Temporary Architecture*

In architecture, permanence is mainly associated with the endurance of material and durability of construction. Temporary architecture, on the contrary, has a predetermined and brief life span. Pavilion design provides a pragmatic infrastructure in order to discover the concept of the ‘temporality’ in architecture. Serpentine Gallery's Pavilions in Hyde Park, London will be inquired in this context. This paper will be investigating the definition and the boundaries of the term 'temporary' in architecture

Quarantine(d) space: Urla-Izmir (Smyrna) Island

Even in the twenty-first century, pandemics lead to a particular kind of spatial organization, such as quarantine. The outbreak of the contamination era re-justifies the medicalization of spaces. Throughout history, there have been several attempts to design spaces for contagious diseases and pandemic situations all over the world—quarantine islands, lazarettos, and healthcare architecture. In the nineteenth century, the first quarantine procedures started in the Ottoman Empire, and Urla-Izmir (Smyrna) island was established as one of the examples of the quarantine system. This study investigates the architecture organization of the quarantine island as an example of a “panoptic” space

Geçici mimari : serpentıne galeri pavyonları

This thesis is a critical inquiry into conceptualizations of the term ‘temporality’ in architectural discourse. It is geared towards the expanding definition of the ‘temporariness’ as a pragmatic and intellectual source for architectural production. The Serpentine Gallery Pavilions between 2000 and 2012, given their acute embodiment of the concept of temporality, will be the subject and the object of this thesis. The Serpentine Gallery has provided the setting for annual pavilion design project since 2000, which will be investigated thoroughly with emphasis on its role in supporting transitory architecture. Along with the characteristics of the pavilions and their structural properties, the agents of the investigation will be architects themselves. The thesis introduces the idea of ‘experimentation in architecture’ as an inevitable component in the production and design of the pavilions, given the powerful relationship it forms between the domains of architectural research, discourse and practice. While offering new rules and classifications for architectural problem solving, experimentation produces a direction towards thinking to allow new concepts, new methods and new materials in architecture. It draws focus to the acts of searching, experiencing and opening of new possibilities related to space design. Experimental architecture is integrated with real-world conditions, and also can be evaluated as an agent to extend the borders of architecture as a discipline.M.Arch. - Master of Architectur

Ansiklopedi mekanı: Paul Otlet’nin arşiv mimarisi

This dissertation is a critical assessment of the museum as a knowledge space. Starting with Paul Otlet’s ‘World City’ as a source of classification of knowledge in the urban framework, this thesis focuses on the hierarchical ‘order’ model on several scales: urban museum, museum, hall, room, cabinet, catalog drawers, and index cards, respectively. The classification of knowledge is the subject of study; Otlet’s ‘Mundaneum’ is the tool of research, and the museum architecture as a classification form is the epistemological framework of this dissertation. In order to comprehend the boundaries, dimensions and necessities of ‘universality,’ the Mundaneum is discussed, as a source of classification of knowledge, consisting of three primary architectural forms: the library, the university, and the museum. By concentrating mainly on museums, this thesis evaluates the dialectic relationship between knowledge classification and its architecture, since museum architecture has a powerful impact on the definition, production, dissemination and order of knowledge. This thesis mainly discusses the differences and continuities between Otlet’s universalist vision of the 20th century and the 21st century’s universalist tendencies on architecture. Thus, this study suggests a specific understanding of the museum classification by reconsidering it as a ‘system’ rooted in the urges and challenges of historically, theoretically, and conceptually defining the 21st century museum ideas. This dissertation aims to describe and clarify the characteristics of the ‘Encyclopedic Museum’ as a new museum category of the 21st century, since it has capacity to promote knowledge and its new classification that integrates its practical and theoretical dimensions.Thesis (Ph.D.) -- Graduate School of Natural and Applied Sciences. Architecture

Experimentation in architecture: Pavilion design

Since the Great Exhibition in London in 1851, the field of exhibition design has become an inevitable impact on both architectural practice and discourse. Any exhibition design offers ‘new’ architectural problem-solving techniques, and this experimental process generates a direction to apply new architectural methods, new materials, and new concepts. This process leads to searching, experiencing, and opening up new possibilities without the constraints of the established rules. Thus, architects can experience what the future holds for spatial design. Architectural design enriches through experimenting with new approaches and new materials. This paper suggests that architectural experimentation can be provided in terms of Serpentine Gallery Pavilions as well as challenging the architect’s role in re-establishing the conventional architectural thought. Thus, the architect is searching for new architectural possibilities and exploring the limitations of interpretation. Pavilion design can be considered as an architectural phenomenon in the light of this experiment to expose something ‘new’ and also in an innovative manner. Not only does the pavilion layout influence on its setting, but it also has the ability to redefine contemporary architecture, discourse, and practice. The pavilion’s very limited nature requires the architect to design a clear-cut expression, develop a simple concept, and to find different methodologies or/and solutions for the ‘temporality’ of architecture. This experimentation not only has an impact on architectural practice and discourse but also leads to comment on and critique new possibilities in the field of architecture. Architects gain the freedom to experience the ‘new’ architecture through this experimental process

HACI BEKTAŞ VELİ CULTURAL CENTER AS A PUBLIC SPACE

Mimari proje yarışmaları, üretildiği döneme dair detaylı bir okuma olanağı sağlayan temsil alanlarından biri olarak yer almaktadır. Bu yarışmalar hem mimarlık pratiğinde hem de mimarlık söyleminde oldukça önemli birer ortam olarak varlıklarını sürdürmektedir. Bu nedenle yarışma projelerini incelemek ve salt son ürüne değil süreçlerine dair analizlerde bulunmak, mekâna dair ipuçlarını elde edebilmek bakımından oldukça önemlidir. Bu açıdan 1992 yılında açılan Hacı Bektaş Veli Kültür Merkezi mimari proje yarışmasının sürecinin ve son ürününün incelenmesi kente ve kentliye dair bir çıkarım yapma imkânı vermektedir. Bu kültür merkezi bulunduğu bağlam açısından gerek kültürel gerekse fiziki konum olarak oldukça özgün bir yere sahiptir. Yarışmayı dönemin etkin mimarlarından olan Merih Karaaslan ve Mürşit Günday müşterek kazanarak tasarlarken bu özgünlüğün farkına varmışlardır. Yapıyı Hacı Bektaş Veli Külliyesi gibi tüm çevre bileşenlerini de dahil ederek kamusal bir mekân olarak tasarlamışlardır. Bu mimari eseri, yapı dili ve yapının kentle/kentliyle kurduğu ilişki açısından “kamusal bir mekân” olarak ele alıp incelemek bağlama dair bir bakış açısı geliştirebilmek adına elzemdir.Architecture competitions are one of the representation methods that offers an understanding of the period in which they are developed, and they continue to be powerful mediums in both architectural practice and architectural discourse. For this reason, examining these competitions’ projects, analyzing the final products and the processes as evidence of their architectural characteristics provides opportunities to obtain context clues. In this regard, investigating the process of the Hacı Bektaş Veli Cultural Center competition, which launched in 1992, allows for inferences about the urban and its inhabitants. This center occupies a unique position in terms of both cultural and physical settings. Merih Karaaslan and Mürşit Günday, well-known Turkish architects, recognized this uniqueness when designing this cultural complex. They designed the building as a public space, taking into account all environmental components, including the Hacı Bektaş Veli Complex. Therefore, understanding this context necessitates investigating this architectural work as a “public space” in terms of its architectural language and the relationship the building established with the urban/inhabitants

BİR TASARIM STÜDYOSU DENEYİMİNDE TARİHÎ GAR YERLEŞKESİNİN DÖNÜŞÜMÜ: KAYSERİ YÜKSEK HIZLI TREN İSTASYONU

Demiryolları tüm dünyada olduğu gibi, ülkemizde de “toplu ulaşım”sisteminin başlangıç noktasını oluşturur ve diğer toplu ulaşım sistemleriarasında -ki bunlar deniz, hava ve kara ulaşımı olarak tanımlanabilir- kentmerkezine entegre olabilen yegâne sistem olarak önem arz eder. Bu bakımdanmerkezle kurulan bu ilişki hatta bütünleşme isteği tasarımsal potansiyeliniortaya çıkarıyor ve aslında kent merkezini de dönüştürme gücünü elindebulunduruyor. Osmanlı döneminden başlayan Cumhuriyet döneminde de öneminisürdüren demiryolları son zamanlarda Yüksek Hızlı Tren İstasyonları konusu ileyeniden gündeme gelmiştir. Bu sebeple “Yüksek Hızlı Tren İstasyonu” tasarımkonusu mimarlık öğrencilerinin güncel mimarlık tartışmaları içinde yeni vegüncel araştırmalarla birlikte değerlendirebilecekleri proje konularından biriolması itibariyle Erciyes Üniversitesi Mimarlık Fakültesi Mimarlık Bölümü’nde2020-2021 Eğitim öğretim yılında diploma projesi olarak işlenmiştir. Derskapsamında mevcut tarihi Kayseri gar yerleşkesinin orijinal kullanımı veya yenifonksiyonlarla kent yaşamına yeniden katılabileceği öngörülerek öğrencilerdenfikir üretmeleri ve yeni teknolojik gelişmelerle biçimlenecek Yüksek Hızlı Trenİstasyonu tasarımını gerçekleştirmeleri beklenmiştir. &nbsp;Tescilli bir bölgenin tasarım alanı olarak seçilmesi endüstriyelmirasın korunarak gelecek kuşaklara aktarılabilmesi için yapıların uygun birişlevle kent yaşamına kazandırılmasının yanında, yeni bir teknolojik ve özgünyapının da eski ile birlikte tasarım problemi olarak ele alınarak korunması veçalışılması stüdyonun temel amacı olmuştur. Buna göre bu çalışmada, MİM 811Mimari Tasarım VIII stüdyosu kapsamında üretilen öğrenci projeleri Kayseri YHTİstasyonu’nun “kent içi diğer ulaşım ağları ileentegrasyonu”, “mimarisi” ve “mekân örgütlenmesi” gibi başlıklar altındadeğerlendirilmiştir.&nbsp;Öğrenci projelerinin değerlendirilmesi sonucunda, Kayseri YHTİstasyonu’nun kentsel ölçekten başlayarak mevcut alanı dönüştüreceği ve kentleeskisinden farklı ilişkiler ağı kuracağı, yeni teknolojik donatı ve sosyo-kültürel fonksiyonlarlabirlikte artık sadeceulaşım fonksiyonunu sağlayan bir yapı olmayıp, sosyal yaşam merkezinedönüşeceği gibi öne çıkan plan kararları belirlenmiştir.Ayrıca örnek projelerden yola çıkarak tescillialanın tasarım problemleri ve gelecekte yapılması öngörülen Kayseri YHTİstasyonu’nun nasıl planlanması ve değerlendirilmesi gerektiği üzerineçıkarımlar ve öneriler sunulmuştur.&nbsp;Anahtar Kelimeler: Yüksek Hızlı Tren İstasyonu, Tarihi Tren İstasyonu, Tarihi Kayseri Tren&nbsp;İstasyonu Yerleşkesi, Öğrenci Projeleri, İstasyon MimarisiRailways constitute the starting point of the “public transportation”system in our country, as well as all over the world. It is important as theonly system that can be integrated into the city center among other publictransportation systems including sea, air and land transportation. In thisrespect, the relationship with the center also has the power to transform thecity center. Railways, which originated during the Ottoman period and continuedto be important in the Republican period, have recently come to the fore withHigh Speed Train Stations. For this reason, the topic of “High Speed TrainStation” design was handled as a diploma project in the Erciyes UniversityFaculty of Architecture, Department of Architecture in the 2020-2021 academicyear. It is one of the project topics that architecture students can evaluatetogether with new and current research within the current architecturaldiscussions.&nbsp;Within the scope of the course, it was anticipated that the existinghistorical Kayseri station campus could rejoin the city life with its originaluse or new functions, and the students were expected to generate ideas andrealize the design of the High Speed Train Station, which will be shaped bytechnological developments. The main purpose of the studio was to choose thehistorical area as a design area, to bring the buildings into urban life with asuitable function so that the industrial heritage can be preserved andtransferred to future generations, and to protect a new technological andoriginal structure by considering it as a design problem. Accordingly, in thisstudy, student projects in ARCH 811 design studio were evaluated under theheadings of Kayseri High Speed Train Station, “integration with other urbantransportation networks”, “architecture” and “organization of space”.&nbsp;As a result of the evaluation of student projects, prominent plandecisions were determined as the Kayseri High Speed Train Station willtransform the area starting from the urban scale, transforming into a livingcenter with new technological equipment and socio-cultural functions. Inaddition, based on the sample projects, suggestions were presented for thedesign problems of the historical area and how the Station, which is foreseento be built in the future, should be planned.&nbsp;Keywords: High Speed Train Station, Historical TrainStation, Historical Kayseri Train Station Campus, Student Projects, StationArchitecture</p