This study explored the current status of Turkish basic art education and the objectives of the first year art program at the university level in Turkey. Also, the researcher attempted to explore the objectives and expectations of Turkish art professors and to examine the applicability of certain concepts of American basic design education in the teaching of studio foundation courses in Turkish art schools. The study included the literature review concerning changes in educational philosophy related to the history of design education in the West and in Turkey.

The purpose of this study is to determine whether or not courses in design have better equipped prospective teachers of industrial arts to recognize good design as applied to woodworking projects.

This research problem represents an attempt to forestall the high school student's usual preoccupation with perceptive minutiae by placing an emphasis on the monumental or underlying structure of a work of art. The author, endeavoring to afford maximum success for the students, first stripped subject matter to its most pristine quality, the silhouette. Because it was felt that it is much easier to recognize and organize an underlying structure without the added complication of perspective, emphasis was placed on a depthless surface or decorative space to be organized into a coherent whole through application of the abstractions which are the elements and principles of design. This unit was offered to a class of high school students in an Art General class at Madison High school, Portland, Oregon. This is an elective class open to all students from freshman to senior year. Results of this unit were generally successful. Improvement was exhibited by all students. During these activities of experimenting and creating, students learned about design by doing, looking, and discussing. They became less concerned about minutiae, and they began to express an appreciation for paintings for themselves rather than for recognizable objects or superfluous delineation. It was concluded that students at this age level have the most difficulty when left to their own resources for subject matter. Many false starts were made before this particular problem was resolved. But, upon its completion, students felt that they had met a challenge of discovery, exploration, and creation on their own.

This thesis is a qualitative study of current teaching practices in landscape architecture centering around instructors' understanding and use of studio teaching methods. Selected faculty, considered by their peers to be expert studio instructors, participated in one hour, open-ended interviews sing their instructional experiences and examining the teaching methods they espouse. The resulting transcripts provided a base for qualitative analyses for a small sample of current teaching practices. By documenting selected design studio instruction methods, new faculty may draw upon a pool of education possibilities ranging far beyond their experience as students. Similarly, examination of the theoretical foundations, expected outcomes, and teaching methods of professors may provide new faculty with a more holistic benchmark for gauging their professional growth. / Master of Landscape Architecture

This study was conducted to explore interior design students' perceptions and attitudes toward creativity in design problem solving using CADD versus conventional drafting tools and to research whether CADD stifles or encourages students' creativity in that manner. Students' level of CADD perf onnance, past experience with CADD or other microcomputer software and level of CADD problems were used as the independent variables for this study. During the last two weeks of the spring semester 1989, 32 interior design students, who comprised the population for this study, were given two design problems, one to be done with CADD and the other with conventional drafting tools. After that period students were asked to fill out a survey questionnaire and participate in a group discussion. The collected data then was a subject of a descriptive and analytical statistical study. Findings of this study showed no relationship between students' level of CADD experience and their attitudes toward using CADD in creative design problem solving. On the other hand, a significant relationship was found between the level of CADD problems that students had and their attitudes toward CADD. As a result, although students liked using CADD in design and 78% of them did not feel intimidated by it, more than 65% of the students felt that they could come up with more design ideas with conventional drafting tools than with CADD. Most of the students attributed this attitude to their long experience with design and drafting tools. Other problems that caused discomfort to students when using CADD in design were lack of knowledge of DOS commands, unfamiliarity with computer hardware and software problems, and their limited time to work on computers. / Master of Science

published_or_final_version / Education / Master / Master of Education

published_or_final_version / Education / Master / Master of Education

published_or_final_version / Education / Master / Master of Education

published_or_final_version / Education / Master / Master of Education

published_or_final_version / Education / Master / Master of Education