and Spring terms of 2017-2018 academic program; (2) ‘qualitative data’ that includes the studio observations and reflective interpretations of instructors regarding the creativity development process for individually student assignments. Grades give the idea of which student exercise has been understood well and reached its learning objectives by considering the whole class. Majority tendency of the grades help assessment of the schedule from the aspect of creativity development. The evaluation of creativity includes manifold aspects of assessment. Teachers’ style, schedule of the course, personal factors such as students’ personal backgrounds, former education, and the styles of thinking and learning, being individual or collective are all effective on creativity.

ARTICLE INFO The education program of the basic design studios at the Faculty of Architecture, Department of Urban and Regional Planning targets students to understand the connection between the discovery, interpretation and generation of the knowledge and the design process. The teaching of the fragmented and uncorrelated knowledge in the design education is one of the main drawbacks behind the insubstantial state of the basic design courses. Therefore, it is vital to establish a link between the empirical knowledge and normative theory, i.e. design ideology, to reinforce the quality of basic design courses. In this context, the first section examines the changing understanding of the basic design education from past to present. Moreover, the emerging studies for the teaching of basic design education that focused on the orientation of human and environment are investigated. The second section of the paper describes the goal, scope and the teaching plan of the basic design studio education program for the second semester of the first year that was prepared in accordance with the discussions from previous part. Lastly, the student works submitted for the course titled "MIS102 Studıo 2" in the fall semester of the 2016-2017 academic year in the Department of Urban and Regional Planning at the Amasya Faculty of Architecture were evaluated according to the framework of the methodology given in the second section. The learning outcomes obtained from the workshop experience were presented in the final section. The main learning outcomes of this workshop experience may be summarized as two significant facts that the physical environment is also a social structure and the emerging relationship and/or experience between human and space will increase the awareness of the individual.

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.

Basic design education retains its seminal role in most of the architectural curricula today. Having the primary goal of getting acquainted students with knowledge and skills of design basics, basic design education supports the development of creative ways of thinking combined with hands-on learning experiences. The assignments address the articulation of the basic design in 2D and 3D elements such as lines, planes, volumes, structures and forms, while students are encouraged to experiment the potentials of different materials and techniques. Course included 9 different 2D and 3D exercises that focus on design principles and elements together by adding different design problems in process. For instance, structural problems as self-standing or modular 3D units’ penetrations and strengthens for complex design problems are added for further assignments in the schedule. In this process ‘creativity development’ is assessed and evaluated by considering the whole course schedule at the ex...

In order to improve creative thinking in architectural design education, it is useful to interact with other disciplines such as music. There are many worksof this interdisciplinary approach between architecture and musician the literature. These studies focus on new methods of creating forms with music for basic architectural education. The common aim is using music as a creative perspective for designing forms before proceeding to architectural design. Various structural forms designed by students are examined within these studies. It is concluded that designing with music could improve students’ imagination and could be benefit to architectural design education. Furthermore, these approaches could be improved, not only in basic form design, but also to be applied in an entire architectural project from space to façade. Music could be used as an inspiration to be transformed into a product, an interior or an architectural structure, and this could be useful for architectural design studio courses. Therefore, this review aims to underline the benefit of music in architectural education by examining the existing studies in the field, and it is a preliminary research for the further study of a method of designing with music.

Basic Design is the beginning of design course series in architectural education which initiates architecture students to both architectural education and the profession. First-year design curricula have generally common goals of students’ acquisitions about design knowledge, skill and competence; however, ways of teaching may vary. Here, we discuss our approach to teaching basic design during the second semester focusing on a particular phase of the curriculum. The aim of the article is to evaluate our teaching method, which is based on Kolb’s Experiential Learning Theory and targets at developing students’ comprehension and internalisation of body and space relations. Experiential Learning Theory underscores a four-stage learning cycle: concrete experience, reflective observation, abstract conceptualisation and active experimentation. Referring to this cycle, we prioritised real-life experiences to encourage students to explore various ways, modes and stages of designing. The cycle begins with lived experiences of body movements and space through ‘contact improvisation’ which simultaneously involves discovering movements of one’s body in relation to other bodies and space using basics of sharing improvised touch and movement consciousness. While practising contact improvisation in groups, students reflect on their experiences through sketches, photographs and videos. Based on their reflections, they produce three-dimensional abstractions, which later transform into spatial designs. By the end, we state that these experimental exercises positively contribute to teaching/learning ‘body, scale and space’ within the basic design curriculum and question how future studies can be articulated to enhance design learning.