With the rapid spread and easy access to the Internet, the concept of digital media has entered all areas of life. Media tools, which are highly related to professions, affected the discipline of architecture as well and changed its dynamics in terms of design, production, marketing, and advertising. In this context, a closer look at the media concept becomes necessary due to its triggering effect on critical thinking in architecture. In this study, 5 functions of digital media (Information, Cultural continuity, Socialization, Creating/Shaping Public Opinion and Entertainment) which were defined by Katz (Katz, 1960), McQuail, D. (1987 and Burton, G., & Marshall, P. D. (1993) will be introduced in detail and the Archdaily platform, one of the most popular and widely used new media of Architecture, will be analyzed via these functions. For this, 967 posts published by Arcdaily in 2019 were analyzed. In addition to the main hypothesis 'Does Archdaily operate as a new architectural medium?', sub-analyzes was carried out to see how Archdaily contributed to the world of architecture. Findings indicated that Archdaily was active in fulfilling all the 5 functions of media, though 3 functions, which are "socializing", "providing cultural continuity" and "entertaining", were observed to be fulfilled less than giving information and creating/shaping public opinion. Furthermore, qualitative analyses have shown that media functions were associated with the contents of publications. Findings imply the need for digital platforms to increase their activities in all functions equally and even surprise or exceed the 5 functions theory by adding new dimensions.
In a world dominated by the Internet, visibility is becoming increasingly important, and the visibility of architectural firms has also increased with the impact of internationalization. Architectural firms are increasing their visibility, both through the rapid dissemination of information provided by the Internet and by starting to use social media tools. This article explores the relationship between the visibility and the globalization of architectural firms in the year 2022. The article challenges the perception that all well-known/visible architectural firms can be global. The research has two time periods. (before and after 1985, the Internet Revolution). During the data collection phase, 20,942 architectural firms were scanned; a cluster of 522 firms in 49 different countries was formed; 10 different variables were studied in these firms. The 10 variables examined were determined according to the common and majority characteristics of the globalized architectural firms (44 firms) founded before 1985. The investigated variables enabled us to determine the globalization and visibility characteristics of the architectural firms founded after 1985. In the analysis phase, the firms were separated according to their countries (49 countries) and the levels of visibility and globalization were calculated by taking the averages. The levels of visibility and globalization were determined at three levels: low, medium, and high. Not every architectural firm with high visibility has a high level of globalization; it has been determined that every company with a high level of globalization is not visible enough and that there is no homogeneous relationship between globalization and visibility levels. The originality of the research lies in the use of Archdaily, which allows the scanning of 20,942 architectural firms, as a data source and the documentation of its data in 2022.
Architectural education encompasses different approaches from past to present; it is continuously researched and is both vocational and personality training. An updated manifesto for the current era is essential to ensure that the design approaches and tools updated by the boundless opportunities presented by the 21st century do not overwhelm the proven principles from the past. In the early 21st century, the restructuring process of architectural education is being reawakened through unique education approaches. The studio that constitutes the backbone of design education must also produce the manifesto. Manifesto principles that express the approaches related to the stages and are fictionalised through binary propositions need to provide a paradigm that exceeds a linear process for the studio environment. The proposition for all actors of the design process and learning programmes is based on an independent configuration in which studios focus on learners. Manifestos need to be renewed as long as the epoch is flourishing, while concerns about the internalisation of design knowledge and ways of thinking, skills, and experiences exist. The present manifesto is also a future building block. To rest studio manifestos on a joint manifesto similar to one proposed in this text, because of renewed and diversified practices, it is necessary to maintain an architectural education that does not lose itself and people within the universe of infinite possibilities.
Aim: The aim of this research is to identify the Novak’s relationship of ‘liquid architecture and music’ as an approach that diverges from the architecture music relationships that have been built throughout the historical process. Method: In describing the approach, initially, the intellectual and critical foundations and features of liquid architecture were emphasized, and subsequently, its relationship with music was discussed through case studies in comparison to the current relationship between architecture and music. Results: When the current relationships of the architecture and music are evaluated, the attitude apart from the arising sensations and affections doesn’t exist within the relationship of liquid architecture and music. Liquid architecture, which has characteristics such as continuity, timelessness, plurality, poetry and obscurity, acquires the characteristics of the individual varying based on his/her body, senses, perceptions, and emotions as the way of producing architecture. It is claimed that the liquidity approach will influence music and architecture in different ways than is known, and that music will transform into a new form of architecture, while architecture becoming a new form of music. In this context, it extends ‘beyond (trans-)’ the limits of current approaches. Conclusion: The sixth category of methodical approaches in architecture music interaction can be defined as the relationship of liquid architecture and music. The way it relates to music and the way it produces architecture also suggests a direction of development to concrete architecture and virtually warns about renewing its theory and tools.
Mimarlık, disiplinler arasıdır. Disiplinler arasılık, disiplinlerin birbirleriyle etkileşimleri, birbirlerinden beslenmeleri ve çıkan ürünün bileşke disiplinlerin girdilerini içerme durumudur. Mimarlığın ilişki içerisinde olduğu disiplinlerden olan müzik ile arasındaki etkileşim tarih boyunca sorgulanmıştır. Metaforik, analojik ve sayısal tabanlı benzerlikler kurulduğu gibi, daha teknik konularda da ilişkiler kurulmuştur. Kurulan bu bağlantılar figüratif, grafik içeriklidir. Birçok yöntemsel yaklaşım geliştirilmesine rağmen ortak tasarım metotlarının oluşmaması söz konusudur. Dolayısıyla, disiplinler arası içerikte mimarlık ve müzik çakışımının mimarlar, tasarımcılar ve düşünürler tarafından nasıl ele alındığının incelenmesi bu çalışmanın yöntemini oluşturmaktadır. Bu çalışma, Antik Çağ'dan günümüze kadar mimarlık ve müzik arasında kurulan ilişkileri irdeler, mevcut ilişkilerin ötesinde algısal boyutta ve figüratif benzerliklerden uzak, yeni bağlantıların ve yaratıcılığı olumlayabilecek sorgulamaların gerekliliğine işaret eder.
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