{"title":"Sponsored Books","description":"","products":[{"product_id":"tasinmaz-mal-degerlemesi","title":"Real Estate Appraisal","description":"\u003cp\u003eYEM Yayın, a publisher of books on architecture, engineering, design, culture, art, etc., has released its new book, \u003cstrong\u003e\u003cem\u003eReal Estate Valuation\u003c\/em\u003e\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eEspecially after the 1999 earthquake, discussions about solutions to the enormous settlement and construction problem facing our country began and are still ongoing among the academic community, practitioners, local governments, and governments. It has been discussed and accepted on every platform that the implementation of new zoning plans, which are essential for solving the problems based on zoning and property issues at the core of these discussions, can only be achieved through a value-based zoning implementation method where the value of real estate is calculated in participation and distribution, and that zoning legislation suitable for this is necessary. Today, it can be said that this understanding and method, despite its shortcomings, has been generally accepted by the government and the public after long discussions and test studies. This is an encouraging stage. Therefore, it is evident that a holistic organizational and structural model is needed technically, legislatively, and institutionally under the title of a real estate valuation system to determine the value of real estate for value-based implementations.\u003c\/p\u003e\n\u003cp\u003eIt is clear how important it is to address many questions and issues such as: \u003cem\u003eWho will carry out real estate valuation and how? Which methods and processes should be followed for valuation? What are the responsibilities of the public, private institutions and organizations, and individuals? How should international valuation standards be adapted to our country? How will valuation be used in public-purpose applications such as land management and use, urban transformation, land consolidation, taxation, etc.? How will automation be done based on technology? How should valuation be approached in superior rights?\u003c\/em\u003e with a holistic regulation.\u003c\/p\u003e\n\u003cp\u003eThe book \u003cstrong\u003e\u003cem\u003eReal Estate Valuation\u003c\/em\u003e\u003c\/strong\u003e attempts to explain what should be done or what should exist regarding value and valuation, and which regulations need to be made legally and technically, with a holistic and exponential perspective, taking into account different laws and practices in today's rapidly changing processes related to the subject; and when appropriate, it aims to offer significant contributions and assistance with technical and institutional model proposals.\u003c\/p\u003e\n\u003cp\u003eThe book is anticipated to be an important resource for those new to real estate valuation and for researchers working in this field.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWHO IS PROF. DR. NİHAT ENVER ÜLGER?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHe graduated from the Department of Geodesy and Photogrammetry Engineering, Istanbul State Engineering and Architecture Faculty in 1976. He received his master's degree from Yıldız University, Department of Geodesy and Photogrammetry Engineering in 1983 and his doctorate from the same department in 1988. Between 1988-92, he worked as an assistant professor at the Vienna University of Technology, Department of Geodesy and Photogrammetry. During this period, he conducted scientific studies in the Austrian Geographic Information System Project. In 1992, he started working as an Assistant Professor at Yıldız Technical University, Department of Geodesy and Photogrammetry Engineering, and served as Deputy Head of Department between 1993-95. Nihat Enver Ülger, who received the title of Associate Professor in 1999, served as the Head of the Istanbul Branch of the Chamber of Surveying and Cadastral Engineers between 1992-96. Between 1999-2000, he served as a board member at the Development Bank of Turkey. In 2006, he received the title of Professor at Istanbul University, Department of Mining Engineering.\u003c\/p\u003e\n\u003cp\u003eBetween 2004-10, he played an active role in determining Istanbul's urban transformation vision by serving as the Urban Transformation Unit Manager within the Istanbul Metropolitan Planning and Urban Design Center established by the Istanbul Metropolitan Municipality. He continues his academic studies as the Head of the Geomatics Engineering Department at Okan University Faculty of Engineering, where he established the department in 2009. Ülger, who supervises numerous graduate theses, has contributed to increasing academic productivity on the subject by opening the \"Urban Transformation Master's Program\" and \"Land Management and Use Doctoral Program\" departments. With approximately 35 years of practical project and academic experience, Ülger's works on \"urban transformation,\" \"land management,\" \"zoning applications,\" \"cadastre,\" \"value-based method,\" \"rural land arrangements,\" \"real estate valuation and development,\" and \"real estate law\" have been published in national and international journals. He also has two books: Land Arrangements and Urban Transformation in Turkey (Nobel Yayınları, Ankara, 2010) and Land Management (YEM Yayın, Istanbul, 2016). Currently, Ülger continues his role as the Head of the Urban Transformation Commission of the Chamber of Surveying and Cadastral Engineers and plays a pioneering role in organizing various academic activities in this field in our country. In the \"Eurasian Land Management and Urban Transformation Strategy Development Center\" he established in 2014, he continues project and business development activities related to his areas of work. About the Eurasian Land Management and Urban Transformation Strategy Development Center The Eurasian Land Management and Urban Transformation Strategy Development Center (Eurasian Strategy Center) was established in 2014. Its purpose is to contribute to creating a strategy by combining all studies conducted to establish a unified and holistic land management in our country. To this end, it carries out studies and develops strategies to help create a land management model suitable for the more beneficial use of assets for future generations in line with national development goals, by viewing the country's mainland as a whole according to the 1:25,000 standard topographic medium scale and inventorying all land assets from small scale (1:500,000 - 1:25,000) to large scale (1:5000 - 1:1000). The second area of work is to develop strategies for the realization and sustainability of urban transformation, which is currently our country's most urgent and main problem of the last 15 years, based on a holistic land management.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWHO IS B. CEM ÜLGER?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHe graduated from Yıldız Technical University, Department of Surveying Engineering in 1998. He continued his professional life, which began in 1998, as a partner in a construction company in Adana between 2000-07. In 2005, he obtained his Valuation Expert license from the Capital Markets Board. In the same year, he entered the sector as a founding partner at Kent Gelişim A.Ş., based in Istanbul, to carry out activities in the fields of land management, urban transformation, and valuation. Cem Ülger, who started teaching as a lecturer at Okan University in 2009, received the MRICS title, a membership of the Royal Institute of Chartered Surveyors, in 2011. In 2012, he completed his master's degree in \"Real Estate Valuation and Real Estate Finance\" and started his doctoral study in \"Land Management and Use\" in 2013. He managed many projects in areas such as real estate valuation and development, urban transformation, land management, and local government engineering. He presented papers as a participant or organizer in many national and international scientific and technical organizations. Cem Ülger, who serves on technical committees within HKMO and TDUB related to his areas of expertise, currently continues his academic studies at Okan University Faculty of Engineering, Geomatics Engineering Department, and the Institute of Science, Urban Transformation Master's Program, in addition to his project and business development activities at Kent Gelişim A.Ş. Prof. Dr. Ş. Nazmi Yıldız Nazmi Yıldız, whom we lost in October 2017, graduated from Vefa High School in 1949 and from Istanbul Technical School, Department of Surveying and Cadastre in 1953. He continued his master's education at Istanbul Technical School; he completed the Cadastral Techniques and Law Chair of the Surveying and Cadastre Department in 1960. He completed his doctoral study in 1970 in Germany, at the University of Bonn, Faculty of Agriculture, Department of Geodesy; and his associate professorship study in 1974 at the Istanbul State Engineering and Architecture Academy, Department of Surveying and Cadastre, Cadastral Techniques and Law Chair. In 1979, he became a professor at the same university. He started his professional life in 1960 in Germany, at the Surveying Department of the Cologne Municipality, and worked as an engineer at the Cologne Private Surveying Engineering Office between 1968-70. His academic life began when he came to Istanbul. First, he served as the \"Chair Manager\" at the Istanbul State Engineering and Architecture Academy, Department of Surveying and Cadastre, Cadastral Techniques and Law Chair between 1974-82. In 1979-80, he was a Senate Member of the Yıldız University Rectorship; in 1982-83, he was the Deputy Dean of the Faculty of Engineering at Yıldız University; in 1987-90, he was the Head of the Department of Geodesy and Photogrammetry Engineering at Yıldız University Faculty of Engineering; in 1992-94, he was the Head of the Public Surveys Department of the Geodesy and Photogrammetry Engineering Department at Yıldız Technical University Faculty of Civil Engineering; in 1997, he retired from the Geodesy and Photogrammetry Engineering Department at Yıldız Technical University Faculty of Civil Engineering. Nazmi Yıldız, who loved working at every moment of his life and never stopped, served as the Head of the Local Governments Program at Okan University Vocational School between 2008-10; and worked as a faculty member in the Geomatics Engineering Department at Okan University between 2010-16.\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210472179,"sku":"9786058081185","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786058081185.jpg?v=1616017699"},{"product_id":"hey-imaginable-guidelines","title":"HEY! Imaginable Guidelines","description":"\u003cdiv\u003e\n\n\u003cstrong\u003eFor international orders, please send an e-mail to \u003ca href=\"mailto:bilgi@yemkitabevi.com\"\u003ebilgi@yemkitabevi.com\u003c\/a\u003e with the subject “HEY! Imaginable Guidelines International Order”. The content of the mail should include your name, your adress and the number of copies you would like to receive. \u003c\/strong\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eHEY! Imaginable Guidelines\u003c\/strong\u003e offers an experience through which you can discoverand learn city-design processes, discuss and share knowledge about public spacedesign, take action, and have fun at the same time. Created by SANALarc as an inspirational and knowledge-centric deck of cards, \u003cem\u003eHEY! Imaginable Guidelines\u003c\/em\u003e willbe the new tool to discover the city.\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003eIn our everyday lives we came face to face with many problems and experiencesregarding the public space. Public space, as a major and surrounding part of ourlives, might be open to contribution and change. In order to empower designers andcitizen designers' to imagine, explore, discuss and share city-design futures to realizelivable, lovable and walkable cities, \u003cem\u003eHEY! Imaginable Guidelines\u003c\/em\u003e was launched as anopen call for contributions, which culminated in Imaginable Guidelines ‘Deck-of- Cards'.\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003e\n\n\u003cem\u003eHEY! Imaginable Guidelines\u003c\/em\u003e is a card game which allows users to discover how citiesare designed and offers a base of knowledge that brings neighbors together to makereal-life decisions and a design toolkit to explore the limits and opportunities your cityoffers. It helps to imagine and explore the decisions that are being made on behalf ofcitizens and empower them by supplying urban design vocabulary and know-how. It also has a transdisciplinary methodology to city-making aiming to realize a self-organized city-design process that nurtures vibrant public life and celebrates\u003c\/div\u003e\n\n\u003cdiv\u003eneighborhood coherence. Framed under six categories, 101 topics revealfundamental domains of the public realm. In this regard, the design guidelines are a\u003c\/div\u003e\n\n\u003cdiv\u003ecrucial reference in which the expert assistance, best practice standards, andperformance parameters are prioritized, negotiated and rehearsed to give agency tothe imagination of urban design initiatives.\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003e\u003cspan style=\"font-size: 1.4em;\"\u003eThe ‘deck-of-cards' object and ‘playing' concept tap into social-learning forworkshops, meet-ups and even at dinner parties. Workshop facilitators of NGO's,municipal policy-makers and design professionals can create an ‘imaginative' role-playing simulation where parallel exploratory and strategy thinking can flourish withthe outcome of a ‘winning solution' (the customized guideline) based on stakeholderconsensus, debate, and priorities.\u003c\/span\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\u003cdiv\u003e\n\n\u003cem\u003eHEY! Imaginable Guidelines\u003c\/em\u003e provides a sharing platform that empowers designers,citizens, and municipal actors to think holistically with artworks and design ideas of over 150 contributors. Ultimately, fluid conversations, debates on priorities, stakeholder accountability and open-ended proposals for complex physical, social and economic issues are all parts of this game.\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\n\u003cdiv\u003e\n\n\u003cstrong\u003eImagine\u003c\/strong\u003e — Cities are designed. Now imagine they could be designed better. Theycould be more usable, friendly, and inclusive.\u003c\/div\u003e\n\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\n\u003cdiv\u003e\n\n\u003cstrong\u003eExplore\u003c\/strong\u003e — Be aware of the design decisions that have been made for you! Learnurban design vocabulary, explore different solutions, and have an informed say indecision-making.\u003c\/div\u003e\n\n\n\u003cdiv\u003e \u003c\/div\u003e\n\n\n\u003cdiv\u003e\n\n\u003cstrong\u003eDiscuss\u003c\/strong\u003e — Organize your community! Bring your neighbors together! Identify yourissues, celebrate your differences! By playing HEY! Imaginable Guidelines you canshape your city, your public space, support your social life, and help your localbusinesses prosper.\u003c\/div\u003e\n\n\n\u003c\/div\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207260915,"sku":"9786058119116","price":780.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786058119116.jpg?v=1616017704"},{"product_id":"arazi-yonetimi","title":"Land Management","description":"\u003cp\u003eThe updated and enhanced third edition of Nihat Enver Ülger’s eye-opening book, \"Land Management\", which addresses the widely discussed and debated issues of \"urban transformation and incorrect land use decisions\" in our country, has been published by YEM Yayın with the valuable contributions of Kent Gelişim Gayrimenkul Geliştirme Taşınmaz Değerleme Bilişim Danışmanlık Yapı San. Tic. A.Ş.\u003c\/p\u003e\n\n\u003cp\u003eThe book \"Land Management\" aims to examine land management processes worldwide and create a unique land management systematic suitable for our country's conditions. It seeks to present this to all stakeholders involved in disciplines such as Geomatics (Surveying-Geodesy-Photogrammetry), Civil Engineering, Environmental Engineering, Forestry Engineering, Agricultural Engineering, City and Regional Planning, Urban Design, Architecture, Law, Public Administration, Real Estate, and Property.\u003c\/p\u003e\n\n\u003cp\u003eProfessor Nihat Enver Ülger, who states that \"A unique land management systematic is needed against 'land scarcity and incorrect land use decisions,' which are among the biggest problems in our world today…,\" has produced a work that serves as a guiding manual for public administration institutions such as Metropolitan Municipalities, TOKİ, the Ministry of Environment, Urbanization and Climate Change, the Ministry of Agriculture and Forestry, and the Ministry of Interior, as well as for those involved in urban planning, real estate, property development, investment, and consultancy.\u003c\/p\u003e\n\n\u003cp\u003e\"Land scarcity\" and \"incorrect land use decisions,\" two of the biggest problems facing the world, have emerged as a result of cities growing at an uncontrollable pace, agricultural lands being opened up for non-agricultural activities (settlement, industry, etc.), intense land demand, and land policies that disregard sustainable environmental principles. Land management at the country, city, and rural scales is necessary to best use, manage, and preserve the world's land for the benefit of all its inhabitants. For land management, information and breakdowns related to property use must be available, and these must be carefully examined and analyzed before decisions regarding property are made.\u003c\/p\u003e\n\n\u003cp\u003eNihat Enver Ülger states the following in the updated and enhanced 3rd edition of the book:\u003cbr\u003e\n“Land management is, in essence, the management of nature. Since humans first existed, they have used and changed the nature they live in and are a part of. Today, problems such as climate change, environmental pollution, food degradation, migrations, epidemics, species extinction, and ecosystem disruption arise from the mismanagement of land-nature. Unless humanity internalizes living in harmony with nature, these problems will deepen further. The pandemic process and the major earthquake we experienced on February 6th are the closest and most striking examples of this.\u003c\/p\u003e\n\n\u003cp\u003e'Every action has an equal and opposite reaction.' We know that Sir Isaac Newton said this for the Laws of Force and Motion, but it doesn't just explain a physical rule; it also explains the law of nature. Interactions in nature are based on similar rules. The destruction humanity inflicts on nature will generate an equal and opposite reaction; it will return to humanity in the same proportion. The important thing is to know how to manage this cycle.\u003c\/p\u003e\n\n\u003cp\u003eLearning to live in harmony with nature, without alienating it, by understanding it… That is the real issue. The point we have reached is the importance of managing and using land-nature, that is, creating policies and strategies on how humanity will use nature for its needs. To create this and to best use, manage, and sustain the world's land for the benefit of all its inhabitants, there is a need for 'Land Management' throughout the country. Managing a city, a country; knowing the quantity and quality of its land-related assets is also the foundation of being a transparent and democratic society. The indicator of countries' independence and happiness is the protection of these assets and riches and their fair sharing with all elements of society; this is the most urgent need. (....)\u003cbr\u003e\nManaging a city, a country, and knowing the quantity and quality of its land-related assets is the foundation of a transparent and democratic society. The indicator of countries' independence and happiness is the protection of these assets and riches and their fair sharing with all elements of society.\u003c\/p\u003e\n\n\u003cp\u003eFor the chaotic environment the world is in to become relatively more livable, there is a need for a new manifesto and institutionalization approach regarding the use and management of natural resources related to land, agreed upon by all countries. This book, with this perspective, aims to analyze land management approaches around the world and present an approach for creating a unique land management systematic suitable for our country's conditions.”\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370205819123,"sku":"9786058136618","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/ARAZI_YONETIMI_3BASKIKAPAK.jpg?v=1719964747"},{"product_id":"klasik-muzik-islikla-calinmaz","title":"Classical Music Cannot Be Whistled","description":"\u003cblockquote class=\"blockquote\" style=\"margin: 0cm 0cm 0.0001pt; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial; vertical-align: baseline;\"\u003e \u003cspan arial=\"\" blinkmacsystemfont=\"\" cambria=\"\" font-size:=\"\" lang=\"EN-US\" neue=\"\" open=\"\" sans=\"\" sans-serif=\"\" system-ui=\"\" ui=\"\"\u003eCengiz Yetken's book, which conveys his \"learning and producing\" experience with Louis I. Kahn, one of the leading figures of 20th-century architecture, with an original approach,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan arial=\"\" blinkmacsystemfont=\"\" cambria=\"\" font-size:=\"\" lang=\"EN-US\" letter-spacing:=\"\" major-latin=\"\" neue=\"\" open=\"\" sans=\"\" sans-serif=\"\" system-ui=\"\" ui=\"\"\u003ewas published by YEM Yayın.\u003c\/span\u003e\n\u003c\/blockquote\u003e\u003cp\u003e\u003cb\u003e\u003cspan cambria=\"\" lang=\"EN-US\" major-latin=\"\" style=\"font-size: 11.0pt;\"\u003e“While working in the office, I had a habit of whistling Beethoven’s 5th Symphony. ‘Cengiz, please… You can’t whistle Beethoven!’ This was sudden and unexpected. Kahn continued: ‘You can’t whistle classical music, but you can hum it.’”\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e Cengiz Yetken is a figure who worked and produced with Louis Kahn, first as a student in Kahn's legendary graduate studio at the University of Pennsylvania School of Architecture, and then as a young colleague in his office at 1501 Walnut Street. This was a period when significant projects were underway in the relatively short but brilliant career of Kahn, a thinker, artist, and architectural guru, who was one of the important actors in 20th-century world architecture between the 1950s and 70s. As understood from the Yetken-Kahn dialogue carried in the book's title, this book is about the experiences of two architects who internalized architecture as a way of life, concerning the ordinary flow of life, the tonalities of music, the art of design, the experiences of a building beyond brick and mortar, its beginning, its formation, its life, its measurable and immeasurable values, and the essence of light and silence\u003cu\u003e.\u003c\/u\u003e\u003c\/p\u003e\u003cp\u003e The book, edited by Müge Cengizkan, translated by Özlem Erdoğdu Erkarslan, and designed by Utku Lomlu, is meeting readers through YEM Yayın. Cengiz Yetken describes the book as follows:\u003c\/p\u003e\u003cp\u003e \u003cem\u003e“Throughout my professional life, both in architectural practice and as a professor in design education, I often encountered questions about Louis Kahn, perhaps one of the most distinguished architects of the 20th century. Many friends encouraged me to write about Kahn. Initially, I considered writing a series of letters to my children, conveying my experiences with Lou and why his buildings were so special. However, I later realized that I should convey these to students in architecture schools and to my colleagues in practice. This would be the best way to communicate the design sensibility ingrained in his buildings and the ideas that gave rise to them. Gradually, I understood that what I wrote could not remain merely memories, but would shed light on the act of design. This also became a personal journey that allowed me to rediscover my own understanding of design. This book does not aim to explain Kahn’s architectural approach or his views. These memories are what I learned from my time with Kahn, from his class, his office, his buildings, and from being in the profession for all these years. I am trying to answer a difficult question: What did I learn from Kahn?”\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e \u003cb\u003e\u003cspan cambria=\"\" lang=\"EN-US\" major-latin=\"\" style=\"font-size: 11.0pt;\"\u003eCONTENTS\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e FOREWORD\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e\u003cbr\u003e\u003cb\u003e\u003cspan cambria=\"\" lang=\"EN-US\" major-latin=\"\" style=\"font-size: 11.0pt;\" text-transform:uppercase=\"\"\u003eKAHN STUDIO AT PENN\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e\u003cb\u003e\u003cspan cambria=\"\" lang=\"EN-US\" major-latin=\"\" style=\"font-size: 11.0pt;\" text-transform:uppercase=\"\"\u003e1.A FOREIGN STUDENT\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e PHILADELPHIA\u003c\/p\u003e\u003cp\u003e\u003cb\u003e2. “ART IS THE LANGUAGE OF GOD”\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e MEETING\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e UNDER THE TREE\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e DESIRE \/ NEED\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e RICHARDS\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e STRUGGLE\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e AROUND THE TABLE\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e PAINTED LINES\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e SEEING THE PLACE\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e LIFE STORIES\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e MAKING MODELS\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e POETICISM\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e STRADIVARIUS\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e BELIEF\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e AROUND THE TABLE\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e PANEL\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e DON'T COPY KAHN\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e SYMPHONY\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e CORRIDOR\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e THE TRAVELED AND THE PASSED\u003c\/p\u003e\u003cp\u003e ASKING\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e SOUND\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e INTERSECTIONS\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e FINAL JURY\u003c\/p\u003e\u003cp\u003e \u003cb\u003e\u003cspan cambria=\"\" lang=\"EN-US\" major-latin=\"\" style=\"font-size: 11.0pt;\" text-transform:uppercase=\"\"\u003e3. “ARCHITECTURE HAS NO EXISTENCE”\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e PROJECT INTRODUCTION: FDR MEMORIAL\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e FOUNTAIN\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e AROUND THE TABLE\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e MOZART IN GREECE\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e \u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003e\u003cstrong\u003eWHO IS CENGIZ YETKEN?\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"MsoNoSpacing\"\u003eBorn in Ceyhan, Adana in 1940. He graduated from METU Faculty of Architecture with a bachelor's degree in 1963 and a master's degree in 1964. In 1965, he went to the University of Pennsylvania to pursue a master's degree in Louis Kahn's studio, graduating in 1966. He worked as a \"project manager\" at Louis Kahn's Office, where he started working during his studies, until 1968. In addition to his work at the office, he also served as a faculty member at the University of Pennsylvania, leading an architectural design studio between 1966 and 1968. In 1968, he returned to Turkey and taught architectural design at the METU Faculty of Architecture, his alma mater, until 1975. In 1975, he decided to return to the USA. He worked as a faculty member at Ball State University, School of Architecture and Planning until 1977, and at the University of Virginia until 1981. He decided to transition from academia to professional practice. Between 1981 and 1986, he worked as a senior architect at SOM Chicago. In 1984, he qualified to become a member of the American Institute of Architects (AIA). In 1986, he decided to open his own office, and until 1990, in his Oak Park office, he not only produced architectural designs but also designed industrial design objects and continued his film directing studies. Between 1987 and 1991, he taught as a visiting artist at the School of the Art Institute of Chicago. From 1990 to 2006, he had a long and productive career as a senior project architect at Perkins+Will Chicago. From 2006 to 2009, he served as an architectural design consultant for the same company. In addition to being a licensed architect in Illinois as an AIA member, he is also a member of the Chamber of Architects of Turkey and the Fulbright Education Commission. After his retirement in 2009, he continues his life by engaging in personal work at his homes in Chicago and Bodrum Demir Tatil Evleri.\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207850739,"sku":"9786257008051","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786257008051.jpg?v=1616018036"},{"product_id":"bir-acilis-olarak-mekan","title":"A Venue as an Opening","description":"\u003cp data-mce-fragment=\"1\"\u003eSelim Velioğlu's expanded 4th edition of the book \u003cem data-mce-fragment=\"1\"\u003eBir Açılış Olarak Mekân \/ Enclosure as a Disclosure\u003c\/em\u003e has been published by YEM Yayın.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his book, which has become one of the fundamental reference sources for architectural and design education in Turkey in recent years, Selim Velioğlu explains his understanding of architectural space design, which he developed based on the concept of \"disclosure.\" He illustrates this concept with thoughts, designs, and structures, illuminated by five core concepts that enable \"disclosure\" to materialize as a spatial reality: multiplicity, satellite elements, massing stratification, vitality from courtyards, and green-producing spatial configuration.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe main characteristic or distinction of the book is that it opens up a new field where theoretical studies and architectural design studies, which are perceived as two separate, polarized groups today, are integrated. The theoretical approach presented is exemplified by designs created entirely by the author and his colleagues. Another feature of the book is that it offers messages to non-architect or non-designer readers regarding the intertwining of spatial design with daily life. The book also draws attention with its rich content and engaging narrative.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe expanded book, with an increased number of pages and sample projects, features over 100 designs by Selim Velioğlu and his team, detailing residential, cultural, educational, sports, museum, hospitality, industrial, administrative, commercial, transportation, urban design, and landscape design projects of various scales.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSelim Velioğlu fundamentally summarizes his approach to architecture and, from there, his purpose in preparing the book as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"..... The spatial environment should be like an open hand, not a clenched fist. It should be a friend to its user. It should be communicative, generous, inviting, lively, and interactive. Through its characteristics, it should evoke associations in the experiencer, taking them on meaningful journeys.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn the design process, data related to the environment and content should be analyzed into meanings and spatial elements that reflect these meanings, primarily in scaled and comprehensible dimensions, within the framework of human physical, biological, psychological, and spiritual capacities and characteristics. The semantic richness of life should be reflected in the space, considering natural and cultural values, in a way that brings joy of life to people.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSpatial environment design can primarily be defined as designing movement, space, and use in an overlapping manner, in light of environmental and content data and human expectations. Within the framework of the approach I elaborated in detail through designs in the book, which I presented in my doctoral thesis and named the triple overlapping analysis method; movement includes all issues related to pedestrian and vehicle circulation, as well as orientation, perception, and access; space includes all proportional, dimensional, and physical characteristics related to spatial identity; and use includes issues of function selection, juxtaposition of functions, and their distribution across locations, levels, and floors.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn our work, alongside the triple overlapping analysis method, there are five fundamental concepts — spatial solutions — that we have created and repeatedly used to shape our designs, with the aim of integrating with natural and cultural values and making the space closer to people and \"disclosing\" it, in line with human goals and possibilities. These concepts have been used as a whole or independently in our designs of different scales, such as single buildings, building groups, and urban designs, within the scope of possibilities. These are the concepts we call multiplicity, satellite elements, massing stratification, vitality from courtyards, and green-producing spatial configuration.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThis book presents a design approach rooted in the common principles and priorities found in the designs we have realized. I believe that this approach and the ideas expressed in the book serve as a guide to achieving livable spatial environments.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe 4th edition of the book, which also includes the YEM Bookstore Kadıköy Store project opened in 2023, has been revised to 21x21 cm for easier portability and readability.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206179571,"sku":"9786257008105","price":910.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/BIRACILISOLARAKMEKANKAPAK_4BASKI.jpg?v=1696325454"},{"product_id":"zoru-basarmak-10-bin-kisinin-yolculugu","title":"Achieving the Impossible: The Journey of 10,000 People","description":"\u003cp class=\"MsoNormal\"\u003eThe book begins on a June day in 1875, with Alexander Graham Bell's invention of the telephone. 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The fact that only 75 companies in Turkey have a 100-year history, and the disappearance of vast corporate histories with the passing of 'founders,' spurred a curiosity to pursue those traces, paving the way for such research...\u003c\/p\u003e\n\u003cp\u003e Corporate culture at Netaş was not something merely spoken of, but something lived and written, a history that reproduced itself each time. In this context, looking at Netaş's story, we can see interesting milestones. In its establishment and development process, Netaş was a multinational partnership. But interestingly, its counterpart in Turkey was not profitability, but necessities and needs. Netaş was established to address the communication problems and gaps, which were among the country's most significant issues.\u003c\/p\u003e\n\u003cp\u003e One of the main differences that set Netaş apart from its peers was that it was 'ownerless.' Of course, Netaş had owners, but we mean those who 'embraced' it. This was a reflex related to the sense of belonging and responsibility we emphasized above. During the company's development and growth, especially during the periods of Turkish general managers, the employees' feeling of a 'national duty' rather than just a 'job' was the key to this embracing process...\"\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370211094771,"sku":"9786257008259","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786257008259.jpg?v=1616018060"},{"product_id":"hey-hayal-edilebilir-tasarim-klavuzu","title":"Hey! Imaginable Design Guide (Game Cards)","description":"\u003cp data-mce-fragment=\"1\"\u003eThe revised 2nd edition of \u003cem data-mce-fragment=\"1\"\u003eHEY! 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Until then, I hadn't seen other tools like these around me, nor did I see them later; such things were not part of my education. I had recorded all of them; I realized this later when forms similar to those forms appeared in my paintings... The journey began this way. The unknown always attracted my attention...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e... I mostly observed and absorbed monumental rocks. I work in multiple layers to render the stone texture anyway; always by scraping. My father would cut, beat, and fray the leather with his cutting tool. From the beginning, I scraped the paints I worked on layer by layer with a razor blade. Unlike my father, I do the same process with paint. I work in layers, I scrape. After scraping, a new understanding of form emerges, including the composition; the painting changes from its figure to its tone. Then I scrape again, I work again. I never used any tool other than a razor blade. The master used a spatula. We always work on paper. The master would mix white glue with whiting, bring it to a certain consistency, and think about how to place the form he created in his mind on the paper with a spatula, spreading that thick paste. He would start placing colors on it; after placing the colors, if it didn't look right, he would start scraping. I don't use a spatula; I apply the paint with a brush. But when I start scraping, shovelfuls of paint come off; we are perhaps the painters who use the most paint in the world. We work in layers. How many compositions, how many layers can emerge from these, one on top of the other. We start scraping; if it didn't work, if we didn't like it, we would ruin it. Work is done, it finishes or it doesn't. There was never a measure of how long a painting takes. There were paintings we worked on for three years. After the master's death, I tried my best to protect myself. Why did I try to protect myself? From \"just good enough,\" from slacking off, and from being trendy...”\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTANGÜL AKAKINCI: A LIFE DEDICATED TO PAINTING\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“... There was always a form of sensitivity that I had. Of course, there was also color sensitivity, but I especially wanted to create forms with which I was unfamiliar...”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Tangül Akakıncı is a painter who began her artistic career in the 1960s at the State Academy of Fine Arts, in the atelier of Bedri Rahmi Eyüboğlu, but she continued to work with Süleyman Velioğlu for more than 50 years. In an interview with Pelin Özer, carried out years ago, Tangül Akakıncı, one of the founders of Akatünvel Art Group who passed away in 2021, expresses her understanding of art in detail in depth.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210210035,"sku":"9786257008501","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/TANGUL_AKAKINCI_KAPAK.jpg?v=1650286564"},{"product_id":"trans-studio-via-istanbul-istanbul-araciliginda","title":"Trans.Studio: Via Istanbul \/ With the Mediation of Istanbul","description":"\u003cp\u003eYEM Yayın has published a new book titled \u003cem\u003eTrans.Studio: Via Istanbul\u003c\/em\u003e, edited by Ayşe Şentürer and Erenalp Büyüktopcu, which brings together projections produced on Istanbul in architectural design studios under the themes of creativity and innovation.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePrepared in English and Turkish, the \u003cem data-mce-fragment=\"1\"\u003eTrans.Studio\u003c\/em\u003e book treats Istanbul as a laboratory that combines design, representation, and architectural research under the urban conditions of a metropolis within the scope of an architectural design studio conducted within the framework of the \"trans\" theme.\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProf. Dr. Ayşe Şentürer summarizes the reasons for preparing \u003cem data-mce-fragment=\"1\"\u003eTrans.Studio\u003c\/em\u003e as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“… A studio book has an important impact in architectural design, theory, and educational discourse. \u003cem data-mce-fragment=\"1\"\u003eTrans•Studio\u003c\/em\u003e, too, is a studio book having such a content. It aims to share the visions and works of the studio, which was held at the Istanbul Technical University, Department of Architecture, Architectural Design Studio 7 in three consecutive semesters in between 2013-2015.  In addition to the projects as design experimentations on the themes of the studio, the book includes some views from outside the studio in order to expand the discourse. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this direction, there are two chapters in the book, apart from the ‘Introduction’ part called as ‘From Border-lines to Trans•Positions’explaining studio’s attitude and theme: Creativity \u0026amp; Newness and Projections. The first chapter includes some invited articles on the idea of ‘creativity and newness’ as indicated in the title. The second chapter, the Projections contains student projects of three Trans• themes, which have been studied in three consecutive semesters, as mentioned above, with their manifestos and drawings. The three Trans• themes are that: Transition•Transection•Transportation, Trans•House, and Trans•Pose. There is also an ‘Epilogue’ at the end of the book with the memories and comments of the students about the studio.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn short, \u003cem data-mce-fragment=\"1\"\u003eTrans•Studio \u003c\/em\u003eis one of the example of studio books published by the leading design studious and architecture schools. The book manifests itself through a series of projects risen from the studio moving around the theme of Trans•, and a series of articles focusing on the idea of ‘creativity and newness.’ Within this content, we would like to share the \u003cem data-mce-fragment=\"1\"\u003eTrans•Studio\u003c\/em\u003e\u003cstrong data-mce-fragment=\"1\"\u003e \u003c\/strong\u003ebook with you and receive your evaluations…”\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210603251,"sku":"9786257008549","price":525.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/Trans_Studio_KAPAK.jpg?v=1658132107"},{"product_id":"palimpsest","title":"Palimpsest","description":"\u003cp data-mce-fragment=\"1\"\u003eVisuals and text had never met like this before…\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeniz Barlas Velioğlu’s book, \u003cem data-mce-fragment=\"1\"\u003ePalimpsest\u003c\/em\u003e, has been published by YEM Yayın.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Deniz Barlas Velioğlu explains her unique artistic approach as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“The visual-textual language I have developed consists of two fundamental layers: printed materials, mostly newspaper pages, and what I construct upon them. The dialogue\/collision of these two worlds, which might contain limited meanings on their own, generates 'additional meanings.' The newspaper page, with its texts, photographs, colors, and textures, often serves as a visual-semantic starting point that inspires me. The world I construct on top sometimes rejects and ignores the existence of the one below, and sometimes responds to it. In both cases, they form a semantic unity. I hope that this synergy will awaken new associations in the viewer, taking them on journeys.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“Deniz Barlas Velioğlu’s paintings remind us that nothing is merely what it appears to be, which I believe is one of art's fundamental functions.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Haluk Şahin, Lecturer, Communication Theorist, Author\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“As I looked and read, I got lost in my own palimpsest; it was both a 'common' (sociological) and an 'individual' (psychic) experience. I recommend it to you as well.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Orhan Tekelioğlu, Cultural Sociologist\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“In my eyes, Deniz’s paintings are as powerful and meaningful as a striking book cover or a poster. She blends written language with visual language, creating a thoughtful-artistic layer.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Uğurcan Ataoğlu, Co-founder and Design Director of Alametifarika, Lecturer\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“When I saw her paintings on newspaper pages and printed documents, I commented, ‘This is the true art of our age’.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Rahmi Çöğendez, RC Art Gallery\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“The music I composed for Deniz’s paintings still holds a very special value for me, as it emerged from a very powerful state of ecstasy.” \u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Yüksel Demir, Architect\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“There are codes, clues everywhere. It’s like an endless game, a true discovery.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Hülya Kayserili, Geneticist\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWHO IS DENİZ BARLAS VELİOĞLU?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeniz Barlas Velioğlu was born in Istanbul in 1961. She attended primary school in various cities, including London, Brighton, and Ankara. She completed her middle and high school education at TED Ankara College. In 1982, she graduated from the Middle East Technical University (METU) with a degree in Sociology. Between 1989 and 2009, she worked as a Creative Director and Agency President at national and international advertising agencies. She won numerous awards in national and international competitions and served as a jury member and president. Due to her interest in art and design, which began in her childhood, she particularly focused on painting. She has held solo exhibitions and participated in group exhibitions. The artist, whose more than 150 works are found in various collections both in Turkey and abroad, continues her painting work in her studios in Istanbul and Bozcaada.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003ePALIMPSEST\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeniz Barlas Velioğlu describes her artistic life and her unique understanding of art as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“The visual-textual language I developed consists of two basic layers: mostly newspaper pages and what I’ve built on them. The dialogue\/collision of these two worlds, which can have limited meanings on their own, creates ‘additional meanings’. With its writings, photographs, colors, and textures, most of the time the newspaper page creates a visual-semantic starting point for me that I will be inspired by. The world I build on it, on the other hand, sometimes rejects and ignores the existence of the one below, and sometimes responds to it. In both cases, they form a semantic unity. I hope that this union will awaken new associations of ideas in the minds of viewers and take them on new journeys.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“Deniz Barlas Velioğlu’s paintings remind us that nothing is just what it seems, which I think is one of the main functions of art.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Haluk Şahin, Lecturer, Communication Theorist, Author\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“I was lost in my own palimpsest as I stared Deniz’s paintings; unfortunately, it was both a ‘common” (sociological) and an ‘individual’ (psychic) experience. I suggest that you do it.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Orhan Tekelioğlu, Cultural Sociologist\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“To my eyes, her paintings are as powerful and meaningful as a stunning book cover or a poster. She creates a philosophic-artistic layer by blending textual language and visual language.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Uğurcan Ataoğlu, Co-founder and Design Director of Alametifarika, Lecturer\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003eI started to follow Deniz’s works and especially when I saw the paintings she drew on newspaper papers and printed documents, I commented that “this is the real art of our age.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Rahmi Çöğendez, RC Art Gallery\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“But the score I composed for Deniz that night is still very special to me, as it was born from a powerful state of ecstasy.” \u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e- Prof.Dr. Yüksel Demir, Architect\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“\u003c\/em\u003e\u003cem data-mce-fragment=\"1\"\u003eThere are passwords, hints everywhere. 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Since her childhood years, she has worked in the field of painting and has a strong interest in art and design. She has opened personal exhibitions and participated in group exhibitions. As an artist with over 150 works in various national and international collect\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209423603,"sku":"9786257008570","price":910.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/YEM_PALIMPSEST_KAPAK.jpg?v=1667469302"},{"product_id":"hey-hayal-edilebilir-tasarim-kilavuzu-kitap","title":"HEY! Imagineable Design Guide (Book)","description":"\u003cp data-mce-fragment=\"1\"\u003ePublished by YEM Yayın, the book was prepared with the idea that those who cannot participate in the game should also be able to access the content of the 101 cards included in the \u003cem data-mce-fragment=\"1\"\u003eHEY! A Design Guide for Imaginable Futures\u003c\/em\u003e cards, created by Alexis Şanal (SANALarc).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBeyond learning the content of the 'card game,' the book also serves as a reference for those studying architecture, interior architecture, urban and regional planning, and urban design, as well as for urban decision-makers (residents, experts, investors, NGOs, municipalities) and anyone interested in learning and understanding the fundamental concepts that define 'the city.' In this context, the book can even be described as a \"contemporary urban design dictionary.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eHEY! A Design Guide for Imaginable Futures\u003c\/em\u003e offers a transdisciplinary methodology for city-making, aiming to achieve an spontaneously organized urban design that nourishes a dynamic public life and emphasizes neighborhood cohesion. The 'card deck,' consisting of 101 topics under six categories addressing the fundamental components of public space, serves as an indispensable reference that prioritizes, negotiates, and tests expert support, good practice standards, and success parameters in urban design initiatives. Ultimately, everything from heated conversations to discussions on priorities, stakeholder accountability, and open-ended suggestions regarding physical, social, and economic issues are part of this 'card game.' In this game, facilitators of NGO workshops, decision-makers in local governments, and design professionals can establish a 'imaginative' role-playing simulation where exploration and strategic thinking develop in parallel. This can lead to a 'winning solution' (a personalized guide) based on stakeholder consensus, discussion, and priorities.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book consists of six main categories (chapters):\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePhysical Elements\u003c\/strong\u003e (Pedestrians, human scale, crosswalks, sidewalk dimensions, lighting, street furniture, connecting elements, etc.; users and products in public spaces; natural and artificial elements)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eEcology\u003c\/strong\u003e (Daylight and shade, trees, light pollution, heat island effect, rainwater, urban athletes, etc.; practices and elements necessary to create a sustainable environment)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTechnology and Innovation\u003c\/strong\u003e (Energy saving, water features, tracking systems, mobile applications, innovative infrastructure systems, etc.; contemporary, forward-looking, and pioneering initiatives, applications, systems)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eSocio-economics\u003c\/strong\u003e (Local identity, urban branding, festivals, maintenance, property value, etc.; urban values that increase economic and social well-being)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eGovernance\u003c\/strong\u003e (Accessibility for all, spillover, time-based management, waste, pedestrian safety, urban amenities, waste management, etc.; laws, rules, and regulations that create a functional order in public space and our neighborhoods)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eVibrancy\u003c\/strong\u003e (Spatial diversity, intermediate spaces, urban permeability, characters, waiting, resting, physical comfort, security, street vendors, street art, information access, pedestrian flow, etc.; all elements that are energetic, lively, unique, and express the spirit of the place)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe \u003cem data-mce-fragment=\"1\"\u003eHEY! \u003c\/em\u003eproject is based on SANALarc's ongoing research into 'spontaneous urbanization' for cities like Istanbul. Micro-scale intervention practices, disseminated through methods such as Tactical Urbanism, Do-It-Yourself City, Pop-Up City, Fluid City-Making, and Bottom-Up Planning, guide this research. First and foremost, new participatory design tools and educational resources are needed for co-creating the city. This approach prioritizes the development of a common language and knowledge base that will trigger effective citizen participation and comprehensive collaboration.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe innovative approach offered by this project enables the formation of a collective imagination that successfully blends analytical, practical, and creative thinking necessary for the development of sustainable urban design. The content of the project was created through crowd-sourced work with contributions from experts in Istanbul, design activism NGOs, and art practitioners, in alignment with the 21st-century economy defined by phenomena such as the sharing economy, knowledge-centric work, and creative gross national product (GNP), and its resources were made available online for free. These generous contributions, a method of collective resourcing and incremental progress, resulted in a detailed, non-linear urban design tool that will support citizens in moving towards their common future.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe art direction and graphic design of \u003cem data-mce-fragment=\"1\"\u003eHEY! A Design Guide for Imaginable Futures\u003c\/em\u003e were done by Okay Karadayılar, illustrations by Mrnië Godanca, logo design by Memed Erdener, text editors are Linda Shahinian and Serhan Ada, and the pedagogy consultant is Simon Johnson.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207195379,"sku":"9786257008631","price":210.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/HEYKitap_KAPAK.jpg?v=1672771877"},{"product_id":"kentsel-arazi-duzenlemesi-kentsel-donusum","title":"Urban Land Readjustment: Urban Transformation","description":"\u003cp data-mce-fragment=\"1\"\u003eNihat Enver Ülger’s new book, \u003cem data-mce-fragment=\"1\"\u003eUrban Land Readjustment: Urban Transformation\u003c\/em\u003e, has been published by \u003cstrong data-mce-fragment=\"1\"\u003eYEM Yayın\u003c\/strong\u003e in collaboration with \u003cstrong data-mce-fragment=\"1\"\u003eKent Gelişim Gayrimenkul Geliştirme Taşınmaz Değerleme Bilişim Danışmanlık\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his new book, Prof. Dr. Nihat Enver Ülger emphasizes the need for a perspective beyond and above the applications made under the name of \"urban transformation\" to date. He invites us to act with the awareness that we are not the owners of the nature we inhabit but rather its stewards for future generations when planning our cities; he points out that urban transformation should be seen not merely as the creation of earthquake-resistant, sheltered, private volumes\/spaces, but as living areas for public individuals.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNihat Enver Ülger explains the reason for preparing this book as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\"To propose a new, acceptable implementation model specific to our country for urban land readjustment and urban transformation applications, by examining legal bases and application examples, and to present the criteria related to it. The problems faced by our cities have become so complex that they are far beyond the usual, unique, and cannot be solved with traditional legal and zoning application methods and understanding. This situation involves a special process that concerns all segments of society, from public institutions to rights holders, project development experts, and investors, and requires new specialized knowledge. For this, a special and unique framework and a strategy based on it are needed. Therefore, instead of the classic zoning application, it would be much clearer to use the concept of 'Special Zoning Application \/ Urban Transformation,' which describes the point our country has reached. 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In contrast, land readjustments where the rural character is preserved are often considered within the scope of agricultural land consolidation. However, looking at the procedures and applications, it is clear that consolidation in agricultural lands is a form of zoning application in rural areas. Therefore, it would be a more correct understanding to consider all planning activities carried out on land, whether urban or rural in character, and the zoning applications based on them, under the heading 'land readjustment\/zoning application.'\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNo matter how meticulously prepared, plot-land use-zoning plans offer no benefit other than a waste of effort, time, and money if they are not implemented, not registered in the land registry as new property and its form of use. Therefore, for real estate use-zoning-plans to have meaning, they must be feasible, achievable, in other words, implementable. \u003cstrong data-mce-fragment=\"1\"\u003eHowever, implementing any type of plan is much more difficult than preparing it.\u003c\/strong\u003e This difficulty becomes fully apparent during the implementation of zoning plans.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe implementability of zoning plans requires a certain systematic approach and special facilities. Foremost among these is the need for a strong will and determination to implement the plan. This must be followed by a zoning law that is based on human rights, utilizes modern technology, considers societal needs, is internally consistent, has a specific ideology, is multifaceted, and includes the tools of an active land policy. Providing highly trained technical personnel and financial resources is also an unavoidable necessity in this field. Professor Dr. Hermann Jansen, a Berlin urban planning expert who prepared Ankara's master plan in the 1930s after the War of Independence, asked Atatürk: \u003cem data-mce-fragment=\"1\"\u003e'You won the War of Independence. But will you be able to show similar determination in preparing Ankara's master plans?'\u003c\/em\u003e (Atay, 1969). His question has proven how right he was at the point our country has reached today.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eUrban land readjustments and the transformation of cities must be carried out with the acceptance that humans are public beings. Urban transformation should be viewed not merely as the creation of earthquake-resistant, sheltered, private volumes\/spaces, but as living areas for public individuals.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eUrban transformation is a property readjustment. A country's view and understanding of property determine its regime, its political, legal, and institutional structure, the moral values of its society, and its economic structure. Therefore, regulations and interventions concerning property cannot be carried out with a simplistic approach focused solely on creating a volume\/space. The readjustment of urban lands, which is a property readjustment—in other words, zoning applications, in other words, urban transformation—must be carried out by creating a new culture with a new understanding.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe proper preparation and implementability of land use plans, or zoning plans, for the purpose of urban land readjustment, depend solely and exclusively on the strong structuring and will of the authorized institutions and organizations in this regard. The establishment of a robust institutional structure and the ensuring of its continuity, unaffected by daily political interventions, is directly related to the creation of a new culture.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWithin the urbanization problem in our country, there is a need for new legal and technical regulations and zoning application tools in urban land readjustments. Intensive constructions, issues related to the application of existing plot readjustments, the elevation of infrastructure standards in planned or unplanned densely built-up areas within zoning regulations, and the need for new construction in renovation and complete demolition areas as a precaution against the earthquake risk, which is a reality in our country, bring the process of urban transformation to the agenda.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe problem is the legal determination of zoning application tools regarding how this will be done, securing financial resources, preparing feasible and viable zoning plans, the implementability of the prepared zoning plan, the distribution of new properties that will emerge, and their registration in the land registry. This describes a process. The name of this process is 'Urban Transformation' (Ülger, 2008; Ülger, 2009).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe legal framework concerning urban land readjustments and urban transformation in Turkey indicates that urban transformation application tools, especially in metropolitan and densely built-up areas, are insufficient. A new zoning application method in densely built-up areas will address this need. This is the 'Value-Based Method.'\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe understanding of urban transformation, which came to the fore with the 1999 Marmara Earthquake, has become more visible and prominent with the 2023 Kahramanmaraş Earthquake. It has been frequently reiterated throughout the book that urban transformation is a zoning\/plot readjustment. Yes, urban transformation is a zoning application. It is an urban land readjustment, a zoning application, in solving the problems faced by our country's cities, which have reached a point where they are confronted with immense economic, social, and criminal issues caused by disasters.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe book cover, designed and applied by Resul Atabay, features one of Murat Germen's photographs from his \"Muta-morfoz\" series, which examines the change\/transformation experienced by Istanbul.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWho is Prof. Dr. Nihat Enver ÜLGER?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProf. Dr. Nihat Enver Ülger graduated from Istanbul State Engineering and Architecture Faculty, Department of Geodesy and Photogrammetry Engineering in 1976.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe received his master's degree from Yıldız Technical University, Department of Geodesy and Photogrammetry Engineering in 1983 and his doctorate from the same department in 1988. He got married in 1986.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBetween 1988 and 1992, he worked as an assistant professor at the University of Technology Vienna, Department of Land Surveying. During this time, he served as the project manager for the establishment of Austrian Land Information Systems.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe started working as an assistant professor at Yıldız Technical University, Department of Geodesy and Photogrammetry Engineering in 1992 and served as the Vice Head of the Department between 1993 and 1995.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBetween 1992 and 1996, he served as the Chairman of the Istanbul Chamber of Surveying and Cadastre Engineers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNihat Enver Ülger received his associate professorship in 1999 and also served as a board member at Türkiye Kalkınma Bankası (Development Bank of Turkey) between 1999 and 2000.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBetween 2002 and 2010, he worked at Istanbul University, Faculty of Engineering, Department of Mining Engineering.\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207785203,"sku":"9786257008686","price":315.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/KENTSEL_DONUSUM_ON_KAPAK.jpg?v=1686915030"},{"product_id":"neighborhood-making-hey-imaginable-guidelines-community","title":"Neighborhood Making - HEY! 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This special deck of cards provides an opportunity to imagine, explore, discuss and share not only for designers and urban planners, but also for all the community who want to live in livable, lovable and walkable neighborhoods:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eIMAGINE —\u003c\/strong\u003e Imagine your city, your way. \u003cem data-mce-fragment=\"1\"\u003eHey! Imaginable Guidelines\u003c\/em\u003e is a card game that will help you discover how cities are designed. Why? So you can make it better.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eEXPLORE —\u003c\/strong\u003e Explore your neighborhood, like you haven't done before. Find out about methods for looking at the city as a participant as well as a resident.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDISCUSS —\u003c\/strong\u003e Discuss your surroundings with your neighbors. One person’s trash could be another's treasure! You can’t find out unless you talk to them.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eSHARE —\u003c\/strong\u003e Share your city with everyone. You live here but also other people, birds, cars lots of other stuff too. Sharing the city is more fun if everyone respects each other’s priorities.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eNeighborhood Making\u003c\/em\u003e card deck is a card game that allows users to explore how their neighborhood is designed. As a design guide as well as a base of knowledge that brings neighborhood residents together to make collective decisions, these cards propose a self-organized neighborhood design that emphasizes vibrant public life and community engagement.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe cards, prepared with the contributions of more than 100 participants, aim to explain concepts such as crosswalks, paving, bioswales, energy harvesting, waste management, maintenance, waiting, parklets, playgrounds, etc. to the ‘neighborhood community’ in a fun and instructive way.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBENEFITS —\u003c\/strong\u003e An urban design tool to discover, learn, and practice how neighborhoods are designed. A reference guide to cultivate a new civic imagination for livable and lovable neighborhoods with actionable ideas.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCONSIDERATIONS —\u003c\/strong\u003e Design guidelines for everyone to imagine a city through the diverse influences that shape decisions in city-making. With a base of knowledge and ideas to act on, give your voice agency in the public participation of your neighborhood. Get involved and participate in decisions for the improvements, needs and public life of your community.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eIDEAS —\u003c\/strong\u003e Make thematic guidelines for place making like streets as public space, public square, new developments, recreational places and the places that make up the public realm.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePrepared as a dictionary specifically for everyday people to co-design with experts, design activists, NGOs and professionals, the deck brought together the analytical, practical and creative minds necessary for meaningful and timeless urban design to flourish. The card game approach offers each participant a dynamic path to neighborhood design. Through writing, discussing and reflecting, players reorganize the cards according to their own urban design priorities and aspirations, creating a new design guideline. At the same time, the 'deck of cards' as an object and the concept of 'play' represent a social learning dimension that can be used in the workshops.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCREDITS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProject Director: Alexis Sanal\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEditor and Researcher: Şeyda Özcan\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProject Coordinators: Muhammad Abdullatif – Ahmet Fazıl Yenice\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCommunity Engagement: Lisa Collins\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGraphic Designer: Kat Bielobrova\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGraphic Consultant: Okay Karadayılar\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eİllustrations: Mrinë Godanca\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCopy Editor: Duygu Demir\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTranslator: Reyhan Nazlıaydın\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209194227,"sku":"9786257008709","price":630.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/HEYNEIGHBORHOOD_EN_kapak.jpg?v=1693822617"},{"product_id":"geleneksel-mimarligin-izinde-1-bodrum-1965-1991-ciltli","title":"In Pursuit of Traditional Architecture 1: BODRUM 1965-1991 (Hardcover, Large Format)","description":"\u003cp data-mce-fragment=\"1\"\u003eReha Günay's new book, \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn Pursuit of Traditional Architecture 1: BODRUM 1965-1991\u003c\/em\u003e\u003c\/strong\u003e, created by utilizing his identity as both a traditional architecture expert and a photography artist, has been published by \u003cstrong data-mce-fragment=\"1\"\u003eYEM Yayın\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eProf. Dr. Reha Günay, who has worked multifaceted, meticulously researched, and produced with an artistic perspective for many years, presents Bodrum, Turkey's tourism capital, through his original black-and-white photographs taken between 1965-1991 and its traditional architectural features in this work, published with the valuable contributions of the \u003cstrong data-mce-fragment=\"1\"\u003eBodrum Municipality\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eGünay's observations and findings on traditional Bodrum architecture are presented in 10 chapters under the headings: \"BODRUM PENINSULA, BODRUM, MÜSKEBİ, TURGUTREİS, YALIKAVAK, GÜMÜŞLÜK, KARAKAYA, AKYARLAR, HOUSEFRONT ARBORS and DEMİR HOLIDAY VILLAGE.\"\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay's views on Bodrum and the content of the book are as follows:\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\"Due to difficulties in transportation, the Bodrum Peninsula was isolated for hundreds of years from the political-cultural environment of the Middle Ages and beyond, where great changes occurred, and from mainland Anatolia. This situation continued until the construction of a highway in the 1930s that more or less allowed the passage of motorized vehicles. In the 1960s, with the opening of a new highway, it was greatly affected by the sudden explosion of tourism movements. While for centuries it maintained a settlement pattern suitable for its own way of life within its own surroundings, this activity almost destroyed the traditional fabric.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eIn this book, you will follow observations and visuals mostly from 1965 to 1991, and a small amount from 2011, when the degradation was just beginning. This unique and very simple residential architecture, formed under very little external influence within environmental conditions, perhaps bearing traces of thousands of years of history, led us directly to nature and humanity with its uniform architecture and settlement pattern. A comparison with the current situation reflects the ruthless dimensions of change. It is now almost impossible to even recognize many places...\"\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eBodrum Mayor Ahmet Aras, in his \"Foreword\" written in the book, states the following:\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\"We were sea children with hopes and dreams in a unique, small fishing town. We played with the sea in mandarin gardens, on the shore, in the street. With the zeferiye wind in our hair, the sunburn and saltiness of the sun and sea on our faces; we smelled of sea salt. Our breath rose and fell with shouts of joy.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eAs we grew up, our free city of Bodrum transformed into a modern tourist city. In the hustle and bustle of life, while gaining on one hand, we often didn't even realize what we were losing on the other.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe streets we ran in our childhood; our neighbor whose door we knocked on, whose window we broke, our corner grocer remained in memories. Our neighborhood, where we played the leading role, as our own history, our own world, is now the mark on our leg from cutting it while passing from tree to tree in the mandarin gardens, dancing hand in hand.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e.....\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe tourism boom and the demand for holiday homes in Bodrum led to rapid construction across the peninsula. Most of us struggled to resist this demand and its financial returns. Our gardens, lands, and coves turned into concrete.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eI don't want to use what has been experienced as a tool in the spiral of politics. I'm not saying 'he' did it, 'this one' did it; 'could we have avoided it?' is a separate discussion. Without hiding behind a weak statement like 'I wish it hadn't happened!', not just because I am the mayor, but because I have not been disconnected from my own geography and culture since my childhood, because I am Ahmet Aras from Bodrum, I think about what I need to do and what we can do together. I believe that we need to refresh our memory regarding what we want to find and what we don't want to lose about Bodrum, our common love.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eWe are not yet a city with closed air corridors, breathless and suffocated; the imbat and meltemi winds of the Archipelago still sweep through our coves. Giant blocks do not build castles on our shores like impenetrable walls. Even though our winter population has skyrocketed from 180,000 to 600,000 in the last three years, I believe we are not without solutions with our two-story white houses and our resistance to multi-story, vertical construction: By turning our faces to Bodrum, analyzing Bodrum's dynamics correctly, with the responsibility of being the inhabitants of Bodrum, with decisions we will make together, by planning locally, we must approach construction with a 'sustainable city' approach.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e.....\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eOur professor, who examined examples of Chios-type, musandaralı, and tower-type houses specific to Bodrum architecture; who defined forgotten concepts of Bodrum house life such as ayazlık, çanaklık, yunmalık, yüklük, and terek, describes the traditional Müsgebi neighborhood architecture where my childhood passed as follows: \u003cem data-mce-fragment=\"1\"\u003e'In the end, everyone is equal and respectful of each other. No one blocks anyone else's view or wind. No one tries to show off their house and make others jealous. Unfortunately, we no longer possess these common values.'\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eWe are happy to have been involved in the publication of the book \u003cem data-mce-fragment=\"1\"\u003eIn Pursuit of Traditional Architecture•1 BODRUM 1965-1991\u003c\/em\u003e. I would like to thank Umut Ülkümen for directly contributing to the publication of the book, Prof. Dr. Suha Özkan, the creator of the Bodrum Architecture Library, to which we are emotionally connected, and YEM Yayın. I extend my gratitude to my colleagues who contributed; well done.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eI do not want my childhood and the Bodrum where my childhood was spent to disappear. I do not want to be generations whose past has been forgotten, watching Bodrum with a heavy heart and a sigh.\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003eThe fundamental question I ask myself is: \"It's not what we expect from Bodrum, but what we want to do with Bodrum and how we will do it?\" I sought the answer to this question even before becoming the Mayor of Bodrum, and I am still seeking it.\"\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe graphic design of the book, whose photographs are by Reha Günay, was done by Gökçen Yanlı Atmaca, and the graphic application by Resul Atabay, and it has reached the readers.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48380902539507,"sku":"9786257008761","price":1400.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/BODRUM_1965-1991_CiltliBuyukBoy.jpg?v=1700216070"},{"product_id":"geleneksel-mimarligin-izinde-1-bodrum-1965-1991-karton-kapak","title":"In the Footsteps of Traditional Architecture 1: BODRUM 1965-1991 (Paperback)","description":"\u003cp data-mce-fragment=\"1\"\u003eReha Günay's new book, \u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn the Footsteps of Traditional Architecture 1: BODRUM 1965-1991\u003c\/em\u003e\u003c\/strong\u003e, created by combining his identities as both a traditional architecture expert and a photography artist, has been published by \u003cstrong data-mce-fragment=\"1\"\u003eYEM Yayın\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this work, published with the valuable contributions of the \u003cstrong data-mce-fragment=\"1\"\u003eBodrum Municipality\u003c\/strong\u003e, Prof. Dr. Reha Günay, who has worked multifaceted, meticulously researched, and produced with an artistic perspective for many years, conveys Bodrum, Turkey's tourism capital, through his original black-and-white photographs taken between 1965 and 1991, and its traditional architectural features.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGünay's observations and findings on traditional Bodrum architecture are presented in 10 chapters under the headings: \"BODRUM PENINSULA, BODRUM, MÜSKEBİ, TURGUTREİS, YALIKAVAK, GÜMÜŞLÜK, KARAKAYA, AKYARLAR, HOUSEFRONT ARBORS, and DEMİR HOLIDAY VILLAGE.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay's views on Bodrum and the content of the book are as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"Due to transportation difficulties, the Bodrum Peninsula was isolated from the political-cultural environment of the Middle Ages and beyond, where great changes occurred for hundreds of years, and from mainland Anatolia. This situation continued until the construction of a highway in the 1930s, which more or less allowed the passage of motorized vehicles. In the 1960s, with the opening of a new highway, it was greatly affected by the sudden boom in tourism. While maintaining a settlement fabric suitable for its own way of life within its own environment for centuries, this activity virtually destroyed the traditional fabric.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this book, you will follow observations and visuals from 1965 to 1991, and a small amount from 2011, when the degradation had just begun. This unique and very simple residential architecture, formed with very little external influence in environmental conditions, perhaps bearing the traces of thousands of years of history, and the uniform architectural and settlement fabric it achieved, led us directly to nature and humanity. A comparison with the current situation reflects the cruel dimensions of the change. It is almost impossible to recognize many places now...\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBodrum Mayor Ahmet Aras, in his \"Foreword\" written in the book, touches upon the following:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\"We were children of the sea, full of hopes and dreams in a unique, small fishing town. We played with the sea in tangerine groves, on the shore, in the streets. With the zeferiye wind in our hair, the scorching of the sun and sea on our faces; we smelled of sea salt. Our breath rose and fell with shouts of joy.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs we grew up, our free city, Bodrum, transformed into a modern tourism city. In the hustle and bustle of life, while gaining on one hand, we often failed to realize what we were losing on the other.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe streets we ran through in our childhood; our neighbor whose door we knocked on, whose window we broke, our corner grocer remained in memories. Our neighborhood, where we played the leading role, as our own history, our own world, is now the mark on our leg from cutting it while moving from tree to tree in the tangerine groves, hand in hand, dancing the halay.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e.....\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe tourism boom that peaked in Bodrum and the demand for holiday homes led to rapid construction across the peninsula. Most of us struggled to resist this demand and its financial returns. Our gardens, lands, and coves became concretized.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI do not want to instrumentalize what has been experienced into the spiral of politics. I am not saying 'this one did it' or 'that one did it'; 'could we have avoided it?' is a separate discussion. Without hiding behind a weak statement like 'I wish it hadn't happened!', not only because I am the mayor, but also because I have not been disconnected from my own geography and culture since childhood, because I am Ahmet Aras from Bodrum, I think about what I need to do and what we can do together. I believe we need to refresh our memory about what we do not want to find and what we do not want to lose regarding our shared love for Bodrum.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWe are not yet a city with closed air corridors, breathless and airless; the imbat of the Archipelago, the meltem still caresses our coves. Huge blocks do not build castles on our shores like impenetrable walls. Although our winter population has skyrocketed from 180 thousand to 600 thousand in the last three years, I believe we are not without solutions with our two-story white houses and our resistance to multi-story, vertical construction: By turning our faces to Bodrum, by correctly analyzing Bodrum's dynamics, with the responsibility of being residents of Bodrum, with decisions we will make together, by planning locally, we must approach construction with a 'sustainable city' perspective.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e.....\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOur esteemed professor, who examines Chios-type, musandara-roofed, and tower-type house examples specific to Bodrum architecture; who defines forgotten concepts of Bodrum home life such as ayazlık (cool courtyard), çanaklık (dish rack), yunmalık (laundry area), yüklük (storage cupboard), and terek (shelf), describes the traditional Müsgebi neighborhood architecture where I spent my childhood as follows: \u003cem data-mce-fragment=\"1\"\u003e'As a result, everyone is equal and respectful of each other. No one blocks anyone else's view or wind. No one tries to make their house showy and make others jealous. Unfortunately, we no longer possess these common values.'\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWe are happy to have been involved in the publication of the book \u003cem data-mce-fragment=\"1\"\u003eIn the Footsteps of Traditional Architecture•1 BODRUM 1965-1991\u003c\/em\u003e. I would like to thank Umut Ülkümen, who directly contributed to the publication of the book, Prof. Dr. Suha Özkan, the creator of the Bodrum Architecture Library to which we are emotionally attached, and YEM Yayın. I wish good health to my colleagues who contributed to this work.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eI do not want my childhood and the Bodrum of my childhood to be lost. I do not want to be generations whose past has been forgotten, to watch Bodrum with a full heart and a pang of sorrow.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe fundamental question I ask myself is: \"What do we want to do with Bodrum, not what do we expect from Bodrum, and how will we do it?\" I sought the answer to this question even before becoming the Mayor of Bodrum, and I am still seeking it.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe book, with photographs by Reha Günay, was brought to readers with Graphic Design by Gökçen Yanlı Atmaca and Graphic Application by Resul Atabay.\u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370207097075,"sku":"9786257008778","price":385.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/BODRUM_1965-1991_KartonKapak.jpg?v=1700216454"},{"product_id":"mehmet-gazioglu","title":"Mehmet Gazioğlu","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eThe book titled \u003cem data-mce-fragment=\"1\"\u003eMEHMET GAZİOĞLU\u003c\/em\u003e, which includes the works of the versatile artist Mehmet Gazioğlu, who has produced photography, digital art, metal wall sculptures and metal sculptures, as well as his life story, was published in English and Turkish by YEM Publishing.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs Mehmet Gazioğlu grew up, he gathered his imagination from people and life; he derives his technique from painting, photography, writing, drawing, sound, image, digital technology and metal; an artist who has woven his artistic cocoon by kneading his yeast from today and discipline...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book offers the opportunity to get to know Mehmet Gazioğlu, an artist who is a candidate to be a source of inspiration for everyone who is looking for ways to express their dreams, especially those who are interested in art.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe graphic design concept of the book, which was prepared for publication as a result of intense efforts by Müge Gazioğlu, was made by Selim Cennetoğlu.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the Foreword of the book, Cenk Gençdiş describes Mehmet Gazioğlu and his works as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“…Mehmet Gazioğlu knitted his cocoon of art by gathering his imagination from his childhood, his materials from people and life as he grew up, using his technique from painting, photography, writing, drawing, sound, image, digital technology, metal, and kneading his leaven from today and discipline... He listened to photography lessons for hours and days, watched photographs, worked tirelessly to use his camera and lenses in the most efficient way on the streets of Istanbul, cities of India, roads of Nepal… He recorded images that could be normal for everyone, beautiful for everyone, ordinary for everyone. But with one difference… He did not look, see, or think like everyone else while watching those images, neither taking the photos nor evaluating them… He searched for images that could be considered unreal from time to time in his mind, heart and soul. For this, he used a camera, mobile phone, various computer programs and applications and showed the courage to transform that imaginary image into a visible one. He experienced not looking from a single window, but using all the possibilities of art…\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEvery time I think about how to put a photographer on the art and history scale, I think of a glamorous bird with two wings and colorful feathers. I believe that there is production on one wing and sharing on the other of this Phoenix. In other words, I question what this photographer has produced, how long he has been producing, whether he is still producing and whether he shares what he has produced or reveals it to people… With all his passion, discipline and experimentation, Mehmet Gazioğlu has produced many works in very different styles in a very short time. Not only that, he shared all of these works that he thought, dreamed of, worked, and spent time and effort on different platforms. He evaluated the possibilities of our age, used social media platforms such as Instagram, opened exhibitions in galleries and participated in art fairs. He nourished his courage in the production phase with his generosity in sharing… If we briefly examine the exhibitions he opened, we will have the chance to see the different works he tried.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWhen we examine his works between 2016 and 2020, we can say that we are facing a period in which Mehmet Gazioğlu discovered both the technical limits of photography and the limitlessness of his own imagination. He transformed the images he photographed with classical methods into surreal, extraordinary, imaginary frames by carrying the technological possibilities to the extreme. This can also be defined as a cocoon period in which the language of expression that he will construct before shooting in later works is formed.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSurrealist’s Dream, \u003c\/em\u003eMehmet Gazioğlu’s first work, based on his idea ‘Whatever you reflect comes back to you. Life is such a mirror.’ is an exhibition that he prepared in a short period of four months. This time, he set up the main frame of the work even before he used the camera, planned every detail from the subject he will shoot to the framing, from the arrangement to the presentation, and completed his work with the motto ‘looking at reality from an unrealistic window is a dream’... I think an important point of this exhibition is that he shared the exhibition’s income with the children with autism since he felt a bond with the children and the feeling of his work.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his second exhibition \u003cem data-mce-fragment=\"1\"\u003eMorphosis\u003c\/em\u003e, Gazioğlu continued his previous surrealist dream by presenting the reverse reflection on the vertical axis, with the mirror effect technique. This makes it a continuation dream with the idea of following. Thus, the \u003cem data-mce-fragment=\"1\"\u003eSurrealist’s Dream \u003c\/em\u003eexhibition completes its story with its confidant.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn his third exhibition titled \u003cem data-mce-fragment=\"1\"\u003eTransform\u003c\/em\u003e, Mehmet Gazioğlu is now completing his own transformation and coming out of his cocoon, which he started to knit in his first exhibition. Now, he records his photos not only with his camera, but also with his mobile phone, uses both applications and computer programs in a way that obeys his imagination and completes the journey of modern man’s evolution from images to ideas, from ideas to data world. This is also in his portfolio as the last example of three years of intense work.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eToday, we have tens and hundreds of schools that train one-dimensional people under the name of ‘specialization’… Everyone continues their struggle for life under a single title as ‘Knows almost everything’. However, this was not the case in ancient times… Everyone in the West and the East was involved in more than one discipline… Many ‘famous people’ we know have spent their lives in different fields as well. We do not know that Ömer Hayyam was a mathematician and astronomer while his poems were circulating on social media, and that Nietzsche was a poet and composer while praising his philosopher side. As the famous composer Hans Eisler stated in his saying ‘A person who only understands music cannot understand music,’ art has an inseparable connection with science and life.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHere, Mehmet Gazioğlu did not only deal with photography on this path he embarked on by combining his vision and imagination with his talent; in his rush with the world, with emotions and thoughts, he also included steel, which is actually an economic-commercial business. Much more difficult than photography, by using his physical strength for hours or even days, this time by putting forth a more intense effort to flap the wings of production and sharing much more powerfully... Just like in his photography works, he first fictionalized the concept he would describe, the dream he would convey, and then put it in the best way possible. He has found a medium to communicate effectively. He pondered on how different he could present metal and steel to us and produced different and extraordinary works of art by exerting the necessary discipline and effort for this. He continued the sharing habit he acquired through photography exhibitions, with sculptures where he turned an ordinary object into a work of art.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMehmet Gazioğlu has deserved the title of a person with knowledge in different disciplines, which the Westerners call \u003cem data-mce-fragment=\"1\"\u003epolymat\u003c\/em\u003e, with three solo exhibitions he opened in a short period of four years, a group exhibition he participated in, and seven art fairs he participated in, and proved his artist identity first to himself and then to his audience with all the works he created.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWHO IS MEHMET GAZİOĞLU?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eMehmet GAZİOĞLU was born in Istanbul in 1977. He grew up in the steel industry, which his family has run for four generations, and worked there as Chief Operating Officer and Investment Officer. Growing up in an open-minded, social family that supported his identity provided him with inspiration. Inspired by an open mind, he transformed mechanical materials into more masculine and vibrant pop culture designs as conceptual art. He was interested in ancient and modern art, visual language, modern architecture, popular culture, and photography.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eMehmet GAZİOĞLU, placing creativity, passion, and vision at the center of his art, kept pace with rapidly developing technology through his unique style. Mehmet GAZİOĞLU, who unlocked his imagination by combining artistic preferences and new colorful techniques, thus began to write his own story.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eHe tried to make the invisible visible in metal. He made details perceptible in the material that even our physical perception could not notice. This formed an idea identical to the transformation of both the object and perception while creating awareness. By exceeding the limits of imagination, he began to work by combining new techniques with his abstract artistic preference.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eMehmet GAZİOĞLU, while transforming the wastes we ignore and many more materials that we do not realize, also allowed imagination to develop and increase by translating forms and colors. He believed that his sculptures were changeable and calm, but certainly not passive. He lit a fire in the middle of obscurity by adding to and cutting from the material.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eMehmet GAZİOĞLU, who entered the world of art as a collector at an early age, began to emerge with means of artistic expression and abstract models created by psychedelic photography, but the provocative possibilities provided by metal, thanks to its environmental and dimensional properties, shaped the artist’s journey.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eBy characterizing the mystery of digital effects with his surrealist works, he continued to create different works that combined his talents, emotions, and spiritual scenarios. With the decrease in awareness of his physical self, he achieved his own goal in the concept of digital art. In his digital and pop-art applications, he affected the audience not only visually but also emotionally and cognitively.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\"\u003eHe continues to tell his own story with the arts that he left for us…\u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208342259,"sku":"9786257008808","price":1400.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/MEHMET_GAZIOGLU_KAPAK.jpg?v=1703338347"},{"product_id":"modern-ve-sonrasi-mimarlik-tarihi-boyunca-mekan-orgutlenmesinin-evrimi","title":"EVOLUTION OF SPACE ORGANIZATION Throughout the History of Modern and Post-Modern Architecture","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eŞengül Öymen Gür's new book \u003cem data-mce-fragment=\"1\"\u003eThe Evolution of Spatial Organization Throughout Modern and Post-Modern Architectural History\u003c\/em\u003e, which offers a qualified, comprehensive, and original re-reading of 20th-century architecture, has been published by YEM Yayın.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA re-reading of Modern and Post-Modern Architecture could have been done from political, economic, ethical, linguistic, semantic, aesthetic, and factual perspectives. However, in this book, Prof. Dr. Şengül Öymen Gür takes a different approach; she broadens the scope of conventional architectural history by considering the theoretical stages of the evolution of architectural space and by adding country-specific supplements to central historical narratives. Thus, architectural history and theory are re-read through the lens of spatial organization and its formal tools…\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eŞengül Öymen Gür, who always views architectural history through the eyes of a designer, reviewing it and making connections based on what stimulates her memory, summarizes the rather exhausting and intense process of preparing the book and its content as follows:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“… \u003cem data-mce-fragment=\"1\"\u003eEcphoria\u003c\/em\u003e is indispensable without the memory, perceptions, and emotions of time. It is a bidirectional process that involves seeing trees from the forest and seeing the forest from the trees. Therefore, I experienced a very exhausting process while writing this book. I worked with the cautious courage of advanced age… I'm not even talking about the benefits of seeing architecture on site, or having seen it, as much as reading architectural history and selectively narrating it… I tell critics: do not make buildings you haven't seen or experienced the subject of your critical essays, and do not describe them as if you have seen them. I chose my own experiences as examples. Architecture is like love; it cannot be known without being lived…\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe organizational feature of architectural space is the most intimate, closest, and most important design feature that genuinely and emotionally touches the lives of local and universal individuals, groups, and the global community. This design feature, which specialists trained as historians almost never mention, is the very essence of architectural reality. The dimension related to geometry and arts concerning form is of secondary importance next to spatial organization. The structural and construction techniques chosen in relation to spatial organization are tools, not determinants, of organization. The fundamental concepts of spatial organization are linked to the definitions of 'place' and 'human.' The best organizational concepts arise from these paradigms and ultimately serve them. Therefore, a text on architectural history should focus on the creative inventions that have emerged throughout history, enabling the reader to connect with the architectural project and attracting their interest from this perspective. From this starting point, in this book, I introduced concepts such as flowing spaces, defining-creating place, making space, core solutions-foci that define place, the increase and complexity of axes in design offering options for human behavior, and benefiting from healthy natural light, all of which are characteristic of the Modern Architecture period, which I consider a major architectural revolution, and which positively influenced human, group, and societal behavior. I discussed typological revolutions made in favor of humans during the Modern Architecture period in areas such as open offices, museums, libraries, orphanages, university campuses, housing, and mass housing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn Post-Modern Architecture, I discussed concepts of spatial organization such as the dramatization of nature, the reproduction of nature, organization with natural and historical traces, fragmentation-fragments, disintegration and dispersion, in-betweenness, contextualism, scenario writing, historical elements, neighborhood, creative synthesis of existing and new, opening-closing, unity of opposites, transparency, circulation areas, atriums-galleries, hyper-connectivity, hyper-continuity, or evolving like nature, etc.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eI touched upon the creation of space from non-space and the relationship between urban design and humans. I aimed to increase the reader's enthusiasm by conveying the reactions of world architects regarding environmental sensitivity…\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e.....\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs Modern Architectural language became a global language, all disciplinary certainties in philosophy, science, and the arts began to be questioned. Radical and convincing modern social utopias fragmented and became stars. While some smaller stars raked through the ashes of pre-Modern accumulations, others declared \"re-contextualization.\" In addition to examining the factual meaning of context, phenomenological organizational concepts were accepted as design concepts. Among these, concepts such as anchorage, the ways a building touches the ground, the intertwining of thought with the world, the flow of the body in space, the relationship between space and time, the poetic potential of lived space, the materiality of place, and parallax were transferred to the work. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe concept of type is important for understanding yesterday and today and for designing the future. The configurations of types were explained in the study, and in Post-Modernism, the importance of configuring types through diagrams in motion was highlighted, in relation to the concepts of infinite continuity and infinite connectivity. It was indicated that new creations could be entered into with them without disrupting the semantic structure. Concepts such as syntactic experiments using Deconstructive Architecture as a tool, blurring, folding, sign (signifier\/signified) deception, affect, sublime, transformation with cinematographic techniques (morphing), in-between, and interstitial transitions were introduced and explained through examples. While all this was happening, the criteria of Modern Architecture continued for the people. However, Modern Architecture was such a broad selection that, in the hands of some architects, it found its place in architectural practice as white villas and modest factual aesthetic products. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAdvancements in the materials of structural and facade systems led to a kind of competition in Neoliberal corporate structures. Under the name \"Envelope Architecture,\" massive steel+glass towers covered the commercial areas of cities. The study pointed out how inter-firm competition transformed the urban fabric, consumed public spaces, and rendered urban skylines unrecognizable. It was mentioned that cities fragmented and developed like archipelagos, but the book also emphasized that the most dominant archipelagos consisted of widespread (minuscule) architecture. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn the following section, the last century in the dimension of spatial organization, which is considered vitally important in architecture, was scanned, and concepts that allow for communication were identified. Concepts from Modern Architecture such as flowing spaces (free plan), defining-creating place, making space, complexity and harmony (heterotopism), creating core solutions-foci, increasing and complicating axes in design, and playing with natural light were deemed very useful for understanding the period and shedding light on the future. The enrichment in organizational concepts was explained in the context of how it allowed for revolutions in various building types, such as open offices, museums, libraries, orphanages, university campuses, house typologies, and the organization of common areas in mass housing. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn Post-Modern Architecture, concepts of spatial organization were enriched depending on their feasibility. Here, concepts such as the dramatization of nature, the reproduction of nature, organization with natural and historical traces in the context of traces, fragmentation against the integrity of modernism, disintegration and dispersion, in-betweenness, context, the voice of place, scenarios (dramas, historical elements, follies, neighborhood, etc.), \"event\" design, stitching times (creative synthesis of existing and new), opening\/closing (plan, site plan interpretations), unity of opposites, transparency (literal\/factual\/experiential), geometric articulations at the plan level, circulation areas under the general heading of \"serving spaces,\" atriums\/galleries, and hyper-connectivity, hyper-continuity, evolving like nature, which came to the fore with Zaha Hadid, as well as creating space in unfavorable places, were highlighted. This list could have been much longer, and this book would never have ended; the rest was left to the reader's creativity and discoveries. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLater, by addressing urban design-human relations, architects were called to be sensitive to human expectations from space. A wide palette was used by bringing some differences of architects regarding environmental sensitivity to the agenda. Toyo Ito's Romanticism, Shigeru Ban's Authenticism, Sir Nicholas Grimshaw's Situationalism, Herzog \u0026amp; de Meuron's Contextualism, Sir Norman Foster's Revolutionism became the guiding attitudes underlined here, and the chapter concluded with the Sustainability Manifesto. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eVarious technical advancements and inventions greatly influenced mass\/facade patterns in Modern and Post-Modern Architecture, whether the space required change or not. After mainstream categories such as Gestalt Theory, Pragnanz, Cubism, de Stijl, and Brutalism, which are mass\/facade organization paradigms of Modernism, were introduced at the building level, the patterns of form emerging in Modern and Post-Modernism were explored. Various applications flowing from the most universal to the most specific were identified. These included emphasizing corners with curvilinear surfaces, rationalist pragnanzes, glass towers, symbolizing power, framing the facade, bundling form, pyramidal masses and\/or their integration with regular rectangular prisms, deconstructing form (Deconstructivist movements), and recurring patterns such as biomimicry and biophilia. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn Modern and Post-Modern Architecture, formats are the most dynamic and transformable\/convertible patterns at an international level. They circulate globally independently of the identity and success of the space, but their original owners are always known. These include: grids with equivalent horizontal and vertical effects creating facade texture, strip windows, corner windows, enlivening monotonous masses with shallow Baroque movements, evaluating \"Early Modern window\" texture, arcades (archways) creating a sense of depth, designing eclectic entrance facades with formats interpreted from history, making various historical accents, animating the facade with circular derivative shapes, emphasizing the main entrance with a column, using elements that give the impression of columns on facades, enclosed cantilevers, circular balconies, door jambs, horizontal facade bands, strip windows, forming facades from the repetition of mass parts, coloring facades, creating facades from two-color horizontal bands, making symmetrical tears-asymmetrical tears creating a sense of depth, carving corners as an entrance emphasis, using a triangle or arch as an intermediary form, using flat and curved surfaces together on the same facade, predominantly using cylindrical forms, utilizing triangular prisms interspersed on facades as windows, making cubic assemblies on facades, making de Stijl articulations, large void facades, stairs on facades, bridges on facades, and creating cornices on facades. These were exemplified from global and local contexts. Elements such as entrance stairs, balconies, tears, shutters, brise-soleils, blinds, and entrance canopies, identified as tectonic details, were determined as tectonic elements compatible with the building's style. Using these, and capturing the technology of the time while using them, was scanned within the scope of the expression of space. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book, edited by Mesut Kaya, was proofread by Burcu Agalar, final reading by Mecit Demir, cover design by Esen Karol, graphic design and application by Resul Atabay, and print preparation by Kemal Kara.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTable of Contents\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTHOUGHTS ON ARCHITECTURAL HISTORY, THEORY, AND CRITICISM\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTheory\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTheory-Criticism Relationship\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eInherent Problems of Architectural Historiography\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eClassification of Architectural Historiography and Critical\/Experimental History\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePurpose of the Book\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMODERNITY AND MODERN ARCHITECTURE\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRevolutions Paving the Way for Modernity\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eModernity (Modernization) in Our Country\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBuilding Types in the Modern Architectural Period\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eUrbanization and Architecture Relations in the Modern Architectural Period\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePARADIGMS AND CONCEPTS OF MODERN ARCHITECTURE\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eRationalism (Standardization\/Modular Coordination)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMeasurements and Standards\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMinimalism\/Purism\/Asceticism\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eElementalism (German Elementalism)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOrganic Architecture and Heterotopism\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFunctionalism\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eStructural Potentials\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLiberation of Form\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePOST-MODERN ARCHITECTURE\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eQuestioning the Certainty of Philosophy, Science, and Art\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLack of Utopia\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLanguage and Meaning\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePhenomenology: Concepts, Perspectives, and Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHistory and Autonomy\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLanguage and Grammar: Peter Eisenman\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeconstruction Philosophy and Its Relationship with Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOngoing Deconstructivist Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOngoing Modernism\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eParticipatory Design\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCommon or Minuscule Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSPATIAL ORGANIZATION IN ARCHITECTURE\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eConcepts of Spatial Organization in Modern Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTypological Revolutions in the Modern Architectural Period\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eConcepts of Spatial Organization in Post-Modern Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTo Conclude the Infinite\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMASS\/FACADE PATTERNS IN MODERN AND POST-MODERN ARCHITECTURE\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMass\/Facade Organization Paradigms of Modern Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eStandardization of Mass\/Facade Organization Paradigms of Modern Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn Conclusion\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWHO IS PROF. DR. ŞENGÜL ÖYMEN GÜR?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eŞengül Öymen Gür is a graduate of the University of Pennsylvania (UPENN), GSAS (PhD, 1978); she was awarded a Fulbright Scholarship (1972-77) and a DAAD Scholarship (2002; 2008). In her research supported by DAAD, she examined German Modern and Post-Modern Architecture on-site and published various articles.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eShe served at Karadeniz Technical University (KTÜ) between 1971 and 2009, becoming a professor in 1989. During this period, she taught project courses at the undergraduate level, as well as courses on Modern Architecture and Post-Modern Architecture. In the graduate program, she taught various courses such as Architectural Theory and Concepts, New Developments in Architecture, Research Methods and Techniques, and the Housing Problem. She is currently a faculty member at Istanbul Beykent University.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDr. Gür is an active member of international organizations such as CICA (International Committee of Architectural Critics) and WA (World Architecture). She is a periodic member of international organizations like IAPS, DRS, CIB W84, IAHS, and an honorary member of BTI (Bund Türkischer Ingenieure und Akademiker e.V) and SEA (The Sustainable Environment Association). She is an advisory board member and editor of Space Studies of Planning and Architecture (\u003ca data-mce-fragment=\"1\" href=\"https:\/\/spacestudies.co.uk\/\"\u003ehttps:\/\/spacestudies.co.uk\u003c\/a\u003e); editor of \u003cem data-mce-fragment=\"1\"\u003eYakınmimarlık\u003c\/em\u003e (TRNC) and \u003cem data-mce-fragment=\"1\"\u003eFSM Mimarlık\u003c\/em\u003e journals; field editor of \u003cem data-mce-fragment=\"1\"\u003eBeykent University Scientific Studies Journals\u003c\/em\u003e and \u003cem data-mce-fragment=\"1\"\u003eAnadolu University Scientific Studies Journals\u003c\/em\u003e; and a reviewer for \u003cem data-mce-fragment=\"1\"\u003eSRE, e-Books, JADE, JAAP, MEGARON, A\/Z, Gazi, KARAM, Uludağ, Trakya, Tasarım+Kuram\u003c\/em\u003e journals. She writes a monthly \"Opinion\" column for \u003cem data-mce-fragment=\"1\"\u003eYAPI\u003c\/em\u003e magazine.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eShe has conducted research for many institutions, including the State Planning Organization (DPT), and received the Architecture Foundation Research Award. She is the author of approximately 30 books and over 500 international and national articles. She has trained over 100 academics in her country. She is married with two children.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e \u003c\/em\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209030387,"sku":"9786257008785","price":910.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/MEKAN_ORGUTLENMESININ_EVRIMI_KAPAK.jpg?v=1703619078"},{"product_id":"bogazicinin-ahsap-konutlari-ve-yalilari","title":"Wooden Houses and Waterfront Mansions of the Bosphorus","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eReha Günay’s new book, \u003cem data-mce-fragment=\"1\"\u003eWooden Houses and Waterfront Mansions of the Bosphorus\u003c\/em\u003e, which conveys the structural and living culture of the Bosphorus through his unique photographs, has been published with the valuable contributions of DEKAR Yapı ve Yatırım A.Ş.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn \u003cem data-mce-fragment=\"1\"\u003eWooden Houses and Waterfront Mansions of the Bosphorus\u003c\/em\u003e, Prof. Dr. Reha Günay conveys the architectural and living culture of the Istanbul Bosphorus shores through a unique selection of black and white photographs, distilled from his more than 60 years of experience as an architect, academician, photographer, and author.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe INTRODUCTION of the book presents historical data indicative of the importance of the Bosphorus, which has been a living and settlement area from ancient times to Byzantium, from the Ottoman Empire to the present day, accompanied by maps and engravings. Specific information regarding the architecture and culture that developed along the Bosphorus during the Ottoman period is presented through the writings of authors who witnessed the era, such as Gugas V. Inciciyan, Edmondo de Amicis, Abdülaziz Bey, A. Cabir Vada, and Abdülhak Şinasi Hisar. The book offers glimpses into this culture of life that developed and integrated with the sea, ranging from the Göksu recreational areas to moonlight boat trips, from waterfront mansion gardens to life in summer houses, from fishermen to boatmen, and from waterfront mansion architecture to wooden houses. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFollowing this, Reha Günay, with his unique photographs taken from the 1960s to the present day, transfers structures and textures, some of which no longer exist today or have lost their originality, to future generations. He does this by following routes under the heading ASIAN SIDE, extending from Üsküdar to Anadolukavağı, and under the heading EUROPEAN SIDE, extending from Tophane to Yenimahalle.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe documents dozens of buildings of historical and architectural importance, such as the Aziz Mahmut Hüdayi Complex, the Debreli İsmail Paşa Mansion designed by Alexandre Vallaury, the Sadullah Paşa Mansion, the Kadiri Lodge, the Naime Sultan Mansion, the Amcazade Hüseyin Paşa Mansion (Istanbul's oldest wooden structure) and the Kavafyan Mansion (the second oldest structure), the Sait Halim Paşa Mansion, the Italian Consulate designed by Raimondo D'Aranco, and the Huber Mansion. In addition, he records humble wooden row houses, streets, and avenues that lean against each other, serving as a testament to the culture of communal living.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThrough his unique photographs, ranging from small traditional wooden houses to magnificent mansions and waterfront estates built in Baroque, Art Deco, Art Nouveau, or Neoclassical styles, Reha Günay reminds us of an architectural understanding and a way of life that we have lost:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Istanbul, where I spent my childhood, was almost entirely made up of wooden houses. In a city 2,700 years old, public buildings were constructed of stone and brick; a large portion of them still exist despite all the ravages of time. However, residential architecture was entirely wooden, and it had managed to endure until my childhood, being renewed at intervals of a quarter-century. As I walked through the streets of Istanbul, I occasionally encountered masonry or reinforced concrete houses. These were mostly located in certain neighborhoods or on main streets. This construction method began to increase gradually. It was then that I started taking photographs, fearing that this architectural heritage would one day disappear...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Bosphorus is a cultural channel 30 km deep that has persisted throughout history. To narrate the continuity of this past, I wanted to examine it period by period. While the shores of the Bosphorus were a well-known region in every aspect during ancient times, our knowledge about the Bosphorus gradually decreased after the end of Byzantium, and the last curious individuals seem to have ceased to exist in the 18th-19th centuries. However, as the images of the past faded into the mists, a newly emerging Bosphorus culture began to dazzle our eyes. This was a very brilliant period, refined by the sensitivity integrated with nature created by Ottoman civilization. Unfortunately, this period ended in the last days of the Ottoman Empire, just as its power waned and collapsed.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn recent years, the Bosphorus has entered the sphere of influence of the rent economy due to Istanbul's unlimited growth and overcrowding, becoming a focal point of interest for the newly rich. Perhaps for the same reasons, a passion for waterfront mansions has emerged; owning and living in a waterfront mansion has become a new obsession; waterfront mansions have been saved from ruin and have begun to shine on the waterfront with their new faces. However, the delicate world of life of the Ottoman notables seems to have evolved into another form... How much does renovating or restoring individual houses suit the appearance and spirit of the Bosphorus? While hundreds of concrete monstrosities rise among them... I think it needs to be questioned. Therefore, when choosing photographs, I preferred the oldest ones. Now, perhaps you will barely recognize some of them in their newly adorned state...”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book, which was printed in duotone special printing technique on coated paper, in large format, and hardcover, was edited by Mesut Kaya. Kemal Kara handled the graphic design and print preparation, and Resul Atabay carried out the graphic application.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCONTENTS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eINTRODUCTION: The Bosphorus in the Past, Witnesses of the Period, The Bosphorus, Life on the Bosphorus, Mansion Architecture\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eASIAN SIDE: Üsküdar, Kuzguncuk, Beylerbeyi, Çengelköy, Vaniköy, Kandilli, Anadoluhisarı, Kanlıca, Çubuklu, Paşabahçe, Beykoz, Anadolukavağı\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEUROPEAN SIDE: Tophane, Fındıklı, Kabataş, Beşiktaş, Ortaköy, Kuruçeşme, Arnavutköy, Bebek, Rumelihisarı, Emirgân, Yeniköy, Tarabya, Kireçburnu, Büyükdere, Yenimahalle\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eWHO IS PROF. DR. REHA GÜNAY?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay, born in Istanbul in 1937, graduated from Istanbul Technical University, Faculty of Architecture in 1960. He completed his doctorate in Art History at Istanbul University. Reha Günay became a professor in 1994 and worked in the Department of Restoration at Yıldız Technical University until his retirement, after which he served as a faculty member at Yeditepe University for a period.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHe was among the founders of the Photography Department at Mimar Sinan Fine Arts University and taught Architectural Photography from 1978 to 2011. In his photography work, he strived to document cultural heritage and architectural legacy. From 1983 to 2004, he documented with photographs the structures participating in competitions in Islamic countries for the Aga Khan Award for Architecture Foundation.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay was awarded the \"Contribution to Architecture Award\" within the scope of the 17th National Architecture Exhibition and Awards of the Chamber of Architects of Turkey in 2020, for his successful work throughout his life.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eReha Günay, who has conducted studies on archaeology and local architecture and organized international exhibitions, has 30 books published by YEM Publishing, including \u003cem data-mce-fragment=\"1\"\u003eMimar Sinan, Istanbul's Lost Wooden Houses, Living Wooden Houses of the Istanbul Islands, Analog and Digital Architectural Photography, The House in Şile, Why is Mimar Sinan a Design Genius?, In the Footsteps of Traditional Architecture 1: Bodrum 1965-1991.\u003c\/em\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206474483,"sku":"9786257008815","price":2100.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_BOGAZICI_AHSAP_KONUTLAR_YALILAR_KAPAK.jpg?v=1705077984"},{"product_id":"erzurum-arazi-yonetimi-kentsel-donusum-stratejisi","title":"Land Management-Based Urban Regeneration Strategy: ERZURUM","description":"\u003cp\u003eMehmet Sekmen, Mayor of Erzurum Metropolitan Municipality, published his book titled \u003cspan\u003e\u003cem\u003eUrban Transformation Strategy Based on Land Management: ERZURUM\u003c\/em\u003e\u003c\/span\u003e, in which he elaborates on the process of creating a land use inventory and developing land use plans based on it, a project carried out by the Erzurum Metropolitan Municipality.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/span\u003eMehmet Sekmen describes the aim and scope of the project, which he defines as \"a pioneering and leading work in the history of Turkish municipalities, undertaken for the entire rural and urban areas within the jurisdiction of the Metropolitan Municipality,\" as follows:\u003c\/p\u003e\n\u003cp\u003e\"Based on the legal and institutional regulations introduced by Metropolitan Municipality Law No. 6360, Soil Protection and Land Use Law No. 5403, and the Regulation on the Preparation of Spatial Plans, studies initiated in 2020 by Erzurum Metropolitan Municipality with a comprehensive and holistic understanding of land management in rural and urban areas across the entire provincial borders were completed in 2023, resulting in the preparation of the '1\/25,000 Scale Inventory Study on Land Management and Use in the Entire Administrative Borders of Erzurum Province and the Associated 1\/25,000 Scale Geological Survey Report for Land Use and the 1\/25,000 Scale Master Development Plan.'\u003c\/p\u003e\n\u003cp\u003eThe said study aims to manage lands across the entire province, especially in urban and rural areas, by creating an up-to-date and accurate land information database showing rural properties, based on standard 1\/25,000 scale topographic maps. It also encompasses land use planning based on natural threshold analyses and synthesis studies, and the determination of correct and sustainable development strategies for both urban and rural areas. Within this framework, the 'Erzurum Province 1\/25,000 Scale Land Use Plan for Land Management' was prepared with the aim of ensuring coordination with all authorized and relevant public institutions and organizations for land use planning.\u003c\/p\u003e\n\u003cp\u003eThis study holds importance as a fundamental strategic work for the functionality of the 'Erzurum Land Management System,' which aims to determine areas to be protected and avoided, including rural areas; plan land use; secure sustainable production; develop solutions for improvement; and prepare land policies based on rational land use to ensure urban and rural development.\u003c\/p\u003e\n\u003cp\u003eWith the Erzurum 1\/25,000 Scale Land Use Plan for Land Management, implemented with an understanding of the Erzurum Land Management System, fundamental sectoral strategies for agriculture, industry, transportation and logistics, energy, mining and geothermal, forestry, and tourism have been determined to enhance sectoral potentials. In addition to these fundamental strategies, \u003cstrong\u003eurban transformation practices\u003c\/strong\u003e play a significant role in ensuring the \u003cstrong\u003ecorrect direction of urban development throughout the province\u003c\/strong\u003e and in organizing planned and livable settlement areas. The correct direction of urban development can only be achieved by identifying suitable reserve areas needed in \u003cstrong\u003ezoning and urban transformation practices\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eWithin the framework of \"Erzurum Urban Transformation Strategy,\" implementation-oriented regulations were determined, and a roadmap was created, based on strategies that will enable the transition from the master scale 1\/25,000 land use plan to the 1\/1,000 implementation scale.\u003c\/p\u003e\n\u003cp\u003eIn Erzurum, we are continuing urban renewal and transformation efforts to contribute to the spatial and socio-cultural development of the city by addressing its problematic areas. For our ancient city of Erzurum, one of the crossroads of the historical 'Silk Road,' we have aimed to revive and develop lost economic activities under Turkish conditions based on the principle of civilizational vision, to ensure social integration in \u003cstrong\u003eslum and risky areas\u003c\/strong\u003e, and to establish \u003cstrong\u003esocio-economic balance\u003c\/strong\u003e along with both physical and \u003cstrong\u003elife and property safety\u003c\/strong\u003e. In the developing global scale, countries, cities, districts, and even neighborhoods now win and develop through the 'attraction' factor. This is what we are trying to achieve in Erzurum.\u003c\/p\u003e\n\u003cp\u003eAlong this path, we have been carrying out our urban transformation efforts since 2014. \u003cstrong\u003eIn this process, it has become clear that urban transformation must be approached with a holistic perspective, considering its legal, technical, economic, and social dimensions, and fundamental policies and strategies must be set forth for the entire province.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWithin the scope of the 2023 vision of the Ministry of Environment, Urbanization and Climate Change, 'Principles and Guidelines for the Preparation of the Urban Transformation Strategy Document' were determined and put into effect in 2019 to guide urban transformation practices. Thus, it became mandatory for administrations at the provincial and district level to prepare an urban transformation strategy document.\u003c\/p\u003e\n\u003cp\u003eOf course, being able to regulate and manage urban transformation practices requires \u003cstrong\u003ea perspective that can address the issue throughout the province and a series of methods associated with it\u003c\/strong\u003e. In this regard, our Erzurum Metropolitan Municipality initiated the 'Erzurum Urban Transformation Strategy Document' studies in 2023 to serve as a basis for the 'Erzurum Earthquake Master Plan.'\u003c\/p\u003e\n\u003cp\u003eAs a result of studies ongoing since 2020, a spatial data and information infrastructure has been prepared for the transition from the master scale to the implementation scale with the Erzurum province 1\/25,000 scale land use plan. In line with the strategy plans prepared within the scope of the 1\/25,000 scale land use plan, we are making step-by-step progress towards our goals of making Erzurum a center of attraction and a priority liveable city.\u003c\/p\u003e\n\u003cp\u003eKey issues such as urban analysis throughout the province, prioritization of transformation areas, determination of legal bases, management and methods of financing, and determination of urban design principles are important, especially in areas at risk of disaster.\u003c\/p\u003e\n\u003cp\u003eThe 'Erzurum Urban Transformation Strategy Document' has been prepared within the scope of the Risky Area, Reserve Building Area, and Urban Transformation and Development Project Area applications carried out and planned by the Erzurum Metropolitan Municipality to provide a livable and sustainable urban life in areas that are contrary to zoning legislation, have completed their structural life, have lost their physical durability, are at risk of collapse, have insufficient technical infrastructure, lack recreational facilities, and have ownership disputes.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Erzurum Urban Transformation Strategy Document Based on Land Management;\u003c\/strong\u003e brings a holistic approach that includes fundamental strategic decisions for urban transformation practices to be carried out throughout the settlements within the jurisdictional boundaries of the Metropolitan Municipality, is compatible with master plans, and is based on \u003cstrong\u003evalue-based transformation\u003c\/strong\u003e. The aim is to ensure organization and coordination in the implementation of urban transformation projects with 1\/5,000 and 1\/1,000 scale plans at the implementation scale, in line with the 1\/25,000 Scale Erzurum Land Use Plan and the associated fundamental strategy plans.\u003cstrong\u003e”\u003c\/strong\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206015731,"sku":"9786257008846","price":315.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/ERZURUMKITABI_ONKAPAK.jpg?v=1709667497"},{"product_id":"ona-tasarimda-kultur-mekan-ve-doga-culture-space-and-nature-in-design","title":"ONA - Culture, Space and Nature in Design","description":"\u003cp\u003e\u003ca href=\"https:\/\/ontasarim.com.tr\/\" target=\"_blank\" rel=\"noopener\"\u003eon tasarım\u003c\/a\u003e’ın projelerinden yola çıkarak hazırlanan, Cumhuriyetimizin 100. yaşında Atatürk’e bir saygı duruşu niteliği taşıyan ONA - Tasarımda Kültür, Mekân ve Doğa \/ Culture, Space and Nature in Design adlı kitap YEM Yayın tarafından yayımlandı.\u003c\/p\u003e\n\u003cp\u003ePeyzaj mimarlığı mesleğine, tüm mimarlık ve planlama dünyasına bir katkı sunma amacıyla hazırlanan kitapta on tasarım’ın daha önce yayınlanmamış peyzaj tasarımı ve kentsel tasarım projeleri yer alıyor. Farklı ölçeklerde, farklı gereklilikler için hazırlanan projeler “kültür-bellek, doğa-koruma, meydan-sokak, kıyı-liman, park-bahçe, eğitim-sağlık ve konut-ticaret” başlıkları altında sunuluyor. İstanbul Tarihi Yarımada, Kara Surları, Galataport, deprem sonrası Hatay, Haydarpaşa Garı, Atatürk Orman Çiftliği, Gelibolu gibi son dönem üzerlerinde sıkça konuşulan, tartışılan tarihi ve kentsel dokular için geliştirilmiş projelerin de yer aldığı tam 65 tasarım metinleri, çizimleri ve renkli fotoğraflar eşliğinde sunuluyor.\u003c\/p\u003e\n\u003cp\u003eS. Ayşegül Tokol’un editörlüğünde, Deniz Gündoğan tarafından tasarlanarak Türkçe ve İngilizce olarak yayına hazırlanan kitaba ilişkin on tasarım’ın kurucusu Oktan Nalbantoğlu şunları söylüyor:\u003cbr\u003e“on tasarım olarak, kentlerin ve kentin asli unsurları olan kamusal mekânların özgün değerlerinin ve bağlamının korunmasının yurttaş olma bilincine katkı sağladığını, demokrasi, eşitlik ve özgürlüğe öncelik veren bir değer olduğunu her platformda savunduk ve bu yaklaşımın hem düşünce hem de uygulamada sağlam temellere oturtulması için büyük çaba gösterdik. Bu çabanın sanat, mimarlık, mühendislik ve planlama ideolojisini, pratiğini beslediğine ve kentli olmaya katkıda bulunduğuna inanıyoruz. .....\u003cbr\u003eKitabımız ‘ona’ da kavramsal proje gruplamasının sebebi bu ikinci dönemde yayınlanmamış ve bölüm aralarındaki düşünceler ve sözlere ilişkin bir sınıflama yapmaktır. Sadece akademik ve mesleki konferans sunuşlarından, makale ve söyleşilerden parçalar değil, her zaman on tasarım’da proje başlangıçlarında fikir ve araştırmayla yola çıkılmasından hareketle oluşturduğumuz bölüm aralarındaki düşünceler ve sözler, kısa alıntılar, kitabın içeriğine de referans vermekte. Metin ve görsel ilişkisini yarışmalarda da konsept ve uygulama projelerinde de hep önemsedik. \u003cbr\u003eSize keyifle sunduğumuz bu kitap peyzaj mimarlığı, kentsel tasarım, planlama ve mimarlık projelerinin büyülü dünyasına bir kapı aralıyor. Hikâyeleri, planlama ve tasarım yaklaşımlarını en yalın şekliyle anlatmaya çalıştığımız projelerin hem meslektaş adayları ve mesleğe yeni başlayanlar için bir rehber niteliği taşımasını hem de deneyimli profesyoneller için ilham kaynağı olmasını ümit ediyoruz. \u003cbr\u003eAtamızın anısına saygıyla…”\u003c\/p\u003e\n\u003cp\u003eOKTAN NALBANTOĞLU Kimdir?\u003cbr\u003eOktan Nalbantoğlu 1963 yılında Van’ın Erciş ilçesinde doğdu. İlk, orta ve lise öğrenimini Ankara’da tamamladıktan sonra 1986 yılında Ankara Üniversitesi Peyzaj Mimarlığı Bölümü’nden mezun oldu. Sırasıyla 1988 ve 1997 yıllarında yüksek lisans ve doktora programlarını aynı üniversitede tamamladı.\u003cbr\u003eHalen Bilkent Üniversitesi Güzel Sanatlar, Tasarım ve Mimarlık Fakültesi, Kentsel Tasarım ve Peyzaj Mimarlığı Bölümü’nde görev yapan, tasarım stüdyosu ve mesleki uygulama derslerini yürüten Oktan Nalbantoğlu, on tasarım Kentsel Tasarım, Peyzaj Mimarlığı ve Mimarlık firmasının kurucusu ve sahibidir. \u003cbr\u003eNalbantoğlu, mezun olduktan sonra çeşitli kamu ve özel sektör kuruluşlarında, yerel yönetim bünyesindeki tasarım ve uygulama ofislerinde ve uluslararası şirketlerde çalışmıştır. Otuz yılı aşkın bu sürede ulusal ve uluslararası birçok yarışmada ödüller almış, jüri üyeliği yapmış ve çok sayıda uygulama projesi gerçekleştirmiştir. Çeşitli konferans, toplantı ve seminerlere katılan Oktan Nalbantoğlu, çağrılı konuşmacı, panel ve atölye yürütücüsü ve düzenleyicisi olarak meslek ve eğitim hayatına katkılarda bulunmuştur.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe book titled ONA - Culture, Space and Nature in Design, prepared from the projects of “on tasarım” and which is a tribute to Atatürk on the 100th anniversary of Türkiye Republic, was published by YEM Publishing.\u003c\/p\u003e\n\u003cp\u003eThe book, which was prepared with the aim of contributing to the profession of landscape architecture and the entire world of architecture and planning, includes on design's previously unpublished landscape design and urban design projects. The projects prepared for different scales and different requirements are presented under the titles of \"culture-memory, nature- preservation, square-street, waterfront-port, park-garden, education-health and housing-commerce\". Exactly 65 design texts, drawings and color photographs are presented, including projects developed for historical and urban textures that have been frequently discussed and debated in recent times such as Istanbul Historical Peninsula, Land Walls, Galataport, post-earthquake Hatay, Haydarpaşa Train Station, Atatürk Forest Farm, Gallipoli Peninsula.\u003cbr\u003eOktan Nalbantoğlu, the founder of on tasarım, says the following about the book, which was prepared for publication in Turkish and English under the editorship of S. Ayşegül Tokol and designed by Deniz Gündoğan:\u003cbr\u003e“As on tasarım, we have consistently advocated that preserving the unique values and context of cities and of public spaces that are essential factors of cities, contributes to awareness of citizenship, assets and priorities of democracy, equality, and freedom. We have made great efforts to establish solid foundations for this approach both in theory and practice. We believe that this effort nourishes the ideology and practice of art, architecture, engineering, and planning, and contributes to urbanity. .....\u003cbr\u003eIn our book ‘ona’ the reason for conceptual projectchapters is to classify unpublished materials from this second period and thoughts and words between sections. Those thoughts and words that we have placed between project chapters are not only quotations from academic and professional conference presentations, articles, and interviews, but also parallel to the very notion that we have a design idea and research at the beginning of every project, providing a reference to the content of the book. We have always paid attention to the synchronization of the text and visuals and their relationships, both in competition entries and in conceptual and implementation projects.\u003cbr\u003eThis book, that we present to you with pleasure, opens a door to the magical world of landscape architecture, urban design, planning, and architecture projects. We hope that stories, planning and design approaches we have tried to convey in their purest forms, will serve as a guide for both aspiring colleagues and youngsters of our professions, as well as a source of inspiration for experienced professionals.\u003cbr\u003eWith respect to the memory of Atatürk…”\u003c\/p\u003e\n\u003cp\u003eAbout OKTAN NALBANTOGLU\u003cbr\u003eOktan Nalbantoğlu was born in the Erciş district of Van Province in 1963. After completing his primary and secondary education in Ankara, he graduated from Ankara University’s Department of Landscape Architecture in 1986, and received his Master’s (1988) and Doctoral degrees (1997) form the same university. \u003cbr\u003eCurrently, Oktan Nalbantoğlu teaches design studios as well as professional and technical courses as a faculty member of Bilkent University, Faculty of Art, Design and Architecture, Department of Urban Design and Landscape Architecture; and is the owner of on design Urban Design, Landscape Architecture and Architecture Co. \u003cbr\u003eUpon his graduation, Nalbantoğlu worked in various government and private institutions, in design and practice offices within the aegis of local governments and in international companies. He has received awards from and served as a jury member in many national and international competitions and produced many realized projects. Having attended various conferences, meetings and seminars, Nalbantoğlu has also served in professional and academic circles as invited speaker, workshop and panel leader and organizer.\u003cbr\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209226995,"sku":"9786257008532","price":1050.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/ONA_YEM_KAPAK.jpg?v=1725526007"},{"product_id":"bodrum-halikarnassos-1965-1991","title":"Bodrum Halikarnassos (1965-1991)","description":"\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eProfessor Dr. \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eReha Günay's new book, “A Journey Through The Triditional Architecture 1: BODRUM HALIKARNASSOS (1965-1991)”, which he created by using his identity as both a traditional architecture expert and a photographer, was published by YEM Publishing in cooperation with Bodrum Municipality.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eReha Günay, who has always worked in many ways for many years, meticulously researched and produced with an artistic perspective, conveys Bodrum, the tourism capital of Turkey, in this work with his original black and white photographs taken between 1965-1991 and its traditional architectural features. Günay's impressions and determinations of traditional Bodrum architecture are given in 10 sections under the titles of \"BODRUM PENINSULA, BODRUM, MÜSKEBİ, TURGUTREİS, YALIKAVAK, GÜMÜŞLÜK, KARAKAYA, AKYARLAR, FRONT PORCH PERGOLAS and DEMIR HOLIDAY RESORT\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eProfessor Dr. \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"MsoSubtleEmphasis\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eReha Günay: \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"MsoSubtleEmphasis\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; font-style: normal;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan class=\"MsoSubtleEmphasis\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e“\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eThe Bodrum (Halikarnassos) Peninsula, due to transportation difficulties, remained isolated from the political and cultural environment of the Middle Ages and the mainland Anatolia, where significant changes occurred for centuries. This isolation endured until the construction of a highway in the 1930s, granting limited access to motor vehicles. In the 1960s, the opening of a new highway suddenly exposed the peninsula to a large-scale impact from the booming tourism activities. Whilst the peninsula maintained its settlement texture suitable to its own way of life for centuries, this mobility almost obliterated the traditional texture.\u003cspan class=\"MsoSubtleEmphasis\"\u003e \u003c\/span\u003e\u003cspan class=\"MsoSubtleEmphasis\"\u003e\u003cspan style=\"font-style: normal;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eThis book presents observations and visuals from the period of around 1965 to 1991, with a few from 2011, capturing the early stages of disruption. With minimal external influence within environmental conditions, this unique and straightforward architectural and settlement texture, perhaps carrying traces of a history spanning thousands of years, directly connected us to nature and humanity. A comparison with the current situation reflects the harsh dimensions of change. Recognizing many places has now become almost impossible…”\u003cspan class=\"MsoSubtleEmphasis\"\u003e\u003cspan style=\"font-style: normal;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan class=\"MsoSubtleEmphasis\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; font-style: normal;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eAhmet ARAS\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e (\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eMayor of Muğla Metropolitan Municipality\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e):\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eProfessor Dr. Reha Günay, with around his 30 books discussing key examples of traditional architecture, regional architectural studies and curated exhibitions, is creating and documenting significant reference sources in the field of urban identity and urban memory.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eIn his book \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e‘\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eA Journey Through The Traditional Architecture • 1: BODRUM HALIKARNASSOS (1965-1991)\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e’\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e, Günay projects images through the lens of his camera, documenting fading examples of Bodrum’s traditional architecture and way of life, helping us refresh our memory.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eIn his work, Prof. Dr. Günay refers to the works of Cengiz Bektaş’s \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e‘\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eAn Example from Folk Architecture Art: Bodrum\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e’\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e, Nezih R. Aysel’s \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e‘\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eBodrum: Müsgebi\/Ortakent. An Architectural Study\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e’\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e and Suha Özkan \u0026amp; Richard Plunz’s \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e‘\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eTurgutreis 1974\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e’\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e published with contributions from Bodrum Municipality which was also translated into English.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eStudying the examples of Chios-style houses, houses with \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003emusandıra\u003cspan class=\"MsoHyperlinkFollowed\"\u003e (mezzanine) and tower-type houses specific to Bodrum Architecture; Professor Dr. Günay, describing nearly forgotten concepts of Bodrum domestic life like \u003c\/span\u003eayazlık, çanaklık, yunmalık, yüklük\u003cspan class=\"MsoHyperlinkFollowed\"\u003e and terek, narrates the traditional architecture of the Müsgebi neighborhood, where my childhood unfolded\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cspan style=\"font-family: 'Arial',sans-serif;\"\u003e: ‘\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003eIn the end, everyone is equal and shows mutual respect. No one hinders anyone else’s view or breeze. No one strives to flaunt their home and makes others envious. Unfortunately, these communal values are no longer part of us.\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cspan style=\"font-family: 'Arial',sans-serif;\"\u003e’\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eWe are delighted to be involved in the publication of \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e‘\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eA Journey Through The Traditional Architecture • 1: BODRUM HALIKARNASSOS (1965-1991)\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e’\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e. I thank Umut Ülkümen, who directly contributed to the publication of the book and appreciate the valuable efforts of Professor Dr. Suha Özkan, the mind behind Bodrum Architecture Library, YEM Publishing and my colleagues.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan class=\"MsoHyperlinkFollowed\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eI do not wish my childhood and the Bodrum of my childhood to fade away. I do not wish ours to be a generation with a forgotten past, watching Bodrum with a heavy heart\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"regular\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e…”\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eThe graphic design of the book was done by Gökçen Yanlı Atmaca, the English translation was done by Timur Altıok, and the proofreading was done by Şefik Onat.\u003cspan class=\"PlainTable31\"\u003e\u003cspan style=\"font-style: normal;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48510029791475,"sku":"9786257008907","price":2100.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/BODRUM_ENGLISH_KAPAK_ab52f904-7489-4236-87c2-7f2029c413c5.jpg?v=1728956924"},{"product_id":"ekrem-erk-mimarligi-the-architecture-of-ekrem-erk","title":"Ekrem Erk Architecture","description":"\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003eThe book titled \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt; mso-ansi-language: EN-GB;\"\u003eEkrem Erk\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .2pt; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .4pt; mso-ansi-language: EN-GB;\"\u003eMimarlığı\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .2pt; mso-ansi-language: EN-GB;\"\u003e \/ \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .4pt; mso-ansi-language: EN-GB;\"\u003eThe Architecture of\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .2pt; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003ci\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt; mso-ansi-language: EN-GB;\"\u003eEkrem Erk\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt; mso-ansi-language: EN-GB;\"\u003e, which presents architect Ekrem Erk’s architectural journey based in Istanbul and Vienna since the 1970s through his projects, was published in Turkish and English by YEM Yayın.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt; mso-ansi-language: EN-GB;\"\u003eTo read Ekrem Erk’s perspective on architecture from his own and his colleagues’ writings:\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003eEKREM ERK:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003e “\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .3pt;\"\u003eWhat is good architecture? I cannot define it to you. Here, I only want to talk about the issues I valued or was late in valuing in my architectural journey, and my design actions. In doing so, I do not want to give an ideological meaning to architecture. Human existence develops in connection with individual freedom. One creates one’s own values in a certain environment. The existence of design should also emerge with a certain technique and method. That is, it should be the result of a mental activity. The melting pot where our emotions and thoughts meet expresses culture. Here, there is a balance between our emotions and thoughts. For the designer to pursue a dream by utilizing his emotions is a creative phenomenon. It is preconceived; it is authoritarian. However, the earth and the social environment should not be left to the irresponsibility of someone being creative for others. \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt;\"\u003eArchitecture, on the other hand, is the realization of an ideal program, spatial fiction, innovative techniques, and poetic details within an analytical context. Design should be an invention achieved at the end of such a process. This result is original and unique. Every design must have a scenario. The fairy tale imagined by the architect is a whole that brings together all our knowledge, education, technical, and sociological accumulations…”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; mso-ansi-language: EN-GB;\"\u003eUTE NEUGEBAUER: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003e“In all his designs, Ekrem Erk tries to find a common path by navigating between functionality, design, and the client’s own history. A timeless architectural approach that always embodies architectural values, independent of fashion trends, and the desire to offer added value to the client... Erk approaches every design, and thus every client, with the same utmost attention, persistence, and joy of creation, regardless of its dimensions, architectural presence, and ostentation. With a love for detail and unobtrusive perfectionism...”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt;\"\u003eMEHMET KONURALP:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .25pt;\"\u003e “Among his designs, small house projects have been my favorite works. The houses he built were meaningful projects for me. In particular, his interpretation of stone houses held a very important place in his work... \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .3pt;\"\u003eEkrem Erk has taken a leading position in Turkish architecture with the projects he has carried out for over 35 years...”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .35pt;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003eEBRU KAYA:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif;\"\u003e“His first encounter with the profession of architecture came through his mentor, Prof. Dr. Bülent Özer. His mentor would now be his guide. The rebellion in his soul had found a path with Bülent Özer’s contribution. This path led him to Graz University of Technology in the early 70s. Those were the times when a movement or architectural search called “Grazer Schule” (Graz School) became distinct. The architects involved in this search were close friends and mostly shared the same drawing studio... \u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: black; mso-themecolor: text1; letter-spacing: .3pt;\"\u003eDuring the work processes I spent with him, I always witnessed that innovation and distinctiveness were not sought in form and space. Distinctiveness was hidden in the concept and the scenario of the building design. The design was already a result of that story. The first stage of our work was to transform a strong story into a perfect scenario with sociological criteria. This concept is now structured through the process of imitating examples in nature. Just as the creation concepts of ducks and dolphins differ; neither a dolphin resembles a duck, nor a duck resembles a dolphin or a seagull. Erk’s design process is like the creation process of living things. Just as whether these creatures are aesthetic or not is not judged, airplane, helicopter, and building design cannot be questioned with aesthetic criteria. The design of a building for which a scenario has been prepared consists of a skeleton and skin. All of this is now an engineering process; space is secondary; it is the remaining place under the cover or inside the skin and is very often anonymous. For Erk, architecture is not the art of creating space; it is a sociologically based fiction and the magic of engineering. He is happy that both fiction and engineering are open to innovations... I strongly advise my young architect colleagues and architecture students, in particular, to engage in a professional conversation with him.”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .35pt;\"\u003e-------------------------------------\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .35pt;\"\u003eThe book titled \u003ci\u003eEkrem Erk Mimarlığı \/ The Architecture of Ekrem Erk\u003c\/i\u003e, which has been based in Istanbul and Vienna since the 1970s, through his projects, was published in Turkish and English by YEM Yayın.\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .35pt;\"\u003eIf we read Ekrem Erk's perspective on architecture from both his own and his colleagues' pens:\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINTR\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003eEKREM ERK\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003e: “One difficult question is “What is fine architecture?” It is very difficult to give a precise answer to this question. My purpose in this book is to inform the reader about my architectural journey; my ideas and my concepts of importance, also concepts that I have been late in giving a response to, and to describe my acts of design. In doing so, I refrain from giving an ideological meaning to architecture. The existence of humanity develops in correlation with the level of his existence of freedom. All humans create their set of values in a certain environment. The design stage must be a product of technology and method, it must also be the result of just rational thinking. The synthesis where our feelings and decisions meet represents our culture. There must be a certain balance between our feelings and decisions. On one hand, the designer using his feelings, creating a vision and his dream is the describer of creativity. He is preguided and authoritative. On the other hand, the world and social community must not be left in the hands of an authority demonstrating his creativity on behalf of others. \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .15pt; mso-ansi-language: EN-GB;\"\u003eArchitecture can be described as defining the “room” by the usage of innovative techniques and poetic details with the help of an analytical mind. The design must be real and the end result of such a process. This result is unique. Each design must have a scenario. The story told by the architect is a resume and result of his knowledge, education, background and usage of technology with a sociological point of view...” \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINEN\"\u003e\u003cb\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003eUTE NEUGEBAUER: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .35pt;\"\u003e“In all his designs, Ekrem Erk tries to find a common path by navigating between functionality, design and the customer’s own history. A timeless architectural approach that always carries architectural values, independent of fashion trends, and the desire to offer added values to the customer... Regardless of its size, architectural presence and ostentation, it treats every design, and thus every client, with the same utmost attention, persistence and joy of creation. With love of detail and unobtrusive perfectionism...”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINEN\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .25pt;\"\u003eMEHMET KONURALP:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .25pt;\"\u003e “\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003eAs a result, he produced very positive projects and brought them to the present day. In almost all of his projects, there was a common idea that was previously structured. This conceptual view has always been the main basis for all his projects… Ekrem Erk has taken a leading place in Turkish architecture with the projects he has done for more than 35 years…”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"METINEN\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128;\"\u003eEBRU KAYA:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003e“His first encounter with the profession of architecture was thru his teacher Prof.Dr. Bülent Özer. Bülent Özer has always been a mentor in his life and has been the person who discovered the tempests in his soul and has quided him for finding an outcome. A second start in his career was with his new start at Graz Technical University at the beginning of 70s. Those years were the period when the search for a movement of architecture called ‘Grazer Schule’ (Graz School) became evident. The architects involved in this movement are close friends and most of them shared the same drawing room… \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .1pt; mso-ansi-language: EN-GB;\"\u003eDuring the working process I spent with him, I witnessed that innovation and difference are not always sought in form and space. Difference; It was hidden in the scenario of the concept and building design. The design was already a result of that story. The first stage of our work was to transform a strong story into a perfect scenario with sociological criteria.\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .1pt; mso-ansi-language: EN-GB;\"\u003eThis concept is now structured through the process of imitating examples in nature. Just as the creation concepts of ducks and dolphins differ, neither a dolphin resembles a duck nor a duck resembles a dolphin or a seagull. Erk’s design process is like the creation process of living things. Just as it is not possible to judge whether these creatures are aesthetic or not, the design of aircraft, helicopters and buildings cannot be questioned with aesthetic criteria. The design of a building with a scenario prepared consists of skeleton and skin. All this is now an engineering process, space is secondary. It is the leftover place under the covers or inside the skin and is often anonymous.\u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; color: gray; mso-themecolor: background1; mso-themeshade: 128; letter-spacing: .1pt; mso-ansi-language: EN-GB;\"\u003eFor Erk, architecture is not the art of creating space, it is a sociologically based fiction combined with the magic of engineering. He is happy that both the design and the engineering are innovative… I highly recommend my young architect colleagues and architecture students to attend a professional conversation with him.”\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"MsoNormal\" style=\"text-align: justify;\"\u003e\u003cspan class=\"PlainTable31\"\u003e\u003cspan style=\"font-size: 11.0pt; font-family: 'Arial',sans-serif; font-style: normal;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206834931,"sku":"9786257008884","price":630.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/EKREMERK_KAPAK.jpg?v=1729172695"}],"url":"https:\/\/yemkitabevi.com\/en-us\/collections\/sponsorlu-kitaplar\/basimtarihi_subat-2024.oembed","provider":"YEM Kitabevi","version":"1.0","type":"link"}