FACULTY OF FINE ARTS AND DESIGN
Department of Architecture
ARCH 340 | Course Introduction and Application Information
| Course Name |
Theoretical Bases of Architectural Representation
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
ARCH 340
|
Fall/Spring
|
3
|
0
|
3
|
4
|
| Prerequisites |
None
|
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| Course Language |
English
|
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| Course Type |
Elective
|
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| Course Level |
First Cycle
|
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| Mode of Delivery | face to face | |||||
| Teaching Methods and Techniques of the Course | Case StudySimulationLecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | To improve students' understanding of architectural representation |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | Architects make use of different media to represent their work. Representations – drawing, model, photograph, film, computer graphics, etc. – are tools to communicate their ideas with others. The medium that mediates the idea has an impact on the progress of the design, which brings forth the necessity of a through understanding of media. |
|
|
Core Courses | |
| Major Area Courses |
X
|
|
| Supportive Courses | ||
| Media and Management Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Related Preparation |
| 1 | Introduction | postscript: Slessor, C. (2013). Editorial View: Architectural Representation. The Architectural Review (http://www.architectural-review.com/view/editorial-view-architectural-representation/8647155.article) |
| 2 | Representation: Why is it important | required: Olsberg, N. (2013). The Evolving Role of the Drawing. The Architectural Review (http://www.architectural-review.com/essays/the-evolving-role-of-the-drawing/8646928.article) optional: Tufte, E.R. (1997). Visual Explanations: Images and Quantities, Evidence and Narrative. Graphic Press: Connecticut. (pages 28-31) |
| 3 | Origins of Architectural Representation I: Drawing With Numbers | required: Carpo, M. 2003, Drawing with numbers: geometry and numeracy in early modern architectural design. Journal of the Society of Architectural Historians, 62(4):[448]-469. |
| 4 | Origins of Architectural Representation II | required: Smith, K.S. (2005). Architect’s Drawings. Oxford: Architectural Press. (p.19-21,27) |
| 5 | Sketches | required: Architect’s Drawings. Oxford: Architectural Press. (p.2-5) optional: Cross, N. (2007). Designerly Ways of Knowing. Berlin: Verlag (p.54-58, The role of sketching in design) |
| 6 | Conceptual Diagrams | required: Do, E.Y. & Gross, M. D. (2001). Thinking with diagrams in architectural design. Netherland: Kluwer Academic. (1-8) optional: Dogan, F., & Nersessian, N. J. (2003). Collaboration in design: Evolving conceptual diagrams. In Alterman, R. & Kirsh, D. (Eds.), 2003 Cognitive Science Society Conference, Boston, MA. July 3-August 02: Lawrence Erlbaum Associates. |
| 7 | Printed images, ancient models, and handmade drawings | Carpo, M. 2001, “How do you Imitate a Building That You Have Never Seen? Printed Images, Ancient Models, and Handmade Drawings in Renaissance Architectural Theory." Zeitschrift für Kunstgeschichte, 64(2): 223-234. |
| 8 | Midterm | |
| 9 | Representation in Urban Design | required: Shane, D.G. (2010). Urban diagrams and urban modeling. In "Diagrams of Architecture: AD Reader", edited by Mark Garcia. Chichester: Wiley AD Reader. optional: Allen, L., Smout, M. (2008). The Retreating Village. London: The Bartlett School of Architecture |
| 10 | Re-presentation / representation | required: Cook, P. (2008) Drawing: The Motive Force of Architecture, Chichester: John Wiley and Sons. (p.64-73, drawing as statement) optional: Cook, P. (2008) Drawing: The Motive Force of Architecture, Chichester: John Wiley and Sons. (p.92-110, drawing as composition) |
| 11 | Representation, Social Media and Photography | Manovich, L. Designing and Living Instagram Photography: Themes, Feeds, Sequences, Branding, Faces, Bodies, , accessed on 26.10.2021 |
| 12 | Representing Utopias I | required: Jalving, C. Utopia in the Eye of Beholder A Theoretical Perspective. 2012. In Gether, C., Høholt, S. & Laurberg., M. (Eds.), Utopia and Contemporary Art, p.29-36. |
| 13 | Representing Utopias II | required: Duncombe, S. Imagining No-Place The Subversive Mechanics of Utopia. 2012. In Gether, C., Høholt, S. & Laurberg., M. (Eds.), Utopia and Contemporary Art, p.39-47. |
| 14 | Representation and Comic books | required: Mazzucchelli, D. 2009. Asterios Polyp, Pantheon Books, New York. Required page numbers will be announced. |
| 15 | Student presentations | |
| 16 | Final Exam |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | Abrahams, T. (2013). Computers in Theory and Practice. The Architectural Review (http://www.architectural-review.com/essays/computers-in-theory-and-practice/8646960.article) Ackerman, J.S. (1997). Villard de Honnecourt's Drawings of Reims Cathedral: A Study in Architectural Representation. Artibus et Historiae, Vol. 18, No. 35. (1997), pp. 41-49. Bafna, S. (2008) How architectural drawings work - and what that implies for the role of representation in architecture, The Journal of Architecture, 13:5, 535-564. (available at http://www.tandfonline.com/doi/pdf/10.1080/13602360802453327) Cross, N. (2007). Designerly Ways of Knowing. Berlin: Verlag (p.54-58, The role of sketching in design) Dogan, F., & Nersessian, N. J. (2012). Conceptual diagrams in creative architectural practice: the case of Daniel Libeskind's Jewish Museum. Arq: Architectural Research Quarterly, 16(1), 15-27. Evans, R. (1989). Architectural projection. In Architecture and its image. E. Blau and E. Kaufman (eds). Montreal: Canadian Centre for Architecture. Henderson, K. (1999). On line and on paper: Visual representations, visual culture, and computer graphics in design engineering. Cambridge, Mass.: MIT Press. Kellet, R. (1990). Le Corbusier's Design for the Carpenter Center: A documentary analysis of design media in architecture, Design Studies, 11(2),164--180. Olsberg, N. (2013). The Evolving Role of the Drawing. The Architectural Review (http://www.architectural-review.com/essays/the-evolving-role-of-the-drawing/8646928.article) Ousterhout, R. G. (1999). Master builders of Byzantium. Princeton, N.J.: Princeton University Press.(Chapter 3, 58-85) Pietroforte, R., Tombesi, P., & Lebiedz, D. D. (2012). Are physical mock-ups still necessary to complement visual models for the realization of design intents? Journal of Architectural Engineering, 18(1), 34-41. Slessor, C. (2013). Editorial View: Architectural Representation. The Architectural Review (http://www.architectural-review.com/view/editorial-view-architectural-representation/8647155.article) Tufte, E.R. (1997). Visual Explanations: Images and Quantities, Evidence and Narrative. Graphic Press: Connecticut. (pages 28-31) Yaneva, A. (2009). Made by the office for metropolitan architecture: An ethnography of design. Rotterdam: 010 Publishers. (p. 45-48, 78-85) |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
10
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments |
4
|
30
|
| Presentation / Jury |
1
|
10
|
| Project |
1
|
25
|
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm |
1
|
25
|
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade |
8
|
75
|
| Weighting of End-of-Semester Activities on the Final Grade |
1
|
25
|
| Total |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
3
|
48
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
0
|
|
| Study Hours Out of Class |
14
|
2
|
28
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
4
|
4
|
16
|
| Presentation / Jury |
1
|
3
|
3
|
| Project |
1
|
12
|
12
|
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
1
|
3
|
3
|
| Final Exam |
0
|
||
| Total |
110
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
Program Competencies/Outcomes |
* Contribution Level
|
||||
|
1
|
2
|
3
|
4
|
5
|
||
| 1 | To be able to offer a professional level of architectural services. |
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| 2 | To be able to take on responsibility as an individual and as a team member to solve complex problems in the practice of design and construction. |
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| 3 | To be able to understand methods to collaborate and coordinate with other disciplines in providing project delivery services.
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| 4 | To be able to understand, interpret, and evaluate methods, concepts, and theories in architecture emerging from both research and practice. |
X | ||||
| 5 | To be able to develop environmentally and socially responsible architectural strategies at multiple scales. |
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| 6 | To be able to develop a critical understanding of historical traditions, global culture and diversity in the production of the built environment. |
X | ||||
| 7 | To be able to apply theoretical and technical knowledge in construction materials, products, components, and assemblies based on their performance within building systems. |
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| 8 | To be able to present architectural ideas and proposals in visual, written, and oral form through using contemporary computer-based information and communication technologies and media. |
X | ||||
| 9 | To be able to demonstrate a critical evaluation of acquired knowledge and skills to diagnose individual educational needs and direct self-education skills for developing solutions to architectural problems and design execution. |
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| 10 | To be able to take the initiative for continuous knowledge update and education as well as demonstrate a lifelong learning approach in the field of Architecture. |
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| 11 | To be able to collect data in the areas of Architecture and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1) |
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| 12 | To be able to speak a second foreign language at a medium level of fluency efficiently. |
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| 13 | To be able to relate the knowledge accumulated throughout the human history to their field of expertise. |
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*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
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