Tasarım+Kuram (E-Journal)
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Architecture as Metaphor and Experience in Nâzım Hikmet’s Last Poems: Metafor ve Deneyim olarak Mimarlık
No full textNâzım Hikmet, one of the most important figures of the modern Turkish poetry known for his realistic and political style, has developed a non-linear narrative style built around spatial depictions in his recent poems. The purpose of this article is to reveal the spatial experience produced Hikmet’s architectural metaphors within the scope of his works in his last years. In order to examine the emotional experience of Hikmet’s multi-dimensional spatial metaphors, Paul Ricoeur’s metaphor theory will be applied on the basis of the narratology of space as an interdisciplinary field. Ricoeur’s theory defines both literature and architecture in the three categories of the outside world, the artwork as structure, and interpretation, which connects his framework to Hikmet’s interest in real life, his structured poetry and his functional agenda to reach out to people. For him, metaphors are not just substitutions between the two names, but a means of reaching a new field of otherwise indescribable layers of the world. Unlike his canonical realist style, Hikmet’s spatial metaphors open the door to a new existential tension in his last poems. The original aspect of the work is that it analyzes architectural metaphors through narrative space, which produce an experience in the imagination. Focusing on Hikmet’s architectural spaces to explain his architectural spaces based on a non-linear narrative is the other original contribution of the article. The results of the study are that Hikmet’s architectural spaces of his late years moved away from realistic visualizations -that contain the plot, contain symbols or broaden the context of the text[1]and produced ungraspable, uncanny, and ever-changing surroundings producing an effect of the flow of life met with a political hopefulness and subjective angst at the same time. To conclude, it can said that the narrative spaces as metaphors open up new ways of architectural experience due to their special qualities transcending their main function as containers of the plot.Gerçekçiliği ve politik yönüyle modern Türk şiirinin en önemli figürlerinden biri olarak kabul edilen Nâzım Hikmet, son dönem şiirlerinde mimari betimlemeler etrafında inşa edilmiş doğrusal-olmayan bir anlatı tarzı geliştirmiştir. Bu makalenin amacı Hikmet’in son dönem mekânsal metaforlarının ortaya çıkardığı deneyimi tanımlamak ve incelemektir. Hikmet’in çok[1]boyutlu mekânsal metaforlarının ürettiği duygusal deneyimini incelemek için disiplinlerarası bir alan olan mekânın anlatıbilimi zemininde Paul Ricoeur’un metafor kuramına başvurulacaktır. Ricoeur hem edebiyatı hem de mimarlığı dış dünya, yapıt ve yorum olarak üç aşamalı olarak ele alır. Bu açıdan Ricoeur’un bakış açısı, gerçek yaşamla şiiri birbirinden ayırmayan, şiirsel yapılarını dikkatle tasarlayan ve okura ulaşmayı metnin temel işlevi olarak tanımlayan Nâzım Hikmet’in poetikasıyla bir koşutluk oluşturur. Ricoeur’a göre metaforlar yalnızca iki isim arasındaki bir değiştirme değil, dünyanın başka türlü tarif edilemez katmanlarından oluşan yeni bir bilgi alanına ulaşmanın da bir yoludur. Hikmet’in son dönem mekânsal metaforları da kanonik gerçekçi tarzından farklı olarak yeni bir varoluşsal gerilimin kapısını açarlar. Çalışmanın özgün yönü, Hikmet’in şiirlerindeki mimari mekân kullanımını gündeme getirmesinin yanı sıra; son dönem şiirlerindeki farklılaşmayı, ideolojisinden uzaklaşmamakla birlikte doğrusal olmayan bir anlatıya dayanan mekânlarıyla açıklamasıdır. Çalışmanın temel bulgusu Nâzım Hikmet’in son dönem metinlerinin gerçekçi görselleştirme stratejilerinden uzaklaşarak siyasi umudun yanına varoluşsal kaygıları ekleyerek sınırları belirsiz ve tekinsiz mekânlar ürettiği yönündedir. Sonuç olarak metafor olarak yazılı-mekânların birer anlatının kabı olmanın ötesine geçerek yeni mimari deneyimlerin kapısını açtığı belirtilebilir
Müzecilik Anlayışının Gelişim Sürecinde Tasarım Müzeleri ve Mekânsal Kalite Bağlamında Örnek Bir Olay İncelemesi: Mekânsal Kalite Bağlamında Tasarım Müzeleri
No full textTo remember is based on imagining and perceiving. The better a space is perceived and experienced, the more it will be impinted on the memories. The goals of museums to become a memorable space, that people may visit again, will be parallel with the qualification of behavior and the quality of time spent. The relationship between space and its user, which has a dynamic structure; is expected to develop positive behavior patterns with the ‘ideal’ one in museum spaces that should improve the society’s education, culture, aesthetics and etc awareness. Design museums are non-profit and open public organizations that bring together the products and archival materials of manufacturers and designers from past to the present, carry and share this knowledge to the international platform, conduct researches to create a national product design memory, offer all their activities to the development of the society just as other museums, focus on graphic, fashion, architecture, industry and industrial product designs in its collections. Design museums can be a source of inspiration for their visitors. With their collections, events, workshops and training programs or their own architecture, they are beneficial places not only for designers but also for all segments of society. While the number of design museums in the world is increasing each day, there is no specialized ‘design museum’ in Turkey, that has focused on organizing many events on design culture in the 2000s. The most important step towards the idea of establishing a physical design museum was taken when Istanbul was accepted as a ‘City of Design’ within the scope of UNESCO Creative Cities Network (UCCN) in 2017. With this participation, the Design Strategy Common Mind Conference was held in February 2018 by the Istanbul Metropolitan Municipality within the framework of Istanbul’s commitments. In the speeches of this conference, the studies for the establishment of a ‘Design Center’ which includes a design library, youth center and design museum were mentioned. In the suggestions brought to the current situation analysis of Istanbul, the creation of an architecture and design archive and the necessity of bringing together of all written, visual and etc. design related works with a design museum to be established were emphasized. This research -which covers the readings of the relationship between spatial configuration and quality in museums as a public/social space through the Zurich Design Museum, and the current content and programs that can be applied during the establishment of a physical design museum in line with the developments in Turkey- is a preliminary study in order to accurately define the needs of the museum spaces, that are expected to improve the education, culture and aesthetic etc. awareness of the society. Therefore, in pratical terms, academicians who carry out museum studies, design offices, curators, a city-environment-building-space professionals from all disciplines who need to work together can benefit from this study in particular. Zurich Design Museum is Switzerland’s leading museum in the field of design and visual communication arts, which is also actively involved in research, education and training activities as part of the Zurich University of the Arts (Zurich Hochschule der Künste- ZHdK). Since 2018, it has been carrying out its activities in two different venues, the main building and the warehouse. The main building, which is named with the street where it is located -Ausstellungsstrasse- was completed by Adolf Steger and Karl Egender in 1933, and entered into a 7-year renovation process in 2010. With the end of the renovation process in 2017, the museum, which started to welcome its visitors again in March 2018, has permanent collections and temporary exhibition spaces that are intended to host five to seven exhibitions every year. The warehouse called Schaudepot; is located at the former Toni yogurt factory in District 5, that was the largest factory of Europe at the time and today named Toni-Areal, which was converted into an education, culture and life complex by EM2N Architects. The four collections of the museum (decorative arts, design, graphics and poster) are permanently displayed in this warehouse, with a total of more than 500,000 objects. In addition, there is an exhibition space where temporary exhibitions can be held. The collection archives here can only be accessed by guided tours, at certain times of the day, by prior reservation as the number of participants is limited. Besides; the museum, which is highly appreciated on the international platform, aims to reach more viewers and visitors by keeping its audience wide with travelling exhibitions and digitalized eGuide/eMuseum information packages. Some findings of this research about the sample museum summarizes as follows can be an guide for future design museum studies. Enriching the visitor’s experience about the space and the content of the exhibition is directly proportional to the ability to put a diagram/map/route in his/her mind. A accurate perception process in this direction will ensure the decisions made at the intersections show continuity and prevent the feeling of lack that may arise in terms of being present in all of the spaces in the building program. Moreover; although toilets are as important as the exhibition, resting and eating&drinking spaces, they should be included in the holistic design approach as a part of the building that is not usually designed. On the other hand; museums as a spaces that affect the individual or collective behavior of the society and shape it after a point, the high level of social interaction in it is possible with configurations that allow the space to be produced repeatedly. Thus with design, it will be ensured that the individual communicates with the interior space and other individuals who are users of this space.Hatırlamak; hayal etmek ve algılamak üzerine kuruludur. Bir mekân ne kadar iyi algılanır ve deneyimlenirse, hafızada o denli yer edinecektir. Müzelerin akılda kalıcı ve insanların tekrar ziyaret edeceği bir yer olma hedefleri, kurguya bağlı olarak ortaya konacak davranışların niteliği ve harcanan zamanın kalitesiyle paralel olarak gerçekleşecektir. Mekân ile kullanıcısı arasındaki dinamik bir yapıya sahip ilişkinin; toplumun eğitim, kültür, estetik vb. bilincini geliştirmesi öngörülen müze mekânlarında ‘ideal’ olan ile birlikte olumlu davranış biçimlerini de geliştirmesi beklenir. Bu doğrultuda çalışma, bütününde literatür taraması ve yerinde gözlem olmak üzere iki temel yaklaşım üzerine kurgulanmıştır. Müze mekânlarında gereksinimleri doğru tanımlayabilmek için öncelikle, müze mimarisinin tarihsel gelişim/değişimine ve tasarım müzelerinin ortaya çıkış sürecine paralel olarak oluşturulmuş işlev ve programlarına değinilmiştir. İkinci adımda araştırmanın amacına uygun bir yol izlenebilmesi için tarama modeline bağlı olarak örnek olay taraması gerçekleştirilmiş, analiz ve değerlendirmeler ile yargısal sonuçlara ulaşılmıştır. Araştırmacının aynı zamanda hem iç mimar hem de mekânın kullanıcısı olarak bulunduğu müzeyi kişisel deneyimleri üzerinden yorumlamasının, bir mimari yapıya dair yargıların geliştirilmesinde önemli olduğu düşünülmektedir. Ayrıca gelecek yıllarda Türkiye’de kurulabilecek bir tasarım müzesi için altlık oluşturabilecek çalışmaların henüz literatürde yeteri kadar yer almaması teorik ve pratik anlamda çalışmanın kullanılabilirliğinin etkili ve özgün niteliğinin net olduğunu açıkça ortaya koymaktadır
Kuruluş Sancılarından Endüstriyel Tasarım Eğitiminde Öncü Konulara: İTÜ Endüstriyel Tasarım Bölümü: İTÜ Endüstriyel Tasarım Bölümünden Kesit
No full textIn this article, the establishment of Istanbul Technical University Industrial Design Department (ITU ID), which started its undergraduate education under the name of “Industrial Product Design” in 1993, the changes on the basis of course plans, term projects and graduation projects are depicted. A section of the changes and developments of the eleven-year preparation period before the establishment of the ITU Industrial Design Department and the 28-year education period after the start of education is presented briefly. After the establishment preparations of the department, the beginning of undergraduate education and the subsequent curriculum changes are also explained by specifying the relevant decision mechanisms. In the courses in different competency groups in the education curriculum of the department, the changes over time in the Design Studio and Graduation Project courses are also briefly mentioned on the basis of subject and operation. While the collaborations of the department such as industry and non-governmental organizations are briefly mentioned, the national institutions it works with especially in terms of human resources and academic support are given with an emphasis on Mimar Sinan Fine Arts University. This paper was handled based on personal interviews, administrative experiences, scanning of archives and related web pages, and personal notes. The writers, who have been in the academic staff of the department for more than 20 years, included their own knowledge, memories and dialogues with the academicians who took part in the department. The part about the establishment of the department is based on the documents in the ITU Faculty of Architecture Dean’s archive, regarding the Faculty Administrative Board Decisions, including official correspondence documents with the Dean’s Office and the Rector’s Office, and personal interviews with the faculty members who took part in the establishment of the Department and gave education in the department. In the part about course plans, project topics and collaborations, a compilation was made from the experiences of the authors, and department faculty and related official documents. The founding story of ITU ETB spans more than 10 years. It would not be wrong to say that the studies carried out within the scope of the establishment preparations show that the need for the Industrial Design Department and the definition of Industrial Design are approached as an extension of the field of Architecture and especially relating it to the industrialization in architecture. Although Industrial Design education at ITU started with graduate level in 1989, unlike the first plan, undergraduate education started in 1993 with strong emphasis on industrial production. ITU ID is leaving behind 28 years, the period from 1993 until 2021, with changes and expansion in the teaching and research staff, as well as continuous updates in the course plans. The traces of the fact that the department was founded in the Faculty of Architecture and that the founding team’s background was reflected on the courses could be observed until the 2000s. The course plan changes between 2000 and 2010 are shaped according to the requirements of the Industrial Design field in the current education systems. While an important part of the course plan changes made until today is related to the expansion and change of the framework of the profession of Industrial Design, some of them are still the reflection of the joint decisions of the Faculty and University Senate. In addition to the changes in the course plans, the Design Studios, which are one of the main axes of design education, and the changes in the content and functioning of the Graduation Project courses, which determine the competence to meet the diploma qualifications, are also briefly discussed in the article. The uninterrupted continuation of the principle of cooperation with the industry, which has been among the aims of the ITU Industrial Design Department since its establishment, with projects carried out sometimes with large companies and sometimes with small and medium-sized enterprises, appears as an important feature in terms of corporate culture. These collaborations are shaped by demands from the market on the one hand, developments in the field of education on the one hand, and new professional positions on the other. The diversity in the academic staff of the ITU Industrial Design Department has developed and shaped over the years to meet these needs. ITU ETB received support from different universities and professionals working directly in the market, apart from its own academic staff, especially in the first 15 years of its establishment. Mimar Sinan Fine Arts University, on the other hand, has been supporting ITU ETB with its graduates and academic staff since its establishment. This paper is dedicated to Oğuz Bayrakçı, former head and a graduate of Mimar Sinan Fine Arts University, Department of Industrial Design who passed away in 2015.Bu yazıda 1993 yılında “Endüstri Ürünleri Tasarımı” adı altında lisans eğitimine başlayan İstanbul Teknik Üniversitesi Endüstriyel Tasarım Bölümünün (İTÜ ETB) kuruluşu, ders planları bazındaki değişiklikler, dönem projeleri ve bitirme projeleri ile ilgili konular ele alınıyor. İTÜ Endüstriyel Tasarım Bölümünün kuruluşundan önceki on bir yıllık hazırlık dönemi ve eğitime başlamasından sonraki 28 yıllık eğitim öğretim dönemine dair değişim ve gelişimlerden bir kesit sunuluyor. Bölümün kuruluş hazırlıklarının ardından lisans eğitimine başlanması ve sonrasındaki müfredat değişiklikleri ilişkili olduğu karar mekanizmaları da belirtilerek anlatılıyor. Bölümün eğitim müfredatında yer alan farklı yetkinlik gruplarındaki derslerde, Tasarım Stüdyosu ve Bitirme Projesi derslerinde zaman içinde yapılan yeniliklere de konu ve işleyiş bazlı kısaca değiniliyor. Bölümün endüstri ve sivil toplum kuruluşları gibi işbirliklerine kısaca yer verilirken özellikle insan kaynağı ve akademik destek açısından birlikte çalıştığı kurumlara Mimar Sinan Güzel Sanatlar Üniversitesine vurgu yapılarak yer veriliyor. Yazı yıllara yayılan kişisel görüşmeler, idari deneyimler, arşiv ve ilgili web sayfalarının taranması ile kişisel notlara dayanarak ele alındı. 20 yılı aşan süredir bölüm akademik kadrosunda yer alan yazarların, İTÜ ETB ile ilgili kendi bilgilerinden, anılarından ve bölümde görev almış olan akademisyenlerle yaptıkları kişisel görüşmelerden derledikleri anlatımlara yer verildi. Bölümün kuruluş çalışmalarıyla ilgili kısım, İTÜ Mimarlık Fakültesi Dekanlık arşivinde yer alan Fakülte Yönetim Kurulu Kararları, Dekanlık ve Rektörlükle yapılan resmi yazışmalara dair arşiv çalışmasıyla, Bölümün kuruluşunda görev alan ve bölümde eğitim veren öğretim üyeleriyle yapılan kişisel görüşmelere de dayanıyor. Ders planları, proje konuları ve işbirlikleriyle ilgili anlatımda ise yazarların birikimlerinden, bölüm öğretim üyelerinin anlattıklarından ve ilgili resmi dokümanlardan derleme yapıldı. Mimar Sinan Güzel Sanatlar Üniversitesi Endüstriyel Tasarım Bölümünün 50. yılını kutlamaya yaklaştığı şu dönemlerde hazırlanan bu yazı, 2015’te aramızdan ayrılan değerli hocamız Oğuz Bayrakçı’ya adandı
Debord’un Gösteri Toplumu Kuramı Üzerinden Bugünün Dünyası ve Gösteri Mimarlığı Üzerine Bir Eleştiri: Gösteri Mimarlığı Üzerine Bir Eleştiri
No full textSpectacle is still a challenging concept since it is used by Debord to define and discuss the status of the society in the 20th century. As such, the concept of spectacle is discussed in many other social disciplines as the disciplines of philosophy, art and sociology. It is also discussed in the discipline of architecture in such a way that the concept of spectacular architecture is developed in the last century. This paper is based on the spectacular architecture and its consequences. The aim of the paper is to reveal the conceptual framework of spectacle and its recent effects in architecture. According to Debord, spectacle defines a society full of spectacular objects and images. Both objects and their images are commoditized in the society of the spectacle (See Debord, 1996). The commoditization process promotes the process of consumption. The images of the objects are even consumed during these processes. Hence, the production of the object is mainly replaced by the production of image in today’s society. Images are easily and rapidly produced by using computer technology. They are commonly shared, experienced and consumed on media. So, spectacle becomes even more challenging in architecture and society. Computer technology and media pave the way for the spectacle to enhance its effects throughout the world. Commercial is now the essential part of this world. Almost every product is commercialized today. Architectural products are also commercialized as any other industrial product. Media promotes these products together with their spectacular packages. Content already becomes irrelevant due to the fact that package is now more significant. Many architectural products have spectacular packages as well. Particularly their sophisticated facades turn them into spectacular products. They are seen as the most valuable products in the recent architecture. However, value does not only depend on spectacle or capital in architecture; it is also based on the social, environmental and cultural value of the architectural product. Spectacle is the consequence of the capitalist economy policies. It now becomes more dominant in the big cities in which capitalist and neoliberalist economy policies are adapted. Big and spectacular buildings define the unique places and identities of these cities within the global world. Besides, spectacle turns them into touristic places. It points out to the fact that spectacle is especially for tourists and consumers. The culture of spectacle leads all of us to become tourists in our own cities. But cities are expected to enhance the sense of belonging. Architectural objects are also expected to be produced based on the real needs and requirements of the city-dwellers. They should not be produced to be spectacular objects or images. And such, this production process should not negatively affect the balance in between nature and architecture. But the big cities suffering from the big architectural productions and their costs lose their natural habitat day by day. They become bigger and bigger in such a way that they would recently meet other big cities and so the world would eventually turn into a giant city. Spectacle makes the world a whole, but a fragmented whole actually. This united and fragmented world is mainly discussed via Debord’s theory of the society of the spectacle and today’s spectacular architecture by the concepts such as mediatic, hypnotic, fetishistic, photogenic, iconic, dynamic, atmospheric, egocentric, eccentric and ecstatic in the paper. Spectacular architectural products today are generally experienced by the city-dwellers as if they are tourists. Spectacle leads the relations of architecture and society to be disjunted. This disjunction is initiated within the industrial era of the 20th century and it is enhanced within the digital era of the 21st century. It is critically discussed in the paper due to the fact that it sets architecture apart from the social needs, values, dynamics and realities. It is emphasized that spectacle both unites and fragmentizes today’s world. Yet, it is a fact that spectacular architecture and the society of the spectacle would be even more effective and dominant in the future. Because today’s political, financial and sociological conditions and technological opportunities would be more powerful in the world of the future. On the other side, not only spectacular images or image effects but also social needs and benefits should be significant for architects, designers, politicians, businesspeople and all the individuals in the society. We should redesign the relations in between architecture and society. We should balance the relations in between production and consumption as well. Architecture is actually a social production beyond our desires and consumption habits. It is about designing by thinking on encounters, spatial experiences and social relations. It is not a mere spectacular production.Bu makalenin amacı, gösterinin kavramsal çerçevesini ve mimarlık alanı üzerindeki etkisini ortaya koymaktır. Gösteri, Debord’un onu geçtiğimiz yüzyılın toplumunu tanımlamak için kullandığından beri, dikkat çekici ve etkili bir kavram olma özelliğini korumaktadır. Öyle ki, gösteri kavramı ve gösteri toplumu kuramı felsefe, sanat ve sosyoloji gibi alanlarla sınırlı kalmayıp başka birçok toplumsal alanda tartışma konusu olmaktadır. Mimarlık alanında da sıklıkla tartışılan gösteri, gösteri mimarlığı kavramının ortaya çıkmasına neden olmuş; geçtiğimiz yüzyılda olduğu gibi, bu yüzyılda da güncel mimarlık anlayışını oluşturmuştur. Bu nedenle, makalede, bugünün mimarlık dünyasında gösteri ve mimarlığa olan etkileri ele alınmıştır. Gelişmiş bilgisayar teknolojileri ve medya sayesinde gösterinin medyatik, hipnotik, ekstatik, dinamik, atmosferik, fetişistik, eksantrik, fotojenik, ikonik ve egosantrik gibi kavramlarla tanımlandığı ve tartışıldığı anlaşılmıştır. Bu kavramlar, gösteriye ve gösteri mimarlığına yönelik eleştirel bir bakış açısının geliştirilmiş olduğunu ortaya koymaktadır. Eleştiri, gösterinin bugünün dünyasının gerçeği ve başlıca değeri olmasını engelleyememiş olsa da gösterişli bir biçimde tasarlanan ve tüketilmek üzere üretildiği anlaşılan mimarlık ürünlerine eleştirel bakabilmemizi sağlamaktadır. Belki de bu eleştirel bakış açışı, bugünün mimarlığının yanı sıra bugünün toplumunu, kentini ve kültürünü de karakterize eden gösterinin önüne geçilmesine değilse de ehlileştirilmesine yol açacaktır. Gösterinin ehlileştirilmesiyle üretimi ve tüketimi arttırmak yerine bu ikisi arasındaki ilişkileri yeniden düzenleyerek dengede tutmak mümkün olacaktır. Böylece toplumsal bir üretim alanı olan mimarlıkta bireysel hırslardan ve aşırıya kaçmış tüketim alışkanlıklarından uzaklaşılacak; gösteri(ş) yapmak değil topluma yarar sağlamak mimarlığın önceliği olarak görülmeye başlayacaktır
Pandemi Sürecinde İkincil Konut Kalıcı Konut Haline Mi Geldi? Pandemi Sürecinde İkincil Konutlar
No full textThe demand for second houses used for a brief period as summer or weekend houses has increased with the Covid-19 pandemic in Turkey. While some people, who welcome summer in their homes, preferred to stay during the season, some extended their accommodation for the entire pandemic period. This article investigates the spatial and social changes experienced in second houses during Covid-19 pandemic. As a preparatory study, literature review and subject-related search were conducted in-depth on media sources. Then, real estate agents, who are expert on this issue, were interviewed to examine the effect of the rising demand for these kinds of properties in the real estate market. Moreover, a survey with open and closed[1]ended questions was conducted to selected people who stay in their secondary houses. In addition to the demographic characteristics of the participants, the reasons to choose second houses, the problems encountered in this process, everyday practices in their lives, and their relations with the neighbours were tried to be determined. As stated by three-quarters of respondents, the secondary houses have a larger net area compared to their primary ones. Their healthier environment offering a chance to spend time at natural surroundings or outdoor facilities such as private gardens and terraces, and their convenience to work from home or remote education are the main motivations behind preferences for residence. According to the analysed sample of the study, two-third of the participants have primary residences in Istanbul. Thus, the movement from city centres or metropolitan areas to rural areas, countryside or summer houses predominantly occurred in İstanbul. The participants also mentioned that their second houses were located in Istanbul, either in Silivri, Büyükçekmece or Adalar, which are peripheral and cottage districts of the city. Staying in a second house is directly associated with the pandemic-related lockdowns and curfews, summer or weekend breaks. Nearly two-third of the respondents stated that they established relations with the neighbours in there. As a positive effect of the pandemic, these relations might be turned into a cooperative, even a solidarist process for large-scale necessities or other possible issues in everyday life. When neighbourhood-related answers are analyzed, it can be argued that the social practices are sustainable and continuous in the environment of the secondary house as well. Additionally, one-third of second house residents implied that the time they spent for leisure activities such as trekking, swimming and so on increased, which may indicate they experience daily life more actively in this period. Consequently, the potential of second houses regarding their convenience for longer or permanent stay has been recognized during the pandemic period. The significant change in the perception of these houses, which are generally projected for short[1]term stay and remain empty most of the year before the pandemic, stimulates a debate about the position of the second houses on the current housing stock. The management of current second house stock should be taken into account upon their potential by especially considering the extended usage during the Covid-19 pandemic. As a result, it can be expected that these houses may be used for additional touristic purposes with some enhancement aimed at yearlong use, and new responsive design and construction approaches aiming for an extended stay, which is not limited with a season or even a possible global crisis like the Covid-19 pandemic, will gain importance. Some previous studies show the ways by which more efficient and yearlong use of second houses can be applied by residents without limiting the period of stay. Nevertheless, suggestions in studies could not be widely implemented for the management or development of summerhouses to be used throughout the year. Contrarily, second houses may be a worthwhile alternative for residents to get away from the hustle and bustle of the city and the pandemic, and to spend some time outdoor during their daily lives. Furthermore, these houses provide some opportunities for activities such as gardening and plant care, working and resting, trekking and so on. From this aspect, the question of what new, yearlong opportunities and potentials second houses can offer to residents in the post-pandemic life is noteworthy. With the addition of future studies on more efficient management of second houses, an integrated interpretation of economic, political, cultural, and local aspects will be more far-reaching for developing a holistic solution to this issue.Türkiye’de pandemiyle birlikte genellikle haftasonu veya yaz dönemlerinde kısa süreli kullanılan ikincil konutlara olan talebin artmış olduğu görülmektedir. Covid-19 pandemisi sırasında yaza ikincil evlerinde giren kişilerin bu evlerde kalmayı tercih ettiği, bazılarının geri dönmeyip tüm pandemi sürecini orada geçirmeyi tercih ettikleri anlaşılmaktadır. Bu makalede, pandemi sürecinde ikincil konutlarda yaşanan mekansal ve sosyal değişimin izi sürülmektedir. Çalışmada öncelikle literatür taraması ve pandemi süreci boyunca ikincil konutların tercih edilmesine yönelik medya taraması yapılmıştır. Ardından, oluşan bu talebin emlak piyasaları üzerine etkilerini incelemek adına bu süreç içerisinde ikincil konut satışları yapan emlakçılarla görüşülmüştür. Ayrıca pandemide ikincil konutlarında kalan kişilere anket uygulanmış, açık ve kapalı uçlu sorular yöneltilmiştir. Katılımcıların demografik özellikleri, birincil ve ikincil konutlarına ilişkin bilgilerinin yanı sıra, ikincil konutları tercih etmelerindeki nedenler, yaşadıkları sorunlar, gündelik yaşam pratikleri, komşuluk ilişkileri gibi konularda veri toplanmıştır. Başlıca tercih nedenleri, ikincil konutların daha sağlıklı bir ortam sunması, açık hava mekanlarında, doğal çevrede vakit geçirmeye imkân vermesidir. Genellikle yılın sadece belirli bir zaman diliminde kullanılan, diğer dönemlerde ise atıl kalan ikincil konutların, her mevsim daha verimli bir şekilde kullanılması yönünde daha önce yapılmış çalışmalar vardır. Ancak bu önerilerin pek uygulanamadığı, konutların yılın tamamında kullanımının sağlanamadığı görülmektedir. Oysa pandemi sürecinde bu konutlar, kullanıcılar için kentin kalabalığından ve pandemi koşullarından uzaklaşma, gündelik yaşamda aktif biçimde açık havada zaman geçirebilme imkanlarıyla anlamlı bir alternatif oluşturmuşlardır. Kullanıcılar için bir doğaya kaçış olanağı yaratmış; bahçe ve bitki bakımı, çalışma veya dinlenme, yürüyüş yapma gibi etkinlikler sağlamışlardır. Bu açıdan, pandemi sonrası yaşamda da ikincil konutların yılın tüm zamanlarına yönelik ne tür yeni olanak ve potansiyeller sunabileceklerine yönelik çalışmalar yapılmasının önemli olacağı düşünülmektedir
Yeni Nesil Ofis Tasarımlarının İncelenmesi: Yeni Nesil Ofis Tasarımlarının İncelenmesi
No full textTechnological developments and new generation users force life to change and transform. One of the principal factors that is compelling this change is from the new requirements of users. On a global scale, it is observed the changes in almost every area. The reflection of this change is seen in the working space also. In the world, it is possible to see the different office designs in different locations. However, in recent years, generally a universal idea for office design is becoming dominant. These are the new generation offices that have high technology, contain wide social facilities and keep up with the age. The new generation office is not just a newly built building; the new generation, office which follows the innovations brought by technology, attaches great importance to social life and takes efficiency as the main element in every field, stands out as a world trend office. In the past, basically the office efficiency is about an easy calculation of square meter per person, but nowadays it is a total requirement consist of social facilities, technological spaces, common working areas, activity and entertainment spaces. Y generations as free, dynamic, creative, participatory characteristic themselves, are effectives in office designs which are in a different point with the direction of changing requirements from past to the present. Today, Y generations who are participating to working life with themselves’ dependence for technology are forming the working order. The main subject of this study is; to research, to investigate the new generation office designs and their design criteria in terms of examples. In this context, “How are the new generation office designs formed, which aspects of these designs are positive in productivity and in dealing with epidemic for users?” is the main question of this research. Since epidemic diseases are also a problem on the agenda today, the examination of new generation office spaces will also be discussed through this subject. The features required for the sustainability of the new generation office spaces are researched and revealed, and the contribution of their benefits to the applications constitutes the purpose and scope of this study. To understand the values in the aspects of sustainability, pandemic and Y generation for the new generation office designs, is exposed the importance of the subject. In this study, although a method from general to specific is followed, it has been tried to research the formation of the new generation office buildings by the beginning of office buildings formation. The study is supported by visual data as much as possible by choosing current and contributing examples. The theses, articles, books and internet data related to the subject are the data for supply information. The main material of the study is the research of new generation office buildings. The evaluation in the resume of the historical development for the office buildings and office concept the discuss the problem for the Y generation users, productivity, sustainability and epidemic diseases aspects of the new generation office buildings are the auxiliary materials of the study. It is seen that is referred to create the social areas in the different contents and to use the methods in details for sustainable designs in the new generation office buildings where the human at their center, the comfort, the function, the freedom at their essence for the aim to provide the requirement of the users. It is created an office area in expectations of Y generation users by its logic and self-sacrificing intents and as a pioneer in technologic innovation of future design for both employers and new generation designers. Increase in working motivation is providing to produce more efficient products and a correlative content between the workers and employers. While the generation offices are creating this satisfaction, it is tried to present a foresight for what to do in working conditions under the effects of epidemic for the sustainability. Finally; with this study, it is aimed to contribute to the application by examining the importance of new generation office designs in order to achieve the best results and to establish long-term business relationships with happy, commit, eager to work, productive users in all living conditions.Teknolojik gelişim, yeni nesil kullanıcılar ile birlikte yaşamı değişim ve dönüşüme zorlamaktadır. Değişimi tetikleyen ögelerin başında, kullanıcıların yeni gereksinimleri gelmektedir. Küresel ölçekte hemen her alanda değişimler görülmektedir. Bu değişim, çalışma alanlarına da yansımaktadır. Dünyada farklı konumlarda, farklı tasarımlarda ofis yapılarını görmek olasıdır. Ancak son yıllarda genel hatlarıyla evrenselleşen bir ofis anlayışı baskın olmaya başlamıştır. Bunlar, yüksek teknolojiye sahip, geniş sosyal olanakları içinde barındıran ve çağa ayak uyduran yeni nesil ofislerdir. Yeni nesil ofis, yalnızca yeni inşa edilmiş bir bina değil; teknolojinin getirdiği yenilikleri izleyen, sosyal yaşama büyük önem veren ve verimliliği her alanda ana öge alan yeni kuşak dünya eğilimi bir ofis olarak öne çıkmaktadır. Geçmişte ofis verimliliği temel olarak; metrekare/kişi sayısı gibi kolay bir hesap ile yapılırken, günümüzde içerdiği sosyal olanaklar, teknolojik mekânlar, ortak çalışma alanları, eğlence ve etkinlik alanları gibi gereksinimlerin bütününden oluşmaktadır. Geçmişten günümüze değişen gereksinimler doğrultusunda farklı bir noktaya gelen ofis tasarımlarında özgür, dinamik, yaratıcı, katılımcı Y kuşağı etkin olmaktadır. Günümüzde çalışma hayatına katılan Y kuşağının teknolojiye olan bağımlılığı çalışma düzenini biçimlendirmektedir. Araştırmanın ana konusu; yeni nesil ofis tasarımları ve bu tasarım ölçütlerinin araştırılması, incelenmesi ve örnekler yönünden irdelenmesidir. Bu bağlamda “Yeni nesil ofis tasarımları nasıl yapılmaktadır, bu tasarımların kullanıcılar için verimlilik ve salgınla baş etmede olumlu yönleri nelerdir?” araştırmanın asıl sorusudur. Yeni nesil ofis mekânlarının sürdürülebilir olabilmesi için de gereken özellikler araştırılıp ortaya konularak yararlarının uygulamalara katkısı da bu çalışmanın amacı ve kapsamını oluşturur. Yeni nesil ofis tasarımlarının; Y kuşağı, salgın hastalıklar ve sürdürülebilirlik açısından değerlerinin anlaşılması konunun önemini ortaya koymaktadır
Geçmişten Günümüze Endüstriyel Tasarım Eleştirisine Genel Bir Bakış: Endüstriyel Tasarım Eleştirisi
No full textAlthough the industrial design is a relatively new profession, design activity itself precedes all other professions. The practice of making valuable objects is one of the main characteristics attributed to the human race. This immanent in human, utility-based practice has often been the target of Marxist criticism after it emerged as a commercial activity with the industrial revolution. The main criticisms targeting the industrial design are intrinsically directed towards the capitalist mode of production, which is the reason for the existence of the activity and the natural consequences of this mode of production. Surprisingly, these criticisms are neglected in the expectation of a unilateral benefit from industrial design, which can only be possible in a non-tradable design activity. The industrial designer is expected to neglect the requirements of mass production and serve only for the user’s benefit. After its institutionalization as a profession, industrial design justifies its existence as improving quality of daily life by creating machine-made objects that satisfy human needs and desires. Similarly, improving social welfare by throwing open objects accessible to everyone, which is only possible through industrial production that increases productivity and reduces costs, is one of the promises of modern capitalism. In the study, how the industrial design, whose raison d’être is to behoove people to raise the quality of life, is accused of hiding relations of production, indirectly ravaging nature through-provoking consumption by manipulating individuals in the way of serving capitalism is discussed in the context of developments in design history and its repercussions in critical theory. The critics are categorized into three historical processes: early modern period, modern period, and post-modern period. Literature is approached with a historical understanding by considering the social, cultural, economic, and scientific developments that affect the activity. The early modern period refers to the period in which discipline emerged as a commercial activity; the modern period refers to the period when activity is recognized as a profession. The post-modern period refers to the period after the paradigm shift in the field. It is possible to say that the critique of industrial design in its early modern period was generally oriented towards the social effects of the division of manual and mental labor under the influence of Marx’s theory of alienation and the dehumanized aesthetics of machine products. On the other hand, it is claimed that the plainness and functionalist forms caused by the mode of production bring class inequalities into view. According to critics, capitalists, realizing the tension created by machine production, first try to ornament mass-produced products to hide the production relations that become visible in consumer products. After a while, they create a new aesthetic approach claiming that function is a prime mover that determines the evolution of products. With the Bauhaus movement, in which cultural and historical elements are excluded from the product, and its function determines its aesthetics, industrial design activity takes its modern form. In the modern period, it is possible to say that the criticisms are mainly directed towards rationalism and positivism, which exclude human feelings, intuitions, and values in the design process. Within the scientific conceptualization of the world, the design is demystified, the designer is purged of intuitions and emotions, and the design process is reduced to a planned, directional, rational process. The endeavor of designers to make the design process systematic, scientific and predictable leads to reductionism. It eventuates in functionalism, in which human psychological needs are ignored at the expense of clarity and certainty. Finally, in the post-modern period, the view that a product should take form based on its function is replaced by that the product should take form based on how a user makes sense of it. By placing people at its center, the industrial design becomes prominent in the competition since it increases sales. Consequently, the knives are out for the profession, this time related to consumer manipulation. In the industrial design nomenclature, the prefix industrial, which refers to the dominant mode of capitalist production, creates tension in the values inherent in the design. This nomenclature defines the design’s position within the division of labor. Therefore, it gives the designer responsibility to optimize the benefits of the producer and consumer. It seems natural that the political economy thinkers, who are positioned outside the mainstream economic understanding, project entire critiques of capitalism to the industrial design profession, which seems to be at the exact center of the production and consumption relations. Nevertheless, industrial designers did not remain indifferent to all these criticisms and developed discourses such as green design, sustainable design, accessible design, social design, democratic design, universal design, participatory design. The study does not aim to confirm or refute the critics of industrial design but only to shed light on them in the historical conditions.Endüstriyel tasarım, görece yeni bir meslek olsa da tasarım etkinliği belki diğer tüm meslekleri önceler. Hatta insan faydası için yararlı bir amaca hizmet edecek nesneler yapma pratiği insan ırkına atfedilen temel özelliklerden biridir. Bu insana içkin, fayda temelli pratiğin sanayi devrimi sonrası ticari bir etkinlik olarak ortaya çıkışıyla yoğun eleştirilerin hedefi olması, çoğunlukla Marksist eleştirel teoriye dayanır. Endüstriyel tasarım etkinliği meslek olarak kurumsallaşması ile kendi var oluş iddiasını, insan ihtiyaç ve isteklerini tatmin eden nesneler yaratarak yaşam kalitesini artırmak olarak ortaya koyar. Endüstriyel tasarım mesleğinin ortaya çıkış nedeni olan sanayi devriminin, üretim maliyetlerini azaltması ve üretimi artırması, böylece nesnelerin herkesçe erişilebilir hale gelmesi ile toplumsal refahın artması, benzer şekilde modern kapitalizmin de vaatlerinden biridir. Çalışmada var oluş nedeninin insan faydası olduğunu iddia eden endüstriyel tasarım disiplininin, nasıl olup da kapitalizme hizmet etme yolunda üretim ilişkilerini gizlemek, bireyleri manipüle ederek tüketimi tahrik etmek ve doğayı tahrip etmek gibi konularda suçlandığı, tasarım tarihindeki gelişmeler ve eleştirel teorideki yankıları bağlamında tartışılmıştır. Literatüre disipline etkiyen sosyal, kültürel, ekonomik ve bilimsel gelişmeler temel alınarak, tarihselci bir anlayış ile yaklaşılmış, eleştiriler söz konusu etmenlere bağlı olarak erken dönem, modern dönem ve post modern dönem olmak üzere üç tarihsel süreçte sınıflandırılmıştır. Erken dönem seri üretimin gündelik tüketim nesnelerinde yaygınlaştığı ve disiplinin ticari bir faaliyet olarak ortaya çıktığı dönemi, modern dönem modernizm etkisindeki etkinliğin meslek olarak tanındığı 1940 ve 1970’li yıllar arası dönemi, post-modern dönem ise modernizmin çözüldüğü, tasarım sürecinde insan faktörünün ön plana çıktığı dönemi ifade etmektedir
Çamlıhemşin Kırsalından Rusya’ya Uzanan Göç Sürecinin Mimari Dokuya Yansımaları: Ortan ve Yolkıyı Tarihi Kırsal Peyzajının Korunması İçin Potansiyelin İrdelenmesi: Çamlıhemşin Kırsalı’ndan Rusya’ya Göçün Mimari Yansımaları
No full textHistoric rural landscapes and their bio-cultural heritage are rapidly transforming and being lost due to many different reasons such as depopulation, urbanization, environmental problems, and the climate crisis all around the world. Camlihemsin, which is located approximately 40 km away from Rize city center on the Eastern Black Sea coast, has also been negatively affected by this transformation process. Most of the rural settlements in the Eastern Black Sea region have lost their authenticity and integrity values, as is common in Turkey. Contrary to the general tendency in Turkey and World, the historic rural landscape of Ortan and Yolkıyı settlements, which have been comprised of traditional mansions, auxiliary buildings, croplands, orchards, religious buildings, historic paths, water mills, and bridges, have been preserved. The migration movement of the Hemshinians from the Çamlıhemşin countryside to Russia, which started in the second half of the 19th century, has directly affected the physical structure of the Ortan and Yolkıyı traditional settlements. This article approaches the tangible and intangible values of the historic rural settlements of Ortan and Yolkiyi, which have heritage values that can be considered important on a national scale, with a holistic view. It is possible to read the direct effects of the migration process of the Hemshinians to Russia, in order to make a living, through the traditional fabric that has survived to the present day. Understanding the genius loci of the settlements, comprised of single-story shelters in a forested area in the beginning and transformed by the building of grand mansions related to the income gained from the migration process, will only be possible with a holistic view that will also take into account the human stories and intangible elements in the background. The rural architecture of Ortan and Yolkıyı settlements is a part of the vernacular building culture in the Eastern Black Sea region. So differences in details such as the extraordinary dimensions of the mansions and high quality in wood and stone craftsmanship cannot be noticed at first glance. This study focuses, not only, on the tangible physical characteristics of the historic rural settlements of Ortan and Yolkiyi but also, on the human stories in its background and develops proposals for the sustainable conservation of the bio-cultural heritage of the region. It is known that the inhabitants of Ortan and Yolkıyı, who had limited arable land and could not earn enough income from agriculture or animal husbandry, migrated from their homeland as early as the second half of the 19th century. This migration, which was initially thought to be temporary and targeted at Russia, has turned to the big cities of Turkey after the First World War, and currently, Ortan and Yolkiyi have become largely depopulated except in the summer months. It is thought that the preservation of the historic landscapes of Yolkıyı and Ortan, which have survived to the present day by preserving their authentic character shaped jointly by humans and nature, depends on a sustainable rural economy and a continuous life. Ensuring the continuity of life in the region depends on increasing the welfare of the people of the region and improving their living conditions. In addition to the research carried out in the Directorate of State Archives Ottoman Archives to find historical documents, the last generation representatives of the mansion owners and historians who have been studying in this field were reached and numerous oral interviews were conducted in order to understand the human stories related to migration. Also, many field studies were carried out to define the cultural and natural heritage values of the site. Besides the inventory and survey studies for understanding the vernacular architectural character, historic landscape character assessment was carried out through high-resolution aerial photographs obtained by drone. Transformations in the historic rural landscape have been documented by comparing current analyzes with aerial photographs obtained from the General Directorate of Mapping, the oldest of which is from the 1970s. In order to preserve the “message” behind the cultural and natural heritage, or in other words, the “spirit of the place”, human[1]oriented studies are needed that will consider the tangible and intangible heritage holistically. In this context, it is hoped that this research will provide important data for future studies that will be carried out with a holistic perspective, not only on the physical remains but also on the intangible elements in the background, for the understanding and sustainable conservation of historical rural landscapes and their bio-cultural heritage.Doğu Karadeniz tarihi coğrafyasında konumlanan Çamlıhemşin, sahip olduğu doğal ve kültürel değerleri ile Türkiye’nin önde gelen biyo-kültürel miras alanlarından biridir. Bölge, aralarında endemik türlerin de bulunduğu çok sayıdaki bitki ve hayvan türüne, kale, gözlem noktaları gibi Orta Çağ savunma yapılarına, farklı inançlara ait dini yapılara, tarihi yollara, köprülere ve pek çok geleneksel konuta ev sahipliği yapmaktadır. Dağlık ve tarım arazileri oldukça kısıtlı olan Doğu Karadeniz coğrafyasında yaşayan Hemşinliler’in geçimlerini sağlamak üzere, 19.yüzyılın ikinci yarısından başlamak üzere Rusya’ya gerçekleştirdiği göç hareketlerinin bölge insanının yaşam çevreleri üzerinde önemli etkileri olmuştur. Göçe konu olan yerleşimlerdeki sivil mimarlık örneklerinde kullanılan yapım tekniği ve malzeme, bölgedeki kırsal mimari geleneğin bir parçası olmakla birlikte yapıların boyut açısından büyüklüğü ve daha gelişkin bir işçilikle inşa edilmiş olmaları ilk bakışta gözden kaçırılabilecek farklılıklardır. Bölgede günümüzde hala varlığını sürdüren bu görkemli konakların ortaya çıkışının ardındaki insan hikayeleri oldukça dikkat çekicidir. Bu makale, Doğu Karadeniz’deki geleneksel mimariyi; fiziksel doku, yerleşim biçimi, mimari özellikler gibi açılardan ele alan önceki çalışmalarda yeterince üzerinde durulmamış olan somut olmayan mirasın mimari dokuya yansımalarını fiziksel çevre ve ardındaki insan hikayeleri ile birlikte değerlendirerek “tarihi kırsal peyzaj” değerlerinin korunması için öneriler geliştirilmesini hedeflemektedir. Ortan ve Yolkıyı Köyleri odağında yürütülen araştırmada, özellikle göçle ilgili insan hikayelerini anlamak üzere Devlet Arşivleri Başkanlığı Osmanlı Arşivleri’nde yapılan araştırmaların yanı sıra, konak sahiplerinin son kuşak temsilcilerine ulaşılarak, çok sayıda sözlü görüşme ve mimari dokuyu anlamaya yönelik saha çalışmaları gerçekleştirilmiştir. Bu çalışma ile bölgedeki biyo-kültürel mirasın arka planındaki insan hikayelerini ve ilişkilerini de gözetecek şekilde ele alacak gelecekteki farklı çalışmalara katkıda bulunulması umulmaktadır
Sofasız Plan Tipinde Türk Evi Üzerine Bir İrdeleme: Sofasız Plan Tipinde Türk Evi Üzerine
No full textIn this study, with the pre-acknowledgment of the results of Sedad Hakkı Eldem’s comprehensive study on the classification of Turkish houses, which has pioneered many following studies, it is aimed to focus on the story and philosophy of “Plan Type Without Sofa”, which has been in the background in the literature on Turkish Houses, in the context of function, material and culture. The position of the type in the classification system is tried to be explained by means of the examples and major studies related to the subject. Eldem stated that since the appearance of the Turks in the history scene, their settlements have been greatly diversified, while spreading and founding a number of different states. He narrowed the concept in his “Turkish House Plan Types”, to the houses which were inherited from the Ottoman Empire. Despite this, both definition and classification issues still continue to be discussed in the literature regarding the concept of “Turkish House”. Eldem’s book reflects the national architectural movement which has its interest and inspiration in tradition. The plan matrices in this book were used as a base in many documentation studies examining traditional residential architecture in various towns of Anatolia as a part of architectural education, and within this scope, the “modern character” of these houses was examined. In the Turkish literature, the dominant view is that the climate, building materials, technology, and the culture of the society, are the effects that reveal “anonymous styles” that cannot be attributed to people as a result of the kneading of environmental effects over time. Due to Eldem’s aforementioned assumption, the main element reflecting those effects and defines the types of Turkish houses ensuring their unity was determined as the “plan” of the main floor, that is, the top floor plan. In the study, the definition and classification discussions were examined, and the houses that constitute an example of the Turkish House plan type without sofa in Turkey were scanned. As a result of the scanning, it is seen that the plan type without sofa is not even included in the classification in most of the sources related to traditional houses and houses of these type are older and harder to find than the others. Even so few examples of houses without sofa were found in all regions. Samples from South-eastern Anatolia, Eastern Anatolia, Central Anatolia, Aegean, and Mediterranean regions, were analysed both within the context of these discussions or independently, and consequently an evaluation was made. Within the scope of the study, answers are sought to the questions of whether it would be more appropriate to consider the plan type without sofa as a “unit” in the modularity and organic development of the Turkish House, or as a house type on its own, or whether it is only a definition for the “other” houses which cannot be classified under a heading in the mentioned classification system. The distinctive features of the Turkish house are not found in most of the houses of plan type without sofa. Since the modularity of the Turkish house stemming from the multifunctional autonomous room layout is also not seen in the majority of houses without sofas, these houses are not perceived as a “unit”. As such, they mostly do not reflect the Ottoman culture. Houses with plan type without sofa, which generally constitute the most archaic and basic examples of the region they are in, vary depending on the region. Large-scale examples with a rich spatial setup can be found as well. For instance, the tower houses in the Aegean Region, located on the coast, emerged out of a need for defence and protection against dangers from the sea, while Diyarbakir houses without sofa, which exist in a rich space setup with courtyards and iwans, are the result of the warm climate, the production/nutrition processes and the local culture that social life requires separate spaces for men and women in the context of hospitality and intimacy as well. The most developed and rich space setup among houses without sofa is from southeast, however it is not a development pioneered by those in other regions, but independent of them, depending on the region’s own conditions. In this diversity, the fact that the regional examples of houses without sofas have very different points from each other, brings to mind the title of “other” in typology and weakens the idea that plan type without sofa is the “building block” of a modular and organically developing system.Bu çalışmada, Sedad Hakkı Eldem’in, Türk evlerini sınıflandırmaya yönelik, pek çok çalışmaya öncülük etmiş kapsamlı çalışmasının sonuçlarının ön kabulüyle, Türk Evi’ne ilişkin literatürde arka planda kaldığı gözlenen “Sofasız Plan Tipi”nin işlev, malzeme, kültür bağlamında var olma öyküsü, felsefesi ve sınıflandırma sistematiği içerisindeki yeri üzerine eğilmek amaçlanmaktadır. Çalışmada tanımlama ve sınıflandırma tartışmaları irdelenmiş, Türkiye’deki sofasız Türk Evi plan tipine örnek oluşturan evler taranmıştır. Tarama sonucunda, sofasız plan tipinin geleneksel konutlarla ilgili basılı kaynakların pek çoğunda sınıflandırmaya hiç dâhil edilmediği görülmekle birlikte Ege, Akdeniz, İç Anadolu, Güneydoğu ve Doğu Anadolu bölgelerine ilişkin kaynaklarda rastlanan örnekler; bu tartışmalar bağlamında ve bağımsız olarak incelenerek kendi içinde bir değerlendirme yapılmıştır. Çalışma kapsamında, sofasız plan tipini, Türk Evi’nin modülerliği ve organik gelişimi içerisinde bir birim olarak mı, yoksa bağımsız bir ev tipi olarak mı ele almanın daha uygun olacağı, ya da sofasız plan tipinin sınıflandırma içindeki tiplere “dâhil edilemeyen” evlerin “diğer” başlığı altında toplanmasından ibaret bir tanımlama mı olduğu sorularına yanıt aranmıştır. Türk evinin ayırt edici özelliklerinin sofasız evlerin birçoğunda bulunmadığı görülmektedir. Türk evinin çok işlevli özerk oda düzeninden kaynaklanan modülerliği de sofasız evlerin çoğunluğunda görülmediğinden bu evler bir birim olarak algılanmamaktadır. Genellikle içinde bulundukları bölgenin en arkaik örneklerini oluşturan sofasız plan tipindeki evler yöreye bağlı olarak çeşitlenmekte, zengin mekân kurgusuna sahip büyük ölçekli örneklere de rastlanabilmektedir. Bu çeşitlilik içerisinde bölgelerin sofasız örneklerinin birbirleriyle ortak noktalarından çok farklı noktalarının bulunması “diğer” başlığını akla getirmektedir
Yapı Kabuklarında Biyomimetik Termoregülasyon: Yapı Kabuklarında Biyomimetik Termoregülasyon
No full textThe construction and use of buildings cover %40 of the overall energy consumption in the world. Cooling and heating costs (to provide thermal comfort to the users) are a massive part of this consumption. The energy-efficient design of the building envelopes, where the communication between the external environment and the interior environment is at its highest, will significantly reduce energy consumption. The best energy-efficient design ideas are hidden in nature that has accumulated knowledge for thousands of years. Air conditioning systems constitute a large proportion of energy consumption in built environments. For this reason, it is essential to construct the building envelope with “energy efficient design” decisions. Heating and cooling costs, which constitute the majority of the energy used by the buildings, can be reduced by “thermoregulation,” which can be defined as keeping the indoor temperature within a particular and narrow range without being affected by the change in the outdoor temperature. Nature offers architects a significant “data bank” on thermoregulation as on many other subjects. The idea of transferring the physiological, morphological, and behavioral adaptation ideas developed by organisms in nature to survive in harsh conditions for billions of years to the field of architecture has been the starting point of this research. This paper aims to answer the question: “Can thermoregulation solutions in nature be a source of inspiration for energy[1]efficient designs in building envelopes where heat gain and heat loss occur the most?” For this purpose, the applicability of thermoregulation methods developed by organisms in nature to provide thermoregulation for building envelopes was investigated. It aimed to provide designers with new perspectives apart from traditional design methods. Firstly, a literature review on the concepts of thermoregulation and biomimicry was studied. Thermoregulation methods developed by living creatures in nature according to the ambient temperatures they live in were investigated. Afterwards, the concept of biomimicry was examined, and its intersection with architecture was investigated. Five samples designed inspired by living things that developed thermoregulation methods according to various environmental conditions were investigated for fieldwork. Some creatures, which have the same need to keep their internal body temperatures within a specific range, struggle with high temperatures, and some with low temperatures. It has been analyzed how the physiological, morphological, and behavioral adaptations were developed according to the needs of the living things in the examined samples affect the design. The selection of the examined organisms from different climatic regions allowed us to observe the changes in thermoregulation strategies. A table was created by comparing the data obtained, the climatic region in which the living things live, the heat transfer methods they developed, the features they developed to provide heat transfer, and the adaptation methods. It has been examined whether designs inspired by nature while providing thermoregulation in building envelopes reach the goal of energy[1]efficient design. As a result of the evaluation, it has been seen that the idea of being inspired by nature, whose biological information pool contains countless solutions, has potential in the discipline of architecture, as in many disciplines. It has been seen that the application of thermoregulation methods of living things in nature in architectural designs with a biomimetic design approach can achieve the energy-efficient design goal of architects. It was concluded that successful results could be obtained by applying the thermoregulation methods developed by living things in nature to architectural design, that these results can only be possible with interdisciplinary studies, and that nature can offer innovative solutions to the thermoregulation problems faced by designers. The environmental conditions of the architectural product to be designed and the users’ requirements should be well analyzed. Solutions of a correctly analyzed problem to similar problems by living things in nature should be investigated. Integrating solutions produced by nature in building envelope design should be tested using various simulation programs. Billions of living organisms in nature create an unlimited pool of examples with new features waiting to be discovered. This biological information data pool, which nature has accumulated for centuries, contains countless solutions to the problems that designers face or will encounter.Yapılı çevrelerdeki enerji tüketiminin büyük bir oranını iklimlendirme sistemleri oluşturmaktadır. Bu nedenle yapı kabuğunun “enerji etkin tasarım” kararları ile elde edilmesi önemlidir. Yapıların kullandığı enerjinin çoğunluğunu oluşturan ısıtma ve soğutma giderleri, iç ortam sıcaklığının, dış ortam sıcaklığının değişmesinden etkilenmeden belirli ve dar bir aralıkta tutulması olarak tanımlanabilecek “termoregülasyon” ile azaltılabilir. Doğa pek çok konuda olduğu gibi termoregülasyon konusunda da mimarlara geniş bir “veri bankası” sunmaktadır. Doğadaki organizmaların milyarlarca yıl boyunca zorlu koşullarda hayatta kalmak için geliştirdikleri fizyolojik, morfolojik ve davranışsal adaptasyon fikirlerinin mimariye aktarılması fikri bu araştırmanın çıkış noktası olmuştur. Makalede doğadaki organizmaların geliştirdiği termoregülasyon yöntemlerinin yapı kabuklarının termoregülasyonunu sağlamak amacıyla uygulanabilirliği araştırılmış ve tasarımcılara geleneksel tasarım yöntemlerinin dışında yeni bakış açıları kazandırmak hedeflenmiştir. Bu doğrultuda öncelikle doğadaki ısı transfer şekilleri ve organizmaların termoregülasyon sağlama yöntemleri araştırılmıştır. Daha sonra doğadaki canlıların termoregülasyon yöntemlerini taklit ederek tasarlanan mimari yapı kabukları değerlendirilmiştir. Çalışmanın sonucunda, doğadaki canlıların geliştirdiği termoregülasyon yöntemlerinin mimari tasarıma uygulanması ile başarılı sonuçlar alınabileceği, bu sonuçların ancak disiplinler arası çalışmalar ile mümkün olabileceği ve tasarımcıların karşılaştığı termoregülasyon sorunlarına doğanın yenilikçi çözümler önerebileceği görülmüştür