Mimarlık Bölümü Koleksiyonu

Permanent URI for this collectionhttps://hdl.handle.net/20.500.11779/1947

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1+1=3 Systems of Didactic Communication
(2015) Belek Leandro, Müge; Teixeira, Frederico Fialho
The construction of knowledge is a transitional element, as it is build in our minds and through empirical experience. Similarly, in order to experience space – whatever kind – one has to be present. Nonetheless as one is constantly immersed into a space, our mental space or knowledge is constantly producing new paths of connections, either consciously or unconsciously. "1+1=3 Systems of Didactic Communication" is an artwork that intensifies the question of education is not based on knowledge but rather creativity. Through a multimodal spatial experience we retraces how and why one may became influenced by creativity through a critique of education itself. Until it leaves its false paths, "1+1=3" demonstrates that knowledge will remain only a wordy dialectic if it is not exerted through creativity. Through a multimodal and virtual intensity, "1+1=3" prompts that digital knowledge and creativity must be rooted in experience for education to become a genuine evolution of knowledge. And in the quest for unanswered questions, the creative dimension of human life and the importance of intuition must be emphasized. A source of enquiry for students as well as educators, 1+1=3 reveals a philosophy that is always dynamic, blending humanity’s creative drive with its mastery in knowledge goes beyond an addition of factors. 1+1=3 was on display on Istanbul Modern Vitra Contemporary Architecture Series as a work under Dream to Realities Exhibition.
A Design-Build Studio: Kilyos Boathouse [2019]
(TU Delft Open, 2019) Aydemir, Ayşe Zeynep; Sezgin, Ahmet; İnceoğlu, Arda
As a part of stated curriculum of MEF University Faculty of Arts, Design and Architecture, design-build studio is a compulsory summer internship for the students completing their first year in architecture and interior design. Within the framework of the design-build studio, the school communicates its set of values through emphasising learning by doing, implying horizontal learning and underlining the process. This paper will discuss how a design-build studio can be a distinctive subliminal quality of an architecture faculty through the case of Boathouse project conducted during Summer 2018.Boathouse Project is designed and built at Kilyos Beach in Istanbul by the students completing their first year in architecture and interior design for Boun Marine and Sailing Club to store their equipment such as small sailing catamarans and windsurf boards while providing a space for club members to gather. Thirty-five first-year students, four second and third- year student assistants and three tutors designed and built the project for five weeks with the support by Boğaziçi University for materials and accommodation; ZETAS for ground works; and TORID for timber supply. Boun Marine and Sailing Club members also provided voluntary support for logistics and finishing. Boathouse is awarded both for the Turkish Architecture Yearbook 2018 and Project Awards for Architectural Students in Turkey.One of the most distinctive aspects of the project is learning by doing. Direct engagement enables learning through several processes, and design-build studio is a relevant setting to enhance them. In this context, students grew away from the formal setting and relocated in an unfamiliar context to confront with a real world subject. They were responsible with developing a fully-fledged design proposal, making presentations to communicate with the client, keeping working setup in order as well as the building site, tracking material supply, and building the design in a limited timeframe. Students used woodworking tools after having health and safety training and they undertake the shared work items as workgroups each day.The second aspect of the project is horizontal learning. Instead of delivering top-down instructions, educators’ position was ruling out the hierarchy by working, living and making decisions together. In this sense, working setting was an extension of the studio culture, including sex equality among work sharing, team set-up, and dedication to the project. Moreover, each student was responsible for their work items as well as they were responsible to the whole group. Student assistants were exchanging their experience and knowledge with the first-years while they were sharing the responsibility. They were learning from each other.The third aspect is underlining the process of the project. Within a limited timeframe and limited experience, the process is always emphasised considerably more than the final product. In this context, openness was one of the crucial characteristics that led a direct dialogue with the client through a series of meetings with the Boun Marine and Sailing Club members for developing the design together. During the building phase last- ing three weeks, several adaptations were made as responses to challenges and opportunities.Design-build studio is one of the central characteristics of the school. As a common experience, all of the students get involved in this organisation as early as the first-year; and they become a part of the faculty culture. Participation of all of the tutors in design-build studios also provides an introduction for a mutual acquaintance among students and tutors. Moreover, projects include a social aspect either for community service or for community involvement enhancing the purposefulness which then empower the connection with the real life situations. Overall, the design-build studio setting is a unique subliminal quality for architectural education besides its well-known curricular qualities.
A Design-Build Studio: Kilyos Boathouse [2020]
(European Association for Architectural Education, 2020) Aydemir, Ayşe Zeynep; Sezgin, Ahmet; İnceoğlu, Arda
As a part of the stated curriculum of MEF University Faculty of Arts, Design and Architecture, Design and Build! Studio (DBS) is a compulsory summer programme for students completing their first year in architecture and interior design. Within the framework of Design and Build! Studio, the school communicates its set of values through emphasising learning by doing, horizontal learning and underlining the process. This paper discusses how a design‑build studio can be a distinctive hidden quality of an architecture faculty through the case of Kilyos Boathouse project conducted in Summer 2018.
A Workshop "of Journeys/Yolculuklara Dair" as a Part of "vardiya (the Shift)": the Turkish Pavilion at the 2018 Venice Biennale
(Istanbul Foundation for Culture and Arts (İKSV), 2018) Ataş, Zeynep; Akın, Tomris; Paşaoğlu, Ali
“Of Journeys” is a workshop that aims to overlap the circulation of matter, the building of Fontego dei Turchi which has become a stopover in that circulation, and the personal journeys of the participants. To this end it tackles its theme in three layers: The first layer refers to the circulation of humans and objects on the Venetian and Ottoman trade routes and in the Mediterranean basin, especially textile raw materials and fabrics; the second layer, the personal accumulation and travels of the students and coordinators who will be brought to the International Architecture Exhibition, La Biennale di Venezia; and the third layer refers to this experience itself, that is, the personal experiences of the viewers who visit and follow the Pavilion of Turkey and the Fontego dei Turchi building.
Adhocratic Spaces
(2015) Teixeira, Frederico Fialho; Belek, M
...
Architectural Writing Laboratory: A Design Learning Experiment
(2024) Korkmaz, İrem; Aydemir, Ayşe Zeynep
Writing is a spatial act - exploring different writing modes may unveil new modes of architectural thinking. When contextualised within the architectural framework, writing takes on a transformative role, capable of opening up possibilities for non-visual relationships and interconnected networks, thereby inviting critical inquiry and discourse. In architectural schools, where the design studio is the central focus, this area usually remains less explored, particularly in undergraduate programmes. However, practising architectural writing brings opportunities to students; for instance, they are introduced to and become familiar with spatial thinking in a literary space where their typically visual preconceptions do not operate.Pursuing this perspective, this paper explores how effectively using writing as a design tool can uncover new and unconventional perspectives on architecture and proposes architectural writing as an interdisciplinary learning tool for guiding future architects and architectural design researchers. These issues are examined through an in-depth study of pedagogical objectives and outcomes of the Architectural Speaking and Writing course, a mandatory subject for third-year undergraduate students.The course is structured as a writing laboratory that closely examines forms of architectural writing as primary instruments for finding a critical voice, engaging in critical dialogue, and communicating with the wider public. Through introducing the design of the course structure and analysing the writing exercises, this paper addresses the crucial role that diverse mediums and methods of expression play for students to connect their internal narratives with external realities in architectural education while altering the dominant position of the educator towards a facilitator.
Citation - Scopus: 1
Biology, Real Time and Multimodal Design Cell-Signaling as a Realtime Principle in Multimodal Design
(2015) Teixeira, Frederico Fialho
The common understanding of morphogenesis implies a three-dimensional evolutionary change in form witnessed in the developmental process of an organism. This evolutionary process emerges from cell growth, cellular differentiation and environmental changes that generate specific conditions between genotype and phenotype. The complex nature of these aspects is intrinsic to evolutionary biology, and its accurate implementation in bio-generated architectures potentiates a twofold understanding of different morphogenetic strategies and its spatial consequences. Within this premise the morphogenetic factors of cell-differentiation and cell-signaling become a crucial aspect in a real-time communication system between an archetype and space, thus performing within particular modes in which design correlates to space. The paper hypothesizes and tests the use of Cell-Signaling as system of communication that governs fundamental cellular activities within the process of Gastrulation. This process occurs in early cell-embryo development and where communication between cells is favorably active and cellular the structure is established. The Emosphera project is a technical re-contextualization of this specific morphogenetic process. The principles denote a genetic code of the object can be scripted in a CAD environment and reproduced real-time by means of communication through a multimedia platform, which render form as a consequential aspect.
Citation - WoS: 1
Citation - Scopus: 1
Building a Community Through a Design Build Studio Program
(Springer international Publishing Ag, 2025) Inceoglu, Arda
This 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.
Cami Tasarımı Fikir Yarışması, Proje (1000 Kişilik)
(Arkitera, 2019) Erdoğdu Özdemir, Elif; Özdemir, Kürşad; Uğurlu, Hilal; Yalman, Suzan; Songür, Serdar; Öztürk, Taha Erdem
Yarışmaya sunulan 1000 kişilik şehir merkez camisi tasarımı kentsel dokudan bir parçayı temsil eder. Geleneksel Güneydoğu kenti mekansal örüntüsüne uygun olarak içinde duvarlar, avlular, geçitler, gölgeli boşluklar barındırır. Merkezde yükselen ibadet yapısı saflar yönünde uzamış yatay bir plana sahiptir. Bölgenin kültürüne uygun bir geometrisi vardır.Cami, kent dokusuna boşlukları, ölçeği ve geçişleri ile entegre olur. Geleneksel mimariden aktarılan mekansal ve yapısal öğeler doku uyumuna katkıda bulunur.
Courts & Kalfas: Patronage Relationships in Selim III’s Reign
(Koç University Research Center For Anatolian Civilizations (ANAMED), 2024) Türker, Deniz; Uğurlu, A. Hilal
The patronage networks of the members of Sultan Selim III’s extended court, specifically his mother, sisters, cousins, and their respective mothers, expand what is already written about the “Greek” artists, architects, and craftsmen who serviced the imperial family. This paper delves into the role of Greek kalfas, akin to modern architects, who served Selim III and his female relatives. It specifically examines figures such as Komyanoz, Foti, Todori, and Yani Kalfas, exploring their professional lives, which typically began in the imperial arsenal as shipbuilders. These individuals worked under—or alongside—French shipbuilders/architects, who were invited to the Capital by the court in the eighteenth century. Another important but overlooked aspect of their lives is the deep professional (and possibly familial) connections these men had with Aegean islands. The cultural interactions with Italian and French influences might shed light on the decorative tastes they adopted, practiced, and disseminated, particularly in palatial interiors. Additionally, this investigation might help us uncover the business networks of these kalfas, for example, their relations with 'woodcarvers from Chios.'Mapping the multiple and often simultaneous imperial building projects which these kalfas oversaw and examining the privileges they received from their patrons upon the successful and timely completion of these projects demonstrates the significance of these actors for the imperial family. Furthermore, these privileges—whether granted or sought—highlight not only the intense competition among these kalfas but also their deep awareness of each other's professional lives, underscoring the stakes of their interactions. The paper also offers close readings of the lengthy correspondence between Esma Sultan, Abdülhamid I’s daughter, her kethüda (personal accountant/asset manager) Ömer Ağa and her remarkably involved mother Sineperver, on the prolonged building process of her new waterfront mansion in Eyüb. These texts not only reveal insights about Komyanoz Kalfa, a Greek-Ottoman architect from Phanar tasked with the mansion's design and construction, but also about the operational methods of these builders and the decorum of engagement with different members of Esma’s own court. Additionally, the correspondence highlights Sineperver's pivotal role in supporting her daughter by overseeing the project and reveals the architect-client relationship. The paper ends with a rumination on the anonymous Greek artist who accompanied the English architect Charles Robert Cockerell (d. 1863) and allowed the foreigner to sketch domestic architectural features of spaces (instead of the usual grand imperial sites) that were contemporaneous with Esma’s now non-extant Eyüb mansion.
Design Matrix for Modus Operandi
(2015) Belek, M; Fialho, F
...
Design-Build Build/Design: an Inquiry-Based Approach To Teaching Beginning Design Students
(Taylor and Francis, 2018) Subotincic, Natalija
This chapter describes an alternate design studio approach that eschews the concept first pedagogy universally adopted in design studio education, avoiding the resulting trap of the seemingly endless formal manipulations that all too often displace the more inclusive material and technical development of a design. The introduction of "design-build" studios and programs into the academic architectural curricula of many schools worldwide reflects recognition of the unhealthy and artificial separation made between design studio culture and the content of technical courses and constitutes an important way of bridging this self-imposed gap. Preserving the simultaneity of concerns and relationships during the design process, although difficult, is rather crucial to an "inquiry-based" approach to learning. When beginning design students start a project without a particular building system in mind, they tend to flounder with respect to design decisions about the tectonic constraints and technical/constructional possibilities of their designs. © 2019 Taylor and Francis.
Free(?) Space at the 2018 Venice Biennale
(Intellect Books, 2019) Yücel, Şebnem
In 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.
G.ü.l.l.e İnsansız Otonom Sualtı Aracı
(Savunma Sanayi Başkanlığı, 2018) Özdemir, Kürşad
Kürşad Özdemir liderliğindeki MEF Üniversitesi Sanat Tasarım ve Mimarlık Fakültesi mezun öğrencilerinin de yer aldığı G.Ü.L.L.E takımı, Savunma Sanayi Başkanlığı tarafından düzenlenen “İnsansız/Otonom Deniz Sistemleri Endüstriyel Tasarım Yarışması”nda birincilik ödülünü almıştır.
How It Emerged That the Approach To Arts, Design, and Architecture Already Contains a Flip
(Emerald Group Publishing, 2016) İnceoğlu, Arda; Kurban, Caroline Fell; Şahin, Muhammed
Architectural education is open to Flipping by its very nature. Since 19th century, design studios have been at the core of very different models of architectural education. Design studios have always been always active learning environments where students learn by doing. Typically, students are presented with design problems to which they need to develop personal solutions. Thus, from the very beginning of their studies, students simulate how an actual architect would approach design problems. With each new design studio, they develop new skills or hone the ones they have already acquired. Such an approach immediately creates a learning culture which is based on active learning where students are challenged to take responsibility, to solve complex problems and develop their individual character as designers while being able to work in group environments. A design studio is not a course where information is given an it is expected the students learn and use that information. It is a collaborative learning environment. Thus, following the lead of design studios, flipping theoretical courses within the architectural curriculum and making them active learning environments should be almost natural. However, this is not necessarily the case. There is a wide gap in pedagogical approaches used between design studios and theory courses within architectural education (Allen, 1997; Chiuini, 2006; Smith, 2004; Oakley, B, Felder, R M, Brent, R; Elhajj, I, 2004). Courses on architectural technology (structures, construction methods, detailing) and to a lesser extent courses on history and theory of architecture are taught in more conventional ways with little emphasis on the application of the information discussed (Vassigh, 2005, 2009). Within this context, it is important to find ways to develop non-studio courses as active learning environments.
Institutional Architecture, Alternatives, and Opponents: Discussions on Architecture and Dwelling
(Royal College of Art, School of Architecture, MPhil/PhD Programmes, 2018) Aydemir, Ayşe Zeynep; Eyiler, Mert
If architecture shaped in relation to authoritarian hierarchies can be defined as institutional architecture, what can be other architectures at a distance to/against the institutional architecture? What are its culture and tools? Discussing this requires an understanding of the relationships between power and society. In response to this, ‘adaptation’ appealed to extend the discussions particularly to dwelling. To adapt and to be adapted are fundamentals of dwelling. Yet, they are usually understood to be limited to the relationship between the user and the space. While, thorough analysis of user-space interactions has informed many works and continue to be a source of architectural knowledge, ‘adaptation’ also extends to a larger network of relationships and stakeholders, as well as to discourses of institutional architecture, its alternatives and its opponents. The roundtable aims to bring these ramification of adaptation in relation to dwelling together. Discussions may consider varying conceptualisations of the word ‘adaptation’, and dwelling. How do users adapt to spaces and self-assert themselves? How do institutions and stakeholders adapt spaces for different purposes? What role do architects play in these?
İpucu: Bataklık
(manifold.press, 2017) İnceoğlu, Arda
Büyükçe bir adanın ucunda, denize doğru yarımada olarak uzayan bir şehir. Şehrin doğal bir liman olduğunu tahmin edebiliriz, özellikle doğu tarafında yarımada ile anakara arasında kalan korunaklı körfez üzerinde bu uzaklıktan bile liman yapıları seçilebiliyor. Yarımadanın büyük kısmı, özellikle güneye gidildikçe, neredeyse tamamen yapılarla kaplı. Çok yoğun bir yerleşim dokusuna sahip bir şehir burası. Şehrin adayı anakaradan ayıran doğal kanalı da aşıp kuzey ve doğuda yayılmaya devam ettiğini de görüyoruz. Şehrin, yoğundan da yoğun olan en güney uçtan başlayarak zamanla kuzeye doğru yayıldığını da tahmin etmek mümkün. Tarihi merkez büyük ihtimalle en güney uçta bir yerde yer alıyor olmalı. Şehrin boyutuna dair bir fikir vermesi için, yarımadanın en güneyden en kuzeye yaklaşık 45 kilometre olduğunu belirtebilirim: Sarayburnu’ndan Rumelifeneri’ne gidişgeliş kadar bir mesafe. Adanın ortalama genişliği ise 12 kilometre kadar, yaklaşık olarak İstanbul kara surlarının uzunluğunun iki katı. Bombay’in hikâyesi, Avrupa sömürgeciliğinin bütün bileşenlerini taşıyor. Şimdi bütünleşmiş olan şehir yakın zamana, 19. yüzyıl ortasına kadar yedi adadan ve aralarındaki bataklıklardan oluşuyor.1 Bombay ismi Portekizliler tarafından bu yedi adanın birisine verilen isim. Diğer adaların isimleri de çok güzel: Parel, Mazagaon, Mahim, Colaba, Worli ve Yaşlı Kadın Adası. Aralarındaki ulaşım problemi nedeniyle yapılaşma kısıtlı olsa da stratejik konumu, doğal limanı ve anakaradan korunmuş olması nedeniyle hep jeopolitik değeri yüksek bir yer olmuş bu adalar. 1534’de birkaç balıkçı köyü bulunan adaların yönetimi o sırada Hint-Moğol İmparatoru Hümayun ile çatışma hâlinde olan Gucerat Sultanı Bahadır Şah tarafından, askeri destek karşılığı Portekiz’e veriliyor. Portekiz kontrolündeki adalar hızla geliştiriliyor, birkaç balıkçı köyü ile sınırlı olan yerleşimler kaleler, birçok kilise ve manastır ile büyüyor, 1661’de nüfus yaklaşık 10.000 kişiye ulaşıyor. Tam da bu tarihte, şehrin kaderini değiştiren ilginç bir şey oluyor: Portekiz kralının kızı Braganzalı Catarina ile İngiliz kralı 2. Charles evleniyor. Tamamen politik bir evlilik bu, amacı denizaşırı hedefleri olan iki devletin ortak tehdit olan üçüncüsüne, İspanya’ya karşı işbirliği oluşturması. Catarina’nın çeyizinin bir parçası da Bombay ve yedi adalar.
İpucu: Garnizon
(manifold.press, 2017) İnceoğlu, Arda
Tipik bir ortaçağ kent dokusu görüyoruz: Çok yoğun bir yerleşim, belli bir düzeni olmayan dar sokaklar, çeşitli büyüklükte ve biçimde çok sayıda meydan, kentin ana meydanında kulesi ile birlikte büyük bir yapı (bir kilise?), çatılardan anladığımız kadarı ile homojen bir yapı ve gölgelere bakınca üç-dört katlı binalar. Bu şehri diğer birçok Avrupa ortaçağ kentinden ayıran küçük bir farktan bahsedebiliriz belki. Çok sayıda meydan sanki üzüm salkımları gibi birer sokakla ortadaki yola bağlanıyor. Bu yol diğerlerinden farklı bir kesitte olmasa da, bir anlamda bu fotoğraftaki meydanları ‘taşıyor’, aynı zamanda kentin ana meydanının da içinden geçiyor. İlk bakışta anlaşılmayan, yaya olarak kentte dolaşıyor olsaydık bile sistemini hemen çözemeyeceğimiz, mekânsal deneyim açısından çok zengin bir hiyerarşi var gibi görünüyor. Burada kentin organizasyonu ile ilgili bir şüphe uyanmalı, kargacık burgacık sokak sisteminin ardındaki, ilk bakışta algılanmayan bu sistem acaba geçmişteki başka bir düzenin kalıntısı olabilir mi?
İpucu: İflas
(manifold.press, 2018) İnceoğlu, Arda
Detroit, çok iyi zamanları olmuş, zamanında büyük bir kolaylıkla ve hızla kazandığı bu başarıların değerini bilemeyip saçıp savurmuş bir hovarda gibi. Artık eski şaşaalı günlere dönemeyeceğini bilerek daha mütevazı bir yaşam kurmak için çalışıyor, ama zamanında attığı yanlış adımlar yakasını hâlâ bırakmıyor. Çökmüş bir fiziksel yapıyı toparlamak zor olsa da mümkün, ama adım adım bozulmuş bir sosyal dokuyu tedavi etmek uzun zaman istiyor. Detroit’in kaderi değişir mi? Neredeyse şehrin kuruluşuna kadar giden çok temel sorunlar ile uğraşan şehir, ekonomik ve sosyal farklılıklara dayanan yeni bir kültür oluşturabilir mi? Bir yandan olumlu gelişmeler var: Küçük işletmelerin kurulmasını destekleyen çok sayıda kamu ve özel sektör fonları mevcut; yıkılan evlerden boşalan yerlerde ‘kentsel tarım’ denemeleri yapılıyor; Jane Jacobs’un adı anılan, yerel toplulukların desteklenmesini hedefleyen çok sayıda proje var ve bunlar Forbes gibi dergilerde bile başarı hikâyesi olarak yayımlanıyor. Hızlı bir Google araması ile çok sayıda ‘Detroit geri dönüyor’ makalesine rastlamak mümkün. Diğer yandan, olumlu gelişmelerin şehir merkezi ile sınırlı olduğu, özellikle siyah Amerikalıların yaşadığı mahallelerde bir değişimin olmadığı; kamu projelerinin ağırlıklı olarak yeni yapılara destek verdiği, eğitime daha çok önem vermesi gerektiği; kamu okulları, toplu taşıma gibi kısa vadede ekonomik geri dönüşü olmayan projelere yatırım yapılmadığı gibi eleştiriler de var.
İpucu: Metropol İzler ve Müzik
(manifold.press, 2021) Arda İnceoğlu
Londra kentinin biçiminin tarih içinde dönüşümünün politik, sosyal ve kültürel çerçevede tartışılması.

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