Mimarlık Bölümü Koleksiyonu

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

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Selimiye as a Commemorative Monument in Modern Turkey
(Routledge Journals, Taylor & Francis Ltd, 2025) Sezgin, Ahmet
Selimiye, an Ottoman dynastic mosque, became a contested site of memory in the 20th century. As the Ottoman Empire disintegrated, Bulgaria, Greece, and Turkey all had ambitions and even temporary control over Edirne during the first decades of the 20th century. Its unique location at the crossroads of nation-states provides fertile ground for investigating the role of architectural heritage in the formation of a nation's collective memory, with a consideration of transnational influences. This article investigates the development and reception of commemorations involving the monument through close readings of newspaper reports from Greece, Turkey, and Bulgaria, as well as international media. It reveals the transnational dimension in forming a national frame of remembrance for the liberation of Edirne.
Citation - Scopus: 1
From Ceremony To Spectacle: Changing Perceptions of Hagia Sophia Through the Night of Power (laylat Al-Qadr) Prayer Ceremonies
(Edinburgh University Press, 2024) Uğurlu, A.H.
[No abstract available]
The Curse of the Phoenix: on Rebuilding Beirut and Hatay
(Intellect Ltd., 2025) Yücel, Ş.E.
Düşeyi Olmayan Ev
(Arredamento Mimarlık, 2021) Avcı, Ozan
Ev, birçok mimarın kavramsal olarak üzerinde düşündüğü ve yapısal olarak denemeler yaptığı bir kavram. Felsefe ve psikolojide de ev kavramı insanın varoluşuyla, bu dünyada kendini konumlandırmasıyla, ikamet etmesiyle ve iç dünyasının dışavurumuyla ilişkilendiriliyor. Örneğin Martin Heidegger inşa etme, düşünme ve ikamet etme eylemlerinin birbirleriyle olan ilişkilerini sorgulayarak evin sınırlarını kavramsal çerçevede genişletiyor1 . Gaston Bachelard insan zihninin yapısıyla evi ilişkilendirerek mahzenden tavan arasına düşey bir kurguda evi şekillendiriyor2 . Benzer bir şekilde Carl Gustav Jung da kendi evini düşeyde gelişen bir kule olarak hayal ediyor3 . Bu noktada tamamen yatay bir kurguya sahip olan “Düzlemsel Ev” (Casa Plana) projesi bir evin kurgusunu, mekansal kalitelerini ve şiirselliğini tartışmak için farklı ve provoke edici bir örnek olarak karşımıza çıkıyor.
Munzur Dağları, İnekler ve Beton
(Arredamento Mimarlık, 2022) Avcı, Ozan
Maurice Merleau-Ponty “Düşünmek, denemektir, işlem yapmaktır, değiştirmektir” der1 . Arman Akdoğan’ın mimarlık ofisi IND [Inter.National. Design] de Kutluğ Ataman’ın Erzincan’daki Palanga’sında büyükbaş hayvanlar için tasarladıkları projede çokça deneme yapıyor. Malzemeden strüktüre birçok şeyi değiştirerek hem kendilerine tanınan özgürlük alanında deneysel bir yapı inşa etmeye hem de bu yere en uygun mimarlık düşüncesini geliştirmeye çalışıyorlar. Bu süreçte strüktürle ilgili Ahmet Topbaş’ın ofisi ATTEC ile birlikte çalışan ofis; üst yapı olarak betonarme katlı plak döşemelerden, betonarme kiriş ve kolonlardan meydana gelen yapının detaylarını birlikte geliştiriyorlar2 . Katlanmış bir beton plak görünümündeki Yarı Açık Sığır Besi Tesisi bu şekilde ortaya çıkıyor.
Citation - Scopus: 1
From Ceremony To Spectacle: Changing Perception of Hagia Sophia Through the Night of Decree (layla’t-Ul Kadr) Prayer Ceremonies [Book Part]
(Edinburgh University Press, 2024) Uğurlu, A.Hilal
After the Hagia Sophia was converted into an imperial mosque by Ottoman Sultan Mehmed II (r. 1451–81), it became a key venue for imperial religious ceremonies. From the sixteenth century until the 1830s, Ottoman sultans customarily performed the Night of Decree prayers at the Hagia Sophia. Although sultans eventually left this tradition and began attending the Night of Decree prayers at other mosques, such as Nusretiye and later Yıldız Hamidiye Mosques, the Hagia Sophia remained significant for Istanbulites. From the 1880s, the court altered the ceremonial decorum at the Hagia Sophia, issuing passes for foreign embassy staff and guests to observe from the upper galleries, with officials explaining the rituals. This period saw an increase in non-Muslim spectators, from tens to thousands. This paper examines the transformation of a religious ceremony into a spectacle by conceptualizing the Hagia Sophia as a showpiece monument, distinct in function from other imperial mosques. It argues that the Hagia Sophia, historically used as a political tool, continued to serve this purpose in a different way between the 1880s and 1932.
The Emergence of Sensation in Architectural Representation
(YEM, 2022) Avcı, Ozan; Avcı, Ozan
Filling in the Blanks
(Domeine national de Chambord, 2019) Özdemir, Kürşad; Avcı, Ozan; Uzal, Derya; Serdar Köknar, Burcu; Avcı, Ozan; Özdemir, Kürşad; Sarısakal, Beril; Uzal, Derya
Deprem Sonrası Hatay İçin Tasarla ve Yap
(Ege Mimarlık, 2023) Avcı, Ozan; İnceoğlu, Arda; Çelik, Ceren; Özdemir, Kürşad; Sağlam, Didem; Samancı, Buket; Sert, Esra; Ünver, Büşra; Yıldız, Zülfüye
Perform Your Prayers in Mosques!: Changing Spatial and Political Relations in Nineteenth-Century Ottoman Istanbul
(Intellect Books, 2020) Uğurlu, A. Hilal
An article published on May 29, 1852, in the Journal de Constantinople reported a new environmental planning project for Istanbul’s Tophane district. A range of shops would be demolished so that the main street could be widened and transformed into a square that ended at the flamboyant main door of the Nusretiye Mosque (1823–26).Tophane Fountain and certain other neighboring fountains would be renovated, and trees would be planted between the boundaries of the Artillery Barracks and the widened mainstreet, to make the Tophane district ‘the most beautiful, pleasant and healthiest promenade of the city. This reported endeavor was only a small aspect of a larger project that began in the 1840s, after the proclamation of the Gülhane Rescript (November 3, 1839), and it was considered a physical extension of Ottoman modernization. Throughout the long nineteenth century, while the urban fabric of the capital was regularized and adjusted to the expectations and needs of the ongoing modernization efforts, novel building types, such as barracks,schools, and railway stations, and new social spaces, such as parks, theaters, and promenades, emerged. Many existing building types and thus the daily routines shaped by them were also affected.
“Introduction” in Sacred Spaces + Urban Networks
(Koç University Research Center For Anatolian Civilizations (ANAMED), 2019) Uğurlu, A. Hilal; Yalman, Suzan
What is a sacred space? How do we begin to understand the dynamics between religious belief and architectural development? Pilgrimage accounts for Harran, a renowned ancient city of Upper Mesopotamia, help illustrate important points. These travelers from different religious backgrounds reported on the significance of a site in the city. This location was believed to be the temporary dwelling place of Abraham before he moved to the land of Canaan, as stated in the Old Testament (Gen. 12:4–5). Yet, the site’s sacred associations were not limited to the Abrahamic religions. The city was referred to as “the heathen city” by the Fathers of the Church because of the dominant pagan population. An early Christian pilgrim’s account (ca. 381–84 CE) by Egeria, underlines that the location chosen for the church of the city was the “very spot where the house of Abraham stood.” Moreover, she recorded that the pagan people of the city also venerated the same site, which indicates the multilayered meanings attributed to the same location. Centuries later, when a Muslim pilgrim, al-Harawi (d. 1215), visited Harran, he also recorded a site associated with Abraham. This time, however, instead of a residence, it was a rock that Abraham was believed to have sat on while waiting for his flock. What remains unclear is i f this was another “spot” or if the association with the previous sacred site changed over time.
“Introduction", in The Friday Mosque in the City: Liminality, Ritual, and Politics
(Intellect Books, 2020) Uğurlu, A. Hilal; Yalman, Suzan
The Friday Mosque in the City: Liminality, Ritual, and Politics Explores the relationship between two important entities in the Islamic context: the Friday mosque and the city. Earlier scholarship has examined these concepts separately and, to some degree, in relation to each other. This volume seeks to understand the relationship between them. Inorder to begin this discussion, defining the terminology is necessary. The English term mosque’ derives from the Arabic Masjid, a term designating a place of prostration, whereas the term jami‘,which is translated variously as Friday mosque, great mosque or congregational mosque, originates from the Arabic term jama‘, meaning to gather. The religious obligation for Muslims to congregate on Fridays eventually created an Islamic social code. Similarly, the migration from Mecca to Medina was instrumental in transforming a society based on tribal kinship into a community (umma). The Prophet himself played a vital role in establishing the first congregational space in Medina. Whatever the original terminology that defined it,this space is usually accepted as the prototype of the ‘mosque’ by architectural historians. The distinctions in terminology are important because, according to Islamic legal tradition,the presence of a Friday mosque was an important parameter in defining a city (madina).
The Propaganda Power of Urban Views in Selim III's Ottoman Empire
(Pera Museum Publication 115, 2023) Uğurlu, A. Hilal
Istanbul, the capital of the Ottoman Empire since the mid-fifteenth century, boasts a rich history of panoramic representations that have captivated artists and patrons alike. From the early years, artists affiliated with the retinue of ambassadors to the Ottoman Empire played a significant role in creating these expansive city views. Melchior Lorck’s 11.27-meters long panoramic view of Istanbul, drawn between 1559 and ca. 1563, is one of the earliest attempts to portray the city accurately and in panoramic format. Lorck was an artist assigned to the entourage of the German ambassador to Istanbul, Ogier Ghiselin du Busbecq. In the eighteenth century, the changing nature of diplomatic relations between the Ottoman Empire and European polities led to an increase in the number of embassies and, consequently, the number of artists appointed to these posts. This increase in artistic activity was reflected in the growing number of city views and topographical landscapes of Istanbul produced during this period. Concurrently, the emergence of philhellenism in Europe, coupled with the proliferation of picturesque travel literature, augmented the attention to the Ottoman lands and its capital.
Philanthropy in the Form of a Hair Strand: Sacred Relics in Nineteenth-Century Ottoman Lands
(Koç University Research Center For Anatolian Civilizations (ANAMED), 2020) Uğurlu, A. Hilal
From the last quarter of the eighteenth century, the caliphal status and the legitimacy of the Ottoman sultans were constantly and increasingly challenged. One of the most effective and powerful tools that they utilized in order to strengthen their diminishing image in the eyes of their subjects was the re-appropriation of sacred places, either by extensive restorations or by demolishing and rebuilding them. While this was not an emergent practice, during the tumultuous moments of the long nineteenth century, these incidents proliferated. Additionally, a sacred network associated with the benevolence and religiosity of the sultans was created by the increasing mobility of the sacred relics of Prophet Mohammad. For instance, hair strands of the Prophet (lihye-i şerif) were sent to different corners of the Ottoman geography by the court. These sacred relics were kept generally in newly built mosques or custom built and repurposed edifices that protected and made its visitation possible. Similarly, in the Capital, visiting these relics became popularized. So much that Abdülmecid I (r.1839-61) ordered the construction of a new imperial mosque (Hırka-i Şerif Camii) at Fatih. Although called a mosque, it was designed specifically for the visitation of the Holy Mantle, as a ziyara. This article investigates the proliferation and circulation of the sacred relics in the nineteenth-century Ottoman lands. It argues that these acts not only aimed to address the religious needs of the subjects but were also expected to infuse the sacredness of these relics to the imperial image.
Designing and building follies as a pedagogical approach in architectural design education
(UOU scientific journal, 2021) Avcı, Ozan
Architectural education has its own unique character in-between rational and creative thinking. Within this wide perspective, learning by doing becomes important so as to cover different aspects of this education. At MEF University Faculty of Arts Design and Architecture (FADA), we we've created a unique program called Design-Build Studio (DBS) in order to push creating and doing beyond the boundaries of architectural design studios at universities. In this essay, I would like to focus on follies that we have been designing since 2015 in our DBS program as a pedagogical approach in architectural design education. Follies are pregnant points that can give birth to various forms and functions. Their open structure allows a collective design process with the participation of tutors, students, users, locals, municipalities, and NGOs. Through DBS project our students get a real design experience in a real place with real people, discover the difficulties of this process, improve their communication skills and comprehend the power of design to be used as a tool to improve the lives of everyone. As a result, we believe that designing and creating follie-like structures is critical in architectural design education.
The Body as the Site of Architectural Knowledge
(PUBLICA, 2024) Avcı, Ozan
Architecture is not only about buildings but more about the interwoven relationships betweenthe built environment, people, and other living organisms. So, the knowledge of architecturedoes not merely belong to the world of objects, yet to the whole world that consists of subjectsand objects. Here, the body becomes the mediator that constructs the relationship betweenthese two worlds. Through this relationship knowledge is produced within the body, thus thebody becomes the site of this knowledge production process. In this paper I would like to discussthe discovery and production of architectural knowledge through a theoretical background –based on the interconnected relationships between philosophy, psychology and architecture– and my teaching practices.
X-Ray of an Architectural Design Studio: The Pendulum between the Ontology and Epistemology of Architecture
(EAAE Annual Conference Proceedings, 2019) Avcı, Ozan
Architectural design studio is a dynamic/interactive/productive atmosphere. This atmosphere is not limited to a physical space—like the school building—but can be produced collectively with the students where the educator comes together with them. Changing the atmosphere during the design process keeps students active, excited and motivated. This motivation triggers creativity. In order to support this creative atmosphere, a pendulum-like movement should be created between the ontology and epistemology of architecture through relational and critical thinking. At this stage, the design of the content and the process of the design studio by the educator come into prominence. In this paper the x-ray of a 3rd year undergraduate architectural design studio in Istanbul will be presented so as to discuss the interwoven relations between the educator, the content, the place, the students and the process.
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 - 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.
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.

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