The Art of Graphics in Design Education

H. T. Örmecioğlu, Aydin Uçar
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Abstract

1. IntroductionDesignating graphic design as a vital tool in presentation part of architecture is a widely accepted notion not only in architectural practice but also in architectural education. Most of professional architects use graphic design as means of communication, which display their ideas and aims of an already completed design. Moreover, as Gurel and Basa (2004:193) conveyed there is also "a consensus for the necessity of an ideally finalized graphical presentation of a design project" in design studios; a tendency releted with "sets and systems of values that are hidden in the agenda of a design studio and its evaluation system".Nevertheless, these attitudes ignore the potentials of art of graphics within design process and constrain its usage by presentation. Indeed, graphic design could be a powerful tool especially in architectural education, for students to develop a design idea at the very beginning of the process.2. Problem StatementThe idea of presenting design in most pleasant and effective way forces designers to use the realm of visual language and art of graphics. Besides, visual representations such as sketches, drawings and virtual models are requirements as vital means of communication in the domain of architecture profession.For that reason, most of the architects are well equipped with graphical skills, but they don't consider them as neither technical nor theoretical part of their professional knowledge but as a part of their professional abilities. Hence, they dislocated graphical knowledge in presentation phase instead of the conceptual development process of an architectural design project. In other words, architects do not utilize their graphical skills as tool for design but as tool for displaying the already designed.3. Research QuestionsAlthough graphic design is designated as a powerful tool for presentation both in architectural education and in professional life, the authors would like to examine the possibility of wider use of art of graphics in conceptual development of a design project. Hence the this study questions if it is possible to integrate art of graphics within the design process implicitly by creating a demand for it on early stages of the design process?4. Purpose of the StudyThe purpose of this study is to show that utilizing art of graphics could be a productive side-tool in concept development stage of design process. In order to achieve this goal, it is important to understand the process of design and sequences of actions in a designing process.Nevertheless, it is not easy to understand the nature of design since it has many implicit personalized manners in decision making processes. Besides, the difficulty of understanding the design process lies partly in the fact that the design knowledge is tacit in nature, too. As in Polanyi's (1966:4) famous statement "we can know more than we can tell" in design education. On the other hand, the real difficulty lies in the fact that design process could not be linearly defined, because the sequences of actions in the process realized by many implicit inspirations and feedbacks. Because of these characteristics, it is defined as black box model for decision making. Black box of design is open to various inspirations and interactions, especially in the early stages of design which have many ambiguities (Bayazit: 1994). The art of graphics could be a productive tool, implicitly serving students at the fuzzy beginning of the black box. Mood boards provide a useful medium for students to experience working with the graphical skills at the early stages of the design process.The purpose of this paper is to present the results of practice of mood boards in the early phases of design education, experienced in 2013-2014 semester of Akdeniz University FFA, Interior Architecture and Environmental Design Department.5. Research MethodsIn order to show that utilizing art of graphics could be a productive side-tool, the authors decided to change the sequence of it in the design process from final to beginning stage. …
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设计教育中的图形艺术
1. 将平面设计作为建筑表现部分的重要工具,不仅在建筑实践中,而且在建筑教育中被广泛接受。大多数专业建筑师使用平面设计作为沟通手段,展示他们对已经完成的设计的想法和目标。此外,正如Gurel和Basa(2004:193)所传达的那样,在设计工作室中,“对于设计项目的理想最终图形呈现的必要性也存在共识”;这种趋势与“隐藏在设计工作室议程及其评估系统中的价值设置和系统”有关。然而,这些态度忽视了图形艺术在设计过程中的潜力,并通过表现来限制其使用。事实上,平面设计可以成为一个强大的工具,特别是在建筑教育中,让学生在设计过程的一开始就形成一个设计理念。问题陈述以最愉快和有效的方式呈现设计的想法迫使设计师使用视觉语言和图形艺术的领域。此外,草图、图纸和虚拟模型等视觉表现形式是建筑专业领域重要的交流手段。因此,大多数建筑师都具备良好的图形技能,但他们并没有将其视为专业知识的技术或理论部分,而是将其视为专业能力的一部分。因此,他们在展示阶段而不是建筑设计项目的概念开发过程中错位了图形知识。换句话说,建筑师不利用他们的图形技能作为设计的工具,而是作为展示已经设计好的工具。虽然平面设计在建筑教育和专业生活中都被认为是一种强大的展示工具,但作者想要研究在设计项目的概念发展中更广泛地使用图形艺术的可能性。因此,本研究的问题是,是否有可能通过在设计过程的早期阶段创造对图形艺术的需求,将图形艺术隐含地整合到设计过程中?研究的目的本研究的目的是表明,利用图形艺术可以是一个富有成效的侧工具,在设计过程的概念发展阶段。为了实现这一目标,理解设计过程和设计过程中的动作序列是非常重要的。然而,设计的本质并不容易理解,因为它在决策过程中有许多隐含的个性化方式。此外,理解设计过程的困难部分在于设计知识在本质上也是隐性的。正如波兰尼(1966:4)在设计教育中的名言“我们可以知道的比我们可以告诉的更多”。另一方面,真正的困难在于设计过程不能线性定义,因为过程中的动作顺序是通过许多隐含的灵感和反馈来实现的。由于这些特点,它被定义为决策的黑箱模型。设计的黑箱对各种灵感和互动是开放的,特别是在设计的早期阶段,有许多含糊不清的(Bayazit: 1994)。图形艺术可以是一种富有成效的工具,在黑盒子模糊的开端为学生提供隐性服务。情绪板为学生在设计过程的早期阶段体验图形技能提供了一个有用的媒介。本文的目的是展示2013-2014学期Akdeniz大学FFA室内建筑与环境设计系在设计教育早期阶段的实践结果。为了表明利用图形艺术可以是一个富有成效的侧面工具,作者决定改变它在设计过程中的顺序,从最后到开始阶段。…
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