The title of this article is adapted from Theodor W. Adorno’s famous dictum: ‘To write poetry after Auschwitz is barbaric.’ After the catastrophic earthquake in Kocaeli, Turkey on the 17th of August 1999, in which more than 40,000 people died or were lost, Necdet Teymur, who was then the dean of the Faculty of Architecture of the Middle East Technical University, referred to Adorno in one of his ‘earthquake poems’ and asked: ‘Is architecture possible after 17th of August?’ The main (...) objective of this article is to interpret Teymur’s question in respect of its connection to Adorno’s philosophy with a view to make a contribution to the politics and ethics of architecture in Turkey. Teymur’s question helps in providing a new interpretation of a critical approach to architecture and architectural technology through Adorno’s philosophy. The paper also presents a discussion of Adorno`s dictum, which serves for a better understanding of its universality/particularity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 73-90 [Access article in PDF] Intellectual Friendship in Architectural Education Yonca Hurol Introduction Limits are causes of repression, and it is usually accepted that repression affects creativity. There are two different approaches to the effects of limits on creativity. According to the first approach, creativity increases parallel to the increase of limits and repression. According to the second approach, any artificial (...) increase of limits produces passionate "locked in" mechanisms. A decrease of limits is necessary for an increase in creativity. Since it is never possible to eliminate some "natural" limits, it is not necessary to create some other "artificial" ones by introducing authoritarian attitudes. Creativity should be directed only toward the natural problems and limits.The aim of this essay is to develop a theoretical base for the following philosophical statement: "Decreasing authoritarian limits causes an increase in creativity in architectural design education." The concepts in such a philosophical statement must be operationalized in order to be applied to the practice of architectural education. The concepts of "limits" and "creativity" should be replaced with some other concepts (variables) which are observable so that they can be applied to the cases in practice.The essay is based on the poststructuralist philosophy of Gilles Deleuze and Felix Guattari, specifically their understanding of the relation betweenthe body and the mind;1 even though other thinkers have related emotion and rationality, for example, Fredrich Nietzsche's nomadic thought, Gaston Bachelard's "childhood dreams," and Antonin Artaud's "theatre of cruelty."2 In this essay, Deleuze and Guattari's philosophy is used more intensively over that of others, because of the clarity of the concepts it contains.The concept of creativity is operationalized by replacing it with the variable of the "design psychology of the student" which can, in turn, be replaced by the constants of "passionate mechanism" and "desire machine." [End Page 73] These psychological states and the their architectural indications are analyzed in the first section. The concept of limits is replaced by the "limiting role of the studio teacher," instead of the natural limits in architecture such aseconomy and technology. This role has two constants: the "role of the authority figure" and the "role of the intellectual friend."In architectural design courses students design buildings which combine the demands of strength, usefulness, and aesthetics. This process relates rationality (mind) to irrationality (body/feelings). Students learn about the rational aspects of architecture in their own ways, while designing the irrational aspects of their projects. They make contact with the studio teachers whenever they need advice or supportive criticism. This is a one-on-one relationship. The early approaches to design education depend on authoritarian "correction," while the new models propose "objective criticism."However, none of these concepts cover the existing power relations between teachers and students. Some teachers believe in the positive role of authority, while others do not. A conflict arises between the authority figures, and the friendly teachers.The formation of an intellectual friendship between students and teachers of architecture is not new. It has existed since postmodernism was first founded in architecture with the differing viewpoints about architecture. Sinan Omacan, was a student of architecture when he described the changing demands of education as follows: School is not simply a structure that is abstract. It is not only an institution of discipline that programs, deals with quantities, and evaluates. The name of it, the building of it, and the people in it, always give it a certain personality, and the strongest part of this story can only start with the relationship between these personalities. While this medium of personal relationships forms an unpredictable and unavoidable situation for the institution, it becomes exactly the right thing that students are looking for, because the most important aspect for students in a school is the possibility created by unprogrammed time and unplanned space.3This essay provides a theoretical explanation of these existing categories for the first time. The concepts which are analyzed in the first two parts are used as variables for comparative research. The third part contains comparative... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 73-90 [Access article in PDF] Intellectual Friendship in Architectural Education Yonca Hurol Introduction Limits are causes of repression, and it is usually accepted that repression affects creativity. There are two different approaches to the effects of limits on creativity. According to the first approach, creativity increases parallel to the increase of limits and repression. According to the second approach, any artificial (...) increase of limits produces passionate "locked in" mechanisms. A decrease of limits is necessary for an increase in creativity. Since it is never possible to eliminate some "natural" limits, it is not necessary to create some other "artificial" ones by introducing authoritarian attitudes. Creativity should be directed only toward the natural problems and limits.The aim of this essay is to develop a theoretical base for the following philosophical statement: "Decreasing authoritarian limits causes an increase in creativity in architectural design education." The concepts in such a philosophical statement must be operationalized in order to be applied to the practice of architectural education. The concepts of "limits" and "creativity" should be replaced with some other concepts (variables) which are observable so that they can be applied to the cases in practice.The essay is based on the poststructuralist philosophy of Gilles Deleuze and Felix Guattari, specifically their understanding of the relation betweenthe body and the mind;1 even though other thinkers have related emotion and rationality, for example, Fredrich Nietzsche's nomadic thought, Gaston Bachelard's "childhood dreams," and Antonin Artaud's "theatre of cruelty."2 In this essay, Deleuze and Guattari's philosophy is used more intensively over that of others, because of the clarity of the concepts it contains.The concept of creativity is operationalized by replacing it with the variable of the "design psychology of the student" which can, in turn, be replaced by the constants of "passionate mechanism" and "desire machine." [End Page 73] These psychological states and the their architectural indications are analyzed in the first section. The concept of limits is replaced by the "limiting role of the studio teacher," instead of the natural limits in architecture such aseconomy and technology. This role has two constants: the "role of the authority figure" and the "role of the intellectual friend."In architectural design courses students design buildings which combine the demands of strength, usefulness, and aesthetics. This process relates rationality (mind) to irrationality (body/feelings). Students learn about the rational aspects of architecture in their own ways, while designing the irrational aspects of their projects. They make contact with the studio teachers whenever they need advice or supportive criticism. This is a one-on-one relationship. The early approaches to design education depend on authoritarian "correction," while the new models propose "objective criticism."However, none of these concepts cover the existing power relations between teachers and students. Some teachers believe in the positive role of authority, while others do not. A conflict arises between the authority figures, and the friendly teachers.The formation of an intellectual friendship between students and teachers of architecture is not new. It has existed since postmodernism was first founded in architecture with the differing viewpoints about architecture. Sinan Omacan, was a student of architecture when he described the changing demands of education as follows: School is not simply a structure that is abstract. It is not only an institution of discipline that programs, deals with quantities, and evaluates. The name of it, the building of it, and the people in it, always give it a certain personality, and the strongest part of this story can only start with the relationship between these personalities. While this medium of personal relationships forms an unpredictable and unavoidable situation for the institution, it becomes exactly the right thing that students are looking for, because the most important aspect for students in a school is the possibility created by unprogrammed time and unplanned space.3This essay provides a theoretical explanation of these existing categories for the first time. The concepts which are analyzed in the first two parts are used as variables for comparative research. The third part contains comparative... (shrink)

Adobe masonry is part of the vernacular architecture of Cyprus. Thus, it is possible to use this technology in a meaningful way on the island. On the other hand, although adobe architecture is more sustainable in comparison to other building technologies, the use of it is diminishing in North Cyprus. The application of Turkish building code in the north of the island has created complications in respect of the use of adobe masonry, because this building code demands that reinforced concrete (...) vertical tie-beams are used together with adobe masonry. The use of reinforced concrete elements together with adobe masonry causes problems in relation to the climatic response of the building as well as causing other technical and aesthetic problems. This situation makes the design of adobe masonry complicated and various types of ethical problems also emerge. The objective of this article is to analyse the ethical problems which arise as a consequence of the restrictive character of the building code, by analysing two case studies and conducting an interview with an architect who was involved with the use of adobe masonry in North Cyprus. According to the results of this article there are ethical problems at various levels in the design of both case studies. These problems are connected to the responsibilities of architects in respect of the social benefit, material production, aesthetics and affordability of the architecture as well as presenting distrustful behaviour where the obligations of architects to their clients is concerned. (shrink)

Structural interventions to historic stone masonry buildings require that both structural and heritage values be considered simultaneously. The absence of one of these value systems in implementation can be regarded as an unethical professional action. The research objective of this article is to prepare a guideline for ensuring ethical structural interventions to small-scale stone historic masonry buildings in the conservation areas of Northern Cyprus. The methodology covers an analysis of internationally accepted conservation documents and national laws related to the conservation (...) of historic buildings, an analysis of building codes, especially Turkish building codes, which have been used in Northern Cyprus, and an analysis of the structural interventions introduced to a significant historic building in a semi-intact state in the walled city of Famagusta. This guideline covers issues related to whether buildings are intact or ruined, the presence of earthquake risk, the types of structural decisions in an architectural conservation project, and the values to consider during the decision making phase. (shrink)

The most common tectonic quality of modern structures, such as frame systems, is their flexibility; they are open for change. Although this characteristic is a big advantage in comparison to the inflexible masonry structures of the past, it might also create some serious problems, such as e.g. the lack of safety in the event of an earthquake, if the flexibility is not used consciously by architects and interior designers. This article attempts to define and establish some rules for the interior (...) design of buildings with reinforced concrete frame systems. The rules for making subtractions from these structures and extending them by making additions to them are contained within this article. The main objective of this article is to derive some ethical values from these rules. Thus, the conclusion of the article focuses on the derivation of some ethical values for achieving earthquake resistant interior design of buildings with reinforced concrete frame systems. (shrink)

The most common tectonic quality of modern structures, such as frame systems, is their flexibility; they are open for change. Although this characteristic is a big advantage in comparison to the inflexible masonry structures of the past, it might also create some serious problems, such as e.g. the lack of safety in the event of an earthquake, if the flexibility is not used consciously by architects and interior designers. This article attempts to define and establish some rules for the interior (...) design of buildings with reinforced concrete frame systems. The rules for making subtractions from these structures and extending them by making additions to them are contained within this article. The main objective of this article is to derive some ethical values from these rules. Thus, the conclusion of the article focuses on the derivation of some ethical values for achieving earthquake resistant interior design of buildings with reinforced concrete frame systems. (shrink)

Architects design building structures, although structural design is the profession of structural engineers. Thus, it is better for architects and structural engineers to collaborate starting from the initial phases of the architectural design. However, this is not very common because of the contradictory design processes and value systems held within the two professions. This article provides a platform upon which architects and structural engineers can resolve the value conflicts between them by analysing phases of the structural design of reinforced concrete (...) frame systems in architecture, the criteria of the structural design for each phase and determining the conflicting values for each criterion. The results shown in the article demonstrate that the architectural design of structures is a complex process, which is based on contradictory values and value systems. Finally, the article suggests to architects and structural engineers to use Value Sensitive Design and to choose an appropriate team leader in order to resolve the unethical conflict between them and to avoid any unreasonable decision making. (shrink)

Learning, which is the main key of innovation, is an indispensable element for companies to gain sustainable competitive advantage. Although not being adequately studied in management literature, network learning capability, a type of organizational learning ability, is a determining factor in the innovation process. Likewise, open-mindedness is a component that accelerates the creation of knowledge in the organization as well as encouraging the organization to be open towards new opportunities and to value different opinions. In this study, a model including (...) these variables was designed and the mediator role of network learning in the relationship between open-mindedness and innovation performance was explored. It is suggested that open-mindedness has a positive effect on innovation performance and that network learning capability possesses a mediator role in this relationship. The data were collected through surveys answered by the middle and senior managers of Turkey’s leading companies. As a result, it is pointed out that there is a positive and significant relationship between open-mindedness and innovation performance, and that network learning has a mediator effect on this relationship. This study adds value to the management literature by highlighting the momentousness of network learning capability in the innovation process as well as offering several avenues of future studies and implications for different stakeholders. (shrink)