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Week |
Subject |
Related Preparation |
1) |
Introduction to course and discussion on meaning |
N/A |
2) |
Basic Concepts of Semiology I: Saussure and Peirce |
Fiske, John (1982) ‘Chapter 3: Communication, Meaning and Signs’, in Introduction to Communication Studies, London: Methuen, pp. 39-63. |
3) |
Basic Concepts of Semiology II: Codes |
Fiske, John (1982) ‘Chapter 4: Codes’, in Introduction to Communication Studies, London: Methuen, pp. 65-83. |
4) |
Basic Concepts of Semiology III: Barthesian Semiotics |
Fiske, John (1982) ‘Chapter 5: Signification’ in Introduction to Communication Studies, London: Methuen, pp.: 85-99. |
5) |
Basic Concepts of Semiology IV: Ideology |
Fiske, John (1982) ‘Chapter 9: Ideology and Meanings’ in Introduction to Communication Studies, London: Methuen, pp.: 165-188.
Submission of assignment 1 |
6) |
Barthesian Semiotics of the Object |
Barthes, Roland (1994) ‘Semantics of the Object’, in The Semiotic Challenge, University of California Press, pp.: 179-190.
Barthes, Roland (1972) ‘The New Citroen’, in Mythologies, Hill and Wang. |
7) |
Student presentations: Semiotic analysis of an advertisement |
Preparation for presentation |
8) |
Product Semantics I - How is Semiotics used in design? |
Submission of assignment 2 |
9) |
Product Semantics II – “Design as Communication” |
Krippendorff, Klaus; Butter, Reinhart (1984) Product Semantics: Exploring the Symbolic Qualities of Form. Scholarly Commons, pp.: 4-9. |
10) |
Product Semantics III – “Design is Always a Message” |
Krippendorff, Klaus; Butter, Reinhart (2007) Semantics: Meanings and Contexts of Artifacts. In Product Experience, eds. Hendrik N.J. Schifferstein and Paul Hekkert, New York: Elsevier, pp.: 1-25.
Submission of assignment 3 |
11) |
Product Semantics IV – Contemporary Discussions on Semantics |
N/A |
12) |
Product Semantics Workshop – Applying Semantics to Design Process |
Submission of assignment 4 |
13) |
Product Semantics Workshop – Applying Semantics to Design Process |
Preparation for workshop |
14) |
Product Semantics Workshop – Applying Semantics to Design Process |
Preparation for workshop |
Course Notes: |
1. Fiske, John (1982) Introduction to Communication Studies. London: Methuen.
2. Barthes, Roland (1994) The Semiotic Challenge. University of California Press.
3. Barthes, Roland (2012) Mythologies. New York: Hill and Wang.
4. Krippendorff, Klaus; Butter, Reinhart (1984) Product Semantics: Exploring the Symbolic Qualities of Form. Scholarly Commons.
8. Krippendorff, Klaus; Butter, Reinhart (2007) Semantics: Meanings and Contexts of Artifacts. In Product Experience, eds. Hendrik N.J. Schifferstein and Paul Hekkert, New York: Elsevier, pp.: 1-25. |
References: |
1. Krippendorf, K. (2006). The Semantic Turn: A New Foundation for Design. Boca Raton: Taylor & Francis Group.
2. Silverman, Kaja (1983) ‘From Sign to Subject’, in The Subject of Semiotics, New York: Oxford University Press, pp.: 3-25. |
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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, |
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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, |
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3) |
Generating creative, innovative, aesthetic and unique spatial solutions by using tangible and abstract concepts, |
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4) |
Using at least one of the illustration and presentation technologies competently, that the field of interior architecture requires, |
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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, |
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6) |
Embracing and prioritizing man-environment relationships, user health, safety and security, and universal design principles in the field of interior architecture, |
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7) |
Design understanding and decision making that respects social and cultural rights of the society, cultural heritage and nature, |
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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, |
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9) |
Having absolute conscious about legal regulations, standards and principles; and realizing professional ethics, duties and responsibilities in the field of Interior Architecture, |
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