İmran Gümüş

The aim of this study is to search for the relationship between the morphological character of urban space and the rhythms of everyday life. Initially, behavioral maps are created by observing daily life rhythms, video recordings are taken on weekend and weekday, the snapshot technique, video recordings, and the pedestrian count analysis are used. In the second step, morphological analyses of the study area are prepared by using space syntax approach. Connectivity, local, and global integration values are obtained through creating axial map, and, in addition, visibility graph analysis (VGA) is performed. Bursa Kent Meydanı Shopping Center (BKMSC) consists of a square and the shopping units surrounding it. This area was the main transportation point as Central Bus Station Complex until 2006. The area was selected within the scope of the study because its changing public use due to the functional transformation of the area plays a significant role in the identity of the Bursa. The beh...

Gecmisten gunumuze bircok kentsel arastirmanin ve calismanin konusu olan baglamsalcilik kavrami, mimari tasarim sureclerine yerin farklilasan ozellikleri dogrultusunda etki eden, tarihi, kulturel, sosyal ve dogal unsurlarinin guncel ihtiyaclara cevap verecek sekilde yeniden ele alinmasiyla aracsallastirilan bir kavramdir. Kentlerin stratejik noktalarinda acilan mimari ve kentsel tasarim yarismalarinda, tasarim onerilerinin kentsel baglam ile iliskisi on siralarda degerlendirilmektedir. Yarismaya katilan projelerin basarisinda kentsel baglamin yenilikci cozumlerle birlikte ele alinis bicimi juri raporlarinda degerlendirme kriteri olarak karsimiza cikmaktadir. Sahip oldugu koklu tarihsel gecmisi ve katmanli kentsel yapisi nedeniyle Bursa’da gerceklestirilen kentsel ve mimari tasarim yarismalarinda degerlendirme kriterlerinin basinda baglam konusu gelmektedir. Guncel ihtiyaclara cevap veren cagdas kentsel ve mimari mudahalelerin yarismayla belirlenmesi Bursa’nin kamusal yasami ve kents...

This study aims to investigate how the concept of critical regionalism can be instrumentalized in deciphering architectural continuity. The aim of the study is to demonstrate the dialogue that SM House has established with its geography by employing the critical regionalism approach. The main objective is to use critical regionalism to analyze SM House compared to other housing typologies in its geographical region and to reveal the relationship between the modern house and traditional and ancient houses. Visual and syntactic analyses of SM House and other houses from different times, including the ancient and traditional periods, were carried out in order to examine the concept of architectural continuity in the Northern Aegean and to evaluate the claim that SM House is a representative of local modernism. The visual analysis included analyses of plans, façades, and photographs. This method of analysis has been used to interpret spatial relations, materials, and construction techniques. Justified permeability graphs (gamma analysis) were used in space syntax analyses and have contributed to interpreting the social and cultural effects of spatial relationships. Real relative asymmetry (RRA), integration, visual integration, depth, and compactness values were used to interpret the possibilities of spatial experience and socialization offered by the houses examined and to analyze the readability of spaces. The contextual continuity and local reference of megaron, traditional, and modern houses in the Northern Aegean have been deciphered through visual and syntactic analyses. This study interprets contextual continuity as the essence of critical regionalism. The basic principles used in this study for the instrumentalization of critical regionalism included the principles of "spatial experience", "local form and material", "tectonic form", and "space-culture relationship" derived from interpretations of the current literature and Frampton's principles, together with the principle of "alienation" introduced by Tzonis & Lefaivre (1981). The five principles through which critical regionalism is interpreted are applied to the visual and syntactic analyses of houses corresponding to three different time-space periods. The critical regionalist approach uses the local materials in order to respond to aesthetic concerns and to maintain the mass balance of the building in addition to functional requirements. This approach transforms local architecture without breaking the relationship between the place and the building by enabling the implementation of new technological systems and materials together with contemporary principles. The courtyard, which was located in the entrance of the ancient house, served as the most social place of the house, while in the traditional house this function was taken on by the sofa, which was located at the entrance of the house and on the upper floor. The entrance of the house was used to socialize and gather in the ancient period, while sofas which were located on the upper floors in traditional houses functioned as closed spaces where occupants came together. In the ancient period, high-depth housing types were common in order to provide protection. The short edges of the houses were used as entrances. In SM House, which reflects the modern period, the entrance is accessed by opening a niche from the long edge of the residence as opposed to the short edge used in the ancient period. SM House offers a combination of the ancient courtyard and the traditional sofa. However, the sofa has been re-interpreted as a low-privacy space with direct access not only for residents but also for visitors. Here, the architect re-interpreted traditional and ancient codes using the principle of "alienation". These data show that the changing social order, cultural transformations, and technological developments are important factors in the transformation of local elements of residential architecture. The unusual use of the local material in the SM House and the effort to communicate with visitors in addition to the residents confirm that SM House is taking a contrary approach to the traditional dwelling, which does not prioritize communication. In order to avoid dangers, the traditional house included features such as small window openings and small dimensions opened to the outdoor space; these features continued in traditional houses out of privacy concerns. In SM House, rather than traditional cultural norms, the desire to establish a strong relationship with the landscape is prioritized. Furthermore, the technological facilities incorporated into the construction of the house have been designed as outward-oriented. This house, which a family of four will use as a holiday home, has concerns independent of the spatial priorities of traditional residents. The elements that organize the place are not cultural norms, but regional…

The purpose of this study is to identify the relationship between spatial configuration and spatial quality, and how they affect each other. Spatial quality is a sophisticated concept and encompasses physical, social, economic, cultural and environmental components. Urban squares reflect these parameters and also play a decisive role in urban identity as areas of apparent urban culture and collective memory. Spatial configuration also determines the character of the squares as a result of morphological feature of cities. In the study, qualitative and quantitative methods are used together. Initially, the case study was conducted on two pier squares, San Marco Square (Venice) and Beşiktaş Square (Istanbul) according to fifty public space quality parameters. Secondly, morphological analysis was performed through space syntax method. It has been investigated whether there is a connection between spatial configuration and the factors determining the quality of space or not. As a result, it has been revealed that the spatial configuration is one of the determining factors being assessed the quality of the space, however, it does not provide sufficient data alone. The importance of this article is that it proposes an analytical approach that includes both quantitative and qualitative components of spatial quality.

This study aims to investigate how the concept of critical regionalism can be instrumentalized in deciphering architectural continuity. The aim of the study is to demonstrate the dialogue that SM House has established with its geography by employing the critical regionalism approach. The main objective is to use critical regionalism to analyze SM House compared to other housing typologies in its geographical region and to reveal the relationship between the modern house and traditional and ancient houses. Visual and syntactic analyses of SM House and other houses from different times, including the ancient and traditional periods, were carried out in order to examine the concept of architectural continuity in the Northern Aegean and to evaluate the claim that SM House is a representative of local modernism. The visual analysis included analyses of plans, façades, and photographs. This method of analysis has been used to interpret spatial relations, materials, and construction techniques. Justified permeability graphs (gamma analysis) were used in space syntax analyses and have contributed to interpreting the social and cultural effects of spatial relationships. Real relative asymmetry (RRA), integration, visual integration, depth, and compactness values were used to interpret the possibilities of spatial experience and socialization offered by the houses examined and to analyze the readability of spaces. The contextual continuity and local reference of megaron, traditional, and modern houses in the Northern Aegean have been deciphered through visual and syntactic analyses. This study interprets contextual continuity as the essence of critical regionalism. The basic principles used in this study for the instrumentalization of critical regionalism included the principles of "spatial experience", "local form and material", "tectonic form", and "space-culture relationship" derived from interpretations of the current literature and Frampton's principles, together with the principle of "alienation" introduced by Tzonis & Lefaivre (1981). The five principles through which critical regionalism is interpreted are applied to the visual and syntactic analyses of houses corresponding to three different time-space periods. The critical regionalist approach uses the local materials in order to respond to aesthetic concerns and to maintain the mass balance of the building in addition to functional requirements. This approach transforms local architecture without breaking the relationship between the place and the building by enabling the implementation of new technological systems and materials together with contemporary principles. The courtyard, which was located in the entrance of the ancient house, served as the most social place of the house, while in the traditional house this function was taken on by the sofa, which was located at the entrance of the house and on the upper floor. The entrance of the house was used to socialize and gather in the ancient period, while sofas which were located on the upper floors in traditional houses functioned as closed spaces where occupants came together. In the ancient period, high-depth housing types were common in order to provide protection. The short edges of the houses were used as entrances. In SM House, which reflects the modern period, the entrance is accessed by opening a niche from the long edge of the residence as opposed to the short edge used in the ancient period. SM House offers a combination of the ancient courtyard and the traditional sofa. However, the sofa has been re-interpreted as a low-privacy space with direct access not only for residents but also for visitors. Here, the architect re-interpreted traditional and ancient codes using the principle of "alienation". These data show that the changing social order, cultural transformations, and technological developments are important factors in the transformation of local elements of residential architecture. The unusual use of the local material in the SM House and the effort to communicate with visitors in addition to the residents confirm that SM House is taking a contrary approach to the traditional dwelling, which does not prioritize communication. In order to avoid dangers, the traditional house included features such as small window openings and small dimensions opened to the outdoor space; these features continued in traditional houses out of privacy concerns. In SM House, rather than traditional cultural norms, the desire to establish a strong relationship with the landscape is prioritized. Furthermore, the technological facilities incorporated into the construction of the house have been designed as outward-oriented. This house, which a family of four will use as a holiday home, has concerns independent of the spatial priorities of traditional residents. The elements that organize the place are not cultural norms, but regional references such as landscape, climate, topography, and local construction techniques. The need for defense and protection in the ancient period, a desire for privacy in the traditional period, and a preference for spatial experiences in the modern period are the main factors that influence the form of the houses. Spatial priorities varied in the relationships established with place in the three different time periods, but continuity has prevailed in the organization of space. This continuity has been made possible by local construction techniques, local materials, and topography guiding the design process. Visual analyses have found that the houses built in the three different time periods in the Northern Aegean contain the most rational solutions for their periods; syntactic analyses have shown how local and non-local subjects change and redefine the use of space. Visual and syntactic analyses of houses represented in different time periods can guide the creation of new designs that are compatible with nature, neighborhood, and context when evaluated as data sets within the critical regionalist approach. This study has shown that critical regionalism can be transformed into a method that contains data which can be integrated into the architectural design process, beyond the principles that allow for the construction of buildings to be evaluated after the construction process has been completed. The original contribution of the study to the current literature is an attempt to transform the critical regionalism approach into an analytical method through the analysis of houses built in three different time periods in the Northern Aegean. The rationale behind this method is to reveal the potential of critical regionalism as part of the design process beyond the principles of evaluation after the construction process.

Geçmişten günümüze birçok kentsel araştırmanın ve çalışmanın konusu olan bağlamsalcılık kavramı,
mimari tasarım süreçlerine yerin farklılaşan özellikleri doğrultusunda etki eden, tarihi, kültürel, sosyal ve
doğal unsurlarının güncel ihtiyaçlara cevap verecek şekilde yeniden ele alınmasıyla araçsallaştırılan bir
kavramdır. Kentlerin stratejik noktalarında açılan mimari ve kentsel tasarım yarışmalarında, tasarım
önerilerinin kentsel bağlam ile ilişkisi ön sıralarda değerlendirilmektedir. Yarışmaya katılan projelerin
başarısında kentsel bağlamın yenilikçi çözümlerle birlikte ele alınış biçimi jüri raporlarında
değerlendirme kriteri olarak karşımıza çıkmaktadır.
Sahip olduğu köklü tarihsel geçmişi ve katmanlı kentsel yapısı nedeniyle Bursa‟da gerçekleştirilen
kentsel ve mimari tasarım yarışmalarında değerlendirme kriterlerinin başında bağlam konusu gelmektedir.
Güncel ihtiyaçlara cevap veren çağdaş kentsel ve mimari müdahalelerin yarışmayla belirlenmesi
Bursa‟nın kamusal yaşamı ve kentsel kimliği için oldukça önem taşımaktadır. Bu araştırma bağlam
konusunun mimari yarışmalarda tasarım kriteri olarak nasıl yorumlandığını, Bursa kentinin yarışmaya
açılan üç önemli kentsel meydanı üzerinden değerlendirmeyi amaçlamaktadır. Bağlamsalcılık kriterleri
Bursa Santral Garaj Kent Meydanı, Orhangazi Meydanı ve Çekirge Meydanı Proje Yarışmalarında
birincilik ödülünü kazanan projeler üzerinden incelenecek olup tasarıma yön veren ilkeler, projelerin vaat
ettikleri ve jürinin başarılı bulduğu tasarım stratejileri karşılaştırmalı olarak analiz edilecektir. Tarihi,
kültürel, sosyal ve doğal niteliklerin çağdaş yaklaşımlarda bağlamsalcılık ilkeleriyle nasıl birer tasarım
stratejisine dönüştürüldüğü bu üç örnek üzerinden incelenecektir.

The concept of contextualism, which is the one of the fundamental issues of many urban studies from the
past to the present, has been instrumentalized by considering historical, cultural, social and natural
elements of the sites where the architectural design competitions to be performed. In the architectural and
urban design competitions that take place at the strategic points of the cities, the concept of "urban
context" is of primary importance in the evaluation criteria of the projects. Undoubtedly, the way in
which the urban context is handled together with innovative solutions is a primary parameter showing the
success of the projects.
The concept of “context” is the one of main evaluation criteria in urban and architectural design
competitions in Bursa due to its deep-rooted historical background and multi- layered urban structure. The determination of contemporary urban and architectural designs that respond to current needs by
competition is very crucial for Bursa's public life and urban identity. This research aims to evaluate how
the concept of contextualism is interpreted as design criteria in architectural competitions through the
three important urban squares of Bursa. In this context, first prize winning projects of Bursa Santral Garaj
City Square, Orhangazi Square and Çekirge Square Project Competitions will be examined. The
principles guiding the design, the promises of the projects and the design strategies that designated as a
successful by jury in the projects will be analyzed comparatively. This study shows that how historical,
cultural, social and natural qualities are transformed into a design strategy with the principles of
contextualism in contemporary approaches through these three examples.

Mimarlık görmenin egemen olduğu klasik beş duyu dışında, bu duyuların etkileşime girdiği birçok duyusal deneyim alanını içermektedir. Plastik duygular aracılığıyla insanın dünyayla karşılaşmasına olanak veren mimarlık, bireylere deneyim alanı sunarak içinde bulunduğumuz dünyanın bize nasıl dokunduğunu görünür kılmayı amaçlar. Mimarlık mekân yaratımı aracılığıyla yer ile iletişim kurmakta; sunduğu deneyim alanı ile beden-mekan etkileşimine olanak vermektedir. Zevi, Merleau- Ponty, Heidegger, Pallasmaa mimarlığın fenomenolojik ve algısal boyutuna odaklanarak çok-duyulu mekân deneyiminin mimarlığın özünü oluşturduğunu ifade etmişlerdir.  Bu çalışma görmenin hegemonyası dışında çok-duyulu mekân deneyimine ve duyular arası etkileşime olanak veren mimarlık yapma biçimine odaklanır. Bu nedenle öncelikle mimarlığın görevleri ve boyutları açıklanacak; sonrasında ise mekanın çok-duyulu bir deneyim alanı olarak hangi bileşenler için potansiyel bir alan olduğu tarif edilecektir. Çok-duyulu deneyimi “atmosfer” kavramı aracılığıyla yaratmayı amaçlayan Zumthor’un yapıları bu kapsamda incelenmiştir. Yapılarındaki atmosferi benimsediği on iki ilke doğrultusunda yakalayan mimar için mimari varlık (the body of architecture); malzemenin uyumluluğu (material compatibility); mekanın sesi (the sound of space); mekanın ısısı (the temperature of space); saran, çevreleyen nesneler (surrounding objects); sakinlik ve cazibe arasındalık (between composure and seduction); iç ve dış arasındaki gerilim (tension between interior and exterior); samimiyet seviyeleri (levels of intimacy) ve nesnelerin sahip olduğu ışık (the light on things) atmoferin temel ilkeleridir. Bunlara ek olarak çevreleyiciler olarak mimarlık; uyum, denge ve güzel form olarak sıraladığı üç ilke atmosferi tanımlayan anahtar kelimelerdir. Zumthor mimarlığı, sunduğu özgün beden-mekan-yer etkileşimi sayesinde, mimarlık ontolojisinin sağladığı olanakların keşfedilmesi açısından önem taşımaktadır. İkonik mimarinin insan-mekân- yer etkileşiminde oluşturduğu kopuklukların, Zumthor mimarlığında deneyimin kurgulanması yoluyla bertaraf edilmesi, modern mimarlığın tabularını yıkan bir mimarlık pratiğini gözler önüne sermektedir. Modern mimarlığın kendi kimliğini tanımlayan yerden kopuk mekân anlayışı düşünüldüğünde Zumthor’un eserleri, ontolojik açıdan modern mimarlığın sınırlarını zorlamaktadır.