BAHÇEŞEHİR UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
| PERFORMING ARTS | |||||
| 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 |
| INT4921 | Design Semiotics | Spring Fall |
2 | 0 | 2 | 4 |
| This catalog is for information purposes. Course status is determined by the relevant department at the beginning of semester. |
Basic information
| Language of instruction: | English |
| Type of course: | Non-Departmental Elective |
| Course Level: | Bachelor’s Degree (First Cycle) |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Assoc. Prof. SEZİN HATİCE TANRIÖVER |
| Course Lecturer(s): |
Assoc. Prof. SEZİN HATİCE TANRIÖVER |
| Recommended Optional Program Components: | None |
| Course Objectives: | This course aims to make students able to use knowledge of basic semiotics as a tool in designing process and as a method for the analysis and evaluations of the interior architectural projects. |
Learning Outcomes
|
The students who have succeeded in this course; I. Determining the parts constituting the structure of meaning II. Defining the relations between design and meaning III. Understanding of the basic components of Semiotics and by means of this, ability of analysing of products in various disciplines of design IV. Establishing spatial equivalences of the components of basic Semiotics V. Determining, interpreting and using of multi-leveled meanings in design. |
Course Content
| 1.Introductıon ‘Design as Communication’ Movie and discussion 2.‘Design as Communication’ ‘Parts of Meaning Production: Sender-receiver 3.‘Design as Communication’ ‘Parts of Meaning Production: Massage – (signifier / sign / signified) (Movie:Limits of Control / Jim Jarmusch) 4.‘Design as Communication’ ‘Parts of Meaning Production: Code Movie and Discussion 5.‘Design as Communication’ ‘Parts of Meaning Production: Context 6.‘Design as Communication’ ‘Parts of Meaning Production: Channel Reading and Discussion 7‘Design as Communication’ ‘Parts of Meaning Production: Medium 8. Interpretations: ‘Design as Text’Concept 9. Interpretations: ‘Design as Text’Concept 10. Interpretations of Architectural SpaceConcept 11. Interpretations of Architectural Space Individual Researches and Presentations 12. Interpretations of Architectural Space Individual Researches and Presentations 13. Interpretations of Architectural Space Individual Researches and Presentations 14. Review |
Weekly Detailed Course Contents
| Week | Subject | Related Preparation |
| 1) | Introductıon ‘Design as Communication’ Movie and discussion | |
| 2) | ‘Design as Communication’ ‘Parts of Meaning Production: Sender-receiver | |
| 3) | ‘Design as Communication’ ‘Parts of Meaning Production: Massage – (signifier / sign / signified) (Movie:Limits of Control / Jim Jarmusch) | |
| 4) | ‘Design as Communication’ ‘Parts of Meaning Production: Code Movie and Discussion | |
| 5) | ‘Design as Communication’ ‘Parts of Meaning Production: Context | |
| 6) | ‘Design as Communication’ ‘Parts of Meaning Production: Channel Reading and Discussion | |
| 7) | ‘Design as Communication’ ‘Parts of Meaning Production: Medium | |
| 8) | Interpretations: ‘Design as Text’Concept | |
| 9) | Interpretations: ‘Design as Text’ Concept | |
| 10) | Interpretations of Architectural Space Concept | |
| 11) | Interpretations of Architectural Space Individual Researches and Presentations | |
| 12) | Interpretations of Architectural Space Individual Researches and Presentations | |
| 13) | Interpretations of Architectural Space Individual Researches and Presentations | |
| 14) | Review |
Sources
| Course Notes / Textbooks: | Chandler, Daniel. 2002. Semiotics: The Basics New York: Routledge / Barnard, Malcolm. 1996. Fashion as Communication. London: Routledge. |
| References: | Chandler, Daniel. 2002. Semiotics: The Basics New York: Routledge / Barnard, Malcolm. 1996. Fashion as Communication. London: Routledge. |
Evaluation System
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 14 | % 5 |
| Presentation | 1 | % 15 |
| Project | 1 | % 15 |
| Midterms | 1 | % 25 |
| Final | 1 | % 40 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 45 | |
| PERCENTAGE OF FINAL WORK | % 55 | |
| Total | % 100 | |
ECTS / Workload Table
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 14 | 3 | 42 |
| Study Hours Out of Class | 14 | 1 | 14 |
| Presentations / Seminar | 2 | 4 | 8 |
| Project | 3 | 4 | 12 |
| Midterms | 1 | 12 | 12 |
| Final | 1 | 12 | 12 |
| 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) | They acquire theoretical, historical and aesthetic knowledge specific to their field by using methods and techniques related to performing arts (acting, dance, music, etc.). | 2 |
| 2) | They have knowledge about art culture and aesthetics and they provide the unity of theory and practice in their field. | 2 |
| 3) | They are aware of national and international values in performing arts. | 2 |
| 4) | Abstract and concrete concepts of performing arts; can transform it into creative thinking, innovative and original works. | 1 |
| 5) | They have the sensitivity to run a business successfully in their field. | 3 |
| 6) | Develops the ability to perceive, think, design and implement multidimensional from local to universal. | 3 |
| 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. | 2 |
| 8) | They develop the ability to perceive, design, and apply multidimensionality by having knowledge about artistic criticism methods. | 3 |
| 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. | 1 |
| 10) | They follow English language resources related to their field and can communicate with foreign colleagues in their field. | 1 |
| 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. | 3 |
| 12) | They can produce original works within the framework of an interdisciplinary understanding of art. | 2 |
| 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. | 3 |
| 14) | Within the Performing Arts Program, according to the field of study; have competent technical knowledge in the field of acting and musical theater. | 2 |
| 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. | 3 |