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

Course Introduction and Application Information

Course Code	Course Name	Semester	Theoretical	Practical	Credit	ECTS
INT2014	History of Interior Architecture	Spring	2	0	2	4

Basic information

Language of instruction:	English
Type of course:	Must Course
Course Level:	Bachelor’s Degree (First Cycle)
Mode of Delivery:	Face to face
Course Coordinator :	Dr. Öğr. Üyesi HANDE TULUM
Course Lecturer(s):	Instructor MERVE DİLARA YILDIRIM Dr. Öğr. Üyesi HANDE TULUM
Recommended Optional Program Components:	For each class meeting, necessary articles are shared with students. Additionally, students are expected to work on history portfolio pages. Students are also expected to follow their own documentation practice as they follow the lecture and see the visual material shown. So, students can enhance their learning in tandem with their visual understanding of the subject while they actively engage with the course material in class.
Course Objectives:	This course aims to survey the cultural history of interior architecture and design with a specific focus on residential interiors. The approach not only involves studying an interior space and its spatial arrangement, materials, decorative elements, techniques and furniture. Rather, in many cases, the course expands the spatial analysis to issues of domesticity, gender, production, consumption, popular culture and so on. Debates of aesthetics, style, ornament and tectonics which started to preoccupy architects, designers and artists in their daily practices from the mid-nineteenth century on make up an essential part of the course and the discussion sessions. In this course, students also explore the relations between craftsmanship and mass production, between historical works of art and modern artifacts, and between the professional designer and the indigenous creator of space.

Learning Outcomes

The students who have succeeded in this course;
I. To explore the relationships of sites, buildings, interiors and furniture to culture, society and design philosophy
II. To analyze issues of domesticity, gender, production, consumption, popular culture and their impact on the creation of an interior space by studying certain cases.
III. To differentiate among various building cultures, periods, design approaches in the history of interior architecture with regard to the debates of aesthetics, style, ornament and tectonics.
IV. To examine the relations between craftsmanship and mass production, between historical works of art and modern artifacts, and between the professional designer and the indigenous creator of space.
V. To enhance skills in visual analysis, communication and comparative analysis of sites, buildings, interiors and furniture by the way of research, observation and sketching.
VI. To develop a personal view and a critical perception of interior space, design, history and culture.

Course Content

1. INTRODUCTION

2. BAROQUE THROUGH NEOCLASSICISM I: Italy, Germany, Austria
required reading: Harwood et al., Architecture and Interior Design Through the 18th Century, Chapter 20, pp. 323-340.
film screening: Alain Resnais, Last Year in Marienbad (1960)

3. BAROQUE THROUGH NEOCLASSICISM II: France, England, America
required reading: Harwood et al., Architecture and Interior Design Through the 18th Century, Chapter 21, pp. 341-362; Chapter 23, pp. 385-403.
Fazio, Moffett and Wodehouse, A World History of Architecture (London: Laurence King, 2008), pp. 363-399, 401-416.
Discussion topic: Plan, Symmetry and Representations of Space
discussion reading: Le Corbusier, “Architecture II: The Illusion of Plans,” in Towards A New Architecture (New York: Dover, 1986), pp. 175-198. (in Turkish: “Mimarlık II: Planların Aldatmacası,” in Bir Mimarlığa Doğru, pp. 191-211.)
Michael Shodin “Representing Rooms: plans and other drawings,” Jeremy Aynsley and Charlotte Grant (eds.) Imagined Interiors: Representing The Domestic Interior Since the Renaissance (London: V&A Publications, 2006), pp. 128-129.
film screening: Peter Greenaway, The Draughtsman’s Contract (1982)

4. INDUSTRIALIZATION OF DESIGN / THE ARTS AND CRAFTS / THE CHICAGO SCHOOL
required reading: Harwood et al., Architecture and Interior Design From the 19th Century, Chapter 1, pp. 4-30; Chapter 21, pp. 538-559.
Massey, Interior Design Since 1900, Chapter 1, pp. 7-29.
Discussion topic: Mechanization, Arts and Crafts
discussion reading: Adrian Forty, “Design and Mechanisation,” in Objects of Desire: design and society since 1750 (London: Thames and Hudson, 1986), pp. 42-61.
Louis Sullivan, “The Tall Office Building Artistically Considered,” in Kindergarten Chats and Other Writings (New York: George Wittenborn Inc., 1947), pp. 202-213.

5. ART NOUVEAU / JUGENDSTIL / ARTE MODERNO
required reading: Massey, Interior Design Since 1900, Chapter 2, pp. 31-62.
Discussion topic: Domesticity and Design: Interior as Display
discussion reading: Adolf Loos “Ornament and Crime,” Programs and Manifestoes on 20th Century Architecture, pp. 19-24.
Lisa Tiersten, “The Chic Interior of the Feminine Modern: Home Decorating as High Art in Turn-of-the-Century Paris,” Christopher Reed (ed.) Not At Home: The suppression of domesticity in modern art and architecture (London: Thames and Hudson, 1996), pp. 18-32.

6. THE WERKBUND: Muthesius, van de Velde, Behrens
required reading: Massey, Interior Design Since 1900, Chapter 3, pp. 63-79.
Winfried Nerdinger, “100 Yıl Alman Werkbund—Giriş,” Zehra Aksu Yılmazer (çev.) 100 Yıl Alman Werkbund 1907-2007 sergi kataloğu eki, pp.4-8.
Discussion topic: The fashionable Style versus “Good Form”
discussion reading: Hermann Muthesius “Aims of the Werkbund;” Muthesius and van de Velde “Werkbund Theses and Antitheses,” Programs and Manifestoes on 20th Century Architecture, pp. 26-31.

7. MIDTERM SUBMISSION & PRESENTATIONS

8. THE BAUHAUS: Gropius, Mies, Breuer
required reading: Gropius, Taut, Behne “New Ideas on Architecture;” Gropius “Programme of the Staaliches Bauhaus in Weimar,” “Principles of Bauhaus Production,” Programs and Manifestoes on 20th Century Architecture, pp. 46-53, 95-97.

9. INTERIOR DECORATION AND THE MODERN MOVEMENT: France, Russia, United States
required reading: Massey, Interior Design Since 1900, Chapter 3, pp. 79-90; Chapter 4, pp. 91-103; Chapter 5, pp. 123-144.
Le Corbusier “Yeni Bir Mimarlığa Doğru: yönlendirici ilkeler,” 20. Yüzyıl Mimarisinde Program ve Manifestolar, pp. 45-48.

10. (INTER-)NATIONALIZING MODERNISM I: United States, Finland
required reading: Massey, Interior Design Since 1900, Chapter 4, pp. 104-121.
Discussion topic: International versus Vernacular Modernisms
discussion reading: Hyon-Sob Kim “Alvar Aalto and Humanizing of Architecture,” Journal of Asian Architecture and Building Engineering/May 2009/16

11. (INTER-)NATIONALIZING MODERNISM II: Italy, Turkey
required reading: Sibel Bozdoğan, Modernizm ve Ulusun İnşası: erken Cumhuriyet Türkiyesi’nde mimari kültür (Istanbul: Metis, 2008)
Discussion topic: Cultural versus Modern ways of inhabiting a house
discussion reading: Sibel Bozdoğan, “Modern Yaşamak: Erken Cumhuriyet Kültüründe Kübik Ev,” in Tarihten Günümüze Anadolu’da Konut ve Yerleşme (Istanbul: Tarih Vakfı Yayınları, 1996), pp. 313-328.
Sibel Bozdoğan, “From ‘Cubic Houses’ to Suburban Villas: Residential Architecture and the Elites in Turkey,” in Turkey’s Engagement with Modernity (New York: Palgrave, 2000), pp. 405-424.

12. POSTWAR MODERN DESIGN I: the United States, England
required reading: Massey, Interior Design Since 1900, Chapter 6 and 7, pp. 145-181.
Carolyn M. Goldstein, “The Age of Do-it-Yourself,” in Do it Yourself: home improvement in 20th-century America (New York: Princeton Architectural Press, 1998), pp. 31-44.
Case Study House # 8: Eames House (1945-49) in Blueprints for Modern Living: History and Legacy of the Case Stud y Houses, pp. 51-53.

Discussion topic: Consumerism and Design
discussion reading: Pat Kirkham “Humanizing Modernism: The Crafts, ‘Functioning Decoration,’ and the Eameses,” Journal of Design History, vol. 11, no.1, 1998, pp.15-29.
film screenings: W.F. Banes and John Thiele, American Look (1958)
Charles & Ray Eames, House: After Five Years of Living (1955)

13. POSTWAR MODERN DESIGN II: Scandinavia, Germany, Italy, Turkey
required reading: Massey, Interior Design Since 1900, Chapter 7, pp. 182-193.
Discussion topic: Design as a Lifestyle and Philosophy
discussion reading: Article on Dieter Rams (tba)
Ela Kaçel, “This is Not an American House: Good Sense Modernism in 1950s Turkey” in Duanfang Lu (ed.) Third World Modernism: Architecture, Development, and Identity (London: Routledge, 2011), pp. 165-185.

14. REVIEW & POSTMODERNISM & CONTEMPRORARY APPROACHES TO DESIGN
required reading: Massey, Interior Design Since 1900, Chapter 8 and 9, pp. 195-249.
Discussion topic: Redefinitions of Ornament and Habitation
discussion reading: Farshid Moussavi, “The Function of Ornament,” Farshid Moussavi and Michael Kubo (eds.) The Function of Ornament (Barcelona: Actar D, 2008), pp. 5-11.
Georges Teyssot, “Boredom and Bedroom: The Suppression of the Habitiual,” Assemblage, Nº30 (1996), pp 44–61.

Weekly Detailed Course Contents

Week	Subject	Related Preparation
1)	MIDTERM SUBMISSION & PRESENTATIONS
1)	INTRODUCTION
2)	BAROQUE THROUGH NEOCLASSICISM I: Italy, Germany, Austria required reading: Harwood et al., Architecture and Interior Design Through the 18th Century, Chapter 20, pp. 323-340. film screening: Alain Resnais, Last Year in Marienbad (1960)
3)	BAROQUE THROUGH NEOCLASSICISM II: France, England, America required reading: Harwood et al., Architecture and Interior Design Through the 18th Century, Chapter 21, pp. 341-362; Chapter 23, pp. 385-403. Fazio, Moffett and Wodehouse, A World History of Architecture (London: Laurence King, 2008), pp. 363-399, 401-416. Discussion topic: Plan, Symmetry and Representations of Space discussion reading: Le Corbusier, “Architecture II: The Illusion of Plans,” in Towards A New Architecture (New York: Dover, 1986), pp. 175-198. (in Turkish: “Mimarlık II: Planların Aldatmacası,” in Bir Mimarlığa Doğru, pp. 191-211.) Michael Shodin “Representing Rooms: plans and other drawings,” Jeremy Aynsley and Charlotte Grant (eds.) Imagined Interiors: Representing The Domestic Interior Since the Renaissance (London: V&A Publications, 2006), pp. 128-129. film screening: Peter Greenaway, The Draughtsman’s Contract (1982)
4)	INDUSTRIALIZATION OF DESIGN / THE ARTS AND CRAFTS / THE CHICAGO SCHOOL required reading: Harwood et al., Architecture and Interior Design From the 19th Century, Chapter 1, pp. 4-30; Chapter 21, pp. 538-559. Massey, Interior Design Since 1900, Chapter 1, pp. 7-29. Discussion topic: Mechanization, Arts and Crafts discussion reading: Adrian Forty, “Design and Mechanisation,” in Objects of Desire: design and society since 1750 (London: Thames and Hudson, 1986), pp. 42-61. Louis Sullivan, “The Tall Office Building Artistically Considered,” in Kindergarten Chats and Other Writings (New York: George Wittenborn Inc., 1947), pp. 202-213.
5)	ART NOUVEAU / JUGENDSTIL / ARTE MODERNO required reading: Massey, Interior Design Since 1900, Chapter 2, pp. 31-62. Discussion topic: Domesticity and Design: Interior as Display discussion reading: Adolf Loos “Ornament and Crime,” Programs and Manifestoes on 20th Century Architecture, pp. 19-24. Lisa Tiersten, “The Chic Interior of the Feminine Modern: Home Decorating as High Art in Turn-of-the-Century Paris,” Christopher Reed (ed.) Not At Home: The suppression of domesticity in modern art and architecture (London: Thames and Hudson, 1996), pp. 18-32.
6)	required reading: Massey, Interior Design Since 1900, Chapter 3, pp. 63-79. Winfried Nerdinger, “100 Yıl Alman Werkbund—Giriş,” Zehra Aksu Yılmazer (çev.) 100 Yıl Alman Werkbund 1907-2007 sergi kataloğu eki, pp.4-8. Discussion topic: The fashionable Style versus “Good Form” discussion reading: Hermann Muthesius “Aims of the Werkbund;” Muthesius and van de Velde “Werkbund Theses and Antitheses,” Programs and Manifestoes on 20th Century Architecture, pp. 26-31.
8)	THE BAUHAUS: Gropius, Mies, Breuer required reading: Gropius, Taut, Behne “New Ideas on Architecture;” Gropius “Programme of the Staaliches Bauhaus in Weimar,” “Principles of Bauhaus Production,” Programs and Manifestoes on 20th Century Architecture, pp. 46-53, 95-97.
9)	INTERIOR DECORATION AND THE MODERN MOVEMENT: France, Russia, United States required reading: Massey, Interior Design Since 1900, Chapter 3, pp. 79-90; Chapter 4, pp. 91-103; Chapter 5, pp. 123-144. Le Corbusier “Yeni Bir Mimarlığa Doğru: yönlendirici ilkeler,” 20. Yüzyıl Mimarisinde Program ve Manifestolar, pp. 45-48.
10)	(INTER-)NATIONALIZING MODERNISM I: United States, Finland required reading: Massey, Interior Design Since 1900, Chapter 4, pp. 104-121. Discussion topic: International versus Vernacular Modernisms discussion reading: Hyon-Sob Kim “Alvar Aalto and Humanizing of Architecture,” Journal of Asian Architecture and Building Engineering/May 2009/16
11)	(INTER-)NATIONALIZING MODERNISM II: Italy, Turkey required reading: Sibel Bozdoğan, Modernizm ve Ulusun İnşası: erken Cumhuriyet Türkiyesi’nde mimari kültür (Istanbul: Metis, 2008) Discussion topic: Cultural versus Modern ways of inhabiting a house discussion reading: Sibel Bozdoğan, “Modern Yaşamak: Erken Cumhuriyet Kültüründe Kübik Ev,” in Tarihten Günümüze Anadolu’da Konut ve Yerleşme (Istanbul: Tarih Vakfı Yayınları, 1996), pp. 313-328. Sibel Bozdoğan, “From ‘Cubic Houses’ to Suburban Villas: Residential Architecture and the Elites in Turkey,” in Turkey’s Engagement with Modernity (New York: Palgrave, 2000), pp. 405-424. 2009),pp. 103-128.
12)	POSTWAR MODERN DESIGN I: the United States, England required reading: Massey, Interior Design Since 1900, Chapter 6 and 7, pp. 145-181. Carolyn M. Goldstein, “The Age of Do-it-Yourself,” in Do it Yourself: home improvement in 20th-century America (New York: Princeton Architectural Press, 1998), pp. 31-44. Case Study House # 8: Eames House (1945-49) in Blueprints for Modern Living: History and Legacy of the Case Stud y Houses, pp. 51-53. Discussion topic: Consumerism and Design discussion reading: Pat Kirkham “Humanizing Modernism: The Crafts, ‘Functioning Decoration,’ and the Eameses,” Journal of Design History, vol. 11, no.1, 1998, pp.15-29. film screenings: W.F. Banes and John Thiele, American Look (1958) Charles & Ray Eames, House: After Five Years of Living (1955)
13)	POSTWAR MODERN DESIGN II: Scandinavia, Germany, Italy, Turkey required reading: Massey, Interior Design Since 1900, Chapter 7, pp. 182-193. Discussion topic: Design as a Lifestyle and Philosophy discussion reading: Article on Dieter Rams (tba) Ela Kaçel, “This is Not an American House: Good Sense Modernism in 1950s Turkey” in Duanfang Lu (ed.) Third World Modernism: Architecture, Development, and Identity (London: Routledge, 2011), pp. 165-185.
14)	REVIEW & POSTMODERNISM & CONTEMPRORARY APPROACHES TO DESIGN required reading: Massey, Interior Design Since 1900, Chapter 8 and 9, pp. 195-249. Discussion topic: Redefinitions of Ornament and Habitation discussion reading: Farshid Moussavi, “The Function of Ornament,” Farshid Moussavi and Michael Kubo (eds.) The Function of Ornament (Barcelona: Actar D, 2008), pp. 5-11. Georges Teyssot, “Boredom and Bedroom: The Suppression of the Habitiual,” Assemblage, Nº30 (1996), pp 44–61.

Sources

Course Notes / Textbooks:

Buie Harwood, Bridget May and Curt Sherman, Architecture and Interior Design Through the 18th Century (New Jersey: Prentice Hall, 2002) and Architecture and Interior Design From the 19th Century (New Jersey: Prentice Hall, 2009). Chapters from these textbooks and other books and also articles are compiled in INAR 2012 Course Reader that will be available to purchase at the Student Center’s photocopy shop.
Anne Massey, Interior Design Since 1900, new edition (London: Thames & Hudson, 2008)
Penny Sparke, The Modern Interior (London: Reaktion Books, 2008)

References:

Derste kullanılacak diğer kaynaklar ders içeriğinde haftalara göre zorunlu okuma ve tartışma metinleri olarak belirtilmiştir.

Course references other than the assigned textbooks are listed in the weekly course content under the required and discussion readings.

Evaluation System

Semester Requirements	Number of Activities	Level of Contribution
Attendance	14	% 10
Homework Assignments	1	% 15
Presentation	1	% 30
Final	1	% 45
Total		% 100
PERCENTAGE OF SEMESTER WORK		% 55
PERCENTAGE OF FINAL WORK		% 45
Total		% 100

ECTS / Workload Table

Activities	Number of Activities	Workload
Course Hours	14	28
Study Hours Out of Class	13	28
Presentations / Seminar	2	4
Project	11	22
Homework Assignments	7	16
Final	1	2
Total Workload		100

Contribution of Learning Outcomes to Programme Outcomes

No Effect	1 Lowest	2 Low	3 Average	4 High	5 Highest

	Program Outcomes	Level of Contribution
1)	Setting up various spaces in national and international contexts, carrying out designs, planning and applications that could satisfy various user groups and respond various requirements in the field of Interior Architecture,
2)	Analyzing the information gathered from the framework of actual physical, social and economical constraints and user requirements, and synthesizing these with diverse knowledge and considerations in order to create innovative spatial solutions,
3)	Generating creative, innovative, aesthetic and unique spatial solutions by using tangible and abstract concepts,	4
4)	Using at least one of the illustration and presentation technologies competently, that the field of interior architecture requires,	4
5)	Reporting, presenting and transferring the design, practice and research studies to the specialists or laymen by using visual, textual or oral communication methods, efficiently and accurately,
6)	Embracing and prioritizing man-environment relationships, user health, safety and security, and universal design principles in the field of interior architecture,
7)	Design understanding and decision making that respects social and cultural rights of the society, cultural heritage and nature,	5
8)	Being aware of national and international values, following developments and being equipped about ethical and aesthetical subjects in the fields of interior architecture, design and art,	5
9)	Having absolute conscious about legal regulations, standards and principles; and realizing professional ethics, duties and responsibilities in the field of Interior Architecture,