This thesis aims at providing a pragmatic and conceptual basis essential for the establishment of an architectural photography archive for METU. The goal is to propose a methodology regarding the formation of an archive, which is physically and intellectually &ldquo / accessible,&rdquo / and to inquire future possibilities for its extension. The conceptual framework will be established by focusing on two main topics: theories of art, specifically focusing on photograph as a visual document, and architectural history writing, focusing on the term &ldquo / archive.&rdquo / Photograph as a visual document will be investigated by giving emphasis to its role as a historical evidence. The definition of the term &ldquo / archive&rdquo / given by Michel Foucault will be located in a key position for the construction of a discourse on documentation and historiography. The pragmatic framework will be established by taking as a reference the methodology used by the archives of the Royal Institute of British Architects (RIBA). The content and the scope subsumed under the RIBA archives show similarity to those of a possible proposal for an archive for METU. Current GISAM archives, which consist of METU campus photographs, will be taken as the primary source.

This thesis questions the relation between political program and architectural production via a close examination of the modern myth: democratization through design. This idea is rooted in the 19th century arts and crafts movement, which indirectly caused the foundation of a very influential design school, the Bauhaus, where the idea of democratization of design has been invented. Years later, the slogan reappeared and became more visible than ever. This time it was IKEA, a furniture company that also promotes the idea of &lsquo / democratization through design&rsquo / with references to Bauhaus announcing the democratic design utopia is back. The survey of the study is based on four main principles that are developed at Bauhaus and later reinvented by IKEA. These principles, namely, mass production, standardization, modularization, and claim of universality characterize the modernist project of instrumentalizing mass production for social benefits.

The aim of this thesis is to investigate an alternative mode of transportation for METU and the impacts of spatial transformations generated by the proposed system in an architectural context. This study embraces modern concepts of space-time in the practice of architectural design, and involves a sensitive consideration of the perception of space relative to position, speed and movement. In an urban context, the thesis unfolds spatial transformations affected by new movement technology. While the notions of movement and speed fundamentally shape the image of the contemporary city, METU campus will be reanalyzed within this framework.

This thesis is a study on the interface of public built form and the open public space surrounding it. The aim is to explore the problem of the transition between interior and exterior public space, that is the exterior skin of the public built form: its public wall. Public wall is explored as an in-between element belonging to both spaces, which forms the dialogue of these spaces. The dialogue is studied in terms of communicative qualities. A conceptual framework is established for the analysis of the public wall. To develop the communication notion further, two milieus of communication of the interior and exterior public space are discussed: transparency and de-materialization. At the end, in order to examine how the theoretical approaches turn into practical solutions, some contemporary architectural examples of public buildings are evaluated in relation to the established framework of the public wall. Therefore, the emphasis given on the subject of public wall is supposed to contribute to the network of relations in the cityscape, and activate those relations, as these relations of built form and open space are at the base of urban realm.

This study is an inquiry into architecture understood as an apparatus of immortalization and glorification by means of a dialectic formulation on the architecture of the synecdochic Interwar (angst) Period (1919-1939) based on the assumptions of Ludwig Wittgenstein (1889-1951). It is claimed that a dialectical relation between Wittgenstein and his contemporaries may contribute to the understanding of the conceptions regarding ideal of [true] architecture itself. The thesis suggests that these assumptions may maintain a critical pattern for the understanding of the architectural milieu of the Interwar Period, which was a summit for modern architecture. The structure is based on a remark of Wittgenstein stating, Architecture immortalizes and glorifies something and its tripartite formulation is reflected upon the framework. In the second part, it is aimed to introduce the concepts in order to draw a framework of the milieu. This part also focuses on the remarks of Wittgenstein regarding [true] architecture. In the third part, the aspects of [true] architecture are discussed by means of a historical study. This part also focuses on the principle of architecture as an apparatus. In the fourth part, a dialectical relationship is maintained between Wittgenstein and his contemporaries to shed light on the [true] architecture of the Angst Period. The emphasis of this part is on the arguments regarding [true] architecture. Finally, the fifth part involves arguments on the aspects of immortalization and glorification focusing on its several aspects and something immortalized and glorified by means of [true] architecture.

This thesis is an investigation on the changing concept of space and its production, through a reconsideration of montage in the digital environment. Since the beginning of the twentieth century, collage and montage have been one of the key terms that lead the movements of art and architecture. Towards the end of the 80s, however, as a result of the introduction of the digital environment, the quality and quantity of methods of production and transfer of knowledge have increased and the flow of information has gained a noticeable importance. Through recent developments, the digital environment offers many opportunities for representation in architectural field as well as other professions. Montage, which is a technique for construction of a new meaning or entity throughout its history, now changes its character with the infinitely many opportunities digital environment proposes as well. Therefore, this thesis tries to examine the changing scope and formulation of montage in this specific environment through the example of digital compositing which is a recent design and production technique used in the field of photography and cinema. Digital compositing provides layering, editing and merging numerous elements in one frame. Through its inherent potential of decomposing time and juxtaposing different modes of realities, the concept of space and production and visualization techniques in the digital medium change also affecting the roles of the designer and the user in the process. Thus, this new formulation brings forward a new understanding of design process that acts as an interface both spatially and temporally.

The aim of this study is to examine the role of &lsquo / Turkish Disaster Regulations&rsquo / on architectural design. Although the preliminary aim of Turkish disaster regulations is to provide knowledge for designers and builders to control structural and constructional system of buildings that can resist disasters in the pre-disaster period, these regulations can create some restrictions for architects in their design process. Following an analytical examinations of Turkish disaster regulations that have been developed continuously after different disaster experiences for years from an architectural view, the focus will be given to the 2007 disaster regulation called &lsquo / Specification for Buildings to be Built in Earthquake Areas&rsquo / in order to evaluate critically the limitations of those regulations for architects in their design process. Furthermore, seven types of irregular buildings that are mentioned in 2007 disaster regulation will be examined and discussed in detail.

The aim of this study is to examine the role of &lsquo / Turkish Disaster Regulations&rsquo / on architectural design. Although the preliminary aim of Turkish disaster regulations is to provide knowledge for designers and builders to control structural and constructional system of buildings that can resist disasters in the pre-disaster period, these regulations can create some restrictions for architects in their design process. Following an analytical examinations of Turkish disaster regulations that have been developed continiously after different disaster experiences for years from an architectural view, the focus will be given to the 2007 disaster regulation called &lsquo / Specification for Buildings to be Built in Earthquake Areas&rsquo / in order to evaluate critically the limitations of those regulations for architects in their design process. Furthermore, seven types of irregular buildings that are mentioned in 2007 disaster regulation will be examined and discussed in detail.

In the twenty-first century that we are living, most of the contemporary metropolises are under constant visual electronic surveillance under the name of security and public safety. Istanbul as being one of the big cities has joined this surveilled metropolises / its streets and public spaces are under constant watch by the invisible watchers behind the MOBESE cameras. The way that the system works on how to impose power on the citizens with the constant observation has it roots in the design principle of Panopticon that Jeremy Bentham created long time ago. Today, Bentham&rsquo / s eighteenth century design Panopticon has dispersed and merged into the urban scale and replaced by these surveillance cameras. The observation tower and the guardian in panopticon have transformed into the main control room and the cameras. Citizens in Istanbul are under a panoptic power of surveillance. Ordinary citizen is being watched by the invisible guardians behind the cameras. The ones behind the cameras constantly see everything, but never seen by the citizens. This thesis attempts to discuss this assumption of Istanbul becoming an urban panopticon and its affects on the physical layout together with the social aspect of it in Istanbul. One of the main objectives is to investigate the consequences of this visual surveillance on the way that the public life and public spaces of Istanbul is affected.

The subject of this thesis is House No: 1 in Zenginler District B&uuml / y&uuml / k &Ccedil / ikmaz in Antakya. It is a remarkable example of traditional houses dating back to 19th century in Antakya. The aim of this study is to prepare the restoration project of the building which is far too important for the city with its location, richness of its spatial and architectural elements, interventions have been done and provide to maintain its role in the city by re-functioning it. The thesis includes the detailed description of the present state of the site and the selected building, historical background of Antakya, comparative study and restitution scheme. Finally, the restoration project including the intervention decisions and a proposal for a new function are prepared according to the evaluation of the information gathered throughout the study. There are several steps to prepare the restoration project of a traditional building. The first step is the historical research of both the selected building and the city where it is located. It is important, as it constitutes a background for the study. In the second step of the project, the preparation of the complete graphical and verbal information of the building to the document the present conditions of it. Site survey is the base for this step. After all the information is gathered at the site, they are presented by graphical and verbal ways. Documentation includes the analyses of the building in various aspects like materials, construction technique and deformations. The third step is the comparative study of the building between the same period traditional Antakya houses. These analyses are not only important for the position of the building in Antakya but also form a base for the restitution project. The fourth step restitution consists of evaluation of traces to grasp the alterations done on the original building and thus it can be possible to establish the original scheme of the building. In the last step, the restoration project is prepared. It covers the interventions that should be applied to the building and the proposal for the new function.