{"title":"99 TL BARGAIN Book Opportunity!","description":"\u003cdiv data-widget-id=\"l85175\"\u003e\n\n\u003cdiv class=\"RootQuote_wrapper_mCHD7 RootQuote_flatQuoteWrapper_sZGVz qa-MessageViewer-RootQuote-Wrapper\" aria-label=\"Quote area\"\u003e\n\n\u003cdiv class=\"RootQuote_quotes_aQk-K\"\u003e\n\n\u003cdiv class=\"FlatQuote_wrapper_Du10O qa-MessageViewer-Quote-wrapper\"\u003e\n\n\u003cdiv class=\"FlatQuote_content_elF7k\"\u003e\n\n\u003cdiv class=\"FlatQuote_inner_d5tIA\"\u003e\n\n\u003cdiv dir=\"ltr\"\u003e\n\n\u003cdiv\u003e\u003cstrong\u003e\u003cspan style=\"color: #666666; font-family: red Hat Display, Helvetica, Arial, sans-serif; font-size: medium;\"\u003eBARGAIN Book Opportunity at YEM Bookstore for 99 TL!\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e\u003cspan style=\"color: #666666; font-family: red Hat Display, Helvetica, Arial, sans-serif; font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e\n\n\u003cspan style=\"color: #666666; font-family: red Hat Display, Helvetica, Arial, sans-serif; font-size: medium;\"\u003eWe are offering thousands of our books at huge discounts with the advantage of a 9\u003c\/span\u003e\u003cspan\u003e9 TL FIXED PRICE.\u003c\/span\u003e\n\n\u003c\/div\u003e\n\n\u003cdiv\u003e\n\n\u003cdiv\u003e\u003cspan\u003eYou will only be able to catch this very special offer, which is LIMITED TO STOCKS on selected books, if you act fast.\u003c\/span\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e\u003cspan\u003eWe advise you to hurry!\u003c\/span\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\u003cdiv\u003e\n\n\u003cbr\u003e\n\u003cdiv data-widget-id=\"l85176\"\u003e\n\n\u003cdiv class=\"RootQuote_wrapper_mCHD7 RootQuote_flatQuoteWrapper_sZGVz qa-MessageViewer-RootQuote-Wrapper\" aria-label=\"Quote area\"\u003e\n\n\u003cdiv class=\"RootQuote_quotes_aQk-K\"\u003e\n\n\u003cdiv class=\"FlatQuote_wrapper_Du10O qa-MessageViewer-Quote-wrapper\"\u003e\n\n\u003cdiv class=\"FlatQuoteControls_wrapper_CeGaB FlatQuote_controls_ua9L4\"\u003e\n\n\u003cdiv class=\"FlatQuoteControls_expander_yfD0G qa-MessageViewer-QuoteControls-Expander FlatQuoteControls_nonCollapsible_MxAHg FlatQuoteControls_fullHeight_1Ti0R\"\u003e\n\n\u003cdiv class=\"FlatQuoteControls_lineContainer_L31g7 qa-MessageViewer-QuoteControls-LineContainer\"\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"FlatQuote_content_elF7k\"\u003e\n\n\u003cdiv class=\"FlatQuote_inner_d5tIA\"\u003e\n\n\u003cdiv dir=\"ltr\"\u003e\n\n\u003cdiv dir=\"ltr\"\u003e\u003cspan\u003e\u003ci\u003eNOTE: These books, included in the campaign and offered at a \"bargain\" price, have the same features as the original books. They may have very minor damages such as color change, dents, or wear during transportation, shipping, storage, etc.\u003c\/i\u003e\u003c\/span\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e","products":[{"product_id":"mimarlik-okulunda-hayatta-kalma-kilavuzu","title":"Survival Guide for Architecture School","description":"YEM Yayın has published its new book, \u003cem\u003eA Survival Guide to Architecture School\u003c\/em\u003e, which aims to assist architecture students throughout their education.\u003cbr\u003e \u003cbr\u003eEvery year, new architecture students make similar mistakes during the design process, forgetting to include important elements in their projects. This concise guide offers the most important and fundamental tips to help students, accompanied by the author's witty and beautiful hand-drawn illustrations.\u003cbr\u003e \u003cbr\u003eIain Jackson, the author of \u003cem\u003eA Survival Guide to Architecture School\u003c\/em\u003e, translated into Turkish by Prof. Dr. Özlem Erdoğdu Erkarslan, prepared the book to serve as a basic reference for architecture students. His thoughts on the book are as follows:\u003cbr\u003e \u003cbr\u003e“The \u003cem\u003eSurvival Guide to Architecture School\u003c\/em\u003e you hold in your hands will help you express yourself more effectively and present your designs in a more remarkable and accurate way.\u003cbr\u003e\u003cbr\u003eEach page contains important advice on the fundamentals of architecture. Use the tips, principles, and guiding information provided here to make your designs more effective. Architecture students often spend too much time conveying their thoughts or correcting misunderstandings during critiques (or juries). This steals time that is essential for them to explain the architectural values they present and the true components of their ideas. Do not let simple drawing errors and oversights diminish the quality of good designs.\u003cbr\u003e\u003cbr\u003eThe main purpose of the book is to help you in your design work and to develop the skills you need to convey your thoughts accurately to others. What you read and observe here are topics discussed almost every day in architecture schools around the world. Use these as reminder notes before attending lectures and critiques (juries) to make your designs more enjoyable and daring, and to convey what you want to say accurately.”\u003cbr\u003e \u003cbr\u003e\u003cstrong\u003eTABLE OF CONTENTS\u003c\/strong\u003e\u003cbr\u003eTHE WORLD AROUND US 8\u003cbr\u003eBe an explorer\/urban traveler\u003cbr\u003eKeep a notebook or diary\u003cbr\u003eSite visits: be a traveler\u003cbr\u003eA photograph of a building is not the building itself\u003cbr\u003eSketching\u003cbr\u003eReading\u003cbr\u003eTraditional\u003cbr\u003eDensity\u003cbr\u003eStreet\u003cbr\u003eContours and slope\u003cbr\u003eCase study\u003cbr\u003eTurning a corner\u003cbr\u003e100 corners\u003cbr\u003eDrawing for fun\u003cbr\u003eSite plan\u003cbr\u003eThe everyday\u003cbr\u003eSum of the parts\u003cbr\u003e \u003cbr\u003eTHINKING ABOUT SCALE 42\u003cbr\u003eStreet width - building height ratio\u003cbr\u003eSurface area - volume ratio\u003cbr\u003eScaled drawing\u003cbr\u003eScale is everything\u003cbr\u003eScaling a cube\u003cbr\u003e \u003cbr\u003eBUILDING COMPONENTS AND DESIGN CRITERIA\u003cbr\u003eColumn, beam and wall\u003cbr\u003eColumn placement\u003cbr\u003eQuestions for form\u003cbr\u003eBuilding envelope\u003cbr\u003eWall\u003cbr\u003eWindow\u003cbr\u003eRoof\u003cbr\u003eStairs\u003cbr\u003eCirculation and wet areas\u003cbr\u003eBuilding orientation\u003cbr\u003eInsulation\u003cbr\u003eDoor\u003cbr\u003eCantilever\u003cbr\u003eSometimes we are asked to touch, sometimes not!\u003cbr\u003eMaterials\u003cbr\u003eSustainability\u003cbr\u003eDigital heritage\u003cbr\u003e \u003cbr\u003eCOMMUNICATION 90\u003cbr\u003eWho are you drawing for?\u003cbr\u003eLine weights\u003cbr\u003eName your drawings\u003cbr\u003eFont\u003cbr\u003eAxonometry\u003cbr\u003ePlan\u003cbr\u003eNorth arrow\u003cbr\u003eSection\u003cbr\u003eElevation\u003cbr\u003eDraw the main idea of the building in 20 seconds\u003cbr\u003ePeople\u003cbr\u003eGrid system\u003cbr\u003eGrid disruption\u003cbr\u003e \u003cbr\u003ePROCESS 116\u003cbr\u003eContext\u003cbr\u003eGreat pleasure\u003cbr\u003eCeremony, myth and ritual\u003cbr\u003eDon't reduce architecture to mere space, form and light\u003cbr\u003eFront-back \/ public-private\u003cbr\u003eFocus\u003cbr\u003eIntermediate spaces\u003cbr\u003eChronological drawing\u003cbr\u003eSerial view\u003cbr\u003eThreshold\u003cbr\u003eFrom within space - towards space\u003cbr\u003ePlinth\u003cbr\u003eForm, technology and program\u003cbr\u003eCost, construction time and quality\u003cbr\u003e \u003cbr\u003eMAKING PROGRESS 142\u003cbr\u003eOral presentation\u003cbr\u003eDress and style\u003cbr\u003eArchitecture is for people\u003cbr\u003eHowever, don't work with these types of people...\u003cbr\u003ePlanning your workload, key objectives and lifestyle\u003cbr\u003eWhat is your vision?\u003cbr\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208833779,"sku":"9786058119192","price":280.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786058119192.jpg?v=1616017716"},{"product_id":"klasik-muzik-islikla-calinmaz","title":"Classical Music Cannot Be Whistled","description":"\u003cblockquote class=\"blockquote\" style=\"margin: 0cm 0cm 0.0001pt; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial; vertical-align: baseline;\"\u003e \u003cspan arial=\"\" blinkmacsystemfont=\"\" cambria=\"\" font-size:=\"\" lang=\"EN-US\" neue=\"\" open=\"\" sans=\"\" sans-serif=\"\" system-ui=\"\" ui=\"\"\u003eCengiz Yetken's book, which conveys his \"learning and producing\" experience with Louis I. Kahn, one of the leading figures of 20th-century architecture, with an original approach,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan arial=\"\" blinkmacsystemfont=\"\" cambria=\"\" font-size:=\"\" lang=\"EN-US\" letter-spacing:=\"\" major-latin=\"\" neue=\"\" open=\"\" sans=\"\" sans-serif=\"\" system-ui=\"\" ui=\"\"\u003ewas published by YEM Yayın.\u003c\/span\u003e\n\u003c\/blockquote\u003e\u003cp\u003e\u003cb\u003e\u003cspan cambria=\"\" lang=\"EN-US\" major-latin=\"\" style=\"font-size: 11.0pt;\"\u003e“While working in the office, I had a habit of whistling Beethoven’s 5th Symphony. ‘Cengiz, please… You can’t whistle Beethoven!’ This was sudden and unexpected. Kahn continued: ‘You can’t whistle classical music, but you can hum it.’”\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e Cengiz Yetken is a figure who worked and produced with Louis Kahn, first as a student in Kahn's legendary graduate studio at the University of Pennsylvania School of Architecture, and then as a young colleague in his office at 1501 Walnut Street. This was a period when significant projects were underway in the relatively short but brilliant career of Kahn, a thinker, artist, and architectural guru, who was one of the important actors in 20th-century world architecture between the 1950s and 70s. As understood from the Yetken-Kahn dialogue carried in the book's title, this book is about the experiences of two architects who internalized architecture as a way of life, concerning the ordinary flow of life, the tonalities of music, the art of design, the experiences of a building beyond brick and mortar, its beginning, its formation, its life, its measurable and immeasurable values, and the essence of light and silence\u003cu\u003e.\u003c\/u\u003e\u003c\/p\u003e\u003cp\u003e The book, edited by Müge Cengizkan, translated by Özlem Erdoğdu Erkarslan, and designed by Utku Lomlu, is meeting readers through YEM Yayın. Cengiz Yetken describes the book as follows:\u003c\/p\u003e\u003cp\u003e \u003cem\u003e“Throughout my professional life, both in architectural practice and as a professor in design education, I often encountered questions about Louis Kahn, perhaps one of the most distinguished architects of the 20th century. Many friends encouraged me to write about Kahn. Initially, I considered writing a series of letters to my children, conveying my experiences with Lou and why his buildings were so special. However, I later realized that I should convey these to students in architecture schools and to my colleagues in practice. This would be the best way to communicate the design sensibility ingrained in his buildings and the ideas that gave rise to them. Gradually, I understood that what I wrote could not remain merely memories, but would shed light on the act of design. This also became a personal journey that allowed me to rediscover my own understanding of design. This book does not aim to explain Kahn’s architectural approach or his views. These memories are what I learned from my time with Kahn, from his class, his office, his buildings, and from being in the profession for all these years. I am trying to answer a difficult question: What did I learn from Kahn?”\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e \u003cb\u003e\u003cspan cambria=\"\" lang=\"EN-US\" major-latin=\"\" style=\"font-size: 11.0pt;\"\u003eCONTENTS\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e FOREWORD\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e\u003cbr\u003e\u003cb\u003e\u003cspan cambria=\"\" lang=\"EN-US\" major-latin=\"\" style=\"font-size: 11.0pt;\" text-transform:uppercase=\"\"\u003eKAHN STUDIO AT PENN\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e\u003cb\u003e\u003cspan cambria=\"\" lang=\"EN-US\" major-latin=\"\" style=\"font-size: 11.0pt;\" text-transform:uppercase=\"\"\u003e1.A FOREIGN STUDENT\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e PHILADELPHIA\u003c\/p\u003e\u003cp\u003e\u003cb\u003e2. “ART IS THE LANGUAGE OF GOD”\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e MEETING\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e UNDER THE TREE\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e DESIRE \/ NEED\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e RICHARDS\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e STRUGGLE\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e AROUND THE TABLE\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e PAINTED LINES\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e SEEING THE PLACE\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e LIFE STORIES\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e MAKING MODELS\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e POETICISM\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e STRADIVARIUS\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e BELIEF\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e AROUND THE TABLE\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e PANEL\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e DON'T COPY KAHN\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e SYMPHONY\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e CORRIDOR\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e THE TRAVELED AND THE PASSED\u003c\/p\u003e\u003cp\u003e ASKING\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e SOUND\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e INTERSECTIONS\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e FINAL JURY\u003c\/p\u003e\u003cp\u003e \u003cb\u003e\u003cspan cambria=\"\" lang=\"EN-US\" major-latin=\"\" style=\"font-size: 11.0pt;\" text-transform:uppercase=\"\"\u003e3. “ARCHITECTURE HAS NO EXISTENCE”\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e PROJECT INTRODUCTION: FDR MEMORIAL\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e FOUNTAIN\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e AROUND THE TABLE\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e MOZART IN GREECE\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e \u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e\u003cstrong\u003eWHO IS CENGIZ YETKEN?\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003eBorn in Ceyhan, Adana in 1940. He graduated from METU Faculty of Architecture with a bachelor's degree in 1963 and a master's degree in 1964. In 1965, he went to the University of Pennsylvania to pursue a master's degree in Louis Kahn's studio, graduating in 1966. He worked as a \"project manager\" at Louis Kahn's Office, where he started working during his studies, until 1968. In addition to his work at the office, he also served as a faculty member at the University of Pennsylvania, leading an architectural design studio between 1966 and 1968. In 1968, he returned to Turkey and taught architectural design at the METU Faculty of Architecture, his alma mater, until 1975. In 1975, he decided to return to the USA. He worked as a faculty member at Ball State University, School of Architecture and Planning until 1977, and at the University of Virginia until 1981. He decided to transition from academia to professional practice. Between 1981 and 1986, he worked as a senior architect at SOM Chicago. In 1984, he qualified to become a member of the American Institute of Architects (AIA). In 1986, he decided to open his own office, and until 1990, in his Oak Park office, he not only produced architectural designs but also designed industrial design objects and continued his film directing studies. Between 1987 and 1991, he taught as a visiting artist at the School of the Art Institute of Chicago. From 1990 to 2006, he had a long and productive career as a senior project architect at Perkins+Will Chicago. From 2006 to 2009, he served as an architectural design consultant for the same company. In addition to being a licensed architect in Illinois as an AIA member, he is also a member of the Chamber of Architects of Turkey and the Fulbright Education Commission. After his retirement in 2009, he continues his life by engaging in personal work at his homes in Chicago and Bodrum Demir Tatil Evleri.\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207850739,"sku":"9786257008051","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786257008051.jpg?v=1616018036"},{"product_id":"zoru-basarmak-10-bin-kisinin-yolculugu","title":"Achieving the Impossible: The Journey of 10,000 People","description":"\u003cp class=\"MsoNormal\"\u003eThe book begins on a June day in 1875, with Alexander Graham Bell's invention of the telephone. This is followed by the establishment of the Post Directorate during the Ottoman period; the launch of PTT with the young Republic; Netaş's establishment in the 1960s, taking the lead in communication; and Netaş overcoming economic, technological, political, and social challenges to continuously develop and innovate, reaching its current inspiring leadership position...\u003c\/p\u003e\n\u003cp\u003e Beyond merely chronicling a corporate history, Rıdvan Akar, who undertook the research and authored the texts for this highly valuable work documenting Turkey's technological history, states the following in the book's \"Introduction\" section:\u003c\/p\u003e\n\u003cp\u003e \"...Corporate history research gained importance in our country after the 1990s. The fact that only 75 companies in Turkey have a 100-year history, and the disappearance of vast corporate histories with the passing of 'founders,' spurred a curiosity to pursue those traces, paving the way for such research...\u003c\/p\u003e\n\u003cp\u003e Corporate culture at Netaş was not something merely spoken of, but something lived and written, a history that reproduced itself each time. In this context, looking at Netaş's story, we can see interesting milestones. In its establishment and development process, Netaş was a multinational partnership. But interestingly, its counterpart in Turkey was not profitability, but necessities and needs. Netaş was established to address the communication problems and gaps, which were among the country's most significant issues.\u003c\/p\u003e\n\u003cp\u003e One of the main differences that set Netaş apart from its peers was that it was 'ownerless.' Of course, Netaş had owners, but we mean those who 'embraced' it. This was a reflex related to the sense of belonging and responsibility we emphasized above. During the company's development and growth, especially during the periods of Turkish general managers, the employees' feeling of a 'national duty' rather than just a 'job' was the key to this embracing process...\"\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370211094771,"sku":"9786257008259","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786257008259.jpg?v=1616018060"},{"product_id":"mimarlik-nedir-ve-diger-100-soru","title":"What Is Architecture? And 100 Other Questions","description":"\u003cp\u003eYEM Yayın has published its new book, \u003cem\u003eWhat is Architecture? and 100 Other Questions\u003c\/em\u003e, which aims to encourage reflection on concepts such as architecture, design, cities, and spaces, and to view the conventional landscape from a different perspective.\u003c\/p\u003e\n\u003cp\u003eIn the book, prepared for easy reading and communication, Rasmus Wern and Gert Wingårdh seek short and long answers to 101 questions they pose about architecture, cities, design, and space, using a critical language that can be described as humorous and even provocative.\u003c\/p\u003e\n\u003cp\u003eThe book was translated into Turkish by Prof. Dr. Özlem Erdoğdu Erkarslan. Erkarslan, who first encountered \u003cem\u003eWhat is Architecture? and 100 Other Questions\u003c\/em\u003e as a reader, architect, and academician before translating it, describes it as follows:\u003c\/p\u003e\n\u003cp\u003e“Every architecture student dreams of finding and reading a single book titled ‘The Secrets of Architecture!’ to be ‘enlightened’. Especially students who finish their first year often describe an experience of confusion rather than a learning experience when they look back. In this process, there are so many different layers of knowledge, skills, and notions that it is often impossible for a student to classify and define their acquisitions. For this reason, they never give up their search for that mysterious book, assuming that a holistic single truth could actually exist.\u003c\/p\u003e\n\u003cp\u003eThe most important difference between contemporary architectural theory and the \u003cem\u003etreatise\u003c\/em\u003e tradition is its shift from the knowledge of practice and construction to discourse. For example, how we dig a septic tank is no longer among the knowledge areas for which the architect is responsible, but in contrast, it has transformed into the concept of ‘place’ which includes the septic tank and views the soil and sky that support the structure as a whole. Meanwhile, while the knowledge of construction is delegated piece by piece to other specialized fields, thought, idea, philosophy, discourse—however we name it—has become the sole area of discussion in architecture. The ‘grand narrative’ has abandoned practice; it has determined that the abstract, the idea, is more important. Theory is now independent of empirical knowledge. The rationality of the construction tradition has been secondary, replaced by technological expertise.\u003c\/p\u003e\n\u003cp\u003eIn this book, authors Rasmus Wern and Gert Wingårdh subtly criticize the ‘grand narrative’ with a humorous language; on the other hand, the book itself, with its title, winks at the curious reader searching for ‘The Secrets of Architecture’. This work is written for easy reading and communication. Instead of the long and convoluted sentences of architectural theory, there are short and simple explanations. Rasmus Wern and Gert Wingårdh take us back to the first ‘treatises’. The narrative is divided into sections and claims to cover the subject with an ambitious number (101). After Vitruvius’s and Alberti’s ten-item books, in the 21st century, surely only 101 items must suffice to cover everything!...\u003c\/p\u003e\n\u003cp\u003eAuthors Rasmus Wern and Gert Wingårdh, stating that much of what is said in the book has been said before, summarize their reasons for preparing such a work as follows:\u003c\/p\u003e\n\u003cp\u003e“Much of what is said in this book has been said before. Architects like Adolf Loos expressed themselves with perfect clarity about the distinction between art and architecture. Gunnar Asplund made brilliant comments on the style of time and space; Bruno Taut spoke about color and Jacques-François Blondel about architectural character. We have built this book on the old wisdom we mentioned, adapted it to contemporary conditions, and produced some new ideas. In other words, we applied the process followed in architectural design.\u003c\/p\u003e\n\u003cp\u003eArchitects, as far as we know, have been trying to define the essence of architecture since ancient times. Unlike other art forms, architecture is often expected to explain itself. If it’s going to be expensive, we deserve to know what we’re paying for. In addition to basic usability and comfort criteria, the architectural product can add commercial value to the client in many ways, including creating an image, promoting, or generating revenue. However, the mysterious essence of architecture goes beyond such benefits. What is this essence? We have found 101 different ways to describe it. Some of our answers may seem contradictory – exactly as they should. As anyone who has witnessed urban life at some point can know, the same question can have more than one correct answer. Since the subject is both very amusing and very serious, it would be strange if our own structures or answers did not encompass this entire spectrum.\u003c\/p\u003e\n\u003cp\u003eIf this book can help the reader appreciate what a wonderful (and emotional) game architecture can be, we would be very happy to hear and learn that.”\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208702707,"sku":"9786257008280","price":280.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786257008280.jpg?v=1616018062"},{"product_id":"modulor-ve-le-corbusiernin-kulubesi","title":"Modulor and Le Corbusier's Cabin","description":"\u003cp data-mce-fragment=\"1\"\u003eIn his new book published by YEM Yayın, Prof. Dr. Genco Berkin discusses the “Modulor” system, which Le Corbusier, also known as the “Father of Modern Architecture,” gifted to world architecture, and “Le Cabanon,” the cabin he designed for himself using this method.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGenco Berkin states that he wrote this easy-to-read, understandable, portable mini-book for every architect and interior designer to carry with them as a design principle, just like a compass, pencil, or ruler they never part with:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“At the heart of today's popular trends in living space selection, such as 'Tiny House' and 'Small House,' lies the desire to shed our excesses and find ourselves in nature. Le Corbusier realized and experienced this almost 100 years ago in the design of the cabin he built for himself, called Le Cabanon. Le Cabanon is, in fact, the embodiment of Modulor, the scaling system he developed. The emergence, development, and introduction of Modulor to architecture can be likened to the experiences of a traveler who never deviates from their destination on a long and arduous journey.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlthough Le Corbusier is considered the 'Father of Modern Architecture,' the roots of the structural system he established extend back to the Hellenistic period and the Renaissance. Le Corbusier, who greatly admired the standardization of the Hellenistic period, created the scaling sequence in 'Modulor,' which he invented, through the Fibonacci sequence. Thanks to this system, which emerged from the measurements of the human body and grew by addition, the 'human-furniture-space' trio could be expressed numerically for the first time. Christopher Alexander, who laid the foundations of parametric design, a breakthrough in architecture today, followed the path opened by Modulor. In its simplest terms, Modulor is a guide for designers to create artificial environments (preventing the loss of concern for proportion).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIf Le Corbusier had never lived, our homes, workplaces, and schools today would be built at more than twice the cost; the majority of the public would be deprived of quality housing, and some students might not even receive an education. Moreover, since there would be no standard understanding of design and production in any of these structures, sustainable production of construction materials would not be possible, and there would be difficulties in accessing these products.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis book traces how Le Corbusier achieved his great dreams that blossomed in his small world and his aspirations to make the world a more livable place. Readers who are architects or interior designers will see that the solution in design lies in creating norms and standards; they will ponder more deeply the necessity of considering furniture and space as a whole.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCONTENTS\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIntroduction\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLe Corbusier and Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eJourney to the East\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlexander Klein and Le Corbusier Interaction\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Birth and Establishment of Modulor\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Birth of the Cabin (Le Cabanon)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEileen Gray and Le Corbusier Interaction\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Dimensions of Le Cabanon\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Furniture of Le Cabanon\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Reflections of Le Cabanon on Contemporary Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eConclusion\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSedef Sav designed the cover and illustrations for \u003cem data-mce-fragment=\"1\"\u003eModulor and Le Corbusier's Cabin\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48439370285299,"sku":"9786257008372","price":105.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Modulor_LeCabanon_ONKAPAK.jpg?v=1624278488"},{"product_id":"tangul-akakinci-resme-adanmis-bir-omur-a-life-dedicated-to-painting","title":"Tangül Akakıncı: A Life Dedicated to Painting","description":"\u003cp data-mce-fragment=\"1\"\u003eYEM Yayın has published a new book titled \u003cem data-mce-fragment=\"1\"\u003eTangül Akakıncı: Resme Adanmış Bir Ömür \/ A Life Dedicated to Painting\u003c\/em\u003e, prepared with the aim of introducing the painter Tangül Akakıncı, her approach to art and painting, and her works to art-loving readers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“I always had a concern for form; of course, there was also a concern for color, but I especially wanted to create forms I was not used to seeing...”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Tangül Akakıncı is a painter who, despite starting her artistic life in the 1960s in Bedri Rahmi Eyüboğlu's workshop within the State Academy of Fine Arts, continued her art studies for over 50 years with Süleyman Velioğlu. Akakıncı, who was among the founders of the Akatünvel Art Group and passed away in 2021, expressed her understanding of art in depth in an interview with Pelin Özer years ago:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“My father was a saddler, one of the old masters. In my childhood, I often went to his shop in Eminönü, Küçükpazar, and saw various objects related to the horse world: Circassian saddles, Spanish saddles, whips, harnesses, saddlebags, stirrups... A fascinating, intriguing horse world for a child... I would examine the cutting tools my father used. Imagine a half-moon; a handled tool called a chisel, my father would cut leather with it. A very archaic form, unknown to me, never seen before. An interesting iron tool was also used to beat and thin the leather. Interestingly, what was important to me was always the tools themselves, not the process done with them. Until then, I hadn't seen other tools like these around me, nor did I see them later; such things were not part of my education. I had recorded all of them; I realized this later when forms similar to those forms appeared in my paintings... The journey began this way. The unknown always attracted my attention...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e... I mostly observed and absorbed monumental rocks. I work in multiple layers to render the stone texture anyway; always by scraping. My father would cut, beat, and fray the leather with his cutting tool. From the beginning, I scraped the paints I worked on layer by layer with a razor blade. Unlike my father, I do the same process with paint. I work in layers, I scrape. After scraping, a new understanding of form emerges, including the composition; the painting changes from its figure to its tone. Then I scrape again, I work again. I never used any tool other than a razor blade. The master used a spatula. We always work on paper. The master would mix white glue with whiting, bring it to a certain consistency, and think about how to place the form he created in his mind on the paper with a spatula, spreading that thick paste. He would start placing colors on it; after placing the colors, if it didn't look right, he would start scraping. I don't use a spatula; I apply the paint with a brush. But when I start scraping, shovelfuls of paint come off; we are perhaps the painters who use the most paint in the world. We work in layers. How many compositions, how many layers can emerge from these, one on top of the other. We start scraping; if it didn't work, if we didn't like it, we would ruin it. Work is done, it finishes or it doesn't. There was never a measure of how long a painting takes. There were paintings we worked on for three years. After the master's death, I tried my best to protect myself. Why did I try to protect myself? From \"just good enough,\" from slacking off, and from being trendy...”\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTANGÜL AKAKINCI: A LIFE DEDICATED TO PAINTING\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“... There was always a form of sensitivity that I had. Of course, there was also color sensitivity, but I especially wanted to create forms with which I was unfamiliar...”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Tangül Akakıncı is a painter who began her artistic career in the 1960s at the State Academy of Fine Arts, in the atelier of Bedri Rahmi Eyüboğlu, but she continued to work with Süleyman Velioğlu for more than 50 years. In an interview with Pelin Özer, carried out years ago, Tangül Akakıncı, one of the founders of Akatünvel Art Group who passed away in 2021, expresses her understanding of art in detail in depth.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210210035,"sku":"9786257008501","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/TANGUL_AKAKINCI_KAPAK.jpg?v=1650286564"},{"product_id":"palimpsest","title":"Palimpsest","description":"\u003cp data-mce-fragment=\"1\"\u003eVisuals and text had never met like this before…\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeniz Barlas Velioğlu’s book, \u003cem data-mce-fragment=\"1\"\u003ePalimpsest\u003c\/em\u003e, has been published by YEM Yayın.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Deniz Barlas Velioğlu explains her unique artistic approach as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“The visual-textual language I have developed consists of two fundamental layers: printed materials, mostly newspaper pages, and what I construct upon them. The dialogue\/collision of these two worlds, which might contain limited meanings on their own, generates 'additional meanings.' The newspaper page, with its texts, photographs, colors, and textures, often serves as a visual-semantic starting point that inspires me. The world I construct on top sometimes rejects and ignores the existence of the one below, and sometimes responds to it. In both cases, they form a semantic unity. I hope that this synergy will awaken new associations in the viewer, taking them on journeys.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“Deniz Barlas Velioğlu’s paintings remind us that nothing is merely what it appears to be, which I believe is one of art's fundamental functions.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Haluk Şahin, Lecturer, Communication Theorist, Author\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“As I looked and read, I got lost in my own palimpsest; it was both a 'common' (sociological) and an 'individual' (psychic) experience. I recommend it to you as well.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Orhan Tekelioğlu, Cultural Sociologist\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“In my eyes, Deniz’s paintings are as powerful and meaningful as a striking book cover or a poster. She blends written language with visual language, creating a thoughtful-artistic layer.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Uğurcan Ataoğlu, Co-founder and Design Director of Alametifarika, Lecturer\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“When I saw her paintings on newspaper pages and printed documents, I commented, ‘This is the true art of our age’.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Rahmi Çöğendez, RC Art Gallery\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“The music I composed for Deniz’s paintings still holds a very special value for me, as it emerged from a very powerful state of ecstasy.” \u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Yüksel Demir, Architect\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“There are codes, clues everywhere. It’s like an endless game, a true discovery.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Hülya Kayserili, Geneticist\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWHO IS DENİZ BARLAS VELİOĞLU?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeniz Barlas Velioğlu was born in Istanbul in 1961. She attended primary school in various cities, including London, Brighton, and Ankara. She completed her middle and high school education at TED Ankara College. In 1982, she graduated from the Middle East Technical University (METU) with a degree in Sociology. Between 1989 and 2009, she worked as a Creative Director and Agency President at national and international advertising agencies. She won numerous awards in national and international competitions and served as a jury member and president. Due to her interest in art and design, which began in her childhood, she particularly focused on painting. She has held solo exhibitions and participated in group exhibitions. The artist, whose more than 150 works are found in various collections both in Turkey and abroad, continues her painting work in her studios in Istanbul and Bozcaada.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePALIMPSEST\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeniz Barlas Velioğlu describes her artistic life and her unique understanding of art as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“The visual-textual language I developed consists of two basic layers: mostly newspaper pages and what I’ve built on them. The dialogue\/collision of these two worlds, which can have limited meanings on their own, creates ‘additional meanings’. With its writings, photographs, colors, and textures, most of the time the newspaper page creates a visual-semantic starting point for me that I will be inspired by. The world I build on it, on the other hand, sometimes rejects and ignores the existence of the one below, and sometimes responds to it. In both cases, they form a semantic unity. I hope that this union will awaken new associations of ideas in the minds of viewers and take them on new journeys.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“Deniz Barlas Velioğlu’s paintings remind us that nothing is just what it seems, which I think is one of the main functions of art.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Haluk Şahin, Lecturer, Communication Theorist, Author\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“I was lost in my own palimpsest as I stared Deniz’s paintings; unfortunately, it was both a ‘common” (sociological) and an ‘individual’ (psychic) experience. I suggest that you do it.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Orhan Tekelioğlu, Cultural Sociologist\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“To my eyes, her paintings are as powerful and meaningful as a stunning book cover or a poster. She creates a philosophic-artistic layer by blending textual language and visual language.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Uğurcan Ataoğlu, Co-founder and Design Director of Alametifarika, Lecturer\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003eI started to follow Deniz’s works and especially when I saw the paintings she drew on newspaper papers and printed documents, I commented that “this is the real art of our age.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Rahmi Çöğendez, RC Art Gallery\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“But the score I composed for Deniz that night is still very special to me, as it was born from a powerful state of ecstasy.” \u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Yüksel Demir, Architect\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“\u003c\/em\u003e\u003cem data-mce-fragment=\"1\"\u003eThere are passwords, hints everywhere. It's like an endless game, a real breakthrough.\u003c\/em\u003e\u003cem data-mce-fragment=\"1\"\u003e”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Hülya Kayserili, Geneticist\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWHO IS DENİZ BARLAS VELİOĞLU?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeniz Barlas Velioğlu was born in 1961 in Istanbul. She attended primary school in cities, including London, Brighton, and Ankara. She completed her secondary and high school education at TED Ankara College and graduated from the Sociology Department at METU in 1982. Between 1989 and 2009, she worked as a Creative Director and CEO for national and international advertising agencies. She has won many awards both in national and international competitions, and has taken part in some of them as a member and head of the jury. Since her childhood years, she has worked in the field of painting and has a strong interest in art and design. She has opened personal exhibitions and participated in group exhibitions. As an artist with over 150 works in various national and international collect\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209423603,"sku":"9786257008570","price":910.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/YEM_PALIMPSEST_KAPAK.jpg?v=1667469302"},{"product_id":"bir-anadolu-kentinin-modernlesmesi-sivas-ta-cumhuriyetin-meksnlari-1930-1981","title":"The Modernization of an Anatolian City: Republican Spaces in Sivas, 1930-1980","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eThe book “\u003c\/span\u003e\u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eModernization of an Anatolian City: Republican Spaces in Sivas, 1930-1980\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e,” which presents a comprehensive inventory of Republican-era architectural works in Sivas, directed by Assoc. Prof. Uğur Tuztaşı and Dr. Pınar Koç, has been published by YEM Yayın.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eAssoc. Prof. Uğur Tuztaşı and Dr. Pınar Koç describe the writing of this book, published with the contributions of SURTAŞ İnşaat ve Akaryakıt A.Ş., as follows:\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e“This study, which emerged from fieldwork, archival research, other documentation methods, and a continuously updated body of knowledge since 2016, aims to reveal the architectural situation of Sivas in the 20th century and to trace the modernization practices within the urban fabric. The universality of Modern Architecture, subjected to deconstruction, has been invalidated, and the 'modern' has produced its local wanderings primarily through locally established dialogue. Of course, the local is not just an architectural practice shown\/selected as a deliberate form of presentation, but also a practice sensed\/perceived in different spaces through local encounters. Therefore, the connection between local architectural corpus and Modern Architecture cannot be understood without an internalization process. In this context, this work, titled \u003c\/span\u003e\u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eModernization of an Anatolian City: Republican Spaces in Sivas, 1930-1980\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e, goes beyond merely being a catalog, aiming to analyze the encounter and dialogue between modern and local in the performance of Sivas. In light of Mustafa Kemal Atatürk's words during his visit to Sivas, 'We laid the foundations of the Republic here,' and the modernizing dominance of the Sivas Railcar Workshop, one of the significant public initiatives of the Early Republican period, in an unknown space, this book is dedicated to the 100th anniversary of our Republic, to be celebrated on October 29, 2023…”\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eThe book consists of six main chapters designed to decipher the experiments of modernization practice in Sivas in different spaces:\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eThe first chapter, 'Transformation of the City Square,' is the core area most exposed to urban change, destruction, and reconstruction.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eThe 'Urban Open Spaces' chapter traces the greening of space, which is a new definition of public visibility.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eThe 'Demolished Buildings' chapter depicts structures built between 1930 and 1980 that were demolished for various reasons. This chapter also brings with it an irony. Unfortunately, some structures that were standing during the exhibition in 2018, the initial output of the study, were subsequently demolished and included in this group. Over a period of approximately four years, an accelerated demolition process took place for many buildings constructed in the 20th century. In short, the architectural flow in Sivas in the 20th century underwent a rapidly eroding process, and this book serves as a comprehensive documentation of this.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eIn the fourth chapter of the book, 'Public Settlements' in separate spaces are discussed. Important public institutional initiatives such as the State Railways Settlement, the Railcar Workshop Settlement, the Cement Factory and its Settlement emerged as modernizing tools of the Early Republican period in Sivas, while regional organizations like Highways and State Hydraulic Works, organized as provincial branches of public administration after 1950, were also transferred to the establishment in large parts.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eThe fifth chapter of the book, titled 'Public Buildings,' focuses on the effectiveness of public buildings in space and presents prominent building types such as business centers, schools, and hospitals, which represent the continuously growing public sphere in the city during the 20th century.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003e\u003cspan style=\"vertical-align: inherit;\"\u003eIn the last chapter of the book, modern 'Residences' in the city are presented with a chronological approach. Attention has been paid to the diversity in this content, ranging from rental apartments to cooperative projects.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206212339,"sku":"9786257008617","price":490.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Sivasta_Cumhuriyetin_Mekanlar_KAPAK_50905a43-469b-4872-b297-644afc6f9ee4.jpg?v=1671443877"},{"product_id":"sivas-i̇cin-duslemek-mimari-studyo-seckileri-2014-2021","title":"Dreaming for Sivas: Architectural Studio Selections 2014-2021","description":"\u003cp data-mce-fragment=\"1\"\u003eYEM Yayın has published a new book titled \"Dreaming for Sivas: Architectural Studio Selections 2014-2021,\" which is a comprehensive selection of architectural studio projects carried out in the Architecture Department of Sivas Cumhuriyet University, conceptualizing Sivas as an experimental space.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eCities are laboratory spaces for schools of architecture. The theme \"Dreaming for Sivas\" marks the pedagogical approach to this experimental space within the context of an architectural studio. This book, prepared for publication by Associate Professor Dr. Uğur Tuztaşı and Dr. Pınar Koç, consists of a selection of architectural studio projects carried out between 2014 and 2021 in the Architecture Department of Sivas Cumhuriyet University, conceptualizing Sivas as an experimental space. Conceptualizing the city as an experimental space ensures that architecture students are not only subjected to a project process that produces solutions to a defined problem area but also enveloped in a discovery process structured around opening all their intuitive and perceptual antennae to the city and feeling the city's daily rhythm.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eUğur Tuztaşı and Pınar Koç, who have created projects by dreaming for Sivas together with their students in design studios, share their views on the design studios, what they have contributed to their students, and the book:\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\"...A design studio needs to be designed with different content. Regardless of the defined problem and the position of the studio participants in the design studio, it is essential to enliven the studio environment to save the process from monotony. Applications that distance one from the main problem by stepping back, when necessary, and other pedagogical methods should be integrated into the studio. Diversity can reveal ideas, productions, and other often-ignored meanings\/abilities of studio participants that directly open to the inevitable processes and results of the initially defined problem area. Since changes in pedagogical tools prepare a conducive environment for experimental applications, the position taken by all participants and the solutions they offer in the face of different design activities are more easily distinguishable. It is discovered that participants, evaluated on a project group basis as a homogeneous studio environment, have different learning styles and the capacity to develop different skills in the face of different methods.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eAs the existence of a heterogeneous studio environment where there is no absolute truth in terms of skill, talent, and visual thinking is accepted, roles are redefined. Just as the distribution of forms of responsibility based on design research and design activity changes with each method\/application change, feeding the studio environment with other tools enhances the diversity of the act of designing. Whether they are hidden curriculum applications or experimental methods, all methods transformed into praxis shape the studio environment. The path reached, in the end, is not the only way out but a productive environment tested with diversity...\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe process, scale, and content differentiation carried out in project groups also determine the method of selecting project topics. At this stage, there are two main determining factors. The first of these is initiatives aimed at renewing and improving significant transformation areas, decaying spaces, or idle parts in the city, and such themes spontaneously emerge on the city's agenda. The second main factor determining the method of selecting project topics is the opportunities offered by the architecture education curriculum and the different levels of professional experience reached by the student in each period. In other words, the architectural studio, as the 'backbone' of the architecture education curriculum, emerges as a critique of the existing order in urban space, and the studio transforms the act of designing from static knowledge into practice. This allows for the engagement of design mechanisms such as strategy and tactics within the studio, transcending its traditional patterns.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eAnother point to be emphasized within the \"Dreaming for Sivas\" theme is that instead of structuring architectural project studios as an endless and breathless process, sometimes small stopping points are built to increase design diversity in the studio, make the design process more efficient, and integrate the act of designing more into the studio. This means that a problem area generally expected to be discovered, subjective experiences, and alternative designs created for a solution are presented through a space of relief\/relaxation\/distancing, such as a sketch exam or sketch applications in an architectural studio. This process, which represents a kind of stop-and-rest, a stage of distancing from the project and the project process, brings another area of experience where design exercises are performed into the studio. In some sketch applications where a specialized pedagogical method is not configured, designs that emphasize urban experience are mostly focused on. Such content can be structured as a monument design or as a spatial organization regarding current urban-scale problems. Ultimately, the fundamental impulse of this entire process is to enable the individual, as an architecture student and an aspiring architect, to experience urban space and internalize it.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe purpose of this entire process, structured around experiencing the city, can be described as getting to know the built environment one lives in, perceiving urban values, and analyzing permeable relationships between urban layers. More specifically, with an expression emphasizing a specialized area of interest, contents such as comprehending Sivas's urban scale, increasing historical space perception, questioning historical environmental layers, and defining awareness for the living city are the themes targeted by the project topics discussed under the \"Dreaming for Sivas\" axis. Furthermore, the project topics covered in the book include the output products and process of an experiential space varying from current urban agenda issues, from a single building scale to urban and historical environment analysis, and monument designs developed through hereditary images embedded in Sivas's urban memory. This content is also configured in the sense of revealing potential future possibilities in urban space and generating alternatives through spatial scenarios...\"\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe areas where projects and designs were developed in Sivas and the working titles included in the book are listed as follows:\u003c\/p\u003e\n\n\u003cul data-mce-fragment=\"1\"\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of Sivas Yıldız Blocks Campus and Its Vicinity\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eFrom Section Models to Spatial Function: Free Design Experiments\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eTeacher's House in the Former Military Hospital Campus\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Former 4 Eylül Stadium Area\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eSivas High-Speed Train and Railway Heritage Monument Design\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eAnalysis of Sivas Archaeology Museum's Vicinity and Ethnography Museum\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Vicinity of the Historical Meydan Mosque\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Vicinity of the Historical Güdük Minaret\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eAnalysis of Höllüklük Street's Traditional Texture and New Building Proposals\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Historical Gendarmerie Building and Its Vicinity: Sivas City Museum\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eTemporary High-Speed Train Station\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Former Numune Hospital and Its Vicinity: Sivas City Museum\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eFaculty of Law in Sivas Cumhuriyet University Campus\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eSports Complex\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003e4 Eylül Science and Technology University Campus Design\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eNatural History Museum and Science Center in Sivas Cumhuriyet University Campus\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Vicinity of the Historical Subaşı Han\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Historical Wheat Market Area\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eReevaluation of the Historical Former Prison Building and Ethnography Museum\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eSivas, the Capital of Folk Songs, Monument Design\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eMuzaffer Sarısözen Monument Design\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eFountain Designs\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eAşık Veysel Şatıroğlu Monumental Tomb Design\u003c\/li\u003e\n\n\t\u003cli data-mce-fragment=\"1\"\u003eSivas Congress 100th Anniversary Monument Design\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210177267,"sku":"9786257008457","price":630.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/YEM_SIVAS_ICIN_DUSLEMEK_KAPAK_d2c7ece9-0b37-4ed9-89de-8d9f09cd1cf3.jpg?v=1677655426"},{"product_id":"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":"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":"ekrem-erk-mimarligi-the-architecture-of-ekrem-erk","title":"Ekrem Erk Architecture","description":"\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eThe book titled \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt; mso-ansi-language: EN-GB;\"\u003eEkrem Erk\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .2pt; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .4pt; mso-ansi-language: EN-GB;\"\u003eMimarlığı\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .2pt; mso-ansi-language: EN-GB;\"\u003e \/ \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .4pt; mso-ansi-language: EN-GB;\"\u003eThe Architecture of\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .2pt; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt; mso-ansi-language: EN-GB;\"\u003eEkrem Erk\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt; mso-ansi-language: EN-GB;\"\u003e, which presents architect Ekrem Erk’s architectural journey based in Istanbul and Vienna since the 1970s through his projects, was published in Turkish and English by YEM Yayın.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt; mso-ansi-language: EN-GB;\"\u003eTo read Ekrem Erk’s perspective on architecture from his own and his colleagues’ writings:\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003eEKREM ERK:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003e “\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .3pt;\"\u003eWhat is good architecture? I cannot define it to you. Here, I only want to talk about the issues I valued or was late in valuing in my architectural journey, and my design actions. In doing so, I do not want to give an ideological meaning to architecture. Human existence develops in connection with individual freedom. One creates one’s own values in a certain environment. The existence of design should also emerge with a certain technique and method. That is, it should be the result of a mental activity. The melting pot where our emotions and thoughts meet expresses culture. Here, there is a balance between our emotions and thoughts. For the designer to pursue a dream by utilizing his emotions is a creative phenomenon. It is preconceived; it is authoritarian. However, the earth and the social environment should not be left to the irresponsibility of someone being creative for others. \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt;\"\u003eArchitecture, on the other hand, is the realization of an ideal program, spatial fiction, innovative techniques, and poetic details within an analytical context. Design should be an invention achieved at the end of such a process. This result is original and unique. Every design must have a scenario. The fairy tale imagined by the architect is a whole that brings together all our knowledge, education, technical, and sociological accumulations…”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; mso-ansi-language: EN-GB;\"\u003eUTE NEUGEBAUER: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003e“In all his designs, Ekrem Erk tries to find a common path by navigating between functionality, design, and the client’s own history. A timeless architectural approach that always embodies architectural values, independent of fashion trends, and the desire to offer added value to the client... Erk approaches every design, and thus every client, with the same utmost attention, persistence, and joy of creation, regardless of its dimensions, architectural presence, and ostentation. With a love for detail and unobtrusive perfectionism...”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt;\"\u003eMEHMET KONURALP:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt;\"\u003e “Among his designs, small house projects have been my favorite works. The houses he built were meaningful projects for me. In particular, his interpretation of stone houses held a very important place in his work... \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .3pt;\"\u003eEkrem Erk has taken a leading position in Turkish architecture with the projects he has carried out for over 35 years...”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003eEBRU KAYA:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e“His first encounter with the profession of architecture came through his mentor, Prof. Dr. Bülent Özer. His mentor would now be his guide. The rebellion in his soul had found a path with Bülent Özer’s contribution. This path led him to Graz University of Technology in the early 70s. Those were the times when a movement or architectural search called “Grazer Schule” (Graz School) became distinct. The architects involved in this search were close friends and mostly shared the same drawing studio... \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .3pt;\"\u003eDuring the work processes I spent with him, I always witnessed that innovation and distinctiveness were not sought in form and space. Distinctiveness was hidden in the concept and the scenario of the building design. The design was already a result of that story. The first stage of our work was to transform a strong story into a perfect scenario with sociological criteria. This concept is now structured through the process of imitating examples in nature. Just as the creation concepts of ducks and dolphins differ; neither a dolphin resembles a duck, nor a duck resembles a dolphin or a seagull. Erk’s design process is like the creation process of living things. Just as whether these creatures are aesthetic or not is not judged, airplane, helicopter, and building design cannot be questioned with aesthetic criteria. The design of a building for which a scenario has been prepared consists of a skeleton and skin. All of this is now an engineering process; space is secondary; it is the remaining place under the cover or inside the skin and is very often anonymous. For Erk, architecture is not the art of creating space; it is a sociologically based fiction and the magic of engineering. He is happy that both fiction and engineering are open to innovations... I strongly advise my young architect colleagues and architecture students, in particular, to engage in a professional conversation with him.”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .35pt;\"\u003e-------------------------------------\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .35pt;\"\u003eThe book titled \u003ci\u003eEkrem Erk Mimarlığı \/ The Architecture of Ekrem Erk\u003c\/i\u003e, which has been based in Istanbul and Vienna since the 1970s, through his projects, was published in Turkish and English by YEM Yayın.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .35pt;\"\u003eIf we read Ekrem Erk's perspective on architecture from both his own and his colleagues' pens:\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003eEKREM ERK\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003e: “One difficult question is “What is fine architecture?” It is very difficult to give a precise answer to this question. My purpose in this book is to inform the reader about my architectural journey; my ideas and my concepts of importance, also concepts that I have been late in giving a response to, and to describe my acts of design. In doing so, I refrain from giving an ideological meaning to architecture. The existence of humanity develops in correlation with the level of his existence of freedom. All humans create their set of values in a certain environment. The design stage must be a product of technology and method, it must also be the result of just rational thinking. The synthesis where our feelings and decisions meet represents our culture. There must be a certain balance between our feelings and decisions. On one hand, the designer using his feelings, creating a vision and his dream is the describer of creativity. He is preguided and authoritative. On the other hand, the world and social community must not be left in the hands of an authority demonstrating his creativity on behalf of others. \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .15pt; mso-ansi-language: EN-GB;\"\u003eArchitecture can be described as defining the “room” by the usage of innovative techniques and poetic details with the help of an analytical mind. The design must be real and the end result of such a process. This result is unique. Each design must have a scenario. The story told by the architect is a resume and result of his knowledge, education, background and usage of technology with a sociological point of view...” \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINEN\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003eUTE NEUGEBAUER: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .35pt;\"\u003e“In all his designs, Ekrem Erk tries to find a common path by navigating between functionality, design and the customer’s own history. A timeless architectural approach that always carries architectural values, independent of fashion trends, and the desire to offer added values to the customer... Regardless of its size, architectural presence and ostentation, it treats every design, and thus every client, with the same utmost attention, persistence and joy of creation. With love of detail and unobtrusive perfectionism...”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINEN\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .25pt;\"\u003eMEHMET KONURALP:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .25pt;\"\u003e “\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003eAs a result, he produced very positive projects and brought them to the present day. In almost all of his projects, there was a common idea that was previously structured. This conceptual view has always been the main basis for all his projects… Ekrem Erk has taken a leading place in Turkish architecture with the projects he has done for more than 35 years…”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINEN\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128;\"\u003eEBRU KAYA:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003e“His first encounter with the profession of architecture was thru his teacher Prof.Dr. Bülent Özer. Bülent Özer has always been a mentor in his life and has been the person who discovered the tempests in his soul and has quided him for finding an outcome. A second start in his career was with his new start at Graz Technical University at the beginning of 70s. Those years were the period when the search for a movement of architecture called ‘Grazer Schule’ (Graz School) became evident. The architects involved in this movement are close friends and most of them shared the same drawing room… \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .1pt; mso-ansi-language: EN-GB;\"\u003eDuring the working process I spent with him, I witnessed that innovation and difference are not always sought in form and space. Difference; It was hidden in the scenario of the concept and building design. The design was already a result of that story. The first stage of our work was to transform a strong story into a perfect scenario with sociological criteria.\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .1pt; mso-ansi-language: EN-GB;\"\u003eThis concept is now structured through the process of imitating examples in nature. Just as the creation concepts of ducks and dolphins differ, neither a dolphin resembles a duck nor a duck resembles a dolphin or a seagull. Erk’s design process is like the creation process of living things. Just as it is not possible to judge whether these creatures are aesthetic or not, the design of aircraft, helicopters and buildings cannot be questioned with aesthetic criteria. The design of a building with a scenario prepared consists of skeleton and skin. All this is now an engineering process, space is secondary. It is the leftover place under the covers or inside the skin and is often anonymous.\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .1pt; mso-ansi-language: EN-GB;\"\u003eFor Erk, architecture is not the art of creating space, it is a sociologically based fiction combined with the magic of engineering. He is happy that both the design and the engineering are innovative… I highly recommend my young architect colleagues and architecture students to attend a professional conversation with him.”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan class=\"PlainTable31\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; font-style: normal;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206834931,"sku":"9786257008884","price":630.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/EKREMERK_KAPAK.jpg?v=1729172695"},{"product_id":"cagdas-mimarlik-ve-sanat-prof-dr-bulent-ozer-e-armagan","title":"Contemporary Architecture and Art - In Honor of Prof. Dr. Bülent Özer","description":"\u003cp\u003e“In reality, Bülent Özer was a thinker far ahead of his time. It is difficult to believe that he was adequately read and understood. If he had been properly assimilated, contemporary Turkish architecture would not have been stifled by Western imitation...” The book \u003cstrong\u003eA Tribute to Prof. Dr. Bülent Özer: Contemporary Architecture and Art\u003c\/strong\u003e, prepared by \u003cstrong\u003eYEM Yayın\u003c\/strong\u003e with the aim of introducing Bülent Özer, whom Prof. Dr. Suha Özkan described in this way, to future generations, has been published.\u003c\/p\u003e\n\n\u003cp\u003eDedicated to the memory of Prof. Dr. Y. Eng. Architect Bülent Özer, one of the most important figures in the discipline of Architectural History in Turkey, whom we lost in June 2016, the book contains four sections following the article \"Who is Bülent Özer?\" penned by Prof. Dr. Filiz Özer. The first section, titled \"Selected Articles by Bülent Özer,\" was compiled to bring back into focus some of Bülent Özer's influential writings, published in various outlets over the years, which reflect his extensive knowledge and generated significant discussion. The second and third sections, prepared as a selection of invited papers and open-call articles presented at symposia held in Özer's memory since 2017, focus on the themes of \"Old-New Relationships\" and \"Technology and Art,\" respectively. The fourth section includes commemorative articles written in the context of the symposia... Finally, the book, which also contains a comprehensive \"Bülent Özer Bibliography,\" lists the chapters, topics, and authors as follows:\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e\n\u003cstrong\u003eSELECTED ARTICLES BY BÜLENT ÖZER\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\t\u003cli\u003eDefinition and Scope of the Concept of Art Towards the Year 2000\u003c\/li\u003e\n\n\t\u003cli\u003eA System Proposal on Design Methods in Architecture\u003c\/li\u003e\n\n\t\u003cli\u003eMimar Sinan as a Representative of Pluralism in Mosque Architecture\u003c\/li\u003e\n\n\t\u003cli\u003eA Classificatory Look at Postmodernism\u003c\/li\u003e\n\n\t\u003cli\u003eBruno Taut: On His Personality and a House on the Bosphorus\u003c\/li\u003e\n\n\t\u003cli\u003eCelâl Esat Arseven\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e\u003cstrong\u003eOLD-NEW RELATIONSHIPS\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\t\u003cli\u003eDifferent Solutions for Utilizing Tradition in Contemporary Architecture: Prof. Gottfried Böhm (Ayla Antel)\u003c\/li\u003e\n\n\t\u003cli\u003eThe Contemporary Meaning of Protecting Urban Defensive Structures (Işık Aydemir)\u003cbr\u003e\n\tKılıç Ali Paşa Bath Restoration (Cafer Bozkurt)\u003c\/li\u003e\n\n\t\u003cli\u003eThe Relationship Between Stage Architecture, Musical Drama, and Stage Design from Past to Present (A. Bengi Buğay)\u003c\/li\u003e\n\n\t\u003cli\u003eThe Impossible Synthesis: Innovation and Experience in Sedad Hakkı Eldem’s Arkitekt Articles (Efe Duyan)\u003c\/li\u003e\n\n\t\u003cli\u003eInconsistent Relationships with the Past in Architecture (Doğan Hasol)\u003c\/li\u003e\n\n\t\u003cli\u003eA Look at Old-New Relationships in Architecture Through Aga Khan Award-Winning Projects (Ebru Özeke Tökmeci)\u003c\/li\u003e\n\n\t\u003cli\u003eProf. Dr. Bülent Özer’s and Prof. Dr. Filiz Özer’s Thoughts on “Historical Continuity and Contemporary Architecture” (Filiz Özer)\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e\u003cstrong\u003eTECHNOLOGY AND ART\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\t\u003cli\u003eInterdisciplinary Thoughts at the Intersection of Design and Dentistry on Experience-Oriented Orthodontic Clinics (Abdüsselam Selami Çifter - Muhsin Çifter)\u003c\/li\u003e\n\n\t\u003cli\u003eArchitecture and Robotic Production: The Evolution of the Architect's Tools (Efe Gözen)\u003c\/li\u003e\n\n\t\u003cli\u003eThe Fourth Revolution (Ayşe Hasol Erktin)\u003c\/li\u003e\n\n\t\u003cli\u003eTwo Proposals for Sculptures as Spatial Interventions in Public Space (Meriç Hızal)\u003c\/li\u003e\n\n\t\u003cli\u003eThe Pinnacle of Performance Arts Architecture and Technology Relationship: Franco Dragone’s Water Theater (Anıl Özgür - Özge Gündem)\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e\u003cstrong\u003eIN THE WAKE OF BÜLENT ÖZER IN THE CONTEXT OF SYMPOSIA\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\t\u003cli\u003eLocality, Modernity, Stratification (Hasan Çalışlar)\u003c\/li\u003e\n\n\t\u003cli\u003eThe Active Intelligence Model of the Designer in Bülent Özer (Ufuk Doğrusöz)\u003c\/li\u003e\n\n\t\u003cli\u003eMy Professor Dr. Bülent Özer (Erol Evgin)\u003c\/li\u003e\n\n\t\u003cli\u003eOn Bülent Özer (Suha Özkan)\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003eProf. Dr. Ebru Özeke Tökmeci, the editor of the book, speaks of Bülent Özer in the preface as follows:\u003cbr\u003e\n“….. Throughout the long history of the Academy of Fine Arts, Art and Architectural History courses were taught by professors such as Vedad Bey (1899-1913), Celal Esad Arseven (1924-1943), H. Kemali Söylemezoğlu (1936-1946), Ali Saim Ülgen (1939-1944), Turgut Cansever (1946-1952), and Behçet Ünsal (1952-1982). After Prof. Dr. Bülent Özer joined the DGSA in 1964, Architectural History courses gained a new dynamism with the addition of Contemporary Architecture topics to their curriculum. In the words of Prof. Esad Suher: ‘… [Özer’s] work and lectures on architectural history, especially contemporary architecture, marked a real advancement in this discipline at our institution. His lectures were a cultural feast, with students from other university faculties eager to attend.’\u003cbr\u003e\n….. Prof. Dr. Özer’s publications, based on his academic work spanning many years, cover a wide variety of topics, from comments on culture, art, and architecture to concepts of historicity and tradition, from introductions to local and foreign artists and their works to impressions of architectural works. This undoubtedly involves a multifaceted, research-oriented personality and a broad perspective that goes beyond conventional frameworks. Özer’s interpretation of the concept of culture is broad enough to guide humanity’s efforts to emerge from its current crisis: ‘Culture is the state of balance between the intellectual and emotional worlds of a given society, within the framework of that society’s real needs and possibilities in material and spiritual realms.’ Achieving this balance makes the creativity of society an important factor. The creativity mentioned here, however, can only be achieved by enabling every individual to actively exchange information with their environment, establishing a conscious system of positive or negative relationships with objects.\u003cbr\u003e\nAccording to Özer, a work of art is interpreted as ‘the sensory symbol of culture.’ In this case, one can speak of an unlimited and organic connection between a society’s culture and its art, and its art and its culture. Özer defines the concept of art as ‘the ability to provide impulses that can affect an individual, and ultimately society, spiritually,’ and this definition necessitates thinking about aesthetic experience. Aesthetic experience should not be perceived merely as ‘pleasurable experience,’ ‘beautiful experience’; a work of art should be able to be pleasing, joyful, amusing, saddening, surprising, or figurative, abstract, permanent, or temporary, depending on the context.\u003cbr\u003e\nProf. Dr. Bülent Özer defines architecture, which he considers the foremost of the arts aimed at creating spatial arrangements, as well as a complex yet organic synthesis of various data and disciplines, as ‘the ability to arrange space in a way that can emotionally support the activities it houses, within the framework of a society’s real possibilities and needs.’ Indeed, all kinds of work and behavior in this field, from the smallest irreducible spatial units to spatial arrangements that can be extended to the largest scale, can easily be accommodated within the scope of the architectural concept. In this definition, the concept expressed as a society’s unique needs points to the function of the architectural work, while unique possibilities emphasize the optimal financing factor as well as the technological capabilities that will determine the material, construction, and structure of the work, and the idea of emotional support describes the artistic effect...”\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206638323,"sku":"9786257008921","price":420.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Cagdas_Mimarlik_Sanat_KAPAK.jpg?v=1732711564"},{"product_id":"ktu-nun-kurulus-yillarinda-mimarlik-egitimine-adanmis-bir-yasam-iki-mimar-ozgonul-erdem-aksoy","title":"A Life Dedicated to Architectural Education in the Founding Years of KTU Two Architects: ÖZGÖNÜL – ERDEM AKSOY","description":"\u003cp\u003e“The services Özgönül and Erdem Aksoy rendered to Karadeniz Technical University, and especially to KTU Faculty of Architecture, are beyond all praise. The injustices they faced after 1980 are unacceptable. As strong saplings, these two valuable people who took root in the university of my beloved city and who still exist there today as two mighty plane trees with their memories, will live on in our memories as exemplary academics, exemplary people…”\u003cbr\u003e–GÜLSÜN SAĞLAMER\u003c\/p\u003e\n\u003cp\u003eThe book entitled \"A Life Dedicated to Architectural Education in the Founding Years of KTU, Two Architects: ÖZGÖNÜL – ERDEM AKSOY,\" prepared to both commemorate and pass on to future generations Prof. Dr. Özgönül and Erdem Aksoy, founders of the Department of Architecture at Karadeniz Technical University's Faculty of Engineering and Architecture, has been published in collaboration with the Association for Architectural Education (MimED) and YEM Yayın.\u003c\/p\u003e\n\u003cp\u003eProf. Dr. Özgönül and Erdem Aksoy, founders of the Department of Architecture at Karadeniz Technical University's Faculty of Civil Engineering and Architecture, were commemorated by the Association for Architectural Education (MimED) at a meeting held at the ITU Faculty of Architecture, Taşkışla, the institution where they themselves were educated. The event, attended by their friends, colleagues, and students, celebrated their lives dedicated to architectural science and education.\u003c\/p\u003e\n\u003cp\u003eIn this book, prepared for publication by Türkan Ulusu Uraz and Ahsen Özsoy, the extraordinary story of the Aksoys begins when they, as young faculty members, laid the foundations of the KTU Department of Architecture in Trabzon in the 1960s, after entering ITU as architecture students. Subsequently, you will embark on a long journey that encompasses their dedicated and resolute development of the department they established; their answer to the question \"how can contemporary architectural and design education be provided?\" in an Anatolian city far from the center; the lasting and developmental impact they had on their students and educators through the educational model they created; their achievements, their unfulfilled aspirations, their joys, and their sorrows.\u003c\/p\u003e\n\u003cp\u003eOn this journey, which is both intriguing and educational, you will learn about the Aksoys and the early years of the KTU Department of Architecture from first-hand accounts. You will understand their surprisingly inspiring personalities, efforts, and the magnitude of their largely unappreciated values, considering the conditions of their time.\u003cbr\u003eAnd perhaps, by the time you reach the end of the book, you won't be able to help but ask, \"If these two people, who achieved so much in approximately 15 years of service, had been able to remain in their positions for another 15 years, what wouldn't have happened?\"\u003c\/p\u003e\n\u003cp\u003eThe book's editors' views on its content, preparation process, and the Aksoys are summarized as follows:\u003cbr\u003eAHSEN ÖZSOY: “The series of commemorative meetings titled 'The Unforgotten,' organized by the Association for Architectural Education (MimED) and focusing on architectural educators, holds a very special and significant place among all MimED activities. In the first product of this series, the multi-layered story of the Aksoys' lives dedicated to architectural science and education is conveyed through the testimonies of their friends, colleagues, and students. Thus, the establishment of a university, its organizational and spatial development, and the shaping of architectural education under the conditions of those years, and consequently the founding and development story of the KTU Department of Architecture, are evaluated from various perspectives.\u003c\/p\u003e\n\u003cp\u003eThe book profoundly introduces these two valuable figures, this education-loving couple, who left their mark on the development of architectural education in Turkey, through their lives and educator personalities. While Mr. Erdem's approach emphasized the rational and scientific content of architectural education, Ms. Özgönül prioritized life and humanity in education; in essence, these seemingly different perspectives converged in their search for an answer to the question 'What constitutes good architectural education?'\u003c\/p\u003e\n\u003cp\u003eI believe that by reading about how this difficult and incredible effort in Trabzon, at a time when only a few architectural schools were located in big cities, was undertaken, its costs, its results, and its current impacts through different authors, today's architectural education environment will also be evaluated with a different perspective. I think this book, which will ensure that these two valuable people who left deep traces by realizing this unique project, one of the important milestones of architectural education in Turkey in the 100th year of our Republic, are recognized and understood in various aspects, will also be a guide for research on the history of architectural education in our country…”\u003c\/p\u003e\n\u003cp\u003eTÜRKAN ULUSU URAZ:\u003cbr\u003e“The Association for Architectural Education (MimED, 1998) organized a meeting on November 29, 2013, to commemorate Prof. Dr. Özgönül and Erdem Aksoy, the founders of the Department of Architecture at Karadeniz Technical University (KTU) Faculty of Civil Engineering and Architecture. They were remembered through their lives dedicated to architectural science and education, and their personalities, with the participation of their friends, colleagues, and students, and also under the roof where they were educated, at ITU Faculty of Architecture, Taşkışla... It was gratifying that the texts matured by those who requested to speak as listeners during the meeting; and the carefully written articles by Aksoys' students Gamze Kaymak Heinz, Bekir Gerçek, and their friends Yavuz Önen and Sevinç Hadi, who heard about the book preparation, were included in our book. Furthermore, Ülkü Özen and Şehnaz Özkan, who wanted to share the letters and cards the Aksoys wrote to them from their drawers; our graduates S. Mehmet Altuner, Nurel Akkaş, Tahir Ayçiçek, T. Fikret Bilgin, Erkin Erten, Bekir Gerçek, Gülnaz T. Gezgin, Ayhan Karadayı, Şengül Öymen Gür, Şenay Ö. Eryavuz, Kayhan Topel, Zihni Turkan, Vehbi Tosun, İlkay Özdemir, N. Kırhan Yazıcı, Seyhan Yılmaz, KTU Alumni Association President Bedir Toker, and my professor Erdal Aksugür did not withhold their support by opening their photo archives and patiently answering my endless questions about them; we owe them our gratitude. The photo archives of my professor Hasan Saltık, my classmate İbrahim Okman whom we lost too early, and the late Haldun Özen, a friend of the Aksoys, were always with us. Naturally, only visuals from the early years of KTU could be included in our book...\u003cbr\u003eThe articles in the book were organized under three main headings after the Introduction and Opening Speeches. The meeting speech texts were grouped under the heading 'NARRATIVES AND ACCOUNTS ABOUT THE AKSOYS' as The Aksoys' ITU Years: Educational Ideals; The Aksoys' KTU Years: Design of Architectural Education and Environment; The Aksoys' Post-KTU Period, and Memories and Comments from the Audience. The second heading, 'WRITINGS ABOUT THE AKSOYS,' consists of published texts written after the Aksoys' passing by their friends, most of whom are no longer alive. The third heading, 'WRITINGS AND DRAWINGS BY THE AKSOYS,' is a selection of scientific articles, award-winning designs, and additionally, letters and cards that served as a means of meeting and communicating with distant friends, with an emphasis on those related to education. Between these sections, there are photographs illustrating the Aksoys and the KTU environment of the time. Considering that nowadays, every moment can be captured by mobile phones and easily erased from our memory, the value of these photographs, at least half a century old, shared with us by Aksoy's friends, is priceless. Perhaps for this reason, we prioritized using almost every photograph suitable for printing to better explain the environment. We hope that each of these will carry a different memory and narrative value for the reader, encourage them to imagine what they read, perhaps to re-read it, and transform the transition between headings into a visual feast.\u003cbr\u003eIn conclusion, this book sheds light on the mission of architectural education and educators, research in architectural sciences, and the identity of architectural schools, as well as the founding years of KTU between 1965 and 1982, through the Aksoys' last 35 years of life, which included their teaching duties at the KTU Department of Architecture, which they founded, as well as their roles as Head of the Department of Architecture, Dean of the Faculty of Civil Engineering and Architecture, and Rector at the same institution. Therefore, it can serve as a guide for young academics and administrators in founding and innovative ventures in higher education. It also humbly notes, based on testimonies, the chaotic environment experienced by universities in the oppressive military rule of the late 80s and before, and finally the unfair purge and isolation suffered by the Aksoys. The aim is to remind people of what has been forgotten and to make people aware of what has been overlooked...”\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208112883,"sku":"9786257008662","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_OZGONUL_ERDEM_AKSOY_KITAP_KAPAK.jpg?v=1733316492"},{"product_id":"tasarimin-pesinde-1960-lar-avrupasinda-bir-mimarin-gezileri","title":"In Pursuit of Design – A Journey Through 1960s Europe by an Architect","description":"\u003cp\u003e“In Pursuit of Design – A Journey of an Architect in 1960s Europe,” a book by Civil Engineer Architect Firuzan Baytop, which recounts his impressions and memories of his European travels in the 1960s, has been published by YEM Yayın.\u003c\/p\u003e\n\u003cp\u003eFiruzan Baytop’s daughter, Binnaz Baytop Dinçer, who compiled and prepared the book for publication from the notes Baytop took in his diaries during his travels as a young and successful architect, says in the preface: \u003cbr\u003e“What was it like to be a tourist, to travel in times without smartphones, the internet, or social media? To etch what you saw into your memory instead of sharing it on Instagram, perhaps keeping a diary…\u003cbr\u003eWhat was life like in European cities amidst a Europe that was rapidly recovering after World War II, pursuing new cultural and artistic discoveries, and the tourism boom created by the people who embarked on these discoveries?\u003cbr\u003eThis book has been prepared based on the diaries kept by my father, Firuzan Baytop, during his European travels, which he first undertook in 1959. The notes he took during these trips offer a snapshot of Europe in the early 1960s, providing an opportunity to compare it with Turkey of those days and to evaluate the perspectives of that time and today.\u003cbr\u003eThe first journey, undertaken with his architect friend Prof. Muhteşem Giray as a cultural and architectural exploration, paved the way for other trips in subsequent years, and my father embarked on an adventure to European cities almost every summer holiday starting from 1959…\u003cbr\u003eI hope you will enjoy this book, which I prepared for my father’s 100th birthday, and these journeys as much as he did…”\u003c\/p\u003e\n\u003cp\u003eFiruzan Baytop describes Vienna, the starting point of his travels, and the Viennese people in his unique style: \u003cbr\u003e“Vienna was our first direct contact with Europe, meaning for us, it was Europe itself. People who could only stay in Vienna for two days, unable to form close friendships and relationships with the city’s inhabitants, certainly cannot claim to have fully known the city. We too could only know Vienna to that extent. Austrians are clean people. Their cities are as pristine as they are. We used to think Germans were blonde, but it turns out the real blondes are Austrians! Based on what we saw from a distance, their young women, especially, are very beautiful. With their clothes, well-groomed hair, and various perfumes, they have transformed their cities into flower gardens...\u003cbr\u003eLeaving aside the beautiful stone houses, we can say that what makes Vienna Vienna are its palaces and the parks and gardens, sculptures, and churches surrounding them. Each one is magnificent and exceptionally well-maintained. They attract throngs of tourists. The surroundings of these structures, most of which are gathered around the Hofburg, are always filled with tourists with cameras in hand…”\u003c\/p\u003e\n\u003cp\u003eBetween 1959 and 1964, Baytop describes his impressions of numerous cities such as Munich, Frankfurt, Berlin, Stockholm, Copenhagen, Amsterdam, Rotterdam, London, Paris, Milan, Venice, Rome, San Marino, Cannes, Nice, Barcelona, Zurich, and Lausanne, after Vienna, all through the eyes of an architect. In his diaries, he blends the European cities striving to recover rapidly after World War II with their architectural features, prominent historical and modern buildings, squares, and human stories, practically taking the reader on an enjoyable journey alongside him.\u003cbr\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210439411,"sku":"9786257008938","price":210.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_TasariminPesindeBirMimarinGezileriKAPAK.jpg?v=1734000812"},{"product_id":"i̇simsiz-seyyareler","title":"Anonymous Planets","description":"\u003cp\u003eŞükran Balekoğlu Yamak's new book, \u003cem\u003eUnnamed \"Wanderers\"\u003c\/em\u003e, has been published by YEM Yayın.\u003c\/p\u003e\n\u003cp\u003eThe book features five stories whose protagonists are women with heart-wrenching experiences.\u003c\/p\u003e\n\u003cp\u003eAdil Hacıömeroğlu, describing the author's literary nourishment as her ability to draw from her rich roots without straying and to convey it in a simple and fluent manner without forcing the language, says the following in the book's Foreword:\u003c\/p\u003e\n\u003cp\u003e“Whether stories are lived firsthand or written as realistic fiction, they always preserve their inherent realism. Realism and verisimilitude increase people's interest in a story. Even if they are seen as short-lived, that short breath gives life to an existence.\u003c\/p\u003e\n\u003cp\u003eThe lives of people on Earth are never the same. The process we call life is an uphill and downhill road. A person experiences the contrasts of life together. Isn't the natural balance based on contrasts anyway? Would the value of day be known if there were no night? Would humankind yearn for spring if it didn't feel the hardships of winter to its core?\u003c\/p\u003e\n\u003cp\u003eŞükran Balekoğlu Yamak is a writer from my hometown. She is also a good friend of mine… We met in a virtual environment. Our writings brought us closer. Our distant friendship in the virtual world moved to phone calls. Like a forty-year-old friend, or, if you will, like a daughter from a relative's house. However, we haven't yet met this warm-hearted person face-to-face.\u003c\/p\u003e\n\u003cp\u003eBalekoğlu was born and raised in Zonguldak. Her connection to her ancestral lands in Of came through her elders. Thanks to her mother, she grasped all the subtleties of the language spoken in Of in general, and in Bölümlü (Zisino) in particular. She internalized the details of the dialectal features. Through her mother, she adopted the dialectal features of her native language.\u003c\/p\u003e\n\u003cp\u003eThis is why we call the language we learn in the environment where we are born and raised, the language in which we dream, our mother tongue.\u003c\/p\u003e\n\u003cp\u003eŞükran Hanım's mother was a wise Black Sea woman. Her memory was very strong. She was a living example of oral history in her time. She did not take what she knew, her experiences, and what she lived through to her grave; she passed them on to her daughter like the most precious heirlooms in a chest. Şükran Balekoğlu knew the value of this heirloom and put it into writing. I had read her two previous books (\u003cem\u003eKal-leş\u003c\/em\u003e and \u003cem\u003eKurdar Beni Daa\u003c\/em\u003e) breathlessly. As in her previous books, in this book too, she recounts life's realities and experiences with her simple language, without altering a single comma.\u003c\/p\u003e\n\u003cp\u003eThere is no forced language in her writing! Her stories reflect the spoken language of daily life. The use of colloquial language in her writings does not bore the readers. The events that are the subject of the stories find flavor with the readers through the simple language used.\u003c\/p\u003e\n\u003cp\u003eThere is a deep realism in each of the stories. Lived experiences make the stories attractive. All the stories tell of heart-wrenching events. The protagonists of the stories are generally women. Women who are crushed and scorned by feudalism, bad traditions, and sexual discrimination… In fact, bad traditions also crush the male protagonists. Opportunism and the lust for gain overcome love in the stories. Beautiful people with hearts full of love melt away in the face of evil. It's as if the monster of evil feeds on beauty…\u003c\/p\u003e\n\u003cp\u003eIn the stories, it is seen that other women are also active in the oppression and scorn of women, especially in \u003cem\u003eFatma-Dursun\u003c\/em\u003e and \u003cem\u003eYıldız-Nejat\u003c\/em\u003e this is very evident. It is all our duty to free our women from traditional feudal molds. It is also women who raise men…\u003c\/p\u003e\n\u003cp\u003eWhile the stories break the hearts of readers, they also make them smile at the same time. Isn't life like that too?\u003c\/p\u003e\n\u003cp\u003eI wish Ms. Balekoğlu success in her literary life. I know she has many stories in her store. She should share them with her readers. The gold beneath the earth should be brought to the surface so that it finds its value in the hands of the jeweler. Let the works that emerge begin their journey into eternity.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207588595,"sku":"9786257008563","price":210.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_ISIMSIZSEYYARELER_ONKAPAK.jpg?v=1734785430"},{"product_id":"avrupa-resim-yontemiyle-eslenik-dik-izdusum-alistirmalari","title":"Conjugate Orthographic Projection Exercises by the European Drawing Method","description":"\u003cp\u003eThe book titled \"Orthographic Projection Exercises with the European Drawing Method,\" meticulously prepared by Prof. Dr. Fehmi Kızıl, has been published by YEM Publications. It aims to assist architecture, interior architecture, and industrial design students, as well as artists, in visualizing shapes in three dimensions and developing their visual intelligence.\u003c\/p\u003e\n\n\u003cp\u003eFehmi Kızıl speaks about this meticulous work, which complements his books \"Technical Drawing in Architecture\" and \"Artistic Perspective,\" essential references in Turkish architectural and design education:\u003cbr\u003e\n\"In this book, prior to starting the orthographic projection exercises, information has been provided to facilitate the comprehension of the exercise questions. This includes explanations of orthographic projection and its epure representation, how to read orthographic projections, the graphic representation of tangent surfaces where no intersection occurs in orthographic projection, rules applied in three-dimensional graphic representation (perspective), the meaning of line types used in orthographic projection drawings, special position planes, and the three basic projections.\u003cbr\u003e\nIn three-dimensional perspective drawings made with parallel projection, even though a reduction ratio is applied to edges parallel to axes other than those at a 90° angle, no reduction ratio was applied to edges parallel to the axes in the perspectives provided in the exercises in this book – this is to facilitate an easier relationship between the object's perspective and its orthographic projection.\u003cbr\u003e\nIn the perspective drawing of objects that do not have edges parallel to the front view direction, the lines parallel to the axes used in creating the perspective are shown with dotted lines; this ensures easier comprehension of the axis parallel to the front view direction and the object's position relative to the front view direction, thereby preventing errors in determining the object's orthographic projections.\u003cbr\u003e\nThe orthographic projection exercise questions are organized into four stages, progressing from easy to difficult. In the first, second, and third stages of the exercise questions, information to assist in answering the questions has been provided. In the supplementary information, 154 objects are given as examples, and 261 objects are used in the exercise questions.\u003cbr\u003e\nThe objects used in the orthographic projection exercises are shapes formed by plane, cylinder, cone, and sphere surfaces, which are easy to understand. The orthographic projection exercise questions are arranged from easily comprehensible shapes to more complex ones.\u003cbr\u003e\nIn the first and second stages of the exercises, questions are included that do not require mental visualization of the object. Instead, by providing the object's three-dimensional graphic representation (perspective) and its front view direction, these questions aim to help in understanding the object's specially positioned planes and identifying its three basic projections (views) from among options.\u003cbr\u003e\nIn the third stage of the exercises, to develop the skill of mentally visualizing the object, participants are asked to correctly select the missing projection from options, given one or two basic projections (views) of the object.\u003cbr\u003e\nIn the fourth stage of the exercises, to develop the skill of mentally visualizing the object, questions are included that require identifying incorrect lines or lines in the object's three basic projections (views).\u003cbr\u003e\nThe solutions to the exercise questions are provided with explanations in the 'Solutions' section.\"\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206114035,"sku":"9786257008952","price":315.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/ESLENIKDIKIZDUSUM_KAPAK.jpg?v=1736431511"},{"product_id":"endustriyel-tasarimda-malzeme-ve-detay-genco-berkin","title":"Material and Detail in Industrial Design","description":"\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eGenco Berkin’s new book, Materials and Details in Industrial Design, prepared for designers and practitioners new to the profession, especially industrial design and interior architecture students, has been published by YEM Yayın.\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eMaterials and Details in Industrial Design, prepared for industrial design, interior architecture, and architecture students, as well as product designers and practitioners new to the profession, brings together 40 different product designs, design approaches, characteristics and processing of raw materials, issues designers should consider in material selection, and detail analyses for industrial product design, presented with original drawings.\u003c\/p\u003e\n\n\u003cp\u003eDespite the thousands, even millions, of products that can fall under industrial design, to open a thoughtful window for designers new to the profession, the topics are covered under the sections \u003cstrong\u003eEVERYDAY ITEMS, HOUSEHOLD ITEMS, SPORTS EQUIPMENT, VEHICLES, DEFENSE INDUSTRY, and ADDITIONS\u003c\/strong\u003e; ranging from forks, spoons, and knives to jewelry, shoes to thermoses, chandeliers to irons, bicycles to tennis rackets, Audis to Harley-Davidsons, airplane seats to UAVs, thus covering a very broad perspective. \u003c\/p\u003e\n\n\u003cp\u003eProf.Dr. Genco Berkin summarizes the rationale and content of the book as follows: “This book has been written for Industrial Design Department students and recent graduates. Although the topics covered in the book belong to a specific sector, due to the common areas of contemporary professions in both production and consumption, the content of the book partly concerns interior architects and even, to a considerable extent, architects. Historically, the professional fields of architecture, interior architecture, and industrial design have never been as close as they are today. The primary factor enabling this is standardization in production. All the tools and equipment mentioned in the \"Household Items\" section, which is one of the chapters in this book, are actually systems that can be integrated into buildings. Moreover, for thousands of years, there has been a transfer of knowledge from the industrial sector to architecture... The book consists of five main sections; each section contains eight current topics. In some topics, you will see that products traditionally made have also been manufactured using modern materials and production techniques as alternatives... This work serves as a guide for today's design world and also acts as a kind of record book bequeathed to the future. I believe that the book will be a fundamental resource for industrial design students in reinforcing their professional knowledge.”\u003cbr\u003e\nProf.Dr. Önder Küçükerman says the following in the Foreword of the book: “With this book, in which it is pointed out that ‘every product originates from a very special design culture and has separate application areas,’ Genco Berkin reveals that very interesting and realistic design lessons are hidden behind all the products around us, telling designers to act in accordance with these realities and to approach problems from the material-detail axis; he states that for industrial design, planning and production processes ‘should be resolved not only with general rules, but by delving into the root of multifaceted real problems’...”\u003c\/p\u003e\n\n\u003cp\u003eIn Materials and Details in Industrial Design, all data (such as ergonomics, materials, functionality, chemical knowledge, etc. necessary for designing a product) is presented in a simple and easily understandable manner through carefully prepared drawings, with the aim of providing young designers, in particular, with complete equipment to support the product design process from a detail and material perspective.\u003c\/p\u003e\n\n\u003cp\u003eThe book, along with Architecture in Materials and Details and Interior Architecture in Materials and Details, Furniture Design in Materials and Details, Stainless Steel and Glass in Interior Architecture (co-authored with Gökhan Mermi), all previously prepared by Genco Berkin and considered fundamental reference sources, forms YEM Yayın’s “Material and Detail Series.”\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWHO IS GENCO BERKIN?\u003c\/strong\u003e\u003cbr\u003e\nBorn 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), started his academic career as a research assistant in 1995 upon an offer from the university he graduated from. \u003cbr\u003e\nIn 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.) with his studies at the Building Physics and Materials Department of Mimar Sinan Fine Arts University, Faculty of Architecture; in 2015, he became an associate professor; and in 2020, he became a professor at Fatih Sultan Mehmet Vakıf University, Faculty of Architecture and Design. \u003cbr\u003e\nGenco Berkin, who teaches architecture and interior architecture at various universities, has conducted research and development studies on “ecological glass in architecture” and developed ideas on “improving project-design courses.” Berkin, especially considering combining ergonomics and technology in furniture designs, has also produced many works in this field. \u003cbr\u003e\nProf.Dr. Genco Berkin is currently a faculty member at Istanbul Nişantaşı University, Faculty of Art and Design.\u003cbr\u003e\nGenco Berkin's books published by YEM Yayın:\u003cbr\u003e\n• Materials and Details in Architecture\u003cbr\u003e\n• Materials and Details in Interior Architecture\u003cbr\u003e\n• Materials and Details in Furniture Design\u003cbr\u003e\n• Stainless Steel and Glass in Interior Architecture (co-authored with Gökhan Mermi)\u003cbr\u003e\n• In the Footsteps of Wood: A Glossary of Forest Products in Design\u003cbr\u003e\n• Modulor and Le Corbusier’s Cabin\u003cbr\u003e\n• Module and Architecture from Square to Plan (co-authored with Yusuf Civelek)\u003cbr\u003e\n• Materials and Details in Industrial Design\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206867699,"sku":"9786259710204","price":350.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/ENDUSTRIYEL_TASARIMDA_MALZEME_DETAY_KAPAK.jpg?v=1744733796"},{"product_id":"macar-turk-mimarlik-iliskileri-zafer-sagdic","title":"Hungarian Designs in Turkey – Hungarian-Turkish Architectural Relations in the 19th and 20th Centuries","description":"\u003cp\u003e\"Hungarian Designs in Turkey,\" a book edited by Zafer Sağdıç and Mate Gergö Kovacs, and published by YEM Yayın, presents a new area of previously undiscovered common cultural ties between Turkey and Europe, especially focusing on Turkish-Hungarian architectural relations. \u003c\/p\u003e\n\n\u003cp\u003eThe book was published within the framework of the \"2024 Hungarian-Turkish Cultural Year\" in cooperation with the Hungarian Ministry of Foreign Affairs and Trade, the Gül Baba Heritage Foundation, Yıldız Technical University, Budapest University of Technology and Economics, the Liszt Institute – Hungarian Cultural Center, and the Turkish Architecture Research Center.\u003c\/p\u003e\n\n\u003cp\u003eThe architectural drawings, ideas, and architectural relationships presented in the book, which describe the process ranging from the orientalist presentation and use of Turkish architectural culture to the application of modern architectural principles, were prepared with the joint collaboration of expert Turkish and Hungarian researchers and had not been previously presented to the public in this format.\u003c\/p\u003e\n\n\u003cp\u003eProf. Dr. János Krähling, Head of the Department of Architectural History and Heritage Preservation at the Faculty of Architecture, Budapest University of Technology and Economics, shared his thoughts on the book:\u003c\/p\u003e\n\n\u003cp\u003e\"Following the weakening of the Ottoman Empire's presence in Europe, the architectural community's interest in Turkish architectural culture did not wane. During this period, an interest emerged, becoming increasingly prominent from the 17th century onwards, characterized by an openness to learning and applying the significant works of Guarini's Moorish architecture, particularly its structures. In this era, Baroque architecture demonstrated an open perspective towards other cultures, including Turkish architecture. The Austrian architect Johann Bernhard Fischer von Erlach, in his work 'Entwurff einer historischen Architektur,' published in 1721 and enriched with architectural drawings, presented some significant monuments from the Ottoman architectural heritage, demonstrating such openness on a theoretical level and including the Ottomans in the first universal history of architecture.\u003c\/p\u003e\n\n\u003cp\u003eAmong the monuments of Hungarian architecture, we can find monuments suitable for this process, such as the Turkish mosque located in the Palace Garden in the city of Tata, a significant example of Hungarian romantic historicism. The romantic evocation of orientalist forms initially characterized these relations. Later, architectural projects related to Turkey became part of professional public life within the scope of customary client, jury, design, and construction activities.\u003c\/p\u003e\n\n\u003cp\u003eThe architectural drawings in the book present the architectural connections between Hungary, German-speaking countries, and Italy, which were important former European partners of the Ottoman Empire.\u003c\/p\u003e\n\n\u003cp\u003eFrom the late Ottoman period to the early Republican era, many Hungarian architects designed a series of spaces in Turkey that reflected the common European dimension, the knowledge they acquired at German universities, Hungarian design practice, and the needs of Turkish clients and practitioners. These spaces, even if they were not realized, can be considered a special projection of mutual interaction and knowledge transfer. Although this book primarily focuses on unrealized projects, it later describes the 'driving force' that can be perceived as a ripple effect based on a series of additional thought activities in Hungary. Károly Kós, who was a scholarship holder in Turkey, made the following statements in connection with Istanbul's urban architecture and public institutions: 'This is what the city is; this is not just any city. (...) I believe that this work cannot be done by a foreigner; it must be done by Turkish architectural science and art...'\"\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208243955,"sku":"9786259710228","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_MACARLARIN_TASARIMLARI_TURKIYEDE_KAPAK.jpg?v=1749000788"},{"product_id":"seramik-ve-cini-terimleri-sozlugu","title":"Glossary of Ceramic and Tile Terms","description":"\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eThe book titled \"Dictionary of Ceramic and Tile Terms\", prepared by Cahit Yılmaz to contribute to a healthier definition of Turkish tile and ceramic art, was published by YEM Yayın.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eThe book offers a broad perspective ranging from tile and ceramic production materials, tools, techniques, and methods to motif and color usage; from historical production centers to regional characteristic details; and from famous tile masters to styles. Enriched by including terms from ceramics, pottery, archaeology, and architecture, in addition to tiles, the book provides information that goes beyond a mere dictionary, with original examples of the concepts explained accompanied by numerous color photographs and drawings. Thus, a very rich collection of works, many of which are in private collections and presented for the first time in this book, is shared with the reader.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eCahit Yılmaz, who says, \"Tile art is perhaps the most magnificent of all decorative arts,\" explains his reason for preparing such a work as follows:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003e\"A significant problem noted in research and publications on tile art is that tile terminology is not sufficiently systematic and lacks coherence. We see that the same concepts are used differently by different authors. The definitions, scopes, similarities, or differences between terms have not been clearly established. Especially the word 'çini' (tile) has been expressed with different terms in different geographies. While this art form was called 'kaşi' in Iran, Turkestan, and Anatolia, the word 'çini', which later entered Turkish, became widespread and established. Although it is not possible to go back, thinking about the origin and use of this word is an important part of the terminology discussion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eWe can say that a similar confusion exists in Western languages. The French called this concept 'céramique', the English 'ceramic' or 'tiles', and the Germans 'keramik'. Researchers in Turkey directly adopted these terms according to their own schools, often using the words 'çini', 'seramik', and 'keramik' interchangeably. However, there are significant differences in meaning between these terms. Based on these observations, I realized that terminology is of great importance in the writing, narration, and learning processes related to tile art. Terminology is the alphabet of art; it is impossible to read or write without knowing the alphabet…\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eDuring my 25 years of service in Kütahya, I developed an interest in tile art and had the opportunity to learn this art firsthand from its masters. With both theoretical and practical knowledge, I started producing tiles; I held three personal exhibitions, wrote seventeen articles, and prepared three books that are in the printing stage. For approximately 40 years, I have directly experienced Kütahya tile art... My goal is to provide a solid reference source for those who want to learn, teach, and research this ancient art. I hope that this work will inspire the writing of more comprehensive and qualified works...\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eWHO IS DR. CAHİT YILMAZ?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eHe was born in 1950 in Arhavi, Artvin. Married with one child, Cahit Yılmaz graduated from medical school in 1976; in 1980, he received the title of ophthalmologist. He served as an ophthalmologist in Kütahya, where he was appointed in 1983, for 25 years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eIn Kütahya, considered the capital of tile art, he developed a great interest and sympathy for this ancient art. He had the opportunity to learn all the stages and intricacies of tile making, both theoretically and practically. With the meticulousness of an eye surgeon, he began to produce his own tile works by etching his motifs and compositions underglaze.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eProving the adage \"everything comes out of medicine, sometimes even doctors,\" he held three personal exhibitions in Kütahya, Bursa, and Ankara to share his works in the field of tile art. For 25 years, he collected comprehensive information about the history of Kütahya tile art by directly contacting local artists. As a result of these researches, he wrote 17 articles on the history of Kütahya tile art and created a valuable archive. He has directly witnessed the Kütahya tile art of the last 40 years and continues his efforts without interruption to transfer the information he has compiled during this process to future generations by publishing it in various books, aiming to preserve our cultural and artistic heritage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eCahit Yılmaz, who has two books, \"Hafız Mehmet Emin Efendi, The Great Master of Turkish Tiles\" (Dergâh Yayınları, 2024) and \"Dictionary of Ceramic and Tile Terms\" (YEM Yayın, 2025); the publication preparations for his books titled \"Architectural Structures with Tile Decorations in Ankara\", \"Piers with Tile Decorations in Istanbul\", \"Motifs Used in Turkish Tile Decoration\", \"Turkish Tile Production Centers\", \"Istanbul, The World of Piers\", \"History of Kütahya Tile and Ceramics\" are also being carried out by YEM Yayın.\u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210078963,"sku":"9786259710280","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/SERAMIKVECINITERIMLERISOZLUGU_KAPAK.jpg?v=1751362412"}],"url":"https:\/\/yemkitabevi.com\/en-us\/collections\/99-tl\/yazar_iain-jackson.oembed","provider":"YEM Kitabevi","version":"1.0","type":"link"}