Sevgi Türkkan, architect and researcher, completed her PhD in 2017 entitled “Making and Breaking Authorship, Potentials in Architectural Design Studio” in Istanbul Technical University, Faculty of Architecture which she has been working as a lecturer and studio tutor since 2004. Her published work in books, journals and conferences mainly dwell on architectural design theory, architectural culture, pedagogy and authorship issue. In 2009-2010, she attended Columbia GSAPP in New York as a Fulbright visiting scholar, and in 2004 to T.U.Delft as a masters exchange student. Currently she is a visiting Post-Doctoral fellow at IPRAUS Research Laboratory in Paris (UMR AUSser 3329).
Time is one of the lesser-addressed elements of architectural education, which fundamentally shap... more Time is one of the lesser-addressed elements of architectural education, which fundamentally shapes its organizational structure, but also the values, culture, and motives that stem from the educational experience. Time has long been assigned meanings and roles in architectural education; as a framework, a limitation, a measurement, a commodity, a source, a route to follow, etc. The changing priorities, learning technologies, and philosophies exemplified by online architectural education and the increasing commodification of time in educational establishments have raised the importance of re-evaluating the often-invisible time-bound practices of architectural pedagogies. In this context, this paper aims to briefly review the roles of time in the explicit and hidden curriculum to structure and shape the culture of architectural learning via a range of formal and informal educational practices: from pre-institutional traditions to influential 19th and 20th-century models, and lastly some 21st-century cases. The selected practices present an array of internalized temporal practices and organizations that are still visible in architectural education today. This brief review of architectural pedagogy from the lens of time puts into focus the immaterial structure of architectural education and time-bound elements that characterize the formation of the architect. Through examples, it is aimed to discuss these temporally inscribed pedagogical motives and conventions from the past and present to reflect on the potential of time as an active and critical agent of architectural education.
One of the most prevailing characteristics of jury culture is also the one that is the most pecul... more One of the most prevailing characteristics of jury culture is also the one that is the most peculiar yet normalized one: the appropriation of judicial procedure and terminology in architectural learning. A typical jury procedure consists of a student defending (presents) their case (project) through rhetoric display of evidences (representations) to a pre-selected group of authorities (jury members) who throw their judgements on it in a particular spatial setting and occasionally give a verdict (grading). This article attempts to decipher the foundations of the jury culture in architectural education through hidden analogies and motives that were instrumental in crafting the architect-figure. For this purpose, two pivotal points in architectural history will be briefly reviewed: 15th century formulation of the Albertian architect in relation to the judge-figure, and the 19th century realization of this figure through the École des Beaux-Arts model. The three pillars in which Alberti’s hidden judge analogy is constructed on: its emphasis on the faculty of judgement, the idea of authorship, and the issue of representation, will provide a backbone to review, discuss and speculate on pedagogical traditions, including but not limited to the architectural jury. How does the hidden analogy of the judge inform the traditions of architectural pedagogy? How do pedagogic motives blend authorship, judgment and representation in cultivating the architect-figure? In an attempt to answer these questions, the essay will look into seminal pedagogic traditions from the French École des Beaux-Arts in 19th and 20th centuries from the perspective of these three lenses.
University of Leuven, Faculty of Architecture, 2018
How can we define intervention strategies to bridge the gap between large scale and long term pla... more How can we define intervention strategies to bridge the gap between large scale and long term planning with short term and small scale interventions that reconfigure the accessibility of a waterscape in transformation as a result of climate change? The landscapes of coastal zones will be confronted first with effects due to climate change. The most influential changes for the coastal zones will be: sea level rising, increase of the temperature, changing rainfall patterns, floods, fragmentation of the ecological system, salinization of the soil and reduced drainage capabilities to sea. A thoughtful planning policy forms the necessary key to a sustainable development. As an answer to the challenge of climate change in the Belgian coast, policies and plans have been developed and implemented at a European, national, regional and local level. These policies and plans lead to the formulation of spatial proposals for mitigation and adaptation, to executed by major infrastructural works planned for the next decades. Most of these infrastructures, conceived at a large scale generate a different model of accessibility for the Belgian Coastal landscape: the relation dry/wet is often inverted, topographic changes imply discontinuities in the landscape, roadways and paths need to be reconfigured to guarantee connectivity. These measures change the overall accessibility and permeability of the region and will change drastically this landscape. It is becoming increasingly clear that these open areas between urban coastal zones will play a crucial role in the future of our coastal landscape. How resilient are they and how can these areas absorb the inevitable climate shocks?Flanders Knowledge Area University of Leuven, Faculty of Architectur
The late 20th century saw the intensification of attempts that expose the author as a theoretical... more The late 20th century saw the intensification of attempts that expose the author as a theoretical, traditional and disciplinary construct in its complex socio-cultural entanglements. Some of the central elements for the development and the maintenance of this figure; the ritualistic and disciplinary motives, the role of representation, rhetoric and self-image, the cultural and legal systematization of ownership, therefore granting of socio-economic power and autonomy have been not only been debated but also set a basis for its criticism and alternative reformulations. This essay, additionally, aims to take on a spatial perspective in the construction of the author-figure in the context of architecture. Borrowing from Soja’s socio-spatial dialectic, it offers a look into the architecture of the construction of authorship, by focusing on one of the most formative chapters in the history of the making of the architect-author with continuing reverberations today. When the seminal École des Beaux-Arts was re-established in its new complex on Rue Bonaparte in 1820, “Bâtiments des Loges” (The-Loges-Building) was the first building to be completed and used in 1824. “Loges” can be described as individual cubicles aligned on a corridor, divided by rigid walls, strictly regulated and kept under probation by guardians in order to isolate students physically and socially from the outside world and each other during the periods of architectural competitions (ranging from 2 hours to 3 months), including the prestigious Prix de Rome. Inherited from Academie Royal D’Architecture, loges were central to the pedagogy and curriculum of the École (Levine, Middleton, 1984). To counter the anonymity in the ateliers, loges aimed at assuring competitors an uninterrupted blank slate exempt from exterior influences, allowing them to manifest their personal skills, channel their architectural geniuses into pristine drawings, with a guarantee of claiming the credits in person. Although lesser published, this tiny spatio-pedagogic unit has been profound in maintaining the École des Beaux-Arts system and culture, which served as the prevalent model for institutionalized architectural education 19th century onwards. A brief account of this lasting spatio-pedagogic tradition attempts to pin down the often-mystified production of the author in a spatial lieu. This particular production site of architectural authorship reveals the socio-spatial mechanisms at play, enabled and triggered by its architecture: the conception of creativity and isolation, the rituals of competition and surveillance, the stories of accomplishments and misbehavior. Through a selection of drawings, postcards, administrative documents and letters from 19th and 20th century archive materials, the essay will display and discuss a brief account of the “loges” as a pedagogic instrument, a cultural incubator and an authorship inscribing mechanism. Although The Loges Building was remodeled as offices and classrooms after the École’s dissemination in 1968, the question the physical and/or non-physical architectures that construct and maintain the architect-author in pedagogical or professional practice remains its relevancy. Considering the embedded spatiality in the notions of isolation, competition and individual ownership of creativity in collective endeavor, the reconstructions and reformulations of authorship in newly emerging spatio- temporal medium and organizations need to be reviewed in a critical and demystifying light.
Time is one of the lesser-addressed elements of architectural education, which fundamentally shap... more Time is one of the lesser-addressed elements of architectural education, which fundamentally shapes its organizational structure, but also the values, culture, and motives that stem from the educational experience. Time has long been assigned meanings and roles in architectural education; as a framework, a limitation, a measurement, a commodity, a source, a route to follow, etc. The changing priorities, learning technologies, and philosophies exemplified by online architectural education and the increasing commodification of time in educational establishments have raised the importance of re-evaluating the often-invisible time-bound practices of architectural pedagogies. In this context, this paper aims to briefly review the roles of time in the explicit and hidden curriculum to structure and shape the culture of architectural learning via a range of formal and informal educational practices: from pre-institutional traditions to influential 19th and 20th-century models, and lastly some 21st-century cases. The selected practices present an array of internalized temporal practices and organizations that are still visible in architectural education today. This brief review of architectural pedagogy from the lens of time puts into focus the immaterial structure of architectural education and time-bound elements that characterize the formation of the architect. Through examples, it is aimed to discuss these temporally inscribed pedagogical motives and conventions from the past and present to reflect on the potential of time as an active and critical agent of architectural education.
Architectural Research Addressing Societal Challenges, 2017
In the last century of creative culture, the notion of “openness” came into prominence in partic-... more In the last century of creative culture, the notion of “openness” came into prominence in partic- ular thresholds such as: “open work” discourse charged by 1960’s radical socio-cultural paradigm shifts, and “open source” debate, enabled by 1990’s emergent digital modes of co-production and sharing. Although spa- tial practices are pluralistic by nature, open culture implied a number of challenges against the long-lasting conventions of architectural discipline, yet inspired a number of architectural design studios to tackle this challenge. This paper focuses on architectural pedagogy’s response towards open culture via design studio experiments that were stirred by these motives to explore openness in their peculiar design methodologies, processes and outcomes. By critical examination of selected design studios, it is aimed to survey and compare various conceptualizations of openness in architectural pedagogy, discuss their reflections on architectural knowledge, and speculate on design studio’s potentials in provoking an open architectural culture.
Aims and objective(s): The objective of this systematic review was to determine the needle length... more Aims and objective(s): The objective of this systematic review was to determine the needle length required to reach the dorsogluteal muscle based on body mass index and sex. Our aim was to provide evidence-based recommendations to current intramuscular injection guidelines from the result(s) of this review. Background: Studies worldwide are documenting reduced medication effectiveness due to improperly placed dorsogluteal intramuscular injections because of incorrect needle length, wrong site selection and/or obesity. Current intramuscular injection guidelines lack specific instructions according to weight or sex. While there are similar concerns with other injectable sites, this review focuses solely on adult dorsogluteal intramuscular injections. Design: A systematic review of relevant literature of dorsogluteal intramuscular injections based on body mass index and sex. Methods: This systematic review was reported using the PRISMA checklist 2020. The review protocol was registered with Center for Open Science (OSF). We analysed 1,412 articles from nine databases. We compared twelve studies that utilised computerised tomography or ultrasonography using The Johns Hopkins Evidence-Based Practice Model and Guidelines. Results: A significant number of dorsogluteal intramuscular injections are administered into subcutaneous tissue rather than muscle because needles are too short for populations with body mass indexes over 25, especially women. Poor landmarking often results in improperly placed injections. Conclusions: To prevent administering a dorsogluteal intramuscular injection into subcutaneous tissue, women with a BMI of 25 and over require needles longer than 38 mm (1.5 inches). Men have less subcutaneous tissue in the dorsogluteal area and only require longer needles if BMI is 35 and over. If skin-to-muscle depth is questionable in either sex, an ultrasound-guided intramuscular injection is warranted for accurate dorsogluteal placement. Landmarking and needle length are key to appropriately placed IM injections. Relevance to clinical practice: Dorsogluteal injections are often injected into subcutaneous tissue rather than muscle because needles are not long enough to reach muscle, especially in women. Critical elements that determine placement of intramuscular injections into muscle versus subcutaneous tissue are sex, BMI, needle length and landmarking. Medications delivered into subcutaneous tissue may have reduced bioavailability.
Experiments with the Concept of Authenticity in Studio Pedagogy: Designing with Precedents, 2016
Architectural education, like architectural culture, is charged with responsibility for tradition... more Architectural education, like architectural culture, is charged with responsibility for traditions, rituals, pedagogical models, and norms that place great importance on authenticity. Authenticity, meaning originality or genuineness as well as referring to an individual's creative faculties, is a fundamental concept that distinguishes the designer's capabilities in a creative process. Situated at the core of architectural education, the design studio has long been serving as an environment for the semi-god creator to invent his " authentic " designs ex-nihilo. The prevalent conception of authenticity is a romanticized one, where unique forms are a means of personal expression and exterior influences are intruders into one's true creativity. Although " authenticity " was subjected to heavy criticism during the 20th century in various fields, it continues to shape pedagogical tendencies in architectural education today. Taboos on formal similarity, repetition, and ordinariness continue to pressure studio culture. One of the pedagogical implications of this obsession with " authenticity " is to restrict interaction with precedents in design education. It is worth asking if subverting these taboos on authenticity enhances design studio learning. Is it possible to re-approach precedents as found objects, and manipulation as a tool for alternative modes of creativity and learning in the studio environment? Two design experiments have been devised to rethink authenticity and creation in studio pedagogy, and to experiment with manipulation of precedents as a potential learning and designing resource. It is not intended to neglect or overthrow the concept of " authenticity " in the design studio, but to reassess it with a critical pedagogical approach that acknowledges architectural qualities other than the purely formal.
“How to…. architectural education” or 10 Tips For A Successful Architectural Design Studio., 2017
An online article reflecting on the approaches to design studio education in Turkey: “How to…. ar... more An online article reflecting on the approaches to design studio education in Turkey: “How to…. architectural education” or 10 Tips For A Successful Architectural Design Studio.
PROCEEDINGS Political Imagination and the City Collective processes and practices in architecture and design Museum of Contemporary Art, Santiago de Chile, July 7-8, 2016, 2016
Aim of this paper is to discuss the paradigmatic changes in the conception and production of " mo... more Aim of this paper is to discuss the paradigmatic changes in the conception and production of " monumentality " through the transition from analog to digital forms of communication, design and production. Before looking for a correspondence to " monumentality " in the digital era, the basic concepts that define " monumentality " like aesthetics & public space will be theorized and discussed briefly. We will be questioning via examples, whether the classical conception and production of the " monument " still pursues in the digital era or if the digital revolution is able to alter the chemistry of it.
Aim of this paper is to discuss the paradigmatic changes in the conception and production of " mo... more Aim of this paper is to discuss the paradigmatic changes in the conception and production of " monumentality " through the transition from analog to digital forms of communication, design and production. Before looking for a correspondence to " monumentality " in the digital era, the basic concepts that define " monumentality " like aesthetics & public space will be theorized and discussed briefly. We will be questioning via examples, whether the classical conception and production of the " monument " still pursues in the digital era or if the digital revolution is able to alter the chemistry of it.
Genç mimar, yüce el becerisi ve stilin mirasçısı çıraktan, baba figürünü öldürerek yeni tanımları... more Genç mimar, yüce el becerisi ve stilin mirasçısı çıraktan, baba figürünü öldürerek yeni tanımların önünü açan asiye, her daim mimarlık söylemlerinin parçası olagelmiştir. Söylendiğine göre, Le Corbusier 1964 yılında bir konuşma yapmak için Venedik'e gittiğinde, bulunduğu tekne kendisini binlerce öğrencinin beklediği bir kanala yanaşmıştı. Dört yıl sonra, 1968 olaylarının ortasında, bu kez Louis Kahn Venedik'e gittiğinde konferans salonunda sadece yirmi kadar insan vardı*. Çağdaş mimarlık bugün de tanınmış mimarları, yani yıldızları, ön cephede bırakan benzer bir reddedilişle karşı karşıya. Zaha Hadid'in Guggenheim projesi, işçilerin çalışma koşulları nedeniyle protesto ediliyor; Frank Gehry bir basın toplantısı sırasında işlerini eleştiren gazeteciye el hareketiyle karşılık veriyor. Eğer " genç " retoriği, bütün yaş ayrımcılığı imaları bir tarafa, disiplini kurumsallaştırma veya inşa etme pratiklerine yön vermeyle arasında belli bir mesafeyle tanımlanmışsa, bu terim kavramsal olarak nasıl tartışılabilir? Eğer genç, öncülü zaten taklit etmiş, parçalayıp çözümlemiş, tümüyle reddetmiş ve tekrar gözden geçirmişse, sırada ne var? Gencin bir kategori olarak kabulü 20. yüzyılın sonunda, stil üzerine görüşlerin, ilgili araç ve sözcüklerin çökmesi ve mimarlık disiplininin birbirini izleyen stiller yerine deneyselliği getiren postmodern sapmaya ayak uydurmaya çabalamasıyla ortaya çıktı. 1990'larda AIA (Amerikan Mimarlar Enstitüsü) ve Architectural Review dergisi yükselen genç mimarlar için ödüller vermeye başladı. MoMA 2000 yılında PS1 Genç Mimarlar Programı'nı kurdu ve son on yılda bu türü öven sayısız sergi ve yayın yapıldı. Somut işler yerine verilen ödüller, büyük ölçekli projeler yerine yapılan geçici Kendin-Yap yerleştirmeler ve büyüme hikayeleri anlatan biyografiler yerine basılan kolektif kitapçıklarla mimarlık bir kez daha araç, prosedür, ve ürünlerini değiştirmiş oldu. Bu dosya, mimar ve eleştirmenleri, öncülü ile aşk/nefret ilişkisi kurmayan bir genç mimar/mimarlığın çağdaş uygulama ve eleştirilerdeki yerini tartışmaya davet ediyor.
In the last century of creative culture, the notion of “openness” came into prominence in partic-... more In the last century of creative culture, the notion of “openness” came into prominence in partic- ular thresholds such as: “open work” discourse charged by 1960’s radical socio-cultural paradigm shifts, and “open source” debate, enabled by 1990’s emergent digital modes of co-production and sharing. Although spa- tial practices are pluralistic by nature, open culture implied a number of challenges against the long-lasting conventions of architectural discipline, yet inspired a number of architectural design studios to tackle this challenge. This paper focuses on architectural pedagogy’s response towards open culture via design studio experiments that were stirred by these motives to explore openness in their peculiar design methodologies, processes and outcomes. By critical examination of selected design studios, it is aimed to survey and compare various conceptualizations of openness in architectural pedagogy, discuss their reflections on architectural knowledge, and speculate on design studio’s potentials in provoking an open architectural culture.
Time is one of the lesser-addressed elements of architectural education, which fundamentally shap... more Time is one of the lesser-addressed elements of architectural education, which fundamentally shapes its organizational structure, but also the values, culture, and motives that stem from the educational experience. Time has long been assigned meanings and roles in architectural education; as a framework, a limitation, a measurement, a commodity, a source, a route to follow, etc. The changing priorities, learning technologies, and philosophies exemplified by online architectural education and the increasing commodification of time in educational establishments have raised the importance of re-evaluating the often-invisible time-bound practices of architectural pedagogies. In this context, this paper aims to briefly review the roles of time in the explicit and hidden curriculum to structure and shape the culture of architectural learning via a range of formal and informal educational practices: from pre-institutional traditions to influential 19th and 20th-century models, and lastly some 21st-century cases. The selected practices present an array of internalized temporal practices and organizations that are still visible in architectural education today. This brief review of architectural pedagogy from the lens of time puts into focus the immaterial structure of architectural education and time-bound elements that characterize the formation of the architect. Through examples, it is aimed to discuss these temporally inscribed pedagogical motives and conventions from the past and present to reflect on the potential of time as an active and critical agent of architectural education.
One of the most prevailing characteristics of jury culture is also the one that is the most pecul... more One of the most prevailing characteristics of jury culture is also the one that is the most peculiar yet normalized one: the appropriation of judicial procedure and terminology in architectural learning. A typical jury procedure consists of a student defending (presents) their case (project) through rhetoric display of evidences (representations) to a pre-selected group of authorities (jury members) who throw their judgements on it in a particular spatial setting and occasionally give a verdict (grading). This article attempts to decipher the foundations of the jury culture in architectural education through hidden analogies and motives that were instrumental in crafting the architect-figure. For this purpose, two pivotal points in architectural history will be briefly reviewed: 15th century formulation of the Albertian architect in relation to the judge-figure, and the 19th century realization of this figure through the École des Beaux-Arts model. The three pillars in which Alberti’s hidden judge analogy is constructed on: its emphasis on the faculty of judgement, the idea of authorship, and the issue of representation, will provide a backbone to review, discuss and speculate on pedagogical traditions, including but not limited to the architectural jury. How does the hidden analogy of the judge inform the traditions of architectural pedagogy? How do pedagogic motives blend authorship, judgment and representation in cultivating the architect-figure? In an attempt to answer these questions, the essay will look into seminal pedagogic traditions from the French École des Beaux-Arts in 19th and 20th centuries from the perspective of these three lenses.
University of Leuven, Faculty of Architecture, 2018
How can we define intervention strategies to bridge the gap between large scale and long term pla... more How can we define intervention strategies to bridge the gap between large scale and long term planning with short term and small scale interventions that reconfigure the accessibility of a waterscape in transformation as a result of climate change? The landscapes of coastal zones will be confronted first with effects due to climate change. The most influential changes for the coastal zones will be: sea level rising, increase of the temperature, changing rainfall patterns, floods, fragmentation of the ecological system, salinization of the soil and reduced drainage capabilities to sea. A thoughtful planning policy forms the necessary key to a sustainable development. As an answer to the challenge of climate change in the Belgian coast, policies and plans have been developed and implemented at a European, national, regional and local level. These policies and plans lead to the formulation of spatial proposals for mitigation and adaptation, to executed by major infrastructural works planned for the next decades. Most of these infrastructures, conceived at a large scale generate a different model of accessibility for the Belgian Coastal landscape: the relation dry/wet is often inverted, topographic changes imply discontinuities in the landscape, roadways and paths need to be reconfigured to guarantee connectivity. These measures change the overall accessibility and permeability of the region and will change drastically this landscape. It is becoming increasingly clear that these open areas between urban coastal zones will play a crucial role in the future of our coastal landscape. How resilient are they and how can these areas absorb the inevitable climate shocks?Flanders Knowledge Area University of Leuven, Faculty of Architectur
The late 20th century saw the intensification of attempts that expose the author as a theoretical... more The late 20th century saw the intensification of attempts that expose the author as a theoretical, traditional and disciplinary construct in its complex socio-cultural entanglements. Some of the central elements for the development and the maintenance of this figure; the ritualistic and disciplinary motives, the role of representation, rhetoric and self-image, the cultural and legal systematization of ownership, therefore granting of socio-economic power and autonomy have been not only been debated but also set a basis for its criticism and alternative reformulations. This essay, additionally, aims to take on a spatial perspective in the construction of the author-figure in the context of architecture. Borrowing from Soja’s socio-spatial dialectic, it offers a look into the architecture of the construction of authorship, by focusing on one of the most formative chapters in the history of the making of the architect-author with continuing reverberations today. When the seminal École des Beaux-Arts was re-established in its new complex on Rue Bonaparte in 1820, “Bâtiments des Loges” (The-Loges-Building) was the first building to be completed and used in 1824. “Loges” can be described as individual cubicles aligned on a corridor, divided by rigid walls, strictly regulated and kept under probation by guardians in order to isolate students physically and socially from the outside world and each other during the periods of architectural competitions (ranging from 2 hours to 3 months), including the prestigious Prix de Rome. Inherited from Academie Royal D’Architecture, loges were central to the pedagogy and curriculum of the École (Levine, Middleton, 1984). To counter the anonymity in the ateliers, loges aimed at assuring competitors an uninterrupted blank slate exempt from exterior influences, allowing them to manifest their personal skills, channel their architectural geniuses into pristine drawings, with a guarantee of claiming the credits in person. Although lesser published, this tiny spatio-pedagogic unit has been profound in maintaining the École des Beaux-Arts system and culture, which served as the prevalent model for institutionalized architectural education 19th century onwards. A brief account of this lasting spatio-pedagogic tradition attempts to pin down the often-mystified production of the author in a spatial lieu. This particular production site of architectural authorship reveals the socio-spatial mechanisms at play, enabled and triggered by its architecture: the conception of creativity and isolation, the rituals of competition and surveillance, the stories of accomplishments and misbehavior. Through a selection of drawings, postcards, administrative documents and letters from 19th and 20th century archive materials, the essay will display and discuss a brief account of the “loges” as a pedagogic instrument, a cultural incubator and an authorship inscribing mechanism. Although The Loges Building was remodeled as offices and classrooms after the École’s dissemination in 1968, the question the physical and/or non-physical architectures that construct and maintain the architect-author in pedagogical or professional practice remains its relevancy. Considering the embedded spatiality in the notions of isolation, competition and individual ownership of creativity in collective endeavor, the reconstructions and reformulations of authorship in newly emerging spatio- temporal medium and organizations need to be reviewed in a critical and demystifying light.
Time is one of the lesser-addressed elements of architectural education, which fundamentally shap... more Time is one of the lesser-addressed elements of architectural education, which fundamentally shapes its organizational structure, but also the values, culture, and motives that stem from the educational experience. Time has long been assigned meanings and roles in architectural education; as a framework, a limitation, a measurement, a commodity, a source, a route to follow, etc. The changing priorities, learning technologies, and philosophies exemplified by online architectural education and the increasing commodification of time in educational establishments have raised the importance of re-evaluating the often-invisible time-bound practices of architectural pedagogies. In this context, this paper aims to briefly review the roles of time in the explicit and hidden curriculum to structure and shape the culture of architectural learning via a range of formal and informal educational practices: from pre-institutional traditions to influential 19th and 20th-century models, and lastly some 21st-century cases. The selected practices present an array of internalized temporal practices and organizations that are still visible in architectural education today. This brief review of architectural pedagogy from the lens of time puts into focus the immaterial structure of architectural education and time-bound elements that characterize the formation of the architect. Through examples, it is aimed to discuss these temporally inscribed pedagogical motives and conventions from the past and present to reflect on the potential of time as an active and critical agent of architectural education.
Architectural Research Addressing Societal Challenges, 2017
In the last century of creative culture, the notion of “openness” came into prominence in partic-... more In the last century of creative culture, the notion of “openness” came into prominence in partic- ular thresholds such as: “open work” discourse charged by 1960’s radical socio-cultural paradigm shifts, and “open source” debate, enabled by 1990’s emergent digital modes of co-production and sharing. Although spa- tial practices are pluralistic by nature, open culture implied a number of challenges against the long-lasting conventions of architectural discipline, yet inspired a number of architectural design studios to tackle this challenge. This paper focuses on architectural pedagogy’s response towards open culture via design studio experiments that were stirred by these motives to explore openness in their peculiar design methodologies, processes and outcomes. By critical examination of selected design studios, it is aimed to survey and compare various conceptualizations of openness in architectural pedagogy, discuss their reflections on architectural knowledge, and speculate on design studio’s potentials in provoking an open architectural culture.
Aims and objective(s): The objective of this systematic review was to determine the needle length... more Aims and objective(s): The objective of this systematic review was to determine the needle length required to reach the dorsogluteal muscle based on body mass index and sex. Our aim was to provide evidence-based recommendations to current intramuscular injection guidelines from the result(s) of this review. Background: Studies worldwide are documenting reduced medication effectiveness due to improperly placed dorsogluteal intramuscular injections because of incorrect needle length, wrong site selection and/or obesity. Current intramuscular injection guidelines lack specific instructions according to weight or sex. While there are similar concerns with other injectable sites, this review focuses solely on adult dorsogluteal intramuscular injections. Design: A systematic review of relevant literature of dorsogluteal intramuscular injections based on body mass index and sex. Methods: This systematic review was reported using the PRISMA checklist 2020. The review protocol was registered with Center for Open Science (OSF). We analysed 1,412 articles from nine databases. We compared twelve studies that utilised computerised tomography or ultrasonography using The Johns Hopkins Evidence-Based Practice Model and Guidelines. Results: A significant number of dorsogluteal intramuscular injections are administered into subcutaneous tissue rather than muscle because needles are too short for populations with body mass indexes over 25, especially women. Poor landmarking often results in improperly placed injections. Conclusions: To prevent administering a dorsogluteal intramuscular injection into subcutaneous tissue, women with a BMI of 25 and over require needles longer than 38 mm (1.5 inches). Men have less subcutaneous tissue in the dorsogluteal area and only require longer needles if BMI is 35 and over. If skin-to-muscle depth is questionable in either sex, an ultrasound-guided intramuscular injection is warranted for accurate dorsogluteal placement. Landmarking and needle length are key to appropriately placed IM injections. Relevance to clinical practice: Dorsogluteal injections are often injected into subcutaneous tissue rather than muscle because needles are not long enough to reach muscle, especially in women. Critical elements that determine placement of intramuscular injections into muscle versus subcutaneous tissue are sex, BMI, needle length and landmarking. Medications delivered into subcutaneous tissue may have reduced bioavailability.
Experiments with the Concept of Authenticity in Studio Pedagogy: Designing with Precedents, 2016
Architectural education, like architectural culture, is charged with responsibility for tradition... more Architectural education, like architectural culture, is charged with responsibility for traditions, rituals, pedagogical models, and norms that place great importance on authenticity. Authenticity, meaning originality or genuineness as well as referring to an individual's creative faculties, is a fundamental concept that distinguishes the designer's capabilities in a creative process. Situated at the core of architectural education, the design studio has long been serving as an environment for the semi-god creator to invent his " authentic " designs ex-nihilo. The prevalent conception of authenticity is a romanticized one, where unique forms are a means of personal expression and exterior influences are intruders into one's true creativity. Although " authenticity " was subjected to heavy criticism during the 20th century in various fields, it continues to shape pedagogical tendencies in architectural education today. Taboos on formal similarity, repetition, and ordinariness continue to pressure studio culture. One of the pedagogical implications of this obsession with " authenticity " is to restrict interaction with precedents in design education. It is worth asking if subverting these taboos on authenticity enhances design studio learning. Is it possible to re-approach precedents as found objects, and manipulation as a tool for alternative modes of creativity and learning in the studio environment? Two design experiments have been devised to rethink authenticity and creation in studio pedagogy, and to experiment with manipulation of precedents as a potential learning and designing resource. It is not intended to neglect or overthrow the concept of " authenticity " in the design studio, but to reassess it with a critical pedagogical approach that acknowledges architectural qualities other than the purely formal.
“How to…. architectural education” or 10 Tips For A Successful Architectural Design Studio., 2017
An online article reflecting on the approaches to design studio education in Turkey: “How to…. ar... more An online article reflecting on the approaches to design studio education in Turkey: “How to…. architectural education” or 10 Tips For A Successful Architectural Design Studio.
PROCEEDINGS Political Imagination and the City Collective processes and practices in architecture and design Museum of Contemporary Art, Santiago de Chile, July 7-8, 2016, 2016
Aim of this paper is to discuss the paradigmatic changes in the conception and production of " mo... more Aim of this paper is to discuss the paradigmatic changes in the conception and production of " monumentality " through the transition from analog to digital forms of communication, design and production. Before looking for a correspondence to " monumentality " in the digital era, the basic concepts that define " monumentality " like aesthetics & public space will be theorized and discussed briefly. We will be questioning via examples, whether the classical conception and production of the " monument " still pursues in the digital era or if the digital revolution is able to alter the chemistry of it.
Aim of this paper is to discuss the paradigmatic changes in the conception and production of " mo... more Aim of this paper is to discuss the paradigmatic changes in the conception and production of " monumentality " through the transition from analog to digital forms of communication, design and production. Before looking for a correspondence to " monumentality " in the digital era, the basic concepts that define " monumentality " like aesthetics & public space will be theorized and discussed briefly. We will be questioning via examples, whether the classical conception and production of the " monument " still pursues in the digital era or if the digital revolution is able to alter the chemistry of it.
Genç mimar, yüce el becerisi ve stilin mirasçısı çıraktan, baba figürünü öldürerek yeni tanımları... more Genç mimar, yüce el becerisi ve stilin mirasçısı çıraktan, baba figürünü öldürerek yeni tanımların önünü açan asiye, her daim mimarlık söylemlerinin parçası olagelmiştir. Söylendiğine göre, Le Corbusier 1964 yılında bir konuşma yapmak için Venedik'e gittiğinde, bulunduğu tekne kendisini binlerce öğrencinin beklediği bir kanala yanaşmıştı. Dört yıl sonra, 1968 olaylarının ortasında, bu kez Louis Kahn Venedik'e gittiğinde konferans salonunda sadece yirmi kadar insan vardı*. Çağdaş mimarlık bugün de tanınmış mimarları, yani yıldızları, ön cephede bırakan benzer bir reddedilişle karşı karşıya. Zaha Hadid'in Guggenheim projesi, işçilerin çalışma koşulları nedeniyle protesto ediliyor; Frank Gehry bir basın toplantısı sırasında işlerini eleştiren gazeteciye el hareketiyle karşılık veriyor. Eğer " genç " retoriği, bütün yaş ayrımcılığı imaları bir tarafa, disiplini kurumsallaştırma veya inşa etme pratiklerine yön vermeyle arasında belli bir mesafeyle tanımlanmışsa, bu terim kavramsal olarak nasıl tartışılabilir? Eğer genç, öncülü zaten taklit etmiş, parçalayıp çözümlemiş, tümüyle reddetmiş ve tekrar gözden geçirmişse, sırada ne var? Gencin bir kategori olarak kabulü 20. yüzyılın sonunda, stil üzerine görüşlerin, ilgili araç ve sözcüklerin çökmesi ve mimarlık disiplininin birbirini izleyen stiller yerine deneyselliği getiren postmodern sapmaya ayak uydurmaya çabalamasıyla ortaya çıktı. 1990'larda AIA (Amerikan Mimarlar Enstitüsü) ve Architectural Review dergisi yükselen genç mimarlar için ödüller vermeye başladı. MoMA 2000 yılında PS1 Genç Mimarlar Programı'nı kurdu ve son on yılda bu türü öven sayısız sergi ve yayın yapıldı. Somut işler yerine verilen ödüller, büyük ölçekli projeler yerine yapılan geçici Kendin-Yap yerleştirmeler ve büyüme hikayeleri anlatan biyografiler yerine basılan kolektif kitapçıklarla mimarlık bir kez daha araç, prosedür, ve ürünlerini değiştirmiş oldu. Bu dosya, mimar ve eleştirmenleri, öncülü ile aşk/nefret ilişkisi kurmayan bir genç mimar/mimarlığın çağdaş uygulama ve eleştirilerdeki yerini tartışmaya davet ediyor.
In the last century of creative culture, the notion of “openness” came into prominence in partic-... more In the last century of creative culture, the notion of “openness” came into prominence in partic- ular thresholds such as: “open work” discourse charged by 1960’s radical socio-cultural paradigm shifts, and “open source” debate, enabled by 1990’s emergent digital modes of co-production and sharing. Although spa- tial practices are pluralistic by nature, open culture implied a number of challenges against the long-lasting conventions of architectural discipline, yet inspired a number of architectural design studios to tackle this challenge. This paper focuses on architectural pedagogy’s response towards open culture via design studio experiments that were stirred by these motives to explore openness in their peculiar design methodologies, processes and outcomes. By critical examination of selected design studios, it is aimed to survey and compare various conceptualizations of openness in architectural pedagogy, discuss their reflections on architectural knowledge, and speculate on design studio’s potentials in provoking an open architectural culture.
Rethinking the Crit: New Pedagogies in Design Education, 2022
One of the most prevailing characteristics of jury culture is also the one that is the most pecul... more One of the most prevailing characteristics of jury culture is also the one that is the most peculiar yet normalized one: the appropriation of judicial procedure and terminology in architectural learning. A typical jury procedure consists of a student defending (presents) their case (project) through rhetoric display of evidences (representations) to a pre-selected group of authorities (jury members) who throw their judgements on it in a particular spatial setting and occasionally give a verdict (grading).
This article attempts to decipher the foundations of the jury culture in architectural education through hidden analogies and motives that were instrumental in crafting the architect-figure. For this purpose, two pivotal points in architectural history will be briefly reviewed: 15th century formulation of the Albertian architect in relation to the judge-figure, and the 19th century realization of this figure through the École des Beaux-Arts model. The three pillars in which Alberti’s hidden judge analogy is constructed on: its emphasis on the faculty of judgement, the idea of authorship, and the issue of representation, will provide a backbone to review, discuss and speculate on pedagogical traditions, including but not limited to the architectural jury. How does the hidden analogy of the judge inform the traditions of architectural pedagogy? How do pedagogic motives blend authorship, judgment and representation in cultivating the architect-figure? In an attempt to answer these questions, the essay will look into seminal pedagogic traditions from the French École des Beaux-Arts in 19th and 20th centuries from the perspective of these three lenses.
MIMED Forum IV: Flexibility in Architectural Education, 2013
Among the chapters on first-year architectural design education,
Aslihan Senel, Sevgi Turkkan, an... more Among the chapters on first-year architectural design education, Aslihan Senel, Sevgi Turkkan, and Burcin Kurtuncu discuss their architecture design studio practices through the narrative of a performance, which describes the whole process via a set of “acts” and “evaluations”. While seeing the design studio as a gathering place for various practices, which include (re)producing, (re)presenting, and evaluating, they believe that focusing on these practices takes the burden off the end product and puts the emphasis on the thinking process behind production.
Compilation of works and academic papers based the works from the first year design studio in Ist... more Compilation of works and academic papers based the works from the first year design studio in Istanbul Technical University Faculty of Architecture in the year 2007-2008.
Presented and published at the proceedings of the International Conference entitled "Political Im... more Presented and published at the proceedings of the International Conference entitled "Political Imagination and the City" in Santiago, Chile. 7-8 July 2016.
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This essay, additionally, aims to take on a spatial perspective in the construction of the author-figure in the context of architecture. Borrowing from Soja’s socio-spatial dialectic, it offers a look into the architecture of the construction of authorship, by focusing on one of the most formative chapters in the history of the making of the architect-author with continuing reverberations today.
When the seminal École des Beaux-Arts was re-established in its new complex on Rue Bonaparte in 1820, “Bâtiments des Loges” (The-Loges-Building) was the first building to be completed and used in 1824. “Loges” can be described as individual cubicles aligned on a corridor, divided by rigid walls, strictly regulated and kept under probation by guardians in order to isolate students physically and socially from the outside world and each other during the periods of architectural competitions (ranging from 2 hours to 3 months), including the prestigious Prix de Rome. Inherited from Academie Royal D’Architecture, loges were central to the pedagogy and curriculum of the École (Levine, Middleton, 1984). To counter the anonymity in the ateliers, loges aimed at assuring competitors an uninterrupted blank slate exempt from exterior influences, allowing them to manifest their personal skills, channel their architectural geniuses into pristine drawings, with a guarantee of claiming the credits in person. Although lesser published, this tiny spatio-pedagogic unit has been profound in maintaining the École des Beaux-Arts system and culture, which served as the prevalent model for institutionalized architectural education 19th century onwards.
A brief account of this lasting spatio-pedagogic tradition attempts to pin down the often-mystified production of the author in a spatial lieu. This particular production site of architectural authorship reveals the socio-spatial mechanisms at play, enabled and triggered by its architecture: the conception of creativity and isolation, the rituals of competition and surveillance, the stories of accomplishments and misbehavior.
Through a selection of drawings, postcards, administrative documents and letters from 19th and 20th century archive materials, the essay will display and discuss a brief account of the “loges” as a pedagogic instrument, a cultural incubator and an authorship inscribing mechanism.
Although The Loges Building was remodeled as offices and classrooms after the École’s dissemination in 1968, the question the physical and/or non-physical architectures that construct and maintain the architect-author in pedagogical or professional practice remains its relevancy. Considering the embedded spatiality in the notions of isolation, competition and individual ownership of creativity in collective endeavor, the reconstructions and reformulations of authorship in newly emerging spatio- temporal medium and organizations need to be reviewed in a critical and demystifying light.
ular thresholds such as: “open work” discourse charged by 1960’s radical socio-cultural paradigm shifts, and “open source” debate, enabled by 1990’s emergent digital modes of co-production and sharing. Although spa- tial practices are pluralistic by nature, open culture implied a number of challenges against the long-lasting conventions of architectural discipline, yet inspired a number of architectural design studios to tackle this challenge. This paper focuses on architectural pedagogy’s response towards open culture via design studio experiments that were stirred by these motives to explore openness in their peculiar design methodologies, processes and outcomes. By critical examination of selected design studios, it is aimed to survey and compare various conceptualizations of openness in architectural pedagogy, discuss their reflections on architectural
knowledge, and speculate on design studio’s potentials in provoking an open architectural culture.
This essay, additionally, aims to take on a spatial perspective in the construction of the author-figure in the context of architecture. Borrowing from Soja’s socio-spatial dialectic, it offers a look into the architecture of the construction of authorship, by focusing on one of the most formative chapters in the history of the making of the architect-author with continuing reverberations today.
When the seminal École des Beaux-Arts was re-established in its new complex on Rue Bonaparte in 1820, “Bâtiments des Loges” (The-Loges-Building) was the first building to be completed and used in 1824. “Loges” can be described as individual cubicles aligned on a corridor, divided by rigid walls, strictly regulated and kept under probation by guardians in order to isolate students physically and socially from the outside world and each other during the periods of architectural competitions (ranging from 2 hours to 3 months), including the prestigious Prix de Rome. Inherited from Academie Royal D’Architecture, loges were central to the pedagogy and curriculum of the École (Levine, Middleton, 1984). To counter the anonymity in the ateliers, loges aimed at assuring competitors an uninterrupted blank slate exempt from exterior influences, allowing them to manifest their personal skills, channel their architectural geniuses into pristine drawings, with a guarantee of claiming the credits in person. Although lesser published, this tiny spatio-pedagogic unit has been profound in maintaining the École des Beaux-Arts system and culture, which served as the prevalent model for institutionalized architectural education 19th century onwards.
A brief account of this lasting spatio-pedagogic tradition attempts to pin down the often-mystified production of the author in a spatial lieu. This particular production site of architectural authorship reveals the socio-spatial mechanisms at play, enabled and triggered by its architecture: the conception of creativity and isolation, the rituals of competition and surveillance, the stories of accomplishments and misbehavior.
Through a selection of drawings, postcards, administrative documents and letters from 19th and 20th century archive materials, the essay will display and discuss a brief account of the “loges” as a pedagogic instrument, a cultural incubator and an authorship inscribing mechanism.
Although The Loges Building was remodeled as offices and classrooms after the École’s dissemination in 1968, the question the physical and/or non-physical architectures that construct and maintain the architect-author in pedagogical or professional practice remains its relevancy. Considering the embedded spatiality in the notions of isolation, competition and individual ownership of creativity in collective endeavor, the reconstructions and reformulations of authorship in newly emerging spatio- temporal medium and organizations need to be reviewed in a critical and demystifying light.
ular thresholds such as: “open work” discourse charged by 1960’s radical socio-cultural paradigm shifts, and “open source” debate, enabled by 1990’s emergent digital modes of co-production and sharing. Although spa- tial practices are pluralistic by nature, open culture implied a number of challenges against the long-lasting conventions of architectural discipline, yet inspired a number of architectural design studios to tackle this challenge. This paper focuses on architectural pedagogy’s response towards open culture via design studio experiments that were stirred by these motives to explore openness in their peculiar design methodologies, processes and outcomes. By critical examination of selected design studios, it is aimed to survey and compare various conceptualizations of openness in architectural pedagogy, discuss their reflections on architectural
knowledge, and speculate on design studio’s potentials in provoking an open architectural culture.
This article attempts to decipher the foundations of the jury culture in architectural education through hidden analogies and motives that were instrumental in crafting the architect-figure. For this purpose, two pivotal points in architectural history will be briefly reviewed: 15th century formulation of the Albertian architect in relation to the judge-figure, and the 19th century realization of this figure through the École des Beaux-Arts model. The three pillars in which Alberti’s hidden judge analogy is constructed on: its emphasis on the faculty of judgement, the idea of authorship, and the issue of representation, will provide a backbone to review, discuss and speculate on pedagogical traditions, including but not limited to the architectural jury. How does the hidden analogy of the judge inform the traditions of architectural pedagogy? How do pedagogic motives blend authorship, judgment and representation in cultivating the architect-figure? In an attempt to answer these questions, the essay will look into seminal pedagogic traditions from the French École des Beaux-Arts in 19th and 20th centuries from the perspective of these three lenses.
Aslihan Senel, Sevgi Turkkan, and Burcin Kurtuncu discuss their architecture
design studio practices through the narrative of a performance, which
describes the whole process via a set of “acts” and “evaluations”. While
seeing the design studio as a gathering place for various practices, which
include (re)producing, (re)presenting, and evaluating, they believe that
focusing on these practices takes the burden off the end product and puts
the emphasis on the thinking process behind production.