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The main objective of this article is to propose an alternative historiography to 19th century Ottoman architecture, without the Eurocentric paradigms, by including the ‘unseen’ actors of this history, namely the disregarded provincial... more
The main objective of this article is to propose an alternative historiography to 19th century Ottoman architecture, without the Eurocentric paradigms, by including the ‘unseen’ actors of this history, namely the disregarded provincial architecture. The provincial mosques constituting the case studies of the arti- cle point to a previously neglected part of the historiography by changing the emphasis from the capital to the provinces.
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This paper asks a series of questions regarding the teaching methods used in the structural design and architectural history courses in Çankaya University Department of Architecture and tries to answer them based on the basic terminology... more
This paper asks a series of questions regarding the teaching methods used in the structural design and architectural history courses in Çankaya University Department of Architecture and tries to answer them based on the basic terminology of semiology. It questions whether the idea of a projected or existing building in the one's mind can be considered as " the signified " and whether the drawings, models, simulations or calculations can be considered as " the signifiers " creating a " sign " conveying a message to the student. It tries to determine how well this message or sign corresponds to the reality and which techniques should be used to create an efficient overall teaching strategy. Iconic representations in the form of figures, videos, numerical simulations and scaled models are widely used in architectural schools. They are useful tools in supplementing the theoretical knowledge based on symbolic communication and provide the design student with an intuitive sense of reality. The level in which these iconic representation methods match the reality vary according to preferred method. This paper provides a set of observations analyses and examples from Structural Design and Architectural History courses and demonstrates that even though these courses are very different in terms of content they share the same basic mechanism of communicating their message through a system of " signs " created by an amalgamated use of teaching methods based on a variety of iconic representations.
Öz: Bu çalışma Çankaya Üniversitesi Mimarlık Bölümü'nde sürdürülmekte olan Yapısal Sistemler ve Mimarlık Tarihi derslerinde kullanılan pedagojik yaklaşımların ve eğitim teknolojilerinin semiyoloji-göstergebilim kavramları açısından yapılmış bir analizini içermektedir. Çalışmanın sorduğu soru şu şekilde özetlenebilir: eğer gerçekte var olan veya tasarlanan bir yapının öğrencinin zihninde oluşturduğu imge " gösterilen " olarak kabul edilirse acaba bu yapının ders ortamında gösterilen görüntü, çizim, model, simülasyon ve hesapları da " gösteren " olarak kabul edilebilir mi? Bu gösterilen ve gösteren çifti bir işaret oluşturabilir mi? Oluşan bu işaret yapının gerçekliğiyle ne kadar yakındır? Yapısal Sistemler derslerinde geleneksel olarak evrensel olarak geçerliliği kesin olarak kabul edilen matematiksel ve fiziksel prensiplerden başlayarak strüktürel açıdan sağlam bir yapıya ulaşma amacı güden bir tümevarım yöntemi uygulanmaktadır. Mimarlık Tarihi derslerinde ise mevcut veya bir zamanlar var olmuş bir yapı veya yapılar grubunun inşa edildiği günden günümüze içinde var olduğu tarihi ve kültürel bağlamı da göz önüne alarak bu eserler hakkında doğru olması kuvvetle muhtemel yargılara ulaşmayı amaçlayan bir tümdengelim yöntemi uygulanır. Yöntemleri ne olursa olsun iki ders grubu da istenirse tek yönlü didaktik bir metot ile öğrenciye aktarılabilir. Ancak literatürdeki çalışmaların da gösterdiği gibi mimarlık öğrencileri görsel ve deneyimsel öğrenme sü-reçlerine daha yatkındır. Bu nedenle hem Yapısal Sistemler hem de Mimarlık Tarihi ders süreçleri görüntü, çizim, model ve simülasyonları içeren bir formatla işlenmektedir. Bu sayede oluşturulan işaretler vasıtasıyla öğrencilerin zihnindeki imgelerin gerçek olgularla mümkün olduğu kadar benzerlik gösterir seviyeye ulaştırılması hedeflenmektedir. Yapısal Sistemler derslerinde ilk aşamada verilen teorik bilgilerin öğrenciye aktarımı mühendislik disiplinlerinin genel kabul görmüş sembol ve grafik dili ile yapılmaktadır. Bir ikon simge veya görüntüsel gösterge alfabesi üzerine inşa edilmiş bu sistem bahsedilen kavramlarla ilgili öğrencinin zihnindeki imgeleri dikkate almadığından gösteren-gösterilen ikilisini oluşturmakta zorlanmakta ve etkin bir işaret yaratamamaktadır. İkinci aşamada kulla-nılan sayısal simülasyonlar mimarlık okullarında strüktürel tasarım derslerinde sıklıkla başvurulan temel araçlardandır. Uygulamalı tasarım projesi ile kıyaslandığı zaman model ve simülasyonlar çok daha az zamanda tamamlanan, maliyetsiz, sınırlı etkileşimli ve çoğunlukla öğrenciler tarafından 'eğlenceli' ödevler olarak tanımlanmaktadır. Bu araç sunduğu sezgisel gerçeklik daha etkin bir işaret mekanizması kurmaktadır. Ancak simülasyonun başarısı yazılımın algoritmasının gerçekliği temsil niteliğiyle sınırlıdır. Ölçekli fonksiyonel modeller öğrencinin en fazla duyusuna hitap eden uygulama türü olması nedeniyle en etkin işaret mekanizmasını oluşturmaktadır. Yetersiz kaldığı alan ise hem yapısal davranışı doğru gösterebilecek modelin boyut ve malzeme kısıtlamaları hem de zaman ve maliyet kısıtları nedeniyle sınırlı kullanım alanı bulmasıdır. Mimarlık Tarihi dersleri ilk aşamadan itibaren ikonik anlatım şekillerini kullanmaktadır. Yapısal Sistemler derslerinin aksine sembolik bir alfabeye sahip olmayan ve henüz simülasyon teknolojisinin uygulamaya geçmediği bir alan olmasının eksikliğini daha etkin bir görsel anlatım ve alan gezileriyle kapatmaktadır. Mimarlık Tarihi derslerinin konusu olan yapılar çoğu zaman görüntü ve çizimlere dayanan ikon simgeler vasıtasıyla belgelendiğinden bu derslerin yararlanabileceği geniş bir literatür oluşmuş durumdadır. Buna ek olarak Mimarlık Tarihi dersleri yapıların temsilinde kullanılan ikon simgelerin zaman içerisindeki gelişim ve evrimine ışık tutmaktadır. Sonuçta varılan noktada mimarlık eğitiminin farklı alanlarındaki iki ders grubunun da vurgulamak istedikleri konuların etkin iletişimini gerçekleştirmek için birbirlerine benzer işaret oluşturma teknikleri oluşturdukları göz-lenmiştir. Tek başına kullanıldıklarında eksiklere sahip plan bu anlatım teknikleri ancak bir arada kullanıldıklarında etkin bir eğitim stratejisi oluşturabilmektedir.
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This paper aims to investigate the modernist approach in Turkish architecture in the 1950's and 1970's through two significant buildings of one of the primary foundation of Turk-ish Republican, Turkish Language Society (TDK). Those two... more
This paper aims to investigate the modernist approach in Turkish architecture in the 1950's and 1970's through two significant buildings of one of the primary foundation of Turk-ish Republican, Turkish Language Society (TDK). Those two buildings, stands abreast on Atatürk Boulevard in Ankara, have their peculiar architectural features which gives us some clues on the development of the concept of modernity in the agenda of Turkish architecture. In this paper, the spatial features of those two buildings are examined through their relation with the development of Turkish architectural culture. In the first and second part of the paper, the two projects of the two buildings, which were designed by architect Orhan Dinç in 1957 and architect Cengiz Bektaş in 1972 respectively, will be described and the main characteristics of the buildings will be highlighted within the context of the Turkish architectural movements during that period. At the end of the paper, the structural and aesthetic features of those two buildings will be interpreted with respect to the development of modern architecture in Turkey. Özet: Bu makale, Türkiye mimarlık ortamında varolan 1950 ve 1970'li yıllardaki modernist yakla-şımı, Türkiye'deki öncü kuruluşlardan biri olan Türk Dil Kurumu'na (TDK) ait iki yapı üzerinden incelemeyi amaçlamaktadır. Ankara'da, Atatürk Bulvarı üzerinde yan yana konumlanan bu iki ya-pının kendine özgü mimari özellikleri, Türkiye mimarlık gündemindeki modernite kavramının geli-şimi hakkında bize ipucu verir. Bu makalede, bahsi geçen iki yapının mekânsal özellikleri, Türkiye mimarlık kültürünün gelişimi çerçevesinde incelenecektir. Makalenin birinci ve ikinci bölümlerinde 1957 yılında mimar Orhan Dinç tarafından tasarlanan ilk proje ve ardından 1972 yılında mimar Cengiz Bektaş tarafından tasarlanan ikinci proje tanıtılacak ve bu iki binanın, bahsi geçen dönemler içindeki mimarlık akımları dikkate alınarak, temel özelliklerine odaklanılacaktır. Makalenin sonun
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Ottoman construction system is one of the significant issues in the Ottoman History. Specifically, after the Tanzimat reforms in 1839, the system encountered with a significant change not only in the capital, Istanbul, but also in the... more
Ottoman construction system is one of the significant issues in the Ottoman History. Specifically, after the Tanzimat reforms in 1839, the system encountered with a significant change not only in the capital, Istanbul, but also in the provinces. The aim of this paper is to highlight these changes on the planning and design processes in the provinces in order to understand the multifaceted relationships among the central authority, provincial authority, the architects both in the capital and in the cities, and also contractors. The archival documents and the newly published data such as the translation of cost estimates books or the drawings of the buildings are going to be used as the primary sources for this article. The sources are going to be discussed within a chronological and conceptual framework. In the first part of the article, the process of the construction and repair activities in the provinces, from the 16th to the 19th centuries, is going to be discussed briefly. In the second part, the changes and developments in the Ottoman architectural organization after the Tanzimat era are going to be discussed within the light of the changing roles and responsibilities of the architects, kalfas or contractors. It is seen that with the proclamation of the Tanzimat edicts, the system significantly changed. The institutionalization, specifically the new institution Ebniye Müdürlüğü was the focal point for these changes. The main argument of this paper is reconsidering the changes on the construction and planning activities in the provinces as a signifier for the social change in the Ottoman Empire during the 19th century.
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Dome can be defined as a structural element which covers a large space as a whole without any support that affects its unity. Domes provide to get large spanning even with low strength construction materials by using their advantages on... more
Dome can be defined as a structural element which covers a large space as a whole without any support that affects its unity. Domes provide to get large spanning even with low strength construction materials by using their advantages on geometric shapes which reduces the tensile stresses. Today, the master pieces such as Pantheon, the Basilica of St. Peter and Hagia Sophia are commonly discussed with their domes in art and architectural history. On the contrary to the domes of St Peter or Hagia Sophia which are cover a single space as a dominant construction element of the building, the domes of Ottoman Architect Sinan, who was built glorious domes in Suleymaniye and Selimiye Mosques, integrate inner spaces and the structural form in a aesthetically perfect manner. This paper aims to provide a new perspective to the structural forms and space concepts of today’s modern and high-technique buildings with reference to sixteenth century’s Architect Sinan’s mosques. The similarities of those two building types in terms of the large spanning building designs are examined with the finite element computer simulations and the features of the construction materials.
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Hagia Sophia, which is one of the greatest monuments in the world, has an inspirational architectural and artistic quality, adapting to changing cultural and political contexts all through history and continuing its momentous existence... more
Hagia Sophia, which is one of the greatest monuments in the world, has an inspirational architectural and artistic quality, adapting to changing cultural and political contexts all through history and continuing its momentous existence until today. The monument wit- nessed significant periods of shifting political ideologies, cultural transformations, and during them has assumed overlapping meanings. It has constantly been used as a medium of propaganda to represent the power of the ruling authorities and to transmit the mes- sage they wanted to convey. Seen in this light, throughout its long history, Hagia Sophia represented the power of Christianity and Islam respectively under the ruling Byzantine and Ottoman empires. In the Turkish Republican period, the building has been subject to a new shift of meaning, representing the power of the new, modern, secular Republic and has been used as one of the means to convey its ideals. From being the Grand Mosque of the old capital, this imperial monument was converted into a museum during the early years of the Turkish Republic – another turning point in its history. Accordingly, this chapter focuses on the conversion process and argues that the transformation of Hagia Sophia is in line with the ‘modernisation’ and ‘secularisation’ policies of the young Repub- lic. In other words, it claims that the conversion of Hagia Sophia into a museum stood as one of the cornerstones of the broader Republican project grounded on the revolutionary pillars of ‘secularism’, ‘modernity’ and ‘superiority of science’. It further states that since then Hagia Sophia has not belonged to one religion or nation but to all humanity, as it still does. In this framework, the chapter also considers the reflections of the conversion after the early years of the Republic until now, thus in the light of the recent political changes and debates, while Hagia Sophia still continues to be a museum today.
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Narratives of Ottoman architectural historiography have been constructed on a well-established scholarly tradition of a great canon. Such narratives have generally been based on the periodization of the empire’s historical progression –... more
Narratives of Ottoman architectural historiography have been constructed on a well-established scholarly tradition of a great canon. Such narratives have generally been based on the periodization of the empire’s historical progression – namely the periods of rise, growth, stagnation and decline – or the stylistic evaluation of ‘great masters’ and their ‘masterpieces’. The periodization of historical events brings with it another paradigm in architectural historiography; the issue of ‘style’.
Particularly for 19th century Ottoman architecture, the great canon’s reliance on paradigms of ‘style’, ‘westernization’ and ‘decline’ has become a dominant tendency, used to identifying the changes in architectural practice. Both change and ‘decline’ have, in Western historiographical traditions, been discussed with respect to notions of modernization and westernization. Another pattern has been added to the discussion, namely the nationalist approaches in the construction of Ottoman historiography by Turkish authors. How the Ottoman past was treated by Turkish historians is a significant subject for the evaluation of the 19th century Ottoman historiography. The aim of this paper is to discuss architectural historiography on 19th century Ottoman architecture questioning the existing paradigms of decline, style and westernization.
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