EKÍN PINAR; B.Arch., MA., PhD Received her B.Arch. and MA. from Middle East Technical University. Earned her second MA. and PhD. degrees from the History of Art Department at the University of Pennsylvania. Research interests include history of modern and contemporary art and architecture, cinema studies, museum studies, and institutional critique.

PurposeThis paper aims to discuss the potentials of interdisciplinary exercises that bring together art and design methodologies in expanding as well as redefining the given methods and principles of basic design in architecture education. The primary purpose is to improve the conventional, well-established principles and methodologies of basic design studios into fresh perspectives.Design/methodology/approachFocussing on the case study of a basic design studio assignment that translated Richard Serra's Verb List (1967-68) into space-generating operations, the authors analyse how a diagonal interdisciplinary approach to studio pedagogy opened up the basic design studio into the exploration of new concepts and approaches. The assignment encouraged architecture students to productively and creatively engage with a significant art historical work for the purposes of design thinking and exploration.FindingsFindings reveal that the students explored the possible reciprocal influences between materials, actions, and issues of form and organisation, thereby operating in an interface between art, architecture and design surveying the possible interactions between these disciplines. Based on the outcome of this studio exercise, the authors argue that designing assignments that would bring together various and sometimes even conflicting approaches of different fields allow us to reassess and conceptualise anew the pedagogical aims and modi operandi.Originality/valueThe research is original in the ways in which it suggests many possibilities of dialogue, interaction and collaboration between art, design and architecture studios.

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This paper aims to briefly assess the potentials and limits of online learning environment for studio education by focusing on the case of 2019-20 spring semester studio of Introduction to Architectural Design course at Middle East Technical University’s Department of Architecture. As a transitory course between basic design principles and architectural design, Introduction to Architectural Design addresses the issues of site, program, structure, form, and material in reference to small scale architectural interventions. Reviewing the usual course of the semester until the COVID-19 outbreak as well as the effects of the unexpected switch to the emergency distance teaching, the paper highlights both the creative advantages and material shortcomings of the course’s adaptation process into the online studio format.

Since the early 1960s, Lawrence Jordan has appropriated a variety of Victorian engravings transforming them into experimental animations through the use of cut-out stop-motion techniques. In their outmoded style and technique, the dense tapestry of collaged ephemera begins to function as indices of their original Victorian context and its printing processes. But the stop-motion manipulation also renders these indexical documents surreal through the juxtaposition of apparently unrelated images. This amounts to a reflexive approach harking back to the early days of cinema when audiences perceived the new technology as a source of wonder, amazement and magic. Jordan’s animations, such as Patricia Gives Birth to a Dream by the Doorway (1961–1964) and The Centennial Exposition (1961–1964), employ a productive tension not just between animation and documentary but between indexicality and illusion as well. In these animations, the use of such tensions exposes history and culture as fragmentary constructions of memory, fantasy and experience, thereby open to alteration, re-reading and reconfiguration in the present moment.