Mimarlık Bölümü Koleksiyonu
Permanent URI for this collectionhttps://hdl.handle.net/20.500.11779/1947
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Book Part Filling in the Blanks(Domeine national de Chambord, 2019) Özdemir, Kürşad; Avcı, Ozan; Uzal, Derya; Serdar Köknar, Burcu; Sarısakal, BerilBook Part “Introduction” in Sacred Spaces + Urban Networks(Koç University Research Center For Anatolian Civilizations (ANAMED), 2019) Uğurlu, A. Hilal; Yalman, SuzanWhat 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.Conference Object X-Ray of an Architectural Design Studio: The Pendulum between the Ontology and Epistemology of Architecture(EAAE Annual Conference Proceedings, 2019) Avcı, OzanArchitectural 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.Book Sacred Spaces and Urban Networks(ANAMED, 2019) Uğurlu, Ayşe Hilal; Yalman, Suzan; Uğurlu, Ayşe HilalWith its history that goes back millennia, Anatolia is studded with sites from different eras that are deemed “sacred.” The collected essays in this volume present diachronic and synchronic studies of Anatolian sacred sites from the medieval period onward that situate them within various spatial, urban, and sociocultural dynamics. Each article explores unique case studies that illustrate the role of human agency in the creative process of transforming awe-inspiring sites into sacred spaces. Collectively, the volume reveals that the magnetic qualities of such destinations create a web of sanctity, as well as a complicated matrix of economic, political, and social relations. The scholarly contributions published here emerged from the 11th International ANAMED Annual symposium, entitled “Sacred Spaces + Urban Networks” and held at Istanbul’s Koç University Research Center for Anatolian Civilizations (ANAMED) in December 2016. This symposium brought together prominent scholars in the field and former fellows of the research center, including the volume’s editors. While our initial goal was to explore different layers of sacredness in Anatolia, ultimately, the volume sheds light on parallels among case studies and presents the connectedness between these layers.Book Urban Hub Naples(Istanbul Technical University and Mimarlık Eğitimi Derneği (MimED), 2013) Sağlamer, Gülsün; Dursun, Pelin; Avcı, Ozan2013, İstanbul Teknik Üniversitesi ve MimED ortaklığıyla yayınlandı. Bu kitap, 2011-2012 Bahar Dönemi'nde İstanbul Teknik Üniversitesi Mimarlık Fakültesi ve Napoli Federico II Üniversitesi Mimarlık Fakültesi ortaklığında yürütülen “Urban Hub-Napoli” Diploma Projesini tanıtmaktadır. Kitapta Diploma Projesinin amacı, kapsamı ve mimari programı, Napoli gezisine ilişkin belgeler, verilen seminerlerin içeriği, jüri değerlendirmeleri ve öğrenci projeleri bir araya getiriliyor. Proje, Napoli Federico II Üniversitesi'nden 25 öğrenci, 11 İTÜ öğretim görevlisi, 2 öğretim görevlisi ve 2 genç araştırmacıyı bir araya getirdi. Proje, öğrencilere fikirlerini uluslararası platformda geliştirme ve sunma fırsatı yarattı.Book Part Design-Build Build/Design: an Inquiry-Based Approach To Teaching Beginning Design Students(Taylor and Francis, 2018) Subotincic, NatalijaThis 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.Other Stüdyoda Pozisyonlar(XXI Mimarlık, Tasarım ve Mekan dergisi, 2019) Aydemir, Ayşe ZeynepStüdyoyu tetikleyecek bir kavramsal tartışma ortamı hazırlamak, temsili bir düşünme aracı olarak kullanmak, stüdyo mekanını ve rolleri dönüştürmek gibi temel taktikleri uzun uzadıya tartışmak mümkün. Bu taktiklerin gelecekte kendi öğrenim programını oluşturmak, işbirliği ve diyalog, deney, doğaçlama, yeni yapma biçimleri ve açık kaynak gibi konuları ön plana taşıyacağı da görülüyor. Fakat hazırlanan bu ortamlarla birlikte, aslında katılımcıların diğerleriyle, sunulan ortamla ve stüdyo mekanıyla kurduğu ilişki stüdyonun ritmini belirliyor. Stüdyo katılımcıları, stüdyo ortamına sahip çıktığı sürece yürütücüsü, üreticisi ve öğreneni oluyor.Conference Object A Design-Build Studio: Kilyos Boathouse [2019](TU Delft Open, 2019) Aydemir, Ayşe Zeynep; Sezgin, Ahmet; İnceoğlu, ArdaAs 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.Research Project Cami Tasarımı Fikir Yarışması, Proje (1000 Kişilik)(Arkitera, 2019) Erdoğdu Özdemir, Elif; Özdemir, Kürşad; Uğurlu, Hilal; Yalman, Suzan; Songür, Serdar; Öztürk, Taha ErdemYarışmaya 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.Research Project Cami Tasarımı Fikir Yarışması, Proje (200 Kişilik)(Arkitera, 2019) Erdoğdu Özdemir, Elif; Özdemir, Kürşad; Uğurlu, Hilal; Yalman, Suzan; Songür, Serdar; Öztürk, Taha ErdemSöz konusu olan 200 kişilik bir mahalle camisidir. Proje ekibi geçmişten günümüze gelen cami yapısı dizisinin en başındaki ev[1]ölçeğine odaklanmıştır. Ev, sunulan projede hem ibadetin hem de oluşacak mahallenin çekirdeğini temsil eder. İşaret edilen çevre ve program kültürel referansları ile mimari tasarımı besler. Proje temel formda, kompozisyonda ve mekansal atmosferde geleneksel Güneydoğu evine göndermeler yapar.