{"title":"Arketon Publications","description":"","products":[{"product_id":"duran-her-sey-hareket-ediyor","title":"Everything That Stands Is Moving","description":"\u003cp\u003e\u003cstrong\u003eAtilla Yücel's Istanbul writings, \u003cem\u003eEverything That Stood Still Is Moving,\u003c\/em\u003e is back on the shelves with a new edition.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEverything That Stood Still Is Moving,\u003c\/em\u003e a collection of Atilla Yücel's writings on Istanbul and the first book published by Arketon Yayınları, founded under the editorship of Aykut Köksal, sold out quickly due to popular demand and is now available to readers in a new edition. Atilla Yücel, whom we lost in 2018, was among the leading figures in the world of architecture with his academic and intellectual identity. The book, consisting of his texts on Istanbul, draws a broad framework ranging from the city's modernization story to its architecture, from the problem of its silhouette to 19th-century row houses, from Taksim Square to Galata and Pera.\u003c\/p\u003e\n\u003cp\u003eIn the preface he wrote for the book, Atilla Yücel says: “\u003cem\u003eIstanbul Writings\u003c\/em\u003e is a compilation of some lines produced about the urban space and architectural aspects of Istanbul, a reality upon which thousands, tens of thousands of writings, works, and thoughts have been built. Istanbul is a city, and at the same time a concept, and at the same time, the name of a culture, an belonging based on a historical accumulation formed over centuries, the object of a corpus, perhaps a myth. Today's complex megacity reality is another layer of a simpler cosmopolitan existence from different periods, continually reshaping itself every day as a result of global dynamics. The Istanbul corpus, from literature to thought and science, contains different periods, different traces, and different impressions of this stratification.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIstanbul Writings\u003c\/em\u003e is a small link within this rich and diverse corpus, as well as a link in the author's own intellectual and literary life, with relationships to other spaces, other experiences, other thoughts, and other texts. Because every text, while expressing its object, also contains and implicitly reveals its own story and its own reality.”\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343477911795,"sku":"9786057293695","price":344.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Yucel-Kapak-1.jpg?v=1709643094"},{"product_id":"susleme-ve-curum","title":"Embellishment and Delinquency","description":"Adolf Loos’s writings, collected in Ornament and Crime, are back on the shelves with a new edition.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eArketon Yayınları has released a new edition of Adolf Loos’s forty-eight essays, translated into Turkish by Erdem Ceylan, with his introduction and editorial notes, under the title Ornament and Crime. Published under the general editorship of Aykut Köksal, Ornament and Crime organizes the essays into eight main categories: Craft, Culture, Art, Fashion, Furniture, Material, Style, and Architecture. The essays compiled in Ornament and Crime were selected from Loos’s collections titled “Spoken into the Void” (1921) and “Despite” (1931).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn his foreword to the book, Erdem Ceylan writes: “As the reader engages with Loos’s texts, they witness the numerous identities of the 'author.' He is an architectural, art, and fashion critic, prophet, teacher, advertiser, essayist, storyteller, orator. Sometimes several of these at once, even within the same text. Loos’s written language is far from the cold objectivity of scientific discourse, the profundity of intellectualism, its detached stance, and its condescending perspective. The reason for this attitude is his opposition to the intellectualization of writing, just as he opposed it in architecture, and thus his desire to return language to culture. He writes, gets angry, complains, claims to be wronged, in a sincere and honest language that the average segment of society can understand, in the living, everyday spoken language of the people; yet, ultimately, he is always the authority on the subject. The 'correct' information, perspective, assessment, interpretation, and judgment reside with him. To legitimize his theses and justify his claims, he gathers evidence from the depths of history — evidence he believes will be familiar to his reader. He wants to be understood and avoids wordplay. Yet, it is also true that he is occasionally allusive and sarcastic. His aim is not to wander into the convoluted paths of literature, but to engage in dialogue with his reader — whoever that may be and at whatever cost — and, just as he did with his sensational projects in Vienna, to provoke his readers to ask questions and think through his writings.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA citizen of the Austro-Hungarian Empire, an Austrian national, a Viennese, a visitor to the United States, a sympathizer of English culture, a short-term Secessionist, an enemy of the Secession and Wiener Werkstätte, an anti-ornamentalist, a civil servant, a regular at Viennese cafes, one of the Viennese modernists, an architect, furniture designer, writer, critic, pioneer, intellectual, man, son of a sculptor and stonemason, deaf until the age of twelve, always alone, a husband, a misogynist, a womanizer. Loos is all of these. And much more.”\u003cbr data-mce-fragment=\"1\"\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343480762611,"sku":"9786057293640","price":344.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Loos-Yenikapak-5.jpg?v=1713270163"},{"product_id":"istanbul-un-yabanci-ve-levanten-mimarlari","title":"Foreign and Levantine Architects of Istanbul","description":"\u003cp data-mce-fragment=\"1\"\u003eCengiz Can’s study, which addresses an important aspect of late Ottoman architecture, has taken its place among Arketon books with its new edition. Can’s research, written as a thesis in 1993, was transformed into a book format after a meticulous editorial process and was first published in 2020. The new edition of the book, which quickly sold out, is reaching readers with a new cover.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe work, complemented by photographs taken by Aykut Köksal for this book, extends from Melling to the Fossati brothers, from Barborini to Montani, from Vallaury to D'Aronco, and to Mongeri. Can, who also examines architects about whom very little is known, reveals an era in all its dimensions.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn a section of his \"Introduction\" to the book, Aykut Köksal states: \"Cengiz Can's book reveals that foreign and Levantine architects, who were previously known through superficial information and about whose lives very little was known, played a decisive and determining role at the culminating point of the modernization process of Ottoman architecture. Can investigates the lives of these architects by consulting previously unexamined sources and refutes certain entrenched prejudices. For example, he identifies some architects known as 'foreigners' as 'Ottoman Levantine architects.' It is immediately noticeable that a significant portion of the architects discussed by Cengiz Can are Italian or of Italian-Levantine origin. Can also underlines this fact and examines its reasons.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe productions of foreign and Levantine architects show a sharp break with 18th-century Ottoman architecture. This break is particularly evident in the greater dominance of new building programs resulting from Ottoman modernization compared to traditional programs. Furthermore, it would not be wrong to say that 19th-century Ottoman modernization parallels 19th-century European architecture. The eclectic approaches of the 19th century also found their echoes in these architects working in Istanbul.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eForeign architects working in Istanbul, such as Fossati and D'Aronco, are creative and competent designers whose works would be respectfully received in any European city. D'Aronco's Art Nouveau structures, in particular, constitute the distinguished and \u003cem data-mce-fragment=\"1\"\u003eunique\u003c\/em\u003e examples of the 'early Modernist' line seen simultaneously in the Ottoman capital. In discussing these architects, Cengiz Can provides a broad framework for a shadowed aspect of Ottoman modernization.\"\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343478993139,"sku":"9786057293633","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/CengizCan-Kapak-22.jpg?v=1703501100"},{"product_id":"cam-mimarligi","title":"Glass Architecture","description":"Glass Architecture, dedicated to Bruno Taut,\u003cbr data-mce-fragment=\"1\"\u003eis back on the shelves with a new edition...\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePaul Scheerbart's Glass Architecture, dedicated to Bruno Taut and translated into Turkish by Hüseyin Tüzün, is back on the shelves with a new edition. Scheerbart's Glass Architecture, written in 1914, made a significant impact, and Bruno Taut, in the same year, dedicated his famous Glass House to Scheerbart. It is known that Walter Benjamin also frequently mentioned this book in his writings. Benjamin's text titled \"Experience and Poverty,\" also translated by Hüseyin Tüzün, is included as a preface in the book.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eConsisting of one hundred and eleven short texts, with each text identified by a Roman numeral and a title by the author, Glass Architecture—despite Scheerbart not being an architect—carries a visionary perspective. In his comprehensive text titled \"The Broken Glass Between Cult and Culture: Paul Scheerbart\" written for the book, Erdem Ceylan approaches both the author and his work with an original perspective.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWalter Benjamin, in his text about this book, says: \"Scheerbart places the greatest importance on housing people and—by analogy—their citizens in dwellings worthy of them, like the movable glass houses that Loos and Corbusier have meanwhile built. It is not in vain that nothing can cling to glass, that it is such a hard and smooth material. It is also cold and neutral. Glass objects have no 'aura.' Glass is indeed the enemy of mystery. It is also the enemy of property. The great writer André Gide once said: 'Every object I want to possess becomes opaque.' Or do people dream of glass structures like Scheerbart's because they are believers in a new poverty? But perhaps a comparison made here says more than theory. If one were to enter a bourgeois room of the 1880s, perhaps the strongest impression among all the 'comfort' it exudes is 'you don't belong here.' You don't belong here – because there isn't a single spot where the occupant hasn't left their trace, with their trinkets inside the windows, the small covers on the armchairs, the transparent material over the windows, the screen in front of the fireplace. Brecht's beautiful words are helpful here again, very much so: 'Wipe out the traces!' – the recurring line in the first poem of 'Reading Book for City Dwellers.' Here, in this bourgeois room, opposing behaviors have become habitual. On the other hand, the 'interior' compels the occupant to accept habits to their utmost limit; these are habits that suit the interior space they live in rather than the occupant themselves. Everyone who still remembers the absurd situation the residents fell into in their plush rooms when something broke in the house understands this. Even their manner of getting angry – they skillfully revived this sudden and violent enthusiasm that was slowly fading – was particularly the reaction of a person whose 'traces of their days on earth' had been erased. Scheerbart achieved this with his glass, and Bauhaus with its steel: they created spaces where it was difficult to leave traces. 'After what has been said,' Scheerbart explained twenty years ago, 'we can probably speak of a glass culture. The glass environment will completely transform humans.'\"\u003cbr data-mce-fragment=\"1\"\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343477846259,"sku":"9786259443102","price":256.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Scheerbart-Taut-Kapak-5.jpg?v=1713258724"},{"product_id":"kitle-iletisim-araci-olarak-mimarlik","title":"Architecture as a Mass Communication Tool","description":"\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: #000000;\"\u003eRenato De Fusco's famous work, \"Architecture as Mass Communication,\" has been published. The book, subtitled \"Notes on the Semiotics of Architecture,\" consists of chapters titled \"Formless Function,\" \"Architecture in Ideological Crisis,\" \"Architecture as a Mass Communication Tool,\" \"Old and New in Mass Culture,\" \"Criteria for a New Evaluation,\" and \"Towards an Architectural Semiotics.\" Fatma Erkman Akerson translated De Fusco's book into Turkish. Fatma Erkman Akerson, one of Turkey's leading scholars in linguistics, further enhances the importance of De Fusco's book with her translation. Akerson says the following about De Fusco's work: \"After the Second World War, with the acceleration of rural-to-urban migration in Italy, the architectural order of cities was turned upside down. Many new settlements were opened, but in the meantime, many conflicts arose between the old city areas and these newly established settlements. The construction of new buildings was absolutely necessary, but what kind of balance would be struck between these new buildings and the old ones? Should old buildings be preserved? How should they be preserved? Who would solve these problems? What should be done to raise public awareness about these issues? This book presents these problems and states that, to solve them, one must first understand what kind of system architecture is. While discussing topics such as what architecture means, whether its meaning is solely its function, and how this meaning is conveyed to large masses, it sheds light on the problems of Turkey's major cities, even though it stems from the Italian example.\"\u003c\/p\u003e\n\u003cp style=\"margin-top: 10px; margin-right: 0px; margin-left: 0px; padding: 0px 0px 0px 12px; border: 0px; font-variant-numeric: inherit; font-variant-east-asian: inherit; font-stretch: inherit; line-height: 18px; font-family: Arial, Helvetica, sans-serif; vertical-align: baseline; color: #000000;\"\u003eAykut Köksal, editor-in-chief of Arketon, says in the book's preface: \"When Ferdinand de Saussure approached linguistics with a new paradigm at the beginning of the 20th century, he put forward the concepts of 'structure' and 'semiotics.' Throughout the century, the 'linguistics' founded by Saussure guided many disciplines, and architecture was no exception. Approaching the concept of 'structure' through architecture brought the concepts of 'type' and 'typology' to the forefront, while issues of language, meaning, and communication became prominent problems in architecture, and the functionalist paradigm began to be questioned. This perspective, after the Second World War – as De Fusco puts it – led to an intense critique of architecture that had lost its \"ethical and aesthetic consistency\" at the beginning of the century, and the theoretical works of the 1960s formed the cornerstones that prepared post-Modernism. For example, Aldo Rossi's Architecture of the City also has a close date to De Fusco's book. Meanwhile, it should not be forgotten that Umberto Eco's work titled La struttura assente ('The Absent Structure'), subtitled 'Introduction to Semiotic Research' and containing a section on the semiotics of architecture, was also published around the same time. In short, while Renato de Fusco's work offers an architectural reading through semiotics, it also marks one of the decisive turning points in architectural thought.\"\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343479058675,"sku":"9786056959554","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786056959554.jpg?v=1616017615"},{"product_id":"mimarlikta-icerigin-bes-gorunumu","title":"Five Aspects of Content in Architecture","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAn Original Architectural Idea from Ricardo Porro: The Five Aspects of Content\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRicardo Porro, the Cuban-born French architect who worked for Fidel Castro, not only created architectural works that defied categorization but also left a lasting mark at the end of the last century through his teaching and strong intellectual background. This book, which reflects Porro's ideas, was published in French in 1993, coinciding with an exhibition that brought together his works. Orhun Alkan, who was close to Porro, was his student, and knew the master architect very well, translated the book into Turkish. In his preface to the book, Alkan says:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Ricardo Porro, born in Camagüey in 1925 to a family of Lombardian aristocratic Italians who had settled in Cuba centuries ago, completed his architectural education at Universidad de la Habana in 1949. Porro designed his first project in Havana and, the following year, went to France on a scholarship to begin his postgraduate studies at the Institut d'Urbanisme de Paris. This educational trip to Europe allowed him to encounter European culture and deepen his knowledge not only in architecture but also in visual arts, philosophy, and literature.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFor Porro, both as an educator and a designer, the concept of 'content' was of primary importance. For Porro, it was a given that architecture is an art and that art consists of the inseparable unity of form and content. Porro's book, \u003cem data-mce-fragment=\"1\"\u003eThe Five Aspects of Content in Architecture\u003c\/em\u003e, is based on this main paradigm. Architecture is culture that transforms into spaces to be lived in. Culture, in turn, is everything that surrounds humans and forms their living space. This refers not only to a human's environment but also to their inner world, which is shaped by innate characteristics in interaction with that environment. Symbols come to the forefront here.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAccording to Porro, especially from the second half of the twentieth century onwards, a globalized modern architectural understanding focused on academicism and various formalistic approaches, rationalism's machines for living, and mercantilism's profit-driven objectives, has desolated the landscape of our cities, filled the world with soulless, lifeless structures, and neglected humans as cultural beings. Those who desolated cities also desolated and dried up their own inner worlds. As an architect, Ricardo Porro aimed to imbue his spaces with the honor of poetry. This book, which explains his understanding of architecture and his approach to architectural design, offers an important perspective and a methodological proposal for the architecture of today as well as the past.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cu data-mce-fragment=\"1\"\u003e \u003c\/u\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343479943411,"sku":"9786057455420","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Porro-Kapak-3.jpg?v=1627124713"},{"product_id":"nokta-ve-cizgiden-duzleme","title":"From Point and Line to Plane","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eVasily Kandinsky's famous book \"Point and Line to Plane,\" in which the pioneer of abstract art analyzed the language of the basic elements of painting and put forward the theory of forms after his earlier theory of colors, has been published by Arketon in its original language translation. Hüseyin Tüzün translated Kandinsky's book into Turkish, and Aykut Köksal edited it. In his introduction to the book, Köksal states the following:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003c\/span\u003eAt the beginning of the 20th century, painting, which reached a sharp turning point, turned to its inner reality instead of reproducing the reality of the outer world. The elements offered by inner reality are the main elements that constitute painting: color, stain, point, line, etc. Thus, painting embarked on a new world of meaning, and modernist abstract painting would be the result of this process. It is precisely at this point that we see Kandinsky emerging as an actor with a dual role. On the one hand, he is an artist who pioneered modernist painting with his own production, and on the other hand, he is a thinker who defines the theoretical background of abstract painting.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e In this context, Kandinsky produced two fundamental texts: 'Concerning the Spiritual in Art' from 1912 and 'Point and Line to Plane' from 1926. The first book is about the theory of colors. This book would be followed by the war years, and Kandinsky would move away from his theoretical studies. However, his beginning to work as a teacher at the Bauhaus in 1922 at the invitation of Gropius opened a new chapter in Kandinsky's life. In those years, the Bauhaus was at the center where the theoretical issues of modernism were discussed. Kandinsky found the most suitable environment to develop his theoretical studies, and indeed the most important product of this period was his second published book, 'Point and Line to Plane.' After the theory of colors he dealt with in his first book, the artist this time focused on the theory of forms.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e In this book, Kandinsky starts from the analysis of the main elements of painting such as point, line, and plane, and develops his theory, which deals with the system of relationships between these elements and defines the grammar of abstract painting. The most important feature of his theory is that it is extremely innovative and creative.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Despite nearly a hundred years having passed since its first publication, Kandinsky's theory of forms continues to hold important clues for understanding modernist art.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cu data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343480697075,"sku":"9786057455444","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Kandinski-kapak.jpg?v=1633422917"},{"product_id":"modulor-modulor-2-2-cilt","title":"Modulor – Modulor 2 (2 volumes)","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCharles-Édouard Jeanneret (1887-1965), known as “Le Corbusier” and one of the most prominent architects of the 20th century, authored the books titled “Modulor” and “Modulor 2” to explain, introduce, and demonstrate the various applications of the “Modulor,” which he designed to bring a norm to architecture. These books have been published by Arketon, with a translation by Aziz Ufuk Kılıç and meticulous facsimile reproduction, under the editorship of Aykut Köksal and Bahar Demirhan.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“Modulor” and “Modulor 2,” published in two volumes in 1950 and 1955 and considered cult books in architectural literature, have been re-produced, preserving their original typographic layouts and emphasizing their “object book” characteristics. With its new edition and new box, the Modulor set will hold a special place in libraries as a collectible object that reflects Le Corbusier's sensitivity in book design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e“Modulor” is a system of measurement and proportion based on the human body, the golden ratio, and the Fibonacci sequence in mathematics. With this system, Le Corbusier aimed to bring a norm to design that would control a broad context, ranging from all objects surrounding human life to typography, and for this purpose, he created a ruler. The master architect emphasizes that \"it is stated that everything has become unregulated in our time,\" implying that contemporary production should have defined rules in all areas, and poses the question: \"Do we know that our civilization has not yet achieved the stage that music has achieved in visual matters, in terms of lengths?\" Le Corbusier adds the question, \"Can the measurements used to produce objects remain local?\" and, in response, proposes his universal measurement system, Modulor. Having consulted with many people to question the system and included different interpretations in his books, Le Corbusier quotes Albert Einstein as saying, \"This is a range of proportions that makes evil difficult and good easy.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe iconic symbol of Modulor is the image of a human with an arm raised. Le Corbusier uses this image as his signature and transforms the Modulor human into a raw concrete relief in structures like the Unité d'habitation in Marseille, which he designed with Modulor measurements. Architecture theorist Siegfried Giedion compares Leonardo da Vinci's Vitruvian Man with the Modulor Man, stating that Leonardo's static man corresponds to static architecture, while Modulor's dynamic man indicates dynamic architecture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Modulor system is an important clue not only in the context of Le Corbusier's architecture but also for understanding modernism's quest for control norms. The two-volume Modulor books, beyond being a resource that conveys this system, constitute one of the iconic cult objects of modernism.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343480402163,"sku":"9786057455451","price":1200.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Modulor-Kapak-001.jpg?v=1641239264"},{"product_id":"sehircilik-1","title":"Urbanism","description":"\u003cp data-mce-fragment=\"1\"\u003eLe Corbusier's work titled \u003cem data-mce-fragment=\"1\"\u003eUrbanisme\u003c\/em\u003e, dated 1925, which holds an important place in his urban vision and can be described as the manifesto of the modernist city, has been published by Arketon Yayınları with Pelin Kotas's translation. \u003cem data-mce-fragment=\"1\"\u003eŞehircilik\u003c\/em\u003e (Urbanism) is the second Le Corbusier book from Arketon Yayınları, established to publish architecture and urban books under the general editorship of Aykut Köksal. Like the first book, \u003cem data-mce-fragment=\"1\"\u003eModulor\u003c\/em\u003e, \u003cem data-mce-fragment=\"1\"\u003eŞehircilik\u003c\/em\u003e has been printed with its original format and typography, carefully preserving its iconic value.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his preface to the book, Aykut Köksal states: \"Le Corbusier's \u003cem data-mce-fragment=\"1\"\u003eŞehircilik\u003c\/em\u003e is the first comprehensive work that played a decisive role in the 20th-century urban vision. \u003cem data-mce-fragment=\"1\"\u003eŞehircilik\u003c\/em\u003e is the right source to see how the famous architect read the industrial city and what paradigm this reading legitimized. However, the meaning of the text is not limited to this; it has another dimension that will particularly interest today's reader: \u003cem data-mce-fragment=\"1\"\u003eŞehircilik\u003c\/em\u003e is also one of the important texts in the history of 'utopia' and stands at the meeting point of two types of utopia: 'literary utopias' and 'architectural utopias'. Literary utopias place the spatial model proposal at the forefront of their texts, while architectural utopias, with an inevitable necessity, integrate their designs with a social model proposal. Le Corbusier's text exists precisely in this common area, sometimes even approaching literary utopias more closely.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOne of the points that will attract the attention of Turkish readers of \u003cem data-mce-fragment=\"1\"\u003eŞehircilik\u003c\/em\u003e will be the numerous references to Istanbul. Just as all utopian writers find their own models in distant and mysterious geographies, Le Corbusier also wants to find many features of the city he is looking for in Istanbul, which was the farthest place he had visited until the date he wrote \u003cem data-mce-fragment=\"1\"\u003eŞehircilik\u003c\/em\u003e, and which had not yet lost its mystery at the beginning of the 20th century.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLe Corbusier's \u003cem data-mce-fragment=\"1\"\u003eŞehircilik\u003c\/em\u003e is a text open to different interpretations. The publication of this text, whose meaning is not limited to the architectural context, in Turkish will enable new readings to emerge, carried by a new language.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cu data-mce-fragment=\"1\"\u003e \u003c\/u\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343480959219,"sku":"9786057455482","price":712.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/LeCorbusier-Kapak-2.jpg?v=1648195668"},{"product_id":"yirminci-yuzyilda-kent-utopyalari","title":"Urban Utopias in the Twentieth Century","description":"Urban Utopias in the Twentieth Century, now at Arketon!\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRobert Fishman's book, titled Urban Utopias in the Twentieth Century, has joined Arketon Publications with Duygu Toprak's translation. Urban Utopias in the Twentieth Century, translated into Turkish under the general editorship of Aykut Köksal, examines the ideal city designs of Ebenezer Howard, Frank Lloyd Wright, and Le Corbusier.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhat kind of city is the ideal twentieth-century city, best reflecting the power and beauty of modern technology and the most enlightened ideas about social justice? Robert Fishman examines how three planners, Ebenezer Howard, Frank Lloyd Wright, and Le Corbusier, tried to answer this question between 1890 and 1930. Each of these planners, starting their work alone, produced hundreds of models and drawings that covered the new city in every aspect, from its general plan to the layout of its living room. The detailed plans they prepared for factories, office buildings, schools, parks, and transportation systems were innovative designs in themselves, integrated with a revolutionary restructuring of urban form.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHoward, Wright, and Le Corbusier believed that societies needed new cities. They greatly feared the consequences for civilization if old cities, adrift in social conflict and misery, were left to their own devices. At the same time, they were inspired by the idea that a radical rebuilding of cities would solve not only the urban crisis of their time but also the social crisis. The holistic design of their ideal cities reflected their belief that it was time to create comprehensive programs and thoroughly reflect on the principles of urban planning. They rejected the possibility of gradual reform. Their goal was not to improve old cities, but to completely transform the urban environment.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn his work titled Urban Utopias in the Twentieth Century, Robert Fishman explores this extraordinary journey of the three planners in all its dimensions.\u003cbr data-mce-fragment=\"1\"\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343481254131,"sku":"9786259443126","price":520.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Fishman-Kapak-12.jpg?v=1713305741"},{"product_id":"sehirler-ve-yapilar-1","title":"Cities and Structures","description":"\u003cp data-mce-fragment=\"1\"\u003eSteen Eiler Rasmussen’s book \"Towns and Buildings\" has been published with a revised translation. The book, published under the general editorship of Aykut Köksal and edited by Pınar Gökbayrak, was translated into Turkish by Deniz Özden. \"Towns and Buildings,\" which holds a special place in architectural literature with Rasmussen's own drawings, was met with great interest upon its first publication. Addressing not only architects and urban planners but also anyone interested in cultural history, the book, which handles its subjects with an essayistic freedom and flavor, offers its readers an enjoyable journey through cities with its meticulously prepared second edition.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Rasmussen says in his preface to the book: \"An unusual house in any street immediately attracts attention, but no impression of the street as a whole remains. It is easy to notice a specific detail, but on the contrary, it is quite difficult to grasp the whole, however simple it may be. The interest in fragmented details, which most people take for granted, is further provoked by what they read. Countless books have been written on historical styles. These books show how the productions of different periods differ from each other with small and seemingly insignificant features. The ability to define and classify architecture is often useful when traveling; there are travel guides that draw attention to every work that should be seen. Such guides also list all the structures a traveler should admire. But these travelers see no more in the cities themselves than what they see in the museum sections where the works of art are located.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e This book has tried to show the reader the existence of cities, pointing to certain ideals. Thus, monuments and structures, one by one, became parts of a whole. The cities here were not approached with a specific method or in a similar manner. The chapters of the book are as varied as the subjects they cover, because there are not even two identical cities in the world. In some cases, much can be learned by observing common characteristics that arise under the same conditions and for the same reasons, while in others it is necessary to investigate the traces of unique development.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e The purpose of the book was not so much a systematic presentation of the history of urban planning and architecture, but rather to collect topics related to cities and buildings, which the author felt he enjoyed working on, through chapters arranged without adherence to a specific rule. We hope that the book will leave a new impression on the interested reader, just as in a journey where we discover entirely new things, and now find new meaning in old, familiar things.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cu data-mce-fragment=\"1\"\u003e \u003c\/u\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343480991987,"sku":"9786057455499","price":712.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Rasmussen-Kapak-Yeni-2.jpg?v=1649247104"},{"product_id":"zorunlu-cogulluk","title":"Obligatory Plurality","description":"\u003cp data-mce-fragment=\"1\"\u003eAykut Köksal’s book, \u003cem data-mce-fragment=\"1\"\u003eCompulsory Plurality – Discontinuity of Language in Architecture and Art\u003c\/em\u003e, first published in 1994, is now available from Arketon Yayınları in a second edition with refreshed visuals. The book, which garnered great interest after its initial publication and quickly sold out, brought a new breath to the modernism\/postmodernism debates of those years.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e \u003c\/em\u003eThe essays in \u003cem data-mce-fragment=\"1\"\u003eCompulsory Plurality\u003c\/em\u003e are grouped into four separate sections. The essays in the first section, titled ‘\u003cem data-mce-fragment=\"1\"\u003eThe Age of Fictional Languages\u003c\/em\u003e,’ center on the opposition between the natural language singularity of the agricultural production era and the fictional language plurality of the industrial production era. The context of modernity forms the main theme of the ‘\u003cem data-mce-fragment=\"1\"\u003eThose Reaching for the Future’\u003c\/em\u003e section: artists who question the work of art against an intellectual backdrop and seek answers for the future, or, in short, “those reaching for the future.” The essays grouped under the main heading ‘\u003cem data-mce-fragment=\"1\"\u003eWriting on Space’\u003c\/em\u003e examine the spatial dimension in artistic expression across different planes of reality. The essays in this section address the phenomenon of space in theater, music, cinema, and literature. The final section of the book, under the title ‘\u003cem data-mce-fragment=\"1\"\u003eGrasping the Past’\u003c\/em\u003e, contains essays discussing the organizational logic of the elements that constituted the historical city and concludes with an assessment of Sinan.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e In his preface to the book, Enis Batur says: \"Are works, structures, cities what occupy Köksal's horizon? More so: I would say Time, Space, Language. In his almost consecration of \u003cem data-mce-fragment=\"1\"\u003eMeasurement\u003c\/em\u003e, this, and from this, a significant part can be read: He looks at the results, to be sure, but constantly probes the causes – the origin, the formation, the design. There is no need to seek an exact proximity, yet I cannot help but dwell on it: In every part of this book, not just a few parts, but in its totality, there is an attitude reminiscent of Valéry's sculpting of writing: Aykut Köksal's power of abstraction – which perhaps creates the most special corner of the human mind – extends like a magnifying glass to the unseen, less visible aspect of the subject he holds. In this sense, it is evident that we are dealing with an expert of shadows, an expert of the 'under-shadows'.: Such observers are so rare.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Necmi Sönmez, in his article about the book, makes the following assessment: \"The subtitle of \u003cem data-mce-fragment=\"1\"\u003eCompulsory Plurality\u003c\/em\u003e, ‘\u003cem data-mce-fragment=\"1\"\u003eDiscontinuity of Language in Architecture and Art\u003c\/em\u003e,’ indicates that the author opposes the \u003cem data-mce-fragment=\"1\"\u003econtinuity\u003c\/em\u003e that art history is believed to have uniquely achieved. To understand which target this subtitle is aiming at, one needs to put the book's first section, titled \u003cem data-mce-fragment=\"1\"\u003eThe Age of Fictional Languages\u003c\/em\u003e, under a magnifying glass. In this section, Köksal starts from the logic Bauhaus used when making its modernist break and immediately afterwards brings up the 'freedom to create fictional languages' of the postmodernists who opposed it. This approach has been used as a method, as can be understood from the contrasting but 'paired' essays in the book. Köksal employs \u003cem data-mce-fragment=\"1\"\u003econtra-adversus\u003c\/em\u003e to emphasize \u003cem data-mce-fragment=\"1\"\u003ediscontinuity\u003c\/em\u003e. Why? Because the characteristic that makes contemporary art history interesting and constantly keeps it alive lies in the world of 'paired-oppositions' that Köksal uses.\"\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343481286899,"sku":"9786057141316","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/AykutKoksal-ZorunluCogulluk-KAPAK.jpg?v=1651837791"},{"product_id":"modern-anit-kultu","title":"Modern Monument Culture","description":"\u003cp data-mce-fragment=\"1\"\u003eAloïs Riegl's \u003cem data-mce-fragment=\"1\"\u003eThe Modern Cult of Monuments\u003c\/em\u003e, one of the fundamental books in architectural literature and a foundational text for modern conservation thought, was first published in 2015 and quickly sold out. \u003cem data-mce-fragment=\"1\"\u003eThe Modern Cult of Monuments\u003c\/em\u003e has now taken its place on the shelves from Arketon Publications in a new edition, enriched with visuals. Written in 1903 by Austrian art historian Aloïs Riegl, \u003cem data-mce-fragment=\"1\"\u003eThe Modern Cult of Monuments\u003c\/em\u003e is a guiding text for architects and restorers as well as art historians. Published with the editorial work of Aykut Köksal, \u003cem data-mce-fragment=\"1\"\u003eThe Modern Cult of Monuments\u003c\/em\u003e was translated into Turkish from the original text by Erdem Ceylan. The book includes Erdem Ceylan's highly comprehensive introductory essay and a glossary of terms prepared for this edition.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Erdem Ceylan states the following in the short introductory text on the back cover: \"Austrian art historian Aloïs Riegl's \u003cem data-mce-fragment=\"1\"\u003eThe Modern Cult of Monuments\u003c\/em\u003e, written in 1903, is a 'cult' text that laid the foundations of the new paradigm during the transition from the 19th-century historicist and restorationist approach to the theory of historical artifacts to the 20th-century modernist and preservationist thought. At the turn of the century, marked by the pangs of transition, this text, striving to capture the spirit of the time, stands at the intersection of art and architectural history and restoration theory. The impact of the text is too strong to be limited either by its specific field of knowledge within the discipline or by its historical, social, and cultural context. The text, which problematizes the transformation of the relationship between human beings and the works they produce, and thus their past, at the beginning of modern times, both questions the prevalent hierarchy in monument values and possesses a timeless and placeless validity with its observations and predictions.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003eThe Modern Cult of Monuments\u003c\/em\u003e, which focuses on the relationship between the modern and historical heritage, also contains the tools to analyze postmodernism, which declares that the modern itself now has a history. Riegl's text announces that a religious sentiment will dominate the secularized modern human's interest in the past and love for historical artifacts in the 20th century, describing a new relationship between the religious and spiritual and the mundane and material.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e The publication of \u003cem data-mce-fragment=\"1\"\u003eThe Modern Cult of Monuments\u003c\/em\u003e in Turkish allows for the emergence of new approaches to history and historical artifacts and the development of new ideas in Turkey.”\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48497859756275,"sku":"9786057141347","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/AloisRiegl-ModernAnitKultu2-ONKAPAK.jpg?v=1654696039"},{"product_id":"mimarligin-modern-dili","title":"The Modern Language of Architecture","description":"\u003cp data-mce-fragment=\"1\"\u003eBruno Zevi's \u003cem data-mce-fragment=\"1\"\u003eThe Modern Language of Architecture\u003c\/em\u003e, the second book by one of modernism's most brilliant architectural theorists, has been published by Arketon Yayınları with a translation by Orhun Alkan. Zevi, who previously met readers with his work \u003cem data-mce-fragment=\"1\"\u003eHow to Understand Architecture\u003c\/em\u003e, analyzes the codes of modern architecture in the first part of this book and presents the fundamental invariants for understanding 20th-century architecture. In the second part, he addresses the historiography of architecture, drawing a broad panorama from prehistory to Le Corbusier's poetics.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his essay \"Speaking Architecture,\" located in the first part of the book, Bruno Zevi states:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Thousands of architects and architecture students are designing projects without knowing the vocabulary, grammar, and syntax of the modern language. In fact, these are counter-vocabulary, counter-grammar, and counter-syntax compared to classicism. Critics are offering opinions from both a professional and an educational perspective. But by what criteria are they doing so? This is the real challenge that we, the producers and users, must confront: to understand each other, we need to use the same language and agree on terms and methods. This problem seems so overwhelmingly large only because it has not been adequately explored until now. Ours is a deliberately provocative goal: to identify a set of 'invariants' for the language of modern architecture, based on the most significant and challenging works. This brings to mind one point: in verbal language, a code is indispensable, otherwise, no communication could occur. However, in architecture, someone who chooses not to use this code may not necessarily have to stop building because of it.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI have discussed the issue of architectural language with university professors, practicing architects, and especially with confused, anxious students who are bothered by the fact that no one teaches them a language they can speak. These discussions led to the following conclusion: even though there are excellent reasons not to confront such a difficult and painful subject, it does not mean that this Gordian knot cannot be untied and that one cannot start somewhere.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHow can the modern language of architecture be widely spoken without having a code? This research has the same goal as any subversive movement: to initiate a discussion. If it can provoke a discussion, it will have achieved its purpose. Instead of talking about architecture, we can now speak architecture.\"\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343479812339,"sku":"9786057141361","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Zevi-Gugg-3.jpg?v=1661338928"},{"product_id":"sehrin-taci","title":"The Crown of the City","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eA Utopian Architectural Vision by Bruno Taut: \u003cem data-mce-fragment=\"1\"\u003eThe City Crown\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBruno Taut's work, \u003cem data-mce-fragment=\"1\"\u003eThe City Crown\u003c\/em\u003e, which is among the important books in 20th-century architectural literature, has been published as Arketon Publications' second Taut book. Like the first book, \u003cem data-mce-fragment=\"1\"\u003eAn Architectural Theory\u003c\/em\u003e, Taut's work was translated into Turkish by Hüseyin Tüzün. \u003cem data-mce-fragment=\"1\"\u003eThe City Crown\u003c\/em\u003e, which can be described as an \"architectural utopia,\" also includes texts by Paul Scheerbart, Adolf Behne, and Erich Baron. An important feature of the book is its extensive use of visuals in the narrative. In this Turkish edition, as in \u003cem data-mce-fragment=\"1\"\u003eAn Architectural Theory\u003c\/em\u003e, all visuals have been renewed. The renewal process involved accessing original copies for some and entirely re-creating others.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the \"Foreword\" of the book, Aykut Köksal states in summary: \"\u003cem data-mce-fragment=\"1\"\u003eThe City Crown\u003c\/em\u003e stands apart among all architectural utopias. What makes it unique is that it is not merely a presentation of the proposed model; conceptual development also carries significant weight. For this reason, it can even be said to be closer to social or literary utopias than architectural ones. For the same reason, the representation of the utopian model is accompanied by visuals of structures selected from different times and geographies. The fact that the authors whose texts Taut included in the book mostly come from non-architectural disciplines is due to the same reason. These authors, yearning for a more \u003cem data-mce-fragment=\"1\"\u003eperfect\u003c\/em\u003e world, are Paul Scheerbart, Adolf Behne, and Erich Baron. The publication date of \u003cem data-mce-fragment=\"1\"\u003eThe City Crown\u003c\/em\u003e is 1919. Bruno Taut was one of the overshadowed architects of Germany in the early 20th century; \u003cem data-mce-fragment=\"1\"\u003eThe City Crown\u003c\/em\u003e is Taut's first book published after World War I. Taut was 39 years old when the book was published.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe City Crown\u003c\/em\u003e is not alone among Bruno Taut's utopian-era works; \u003cem data-mce-fragment=\"1\"\u003eAlpine Architecture\u003c\/em\u003e, dated 1919, is also one of the works from this period. Among Taut's sources of inspiration in these years, we can count Ebenezer Howard's 1897 \u003cem data-mce-fragment=\"1\"\u003eGarden Cities of To-morrow\u003c\/em\u003e and Nietzsche's texts. It would not be wrong to say that these ideas were influential in Taut's assigning a sublime task to the architect in the construction of a new society. \u003cem data-mce-fragment=\"1\"\u003eThe City Crown\u003c\/em\u003e should also be read as an expression of this expectation in a specific context.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWe can say that this improved and renewed version of \u003cem data-mce-fragment=\"1\"\u003eThe City Crown\u003c\/em\u003e, with its enhanced visuals, is one of the most meticulously prepared editions among all those published to date in any language.\"\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343481024755,"sku":"9786057141309","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Taut-SehrinTaci-2-Yeni.jpg?v=1663678873"},{"product_id":"bilimsel-ozyasamoykusu","title":"Scientific Autobiography","description":"\u003cp data-mce-fragment=\"1\"\u003eAldo Rossi's first book, \u003cem data-mce-fragment=\"1\"\u003eA Scientific Autobiography\u003c\/em\u003e, part of Arketon Publications, has been released with a translation by Berk Cankurt and text editing by Pınar Gökbayrak. The book features photographs and Rossi's own drawings accompanying his narrative. Aldo Rossi's writings are inseparable from the body of work formed by his architecture and drawings. This autobiography goes beyond a simple self-reflection or theoretical abstraction; it is a literary creation, a product of architectural imagination. Rossi's dialogue with his own past includes childhood memories and philosophical thoughts, while also showcasing his artistic and literary influences, and the magic that repetition, collages, and his obsession with theatre brought to his work. Rossi's writing resembles his architecture: nostalgic, simple, elegant, and sharp.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e In his book, Rossi states: “It has been more than ten years since I started keeping these notes. And now I am trying to bring them to a conclusion so that they do not simply turn into mere memoirs. From a certain period of my life onwards, I began to think of profession or art as a projection of things and of ourselves. For this reason, I have always held great admiration for Dante's \u003cem data-mce-fragment=\"1\"\u003eDivine Comedy\u003c\/em\u003e, which he wrote in his thirties. When one turns thirty, one should have finalized a particular thing, or at least started it, and be able to take stock of the education received.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Each of my drawings or writings seemed unalterable to me in two different senses: on the one hand, they brought my experiences to a definitive conclusion, and on the other hand, they left no room for further comment. Every summer felt like the last. This constant feeling of unchangeability can explain many of my projects. But to understand or explain my architecture, I need to delve once more into the origin of events and impressions, to describe them or find a way to describe them.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e In this book, I intended to continuously analyze my projects, writings, and works by interpreting, describing, and at the same time re-designing them. But by committing all this to writing, I see that another project has emerged, one that leads to unforeseen and unforeseeable things.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Other memories and other justifications emerge that will alter the original project, which, despite everything, continues to be valuable to me; of course, in a measured disorder. And perhaps I must now conclude this book, which tells the story of only one project, so that it can be adapted to new projects, new spaces, new techniques, and all other forms of life, albeit through some small changes and adjustments.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cu data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343469424883,"sku":"9786057141354","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Kapak-Rossi.jpg?v=1666686394"},{"product_id":"anlamin-siniri","title":"The Limits of Meaning","description":"\u003cp data-mce-fragment=\"1\"\u003eAykut Köksal's collection of theoretical texts titled \u003cem data-mce-fragment=\"1\"\u003eThe Limit of Meaning\u003c\/em\u003e, first published in 2009, has been released by Arketon Publications with a new arrangement and diversified visuals. The book also includes Zühre Sözeri's review of the second edition of \u003cem data-mce-fragment=\"1\"\u003eThe Limit of Meaning\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this foreword, Zühre Sözeri states: “\u003cem data-mce-fragment=\"1\"\u003eThe Limit of Meaning\u003c\/em\u003e is the second book in the series that began with Aykut Köksal's \u003cem data-mce-fragment=\"1\"\u003eCompulsory Plurality\u003c\/em\u003e, which recounts his twenty-year writing process after 1973. The collection, which includes theoretical writings penned after 1994, showcases the paradigm shift that Köksal tried to emphasize in his art and architecture writings. While constructing this paradigm shift, Köksal places the distinction between \u003cem data-mce-fragment=\"1\"\u003eNatural Language\u003c\/em\u003e and \u003cem data-mce-fragment=\"1\"\u003eThe Age of Fictional Languages\u003c\/em\u003e at the core of the discussion, offering the reader an understandable, producible, and transformable fiction as a highly enriching path. This path he proposes makes it possible to eliminate the impasses in traditional architectural and art historical writing and to open up space for new discourse.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn general terms, the book consists of six sections shaped by the relationship between nature and culture, architecture, conservation, contemporary art, music, and graphic design, and a total of twenty-six texts. Köksal's writing process, which began in the seventies, consists of his evaluations of art and architecture, new and\/or re-readings, and conceptualizations, particularly along an axis he started to form in the eighties. Köksal's most important contribution to architectural and art historical writing is his unwavering insistence that the true transformation of intellectual productions is only possible by producing original concepts. Köksal undoubtedly presents us with very important new ideas. He opens up areas for readers to ponder and generate new ideas.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn conclusion, we can say that in \u003cem data-mce-fragment=\"1\"\u003eThe Limit of Meaning\u003c\/em\u003e, a very good whole-part relationship has been established and a system has been created, the contiguity of the texts has been examined both synchronically and diachronically, and most importantly, the concept of Fictional Language, which paves the way for new research and provides a basis for transformations\/changes, has been elucidated.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cu data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343468343539,"sku":"9786057141330","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/AnlaminSiniri-onkapak.jpg?v=1668501670"},{"product_id":"mimari-bicimin-dinamikleri","title":"Dynamics of Architectural Form","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRudolf Arnheim's seminal book on the principles of architectural formation:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Dynamics of Architectural Form\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRudolf Arnheim's book \u003cem data-mce-fragment=\"1\"\u003eThe Dynamics of Architectural Form\u003c\/em\u003e, which deals with the principles of architectural formation, has been published with the editorship of Aykut Köksal and translation of Deniz Özden. Arnheim is known in Turkey for his original theoretical works. The book covers a wide range of topics, from the elements of space to its analysis in vertical and horizontal dimensions, examining spatial interaction and perception, and addressing features such as mobility, order, disorder, expression, and function.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eArnheim states the following in the introduction to the book:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Is there sufficient reason to focus so much on the appearance of structures? And if there is, can such an analysis afford to leave aside most of the social, economic, and historical connotations and the technology that is inextricably embedded in the art of building?\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMany of us, walking down the street, are affected in one way or another by the appearance and arrangement of the buildings we pass. Moreover, it is difficult to escape the impression that visually striking buildings are rarer today than in any other period or civilization. What kind of observations do such judgments rest on? We ask: Does a building offer the visual integrity that makes it comprehensible to the human eye? Does the appearance of the building reflect the physical and psychological functions aimed at by the design? Does it display something of the spirit that animates or should animate society? Does it convey the best in human intellect and imagination? To remind us that these questions are pertinent and plausible, we must occasionally confront an architectural work that meets these demands. The enthusiasm evoked by the image of such a work diminishes when we realize that we owe this pleasure not to one of today's master builders but to one from the past.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDesign is nothing but the creation of the tangible and visible forms of a structure. How then did design come to be considered something that could be done without it? Is this merely a reaction to the historical period that tried to revive the temples, churches, and castles of the past in today's post offices, banks, and auditoriums? Or is this avoidance a rebellion against the recent trend of simplification, which concealed the diversity of human impulses in a regular yet often empty geometry? Whatever the reason, any attempt that leads the architect to shirk their ultimate responsibility must be in vain. The form of an object can be ignored, but it cannot be done without.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343479156979,"sku":"9786057141385","price":712.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Arnheim-Kapak-P.jpg?v=1677178860"},{"product_id":"rusya-da-konstruktivist-mimarlik","title":"Constructivist Architecture in Russia","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eArketon Publications presents the foundational texts of constructivism by El Lissitzky: \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eConstructivist Architecture in Russia\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eConstructivist Architecture in Russia\u003c\/em\u003e, a collection of texts by El Lissitzky, has taken its place among Arketon Publications. Edited by Aykut Köksal and translated by Mehmet Kerem Özel, the book contains seminal writings, drawings, and photographs from the period.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe main text of the collection was written by El Lissitzky in 1929 and published in Vienna in 1930 under the title \u003cem data-mce-fragment=\"1\"\u003eRussland. Die Rekonstruktion der Architektur in der Sowjetunion\u003c\/em\u003e (Russia. The Reconstruction of Architecture in the Soviet Union). In addition to this main text, the collection also includes five art essays written by El Lissitzky between 1921 and 1926. These writings, which are among the foundational texts of the Russian avant-garde, illustrate the transition process from suprematist art to constructivist architecture. The 1923 text, in particular, which discusses the Proun Room, is a document demonstrating this turning point.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe appendix of the collection includes two essays by two leading architects of the period, one from Russia and one from Germany, conveying their perspectives on Russia's architectural environment, especially constructivist architecture. Moisei Ginzburg's essay is dated 1928, and Bruno Taut's essay is dated 1929.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the book, El Lissitzky describes the genesis of constructivism as follows: \"...two distinct views emerged. The first was, 'we grasp the world through seeing, through colors,' and the second was, 'we grasp the world through touching, through materials.' Both accepted the world as a geometric order. The second view, advocating for material mediation, required not only looking at objects but also touching them. The establishment of design started each time from the specific properties of the assumed material. The pioneer of this movement (Tatlin) assumed that intuitively artistic mastery of material would lead to discoveries for constructing objects, based on fundamental knowledge provided by the materials, and that this would be independent of the rational methods of scientific technique. He believed he could prove this in his design for the Monument to the Third International. He made this work without any special technical or static knowledge, thus proving the correctness of his view. This is one of the first attempts to create a synthesis between 'technical' and 'artistic'. Here, the new art of construction finds its expression in the effort to loosen volume and create a spatial intertwining of exterior and interior. In this design, a very old form of construction, which we also see, for example, in Sargon's pyramid in Khorsabad, was truly recreated with a new material to serve a new content. This work and a series of other experiments involving material and models gave rise to the term 'constructivism'...\"\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343480729843,"sku":"9786057141392","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/ElLisitzki-Kapak.jpg?v=1677753622"},{"product_id":"mimarlik-ve-dekonstruksiyon","title":"Architecture and Deconstruction","description":"\u003cp\u003ePhilosopher Jacques Derrida, the creator and developer of deconstructionist thought, has seen his book titled \u003cem\u003eArchitecture and Deconstruction\u003c\/em\u003e hit the shelves as Arketon Publications' latest release. Translated into Turkish by Aziz Ufuk Kılıç, the book was edited by Aykut Köksal, with Amber Niksarlıoğlu Eroyan and Bihter Sabanoğlu serving as proofreaders.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eArchitecture and Deconstruction\u003c\/em\u003e consists of Derrida's interviews, debates, and writings. Among the architects with whom the renowned philosopher corresponded, debated, and conversed are Daniel Libeskind and Peter Eisenman, pioneers of deconstructivist architecture. Bernard Tschumi, the architect of the Paris La Villette project, to which Derrida contributed, is at the heart of all discussions.\u003c\/p\u003e\n\u003cp\u003eIn an interview, Jacques Derrida says the following about architectural deconstruction as a method: \"Deconstruction is not merely the method of the architect who expects to deconstruct what has been built; rather, it is an inquiry that touches the technique itself, the authority of the architectural metaphor, and precisely for this reason, deconstructs its own architectural rhetoric.\"\u003c\/p\u003e\n\u003cp\u003eDerrida explains how deconstructivist architecture increasingly interests him: \"When I first encountered not deconstructivist architecture but deconstructive discourse about architecture, my reaction was astonishment and mistrust. I thought there was an analogy involved, a displaced discourse, something that contained analogy, not certainty. Later, I realized that the most effective way to realize deconstruction was through art and architecture. As you know, deconstruction is not merely a problem of discourse or a problem of displacing the semantic content, the conceptual structure of discourse. Deconstruction traverses certain political and social structures, encounters resistance along the way, and displaces institutions. In all these forms of art and in all kinds of architecture, these are the 'rigid' structures that need to be displaced to deconstruct traditional - theoretical, philosophical, cultural - assumptions, not only because they are material structures, but also because they are rigid in the sense of being cultural, pedagogical, political, and economic structures. And all those concepts that are the target of deconstruction (if I may use this term), theology, the subordination of the sensible to the intelligible, and all such concepts are being actively displaced with the aim of transforming into 'deconstructive architecture.' So, deconstructive architecture interests me more and more, even if I am not technically proficient.\"\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cu\u003e \u003c\/u\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343479877875,"sku":"9786057293602","price":632.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Derrida-Kapak-4.jpg?v=1683881991"},{"product_id":"uluslararasi-uslup","title":"International Style","description":"\u003cp data-mce-fragment=\"1\"\u003eHenry-Russell Hitchcock and Philip Johnson's 1932 publication, \u003cem data-mce-fragment=\"1\"\u003eThe International Style\u003c\/em\u003e, a paradigm-setting work of modernism, has taken its place on the shelves as Arketon Publications' latest book. One of the leading classics of modern architectural literature, \u003cem data-mce-fragment=\"1\"\u003eThe International Style\u003c\/em\u003e also holds special value as an iconic book. The book, prepared under the editorial direction of Aykut Köksal, was translated by Murat Çınar Büyükakça, and its text editing was done by Melek Kılınç.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his preface to the book, Alfred H. Barr writes: \"Hitchcock and Johnson worked on contemporary architecture with a scholarly care and critical precision of the sort shown for ancient and medieval periods. In my opinion, this book presents their unusual and perhaps groundbreaking conclusions. In fact, they proved beyond any doubt that the modern style exists today as uniquely, consistently, logically, and widely as any style of the past, and they named it the International Style.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe authors state that the International Style has three distinguishing aesthetic principles: emphasis on volume-space enclosed by thin planes or surfaces instead of an impression of mass and solidity; regularity as opposed to symmetry or other forms of obvious balance; and finally, the inherent elegance of materials, technical perfection, and adherence to precise proportions, as opposed to added ornamentation. I believe that the book's section on functionalism will be of particular interest to American architects and critics. Functionalism, as a dominant principle, reached its peak among important modern European architects a few years ago.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAn introductory essay should undoubtedly direct the reader's attention to the text. The text in this book was written as a presentation for the selected visuals. Therefore, there is no great need to speak at length about them. The authors spent almost two years compiling the photographic and written documents from which the visuals were selected. Thus, they created a meticulously curated selection of the Style, which developed in Germany, Holland, and France, spreading throughout the world, extending from Finland to Italy, from England to Russia, and further to Japan and the United States.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343481057523,"sku":"9786057293626","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Hitchcock-Johnson-Kapak-3.jpg?v=1697445502"},{"product_id":"modern-islevsel-yapi","title":"Modern Functional Building","description":"\u003cp data-mce-fragment=\"1\"\u003eAdolf Behne's \u003cem data-mce-fragment=\"1\"\u003eModern Functional Building\u003c\/em\u003e, published in 1926 and one of the pioneering works of modernist architectural literature, has taken its place on the shelves as Arketon Publications' latest book. \u003cem data-mce-fragment=\"1\"\u003eModern Functional Building\u003c\/em\u003e, one of the fundamental classics of architectural literature, makes a significant contribution to the Turkish architectural library with its original visuals, meticulous translation, and high-quality printing. The book, prepared under the editorial direction and editing of Aykut Köksal, was translated by Hüseyin Tüzün and proofread by Erdem Ceylan.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his foreword to the book, Adolf Behne states: \"For the last centuries of European architectural history, one cannot speak of a balance between form and function. Form was superior, and it was perfectly sufficient for function as long as the house could remain functional despite its form, meaning that form did not completely eliminate function. Any structure that somehow interested people, more than a fence or a lean-to, was a structure in terms of form: a structure created by the labor of an artist. Its suitability for purpose was entirely secondary. Alongside these, there were, of course, functional structures; the fence, the lean-to, the log cabin, the barn: these were also the labor of anyone. Since form and function insisted on being separate, the formal structure and the functional structure were also very far apart. However, in practice, it turned out that the alienation of the functional structure from form was not aesthetically as bad as assumed, and the superiority of the formal structure, especially over the simple functional structure, was not as admirable as expected. It was confirmed by experience that sensible, modern people looked with disdain at the formal structures of the time, but observed functional structures like iron bridges, cranes, and large spaces containing machines with pleasure.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSo how was this possible? Aesthetic sensibility underwent a revolution. While in the nineties every unnecessary excess of form was admired as if it were a duty, and art was almost equated with ornamentation, at the turn of the century, the enthusiasm for lightness, conciseness, and clarity triumphantly broke through this front and opened eyes to the beauty of the functional.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this book, we will essentially follow the old concept of functional building, which has been established by defining a certain group of buildings, but at the same time, we will show how architecture redefines the building, asserting itself more strongly here than in other fields of duty.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cu data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343480008947,"sku":"9786057293619","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Behnekapak-Fagus_Werk.jpg?v=1700486229"},{"product_id":"ledouxdan-le-corbusier-ye-ozerk-mimarligin-kokeni-ve-gelisimi","title":"From Ledoux to Le Corbusier","description":"\u003ch3\u003eA Reading from Kant's Philosophy to Architecture: From Ledoux to Le Corbusier\u003c\/h3\u003e\nEmil Kaufmann's work, titled \"From Ledoux to Le Corbusier, The Origins and Development of Autonomous Architecture,\" published in 1933, and known to have deeply influenced contemporary theorists Colin Rowe and Aldo Rossi, who are among the leading architectural historians of the 20th century, has taken its place on the shelves as Arketon Publications' latest book. The book, prepared and edited by Aykut Köksal and described as \"the most original art history thesis of recent years\" at the time of its publication, was translated from the original text into Turkish by Hüseyin Tüzün. In his work, where Kaufmann draws attention to the continuity between Ledoux and Le Corbusier, he traces \"autonomous architecture\" within the story of architecture's modernization, starting from Immanuel Kant's concept of \"autonomous morality.\" Another feature of the book is that it is the first Turkish book on Claude-Nicolas Ledoux published with the famous architect's original drawings and in high-quality print.\u003cbr\u003e\u003cbr\u003eEmil Kaufmann states in the foreword to the book: \"The author of this book had already demonstrated in a series of earlier publications the importance of French Revolutionary architecture, the special value Claude-Nicolas Ledoux deserves in art history, and how the ideas first seen in him continue to live on. Now, as a continuation of the data obtained from the results of these studies, a concise collective description of the artist's works, based on previously unpublished documents, is envisaged, and beyond that, a new meaning is intended to be given to the architectural development of the 19th and 20th centuries. Here, something more than a mere monograph, a simple biography recounting the life of an artist, is being attempted; the aim is to view this section of architectural history in a new light through the unfolding of Ledoux's works, and to exhibit the reflection of the great intellectual movement around 1800 in the field of art.\"\u003cbr\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343479124211,"sku":"9786057293664","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/KAUFMANN-KAPAK-3.jpg?v=1708686782"},{"product_id":"modern-mimarlikta-degisen-idealler","title":"Changing Ideals in Modern Architecture","description":"\u003ch3\u003eA monumental work from Peter Collins: Changing Ideals in Modern Architecture\u003c\/h3\u003e\n\u003cp\u003ePeter Collins (1920-1981), one of the greatest architectural historians of the twentieth century, narrates the story of modern architecture from 1750 to 1950 in his exceptionally comprehensive work entitled Changing Ideals in Modern Architecture. The work, described by Kenneth Frampton as \"a multifaceted interpretation of the roots of European architecture,\" has joined Arketon Publications, under the general editorship of Aykut Köksal, with a translation by Hale Gönül.\u003c\/p\u003e\n\u003cp\u003eIn the preface he wrote for the second edition of the book, Kenneth Frampton states:\u003c\/p\u003e\n\u003cp\u003e\"Peter Collins’s classic hermeneutic work Changing Ideals in Modern Architecture, published in 1965, is in many respects a neglected, even forgotten, work. While much of its content has been explored in detail in subsequent studies, it remains a pioneering work even today. The work, which offers an ideological history of the modern movement covering a rather broad period, is approached from beginning to end with a sharp critical perspective. The groundbreaking originality of Collins's book derives from its questioning of the decisive role played by structural form in the evolution of modern architecture over the last two centuries.\u003c\/p\u003e\n\u003cp\u003eCollins's work is a multifaceted interpretation of the roots of contemporary European architecture and the consequences of these developments on Western culture as a whole. It marks the beginning of the new with history's transformation into an epistemic discipline in its own right. This transformation occurred with the invention of the historical method, which emerged in 1751 with Voltaire's Le Siècle de Louis XIV. \u003cbr\u003e \u003cbr\u003eChanging Ideals, while following the Greco-Gothic line of development, also takes into account the decisive impact of technique on building production and architectural form. After examining various revivalist styles that emerged between 1750 and 1850, Collins turned his attention to different types of 'functionalist analogies' triggered by techno-scientific advancements. These consisted of biological, mechanical, gastronomic, and linguistic analogies to which theorists resorted to achieve a new basis for the creation of architectural form.\u003c\/p\u003e\n\u003cp\u003eCollins had an empirical interest in the development of technology. He also sensitively appreciated architects' ability to cope with the rapidly changing constraints of their times. However, his belief in the classical spirit sustained his relentless criticism despite all this. Approaching the romantic aspirations of the avant-garde with skepticism, and therefore directly opposing a political reading of history, Collins was a true materialist.\" \u003cbr\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343480369395,"sku":"9786057293657","price":1000.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/PeterCollins-Kapak-9.jpg?v=1714320510"},{"product_id":"godel-escher-bach-uzerine","title":"On Gödel, Escher, Bach","description":"\u003ch3\u003eA Look at Artificial Intelligence Debates Through \"Gödel, Escher, Bach.\"\u003c\/h3\u003e\u003cp\u003eThe first book in the Arketonses series consists of a series of interviews conducted by Aykut Köksal and Bülent Gözkân, focusing on Douglas R. Hofstadter's work, Gödel, Escher, Bach: An Eternal Golden Braid. The book contains the transcribed discussions from the series, which took place twenty-two years ago on Aykut Köksal's program \"Minima Musica\" on Açık Radyo and lasted eighteen weeks. Hofstadter's book, a rather difficult-to-classify and voluminous work, has consistently attracted attention since its publication. The multifaceted nature of its content, the richness of its reference areas, the broad context of its allusions ranging from music to painting, its brilliant insights and observations that always allow the reader to derive great pleasure from the text, and its treatment of the artificial intelligence debate within a framework that remains relevant today, all continue to make Hofstadter's book interesting.\u003c\/p\u003e\u003cp\u003eThe purpose of this series of interviews, conducted by Aykut Köksal and Bülent Gözkân, is to introduce and interpret Hofstadter's book, making seemingly inaccessible texts understandable. However, the interview series goes beyond this, reaching far beyond the author's specified content with observations that travel through the channels opened by the book to different disciplines and topics, and with insights that offer new perspectives to the reader of Hofstadter's book.\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343477944563,"sku":"9786057293688","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/GEBKapak.jpg?v=1714511149"},{"product_id":"mimarlik-ogretisi","title":"Architectural Doctrine","description":"\u003cp\u003eBruno Taut's work, Architectural Theory, is back on shelves with its revised new edition...\u003c\/p\u003e\n\u003cp\u003eBruno Taut's book, Architectural Theory, first published in 1938, was re-published by Arketon in 2021 with a new translation and renewed\/updated visuals. Architectural Theory, which garnered great interest and quickly sold out, is now back on shelves with its revised new edition. \u003c\/p\u003e\n\u003cp\u003eThe editors of Architectural Theory, translated from Taut's German text into Turkish by Hüseyin Tüzün, were Aykut Köksal, Zeynep Kuban, and Pınar Gökbayrak. Arketon editor-in-chief Aykut Köksal says in his introduction:     \u003c\/p\u003e\n\u003cp\u003e\"The publishing journey of Taut's book, titled Architekturlehre, is a unique story in many respects. The book was first published with its Turkish translation, followed by its Japanese publication, and then, exactly forty years after it was written, its first publication in its original language, German. The reason why this journey began with the Turkish publication is that Taut started working at the Academy of Fine Arts in Turkey during the writing process of the book. Taut's book was translated into Turkish and made ready for printing at the end of 1938 and went to press in December 1938. Taut, who passed away on December 24, 1938, did not get to see the printed version of the book. \u003c\/p\u003e\n\u003cp\u003eThe book was published under the name Mimarî Bilgisi (Architectural Knowledge), as a 'Publication of the Academy of Fine Arts', for the course Taut taught at the Academy under the same name. Its translation, to the extent that the conditions of that period allowed, and its rather archaic language necessitated a new translation of the book today. The availability of the German text, which has been published several times since 1977, made this possible; the book was re-introduced to our language with a careful and meticulous translation.\u003c\/p\u003e\n\u003cp\u003ePhotographs and drawings hold an important place in the book. Some of the 112 visuals consist of photographs taken by Taut himself, visuals from architectural magazines, and publications by the master architect himself. In determining the visuals to be included in the new edition, the same approach was followed as in bringing the text up to date, and all visuals that would result in poor reproduction - and whose alteration would not damage the book - were updated. The final step of the update was for the book to regain its original title, Architectural Theory.\u003c\/p\u003e\n\u003cp\u003eIt would not be wrong to say that with this final form of the book, Taut will continue to speak new and fresh words to his readers.\"\u003c\/p\u003e\n","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343479845107,"sku":"9786259443119","price":344.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Taut-Kapak-2.Basim_e116c10e-6a29-4ffb-ba91-728295cc8d42.jpg?v=1715939189"},{"product_id":"wittgenstein-ve-mimarlik-felsefe-mimarlik-iliskisi","title":"Wittgenstein and Architecture","description":"\u003cp\u003e\u003cstrong\u003eThe Relationship between Philosophy and Architecture through Wittgenstein: Wittgenstein and Architecture\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWittgenstein and Architecture, which contains 13 theoretical texts on Wittgenstein's relationship with architecture, is the only work of its kind to date. The texts were translated into Turkish by Burcu Bilgiç, and the Turkish edition was edited by Aykut Köksal.\u003c\/p\u003e\n\u003cp\u003eFrom 1926 to 1928, Ludwig Wittgenstein designed and built a house in Vienna for his sister Margaret, which has since been known as the 'Wittgenstein House.' After this project, in 1929, he returned to Cambridge, to his other 'construction site' which he had left fallow for a few years, and continued the construction of 'Wittgenstein's Thought.' So, to what extent can the Kundmanngasse structure be associated with the construction of one of the 20th century's most influential philosophical thoughts? Is the Wittgenstein enigma clarified by this residence, designed and built down to the finest detail, sometimes at the expense of basic comfort rules? Philosophers, historians, architects, and visual artists gathered by Céline Poisson at the School of Design at the University of Quebec in Montreal seek answers to these questions.\u003c\/p\u003e\n\u003cp\u003eThe program of this colloquium, which took place in 2005, includes texts by 13 participants addressing the Wittgenstein-architecture relationship from different perspectives. In their presented works, the participants examine all of Wittgenstein's books, compile, and evaluate what the famous philosopher wrote about architecture. Céline Poisson, who organized the meeting, also undertook the editorship and ensured that these texts were published as a book. In her introductory essay to the book, Poisson evaluates the texts included in the collection individually.\u003c\/p\u003e\n\u003cp\u003eWith this collection titled Wittgenstein and Architecture, Arketon's publications on the relationship between architecture and philosophy gain a new addition. These publications will make a significant contribution to placing the discussions on the architecture-philosophy relationship, which are carried out independently of basic philosophical texts in Turkey, in a more accurate context.\u003c\/p\u003e\n","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343481680115,"sku":"9786259443157","price":472.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/WittgensteinveMimarlikKAPAK.jpg?v=1735249933"},{"product_id":"sanatta-tinsellik-uzerine","title":"Concerning Spirituality in Art","description":"\u003cp\u003e\u003cstrong\u003eA Masterpiece of Modernism from Kandinsky's Pen: Concerning the Spiritual in Art\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eVasily Kandinsky's 1912 work, Concerning the Spiritual in Art, alongside his work Point and Line to Plane, stands as one of the pioneering texts that established a new paradigm for modernist art. The book, translated into an original language by Hüseyin Tüzün and edited by Aykut Köksal, features a preface written by Uşun Tükel. Tükel, in her text also found on the back cover of the book, states the following:\u003c\/p\u003e\n\u003cp\u003e\"Vasily Kandinsky's book, Concerning the Spiritual in Art, completed in 1911 and published the following year, is one of the most important texts of the early modernist period due to its subtle observations and insights into the language of painting, its sometimes subjective interpretations, and most importantly, its close connection to music.\u003c\/p\u003e\n\u003cp\u003eKandinsky, starting his journey with the observation that objective representation is not mandatory in painting, transforms into one of the founding figures of modern art, and in this book, he grounds the state of 'non-necessity' on the principle of 'inner necessity.' In other words, he gives life to the facts of the spiritual world through a mental practice. In the text, we find his initial observations on art science (kunstwissenschaft), which he would develop in later years, alongside his interpretations of pictorial elements and, correspondingly, the codes of his own work. Since Kandinsky addresses this entire process in parallel with music, we witness codes that are replacing traditional expressions in different arenas.\u003c\/p\u003e\n\u003cp\u003eFor this reason, we can easily say that Concerning the Spiritual in Art continues to maintain its historical importance as one of the first theoretical texts of modern art even today.\"\u003cbr\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343481712883,"sku":"9786259443140","price":344.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Kandinski-SanattaTinsellikUzerineKAPAK.jpg?v=1735290091"},{"product_id":"sanatsal-i̇lkelere-gore-sehirlerin-i̇nsasi","title":"The Construction of Cities According to Artistic Principles","description":"\u003cp\u003e\u003cstrong\u003eA Classic by Camillo Sitte: The Art of Building Cities According to Artistic Principles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCamillo Sitte’s book, The Art of Building Cities According to Artistic Principles, one of the foundational texts of urbanism, has been published by Arketon Yayınları, translated from its original language. Hüseyin Tüzün translated the book, and Aykut Köksal edited it and wrote the foreword. In his foreword, Köksal states:\u003c\/p\u003e\n\u003cp\u003e\"Camillo Sitte was an architect and the director of the Imperial Royal School of Applied Arts in Vienna. With his book The Art of Building Cities According to Artistic Principles, published in 1889, he is among the pioneering theorists of urbanism. In his book, Sitte examines medieval and Renaissance cities, revealing the organizational logic of urban space in the pre-industrial era.\u003c\/p\u003e\n\u003cp\u003eSitte's main concern was the critique of the new urban space demanded by industrial society, of which Haussmann's modern transformation of Paris in the 19th century was a prototype. Sitte's conception of the city is also in complete conflict with Le Corbusier's 'urbanistic thought' that underpinned his contemporary city plan. Indeed, Le Corbusier directly targets Camillo Sitte in his book Urbanism.\u003c\/p\u003e\n\u003cp\u003eCamillo Sitte objects to the shaping of urban space being seen as a 'technical' problem with modernization, stating that 'it is necessary to show once again that not only one side of the problem, but also the other side, the artistic side, is at least as important.' If we translate what Sitte means by the artistic side of old cities into a structuralist language, we encounter the spatial organizational logic of the pre-industrial traditional city. The traditional city, like natural languages, forms a system, and ultimately a structure, that emerged with a certain spontaneity rather than through external intervention or deliberate design. To understand the organizational logic of urban space, one must decipher the codes of this structure. Sitte attempts to decipher these codes in this book.\u003c\/p\u003e\n\u003cp\u003eIn a final word, this work, The Art of Building Cities According to Artistic Principles, is among the fundamental milestones that define the theoretical background of the discipline of urbanism. The fact that its importance was recognized at such a late date must be an indication of the discipline's weakness.\"\u003cbr\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343482073331,"sku":"9786259443133","price":472.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/CamilloSitteSehirlerinInsasiKAPAK.jpg?v=1735292259"},{"product_id":"mimarlik-ve-dil-gunther-fischer","title":"Architecture and Language","description":"\u003cp\u003e\u003cstrong\u003eGünther Fischer's \"Architecture and Language\" at Arketon...\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGünther Fischer's book \"Architecture and Language,\" which addresses the relationship between architecture and language and is considered a distinctive work in architectural theory, has been published with a translation by Fatma Erkman Akerson. Edited by Aykut Köksal, the revised new edition of the book has taken its place among Arketon Publications. \"Architecture and Language\" is among the interdisciplinary studies that advanced along the path opened by linguistics in the 20th century. The work, penned by architect and academic Günther Fischer in 1991, includes a preface written for the German edition by the renowned architectural theorist and historian Jürgen Joedicke, and an introduction written by the author for the Turkish edition. In his preface, Jürgen Joedicke states:\u003c\/p\u003e\n\u003cp\u003e\"With the emergence and widespread adoption of semiotics, and particularly with the works of Max Bense and the Stuttgart School, attempts were made in Germany to explain the phenomenon of meaning-making in architecture through semiotics and communication theories, and these attempts yielded very interesting results. In this context, I would also like to mention that the tripartite structure of the sign was very simplistically translated into architectural language as 'form and arrangement,' 'meaning,' and 'effect.' Furthermore, the double functionality of the sign was also considered; in addition to referring to a specific object (denotation), the sign could also evoke emotional images (connotations). The context in which it was situated also influenced the sign, meaning that a sign could acquire entirely different meanings depending on where it was located, even if it itself remained unchanged. Umberto Eco provides a classic example for this situation: A red flag in front of a crowd of people walking in a city carries completely different meanings than a red flag hoisted on the mast of a boat on the coast.\u003c\/p\u003e\n\u003cp\u003eHowever, these initiatives in Germany remained at a rather abstract level and could not be translated into a language that could appeal to architects. Furthermore, it was not tested how concretely such observations would be useful in the project production process.\u003c\/p\u003e\n\u003cp\u003eWhat makes Günther Fischer's work different are the connections he establishes between architecture and architectural practice. Fischer, himself an architect, looks at theories with a critical eye, investigating the values that theories can add to an architect's work. Fischer covers a wide range, focusing on semiotics, linguistics, and perception psychology, and develops theses arguing that there are structural similarities between language and architecture by providing many concrete examples.\"\u003cbr\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343479910643,"sku":"9786259443195","price":472.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Fischer-Kapak-5.jpg?v=1745919539"},{"product_id":"restore-etmeyelim-koruyalim","title":"Let's Conserve, Not Restore!","description":"\u003cp\u003e\u003cstrong\u003eTexts opposing restoration massacres: Let's not restore, let's preserve! \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe book titled \"Let's not restore, let's preserve!\" includes texts by Georg Dehio and Aloïs Riegl that criticize the restoration approach focused on completing, and even reconstructing, old artifacts, and discuss it through concrete examples. The discussion, which begins with a critique of a restoration project of a building in Heidelberg Castle, expands to a broader context and continues with fundamental texts that propose a new understanding of conservation at the beginning of the 20th century. The Dehio and Riegl articles included in the book are complemented by \"Modern Cult of Monuments,\" a paradigm-setting text by Aloïs Riegl, which is included as an appendix to the book. Hüseyin Tüzün translated the three texts by Dehio and Riegl, while Erdem Ceylan translated \"Modern Cult of Monuments.\" The book was edited and introduced by Aykut Köksal. In a part of his introduction, Köksal says:\u003c\/p\u003e\n\u003cp\u003e\"The message of the texts that constitute the content of the book titled 'Let's not restore, let's preserve!' can be summarized by Dehio's words: 'The right thing is not to restore, but to preserve.' The 19th century witnessed the clash of two opposing views in the context of restoration and conservation. The first of these views belonged to Viollet-le-Duc, who aimed to bring the monument to its pure style, and the second belonged to John Ruskin, who said that we have no right to touch a historical structure in any way. For John Ruskin, the monument had to die; its beautiful death would serve as an example for future architects. In the background of Ruskin's ideas lies the 'ruin culture' and 'ruin aesthetics,' which have roots dating back to the 17th century. The 18th century became the century when 'ruin culture' reached its peak. After visiting a Salon consisting of ruin paintings, Diderot said, 'To make a monument interesting, it must be turned into a ruin.' The English architect John Soane turned this culture into the main concept of the museum he founded, carrying ruin aesthetics into the next century.\u003c\/p\u003e\n\u003cp\u003eIndeed, behind Georg Dehio's words 'The right thing is not to restore, but to preserve,' there is the intellectual result of a three-century process expressed in Ruskin. It was Aloïs Riegl who systematized this view with his own conceptualizations in 'Modern Cult of Monuments.'\"\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343480467699,"sku":"9786259586601","price":472.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Dehio-Riegl-Kapak-11.jpg?v=1747356064"},{"product_id":"muzik-ve-acik-yapit-aykut-koksal-mehmet-nemutlu","title":"Music and the Open Work","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eA new book from the Arketonses series:\u003cbr\u003e\u003c\/span\u003eMusic and the Open Work\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eArketon Publications' latest book from the Arketonses series is Music and the Open Work. The book, consisting of a series of interviews with Aykut Köksal and Mehmet Nemutlu, presents and discusses the emergence of \"openness,\" a paradigm-founding concept of modernist music, in different musical schools and the production of different composers, through their music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eMusic and the Open Work\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e emerged from the transformation of a 29-interview program series conducted by Köksal and Nemutlu on Açık Radyo into a book format. The book presents examples of open works with different forms of representation, supported by rich visual documentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eThe interviews begin with three introductory programs that examine the first products of modernism in the early 20th century in the context of openness, followed by a discussion of Umberto Eco's conceptualization of the open work and the works he presented as examples in his book of the same name. These initial interviews are followed by American experimentalists who were pioneers of the open work. The music of Charles Ives, Henry Cowell, John Cage, Earle Brown, and Morton Feldman, who, with the ease of not being burdened by historical baggage, pushed openness to its limits, created new sound environments, and explored new representation possibilities instead of traditional notation, is discussed in the interviews by examining individual works.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eIn the third section of the interviews, the doctrinized state of the open work determines the main theme in European modernists of the 1950s. This time, the works of Luciano Berio, Iannis Xenakis, Karlheinz Stockhausen, Pierre Boulez, and Luigi Nono, which both utilized developing electronic possibilities and met with the spatial music of the period, are examined. The music of these composers, who, instead of making free experiments, transferred original conceptualizations to the sound environment and drew defined doctrinal frameworks, becomes the main topic of discussion in the interviews.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eIn short, Music and the Open Work conveys the historical story of a concept that enabled the birth of the most brilliant products of 20th-century music.\u003c\/span\u003e\u003cspan style=\"font-family: 'Helvetica',sans-serif; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi;\" lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343480434931,"sku":"9786259586625","price":520.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/MuzikveAcikYapit.jpg?v=1750456175"},{"product_id":"mimarlik-kuramina-katki-auguste-perret","title":"Contribution to Architectural Theory","description":"\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eArketon Publications has prepared a small surprise for architecture readers: the facsimile edition of Auguste Perret's aphorisms. The book, containing aphorisms translated into Turkish by Aykut Köksal, has been added to the Arketon corpus under the title \"Contribution to Architectural Theory.\" \"Contribution to Architectural Theory,\" in a small and slender book format, transports the reader to a world of thought that transcends its physical size.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eAuguste Perret is known for his fondness for aphorisms. The aphorisms he noted throughout his life range from architects and artists such like Wright, Rodin, and Choisy to literary figures such as Proust, Baudelaire, and Montaigne. However, Perret did not merely collect aphorisms; he also penned his own thoughts on architecture in concise sentences. He first published these in the journal Techniques et Architecture in 1945. Their publication in book form occurred in 1952. The book, titled \"Contribution à une théorie de l'architecture\" and edited by André Wahl, contains fifteen aphorisms. The page layout of the book bears Henri Jonquières' signature. When this iconic book by Perret was translated into Turkish, all the decisions of the 1952 edition were preserved; the only change was a proportional reduction in the original size. \u003c\/span\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343482171635,"sku":"9786259586649","price":76.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Perret-Kapak.jpg?v=1751964412"},{"product_id":"birlikte-i̇nsa-etmek-yeni-gurnanin-oykusu","title":"Building Together - The Story of New Gurna","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eA Story of Struggle from Hasan Fathy: Architecture for the Poor\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eEgyptian architect Hasan Fathy's (1900-1989) book \"Architecture for the Poor: A Experiment in Rural Egypt,\" translated by Serpil Özaloğlu Merzi and edited by Aykut Köksal, has been published by Arketon Yayınları. In his book, Hasan Fathy intertwines two dimensions of his architectural journey: the first is to bring adobe, a traditional building material, into contemporary applications; the second is to rebuild the village of New Gourna, which was relocated due to being on an archaeological site, with the villagers themselves. Hasan Fathy not only narrates the construction process, which lasted from 1946 to 1952, but also establishes a broad narrative framework ranging from efforts to improve the living and health conditions of the villagers to his struggle with state bureaucracy to manage the process.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eIn the preface to the book, Hasan Fathy states:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003e\"This book is a call for a new approach to improving living conditions in rural areas. The living standards and culture of the world's poorest peasants can be raised through participatory construction. Participation in the construction process means a new approach to the problem of rural housing. This approach involves more than just technical issues that interest the architect: complex and sensitive social and cultural problems, economic problems, how the project will be received by the government, etc., none of these can be excluded, because each one needs to be solved in conjunction with the others. In the text, each problem is treated within its own logic but as part of a complex whole. Thus, the reader, whatever their particular interest and qualifications, will be able to grasp the planning philosophy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eSince my proposals particularly concern the peasant, the book is dedicated to him. I would have liked them especially to read and evaluate my book. I hope this will happen soon. But for now, the text is for those who hold his destiny in their hands: Architects, urban planners, sociologists, anthropologists, all regional, national and international officials, politicians and all governments concerned with housing and the living standards of rural areas, everyone who helps to form an official policy towards rural areas...\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48346034962675,"sku":"9786259586632","price":632.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/HasanFethi-2.jpg?v=1752653970"},{"product_id":"mimarligi-gorebilmek-bruno-zevi","title":"To Be Able to See Architecture","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eBruno Zevi's \"Knowing How to See Architecture\" is on shelves with its new edition!\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eBruno Zevi's most famous work, \"Knowing How to See Architecture,\" by one of the twentieth century's leading architectural theorists, has taken its place on the shelves with its revised new edition. \"Knowing How to See Architecture,\" translated into Turkish by Alp Tümertekin and edited by Aykut Köksal, is a work written by Bruno Zevi in 1948 that defines architectural reality through various factors and examines different approaches, and has been translated into all languages ​​to date. With this book, Zevi offers one of the brightest examples of modernist architectural literature.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eArchitectural historian Bülent Özer said the following about this book in 1961:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003e\"\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eTwo distinguished figures renowned worldwide in the field of contemporary building art employ almost identical accolades when describing a third. The praisers are F.L. Wright and Lewis Mumford, and the praised individual is Bruno Zevi. Let us first listen to Mumford: 'Bruno Zevi is the leader of architectural thought not only in Italy but throughout Europe!' Wright's judgment is in some respects even broader and more definitive: 'Bruno Zevi is the most profound and sincere critic of our age. He possesses the power to see the art of building and to express what he sees in fearless, illuminating terms!'\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eOne of the most important foundations of these positive judgments must be the architectural views and evaluations boldly put forth by the author in the essay titled 'Saper vedere l'architettura.' We can translate this title into our language as 'To Be Able to See Architecture.' The essence of the book and the thesis it advocates are encapsulated in three words in the title of its English edition: 'Architecture as Space.'\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eArchitecture, contrary to popular belief, is not merely a summation of certain widths, lengths, and heights, but rather the very emptiness one feels and experiences, the enclosed space one moves and circulates within, the interior space itself. For judgments related to the art of building to attain a certain definitiveness, terms related to space must be applied to architecture. Until this is done, investigations and research in the field of architecture will not be able to transcend the boundaries of social factors (function), construction data (technique), volumetric or decorative qualities (plastic and pictorial elements).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eWhen we say that the essence of architecture is interior space, we do not mean that an architectural work is entirely determined by spatial data. Indeed, every building is created under the influence of economic, social, technical, functional, aesthetic, decorative, volumetric, and spatial factors. Interpretations can even be made based on any of these. However, it is important not to forget that the reality in a structure lies in the totality of all these factors.\"\u003c\/span\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Helvetica',sans-serif; mso-bidi-font-family: 'Times New Roman';\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343479779571,"sku":"9786259443171","price":344.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Zevi-Kapak-6.jpg?v=1753102813"},{"product_id":"yarinin-bahce-kentleri-ebenezer-howard","title":"Tomorrow's Garden Cities","description":"\u003cp class=\"MsoNormal\" style=\"line-height: 115%;\"\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 18.0pt; line-height: 115%; font-family: 'Helvetica',sans-serif; mso-bidi-font-family: 'Times New Roman';\"\u003eGarden Cities of To-morrow\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 18.0pt; line-height: 115%; font-family: 'Helvetica',sans-serif; mso-bidi-font-family: 'Times New Roman';\"\u003e, now with a new translation, at Arketon!\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"line-height: 115%;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Helvetica',sans-serif; mso-bidi-font-family: 'Times New Roman';\"\u003eEbenezer Howard's iconic book, \u003ci\u003eGarden Cities of To-morrow\u003c\/i\u003e, has been translated for Arketon by Selin Tosun and edited by Aykut Köksal. The book consists of two sections, successively presenting Howard's \"Garden City\" utopia and its real-world manifestation, Letchworth. The first section, containing the text titled \u003ci\u003eGarden Cities of To-morrow\u003c\/i\u003e, forms the main body of the book. The second section of the book includes an additional part that allows the reader to see how the \"Garden City\" theory came to life. This section begins with Robert Fishman's text \"Building the Garden City,\" followed by pages featuring visuals ranging from the master plan and house projects designed by Letchworth's architects to photographs taken during the construction process and at various periods, promotional and communication materials, and even documents describing life in Letchworth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"line-height: 115%;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-family: 'Helvetica',sans-serif; mso-bidi-font-family: 'Times New Roman';\"\u003eThe book's introduction features Ruşen Keleş's translation of Lewis Mumford's text \"Garden Cities and Modern Town Planning,\" written for the 1946 edition of \u003ci\u003eGarden Cities of To-morrow\u003c\/i\u003e. In this introduction, Mumford states:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003e\"In treating the improvement of villages and cities as a single problem, Ebenezer Howard showed himself far ahead of his time and more capable of discerning the depreciation of cities as cities than most of the urban planners of his era. His 'Garden Cities' concept was not merely an attempt to alleviate the concentration in large cities and thus enable the reconstruction of cities by utilizing falling land values, but also a proposal aimed at eliminating the inevitable association between the concentration in large cities and the dormitory suburbs they created. The temporary nature of the open plans of large cities and their connection with rural areas, and the lack of an industrial population and an employment base in dormitory suburbs, make these suburbs the most useless environments ever prepared for people. Such suburbs are a middle-class imitation of the absurdities found in the palaces of absolute rulers who created fantasy worlds for themselves in Versailles and Nymphenburg. Garden Cities, as understood by Howard, are not suburbs, but the exact opposite of suburbs. A Garden City is not a self-contained settlement of a more rural character, but a more perfect organization where a productive urban life can be found.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343482106099,"sku":"9786259586656","price":344.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/EbenezerHoward-10.jpg?v=1754821438"},{"product_id":"modern-mimarlik-kopya","title":"Modern Architecture","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eOtto Wagner's famous work, Modern Architecture, is back on the shelves with a new edition.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eModern Architecture, one of the fundamental texts of architectural literature, has taken its place on the shelves as the latest book from Arketon publications, translated from its original language. Otto Wagner's book, whose translator is Hüseyin Tüzün and editor is Aykut Köksal, was described by an architectural historian as \"the last great architect of the 19th century and the first great architect of the 20th century.\" In line with Wagner's desire expressed in his preface to the second edition, the book includes photographs of all the master architect's works. The photographs flow in parallel with the text, accompanying Wagner's words. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eAykut Köksal, the general editor of Arketon publications, states in his introduction: \"Otto Wagner is among the architects in architectural history whose work shows a clear process of transformation. Wagner's early works are among the examples of 19th-century eclecticism, extending to Orientalism. This period is followed by works in the Secession style, the Austrian version of the Art Nouveau movement. This early modernist movement carries a decisive weight in Wagner's output. However, the master architect would not linger too long at this interim stop, quickly moving towards Modernism. In this context, the lectures he gave in 1895 constitute a turning point. Modern Architecture, published in 1896, becomes the first written product of this transformation. Modern Architecture is a paradigm-setting text; it can almost be described as a manifesto. Wagner utterly condemns the historicist tendencies of the 19th century and lays out the fundamental principles of Modernism. After Modern Architecture was published, proponents of historicism launched a barrage of criticism. Consequently, Wagner announced his definitive entry into the Secession and completely severed his ties with circles representing a certain period in Vienna.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eTo understand this transformation of Wagner, extending from thought to production, it would be interesting to take a closer look at Vienna of those years and observe the changes seen in different disciplines. In the early 20th century, in Vienna, from architecture to music, from plastic arts to philosophy, actors who heralded a new era and became decisive in the new century with their ideas and productions came to the fore. When the productions of these individuals are read alongside Otto Wagner's work, a surprising synchronicity will be observed. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eFinally, it should be noted that Modern Architecture is one of the fundamental texts of architectural literature, deeply influencing later texts, and one of the best-known examples of this is \u003ca href=\"https:\/\/yemkitabevi.com\/products\/mimarlik-ogretisi\" target=\"_blank\" rel=\"noopener\"\u003eBruno Taut's Architecture in the New Age\u003c\/a\u003e.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343480271091,"sku":"9786259443188","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Wagner-Kapak-3.jpg?v=1762419578"},{"product_id":"suprematizm-otuz-dort-cizim-kazimir-malevic","title":"Suprematism, Thirty-Four Drawings","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eAn art book by Kazimir Malevich: \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eSuprematism, Thirty-Four Drawings\u003c\/span\u003e\u003c\/strong\u003e\u003cspan lang=\"EN-US\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eKazimir Malevich's 1920 work titled \"Suprematism, Thirty-Four Drawings\" has joined the Arketon books, translated and designed by Aykut Köksal. The book, which is among the artist's fundamental works that systematize his Suprematist thought, contains 34 drawings after a brief introductory text and represents the period when Suprematism expanded theoretically and formally towards architecture and spatial thinking. Malevich's effort to present Suprematism as a universal aesthetic and cosmic system of thought becomes evident in this book, following his 1915 \"Black Square.\" The book illustrates the basic forms of the movement (square, circle, cross, line), composition principles, and the relationship between color, form, and movement through drawings. These drawings are documents of the universe in which Malevich moved from painting to volumetric Suprematism and architectural models. In this book, the artist aims to prove that Suprematism is not just a painting movement, but \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003ean attempt to create a new space and world\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e. In short, this work reveals that in Malevich's thought, theory and form are inseparable, and that Suprematism stands at a threshold where Renaissance perspective ended and the perception of space radically changed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eIn the introductory text of the book, Malevich states: \"\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eIn this small book containing my works on Suprematism, a small number of constructions were printed in colors ranging from black to gray. Suprematism is divided into three periods according to the number of black, red, and white squares: Black, colored, and white periods. In the last period, white forms were applied on white. The three periods of development lasted from 1913 to 1918. The constructive development of the periods took place entirely on the plane. Underlying them was the economic principle of transferring static power or dynamic stillness on a single plane. If until now, all forms have expressed this sense of touch, through countless interrelationships between connected forms - through various relationships in the organism formed by the forms - this is because they have been achieved through economic geometrism on the plane or in volume. If all forms appear as an expression of a completely utilitarian perfection, the Suprematist form is nothing but an indicator of the perceived power of action and the utilitarian perfection of the concrete world. Form only shows the dynamism of the situation and is an indicator of the path an airplane should follow in space.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eKazimir Malevich's book \"Suprematism, Thirty-Four Drawings\" was published in a limited edition, in the same dimensions as the 1920 edition, and all copies were numbered.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343482695923,"sku":"9786259586663","price":440.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Malevic-OtuzDortCizim-Kapak.jpg?v=1763236845"},{"product_id":"bu-mekan-artik-bu-yer-degil-1","title":"This Place Is Not This Place Anymore","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eThis Place Is No Longer This Place, \u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eon shelves with its new edition.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eAykut Köksal's book of theoretical texts, titled Bu Mekân Artık Bu Yer Değil (This Place Is No Longer This Place), is now on shelves with its second edition. The book brings together writings ranging from architecture to urban planning, contemporary art evaluations to historiography, all within a specific theme.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eIn his preface to the book, Rifat Gökhan Koçyiğit says: \"Aykut Köksal's analyses through time and space play an important role in his contribution to art, and especially to architecture, through theoretical studies. In this regard, Köksal reinterprets the Kantian perspective in line with the requirements of contemporary architecture and art, strongly presenting the relationship of visual arts not only within themselves but also their connection with sequential arts such as music and literature, within the context of a priori conditions.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eTime and space, which Kant posits as preconditions for sensibility, are already given a priori as preconditions for artistic existence. In Kant, a priori is not a condition belonging to the object, but the knowledge of what the knowing subject adds to the known object. This is not only independent of experience and prior to experience, but also universal and necessary. While Kant includes time and space within the subject, he places them in a realm beyond the active effects of the subject. According to this, space is not determined by objects, nor time by events; on the contrary, the a priori conditions offered by space are the determining form of objects, and time is the determining form of events. \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-US\"\u003eUtilizing the fictionality and representative power of art, Köksal reveals the nature of these a priori conditions, their limits, and their framework in human sensibility from different perspectives in the theoretical field. He uses the representative power of art as a lever to activate reflective thought. In second-level representative activities such as the representation of space within space and the representation of time within time, he shows how the subject can alter and transform a priori conditions to determine the constitutive conditions of artistic production. In this way, although Köksal follows Kant's track, unlike Kant, he extracts time and space from the realm beyond the active effects of the subject. Going further, he alerts the audience to the conditions of the emergence of art by demonstrating how the creative subject can take an active role in artistic activities, where time is spatialized by being represented in space, and space is temporalized by being represented in time.\"\u003c\/span\u003e\u003c\/p\u003e\n","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48343532372211,"sku":"9786259586687","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Koksal-Kapak-39.jpg?v=1764463546"},{"product_id":"modern-mimarlik-elestirel-bir-tarih","title":"Modern Architecture - A Critical History","description":"\u003cp\u003e\u003cstrong\u003eA masterpiece of modern architectural history is now in Turkish!\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKenneth Frampton's comprehensive work, \u003cem\u003eModern Architecture - A Critical History\u003c\/em\u003e, which marked a turning point by bringing a new paradigm to architectural historiography, has taken its place among the books that Arketon has brought to Turkish architectural literature. Frampton expanded the scope of his work to a global dimension by adding a new chapter titled \"World Architecture and the Modern Movement\" to the fifth edition of the book in 2020, which is considered the most important history of modern architecture written to date, thus reaching a volume that reflects its scope. This expanded latest edition of the book has been translated into Turkish. \u003cem\u003eModern Architecture\u003c\/em\u003e was translated by Haluk Uluşan, and the editorial work was carried out by Amber Niksarlıoğlu Eroyan, Pınar Gökbayrak, and Semire Bayatlı.\u003c\/p\u003e\n\u003cp\u003eAykut Köksal, the general editor of Arketon Publications, says in the book's foreword: \"First published in 1980, \u003cem\u003eModern Architecture\u003c\/em\u003e has become one of the cult texts of recent historiographers since its publication, and it has become inevitable for all historiographers to follow Frampton's path or to grapple with him. Frampton, whose historical reading is situated in a broad cultural context, brings a critical perspective to architectural historiography that views the ideological, economic, and social context in a global framework, with references ranging from Walter Benjamin to Jürgen Habermas. 'Critical regionalism,' which is included in subsequent editions and has become the main concept of Frampton's critical perspective, makes an important contribution to architectural theory by combining with one of the turning points of 20th-century architecture. In the years when the anonymous emptiness of late modernism gave way to the lack of control of post-modernism, 'critical regionalism' puts forward an argument that goes beyond a shallow regionalism, bringing together the universalist dimension of modernism with the data of place, culture, climate, and topography.\u003c\/p\u003e\n\u003cp\u003eIn the preface to the fourth edition of the book in 2007, Frampton notes that an unsettling Eurocentric bias is evident in all accepted histories of modern architecture, from Gustav Adolf Platz to Reyner Banham. Subjecting his own work to self-criticism in this context, the author expands the scope of his work by adding a major chapter to the latest edition of the book in 2020, and embarks on presenting a concise history of global modern architecture.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eModern Architecture\u003c\/em\u003e, an iconic work of modern architectural historiography, gains a contemporary dimension in this latest form. With the new perspectives it brings to architectural historiography, this book is one of the best, if not the best, books available to begin examining the global history of contemporary world architecture.\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48406021308659,"sku":"9786057293671","price":1200.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Frampton-Kapak.jpg?v=1768910851"},{"product_id":"katedraller-beyazken-utangaclar-ulkesine-seyahat","title":"When Cathedrals Were White - Journey to the Land of the Shy","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-US\"\u003eLe Corbusier's famous work When the Cathedrals Were White is now available at Arketon in a revised new edition!\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eWhen the Cathedrals Were White, which contains Le Corbusier's travel impressions and was translated into Turkish by Alp Tümertekin, has taken its place on the shelves as the 41st book of Arketon Publications in a revised new edition. Le Corbusier's books titled Urbanism and Modulor I-II are also among the books brought to Turkish by Arketon Publications.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eWhen the Cathedrals Were White consists of Le Corbusier's impressions of the USA. The famous architect first met New York in 1934, at the end of a sea voyage on an empty freighter, upon an invitation from the city's mayor. Then, he made two more trips, one on the comfortable ship Normandie. During his longest stay, he remained in the USA for about two months. When the Cathedrals Were White: A Journey to the Land of the Timid (Quand les cathédrales étaient blanches, Voyage au pays des timides) was written after this long journey and first published in 1937.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eAtilla Yücel says in the preface he wrote for the Turkish edition of the book: \"Without its subtitle, 'When the Cathedrals Were White' is an expression that raises doubts about the content of the book as a title. Those familiar with Le Corbusier's writings may intuit that it has a metaphorical meaning even without reading it, but it is difficult to grasp the meaning of this metaphor in relation to the author's views on his own country, reflected through this country, after a trip to the USA. This will only become clear after one begins to navigate through the pages, impressions, individual narratives, and interpretations.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eTo interpret When the Cathedrals Were White as a kind of 'open work' within its own textual flow, through cross-readings, to expand this cross-reading with perspectives on the author's other texts and literary oeuvre, and gradually to make this expansion encompass texts related to the realities of both the USA and New York, as well as the Middle Ages and cathedrals, and to include the rich cinematic repertoire, could be an enjoyable intellectual adventure for architects and non-architects alike.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48645521735923,"sku":"9786259586694","price":400.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/LeCorbusier-KatedrallerBeyazken-Kapak.jpg?v=1773675952"},{"product_id":"mimarligin-halleri","title":"States of Architecture","description":"\u003cp\u003eA new book from Aykut Köksal: \u003cem\u003eStates of Architecture\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eAykut Köksal's latest book, \u003cem\u003eStates of Architecture\u003c\/em\u003e, which contains his writings on architecture, has taken its place on the shelves. The book, which includes a selection from Köksal's new writings and the collection \u003cem\u003eKarşı Notlar\u003c\/em\u003e (Counter Notes), consists of the following sections: In Pursuit of Thought; Subjects, Situations; Urban Dynamics; The Impossibility of Preservation; Books.\u003c\/p\u003e\n\u003cp\u003eThese sections, which address architecture in different contexts, range from philosophy to the works of Turkey's leading architects, from imitation to preservation, from theater to contemporary art, to urban writings and texts evaluating architectural books. \u003c\/p\u003e\n\u003cp\u003eIn his article 'Architecture in Turkey' included in the book, Köksal says: \"Today, architecture in Turkey has two distinct images: The first is the image reflected in architectural media, architectural publications, meetings, interviews, and awards: architect profiles published in magazines, architect monographs, anthologies, architectural interviews on television, awards given, architects who won 'grand prizes', etc. But there is also the image in the built environment. This is an image where we would struggle to use the word 'architecture'. There is no difference between the formal subjects (i.e., having 'architect' subjects on paper) of the built environment and the informal environment; both leave the knowledge production of architecture out to the same extent. Undoubtedly, this is not an incomprehensible situation for a society that has not completed its modernization process, because the integration of architectural knowledge into everyday life is only possible with modernization. There is not the slightest fluidity between the image presented by this anonymous context and the first image. It is as if they are two completely different production contexts. To this landscape, two more layers have been added, which have emerged in the last twenty years and quickly became part of the anonymous context of the second image: the architecture of non-places, ranging from office or residential towers to gated communities and shopping malls, and the 'so-called neo-Ottoman' architecture imposed by official politics, especially in public buildings. In short, this situation shows the point architecture has reached today, after a century-long Republican adventure.\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":48907312857331,"sku":"9786259234403","price":464.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Kapak-20.jpg?v=1777966015"},{"product_id":"bosluga-atlayis-ilhan-usmanbas-in-muzigi-uzerine","title":"Leap into the Void - On the Music of İlhan Usmanbaş","description":"\u003cp\u003eAykut Köksal and Mehmet Nemutlu's book, \u003cstrong\u003eLeap into the Void - On İlhan Usmanbaş's Music\u003c\/strong\u003e, has taken its place on the shelves as the latest publication in the Arketonses series. Aslı Uzdil edited the book, which features rich visual content.\u003c\/p\u003e\u003cp\u003eThe title of the book, \"Leap into the Void,\" refers to İlhan Usmanbaş's work written for solo violin and four instruments between 1965 and 1966, and the radio program that inspired this work. The content of the book consists of an interview conducted by Aykut Köksal and Mehmet Nemutlu on Açık Radyo in 1999, focusing on İlhan Usmanbaş's music. Köksal and Nemutlu, who have been collaborating on studies of İlhan Usmanbaş's music for many years, presented the interview on Açık Radyo accompanied by the composer's performed works. In this book, examples from the scores of the works they discussed are included. Thus, graphic notation, an important dimension of Usmanbaş's production, accompanies the interview with direct examples. The works discussed focus on the period between 1946 and 1986, which forms the core of Usmanbaş's music.\u003c\/p\u003e\u003cp\u003eIn 2015, Aykut Köksal and Mehmet Nemutlu, accompanied by musicologist Kıvılcım Yıldız, published the Usmanbaş monograph titled \u003cem\u003ePerpetuum Mobile\u003c\/em\u003e. This monograph included articles written by musicians about Usmanbaş, as well as İlhan Usmanbaş's own explanatory texts about his works and a detailed catalog.\u003c\/p\u003e\u003cp\u003eLeap into the Void is the third book published in the Arketonses series, based on Açık Radyo programs. Previously, Aykut Köksal and Bülent Gözkân's work \"On Gödel, Escher, Bach\" and Aykut Köksal and Mehmet Nemutlu's book titled Music and Open Work were published. Aykut Köksal's Baroque Transformation - The Adventure of Music's Modernization was also included in Arketon Publications.\u003c\/p\u003e","brand":"Arketon Yayınları","offers":[{"title":"Default Title","offer_id":49303086301427,"sku":"9786259234410","price":344.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/BoslugaAtlayis-19.jpg?v=1782556790"}],"url":"https:\/\/yemkitabevi.com\/en-us\/collections\/arketon-yayinlari\/yazar_ebenezer-howard.oembed","provider":"YEM Kitabevi","version":"1.0","type":"link"}