Hacettepe Üniversitesi Açık Erişim Sistemi (HÜAES)
- HÜAES, Hacettepe Üniversitesi bünyesinde üretilen kitap, makale, tez, bildiri, rapor gibi tüm akademik kaynakları uluslararası standartlarda dijital ortamda depolar, etkisini artırmak için telif haklarına uygun olarak Açık Erişime sunar.
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Recent Submissions
ASSESSMENT OF NEGATIVE FRICTION AND OF NEUTRAL POINT IN PILES BY 3D NUMERICAL ANALYSES
(Fen Bilimleri Enstitüsü, 2026) orhan gök; İnşaat Mühendisliği
Negative skin friction (NSF), caused by greater settlement of compressible soil relative to the pile, generates downward shaft shear and dragload. At pile-supported viaduct abutments, this vertical interaction may be accompanied by embankment-induced lateral soil movement, leading to pile bending and horizontal group displacement. This study investigates the combined axial and lateral pile response associated with this mechanism using a floating 5 × 5 pile group subjected to one-sided surcharge in PLAXIS 3D. Piles are represented by embedded beam elements, and NSF development is simulated through consolidation. Dragload, neutral-plane depth, bending moment and lateral displacement are evaluated for each pile from the same analyses. The parametric study examines surcharge magnitude, pile spacing and length, clay thickness, embankment distance to piles, interface strength and pile-head load, with a four-sided surcharge case analyzed as a symmetric reference. Results show pronounced front-to-back differences in dragload and neutral-plane position. Under one-sided loading, bending in the loading direction may govern the structural response while the group translates away from the fill. Thus, pile-supported abutments on soft ground should be assessed as three-dimensional soil–pile–cap systems rather than by considering NSF only as an axial load-transfer problem.
DENİZ KAVRAMININ SERAMİK MALZEMEYLE YORUMLANMASI
(Güzel Sanatlar Enstitüsü, 2026) Merve GENÇ; Seramik ve Cam
This research examines the concept of the sea not merely as a visual source of inspiration, but as a realm that integrates with the conceptual and formal possibilities of ceramic art. The biological and philosophical foundations of the connection between humans and the sea have been explored within the framework of the doctrine that ‘everything is in flux’ and mythological narratives.
In the theoretical section of the research, the morphological richness and growth principles offered by the marine ecosystem have been examined through a biomorphic approach, which is based on the developmental logic of organisms rather than a direct imitation of nature. In this context, the works of artists in contemporary ceramic art who address the sea in its psychological, mythological and ecological dimensions have been evaluated.
In the personal practice phase, the aim was both to address the sea in its own pure form and to trace the emotional traces it leaves behind. In line with this, drawing inspiration from selected marine creatures such as seahorses and corals, work was carried out to develop an original visual language based on the formal and structural characteristics of these organisms.
İletişim Aracından Sanat Nesnesine: Posterin Araçsal Dönüşümü ve Kişisel Üretimler Üzerinden İnceleme
(Güzel Sanatlar Enstitüsü, 2026) Nisa Harman; Resim
This study examines how the poster transformed into an artistic medium through the
changes it underwent throughout history and through its relationship with various art
movements. Although the poster initially emerged with the functions of
communication and announcement, over time it evolved into a visual field of
expression capable of producing aesthetic, political, critical, and questioning
meanings.
Within the scope of the study, the reproducible structure of the poster, its visibility in
public space, and its relationship with typography and critical language are
examined. In this process, movements such as Art Nouveau, Pop Art, which placed
everyday popular images at the center of art, and New Realism, whose artists
frequently made use of posters in their works, are discussed. In relation to the
poster’s process of becoming a medium within the field of art, the works of artists
such as Jules Chéret, Alphonse Mucha, and Andy Warhol, as well as contemporary
artists such as Barbara Kruger, Guerrilla Girls, Shepard Fairey, Wes Wilson
Lawrence Weiner, and Jenny Holzer, are analyzed in order to discuss the position
of the poster within the field of art.
KOZAN’DA GÜNLÜK HAYATIN MERKEZİNDE CERE
(Güzel Sanatlar Enstitüsü, 2026-08-28) Nermin Elmalı; Seramik ve Cam
This study aims to shed light on the traditional craft of pottery, which has been practiced for many years in the Kozan district of Adana Province, as well as the life stories, production techniques, and cultural heritage of the master potters who represent this craft. The research examines the historical development of pottery production in Kozan, the raw materials used in the production process, shaping and firing techniques, and the masters’ professional experiences.
As part of this study, field research was conducted, interviews were held with family members of the master craftsmen, oral history data was collected, and photographs, documents, and original works found in family archives were analyzed. Based on the findings, the following individuals were identified: Hüseyin Cereci, nicknamed Goca Usta, born in 1894; his son Ali Cereci; Ali Cereci’s sons Kadir and Osman Cereci; and Kadir Cereci’s son Ali Cereci; as well as Mahmut Koç (nicknamed “Çil Mahmut”), born in 1909, who moved from Avanos to Kozan; his sons Ömer and Zeki Koç; Ali Özer (nicknamed “Kara Ali”); Mehmet Çabuk (nicknamed “İngiliz Ali”); and other pottery masters—their roles in the formation and continuity of the region’s traditional pottery culture have been highlighted.
The research concluded that Kozan basketry is not merely an economic production activity; it is also an important element of intangible cultural heritage that reflects the region’s social memory, cultural identity, and the intergenerational transmission of knowledge. Although production has largely ceased today, it was concluded that the works of master artisans and family archives serve as important resources for documenting traditional craft culture and passing it on to future generations.
DOĞAÇLAMALARDA TEKRAR EDEN TARTIM KALIPLARI: TANBURİ CEMİL BEY'İN ÖRNEĞİ
(Güzel Sanatlar Enstitüsü, 2026-07-14) Deniz Şahin; Geleneksel Türk Müzikleri
This study aims to identify recurring rhythmic patterns in Tanburi Cemil Bey’s tanbur
improvisations and to examine what kinds of data these patterns may provide
regarding improvisational music production, personal style, and performance
practice. The scope of the study consists of five tanbur improvisations by Tanburi
Cemil Bey in the makams Gülizar, Hicaz, Müstear, Neva, and Şedaraban. The
selected improvisations were transcribed and then reduced to purely rhythmic
notation. Recurring rhythmic patterns were identified through a method combining
visual detection and aural verification. The identified patterns were classified into six
main groups according to their similarities, and their frequency of use in each
improvisation was evaluated. The analysis showed that the identified rhythmic
patterns were used a total of 876 times across the five improvisations. The
recurrence of these patterns in different makams and pitch arrangements indicates
that these structures are not dependent solely on makam progression or pitch
organization, but are also related to Tanburi Cemil Bey’s improvisational system and
personal style. It was also observed that some patterns are associated with
functions such as initiating phrases, sustaining musical flow, and preparing
cadential points. In this respect, the study demonstrates that improvisational
performances in traditional Turkish music can be examined at rhythmic and patternbased
levels, and that rhythmic patterns may provide significant data for style
analysis.