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2021
New Open Call for PhD Proposals at Faculty of Architecture and the Built Environment TU Delft. The Department of Architecture has outlined four research topics, each constituting a potential contribution to its research portfolio. One of those topics is "Conflicts Mediations", promoted by Marc Schoonderbeek and myself. "This PhD position is directed at proposals investigating the potential and agency of architectural and artistic representation, achieved through various media tools, to perform a systematic analysis and critique of the spatial conflicts. The position calls for research proposals that will embrace the media/mediation relation-scape and use it as a method to advance related theory and agency of architectural design, with the particular interest in exposing the dynamics of conflicts and related power hierarchies." Deadline: 1 June 2021
https://arts.units.it/handle/11368/2972987?mode=full.1392#.X8N26GhKiUl
2020 •
Phd Call within the 'Borders & Territories' Research Group of the Faculty of Architecture, TU Delft. Among different research trajectories, the one on '‘TRANSDISCIPLINARY PROBLEMATISATIONS’ is done in collaboration with me. Take a look and submit your proposal before March 16 2020.
After the first workshop at the Université Rennes 2 (January 2016), centered on the relationship of criticism to “public opinion” and on criticism as an autonomous discipline, Actors and Vehicles of Architectural Criticism (Università di Bologna, October 4-5, 2016) is the second of three international workshops planned by the Mapping.Crit.Arch: Architectural criticism 20th and 21st centuries, a cartography research project (funded by the French Agence Nationale de la Recherche, ANR) to foster scholarship on the history of architectural criticism and facilitate exchanges between scholars active in this field of research. This second international workshop takes into consideration the actors and the vehicles of criticism: with these terms it refers to both the agents of criticism (critics, architects, historians, publishers, photographers, institutions, etc.) and the media through which criticism is disseminated (press, photography, exhibitions, etc.). The workshop aims to expand the knowledge about the specific functions of these actors and their networks and to outline their mutual relationships. The four sessions investigate the links between the actors, the media of criticism, and the historical contexts within which they materialize, as well as the cultural, intellectual, and institutional milieus from which they originate. The first session Vehicles and Actors: Journals, Newspapers and their Editors deals with the influence on the forms, discourse, and contents of criticism on the part of specific types of journals, from daily newspapers, to cultural magazines and building construction periodicals and wants to put into question the categories that recurrently describe the so-called “typologies of criticism”. The second (Institutions, Exhibitions, Competitions) and fourth (Critical Competencies) sessions intend to broaden the notion of “actor” of architectural criticism not only to encompass critics or authors (the same notion of “authorship” in criticism might be subject to question) but also to include professional and academic institutions, publishers, and the various specialists who are involved in the actual production of professional publications. As a different vehicle of architectural criticism, the third session (Visual Criticism) would like to pay attention to the photographic image and, more generally, to the visual components of architectural criticism.
Program of the First International Seminar of the Mapping.Crit.Arch Research Network National Research Agency / Agence Nationale de la Recherche
2017 •
Footprint 19 focuses on the more recent roles of architecture in the contemporary spaces of conflict. Departing from a spatial understanding of geopolitical, climatological and economical conflicts, the various contributions highlight the large scale and phenomenal transitions in the physical world and in society by extrapolating, through examples, the abundance of relations that can be traced between conflict, territory and architecture. Conflict areas often prove to be fertile grounds for innovation and for the emergence of new spatial forms. The issue reports on the state of perpetual global unrest in architecture through a series of articles and case studies that highlight the consequences of conflicts in the places and spaces that we inhabit. In the introduction, these are discussed as an interlinked global reality rather than as isolated incidents. In doing so, the contemporary spaces of conflict are positioned in the context of emerging global trends, conditions, and discour...
2018 •
Through this essay we will look into the challenge of architecture to support the city commons in contested spaces by establishing relations between modes of reconciliation and processes of urban regeneration. To address such challenge, we need to look into architecture as urban practice, recognizing its inherent non-conflict-free interventional character. Architecture as urban practice in contested spaces has a hybrid character, since its agencies, modes of action, as well as its pedagogical stance, emerge thanks to a tactful synergy across material practices, such as architecture, urban design, planning, visual arts, and Information and Communication Technology. The moving project lies in the heart of architecture as urban practice, since the process of making, the agencies of the materiality of such a process, as well as the emergent actorial relations, get a prominent role. Modes of reconciliation are embedded deep into the making of by establishing platforms of exchange of desi...
2022 •
For architecture and urban space to have relevance in the 21st Century, we cannot merely reignite the approaches of thought and design that were operative in the last century. This is despite, or because of, the nexus between politics and space often being theorized as a representation or by-product of politics. As a symbol or an e ect, the spatial dimension is depoliticized. Consequently, architecture and the urban are halted from fostering any systematic change as they are secondary to the event and therefore incapable of performing any political role. This handbook explores how architecture and urban space can unsettle the unquestioned construct of the spatial politics of governing. Considering both ongoing and unprecedented global problems-from violence and urban warfare, the refugee crisis, borderization, detention camps, terrorist attacks to capitalist urbanization, inequity, social unrest and climate change-this handbook provides a comprehensive and multidisciplinary research focused on the complex nexus of politics, architecture and urban space. Volume I starts by pointing out the need to explore the politics of spatialization to make sense of the operational nature of spatial oppression in contemporary times. The operative and active political reading of space is disseminated through ve themes: Violence and War Machines; Security and Borders; Race, Identity and Ideology; Spectacle and the Screen; and Mapping Landscapes and Big Data. This rst volume of the handbook frames cutting-edge contemporary debates and presents studies of actual theories and projects that address spatial politics. It provides comprehensive and multidisciplinary research focused on the complex nexus of politics, architecture and urban space and will be of interest to anyone seeking to meaningfully disrupt the reduction of space to an oppressive or neutral backdrop of political realities.
Civil Engineering and Architecture
The Boundaries of Representation of Architecture and Art in Public Space, International Architecture BiennialThe physical environment generates myriad of values and comprises various connotations. These values and connotations, which are directly or indirectly represented by the output, generate a sampling area to understand the production and consumption forms of the physical environment, of its cultural, social and economic priorities and contextual relations. Therefore, architecture is utilized as a tool to understand the historical transformations and relations in various disciplinary fields while architectural criticism tries to understand the architectural building process and its outcome by exceeding its professional boundaries and observing the relationships between different disciplines and architectures. Literature, art, philosophy, politics are alternative means of expression, which complement architectural criticism. In this context, architectural biennials perform as periodical discussion platforms, which perform as an alternative space for the criticism and documentation of the current issues of architectural production and its most dire problems through a selection of works under a certain theme. The works exhibited at the biennial use different tools of narration in various disciplinary bases in addition to architecture itself, and therefore create an environment for generating content and values with multiple inputs for discussions as well as concepts defining the architectural outcome. In this paper, it aimed to discuss and evaluate the accumulation of works exhibited at the biennial with various contextual and conceptual arguments and interpretations, and the boundaries of functionalization of biennial exhibitions as a platform for architecture criticism.
In creative thinking, just as in architectural thinking, the context provides the necessary paths for the design. That said, conceptual thinking and theoretical ideas provide more than a mere context for architectural design, in that they help the architect make order out of chaos and create a pattern of order through their intuition and expressions of a culture. Within this explosion of creativity, art can help in the exploration of new means of expression, new materials and new forms, and in this sense, can enhance creative approaches in architectural education and architectural design. Since architecture as a discipline is about the creation and production of space, it has inherent spatial, social and cultural bonds, and as such, is a representation of values, meanings and identities. The concept of representation assumes many meanings. Represent as a noun is picture or sign, while to represent is to convey, to express, to correspond to. 1 In Lefebvre's model, the process of representation is defined according to three concepts or interrelated modes, being spatial practices; representations of space; and spaces of representation. Spatial practices can refer to social space that embraces the production and reproduction of social practices in particular locations. It embodies a close association within a perceived space between daily reality (daily routine) and urban reality (the routes and networks that link the places of work, 'private' life and leisure). 2 Representations of space refer to the conceptualized space that leans towards a system of verbal (and therefore intellectually worked out) signs, 3 and this is the dominant space in any society. Representational space is lived directly through its associated images and symbols, and hence the space of 'inhabitants' and 'users', and tends towards coherent systems of non-verbal symbols in the form of signs and codes that overlay physical space, making symbolic use of its objects. 4 In this regard, architecture is a continuous act involving the taking possession, to some degree, of the abstraction of codes, signs and meanings. It mingles with art in a bid to be creative, to be different, and to be new and unique. Just as art, in itself, it is an attempt to bring order out of chaos, the principles of art help architecture not to portray , but to evoke the ideas lost within the chaos of daily life. Accordingly, it focuses on the abstract world of art to realize the truth, and in this respect, architecture is about combining the rational and the irrational. In this sense, space is not only a rational entity, nor is it something that exists at the level of the surfaces that define architecture, or a physical entity that can be measured by dimensions. It is about creating something rational out of many irrational relations and inputs, and about the meanings attributed to spaces within the system of spatial relations within the built environment. Since it is about the patterns of lifestyle, culture, tradition, individuals, beliefs and values, it can be considered intangible, meaningful, conceptual , perceptual and cognitive. In this regard, space is not something confined solely to architecture, being constituted out of some social, cultural, mental and physical processes. It is about the spatial practices, both rational and irrational, that give meaning to a place, which is why architecture is always in search of the genius loci. " How spatial organisation in some sense is a product of social structure " , " how space is socially produced and reproduced " and " how social relations are spatially produced? " have emerged as the most important discussions related to spatial theory over last two decades, having highlighted the significance of space and time as an associate entity rather than two distinct subjects. Studies of time-space relationships in several disciplines, but especially those of geography and history, have begun to emphasize the significance of both spatial and temporal dimensions in social theory, and in this respect, any conceptual framework for understanding spatial consciousness can only be constructed by exploring the relationships between social processes and spatial form. Having roots in ancient history, architecture as a discipline has always been about form, space and order, although the method of designing and producing form differs totally between the ancient and modern times. Form no more follows function, nor is it produced for a specific function. Instead, it is produced in line with the symbolic and conceptual meanings attributed to the form based on a specific social activity. Accordingly, it can be argued that each form of social activity defines its space, meaning that social space is made up of a complex network of individual feelings and images about and reactions towards the spatial symbolism that surrounds the individual. 5 Social space changes with changing social relationships, mental images and the spatial behaviours of individuals in everyday life, and is therefore complex, heterogeneous and perhaps discontinuous, but totally different from the physical space. 6 As a result, we can say that architecture is a social art, and so to understand the spatial form of a building or a city it is necessary to define the social space with reference to some social activity with the symbolic qualities of that form. Yet form is a narrative of meanings generated through explorations of programmes and uses of space, being sometimes decomposition of meanings, and at others, a re-composition of meanings driven from history at different times, like a juxtaposition of layers of a different context. The desire is not for architecture that communicates directly one meaning, but rather for material and spatial forms that produce multiple associations and ambiguous situations. 7 4 3
2024 •
The Department of Near Eastern Languages and Civilizations, Harvard University
Turgut Kut - Seçme Makaleler II. Hazırlayanlar: Emin Nedret İşli - Ozan Kolbaş. Sources of Oriental Languages and Literatures 157. Cambridge, Mass.: Harvard University, 2023.2023 •
Asia Journal of Theology 31/1
Evaluating Bart Ehrman's Textual Reconstruction: A Test Case on John 1:18 (Unedited Version)2017 •
South African Historical Journal
Umkhonto We Sizwe: A Critical Analysis of the Armed Struggle of the African National Congress2018 •
Nucleic Acids Research
Origin of life: protoribosome forms peptide bonds and links RNA and protein dominated worlds2022 •
Statistical journal of the IAOS
A statistical quality assurance framework for the United Nations2022 •
2018 •
Biblioteca de Babel Revista de filología hispánica
Aproximativos temporales y estatuto de su componente polar: la polaridad en aún y todavía2024 •
RACAR : Revue d'art canadienne
Julia Langbein, Laugh Lines: Caricaturing Painting in Nineteenth-Century France. Londres, Bloomsbury, 2022. 245 pp., 41 illus. noir & blanc, 44 illus. couleur. Hardback 159,95 $. ISBN : 97813501868592024 •
2010 •
2020 •
Frontiers in Computer Science
Editorial: Enhancing Quality of Life in Ambient Spaces