Bu tez çalışması, kültürel bilinçlenme ve mimarlıkta yerel modernlik arayışında mimarın yolculuğu... more Bu tez çalışması, kültürel bilinçlenme ve mimarlıkta yerel modernlik arayışında mimarın yolculuğunun rolünü incelemeyi amaçlamaktadır. Modernliğin büyük anlatısı çerçevesinde vurgulanan evrensellik söylemi yerine yerel kültürün içindeki evrensel değerlerin keşfedilmesinde yolculuk eleştirel bir arayış süreci olarak tanımlanmıştır. İcat edilmiş soyut bir ―evrensellik‖ tanımı yerine yerel olanın içindeki evrensel potansiyeli somut olarak açığa çıkarmayı hedefleyen ―evrensel özne‖lerin yerel-modern keşifleri araştırılmak istenmiştir. Bu kapsamda yolculuk pratiğini mimarlık söyleminin ve mesleki üretim kurgusunun odağına yerleĢtiren ve yerel-modern mimarlık yaklaşımını oluşturmada bir anahtar olarak gören Cengiz Bektaş‘ın anlayışı ve deneyimi örneklenmiştir. Mimarlıkta 1920‘lerden itibaren etkili olan Uluslararası Üslup‘un önerdiği biçimsel kısıtlılık yerine, 1950‘ler sonrası dönemde yerel değerlerden yola çıkan modernizmi savunan bölgeselci ve konumlandırılmış modernist yaklaşımlar öne...
This thesis aims at providing a pragmatic and conceptual basis essential for the establishment of... more This thesis aims at providing a pragmatic and conceptual basis essential for the establishment of an architectural photography archive for METU. The goal is to propose a methodology regarding the formation of an archive, which is physically and intellectually “accessible,” and to inquire future possibilities for its extension. The conceptual framework will be established by focusing on two main topics: theories of art, specifically focusing on photograph as a visual document, and architectural history writing, focusing on the term “archive.” Photograph as a visual document will be investigated by giving emphasis to its role as a historical evidence. The definition of the term “archive” given by Michel Foucault will be located in a key position for the construction of a discourse on documentation and historiography. The pragmatic framework will be established by taking as a reference the methodology used by the archives of the Royal Institute of British Architects (RIBA). The content...
Guiding Architecture Students to Take an Active Role in Design Studios, 2017
In an architectural design studio, there is a dynamic process of reciprocal and synchronized lear... more In an architectural design studio, there is a dynamic process of reciprocal and synchronized learning between the two major actors of student and tutor. In this study, the equilibrium between student and tutor is evaluated in terms of learning patterns introduced by Kolb. According to Kolb's model, students complete a learning cycle comprising the four phases of concrete experience, reflective observation, abstract conceptualization, and active experimentation. Correspondingly, tutors can be located on the axis created by the poles of reflective observation and active experimentation. During the process of learning in design studios, students are expected to be active participants, and tutors are expected to accompany students' improvement. This article also discusses tutors' methods of learning and teaching, in addition to their task of organizing students' course of learning. The structure of architectural design studio is established upon conceptual studying, and students are supported with self-actualization practices. Consequently, an active learning experience is discovered that enrichs studio work, promotes and increases creativity, and provides convenience for the assessment process.
46 MİMARLIK 407 ve bunun yarattığı görsel ve mekânsal kavrayıştaki değişimin deneyimsel öğrenme v... more 46 MİMARLIK 407 ve bunun yarattığı görsel ve mekânsal kavrayıştaki değişimin deneyimsel öğrenme ve "kendi bilgisini kurma / oluşturma" (self-constructed knowledge) için kullanılabileceğini belirtmektedir. Jones, "yaban-cı" mimarlıkla doğrudan, yerinde ilişki kurmanın esin kaynağına dönüştüğünü; gerçek mekânlardan, bu mekânları gözlemleyerek, gözlemleri kâğıda, çizime aktararak öğrenmenin, mimarın kendi bağlamından uzakta yapıldığında mimarı özgürleştirdiğini; mima-rın kendi yerlisi olmadığı çevreleri ve binaları birinci elden deneyimlemesinin mimari eğitimini tamamladı-ğını savunmaktadır. 5
Bu çalışma, mimarın yolculuk pratiğinin mimarlık üretim sürecine etkisini Cengiz Bektaş’ın “Anado... more Bu çalışma, mimarın yolculuk pratiğinin mimarlık üretim sürecine etkisini Cengiz Bektaş’ın “Anadolulu” mimarlık söylemi üzerinden incelemeyi amaçlamaktadır. Bektaş’ın söylemsel veya pratik olarak mimari üretim sonucuna değil, sürecine odaklandığı ve bu süreci yolculuk pratiği temelinde tasarladığı düşünülmektedir. Yolculuk, sağladığı keşif ve öğrenme zemininde bilgi ile karşılaşılması, bilgilerin kavranması ve işlenmesi/özümsenmesi süreci olarak; düşünsel ve somut anlamda mimarın kendi bilgisini kurmasında bir kılavuz olarak ele alınmıştır. Bektaş’ın saptama ve yaratım olarak adlandırdığı tasarım sürecinin iki aşamasının, yolculukla öğrenme ve yolculukla üretmeye karşılık geldiği düşünülmektedir. Kendini “Anadolulu” olarak tanımlayan Bektaş için Anadolu’nun yolculuklar aracılığı ile kavranması ve üzerinde yaşamış kadim kültürlerin bilgisine ulaşılması önemlidir. Bektaş, ulusal sınırı değil coğrafi konumu kendisine yer olarak benimsemekte ve yere ait mimarlık üretmeyi amaçlamaktadır. Bu doğrultuda, Bektaş, kendini ve ait olduğu kültür ve coğrafyayı tanıma/öğrenme aracı olarak benimsediği yolculuk pratiğini Anadolu’ya özgü/“Anadolulu” bir çağdaş mimarlık üretme sürecinde temel unsur olarak kullanmıştır.
This study aims at searching for alternatives of architectural experiences in literature. Archite... more This study aims at searching for alternatives of architectural experiences in literature. Architecture is something abstract that can be scrutinized. Besides, architectural spaces are concrete spaces that can be experienced. Phenomenological readings will provide a base for abstract and concrete duality of spatial experience in conception of architecture. Specifically, architecture supplies spaces for people, and works of literature can give narrations of these spaces. Factual experience is possible by being in or around, moving through and observing spaces. It is not always possible to directly experience an architectural space represented in a photograph, film, or a book. Photographs and films put forth a visual source, whereas books give a textual source. These two sources do not provide real experience, but different kinds of perception (experience). However, what differentiates a textual source from a visual one is that it allows imagination of a space derived from words. In the case of a visual source, most of the time, an image of a particular space is presented as already constructed by having already passed through one’s mind and imagination; as a result, that image reflects the perception of a space from a certain viewpoint. An imaginary experience, on the other hand, is assumed to be achieved by reading words and translating them into an image of abstract spatiality. Therefore, a work of literature becomes a kind of domain where its reader is able to construct an image of the speculated spaces by his own interpretation. In the scope of this study, a novel written in Turkish, titled “Apartment Void (Apartman Boşluğu)” is chosen to look at architecture from a phenomenological perspective, because it offers spatial narrations that can be analyzed in the framework of phenomenological comparisons between the notions of space-place, temporary-permanent, inside-outside, and in-between situations. The author, Hakan Bıçakçı, is not a well-known writer; the preference of this particular work is solely due to its spatial narrative value.
Materiart: Architectural Design, Research and Technology, 2022
This study aims for a theoretical reading on architect’s travel as a self-cultivation process tha... more This study aims for a theoretical reading on architect’s travel as a self-cultivation process that suggests a creative and critical ground for accumulating and constructing knowledge. Travel is an individual experience, where an architect finds self-learning methods and ways of defining what s/he perceives in his/her own specific terms by observing, discovering and interpreting architectural works. Critical perspective is made possible by traveling in that architectural artefacts are to be studied in their own settings and in multiple dimensions by being inside and around them; in this way, architecture can be taken not only as an object but also a composition of inhabitable spaces. It is argued in this paper that achieving to possess a critical position by traveling as part of self-cultivation leads to a situated and constructive way of learning; and so, construction of an individual knowledge is possible with a critical mind. The critical mind is attained by embracing diverse partial perspectives instead of accepting the transcendent objectivity determined by dominant scientific knowledge. In the scope of this research, Edward Said’s “traveling theory” and Donna Haraway’s definitions of “situated knowledge” and “partial perspective” are taken as guiding theoretical frames to investigate the role of architect’s travel in construction of situated individual knowledge of architecture. Traveling practice is active in the situated and partial construction of knowledge, since travel within knowledge itself stimulates the critical position of the architect to come up with various constructions deriving from same set of architectural constituents for knowledge. Thus, self-knowledge construction by way of comprehension of the observed reality and self-cultivation will be investigated in parallel with that traveling triggers architect’s critical approach.
Bu tez çalışması, kültürel bilinçlenme ve mimarlıkta yerel modernlik arayışında mimarın yolculuğu... more Bu tez çalışması, kültürel bilinçlenme ve mimarlıkta yerel modernlik arayışında mimarın yolculuğunun rolünü incelemeyi amaçlamaktadır. Modernliğin büyük anlatısı çerçevesinde vurgulanan evrensellik söylemi yerine yerel kültürün içindeki evrensel değerlerin keşfedilmesinde yolculuk eleştirel bir arayış süreci olarak tanımlanmıştır. İcat edilmiş soyut bir ―evrensellik‖ tanımı yerine yerel olanın içindeki evrensel potansiyeli somut olarak açığa çıkarmayı hedefleyen ―evrensel özne‖lerin yerel-modern keşifleri araştırılmak istenmiştir. Bu kapsamda yolculuk pratiğini mimarlık söyleminin ve mesleki üretim kurgusunun odağına yerleĢtiren ve yerel-modern mimarlık yaklaşımını oluşturmada bir anahtar olarak gören Cengiz Bektaş‘ın anlayışı ve deneyimi örneklenmiştir. Mimarlıkta 1920‘lerden itibaren etkili olan Uluslararası Üslup‘un önerdiği biçimsel kısıtlılık yerine, 1950‘ler sonrası dönemde yerel değerlerden yola çıkan modernizmi savunan bölgeselci ve konumlandırılmış modernist yaklaşımlar öne...
This thesis aims at providing a pragmatic and conceptual basis essential for the establishment of... more This thesis aims at providing a pragmatic and conceptual basis essential for the establishment of an architectural photography archive for METU. The goal is to propose a methodology regarding the formation of an archive, which is physically and intellectually “accessible,” and to inquire future possibilities for its extension. The conceptual framework will be established by focusing on two main topics: theories of art, specifically focusing on photograph as a visual document, and architectural history writing, focusing on the term “archive.” Photograph as a visual document will be investigated by giving emphasis to its role as a historical evidence. The definition of the term “archive” given by Michel Foucault will be located in a key position for the construction of a discourse on documentation and historiography. The pragmatic framework will be established by taking as a reference the methodology used by the archives of the Royal Institute of British Architects (RIBA). The content...
Guiding Architecture Students to Take an Active Role in Design Studios, 2017
In an architectural design studio, there is a dynamic process of reciprocal and synchronized lear... more In an architectural design studio, there is a dynamic process of reciprocal and synchronized learning between the two major actors of student and tutor. In this study, the equilibrium between student and tutor is evaluated in terms of learning patterns introduced by Kolb. According to Kolb's model, students complete a learning cycle comprising the four phases of concrete experience, reflective observation, abstract conceptualization, and active experimentation. Correspondingly, tutors can be located on the axis created by the poles of reflective observation and active experimentation. During the process of learning in design studios, students are expected to be active participants, and tutors are expected to accompany students' improvement. This article also discusses tutors' methods of learning and teaching, in addition to their task of organizing students' course of learning. The structure of architectural design studio is established upon conceptual studying, and students are supported with self-actualization practices. Consequently, an active learning experience is discovered that enrichs studio work, promotes and increases creativity, and provides convenience for the assessment process.
46 MİMARLIK 407 ve bunun yarattığı görsel ve mekânsal kavrayıştaki değişimin deneyimsel öğrenme v... more 46 MİMARLIK 407 ve bunun yarattığı görsel ve mekânsal kavrayıştaki değişimin deneyimsel öğrenme ve "kendi bilgisini kurma / oluşturma" (self-constructed knowledge) için kullanılabileceğini belirtmektedir. Jones, "yaban-cı" mimarlıkla doğrudan, yerinde ilişki kurmanın esin kaynağına dönüştüğünü; gerçek mekânlardan, bu mekânları gözlemleyerek, gözlemleri kâğıda, çizime aktararak öğrenmenin, mimarın kendi bağlamından uzakta yapıldığında mimarı özgürleştirdiğini; mima-rın kendi yerlisi olmadığı çevreleri ve binaları birinci elden deneyimlemesinin mimari eğitimini tamamladı-ğını savunmaktadır. 5
Bu çalışma, mimarın yolculuk pratiğinin mimarlık üretim sürecine etkisini Cengiz Bektaş’ın “Anado... more Bu çalışma, mimarın yolculuk pratiğinin mimarlık üretim sürecine etkisini Cengiz Bektaş’ın “Anadolulu” mimarlık söylemi üzerinden incelemeyi amaçlamaktadır. Bektaş’ın söylemsel veya pratik olarak mimari üretim sonucuna değil, sürecine odaklandığı ve bu süreci yolculuk pratiği temelinde tasarladığı düşünülmektedir. Yolculuk, sağladığı keşif ve öğrenme zemininde bilgi ile karşılaşılması, bilgilerin kavranması ve işlenmesi/özümsenmesi süreci olarak; düşünsel ve somut anlamda mimarın kendi bilgisini kurmasında bir kılavuz olarak ele alınmıştır. Bektaş’ın saptama ve yaratım olarak adlandırdığı tasarım sürecinin iki aşamasının, yolculukla öğrenme ve yolculukla üretmeye karşılık geldiği düşünülmektedir. Kendini “Anadolulu” olarak tanımlayan Bektaş için Anadolu’nun yolculuklar aracılığı ile kavranması ve üzerinde yaşamış kadim kültürlerin bilgisine ulaşılması önemlidir. Bektaş, ulusal sınırı değil coğrafi konumu kendisine yer olarak benimsemekte ve yere ait mimarlık üretmeyi amaçlamaktadır. Bu doğrultuda, Bektaş, kendini ve ait olduğu kültür ve coğrafyayı tanıma/öğrenme aracı olarak benimsediği yolculuk pratiğini Anadolu’ya özgü/“Anadolulu” bir çağdaş mimarlık üretme sürecinde temel unsur olarak kullanmıştır.
This study aims at searching for alternatives of architectural experiences in literature. Archite... more This study aims at searching for alternatives of architectural experiences in literature. Architecture is something abstract that can be scrutinized. Besides, architectural spaces are concrete spaces that can be experienced. Phenomenological readings will provide a base for abstract and concrete duality of spatial experience in conception of architecture. Specifically, architecture supplies spaces for people, and works of literature can give narrations of these spaces. Factual experience is possible by being in or around, moving through and observing spaces. It is not always possible to directly experience an architectural space represented in a photograph, film, or a book. Photographs and films put forth a visual source, whereas books give a textual source. These two sources do not provide real experience, but different kinds of perception (experience). However, what differentiates a textual source from a visual one is that it allows imagination of a space derived from words. In the case of a visual source, most of the time, an image of a particular space is presented as already constructed by having already passed through one’s mind and imagination; as a result, that image reflects the perception of a space from a certain viewpoint. An imaginary experience, on the other hand, is assumed to be achieved by reading words and translating them into an image of abstract spatiality. Therefore, a work of literature becomes a kind of domain where its reader is able to construct an image of the speculated spaces by his own interpretation. In the scope of this study, a novel written in Turkish, titled “Apartment Void (Apartman Boşluğu)” is chosen to look at architecture from a phenomenological perspective, because it offers spatial narrations that can be analyzed in the framework of phenomenological comparisons between the notions of space-place, temporary-permanent, inside-outside, and in-between situations. The author, Hakan Bıçakçı, is not a well-known writer; the preference of this particular work is solely due to its spatial narrative value.
Materiart: Architectural Design, Research and Technology, 2022
This study aims for a theoretical reading on architect’s travel as a self-cultivation process tha... more This study aims for a theoretical reading on architect’s travel as a self-cultivation process that suggests a creative and critical ground for accumulating and constructing knowledge. Travel is an individual experience, where an architect finds self-learning methods and ways of defining what s/he perceives in his/her own specific terms by observing, discovering and interpreting architectural works. Critical perspective is made possible by traveling in that architectural artefacts are to be studied in their own settings and in multiple dimensions by being inside and around them; in this way, architecture can be taken not only as an object but also a composition of inhabitable spaces. It is argued in this paper that achieving to possess a critical position by traveling as part of self-cultivation leads to a situated and constructive way of learning; and so, construction of an individual knowledge is possible with a critical mind. The critical mind is attained by embracing diverse partial perspectives instead of accepting the transcendent objectivity determined by dominant scientific knowledge. In the scope of this research, Edward Said’s “traveling theory” and Donna Haraway’s definitions of “situated knowledge” and “partial perspective” are taken as guiding theoretical frames to investigate the role of architect’s travel in construction of situated individual knowledge of architecture. Traveling practice is active in the situated and partial construction of knowledge, since travel within knowledge itself stimulates the critical position of the architect to come up with various constructions deriving from same set of architectural constituents for knowledge. Thus, self-knowledge construction by way of comprehension of the observed reality and self-cultivation will be investigated in parallel with that traveling triggers architect’s critical approach.
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