!

"

"#

Co-relationship between art and architecture should raise the value of architecture, and become
strongest as a science supporting human potentialities and creative abilities. Sometimes, the
cooperation between art and architecture reaches a desired level that aims at absolute form and
attains artistic beautification. In this case it is transformed from a human science to become a
branch of the fine arts. Virtually, there is no objection to beauty as a human objective, on the one
hand, there is architectural beauty based on; functions, principles, conditions, integration of the
formations, as well as the quality of scales, ratios and, color relationships. On the other hand, there
is the architectural work that aims at reaching absolute artistic and fine art based on trends, schools
of fine art, and styles. The latter does not measure up to the pragmatic benefits that are the main
objective of functional architecture. Teaching is the orientation of architecture students towards
familiarity with principles of design function. The principles of fine arts come after to develop the
innovation skills. There are many schools oriented in the academic architectural field; the first
approach concentrates on developing the way of thinking and the other learning fine arts. Basically,
there is another way of learning which aims at cooperation between developing the way of thinking
and identifying the principles of fine arts together. Teaching architecture design needs to
concentrate on, thinking, principles, and skills, because skills develop innovation. Teaching of
architecture design ideally should aim towards establishing the basics of thinking first, and
developing the skills later in advanced level of learning according to the abilities of each student.
This paper discusses the concepts of innovation, skill, and talent, and searching for role of
architectural teaching. This paper introduces some of the architectural trends and presents the
principles and differentiation for each. The main objective is teaching the way of thinking as a main
task of architecture design studio, as well as teaching about trends in the theoretical courses such as
theory of architecture and history of architectural thinking. Frequently, by using different design
trends, students will have the opportunity to broadly express their skills in design in a more logical
and systematic way. Finally, the paper builds a systematic approach to architectural design,
teaching in architecture design studio.
&'
0 #1 2

&'

>& :

0 3

! * - 1?
=
, &'

, - # #'
.# /

D 7

F F#

B ) 7

C -

A / 2 4

< ;

&: +

0,
1

< -=

0 D+
C

F# F9 : /

1 I

0
$

G7

0, $
?#

H)8

8
D

! ,

M/#

*
C

*
81

, &'

$
$

H)8

",

&:
8

< H)8 0 ;

1#
# 01

&' =

7 B#5 %

9
1 /
!

$ 0

A /

2 4 0

/#

. 0J 0

0'
/

#/

"<

: &'

2 4

&: +

?#

<

0
/

B#' -2

K $ &'
=

7 F.

$9

B / =

9 "

<

< B ) 7
$

",

0 #1

0 /#

8
) 6 .7 0

F: '

# #4

/#

01

6 .7 / 8

! ,

&' .

9 0

#1

8) &: +

8B 8=

$9

# !

1?
7

F: 0

"$#

* 05

@1 - #

* A

/ $ 0 ++
6 .7 0, & : ;

9 "

"4
#

>=

)' ,

C G-

)'

A / 6.7 < $ #8 B#5 +

* +

# #4

A /

8 B#

*
< A

,-

&:
$

0 L#
H)8

&:

" )C &

- .

"

-X J

08)
8 ?#

?7

/#: 0

. -

8
G' 2 4

) +

-!

7
/

& :, 0

, R

/ " )

: 9

<

H)8 -B
8

/U 0

QN

: 7

C- :

"

B
:

/#

.G

% &
8

&' / 7 &:
/

, / # 0

#1
< :

#1

=)
(

- .

&
8

<

< )8 -

( =

1
?#

A " < &'

,-

>

8C

"

7
#:

K &#

,
8

&:

0 #4 /

<0

, #/

$N /#C
/

"
$N

0)' R

, - 7

- / @ # :<

/#C

QN $
7 &: ,

# -%F .: F#8) 0 #4
$9

< B

D #'
7

0' V 7 -

. )8

2 4

-preparation

/ - G

:' 6 "
-0

:4

J7

> 8

7
- ?#

* /

Y #G

8 - /

-%0

,
7, < - $

0: V 7
2

! # 08)

<

@ .

0+

"
,

C - #

0 #4
/ - 7 @ "
T

: 9

* &:

/ -%;

*
U

-2 4

F 7 F9 " 0
( ?7

L ,

/? -illumination

#:

1
7

-incubation

QNverification

: B# W

"

X J

*
"

: 0:

: 0, & '
*

0, & ' 0 #4 08)

A

/ )' 0

%;
"

2 4

C < 2 4 0, & 'N %0 1

/

0 0

'

0
H)8

* -A G

7
'

/#5

? 0

9
7

$&: 2 4
0

= "

0 @+

2 4 0

'

/:

$ &:
F

= , -F 8 ?

-!

, &:

" L$

F/

'

, -F

QN = "

, 0 #4

B# 7

,-

%01

L$
%

8-

# -

D #4 B#8)

9?

.G

skill

# ! , ;

@1 0 *

: J

/# +

& : 8 /?'

/.

A "

4 0 * B

D 7 /

@9

( B

$=
/

)1#

, 0

, /

0 -@ #
1

?#
[

: $ ! , /
%

) -6

: D

@ "

sketching

L$ & '

.# L

D #'
:

#8

& : A "4

/ &' D 7

H)/

0, B : - T

) -&

()

<

: & 7 -A

/ 67

< 0

"
G

B#

/ & ' D 7 )1#

+ #4

! # & : F GU B

@ " A "

&#

2 4
C

&: +

6 . =)

&'

:'

< B#

0,

freehand

: N 8 innovation

( @ " D #4 - T

-L$

QN6

L$ 0 D

L$

P"

#8

/ <'

-X # /

# -

$
8

8 8

V 7 -

0, &#

-R

0 A9 < ;

@ "A "

talent

0, =

< 0

/#: J

6
/

=)

'

!
8

:*

0, 0

H #: 0

%BF 0

: '

"

8
.

0, &#

& ' D 7<

-0 #4 L

, -= "

<

&'

0 #'

%BS <' 6

"8

2 4 0

-6 1

: &' D 7 2 4
/

&: - 7

0 @ / #<
*

=)

"

/?

.
*

"

2 4 - /

/
/#'N

0 #1 E

% &

8 -0 #

08) 0 6

2 4

&

08)

/#

- 7 - 1G

B / F.

0, .

-6
7,

/ Y

1 ;

, 9

7
;
* X J

8,

2 4

:0

$9

8)

@ J &: =

$9 : /

% .

- #

0, 0

&'

* E ,

&7 -

$*

#:

: 4

7 , 0, V 7

#G H <

0 2 4 &:
-

, B

7<

0 &# , 7
;

, B

?# /

0 #1

8 ?# /

@<U8 -F:

0,

7 ,

0,

&'

J 7

08

0,
:'
B

< 9 0 0+

89

$& :

:<

#8 -

B 3

1 < &: #

-F G

0.

#8 0

/
0

<

.
"

) * L 0Z -N
. 0
01

@#

F+

&) .

: 0 N /#C F T
: /#' V 7

$B

& : F+

#
%

&:

8<

' &: % . #

&7

J4

#8 ' B

- J #

1
,

H
J

1 6
.G

<

FT 0 . & : +

1
0:

)'
L

$9 : B !

: 7

< B#, , %B

0,
C

C #8 2 4
/

2 4
#

-way of thinking

&:
/

"$#

&'

'

< H)8 0

.# >prompt 0 .

$ (
:

Z H <

#:
8

B#, &#

. D 7 =
:

0
7

&'

0 B#

7 -M

" -

T"

: J

1 &:

&:

: < -

. /

@ . <

) * 0
<,

. /

0
F/

< ;

/ L

0 #1

F #
B7

<

BT :'

- 9 "

&:

" &'

. 0,

/ &:

@ . <

1 < &:

<
3

>debate + ? #

M/#
.

#8

,F/

< 0

"$#

- 7

=) B
/

T8 @ J :,

?#

B .G -B @ $ 9
0 L

:<

=)

@ .

1 >6
0, 0

0, -

. L
&: !

9 0

+ - T

>R Q

0,

.#

%@

$9

$&:

M/#
4

< =

0: A
#

"

&: B
7

* A

@ .4 - G !

!
G

?#

< ;

. 0,

&: +

",

$/ - .

! .

7 L$

B$ B

8A / 0

?#
9

@ #G,

-% # G

1 2 '

"

)]

: @#

7*

/#
7

1 B

Z 0:

&:

#
A "

/#
0C

0, & '

< .

D # < > 8 /

B
-

. /

#
0

.G 0

C /7

. 0 7

> R QA "

0, -2 \

"4 0

-%FJ ,

.#

80

&'

A "

F,

8 #8

0 =

&: .

, +

2 # $<

0, H < )8

/ )

/ &: ;

-=

1 B

<

.# 0 .

% )0

FJ ,

- 7

, 8 -7

$ , H

7 A 8 / - ?#

-F : F# /1

.# 8

:,

1 0:

7 , #

'0

G &:

&' A

@ 7' & ' D 7 <

&' 0
L B

?# /

$,

1
) ,

:
$,

$"

/:

#8

&:

7 /

%
6"

:*
)' /

&:

"

M/#

. &' #1

MT # & ' 2

7 &:

* H <
9

?#

7 0
.

#G
6 # 0

7 H)8 1

?D

aV 7

,+
*
" *# *- .
#
" /+0 1$
( )* "2 3 . ( .0
4/# 5
!
( 67
+
=:#
;
<# 9
83 . (

?/
@
" *#
5
:#
-. A BC;#
D
B*

BH

:' 0 `

>0

$/

/?

:#

/?

! , ;

LJ

8, 6

<

T 6 .7

#1

6 #
:

@ # #:

<

8<

",

- # 8

#.

&:

%
8

#9 .

- #

8)

# ,

Bauhaus

_
:

T"#4
&:

Rationalist
+

expressionism

Walter Gropius %!
1?

&:

G7

Sullivan %0 1

G,

" N Wright %
0 !
-N G *

# *
8

$* N 8

NB ^

-%

(!

8)

&:

7 !

N 1?

N 7 P" 1?

"

Mies van der Rohe

K0

N Le Corbusier %B +

)8 /

@# 0

" N

-D 7<

F8

, :+#

-/

/J

:,

C V 7 eclectics
-E

7 /) 7

0, 0
0

Z 07

-+

* ;

#:

8 ? & ' 0 ?#

#:

$<
$B

, H

# #4

#8 0,

<

.
#

:<

0 F<

7 # 0 >B '

F1? F 8 6.7 C"# 0,

FJ , /#,

. H#

)8 - / G

8?
69 '

"

J * 0

.
0

<' 0 .
0

-! #
K0

&' 0

/? -0 #1

Q+

)# I
@9

@#

0 +

#
G0

R
#

0 0

, -/

. , V 7 0, 0
, B: #

&: ! # D 7

0,

I
)8 @ $

" <

"* 0

< F+

/?

N 8+

&: @ "

0/

-@ . < 0

,H8

/#

+
C

A #

R QN @ "

R Q%
!

=) @ " ;

8T

-%

0 0

01
-%

! 8

functionalism

+$ "

.#<

the Cubists
Constructivist

abstract

-/

1 Art Nouveau

7<

DeStijl

Victor Horta

- /#
+

E :
G

7 G, 0

the futurists

7 H)8 ! #
'

modern movement G 7
7

<1#

:' 0 `

= #

G-

#
$
'

%&
( )* +

.0

(!

aV 7
:

:#

"

/+0

&'

"8

>
>

4 $
E& "
D
/#
*
FG
%&
$)

, 9

0
#

.# $ - /
7

/ +
Z

#
+

0
- ": L

/#
0,

2 4

:0

$9

- 1?

"

0: !

@. <

"

L
-

@ J &: =

@9

&: +
7

- #

"

/ .

Haward%
/.

"

7%

&:

- ?#

0 0

<

J:

B#, %

L ,

< L#

1 0 M # P" L#

' 0 + < -%

6.7
%

-illumination %

7 &'

&'
7 V 7 -2

'

&: #

H)8 D 7

G4

R Q verification
!

- #

> 8

; 1

R Q

/" /

&'

# #.

7 &'

/:

#.
?#

@#

0, /?

$ B /#
@ "#4

1
?#

0 J =

E $

/
[
*

-% 7

-0 ..7
F" B

0 B

E
7

, % # #'
;

+1$ 0

d@ #
1?

A / 0

V 7

"

.1

.1

1 )8 0, %

0) -

@ : 0

> 8 /

,
0

D F

)C < =

&:

0,

> /#

@+ * ! #

"

6.7

"* 0

8 @ "#4

#9 .:

0
%

< +

&:

postmodernism

0 L

"

+/

#
modernism

G7

8)

&:

%
.

= .

&:

post constructionism
8 - #8)

+
J
",

#8

F
%

?#
G7

"C /#:

modernism

& $,

new classicism

:< -

V 7

@9

. L -

0
G

neo -

"

:< -

-G7

# 0

", & :

/ $9 : < -

-@ "#4 - ?#

/ / :, - 1

<

+ B

expression ism

"

7 0Z H#

/ $9 :

%
&:

8)

, / 0

-6 #

- #7#
V 7

$9

L
#

%
=)

T"#4

new

0
T 0

8)

"

organism natural

expressionalism
7 3

#8 -E

: 0

constructivism

1?

0 #/

# #4

8)

ISM

.#<

#/

# #4

< H7 =

<

)8 0,N %

-%

.1

classicism

L$ L

# #4

[ ] # #4

D) # B :

:
$

0 F9 0,
_

6 .7

1#
B

?#

0 & *

+<

0 CA

#:

@J ' A

*
M/#

# *

c#

.
: "

<

: A

"# = 7

, -@ #
*

E $ % :+#

?#*

7 H)/

! # D 7

T,0
#

%/ /

0 #4 E $ %;
@#

@#

0'

'

0 .

- .

: @#

N .T 7

-B

-N ..7

.# G9 G G 7

M8 # F

)8 @

-1
Z &:

0, %

8+

-philanthropic movements

Jane Jakobs %

1 &:

canonical B ^ .# < = )

Broadbent % #

-pragmatic %

, B#' &#

F /# %
= "

"

1 B.

-iconic ! .

:4 >

preparation

?# & '

: &'

# < -incubation %

&:

N Perry %=

%CIAM
:

- 8)1#

- /#

H)8 %

/ N

: #8

@9
.

A /

: 0:
1

: 0 @+

'

/ !

<

-R QR N #

'
T

social and

evolutionary

1 <

[ ] %B

?#

T+ -

7 %

89

0 /

#:

= .

V 7

Deconstruction
T"#4

, modern

G7
& : F+

<

GU E $ B 0
A

#8 0

.7

-B ^

#8

0' -0 #1

29

< B#,

V 7

# = .
$

0:

-01

$@#

-[

< -[

.
#

"

, f

)8 L
8

&:

0'
#

. 0

-F

/'D 7

> 8

, F#8) -! #
>

H)8 9

$9 : 0:
7

#8 0

#:

#: #

&: F

0.
0

$9 : B

:%

F# #

/#

"

M#

M#

: 8 -N2 4 6 .7

.# 0 @

=, >

-2 \

NX
..7

#: G /#
:%

&: A

L ,

.# A

> Z 7# & :

.#
/

T
1

/
1

G 8
G-

A"

0.
G -0 .

0 #4 ,

#
%

"

8
%

H
"

$,

0:

0,

0 e+

:<

?# & '

$ 0 0

/ !
#

0, !

H)8

?# 6

&:

8)

, +

D 7
G-

0,

0 #1

< -f .

0
J

0.

0, =

? &:

#/
B

3 #

- : '

1 0:

8 - 1#
, 8"

, L
-

@#

A
,
H#

# +,

8
7
#/
/#

? A
- #

0 J =
- ..7

:,

GU

0 !

0, )'

, 6 # L

#
A

?#

@ J &:

< #1

#:
/

: 05 -01 0 M #

0 #1 & 7
+ < /#' <' - : #

1 - )

J
0 FT

- 1?

: /#, & :

7# F+ 7

"

: "

" 0 & *

&'

: B

J1

@ :' L -

, -B#

0, J 1

* 0

J1

#8

)*

#8 0
?#

/ 7 sketch problem
;

* &: 0

F<

C G

&:

B 8 0#

69 #<

&: # <
"

-0 .

0 B 7

MJ #

1 & : @# E

0, / )

)8

0 0
9

L - T9

H)8

# #'

"

0 - : ' F< :, M # 0, 0

#: 0
- 8

8 L

: ,

0, :

)8 ;

0: 2 \

- 7

&' D 7

0 & *

'43

-2 4 & '

&:
A

)8

GC 0

G,

8) B :

G7 +
, +

&'

: "

K $ &'

< B

&: B

&: A

$0

0. - 8

: !

=,
#

.
C

6
*

8)

L D

- .

. 0:
=

0, & ' L

" 0

L , 9

9 0

?#

.
:

8)

8) C

'

2 4 6 .7 0
8

-F

< &' A /

?# I

U
L

&: ;
X

V 7 -

"

& .
&:

.
#8

" 0

"8

0, & ' =

, +

: / B

L -

(9

<Z & :

# H

, / FJ ,

, 0

&.

' &: A

#8 -

"#

@# 0
0

0 0

.# - .

- 7

* 0

7#

G8

8) - "

: $ A
: $

B# $, 0: F$ 1 = .

1 &.

7
%

<

B :, 6

B# * F.

- "

#8)

.79

7
+

/7

0
L

0 B

F #8 F

"

8 -=

@ )

8*

, 0 <' / # < F

/ 7

8 - ) B %BS

L 6

- +

0: =

2 '

/ /#

L$

/ ! #g, L

, 9

2 \ F7
L.

# ,

GU

2 4

:0

$9

@ J &: =

1
%

%
8

L 0. %
M#

L 0. %
T

M#

01 M #
.
%

M#
L

8
/

aV 7

:' 0 ` 2 4

"

<

D
/# S

#: 0

S
-

T#G

(!

D
/# S
S

D
/#

T U
S

- N R-

,* D
/# =[9 ,*
* + H" L
M!
- D
* R

*:#.

=Z9 -C( BK =Y SX B I9
(#
N F"
=X9
F\
0 .P
CG "7K

F"
"7K

- D
*- N:#.

FB .
VW
*
=X9 ,* D
/# =[9 ,*
* + H" L
M!
Q- D
* R

D
*

=Z9 -C( BK
(#
N =P J X B I9
FO .P
CG

FB .

S
D
/# S

T U
S
-

!
= 9 ,*
* + H" L
M!
Q- D
* R

,*= 9 ,* D
/# = 9 -C( BK = J B I9
+ H" L
M!
0
(#
N F
= 9
Q- D
* FO .P
CG "7K
*

= 9 -C( BK =( J B I9
(#
N FD
/# = 9,*
. O .P
CG "7K

aV 7

:' 0 ` 2 4

#: 0

G9 G

(!

- D
* R-

VW
*

*:#.

, 9

"8

FB .

S
D
/# S

T U
S
-

- D
* - N:#.

D
*

FB .

0
QT U
:#

0
^

" L
] (#
N
F"
D
/#
E
B!BK
V! D
/# V
V!^
L
6 * *( ;0 3 . 4 $ 4
Q_
B
FT U ` 3 aO#
E#
V!
*B!: & A 3 * <#

aV 7

:' 0 `

(!
1

i 2 \

G-

1 &:

> Z 0
i : $@ i # A

A /

0.

8@

.#

:
A

&'

#/

, &: A
: $@#

-: $ !

?# & : A

1 I

: .

-0 .

#/

/ 7A

& 7 - /# <
/1
T
)1#

#8 0 .

&: A

,
8 - ?#
X J

9
: .

T/#

B#, E
E

.*

&' D 7

- +<

/J

.G
&' D 7 V G

?#

0
-

#8 - 1?

-& *

&:

,6
)

2 \
#

&' 1

J
" &'

#
/

0, B : 0)' -01 0
7

.
$ /?

1
0

#
- .

%
#

J4 h

0. &' D 7

0.

&:

, & : M/#
B

, $

$,
Z

#/

8 #: -

&' D 7
)

V 7 B

- 8

%F9 G

?#

/?'

& *

: A
1

0,
/

:'

.
,

- .

1 @ # -L$
1

=)

7 0

:4

: "

7# 0 6

:
-

#: -

0, B : -

L -%

% 7 LJ
[

:
67

-D

0
, 6

/: A

#
#

?#

0.

7 -0

A
A

&: A

0:
-

8
: /#

! *

0:

.G 0:

:
.

! ,0

=) =

-6 G

H1

F :
%

- :

D 7 & *

67

' 4-7

M8 #
/

( 7

8
:0

#/
&'
$
6
)

F.
#

2 4

:0

i7

@ J &: =

Ci - 8

) &:
i

$9

:<
/

i/
i G0

70

<=

/ F.

#:

-i
,

9 0 FJ ,

/J
!

0:

1
.

A 7

-0 .
1#

0,

/#, &#
,

2i

.#
#
<
.

.# 0 @
G !
&: +

0'
< -E

G B I

& *

:+# +

D 7<

-B :
?#

9 0

<

C 0

:"

/
%

2 4

<

A /
@#

:"

2 4 9
6 .7 A /

L$

0,

A9

=) = #

&#

6
!

D 7<

'

B.

&'

/ 9
-=
#8

D 7

?#

)8 6
/# !

A "'

&' !

A "

7 %F9 $ <'

7 0, 0

A /

J 4 -L # +

. -

A "

&:

- : iJ

-0 i * - #1 ;

@+i

&'
0

0 - * )/

1
i

i 0 0+
0i Bi #

i $ %FJ

?#

0 0

B"

0,
< H)8

H)8

0
,

?#

! *
)

#8

7
0

&: F $

8
$9 : /

! #

= ) L$

&'

1< - *

;
i ?#

A "

/ -6T.7 0:

@ +i ,
)

:
% : "

9 0 0

i7 < & 7
&: A

' -

&' D 7 /

$ &' D 7

)8 0:

i 7 @

i 1 - i ..7

i.

i 7

' - i )1#

/: #

i ! i#

@ " &'
0 +9

"

&'

M/#
7

#/

Li

) 6 .7 / 9 0 0
'

#8

2 4

: J

iGG #

i/

89 V 7 0 #1

Ai #

6 .7 & :

@ 1J '

< ?#

&:

&:

A T?

/:+

!
0,

?# M/#

H)8 U & ' D 7 B#'

i8

89 - #

i Li 0 +i

GG

0 #

: =

/ 6 #

B D

H)8

M8 i # !

D 7<

Bi #: D

0.

$
#. 0

- 7

i .G

: 0, &#

"

0.

-& *

I i

/#
$

&'
7

V 7 0, 0

/ -/

( E

< 1 @#

B# @ / #< & 7

1 @# & 7
#

: 9 0

. )1#

V 7

T
7

i :

H)8 0

&: +

?7 0

:' & ' D 7

- /# /

7 &' D 7

&: A

7 H)8

G G

#G #

M/#

0 i

< B#, &#

?#
:L

?#

0 @ / #<
E

G E

, / - T#

L *

B#, & :

&:

&i 7

2 "

+< 6T.7 _
A "

i:

7 &:

- 8

1
:

#/

A /

$ B#, <' - .

6 i

A /

:< L
8

/ 0, & :

i7

A "

# +,

# ,

D 7< 6 .7

: J
0
B

: J

! # B 7

H)8

B: " 0
V 7

:+#
"0

1 <

&: +

'
$

9
7

F$ 1

&'

"

&: B

#0

6 1 )8 0, & '

J4

0
B$7

8 #: -

$/

#/

$,

# #4

#/

&:

0,

' B

&:
0

L$

- /1T?

"

: "

J' 0

&:

G0

$* 0 !
:

L$

:
: "

Y/

T8 @ J :C

, 0 .

< -

> #

: &:

H)8

B#,

:<

-0

: 6 .7 0 8
0

: D 7
M

2 # 0

MT # 0

0, & : -

8
.

<

0. > 8

&' D 7 2 4
F

" 0

. 0, )' -%
0

$ #

8 7,

1 <

)8

:
.

< 0

#8 0

0, * 0

0+

, - :1 /

& : X 1#< 0' V 7

$/

2 # &' =

0,

0 (
1 <

: &'
E

(!

G @ *

. 67 <

J4

0.

D 7<

&'

.# " 0
F F :0
# 7#
7 & ' #/
0. &'
< 8
8
A"
D

Q @ *

0, & : 7

&'

!#
)8

= G 1

,0 J

B1

* 1

0:
#

#: /#

#: @ .

:' 0 >

)* L

U &: =

: "

F. 2 4

, /

# *

$9
RV 7

: "

. 67 <

..7

$ 0

X #

T
-E

@ . > 9

7 1

7 1
9

$9 :

0. i 2 i 4
#: 0
#:
/#
.
B 7A
& *
#
F
i Bi $ +i F
1 ,
# D
D 7
#
.#
.
&i *
/ A"
# -F
1
i #
i
T
/ @.
.#
&7
L
#
7
A #

"

- G 29 <

T
)1#

0,

'(b c

&: 6
H #: 0

0,

0:

1 0, &#

1
#/

"

+ L "

" @# & : & *

.G 0

0,

#: 1.G

H)8

. B

"

$9 : /

#8 0

< ! , LJ

B7 #

- #/

. 07
9

&:

F$ 1
7

6 1

0, .7<

"

#G

J' 0

D
/#

< ! , LJ

H . . <,

"8

'43

0, / 8, =

# 0:

'(b FG
!

/#

, 9

G0

V 7' 0 0
0 .

0' V 7 - [
)' <'

H #:
A

$
$

2 4

-2 4
&:

: 0
01

0
C

.G $9 :
L

#8

8 #8

2 4

:0

/#' )' - ?#

# *

T/

@ J &: =

/#

1
#/

L$

- /8

<

<

..7

T
.#

( 1

0
7 0:
:

. D 7<
.

)* L

?#
#

#8

.#

: 2

0 / $ /
7

<

0 ! .

"

0 J

D 7<

1?

/#

&:
7

$9

, -;

1 9

G7

,-

A
: +
T

<

A 8*

: "
1

-A 1
0

: #/

$9 :
#

2 "

0 L

=)

T8 J :
7

&:

B , 0
0

. section
0

0.
#

6
0

' V7
A

6 1 0

0,

.
/ ;

< E

&: A

=,

:9

@1 L

/7 .

/
E

@ /#4

-!

*
. !

/:

@1 ! $A /

F.

8 ?#

&: 0 U

7#

= ?# 0

, -2 4 & : B

@
.G E

<
L

/'

. &: +

0,

0, & : E

+
$ B# .

#
L

D 7 E

L -

:
.

3J
+

'

$ 7# 0

$, 0
<

. $
&:

#G 7# 0
, -

V 7

#.

+/

= ?#

"

?#

.# G -2

J 7

" V 7#

&' %

#/

1 <

7
L

/1

#: -@ #

?#

: L -

# @ [

#. 0 E

, 8 7

&:
$

- @J 4 - "

X # !

8,

GU

.# -@ "#4 6
: / /

/#*
7

-;

0 M # 2 4

.G
#8

7# E U

J 7

U 0,

#8 -0 :

G 0 !

&:

7 &: :

: 0

A /

&:

"

T
7 , -H

K 0 J

&' D 7
1

0 L # -

?#

$, /#* !
:

/#

?# 0, V 7
&: - "

1
7

"

&: F $ B

0, =

8)

.
1

B#

?# lecture

: L

=)

J 7

L
B1

/ , 0 ."

<

G, , 7

1# 0 :
1

C 0,

C -

L "

?# 0 B 7

?#
.

"

E
& ' %0

<'

< @+

K $

J 7

#/
0 ,+

0, , -

.#
T "

8) C 0

0, L#

# 0, 0

1 /#,

:<

# *
7

8)

B
- 7

0 0

T8 @ J :,

" 6 .7

#:
0,

< % # #4 f
#

T+ ) * 0

GC FJ , / 8

! #

?# ; [

)0

L - T+ ) *

&7 -

! ,

$9

@9
K

+ ! #

" > G - GU

! , / 7

@9

GU /#

:<

7 1

?#*

?#,

&:
)8 L

0, 0

E $ 0,

8 - #/
7

$9

/
' 4-7
LJ

&7 & * #
,

-2 "
#

:'

0 A /

&: A

2 "

<

< - $9

/ -V 7*

&'

H)8

A T?

6
7

-%

"U

/1

V G

7 &' 0. 0 0
-MT #

Y "

-L$

# X .

6 #

, - 8C

<

'

#1 ;

&7 -

8
7

!7 0 L # A

1 <
7

7
<' -

7
)1#

?# 6

@ :' & :

+/ *

:, L

0
: L

/ 7

?#

7# 0

V 7 -

# 0

0 J 7

L !
T8 @ J :, 0 B#

G, #

$ 2. : ;

KA 8

% GG A

#0

+/ *

. $

'47 7

3J

/9 0

&: !

>H ) 6

T8 @ J :, 0 6 1<
A

2 4

0.

:$0

L , &'
>

>

% #G & *
-A / -&

>2 "

>

:
GU

,
1
'

8 7

E . - #
- 7

H)8

D 7 @ J &: =

= "
#
8

#/
- ?#

&#

0 .* 0

: "

A 8 (

/
2 "

7 &:

7
7

"

= "

0, 0

H)8

"

F 7 F#
1

#7 <

" 0

9
C

0 F7

: - 7
#

)6 #
.

> 77

#
#

)1#

<

.
/

A "

?# 6

J 1

<

" 07 <

..7

:'

85 3

F. 0 7 < 0 +

1 0

A
B X

: "

#
$

1 &' D 7

G - /#

7 0

$ 0

/#

- $

81 (

, 8

G-

0' V 7 - 9

0.
B '

- ?#

=) E

V G

&:

0 , MT #

#9 .:

>

A 8C / '

T8 @ J :, 0

' B : #

>

A 8* -

-B

?#
!

LJ

1
-

?#

6 #

) C

B )C-

&: A

#G

L$

-%6T

-2 "
0

2 " 0

& : A "4

8 >

! ,

0, & :

#8

= "

GG

+ >LJ
"

#8 0

, G9 G

> -7

3 9
7

$
#8) E

?# @ #

-B
.

G 0

M/#
D

2 "

) 1

"#

A J

%
>0

2 "
M #

: $

?#

/
#

# -0

$9

<

&'

<

/#:

! #

"8

/..7 0,

.# & : 0

C #8 >
<' FT"

- ["4 -

-0

G -2 "

#:

7 -% <

, 9

"#

A T?

$9

[
M #

>
- /
A /

2 "

- : . V G
: 8

@ $ 1 &: A

2 4

:0

$9

@ J &: =

"# $%&! '( )#* & + ,# %3. "# $% &! '

#6 ? 4 ( @ 6+ A 6 &
#6

=56>*

: 4

! <896

: ;6

E 4 &6B 4

C;D

O N+*

<

2.

, -;

(*
&'

" 0, /#

, -

8 ( - : "

M8 # N >0 7 -B 7"

- 8. -

L -.

' , A

&:

>
G9 G

, - )1#

#: / "
A

"8

B 8

, - 7

,
/

= "

%D

&7

B#: 9

6
<

Burden, Ernest> "Elements of Architectural

Design. A Photographic Source book", Second
Edition, John Wiley & Sons, Inc. (2000).

F 7

Group, Fifth Edition, (1998).

4.

Gosling, David & Maitland, Barry: "Concepts of

Urban Design", Academy Edition, Martins Press,
(1984).

5.

Jon, Lang: "Creating Architectural Theory, The

Role of the Behavioral Sciences in Environmental
Design", Van Nostrand Reinhold Company, New
York, (1987).
Moorhead, Steven: "Landscape architecture",
Rockport Publishers, Gloucester, Massachusetts,
(1997).

7.

Risebero, Bill: "Modern Architecture and

Design", An Alternative History, The Herbert
Press, (1982).

8.

Sullivan, Chip: "Drawing the Landscape", Van

Nstrand Reinhold Ltd, Second Edition, (1997).

9.

Neufeldt, Victoria (Editor in Chief): "Websters

New World Dictionary", Pocket Books, (1995).

* B 7

&:
L "

FJ , B : - /#
A

?#
# < 0

1
/#

# G M/#

-D

1?

2 "

-D
:

8 -

M/#

07

G, 8
"

0 L

<
: #/ N >
/

++

&'

0 ,

/#

F 01

&:
0 /#

F) # %

&7 & * #

7
: &:

/
D

BJ :

1 @#

7
0

&:

1 <

L$
G0 .

&: A
8, B: "

/#, E
L

:'

B: "

9
.

/ 7
D 7

2 "

1 < &:

V 7

/
:< 0

-D

#:

2 "
0

H)8

-/ : +
D

Fleming, John. Et. Al." The Penguin Dictionary of

Architecture and Landscape Architecture", The
Penguin

3.

6.

:*
;

, -0 *

-0 #

-> <
1.

, -

5M

+
%

?# 0

N >0<K -

-N6

#
9

35 4 ( +# / 0 12 34

5 E+L J K ? 4 GHI F6

-N .$ 0 G9 G 9

. !

! #6

, 9

"8 -H

- 8. - :

,
-N T