GRADUATE SCHOOL
Design Studies (With Thesis)
FFD 503 | Course Introduction and Application Information
| Course Name |
Design Representation Theories
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
FFD 503
|
Fall/Spring
|
3
|
0
|
3
|
7.5
|
| Prerequisites |
None
|
|||||
| Course Language |
English
|
|||||
| Course Type |
Elective
|
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| Course Level |
Second Cycle
|
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| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | - | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | - | |||||
| Assistant(s) | - | |||||
| Course Objectives | To enable critical approaches to design by focusing on the intersections between design knowledge and contemporary cultural theories |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | This course explores the relationship between design, and contemporary cultural discourses including modernism, postmodernism, (post)structuralist theory, postcolonial positions. |
|
|
Core Courses | |
| Major Area Courses |
X
|
|
| Supportive Courses | ||
| Media and Management Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Related Preparation |
| 1 | Introduction to the course themes | No preparation / Assignment I: dividing chapters for week 4, student presentation |
| 2 | Modernism in art | Robert Hughes, The shock of the new, London 1991, chapter 1, pp.9-56 |
| 3 | Design: The road to Modernism | Nikolaus Pevsner, Pioneers of Modern Design, 1936, p. 118-217 |
| 4 | Design: The Road to Modernism Student Presentations I | Nikolaus Pevsner, Pioneers of Modern Design, 1936, p. 19-117 |
| 5 | Modernist sources/ The Bauhaus | Jan Tschichold, The New Typography, Berkely/Los Angeles/London 1995 (German or. 1928), p. 7-86 |
| 6 | Modernist utopia | Robert Hughes, The shock of the new, London 1991, chapter 4, p. 164-211 |
| 7 | Midterm exam | About all previous literature |
| 8 | Modernism criticized | R. Venturi, D. Scott Brown, S. Izenour, Learning from Las Vegas, Cambridge Ma. 1972 |
| 9 | Modernism criticized | V. Scully, Architecture, sculpture and painting: environment, act and illusion, in: Modern Architecture and other essays, Princeton/Oxford 2003, p. 198-235 |
| 10 | Deconstructivism Essay assignment: Find a text pertaining to your field of research that is critical of modernism, and apply this criticism to a design product not mentioned in that text (ca. 1500 words) | B. English,’Sartorial deconstruction: The nature of conceptualism in postmodernist Japanese fashion design,’ The International Journal of the Humanities 9 (2011), pp. 81-85. |
| 11 | Postcolonialism/deconstructivism | N. Mirzoeff, An introduction to visual culture, London/New York 1999, p. 176-196 (‘Inventing the West’) |
| 12 | Individual appointments | |
| 13 | The persistence of modenism in design and design education | V. Margolin, Design History and Design Studies, in: The Politics of the Artificial, Chicago 2002, p. 218-233 |
| 14 | A real alternative? | Patrick Schumacher, Parametricism as style, London 2008 http://www.patrikschumacher.com/Texts/Parametricism%20as%20Style.htm |
| 15 | Student presentatins and feedback on critical essay | |
| 16 | Overview and Final Submission |
| Course Notes/Textbooks | A reader composed of selected texts (see above) will be prepared by the instructor. |
| Suggested Readings/Materials | Peter Barry, Beginning Theory (Manchester: Manchester University Press, 1995) Terry Eagleton, Literary Theory (Minneapolis: The University of Minnesota Press, 2003) Roland Barthes, “Myth Today” in Mythologies (New York: Hill and Wang, 1972), pp. 109159. Karen Burns, “Architecture: That Dangerous Useless Supplement” in the proceedings of Accessory/Architecture, New Zealand, Auckland University, 1995, pp. 4956. Kaja Silverman, “The Look,” in The Threshold of the Visible World (New York: Routledge, 1996), pp. 125163. Annette Kuhn, “The Body and Cinema” in Susan Sheridan ed., Grafts (London: Verso, 1988), pp. 1124. David M. Halperin, “The Normalization of Queer Theory,” Journal of Homosexuality, v. 45, n. 2/3/4, 2003, pp. 339343. Christopher Reed, “Imminent Domain: Queer Space in the Built Environment,” Art Journal, v. 55, n.4, 1996, pp. 6470. John Biln, “(De)forming Self and Other: Towards and Ethics of Distance,” in Gulsum Baydar Nalbantoglu and Wong Chong Thai, Postcolonial Space(s) (New York: Princeton Architectural Press, 1997). |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation | ||
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury |
2
|
30
|
| Project |
1
|
40
|
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm |
1
|
30
|
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade |
100
|
|
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
3
|
48
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
0
|
|
| Study Hours Out of Class |
7
|
20
|
140
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
0
|
||
| Presentation / Jury |
2
|
14
|
28
|
| Project |
1
|
14
|
14
|
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
1
|
10
|
10
|
| Final Exam |
0
|
||
| Total |
240
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
Program Competencies/Outcomes |
* Contribution Level
|
||||
|
1
|
2
|
3
|
4
|
5
|
||
| 1 | to be able to expand the practical knowledge gained in undergraduate programs with theoretical field of design research, |
X | ||||
| 2 | to be able to examine, interpret data and assess concepts and ideas with research methods of design theory and social sciences, |
X | ||||
| 3 | to be able to identify problems of design disciplines in times of global / environmental crisis and to be able to develop possible solutions for design practitioners, |
X | ||||
| 4 | to be able to expand knowledge on the history of material culture as it relates to design practices of the past, |
X | ||||
| 5 | to be able to promote research on local practices of everyday life and assess the outcome to implement design solutions, |
X | ||||
| 6 | to be able to facilitate interactions in between varied design disciplines and to promote collaborative work to solve complex problems, |
X | ||||
| 7 | to be able to process outcome of design research to be applied in design education, |
X | ||||
| 8 | to be able to instigate research on the new tools, technologies and materials of production in order to accelerate changes in design practices, |
X | ||||
| 9 | to be able to develop an ethical approach towards design professions in order to install social and environmental responsibilities, |
X | ||||
| 10 | to be able to use a foreign language for both chasing the scientific publication and developing proper communication with colleagues from other countries, in written and verbal ways. |
X | ||||
| 11 | to be able to use computer programs needed in the field design as well as information and communication technologies in advanced levels (“European Computer Driving Licence”, Advanced Level”). |
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*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
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