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Permanent URI for this collectionhttps://hdl.handle.net/20.500.14288/6
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Publication Open Access The Second Constitutinal and Early Republican Era drawing practices in the light of MSFAU Istanbul Painting and Sculpture Museum Collection(Ege University Faculty of Letters / Ege Üniversitesi Edebiyat Fakültesi, 2020) Akder, Feyza; Researcher; Vehbi Koç Ankara Studies Research Center (VEKAM) / Vehbi Koç Ankara Araştırmaları Uygulama ve Araştırma Merkezi (VEKAM)The most significant archive of the 2nd Constitutional era of the Ottoman Empire and the Early Republican Era drawing practices in Turkey is the Mimar Sinan Fine Arts University Istanbul Painting and Sculpture Museum's drawing collection. The drawing collection consists of 2745 drawings of 51 artists presenting the drawing practices over a century. The majority of the drawings in the collection are nudes and landscapes. Drawing had been a part of various Ottoman educational institutions' curriculum since the late 18th century and its importance increased in the Early Republican Era. And the outcomes of these practices were gathered in this museum as it was constituted within the State Academy of Fine Arts (Istanbul Devlet Guzel Sanatlar Akademisi). However, the academic studies on the subject remain very limited, and there is a scarce number of documentation on drawings other than the inventory of the museum. The variety of examples over 150 years makes it possible to draw the outlines of the Ottoman and the Republican drawing chronology. As a result, the most important documentation of the drawings is themselves. In order to determine the outlines of the chronology, the common ground of the drawings was examined which is the drawing techniques and curriculums. Thus the drawings are evaluated in a formalist view. The examination made simultaneously with the terminology emerged in the Military Academy (Mekteb-i Harbiye), Academy of Fine Arts (Sanayi-i Nefise Mekteb-i Alisi), and the State Academy of Fine Arts (Istanbul Devlet Guzel Sanatlar Akademisi) curriculums, the drawing method prepared by Hoca Ali Riza (1858-1930), reveals the tension of cultural shifts on art education, especially on the drawing courses. In Turkish art history literature drawing has been evaluated as the significance of originality. However these drawings also reveal that it was utilized as a very important part of studio training. The drawing method by Hoca Ali Riza is peculiar the Military Academy and it was also appreciated by civil artist. Also some models were produced for these classes. Figure drawing and nude studies in drawing classes were an achievement of the Academy of Fine Arts (Sanayi-i Nefise Mekteb-i) and continued in the State Academy of Fine Arts (Devlet Guzel Sanatlar Akademisi) with its own devices produced for classes such as mold statues and night classes for further studying (cour de soir). The collection exemplifies the choices between the difference between the Ottoman military schools, Academy of Fine Arts (Sanayi-i Nefise Mekteb-i), and the State Academy of Fine Arts (Devlet Guzel Sanatlar Akademisi) in the Republican Era; as well as the disengagement from the realist esthetic towards post-structural views. Hence the drawings are another artistic practice that exemplifies the cultural influences and contrasts, as well as the paintings dating to the chosen period. One of the striking outcomes of this evaluation implies that the Military Academy' (Mekteb-i Harbiye), drawing curriculum was influenced by Western practices not only in the establishment of the drawing classes but all through the 19th century. The drawing collection determines these influences were dominant up to the 1960s in the mentioned academies that continued through the Turkish Republic.Publication Open Access SIGGRAPH 2014 art papers and acting in translation art gallery: Introduction(Massachusetts Institute of Technology (MIT) Press, 2014) Department of Media and Visual Arts; Şenova, Başak; Teaching Faculty; Department of Media and Visual Arts; College of Social Sciences and HumanitiesPublication Open Access Development and evaluation of a new studio-based course on critical design(ITB Journal Publisher, 2018) Department of Media and Visual Arts; Coşkun, Aykut; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; 165306Although the last decade has seen critical design growing as an area of research, studies have rarely focused on how to teach it. Some design schools have established graduate programs and others have developed individual undergraduate courses on critical design. However, to date there has been no study that investigated student reactions to the learning of critical design. Addressing this gap, this paper proposes a new studio-based course at the graduate level aimed at providing students with a medium for critical discussion and creative reflection on contemporary social issues. Lectures, seminars and class discussions were used to instruct theoretical concepts pertaining to critical design, while a 10-week design studio project was used to concretize these concepts. The students' initial reactions to this teaching methodology was gathered through semi-structured interviews conducted at the end of the course. The interview results indicate that students had a very positive attitude towards critical design and the course. Furthermore, although understanding critical design was a major challenge for them, the teaching methods used in the course (i.e. lectures, critical design assignment and reflection paper) helped them overcome this challenge. Finally, this paper offers suggestions for design educators for constructing critical design courses that meet design students' expectations.Publication Open Access Exploring computational materials for fashion: recommendations for designing fashionable wearables(Chinese Institute of Design, 2018) Buruk, Oğuz Turan; Yılmaz, Sejda İnal; Can, Kemal; Özcan, Oğuzhan; Genç, Çağlar; Faculty Member; PhD Student; KU Arçelik Research Center for Creative Industries (KUAR) / KU Arçelik Yaratıcı Endüstriler Uygulama ve Araştırma Merkezi (KUAR); 12532; N/AFashion is becoming an inevitable part of wearable devices. Yet, it is not clear how the cross-pollination between computational materials and fashion design might suggest directions for fashion designers who are unfamiliar to this concept. Exploring this territory is important for providing actionable directions to those individuals in exploring fashionable expressions. Therefore, we followed a three-pillared research through design method: (1) a design workshop with 14 fashion design and six engineering students, in which they created seven artifacts by exploring computational and fashion materials, (2) analysis of the workshop outcomes to extract design themes on how computational materials provided interactive opportunities for fashion designers, and (3) semi-structured interviews with 10 wearable design experts from different countries on the results of our analysis. Then, we refined our findings from feedback provided by the experts to finally formulate five design recommendations for designers along with the strategies that they can follow for applying them. In this respect, the recommendations we developed are as follows: (1) giving information through fabric augmentation, (2) defining bi-directional interaction between the contexts and garments, (3) controlling the form of the garments, (4) embellishing surfaces, and (5) supporting the three-dimensional shape of the garment with computational materials.Publication Open Access Painted church facades in byzantine and "Post-Byzantine" art and their aesthetics(Saint Petersburg State University, 2019) Department of Archeology and History of Art; Jevtic, Ivana; Faculty Member; Department of Archeology and History of Art; College of Social Sciences and Humanities; 103957Although painted church facades represent long tradition, attested in different regions of the Byzantine world, they have not been recognized as a widespread phenomenon. Scholars, like SlobodanĆurčić, stressed the necessity to re-examine Byzantine architectural aesthetics in the light of such evidence. Nevertheless, exterior paintings are not yet treated as an integral part of the decorative fabric of buildings. The main problem lies certainly in the scarcity and fragility of the archaeological data that needs to be recorded and collected more systematically. The aim of this article is to draw attention to this issue, most particularly for the Late and Post-Byzantine periods. It discusses several relevant examples of painted facades, the choice of depicted motives (both ornamental and figurative) and their display on particular parts of the building with intention to question the sources and meanings of that artistic practice. Spurred by the growing interest in non-textual aspects of painted inscriptions, this article reconsiders the place of painted decorations in the adornment of exterior walls and the impact such aesthetic had on the appearance of Byzantine churches and their beholders.Publication Open Access Flexographic artists’ books(Massachusetts Institute of Technology (MIT) Press, 2016) Department of Media and Visual Arts; Alaca, Ilgım Veryeri; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; 50569This article introduces experimental artists' books created in the interstices between technology and tradition. The series of books are created by utilizing scraps produced via flexographic label printing. Each book is constituted by means of the accumulation of paper on the machine, which introduces a never-ending page structure as a result of the continuous roll, creating a swirling formation. The work is an inquiry on growth, imperfection, form and time, enriched by the impact of mechanical processes that are inherent to the creation of the book. It also investigates experimental uses of printing and paper-cutting mechanisms.