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FLEXIBLE SOLUTIONS FOR SMALL SPACES IN SPATIAL DESIGN TEACHING Didem BEDÜK TUNCEL, ASST.PROF. Mimar Sinan Fine Arts University Faculty of Architecture Department of Interior Architecture Meclis-i Mebusan Cad. No:24 34427 Fındıklı /STANBUL/TURKEY TEL: +90 212 2521600/269 GSM:+90 543 9274066 E-MAIL: beduk@msu.edu.tr E-MAIL: dbeduk@yahoo.com Hande Z. ALTINOK, R.ASST Mimar Sinan Fine Arts University Faculty of Architecture Department of Interior Architecture Meclis-i Mebusan Cad. No:24 34427 Fındıklı/STANBUL/TURKEY TEL: +90 212 2521600/269 GSM:+90 535 4133590 E-MAIL: hande1@msu.edu.tr, E-MAIL: handeicmimar@yahoo.com 209
Didem BEDÜK TUNCEL • Ph.D. in Interior Architecture, Mimar Sinan Fine Arts University, Faculty of Architecture, (MSGSU), 2003, “Information/Communication Age and Interior Design” • MSc. in Interior Architecture, Mimar Sinan Fine Arts University, Faculty of Architecture, (MSGSU), 1998, “An Approach to the Design Principles of Inner City Hotel Restaurants and Applications in Istanbul” • B.Sc. in Interior Architecture, Bilkent University, Department of Interior Architecture and Environmental Design, 1994 • Still works as an assistant professor at MSGSU, Department of Interior Architecture teaching classes of Spatial Design, Introduction to Design, Elements of Design and Project. • Speaks Turkish (mother language), English (advanced) Hande Z. ALTINOK • M.Sc. in Interior Design, Mimar Sinan Fine Arts University (MSGSU), 2007 Thesis: “The Influence Of The Concept Of Flexibility Arising From Uncertainty On Residential Interiors And Fittings” • B.Sc. in Interior Design, MSU, 2004 • Still works as a research assistant at MSGSU, Department of Interior Architecture • Speaks English (intermediate), German (beginner) 210
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DESIGNingDESIGNEDUCATION d es i g n
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DESIGNTRAIN ORGANIZERS KTU KARADENI
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TABLE OF CONTENTS INTRODUCTION 5 KE
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phase. The first year education pro
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• Globalization versus Localizati
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Abstract In this keynote speech I w
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architecture moved towards particip
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different for its own sake; they pr
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Based on this view of architecture,
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In this brief, Derrida’s major di
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Concepts/words which designate diff
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answer all. I believe the question
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MacKinnon, D. W. (1962) The Persona
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A VISION FOR TRAINING DESIGN PROGRA
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ABSTRACT This study looks into the
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Training objectives • There are s
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Site supervision Working drawings &
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Method of Analysis: For each questi
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THE DESIGN PROCESS Between imaginat
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Results 1. If design incorporates b
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(...)." 6 Idea and materialization
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software applications. They determi
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II. EVALUATION Description of the p
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the interests of the students as de
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Relationship between theory und pra
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Hertzberger, H (2002), Creating Spa
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ABSTRACT Education of architecture
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FROM SOCIAL STUDIES CHAPTER III TO
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- I cant draw, what am I going to d
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This is worth thinking about becaus
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- Avoiding fear It is important for
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Life in Neverland… These pictures
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As Krishnamurti indicated years ago
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RESEARCH AND TRAINING IN THE FIELD:
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Keywords: The Mausoleum of Belevi,
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of stones, the reference points wer
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so to speak, in the way, the points
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Photogrammetry A further procedure
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Although the areas recorded were in
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study periods, which is usual, but
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Keil J., (1933), 17. Vorläufiger B
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ABSTRACT The design studio is centr
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directs the course of learning thro
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process of developing a suitable st
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Figure 2 - Making a Wall (31 Januar
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attempts to test the possibilities
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Figure 5 - Final Study (14 February
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Luis Manuel Fernandez Salido Gradua
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ABSTRACT Introduction Analysis of f
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ANALYSIS OF FORMS We would like to
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3rd Design culture The third aim pr
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3. To manifest and communicate the
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4. End of the process In order to e
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the graphic skill. This is the reas
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STARTING DESIGN EDUCATION: “BASIC
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such as harmony and contrast. In co
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works in Basic Design course and ke
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Figure 10. Büra Pars, Exercise on
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can I do?” as the classes advance
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124
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ABSTRACT “To be playful and serio
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what our intention is in the design
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ehind the chosen contract, but the
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Figure 1. student photograph - a li
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Figure 4. student drawing - superim
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Figure 6. student refinements - edi
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ARCHITECTURE & PHILOSOPHY: THOUGHTS
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The students explore the revolution
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years demonstrate a proclivity to a
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expound on concepts of contemporary
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knowledge in architecture. He requi
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AN EMBODIED APPROACH TO LEARNING AT
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ABSTRACT The challenge of teaching
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our prior experiences, beliefs and
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Starr-Glass (2002) has a great anal
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Connection Bourdieu (2000) said tha
Page 159 and 160: every day, describing what happened
Page 161 and 162: MANFREDO TAFURI, AND JEAN PAUL SART
Page 163 and 164: MANFREDO TAFURI, AND JEAN PAUL SART
Page 165 and 166: them, absorb them, to become a “g
Page 167 and 168: ather we create a medium for oursel
Page 169 and 170: A second look at Ruskin’s initial
Page 171 and 172: As a new conscious attitude toward
Page 173 and 174: THINKING CONSTRUCTION AS DESIGN AND
Page 175 and 176: ABSTRACT Introduction. The main edu
Page 177 and 178: THINKING CONSTRUCTION AS DESIGN AND
Page 179 and 180: development of form disregarding te
Page 181 and 182: problem was that students’ knowle
Page 183 and 184: thought developed as a tool to resp
Page 185 and 186: ABSTRACT The studio experiences in
Page 187 and 188: THE FIRST PROJECT (STUDIO) EXPERIEN
Page 189 and 190: environment of the house to a small
Page 191 and 192: I. Step In this step, the students
Page 193 and 194: II. STEP DRAWINGS AND MODEL SAMPLES
Page 195 and 196: Betül Maden (Student) Merve Yava
Page 197 and 198: expected the get as much informatio
Page 199 and 200: Architecture, 3. International Cong
Page 201 and 202: ABSTRACT Introduction: Researchers
Page 203 and 204: engagement, haptic engagement, ment
Page 205 and 206: Categories that emerge from the ens
Page 207 and 208: Design is also a form of creative p
Page 209: Hoare, Carol (Editor) Handbook of A
Page 213 and 214: As can be seen in the student proje
Page 215 and 216: under the title of user needs. In t
Page 217 and 218: space. It is obvious that living in
Page 219 and 220: see that several socio-cultural and
Page 221 and 222: Figure 3: Ayda Gelgör, student pro
Page 223 and 224: REFERENCES Altınok, H.Z. , 2007. T
Page 225 and 226: THE COTTBUS EXPERIMENT THREE FIELDS
Page 227 and 228: Skills and Knowledge We would like
Page 229 and 230: “The architect should be equipped
Page 231 and 232: ability to share his competencies w
Page 233 and 234: the creative process itself. This l
Page 235 and 236: But how to structure the curriculum
Page 237 and 238: The first field of competencies - S
Page 239 and 240: the student to realise his personal
Page 241 and 242: EXPERIMENTATION VERSUS READY-KNOWLE
Page 243 and 244: own thinking way. Intuitive way of
Page 245 and 246: of all concepts with intuition and
Page 247 and 248: of main aim is uncovering the secon
Page 249 and 250: Figure 3. Examples of exploration o
Page 251 and 252: 1. Aydınlı Semra, (2001), Mimarl
Page 253 and 254: ABSTRACT Thinking and creativity ar
Page 255 and 256: Taking a certain education model as
Page 257 and 258: CONCRETE ……………… ..… .
Page 259 and 260: Table 2. Encounter Abstract Concret
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Table 5. Meeting Abstract Student :
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FROM TRADITIONAL TO MODERN; METHODO
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The desired result is to provide co
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In the coverage of Planning 1 Studi
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• Quarter concept planning and de
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Figure 3: Identification Process of
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Figure 7: Synthesis Figure 8: Zonni
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carry out a design study relating t
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students on the subject of design b
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ABSTRACT The theoretical framework
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THE DANCE OF DESIGN AND SCIENCE IN
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Second motivation generated the arc
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Bilgi Denel and A Methodology for B
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one fact well by manipulating it, w
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explanation of design activity in 1
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ABSTRACT Basic design education is
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the author found two dimensional ge
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For the second task, drawing differ
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etween basic design success and rem
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Figure 5: An example of a design al
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