Course Name | Art, Design and City |
Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
---|---|---|---|---|---|
FFD 563 | 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 | This objective of this course is to understand and question the relationship between art, design and the city by taking the city as a social and physical entity. |
Learning Outcomes | The students who succeeded in this course;
|
Course Description | To understand the discourses on the relationship between art, design and the city since modernism and to analyze a given urban space based on these. |
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 | |
2 | Modernity and the City | Readings, Worksheet |
3 | Avant Garde Movements in Art and Architecture in the 20th and 21st century | Readings, Worksheet |
4 | Public Art: Theories and Practice | Readings, Worksheet |
5 | Art, Culture and Urban Space in the Global Era | Readings, Worksheet |
6 | Arts for Urban Regeneration and/or Gentrification? | Readings, Worksheet |
7 | Art in the Making in the City: Art incubators, culture industry clusters in the city | Readings, Worksheet |
8 | Urban Redevelopment through Arts: Miami Design District and Wynwood | Readings, Worksheet |
9 | City Case Studies: London Southbank and Shoreditch Representing the City through Art and Architectural Design: Art and culture venues, public art, street art | Report and Presentation |
10 | City Case Studies: Istanbul Cihangir, Karakoy, Galata, Beyoglu Representing the City through Art and Architectural Design: Art and culture venues, public art, street art | Report and Presentation |
11 | City Case Studies: Portland Pearl District and Alberta Arts District Representing the City through Art and Architectural Design: Art and culture venues, public art, street art | Report and Presentation |
12 | City Case Studies: Buenos Aires Palermo Soho and Palermo Hollywood Representing the City through Art and Architectural Design: Art and culture venues, public art, street art | Report and Presentation |
13 | City Case Studies: Sao Paulo Vila Madalena (Pinheiros District) and Jardins District Representing the City through Art and Architectural Design: Art and culture venues, public art, street art | Report and Presentation |
14 | Art and Design in Izmir: Getting Ready for the Final Project • How has Izmir been represented through art and design historically and in the recent times in different artictic mediums? • What are the important public art and venues in Izmir? • Where is art exhibitied in Izmir? • Where is art produced in Izmir? • Is there a cluster for art and culture industry in Izmir? • How is the built environment appropriated to the art, design and cultural production in Izmir? | Final Report and Presentation |
15 | Review of the Semester | |
16 | Review of the Semester |
Course Notes/Textbooks | None |
Suggested Readings/Materials | Georg Simmel (1903), “The Metropolis and Mental Life,” Kurt Wolff (trans.) The Sociology of Georg Simmel (New York: Free Press, 1950), 409424; Christopher Crouch, Modernism in Art, Design and Architecture (New York: St. Martin’s Press, 1999), “The Cultural Background to the Machine Age”, 1028; Hide Heynen, “New Babylon: The Antinomies of Utopia,” Assemblage, No. 29 (Apr., 1996): 2439; Rosalyn Deutsche, “Uneven Development: Public Art in New York City,” October 47 (Winter, 1988): 352; Anthony Vidler, Warped Space: Art, Architecture, and Anxiety in Modern Culture (Cambridge, Massachusetts: The MIT Press, 2001), “Agoraphobia”, 2550; Beatriz Colomina, “The Split Wall: Domestic Voyeurism,” in B. Colomina (ed.), Sexuality & Space (Princeton Architectural Press, 1992), 7398; Kristine Nielsen, “What Ever Happened to Ernst Barlach? East German Political Monuments and the Art of Resistance,” in Totalitarian Art and Modernity, eds. Mikkel Bolt Rasmussen and Jacob Wamberg (Aarhus: Aarhus Univ. Press, 2010), 147169; Leo OuFan Lee, “Shanghai Modern: Reflections on Urban Culture in China in the 1930s,” Public Culture 11, No. 1 (1999): 75107.; Ronald Lee Fleming “The Art of Placemaking: Interpreting Community Through Public Art and Urban Design” (Merrell Publishers, 2007); Harriet Senie “Critical Issues in Public Art: Content, Context, and Controversy” (Smithsonian Books, 1998); Cher Krause Knight “Public Art: Theory, Practice and Populism” (Wiley-Blackwell, 2008); Antawan I. Byrd and Reid Shier “Art Cities of the Future: 21st-Century Avant-Gardes” (Phaidon Press, 2013) |
Semester Activities | Number | Weigthing |
Participation | 12 | 12 |
Laboratory / Application | ||
Field Work | ||
Quizzes / Studio Critiques | ||
Portfolio | ||
Homework / Assignments | 1 | 28 |
Presentation / Jury | 2 | 20 |
Project | 1 | 40 |
Seminar / Workshop | ||
Oral Exam | ||
Midterm | ||
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 | 14 | 7 | 98 |
Field Work | |||
Quizzes / Studio Critiques | |||
Portfolio | |||
Homework / Assignments | 1 | 21 | |
Presentation / Jury | 2 | 6 | |
Project | 1 | 46 | |
Seminar / Workshop | |||
Oral Exam | |||
Midterms | |||
Final Exams | |||
Total | 225 |
# | 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”). | X |
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest