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Citation - Scopus: 2
Issues in the Planning and Design of University Campuses in Turkey
(İstanbul Teknik Üniversitesi, 2021) Yaylalı, Berna; Cıl, Ela
Universities have crucial importance in producing and transmitting knowledge, and formulating an effective and critical public sphere that meets the public with the university population. Their spatial characteristics of universities also refer to an important position within the urban fabric: with dense students’ and academicians’ population, they occupy a considerable amount of spaces in cities. Their spatial formations change over time as new buildings are added and student numbers increased. In that respect, this article seeks to explore how the spatial configurations of university campuses have evolved over time in Turkey. In order to explore the changes in spatial layout of university campuses, especially the organization of public spaces and their relations with the campus buildings, we have narrowed our focus through a chronological reading. Two methods of collecting data are used: First, we reviewed design articles about university campuses in architectural periodicals and online architecture databases. Second, the Five Year Development Plans of Turkish State Planning Organization (DPT 5 Yıllık Planları), have been examined to follow the governmental considerations. In addition, we made interviews with some of the architects who took part in the campus planning process of the cases that are selected for this article. In conclusion, analysis of the spatial configuration of campuses in Turkey reveals some unexpected insights about particular design approaches of universities. The analysis of specific campuses in chronological order shows that it is possible to trace specific campus design tendencies that are peculiar to specific periods.
Tipleri Yeniden Düşünmek: Mimari Tasarım Stüdyoları İçin Tip Odaklı Bir Pedagoji Önerisi
(Yıldız Teknik Üniversitesi, 2020) Kasalı, Altuğ
Mimarlık disiplini içinde farklı zaman dilimlerinde tekrarlanan bir tartışma konusu olarak karşımıza çıkan tip ve tipoloji kavramları makalenin ana konusunu oluşturur. Tasarım süreçlerine dair analitik bir kavram olarak tanımlanabilecek tip için çeşitli tanımlar bulunsa da, tasarımcıların tipleri nasıl araçsal hale getirip kullandığı farklılıklar gösterir. Bu makalede öncelikle tip üzerine birikmiş literatüre dair kısa bir döküm sunulacaktır. Ardından, farklı dönemlerde tipleri tasarım uygulamaları içerisinde ana eksene alan mimarların işlerinden bahsedilecektir. Kuram ve uygulama yaklaşımları üzerinden gidilerek, tipleri tasarım süreçleri içerisinde ana eksene alan bir tasarım stüdyosu pedagojisinin ana hatlarına yer verilecektir. Son olarak, tiplerin tasarım süreçlerindeki rolü üzerine kısa bir değerlendirme sunulacaktır.
Modern ve Skolastik: Ruskin'in İncelenmemiş Bir Önsözü
(Orta Doğu Teknik Üniversitesi, 2006) Şengel, Deniz
In the brief Preface to the second edition of The Seven Lamps of Architecture published in 1855, John Ruskin identified four kinds of admiration viewers might feel regarding an architectural work: Sentimental Admiration, Proud Admiration, Workmanly Admiration, Artistical or Rational Admiration. Unexplored by Ruskin critics, the Preface poses significant interpretive problems: neither the Preface nor the elaboration of the fourfold typology contained in it bears reference to the content of The Seven Lamps which had first appeared in 1849. The key lies in the Preface's explicit and implicit references to The Stones of Venice which Ruskin had published in 1853 and to the latter work's all-important middle chapter entitled "The Nature of Gothic." Read in conjunction with "The Nature of Gothic," the 1855 Preface emerges as a belated gloss to The Stones, witnessed above all in the coalescence of the complementary notions of production and reading of the Gothic in both articles. "The Nature of Gothic" further offers the clue to the source of the fourfold typology and to Ruskin's employment of the term admiration by identifying the reading of architectural works with textual reading, viz. the reading of Gothic cathedrals with the reading of epic poetry. The representation of Gothic cathedrals and the reference to Dante offer certain proof that Ruskin found the prototype of the fourfold typology and admiration in the Scholastic elaboration on the four levels of Biblical exegesis and on admiratio as, again, a mode of reading the Bible and viewing religious painting. In fact, Ruskin's treatment of the fourfold typology and admiration follows as it were in verbatim fashion the description of Dante's adaptation of the Biblical modes to the reading of his Divine Comedy in the "Epistle to Can Grande" as well as Dante's sources in Aristotle, Aquinas, and Bonaventure. Ruskin's radical reduction, found much puzzling by critics today, of the value of architecture to the value of the painting and sculpture contained in an edifice underscores the medieval conception of admiratio that had particularly flourished in the era of Gothic architecture. Not only will these findings compel us further to revise our notion of Ruskin's stance toward the Evangelical Protestantism of his day as well as add to the demonstration of the author's commitment to Gothic architecture, but they equally call for re-investigating Ruskin as a major force in the assimilation of architecture into the then-burgeoning discipline of art history.

Architecture / Mimarlık

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