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Unsworth, J.; (2001) “Drawing is Basic”, Art Education published by National Art Education Association, Vol 54, N. 6., pp 6-11 Weiner, F.; (2005) Five Critical Horizons for Architectural Educators in an Age of Distraction, Published in “ Writings in Architectural Education” editor: E.Harder; won the first EAAE Prize in 2003-2005 71
RESEARCH AND TRAINING IN THE FIELD: AN EXAMPLE OF CAD-SUPPORTED DRAWING DOCUMENTATION ON THE MAUSOLEUM OF BELEVI / TURKEY Gamze Kaymak Heinz, Researcher Austrian Archaeological Institute Hertha Firnberg-Str. 9/4/447 A-1100 Wien / Austria gamzekaymak@aon.at 1977-1984 Studies in architecture and Research-Assistant (Karadeniz Technical University) Master’s Thesis: “The physical and functional mutual relationships in living units”. 1985 Prize for the competition “In a historical city: Fields of life for the future, Bursa 2000”. From 1986 Architectural studies at TU-Vienna, Member of the excavation (Ephesos and Limyra). 1997 Dissertation: “The construction history of Cumanin Camii in Antalya and their Byzantine origins”, TU-Vienna. 1998-2006 Working on the building research of the Mausoleum of Belevi / Turkey. 2007 Organizational activities for the Austrian Archaeological Institute, and efforts for the establishment of the ancient city of Ephesos on the list of preservation of UNESCO. 72
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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
Page 21 and 22: Concepts/words which designate diff
Page 23 and 24: answer all. I believe the question
Page 25 and 26: MacKinnon, D. W. (1962) The Persona
Page 27 and 28: A VISION FOR TRAINING DESIGN PROGRA
Page 29 and 30: ABSTRACT This study looks into the
Page 31 and 32: Training objectives • There are s
Page 33 and 34: Site supervision Working drawings &
Page 35 and 36: Method of Analysis: For each questi
Page 43 and 44: THE DESIGN PROCESS Between imaginat
Page 45 and 46: Results 1. If design incorporates b
Page 47 and 48: (...)." 6 Idea and materialization
Page 49 and 50: software applications. They determi
Page 51 and 52: II. EVALUATION Description of the p
Page 53 and 54: the interests of the students as de
Page 55 and 56: Relationship between theory und pra
Page 57 and 58: Hertzberger, H (2002), Creating Spa
Page 59 and 60: ABSTRACT Education of architecture
Page 61 and 62: FROM SOCIAL STUDIES CHAPTER III TO
Page 63 and 64: - I cant draw, what am I going to d
Page 65 and 66: This is worth thinking about becaus
Page 67 and 68: - Avoiding fear It is important for
Page 69 and 70: Life in Neverland… These pictures
Page 71: As Krishnamurti indicated years ago
Page 75 and 76: Keywords: The Mausoleum of Belevi,
Page 77 and 78: of stones, the reference points wer
Page 79 and 80: so to speak, in the way, the points
Page 81 and 82: Photogrammetry A further procedure
Page 83 and 84: Although the areas recorded were in
Page 85 and 86: study periods, which is usual, but
Page 87 and 88: Keil J., (1933), 17. Vorläufiger B
Page 89 and 90: ABSTRACT The design studio is centr
Page 91 and 92: directs the course of learning thro
Page 93 and 94: process of developing a suitable st
Page 95 and 96: Figure 2 - Making a Wall (31 Januar
Page 97 and 98: attempts to test the possibilities
Page 99 and 100: Figure 5 - Final Study (14 February
Page 101 and 102: Luis Manuel Fernandez Salido Gradua
Page 103 and 104: ABSTRACT Introduction Analysis of f
Page 105 and 106: ANALYSIS OF FORMS We would like to
Page 107 and 108: 3rd Design culture The third aim pr
Page 109 and 110: 3. To manifest and communicate the
Page 111 and 112: 4. End of the process In order to e
Page 113 and 114: the graphic skill. This is the reas
Page 115 and 116: STARTING DESIGN EDUCATION: “BASIC
Page 117 and 118: such as harmony and contrast. In co
Page 119 and 120: works in Basic Design course and ke
Page 121 and 122: 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
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every day, describing what happened
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MANFREDO TAFURI, AND JEAN PAUL SART
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MANFREDO TAFURI, AND JEAN PAUL SART
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them, absorb them, to become a “g
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ather we create a medium for oursel
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A second look at Ruskin’s initial
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As a new conscious attitude toward
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THINKING CONSTRUCTION AS DESIGN AND
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ABSTRACT Introduction. The main edu
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THINKING CONSTRUCTION AS DESIGN AND
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development of form disregarding te
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problem was that students’ knowle
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thought developed as a tool to resp
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ABSTRACT The studio experiences in
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THE FIRST PROJECT (STUDIO) EXPERIEN
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environment of the house to a small
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I. Step In this step, the students
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II. STEP DRAWINGS AND MODEL SAMPLES
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Betül Maden (Student) Merve Yava
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expected the get as much informatio
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Architecture, 3. International Cong
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ABSTRACT Introduction: Researchers
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engagement, haptic engagement, ment
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Categories that emerge from the ens
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Design is also a form of creative p
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Hoare, Carol (Editor) Handbook of A
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Didem BEDÜK TUNCEL • Ph.D. in In
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As can be seen in the student proje
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under the title of user needs. In t
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space. It is obvious that living in
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see that several socio-cultural and
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Figure 3: Ayda Gelgör, student pro
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REFERENCES Altınok, H.Z. , 2007. T
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THE COTTBUS EXPERIMENT THREE FIELDS
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Skills and Knowledge We would like
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“The architect should be equipped
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ability to share his competencies w
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the creative process itself. This l
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But how to structure the curriculum
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The first field of competencies - S
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the student to realise his personal
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EXPERIMENTATION VERSUS READY-KNOWLE
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own thinking way. Intuitive way of
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of all concepts with intuition and
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of main aim is uncovering the secon
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Figure 3. Examples of exploration o
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1. Aydınlı Semra, (2001), Mimarl
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ABSTRACT Thinking and creativity ar
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Taking a certain education model as
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CONCRETE ……………… ..… .
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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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