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The aim of this study is to analyze; academician, architect and architectural theorist Robert Venturi’s groundbreaking books in the world of architecture;’Learning from Las Vegas’ and ‘Re-Learning from Las Vegas’, in terms of postmodern urban design. For this purpose, the study focuses onthe different dynamics of architecture and tries to reveal the effects and contributions of the local context to thearchitectural concept and urban design with the contradictions and complexities it creates. The study that dealswith the dynamics of architecture, apart from the space, in terms of local context via Las Vegas Boulevard; examines dynamics such as communication / symbolic / non-architect architecture. Hence, while referring to post-modernism, a period of pivotal architecture, he particularly focuses on ; Learning from Las Vegas; to explain how the Everyday urban landscape of Venturi’s Las Vegas Strip, emerged eclectically and quickly. In the article, the architecture of Las Vegas Strip, which was the beginning of post-modernism in the 1960s, has been discussed in terms of urban design and urban landscape, focusing on the reflections of symbolic (sign) architecture and eclecticism. The everyday design philosophy of the boulevard is examined. While discussing Venturi’s discourse on ‘what we need to learn from Las Vegas’, it is also intended to reveal why he actually praises everyday architecture. Venturi, who is a member of the advisory board of Princeton University's School of Architecture and Urban Design, clearly demonstrated the philosophy of architecture in the book "Complexity and Contradiction in Architecture" presented in 1966; Again for the first time in this work, he responded to Mies Van Der Rohe, who is known with the phrase "Less is more", with "Less is bore" (lessboring). Therefore, in the study, the understanding of urban design that emerged in the post-modern period has been investigated through Venturi’s interpretations and works, and an analysis has been made on how architecture, a local context consisting of symbols and hangars has a wide impact in the world., Bu çalışma; değerli akademisyen, mimar ve mimarlık teorisyeni Robert Venturi’nin, Scott Brown ile birlikte yayınladıkları, mimarlık dünyasında çığır açan eserleri; ‘Learning from Las Vegas’ (Las Vegas’ın öğrettikleri) ve ‘Re-Learning from Las Vegas’ (Las Vegas’ın yeniden öğrettikleri) isimli çok önemli iki eserinin postmodern kentsel tasarım açısından incelemesidir. Bu amaçla, çalışma ünlü mimar ve teorisyen Robert Venturi’nin kitabında yer verdiği mimari çelişkiler ve karmaşıklıkları ortaya çıkarmaya çalışır. Mimarlığın ayrılmaz parçası olan ‘mekân’ haricinde ki dinamiklerini, ‘Las Vegas Bulvarı Mimarisi’ aracılığıyla ele alarak, Venturi’nin kitabında yer verdiği; ‘iletişim mimarlığı/sembolik mimarlık/mimarsız mimarlık’ gibi kavramları inceler. Post-modernizm’e değinirken özellikle, ‘Venturi’nin Las Vegas Şeridi’ ve gündelik kentsel peyzajda ki eklektizme ve dinamizme odaklanır. Post-modernizm (1960’lar) ile gelişme göstermeye başlayan Las Vegas Şerit mimarisi, çok disiplinli bir yaklaşım ile kentsel tasarım ve kentsel peyzaj açısından ele alınarak, işaret mimarlığı ve eklektizmin kentsel tasarıma yansımaları üzerine yoğunlaşarak, bulvarın gündelik tasarım felsefesi incelenmiştir. Venturi’nin Las Vegas’tan öğrenmemiz gerekenler olduğunu savunurken aslında gündelik mimariyi niçin övdüğü de tartışılmıştır. Princeton Üniversitesi ‘Mimarlık ve Kentsel Tasarım Okulu’nda danışma kurulu üyesi de olan Venturi (1966); ‘Mimarlıkta Karmaşıklık ve Çelişki’ kitabın da mimarlık felsefesini açıkça ortaya koyarak; ‘Less is more’(az çoktur) deyimi ile bilinen Mies Van Der Rohe’ye karşılık ‘Less is bore’ (az sıkıcıdır) söylemi ile karşılık vermiştir. Dolayısıyla, bu çalışma post-modern dönemde gelişen kentsel tasarım anlayışını, Venturi’nin yorumları ve eserleri üzerinden araştırmış ve mekânız bir mimarlığın, semboller ve hangarlardan oluşan bir yöresel bağlamın dünyada nasıl geniş bir yankı uyandırdığı üzerine bir incelemedir.

My project is concerned with understanding and identifying the possibility of self-censorship, within a queer theory framework, in Robert Rauschenberg's series of Combine works. Starting out by understanding ideas and theoretical concepts behind censorship (specifically Self-censorship, whether subliminal or acknowledged), through the work of previous scholars. Helping to differentiate the various forms censorship can take, to better establish a definition of what it means to self-censor. Which is vital for the ability of identifying the possible presence of this within Rauschenberg’s practice during the period he created the Combines. Previous iconographical readings, within a queer theory framework, should form a foundation to work from, to identify different elements within the work. Simultaneously creating an understanding of those elements identified as potential queer signifies contained in the works. The deconstruction of the combines seeks to comprehend those elements that might constitute Self-censorship, queer signifiers and historical or narrative changes which may have resulted from personal development or, more importantly, attacks on or suggestions of homosexuality levelled at Rauschenberg. After the deconstructions have been performed, combined with the data collected and appropriate analysis, identification of the changes which may have occurred can begin. These trends will then be examined and explicated via North American socio-historical sexual research and through a queer theoretical framework. After which, I shall attempt to draw out those elements that correspond to Self-censorship within Rauschenberg's art. It is hypothesised the self-censorship elements will be more prominent in his later works when Rauschenberg attempts to conform to societal expectations. The potential implications of this will be discussed.

The term hermeneutic comes from the Greek word hermeneuo, which means to convey (a thought or desire), explain (a speech), and translate (something from one language to another). This word is related to the god Hermes, a god in Greek mythology whose job is to convey the message of the gods to humans as recipients. Hermeneutics has always been used as the science and art of interpreting Scripture. It is important to note that hermeneutics is closely related to biblical studies, such as canon studies, textual criticism, historical criticism, exegesis, biblical theology and systematic theology. === Istilah hermeneutic berasal dari kata Yunani hermeneuo, yang berarti menyampaikan (suatu pikiran atau keinginan), menjelaskan (suatu ucapan), dan menerjemahkan (sesuatu dari satu bahasa ke bahasa yang lain). Kata ini berhubungan dengan Dewa Hermes yaitu dewa dalam mitologi Yunani yang bertugas menyampaikan berita dari para dewa kepada manusia sebagai penerimanya.1 Hermeneutik selalu digunakan sebagai ilmu pengetahuan serta seni dari penafsiran kitab Suci. Penting untuk diperhatikan bahwa hermeneutik berkaitan erat dengan kajian-kajian alkitabiah, seperti, kajian kanon, kritik teks, kritik historis, eksegesis, teologi alkitabiah serta teologi sistematis.