Talha Uçar
A brief story of travelling in time through someone else”s mind. How can one travel through someone else’s mind? That's something I've been thinking after seeing 15 people, including me, transfering their perception on paper week by week; with the same technique, in the same location, but still with such diversity. What creates that diversity is the ways of seeing, perceiving or existing and what makes the diversity to become this distinguishable was the 11 weeks cycle of : First; visiting a historical site of İstanbul, discussing about its context, having some information about it's history by reading or listening . Second; learning about the technique we’d use that week, discussing on its ontology, why it is the way it is. Third; adapting our minds and framing our perception within the borders of what's been discussed and then trying to transfer those racing thoughts onto a paper. Fourth; laying all fınal products on the floor, displaying them, discussing on how they emerged, and by doing that seeing another possible ways of perceiving, learning from a piece of paper, from a simple trace on paper. Fifth; after all that, evaluating the day, all these acts, and writing about it. I don’t think it would be this much direct, to get to the point seeing the contrast between different perceptions of the real world, if the tecnique was freehand urban sketching; representing what's seen, as it is to the most. It is definitely the process that makes this experience a lot rewarding.
says Merleau-Ponty. What do we know of what we see? It is only instant and constant feelings mixed with our memories that includes our social environment and any kind of experience we’ve got. There should be a solid ground to start building from the base of the knowledge of what we see. But maybe that’s the only thing that keeps us from seeing what’s underneath that. Language of the universe might be physics and math. We explain what we explore by those two. But there are no limits for what we could see beyond them. There is no common language for the “eye”.
Talha Uçar @ Süleymaniye Mosque, 2019
“The world of perception, or in other words the world which is revealed to us by our senses and in everyday life, seems at first sight to be the one we know best of all.”
Talha Uçar @ Süleymaniye Mosque, 2019
I realized that humanbeings perceive with their feelings and then, they try to find a connection between their stable thoughts and categorize what they physically see, to try ‘understanding’ them without feeling under threat. I think it’s a matter of looking rather than seeing; ‘looking’ in nature, is a continous act, but seeing… Once we “see” something, it’s done for us. We’re incapable of knowing that not a single object is remaining the same, physically; on the surface of the earth or mentally; in our everchanging minds. As long as we are becoming present in the consistent act of any moment, our capability of seeing is changing. Simply, that means, on any second given to us, our world is evolving. Projecting it onto humanity; on any second, there are more than 7 billion worlds changing, adapting, evolving and becoming.
talhauรงar @ GrandBazaar, 2019
REFLECTION OF HOW I START REALIZING THE REALITY AROUND ME. COULD WHERE I START DEFINE THE HIERARCHY IN MY BRAIN? OR VALUE OF MY LINES AND HOW I SPREAD THEM ON THE PAPER, COULD THESE THINGS SHOW HOW MY BRAIN SCANS WHAT IS AROUND ME. MOST IMPORTANTLY, AFTER ALL THESE ASSUMPTIONS, SIMPLY BY DRAWING DIFFERENTLY, COULD HUMAN BRAIN BE TRAINED TO EXPAND ITS PROPERTIES ON HOW IT PERCEIVES?
talhauรงar @ GrandBazaar, 2019
I realized that not much of how I perceive is change between different periods of time. Rather what I pay attention is changing. And the more I interact with people around me, the more they are involved in the frame. And the more I am silent and not interrupted by someone the more space there are in the paper. Architecture starts to become more superior on people or people start to takeover the architecture, depending on my interaction with the ones around me. One is selling carpets, one is serving coffee and the other one is responsible for the security of Grand Bazaar.
talhauรงar @ MosaicMuseum, 2019
We, as architects, are desperate to find new ways of presenting our work. But also we are desperate to comprehend the built environment around us. We tend to understand and experience any building, any built environment , simply by being there; just looking around. But only by trying to draw a section, a plan or a sketch of it, we understand it little bit further. What is outside and what it reflects on the inside,
talhauçar @ Kariye, 2019
I �ind it so strange that the aesthetical value is directly linked to the rules of perspective in our perception. Why do majority of us only approve and applause the art that has perfect technical perspective? I suspect that the reason is not knowing how to see, and being afraid to leave the comfort zone we trapped ourselves in. Because we literally are nothing just in the moment of stepping into the lands of unknown. But what we forget is, adapting by our intelligence is what we, as humanity, are good at. That is one true and maybe only ability we have. Rather discussing what is outside the box, we surround ourselves with the knowledge that’s been around for hundreds of years. We already saw hundreds of thousands practices on that. I’m not saying; it is not art what’s beeing repeated, nor it does not need a �ine brain if the technique is old. It still could blend with one unique mind and still takes us to the lands of unknown. Still knowing that representing techniques carry a certain way of perceiving with itself, we should be aware of that
Talha Uรงar @ Fener,Balat, 2019
I was in the streets where I thought was long gone since my childhood. Streets were alive and organic, not like the dull streets that most of us have been living in. Children were out playing, daily life was dynamic all around the streets. And this week; the destination was representing itself in an unusual way and i was the one who tried understanding. I was the paper; rather me trying to express a way of presenting, I attempted to let that world present itself in the most genuine way. Everything was adapted step by step, and it was easy to read the boundaries of interference. All these things opened up a window in my mind, that was not seeing the space as it was; measurable, there was different filters of past/present/future, that is not visible to eye.
Sectional Representation of Yavuz Sultan Selim Mosque Each single line or dot that comes together to create this final image in our brain, is an individual. It is independent from its significant others, but still does not avoid the harmony or does not stand against that. Even though they are the same, they are describing a difference, a contrast that our eye would turn into “meaningful” figures. Just by increasing the density or changing the direction of a hatch, you define a good equality of voids and fulness. And this equality represents the hierarchical order of the perceived world.
Talha Uçar @ Çukurbostan, 2019
From Haliç to Yavuz Sultan Selim Mosque to Çukurbostan
talhauçar @ imç, 2019
A symphony where each participant of the orchestra has a saying in the final sound. A common chaos, in other words harmony of the distinctness. Because each participant (layer of paper*, people, architecure, mahalle, etc.) alone, does not fully achieve what was assigned to it in the bigger picture. Only together they can create the harmony, which we would turn into a perceivable tamed chaos. It is rather easy to understand the dynamics of the chaos, and harder to hear the harmony that it creates. Instead closing our eyes to what was thought unpleasant to us, we should start questioning what is unpleasant. I think only from there we can start knowing the city we live in; İstanbul. Pretty much like drawing through cutting, you should be aware of every single line/cut you make, because once you lose the track of it, you start to look at a different outcome that does not represent your intentions.
talha uçar @ Sulukule, 2019
It was striking to see how inhabitants change the atmosphere of a region so dramatically. From what I read, on old memories of sulukule it felt like it was one of those extraordinary dreams where you don’t expect what see what you hear or hear what you see. / It is almost like an analog imagination mechanism. Images lying under your subconscious create your dreams when you fall asleep. It is the soul that leads this experience, not the logic, not your character, nothing related with your level of consciousness. But only random images that you’ve been seeing all around, since you were a little baby. So every image we pick, without knowing how it will end up in a collage, we build the dream mechanism in real life. And it gets as various as you find more pictures. Finding more pictures to tell different stories and then by glueing a piece of them on a piece of paper they become different aspects of the same story, yet they still have a different story of their own. I find it as a great exercise to reach beyond what is being shown to you and what you understand from it.
talha uçar @ yenikapı/aksaray, 2019
It was a pretty day. A class that could teach you something more than a technique, more than a way of thinking... I find it so precious that bardhunter showed us a different side of Istanbul and different side of ourselves in it, that would change our view of the city we live in, forever. The city as it was, and the city now as it is, many things have changed in the way of experiencing it. Reading from adviced books, going to places having some knowledge before to make analogies, inferences, observations; making exercises on our way of thinking and expanding our perception on a “limited plane”, sometimes x,y sometimes x,y,z, ; trying to get to know “self” by physically and literally seeing “self’s” way of thinking in the output of the exercise; and having a one day off of a week to travel Istanbul. What a class...
thinking that; even though i have a control on this universe, on the opposite; being aware that i am a tiny, little creature that is far beyond having a control of a much much bigger “something”... So sometimes it is better to let it go, having no control on the process but only in the begging by starting the process and in the end by finishing it. But the thing is; although you think you finished it, you never know, what it might start inside you or inside someonelse.
talha uçar @ yenikapı/aksaray, 2019
“If I were a pattern, I would be the pattern of paint that a bird would make if you dipped a bird’s wings in watercolour and then set the bird loose inside a paper lantern. I’m pretty sure that’s it!” C. JoyBell C.
Talha Uçar @ Gülhane, Eminönü,2019 2019
How come I don’t like crowd when I’m in a a mall, a commercial center, or a public building; but in here, Eminönü, I kind of enjoy having hundreds of people running around, shopping or working, or just looking around. All coming from a different background, all have different stories; does not matter, they are there at any hour of any day, continuously. Such a richness to our society, to our city. Like a common ground, makes me think of the “others” more than myself.
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Talha Uçar @ Gülhane, Eminönü,2019 2019
HAN HOTEL?
Talha Uçar @ Gülhane, 2019
”The body is our general medium for having a world.” ― M a u r i c e Merleau-Ponty, Phenomenology of Perception
Busra Ebrar Sayan
When we examine the world of perception, what have we learned truly? We have learned: In the world of perception, it is impossible to distinguish between things and the way things appear. If I chase perceptions, then I become ready to understand the artwork. (Maurice Merleau-Ponty, page 60) What is the world of perception truly? How we express what we see, or how we see what is expressed? Many results and options actually occur. Even if we look at the same objects and use the same technique, we can get very different visuals, which are combined with our methods of use and representation tools. Each representation tool and technique is another topic, each one important and worth learning. The techniques we used most often were related to the drawing subject of that week, and perhaps each technique was the best way to represent the work done that week. We learned that by discovering it. Perhaps the most beautiful representation of this course was to explore. Discovering the aspects we do not know within, exploring the depths of our world of perception, discovering how we know and understand the means and techniques of representation, and perhaps discovering the talents we don't know, and the most important thing is to explore the the unknown roads, cornes, unseen dimensions, texture, structure, culture, richness, complexity, and it special world of the city that we were born and live in. How the confusion can be expressed, how to get the best results in the fastest way. We can draw without seeing, can we express thedrawind techniques by touching or cutting, putting each detail in the deepest of our minds. When we go to the same places again, maybe we will remember those details again and again. Maybe, If we just looked it this places, we couldn't animate it in such a detailed way. We didn't know those places that well. Drawing while traveling, imagining while drawing, expressing what we see with a new perception, establishing a relationship with that place and seeing many studies together and learning from each other many methods and perspectives is very valuable, and seeing all these riches on the spot, traveling and discussing on them, discovering new places, communicating with many people through to the work done, maybe the most beautiful riches of the lesson. Perhaps it was the most precious things that this course offered us. The most important phenomenon taught by this course is there is no single answer, one way solution or truth of a technique, it has many methods, expressions and representations. All of the work done is valuable and important, as long as we don't lose the urge to discover and explore.
Busra Ebrar Sayan @ City perceived from SĂźleymaniye, 2019
"We actually perceive everything based on our own body" (Ponty, Maurice Merleau) When we look at the silhouette of a city, we focus on the places we want to see or the places we know in our subconscious. Doesn't customize the silhouette of a city, structures or shapes that everyone knows? We try to find what we know first, like a puzzle. without realizing it, we focus on that region as I do. When I was looking at the city's skyline, I started drawing the first topkapi palace wiping the black out of the paper, and I realized that it was like an island with its own independence. This drawing technique allowed me to understand WKH PDVV JDS RI WKH WRSNDSĂ• SDODFH LQ WKH FLW\ DQG LW PDGH PH UHDOL]H
Busra Ebrar Sayan @ SĂźleymaniye Mosque, 2019
We are all looking at the same place, we see different images. Even if we look at the same place and draw, we create different results. As a result of some illusions, we are drawing a new world connected with the old by changing the things we see. Isn't that creativity and originality? In Suleymaniye Mosque we have created new worlds using the same technique in our own perception. When I first looked inside, I focused on the light. a gigantic space, and tiny windows. Light coming to the surfaces around the window and I follow the light throughout my drawing, I'm drawing it on the paper. I see a lot of different details, but when I draw I see a different image. creating spaces in a full paper. When I looked at result, this event provides me to understand both the drawing technique and the perception of space.
Busra Ebrar Sayan @ Grand Bazaar, 2019
‘’Even when the painters are working on real objects, their aim is never to bring to mind the object itself, their aim is to create a self-contained image on the canvas. ‘’ ( Maurice Merleau-Ponty, page 62) According to this text, in fact, works of art and drawings are in a transformation. Because the image that is seen and transferred to the drawing does not actually match. In this lesson, we have drawn the things we are looking at, but we have obtained drawings that have different language than the objects we see. When we look at the lines, we can clearly understand where our eyes travel. The space and the subject are interwoven and we are getting a new world on paper. This world is a place that reflects our inner world with our perception. With this technique, we understand how everyone perceives objects and scans them in their minds. Intense or linear, simple or crowded…
Busra Ebrar Sayan @ Grand Bazaar in different moments, 2019
‘So things aren't simple and neutral objects we'll think of in the face, each one symbolizes an attitude for us, it reminds us of an attitude, and it poses positive or negative reactions. ‘’ ( Maurice Merleau-Ponty, page ) In our study at Grand Bazaar, we have created different drawings. In fact, we were looking at the same place, but everyone's reactions from the place, the icons they perceived were very variable. Everyone's mind works differently. In the same place, everyone focuses on a different object and connects with it. We transfer the objects we pay attention to the drawing. But there is a common point in this technique. At this point, the drawing is actually divided into two. the constants and the changes. While we draw the objects we focus on, we also draw people who are constantly on the move. these moving people are actually intermix each other. Because the person I drew behind is now at the forefront and the person I drew to ahead, has already left the area. four different drawings actually represent four different times. At a time when the empty space can be crowded at the other moment. And in fact, we express each one differently in our mind. This in turn creates different images and styles.
Busra Ebrar Sayan @ Mosaic Museum, 2019
‘’Extension : The fact that an observer looks at the same proximity to all things, does not have a point of view and position, is not a space of simultaneous things that the pure mind can imperative. ‘’ (Maurice Merleau- Ponty, page 24 ) In this work, we tried to look at the space as merleau actually said, with different approaches from different perspectives. A museum and it have parts belonging to three different time, looking at the same space from three different angles and separating different parts of our perception from each other. As it actually is, the drawings overlap like layers. The first layer is a kind of bazaar belonging to the ottoman period, in fact when we first went to the museum and the last place we came out, as if it is a point of context. The second layer, the section made for the latest museum route, like holds everything together. The third layer is the oldest parts of the Byzantine period, mosaics that make this place special. The bottom part actually describes this place. When we separated this space, which is difficult to perceive as a layer, it enabled us to clearly understand how they interacted with each other and with the environment.
Busra Ebrar Sayan @ Chora Museum, 2019
‘’Since Cezanne, many artists have rebelled against the geometric perspective law, they want to capture and reflect how the landscape was born at the bottom of our eyes. They want to keep up with the feeling of visual perception. ‘’ ( Maurice Merleau-Ponty, page 23 ) That is why the artists show their perspective as if they have perspective mistakes. Actually, they want to explain that our view that two objects cannot be seen at the same time, so we transfers with our point of view these objects into the artwork. In this work, we can see the different perspectives together. We are simultaneously superposing architectural representation tools such as plans, collages, images, elevations and sections. The drawing is actually a design tool. First, we plan how to draw a space and explain. Then we transfer the space to the drawing as we perceive it. Designing the drawing allows us to both relate to space and discover other things and we can see how the person that draw, perceives the space.
Busra Ebrar Sayan @ Balat, 2019
‘’When we look at an image, we always observe a certain from point of view. It is difficult to overlap these snapshots from a certain part of the landscape.’’ ( Maurice Merleau-Ponty, page 23 ) Looking at a scenery from different angles allows us to perceive it differently each time. However, in the places we see, the most characteristic feature is our take attention and we actually focus on that feature. In this study, the first thing that caught my attention was the relationship between the in order similar houses with the slope and we can express the figures and events that we have in mind with many different materials and techniques. Working in different sizes sometimes helps us discover the place better. Each time we look at the work, it allows us to express from different angles and in different dimensions, as we look at the real scenery. In this way, the work of art and the real space overlap each other semantically and ideologically.
Busra Ebrar Sayan @ Yavuz Sultan Selim Mosque, 2019
‘’ What is happening in the painting is to perceive the painting according to the silent signals given to us by the traces of the paint on all sides of the canvas and to watch the painting. ‘’ (Maurice Merleau-Ponty, page 63 ) Each artistic technique symbolizes an expression, helping us to perceive the space from other angles and keep it in memory. In this study, we reinterpret the architectural section technique. The section is undergoing some kind of metamorphosis with bodily deformation. We are redefining the boundaries of the spaces with different scanning techniques. In this way, appearing and section of places to mediate the emphasis. Just as we scan both physically and mentally, we place the space in memory and on paper, with producing textures. In this way, the formation process of information is prolonged and more effectively settled into memory. In the image library, images become information. The most important point is to be able to obtain strong, permanent information with the drawing. If we see that place elsewhere, or if we find it there again, many familiar images, imagination begin to revive and give us references in our memory.
Busra Ebrar Sayan @ Yedikule Samatya , 2019
‘’So the picture is not an imitation of the world, it is another world in itself. ‘’ ( Maurice Merleau-Ponty, page 62 ) What we do in this study is actually creating a new world and we drawed on transparent paper, actually we can see the contours not paper. In this way, we can perceive the new world that we created from different angles. By combining sections and elevations in different layouts, we make the entity character of the object into a three dimensional model. So what we have done is to see the two dimensional drawing as a three dimensional drawing. With the intersection of the planes, we actually look at the space from an angle that we have never looked at before. Because we think of the elevation and section of the building in two different architectural conditions. in this way, we can question the phenomenon 'entity character' with superposing the representation of space with different textures. To create a new world is formed by our knowledge. The important thing is to question how we want to represent the space, the place ?
Busra Ebrar Sayan @ IMC - Zeyrek, 2019
When a designer starts a project, imagines what she will do first and how will proceed. She starts with the strategies that builds in mind. Although the artwork is artistic, it is often necessary to make an account of how it will work in the background, how it will be on a scale, and how to connect. In this study, our technique that we used is to re interpret the scene by cutting the paper. When we look at IMC, we see many layers together. Its structure, floor planes, continuity of columns and openings. In fact, images from the background are seen from the openings in the space and the other point that strikes us is the frame of the angle we are looking at. When looking at the sea on a ferry, the ferry's railings turn into a frame and we see the view from the railing. What we actually do here is to bring together many textured and layered frames such as postcards. Deciding how to express these terms on paper by separating density and emptiness in our minds. A design principle, filling in buildings or emptying inside, is a choice describing our inner world. In addition, the other thing we need to calculate is to create connections between spaces while cutting, so we can keep all the facts together by creating a new pattern. In this way, when we look at what we combine with what is in our mind, we can perceive it clearly. In fact, what we have accomplished is not to create a postcard of our own world of perception by framing the space and bringing together different layers?
Busra Ebrar Sayan @ Sulukule, 2019
Sulukule is like a lost region in Istanbul, both within the culture about to disappear, as well as the social structure, neighborhoods, houses face the situation of extinction. On the one hand, the struggle of life of people of different ethnicities, their efforts to hold on to their neighborhood, on the one hand, the contradictions and disasters caused by destruction and disruptions, mismatches, unhappiness. In this study I wanted to describe these two contrasting situations together with to make collage. The presence of people still living there, the clutter to the region in this confusion, on the one hand the result of renewal of houses, old new, neighborhoods and complex such as the presence of contrasts and demolitions. In my perception world, the pieces and connections that come together by taking shape again on paper. Through this study, I created a new three-dimensional sulukule in my subconscious that I have combined and learned. In fact, the collage work was a tool that best represented the fragmented world of Sulukule. Because the collage is a representation tool in which pieces come together and form a whole.
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In this study, we have focused on any details that we see around us, which we are interested in. While drawing these details, we used watercolor's being form as a shapes of water, not a pencil. So watercolor is like the art of forming water on paper. When we paint every paper, we continue with different results, sometimes confused, and sometimes by making mistakes. In mistakes, it becomes part of the study. Maybe wrongs and truths together create a whole of this technique. The details we see sometimes open, sometimes in dark colors, dimensions, angles and directions are expressed. We transfer the details we create in our perception world to the paper with minor deformations. This sometimes allows us to produce beautiful results and discover those details. Sometimes we notice the fact that without a detail, when it is a general image, it remains impressive. Perhaps this is the secret of art.
Busra Ebrar Sayan @ EminĂśnĂź, 2019
We looked at the top of an inn, Istanbula. Many regions, catches, bridges sea all together. Sky with clouds. There is a dark air in Istanbul. Slightly enclosed and rainy. Everything is together in all depths and details. Pastel is a very good way to express this indoor air for us. We can express darkness by leaving the surface black and dark, or we can show light by scanning surfaces. On the one hand, the colors appear at the bottom while scanning the surface and like Istanbul appears with its colorful houses. Actually we create the drawing by subtracting the painted surfaces. First, we fill in, then empty. We describe the world in our imagination and in our own perception. It's like some kind of the art of subtraction. But on the other hand it is very rich through to this technique, just like the view of Istanbul.
Busra Ebrar Sayan @ Eminönü, 2019
'Han' is the most popular trade point of the Ottoman period. Similarly, Eminönü is home to many trades and shopping from the past to the present. Today 'han' unfortunately is about to lose its functionality and function. Unfinished facades and surfaces are old, worn and lose their texture every day. But, we can still understand the structural existence. When we look at hans in Eminönü, we can clearly see the complexity, add-on structure and density of the hans found here. In this study, we can express the foggy texture and the old surfaces with pastel and painted many different colors of layers. At the same time, through to these layered surfaces, we can show many depths together, such as sky, ground front and different facades. We can reflect the details and general lines of the region in the way that we perceive by drawing the surface we paint. This is the bit of surprise of the work.In each trial is also able to get a new result, a new technique and a new situation.
Busra Ebrar Sayan @ GĂźlhane, 2019
At first glance, it is not that clear, as the paintings often represent objects, as is often said, portraits represent someone whom the painter gave us the name of. (Maurice Merleau-Ponty, page 61) What if the part that represents the object doesn't explicitly tell what it belongs to when you first look at it? The detail that is drawn may not be similar to the structure of an entity that we sometimes know, or when we look at the drawing, we may relate it to many different things. This detail gives information about the texture of the object and does not give any information about the whole object. In this study, the aim is to produce a texture with details, to understand its shadows and patterns, to think about it and to discover the points that we do not realize. When we look at the result, we have worked on texture and shadow techniques that have produced new visuals that do not resemble the objects we have drawn, and when we first looked at it we discovered new details that had not been noticed.
Suleyman Aras
In this course, I learn â&#x20AC;&#x2DC;Istanbulâ&#x20AC;&#x2122;. Istanbul, which I know until this time, has been entertaining in the streets, and I have been drinking coffee in some of its neighbourhoods once in a while. What I learned and discovered in the course process is that Istanbul, which I need to know, will continue to exist with its culture, life, architecture, multi-national identity from the day it was settled, until now, and if necessary care is taken. Yes, the place I'm talking about is in the historical peninsula, in other words, the first Istanbul. It is a place with traces of many civilizations that lived on it, where I can see its multi-layered identity in different structures and areas, where I can feel and experience historical texture as I walk through the streets. Within the scope of the course, I learned the story of Istanbul when I was wandering and drawing on the peninsula streets. It helped me to connect the flow of events and timelines that I couldn't complete and to connect them to a cause. He made me walk the streets I didn't know about before. This course has enabled me to see historical structures and stories that I didn't want to come and get cold because my way didn't fall. Apart from the history and story I learned, it also helped me relate to those places with memories and stories from myself. In addition, I learned how to paint a city, a layered structure, with different techniques. I drew a lot of drawings using different techniques and materials at the very important and historical point of the peninsula. In fact, I say this to strengthen the relationship I have established with the space with the work I have done. I think that's one of the greatest benefits of the class. I learned how to add to the streets I'm in, to the sketches, to the sketches. In doing so, I also strengthened my experience of being in a community and acting as a whole with the community.
SĂźleyman Aras @ SĂźleymaniye Mosque, 2019
While I was drawing against the impressive Istanbul landscape, I took care of the major historical buildings and the vacancy rate. With nearly 700 years of history, the Galata Tower was the first to attract my attention. Then the Unkapan bridge greeted me, above the calm waters of the Golden Horn. The city that remained in the background and everything in it has become silky, until the cheesy skyscrapers say, " we're here too."
Süleyman Aras @ Süleymaniye Mosque, 2019
The first thing that caught my attention when I applied silhouette technique on coal in Süleymaniye Mosque was window voids. The symmetrical structure of the mosque and the impressive one-piece dome were illuminated by these windows and created a divine atmosphere inside. In addition, columns bearing the large dome were among the striking elements.
SĂźleyman Aras @ Mosaic Museum, 2019
The mosaic museum was one of the most interesting places I've ever seen. It was mechanized by the civilizations that lived in Istanbul and the cultural layers that came with it.It was a good example to see how Rome and the Ottomans were intertwined and how they were intertwined with the Republican period, and how they were today.I had an impressive experience, as much as I was forced to make plans for the place.
SĂźleyman Aras @ Chora Museum, 2019
The first thing that attracted my attention at the Kariye museum was Byzantine architecture and mosaics. All the walls constituting the entrance part of the church consisted of Mosaic works. Most of the mosaics were beautifully preserved in one piece. Very few of them had Wear and tear.It was possible to see all the layers of Mosaic technique on the walls. I think the most important thing was that colors and integrity were still preserved.
SĂźleyman Aras @ Chora Museum, 2019
After examining the layered mosaic structure, I decided to draw the mosaic detail and column structure on one of the columns at the entrance. In doing so, I realized that the stones forming the colony were placed in order,not random, and that they were made in such a way that they were made in such a way that they were suitable for mosaic processing.
SĂźleyman Aras @ Ă&#x2021;ukurbostan, 2019
While I had tried to create a pattern with straight lines, I had the opportunity to look at it from a large scale, and then I realized how the technique was done.First of all, I started by referring to cukurbastan and the Yavuz Sultan Selim mosque. I've assigned different hatches to each building. Then, from the map and during the course as I remember, I determined the height of the sea. I completed the drawing with different blades according to the height of the building.
Süleyman Aras @ Sulukule-Topkapı, 2019
When I took the history of sulukule and its inhabitants, I saw that it had preserved its culture and structure for many years. Until the city was developed and ‘roman’ people who were residents were forced to move out of the city. With the move of the existing people, the structure and daily life of the region has also changed. It could be seen clearly when visiting the region within the scope of the course. In my collage work,I tried to show how interconnected streets form integrity and life continues in a flow. I tried to show the difference between the past and today.
SĂźleyman Aras @ Aksaray-YenikapÄą, 2019
It has always been difficult for me to reflect a movement or flow on paper. It is even more difficult to do this with watercolor in a very moving and layered place like Aksaray junction. In addition to the fact that I have never worked in watercolor, it was very interesting to draw in aksaray Square, where many streams(tram, car road, pedestrian road) and the intersection of the axle. It was strange that people passing around were confused about their gaze and their desire to make sense.It was easier to communicate with people because of the work we did and the fact that it was visible at the time. In fact, this drawing created a common point-language for communicating with people.
SĂźleyman Aras @ Aksaray-YenikapÄą, 2019
Unlike Aksaray square, it was quite calm to work around Istanbul University. Being free from all that crowd helped me focus on drawing. I had a clearer understanding of how watercolor works and how my brush strokes should be. In short, I realized how to implement the technique.Back to the wall of the historical structure I chose a part of the paper was left to transfer. It's easier to work because it doesn't contain any flow or movement.
Süleyman Aras @ Eminönü, 2019
First of all, I can say that I have a hard time understanding how to do this. Aside from the strength of han's atmosphere, which we drew, it became more impressive with the drawing technique. First, we chose the perspective we want to draw, and we painted the colors we saw on paper with a greasy pastel. Then we painted it with black pastel until it was completely closed. Then, with the help of pointed objects,we scraped the black paste on the top layer in accordance with the details of the angle we chose. I can easily say that I have come to the conclusion and the technique we practice.
Süleyman Aras @ Gülhane Park, 2019
One of the points I focused on when I was working on the detail drawing in Gülhane Park was that when I chose a small point of a statue and made the detail drawing, the Chosen one was not understood when I looked at it. In addition, the texture and detail of the object we chose to reflect as much as possible on paper. The hardest thing I had to do when I was drawing was to paper all the differences of the same stone texture almost everywhere. In doing so, the greatest help and the difference with it was the light of day.
S端leyman Aras @ G端lhane Park, 2019
In our second study in G端lhane park, I think it was a very important step to progress in the black pencil work, drawing the details of the body of the tree. Although the representation of light and the natural way is difficult, drawing is easier with a little patience and desire.I can be said to have done a peaceful drawing with the effect of the atmosphere of G端lhane Park.
TunaKar at aş
I s t anbuls t r e e t s ,s quar e sandhi s t or i c alpl ac e swe r er e pr e s e nt e dbe y ondourpe r c e pt i onsi nourdai l y l i v e s .Thewor l dt hatwasunawar ewhi l el i v i ngwasr e c ons i de r e d.Wee xpe r i e nc e dt hedi ffe r e nt t e c hni que sus e di nt het r ans i t i oni nt e r v alf r om t hee xi s t i ngs t at et ot hene wl yope ne duni v e r s e . Whi l edoi ngal lt hi s ,wehav emani pul at e dourr out ei ndai l yl i f e .Wehav eadde dne wl ay e r st ot he l i v i ngs pac e st hatwepe r c e i v ebygoi ngoutoft hec i t ywal l si nourhe ad.Aswegobe y ondt he s el i mi t s , pe opl eande xi s t e nc e sofdi ffe r e ntt y pol ogi e sar ewi t ne s s e d.Wewal ke dal otont hes t r e e t sofI s t anbul . Wehav emappe dt hehi s t or i c alpe ni ns ul ai nt he s ewal ks .Notonl yt het hi ngswes e e ,wehav epur s ue d t het r ac e sofpas tl i v e s ,f oodc ul t ur e sandc ul t ur all i f e . I ns omewe e ks ,wehav er e c ons i de r e dt hedr awi ngandpai nt i ngt e c hni que st hatweof t e nus easa c hi l d.Asac hi l d,wer e pr e s e nt e dt hei mage swedi dwi t hf r e eas s oc i at i onandnow,t hewor l dwe pe r c e i v e dbyt hi nki ngaboutt het e c hni que .Thebl uri nt hel i ne sbe c amec l e ar e r .Butt het hi ngst hat l i ne ss aynowhav el i mi t s .Ev e r ywe e kwehav edi ffe r e ntt e c hni que sas s oc i at e dwi t hdi ffe r e nts e ns e s . Thef ac tt hate v e r ydr awi ngwemakei sofdi ffe r e ntqual i t yi sduet ot hedi ffe r e nthar moni e st hatt hi s s i t uat i onpr ov i de s .Thene wt e c hni que sl e ar ne dhav edi v e r s i fie dt hedr awi ngi ns t r ume nt sweus ei n ourdai l yl i f eandi nc l ude dt heone sout s i deoft hepe ni nourl i v e s .
Whe nIwasl ooki ngatt hec i t yf r om t heSül e y mani y eMos que ,If e l tt hebor de r soft hec i t ydi s appe ar e d.The mome ntIl ooke datwasl i ket hec i t y ' sbl as tpoi nt .Soc i alhar monyi sde s t r oy e d.Thebui l di ngswe r ec apt ur i ng t hes kyl i kei v y .Thepr oxi mi t yoft hebui l di ngst oe ac hot he rc r e at e sc oe xi s t e nc e .Howe v e r ,s t r uc t ur e st hatar e f arf r om c ont e xtdi s r uptt hi sc oe xi s t .I nt hepi c t ur e ,wes e eanat t e mptbywhi t et os e i z ebl ac k.I ns omeway ,t he v ol umefil l st hes pac e .I nge ne r al l y ,t hegapsr e pr e s e nts i mpl i c i t ywhi l ehe r et he yr e pr e s e ntc haos .
TunaKar at aş@ Fat i h,Sül eymani yeMosque,2019
“ Wene v e rl ookatj us tonet hi ng;wel ookatourr e l at i ons hi pbe t we e nt hi ngsandour s e l v e s . ”–JohnBe r ge r
Some t i me swhe nwel ookatapi c t ur e ,t he r ei snol i neandt hei magei shaz ymake susf e e ll i kewear ei nat i me l e s s pl ac e .Whe nIwasdr awi ngi nSul e y mani y eMos que ,If e l tt hi st i me l e s s ne s s .Fi r s t ,wepai ntt hepape rwi t hc oalpe nc i l andt he n,wee r as ei t .Sc r at c ht hedar kne s st oc r e at ev ol ume s .Thi st i mewear er e mov i ngi ns t e adofaddi ng.Fi r s ti ti s r e duc e dandt he namul t i pl i c i t yi sr e ac he d.Thi st e c hni quei sagoodwayt ot e l lt hege ni usl oc i .Iwant e dt ohi ghl i ghtan unobt r us i v el oc at i oni ns t e adoft hec e nt e roft hes pac e .
TunaKar at aş@ Fat i h,Sül eymani yeMosque,2019
“ Thewaywes e et hi ngsi saffe c t e dbywhatweknoworbe l i e v e . ”–JohnBe r ge r ,Way sofSe e i ng
TunaKar at aş@ Gr andBazaar ,2019
Whe nwel ookatas pac e ,oure y e sl ookatt hef oc us .I ndoi ngs o,oure y e sf ol l owt heboundar i e sofs pac e .We pe r c e i v eobj e c t s .Some how,wedon' tr e al i z et hat .I tj us tf oc us e sonwhatwes e e .Wi t ht hi sdr awi ngt e c hni que , wel ookatt hec ont ourofwhatwes e e .Ihav ef oc us e dont het r anqui l l i t yoft hepl ac e .Thi st i meIwasf oc us e d ont hemov e me ntofmye y e s .Mye y e sandmys oulwe r eal i t t l es l owe rt hanmype r c e pt i onoft hewor l di nmy dai l yl i f e .It ookas t r ol lar oundt hes i l houe t t eoft hepe r s oni nf r ontofme .The nIwasdr awi ngobj e c t s ,bi r ds , andfinal l yt hebac kgr ounds pac e .Whe nıdr aw,bi r dswe r ei nc l ude di nt hedr awi ng.Whe nIfini s he ddr awi ng, nobi r dswe r ei npl ac e ,butt he ywe r ei nc l ude di nmymome nt .
TunaKar at aş@ Gr andBazaar ,2019
Wef oc uson4di ffe r e ntmome nt sofs pac e .I n f ac t ,wear ewi t ne s s i ngmanymome nt se v e n whe ndr awi ng.The r e ' sac ons t antflowof pe opl ei nt hedr awi ngs .Ir e fle c tt her hy t hm of t heGr andBaz aar .Pe opl ear ei nt hef oc usi f t hes pac ei sc r owde d.Theobj e c t sar ei nt he f or e gr oundi fi ti sunc r owde d.Pe opl ear e s t ar t i ngt oge ti nv ol v e di nmydr awi ngwhi l e dr awi ngobj e c t s .I t ' sl i ket hev i de ot ur ne di nt o aphot o.
TunaKar at aş@ Mosai cMuseum,2019
“ . . . not woobj e c t sar es e e ns i mul t ane ous l y ,awor l di nwhi c hr e gi ons ofs pac ear es e par at e dbyt het i mei tt ake st omov eourgaz ef r om one t ot heot he r ,awor l di nwhi c hbe i ngi snotgi v e nbutr at he re me r ge s ov e rt i me . ”( Maur i c eMe r l e au–Pont y ,page24)I nt hi swor k,we hav et r i e dt ope r c e i v et hedi ffe r e ntl ay e r sofhi s t or yands pac e .I nt he mus e um,i ti sobs e r v e dt hatt heboundar i e soft i mear ec l e ar l y s e par at e d.Thefir s tl ay e rbe l ongst ot heol de s tt i me .The s eBy z ant i ne mos ai c sar et hec e nt e rofmype r c e pt i on.Thes e c ondl ay e ri st he c i r c ul at i onoft hemus e um.Att hes amet i me ,i tpr ov i de st he c i r c ul at i oni nhi s t or i c alt i me s .Thet hi r dl ay e ri st het r ans i t i on be t we e nt hepe r mane nc eoft hepas tandt het e mpor al i t yoft he pr e s e ntt i me .
TunaKar at aş@ Chor aMuseum,2019
“ Ac c or di ngt oc l as s i c aldoc t r i ne ,pai nt i ngi sbas e donpe r s pe c t i v e .Thi sme anst hatwhe n apai nt e ri sc onf r ont e dby ,f ore xampl e ,al ands c ape ,hec hoos e st ode pi c tonhi sc anv as ane nt i r e l yc onv e nt i onalr e pr e s e nt at i onofwhathes e e s .Hes e e st het r e ene ar by ,t he nhe di r e c t shi sgaz ef ur t he ri nt ot hedi s t anc e ,t ot her oad,be f or efinal l yl ooki ngt ot he hor i z on…”( Maur i c eMe r l e auPont y ,TheWor l dofPe r c e pt i on,page22)Wes t ar t e dt o de s i gnourdr awi ngwhi l ev i s i t i ngt hemus e um aspe r s pe c t i v epe r c e pt i onsoft hepai nt e r s . Ast hec ubewasunf ol di ng,t hes pac e swe r euni t e di nonedi me ns i onaswewal ke d t hr ought hepar t soft hemus e um.Cons e c ut i v eobj e c t sar enotv i s i bl ei nt hepe r s pe c t i v e buti nt hi sdr awi ng,wer e fle c tal lofourpe r s pe c t i v e sonpape r .Fi r s t l ywee xpe r i e nc et he s pac eandt he ndr awi tasas i ngl ei mage .
TunaKar at aş@ Çukur bostan,2019
“ I nde e dIam doi ngnomor et hant aki ngnot eofanobv i oust r ut h:i fIc ange tas uffic i e nt l y c l e ari de aofanobj e c tort oolt hatIhav ene v e rs e e nf r om ade s c r i pt i onofi t sf unc t i on,at l e as ti nge ne r alt e r ms ,byc ont r as t ,noanal y s i s–howe v e rgood–c angi v emee v e nt he v ague s ti de aofapai nt i ngIhav ene v e rs e e ni nanyf or m. ”( Maur i c eMe r l e auPont y ,The Wor l dofPe r c e pt i on,page62)I nt hi st e c hni que ,i twasunl i ke l yt or e v e alt henor mal l y i nv i s i bl ewor l d.I fIwe r e n' tanar c hi t e c t ,Iwoul dn' tbeabl et odr awt hes e c t i onoft heaxl e f r om t heGol de nHor nt oÇukur bos t an.Is t ar t e dt hedr awi ngwi t ht hi st e c hni c alc ons c i ous . The nIwe ntawayf r om t hi st e c hni queandc ont i nue dwi t ht hev ol ume t r i cf ul l ne s sgapst hat t hee y epe r c e i v e d.Idi dmyhat c he sbyr e mov i ngbor de r sl i keCe z anne ' sc ol ort r ans i t i ons .
TunaKar at aş@ Yedi kul e-Samat ya,2019
Thi swe e k,I ' v ebe e ndr awi ngonas quar et hatI ' v ewat c he dont e l e v i s i onmany t i me s .I ' v epe r c e i v e dt hi sbyr e f e r r i ngt omye y e si ns t e adoft hec ame r a' sf r ame . Thus ,t hepe r c e i v e ds c al ehasc hange d.Aswewal kt hr ought hes t r e e t sof Samat y a,t he r ear et r ac e sofhe rmul t i c ul t ur alnat ur e .Youf e e li twhe ny oul ook ar oundi nt hes quar e .So,t he r ei sa“ l i f e ”t hati sc ons t ant l yr e l at e dt ot he c e nt r als quar e .Us i ngt r ans par e ntpl at e sl i keac e t at eal l owsust owor ki nmany di me ns i ons .Di ffe r e ntaxe ss uc hasc r os ss e c t i on,e l e v at i onandpe r s pe c t i v ear e i nt e r t wi ne dandr e fle c t st hemul t i l ay e r e df or m oft hi spl ac e .Thepe r me abi l i t y wes e el ooki ngatt hedr awi ngal l owsust odr e am ofol dt i me s .
TunaKar at aş@ İ MÇ-Zey r ek ,2019
TheI MÇbui l di nghasope nc i r c ul at i onands pr e adov e rdi ffe r e nte l e v at i ons .Whe nwe l ookatt hebui l di ng,t he r ei sc al mne s si ns t e adofc ompl e xi t y .I fIr e fle c tt hef ul l ne s s ande mpt i ne s sont hepape r ,mye y e spe r c e i v et hefir s tt hi ngsıs e e .Thi sr e pr e s e nt at i on al s oaffe c t smye xpe r i e nc ei nt hebui l di ngbe f or eIs t ar t e dc ut t i ngpape r .Idr e am on howt or e fle c tt hes pac eont hepape rwhi l ev i s i t i ngİ MÇ.Expe r i e nc i ngt hes pac eand s e e i ngar edi ffe r e nt .Whe nwel i f tourhe adsandl ookac r os s ,t hefir s tangl et hatour e y e spe r c e i v ei smor ede t ai l e d.Cutt her ai l i ngsont hepape r .Thes i deaxl e sar e c ompl e me nt ar yt ot hev ol umec r e at e d.
TunaKar at aĹ&#x;@ Sul ukul e,2019
Thi swe e k' sf oc usi sonSul ukul e ' st r ans f or mat i on.I nf ac t ,Sul ukul e l os ti t ss e ns eofne i ghbor hoodwhe ni twast r ans f or me d.Ther e d c ol orr e pr e s e nt st her e l at i ons hi pt hathol dst hatf e e l i ngt oge t he r .A me s si nt hes t r e e t sbr i ngsl i f et ot hene i ghbor hood.Pe opl es i t t i ngi n f r ontofhous e ,ki dspl ay i ngbal l ,c l ot he shangi ngonwi ndows. . .On t heot he rs i det he r ei sal i f ewhe r ec ol or sdi s appe ar .The r ear e de s e r t e dar e asdomi nat e dbye mpt ygar de nsandor de r .I nt hi s t e c hni que ,wec ant e l lt hef e e l i ngofdi ďŹ&#x20AC;e r e ntt i me sasas i ngl e mome nt .
TunaKar at aş@ Yeni kapı-Aksar ay ,2019
Thi swe e k,wedr awt heflowofpe opl eandv e hi c l e spas s i ngunde rt hev i aduc t i nAks ar aySquar ewi t hwat e r c ol or .Wedi dn' tdr awt hec ont ourwhe ndoi ng t hi s .Hi s t or i c albui l di ngs ,s uc hast hemos que ,l ookmor ef ade d.Be c aus e Aks ar aySquar ehasbe c omemor edomi nantbys wal l owi nghi s t or i c albui l di ngs . Pe opl eflowf as t e rt hanc ar s ,humanflowl ooksl i keal i net hatc an' ts t opi n pl ac e .Ie xpl ai ne dt hes l owl yflowi ngt r afficwi t hl ar ge rpat t e r ns .
TunaKar at aş@ Yeni kapı-Aksar ay ,2019
Fi r s t ,wewe tt hepape rwi t habr us h,t he nwef ol l owe dt hewat e rands t ar t e d pai nt i ng.Il ov ewat e r c ol orbutt hi st e c hni quei snotmyme t hod.Il os tc ont r ol oft hepape rt r y i ngt oc ont r olt hepai nt .Some t i me sIc r e at e ds t ai nswi t hadr op ofwat e rands ome t i me swi t ht hehe l pofmyfinge r .Pe opl es i t t i ngonbe nc h l ooksl i kes i l houe t t e .Ipai nt e damor es t abl e ,s l owflowi ngt i me .
TunaKar at aş@ Emi nönü,2019
I nac l oudywe at he r ,i twasawe e kwhe nt hepape rwaswe twi t hr ai ndr ops .We t r i e dt oe xpl ai nandunde r s t andI s t anbulf r om ar oofi nEmi nönü.The t opogr aphyofI s t anbulc anbef e l tbys ome onewhi l ewal ki ngt hes t r e e t soft he c i t y .Looki ngf r om t her ooft ot heBos phor us ,y ouc anc ombi newhaty ous e e wi t hy ours e ns e s .I ns t e adofus i ngt ool ss uc haspe n,weus eourhandst odi r e c t pai nt i ng.Wec r e at ec ont r as twi t hourfinge r s ,s c r at c ht he m wi t hournai l s .Li ke pai nt e r swhous et he i rbodyi ns t e adofus i ngabr us h.
TunaKar at aş@ Emi nönü,2019
Emi nonui sapl ac el i ket hef or e s tofabandone di nns .The s ei nnsar epl ac e s t hatmai nt ai nc al m de s pi t et hec r owdsoft her e gi on.Büy ükYe niHanal s ohas c l os e ds hops ,l ar gec our t y ar dandabandone dpl ac e .I nt hes c r at c ht e c hni que , wec r e at eac ol or f ull ay e rwi t hpas t e landt he npai nti twi t hbl ac k.As adf e e l i ng ofpl ac ef e l twhe nIt ookt hepape randl ooke dar ound.Is t ar t e dt os c r at c ht he gl oomybl ac kl ay e ri nt hepape r ,dr e ami ngofi t sol dc ol ort i me s .
TunaKar at aĹ&#x;@ GĂźl hane,2019
I nt hi ss t udy ,t hede t ai ls houl dnotgi v eanyi de aaboutt hewhol e .I ns t e ad oft hi nki ngaboutt hewhol eobj e c t ,wede t e r mi neas mal lpar tandt r e ati t asas i ngl ewhol e .Whe nIs wi t c he dbe t we e nt hes c al e s ,Iwass ome t i me s l os t .Wec r e at et e xt ur eamongunc e r t ai nt i e s .I ns t e adofl ooki ngatt he obj e c tf r om adi s t anc e ,Ial mos tc amef ac et of ac eandIdr e wt hes ur f ac e mov e me ntandi nde nt at i onpr ot r us i onsbys c r at c ht e c hni que .
People used to say that it was impossible to see and travel everywhere in Istanbul. I would answer this sentence not to be silly, but those people were right. Istanbul is both a culturally and historically rich city, which is very important to listen to its stories as well as to see the works in this city. It is a very interesting feeling to listen to the story of many buildings that I have seen before, and to study in detail. Yesterday and today Istanbul is stuck between the most simple stance and the metropolising crowd of today. However, the mystery of the spiritual wealth and the historical texture is an untimely picture. Even though it has been negatively affected by its current development and change, Istanbul never stops its stance. The transitions between these two layers are quite interesting. I visited Istanbul, which I knew during the Representing Istanbul course, and worked with different techniques. As I did this work, I realized I was re-acquainted with Istanbul. The different technique that I applied every week revealed the rich stratification in Istanbul. I'm a person who likes to photograph what I see, but it's much more about working on paper than looking at objects. I would have thought that it was impossible to transfer this mess to a piece of paper, but before I took this course, the technique of the drawings I made would allow it. Through this course I learned how to transfer what I want on a piece of paper (no matter the number). I've learned to see what I've been looking for. The name of this course may be Representing Istanbul, but I have learned to represent everything I see.
Zeki Küçüksarı
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The integration of structural elements in Suleymaniye mosque with light is very interesting. I tried to project light floods in the interior atmosphere of the mosque. In the section I draw, the light coming from the window meets some obstacles and creates shadows. This integration is consistent with the eraser technique.
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When I look at the residential areas of Istanbul from the SĂźleymaniye mosque, the first thing that catches my eye is the density. It looks like a huge mountain that has formed a whole with independent parts. I tried to reflect this confusion in the picture. I wiped out the sea parts that gave me peace. I intensified the dense parts of the concrete. I've blurred them like they drowned us.
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n this drawing there was an area where the crowd and the human circulation were too much from a fixed point. This technique consists of 3 drawings. I tried to look at the same point at different times and draw the movement. Because it is a very crowded place, you can see the intensity of movement in the environment. The mobility in the space is clearly visible in the foreground lines.
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It was a very interesting experience to draw without looking at the paper and without ever lifting my hand. The movements of the man in front of me instantly effected the drawing. The changing position of the model allowed the lines to move. So the focus of the drawing was motionless while the background was motionless. The transition between the moving part and the stationary part is clearly visible. It was an efficient drawing of the space.
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There are some structures that cannot tell a lot of things when they are alone, but these structures create a perfect image when we relate to the structures around them. The mosaic museum is one of the structures I just tried to explain. This structure fits perfectly with arasta street. Between 2 rooms, there is a Arasta street and divides the museum into 2 parts. Arasta street adds meaning to the m o s a i c museum. When we overlap the plans of the museum and the Arasta Street, we can clearly see this relationship.
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We were in one of the seven hills of Istanbul where Fener and Balat were located. As I wandered the streets, I became aware of the cultural wealth. Despite the fact that a large part of it is surrounded by historical houses, I saw that popular culture is surrounded. As I walked through the streets and climbed to higher places, I could see the layered structure better. I've tried a technique of twisting the wires. I tried to tell the tiered structure that I saw by climbing up a high hill. When I was at the highest point, the first thing I saw was the lowered houses. I then saw the 2-tier building blocks.
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Samatya is a place where there are cultural differences. There are Armenians living in the region since ancient times. This is a region where minorities have lived since the Byzantine period. There are still remains of Armenian life. Samatya now has a very rich cultural environment with people from different nationalities. It is possible to see this stratification in structures. When we combine 3 different sections in Samatya Square, we can see this stratification. When we combine the right and left side of the square, we get a panoramic model.
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IMC structure is a building island located in middle of a historic block. Therefore, it is very interesting that a very modern structure ise positioned in this historical perspective. When we look at all aspects of the IMC, we see a section of Suleymaniye Complex. The modern thin carriers of IMC structure, elegant staircases, large openings dominate hierarchy in the region. We are confronted with a modern structure that has been stripped of the strong arms of history.
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Sulukule is an area inhabited by gypsy people since the conquest of Istanbul. Therefore, the Gypsies have more say about Sulukule than other people. Years ago, it is unacceptable to displace those people under the name of urban regenHUDWLRQ DQG WXFN WKHP LQWR 72.ø KRPHV $ PRUH FRQVWUXFWLYH VROXWLRQ WR WKH region could be found. Gypsies are familiar with neighborhood life. Putting them into building blocks means taking them away from their essence. In this collage, I tried to explain the relationship between the old life of Sulukule and the new concrete towers.
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EminĂśnĂź is located in the west of the Golden Horn, in the part of the city known as the historical peninsula. Eminonu, which is as old as the establishment of historical Istanbul, contains the most important and well known historical works of Istanbul. It also has many inn structures. The most striking one is BĂźyĂźkYeniHan. It is still used by textile shops for centuries. BĂźyĂźk Yeni Han was built in a mixed technique from well-cut cut stones and bricks. Only the lowest floor is made of stone. As the inn was built on a narrow and very sloping terrain, the plan was applied to the topography and the urban texture, and a plan that was not very geometric and very smooth was applied. In this work I have done with oil pastel paint, I wanted to establish a relationship between the old stones of the place and the light.
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EminĂśnĂź is located in the west of the Golden Horn, in the part of the city known as the historical peninsula. Eminonu, which is as old as the establishment of historical Istanbul, contains the most important and well known historical works of Istanbul. It also has many inn structures. The most striking one is BĂźyĂźkYeniHan. It is still used by textile shops for centuries. When you walk through the historic inn of EminĂśnĂź, you can come across the hidden stairways of the inns and have a surprise view of Istanbul. While walking around an old inn, I came across one of the narrow and steep stairs to see a panoramic view of Istanbul. All of Istanbul was in front of my eyes and I tried to transfer what I saw on paper. The last layer of pastel paint is the color of black, while the color in the first layer protects itself. This creates a beautiful stratification.
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Drawing a detail can be the most challenging thing I've ever had, but I felt like I was walking in an bark like an ant when I caught myself. When I looked at every twist, it seemed to me to turn into a darkness in a darkness. When we were drawing a shadow area, it was dark. We worked on this drawing technique in GĂźlhane Park which is a very historical area. The tree in which I was lost while looking at its shell was a walnut tree, which was much older than me.
Nur Hazal Atalay
The end of the class, the beginning of the new perceptions… I can not pass without saying that not just to be trapped in one class, to use many places every week as a class was exciting in itself. Sitting on a tabouret of a cafe, of a kıraathane that I never knew and making course there instead of hangar, to picturize Istanbul on top of a historic inn at Eminönü… I never mentioned about that in my submissions but Maurice Marleu-Ponty’s the World of Perception impressed me a lot. He speaks about the body and the World, the coexistence of space and things, the unfortunate optimism of science etc. in his book. I would like to say that the truth is that the idea that human understanding comes fro from our bodily experience of the World that we perceive. That is what I learned from him and from this class. The representation of something is not exactly representing that thing, it is not necessary to do so. Sometimes this would even be stronger to get loose. For example drawing the every detail of Süleymaniye Mosque that we see; the domes, minarets, columns, ornaments mean something of course but giving a depth effect with erasing from a paper painted with charcoal, to reveal the lights flowing through the openings of the mosque are stronger, more special to me because that is completely our perception. Trying to represent Istanbul in different places with many different tec techniques was strictly a challenge. Thank you for the awesome class bardhunter!
Elif AlnÄąak
With paper and pen, people can express a lot of things. And there are a lot of ways to do that. Every concrete expression way has its own unique character. Every other option teachs us another thing. To know their ontology gives us a perfect opportunity to express ourselves in the best way. Istanbul has a lot of sides to be experienced through different drawing techniques. As mentioned before, every technique has a different identity. Also to learn their meanings and how they can be used in different atmospheres widened our perspectives. While developing different points of view, we walked around the historical part of Istanbul. But our visit wasn't like usual touristic ones. Besides learning about the places' history, we had the opportunity to examine neighbors and the social texture of them.
Elif AlnÄąak @ SĂźleymaniye Mosque, 2019
Golden Horn. The silhouette we all know with Galata Tower and bridges. But what about others? While trying to understand that mass I saw a lot of detail belong to there. To reflect that view with that technique, I needed to ignore them all because I wasn't be able to draw them. Masses' volumes, positions, and stations with each other were only factors that I could care.
Elif Alnıak @ Süleymaniye Mosque, 2019
Even while the view we see changes for every different person, the technique we use changes the meaning of the see. The interior of Süleymaniye Mosque was a place that I used to read with its ornaments. At this time, I erased ornaments in my head and just focused on the existence of the volume as the technique required. While trying to figure out how could I express the space in the best way as I see now was made me feel like I was there for the first time.
Elif AlnÄąak @ Mosaic Museum, 2019
Istanbul has lots of layers of its past, even we don't recognize them. Sometimes, we pass through a street and think that the place is only for that moment. But if we look closer, we can see those layers. Mosaic Museum is a place that keeps those layers clearly. Byzantine, Ottoman and recent times can be seen in that hidden place in Arasta Bazaar, Sultanahmet. The reason why I called this place hidden is that I've passed through that bazaar in many times but I haven't notice that place before. Thanks to x-ray technique, I could be able to see layers of history in a clear way. Drawing layers with different colors and parchment papers made me think and express what I see with my perspective of view.
Elif AlnÄąak @ Chora Museum, 2019
Used as a church throughout the centuries, turned into a mosque with the Ottoman era, and then finally converted into a museum. Chora Museum built in Eastern Roman Empire period and it was dedicated to Jesus Christ. Inside of the Museum; mosaics, frescos, and seccos take place which telling stories. Charo Museum makes us reading stories on a building with drawings and mosaics. When we visit a place, normally we see there as planes. But how we can superpose those partial planes to describe the whole place with the way we see? Miniature, as Egyptians did in their drawings uses different visual angles at the same time. In order to break down our everyday perspective, to express that place in the same place at once, the miniature technique's attitude is used.
In order to see big masses on a single frame, we can underestimate details. To explain their hierarchy to each other, minimizing the other data and accept the masses as flat surfaces can give more clear information. With the hatching technique, the main idea was exactly that: to minimize the view to flat surfaces to see their relations in between. When we take similar things as the same hatch we could be able to understand all bunchings at the same time without confusing.
Elif AlnaÄąk @ Ă&#x2021;ukurbostan, 2019
While science and the philosophy of science have, as we have seen, been preparing the ground for an exploration of the world as we perceive it, painting, poetry and philosophy have forged ahead boldly by presenting us with a very new and characteristically contemporary vision of objects, space, animals and even of human beings seen from the outside, just as they appear in our perceptual field. (Maurice Merleau-Ponty, page 45 )
İMÇ has a permeable structure which gave us an opportunity to re-create the atmosphere with our papers and knives. Drawing through cutting gives us two component we need to consider: mass and gap. In order to
understand the place with that technique, the place needed to be minimized these two components. Black and white, full or empty, existed or non-existed... Even when layers have two components, they still have some words to say with their arrangement with each other.
Elif Alnaık @ İMÇ, 2019
Space takes shape with objects and their arrangements. To express the atmosphere of a place, gaps' and masses' composition gives us basic pieces of information about there.
Elif AlnaÄąk @ Sulukule, 2019
Sulukule has been the home of marginalized people through years. Roman people and their colorful living style used to cheer up the streets of the neighbor. Their different identities were creating a whole. Now, their organic and unique habitat is broken by governments own hands. After TOKI apartments happened there, Romans lost their home. That spaceship landed in a jungle, and while doing that cut off every single living being. Then to protect themselves from natives, they fenced "their" borders.
Elif AlnaÄąk @ Aksaray, 2019
Aksaray square has very characteristic traffic flow with pedestrians, cars and other things. That flow can be seen in a picture that token with long exposure. And the long exposure picture can be a good way to show that. But when we try to express that flow through drawing, we need something has fluidal texture. So we can say watercolor is uniquely suited to that work. In that work, every color express a different layer of the flow. Purple for pedestrians, green for cars and yellow for the tram.
Elif AlnaÄąk @ YenikapÄą, 2019
Drawing objects that stand still had more certain borders than drawing a movement. Watercolour is fluid and transparent. Drawing details with that technique need more attention. Because of transparency and fluidity, mistakes couldn't be covered up and every layer could be seen. To darken some areas and show textures, layers were very useful.
Elif Alnaık @ Eminönü, 2019
The weather was rainy and cloudy. As we work with pastel, the weather couldn't be more appropriate. The technique is one of the best ways to make hand made night renders of the view. But that characteristic of the technique couldn't be recognized until the work is done. Colors of the city were hidden under the black layer. Then we scratch some out with their new darker versions. In the end, we had some kind of night renders of the city from one of the rooftops of Eminönü.
Elif Alnaık @ Eminönü, 2019
Eminönü has a lot of "han" in its texture. Unfortunately, these places losing their importance because of some reasons and they are not as crowded as they used to. Büyük Yeni Han is one of them; some shops are closed but still, some of them works. In order to express the space with scratching technique, at the first step colors of the Büyük Yeni Han took place on the paper. Then black pastel covered and with scratches, the drawing started to appear. At first, that technique didn't mean anything to me but then I realized that the dark effect is good to express the feeling of the place: partly abandoned and gloomy.
Elif AlnaÄąk @ GĂźlhane, 2019
Most of the time we perceive objects as we used to see. But when we spend more time to see, the matter shows us its details. Even when we look closer, we can think that we look at something totally different. With detail drawing, textures of details could be able to be seen and express through drawing.