Kriz halinde ve krizleriyle mimarlık eğitim ortamı

Beklenmedik bir anda ortaya çıkan ve genellikle olumsuz gelişmeleri nitelendirmek için kullanılan “kriz” kavramı, yeni fırsatlar yaratılmasına olanak tanınması bağlamında olumlu çağrışımlar da yapmaktadır. Tıp alanında yaygın olarak kullanılan kriz, hastalıklardaki dönüm noktasına işaret eder; bu dönemeç iyiye de kötüye de evrilme potansiyeline sahiptir. Köken olarak “karar vermek” anlamına gelen kriz, geçmişe ve geleceğe yönelik kararların yeniden sorgulanması gerektiğini de gündeme getirmektedir. Marc J. Neveu, “Crisis, Crisis, Everywhere” başlıklı yazısında Edmund Husserl’in 1936 yılında yazdığı “The Crisis of European Sciences and Transcendental Phenomenology” metnine referans vererek krizin öznel dünyamızla ilişkisini açıklamaya çalışır.(1) Husserl’in kısaca eleştirdiği şey, “bilimlerin nesnel modeli doğru olsa bile müşterek deneyimimizin zenginliğinin nedenini açıklayamamaları”dır. Husserl, bilimin sözde nesnel dünya görüşünü temel alan kavramın “yaşam dünyası” (lebenswelt)-müşterek yaşanan dünya- kavramı olduğunu öne sürer. Konuya bu perspektiften bakılırsa, öznelle nesnel arasında net bir ayrım yoktur. Krizde, nesnel olan yıkıldığında, bilim öncesi yaşam dünyası kalır ve Husserl’e göre bu, varoluş hissini iyileştirebilir. Dolayısıyla içinde yaşadığımız tek bir dünyadan bahsetmek yerine kendi deneyimlerimizle ürettiğimiz çoklu dünyalardan söz etmek mümkündür. Kriz anlarının bu çoklu dünyaların keşfini olanaklı hale getirdiği söylenebilir.İçinde bulunduğumuz zaman diliminin en güncel kavramlarından biri olan kriz, mimarlık eğitimi bağlamında da çeşitli konuların tartışılmasına aracılık eder: Dünyada yaşanan ekonomik, politik, ekolojik vb. krizlerin mimarlık mesleğine ve eğitimine yansımaları nelerdir? Eğitimde yaşanan krizler nelerdir? Eğitim pedagojileri öğrencilerin yaşadıkları krizleri aşmalarına ne kadar yardımcı olabilmektedir? Krizde üretim yapmak mümkün müdür? Bilginin erişiminin ve paylaşımının arttığı günümüzde, etik meseleler bir krize dönüşmekte midir? Türkiye özelinde yeni açılan üniversite ve yetersiz akademisyen ilişkisi nasıl bir krizi tetiklemektedir? Mimarlık eğitiminde dikte edilen standartlar ile aynılaşma bir tür krize mi işaret etmektedir? Ekonomik krizle yeni mezun mimarlar nasıl baş edebilirler? 2-3 Kasım 2018 tarihlerinde MEF Üniversitesi Sanat Tasarım ve Mimarlık Fakültesi’nde düzenlediğimiz 47. Mimarlık Bölüm Başkanları İletişim Grubu (MOBBİG) toplantısında(2) bu ve benzeri sorular eş zamanlı yuvarlak masa toplantılarında, mimarlık eğitiminin tüm aktörleri ile birlikte yatay bir organizasyonla dünya, eğitim, üretim, akademisyenlik, öğrenci olmak başlıkları altında tartışıldı. Bu yazı, 47. MOBBİG toplantısının tüm aşamaları boyunca bizim zihinlerimizde tetiklediği sorular ışığında mimarlık eğitimindeki olası kriz hallerini olumlu ve olumsuz yönleriyle ortamın halleri, eğitimci olmak ve öğrenci olmak ara başlıkları ile tartışmayı hedefliyor

MEF FADA hangar stüdyosu

MEF Üniversitesi Sanat Tasarım ve Mimarlık Fakültesinin stüdyolarının yer aldığı Hangar bir çalışma, yaşama ve paylaşma alanı olarak kurgulandı

Human Activity in Palaeolithic Period in Çanakkale Province

It is acknowledged in the light of today's information that human species first appeared in Africa and spread to other parts of the world. It is one of the most important issues to determine which routes human species took during this process and where their living areas were located. Due to its position between Africa, Asia and Europe, the Anatolian peninsula is a region of critical importance for the investigation of this issue. In Çanakkale province, which is located in a key region in terms of fossil human population spread to Europe, 40 locality where Paleolithic chipped stone finds were found were determined during the surveys carried out between 2014 and 2017. This number is expected to increase as a result of the research to be carried out in the following years. During these researches, 16 caves were found and excavations were initiated in İnkaya Cave, which has an intensive human settlement. In this study, field surveys in Çanakkale province that have been ongoing for 4 seasons and the fossil human traces in the light of the findings obtained from these studies are discussed

Prognostic factors for lymph node negative stage I and IIA non-small cell lung cancer: Multicenter experiences

Surgery is the only curative treatment for operable non-small lung cancer (NSCLC) and the importance of adjuvant chemotherapy for stage IB patients is unclear. Herein, we evaluated prognostic factors for survival and factors related with adjuvant treatment decisions for stage I and IIA NSCLC patients without lymph node metastasis. Materials and Methods: We retrospectively analyzed 302 patients who had undergone curative surgery for prognostic factors regarding survival and clinicopathological factors related to adjuvant chemotherapy. Results: Nearly 90% of the patients underwent lobectomy or pneumonectomy with mediastinal lymph node resection. For the others, wedge resection were performed. The patients were diagnosed as stage IA in 35%, IB in 49% and IIA in 17%. Histopathological type (p=0.02), tumor diameter (p=0.01) and stage (p<0.001) were found to be related to adjuvant chemotherapy decisions, while operation type, lypmhovascular invasion (LVI), grade and the presence of recurrence were important factors in predicting overall survival (OS), and operation type, tumor size greater than 4 cm, T stage, LVI, and visceral pleural invasion were related with disease free survival (DFS). Multivariate analysis showed operation type (p<0.001, hazard ratio (HR):1.91) and the presence of recurrence (p<0.001, HR:0.007) were independent prognostic factors for OS, as well visceral pleural invasion (p=0.01, HR:0.57) and LVI (p=0.004, HR:0.57) for DFS. Conclusions: Although adjuvant chemotherapy is standard for early stage lymph node positive NSCLC, it has less clear importance in stage I and IIA patients without lymph node metastasis

Spatial and temporal heterogeneity in human mobility patterns in Holocene Southwest Asia and the East Mediterranean

We present a spatiotemporal picture of human genetic diversity in Anatolia, Iran, Levant, South Caucasus, and the Aegean, a broad region that experienced the earliest Neolithic transition and the emergence of complex hierarchical societies. Combining 35 new ancient shotgun genomes with 382 ancient and 23 present-day published genomes, we found that genetic diversity within each region steadily increased through the Holocene. We further observed that the inferred sources of gene flow shifted in time. In the first half of the Holocene, Southwest Asian and the East Mediterranean populations homogenized among themselves. Starting with the Bronze Age, however, regional populations diverged from each other, most likely driven by gene flow from external sources, which we term “the expanding mobility model.” Interestingly, this increase in inter-regional divergence can be captured by outgroup-f$_3$-based genetic distances, but not by the commonly used F$_{ST}$ statistic, due to the sensitivity of F$_{ST}$, but not outgroup-f$_3$, to within-population diversity. Finally, we report a temporal trend of increasing male bias in admixture events through the Holocene

Archaeogenetic analysis of Neolithic sheep from Anatolia suggests a complex demographic history since domestication

Yurtman, ozer, Yuncu et al. provide an ancient DNA data set to demonstrate the impact of human activity on the demographic history of domestic sheep. The authors demonstrate that there may have been multiple domestication events with notable changes to the gene pool of European and Anatolian sheep since the Neolithic. Sheep were among the first domesticated animals, but their demographic history is little understood. Here we analyzed nuclear polymorphism and mitochondrial data (mtDNA) from ancient central and west Anatolian sheep dating from Epipaleolithic to late Neolithic, comparatively with modern-day breeds and central Asian Neolithic/Bronze Age sheep (OBI). Analyzing ancient nuclear data, we found that Anatolian Neolithic sheep (ANS) are genetically closest to present-day European breeds relative to Asian breeds, a conclusion supported by mtDNA haplogroup frequencies. In contrast, OBI showed higher genetic affinity to present-day Asian breeds. These results suggest that the east-west genetic structure observed in present-day breeds had already emerged by 6000 BCE, hinting at multiple sheep domestication episodes or early wild introgression in southwest Asia. Furthermore, we found that ANS are genetically distinct from all modern breeds. Our results suggest that European and Anatolian domestic sheep gene pools have been strongly remolded since the Neolithic

Creative gaps of translation in architectural representation

Tez (Yüksek Lisans)-- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2020Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2020Dilbilimden ödünç çeviri kavramı ile mimari temsil ortamları arasındaki geçişlerin incelendiği tez, çevirinin özü dönüştüren eleştirel doğasının mimari temsil sürecinde sebep olduğu boşlukların mimara açtığı yaratıcı ve özgürleştirici imkanları ortaya çıkarmayı amaçlar. Mimarlık üretiminin zihinde oluşturulan imge ile başlayan sürecinin imgeyi dışsallaştırma ve materyalleşme süreci olarak okunması aslında bu sürecin materyal olana doğru bir çeviri olduğu, bu süreçte kullanılan aracıların da mimari temsil ortamları olduğuna işaret eder. Robin Evans'ın çizimden inşaya geçişte bir çeviri yaşandığı sözleri üzerine mimarlığın bütün temsil ortamları arasında benzer bir çevirinin yaşanabiliyor oluşuna dair oluşan merak çalışmanın ana motivasyonunu oluşturur. Yer değiştirmede coğrafyanın sebep olduğu değişikliğin ortamlar arası dönüşümde ortamın kodları ve özelliklerine bağlı olarak gerçekleştiği düşünülerek mimari temsil ortamlarının kodlarına, birbirlerinden farklılaştıkları alanlara ve çeviri anında yaşanan dönüşümlere odaklanır. Bu dönüşümün incelenmesi için öncelikle dilbilimden alınan çeviri kavramı açılarak çevirinin farklı diller aracılığıyla farklı düşünme yöntemleri geliştirme ve düşünceyi farklılaştırma potansiyeli üzerinden bir çerçeve çizilmiştir. Farklı dillerin sebep olduğu anlamsal farklılaşmalar ve diller arası çevirilerde yaşanan dönüşümlerde yazarın ve çevirmenin rolünün tartışılması ile çeviride aktörün dönüştürücü olduğu sürece dikkat çekilerek çeviri sürecinin açtığı bu dönüştürücü aralığın potansiyelinin mimarlıktaki karşılığı merak konusu olmuştur. Dilbilim alanından çizilen bu çerçeve ile mimarlık ve sanat alanlarına bakılarak çevirinin üretici ve yaratıcı pratiklerde hangi kavramlar üzerinden tartışıldığı hem tarihsel hem de ilişkisel bir çerçeve ile dilbilim katmanının üzerine eklenmiştir. Mimarlık ve sanat alanında üretimin dönüşümü için kullanılan çeviri ve çeviri ile ilişkili kavramlar üzerinden çevirinin açtığı dönüştürücü aralıklar tartışılmıştır. Mimarlık alanında ise çevirinin en çok mimari tasarım sürecinde kullanılan temsil ortamları arası gerçekleştiği ve bu çevirinin kullanılan ortamların özellikleri ile yapıyı etkilediği öngörülmüştür. Mimari temsil ortamlarının her birinin kendi dil sistemleri ve çalışma prensipleri olduğu düşünüldüğünde dilbilimde dil aracılığı ile gerçekleşen çeviri ve çevirinin sebep olduğu yaratıcı farklılaşmalarla mimari tasarım sürecinde de karşılaşılması kaçınılmazdır. Bu farklılaşmaları tespit etmek için öncelikle çevirinin gerçekleştiği düşünülen mimari temsil ortamları incelenmiş ve üç ana başlıkta toplanmıştır. Mimarlık temsilinde kullanılan farklı araçların kullandığı temsil ortamlarına göre gruplanması ile elde edilen yazı-çizim-inşa/maket üçlü sisteminde her bir ortamın özellikleri karşılaştırılarak farklılaşmalarına sebep olan faktörler incelenmiştir. Bu farklılaşmaları sistematik olarak incelemek, kaynağını tespit etmek ve çevirinin bahsedilen potansiyellerini ortaya çıkarabilmek için temsil ortamlarının yapı kurum sistemini oluşturan parametreler dilbilimden ödünç yöntemlerle araştırılmıştır. Tespit edilen beş ana parametre olan pozisyonlanma, yapı kurumu, sembol sistemleri, bağlam ve zamansallık üzerinden temsil ortamları arası geçişler örnekler üzerinden incelenerek ortamlar arası boşlukların açıldığı aralıklar ortaya çıkarılmıştır. Mimarlıkta kullanılan üç temsil ortamı yazı-çizim-inşa/maket arasındaki geçişlerin birer örnek üzerinden incelenmesiyle tezin üçlü temsil ortamı çevirileri inceleme strüktürü ortaya çıkmıştır. Seçilen örnekler özellikle üretme yöntemleri üzerine araştırma yapıp mimari temsile dair teoriler ile üretimlerini birleştiren ve üretim süreçleri üzerine yazan mimarların işleri arasından seçilmiştir. Mimarın kendi işi üzerine değerlendirme ve yazıları üzerinden araştırmanın sebebi ise mimarın yapma şeklinin ve düşünce sisteminin anlaşılarak kendi sözleri üzerinden çıkarımların yapılmasının yorum farkını en aza indirilmesi ve yanlış çıkarımların önüne geçilmek istenmesidir. Yazı-çizim çevirisi için Raimund Abraham'ın 'The Elements of the House' metni ile 'House with Curtains' çizimi, çizim-inşa/maket çevirisi için Steven Holl'ün St. Ignatius Şapeli, son olarak da yazı-inşa/maket çevirisi Marco Frascari'nin 'Dream House' süresince yaptığı üretimler üzerinden süreçte kullanılan farklı ortamlar arası çeviriler incelenmiştir. Üç ortam arası çeviri de örnekler üzerinden incelenip belirlenen parametrelerde yaşanan dönüşümler ortaya çıkarılmış ve her ortam arasında boşlukların açıldığı alanları mimarların nasıl bir çeviri fırsatına çevirerek üretimlerini dönüştürdükleri incelenmiştir. Çevirinin boşluklu yapısı, mimarların boşlukları değerlendirme biçimleri ile desteklenerek bu durumun yaratıcılığa olan olumlu etkileri tartışılmıştır. İncelemelerden elde edilen veriler çeviri kuramı, mimarlık kuramı ve imgenin kullanımı üzerine tezin başlangıcında oluşturulan teorik çerçeve ile değerlendirme ve kendi teorisini tümevarımcı bir yöntemle oluşturmakta kullanılmıştır. Sonuç olarak çevirinin bir sınırı geçme durumu tanımlaması, sınırda koşulların ve parametrelerin dönüşümüne, parametrelerin dönüşümü de hem ifadenin hem de algılamanın dönüşümüne işaret eder. İfade sisteminin dönüşümü düşünce sistemini dönüştürerek kişiyi kalıplar dışında üretmeye ve düşünmeye zorlar, bu sebeple yaratıcı ve eleştirel bir pratik haline gelir. Her mimari temsil ortamının kendi yapısı sebebiyle üretileni dönüştürdüğü, birden çok mimari temsil ortamının bir arada veya arka arkaya kullanılmasının üretimde temsil ortamının baskın etki ve yönlendirmelerini kırarak mimara özgürlük alanı açtığı, bu özgürlük alanının da mimarlığın geleneksel kalıplarının dışına çıkmakta etkili bir yöntem olduğu düşünülmüştür. Özgürleşme eleştiri, anlatıyı dönüştürebilme ve çevirmekle mümkündür. Çevirinin eleştirel doğası kişinin kendi işine karşı eleştirel bir pozisyon alarak farklı parametrelerle yeniden ele almasını sağlayarak üretim sürecinin kendisini kişiden bağımsız bir şekilde doğal olarak eleştirel bir pratik haline getirir. Çevirinin mimari tasarım alanı içerisinde düşünülmesi üretimi zenginleştirmenin yanı sıra mimarı ve toplumu da özgürleştirmenin aracısı olabilecek potansiyele sahiptir. Çeviri hem mevcuda müdahalede hem de yeniyi üretmekte bir yöntem olabilir, kişinin bir imgeyi dünyaya taşımada tek seslilikten çok sesliliğe, çok perspektife geçişi olarak yorumlanabilir. Sonuç olarak çeviri mevcut mimarlık pratiğini eleştirel hale getirmek ve yeniyi üretmenin bir aracı olma potansiyeline sahiptir.The thesis, which examines the transitions between the concept of translation -that is borrowed from linguistics- and architectural representation mediums, aims to reveal the creative and liberating gaps caused by the spaces that arise due to the critical nature of the translation concept. Starting from the image created in the mind along with externalization and materialization of that image, the process of architectural production itself represents a translation towards the material and points out that the tools of this process are architectural representational mediums. Main motivation of the thesis is arising from Robin Evans' statement about the existing translation from drawing to building, and the curiosity following his statement about the fact that this translation can be experienced between all the representation mediums of architecture, and the changes that occur during translation. Translation between architectural representation mediums focuses on codes of the representation mediums, their differences from each other and transformations during translation considering these changes caused by their codes and properties as the changes on transposition caused by codes and changes on geography itself. Even though translation is perceived as a transformation of a message from one language to another, it actually begins with the translation of an image in the mind. With this image transfer from pre-linguistic world to the language world, the image in the mind would correspond to a physical outcome with the help of language – as in the architecture's ultimate goal. If the externalization of images, dreams, thoughts or ideas in the mind with different language systems is also considered as a pre-translation, the scope of the translation expands and the possibility of illuminating the idea-generation process arises. In order to examine this transformation, firstly, the concept of translation originated from linguistics has been detailed through its potential of developing different ways of thinking and differentiating thoughts over different languages. The semantic variations of different languages as well as the translational differences between languages point out that both the author and the translator play an active role in translation. Architectural presentation process is also effected by the transformational gap caused by these active roles and this effect became main research question of the study. With this framework drawn from the linguistics, looking at architecture and the other art fields, the historical and relational aspects of translation is added onto the linguistic layer by considering productive and creative practices. Transformative gaps originated from translation and translation-related concepts used for defining transformation of production within architecture and art areas. In architecture, it is assumed that the translation is concentrated between the representation mediums used in the architectural design process and this translation affects the general structure of the production together with the characteristics of the mediums themselves. Although the concept of translation has a very wide perspective in architecture, for this thesis, its potential has been investigated by mainly focusing on the translation between different representation mediums. Architectural representation mediums are usually examined separately. The aim of the thesis is to analyze these methods together with the help of the translation concept and to determine the gaps and transformations that occur during the transitions between the representation mediums as well as to investigate the transformations caused by these variances. Architectural production consists of cyclical and continuous translations rather than a linear process. Thus, instead of examining the representation mediums separately, thresholds of translation and differentiation can be taken into consideration together. Architecture works with using a wide variety of media and tools due to the extent and diversity of the architectural workspace. The usage of different media and tools result in continuous translation from one language system to another. During this translation, some gains and losses arise due to the differentiation of the representation systems, i.e. language. These gains and losses mainly appear as a consequence of the gaps formed due to the differentiating representation systems. In order to successfully criticize the design process, it is important to understand the fact that how these gaps could turn into new creative elements. Thus, architectural design processes are taken as a whole, the transitions in the production process are examined and their variations are revealed. With this method, it is tried to be revealed that the idea of translation is actually a factor that increases creativity and variation/differentiation in architectural representation. Considering the fact that each of the architectural representation mediums has their own language systems and working principles, it is inevitable to see creative variations in the architectural design process caused by translation and its elements. In order to detect these differences, the architectural representation environments that are affected by translation were examined and collected under three main titles. The factors that cause variation have been examined by comparing the characteristics of each medium in the writing-drawing-building/modeling triadic system. This triadic system obtained by grouping the different tools used in architectural representation according to the representative environments used. In order to systematically analyze these differences, to determine the source and to reveal the potentials of the translation, the parameters that constitute the operating system of the representation mediums were investigated by utilizing linguistic methods. The translational gaps are revealed through the transformations in the parameters that change according to the environment, such as positioning, structure, symbol systems, context and temporality. This thesis work is structured around the examples examining the transitions between the defined three main representation mediums. During the data collection, more than ten samples were put together and it was seen that the gaps examined in this thesis can be collected under five main parameters. As such, study was structured under these five headlines. It is noticeable that there was a fundamental difference in a person's attitude of positioning one's own perspective towards production due to the variation of writing, drawing, and construction/modeling. Secondly, representation media of structural construction were determined as parameters since it was observed that the representative medium used by the architect guides the main production. Secondly, structure is defined as a parameter since structural and systematical properties of the used representation medium has a guiding effect on production. Third, the effects of the symbol systems used by different architectural representations on the language and the system of the production itself have been observed. Fourth, it has been recognized that the relations of the media and context diverge due to constraints and advantages in representation mediums and this affected the production process. Fifth and finally, it was thought that there are different opportunities and gaps presented in the transformation of production since their reactions to the time dimension are different than each other. The examples have been discussed under these titles in order to observe the effects of each example on their own variation and result. In order to conduct the study, this thesis focuses on the moment that the architect is in the translator-position. The transformation thresholds of the language systems will further be examined by spotting the entire representation medium and the tools that used by the architect starting from the moment that the mental production was traceable. In order to understand the variations in the architectural representations, distinct transition moments of continuous translation would be snapshotted, and the research will be deepened through the production of architects who use the representation mediums in multiple different ways. The research aims to examine the transformations caused by the differences in architectural representation, rather than the change of the actor by restricting the study and considering the position that architect is a translator. Thus, person variable is kept constant so that this study better acknowledges the role of representation systems in translation. Each translation moment is analyzed in detail and enriched with examples from different perspectives. Examples were selected among the works of architects who studied on the different representation mediums and combine their production with the theories of architectural representation with writing on their own production processes. The reason for using the architect's own evaluations and writings on their own work is to minimize the difference of interpretation and to avoid false inferences by understanding their way of thinking. Using the architect's own notes and translations is critical for understanding and analyzing the author's perspective. "The Elements of the House" and "House with Curtains" by Raimund Abraham were selected for writing-drawing translation respectively. For the translation of drawing-building/modeling, "St. Ignatius Chapel" by Steven Holl and ultimately for writing-building/modeling, "Dream House" by Marco Frascari were chosen as examples. Translations in these three mediums were examined through examples, and the variations were revealed through them. More importantly, it was explored how the architects created the opportunities from translation that allows them to turn the gaps into creative production opportunities. The flexible nature of the translation was supported with the way how architects evaluate the gaps and the positive effects of this situation on creativity were discussed. The data obtained from the examples were used to evaluate the theory of translation, architecture and the utilization of the image that established in the beginning of the thesis and to create its own hypothesis/theory using an inductive method. While the entire architectural production process could be studied with this filter, the samples examined are selected with four main reasons: They use theoretical aspects of the two architectural representation mediums used in the transition, they examine and write on their own production processes, they fill the gaps in the area of focus of this thesis work and ultimately they allow a rich and diverse translation by representing multiple-step-transition rather than one moment/sudden transition. Whilst all the production process could be examined with this method, to avoid redundant comments and speculations, the examples in which there is an access to architect's own explanations and comments were chosen. Although the sub-results of this thesis may change with sample selection, the fact that the translation refers to the transformation and producing the new remains unchanged in each example, even if the translation occurs in a different way, direction and number. Therefore, architect's space of freedom caused by the translational gaps is always preserved. As a result of the research conducted, the translation defines crossing a border which points out the transformation of the conditions and changing parameters at the border, and this refers to the transformation of both expression and perception. The transformation in this expression system forces the person to think and produce outside of the traditional by transforming the person's way of thinking, forming a creative and critical practice. It is thought that, due to its own nature, each architectural representation medium transforms the production and the use of multiple architectural representations creates a space of freedom for the architect by breaking the dominant effects and guidance of the representation medium in production and this freedom allows the architect to escape traditional patterns of architecture. Liberation is only possible by translating and transforming the narrative and criticism. The critical nature of the translation allows people to take a critical look against their job and reconsider it by acknowledging different parameters, making the production process itself a critical practice independent from themselves. Translation starts with the architect, yet it activates the audience by becoming more and more critical and invites audience to produce. It encourages the passive audience to get involved by changing them to an unfinished and open ensemble. Therefore, it promotes translational production and ultimately, new translations. The concept of translation in architectural design has the potential to liberate the architect and society as well as to enhance the architectural production. Since translation is not only a method that takes every production as a data to itself but also a data for other productions, it develops a design culture and helps to improve the existing literature with different combinations. "A new intellectual adventure requires spectators who play the role of active interpreters, who develop their own translation in order to appropriate the 'story' and make it their own story. An emancipated community is a community of narrators and translators." (Ranciere, 2008). Translation is an instrument of liberation both in one's mind and in society. Translation can be a method in both changing the existing and in producing the new. It can be interpreted as the person's transition from monophonic to polyphonic, to multi-perspective while carrying an image to the world. As a result, the translation has the potential to criticize the current architectural practice and become a tool to produce the new. This thesis itself can be read as a translation study where existing projects reach the reader through the translation filter of the author. This thesis work offers insights into the author's self-positioning and perspective. When this work meets with the audience, readers would create their own filter and make a new translation over it and this work would become a real practice.Yüksek LisansM.Sc

Gerçek olaylardan öğrenme: gerçekçi sanal kalabalıklar için veriye dayalı duygu bulaşıcılığı

Cataloged from PDF version of article.Thesis (M.S.): Bilkent University, Department of Computer Engineering, İhsan Doğramacı Bilkent University, 2017.Includes bibliographical references (leaves 46-50).We propose a data-driven approach for tuning, validating and optimizing crowd simulations by learning parameters from real-life videos. We discuss the common traits of incidents and their video footages suitable for the learning step. We then demonstrate the learning process in three real-life incidents: a bombing attack, a panic in subway and a Black Friday rush. We reanimate the incidents using an existing emotion contagion and crowd simulation framework and optimize the parameters that characterize agent behavior with respect to the data extracted from the video footages of the incidents.by Ahmet Eren Başak.M.S