Tasarım+Kuram (E-Journal)
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Su İle Dirençli İlişkiler Kurmak: Profesyonellerin Ekosistemine Bir Bakış: Su İle Dirençli İlişkiler Kurmak
No full textWater, both as a natural and a cultural phenomenon, is studied by various disciplines due to its multi-dimensional and multi[1]layered structure at the natural and societal levels. Thus, it offers unique opportunities to bridge between different geographies, disciplinary approaches and perspectives. However, instead of understanding this diversity as a potential, water studies are confined into disciplinary boundaries during evaluation of the water-related problems and each discipline seeks solutions within its scope of area of research. On the one hand, as Felix Guattari (1989) claimed that the logic of ecology (namely, relationship) is multi-dimensional. This study is an outcome of in-depth interviews held with professionals from different disciplines working on water. These interviews present the complex interconnected system of professionals’, in other words ecosystems of professionals, to identify their ecological understanding of the problem-potential-solution towards human-water relationship and their mental-physical[1]tactical methods against water-related-problems. Thus, this study aims to provide a holistic picture of the human - water dialectic of professionals with a transdisciplinary perspective. The study seeks answers to the following questions: What kind of ecosystem does professionals working on water reveal without disciplinary boundaries? What kind of solutions does this ecosystem offer responding to the disconnections in our relationship with water in the modern era? Rather than an exclusionary perspective, what opportunities does a transdisciplinary perspective provide for a sustainable future? When the interviews were evaluated, it matches with Guattari’s notion of ecology at three levels: mental, social, and environmental levels. The first group of professionals defined their relationship with water through sensory experiences on an individual basis that should be kept alive through local stories, myths and memories as well as daily routines and rituals. It is similar to Guattari’s mental ecology that refers to phenomenological constructs covering subjective and individual-based relationship with water. The second group of professionals argued that there was a social-political relationship between human and water in the broader urban reality and the main reason behind the recent problems with water was political. In Guattarian term, it is social ecology constructed by as social, ideological and cultural production that is significantly discussed by various critical social theorists.These interviewees suggested that the distrupted relationship can only be the renewed through activism, constructing public opinion, and activity-based reuse to evoke the sense of place. Another group of professionals emphasized the dynamics of water by analyzing and mapping of its nature, to return to the true ecology of water through physical arrangements and design, rather than focusing on who is in charge of disrupting the relationship with water. It matches with Guattari’s environmental ecology that refers to the physical and spatial organizations and processes constructing the relationship. Each ecological level is closely linked, synchronized and juxtaposed with each other. The professionals ecosystem sheds light on the transdisciplinary relationship with water from a holistic and transdisciplinary ecological perspective (from the mental, societal and environmental level. )A holistic approach to water requires combining different levels of ecology (or type of relationship) at the same time. As Guattari (1992) stated, there can be no change in mentalities without changes in the social and physical environment. Or, if the mental relationship does not reach the social level and not led a physical transformation, it will remain incomplete. Bringing water into daily life practices and routines, becoming a part of urban life at the social level, revitalizing memory, and planning it in such a way to regain its natural flow and ecology will lay the foundations of a sustainable and resilient relationship. A holistic management and planning approach will renew our relationship with water on an individual (subjective), social and physical level and provide clues to renew our relationship with the planet in a sustainable and resilient way. Considering the limitations of the study, it should be noted that the interviews only reflect the views of a group of professionals.Doğal akışlarının bozulduğu günümüz çağında, küresel iklim değişikliği ve küresel kuraklık problemlerinin gündeme gelmesi ile birlikte, su en önemli konulardan birisi olmuştur. Hem doğal hem de kültürel bir olgu olan su, çok boyutlu ve çok katmanlı yapısı gereği birçok farklı disiplin tarafından çalışılmaktadır. Su, farklı coğrafyalardaki durumların, farklı disipliner yaklaşımların, farklı anlayışların arasında bir köprü kurmak için benzersiz olanaklar sunmaktadır. Ancak bu çok disiplinli yaklaşım bir potansiyel olmak yerine, sıklıkla, problemin değerlendirilmesinde ve çözüm oluşturulması aşamasında disipliner sınırlara hapsolmaktadır. Bu çalışma, su üzerine çalışan farklı profesyonellerle yapılan mülakatları içermektedir. Bu mülakatlar, insan-su ilişkisinin diyalektiğini, problem[1]potansiyel-çözüm üzerine sunulan bakış açılarını ve su sorunlarının çözümüne yönelik bilimsel, fiziksel ve eylemsel yöntem ve araçları, kısaca profesyonellerinin ekosistemini bir arada sunmaktır. Böylece, disiplinler-ötesi bir bakış açısı ile su meselesine bütüncül bir perspektiften bakmanın ve ortak çözümler üretmenin yollarını aramayı hedeflemektedir. Çalışma, şu soruların yanıtlarını aramaktadır. Su üzerine çalışmalar yapan profesyoneller, disipliner sınırlar olmadan nasıl bir ekosistem ortaya koyuyorlar? Bu ekosistemde üretilen fikirler yumağı, modern çağda su ile ilişkimizdeki kopukluklara nasıl çözümler öneriyorlar? Disiplinler ötesi bir bakış açısıyla su problemlerinin çözümü mümkün müdür? Bu sorular, suyla kurduğumuz ilişki üzerine fikir üreterek gezegenle olan ilişkimizi de sürdürülebilir ve dirençli bir şekilde yenilemeye dair ipuçları yakalamaya yöneliktir. Profesyonellerin ekosistemi, Guattari’nin üçlü ekolojisinde olduğu gibi, su ile ilişkimize zihinsel, toplumsal ve çevresel düzeyden bütüncül bir ekolojik perspektiften yaklaşmayı ve çeşitli yöntemler ve araçlar ile çözümler üretmenin yollarına ışık tutmaktadır
(Mimarlık) Tarih(i)sel Semantik ya da Karatepe Saçakları’nın Neoliberal Kapitalizm Güdümlü Dönüşümü: The Museum Hotel Antakya: Karatepe Saçakları’ndan The Museum Hotel Antakya’ya
No full textThe Museum Hotel Antakya, whose project is managed by Emre Arolat Architects and whose design and application have been intertwined both intellectually and operationally since 2009 with its compound functions, the unique value of the Ancient Roman ruins it hosts, and unusual construction methods. It can be subjected to different readings in various plural contexts that can be increased. The meaning of the object can be stratified, deconstructed or studied in the context of semantic transformations by considering it from different angles in numerous articles that can be written on the structure in question. Before the construction is completed; there is no doubt that the hotel, which has been widely discussed in the fields of architecture, archeology, conservation and similar areas, will remain on the agenda for a long time after its opening and use. The article titled “Architectural Historical Semantic: The Neoliberal Capitalism-Driven Transformation of Karatepe Eaves: The Museum Hotel Antakya” is not a visual comparison of these two projects, neither tries it to create a “starchitectural” narrative by mentioning the two architects of the structures. This very study is a comparison of the projects with their socio[1]economic background into which these structures, both of which can be considered “iconic” in their own temporal context, were born. In other words, architectural products, which are the indisputable reflections of state policies, and the two specific periods that brought them into existence, are intended to be evaluated within the context of architectural reflexes that emerged with the semantic transformation experienced as a result of neoliberal capitalist tendencies. The method adopted by the article is chronological. In the study, Karatepe Aslantaş Open-Air Museum, which was built on the background axis of the brutalist architectural products of 1950s Turkey and pronounced as Karatepe Eaves, is introduced as a design object and tried to be understood with its context. Then, before introducing the Museum-Hotel function to the reader, it discusses the reflections of the decisions of January 24, 1980, on architectural production, which brought a total change in Turkey from different perspectives in the early 1980s, which was accepted as the breaking point of the transition to the neoliberal economy and free market that paved the way for its invention. The Museum Hotel Antakya, designed by Emre Arolat Architects; is evaluated in terms of its invented function, context, design criteria, use of materials and features that make it a 21st century architectural icon. The conclusion section, which is designed as an open-ended discussion platform, tries to answer the following question and to put forward various answers and suggestions by problematizing this issue: “Is Eaves’ Architectural Manifestation in the 21st Century a Hotel?” Emre Arolat’s architectural reflex includes an understanding that reminds a great deal of the sensitivity of the designers of the Karatepe Eaves. The architects of the two projects trace the “place” in their structures. Even the pilot elements, which are the common point of the projects and can allegorically take on the task of decontextualization, yield to the emphasis of the permission, regardless of whether it is elegant or massive. In other words, the context confronts the experiencer as the most important factor affecting the main decisions in both projects. The common point of these two designs, made 50 years apart, undoubtedly stems from the strength of their context. Two clusters of remains were not moved to the museum in line with the opinions of the experts, instead an in-situ conservation approach was adopted. However, 50 years ago, the protection approach of various historical and archaeological remains was a top cover that could not compete with it, today this top cover can easily evolve into a world brand hotel, which is a rent-based product. The aim of the article is far from criticizing the architectural production of EAA or focusing on a social perspective on the pros and cons of the neoliberal system. What is particularly emphasized is the spatial transformation in which architecture has been articulated in 50 years, even if the architectural reflex is similar; it is the fact that the eaves are manifested in the conversion of the hotel. In other words, the protection top cover of the 1950s, consisting of eaves, was replaced by an invented function, a museum-hotel, at the beginning of the 21st century. Such a comparison in the context of the semantic transformations of architectural history objects will constitute important discussion fields for the literature.“(Mimarlık) Tarih(i)sel Semantik: Karatepe Saçakları’nın Neoliberal Kapitalizm Güdümlü Dönüşümü: The Museum Hotel Antakya” başlıklı makale, isminde adı geçen iki projenin görsel bir karşılaştırması değildir; bunun yanında, iki yapının müellifleri üzerinden bir “star mimarlık” gündemi yaratmaya da çalışmaz. Elinizdeki çalışma, bir arkitektonik nesne olarak saçağın, takribi 50 yıl içerisinde uğradığı semantik dönüşüm üzerinden, Arolat ya da projenin diğer aktörleri tarafından “icat edilen” Müze-Otel fonksiyonunun, Karatepe’de somutlaşan ve “ikonikleşen” arkeolojik koruma saçaklarının neoliberal kapitalist bir tezahürü olup olmadığını tartışmaya açmayı amaçlar. Yani çalışmanın temelinde yatan karşılaştırma, ikisi de kendi zamansal bağlamlarında “ikonik” olarak kabul edilebilecek bu yapıların, içine doğdukları sosyo-ekonomik arka plandır. Diğer bir deyişle, devlet politikalarının tartışmasız yansımaları olan mimarlık ürünleri ve onları var eden iki özgül dönem, neoliberal kapitalist tandanslar sonucu yaşanan semantik dönüşüm özelinde ortaya çıkan mimari refleksler bağlamında bir değerlendirmeye tabi tutulmak istenmektedir. Özellikle vurgulanmak istenen, mimari refleks benzer olsa dahi 50 yıl içerisinde mimarlığın eklemlendiği mekânsal dönüşümün; saçakların otele çevrilmesinde tezahür ettiği gerçeğidir. Yani 1950’li yılların, saçaklardan oluşan koruma üst örtüsü, 21. yüzyılın başında yerini icat edilmiş bir fonksiyona, bir müze-otele bırakabilmiştir. Mimarlık tarihini nesnelerinin uğradığı anlamsal dönüşümler bağlamında böylesi bir karşılaştırma, meslek literatürü için önemli veriler teşkil edecektir
Öğrenci Yurt Binalarında Yangın Güvenlik Önlemleri ve Tahliye Simülasyonları: Binalarda Yangın Güvenliği
No full textExtended Abstract Dormitory buildings are accommodation buildings where students meet their learning, living and resting needs. In order for the students in the dormitory buildings to continue their social and physical activities, it is important to provide the safety of life and property. Beds, cabinets, study units, books, etc. in the dormitory buildings increase the indoor fire load and this situation poses a great threat to the occupants during a possible fire. Elimination of threats and reduction of risks is achieved through the design of buildings with active and passive fire safety precautions. Fire regulations are shaped according to past fire experiences and are organized as prescriptive approaches and performance[1]based approaches. In our country, there is Turkey’s Regulation on Fire Protection, TRFP which came into force in 2002 and has survived until today through various revisions. It is clearly stated that the rules contained in the regulation are binding and that their provisions are decisive, except for the qualified building groups (where there are not sufficient provisions in the regulation, in metro, marina, helipad, tunnel, stadium, airport and similar areas of use). In this case, the TRFP which was prepared with a prescriptive approach, limits the use, adoption, and dissemination of performance-based approaches at a certain level. It is important to present the requirements of the TRFP, and to compare the requirements with performance-based approaches in establishing fire safety precautions in dormitory buildings. It is necessary to construct and analyse occupant[1]based evacuation scenarios, which form the basis of performance-based approaches in dormitory buildings. In addition, it is important to analyse the congestions and crowded masses with all components and to control the fire safety designs. In this paper, case study was carried out to implement the regulation requirements and to control the evacuation times of occupant-based evacuation scenarios. The dormitory building chosen as a case study has been extensively examined in accordance with the TRFP. In the examinations, compliance analyses were made within the scope of passive fire safety precautions and the design requirements of escape routes were emphasized. The evacuation possibilities of the dormitory building were designed on the architectural project and occupant load calculations throughout the building, and escape routes were defined, and controls were made. In addition, the evacuation scenarios based on the occupant of the dormitory buildings -the situation of the students in the sleeping units and the dining hall- and the fire evacuation process were analysed with a computer simulation program (Pathfinder). The number and capacity of escape routes on the case dormitory building were comparatively analyse according to TRFP, and computer simulation program. Evacuation conditions for dormitory buildings were evaluated based on compliance with the regulation and total evacuation times. It has been concluded that the TRFP, should be supported with performance-based solutions in order to eliminate possible risks within the framework of dormitory buildings. As a result of the case study, it has been determined that there are only problems regarding the opening direction of the doors and narrowing the escape route within the framework of the TRFP. In occupant-based evacuation scenarios, especially when any of the alternative exit points are blocked (Scenarios A1 and B1), the total evacuation times are considerably longer than the usual evacuation times. This situation revealed that a serious problem may be encountered in the dormitory building fire and that fire risk scenarios in dormitory buildings should be investigated. The TRFP controls the escape numbers and capacities as a prescriptive regulation. However, in the case of the dormitory building, while complying with the regulation in general, serious problems arise especially when the students are asleep and any of the alternative exits are blocked. Building-specific and performance-based approaches need to be developed in solving and eliminating fire safety problems and risks. As a result of the study, as the future of the countries, students should be provided with the most appropriate conditions to live, accommodation and rest. As the most basic requirement in dormitory buildings, the safety of life and property of students should be provided. It is necessary to update the fire regulations of the country by considering them in this framework, to create performance-based, occupant-based fire safety precautions specific to the architectural project and to provide appropriate evacuation conditions. It is expected that solutions will be produced for all risks that can be defined within the scope of the projects and that risks and threats will be eliminated in this context. Dormitory building fires are a life safety issue that cannot be underestimated; in this context, solutions should be developed.Geçmiş dönemlerden günümüze kadar olan süreçte ortaya çıkan öğrenci yurt binası yangınları büyük can ve mal kayıplarına neden olmuştur. Can ve mal kayıplarının azaltılması ve ülkelerin geleceği olarak öğrencilerin en iyi koşullarda güven içinde yaşamalarının sağlanması en temel gerekliliktir. Öğrenci yurt binalarının yangın güvenliğinin oluşturulmasında mevzuat gerekliliklerinin ortaya konulması, aktif ve pasif yangın güvenlik önlemleri ile kayıpların en aza indirilmesi ve güvenli yangın tahliyelerinin sağlanması amaçlanmalıdır. Çalışma kapsamında, öğrenci yurt binalarında yangın güvenlik önlemlerinin oluşturulmasında ülkemiz yangın mevzuatı Binaların Yangından Korunması Hakkında Yönetmelik, BYKHY, ele alınmış ve örneklem çalışma üzerinde pasif yangın güvenlik önlemleri değerlendirmeleri yapılmıştır. Örneklem çalışmaya ait kullanıcı yükü hesaplanmış, BYKHY uygunluk analizleri yapılmış ve mimari proje üzerinde tahliye planı hazırlanmıştır. Örneklem üzerinde ayrıca bina kullanımına ve çıkışların engellenmesi durumuna göre farklı tahliye senaryoları kurgulanarak toplam tahliye süreleri hesaplanmıştır. Tahliye sürelerinin hesaplanmasında Pathfinder bilgisayar simülasyon programı kullanılmıştır. Hükme dayalı bir yangın mevzuatı olan BYKHY esaslarına göre, genel olarak uygun bulunan örneklem öğrenci yurt binasının, tahliye simülasyonları kapsamında elde edilen toplam tahliye sürelerinde problemler oluşturabileceği tespit edilmiştir. Özellikle öğrencilerin yatakhanelerde uykuda bulunmaları halinde (gece kullanım) yangının ortaya çıkması ve çıkışlardan herhangi birinin engellenmesi durumunda tahliye sürelerinin uzaması ciddi problemlere neden olacaktır. Çalışmanın sonucunda, öğrenci yurt binaları çerçevesinde, BYKHY esaslarının projelere özgü performansa dayalı çözümlerle desteklenebileceği, geliştirilebileceği ve revize edilebileceği belirtilmiştir. Yurt binaları tahliyelerinde, senaryolar üzerinden risklerin değerlendirilmesi ve risklere yanıt verebilen, rasyonel ve gerçekçi yangın güvenlik önlemlerinin geliştirilmesi önem taşımaktadır. Öğrenci yurt binası yangınları hafife alınamayacak bir can güvenliği sorunudur; bu bağlamda çözüm önerileri üretilmelidir
Şehir Planlama Temel Tasarım Eğitiminde Öğrenci Kültürel Birikimi ve Formasyonu Analizi: Süleyman Demirel Üniversitesi Örneği: Öğrenci Kültürel Birikimi ve Formasyonu Analizi
No full textBasic design education is the basic training provided in the education of professionals whose job will be to design technically sound, liveable spaces and consequently society. This education, founded on knowledge and socio-cultural experience, is of vital importance. It forms the student’s identity and is used at all stages of the profession. However, there are few academic studies that seek to determine the relationship between design education and the students’ previous education, family backgrounds, fields of interest and past experience. In view of this gap in the literature, the present article considers the cultural knowledge and education of basic design students in conjunction with their academic performance and observations of their classes. The article argues that, in basic design education in urban planning, there is a relationship between the students’ cultural backgrounds and previous education and the development of their design-oriented thinking and creativity, and that this can be demonstrated with reference to various specific factors. The role of students’ identities in the development of their design thinking and creative thinking, and in their academic performance, was examined for a given sample of students with the help of a questionnaire. The findings are discussed from a critical perspective. The research was conducted in the basic design class of the Urban and Regional Planning Department of Süleyman Demirel University in the Fall semesters of two successive academic years (2018-2019 and 2019-2020). In addition to the quantitative and qualitative data obtained by means of the questionnaire, the academic performances of the students in the Spring and Fall semesters and observations made during the classes were used as inputs to the comparative analysis. The research was designed to evaluate the questionnaire and compare certain findings between academic performance at the end of the first and second semesters. It was supported by a review of the literature. The research universe consisted of a total of 121 subjects divided into two groups (Group I and Group II). A statistical analysis was conducted of the data obtained by deriving the numbers and calculating the percentages. The students were found to have almost homogeneous educational backgrounds and to have been selected based on mathematics-weighted scores. The responses given to the questionnaire, the academic performances and the observations were identical or compatible for each of the two groups. A number of factors were identified that affect the development of design thinking and creative thinking, design judgement and the educational methodology, plan and process, and these were adopted as parameters. These factors were categorised as follows: choice of department and the reasons for it; the students’ cultural background; the education of the students and the education and professional profile of their parents, and the development of analytical and critical thinking. The performance of students in the university entrance examination determines their academic success. For most of the students who were successful at school, the department was their department of choice. However, the fact that these students had chosen the department of their own volition and been accepted into it on the basis of their mathematics-weighted scores in the entrance examination did not mean that they had been able to develop creative thinking. The majority passed the class with a relatively poor performance. Students accepted from higher brackets have some difficulty in understanding or comprehending the subject. These low levels of perceptions are thought to stem from the orientation of the students, during their secondary education, towards a way of thinking that prioritises test-solving, and from dependency on mobile phones and games. The research does not provide sufficient data to support the view that individuals who receive pre-school education develop creative thinking more easily. The only clear finding is that the students lack imagination. The level of socio-cultural experience of the kind needed to ensure eye-hand-mind coordination in the development of design judgement and visual perception skills is low. This analysis also shows that the father’s training is also a determinant of academic performance. Students who stated that they did not possess analytical and systematic thinking skills and showing no interest in fine arts or playing games were found to be unsuccessful in developing design and creative thinking and perception skills and in creating designs responsive to the problem set. In consequence, during the course of the education provided, the majority of the students do not acquire the skills required to carry out the five design activities needed for the practice of design, and have no desire to develop a capacity for design judgement. The conclusion was reached that the cultural and educational backgrounds of students are an input that needs to be taken into account when determining the methodology for basic design education and planning the courses.Bu makalede; şehir planlama temel tasarım eğitiminde öğrenci kimliğinin bileşenlerinden olan kültürel birikimi ve formasyonunun, tasarım odaklı düşünce ve yaratıcı düşünce oluşumuyla ilişkili olduğu ve çeşitli faktörler bazında belirlenebileceği savlanmaktadır. Makalenin amacı, söz konusu faktörleri bir örneklem bazında sorgulamak ve eleştirel bir bakış açısıyla değerlendirmektir. Süleyman Demirel Üniversitesi Şehir ve Bölge Planlama Bölümü temel tasarım dersinin iki müteakip yıl (2018-2019 ve 2019-2020) Güz döneminde anket uygulanmış ve inceleme yapılmıştır. İncelemede, anketten elde edilen kalitatif ve kantitatif veriler yanı sıra; Bahar ve Güz dönemi akademik performansları ve sınıf uygulama gözlemleri karşılaştırmalı analiz girdisi olarak kullanılmıştır. Tasarım odaklı düşünce ve yaratıcı düşünce oluşumu, tasarım muhakemesi ile eğitim metodolojisi, planı ve sürecine etki eden faktörler belirlenerek kategorize edilmiştir. Araştırmanın evrenini, iki kümede (Grup I ve Grup II) toplam 121 denek oluşturmaktadır. Araştırmadan elde edilen veriler üzerinde istatistiksel analiz olarak sayısal aktarım ve yüzde (%) hesabı yapılmıştır. Bulgulara göre, öğrencilerin eğitim formasyonları homojene yakın ve seçim usulü sayısal ağırlıklıdır. Analitik ve sistematik düşünme becerisi ve görsel sanatlara ilgisi olmadığını belirten ve oyun oynayan öğrenciler; tasarım odaklı düşünce, yaratıcı düşünce ve algı becerisi gelişiminde ve problemin gereği tasarı oluşturmada başarısızdır. Babanın formasyonu da akademik performansta belirleyicidir. Sonuç olarak, öğrencinin kültürel birikimi ve formasyonu temel tasarım eğitim metodolojisi ve eğitim planı tasarımında dikkate alınması gereken bir girdi olarak değerlendirilmelidir
Barış Manço Müzesi’nin Yeni Müzecilik Yaklaşımları Ekseninde İncelenmesi ve Tasarlanması: Yeni Müzecilik Yaklaşımlarının İncelenmesi ve Tasarımı
No full textClassical museology is an approach that has been used for 300 years to socially share cultural heritage. The implementation of traditional museology approaches in culture, history and nature-themed centers cannot provide the targeted user experience effect due to demographic and strategic reasons in terms of content. Modern communication methods have emerged due to technological developments since the beginning of the information age and as a result of this progress, classical museology has transformed into new museology. In visitor experience-oriented centers, user satisfaction is not just about the quality of a collection or exhibition, but the result of the museum as a whole. Recently, changing visitor expectations have shifted in the direction of increased experience quality. Classical museology methods that did not change for a long time due to insufficient technology in the past, are being replaced by new museology methods resulting in the emergence of exhibitions that allow each center to offer a unique experience. The primary centers selected and discussed in line with the objectives of the study are biographical museums. By definition, biographical museums are centers that aim to exhibit the life, works, and thoughts of historical identities that carry social importance. The social formation provided by the expression of people with identities worth presenting has the power to instill a sense of belonging and to root social awareness in new generations. Museums belonging to artistic figures and their productions play an active role in raising social awareness as a reflection of the periodical socio-cultural and economic structure. The research presents a design model in order to provide an additional value to the objectives of a thesis study conducted by the author. In this context, the concept of edutainment is explained and an original design proposal in accordance with the new museology approach with an educational model is presented. Through this process, the transformation of classical museology into new museology is elaborated and explained. Another scope of the study is to determine the orientation of the findings regarding the exhibition methods used in terms of classical and new museology and discovering user identities in relation to new museology strategies. As a result of the examination process in terms of spatial and product-oriented design implementations related to the exhibition created by new museology approaches, design-centered suggestions are provided. Within the study, the selected Barış Manço Museum is one of the most important examples of biography-centered classical museums that constitutes a cultural reference point for examining the theoretical transition of classical museology to new museology. The primary research question of the study may be presented as ‘In what way would it be possible to transform and upgrade a classical museum into a modern museology center?’. The study focuses on Barış Manço Museum (BMM) in order to explain this transformation, being a structure that reflects the positive impact the artist has created on society as a musician, tv personality, actor, traveler, and instructor. The museum design proposal presented in the discussions section is evaluated in order to present an insight on the approach. The implementation realized for the research has been put forward in line with the literature-based criteria and design goals determined as a result of the interviews with the museum director. The design proposal creates a design alternative in terms of new museology, offering suggestions on what forms, products, and targets a possible implementation can be made. Edutainment design is a design method that includes the use of entertaining and educational content for the purpose of knowledge formation. As revealed in the final part of the research, it may be possible to develop Barış Manço Museum based on the design proposal centered on new museology. In this context, suggestions on feasible edutainment products and their user experience-centered effects are explained. The most important value of the new museology approach is to offer each visitor an individual experience by accessing information through interactive systems. The new museology approach can shorten the distance between the exhibitions and inexperienced visitors as well as providing additional features for expert visitors on the presented material. As stated among the findings of the study, the most obvious possibility offered by the edutainment method is about technology-centered applications provided by new museology for knowledge formation.Klasik müzecilik farklı kültürlere ait mirasın toplumsal olarak paylaşılması amacıyla 300 yıldır kullanılan bir yaklaşımdır. Kültür, tarih ve doğa temalı merkezlerde geleneksel müzecilik yaklaşımlarının uygulanması içerik açısından demografik ve stratejik sebepler nedeniyle hedeflenen kullanıcı deneyimi etkisini sağlayamamaktadır. Bilgi çağına girişten itibaren yaşanan teknolojik gelişmeler nedeniyle çağdaş iletişim yöntemleri belirmiştir ve bu durumun bir sonucu olarak klasik müzecilik yeni müzeciliğe dönüşmektedir. Bu dönüşümün açıklanması amacıyla çalışmaya konu edilen Barış Manço Müzesi (BMM), sanatçının müzisyen, televizyoncu, oyuncu, gezgin ve eğitmen kişiliğiyle toplum nezdinde yaratmış olduğu olumlu etkiyi yansıtan bir yapıdır. Sanatçının yerel ve küresel birçok kültürde iz bırakmış olması ve adına bulunan merkeze ait özelliklerin çalışmanın hedefleriyle örtüşmesi sebebiyle tartışma bölümünde sunulan müze tasarım teklifi açıklanmaktadır. Araştırma yazar tarafından gerçekleştirilmiş bir tez çalışmasının hedeflerine artı değer sağlanması amacıyla bir tasarım modeli sunmaktadır. Bu bağlamda araştırmada, eğitlence kavramını ve laboratuvar çalışması olarak kullanılan merkez ekseninde yeni müzecilik yaklaşımına uygun özgün bir tasarım önerisi sunulmakta, Barış Manço Müzesi özelinde klasik müzeciliğin yeni müzeciliğe dönüşümü incelenerek modern sergileme yöntemlerinin uygulandığı bir eğitlence modeli ortaya konulmaktadır. Çalışmada aynı zamanda klasik ve yeni müzecilik açısından kullanılan sergi yöntemleri ile ziyaretçi kimlikleri saptanarak elde edilen bulguların yeni müzecilik stratejileri açısından konumunun belirlenmesi hedeflenmektedir. Yeni müzecilik anlayışının doğurduğu sergi düzeniyle ilgili mekânsal ve ürün odaklı tasarım yaklaşımları açısından incelenmesi sonucunda çalışmanın sonunda elde edilen bulgulara yönelik tasarım ekseninde öneriler sağlanmaktadır
Güncel Türkiye Mimarlığında Akdenizli Modernliğe Analitik Bir Bakış: Güncel Türkiye Mimarlığında Akdenizli Modernlik
No full textThe research problematizes the geographic and historic distribution of modern buildings on the Aegean and Mediterranean coasts of Turkey, which are designed with reference to the local landscapes and building cultures and the analysis of the contextual and architectural elements that give them their Mediterranean characters. Furthermore, the reflections of the natural and cultural diversities among the coastal sub-regions on architectural works are within the scope of the study as well. The major aims of the research are the identification and documentation of those buildings on coastal Anatolia, which have a Mediterranean character, their geographic and thematic mapping and analysis in terms of design criteria. Furthermore, a framework for a database that brings together these quantitative and qualitative data about buildings that represent Mediterranean Modernism in Turkey is the expected outcome of the research. An exemplary group of modern buildings and settlements with Mediterranean characters are identified through the consecutive processes of literature scan, workshops and site visits and later on analysed in terms of the cultural landscapes they make part of and their architectural characteristics. At the end of these processes, in addition to the mapping that displays factual data about these buildings and settlements, their specific contexts and design strategies are investigated and the large variety resulting from the application of generic architectural ideas to different cultural geographies are observed. Within the scope of the research, buildings and settlements constructed since 1960s in Anatolian cities with a coast to Aegean and Mediterranean seas and which are designed with reference to local conditions and culture and thus have a Mediterranean character are studied. Only those works that are designed from scratch –no renovation or restoration works- and still standing are included in the research. All of the buildings and settlements studied in the research are published in architectural magazines, books, or digital portals, with the exception of a few discovered during site visits. The research shows that the modern buildings and settlements that are designed with reference to local conditions and cultures on the Aegean and Mediterranean coasts of Turkey are located on similar categories of cultural landscapes and display similar architectural features and design strategies. However, the study also proves that despite these categorical similarities a large variety of interpretations of Mediterranean modernism exist in these architectural works due to the geographic, ecological, and cultural varieties present among the sub-regions on the coastal strip. Furthermore, it is made clear by this research that certain geographic sub-regions, cultural landscape categories and architectural features are much more dominant with respect to others in the representation and experimentation of Mediterranean modernism. For instance, “Southern Aegean” sub-region is much more prominent in terms of the number and variety of the works it houses and similarly “touristic coastal strips” come to the fore among other cultural landscape categories while “architectural language” is the dominant one within the design tools in giving a Mediterranean character to buildings and settlements. When the group of works included in the research is analysed in terms of the variety of architectural programs it is seen that touristic facilities and dwellings are the most frequently seen and this finding supports the argument that helped define the scope of the project: Mediterranean discourse grew parallel to the rise of mass tourism in modern and contemporary architecture of Turkey. Last but not least, the different interpretations and solutions presented by the architectural works included in the research shows that there cannot be a simple or singular formula for giving a Mediterranean character to a building or settlement and the “mosaic” of varieties attributed to the geography of the Mediterranean is also valid for the architecture it hosts. Mediterranean modernism is a topic that frequently appears in architectural research and literature in the recent years. Since early 20th century architectural discourses and works are produced that helped transform the abstract face of modernism conditioned by machine aesthetics and universalism. Countries like Spain and Italy that defined their national identities largely through the nature and culture of the Mediterranean acted as leaders in this respect and the architectural works produced in these geographies inspired architects from other parts of the region while as well provided topics of discussion for scholars. Mediterranean discourse in Turkish architecture becomes apparent only after 1960s when mass tourism started to develop and the scholarly studies about this topic is limited to certain well-known architects and works. The original value of this research is that it presents a comprehensive mapping of the modern buildings and settlements with a Mediterranean character spreading to a large geographic area and historic period and provides a framework for future projects and studies. Furthermore, this research puts forward the unique contribution of the Anatolian geography to the field of Mediterranean modernism, through examples brought together and presented with an analytical approach.Bu makale, Türkiye’nin Ege ve Akdeniz kıyılarında, kitlesel turizmin ve yapılaşmanın yaygınlaştığı 1960’lardan günümüze uzanan dönemde, yerel coğrafi koşullar ve yapı kültürü gözetilerek tasarlanmış mimarlık ürünlerine dair bir araştırmanın teorik çerçevesini, yöntem ve sonuçlarını açıklamaktadır. Araştırma kapsamında, Çanakkale-Hatay arasındaki kıyı şeridinde yer alan ve Akdenizli karakterlere sahip olduğu düşünülen geniş bir yapı ve yerleşimler grubu, kaynak taraması, çalıştaylar ve saha çalışmaları aracılığı ile belirlenmiştir. Beş coğrafi alt bölge altında toplanan bu örnekler, Akdenizli karakterlerini çözümlemek adına, parçası oldukları kültürel peyzaj tipleri ve mimari özellikler bağlamında analiz edilmiştir. Çalışılan yapı ve yerleşimlerin, parçası oldukları kültürel peyzajlara eklemlenme biçimleri, iklim koşullarına karşı sundukları çözümler ve yerel yapı kültürlerini, mimari öğe ve arketipleri yorumlama biçimleri analitik biçimde incelenmiş ve haritalanmıştır. Makalede, Anadolu kıyılarındaki Akdeniz yerelliğinin farklı yorumlarını ortaya koyan bu haritalama ve analiz kategorileri, farklı dönemlere ve coğrafi alt bölgelere ait yapı ve yerleşim örnekleri ile açıklanmaktadır. Araştırmanın ana bulgularından birisi, kültürel coğrafya alanında Akdeniz’e dair kabul edilen zengin mikro-bölgesel çeşitlilik özelliğinin, mimarlık alanında da karşılığının olmasıdır. Bu bağlamda, benzer mimari tasarım araçları ve stratejilerinin, farklı kültürel peyzaj bölgelerinde değişik yorumlara ve sonuç ürünlere yol açtığı gözlemlenmiş ve örneklenmiştir. Bir başka deyişle bu araştırma, Akdeniz’in bir süreklilikler ve farklılıklar mozaiği olduğunu Anadolu coğrafyası örneği ve modern mimari işler üzerinden göstermiş ve bunu, gelişime açık bir veri tabanı altlığı olarak sunmuştur
Toplumsal Bir Olgu Olarak Oyun ve Kent İlişkisi: Ritimanaliz ve Yer: Oyun ve Kent İlişkisi
No full textThe act of play, which is inherent in our nature, liberates us from the necessities of modern life, liberates our senses and bodies, develops us individually, and transforms us as it enables interaction and participation with other people, therefore it is both an individual and a social act. Johan Huizinga, in his 1938 book “Homo Ludens: An Essay on the Social Function of Play,” takes play as a social act even further, implying the idea that play is the cement of society. The play that Huizinga talks about is a natural action that cannot be perceived by the rational mind, in which the body and the senses come to the fore. However, in the urban context, which are based on the concepts such as mind-based, classification, norm and organization brought by the modernization process, the mentioned play action cannot find much place for itself. Especially in Turkey, there are playgrounds where the boundaries are clearly drawn, separated according to different age groups rather than being inviting, and more importantly, reduced to equipment. These spaces, which are independent of the place and the user, are almost reduced to a type understanding and take place in our cities. While such a set up play space restricts the emergence of a play experience that will change and transform people, it also does not allow the emergence of the social power of the game, that is, the potential of publicity. Another issue that harms the social power of play is that it is defined as a situation specific to children only. Huizinga’s idea that the play is a cultural phenomenon is a subject that is not discussed much in the playgrounds texts. The understanding that children always come to mind when it comes to play, in fact, excludes the fact that play is important for all age groups within the framework of the concept of Homo Ludens. This exclusion is also a cultural phenomenon. The play, which is generally the opposite of the concept of seriousness and settled in social codes as a leisure activity, has not acquired its cultural value. This approach emerges as the definition of play spaces for children under the age of twelve in the urban fabric, the exclusion of the gathering of different age groups, and the exclusion of play that is open to everyone, which can be a part of public spaces. The article focuses on the concept of an improvised, instant, unpredictable and spontaneous play. rather than a game understanding, such as sports activities or chess, with a clear playing field and rules. Such a play concept has been chosen because it coincides with the state of the public space being transformative. The article, which aims to read the current situation of playgrounds within the framework of the criticism of modernity, claims that the potential of public spaces and playgrounds to increase, change and transform interaction can be revealed through design. The article is based on the theory of phenomenology in the design of such spaces. It claims that the liberating, transformative and developing nature of play can only emerge with designs that belong to the place, activate all the senses, and where individuals can experience “owned time” (approprié). In this context, it evaluates Bernard Tchumi’s Parc de la Vilette project (1983) and the Be-Mine project (2016) designed by Carve and Omgeving design offices. These two projects tell us that the way for public spaces to include free actions that will change and transform people and to create associations is not mechanical, designs in which the directive of what to do is given clearly in the space. Instead, it reveals that it is possible with more flexible designs that will allow different possibilities. In Lefebvre’s words, these are spaces where each individual will be involved with her/his own polyrhythm and reach eurhythm in harmony with the rhythm of other individuals and the place / space.Johan Huizinga’nın 1938 yılında ilk kez yayınladığı “Homo Ludens: Oyunun Toplumsal İşlevi Üzerine Bir Deneme” adlı kitabında bahsettiği oyunun kültürel bir olgu olduğu fikri, oyun mekânları metinlerinde çok da tartışılmayan bir konudur. Oyun denilince hep çocuğun akla gelmesi anlayışı, aslında Homo Ludens kavramı çerçevesinde oyunun her yaş grubu için önemli olduğu durumunu dışlamaktadır. Bu dışlama ise kültürel bir olgudur. Genel olarak ciddiyet kavramının zıttı ve boş zaman aktivitesi olarak toplumsal kodlara yerleşen oyun, kültürel bir olgu olarak gerçek değerini edinememiştir. Bu anlayışın mekânsal yansıması da hep eksik kalmıştır ve uzun yıllar bir tasarım problemi olarak ele alınmamıştır. Özellikle Türkiye’de kentlerde çocuklar için oyun mekânı sınırlı alanlarda kalmış, büyükler için ise spor alanları dışında bir alternatif kurgulanmamıştır. Makale bu durumu—oyun kavramının, oyun eyleminin ve bu eylemin gerçekleştiği oyun mekânlarının indirgenmesi sürecini— modernite eleştirisi üzerinden okur. Aynı zamanda oyunun kamusal mekânın bir parçası olma ve kente, her türlü kullanıcıya cevap vererek, nüfuz etme potansiyelini tartışır. Makale bu tür mekânların tasarlanmasında fenomenoloji kuramını temel alır. Oyunun özgürleştirici, dönüştürücü, geliştirici doğasının ancak yere ait, tüm duyuları aktive eden, bireylerin “sahiplenilmiş zaman”ı deneyimleyebilecekleri tasarımlar ile ortaya çıkabileceğini iddia eder. Bu bağlamda Bernard Tchumi’nin Parc de la Vilette projesi (1983) ile Carve and Omgeving tasarım ofislerinin tasarladığı Be-Mine projesini (2016) değerlendirir. Makale, bu iki proje özelinde her şeyin tanımlı olduğu, işlev-yoğun, nerede neyin yapılacağının direktifinin verildiği mekânlardan bahsetmez. Bunun yerine boşluğun olduğu, kullanıcıların kullanım biçimini kendilerinin belirlediği, bilinmez öngörülemeyen işlevlere de zemin hazırlayan, devamlılığı vurgulayan, esnek, dönüşebilir ve kamusal mekânın tümüne nüfuz eden deneyim temelli oyun mekânlarının oyunun gerçek doğasının ortaya çıkabileceği mekânlar olduğu sonucuna varır
Kentsel Mekân Farkındalığının 7-11 Yaş Grubu Çocuklar Üzerinden İrdelenmesi: Kentsel Mekan Farkındalığının Çocuklar Üzerinden İrdelenmesi
No full textUrban spaces accommodate adults as well as children. Today, when designing urban spaces, children’s thoughts, wishes and needs can be ignored. However, children, especially when they reach school age, start to establish relations with the city at least as much as adults. The relationship they establish with their environment also affects their development. It is thought that children perceive urban space differently from adults. In the study, it is questioned how children perceive the city they live in, which urban elements and building types attract their attention, and it is aimed to reveal their awareness of urban space. For this purpose, a field study was carried out with 10 children on a determined route in Kadıköy. In the preliminary field trips made to determine the working route, attention was paid to the presence of structures and urban elements consisting of different sizes and functions that could attract the attention of children. The children were asked to examine the urban elements around them and take pictures of the elements that caught their interest as they walked along the route. It was investigated which features of the urban structures and elements determined on the study route were perceived by the children. For this purpose, by examining the nodes on the route, perception criteria such as color, material, scale, perception distance, geometry, relationship with the environment, human density in the area, soil type, singular/adjacent status, public/private use characteristics were determined. The route is divided into 6 nodes and by stopping at these points, questions were asked to the children to understand their perceptions of urban space. The questions asked to the children were formed from 18 concepts selected from Cullen’s book named “Townscape” in the context of the determined perception criteria. A total of 16 questions were formed from these 18 concepts, and these questions were asked to the children at the nodes on the route and their perceptions of urban space were examined. The theoretical framework of the study consists of Gordon Cullen, Kevin Lynch and Norberg Schulz. These three theorists, who have studies on the perception of urban space, have been read together with children’s perceptions of urban space. Cullen’s ‘serial vision’ study was tested on children and the photographs taken by the children were combined to reveal each child’s own ‘serial vision’. It was examined which formal features of the urban elements on the route had a greater impact on urban space awareness and were evaluated together with the answers they gave to the questions. Inferences were made about the thoughts of the children about the route in Kadıköy. All of the children who came to Kadıköy for the first time became more interested in the urban elements they saw during the trip and took more photographs. The structures with a typology, color and facade that they had not seen before attracted their attention and they did not get bored with the trip. While the children were observing the neighbourhood, they focused on the items that interested them the most. Trees, colorful structures, houses with bay windows and structures with different colors, shapes and sizes than others attracted and perceived their attention more. It has been observed that children who have been on the same streets before are less interested and bored earlier than other children. In the study, it is seen that the children are aware of the changes in the width of the streets, the size and volume differences between the buildings, the front-back situation of the buildings, and the level differences in the streets. Many factors such as adults’ value judgments, professional deformation or difficulties in life cause losses in urban perceptions. Even if adults live in the city, they often use the city as a transit point, and this often prevents them from being able to observe the city sufficiently. However, children do not attribute meanings to the urban elements around them as adults do, and they can look more objectively. It is necessary to see the city through the eyes of children and not to forget that the city is not only for adults.Kentsel mekânlar yetişkinleri olduğu kadar, çocukları da içerisinde barındırmaktadır. Günümüzde kentsel mekânlar tasarlanırken, çocukların düşünceleri, istek ve ihtiyaçları göz ardı edilebilmektedir. Oysaki çocuklar da, özellikle okul çağına gelmeleriyle birlikte, en az yetişkinler kadar kentle ilişki kurmaya başlamaktadır. Çevreleriyle kurduğu ilişki, gelişimlerini de etkilemektedir. Çocukların kentsel mekânı yetişkinlerden farklı algıladıkları düşünülmektedir. Çalışmada çocukların içinde yaşadıkları kenti nasıl algıladıkları, hangi kentsel elemanların ve yapı tiplerinin ilgilerini çektiği sorgulanmakta ve kentsel mekân farkındalıklarını ortaya koymak amaçlanmaktadır. Bu amaçla Kadıköy’de belirlenen bir güzergâhta 10 çocukla alan çalışması gerçekleştirilmiştir. Çalışmanın kuramsal çerçevesini Gordon Cullen, Kevin Lynch ve Norberg Schulz oluşturmaktadır. Kentsel mekân algısıyla ilgili çalışmaları olan bu üç kuramcı, çocukların kentsel mekân algılarıyla bir arada okunmuştur. Güzergâh boyunca çocukların ilgilerini çeken kentsel elemanları fotoğraflamaları istenmiş ve belirlenen düğüm noktalarında sorular sorulmuştur. Çocuklara sorulan sorular Gordon Cullen’ın ortaya atmış oldukları kavramlardan oluşturulmuştur. Cullen’ın ‘sıralı görüş’ çalışması, çocuklar üzerinden denenmiş ve çocukların çektikleri fotoğraflar birleştirilerek her çocuğun kendi ‘sıralı görüş’ü ortaya konulmuştur. Güzergâhta bulunan kentsel elemanların hangi biçimsel özelliklerinin kentsel mekân farkındalıklarına daha fazla etki ettiği incelenmiş ve sorulara verdikleri cevaplarla birlikte değerlendirilmiştir. Çocukların Kadıköy’de bulunan güzergâhla ilgili düşünceleriyle ilgili çıkarımlar yapılmıştır
Kendi çizgileri ile Hocam Prof. Mehmet Ali Handan: Kendi çizgileri ile Hocam Prof. Mehmet Ali Handan
No full textKültürümüzle birlikte kaybolan plân tiplerimiz: Sütlüce Hasırîzâde Tekkesi, İstanbul: Kültürümüzle birlikte kaybolan plân tiplerimiz: Sütlüce Hasırîzâde Tekkesi, İstanbul
No full textThis paper is focused on Hasırîzade Tekkesi as one of the authentic and rare examples of Islamic Architecture. The Tekke complex, consists of a tekke building which is a religious place comprising ritual activities, a meşrûta building which is a residential place com-prising the activities of living, diningi sleeping, cooking and other domestic services, a cuisine, a ruined stable and some other elements e.g. a water tank, a cistern, some small wells, a water pool, an ablution fountain and a cemetery. This research is based on a comparative analysis and evaluation of the tekke building among its contemporaries in İstanbul. As a result of this comparative analysis, we reach to the conclusion that the building itself, exhibits clearly the typical characteristics of the 19 century’s tekke buildings, regarding the plan type and the plan elements and also shows the characteristics of the traditional residential architecture from the point of view of the facades, materials and construction techniques. As the conclusion of the comparative study based rather on plan types and elements, the tekke building belonging to the Sütlüce Hasırizâde Tekke shows similarities with most of mevlevi tekkes concerning the situation plans, the planification and the elements of the plan.Bu makale İslam Mimarîsinin özgün ve az rastlanır örneklerinden biri olan Hasırîzâde Tekkesi üzerinde yoğunlaşmaktadır. Tekke kompleksi, tekke yapısı (halkın kullanımına açık, dervişlerin eğitimini sürdürdüğü zikir ve ibadet yeri), meşruta (Tekke misafirlerinin ağırlandığı ve Şeyh’in ailesi ile birlikte ikamet ettiği ünite), aşhane (tekke sakinlerine ve misafirlere yemek pişirilen mutfak), harap bir ahır, su deposu, sarnıç, kuyular, su havuzu, abdest çeşmesi ve mezarlık gibi elemanlarla bir külliye niteliğindedir. Bu çalışma, söz konusu Tekke yapısının İstanbul’daki benzerleri arasında karşılaştırmalı olarak analiz ve değerlendirmesinden ibarettir. Araştırmanın sonucunda, tekke yapısının gerek plân tipleri gerekse de plân elemanları açısından, 19. Yüzyıl tekke yapılarının tipik karakteristiklerini, cephe oluşumu, malzeme ve yapım teknikleri açısından da geleneksel konut mimarîsini anımsattığını görmekteyiz. Daha çok plân tiplerine ve plân elemanlarına yönelik bu karşılaştırmalı çalışma sonucunda, Sütlüce Hasırîzâde Tekkesi’ne ait tekke yapısının pek çok Mevlevî tekkelerine gerek yerleşim, plânlama gerekse de plân elemanları açısından benzerlik gösterdiği anlaşılmıştır