Yamak, Ghina.(2017) The Interdisciplinary of Arts and Design.

LINKING THEORIES TO PRACTICE IN EDUCATIONAL BUILDINGS THE INTERDISCIPLINARYI OF ARTS AND DESIGN

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Linking Theories To Practice In Educational Buildings The Interdisciplinary of Art and Design

A Thesis Presented By Ghina Mohamad Eid Yamak

Submitted to the Arch 534 Graduation Thesis University of Beirut Arab University

Of the requirements of the degree of

Bachelor of Architectural Engineering December 2016 Faculty of Architecture Engineering

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Linking Theories To Practice In Educational Buildings The Interdisciplinary of Art and Design

A Thesis Presented By Ghina Mohamad Eid Yamak

Approved as to style and content by Eslam El Samahy, Assistant Professor BAU Faculty of Architecture Engineering

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DEDICATION This Thesis paper is dedicated to my parents , Sonia and Eid, for their love, support, encouragement and sincere belief in my capabilities toward a bright future.

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ACKNOWLEDGEMENT I would like to present my gratitude to our Assistant Professor Dr.Eslam El Samahy for his educational orientation and his provision of knowledge, understanding and value for our thoughts and studied topics.

I would to express my appreciation to the Assassinate Professor and Head of our Faculty Dr.Nabil Mohareb for his guidance and success inspiration from the first day in architecture engineering till the graduation year.

A special thanks for the Academie Libanaise Des Beaux-Arts (ALBA) - University of Balamand Masters Students Ouhayla Dernaika ( Architecture Student ) and Dana Jarrah ( Interior Design Student ) for their assistance in the case study held in in the thesis paper.

At different stage of the research, numerous people have been generous enough to give their time and knowledge to discuss various aspects of their artistic fields, Joya Douaihy ( School Director and a Musician) and Lyne Sidawi ( Guitar Instructor ) Ecole D’Art et de Musique Zgharta Branch, also the artist Neam Kassem ( Drawing and Painting Instructor ).

And finally a sincere thank you to all our instructors who are always in the right time and place ready for any educational consultation.

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RESEARCH KEYWORDS 

Interdisciplinary Arts, Visual Art , Applied Arts, Art Studio Configuration, Spatial Design

,Critical Theory, communication, discipline.

THE DEFINITION OF TERMS   

  







Interdisciplinary Arts : Examining concepts, forms and techniques from across the fine, performing and media arts working in collaborative strategies and relational art forms.

Visual Art : Current usage of the term "visual arts" includes fine art as well as the applied, decorative arts and crafts.

Applied Arts : The applied arts are the application of design and decoration to everyday objects to make them aesthetically pleasing. The term is applied in distinction to the fine arts which aims to produce objects which are beautiful and/or provide intellectual stimulation. In practice, the two often overlap.

Art Studio Configuration: The study handling the design requirements, need and best practice of artists working place.

Spatial Design : Spatial design is a relatively new conceptual design discipline that crosses the boundaries of traditional design specialisms.

Critical Theory : The concluded theory from the study paper that states the effect of the interdisciplinary between the design theories and the art practice on the architectural building and paces design.

AIA : The American Institute of Architects (AIA) is a professional organization for architects in the United States. Has been the leading professional membership association for licensed architects, emerging professionals, and allied partners since 1857.

RCA : The Royal College of Art or RCA is a public research university in London, in the United Kingdom. It offers postgraduate degrees in art and design to students from over 60 countries it is the only entirely postgraduate art and design university in the world.118 In the 2016 QS World University Rankings by Subject, the RCA was placed first in the Art and Design subject area.

Listed building : A listed building, in the United Kingdom, is one that has been placed on the Statutory List of Buildings of Special Architectural or Historic Interest.

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The Interdisciplinary of Arts and Design

TABLE OF FIGURES Figure 1- DIFFERENT DEPATMNETS OF THE RCA COLLEGE. (rca, n.d.) ..................................................................................................... 12 Figure 2- THE KNOWLEGE TRIANGLE IN ART AND ARCHITECTURE. ......................................................................................................... 12 Figure 3- INTERLATION BETWEEN ARCHITECTURE AND ART. (Yamak.Ghina, 2017) ............................................................................... 13 Figure 4-INTERLATION VETWEEN DIGITAL ARCHITCETURE AND CONTEMPEPRORY CRAFT. (Yamak.Ghina, 2017) ................................ 14 Figure 5- INTERELATION BETWEEN PAINTING AND E MATERIAL. (Yamak.Ghina, 2017) ......................................................................... 15 Figure 6-INTERELATION BETWEEN CRAFT AND ARCHITECTURE. (Yamak.Ghina, 2017) .......................................................................... 16 Figure 7-The sensation of color. (shillingtonschool, n.d.) ........................................................................................................................ 29 Figure 8-The five core design principles. (shillingtonschool, n.d.) ........................................................................................................... 29 Figure 9-Diagram Showing the link between the Design Theories and the Art Practice. (Yamak.Ghina, 2017) ...................................... 30 Figure 10-The Linking Area. (Yamak.Ghina, 2017) ................................................................................................................................... 38 Figure 11-Indoor / Outdoor Links. (Yamak.Ghina, 2017) ......................................................................................................................... 38 Figure 12-Linking Methodologies. (Yamak.Ghina, 2017) ......................................................................................................................... 38 Figure 13-Painting class. (Yamak.Ghina, 2017) ........................................................................................................................................ 40 Figure 14- Painting class. (Yamak.Ghina, 2017) ....................................................................................................................................... 40 Figure 15-Painting class. (Yamak.Ghina, 2017) ........................................................................................................................................ 40 Figure 16-lecture and studio class. (Yamak.Ghina, 2017) ........................................................................................................................ 40 Figure 17- Administration. (Yamak.Ghina, 2017) ..................................................................................................................................... 41 Figure 18-Entrance hall. (Yamak.Ghina, 2017)......................................................................................................................................... 41 Figure 19-Piano and Aoud Class. (Yamak.Ghina, 2017) ........................................................................................................................... 41 Figure 20-Vocalise and Piano Class. (Yamak.Ghina, 2017)....................................................................................................................... 41 Figure 21-Lobbies. (Yamak.Ghina, 2017) ................................................................................................................................................. 41 Figure 22-Painting in Music Classes. (Yamak.Ghina, 2017) ...................................................................................................................... 41

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TABLE OF CONTENTS TABLE OF FIGURES .............................................................................................................................................................. 1 PART I - INTRODUCTION .................................................................................................................................................... 4 I-1. Introduction ........................................................................................................................................................................ 5 Research problem .................................................................................................................................................................................. 5 I-2. GOALS AND OBJECTIVES ............................................................................................................................................ 7 I-3. Questions & Hypotheses .................................................................................................................................................... 8 I-4. LIMITATIONS .................................................................................................................................................................. 9 I-5. RESEARCH MYTHOLOGY ............................................................................................................................................ 9 I-5-A. The general research approach ................................................................................................................................................... 9 I-5-B. Research design ........................................................................................................................................................................ 10 1.6. RESEARCH Hierarch ...................................................................................................................................................... 10 PART II | Literature review ................................................................................................................................................... 11 iI-1. Introduction ..................................................................................................................................................................... 12 iI-2. Art and Architecture: A Place Between by Jane Rendell. ............................................................................................... 13 ii-3. Bringing Bauhaus Back: Digital Architecture + Contemporary Craft , BY SHEL ELIZABETH DOYLE, AIA ........... 14 ii-3. Creative textile design inspired by interactions of color ................................................................................................. 15

by Mi-Young Moon Iowa State University ............................................................................................................................. 15 II-4. The Dialogue of Craft and Architecture BY Thomas J.Forker ....................................................................................... 16 II-5. DEDUCTION ................................................................................................................................................................. 17 PART III - THEORATICAL BACKGROUND ..................................................................................................................... 18 III-1. BEAUX ARTS THEORIES APPLICATION IN ARCHITECTURAL BUILDINGS ................................................. 19 A-Character-Defining Features: .......................................................................................................................................................... 19 B-Building Materials ........................................................................................................................................................................... 20 C-Beaux Arts Urban Planning ............................................................................................................................................................. 20 III-2. BAUHOUS THEORIES IN ARCHITECTURAL BUILDINGS .................................................................................. 21 A-Character-Defining Features ........................................................................................................................................................... 21 III-3. VISUAL ARTS: DRAWING/PAINTING AND SCULPTURE ................................................................................... 22 DRAWING/PAINTING ...................................................................................................................................................................... 23 SCULPTURE ...................................................................................................................................................................................... 23 III-4.APPLIED ARTS: ARCHITECTURE / FASHION DESIGN / INTERIOR DESIGN ................................................... 24 I-Objectives of studying Applied Art .................................................................................................................................................. 24 II-ARCHITECTURE ........................................................................................................................................................................... 24 III-FASHION DESIGN ....................................................................................................................................................................... 25 IV-INTERIOR DESIGN ..................................................................................................................................................................... 25 III-5.PERFORMING ARTS : SINGING / DANCING / MUSIC .......................................................................................... 26 I-SINGING .......................................................................................................................................................................................... 26 2

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II-DANCING....................................................................................................................................................................................... 26 III-MUSIC ........................................................................................................................................................................................... 26 III-6. DEDUCTION ............................................................................................................................................................................ 27 part iV- INTERDISCIPLINARY ANALYSIS ....................................................................................................................... 28 IV-1- Linking Art Practice To Design Theories ..................................................................................................................... 29 IV-2. INTERDISCIPLINARY THEORIES APPLICATION ON BUILDINGS DESIGN .................................................... 32 IV-3. INTERDISCIPLINARY THEORIE GUIDELINES and key feature............................................................................ 34 Part V : The Critical Theory ................................................................................................................................................... 35 V-1. The critical theory of Interdisciplinary ........................................................................................................................... 36 V-2. Theory application fields ................................................................................................................................................ 37 V-4. CONCLUSION............................................................................................................................................................... 38 V-5. future portal question in the field of study ...................................................................................................................... 39 APPENDIX ............................................................................................................................................................................. 40 VISITED PLACES | Academie Libanaise Des Beaux-Arts (ALBA) - University of Balamand ....................................................... 40 VISITED PLACES | Ecole D’Art et de Musique Zgharta Branch ..................................................................................................... 41 PART VI. References ............................................................................................................................................................. 42

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PART I - INTRODUCTION

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I-1. INTRODUCTION RESEARCH PROBLEM

Interdisciplinary Art and Design is an exploration of interrelationships, interdependencies and interactions among the arts. This method of edification adapts various methodologies to examine one art form through the study of other arts and other disciplines.

Interdisciplinary is always a site where expressions of resistance are latent. Many academics are locked within the specificity of their field: that is a fact … the first obstacle is often linked to individual competence, coupled with a tendency to jealously protect one’s own domain. Specialists are often too protective of their own prerogatives, do not actually work with other colleagues, and therefore do not teach their students to construct a diagonal axis in their methodology.(Kristeva 1997: 5–6.) (ARTS) The research topic in this paper will study the linking strings between arts and design, understanding the theories and methodologies of design and the possibilities of applying it on visual arts.

A unique educational field in the world of Art and Design that emphasis on the socially-engaged practice in an environment of exchanging experience, ideas, criticism, in taking into consideration the social, cultural and environmental factors.

The adaptation of the previous educational concept will be able of enlighten the new Design generation in the Middle east world, and provide the knowledge of the collaboration between Arts and Design. Working in a shared space of artistic spirits and thoughts encourage the better performance and the ultimate creativity standards.

Studying the development of Art and Architecture education will facilitate the understanding of links and similarities between the two topics. Such a study increase the acknowledgment and enrich the design process by further information about physical and psychological special requirements.

In the terms of adapting the education development theories from the very first artistic and architectural work till the 21st century, the research will provide a sequential analysis of schools and profiting from its point of force and understanding their feeble ones in order to reach the best footings and functional strategies to adapt in Byblos Interdisciplinary Arts and Design School.

This paper draws on ideas in on a previously published papers the first is Art and Architecture: A Place Between

by Jane Rendell that studies the understanding of the relationship between theory and practice, art and architecture, exploring the patterning of intersections between this pair of two-way relationships. The second is Appropriate Research Methodologies for Artists, Designers & Crafts persons: Research as a Learning Process by Julian Malins and Carole Gray in collaboration with Katie Bunnell & Eleanor Wheeler that examines some recent developments in methodological approaches to research in the Visual Arts.

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The thesis’s topic audiences will be oriented to the educational sector interested and specialties in inventions of learning techniques, and the visual arts and design new and old students who always have to be up to date to the latest publications in the field.

Artist, designers and architects will be able to rely on this research paper that will be mainly be considered in relation to the framework of formal study for higher degrees in what concerns education and application in this field.

The paper adapts a development thinking in the topic of Interdisciplinary Art and Design leading the readers to increase knowledge, discover new methods of practical application of theories in the field and open opportunities on developing educational art and design schools and terms.

Holding the study and the research of a new title in the field of design and arts open widely the opportunities of the discussion and point out on new thinking if the education orientation towards an unlimited theories that may affect the field more effectively whenever it gets the chance to merge and exchange guidelines where brand new theories appear on the basis of old or even recent but applied ones. Moreover, these new ideas must have the flexible character welcoming the practical obstacles in the aim of resisting the much effectivity.

The focus will be on the study of the interdisciplinary between art and design on the levels of space and education.

The education will held on the type of curriculum applied in order to attain the concept of merging between the theories of the classes given and the application, merging the theoretical and the practical education on the level of the different educational year. Student and instructors are the two main structural columns of this merging process. The third and most important factor in this last is the working space where all this theoretical ideas and application will occur.

The Space will be treated on a delicate level. It’s the world where this new theory will take its very first breath.

The special configuration required to answer the Critical Theory demands focuses of the concept of merging the classes throughout the five human senses, especially the visual and the hearing ones, where the users will be able to have an ideological connections helping them in the design and artwork inspirations.

The connecting space termed as ”The Link” in the part five of the thesis study, will be the materialized face of the Critical Theory, where the artworks of different sources are gathered in an indoor or an outdoor space and the artists and designers have the opportunity of a physical and a speculative meeting.

Achieving the interdisciplinary between arts and design conceptually and physical is what this paper study aims to conclude to the readers and the researcher in the field.

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I-2. GOALS AND OBJECTIVES

The research paper aims to:

-Clarify the relationship between Art and Design on the theoretical and practical levels.

-Demonstrate the potential to shape an emerging field of practice between art and design built on a new Critical Theory discovered through the analysis of old schools studies.

Goals and Objectives

-Apply the Critical Theory of art and design on the academic education knowledge according to a working mythology.

-Relate the study to an artistic design project and detect its success and failure percentages in order of realizing a theory practical examination.

-Underline the research paper to be adaptable in art and design research field of education development, theories analysis and best practice guidelines improvements.

-Set a guidlines shart in design spacial configuration of art and design studios to be applied in educational insistutional.

-Define the Critical Theory that conclude the work of the paper and clarify the linking subjects between Art and Design.

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I-3. QUESTIONS & HYPOTHESES

A list of questions and later hypotheses will be answers and discussed in this paper according on the research topic Interdisciplinary Art and Design and on the basis analysis of the literature references related to the paper.

The questions will cover the theories analysis and the practical methodologies understanding

-What is Interdisciplinary Art and Design?

-What type of strings that can link between Art and Design on the theoretical and practice levels?

Research Questions

-What is the critical theory that will answer the practical integration between Art and Design?

-How to apply this critical theory in the academic education knowledge?

-What values the new Critical Theory will add on the academic education knowledge?

-How to satisfy the ethos of Interdisciplinary Art and Design in an complete successful project?

-What is the best practice of academic education that can be applied in the field of art and design in the universities in the range of our hi-tech era.

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I-4. LIMITATIONS

The Interdisciplinary Art and Design as an academic department and field of study is topic to handle with the fact of dealing with the academic education terms and conditions of schools that the paper is oriented towards.

The very first limitation comes in the frame of preserving the previous theories main guidelines that the current education is based on, this factor wont give the total freedom to the research output in order to respect the previous suggested and applied methods.

Another limitation appears with the lack of presence of developed Interdisciplinary Art and Design academic in Lebanon, what decrease the possibilities of observation and practical examination of the current fact of the field.

The presence of studies and researches in the field of arts and design may help, but when it differs in topic it wont have the same value, although few are the studies connecting and linking the arts to the design on the level of theories and practice, what can affect this research paper in the references.

The surveying limitation may struggle the research delicate work and precision in providing the well evaluation of the present-day status of the study

I-5. RESEARCH MYTHOLOGY I-5-A. THE GENERAL RESEARCH APPROACH This research is carried out in an interdisciplinary manner using a descriptive study of Arts and Design theories and analysis in addition to action research that will demonstrate the up-coming Critical Theory determined through the paper.

The paper will appraise and evaluate the Bauhaus and L’École des Beaux-Arts theories in what consists the art and design academic education. A linking theory will be deduced from the previous two schools and will be the Critical Theory between the Interdisciplinary Art and Design study.

A relevant surveying evaluating the academic educational fact of several universities in the faculty of Art and Design in order to clarify the variable application tools of the same theoretical school. The surveying output will be the key to new ideas that can be added efficiently in the Critical Theory.

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I-5-B. RESEARCH DESIGN A case study of an Art and Design School will be evaluating to study the individuals, buildings, episodes, institutions, processes, societies occurring in its domain. The Goldsmiths, University of London will be the examined case.A surveying on the instructor and students level will be made in order to collect point of views and opinion in what concerns the interdisciplinary between art and design and the suggestions will be taken into consideration in the Critical Theory.

1.6. RESEARCH HIERARCH

LINKING THEORIES TO PRACTICE IN EDUCATIONAL BUILDINGS

Part I Introduction

Part II Literature Reviews

Part III Theoretical Background

Part IV Interdisciplinary Analysis

Part V The Critical Theory

Introduction

Art And Architecture: A Place Between By Jane Rendell.

Beaux Arts Theories Application In Architectural Buildings

Linking Art Practice To Design Theories

The Critical Theory Of Interdisciplinary

Goals And Objectives

Bringing Bauhaus Back: Digital Architecture + Contemporary Craft , By Shel Elizabeth Doyle, Aia

Bauhous Theories In Architectural Buildings

Interdisciplinary Theories Application On Buildings Design

Theory Application Fields

Questions And Hypotheses

Creative Textile Design Inspired By Interactions Of Color

Visual Arts: Drawing/Painting And Sculpture

Interdisciplinary Theory Guidelines And Key Feature.

Conclusion

Limitations

By Mi-young Moon Iowa State University

.Applied Arts: Architecture / Fashion Design / Interior Design

Research Methodology

The Dialogue Of Craft And Architecture By Thomas J.Forker

Performing Arts : Singing / Dancing / Music

Research Hierarchy

Deduction

Deduction

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Future Portal Question In The Field Of Study

ARCH534 Graduation Thesis

The Interdisciplinary of Arts and Design

PART II | LITERATURE REVIEW

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II-1. INTRODUCTION The topic of interdisciplinary between art and design is a very common field of education in most of the architectural universities, schools and colleges worldwide where

Architecture

Fine Arts

On interpreting the subject of art and design educational institutions reviewing the case of the most known public research university RCA that

incorporates 26 distinctive

Material

Design

postgraduate programs across the art and design disciplines in the departments of architecture, communication, fine arts,

Humatities

Communicat -ion

design, humanities and material what makes the college recognized in embodying the different requirements of a final product from theory to design to practice.

Figure 1- DIFFERENT DEPATMNETS OF THE RCA COLLEGE. (rca, n.d.)

Furthermore, the distinctive features on the level of design special configuration, the RCA campuses are design by its own staff, what makes the design suitable and accomplished in the main of suiting the educational demands of space, environment, facilities and other needs of a design and art student and staff living and using the campus. These campuses were ones from the listed building (rca, n.d.)ondon (rca, n.d.)

As a matter of fact, the interdisciplinary between art and design Theory

is not yet studies in on the educational and special configuration levels, the concept of linking between the different departments of art and design with the intention of increasing the creativity and the diversity of concepts.

Researches in this domain of study were handling each section in visual arts or applied arts as an entity of research, for

Practice

Design

example research were made for the relationship between Art and Architecture , Craft and Design, New Technologies in 2- THE KNOWLEGE TRIANGLE IN ART AND ARCHITECTURE. design and architecture. The studies are always design within oneFigure or two related topics.

This research paper will study the relations between these art and design sectors on a larger scope, as zooming out the picture and collecting the details of the precedents research, theories and concepts.

The literature review of this part will show the how the research papers are always specified in two linked topics in art and design, most are dedicated for architecture and an another specialities.

The following legal published papers as taken as a background and basis for the Interdisciplinary paper: 12

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    

The Interdisciplinary of Arts and Design

I-Art And Architecture: A Place Between By Jane Rendell II-Bringing Bauhaus Back: Digital Architecture + Contemporary Craft , Shelby Elizabeth Doyle, AIA III-Creative Textile Design Inspired By Interactions Of Color

By Mi-Young Moon Iowa State University IV-The Dialogue Of Craft And Architecture By Thomas J.Forker

II-2. ART AND ARCHITECTURE: A PLACE BETWEEN BY JANE RENDELL. The paper work of Jane Rendell in the study of the place between art and design as a practice space in the conclusion titled by Criticism as Critical Spatial Practice Jane decelerated :

Architecture

“The architect’s only option is to find a course for revolutionary praxis outside the traditional boundaries of his field.”If architectural theorist Joan Ockman is correct in her assertion, quoted above, then it is exactly this ‘course’ that I have explored throughout Art and Architecture: A Place Between, suggesting

Art

that to develop as a critical practice architecture must look to art and move outside the traditional boundaries of its field and into a place between

Figure 3- INTERLATION BETWEEN ARCHITECTURE AND ART. (Yamak.Ghina, 2017)

disciplines. As a mode of cultural production that enjoys a greater degree of separation from economic and social concerns, art can offer architecture a chance for critical reflection and action.

There is much gallery-based art that provides cultural and political critique, but once outside the gallery, as ‘public art’, art is better positioned to initiate critical spatial practices that can inform the activity of architectural design and the occupation of buildings.

In the ‘Introduction’ I suggested that understandings of the interactions of two disciplinary modes of practice required certain kinds of critical spatial theory. I explained how, for me, theoretical concepts provided the impetus to think of practice in this way, and produced the ‘starting points for considering the relationship between art and architecture’. Throughout Art and Architecture: A Place Between I have discussed how the potential of specific concepts elaborated through critical spatial theory make it possible to discuss particular projects as critical spatial practices.

Jane Rendell also decelerated in her introduction “ A Space Between “ the following statement of Art and Architecture I trace the multiple dynamics of this ongoing investigation and, in so doing, draw on a range of theoretical ideas from a number of disciplines to examine artworks and architectural projects.To encounter such modes of practice, in Art and Architecture I visit works produced by galleries that operate ‘outside’ their physical limits, commissioning agencies and independent curators who support and develop ‘site-specific’ work and artists, architects and collaborative groups that produce various kinds of critical projects from performance art to urban design.

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II-3. BRINGING BAUHAUS BACK: DIGITAL ARCHITECTURE + CONTEMPORARY CRAFT , BY SHEL ELIZABETH DOYLE, AIA The second literature review spots the light on the importance of interrelation between the old theories and the achieving of new ones also in education and

Digital Architecture

practice. Adapting technology and evolving the practice place with the different affecting factors in design and arts.

Unity Of Art + Technology “We are gathering experiments.” Josef Albers Digital technologies have

Contemporary Craft

indelibly transformed the visual language of design education, supplanting traditional hand-made drawings and models. New equipment like computer numerically controlled machines and three-dimensional printers and the rise

Figure 4-INTERLATION VETWEEN DIGITAL ARCHITCETURE AND CONTEMPEPRORY CRAFT. (Yamak.Ghina, 2017)

of digital modeling have emphasized software proficiency over manual skills, causing older notions of creativity and craft to be reconsidered. At the same time, the possibilities for collaboration and production opened up by computer remain threefold for architecture: a retrenchment and consolidation that reasserts centric disciplinarity, an expansion that dilutes architecture’ disciplinary specificity, or transdisciplinary redefinitions and reconfigurations that both intensify and attenuate architecture’s identity and limits. Of the three transdisciplinary redefinitions offer the most promise. Computation is the foundational language of the digital and this shared language creates opportunities for engagement across design disciplines.

In Conclusion : Digital worlds should not be seen as alternatives or substitutes for the built world, but rather as an additional dimension which allows architects a new freedom of movement in the physical world. In other words, the transcendence of physicality in the digital world allows architects to extend their agency in the physical world. (Carpo, 10) Digital craft brings together the physical and digital worlds thereby creating the unity of arts and technology Gropius called for in his Proclamation of the Bauhaus nearly one hundred years ago. The historic and theoretic framework presented here aims to move forward the project of the Bauhaus into the present day, and in doing so offers a theoretical position for a more progressive introduction to computation and construction in contemporary architectural pedagogy. (AIA)

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II-3. CREATIVE TEXTILE DES IGN INSPIRED BY INTERACTIONS OF COLOR

BY MI-YOUNG MOON IOWA STATE UNIVERSITY Mi-Young Moon from University of Iowa State University dedicated her paper to the study of the interrelation between colors and the textile design.

Painting

The study was in the department of art and design, craft design sector. The paper was oriented toward the discussion of the colors subject in the beginning where the definitions occur with theories, applications and modification in colors. Then the paper started to go deeper in the subject of textile by posting the main titles of development of creative textile work, objectives for creative

Material

work and interaction of color in creative work. The author linked the cause of the creativity in weaving textiles to the creativity of using the colors in it. Mi-

Figure 5- INTERELATION BETWEEN PAINTING AND E MATERIAL. (Yamak.Ghina, 2017)

Young Moon states that Art works were conceived and developed by the author integrating her personal involvement and expressive potential through the use of the series of techniques described in the earlier chapter.

Her chosen material was almost exclusively cotton yarns. Her works clearly dealt with the pure design qualities inherent in the structures, processes, and materials, as well as her experience and inspiration. The author prefers to convey her ideas by working within the strict confines of the loom. She has worked with complex weaving techniques and color combinations in order to achieve a sense of craftsmanship. She believes that within each creative work there should be personal comment and individuality. This involves not only a new and imaginative direction in structural design including the aesthetic aspect, but in the technical development as well. (Moon)

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II-4. THE DIALOGUE OF CRAFT AND ARCHITECTURE BY THOMAS J.FORKER Thomas J. Forker in his paper about craft and architecture at the first past he defined the meaning of craftsmanship, it purpose, use and function the he

Craft

started the paper work using a citation that says "All craftsmanship is founded on skill developed to a high degree. At a higher degree, technique is no longer a mechanical activity; people can feel fully and think deeply about what they are doing once they do it well."(Richard Sennett,

Architecture

The Craftsman, pg. 20) The paper is used as reference since it describes the points of common

Figure 6-INTERELATION BETWEEN CRAFT AND ARCHITECTURE. (Yamak.Ghina, 2017)

between craft and architecture on the level of the operators who are architects and craftsmen. He was trying to identify, know, and eventually understand craft objects, it is helpful to first begin by examining man-made things generally. One can approach them from any number of categories, including their usefulness and their desirableness. George Kubler, in the The Shape of Time, argues against use, saying that "if we depart from use alone, all useless things are overlooked, but if we take the desirableness of things as our point of departure, then useful objects are properly seen as things we value more or less dearly."1 His approach has advantages as long as we don't combine use and usefulness with desire and as long as we are careful to distinguish between desire and actual need. Specifically, the meaning of craft in architecture lies in the nature of the connections a building or space creates—both internally, between its constituent parts, and externally, through its relationship to its place. These connections can be physical, temporal, or even spiritual. Ideally, all three are integrated into one effort. Shinto shrines, Gothic cathedrals, and Shaker meetinghouses are touchstone works for so many architects because of the way, in each building type; these three realms of intent harmonize. (Forker)

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II-5. DEDUCTION

In conclusion and by analysing the previous literature reviews that studies the topics in art and architecture, also handling the themes of spatial configuration of the the design and art studios and interaction between several art field in order to increase the harmony of the output of each apart. Also the study of the new technology applied in art and architecture.

The first literature review spots the light on the existing space between art and architecture and the link that can be used in advantage of the enhancement the field academically and on practice. The interdisciplinary study on the level of education and the architectural design of the spaces that incorporate this education. The space between art and architecture is not described as a gap but as a link and a bond of enhancement.

The second literature review spots the light on the importance of interrelation between the old theories and the achieving of new ones also in education and practice. Adapting technology and evolving the practice place with the different affecting factors in design and arts.

These literature reviews assure the knowledge of interdisciplinary between art and design on the academic, practice and the working spaces that are the studios. Enhancing the working space for artist increase their output and interconnecting different art in one space elevate the creativity and verity of work.

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PART III - THEORATICAL BACKGROUND

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III-1. BEAUX ARTS THEORIES APPLIC ATION IN ARCHITECTURAL BUILDINGS It was sometimes loosely called the “American Renaissance”-- that rage for stately Roman architecture that came to the United States under the pervasive influence of L’Ecole des Beaux Arts, the French national school of architecture. Seduced by the muscular glory that was Rome, as taught by the French, American architects at the turn of the twentieth century, as one wag has remarked, “put up little Romes everywhere.” This style, known as Beaux Arts, after the school of the same name, became the preferred expression for all manner of official buildings – state capitols, courthouses, banks, libraries, even lodge halls. It was what the clients wanted.

If American intellectuals of the day sought to foster a true and fresh, genuinely American art form, the Beaux Arts Style was no doubt their greatest disappointment. Americans became enthralled anew, perhaps more so than ever, with European style and influence. Some have noted America’s continuing “cultural inferiority complex” to Europe. And it may fairly be said that Beaux Arts architecture was, perhaps, its most egregious and spectacular symptom.

But the style did provide some rich and compelling ornaments for our cities and towns. In a poetical sense, these often bespeak the importance and/or rock-solid stability of local institutions. In a broader sense, the style brought an element of order and planning to our townscapes. More importantly, it brought a strong measure of learning, venerability and social standing to the American profession of architecture. (Fricker) A-CHARACTER-DEFINING FEATURES:

The Beaux Arts is a classical style with the full range of Greco-Roman elements: the column, arch, vault and dome. It is the showy, almost operatic, manner in which these elements are composed that gives the style its characteristic flavor. General character-defining elements include: 

Symmetrical articulation



Lavish and intensive surface decoration

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A single architectural element set as a grand gesture – often an over-scaled archway, triple archway or short but dramatic colonnade as the center of the composition



Coupled columns

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Facades composed around advancing and receding wall planes. The transition from one plane to another is often highlighted with multiple corner elements.

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Entablatures that advance and recede to mark the locations of columns below

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An active roofline (for a classical style) with dramatic roof-top figure sculpture



Fully and boldly formed ornamental sculpture employed elsewhere on the facades (as opposed to more subtle bas relief) 19

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

Monumental (sometimes multiple) runs of steps approaching a building’s entrance



Floor plans that culminate in a single grand room



Axial floor plans that establish vistas through different spaces

B-BUILDING MATERIALS

Beaux Arts buildings were designed to make a formal statement. Thus their materials tend to be of the best and most expensive quality. In most the predominant material is light- colored stone, often limestone, and often richly worked with strong bas relief, rooftop sculptural elements, quoins and rustication. Rock-face stone is virtually never used.

Sometimes stone is used in combination with light-colored brick (to save money). Sometimes the material is cast stone or, in lesser examples, cast concrete. For lamp standards, fittings and details, glazed terra cotta is sometimes used as well a wrought iron-looking material.

Materials of note on interiors include marble (often colorful and richly veined), polished woods (usually dark), alabaster, terrazzo floors, polished brass and bronze (for ornament and fittings), and, on fine examples, gold leaf.

Interiors may also feature painterly effects, fresco (looking) murals and the like. (Harmon, 1983) C-BEAUX ARTS URBAN PLANNING

The Beaux Arts approach to design had a strong urban planning component. In this it was solidly in the tradition of a style of town planning that emerged during the sixteenth and seventeenth centuries in Europe. It is still known to this day as Baroque city planning. It relies on grand, tree-lined avenues; axial cross streets; and long vistas terminating at carefully placed classical façades. A central feature is the so-called “crow’s foot” -- three or more avenues starting at a single central point (on a grand public square) and fanning out in different directions to give dynamic vistas through a city. City plans of this type were sometimes created in the United States, L’Enfant’s plan for Washington D. C. for instance. In palace gardens it took the form of immaculately clipped hedge parterres setting off avenues and vistas – nature made to look rather unnatural – sometimes called the French Garden. This is in contrast to the naturalistic English Garden tradition. (Harmon, 1983)

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III-2. BAUHOUS THEORIES IN ARCHITECTURAL BUILDINGS The story of the German Bauhaus, its beginnings and demise, is well known in architectural history. Frequently hailed as the beginning of contemporary architectural education, the Bauhaus’ plea for thinking afresh about problems of building design in terms of new materials and tools continues to resonate in architectural discourse today. Originally conceived by Walter Gropius as an alternative to a normative Beaux Arts study of exemplars in antiquity, the Bauhaus promoted an education of artists and architects in a common Vorkurs (preliminary course).

Because of its novelty, but also because of its important role in preparing students for training in the different workshops, the Vorkurs became one of the Bauhaus’ most defining pedagogical features — an approach towards technical and artistic education predicated on an assumption that new technological solutions could be fostered through an early study of different material effects and affects. Shortly after his departure from the Bauhaus in 1927, the former director of the Vorkurs, László Moholy–Nagy published two books, Von Material zur Architektur in 1929 (The New Vision in 1932) and Vision in Motion in 1947 to promote the Bauhaus approach in practice. Although copiously illustrated with examples of student and professional work, one is hard– pressed to find concrete examples in these publications for the translation of Vorkurs material studies to the imagination of “technische Form” (technical form) in its presumed goal of architecture. (Mindrup, 2014) A-CHARACTER-DEFINING FEATURES



The motivations behind the creation of the Bauhaus lay in the 19th century, in anxieties about the soullessness of manufacturing and its products, and in fears about art's loss of purpose in society.

Creativity and manufacturing were drifting apart, and the Bauhaus aimed to unite them once again, rejuvenating design for everyday life.



Although the Bauhaus abandoned much of the ethos of the old academic tradition of fine art education, it maintained a stress on intellectual and theoretical pursuits, and linked these to an emphasis on practical skills, crafts and techniques that was more reminiscent of the medieval guild system. Fine art and craft were brought together with the goal of problem solving for a modern industrial society. In so doing, the Bauhaus effectively leveled the old hierarchy of the arts, placing crafts on par with fine arts such as sculpture and painting, and paving the way for many of the ideas that have inspired artists in the late 20th century.



The stress on experiment and problem solving at the Bauhaus has proved enormously influential for the approaches to education in the arts. It has led to the 'fine arts' being rethought as the 'visual arts', and art considered less as an adjunct of the humanities, like literature or history, and more as a kind of research science. (theartstory)

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III-3. VISUAL ARTS: DRAWING/PAINTING AND SCULPTURE Visual art can be defined as a form of art that uses any medium to represent the artist's idea, emotion and imagination. Visual art like paintings, sculptures and architecture have evolved with time and different periods saw the emergence of different art movements. The most famous art movements and styles are Impressionism, cubism, surrealism, expressionism, favism, art noveu, realism and relativism.

Current usage of the term "visual arts" includes fine art as well as the applied, decorative arts and crafts, but this was not always the case. Before the Arts and Crafts Movement in Britain and elsewhere at the turn of the 20th century, the term 'artist' was often restricted to a person working in the fine arts (such as painting, sculpture, or printmaking) and not the handicraft, craft, or applied art media. The distinction was emphasized by artists of the Arts and Crafts Movement, who valued vernacular art forms as much as high forms. Art schools made a distinction between the fine arts and the crafts, maintaining that a Presenting

craftsperson could not be considered a practitioner of the

VISUAL ART STRANDS

arts.

Responding

Presenting: Refers to presenting or demonstrating something about an existing artwork, informally or formally, a process that calls upon the technical, expressive, and interpretive skills of the learner.

Assemblage

Responding: Refers to synthesizing knowledge of visual art in relation to history, culture, heritage, other content areas, ideas, and life-long learning.

Creating

Creating: Refers to expressing ideas and feelings through the creating of visual art.

Connecting: Refers to analyzing, critiquing, describing, and evaluating visual artworks.

Connecting

Figure 7-Visual Art Strands. (Yamak.Ghina, 2017)

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DRAWING/PAINTING

Drawing is a representation of any form or object by hand through the

Abstract

medium of pencil, pen, charcoal, etc. Drawings are not necessarily a depiction of what we see around us. A drawing can also be abstract, illustrating certain emotions and ideas that are in the mind of the artist and which are open to interpretation. With paper becoming common in Europe by the 15th century, drawing was adopted by masters such as Sandro Botticelli, Raphael, Michelangelo, and Leonardo da Vinci who sometimes treated drawing as an art in its own right rather than a preparatory stage for painting or sculpture. (buzzle)

well as the genre and main object of the painting. Still life, landscapes, seascapes, abstract and pop art are the different types of painting genres that are popular among artists. Painting taken literally is the practice of applying pigment suspended in a carrier (or medium) and a binding agent (a glue) to a surface (support) such as paper, canvas or a wall. However, when used in an artistic sense it means the use of this activity in combination with drawing, composition and, or, other aesthetic considerations in order to manifest the expressive and conceptual intention of the practitioner. Painting is also used to express spiritual motifs and ideas; sites of this kind of painting range from artwork depicting mythological figures on pottery to The Sistine Chapel to the human body itself. (buzzle)

Assemblage Elements of art

VISUAL ART VOCABULARY

Paintings are classified according to the style in which they are made as

Art criticism

Principles of design Color relationships Perspective Form Composition Style Function

Figure 8-Visual Art Vocabulary. (Yamak.Ghina, 2017)

SCULPTURE Sculptures are also among the different art forms that falls under visual art. Sculptures can be defined as a threedimensional art form that uses materials like clay, stone or wood for its execution. Sculptures are essentially made in two ways. Either they are formed bit by bit into a particular shape and structure as it is in the case of a clay sculpture or it is chiseled and carved from a block of wood or a piece of stone. There are many clay sculpture ideas that an amateur can take inspiration from while attempting to make a sculpture.

Sculptors do not always make sculptures by hand. With increasing technology in the 20th century and the popularity of conceptual art over technical mastery, more sculptors turned to art fabricators to produce their artworks. With fabrication, the artist creates a design and pays a fabricator to produce it. This allows sculptors to create larger and more complex sculptures out of material like cement, metal and plastic, that they would not be able to create by hand. Sculptures can also be made with 3-d printing technology. (buzzle)

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III-4.APPLIED ARTS: ARCHITECTURE / FASHION DESIGN / INTERIOR DESIGN Applied art is a part of visual art and it can be defined as art that has practical application as well as functionality.

The applied arts are the application of design and decoration to everyday objects to make them aesthetically pleasing. The term is applied in distinction to the fine arts which aims to produce objects which are beautiful and/or provide intellectual stimulation. In practice, the two often overlap. (buzzle) I-OBJECTIVES OF STUDYING APPLIED ART



Expertise or virtuosity. Technical artistic skills are cultivated, recognized, and admired.



No utilitarian pleasure. People enjoy Applied Art for art's sake, and don't demand that it keep them warm or put food on the table.



Style. Artistic objects and performances satisfy rules of composition that place them in a recognizable style.



Criticism. People make a point of judging, appreciating, and interpreting works of art.



Imitation. With a few important exceptions like music and abstract painting, works of art simulate experiences of the world.



Special focus. Applied Art is set aside from ordinary life and made a dramatic focus of experience. (.inflibnet.)

II-ARCHITECTURE

Architecture is both the process and the product of planning, designing, and constructing buildings and other physical structures. Architectural works, in the material form of buildings, are often perceived as cultural symbols and as works of art. Historical civilizations are often identified with their surviving architectural achievements.

"Architecture" can mean: 

A general term to describe buildings and other physical structures.



The art and science of designing buildings and (some) nonbuilding structures.



The style of design and method of construction of buildings and other physical structures.



Knowledge of art, science, technology and humanity.



The practice of the architect, where architecture means offering or rendering professional services in connection with the design and construction of buildings, or built environments.



The design activity of the architect,from the macro-level (urban design, landscape architecture) to the micro-level (construction details and furniture).

Architecture has to do with planning and designing form, space and ambience to reflect functional, technical, social, environmental and aesthetic considerations. It requires the creative manipulation and coordination of 24

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materials and technology, and of light and shadow. Often, conflicting requirements must be resolved. The practice of architecture also encompasses the pragmatic aspects of realizing buildings and structures, including scheduling, cost estimation and construction administration. Documentation produced by architects, typically drawings, plans and technical specifications, defines the structure and/or behavior of a building or other kind of system that is to be or has been constructed. (wikipedia) III-FASHION DESIGN

Fashion design is the art of designing apparel that are aesthetically pleasing as well as functional. Fashion design involves working with different types of fabrics and patterns which are then designed into garments. (buzzle) IV-INTERIOR DESIGN

The art of planning the design, layout and style of an architectural space, be it home or office is called interior design. Interior designing includes furnishings, furniture placement, layout of the interiors and many other factors.

Visual art is a highly evolved one and there are many people who are masters in their field. How can anyone not be moved by looking at Leonardo da Vinci's Mona Lisa or the beautiful Water Lilies painting by Claude Monet.

Pablo Picasso, Van Gogh, Raphael, Salvador Dali and John Constable are some notable names in the field of paintings and sculpture. (buzzle)

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III-5.PERFORMING ARTS : SINGING / DANCING / MUSIC

Of all the different forms of art, performing arts is much appreciated and enjoyed by people - dance, music, opera, films, theater, drama , magic shows and stand up comedies. Artists that perform these arts are known by the type of art that they have perfected. Singers, actors, comics, magicians, dancers and musicians are all people who do these performing arts. (buzzle) I-SINGING

The act of producing sound with the voice in a rhythmic manner so as to be pleasing to the ear is known as singing.

Singing is often accompanied by the use of musical instruments. There are different singing styles ranging from operatic, classical, modern, country, pop,. There are many famous singers in the world who have incredible talent and voice quality. Learning to sing takes a lot of dedication and effort and only the truly talented can attain great heights of fame.

II-DANCING

Moving the body in a particular sequence to music is called dancing and there are many forms of dance. A particular dance form can be from a particular region or country that has the steps and movement to a particular type of music prevalent there. Dance is a kind of non verbal communication and movement of the body is aesthetically pleasing and harmonious. Both classical as well as modern dance are different forms of performing art.

III-MUSIC

One of the most difficult art forms to define, music is also one of the most admired art forms. Any harmonious sound either vocal or produced from a musical instrument can be defined as music. But music is so much more than that. Music has the power to change our mood, lift our spirits and emotionally move us. There are different types of music from rock music, country music, jazz and soul. (buzzle)

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III-6. DEDUCTION

The different arts and design department of visual, applied or performing arts are always based on the stimulation of the human senses toward an emotional development. Education in the arts is an integral part of the development of each human being. Those who have studied learning processes throughout the ages, beginning with Plato, have emphasized the importance of the arts in the education process. Arts education refers to education in the disciplines of music, dance, theatre, and visual arts. Study in the arts is integral to our society. The arts are what make us most human, most complete as people. The arts cannot be learned through occasional or random exposure any more than math or science can. Art is everywhere, influencing us on a daily basis, whether we realize it or not. With the art that we are surrounded by, whether it’s a painting, music or even videos can have a huge impact on our mood and emotions. Of course some art is very dark and can cause disturbing emotions, anger or even depression but we can choose what kind of art we want to be surrounded by in our own environment at home to make you feel good. All kinds of art can affect our mood in a positive way, making us feel happier, calmer, or even inspired to do something.

In order to merge between arts its is crucial the understand the links between these subjects, the human senses here are the controller and the most effective tools in order to achieve the right merging. Through the space and the working space, using defined building interior material in order to increase the transparency between the artists senses.

The interdisciplinary applied in education and merging classes such as painting and music can lead to an effective and a remarkable artwork, and that’s what was Miss Joya pointing out in my interview with her at her Ecole .

The Interdisciplinary will be applied specially and educationally in order to apply the goal of the new theory.

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PART IV- INTERDISCIPLINARY ANALYSIS

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IV-1- LINKING ART PRACTICE TO DESIGN THEORIES The relationship between design theory and art practice have been a pragmatic topic studied on different levels and understanding several subjects including these two main titles. On the educational side, this interpretation is held analytically especially in the reign of our current cultural situation that occurred a recognizable mutation on the level of individuals in the field of art and design.

As long as the art have existed artists performers and audience members have been educated for their roles. Every culture and era have devised ways to select and prepare individuals to engage in these roles.

In the amid of our 21st century and following the swift increasing of art and design disciplines, discovering the relations between these last two and review the important role that design theory plays from the view of art practice development, in the aim in the end of creating a new cultural platform in the name of these two head titles to communicate and develop with each other’s. The methods the different arts majors are taught today are contingent by the beliefs and values of the old schools of either east or west art education.

Most of these early art pioneers who were able to add a critical change to their society and culture also be mentioned as leaders till our days through art education, were characterized by a precocious social power that enhances their capabilities in the social, moral and economic intentions. A systematic discipline will be applied in building this educational and practical bridge between the design theories and the art practice in order to profit from the main and most detailed background of them.

Figure 7-The sensation of color. (shillingtonschool, n.d.)

Figure 8-The five core design principles. (shillingtonschool, n.d.)

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The rise of a universal knowledge in the field of art and design facilitate the understanding of and the linking faces possible if these two topics in the different cultures from East to West.

In a wide sense of the Design Theory, it works with the methods, strategies, research and analysis of the term design. Design theory supports the concept of, and reflection upon, creative work. Design theory, as well as design, is influenced by the particular context under which it is operating. Unlike other sciences, which may consider their subjects experimentally or empirically, design is about changing its environment and thus is also the subject that is influencing a theory about design. The statements of design theory are therefore not universal, but always in relation to a situation, a context, or a time. Mostly, the design theories started under the main title of architectural theories and practice, and it is has to be mention here the very first architect in this clarification Vitruvius and his multi-volume work entitled De Architectura. cWhen interpreting the Art and what it is related to it, the initial titles in this sector will be the human activity and

the emotional power that guide to the aesthetic dissemination of art. That is to say, the artwork is primary decided by the human spirit and the emotive intentions with all subjectivity of body and mind. In a wide sense of art theory it handles the spiritual sense and the cultural purposes and it is considered as main trait in the education of design and architecture, also its principles should be tough deeply and critically important as the design theory to reach the best guidance in teaching practice and to make the art theory merged with the art and design practice.

Figure 9-Diagram Showing the link between the Design Theories and the Art Practice. (Yamak.Ghina, 2017)

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It is indisputable that the design theories enrich the artistic practice and vise versa. From this start we can deduce the direct link clarified mostly in the education action and so on in the professional work of architecture where the use of the design theories and the professional activities of arts in the different directions of painting, sculpture, music and theatre.

The link is defined by the expression of “Critical Theory” in this paper, and will be clarified in the terms of educational practice and professional practice through educational building applying this nominated theory.When discussion the word “ Link “ between subjects, the terminology guides us to compare, analyze and list the common factors and ideas in order to discover the capabilities and potential of linkage on the level of each factor.

The linkage in education between the art practice and the design theories will be on the level of merging classes.

In some cases, or interfering the guidelines of some classes into other, in order to reach a mix of knowledge that would be also a sort of influential of inspiring mix of knowledge. In this case, the example will come in the picture of inserting musical instruments in the painting class, where the music class and the paint class are tough together, where the apprentices of painting will be influenced by the typology of music played, and the mode of painting, the colors effect and the smell of the painting atelier will affect the musical experience of the musicians. The same experience can be held in the dancing and music classes, dancing and painting classes, fashion design and photography classes, architecture and sculpture classes and so on of infinite merging topics and different courses.

The linkage on the professional educational building design will be in more terms explicit and practical. The link in this case will be materialized and visually explicit to the masters and the apprentices. Experiencing the term “Link “ through a critical well oriented space configuration allowing the theoretical experience of it, will accomplish its performing goals on the human and the material level. In the matter of the building design practice, the profit will procced the architectural form and the internal function order too, on the level of the educational buildings, the concept of merging theories and practice and design and art will influence the education, and this last will be influenced by the special configuration and order of links between ateliers, studios, dancing class, music halls, exhibition and performing halls.

The scope of the “Link” attends the different subjects of art and design, on the levels of human experience till the headlines of the materialization and the special configuration. The application of these two concepts, the Critical Theory will be applied on the theoretical an the practical level.

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IV-2. INTERDISCIPLINARY THEORIES APPLICATION ON BUILDINGS DESIGN

The application of the critical theory of linking design theories to art practice on the educational building design in general, and in the art and architecture educational building in specific will be clearly explicit not only on the external shell and form of the building by applying the related design spirit but also and on a high level to the internal space configuration.

Designing an innovative interior space where classes, ateliers, studios, dancing halls, music halls, labs and any other educational space will be interactive with all other related zones. Adapting the concept of transparency between spaces will also be beneficial in order to increase the interactivity between the apprentices even if its only on the visual level. Instructors will be able to be influenced more by having multiple subject experiencing it visually, by following the method of inspiration leading to the concept of the design or the art performed.

In this case of study, a transparency between am architectural design class and a dancing class will increase the creativity of the architecture students through the observation and analysis of the dancers moves, the flexibility of the human body can be applied in the architectural design not only on the form but also on the structure and the texture and colors levels. Same effect of the architectural students in their studios, will be a source of a story board to the according to the dancers, who will get inspired by the facial expressions and moves and reactions of the architectural students, and the typology of their class, where chaotic arrangements of posters, physical models, concept visualization, colors, tools and other architectural traits that dancers can be able to collect all in a story board and adapt it as a performing dancing material.

Respecting the basic old theories that this new idea is based on is a prime concern according to the building design on the scale of external appearance and key features that gives the identity of the basically architectural work. In this state, L’Ecole des Beaux Arts is the reference and the guidance to realize a building design characterized by its typology on the physical, functional and educational layer.

The architectural style of Beaux Arts is known on the hand of the academic neoclassical architectural style that was given at L’Ecole, and before the Academie royale d’architecture, reigned two and a half centuries in strict codes and guidelines from the instructors until the year 1968.

The united states of America has followed this style by applying it on remarkable number of it buildings during the period from 1880 to 1920. What wasn’t the case of the European architects, not French ones, who shifted from this style in order to apply each his national academic centers architectural style.

The application of the Beaux Arts then would be applied in these days too, but since we are handling a modern topic in the 20th century it is better to modernize the style in order to be more coherent and applicable on the most 32

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of the building designs , thus a modern version of the Beaux Arts style will be treated in special condition and terms derived from the old version thus enhanced.

The new technology in architecture will mainly affect this enhancement in order to open the doors of the 20 th century to the new style. This technological enhancement will cover the building material, the structure systems, the internal distribution of functions, use of color palette, use of textures, the architectural elements, the aesthetic and approach, the theory and concept of the building form and articulation. All in one new version of an architectural style under the title of the critical theory of interdisciplinary of art and design.

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IV-3. INTERDISCIPLINARY THEORIE GUIDELINES AND KEY FEATURE. The theory discussed during this paper as all other theories in different fields of study and majors , and after a long detailed researched based, analysis , and discussion The Critical Theory deduced its Guidelines and Key features to follow in case on its application , what gives the theory its identity a special treatment .

The main theory guidelines are as following: -The merge between one design theory and artistic application and not more, the result will in the form of an Artwork.

-The Artwork explicit the theory of interdisciplinary formally and functionally, in order to be used in the different fields of art and design school’s departments.

GUIDLINES AND KEYFEATURES

-Respect the merge working process on the level of the building architectural external form and interior function.

-Apply the Beaux Arts 20th century version as architectural style on the building form and function.

-Apply the interdisciplinary of art and design education knowledge in the Art and Design school.

-The engagement process will applied in the way of affecting the users activities theoretically and on the application ground.

-Achieve a harmonically engagement between the spaces merge and the activities occurred into it.

The flexibility of adaptation of the theory application with the fast development of art and design during the coming years.

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PART V : THE CRITICAL THEORY

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V-1. THE CRITICAL THEORY OF INTERDISCIPLINARY

Proposing the a new theory that combines the design theories and the artistic practice opens the perspectives of the new generation toward a unique experience of designing and artwork application. The theory based on the analysis and study of several other theories comes out to the light with a new thoughts of interactivity between the design and the arts on the level of education and the spaces used to accomplish that last mentioned.

The focus in this spot in on the combining space that is able to merge the different exercises of art in a design space. Also the emphasis on the shared environment of artistic spirit in the aim of increasing the factor of creativity and productivity. The theory special application will affect not only the internal users of the space, but also the external since they are the receivers of the output of these internal living individual experimenting the interdisciplinary space. The critical theory of interdisciplinary based on the foundation of L’Ecole Baux Arts principles in education also in the design of spaces, brought the application of new ideas to the 21th century in order to fit with the fast time and modern thinking of the users. The theory came with its guidelines and base terms to apply, but it is considered to also be flexible and welcoming to a change that can make it more merged with the current type of users or timing. A theory able to answers the current requirement and able to be flexible in terms and conditions is a theory aiming the continuity of its basic thoughts a main titles.

The merging medium is always the central interest and goal to apply in the condition of the critical theory, this medium will be materialised by a common gathering space where artist are capable of sharing thoughts, knowledge, inspiration and artwork. This exercise will eventually increase first of all the creativity of artist where they can find inspiration in others artwork output, also it will bring to light new methods of art application on the level of executing the concepts and ideas shared, where artist provide their experiences to others and inspire a new way artwork execution methods.

The shared space have the main characteristic of transparency and equal interest for all the artist presenting their artwork, where a merging medium is able to merge not only the presence of individuals but also the spiritual merging medium, recalling the comfort baselines of the different users as much as possible in order to make the artist able to release and share from his basics of cultural identity, education to the spiritual qualities and artistic concepts. Sharing, interacting and merging are the basics terms of the Critical Theory of Interdisciplinary.

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V-2. THEORY APPLICATION FIELDS The Critical Theory application fields will be mainly on the educational academies of arts, design and architecture.

The Theory found its efficiency in the world of artists and designers, where the inspiration the creativity and practical application occur. The concept of interdisciplinary can be applied in the arts schools apart where we can find the music, theatre, dancing, painting, photography, sculpture and the design schools apart where we can find the Architecture, interior design, graphic design, fashion design, and can merge the two last schools together as its main goal.

Another field where the theory and its practice will find it value is in Architecture, on the basics of education and actual practice in market. Where the becoming architects will be instructed under the curriculum of interdisciplinary they will convey the knowledge to the practical world of architecture and all its related departments of urban design, interior design, graphic design and others. As a result, a new generation of an architectural style will appear with the new upcoming architects generation.

The third field of the theory application can be on the scale of each individual where the self-building, working on developing the comprehensive skill, and increase the generic characteristic allowing an individual to merge and be compatible in the different spaces and intellectual circumstances. Developing the artistic skill that each and every professional person has in his natural formation, where we can find the artist in the mechanical engineer when he design the composition and the functioning of a new machine, the artist in the electrical engineering when he sort out the electrical design plan of a project, the artist in the surgery doctor when he perform a successful operation because of his well thinking in what God designed and gave us, also the artist in a politician who perfect his design in order to build the better country. Developing the comprehensive skill and the enthusiasm of a multi-thinking knowledge, a knowledge capable of handling and linking different topics.

The concept of interdisciplinary can be applied on any research aiming to improve a subject by the help of another one, merging ideas and expending the goods compatible toward a conclusion of benefits in the fields of both titles is always a functional way used to be applied and studied to be a good practice.

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V-4. CONCLUSION The study of Linking Theories to design in architectural building using the concept of Interdisciplinary between Arts Faculty Of Visual Arts

and Design is held in this research paper to conclude after the study and the analysis of several topics and titles such as L’Ecole Des Beaux Arts and The Bauhous theoretically and practically, also the definition and the developing the titles of

The Linking Area

Visual Arts, Applied Arts and Performing Arts with their subtitles of departments and the features and requirements of

Faculty Of Performing Arts

Faculty Of Architecture

these in order to find the linking line that will guide us toward the deep study of the interdisciplinary between these arts on the

Figure 10-The Linking Area. (Yamak.Ghina, 2017)

level of education and the level of practice. Also the ability of Applying this concept on the architectural buildings through the new knowledge dedicated to be in the post generation of architects, reflecting the interdisciplinary between art and

Linking Area

design on the external design and architectural features using the Baux Arts architectural feature in a modern perspective and the internal spaces using special materials allowing the transparency of spaces and senses toward a better and an

Outdoor/Indoor Common Exhibition Area

Outdoor/Indoor Community Area

Outdoor/Indoor Collaborative Area

increasing in inspiration and creativity also connectivity of artistic ideas. The result came under the title of the Critical Theory that was responsible to hold and explicit these main

Figure 11-Indoor / Outdoor Links. (Yamak.Ghina, 2017)

titles. Sorting out new guidelines and key features describing the Critical Theory for the readers and upcoming researchers. Defining the possible fields of application of

Linking Methodology

this theory and its importance on the personal and the selfbuilding on the individuals level.

The Critical Theory is the continuing path of previous theories, and its just the beginning of newest theories linking Arts to Design as linking the Heart to the Mind.

Linking Classes through space, material, senses.

Linking knowledge through the horizontal educational curriculum.

Linking students artworks concepts to other classes design theorie.

Figure 12-Linking Methodologies. (Yamak.Ghina, 2017)

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ARCH534 Graduation Thesis

The Interdisciplinary of Arts and Design

V-5. FUTURE PORTAL QUESTION IN THE FIELD OF STUDY Through the research study, and when the Critical Theory is taking its final shape, several topics throughout the research where mentioned briefly, and after finalizing the different research parts, I recognised some ideas that may be a retaining ideas worth to be held on a research level in order to reinforce the Critical Theory from other fields and perspectives, the following questions may be future portal questions in the field of the study of linking arts and design : 

Under what titles the Art Practice and The Design Theories cant be merged ?



When it is crucial to shift from the Interdisciplinary Theory and orient toward a new theory practice ?



How the human five senses will affect the linking procedure between Arts and Design ?



What type of artists and designers culture will welcome the Critical theory or any new theory, and what type will refuse it ?

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ARCH534 Graduation Thesis

The Interdisciplinary of Arts and Design

APPENDIX VISITED PLACES | ACADEMIE LIBANAISE DES BEAUX-ARTS (ALBA) - UNIVERSITY OF BALAMAND

Figure 13-Painting class. (Yamak.Ghina, 2017)

Figure 14- Painting class. (Yamak.Ghina, 2017)

Figure 15-Painting class. (Yamak.Ghina, 2017)

Figure 16-lecture and studio class. (Yamak.Ghina, 2017)

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ARCH534 Graduation Thesis

The Interdisciplinary of Arts and Design

VISITED PLACES | ECOLE D’ART ET DE MUSIQUE ZGHARTA BRANCH

Figure 18-Entrance hall. (Yamak.Ghina, 2017)

Figure 17- Administration. (Yamak.Ghina, 2017)

Figure 19-Piano and Aoud Class. (Yamak.Ghina, 2017)

Figure 20-Vocalise and Piano Class. (Yamak.Ghina, 2017)

Figure 21-Lobbies. (Yamak.Ghina, 2017)

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Figure 22-Painting in Music Classes. (Yamak.Ghina, 2017)

ARCH534 Graduation Thesis

The Interdisciplinary of Arts and Design

PART VI. REFERENCES Websites 1.

2.

3.

4.

5.

http://federicobabina.com/ http://scholarworks.umass.edu/cgi/viewcontent.cgi?article=1244&context=masters_theses_2 http://lib.dr.iastate.edu/do/search/?q=art%20and%20design%20&start=0&context=2343626 https://www.rca.ac.uk/ http://www.buzzle.com/articles/different-forms-of-art.html

Reference Book 6.

Rendell, J. (2006) Art and Architecture: A Place Between, London: IB Tauris, forthcoming.

Research Papers 1.

Malins, Julian; Gray, Carole. (1995)Appropriate Research Methodologies for Artists, Designers & Craftspersons: Research as a Learning Process

2.

Forker, T.J. (2015) The Dialogue Of Craft And Architecture. Retreived from http://scholarworks.umass.edu/masters_theses_2/197/

3.

Moon, M.Y. Creative Textile Design Inspired By Interactions Of Color Retreived from lib.dr.iastate.edu/cgi/viewcontent.cgi?article=8960&context=rtd

4.

Doyle, Elizabeth S. (2016) Bringing Bauhaus Back: Digital Architecture + Contemporary Craft. Retreived from lib.dr.iastate.edu/cgi/viewcontent.cgi?article=1085&context=arch_conf

5.

Fricker, Jonathan; Fricker, Donna; Duncan, Patricia. (1998) Louisiana Architecture: A Handbook on Styles. Lafayette, Louisiana: Center for Louisiana Studies, University of Southwestern Louisiana.

6.

Harmon, Robert B. (1983) Beaux Arts Classicism in American Architecture: A Brief Style Guide. Vance Bibliographies.

Figures References 1.

(Yamak.Ghina, 2017) : Yamak, Ghina. (2017) The Interdisciplinary of Arts and Design.

2.

(shillingtonschool, n.d.) : http://shillingtonschool.com/graphic-design-course/what-will-i-learn/design-theory

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