Yücel, Şebnem

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Profile URL
https://hdl.handle.net/20.500.11779/2739
Name Variants
Yücel, Ş.E.
Yücel, Şebnem
Yucel, Sebnem
Yücel,Ş.
Yücel, Ş.
Yucel, S.
Job Title
Email Address
yucelse@mef.edu.tr
Main Affiliation
03.01. Department of Architecture
Status
Current Staff
Website
ORCID ID
0000-0003-4281-913X
Scopus Author ID
57213865568
Turkish CoHE Profile ID
Google Scholar ID
WoS Researcher ID
D-2887-2019
Files
MEF FADA_Sebnem.webp (2.77 KB)

Sustainable Development Goals

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ZERO HUNGER
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PEACE, JUSTICE AND STRONG INSTITUTIONS
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NO POVERTY
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SUSTAINABLE CITIES AND COMMUNITIES
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AFFORDABLE AND CLEAN ENERGY
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REDUCED INEQUALITIES
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GOOD HEALTH AND WELL-BEING
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CLEAN WATER AND SANITATION
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INDUSTRY, INNOVATION AND INFRASTRUCTURE
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RESPONSIBLE CONSUMPTION AND PRODUCTION
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GENDER EQUALITY
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LIFE BELOW WATER
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CLIMATE ACTION
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LIFE ON LAND
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DECENT WORK AND ECONOMIC GROWTH
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PARTNERSHIPS FOR THE GOALS
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QUALITY EDUCATION
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Documents

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Documents

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Scholarly Output

11

Articles

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Supervised MSc Theses

2

Supervised PhD Theses

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WoS Citation Count

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WoS Citations per Publication

0.18

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Open Access Source

3

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2

JournalCount
International Journal of Islamic Architecture7
Islamic Architecture Today and Tomorrow: (Re)Defining the Field1
Review of Middle East Studies1
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Now showing 1 - 10 of 11
  • Thumbnail Image
    Article
    Contesting Labels: Revisiting Old Questionnaires
    (Cambridge University Press, 2020) Ada, Serhan; Yücel, Şebnem
    As a response to several questionnaires, manifestos, interviews, and letters that were included in the book Modern Art in the Arab World: Primary Documents, this article carries out a new questionnaire with seven artists form various backgrounds and geographies, in an attempt to update and re-question some of the issues that were highlighted in the collected essays. The questionnaire includes three questions, each focusing on a different issue. The first issue considers the validity of the term “Arab Art,” the second tries to identify the main dynamics of contemporary artistic production, and the last one questions the relation of contemporary production of arts to geography and history. The following interviews have been edited for consistency and clarity.
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    Master Thesis
    A critical study on sustainability within environmental assessment methodologies: Evaluating Volu-te in search of an alternative vision in architecture
    (MEF Üniversitesi, 2022) Kaleli, Damla; Yücel, Şebnem
    Bu araştırma, mimaride sürdürülebilirliğin değerlendirilmesine ve bunun araçları olarak çevresel değerlendirme metodolojilerine odaklanmaktadır. Bu metodolojiler, mimari ürünün sürdürülebilirliğinin ölçüm mekanizması olarak işlev görür; ancak etiketleme ve sertifikasyon gereklilikleri ile mevcut kapitalist sistemin çarkı olarak da çalışırlar. Bu nedenle, bu çalışma proje üzerindeki ekolojik etkiyi ve finansal stresi değerlendirmeye odaklanmayı amaçlamaktadır. BREEAM sertifikasının proje bütçesine ekstra üç kat, Pasif Ev sertifikası ise projenin toplam maliyetine ekstra iki kat daha masraf eklendiği görülmektedir. Bu değerlendirmede Volu-te, bu sertifikasyon sistemlerinin mikro ölçekli yaşam projelerinde maliyet etkisini tartışmak ve maliyet etkisini ortaya koymak için mimari bir ürün olarak kullanılmıştır.
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    Book Part
    Affection for Nouvel Architecture: on Contemporary (islamic) Architecture and Affect
    (Intellect Ltd., 2022) Yücel, Şebnem
    [No abstract available]
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    Master Thesis
    Changing ideals continuing visions: prefabricated micro living unit experiments from 1960s-1970s and 2000s-2010s
    (MEF Üniversitesi, 2023) Hut, Sare Sena; Yücel, Şebnem
    Bu araştırmada prefabrike mikro yaşam üniteleri deneyleri 1960- 1970'ler ve 2000-2010'lar olmak üzere iki tarihsel periyot üzerinden irdelenmektedir. Çalışmanın amacı aynı konut tipolojisi üzerinden ortak bir üretim yapılmasına neden olan farklı motivasyonları: sosyoekonomik, teknolojik gelişmeler ve popüler kültür bağlamında neler olduğunu ortaya çıkarmaktır. 1960'lı-1970'li yıllardaki üretimlerin kendi dönemlerinde ortak bir konut tipolojisine dönüşüp dönüşmediğinin sorgulanmasının yanı sıra, bu projelerin başarılı ve başarısız yönlerinin sorgulanması, 2000'li-2010'lu yıllardaki sürekliliklerin ve değişimlerin tespit edilmesi araştırmaların temelini oluşturmaktadır. Amaçlardan biri de 1960-1970'lerdeki yapımların 2000'li-2010'lu yıllarda nasıl bir rol oynadığını ortaya koymaktır. Bu amacı gerçekleştirmek adına öncelikle prefabrikasyon ve mikro yaşam ünitelerinin tarihsel gelişimi ayrı ayrı incelenmiş ve konut tipolojisi olarak prefabrike mikro yaşam ünitelerinin ortaya çıkışı mercek altına alınmıştır. İkinci kısımda iki tarihsel periyodun ayrı ayrı sosyo-ekonomik, teknolojik gelişmeler ve popüler kültür üzerinden dinamikleri açığa çıkarılmıştır ve her döneme ait vaka çalışmaları tanıtılmıştır. 1960-1970'ler ve 2000-2010'ları kapsayan iki tarihsel periyot arasında devam eden vizyonlar ve değişen idealler olarak üçüncü ve dördüncü kısımlarda mercek altına alınmıştır. Ve son olarak Alternatif Mimarlık Pratikleri yüksek lisansı altında geliştirilmiş olan prefabrike mikro yaşam ünitesi olan Volu-te'ün 2000'ler-2010'larda konumu üçüncü ve dördüncü kısımlarda incelenmiş olan, değişen idealler ve devam eden vizyonlar üzerinden irdelenmiştir.
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    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
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    Article
    Citation - WoS: 1
    Which Ground Do Your Feet Touch? on the Metaverse, Image, and the Materiality of Architecture
    (Intellect Ltd, 2023) Yücel, Şebnem
    [No available]
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    Article
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    Article
    Citation - WoS: 1
    Art Museums and the Middle East: a Contested Territory
    (Intellect, 2020) Yücel, Şebnem
    The Architectural Spotlight section addresses recent projects, debates and events that shape the architectural discourse and practice in Muslim-majority countries as well as in diasporic Muslim communities. In this section, contemporary architectural concerns in diverse cultural, economic, and social conditions are discussed to move toward the varied meanings of 'architecture'in recent geographies of Islam in its global dimensions.
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    Article
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    Article
    Free(?) Space at the 2018 Venice Biennale
    (Intellect Books, 2019) Yücel, Şebnem
    In his article ‘Out of Site/In Plain View: On the Origins and Actuality of the Architecture Exhibition’, architectural historian and curator Barry Bergdoll starts by asking the obvious question: ‘What does it mean to exhibit architecture? Isn’t architecture, once it is built, always already on display?’1 Despite always being on display, however, architecture escapes being exhibited. Because we cannot exhibit architecture in the way an artist can exhibit a painting or a sculpture.