Ek, Fatma İpek
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Ek, Fatma I.
Ek, Fatma İ.
Ek, Fatma Ipek
Ek, F. Ipek
Ek, F. İpek
Ek, Fatma İ.
Ek, Fatma Ipek
Ek, F. Ipek
Ek, F. İpek
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02.02. Department of Architecture
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Former Staff
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Sustainable Development Goals
1NO POVERTY
2
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2ZERO HUNGER
2
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3GOOD HEALTH AND WELL-BEING
0
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4QUALITY EDUCATION
3
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5GENDER EQUALITY
2
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6CLEAN WATER AND SANITATION
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7AFFORDABLE AND CLEAN ENERGY
2
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8DECENT WORK AND ECONOMIC GROWTH
2
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9INDUSTRY, INNOVATION AND INFRASTRUCTURE
3
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10REDUCED INEQUALITIES
2
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11SUSTAINABLE CITIES AND COMMUNITIES
2
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12RESPONSIBLE CONSUMPTION AND PRODUCTION
2
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13CLIMATE ACTION
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14LIFE BELOW WATER
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15LIFE ON LAND
1
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16PEACE, JUSTICE AND STRONG INSTITUTIONS
1
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17PARTNERSHIPS FOR THE GOALS
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11
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57
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3
Documents
8
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39
Scholarly Output
6
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4
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1
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1
WoS Citation Count
15
Scopus Citation Count
25
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0
WoS Citations per Publication
2.50
Scopus Citations per Publication
4.17
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6
Supervised Theses
2
| Journal | Count |
|---|---|
| ODTÜ Mimarlık Fakültesi Dergisi | 2 |
| A/Z ITU Journal of the Faculty of Architecture | 1 |
| Design Journal | 1 |
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6 results
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Now showing 1 - 6 of 6
Article Citation - WoS: 5Piranesi Between Classical and Sublime(Orta Doğu Teknik Üniversitesi, 2007) Ek, Fatma İpek; Şengel, DenizOn sekizinci yüzyılda, estetik biliminin olduğu kadar mimarlık tarihinin de doğuşu bağlamında ivme kazanan tartışmalar, mimarlık disiplinini doğal olarak etkilemişti. Estetik tartışmaların temeli mimarilerin tarihsel köken tartışmalarına bağlanıyor ve ‘güzel’ ile ‘yüce’ olmak üzere iki etki üzerine odaklanıyordu: ‘Güzel’i temsil ettiği düşünülen Yunan tarzı, ‘yüce’yle özdeşleştirilen Roma ve Mısır tarzlarının karşısına yerleştirilmekteydi. Giovanni Battista Piranesi (1720-1778) gibi mimar ve düşünürlerin görsel ve yazınsal çalışmalarında söz konusu estetik ve tarihsel savlar takip edilebiliyordu. Piranesi, Roma mimarlık ve uygarlığının kökenini ‘güzel’ Yunan’a dayandıran Winckelmann gibi çağdaşlarının aksine, Roma mimarî estetiğinin ‘yüce’ unsurlar barındırdığını, dolayısıyla Mısır medeniyetinden türediğini savunuyordu. Tüm çizimlerinde antik Roma’nın ‘yüce’ mimarisini resmeden Piranesi, böylece estetik tartışmaların ‘yüce’ cephesinde yerini alıyordu.On sekizinci yüzyılın iki önemli filozofu Immanuel Kant (1724-1804) ile Edmund Burke (1729-1797) estetiğin bileşenleri ‘güzel’ ve ‘yüce’ üzerine çalışmalarıyla tartışmaları hızlandırmıştı. Bu iki kavram on sekizinci yüzyıl felsefe ve tasarım kuramlarını aynı ölçüde etkilemekle birlikte, makale temel olarak Kant ile Burke’ün ‘yüce’ tanımları üzerinden Piranesi’nin görsel ve metinsel çalışmalarının karşılaştırmalı okumasını yapmaktadır. Kant ve Burke’ün ‘yüce’ açıklamalarında küçük ayrılıklar görülmekle birlikte ikisi de temelde aynı şeyi söylemişlerdir. Özellikle Kant’ın Güzellik ve Yücelik Duygusu Üzerine Gözlemler (1764) ve Burke’ün Yücelik ve Güzellik Fikirlerimizin Kaynağı Hakkında Felsefî bir Araştırma (1757) başlıklı çalışmalarındaki ifadeler Piranesi’nin çizimlerinde takip edilebilmektedir. Piranesi, Kant’ın ve Burke’ün anlattığı ‘yüce’yi mimarî çizim diliyle aktarmıştı. Piranesi, on sekizinci yüzyıla egemen olan ‘yüce’ etkiyi Venedikli bir mimarın gözüyle yeniden yorumluyordu.Article Citation - Scopus: 7Transformation in a Housing-Design Story: Reading the Spatial Typologies of Apartment Projects in Hatay-Izmir(İstanbul Teknik Üniversitesi, 2018) Yaylalı Yıldız, Berna; Ek, Fatma İpek; Can, IşınThe politics of central government or incentives determine new design-systems of housing plots as well as housing units. Especially after the enactment of the law of urban regeneration for risky areas, regeneration of areas under disaster risk, there has been an acceleration in knocking down old buildings and constructing new ones in inner cities. Thus, this paper focuses on the changes in housing typologies in Hatay-Izmir, in terms of space syntax parameters through the time period 1960-2000, and interprets the final plan-solutions within the perspective of urban regeneration. By accelerating implementations of the urban transformation projects in Hatay region, alternative plan-typologies coming from the past have undergone the so-called “re-design and transformation” process; however, they have actually been substituted by the “never-changing” plan-templates of the apartment typology. We will examine these changes in plan typologies and spatial organisations of the mentioned apartment-projects on the same plots by utilizing the method of space syntax and visibility analysis (VGA). Transformations in spatial configuration in two periods are interpreted through their relationships to shifts in meaning of privacy and daily life represented by degree of permeability and connectivity of housing-unit-plans based on spatial analysis. © 2018, Istanbul Teknik Universitesi, Faculty of Architecture. All rights reserved.Master Thesis The Archaeological Sublime: History and Architecture in Piranesi's Drawings(Izmir Institute of Technology, 2006) Ek, Fatma İpek; Şengel, DenizIn the architectural, historical, and archaeological context of the eighteenth century, Italian architect Giovanni Battista Piranesi (1720-1778) played an important role. He posited crucial theses in the debates on the 'origins of architecture' and 'aesthetics'. He is numbered foremost among the founders of modern archaeology. But Piranesi was misinterpreted both in his day and posthumously. The vectors of approach yielding misinterpretation of Piranesi derived from two phenomena: one is the early nineteenth-century Romanticist reception of Piranesi.s character and work. The second is the mode of codification of architectural history. The former interpretation derived from Piranesi.s position on aesthetics, the latter from his argument concerning origins. Both of these served the identification of Piranesi as .unclassifiable.. He has thus been excluded from the 'story' of the progress of western architectural history.Piranesi, however, conceived of these two debates as one interrelated topic.Concerning origins, he developed a history of architecture not based on the East/West division, and supported this by the argument that Roman architecture depended on Etruscans which was rooted in Egypt. Secondly, he distinguished Roman from Grecian architecture identified with 'ingenious beauty'.Thus Piranesi placed Romans in another aesthetical category which the eighteenth century called 'the sublime'.Piranesi's perception caused him to be described as madman or idiosyncratic. However, most of these evaluations lack a stable historical base. Therefore, restoring Piranesi, his arguments, executed works and drawings to architectural history appear as a necessity.Article Citation - Scopus: 2Mısır, Etrüsk, Roma: Piranesi ve Bir On Sekizinci Yüzyıl Tartışması(Orta Doğu Teknik Üniversitesi, 2008) Ek, Fatma İpek; Şengel, DenizOne crucial debate that resonated in eighteenth-century Europe concerned the origins of European architecture whose effects continue to inform present-day notions of the same. Numerous important eighteenth-century works were produced in the context of emergence of the discipline of architectural history. In this architectural, historical, and archaeological framework, Venetian architect and scholar Giovanni Battista Piranesi (1720- 1778) played an important role by his visual and literary works as well as original approach to history. Piranesi developed a history of architecture that was not based on the East/West division and the separation of continents. In opposition to writers like Winckelmann who rooted the origin of Roman architecture in the Greek, he claimed that Roman architecture derived from the Etruscan which found its roots in Egypt. Discussion of roots depended on the eighteenth century on aesthetical theory interpreting Grecian architecture as ‘beautiful’ and Roman -thus Egyptian- as ‘sublime’. It was in this lively intellectual environment that Piranesi searched the origins of Roman -and thus the whole Europeanarchitecture. His works were, however, misinterpreted as being Orientalist by contemporary scholars following Said.Doctoral Thesis Mass-Housing Consensuses and Their Effects on Design Organizations in Terms of Quality(Izmir Institute of Technology, 2012) Ek, Fatma İpek; Çıkış, ŞenizThere is an increasing acceleration in the production of mass-housing projects currently in Turkey. Alongside this increase, there is conspicuous diversity, as well. In most of the recent mass-housing projects, there are many alternatives concerning with the locations in the city, income groups, and characteristics of environmental design. Settlements of those projects with multi-storey blocks contain facilities in outer spaces, equipments, and services which vary according to the conditions of parcels and competition as well as inhabitants’ expectations. Despite this variety in environmental equipments, landscape elements, and services, mass-housing units mostly repeat each other impressively. Almost all of the mass-housing projects implemented recently for low or high income-groups, in the periphery of the city-center, go into uniformity in terms of the spatial organizations of units. This situation has been criticized frequently in the related housing-literature which defines it as a quality problem of architecture. In the current study examining the situation of uniformity in mass-housing units, relationship between the unit and quality of architectural design is undertaken. In this context, how the inhabitants perceive the spatial organization of mass-housing projects, and whether those units meet the expectations are probed. Regarding this aim, userbased quality approaches and measurement method called the Kano model are utilized. Thus, the study covers the examination of the selected mass-housing units in terms of their models of spatial organization with the evaluations by their inhabitants. Under the light of the survey results, whether this uniformity refers a problem or a consensus is discussed.Article Citation - WoS: 10Citation - Scopus: 16Conceptualization by Visual and Verbal Representations: an Experience in an Architectural Design Studio(Taylor and Francis Ltd., 2010) Çıkış, Şeniz; Ek, Fatma İpekIn current educational practices within the discipline of architecture, the systematic use of conceptualization within the design process has not yet been extensively developed and applied. Though utilizing concepts within the design process has been discussed hitherto by educators and scholars, the conventional education system in architectural design may prevent its proper application in the studio process. Furthermore, because conceptualization describes an activity that has peculiarly visual and verbal dimensions, the coordinated use of drawing and language as the representation systems also refers to the main character of the design process. In these respects, by offering a systematic alternative for conceptualization within the design process, this study presents a new educational pattern. The study was implemented during the sixth semester of the architectural design studio and includes an examination of the relationships and functions of drawing and language as the very media of conceptualization within the discipline of architecture.