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AR 101 Introduction to Design Instructors Tongu Ak / Zeynep Aktre / - - PowerPoint PPT Presentation
AR 101 Introduction to Design Instructors Tongu Ak / Zeynep Aktre / - - PowerPoint PPT Presentation
IZTECH Faculty of Architecture Fall 2018 AR 101 Introduction to Design Instructors Tongu Ak / Zeynep Aktre / In Can / Sema Doan / Yank Gktepe / Nilfer Talu Hatice Aktrk Ablan / Yelin Demir / Nil Nadire Gelikan / lker
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Assignment_01: Basic Vocabulary
Icebreaking studio work in groups of 15, with each student producing a 2D and a 3D composition out of used newspaper to explain to their group mates one of the selected words in the following list: abstraction / analogy / asymmetry / axis / background / balance / base / beauty / centrality / colour / composition / continuity / contrast / craftsmanship / depth / design element / design field / designer / difference / direction / disorder / dominance / emphasis / equality / figure / foreground / form / gradation / ground / grouping / harmony / hierarchy / irregularity / linearity / linkage / material / movement / observer / order /
- rientation / pattern / planarity / position
/ proportion / proximity/ radiality / repetition / representation / rhythm / rule / shape / sign / size / solid / symbolism / symmetry / texture / thickness / transparency / unity / variation / visualization / void / volume Followed by individual research on the verbal descriptions and examples of the same concepts, in dictionaries and other
- sources. 3D compositions were revised
and information sheets on each word was prepared in the light of this research.
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abstraction / analogy / asymmetry / axis / background / balance / base / beauty / centrality / colour / composition / continuity / contrast / craftsmanship / depth / design element / design field / designer / difference / direction / disorder / dominance / emphasis / equality / figure / foreground / form / gradation / ground / grouping / harmony / hierarchy / irregularity / linearity / linkage / material / movement / observer / order /
- rientation / pattern / planarity /
position / proportion / proximity/ radiality / repetition / representation / rhythm / rule / shape / sign / size / solid / symbolism / symmetry / texture / thickness / transparency / unity / variation / visualization / void / volume
Assignment_02: Body / Movement / Space Choreographing Space through Body Movement
Another icebreaking activity was a series of exercises in IZTECH Sports Hall under the guidance of Fırat Neziroğlu. We extend our thanks to Fırat for the continual support he provides for this group of exercises in our programme, and especially for his energy. Goals to Achieve Ability to understand the kinesphere Ability to conceive body-space relationship Method Active and interactive use of the human body
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Assignment_02: Body / Movement / Space Choreographing Space through Body Movement
A choreography for a public open space of IZTECH in groups of 8-9, related with the physical context, and human scale experience of the spaces (including their sounds and noises, smells and textures, etc). Focus on vertical/horizontal movements and displacements in space already experienced in the Sports Hall, using the composition principles introduced in the first assignment. Eventuating in a 3 minute video produced from recordings on the spot and an A3 size poster explaining the choreography through a selection of 3 phases structurally explained by diagrammatic drawings (top view and elevation). List of Spaces Courtyard of Faculty of Science Foyer of Swimming Pool Amphitheater of Library Green Path of Festival Area Courtyard of Innovation Building Stage of Festival Area Goals to Achieve Ability to understand the kinesphere Ability to conceive body-space relationship Ability to control the design field Ability to develop design ideas Ability to use different media Method Producing videos and using composition principles Producing 2D representation of the choreography
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Assignment_03a: Abstraction Line of a Natural Object Fruits and Vegetables
Exploration of the essence of a natural
- bject (i.e. fruit or vegetable) through a
set of representations that create an abstraction line from realistic to abstract. The exercise involved slicing the object to explore its skins, solids, voids, layers, thicknesses, textures, and colours. The abstraction line consisted of minimum 7 maximum 14 A4 sheets, of:
- Photographs
- Realistic Sketches
- Analysis of Basic Elements (i.e. point,
line, plane, volume) and Visual Aspects (i.e. shape, size, colour, texture)
- Geometrical Analysis to explore
relations between constituent elements (i.e. directions, positions, proportions, dimensions, axii, centers).
- Main Characteristic(s) of the Object
based on size, colour, shape, form, texture, density, etc. expressed by a motto.
- Abstraction through elimination of
details, reduction and simplification to isolate the Essential Formal Properties
- f the Physical Object
Goals to Achieve Development of representation skills Development of abstraction skills Improvement of visual sophistication Method Taking Photographs Production of 2D Sketches Production of 2D Analytic Drawings
Lecture_01: Abstraction and Visualization Lecture_02: Sketching
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Assignment_03a: Abstraction Line of a Natural Object Fruits and Vegetables
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Assignment_03b: Compositions with Abstractions of a Natural Object Fruits and Vegetables
Semi-abstract B&W, B&W&2Grays, B&W&2Grays+One Colour compositions on the basis of the analysis in the Abstraction Line to convey an idea related to the analysed natural object by employing a selected composition principle, i.e.: Focusing on the selection of design elements, their geometrical relations, and figure-ground relations. Goals to Achieve Development of composition Development of representation skills Method Production of 2D composition Cut and paste technique Painting technique (gouache) asymmetry / balance / centrality / continuity / contrast / difference / dominance / emphasis / equality / harmony / hierarchy / linearity / radiality / repetition symmetry unity /
Lecture_03: 2D Composition Lecture_04: Colour
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Assignment_03b: Compositions with Abstractions of a Natural Object Fruits and Vegetables
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Assignment_03c: Compositions with Abstractions of a Natural Object Fruits and Vegetables
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Research on and examination of selected vehicles exhibited in Key Museum in Torbalı and Steam Locomotive Museum in Selçuk. 50x70 cm information posters on the physical characteristics (i.e. solids and voids, components, materials etc.) and performance of the vehicles. Goals to Achieve Understanding content Understanding design field Understanding design ideas Understanding forms Method Forming content Developing design ideas Organizing design field Producing forms
Assignment_04a: Exploring a Man-Made Object Excursion 01: Key Museum, Torbalı & Steam Locomotive Museum, Selçuk
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Assignment_04b: Presenting a Man-Made Object Cars & Locomotives
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A 35x50cm 2D composition in B&W&Gray produced by:
- 1. Selecting and documenting a special feature observed in a
vehicle.
- 2. Abstracting that special feature using lines and/or
shapes/subshapes to produce a repeatable module consisting
- f at least three abstracted design elements.
- 3. Repetition of the module avoiding similarities with existing
patterns. Goals to Achieve Development of research skills Development of visual analysis skills Development of abstraction skills Development of composition skills Ability to control the design field Ability to use design elements Ability to develop design ideas Method Doing research and visual analysis Abstraction Pattern design Producing 2D abstract compositions
Assignment_04c+d: Pattern Abstracted from a Man-Made Object Cars & Locomotives
abstraction / axis / background / composition / contrast / dominance / figure / foreground / form / ground / harmony / hierarchy / linearity / linkage /
- rientation / pattern / proportion / repetition / rhythm
/ shape / size / symmetry /
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30x30x30 cm monochrome and coloured 3D composition out of forms abstracted from cars and locomotives. Goals to Achieve Development of visual analysis skills Development of abstraction skills Development of composition skills Ability to control the design field Ability to use design elements Ability to develop design ideas Method Abstraction Producing 3D abstract compositions
Assignment_04e: 3D Abstract Composition Inspired from a Man-Made Object Cars & Locomotives
abstraction / analogy / asymmetry / axis / background / balance / base / beauty / centrality / colour / composition / continuity / contrast / craftsmanship / depth / design element / design field / designer / difference / direction / disorder / dominance / emphasis / equality / figure / foreground / form / gradation / ground / grouping / harmony / hierarchy / irregularity / linearity / linkage / material / movement / observer / order / orientation / pattern / planarity / position / proportion / proximity/ radiality / repetition / representation / rhythm / rule / shape / sign / size / solid / symbolism / symmetry / texture / thickness / transparency / unity / variation / visualization / void / volume
Lecture_05: 3D Composition
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Goals to Achieve Understanding 3D composition principles Understanding 3D geometrical relationships Understanding the limits of solid-void relationship Development of 3D design skills Development of good craftsmanship Ability to control design field Ability to use design elements Method Forming primitive forms Designing with solids and voids Designing with 3D composition Developing design ideas Organizing design field
Assignment_05: Enveloping Two Voids Experimenting Volume with Masses
Production of an approximately 30x30x30 cm self-standing 3D composition by
- rganising and controlling solids and voids with primitive forms and ratios:
Primitive Forms: A) Regular Square Prism 1 _ (x:a, y:a, z:4a) B) Regular Square Prism 2 _ (x:a, y:a, z:b) C) Regular Cube _ (2a x 2a x 2a) D) Regular Cube _ (b x b x b) E) Regular Rectangular Prism 3 _ (x:b, y:a, z:2b) F) Regular Rectangular Prism 4 _ (x:b, y:a, z:4b) Basic Rules for Enveloping Two Voids: 1) Using the given primitive forms as solids, you are going to produce one minor (N) and one major (J) void within the composition. 2) Determine the locations, positions and scale of the primitives in order to produce minor and major voids. 3) N is appx. 300 cm3 and J is appx. 1200 cm3. 4) The two voids (N&J) has to be separated from each other, yet, they have to be interconnected with one another. 5) The voids in the composition should be visible from the outside world. 6) The relationship between primitive forms can be face-to-face, edge-to-edge, point- to-point, wedging, piercing, cradling, etc. 7) Each primitive form should not lose their own identity. You can use sufficient amount of primitive forms. 8) Good craftsmanship is a must. In the second part of the exercise, the following rules were added to introduce transparency and colour: 10) Introduce transparency (then colour) into your design in such a way as to emphasize the minor void (N) 11) You can make max. two planes of each primitive transparent 12) Ratio of transparent planes to total # of planes should not exceed %30 13) Document your 3D B&W&G composition for ASS_05a by taking photos and
- sketches. Make a poster for those (35 x 50 cm.)
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Assignment_05: Enveloping Two Voids Experimenting Volume with Masses
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Preparing the Light-Box A) Produce a square PRISM, measuring 10x10x40 cm out of grey cardboard, by 1) rendering one of the rectangular surfaces removable, i.e. without any design elements attached to it. 2) producing one of the square surfaces out of a semi-transparent plane to serve as a PROJECTION SCREEN. 3) opening a HOLE (r = 0.25 cm) at the centre of the other solid square surface to serve as a PROJECTION and VIEWING POINT for the 3D composition inside the PRISM. Make a meaningful 3D composition inside the PRISM to reveal a clear design idea (such as hierarchy, balance, centrality etc.) in each of the three elevations mentioned below, using 6 STICKS in total, using at least 1 from each one of the following 3 types of sticks, all measuring 15cm in length and square in section but have the following thicknesses and characteristics: 1) White (painted) and solid STICK(s) with a thickness of 0.3x0.3cm or 0.4x0.4cm or 0.5x0.5cm in section, depending on availability and your choice. 2) Coloured STICK(s) (out of cartridge paper planes) measuring 1x1cm in section 3) Coloured transparent STICK(s) (out of acetate planes) measuring 2x2cm in section Enhance your 3D composition inside the PRISM by adding the following SIDESOLIDs into your design to strengthen your design ideas (such as hierarchy, balance, centrality etc.): 1) 1 transparent semi-spheres with r1 =1 cm 2) 1 transparent semi-spheres with r2 = 2 cm
Assignment_06: Experiencing, Documenting, and Designing with Light, Shadows, and Colour Light-Box
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Designing with Light and Shadows The transparent SIDESOLIDs will let artificial light into the LIGHT-BOX from a source along the central axis of their rectangular surfaces, with R1 = 20 cm. E) After testing your design composition in our modest LIGHTLAB, draw on 50 x 35 white paper and in 1/1 Scale: 1) the elevation of your design as viewed along the removable rectangular surface (in B&W with shadows). 2) the 2D shadow composition on the square semi-transparent PROJECTION SCREEN as formed by a point light projected from the HOLE at the centre the opposite
- paque square surface.
3) the elevation of your design as viewed from the HOLE on the
- paque square surface under the
light projected from the LIGHT SOURCE along the central axis of the rectangular surfaces through the two SIDESOLIDs. Mention the design idea (such as hierarchy, balance, centrality etc.) on all of the drawings.
Assignment_06: Experiencing, Documenting, and Designing with Light, Shadows, and Colour Individual Light-Box
Rules 1) STICKs should touch and puncture two surfaces of PRISMs. 2) STICKs should not touch the SIDESOLIDs 3) The SIDESOLIDs should project into the LIGHT-BOX from the side surfaces
- f your selection except the
removable one. 4) The SIDESOLIDs should not touch the PROJECTION SCREEN. 5) Two of the SIDESOLIDs in each LIGHT- BOX should be transparent. Goals to Achieve Development of 2D and 3D design skills Understanding and applying 2D and 3D composition principles Understanding and controlling geometric relations between 3D and 2D design fields Understanding and controlling geometric relations between 3D design elements Development of the skill to design with colour, light and shadows Development of good craftsmanship Method Production and organization of the design field Insertion of solids into a volumetric design field Projection of light onto a planer design field Design with light and shadow Elevation drawings
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Assignment_06: Experiencing, Documenting, and Designing with Light, Shadows, and Colour Light-Box
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Assignment_06: Experiencing, Documenting, and Designing with Light, Shadows, and Colour Light-Box
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Designing with Light and Shadows 1) Unite two light boxes from their removable rectangular planes. 2) Remake the semi-transparent surfaces of two PRISMs as a 10x20 cm plane. 3) Remake the opaque surfaces of the two PRISMs with viewing holes as a 10x20 cm plane with a central viewing hole. 4) Increase the radius of the r1=1cm semi- spheres to r1=3cm: a)2 transparent semi-spheres with r1= 3cm; b)2 transparent semi-spheres with r2 = 2 cm. 5) Create a 3D composition inside the combined PRISMs to reveal a clear design idea (such as hierarchy, balance, centrality etc.) in both of the two elevations mentioned below. 6) A LIGHT SOURCE should be fixed at a specific point along a radial path around the centre of the collective LIGHTBOX, with R1 = 30 cm. 7) Draw on 50 x 35 white paper and in 1/1 Scale: a) the 2D shadow composition on the rectangular semi-transparent PROJECTION SCREEN under a point light from the HOLE on the opposite opaque rectangular surface; b) the elevation as viewed from the HOLE on the opaque rectangular surface under the light projected from the LIGHT SOURCE along the central axis of the rectangular surfaces through the 4 SIDESOLIDs.
Assignment_06: Experiencing, Documenting, and Designing with Light, Shadows, and Colour Collective Light-Box
Rules 1) STICKs should touch and puncture two surfaces of the collective LIGHTBOX. 2) STICKs cannot touch the SIDESOLIDs. 3) The SIDESOLIDs should project into the collective LIGHTBOX from the side surfaces
- f your selection.
4) The SIDESOLIDs should not touch the projection screen. 5) All of the SIDESOLIDs should be reproduced by transparent-coloured planes. 6) The overall composition should have a meaningful colour scheme.
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Visited Sites and Buildings Aphordisias / Hierapolis-Pamukkale Buldan Municipal Culture House / Houses Denizli Arasta Mosque / Atatürk House and Ethnography Museum / Babadağlılar Çarşısı / Germiyanoğulları Hamamı / Mansions / Merzeci Flour Factory / Municipal Conservatory / Municipal Teahouse / Municipal Theatre / Stone Workshops
Excursion 02: Denizli-Aydın With our very special thanks to Cüneyt Zeytinci and Jülide Öz, from Turkish Chamber of Architects, Denizli Branch
Goals to Achieve Understanding Form and Space Relations Understanding 3D composition principles Understanding 3D geometrical relationships Understanding to represent spatial experience Developing geometrical and spatial analysis Method Developing A3 size posters Producing Spatial Catalogue
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Excursion_02: Denizli-Aydın
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Goals to Achieve Understanding a design brief Organizing 3D volumes Controling formal and volumetric relations Designing a space experience in human scale Representing 3D volumetric compositions Methods Model making Technical drawing A self-standing structure for experiencing light and space, composed of 4 semi-
- pen and/or semi-closed spaces of
different types, with transition spaces between them, and defined by planer elements. Definitions Closed space is defined by planes that have at most 0-20% openings. Semi-closed space is defined by planes that have at most 21-49% openings and has overhead. Semi-open space is defined by planes that have at most 50-80% openings, without
- verhead.
Open space is defined by planes that have 81-100% openings Rules
- 1. The design field has a base of 8mx6-
10m and 8m height.
- 2. The composition has two entrace/exit
points on the two facing sides of the design field along the 6-10m-long direction.
- 3. There is a level difference of 2-6m
along the 6-10m-long direction of the design field.
- 4. The surface(s) facing the level
difference are without openings.
- 5. The 6-10m surfaces are without
projections/recessions.
- 6. Surfaces sitting on the lower level have
- penings to create specific light
connections in selceted spaces.
- 7. A continuous one-way route should
connect the openings for entrance/exit.
- 8. The route should connect the following
sequence of spaces, consisting of 4 main spaces (A-B-C-D) and 5 transition spaces (T1-T2-T3-T4) T1–M1–T2–M2–T3–M3–T4–M4–T5
- 9. The main spaces have the following
dimensions in m3: A 30-60 – B 60 – C 90-120 – D 120
- 10. The main spaces (A-B-C-D) are either
semi-open or semi-closed spaces, according to the following definitions.
- 11. The composition should be out of a
consistent modular system of planes you design by yourself.
- 12. Each surface in the composition should
be formed at least by 2 planes, depending on your light design.
- 13. The volumetric composition should
accommodate at most 10 people at a time.
Assignment_07: Volumetrtic Light Composition
Presentation Requirements 1:20 model 1:50 isometric drawing with explanations Images, perspectives, axonometric drawings
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