Mimarlık Bölümü Koleksiyonu

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

Browse

Filters

2022 - 20259

Settings

Start date: 2022Institution Author: search.filters.institutionAuthor.Avcı, Ozan

Search Results

Now showing 1 - 9 of 9
  • Book Part
    Bordering bodily experience / Experiencing border bodily
    (Eastern Mediterranean University Press, 2025) Avcı, Ozan
    The chapter examines the border as a spatial, temporal, bodily, and mnemonic condition rather than merely a political or physical line of separation. Focusing on the divided urban context of Nicosia/Lefkoşa, it argues that borders shape everyday experience by restricting movement, vision, contact, and memory, while also producing intensified forms of perception and awareness.Through a phenomenological perspective, the text challenges dualistic understandings of body and mind, emphasizing that the border is experienced through the whole body. Spatial congestion, folded temporalities, bodily limitation, and constrained memory are presented as key dimensions of border experience. The border is therefore interpreted not only as an instrument of division, but also as an existential and experiential condition that reorganizes how space is sensed, remembered, and inhabited.The chapter also considers artistic, performative, and architectural practices that engage with the buffer zone through movement, sound, memory, and bodily presence. These practices reveal the possibility of rethinking the border as a site of transformation. Rather than treating the border solely as a closed or static barrier, the chapter frames it as a dynamic field where alternative forms of connection, coexistence, and spatial imagination may emerge.
  • Book Part
    Architectural Representation as a Body without Organs
    (Routledge, 2024) Avcı, Ozan
    Architectural representation is reconsidered through the concept of the “Body without Organs,” challenging fixed, hierarchical modes of drawing and thinking. The chapter argues that conventional architectural drawings impose rigid structures that limit creativity and perception. Instead, it proposes a fluid, process-oriented approach where representation becomes an open field of experimentation, shaped by encounters, movements, and hybrid practices. Through artistic and architectural examples, the study explores how drawings can dissolve boundaries between body, space, and imagination, enabling new forms of knowledge production. Ultimately, representation is framed as a dynamic, transformative practice that redefines both architectural thinking and the relationship between designer, medium, and environment.
  • Article
    Üç Ayaklı Kedi Şehri Gezerken: Kırılganlık Metaforu ve Neoliberal Kent Gerçekliği
    (Mimarlık Dergisi - Mimarlar Odası, 2025) Avcı, Ozan
    İstanbul Bienali’nin üç yıla yayılan 18. edisyonunun ilk ayağı, “The Three - Legged Cat” - “Üç Ayaklı Kedi” başlığıyla 20 Eylül – 23 Kasım 2025 tarihleri arasında gerçekleşti. Bienal, küratör Christine Tohmé’nin kedi metaforu üzerinden “hayatta kalma”, “yeniden oluşturma” ve “dönüşüm” temaları çerçevesinde şekillendi. Bienal’den izlenimlerini aktaran yazar, sergi mekânlarının Karaköy merkezli seçimine dikkat çekerek, yazısını Bienal’in İstanbul ile kurduğu kavramsal ve programatik bağ üzerinden kurguluyor; sergi mekânları ile kentin güncel dönüşüm süreçleri arasındaki ilişkiyi eleştirel bir zeminde tartışıyor.
  • 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
  • Article
    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
  • Conference Object
    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.
  • 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.
  • Presentation
    (re) Presenting Representation
    (2022) Avcı, Ozan
    Representation is a broad umbrella that covers different disciplines such as design, the arts, architecture, cinema, literature, politics, economics, semiotics, etc… We may even say that representation is in every act of human beings whenever they think about something. This fundamental role of representation makes it very critical in the design process, thus the design process is based on the dialogue between the inner and outer representations. In this third issue of UOU Scientific Journal, we would like to focus on the nature of representation, its own ontological aspects, materiality, immateriality, and its crucial role in the design process rather than its metaphorical side related with politics and semiotics. Hans-Georg Gadamer points out that “representation does not imply that something merely stands in for something else as if it were a replacement or substitute that enjoys a less authentic, more indirect kind of existence. On the contrary, what is represented is itself present in the only way available to it.1” In this respect, representation can be the subject of research. Here two conceptions may occur: representation of the world and the world of representation. The former proposes the origins of representation for the agenda, such as the ways of representing the world during the Medieval, Renaissance, Baroque, Modern or contemporary periods. The latter highlights the ontology of representation and its emancipatory, participatory, imaginative, speculative, predictive, and interpretive characters. The tension between the productive and the creative reality of architecture may be better understood if we examine more closely the nature and role of representation. In a conventional understanding, representation appears to be a secondary and derivative issue, associated closely with the role of the representational arts. However, a more careful consideration reveals, very often to our surprise, how critical and universal the problem of representation really is. What we normally refer to as reality, believing that it is something fixed and absolute, is always a result of our ability to experience, visualize, and articulate—in other words, to represent so as to participate in the world. Countering representation’s participatory function is its tendency toward emancipation and autonomy.