{"title":"YEMKİTABEVİ 11.11 DEAL: 11 BOOKS FOR ONLY 999 TL!","description":"\u003cdiv\u003e\n\n\u003cb\u003eYEM KİTABEVİ 11.11 OPPORTUNITY: 11 BOOKS FOR ONLY 999 TL!\u003c\/b\u003e\u003cbr\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv\u003eSpecial Book Set of 11 Books at YEM Kitabevi for Only 999 TL!\u003c\/div\u003e\n\n\u003cdiv\u003e- Only 5 DAYS\u003c\/div\u003e\n\n\u003cdiv\u003e- Valid only at\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"http:\/\/yemkitabevi.com\/\" data-link-id=\"2184\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eyemkitabevi.com\u003c\/a\u003e.\u003c\/div\u003e\n\n\u003cdiv\u003e- Limited stock.\u003c\/div\u003e\n\n\u003cdiv\u003e- Plus, FREE SHIPPING.\u003c\/div\u003e\n\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e\u003cb\u003e\u003cu\u003eIt Doesn't Stop There! \u003c\/u\u003e\u003c\/b\u003e\u003c\/div\u003e\n\n\u003cdiv\u003eSPECIAL, SINGLE PRICE OF 111 TL ON SELECTED BOOKS!\u003c\/div\u003e\n\n\u003cdiv\u003eWe also have discounts of up to 80% on dozens of our selected books. \u003c\/div\u003e\n\n\u003cdiv\u003eYou can complete your library for only 111 TL!\u003c\/div\u003e\n\n\n\u003c\/div\u003e","products":[{"product_id":"mimarlik-dusunmek-duslemek","title":"Thinking Dreaming Architecture","description":"\u003cp\u003eYEM Yayın, which publishes books on architecture, engineering, design, culture, art, etc., has released the long-awaited new edition of its book titled \u003cstrong\u003e\u003cem\u003eTHINKING AND DREAMING ARCHITECTURE\u003c\/em\u003e\u003c\/strong\u003e.\u003cbr\u003e\u003cem\u003eThinking and Dreaming Architecture\u003c\/em\u003e is a book prepared as a cross-section of Sema Soygeniş's practical and academic experiences, primarily for young people who have just started or are considering starting architectural education, and for anyone who wants to understand \"what architecture is.\"\u003cbr\u003e\"Being able to think about architecture should be a starting point that aspiring architects aim to reach during and after their education. Architecture, which began with the act of sheltering, has developed in connection with the history of civilization, reached the present day, and continues with new expansions. In this process, trying to understand and discuss the building, the form, and the intellectual dimension that constitutes it, is a topic that should remain on the agenda of architects who realize the architectural act and everyone who experiences it,\" says Sema Soygeniş. With this aim, in her book, she examines concepts related to architecture and architectural space in the context of the main principles of architecture, using a detailed and understandable language.\u003cbr\u003eThe book, which begins by seeking an answer to the question \"What is architecture?\", discusses and interprets concepts that can shed light on this question, such as space, geometry, form and order, aesthetics, light, movement, function, material, structure, and context, by relating them to \"architecture\" through selected examples. The book includes numerous photographs from various geographies, as well as drawing stages in the process of architectural design from idea to reality, to some extent materialize conceptual explanations and to better perceive what is explained intellectually and visually.\u003cbr\u003eSema Soygeniş expresses the importance of the concept of \"thinking about architecture,\" which also forms the basis of her book, with these words: \"Across the world, the importance of life and urban culture, in particular, is being discussed in various dimensions. This is also true for Turkey. When we look at the limited contribution of architects and urban designers to the design of cities, it becomes clear that those who should care the most about cities are the city dwellers themselves. Therefore, it is important for everyone, architect or not, to acquire the ability to perceive, question, and interpret their living environment. This process can begin by thinking about what architecture is...\"\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWHO IS PROF. DR. SEMA SOYGENİŞ?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSema Soygeniş completed her secondary and high school education at Robert College. She graduated from Istanbul Technical University, Faculty of Architecture (B. Arch., M. Arch, PhD) and the University at Buffalo, School of Architecture and Planning (M. Arch). Soygeniş pursued her architectural studies in the USA between 1986 and 1995, and established her own architectural studio in 1990. She continues her professional work as a faculty member (Prof.Dr.) at Bahçeşehir University, Faculty of Architecture and Design.\u003c\/p\u003e\n\u003cp\u003eHer projects, published as monographs under the titles \u003cem\u003eYapılar+Projeler 1982-1997, Yapılar+Projeler 2\u003c\/em\u003e, have been exhibited in various professional environments in different countries. Sema Soygeniş has numerous national and international publications, in addition to her books \u003cem\u003eMimarlık Düşünmek Düşlemek, İstanbul: An Urban Commentary \/ Bir Kent Yorumu\u003c\/em\u003e, and \u003cem\u003eBoşlukta Gezinirken.. Mimari Mek\u003c\/em\u003e\u003cem\u003eâ\u003c\/em\u003e\u003cem\u003enın Öyküsü\u003c\/em\u003e.\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48420617027827,"sku":"9786058043404","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Mimarlik_Dusunmek_Kapak_10_BASKI.jpg?v=1681211618"},{"product_id":"tasinmaz-mal-degerlemesi","title":"Real Estate Appraisal","description":"\u003cp\u003eYEM Yayın, a publisher of books on architecture, engineering, design, culture, art, etc., has released its new book, \u003cstrong\u003e\u003cem\u003eReal Estate Valuation\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eEspecially after the 1999 earthquake, discussions about solutions to the enormous settlement and construction problem facing our country began and are still ongoing among the academic community, practitioners, local governments, and governments. It has been discussed and accepted on every platform that the implementation of new zoning plans, which are essential for solving the problems based on zoning and property issues at the core of these discussions, can only be achieved through a value-based zoning implementation method where the value of real estate is calculated in participation and distribution, and that zoning legislation suitable for this is necessary. Today, it can be said that this understanding and method, despite its shortcomings, has been generally accepted by the government and the public after long discussions and test studies. This is an encouraging stage. Therefore, it is evident that a holistic organizational and structural model is needed technically, legislatively, and institutionally under the title of a real estate valuation system to determine the value of real estate for value-based implementations.\u003c\/p\u003e\n\u003cp\u003eIt is clear how important it is to address many questions and issues such as: \u003cem\u003eWho will carry out real estate valuation and how? Which methods and processes should be followed for valuation? What are the responsibilities of the public, private institutions and organizations, and individuals? How should international valuation standards be adapted to our country? How will valuation be used in public-purpose applications such as land management and use, urban transformation, land consolidation, taxation, etc.? How will automation be done based on technology? How should valuation be approached in superior rights?\u003c\/em\u003e with a holistic regulation.\u003c\/p\u003e\n\u003cp\u003eThe book \u003cstrong\u003e\u003cem\u003eReal Estate Valuation\u003c\/em\u003e\u003c\/strong\u003e attempts to explain what should be done or what should exist regarding value and valuation, and which regulations need to be made legally and technically, with a holistic and exponential perspective, taking into account different laws and practices in today's rapidly changing processes related to the subject; and when appropriate, it aims to offer significant contributions and assistance with technical and institutional model proposals.\u003c\/p\u003e\n\u003cp\u003eThe book is anticipated to be an important resource for those new to real estate valuation and for researchers working in this field.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWHO IS PROF. DR. NİHAT ENVER ÜLGER?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHe graduated from the Department of Geodesy and Photogrammetry Engineering, Istanbul State Engineering and Architecture Faculty in 1976. He received his master's degree from Yıldız University, Department of Geodesy and Photogrammetry Engineering in 1983 and his doctorate from the same department in 1988. Between 1988-92, he worked as an assistant professor at the Vienna University of Technology, Department of Geodesy and Photogrammetry. During this period, he conducted scientific studies in the Austrian Geographic Information System Project. In 1992, he started working as an Assistant Professor at Yıldız Technical University, Department of Geodesy and Photogrammetry Engineering, and served as Deputy Head of Department between 1993-95. Nihat Enver Ülger, who received the title of Associate Professor in 1999, served as the Head of the Istanbul Branch of the Chamber of Surveying and Cadastral Engineers between 1992-96. Between 1999-2000, he served as a board member at the Development Bank of Turkey. In 2006, he received the title of Professor at Istanbul University, Department of Mining Engineering.\u003c\/p\u003e\n\u003cp\u003eBetween 2004-10, he played an active role in determining Istanbul's urban transformation vision by serving as the Urban Transformation Unit Manager within the Istanbul Metropolitan Planning and Urban Design Center established by the Istanbul Metropolitan Municipality. He continues his academic studies as the Head of the Geomatics Engineering Department at Okan University Faculty of Engineering, where he established the department in 2009. Ülger, who supervises numerous graduate theses, has contributed to increasing academic productivity on the subject by opening the \"Urban Transformation Master's Program\" and \"Land Management and Use Doctoral Program\" departments. With approximately 35 years of practical project and academic experience, Ülger's works on \"urban transformation,\" \"land management,\" \"zoning applications,\" \"cadastre,\" \"value-based method,\" \"rural land arrangements,\" \"real estate valuation and development,\" and \"real estate law\" have been published in national and international journals. He also has two books: Land Arrangements and Urban Transformation in Turkey (Nobel Yayınları, Ankara, 2010) and Land Management (YEM Yayın, Istanbul, 2016). Currently, Ülger continues his role as the Head of the Urban Transformation Commission of the Chamber of Surveying and Cadastral Engineers and plays a pioneering role in organizing various academic activities in this field in our country. In the \"Eurasian Land Management and Urban Transformation Strategy Development Center\" he established in 2014, he continues project and business development activities related to his areas of work. About the Eurasian Land Management and Urban Transformation Strategy Development Center The Eurasian Land Management and Urban Transformation Strategy Development Center (Eurasian Strategy Center) was established in 2014. Its purpose is to contribute to creating a strategy by combining all studies conducted to establish a unified and holistic land management in our country. To this end, it carries out studies and develops strategies to help create a land management model suitable for the more beneficial use of assets for future generations in line with national development goals, by viewing the country's mainland as a whole according to the 1:25,000 standard topographic medium scale and inventorying all land assets from small scale (1:500,000 - 1:25,000) to large scale (1:5000 - 1:1000). The second area of work is to develop strategies for the realization and sustainability of urban transformation, which is currently our country's most urgent and main problem of the last 15 years, based on a holistic land management.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWHO IS B. CEM ÜLGER?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHe graduated from Yıldız Technical University, Department of Surveying Engineering in 1998. He continued his professional life, which began in 1998, as a partner in a construction company in Adana between 2000-07. In 2005, he obtained his Valuation Expert license from the Capital Markets Board. In the same year, he entered the sector as a founding partner at Kent Gelişim A.Ş., based in Istanbul, to carry out activities in the fields of land management, urban transformation, and valuation. Cem Ülger, who started teaching as a lecturer at Okan University in 2009, received the MRICS title, a membership of the Royal Institute of Chartered Surveyors, in 2011. In 2012, he completed his master's degree in \"Real Estate Valuation and Real Estate Finance\" and started his doctoral study in \"Land Management and Use\" in 2013. He managed many projects in areas such as real estate valuation and development, urban transformation, land management, and local government engineering. He presented papers as a participant or organizer in many national and international scientific and technical organizations. Cem Ülger, who serves on technical committees within HKMO and TDUB related to his areas of expertise, currently continues his academic studies at Okan University Faculty of Engineering, Geomatics Engineering Department, and the Institute of Science, Urban Transformation Master's Program, in addition to his project and business development activities at Kent Gelişim A.Ş. Prof. Dr. Ş. Nazmi Yıldız Nazmi Yıldız, whom we lost in October 2017, graduated from Vefa High School in 1949 and from Istanbul Technical School, Department of Surveying and Cadastre in 1953. He continued his master's education at Istanbul Technical School; he completed the Cadastral Techniques and Law Chair of the Surveying and Cadastre Department in 1960. He completed his doctoral study in 1970 in Germany, at the University of Bonn, Faculty of Agriculture, Department of Geodesy; and his associate professorship study in 1974 at the Istanbul State Engineering and Architecture Academy, Department of Surveying and Cadastre, Cadastral Techniques and Law Chair. In 1979, he became a professor at the same university. He started his professional life in 1960 in Germany, at the Surveying Department of the Cologne Municipality, and worked as an engineer at the Cologne Private Surveying Engineering Office between 1968-70. His academic life began when he came to Istanbul. First, he served as the \"Chair Manager\" at the Istanbul State Engineering and Architecture Academy, Department of Surveying and Cadastre, Cadastral Techniques and Law Chair between 1974-82. In 1979-80, he was a Senate Member of the Yıldız University Rectorship; in 1982-83, he was the Deputy Dean of the Faculty of Engineering at Yıldız University; in 1987-90, he was the Head of the Department of Geodesy and Photogrammetry Engineering at Yıldız University Faculty of Engineering; in 1992-94, he was the Head of the Public Surveys Department of the Geodesy and Photogrammetry Engineering Department at Yıldız Technical University Faculty of Civil Engineering; in 1997, he retired from the Geodesy and Photogrammetry Engineering Department at Yıldız Technical University Faculty of Civil Engineering. Nazmi Yıldız, who loved working at every moment of his life and never stopped, served as the Head of the Local Governments Program at Okan University Vocational School between 2008-10; and worked as a faculty member in the Geomatics Engineering Department at Okan University between 2010-16.\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210472179,"sku":"9786058081185","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786058081185.jpg?v=1616017699"},{"product_id":"arazi-yonetimi","title":"Land Management","description":"\u003cp\u003eThe updated and enhanced third edition of Nihat Enver Ülger’s eye-opening book, \"Land Management\", which addresses the widely discussed and debated issues of \"urban transformation and incorrect land use decisions\" in our country, has been published by YEM Yayın with the valuable contributions of Kent Gelişim Gayrimenkul Geliştirme Taşınmaz Değerleme Bilişim Danışmanlık Yapı San. Tic. A.Ş.\u003c\/p\u003e\n\n\u003cp\u003eThe book \"Land Management\" aims to examine land management processes worldwide and create a unique land management systematic suitable for our country's conditions. It seeks to present this to all stakeholders involved in disciplines such as Geomatics (Surveying-Geodesy-Photogrammetry), Civil Engineering, Environmental Engineering, Forestry Engineering, Agricultural Engineering, City and Regional Planning, Urban Design, Architecture, Law, Public Administration, Real Estate, and Property.\u003c\/p\u003e\n\n\u003cp\u003eProfessor Nihat Enver Ülger, who states that \"A unique land management systematic is needed against 'land scarcity and incorrect land use decisions,' which are among the biggest problems in our world today…,\" has produced a work that serves as a guiding manual for public administration institutions such as Metropolitan Municipalities, TOKİ, the Ministry of Environment, Urbanization and Climate Change, the Ministry of Agriculture and Forestry, and the Ministry of Interior, as well as for those involved in urban planning, real estate, property development, investment, and consultancy.\u003c\/p\u003e\n\n\u003cp\u003e\"Land scarcity\" and \"incorrect land use decisions,\" two of the biggest problems facing the world, have emerged as a result of cities growing at an uncontrollable pace, agricultural lands being opened up for non-agricultural activities (settlement, industry, etc.), intense land demand, and land policies that disregard sustainable environmental principles. Land management at the country, city, and rural scales is necessary to best use, manage, and preserve the world's land for the benefit of all its inhabitants. For land management, information and breakdowns related to property use must be available, and these must be carefully examined and analyzed before decisions regarding property are made.\u003c\/p\u003e\n\n\u003cp\u003eNihat Enver Ülger states the following in the updated and enhanced 3rd edition of the book:\u003cbr\u003e\n“Land management is, in essence, the management of nature. Since humans first existed, they have used and changed the nature they live in and are a part of. Today, problems such as climate change, environmental pollution, food degradation, migrations, epidemics, species extinction, and ecosystem disruption arise from the mismanagement of land-nature. Unless humanity internalizes living in harmony with nature, these problems will deepen further. The pandemic process and the major earthquake we experienced on February 6th are the closest and most striking examples of this.\u003c\/p\u003e\n\n\u003cp\u003e'Every action has an equal and opposite reaction.' We know that Sir Isaac Newton said this for the Laws of Force and Motion, but it doesn't just explain a physical rule; it also explains the law of nature. Interactions in nature are based on similar rules. The destruction humanity inflicts on nature will generate an equal and opposite reaction; it will return to humanity in the same proportion. The important thing is to know how to manage this cycle.\u003c\/p\u003e\n\n\u003cp\u003eLearning to live in harmony with nature, without alienating it, by understanding it… That is the real issue. The point we have reached is the importance of managing and using land-nature, that is, creating policies and strategies on how humanity will use nature for its needs. To create this and to best use, manage, and sustain the world's land for the benefit of all its inhabitants, there is a need for 'Land Management' throughout the country. Managing a city, a country; knowing the quantity and quality of its land-related assets is also the foundation of being a transparent and democratic society. The indicator of countries' independence and happiness is the protection of these assets and riches and their fair sharing with all elements of society; this is the most urgent need. (....)\u003cbr\u003e\nManaging a city, a country, and knowing the quantity and quality of its land-related assets is the foundation of a transparent and democratic society. The indicator of countries' independence and happiness is the protection of these assets and riches and their fair sharing with all elements of society.\u003c\/p\u003e\n\n\u003cp\u003eFor the chaotic environment the world is in to become relatively more livable, there is a need for a new manifesto and institutionalization approach regarding the use and management of natural resources related to land, agreed upon by all countries. This book, with this perspective, aims to analyze land management approaches around the world and present an approach for creating a unique land management systematic suitable for our country's conditions.”\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370205819123,"sku":"9786058136618","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/ARAZI_YONETIMI_3BASKIKAPAK.jpg?v=1719964747"},{"product_id":"santiyede-olay-var","title":"There's Trouble at the Construction Site! - 9th Edition","description":"\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003eIt aims to convey extraordinary, instructive stories gleaned from Firuzan Baytop's international construction site experiences spanning over 50 years to the reader.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003eWhat happens to architects, engineers, and technicians from the moment they start working on a construction site? What kind of problems and incidents might they encounter? There is, of course, no way to foresee these. However, since the book relays instructive and memorable experiences, it serves as an indispensable guide for individuals starting to work on a construction site.\u003cbr\u003e\n\u003cbr\u003e\nThrough this book, prepared by drawing on his practical experiences gained with various institutions and individuals during diverse construction production processes in Turkey and abroad, Firuzan Baytop addresses his young colleagues in particular: \"Here, I present to you an extraordinary, exemplary selection of the incidents I experienced and the problems I encountered during my 53 years of construction site life. So that you may be prepared for construction site life, not be surprised, and most importantly, draw lessons for yourselves.\" This book consists of supporting anecdotes for the information presented in the author's book titled \"Site Management,\" which explains the fundamentals of establishing and managing a construction site, and as such, it complements it. Therefore, it is recommended that the two books be used together.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWHO IS FIRUZAN BAYTOP?\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eHe graduated from the Architecture Department of GSA (now Mimar Sinan Fine Arts University) in 1948. Together with three friends, he won commendations and prizes in many architectural competitions; he won first prize in the Elazığ Government Building competition.\u003cbr\u003e\nIn addition to many private constructions, he built the Istanbul Municipality Saraçhanebaşı 1st Block Apartment; Emlâk Bank Atatürk Boulevard Block Apartment, Bursa Bazaars, Ataköy Beach, and Ataköy 2nd District. From 1965 until his retirement, he managed the construction of many facilities for the Alarko company, both domestically and internationally. While working as a Construction Consultant and a member of the High Advisory Board at the same company, he voluntarily retired at the end of 2000. Firuzan Baytop, whom we lost in November 2021, served as a member of the Material Committee and the Editorial Board of the magazine \"Mimarlıkta Malzeme\" (Materials in Architecture) at the Istanbul Branch of the Chamber of Architects; gave lectures at various universities, meetings, and seminars; and published research and books on architecture, construction, and site management.\u003cbr\u003e\n\u003cbr\u003e\nThe Author's Published Books\u003cbr\u003e\n1. Illustrated Practical Building Information, Alsim\/Alarko, 1990, 1993.\u003cbr\u003e\n2. Illustrated Concise Construction Dictionary (English-Turkish), A.A., 1993.\u003cbr\u003e\n3. Site Management Conferences, A.A., 1993.\u003cbr\u003e\n4. Western-Origin Words and Terms in Construction Works (Turkish-English, etc.), A.A., 1994.\u003cbr\u003e\n5. Animals in Architectural and Construction Idioms (Turkish-English), A.A., 1994.\u003cbr\u003e\n6. Western-Origin CONSTRUCTION TERMS in Turkish (Turkish-English, etc.), YEM Yayın, 2nd edition, 1998.\u003cbr\u003e\n7. English-Turkish CONSTRUCTION DICTIONARY, FONO, 1998.\u003cbr\u003e\n8. Mistakes-Corrects with Pictures in Construction Practices, A.A., 1999.\u003cbr\u003e\n9. Turkish-English-Turkish CONSTRUCTION DICTIONARY, FONO, 2001.\u003cbr\u003e\n10. Abbreviations in English-Turkish Technical Language, 2001.\u003cbr\u003e\n11. There's Such a Thing as Site Management!, YEM Yayın, 2nd edition, 2007.\u003cbr\u003e\n12. There's an Incident at the Site!, YEM Yayın, 7th edition, 2021.\u003cbr\u003e\n13. Mistakes-Corrects in Construction Practices, YEM Yayın, 11th edition, 2021.\u003cbr\u003e\n14. Site Management, YEM Yayın, 9th edition, 2022.\u003cbr\u003e\n15. What Is Not Taught in Schools in Construction Practices, YEM Yayın, 12th edition, 2023.\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48431486894323,"sku":"9786058136656","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Santiyede_Olay_Var.jpg?v=1686646227"},{"product_id":"mimarlik-kavramlari","title":"Architectural Concepts - 19th Edition","description":"\u003cp\u003eYEM Yayın, which publishes books on topics such as architecture, interior design, design, engineering, urban planning, urbanization, industrial product design, landscape design, archaeology, culture, and art, has released the 19th edition of its book titled Mimarlık Kavramları (Architectural Concepts).\u003c\/p\u003e\n\n\u003cp\u003e“The process of acquiring knowledge passes through theoretical teaching and printed paper. When it is accepted that the best person to teach architecture (except in special cases) should be an architect, the necessity for the architect to have the ability to express the act of building verbally, either to explain themselves or to understand what their colleagues are saying, arises. I hope this small book can, to some extent, show aspiring architects ways to articulate their work.”\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eDOĞAN KUBAN\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eMimarlık Kavramları, which aims to correctly define architectural activity at a general and conceptual level, especially for those new to architecture and design education, comprehensively evaluates the boundaries of the objective conditions of building production, societal organization, the construction process, building form, and the relationships between individuals and society within a theoretical framework.\u003c\/p\u003e\n\n\u003cp\u003eIn his book Mimarlık Kavramları, which was initially prepared for introductory architectural history courses but was developed in subsequent editions to become one of the fundamental reference sources for architectural education in Turkey, Doğan Kuban gradually examines the emergence and development of basic concepts, which can be called the ABCs of architecture, within the history of architecture.\u003c\/p\u003e\n\n\u003cp\u003eThe book defines all components of architecture, from building materials and techniques such as stone, soil, wood, and mortar to structural elements like columns, arches, vaults, and domes; its relationships with art, aesthetics, cities, and society are examined in detail.\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208669939,"sku":"9786058136663","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Mimarlik_Kavramlari.jpg?v=1686646173"},{"product_id":"mimarlik-ogrencisi-misin","title":"Are you an Architecture Student? - 5th Edition","description":"\u003cp data-mce-fragment=\"1\"\u003eYEM Yayın has published the enhanced 5th edition of the book \u003cem data-mce-fragment=\"1\"\u003eAre You an Architecture Student?\u003c\/em\u003e written by Prof. Dr. Havva Alkan Bala.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFor architecture students, particularly in their first year when they are introduced to their profession, the experience can be quite challenging for some. Havva Alkan Bala, as a former architecture student who went through this process and an architecture instructor who closely observes it, addresses young aspiring designers in her book:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“I understand what you are going through. Calm down, it's normal to be bewildered, but your questions have answers...”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHavva Alkan Bala begins the book with a letter addressed primarily to the parents of young aspiring architects:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“... We know that after your child, whom you raised with so much effort, became an architecture student, some of their habits started to change from the very first year. By the end of the first semester of freshman year, you might not recognize your child anymore; don't panic. Especially dear mothers, please put your worries aside. We know your child's way of speaking, clothing choices, room, and friendships have changed a lot. Their room has turned into a 'dump' with sketches, model scraps, and rows of coffee cups! You find it hard to understand why your child, who used to agree with you easily, now constantly criticizes, questions, and even acts a bit 'know-it-all'. Actually, the situation is not as complicated as you think. Your child is just attending architecture school, that's all. At the end of the process, both you and your child will receive your reward....”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eShe then turns to the young designers and lists the questions they constantly seek answers to in their minds and frequently encounter in their surroundings; she shares her answers in a sincere and simple language:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“Is architecture a matter of talent? I can't draw, how will I be ready? What is an architectural studio? What good are juries? Are you an interior or exterior architect? What kind of life is there after school? These questions go on and on... But don't worry. You will try to find your own way during your school years. This effort will end when you discover that school is only a place that teaches you 'how to learn' and 'how to develop by drawing from different fields, not just one channel of information'...”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAfter the highly popular first edition, Havva Alkan Bala revised the book, considering suggestions and critiques from readers and academics, and enhanced its content. In the enhanced second edition, with approximately 40% more pages, Havva Alkan Bala added new chapters such as “Will Artificial Intelligence Replace the Architecture Profession?”, “What is an Architectural Studio?”, “What Good Are Juries?”, “To Those Who Ask What Should I Read?”, “What Did Readers of This Book Say?”. She summarizes her reason for undertaking this work as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“Architecture students – who will be referred to as owls in this book – sometimes struggle greatly as they face the unknowns of the new design world they have entered. Architecture is not a chosen profession; it is a way of life and thinking. Throughout history, the actors of the act of building have been described as mysterious, impressive, and charismatic individuals. This book is written with the aim, feeling, and intention of providing some tips to make the lives of owls easier. The book makes no claim other than to 'inspire' new enthusiasms through the sharing of past enthusiasms experienced in the architectural education environment. During my twenty-four years as an educator in various architectural schools, my sharing perhaps made the exciting and traumatic dimensions of being an 'architecture student' apparent as a natural part of architectural education. This realization awakened the urge to share and, ultimately, the feeling of 'write to get rid of it'. So I wrote. Hopefully, it will be useful to the reader…”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e \u003c\/em\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208801011,"sku":"9786257008112","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/MIMARLIK_OGRENCISI_MISIN_5BASKI_KAPAK_1.jpg?v=1777922107"},{"product_id":"eskizler","title":"Sketches - 8th Edition","description":"\u003cp class=\"MsoNormal\"\u003eProf.Dr. Necati Dinçoğlu, who has been thinking, drawing, and writing about sketches as a product of production, transmission, and accumulation processes in architecture for many years, has released his book titled Sketches – Drawing by Thinking, Thinking by Drawing, published by YEM Yayın.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eThe book, which begins with an introductory article by Aydan Balamir titled \"Drawing by Thinking, Thinking by Drawing, Drawing Without Thinking in Architecture,\" also features a section by Fulya Özsel Akipek titled \"Digital Sketch,\" enriching the content.\u003c\/p\u003e\n\u003cp style=\"line-height: 120%; mso-pagination: none; mso-hyphenate: none; mso-layout-grid-align: none; text-autospace: none; vertical-align: middle;\" class=\"MsoNormal\"\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eThe book emphasizes that sketching, as the simplest and most straightforward way to visualize thoughts, is a medium of communication and primarily allows the designer to communicate with themselves. Necati İnceoğlu's commentary on the relationship between architectural sketch and design is summarized as follows:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003e“The Renaissance world used the old Italian word \"pensieri\" to refer to sketching in art and design. Its meaning is 'thoughts.' Indeed, the word 'thoughts' best describes sketching; 'drawn thoughts.' Similarly, sketching is 'thinking by drawing.' \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eThere are computer programs that create impressionistic sketches, like taking travel notes by drawing, based on existing photographs. However, these are far from providing the fundamental characteristics of impressionistic sketches, such as mind-hand coordination and the reciprocal interaction between mind and hand, and the practices of thinking by drawing and drawing by thinking. At least for now, that's what I believe. Sketches are concrete products that visualize certain sections of the design process and thought. It is not possible to separate the design process from the sketching process. Therefore, I tell our students, keep drawing.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eTABLE OF CONTENTS\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-font-weight: bold;\" lang=\"EN-US\"\u003eForeword\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIntroduction\u003c\/p\u003e\n\u003cp\u003eThinking by Drawing, Drawing by Thinking, Drawing Without Thinking in Architecture (Aydan Balamir)\u003c\/p\u003e\n\u003cp\u003eSketches\u003c\/p\u003e\n\u003cp\u003eThe Sketching Process, Why We Sketch, Sketchbook\u003c\/p\u003e\n\u003cp\u003eQualities of Sketches\u003c\/p\u003e\n\u003cp\u003ePerception, Learning to See\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eAbstraction\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eConceptual Thinking\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eSources of Inspiration, Imagination, Metaphors\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eTypes of Sketches\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eSketches for Thought\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eGraphic and Visual Analysis\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eSketches for Developing Ideas\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eSketches for Main Idea and Conceptual Research\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eSketches for Observation\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eVisual Impression Sketches\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eSense of Place\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eExamples\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eOn the Path to Skill Acquisition\u003c\/p\u003e\n\u003cp\u003eMaterials, Line Quality, Basic Lines, Outlines\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eStep-by-Step Dexterity, Towards Rapid Sketching\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eDifferent Levels of Detail, Movement and People\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"color: black; letter-spacing: .1pt; mso-ansi-language: EN-US; mso-fareast-language: JA;\" lang=\"EN-US\"\u003eExpression of Depth: Perspective, Light Perspective, Shadow, Light, Tonal Value\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDigital Sketch (Fulya Özsel Akipek)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"color: black; letter-spacing: .1pt; mso-fareast-language: JA;\"\u003eWHO IS NECATİ İNCEOĞLU?\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan style=\"font-size: 12pt;\"\u003eProf.Dr. Necati İnceoğlu was born in Denizli in 1937. He completed his primary and secondary education in Denizli and his higher education at Istanbul Technical University, Faculty of Architecture. In 1965, he was appointed as an assistant at the ITU Faculty of Architecture. He became an associate professor at the same institution in 1975 and a professor in 1981. He served as the Head of the Architecture Department at ITU Faculty of Architecture between 1986-88 and as Dean at Yıldız Technical University Faculty of Architecture between 1988-94. He retired in 2004. In addition to \"Sketches,\" Necati İnceoğlu's publications in fields related to architectural education include: \"\u003c\/span\u003e\u003cspan style=\"font-size: 12pt;\" class=\"apple-converted-space\"\u003eSolitaries in Memories,\" \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"border: 1pt none windowtext; padding: 0cm;\"\u003e\u003cspan style=\"font-size: 12pt;\"\u003eSketches as a Tool for Thinking and Design\"; \"\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eDiscourses in Architecture,\"\u003c\/span\u003e\u003cspan style=\"font-size: 12pt;\"\u003e \"Theories and Practices\"; \"Sketches in Design\"; \"\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Phenomenon of Programming\u003c\/span\u003e\u003cspan style=\"font-size: 12pt;\"\u003e in Architecture\"; \"Traditional Architecture of Denizli.\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 12pt;\"\u003e İnceoğlu also has a novel titled \u003c\/span\u003e\u003cem style=\"font-size: 12pt;\"\u003e\u003cspan style=\"border: none windowtext 1.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;\"\u003e\"Trench Letters,\"\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 12pt;\" class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 12pt;\"\u003ebased on the letters of soldiers who fought in World War I. İnceoğlu participated in various architectural design and urban planning competitions, and some of his designs were implemented. Between 1981 and 1988, he held three solo watercolor exhibitions and participated in group exhibitions.\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 12.0pt;\" lang=\"EN-US\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48380703473907,"sku":"9786257008143","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/ESKIZLER_Yeni_Kapak.jpg?v=1666959146"},{"product_id":"zoru-basarmak-10-bin-kisinin-yolculugu","title":"Achieving the Impossible: The Journey of 10,000 People","description":"\u003cp class=\"MsoNormal\"\u003eThe book begins on a June day in 1875, with Alexander Graham Bell's invention of the telephone. This is followed by the establishment of the Post Directorate during the Ottoman period; the launch of PTT with the young Republic; Netaş's establishment in the 1960s, taking the lead in communication; and Netaş overcoming economic, technological, political, and social challenges to continuously develop and innovate, reaching its current inspiring leadership position...\u003c\/p\u003e\n\u003cp\u003e Beyond merely chronicling a corporate history, Rıdvan Akar, who undertook the research and authored the texts for this highly valuable work documenting Turkey's technological history, states the following in the book's \"Introduction\" section:\u003c\/p\u003e\n\u003cp\u003e \"...Corporate history research gained importance in our country after the 1990s. The fact that only 75 companies in Turkey have a 100-year history, and the disappearance of vast corporate histories with the passing of 'founders,' spurred a curiosity to pursue those traces, paving the way for such research...\u003c\/p\u003e\n\u003cp\u003e Corporate culture at Netaş was not something merely spoken of, but something lived and written, a history that reproduced itself each time. In this context, looking at Netaş's story, we can see interesting milestones. In its establishment and development process, Netaş was a multinational partnership. But interestingly, its counterpart in Turkey was not profitability, but necessities and needs. Netaş was established to address the communication problems and gaps, which were among the country's most significant issues.\u003c\/p\u003e\n\u003cp\u003e One of the main differences that set Netaş apart from its peers was that it was 'ownerless.' Of course, Netaş had owners, but we mean those who 'embraced' it. This was a reflex related to the sense of belonging and responsibility we emphasized above. During the company's development and growth, especially during the periods of Turkish general managers, the employees' feeling of a 'national duty' rather than just a 'job' was the key to this embracing process...\"\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370211094771,"sku":"9786257008259","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786257008259.jpg?v=1616018060"},{"product_id":"mimarlik-nedir-ve-diger-100-soru","title":"What Is Architecture? And 100 Other Questions","description":"\u003cp\u003eYEM Yayın has published its new book, \u003cem\u003eWhat is Architecture? and 100 Other Questions\u003c\/em\u003e, which aims to encourage reflection on concepts such as architecture, design, cities, and spaces, and to view the conventional landscape from a different perspective.\u003c\/p\u003e\n\u003cp\u003eIn the book, prepared for easy reading and communication, Rasmus Wern and Gert Wingårdh seek short and long answers to 101 questions they pose about architecture, cities, design, and space, using a critical language that can be described as humorous and even provocative.\u003c\/p\u003e\n\u003cp\u003eThe book was translated into Turkish by Prof. Dr. Özlem Erdoğdu Erkarslan. Erkarslan, who first encountered \u003cem\u003eWhat is Architecture? and 100 Other Questions\u003c\/em\u003e as a reader, architect, and academician before translating it, describes it as follows:\u003c\/p\u003e\n\u003cp\u003e“Every architecture student dreams of finding and reading a single book titled ‘The Secrets of Architecture!’ to be ‘enlightened’. Especially students who finish their first year often describe an experience of confusion rather than a learning experience when they look back. In this process, there are so many different layers of knowledge, skills, and notions that it is often impossible for a student to classify and define their acquisitions. For this reason, they never give up their search for that mysterious book, assuming that a holistic single truth could actually exist.\u003c\/p\u003e\n\u003cp\u003eThe most important difference between contemporary architectural theory and the \u003cem\u003etreatise\u003c\/em\u003e tradition is its shift from the knowledge of practice and construction to discourse. For example, how we dig a septic tank is no longer among the knowledge areas for which the architect is responsible, but in contrast, it has transformed into the concept of ‘place’ which includes the septic tank and views the soil and sky that support the structure as a whole. Meanwhile, while the knowledge of construction is delegated piece by piece to other specialized fields, thought, idea, philosophy, discourse—however we name it—has become the sole area of discussion in architecture. The ‘grand narrative’ has abandoned practice; it has determined that the abstract, the idea, is more important. Theory is now independent of empirical knowledge. The rationality of the construction tradition has been secondary, replaced by technological expertise.\u003c\/p\u003e\n\u003cp\u003eIn this book, authors Rasmus Wern and Gert Wingårdh subtly criticize the ‘grand narrative’ with a humorous language; on the other hand, the book itself, with its title, winks at the curious reader searching for ‘The Secrets of Architecture’. This work is written for easy reading and communication. Instead of the long and convoluted sentences of architectural theory, there are short and simple explanations. Rasmus Wern and Gert Wingårdh take us back to the first ‘treatises’. The narrative is divided into sections and claims to cover the subject with an ambitious number (101). After Vitruvius’s and Alberti’s ten-item books, in the 21st century, surely only 101 items must suffice to cover everything!...\u003c\/p\u003e\n\u003cp\u003eAuthors Rasmus Wern and Gert Wingårdh, stating that much of what is said in the book has been said before, summarize their reasons for preparing such a work as follows:\u003c\/p\u003e\n\u003cp\u003e“Much of what is said in this book has been said before. Architects like Adolf Loos expressed themselves with perfect clarity about the distinction between art and architecture. Gunnar Asplund made brilliant comments on the style of time and space; Bruno Taut spoke about color and Jacques-François Blondel about architectural character. We have built this book on the old wisdom we mentioned, adapted it to contemporary conditions, and produced some new ideas. In other words, we applied the process followed in architectural design.\u003c\/p\u003e\n\u003cp\u003eArchitects, as far as we know, have been trying to define the essence of architecture since ancient times. Unlike other art forms, architecture is often expected to explain itself. If it’s going to be expensive, we deserve to know what we’re paying for. In addition to basic usability and comfort criteria, the architectural product can add commercial value to the client in many ways, including creating an image, promoting, or generating revenue. However, the mysterious essence of architecture goes beyond such benefits. What is this essence? We have found 101 different ways to describe it. Some of our answers may seem contradictory – exactly as they should. As anyone who has witnessed urban life at some point can know, the same question can have more than one correct answer. Since the subject is both very amusing and very serious, it would be strange if our own structures or answers did not encompass this entire spectrum.\u003c\/p\u003e\n\u003cp\u003eIf this book can help the reader appreciate what a wonderful (and emotional) game architecture can be, we would be very happy to hear and learn that.”\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208702707,"sku":"9786257008280","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786257008280.jpg?v=1616018062"},{"product_id":"peyzaj-tasarim-temel-kavramlar-ve-tasarim-ilkeleri","title":"Landscape Design – Basic Concepts and Design Principles","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eP\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eı\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003enar Köylü and O\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eğ\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003euz Y\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eı\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003elmaz aim to contribute to addressing the lack of printed publications in Turkish on \"landscape design,\" one of the fundamental areas of landscape architecture, through this book. They also seek to establish linguistic unity regarding the theoretical infrastructure in this field and to strengthen the connection between theory and practice. The authors of this book, the first of two publications on landscape design, summarize their reasons for undertaking such a work as follows:\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"The fact that there are sometimes differences in the usage of some concepts in domestic and international sources, which also cover different professional fields related to design, and sometimes the absence of a common linguistic unity, leads to some problems and\/or difficulties in professional communication. Therefore, one of the aims of this book is to research the origins and meanings of these concepts, find their equivalents in pure Turkish, incorporate them into our language, and ensure linguistic unity regarding visual expression.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAlthough the writing of this book, which evolved step by step through our mutual discussions that sometimes lasted for hours over a single word whenever we found time outside of teaching, took a long time, we must state that these discussions were the most thought-provoking and educational parts for us. In the book, to demonstrate how the environment can be approached from the perspective of a landscape architect in terms of theoretical design concepts, we primarily used our own photographs. When these were insufficient, we searched for images on international networks to find the visuals that best explained the subject. This also provided us with the opportunity to develop our creative and critical thinking skills, which are indispensable for design.”\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ePrimarily prepared for landscape architecture students and academics, as well as landscape architects, this book also aims to shed light on students, scientists, and professionals from other fields related to architecture, interior architecture, and design, helping them develop perspectives on how design is approached from a landscape architecture standpoint.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209521907,"sku":"9786257008327","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Peyzaj_Tasarimi_KAPAK_2Baski.jpg?v=1636703136"},{"product_id":"tangul-akakinci-resme-adanmis-bir-omur-a-life-dedicated-to-painting","title":"Tangül Akakıncı: A Life Dedicated to Painting","description":"\u003cp data-mce-fragment=\"1\"\u003eYEM Yayın has published a new book titled \u003cem data-mce-fragment=\"1\"\u003eTangül Akakıncı: Resme Adanmış Bir Ömür \/ A Life Dedicated to Painting\u003c\/em\u003e, prepared with the aim of introducing the painter Tangül Akakıncı, her approach to art and painting, and her works to art-loving readers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“I always had a concern for form; of course, there was also a concern for color, but I especially wanted to create forms I was not used to seeing...”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Tangül Akakıncı is a painter who, despite starting her artistic life in the 1960s in Bedri Rahmi Eyüboğlu's workshop within the State Academy of Fine Arts, continued her art studies for over 50 years with Süleyman Velioğlu. Akakıncı, who was among the founders of the Akatünvel Art Group and passed away in 2021, expressed her understanding of art in depth in an interview with Pelin Özer years ago:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“My father was a saddler, one of the old masters. In my childhood, I often went to his shop in Eminönü, Küçükpazar, and saw various objects related to the horse world: Circassian saddles, Spanish saddles, whips, harnesses, saddlebags, stirrups... A fascinating, intriguing horse world for a child... I would examine the cutting tools my father used. Imagine a half-moon; a handled tool called a chisel, my father would cut leather with it. A very archaic form, unknown to me, never seen before. An interesting iron tool was also used to beat and thin the leather. Interestingly, what was important to me was always the tools themselves, not the process done with them. Until then, I hadn't seen other tools like these around me, nor did I see them later; such things were not part of my education. I had recorded all of them; I realized this later when forms similar to those forms appeared in my paintings... The journey began this way. The unknown always attracted my attention...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e... I mostly observed and absorbed monumental rocks. I work in multiple layers to render the stone texture anyway; always by scraping. My father would cut, beat, and fray the leather with his cutting tool. From the beginning, I scraped the paints I worked on layer by layer with a razor blade. Unlike my father, I do the same process with paint. I work in layers, I scrape. After scraping, a new understanding of form emerges, including the composition; the painting changes from its figure to its tone. Then I scrape again, I work again. I never used any tool other than a razor blade. The master used a spatula. We always work on paper. The master would mix white glue with whiting, bring it to a certain consistency, and think about how to place the form he created in his mind on the paper with a spatula, spreading that thick paste. He would start placing colors on it; after placing the colors, if it didn't look right, he would start scraping. I don't use a spatula; I apply the paint with a brush. But when I start scraping, shovelfuls of paint come off; we are perhaps the painters who use the most paint in the world. We work in layers. How many compositions, how many layers can emerge from these, one on top of the other. We start scraping; if it didn't work, if we didn't like it, we would ruin it. Work is done, it finishes or it doesn't. There was never a measure of how long a painting takes. There were paintings we worked on for three years. After the master's death, I tried my best to protect myself. Why did I try to protect myself? From \"just good enough,\" from slacking off, and from being trendy...”\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTANGÜL AKAKINCI: A LIFE DEDICATED TO PAINTING\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“... There was always a form of sensitivity that I had. Of course, there was also color sensitivity, but I especially wanted to create forms with which I was unfamiliar...”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Tangül Akakıncı is a painter who began her artistic career in the 1960s at the State Academy of Fine Arts, in the atelier of Bedri Rahmi Eyüboğlu, but she continued to work with Süleyman Velioğlu for more than 50 years. In an interview with Pelin Özer, carried out years ago, Tangül Akakıncı, one of the founders of Akatünvel Art Group who passed away in 2021, expresses her understanding of art in detail in depth.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210210035,"sku":"9786257008501","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/TANGUL_AKAKINCI_KAPAK.jpg?v=1650286564"},{"product_id":"palimpsest","title":"Palimpsest","description":"\u003cp data-mce-fragment=\"1\"\u003eVisuals and text had never met like this before…\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeniz Barlas Velioğlu’s book, \u003cem data-mce-fragment=\"1\"\u003ePalimpsest\u003c\/em\u003e, has been published by YEM Yayın.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Deniz Barlas Velioğlu explains her unique artistic approach as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“The visual-textual language I have developed consists of two fundamental layers: printed materials, mostly newspaper pages, and what I construct upon them. The dialogue\/collision of these two worlds, which might contain limited meanings on their own, generates 'additional meanings.' The newspaper page, with its texts, photographs, colors, and textures, often serves as a visual-semantic starting point that inspires me. The world I construct on top sometimes rejects and ignores the existence of the one below, and sometimes responds to it. In both cases, they form a semantic unity. I hope that this synergy will awaken new associations in the viewer, taking them on journeys.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“Deniz Barlas Velioğlu’s paintings remind us that nothing is merely what it appears to be, which I believe is one of art's fundamental functions.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Haluk Şahin, Lecturer, Communication Theorist, Author\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“As I looked and read, I got lost in my own palimpsest; it was both a 'common' (sociological) and an 'individual' (psychic) experience. I recommend it to you as well.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Orhan Tekelioğlu, Cultural Sociologist\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“In my eyes, Deniz’s paintings are as powerful and meaningful as a striking book cover or a poster. She blends written language with visual language, creating a thoughtful-artistic layer.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Uğurcan Ataoğlu, Co-founder and Design Director of Alametifarika, Lecturer\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“When I saw her paintings on newspaper pages and printed documents, I commented, ‘This is the true art of our age’.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Rahmi Çöğendez, RC Art Gallery\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“The music I composed for Deniz’s paintings still holds a very special value for me, as it emerged from a very powerful state of ecstasy.” \u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Yüksel Demir, Architect\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“There are codes, clues everywhere. It’s like an endless game, a true discovery.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Hülya Kayserili, Geneticist\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWHO IS DENİZ BARLAS VELİOĞLU?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeniz Barlas Velioğlu was born in Istanbul in 1961. She attended primary school in various cities, including London, Brighton, and Ankara. She completed her middle and high school education at TED Ankara College. In 1982, she graduated from the Middle East Technical University (METU) with a degree in Sociology. Between 1989 and 2009, she worked as a Creative Director and Agency President at national and international advertising agencies. She won numerous awards in national and international competitions and served as a jury member and president. Due to her interest in art and design, which began in her childhood, she particularly focused on painting. She has held solo exhibitions and participated in group exhibitions. The artist, whose more than 150 works are found in various collections both in Turkey and abroad, continues her painting work in her studios in Istanbul and Bozcaada.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePALIMPSEST\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeniz Barlas Velioğlu describes her artistic life and her unique understanding of art as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“The visual-textual language I developed consists of two basic layers: mostly newspaper pages and what I’ve built on them. The dialogue\/collision of these two worlds, which can have limited meanings on their own, creates ‘additional meanings’. With its writings, photographs, colors, and textures, most of the time the newspaper page creates a visual-semantic starting point for me that I will be inspired by. The world I build on it, on the other hand, sometimes rejects and ignores the existence of the one below, and sometimes responds to it. In both cases, they form a semantic unity. I hope that this union will awaken new associations of ideas in the minds of viewers and take them on new journeys.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“Deniz Barlas Velioğlu’s paintings remind us that nothing is just what it seems, which I think is one of the main functions of art.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Haluk Şahin, Lecturer, Communication Theorist, Author\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“I was lost in my own palimpsest as I stared Deniz’s paintings; unfortunately, it was both a ‘common” (sociological) and an ‘individual’ (psychic) experience. I suggest that you do it.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Orhan Tekelioğlu, Cultural Sociologist\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“To my eyes, her paintings are as powerful and meaningful as a stunning book cover or a poster. She creates a philosophic-artistic layer by blending textual language and visual language.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Uğurcan Ataoğlu, Co-founder and Design Director of Alametifarika, Lecturer\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003eI started to follow Deniz’s works and especially when I saw the paintings she drew on newspaper papers and printed documents, I commented that “this is the real art of our age.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Rahmi Çöğendez, RC Art Gallery\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“But the score I composed for Deniz that night is still very special to me, as it was born from a powerful state of ecstasy.” \u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Yüksel Demir, Architect\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“\u003c\/em\u003e\u003cem data-mce-fragment=\"1\"\u003eThere are passwords, hints everywhere. It's like an endless game, a real breakthrough.\u003c\/em\u003e\u003cem data-mce-fragment=\"1\"\u003e”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Hülya Kayserili, Geneticist\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWHO IS DENİZ BARLAS VELİOĞLU?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeniz Barlas Velioğlu was born in 1961 in Istanbul. She attended primary school in cities, including London, Brighton, and Ankara. She completed her secondary and high school education at TED Ankara College and graduated from the Sociology Department at METU in 1982. Between 1989 and 2009, she worked as a Creative Director and CEO for national and international advertising agencies. She has won many awards both in national and international competitions, and has taken part in some of them as a member and head of the jury. Since her childhood years, she has worked in the field of painting and has a strong interest in art and design. She has opened personal exhibitions and participated in group exhibitions. As an artist with over 150 works in various national and international collect\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209423603,"sku":"9786257008570","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/YEM_PALIMPSEST_KAPAK.jpg?v=1667469302"},{"product_id":"sivas-i̇cin-duslemek-mimari-studyo-seckileri-2014-2021","title":"Dreaming for Sivas: Architectural Studio Selections 2014-2021","description":"\u003cp data-mce-fragment=\"1\"\u003eYEM Yayın has published a new book titled \"Dreaming for Sivas: Architectural Studio Selections 2014-2021,\" which is a comprehensive selection of architectural studio projects carried out in the Architecture Department of Sivas Cumhuriyet University, conceptualizing Sivas as an experimental space.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eCities are laboratory spaces for schools of architecture. The theme \"Dreaming for Sivas\" marks the pedagogical approach to this experimental space within the context of an architectural studio. This book, prepared for publication by Associate Professor Dr. Uğur Tuztaşı and Dr. Pınar Koç, consists of a selection of architectural studio projects carried out between 2014 and 2021 in the Architecture Department of Sivas Cumhuriyet University, conceptualizing Sivas as an experimental space. Conceptualizing the city as an experimental space ensures that architecture students are not only subjected to a project process that produces solutions to a defined problem area but also enveloped in a discovery process structured around opening all their intuitive and perceptual antennae to the city and feeling the city's daily rhythm.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eUğur Tuztaşı and Pınar Koç, who have created projects by dreaming for Sivas together with their students in design studios, share their views on the design studios, what they have contributed to their students, and the book:\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\"...A design studio needs to be designed with different content. Regardless of the defined problem and the position of the studio participants in the design studio, it is essential to enliven the studio environment to save the process from monotony. Applications that distance one from the main problem by stepping back, when necessary, and other pedagogical methods should be integrated into the studio. Diversity can reveal ideas, productions, and other often-ignored meanings\/abilities of studio participants that directly open to the inevitable processes and results of the initially defined problem area. Since changes in pedagogical tools prepare a conducive environment for experimental applications, the position taken by all participants and the solutions they offer in the face of different design activities are more easily distinguishable. It is discovered that participants, evaluated on a project group basis as a homogeneous studio environment, have different learning styles and the capacity to develop different skills in the face of different methods.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eAs the existence of a heterogeneous studio environment where there is no absolute truth in terms of skill, talent, and visual thinking is accepted, roles are redefined. Just as the distribution of forms of responsibility based on design research and design activity changes with each method\/application change, feeding the studio environment with other tools enhances the diversity of the act of designing. Whether they are hidden curriculum applications or experimental methods, all methods transformed into praxis shape the studio environment. The path reached, in the end, is not the only way out but a productive environment tested with diversity...\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe process, scale, and content differentiation carried out in project groups also determine the method of selecting project topics. At this stage, there are two main determining factors. The first of these is initiatives aimed at renewing and improving significant transformation areas, decaying spaces, or idle parts in the city, and such themes spontaneously emerge on the city's agenda. The second main factor determining the method of selecting project topics is the opportunities offered by the architecture education curriculum and the different levels of professional experience reached by the student in each period. In other words, the architectural studio, as the 'backbone' of the architecture education curriculum, emerges as a critique of the existing order in urban space, and the studio transforms the act of designing from static knowledge into practice. This allows for the engagement of design mechanisms such as strategy and tactics within the studio, transcending its traditional patterns.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eAnother point to be emphasized within the \"Dreaming for Sivas\" theme is that instead of structuring architectural project studios as an endless and breathless process, sometimes small stopping points are built to increase design diversity in the studio, make the design process more efficient, and integrate the act of designing more into the studio. This means that a problem area generally expected to be discovered, subjective experiences, and alternative designs created for a solution are presented through a space of relief\/relaxation\/distancing, such as a sketch exam or sketch applications in an architectural studio. This process, which represents a kind of stop-and-rest, a stage of distancing from the project and the project process, brings another area of experience where design exercises are performed into the studio. In some sketch applications where a specialized pedagogical method is not configured, designs that emphasize urban experience are mostly focused on. Such content can be structured as a monument design or as a spatial organization regarding current urban-scale problems. Ultimately, the fundamental impulse of this entire process is to enable the individual, as an architecture student and an aspiring architect, to experience urban space and internalize it.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe purpose of this entire process, structured around experiencing the city, can be described as getting to know the built environment one lives in, perceiving urban values, and analyzing permeable relationships between urban layers. More specifically, with an expression emphasizing a specialized area of interest, contents such as comprehending Sivas's urban scale, increasing historical space perception, questioning historical environmental layers, and defining awareness for the living city are the themes targeted by the project topics discussed under the \"Dreaming for Sivas\" axis. Furthermore, the project topics covered in the book include the output products and process of an experiential space varying from current urban agenda issues, from a single building scale to urban and historical environment analysis, and monument designs developed through hereditary images embedded in Sivas's urban memory. This content is also configured in the sense of revealing potential future possibilities in urban space and generating alternatives through spatial scenarios...\"\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe areas where projects and designs were developed in Sivas and the working titles included in the book are listed as follows:\u003c\/p\u003e\n\n\u003cul data-mce-fragment=\"1\"\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of Sivas Yıldız Blocks Campus and Its Vicinity\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eFrom Section Models to Spatial Function: Free Design Experiments\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eTeacher's House in the Former Military Hospital Campus\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Former 4 Eylül Stadium Area\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eSivas High-Speed Train and Railway Heritage Monument Design\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eAnalysis of Sivas Archaeology Museum's Vicinity and Ethnography Museum\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Vicinity of the Historical Meydan Mosque\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Vicinity of the Historical Güdük Minaret\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eAnalysis of Höllüklük Street's Traditional Texture and New Building Proposals\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Historical Gendarmerie Building and Its Vicinity: Sivas City Museum\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eTemporary High-Speed Train Station\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Former Numune Hospital and Its Vicinity: Sivas City Museum\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eFaculty of Law in Sivas Cumhuriyet University Campus\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eSports Complex\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003e4 Eylül Science and Technology University Campus Design\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eNatural History Museum and Science Center in Sivas Cumhuriyet University Campus\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Vicinity of the Historical Subaşı Han\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Historical Wheat Market Area\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Historical Former Prison Building and Ethnography Museum\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eSivas, the Capital of Folk Songs, Monument Design\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eMuzaffer Sarısözen Monument Design\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eFountain Designs\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eAşık Veysel Şatıroğlu Monumental Tomb Design\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eSivas Congress 100th Anniversary Monument Design\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210177267,"sku":"9786257008457","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/YEM_SIVAS_ICIN_DUSLEMEK_KAPAK_d2c7ece9-0b37-4ed9-89de-8d9f09cd1cf3.jpg?v=1677655426"},{"product_id":"ekrem-erk-mimarligi-the-architecture-of-ekrem-erk","title":"Ekrem Erk Architecture","description":"\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eThe book titled \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt; mso-ansi-language: EN-GB;\"\u003eEkrem Erk\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .2pt; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .4pt; mso-ansi-language: EN-GB;\"\u003eMimarlığı\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .2pt; mso-ansi-language: EN-GB;\"\u003e \/ \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .4pt; mso-ansi-language: EN-GB;\"\u003eThe Architecture of\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .2pt; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt; mso-ansi-language: EN-GB;\"\u003eEkrem Erk\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt; mso-ansi-language: EN-GB;\"\u003e, which presents architect Ekrem Erk’s architectural journey based in Istanbul and Vienna since the 1970s through his projects, was published in Turkish and English by YEM Yayın.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt; mso-ansi-language: EN-GB;\"\u003eTo read Ekrem Erk’s perspective on architecture from his own and his colleagues’ writings:\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003eEKREM ERK:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003e “\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .3pt;\"\u003eWhat is good architecture? I cannot define it to you. Here, I only want to talk about the issues I valued or was late in valuing in my architectural journey, and my design actions. In doing so, I do not want to give an ideological meaning to architecture. Human existence develops in connection with individual freedom. One creates one’s own values in a certain environment. The existence of design should also emerge with a certain technique and method. That is, it should be the result of a mental activity. The melting pot where our emotions and thoughts meet expresses culture. Here, there is a balance between our emotions and thoughts. For the designer to pursue a dream by utilizing his emotions is a creative phenomenon. It is preconceived; it is authoritarian. However, the earth and the social environment should not be left to the irresponsibility of someone being creative for others. \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt;\"\u003eArchitecture, on the other hand, is the realization of an ideal program, spatial fiction, innovative techniques, and poetic details within an analytical context. Design should be an invention achieved at the end of such a process. This result is original and unique. Every design must have a scenario. The fairy tale imagined by the architect is a whole that brings together all our knowledge, education, technical, and sociological accumulations…”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; mso-ansi-language: EN-GB;\"\u003eUTE NEUGEBAUER: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003e“In all his designs, Ekrem Erk tries to find a common path by navigating between functionality, design, and the client’s own history. A timeless architectural approach that always embodies architectural values, independent of fashion trends, and the desire to offer added value to the client... Erk approaches every design, and thus every client, with the same utmost attention, persistence, and joy of creation, regardless of its dimensions, architectural presence, and ostentation. With a love for detail and unobtrusive perfectionism...”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt;\"\u003eMEHMET KONURALP:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt;\"\u003e “Among his designs, small house projects have been my favorite works. The houses he built were meaningful projects for me. In particular, his interpretation of stone houses held a very important place in his work... \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .3pt;\"\u003eEkrem Erk has taken a leading position in Turkish architecture with the projects he has carried out for over 35 years...”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003eEBRU KAYA:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e“His first encounter with the profession of architecture came through his mentor, Prof. Dr. Bülent Özer. His mentor would now be his guide. The rebellion in his soul had found a path with Bülent Özer’s contribution. This path led him to Graz University of Technology in the early 70s. Those were the times when a movement or architectural search called “Grazer Schule” (Graz School) became distinct. The architects involved in this search were close friends and mostly shared the same drawing studio... \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .3pt;\"\u003eDuring the work processes I spent with him, I always witnessed that innovation and distinctiveness were not sought in form and space. Distinctiveness was hidden in the concept and the scenario of the building design. The design was already a result of that story. The first stage of our work was to transform a strong story into a perfect scenario with sociological criteria. This concept is now structured through the process of imitating examples in nature. Just as the creation concepts of ducks and dolphins differ; neither a dolphin resembles a duck, nor a duck resembles a dolphin or a seagull. Erk’s design process is like the creation process of living things. Just as whether these creatures are aesthetic or not is not judged, airplane, helicopter, and building design cannot be questioned with aesthetic criteria. The design of a building for which a scenario has been prepared consists of a skeleton and skin. All of this is now an engineering process; space is secondary; it is the remaining place under the cover or inside the skin and is very often anonymous. For Erk, architecture is not the art of creating space; it is a sociologically based fiction and the magic of engineering. He is happy that both fiction and engineering are open to innovations... I strongly advise my young architect colleagues and architecture students, in particular, to engage in a professional conversation with him.”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .35pt;\"\u003e-------------------------------------\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .35pt;\"\u003eThe book titled \u003ci\u003eEkrem Erk Mimarlığı \/ The Architecture of Ekrem Erk\u003c\/i\u003e, which has been based in Istanbul and Vienna since the 1970s, through his projects, was published in Turkish and English by YEM Yayın.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .35pt;\"\u003eIf we read Ekrem Erk's perspective on architecture from both his own and his colleagues' pens:\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003eEKREM ERK\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003e: “One difficult question is “What is fine architecture?” It is very difficult to give a precise answer to this question. My purpose in this book is to inform the reader about my architectural journey; my ideas and my concepts of importance, also concepts that I have been late in giving a response to, and to describe my acts of design. In doing so, I refrain from giving an ideological meaning to architecture. The existence of humanity develops in correlation with the level of his existence of freedom. All humans create their set of values in a certain environment. The design stage must be a product of technology and method, it must also be the result of just rational thinking. The synthesis where our feelings and decisions meet represents our culture. There must be a certain balance between our feelings and decisions. On one hand, the designer using his feelings, creating a vision and his dream is the describer of creativity. He is preguided and authoritative. On the other hand, the world and social community must not be left in the hands of an authority demonstrating his creativity on behalf of others. \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .15pt; mso-ansi-language: EN-GB;\"\u003eArchitecture can be described as defining the “room” by the usage of innovative techniques and poetic details with the help of an analytical mind. The design must be real and the end result of such a process. This result is unique. Each design must have a scenario. The story told by the architect is a resume and result of his knowledge, education, background and usage of technology with a sociological point of view...” \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINEN\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003eUTE NEUGEBAUER: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .35pt;\"\u003e“In all his designs, Ekrem Erk tries to find a common path by navigating between functionality, design and the customer’s own history. A timeless architectural approach that always carries architectural values, independent of fashion trends, and the desire to offer added values to the customer... Regardless of its size, architectural presence and ostentation, it treats every design, and thus every client, with the same utmost attention, persistence and joy of creation. With love of detail and unobtrusive perfectionism...”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINEN\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .25pt;\"\u003eMEHMET KONURALP:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .25pt;\"\u003e “\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003eAs a result, he produced very positive projects and brought them to the present day. In almost all of his projects, there was a common idea that was previously structured. This conceptual view has always been the main basis for all his projects… Ekrem Erk has taken a leading place in Turkish architecture with the projects he has done for more than 35 years…”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINEN\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128;\"\u003eEBRU KAYA:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003e“His first encounter with the profession of architecture was thru his teacher Prof.Dr. Bülent Özer. Bülent Özer has always been a mentor in his life and has been the person who discovered the tempests in his soul and has quided him for finding an outcome. A second start in his career was with his new start at Graz Technical University at the beginning of 70s. Those years were the period when the search for a movement of architecture called ‘Grazer Schule’ (Graz School) became evident. The architects involved in this movement are close friends and most of them shared the same drawing room… \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .1pt; mso-ansi-language: EN-GB;\"\u003eDuring the working process I spent with him, I witnessed that innovation and difference are not always sought in form and space. Difference; It was hidden in the scenario of the concept and building design. The design was already a result of that story. The first stage of our work was to transform a strong story into a perfect scenario with sociological criteria.\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .1pt; mso-ansi-language: EN-GB;\"\u003eThis concept is now structured through the process of imitating examples in nature. Just as the creation concepts of ducks and dolphins differ, neither a dolphin resembles a duck nor a duck resembles a dolphin or a seagull. Erk’s design process is like the creation process of living things. Just as it is not possible to judge whether these creatures are aesthetic or not, the design of aircraft, helicopters and buildings cannot be questioned with aesthetic criteria. The design of a building with a scenario prepared consists of skeleton and skin. All this is now an engineering process, space is secondary. It is the leftover place under the covers or inside the skin and is often anonymous.\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .1pt; mso-ansi-language: EN-GB;\"\u003eFor Erk, architecture is not the art of creating space, it is a sociologically based fiction combined with the magic of engineering. He is happy that both the design and the engineering are innovative… I highly recommend my young architect colleagues and architecture students to attend a professional conversation with him.”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan class=\"PlainTable31\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; font-style: normal;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206834931,"sku":"9786257008884","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/EKREMERK_KAPAK.jpg?v=1729172695"},{"product_id":"cagdas-mimarlik-ve-sanat-prof-dr-bulent-ozer-e-armagan","title":"Contemporary Architecture and Art - In Honor of Prof. Dr. Bülent Özer","description":"\u003cp\u003e“In reality, Bülent Özer was a thinker far ahead of his time. It is difficult to believe that he was adequately read and understood. If he had been properly assimilated, contemporary Turkish architecture would not have been stifled by Western imitation...” The book \u003cstrong\u003eA Tribute to Prof. Dr. Bülent Özer: Contemporary Architecture and Art\u003c\/strong\u003e, prepared by \u003cstrong\u003eYEM Yayın\u003c\/strong\u003e with the aim of introducing Bülent Özer, whom Prof. Dr. Suha Özkan described in this way, to future generations, has been published.\u003c\/p\u003e\n\n\u003cp\u003eDedicated to the memory of Prof. Dr. Y. Eng. Architect Bülent Özer, one of the most important figures in the discipline of Architectural History in Turkey, whom we lost in June 2016, the book contains four sections following the article \"Who is Bülent Özer?\" penned by Prof. Dr. Filiz Özer. The first section, titled \"Selected Articles by Bülent Özer,\" was compiled to bring back into focus some of Bülent Özer's influential writings, published in various outlets over the years, which reflect his extensive knowledge and generated significant discussion. The second and third sections, prepared as a selection of invited papers and open-call articles presented at symposia held in Özer's memory since 2017, focus on the themes of \"Old-New Relationships\" and \"Technology and Art,\" respectively. The fourth section includes commemorative articles written in the context of the symposia... Finally, the book, which also contains a comprehensive \"Bülent Özer Bibliography,\" lists the chapters, topics, and authors as follows:\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e\n\u003cstrong\u003eSELECTED ARTICLES BY BÜLENT ÖZER\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\t\u003cli\u003eDefinition and Scope of the Concept of Art Towards the Year 2000\u003c\/li\u003e\n\n\t\u003cli\u003eA System Proposal on Design Methods in Architecture\u003c\/li\u003e\n\n\t\u003cli\u003eMimar Sinan as a Representative of Pluralism in Mosque Architecture\u003c\/li\u003e\n\n\t\u003cli\u003eA Classificatory Look at Postmodernism\u003c\/li\u003e\n\n\t\u003cli\u003eBruno Taut: On His Personality and a House on the Bosphorus\u003c\/li\u003e\n\n\t\u003cli\u003eCelâl Esat Arseven\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e\u003cstrong\u003eOLD-NEW RELATIONSHIPS\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\t\u003cli\u003eDifferent Solutions for Utilizing Tradition in Contemporary Architecture: Prof. Gottfried Böhm (Ayla Antel)\u003c\/li\u003e\n\n\t\u003cli\u003eThe Contemporary Meaning of Protecting Urban Defensive Structures (Işık Aydemir)\u003cbr\u003e\n\tKılıç Ali Paşa Bath Restoration (Cafer Bozkurt)\u003c\/li\u003e\n\n\t\u003cli\u003eThe Relationship Between Stage Architecture, Musical Drama, and Stage Design from Past to Present (A. Bengi Buğay)\u003c\/li\u003e\n\n\t\u003cli\u003eThe Impossible Synthesis: Innovation and Experience in Sedad Hakkı Eldem’s Arkitekt Articles (Efe Duyan)\u003c\/li\u003e\n\n\t\u003cli\u003eInconsistent Relationships with the Past in Architecture (Doğan Hasol)\u003c\/li\u003e\n\n\t\u003cli\u003eA Look at Old-New Relationships in Architecture Through Aga Khan Award-Winning Projects (Ebru Özeke Tökmeci)\u003c\/li\u003e\n\n\t\u003cli\u003eProf. Dr. Bülent Özer’s and Prof. Dr. Filiz Özer’s Thoughts on “Historical Continuity and Contemporary Architecture” (Filiz Özer)\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e\u003cstrong\u003eTECHNOLOGY AND ART\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\t\u003cli\u003eInterdisciplinary Thoughts at the Intersection of Design and Dentistry on Experience-Oriented Orthodontic Clinics (Abdüsselam Selami Çifter - Muhsin Çifter)\u003c\/li\u003e\n\n\t\u003cli\u003eArchitecture and Robotic Production: The Evolution of the Architect's Tools (Efe Gözen)\u003c\/li\u003e\n\n\t\u003cli\u003eThe Fourth Revolution (Ayşe Hasol Erktin)\u003c\/li\u003e\n\n\t\u003cli\u003eTwo Proposals for Sculptures as Spatial Interventions in Public Space (Meriç Hızal)\u003c\/li\u003e\n\n\t\u003cli\u003eThe Pinnacle of Performance Arts Architecture and Technology Relationship: Franco Dragone’s Water Theater (Anıl Özgür - Özge Gündem)\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e\u003cstrong\u003eIN THE WAKE OF BÜLENT ÖZER IN THE CONTEXT OF SYMPOSIA\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\t\u003cli\u003eLocality, Modernity, Stratification (Hasan Çalışlar)\u003c\/li\u003e\n\n\t\u003cli\u003eThe Active Intelligence Model of the Designer in Bülent Özer (Ufuk Doğrusöz)\u003c\/li\u003e\n\n\t\u003cli\u003eMy Professor Dr. Bülent Özer (Erol Evgin)\u003c\/li\u003e\n\n\t\u003cli\u003eOn Bülent Özer (Suha Özkan)\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003eProf. Dr. Ebru Özeke Tökmeci, the editor of the book, speaks of Bülent Özer in the preface as follows:\u003cbr\u003e\n“….. Throughout the long history of the Academy of Fine Arts, Art and Architectural History courses were taught by professors such as Vedad Bey (1899-1913), Celal Esad Arseven (1924-1943), H. Kemali Söylemezoğlu (1936-1946), Ali Saim Ülgen (1939-1944), Turgut Cansever (1946-1952), and Behçet Ünsal (1952-1982). After Prof. Dr. Bülent Özer joined the DGSA in 1964, Architectural History courses gained a new dynamism with the addition of Contemporary Architecture topics to their curriculum. In the words of Prof. Esad Suher: ‘… [Özer’s] work and lectures on architectural history, especially contemporary architecture, marked a real advancement in this discipline at our institution. His lectures were a cultural feast, with students from other university faculties eager to attend.’\u003cbr\u003e\n….. Prof. Dr. Özer’s publications, based on his academic work spanning many years, cover a wide variety of topics, from comments on culture, art, and architecture to concepts of historicity and tradition, from introductions to local and foreign artists and their works to impressions of architectural works. This undoubtedly involves a multifaceted, research-oriented personality and a broad perspective that goes beyond conventional frameworks. Özer’s interpretation of the concept of culture is broad enough to guide humanity’s efforts to emerge from its current crisis: ‘Culture is the state of balance between the intellectual and emotional worlds of a given society, within the framework of that society’s real needs and possibilities in material and spiritual realms.’ Achieving this balance makes the creativity of society an important factor. The creativity mentioned here, however, can only be achieved by enabling every individual to actively exchange information with their environment, establishing a conscious system of positive or negative relationships with objects.\u003cbr\u003e\nAccording to Özer, a work of art is interpreted as ‘the sensory symbol of culture.’ In this case, one can speak of an unlimited and organic connection between a society’s culture and its art, and its art and its culture. Özer defines the concept of art as ‘the ability to provide impulses that can affect an individual, and ultimately society, spiritually,’ and this definition necessitates thinking about aesthetic experience. Aesthetic experience should not be perceived merely as ‘pleasurable experience,’ ‘beautiful experience’; a work of art should be able to be pleasing, joyful, amusing, saddening, surprising, or figurative, abstract, permanent, or temporary, depending on the context.\u003cbr\u003e\nProf. Dr. Bülent Özer defines architecture, which he considers the foremost of the arts aimed at creating spatial arrangements, as well as a complex yet organic synthesis of various data and disciplines, as ‘the ability to arrange space in a way that can emotionally support the activities it houses, within the framework of a society’s real possibilities and needs.’ Indeed, all kinds of work and behavior in this field, from the smallest irreducible spatial units to spatial arrangements that can be extended to the largest scale, can easily be accommodated within the scope of the architectural concept. In this definition, the concept expressed as a society’s unique needs points to the function of the architectural work, while unique possibilities emphasize the optimal financing factor as well as the technological capabilities that will determine the material, construction, and structure of the work, and the idea of emotional support describes the artistic effect...”\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206638323,"sku":"9786257008921","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Cagdas_Mimarlik_Sanat_KAPAK.jpg?v=1732711564"},{"product_id":"ktu-nun-kurulus-yillarinda-mimarlik-egitimine-adanmis-bir-yasam-iki-mimar-ozgonul-erdem-aksoy","title":"A Life Dedicated to Architectural Education in the Founding Years of KTU Two Architects: ÖZGÖNÜL – ERDEM AKSOY","description":"\u003cp\u003e“The services Özgönül and Erdem Aksoy rendered to Karadeniz Technical University, and especially to KTU Faculty of Architecture, are beyond all praise. The injustices they faced after 1980 are unacceptable. As strong saplings, these two valuable people who took root in the university of my beloved city and who still exist there today as two mighty plane trees with their memories, will live on in our memories as exemplary academics, exemplary people…”\u003cbr\u003e–GÜLSÜN SAĞLAMER\u003c\/p\u003e\n\u003cp\u003eThe book entitled \"A Life Dedicated to Architectural Education in the Founding Years of KTU, Two Architects: ÖZGÖNÜL – ERDEM AKSOY,\" prepared to both commemorate and pass on to future generations Prof. Dr. Özgönül and Erdem Aksoy, founders of the Department of Architecture at Karadeniz Technical University's Faculty of Engineering and Architecture, has been published in collaboration with the Association for Architectural Education (MimED) and YEM Yayın.\u003c\/p\u003e\n\u003cp\u003eProf. Dr. Özgönül and Erdem Aksoy, founders of the Department of Architecture at Karadeniz Technical University's Faculty of Civil Engineering and Architecture, were commemorated by the Association for Architectural Education (MimED) at a meeting held at the ITU Faculty of Architecture, Taşkışla, the institution where they themselves were educated. The event, attended by their friends, colleagues, and students, celebrated their lives dedicated to architectural science and education.\u003c\/p\u003e\n\u003cp\u003eIn this book, prepared for publication by Türkan Ulusu Uraz and Ahsen Özsoy, the extraordinary story of the Aksoys begins when they, as young faculty members, laid the foundations of the KTU Department of Architecture in Trabzon in the 1960s, after entering ITU as architecture students. Subsequently, you will embark on a long journey that encompasses their dedicated and resolute development of the department they established; their answer to the question \"how can contemporary architectural and design education be provided?\" in an Anatolian city far from the center; the lasting and developmental impact they had on their students and educators through the educational model they created; their achievements, their unfulfilled aspirations, their joys, and their sorrows.\u003c\/p\u003e\n\u003cp\u003eOn this journey, which is both intriguing and educational, you will learn about the Aksoys and the early years of the KTU Department of Architecture from first-hand accounts. You will understand their surprisingly inspiring personalities, efforts, and the magnitude of their largely unappreciated values, considering the conditions of their time.\u003cbr\u003eAnd perhaps, by the time you reach the end of the book, you won't be able to help but ask, \"If these two people, who achieved so much in approximately 15 years of service, had been able to remain in their positions for another 15 years, what wouldn't have happened?\"\u003c\/p\u003e\n\u003cp\u003eThe book's editors' views on its content, preparation process, and the Aksoys are summarized as follows:\u003cbr\u003eAHSEN ÖZSOY: “The series of commemorative meetings titled 'The Unforgotten,' organized by the Association for Architectural Education (MimED) and focusing on architectural educators, holds a very special and significant place among all MimED activities. In the first product of this series, the multi-layered story of the Aksoys' lives dedicated to architectural science and education is conveyed through the testimonies of their friends, colleagues, and students. Thus, the establishment of a university, its organizational and spatial development, and the shaping of architectural education under the conditions of those years, and consequently the founding and development story of the KTU Department of Architecture, are evaluated from various perspectives.\u003c\/p\u003e\n\u003cp\u003eThe book profoundly introduces these two valuable figures, this education-loving couple, who left their mark on the development of architectural education in Turkey, through their lives and educator personalities. While Mr. Erdem's approach emphasized the rational and scientific content of architectural education, Ms. Özgönül prioritized life and humanity in education; in essence, these seemingly different perspectives converged in their search for an answer to the question 'What constitutes good architectural education?'\u003c\/p\u003e\n\u003cp\u003eI believe that by reading about how this difficult and incredible effort in Trabzon, at a time when only a few architectural schools were located in big cities, was undertaken, its costs, its results, and its current impacts through different authors, today's architectural education environment will also be evaluated with a different perspective. I think this book, which will ensure that these two valuable people who left deep traces by realizing this unique project, one of the important milestones of architectural education in Turkey in the 100th year of our Republic, are recognized and understood in various aspects, will also be a guide for research on the history of architectural education in our country…”\u003c\/p\u003e\n\u003cp\u003eTÜRKAN ULUSU URAZ:\u003cbr\u003e“The Association for Architectural Education (MimED, 1998) organized a meeting on November 29, 2013, to commemorate Prof. Dr. Özgönül and Erdem Aksoy, the founders of the Department of Architecture at Karadeniz Technical University (KTU) Faculty of Civil Engineering and Architecture. They were remembered through their lives dedicated to architectural science and education, and their personalities, with the participation of their friends, colleagues, and students, and also under the roof where they were educated, at ITU Faculty of Architecture, Taşkışla... It was gratifying that the texts matured by those who requested to speak as listeners during the meeting; and the carefully written articles by Aksoys' students Gamze Kaymak Heinz, Bekir Gerçek, and their friends Yavuz Önen and Sevinç Hadi, who heard about the book preparation, were included in our book. Furthermore, Ülkü Özen and Şehnaz Özkan, who wanted to share the letters and cards the Aksoys wrote to them from their drawers; our graduates S. Mehmet Altuner, Nurel Akkaş, Tahir Ayçiçek, T. Fikret Bilgin, Erkin Erten, Bekir Gerçek, Gülnaz T. Gezgin, Ayhan Karadayı, Şengül Öymen Gür, Şenay Ö. Eryavuz, Kayhan Topel, Zihni Turkan, Vehbi Tosun, İlkay Özdemir, N. Kırhan Yazıcı, Seyhan Yılmaz, KTU Alumni Association President Bedir Toker, and my professor Erdal Aksugür did not withhold their support by opening their photo archives and patiently answering my endless questions about them; we owe them our gratitude. The photo archives of my professor Hasan Saltık, my classmate İbrahim Okman whom we lost too early, and the late Haldun Özen, a friend of the Aksoys, were always with us. Naturally, only visuals from the early years of KTU could be included in our book...\u003cbr\u003eThe articles in the book were organized under three main headings after the Introduction and Opening Speeches. The meeting speech texts were grouped under the heading 'NARRATIVES AND ACCOUNTS ABOUT THE AKSOYS' as The Aksoys' ITU Years: Educational Ideals; The Aksoys' KTU Years: Design of Architectural Education and Environment; The Aksoys' Post-KTU Period, and Memories and Comments from the Audience. The second heading, 'WRITINGS ABOUT THE AKSOYS,' consists of published texts written after the Aksoys' passing by their friends, most of whom are no longer alive. The third heading, 'WRITINGS AND DRAWINGS BY THE AKSOYS,' is a selection of scientific articles, award-winning designs, and additionally, letters and cards that served as a means of meeting and communicating with distant friends, with an emphasis on those related to education. Between these sections, there are photographs illustrating the Aksoys and the KTU environment of the time. Considering that nowadays, every moment can be captured by mobile phones and easily erased from our memory, the value of these photographs, at least half a century old, shared with us by Aksoy's friends, is priceless. Perhaps for this reason, we prioritized using almost every photograph suitable for printing to better explain the environment. We hope that each of these will carry a different memory and narrative value for the reader, encourage them to imagine what they read, perhaps to re-read it, and transform the transition between headings into a visual feast.\u003cbr\u003eIn conclusion, this book sheds light on the mission of architectural education and educators, research in architectural sciences, and the identity of architectural schools, as well as the founding years of KTU between 1965 and 1982, through the Aksoys' last 35 years of life, which included their teaching duties at the KTU Department of Architecture, which they founded, as well as their roles as Head of the Department of Architecture, Dean of the Faculty of Civil Engineering and Architecture, and Rector at the same institution. Therefore, it can serve as a guide for young academics and administrators in founding and innovative ventures in higher education. It also humbly notes, based on testimonies, the chaotic environment experienced by universities in the oppressive military rule of the late 80s and before, and finally the unfair purge and isolation suffered by the Aksoys. The aim is to remind people of what has been forgotten and to make people aware of what has been overlooked...”\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208112883,"sku":"9786257008662","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_OZGONUL_ERDEM_AKSOY_KITAP_KAPAK.jpg?v=1733316492"},{"product_id":"tasarimin-pesinde-1960-lar-avrupasinda-bir-mimarin-gezileri","title":"In Pursuit of Design – A Journey Through 1960s Europe by an Architect","description":"\u003cp\u003e“In Pursuit of Design – A Journey of an Architect in 1960s Europe,” a book by Civil Engineer Architect Firuzan Baytop, which recounts his impressions and memories of his European travels in the 1960s, has been published by YEM Yayın.\u003c\/p\u003e\n\u003cp\u003eFiruzan Baytop’s daughter, Binnaz Baytop Dinçer, who compiled and prepared the book for publication from the notes Baytop took in his diaries during his travels as a young and successful architect, says in the preface: \u003cbr\u003e“What was it like to be a tourist, to travel in times without smartphones, the internet, or social media? To etch what you saw into your memory instead of sharing it on Instagram, perhaps keeping a diary…\u003cbr\u003eWhat was life like in European cities amidst a Europe that was rapidly recovering after World War II, pursuing new cultural and artistic discoveries, and the tourism boom created by the people who embarked on these discoveries?\u003cbr\u003eThis book has been prepared based on the diaries kept by my father, Firuzan Baytop, during his European travels, which he first undertook in 1959. The notes he took during these trips offer a snapshot of Europe in the early 1960s, providing an opportunity to compare it with Turkey of those days and to evaluate the perspectives of that time and today.\u003cbr\u003eThe first journey, undertaken with his architect friend Prof. Muhteşem Giray as a cultural and architectural exploration, paved the way for other trips in subsequent years, and my father embarked on an adventure to European cities almost every summer holiday starting from 1959…\u003cbr\u003eI hope you will enjoy this book, which I prepared for my father’s 100th birthday, and these journeys as much as he did…”\u003c\/p\u003e\n\u003cp\u003eFiruzan Baytop describes Vienna, the starting point of his travels, and the Viennese people in his unique style: \u003cbr\u003e“Vienna was our first direct contact with Europe, meaning for us, it was Europe itself. People who could only stay in Vienna for two days, unable to form close friendships and relationships with the city’s inhabitants, certainly cannot claim to have fully known the city. We too could only know Vienna to that extent. Austrians are clean people. Their cities are as pristine as they are. We used to think Germans were blonde, but it turns out the real blondes are Austrians! Based on what we saw from a distance, their young women, especially, are very beautiful. With their clothes, well-groomed hair, and various perfumes, they have transformed their cities into flower gardens...\u003cbr\u003eLeaving aside the beautiful stone houses, we can say that what makes Vienna Vienna are its palaces and the parks and gardens, sculptures, and churches surrounding them. Each one is magnificent and exceptionally well-maintained. They attract throngs of tourists. The surroundings of these structures, most of which are gathered around the Hofburg, are always filled with tourists with cameras in hand…”\u003c\/p\u003e\n\u003cp\u003eBetween 1959 and 1964, Baytop describes his impressions of numerous cities such as Munich, Frankfurt, Berlin, Stockholm, Copenhagen, Amsterdam, Rotterdam, London, Paris, Milan, Venice, Rome, San Marino, Cannes, Nice, Barcelona, Zurich, and Lausanne, after Vienna, all through the eyes of an architect. In his diaries, he blends the European cities striving to recover rapidly after World War II with their architectural features, prominent historical and modern buildings, squares, and human stories, practically taking the reader on an enjoyable journey alongside him.\u003cbr\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210439411,"sku":"9786257008938","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_TasariminPesindeBirMimarinGezileriKAPAK.jpg?v=1734000812"},{"product_id":"i̇simsiz-seyyareler","title":"Anonymous Planets","description":"\u003cp\u003eŞükran Balekoğlu Yamak's new book, \u003cem\u003eUnnamed \"Wanderers\"\u003c\/em\u003e, has been published by YEM Yayın.\u003c\/p\u003e\n\u003cp\u003eThe book features five stories whose protagonists are women with heart-wrenching experiences.\u003c\/p\u003e\n\u003cp\u003eAdil Hacıömeroğlu, describing the author's literary nourishment as her ability to draw from her rich roots without straying and to convey it in a simple and fluent manner without forcing the language, says the following in the book's Foreword:\u003c\/p\u003e\n\u003cp\u003e“Whether stories are lived firsthand or written as realistic fiction, they always preserve their inherent realism. Realism and verisimilitude increase people's interest in a story. Even if they are seen as short-lived, that short breath gives life to an existence.\u003c\/p\u003e\n\u003cp\u003eThe lives of people on Earth are never the same. The process we call life is an uphill and downhill road. A person experiences the contrasts of life together. Isn't the natural balance based on contrasts anyway? Would the value of day be known if there were no night? Would humankind yearn for spring if it didn't feel the hardships of winter to its core?\u003c\/p\u003e\n\u003cp\u003eŞükran Balekoğlu Yamak is a writer from my hometown. She is also a good friend of mine… We met in a virtual environment. Our writings brought us closer. Our distant friendship in the virtual world moved to phone calls. Like a forty-year-old friend, or, if you will, like a daughter from a relative's house. However, we haven't yet met this warm-hearted person face-to-face.\u003c\/p\u003e\n\u003cp\u003eBalekoğlu was born and raised in Zonguldak. Her connection to her ancestral lands in Of came through her elders. Thanks to her mother, she grasped all the subtleties of the language spoken in Of in general, and in Bölümlü (Zisino) in particular. She internalized the details of the dialectal features. Through her mother, she adopted the dialectal features of her native language.\u003c\/p\u003e\n\u003cp\u003eThis is why we call the language we learn in the environment where we are born and raised, the language in which we dream, our mother tongue.\u003c\/p\u003e\n\u003cp\u003eŞükran Hanım's mother was a wise Black Sea woman. Her memory was very strong. She was a living example of oral history in her time. She did not take what she knew, her experiences, and what she lived through to her grave; she passed them on to her daughter like the most precious heirlooms in a chest. Şükran Balekoğlu knew the value of this heirloom and put it into writing. I had read her two previous books (\u003cem\u003eKal-leş\u003c\/em\u003e and \u003cem\u003eKurdar Beni Daa\u003c\/em\u003e) breathlessly. As in her previous books, in this book too, she recounts life's realities and experiences with her simple language, without altering a single comma.\u003c\/p\u003e\n\u003cp\u003eThere is no forced language in her writing! Her stories reflect the spoken language of daily life. The use of colloquial language in her writings does not bore the readers. The events that are the subject of the stories find flavor with the readers through the simple language used.\u003c\/p\u003e\n\u003cp\u003eThere is a deep realism in each of the stories. Lived experiences make the stories attractive. All the stories tell of heart-wrenching events. The protagonists of the stories are generally women. Women who are crushed and scorned by feudalism, bad traditions, and sexual discrimination… In fact, bad traditions also crush the male protagonists. Opportunism and the lust for gain overcome love in the stories. Beautiful people with hearts full of love melt away in the face of evil. It's as if the monster of evil feeds on beauty…\u003c\/p\u003e\n\u003cp\u003eIn the stories, it is seen that other women are also active in the oppression and scorn of women, especially in \u003cem\u003eFatma-Dursun\u003c\/em\u003e and \u003cem\u003eYıldız-Nejat\u003c\/em\u003e this is very evident. It is all our duty to free our women from traditional feudal molds. It is also women who raise men…\u003c\/p\u003e\n\u003cp\u003eWhile the stories break the hearts of readers, they also make them smile at the same time. Isn't life like that too?\u003c\/p\u003e\n\u003cp\u003eI wish Ms. Balekoğlu success in her literary life. I know she has many stories in her store. She should share them with her readers. The gold beneath the earth should be brought to the surface so that it finds its value in the hands of the jeweler. Let the works that emerge begin their journey into eternity.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207588595,"sku":"9786257008563","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_ISIMSIZSEYYARELER_ONKAPAK.jpg?v=1734785430"},{"product_id":"avrupa-resim-yontemiyle-eslenik-dik-izdusum-alistirmalari","title":"Conjugate Orthographic Projection Exercises by the European Drawing Method","description":"\u003cp\u003eThe book titled \"Orthographic Projection Exercises with the European Drawing Method,\" meticulously prepared by Prof. Dr. Fehmi Kızıl, has been published by YEM Publications. It aims to assist architecture, interior architecture, and industrial design students, as well as artists, in visualizing shapes in three dimensions and developing their visual intelligence.\u003c\/p\u003e\n\n\u003cp\u003eFehmi Kızıl speaks about this meticulous work, which complements his books \"Technical Drawing in Architecture\" and \"Artistic Perspective,\" essential references in Turkish architectural and design education:\u003cbr\u003e\n\"In this book, prior to starting the orthographic projection exercises, information has been provided to facilitate the comprehension of the exercise questions. This includes explanations of orthographic projection and its epure representation, how to read orthographic projections, the graphic representation of tangent surfaces where no intersection occurs in orthographic projection, rules applied in three-dimensional graphic representation (perspective), the meaning of line types used in orthographic projection drawings, special position planes, and the three basic projections.\u003cbr\u003e\nIn three-dimensional perspective drawings made with parallel projection, even though a reduction ratio is applied to edges parallel to axes other than those at a 90° angle, no reduction ratio was applied to edges parallel to the axes in the perspectives provided in the exercises in this book – this is to facilitate an easier relationship between the object's perspective and its orthographic projection.\u003cbr\u003e\nIn the perspective drawing of objects that do not have edges parallel to the front view direction, the lines parallel to the axes used in creating the perspective are shown with dotted lines; this ensures easier comprehension of the axis parallel to the front view direction and the object's position relative to the front view direction, thereby preventing errors in determining the object's orthographic projections.\u003cbr\u003e\nThe orthographic projection exercise questions are organized into four stages, progressing from easy to difficult. In the first, second, and third stages of the exercise questions, information to assist in answering the questions has been provided. In the supplementary information, 154 objects are given as examples, and 261 objects are used in the exercise questions.\u003cbr\u003e\nThe objects used in the orthographic projection exercises are shapes formed by plane, cylinder, cone, and sphere surfaces, which are easy to understand. The orthographic projection exercise questions are arranged from easily comprehensible shapes to more complex ones.\u003cbr\u003e\nIn the first and second stages of the exercises, questions are included that do not require mental visualization of the object. Instead, by providing the object's three-dimensional graphic representation (perspective) and its front view direction, these questions aim to help in understanding the object's specially positioned planes and identifying its three basic projections (views) from among options.\u003cbr\u003e\nIn the third stage of the exercises, to develop the skill of mentally visualizing the object, participants are asked to correctly select the missing projection from options, given one or two basic projections (views) of the object.\u003cbr\u003e\nIn the fourth stage of the exercises, to develop the skill of mentally visualizing the object, questions are included that require identifying incorrect lines or lines in the object's three basic projections (views).\u003cbr\u003e\nThe solutions to the exercise questions are provided with explanations in the 'Solutions' section.\"\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206114035,"sku":"9786257008952","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/ESLENIKDIKIZDUSUM_KAPAK.jpg?v=1736431511"},{"product_id":"unutulan-kadim-mimarlik-osman-murat-akan","title":"Forgotten Ancient Architecture - 2nd Edition","description":"\u003cp\u003e\u003cstrong\u003e\"Forgotten Ancient Architecture,\" a book prepared by Osman Murat Akan by writing and drawing some architectural styles and concepts that have taken place in our architectural journey spanning centuries but have gradually fallen into oblivion, was published by YEM Yayın.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEdited by Şener Çelik, with illustrations by Osman Murat Akan and illustration photographs by Lâl Yetki Seçkin, the book invites the reader to recall architectural elements, building types, and concepts that formed the cornerstones in the development of civilization throughout architectural history. \u003cbr\u003eIn his book, which draws from the fields of architectural history, art history, and archaeology, Murat Akan says the following regarding the preparation of this work:\u003cbr\u003e\"We forgot... We forgot architecture! Many architects, artists, or designers who shaped world architecture also forgot... We forgot stone, we forgot stone structures. We forgot the predominant elements of architecture.\u003cbr\u003eWhile our eyes were dazzled by the blessings of technology, we pushed aesthetics to the background. We forgot columns, we forgot arches; we forgot stone bridges, vaulted structures. We forgot to design and implement structures integrated with nature, belonging to nature itself. We forgot towers; we forgot cisterns, amphitheatres, agoras, monumental stones, monumental gates.\u003cbr\u003eWe forgot to look at designed and implemented structures with elements to which we attributed artistic meaning. We forgot domes, flying buttresses, weight towers, stone-crafted fountain structures, cantilevers. We forgot structural art, artistic styles. We forgot rose windows, sculptures, bay windows, mosaic floors, reliefs, Baghdadis, friezes. Yet the styles were beautiful; instructive and distinctive...\u003cbr\u003eWhile the forgotten styles and concepts from our architectural journey throughout centuries sadly smile at us from within the entire world history, acknowledging that some of them have completed their lives as structural elements, remembering these elements by combining them with new techniques means recreating the parallels that connect us to life with small touches that will revive the memories in the depths of our societal consciousness...\u003cbr\u003eArchitecture is only a part of life; it is not its purpose. Therefore, all aesthetic elements created, all art-valuable structures existing within the history of architecture, are tools created for us and made functional. What we need to do is to create the right concepts that can perpetuate these historical accumulations without being forgotten.\u003cbr\u003eThis work, while addressing this forgetfulness, also stands as a tribute to the artistic architectural elements that look at us from history. With a wish for an architecture where designers aim not to forget or cause to forget for the sake of innovation, but to keep alive...\"\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWHO IS OSMAN MURAT AKAN?\u003c\/strong\u003e\u003cbr\u003eHe received his bachelor's degree from Mimar Sinan Fine Arts University, Faculty of Architecture, Department of Interior Architecture. He completed his master's degree in Museum Management at Istanbul University, Faculty of Letters. \u003cbr\u003eFor many years, he undertook important works in the field of exhibition design. He became a solution partner for some institutions in design consultancy and management. Many of his designed and co-designed projects were brought to life.\u003cbr\u003eHis activities, designs, and applications carried out both domestically and abroad within the scope of his multi-legged project named \"Cultural Heritage Platforms\" attracted the attention of all stakeholders in the field of cultural heritage. With its content and scope, the platform became the most important and comprehensive structure and brand in this field worldwide.\u003cbr\u003eMurat Akan transfers his knowledge to new generations through his courses \"Exhibition Design\" at Mimar Sinan Fine Arts University, Department of Interior Architecture, and \"History of Istanbul Architecture\" at Istanbul Kent University.\u003cbr\u003eIn addition to his first book, \"The City Seeking Its Soul; Istanbul,\" which narrates the rise and fall periods in the social history of the city within the scope of architectural history, written with his experiences in various fields spanning many years, the author is also the author of \"Lost History,\" which focuses on the prehistoric settlements of Istanbul, \"Exhibition Design,\" which conceptually and structurally examines the designs applied in exhibition areas within the scope of his lectures at MSGSÜ, \"Memory Spaces; Museums,\" which he curated in collaboration with the Ministry of Culture and Tourism, and which features the implemented museum projects of many renowned national and international architects, and \"Black and White Diyarbakır,\" which records extensive research and inventories of restoration and archaeological excavations in the cultural heritage area in Diyarbakır. \u003cbr\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210668787,"sku":"9786257008976","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_UNUTULAN_KADIM_MIMARLIK_KAPAK.jpg?v=1739133365"},{"product_id":"yerebasan","title":"To ground","description":"\u003cp\u003e\u003cstrong\u003e\"Yerebasan\", a book from the Venice Architecture Biennales Turkey Pavilion series, has been published in collaboration with the Istanbul Foundation for Culture and Arts (İKSV) and YEM Publishing.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Turkey Pavilion at the Venice Architecture Biennale, which will host its 19th edition in 2025, has been organized by İKSV since 2014. For each biennale, the Turkey Pavilion project is determined through an open call by a selection committee. This year, architects Ceren Erdem and Bilge Kalfa curated the Turkey Pavilion exhibition, titled \"Intelligens. Natural. Artificial. Collective.\", and created their exhibition called Yerebasan. They also prepared an accompanying book, edited by Melis Cankara.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e19TH VENICE ARCHITECTURE BIENNALE TURKEY PAVILION: YEREBASAN\u003c\/strong\u003e\u003cbr\u003eThe Yerebasan project, inspired by the sensory and cyclical nature of soil, brings sustainable and environmentally harmonious ways of living to the forefront of architecture. Curators Ceren Erdem and Bilge Kalfa invite visitors to rethink humanity's relationship with nature, urging them to explore the depths of the soil. The exhibition is designed as a space where the texture, scent, and sound of soil can be experienced, surrounded by artworks and architectural projects that address soil from various perspectives.\u003cbr\u003eHüseyin Aksoy, Michael Akstaller, E. Füsun Alioğlu \u0026amp; Senem Akçay, Ali Mahmut Demirel, Sinem Dişli, Yelda Gin, Ali Miharbi, Özgül Öztürk, Serkan Taycan, and Orkan Telhan contributed individually to the exhibition, while Atelier FY, Bire-Pan, Common Action Walls, Herkes İçin Mimarlık \u0026amp; Poçolana Works, Mono Earth, Ozruh, Rec II, ReYard House, Solidified, and Yalın Mimarlık contributed as teams.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTHE YEREBASAN BOOK\u003c\/strong\u003e\u003cbr\u003eThe book, titled Yerebasan, which accompanies the exhibition, opens with the questions: “Are you an architect? Have you ever thought about how much soil you have shaped or displaced? Could the layers you interact with hold the key to a more harmonious relationship with the earth?” Throughout the book, which forms an independent intellectual foundation for the exhibition, the themes explored by curators Ceren Erdem and Bilge Kalfa are deepened by writers from different professions, offering various perspectives. The book also contains detailed articles about the artworks and architectural projects in the exhibition, as well as autobiographical narratives about the exhibition from the curators.\u003cbr\u003eEdited by Melis Cankara, the book features contributions from Aytek Soner Alpan, Sevince Bayrak, Enise Burcu Derinboğaz, Ceren Erdem, Ömür Harmanşah, Bilge Kalfa, Burcu Serdar Köknar, Aslı Odman, Bülent Tanju, and Evren Uzer. The book's design is by Paleworks (Ozan Akkoyun, Yağmur Ruzgâr), who are also responsible for the exhibition's visual identity.\u003c\/p\u003e\n\u003cp\u003eThe English edition of the book, published in partnership with İKSV and ListLab, is available at Venice Biennale bookstores and through international distributors.\u003c\/p\u003e\n\u003cp\u003eThe Turkish editions of the books prepared by İKSV to accompany the Turkey Pavilion exhibitions have been published in partnership with YEM Publishing for the last two architecture biennials. The first collaboration in this framework was for the Ghost Stories: The Theory of the Sack of Architecture exhibition, prepared by Sevince Bayrak and Oral Göktaş, the curators of the Turkey Pavilion exhibition at the 18th Venice Architecture Biennale.\u003cbr\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48380903424243,"sku":"9786259710211","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Yerebasan_kapak.jpg?v=1746533141"},{"product_id":"macar-turk-mimarlik-iliskileri-zafer-sagdic","title":"Hungarian Designs in Turkey – Hungarian-Turkish Architectural Relations in the 19th and 20th Centuries","description":"\u003cp\u003e\"Hungarian Designs in Turkey,\" a book edited by Zafer Sağdıç and Mate Gergö Kovacs, and published by YEM Yayın, presents a new area of previously undiscovered common cultural ties between Turkey and Europe, especially focusing on Turkish-Hungarian architectural relations. \u003c\/p\u003e\n\n\u003cp\u003eThe book was published within the framework of the \"2024 Hungarian-Turkish Cultural Year\" in cooperation with the Hungarian Ministry of Foreign Affairs and Trade, the Gül Baba Heritage Foundation, Yıldız Technical University, Budapest University of Technology and Economics, the Liszt Institute – Hungarian Cultural Center, and the Turkish Architecture Research Center.\u003c\/p\u003e\n\n\u003cp\u003eThe architectural drawings, ideas, and architectural relationships presented in the book, which describe the process ranging from the orientalist presentation and use of Turkish architectural culture to the application of modern architectural principles, were prepared with the joint collaboration of expert Turkish and Hungarian researchers and had not been previously presented to the public in this format.\u003c\/p\u003e\n\n\u003cp\u003eProf. Dr. János Krähling, Head of the Department of Architectural History and Heritage Preservation at the Faculty of Architecture, Budapest University of Technology and Economics, shared his thoughts on the book:\u003c\/p\u003e\n\n\u003cp\u003e\"Following the weakening of the Ottoman Empire's presence in Europe, the architectural community's interest in Turkish architectural culture did not wane. During this period, an interest emerged, becoming increasingly prominent from the 17th century onwards, characterized by an openness to learning and applying the significant works of Guarini's Moorish architecture, particularly its structures. In this era, Baroque architecture demonstrated an open perspective towards other cultures, including Turkish architecture. The Austrian architect Johann Bernhard Fischer von Erlach, in his work 'Entwurff einer historischen Architektur,' published in 1721 and enriched with architectural drawings, presented some significant monuments from the Ottoman architectural heritage, demonstrating such openness on a theoretical level and including the Ottomans in the first universal history of architecture.\u003c\/p\u003e\n\n\u003cp\u003eAmong the monuments of Hungarian architecture, we can find monuments suitable for this process, such as the Turkish mosque located in the Palace Garden in the city of Tata, a significant example of Hungarian romantic historicism. The romantic evocation of orientalist forms initially characterized these relations. Later, architectural projects related to Turkey became part of professional public life within the scope of customary client, jury, design, and construction activities.\u003c\/p\u003e\n\n\u003cp\u003eThe architectural drawings in the book present the architectural connections between Hungary, German-speaking countries, and Italy, which were important former European partners of the Ottoman Empire.\u003c\/p\u003e\n\n\u003cp\u003eFrom the late Ottoman period to the early Republican era, many Hungarian architects designed a series of spaces in Turkey that reflected the common European dimension, the knowledge they acquired at German universities, Hungarian design practice, and the needs of Turkish clients and practitioners. These spaces, even if they were not realized, can be considered a special projection of mutual interaction and knowledge transfer. Although this book primarily focuses on unrealized projects, it later describes the 'driving force' that can be perceived as a ripple effect based on a series of additional thought activities in Hungary. Károly Kós, who was a scholarship holder in Turkey, made the following statements in connection with Istanbul's urban architecture and public institutions: 'This is what the city is; this is not just any city. (...) I believe that this work cannot be done by a foreigner; it must be done by Turkish architectural science and art...'\"\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208243955,"sku":"9786259710228","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_MACARLARIN_TASARIMLARI_TURKIYEDE_KAPAK.jpg?v=1749000788"},{"product_id":"seramik-ve-cini-terimleri-sozlugu","title":"Glossary of Ceramic and Tile Terms","description":"\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eThe book titled \"Dictionary of Ceramic and Tile Terms\", prepared by Cahit Yılmaz to contribute to a healthier definition of Turkish tile and ceramic art, was published by YEM Yayın.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eThe book offers a broad perspective ranging from tile and ceramic production materials, tools, techniques, and methods to motif and color usage; from historical production centers to regional characteristic details; and from famous tile masters to styles. Enriched by including terms from ceramics, pottery, archaeology, and architecture, in addition to tiles, the book provides information that goes beyond a mere dictionary, with original examples of the concepts explained accompanied by numerous color photographs and drawings. Thus, a very rich collection of works, many of which are in private collections and presented for the first time in this book, is shared with the reader.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eCahit Yılmaz, who says, \"Tile art is perhaps the most magnificent of all decorative arts,\" explains his reason for preparing such a work as follows:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003e\"A significant problem noted in research and publications on tile art is that tile terminology is not sufficiently systematic and lacks coherence. We see that the same concepts are used differently by different authors. The definitions, scopes, similarities, or differences between terms have not been clearly established. Especially the word 'çini' (tile) has been expressed with different terms in different geographies. While this art form was called 'kaşi' in Iran, Turkestan, and Anatolia, the word 'çini', which later entered Turkish, became widespread and established. Although it is not possible to go back, thinking about the origin and use of this word is an important part of the terminology discussion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eWe can say that a similar confusion exists in Western languages. The French called this concept 'céramique', the English 'ceramic' or 'tiles', and the Germans 'keramik'. Researchers in Turkey directly adopted these terms according to their own schools, often using the words 'çini', 'seramik', and 'keramik' interchangeably. However, there are significant differences in meaning between these terms. Based on these observations, I realized that terminology is of great importance in the writing, narration, and learning processes related to tile art. Terminology is the alphabet of art; it is impossible to read or write without knowing the alphabet…\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eDuring my 25 years of service in Kütahya, I developed an interest in tile art and had the opportunity to learn this art firsthand from its masters. With both theoretical and practical knowledge, I started producing tiles; I held three personal exhibitions, wrote seventeen articles, and prepared three books that are in the printing stage. For approximately 40 years, I have directly experienced Kütahya tile art... My goal is to provide a solid reference source for those who want to learn, teach, and research this ancient art. I hope that this work will inspire the writing of more comprehensive and qualified works...\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eWHO IS DR. CAHİT YILMAZ?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eHe was born in 1950 in Arhavi, Artvin. Married with one child, Cahit Yılmaz graduated from medical school in 1976; in 1980, he received the title of ophthalmologist. He served as an ophthalmologist in Kütahya, where he was appointed in 1983, for 25 years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eIn Kütahya, considered the capital of tile art, he developed a great interest and sympathy for this ancient art. He had the opportunity to learn all the stages and intricacies of tile making, both theoretically and practically. With the meticulousness of an eye surgeon, he began to produce his own tile works by etching his motifs and compositions underglaze.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eProving the adage \"everything comes out of medicine, sometimes even doctors,\" he held three personal exhibitions in Kütahya, Bursa, and Ankara to share his works in the field of tile art. For 25 years, he collected comprehensive information about the history of Kütahya tile art by directly contacting local artists. As a result of these researches, he wrote 17 articles on the history of Kütahya tile art and created a valuable archive. He has directly witnessed the Kütahya tile art of the last 40 years and continues his efforts without interruption to transfer the information he has compiled during this process to future generations by publishing it in various books, aiming to preserve our cultural and artistic heritage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eCahit Yılmaz, who has two books, \"Hafız Mehmet Emin Efendi, The Great Master of Turkish Tiles\" (Dergâh Yayınları, 2024) and \"Dictionary of Ceramic and Tile Terms\" (YEM Yayın, 2025); the publication preparations for his books titled \"Architectural Structures with Tile Decorations in Ankara\", \"Piers with Tile Decorations in Istanbul\", \"Motifs Used in Turkish Tile Decoration\", \"Turkish Tile Production Centers\", \"Istanbul, The World of Piers\", \"History of Kütahya Tile and Ceramics\" are also being carried out by YEM Yayın.\u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210078963,"sku":"9786259710280","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/SERAMIKVECINITERIMLERISOZLUGU_KAPAK.jpg?v=1751362412"},{"product_id":"ankaranin-cini-bezemeli-mimari-yapilari","title":"Ankara's Tile-Decorated Architectural Structures","description":"\u003cp data-end=\"962\" data-start=\"645\"\u003eAnkara's Tile Decorated Architectural Structures, whose historical and artistic content was penned by Dr. Cahit Yılmaz, and whose architectural evaluations and photographs of the structures were prepared by Şükrü Yılmaz, examines in detail the architectural works adorned with Seljuk and Kütahya tiles in the capital city of Ankara.\u003c\/p\u003e\n\n\u003cp data-end=\"1341\" data-start=\"964\"\u003eThe authors narrate the development of tile ornamentation art in Ankara from Alacahöyük to the Republican era, from a historical and visual perspective. This work, documenting the remaining tile details from the works of pioneering figures such as Mimar Kemalettin and Vedat Tek, serves as an important resource for both art history and architectural culture.\u003c\/p\u003e\n\n\u003cp data-end=\"1589\" data-start=\"1343\"\u003eAmong the structures featured in the book are:\u003cbr data-end=\"1380\" data-start=\"1377\"\u003e\nAnkara's iconic structures such as Sultan Alaeddin Mosque, Aslanhane (Ahi Şerafettin) Mosque, Hacı Bayrâm-ı Velî Complex, Ankara Palas, Türkiye İş Bankası Building, Gazi Train Station, and Kocatepe Mosque.\u003c\/p\u003e\n\n\u003cp data-end=\"2010\" data-start=\"1622\"\u003eDr. Cahit Yılmaz – Born in Artvin-Arhavi in 1950. He worked for many years in Kütahya as an ophthalmologist; his interest in tile art led him to produce in this field, open three personal exhibitions, and publish numerous articles. He is known for his works published by YEM Yayın, including The Great Master of Turkish Tiles Hafız Mehmet Emin Efendi, Dictionary of Ceramics and Tile Terms, and this book.\u003c\/p\u003e\n\n\u003cp data-end=\"2219\" data-start=\"2012\"\u003eŞükrü Yılmaz – Graduated from METU Civil Engineering. He held engineering positions in the public and private sectors; he worked in Japan, Libya, and Saudi Arabia. He is currently working as a freelance engineering consultant.\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48501128134899,"sku":"9786259393117","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/ANKARACINIBEZEMELIYAPILARKAPAK.jpg?v=1761302152"},{"product_id":"mimari-izler-sema-murat-soygenise-armagan","title":"Traces of Architecture - A Tribute to Sema Soygeniş and Murat Soygeniş","description":"\u003cp\u003eThe book titled \"Architectural Traces,\" edited by Dr. Eda Erkan and prepared as a tribute to Prof. Dr. Sema Soygeniş and Prof. Dr. Murat Soygeniş, has been published by YEM Yayın.\u003c\/p\u003e\n\n\u003cp\u003eSimilar to the professional journey of the Soygenişes, the book consists of academic research, story essays, sketches, and projects, where the convergence of academia and architectural practice, and architectural traces, can be followed.\u003c\/p\u003e\n\n\u003cp\u003eColleagues, friends, and students of Sema and Murat Soygeniş contributed to the book with scientific research, story essays related to architecture and space, sketches, and projects in line with their own interests. These works were collected in two sections titled \"Written Works\" and \"Drawn Works.\"\u003c\/p\u003e\n\n\u003cp\u003eContributors to \"Written Works\" include Salih Ceylan with \"Technological Evolution of Architectural Education,\" Demet Dinçer with \"Transdisciplinary Approach: Boundaries in Architecture,\" Ramin Alizadeh Ghorban and İlke Ciritci with \"Criticism of the Revival of Tabriz Meşrute House from the Perspective of Theoretical Foundations,\" Çiğdem Demirhan Göğüş with \"Where is Man's Home?\", Gözde Kızılkan and Eda Erkan with \"Age-Friendly Design: A Draft for Aging in Place in the Next Decade,\" Seher Güzelçoban Mayuk and Merve Özdoğan with \"Rethinking Building Information Education,\" Bülent Onur Turan with \"The Role of Narrative in Architectural Design: Intersection of Storytelling, Artificial Intelligence, and Prompt-Based Design,\" and Fatih Us with \"Current Approaches in Architectural Education.\"\u003c\/p\u003e\n\n\u003cp\u003eContributors to \"Drawn Works\" include Cihan Sinan Bostancı with \"Arma Residence Project,\" Aras Burak and Gözde Kızılkan with \"Bursa Atatürk Sports Hall Architectural Project Competition,\" Alper Gökhan Erdem with \"Troy Museum Architectural Project Competition,\" Çiğdem Demirhan Göğüş with \"KK House Project,\" Zümer Özbek with \"Modular Housing Project,\" Bora Soykut with \"Bechar Olympic Sports Complex Project,\" and Cüneyt Timurçin with \"An Office Building Project.\"\u003c\/p\u003e\n\n\u003cp\u003eThe third and final section of the book features detailed curricula vitae of Sema and Murat Soygeniş, outlining their work in academia and architectural practice.\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370211160307,"sku":"9786259393131","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_SOYGENISLEREARMAGAN_MIMARIIZLER_KAPAK.jpg?v=1763986276"},{"product_id":"besiktasin-surlari-gulay-kutal","title":"The Walls of Beşiktaş! - Life in Beşiktaş in the 1960s and 70s","description":"\u003cp\u003eGülay Kutal's book, Beşiktaş'ın Surları! - Life in Beşiktaş in the 1960s and 70s, which describes Beşiktaş in the late 1960s and early 1970s through the eyes of a young girl, including its places, history, and cultural elements, was published by YEM Yayın.\u003c\/p\u003e\n\n\u003cp\u003eGülay Kutal, a child raised by a loving and somewhat pampering mother with few rules and boundaries, describes Beşiktaş in the book, published with the valuable contributions of GREEN Chemicals®, through the boundaries she set to feel safe, just like any child.\u003c\/p\u003e\n\n\u003cp\u003eAs a child of Istanbul who created a world for herself centered on Mecit Ali Street and surrounded it with imaginary walls, Kutal's imaginary walls of Beşiktaş consist of five parts: Karşı Sokak Walls, Yukarı Ihlamurdere Walls, Aşağı Ihlamurdere Walls, Esma Sultan Walls, and Balık Pazarı Walls.\u003c\/p\u003e\n\n\u003cp\u003e\"What makes cities cities, districts districts, and neighborhoods neighborhoods are their stories,\" says Gülay Kutal, describing her book, accompanied by Firuz Kutal's original illustrations, as follows: \"This book is a story of Beşiktaş centered on 'Mecit Ali Street, No. 30'. The gates in the walls, the locations of the gates, most of what is told is real, but some might be imaginary! The fact that the main character, the little girl, is now sixty years old has greatly contributed to the 'reality' in the book. Both are equally responsible for the imaginary parts. Real or imaginary, what is important is how much all these stories are integrated with Beşiktaş, undoubtedly. ..... 'The walls Beşiktaş believed existed', even if they only existed for the girl described in the book between 1965 and 1975, I believe these walls and gates will not feel unfamiliar to many readers of her age. I am sure that these kinds of walls, which existed in many districts of Istanbul – or whose existence is not difficult to imagine – instilled in the children of Istanbul, a product of Byzantine-Ottoman-Republican heritage, a desire to create a safe, tolerant, and cosmopolitan future; moreover, they also endowed them with the effort and ability to contribute to such a future. And they will continue to do so... I hope this book, which tries to build a bridge between today's Beşiktaş and the Beşiktaş of a childhood experienced in the 60s, will be a source of inspiration for its readers.\"\u003c\/p\u003e\n\n\u003cp\u003eAuthor Feridun Andaç, starting his narrative with \"Beşiktaş'ın Surları! is a journey into the memory of a district,\" continues on the back cover: \"At the core of the narrative, shaped by experiences and memories, lies the soul of a city, the past and present of Beşiktaş, which we can call an 'island-district' that created that soul. What brings all this together and conveys it to us are the deep traces of experiences ingrained in the narrator Gülay Kutal's memories. If you want to understand and get to know Istanbul, I recommend embarking on a journey with the touching narrative of Gülay Kutal, who was born and raised in Beşiktaş, and who built both her own story and the story of her district there. People, faces, streets come alive again in her narration. Kutal tells us the story of a district from past to present with a remembering, reminding gaze. Beşiktaş'ın Surları! is also a gift from a living, seeing, feeling, and conveying narrator to Istanbul and Beşiktaş.\"\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWHO IS GÜLAY KUTAL?\u003c\/strong\u003e\u003cbr\u003e\nI am from Beşiktaş, Istanbul. I was studying at Boğaziçi University during the oppressive years after the 1980 military coup. My interest in folklore was great in those years. At the Boğaziçi University Folklore Club, we would perform folk dances, sing folk songs, and publish a magazine. I also wrote poetry. The exhibition titled Efkar-ı Aşk Makamından Bir Mısra, which I prepared with Firuz Kutal, was the most beautiful step in my poetry journey.\u003c\/p\u003e\n\n\u003cp\u003eAfter graduating from university as an industrial engineer, I came to Norway to give a different direction to my future. I completed my master's degree in computer science at the University of Oslo. I currently live in Norway. For the past 40 years, in addition to working as a cleaner, teacher, and computer administrator in Oslo, I have also worked as a writer and translator. Besides the compilation Biz Duvar Yazısıyız, I have made translations, including the book Sophie's World by Norwegian author Jostein Gaarder. Two more of my books have been published: Democracy Through Labor in Turkey and Socialist World Cafes in Norway.\u003c\/p\u003e\n\n\u003cp\u003eAs Cemil Meriç said: \"To the right falls custodianship, that is, the guardianship of eternal values. The left is liberty, progress, equality.\" As an active member of the Norwegian Socialist Party for the last quarter century, I have served on party committees and, as a representative of the people, served three terms in the Oslo County Council, because I believe that society can only progress in the most equal, free, and democratic way through leftist policies.\u003c\/p\u003e\n\n\u003cp\u003eCurrently, I work as a product manager for software needed to use disease information in scientific research at the Norwegian Institute of Public Health, and in my remaining time, I read and write, and continue to represent the public in the Municipal Council of the district where I live in Oslo.\u003c\/p\u003e\n\n\u003cp\u003eI enjoy singing and gardening.\u003c\/p\u003e\n\n\u003cp\u003eI am married. I have a wonderful husband and a wonderful daughter.\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48462255554803,"sku":"9786259393148","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_BESIKTASINSURLARI_KAPAK_a49cecb1-4d6e-4ca5-a45e-d976e23a0d66.jpg?v=1765792904"},{"product_id":"dusunmek-uzerine-dusunceler-nuri-m-kalkay","title":"Thoughts on Thinking","description":"\u003cp\u003eDr. Nuri M. Kalkay's book, \"Thoughts on Thinking,\" published as the first book in the YEM Publications \"Life\" Series, aims to remind readers how important and powerful critical thinking is for learning, and to invite them to rethink and love thinking.\u003c\/p\u003e\n\n\u003cp\u003eDr. Nuri M. Kalkay, who says \"to make better decisions in life, to learn better, and to age healthily, rethink and think critically,\" summarizes the reason for writing the book as follows:\u003c\/p\u003e\n\n\u003cp\u003e\"Since my childhood, even before I knew what thinking was, I would ask everyone I spoke to questions like 'why, what for, how, who said so,' to the point of annoying them, but I wouldn't pay much attention to their answers. I've always wondered since, could asking so many questions be the beginning of learning to think?\u003c\/p\u003e\n\n\u003cp\u003eLooking back today, I see that those 'out of place' questions asked in childhood were actually the first doors opening to the depth of life. This book was written for another one of those doors to open.\u003c\/p\u003e\n\n\u003cp\u003eDeep thinking is one of the highest faculties of the human brain, a miraculous organ unique to the human race, essential for success in life, problem-solving, learning with understanding, and progress.\u003c\/p\u003e\n\n\u003cp\u003eCorrect and deep thinking can be learned. Not teaching thinking, advocating rote learning over learning through thinking, means opposing thinking, progress, and the very nature of humanity...\u003c\/p\u003e\n\n\u003cp\u003eMy writings on thinking, learning through thinking, evolution, and aging in this book are more personal than academic. They are born from my own life, my education and training in Turkey and America, what I've read, the scientific conferences I've attended, my experiences and real-life knowledge gained over 40 years of working in a profession that embraces scientific thinking, from medical practice to becoming a beloved medical blogger.\u003c\/p\u003e\n\n\u003cp\u003eMany of us, even if not widely known, realize how important critical thinking is at every stage of life. I want to emphasize how vital it is for success, making correct decisions in life, learning through thinking, and not being deceived or fooled in a false and modern age where moral and ethical values are increasingly lost...\"\u003c\/p\u003e\n\n\u003cp\u003eThe book, written in simple Turkish for easy understanding, was edited by Özlem Küskü, redrafted by Mecit Demir, proofread by Zeynep Bilgin, with cover design by İlknur Muştu, illustrations by Cemre Öğün, page layout by Cansu Poroy, and print preparation by Resul Atabay.\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan lang=\"UZ-CYR\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWHO IS DR. NURİ M. KALKAY?\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eDr. Nuri M. Kalkay was born in 1934 in the village of Budak, Hınıs district of Erzurum, as the fifth child of a crowded family of Caucasian origin.\u003c\/p\u003e\n\n\u003cp\u003eWith the help of his uncle, who was then a criminal judge, he completed his pre-medical education in various provinces and districts of Anatolia, and then graduated with high honors from Istanbul University Çapa Medical Faculty in 1959, which he entered in 1953. After completing his specialization training at the same university's Çapa 3rd Internal Medicine Clinic, he went to the United States in 1966. There, he renewed his postgraduate education at SUNY Downstate Medical School and N.J. College of Medicine, becoming a gastroenterologist. His aim was to return to his homeland and work as an academician. However, due to family and economic reasons, he had to stay in America and work as a private physician.\u003c\/p\u003e\n\n\u003cp\u003eDr. Kalkay wavered between two conflicting ideas for a long time. On the one hand, he loved teaching and being with students, while on the other hand, he loved being with patients, helping them, applying the theoretical knowledge he learned to patients, and learning real medical knowledge from patients even more. Finally, when he learned that general practitioners earned much more money than full-time doctors, he decided to work as a private general practitioner.\u003c\/p\u003e\n\n\u003cp\u003eDr. Kalkay continued his medical career from 1972 onwards in New Jersey, USA, as both a private physician and a consultant gastroenterologist. He believed that knowledge gained without critical thinking, simply by reading books or attending monologic conferences, never truly becomes one's own and serves no purpose other than rote memorization. According to him, real knowledge, which causes anatomical changes in the human brain and is obtained only through long-term mental and physical efforts, becomes people's own and affects their thoughts and behaviors, leading them to something better. This knowledge can only be obtained through teaching that develops by actively participating in teaching systems with critical thinking and questions, creating a dialogue, and more importantly, by personally doing and experiencing what is desired.\u003c\/p\u003e\n\n\u003cp\u003eIt is in the light of this knowledge and the experiences he gained during 40 years of medical practice that Dr. Kalkay wanted to share his personal studies, which he undertook to better understand his own aging, with you, the readers, by compiling them in this book titled \"Thoughts on Thinking.\"\u003c\/p\u003e\n\n\u003cp\u003eDr. Kalkay retired in 2008 due to his chronological age. However, despite being retired in age, he could not retire mentally. For this reason, he continued to work part-time in both America and Turkey. In addition, he continues to share his medical knowledge and thoughts with his readers as a \"medical blogger.\"\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370211422451,"sku":"9786259393162","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_DUSUNMEKUZERINEDUSUNCELERKAPAK.jpg?v=1766662066"},{"product_id":"kim-cozecek-tarihin-bilmecesini","title":"Who Will Solve the Riddle of History?","description":"\u003cp\u003e\u003cstrong\u003eHüsnü Aksoy's book \"Who Will Solve the Riddle of History?\", which focuses on leading the reader to new insights by encouraging critical thinking and questioning, has been published as the second book in YEM Yayın's \"Life\" Series.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHüsnü Aksoy, who completed his undergraduate and graduate studies in the Philosophy Department of Istanbul University's Faculty of Letters between 1980 and 1986, left the academic world due to disappointment he experienced during his doctoral proficiency exam in the International Relations Department of the same university's Faculty of Economics. Subsequently, his books Introduction to Marxist Philosophy, State and Democracy, Paradoxes of Civilization, and Marxism were published. Hüsnü Aksoy, who set out with the intention of becoming Turkey's first 'Marxologist,' turned his attention to self-discovery, abandoning the conquest of the world, after a shock that forced him to play a different tune by derailing his mind. First, he tried to transcend his current state by revealing the evils he was a part of. But, not satisfied with his post-purification state, he then focused on recreating himself as the person he was to become.\u003c\/p\u003e\n\u003cp\u003e\"Yes, one who wishes to be irreplaceable by another must constantly recreate himself, like a work of art. But without resolving the conflict between self-discovery and conquering the world, we cannot become the poets of our own lives. This very question lies at the heart of this book. However, this is not a question that disappears with its answer. On the contrary, it generates new questions, leading the reader to different insights,\" says Hüsnü Aksoy, inviting the reader in his book to seek answers to questions such as the following:\u003c\/p\u003e\n\u003cul\u003e\n\n\u003cli\u003eWhich Wound Is Harder to Heal?\u003c\/li\u003e\n\n\u003cli\u003eWhat Condemns Me to a Single Language?\u003c\/li\u003e\n\n\u003cli\u003eIs Conscience a Silent Scream?\u003c\/li\u003e\n\n\u003cli\u003eDid I Blind Marx's Fiery Eyes?\u003c\/li\u003e\n\n\u003cli\u003eWhy Does the Devil Change His Path When He Sees a Madman?\u003c\/li\u003e\n\n\u003cli\u003eDid Nietzsche Envy Socrates?\u003c\/li\u003e\n\n\u003cli\u003eWhat Is Zarathustra After?\u003c\/li\u003e\n\n\u003cli\u003eWhere Is Faust Running To?\u003c\/li\u003e\n\n\u003cli\u003eWas Marx the Jesus of Modern Times?\u003c\/li\u003e\n\n\u003cli\u003eIs Revolution a Monster That Devours Its Children?\u003c\/li\u003e\n\n\u003cli\u003eIs Democracy Just a Mere Ornament?\u003c\/li\u003e\n\n\u003cli\u003eWhy Has the Riddle of History Not Been Solved?\u003c\/li\u003e\n\n\n\u003c\/ul\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48890062569715,"sku":"9786259393193","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/KIMCOZECEKTARIHINBILMECESINI_onkapak.jpg?v=1774442901"},{"product_id":"mimarlik-mekanlar-gozlemler","title":"Architecture Spaces Observations","description":"\u003cp\u003eMurat Soygeniş's new book, \"Architecture, Spaces, Observations,\" which chronologically recounts cities and spaces from his childhood to the present, has been published by YEM Yayın.\u003c\/p\u003e\n\u003cp\u003eProf. Dr. Murat Soygeniş's observations, which began in Ankara, extend over time to other cities he has lived in or visited, to Van and its surroundings in Eastern Anatolia, to Çanakkale, and to Istanbul. They continue with short trips to Thrace, include Villingen in Germany, and cross the Atlantic. They cover the cities he has lived in, Buffalo and Baltimore. He describes many cities along the eastern seaboard of the USA from Buffalo to Miami, cities in eastern Canada, and cities on the western coast of the USA through his travels. His observations on cities so far include many cities in Turkey, Northern Cyprus, Europe, Jamaica in the Caribbean, Egypt, Japan, and Peru in the Southern Hemisphere.\u003c\/p\u003e\n\u003cp\u003eSoygeniş's accounts concerning environments in Turkey and abroad are about the cities and structures he has lived in, professionally visited, and observed. It is clear that the personal and societal events and changes experienced up to the present day have shaped these observations as he writes and conveys his observations on architecture and spaces.\u003c\/p\u003e\n\u003ch4\u003eWHO IS PROF. DR. MURAT SOYGENİŞ?\u003c\/h4\u003e\n\u003cp\u003eHe was born in Ankara in 1961. He graduated from Kabataş High School in 1978 and from ITU Faculty of Architecture in 1982. He went to the USA with a scholarship from the University of Buffalo, completed his postgraduate studies in Buffalo, and graduated in 1985. After graduating, he worked as an architect in the Baltimore-Washington area. In 1990, he founded his own office, Studio Soygeniş, with his wife Sema Soygeniş in Baltimore. He returned to Istanbul in 1995. He served as a faculty member and dean at the Yıldız Technical University Faculty of Architecture. He became the first AIA member in Turkey to be awarded the 'FAIA' title by the American Institute of Architects.\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":49869958545651,"sku":"9786259010854","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Mimarlik_Mekanlar_Gozlemler_KAPAK.jpg?v=1783425196"},{"product_id":"istanbulun-cini-bezemeli-iskeleleri","title":"İstanbul'un Çini Bezemeli İskeleleri","description":"\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eCahit Yılmaz’ın, okuyucuyu küçük bir deniz yolculuğuna çıkararak İstanbul’un Marmara ve Boğaziçi kıyılarındaki çini ve seramik bezemeli 10 adet iskele yapısını incelediği kitabı \u003ci\u003eİstanbul’un Çini Bezemeli İskeleleri \u003c\/i\u003eYEM Yayın tarafından yayımlandı.\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-fareast-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"kaynakmetin\" align=\"left\" style=\"margin-bottom: .0001pt; text-align: left; text-indent: 0cm; mso-hyphenate: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eTarihçelerinden yapım öykülerine yer verilen, çini ve seramik detayları özgün fotoğraflarla okuyucuya aktarılan kitapta irdelenen 10 iskele şöyle sıralanıyor: \u003cspan style=\"letter-spacing: .3pt;\"\u003eBeylerbeyi İskelesi, Beykoz İskelesi, Bostancı İskelesi, Eski Büyükdere İskelesi, Kuzguncuk İskelesi, Beşiktaş İskelesi, Büyükada İskelesi, Eski Kadıköy İskelesi, Haydarpaşa İskelesi, Moda İskelesi.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"kaynakmetin\" align=\"left\" style=\"margin-bottom: .0001pt; text-align: left; text-indent: 0cm; mso-hyphenate: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"kaynakmetin\" align=\"left\" style=\"margin-bottom: .0001pt; text-align: left; text-indent: 0cm; mso-hyphenate: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eİstanbul bir “su şehri”dir. Suyun biçimlendirdiği bu eşsiz topografya, yerleşime de yaşama kültürüne de şekil vermiştir. Marmara, Boğaziçi ve Haliç kıyıları en eski Antik dönem efsanelerinde dahi kendine yer bulur. Bizans döneminde merkezden uzak köyler bulunan İstanbul kıyılarında, Osmanlı döneminde köşklerin, kasırların ve yalıların sayısı özellikle 17. yüzyıldan sonra giderek artmış; bunlarla birlikte Boğaz kıyılarında yeni semtler de oluşmuştur. Boğaziçi’nin mimari ve sanatsal açıdan da değer taşıyan esas gelişmesi ise 18. yüzyılda olmuş ve bu yapılaşma tarzı 19. yüzyıl ortalarında zirveye ulaşmıştır. Zamanla Boğaziçi kıyılarına ve Adalar’a iyice yayılmış olan yerleşimlere, doğal olarak ancak deniz yolu ile yelkenli ve kürekli kayıklarla, teknelerle ulaşılabiliyordu.\u003ci\u003e \u003c\/i\u003e19. yüzyılda buharlı gemilerin dünya denizlerinde egemenlik kurmasına Osmanlı da kayıtsız kalamamış ve 1852 yılında, Sultan Abdülmecid döneminde ilk vapur alınarak Boğaz’da çalıştırılmaya başlanmıştır. 1854 yılında padişahın da ortak olduğu Şirket-i Hayriye kurulmuş ve altı vapur ile seferler başlamıştır. Zamanla vapurların sayıları çoğalmış, seferler ve uğradığı iskeleler de gelişerek zamanımıza kadar gelmiştir. Bu vapurların uğradığı kıyılarda iskeleler yapılmaya başlanmış ve bu yapıların bazıları Balyanlar, Vedat Tek gibi dönemlerinin seçkin mimarları tarafından tasarlanmıştır. Mimari ve kültürel değer taşıyan bu iskelelere estetik açıdan da önemli gösterilmiş; iç ve dış cephelerinde çini ve seramik bezemelere sıkça yer verilmiştir. Mimarlık ve kent tarihi açısından bu yapıların değerini zenginleştiren bu bezemeler de Hafız Mehmet Emin Efendi gibi Türk çini sanatının en büyük ustaları tarafından tasarlanarak uygulanmıştır.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"kaynakmetin\" align=\"left\" style=\"margin-bottom: .0001pt; text-align: left; text-indent: 0cm; mso-hyphenate: none;\"\u003e \u003c\/p\u003e\n\u003cp class=\"kaynakmetin\" align=\"left\" style=\"margin-bottom: .0001pt; text-align: left; text-indent: 0cm; mso-hyphenate: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eTarih boyunca İstanbul’da 123 iskele yapılmış ve bunlar işlevlerine göre kullanılmıştır. İskelelerin 81 tanesi çeşitli nedenlerle, farklı zamanlarda yok olmuştur. Halen bu iskelelerin 42 tanesi aktif olarak kullanılmaktadır. Bu kitabın da içeriğini oluşturan 10 tanesinde çini ve seramik bezemeler kullanılmıştır. Bunlara yakından bakarsak, sekiz iskele Kütahya çinileriyle, bir iskele seramikle bezenmiş; bir tanesinde ise İznik Vakfı üretimi çini kullanılmıştır.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"kaynakmetin\" align=\"left\" style=\"margin-bottom: .0001pt; text-align: left; text-indent: 0cm; mso-hyphenate: none;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; letter-spacing: .3pt;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"kaynakmetin\" align=\"left\" style=\"margin-bottom: .0001pt; text-align: left; text-indent: 0cm; mso-hyphenate: none;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eCAHİT YILMAZ KİMDİR?\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"kaynakmetin\" align=\"left\" style=\"margin-bottom: .0001pt; text-align: left; text-indent: 0cm; mso-hyphenate: none;\"\u003e\u003cspan class=\"gmail-s1\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; letter-spacing: .1pt;\"\u003e1950 yılında Artvin’in Arhavi ilçesinde doğdu. Evli ve bir çocuk babası olan Cahit Yılmaz, 1976 yılında tıp fakültesinden mezun oldu; 1980’de göz hastalıkları uzmanı unvanını aldı. 1983 yılında atandığı Kütahya’da 25 yıl boyunca göz hastalıkları uzmanı olarak görev yaptı.\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"gmail-s1\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; letter-spacing: .3pt;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"kaynakmetin\" align=\"left\" style=\"margin-bottom: .0001pt; text-align: left; text-indent: 0cm; mso-hyphenate: none;\"\u003e \u003c\/p\u003e\n\u003cp class=\"gmail-p1\" style=\"margin: 0cm; margin-bottom: .0001pt;\"\u003e\u003cspan class=\"italic\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; mso-bidi-language: AR-YE;\"\u003eTürk\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e \u003c\/span\u003eçini\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"italic\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003esanatının başkenti kabul edilen Kütahya’da, bu kadim sanata\u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan class=\"italic\"\u003e\u003cspan dir=\"RTL\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; mso-bidi-language: AR-YE;\"\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"italic\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; mso-bidi-language: AR-YE;\"\u003ebüyük\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"italic\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e bir ilgi ve sempati geliştirdi. \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"italic\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; mso-bidi-language: AR-YE;\"\u003eÇ\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"italic\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eininin tüm yapım aşama ve inceliklerini, teorik ve pratik yönleriyle\u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan class=\"italic\"\u003e\u003cspan dir=\"RTL\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; mso-bidi-language: AR-YE;\"\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"italic\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; mso-bidi-language: AR-YE;\"\u003eö\u003cspan lang=\"AR-YE\" dir=\"RTL\"\u003eğ\u003c\/span\u003erenme fırsatı\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e \u003c\/span\u003ebuldu\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"italic\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e. G\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"italic\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; mso-bidi-language: AR-YE;\"\u003eöz cerrahı\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e \u003c\/span\u003etitizli\u003cspan lang=\"AR-YE\" dir=\"RTL\"\u003eğ\u003c\/span\u003ei\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"italic\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eyle motif ve kompozisyonlarını sır altına nakşederek kendi çini eserlerini üretmeye başladı.\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"italic\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; font-style: normal;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"gmail-p1\" style=\"margin: 0cm; margin-bottom: .0001pt;\"\u003e \u003c\/p\u003e\n\u003cp class=\"gmail-p1\" style=\"margin: 0cm; margin-bottom: .0001pt;\"\u003e\u003cspan class=\"italic\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e“\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black;\"\u003eTıbbiyeden her\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-bidi-language: AR-YE;\"\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-bidi-language: AR-YE;\"\u003eş\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black;\"\u003eey\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e \u003c\/span\u003eçıkar, arada sırada doktor da\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e \u003c\/span\u003eçıka\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-ansi-language: TR;\"\u003er” \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black;\"\u003edü\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-bidi-language: AR-YE;\"\u003eş\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black;\"\u003eüncesini kanıtlarcasına, çini alanında verdi\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-bidi-language: AR-YE;\"\u003eğ\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black;\"\u003ei\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e \u003c\/span\u003eeserleri paylaşmak üzere Kütahya, Bursa ve Ankara’da üç kişisel sergi açtı. 25 yıl boyunca yerel sanatçılarla birebir temas kurarak Kütahya çini tarihine dair kapsamlı bilgi topladı. Bu araştırmalar sonucunda, Kütahya çini tarihine dair 17 makale kaleme aldı ve değerli bir arşiv oluşturdu. Son 40 yılın\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e \u003c\/span\u003eKütahya\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\"\u003e \u003c\/span\u003eçini sanatına birebir tanıklık etmiş, bu süreçte derlediği bilgileri çeşitli kitaplarda yayımlayarak kültür ve sanat mirasımızın gelecek kuşaklara aktarılması amacıyla çalışmalarına ara vermeksizin devam etmektedir.\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-ansi-language: TR; mso-bidi-language: AR-YE;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ansi-language: #1000; mso-fareast-language: EN-US;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-fareast-language: EN-US;\"\u003eYazarın Kitapları\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; mso-ansi-language: #1000; mso-fareast-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-fareast-language: EN-US;\"\u003e• \u003ci\u003eTürk Çinisinin Büyük Ustası Hafız Mehmet Emin Efendi,\u003c\/i\u003e Dergâh Yayınları, 2024\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; mso-ansi-language: #1000; mso-fareast-language: EN-US;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-fareast-language: EN-US;\"\u003e• \u003ci\u003eSeramik ve Çini Terimleri Sözlüğü\u003c\/i\u003e, YEM Yayın, 2025\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; mso-ansi-language: #1000; mso-fareast-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-fareast-language: EN-US;\"\u003e• \u003ci\u003eAnkara’nın Çini Bezemeli Mimari Yapıları\u003c\/i\u003e (Şükrü Yılmaz ile birlikte), YEM Yayın, 2025\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; mso-ansi-language: #1000; mso-fareast-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-fareast-language: EN-US;\"\u003e• \u003ci\u003eİstanbul'un Çini Bezemeli İskeleleri\u003c\/i\u003e, YEM Yayın, 2026\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; mso-ansi-language: #1000; mso-fareast-language: EN-US;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":50525361438963,"sku":"9786259010861","price":111.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/ISTANBULUNCINIBEZEMELIISKELELERIKAPAK.jpg?v=1787580404"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/collections\/11.11_1.jpg?v=1762815612","url":"https:\/\/yemkitabevi.com\/en-us\/collections\/11-11.oembed","provider":"YEM Kitabevi","version":"1.0","type":"link"}