Mimarlık Bölümü Koleksiyonu

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

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COAR Access Rights: search.filters.coarAccessRights.metadata only accessStart date: 2022

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Now showing 1 - 10 of 14
  • Article
  • Article
    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.
  • Book Part
    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.H.; 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.
  • Article
    The Curse of the Phoenix: on Rebuilding Beirut and Hatay
    (Intellect Ltd., 2025) Yücel, Ş.E.
  • Article
    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.
  • Book Part
  • Conference Object
    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.
  • Book Part
    Architectural Representation as a Body Without Organs
    (Taylor and Francis, 2024) Avcı, Ozan
    Architectural representation plays a critical role as a creative tool, facilitating dialogue and mediation between designer and design. While traditionally viewed as an objective entity, it holds potential for creative expression. Architectural representation is traditionally associated with objectivity and aesthetic beauty. However, as a design tool, it should also embrace subjectivity. Subjectivity in architectural representation goes beyond the architect’s style or drawings, encompassing the presence of the subject within the representation. At this stage, architectural representation becomes related to bodily experience and every experience has its own deformations. The presence of bodily deformations in architectural representations transforms its rigid body into a body without organs. This “new” body may be defined as “beast” rather than “beauty.” In this chapter, I would like to discuss architectural representation as a body without organs to highlight its emancipatory and participatory characteristics that may trigger creativity within the context of analogue and digital worlds. I would also like to emphasize the relationship between beauty and monstrosity that a bodily deformed architectural representation may create and start a new discussion on the aesthetics of architectural representation. © 2024 selection and editorial matter, Chara Kokkiou and Angeliki Malakasioti; individual chapters, the contributors.
  • Article
    Drawing the Line: on the Impossibility of Utopia
    (Intellect Ltd, 2024) Yücel, Şebnem
    When 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 these
  • Book Part
    Mobile Mars Habitation
    (Springer International Publishing, 2023) Müge Halıcı, Süheyla; Özdemir, Kürşad; Halıcı, Süheyla Müge
    This chapter focuses on the concept of mobile habitation on Mars. A description of Mars’ surface features is followed by a review of early concepts of crewed mobility for the Moon and Mars. Wheeled concepts for crew mobility continue to be based on the success of the Lunar Roving Vehicle, and predominantly take the form of a pressurized rover on wheels. With the help of architectural diagrams, the chapter introduces a range of habitable and mobile Mars structures, and the technologies used, taking into account mission requirements. © Springer Nature Switzerland AG 2023, corrected publication 2023.