Work Experience

  • 2006 2004

    Bölüm Başkanı

    Uluslararası Kıbrıs Üniversitesi, İç Mimarlık

  • 2006 2003

    Öğretim Elemanı

    Uluslararası Kıbrıs Üniversitesi, Mimarlık

  • 2002 1997

    Mimar

    , Ayşe Orbay Architectural Office, Istanbul

  • 1999 1995

    Mimar

    , Mars Architects, Istanbul (AtillaYücel)

Education & Training

  • Ph.D. 2004

    Mimarlık-Tasarım

    İstanbul Teknik Üniversitesi

  • Master1996

    Mimarlık-Tasarım

    İstanbul Teknik Üniversitesi

  • Bachelor1994

    Mimarlık

    İstanbul Teknik Üniversitesi

Honors, Awards and Grants

  • 1996
    The competition of Convivial Spaces
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    Organised by International Union of Architects (UIA) Honorable mention award with Aslı Kıyak

Research Projects

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    Cultural Heritage, Cyprus – Ottoman Chapter

    UNDP-Partnership for the Future in Cyprus-Team Co-ordinator and Researcher

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    The Exhibition of World City Istanbul, Republic Period(Prof.Dr. Atilla Yücel)

    The Economic and Social History Foundation, Turkey - The Exhibition of World City Istanbul, A Habitat II Organisation

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    Architecture of Power: Representation of Power in the Governmental Buildings

    Supported by the TR/TRNC Scientific Research Projects. Ministry of National Education and Culture - Project for the Support of Scientific Activities in Higher Education. (MEB,0.00-200/3-09/628)

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Columns of Colonialism: Representation of Political Power In The Official Buildings of British Rule In Colonial Cyprus,International Conference Architecture and Ideology

Conference Paper , 2012

Abstract


Özet

A (Non) Place On The Road To Guzelyurt/Morphou 1960-75: Migrating Between South and North, Living Between Rural and Urban, Housing Between Vernacular and Modern

Conference Paper , 2014

Abstract

Güzelyurt/Morphou in North Cyprus, village witnessed very important and economic, social and spatial changes during 1960-1975 period. After the de-facto division of the Island in 1974, around 12000 Greek Cypriot living in the region migrated to villages to the South of the Island and new settlers were moved to their empty, new, ‘modern’ houses where most of them were accustomed to live in traditional vernacular houses. The newly built modern houses were introduced the idea of modern living and modernism to the immigrants and they introduced the vernacular spatialities to the modern houses they moved in. This study aims to explore the spatial signs of modern vernacular houses in a special (non)place where the destiny of both the place and the people were deeply changed by policy makers’ decisions on place. Referring to constructed building elements and oral stories, the paper will analyze the interaction of the modern envelope and the vernacular living inside. The socio-spatial changes and continuities will be inquired in the accomplishment of visual and written documents.


Özet

The Place of Traditional Cyprus Motifs Within Contemporary Interior Ornamentation: New and Anew

Conference Paper -, Volume -, Issue -, 2016, Pages -

Abstract

The Place of Traditional Cyprus Motifs Within Contemporary Interior Ornamentation: New and Anew Cyprus is an Island having many different cultures and civilization that lived for over hundreds of years which carried cultural heritages and footnotes that history left. The effect of pre-historic cultural heritages can easily be visible within the Island’s areas having unique geographic peculiarities from rural to urban places. Although many factors such as earthquake, war, migration and climate occurred in time the Island was able to stand still and established its own unique and characteristic identity when especially holding historic structures emanating from Bizantyne, Luzinian, Venice, Ottoman and British eras and in inter-relation with Mediterranean and Island conditions. Even though the Island is internally separated, it forms a good example of how a common culture can be consolidated while in reality there are people comprising of having two separate religion and language. Ornamentation in academic literature are shapes coming from the history of inter-related religious belief within the East and West. These are form dimensions being in different density, colour and line in each area and era. The building structures, exterior designs and materials and the refurbishment details applied in interior areas and unique blocks in different scales and in parallel to each relevant era can be deemed as a reflection of this unique identity. Ornamentation in interior areas are applied mostly in vertical and horizontal surfaces, construction elements, furniture, textile and hand craftwork products. Refurbishment is mostly defined as the totality of work emphasizing/showing the maker’s social-political status or wealth. Motif is an important supplementary element that we can see its intelligence, structure, post modern philosophy, technological materials, modesty and functionality and it helps us to incorporate its interior identity into todays architecture design. Motif is a set of forms in historical dimension. Likewise a syllable in a language, it is seen as a code for a communication system. Comparing to where the ethnic figures are kept and applied in forefront, the traditional motifs being two and three dimensional, place estheticity and wealth in every area used and form an important part of decoration with its colors and patterns. Once upon a time the elements such as all hand-work painting, sheet, curtain, carpet, craftwork etc made by traditional motifs that were used in the name of refurbishing interior places in structures are today replaced by industrial products, new products having different materials and technology. The transformation within the places indirectly affect in time not only the places but the ones living in them. Analyzing its transformation, materials and the effect upon human perception and interpreting this with today’s conditions will significantly contribute to designing process in the future. Trans-shipment of motifs with todays materials to future generations not only will contribute to architecture by esthetic means but it will also help as pursue a long-life/enduring cultural heritage. By this, while the globalized architecture copy each other the materials will continue to help to contribute building identity. The aim of this study is to gather traditional motifs and designs within Cyprus Island, that has different characteristics in each area, coming from the past to present for future approaches in interior designing and form a database and put forth alternative design suggestions in light of the alike examples applied in the world. One other purpose is to form a guidance in refurbishment process to decoration material designs such as from carpets to curtains, from sheets to accessories, from wall papers to isolation materials. The methods to be employed during the study process include looking at, in connection with geographic climates and cultural factors, whether or not different areas are being formed, establishing and listing sample structures belonging to different cultures in each area by a chronological order and analyzing and transforming such motifs in function, colour, shape, texture and beaker dimensions to an electronic database. Literature scan will be made and technical and theoric interpretations will be considered within an academic perspective. The answers for pre-prepared question will be sought by an on site analysis. After the analyzation stage sample references on the re-use of traditional motifs in interior spaces will be found and finally the study will be completed by a preparation of various application/enforcement methods. In conclusion considering that the most important data emanate from the past and the ones coming from the past are in reality references established for future generations, it is believed that in order to understand the place of our traditional motifs in the future one should take into account the present elements.


Özet

Kıbrıs, Akdeniz’de yüzlerce yıldır bir çok farklı kültür ve medeniyetin yaşamış olduğu, tarihin bıraktığı izleri ve kültürel miras değerlerini taşıyan bir adadır. Kırsal alanlarından kentlerine kadar, farklı coğrafi özelliklere sahip her bir bölgesinde geçmişteki kültür miraslarının etkisi bugün halen daha görülmektedir. Zaman içinde süre gelmiş bir çok deprem, savaş, göç ve iklim faktörlerine rağmen bugüne kadar ayakta durabilmiş, özellikle Bizans, Lüzinyan, Venedik, Osmanlı, ve İngiliz dönemine ait tarihi mekanlardan kalan yapılar, Akdeniz ve ada koşulları ile birleşince ortaya kendine özgün, karakteristik bir kimlik oluşmuştur. Ada, kendi içerisinde ayrılmış olsa bile aslında iki farklı din ve dile sahip olan, insanların tek bir kültürde nasıl birleştiğini gösteren iyi bir örnektir. Akademik literatürde süsleme, doğuda be batıda iç içe geçmiş inançların tarihinden gelen şekillerdir . Her bölgede ve dönemde farklı yoğunlukta, renkte ve çizgide olan form dizeleridir. Bina strüktürleri, cephe tasarımları ve malzemeleri, zamana paralel kullanılan farklı ölçekteki kütleleri ve iç mekânlarda uygulanan süsleme detayları, bu kimliğin görsel aktarımı olarak sayılabilir. İç mekânda ki süsleme en çok dikey ve yatay yüzeylerde, yapı elemanlarında, mobilya, tekstil ve el sanatları ürünlerinde uygulanmaktadır. Süsleme, çoğu zaman onu yaptıran kişinin sosyo-politik statüsünü veya zenginliğini vurgulayan bir çalışma bütünü olarak da tanımlanmaktadır. Motif, Modernizmin fonksiyonellik ve sadeliğini, post-modernizmin filozofisini, teknolojinin malzeme, strüktür ve aklını gördüğümüz günümüz mimarisinde iç mekan kimliğini tasarıma aktarımında bize yardımcı olacak önemli tasarım elemanıdır. Motif tarihsel boyutta yer alan formlar setidir. Bir dilin hecesi gibi olup iletişim sisteminin bir kodu olarak sayılır. Etnik figürlerin ön planda görüldüğü ve kullanıldığı yere göre iki ve üç boyutlu olan geleneksel motifler, uygulandığı her bölgede estetik ve zenginlik kazandırmakta, renkleri ve desenleri ile de dekorasyonun önemli bir parçası olmaktadır. Bir zamanlar binalarda iç mekan süslemek adına geleneksel motifler ile yapılan tüm el işi tablolar, yatak örtüleri, perde, halı, ahşap oymacılık vb. gibi elemanların bugün yerine endüstri ürünü, farklı malzeme ve teknolojiye sahip yeni ürünler görülmektedir. Geçirdiğimiz zaman sürecindeki mekanlardaki değişimler sadece mekanları değil içinde yaşanları da dolaylı olarak etkilemektedir. Değişimin, malzemeleri ve insan algısını nasıl etkilediğini analiz etmek, ve bunu bugünün koşulları ile yorumlamak gelecekteki tasarım sürecinin gelişimine katkı koyacaktır. Motiflerin gelecek nesillere günümüz malzemeleri ile aktarılabilmesi mimariye sadece estetik anlamda değil sürdürülebilir bir kültürel miras olarak ta yardımcı olacaktır. Bu sayede globalleşen mimari bir birini kopyalamaya devam ederken, malzemeler bina ayditetlerine katkı koymaya yardımcı olabileceklerdir. Bu çalışmanın amacı, her bölgesinde farklı bir karakteri olan Kıbrıs adasındaki geçmişten günümüze gelen geleneksel motifler ve desenleri, gelecek iç mekan tasarım yaklaşımları için bir araya getirip bir kaynak oluşturmak ve dünyada benzer uygulanılan örnekler ışığında alternatif tasarım önerileri vermektir. Süsleme sürecinde motiflerin mekan içerisindeki halıdan perdeye, örtülerden aksesuara, duvar kağıdından kaplama malzemelerine kadar uygulanabilinecek dekorasyon malzemeleri tasarımına kılavuz olmaktır. Çalışma süresince uygulanacak yöntemler içerisinde coğrafi klimlerine , kültürel etmenlere bağlı olarak farklı bölgeler oluşup oluşmadığına bakılacak ve her bir bölgedeki farklı kültürlere ait olan örnek binalar kronolojik sürece göre tespit edilip listelenecek, buradaki motifleri fonksiyon, renk, biçim, doku ve ölçeksel boyutta analiz edilip dijital ortama aktarılacaktır. Literatür taraması yapılarak akademik perspektifteki teknik ve teorik yorumları sorgulanacaktır. Yerinde mülakat edilerek, önceden hazırlanacak olan sorulara cevap aranacaktır. Analiz aşamasının ardından geleneksel motiflerin iç mekandaki yeniden kullanımı konusunda örnek referanslar bulunacak ve son olarak bazı uygulama önerileri hazırlanıp hedeflenen çalışma tamamlanacaktır. Sonuç olarak eldeki en büyük verinin yine geçmişten geldiğini, geçmişten bugüne kalanların da aslında gelecek adına oluşan referanslar olduğunu düşünüldüğünde, geleneksel motiflerimizin gelecekteki yerini anlamak için günümüze bakmamız gerektiğine inanılmaktadır.

General Publication A (Non) Place On The Road To Guzelyurt/Morphou 1960-75: Migrating Between South and North, Living Between Rural and Urban, Housing Between Vernacular and Modern, 2016

Abstract


Özet

General Publication Geleneksel Kıbrıs Motiflerinin Çağdaş İç Mekan Süslemesindeki Yeri: Yeni ve Yeniden, 2016

Abstract


Özet

General Publication Buildings of Power’ in Northern Cyprus - Through the Eyes of Their Architects, 2016

Abstract


Özet

http://www.tandfonline.com/doi/abs/10.2752/175630615X14135446523387

General Publication Architecture of Power and Urban Space in a Divided City: A History of Official Buildings in Nicosia/LefkoÅŸa, 2016

Abstract


Özet

General Publication Lefkoşa Girne Kapısı’nda Mimarlık Öğrencileriyle Çalıştay: Dikey Strüktür, 2016

Abstract


Özet

General Publication Sınırları Aşan Hayaller, 2016

Abstract


Özet

http://scholar.google.com/scholar?cluster=9346842509028213857&hl=en&oi=scholarr

General Publication Kıbrıs-Lefkoşada, Selimiye Bölgesinnde, kentsel mimari öğeleri oluşumunda, tarihsel ve coğrafi etmenler, 2016

Abstract


Özet

General Publication Columns of Colonialism: Representation of Political Power in the Official Buildings of British Rule in Colonial Cyprus, 2016

Abstract


Özet

https://polen.itu.edu.tr/handle/11527/10330

General Publication Mimarın formasyonunda formel mimarlık eğitiminin yeri, 2016

Abstract


Özet

http://knob.tudelft.nl/index.php/iphs/article/view/1216

General Publication HEALING THE URBAN SCAR IN NICOSIA: SPATIAL AND SOCIAL TRANSFORMATION IN POST CONFLICT DIVIDED CITIES, 2016

Abstract


Özet

Mimarın Formasyonunda Formel Mimarlık Eğitiminin Yeri

Original Article itüdergisi/a mimarlık, planlama, tasarım, Volume 5, Issue 1, 2006, Pages 99-103

Abstract

In a medium, where the visual images of media are dominant for daily life, the tools of architectural practice are under the same dominant power. From the moment that architecture needed to be legitimate within the society, the discourse of architecture became one of the components of the architectural production. Formal educational institutes are taken into consideration as one of the translation of social, cultural, and political values and codes. The place of the formal architectural education in this unity of the social praxis can have the leading role to resist the daily life. By re-structuring itself, formal architectural education can be the motive for architectural practice, hence social praxis. The main objective of this study is to discuss the place of formal architectural education within the unity of social praxis. The discussion is enriched by making comparisons from other disciplines. The area of criticism for formal architectural education is defined within a larger system. By discussing within this frame, the answer can be searched in the system, this reading can show the resistance points to what is given by the society and media. Similar to art, education seems to have the anti-thesis of the society and can be used as an instrument to ruin the thing that is insisted as an absoluteness to the society. In a period where the rational programmes and rational theories are not valid, the importance of the contingent theories and intuitive approaches is discussed within the idea of re-structuring formal architectural education.


Özet

Medya aracılığıyla iletilen görsel imgelerin egemenliğindeki gündelik hayat ortamında, mimarlığın üretim araçlarının da aynı egemen gücün etkisi altında olduğu görülmektedir. Bu çalışmada formel mimarlık eğitimi toplumsal faaliyet bütününün yansıdığı gündelik hayat çerçevesinde ele alınmıştır. Farklı disiplinlerden örnekler verilerek formel mimarlık eğitiminin toplumsal faaliyetin bütününde tanımlanan eleştiri alanı farklı açılardan okunmağa çalışılmıştır. Bu okumanın söylem ve tüketim ideolojisinin yansımaları karşısında, formel mimarlık eğitiminin sahip olduğu direnme noktalarını ortaya çıkarabileceği tartışılmıştır. Rasyonel programların ve kapalı sistemlerin etkisini yitirdiği bir dönemde, formel mimarlık eğitiminin gündelik hayatın dayattığına direnme gücüne sahip olacak şekilde yeniden kurulmasında, mimarlığın kendiliğindenliğini ve deneyimin bilgisini bünyesinde barındırmasının önemi vurgulanmıştır.

Architecture of Power and Urban Space in a Divided City: A History of Official Buildings in Nicosia/Lefkoşa

Original Article The Design Journal: An International Journal for All Aspects of Design, Volume Volume 18, Issue Issue 1, 2015, Pages 135-157

Abstract

The capital city of Cyprus, Nicosia, has been the seat of government and administrative authority throughout the island's history. The Lusignan reign in the twelfth century (1192–1489) was followed by Venetian (1489–1571), Ottoman (1571–1878) and British (1878–1960) rule until the establishment of the independent state of Cyprus (1960–1963). Today, Nicosia is the last divided capital city in Europe, serving the Turkish Cypriots in the north and the Greek Cypriots in the south of the island. The palaces, monuments and governmental centres illustrate how territorial belonging and power were defined and reflected in the buildings of the city itself. The way in which the power of individuals, communities and nations is organized can be traced through the organization of space and the architectural forms of administrative buildings. This paper elaborates on the ideas and experiences of architects with regard to the ideational background, symbolic significance and relationship between art form and political power put forth in these buildings. Within this context, the paper reflects on the impact of divisiveness in architectural forms and aesthetics, the political use of urban space, the constructional aim of official buildings, the architectural styles that affected their design and the extent of the political authority's involvement in planning and design. Drawing on the oral testimonies of architects and archival materials, the paper highlights the connection between political power and the architectural processes that allowed for the contextualization of divisiveness that has dominated the architectural forms on the island particularly in the contemporary history of the island.


Özet

Currrent Teaching

  • 2019 YAZ

    ARCHITECTURAL DESIGN III

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  • 2019 YAZ

    ARCHITECTURAL DESIGN I

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  • 2019 YAZ

    ARCHITECTURAL DESİGN II

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Teaching History

  • 2017 GÜZ

    RESEARCH METHODS

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  • 2019 BAHAR

    ARCHITECTURE IN CONTEXT

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  • 2017 BAHAR

    CULTURE AND SPACE

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  • 2016 GÜZ

    CULTURE AND SPACE

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  • 2017 GÜZ

    CULTURE AND SPACE

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  • 2014 BAHAR

    THEORY OF INTERIOR ARCHITECTURE

    a

  • 2015 GÜZ

    INTERIOR DESIGN STUDIO I

    Eğitim

  • 2016 GÜZ

    INTERIOR DESIGN STUDIO V

    eğitim

  • 2017 GÜZ

    INTERIOR DESIGN STUDIO V

    eğitim

  • 2015 BAHAR

    INTRODUCTION TO INTERIOR DESIGN

    a

  • 2016 BAHAR

    INTRODUCTION TO INTERIOR DESIGN

    a

  • 2019 GÜZ

    CULTURE AND SPACE

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  • 2014 BAHAR

    CULTURE & SPACE

  • 2015 GÜZ

    CULTURE & SPACE

  • 2016 GÜZ

    CULTURE & SPACE

  • 2019 GÜZ

    CULTURE AND PLACE

  • 2016 BAHAR

    CULTURE AND SPACE

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  • 2017 BAHAR

    CULTURE AND SPACE

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  • 2018 BAHAR

    CULTURE AND SPACE

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  • 2019 BAHAR

    CULTURE AND SPACE

  • 2015 GÜZ

    CULTURE AND SPACE

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  • 2017 GÜZ

    CULTURE AND SPACE

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  • 2019 GÜZ

    CULTURE AND SPACE

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  • 2014 BAHAR

    GRADUATION PROJECT

    temel eğitim

  • 2017 BAHAR

    ARCHITECTURAL DESIGN I

    Eğitim

  • 2018 BAHAR

    ARCHITECTURAL DESIGN I

    000

  • 2018 GÜZ

    ARCHITECTURAL DESIGN I

    000

  • 2019 BAHAR

    ARCHITECTURAL DESIGN II

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  • 2018 GÜZ

    ARCHITECTURAL DESIGN II

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  • 2019 GÜZ

    ARCHITECTURAL DESIGN II

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  • 2017 YAZ

    ARCHITECTURAL DESIGN II

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  • 2018 YAZ

    ARCHITECTURAL DESIGN V

    Bilimsel temellere dayalı mimari tasarım çalışması yolu ile öğrenciyi eleştirel düşünce doğrultusunda eğitmek,motive etmek, bu yollarla yaratılıklarını arttırmak. Tasarımda doğaya,insana ve tüm canlılara saygılı ve sevgi yoluyla yaklaşmayı örneklemek ve bu hasletleri kazandırmak.

  • 2019 BAHAR

    ARCHITECTURAL DESIGN I

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  • 2019 GÜZ

    ARCHITECTURAL DESIGN I

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  • 2018 BAHAR

    BASICS OF ARCHITECTURAL DESIGN II

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  • 2018 GÜZ

    BASICS OF ARCHITECTURAL DESIGN II

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  • 2016 YAZ

    RESTORATION

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  • 2018 BAHAR

    SEMINAR

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  • 2019 GÜZ

    SEMINAR

    Sunum tekniği

  • 2018 GÜZ

    SEMINAR (MASTER)

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  • 2017 GÜZ

    PRESERVATION OF HISTORIC INTERIORS:HISTORY AND THEORY

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  • 2018 BAHAR

    THESIS

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  • 2019 BAHAR

    THESIS

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  • 2019 GÜZ

    THESIS

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  • 2018 GÜZ

    THESIS(PHD)

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  • 2015 BAHAR

    THESIS (MASTER)

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  • 2016 BAHAR

    THESIS (MASTER)

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  • 2017 BAHAR

    THESIS (MASTER)

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  • 2016 GÜZ

    THESIS (MASTER)

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  • 2017 GÜZ

    THESIS (MASTER)

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  • 2018 GÜZ

    THESIS (MASTER)

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