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Using games as educational tools has been a captivating subject in the academic domain. There is an increasing number of digital games designed to support architectural education. This paper introduces a serious game aimed at enhancing basic design knowledge for first-year architecture students. The game focuses on teaching and testing visual design principles such as emphasis, balance, and rhythm. Based on these principles, it allows students to create 2D compositions on a grid pattern by placing and manipulating simple shapes in terms of color, shape, and size. The final composition is evaluated by an artificial intelligence (AI) tool integrated into the game. This AI tool predicts the design principles present in the composition, providing three possible outcomes with associated percentages. The game, currently in the testing phase, has been played by 126 first-year students, and user experience has been assessed through questionnaires, surveys, and basic game metrics. The use of this game to teach visual design principles has proven to be an effective method for engaging students in active learning and enhancing their understanding and application of design concepts. The innovative use of AI to provide real-time feedback and the interactive nature of the game have fostered a deeper, experiential learning process. Additionally, students have proposed various innovative ideas to improve the gaming experience, suggesting potential enhancements that could lead to a more refined and enjoyable gameplay. These insights highlight the potential of digital game-based learning (DGBL) and AI-enhanced tools in creating an engaging and effective educational environment.

The present study focuses on assessing first-year architecture students' creative skills by examining the changes in their cognitive skills due to curricular intervention and revealing the possible effects of personality and motivation factors. An experimental research design with related groups pre-and post-test approach was adopted, and a multiple-assessment test battery was developed based on the literature. The pre-and post-test approach was used to evaluate whether (1) the curricular intervention in the first-semester basic design course affected the cognitive skills of the students, (2) there was a significant change in personality and motivation factors of the students, and (3) the effects of the curricular intervention could be isolated from the changes in personality and motivation factors. The responses to the pre-and post-test were statistically analyzed, and findings indicated that the curricular intervention in the first-semester basic design course enhanced the fluency and flexibility dimensions in students' divergent thinking skills to a greater extent and originality to a lesser extent in visual and verbal stimuli tasks. Such increase was found to be independent of the changes in personality and motivation factors. Rather, it was related to the curricular tasks provided to the students throughout the semester. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The “Basic Design” is one of the common introductory courses in design disciplines. It has great importance in interior architecture education as it forms the basis of design practice. Education that proceeds through abstract concepts creates difficulties for students to internalize this course. To avoid these difficulties, learning by doing is of great importance. The learning-by-doing approach was carried out in the form of a workshop within the scope of the “Basic Design 1” course of the Department of Interior Architecture at Konya Technical University in the fall semester of the 2022-2023 academic year. Students were asked to produce three-dimensional designs using basic design principles and elements. The class was divided into groups of eight people and studies were carried out with a workshop coordinator in each group. The duration of the workshop was planned as four weeks. During the workshop, students learned to use materials and colors, to design an original composition. At the end of the workshop, students learned to embody the abstract concepts they learned during the year by creating a composition that considers functionality and aesthetics. In order to evaluate the efficiency of the workshop, a survey study was carried out after the course period ended. As a result, it has been seen that the intelligibility of Basic Design 1, which is a course taught through abstract concepts, has increased thanks to the workshop.

Copyright of METU Journal of the Faculty of Architecture / Mimarlık Fakültesi Dergisi is the property of METU Journal of the Faculty of Architecture and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Digital fabrication technologies are revealing new ways of dealing with design processes. Robotic fabrication technologies are generally dismissed at the undergraduate level, especially in first-year design education. This is due to the common belief that novice design students have insufficient skills for designing with a robotic arm. This paper presents an experiment that took place in a first-year basic design studio at a faculty of architecture. The studio investigates the utilization of a robotic arm as a design and production tool. Students without robot programming and operation skills were encouraged to transfer a priori skills of hand tools and techniques learned in successive assignments to utilize the robotic arm. This experiment revealed the educational potential strategies for the integration of robot technology in first-year design studios. [ABSTRACT FROM AUTHOR]

The 'basic design' course, which plays a key role in the process of creative thinking and converting thought into an idea in today's architecture and interior architecture departments, has been constructed on a new experimental learning method for this study. The study aimed to acquire a concrete space experience based on the assumed abstract thought, to produce a problem-solving-oriented design by making the student question the original design idea. The education method designed was accordingly carried out in 4 stages in 14 weeks in the 2021-2022 Education Period, Department of Interior Architecture, Selcuk University. For starters, theoretical information was conveyed with Gestalt principles; later abstract and concrete ideas were developed on the design problem, and in the third stage, projects were developed on the process of transition from abstract to concrete space for the solution of the problem, and finally, the results were evaluated. As a result of the studio experience, the students created a working doctrine that will direct the interior design studio works with the designed method, enable the formation of original forms and shapes, enabling them to obtain concrete space from abstract concepts, and design at different scales from equipment to space design.

Paper-based sketches used in the first stage of architectural design have started to be replaced by digital sketches. Since many universities have switched to online education during the pandemic period, digital sketches have come to the fore in this period. It is seen that the architectural forms in the digital sketches are shaped according to the computer programme used, especially in undergraduate architecture education. This situation was identified as a problem in this study. As a solution to this, it is aimed to develop a method in order to develop the form-oriented creativity of the students in the computer environment. After the experimental case study, a questionnaire was conducted with the students to evaluate this method. It has been concluded that the exercise method proposed in this study can enable students to make digital sketches more easily. [ABSTRACT FROM AUTHOR]

Copyright of PLANARCH - Design & Planning Research is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper Zae-Quan Kim’s contribution to Korean industrialization and its contexts. Major findings are as follows. First, he accumulated knowledge and experience concerning iron and steel, and presented the “Proposal for Development of Iron and Steel Industry in Korea” in 1964. Second, he was deeply involved in the transformation of comprehensive steelworks plans in Korea, especially taking the lead in preparing the “New Project Plan” in 1969, which was connected to the construction of the Pohang Steel Works. Third, he advocated the plan for an original model automobile in 1970, and set up the “Long-term Promotion Plan of the Automobile Industry” in 1973, which led to the development of Pony by Hyundai Motors. Fourth, he helped establish national standard research from 1975 to 1980, and then pursued stipulating the national standard system into the Constitution of the Republic of Korea. In conclusion, Zae-Quan Kim was the leading figure in making the basic designs on the iron and steel industry, automobile industry, and national standard during Korean industrialization. [ABSTRACT FROM AUTHOR]

This article presents the basic design course applications based on the design education of first-year interior architecture students. This study aims to emphasize the importance of education in the design-oriented thinking process with practice through the content of the basic design course. Within the scope of the study, art-based research in interior architecture education was carried out and the intersections of its results are described. In the studio, basic design elements and principles were conveyed with the techniques commonly taught in schools and architectural movements were given to students as term papers for research. The study directs the student to create 2D and 3D compositions by combining the studies he/she has done during the term and the research assignment. The findings show that students can reflect on their research on architectural movements to new three-dimensional abstract spaces by combining them with basic design education. While grounding this reflection, design process of the students is based on form and elements without color. The results also show a significant correlation between students’ practices and Gestalt Principles. This article emphasizes the importance of applying basic elements and principles of design and being integrated with field-specific studies to achieve better results in design education. This study is an experimental and original studio product. With the basic design education given only in the first semester, the students were given examples to determine and understand forms and approaches without color knowledge, especially through basic principles, using architectural movements instead of abstract expression.

Designing and implementing full-scale models by architecture students is one of the most difficult and uncommon experiences in design education. The study evaluates the impact of this experience on the development of creative design skills among first-year students. This is achieved by applying a methodology that combines quantitative analysis of learning outcomes, especially those associated with the skills of Basic Design courses, with qualitative analysis of sketches, scaled and full models, and video recordings of students during design and implementation stages. This study provides experimental support for the use of full-scale models in design education to develop students' creative skills, in addition to discussing opportunities and challenges to help faculty and researchers in the field of design education. [ABSTRACT FROM AUTHOR]

Copyright of Akademik Sanat is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In design education, especially in the first-year design studio, different approaches ranging from artistic to analytical and abstract to concrete have been used. This paper attempts to study one of those approaches namely "Exquisite Corpse (EC)", which is an art-stemmed approach, employed in the architecture's first-year design studio. In addition, decision-tree (DT) approach was used, which like EC, requires dialogue among students and helps foster problemsolving abilities by giving more structure to the educational medium as well. This paper uses quantitative methods to analyse the design process in the search for distinct methodologies in design research. The main purpose of this article is hence to evaluate the use of EC and DT in basic design education and to provide empirical implications for the development of the basic design teaching methodology. Descriptive statistics and a Pearson's chi-square test of independence were performed to examine the relationship between students' use of the exquisite corpse approach and their grades. The paper highlights the need for distinct methods for the scientific analysis of design research. The analysis used in this paper provides scholarly information to other design educators in higher education. The initial aim is to incorporate EC and DT in the final project were to help novice designers in guiding their design processes better. The research model of this study can help exemplify analytic research for design-related disciplines for future research studies. [ABSTRACT FROM AUTHOR]

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Selçuk Artut's works, which take their reference from geometric patterns, have often had influence, sparking many new ideas and generating innovative thinking. His recent exhibition, entitled as Geomart-ut7, in the Beyoğlu Culture Route programme, located at Atatürk Cultural Centre in Istanbul, creates a multi-layered venue for contemplation. The geometric patterns which move, float, diverge and converge by the means of computer coding on tall digital screens, and most of these take their inspiration from the marvels of geometrical artworks that are observed throughout history. However when we carefully observe these animated geometrical patterns, we see that the artist's works are not merely the replicas of traditional patterns; through animation, the geometrical patterns, which are animated by coding techniques, change their angles and directions, yielding intermediary figures. The current creation process, which was defined by the artist himself as Dialectical Creativity, emerges because of mutual interactions between the artist and the computer, which he uses to communicate through the code language. The fundamentals of this artistic production cover the themes of repetition, meditative effect and infinity; thus, it is very appropriate to consider Artut's artworks in the contemporary age. Here we see the attempt of the artist to derive ideas from his deeply-rooted heritage, and make the meaningful connections with the past, even while emerging onto the contemporary art scene. [ABSTRACT FROM AUTHOR]

The development of students’ critical and creative thinking skills is at the core of the first-semester basic design studio. Students’ perceptual experiences of their environment form the key references of abstraction in this beginning phase. This paper inquires studio approach based on abstraction and mapping as tools for intertwining visual reasoning and bodily experiences in the design process. Focusing on the case study of a basic design studio assignment, the authors analyze the structure, application, and products of the “Urban Abstraction and Mapping” project. The study adopted the case-study method as part of qualitative research approach and dwelled on researchers’ first-hand interaction with a phenomenon within its real-life context, ARCH/MIM101 studios. The findings showed that abstraction and mapping strategies based on students’ bodily experiences in urban contexts raised awareness of design as a generative and iterative research process. Students who were able to reveal and reconstruct the relationship between different forms of knowledge through experiential and conceptual levels of the design process managed to develop heuristic 2D and 3D design strategies. The findings of this study provide a ground for discussions on the effectiveness of teaching/learning methods applied in the introductory level of design education.

Copyright of Online Journal of Art & Design is the property of Online Journal of Art & Design and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article presents the basic design course applications based on the design education of first-year interior architecture students. This study aims to emphasize the importance of education in the design-oriented thinking process with practice through the content of the basic design course. Within the scope of the study, art-based research in interior architecture education was carried out, and the intersections of its results are described. In the studio, basic design elements and principles were conveyed with the techniques commonly taught in schools, and architectural movements were given to students as term papers for research. The study directs the student to create 2D and 3D compositions by combining the studies he/she has done during the term and the research assignment. The findings show that students can reflect on their research on architectural movements to new three-dimensional abstract spaces by combining them with basic design education. While grounding this reflection, the design process of the students is based on form and elements without color. The results also show a significant correlation between students' practices and Gestalt Principles. This article emphasizes the importance of applying basic elements and principles of design and being integrated with field-specific studies to achieve better results in design education. This study is an experimental and original studio product. With the basic design education given only in the first semester, the students were given examples to determine and understand forms and approaches without color knowledge, especially through basic principles, using architectural movements instead of abstract expression. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Architectural Sciences & Applications (JASA) is the property of Journal of Architectural Sciences & Applications and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Since the introduction of scientific disciplines into the shipbuilding process, there has been a search for optimisation of human and material resources. The current environmental crisis is putting additional pressure on global resource management and special attention to materials sourcing and utilisation. This paper discusses the potential solution for the current lack of effectiveness at early design stages, which are still based on 2D drawings. The industry is demanding a new 3D approach, which implies, first, a change in the procedures, and second, having a suitable CAD/CAM tool for the early generation of a digital mock-up, from which the project is developed throughout all design and production phases, from conceptual design to operation. The proposed solution shown in this paper would improve the general arrangement definition, with the use of CAD for the 3D definition of the compartments and the main equipment positioning; improve the naval architecture calculation; and finally improve the basic/class design stage, with better reuse of data already developed in the general arrangement model and in the definition of a 3D model of structure, with the main equipment positioning, pipes, and electrical equipment already into the model. Intelligent P&I diagrams and single-wire electric diagrams would be used at this stage and connected to the 3D model. Additionally, it will allow for early estimating of materials, weights, and associated processes. This will be further supported by the use of topology to consider design alternatives and produce early information on materials for procurement and production. The cost reduction associated with the definition of the early design stages in 3D has been estimated at around 15% of the overall design and production stages. [ABSTRACT FROM AUTHOR]

The development of students’ critical and creative thinking skills is at the core of the firstsemester basic design studio. Students’ perceptual experiences of their environment form the key references of abstraction in this beginning phase. This paper inquires studio approach based on abstraction and mapping as tools for intertwining visual reasoning and bodily experiences in the design process. Focusing on the case study of a basic design studio assignment, the authors analyze the structure, application, and products of the “Urban Abstraction and Mapping” project. The study adopted the case-study method as part of qualitative research approach and dwelled on researchers’ first-hand interaction with a phenomenon within its real-life context, ARCH/MIM101 studios. The findings showed that abstraction and mapping strategies based on students’ bodily experiences in urban contexts raised awareness of design as a generative and iterative research process. Students who were able to reveal and reconstruct the relationship between different forms of knowledge through experiential and conceptual levels of the design process managed to develop heuristic 2D and 3D design strategies. The findings of this study provide a ground for discussions on the effectiveness of teaching/learning methods applied in the introductory level of design education. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Administration & Economics is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article presents multiple pedagogical methods employed for urban planning students' first-year basic design studio course during the rapid shift to an online environment in response to Covid-19. The aim is to critically discuss the conventional and innovative tools and techniques in design teaching during the online education system in the 2020-2021 academic year at Middle East Technical University City and Regional Planning Department. To do this, the basic design and planning studio course preparation itineraries, student projects and reflections are analysed to unveil the process of creating a non-linear and open (online) studio course. Although the central question in this study is how to prepare for an online design course, which is traditionally a hands-on experience in an active face-to-face studio environment, the outcomes of this article are noteworthy to evaluate from a broader perspective of basic design education for urban planners. The pedagogical strategies for a non-linear and open studio present significant lessons learned for a similar future experience. For this, the study discusses the outcomes as integrating conventional and digital tools, collaboration with students in preparing the course content, a flexible course program, and a process-based design. The results suggest combining new and conventional pedagogical approaches to adapt not only to an online education system but also to a possible revision of the course programs of design studios. [ABSTRACT FROM AUTHOR]

In this study, a lesson model created and applied by the researcher for the distance teaching of the Art Education Basic Design course, which is one of the practice-based courses among higher education courses, is presented. It is aimed to evaluate the results of this proposed lesson model. The case study design was used in the study, which used the qualitative research method. The study group of the research consists of five experts and 16 students who took the Basic Design I-II courses by the lesson model developed within the scope of distance education in the 2020-2021 academic year. The opinions of five field experts who had previously conducted the Basic Design course were taken regarding the lesson model proposed in the research. In addition, the opinions of students who took the Basic Design course through distance education in the proposed model were taken. According to the findings obtained in the research, it is seen that participation of students in the course was high and there was often competition among students. The fact that the lesson model consists of two parts; the evaluation and the subject of the week, meets the course outcomes and the expectations of the students from the course. In the lesson model, regular follow-up of student works was found useful in terms of monitoring the development of the applied work done by the students and making self- and peer-assessments in the study. On the other hand, there are also negative aspects of the proposed course model such as lack of individual application and course connection problems. The study is important because the student participation in the Basic Design course taught online, the students being active in the lessons and ensuring the course gains provide a positive view towards the distance teaching of an applied course. [ABSTRACT FROM AUTHOR]

BACKGROUND: Ergonomics in design is intended to close the gap between what is designed and the real work. This study discusses the creation of technical ergonomics requirements for the basic design stage of workshops on offshore platforms. OBJECTIVE: This paper intends to show how the ergonomics discipline contributes to integrating knowledge on the real work of the maintenance crew with the design. METHODS: This case study uses procedures, data collection, and analysis guided by the Ergonomics of the Activity's (EA) theoretical framework, focused on design projects. RESULTS: The results show how ergonomics contributed to a better understanding of maintenance work, as well as how this knowledge was integrated into the project design. This occurred both through the construction of a new layout and equipment list, and through the development of technical specifications. These products enable greater operational efficiency, reductions in the costs of alterations in the next stages of the project, and improvement in working conditions. CONCLUSIONS: This work points to the need for new studies on platform maintenance work, in addition to studies that deepen the debate on consolidating ergonomics practice in design projects. [ABSTRACT FROM AUTHOR]

The relationship between space and human occurs through the actions performed with the body. The abstraction study as an exploration of the body is one of the significant practices for first-year design students. However, there are not enough investigations for design students regarding body, space and basic design principles. This paper aims to explore the potentiality and limitations of the body-abstraction process by comparing the impact of two different educational models on students' perception and improvement. The applied methodology includes comparing two design processes of the basic design course depending on parameters: Given example, source of the video, type of movement, the number of the selected-used scenes, mode of sketching, the method for production, requested outcome, the scale of the study, the material of models and critique of the video. The results present that the activation of the body through mental practice, drawing and modelling stages is critical to understand its abstract and spatial capabilities. The realisation of the potentials in the relationship between body and abstraction in spatial perception would enable us to create an advanced design process addressing more original concepts. [ABSTRACT FROM AUTHOR]

Copyright of SED Journal of Art Education is the property of SADA Enstitusu - Artsurem and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of SED Journal of Art Education is the property of SADA Enstitusu - Artsurem and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Peyzaj is the property of Turkish Association for Landscape Architecture Education & Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Since the introduction of scientific disciplines into the shipbuilding process, there has been a search for optimisation of human and material resources. The current environmental crisis is putting additional pressure on global resource management and special attention to materials sourcing and utilisation. This paper discusses the potential solution for the current lack of effectiveness at early design stages, which are still based on 2D drawings. The industry is demanding a new 3D approach, which implies, first, a change in the procedures, and second, having a suitable CAD/CAM tool for the early generation of a digital mock-up, from which the project is developed throughout all design and production phases, from conceptual design to operation. The proposed solution shown in this paper would improve the general arrangement definition, with the use of CAD for the 3D definition of the compartments and the main equipment positioning; improve the naval architecture calculation; and finally improve the basic/class design stage, with better reuse of data already developed in the general arrangement model and in the definition of a 3D model of structure, with the main equipment positioning, pipes, and electrical equipment already into the model. Intelligent P&I diagrams and single-wire electric diagrams would be used at this stage and connected to the 3D model. Additionally, it will allow for early estimating of materials, weights, and associated processes. This will be further supported by the use of topology to consider design alternatives and produce early information on materials for procurement and production. The cost reduction associated with the definition of the early design stages in 3D has been estimated at around 15% of the overall design and production stages.

Copyright of SED Journal of Art Education is the property of SADA Enstitusu - Artsurem and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tasarim+Kuram is the property of KARE Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Respecting the interdisciplinary and collective nature of the journal, this article proposes a reflection on the value of the image. The reflection is focused on the area of graphic design in relation to two significant commercial and technological contexts, and on the theoretical foundations that participate in the construction of the image. The assumption, which is supported here, is the ethical role of the image, viewed with an eye to the past and a projection towards the future, considered within the academic area for a manifesto aimed at the construction of meaningful images.

INTRODUCTION: The subject of this paper is a phenomenological study of cognitively plausible relationships between gesture and sound mediated by technologies. In this discussion, the term ‘gesture’ indicates a movement of the body consciously performed and able to express or communicate something. The expression ‘cognitively plausible’ refers to an interactive sound response that is immediate, continuously varying and enactively coherent with the generating (sonified) gesture. OBJECTIVES: The objectives of this paper are two. The first is an artistic exploration of gesture sonifications in various contexts. The second is rather methodological, i.e., to provide a possible general paradigm for Artistic Research (AR). METHODS: More in detail, the AR phenomenological approach is modeled according to an Interaction Design (IxD) research paradigm.RESULTS: A number of case studies of gesture sonification are presented and discussed according to the above methodological framework.CONCLUSION: We claim that the introduction of such methodological framework was successful in terms of providing robust guidelines for our research and for a clear and structured presentation of its results.

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

INTRODUCTION: The subject of this paper is a phenomenological study of cognitively plausiblerelationships between gesture and sound mediated by technologies. In this discussion, the term 'gesture' indicates a movement of the body consciously performed and able to express or communicate something. The expression 'cognitively plausible' refers to an interactive sound response that is immediate, continuously varying and enactively coherent with the generating (sonified) gesture. OBJECTIVES: The objectives of this paper are two. The first is an artistic exploration of gesture sonifications in various contexts. The second is rather methodological, i.e., to provide a possible general paradigm for Artistic Research (AR). METHODS: More in detail, the AR phenomenological approach is modeled according to an Interaction Design (IxD) research paradigm. RESULTS: A number of case studies of gesture sonification are presented and discussed according to the above methodological framework. CONCLUSION: We claim that the introduction of such methodological framework was successful in terms of providing robust guidelines for our research and for a clear and structured presentation of its results. [ABSTRACT FROM AUTHOR]

Interpreting the correlative relationship between conceptual representation with form production through students’ design ideas and success levels, two hypotheses have been formed. Base for the first hypothesis; students who start their design with concrete concepts are more successful than those who start with abstract concepts; the idea of the second hypothesis; students who start their study with concrete concepts are more likely to make easier decisions during the production easier. In order to examine these two hypotheses of the study, students were asked to choose either concrete (transformation, movement, eternity) or abstract (courage, risk, illusion) concepts as a design strategy and to represent the concepts they have chosen in spatial scale. Completed with the participation of 65 students passed on their Basic Design I course within the 2019-2020 academic year, fall semester at Istanbul Gedik University, Faculty of Fine Arts and Architecture, Interior Architecture and Environmental Design Department; to specify the parameters which affect the student’s design decisions, 8 questions semi-structured interview form was used and to determine the place of the creation processes within basic design literature twenty question 5-point Likert type survey form was used for this research. As a result of the research, in which all the obtained data were analyzed with SPSS software, both hypotheses in question were statistically confirmed and it has been concluded that the abstract concepts which are used as references for the generation of form in basic design education, negatively influence both the design processes and the success levels of the students.

The teaching of colour in the basic course of the Hochschule für Gestaltung Ulm is an evidence of the revolutionary renewal of the teachings of the German school in the second half of the 20th century. The basic training of the future designers and architects of the new industrial society undergoes an innovative change of direction in which colour overcomes its exclusive condition as a plastic element. The paper develops the pedagogical itinerary from the colour applied as a hue to the colour used as a code. The review and comparison of teaching experiences reveals the influence of the courses given by the former members of the Bauhaus on the transformative work carried out by Tomás Maldonado. The initial teaching fluctuates between an analytical and an experimental perspective to culminate in problem solving in which color is one more parameter of a programmed process. [ABSTRACT FROM AUTHOR]

Copyright of Online Journal of Art & Design is the property of Online Journal of Art & Design and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Online Journal of Art & Design is the property of Online Journal of Art & Design and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

R/V EARDO, commissioned in 1992, has successfully carried out ocean research campaigns in Korean jurisdictional and adjacent waters, including continental margins and coastal zones within the Korean Exclusive Economic Zone (EEZ), for 29 years. However, it will soon be reaching the end of its useful service life. A replacement for R/V EARDO is urgently needed to ensure the safety of vessel itself and its crews, and efficient ship operation and maintenance, as well as to meet modern scientific mission requirements (SMRs). Basic specifications for a replacement ship have been devised and reviewed over the past nine months. A test of the proposed hull form was also performed. The total tonnage of the proposed vessel is approximately 740 tons, and the overall length and width are 62.0 and 11.6 m, respectively. The new ship will thus be 73% larger than the current R/V EARDO; in particular, the research workspace will be 4.4 times larger. The major design priorities are the propulsion system, efficiency of radiated noise and vibration control, and the dynamic positioning system. An environmentally friendly emission system, meeting International Maritime Organization (IMO) Tier III regulations, will be installed in the third exhaust pipe. Various wet and dry lab spaces as well as 32 different scientific instruments have also been considered in the ship design. [ABSTRACT FROM AUTHOR]

In order to improve creative thinking in architectural design education, it is useful to interact with other disciplines such as music. There are many works of this interdisciplinary approach between architecture and music in the literature. These studies focus on new methods of creating forms with music for basic architectural education. The common aim is using music as a creative perspective for designing forms before proceeding to architectural design. Various structural forms designed by students are examined within these studies. It is concluded that designing with music could improve students' imagination and could be benefit to architectural design education. Furthermore, these approaches could be improved, not only in basic form design, but also to be applied in an entire architectural project from space to façade. Music could be used as an inspiration to be transformed into a product, an interior or an architectural structure, and this could be useful for architectural design studio courses. Therefore, this review aims to underline the benefit of music in architectural education by examining the existing studies in the field, and it is a preliminary research for the further study of a method of designing with music. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Social Sciences Research / Sosyal Bilimler Arastirmalari Dergisi is the property of ODU Journal of Social Sciences Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)