cerenarslan.work ARCHITECTURE PORTFOLIO + CV
2014
pg. 6-17
2. Columbia University Boathouse
pg. 18-27
3. La Spina pg. 28-37
4. Inverted Spectrum pg. 38-45
5. Remote Perception pg. 46-49
6. Sculpture Museum
pg. 50-53
7. Salon of the 21st Century
pg. 54-59
BACHELOR’S OF ARCHITECTURE
featuring 1. LAMC.CJ.2018-3214
PRATT INSTITUTE SCHOOL OF ARCHITECTURE
2018
ceren.arslan
cerenarslan.ca@gmail.com +1 (917) 941 3935
ARCHITECTURE STUDENT
EDUCATION
Pratt Institute, Brooklyn
2013-present
Bachelor’s of Architecture (B.Arch) Degree GPA 3.750 President’s List
ACHIEVEMENTS
WORK EXPERIENCE
President, Turkish Student Association Student Representative, Degree Candidates Recipient, Lyman Piersma Award for Outstanding Student Service Recipient, Selected Top Honors Degree Project
SHoP Architects Junior Designer
2017 Summer Schematic Design / Client Presentation 3D Modeling / Graphic Representation Design Workshop / Model Production
Lynch Eisinger Design Architects
2016 Summer
Schematic Design / Design Development 3D Modeling / Graphic Representation Client Correspondance
Intern
Baumann Architecture
2015 Summer
Schematic Design / Model Production 3D Modeling / Construction Documents
Intern
Architecture Production Facilities Monitor
2014-present
3D Printing / Laser Shop / Woodshop CNC and Robotics Certification
Teaching Assistant TA
DESIGN SKILLS
LANGUAGE SKILLS
Prof. Natasha Harper Comprehensive Design Studio
Adobe Illustrator Adobe Photoshop Adobe InDesign AutoCAD Rhinoceros Revit Autodesk Maya V-ray T-splines
2015 - 2017 Prof. Christian Lynch Comprehensive Design Studio
Grasshopper Maxwell Vectorworks Weaverbird Zbrush Mesh Mixer Unity Blender
Turkish
Native Language
English
Advanced / Fluent
foreword Architecture has always been more than a passion to me, more importantly a responsibility. I take this responsibility to provoke context, history, politics and culture in all scales. I believe that architecture provides for limitless explorations and perceptions recollecting from itself. I aim to give an impression of my skills and knowledge I developed over the course of my studies. This portfolio holds a collection of selected works done in the previous years through different fields diverging from design of a building to its representation, from a thesis research to analytical writing. Ceren Arslan, 2018
contents
pg. 18-27 Boathouse
pg. 6-17 Public Space
03 04
pg. 28-37 Vortex
pg. 38-45 Dormitory
pg. 46-49 Academy
pg. 50-53 Museum
aerial view
figure 1
fig. 1 :render looking at the main street
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degree project
01 LAMC.CJ.2018-3214
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LAMC.CJ.2018-3214 Downtown, Los Angeles Selected Top Honors Degree Project Critics : Dragana Zoric & Evan Tribus
Fall 2017 - Spring 2018
Public space has been endangered by the rapid development trends. It has been left behind in the organization of Municipal Code which was supposed to protect it. This thesis seeks to hack into the zoning code as a means to ensure the presence of public space in the future of Los Angeles. Moreso, the code cultivates a character to how the new construction trends will contribute to the city. Los Angeles is at a turning point in its urban growth. It is no longer characterized by new sprawling neighborhoods. Areas like Downtown, West LA and Wilshire are turning back in on themselves and reconstituting new, denser parts of the city. By confronting the construction of high density commercial buildings and forcing an injection of non-commercial public spaces in them, Los Angeles can avoid the pitfalls of already condensed cities. Operating on an endless series of exceptions, variances and poor directives, the LA Zoning Code shows a lack of public intent. The current implementation has very little impact on the creation and even preservation of public space in the city at large, instead it has been co-opted to benefit private interests more than the public good. This has been a historical devolution since the inception of the first LA zoning code in 1920.
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CODE ALTERATION The first iteration of the zoning code was intended to organize municipal functions and help the city grow. The code had little preference of public over private. The city needed to control how it was growing and how certain neighborhoods transitioned into more dense urban and architectural typologies. Because LA had so much space, the biggest resultant in these schemes was just the sprawling of the city, and beginning of smaller urban pockets besides Downtown.
CODE ALTERATION In 1970, following a national wave where largescale oversight was dispelled to favor local control in cities, LA instituted the Central plan. The city broke up its zoning authority into 35 local boards throughout the city. Neighborhoods either stagnated in growth or radically densified. Residential neighborhoods like Mar Vista and Silver Lake kept a tight hold over new construction and any variances. But more commercial areas like Downtown and Wilshire preferred to keep their zoning rules flexible and lenient.
CURRENT TRENDS Increasing use of zoning exceptions, with over 60% of all buildings being given a site-specific variation to follow the needs of developers. There is not a strong goal for the code. The local zoning plans have also not been updated properly. The LAMC stipulates that each community updates its plan every 10 years. Currently, over 75% of the plans have not been revised since before 2000.
fig. 1 : significant changes to the LAMC and the current status
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degree project
01 LAMC.CJ.2018-3214
concept diagram
figure 2
fig. 2 : conceptual argument for the context and the purpose of the project
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program catalog
figure 1
fig. 1 : program catalog from A and B categories
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degree project
01 LAMC.CJ.2018-3214
form diagram figure 2
form diagram figure 3
fig. 2 : sequential form morphing showing the architectural tectonic
fig. 3 : architectural implementation of a congregation space
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program zoning mass / elevation
figure 1
fig. 1 : shows the implications of different programmatic compositions
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degree project
01 LAMC.CJ.2018-3214
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fig. 1 : shows the zoning massing applied to Fashion District, indicates programmatic compositions
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fig. 2 : same view as the above drawing showing the architectural implementation
degree project
01 LAMC.CJ.2018-3214
taxonometric view figure 1
birds eye view figure 2
Our zoning code adds a stipulation for public space in terms of a new “points metric”. Every newly constructed building in highly dense parts of LA will have a “point count” based on their FAR, height, and building footprint. The larger the building is the greater the responsibility of the private developer to invest and contribute to public space.
Our form derives from the volumetric requirements of the new code, and then begins to deform those to accentuate the qualities of light, air, view and congregation. The volumes open like apertures on the facade to draw and receive in people and the exterior life of the city. The extreme angles cut into the private orthogonal grid of the buildings they take from.
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ground floor plan figure 1
fig. 1 : ground level is dominated by a column field which allow for complete porosity through the site
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degree project
01 LAMC.CJ.2018-3214
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fig. 1 : render image looking towards the interior courtyard, the column field is the new medium for self-expressio
02
COLUMBIA UNIVERSITY BOAT HOUSE Inwood Park, New York City Boathouse Critic : Christian Lynch In Collaboration with: Jonathon Koewler
Published in: InProcess22, Pratt SOA Spring 2016
Located at the uppermost tip of Manhattan near Inwood Park, this boathouse is for Columbia University. It is challenged with integrating a Community Boathouse with the existing private program. Only a ‘forest of columns’ serves to organize the space. These columns hold up the mass of the floors above, as well as provide a ‘blank infrastructure’ that can be used for community events. The neighboring park is meant to flow into this space, becoming a ‘matte level’, where sectional variation encourages soft programming. On this level, the public can enjoy the view to the water and observe and engage with the boats and the Columbia Crew team.
ground floor plan figure 1
fig. 1 : ground level is dominated by a column field which allow for complete porosity through the site
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comprehensive design studio
02 Columbia University Boathouse
third floor plan figure 1
second floor plan
figure 2
fig. 1 : floor plan showing the continuous exterior ramp
fig. 2 : floor plan showing the main floor
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short section figure 2
long section figure 3
fig. 2 : short section cutting through the interior courtyard
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fig. 3 : long section indicating boathouse sheds as well as exercise rooms comprehensive design studio
02 Columbia University Boathouse
unfolded section figure 1
physical model fig. 1 : unfolded section through the exterior ramp indicates a continuous path for public access
fig. 3 : 1/8” = 1’-0’” mixed materials
figure 3
built with lasercutting, CNC milling, 3D printing
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fig. 1 : single column = 4,000 - 6,000 lbs column bundle = 35,000 lbs
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fig. 2 : showing the public path that cuts through the building with opportunities to look down on the practice rooms along the way
comprehensive design studio
02 Columbia University Boathouse
boat bay figure 1
exterior ramp figure 2
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The last element is an exterior, public path that cuts through the building. It begins on the ground floor and ramps up through the mass, with opportunities to look down on the practice rooms along the way. At the top, it opens onto the roof, another open space for soft-programming. Here, the public can look out onto the water at the rowers. From the open roof, to the solid building, to the negative space caught between the earth and the mass, the entire project seeks to deal with display and education of the public, for this incredible sport.
wall section detail fig. 1 : detail showing the MEP, structural and
figure 1
facade systems
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comprehensive design studio
02 Columbia University Boathouse
physical model figure 2
fig. 2 : 1/4” = 1’-0” scale physical model representing the column field’s structural performance
physical model figure 3
fig. 3 : 1/2” = 1’-0” scale physical model showing the multiple layers of the facade system, perforated Cor-ten panels, rainscreening, vertical wood louvers
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03
LA SPINA Vatican City, Rome Tourist Vortex Critic : Frederick Biehle
Spring 2017
The project proposal is a Tourist Vortex located in the Vatican City in Rome. Rome has always been one of themost coveted desitinations in the world, yet between 2001 and 2010 its number of transient visitors increased by 25% to reach over 19 million annually. The demands of such a transient population in terms of service has now displaced a more traditional understanding of the place. And this doesn’t factor in the identical role that the city performs for the millions of Italian residents living in the larger metropolitan area. The historic center can truly be called a tourist vortex as the new permanence of such an invading army continues to alter its infrastructure and challenge its claim to be a living city. The project intended to revitalize the Borgo’s figure-ground plan as shown in 1748 Nolli Plan. While doing that the linear visual axis to Basilica di St. Pietro was preserved.
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advanced design studio
03 La Spina
fig. 1 : exterior representing two systems
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site analysis
figure 1
fig. 1 : site diagrams showing the figure ground plan of the Vatican City as it was in Nolli Plan in 1748 and now
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advanced design studio
03 La Spina
figure ground plan
figure 2
fig. 2 : figure ground plan of the project mimicking its version in 1748
figure ground studies
figure 2
fig. 3 : figure ground exercises that fill La Spina
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fig. 1 : interior rendering showing the main gallery space as well as the context of the Vatican City
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advanced design studio
03 La Spina
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The project proposal is a Tourist Vortex located in the Vatican City in Rome. Rome has always been one of themost coveted desitinations in the world, yet between 2001 and 2010 its number of transient visitors increased by 25% to reach over 19 million annually. The demands of such a transient population in terms of service has now displaced a more traditional understanding of the place. And this doesn’t factor in the identical role that the city performs for the millions of Italian residents living in the larger metropolitan area. The historic center can truly be called a tourist vortex as the new permanence of such an invading army continues to alter its infrastructure and challenge its claim to be a living city. The project intended to revitalize the Borgo’s figure-ground plan as shown in 1748 Nolli Plan. While doing that the linear visual axis to Basilica di St. Pietro
was preserved.
upper floor plan figure 1
fig. 1 : upper floor plan indicating the main gallery space crossing between two systems
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advanced design studio
03 La Spina
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interior render figure 1
fig. 1 : interior render looking towards the atrium
04
INVERTED SPECTRUM Brooklyn, New York City Graduate Student Dormitory Critic : Eunjeong Seong In Collaboration With: Alihan Dumankaya
Spring 2017
Inverted Spectrum is a representation of Frank Stella’s idea of “the working space.” He describes as a subtle three dimensional space through two dimensional expression. In this project the focus was to create an active dimension through dynamic relevance between elements. The project is a challenge to create a new dimension of social scenario within a dense urban environment. By utilizing the student units as a thickened facade, unexpected encounters between the occupants are made possible. This active space is supported by additional layers as approaching to the central atrium. Frank Stella’s working space is not only represented with a contrast between the two different geometries of the atrium and the unit aggregation but also with their historical references.
formal diagram fig. 1 : perspectival view showing the different layers of the project
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figure 1
comprehensive design studio
04 Inverted Spectrum
short section figure 2
program diagram short elevation fig. 2 : short section through the atrium showing the relationship between the central element and the private units
fig. 3 : short elevation showing the disconnected
figure 3
mass from the ground floor
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exterior view fig. 1 : exterior view looking at the corner of the site,
figure 1
Myrtle Avenue and Grand Street intersection
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comprehensive design studio
04 Inverted Spectrum
Josef Albers studied color as the most relative medium in art. His biggest conjecture is that every color is related to each other and it is almost impossible to distinguish a color only as itself. As he prescribes, it is not likely to grasp fully how the exact same color can look different in a small quantity than it does in a large quantity or how the same color looks different surrounded by another color. From private rooms to shared spaces, different layers of the thickened facade system represent Josef Alber’s perception of color relativity.
sectional diagram fig. 2 : sectional exploded axon showing both
figure 2
vertical and horizontal layers of the project
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physical model fig. 1 : 1/4” = 1’-0” scale sectional physical model
figure 1
representing a private unit
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comprehensive design studio
04 Inverted Spectrum
grid shell structure
figure 2
ground floor plan
figure 3
grid shell structure
figure 4
fig. 2 : grid shell structure represented with a physical model
fig. 3 : ground floor plan indicating the urban landscape
fig. 4 : grid shell structure through color gradience
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interior render fig. 1 : interior view framing a view of the natural environment
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figure 1
comprehensive design studio
05 Remote Perception
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REMOTE PERCEPTION Riverside, The Bronx, New York Academy, Research Center Critic : Frederick Levrat
Published in: InProcess21, Pratt SOA Spring 2015
Architecture is the best way to understand nature in different perspectives. Remote perception defines a transformative and experiential building where you have different levels of visual perception. It creates a period of anticipation where you can see the landscape before you actually get into the nature. As you go through the building you get more secluded and divided which gives you an opportunity to have different visual experiences of the surroundings. I can define this building as an extension of existing built environment within the site which takes you to the natural environment. The horizontality of the building is a limit of phsyical ineraction and leads you to a visual understanding of the landscape and the nature.
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roof plan figure 1
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2
3
kinesthetics studies fig. 1 : roof plan showing different levels
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fig. 2 : a. existing environment,
figure 2
b. views, c. natural environment
comprehensive design studio
05 Remote Perception
1
2
3
renders fig. 3 : sequence renders towards the private bedroom
figure 3
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physical model fig. 1 : 1/8” = 1’-0” scale physical model showing an interior view
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figure 1
comprehensive design studio
06 Sculpture Museum
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SCULPTURE MUSEUM Manhattan, New York Sculpture Museum Critic : Philippe Baumann
Published in: InProcess21, Pratt SOA Fall 2014
Architecture is the best way to understand nature in different perspectives. Remote perception defines a transformative and experiential building where you have different levels of visual perception. It creates a period of anticipation where you can see the landscape before you actually get into the nature. As you go through the building you get more secluded and divided which gives you an opportunity to have different visual experiences of the surroundings. I can define this building as an extension of existing built environment within the site which takes you to the natural environment. The horizontality of the building is a limit of phsyical ineraction and leads you to a visual understanding of the landscape and the nature.
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elevation front elevation fig. 1 : front elevation on Chrystie Street
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figure 1
comprehensive design studio
06 Sculpture Museum
side elevation fig. 2 : front elevation on Grand Street
figure 2
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fig. 1 : interior view
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advanced design studio
07 Salon of the 21st Century
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SALON OF THE 21ST CENTURY Berlin, Germany Published in: InProcess23, Pratt SOA Salon Critic : Dagmar Richter / William Menking Summer 2017 In Collaboration with: Massi L. Surratt
Berlin has manifested itself as the clubbing capital of the world, as the wall the angst transcended into inebriated spectacle. Yet could the culture produced in Berlin’s club scene charge the current acts that produce cultural artifacts as the bouncer becomes the curator? Maybe we could paint, discuss or build our ways out of our current age of super-indifference. The salon of the Rococo produced discussions of culture, and utilized the role of the curator, all inside a super decorated space, this model could influence an age of enlightenment, all through architecture itself.
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kinesthetics studies
figure 2
fig. 1 : axonometric view taking over Treptow
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advanced design studio
07 Salon of the 21st Century
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fig. 1 : section indicating different levels of spaces
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advanced design studio
07 Salon of the 21st Century
section
figure 1
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