{"title":"LET'S REMEMBER OUR BOOKS PUBLISHED IN 2023!","description":"\u003carticle class=\"MessageViewerLayout__body--1xwHL js-message-body Theme Theme_root_ps-light Theme_color_ps-light\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"MessageBody_body_pmf3j react-message-wrapper__body\" data-mce-fragment=\"1\"\u003e\n\n\u003cdiv dir=\"ltr\" data-mce-fragment=\"1\"\u003e\n\n\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003eIn 2023, as in previous years, we continued to publish books despite all difficulties and obstacles.\u003c\/div\u003e\n\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\n\u003cdiv data-mce-fragment=\"1\"\u003eWe brought together new and original ideas, approaches, and pioneering designers and authors in the fields of architecture, design, urban and regional planning, culture, and art.\u003c\/div\u003e\n\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\n\u003cdiv data-mce-fragment=\"1\"\u003eFrom Skopje to Mecca, from Bodrum to Pergamon; from Modernism to Constructivism, from the International Style to Traditional Architecture; from Jacques Derrida to El Lissitzky, from Reha Günay to Şengül Öymen Gür; from stainless steel and glass to natural stone, from urban transformation to neighborhood building... So much! \u003cbr data-mce-fragment=\"1\"\u003e\n\n\u003c\/div\u003e\n\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\n\u003cdiv data-mce-fragment=\"1\"\u003eWe recommend you take a look :)\u003cbr data-mce-fragment=\"1\"\u003e\n\n\u003c\/div\u003e\n\n\u003cdiv data-mce-fragment=\"1\"\u003eWe wish you happy and healthy years.\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003c\/article\u003e\n\u003cdiv class=\"MessageViewerLayout__quickReply--27UtE MessageViewerLayout__sticky--3accZ\" data-mce-fragment=\"1\"\u003e\n\n\u003cdiv class=\"mail-ReactQuickReply mail-ReactQuickReply_message\" data-mce-fragment=\"1\"\u003e\n\n\u003cdiv class=\"js-react-quick-reply-placeholder\" data-mce-fragment=\"1\"\u003e\n\n\u003cdiv class=\"js-open-quick-reply qa-QuickReplyPlaceholder QuickReplyPlaceholder__container--KS4dZ\" data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e","products":[{"product_id":"istanbul-un-yabanci-ve-levanten-mimarlari","title":"Foreign and Levantine Architects of Istanbul","description":"\u003cp data-mce-fragment=\"1\"\u003eCengiz Can’s study, which addresses an important aspect of late Ottoman architecture, has taken its place among Arketon books with its new edition. Can’s research, written as a thesis in 1993, was transformed into a book format after a meticulous editorial process and was first published in 2020. The new edition of the book, which quickly sold out, is reaching readers with a new cover.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe work, complemented by photographs taken by Aykut Köksal for this book, extends from Melling to the Fossati brothers, from Barborini to Montani, from Vallaury to D'Aronco, and to Mongeri. Can, who also examines architects about whom very little is known, reveals an era in all its dimensions.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn a section of his \"Introduction\" to the book, Aykut Köksal states: \"Cengiz Can's book reveals that foreign and Levantine architects, who were previously known through superficial information and about whose lives very little was known, played a decisive and determining role at the culminating point of the modernization process of Ottoman architecture. Can investigates the lives of these architects by consulting previously unexamined sources and refutes certain entrenched prejudices. For example, he identifies some architects known as 'foreigners' as 'Ottoman Levantine architects.' It is immediately noticeable that a significant portion of the architects discussed by Cengiz Can are Italian or of Italian-Levantine origin. Can also underlines this fact and examines its reasons.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe productions of foreign and Levantine architects show a sharp break with 18th-century Ottoman architecture. This break is particularly evident in the greater dominance of new building programs resulting from Ottoman modernization compared to traditional programs. Furthermore, it would not be wrong to say that 19th-century Ottoman modernization parallels 19th-century European architecture. The eclectic approaches of the 19th century also found their echoes in these architects working in Istanbul.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eForeign architects working in Istanbul, such as Fossati and D'Aronco, are creative and competent designers whose works would be respectfully received in any European city. D'Aronco's Art Nouveau structures, in particular, constitute the distinguished and \u003cem data-mce-fragment=\"1\"\u003eunique\u003c\/em\u003e examples of the 'early Modernist' line seen simultaneously in the Ottoman capital. In discussing these architects, Cengiz Can provides a broad framework for a shadowed aspect of Ottoman modernization.\"\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343478993139,"sku":"9786057293633","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/CengizCan-Kapak-22.jpg?v=1703501100"},{"product_id":"mimari-bicimin-dinamikleri","title":"Dynamics of Architectural Form","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRudolf Arnheim's seminal book on the principles of architectural formation:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Dynamics of Architectural Form\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRudolf Arnheim's book \u003cem data-mce-fragment=\"1\"\u003eThe Dynamics of Architectural Form\u003c\/em\u003e, which deals with the principles of architectural formation, has been published with the editorship of Aykut Köksal and translation of Deniz Özden. Arnheim is known in Turkey for his original theoretical works. The book covers a wide range of topics, from the elements of space to its analysis in vertical and horizontal dimensions, examining spatial interaction and perception, and addressing features such as mobility, order, disorder, expression, and function.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eArnheim states the following in the introduction to the book:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Is there sufficient reason to focus so much on the appearance of structures? And if there is, can such an analysis afford to leave aside most of the social, economic, and historical connotations and the technology that is inextricably embedded in the art of building?\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMany of us, walking down the street, are affected in one way or another by the appearance and arrangement of the buildings we pass. Moreover, it is difficult to escape the impression that visually striking buildings are rarer today than in any other period or civilization. What kind of observations do such judgments rest on? We ask: Does a building offer the visual integrity that makes it comprehensible to the human eye? Does the appearance of the building reflect the physical and psychological functions aimed at by the design? Does it display something of the spirit that animates or should animate society? Does it convey the best in human intellect and imagination? To remind us that these questions are pertinent and plausible, we must occasionally confront an architectural work that meets these demands. The enthusiasm evoked by the image of such a work diminishes when we realize that we owe this pleasure not to one of today's master builders but to one from the past.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDesign is nothing but the creation of the tangible and visible forms of a structure. How then did design come to be considered something that could be done without it? Is this merely a reaction to the historical period that tried to revive the temples, churches, and castles of the past in today's post offices, banks, and auditoriums? Or is this avoidance a rebellion against the recent trend of simplification, which concealed the diversity of human impulses in a regular yet often empty geometry? Whatever the reason, any attempt that leads the architect to shirk their ultimate responsibility must be in vain. The form of an object can be ignored, but it cannot be done without.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343479156979,"sku":"9786057141385","price":712.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Arnheim-Kapak-P.jpg?v=1677178860"},{"product_id":"rusya-da-konstruktivist-mimarlik","title":"Constructivist Architecture in Russia","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eArketon Publications presents the foundational texts of constructivism by El Lissitzky: \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eConstructivist Architecture in Russia\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eConstructivist Architecture in Russia\u003c\/em\u003e, a collection of texts by El Lissitzky, has taken its place among Arketon Publications. Edited by Aykut Köksal and translated by Mehmet Kerem Özel, the book contains seminal writings, drawings, and photographs from the period.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe main text of the collection was written by El Lissitzky in 1929 and published in Vienna in 1930 under the title \u003cem data-mce-fragment=\"1\"\u003eRussland. Die Rekonstruktion der Architektur in der Sowjetunion\u003c\/em\u003e (Russia. The Reconstruction of Architecture in the Soviet Union). In addition to this main text, the collection also includes five art essays written by El Lissitzky between 1921 and 1926. These writings, which are among the foundational texts of the Russian avant-garde, illustrate the transition process from suprematist art to constructivist architecture. The 1923 text, in particular, which discusses the Proun Room, is a document demonstrating this turning point.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe appendix of the collection includes two essays by two leading architects of the period, one from Russia and one from Germany, conveying their perspectives on Russia's architectural environment, especially constructivist architecture. Moisei Ginzburg's essay is dated 1928, and Bruno Taut's essay is dated 1929.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the book, El Lissitzky describes the genesis of constructivism as follows: \"...two distinct views emerged. The first was, 'we grasp the world through seeing, through colors,' and the second was, 'we grasp the world through touching, through materials.' Both accepted the world as a geometric order. The second view, advocating for material mediation, required not only looking at objects but also touching them. The establishment of design started each time from the specific properties of the assumed material. The pioneer of this movement (Tatlin) assumed that intuitively artistic mastery of material would lead to discoveries for constructing objects, based on fundamental knowledge provided by the materials, and that this would be independent of the rational methods of scientific technique. He believed he could prove this in his design for the Monument to the Third International. He made this work without any special technical or static knowledge, thus proving the correctness of his view. This is one of the first attempts to create a synthesis between 'technical' and 'artistic'. Here, the new art of construction finds its expression in the effort to loosen volume and create a spatial intertwining of exterior and interior. In this design, a very old form of construction, which we also see, for example, in Sargon's pyramid in Khorsabad, was truly recreated with a new material to serve a new content. This work and a series of other experiments involving material and models gave rise to the term 'constructivism'...\"\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343480729843,"sku":"9786057141392","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/ElLisitzki-Kapak.jpg?v=1677753622"},{"product_id":"mimarlar-icin-dogal-tas-rehberi","title":"Natural Stone Guide for Architects - 2nd Edition","description":"\u003cp\u003e\u003cem\u003eNatural Stone Guide for Architects\u003c\/em\u003e, the second book by STONELINE Publications, Turkey's first publishing house focused on natural stone, has been released.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNatural Stone Guide for Architects\u003c\/em\u003e serves as a reference for architects, interior designers, engineers, natural stone applicators, academics, and students who need fundamental information regarding the process of using natural stone in construction, starting with the selection decision.\u003c\/p\u003e\n\u003cp\u003eEach chapter of \u003cem\u003eNatural Stone Guide for Architects\u003c\/em\u003e, which aims to correctly answer the question \"Which natural stone should be used where?\", was written by experienced architects, academics, and industry experts in their respective fields.\u003c\/p\u003e\n\u003cp\u003eNatural stone is the most important building material, widely preferred and used from ancient times to the present day as a primary structural, flooring, and cladding element in buildings.\u003c\/p\u003e\n\u003cp\u003eNatural stones add significant value to the architectural and aesthetic identity of structures thanks to their rich variety of types, colors, and patterns, as well as their durability and long service life. The book aims to convey the basic information needed regarding the use of natural stone in architecture as a building material, with references from history.\u003c\/p\u003e\n\u003cp\u003eIn \u003cem\u003eNatural Stone Guide for Architects\u003c\/em\u003e, the process of natural stone formation, production, and processing from block to cladding; important structures that have left their mark in architectural history and the place and importance of natural stone in architectural history; natural stone selection criteria in architecture; usage areas in interior and exterior spaces from residential to public areas; design methods and construction principles; deterioration, cleaning, and conservation principles; evaluation methods in terms of sustainability; and quantitative data on our country's natural stone resources and more are presented with texts written by experts. In the \"Natural Stone Types\" section, examples of commonly used natural stones of different types and origins are included with their technical specifications. At the end of the book, there is a comprehensive glossary containing explanations of technical terms related to natural stones.\u003c\/p\u003e\n\u003cp\u003eIn the book, edited by Dr. O. Serkan Angı and graphically designed by Cem Günübek, information explaining the process from the selection to the use of natural stone was written by Dr. O. Serkan Angı, Assoc. Prof. Dr. Demet Arslan Dinçay, Prof. Dr. Genco Berkin, Assoc. Prof. Dr. Deniz Aslan, Prof. Dr. A. Nil Türkeri, Arch. Canan Baş, and Prof. Dr. Seden Acun Özgünler. Evren İyigönül and Nuray Saatçioğlu Uygur from STONELINE Yapı Ürünleri's expert team also share their application experiences with the reader. At the end of the book, there is also a comprehensive glossary prepared by Prof. Dr. Emin Çiftçi, containing explanations of technical terms related to natural stones.\u003c\/p\u003e\n\u003cp\u003eSTONELINE Publications, whose general editorial management is carried out by Architect Gülçin İpek, considers \u003cem\u003eNatural Stone Guide for Architects\u003c\/em\u003e as a first step in the field and aims for this work to fill a significant gap in the natural stone literature by being continuously updated and developed with new topics to be added in future editions in line with needs and suggestions.\u003c\/p\u003e\n\u003cp\u003eWith texts accompanied by nearly 1,000 photographs and technical detail drawings, the book informs the reader about the use of natural stone in architecture.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"STONELINE Yayınları","offers":[{"title":"Default Title","offer_id":43707860287731,"sku":"9786057344717","price":980.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/DOGALTASREHBERIonkapak.jpg?v=1680534301"},{"product_id":"mimarlik-ve-dekonstruksiyon","title":"Architecture and Deconstruction","description":"\u003cp\u003ePhilosopher Jacques Derrida, the creator and developer of deconstructionist thought, has seen his book titled \u003cem\u003eArchitecture and Deconstruction\u003c\/em\u003e hit the shelves as Arketon Publications' latest release. Translated into Turkish by Aziz Ufuk Kılıç, the book was edited by Aykut Köksal, with Amber Niksarlıoğlu Eroyan and Bihter Sabanoğlu serving as proofreaders.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eArchitecture and Deconstruction\u003c\/em\u003e consists of Derrida's interviews, debates, and writings. Among the architects with whom the renowned philosopher corresponded, debated, and conversed are Daniel Libeskind and Peter Eisenman, pioneers of deconstructivist architecture. Bernard Tschumi, the architect of the Paris La Villette project, to which Derrida contributed, is at the heart of all discussions.\u003c\/p\u003e\n\u003cp\u003eIn an interview, Jacques Derrida says the following about architectural deconstruction as a method: \"Deconstruction is not merely the method of the architect who expects to deconstruct what has been built; rather, it is an inquiry that touches the technique itself, the authority of the architectural metaphor, and precisely for this reason, deconstructs its own architectural rhetoric.\"\u003c\/p\u003e\n\u003cp\u003eDerrida explains how deconstructivist architecture increasingly interests him: \"When I first encountered not deconstructivist architecture but deconstructive discourse about architecture, my reaction was astonishment and mistrust. I thought there was an analogy involved, a displaced discourse, something that contained analogy, not certainty. Later, I realized that the most effective way to realize deconstruction was through art and architecture. As you know, deconstruction is not merely a problem of discourse or a problem of displacing the semantic content, the conceptual structure of discourse. Deconstruction traverses certain political and social structures, encounters resistance along the way, and displaces institutions. In all these forms of art and in all kinds of architecture, these are the 'rigid' structures that need to be displaced to deconstruct traditional - theoretical, philosophical, cultural - assumptions, not only because they are material structures, but also because they are rigid in the sense of being cultural, pedagogical, political, and economic structures. And all those concepts that are the target of deconstruction (if I may use this term), theology, the subordination of the sensible to the intelligible, and all such concepts are being actively displaced with the aim of transforming into 'deconstructive architecture.' So, deconstructive architecture interests me more and more, even if I am not technically proficient.\"\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cu\u003e \u003c\/u\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343479877875,"sku":"9786057293602","price":632.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Derrida-Kapak-4.jpg?v=1683881991"},{"product_id":"pergamon-yunan-harfli-bir-yazi-tipi-tasarimi-a-greek-script-typeface-design","title":"Pergamon \/ A Greek Script Typeface Design","description":"\u003cp\u003eOnur F. Yazıcıgil, a visual communication designer specializing in typography and typeface design, has had his new book, \u003cem\u003ePergamon \/ Yunan Harfli Bir Yazı Tipi Tasarımı \/ A Greek Script Typeface Design\u003c\/em\u003e, published by YEM Yayın.\u003c\/p\u003e\n\u003cp\u003eThe book, which can be described as a cross-section of typography, visual communication design, history, and archaeology, is a product of an \"interdisciplinary perspective.\"\u003c\/p\u003e\n\u003cp\u003eThe Anatolian peninsula, known as Asia Minor, has been a cultural geography hosting various civilizations for thousands of years. Pergamon, located in Bergama district of Izmir, was a culturally rich and important Hellenistic capital and Roman-era metropolis among the Greek city-states.\u003c\/p\u003e\n\u003cp\u003eIn his book, published in Turkish and English with the valuable contributions of Sabancı University, Onur F. Yazıcıgil aims to revive Pergamon's rich writing culture heritage, which he documented through field studies and research in Pergamon, as a Greek script typeface in today's digital medium, using an original approach.\u003c\/p\u003e\n\u003cp\u003eOnur F. Yazıcıgil, with archaeological consultancy from Assoc. Prof. Dr. Aşkım Özdizbay, translated the English text with Ecem Arslanay, and also undertook the graphic design and implementation of the book.\u003c\/p\u003e\n\u003cp\u003eIn the foreword to his book, \u003cem\u003ePergamon \/ Yunan Harfli Bir Yazı Tipi Tasarımı \/ A Greek Script Typeface Design\u003c\/em\u003e, Onur F. Yazıcıgil states:\u003c\/p\u003e\n\u003cp\u003e“The Pergamon typeface is a digital typeface project that I developed while participating in the ‘Gate 27 Ayvalık Artist Residency Program’ between 13 September and 6 October, 2022. The project comprise the documentation of Pergamon’s elaborate epigraphic cultural heritage and its transformation into a typeface design via a contemporary digital medium. The ultimate goal of the project is to bring a breath of fresh air to the approximately 1900 year-old carved stone inscriptions by digitizing and making them functional in today’s context…”\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e“The Pergamon typeface is a digital typeface project that I developed while participating in the ‘Gate 27 Ayvalık Artist Residency Program’ between 13 September and 6 October, 2022. The project comprise the documentation of Pergamon’s elaborate epigraphic cultural heritage and its transformation into a typeface design via a contemporary digital medium. The ultimate goal of the project is to bring a breath of fresh air to the approximately 1900 year-old carved stone inscriptions by digitizing and making them functional in today’s context…”\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209456371,"sku":"9786257008655","price":175.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Pergamon_YEM_KAPAK.jpg?v=1683278780"},{"product_id":"bir-rumeli-kentinin-modernlesmesi-uskup-1839-1912","title":"Modernization of a Rumelian City: SKOPJE 1839-1912","description":"\u003cp\u003eGönül Bektaş's book, \u003cstrong\u003e\u003cem\u003eModernization of a Rumelian City: SKOPJE 1839-1912\u003c\/em\u003e\u003c\/strong\u003e, published by YEM Publications, describes the process of change and development in the urban fabric of Skopje between the date of the promulgation of the Tanzimat Edict (1839) and the year Skopje officially left Ottoman rule (1912).\u003c\/p\u003e\n\n\u003cp\u003eIn the book, Gönül Bektaş examines how and to what extent Skopje's urban fabric changed during that period, in parallel with the impact of the world economy, by analyzing regional dynamics, state reforms, and scaled plans and visuals produced at different times.\u003c\/p\u003e\n\n\u003cp\u003eThe story of the book is based on Gönül Bektaş, who was born in Skopje, beginning to work on the period and the city after discovering in a book she acquired in Skopje in 2012 that her grandfather's name was listed as 'founder of the theater' and that the theater was established in 1906.\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003eBektaş describes her research on the city of Skopje, located in the heart of the Balkans at the crossroads of roads connecting the Aegean to Europe and the East to the Adriatic Sea, and the content of the book as follows:\u003c\/p\u003e\n\n\u003cp\u003e“A new era began in the Ottoman Empire with the Tanzimat Edict, proclaimed in 1839. This new era coincided with the period of rapidly rising Western imperialism outside the empire's borders and is also referred to as the process of capitalization, simultaneously considered the process of Modernization\/Westernization in the Ottoman Empire. The modernization process affected the entire empire, especially the Balkan Peninsula. Starting from the second half of the 18th century, with the development of trade and waves of migration from lost territories in the 19th century, many Muslim and non-Muslim populations flocked to cities in the Balkans. The change I mentioned, especially from the last quarter of the 19th century onwards, with the development of transportation technology, also occurred in the Macedonian region, which forms the heart of the Balkan lands. Many cities, especially Thessaloniki, Skopje, Bitola, Kavala, and Drama, entered a process of change and acquired their unique structures and characteristics.\u003c\/p\u003e\n\n\u003cp\u003eBy examining the innovations brought by the Tanzimat reforms, changes in Skopje's social, historical, socioeconomic, and political structure were identified. Furthermore, elements that altered Skopje's spatial structure, new constructions, and newly developed areas were attempted to be identified by comparing and color-coding scaled plans produced at different times.\u003c\/p\u003e\n\n\u003cp\u003eThe importance of this study, unlike previous works, is that it addresses the process of change in the urban fabric of Skopje between 1839 and 1912. While Skopje in the 15th and 16th centuries gathered greater interest from researchers, periods when the city was striving for a new era and undergoing change, such as the late Middle Ages and the 18th, 19th, and 20th centuries, have been almost entirely overlooked. Yet, this new era of change that began in the 19th century is as important as the transformation of the city of \u003cem\u003eSkople\u003c\/em\u003e into Ottoman \u003cem\u003eÜsküp\u003c\/em\u003e in the 14th century.\u003c\/p\u003e\n\n\u003cp\u003eAfter the Ottoman conquest, the city of \u003cem\u003eSkople\u003c\/em\u003e adopted a new urban identity with Ottoman urban characteristics through its form of government, institutions, organizations, and new building types. Similarly, reforms in many areas in the 19th and early 20th centuries led to the emergence of new building types. The traditional appearance of the city was transformed by new structures.\u003c\/p\u003e\n\n\u003cp\u003eTo identify the change, it was necessary to understand Skopje's physical structure and change up to the 19th century. For this reason, the city was examined in detail chronologically from prehistory to the beginning of the 19th century, focusing on its historical and social dimensions; its physical characteristics were tried to be revealed through visual materials, plans, and maps. All these were considered a foundation for a better understanding of the city's later periods.\u003c\/p\u003e\n\n\u003cp\u003eThe book begins by reviewing Skopje's location, road system, and urban structure from the earliest settlements in 6400–5800 BCE until 1839, the year the Tanzimat Edict was proclaimed. In the second chapter, the extent to which the innovations brought by the Tanzimat reforms affected Skopje's social structure and the direction of change are attempted to be determined by examining the changes in the historical, socioeconomic, and political structure. The third chapter discusses the establishment of the Municipality of Skopje in 1869, thirty years after the Tanzimat Edict, and its contributions to the city. It examines how public services previously unseen, such as street cleaning, tree planting, infrastructure improvement, and road regulation, were evaluated by municipal authorities.\u003c\/p\u003e\n\n\u003cp\u003eTo find the beginning of the first planning practice, the plans\/maps made in Skopje are presented in the fourth chapter as the initial data for planning. These plans\/maps not only show the existing state of the city but also indicate that a level of organization and planning was reached in development activities. In this study, the primary importance of scaled urban plans\/maps produced at different times lies in their being crucial sources for determining how and to what extent Skopje's urban fabric changed.\u003c\/p\u003e\n\n\u003cp\u003ePhysical changes in Skopje's urban space occurred in four distinct phases between 1873 and 1912. These phases are, respectively: the arrival of the railway in Skopje, the beginning of migration waves to the city after the Ottoman-Russian War, Skopje becoming the center of the Kosovo vilayet in 1888, and the last twelve years of Skopje. The situation of these phases, which are identified with the concept of modernization and witnessed significant physical changes in the urban area, is examined in the fifth, sixth, seventh, and eighth chapters. Finally, in the ninth chapter, after a brief generalization-summary of the study, the initiatives taken at the beginning of modernism in Skopje are attempted to be related to current developments...\"\u003c\/p\u003e\n\n\u003cp\u003eThe book, edited by Burçin Yılmaz, with cover design by Çağıl Bektaş, and graphic design by Resul Atabay, promises to take those who wish to trace the footsteps of Turkish-Ottoman culture and architectural heritage in the Balkans, especially Balkan immigrants, on a historical journey to their homelands.\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206277875,"sku":"9786257008648","price":350.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_USKUP_KITAP_KAPAK.jpg?v=1684239065"},{"product_id":"kentsel-arazi-duzenlemesi-kentsel-donusum","title":"Urban Land Readjustment: Urban Transformation","description":"\u003cp data-mce-fragment=\"1\"\u003eNihat Enver Ülger’s new book, \u003cem data-mce-fragment=\"1\"\u003eUrban Land Readjustment: Urban Transformation\u003c\/em\u003e, has been published by \u003cstrong data-mce-fragment=\"1\"\u003eYEM Yayın\u003c\/strong\u003e in collaboration with \u003cstrong data-mce-fragment=\"1\"\u003eKent Gelişim Gayrimenkul Geliştirme Taşınmaz Değerleme Bilişim Danışmanlık\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his new book, Prof. Dr. Nihat Enver Ülger emphasizes the need for a perspective beyond and above the applications made under the name of \"urban transformation\" to date. He invites us to act with the awareness that we are not the owners of the nature we inhabit but rather its stewards for future generations when planning our cities; he points out that urban transformation should be seen not merely as the creation of earthquake-resistant, sheltered, private volumes\/spaces, but as living areas for public individuals.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNihat Enver Ülger explains the reason for preparing this book as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\"To propose a new, acceptable implementation model specific to our country for urban land readjustment and urban transformation applications, by examining legal bases and application examples, and to present the criteria related to it. The problems faced by our cities have become so complex that they are far beyond the usual, unique, and cannot be solved with traditional legal and zoning application methods and understanding. This situation involves a special process that concerns all segments of society, from public institutions to rights holders, project development experts, and investors, and requires new specialized knowledge. For this, a special and unique framework and a strategy based on it are needed. Therefore, instead of the classic zoning application, it would be much clearer to use the concept of 'Special Zoning Application \/ Urban Transformation,' which describes the point our country has reached. The book emerged from the search to present a detailed framework and methodology on how special zoning \/ urban transformation applications, referred to as urban land readjustment, can be carried out.\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eÜlger summarizes the necessity of a new perspective on the concept of urban transformation in the preface as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Often, the terms real estate, immovable property, and land are used interchangeably under the name 'land.' Land can be defined in two different ways: urban and rural in character. In our country, land use plans made on urban lands or on lands that are rural in character but opened for urban use, and the zoning applications based on these plans, are considered within the scope of plot and land readjustments. In contrast, land readjustments where the rural character is preserved are often considered within the scope of agricultural land consolidation. However, looking at the procedures and applications, it is clear that consolidation in agricultural lands is a form of zoning application in rural areas. Therefore, it would be a more correct understanding to consider all planning activities carried out on land, whether urban or rural in character, and the zoning applications based on them, under the heading 'land readjustment\/zoning application.'\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNo matter how meticulously prepared, plot-land use-zoning plans offer no benefit other than a waste of effort, time, and money if they are not implemented, not registered in the land registry as new property and its form of use. Therefore, for real estate use-zoning-plans to have meaning, they must be feasible, achievable, in other words, implementable. \u003cstrong data-mce-fragment=\"1\"\u003eHowever, implementing any type of plan is much more difficult than preparing it.\u003c\/strong\u003e This difficulty becomes fully apparent during the implementation of zoning plans.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe implementability of zoning plans requires a certain systematic approach and special facilities. Foremost among these is the need for a strong will and determination to implement the plan. This must be followed by a zoning law that is based on human rights, utilizes modern technology, considers societal needs, is internally consistent, has a specific ideology, is multifaceted, and includes the tools of an active land policy. Providing highly trained technical personnel and financial resources is also an unavoidable necessity in this field. Professor Dr. Hermann Jansen, a Berlin urban planning expert who prepared Ankara's master plan in the 1930s after the War of Independence, asked Atatürk: \u003cem data-mce-fragment=\"1\"\u003e'You won the War of Independence. But will you be able to show similar determination in preparing Ankara's master plans?'\u003c\/em\u003e (Atay, 1969). His question has proven how right he was at the point our country has reached today.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eUrban land readjustments and the transformation of cities must be carried out with the acceptance that humans are public beings. Urban transformation should be viewed not merely as the creation of earthquake-resistant, sheltered, private volumes\/spaces, but as living areas for public individuals.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eUrban transformation is a property readjustment. A country's view and understanding of property determine its regime, its political, legal, and institutional structure, the moral values of its society, and its economic structure. Therefore, regulations and interventions concerning property cannot be carried out with a simplistic approach focused solely on creating a volume\/space. The readjustment of urban lands, which is a property readjustment—in other words, zoning applications, in other words, urban transformation—must be carried out by creating a new culture with a new understanding.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe proper preparation and implementability of land use plans, or zoning plans, for the purpose of urban land readjustment, depend solely and exclusively on the strong structuring and will of the authorized institutions and organizations in this regard. The establishment of a robust institutional structure and the ensuring of its continuity, unaffected by daily political interventions, is directly related to the creation of a new culture.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWithin the urbanization problem in our country, there is a need for new legal and technical regulations and zoning application tools in urban land readjustments. Intensive constructions, issues related to the application of existing plot readjustments, the elevation of infrastructure standards in planned or unplanned densely built-up areas within zoning regulations, and the need for new construction in renovation and complete demolition areas as a precaution against the earthquake risk, which is a reality in our country, bring the process of urban transformation to the agenda.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe problem is the legal determination of zoning application tools regarding how this will be done, securing financial resources, preparing feasible and viable zoning plans, the implementability of the prepared zoning plan, the distribution of new properties that will emerge, and their registration in the land registry. This describes a process. The name of this process is 'Urban Transformation' (Ülger, 2008; Ülger, 2009).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe legal framework concerning urban land readjustments and urban transformation in Turkey indicates that urban transformation application tools, especially in metropolitan and densely built-up areas, are insufficient. A new zoning application method in densely built-up areas will address this need. This is the 'Value-Based Method.'\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe understanding of urban transformation, which came to the fore with the 1999 Marmara Earthquake, has become more visible and prominent with the 2023 Kahramanmaraş Earthquake. It has been frequently reiterated throughout the book that urban transformation is a zoning\/plot readjustment. Yes, urban transformation is a zoning application. It is an urban land readjustment, a zoning application, in solving the problems faced by our country's cities, which have reached a point where they are confronted with immense economic, social, and criminal issues caused by disasters.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe book cover, designed and applied by Resul Atabay, features one of Murat Germen's photographs from his \"Muta-morfoz\" series, which examines the change\/transformation experienced by Istanbul.\u003c\/span\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\"\u003eWho is Prof. Dr. Nihat Enver ÜLGER?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProf. Dr. Nihat Enver Ülger graduated from Istanbul State Engineering and Architecture Faculty, Department of Geodesy and Photogrammetry Engineering in 1976.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe received his master's degree from Yıldız Technical University, Department of Geodesy and Photogrammetry Engineering in 1983 and his doctorate from the same department in 1988. He got married in 1986.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBetween 1988 and 1992, he worked as an assistant professor at the University of Technology Vienna, Department of Land Surveying. During this time, he served as the project manager for the establishment of Austrian Land Information Systems.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe started working as an assistant professor at Yıldız Technical University, Department of Geodesy and Photogrammetry Engineering in 1992 and served as the Vice Head of the Department between 1993 and 1995.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBetween 1992 and 1996, he served as the Chairman of the Istanbul Chamber of Surveying and Cadastre Engineers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNihat Enver Ülger received his associate professorship in 1999 and also served as a board member at Türkiye Kalkınma Bankası (Development Bank of Turkey) between 1999 and 2000.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBetween 2002 and 2010, he worked at Istanbul University, Faculty of Engineering, Department of Mining Engineering.\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207785203,"sku":"9786257008686","price":315.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/KENTSEL_DONUSUM_ON_KAPAK.jpg?v=1686915030"},{"product_id":"mahalle-yapim-hayal-edilebilir-tasarim-kilavuzu-ahali","title":"Neighborhood Creation – Imaginary Design Guide: The Community (Playing Cards)","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eNeighborhood Building - The Imaginable Design Guide: Ahali \u003c\/em\u003ecard deck, designed by Alexis Sanal (SANALarc) as a guide for everyone to participate in the design process of their own neighborhood, has been published by YEM Publications.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eNeighborhood Building - The Imaginable Design Guide: Ahali\u003c\/em\u003e aims to enable everyone to explore their neighborhood and participate in the design processes of public spaces by addressing 72 urban design concepts with definitions, design principles, and guidelines. This special card deck provides an opportunity for imagining, exploring, discussing, and sharing, not only for designers and urban planners but for all \"ahali\" (people) who wish to live in livable, lovable, and walkable neighborhoods.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eIMAGINE —\u003c\/strong\u003e Imagine your city the way you want it. \u003cem data-mce-fragment=\"1\"\u003eHey! The Imaginable Design Guide\u003c\/em\u003e is a card game that helps you discover how cities are designed and how to make them better.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEXPLORE —\u003c\/strong\u003e Rediscover your neighborhood in ways you've never done before. Learn new ways to approach the city, not just as a resident but also as a participant.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDISCUSS —\u003c\/strong\u003e Talk to your neighbors about your surroundings. One person's trash can be another's treasure! You can only get this information by talking to them.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSHARE —\u003c\/strong\u003e Share your city with everyone. Along with you, other people, birds, cats, cars, and many other things live in this city. Sharing the city is much more enjoyable in an environment where everyone respects each other's priorities.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe \u003cem\u003eNeighborhood Building\u003c\/em\u003e card deck is a card game that allows users to explore how their neighborhoods are designed. These cards serve as both a source of information to bring residents together to make collective decisions and a design guide, suggesting the creation of self-organized neighborhood designs that prioritize vibrant public life and neighborhood cohesion.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe cards, prepared with the contributions of over 100 participants, aim to explain concepts such as pedestrian crossings, pavement, vegetated rain gardens, energy saving, waste management, maintenance, waiting areas, parklets, children's parks, etc., to the \"neighborhood ahali\" in an entertaining and educational language.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBENEFITS —\u003c\/strong\u003e Check out these cards, an urban design tool for exploring, learning, and implementing how neighborhoods are designed. Utilize this reference guide to create livable and beloved neighborhoods through actionable ideas and to develop a new civic imagination.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCONSIDERATIONS —\u003c\/strong\u003e Consider these design guidelines for everyone to imagine a city through various influences that shape decisions in city-making. Take action with your knowledge and ideas, and have a say in the public participation of your neighborhood. Participate in decisions for improvements, needs, and public life within your community.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSUGGESTED IDEAS —\u003c\/strong\u003e Create new thematic guides for streets, squares, new development areas, recreational areas, and other places that constitute public spaces.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe deck, prepared especially as a glossary for the public to design with experts, design activists, NGOs, and professionals, brought together the analytical, practical, and creative minds necessary for the development of meaningful and timeless urban design. In this sense, the card game approach offers a dynamic path for every participant in neighborhood design. Players who participate by writing, discussing, and reflecting reorganize the cards, taking into account their own urban design priorities and wishes, thereby creating a new design guide. At the same time, the concept of a 'card deck' as an object and 'game' represents a social learning dimension that can be used in workshops.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCONTRIBUTORS TO THE WORK:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProject Director: Alexis Sanal\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eResearch and Content Editor: Şeyda Özcan\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProject Coordination: Muhammad Abdullatif – Ahmet Fazıl Yenice\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCommunity Engagement Consultant: Lisa Collins\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGraphic Design: Kat Bielobrova\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGraphic Consultant: Okay Karadayılar\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIllustrations: Mrinë Godanca\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eText Editor: Duygu Demir\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTranslation: Reyhan Nazlıaydın\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208276723,"sku":"9786257008716","price":378.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/HEYMAHALLE_TR_kapak.jpg?v=1693821333"},{"product_id":"mimarligi-okumak-resimli-mimarlik-rehberi","title":"Reading Architecture – An Illustrated Architectural Guide 3rd Edition","description":"\u003cp data-mce-fragment=\"1\"\u003ePublished by YEM Yayın, \u003cem data-mce-fragment=\"1\"\u003eReading Architecture – An Illustrated Architectural Guide\u003c\/em\u003e thoroughly examines Western architecture from Classical Greek times to the present day.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAuthored by Owen Hopkins and translated into Turkish by Derya Nüket Özer, the book is a unique visual guide that breaks down all elements constituting a building, from plasters to roofs, column types to decorative moldings, into their components.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003eReading Architecture – An Illustrated Architectural Guide;\u003c\/em\u003e\u003c\/p\u003e\n\u003cul data-mce-fragment=\"1\"\u003e\n\n\u003cli data-mce-fragment=\"1\"\u003eShows building types that evolved throughout architectural history with detailed photographs and explanatory drawings.\u003c\/li\u003e\n\n\u003cli data-mce-fragment=\"1\"\u003eCovers all major building types and styles, from cathedrals to skyscrapers, and from the Classical to the Contemporary period.\u003c\/li\u003e\n\n\u003cli data-mce-fragment=\"1\"\u003eProvides an in-depth look at structures, structural systems, materials, and building details.\u003c\/li\u003e\n\n\u003cli data-mce-fragment=\"1\"\u003eIncludes a comprehensive glossary of architectural terms, referencing other sections where each term is exemplified.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book, in which almost all elements are presented with explanatory photographs or drawings, aims from the outset to overcome the problems inherent in traditional alphabetically arranged architectural dictionaries. Therefore, it prioritizes actual structures through photographs and notes, while dissecting architecture down to its fundamental ideas and components.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOwen Hopkins summarizes the content of the book, which consists of four sections with numerous cross-references, as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e“The first section;\u003c\/strong\u003e as indicated in the introduction, focuses on ten building types that have recurred in various forms throughout architectural history. Although examples of each type vary according to time and place, they embody certain characteristics that are integral to that type. Other building groupings in this section were made according to forms or morphologies that are considered to have withstood time and influenced many building types. Thus, this section is intended to be a 'first point of reference' for the reader, where they can turn when encountering a public building, for example, and find the closest example with similar architectural features.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe second section;\u003c\/strong\u003e Structural Systems; is based on the thesis that all architectural languages are somehow derived from the most fundamental articulation of a building’s structural system. Similarly, it goes beyond specific architectural styles by focusing on various main structural elements – columns and piers, arches, modern concrete and steel structures – that appear in different forms in various architectural languages as key components. Like the first section, this section serves as a 'guide' for other sections, but at the same time, it forms a complete reference in itself by providing the specific elements in minute detail.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe third section;\u003c\/strong\u003e deals with architectural elements – the main components present in all buildings, regardless of style, scale, or form. These include walls and surfaces, windows and doors, roofs, stairs, and elevators.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe fourth section;\u003c\/strong\u003e consists of a standard glossary of terms that reference other sections where each term is exemplified. The glossary only includes elements mentioned in the first three sections, and like the book itself, it is comprehensive but not encyclopedic. By focusing on visible elements and components, the book does not include components of the building structure that often remain invisible. Some extremely archaic terms were also excluded for reasons of space and clarity. Although architecture became globalized in the second half of the 20th century, it is important to note that the book focuses on the Western architectural tradition; some very recent examples are chosen from outside Europe and its sphere of influence. Readers interested in non-Western structures should consult more specialized works.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eChristopher Wren, the great architect of London in the late 17th and early 18th centuries, said, 'Architecture aims for eternity.' This observation comes to life in St. Paul’s Cathedral, which continues to exist as a symbol of the city and the nation. While few buildings are built with such grand aims and splendor as St. Paul’s, structures in a place and situation – from the most humble vernacular buildings to the most elaborate ones at the top – rise as indicators of how their builders see themselves. Therefore, the ability to read a building – whether by looking at its image or at the building itself – and to decipher its meaning is essential for understanding how society and the world around us are formed; and this is what this book seeks to facilitate.”\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208538867,"sku":"9786257008730","price":560.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_Mimarligi_Okumak_KAPAK.jpg?v=1697639900"},{"product_id":"geleneksel-mekke-evleri","title":"Traditional Makkah Houses","description":"\u003cp data-mce-fragment=\"1\"\u003eThe book \u003cem data-mce-fragment=\"1\"\u003eTraditional Mecca Houses\u003c\/em\u003e, prepared by Nihal and Bülent Uluengin, which meticulously examines the historical residences of Mecca in terms of their plan layouts, usage features, how they were built with which materials, why they were demolished, etc., has been published by YEM Yayın.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTraditional residences in Mecca, which also hosts the Kaaba, the most important structure for Islam, and other holy sites, and which accommodates a large number of visitors during Hajj periods, are presented with colorful and black-and-white photographs, as well as plan, section, and elevation drawings. These residences were designed and used almost as \"house-hotels.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book, whose starting point is based on the authors' study of the city of Mecca and its existing traditional houses between 1982 and 1986, when they worked in Mecca, was prepared in light of information obtained from detailed surveys of 104 buildings, 98 of which were traditional residences.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eTraditional Mecca Houses\u003c\/em\u003e presents, for the first time, a detailed view of Mecca up to 1986, with scaled drawings, visuals, and information that readers will not find anywhere else, based on notes taken on site during fieldwork, sketches, interior and exterior photographs, interviews with the people of Mecca, and research conducted in the libraries of King Abdulaziz University in Jeddah and Umm al-Qura University in Mecca.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNihal Uluengin and Bülent Uluengin briefly tell the story of this pioneering work and book as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“It all began in November 1981, with an invitation letter we received from the Hajj Research Center, affiliated with King Abdulaziz University in Jeddah, Saudi Arabia. The letter stated that demolitions were accelerating in the city of Mecca due to the implementation of new development plans, and the traditional fabric was gradually disappearing. We were asked to form a survey team to document this fabric. In February 1982, we gathered and set off for Jeddah, embarking on what would be our main occupation for the next 4.5 years...\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAs an architect family consisting of Fatin Uluengin, Bülent Uluengin, and Nihal Uluengin, we began our work in May 1982, under the name ‘Mecca Team’. We contacted the Mecca Municipality to learn about the demolition areas and concentrated our work in these areas, first assessing the external appearance of the buildings and making group identifications.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eWe primarily selected the buildings to be surveyed from the demolition areas. In fact, sometimes we would ask the bulldozer operator to give us half an hour to take measurements, and then continue with the demolition once the measurements were done. When demolitions stopped, we chose empty old houses or those we could get permission to enter. Under these conditions, we worked from February 1982 to July 1986. During that period, out of an estimated 300 traditional structures existing in Mecca, we surveyed a total of 104 buildings before their demolition, including 98 houses, four rabats (hospices), one Turkish bath, and one water cistern. As a result, within 4.5 years, we created an archive containing approximately 500 drawing sheets at a scale of 1\/50 and 4,500 visuals...\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eYears later, in February 2013, we visited Mecca again and, as we had expected, sadly saw that no traditional structures remained around the Masjid al-Haram or in its immediate vicinity. After all these observations, we decided to compile the lost 'Traditional Mecca Houses' into a book...”\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\u003cstrong data-mce-fragment=\"1\"\u003eCONTENTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eChapter 1: The City of Mecca and Traditional Houses Throughout History\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e17 The Location, Origin of Name, and Importance of Mecca\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e18 A Brief History of Mecca under Ottoman Rule (1517-1923)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e19 From 1925 to the Present\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e20 Traditional Mecca Houses in Traveler Accounts\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e34 Factors Shaping Traditional Mecca Houses\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\"\u003eChapter 2: Plan Elements in Traditional Mecca Houses\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e38 Shop \u003cem data-mce-fragment=\"1\"\u003e(Dukkan)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e39 Entrance Hall \u003cem data-mce-fragment=\"1\"\u003e(Dihliz)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e40 Divan \u003cem data-mce-fragment=\"1\"\u003e(Diwan)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e41 Reception Room\u003cem data-mce-fragment=\"1\"\u003e (Maq’aad)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e42 Toilet \u003cem data-mce-fragment=\"1\"\u003e(Beyt al Ma, Taharat \u003c\/em\u003eor \u003cem data-mce-fragment=\"1\"\u003eHammam)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e44 Cellar\/Storage \u003cem data-mce-fragment=\"1\"\u003e(Gabu)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e45 Living Room \u003cem data-mce-fragment=\"1\"\u003e(Mejlis)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e46 Sofa\u003cem data-mce-fragment=\"1\"\u003e (Suffah)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e47 Back Sitting Room\u003cem data-mce-fragment=\"1\"\u003e (Meakhkhar)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e48 Wardrobe\u003cem data-mce-fragment=\"1\"\u003e (Khuzanah)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e49 Terraces\u003cem data-mce-fragment=\"1\"\u003e (Kharijah)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e52 Kitchen\u003cem data-mce-fragment=\"1\"\u003e (Matbakh)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e54 Family Room\u003cem data-mce-fragment=\"1\"\u003e (Urfat al Maisha)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e55 Bridal Room \u003cem data-mce-fragment=\"1\"\u003e(Mabit)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e56 Bath \u003cem data-mce-fragment=\"1\"\u003e(Hammam)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e59 Laundry Room \u003cem data-mce-fragment=\"1\"\u003e(Mahal el Gasil)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e60 Wood\/Coal Storage\u003cem data-mce-fragment=\"1\"\u003e (Digeysi) \u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e61 Lightwell\/Courtyard \u003cem data-mce-fragment=\"1\"\u003e(Manuar)\u003c\/em\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\"\u003eChapter 3: Plan and Facade Typology in Traditional Mecca Houses\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e64 200-Year-Old and Older Houses\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e67 200-100-Year-Old Houses\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e71 100-Year-Old and Newer Houses\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\"\u003eChapter 4: Building Materials, Shell Construction, Finish Work, and Ornamental Elements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e79 BUILDING MATERIALS\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e79 Stone\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e79 Wood\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e80 Earth\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e80 Plaster\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e80 Metal\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e80 Glass\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e80 SHELL CONSTRUCTION ELEMENTS\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e80 Foundations\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e80 Walls\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e83 Floors\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e84 Domes\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e84 Stairs\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e86 Plumbing\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e87 FINISH WORK ELEMENTS\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e87 Entrance Doors\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e88 Windows\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e94 Louvers\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e95 Interior Doors\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e97 Cabinets\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e100 Water Cisterns and Water Niches\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e101 Water Cooling Niches\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e102 Chimneys\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e104 ORNAMENTAL ELEMENTS\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e104 Wooden Ventilation Grilles\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e110 Floral Wooden Relief Decorations\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e114 Lacework Wooden Arches\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e115 Kündekâri Decorations (Interlocked Wooden Joinery)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e118 Çitakâri\/Pegged Wooden Decorations\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e120 Arch Tassels\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e121 Calligraphy Decorations\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e124 Penwork Decorations\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e126 Colored Louvers\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e128 Plaster\/Stucco Decorations\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e132 Stone\/Masonry Decorations\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e135 Muqarnas Decorations\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e136 Metal Decorations\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\"\u003eChapter 5: Evaluation and Conclusion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e139 Changes in Lifestyle\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e148 Conclusion\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e156 Bibliography\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e158 Biographies\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eWHO IS ASSOC. PROF. DR. NİHAL (YÖNEY) ULUENGİN?\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eBorn in Istanbul in 1946, she entered the Department of Architecture at the Istanbul State Academy of Fine Arts (Mimar Sinan Fine Arts University) in 1964 and graduated in 1972. In 1976, she began her academic career as an assistant in the Department of Architecture at Kadıköy State School of Engineering and Architecture. In 1982, upon an invitation from King Abdulaziz University in Jeddah, she went to Saudi Arabia and worked as a researcher architect at the Hajj Research Center of the same university until 1986. In 1983, she completed her doctoral thesis titled \"The Development of Window Openings in Ottoman-Turkish Civil Architecture\" at Mimar Sinan University, earning the title of Doctor in the Restoration Program. In 1987, she started working as a full-time Dr. lecturer in the Department of Architecture at Yıldız Technical University. In 1991, she became an assistant professor. In 2003, she voluntarily retired from Yıldız Technical University and continued her work as a part-time Dr. faculty member at the Faculty of Architecture at Haliç University and the Faculty of Architecture and Design at Bahçeşehir University. In 2019, she became an associate professor. Between 2019 and 2021, she worked full-time at the Faculty of Architecture at Haliç University. Assoc. Prof. Dr. Nihal Uluengin has published various papers and articles related to her field of expertise and has conducted survey and project studies. She participated in national and international symposiums in Turkey, Sudan, Yemen, Jordan, Tunisia, Sri Lanka, and America, where she presented papers. She has a good command of Hellenic and an intermediate command of English. Assoc. Prof. Dr. Nihal Uluengin has the following publications: • The Development of Window Openings in Ottoman-Turkish Civil Architecture, YEM Yayın, 1998 (1st edition) and 2000 (2nd edition), Istanbul • Houses with Istanbul Views from Both Sides of the Aegean, YEM Yayın, 2020, Istanbul. Assoc. Prof. Dr. Nihal Uluengin passed away on December 15, 2022, before seeing this book published.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eWHO IS PROF. DR. MEHMET BÜLENT ULUENGİN?\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eBorn in Istanbul in 1944, he graduated from Saint-Joseph French High School and then entered the Department of Architecture at the Istanbul State Academy of Fine Arts (Mimar Sinan Fine Arts University) in 1964, graduating in 1969. After his military service, he worked as a control architect at a private bank until 1974, traveling extensively throughout Turkey. In 1974, he began his academic career as an assistant in the Department of Architecture at the Istanbul State Academy of Engineering and Architecture. In 1982, upon an invitation from King Abdulaziz University in Jeddah, he went to Saudi Arabia and worked as a researcher architect at the research center of the same university until 1986. Between 1986 and 1995, he worked as a part-time faculty member at Yıldız Technical University and Mimar Sinan University in Istanbul. In 1995, he began working full-time in the Architectural Restoration Program at Mimar Sinan University Vocational School. In 1996, he completed his doctoral thesis and earned his doctorate. He became an associate professor in 1997 and a professor in 2003. After working in the Restoration Program at Mimar Sinan University Vocational School until 2007, he voluntarily retired. Between 2007 and 2010, he served as the Head of the Architecture Department at Bahçeşehir University in Istanbul and worked full-time at the same university until 2014. Between 2014 and 2020, he worked full-time at the Faculty of Architecture and Design at Fatih Sultan Mehmet Vakıf University. He currently works part-time at the same university. He has a good command of French and English. Prof. Dr. Bülent Uluengin has the following publications: • Classical Building Details in Ottoman Monumental Architecture, YEM Yayın, 9th Edition, Istanbul, 2000-2016 (with Fatin Uluengin and Mehmet Bengü Uluengin) • Survey, YEM Yayın, 15th Edition, Istanbul, 2002-2023 • Architectural Metals, Properties, Causes of Deterioration, Conservation and Restoration Techniques, \u003cbr\u003eBirsen Yayınevi, Istanbul, 2006 • Osmaneli and Its Traditional Houses, Kerkük Vakfı Yayınevi, Istanbul, 2009 (with Suphi Saatçi) • Kırklareli and Its Traditional Houses, MSGSÜ Publication, 822, Istanbul, 2016 (with Suphi Saatçi)\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":48370207031539,"sku":"9786257008747","price":490.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/WhatsAppImage2023-10-20at11.30.50.jpg?v=1697791211"},{"product_id":"ic-mimarlikta-paslanmaz-celik-ve-cam","title":"Stainless Steel and Glass in Interior Architecture - 4th Edition","description":"\u003cp data-mce-fragment=\"1\"\u003eThe book \u003cem data-mce-fragment=\"1\"\u003eStainless Steel and Glass in Interior Architecture\u003c\/em\u003e, prepared by Genco Berkin and Gökhan Mermi primarily for students of interior architecture, architecture, and industrial product design, as well as for designers and practitioners new to the profession, has been published by YEM Yayın.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eTo achieve successful results in interior design, it is necessary to thoroughly understand the materials to be used. In \u003cem data-mce-fragment=\"1\"\u003eStainless Steel and Glass in Interior Architecture\u003c\/em\u003e, detailed information about stainless steel and glass materials, supported by details and carefully prepared drawings, is conveyed to young designers in particular, in a simple and easily understandable manner, focusing on details and materials.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eStainless steel and glass are two of the five most commonly used basic building materials (plasterboard, MDF, ceramic, stainless steel, glass) in interior design today. These two complementary building materials, with their technical specifications and application details, are primary construction materials that designers must master.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eStainless Steel and Glass in Interior Architecture\u003c\/em\u003e aims to be a guide for the use of stainless steel and glass materials in schools, design offices, and construction site applications. The information contained in the book includes contemporary and valid detail solutions currently in active use.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe book \u003cem data-mce-fragment=\"1\"\u003eStainless Steel and Glass in Interior Architecture\u003c\/em\u003e consists of six chapters:\u003c\/p\u003e\n\n\u003col data-mce-fragment=\"1\"\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eChapter 1 examines the production and technical characteristics of stainless steel, its manufacturing methods, and the types of stainless steel used in interior architecture.\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eChapter 2 covers the production and technical characteristics of glass, its manufacturing methods, and the types used in interior architecture.\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eChapter 3 presents all elements used in interior architecture, separately as both stainless steel and glass materials, to the reader; examples including both materials are also discussed.\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eChapter 4 investigates how various pieces of furniture in interior spaces are made with stainless steel and glass, detailing them to the finest points.\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eChapter 5 examines the sustainability characteristics of both materials.\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eChapter 6 consists of additional detail drawings that can serve as alternatives to the details provided in the previous chapters.\u003c\/li\u003e\n\n\n\u003c\/ol\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eProf. Dr. Genco Berkin and Interior Architect Gökhan Mermi's reasoning for preparing the book is summarized in the \"Introduction\" as follows:\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"...This book serves as a guide for interior architects and architects on the use of stainless steel and glass materials in design offices and construction site applications. We are fully confident that such a resource will become an indispensable reference book, especially for interior architects. The information in the book includes contemporary and valid detail solutions currently in active use. It should be kept in mind that, in addition to the stainless steel and glass duo, a third material can also be used in detailing...\"\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eWe hope that the detail drawings and graphics in the book will serve as useful and guiding examples for architecture and interior architecture students and our colleagues who have started their professional careers, in their designs involving stainless steel and glass. We would like to state that the drawings are not to scale and designers should examine these details only for inspiration for their work...\"\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eMechanical and Aeronautical Engineer Mehmet Engin Kılınç, who also worked with Genco Berkin and Gökhan Mermi in the past, states the following in the \"Foreword\":\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Dear Interior Architects, Architects, Industrial Product Designers;\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe inadequacy of practical application in university education manifests itself as various shortcomings in professional life. Although students undergo a short period of internship training, this is often insufficient. True success comes from supplementing theoretical knowledge with real-world applications.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eOur young people, who lack practical training in universities, often feel inadequate in terms of practical knowledge focusing on materials and details. This situation should be remedied by reading technical books written by experienced interior architects, architects, and engineers with practical knowledge in the field.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAfter graduating from the ITU Mechanical Engineering Department, Aeronautical Engineering in 1972, I experienced the same difficulties in my professional life. I learned how to use the theoretical knowledge I gained at university in the field, through trial and error over time. I always longed for helpful books on this subject, but there were not enough resources.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAfter gaining experience in various companies for about 30 years, I established my own design firm in 2002. At that time, my young, hardworking, and eager-to-learn architect colleague, Genco Berkin, who had just graduated from university, started working as an architect in my company. He personally experienced and witnessed the applications in business life and was involved in very good projects in this field. Later, he received an offer to start an academic career and became a faculty member. Our connection never broke during this period. I always followed his work with appreciation. Subsequently, with Genco Berkin's reference, I brought interior architect Gökhan Mermi, who graduated first in his department, into our team. We worked together successfully on many projects for a long time. I enthusiastically conveyed to him how to apply academic knowledge in the real manufacturing industry, especially regarding materials and details. I felt immense pride when I read the first draft of this book, a collaborative effort by my two designer colleagues.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThere was a significant need for a technical handbook in the field of interior architecture that focused on stainless steel and glass materials and included all application details. Both materials are unforgiving of even the smallest mistake and require specific detailed solutions. This work has become a guide that provides technical knowledge to interior architecture students and recent graduates for construction site applications.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThis work by Genco Berkin and Gökhan Mermi blends fundamental theoretical knowledge with implemented manufacturing practices. The book \u003cem data-mce-fragment=\"1\"\u003eStainless Steel and Glass in Interior Architecture\u003c\/em\u003e has been very beneficial because it supports its technical information with application drawings.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eI congratulate them for bringing this valuable book, which also describes the latest developments in stainless steel and glass production technologies, to the design world, and I hope for its continuation.\"\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe concept design for \u003cem data-mce-fragment=\"1\"\u003eStainless Steel and Glass in Interior Architecture\u003c\/em\u003e, the 4th book in YEM Yayın's \"Material and Detail Series,\" is by Sedef Sav, the designer of the series. The book's detailed drawings and layout were done by Gökhan Mermi; it was prepared for printing by Resul Atabay.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTABLE OF CONTENTS\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eChapter 1 STAINLESS STEELS\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e12 Production and Technical Characteristics\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e16 Manufacturing Methods\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e20 Stainless Steels Used in Interior Architecture\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eChapter 2 GLASSES\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e24 Production and Technical Characteristics\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e26 Manufacturing Methods\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e30 Glasses Used in Interior Architecture\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eChapter 3 INTERIOR ARCHITECTURE ELEMENTS\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e36 Stairs\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e42 Railings\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e44 Elevators\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e46 Panoramic Elevators\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e48 Escalators\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e50 Glass Flooring\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e52 Glass Partitions\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e54 Glass Doors\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e56 Column Cladding\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e58 Fireplaces\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eChapter 4 FURNITURE\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e62 Tables\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e64 Benches\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e66 Display Units\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e68 Shelves\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e70 Lighting Fixtures\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eChapter 5 SUSTAINABILITY\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e74 Stainless Steel Material Type Selection\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e76 Glass Material Type Selection\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e78 Stainless Steel Material Application Errors\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e80 Glass Material Application Errors\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e82 Transportation and Stacking\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e84 Stainless Steel Maintenance Methods\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eChapter 6 APPENDICES\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e88 Connection Apparatuses\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e90 Floor Drains\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e92 Grab Bars\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e94 Details for Visually Impaired\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e96 Pool Ladders\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWHO IS PROF. DR. GENCO BERKİN?\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eBorn in Niğde in 1971, Genco Berkin completed his secondary education at Kadıköy Anatolian High School in 1990. Genco Berkin, who studied architecture at Brighton (England) and European University of Lefke (TRNC), began his academic career as a research assistant in 1995 after being offered a position by his alma mater.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eIn 1998, he completed his master's degree at Eastern Mediterranean University with his thesis \"Architectural Utopias\" in the field of Architectural History. In 2006, he earned his doctorate (Ph.D.) degree with his studies at the Mimar Sinan Fine Arts University, Faculty of Architecture, Department of Building Physics and Materials; he became an associate professor in 2015; and in 2020, he became a professor at Fatih Sultan Mehmet Vakıf University, Faculty of Architecture and Design.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eGenco Berkin, who teaches architecture and interior architecture courses at various universities, has conducted research and development studies on \"ecological glass in architecture\" and developed ideas on \"improving project-design courses.\" Berkin, who particularly emphasizes combining ergonomics and technology in furniture designs, has also produced numerous works on this subject. Prof. Dr. Genco Berkin currently serves as the Dean of the Faculty of Arts and Design at Istanbul Nişantaşı University.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eGenco Berkin's books published by YEM Yayın:\u003c\/p\u003e\n\n\u003cul data-mce-fragment=\"1\"\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMaterials and Details in Architecture\u003c\/em\u003e\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMaterials and Details in Interior Architecture\u003c\/em\u003e\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMaterials and Details in Furniture Design\u003c\/em\u003e\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003e\n\n\u003cem data-mce-fragment=\"1\"\u003eStainless Steel and Glass in Interior Architecture\u003c\/em\u003e (with Gökhan Mermi)\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn the Footsteps of Wood: A Dictionary of Forest Products in Design\u003c\/em\u003e\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eModulor and Le Corbusier's Cabin\u003c\/em\u003e\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003e\n\n\u003cem data-mce-fragment=\"1\"\u003eFrom Square to Plan: Module and Architecture\u003c\/em\u003e (with Yusuf Civelek)\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e \u003cstrong data-mce-fragment=\"1\" style=\"font-size: 0.875rem;\"\u003eWHO IS INTERIOR ARCHITECT GÖKHAN MERMİ?\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eBorn in Istanbul in 1987, Gökhan Mermi completed his secondary education at Şehremini Anatolian High School in 2003. Gökhan Mermi, who studied interior architecture at Haliç University, graduated as the top student in his department with honors in 2008. After graduation, he began his master's degree with a scholarship at Haliç University.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eIn 2012, he completed his master's degree in Interior Architecture with his thesis \"Evaluation of Stainless Steel Material in Interior Architectural Applications from a Sustainability Perspective.\" With this thesis, he served as a designer and controller for the fabrication of stainless steel and glass in many projects, primarily metro, hotel, and residential projects in the private sector. As of 2013, he has served as a project manager in several architectural offices, including Alarko Contracting Group. He has undertaken roles as both a designer and site chief in hotel, metro, shopping mall, office, restaurant, and residential projects. One of his successfully completed projects, where he served as a designer and site architect, is the \"Levent-Hisarüstü Metro Project.\"\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eCurrently, Gökhan Mermi works as a full-time lecturer for interior architecture courses and is also pursuing his doctoral studies at Mimar Sinan Fine Arts University, Department of Architecture, Building Physics and Materials.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207359219,"sku":"9786257008754","price":420.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/IC_MIMARLIKTA_PASLANMAZ_CELIK_CAM_KAPAK.jpg?v=1698911072"},{"product_id":"geleneksel-mimarligin-izinde-1-bodrum-1965-1991-ciltli","title":"In Pursuit of Traditional Architecture 1: BODRUM 1965-1991 (Hardcover, Large Format)","description":"\u003cp data-mce-fragment=\"1\"\u003eReha Günay's new book, \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn Pursuit of Traditional Architecture 1: BODRUM 1965-1991\u003c\/em\u003e\u003c\/strong\u003e, created by utilizing his identity as both a traditional architecture expert and a photography artist, has been published by \u003cstrong data-mce-fragment=\"1\"\u003eYEM Yayın\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eProf. Dr. Reha Günay, who has worked multifaceted, meticulously researched, and produced with an artistic perspective for many years, presents Bodrum, Turkey's tourism capital, through his original black-and-white photographs taken between 1965-1991 and its traditional architectural features in this work, published with the valuable contributions of the \u003cstrong data-mce-fragment=\"1\"\u003eBodrum Municipality\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eGünay's observations and findings on traditional Bodrum architecture are presented in 10 chapters under the headings: \"BODRUM PENINSULA, BODRUM, MÜSKEBİ, TURGUTREİS, YALIKAVAK, GÜMÜŞLÜK, KARAKAYA, AKYARLAR, HOUSEFRONT ARBORS and DEMİR HOLIDAY VILLAGE.\"\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay's views on Bodrum and the content of the book are as follows:\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\"Due to difficulties in transportation, the Bodrum Peninsula was isolated for hundreds of years from the political-cultural environment of the Middle Ages and beyond, where great changes occurred, and from mainland Anatolia. This situation continued until the construction of a highway in the 1930s that more or less allowed the passage of motorized vehicles. In the 1960s, with the opening of a new highway, it was greatly affected by the sudden explosion of tourism movements. While for centuries it maintained a settlement pattern suitable for its own way of life within its own surroundings, this activity almost destroyed the traditional fabric.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eIn this book, you will follow observations and visuals mostly from 1965 to 1991, and a small amount from 2011, when the degradation was just beginning. This unique and very simple residential architecture, formed under very little external influence within environmental conditions, perhaps bearing traces of thousands of years of history, led us directly to nature and humanity with its uniform architecture and settlement pattern. A comparison with the current situation reflects the ruthless dimensions of change. It is now almost impossible to even recognize many places...\"\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eBodrum Mayor Ahmet Aras, in his \"Foreword\" written in the book, states the following:\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\"We were sea children with hopes and dreams in a unique, small fishing town. We played with the sea in mandarin gardens, on the shore, in the street. With the zeferiye wind in our hair, the sunburn and saltiness of the sun and sea on our faces; we smelled of sea salt. Our breath rose and fell with shouts of joy.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eAs we grew up, our free city of Bodrum transformed into a modern tourist city. In the hustle and bustle of life, while gaining on one hand, we often didn't even realize what we were losing on the other.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe streets we ran in our childhood; our neighbor whose door we knocked on, whose window we broke, our corner grocer remained in memories. Our neighborhood, where we played the leading role, as our own history, our own world, is now the mark on our leg from cutting it while passing from tree to tree in the mandarin gardens, dancing hand in hand.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e.....\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe tourism boom and the demand for holiday homes in Bodrum led to rapid construction across the peninsula. Most of us struggled to resist this demand and its financial returns. Our gardens, lands, and coves turned into concrete.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eI don't want to use what has been experienced as a tool in the spiral of politics. I'm not saying 'he' did it, 'this one' did it; 'could we have avoided it?' is a separate discussion. Without hiding behind a weak statement like 'I wish it hadn't happened!', not just because I am the mayor, but because I have not been disconnected from my own geography and culture since my childhood, because I am Ahmet Aras from Bodrum, I think about what I need to do and what we can do together. I believe that we need to refresh our memory regarding what we want to find and what we don't want to lose about Bodrum, our common love.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eWe are not yet a city with closed air corridors, breathless and suffocated; the imbat and meltemi winds of the Archipelago still sweep through our coves. Giant blocks do not build castles on our shores like impenetrable walls. Even though our winter population has skyrocketed from 180,000 to 600,000 in the last three years, I believe we are not without solutions with our two-story white houses and our resistance to multi-story, vertical construction: By turning our faces to Bodrum, analyzing Bodrum's dynamics correctly, with the responsibility of being the inhabitants of Bodrum, with decisions we will make together, by planning locally, we must approach construction with a 'sustainable city' approach.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e.....\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eOur professor, who examined examples of Chios-type, musandaralı, and tower-type houses specific to Bodrum architecture; who defined forgotten concepts of Bodrum house life such as ayazlık, çanaklık, yunmalık, yüklük, and terek, describes the traditional Müsgebi neighborhood architecture where my childhood passed as follows: \u003cem data-mce-fragment=\"1\"\u003e'In the end, everyone is equal and respectful of each other. No one blocks anyone else's view or wind. No one tries to show off their house and make others jealous. Unfortunately, we no longer possess these common values.'\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eWe are happy to have been involved in the publication of the book \u003cem data-mce-fragment=\"1\"\u003eIn Pursuit of Traditional Architecture•1 BODRUM 1965-1991\u003c\/em\u003e. I would like to thank Umut Ülkümen for directly contributing to the publication of the book, Prof. Dr. Suha Özkan, the creator of the Bodrum Architecture Library, to which we are emotionally connected, and YEM Yayın. I extend my gratitude to my colleagues who contributed; well done.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eI do not want my childhood and the Bodrum where my childhood was spent to disappear. I do not want to be generations whose past has been forgotten, watching Bodrum with a heavy heart and a sigh.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe fundamental question I ask myself is: \"It's not what we expect from Bodrum, but what we want to do with Bodrum and how we will do it?\" I sought the answer to this question even before becoming the Mayor of Bodrum, and I am still seeking it.\"\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe graphic design of the book, whose photographs are by Reha Günay, was done by Gökçen Yanlı Atmaca, and the graphic application by Resul Atabay, and it has reached the readers.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48380902539507,"sku":"9786257008761","price":1400.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/BODRUM_1965-1991_CiltliBuyukBoy.jpg?v=1700216070"},{"product_id":"geleneksel-mimarligin-izinde-1-bodrum-1965-1991-karton-kapak","title":"In the Footsteps of Traditional Architecture 1: BODRUM 1965-1991 (Paperback)","description":"\u003cp data-mce-fragment=\"1\"\u003eReha Günay's new book, \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn the Footsteps of Traditional Architecture 1: BODRUM 1965-1991\u003c\/em\u003e\u003c\/strong\u003e, created by combining his identities as both a traditional architecture expert and a photography artist, has been published by \u003cstrong data-mce-fragment=\"1\"\u003eYEM Yayın\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this work, published with the valuable contributions of the \u003cstrong data-mce-fragment=\"1\"\u003eBodrum Municipality\u003c\/strong\u003e, Prof. Dr. Reha Günay, who has worked multifaceted, meticulously researched, and produced with an artistic perspective for many years, conveys Bodrum, Turkey's tourism capital, through his original black-and-white photographs taken between 1965 and 1991, and its traditional architectural features.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGünay's observations and findings on traditional Bodrum architecture are presented in 10 chapters under the headings: \"BODRUM PENINSULA, BODRUM, MÜSKEBİ, TURGUTREİS, YALIKAVAK, GÜMÜŞLÜK, KARAKAYA, AKYARLAR, HOUSEFRONT ARBORS, and DEMİR HOLIDAY VILLAGE.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay's views on Bodrum and the content of the book are as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Due to transportation difficulties, the Bodrum Peninsula was isolated from the political-cultural environment of the Middle Ages and beyond, where great changes occurred for hundreds of years, and from mainland Anatolia. This situation continued until the construction of a highway in the 1930s, which more or less allowed the passage of motorized vehicles. In the 1960s, with the opening of a new highway, it was greatly affected by the sudden boom in tourism. While maintaining a settlement fabric suitable for its own way of life within its own environment for centuries, this activity virtually destroyed the traditional fabric.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this book, you will follow observations and visuals from 1965 to 1991, and a small amount from 2011, when the degradation had just begun. This unique and very simple residential architecture, formed with very little external influence in environmental conditions, perhaps bearing the traces of thousands of years of history, and the uniform architectural and settlement fabric it achieved, led us directly to nature and humanity. A comparison with the current situation reflects the cruel dimensions of the change. It is almost impossible to recognize many places now...\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBodrum Mayor Ahmet Aras, in his \"Foreword\" written in the book, touches upon the following:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"We were children of the sea, full of hopes and dreams in a unique, small fishing town. We played with the sea in tangerine groves, on the shore, in the streets. With the zeferiye wind in our hair, the scorching of the sun and sea on our faces; we smelled of sea salt. Our breath rose and fell with shouts of joy.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs we grew up, our free city, Bodrum, transformed into a modern tourism city. In the hustle and bustle of life, while gaining on one hand, we often failed to realize what we were losing on the other.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe streets we ran through in our childhood; our neighbor whose door we knocked on, whose window we broke, our corner grocer remained in memories. Our neighborhood, where we played the leading role, as our own history, our own world, is now the mark on our leg from cutting it while moving from tree to tree in the tangerine groves, hand in hand, dancing the halay.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e.....\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe tourism boom that peaked in Bodrum and the demand for holiday homes led to rapid construction across the peninsula. Most of us struggled to resist this demand and its financial returns. Our gardens, lands, and coves became concretized.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI do not want to instrumentalize what has been experienced into the spiral of politics. I am not saying 'this one did it' or 'that one did it'; 'could we have avoided it?' is a separate discussion. Without hiding behind a weak statement like 'I wish it hadn't happened!', not only because I am the mayor, but also because I have not been disconnected from my own geography and culture since childhood, because I am Ahmet Aras from Bodrum, I think about what I need to do and what we can do together. I believe we need to refresh our memory about what we do not want to find and what we do not want to lose regarding our shared love for Bodrum.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWe are not yet a city with closed air corridors, breathless and airless; the imbat of the Archipelago, the meltem still caresses our coves. Huge blocks do not build castles on our shores like impenetrable walls. Although our winter population has skyrocketed from 180 thousand to 600 thousand in the last three years, I believe we are not without solutions with our two-story white houses and our resistance to multi-story, vertical construction: By turning our faces to Bodrum, by correctly analyzing Bodrum's dynamics, with the responsibility of being residents of Bodrum, with decisions we will make together, by planning locally, we must approach construction with a 'sustainable city' perspective.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e.....\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOur esteemed professor, who examines Chios-type, musandara-roofed, and tower-type house examples specific to Bodrum architecture; who defines forgotten concepts of Bodrum home life such as ayazlık (cool courtyard), çanaklık (dish rack), yunmalık (laundry area), yüklük (storage cupboard), and terek (shelf), describes the traditional Müsgebi neighborhood architecture where I spent my childhood as follows: \u003cem data-mce-fragment=\"1\"\u003e'As a result, everyone is equal and respectful of each other. No one blocks anyone else's view or wind. No one tries to make their house showy and make others jealous. Unfortunately, we no longer possess these common values.'\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWe are happy to have been involved in the publication of the book \u003cem data-mce-fragment=\"1\"\u003eIn the Footsteps of Traditional Architecture•1 BODRUM 1965-1991\u003c\/em\u003e. I would like to thank Umut Ülkümen, who directly contributed to the publication of the book, Prof. Dr. Suha Özkan, the creator of the Bodrum Architecture Library to which we are emotionally attached, and YEM Yayın. I wish good health to my colleagues who contributed to this work.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI do not want my childhood and the Bodrum of my childhood to be lost. I do not want to be generations whose past has been forgotten, to watch Bodrum with a full heart and a pang of sorrow.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe fundamental question I ask myself is: \"What do we want to do with Bodrum, not what do we expect from Bodrum, and how will we do it?\" I sought the answer to this question even before becoming the Mayor of Bodrum, and I am still seeking it.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe book, with photographs by Reha Günay, was brought to readers with Graphic Design by Gökçen Yanlı Atmaca and Graphic Application by Resul Atabay.\u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207097075,"sku":"9786257008778","price":385.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/BODRUM_1965-1991_KartonKapak.jpg?v=1700216454"},{"product_id":"modern-islevsel-yapi","title":"Modern Functional Building","description":"\u003cp data-mce-fragment=\"1\"\u003eAdolf Behne's \u003cem data-mce-fragment=\"1\"\u003eModern Functional Building\u003c\/em\u003e, published in 1926 and one of the pioneering works of modernist architectural literature, has taken its place on the shelves as Arketon Publications' latest book. \u003cem data-mce-fragment=\"1\"\u003eModern Functional Building\u003c\/em\u003e, one of the fundamental classics of architectural literature, makes a significant contribution to the Turkish architectural library with its original visuals, meticulous translation, and high-quality printing. The book, prepared under the editorial direction and editing of Aykut Köksal, was translated by Hüseyin Tüzün and proofread by Erdem Ceylan.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his foreword to the book, Adolf Behne states: \"For the last centuries of European architectural history, one cannot speak of a balance between form and function. Form was superior, and it was perfectly sufficient for function as long as the house could remain functional despite its form, meaning that form did not completely eliminate function. Any structure that somehow interested people, more than a fence or a lean-to, was a structure in terms of form: a structure created by the labor of an artist. Its suitability for purpose was entirely secondary. Alongside these, there were, of course, functional structures; the fence, the lean-to, the log cabin, the barn: these were also the labor of anyone. Since form and function insisted on being separate, the formal structure and the functional structure were also very far apart. However, in practice, it turned out that the alienation of the functional structure from form was not aesthetically as bad as assumed, and the superiority of the formal structure, especially over the simple functional structure, was not as admirable as expected. It was confirmed by experience that sensible, modern people looked with disdain at the formal structures of the time, but observed functional structures like iron bridges, cranes, and large spaces containing machines with pleasure.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSo how was this possible? Aesthetic sensibility underwent a revolution. While in the nineties every unnecessary excess of form was admired as if it were a duty, and art was almost equated with ornamentation, at the turn of the century, the enthusiasm for lightness, conciseness, and clarity triumphantly broke through this front and opened eyes to the beauty of the functional.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this book, we will essentially follow the old concept of functional building, which has been established by defining a certain group of buildings, but at the same time, we will show how architecture redefines the building, asserting itself more strongly here than in other fields of duty.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cu data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343480008947,"sku":"9786057293619","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Behnekapak-Fagus_Werk.jpg?v=1700486229"},{"product_id":"mehmet-gazioglu","title":"Mehmet Gazioğlu","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eThe book titled \u003cem data-mce-fragment=\"1\"\u003eMEHMET GAZİOĞLU\u003c\/em\u003e, which includes the works of the versatile artist Mehmet Gazioğlu, who has produced photography, digital art, metal wall sculptures and metal sculptures, as well as his life story, was published in English and Turkish by YEM Publishing.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs Mehmet Gazioğlu grew up, he gathered his imagination from people and life; he derives his technique from painting, photography, writing, drawing, sound, image, digital technology and metal; an artist who has woven his artistic cocoon by kneading his yeast from today and discipline...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book offers the opportunity to get to know Mehmet Gazioğlu, an artist who is a candidate to be a source of inspiration for everyone who is looking for ways to express their dreams, especially those who are interested in art.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe graphic design concept of the book, which was prepared for publication as a result of intense efforts by Müge Gazioğlu, was made by Selim Cennetoğlu.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the Foreword of the book, Cenk Gençdiş describes Mehmet Gazioğlu and his works as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“…Mehmet Gazioğlu knitted his cocoon of art by gathering his imagination from his childhood, his materials from people and life as he grew up, using his technique from painting, photography, writing, drawing, sound, image, digital technology, metal, and kneading his leaven from today and discipline... He listened to photography lessons for hours and days, watched photographs, worked tirelessly to use his camera and lenses in the most efficient way on the streets of Istanbul, cities of India, roads of Nepal… He recorded images that could be normal for everyone, beautiful for everyone, ordinary for everyone. But with one difference… He did not look, see, or think like everyone else while watching those images, neither taking the photos nor evaluating them… He searched for images that could be considered unreal from time to time in his mind, heart and soul. For this, he used a camera, mobile phone, various computer programs and applications and showed the courage to transform that imaginary image into a visible one. He experienced not looking from a single window, but using all the possibilities of art…\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEvery time I think about how to put a photographer on the art and history scale, I think of a glamorous bird with two wings and colorful feathers. I believe that there is production on one wing and sharing on the other of this Phoenix. In other words, I question what this photographer has produced, how long he has been producing, whether he is still producing and whether he shares what he has produced or reveals it to people… With all his passion, discipline and experimentation, Mehmet Gazioğlu has produced many works in very different styles in a very short time. Not only that, he shared all of these works that he thought, dreamed of, worked, and spent time and effort on different platforms. He evaluated the possibilities of our age, used social media platforms such as Instagram, opened exhibitions in galleries and participated in art fairs. He nourished his courage in the production phase with his generosity in sharing… If we briefly examine the exhibitions he opened, we will have the chance to see the different works he tried.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhen we examine his works between 2016 and 2020, we can say that we are facing a period in which Mehmet Gazioğlu discovered both the technical limits of photography and the limitlessness of his own imagination. He transformed the images he photographed with classical methods into surreal, extraordinary, imaginary frames by carrying the technological possibilities to the extreme. This can also be defined as a cocoon period in which the language of expression that he will construct before shooting in later works is formed.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSurrealist’s Dream, \u003c\/em\u003eMehmet Gazioğlu’s first work, based on his idea ‘Whatever you reflect comes back to you. Life is such a mirror.’ is an exhibition that he prepared in a short period of four months. This time, he set up the main frame of the work even before he used the camera, planned every detail from the subject he will shoot to the framing, from the arrangement to the presentation, and completed his work with the motto ‘looking at reality from an unrealistic window is a dream’... I think an important point of this exhibition is that he shared the exhibition’s income with the children with autism since he felt a bond with the children and the feeling of his work.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his second exhibition \u003cem data-mce-fragment=\"1\"\u003eMorphosis\u003c\/em\u003e, Gazioğlu continued his previous surrealist dream by presenting the reverse reflection on the vertical axis, with the mirror effect technique. This makes it a continuation dream with the idea of following. Thus, the \u003cem data-mce-fragment=\"1\"\u003eSurrealist’s Dream \u003c\/em\u003eexhibition completes its story with its confidant.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his third exhibition titled \u003cem data-mce-fragment=\"1\"\u003eTransform\u003c\/em\u003e, Mehmet Gazioğlu is now completing his own transformation and coming out of his cocoon, which he started to knit in his first exhibition. Now, he records his photos not only with his camera, but also with his mobile phone, uses both applications and computer programs in a way that obeys his imagination and completes the journey of modern man’s evolution from images to ideas, from ideas to data world. This is also in his portfolio as the last example of three years of intense work.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eToday, we have tens and hundreds of schools that train one-dimensional people under the name of ‘specialization’… Everyone continues their struggle for life under a single title as ‘Knows almost everything’. However, this was not the case in ancient times… Everyone in the West and the East was involved in more than one discipline… Many ‘famous people’ we know have spent their lives in different fields as well. We do not know that Ömer Hayyam was a mathematician and astronomer while his poems were circulating on social media, and that Nietzsche was a poet and composer while praising his philosopher side. As the famous composer Hans Eisler stated in his saying ‘A person who only understands music cannot understand music,’ art has an inseparable connection with science and life.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHere, Mehmet Gazioğlu did not only deal with photography on this path he embarked on by combining his vision and imagination with his talent; in his rush with the world, with emotions and thoughts, he also included steel, which is actually an economic-commercial business. Much more difficult than photography, by using his physical strength for hours or even days, this time by putting forth a more intense effort to flap the wings of production and sharing much more powerfully... Just like in his photography works, he first fictionalized the concept he would describe, the dream he would convey, and then put it in the best way possible. He has found a medium to communicate effectively. He pondered on how different he could present metal and steel to us and produced different and extraordinary works of art by exerting the necessary discipline and effort for this. He continued the sharing habit he acquired through photography exhibitions, with sculptures where he turned an ordinary object into a work of art.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMehmet Gazioğlu has deserved the title of a person with knowledge in different disciplines, which the Westerners call \u003cem data-mce-fragment=\"1\"\u003epolymat\u003c\/em\u003e, with three solo exhibitions he opened in a short period of four years, a group exhibition he participated in, and seven art fairs he participated in, and proved his artist identity first to himself and then to his audience with all the works he created.\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 MEHMET GAZİOĞLU?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eMehmet GAZİOĞLU was born in Istanbul in 1977. He grew up in the steel industry, which his family has run for four generations, and worked there as Chief Operating Officer and Investment Officer. Growing up in an open-minded, social family that supported his identity provided him with inspiration. Inspired by an open mind, he transformed mechanical materials into more masculine and vibrant pop culture designs as conceptual art. He was interested in ancient and modern art, visual language, modern architecture, popular culture, and photography.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eMehmet GAZİOĞLU, placing creativity, passion, and vision at the center of his art, kept pace with rapidly developing technology through his unique style. Mehmet GAZİOĞLU, who unlocked his imagination by combining artistic preferences and new colorful techniques, thus began to write his own story.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eHe tried to make the invisible visible in metal. He made details perceptible in the material that even our physical perception could not notice. This formed an idea identical to the transformation of both the object and perception while creating awareness. By exceeding the limits of imagination, he began to work by combining new techniques with his abstract artistic preference.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eMehmet GAZİOĞLU, while transforming the wastes we ignore and many more materials that we do not realize, also allowed imagination to develop and increase by translating forms and colors. He believed that his sculptures were changeable and calm, but certainly not passive. He lit a fire in the middle of obscurity by adding to and cutting from the material.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eMehmet GAZİOĞLU, who entered the world of art as a collector at an early age, began to emerge with means of artistic expression and abstract models created by psychedelic photography, but the provocative possibilities provided by metal, thanks to its environmental and dimensional properties, shaped the artist’s journey.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eBy characterizing the mystery of digital effects with his surrealist works, he continued to create different works that combined his talents, emotions, and spiritual scenarios. With the decrease in awareness of his physical self, he achieved his own goal in the concept of digital art. In his digital and pop-art applications, he affected the audience not only visually but also emotionally and cognitively.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eHe continues to tell his own story with the arts that he left for us…\u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208342259,"sku":"9786257008808","price":1400.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/MEHMET_GAZIOGLU_KAPAK.jpg?v=1703338347"},{"product_id":"modern-ve-sonrasi-mimarlik-tarihi-boyunca-mekan-orgutlenmesinin-evrimi","title":"EVOLUTION OF SPACE ORGANIZATION Throughout the History of Modern and Post-Modern Architecture","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eŞengül Öymen Gür's new book \u003cem data-mce-fragment=\"1\"\u003eThe Evolution of Spatial Organization Throughout Modern and Post-Modern Architectural History\u003c\/em\u003e, which offers a qualified, comprehensive, and original re-reading of 20th-century architecture, has been published by YEM Yayın.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA re-reading of Modern and Post-Modern Architecture could have been done from political, economic, ethical, linguistic, semantic, aesthetic, and factual perspectives. However, in this book, Prof. Dr. Şengül Öymen Gür takes a different approach; she broadens the scope of conventional architectural history by considering the theoretical stages of the evolution of architectural space and by adding country-specific supplements to central historical narratives. Thus, architectural history and theory are re-read through the lens of spatial organization and its formal tools…\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eŞengül Öymen Gür, who always views architectural history through the eyes of a designer, reviewing it and making connections based on what stimulates her memory, summarizes the rather exhausting and intense process of preparing the book and its content as follows:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“… \u003cem data-mce-fragment=\"1\"\u003eEcphoria\u003c\/em\u003e is indispensable without the memory, perceptions, and emotions of time. It is a bidirectional process that involves seeing trees from the forest and seeing the forest from the trees. Therefore, I experienced a very exhausting process while writing this book. I worked with the cautious courage of advanced age… I'm not even talking about the benefits of seeing architecture on site, or having seen it, as much as reading architectural history and selectively narrating it… I tell critics: do not make buildings you haven't seen or experienced the subject of your critical essays, and do not describe them as if you have seen them. I chose my own experiences as examples. Architecture is like love; it cannot be known without being lived…\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe organizational feature of architectural space is the most intimate, closest, and most important design feature that genuinely and emotionally touches the lives of local and universal individuals, groups, and the global community. This design feature, which specialists trained as historians almost never mention, is the very essence of architectural reality. The dimension related to geometry and arts concerning form is of secondary importance next to spatial organization. The structural and construction techniques chosen in relation to spatial organization are tools, not determinants, of organization. The fundamental concepts of spatial organization are linked to the definitions of 'place' and 'human.' The best organizational concepts arise from these paradigms and ultimately serve them. Therefore, a text on architectural history should focus on the creative inventions that have emerged throughout history, enabling the reader to connect with the architectural project and attracting their interest from this perspective. From this starting point, in this book, I introduced concepts such as flowing spaces, defining-creating place, making space, core solutions-foci that define place, the increase and complexity of axes in design offering options for human behavior, and benefiting from healthy natural light, all of which are characteristic of the Modern Architecture period, which I consider a major architectural revolution, and which positively influenced human, group, and societal behavior. I discussed typological revolutions made in favor of humans during the Modern Architecture period in areas such as open offices, museums, libraries, orphanages, university campuses, housing, and mass housing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn Post-Modern Architecture, I discussed concepts of spatial organization such as the dramatization of nature, the reproduction of nature, organization with natural and historical traces, fragmentation-fragments, disintegration and dispersion, in-betweenness, contextualism, scenario writing, historical elements, neighborhood, creative synthesis of existing and new, opening-closing, unity of opposites, transparency, circulation areas, atriums-galleries, hyper-connectivity, hyper-continuity, or evolving like nature, etc.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eI touched upon the creation of space from non-space and the relationship between urban design and humans. I aimed to increase the reader's enthusiasm by conveying the reactions of world architects regarding environmental sensitivity…\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e.....\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs Modern Architectural language became a global language, all disciplinary certainties in philosophy, science, and the arts began to be questioned. Radical and convincing modern social utopias fragmented and became stars. While some smaller stars raked through the ashes of pre-Modern accumulations, others declared \"re-contextualization.\" In addition to examining the factual meaning of context, phenomenological organizational concepts were accepted as design concepts. Among these, concepts such as anchorage, the ways a building touches the ground, the intertwining of thought with the world, the flow of the body in space, the relationship between space and time, the poetic potential of lived space, the materiality of place, and parallax were transferred to the work. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe concept of type is important for understanding yesterday and today and for designing the future. The configurations of types were explained in the study, and in Post-Modernism, the importance of configuring types through diagrams in motion was highlighted, in relation to the concepts of infinite continuity and infinite connectivity. It was indicated that new creations could be entered into with them without disrupting the semantic structure. Concepts such as syntactic experiments using Deconstructive Architecture as a tool, blurring, folding, sign (signifier\/signified) deception, affect, sublime, transformation with cinematographic techniques (morphing), in-between, and interstitial transitions were introduced and explained through examples. While all this was happening, the criteria of Modern Architecture continued for the people. However, Modern Architecture was such a broad selection that, in the hands of some architects, it found its place in architectural practice as white villas and modest factual aesthetic products. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAdvancements in the materials of structural and facade systems led to a kind of competition in Neoliberal corporate structures. Under the name \"Envelope Architecture,\" massive steel+glass towers covered the commercial areas of cities. The study pointed out how inter-firm competition transformed the urban fabric, consumed public spaces, and rendered urban skylines unrecognizable. It was mentioned that cities fragmented and developed like archipelagos, but the book also emphasized that the most dominant archipelagos consisted of widespread (minuscule) architecture. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the following section, the last century in the dimension of spatial organization, which is considered vitally important in architecture, was scanned, and concepts that allow for communication were identified. Concepts from Modern Architecture such as flowing spaces (free plan), defining-creating place, making space, complexity and harmony (heterotopism), creating core solutions-foci, increasing and complicating axes in design, and playing with natural light were deemed very useful for understanding the period and shedding light on the future. The enrichment in organizational concepts was explained in the context of how it allowed for revolutions in various building types, such as open offices, museums, libraries, orphanages, university campuses, house typologies, and the organization of common areas in mass housing. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn Post-Modern Architecture, concepts of spatial organization were enriched depending on their feasibility. Here, concepts such as the dramatization of nature, the reproduction of nature, organization with natural and historical traces in the context of traces, fragmentation against the integrity of modernism, disintegration and dispersion, in-betweenness, context, the voice of place, scenarios (dramas, historical elements, follies, neighborhood, etc.), \"event\" design, stitching times (creative synthesis of existing and new), opening\/closing (plan, site plan interpretations), unity of opposites, transparency (literal\/factual\/experiential), geometric articulations at the plan level, circulation areas under the general heading of \"serving spaces,\" atriums\/galleries, and hyper-connectivity, hyper-continuity, evolving like nature, which came to the fore with Zaha Hadid, as well as creating space in unfavorable places, were highlighted. This list could have been much longer, and this book would never have ended; the rest was left to the reader's creativity and discoveries. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLater, by addressing urban design-human relations, architects were called to be sensitive to human expectations from space. A wide palette was used by bringing some differences of architects regarding environmental sensitivity to the agenda. Toyo Ito's Romanticism, Shigeru Ban's Authenticism, Sir Nicholas Grimshaw's Situationalism, Herzog \u0026amp; de Meuron's Contextualism, Sir Norman Foster's Revolutionism became the guiding attitudes underlined here, and the chapter concluded with the Sustainability Manifesto. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eVarious technical advancements and inventions greatly influenced mass\/facade patterns in Modern and Post-Modern Architecture, whether the space required change or not. After mainstream categories such as Gestalt Theory, Pragnanz, Cubism, de Stijl, and Brutalism, which are mass\/facade organization paradigms of Modernism, were introduced at the building level, the patterns of form emerging in Modern and Post-Modernism were explored. Various applications flowing from the most universal to the most specific were identified. These included emphasizing corners with curvilinear surfaces, rationalist pragnanzes, glass towers, symbolizing power, framing the facade, bundling form, pyramidal masses and\/or their integration with regular rectangular prisms, deconstructing form (Deconstructivist movements), and recurring patterns such as biomimicry and biophilia. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn Modern and Post-Modern Architecture, formats are the most dynamic and transformable\/convertible patterns at an international level. They circulate globally independently of the identity and success of the space, but their original owners are always known. These include: grids with equivalent horizontal and vertical effects creating facade texture, strip windows, corner windows, enlivening monotonous masses with shallow Baroque movements, evaluating \"Early Modern window\" texture, arcades (archways) creating a sense of depth, designing eclectic entrance facades with formats interpreted from history, making various historical accents, animating the facade with circular derivative shapes, emphasizing the main entrance with a column, using elements that give the impression of columns on facades, enclosed cantilevers, circular balconies, door jambs, horizontal facade bands, strip windows, forming facades from the repetition of mass parts, coloring facades, creating facades from two-color horizontal bands, making symmetrical tears-asymmetrical tears creating a sense of depth, carving corners as an entrance emphasis, using a triangle or arch as an intermediary form, using flat and curved surfaces together on the same facade, predominantly using cylindrical forms, utilizing triangular prisms interspersed on facades as windows, making cubic assemblies on facades, making de Stijl articulations, large void facades, stairs on facades, bridges on facades, and creating cornices on facades. These were exemplified from global and local contexts. Elements such as entrance stairs, balconies, tears, shutters, brise-soleils, blinds, and entrance canopies, identified as tectonic details, were determined as tectonic elements compatible with the building's style. Using these, and capturing the technology of the time while using them, was scanned within the scope of the expression of space. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book, edited by Mesut Kaya, was proofread by Burcu Agalar, final reading by Mecit Demir, cover design by Esen Karol, graphic design and application by Resul Atabay, and print preparation by Kemal Kara.\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\"\u003eTable of Contents\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTHOUGHTS ON ARCHITECTURAL HISTORY, THEORY, AND CRITICISM\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTheory\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTheory-Criticism Relationship\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eInherent Problems of Architectural Historiography\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eClassification of Architectural Historiography and Critical\/Experimental History\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePurpose of the Book\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMODERNITY AND MODERN ARCHITECTURE\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRevolutions Paving the Way for Modernity\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eModernity (Modernization) in Our Country\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBuilding Types in the Modern Architectural Period\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eUrbanization and Architecture Relations in the Modern Architectural Period\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePARADIGMS AND CONCEPTS OF MODERN ARCHITECTURE\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRationalism (Standardization\/Modular Coordination)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMeasurements and Standards\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMinimalism\/Purism\/Asceticism\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElementalism (German Elementalism)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOrganic Architecture and Heterotopism\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFunctionalism\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eStructural Potentials\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLiberation of Form\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePOST-MODERN ARCHITECTURE\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eQuestioning the Certainty of Philosophy, Science, and Art\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLack of Utopia\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLanguage and Meaning\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePhenomenology: Concepts, Perspectives, and Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHistory and Autonomy\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLanguage and Grammar: Peter Eisenman\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeconstruction Philosophy and Its Relationship with Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOngoing Deconstructivist Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOngoing Modernism\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eParticipatory Design\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCommon or Minuscule Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSPATIAL ORGANIZATION IN ARCHITECTURE\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eConcepts of Spatial Organization in Modern Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTypological Revolutions in the Modern Architectural Period\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eConcepts of Spatial Organization in Post-Modern Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTo Conclude the Infinite\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMASS\/FACADE PATTERNS IN MODERN AND POST-MODERN ARCHITECTURE\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMass\/Facade Organization Paradigms of Modern Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eStandardization of Mass\/Facade Organization Paradigms of Modern Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn Conclusion\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 PROF. DR. ŞENGÜL ÖYMEN GÜR?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eŞengül Öymen Gür is a graduate of the University of Pennsylvania (UPENN), GSAS (PhD, 1978); she was awarded a Fulbright Scholarship (1972-77) and a DAAD Scholarship (2002; 2008). In her research supported by DAAD, she examined German Modern and Post-Modern Architecture on-site and published various articles.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eShe served at Karadeniz Technical University (KTÜ) between 1971 and 2009, becoming a professor in 1989. During this period, she taught project courses at the undergraduate level, as well as courses on Modern Architecture and Post-Modern Architecture. In the graduate program, she taught various courses such as Architectural Theory and Concepts, New Developments in Architecture, Research Methods and Techniques, and the Housing Problem. She is currently a faculty member at Istanbul Beykent University.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDr. Gür is an active member of international organizations such as CICA (International Committee of Architectural Critics) and WA (World Architecture). She is a periodic member of international organizations like IAPS, DRS, CIB W84, IAHS, and an honorary member of BTI (Bund Türkischer Ingenieure und Akademiker e.V) and SEA (The Sustainable Environment Association). She is an advisory board member and editor of Space Studies of Planning and Architecture (\u003ca data-mce-fragment=\"1\" href=\"https:\/\/spacestudies.co.uk\/\"\u003ehttps:\/\/spacestudies.co.uk\u003c\/a\u003e); editor of \u003cem data-mce-fragment=\"1\"\u003eYakınmimarlık\u003c\/em\u003e (TRNC) and \u003cem data-mce-fragment=\"1\"\u003eFSM Mimarlık\u003c\/em\u003e journals; field editor of \u003cem data-mce-fragment=\"1\"\u003eBeykent University Scientific Studies Journals\u003c\/em\u003e and \u003cem data-mce-fragment=\"1\"\u003eAnadolu University Scientific Studies Journals\u003c\/em\u003e; and a reviewer for \u003cem data-mce-fragment=\"1\"\u003eSRE, e-Books, JADE, JAAP, MEGARON, A\/Z, Gazi, KARAM, Uludağ, Trakya, Tasarım+Kuram\u003c\/em\u003e journals. She writes a monthly \"Opinion\" column for \u003cem data-mce-fragment=\"1\"\u003eYAPI\u003c\/em\u003e magazine.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eShe has conducted research for many institutions, including the State Planning Organization (DPT), and received the Architecture Foundation Research Award. She is the author of approximately 30 books and over 500 international and national articles. She has trained over 100 academics in her country. She is married with two children.\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 \u003c\/em\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209030387,"sku":"9786257008785","price":910.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/MEKAN_ORGUTLENMESININ_EVRIMI_KAPAK.jpg?v=1703619078"},{"product_id":"boslukta-gezinirken-mimari-mekanin-oykusu","title":"Wandering in the Void... The Story of Architectural Space","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSema Soygeniş's \u003c\/strong\u003e\u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003enew book, \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eWandering in the Void... The Story of Architectural Space\u003c\/em\u003e\u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e, which conveys the journey of architectural space design from nature to city, from buildings to interiors, has been published by YEM Yayın.\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eProf. Dr. Sema Soygeniş, as an architect who is both a designer and has taught design, aims to explain the architectural space design process by focusing on specific themes, and to help find the intersections of nature, city, and interior space by examining, and experiencing them, in the journey of architectural design from nature to interior space.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe book is a continuation of her previous book, \u003cem data-mce-fragment=\"1\"\u003eThinking and Dreaming Architecture\u003c\/em\u003e, also published by YEM Yayın. Sema Soygeniş, who discussed what architecture is through specific themes in \u003cem data-mce-fragment=\"1\"\u003eThinking and Dreaming Architecture\u003c\/em\u003e and aimed to encourage readers to think and dream about architecture, describes the content of her new book as follows:\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e“... In this book, I focused on discussing design through the main themes that need to be researched, thought about, and interpreted at the initial stage of the design process, and on the processes of expressing design. With the thought of being able to shed some light on the struggles experienced during this process and to be guiding in order to be creative and productive in the design process; under the headings of \u003cstrong data-mce-fragment=\"1\"\u003eNature, City, Interface, Space, Tectonics, Architectural Expression\u003c\/strong\u003e, I try to convey the story of void and space by questioning and discussing it through many buildings I have visited and experienced throughout my professional life. In the act of design, nature is one of the primary topics to be examined concerning context. In the book, a framework has been considered to see data and potentials related to the context from nature to the city and urban spaces, to understand and make sense of the boundary, interface, and wall that form the limits and quality of the space, to enrich the perception of space along with its functionality, to imagine space through perception and tectonics, and how design will be constructed and presented through these concepts. In the Architectural Expression section, I tried to explain the graphic expression of the design process and thought with selected graphics from a design project. The contribution of graphic expression, along with verbal expression, which allows the act of architectural design to develop as a back-and-forth process, should not be overlooked to crystallize the main idea. This also makes it possible to understand and explain design in its intellectual dimension. In this context, I want to emphasize the importance of the graphic expression of thought, which is an effective language in the designer's communication with themselves as well as with the client and other actors in this process.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eDesign can be based on various scientific data, but the act of design is personal. Various researches are being conducted on how to design and design education, and there are various experience sharing and academic publications. Design education encompasses not only the stage of a person's architectural education but also the experience and individuality of the educator. The extent to which architecture has changed over the centuries can be debated. This change can also be seen in different dimensions in architectural education. It is beneficial to remember that 'questioning', 'making one question', 'broadening horizons', and 'creating awareness' can be effective as keywords in architectural design education, and that the story and fiction created by the designer as a result of various researches and evaluations in the creative act of design is a topic that should be focused on. The design approach and method, like the evaluation of the product, may contain differences and individuality. In the education process, the aim is to experience different design approaches and methods and to reach an original individual approach. It is possible to experience the existence of social and technological developments and changes that will be reflected in architecture even during an architect's professional life. In this context, I believe that it will be meaningful for designers to question architecture and evaluate their design approaches, being sensitive to current and future developments, in order to keep up with the changing world and to catch up with the present. It should not be forgotten that those who leave a mark in architecture are among those who look to the future, perceive the past and their present era within a broad perspective, and are not afraid of innovations and experimentation.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eCharacterizing architectural design as the intersection of function and context will be a meaningful definition in itself. How the designer interprets this definition requires research, evaluation, and creativity. In the design process, the first stage usually begins with an analysis study. The analysis study includes information and findings related to location, in other words, context and function, at macro and micro levels. The aim of this information process is for the designer to evaluate the information obtained from relevant research topics and to obtain various clues. In this process, which includes examining similar examples related to function, the relationships such as structure, envelope system, public, private space relations, geometry, mass, and void are examined by dissecting the systems that make up architecture. These relationships can differ as internal and external architectural issues. It can be nourished by different fields such as form, structure, film, painting, nature, and biological behaviors. The analysis study is based on scientific data, observations, and determinations; conceptualizing and abstracting them forms the most challenging part of this process. Collecting, expressing, and relating historical, social, political, climatic, topographical, natural, and man-made physical environment data related to a place is called mapping, and thus the obtained data is expressed graphically. The principles, upper and lower scale decisions to be put forward in line with this data play an important role in the design process. Design concept; can be defined as the decisions, principles, and foresight that emerge from this data in the context of contemporary architectural trends and technological possibilities. The formation and graphic expression of these decisions can be expressed as diagramming and the shaping of design ideas. The designer can graphically express the design decisions and principles in two and three dimensions, and can create a three-dimensional model analogously and digitally. Perhaps the weakest point in the design process is the rapid conversion of principles or decisions into form and their imprisonment by form. Care should be taken to produce this process, defined as mapping, diagramming, and concept sketches, in a way that is open to re-evaluation and new developments. In order to preserve the ability of the design product to convey new ideas, messages, and dreams, it is important to create a process that allows the development of design at both lower and upper scales.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe main themes and headings in the book; \u003cstrong data-mce-fragment=\"1\"\u003eNature, City, Interface, Space, Tectonics, Architectural Expression\u003c\/strong\u003e, as themes open to evaluation in the design process, seem to remain on the architectural agenda for some time in our rapidly changing world. Therefore, I believe that examining these themes as an approach to understanding the design process will be beneficial to consider and evaluate.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eDesign begins with serious and detailed analysis, evaluation of data, creative interpretation and abstraction and development of main decisions, and most importantly, feeling the excitement of design.”\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCONTENTS\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003e\n\n\u003cstrong\u003eNATURE\u003c\/strong\u003e\u003cbr\u003e\n\tInteraction between Nature and Architecture\u003cbr\u003e\n\tNature in Architectural Literature\u003cbr\u003e\n\tNature and Architecture: Contemporary Approaches\u003cbr\u003e\n\tArchitecture that Does Not Exclude Nature\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003e\n\n\u003cstrong\u003eCITY\u003c\/strong\u003e\u003cbr\u003e\n\tUrban Space and Humans\u003cbr\u003e\n\tHistorical Development of Urban Space\u003cbr\u003e\n\tUrban Spaces Integrated with Public Buildings\u003cbr\u003e\n\tSquares as Activity Areas of the City\u003cbr\u003e\n\tUrban Experience Spaces\u003cbr\u003e\n\tInterface\u003cbr\u003e\n\tThe Wall as a Separating and Simple Element\u003cbr\u003e\n\tDesign of Voids\u003cbr\u003e\n\tMovable Wall Elements\u003cbr\u003e\n\tThe Wall Element Perceived in Three Dimensions\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003e\n\n\u003cstrong\u003eSPACE\u003c\/strong\u003e\u003cbr\u003e\n\tParallax\u003cbr\u003e\n\tPromenade at Urban Scale\u003cbr\u003e\n\tPromenade at Building Scale\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003e\n\n\u003cstrong\u003eTECTONICS\u003c\/strong\u003e\u003cbr\u003e\n\tMaterial and Detail\u003cbr data-mce-fragment=\"1\"\u003e\n\tContext and Place\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003e\n\n\u003cstrong\u003eARCHITECTURAL EXPRESSION\u003c\/strong\u003e\u003cbr\u003e\n\tAnalysis and Mapping\u003cbr\u003e\n\tDiagramming\u003cbr\u003e\n\tArchitectural Concept\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cdiv\u003e\n\n\u003cp\u003e\u003cstrong\u003eWHO IS PROF. DR. SEMA SOYGENİŞ?\u003c\/strong\u003e\u003c\/p\u003e\n\n\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 continued her architectural studies in the USA between 1986 and 1995, establishing 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\n\n\u003cp\u003eHer projects, published as monographs under the titles \u003cem data-mce-fragment=\"1\"\u003eYapılar+Projeler 1982-1997\u003c\/em\u003e, and \u003cem data-mce-fragment=\"1\"\u003eYapılar+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 data-mce-fragment=\"1\"\u003eMimarlık Düşünmek Düşlemek\u003c\/em\u003e, \u003cem data-mce-fragment=\"1\"\u003eİstanbul: An Urban Commentary \/ Bir Kent Yorumu\u003c\/em\u003e and \u003cem data-mce-fragment=\"1\"\u003eBoşlukta Gezinirken.. Mimari Mekânın Öyküsü\u003c\/em\u003e.\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206507251,"sku":"9786257008792","price":280.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/BOSLUKTA_GEZINIRKEN_MIMARI_MEKANIN_OYKUSU_Kapak.jpg?v=1703619535"},{"product_id":"bogazicinin-ahsap-konutlari-ve-yalilari","title":"Wooden Houses and Waterfront Mansions of the Bosphorus","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReha Günay’s new book, \u003cem data-mce-fragment=\"1\"\u003eWooden Houses and Waterfront Mansions of the Bosphorus\u003c\/em\u003e, which conveys the structural and living culture of the Bosphorus through his unique photographs, has been published with the valuable contributions of DEKAR Yapı ve Yatırım A.Ş.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn \u003cem data-mce-fragment=\"1\"\u003eWooden Houses and Waterfront Mansions of the Bosphorus\u003c\/em\u003e, Prof. Dr. Reha Günay conveys the architectural and living culture of the Istanbul Bosphorus shores through a unique selection of black and white photographs, distilled from his more than 60 years of experience as an architect, academician, photographer, and author.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe INTRODUCTION of the book presents historical data indicative of the importance of the Bosphorus, which has been a living and settlement area from ancient times to Byzantium, from the Ottoman Empire to the present day, accompanied by maps and engravings. Specific information regarding the architecture and culture that developed along the Bosphorus during the Ottoman period is presented through the writings of authors who witnessed the era, such as Gugas V. Inciciyan, Edmondo de Amicis, Abdülaziz Bey, A. Cabir Vada, and Abdülhak Şinasi Hisar. The book offers glimpses into this culture of life that developed and integrated with the sea, ranging from the Göksu recreational areas to moonlight boat trips, from waterfront mansion gardens to life in summer houses, from fishermen to boatmen, and from waterfront mansion architecture to wooden houses. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFollowing this, Reha Günay, with his unique photographs taken from the 1960s to the present day, transfers structures and textures, some of which no longer exist today or have lost their originality, to future generations. He does this by following routes under the heading ASIAN SIDE, extending from Üsküdar to Anadolukavağı, and under the heading EUROPEAN SIDE, extending from Tophane to Yenimahalle.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe documents dozens of buildings of historical and architectural importance, such as the Aziz Mahmut Hüdayi Complex, the Debreli İsmail Paşa Mansion designed by Alexandre Vallaury, the Sadullah Paşa Mansion, the Kadiri Lodge, the Naime Sultan Mansion, the Amcazade Hüseyin Paşa Mansion (Istanbul's oldest wooden structure) and the Kavafyan Mansion (the second oldest structure), the Sait Halim Paşa Mansion, the Italian Consulate designed by Raimondo D'Aranco, and the Huber Mansion. In addition, he records humble wooden row houses, streets, and avenues that lean against each other, serving as a testament to the culture of communal living.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThrough his unique photographs, ranging from small traditional wooden houses to magnificent mansions and waterfront estates built in Baroque, Art Deco, Art Nouveau, or Neoclassical styles, Reha Günay reminds us of an architectural understanding and a way of life that we have lost:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Istanbul, where I spent my childhood, was almost entirely made up of wooden houses. In a city 2,700 years old, public buildings were constructed of stone and brick; a large portion of them still exist despite all the ravages of time. However, residential architecture was entirely wooden, and it had managed to endure until my childhood, being renewed at intervals of a quarter-century. As I walked through the streets of Istanbul, I occasionally encountered masonry or reinforced concrete houses. These were mostly located in certain neighborhoods or on main streets. This construction method began to increase gradually. It was then that I started taking photographs, fearing that this architectural heritage would one day disappear...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Bosphorus is a cultural channel 30 km deep that has persisted throughout history. To narrate the continuity of this past, I wanted to examine it period by period. While the shores of the Bosphorus were a well-known region in every aspect during ancient times, our knowledge about the Bosphorus gradually decreased after the end of Byzantium, and the last curious individuals seem to have ceased to exist in the 18th-19th centuries. However, as the images of the past faded into the mists, a newly emerging Bosphorus culture began to dazzle our eyes. This was a very brilliant period, refined by the sensitivity integrated with nature created by Ottoman civilization. Unfortunately, this period ended in the last days of the Ottoman Empire, just as its power waned and collapsed.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn recent years, the Bosphorus has entered the sphere of influence of the rent economy due to Istanbul's unlimited growth and overcrowding, becoming a focal point of interest for the newly rich. Perhaps for the same reasons, a passion for waterfront mansions has emerged; owning and living in a waterfront mansion has become a new obsession; waterfront mansions have been saved from ruin and have begun to shine on the waterfront with their new faces. However, the delicate world of life of the Ottoman notables seems to have evolved into another form... How much does renovating or restoring individual houses suit the appearance and spirit of the Bosphorus? While hundreds of concrete monstrosities rise among them... I think it needs to be questioned. Therefore, when choosing photographs, I preferred the oldest ones. Now, perhaps you will barely recognize some of them in their newly adorned state...”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book, which was printed in duotone special printing technique on coated paper, in large format, and hardcover, was edited by Mesut Kaya. Kemal Kara handled the graphic design and print preparation, and Resul Atabay carried out the graphic application.\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\"\u003eCONTENTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eINTRODUCTION: The Bosphorus in the Past, Witnesses of the Period, The Bosphorus, Life on the Bosphorus, Mansion Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eASIAN SIDE: Üsküdar, Kuzguncuk, Beylerbeyi, Çengelköy, Vaniköy, Kandilli, Anadoluhisarı, Kanlıca, Çubuklu, Paşabahçe, Beykoz, Anadolukavağı\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEUROPEAN SIDE: Tophane, Fındıklı, Kabataş, Beşiktaş, Ortaköy, Kuruçeşme, Arnavutköy, Bebek, Rumelihisarı, Emirgân, Yeniköy, Tarabya, Kireçburnu, Büyükdere, Yenimahalle\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 PROF. DR. REHA GÜNAY?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay, born in Istanbul in 1937, graduated from Istanbul Technical University, Faculty of Architecture in 1960. He completed his doctorate in Art History at Istanbul University. Reha Günay became a professor in 1994 and worked in the Department of Restoration at Yıldız Technical University until his retirement, after which he served as a faculty member at Yeditepe University for a period.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe was among the founders of the Photography Department at Mimar Sinan Fine Arts University and taught Architectural Photography from 1978 to 2011. In his photography work, he strived to document cultural heritage and architectural legacy. From 1983 to 2004, he documented with photographs the structures participating in competitions in Islamic countries for the Aga Khan Award for Architecture Foundation.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay was awarded the \"Contribution to Architecture Award\" within the scope of the 17th National Architecture Exhibition and Awards of the Chamber of Architects of Turkey in 2020, for his successful work throughout his life.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay, who has conducted studies on archaeology and local architecture and organized international exhibitions, has 30 books published by YEM Publishing, including \u003cem data-mce-fragment=\"1\"\u003eMimar Sinan, Istanbul's Lost Wooden Houses, Living Wooden Houses of the Istanbul Islands, Analog and Digital Architectural Photography, The House in Şile, Why is Mimar Sinan a Design Genius?, In the Footsteps of Traditional Architecture 1: Bodrum 1965-1991.\u003c\/em\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206474483,"sku":"9786257008815","price":2100.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_BOGAZICI_AHSAP_KONUTLAR_YALILAR_KAPAK.jpg?v=1705077984"}],"url":"https:\/\/yemkitabevi.com\/en-us\/collections\/2023\/basimtarihi_agustos-2023.oembed","provider":"YEM Kitabevi","version":"1.0","type":"link"}