{"title":"Publications in Foreign Languages","description":"","products":[{"product_id":"mimarlik-form-ve-geometri","title":"Architecture, Form and Geometry","description":"\u003cp data-start=\"0\" data-end=\"443\"\u003eIn this book, Prof. Dr. Esen Onat systematically presents and illustrates the fundamental techniques and approaches in the process of generating architectural forms by utilizing and processing three-dimensional geometric primitive forms.\u003c\/p\u003e\n\u003cp data-start=\"0\" data-end=\"443\"\u003eThe mass form of a building is a multifaceted phenomenon that carries functional, spatial, spiritual, symbolic, and semantic predicates, determining the architectural product's relationship with its physical and social environment. For this reason, the decision regarding form is one of the most sensitive issues for architects.\u003cbr data-start=\"704\" data-end=\"707\"\u003e\u003c\/p\u003e\n\u003cp data-start=\"0\" data-end=\"443\"\u003eConsidering that all forms can be derived from basic geometric shapes, the main purpose of this study is to introduce the techniques of processing and using the primitive geometric forms that everyone knows, and to exemplify that these forms have been used with similar techniques despite changing needs, technologies and trends from past to present.\u003cbr data-start=\"1319\" data-end=\"1322\"\u003e\u003c\/p\u003e\n\u003cp data-start=\"0\" data-end=\"443\"\u003e\u003cbr data-start=\"216\" data-end=\"219\"\u003e\u003cem\u003eIn this book, Prof. Dr. Esen Onat systematically presents and illustrates the fundamental techniques and approaches for generating architectural forms by utilizing and transforming three-dimensional geometric primitives.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"445\" data-end=\"992\"\u003e\u003cem\u003eThe mass form of a building is a multifaceted phenomenon that carries functional, spatial, spiritual, symbolic, and semantic attributes, shaping its relationship with both the physical and social environment. For this reason, it is one of the most critical concerns for architects.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"994\" data-end=\"1736\" data-is-last-node=\"\"\u003e\u003cem\u003eGiven that all forms can be derived from fundamental geometric shapes, this study primarily aims to introduce the basic techniques for processing and utilizing these universally recognized geometric forms. Additionally, it seeks to demonstrate that, despite evolving needs, technologies, and trends over time, these geometric primitives have consistently been applied using similar techniques throughout history.\u003c\/em\u003e\u003c\/p\u003e","brand":"Efil Yayınevi","offers":[{"title":"Default Title","offer_id":39408965189827,"sku":"9786054334339","price":360.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Screenshot_4.png?v=1739410425"},{"product_id":"tasarim-egitiminde-bicim-uretme_350831-html","title":"Form Generation in Design Education","description":"\u003cdiv\u003e\u003cspan\u003e\"Form Generation in Design Education\" is a study centered on the questions of how form is generated in architecture and design education, and through which intellectual and pedagogical processes form emerges. The book examines the search for form conducted in design studios not merely through aesthetic outcomes, but in the context of educational methods, production processes, and conceptual approaches.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eIn this work, the concept of form finding is explored by associating it with experimental studies, production techniques, and modes of thinking used in design education. The idea that form is not a predetermined outcome, but rather a production practice that develops through processes of research, experimentation, and feedback, is emphasized. This approach provides a framework for understanding both the pedagogical structure of design education and the student-instructor interaction.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\u003c!--nl营造\u003cdiv\u003e\u003cspan\u003eWithout limiting the processes of form generation in design education to theoretical discussions, the book addresses them through examples related to educational practice, thus creating a reference resource for studio work conducted in architecture and design disciplines. In this respect, the work offers a focused and field-specific examination for readers who wish to understand the methodological infrastructure of design education.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eWho is this for?\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e\u003cspan\u003eStudents studying in architecture and design departments\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003eAcademics leading design studios\u003c\/li\u003e\n\n\u003cli\u003eResearchers interested in form generation and form finding processes\u003c\/li\u003e\n\n\u003cli\u003eReaders examining methods and pedagogy in design education\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\n\u003c\/div\u003e","brand":"Gece Akademi","offers":[{"title":"Default Title","offer_id":39408982196419,"sku":"9786057623553","price":319.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786057623553.jpg?v=1616017624"},{"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":"mimarlik-ve-yapi-sozlugu","title":"Mimarlık ve Yapı Sözlüğü \/ Dictionary of Architecture and Building - 12th Edition","description":"\u003cp data-mce-fragment=\"1\"\u003eThe 12th edition of Doğan Hasol's \u003cem data-mce-fragment=\"1\"\u003eMimarlık ve Yapı Sözlüğü \/ Dictionary of Architecture and Building\u003c\/em\u003e, an indispensable reference for architecture and design education in Turkey, has been published by YEM Yayın. Doğan Hasol is the first name that comes to mind in Turkey when \"architecture dictionary\" is mentioned.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe dictionary consists of two parts: the first part provides Turkish equivalents for English words and terms, and the second part provides English equivalents for Turkish words. The English-Turkish \/ Turkish-English \u003cem data-mce-fragment=\"1\"\u003eMimarlık ve Yapı Sözlüğü \/ Dictionary of Architecture and Building\u003c\/em\u003e, whose content is reviewed and developed in almost every edition, consists of approximately 30,000 terms.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDoğan Hasol summarizes his reason for undertaking such an important and difficult work as follows:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“The widespread use of English throughout the world, and the fact that countries now use English as an indispensable tool to open up to the outside world, has increased the need for such a dictionary.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDuring this study, the English and Turkish words and terms in the old dictionary were reviewed once again, and new ones were added to them.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDevelopments in knowledge and technology, and innovations introduced into our lives, lead to the emergence of new words and terms. Thus, languages also develop. The age of communication and information we live in necessitates the compilation of equivalents of terms that form the basis of all kinds of technical, cultural, commercial, etc. relations in various languages. It is undoubtedly true that this work, which is a response to this necessity, will facilitate and accelerate the flow of information, help to better and more accurately understand texts in the relevant languages, and help technical people speaking those languages to better understand each other.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis dictionary aims to compile the words and terms of the professional language used by architects and people working in the construction sector in design and application. For this reason, along with words and terms from history, most of which are related to 'form,' 'function,' 'style,' and 'movements,' current technology and material terms are also given equal weight. For explanations and detailed information on words, \u003cem data-mce-fragment=\"1\"\u003eAnsiklopedik Mimarlık Sözlüğü\u003c\/em\u003e, which is the natural complement to this dictionary, can be utilized.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHopefully, it will be useful to its users.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDoğan Hasol is well known for his indispensable dictionaries of architectural and building terms, the first of which was \u003cem data-mce-fragment=\"1\"\u003eAnsiklopedik Mimarlık Sözlüğü\u003c\/em\u003e (Encyclopedic Dictionary of Architecture) published in 1975. This was followed by English-French-Turkish dictionaries of architectural and building terms.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis publication is the 9\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e edition of his English-Turkish \/ Turkish-English \u003cem data-mce-fragment=\"1\"\u003eMimarlık ve Yapı Sözlüğü \/ Dictionary of Architecture and Building\u003c\/em\u003e, which has been continuously expanded and revised over the years.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDoğan Hasol was prompted to undertake this important and challenging task because, as he explains, it is essential to understand the terms that form the basis of technical, cultural and commercial relations in this age of communication and information. This work is a response to this imperative.\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":48410992181491,"sku":"9786257008129","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Mimarlik_ve_Yapi_Sozlugu_KAPAK_11BASKI.jpg?v=1729159800"},{"product_id":"aalto-modern-finnish-architecture","title":"Aalto - Modern Finnish Architecture","description":"\u003cspan data-mce-fragment=\"1\"\u003eAlvar Aalto is accepted as one of the most influential modernist Scandinavian architects, even surpassing the other Scandinavian architects preceding him. Sigfried Giedion, architecture historian, establishes the link between Aalto and Finland, his country of origin, by stating that ‘‘Finland is with Aalto wherever he goes’’ in this book’s second edition on modern architecture titled Space, Time and Architecture:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe growth of a new tradition (1949). That’s a reason why our book on Modern Finnish Architecture is mainly structured around Alvar Aalto. On the other hand, you will not find a catalog of his buildings but essays from native Finnish researchers with different perspectives on Aalto. While the first essay tries to establish the link between architect and client, the second one questions the historical links of Aalto's architecture. The third essay covers the role of Aalto’s first wife, Aino Aalto, in his design capabilities. And lastly, the architecture of modern church design is explored.\u003c\/span\u003e","brand":"Yeditepe Üniversitesi Yayınevi","offers":[{"title":"Default Title","offer_id":42193400627443,"sku":"9789753070829","price":122.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/0017658_aalto-modern-finnish-architecture.jpg?v=1742400588"},{"product_id":"cennetin-kapilari-gates-of-paradise","title":"Gates of Paradise","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eCENNETİN KAPILARI \/ GATES OF PARADISE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eDivriği Ulucamisi ve Sifahanesi’nde Hürremşah’ın Yontu Sanatı \/ \u003c\/strong\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Sculpture of Hürremşah at Divriği Ulucami and Şifahane\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Prof. Doğan Kuban’s eagerly awaited new edition of the book “Cennetin Kapıları \/ Gates of Paradise”, which describes the unique stone sculptures of Divriği Great Mosque and Hospital within Anatolian architectural development and unrivaled in the history of Islamic art, was published by YEM Publishing with the valuable contributions of Rönesans Holding.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e In the Turkish-English book, accompanied by Cemal Emden's very special photographs, the stone sculptures of Divriği Great Mosque and Hospital, dated 1228\/29, which remained unique in the architectural development in Anatolia and are unparalleled in the history of Islamic art, are presented during the art era known as Anatolian Seljuk Architecture between the 12th and 14th centuries.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDoğan Kuban, in his book examining the position of these sculptures, which have no other parallel in the history of world art as well as in Islamic and Turkish arts, within the universal concept of sculpture, says the following:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“Among the masters of the building, only one’s name, ‘Hürremşah of Ahlat’, is given once in both the mosque and the hospital. It is probable that the design of the buildings and a part of the stone sculptures are the creation of this artist from Ahlat. The sculptural program realized to decorate the monumental portals in the building moved the ornamentation away from its complementary role to the architecture, creating an extraordinary work that sculpted stone carving. It is these sculptural stone carvings that make Divriği art original and famous. However, beyond this aesthetic quality, the North (Qibla) Portal, designed as a virtual Gate of Paradise, is perhaps the only image of a gate of paradise in the history of Islamic art. In this respect, it should have a very important place in Islamic culture.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWestern culture has created a vision of world art history within its own historical expansions, and the art traditions of the entire world are presented with interpretations filtered through the European art vision. In European sculpture history, the subject is fundamentally the human figure. Since the Islamic tradition rejects figurative art as a principle, Islamic stone carving has been evaluated in the category of ornamentation in world art history. Although since the development of the concept of abstract art, the subject of the figure has ceased to be a mandatory feature of the concept of painting and sculpture. However, this situation has neither eliminated the existence nor the effect of a broad theoretical and critical thought based on the tradition of figurative art. Furthermore, the place of Islamic art structures, which have been excluded from the thousands of years of figurative art tradition, is limited in world art history, even if on a universal scale. Divriği sculpture is an art phenomenon unparalleled in Islamic art...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFor the author of this book, the portals of Divriği Great Mosque and Hospital have characteristics that we would place in the category of artistic activity that Western art history defines as 'sculpture'. Although similarities that can be found in sculptural techniques and forms in different cultural environments cannot be considered as stylistic similarities. It has been shown in this book with undeniable examples that the professional encounter between the artist carving the stone and the material leads to similar behaviors.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe comparisons made in this book are illuminating in terms of the character of Hürremşah's sculpture. However, in the Western art tradition where all criteria are based on the 'representation' of the human figure, calling Divriği sculpture 'sculpture' only seems possible when we reach the 20th century.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cstrong\u003eGATES OF PARADISE\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTheSculpture of Hürremşah at Divriği Ulucami and Şifahane\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“The book you are holding in your hand is devoted to the description of the Stones culpture of the Divriği Ulucami and Şifahane (Great Mosque and Hospital of Divriği) (1228\/29), a glorious example of 12\u003csup\u003eth \u003c\/sup\u003eto 14\u003csup\u003eth \u003c\/sup\u003ecentury Anatolian Seljuk architecture and a truly unique phenomenon in the history of Islamic art. Of the craftsmen in volved in the work the name of only one has survived – that of ‘Hürremşah of Ahlat’, whose name appears once in both them osqueand the hospital. It seems probable that this master builder and stone Carver from Ahlat was responsible for the design of the buildings and for the creation of part of the sculpture. He created a sculptural programme for the decoration of the monumental portals which gave the ornamentation a sculptural dimensionan dremoved it from its traditional role as a me resubsidiary element and complement to the architecture. It is this sculptural stone work that is responsible for the unique quality and fame of Divriği art, but besides this aestheticquality, the Qibla portal, designed as an imaginary ‘Gate of Paradise’, is probably the only example of a symbolic paradisegate in thehistory of Islamic architecture. From that point of view, it deserves to be awarded a very important place in Islamic culture...''\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206671091,"sku":"9786257008464","price":875.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/CENNETIN_KAPILARI_3BASKI_ON_KAPAK_YEM.jpg?v=1639734840"},{"product_id":"tangul-akakinci-resme-adanmis-bir-omur-a-life-dedicated-to-painting","title":"Tangül Akakıncı: A Life Dedicated to Painting","description":"\u003cp data-mce-fragment=\"1\"\u003eYEM Yayın has published a new book titled \u003cem data-mce-fragment=\"1\"\u003eTangül Akakıncı: Resme Adanmış Bir Ömür \/ A Life Dedicated to Painting\u003c\/em\u003e, prepared with the aim of introducing the painter Tangül Akakıncı, her approach to art and painting, and her works to art-loving readers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cem data-mce-fragment=\"1\"\u003e“I always had a concern for form; of course, there was also a concern for color, but I especially wanted to create forms I was not used to seeing...”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Tangül Akakıncı is a painter who, despite starting her artistic life in the 1960s in Bedri Rahmi Eyüboğlu's workshop within the State Academy of Fine Arts, continued her art studies for over 50 years with Süleyman Velioğlu. Akakıncı, who was among the founders of the Akatünvel Art Group and passed away in 2021, expressed her understanding of art in depth in an interview with Pelin Özer years ago:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e“My father was a saddler, one of the old masters. In my childhood, I often went to his shop in Eminönü, Küçükpazar, and saw various objects related to the horse world: Circassian saddles, Spanish saddles, whips, harnesses, saddlebags, stirrups... A fascinating, intriguing horse world for a child... I would examine the cutting tools my father used. Imagine a half-moon; a handled tool called a chisel, my father would cut leather with it. A very archaic form, unknown to me, never seen before. An interesting iron tool was also used to beat and thin the leather. Interestingly, what was important to me was always the tools themselves, not the process done with them. Until then, I hadn't seen other tools like these around me, nor did I see them later; such things were not part of my education. I had recorded all of them; I realized this later when forms similar to those forms appeared in my paintings... The journey began this way. The unknown always attracted my attention...\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e... I mostly observed and absorbed monumental rocks. I work in multiple layers to render the stone texture anyway; always by scraping. My father would cut, beat, and fray the leather with his cutting tool. From the beginning, I scraped the paints I worked on layer by layer with a razor blade. Unlike my father, I do the same process with paint. I work in layers, I scrape. After scraping, a new understanding of form emerges, including the composition; the painting changes from its figure to its tone. Then I scrape again, I work again. I never used any tool other than a razor blade. The master used a spatula. We always work on paper. The master would mix white glue with whiting, bring it to a certain consistency, and think about how to place the form he created in his mind on the paper with a spatula, spreading that thick paste. He would start placing colors on it; after placing the colors, if it didn't look right, he would start scraping. I don't use a spatula; I apply the paint with a brush. But when I start scraping, shovelfuls of paint come off; we are perhaps the painters who use the most paint in the world. We work in layers. How many compositions, how many layers can emerge from these, one on top of the other. We start scraping; if it didn't work, if we didn't like it, we would ruin it. Work is done, it finishes or it doesn't. There was never a measure of how long a painting takes. There were paintings we worked on for three years. After the master's death, I tried my best to protect myself. Why did I try to protect myself? From \"just good enough,\" from slacking off, and from being trendy...”\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTANGÜL AKAKINCI: A LIFE DEDICATED TO PAINTING\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“... There was always a form of sensitivity that I had. Of course, there was also color sensitivity, but I especially wanted to create forms with which I was unfamiliar...”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e Tangül Akakıncı is a painter who began her artistic career in the 1960s at the State Academy of Fine Arts, in the atelier of Bedri Rahmi Eyüboğlu, but she continued to work with Süleyman Velioğlu for more than 50 years. In an interview with Pelin Özer, carried out years ago, Tangül Akakıncı, one of the founders of Akatünvel Art Group who passed away in 2021, expresses her understanding of art in detail in depth.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210210035,"sku":"9786257008501","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/TANGUL_AKAKINCI_KAPAK.jpg?v=1650286564"},{"product_id":"pergamon-yunan-harfli-bir-yazi-tipi-tasarimi-a-greek-script-typeface-design","title":"Pergamon \/ A Greek Script Typeface Design","description":"\u003cp\u003eOnur F. Yazıcıgil, a visual communication designer specializing in typography and typeface design, has had his new book, \u003cem\u003ePergamon \/ Yunan Harfli Bir Yazı Tipi Tasarımı \/ A Greek Script Typeface Design\u003c\/em\u003e, published by YEM Yayın.\u003c\/p\u003e\n\u003cp\u003eThe book, which can be described as a cross-section of typography, visual communication design, history, and archaeology, is a product of an \"interdisciplinary perspective.\"\u003c\/p\u003e\n\u003cp\u003eThe Anatolian peninsula, known as Asia Minor, has been a cultural geography hosting various civilizations for thousands of years. Pergamon, located in Bergama district of Izmir, was a culturally rich and important Hellenistic capital and Roman-era metropolis among the Greek city-states.\u003c\/p\u003e\n\u003cp\u003eIn his book, published in Turkish and English with the valuable contributions of Sabancı University, Onur F. Yazıcıgil aims to revive Pergamon's rich writing culture heritage, which he documented through field studies and research in Pergamon, as a Greek script typeface in today's digital medium, using an original approach.\u003c\/p\u003e\n\u003cp\u003eOnur F. Yazıcıgil, with archaeological consultancy from Assoc. Prof. Dr. Aşkım Özdizbay, translated the English text with Ecem Arslanay, and also undertook the graphic design and implementation of the book.\u003c\/p\u003e\n\u003cp\u003eIn the foreword to his book, \u003cem\u003ePergamon \/ Yunan Harfli Bir Yazı Tipi Tasarımı \/ A Greek Script Typeface Design\u003c\/em\u003e, Onur F. Yazıcıgil states:\u003c\/p\u003e\n\u003cp\u003e“The Pergamon typeface is a digital typeface project that I developed while participating in the ‘Gate 27 Ayvalık Artist Residency Program’ between 13 September and 6 October, 2022. The project comprise the documentation of Pergamon’s elaborate epigraphic cultural heritage and its transformation into a typeface design via a contemporary digital medium. The ultimate goal of the project is to bring a breath of fresh air to the approximately 1900 year-old carved stone inscriptions by digitizing and making them functional in today’s context…”\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e“The Pergamon typeface is a digital typeface project that I developed while participating in the ‘Gate 27 Ayvalık Artist Residency Program’ between 13 September and 6 October, 2022. The project comprise the documentation of Pergamon’s elaborate epigraphic cultural heritage and its transformation into a typeface design via a contemporary digital medium. The ultimate goal of the project is to bring a breath of fresh air to the approximately 1900 year-old carved stone inscriptions by digitizing and making them functional in today’s context…”\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209456371,"sku":"9786257008655","price":175.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Pergamon_YEM_KAPAK.jpg?v=1683278780"},{"product_id":"less-or-more-new-ideas-about-architecture-design-art-and-theory","title":"Less or More - New Ideas on Architecture, Design, Art, and Theory","description":"\u003cp data-mce-fragment=\"1\"\u003e\"Rather than the dilemma of whether a building is less or more, its existence is sustained by the distilled characteristics we elucidate in this book. Therefore, the title of this book, rather than the abstraction of architectural minimalism, was chosen as LESS OR MORE with the aim of highlighting 'meaning' and 'resistance' in particular.\" - Gökhan Avcıoğlu, 2023\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book \"LESS OR MORE\" by Gökhan Avcıoğlu and colleagues from the GAD Foundation has been published, presenting personal memories, notes, questions, sketches, and designs that explain the efforts of architectural practice within a certain timeframe. \"LESS OR MORE\" aims to take stock of Gökhan Avcıoğlu and GAD Foundation's works in architecture, design, art, and theory, creating awareness about significant issues related to the architecture of our time. 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The promotional boxes that point to the world outside of architecture in this book are designed to provide information to those interested in design practice on such topics.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis book is not just an anthology of GAD's buildings; the structures included in the book have been selected as examples that readers can discuss their existing thoughts and perspectives, whether experimental or in the process of construction, regardless of whether they have been built.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout Gokhan Avcioglu\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eGokhan Avcioglu, the founder and director of GAD Architecture and GAD Foundation, has been producing dynamic and innovative concepts for projects ranging from small private homes to large urban planning endeavors worldwide for over 25 years. Avcıoğlu was born in Ankara in 1960. In addition to his education and activities in artistic fields like painting and sculpture, he graduated in architecture from Konya Selçuk University in 1983. He has won numerous awards for his work, including the 1997 Turkish Architects' Award and the Bronze Medal. He established the Global Architectural Development (GAD) architectural firm in 1994 and founded the GAD Foundation in 2014 for research and sharing related to architecture and settlement culture. His portfolio includes office buildings, hotels, cultural centers, public and commercial spaces, and numerous comprehensive residential projects in Istanbul, Bodrum, New Jersey, New York, Washington DC, Virginia, Connecticut, and Moscow. He has also led architectural design studios at universities like Ecole Speciale, UPenn Weitzman Architecture, Yıldız Technical University, and Istanbul Technical University while making significant contributions to architectural theory.\u003c\/p\u003e","brand":"GAD Vakfı","offers":[{"title":"Default Title","offer_id":43876173414643,"sku":"9786056878039","price":2385.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/kapak_Sayfa_1_1393af16-5252-49ae-99b7-03f99e198ebd.jpg?v=1692957609"},{"product_id":"less-or-more-new-ideas-about-architecture-design-art-and-theory-a4-size-hardcover","title":"Less or More - New Ideas about Architecture, Design, Art, and Theory \/ (A4 Size, Hardcover)","description":"\u003cp data-mce-fragment=\"1\"\u003e\"Rather than the dilemma of whether a building is less or more, its existence is sustained by the distilled characteristics we elucidate in this book. Therefore, the title of this book, rather than the abstraction of architectural minimalism, was chosen as LESS OR MORE with the aim of highlighting 'meaning' and 'resistance' in particular.\" - Gökhan Avcıoğlu, 2023\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe book \"LESS OR MORE\" by Gökhan Avcıoğlu and colleagues from the GAD Foundation has been published, presenting personal memories, notes, questions, sketches, and designs that explain the efforts of architectural practice within a certain timeframe. \"LESS OR MORE\" aims to take stock of Gökhan Avcıoğlu and GAD Foundation's works in architecture, design, art, and theory, creating awareness about significant issues related to the architecture of our time. The book not only showcases the works but also presents a multitude of global data, narratives, histories, and milestones related to architectural design.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eLESS OR MORE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis book, which we can describe as a kind of \"director's cut,\" includes personal memories, notes, questions, sketches, and designs of Gökhan Avcıoğlu and colleagues, explaining the efforts of architectural practice within a specific timeframe. It aims not only to take stock of our works but also to create awareness about important issues concerning the architecture of our time. In this context, the book presents not only our works but also numerous global data, narratives, histories, and milestones related to architectural design. 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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":"mutfak-tasarimi-kitchen-design","title":"Kitchen Design - 3rd Edition","description":"\u003ch3\u003eKitchen Design Book: A Comprehensive Guide for Interior Architecture and Architecture Students\u003c\/h3\u003e\n\u003cp\u003eThe book Kitchen Design \/ Mutfak Tasarımı, prepared by Assist. Prof. Şevkiye Merve Kaya Taşoz, Ph.D., focusing on the information needs of interior architecture and architecture students regarding kitchen design, has been published in Turkish and English by YEM Publishing.\u003c\/p\u003e\n\u003cp\u003eThis book aims to guide interior architecture and architecture students in kitchen design, covering kitchen design criteria, solution proposals, and the design process. The book also emphasizes the user-environment relationship in the design process. It stands out with its approach to the historical development of kitchen design and its content, which explains the kitchen design process and material details step-by-step with examples.\u003c\/p\u003e\n\u003cp\u003e“Since kitchen design is an area of interest for me, I started working at a kitchen design company during my doctoral studies. Later, I continued my career as an academician. Since the year I started academia, I have been teaching kitchen design to interior architecture students. While trying to explain the kitchen design process and criteria within these courses, I realized that a book that addresses the subject with examples would be very beneficial for students...\u003cbr\u003eIn an era of continuous technological advancements, where new materials are constantly being produced and made available, I believe it is of great importance for interior architecture students to be informed in detail about current developments in kitchen design. Furthermore, I believe that it is crucial for aspiring interior architects to be aware that they need to conduct continuous research to keep up with all these developments for their professional growth. For this reason, I prepared this book, which explains kitchen design in detail, from its history to its ergonomics, from its elements to its accessories, from the main materials used to its installation phases, with examples...”\u003c\/p\u003e\n\u003cp\u003eCONTENTS\u003cbr\u003eChapter 1. HISTORICAL DEVELOPMENT OF KITCHEN DESIGN\u003cbr\u003eKitchen Design in the Ancient Era   13\u003cbr\u003eKitchen Design in the Industrial Age   14\u003cbr\u003eKitchen Design After World War I   16\u003cbr\u003eKitchen Design After World War II   19\u003cbr\u003eKitchen Design in the Present Day   25\u003cbr\u003eChapter 2. KITCHEN DESIGN\u003cbr\u003eActivity Areas and Planning in the Kitchen   27\u003cbr\u003eKitchen Plan Types   37\u003cbr\u003eChapter 3. ELEMENTS OF KITCHEN DESIGN\u003cbr\u003eCabinets   47\u003cbr\u003eAppliances and Accessories   57\u003cbr\u003eChapter 4. ERGONOMICS, COMFORT AND SAFETY IN KITCHEN DESIGN\u003cbr\u003eNational Kitchen and Bath Association (NKBA) Standards   71\u003cbr\u003eChapter 5. HUMAN FACTOR AND USER-CENTERED DESIGN ELEMENTS IN KITCHEN DESIGN\u003cbr\u003eChapter 6. ANALYSIS OF PHYSICAL CONDITIONS AND BUDGET PLANNING IN KITCHEN DESIGN\u003cbr\u003eTaking Measurements   89\u003cbr\u003eSpace Analysis   92\u003cbr\u003eBudget Planning   97\u003cbr\u003eChapter 7. IMPORTANT ASPECTS OF THE KITCHEN DESIGN PROCESS\u003cbr\u003eChapter 8. MATERIAL SELECTION IN KITCHEN DESIGN\u003cbr\u003eNatural Materials   109\u003cbr\u003eSynthetic-Based (Artificial) Materials   116\u003cbr\u003eChapter 9. INSTALLATION PHASES OF THE KITCHEN DESIGN PROJECT\u003c\/p\u003e\n\u003cp\u003eThe book Kitchen Design \/ Mutfak Tasarımı, prepared by Assist. Prof. Şevkiye Merve KAYA TAŞOZ, Ph.D, focusing on the information needs of interior architecture and architecture students about kitchen design, was published in Turkish and English by YEM Publishing.\u003c\/p\u003e\n\u003cp\u003eThis book is an attempt to create a guideline for kitchen design and the target audience are the interior architecture and architecture students. Kitchen design criteria, practical solutions and the related process is aimed to be discoursed. This book also aspires after to discuss user-environment relationship in kitchen design. This book is a unique book, with its kitchen development history explanations. Moreover, it is highly contributive to education field by explaining kitchen design process and related materials step by step with examples.\u003c\/p\u003e\n\u003cp\u003e“Kitchen design is one of my interests in the design field. Because of this reason, when I was doing my doctorate degree, I also started to work in a kitchen design company. Later, I decided to continue to work in academic field. From the beginning of my academic career, I have been instructing courses related with kitchen design to interior architecture students. In the scope of these courses, I have been trying to explain kitchen design process and criteria. Moreover, I think that a book which is dealing with kitchen design and the related process with exemplary works will be highly beneficial to interior architecture students…\u003cbr\u003eNew materials have been introduced to the design field. It is essential for interior architecture and architecture students to be aware of all related improvements in this field. Additionaly, interior architect candidates should be aware that they will be in need of doing research permanently to be aquainted of developments to achieve success in architectural field. As a result, I present this book that includes, history, ergonomic issues, elements, accesories, materials and installation process related with kitchen design. This book includes examplary works to explain the content effectively and efficiently. This book is a unique book, with its kitchen development history explanations. Moreover, it is highly contributive to education field by explaining kitchen design process and related materials step by step with examples…”\u003c\/p\u003e\n\u003cp\u003eChapter 1. HISTORICAL DEVELOPMENT OF KITCHEN DESIGN\u003cbr\u003eAncient Era Kitchen Design   13\u003cbr\u003eIndustrial Age Kitchen Design   14\u003cbr\u003eKitchen Design After World War I   16\u003cbr\u003eKitchen Design After World War II   19\u003cbr\u003eKitchen Design in the Present Day   25\u003cbr\u003eChapter 2. KITCHEN DESIGN\u003cbr\u003eActivity Areas and Planning in Kitchen   27\u003cbr\u003eKitchen Plan Types   37\u003cbr\u003eChapter 3. ELEMENTS OF KITCHEN DESIGN\u003cbr\u003eCabinets   47\u003cbr\u003eAppliances and Accessories   57\u003cbr\u003eChapter 4. ERGONOMICS, COMFORT AND SAFETY IN KITCHEN DESIGN\u003cbr\u003eNational Kitchen and Bath Association (NKBA) Standards   71\u003cbr\u003eChapter 5. HUMAN FACTOR AND USER CENTERED DESIGN ISSUES IN KITCHEN DESIGN\u003cbr\u003eChapter 6. ANALYSIS OF PHYSICAL REQUIREMENTS AND BUDGET PLANNING IN KITCHEN DESIGN\u003cbr\u003eDimensioning   89\u003cbr\u003eSpace Analysis   92\u003cbr\u003eBudget Planning   97\u003cbr\u003eChapter 7. IMPORTANT ASPECTS OF KITCHEN DESIGN PROCESS\u003cbr\u003eChapter 8. MATERIAL SELECTION IN KITCHEN DESIGN\u003cbr\u003eNatural Materials   109\u003cbr\u003eSynthetic Base (Artificial) Materials   116\u003cbr\u003eChapter 9. APPLICATION PHASES OF KITCHEN DESIGN PROJECT\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370209095923,"sku":"9786257008860","price":315.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/MutfakTasarimi_KitchenDesign_KAPAK.jpg?v=1717151817"},{"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":"cizginin-yolculugu-celal-abdi-guzer","title":"The Journey of the Line","description":"\u003cp\u003eThe Journey of the Line is a comprehensive work that explores the evolution and significance of the line in the world of architecture and design. Edited by Celal Abdi Güzer, this book delves into the historical development of the line, its use in different cultures, and its role in artistic expression. With a broad perspective ranging from architectural drawings to calligraphy, graphic design to modern art, it reveals how the line is used as a communication tool and an aesthetic element. With its rich visual content and detailed analyses, it is an indispensable resource for design professionals, students, and art lovers alike.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Fol Kitap","offers":[{"title":"Default Title","offer_id":46161129505011,"sku":"9786256584440","price":2561.25,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/cizginin-yolculugu-kapak-1717764265.png?v=1741463317"},{"product_id":"an-atypical-architectural-practice-ds-from-rural-painting-to-landscape-from-documentation-to-preservation","title":"An Atypical Architectural Practice – DS | From Rural Painting to Landscape – From Documentation to Preservation","description":"\u003cp\u003e“An Atypical Architectural Practice – DS | From Rural Painting to Landscape – From Documentation to Preservation” is an attempt to discuss two special areas of architecture, namely landscape architecture and documentation for preservation, based on the personal experiences of Deniz Aslan and Sevim Aslan, the co-founders of DS, a firm specializing in these areas. Their personal stories, from their student days to the beginning of their professional careers and from there to this day, offers clues about the stages architectural practices in Turkey have gone through during this period (the last thirty years). As we listen to them, we come to understand that architecture is not only about designing buildings, and begin to intuit its multi-dimensionality and richness when placed in the proper context and as part of the relationships spanning the past, present, and future. Together with them we feel the excitement of getting to know the material, conducting experiments, discovering new methods, and engaging in research that occasionally approaches the work of a detective. There are also failures, settling of accounts, and even resentments. Their experience introduces us to other actors who have shared or still share a similar passion-actors who passionately love the grown and the built, following their life cycles with great interest, sharing what they learn with their students, putting it into writing and letting it go around. \u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e\nConstituting one part of the book’s long title, “From Rural Painting to Landscape” points at the common perception regarding the concept of landscape. Probably because of the perception based on “rural painting,” even many architects today think landscape architecture is about “gardening.” The second part of the title, “From Documentation to Preservation,” refers to the fact that ideal preservation depends on the quality of documentation. The concept of the “atypical” in the title offers the key to the way the book is set up. This is not a typical memoir, a portfolio, or an attempt to read praxis through theory. The book is based on the people, projects, and experiences that constitute thresholds in the lives of Deniz and Sevim Aslan. As such, the book has a highly personal aspect to it. The way some of these thresholds are presented can be seen as case studies in terms of the method employed-with a contextualization that takes snapshots of both the professional practices and the academic world at different points in time.\u003c\/p\u003e\n\n\u003cp\u003eThe book, translated into English by Cem Akaş, was designed by Aslı Altay.\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48328024457459,"sku":"9786054793532","price":780.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Atypical-kapak.jpg?v=1727421496"},{"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"},{"product_id":"workplace-design-calisma-alanlari-tasarimi","title":"Workplace Design","description":"\u003cp\u003eThe book titled “Workplace Design \/ Çalışma Alanları Tasarımı” prepared by M. Serter Karataban and Teamfores Architecture, which was based on the designs they brought to life considering the basic elements of today’s workspace design, the ongoing transformations and the changing nature of work, was published by YEM Publishing.\u003c\/p\u003e\n\u003cp\u003ePublished in English and Turkish with the aim of offering original ideas on new generation workspace design to all designers, especially architects and interior designers, the book's English texts were written by Ferda Kütükçüğlu, and its graphic design was done by Yümna Sarıkaya under the consultancy of Prof. Dr. Ayşegül İzer.\u003c\/p\u003e\n\u003cp\u003eAttention to the changes that have occurred in workplaces, especially in the last 10 years, M. Serter Karataban summarizes his reasons for preparing the book as follows:\u003cbr\u003e“... As the young and dynamic team of Teamfores, we aimed to generate a source in which we share our experiences on how workplaces evolved between the years 2013-2023 in our country and the world. We are sure that everything in this source, any written or visual material, is universal. In other words, they have no social or cultural boundaries. We are also sure that all data within this source belongs to us. We see and understand even better now that whether they are awarded or not, some projects are revolutionary and pioneers of the field of workplaces as they are progressive, innovative, and socially and environmentally sensitive. Some others are simply qualified and luxurious thematic projects. They all have something to say and I hope they will make a difference for those who hear it.”\u003c\/p\u003e\n\u003cp\u003eProf. Dr. Ahmet Tercan says the following in his introductory article titled “Repurposing The Workplace Design”:\u003cbr\u003e“… The Covid 19 pandemic has proven that work can be conducted anywhere and at any time. Consequently, it has prompted extensive questioning and reconsideration in the design of office spaces. Teamfores Architecture, a dynamic architectural design firm based in Istanbul and led by Serter Karataban, has dedicated itself to pioneering a fresh set of design approaches aimed at redefining the essence of workplace environments. They emphasize collaboration between virtual and physical design aspects in response to the evolving nature of work in this new era. What stands out prominently in Teamfores' work is their innovative approach, which transcends mere problem-solving. They strive to generate new concepts that enable specifically developed design strategies to comprehensively address emerging issues and needs.\u003cbr\u003eThe book addresses the pressing issues in today’s workplace design with boldness. It explores the essential elements of office design, the transformations underway, and the evolving nature of work. Key topics include efficiency, employee attraction, the shift from capitalism to dataism, unity versus flexibility, energy and sustainability, the role of color and artwork, leadership, material choices, and overall wellbeing and emotional care. Each of these elements is discussed and redefined, offering fresh perspectives throughout the book...”\u003c\/p\u003e\n\u003cp\u003eDesigner Derin Sarıyer describes the book in his introduction titled “Deeper Look” as follows:\u003cbr\u003e“… This book serves not only as an architectural guide but also as a comprehensive business and management manual. It underscores that architects aiming for effective spatial organization must do more than design physical spaces. They must innovate ways to enhance business efficiency, productivity, and adaptability to evolving work conditions quickly and economically. Anyone, who wants to read this book, should read in any order, as the titles aren't sequential and they should be aware, the information inside is deliberately left incomplete. It invites you to participate actively in its narrative, encouraging your creativity to shape its direction…”\u003c\/p\u003e\n\u003cp\u003eAbout M. SERTER KARATABAN\u003cbr\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210767091,"sku":"9786257008945","price":910.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/WORKPLACE_CALISMAALANLARIKAPAK.jpg?v=1736792400"},{"product_id":"bina-bina-i̇cinde-building-within-a-building","title":"Building Within A Building - Building Within A Building","description":"\u003cp\u003eThis book is a comprehensive architectural monograph on the transformations a special building in the heart of Istanbul has undergone throughout its history. Originally built in 1907 as the Baudouy Apartment, the structure was reborn as the Türkiye İş Bankası Museum of Painting and Sculpture in 2023, the 100th anniversary of the founding of the Republic of Türkiye.\u003c\/p\u003e\u003cp\u003eThe authors Feride Çiçekoğlu and Ertuğ Uçar, a partner at Teğet Mimarlık, shed light not only on a building but also on the historical transformation of Beyoğlu and İstiklal Avenue, two of Istanbul’s most vibrant areas. The book examines the building’s story through three distinct periods, detailing its functional changes, social transformations, and architectural approaches over time.\u003c\/p\u003e\u003cp\u003eUçar, a partner at Teğet Mimarlık, who led the architectural transformation of the building, explains his design philosophy through three different periods and three different architectural structures. Meanwhile, Feride Çiçekoğlu presents the colorful, multicultural, and intellectual background of Beyoğlu, starting from Tepebaşı, interwoven with her personal experiences. Thus, the work is not only an architectural narrative of Istanbul but also a deep journey into the city's cultural memory.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThe Book you have is an architectural monograph. It describes İşbank Painting Sculpture Museum Building which has fit three lives into its existence of more than a century. First started to exist as Baudouy Apartment in 1907, the building opened its doors as İşbank Painting Sculpture Museum on the 100th  Anniversary of the Republic of Turkey in 2023. In the book, Feride Çiçekoğlu and Ertuğ Uçar focus not only on the transformation and refunctioning process of the building in its last period, but also on the phases it has gone through since its construction, the functions it has undertaken, and in parallel, the transformation of the Beyoğlu district and especially Istiklal Street. While Uçar, one of the partners of Teğet Architecture, the designer of the transformation of the building, constructed his text by explaining the main design idea over 3 periods and 3 buildings, Çiçekoğlu stretches a colorful Beyoğlu background that reaches out to her childhood memories of Tepebaşı to the general secretary of the TÜRSAK Foundation, whose headquarters is in Hanif Han on Erol Dernek Street, and from there to Botter Apartment which had been an inspiration for her fist scenario.\u003c\/p\u003e","brand":"İş Bankası Kültür Yayınları","offers":[{"title":"Default Title","offer_id":46798125138163,"sku":"9786254296079","price":1080.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/Binabinaicinde.webp?v=1741779425"},{"product_id":"nevzat-sayin-dusunceler-i̇sler-2004-2018","title":"Thoughts Works 2004-2018 - Nevzat Sayın","description":"\u003cp\u003eThoughts \/ Works, which brings together Nevzat Sayın's architectural understanding, productions, and ideas, is a continuation of the book Dreams, Thoughts, Works, published in 2004. This work provides a comprehensive archive of Sayın's projects since 2004, along with summer schools, workshops, conferences, jury evaluations, and various writings, creating a multi-dimensional perspective on architectural production.\u003c\/p\u003e\n\u003cp\u003eThe book presents the architect's projects, especially those shaped after 2004, in detail through sketches, technical drawings, photographs, and explanatory texts. This work, which explains Nevzat Sayın's design process and the relationships structures establish with topography, environment, and program, is an important resource not only for those interested in architectural practice but also for readers who want to develop a deep understanding of the intellectual aspect of architecture.\u003c\/p\u003e\n\u003cp\u003eIn this book, Nevzat Sayın approaches the discipline of architecture not only as a design practice but also as a way of thinking and producing. The work details fundamental concepts related to architecture, evaluations of structures and urban spaces, insights into the design processes of projects, and the method Nevzat Sayın adopts in his architectural practice.\u003c\/p\u003e\n\u003cp\u003eThoughts \/ Works is a comprehensive record of the last fifteen years of Nevzat Sayın, one of the important figures in Turkish modern architectural history. By bringing together Sayın's architectural approach, projects, and ideas, it makes significant contributions to the architectural world in both theoretical and practical terms.\u003c\/p\u003e","brand":"Yapı Kredi Yayınları","offers":[{"title":"Default Title","offer_id":46821194236147,"sku":"9789750844393","price":405.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/dusunceler_isler_2.bsk.jpg?v=1742419090"},{"product_id":"bu-da-bir-mimarlik-kitabi-this-is-also-an-architecture-book","title":"This Is Also an Architecture Book","description":"\u003cp\u003eBu da Bir Mimarlık Kitabı \/ This is also an Architecture Book, Burak Pelenk ve Eda Yazkurt Pelenk’in öncülüğünde kurulan Buda Mimarlık Ofisi’nin 10 yıllık mimarlık pratiğini yansıtan, ulusal ve uluslararası alanda ödüller kazanmış projelerini bir araya getiren kapsamlı bir yayındır. İstanbul’dan Barselona’ya, Karakas’tan Stuttgart’a uzanan deneyimlerin ürünü olan bu kitap, ofisin mimari yaklaşımını, tasarım felsefesini ve üretim sürecini detaylı bir şekilde okuyucuya sunuyor.\u003c\/p\u003e\n\n\u003cp\u003eYEM Yayın’dan çıkan ve Deniz Karagül tarafından tasarlanan kitapta, MALI Müzesi (Peru), Pjevlja Hastanesi (Karadağ), Nef Beykoz Konutları (İstanbul) ve LÖSEV Rehabilitasyon Merkezi (Çankırı) gibi, 20’nin üzerinde ödül kazanmış proje; plan, kesit, görünüş çizimleri ve fotoğraflarla birlikte sunuluyor. Projeler; kamu yapılarından konutlara, sosyal merkezlerden hastanelere, müzelerden kıyı düzenlemelerine uzanan geniş bir çeşitliliğe sahip.\u003c\/p\u003e\n\n\u003cp\u003eKitap aynı zamanda Buda Mimarlık’ın zaman içinde nasıl bir mimari kimlik geliştirdiğini gözler önüne sererken, özellikle genç tasarımcılara ilham olmayı hedefliyor. Projelere eşlik eden önsözlerde, Türkiye’nin önde gelen mimarları (Ece Ceylan Baba, Emre Arolat, Can Çinici, Kerem Erginoğlu, Hasan Çalışlar) Buda’nın mimarlık pratiğini, detaylara verdiği önemi, alçakgönüllü yaklaşımını ve çağdaş mimarlık içindeki yerini değerlendiriyor.\u003c\/p\u003e\n\n\u003cp\u003eBurak Pelenk ve Eda Yazkurt Pelenk’in kişisel kariyer yollarını ve mimarlığa yaklaşımlarını da yansıtan bu eser; mimarlık öğrencileri, akademisyenler ve profesyoneller için hem görsel hem düşünsel olarak zengin bir kaynak niteliğinde.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eThis is also an Architecture Book is a comprehensive publication showcasing the 10-year architectural practice of Buda Architecture Office, founded by Burak Pelenk and Eda Yazkurt Pelenk, and bringing together their award-winning national and international projects. The product of experiences spanning from Istanbul to Barcelona, Caracas to Stuttgart, this book offers a detailed look at the office’s architectural approach, design philosophy, and production process to the reader.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003ePublished by YEM Publishing and designed by Deniz Karagül, the book features over 20 award-winning projects—including the MALI Museum (Peru), Pjevlja Hospital (Montenegro), Nef Beykoz Residences (Istanbul), and the LÖSEV Rehabilitation Center (Çankırı)—presented with plans, sections, elevations, and photographs. The projects exhibit a wide range of types, from public buildings to residences, social centers to hospitals, and museums to coastal developments.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eThe book also reveals how Buda Architecture has developed its architectural identity over time, aiming to inspire particularly young designers. 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It offers valuable insight into contemporary architectural practice and stands as a significant document of one of modern architecture’s most influential figures.\u003c\/p\u003e\n\u003chr data-start=\"1505\" data-end=\"1508\"\u003e\n\u003ch2 data-start=\"1510\" data-end=\"1534\"\u003eWHO IS THIS BOOK FOR?\u003c\/h2\u003e\n\u003cp data-start=\"1536\" data-end=\"1722\"\u003eArchitecture students, professional architects, architectural historians, and readers interested in contemporary architecture, modernist design principles, and the work of Richard Meier.\u003c\/p\u003e","brand":"Rizzoli","offers":[{"title":"Default Title","offer_id":46875067482355,"sku":"9780847832736","price":2650.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/9780847830695.jpg?v=1768850269"},{"product_id":"architectural-utopias","title":"Utopias","description":"\u003cp\u003e\u003cspan\u003eThis publication explores the concept of utopia, a historical aspiration to establish an ideal order that transcends the contradictions of reality. 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A.Ş.’nin değerli katkılarıyla Türkçe ve İngilizce olarak yayınlanan, Mehmet Baba tarafından kaleme alınan kitap Esma Curavcı tarafından yayıma hazırlandı.\u003c\/p\u003e\n\u003cp\u003eMUSTAFA HULUSİ SÖYLEMEZ: “... Arkadaşlarım bu kitap fikrini önerdiklerinde içten bir mutluluk duydum. AGT olarak çalışma hayatım boyunca biriktirdiğimiz tecrübeleri, bugünün genç tasarımcılarına ve ürünlerini dünyaya tanıtmak isteyen girişimcilere aktarabilme fikri benim için çok değerli. Elinizdeki kitabı okurken sadece ürünlerimizi değil, fuarlara ve AGT olarak emeğe bakış açımızı da bulacaksınız. Bu kitap, bizler için yalnızca geçmişin bir özeti değil, aynı zamanda geleceğe de küçük bir katkı sunabilme çabasını temsil etmektedir. Kitabın sayfaları arasında dolaşırken sizlere biraz olsun ilham verebilirsek, ne mutlu bize...”\u003c\/p\u003e\n\u003cp\u003eMEHMET BABA: “Stant tasarımlarında öncelikli olarak, fuar ziyaretçilerinin akıcı ve güvenli bir dolaşımının olması, ürünlerin en etkili biçimde sergilenmesi ve görüşme alanlarının işlevselliği esas alınmaktadır. Fuar standı tasarımında ölçek ve işlevselliğin yanı sıra malzeme ve detay çözümleri de büyük önem taşımaktadır. Sergi yerleri, geçici bir mimari üretim olmasına rağmen, markaların pazarlama stratejilerinin ayrılmaz bir parçasıdır. Bu nedenle her stant yalnızca bir teşhir alanı olarak değil, aynı zamanda bir mekânsal deneyim ve markayı yansıtan bir mimari kurgu olarak ele alınmıştır. Ziyaretçi dolaşımı, işlevsellik, modüler sergileme sistemleri, akustik düzenlemeler, aydınlatma teknikleri ve mekânsal algıyı yönlendiren tasarım kararları bu süreçte temel ölçüt olarak ele alınmıştır. Açık ve yarı kapalı plan çözümleri, merkezi çekirdek sistemleri, ürün odaklı teşhir düzenleri ve değiştirilebilir görüşme alanları ile her stant, fuar alanındaki konumuna, ziyaretçi hareketlerine ve tercihlerine göre düşünülmüştür... Stant tasarımlarında, ürün teşhirini yalnızca bir sergileme nesnesi değil, mekânsal bir bileşen olarak ele alan bütünsel yaklaşım, her projeye özgü bir kavram veya tema üretilmesini mümkün kılmıştır...”\u003cbr\u003e \u003cbr\u003eLEVENT ERDEN: “Stant işi çoklu kültür, çoklu yetenek, çoklu disiplin ve bunların optimum uyumda işlemesini sağlayacak orkestrasyon gerektirir. Pazarlamadan malzemeye, ürünlerden markaya, hedef müşteriden kullanım alanlarına kadar her konuyu kapsayan uzmanlık ve ustalık ister. Stant, ayakları üzerinde dik durmak, dayanabilmek anlamlarını taşır. Yani stant, markanın ayakta kalıp koşmasının önemli bir taşıyıcısıdır. Alt tarafı stant ama üst tarafı bilgi, birikim, deneyim, sürekli merak, araştırma, geliştirme, arama, deneme, sorgulama ve sürekli ileri doğru yenilenme gerektirir. Baba Mimarlık bu kitapta, stant üzerinden bir mimari tasarım sürecinin çok ötesinde, bir markanın rekabet ve başarı yolculuğunda, çoklu işbirliğinin getirdiği mükemmeliyeti anlatıyor.”\u003cbr\u003e \u003cbr\u003eMEHMET BABA KİMDİR?\u003cbr\u003eAntalya, Alanya’da dünyaya gelen Mehmet Baba, ilk ve orta öğrenimini Alanya’da, lise öğrenimini ise Ankara Özel Arı Fen Lisesi’nde tamamlamıştır. Mimarlık eğitimini Yıldız Teknik Üniversitesi Mimarlık Fakültesi’nde alan Baba, üniversite hayatının hemen ardından kendi ofisini açarak serbest mimarlık hayatına başlamıştır. Prof.Dr. Ece Ceylan Baba ile Baba Mimarlık’ı kuran Mehmet Baba, meslekte geçirdiği 22 yılda yurt içinde ve dışında birçok mimari ve iç mimari projeyi hayata geçirmiş; halihazırda Baba Mimarlık kurucu ortağı olarak mesleki çalışmalarını sürdürmektedir. Baba Mimarlık’ta gerçekleştirmekte olduğu projelerde özellikle ticari mekânlar üzerine yoğunlaşan Mehmet Baba, birçok şirket ve kuruluşa bu konuda danışmanlık hizmetleri de vermektedir.\u003c\/p\u003e\n\u003cp\u003e--------------------------------------------------------------------------------------------\u003c\/p\u003e\n\u003cp\u003eThe book titled “Çağdaş Fuar Stant Tasarımları \/ Contemporary Fair Stand Designs”, which brings together AGT stands prepared by Baba Architecture for important fairs in the world and Turkey in the last twelve years, the design stories of the exhibitions, and the experience regarding production technologies and processes, was published by YEM Publishing.\u003c\/p\u003e\n\u003cp\u003eThe book, which was published in Turkish and English with the valuable contributions of AGT Ağaç San. Tic. A.Ş. and written by Mehmet Baba, was prepared for publication by Esma Curavcı.\u003c\/p\u003e\n\u003cp\u003eMUSTAFA HULUSİ SÖYLEMEZ: “... I have had a sincere happiness when my colleagues proposed the concept of this book. The idea of transferring our experience through our lives as AGT, to young designers of today and entrepreneurs who are willing to promote their products to the world is precious to me. While you are reading the book that you hold now you will not only find out our products but also our point of view to labour and effort, and to fairgrounds as AGT. This book is not merely a resume of the past; it represents an attempt to offer a small contribution to the future. We would be happy, if we gave you an inspiration as you wander along the pages...”\u003c\/p\u003e\n\u003cp\u003eMEHMET BABA: “In stand design, the priority is on having a safe and fluid circulation for fair visitors, showcasing products in the most effective way, and ensuring the functionality of meeting areas. Besides scale and functionality of fair stand design, material selection and detailing play a significant role. Although temporary in nature, exhibition spaces are indispensable fragment of brands’ marketing strategies. That’s why every stand has been considered not only as a display area but also as an architectural scenario and editing of a spatial experience and reflecting the brand. Visitor circulation, functionality, modular systems of display, acoustic arrangements, lighting techniques, and design decisions that orient spatial perception have been studied as fundamental criteria throughout the process. Every stand with its open and semi-closed plan solutions, central core systems, product-oriented display arrangements, and flexible movement patterns and location in the fair area, has been carefully designed... The holistic approach in those stand designs, where product display has been treated not just as a show front but as an integral spatial component, enabled the development of a unique concept or a theme for each project...”\u003c\/p\u003e\n\u003cp\u003eLEVENT ERDEN: “Stand design and implication requires an organization which will provide an integrated environment for cultural diversity, design and presentation skills, inter-disciplinarity. It needs an expertise on various subjects from marketing to materials, from products to the brand, and from target customer groups to function areas. The stand means to raise on its feet, to resist. Namely, the stand is one of the significant representatives of the brand by means of sustainability and by withstanding. It is only a stand but a lot more requirement of knowledge, accumulation, experience, continuous curiosity, research, development, quest, trial, questioning, and sustainable renewal. Baba Architecture talks about the adventure of multi-collaborative perfection in a brand’s competition and success journey, via stands far more beyond architectural design in this book.”\u003c\/p\u003e\n\u003cp\u003eABOUT MEHMET BABA\u003cbr\u003eBorn in Alanya, Antalya, Mehmet Baba completed his primary and secondary education in Alanya and his high school education at Ankara Arı Private Science High School. Baba, who received his architectural education at Yıldız Technical University Faculty of Architecture, started his freelance architecture career by opening his own office right after his university education. Mehmet Baba, who founded Baba Architecture with Prof.Dr. Ece Ceylan Baba, has implemented many architectural and interior architecture projects in Turkey and abroad in the 22 years he has spent in the profession; he currently continues his professional work as the founding partner of Baba Architecture. Mehmet Baba, who focuses especially on commercial spaces in the projects he carries out at Baba Architecture, also provides consultancy services to many companies and organizations in this regard.\u003cbr\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206605555,"sku":"9786259710273","price":630.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_STANT_TASARIMI_KAPAK.jpg?v=1751307026"},{"product_id":"zaman-cetveli-time-scale","title":"Time Sheet - Time Scale","description":"\u003cp\u003eThe book for the exhibition “Time Scale \/ Zaman Cetveli,” which presented Erginoğlu \u0026amp; Çalışlar’s thirty years of architectural production in parallel with the memory of its era, has been published. 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