Course Detail
Course Description
| Course | Code | Semester | T+P (Hour) | Credit | ECTS |
|---|---|---|---|---|---|
| INTRODUCTION to DESIGN I | EUT1324490 | Summer Semester | 2+6 | 5 | 6 |
| Course Program |
| Prerequisites Courses | |
| Recommended Elective Courses |
| Language of Course | Turkish |
| Course Level | First Cycle (Bachelor's Degree) |
| Course Type | Elective |
| Course Coordinator | Assist.Prof. Bengi ATUN |
| Name of Lecturer(s) | Assist.Prof. Fahrettin Ersin ALACA |
| Assistant(s) | |
| Aim | In this first studio class of architecture, interior architecture and urban design, the objective is to establish in the students a strong and comprehensive foundation for design by acquainting them with the various stages/methodologies of design including abstract thinking, concept development and design development as well as the fundamentals of good architectural design including responsiveness to site, function, environmental factors and materials. |
| Course Content | This course contains; Introduction to Course and Project,Narrative of Music through Spatial Terms,Abstraction in Three-Dimensional Form; From Parts to Whole,Abstraction in Two Dimensions, Rational Analysis of Music; From Parts to Whole,Concept Development,Development of Concept as Three-Dimensional Form,1st JURY,Environmental Factors; Sun, Wind, Climate,Site and Function Determination, Application of Environmental Factors to Site,Material Selection and Wall Model at 1:20 scale,Concept Development; Integration of Additional Factors - Sketch Shadow Analysis ,Design Development,2nd JURY,Revisions/Portfolio. |
| Dersin Öğrenme Kazanımları | Teaching Methods | Assessment Methods |
| 1. Based on observations of human movements, the student is able to come up with the spatial terms that correspond to these movements. | 11, 6 | E |
| 2. The student is able to bring together disparate elements into a comprehensive form perceivable as a whole unit. | 10, 2, 6 | F |
| 3. The student is able to analyze a complex whole in terms of the parts it is composed of as well as the relationship between these parts. | 10, 2, 6 | F |
| 4. The student is able to come up with a design concept that will meet the design brief and act as a guide in arriving at a meaningful form. | 19, 2, 20, 23 | F |
| 5. The student is able to determine wind movements, climatic data and the angle of the sun in the horizontal and vertical dimensions for any day and hour of the year using a given application program. | 5, 9 | E |
| 6. The student understands the mutual relationship between form and material and is able to accordingly shape her/his form. | 2, 6 | E, F |
| 7. The student begins to develop a design concept in a manner wherein relevant environmental factors and functional requirements are also integrated into it. | 2 | F |
| 8. The student is able to determine the interaction of the sun with her/his designed form in any given season and during any time of the day. | 2 | E |
| 9. The student begins to express her/his project in plan, section and model form at the right scale. | 2 | F |
| Teaching Methods: | 10: Discussion Method, 11: Demonstration Method, 19: Brainstorming Technique, 2: Project Based Learning Model, 20: Reverse Brainstorming Technique, 23: Concept Map Technique, 5: Cooperative Learning, 6: Experiential Learning, 9: Lecture Method |
| Assessment Methods: | E: Homework, F: Project Task |
Course Outline
| Order | Subjects | Preliminary Work |
|---|---|---|
| 1 | Introduction to Course and Project | Music selection and acquiring of material for first 3 homework |
| 2 | Narrative of Music through Spatial Terms | Homework #1: Convert your intuitive movement response to the music into a series of spatial terms, in a time-bound manner, within the format indicated and using graphic language. |
| 3 | Abstraction in Three-Dimensional Form; From Parts to Whole | Homework #2: Convert your spatial terms into a three-dimensional representation of your music. You can only use sticks in the format indicated and at 1:20 scale. |
| 4 | Abstraction in Two Dimensions, Rational Analysis of Music; From Parts to Whole | Homework #3; The music will be analyzed rationally as being composed of parts that make up a whole in the given format, in a time-bound manner. |
| 5 | Concept Development | Homework #4; Develop a Concept for a pavilion which reflects your chosen piece of music. |
| 6 | Development of Concept as Three-Dimensional Form | Homework #5: Build the model of your pavilion at 1:50 scale. |
| 7 | 1st JURY | Homeworks 1,2,3,4 ve 5 need to be submitted |
| 8 | Environmental Factors; Sun, Wind, Climate | |
| 9 | Site and Function Determination, Application of Environmental Factors to Site | Analysis of Site based on Circulation and Assigned Function, Documentation of Environmental Factors on 1:500 site plan |
| 10 | Material Selection and Wall Model at 1:20 scale | Homework #7: Build a wall section of your pavilion at 1:20 scale representing your chosen material at the right scale. |
| 11 | Concept Development; Integration of Additional Factors - Sketch Shadow Analysis | Homewor #8: Indicate your developed concept with sketch shadows on the 1:100 site plan. In addition, on another sheet , indicate how your concept has evolved since the beginning of the semester |
| 12 | Design Development | Homework #9; Express your developed design at 1:20 scale in plan, section and model form. |
| 13 | 2nd JURY | Homeworks 6,7,8 &9 will be submitted. |
| 14 | Revisions/Portfolio |
| Resources |
| To be distributed by the lecturer |
| 1. Charles G. Ramsey, Harold R. Sleeper (2000), Architectural Graphic Standarts, Wiley and Sons 2. Francis D.K. Ching (2004), İç Mekan Tasarımı, Yapı Endüstri Merkezi Yayınları / Mimarlık Dizisi 3. Necati İnceoğlu (1995), Düşünme ve Anlatım Aracı Olarak Eskizler, Helikon Yayınları 4. Rob Krier (2002), Architectural Composition, Rizzoli 5. Robert W. Gill (1984), Manual of Rendering with Pen and Ink, Van Nostrand Reinhold 6. The Modulor (2004), Le Corbusier, Springer 7. Leski, Kyna (2015), The Storm of Creativity, MIT Press 8. Balkan, Erhan A. (2005), Mimari Tasarımda Konsept, Bahçeşehir Üniversitesi Yayınları |
Course Contribution to Program Qualifications
| Course Contribution to Program Qualifications | |||||||
| No | Program Qualification | Contribution Level | |||||
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | Convert knowledge acquired from various disciplines into original design through critical thinking and problem analysis. | X | |||||
| 2 | Complete all design processes, including planning and execution, with creative outputs within set deadlines. | X | |||||
| 3 | Transfer essential inputs, such as user needs, acquired through various quantitative and qualitative research methods, to all design processes. | X | |||||
| 4 | Utilize essential modeling, visual, and verbal presentation techniques throughout the design processes including the final stage. | X | |||||
| 5 | Apply universal, ethical, and ecological criteria, including the United Nations Sustainable Development Goals, in all professional work processes and methods. | X | |||||
| 6 | Facilitates interdisciplinary teamwork that meets international standards. | ||||||
| 7 | Interpret contemporary design theory and practice within the context of its historical, artistic, and cultural background. | X | |||||
| 8 | Utilize various business models with features such as financial planning, investment, and analysis within the corporate and start-up ecosystem. | X | |||||
| 9 | Ensure the acquisition and protection of intellectual and industrial property rights. | ||||||
| 10 | Explain professional laws and regulations. | ||||||
| 11 | Incorporate materials and production methods from various industrial sectors in design processes | X | |||||
| 12 | Examine the evolving social, cultural, and economic aspects of design with a commitment to lifelong learning. | X | |||||
| 13 | Effectively utilize continually advancing technological tools in the design process. | X | |||||
| 14 | Convert abstract concepts into two- and three-dimensional design compositions, aligning with fundamental design and aesthetic principles. | ||||||
| 15 | Showcase the design projects developed in the classes to the society using various exhibition methods. | ||||||
| 16 | Create commercial products that combine elements of craftsmanship, artistry, and design. | ||||||
Assessment Methods
| Contribution Level | Absolute Evaluation | |
| Rate of Midterm Exam to Success | 50 | |
| Rate of Final Exam to Success | 50 | |
| Total | 100 | |
| ECTS / Workload Table | ||||||
| Activities | Number of | Duration(Hour) | Total Workload(Hour) | |||
| Course Hours | 14 | 6 | 84 | |||
| Guided Problem Solving | 14 | 2 | 28 | |||
| Resolution of Homework Problems and Submission as a Report | 2 | 6 | 12 | |||
| Term Project | 1 | 10 | 10 | |||
| Presentation of Project / Seminar | 1 | 2 | 2 | |||
| Quiz | 0 | 0 | 0 | |||
| Midterm Exam | 1 | 8 | 8 | |||
| General Exam | 1 | 22 | 22 | |||
| Performance Task, Maintenance Plan | 0 | 0 | 0 | |||
| Total Workload(Hour) | 166 | |||||
| Dersin AKTS Kredisi = Toplam İş Yükü (Saat)/30*=(166/30) | 6 | |||||
| ECTS of the course: 30 hours of work is counted as 1 ECTS credit. | ||||||
Detail Informations of the Course
Course Description
| Course | Code | Semester | T+P (Hour) | Credit | ECTS |
|---|---|---|---|---|---|
| INTRODUCTION to DESIGN I | EUT1324490 | Summer Semester | 2+6 | 5 | 6 |
| Course Program |
| Prerequisites Courses | |
| Recommended Elective Courses |
| Language of Course | Turkish |
| Course Level | First Cycle (Bachelor's Degree) |
| Course Type | Elective |
| Course Coordinator | Assist.Prof. Bengi ATUN |
| Name of Lecturer(s) | Assist.Prof. Fahrettin Ersin ALACA |
| Assistant(s) | |
| Aim | In this first studio class of architecture, interior architecture and urban design, the objective is to establish in the students a strong and comprehensive foundation for design by acquainting them with the various stages/methodologies of design including abstract thinking, concept development and design development as well as the fundamentals of good architectural design including responsiveness to site, function, environmental factors and materials. |
| Course Content | This course contains; Introduction to Course and Project,Narrative of Music through Spatial Terms,Abstraction in Three-Dimensional Form; From Parts to Whole,Abstraction in Two Dimensions, Rational Analysis of Music; From Parts to Whole,Concept Development,Development of Concept as Three-Dimensional Form,1st JURY,Environmental Factors; Sun, Wind, Climate,Site and Function Determination, Application of Environmental Factors to Site,Material Selection and Wall Model at 1:20 scale,Concept Development; Integration of Additional Factors - Sketch Shadow Analysis ,Design Development,2nd JURY,Revisions/Portfolio. |
| Dersin Öğrenme Kazanımları | Teaching Methods | Assessment Methods |
| 1. Based on observations of human movements, the student is able to come up with the spatial terms that correspond to these movements. | 11, 6 | E |
| 2. The student is able to bring together disparate elements into a comprehensive form perceivable as a whole unit. | 10, 2, 6 | F |
| 3. The student is able to analyze a complex whole in terms of the parts it is composed of as well as the relationship between these parts. | 10, 2, 6 | F |
| 4. The student is able to come up with a design concept that will meet the design brief and act as a guide in arriving at a meaningful form. | 19, 2, 20, 23 | F |
| 5. The student is able to determine wind movements, climatic data and the angle of the sun in the horizontal and vertical dimensions for any day and hour of the year using a given application program. | 5, 9 | E |
| 6. The student understands the mutual relationship between form and material and is able to accordingly shape her/his form. | 2, 6 | E, F |
| 7. The student begins to develop a design concept in a manner wherein relevant environmental factors and functional requirements are also integrated into it. | 2 | F |
| 8. The student is able to determine the interaction of the sun with her/his designed form in any given season and during any time of the day. | 2 | E |
| 9. The student begins to express her/his project in plan, section and model form at the right scale. | 2 | F |
| Teaching Methods: | 10: Discussion Method, 11: Demonstration Method, 19: Brainstorming Technique, 2: Project Based Learning Model, 20: Reverse Brainstorming Technique, 23: Concept Map Technique, 5: Cooperative Learning, 6: Experiential Learning, 9: Lecture Method |
| Assessment Methods: | E: Homework, F: Project Task |
Course Outline
| Order | Subjects | Preliminary Work |
|---|---|---|
| 1 | Introduction to Course and Project | Music selection and acquiring of material for first 3 homework |
| 2 | Narrative of Music through Spatial Terms | Homework #1: Convert your intuitive movement response to the music into a series of spatial terms, in a time-bound manner, within the format indicated and using graphic language. |
| 3 | Abstraction in Three-Dimensional Form; From Parts to Whole | Homework #2: Convert your spatial terms into a three-dimensional representation of your music. You can only use sticks in the format indicated and at 1:20 scale. |
| 4 | Abstraction in Two Dimensions, Rational Analysis of Music; From Parts to Whole | Homework #3; The music will be analyzed rationally as being composed of parts that make up a whole in the given format, in a time-bound manner. |
| 5 | Concept Development | Homework #4; Develop a Concept for a pavilion which reflects your chosen piece of music. |
| 6 | Development of Concept as Three-Dimensional Form | Homework #5: Build the model of your pavilion at 1:50 scale. |
| 7 | 1st JURY | Homeworks 1,2,3,4 ve 5 need to be submitted |
| 8 | Environmental Factors; Sun, Wind, Climate | |
| 9 | Site and Function Determination, Application of Environmental Factors to Site | Analysis of Site based on Circulation and Assigned Function, Documentation of Environmental Factors on 1:500 site plan |
| 10 | Material Selection and Wall Model at 1:20 scale | Homework #7: Build a wall section of your pavilion at 1:20 scale representing your chosen material at the right scale. |
| 11 | Concept Development; Integration of Additional Factors - Sketch Shadow Analysis | Homewor #8: Indicate your developed concept with sketch shadows on the 1:100 site plan. In addition, on another sheet , indicate how your concept has evolved since the beginning of the semester |
| 12 | Design Development | Homework #9; Express your developed design at 1:20 scale in plan, section and model form. |
| 13 | 2nd JURY | Homeworks 6,7,8 &9 will be submitted. |
| 14 | Revisions/Portfolio |
| Resources |
| To be distributed by the lecturer |
| 1. Charles G. Ramsey, Harold R. Sleeper (2000), Architectural Graphic Standarts, Wiley and Sons 2. Francis D.K. Ching (2004), İç Mekan Tasarımı, Yapı Endüstri Merkezi Yayınları / Mimarlık Dizisi 3. Necati İnceoğlu (1995), Düşünme ve Anlatım Aracı Olarak Eskizler, Helikon Yayınları 4. Rob Krier (2002), Architectural Composition, Rizzoli 5. Robert W. Gill (1984), Manual of Rendering with Pen and Ink, Van Nostrand Reinhold 6. The Modulor (2004), Le Corbusier, Springer 7. Leski, Kyna (2015), The Storm of Creativity, MIT Press 8. Balkan, Erhan A. (2005), Mimari Tasarımda Konsept, Bahçeşehir Üniversitesi Yayınları |
Course Contribution to Program Qualifications
| Course Contribution to Program Qualifications | |||||||
| No | Program Qualification | Contribution Level | |||||
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | Convert knowledge acquired from various disciplines into original design through critical thinking and problem analysis. | X | |||||
| 2 | Complete all design processes, including planning and execution, with creative outputs within set deadlines. | X | |||||
| 3 | Transfer essential inputs, such as user needs, acquired through various quantitative and qualitative research methods, to all design processes. | X | |||||
| 4 | Utilize essential modeling, visual, and verbal presentation techniques throughout the design processes including the final stage. | X | |||||
| 5 | Apply universal, ethical, and ecological criteria, including the United Nations Sustainable Development Goals, in all professional work processes and methods. | X | |||||
| 6 | Facilitates interdisciplinary teamwork that meets international standards. | ||||||
| 7 | Interpret contemporary design theory and practice within the context of its historical, artistic, and cultural background. | X | |||||
| 8 | Utilize various business models with features such as financial planning, investment, and analysis within the corporate and start-up ecosystem. | X | |||||
| 9 | Ensure the acquisition and protection of intellectual and industrial property rights. | ||||||
| 10 | Explain professional laws and regulations. | ||||||
| 11 | Incorporate materials and production methods from various industrial sectors in design processes | X | |||||
| 12 | Examine the evolving social, cultural, and economic aspects of design with a commitment to lifelong learning. | X | |||||
| 13 | Effectively utilize continually advancing technological tools in the design process. | X | |||||
| 14 | Convert abstract concepts into two- and three-dimensional design compositions, aligning with fundamental design and aesthetic principles. | ||||||
| 15 | Showcase the design projects developed in the classes to the society using various exhibition methods. | ||||||
| 16 | Create commercial products that combine elements of craftsmanship, artistry, and design. | ||||||
Assessment Methods
| Contribution Level | Absolute Evaluation | |
| Rate of Midterm Exam to Success | 50 | |
| Rate of Final Exam to Success | 50 | |
| Total | 100 | |