Mimarlık Bölümü Koleksiyonu

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

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  • 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.
  • Article
    The Curse of the Phoenix: on Rebuilding Beirut and Hatay
    (Intellect Ltd., 2025) Yücel, Ş.E.
  • Article
    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.
  • 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.
  • 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
  • Article
    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.
  • Article
    Citation - WoS: 11
    Architectural Design Research: Drivers of Practice
    (Routledge Journals, Taylor & Francis Ltd, 2022) Aydemir, Ayse Zeynep; Jacoby, Sam
    Research, professional practice, and learning in architecture are becoming increasingly integrated as the understanding of research and practice is transforming and research assessment criteria are expanding. This changing research landscape has created more diverse iterative and cyclical design research processes and opened new areas of exploration and experimentation in architecture. Building on existing tripartite design research models, such as research 'into', 'for', and 'through' or research stages of 'processes', 'products/outcome', and 'performance/impact', this paper uses the concepts of 'process-driven', 'output-driven', and 'impact' to analyse and classify current architectural design research practices. This framework is used to clarify how research criteria are differently understood in academia and practice, explore the challenges arising from translation between them, and analyse the methods commonly used. While focusing on the UK context, the paper offers transferable insights while using some international case studies.
  • Article
    Citation - WoS: 3
    Citation - Scopus: 4
    Adaptive Reuse of High-Rise Buildings for Housing: a Study of Istanbul Central Business District
    (Cogitatio Press, 2024) Aydemir, Ayşe Zeynep; Akın, Tomris
    The 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.
  • 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