Mimarlık Bölümü Koleksiyonu
Permanent URI for this collectionhttps://hdl.handle.net/20.500.11779/1947
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Article Citation - WoS: 1Art Museums and the Middle East: a Contested Territory(Intellect, 2020) Yücel, ŞebnemThe Architectural Spotlight section addresses recent projects, debates and events that shape the architectural discourse and practice in Muslim-majority countries as well as in diasporic Muslim communities. In this section, contemporary architectural concerns in diverse cultural, economic, and social conditions are discussed to move toward the varied meanings of 'architecture'in recent geographies of Islam in its global dimensions.Conference Object Citation - WoS: 1Citation - Scopus: 1Building a Community Through a Design Build Studio Program(Springer international Publishing Ag, 2025) Inceoglu, ArdaThis paper aims to provide a comprehensive and critical assessment of the outcomes stemming from a Design-Build program, a pedagogical approach widely adopted by educational institutions worldwide. These programs are instrumental in equipping students with vital practical skills, often unattainable within the confines of a conventional studio environment. While the objectives of this program align with those of similar initiatives in various educational institutions, an examination reveals an unexpected and substantial outcome. Beyond its primary goals, the Design-Build program has played an integral role in instilling a culture of collaboration and camaraderie within the school, thereby significantly contributing to the overall success of its architectural education. All stages of the program consist of collaborative processes, instilling from an early age the importance of working together by helping each other than individual competition.Article Free(?) Space at the 2018 Venice Biennale(Intellect Books, 2019) Yücel, ŞebnemIn his article ‘Out of Site/In Plain View: On the Origins and Actuality of the Architecture Exhibition’, architectural historian and curator Barry Bergdoll starts by asking the obvious question: ‘What does it mean to exhibit architecture? Isn’t architecture, once it is built, always already on display?’1 Despite always being on display, however, architecture escapes being exhibited. Because we cannot exhibit architecture in the way an artist can exhibit a painting or a sculpture.Article The Curse of the Phoenix: on Rebuilding Beirut and Hatay(Intellect Ltd., 2025) Yücel, Ş.E.Article A Time for Solidarity: Rethinking the Architectural Establishment in the Age of Covid-19(Intellect, 2022) Yücel, Şebnem...Article Contesting Labels: Revisiting Old Questionnaires(Cambridge University Press, 2020) Ada, Serhan; Yücel, ŞebnemAs a response to several questionnaires, manifestos, interviews, and letters that were included in the book Modern Art in the Arab World: Primary Documents, this article carries out a new questionnaire with seven artists form various backgrounds and geographies, in an attempt to update and re-question some of the issues that were highlighted in the collected essays. The questionnaire includes three questions, each focusing on a different issue. The first issue considers the validity of the term “Arab Art,” the second tries to identify the main dynamics of contemporary artistic production, and the last one questions the relation of contemporary production of arts to geography and history. The following interviews have been edited for consistency and clarity.Article Drawing the Line: on the Impossibility of Utopia(Intellect Ltd, 2024) Yücel, ŞebnemWhen Dutch artist Joep van Lieshout ventured into developing a zero -carbon, no -waste city in 2005, there were no such examples in the world. His artistic vision, complete with a full set of drawings and models, predated any real attempts to build one.1 Van Lieshout, a controversial artist known for his independent state in Rotterdam harbour (AVL-Ville), has 'dissected systems' in his work, be they systems of society or of the human body.2 While dissecting systems, he has often turned to design and architecture, creating provocative work that blurs the line between reality and fantasy.3 His 2005 zero -carbon city project was no exception.4 Van Lieshout's city was a compact one, covering approximately fifty square kilometres. With a set of calculations, models, drawings, paintings, and even objects, the project was complete. A business plan that accompanied the design outlined a program to maintain the city's profitability, an annual profit of 7.5 billion Euro to be exact.5 The project's description referenced some of the important keywords for urban design today, including zero -carbon design, efficiency, and profitability, ultimately suggesting a responsible, ethical, and a desired future. This was not exactly the case, however. This was - as he labelled it - a 'Slave City'. As the name suggests, Van Lieshout's Slave City would be populated by worker slaves who would be divided into four categories:6 healthy and suitable for work (6 per cent of the population), healthy and unsuitable for work (16 per cent), unhealthy and unsuitable for work (29 per cent) and the majority, unhealthy, unsuitable for work, and tasteless (49 per cent).7 Based on theseArticle Citation - WoS: 1Which Ground Do Your Feet Touch? on the Metaverse, Image, and the Materiality of Architecture(Intellect Ltd, 2023) Yücel, Şebnem[No available]
