With the syllabus in hand,we set out on the trip across Turkey.Two days later we arrived in Bursa,a small city south of Istanbul,and visited,among other sites,the Yesil Madrasa(now the Turk Islam Eserleri Muzesi/Museum of Turkish and Islamic Art)in the Yesil Kulliye (Green Complex).Keeping Professor Bechhoefer's syllabus in mind,I walked through the madrasa and noticed,or perhaps I might say "felt",something intriguing about its courtyard.At first,it was not clear exactly what was captivating.Nevertheless,I started to sketch,recalling Bechhoefer's suggested inquiries and methods.As I recall and might be perceived in the sketch,I started with a series of familiar drawing types:a section of the courtyard showing the colonnade,which led to a section of pathway and vault that,in turn,lead to a larger section,then a vignette section-perspective and so on.Other than the decision to draw,I did not preconceive of what drawings and in what order I might sketch but switched drawing types to help investigate and quench my curiosity.As I sketched,I began to formulate that which was intriguing to me And then...a seminal moment.I discovered that some- thing which was at first interesting was in fact an important albeit subtle architectural moment.What I had noticed unconsciously was that the courtyard's floor did not The Yesil Madrasa courtyard and arcade terminate at the colonnade but appeared to "slide" Sketchbook page of the Yesil Madrasa beneath its edge and into the vaulted path.At that moment,I realized that a courtyard could overlap with a surrounding path and vice versa.Rather than a "here/ there"segregation in which a colonnade delimited two zones,"this"courtyard and "that"path,here I discovered an architecture of "both/and".Though I know my design critics had mentioned transparency and ambiguity,when I sketched this space,these concepts finally made sense.I started to understand a greater idea of architecture. But there was an even greater revelation that struck me as I sat there,and has continued to haunt me since then:it was that I had discovered something through sketching.While this revelation may be unremarkable to many,it was a moment that affected my immediate travel experience. From that point on in the trip through Turkey I sketched aggressively and with inquiry with multiple views of section, axonometric,elevation,perspective,diagrams,details,etc. More than affecting that summer's travel experience,it has affected my life.The moment and ensuing experience was for me,liberating.The experiential static charge built up over the previous few years in architecture school suddenly sparked a eureka moment.A conjunction of thinking and learning was revealed by a simple request to draw what "strikes you".I discovered that sketching could be a means of inquiry;it was only later that I would fully comprehend that what mattered was not so much "what"I discovered, but "how"I discovered it. Subsequent Turkey sketchbook pages ,11 With the syllabus in hand, we set out on the trip across Turkey. Two days later we arrived in Bursa, a small city south of Istanbul, and visited, among other sites, the Yesil Madrasa (now the Türk Islam Eserleri Müzesi/Museum of Turkish and Islamic Art) in the Yesil Külliye (Green Complex). Keeping Professor Bechhoefer’s syllabus in mind, I walked through the madrasa and noticed, or perhaps I might say “felt”, something intriguing about its courtyard. At first, it was not clear exactly what was captivating. Nevertheless, I started to sketch, recalling Bechhoefer’s suggested inquiries and methods. As I recall and might be perceived in the sketch, I started with a series of familiar drawing types: a section of the courtyard showing the colonnade, which led to a section of pathway and vault that, in turn, lead to a larger section, then a vignette section-perspective and so on. Other than the decision to draw, I did not preconceive of what drawings and in what order I might sketch but switched drawing types to help investigate and quench my curiosity. As I sketched, I began to formulate that which was intriguing to me. And then … a seminal moment. I discovered that some￾thing which was at first interesting was in fact an important albeit subtle architectural moment. What I had noticed unconsciously was that the courtyard’s floor did not terminate at the colonnade but appeared to “slide” beneath its edge and into the vaulted path. At that moment, I realized that a courtyard could overlap with a surrounding path and vice versa. Rather than a “here/ there” segregation in which a colonnade delimited two zones, “this” courtyard and “that” path, here I discovered an architecture of “both/and”. Though I know my design critics had mentioned transparency and ambiguity, when I sketched this space, these concepts finally made sense. I started to understand a greater idea of architecture. But there was an even greater revelation that struck me as I sat there, and has continued to haunt me since then: it was that I had discovered something through sketching. While this revelation may be unremarkable to many, it was a moment that affected my immediate travel experience. From that point on in the trip through Turkey I sketched aggressively and with inquiry with multiple views of section, axonometric, elevation, perspective, diagrams, details, etc. More than affecting that summer’s travel experience, it has affected my life. The moment and ensuing experience was, for me, liberating. The experiential static charge built up over the previous few years in architecture school suddenly sparked a eureka moment. A conjunction of thinking and learning was revealed by a simple request to draw what “strikes you”. I discovered that sketching could be a means of inquiry; it was only later that I would fully comprehend that what mattered was not so much “what” I discovered, but “how” I discovered it. Subsequent Turkey sketchbook pages The Yesil Madrasa courtyard and arcade Sketchbook page of the Yesil Madrasa ¸ ¸ ¸ ¸ 008-057_DD_part_0-1_final.indd 11 24.09.12 16:12