Ýklim deðiþikliði projeksiyonlarýna göre, gelecekte Türkiye’nin de içerisinde bulunduðu iklim kuþaðýnda, þiddetli yaðýþ ve ani selde artýþ olacaktýr. Sel, mimari mirasta çok ciddi hasarlara neden olmaktadýr. Önleyici korumada riskler ortaya çýkmadan önce alýnan önlemler, riskleri ortadan kaldýrmasa da hasarý azaltmada etkilidir. Riskler bilinmeden risklere karþý hazýrlýklý olmak mümkün deðildir. Ýklim deðiþikliði etkisiyle artacaðý öngörülen sellere karþý mimari mirasýn da hazýrlýklý hale getirilmesi için sel riskinin bilinmesi çok önemlidir. Bu nedenle bu çalýþmada mimari mirasýn sel riskini analiz etmeye yönelik bir model geliþtirilmesi amaçlanmýþtýr. Bu doðrultuda mimari mirasýn sel kaynaklý hasarlarý araþtýrýlmýþ; hasarý artýran faktörlerin belirlenmesi için yerinde tespit, gözlem ve incelemeler yapýlmýþ; tarihi sellere yönelik arþiv ve literatür taranmýþtýr. Elde edilen verilerden sel kaynaklý kuvvetler ve etkiler; bu kuvvet ve etkilerin mimari mirasta oluþturduðu hasar türleri, yapýda hasarlarýn oluþtuðu bölgeler ve olasý hasar riskleri belirlenmiþtir. Hasar düzeyini etkileyen faktörler tanýmlanarak sel risk parametrelerine dönüþtürülmüþ ve her risk parametresi kendi içerisinde risk oluþturma düzeyine göre derecelendirilmiþtir. Sel riskli alan katsayýsýnýn belirlenmesi için örneklem alanýnýn sel risk haritalarý ile geçmiþ sel yayýlým alanlarý ArcGIS programýnda çakýþtýrýlmýþ ve sel riskli alan sýnýrlarý iþaretlenmiþtir. Sel risk parametreleri ve sel riskli alan katsayýsý Excel programýnda hesaplama tablosu haline getirilmiþ ve tabloya yapý künyesi kýsmý eklenerek “Mimari Miras Sel Riski Analiz Formu” oluþturulmuþ ve örneklem alan yapýlarýnýn bilgileri bu formlara yerinde gözlemle iþlenmiþtir. Geliþtirilen model MISRAM, son yýllarda ani ve þiddetli yaðýþlarýn artýþ gösterdiði Edirne’de bulunan Geçici Dünya Miras listesinde yer alan II. Bayezid Külliyesi yapýlarýna uygulanarak külliye yapýlarýnýn sel riski analiz edilmiþ ve çalýþma alanýnýn sel riski haritasý oluþturulmuþtur.

According to the climate change projections, there will be an increase in torrential rains and related floods. In parallel with this, the risk of flood damage to the architectural heritage will increase in the future. Floods cause serious damage to the architectural heritage. Since flood risk analyses are generally made basin-based, studies on flood risks of cities are still inadequate. Therefore, flood risks arising from the architectural heritage’s own characteristics and its current situations are not known. Not knowing which architectural heritage poses the flood risk and its potential losses increase the damage. In preventive preservation, the measures taken before the risks occur are effective in reducing the damage, even if they do not eliminate the risks completely. It is necessary to know the flood risk in order to make the architectural heritage be prepared against floods that are predicted to increase with the effect of climate change. This study is aimed to develop a model for analysing the flood risk of architectural heritage. With the Architectural Heritage Flood Risk Analysis Model (MÝSRAM) developed in line with this purpose, the vulnerability of any architectural heritage can be calculated with the parameter scores developed over the building’s own characteristics and current state. The development and implementation of the model were carried out in 4 stages. In the first stage: flood damage in the architectural heritage has been investigated. On-site detection, observation, and investigations were made to determine the factors that increase the damage. Flood-induced forces and effects from the data obtained. The types of damage caused by these forces and effects in the architectural heritage, the areas where the damage occurred in the building and the possible damage risks were determined. In the second stage: the factors affecting the damage level were defined and transformed into flood risk parameters. In the third stage: the flood risk parameters and the coefficient of flood risk area were made into a calculation table in an Excel program. The analyse form was created by adding the building identification section to the created calculation sheet. In the fourth stage: the risk analysis forms were filled in on-site. As a result of the researches made in the scope of the study’s problem, the findings below have been reached:
• Climate change causes an increase in sudden and heavy rains and accordingly flash floods, and these effects will continue to increase in the future.
• Architectural heritage located in the region with the same flood risk coefficient may have different flood risk levels depending on different parameters.
Therefore, the flood risk of the architectural heritage cannot be calculated only through the flood risk of the region where it is located, a heritage-specific risk analysis model should be developed and in this model, the heritage’s own characteristics and current situation should be taken into account.
• Factors that increase flood damage in architectural heritage should be identified and included in the calculation in risk analysis.
• There has been an increase in the number of floods in the province of Edirne after the 2000s.
The developed model proposal MISRAM was applied to the buildings of Bayezid II Complex, and the flood risk levels of the buildings were determined. Determining the flood risk level in the flood management planning of the architectural heritage is the first step and constitutes important data for decision-makers. In further studies, it is recommended to develop protection measures and interventions that will not adversely affect the heritage values for the architectural heritage whose flood risk level is determined, and to analyse the flood risk of the cultural heritage other than the architectural heritage. The flood risk of the architectural heritage can be analysed and appropriate flood prevention and response decisions can be made via applying MISRAM. It can be integrated into disaster management plans of local governments, and it may constitute the first step in reducing architectural heritage damages and preventing losses in flood disasters. MISRAM is a method that can be used both as a resource for creating architectural heritage flood risk maps and for decision-makers to take appropriate measures and intervention decisions.

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Cumhuriyet’in kuruluþ yýllarýnda dönemin ideolojik programý çerçevesinde eðitim sisteminde önemli reformlar gerçekleþtirilmiþtir. Bu dönüþüm mekânsal olarak da karþýlýðýný bulmuþ ve yeni eðitim sistemine hizmet verecek okul yapýlarý ülkenin dört yanýnda hýzla inþa edilmeye baþlanmýþtýr. Ülkede en yaygýn olarak inþa edilen eðitim yapýlarý ilkokullar olmuþtur. 1930’lu yýllara kadar 1. Ulusal Mimari üslubunda okullar tasarlanýrken, bu tarihten sonra Maarif Vekâleti bünyesinde kurulan inþaat bürosunun baþýna gelen Ernst Egli’nin de etkisiyle modernist üslupta tasarlanmýþ okullarýn tercih edildiði görülmektedir. Bu dönemden baþlayarak özellikle cepheler, iþlevi yansýtacak þekilde yalýn býrakýlmýþ, geometrik olarak düzenlenmiþ kütleler ve teras çatýlar hâkim mimari dil haline gelmiþtir. Erken Cumhuriyet döneminin mimari üretiminin önemli bir dilimini oluþturan eðitim yapýlarý bugün mimari miras kapsamýnda deðerlendirilmektedir. Giderek uzaklaþýlan bir geçmiþe ait bu yapýlarýn nitelikli örneklerinin bir an önce belgelenip deðerleri saptanarak koruma altýna alýnmasý gereklidir. Bursa’da 1934 yýlýnda eðitime baþlayan Ýstiklal Ýlkokulu mimar Nedim Karakurd tarafýndan kübik mimari tarzýnda tasarlanmýþtýr. Okul, bugün de ayný iþlevi devam ettirmektedir. Derslik kapasitesini artýrmak amacýyla 2001 yýlýnda bahçesine inþa edilen ek bina, tasarýmýn bütüncüllüðüne zarar vermiþse de Karadurd’un ilkokul tasarýmýna ait özgün mimari detaylar halen ana binada büyük ölçüde okunabilmektedir. Bu çalýþma kapsamýnda ilkokul yönetimi tarafýndan tutulan arþivde yapýnýn miras deðerlerinin tanýmlanmasýnda yardýmcý olacak pek çok belgeye ulaþýlmýþtýr. Bu belgeler ýþýðýnda makalenin yazarý tarafýndan ilgili koruma bölge kuruluna yapýlan baþvuru olumlu sonuçlanmýþ ve yapý 2019 yýlýnda tescillenmiþtir. Makalede Ýstiklal Ýlkokulu’nun mimarisi ve modern miras olarak sahip olduðu deðerler tanýtýlmýþ, var olan koruma sorunlarý irdelenmiþ ve modern mimarlýk mirasýnýn koruma ilkeleri çerçevesinde geleceðine yönelik koruma önerileri sunulmuþtur.

In the scope of the Kemalist ideological program during the 1920-30s, significant reforms in education were achieved. The transformation of education from the Ottoman system was especially evident in the architecture of the new school buildings. School buildings serving the emerging educational system started to be built throughout the country, conducing the youth to associate with a new architecture formed by modernist ideals. In the early period following the foundation of the Republic, the architectural style preferred for school buildings was the nationalist style, whereas starting from the 1930s modernist approach took over. The modernist facades were plain, without ornamentation, and reflected the function of the building. The interiors were also formed according to the demands of the function. The classrooms were planned in rectangular forms, enabling all pupils to have a clear sight of the blackboard. These buildings were masonry structures with concrete floors/ceilings. In later years reinforced concrete started to be used as a building material. Examples of modernist schools were built primarily in the new capital of the Republic and then spread all around the nation. These buildings, which are among the principal architectural production of the early Republican era, are today regarded as cultural heritage today, witnessing the taste, the spatial preferences, building technology, and materials of their times and carrying immense memory value. There is currently an increasing academic interest in these buildings. Some are represented in the list of Turkish modernist heritage prepared by DOCOMOMO Turkey and others are listed as cultural property. However, in recent years, modernist school buildings have been threatened by consolidation works, conducted due to current building regulations against earthquakes. These interventions cause them to lose their authentic features and modernist characteristics. The buildings are not well-protected due to the reasons like negligence and inappropriate usage. There is an urgent need to draw the attention of the public to the values of these buildings. Well-qualified examples of school buildings ought to be documented and introduced as part of the modernist architectural heritage of Turkey. The aim of the study is to investigate the values and conservation issues of modernist school buildings in Turkey. As an example for these schools, this paper also aims to introduce and highlight the architecture and the heritage values of Ýstiklal Primary School, as a modern heritage from the city of Bursa. It attempts to identify its existing conservation issues and make proposals for their solution. The study begins with a literature review related to early republican architecture. After giving a brief overview of school buildings from Turkey as part of the modern heritage, it then focuses on Ýstiklal Primary School from Bursa. The school is studied in detail in the scope of this paper with plans, old photos, and documents from archives. Short interviews with teachers are conducted to understand the contemporary values and problems caused by today’s use. In the light of these findings, the architectural features and conservation state of the school are determined. Ýstiklal Primary School was designed by Nedim Karakurd in 1932 (opened in 1934). It stands out as a model for modernist educational buildings in Bursa. Located in the Osmangazi district, the school’s plot was tagged as an educational area in 1940 Prost and 1960s Piccinato plans for Bursa. Its cubic architecture is a unique witness of the 1930’s architectural taste in the city. Two photo albums, dating to 1934 and 2002 from the archives of the school highlighted its history and helped to enhance the existing information. The school still serves as a state primary school today. Although an extension was built on the same courtyard in 2001, the modernist impact of the original design of the main building is still visible. Within the scope of this study, the authors applied for the listing of the building to the concerned authority and thus, the school was listed in December 2019. However, legal protection is not enough. There have been misfortunate demolitions of listed modernist heritage in the city, such as Demirtaþpaþa Vocational High School, due to their so-called structural weaknesses. In order to overcome the obstacles and lack of interest in the society against the protection of modernist heritage, there should be studies carried on to raise awareness on these buildings. The present study is considered to be important because it highlights the Istiklal Primary School which needs to be preserved in its integrity while being rehabilitated for future generations. With the condition that its cultural significance is treated with care, it has the potential to be included on a future modernist heritage route planned for Bursa city.

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On dokuzuncu yüzyýlýn ikinci yarýsýnda yapým teknolojisinde yaþanan önemli geliþmelerin Osmanlý baþkentinde etkisini göstermesi için 20. yüzyýlýn baþlarýný beklemek gerekmiþtir. Yapým teknolojisi açýsýndan bir geçiþ dönemi olarak nitelendirilebilecek o yýllarýn önemli isimlerinden birisi olan Mimar Kemaleddin, tasarlayýp inþa ettiði binalarýnda dönemin geliþen yapým teknolojilerinden ustalýkla faydalanmýþ ve mimari üslubunda olduðu gibi yapým tekniði açýsýndan da özgün eserler ortaya koymuþtur. Vakýf hanlar dizisinin ilki olan I. Vakýf Han, barýndýrdýðý kârgir, erken betonarme (Hennebique) ve çelik taþýyýcýlarla dönemin tüm yapý malzemesi ve tekniklerini sentezleyen önemli bir eserdir. Bu çalýþma kapsamýnda, arþivlerden elde edilen özgün projeler ile mevcut bina karþýlaþtýrmalý olarak incelenmiþ ve binanýn özgünlüðünü koruduðu gözlenmiþtir. Özgün projeler ve yerinde yapýlan karþýlaþtýrmalý incelemeler sonucunda, binanýn yapýmýnda kârgir, erken betonarme (Hennebique Sistem) ve çelikle oluþturulmuþ kompozit elemanlarýn kullanýldýðý belirlenmiþtir. Karma bir taþýyýcý sisteme sahip olan I. Vakýf Han, sadece üslubu ve mimarisiyle deðil, ayný zamanda kullanýlan yapým teknikleriyle de korunmasý gerekli özgün niteliklere sahip bir kültür varlýðýdýr. Bununla birlikte son zamanlarda önemli iþlev deðiþikliklerine sahne olan dönem yapýlarýnda kullanýlan özgün ve ender nitelikteki yapým teknolojileri yenilenerek kaybedilmektedir. Osmanlý’nýn geç dönem mimarisindeki deðiþime aracýlýk etmiþ olan geçiþ dönemine ait binalarýn inþaatýnda kullanýlan yapým tekniklerinin irdelenmesi yoluyla dönem yapýlarýnýn daha iyi anlaþýlmasý, bu tekniklerin özgün haliyle korunabilmesi adýna farkýndalýk oluþturmasý ve korunmasý için teþvik edici bilgiler sunmasý sebebiyle koruma alanýna katkýlar saðlamaktadýr.

During the second half of the 19th century in Europe, to take effect in the Ottoman capital, Istanbul, it was necessary to wait for the beginning of the 20th century for the important developments in construction technology. Architect Kemaleddin, one of the important names of those years, which can be described as a transition period in terms of construction technology, skillfully benefited from the developing construction technologies in the buildings he designed, built, and produced original works in terms of construction technique as well as in the architectural style. As the first of the series of foundation inns, Vakýf Han I is an attractive work that synthesizes all available building materials and construction techniques of the period with its masonry, early reinforced concrete (Hennebique System), and steel elements. At the beginning of the 20th century, generally mixed construction techniques were used in such buildings which were built in Eminönü and Galata regions where a rapid urban transformation process was witnessed because of the developing maritime transport and international trade. However, there are not many studies about these buildings which are important documents of the construction techniques of the period, that enlightened the design approaches on how these techniques were used together. To protect the unique character of the buildings and as well as the period, detailed researches are needed to illuminate the construction details as well as building materials, but there are also some difficulties and limitations in conducting on-site research in such building which are usually in use. In this study, Vakif Han I is investigated in terms of new construction technologies in the beginnings of 20th century. The characterization of the original building techniques used and identification of the structural system are the purpose of the study to help for developing sustainable conservation strategies. Furthermore, the environment in which the building emerged is discussed in terms of developments in construction technologies. The structural design approaches of the period are examined through the original documents and projects obtained from the archive. The construction techniques used in the building are described by tracing the original projects in the building. The original projects of the building have been compared with the existing building by in situ observations. As a result of the comparison of original projects and existing building, it was obtained that, all available building materials and construction techniques of the period such as stone and brick masonry, early reinforced concrete (Hennebique System), and structural steel were used in Vakýf Han I, which reached today by preserving its originality. Moreover, it is determined that traditional masonry work and modern composite structural elements made of reinforced concrete (Hennebique System) and structural steel profiles were used in the construction of the building. The main structural system of the building consists of stone and brick masonry walls, early reinforced concrete (Hennebique) and composite (RC and steel) columns and beams, and as well as ribbed composite slabs. When the original projects in the archive and the existing building are compared, it is determined that the building was built completely in accordance with its projects. The contemporary conservation method accepts the approach of protecting buildings not only in terms of their architecture, art, and functions but also as a document reflecting the materials, building techniques, and construction technologies of the period they were built. Considering this approach, Vakif Han I is an original synthesis of the new construction technologies such as traditional masonry, early reinforced concrete (Hennebique System), structural steel, and composite structural elements in the beginning of the 20th century of Istanbul. Because of having an original mixed structural system and unifying the traditional and the modern, Vakif Han I is an important cultural asset with its unique characteristics that should be protected not only with its style and architecture but also with the rare construction techniques used. However, the original construction technologies used in the buildings of the period are being renewed and lost because of having recently functional changes under the pressure of tourism. Examining the construction techniques used in the buildings belonging to the transition period, which mediated the change in the late period architecture of the Ottoman Empire, provides a better understanding and contributes to the field of conservation to develop sustainable protection strategies of similar buildings by creating awareness to preserve the original techniques in their original design and provide encouraging information and aspects for their protection.

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Sedad Hakký Eldem, Türk mimarlýk tarihinde önemli bir yere sahip, uluslararasý mimarlýk ortamýnda da ismi bilinen bir mimardýr. Bu çalýþma, Eldem’in tip anlayýþý üzerine bir okuma yapmayý amaçlar. Sibel Bozdoðan’ýn tip kavramý açýsýndan, Bülent Tanju’nun ise metinlerinin tekil anlamý sebebiyle Eldem’in tavrýnýn klasik olduðu yorumlarýný kabul etmekle beraber; çalýþma Eldem’in görsel bütünlüðe yeniden ulaþma konusunda kullandýðý metotlarýn, kontrol mekanizmalarýný içermesi sebebiyle modern bir anlayýþý da barýndýrdýðýný göstermeyi amaçlar. Diðer bir yandan metin, Bozdoðan’ýn Eldem’in mimarlýðýný Batý mimarlýðý baðlamýnda okumasý anlayýþýna eklemlenir. Bozdoðan Eldem’in tip kavramýný Batý’da bu kavramýn öncülleri olan mimarlar üzerinden okurken, bu çalýþma Eldem’in tip anlayýþýný Almanya’da yüzyýl baþýnda kurulan Deutscher Werkbund’un bünyesinde ortaya çýkan tip ve bireysellik tartýþmalarý üzerinden okur. Stanford Anderson standartlaþmanýn dýþýnda kültürel anlama sahip olan tip anlayýþýný Muthesius’un typisierung kavramý baðlamýnda uzlaþým “conventionalization” olarak deðerlendirir. Eldem’in tip anlayýþý bu metinde Anderson’ýn uzlaþým kavramýna dayanarak okunmaktadýr. Tip kavramýný sadece fiziksel ve formal bir gerçeklik, endüstrileþmenin bir sonucu ve seri üretime olanak saðlayan bir yöntem olarak ele almanýn dýþýnda, daha geniþ bir baðlamda okumamýza olanak saðlayan bu kavram Eldem’in metinlerinde alt açýlýmlarýyla beraber takip edilmiþtir. Söylem analizi olarak kabul edebileceðimiz çalýþma Eldem’in 1929-1942 yýllarý arasýnda üretmiþ olduðu metinlere dayanýr. Çalýþma, Eldem’in bahsedilen üretimlerinde sistem kurma ve kontrol mekanizmalarýnýn farklý düzlemlerde ortaya çýktýðý sonucuna varýr. Bu kontrol mekanizmalarý ve geleneði canlandýrýp görsel birliði yeniden yaratma istenci typisierung kavramýnýn da temelini oluþturmaktadýr. Metin bu iki farklý tip anlayýþýnýn bu yöndeki benzerliklerini ortaya koyar.

Sedad Hakký Eldem is an architect who has an important place in the history of Turkish architecture. The purpose of this paper is to contribute an inclusive insight into Eldem’s notion of type. Sibel Bozdoðan defines Eldem’s understanding of type as a classic attitude due to his desire to gain authority from past examples and to pass this authoritarianism on to future generations. Similarly, Bülent Tanju reads Eldem’s approach as a classical attitude, as his texts have a singular meaning in contrast to his work of architecture. Although this study accepts Eldem’s classical attitude, it aims to show that the methods used to revitalize visual integrity include a notion of modernity as they encompass control mechanisms. The study aims to articulate Bozdoðan’s understanding of Eldem’s architecture in the context of Western architecture. While Bozdoðan reads Eldem’s concept of type through the architects who were the predecessors of this concept in the West, this study aims to read it through the discussions of type and individuality that emerged within the Deutscher Werkbund. Eldem’s understanding of type coincides with the concept of typisierung of Herman Muthesius and his supporters. There are similarities in the methods and concepts they propose to implement in order to provide visual unity and revitalize the culture. In addition to concepts such as norm, organization, system, exclusion mechanisms, the expressions that refer to cultural unity such as harmony, reconciliation, and anonymity are the concepts that are sought in this study. Stanford Anderson reads Muthesius’s Notion of typisierung, which has a cultural meaning outside of standardization, as “conventionalization.” Eldem’s understanding of type is read in this study based on Anderson’s concept of conventionalization. Apart from treating the concept of type as only a physical and formal reality, a result of industrialization, this concept, which allows us to read in a wider context, has been followed in Eldem’s texts. The methodology of this study involves a discursive analysis based on the texts that Eldem produced between 1929 and 1942. We can place Eldem’s buildings and texts at opposite poles of the debate on type and individuality in the Werkbund. While Eldem’s buildings represent the individuality camp because they are unique, his texts are included in the type camp due to the desire to create the convention. The study leaves the reading of Eldem’s buildings in this context to future research and looks at only Eldem’s texts and the National Architecture Seminar work as a general framework. The study concludes that the construction of a system and control mechanisms in Eldem’s discourse appear at different levels. First of all, in the analyzes he has made in the National Architecture Seminar, he reveals the types that will set the norm for later studies (at the level of details, at the level of plan type, etc.). In this process, he rationalizes, classifies, and organizes the construction forms of the tradition, representing them in a different way than they existed. Actually, the existing architectural product is carried to another context, objectified, and in a sense uses for its own purpose. He makes these to find out the common value, the essence, as Bozdoðan said. The important point for us is that he sees these types as tools to provide visual unity to be used in the production of the new architecture. The program proposed for the sake of achieving this visual unity and will be realized with the support of the state is a program based entirely on controlling the architectural practice. This is the other level where it uses control mechanisms to set up a system. Here, there is not only to prevent the individual tendencies of the architect but also the desire to control the whole process from material production to training of the builders. This is a control situation that should be done to avoid the slightest error in the system and an abnormal situation. That is why the power of the state should step in. Eldem’s thoughts include establishing a system and the mechanism that will realize this system through norms and an organization. These control mechanisms and the will to revitalize tradition and recreate visual unity form the basis of the concept of typisierung. The study reveals the similarities of these two different types of understanding in this respect.

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1950’li yýllarýn ortalarýna kadar Ýstanbul’un Anadolu yakasýnda bir sayfiye yeri olan Baðdat Caddesi, bu tarihlerden itibaren daimi ikamet alaný olarak dönüþmeye baþlamýþ ve 1965 yýlýnda çýkarýlan Kat Mülkiyeti Kanunu’ndan itibaren inþa faaliyetleri hýz kazanarak bölgede çok sayýda apartman tasarlanmýþtýr. 1972 yýlý sonunda yürürlüðe giren ve cadde üzeri ile sahildeki parseller haricindeki alanlarda daha yoðun ve yüksek yapýlaþmaya izin veren “1/5000 Bostancý Erenköy Bölgeleme Ýmar Planý” ile bölgedeki konut tasarýmlarý deðiþmeye baþlamýþtýr. Bu yüzden, 1965-1973 yýllarý arasýnda inþa edilen yapýlar, önemli birer belge niteliði taþýmaktadýr. Bu apartmanlar, rasyonel kütleleri, geniþ balkon ve pencere açýklýklarý, çiçeklik, balkon parapeti, güneþlik, duvar panosu gibi dekoratif cephe ögeleri, dinamik geometrik cephe kompozisyonlarý ve benzer malzeme kullanýmlarý ile ortak karakteristik özellikler taþýmaktadýr. Bu baðlamda makalenin amacý, söz konusu apartman yapýlarýnýn cephe özelliklerini belgelemek, özgün karakteristiklerini dönemin dünya ve Türkiye mimarlýðý baðlamýnda deðerlendirmek, onlarý Türkiye’de ayný zaman diliminde tasarlanmýþ konutlardan ayýran özellikleri ortaya koymak olarak þekillenmiþtir. Bu deðerlendirme ayný zamanda yapýlarýn mimari tasarýmlarý ile bulunduklarý bölgeye tanýmlý, okunabilir bir kentsel kimlik kazandýrýp kazandýrmadýðýný da sorgulamayý saðlayacaktýr. Çalýþma kapsamýnda, Baðdat Caddesi bölgesinde 15 adet yapý seçilmiþ, bunlar fotoðraflar ile belgelenmiþ ve Kadýköy Belediyesi Arþivi’nden yapý bilgileri derlenmiþtir. Seçilen apartmanlar, kütle biçimleniþi, karakteristik mimari ögeler ve malzeme baþlýklarý altýnda incelenerek cephe özellikleri ortaya konulmuþtur. Bu özellikler dönemin mimari eðilimleri baðlamýnda ele alýnarak bir deðerlendirme yapýlmýþtýr.

Baðdat Avenue, which was a summer place on the Anatolian side of Istanbul until the mid-1950s started to transform into a permanent residential district after this date while construction activities accelerated and apartments were built in the region after the Condominium Law was enacted in 1965. The “1/5000 Bostancý Erenköy Zoning Construction Plan” was introduced at the end of 1972, which allows denser and higher construction in parcels except for the ones on the coast and Baðdat Avenue, so apartment designs started to change in the region. For this reason, the apartments built between 1965 and 1973 are regarded as important documents. They bear common characteristic features with their rational forms, large balcony and window openings, flowerpots, railings, sunshades, decorative wall panels, dynamic geometric façade compositions, and similar façade materials. These features emerge as important elements defining the urban character of the region. In this regard, questioning the authentic features, distinguishing them from the contemporaneous apartments in Turkey, and evaluating them in the context of the architectural tendencies of the era become important. The aim of the article emerges as documenting the façade characteristics of the apartments built between 1965 and 1973 at Baðdat Avenue, evaluating their authentic characteristics within the context of world architecture as well as the architecture of Turkey. This evaluation enables to question whether they designate a defined urban identity to their region. Within the scope of the study, 15 buildings were selected and documented with photographs while building data were gathered from the Archives of Kadýköy Municipality. Façade characteristics of the selected apartments were analyzed and compared with the contemporaneous apartments in Turkey to determine the similarities and differences, and they were assessed in the context of the architectural tendencies of the era. The façade characteristics were studied under the titles: building mass features, characteristic architectural elements, and material features. The shaping of the mass and window openings; flowerpots, railings, sunshades, wall panels, and sculptural elements; usage of travertine, marble, wood, and metal; were examined under these headings. The analyses were assisted with figures and similarities as well as differences with other apartments were explained. In addition, the architectural elements were interpreted in relation to the contemporaneous architectural attitudes. The analyses led to the following inferences:
- Contrary to the central districts of Istanbul, these residences have lesser floors as well as wider windows and balconies displaying the summer resort characteristics of the area.
- Although they have common features with other apartments such as rational building mass, wide façade openings, stylized railings, and sculptural elements, they bear distinguishing characteristics such as dynamic compositions, flowerpots, sunshades, artworks, and different materials.
- These authentic features define an architectural language and constitute an urban character.
- Despite their rational planning, as a result of the dynamism and complexity of the façade, excess usage of flowerpots and sunshades, and geometric compositions, it can be assessed that Late Modern principles were adopted while Brutalism is also monitored in a limited sense.
- As the façades bear local elements like travertine cladding, sunshades, and wall panels, a regionalist attitude, which is employed together with universal architectural values, can be observed. The apartments built between 1965 and1973 in Baðdat Avenue have dynamic façade compositions despite their rational masses while they bear local components. In this regard, these residences dwell upon assembling local circumstances with universal values and endeavor to make a connection with their place. They distinguish from other apartments with their dynamic façade compositions, employment of travertine and wood, excess usage of flowerpots or sunshades, usage of sculptural elements and artworks, and constitute an architectural pattern indigenous to the region, which makes them an important part of the urban characteristic of Baðdat Avenue. Within this study, it has been aimed to contribute to the literature by documenting the façade characteristics of the apartments constructed between 1965 and 1973 at Baðdat Avenue, which are architectural heritage in danger due to the urban transformation of the region. In addition, the apartments in question have been evaluated together with other examples from Turkey to exhibit their authentic features and have been discussed in the context of global architecture so that an evaluation can be made in terms of the contemporaneous architectural tendencies. These evaluations have been meant to exhibit the importance of these buildings within the architectural context.

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Apartman, Türkiye mimarlýk pratiðinin barýnma kültürü baðlamýndaki baþat mekânsal karþýlýklarýndan biridir. Bu yapý tipi özellikle 1960-1980 yýllarý arasýnda mimarlýk pratiðini etkileyerek hýzla önemli bir konut tipine dönüþmüþ ve pek çok farklý mimarýn tasarladýðý sayýsýz örnek söz konusu olmuþtur. Ancak Mimarlýk ve Arkitekt dergilerinde yapýlan dijital arþiv taramasý üzerinden dönem literatürü incelendiðinde, sadece dönemin popüler figürlerinin konut tasarýmlarýndan bahsedildiði ve bunlarýn sadece bir kýsmýnýn apartman tasarýmý olduðu görülmüþtür. Halbuki Kadýköy Belediyesi’nde yapýlan arþiv taramasýnda apartman tasarýmý baðlamýnda farklý figürlerle karþýlaþýlmýþtýr. Bu figürlerden biri olan Melih Koray, 1960-1980 yýllarý arasýnda Kadýköy’de 145’ten fazla apartman tasarýmýna imza atan üretken bir isim olmuþtur. Ancak özellikle özgün cephe dili ile dikkati çeken Koray’a literatürde -neredeyse- yer verilmemiþtir. Bu noktada, Koray’ýn apartman tasarýmlarý üzerine bir çalýþma yapýlmasý önemlidir. Dolayýsýyla çalýþma kapsamýnda mimarýn kiþisel arþivine ulaþan yazarlar, arþivde yer alan ve çoðu Kadýköy’de bulunan apartmanlarýn günümüzde mevcut olup olmadýðýný saha araþtýrmasý ile belirlemiþ, belgelemiþ ve ardýndan Kadýköy Belediyesi Ýmar Müdürlüðü Arþivi’nde bu yapýlarýn her birini taramýþtýr. Yapýlan araþtýrma, her ne kadar Koray’ýn pek çok yapýsý yýkýlmýþ olsa da farklý cephe kurgularýnýn denendiði ayakta kalan apartman tasarýmlarýnýn sayýsýnýn oldukça fazla olduðunu göstermektedir. Çalýþma kapsamýnda, 1960-1980 yýllarý arasýnda yoðun apartman tasarýmý etkinliði ve bu tasarýmlarda oluþturduðu cephe dili ile anýlabilecek Koray’a dikkati çekmek amaçlanmýþtýr. Bu çalýþmada, mimarýn apartman cephelerinde kullandýðý unsurlar seçili örnekler üzerinden tartýþýlmýþ ve bu tasarýmlar cephe çözümleri üzerinden analiz edilmiþtir. Böylece Koray’ýn apartman tasarýmlarýnýn cephe diline iliþkin bir okuma yapan bu çalýþma, literatüre katký saðlamayý hedeflemiþtir.

This study covers an analysis of the dwelling culture of Kadýköy, Istanbul in 1960-1980 through apartment typology in the context of a neglected prominent figure; Melih Koray’s designs. Apartment dwelling type which was observed in late 19th century is one of the primary spatial reflections of Turkish architectural practice in the context of dwelling culture. Due to new construction materials, techniques and introducing optimum comfort for many families through different units, apartment buildings were differentiated from the precursor dwelling types. Due to several reasons -the transformation of the national and international policies of the country, migration from the rural areas to Istanbul, the urban property ownership law, etc.-, this building type especially effects the architectural practice of the 1960-1980 period, and it rapidly becomes important and pervasive. When a literature analysis is conducted through Turkish architectural literature, it is observed that only the dwelling designs of the popular architectural figures of the era such as Emin Onat, Utarit Ýzgi, Sedad Hakký Eldem are underlined and only a part of these dwellings are apartments. So, a gap in the literature of Turkish Architecture in the context of the specific era’s architectural figures, architectural practice; apartment as a dwelling unit is realized. Authors believe that it is important to bridge this gap and document selective examples of these apartments since the ongoing urban transformation process caused a demolishment of the representatives of 1960-1980 apartment buildings. In order to decipher the apartments of Kadýköy -one of the oldest dwelling settlements of Istanbul- built in 1960-1980, several site visits are conducted. Then a list of apartments that were selected by the authors according to their noteworthy façade language are prepared. After, an archival research in Kadýköy Municipality is employed to find additional information about these apartments and their designers. Authors figured out that there were numerous examples of apartments that were designed by various, anonymous architects. Melih Koray, who takes attention with his design language of apartments where a distinguished plan organization, façade design and aesthetical details are realized, is one of these figures. He designed more than 145 apartments in Kadýköy in the specific era. Since he is a neglected figure in the architectural literature, this research aims to concentrate on his apartment designs in 1960-1980 period through his façade design language. In order to analyze his apartment designs, authors reached the personal archive of the architect. They contacted Melih Koray’s son and an in-depth interview is conducted. Here, a personal notebook that Koray documented his designs of 1960-1980 period is found. Authors used this notebook to check if the apartments of Koray in the notebook which are mostly located in Kadýköy do still exist or not, through field study. When they figured out the existing ones -99 of them- they made a comparative analysis between the notebook and the Kadýköy Municipality Archives. After confirming that the existing apartments are his designs, authors listed these apartments, their names, construction dates and locations. Authors realized that the existing apartments of Koray had different facade organizations. Through the façades of apartments of Koray, authors also noticed that there are some common important notions that the architect used in his façade language. These notions can be classified as creating a façade language by the help of gridal elements, creating a rhythmic frame by the reflection of the structure, integrating functional elements to the façade, giving dynamism to the façade through three-dimensional elements, designing canopies to emphasize the entrances. Therefore, in the context of the study, Koray is emphasized with his various apartment designs in between 1960-1980 and with his façade language in these designs. The notions that he used in his apartment façades are discussed through selected samples and these designs are analyzed through the façade organizations. So, this study put emphasis to a neglected figure of Turkish architecture; Melih Koray and his apartment design language and aims to contribute to the architectural literature with the façade language of the apartment designs of Koray. Since Melih Koray is among a group of neglected architectural figures of the era, authors suggest concentrating on the other figures in the upcoming studies in order to contribute to architectural literature.

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Yapý, bir insan aktivitesidir. Kullanýcýnýn, tasarýmcýnýn ve dahil olan diðer herkesin kiþisel görüþlerinin, tercihlerinin ve karakterinin, mekân üzerinde kendi etkisi söz konusudur. Bu kapsamda çalýþma, mekân ile kullanýcýsý arasýndaki dinamik bir yapýya sahip iliþkinin “kalite” kavramý üzerinden okunmasýný temel almaktadýr. Böyle bir iliþkinin; toplumun eðitim, kültür, estetik vb. bilincini geliþtirmesi öngörülen müze mekânlarýnda “ideal” olan ile birlikte “olumlu” davranýþ biçimlerini geliþtirmesi beklenir. Mekânsal kalitenin üst seviyelerde saðlanabilmesi davranýþý olumlu yönde etkileyerek ziyaretçi kapsamýný geniþletirken, düþük seviyelerde býrakýlmasýnýn olumsuz etki ile ziyaretçi kapsamýný daraltacaðý düþünülmektedir. Bu doðrultuda çalýþma, bütünde literatür taramasý, uygulamaya yönelik verilerin oluþturulmasý ve gözlem yolu ile deðerlendirme olmak üzere iki temel yöntem kullanýlarak kurgulanmýþtýr. Bir tasarýmcýnýn tasarým sürecinde baþvurabileceði ya da bir araþtýrmacýnýn deðerlendirme yöntemi olarak kullanabileceði kalite parametreleri Van der Voordt ile Van Wegen’in ortak çalýþmasý olan “Architecture in Use” adlý eser referans alýnarak listelenmiþ ve iç mimarlýk mesleði baðlamýnda nasýl deðerlendirilebileceklerine dair araþtýrmalar ile açýklanmýþtýr. Böylece mekânýn oluþturulmasý ve okunmasýnda sistematik fayda saðlayacaðý düþünülen parametre göstergeleri için altlýk oluþturulmuþtur. Sonraki aþamada ise yazar tarafýndan belirlenen bu göstergeler tablolaþtýrýlarak sunulmuþ, mevcut bir müze yapýsý oluþturulan rehber kapsamýnda irdelenmiþtir. Bu noktada öncelikli amaç; tasarýmcýlarýn araþtýrmalarýný geliþtirebilecekleri yönlere ve tasarým kararlarý alýrken göz önünde bulundurmalarý gereken deðiþkenlere yönelik kontrol listesi olarak da kullanýlabilecek nitelikte bir rehber ortaya koymak, kitlelerin deneyimlerine baðlý olarak geliþtirdiði davranýþ sürecine memnuniyet çerçevesinde katký saðlamaktýr.

A building being professionally well thought out is not enough for it to be seen as architecture. In cases where user requirements are not met sufficiently or none and the labour is defective and faulty, architectural quality cannot be mentioned (Van der Voordt, Van Wegen, 2005: 4). The ability of a museum to offer its visitors a special experience within the scope of its works cannot be considered apart from the well designed places where those works are presented. In this context, the main motivation of the study is to ensure that the requirements are taken into consideration during the design phase of the space that brings the visitor to the work/object and to increase satisfaction depending on the quality. The research objectives summarized below were determined toward these considerations;
• To explain the spatial features that affect visitor behavior within quality parameters,
• To develop a guideline proposal as a base for a future museum design,
• To present evaluations about a sample case with reference to guideline.
Taking the museum experience as a whole is important for the visitor’s desire to spend more time in the place. Although the concentration seems to be in exhibition spaces; auxiliary spaces, circulation areas, reception areas, etc. are equally effective on behavior and requires user-oriented solutions. With this awareness, the discussion of museums, which are social spaces, within the framework of holistic design approach is among the secondary purposes. The parameters that should be considered in the design process are classified into categories/items so that they do not lose their visibility in the whole and create a simple and understandable syllabus. This classification was created with reference to the work named “Architecture in Use”, which is the joint work of Van der Voordt and Van Wegen, and based on the explanations of each parameter in the literature, the indicators that are thought to be systematically beneficial in reading the space have been determined. These indicators have been brought together in a guide that is expected to support the designer or researcher in the planning and evaluating phase of a museum project. The purpose of the guide is to contribute to how research can be developed in the design process and what variables can be taken into account while making quality researches. The establishment of a design museum in Turkey has been the focal point of the works to be carried out towards the development of design consciousness after Istanbul become UNESCO ‘Creative City of Design’ in 2017. Therefore, Barcelona Design Museum, one of the famous examples around the globe, has been evaluated in the context of spatial quality by taking the developed guideline proposal as reference. A chart was prepared in order to develop a concrete, systematic and practical form of expression in the evaluation of the determined indicators. Suggestions covering the development of methods and data for researches to be put forward after this study can be listed as follows;
• This research is not about how designers should design a space, but it suggests what a designer should pay attention in the design process without ignoring the human being, the user and the visitor of the space in general discourse for museums who is the reason for the existence of that space, through a guideline. Therefore, with some formal changes that can be made, the guideline can be transformed from the checklist to a scoring chart or model proposal based on scoring for each parameter.
• Within the scope of the research, it is foreseen that the author may experience the space as the user herself. For this reason, a different framework has been drawn according to the researches that can be made over multiple users. However, future studies can be grouped according to demographic characteristics within the parameters and indicators revealed.
• The connection the user establishes with the space has an important place in shaping his/her memories about that space. For this reason, expanding the status of quality within the framework of architectural memory formation may reveal new spatial research topics. In the literature reviews, it was realized that spatial quality studies were mostly examined in urban scale and in some studies on structural scale. Therefore, it is thought that this study, which has developed a user-oriented approach to interior space quality, will present a different perspective to the literature.

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1950-1980 yýllarý arasýnda konut üretim biçimlerinden biri olan kooperatif yapýlarý, diðer apartman tipi konut biçimlerinden farklý olarak, üretim yöntemlerinden mesken edinme süreçlerine, mimari tasarýmlarýndan iskân özelliklerine tüm mesken sahiplerinin ortaklýðý ve benzerliðine dayalý bir yapýlanmayý içermektedir. Mesken sahiplerinin bir araya gelmesini, bir arada mekân ve zaman paydaþý olabilmesini öngören bu yapýlanma; mimar tarafýndan geniþ ortak alanlarýn düþünüldüðü bir mimari planlamayý “ortak bir yaþam biçimi” olarak kullanýcýsýna sunmaktadýr. Bu kapsamda bir durum çalýþmasý olarak tasarlanan araþtýrmada, 1950-1980 yýllarý arasýnda Ankara’da inþa edilen kooperatif yapýlarýndaki ortak mekânlar ve ortak mekânlarýn günümüzdeki kullaným durumlarý sorgulanmaktadýr. Araþtýrmanýn temel amacý mimarýn tasarladýðý ortak mekânlar ile ortak mekânlarýn günümüzdeki kullanýmlarýný karþýlaþtýrarak analiz etmek ve geniþ ortak alanlarýn düþünüldüðü bir mimari tasarýmýn yerleþke sakinlerinin ortak mekân kullanma eðilimleri üzerindeki etkisini anlamaya çalýþmaktýr. Bu amaç doðrultusunda, bu mimari planlamanýn sosyal iliþkiler üzerindeki rolü de çalýþma içinde sorgulanma olanaðý bulmaktadýr. Araþtýrmanýn örneklemi, 1950-1980 yýllarý arasýnda Ankara’da inþa edilen kooperatif yapýlarýndan amaçlý örneklem yöntemi ile belirlenen 10 yerleþke olarak belirlenmiþtir. Bu yerleþkelerin projelerine ilgili kurumlarýn arþivlerinden ulaþýlmýþ; mimarýn tasarladýðý ortak mekânlar projeler üzerinden analiz edilmiþtir. Yerleþkelerin projelerinde tespit edilen ortak alanlarýn günümüzdeki kullanýmlarý, yerleþkelere gidilerek yerinde araþtýrýlmýþtýr. Bu karþýlaþtýrmada ulaþýlan bulgulara göre, ortak mekânlarýn kullanýmlarýndaki farklýlýklar projeler aracýlýðýyla haritalandýrýlmýþtýr.

Housing cooperatives, one of the forms of housing production from 1950 to 1980, differ from other forms of apartment-type housing in some aspects. Cooperative housings, with the principle of association, cover the housing acquirement processes for a community that comes together to meet the need for housing. This process is based on the association and similar preferences of all dwelling owners, regarding the production methods of cooperative houses and the housing acquisition processes, besides their architectural design and the housing characteristics. Large common areas and spaces offered by the architects in the cooperative housing areas built in Ankara between 1950 and 1980 enabled the owners of dwellings to come together and become stakeholders of spaces and time. Apartment buildings, which are the primary forms of housing production of the period, are seen as quick and simple solutions to housing needs and agents detaching the individual from the social context; while cooperative housings built in large settlements offer the user something beyond housing. Dwelling owners residing in cooperative housings have the experience of being a part of a community through its architectural design based on the principle of ‘common way of life’. In this context, the study examines the common spaces of cooperative housings built in Ankara between 1950 and 1980 and the current uses of these common spaces. The main aim of the study is to compare and analyze the common spaces designed by the architects and the current use of common spaces, and to try to understand the impact of the architectural design that offers large common spaces on the tendencies of the residents of the compound to use the common spaces. For this purpose, the role of architectural planning on social relations can also be questioned in the study. Since the research will take place through determined residential settlements, the study is designed as a case study. The sample of the study was selected using the criterion sample method among the types of purposive sampling, from cooperative structures built in Ankara between 1950 and 1980. The scope of the study was limited to 10 settlements that meet the criteria and the common places belonging to these settlements. During the research process, firstly the projects belonging to 10 settlements were accessed from the archives of the relevant institutions. Then, the common spaces designed by the architects were analyzed through the projects. In order to determine the current uses of the common areas identified in the projects of the settlements, the areas were marked on the project by going to the settlements. In this way, the common areas designed by the architect and the common areas used today were compared and the differences between them were mapped through projects. In the study with mapping, it was questioned that which common areas were designed by the architect; what changes took place in these areas that the user experiences today, and whether there were social areas that the users subsequently created together, unlike what the architect planned. According to the findings, in all 10 settlements surveyed, the architect left large and non-functional gaps; the volume covered by these areas was as important as the internal volume of the blocks. During visits to the settlements, it was concluded that 8 settlements had limited use of common spaces and common space; however, in the 2 settlements examined in the study (Yeþiltepe and Güneþ settlements), the tendency to create and use common space was dominant. In these two settlements, it was found that the architect planned large and bright spaces inside the blocks, and the residents of the settlement also turned this area between the floors into a common space. It has been observed that these newly formed common areas are located in front of the doors as an external extension of the house and are used more intensively than the common areas created outside. Considering the gaps and common areas designed by the architect, it was found that the cooperative structures of this period had an architectural organization aimed at the coexistence of the residents of the campus; the architect encouraged the use of common space and the creation of new common spaces. In this context, it is thought that the success of the cooperative structures built in Ankara between 1950-1980 in the process of creating common living spaces and including the residents of the campus in this formation will shed light on today’s apartment-type housing production.

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Ýlk defa 1970’li yýllarda strüktürel tasarýmda mükemmellik olarak tanýmlanan strüktürel sanat, yapýlarýn saðlamlýk ve güvenlik beklentilerini karþýladýðý gibi, ait olduðu toplumun uzun vadede estetik duyularýna da hitap edebilmelidir. Strüktürel sanat eseri yapýlar, biçimsel anlamda estetik faktörlerin ön planda olduðu, tek defaya özgü tasarlanan, toplumda ilgi ve merak uyandýran yapýlardýr. Endüstri Devrimi’nin hemen öncesinde ortaya çýkan ve zaman içinde teknolojik geliþmelerle birlikte örneklerin arttýðý strüktürel sanat eserleri çoðunlukla, köprüler, geniþ açýklýklý yapýlar, kuleler ve yüksek yapýlar olarak karþýmýza çýkmaktadýr. Bu çalýþma kapsamýnda yüksek yapýlarda strüktürel sanat kavramý ve ilkeleri tanýmlanmýþ ve bu çerçevede; kendi dönemi içerisinde sanat eseri olarak kabul gören yüksek yapýlar arasýndan her strüktür sistemden birer yapý örnek olarak seçilmiþ ve sanatsal özellikler dikkate alýnarak belirlenen ölçütler yardýmýyla sanata en yakýndan en uzaða bir deðerlendirme yapýlmýþtýr. Yüksek yapýlarýn strüktürel sanat açýsýndan deðerlendirilmesinde, deðerlendirmenin sayýsal verilere dayandýrýlarak daha gerçekçi ve somut sonuçlara ulaþmasý amacýyla Bulanýk Mantýk Analitik Hiyerarþi Süreci (BMAHS) yönteminden yararlanýlmýþtýr. Yapýlan deðerlendirme sonucunda, örnek yapýlar arasýnda bulunan Swiss Re Binasý diðerlerine göre strüktürel sanata en yakýn yapý olarak tespit edilmiþtir.

To decide which high-rise buildings would be considered as artworks in the period they have been constructed with a higher structural art quality in mind is the problem of the study. To evaluate the structural art from the closest to the furthest while taking into account the structural art principles and features and to reach more concrete and objective data are the goals of the study. The fuzzy logic analytical hierarchy process (FLAHP) method is preferred to evaluate tall buildings in terms of structural art. First, evaluation categories and criteria are determined. The evaluation criteria consist of formal and structural elements. Secondly, sample structures are chosen to evaluate. Sample structures were those that are accepted as artworks and outshine with their structural features among other buildings. The structures were scored by three experts, using linguistic expressions through criteria. After scoring, the mathematical calculation was started. This is where the importance of the FLAHP method comes into play. The subjective evaluations are transformed into objective data as a result and, it was possible to make an evaluation of structural art among the buildings by reaching their performance values. The theoretical part of the study consists of structural art and its principles. In the study, the concepts of art and aesthetics are discussed, the subject of structural art is discussed through high-rise buildings. To make the evaluation sound, evaluation criteria were made by taking into account the general theoretical elements and principles of structural art, design, and high-rise buildings. The buildings were selected from the buildings whose aesthetic factors were prioritized, designed for a single time, and became the symbol of their locations. The structures are those built between 1969 and 2011, designed in the competitive environment of the period, innovative in terms of the technology used, and belonging to different structural systems. Since there are no restrictions on the number of experts, selected samples, and the number of criteria in the literature, the numbers tried to be kept within optimum limits to make an objective assessment. The biggest reason for the selection of the FLAHP method in this study is that it transforms subjective expressions into objective data with quite simple mathematical operations. As a result, the structures ranked according to their performance values by evaluation of tall buildings in terms of structural art. This ranking is, starting from the first; Swiss Re, Capital Gate Building, Turning Torso, Willis Tower, Burj Khalifa, Al Hamra Tower, Taipei 101, John Hancock Center, First Wisconsin Bank, One Shell Plaza. In the importance of the main criteria categories, the structure is the first, the mass form is the second, and the façade is the third. The order of importance of the sub-criteria; In the structure category, the perception of the structure from the outside is the first, the functionality of the structure is the second, the structural technology is the third. The role of the structure in mass formation is the first in the mass form category, the perception of the geometry of the mass is the second, the reflection of the mass on the structure is the third. In the façade design category; the perception of the structure on the façade is the first, the symbolic quality of the façade is the second, and the façade is symbolic. reflecting the technology was determined as the third. In the ranking, the Swiss Re Building was determined as the tallest building closest to structural art among other examples. In this article, the subject of “structural art” is handled in the context of “high buildings”. Structural art has been studied before in studies on bridges, wide-span structures, and dams, but no studies on tall buildings were made. This study is one of the exemplary studies in which the subject of structural art and high-rise buildings brought together. When the studies carried out in the field of art and aesthetics are examined, it could be seen that abstract and subjective results have been reached with verbal expressions in the evaluation studies. This article is important because it is the first study to reach concrete and objective data on art and aesthetics, especially in which numerical operations are performed. It is important in terms of setting an example for the use of the FLAHP method and numerical values in the field of architecture, which constitutes the intersection of science and art.

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Yapýlarýn iþlevsel ve estetik açýdan önemli bir bileþeni olan pencere sistemlerinde çevresel, insan kaynaklý ve zamana baðlý etkenlerle birlikte performans, dayaným ve estetik deðer kayýplarý görülmektedir. Pencerelerin uzun süreli hizmet verebilmeleri için tasarým aþamasýnda alýnan kararlarýn doðru bir þekilde uygulandýktan sonra kullaným aþamasýnda bakým planlamalarýnýn zamanýnda yapýlmasý gerekmektedir. Bakým ve onarýmlarý zamanýnda yapýlmayan pencerelerde görülecek bozulmalar doðrudan ya da dolaylý olarak cephenin performansýný etkilemektedir. Çalýþmanýn amacý, kullaným sürecinde pencere sistemlerinde karþýlaþýlan bozulmalara zamanýnda doðru teþhis, analiz ve müdahale ile pencere sistemlerinin etkin kullanýmýný saðlayacak karar destek modeli geliþtirmektir. Geliþtirilen karar destek modeli; durum deðerlendirmesi, olasý müdahale alternatiflerinin belirlenmesi, durum raporu ve envanterinin hazýrlanmasý olarak üç ana aþamadan ve bu aþamalara veri saðlayan destek veri tabanýndan oluþmaktadýr. Modelin uygulanabilirliðinin ölçülebilmesi için Ýstanbul’da bir eðitim binasýnýn alüminyum çerçeveli penceresinde model uygulanmýþtýr. Uzman kiþilerin kullanýmýna uygun düzenlenen tablo sistemiyle durum deðerlendirme iþlemleri hýzlý, eksiksiz ve sayýsal olarak elde edilebilmektedir. Pencere sistemlerinin yaþam süresince durumlarýnýn kayýt altýna alýnmasýyla envanter oluþturulmasý ve karþýlaþýlan bozulma türlerine ve sebeplerine yönelik çalýþmalara veri saðlamasý planlanmaktadýr. Çalýþma kapsamýnda geliþtirilen karar destek model önerisi ile karar verici kiþilerin, üreticilerin, tasarýmcýlarýn ve uygulayýcýlarýn yenilemeye yönelik bilinçlendirilmesi, kullanýcý konforunun korunmasý, cephe ve pencere sistemlerindeki deðer kayýplarýnýn azaltýlmasý, hatalý müdahale iþlemlerinden kaynaklý performans kayýplarýnýn önlenmesi ve ulusal kaynaklarýn korunmasý hedeflenmektedir. Modelin ileride yazýlýma dönüþtürülmesi ve bozulmalarla ilgili görsel ve yazýlý bilgilerle desteklendiðinde karar verici kiþiler tarafýndan da kullanýlabilir.

Performance, endurance, and aesthetic value losses occur due to environment, human, and time factors in windows, which is a significant component of buildings in terms of function and aesthetics. The maintenance planning of windows should be conducted on time during the usage phase as well as accurately implementing the decisions taken at the design stage so that the windows can serve for a long time. If maintenance and repairs are not performed on time, directly or indirectly, deteriorations that will decrease the performance of buildings and products’ lifespan will occur. These issues will affect the performance and aesthetic properties of windows and facades. A systematic approach that ensures effective use of timely accurate identification, analysis, and intervention regarding the malfunctions encountered in windows during occupancy is presented. The proposed model that will be used by experts is aimed to prevent erroneous maintenance practices, protect user comfort, reduce usage costs, and contribute to the national economy by conserving resources via a decision support model for the deterioration of windows. The decision support model that is developed consists of three main stages, namely condition assessment, determination of possible intervention alternatives, and preparation of the condition report and inventory, and a support database is created to provide data for these stages. The first stage of the model, also known as the condition assessment stage, consists of three phases: data collection, condition analysis, and assessment. General information about the building and window are recorded during the data collection phase. In the second phase, i.e., condition analysis, the deterioration intensity and the area of disturbance will be determined after detecting malfunctions in windows. In the condition assessment phase, deterioration’s severity is determined using NEN 2767 method, while deterioration’s scores in the component are calculated by using the cardinal scale method. The second stage of the model, which is known as the determination of possible intervention alternatives, consists of four steps: possible intervention alternatives, intervention priority scores, intervention scores, and appropriate intervention alternatives. Possible intervention alternatives are prepared according to intervention lists created in the support databases. In determining the intervention priority scores (the second step), intervention priority score was given by evaluating the effects of deterioration on the three parameters, i.e., aesthetics, performance, and strength, on a 5-point scale according to the type of deterioration and the component in which it is located. In the last step of determining the possible intervention alternatives, intervention type and intervention procedures are selected according to the intervention score. The third stage of the model, called as the preparation of the status report and inventory, involves information on the current state of the window, the diagnostic methods used, and possible intervention alternatives. In the identification of deterioration in windows, on-site non-destructive diagnostic methods were examined within the scope of the model. In the study, it is decided to use internal and external observations and to make crack measurements and alignment checks when necessary. The proposed model is limited to windows only, although it could be used with all facade components. The model was applied to six windows in total by choosing two windows from three frame types in an education building in Istanbul, where wooden, PVC, and aluminum framed windows are used. The data of the aluminum-framed window were shared within the scope of the article. It is observed that physical effects and usage errors affect the service life and performance of the window in terms of the effects of environmental and human-induced factors on windows’ deterioration. The conclusion was that deteriorations in the examined aluminum-framed window affect the aesthetic, thermal, air, and water performances of windows. In conclusion, an expert can obtain results of condition assessment swiftly, completely, and numerically by filling out the checklists in the program prepared during data collection and analysis stages if the proposed model is used. The model is designed to create an inventory by recording the status of buildings’ components that require maintenance such as windows during usage. This should provide data for studies on the types and causes of deterioration in building elements. The developed proposal of the “decision support model”, should raise awareness of decision-makers, manufacturers, and designers for renovation, to protect user comfort, to reduce value losses in facade and window systems, to prevent performance losses resulting from erroneous interventions, and to protect national resources.

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Türkiye’de kentler, neo-liberal yaklaþýmýn yönetime etkisi ile açýklanan neo-dirigisme (yeni devlet yapýlanmasý) etkisi ile son 20 yýldýr önemli deðiþim ve dönüþüm yaþamaktadýr. Neo-liberal politikalar her coðrafyada farklý bir þekilde ortaya çýkmakta ve kentleri farklý þekillerde sermayeye sunmaktadýr. Günümüzde kentler sermayenin birer aracý olarak sürekli deðiþim ve dönüþüm geçirmektedir. Kentlerde yaþanan bu deðiþim ve dönüþüm çoðunlukla yapýlan plan deðiþiklikleri ile saðlanmaktadýr. 2000’li yýllardan sonra yerel yönetimlerde yapýlan bir dizi yasal deðiþiklik ile planlamanýn bütünlüðü ilkesi deðiþime uðramýþ ve kent mekânýna yapýlan müdahaleler kolaylaþtýrýlmýþtýr. Bununla birlikte yatýrýmcýlarýn da kent mekânýna yatýrým yapmasý teþvik edilmiþ, kent mekânýnda proje yatýrým ve uygulamalarý kolaylaþtýrýlmýþtýr. Bu çalýþmada, Kayseri kenti özelinde gerçekleþtirilen büyük ölçekli kentsel projelerin, neo-liberal politikalar baðlamýnda kentsel mekâna olan etkileri araþtýrýlmaktadýr. Kayseri kenti için hazýrlanan 1986, 2006 ve 2017 yýlý kent planlarýndaki fiziksel deðiþimin incelenmesi ve bu deðiþimin ranta olan etkisinin arsa rayiç bedellerinde yaþanan deðiþimler üzerinden incelenmesi çalýþmanýn metodolojisini oluþturmaktadýr. Çalýþmada, 1986 yýlýnda yapýlan planda önerilen kamu arazilerinin büyük ölçekli kentsel projeler yolu ile özelleþtirilmesi ve kentsel mekânýn deðiþimi ele alýnmaktadýr. Arsa rayiç bedelleri üzerinden yapýlan inceleme sonucunda kentsel mekân deðiþip dönüþürken; ayný zamanda büyük ölçekli projeler ve kente yapýlan yatýrýmlarýn kentin bu bölgelerinde rant artýþýna neden olduðu çalýþmanýn temel bulgularý arasýndadýr. Çalýþmada, büyük ölçekli kentsel projelerin kentsel dönüþüm projelerini tetiklediði ortaya çýkan önemli sonuçlardan birisidir. Ýmar planý deðiþikliklerinin ve bununla iliþkili olarak kent planlamanýn sermayenin stratejik aracý haline gelmesi ise çalýþmanýn diðer bir sonucudur.

In this research, an answer is sought to the question to what local governments’ role in the change and transformation of cities as a tool of capital after 2000 is, with the effect of neo-liberal urban policies and neo-dirigisme and the change of public administration understanding. Another question of the study is: what are the effects of the capital-oriented transformation of urban space on urban rent in cities planning, in accordance with neo-liberal policies, and what is the role of planning in this transformation. In this research, it is aimed to investigate the legal changes made for local governments with the effect of neo-liberal policies and neo-dirigisme in Turkey after 2000 and to investigate how local government authorities are transformed. In consideration of this research, in order to investigate how the large-scale urban projects realized in the city of Kayseri affect the urban space in the context of neo-liberal policies. It was aimed to investigate the effects of large-scale urban projects on rent that they were implemented in the city of Kayseri in accordance with neo-liberal policies by years after 2000, and it was aimed to investigate the relationship between urban transformation projects and large-scale urban projects, in maintaining the increase of urban rent and role of urban transformation projects. In order to better understand the transformation of public lands, the decisions are taken in the 1986 plan, the development plans of 2006 and 2017, and the current Google Earth aerial photographs which show the current situation were compared by using the plan comparison method. Evaluating the increase of rent method was used in order to investigate the effect of neo-liberal policies and large-scale urban projects on rent in Kayseri. In the study, the changes in the market value of the land and its rent increase were calculated by using the inflation calculation method. In the study, large-scale urban projects realized in the city center of Kayseri after 2000, as well as the transformation of public lands, and the transformation of its surroundings are handled. Evaluation of the increase of rent experienced in and around large-scale urban projects due to the current market values of the land are determined by the appraisal commissions every 4 years, the market values of the land in 2002, 2006, 2010, 2014, and 2018 were calculated. When large-scale urban projects and their site selections are examined, it has been seen that the project areas are constructed on public lands. This change and transformation are provided by the changes in land use plans. The large-scale urban projects implemented as a result of development plan changes and with the intense construction pressure of its surroundings, it has begun to transform into high-rise (density) residential areas. Large-scale urban projects have caused a significant increase in the current market value of the land as of the years of construction, but this increase did not continue in the following years; however, with the existence of urban transformation projects in these areas and their surroundings or the emergence of new project areas, an increase in the current market values of the land and the rent is provided again. The understanding of neo-liberal municipalism which shaped by the new state structure and neo-dirigisme, build urban development on public lands. Along with large-scale urban project implementations, the announcement of urban transformation project areas around the project areas has been triggered, so the pressure on built environment production and construction has increased. One of the basic components in the creation of the urban built environment is the development plans and the planning changes. It becomes impossible to talk about the sustainability, continuity, and holistic planning approaches of planning with large-scale urban projects and the planning changes around them, and as a result, urban planning and architecture become a strategic tool of capital. Large-scale urban projects cause a serious increase in rent by the years they were built in the areas where they are located. The continuation of this increase could only be achieved with the urban transformation project areas announcement and urban transformation projects have become a tool to maintain the rent increase. This is the first study made specifically for Kayseri that utilizes the inflation calculation method for the evaluation of large-scale urban projects’ effect on the increase in rent that constitutes the original value of the study.

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Park, kent ormanlarý, günlük rekreasyon alanlarý, konut bahçeleri gibi alanlarý içeren açýk ve yeþil alanlar mekânsal sistemi deðiþtirme görevini üstlenebilirler. Özellikle salgýn hastalýk dönemlerinde halkýn doðaya özlemi giderek artmakta ve bu durum çeþitli toplumsal sorunlarýn ortaya çýkmasýna kadar varabilmektedir. Bu çalýþmada, halkýn kullanýmýna sunulan açýk ve yeþil alanlarýn planlanma, tasarým, uygulama ve sürdürülebilirliðinde önemli görevler yüklenen peyzaj mimarlarýnýn salgýn hastalýklar sürecinde açýk ve yeþil alanlarýn kullanýmý ve bu konuda yapýlan uygulamalara yönelik görüþleri Covid-19 salgýný örneðinde anket aracýlýðý ile ortaya konulmaya çalýþýlmýþtýr. Dört yüz peyzaj mimarý ile yapýlan anket çalýþmasý sonucu salgýn hastalýklarla mücadelede toplum saðlýðýný desteklemek amacýyla açýk ve yeþil alanlarýn kullanýmýnýn gerekli olduðu ancak, kullanýmýn dezenfeksiyon, fiziksel mesafe, kent mobilyalarýnýn kullanýmýnýn yeniden ele alýnmasý gibi çeþitli önlemler gerektirdiði üzerinde durulmuþtur. Salgýnýn yayýlmasýný önlemede alýnan önlemlerin sosyomekânsal sonuçlarýnýn anlaþýlmasý ile çalýþma ve yaþam kalýplarýný birleþtiren, ortaya çýkan yeni yaþam tarzlarý ile ilgili kavramlarýn belirlenmesi çalýþmadan elde edilecek faydalar arasýndadýr. Elde edilen bulgulara dayanýlarak peyzaj mimarlarýnýn kentsel yeþil alanlarý doða ile uyumlu olarak tasarlayabilmeleri ve halk saðlýðýný dikkate alabilmeleri için doða, doðal etkenler ve saðlýk iliþkileri konusunda tecrübe kazanmalarý gerektiði ifade edilebilir.

Open and green areas, including areas such as parks, urban forests, daily recreation areas, residential gardens, can take on the task of changing the spatial system. Especially during epidemic/pandemic periods, people’s longing for nature gradually increases and this situation can lead to the emergence of various social problems. This study tried to put forward the views of Landscape Architects, who undertake important duties in the planning, design, implementation and sustainability of open and green spaces offered to the public, on the use of open and green spaces during the pandemic process and applications made in this regard through a survey. As a result of the survey conducted with 400 Landscape Architects, it was emphasized that the use of open and green areas is necessary in order to support public health during the pandemic period, but the necessity of various measures such as disinfection, physical distance, and re-handling of the use of urban furniture has been acknowledged. Understanding the socio-spatial consequences of the measures taken to prevent the spread of the epidemic and determining new concepts related to lifestyles that combine working and life patterns and arising from new spatial environments are among the benefits to be gained from the study. Based on the findings obtained through this study, it can be stated that Landscape Architects need to gain experience in nature, natural factors and health relations in order to be able to design urban green spaces in harmony with nature and with consideration to public health.

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Görme engelli bireyin (görmeyen ve az gören), gören bir kiþi gibi, nerede olduðunu ve nereye gitmekte olduðunu bilmesi konforunu yaþamasý, dolayýsýyla baðýmsýz hareket edebilmesi gereklidir. Bireyin baðýmsýzlýðý ancak bulunduðu mekâný algýlamasý ile ilgilidir. Mekâný okuyabilen gören ya da görmeyen her kiþi baðýmsýzdýr. Baðýmsýz olan her kiþi için içinde bulunduðu mekân ve çevre eriþilebilirdir. Bu çalýþmada, Edirne’deki, 1484-1488 yýllarý arasýnda inþa edilmiþ Sultan Ýkinci Bayezid Külliyesi’nin, halen saðlýk müzesi olarak kullanýlan Darüþþifa bölümünün, mekân dizimi yöntemi ile eksenel hat analizi ve görünür alan analizleri yapýlmýþ ve sayýsal verilere ulaþýlmýþtýr. Mekân dizim yöntemi ile elde edilen deðerler ayný mekânda bir grup mimarlýk öðrencisi ile yapýlan atölye çalýþmasýnýn çýktýlarý ile karþýlaþtýrýlmýþtýr. Duyusal potansiyelleri zengin olan tarihi mekânda gerçekleþtirilen atölye çalýþmasýnda, akustik, koku ve dokunsal algý ile elde edilen bilgi bütününün çözümlenmesi amaçlanmýþtýr. Tasarým sürecinde, görünmezlik boyutunun uygulanabilme deneyimi olarak açýklayabileceðimiz atölye çalýþmasýnda, çoklu duyularýmýzla mekâný okumak, biçimlendirmek ile ilgili farklý deneyimler yaþanmýþtýr. Öðrenciler, oluþturduklarý yeni tasarýmlar ve tespit ettikleri sorunlarýn çözüm önerilerini ortaya koymuþlardýr. Amaç, çoklu duyularla oluþan biliþsel haritalarýn, okunabilirliðe hangi ölçüde etki ettiðinin küçük bir örnekle ortaya konulmasýdýr. Okunabilirliðe etki eden parametrelerden olan plan þemasýnýn ve yapýsal-duyusal iþaret ögelerinin bulunduðu yerlerin görme engellilerin algýlamasýna nasýl etki ettiði araþtýrýlmýþtýr. Simetri eksenindeki ve eksen dýþýndaki iþaret ögesi yerleþiminin, görme engellinin plan okumasýna doðrudan etki ettiði görülmektedir. Simetrik plan þemasýna sahip binalarda iþaret ögelerinin yerinin görme engelli kiþinin planý algýlayabilmesi açýsýndan önemi ortaya konulmuþtur.

In the present study, the effects of the places where structural and sensory landmarks are found on the perception of space by the visually impaired were investigated on an example. In a symmetrical plan scheme, the fountain, which is a structural and sensory landmark for the visually impaired, is located at the intersection point in the x and y coordinate plane, makes it difficult for these people to understand the fiction of the space, prevent them from forming the plan scheme in their minds and thus making the scheme remembered and known. It is the demonstration of the extent to which cognitive maps formed with multiple senses in students in historical place affect legibility with a small example. It was investigated how the plan scheme and the places where the structural-sensory landmarks, which are among the parameters affecting the legibility, affect the perception of the visually impaired. In the study, the outputs of a workshop attended by students studying architecture at different universities were used. In the workshop, which we can explain as the experience of applying the invisibility dimension in the design process, different experiences were practiced about spatial legibility and shaping the space with multiple senses. The hospital section of the Sultan II Bayezid Complex was chosen as the experimental area of the workshop. In the workshop, after sharing and discussing the works and projects of some groups with Architect Carlos Mourao Pereira, the idea method was created to analyse the connectivity, integration and comprehensibility of a part of the historical space with a large number of sensory data within the scope of spatial syntax. This idea was developed during the compilation of the workshop results and has been the subject of this article. With the help of the Depthmap program, maps of the hospital section of the Complex were created and axial line analysis and the connectivity, integrity and intelligibility data of the space were examined. The results obtained were compared with opinions and productions of the students. In this study, axial line analysis and visibility graph analysis of the Darüþþifa section of the Sultan II. Bayezid Complex were analysed by means of the space syntax method and numerical data were obtained. A comparison of the findings and observations made by a group of students in the same place was made with the data obtained from the workshop conducted with architecture students. The students in the selected group experienced the space for the first time, using the blindfold, without using the sense of sight, and then drew the plan of the space where they tried to recognize it through temperature, acoustic differences and sense of touch. In fact, it is seen in the plan that the structure, which has a hexagonal plan, is perceived as an oval by the students using the blindfold. Architect Carlos Mourao Pereira emphasized that it is a very interesting point for students to perceive a non-oval space as oval, stating that oval spaces are difficult to perceive for the visually impaired. According to Pereira, if a space is designed for the visually impaired, the fountain, which can be defined as a sensory landmark, should not be located in the middle. In order to make numerical verification of Pereira’s determinations, axial maps were prepared in the Depthmap program to see the effect of the hospital section of the Külliye on human movement and the intensity of use. To reach the values in the Depthmap program, the fountain is placed to the left of the middle axis of the building with a symmetrical plan. Looking at the analysis results, it was determined that if the fountain is shifted from the middle axis, the number of axes with high connectivity value increases according to the original plan. The same increase was observed in the integration analysis. There was an increase in axles with high integration values. In this study, the importance of the location of the landmarks in buildings with symmetrical plan schemes for the visually impaired person to perceive the plan was revealed. Due to the fully symmetrical and central landmark, the person cannot determine the starting and the ending point, so a plan scheme cannot be formed in the mind. It is seen that the landmark placement on and off the axis of symmetry directly affects the plan reading of the visually impaired. The importance of the location of the landmarks in buildings with a symmetrical plan scheme has been demonstrated in terms of the visually impaired person to perceive the plan scheme.

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