PORTFOLIO Chapters 2020
Aslı Eylem Kolbaş
INDEX
Place
01 Curriculum Vitae 02 Chapter I: Typology and Past Chapter I_01 Master Dissertation
Athens
Chapter I_02 Master Semester II
Brussels
Chapter I_03 Workshop
Brussels
03 Chapter II: Commons in Public Interiors and Today Chapter II_01 Bachelor Dissertation
Istanbul
Chapter II_02 Competition 04 Chapter III: Events, Narratives and Future Chapter III_01 Master Semester II
Brussels
Year
Name 01 About 02 Where do I stand?
2019
I_01 Possibilities of Polykatoikia
2018
I_02 Conversion in Urban Context
2017
I_03 Deep Plan 03 How do I stand?
2016
II_01 Community Center
2016
II_02 Community Kitchen 04 What do I do next?
2018
III_01 Manhappen Studio
CURRICULUM VITAE About Aslı Eylem Kolbaş (°05.06.1994, Istanbul, TR): I am an architect currently based in Amsterdam. I had completed my bachelor in Istanbul. I obtained my master degree in Sint-Lucas Brussels(Architecture and Urban Culture) at KU Leuven. My master dissertation comes along with a graphic novel titled “Macbeth (f.): Possibilities of Polykatoikia as (Gradient) Public Interior”, which will be exhibited in the exhibition in Istanbul called “Mamut Art Project 2020”. In Istanbul, I had an internship for six months in SanalArc/Urban Design where I took part in a school project using Revit, Autocad and Rhino. I’ve worked in Amsterdam, as a trainee at Office Winhov for six months in various tasks, including three dimentional studies of design such as auditorium of National Holocoust Museum in Amsterdam and central staircase in the reused office building in Frederiksplein by Arthur Staal, as well as renders and interior decisions. I’ve worked on publication drawings of projects of the office, including Amstel Station and more. The portfolio includes three margins which reflects how I perceive architecture, are grouped in three chapters which are all connected and looped.
About address
Talmalaan 51 3515CW Utrecht
born in
Istanbul
aslieylemkolbas@gmail.com
phone
+31 6 29282240 +90 506 6481040
Education 2017 2019
KU LEUVEN (SINT-LUCAS BRUSSELS)
2016 2017
ISTANBUL TECHNICAL UNIVERSITY
2012 2016
ISTANBUL BİLGİ UNIVERSITY
2008 2012
ISTANBUL KADIKÖY LİSESİ (ANADOLU)
2016
International Master of Architecture Master of Architecture-Architectural Design
Bachelor of Architecture
2016
High School
Work Experience 2020
Awards and Publications
Office Winhov
Exhibitions 2020
Trainee (6 months) Contact reference: Uri Gilad&J. Peter Wingender wingender@winhov.nl, gilad@winhov.nl 2017
SanalArc / Urbanism
2018
Internship (6 months) 2014
Tav Construction Construction Internship
2013
Knauf
2018
Construction & Material Internship 2013
Kindergarten Construction Construction Internship
2012
IKSV (Istanbul Foundation for Culture and Arts)
Field Sales Representive
Skills
Refugee Challenge _Article Publication: https://www.whatdesigncando.com/stories/a-mobile-kitchen-that-anyonecan-build-anywhere/ _Istanbul Bilgi University Competition First Prize Training _Non-Architecture Competition _Finalist - pg.77 https://www.nonarchitecture.eu/training-the-book/
2018
Mamut Art Project _Selected artist w/ the graphic novel Macbeth(f.) _Exhibition in Istanbul held once a year https://www.mamutartproject.com/en Manhappen Studio _Performance at “La Place” (60 Antwerpsesteenweg Brussels) _Article from Gideon Boie https://www.bavo.biz/ tragedie-van-de-noordwijk Hejduk & Drawing as a State of Mind _Essay & Video on “Drawing Ambiance” Exhibition at deSingel Antwerp Surrender/Resistance: Leaving the Human Behind _Performance: Reality Check at L’Escaut Brussels
Languages Rhinoceros, Sketchup, V-Ray, Revit Adobe CS, Autocad, Vectorworks
English: C1 French: B1 Turkish: Native
CHAPTER I Typology and the Past keywords: categorisation, existing, postponed narrative, conversation of urban realm, abstractive poetic expression, durability against time, sustainable future A story creates connections. That goes the same in architecture. If their stories are understood, assimilated, became tools for conventions, then they are integrated. With stories, the urban realm unites and the city frees itself from stand-alone products. In the modern world; objects, buildings and cities don’t talk to themselves. Their communication, when confronted with cosmopolite and rootless individuals, becomes a rather cacophony. And here Rossi and his group offers a set of tools through typology and morphology to “let the city have a conversation”. Nevertheless, in the 70s and 80s these were reduced to formal classifications and variations. The way Rossi does it is by showing his imaginative world. That attractive world of showing what feeds his passion, what he is inspired from is not really analytically deconstruction. He is rather doing it with choosing an empathic relationship and expresses it poetically. His way of poeticising it is through ‘exaggeration’, ‘insistence’, ‘repetition’, ‘timelessness’. With these tools, we can see the building and the city in its abstractive style that makes it seem more clear and remarkable.
Rossi. Gallaratese Quarter, Milan
Photo and source: Burcin Yildirim, divisare
Perhaps this way, the continuity that typology ensures also have a chance to become permanent. And here is where I stand. I believe that what we may need in architecture is the durability against time. Does the world need new plans? In the urban context typology would have many important effects as a result, but what is the most outstanding is a sustainable future that it offers while allowing the existing city to have a conversation. Bilgin, I. (2002) “Aldo Rossi’de Akıl Ve Hafıza”, Arkitera
Strefi Hill. Athens
Photo: Alexander Savin
MACBETH (f.)
Possibilities of Polykatoikia as (Gradient) Public Interior
es in Athens. three elements:
Through the analysis of the typological elements, it had been found that “Polykatoikia”, which is the dominant typology in Athens, has qualities which had used the flexibility of Domino Structure and created “public interiors”. These have been described as gradient spaces too. Five specific buildings have been chosen because of the chosen “gradient” qualities they had shown. All of them were aimed to be exploited by the interventions. One of the motivations of the interventions on this typology is caused by the current debates in Athens, which points out that the hope for the future of Athens is through a discovery of the potentialities of the polykatoikia. There are six interventions which indicates the evolution of polykatoikia as an example of gradient spaces; and the scarcity of public spacChrist & Gantenbein(2015) “Typology Review No III”
The interventions use the pillars, floors and stairs.
Finally, these interventions have been shaped by the story that had been produced, and the story had been shaped by the interventions; which is an interpretation of Macbeth. story shows a set of events in sequence, as Tschumi states there is no architecture without events; which show a glimpse of possibility through the polykatoikia. Like this, the ideas of repetition, difference, time, informality, polykatoikia, event, possibility, gradient space, Mark Pimlott’s book: “Public Interior as Idea and Project”; melts together within and through the book of Macbeth(f.). It’s an A3 sized graphic novel. Buildings are titled as in Pimlott’s Public Interior. Individual Work | Spring 2016 | Bachelor Graduation Project
Location, Year, Scale| 1.The Machine: Avramiotou Street 4, in 1977,230 m². 2.The Palace: Leoforos Vasilisis Amalias 34, in 1963, 192 m². 3.The Ruin: Xenofontos Street 4 in 1963, 617 m² 4.The Shed: Maizonos and Tarella Street, Agios Pavlos, in 1974, 712 m² 5.The Network: Ogygou Street, Psirri in 1972 , 102m² Pimlott(2016) “The Public Interior as Idea and Project”
CHAPTER I
MACBETH (F.)
POSSIBILITIES The Machine
scale 1:1000
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The intervention shaped itself by a rule, which is to keep the three elements, but erase some of the rest. In this case, there are four floors below the setbacks, while one of them, the ground floor is an open free pilotis ground floor. Consequently, three other floors had joined to them by erasing the walls up until the setbacks, endorsing a 12 metres of height performance space, which connects with an already alive an active backyard of a cafe, which can co-operate together. However, the elevator and the stairs had been set at hte same spot, allowing the access to the upper floors, while at the same time bringing a public stair which is vertically 12 metres, for people to have freedom to watch around from point of view, spend time at different heights. The second issue is the free ground floor pilotis, with the raised ground floor, it creates a bigger public interior than the arcade; while keeping the shops away it is still a space of possibilities on the ground.
CHAPTER I
MACBETH (F.)
Bu düşüncelerin ardından Macbeth kendi evine, polykatoikia’sına geri döner. Neredeyse bütün polykatoikia’larda olduğu gibi, yangın merdivenininin olduğu boşluğun kapısını açar ve merdiveni tırmanırken, ortak kullanımdaki çatı katına ulaşır.
Buradan Atina’ya —ya da tekrarlar şehrine— bakar. Ancak gördüğü şehrin kendisi değil, boş “Maison Domino” modelleridir. Ve gökyüzünden Maison DomiAbove: Axonometry the Context no’lar paraşütlerle yağmaya başlarken, içlerinde devamofeden hayat da belirginleşir, kendini Macbeth’e gösterir. Aralarında ise sel, yangın ve orman belirir.
Below Left: Scene from the Graphic Novel where takes place in The Machine Below Right: Scene from the Graphic Novel where the Maison Domino Model and repetition, the criticism of ‘The Machine’ emerged from
CHAPTER I
MACBETH (F.)
POSSIBILITIES The Palace
scale: 1/2000
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The principle in the intervention was to keep all three elements, but in different functionalities. The stairs are the load-bearing structure. The floors are non-stable. The pillars are merely the safety rails of the structure. Dimensions of the ground floor area, is similar to the footprint of other small scale buildings and had used a similar proportion. Structurally, it is decided the tension with the cables to pull up the weight, instead of pulling the weight down, and compression at the core of the stairs. Everything is carried out by the stairs. The anti-thesis continues with moving and rotating the floors. Walls rotate both horizontally and vertically, creating a thee dimensional forest. Spaces around stairs rotating create the play. A hinge connected to the column allowed the entire piece to rotate around a central point as the weight of its inhabitants shifted.
CHAPTER I
MACBETH (F.)
Macbeth’ler anti-polykatoikia’larında güçlerinin tükendiğini hissetmekted
Above: Axonometry of the Context Below Left: Scene from the Graphic Novel where it looks over to The Palace behind the mountain Below Right: Scene from the Graphic Novel where Macbeth(f.) is inside The Palace
Macbeth’ler anti-polykatoikia’larında güçlerinin tükendiğini hissetmektedirler. Ellerinden geleni yapmış ama başarısız olmuşlardır ve bunun tek bir nedeni vardır...
CHAPTER I
MACBETH (F.)
POSSIBILITIES The Ruin
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As a sub-heading of Domino, and one of the three elements, this intervention is searching the possibilities of another system for the pillars. It is a spatially flexible building which tries to find alternatives to the unavoiadable monotony related to standardization and industrial production. To be a solution to those he had offered two proposals; one being movable frames positioned on a grid in order to arrange the space flexibility. the other being a system of sliding transparent panels responded to the inhabitants’ different needs and changing atmospheric conditions, and always produced different facades. The principle in the intervention was to keep the stairs, the pillars and the floors, but just add a secondary structure to it. This is as a response to “a half-ruin”, it is composed of extra pillars that go through the roof, floors and walls for a secondary structure above for the shed. However, the Domino Structure is integrated to that as a system of backup walls. The purpose is to degrade the description “machine for living”. The people who agreed upon the construction of the columns agree with that, and accept their house walls will be backup walls.
CHAPTER I
MACBETH (F.)
m etmekte
Macduff kolektifi, ilk planlarını, şehirde devam etmekte olan yangını söndürmek üzerine kurarlar.
Masada Le Corbusier’nin “Vers Une Architecture” adlı kitabı bulunurken, kolektifte bununla ilgili bir tartışma başlar. Bu kitaptaki makina estetiği ve bir evin bu estetiğe sahip olabileceği tartışması yoğunlaşır.
Le Corbusier için Domino, iç mekanın daima dış mekan olabildiği ve aynı zamanda yarı inşa edilmiş Akdeniz villalarında binlerce kez yinelenme olasılığını hatırlatan bir alandı. Ayrıca, yarı yarıya az gelişmişliği de, üzerine sayısız geçmişin hayal edilebileceği çerçeveler olan “yarı-harabe” durumları önermekteydi.
Masada kitabı b başlar. B estetiğe
a ve yarı yapmaları bir harabe bir makikarar verirler.
vlerini
Above: Bird-eye view of the Context Below Left: Scene from the Graphic Novel where it looks from the street to the water tank above The Ruin Below Right: Scene from the Graphic Novel where commons construct The Ruin from inside the building
Kökeni Maison Domino’da bulunan polykatoikia ve yarı harabe olma durumuna bağlılık olarak, kolektif; yapmaları gerekenin, bunu daha ileri götürmek ve tamamen bir harabe oluşturmak olduğunda karar kılar. Yaşamak için bir maki-
CHAPTER I
MACBETH (F.)
POSSIBILITIES The Shed
scale: 1/2000
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scale: 1/400
The shed is a site-specific intervention, which aims to activate the courtyard by blurring the element of the floor. Basically, there are two grids which juxtapose with each other. One is a classic Domino grid, and the other is a circle grid, which is an offset of the stair. They are covered with a roof in the courtyard which is a perforated. This block has a special case with its accesibility to the courtyard from many points, but two of them are significant: one is an abandoned Domino Structure, and the other is the free ground pilotis of the parking building. The idea of the first Domino grid is site specific. The intervention is using the abandoned Domino Structure at the block and spreads it in all the empty spaces of the courtyard. By that, we are introduced to the blurred space by this new infrastructure. It has a the courtyard, using this extending structure, also has a roof which covers some areas, providing a protected sense of the shed. This alone is already an intervention for the courtyards and floor. Repetition helps to de-centralize this interference of Macbeth. By offsetting the footprint of the circle by 70 cm, it repeats its form. The circles have rectangular sections of 70 cm by 70 cm, and it is repeated, which is another act to blur the floor.
CHAPTER I
MACBETH (F.)
Above: Axonometry of the Context Below Left: Scene from the Graphic Novel where discussions in the The Shed, where it provides a democratic public space Below Right: Scene from the Graphic Novel where commons discuss on a different floor of the de-centralized surroundings of the stair
CHAPTER I
MACBETH (F.)
POSSIBILITIES The Network
scale: 1/2000
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scale: 1/400
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This intervention focuses on the arcades of the polykatoikia. Le Corbusier sought to re-shape this form in his design of the “couvent”, renaming the cloister as an ‘ambulatories’ or ‘walking-place’, and casting it as a singular, recognizable figure of the central crossing of a quasi-urban street network that connected all the elements of the monastery. The network, as the final built intervetion searches for ways to break the boundary between the private and the city by both using the existing gradient qualities of polykatoikia, and adding more in order to make it explicit. It targets at the definite description of inside and outside and wants to blur that. In this intervention, a similar method of Fujimoto’s “N House” was used. “Box in a box in box”; a composition of small, medium and a big box, which creates a gradience. Accordingly, the intervention used all these information, and tried to create three gradient spaces, which the polikatoikia already sets the borders of. One is the courtyard, second is the arcade, and third is a frame which follows the offset limits of the balconies. The third box is making explicit that the polykatoikia in itself already has the potential of this gradiency, a complementary one to the already existing two. That gradiency is already what makes it informal.
CHAPTER I
MACBETH (F.)
arı e notalar termek , müziğin zaman sistemi, Domimekan evrensel” ğın grid
kırsak, uzanan a stemleri, Zaman tanımla-
Above: Axonometry of the Context Below Left: Scene from the Graphic Novel where it looks from the street to the stairs and The Network above Below Right: Scene from the Graphic Novel where bird-eye view of the context appears
CHAPTER I
MACBETH (F.)
MACBETH(f.) Graphic Novel
CHAPTER I
MACBETH (F.)
CHAPTER I
CONVERSION
CONVERSION Two Venues in Urban Context The project consist in the conversion of an ordinary private building into a multifunctional space equipped with two venues of different capacities, an exhibition space and other private facilities. Thus, the approach was to consider the already existing conditions while being functional, this was made possible by the separation of the building in three distinct parts. The old building is for welcoming and private functions, the new intervention for the main and smaller venue, and final one is for the exhibitions. Location: Rue Royale 294, Brussels Group Work: Alessandro Caputo Scale: 780 m² Year: 2018 | Master Semester II 0
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Situation Plan Section Perspective/Detail
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Section Perspective/Detail
CHAPTER I
CONVERSION
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Ground Floor Section Perspective/Detail
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First Floor Section Perspective/Detail
CHAPTER I
Scale:1/200
CONVERSION
CHAPTER I
CONVERSION
Section Perspective/Detail
CHAPTER I
WTC DEEP PLAN
WORLD TRADE CENTER
Reclaiming the Office Building Deep Plan: The Ramp keywords: mono-function, program, office building, deep-plan, undefined dark spaces, structure as the focus, ramp structure, distortion, making invisible structure visible The WTC I&II is a modernist example of a clear composition of three volumes. A theme which was continued in the third tower, the fourth was never constructed. The characteristic plinth acts as a mediator between the vertical high-rise of the two towers and the street
level. The original masterplan linked several of these platforms with a street network above the cityscape. In this workshop we limited ourselves to the very core of it. The internal space lacking contact with the outside: the Deep Plan. It’s an economic solution to maximize profits stuffed with numerous technical functions or strange undefined dark spaces. As the plan of the towers is typical, perfected as with Mies’ Seagram building
The Deep-Plan, Floris De Bruyn | Group Work with Catherina Gentini, Summer 2017 | Tutors: GAFPA: Floris De Bruyn, Frederick Verschueren | Real Estate Architecture Summer School Brussels
CHAPTER I
WTC DEEP PLAN
Above: Axonometry of the studied ramp in the parking garage and understanding of the structure Below: Deep Plan
CHAPTER I
WTC DEEP PLAN
Source: Unknown
where the architects playground is the animation of the skin, the deep plan is a conglomerate of different structures. A messy mixture of structural solutions, dominated by the two structural cores of the towers piercing through. We tackled the problem on a structural level imagining new possible functions to enrich the mono-functional block. The focus is the structure which defines the quality of the space which is presented as a stand-alone product. We started by researching the ramp structure. The remarkable point about the ramp is how structurally, it distorts a whole determinant structure of grid columns and beams. The building has unique elements of new structural forms using repetitive and similar grid of columns. But when it encounters the ramp, it creates distortion and some deformation. The intervention intends to extend this invisible structure, as well as making it distinctive by using a different structure, and emphasising the fragility of the existing ramp more visibly.
Above left: Initial masterplan of 58 skyscrapers, 30 buildings for a total surface of 53ha Right: Collage of the Extended Stair connecting old parking space to the plinth
CHAPTER II
Commons in Public Interior and Today keywords: Modernity, program, specialized organization of functions, metropolis, free individuals, that restrictive interior, gradient space, free space Pimlott delves into how ‘programs’ in architecture had shaped the public space. He says that the term public interior is these ideas appear in architecture, of those interiors that we take to be public. Those within which we consider ourselves to be free individuals, and where we see ourselves among others. Galleria Vittorio Emanuele II, Milan
Photo and source: Marius Grootveld
The within which we are conscious of our place in society, and in the world. The public interior as we recognize it emerged in Modernity as a response to modern state with its specialized organization of functions as a response to the phenomenon of metropolis. These restrictive interiors such as hospitals and prisons, have been models for those that seem like their opposites, the ‘sterilised’ buildings with clearly defined programs. The gradient spaces, in my opinion are discerned as public interiors as well. Public interior and gradient space is had been the recurring design tool in most of my researches and projects. I believe that the gradience is another tool in the future of sustainable architecture. By blurring out and thinking beyond the functions, we can search for “free space” without the restrictions mentioned by Pimlott, as well as strengthening the discussion on Chapter I about the durability of typology.
Pimlott, M.(2016) “Public Interior as an Idea and Project”
Galleria Vittorio Emanuele II, Milan
Source: Scan from Johann Friedrich Geist, Passagen, ein Bautyp des 19. Jahrhunderts (1969)
CHAPTER II
COMMUNITY CENTER
COMMUNITY CENTER
Reproduction of Space and Recycling Scrap in Piyalepasa keywords: invisible borders, democratic public space, inclu- With this location based context awaresion, program problem, gentrification, scrap collectors, reuse ness, it adjusts people be involved in the proof the existing, urban sustainability, Dolapdere Scrap Market, cess, therefore creating place-attachment as well. low-cost production, place-attachment, blurring the program
Finally, the aim is to broaden the possibilities of the The site is called “Piyalepaşa” which is a troubled space by blurring the program and making its use accesneighborhood with low-incme families and high sible and democratic for everyone, including future user. crime rates. This project mainly uses the argument that this site needs a democratic public space, and in Istanbul, the failing democratic public spaces are, the ones in which there are invisible borders. These invisible borders mean, those public spaces are incapable of including people who have different ethnic, social and economical status. Because often, these people do not want to face the ‘other’. A public space which works properly is a public space which gives chance to different people to encounter each other. If we take a look the programs that run most of our public spaces, we realize that it is mostly established on the base of consuming. So, a major change of attitude may reply the answer of program problem. A program that doesn’t gentrificate such a fragile area; but dissolves borders between different groups of people and gather them together. Altay talks about a phenomenon called “scrap collectors” and how in Istanbul, where urban transformation is rapid, these scrap collectors are the rare actors who try to reuse the existing and survive themselves through that act. In Istanbul, these types of jobs which we are barely aware of, bring new hope to urban sustainability.
Photo: Unknown source
What is so relatable about this essay is that the scrap reuse that is mentioned has a potentiality in the site that we were working on. A neighborhood called Dolapdere was just nearby, has Dolapdere Scrap Market, and a possible connection with there would be vital for the site to not consume but to produce.
Location: Piyalepaşa, Istanbul, Scale: 60.000 m², Individual Work | Spring 2016 | Bachelor Graduation Project
Altay, C. (2015), “Scrap Dealers: In-between Informal Urbanization and Demolishment”
CHAPTER II
COMMUNITY CENTER
Collage: Looking over to the ground floor of the Community Center, left side the olympic pool, right side the sportshall
CHAPTER II
COMMUNITY CENTER
COMMUNITY CENTER Topography The scale of the site is 60.000 m2. The site is situated in between a hill and an important main road. Behind the hill, there is the urban fabric of the neighborhood. Currently this site is under construction with a project which adds towers of housing, blocks the view of the neighborhood and digs out the soil. It was a critical moment to decide what to do with the hill as well as letting the neighborhood have a view of the park.
1 The master plan consists of 5 different buildings: 1.Community Center with an Olympic Pool , Sports Center and Auditorium 2. Elementary School 3. Library 4. Food Hall 5. Recycling Scrap Plant
2
3
The Community Center required a big structure and needed to be placed very carefully to the topography. The other buildings are spreaded out and shaped by adjusting to the landscape while trying to open up as much space possible to a big urban park.
4
1. Photo: Taken from site, under construction and below the hill the neighbourhood 2. Model photo: Left to right scrap plant, library, food hall, community center
3. Model Photo: Looking from above the community center (sports hall) towards the scrap plant 4. Model Photo: Overview of the site with the context and topography
CHAPTER II
COMMUNITY CENTER
Above: Axonometry of Site and Context Below: Design diagram of the masterplan, where one road connects all buildings and adapt to the topography
CHAPTER II
COMMUNITY CENTER
Situation Plan Scale:1/500
CHAPTER II
COMMUNITY CENTER
COMMUNITY CENTER Main Building
Axonometry of Community Center
CHAPTER II
COMMUNITY CENTER
Above: Section | Scale: 1/50 Below: Ground Floor Plan | Scale:1/100
CHAPTER II
COMMUNITY CENTER
Above: Section | Scale: 1/50 Below: Basement Plan | Scale:1/100
CHAPTER II
Above: Section
COMMUNITY CENTER
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1. Detail 1/25: Taken from main building, the connection inbetween sportshall and entrance 2. Detail 1/25: Taken from main building, the connection inbetween restaurant and auditorium
3. Detail 1/25: Taken from olympic pool hall, inside/outside, left side 4. Detail 1/25: Taken from olympic pool hall, inside/outside, right side
CHAPTER II
COMMUNITY CENTER
COMMUNITY CENTER The Campus
Collage: Looking from the neighbourhood to the campus: recycling scrap plant, library, food hall and classes
CHAPTER II
COMMUNITY CENTER
Ground Floor Plan | Scale:1/100
CHAPTER II
COMMUNITY CENTER
Left to Right Above: Education Center, Scrap Plant Left to Right Below: Food Hall, Library, Scrap Plant
CHAPTER II
COMMUNITY KITCHEN
COMMUNITY KITCHEN Competition for a Mobile Food Production Prototype
We were asked to design a communal kitchen intended to be located at available empty plots. parks, or any otherappropriate spaces in the city, whenever and wherever necessary, for a limited time period or permanently. It should; serve people in need(in our case, mostly for refugees), be independent of place, have a mobility that enables it to be dismantled and rebuilt. The main idea was to build a system that makes the users who are in need profit in the maximum way by using minimum. First we thought of self-sufficiency. How can a kitchen structure do that? Primarily, it should be built by the users where ever they are, however much money they have in hands. So in this case, materials play an essential role and 2 things become important: 1. Providing easy materials: Easy to build and that can be local to the area 2. Must be cheap for locals to supply: Apart from structure, food was the main issue. Since we’re talking about self-sufficiency we needed open-semi open spaces to produce the food; we provided that with agriculture beds and solar ovens; this can also gather the people due to the fact that it’s an event that people can enjoy, and make them feel like home and safe.
While considering the formation diagrams of the design, the idea was to decide stable and flexible volumes that people of that place can decide what to do according to the situation they have. If one communal kitchen isn’t enough, they can multiply and have new yards to grow plants.
Location: Anywhere in need, Design decisions with Elçin Akgül, Begüm Şardan. All llustrations by me. 1st Prize, IBU Architecture Faculty Competition. Participant: WHDC Publication: http://www.whatdesigncando.com/2016/03/08/a-mobile-kitchen-that-anyone-can-build-anywhere/
CHAPTER II
COMMUNITY KITCHEN
Collage: Looking from the kitchen to the yard in the summertime
CHAPTER II
COMMUNITY KITCHEN
detail 1
There are two types of details produced with the concept of self sufficiency. Detail 1 is used in the court yard,and Detail 2 can be seen on the frontier walls. Detail 1: For the yard, we decided to create a detail that enables to remove the concrete borders, by giving flexibity to that material. That detail is provided by simple wheels/spools and ropes arond them, enabling the application easier for the users of the kitchen. The rope wraps arond spools and pulls up the polycarbonate sheet slowly, 90°. This way the transparent surfaces create natural warmth in winter, and creates 2 layers of surfaces, one below than other. Below surface is used for agriculture beds in winter. Pulling up the sheets also provides space; whereas in summer, by closing them we provide better climate and open space for gatherings.
CHAPTER II
COMMUNITY KITCHEN
detail 2
Detail 2: Used on the frontier walls, this detail has general guidelines but since the budget matters, main material is provided by local materials,filling inside the two fences.
CHAPTER II
COMMUNITY KITCHEN
Summer Plan Scale:1/100
CHAPTER II
COMMUNITY KITCHEN
Winter Plan Scale:1/100
CHAPTER II
COMMUNITY KITCHEN
Above: Winter Section Scale:1/50
CHAPTER II
COMMUNITY KITCHEN
Below: Summer Section Scale:1/50
CHAPTER III
Events, Narratives and Future keywords: connections, narrative, sensory experience, stories of the city, architecture, condition as well as production, unknown future, event architecture, imagined reality, sustainable urban realm. Why
do
we
tell
a
story?
As it was mentioned in Chapter I, a story creates connections. That goes the same for stories of the city, architecture. If urban stories and acts are understood, condition as well as production, assimilated, became tools for conventions; unknown future, event architecture then they are integrated. imagined reality, sustainable urban realm. Why are
do
we talking
tell
a story about
when we architecture?
Havik says that using narration allows us to include sensory experiences in design. If we want to understand these everyday practices of the city of De Certau, the way that we sometimes use the city is informed by these stories of the city. So it is condition as well as production. Creating a story is also a tool to deal with an unknown future, imagining new situations in architecture. Havik uses ‘1984’ by George Orwell as an example of fiction, which is a direct respond to reality. Finally, Tschumi claims that there is no architecture without events. Architecture only starts when the construction is over. Then, life and the stories are written, played and screened within them. So, I will keep on writing and screening the imagined reality with and for a sustainable and sensory urban realm. The Primitive Hut, illustration by Charles Dominique Eisen
Havik, K. (2017) Narrating Urban Landscapes, Oase Journal
Source: Wikipedia
MANHAPPEN STUDIO
Collective Urban Practice Encompassing Brussels-North The North Quarter bears the scars of 50 years of demolitions, expulsions and speculative developments in service to small group of elite property owners. The spectacle of Expo 58’ ushered in a modernising project via ‘The Manhattan Plan’ (actually modelled on Houston, Texas) and in the decades following, thousands of households were cleared and over 55 hectares of vibrant neighbourhood reduced to rubble. Yet the failures of this grand plans are visible for all to see. The face of the neighbourhood is changing, but who knows about it? Can we imagine something different to what exists or what is planned? Communicating probable, possible and imagined futures via simple graphic posters is used as an accessible and inclusive way to bring the contemplation of the future city into the public realm. Imagining something different doesn’t need to require grand proposals but simply a new perspective, one which unlocks the potential to see things as something other than they are. Addressing sites throughout the neighbour hood that reflect the mismatch between static master plans and the dynamism of lived space, a visual catalog of small changes projecting different possible futures is offered as a contribution to the collective urban imagination.
Three of the sites were specifically worked on and had bigger scale actions, These are: 1. Le Petite Maison Bleue: Several sites are chosen for small interventions. A small abandoned house on Avenue d’Heliport 96 is recognisable in an old picture, showing the building behind what was the first public railway track of the European continent. When such a forgotten information is shown on the face of the inhabitants through a big print of the same picture a dialogue can start. An apparently irrelevant information about the history of house helps us to understand the relevance of the building as a milestone of the neighborhood. Furthermore, possible and alternative uses of the building are printed and showcased on the bricked-up windows. 2. Trashed Garden: In an analogous way a useless plot at Avenue de l’Héliport 31 is re-occupied by the collective to show a possible use of the emptiness, to start a discussion with whoever walks by this space every day. The discussion becomes a fundamental way not only to tackle the issue, and thus to understand regulation and speculation concerning the land (half public and half privately owned), but also to position our practice and to question the efficacy of planning rather than the sometimes illusory limits of participative practice. By using simple messages questions are posed, addressing a citizen to claim or be interested in a piece of their neighborhood. Collages help us to visualize possible alternative uses of the land, as imagined by the collective or as suggested by the nearby school.
Formed in 2018, Manhappen Studio is a collective urban practice with a group of 10 KU Leuven students (International Master of Architecture). The members of Manhappen Collective are Alessandro Caputo, Alessandro Cugola, Nam Doan, Charlotte Gaubert, Melissa Jin, Aslı Eylem Kolbaş, Pedro Akio Hasse, Sarah Manderson, Patricia Marco, Pawel Matacz.
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3. The Square: The square in front of Saint Roch Church, re-shaped during the Manhattan plan, lost its name during the re-planning of the area, becoming an extension of the Chausseé d’Anvers. “Give a name to the square” started as a way to understand how the inhabitants referred to such a civic yet anonymous space. This ceremony became the occasion for the collective to exhibit the work done in the neighbourhood, release two publications and films and engage with the inhabitants.
MANHAPPEN
As a collective, nine problematic sites have been chosen to make interventions, all aiming to spark an interest and provoke what could be a possibility in that specific location. These contextual and contemplative approaches were including hanging up quotes, questions or collages on the walls of these sites while also actively asking the users questions, letting them participate in the process of a possible change aiming more inclusiveness of the actors in these spots.
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2. Axonometry of Act I: La Petite Maison Bleue 3. Axonometry of Act II: Trashed Garden 0. Axonometry of Act III: The Square “La Place”
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Archive, Archive, Winter House Garden, WinterProposals Garden, House Proposals House Proposals Archive, Winter Garden, 33
Above from left to right: Plans for a House? | Plans for a Garden? | Plans for an Archive? Below: Hanging up the posters on La Petite Maison Bleue
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Appropriation of the posters and use
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ACT II Trashed Garden
What is this place for? Trashed Garden was an act that took place for an hour and had reactions by the pedestrians and users.
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Above from left to right: Collage for a greenhouse? | Collage for a house with balcony? | Collage for a pool? Below: Photo taken during the act while opening the the locked gated trashed garden
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ACT III La Place
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On 2nd of June 2018, we organized an event in between 14h00 and 16h00 with a food truck in ‘La Place’. Four events took place. a. La Place: A name for the square rebuilt? How does the neighbourhood refer to this public space? (3,6) b. Glassed Church: Do you still remember the neighbourhood before the church was rebuilt? (4) c. Slanted Bench: Whose responsibility should it be to fix this? (1) d. Imagined Stadium: Will one f these kids one day join the Red Devils?(5)
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6 0. Showcasing the booklets of ‘Manhappen Studio’ in the event space ‘La Place’. 1. Habitants of the neighborhood using ‘Slanted Bench’ 2. Kids interacting with the documentations and interviews exhibited 3. Neighbors involving in giving a name for ‘La Place’
7 4. Glassed church(b) posters of the old church juxtaposed with the new one. 5. Kids from the neighbourhood interacting with ‘Imagined Stadium’ posters 6. Give this square a name. 7. Manhappen Collective members during the event.
Chapters 2020
Aslı Eylem Kolbaş aslieylemkolbas@gmail.com instagram @narrativelegs