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Bu tez Ankara'nın radikal bir biçimde dönüşmüş bir gecekondu bölgesi olan Çinçin Bağları'nı (kısaltılmış ve yaygın kullanımıyla Çinçin'i), farklı sosyal aktörlerin muhtelif iş deneyimleri üzerinden sosyomekânsal olarak araştırmayı amaçlamaktadır. Bu aktörler iki grup altında ele alınmıştır: Muhtarlar ile ev işçileri ve bir usta ile bir kabadayı. Ankara'nın ilk kıyı yerleşim alanlarından birisi olan Çinçin'de 1920'li yıllarda İranlı Romanlar gayri resmi olarak ikamet etmiş, bu alan kentleşme döneminde yoğun bir gecekondu alanına dönüşmüş ve 2005 yılından itibaren de köklü bir dönüşüm geçirmeye başlamıştır. Kolektif mekânsal anlatılarla tarihsel veriyi bir araya getirmeye çabalayan tezin metodolojisi oto-etnografik haritalama, derinlemesine ve biyografik görüşmeler ve literatür analizine dayanmaktadır. Muhtelif işler ve muhtelif peyzajlar kavram ikilisi üçlü bir teorik çerçeve oluşturmak üzere kullanılmaktadır: (I) Yerin tarihi emeğin tarihidir; (II) kentin bölüşümü emeğin bölüşümüdür; (III) kentsel dönüşüm ve iş arasında diyalektik bir ilişki vardır. Katılımcıların betimlediği ve iş olarak kabul ettiği muhtelif işler sosyal aktörler, işsizlik, işin sosyal rolü ve değişen meşruiyeti ve de ev işçilerinin iş yerleri üzerine bir tartışma zemini yaratmaktadır. Alışıldık sosyal aktörlerin (muhtarlar ve ev işçileri) ve sıra dışı aktörlerin (bir usta ve bir kabadayı) anlatıları tezin ana iddiası olan kentsel dönüşüm ve iş arasında diyalektik bir ilişki olduğunu; kentsel dönüşümün çelişkileri, işin biyopolitik ve sosyomekânsal boyutları üzerinden açarak desteklemektedir. Sonuç olarak bu araştırma, kentsel dönüşüm ve iş arasındaki diyalektik ilişkinin kentsel mekâna müdahale etmeden önce araştırılması gerektiğini vurgulamaktadır. Kentsel dönüşüm ve iş arasındaki diyalektik ilişkinin araştırılması aynı zamanda bir emek ilişkileri krizi olan kentsel kriz çağında, işin ve çoklu sosyal aktörlerinin kapsamlı kavranışı üzerinden emek odaklı kentsel süreçler önermek için eleştirel bir zemin inşa edebilir. This dissertation presents the sociospatial analysis of a radically transformed gecekondu (squatter housing) zone, Çinçin, through the work experiences of two groups of social actors, muhtars (neighbourhood heads) and houseworkers, and two well-known personalities referred to as the usta (expert craftsman) and the kabadayı (social bandit). Çinçin was one of the first marginal districts of Ankara occupied by Persian Roma in the 1920s; it became a part of the dense urban fabric of gecekondus during the urbanisation period and has faced radical urban transformation since 2005. The methodology varies, including auto-ethnographic mapping, in-depth and biographical interviewing, and literature analysis in order to combine collective spatial narratives and historical data. The concept of coupling diverse landscapes and diverse works is employed to draw a threefold interpretative framework: (I) the history of the land is the history of labour; (II) the division of land is also the division of labour relations; and (III) there is a dialectical relationship between work and urban transformation. Diverse works conceptualised by informants open a discussion about social actors in the making of diverse landscapes, unemployment, and the changing legitimacy of work. The stories of regular actors (muhtars and houseworkers) and radical actors (the usta and the kabadayı) support the threefold framework of the study by unfolding the contradictions of urban transformation and the changing dimensions of work as a biopolitical and sociospatial construct. Ultimately, this research suggests that we need to analyse the dialectical relationship of urban transformation and work considering a multitude of actors in order to propose labour- and community-centred urban design strategies in our era of urban crisis, which is also a crisis of labour relations. 259

This paper attempts to open a critical discussion of Tekeli’s graduate course discussing active citizenship and participation in extension with the labor and work of young professionals (as architects/urban planners/urban designers) in our era of urban crisis. With this aim, the fragments of a fictional scenario—which was the final task of the course—are analyzed within a twofold framework: First, the paper elaborates that there are both formal and non-formal agents playing roles in the production of urban space and knowledge of urban space. Not only a variety of formal institutions but also civil organizations and initiatives have emerged considerably since the 2010s in Turkey. Hence, the labor in the production of urban space is pluralized by diversified agents. Secondly, I point out that our generation has been witnessing an era of urban crisis with multiple dimensions such as urban resistance and repression, anti-participatory aggressive production processes of urban space, exploitation of young professionals’ labor in parallel with unemployment, and the diminishing capacity of the profession. Through this twofold framework, I argue (and the fictional scenario accordingly ends in such a way) that young professionals could overcome the limits of the profession and generate new critical processes through prompting active citizenship and participation, including multiple actors of the production of urban space. This is the potential of the experiences of the last decade that we have just passed., Bu makale aktif yurttaşlık ve katılımı genç meslek insanlarının (mimar/plancı/kentsel tasarımcıların) kentsel krizin yaşandığı geçtiğimiz on yıldaki emek ve iş ilişkileri üzerinden sorgulayarak, İlhan Tekeli’nin lisansüstü dersinin eleştirel zeminini yeniden tartışmaya açmaktadır. Bu amaç doğrultusunda, dersin final ödevi olan kurgu bir kent senaryosu fragmanlara ayrılarak çift yönlü bir çerçeve ile irdelenmektedir. İlk olarak, kentsel mekân ve kentle ilgili bilginin hem formel hem de formel olmayan çoklu aktörler tarafından üretildiğine dikkat çekiyorum. Bu bağlamda, kent üzerine çalışan sivil örgütlenmeler ve inisiyatiflerin bilhassa 2010’dan bu yana Türkiye’de önemli oranda arttığı gözlemine dayanarak; emeğin muhtelif aktörlerce çoğullaştığını söylemek mümkündür. İkincil olarak, genç meslek insanlarının bir kuşak olarak çok yönlü bir kentsel krizin içinden geçmekte olduğuna işaret ediyorum. Kentsel krizin kent mücadelesi ve baskısı, katılımcı olmayan agresif çevre üretim süreçleri, genç meslek insanlarının emeğinin sömürülmesi; buna paralel olarak işsizlik ve meslek kapasitesinin düşmesi gibi farklı boyutları mevcuttur. Bu çift yönlü çerçeve ile temel olarak, genç meslek insanlarının son on yılın nevi şahsına münhasır deneyimi üzerinden yeni eleştirel süreçler oluşturma kapasitesi olduğunu; ve bu kapasitenin sivil örgütlenmelerin formel karar mekanizmalarına eklemlenmesi ve yurttaşların süreçlere aktif katılımı üzerinden üretilebileceğini iddia etmekteyim.

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2013, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2013, BULUŞ: BİR DENEYİM ALANI OLARAK HAREKET ÖZET Mimari tasarım sürecinde araştırma yapma ve araştırmanın temsili üzerine sorular sorarak başlayan bu tezin oluşturulmasında, teorik kurgudan önce bedensel deneyler gerçekleştirildi. Deneyler üzerine denemeler yazılarak, beden, hareket, alışkanlık gibi kavramlar üzerinden yeni betimlemeler ve düşünceler üretildi. Kendisi bir tasarım süreci olan bu tez, süreç halinde sunulmaktadır. Deneylerin her biri İstanbul’a ve bugüne ait sorunsallarla başlamaktadır. Bu deneyler “Yokevlilik Üzerine”, “Yürümek: Tarlabaşı” ve “Yeniden Hareket Etmek: Kumkapı” başlıklarında sırasıyla; “evin anlamı nedir?”, “Tarlabaşı için kullanılan dil çözümlenebilir mi?”, “Kumkapı’da hareket ile haritalama nasıl gerçekleşir?” sorunsalları ile başlamaktadır. Bu sorunsallar, kent içinde hareket ederek ve kentle bedensel olarak temas ederek oluşan anlamların video, fotoğraf, yazı, ses kaydı gibi araçlarla temsili denenerek araştırılmaktadır. Her bir deney yeni bir sorunsalla biter. Deneylerin sonuçlar yerine sorunsallarla bitişi; deneyler sonrası yazılan denemeler için birer başlangıç noktasıdır. Her bir deney sonrasında yazılan denemeler, hem araştırma yapma eylemi hem de bu araştırmanın temsil edilmesi ile ilgili çıkılan yazı yolculukları olarak görülebilir. Yolculuk olarak betimlenmesinin nedeni, örneğin bir denemenin deneyimden bedene doğru hareketinin, başka bir denemede tersine dönüp önceki denemenin kavramları ele alışını dönüştürebilmesidir. Üç deney ardından üç deneme yazıldı: “Araştırmacının Eylemi”, “Araştırmacıdan Açık Bedene” ve “Buluş”. Bu denemelerde, bedenle ilgili “açık beden” ve tasarım süreci ile ilgili “buluş” kavramları üretildi. Açık beden deneyime açık olan araştırmacının bedeni; buluş ise ürün ve üretimin eş zamanda gerçekleştiği bir süreç olarak tanımlanmaktadır. Açık beden, spontane olarak hareket eden bedendir. Bu sayede, mimari tasarım sürecini deneyimleyen kişinin bedensel olarak cisimleştirmiş olduğu alışkanlıklarını kırabileceği düşünülmektedir. Buluş, tasarım süreci için yeni bir hareket alanı olarak deneyimi ve yeni bir deneyim alanı olarak da hareketi önerir. Bir keşif yolculuğudur. Bu yolculukta, bedensel olarak yoğunlaşma içerisinde bulunmaktır. Zihin ve tasarlanmış hareketler geri plandadır. Beden, kendi dışı ile birlikte bir oluş içerisindedir. Durağan ya da tanımlı bir yöntem değildir: Her beden kendi yöntemini bulur, her beden kendi süresini deneyimler, her beden her an yöntemini değiştirebilir. Dolayısıyla her buluş farklıdır. Ürün ve üretim aynı anda gerçekleşir. Ürünün yeniden temsili bu ilksel temasta kurulan hareketten kuvvet alır. Buluş yeniden temsil için bir esin kaynağıdır. Tüm bu önermeler deneyimlenerek kavranabilecek bir sürece vurgu yaptığı için, kavramın biçimsiz gövdesidir. Başka bir deyişle bu önermeler, gerçekleşen deneyler sonucu yazılmış, değişebilir ve dönüşebilir anlam belirmeleridir. Mimari tasarım sürecinde hareket ve bedenini araştırmaya katan her beden için buluş tekildir. Araştırma yapma ve bunun temsilinin, mimari tasarım sürecinin birbiri içine geçen katmanları olduğu düşünülmektedir. Bu süreçte sabit fikirlerin ve alışkanlığa dönüşen araştırma yapma – temsil etme biçimlerinin kırılması için bedensel deneyime ve bu deneyimle kurulan anlamlara açık olmak, bu tezin vurgulamak istediği noktadır. Deneyler ve denemeler halindeki tez, bu noktaya nasıl varıldığını anlatmakla birlikte, açıklığın nasıl gerçekleşebileceğine dair ipuçları verebilir., DISCOVERING: MOVEMENT AS AN EXPERIMENTAL RESEARCH AREA SUMMARY Architecture creates ideas for urban and human life. The design process is important for this creation. There are two layers in design process: the action of researching and representing. The problematic of how to research and how to represent the research has been explored for architectural design process by this thesis project. It is thought that the design process is not linear. Representation starts within the action of research. But, in the action of researching, what is a priori for the researcher? It is claimed that the bodily contact with the city is a priori step. The bodily contact is a contact which body could find its unique reading of urban. In this context, if bodily contact was questioned, new points could be found for the design process in architecture. The thesis project is already an architectural design process. So the methodology is contacting urban places with the body and trying to represent it. To represent this process, the thesis is composed with experiments and essays. Three experiments were eventuated with the body. These experiments are: No-Having Home, Walking: Tarlabaşı, Removing: Kumkapı. After experiments, essays were written. So essays could be seen as a movement in notions by the light of experiments. These essays are: “The Action of Researcher”, “From Researcher to Open Body”, “Discovering”. In the first experiment, called No-Having Home, the beginning problematic is what a home means for an individual. To understand the notions of dwelling and house, a performance occurred. Usually, in daily life, individuals regularly go to home. To change this ability, the performance is the action of not going to the home. It is called no-having home; because homeless is something different. After this experiment, “The Action of Researcher” was written. In this essay, the notions of the body and habitus are agued. The body is a thought as a living-body and human senses and evaluates the meanings through the operation of habits, which could fix the real potentials of body. Living body exists in space with a habitual and reflective knowledge. Basically, it could be said that body has habits. Habits are forms of embodied creative agency, shaping meaningful and purposive conduct, arising out of the interaction between the organisms. In addition, people sense and evaluate meanings through habits. In other words, human activity which is influenced by prior activity and in that sense acquired; contains within itself certain systematization by habits. With this definition of habit, “habit and space” create a new concept “habitus”. Performing bodies composes habitus with their habitual movements. So habitus could be read as an invisible text to understand relation between body and space. The potential of living body could find its own particular way. And sometimes fixed research and representation methods could bind the potential of living body. The dualism of subject and object cuts the contact between body and space. Even though, this dualism between subject and object is argued in this first essay, there is a paradox: The topic highlights the subject of the researcher. To break up this paradox, the second experiment was carried out. In the second experiment, called “Walking: Tarlabaşı”, the beginning problematic is how to represent the body contact with Tarlabaşı? It was claimed that there was a fixed language which had words like unsafe to describe Tarlabaşı. So was it possible to change the meaning of words with body contact? The experiment started with only walking. No recording tools such as camera were used. Then a voice record was taken during having a chat with a man, who was living in Tarlabaşı. It was discovered that walking without camera changed the perception of Tarlabaşı. The camera, sometimes, labels the body as “a researcher”, so the site could be perceived as unsafe. In fact, it is thought that unsafe could signs to different meanings for the researcher and for the man who lives there. During the sound record, the man used the word of unsafe, but with a very different meaning. He talked about the violence of police on him. In the second essay, “From Researcher to Open Body”, the starting point is experience. Experience is the area, that subject and object dualism is absent. There are two faces of experience. The first one is well-known methods of research or habitual ways of research and the second one is immanent plane. It is also like the paradox between subject and the body. However, if spanning in immanent plane were large, the design process would be unique. To make spanning in immanent plane larger, the body should be open to experience. There are various terms about body, besides how to use body concept is critical. Body is either a subject, which is constructed by culture and outer environment, nor a transcendental core. On one hand, there is a rigid term: Subject. And on the other hand an unknown knowledge is claimed about body: Inner body or transcendental body. Nevertheless, body is both a social and a unique thing that creates the centre of perception. Therefore, it is not only a subject or something that have a core. There are also some body concepts to understand the modes of body. Body-ekstasis is one of the most important one. Ekstasis, which is a Greek word, signs to an unstable body. Ekstasis body is a term that self and world, mind and body, and subject and object can’t be specified in isolation from one another. To understand the body of the researcher who is open to the experience of contacting with the city, a new notion is created in this thesis: Open body. The open body could go beyond the habits and fixed ideas of habits. It depends on the purely embodied sensation of one’s body, self, objects and others. Embodied sensation depends on reflexive and pre-conscious transaction between human and the world. There could be many ways to develop an open body. Conscious actions, which the researcher acts, could be explored to find out some ways. Taking photograph could be given as an example of conscious action. It is suggested that tools, such as camera, are similar with organs. So if the researcher use tools not to organize its experience but to discover it with the experience, tools might be used more creatively. Besides, the tools, which are not known as like as tools in daily life, could be used. Or sometimes tools might totally not used (like not using a recording machine in the second experiment). Furthermore, “play” could create a different time and space experience for open body. Because play is something which has its own rules, time and space. It could take the body out of the daily life and the body could be more open to the experience. In the third experiment Re-moving in Kumkapı, only “movement” was used for remapping the site. The movement was recorded by hidden camera. It could be said that the product and production occurred at the same time in this experiment. Movement was used to define the methodology of remapping, instead of using dance. Because dance could sign to a well known area. Besides, dance is only a subset of movement researches. The relation between architecture and space is similar like the relation between dance and movement. Because movement could be conceptualized as like as space. Movement has transitions between objective and subjective, experiential thinking which points out to the different cognitive and perceptual modes. Because of this property, movement could be used to research the space. Reversely, space could be used to research the movement. They have a reflexive relation. One affects the other when it has been affected. Therefore, there are many choreographers who create researches between movement and space. It could be claimed that these kinds of researches have created a transdisciplinary area in between dance, performance and movement researches. There are some traditional movement styles, which point out spontaneous movement or unconscious movement. Butoh dance and Katsugen could be given as examples. Spontaneous movement could get the body break out of its habitual neural/muscular pathways. So the body could be able to move in all possible ways. It is a fluid technique for freeing the body from all techniques. So it is a source of self knowledge. In the third essay, it is questioned that how movement could use in design process. So a new term is created: Discovering. Body is open in discovering; it is a form of motion. It is potential for both habits and movement beyond habits. Potential is significant. Because, potential is like a moment of liminality in which the open body is in between the socially constructed body (which is organized by habits) and the self. During discovering, the open body transcends the constructred body and in that transcendence, potentiality could be realized. The term of discovering is related with becoming. Because becoming is the state where the body and the others are effected at the same time. In becoming there is no subject and object. It is an organic whole and it is a process of change and movement. It is a new way of being that is a function of influences rather than resemblances. Discovering creates a new plane in becoming. It signs to a process, which is also a qualitative experience and a reflexive methodology. Discovering is a way of breaking out the “habitual” action of research. It creates confrontations between the body and the other things; the role of the body is to live through these confrontations. Therefore, there would be a pure connection and an organic interaction. It is theorized that new meanings could be found in discovering with the power of this connection. This thesis project could give an idea to understand “open body” and “discovering”. However, it could be internalized by experiencing it in a design process. Besides, the statements of these two terms could be changed or returned. In conclusion, it is expected that the terms are representations of experiments; so they carry qualitative potentials just as like as movement., Yüksek Lisans, M.Sc.

Among the actors of architectural production, architect-workers are increasingly facing neoliberal urbanization and its socio-ecological consequences, and they are also exposed to exploitative work and labour conditions. In this article, we argue about a direct relation between neoliberal urban politics, production of urban space, and architects' work and labour conditions based on an online survey with a group of young architect-workers under 40 years of age. The survey findings reveal that neoliberal urban politics anticipating capital accumulation in state-led, anti-participatory, and aggressive urban interventions have transformed architects as precarious and replaceable workers in the last decade in Turkey. Policies in higher education, increase in student quotas and the unexpected fluctuations in the construction sector accelerate this process through which the precariousness for architects has sharply deepened. More specifically, our participants spontaneously form two generations, in reference to the year of 2013 as a turning point, and female participants and those who graduated in/after 2013 were more precarious than male participants and those who graduated in/before 2012, whereas university background provided no privilege. Consequently, participants stressed disbelief and dissatisfaction in their work; a vast majority planned to pursue another profession abroad. We hope that our research will contribute to architects' collective efforts in pursuing ethical urban space production processes in the post-pandemic era.