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 | - | |||||
Teaching Methods and Techniques of the Course | ||||||
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. |
Related Sustainable Development Goals | |
| Core Courses | |
Major Area Courses | X | |
Supportive Courses | ||
Media and Managment Skills Courses | ||
Transferable Skill Courses |
Week | Subjects | Required Materials |
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 | Preliminaries: 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 | required: Smith, K.S. (2005). Architect’s Drawings. Oxford: Architectural Press. (p.6-9). optional: Ousterhout, R. G. (1999). Master builders of Byzantium. Princeton, N.J.: Princeton University Press.(Chapter 3, 58-85) |
4 | Origins of Architectural Representation II | required: Smith, K.S. (2005). Architect’s Drawings. Oxford: Architectural Press. (p.19-21,27) optional: 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. |
5 | Sketches | required: Smith, K.S. (2005). Architect’s Drawings. Oxford: Architectural Press. (p.19-21,27) optional: 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. required: Smith, K.S. (2005). 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: Case Studies | 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 | Rethinking Scale I: Architectural Models | required: Smith, A.C. (2004) Architectural Model as Machine. Oxford: Architectural Press. (Introduction) optional: Yaneva, A. (2009). Made by the office for metropolitan architecture: An ethnography of design. Rotterdam: 010 Publishers. (p. 45-48, 78-85) |
8 | Midterm | |
9 | Rethinking Scale II: 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 | Photographs to support design ideation | To be announced |
12 | Representing Utopias | To be announced |
13 | Representation as a critical practice | To be announced |
14 | Rethinking Scale III: Mock-ups | required: Bell, K. (2007). Mock-ups: Giving hospital clients the ultimate reality check. Healthcare Design.(http://www.healthcaredesignmagazine. com/article/mock-ups-giving-hospital-clients-ultimate-reality-check) optional: 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. |
15 | Student presentations | |
16 | Review of the Semester |
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 | 16 | 10 |
Laboratory / Application | ||
Field Work | ||
Quizzes / Studio Critiques | ||
Portfolio | ||
Homework / Assignments | 4 | 30 |
Presentation / Jury | 1 | 10 |
Project | ||
Seminar / Workshop | ||
Oral Exam | ||
Midterm | 1 | 25 |
Final Exam | 1 | 25 |
Total |
Weighting of Semester Activities on the Final Grade | 23 | 75 |
Weighting of End-of-Semester Activities on the Final Grade | 25 | |
Total |
Semester Activities | Number | Duration (Hours) | Workload |
---|---|---|---|
Course Hours (Including exam week: 16 x total hours) | 16 | 3 | 48 |
Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
Study Hours Out of Class | 15 | 2 | 30 |
Field Work | |||
Quizzes / Studio Critiques | |||
Portfolio | |||
Homework / Assignments | 4 | 4 | |
Presentation / Jury | 1 | 3 | |
Project | 1 | 5 | |
Seminar / Workshop | |||
Oral Exam | |||
Midterms | 1 | 3 | |
Final Exams | 1 | 5 | |
Total | 110 |
# | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
1 | To be able to offer a professional level of architectural services. | X | ||||
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. | X | ||||
3 | To be able to understand methods to collaborate and coordinate with other disciplines in providing project delivery services.
| X | ||||
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. | X | ||||
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. | X | ||||
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. | X | ||||
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. | X | ||||
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) | X | ||||
12 | To be able to speak a second foreign 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. | X |
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest