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This article addresses relevant issues related to the performance of the engineer in public construction management, emphasizing the importance of obtaining specific knowledge during his academic formation in order to accumulate information for good professional practice in this area.The general objective of the research was to identify gaps in the curricula of two important universities in Maranhão that hinder the formation of engineers who intend to work in public engineering, since there are specificities in the stages of planning, execution and management of a public construction that require specific professional skills and that should be made available in academic enviroment. In addition, we sought to identify the profile of the professional who works in public engineering, through the application of a questionnaire and face-to-face interview to understand their difficulties, suggestions, in order to establish a relationship between their academic formation and their professional performance. We present and discuss essential topics for good professional performance. The delimitation of these themes was based on extensive bibliographic research, as well as on the author's professional experience. Thus, the deficiencies found in the training of the professional who intends to work in public engineering were demonstrated, and the research can contribute to the updating of the curricula with regard to training for this specific area. Through the curriculum analysis of two major universities of higher education in the state of Maranhão, gaps are identified related to issues pertaining to generalist education that should also cover the areas of management, administration, leadership, environmental, legal. This outdated curriculum is reflected in the inefficient performance of the civil engineer in the performance of management and supervision activities in relation to public works, a fact verified in the research through the answers of the investigated professionals. Thus, we intend to contribute to the updating of curricula by offering subsidies to overcome the deficiencies found in the education of professionals who intend to work in public engineering. ers of the investigated professionals. Thus, we intend to contribute to the updating of curricula by offering subsidies to overcome the deficiencies found in the education of professionals who intend to work in public engineering. O presente artigo aborda assuntos relevantes relacionados à atuação do engenheiro na gestão de obras públicas, enfatizando a importância de obter conhecimentos específicos durante a sua formação acadêmica, de modo que acumule informações para a boa prática profissional nessa área de atuação. O objetivo geral da pesquisa foi identificar lacunas nos currículos das universidades maranhenses estudadas que prejudicam a formação do engenheiro que pretende atuar em engenharia pública, uma vez que existem especificidades nas etapas de planejamento, execução e gerenciamento de uma obra pública que requerem competências profissionais específicas e que deveriam ser disponibilizadas no meio acadêmico. Em adição, procurou-se identificar o perfil do profissional que atua na engenharia pública, através da aplicação de um questionário e entrevista presencial para entendermos suas dificuldades, sugestões, a fim de estabelecermos relação da sua formação acadêmica com sua atuação profissional. Apresentamos e discutimos temas essenciais para o bom desempenho profissional. A delimitação desses temas foi baseada numa extensa pesquisa bibliográfica, bem como na experiência profissional do autor. Dessa forma, foram demonstradas as deficiências encontradas na formação do profissional que pretende trabalhar na engenharia pública, podendo a pesquisa contribuir para a atualização dos currículos no que diz respeito à formação para essa área específica. Este artículo aborda temas relevantes relacionados con el desempeño de los ingenieros en la dirección de obras públicas, enfatizando la importancia de obtener conocimientos específicos durante su formación académica, de modo que puedan acumular información para el buen ejercicio profesional en esta área. El objetivo general de la investigación fue identificar lagunas en los planes de estudios de las universidades estudiadas en Maranhão que dificultan la formación del ingeniero que pretende actuar en la ingeniería pública, ya que existen especificidades en las etapas de planificación, ejecución y gestión de una obra pública. trabajos que requieren habilidades profesionales específicas y que deberían estar disponibles en la academia. Además, se trató de identificar el perfil del profesional que se desempeña en la ingeniería pública, mediante la aplicación de un cuestionario y entrevista presencial para conocer sus dificultades, sugerencias, con el fin de establecer una relación entre su formación académica y su rendimiento profesional. Presentamos y discutimos temas esenciales para el buen desempeño profesional. La delimitación de estos temas se basó en una extensa investigación bibliográfica, así como en la experiencia profesional del autor. De esta forma, se evidenciaron las deficiencias encontradas en la formación de los profesionales que pretenden desempeñarse en la ingeniería pública, y la investigación puede contribuir a la actualización de los currículos en lo que se refiere a la formación de esta área específica.

In questo testo si propone una ricerca d’indagine sull’utilità di corsi propedeutici nell’attuale panorama didattico internazionale del design. I corsi propedeutici trovano le prime applicazioni didattiche nel Bauhaus e modificano la propria metodologia e forma durante le successive sperimentazioni didattiche fino ai tempi attuali. L’analisi storica di queste modifiche, associata ad una metodica analisi delle competenze e dei saperi che la figura del designer contemporaneo deve possedere, saranno le basi per lo sviluppo di un nuovo modello di didattica applicata al progetto. Il modello proposto si innesta nei percorsi didattici attuali. Questa scelta strategica permetterà la valutazione dello stesso senza gravare su modifiche dei quadri accademici esistenti che si proporranno come caso pilota. Per questo motivo la propedeutica si ipotizza possa essere applicata durante corsi intensivi durante il mese di settembre e saranno dedicati ad ogni anno della laurea triennale. Il carattere dei corsi sarà di tipo esplorativo e vedrà il convergere nello stesso corso la professionalità di tre figure: il tecnico, il docente scientifico e il progettista. Gli studenti saranno quindi guidati ad esplorare le discipline scientifiche introdotte attraverso linguaggi progettuali propri e utilizzando le tecniche messe loro a disposizione.

Temel tasarım dersi, tasarım öğeleri ve ilkeleri aracılığıyla tasarım dilinin kazandırıldığı, sanatsal algının ve tasarım becerilerinin geliştirildiği bir süreci içermektedir. Temel Tasarım derslerinde çoğunlukla resim, grafik, heykel gibi sanat ve tasarım formlarına yönelik uygulamaların yapıldığı görülmektedir. Ancak günümüz sanat ve tasarım anlayışı; disiplinler arası yaklaşımın yer aldığı farklı malzeme ve tekniklerin bir arada kullanıldığı estetik algı ve biçimsel kaygılar kadar düşünsel süreçlerin de önem kazandığı uygulamalar içermektedir. Günümüz düşünsel yapısını ve teknik olanaklarını yansıtan çağdaş sanat anlayışına yer veren uygulamalara, görsel sanatlar eğitimi içerisinde yer verilmesinin önemli bir gereksinim olduğu düşünülmektedir. Öncelikli olarak tasarım becerilerinin temellerinin oluşturulduğu temel tasarım eğitiminin, farklı tekniklerin ve materyallerin kullanımına; kavramsal ve eleştirel düşünme becerilerine yer veren uygulamaları içermesi önem arz etmektedir. Yüksek Öğretim Kurulu tarafından 2018 yılında yayınlanan Resim-İş Eğitimi Anabilim Dalı lisans programında Temel Tasarım I-II derslerinin kazanımları göz önünde bulundurulduğunda kavram temelli uygulamaların yer aldığı temel tasarım dersinin gerekliliği anlaşılmaktadır. Araştırmada kavram temelli uygulamalar ile geliştirilen temel tasarım ders etkinliklerinin uygulama sürecinin nasıl ilerleyeceği ve aynı zamanda birer görsel sanatlar öğretmeni adayı olan öğrencilerin sürece ilişkin görüşlerinin belirlenmesi amaçlanmıştır. Bu amaç doğrultusunda 2016-17 öğretim yılı güz döneminde, Gazi Üniversitesi Resim-İş Eğitimi Anabilim Dalı'nda verilen Temel Tasarım I dersinde eylem araştırması gerçekleştirilmiştir. Temel Tasarım I dersini alan 15 öğrenci, araştırmanın katılımcılarını oluşturmaktadır. Araştırmada elde edilen veriler, 19.09.2016–28.12.2016 arasında 15 haftalık sürede toplanılmıştır. Araştırmada veri toplama aracı olarak kişisel bilgi formu, açık uçlu soru formu, video kayıtları, yarı yapılandırılmış görüşme, araştırmacı günlüğü, öğrenci günlükleri ve dereceli puanlama anahtarı (DPA) kullanılmıştır. Araştırma kapsamında elde edilen verilerin betimsel analiz yöntemiyle analiz edilmesi sonucunda bulgular ortaya konmuştur. Bulgular, araştırma soruları çerçevesinde yorumlanarak sonuçlara ulaşılmıştır. Sonuç olarak öğrencilerin kavramın tasarım sürecindeki işlevine yönelik farkındalık geliştirdikleri görülmüştür. Kavramsal düşünme biçimiyle birlikte sanat ve tasarım süreciyle metodik düşünme ve çalışma sürecini deneyimlediklerini belirtmişlerdir. Ayrıca kavramlara karşılık gelen simge, sembol, ikon ve benzeri görsel göstergelerle ilgili bilgi edinerek kavramları görsel bir dil aracılığıyla ifade etmeye yönelik bilgi ve deneyim elde etmişlerdir. Buna ek olarak tasarım öğeleri ve ilkelerinin kompozisyon içindeki işlevsel ve biçimsel değerleri üzerine farkındalık kazandıklarını belirtmişlerdir. Ayrıca görsel kültüre ilişkin bilgi edindikleri ve görsel okuryazarlık becerilerinin geliştiği söylenebilir. Bunların yanı sıra öğrenciler, kavram temelli etkinlikler kapsamında, fotoğraf ve video gibi araçlarla çalışmaktan dolayı memnuniyetlerini dile getirerek çağdaş sanata ilgi duymaya başladıklarını ve ileriki yaşamlarında çağdaş sanatla ilgilenebileceklerini belirtmişlerdir. Basic design course includes a process in which design language is acquired through design elements and principles, and artistic perception and design skills are developed. In Basic Design courses, it is observed that mainly practices related to art forms such as painting, graphic and sculpture are conducted. However, today's understanding of art and design includes applications in which intellectual processes gain importance as well as aesthetic perception and stylistic concerns where different materials and techniques are used together in an interdisciplinary approach. It is considered as a necessity to include practices of contemporary art which reflects today's intellectual construct and technical opportunities within the visual art education. First of all, it is of critical importance that basic design education, in which the basics of design skills are established, include applications that allow for conceptual and critical thinking skills as well as the use of different techniques and materials. When the acquisitions of Basic Design I-II courses in the undergraduate program of the department of fine arts education published by Higher Education Council in 2018 are taken into consideration, basic design courses which include concept-based applications are regarded as significant. The aim of this study is to investigate how the application process of the Basic Design course activities developed with concept-based applications will proceed and to determine the views of the students each of whom are prospective teachers of visual arts about the process. For this purpose, in the fall semester of 2016-17 academic year, an action research was carried out in the Basic Design I course given in the Department of Fine Arts Education at Education Faculty of Gazi University. 15 students taking Basic Design I course constituted the participants of the study. The data obtained in the study were collected in a period of 15 weeks between 19.09.2016–28.12.2016. Personal information form, open-ended questionnaire, video recordings, semi-structured interview, researcher diary, student diaries and rubric were used as data collection tools. As a result of the descriptive analysis of the data gathered in the study, the findings were reached and they were interpreted within the framework of the research questions. Accordingly, it was seen that students developed an awareness about the function of the concept in the design process. They stated that together with conceptual thinking process they experienced a methodical thinking and working process in the process of art and design. In addition, they gained knowledge and experience to express concepts through a visual language by acquiring information about visual indicators corresponding to the concepts such as signs, symbols, icons etc.. Moreover, they emphasised that they gained awareness on the functional and stylistic values of design elements and principles within the composition. Besides, it can be said that they have acquired knowledge about visual culture and improved their visual literacy skills. Additionally, the students expressed their satisfaction with working with tools such as photograph and video within the context of concept-based activities and maintained that they started to be interested in contemporary art and they might be engaged in contemporary art in their future life. 399

Basic Design, which is a mass course, is given in the first semester of undergraduate education of design professional disciplines. The aim of the course is to teach the students design elements and principles in case of two and three dimensional studies within the scope of basic design theory and to teach their usage through application exercises and to develop the skills of students in this field. This study was carried out in the fall semester of 2016 - 2017 academic year with the participation of first grade students of Department of Landscape Architecture of Ankara University Faculty of Agriculture. At the final stage, contribution of the basic design course to the visual perceptions of students was measured and discussed based on the evaluation of two observations, before and after completing the course study. Tasarım meslek disiplinlerinin lisans eğitimlerinin birinci yarıyılında Temel Tasarım Dersi verilmektedir. Dersin amacı, öğrencilere temel tasarım teorisi kapsamında tasarım elemanları ve ilkelerini iki ve üç boyutlu örnek çalışmalar ile tartışarak kullanımlarının uygulama çalışmaları aracılığıyla öğretilmesi ve öğrencilerin bu konudaki yeteneklerinin geliştirilmesidir. Bu çalışma 2016 – 2017 eğitim öğretim yılının güz döneminde, Ankara Üniversitesi Ziraat Fakültesi Peyzaj Mimarlığı Bölümü birinci sınıf öğrencileri A grubunun katılımı ile gerçekleştirilmiştir. Dersi almadan dönemin başında ve dersi aldıktan sonra olmak üzere iki gözlemin değerlendirilmesine dayandırılarak geliştirilen yöntem ile temel tasarım dersinin öğrencilerin görsel algıları üzerindeki etkileri ölçülmüş ve yorumlanmıştır.

The purpose of this study is to examine the relationship between the basic design lectures given in the freshman year of Fine Art Faculties, the conceptual practices used in contemporary art and to actualize the three-dimensional practice processes by means of concepts on an intellectual background. The postmodern discourses that emphasizes the intellectual processes, necessitates the search for new languages in art education. In this context this study focuses on students to shape their designs with an idea based solid background while offering new practice possibilities as a continuation of the holistic approach tried to be given at Bauhaus Design School in 20th century. In this study, Basic Design, Basic Design Education, Concepts in Contemporary Art topics are discussed and examples of transition from concepts to three-dimension ın the basic design education are given. The sample of this study constitutes of the first semester Basic Design three-dimensional final projects of students from Gazi University, Faculty of Fine Arts, Department of Visual Communication Design.

Bu araştırma temel tasarım ilke ve elemanlarından biri olan ‘doku’ kavramının anlamı, doku çeşitleri ve doğal-yapay dokuları kullanan bazı sanatçı resimlerinin incelenmesi ve dokunun duyumsanması konusunu açıklamaya yönelik bir çalışmadır. Literatür taraması sonucu elde edilen verilerde doku-yüzey, birim-bütün ilişkisine değinilerek, dokunun duyumsanması konusu Worringer ve Deleuze’nin “duyumsama” tanımlarına dayanarak açıklanmaya çalışılmıştır. Doğal- yapay, sert-yumuşak yüzeyler ile dokunun insan üzerindeki yarattığı genel duygusal etkiler işlenmiştir. Gerçek dokuyu daha iyi anlamak için Anselm Kiefer’in çalışma tekniği ile, yapay dokuyu daha iyi anlamak için hipergerçekçi sanatçı Ralph Goings ve trompe l’oeil resimleri, mozaikler ya da dijital doku örnekleri verilerek incelenmiştir., This research aims to explore the meaning of ‘texture’, as one of the basic design principles and elements, and the texture types. It also aims to investigate the paintings of some artists’ using natural - artificial textures, and to explain touch sensation. Texture-surface is tried to be explained on the basis of the definition of “sensation” of Worringer and Deleuze, emphasizing the relation of unit-whole by using the data obtained after the literature search. The natural-artificial, hard-soft surfaces and the general emotional effects created by the touch on the human are processed. In order to better understand the real texture, the work technique of Anselm Kiefer is examined. As for the artificial texture, the hyper-realist artist Ralph Goings and trompe l’oeil paintings, mosaics or digital textures are examined.

International audience; After 6 years of conceptual design phase, the French ASTRID project has started at the beginning of 2016, a 4 years basic design phase. The objective of this paper is to show and underline ASTRID progress and status and to give information of what we have intended for the next 2 years. The ASTRID project is based on a very efficient partnership, allowing versatility and manageability. Very high level and up-to-date project management methods are performed, including technical control with engineering System tools and 3D mock-up consolidation.All the industrials partners involved in the project during the last phase have decided to pursue in the ASTRID project, and the strategic partnership with Japan is going to be reinforced.ASTRID design has also evolved, taking into account new progresses on design to reach better consistency according to high level of reliability and safety, consistent with Generation IV objectives. A cost killing methodology is provided and feedbacks will be expected during 2018 and 2019 years. In the same time, an ongoing effort started two years ago is underway to map all the qualification needs and define all associated processes consistent with safety regulator requirement.

The different aspects of architectural design and music that act in support of one another have governed the inspiration and utilization of music in design education. This paper describes a Basic Design Studio assignment that involves visualizing music by organizing linear and planar units using basic design principles, with the aim of contributing to the transformation of conceptual thinking to physical formation by the integration of domain material taught in basic design courses. Dealing with music as a design tool, the study relates the perceptional and structural analogy between music and design and discusses its contribution to basic design achievements. The visual expression of the products and the manner in which it relates to appropriate basic design principles and elements qualities are evaluated in the context of organization, abstraction and uniqueness. The assignment given to the students to conduct this evaluation strengthened their ability to transform abstract thinking into physical representation, helped them to understand multidimensional thinking and how to engage in creative thinking, contributed to their architectural education and improved their study skills by giving them experience in coordinating design elements, principles and materials, all of which served to stimulate improvisation and reflection of emotions. From the results of this study, it is recommended that music, which has similar approaches and principles to those of architectural design, can be used as a tool in design and architectural education to support different phases of the creation and expression process.

It is of great importance for an architectural student to know the parameters through which he/she can conduct his/her design and makes his/her design effective in architectural education. Therefore; an empirical application study was carried out through the designing activity using the emulation model to support the design and design approaches of architectural students. During the investigation period, studies were done on the basic design elements and principles of the fall semester, and the emulation model, one of the designing methods that constitute the subject of the study, was fictionalized as three phased “recognition-interpretation-application”. As a result of the study, it was observed that when students were given a key method during the design process, their awareness increased and their aspects improved as well., {"references":["I. Mazzoleni, \"Architecture Follows Nature Biomimetic Principles For Innovative Design,\" CRC Press, ISBN 978-1-4665-0609-1 (eBook), 2013.","O. Şenyiğit, G. Atay, A. Çolak, T. Uzun, \"Deformation - Analogical – Metamorphic Approach To The Understanding Of Design With Architecture Students\", International Journal of Arts & Sciences, CD-ROM. ISSN: 1944-6934: 07(02), 2014, p.27–34.","Yılmaz, A., B., \"Jacques Derrida: Mimarlığın Felsefesi ya da Felsefenin Arkitektoniği\", Mimarlık, Mimarlar Odası Dergisi, 315, 2004, p.35-37.","Krampen M., \"A Possible Analogy Between (Psycho-Linguistic and Architectural Measurement- The Type- Token Ratio (TTR)\", Psychology and The Built Environment Edited by David Canter&Terencelee, Architectural Press, 1974, p.87-95.","Şenyiğit, Ö., \"Biçimsel Ve Anlamsal İfade Araci Olan Cephelerin Değerlendirilmesine Yönelik Bir Yaklaşim:İstanbul'da Meşrutiyet Ve Halaskargazi Caddeleri'ndeki Cephelerin İncelenmesi\", FBE Mimarlık Anabilim Dalı Mimari Tasarım Programı, Doktora Tezi, 2010, p.14.","NND Sözlük, Avaliable online, http://www.nedirnedemek.com/%C3%B6yk%C3%BCnme-nedir-%C3%B6yk%C3%BCnme-ne-demek, Accessed 05 March 2017.","Felsefe, Avaliable online, http://www.felsefe.gen.tr/sanat_felsefesi/taklit_olarak_sanat_nedir.asp, Accessed 05 March 2017.","Gür, Ş., Ö., (2000), Mimarlıkta Temel Eğitim Dersi, Mimarlık Dergisi, 293.sayı, s:25-34.","Çolak, A., Ö. Şenyiğit, Uzun, T., Atay, G., \"A Methodology On Form Improvement By Student In Architectural Design Process\" International Journal of Multidisciplinary Thought, CD-ROM. ISSN: 2156-6992:05(04):395–400, 2015.\n[10]\tÇolak, A., Şenyiğit, Ö., Atay, G., \"A Metamorphic Approach to Design Concept of Architecture Students\", 8th International Symposium on Architect Sinan, Organized by Trakya University, 978-975-374-159-0, 2013, p.239-244.\n[11]\tDesign Build Network, Avaliable online, https://www.designbuild-network.com/projects/national_stadium/, Accessed 28 March 2017.\n[12]\tGruber, P., \"Biomimetics In Architecture Architecture Of Life And Buildings\", Springer-Verlag, ISBN 978-3-7091-0331-9, 2011, p.62.\n[13]\tHunt, T., \"Tony Hunt's Structures Notebook\", Architectural Press, Second Edition, ISBN 0- 7506-5897-5, 2003.\n[14]\tArolat, E., \"Öz\", Gelenekten Geleceğe Cami Mimarisi Paneli, Çukurova University, Faculty Of Engineering And Architecture, Department Of Architecture, Adana/Turkey, 2013.\n[15]\tEAA Emre Arolat Architecture, Avaliable online, http://aasarchitecture.com/2013/10/sancaklar-mosque-by-emre-arolat-architects.html/sancaklar-mosque-by-emre-arolat-architects19, Accessed 20 July 2016."]}

The study deals with the process in which Course of Basic Art Teaching is transformed into a street fashion show with the slogan “from theory to practice” at the Textile Department of Trabzon Vocational High School of Karadeniz Technical University. Course of Basic Design Teaching was at first a basic course at the educational institutions that taught art but having evolved with the advancement in science and technology it has now been equally connected with the education of every discipline as well as art and has taken the current form. During the academic term; point, drawing, pattern bright colors, dull colors , integrating color pairs, figure-ground relationship were the course contents. In line with the principles taught, students prepared each topic as an intra-course activity in accordance with the problem given using various materials on a drawing paper. For the semester work, all of the works of the each student were evaluated and one of them was selected and placed upon the apron made by nettle cloth using different materials. Designs on the drawing papers were drawn on the aprons and assessments were made in accordance with the abilities and skills of the students. When designs were used on different materials; different and various aprons were produced.

First year of design education is very important. Because the first year of the students coming to the design school includes the processes of stepping to thinking, editing, creating and expressing after high school education based on memorization and repetition. Therefore, in the departments providing design-based training, basic design course has a great importance. The purpose of this study is to determine the acquisitions of the students who completed Basic Design course given in the first year at the Department of Interior Architecture of the Black Sea Technical University in Trabzon that is a coastal city in the north-east of Turkey and the effect of these acquisitions on the processes of perception, creativity and design.

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 Karadeniz Technical University Department of Architecture, Trabzon, Turkey.

The purpose of this study is to investigate the theatre as an architecture learning strategy in Basic Design Education. Hence, the study examines the art as a tool in Basic Design Education through the concept of the “body”, which is the common point of Architecture and Theatre discipline. Human being has used different ways to transfer feelings and thoughts. Theater is one of them. Theatre is staged feelings and thoughts through with space and body, by different topics and event patterns. The body becomes physical reflection of the soul and space accompanies to it. As Merleau-Ponty (2005) explains: “The human is not a body and a soul, it is a soul with a body. We able to access our outside of every asset if and only can access through our body; our outside of every asset becomes a mixture of soul and body with assumes the characteristics of human.” In this way, the soul and space are integrated. Body movements draw boundaries of space and also space draws the boundaries of the body. Body and space become complement and provision to each other. Architectural design activities are founded on “body and space” which are two basic elements. In the context of body and space relationship; a different training method was tested together with performance art that is “theater” and building art that is “architecture” over Basic Design Education. Transferring of the human body to a designed structure has been revealed by direct and (or) indirect way.

“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 Preliminaire”, 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.

Ülkemizde 1970'li yıllardan beri ilköğretim okullarında okutulan resim dersleri konu itibariyle sürekli yüzeysel olarak ele alınmıştır. Sadece önemli gün ve haftaların ele alındığı, yıllardır hep aynı konuların işlendiği, çocuğun hayal dünyasını ve yaratıcı düşüncesini açığa çıkarmaktan uzak, sıkıcı ve basmakalıp bir müfredatla günümüze kadar süregelmiştir. Aynı sistem içerisinde sorun hala devam etmektedir. Geçmişte olduğu gibi günümüzde de sanat eğitimcisi (öğretmen), çocukların resimlerini `iyi-kötü ya da olmuş-olmamış` gibi betimlemeler yaparak değerlendirme yapmaktadırlar. Eğitimciler iyi-kötü ya da ağırlıklı olarak sadece sanat felsefesinin temel kavramlarını ön planda tutan klasik bir öğretmen olmaktan ziyade, `çocuğun ruh sağlığı` alanında çalışan bir uzman gibi; çocuğun zekâsını, kişiliğini, yakın çevresinde yaşadıklarını ve iç dünyasında olup bitenleri, çocuğun kağıdına aktardığı resimlere bakarak yorumlaması gerekir. Buna ilaveten psikolojik gereksinmelerin sonucu olarak, psiko-pedegojik açıdan çocuğu daha iyi ve yakından tanıyabilen bir uzman edasıyla konuya yaklaşıp resimleri öyle değerlendirmesi daha bilimsel ve isabetli bir yaklaşım olacaktır. Painting lessons taught in primary schools since the 1970s in our country have been consistently superficially discussed. It only lasts for days with important, day-to-day, tedious, and stereotypical curriculum that has been the subject of many years and has always had the same subject matter, making the child's imagination and creative thinking open.The problem still remains in the same system. As in the past, today's art educators (teachers) are making assessments by making pictures of children as `good-bad or not`.Educators are good-bad or predominantly just like a specialist working in the field of `mental health of the child`, rather than being a classical teacher who holds the basic concepts of art philosophy in the foreground; they must interpret the child's intelligence, personality, living in their immediate surroundings, and looking at the pictures of the inner world that they have transferred to the child's paper.In addition, as a consequence of the psychological needs, psycho-pedagogical approach to the subject with a better understanding of the child better and closer to the subject and evaluate the pictures so that it will be a more scientific and accurate approach. 203

Bu tezde, temel sanat eğitiminin, çağdaş gereklere göre yeniden yapılandırılması ve içerikten biçime yönelen bir tasarım stratejisi ile yeni tekniklerin geliştirilmesine, ders plan ve programlarının hazırlanabilmesine olanak sağlamak amacıyla, sanat yapıtlarının içeriğinin ve anlamının ne olduğu ve tasarlanabilirliği ile ilgili sorulara, Analitik felsefeye dayanan `önermesel semantik teoriler` temel alınarak, tümdengelim ile cevaplar bulunmuştur. Sanat yapıtlarının içeriklerinin bileşenleri, referanslar, olası dünyalar kümeleri (içlemler), Russellcı içerikler ve Fregeci içerikler olarak önerilmiştir. Tasarım süreci, anlamlı dizimler (sentagma) oluşturma süreci olarak belirlenmiştir. Tasarım prensipleri ise, sistematiklik, üretkenlik, yerine-geçerlik, kural kurala prensibi, sözcüklerin önceliği, Frege' nin bağlam prensibi ve inşa prensibi olarak belirlenmiştir. Semantik alanından alınan birçok kavram ve tartışma görsel sanatlar alanına uyarlanarak sezgisel bir temelde belirlenmiş, gösterilmiş ve açıklanmıştır. Temel Tasarım / Temel Sanat Eğitimi dersleri kapsamında uygulanması amacıyla bir ders içeriği, öğretim teknikleri ve bir ders planı oluşturulmuştur. Temel Sanat Eğitimi dersinin, öğrencinin özellikle karmaşık bir içerikte çağdaş sanat yapıtları üretme becerilerini geliştirme amacına uygun olarak yeniden nasıl yapılandırılabileceği ortaya konulmuştur. In this thesis answers for the questions about determination and designability of the contents of artworks have been obtained by a deductive method based on `propositional semantic theories` and analytical philosophy in order to reconstruct the fundamental art education courses according to contemporary requirements. This research aimed to create contemporary teaching technics, lesson plans, and programs by a design strategy which emphasize the content antecedent to the form. The constituents of contents of artworks have been proposed in terms of referents, possible worlds sets (intensions), Russellian contents and Fregean contents. The design process has been defined as a process of creating appropriate syntagms. The design principles are defined in terms of systematicity, productivity, substitution, rule to rule principle, primacy of words, Frege' s context principle and construction principle. Concepts and arguments of semantics, have been set, illustrated and explained on an intuitive basis and thus transposed to visual arts. It has been revealed how to reconstruct the Basic Design / Fundamental Art Education courses to improve the skills of students to produce contemporary artworks which have complex contents. 182

Gelişen bir teknoloji olan sanal gerçeklik, tıp, oyun, psikoloji ve sosyoloji gibi alanlarda kullanılmaktadır. Tasarım eğitiminde de geleneksel ve dijital metodolojileri karşılaştıran çok çeşitli araştırmalar vardır. Bununla birlikte, tasarım eğitiminde, sanal gerçekliğin kullanıldığı sınırlı araştırma bulunmaktadır. Bu nedenle, bu çalışmada sanal gerçekliğin, temel tasarım eğitiminde ve özellikle problem çözme aktivitesinde kullanılabilirliği üzerinde durulmuştur.Bu çalışma, temel tasarım eğitimi literatürünü, dijital yaklaşımlar, sanal gerçeklik teknolojileri, kullanılabilirlik kriterleri ve teknoloji kabul modelini sunmaktadır. Kullanılabilirliği değerlendirmek için, VR (sanal gerçeklik) grubu ve kağıt tabanlı grup olan iki farklı grup oluşturuldu. Bu deney 20 kişilik birinci sınıf iç mimarlık ve mimarlık bölümleri öğrencileriyle 2017-2018 Bahar akademik yarıyılı içerisinde Bilkent Üniversitesinde yapıldı. Araştırma sonuçlarına göre kullanmaya yönelim ve algılanmış beğeni açısından iki grup açısından (VR ve kağıt tabanlı grup) istatiksel bir fark bulunmuştur. Buna ek olarak oluşturulan iki grup arasında etkililik açısından istatiksel bir fark bulunmuştur. Bu sebeple VR , temel tasarım eğitiminin problem çözme aktivitesini destekleyebilmektedir. Being an emerging technology, virtual reality is used in a wide range of fields such as medicine, gaming, psychology and sociology. There are also wide range of researches that compare traditional and digital methodologies in design education. However, in design education, there is a limited research into the implementation of virtual reality (VR). Therefore, this thesis focuses on the usability of virtual reality in design education, especially during problem-solving activity in basic design education. This thesis presents the basic design education literature in terms of digital approaches, virtual reality technologies, usability criteria and also technology acceptance model. In order to to analyze the usability of virtual reality in basic design education, an experimental study conducted with 20 first year interior architecture and architecture students in the Spring semester of 2017-2018 academic year, at Bilkent University. It is found that there is a statistically significant difference in terms of intention to use and perceived enjoyment between the VR group and paper-based group. Moreover, there is also a statistically significant effectiveness difference between of VR and paper-based environment. As a result of that, it is stated that VR can support problem-solving activity of basic design education. 112

Space is not only a means to counter to a merely pragmatic function through its indicators but also acts as a means of producing emotions. While emotion and emotion production which can be considered as the area of interest of Plastic Arts, it has been seen that the conceptual studies started to be designed together with function within the last century. Nowadays, people want to consume more of the products that have a similar approach in parallel with their own lifestyle. This shift in people’s understanding of consumption has necessitated the designers to consider the conceptual expectations of consumers while seeking answers to be functional questions. Space is the interest of PHILISOPHY, AESTETICS and SCIENCE, as an expression of the idea it is carrying [SEMANTICS], the form it is being used for [PRAGMATIC] & the technology it is made of [SENTACTICS]. It Space can be perceived by EXPERIENCE and experience can be regarded as a transformation problem where OBJECTIVE REALITY is transferred into the SUBJECTIVE REALITY [1]. This study, discusses the perception through sense & sensory mechanisms, was carried out with the 1st year students of TOBB ETU, Department of Interior Architecture & Environmental Design in the 2017-2018 Academic year, under the Basic Design course

Yüksek lisans tezi.

Bu araştırmanın amacı Güzel Sanatlar Fakültelerinde okutulan Temel Tasarım Derslerinin Görsel Okuryazarlık üzerinde ki etkisini araştırılarak, programın yeniden yapılandırılması için önerilerde bulunmaktır. Ayrıca bu araştırma ile Temel Tasarım Dersi almadan önce ve aldıktan sonra öğrencilerin Görsel Okuryazarlık beceri düzeyleri arasında anlamlı bir fark olup / olmadığı araştırılırken, bu derste Temel Tasarım Dersi veren Öğretim elemanlarının, öğrencilerin Görsel Okuryazarlık becerilerini nasıl geliştirdikleri ve bu konuda karşılaştıkları sorunlara cevap aranacaktır. Bu araştırmanın sonucunda Lisans öğrencilerinin Görsel Okuryazarlık becerilerinin geliştirilmesine yönelik ders hocalarının görüş ve önerileri yanında uygulanan beceri testiyle eğer varsa programdaki eksikliğin ortaya çıkarılması ve yeni öneriler amaçlanmıştır. Araştırma karma yöntem ile gerçekleştirilmiştir. Karma yöntem . Araştırma karma yöntem ile gerçekleştirilmiştir. Karma yöntem araştırması, araştırmacının nicel ve nitel araştırma tekniklerini tek bir çalışma içerisinde birleştirdiği araştırma olarak tanımlanmaktadır. (Büyüköztürk, vd. 2005:150) Buna göre, nicel ve nitel veriler ayrı toplanmış, analiz edilmiş ve elde edilen veriler sonuçta bir araya getirilmiştir. Araştırma, 2016 – 2017 eğitim öğretim yılı bahar döneminde Lisans düzeyinde 1. Sınıflara uygulanmıştır. Uygulamalar sırasında öğrencilerin görsel okuryazarlıklarını ölçmek amacıyla geliştirilen Görsel Okuryazarlık Beceri Testi (GÖBT) kullanılmıştır. Yarı yapılandırılmış görüşme formuyla Görsel Sanatlar Dersinin etkililiği hakkında Temel Tasarım Dersi veren hocaların görüşleri alınmıştır. Görsel sanatlar dersinin öğrencilerin görsel düşünme becerileri üzerindeki etkisini incelemek amacıyla, ders öncesi uygulanan öntest ve ders sonrasında uygulanan sontest puanları arasında istatistiksel olarak anlamlı farklılığın olup olmadığını incelemek amacıyla, parametrik olmayan testlerden Wilcoxon İşaretli Sıralar Testi uygulanmıştır. Ayrıca araştırma kapsamında öğrencilerin görsel düşünme becerileri testinin ve alt boyutlarının sontest ve öntest puanları arasındaki farklarının cinsiyet, bölüm, gazete bulundurma sıklığı, dergi aboneliği, televizyon izleme sıklığı, tiyatro veya sinemaya giyme sıklığı ve sergi veya müzeye gitme sıklığı değişkenlerine göre istatistiksel olarak anlamlı farklılık gösterip göstermediği incelenmiştir. Bu doğrultuda, değişkene ait kategori sayısının iki olduğu durumlarda eğer puan dağılımı normal ise T-Testi aksi durumda Mann-Whitney U testi, kategori sayısının ikiden fazla olduğu durumlarda ise eğer puan dağılımı normal olduğu durumda ANOVA analizi aksi durumda Kruskall Wallis Testi kullanılmıştır. Araştırmada kapsamında gerçekleştirilen uygulama sonrası elde edilen bulgular, 10 kriterde, öğrencilerin görsel okuryazarlık becerileri testine ait puanları ve görsel sanatlar dersi alıp almayanlara göre uygulama sonrası istatistiksel bakıldığında anlamlı bir farkın olmadığı ve görüşleri arasında bir nitelik farkı bulunmadığı saptanmıştır. Öğrencilere bütün olarak bakıldığında; anket verilerinin sıra ortalaması en yüksek Resim Bölümü, en düşük ise Heykel bölümündeki öğrencilerindir. Öğrencilerin görsel okuryazarlık becerilerinin, Temel Tasarım dersini almadan önce ve aldıktan sonra öğrenciler için ayrı ayrı yapılan analizler sonucunda bölümlere göre istatistiksel olarak anlamlı bir farklılık bulunmamıştır. Bölümler arasındaki farklılıklara bakıldığında Temel Tasarım Dersi alan öğrencilerin görsel okuma becerileri Resim Bölümü-Görsel İletişim Tasarım Bölümü ile Heykel bölümleri arasında olduğu görülmüştür. Çalışmada Temel Tasarım dersinin görsel okuryazarlık becerilerinin gelişimine olan katkılarına ilişkin derinlemesine bir veri elde etmek için öğretmen görüşlerini belirlemek üzere görüşme yöntemi kullanılmıştır. Dersin öğretmenleriyle yarı yapılandırılmış görüşme yapılarak konunun ayrıntılarına ve planlanmasına yer verilmiştir. Öğretmenler ile yapılan görüşmeler sonucunda kendilerinin görsel okuryazarlık konusunda tam donanımlı olmadıkları saptanmıştır. Bu saptama sonucunda ise Temel Tasarım amacına ulaştığı düşünülmektedir. Bu bulgular ışığında Görsel okuryazarlık becerilerine yönelik ve ileride yapılabilecek bilimsel araştırmalara dair öneriler sunulmuştur. Bu araştırmanın amacı Güzel Sanatlar Fakültelerinde okutulan Temel Tasarım Derslerinin Görsel Okuryazarlık üzerinde ki etkisini araştırılarak, programın yeniden yapılandırılması için önerilerde bulunmaktır. Ayrıca bu araştırma ile Temel Tasarım Dersi aldıktan sonra öğrencilerin Görsel Okuryazarlık beceri düzeyleri arasında anlamlı bir fark olup / olmadığı araştırılırken, bu derste öğretmenlerin, öğrencilerin Görsel Okuryazarlık becerilerini nasıl geliştirdikleri ve bu konuda karşılaştıkları sorunlara cevap aranacaktır. Bu araştırmanın sonucunda Üniversite kademesindeki öğrencilerin Görsel Okuryazarlık becerilerinin geliştirilmesine yönelik ders hocalarının görüş ve önerileri yanında uygulanan beceri testiyle eğer varsa programdaki eksikliğin ortaya çıkarılması ve yeni öneriler amaçlanmıştır. The aim of the present research was to search the effect of Fundamental design Courses which are give in Fine Arts Faculties on Visual Literacy and to make suggestions for restructuring of the program. Furthermore, the present research investigates whether any difference appears between Visual Literacy skills of the students; and the issues how the students improve their skills and overcome the problems experienced during this period. The outcomes of the present research would serve to present opinions and suggestions of the lecturers for improvement of the student skills on Visual Literacy in the university and to reveal the deficiencies in the program, if any. Mixed method research was used in the present research. The mixed method research is defined as combination of quantitative and qualitative research techniques by a researcher. (Büyüköztürk et al.,. 2005:150) Accordingly, quantitative and qualitative data were collected individually, analyzed and the data obtained were gathered. The research was conducted on first grade students within 2016 and 2017 educational year. The Visual Literacy Skill Test (VLST) which was developed to measure visual literacy grade of the students was used during the implementations. Opinions of the teachers on efficiency of Visual Arts Course were obtained via semi-structured interview form. Kruskal Wallis H test which is referred as non-parametric techniques was used to detect whether visual literacy skills differ according to the departments. In-class correlation coefficient was used to determine the scoring safety in the research. All analyses were performed through SPSS 19.00 version. In consideration of 10 criteria created with the findings appeared after the implementation following the research, there was not any statistically significant difference between visual literacy skills scores of the students who have/have not taken the visual arts course. When the students were evaluated as a whole, the highest order average was in Painting department whereas the lowest score was in Sculpture Department. There was not any significant difference between the departments as a result of the analyses conducted for the students before and after Fundamental Design course. The focus on the different between the departments revealed that visual literacy skills were different between Painting-Visual Communication Design and Sculpture Departments. The interview method was used to determine opinions of the teachers to be able to obtain a detailed data on contribution of Fundamental Design course on visual literacy skills. A semi-structured interview as performed with the lecturers and details as well as planning were focused. The interviews with the lecturers revealed that even they are not fully equipped about visual literacy. Such outcome is considered that Fundamental Design course reached its goal. Under the aforesaid findings, some suggestions for possible further scientific researches of visual literacy skills were made. The aim of the present research was to search the effect of Fundamental design Courses which are give in Fine Arts Faculties on Visual Literacy and to make suggestions for restructuring of the program. Furthermore, the present research investigates whether any difference appears between Visual Literacy skills of the students; and the issues how the students improve their skills and overcome the problems experienced during this period. The outcomes of the present research would serve to present opinions and suggestions of the lecturers for improvement of the student skills on Visual Literacy in the university and to reveal the deficiencies in the program, if any. 294

Throughout its history, mankind has designed material and spiritual needs. Some of these designs disappeared, some of them have survived to the present day. The changing economic order in the development and the change of the world, especially by the nineteenth century, has made it a part of the design and designer’s professional life. The twentieth century with its ground-breaking scientific studies, evolving computer technology and digital technologies, which name the century we live in, quickly changed and increased what was expected from the design and the designer. Today, while AI studies are still in progress, it is clear that designers have a significant share in the work to meet the needs we recur. This situation shows us that the approach of a designer’s way of conceiving the world of the day to the design problem, field dominance, intellectual accumulation, education, and quality is crucial. Accordingly, one of the important conditions that allow such criteria to occur in a designer is that the designer’s ability to reason with the five senses one has perceived outside of one’s own and to reach a conclusion. The five senses are the means by which one can reach the world outside. The most important talent of a designer is to analyse the data the designer has collected with the five senses according to the designer’s own understanding and plasticizing the idea. In this paper, the conceptual projects carried out by TOBB Interior Architecture students in the scope of “Basic Design Studio” course of 2017-18 Spring semester were developed with a focus on five senses.

Çalışma, Bauhaus'tan bu yana sanat ve tasarım ile ilgili disiplinlerde hazırlık, başlangıç eğitimi kapsamında farklı kurumlarda, farklı süre ve içeriklerde sürdürülmekte olan Temel Tasarım Eğitimini konu etmektedir. Bu farklılığı problem olarak ele alan çalışma, İç Mimarlık ve Çevre Tasarımı disiplini özelinde dersin teorik ve pratik yönden içerik analizini kapsamaktadır.Çalışmanın amacı; TM-1 puan türü ile öğrenci alan ve İç Mimarlık Bölümü kuruluşu itibari ile en az 10 yıl geçmişe sahip olan üniversite örnekleri üzerinden, İç Mimarlık Bölümlerindeki temel tasarım eğitimi dersinin teorik ve pratik yönden içerik analizini yapmaktır. Bu analizle de literatürde sanat ve tasarım ile uğraşan çoğu disiplinde sıkça yer verilen ve problem olarak belirlenen süre farklılıklarını, işleyiş farklılıklarını ve bu farklılıkların oluşum sebeplerini incelemektir. Böylece, kurumlar üzerinden yapılacak analiz çalışması ile hem içerik farklılıkları ortaya konulacak hem de bu alanda çalışma yapan araştırmacılara ya da Temel Tasarım Eğitimi için uygulama metodu arayan eğitimcilere kaynak sağlanmış olacaktır.Çalışmanın yöntemini içerik analizi oluşturmaktadır. Bu analizi yaparken araştırmanın amacına ve problemin sınırlandırılışına bağlı olarak, belgesel tarama ve belirlenen üniversitelerde ders yürütücüleriyle görüşmeler yapılmıştır. Bununla birlikte, örneklem grubuna dahil edilen kurumlardaki mevcut eğitim öğretim ortamlarında temel tasarım eğitimi kapsamında, güz dönemi uygulamalarının durum tespitine yönelik, stüdyo final jürilerine katılarak, güz dönemi boyunca sürdürülen sürecin ve süreç sonucundaki ürünlerin gözlem ve deneyimlenmesinden faydalanılmıştır.Çalışma sonucunda; dersin teorik ve pratik yönden sürelerinin kurumdan kuruma farklılık gösterme sebebi, kurumlarda işleyişin özdeş olmaması, yürütülen projelerde başlangıcın, sürecin ve gelinen son noktanın farklı olması olarak belirlenmiştir. Ayrıca teorik içeriğin tüm kurumlarda genel olarak aynı olduğu, teorik içeriği aktarmada faydalanılan anlatım teknikleri ile pratik içeriği oluşturan uygulama metotları ve sürdürülen uygulamalı çalışmalar arasında ise anlamlı farklılıklar olduğu tespit edilmiştir. This study mentions that basic design education which is being carried out in different institutions, different periods and contents within the scope of preparation/initial education in arts and design related disciplines since Bauhaus. This study which considers this difference as a problem includes content analysis in terms of theoretical and practical elements specific to discipline of interior architecture and environment design.The aim of the study is to examine time differences, operational differences and the reasons of those by making analysis of theoretical and practical aspects of basic design education course in the interior architecture departments through the university samples which have a history of at least 10 years as of the establishment of interior architecture department with the score of TM-1. Thus, content differences will be revealed by analyzing study on institutions and a source will be provided both for researchers who study on this field and for trainers who look for application method for basic design education.The method of study is content analysis. By doing this analysis, it is utilized from documental search, interviews with instructors and sample institutions depending on research objective and limitation of the problem. Along with this, basic design education courses of fall term have been observed in current work environment of these institutions. Also final design juries have been experienced along with process and outputs for assessments during term period.It is determined that the reasons of theoretical and practical duration diversity of subject course among institutions, are non-identical behavior in the institutions and differences on the start-up, process and end points of ongoing projects. It is also determined that the theoretical content is generally same in all institutions and significant differences between narrative techniques used in the transfer of theoretical content and application methods that constitute the practical content and sustained applied studies, as well. 141

Texture can be defined as a structure forming the surface of objects that are available in the nature. Content exists with the organization of basic art elements in the creative process of every discipline of plastic arts. Being among these elements; texture is preferred by artists as a way of artistic expression. Art objects are created through not only these elements that are the principle stage of the creative process, but also distinctive physical properties of many materials that mediate artistic expressions. In this context, clay which is the main material of ceramics and different cooking techniques provide ample opportunities to the artist. Plastic structure of clay can imitate a number of organic and inorganic objects. In addition, some clay structures have textural differences that may diversify according to their compounds. These differences create a plastic language on the handwork via distinctive expression of their artists. In this article, it is aimed to examine the concept of texture only within the context of contemporary ceramic art because the subject which is handled is far-reaching. The definitions of texture are given and the classification of texture as visual and tactual is made according to art. In accordance with this classification, 9 examples of contemporary ceramic art in Turkey and around the world are examined. In this direction, it is concluded that in ceramic examples, the element of texture is imitated with ceramic materials through tactual and visual effects and diversified through ceramic glaze and firing methods.

10th Annual International Conference of Education, Research and Innovation (ICERI) -- NOV 16-18, 2017 -- Seville, SPAIN, WOS: 000429975309024, Anadolu University Fine Arts Faculty Ceramic Department welcomes its students with first sculpting method at the first semester. Ceramic basic design course in which the students work with clay for six hours in a week is one of the most important course vocationally. During sculpting the clay is trained, first products are being formed within this course. A trip to Anatolian Civilizations Museum which is founded at the capital city of Turkey is organised. In this museum Anatolian archaeology and a collection of foundlings since palaeolithic age till today is presented with chronologic order. After spending 3-4 hours at the museum selection of the subject and the sculpting technique is decided. By returning from trip a course on basic sculpting techniques is given to students. The course starts with shaping pots that are inspired from the food pots of ancient history. Personal hand and finger prints on the formed pots make the art pieces unique. Students meet with ceramic through this project by thinking both the museum, history and sculpting techniques together. Within this course good examples are designed after firing and glazing with the participation of 25-30 students.