INTERIOR ARCHITECTURE
Bachelor TR-NQF-HE: Level 6 QF-EHEA: First Cycle EQF-LLL: Level 6

General Information about the Course

Course Code: ICM 104
Course Title: Visual Communication Design-II
Course Semester: 2. Semester / Spring
Course Credits:
Theoretical Practical Credit ECTS
2 2 3 6
Language of instruction: TR
Prerequisite of the course: No
Type of course: Necessary
Level of course:
Bachelor TR-NQF-HE:6. Master`s Degree QF-EHEA:First Cycle EQF-LLL:6. Master`s Degree
Course Lecturer(s): Instructor Bilge Bal, Research Assistant, Orhan Cem Doğan

Purpose and content of the course

Course Objectives: Visual Communication Design II is an introductory architectural drawing studio to experience drawing the line as a medium of representation, both technical and creative for spatial constructions with architectural drawing instruments, surfaces and materials. It offers a speculative and experimental setting: a technical virtuosity, exploration and experimentation, analysis and re-examination.

Architectural drawing is a fully-organized professional language to reveal certain aspects of the building it focuses on as an object. It establishes a space for producing and developing an idea in the design process as well as a communication ground between the actors and institutions taking part in the construction phase. For an (interior) architect, drawing is one of the material methods of day-dreaming, storytelling, building, exploring, understanding, thinking, researching, recording, solving, searching, finding and getting lost.

This course deals with the act of drawing as a language in the context of architecture. First of all, it aims to discuss and explore the spatial and expressive possibilities and techniques of drawing, to make an architecture comprehend through the medium of line and drawing. Basic concepts of drawing, drawing instruments, freehand drawing and sketching, diagrammatic expression, architectural geometry, spatial organization and construction, scale and proportion, basic types of drawing and projections: parallel, orthographic, oblique and perspective, orthographic drawing set, place and topography, silhouette, detail, protocols and notations and technical drawing rules are taught. While students learn to construct a conventional drawing, they also deconstruct and reconstruct it, invent speculative ways to transform it creatively, to expand its boundaries, to treat drawing as a spatial research medium.

Taking a paper and a pencil to draw, not hesitating expressing oneself by drawing, and taking pleasure in drawing the line are among the main goals of the studio.


Course Objective: • To be able to use free-hand and appropriate technical drawing methods to develop design ideas and (re)present a design.
• To be able to produce a set of ortographic drawings that describe a space.
• To be able to express a spatial design according to universal architectural drawing instructions, rules and protocols.
• To be able to analyze a spatial construction by analyzing a drawing set.
• To be able to analyze objects and spatial arrangements geometrically.
• To teach architectural drawing types such as plan, section, elevation and axonometric produced based on parallel/orthographic projection.
• To teach architectural drawing types such as plan oblique and section oblique based on oblique projection.
• To teach architectural drawing types such as one point perspective and two point perspective based on perspective projection.
• To be able to use architectural drawing techniques in a creative, speculative and experimental way.
• To comprehend drawing as a spatial research, exploration and construction method.
• To enjoy drawing and not being afraid to express a design idea by drawing.
Mode of Delivery: Face to face

Learning Outcomes

Knowledge (Described as Theoritical and/or Factual Knowledge.)
  1) Student knows various types of technical drawings used in design.
  2) Student knows various building scales used in design.
  3) Student recognizes technical drawing tools, materials and surfaces.
Skills (Describe as Cognitive and/or Practical Skills.)
  1) Student uses technical drawing instruments.
  2) Student applies technical drawing rules, instructions, protocols and methods.
  3) Student analyzes the geometry and spatial organization of a building he/she visits by making free-hand drawing, sketching.
  4) Student produces simple diagrams to develop and present design ideas and spatial layouts.
Competences (Described as "Ability of the learner to apply knowledge and skills autonomously with responsibility", "Learning to learn"," Communication and social" and "Field specific" competences.)
  1) Student makes spatial design by using technical drawing methods.
  2) Student reads analytically a technically drawn spatial narrative and analyze it.
  3) Student understands that drawing is a part of the design process.
  4) Student uses drawing as a visual communication medium.

Course Topics

Week Subject
Related Preparation Pekiştirme
1) Introduction, Excursion and Off-Campus Studio I: Observation Sketches
2) Introduction, Verbal and Visual Discussion - Architectural Drawing as Text: Point, Trace, Line, Plane, Notation, Stain, Print, Translation, Projection, Transcription / Alfabet of Stones
3) Planar Transformations
4) Parallel Projection: Parallel Projection of Mundane Objects / Tectonic Cuts: Anatomy of a Pepper, Ortographic Set
5) Parallel Projection: Tectonic Cuts: Ortographic Set
6) Parallel Projection: Tectonic Cuts: Ortographic Set, Notations and Body as Scale
7) Excursion and Off-Campus Studio II: Spatial Reading / Free-Hand Drawing, Ortographic Set
8) Parallel Projection: Tectonic Cuts: Ortographic Set, Notations and Body as Scale
9) Orthographic Projection + Oblique Projection: Spatial Constructions / Plan Oblique
10) Orthographic Projection + Oblique Projection: Spatial Constructions / Section Oblique
11) Orthographic Projection + Oblique Projection: Spatial Constructions / Plan+ Section Oblique, Excursion and Off-Campus Studio III
12) Experiencing the Perspective / Perspective as a Way of Seeing Excursion and Off-Campus Studio IV
13) Experiencing the Perspective / Constructing the Perspectival Set and Layers
14) Experiencing the Perspective / One Point Perspective and Two Point Perspective
15) Architectural Drawing Techniques as a Creative Method / Mixed Techniques and Mediums
16) Final Review and Discussion
References: Ackerman, J. S. (1991). Distance Points. Cambridge, Massachusetts, London: The MIT Press.
Allen, S. (2000). Practice: Architecture, Technique and Representation. London & New York: Routledge.
Allen, S. (1999). Points+Lines Diagrams and Projects for the City. New York: Princeton Architectural Press.
Arnheim, R. (2007). Görsel Düşünme. İstanbul: Metis Yayınları.
Belardi, P. (2016). Mimarlar Neden Hala Çiziyor?. İstanbul: Janus Yayıncılık.
Belardi, P. (2018). Ölçmek, Çizmek, Bilmek. İstanbul: Janus Yayıncılık.
Berger, J. (2012). Bento’nun Eskiz Defteri. İstanbul: Metis Yayınları.
Carpo, M. (2011). The Alphabet and the Algorithm, Writing Architecture. Cambridge, Massachusetts, London: The MIT Press.
Carpo, M. (2001). “How Do You Imitate a Building That You Have Never Seen? Printed Images, Ancient Models, and Handmade Drawings in Renaissance Architectural Theory”. Zeitschrift für Kunstgeschichte. 64. Bd., H. 2. pp. 223-233.
Carpo, M. (1998). Architecture in the Age of Printing. Orality, Writing, Typography, and Printed Images in the History of Architectural Theory. Cambridge, Massachusetts, London: The MIT Press.
Cook, P. (2014). Drawing: The Motive Force of Architecture. UK: Wiley.
Emmons, P. (2019). Drawing Imagining Building, Embodiment in Architectural Design Practices.Londra ve New York: Routledge.
Evans, R. (1997). Translations from Drawing to Building and Other Essays. London: Janet Evans and the Architectural Association.
Evans, R. (1995). Projective Cast. Cambridge, Massachusetts, London: The MIT Press.
Evans, R. (1984). “In Front Of Lines That Leave Nothing Behind. Chamber Works”. AA Files 6. pp. 89-96.
Florenski, P. (2001). Tersten Perspektif. İstanbul: Metis Yayınları.
Frascari, M. (2011). Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architect's Imagination. London & New York: Routledge.
Goffi, F. (2017). Marco Frascari’s Dream House, A Theory of Imagination. London & New York: Routledge.
Goodman, N. (1968). Languages of Art, an approach to a theory of symbols.
London: Oxford University Press.
Graves, Michael (1977). "The Necessity for Drawing: Tangible Speculation". Architectural Design, v.47 n.6. pp 384-394.
Groihofer, B. (2011). Raimund Abraham [UN]BUILT. Vienna & New York: Springen.
Hejduk, J. & Canon, R. (1999). Education of An Architect: A Point of View. New York: The Monacelli Press.
Hejduk, J. (1995). Architectures in Love, Sketchbook Notes. New York: Rizzoli International Publications Inc.
Hejduk, J. & Diller, E. et al. (1988). Education of An Architect, New York: Co-Published with Rizzoli International Publications Inc.
Kahn, A. (1999). Drawing, Building, Text. New York: Princeton Architectural Press.
Kipnis, J. (2001). Daniel Libeskind: The Space of Encounter. New York: Universe Publishing.
Malt, J. (2013). “Leaving traces: surface contact in Ponge, Penone and Alÿs”. Word & Image: A Journal of Verbal/Visual Enquiry. 29:1. pp 92-104.
Panofsky, E. (2013). Perspektif Simgesel Bir Biçim. İstanbul: Metis Yayınları.
Pamphlet Architecture Series 1-37 (1987-2022). New York: Princeton Architectural Press.
Pérez-Gómez, A., Pelletier, L. (1997). Architectural Representation and the Perspective Hinge. Cambridge, Massachusetts, London: The MIT Press.
Pérez-Gómez, A. (2006). Built Upon Love. Cambridge, Massachusetts, London: The MIT Press.
Ridway, S. (2015). Architectural Projects of Marco Frascari, The Pleasure of a Demonstration. London & New York: Routledge.
Sheil, B. et al. (2016). Drawing Futures
Speculations in Contemporary Drawing for Art and Architecture. London: UCL Press.
Siza, A. (2015). Apaçıklığı İmgelemek. İstanbul: Janus Yayınları.
Scolari, M. (2005). Oblique Drawing: A History of Anti-Perspective. New York: The MIT Press.
Woods, L. (2015). Slow Manifesto: Lebbeus Woods Blog. New York: Princeton Architectural Press Inc.
Woods, L. (2001). Radical Reconstruction. New York: Princeton Architectural Press Inc.
Woods, L. (1993). War and Architecture. Pamphlet Architecture 15. New York: Princeton Architectural Press Inc.
Woods, L. (1992). Anarchitecture: Architecture as a Political Act. Londra: Academy Press.

https://manifold.press/bilge-bal
https://drawingmatter.org/
https://lebbeuswoods.wordpress.com/
http://socks-studio.com/
http://www.unbuilt-archive.org/
http://www.urbansketchers.org/
http://conceptsketch.tumblr.com/
http://drawingarchitecture.tumblr.com/
http://fabriciomora.tumblr.com/
http://www.youtube.com/watch³v=0jOvmsPXu7Q
http://archisketchbook.com/
http://architectural-review.tumblr.com/
http://urbansketchers-chicago.blogspot.com.tr/
http://www.pinterest.com/archdaily/architectural-drawings/
http://www.lifeofanarchitect.com/architectural-sketching-or-how-to-sketch-like-bob-borson/
http://sketchingarchitecture.blogspot.com.tr/2014/05/a-very-quick-sketch-of-complicated.html
https://www.facebook.com/areasvellas³fref=ts
http://bldgblog.blogspot.com.tr/2015/06/transecting-amsterdam.html





Ders - Program Öğrenme Kazanım İlişkisi

No Effect 1 Lowest 2 Average 3 Highest
       
Ders Öğrenme Kazanımları

1

2

3

4

1

2

3

4

1

2

3

Program Outcomes

Course Teaching, Learning Methods

Q & A
Case Problem Solving/ Drama- Role/ Case Management
Laboratory
Quantitative Problem Solving
Fieldwork
Group Study / Assignment
Individual Assignment
WEB-based Learning
Internship
Practice in Field
Project Preparation
Report Writing
Seminar
Supervision
Social Activity
Occupational Activity
Occupational Trip
Application (Modelling, Design, Model, Simulation, Experiment et.)
Reading
Thesis Preparation
Field Study
Student Club and Council Activities
Other
Logbook
Interview and Oral Conversation
Research
Watching a movie
Bibliography preparation
Oral, inscribed and visual knowledge production
Taking photographs
Sketching
Mapping and marking
Reading maps
Copying textures
Creating a library of materials
Presentation

Evaluation System

Semester Requirements Number of Activities Level of Contribution
Attendance % 0
Laboratory % 0
Application % 0
Practice Exam % 0
Quizzes % 0
Homework Assignments 11 % 40
Presentation % 0
Project % 0
Special Course Internship (Work Placement) % 0
Field Study % 0
Article Critical % 0
Article Writing % 0
Module Group Study % 0
Brainstorming % 0
Role Playing + Dramatizing % 0
Out of Class Study % 0
Preliminary Work, Reinforcement % 0
Application Repetition etc. % 0
Homework (reading, writing, watching movies, etc.) % 0
Project Preparation + Presentation % 0
Report Preparation + Presentation % 0
Presentation / Seminar Preparation + Presenting % 0
Oral examination % 0
Midterms % 0
Final 1 % 60
Report Submission % 0
Bütünleme % 0
Kanaat Notu % 0
Committee % 0
Yazma Ödev Dosyası % 0
Portfolio % 0
Take-Home Exam % 0
Logbook % 0
Discussion % 0
Participation % 0
total % 100
PERCENTAGE OF SEMESTER WORK % 40
PERCENTAGE OF FINAL WORK % 60
total % 100

Calculation of Workload and ECTS Credits

Activities Number of Activities Workload
Course Hours 14 56
Laboratory
Application
Practice Exam
Special Course Internship (Work Placement)
Field Work
Study Hours Out of Class
Article Critical
Article Writing
Module Group Study
Brainstorming
Role Playing + Dramatizing
Out-of-Class Study (Pre-study, Reinforcement, Practice Review, etc.)
Homework (reading, writing, watching movies, etc.) 11 66
Project Preparation + Presentation
Report Preparation + Presentation
Presentation / Seminar Preparation + Presenting
Oral examination
Preparing for Midterm Exams
MIDTERM EXAM (Visa)
Preparing for the General Exam 3 51
GENERAL EXAM (Final) 1 7
Participation
Discussion
Portfolio
Take-Home Exam
Logbook
Total Workload 180
ECTS (30 saat = 1 AKTS ) 6