Architecture

The domain of interiors constitutes a point of tension between practicing architects and interior designers. Design of interior spaces is a significant part of architectural profession. Yet, to what extent does architectural education keep pace with changing demands in rendering topics that are identified as pertinent to the design of interiors? This study explores interior designrelated coursework taught in accredited architectural programmes in the United States. Two methods of collecting data are used: self report from architectural programme chairs and content analysis of web-site posted programme catalogues describing course content. The findings show that many interior design concepts are not well addressed in the architectural curricula [1]. On average, only 0.44% of program content is dedicated to curricula focusing on knowledge and skills in shaping interiors. These findings offer a parameter to educators who are involved in assessing and reforming architectural education by expanding issues of design in general. The authors contend that the pedagogical approach in architectural programmes would benefit from the inclusion of more interior design concepts and through such education efforts the stature of interior design is likely to be improved.

This article argues that interior/architectural design education favours a dominance of final presentation over the design process in the studio environment, particularly in the evaluation of a project. It suggests that the appeal of design juries for pleasant drawings, which may shift the emphasis from the project itself to its representation, may be recognized as a discursive habit with limited contribution for educational concerns. The theoretical stance argues that the interest for graphical presentation has primarily remained within a formalist aesthetic agenda and has rarely been conceptualized beyond this convention. With this in mind a series of questions is developed in order to reform the relationship between graphical presentation and the design education process.

Architectural history books play a significant role in conveying the culture, norms, and values of the architectural discipline to newcomers. In recent years, numerous publications have spotlighted the importance of women and African Americans as critics, creators, and consumers of the built environment. Yet, to what extent is this recent discourse on gender and racial issues included in architectural history texts? And how gender or racially inclusive are they? Are twenty-first-century architectural educators presenting newly uncovered architectural histories from the nineteenth and twentieth centuries? Building upon prior research, this article seeks to address these issues by examining history texts currently assigned at fourteen leading architectural schools accredited by the National Architectural Accrediting Board. In textbooks with multiple editions, we compared relevant information in both earlier and later versions. Our analysis of these history texts revealed that contributions of women remain only marginally represented in the grand narrative of architecture. And for the most part, African Americans are omitted altogether. We challenge authors to reassess the next generation of architectural history texts and suggest ways to do so.

This article argues that a design studio can be a dynamic medium to explore the creative potential of the complexity of sustainability from its technological to social ends. The study seeks to determine the impact of an interior design/architecture studio experience that was initiated to teach diverse meanings of sustainability and to engage the participants with refined design applications that used sustainable choices. A teaching scheme that utilised a team of instructors with varying degrees of knowledge and competence in different aspects of the topic, mediated the education of both the students and the instructors themselves. The results were documented through observing the students and, later, a survey of the graduates. The study revealed that this studio experience developed a heightened awareness of sustainability as a multidimensional concept that requires critical thought processes, and greatly influenced the recognition of environmentally responsible design as an imperative in education. The findings also suggested that, ideally, sustainability should be addressed earlier, at lower levels, and needs to be woven into every aspect of a curriculum.

This study examines contemporary meanings and uses of the mosque in Turkey by arguing that productive architectural plans require understanding both the socio-historical development of the mosque and the socio-political transformations that have led to the mosque's current position in society. Mosque space is conceptualized as a physical environment that cultivates the formation and transformation of individual, social, and collective memories. The study questions whether the mosque still exhibits the qualities of a social space and whether new and innovative mosque designs reflect -programmatically, architecturally, and spatiallytransformations related to their current uses and social meanings. These questions are explored through interviews, two questionnaires, and a worksheet, all of which involve a case study of Dogramacizade Mosque in Ankara. On one hand, the findings underscore the changing relationship between Muslim women and mosque space as a result of the transformation of congregations into citizens of a contemporary secular nation and suggest that spatial designs of mosques should take present-day behaviors and practices into consideration rather than ignoring this social aspect through which transformations occur. On the other hand, the collective memory of congregation members resists changing the allocation of prayer halls in the mosque. Members are in favor of continuing the traditional layout of separated spaces based on gender differences. The resistance implies that collective memory changes much slower than behaviors or lifestyles in terms of gender issues. Additionally, parallel to the findings, modernization of the mosque brings forth the idea of resurrecting the mosque's historical form as a social complex that fundamentally conflicts with secularity.

This article looks through the lense of an entertainment building in Izmir, Turkey, within the larger framework of modernity and identity in order to scrutinise ways in which cross-cultural influences are mediated. The programme of the building is conceptualised as a social structure and its aesthetics as a cultural form, which work to connect localities to the processes of modernisation and westernisation in the Turkish context of the 1950s' era. The analysis exposes how the edifice operates as a spatial structure that influences cultural norms and Western behaviour through practices of entertainment and architectural design, simultaneously serving as a medium through which people could perform and express their modernity.

This study scrutinizes consumption of modern design as a strategy of distinction in Turkey. Conceptualizing taste as an acquired and dynamic medium through which inhabitants build and sustain social relationships, the article examines domestic furnishings as tools for constructing a Western socio-cultural difference from the late nineteenth century through to the 1950s and 1960s. Furthermore, it looks at the structures acting on furniture design and consumer choices. The study explicates the view that architects and decorators promoted a taste reform towards different versions of European Modernism throughout the 1930s and in the mid-twentieth century. The modern emerged as a distinctive element, not just between different classes but also within upper-class consumers themselves. The luxurious hotel projects, particularly the pivotal Istanbul Hilton Hotel, were instrumental in spreading the codes of furniture and for shaping contemporary practices, when the infl ux of US culture had an all-pervading impact, in the post Second World War context. A shift in the dominant taste towards modern designs, the use of synthetic materials, such as Formica, and the advent of new design elements, such as the American bar, revealed a concern for taking part in a new modern identity that refl ected cultural competence in the way the West was (re)interpreted.

This article argues that interior/architectural design education favours a dominance of final presentation over the design process in the studio environment, particularly in the evaluation of a project. It suggests that the appeal of design juries for pleasant drawings, which may shift the emphasis from the project itself to its representation, may be recognized as a discursive habit with limited contribution for educational concerns. The theoretical stance argues that the interest for graphical presentation has primarily remained within a formalist aesthetic agenda and has rarely been conceptualized beyond this convention. With this in mind a series of questions is developed in order to reform the relationship between graphical presentation and the design education process.

This study applies a method that evaluates the use of an architectural element in a specific place and time by referring to a discussion begun by other scholars. In accordance with the definition and classification advanced by this study, the article proposes a re-evaluation of spaces previously identified as courtyards in research and publications regarding the development of Anatolian architecture from the Neolithic Age to historic ages.

This study applies a method that evaluates the use of an architectural element in a specific place and time by referring to a discussion begun by other scholars. In accordance with the definition and classification advanced by this study, the article proposes a re-evaluation of spaces previously identified as courtyards in research and publications regarding the development of Anatolian architecture from the Neolithic Age to historic ages.

This study applies a method that evaluates the use of an architectural element in a specific place and time by referring to a discussion begun by other scholars. In accordance with the definition and classification advanced by this study, the article proposes a re-evaluation of spaces previously identified as courtyards in research and publications regarding the development of Anatolian architecture from the Neolithic Age to historic ages.

This study applies a method that evaluates the use of an architectural element in a specific place and time by referring to a discussion begun by other scholars. In accordance with the definition and classification advanced by this study, the article proposes a re-evaluation of spaces previously identified as courtyards in research and publications regarding the development of Anatolian architecture from the Neolithic Age to historic ages. Courtyards and other open spaces are discussed in this study, and a new classification is suggested to frame the use of courtyards in Ancient Anatolian architecture better.

The beginning of restoration works on a scientific base in Turkey dates back on 1933 when a specific committee for the protection of monuments (Anıtları Koruma Komisyonu) was officially appointed by the Ministry of Education. The preliminary working phase, carried on under the direction of this committee, was soon distinguished by the clear attempt to visualize the results in order to cast the monuments as national icons. The present paper's aim is to discuss this process of visualization focusing on the case study of a series of works realized in Edime from 1933 to 1944. Apart from the historical value of monuments included in the protection program, the study explores the ideological side of these works stressing their value as a pioneering enterprise of a modem nation that celebrated its emerging culture in the protection and preservation of monuments as a sign of progress and civilization. Edirne's restoration works in fact arouse a great deal of interest in the national...

By this point of view this side of Taut's professional activity in Turkey, until now quite ignored, turns to be essential in order to evaluate his role in the re-elaboration of monuments for the benefit of state ideology and his contribution on the topic right at the beginning of the construction of a restoration culture in Turkey.