ARCH 340 | Course Introduction and Application Information - Department of Architecture

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
Course Language	English
Course Type	Elective
Course Level	First Cycle
Mode of Delivery	face to face
Teaching Methods and Techniques of the Course	Case Study Simulation Lecture / Presentation
National Occupation Classification	-
Course Coordinator	-
Course Lecturer(s)	Öğr. Gör. Melis BALOĞLU
Assistant(s)	-

Course Objectives	To improve students' understanding of architectural representation
Learning Outcomes	The students who succeeded in this course; Student will be able to develop a consciousness on the differences of architectural representations. Student will be able to develop a design using theoretical knowledge. Student will be able to develop academic reading skills in English. Student will be able to do architectural criticism through architectural representations. Student will be able to develop learning skills through diverse methods such as reading, presenting, discussing, designing and filmmaking.
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.
Related Sustainable Development Goals

Course Category	Core Courses
	Major Area Courses	X
	Supportive Courses
	Media and Management Skills Courses
	Transferable Skill Courses

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)

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

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

#	Program Competencies/Outcomes	* Contribution Level
#	Program Competencies/Outcomes	1	2	3	4	5
1	To be able to offer a professional level of architectural services.	-	-	-	-	-
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.	-	-	-	-	-
3	To be able to understand methods to collaborate and coordinate with other disciplines in providing project delivery services.	-	-	-	-	-
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.	-	-	-	-	-
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.	-	-	-	-	-
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.	-	-	-	-	-
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.	-	-	-	-	-
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)	-	-	-	-	-
12	To be able to speak a second foreign language at a medium level of fluency efficiently.	-	-	-	-	-
13	To be able to relate the knowledge accumulated throughout the human history to their field of expertise.	-	-	-	-	-