Mimarlık Bölümü Koleksiyonu
Permanent URI for this collectionhttps://hdl.handle.net/20.500.11779/1947
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Book Part Bordering bodily experience / Experiencing border bodily(Eastern Mediterranean University Press, 2025) Avcı, OzanThe 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, OzanArchitectural 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, Ozanİstanbul 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 Mock‐up versus CAD Modeling Preferences of Architecture Students in the Early Design Phase(JCoDe: Journal of Computational Design, 2023) Samancı, Buket; Taşpınar, Özge; Karcı, Yaşar Emir; Cengiz, Başak; Özdoğan, Selen; Yıldız Özkan, Dilek; Bittermann, Michael SPreferences for using physical mock-up modeling or computer-aided design (CAD) among architecture students in the early design phase are analyzed. The data is obtained from a questionnaire, consisting of eight multiple-choice questions and one open-ended question. The respondents are architecture students; the majority of them are still in their undergraduate studies. As quantitative analysis methods hypothesis tests based on the probability distributions known as the z-distribution, and the Chi-squared distribution were carried out. Generally, it was investigated which modeling technique is more efficient in the early design phase. Moreover, according to the age groups of respondents, the difference in the preference among mock-up and CAD is identified. Explicitly, younger students prefer CAD, while other ones prefer mock-up representation. The reasons for the difference are analyzed. Since the choice for mock-up modeling or CAD modeling can have a strong impact on the design processes of both, students and professionals, the result of the study is relevant, because it gives a hint about probable future architecture practice.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, ZülfüyeBook Part The Propaganda Power of Urban Views in Selim III's Ottoman Empire(Pera Museum Publication 115, 2023) Uğurlu, A. HilalIstanbul, 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.Conference Object The Body as the Site of Architectural Knowledge(PUBLICA, 2024) Avcı, OzanArchitecture 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.Conference Object Architectural Writing Laboratory: A Design Learning Experiment(2024) Korkmaz, İrem; Aydemir, Ayşe ZeynepWriting 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.Book Part Architectural Representation as a Body Without Organs(Taylor and Francis, 2024) Avcı, OzanArchitectural 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 Citation - WoS: 3Citation - Scopus: 4Adaptive Reuse of High-Rise Buildings for Housing: a Study of Istanbul Central Business District(Cogitatio Press, 2024) Aydemir, Ayşe Zeynep; Akın, TomrisThe abrupt shift to remote work due to the Covid-19 pandemic increased vacant office spaces globally, especially in high -rent central business districts (CBDs). These vacant office spaces offer the potential for conversion into housing, addressing the shortage of affordable housing in central areas. Additionally, this topic presents a unique experimental ground for architecture students. This study focuses on the Istanbul CBD as a case study, examining the historical developments that led to a rise in office vacancy rates and housing inequality, and exploring the potential for adaptive reuse of these vacant office buildings. A key focus of this study is to underline the pedagogical value of adaptive reuse, highlighting how such projects can inspire more diverse and equitable housing models, fostering experimental and sustainable design approaches. It systematically evaluates the outcomes of a 4th -year architectural design studio that focuses on the adaptive reuse of the Tat Towers in the Istanbul CBD, a structurally vacant high-rise office building, and asks: How does the context of adaptive reuse enable a different design approach, and, potentially, new spatial norms and standards to emerge, and how might this hold a pedagogical value for architecture education? Following these questions, the article discusses how norms and standards are not only culturally but also typologically contextual, and how the students have explored how norms and standards might change, outlining new design approaches to adaptive reuse.