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Gaze Machines of Field
January, 2016
Ayse Zeynep Aydemir, Bihter Almaç
The International Journal of Design Education, Volume 10, Issue 1, January 2016, pp.21-29, ISSN: 2325-128X , CG Publisher


This article discusses a design, production, and representation task of a three-week period practised by first year, undergraduate, architectural design students. The task “Gaze Machines of Field” introduced three steps: the field, the gaze, and the machine, respectively. The main concern of the design task was to explore the potentiality of the view, the focus and the tool of intervention, and to produce new landscapes and scopes among them in collaboration with other studio participants. The first step of the task was the field, which was a physical, topological, existential, intuitional, and instrumental investigation of the studied area. The second step was the gaze, which involved building the context and all the necessary and possible interconnections and interpenetrations between the subject, the design object and the field. The third step was the machine, which requires and involves the design and the production of the one-to-one scale gazing machines. Machines were placed in the field and exhibited for several weeks. After all these steps, students were asked to prepare a section of the project including the view, the viewer, the machine, the field and the transformation of the viewer and the view during their interactions with the machine. The research aims to discover and discuss the expansion and the transformation of a design problem and its outputs by putting the body into an equation through an analysis of the gaze.

Keywords: Visual Analogy, Gaze, Field, Situation Design, Design Education

Places of Curiosity
June, 2015
Bihter Almaç, Ayse Zeynep Aydemir
The International Journal of Design Education, Volume 9, Issue 2, June 2015, pp.11-21, ISSN: 2325-128X , CG Publisher


This paper is about a design task of three weeks in a first-year undergraduate architectural design studio. The main motivation was for students to encounter many possibilities and probabilities of place and to comprehend the close relationship of topography and architecture. A task was introduced to students with a text of three different depictions of the same place. Narration consisted of three intermingled layers of place, named respectively as: ‘End’, ‘Passages’, and ‘Core’. It was a depiction of curiosities and astonishments of topography triggered by this layered place. The place was derivedfrom multiple places, as the text was a depiction of experiences from three different people. In this architectural design task the experiences, feelings, and embodiment of place were more important than a building program. The task needed students to design both the topographical context and architectural concept within. First, students played with micro and macro scales of things to create a possible topography together with the Places of Curiosity. Then, they focused on the text and tried to decipher the experiences in order to design the Places of Curiosity. Briefly, this paper aims to stimulate a fact that how a sense of place and embodiment of experience trigger probable architecture through narrative, releasing students from current curricula and to design something out of curiosity and astonishment.

Keywords: Narrative Architecture, Poetics of Space,Design Philosophy, Instructive Design,Design Education

Architectural Image as a Reproductive Aesthetic Experience:
The Louvre-Lens

June, 2014
Ayse Zeynep Aydemir
The International Journal of the Image, Volume 4, Issue 2, June 2014, pp.33-42, ISSN: 2154-8560, CG Publisher


The image is a medium of representation, not only for transferring information, but also for the reproduction of knowledge. Each step of this reproduction process, which can also be considered as a form of design, has an act and meaning in the context of understanding and interacting with the world. The normative position of the architectural image, as a design act, also has a subjective characteristic that enables the audience to empathize with and experience the aesthetic perception of the designer. From this point, the paper focuses on the reproduction of the architectural image through the evolution of the museum and the aesthetic experience within the example of SANAA’s Louvre-Lens Museum. The built example in question indicates a new thinking and presents a new approach for the interrelation of the audience, work of art, and the designed space. As a designed and built architectural image itself, the museum building reproduces a new aesthetic experience, furthermore a new image, with the involvement of new audience.

Keywords: Architectural Image, Aesthetic Experience, Museum, Contemporaneity