Course Name | Design Representation Theories |
Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
---|---|---|---|---|---|
FFD 503 | Fall/Spring | 3 | 0 | 3 | 7.5 |
Prerequisites | None | |||||
Course Language | English | |||||
Course Type | Elective | |||||
Course Level | Second Cycle | |||||
Mode of Delivery | - | |||||
Teaching Methods and Techniques of the Course | ||||||
Course Coordinator | ||||||
Course Lecturer(s) | ||||||
Assistant(s) | - |
Course Objectives | To enable critical approaches to design by focusing on the intersections between design knowledge and contemporary cultural theories |
Learning Outcomes | The students who succeeded in this course;
|
Course Description | This course explores the relationship between design, and contemporary cultural discourses including modernism, postmodernism, (post)structuralist theory, postcolonial positions. |
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 to the course themes | No preparation / Assignment I: dividing chapters for week 4, student presentation |
2 | Modernism in art | Robert Hughes, The shock of the new, London 1991, chapter 1, pp.9-56 |
3 | Design: The road to Modernism | Nikolaus Pevsner, Pioneers of Modern Design, 1936, p. 118-217 |
4 | Design: The Road to Modernism Student Presentations I | Nikolaus Pevsner, Pioneers of Modern Design, 1936, p. 19-117 |
5 | Modernist sources/ The Bauhaus | Jan Tschichold, The New Typography, Berkely/Los Angeles/London 1995 (German or. 1928), p. 7-86 |
6 | Modernist utopia | Robert Hughes, The shock of the new, London 1991, chapter 4, p. 164-211 |
7 | Midterm exam | About all previous literature |
8 | Modernism criticized | R. Venturi, D. Scott Brown, S. Izenour, Learning from Las Vegas, Cambridge Ma. 1972 |
9 | Modernism criticized | V. Scully, Architecture, sculpture and painting: environment, act and illusion, in: Modern Architecture and other essays, Princeton/Oxford 2003, p. 198-235 |
10 | Deconstructivism Essay assignment: Find a text pertaining to your field of research that is critical of modernism, and apply this criticism to a design product not mentioned in that text (ca. 1500 words) | B. English,’Sartorial deconstruction: The nature of conceptualism in postmodernist Japanese fashion design,’ The International Journal of the Humanities 9 (2011), pp. 81-85. |
11 | Postcolonialism/deconstructivism | N. Mirzoeff, An introduction to visual culture, London/New York 1999, p. 176-196 (‘Inventing the West’) |
12 | Individual appointments | |
13 | The persistence of modenism in design and design education | V. Margolin, Design History and Design Studies, in: The Politics of the Artificial, Chicago 2002, p. 218-233 |
14 | A real alternative? | Patrick Schumacher, Parametricism as style, London 2008 http://www.patrikschumacher.com/Texts/Parametricism%20as%20Style.htm |
15 | Student presentatins and feedback on critical essay | |
16 | Overview and Final Submission |
Course Notes/Textbooks | A reader composed of selected texts (see above) will be prepared by the instructor. |
Suggested Readings/Materials | Peter Barry, Beginning Theory (Manchester: Manchester University Press, 1995) Terry Eagleton, Literary Theory (Minneapolis: The University of Minnesota Press, 2003) Roland Barthes, “Myth Today” in Mythologies (New York: Hill and Wang, 1972), pp. 109159. Karen Burns, “Architecture: That Dangerous Useless Supplement” in the proceedings of Accessory/Architecture, New Zealand, Auckland University, 1995, pp. 4956. Kaja Silverman, “The Look,” in The Threshold of the Visible World (New York: Routledge, 1996), pp. 125163. Annette Kuhn, “The Body and Cinema” in Susan Sheridan ed., Grafts (London: Verso, 1988), pp. 1124. David M. Halperin, “The Normalization of Queer Theory,” Journal of Homosexuality, v. 45, n. 2/3/4, 2003, pp. 339343. Christopher Reed, “Imminent Domain: Queer Space in the Built Environment,” Art Journal, v. 55, n.4, 1996, pp. 6470. John Biln, “(De)forming Self and Other: Towards and Ethics of Distance,” in Gulsum Baydar Nalbantoglu and Wong Chong Thai, Postcolonial Space(s) (New York: Princeton Architectural Press, 1997). |
Semester Activities | Number | Weigthing |
Participation | ||
Laboratory / Application | ||
Field Work | ||
Quizzes / Studio Critiques | ||
Portfolio | ||
Homework / Assignments | ||
Presentation / Jury | 2 | 30 |
Project | 1 | 40 |
Seminar / Workshop | ||
Oral Exam | ||
Midterm | 1 | 30 |
Final Exam | ||
Total |
Weighting of Semester Activities on the Final Grade | 100 | |
Weighting of End-of-Semester Activities on the Final Grade | ||
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 | 7 | 20 | 140 |
Field Work | |||
Quizzes / Studio Critiques | |||
Portfolio | |||
Homework / Assignments | |||
Presentation / Jury | 2 | 14 | |
Project | 1 | 14 | |
Seminar / Workshop | |||
Oral Exam | |||
Midterms | 1 | 10 | |
Final Exams | |||
Total | 240 |
# | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
1 | to be able to expand the practical knowledge gained in undergraduate programs with theoretical field of design research, | X | ||||
2 | to be able to examine, interpret data and assess concepts and ideas with research methods of design theory and social sciences, | X | ||||
3 | to be able to identify problems of design disciplines in times of global / environmental crisis and to be able to develop possible solutions for design practitioners, | X | ||||
4 | to be able to expand knowledge on the history of material culture as it relates to design practices of the past, | X | ||||
5 | to be able to promote research on local practices of everyday life and assess the outcome to implement design solutions, | X | ||||
6 | to be able to facilitate interactions in between varied design disciplines and to promote collaborative work to solve complex problems, | X | ||||
7 | to be able to process outcome of design research to be applied in design education, | X | ||||
8 | to be able to instigate research on the new tools, technologies and materials of production in order to accelerate changes in design practices, | X | ||||
9 | to be able to develop an ethical approach towards design professions in order to install social and environmental responsibilities, | X | ||||
10 | to be able to use a foreign language for both chasing the scientific publication and developing proper communication with colleagues from other countries, in written and verbal ways. | X | ||||
11 | to be able to use computer programs needed in the field design as well as information and communication technologies in advanced levels (“European Computer Driving Licence”, Advanced Level”). |
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest