Tasarım+Kuram (E-Journal)
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Korunan Alanlarda Sürdürülebilir Mimari Tasarım Kriterlerinin Belirlenmesi: Odak Grup Metodu: Korunan Alanlarda Sürdürülebilir Mimari Tasarım Kriterlerinin Belirlenmesi: Odak Grup Metodu
No full textThis study aims to determine the new and original sustainable architectural design criteria in protected areas by organizing multi-disciplinary discussions about the buildings to be built in protected areas through focus group methodology. In addition, this article aims to encourage researchers on this important subject, which has never been found in the literature, and to provide a base for future studies in this field in our country. Considering sustainability in the broadest framework and the context of protected areas; We can define it as ensuring the continuity of the diversity and productivity of the biological systems in these areas. In addition, it is necessary to ensure economic and social sustainability in these areas. Although the term “sustainable architecture” has been in our lives for more than two decades, there is still no clear consensus regarding its definition and criteria. When a variable - protected areas - is added to the generic definitions in the literature, the number of sources to be used as a basis for moving from discourse to practice is very limited. In the research, qualitative and quantitative research techniques and data analysis methods were brought together by using the mixed method, since a multidisciplinary process was aimed. These methods are explained in order in the research process. “Web of Science”, “Scopus”, “EBSCOhost” research databases were used for the systematic analysis to include enough articles. In order to fully understand the growth, progress, and development of the sustainability paradigm, the articles published between 1987 and 2019 were examined. The 1980s were the years when the concept of sustainability developed and gained popularity (Du Pisani, 2006). The year 1987 was chosen as the starting date because the concept of sustainability was first included in the Brundtland Report in 1987 (WCED, 1987). As a research term, the keywords “sustainab *”, “triple bottom line”, and “green building” were searched in the whole article, publication titles, and/or keywords. Classified as “dense”, “medium dense” and “less dense” according to the density of the buildings throughout Turkey; The areas that are operated by the private sector and protected from regions with different climatic conditions were selected. By examining the activity reports of these areas between 2012 and 2014; The encountered problems were determined by conducting in-depth interviews with the operator and employees. Based on the identified problems, questions to be discussed in the focus group meeting were formed. In order not to prevent them from producing solutions outside the literature, unstructured questions were asked. For the focus group meeting, the participants were selected to represent different professions among those with at least 5 years of experience in the General Directorate of Nature Conservation and National Parks. A focus group study, which is a qualitative research technique, was carried out in order to adapt this draft study to protected areas and to analyze the obtained data in detail. Transcripts were analyzed thematically by generating coding nodes for common themes and sub-themes using NVivo 8 (NVivo 8, 2009). The triangulation method was used in the interpretation of the obtained data. According to this method, the data obtained with the focus group data collection tools were analyzed objectively in the light of the existing literature, avoiding prejudices. In this direction, the targets have been determined as follows. • Goal 1: Ensuring Environmental Sustainability • Goal 2: Ensuring Economic Sustainability • Goal 3: Ensuring Social Sustainability The design criteria developed in line with these upper objectives are gathered under 4 main headings. • Design Criterion 1: Orientation of the building, taking into account the climate in which the area is located. • Design Criteria 2: Shaping the building to make maximum use of natural lighting, natural ventilation, heat gain. • Design Criteria 3: The organization of the building’s spaces, taking into account energy savings, human health, and comfort. • Design Criterion 4: Selection of building materials. The main topics, which were initially created on the basis of the three basic pillars of sustainability (environmental, economic, and social), were filtered from the results of intense discussions and transformed into inclusive headings that can be easily applied by even a person who has no previous experience in sustainable architecture. These criteria, created within the framework of 3 main objectives, start from the project stage of the building, continue throughout the life of the building, and end with the demolition of the building. The built environment, built in accordance with these criteria, will work in harmony with nature as much as possible and will not only harm people but also increase awareness on these issues. Furthermore, this study identifies potential areas for future work. Discussing the created design criteria at the level of regulations, zoning plans and development plans can be a continuation of this study.Dünyamızın ekolojisi her geçen gün artan insan nüfusu, kaynak tüketimi ve çevre kirliliğinden dolayı zarar görmektedir. İnsanlık için vazgeçilmez olan doğal kaynakların geri döndürülemeyecek şekilde zarar görmesi, sadece insanların değil, Dünya üzerinde yaşayan diğer canlıların da geleceğini tehdit etmektedir. Doğal kaynakların ağırlıklı olarak inşaat sektörü tarafından tüketildiği göz önüne alındığında; sürdürülebilirliğin, özellikle de sürdürülebilir mimarlığın sahip olduğumuz doğal kaynakların gelecek kuşaklara aktarılması için ne kadar önemli olduğu anlaşılmaktadır. Korunan alanlar bilimsel ve estetik açıdan milli ve milletlerarası ender bulunan tabii ve kültürel değerlere sahip tabiat parçaları olmaları nedeniyle, bu alanlarda inşaat faaliyetlerinin daha titizlikle ele alınması gerekmektedir. Bu çalışmanın amacı, literatürde ayrı başlıklar altında yer alan sürdürülebilir mimarlık ilkelerinin sistematik bir meta-analizini yapmak ve odak grup (focus group) tekniğini kullanarak çeşitli alanlardan uzmanlar ile yapılan çok disiplinli görüşmelerle Korunan Alanlarda Sürdürülebilir Mimari Tasarım Kriterlerini belirlemektir
Konstrüktivist Mimarlığın Reel ve Ütopya Düzleminde Mekânsal İncelemesi: Konstrüktivist Mimarlık, Ütopya ve Realite
No full textAfter the 1917 October Revolution, Vladimir Tatlin developed the novel idea of integrating artistic creation into the bigger scope of production. This theory was expressed with emphasize on real materials in real space. The display of the Monument to the Third International in 1920 marked a turning point and constructivism became the USSR’s main stream artistic and architecture style. Taking the Monument to the Third International as a reference, architects and artists designed what have been deemed as utopian examples of constructivist architecture using theater stages, decorations, posters, and drawings. However, revolutionary architecture was built on the efforts of the architects who reformulated constructivist approach. Anatoli Lunacharsky who was appointed as the head of Narkompros, assigned avant-garde artists to institutions affiliated to Narkompros due to their support for the revolution. Tatlin, who was appointed as the head of the Moscow Fine Arts Department in 1919, emphasized that the distinction between plastic arts should disappear and the artist should have an engineer formation in his writings. The fact that Vkhutemas’s education program is immanent to Tatlin’s ideas, and his assignment to design Monument to the Third International within the scope of Lenin’s Monumental Program gave Tatlin a chance to apply his ideas in practice and provide a basis for the constructivism movement to rise. Design of Monument to the Third International led to the adoption of Tatlin’s ideas by different artists and architects, afterwards First Working Group of Constructivists was formed in 1921. Constructivists had declared the tectonic style, factura and construction disciplines in which the theory of constructivist architecture is shaped in their programs, in which they refer to historical materialism and scientific socialism. Monument to the Third International, the first monument of machine art, is a living organism where socialist propaganda is carried out, which overcomes the barrier of time and space due to its technological equipment, and contains spaces where socialist culture can be experienced. The monument, where tectonic style, factura and construction disciplines correspond, influenced names such as Alexander Rodchenko, Lyobov Popova, Alexander Vesnin, as well as Gustav Klutsis who completed his education in Vkhutemas, Naum Gabo who criticized the constructivist theories, El Lissitzky whose work was heavily influenced by Suprematism and Yakov Chernikhov, who designed technically advanced examples of constructivist architecture on the utopia plane. Nevertheless, designs that are impossible to implement created by the constructivists without considering the objective conditions of the USSR, the technological possibilities of the period and the needs of the society show that the contradiction of constructivists’ discourses and architectural practices. In the period between 1922 and 1925, the practice of constructivists was proven to be applicable and the constructivist theory was reconsidered with a realistic approach. The Vesnin Brothers’ Palace of Labour design, which is essential for the development of constructivist architecture, is a design where tectonic, factura and construction disciplines correspond, the use of industrial materials is emphasized, reflects the socialist culture with analogy, and most importantly, it can be applied with the technological possibilities of its age. Just as Monument to the Third International is the cornerstone of the development of constructivist architecture on the utopia level, the design of the Palace of Labour, is also a touchstone in the real plane. Another essential development was Ginzburg’s work Style and Epoch that reconsiders the theory of constructivist architecture and puts it on a real plane. Constructivist architecture was introduced to the USSR with the establishment of OSA in 1925 under the leadership of Vesnin and Ginzburg. Between 1925 and 1932/1934, the constructivists, who aimed to organize the collective life in a world where there was no hierarchy, and to convey the achievements of the proletarian culture and socialist order to the society through architecture, were based on the concept of social condensor. They have succeeded in building workers’ clubs, palaces of culture, commune houses and residential buildings in different regions of the USSR. The aim of this paper is to shed light on the role of constructivist architecture within the greater context of architectural history, the difference and similarities between Utopian architecture and applied designs, and the application of constructivist architecture in communal living practices of the USSR. Analyzing the relationship between arts and politics is critical to this discussion. With this aim, the relation of arts-politics-space, created by the disciplines of tectonic unites, faktura, and construction, is evaluated through real and utopian designs. The decisive role that the utopian architecture played in the formation of a revolutionary architecture style is elaborated on. Therefore, the question is posed as to whether the real and utopian designs met the needs of the USSR through the cause and effect relation.Öz 1917 Ekim Devrimi’nin gerçekleşmesinin ardından Vladimir Tatlin’in sanatı üretimin bir parçası haline getirme düşüncesi ve gerçek malzemeler gerçek mekânda vurgusu ile ürettiği çalışmaları ve 1920 yılında III. Enternasyonal Anıtı’nın Moskova’da sergilenmesinin sonucunda büyük bir kırılma yaratmış, konstrüktivizm aşamalı olarak S. S. C. B’nin ana akım sanatına ve mimarlığına dönüşmüştür. III. Enternasyonal Anıtı’nı referans olarak kabul eden mimarlar ve sanatçılar tiyatro sahneleri, dekorlar, afişler, çizimler olmak üzere konstrüktivist mimarlığın ütopya kapsamında değerlendirilen örneklerini tasarlamışlar fakat devrim mimarlığı, konstrüktivistlerin teorilerini yeniden yorumlayan mimarlar tarafından inşa edilmiştir. Çalışmanın amacı; 1922 – 1932 yılları arasında konstrüktivist mimarlığın mimarlık tarihindeki yerini, ütopya mimarlığı ile uygulanan tasarımlar arasındaki açı farkını, benzerlikleri ve konstrüktivist mimarlığın S. S. C. B’nin toplumsal yaşamındaki karşılığını siyaset ve sanat arasındaki ilişkiyi esas alarak ortaya koymaktır. Bu amaç doğrultusunda; tektonik, faktura, konstrüksiyon disiplinlerinin sanat – siyaset – mekân arasında kurduğu ilişki reel ve ütopya düzleminde yapılan tasarımlar üzerinden incelenmekte, ütopya mimarlığının devrim mimarlığının oluşmasındaki belirleyici rolü üzerinde durulmaktadır. Sosyal yoğunlaştırıcı kavramının mimarlık pratiğindeki yansımaları olan işçi kulüpleri, komün evi, kültür sarayları, gazete binaları, konut yapıları olmak üzere mekân organizasyonu açısından sosyalist düzenin belirleyici etkisi vurgulanmakta, reel ve ütopya düzleminde olmak üzere tasarımların S. S. C. B’nin ihtiyaçlarına cevap verip vermediği sorusu neden – sonuç ilişkisine bağlı olarak tartışılmaktadır
21. yy. Mimari Temsil ve Tektonik Söylemlerinde Süreç ve İnşanın Temsil Ötesi Rolü: Süreç ve İnşanın Temsil Ötesi Rolü
No full textProblem: Digitalization is one of the most significant milestones in technological history of the world. After this development, which first affected the representations, and then the production methods, some problems related to representation and tectonics emerged in architecture. The first of these problems is that the object (end- product) oriented approach in architecture. Material-based tactile qualities in architecture have disappeared in connection with the emergence of the understanding of designing as an object in architecture. However, architecture is a whole of creative processes that enable it to gain tectonic expression. Processes in architecture are generally classified as design, construction and use. Since the construction process is a process where materials and techniques are brought together, it creates an important area of influence in terms of design. The ways in which materials and techniques are brought together have been called tectonics in the history of architecture. Therefore, the divergence of processes has revealed the tectonic problem, the result of the loss of tectonic expression. Architectural tectonics that has transformed after digitalization reinterpreted many times, but it is clear that a new interpretation is needed today. Changings are proof of a quest that tries to overcome the object-oriented attitude in architectural design today based on the scientific and philosophical background that firstly occurred in art and representation. As a result, trends such as designing the design process have emerged. Production tools and innovative materials also affect the concept of designing the process. With the development of the science of cybernetics, the spectacle object has been abandoned in art. The interaction concept that emerged from these efforts has gained importance in architectural circles. This situation, observed in contemporary architectural examples, can be understood from the temporal tectonics of construction representations. It is possible considering these two concepts, tectonic and representation, together, with the connection between construction and them. Concepts that point to two different orientations as material and conceptual reveal that they inherit the same binding interface, viz time when examined their historical development today. This interface, which is seen through animate and inanimate forces in tectonics and through digitalization in representation, has been tried to be explained with the phenomenon of movement as an expression of time in philosophy. Aim: This research aims to decipher issues kind of why digitalization blurs the lines between processes, how digitalization reshapes design and representation methods, and how other transformations of material production in architecture are related to temporality in digital representation tools. In this context, it is significant to understand the development of the time concept that emerged in architecture and to show that today’s tectonics are temporal. Additionally, related examples present the way of inclusion of construction to the design by designing the process. Method: Initially, the historical development of the time concept related to art and science was examined. For creating a conceptual dictionary partnerships were discovered between four current examples that remained visionary or applied. These examples are respectively: robotic museum, geotube tower, organic skyscraper and finally S.M.A.R.T. Independent experiments were conducted in digital and physical environments to show that tectonic and representation, two determinants of construction in physical and digital space, can coexist concerning the created concepts. These experiments combined with the multifarious methods of non-representational theories that deal with process approaches in an interdisciplinary manner. Materials for the physical experiment were determined and the process was photographed at regular intervals. Rhinoceros grasshopper software and physarealm plugin were used for the experiment in the digital space. The experiment was started at certain intervals and the process was recorded as digital picture files. Findings: Whereas observed the designed process in all sample projects, the architectural result contained a planned spontaneity. The concepts of spontaneous tectonics revealed by examined examples are system, actuality, re-production, interactive contact, and emergence. Such tectonics are named as self-tectonics. Although the spatial characteristics of the experimental studies based on these concepts differ due to the fact that one is physical and the other is digital, process characteristics have occurred in both. The findings have shown that the understanding of objects in architecture stems from the understanding of design independently of technological developments and especially from digitalization. It turns out that the discovery of process properties is more about the design approach than the technology used.yy. da teknolojik gelişmelere paralel olarak ortaya çıkan yeni üretim araçları ve bu araçların yön verdiği üretim biçimleri, temsil nesnesine dönüşen mimarlık sorununa alternatif bir çözüm olarak, bütüncül bir yaklaşımla süreci tasarlamanın mümkün olduğunu göstermektedir. Zaman tartışmaları etrafında şekillenen dijital temsil araçlarının mimarlıkta maddi üretimi, diğer bir deyişle inşa edimini dönüştürdüğü anlaşılmaktadır. İnşa ediminin tektonik ve temsille olan bağlantısı bağımsız görünen bu iki kavramı birlikte ele almayı olanaklı hale getirmektedir. Tarihsel gelişim süreci incelendiğinde görülmüştür ki maddi ve kavramsal olmak üzere iki farklı yönelime işaret eden bu kavramlar günümüzde zaman gibi bağlayıcı bir ortak ara-yüze sahiptir. İlk olarak sanatta ve dolayısıyla temsilde meydana gelen bilimsel ve felsefi arka plana dayanan değişimler günümüzde mimari tasarımda nesne ve temsili aşmaya çalışan bir arayış olduğuna işaret etmektedir. Bunun sonucu olarak “tasarım sürecinin tasarlanması” gibi eğilimler ortaya çıktığı gözlenmektedir. Sürecin tasarlanması anlayışına üretim araçları ve yenilikçi malzemelerin de etki ettiği anlaşılmaktadır. Temsili aşmaya yönelik bu çabaların sonucu olarak ortaya çıkan etkileşim konusunun mimarlık çevrelerinde önem kazandığı görülmektedir. Bu çalışmada inşa ediminin iki belirleyicisi olan tektonik ve temsilin süreç anlatıları sayesinde bir arada bulunabildiğini göstermek üzere dijital ve maddi ortamlarda bağımsız deneyler gerçekleştirilmiş ve bu deneylerde süreç yaklaşımlarını disiplinler-arası bir biçimle ele alan temsil ötesi teorilerin genel yaklaşımı esas alınmıştır
Sanat Eserinin Değişen Mekansal Bağlam Üzerinden Yeniden Üretimi: NATO Genel Merkezi’ndeki Türk Mozaiğinin Eleştirel Bir Okuması: NATO Genel Merkezi’ndeki Türk Mozaiği
No full textPostwar period can be recognized as a turning point through the introduction of new patterns and new typologies in design activities, which were actually the result of current demands. Although there was a partial commitment to the fundamental benchmarks of modernism, this period revealed to have a critical stance on modernism and it aspired for an adaptable solution for the current needs of the postwar era. In addition to these, the alleged relation of architecture with the plastic arts also began to be re-evaluated and rethought in order to go beyond the impasse, which modern architecture was encountering. Integration of arts to architecture suggested a suitable recipe against the oscillation between the local and the global. This approach was also remarkable in the sense that it brought along a public meaning to the buildings as a modern impulse of the day. The aim of this paper is to discuss the artworks in NATO Paris headquarters (1954-60) but mainly concentrate on Turkish mosaic. The study will trace the journey of Turkish mosaic performed by Bedri Rahmi Eyüboğlu) from Paris to Belgium headquarters through its spatial relations. By this means the discussion of the afterlife of this artwork will be the focal point when trying to uncover the changed meaning of it. The building of an international institution, like NATO headquarters, is supposed to be filled up with many layers and connotations. Therefore Paris headquarters was seen as the political and administrative center of the alliance. By means of this role, the integration of the artworks brought different ethos to the structure, particular to different cultures participated in the alliance. So the study questions this new layers of meaning, where it also embodies and promotes the alliance itself. The Paris headquarters eventually became a place, as the paper argues, where the alliance of art and architecture, and of the local and the global exist. Apart from this discussion, the main intention is to scrutinize the new meaning and/or function that a site-specific artwork Turkish mosaic would attain, when it is relocated. Bedri Rahmi Eyüboğlu, who had many collaborations with architects in Turkey, designed this mosaic panel (1959-60) for a specific location at Paris headquarters and performed the artwork in situ contrary to the other artworks donated to NATO building. So when considering the journey of this piece, the paper will try to understand whether it evolved to a new form of representation and lost its aura as defined by Walter Benjamin, or not. When an artwork is highly attached to a structure and a part of a spatial vision, it can be argued that it is re-identified with its new surroundings, which may allude to something else. This various modes of being is interpreted and critically analyzed through the concepts of sense of place and reproduction, glocalization and art of exhibitionality. In this example, in terms of the contextuality, when it is relocated, the artwork is situated in the non-place. And while it preserves its object-entity, the artwork-entity seems to be shattered. Thus, moving the artwork from a place where it is thematically compatible breaks off the artwork from its origin. This eventually brings the artwork a new point where it is reproduced.Bu yazının amacı, Bedri Rahmi Eyüboğlu tarafından yapılan Türkiye’nin NATO Binasına bir hediyesi olan Türk mozaiğinin NATO Paris genel merkezinden (1954-60) Belçika’ya olan yolculuğunun mekansal ilişkilerinin izini sürmektir. Bu anlamda, yapıtın yaşam yolculuğunun tartışılması, onun değişen anlamını ortaya çıkarmaya çalışırken odak noktası olacaktır. NATO genel merkez binası pek çok katmanı ve çağrışımı içinde barındırmaktadır. Sanat eserlerinin yapıya dahil edilmesi, birlikteki farklı kültürlere ilişkin biçimde yapıya farklı değerleri getirmektedir. Ancak asıl amaç, mekana özgü bir eser olan Türk mozaiğinin yeri değiştirildiğinde kazanacağı yeni anlamı irdelemektir. Dolayısıyla makale, bu eserin yolculuğunu değerlendirirken yeni bir temsil biçimine dönüşüp dönüşmediğini veya aurasını yitirip yitirmediğini anlamaya çalışacaktır. Bir sanat eseri, bir yapıya büyük oranda bağlı ve uzamsal bir imgelemin bir parçası olduğunda, yeni çevresiyle yeniden özdeşleştiği ve başka bir şeye gönderme yapabileceği iddia edilebilir. Bu bağlamda, bu çeşitli varoluş biçimleri yazıda küyerelleşme, yer duygusu, yeniden üretim ve sergileme sanatı kavramları üzerinden yorumlanacaktır
Sürdürülebilir Mimarlık Kapsamında Ekolojik Bina ve Enerji Etkin Binanın Basit Toplamlı Ağırlıklandırma Yöntemi ile Karşılaştırılması: Ekolojik ve Enerji Etkin Binaların Karşılaştırılması
No full textFactors such as rapidly increasing urbanization, increasing energy need and uncontrolled construction after the Industrial Revolution cause rapid consumption of resources. The increase in uncontrolled consumption leads to air and environmental pollution, an increase in ecological footprint and climatic changes. The consequences of global warming have begun to be seen tangibly. At the same time, it is revealed by the researches that it will be difficult to meet even the current need, which is very difficult to transfer energy resources to future generations. The concept of sustainability has gained importance in terms of efficient use of resources and transferring them to future generations in the face of this consumption, and has become a research topic of many different disciplines. Studies on sustainability, which has a wide scope from political-economic policies to energy resources, production, social structure and architecture, continue. The discipline of architecture also advances by adopting sustainable architecture approaches as a step in the steps to be taken for a sustainable world. This research study aims to contribute to the literature by considering the principles of ecological building and energy efficient building, from the concept of sustainability to sustainable architecture approaches. Basically, the aim is to try to understand the place of ecological building and energy efficient building concepts and principles within the concept and principles of sustainable architecture. Ecological Building and Energy Efficient Building were compared using the Simple Additive Weighting (SAW) Method in line with the main principles of “Resource Management”, “Life Cycle Design” and “Design for Quality of Life” within the scope of Sustainable Architecture. While the weight values were found with the Simple Additive Weight Method, which is a preferred method because it is mathematically simple and gives objective results, the principles of “Resource Management”, “Life Cycle Design” and “Design for Quality of Life” were given a fixed value. While giving this value, the number 12, which is the common multiple of these numbers, was determined since there were 4-3-3 strategies belonging to 3 principles. After determining the total score for each alternative, a value was obtained by dividing the criteria of each strategy by this fixed number. Based on the principle of resource management, it is based on the effective use of resources and consists of strategies to reduce the consumption of non-renewable resources. Life cycle design is handled with the “cradle to grave” approach and covers all processes from obtaining resources to returning to nature. In other words, it is the adventure of transforming from one shape to another that can be useful. For this reason, it is examined in three different periods: pre-building, building and post-building. The principle of design for quality of life consists of the protection of natural conditions, urban design and planning, design for human health and comfort strategies and their design methods. According to the results obtained from the SAW method, it was seen that the Ecological Building supplied 90%, while the Energy Efficient Building supplied 63% under the Resource Management heading. When the methods belonging to all periods within the life cycle design principles are examined, the Ecological Building meets the whole, while the Energy Efficient Building supplys only 34%. This is a serious difference. Energy efficient design cannot provide solutions to the problems created in the life cycle of buildings in order to present a sustainable structure. In the context of the design principle for quality of life, the Ecological Building can still cover the whole, while the Energy Efficient Building can cover half. All of these criteria primarily aim to increase the quality of life of humans and other living species. When these three principles are evaluated together, the criteria (principles, strategies and methods) listed in the context of sustainable architecture supplied 97% of the Ecological Building and 49% of the Energy Efficient Building. The main conclusion reached in the light of these results is the relationship between the concepts of Sustainable Architecture, Ecological Building and Energy Efficient Building. All of the principles considered above (Resource Management, Life Cycle Design and Design for Quality of Life) interact with nature directly or indirectly, but Efficient Use of Energy, which is the intersection point of all these compared approaches (Sustainable Architecture, Ecological Building and Energy Efficient Building) stands in an effective place. As a result, it has been seen that ecological building and energy efficient building approaches are sustainability-based principles and are based on sustainable architecture as the main backbone. However, energy efficient buildings do not meet the principles of sustainable architecture as much as ecological buildings. A scheme has been put forward in which energy efficient building, ecological building and sustainable architecture as the most inclusive cluster are included as intertwined clusters.Sanayi Devrimi sonrası büyük bir hızla artan kentleşme, artan enerji ihtiyacı ve kontrolsüz yapılaşma gibi faktörler kaynakların hızla tüketilmesine neden olmaktadır. Kontrolsüz tüketimin artması hava ve çevre kirliliğine, ekolojik ayak izinin artmasına ve iklimsel değişikliklere yol açmaktadır. Enerji kaynaklarını gelecek nesillere aktarabilmenin oldukça güç olduğu hatta mevcut ihtiyacı bile zaman geçtikçe karşılamakta zorluk çekileceği yapılan araştırmalarla gözler önüne serilmektedir. Sürdürülebilirlik kavramı karşılaşılan bu tüketim karşısında kaynakların verimli kullanılması, gelecek nesillere aktarılabilmesi yönüyle önem kazanmış, farklı birçok disiplinin araştırma konusu haline gelmiştir. Mimarlık disiplini de sürdürülebilir bir dünya için atılması gereken adımların bir basamağı olarak sürdürülebilir mimarlık yaklaşımlarını benimsemektedir. Sürekli gündemde olan sürdürülebilir tasarım yaklaşımları, gelecek nesillere nasıl bir dünya bırakmak istediğimiz ile yakın ilişkili olup önemi giderek artan bir konudur. Bu çalışma, ekolojik bina ile enerji etkin bina kavram ve ilkelerinin sürdürülebilir mimarlık kavramı ve ilkeleri içerisindeki yerini anlamaya çalışmak üzerine oluşturulmuştur. Ekolojik Bina ve Enerji Etkin Bina, Sürdürülebilir Mimarlık kapsamında “Kaynak Yönetimi”, “Yaşam Döngüsü Tasarımı” ve “Yaşam Kalitesi İçin Tasarım” ana ilkeleri doğrultusunda Basit Toplamlı Ağırlıklandırma (SAW) Yöntemi kullanılarak analiz edilmiş ve karşılaştırılmıştır. Sonuç olarak, ekolojik bina ve enerji etkin bina yaklaşımlarının sürdürülebilirlik temelli ilkeleri olan, ana omurga olarak sürdürülebilir mimarlığa dayanan bina yaklaşımlarıdır. Fakat enerji etkin binalar, ekolojik binalar kadar sürdürülebilir mimarlık ilkelerini karşılamamaktadır. Enerji verimliliğini öncelik olarak belirlenmiş enerji etkin binalar sürdürülebilir mimarlık yönüyle ekolojik binalara göre zayıf kalmaktadır. Çalışmanın sonuçları olarak görülen birçok kesişim ilkesi yönüyle birbirleri içerisine geçen kümeler olarak ele alınmasının mümkün olduğu enerji etkin bina, ekolojik binaların en kapsayıcı kümesi sürdürülebilir mimarlık olmuştur
Kentsel Ulaşımın Yeni Gündemi: Değişen Seyahat Eğilimleri, Kentsel Hareketlilik ve COVİD Süreci: Kentsel Ulaşımın Yeni Gündemi
No full textFor people living in cities; urban transport is a natural part of daily life. In the 20th century, an ordinary citizen can probably reach the place, she/he wants to go, with the help of a motor vehicle. Providing the necessary infrastructure for vehicles in cities has facilitated their usage. The widespread transportation vehicles, on the other hand, triggered the demand for travel and caused an increase in freight and passenger mobility. However, after a short period of time, the economic and environmental costs of transportation ceased to be bearable and the quality of life in cities decreased dramatically. Thus, cities and transportation plans focused on motor vehicles began to be questioned. In this way, the search for more sustainable transportation systems has begun. The new transportation paradigm, which considers accessibility, pedestrian, micro-mobility vehicles, has started to be mentioned more and more. First of all, this study started with a conceptual comparison of the existing transportation system and the new transportation paradigm that emerged with the reasons outlined above. The existence of the structure, human and traffic density in the cities enabled to emerge the solution from the cities. As cities have difficulty in carrying the burden of automobiles, the basic paradigm in the understanding transportation is questioned and new ideas come to the fore. Environmental pollution, high costs of time and fossil fuels; force citizens to produce healthier solutions in cities. The traditional transportation policies that are demand-oriented and based on the mobility of vehicles from one place to another has been out dated. This understanding has left its place to modern transportation policies. The changes in travel trends are discussed together with their reasons. Determining the trends in today’s freight and passenger transportation is important in terms of directing the future transportation system. The factors that change these trends are paraphrased under four headings: economic, social, technological and environmental. Finally, the effects of the COVID-19 pandemic on current trends and transportation stakeholders are emphasized. Local and global measures taken during the global pandemic caused transportation to be completely stopped or slowed down in certain periods. In fact, the pandemic did not only lead to change in passenger behaviors and demands, but also affected all stakeholders of transportation. In the article, its impacts on economic sectors, its impacts on individuals receiving transportation services and its impacts on the public sector are explained with examples. This study has been prepared to point out these issues that constitute the agenda of urban transportation. The article was created with a qualitative research method and was constructed based on secondary data searching. The analysis and policy reports of international institutions on a global scale were examined, and the issues on the agenda in academic studies were discussed. As a result, new travel behaviors are both findings and consequences to consider. The restructuring process of transportation, which has accelerated due to the COVID-19 pandemic, describes the developments that will affect cities the most in the recent period. New mobility behaviors make it necessary for city planners to review existing transport practices. Consequently new travel behaviors are both findings and consequences to be considered. The restructuring process, which has to accelerate due to the COVID-19 pandemic in transportation, describes the developments that will affect the cities the most in the recent period. New mobility behaviors make it necessary for city planners to review existing transportation practices. The existing legal/administrative structure needs to be restructured. Renewed structure of transport system needs to gain the competence to meet the requirements.Kentlerde yaşayan insanlar için; kentsel ulaşım, gündelik yaşantının doğal bir parçasıdır. Sıradan bir kentli, 20.yy’da gitmek istediği yere, büyük olasılıkla motorlu bir aracın yardımıyla ulaşabilmektedir. Kentlerde taşıt araçları için gerekli altyapının sunulması, bu araçların kullanımını giderek daha da kolaylaştırmıştır. Yaygınlaşan taşıt araçları ise, yolculuk talebini tetikleyerek yük ve yolcu hareketlerinin artmasına neden olmuştur. Ancak kısa denilebilecek bir süre sonra, ulaşımın ekonomik ve çevresel maliyetleri katlanabilir olmaktan çıkmış ve kentlerdeki yaşam kalitesi düşmüştür. Böylece motorlu taşıt araçları odağında gelişen kentler ve ulaşım planları sorgulanır olmuştur. Daha sürdürülebilir ulaşım sistemlerine yönelik arayışlar bu şekilde başlamıştır. Erişilebilirliği, yayayı, mikro hareketlilik araçlarını gözeten yeni ulaşım paradigması artık kentlerin yeni gündemini oluşturmaktadır. Bu çalışma, mevcut ulaşım sistemi ile yukarıda özetlenen gerekçelerle ortaya çıkan yeni ulaşım paradigmasının kavramsal olarak karşılaştırması ile başlamıştır. Ardından, seyahat eğilimlerinde yaşanan değişimler nedenleriyle birlikte ele alınmıştır. Bugünün yük ve yolcu ulaşımındaki eğilimlerin tespit edilmesi, gelecekteki ulaşım sistemine yön vermek bakımından önem taşımaktadır. Bu eğilimleri değiştiren unsurlar; ekonomik, sosyal, teknolojik ve çevresel başlıklarında incelenmiştir. Son olarak, COVİD-19 salgının, mevcut eğilimlere ve ulaşımın paydaşlarına olan etkileri üzerinde durulmuştur. Bu makalenin amacı, kentsel ulaşımın gündemini oluşturan yeni ulaşım paradigmasına, değişen eğilimlere ve COVİD salgının ulaşım üzerindeki etkilerine işaret etmektir. Makale, nitel araştırma yöntemiyle ikincil veri taramasına dayalı olarak kurgulanmıştır. Sonuç olarak ortaya çıkan yeni seyahat davranışları, hem dikkate alınması gereken bulgulardır, hem de sonuçlardır. Ulaşımda COVİD-19 salgını nedeniyle hızlanan yeniden yapılanma süreci, son dönemde kentleri etkileyecek gelişmeleri tarif etmektedir. Yeni hareketlilik davranışları, şehir plancılarının mevcut ulaştırma pratiklerini gözden geçirmesini gerekli kılmaktadır
İşlev Dışı Kalan Kent İçi Endüstriyel Miras Alanlarının Uyarlanabilir Yeniden Kullanım Açısından Değerlendirilmesi: Sakarya Donatım Park Örneği: Endüstriyel Miras Alanlarının Uyarlanabilir Yeniden Kullanımı
No full textAfter the transition from nomadic life to agricultural civilization, the production settlements of the Industrial Revolution period, which transformed the lives and cultures of societies, have been the source of significant changes in urban structuring for more than two centuries. These structures, which were seen as a symbol of innovation and development in the past century, and which have been abandoned because they have lost their original functions, are evaluated with the “Adaptive Reuse” approach as a cultural heritage, instead of demolishing new constructions in the areas where they are located. Within this framework in mind, questioning whether industrial heritage buildings and the same structural shells can be adapted to a current spatial program and organization has formed the research problem of the study. The aim of this study is to examine the approach applied for the sample within the scope of the original project of the building and the restoration project for the adaptive reuse of idle industrial buildings as mixed-use recreational urban spaces. In the restoration process in question, the nature of the interventions and spatial transformations made to the “shell” structures within the scope of adaptation to possible new functions constituted the primary discussion. Examining the potentials and limitations of the buildings, which are examples of an urban park application in which a mixed-use strategy is adopted, in the context of the city constituted the secondary discussion. In the study, Donatım Park buildings, which were established as Agricultural Tools and Machinery Factory in Sakarya in 1944, whose production was stopped after the 1999 Marmara Earthquake, but which were not demolished during the extensive demolition work because they preserved their structural features, were selected as a recreation area today. The buildings registered by the Kocaeli Cultural Heritage Preservation Regional Board have been restored in accordance with the urban park area function, and new program proposals have been developed for this concept, apart from the buildings protected within the campus. In the study method flow, 7 proprietary sample buildings were selected, where the refunctioning criteria could be clearly tested, and the spatial characteristics of these structures. The original design is discussed in the context of life cycles, which includes the stages of use, change, temporary use and reuse. In the second stage, the Content Analysis method was used to test the applicability of the texts of the pioneering regulations published in the field of conservation, which offer certain classifications, in the sample area in order to evaluate the spatial interventions in the reused buildings, and it was observed that the objectives that should be determined in international standards on industrial heritage were concentrated under seven headings: ( i) The space itself, (ii) The texture of the space, (iii) The layout of the space, (iv) The use of the space, (v) The connotations/meanings of the space, (vi) The records of the space, (vii) Places/Objects. As a result of the interpretation of these titles and the relevant regulation explanations, 7 refunctioning criteria were determined by inference, and each of the sample structures was tried to be evaluated in terms of formal and experiential effects on the determined criteria and contemporary daily life practices. The method-specific analysis types developed in the article throughout the research are systematic literature research (primary/ secondary source and project records from architectural websites), archive scanning (written/visual data from the relevant municipalities about the sample area), site/site visit and research (on-site observation, photography). and documentation), the analysis of the industrial transformation project (based on re-functionality criteria, starting from the lead bylaws). In relation to the different written/visual data types obtained during the analysis, 7 refunctioning criteria were determined. It has been tried to determine to what extent the 7 registered structures studied within the scope of the sample area meet these criteria. In this determination, triple variables rated from high agreement to low agreement and expressed as “appropriate”, “partially appropriate”, “not suitable” were used. Within the scope of the study findings, it is seen that heritage structures are considered as a “shell” in the adaptive reuse approach, where certain internal transformations are experienced for the interventions required by new and different programs. Therefore, it can be said that an understanding reduced to formality has been adopted in the evaluation of industrial heritage. At this point, although the Sakarya Donatım Park transformation project cannot find an answer as an accepted practice in many aspects in the conservation culture, the structure and transformation process will be examined due to the partial protection of the heritage in the selected area. It has been damaged before (by earthquake) and the building has been re-evaluated in terms of social benefit in the city. Because, rather than the final function of the sample area, it was found worth examining the transformation process and the practical aspects of the interventions.Göçebe yaşantıdan tarım uygarlığına geçiş aşamasından sonra toplumların yaşam ve kültürlerinde köklü bir değişim etkisi olan Endüstri Devrimi döneminin üretim yerleşkeleri, iki asrı aşkın süredir kentsel yapılaşmada belirgin değişikliklerin kaynağı olmuşlardır. Geçtiğimiz yüzyılda yeniliğin ve gelişimin sembolü olarak görülen, günümüzde orijinal işlevlerini yitirdikleri için terk edilmiş bu yapıların, yıkılarak ortadan kaldırılmaları yerine, “Uyarlanabilir Yeniden Kullanım” yaklaşımıyla kültürel miras olarak değerlendirilmeleri uygulamasına gidilmektedir. Çalışmada, 1944 yılında Sakarya’da Ziraat Aletleri ve Makineleri Fabrikası olarak kurulan ve 1999 Marmara Depremi sonrası tasfiye sürecinde üretimi durdurulan, ancak yapısal özelliklerini korudukları için yıkılmayıp, günümüzde Donatım Park adıyla rekreasyon alanına dönüştürülen eski fabrika sahasındaki yapılar seçilmiştir. Kocaeli Kültür Varlıklarını Koruma Bölge Kurulu’nca tescil edilen yapılar, rekreasyon alanı fonksiyonuna uygun olarak restore edilmiş, bu yapılar dışında bu konsepte yönelik yeni programlar da uygulanmıştır. Çalışma yönteminde, yeniden işlevlendirme kriterlerinin sınanabildiği 7 adet tescilli örneklem yapı seçilmiş, bu yapıların mekânsal özellikleri, orijinal tasarım, kullanım, değişim, geçici kullanım ve yeniden işlevlendirme aşamalarını içeren yaşam döngüleri bağlamında ele alınmıştır. İkinci aşamada, bu yapılardaki mekânsal müdahalelere ilişkin, koruma alanında yayımlanmış öncü tüzüklerin ilgili metinlerinin örneklem alan içerisindeki uygulanabilirlikleri, İçerik Analiz (Content Analysis) yöntemiyle sınanmış, endüstri mirası konusunda uluslararası standartlarda belirlenebilecek hedeflerin yedi başlık altında yoğunlaştığı tespit edilmiştir: (i) Mekânın kendisi, (ii) Mekânın dokusu, (iii) Mekânın yerleşimi, (iv) Mekânın kullanımı, (v) Mekânın çağrışımları/anlamları, (vi) Mekânın kayıtları, (vii) Yerler/Nesneler. Bu başlıklar ve ilgili tüzük açıklamalardan çıkarsama yoluyla 7 adet yeniden işlevlendirme kriteri saptanmış, örneklem yapıların herbiri, belirlenen kriterlere ve çağdaş gündelik yaşam pratiklerine yönelik formel ve deneyimsel etkiler açısından değerlendirilmeye çalışılmıştır
Depreme Dayanıklı Yapı Tasarımında Pasif ve Aktif Kontrol Sistemleri Sistemleri: Depreme Dayanıklı Yapı Tasarımında Pasif ve Aktif Kontrol Sistemleri Sistemleri
No full textIn structural engineering, some structural protection systems have been developed so that buildings can be better protected against earthquakes and so that they can survive its effects. Some of these systems have been put into practise. Structural protective systems which are analyzed here can be divided into three main groups: •Base Isolation Systems •Passive Energy Dissipation Systems that are placed in buildings •Active Structural Control Systems Many methods and several types of dampers have been developed in order to reduce shear forces acting on the structural frames. The dynamic properties of such dampers are to be determined according to the intensity level of the design earthquake ground motion, because the yield strength, the energy dissipation capacity and the ductility factor of the damper are highly influenced by the input disturbance level. Response control by means of passive dampers should be most effective at the design level earthquake excitation, which is the key feature of this method. On the other hand, active control systems organize the control force it will apply on the building according to the effect of the earthquake, on the very moment the earthquake happens. Within the framework of this study, passive and active control systems will be presented in general. The proposal of "Seismic Response Control of Structural Systems" is based not only on the desire of completing the structural engineering free from earthquake disasters but also on the recognition of the seismic resistant design’s limitation and on the availability of new generation tecnologies such as microprocessors, sensors and actuators and so forth.Yapıların deprem etkilerini en az hasarla atlatması ve depremden sonra da ayakta kalmasını sağlamak amacıyla bazı yapı koruma sistemleri geliştirilmiş, ve bunların bazıları da uygulamaya konmuştur. Burada incelenecek yapı koruma sistemleri üç gruba ayrılmıştır: •Taban Koruma Sistemleri •Yapı İçine Yerleştirilen Pasif Enerji Sönümleyen Sistemler •Aktif Kontrol Sistemleri Yapıdaki kayma kuvvetlerini karşılamak amacıyla çeşitli pasif kontrol metodları ve araçları geliştirilmiştir. Pasif kontrol araçlarının özelliği o bölgede meydana gelmesi muhtemel en büyük deprem şiddeti gözönüne alınarak tasarlanmaktadır. Öte yandan, aktif kontrol sistemleri yapıya uygulayacakları kontrol kuvvetini deprem etkisine göre, depremin meydana geldiği anda düzenlerler. Bu yazı kapsamında pasif ve aktif kontrol sistemleri genel olarak tanıtılacak ve sonuç bölümünde de avantajlı ve dezavantajlı yanları tartışılacaktı
The Theory of Categorization in the Determination of Product Semantic Profile and an example on its use in Product Design: The theory of categorization in the determination of product semantic profile and an example on its use in product design
No full textThis theory lies on the belief that to understand the mental world of the user by attempting to discover how the structure of the mental world influences user’s perceptions on the basis of the data obtained in the research on human being’s understanding and categorization talents may trigger a radical change in the approaches to product design. The special visual clues of the new product give start to the mental research. And this research activates inevitably the category of similar examples coded, structured and labelled previously. The visual clues are connected directly with the sememe they represent in the minds. Therefore, the visual clues can have references as semantic instruments due to their semantic function. They can be, thus, interpreted directly in design processes aiming to determine product meaning profile. They can reflect themselves in the descriptions of product form. This is the characteristic of categorization which should not be disregarded in design processes. From the point of view of design processes, it is possible to visualize a form approach consisting of the building up of visual clues. This approach can be based on the understanding of visual clues and mental concepts as the single structure of the product by characterizing the visual clues and the mental concepts related to the semiotic function of the products. This frame which can be used as a productive design instrument will be theoretically analyzed and examplified on a corpus of products designed by a group of subject students.Rosch’un sınıflandırma kuramına dayanarak Atavankar’ın geliştirdiği ürün sınıflandırma yöntemi, ürün anlam profilinin belirlenmesinde kullanılabilecek bir araç olarak tasarım çevrelerinde ilgiyle karşılandı. Bu kuram insanın kavrama ve sınıflandırma yetenekleri araştırmalarından elde edilen verilere dayanarak zihinsel dünya yapısının kullanıcı algılarını nasıl etkilediğini keşfetmeye çabalayarak kullanıcının zihinsel dünyasını anlamanın ürün tasarımına yaklaşımı köktenci olarak değiştirebileceği inancına dayanır. Örneğin, pazara yeni bir ürün olarak takdim edilmiş bir telefon söz konusu olduğunda, bu sadece zihnimizde telefon olarak etiketlenmiş bir kavrama sahip olduğumuzda ve yeni ürünle bu kavram arasında bir bağlantı görebildiğimizde mümkündür. Yeni üründe görünen özel görsel ipuçları zihinsel araştırmayı başlatır. Bu ise daha önce kodlanmış, yapılanmış ve etiketlenmiş benzer bir örnekler sınıfını kaçınılmaz bir şekilde harekete geçirir. Görsel ipuçları temsil ettik[1]leri anlam bilim ile zihinsel olarak doğrudan ilişkilendirilir. Bu nedenle, görsel ipuçları anlam bilimsel bir işlev gördüklerinden, anlam bilimsel araçlar olarak gönderme yapılabilirler. Dolayısıyla ürün anlam profilinin belirlenmesinde, tasarım süreçleri içinde dolaysız olarak yorumlanabilirler. Ürün biçimi betimlemelerinde kendilerini yansıtabilirler. İşte sınıflandırmanın tasarım süreçleri açısından gözardı edilmemesi gereken özelliği budur. Tasarım süreçleri açısından, görsel ipuçlarının inşa edilmesiyle oluşmuş biçimsel bir yaklaşımı görselleştirmek mümkündür. Bu yaklaşım ürünlerin göstergesellik işlevlerine bağlı görsel ipuçlarının ve zihinsel kavramlarının karakterize edilerek bunları ürünün tek bir yapısı olarak anlama üzerine temellenebilir. Üretici bir tasarım aracı olarak kullanılabilen bu çerçeve, kuramsal açıdan irdelenip bir grup öğrenci denek tarafından tasarlanmış ürün bütüncesi üzerinde örneklenecektir
Diyarbakır Suriçi Geleneksel Evlerinde Koruma Sorunları ve Çözüm Önerileri: Diyarbakır Suriçi Geleneksel Evlerinde Koruma Sorunları ve Çözüm Önerileri
No full textThe traditional houses which are inadequate to provide the contemporary comfort conditions because of the changes in user requirements abandoned by the owners or rented. With this functional alteration, the traditional Diyarbakır houses have become home to the people who moved from rural areas and who had earned their living from agriculture but after moving to the city, naturally become unemployed. Together with this functional alteration, changes which took place in traditional houses due to physical and social reasons results in serious problems in transferring of cultural heritage to the future. The aim of this paper is to evaluate the Diyarbakır houses in Surici region by analyzing plan organization of structures, elevations, materials and construction techniques. Solution proposals are given for conservation by bringing out the problems threatening historical houses in historical site. While providing modern lifestyle conditions to local people the cultural heritage will be conserved as well.Kullanıcı ihtiyaçlarının değişmesi sonucu mevcut geleneksel evler, çağdaş konfor şartlarını sağlamada yetersiz kalmış, sahipleri tarafından terk edilmiş veya kiraya verilmiştir. Bu işlevsel eskimeyle gelenêksel Diyarbakır evleri, kırdan kente gelen, geçimini tarım ve hayvancılığa dayalı iş kollarından sağlamış fakat kente gelince doğal olarak herhangi bir gelire sahip olamamış insanların yerleşim mekanı olmuştur. İşlevsel eskimenin yanında fiziksel ve toplumsal nedenlerle de geleneksel evlerde meydana gelen değişimler kültürel mirasın geleceğe aktarılmasında ciddi sorunlar oluşturmaktadır. Bu çalışmanın amacı, Suriçi bölgesinde yer alan geleneksel Diyarbakır evlerini, plan düzenlemeleri, cephe oluşumları, malzeme ve yapım tekniği açısından analiz ederek değerlendirmektir. Kentsel sit alanındaki geleneksel evleri tehdit eden sorunlar ortaya konularak koruma için çözüm önerileri getirilmiştir. Bölge halkının daha modern yaşam şartlarına kavuşturulması hedeflenirken kültürel mirasın yaşatılması da sağlanacaktır