The ultimate aim of any creative activity is building… architects, sculptors, painters, we all must become craftsmen again… no essential difference exists between the artist and the craftsman, the artist is a craftsman of heightened awareness… but the basis of craftsmanship is indispensable to all artists. It is the prime source of all creative work", Walter Gropius, from Bauhaus Manifesto of Foundation/Basic Course, 1919."Basic Design", also known as "Foundation Courses" or "Enseignement Pre´liminaire", formed the basis of the pedagogy of the classical schools of design and architecture. That is, the "Vhutemas", the "Bauhaus", the "Chicago Bauhaus", and the "Ulm School" (Hochschule Fur Gestaltung). This teaching approach, which has undergone multiple changes since the 1920s, lost much of its importance from the 1960s onwards, and at times even disappeared from educational programs in Germany. However, the past 20 years or so have witnessed a rebirth of "Basic Design Education" through many debates and pedagogical propositions (Boucharenc, 2006). In the light of this truth, it can be said that, the basic design has the same importance at all disciplines, although it differentiates on applications in the educations, and this importance is being increased day by day. In the context of this research, especially it will be focused on the basic design education in art and architecture and this concept will be related with these disciplines. The aim of this research is to put forward the right definitions for basic design concept and to evaluate it with relating its own elements and principles, if the design steps are built with a concept, it will be able to see the differences in its properties and right thought, in producing an idea and the effect of composing a concept on defining design power.

No abstract

This paper is about the relationship of music and art which are components of the basic design applications over arts. For architectural education, to deal with art as a tool and the experience of benefiting from this tool in the design phase is considered as important. Therefore, the situations of music being used as a tool in solving design problems are exemplified in this study. Pallasma said "In the silence of a Gothic cathedral, we remember the last sound of a Gregorian melody". He emphasized how close the relationship between the sound theme of music and architecture is. Its relationship with sound and architecture in the upper scale and its relationship with music and architecture in the lower scale, similarities, common or differing sides have been emerged as two areas which have been questioned all throughout the history. These similarities, common or differing sides host up almost infinite number of concepts and features in themselves such as rhythm, repetition, body, composer, designer… In this paper, the relationship of music and architecture are discussed in terms of the said similarities, common features and differences. Sample area of this discussion is the basic design course in

The art and architecture relationship is discussed within the context of historical process since the first mankind product. Moreover, the art and architecture are mentioned as the most important components through the history of civilisation. Art is a diverse range of human activities and the products of those activities; which depend on the creation of images or objects in fields including painting, sculpture, photography, and other visual media and also architecture. Each artwork is the product of its artist's creativity. The artist forms his artwork through his lifetime experiences in a subjective way by the help of artistic expression, which is as same as for an architect and his architectural work. The art of painting as an art form is the specific shape, or quality an artistic expression takes, which is as same as for an architectural form, and the methods used through for a painting is nearly as same as the methods that an architect uses for his architecture. In the view of this phenomenon, the paper focuses on the relationship between painting and architecture through basic design education. The common elements and principles in painting and architecture will be held in details with examples, to put forward the importance of relationship between two fields, in the aim of proposing a new teaching/learning strategy for basic design education. In the light of this aim, mainly the "space" concept, which is the most common element for an artistic and architectural work will be exemplified with the course practices produced

No abstract

Form, space and voids are the basic elements used in architectural design process. In this paper, the concept of void is addressed in relation to the architectural form. Voids in architectural form are classified into two main headings by examining a great number of examples in terms of the effects created on the form: cognitive and functional. Cognitive voids are related to perception and are used to create various visual effects. As the heading indicates, functional voids are created to meet certain needs and desires. We further classified cognitive voids under three sub-headings as conceptual, perceptual/visual, and sculptural/ monumental. Functional voids were also divided into six sub-headings; entrance, corner, balcony/ terrace, gallery/atrium/courtyard, surface, transition/circulation. Our discussion is focussed on perceptual/visual voids, which is classified under the cognitive voids. Perceptual/visual voids can be explained with two sub-concepts: transparency and permeability. Perceptual effects desired to be emphasized with the help of voids are explained by the concept of transparency, while the visual effects are explained by the concept of permeability. Although void is one of the main elements used in architectural forms, it has not been discussed in this context previously. With the selected examples, here we showed that the perceptual/visual voids classified under cognitive voids can be associated with well known architectural concepts, such as transparency and permeability. Moreover, the void classification made in this study may be useful in comprehending of architectural form.

The primary purpose of this study is to show that works of art (painting, music, sculpture, literature, etc.) can be used as means of guidance for the designers, and triggering creativity. On the other hand, the secondary purpose is to prove the mettle art of calligraphy as a tool of guidance for the freshmen and a trigger for creativity in the context of basic design discipline. During the fall semesters in 2015-2016 and 2016-2017, the main theme for Basic Design Course at Karadeniz Technical University, Department of Architecture was chosen and determined as "Anatolian Arts". Within the context of the chosen theme, it was tried to reveal the potential relationship between "Anatolian Arts and Basic Design Elements and Principles", moreover, the usability of Anatolian Arts as a tool of design.

At a glance, architectural space or architectural product is the name given to the artificial shell of actions arising from human needs. These needs range from basic expectations, such as protection, shelter, and production which are necessary for human life, to expectations which require more complex intellectual infrastructure such as culture, belief, and lifestyle. In this study, possible intellectual, architectural approach and design method preferences in Village Institute buildings as architectural products are examined and their contributions to architectural project education are discussed through project work examples. Within the scope of the study, the understanding of education and architecture of the village institutes were examined and possible inferences and concepts which would form the basis of the design were tried to be determined with the help of publications in the literature focused on these subjects. Further, it is aimed to question the relationship of these concepts with those produced in the architectural project studio. The design study subject of the article was carried out in the 2018-2019 Fall Semester at the Department of Architecture at KTU. The first step in the process is turning the inferences and concepts obtained by the executives into a set of information which shall be, eventually, compared with the student project work. This set is retained by the executives for discussion in the article. The second step is the literature research of the students about the project topic and location. Each student reached some concepts from the field and Village Institutes where Trabzon/Beşikdüzü Village Institute was located in the past and advanced his/her design studies through these concepts. Within the scope of this article, the concept sets obtained by the executives and students were compared and discussions were made on overlaps and divergences by associating the aforementioned two steps, and a theoretical framework was formed which was graphically formed.