Portfolio Selected Works Ayçıl Yılmaz
2020
I’ve received led me to realize that architecture is not only the construction of a building but also a phenomenon that we can explore its background and expand its boundaries. Therefore, in the projects that I have designed so far, I have evaluated the space in terms of its relationship with other disciplines instead of dealing with one-way. As far as I am concerned, space is an experience that allows people to encounter constantly in their daily life routines. For this reason, I aimed to open a gap in people’s daily life routines by creating cross-sections that would allow these encounters in my own projects. I passionately want to extent my practice and investigations on this subject in order to create new alternative methods which would be appropriate to analyze ever-changing situations of the contemparary city and co-existence of the complex processes that shape the city and its structure.
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Contents 01 Fikirtepe Topography Graduation Project role: Architecture Student Art University Campus and Opera Hall
02 Plankton Project Architectural Collaboration role: Architect, Member Public space Desing and Production ( Awarded by Several Organization )
03 Maltepe Social Housing Studio Project, academic role: Architecture Student Public space Desing and Production
04 Sivrihisar 270° Office Project role: Architect Recreational and Observation Platform ( Awarded by Annual Architecture Project )
05 WinterGarden Office Project role: Architect Recreational Area ( Awarded by Annual Architecture Project )
06 Çaycuma Science Center Competition Project role: Architect Recreational Area ( Awarded by Annual Architecture Project )
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Fikirtepe Topografya Graduation Project 2016 Autumn Semester role: Architect - individual Program Fine Arts Faculty Music and Performance Arts Faculty Dean’s Office Exhibition Hall Performance Hall Opera Hall Experimental Performance Hall Library Location: İstanbul, Turkey Size:16.500 m² Coordinators: Prof.Halit Yaşa Ersoy Nihat Gündüz Umut Deniz
An open concert sp
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How can it contribute to the learning process as much as educational activities with the architecture offered by educational structures, where the concept of “learning” turns into action? The project was shaped around the question. Our learning has a large interest in our learning, so faculties should be constructed in a way that enables encounters. Learning should only take place within the boundaries of the classroom, and the learning process should continue in the corridors, common areas and even the schoolyard. It can create different alternatives that can use each corner and well as a working or gathering place. When we think about the “Polyvalence” approach of Herman Hertzberger, he describes it as a form that allows different uses without the need to change it. This form should make flexibility possible by customizing, decomposing and using multipurpose spaces according to the functions it contains. Therefore, I designed the circu-
lation a differen as read the cur es crea flexible There i on a re transpo Istanbu chitect ect site was de and the on this for com were c
pace with a cor-ten steel faรงade was created next to a body of water to make use of the sound-reflecting properties of standing water.
areas as places that provide connection between nt units, which will enable different activities such ding, research, socializing, and rest, and stimulate riosity of learning. Niches and small-defined spacated by the movement of the masses will open the e usage area of the students. is to be an arts academy and opera hall to be built eadily empty plot of land in Fikirtepe, a central ortation hub located in the Anatolian peninsula of ul. It was designed with the preconception of an arture faculty be built on the southeast of the proje. As a result of human density analysis, a main axis etermined to connect the Faculty of Architecture e transportation network and masses are shaped s axis. The opera and performance halls intended mmunal use were kept the same as street level and connected with the faculty structures on ground
level. Thus, the project was designed to be accessible from 3 sides of the project area for easy access to students and people. Considering that art branches are affected by each other today, I designed a workshop area where different workshops, which are the main courses of all faculties, can be found together. The disciplines of fine arts, sculpture and ceramics were treated as central to the program. This circulation design was separated according to the curriculum and usage purposes of the faculties. The various faculties intended to be in constant interaction. The overall silhouette was determined with a focus on differences in ground elevation and fragmentation of buildings in the landscape. The sloped terrain was utilised to create an open amphitheatre to be used by different faculties as a common lecture area. Exterior spaces were separated with differences in topography, while indoor spaces were separated using floor levels.
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main
green area
entrance body of water
open air concert space
amphitheatre
green area
positive-negative space
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routes
transportation
volumes vehicle entrance
n entrance
public building
faculty building
entrance
communal areas
body of water
population density
acedemical institutions
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green border
main axis
water axis
Äąntersection
flexible place
visual contact
spatial formation
fragmentation
multi-purpose place
commune with nature
multi-purpose place
STAGES OF DESIGN: The main axis for the project site was defined with a focus on population density existing on site. The water flow direction on site was instrumental in the layout of the enclosures. 3 open squares were created at the intersections of waterpaths the intersections of waterpaths were handled in tandem with the spatial program the trees were preserved with a consideration of the spatial program the distribution of trees on site. Enclosed spaces were formed according to 8
niche
transparent divider
academic curriculum and spatial capacity requirements.The human scale was instrumental in the defining of public square proportions and building heights. Elevation difference are created to maintain eye contact between students in the interior and this elevation difference was continued in the exterior. Open classes were built with semi-dividers in order to master transparency and accessible space in interior space setup. The design of the building was considered separately in the context of mass features,
sunshine
features, classrooms, circulation areas, entrance-garden relations. The various faculties intended to be in constant interaction Openness and transparency were prioritised in spatial configuration. Classrooms were designed as adaptable spaces that can be transformed into open workspaces when not in use for lectures. My main goal was to create spaces where students and people could socialize. Classes are designed as areas that can be converted into open work spaces when not used in classes.
BODIES OF WATER
CIRCULATION
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STUDENT CENTRE
LIBRARY
EXHIBITION HALL
OPERA HALL
WORKSHOPS
FACULTY OF CINEMA AND TELEVISION
FACULTY OF FASHION AND STAGE DESIGN
EX OF THEATRE
PERFORMANS HALL
EX OF THEATRE
FACULTY OF MUSIC
DEAN'S OFFICE
OPERA PLAN
parking lot
vehicle entrance
artist room
tune up room backstage office
office
office
main stage
wc
amplifier press room
cloakroom
entrance
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foyer area
View from the cinema television faculty and whorkshops.
wc
Elevation
Section
Model
Workshop Building
Faculty of Music
Faculty of Cinema and Tv
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foyer
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View of the exhibition from the workshop
opera
main stage
main stage
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Plankton Project Architetural Collaboration Term: 2015- 2017 September Role: Architect - group member
https://www.instagram.com/plankton_ project/
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MANİFEST
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In today’s society we find ourselves constantly surrounded by environments that have been heavily shaped by consumerist intentions and purposes. From corporate funded mega structures to irreverently designed public spaces, the necessity is dire for design and interventions that have been shaped and reshaped through contact with the end user. In the present circumstances, where the architectural rhetoric often seems stagnant and uninterested in testing the ‘scope’ of architecture, Plankton Project hails as a collective of thinkers who feel that small-scale endeavours, when handled at miniscule detail and treated with the utmost sensibility, can give rise to far-reaching positive outcomes. The collective is made up largely of students and recent graduates, who aspire to participate in real-life creative processes that are generally left
out of cerns ours. T the no to der readily
Projec an arc which the te from a by sh cal m place at hum
f the teachings of today’s academia, which conitself first and foremost with theory-based endeavThe team aims to conduct deeper explorations into otion of creating as a collaborative act while seeking rive meaning out of the creative process they each y partake in as part of their daily lives. Plankton
ct takes a stance against what they perceive is chitectural discourse that no longer functions, h is the very source of motivation that brought eam together, by refusing to approach projects a removed point of view as is often done and hying away from using widely-known hierarchimethods. In order to bend the rules of markete practice, they place the principle of designing man-scale at the very centre of their creative
process. Consisting of students and recent graduates from the fields of architecture, urban planning, landscape design and graphic design, Plankton Project puts great emphasis on operating as an organic formation that is able to freely expand and contract.The aforementioned ideals make up the reasoning behind their choice to adopt ‘plankton’ as their namesake, inspired by the miniscule marine creatures that have the ability to swim against the tide when assembled in a congregation, albeit being single-celled organisms at microscopic scale. Similarly, the collective decidedly rejects having a hierarchical mechanism at its inner structure and operates at a collaborative level aside from minor divisions in responsibility and project coordination. 15
AÇIKŞANTİYEbeyköy
*IZGARA
Designed as a construction site container with Düzce Umut Atölyesi which is gathered to support Düzce Earthquake victims, AÇIKŞANTİYEbeyköy will be used as a common area when the construction is completed.
Portable furniture family IZGARA will be moved to AÇIKŞANTİYEbeyköy after it is used as an exhibition stand at “Hope” Exhibition organised by Düzce Umut Atölyesi.
KAP-KÜP
BARAKAyedikule
GÖLGEseferihisar Portable furniture family IZGARA will be moved to AÇIKŞANTİYEbeyköy after it is used as an exhibition stand at “Hope” Exhibition organised by Düzce Umut Atölyesi.
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DURAKovacık
DURAKovacık is produced in collaboration with Ovacık Municipality, under the guidance of local craftsmen. The project aims to fulfill the people’s need of a bus stop in Ovacık.
Modular furniture serie KAPKÜP is designed to meet different needs with the same modules. It is produced within the Süleyman Cihan Yaşamevi project that is being built by Onur Social History and Culture Foundation in Tunceli, Ovacık.
BARAKAyedikule is an adaptable lodging and storage unit designed to perpetuate local cultivation practices in the historic district of yedikule, as well as preserving the archaeological fabric of the land.
OMURGAartuklu
OMURGAartuklu is a structure which contains different potentials for different uses instead of having a determined function. It is produced with the students of Mardin Artuklu University Faculty of Architecture, under the faculty’s arcades.
MAKARAmoda MAKARAmoda is an urban furniture which questions the purpose of use of the street that the project is located.
DUVARseyyar
DUVARseyyar is a mobile wall which goes beyond the exhibition walls to question public opinion on architecture and takes its shape according to the public’s responses. The project is a part of Dayanışma Mimarlığı Exhibition organised by Chamber of Architects. 17
Awarded + By TAK ”edge & Corner” competition + Selected for Turkey Architecture Annual
2016 2015
Published + in Istanbul Art News in 2015 + in Arkitera, Mimarizm and XXI Magazines + in Arkitera + in Solidarity Architecture Book + in Turkey Architecture Annual Book
2015 2016 2016 2016
Exhibited + by Turkey Architecture Annual in STUDIO X +with Solidarity Architecture: in Chamber of Architects İstanbul in Diyarbakır, Gaziantep, Muğla and İzmir in Adana, Mersin, Maraş and Athens
2015 2016 2017 2018
Panelist Non- Govermental Organizations: + 3 Istanbul Design Biennale : “ Are We Human? ” Urban Struggles in Mediterranean Cities: The Right to the City and the CommonPlace + International Unconference, Athens School of Architecture Who Build Istanbul ? + STUDIO X Istanbul, Who Builds Your Architecture Columbia University
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2016
2018 2017
DURAK Ovacık
BARAKA Yedikule
KAP-KÜP Ovacık
MAKARA
AÇIKŞANTİYE Beyköy
Moda
DUVAR Seyyar
GÖLGE Seferihisar
OMURGA Artuklu
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Maltepe Social Housing Studio 5 Project 2016 Spring Semester role: Architect - individual Program Social Housing Communal Center Retail Shops Location: İstanbul, Turkey
Coordinators: Assoc.Prof. Nezih Recep Aysel
An open concert s
What is residence ? What is a house? and neighborhood concepts were questioned. In our changing cities, I tried to solve for the problems such as the disappearance of the neighborhood concept and uniformity with the concept of emptiness. Project aims to improve social infrastures and free spaces in which we could breathe. Void does not only refers to a physically emptiness. In other words, void provides an individual space for everyone can co-exist together. ın this sense, “ void “ does not only refers to a “ physically emptiness “ but it also refers to “not- dependency to any aıthority (economic, cultural, etc) to continue 20
its ow spac wher com of p even envir are d The terpr gula apar tima nies
space with a cor-ten steel façade was created next to a body of water to make use of the sound-reflecting properties of standing water.
wn existence.” ın other words, void is a free ce; a space for every individual. A space re everybody can co- exist together ( mmon ground), inevitably, provides a “place possibilities” for various interactions and nts which conclude as public space. First, ronmental analysis is made and axles determined in line with the environment. project ite is divided into a multiple-inreted system of voids, instead of a sinarly defined space.semipermeable urban rtments contributes to the creation of inate, safe and vibrant neighborhood.balcoare bridges between street and houses.
Balconies are one of the most important public spaces in the city. The places where people meet each other are common areas and stairs. The openness of these areas will increase the probability of encounter. At the same time, these open stairs will create natural air corridors by not interrupting the flow of air.Houses were made to look at the square in both directions. The focus with this project was to disperse on the project site in the shape of low-rise buildings in order not to disrupt the silhouette of the surrounding environment and to not obstructing the view of the sea residences of 3 to 5-floor height. 21
historical monument
routes
positive-negative space
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VIEW AXES
PERIMETER AXIS
RETAIL AXIS
CULTURAL AXIS
GREEN AXIS
RETAIL AREA
OPEN PARKING GREEN AREA
MARKET AREA SOCIAL AREA
AXIS
PUBLIC SQUARES
VEHICLE DRIVEWAYS
GREEN AREA
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3+1 138 M
138 M
138 M
GROUND FLOOR
130M
130M
130M
FIRST FLOOR
2+1
1+1 102M
102M
102M
68M
68M
90M
90M
90M
58M
58M
GROUND FLOOR
FIRST FLOOR
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ELEVATIONS
SECTION A-A
SECTION B-B
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Fikirtepe Topografya Office Project Project recreational area walking route resiting areas cafe
Term:2016-2018
Team Emre Torbaoğlu Evim Akcan Arif Bıltır Maya Başdal Yağmur Hürremoğlu Ecem Kurum Consultant: Kürşad Özdemir https://atolyekolektif.com/
The project for this recreation site was planned as a series of tiered platforms around the historic clock tower in Eskişehir’s Sivrihisar district to allow panoramic observation of Sivrihisar’s natural and cultural landscape. Observations made on site revealed the site of the clock tower as a significant meeting place for locals of all ages. Correspondingly, the project was aimed at becoming a communal rest and observation platform for locals and visitors alike. The design was developed as an urban concept that would tie the streets distinctive to Sivrihisar together along an alternative route that connects three monumentalbuildings. The 26
clock betwe juk pe (1881) tural in the as a p and th a foca mean and to the ro lyzed
tower (1900) is proposed as a midway stop een Ulu Cami (1231) dating back to the Seleriod, and Surp Yerortutyun Armenian Church ).Taking into consideration the pastoral-cullandscape of the site, minimal intervention e topographic landscape was determined principal design criterion. The Clock Tower he bedrock it sits upon were considered as al centre for the locals and the project was nt to refrain from blocking this focal quality o assume the role of a base to accentuate ock formations.When the project area is anain terms of its observation terrace and stairs
application, the construction of which was started in the previous years but not completed, caused disruptions in the natural rock texture. These surfaces, which have been damaged, have been preferred as the areas where the main platforms will be located in the project. As a result of onsite anchorage tests and tensile tests, it has been understood that the rocks can be used as natural carrier elements. In this direction, steel structural members are connected to the rocks with point anchors, and the system is provided to contact the land with minimal intervention.
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In railing and flooring systems, both steel structure and materials that are thought to be compatible with the environment were made. All circulation elements and platforms are covered with heat treated wood material. The use of steel ropes and glass materials in the balustrades is prevented from closing the rocky appearance. By creating laminated glass floors at the ends of the console floors, both the height and the uninterrupted perception of the natural texture are provided in these areas.
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WinterGarden Salt Beyoğlu Office Project Project recreational area walking route resiting areas cafe
Term:2018
Team Aslıhan Demirtaş Ali Cindoruk Dilşad Aladağ Seçkin Maden
https://aslihan-demirtas.com/ archives/portfolio/wintergarden-2018 Winter Garden is a common ground, open to public, on the fourth floor of SALT Beyoğlu situated in one of the densest neighborhoods of the Istanbul megapolis. Composed of a rammed earth platform of clay-rich soil, sand, crushed stone and lime, surrounding low walls and plants at its periphery, it is an elevated and revealed earth on which everything stands and grows, yet is often invisible. This public space is a physical contemplation of the possibility of an unprivileged status for our species by asking the question “how can we coexist?” Comprised of a green veil of plants at the periphery of the earthen ground establishing a threshold between the city and the soil, the Winter Garden intends to place soil as a ‘thing’ in and of 32
itse fore to b whi pur an u and its h from Uni and to e tuti Bey rese
elf excluding its anthropocentric and theree utilitarian perception as an useful medium be benefited from for growing food and onto ich to build shelter. As a space that enables a re and unmediated encounter with soil within urban structure, the Winter Garden’s air quality d comfort is set for the plants as opposed to human users. Some of the plants are on loan m Alfred Heilbronn Botanical Gardens Istanbul iversity, Nezahat Gökyiğit Botanical Gardens d Zeytinburnu Medical Plants Garden, in hopes establish a sisterhood of plant centered instiions. Adjacent to the Winter Garden at SALT yoğlu these spaces are designed for visiting earchers as semi-public spaces. Fitting into
an already partitioned plan as per the Landmarks Commission approved plan, the design’s main objective is flexibility and simplicity ornamented with the phyllotaxis principle due to the space’s relationship with the Winter Garden. The offices, corridors, ceilings and other surfaces feature variations on geometric and floral patterns, also present in the Winter Garden, along the tradition of ornament making with nature references that can be traced back to the acanthus leaves on Corinthian columns of Ancient Greece. The rooms for visiting researchers are designed as a flexible system that can respond to each researcher’s specific way of working. 33
An homage to the Shaker culture that originated in the USA, the design is based on the principle of ‘hanging on walls’ making use of wooden (hornbeam) pegs installed in the walls for portable desks, tables and chairs to be hung on them to provide a large unobstructed interior space allowing a rich variety of spatial configurations. Widely popular vernacular products were selected as furniture which were then subjected to some minor modifications and variations nevertheless releasing any claims of authorship. Abstaining from redesigning products or intervening with manufacturing processes as one would expect conventionally, the minimally modified versions of the mundane wooden furnitures -supplied from a local manufacturer in Tahtakale- were reintroduced back into the local market and blended anonymously into everyday life becoming an inseparable part of the 34 vernacular practice.
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Çaycuma Science Center Competition Entry 2016 summer semester role: Architect
Project exhibition area workshop studios educational units cafe administration
Team members: Semih Alkan Pınar Alkan Melike Türkoğlu
These identities were organised as a science and re termined according to the location of existing veget and the entrance to the science building were determ building was taken into consideration when forming part of the design.
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ecreation area, and a wide public square. The layout for the science centre was detation with minimum interference to grown trees. The orientation of the public square mined with expected pedestrian traffic from the main street. The neighbouring school the public square, while the topography to the rear of the building was integrated as
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SÄ°TE PLAN SCALE:1/1000
ENTRANCE
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EXHIBITION HALL SECTÄ°ON PLAN SCALE:1/200
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08/06/1993 Email:aycilyilmaz@gmail.com Location: Istanbul /Turkey +905064468492