Architecture

In the vast framework of discussions on design studio pedagogy, this paper focuses on the relationship between the extent of the first-semester architectural design course and the level of individual and social skills developed during it. The course instructors acknowledge that beginning from the first semester, architecture students should be engaged with global and local socio-cultural issues, technologies and novelties. The studio shouldn " t be a mere imagination laboratory. Conversely, it should be an active social network of environmental awareness using creativity intellectually. In order to do so, a semi-designed first-semester design studio curriculum is developed to be discovered both by the students and the instructors. The responsive agenda helped modifying conditions effectively, according to the feedbacks from the actors of the studio. Learners were led to engage in action and interaction during and outside studio hours so that they can enhance and share their capacities and skills. Students " social behaviors and physical works notably showed: learners without a high-level skill of understanding given technical knowledge showed lower interest in self-constructing knowledge on other related techniques; self-motivated learners value their own criticisms and creativity, so that they represent themselves and their work more clear and confident, and take criticisms well. A minority of learners showing good technical skills couldn " t self-construct knowledge, or couldn " t present their knowledge well. The results of this pedagogical approach especially underlined that mere knowledge is not enough for a creative mind, developing and facing design problems. The operation of the course resulted in a discussion that, we may need to act towards novice learners of architecture discipline not differently than the latter ones in the context of conceptualization and content of design problems, whilst nurturing them as critical and confident individuals. However, the process showed that, in order to amend a learning-centered pedagogy, particular positions should be explored further to encourage students to self-construct knowledge, research and explore multi-layered thinking patterns. The discussion aims to demonstrate the gains and difficulties of constructive pedagogical approaches in preliminary architectural design education.

This paper presents an insight into the learning experiences of the design studio in a specific time-space axis. Variable and ambiguous meanings of architectural design studio culture concept are tried to be made visiblein the institutional culture ground of Istanbul Technical University, Faculty of Architecture.Assuming that learner centered on its nature, and proposing an integrative and inclusive model for our era, the studio-based education environment is investigated, focused on its intangible dynamics. First, analysis of present studio culture policies from overseas NAAB and national MİAK, in the light of a software-based research tool MAXQDA, led to identify the prior principles of the 21st-century studio culture as; (1)critical thinking, (2)communication and interaction, (3)multiplicity, (4)individuality in collaboration, (5)social responsibility, (6)self-regulation. These allowed comparisons offormal approaches to the concept, and moreover, provided data for the interview study. Subsequently,the semi-structured in-depth interviews, analyzed with the same tool, enabled evaluations on informal being of the institution's studio cultures as a fragment.The main critical finding is that the emphasis on the last principle in overseas accreditation documents lacks in national ones, and the last two principles are hard to achieve for the participated students. Widened on these findings, the interrelations of the principles and potentials of studio culture is discussed, aiming for providing intangible data onto architectural design education.

Mimarlıkta mekâna, sinemada senaryoya karşılık gelen anlatı; zaman, mekân ve hareket kavramlarıyla kurulan disiplinler arası kesitte bir yaşam kurgusu olarak ele alındığında, dönemin dünya görüşü ve toplumsal yapısı ile gündelik hayata dair bir izlek sunar. Sinema, kenti gündelik hayat pratikleri üzerinden gözlemlemeye olanak sağlarken; kültürün kent morfolojisine etkisinin birey-toplum-kent ilişkisi bağlamında okunabilmesini sağlayan mekânsal olasılıkları üretme potansiyeline sahiptir. Mekânsal kurgu sayesinde zamanı yeni birer geçmiş, şimdi ve gelecek biçiminde üreterek, kentin tarihsel perspektiften okunmasına bakış aralıkları kazandırır. Bu çalışmada amaç, endüstrileşmiş kültürün kent morfolojisine etkisinin gündelik hayat kesitleri üzerinden disiplinler arası ilişkilerle okunmaya çalışılmasıdır. Çalışmada nitel yaklaşımlı bir araştırma deseni olan içerik analizi yöntemi kullanılmıştır. Bu kapsamda, II. Dünya Savaşı sonrası ivmelenen kentleşmeyi Fransa’daki gündelik hayat kesitleri üzerinden ele alan Jacques Tati sineması, modernleşmenin kent üzerindeki radikal dönüştürücü etkisini ele alan görsel bir dil olarak önerilmiştir. Tati sineması, her şeyin tasarımcı elinden çıkmasıyla yaşamı daha steril, fonksiyonel ve hızlı hale getirmeyi hedefleyen modernleşmeyi; geleneksel yaşantısını sürdüren “Bay Hulot” ana karakterinin kent deneyimleri üzerinden eleştirir. Savaş sonrası erken dönemde geleneksel ve modern kent hayatındaki karşıtlıklara odaklanan Mon Oncle (1958) ve 1970’lerin başında geleneksel bireyin modern kente uyum sürecini yansıtmasının yanı sıra kentleri diğer kentlere bağlayan otoyollara odaklanan Trafic (1971) filmleri üzerinden gerçekleştirilen mekânsal okuma; endüstrileşmiş kültürün kent morfolojisine etkisi bağlamında yorumlayıcı yaklaşımla incelenmiştir. Mekânları açığa çıkaran ihtiyaçların birey ve toplum ölçeğindeki karşılıkları, mekânsal kullanım alışkanlıklarını üreten sistemlerin neler olduğu ve bu devinim içinde açığa çıkan kültürel yapının kentte nasıl karşılık bulduğunu anlamak hedeflenmiştir. Mimarlığa, kentte dönüşen kullanımlar ve toplumsal hayata dair sinema üzerinden bakmak, gündelik hayat içindeki etkilerini sorgulayarak kent morfolojisini belirleyen dinamikleri film kurgusundaki kesitler üzerinden incelemeye olanak sağlamıştır. Bu doğrultuda, sinemanın 1950-1970 yılları arası modernleşen kentin morfolojisindeki değişimi birey-toplum-kültür bağlamında gündelik hayat üzerinden aktarmasının, gözlemleme ve sorgulamaya olanak sağlayan disiplinler arası alternatif bir öğrenme ortamı ürettiği düşünülmüştür.

This study examines the inclusive education concept from the perspective of the relatively new Education for All (EFA) notion in an architectural design studio case. The research is mainly based on Cross’s good designer features approach as a conceptual base in the architectural design education area. First, the literature review on inclusive education principles, pedagogical models, and strategies for inclusive learning prepares the theoretical framework for developing an evaluation model. Afterward, the pilot study, as a niche, allows the collection of data from learning environment participants, for addressing the encouraging tactics that improve learning and, on the other side, the incompatibilities of the tactics that cause exclusion. Because of the lack of inclusive design research in design-based education, this study employs in-depth interviews with educators and students for discovery findings. The answers from the participants are analyzed aiming to illustrate the inclusivity of the case study studio environment. The findings of the case study, which was carried out by the researchers during a period of the graduation project and with volunteer participants, not a prepared laboratory environment, showed that we could not affirm design studio education’s inclusivity. Remarkable data are presented to encourage further studies on this issue with more and various participants.

In the vast framework of discussions on design studio pedagogy, this paper focuses on the relationship between the extent of the first-semester architectural design course and the level of individual and social skills developed during it. The course instructors acknowledge that beginning from the first semester, architecture students should be engaged with global and local socio-cultural issues, technologies and novelties. The studio shouldn’t be a mere imagination laboratory. Conversely, it should be an active social network of environmental awareness using creativity intellectually. In order to do so, a semidesigned first-semester design studio curriculum is developed to be discovered both by the students and the instructors. The responsive agenda helped modifying conditions effectively, according to the feedbacks from the actors of the studio. Learners were led to engage in action and interaction during and outside studio hours so that they can enhance and share their capacities ...

Endüstrileşme ve göçle büyüyen kentlerde yeni mimari
unsurlar ortaya çıkmış; modernizmin etkisiyle 20. yüzyılın
başlarında, fonksiyonellik ve minimalizm vurgulanarak
planlama yaklaşımları değişmiştir. Kentin fiziksel
dönüşümüyle birlikte toplumsal ve ekonomik yapısı
da bireyselleşme ve özelleşme üzerinden dönüşmüştür.
Günümüzde özelleşmenin, mekânı farklı kitlelerin
kullanımı için bölümlemesi ve farklı sebeplerle kentin geri
kalanında göz ardı edilen, sıradanlaşan, tanımsız mekânlar
oluşmakta; kapsayıcı kamusal mekânlar azalmaktadır.
Son yirmi yılda mevcut planlamanın boşluklarını
dolduran farklı tasarım yaklaşımları ortaya çıkmıştır. Yeni
yaklaşımlar sorunlu alanlarda aşağıdan yukarı, pratik ve
küçük müdahalelerle insan ölçeğinde etkiler yaratmaktadır.
Çalışmada bu yaklaşımların kuramsal yapıları, sistematik
bir yöntemle örnekleriyle birlikte incelenmiştir.
Lydon ve Garcia'nın (2015) kavramsallaştırdığı yerel
farkındalık ve katılımla ortaya çıkan taktiksel şehircilik
De Solà-Morales’in (1980) geliştirdiği, kente noktasal
müdahalelerle yaklaşan kentsel akupunktur; çeşitli
sanatçı ve ofislerin geliştirdiği, kentin ilişkisel süreçlerini
ve mekân kurgularını araştıran kentsel kürasyon
yaklaşımları üzerinden ilerlenmiştir. Tartışma bölümünde
yaklaşımların birbirlerini nasıl beslediği, benzerlik ve
farklılıkları irdelenmiş; sonuçta ulaşılan ilişkiler, güncel
tasarım yaklaşımlarının taşıdığı bakış açılarının planlama
süreçleri için denemeler ve yöntemler sunma potansiyelini
göstermektedir.
New architectural elements have emerged in cities growing
with industrialization and migration; under the influence of
modernism in the early 20th century, planning approaches
underwent a transformation with an emphasis on functionality
and minimalism. Along with the physical transformation
of the city, its social and economic structure has also been
transformed through individualization and privatization.
Today, privatization divides the space for the use of different
social groups, leading to the creation of ignored, ordinary,
undefined spaces that are overlooked within the rest of the
city; inclusive public spaces are decreasing. In the last two
decades, various design approaches have emerged to fill
the gaps in existing urban planning. New approaches create
human-scale impacts in problematic areas through bottomup,
practical, and small-scale interventions. In this study, the
theoretical frameworks of these approaches are systematically
examined with examples. The study is based on tactical
urbanism conceptualized by Lydon and Garcia (2015), which
emerges through local awareness and participation; urban
acupuncture developed by De Solà-Morales (1980), which
approaches the city through punctual interventions; and
urban curation approaches developed by various artists and
offices which explore the relational processes and spatial
constructions of the city. In the discussion section, the
interrelations between the approaches, their similarities and
differences have been examined; the relationships identified
demonstrate the potential of contemporary design approaches
to offer experiments and methods for planning processes,
reflecting the perspectives they embody.

Abstract: Primary schools were established to educate children about Koran and basics of religion since the early years of Islam. They used to give children the basic level of education in Ottoman Empire, as well. Many primary schools were built in Architect Sinan's era. The total number of primary schools which were designed (or estimated to be designed) by Sinan is 23, 17 in Istanbul and 6, outside Istanbul. 12 of the primary schools are located in Istanbul architectural complexes. 8 of the 12 primary schools still exist today. This study aims to make an inventory of the primary schools of Sinan, to analyse the architecture of 12 primary schools of Sinan in architectural complexes in Istanbul and to determine their conservation problems. The research methods of this study are to evaluate the literature and to prepare the surveys of the buildings via field study. These masonry buildings which are mainly single-roomed or double-roomed in terms of plan and mass design, are positioned generally on the street corner, next to the entrance of architectural complexes or farther from the other buildings of architectural complexes. The primary schools, which are structurally in good condition, have authenticity problems because of unsuitable re-use and improper interventions by users. The primary schools were built to educate children; therefore, it is important to preserve and to reuse these buildings with a similar aim for public to enable the tradition of their foundation and to experience these buildings.
Anahtar Kelimeler: Mimar Sinan, külliye, sıbyan mektebi, Osmanlı Mimarisi, koruma
Keywords: Architect Sinan, architectural complex, primary school, Ottoman Architecture, architectural conservation

Abstract: Aim: This study aims to determine the architectural approach of Architect Sinan in primary school design by comparing the architectural features of 8 primary schools which are designed by Architect Sinan in architectural complexes (külliye) in Istanbul and exist until now. Method: The survey drawings of the existing buildings are prepared via fieldwork. These buildings are compared by using the survey drawings which are placed on sheets split into 1 zira (architectural ell) length squares as it was in that era. Results: There are mainly two types of primary schools of Architect Sinan. Single-roomed primary schools have square plan, entrance portico and dome. Double-roomed primary schools consist of two classrooms, one of which is closed and the other is semi-open and these classrooms have different roofing systems and complex mass designs (shape designs). These masonry buildings are similar to each other in terms of plain façade surfaces and form and materials of windows and doors. When the buildings are analysed dimensionally, it is found that adjoining rooms unite with each other with a proportion and it is probable that 1 zira length module was used in the design of these primary schools. Conclusion: It is observed that single-roomed primary schools are similar to each other in the contexts of space organisation and mass design, but double-roomed primary schools are unique design examples in the contexts of the organisation of two spaces and complex mass design. It is also determined that all buildings have modular design approach. During the fieldwork, it has been determined that there are various conservation problems in the primary schools due to improper interventions and restorations. It is important to preserve and sustain these unique buildings, designed by Architect Sinan for young children, by preserving their original architectural features and giving a new function for children.
Anahtar Kelimeler: Mimar Sinan, Külliye, Sıbyan Mektebi, Modüler Tasarım, Osmanlı Mimarisi
Key Words: Architect Sinan, Architectural Complex, Primary School, Modular Design, Ottoman Architecture

Öz
Anadolu Yakası'nda bir Boğaz Köyü olan Paşabahçe'de yerleşimin yoğunlaşması 18. yüzyılın ikinci yarısından sonra gerçekleşmiştir. Sahilde yer alan köy yerleşiminde, bitişik nizam yapılardan oluşan bir doku vardır. Köyün çeperinde, geniş bahçeler içerisinde ahşap evler ve köşkler bulunmaktadır. Köşklerin, bir bölümünün yazlık olarak kullanıldıkları düşünülebilir. Paşabahçe'deki Sunazırı Sokağı'nda ve Şekerpare Sokağı'nda yer alan ve bu makalenin konusu olan iki köşkün yapım tarihleri, kesin olmamakla birlikte, 19. yüzyıl ortaları olarak tahmin edilmektedir. Her iki köşk sürekli kullanıldıkları için günümüze oldukça iyi durumda ulaşabilmişlerdir. Boğaz manzarasına yönelen, zarif yapılar oldukları söylenebilir. Yapıların en dikkat çekici öğeleri, her ikisinin de sahip olduğu dairesel formlu gösterişli alınlıklardır. Köşkler farklı büyüklüklerde olsalar da plan düzeni, malzeme seçimi, bezeme programı ve işlev açısından benzerlikler göstermektedir. Güncel kullanıcılarından, her iki köşkün yaklaşık yüz yıl önce el değiştirdikleri ve kapsamlı onarım geçirdikleri bilgisi alınmıştır. İncelenen iki köşk, Paşabahçe'nin ahşap sivil mimarî örneklerinin zenginliğini göstermektedir. Paşabahçe'nin barındırdığı kültürel miras öğeleri kapsamlı araştırmalara ihtiyaç duymaktadır.

Abstract
Paşabahçe, a Bosphorus village on the Anatolian Side, was originally a Greek settlement. Muslims began to settle there in the second half of the 18 th century. The centre of Paşabahçe, on the shore, has a texture of attached structures. In the surroundings, many wooden houses and mansions which are located in large gardens, shape the settlement. The mansions are thought to have been used as summer houses by senior government officials. Two mansions located at Sunazırı Street and Şekerpare Street in Paşabahçe are the subject of this article. Despite the uncertainty of the construction dates of the two mansions, it is estimated that they were built in the mid-19 th century. Considering the construction dates, they are probably two of the oldest existing structures in Paşabahçe. The mansions are in very good condition thanks to continuous use. The most remarkable elements of both mansions are the semi-circular shaped and ornamented pediments. The pediments are not the only similarity. Despite their size difference is evident, the mansions also show similar characteristics in terms of planning, materials, ornamental program and spatial use. Just as the proximity of the construction dates are similar, both mansions are estimated to have changed owners and underwent extensive renovation and modification nearly a hundred years ago. The very similarity of the interventions s in the extensive renovation and modification process, strengthens the relation between mansions throughout the historical process.