| Course Objectives: |
This course develops a critical understanding of the built environment by exploring the evolution of spatial design from Çatalhöyük to the Renaissance, emphasizing both Western and Eastern contexts. Students will identify key architectural styles and interior design elements from different historical periods, situating them within their social, cultural, and urban settings.
Through case studies and theoretical frameworks, the course examines the relationship between architecture, culture, and design philosophies across diverse geographies. By synthesizing historical and cultural insights, students will create comparative analyses of different design approaches. Lectures, readings, discussions, and review sessions support these objectives.
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| Course Content: |
This course provides a comprehensive historical overview of architectural and spatial design across various geographies, emphasizing the influence of culture, social and political structures, economic conditions, art, and technological advancements on the evolution of design. Through a theoretical lens, the course explores key milestones in the history of design, offering insights into how original definitions and concepts of design have developed over time. Students will critically engage with these themes by evaluating, illustrating, and contextualizing historical design practices through discussions and assignments. The course encourages students to analyze how diverse factors shaped architectural and interior design, fostering a deeper appreciation for the historical roots of contemporary design concepts. Finally, the course prepares students for the INT2014 course studio through methods such as lectures, individual studies, readings, discussions, technology enhanced learning, and case studies. |
| Week |
Subject |
Related Preparation |
| 1) |
INTRODUCTION: Explanation of the aim, scope, and methodology of the course |
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| 2) |
THE BEGINNINGS OF ARCHITECTURE: ÇATALHÖYÜK, STONEHENGE
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Michael Fazio, Marian Moffett and Lawrence Wodehouse, A World History of
Architecture (London: Laurence King, 2008), 9-14.
Indrani Chattopadhyaya, Living Tradition: A Study of Prehistoric Rock Paintings and Indigenous Art from District Sonbhadra, Southern Uttar Pradesh, India, Athens Journal of Humanities & Arts - Volume 3, Issue 4, 251-270. |
| 3) |
ANCIENT ARCHITECTURE Part I. EGYPT and MESOPOTAMIA |
Harwood, Architecture and Interior Design through the 18th Century, Chapter 4, pp. 51-63. Louis Kahn, “Monumentality,” in Louis Kahn: Essential Texts (New York: W.W. Norton, 2003), 21-31. |
| 4) |
ANCIENT ARCHITECTURE Part II. GREEK ARCHITECTURE
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Harwood et al., Architecture and Interior Design Through the 18th Century, Chapter 5, ss. 64-79.
Le Corbusier, “Architecture III: Pure Creation of the Mind,” in Toward an Architecture, 231-251. |
| 5) |
ANCIENT ARCHITECTURE Part III. ROMAN ARCHITECTURE
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Harwood et al., Architecture and Interior Design Through the 18th Century, Chapter 6, 80-98.
Le Corbusier, “Architecture I: The Lesson of Rome,” in Toward An Architecture, 194-212. |
| 6) |
PREPARATION FOR MIDTERM |
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| 7) |
INDIGENOUS ARCHITECTURE Part I. AFRICA, AUSTRALIA
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Fazio et al., A World History of Architecture, 274-283.
Bernard Rudofsky, “Introduction,” in Architecture without Architects (New York: Museum of Modern Art, 1964), 1-7. |
| 8) |
MIDTERM EXAM |
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| 9) |
INDIGENOUS ARCHITECTURE Part II. ARCHITECTURE IN THE AMERICAS: MEXICO, PERU And Part III. JAPAN, CHINA, INDIA
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Fazio et al., A World History of Architecture, Chapter 3, 63-79.
Harwood et al., Architecture and Interior Design Through the 18th Century, Chapters 2 and 3, 16-49. |
| 10) |
INDIGENOUS ARCHITECTURE Part IV. ANATOLIA, THE MIDDLE EAST, THE BALKANS |
Harwood et al., Architecture and Interior Design Through the 18th Century, Chapter 9, 116-129.
Le Corbusier, “The Mosques,” in Journey to the East (London: The MIT Press, 2007), 100-119.
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| 11) |
ARCHITECTURE AS POWER Part I. EARLY CHRISTIAN and BYZANTINE ARCHITECTURE
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Harwood et al., Architecture and Interior Design Through the 18th Century, Chapters 7 and 8, 100-115.
Le Corbusier, “Constantinople,” in Journey to the East (London: The MIT Press, 2007), 83-99. |
| 12) |
REVIEW & EVALUATION |
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| 13) |
ARCHITECTURE AS POWER Part II. ROMANESQUE and GOTHIC ARCHITECTURE
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Harwood et al., Architecture and Interior Design Through the 18th Century, Chapters 10 and 11, 130-161.
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| 14) |
PREPARATION FOR FINAL:REVIEW |
Preparation for the final |
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Program Outcomes |
Level of Contribution |
| 1) |
They acquire theoretical, historical and aesthetic knowledge specific to their field by using methods and techniques related to performing arts (acting, dance, music, etc.). |
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| 2) |
They have knowledge about art culture and aesthetics and they provide the unity of theory and practice in their field. |
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| 3) |
They are aware of national and international values in performing arts. |
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| 4) |
Abstract and concrete concepts of performing arts; can transform it into creative thinking, innovative and original works. |
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| 5) |
They have the sensitivity to run a business successfully in their field. |
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| 6) |
Develops the ability to perceive, think, design and implement multidimensional from local to universal. |
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| 7) |
They have knowledge about the disciplines that the performing arts field is related to and can evaluate the interaction of the sub-disciplines within their field. |
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| 8) |
They develop the ability to perceive, design, and apply multidimensionality by having knowledge about artistic criticism methods. |
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| 9) |
They can share original works related to their field with the society and evaluate their results and question their own work by using critical methods. |
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| 10) |
They follow English language resources related to their field and can communicate with foreign colleagues in their field. |
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| 11) |
By becoming aware of national and international values in the field of performing arts, they can transform abstract and concrete concepts into creative thinking, innovative and original works. |
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| 12) |
They can produce original works within the framework of an interdisciplinary understanding of art. |
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| 13) |
Within the framework of the Performing Arts Program and the units within it, they become individuals who are equipped to take part in the universal platform in their field. |
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| 14) |
Within the Performing Arts Program, according to the field of study; have competent technical knowledge in the field of acting and musical theater. |
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| 15) |
They use information and communication technologies together with computer software that is at least at the Advanced Level of the European Computer Use License as required by the field. |
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