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SINIRLARI BULANIKLAŞTIRMAK: MİMARLIK VE İÇ MİMARLIK ÖĞRENCİLERİ İLE DENEYSEL BİR KONUT TASARIMI 布拉信号时间:MI MARLIK VE İC MI marliko[UNK]G[UNK]RENCI LERI LE DENEYSEL BI R KONUT TASARIMI
IF 0.1 Pub Date : 2021-12-27 DOI: 10.20488/sanattasarim.1049033
Lerzan Aras
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引用次数: 0
OLİVER DE SAGAZAN’IN “BAŞKALAŞIM” PERFORMANSININ GÖSTERGEBİLİMSEL ANALİZİ Oli̇ver de Sagazan在“Başkalaşim”中表演Göstergebi̇li̇msel Anali̇zi̇
IF 0.1 Pub Date : 2021-12-27 DOI: 10.20488/sanattasarim.1048794
Mehmet Ali BÜYÜKPARMAKSIZ
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引用次数: 0
HELEN FRANKENTHALER VE NİCOLAS DE STAËL ESERLERİNDEKİ MEKÂN ANLAYIŞINA DAİR BİR İNCELEME HELEN FRANKENTHALER VE NI S;COLAS DE STATE L ESERLERI S;NDEKI S;MEKAN ANLAYIS;INA DAI R BI S;R I S;NCELEME
IF 0.1 Pub Date : 2021-12-27 DOI: 10.20488/sanattasarim.1048671
Aylin GÜRBÜZ, Asena Sarcan
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引用次数: 0
İSTANBUL’DAKİ YÜKSEK BİNALARDA ÇATI VE TERAS BAHÇELERİNİN TASARIM YAKLAŞIMLARI VE KULLANICI AÇISINDAN DEĞERLENDİRİLMESİ #我STANBUL'DAKI#你我们的案例BI NALARDA C=8077;ATI VE TERAS BAHC=8077,ELERI TO TASARIM YOUR CARTON IT 8077;IMLARI VE KULLANICI AC 807;ISINDAN DECK ERLENDI TO RI+LMESI
IF 0.1 Pub Date : 2021-12-27 DOI: 10.20488/sanattasarim.1048705
Emre Çubukçu
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引用次数: 0
PEYZAJ MİMARLIĞI KAPSAMINDA SİNEMA SANATINDA MEKAN TASARIMININ DEĞERLENDİRİLMESİ: AVATAR FİLMİ ÖRNEĞİ Peyzaj Mi̇Marliği Kapsaminda Si̇nema Sanatinda Mekan Tasariminin değerlendi̇ri̇lmesi̇:化身Fi̇lmi̇örneği̇
IF 0.1 Pub Date : 2021-12-27 DOI: 10.20488/sanattasarim.1049048
Sinem Kizilaslan
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引用次数: 0
ÇAĞDAŞ SANATTA GÖÇ TEMASI, TEMSİLİ VE ÇELİŞKİLERİ ÜZERİNE C
IF 0.1 Pub Date : 2021-12-27 DOI: 10.20488/sanattasarim.1049029
Esra Yildiz
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引用次数: 0
GÖRSEL OKUMA VE TİPOGRAFİK AÇILIMLARI 国际要求和印刷选项
IF 0.1 Pub Date : 2021-07-09 DOI: 10.20488/SANATTASARIM.971055
Hande ÖZGELDİ BÜYÜKTOPBAŞ, T. F. Uçar
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引用次数: 1
A STUDENT FOCUSED EVALUATION OF INTERIOR DESIGN EDUCATION: A DESIGN STUDIO EXPERIENCE 以学生为中心的室内设计教育评估:设计工作室经验
IF 0.1 Pub Date : 2021-07-09 DOI: 10.20488/SANATTASARIM.971653
Özlem Çavuş, M. Cavus, B. Kaptan
{"title":"A STUDENT FOCUSED EVALUATION OF INTERIOR DESIGN EDUCATION: A DESIGN STUDIO EXPERIENCE","authors":"Özlem Çavuş, M. Cavus, B. Kaptan","doi":"10.20488/SANATTASARIM.971653","DOIUrl":"https://doi.org/10.20488/SANATTASARIM.971653","url":null,"abstract":"","PeriodicalId":56168,"journal":{"name":"Anadolu Universitesi Sanat & Tasarim Dergisi-Anadolu University Journal of Art & Design","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67621270","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
YAZI TASARIMINI ÖNEMSEYEN VE SAHİP ÇIKAN BİR KUŞAĞIN TEMSİLCİSİ: MUSTAFA EREN 我不知道你是否要结婚。
IF 0.1 Pub Date : 2021-07-09 DOI: 10.20488/SANATTASARIM.971041
D. Yildirim
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引用次数: 0
IN DEFENCE OF A GOOD COPY: A DISCUSSION ON CRAFT MAKING AND AUTHENTICITY 为一个好的副本辩护:关于工艺制作和真实性的讨论
IF 0.1 Pub Date : 2021-07-09 DOI: 10.20488/SANATTASARIM.971645
Seher Uysal
1941 ve 1982 yillari arasinda iki zanaatkar kardes Tor ve Ake Carlsson, John Bauer resimlerinin ahsap rolyef kopyalarini yapmaya basladilar. John Bauer Isvec’te oldukca bilinen ve halk hikayelerini resimleyen bir illustrator ve ressam olarak taninir. Resimledigi hikayelerin cogunda karanlik ormanlar, goller, troller, prensler ve cadilar gibi olagan disi bazi karakterlere yer verilir. Bauer bugun taninan ve resimlerinin telif haklarini korumak icin elinden geldigince cabalayan bir ressam olarak bilinse de, calismalarinin ahsap kopyalari Bauer’in dogdugu Jonkoping bolgesi sinirlari icinde kalan Tranas sehrinde buyuk bir olay haline gelir. Insanlar Bauer resimlerini iyi tanirlar, Ake ve Tor Carlsson da kopya isler urettiklerinin bilincindedirler ancak yine de islerine kendi yorumlarini eklemeden duramazlar. Tasarimlarini yapip oyduklari Bauer kopyalarinin arkasina meshur imzalarini soyle atarlar: “Fritt efter John Bauer (John Bauer’den serbest bir uyarlama).” Ahsap kopyalar oyle populer olur ki muzayedelerde satilir ve bugun hala pek cok insan bir kopya daha bulabilmenin pesindedir. Sanat objeleri degildirler ancak zanaatkarlik fikrini asmis, sinirlarini baska bir yere cekmistirler. “In Defence of a Good Copy (Iyi kopyanin savunmasi)” adli bu metin Bauer kopyalarinin neden bu denli populer oldugunu, kopya meselesinin farkli acilardan incelenmesini ve bir sanat nesnesi ya da andac olarak niteliklerini sorgulamayi amaclamaktadir.
1941年至1982年间,两位艺术家开始复制约翰·鲍尔的照片——托尔和阿克·卡尔森的卡片。约翰·鲍尔·伊斯维克是一位著名的插画家,也是一位为人们描绘故事的艺术家。在故事的结尾,黑暗的森林、金色、巨魔、公主和街道被分配给了一些角色。虽然鲍尔今天被认为是一位可以保护传送权的艺术家,但这是鲍尔古老的琼科平垫枕的悲剧场景。人们很了解鲍尔的照片,阿克和托尔·卡尔森也知道他们想复制,但他们不能在照片上添加自己的评论。他们制作了自己的设计,并在鲍尔的复制品后面加上了著名的签名:“约翰·鲍尔之后的弗里特。”这在博物馆里出售的阿赫萨普复制品中很受欢迎,今天仍然有很多人能找到另一个复制品。他们不是艺术对象,但他们会把愤怒放在其他地方。在《为一个好的复制品辩护》中,本文旨在研究鲍尔的复制品为什么是同一个人,研究复制问题的不同酸,并质疑它们作为艺术对象或瞬间的品质。
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引用次数: 0
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Anadolu Universitesi Sanat & Tasarim Dergisi-Anadolu University Journal of Art & Design
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