A Content Analysis of the Representation of the European Uprising in Turkish News Media

The study covers content analysis of the european uprising news represented in Turkish Media . 12 mainstream Turkish newspapers has been analysed between the dates of 1th – 30th July 2011. Correspodence analysis and mosaic plots has been used in order to develop a better picture. The news about “European uprising” found in only 65 newspapers of 236. As the main result, it can be stated that The uprising news in different newspapers on the same date are associated with the newspaper's perspective about democracy, human rights and global citizenship

Namazgahlar

[No Abstract Available

Synthesis Of Styreneacrylic Copolymer And Their Use In Paint

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2016Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2016Bu çalışmada, farklı yapılara sahip farklı silan türleri doğrudan stiren-akrilik kopolimerlere eklenmiştir. Bu kopolimerler yüksek PVC boya formülasyonunda formüle edilmiştir. Bu boyalar, ovalama direnci, sertlik ve esneklik özelliklerine göre test edilmektedir.In this study, different types of silanes, which have different structures, are added directly to the styrene-acrylic copolymers. These copolymers are formulated in high PVC paint formulation. These paints are tested in according to their scrub resistance, hardness and flexibility properties.Yüksek LisansM.Sc

Vakfetmek

[No Abstract Available

The Ij-plein: Housing At the Threshold of Urban Policies

[No Abstract Available

Transforming the historical waterfront: An(r/t)repo in Istanbul

Aquest article se centra en la transformació en curs dels magatzems de Antrepo construïts en els molls a Salipazari Harbor, en el seu efecte sobre el domini públic, i en la protesta dels veïns contra l'ús d'intervencions artístiques utilitzades amb fins purament comercials, la qual cosa resulta en un procés de gentrificació. Planejats i dissenyats per Sedad Eldem, un dels pioners del moviment modern a Turquia a finals de 1950, Salipazari Harbor funciona com el principal port internacional d'Istanbul. A més del fet que els magatzems del moll van ser allotjats anteriorment en Tophane, Salipazari té una immensa importància històrica i cultural; se situa enfront de la península històrica, es troba pròxim al museu obert d'arquitectura otomana que data del segle XVII, i és un lloc d'art contemporani. La zona del port està formada per set magatzems que van funcionar fins a l'any 1990. Des de llavors, tres dels magatzems han estat renovats pera convertir-se, respectivament, en la galeria d'art modern d'Istanbul, en una galeria d'exposicions d'art, i en el lloc de la Biennal d'Art de Istanbul. Des d'inicis de la dècada de 1990, aquesta zona ha estat sota la gran amenaça del projecte "Galataport", que té com a objectiu transformar l'actual port, en un port de creuers amb instal·lacions residencials i comercials, reduint d'aquesta manera l'accés públic a la zona del port històric i transformant-la en un territori de gentrificació. Aquest pla per a l'adaptació i la reutilització dels magatzems va generar una gran oposició per part delpúblic. En aquest article, per tant, examina l'estatut de l'art utilitzat com una eina per generar capital i aconseguir la gentrificació contra els ciutadans, les vides van a ser afectats pels canvis proposats. S'ocupa de com s'avalua l'art des de diferents perspectives en la transformació urbana, sobre la base dels interessos socials i polítics, prenent l'exemple el port de Salipazari.This article focuses on the ongoing transformation of Antrepo buildings (warehouses) built on the piers in Salıpazarı Harbor, its effect on the public domain, and the outcry of the residents against using venues of art used for purely commercial purposes, resulting in gentrification. Planned and designed by Sedat Hakkı Eldem, one of the pioneers of the Modern Movement in Turkey in the late 1950s, Salıpazarı Harbor functions as the main international port of İstanbul. Besides the fact that the warehouses of the pier were housed in Tophane earlier, Salıpazarı has immense historical and cultural importance; it faces the Historical Peninsula, is adjacent to the open museum of Ottoman architecture dating to the seventeenth century, and is a contemporary art venue.The harbor area consists of seven warehouses that were functional until 1990. Since then, three of the warehouses have been renovated to become, respectively, the İstanbul Modern art gallery, an art exhibition gallery, and the İstanbul art biennial venue. Beginning with the 1990s, this area has come under great threat with the announcement of the “Galataport” project, which aims to transform the harbor into a cruise port with residential and trade facilities, thereby reducing public access to the historical waterfront area and becoming another site of gentrification. This plan for the adaptation and reuse of the warehouses drew a great deal of opposition from the public.This article, therefore, examines the status of art used as a tool to generate capital and bring about gentrification versus the public, whose lives are going to be affected by these proposed changes. It addresses how art is evaluated from different perspectives in urban transformation, based on social and political interests, taking the example of the Salıpazarı Harbor.Este artículo se centra en la transformación en curso de los almacenes de Antrepo construidos en los muelles en Salipazari Harbor, en su efecto sobre el dominio público, y en la protesta de los vecinos contra el uso de intervenciones artísticas utilizadas con fines puramente comerciales, lo que resulta en un proceso de gentrificación. Planeados y diseñados por Sedad Eldem, uno de los pioneros del movimiento moderno en Turquía a finales de 1950, Salipazari Harbor funciona como el principal puerto internacional de Estambul. Además del hecho de que los almacenes del muelle fueron alojados anteriormente en Tophane, Salipazari tiene una inmensa importancia histórica y cultural; se sitúa frente a la península histórica, se encuentra próximo al museo abierto de arquitectura otomana que data del siglo XVII, y es un lugar de arte contemporáneo.La zona del puerto está formada por siete almacenes que funcionaron hasta el año 1990. Desde entonces, tres de los almacenes han sido renovados para convertirse, respectivamente, en la galería de arte moderno de Estambul, en una galería de exposiciones de arte, y el lugar de la Bienal de Arte de Estambul. Desde inicios de la década de 1990, esta zona ha estado bajo la gran amenaza del proyecto "Galataport", que tiene como objetivo transformar el actual puerto, en un puerto de cruceros con instalaciones residenciales y comerciales, reduciendo de este modo el acceso público a la zona del puerto histórico y transformándola en un territorio de gentrificación. Este plan para la adaptación y la reutilización de los almacenes generó una gran oposición por parte del público.En este artículo, por lo tanto, examina el estatuto del arte utilizado como una herramienta para generar capital y lograr la gentrificación contra los ciudadanos, cuyas vidas van a ser afectados por los cambios propuestos. Se ocupa de cómo se evalúa el arte desde diferentes perspectivas en la transformación urbana, sobre la base de los intereses sociales y políticos, tomando el ejemplo el puerto de Salipazari

Hemp as a Potential Material in Architecture: Is it Possible in Turkey?

PurposeHemp, also known as cannabis sativa, has long been one of the most important agricultural crops—an essential food for humans and animals since the Neolithic period. It is also one of the mostdurable raw materials used in both traditional crafts and many newer industries, such as themarine, clothing, automotive, and architectural industries. However, despite its beneficial healthproperties and use in making durable products, hemp has been banned in many developedcountries largely because it has been labeled an illegal plant due to its psychoactive properties.After the 1980s, industrially cultivated hemp in the form of hempcrete, hemp brick or low or hightechnology cast in situ wall systems gained recognition in architecture. Since the industry 4.0industrial revolution in the 2000s, the use of hemp has become increasingly important in medicineand nutrition and in industries such as paper, plastics, architecture and construction. Hemp hasbeen illegal for many years in Turkey. However, in Turkish history, using cannabis, hemp andhashish for food, pleasure, socializing, clothing, rope, paper and mortar has been an acceptedsociocultural phenomenon. Therefore, this article seeks to evaluate the possibility of using hemp inarchitecture by addressing its use in architecture, specifically in Turkey.Design/Methodology/ApproachThis research uses a literature review to explore both the history of hemp in Turkey and itsconstruction applications.FindingsThe results showed that given enough support, the use of such materials could create beneficialeffects for the architecture, construction and education sectors in Turkey.Research Limitations/ImplicationsIn the future, a research with funding and permissions could be conducted to observe of thephysical and chemical characteristics of hemp and hemp-based materials, which is lacking in thisstudy.Social/Practical ImplicationsRecognizing the benefits of hemp could have positive effects on the economy, health, agricultureand architecture of communities in Turkey. Hemp can replace petroleum-based materials whilehaving the advantages of being cost effective, providing a variety of production possibilities, andneeding less water for cultivation.Originality/ValueThis is the first study to address the potential use of industrial hemp in Turkey from an architectureand design perspective

THE PINK PANTHER IN ARCHITECTURE: THE TRANSDISCIPLINARY APPROACH AND THOUGHT WITHOUT IMAGE

As a form of in vivo knowledge, the transdisciplinary (TR) methodology suggests going beyond disciplines. According to Nicolescu, this methodology occurs at different levels of reality (ontological), different levels of perception (complexity), and within the logic of the included middle (logical) axioms that exist simultaneously. In addressing these levels, the researcher is the interlocutor between the external world of the Object and the internal world of the Subject. In architecture, this knowledge emerges through a variety of disciplines that need to be fused with an approach that is rhizomatic and nomadic, leading to thought without an image as characterized by Deleuze and Guartari. By following their Pink Panther metaphor for an imageless thought and approach (which does not imitate or reproduce something else) in TR, this article aims to understand the relationship between the TR methodology and the theory of thought without an image - an approach which can enable the comprehension of ambiguous architecture and urban design problems

Entrar o no entrar: instalaciones arquitectónicas

[EN] This article focuses on the conceptualization of the architectural installation, which is at the intersection of architecture and art. Installations, which today have an important place as an artistic activity, emerge in the 1960s and include various arrangements and exhibition activities of architects in relation to gallery space. These artistic activities include temporary or permanent, playful, poetic installations, sculptures and exhibition spaces. As a nexus for the arts and other disciplines, architectural installations enable artists to distance their work from the constraints of the real world, resulting in creative and questioning works. Architectural installations are discussed within intersections with the open-ended, experimental, and questioning features of architecture, such as site-specificity, temporality, variability, and monolithic character. Land art and public art, in which art installations verge conceptually on architectural space, can be used by artists in gallery space, open space, and on an urban scale.  [ES] Este artículo estudia la conceptualización de la instalación arquitectónica, que se encuentra en la unión de la arquitectura y el arte. Las instalaciones, que hoy tienen un lugar importante como actividad artística, surgen en la década de 1960 e incluyen diversas disposiciones y actividades expositivas realizadas por los arquitectos en relación con el espacio de la galería. Estas actividades artísticas engloban instalaciones poéticas, lúdicas, temporales o permanentes, esculturas y espacios expositivos. Como nexo entre las artes y otras disciplinas, las instalaciones arquitectónicas permiten a los artistas distanciar su trabajo respecto de las limitaciones del mundo real, lo que da como resultado obras creativas y cuestionadoras. Las instalaciones arquitectónicas se discuten en relación a los cuestionados conceptos de la arquitectura no concluida y experimental, como por ejemplo la especificidad del sitio, la temporalidad, la variabilidad y el carácter monolítico. El arte en la naturaleza y el arte público, en los que las instalaciones artísticas rayan conceptualmente en el espacio arquitectónico, pueden ser utilizados por artistas en espacios de galerías, espacios abiertos y a escala urbana.Özdamar, EG. (2022). To enter or not to enter: architectural installations. EN BLANCO. Revista de Arquitectura. 14(32):122-129. https://doi.org/10.4995/eb.2022.16960122129143

Transforming the historical waterfront: An(r/t)repo in Istanbul

This article focuses on the ongoing transformation of Antrepo buildings (warehouses) built on the piers in Salıpazarı Harbor, its effect on the public domain, and the outcry of the residents against using venues of art used for purely commercial purposes, resulting in gentrification. Planned and designed by Sedat Hakkı Eldem, one of the pioneers of the Modern Movement in Turkey in the late 1950s, Salıpazarı Harbor functions as the main international port of İstanbul. Besides the fact that the warehouses of the pier were housed in Tophane earlier, Salıpazarı has immense historical and cultural importance; it faces the Historical Peninsula, is adjacent to the open museum of Ottoman architecture dating to the seventeenth century, and is a contemporary art venue.The harbor area consists of seven warehouses that were functional until 1990. Since then, three of the warehouses have been renovated to become, respectively, the İstanbul Modern art gallery, an art exhibition gallery, and the İstanbul art biennial venue. Beginning with the 1990s, this area has come under great threat with the announcement of the “Galataport” project, which aims to transform the harbor into a cruise port with residential and trade facilities, thereby reducing public access to the historical waterfront area and becoming another site of gentrification. This plan for the adaptation and reuse of the warehouses drew a great deal of opposition from the public.This article, therefore, examines the status of art used as a tool to generate capital and bring about gentrification versus the public, whose lives are going to be affected by these proposed changes. It addresses how art is evaluated from different perspectives in urban transformation, based on social and political interests, taking the example of the Salıpazarı Harbor.Este artículo se centra en la transformación en curso de los almacenes de Antrepo construidos en los muelles en Salipazari Harbor, en su efecto sobre el dominio público, y en la protesta de los vecinos contra el uso de intervenciones artísticas utilizadas con fines puramente comerciales, lo que resulta en un proceso de gentrificación. Planeados y diseñados por Sedad Eldem, uno de los pioneros del movimiento moderno en Turquía a finales de 1950, Salipazari Harbor funciona como el principal puerto internacional de Estambul. Además del hecho de que los almacenes del muelle fueron alojados anteriormente en Tophane, Salipazari tiene una inmensa importancia histórica y cultural; se sitúa frente a la península histórica, se encuentra próximo al museo abierto de arquitectura otomana que data del siglo XVII, y es un lugar de arte contemporáneo.La zona del puerto está formada por siete almacenes que funcionaron hasta el año 1990. Desde entonces, tres de los almacenes han sido renovados para convertirse, respectivamente, en la galería de arte moderno de Estambul, en una galería de exposiciones de arte, y el lugar de la Bienal de Arte de Estambul. Desde inicios de la década de 1990, esta zona ha estado bajo la gran amenaza del proyecto "Galataport", que tiene como objetivo transformar el actual puerto, en un puerto de cruceros con instalaciones residenciales y comerciales, reduciendo de este modo el acceso público a la zona del puerto histórico y transformándola en un territorio de gentrificación. Este plan para la adaptación y la reutilización de los almacenes generó una gran oposición por parte del público.En este artículo, por lo tanto, examina el estatuto del arte utilizado como una herramienta para generar capital y lograr la gentrificación contra los ciudadanos, cuyas vidas van a ser afectados por los cambios propuestos. Se ocupa de cómo se evalúa el arte desde diferentes perspectivas en la transformación urbana, sobre la base de los intereses sociales y políticos, tomando el ejemplo el puerto de Salipazari