portfolio CEREN OKUMUŞ 2023 AUGUST
BLIND SKETCH “ROOMS”// FERHAN YÜREKLİ STUDIO
cv
WORKSHOP DECEMBER 2017
RECONSTURCTION OF ARCHITECTURAL ARCHETYPES THROUGH PLAY EXPERIENCES Mef University Architecture Faculty FADA 2017 Workshop Week I Workshop coordinator with Aybike Batuk, Selin Erdemirci
INSTALLATION MAY 2016
INVASIVE GARDEN BeşiktaşGardenandFlowerFestival installation with anonim.istanbul
WORKSHOP AUGUST 2013-NOVEMBER 2013
LIVING CARTHOGRAPHY PARTICIPENT I DESIGN & DRAWING SectioninCo-actionDevice:AstudyIArtist:İnciEvinerI13thİstanbul Biennial
CONFERENCE / PUBLICATION / COMPETITION CEREN OKUMUŞ [cerenokumus@gmail.com] [+49 177 1892475] 1991//TURKEY
EDUCATION PHD I (DOCTORATE) SEPTEMBER 2022 - 2023
ERASMUS EXCHANGE STUDENT UNIVERSTIY OF STUTTGART Architecture and Urban Planning Institut für Darstellen und Gestalten
PHD I JANUARY 2020 - SEP. 2023
İSTANBUL TECHNICAL UNIVERSITY ARCHITECTURAL DESIGN
MASTER I AUTUMN 2016 - OCT. 2019
BACHELOR I GRADUATION DATE 2014
İSTANBUL TECHNICAL UNIVERSITY ARCHITECTURAL DESIGN Thesis Title: Production Of Space Through Alternative Practices Of Food Production: The Case Of Istanbul Advisor/Prof.İpekAkpinar İSTANBUL TECHNICAL UNIVERSITY ARCHITECTURE 2012 Spring I Erasmus I Universita degli Studi di Trento
WORK
TURKISH ENGLISH GERMAN
LECTURER I Halic University I Interior Design Courses Basic Design Studio I- II Interior Desing Studio I-II Technical Drawing I-II Elective Courses Creative Thinking and Design
JUNE 2018 - AUGUST 2021
RESEARCH ASSIST. I Halic University I Architecture Faculty
JULY 2015 - AUGUST 2016, FEBRUARY 2017 - APRIL 2018
ARCHITECT I anonim.istanbuloffice
APRIL 2014 - MARCH 2015
EDITOR I DESIGNER Trip to Design Website I NeptünÖzişStudioYachtDesign
NATIVE
(B 1 .1 ONGOING)
PHOTOSHOP ILLUSTRATOR INDESIGN AUTOCAD VECTORWORKS RHINO SKETCH UP VRAY
AUGUST 2021 - AUGUST 2022
WORKSHOPS WORKSHOP JULY 2022
WORKSHOP OCTOBER 2021
SPATIAL BODIES: EXPERIENCING SPACE WITH DRAWING AND IMPROVISATION withthegrantofHalicUniverstiyScientificResearchProject withBurçeKaradağ,TuğbaSorgun,MustafaKemalYurttaş TRANSOBJECT : HOW TO EXPERIENCE OF AN OBJECT? Mef University Architecture Faculty FADA 2021 Workshop Week I workshopcoordinatorwithilkeşahin
CONFERENCE SHORT PAPER PRESENTATION I SEPTEMBER 2021
GENERATING DIFFERANTIAL SPACE: KUÇE FOOD COLLECTIVE II. National Spatial Studies Symposium, Mimar Sinan Fine Arts University
PUBLICATION SEPTEMBER 2019
A VIEV TO DEFECTIVE CONSTRUCTION : LA CONGIUNTA AND KARATEPE CANOPIES Betonart, 2019, No:60
CONFERENCE SHORT PAPER PRESENTATION I FEBRUARY 2019
REPRODUCTION OF TYPICAL ELEMENTARY SCHOOL PROJECTS WITH PLAY EXPERIENCES IJADE Conference, Creating Spaces: Inclusivity, Ethics and Participation in Art and Design Education, February 2019, London, AybikeBatuk,SelinErdemirci,CerenOkumuş
CONFERENCE SHORT PAPER PRESENTATION I OCTOBER 2017
FROM SOVEREIGN OF SEEING TO INTERACTION WITH BODY: A BACKYARD NARRATIVE IN HARBİYE Dakam Archtheo ‘17 / XI. Theory and History of Architecture Conference
COMPETITION 2014
FIRST AID KIT: TAKSIM ÇuhadaroğluAluminiumStudentProjectCompetition/ EncouragementAwardwithUmutAtlıandOzanÖzvatan
COMPETITION 2011
STAND DESIGN Bursa Stand Design Student Competition 1stMansionAwardwithUmutAtlıandOzanÖzvatan
COMPETITION 2010
KINALIADA / VIEWING DECK MimedArchitecturalSchoolProjectsCompetition 1st Year Category / Jury’s Special Award
GRAPHIC DESIGN LOGO 2022
FOR AAÇ DESIGN OFFICE
LOGO / SOCIAL MEDIA VISUALS 2020
FOR ART.HIT.ECT INSTAGRAM ACCOUNT
LOGO / STATIONERY 2020
FOR UNIQUE DESIGN OFFICE
LOGO / 2016
FOR NO8 MULTI FUNCTIONAL BUILDING withanonim.istanbul//AslıŞener
PICTOGRAMS 2015
FOR ISTANBUL’S INDUSTRIAL HERITAGE PROJECT employer DGA Architecture
PORTFOLIO DESIGN AND PRINT 2015
DGA ARCHITECTURE employer DGA Architecture
HOW TO KNOW A TEXTILE? University of Stuttgart A Design Research PhD Project Erasmus Exchange Program 2023 Summer Semester Institute of Arts - IDG Advisor// Prof. Sybil Kohl
Abstract This research explores various ways of understanding textile using the drawing method. It also seeks to uncover methods for capturing the sensation of wrinkling as an action. While both the tactile experience of wrinkling and the actual textile wrinkling are used as initial reference points in the research, drawing serves as a means to intimately acquaint oneself with the material. This process highlights the shared characteristics between the material and the individual engaging in the drawing. Consequently, drawing transforms into a representation of the dynamic interplay between the material and the person sketching. Instances of formless forms stand out as examples where this interaction becomes apparent. The research conducted at the University of Stuttgart centered around the techniques for generating formless forms, delving into how these techniques manifest across various scales of bodily movement.
PRODUCTION OF SPACE THROUGH ALTERNATIVE PRACTICES OF FOOD PRODUCTION: THE CASE OF ISTANBUL Istabul Technical University Architectural Design Master Program// Master Thesis October 2019 Advisor/Assoc.Prof.İpekAkpınar
Abstract Today, in order to make more profit, the production practices are separated from the natural and human, and unnatural methods and practices that are harmful to human health are adopted for economic growth. Alternative practices of food production that are examined in this thesis propose alternative methods to the ongoing production system in the city. Alternative production methods are therefore no longer a dream or a utopia, and by the production of solidary spaces what is thought to be a dream or a utopia is made visible. At this point the necessity of looking at the space comes to the fore. Just as in food production system, production of space has become a commodity which is a tool for maintaining the dynamics of capitalism. It has been used as an oppression mechanism of power-holders and has been separated from living and human. How is it possible to produce another kind of space in such an environment? Hence, the idea of discovering the possibilities of another space and architecture, which is the main motivation of the study, emerges. It is thought that looking at alternative practices of food production spatially may create a basis for a living-leading production of space and at the same time it may become a potential for non- hierarchical design practice. Thus, the main question of the study is revealed: what kind of potentials have been produced in the context of another way of producing/designing space by alternative practices of food production? Rather than finding a direct answer to this question, this thesis aims to understand how life experience and perceiving the space as a process make changes in design practice and space. In this context, in the second part of the thesis that follows the introduction, examples which are accepted as authoritarian attitudes in the production of space are examined. In opposition to these authoritarian attitudes, the method of looking at the space as a process and the spaces established with living that allow another way of producing space are proposed. It is emphasized that this process is designed by the user that produces an alternative to traditional methods in spatial production. The production of space by the user also questions the authority of the architect, who is regarded as the “producer of the space”. Therefore, it is thought that the examples where the architect is in a user-related position also have potential with regards to alternative ways of producing space. Consequently, the architect who creates space for the user and the user emerge as important
actors for alternative ways of producing space. In this thesis, the definition of differantial space, a notion that is coined by Henri Lefebvre who explains the spatial production as a process, constitutes the conceptual infrastructure. This notion is used because of its potential for an alternative spatial production. Lefebvre is preferred within the relevant spatial literature since he describes space as a process rather than perceiving it as a static object and sees this process as a social production. His explanation allows the transition from a rigid, untouchable, self-existent understanding of space to a lived space concept, and the space that is shaped by lived experience also constitutes a potential for breaking the hierarchical system in the design practice. Differential space also has the potential for resistance to hierarchical structures within the city and architecture. It is considered an alternative way of spatial production that can be formed by the change of designing and realization methods both inside and outside the design practice. The conceptual set proposed by Lefebvre in order to create spaces of difference is considered within the framework of the user and the architect depending on the user. In this context, the user is seen as the liberating actor of space production in the design practice. Thus, Lefebvre’s conceptual set is chosen for this study. This set is: solidary relations of production, simultaneous production and use, need/desire and imagination, usage, occupation, and appropriation. Each concept contains content related to the other concepts, so the axes are not seen as a definite dividing tool. With that, examination of the samples in the third part are aimed to be easier. While examining the samples, two different actors are used as an examination tool: first, the user-user and user-space relations are examined, then the methods of the architect as an actor liberated by the user are examined. Thus, the two-layered structure established by the conceptual set, consisting of actors and actions, is revealed. Chosen concepts can be explained as the following: solidary production relations refer to the production of collective or solidary space by joint actions. When creating a space with solidary production relations, the space can be realized with a cooperation between the users, as well as by cooperation between the architect and the user. Simultaneous production and use refers to the lack of expertise in space production, which can also be understood as space production arising
from usage and needs. The production of space with the absence of specialization also references participatory practices. Need/desire and imagination: Need is the motivation that brings about the usage and it becomes desire as time passes, and imagination allows realization of the space created by the dialectic of need and desire. Usage, occupation, ownership: Usage can be defined as theatricalization, the emergence of potential energy and the emergence of desires. Ownership, similar to usage constitutes a contradiction, and the domination established on space becomes ownership in different spaces. Among the alternative food production practices operating in Istanbul, Piyalepaşa Kent Bostanı (Piyalepaşa City Garden), Kuçe Yemek Kolektifi (Kuçe Food Collective) and Çatı Çiftliği (Roof Farm), were selected for examination as they are thought in the third chapter to constitute alternative spatialities. On-site observation and interview with users and participants are the methods used to study the selected samples. First, characteristics of the sample (physical, organizational) are put forward, and then the sample is examined with conceptual axes defıned in the second section, which allow us to understand space as a process. While examining the samples a drawing method, in which each color and conceptual axes are matched to allow understanding of life through photography, was used. Differentiation of this method from traditional architectural representation was especially preferred and visualization of differentiated space creation methods was given importance. After examination, each sample’s unique resistance method, life, organization style were discovered and the findings were diagrammed to allow a comparative reading. As a result, it can be said that the samples examined within the scope of the thesis produce a resistance or offer an alternative method in the city. While Piyalepaşa Kent Bostanı is a place that generates resistance against construction activities in the city, Kuçe Food Collective produces resistance against gentrification in the city, and the roof farm offers an alternative to the density of buildings in the city. Each practice has its own unique form of organization, and they do not produce equally hierarchical and participatory organizations and spaces. In all of the samples examined, it can be seen that the production of space is realized by actions. This cyclic state leads us to the conclusion that space and actions feed each other. Thus, it is possible to discuss the potentials of living to create space. References Acar, C. (2017). İstiklal Caddesi: İstanbul Kent Savunması ve Beyoğlu Kent Savunması İle Söyleşi. GaiaDergi. Erişim 28 Temmuz, 2019, https:// gaiadergi.com/istiklal-caddesi-istanbul-kent-savunmasibeyoglu-kentsavunmasi-ile-soylesi/ Akın, H. (2019a). İstanbul’un karma kullanımlı yapılarında sürdürülebilir yaşam alanları potansiyeli ve bir AVM projesi (Master tezi). İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, Mimari Tasarım Programı, İstanbul, ss. 117-129. Akın. H. (2019b). Kişisel görüşme. 25 Ağustos, İstanbul. Arıkan, B. (2019). Kişisel görüşme. 1 Eylül, İstanbul. Ayalp Karakaya, E. (2018). Güncel Gıda Hareketinin Alternatifliği: Kavramsal ve Eleştirel Bir Derleme. Beyond.İstanbul, Mekanda Adalet ve Gıda, sayı 3, s.67-72. Bartu Candan, A. Özbay, C. (2015). Yeni İstanbul Çalışmaları: Yersiz, Havasız, Mülksüz Kent. Ayfer Bartu Candan, Cenk Özbay (Ed.) Yeni İstanbul Çalışmaları içinde (s.11-15). İstanbul: Metis. Bostan Hikayeleri (2019). Erişim 4 Temmuz, 2019. http://bostanhikayeleri. com/ Bostan’dan Tatavla’ya (2019). Kişisel görüşmeler. Mart-Ağustos, İstanbul.
Colective. (Kolektif). (t.y.). Lexico Oxford dictionary içinde. Erişim tarihi: 1 Ağustos 2019. Erişim adresi: https://www.lexico.com/en/definition/ collective Dayanışma. (t.y). Türk Dil Kurumu güncel Türkçe Sözlük içinde. Erişim tarihi: 1 Ağustos 2019. Erişim adresi: http://sozluk.gov.tr/ Doğançayır, C. M., ve Kocagöz, U. (2019). Kent-Kır Arasında ve Ötesinde: Yerleşik ve Yeşeren Gıda Ağları, beyond.istanbul. Erişim 29 Temmuz 2019, https://beyond.istanbul/kent-kır-arasında-ve-ötesinde-yerleşik-veyeşeren-gıda-ağları-9799a4665d26 Doğançayır, C. M., ve Kocagöz, U. (2018). Alternatif Gıda İnsiyatifleri Söyleşileri. Beyond.istanbul Mekanda Adalet ve Gıda, Sayı 3, s.72-117. İstanbul Herkes İçin Mimarlık (2019). Erişim 25 Temmuz, 2019. https:// herkesicinmimarlik.org/en/ Holt-Giménez, E. (2018). Gıda ve Kentler. Beyond.istanbul Mekanda Adalet ve Gıda (Umut Kocagöz, Çev.), Sayı 3, s.118-122. İstanbul. Ekoharita (2015). Erişim 2 Eylül 2019. https://www.ekoharita.org/ekolojiharitasi/. Fırat, B. Ö. (2018). Küresel Hareket Döngüleri ve Müşterekleşme Hareketleri. Müşterekler, Erişim 3 Ağurstos, 2019, https://musterekler. sehak.org/2018/12/07/kuresel-hareket-donguleri- ve-mustereklestirmehareketleri-begum-ozden-firat/ Fitting, P. (2002). Urban Planning/Utopian Dreaming: Le Corbusier’s Chandigarh Today. Utopian Studies, 13(1), 69-93. Erişim 12 Temmuz, 2019, http://www.jstor.org/stable/20718410 Forty, A. (2004). Words and Buildings. London, Thames & Hudson. Harvey, D. (2013). Asi Şehirler. İstanbul: Metis Yayınları. Harvey, D. (2013). Sosyal Adalet ve Şehir. İstanbul: Metis Yayınları. Kaldjian, P. (2004). Istanbul’s Bostans: A Millennium of Market Gardens. Geographical Review , 94 (3), 284-304. Kuçe Yemek Kolektifi. (2019). Kişisel görüşme. 2 Ağustos. İstanbul. Kuçe. (2018). Erişim 25 Haziran 2019. https://www.facebook.com/pg/ kuceyemekkolektifi/about/?ref=page_i nternal Jacobs, J. (2011). Büyük Amerikan Şehirlerinin Ölümü ve Yaşamı. İstanbul: Metis Yayınları, s. 34. Latour, B., Yaneva, A. (2014, Temmuz 1). Mimarlık Dergisi. (C. Gündüz, Dü.) Mart 10, 2019 tarihinde mimarlikdergisi: http://www.mimarlikdergisi. com/index.cfm?sayfa=mimarlik&DergiSa yi=392&RecID=3438 adresinden alındı. Lefebvre, H. (2016). Mekanın Üretimi. İstanbul: Sel Yayıncılık. s.68, s.191, s.364. Leary, M. E. (2009). The Production of Space through a Shrine and Vendetta in Manchester: Lefebvre’s Spatial Triad and the Regeneration of a Place Renamed Castlefield. Planning Theory & Practice , 10 (2), 189-212. s. Milgrom, R. (2009). Lucien Kroll: Design, Difference, Everyday Life. Kanishka Goonewardena, Stefan Kipfer, Richard Milgrom and Christian Schmid ( Ed ). Space, Difference, Everyday Life içinde (s. 264-281). New York: Routledge. Otorite, Hiyerarşi ve Cinsiyetçiliğin Olmadığı Bir Kolektif: Kuçe Y emek Kolektifi. (2019). Erişim: 25 Haziran 2019. https://meydan.org/ gundem/2019/03/otorite-hiyerarsi-ve- cinsiyetciligin-olmadigi-bir-kolektifkuce-yemek-kolektifi/ Piyalepaşa Bostanı Tescilli Bir Kültür Varlığı (Eylül-Ekim 2015). Arkeologlar Derneği Bülteni, Sayı 5, Erişim 1 Haziran, 2019, http://arkeologlardernegi. org/ Petrescu, D., Trogal, K. (2017). The Social (Re)production of Architecture in ‘Crisis-Riddled’ Times. Doina Petrescu, Kim Trogal (Ed.) The Social (Re) production of Architecture, Politics, Values and Actions in Contemporary Practice içinde (Bölüm 1). London: Taylor and Francis Sadri, H. (Mayıs-Haziran 2012). Meslek Etiği: Mimarlık ve İnsan Hakları (1), Mimarlık, 365, Erişim 2 Temmuz, 2019, http://www.mimarlikdergisi.com/ index.cfm?sayfa=mimarlik&DergiSa yi=379&RecID=2952 Stanek, L. (2012). Architecture as Space, Again? Notes on th Spatial Turn, Le Journal Spéciale Z. Schmid, C. (2009). Henri Lefebvre’s Theory of the Production of Space. Shields, R. (2005). Lefebvre, Love and Struggle : Spatial Dialectics, (s. 141185). New York: Routledge. A.g.y. (2005). Lefebvre, Love and Struggle : Spatial Dialectics, s. 183. New York: Routledge. Spatial Agency. (n.d.) Erişim Temmuz 10, 2019, http://www.spatialagency. net/ Stavrides, S. (2018). Müşterek Mekan: Müşterekler Olarak Şehir (Cilt 1). (C. Saraçoğlu, Çev.) İstanbul: Sel Yayıncılık. Tanyeli, U. (2017). Yıkarak Yapmak: Anarşist Bir Mimarlık Kuramı İçin Altlık. İstanbul: Metis. Tschumi, B. (1994). Event-Cities. New York: MIT Press. Yalçıntan, M. C., Çalışkan, O., Çılgın, K., Dündar, U. (2014). İstanbul Dönüşüm Coğrafyası. Ayfer Bartu Candan, Cenk Özbay (Ed.) Yeni İstanbul Çalışmaları içinde, (s.47-70). İstanbul: Metis
Rectangular forms must be designed to reduce the heat loss in the cold climate.
REPRODUCTION OF TYPICAL ELEMENTARY SCHOOL PROJECTS WITH PLAY PRACTICES* IJADE Conference, Creating Spaces: Inclusivity, Ethics and Participation in Art and Design Education, February 2019, London, AybikeBatuk,SelinErdemirci,CerenOkumuş
There must be less windows particularly on northern facades in order to provide natural lighting and ventilation.
*This research was produced within the scope of Istanbul Technical University Architectural Design Master Program Project I Course
Abstract This article discusses the potentials of play practices in terms of spatial production and the possibilities to reshape The Typical Elementary School Project applications with those potentials. The research argues the subject into two main lines; the first is taking school as ‘free’ space, and the second is to approach the play phenomena as a multiplier of possibilities. Initially, the historical background and spatial arrangements of the Typical Elementary School Project are investigated. The Design Manual for Elementary Schools, which prepared by the Ministry of Education (Turkey) for constructing The Typical Elementary School in 2015, defines rational design principles based only on numerical and mathematical data. After discussing the theoretical framework of the play as a generator of new potentials and possibilities, the rules of the design manual are compared with play practices. The comparison of typical school design principles and children’s play practices reveals a contradiction between the spatial organization of the typical school projects and playing experiences of children. The rules of the Design Manual and the play practices were diagrammed. These two contradictory diagram sets have been juxtaposed to multiply the possibilities of spatial production. Keywords: :Typical School Project, Juxtaposition, Child, Play Practices, Production of Space
References Agamben, G. (1993) Infancy and History: The Destruction of Experience. London, New York: Verso, pp. 69-70. Atay, G. (2014) Mekân Kurucu Öğe Olarak “Oyun”: Kurgusuz Oyunun “Sınırsız” Mekânları, Saraydan Sokağa Oyun, İstanbul: Kabalcı Yayınevi, pp.161-178, 166. Breton, A. (1969) Manifestoes of Surrealism, Ann Arbor: University of Michigan Press. Ciravoğlu, A. (2004) Anaokulları İnternet Taraması, Mimarist, Vol. 4, No. 11, pp. 69-74. Available at; http://www.mimarist.org/mimar-ist-sayi-11-bahar-2004/ (accessed 4 June 2018). Huizinga, J. (1949) Homo-Ludens: A Study of the Play Element in Culture, London: Routledge & Kegan Paul, pp.3-5. Ko, Christie. (2008) “Politics of Play: Situationism, Détournement, and AntiArt”. FORUM: University of Edinburgh Postgraduate Journal of Culture & The Arts, August. Available at; http://www.forumjournal.org/article/ view/599 (accessed 4 September 2019). Köse, Ç. & Barkul, Ö. (2012) A Study on The Problems of The Implementation of Project Type Primary Structures, Megaron, Vol. 7, No. 2, pp. 94-102 (online). Available at; http://www.megaronjournal.com/tr/jvi.
[Shape 1 & 2] The rules of the Design Manual and the play practices were diagrammed.
There must be no arrangements made Rectangular modules that to be helpful to formed by one or climb the roof two blocks must between the trees and school windows. be built in the warm climate zones.
The surfaces must be generally flat.
Manager rooms must be placed in such a way that the students can be easily watched during their activities.
The outer surfaces must be uniform, have integrity between the shape and dimension.
Console stairs must be avoided. All the stairs must be continuous until the basement floor.
Play Practices Diagrams
[Shape 3 ] We juxtaposed these diagrams and tried to discover the production of different variations by different matchigs to reveal the possibilities of multi-probability spatial situations and the spaces produced by these spatialities.
Design Manual Diagrams
Juxtaposition Diagrams (Play Practices x Design Manual)
Spatial Intervention produced by diagrams
[Shape 4] When this diagram space turned into spatiality, the wide openings with the sense of flying in the typical elementary school building had appeared.
[Shape 5] Implementation of the diagrams in the school spaces has resulted in non-linear openings that make similar senses discovered in excitementspace analogies.
[Changing Levels]
Principal’s rooms will be located in such a way that students can be easily monitored, especially during extracurricular activities and between classes.
[Shape 6] 7-J As a result of 7-J juxtoposition, the monitoring rule turned inside-out and playing areas in the school building produced.
ESENTEPE NO 8 MIXED USED BUILDING anonim.istanbul architecture July 2015 - August 2016
Location: İstanbul / Gayrettepe Team: Aslı Şener, Burcu Serdar Köknar, Niyazi Erdoğan, Ceren Okumuş, Hande Kalender, Artun Agbulut, Yağmur Yenice, Murat Usta Sinan Kolip, Burak Can
No8 project, is the latest phase in transforming a building, which went through several renovations since it was built. It is located in Gayrettepe, İstanbul. While the building was being transformed, all interior and exterior parts were renovated except for the strengthened construction system. The building, which was previously used as an office building, has gained different uses such as a cafe, restaurant, office, fitness area, recreational roof, and hobby areas with its new design. The air conditioning system was a difficult part of the design due to the low ceiling height, so the air conditioning pipes were placed inside the mesh façade design. I took part in conceptual design, technical design & drawing and construction processes.
Model & Image : Ceren Okumuş Programs used: Sketch Up, Adobe Photoshop
photos: YERÇEKİM
entrance
entrance cafe
scullery
kitchen
massage area work&eat fitness area
restaurant
changing rooms
garden office
meeting room
office
office
meeting room
office
entrance & cafe
meeting room
work & eat
welcome desk
office
cafe&restaurant plans
restaurant
hobby area
office
meeting room carpark
Drawings & Images : Ceren Okumuş Programs used: AutoCAD, Adobe Photoshop
a-a section
office plans
Drawings : Ceren Okumuş, Yağmur Yenice Programs used: AutoCAD
façade / catwalk / air-conditioning system One of the most important aspects of the project was the new facade design. The old facade was teared apart and rectangular shaped mesh structure applied. With the catwalks placed on the new facade system, the offices were accessed to the outside. The pipes for the HVAC system were placed in between space with the building walls and the mesh facade. The air distubuters were hidden inside the interior seperators.
old façade
new façade
section drawing
F3-F3 kesiti su yalıtımı, TPO F2 membran (0,25 cm) ısı yalıtımı, mukavemetli taş yünü (4+4 cm) poliüretan buhar kesici (0,1 mm) trapez sac levha (5 cm) eğim profili (%1) çelik kutu profil kiriş 2UNP140
4
cafe & restaurant kitchen
1
D24
2.5 17 70.9
D24
A6: Kapaklı yapılacak.
D
D22 D21
buzdolabı 75.7
47.8
B26
2UNP 140 profil
54.7
95
SERAMİK
A7 A8
özel büküm saç elektrik kanalı u profil (armatür montajı yapılacak) 100x200x5 mm
A6 A9
A5
seramik (6 mm) yapıştırıcı (3 mm) 663.3 şap (12 cm) asmolen döşeme (32 A2 cm) sıva (2 cm)
A1
masif parke (14 mm) yapıştırıcı (6 mm) şap (11 cm) asmolen döşeme (32 cm) sıva (2 cm)
30*30
B23
seramik (2cm) yapıştırıcı (5 mm) su yalıtım membranı eğim betonu (5-12 cm) geotekstil (0,5 cm) ısı yalıtımı (3 cm) asmolen döşeme (32 cm) sıva (2 cm)
masif parke (14 mm) yapıştırıcı (6 mm) şap (11 cm) asmolen döşeme (32 cm) sıva (2 cm)
A3
F4
equitone fibre cement kaplama malzemesi
B20
231.1
B22
D19
B28
484.6
148.8
F4
A12
574.7
12
seramik (6 mm) yapıştırıcı (3 mm) şap (12 cm) asmolen döşeme (32 cm) sıva (2 cm)
A11
90
90
A14
BULAŞIKHANE
1.2
104 6,8m2
kutu profil 120x120x5 mm
12
A13
9
B27
388.4
masif parke (14 mm) yapıştırıcı (6 mm) şap (11 cm) asmolen döşeme (32 cm) sıva (2 cm)
A11: Verilen ölçüden daha kısa yapılacak.
+5.94
12
+5.94
masif parke (14 mm) yapıştırıcı (6 mm) şap (11 cm) asmolen döşeme (32 cm)elektrik sıva (2 cm) şaftı
100x200x5 mm
POS Q
sebil borusunun yeri tekrar konuşulacak.
D23
D22 The cafe & restaurant is designed to serve D21 both office users and non-office users. It is reached from the street level and has 2UNP 140 profil kutu profil 120x120x5 mm özel büküm saç eating and different options for different elektrik kanalı u profil seramik (2cm) (armatür montajı working conditions. yapıştırıcı (5 mm) yapılacak) su yalıtım membranı eğim betonu (5-12 cm) geotekstil (0,5 cm) ısı yalıtımı (3 cm) asmolen döşeme (32 cm) D20 sıva (2 cm)
mutfak konstrüksiyonu arka kolonlar kaldırıldı mı? son karara göre kapama genişliği belirlenecek.
D23
343.9
D
F1
su yalıtımı, TPO membran (0,25 cm) ısı yalıtımı, mukavemetli taş yünü (4+4 cm) poliüretan buhar kesici (0,1 mm) trapez sac levha (5 cm) eğim profili (%1) çelik kutu profil kiriş 2UNP140
1 1 1 1 1 1 1 1 1 1 1 1 2 1 1
ANKASTR
B20 B21 B22 B23 B24 B25 B26 B27 B28
1 1 1 1 1 2 1 1 2
BULAŞIK
ANKASTR ANKASTR EKMEKLİK DUVAR DA
ÖNÜ AÇIK SETÜSTÜ ELEKTRİKL COMBİ OV DUVAR RA
1 EVYELİ ÇÖP ÜNİTE DUVAR RA SOĞUK TE
SOĞUK TE
60 LS/S Ç 1 EVYELİ ÖN YIKAM T.ALTI BU DUVAR RA
ETEJER,AL ETEJER,AL KIRIKLI TE
D24 YEMEK BARI 103 38,6m2 AHŞAP / SERAMİK
+2.95B21
PROJE ADI
+2.95
+2.95
12
+2.95
A1 A2 A3 A4 A5 A6 A7 A8 A9 A10 A11 A12 A13 A14 A15
F3
F3
ESENTEPE
50.1
temizlik
kale seramik 17,5x60 cm
B28
79
6
160
6
160
6
79
REVİZYON-1
12
C
12
C
54.7
12
Tavan alçıpan ile kapatı
A4
REVİZYON-2
ahşap parke
Konstrüksiyon aralıkları
F2-F2 kesiti B
F1-F1 kesiti
B
702.2 43.4
5.8
83.2
98 222
5.8
330.1
P11a
P11
5.8
82.7
5.4
83 138
5.8
K26
330 138
98.7
83 138
35.5
P11b
D18 4
su yalıtımı, TPO membran (0,25 cm) ısı yalıtımı, mukavemetli taş yünü (4+4 cm) poliüretan buhar kesici (0,1 mm) trapez sac levha (5 cm) eğim profili (%1) çelik kutu profil kiriş 2UNP140 alçıpan asma tavan
eğim profili
4
D25
F2
PAFTA KAPSAMI
F1
+2.95
222
masif parke (14 mm) yapıştırıcı (6 mm) şap (11 cm) asmolen döşeme (32 cm) sıva (2 cm)
264.5
masif parke (14 mm) yapıştırıcı (6 mm) şap (11 cm) asmolen döşeme (32 cm) sıva (2 cm)
1/20 PLAN 2UNP 140 profil
60x60x5 mm çelik kutu profil
4
2UNP 140 profil
su yalıtımı, TPO membran (0,25 cm) ısı yalıtımı, mukavemetli taş yünü (4+4 cm) poliüretan buhar kesici (0,1 mm) trapez sac levha (5 cm) eğim profili (%1) çelik kutu profil kiriş 2UNP140 alçıpan asma tavan
+2.95 1
F3-F3 kesiti F2
4
F4-F4 kesiti
Drawings : Ceren Okumuş DESCRIPTION DIMENSIONS MM Programs used: AutoCAD
F1 mutfak konstrüksiyonu arka kolonlar kaldırıldı mı? son karara göre kapama genişliği belirlenecek.
POS Q
sebil borusunun yeri tekrar konuşulacak.
01-YEMEKHANE
A11: Verilen ölçüden daha kısa yapılacak. A6: Kapaklı yapılacak.
D
70.9
2.5 17
12
D
buzdolabı
A13
A14
95
A7 A8
A6
388.4
A2
A1
A3
1 1 1 1 1 2 1 1 2
BULAŞIK SIYIRMA TEZGAHI
ÖNÜ AÇIK ALT DOLAP-800MM SETÜSTÜ ARA TEZGAH,ÖNÜ KAPALI-400MM ELEKTRİKLİ 2-PLEYTLİ OCAK-400MM COMBİ OVEN 4 600X400 ELECTRIC - LEFT OPENING DUVAR RAFI 1 EVYELİ ÇALIŞMA TEZGAHI ÇÖP ÜNİTESİ DUVAR RAFI SOĞUK TEZGAH 6X21 ÇEKMECE, SIRTLI-CONCEPT SOĞUK TEZGAH,410LT,3 KAPI,SIRTLI-STD
148.8
F4
60 LS/S ÇÖP ARABASI-KAPAKLI 1 EVYELİ ÇALIŞMA TEZGAHI ÖN YIKAMA DUŞU, TEZGAH TİPİ, SPREY ÜNİTELİ T.ALTI BULAŞIK M.540T/S,2 PRG.PD.DP.1PH DUVAR RAFI ETEJER,AL.AYAK,4.P.ETİLEN RAF-475X1304MM ETEJER,AL.AYAK,4 P.ETİLEN RAF-475X1394MM KIRIKLI TEPSİ TOPLAMA ARABASI
484.6
231.1
B28
B20 B21 B22 B23 B24 B25 B26 B27 B28
ANKASTRE KURU TİP BENMARİ, ÜST RAFLI-3GN ANKASTRE TABAK DİSPENSERİ,ÇAP:310MM EKMEKLİK & KUVER UNİTESİ DUVAR DAVLUMBAZI,304-2000X1100MM,EXPORT
120 115 35.5 120 200 80 40 40 86 155 155 60 172 172.1 172.1
70 65 35.5 45 110 55 73 73 88.2 40 70 70 40 70 70
156.5 70.7 69 50 50 60 25 25 70.9 3 100 90 3 95 95
120 45 140 30 60 90 130.4 130.4 65.7
70 45 70 20 61 40 47.5 47.5 48.7
85 64 100 115 82 3 170 170 159
02-BULAŞIKHANE
663.3
B22 B20
ANKASTRE SOĞUK HAVUZ AÇIK TİP TEŞHİR-3GN
A9
A5
30*30
B23
F4
A12
574.7
12
1.2
SERAMİK
elektrik şaftı
A11
54.7
BULAŞIKHANE
343.9
104 6,8m2
1 1 1 1 1 1 1 1 1 1 1 1 2 1 1
90
90
9
B27
12
75.7
47.8
B26
A1 A2 A3 A4 A5 A6 A7 A8 A9 A10 A11 A12 A13 A14 A15
PAFTA NO
YEMEK BARI 103 38,6m2 AHŞAP / SERAMİK
PROJE ADI
SK06
B21 12
PAFTA ADI
F3
F3
temizlik
79
6
160
6
160
6
79
B
B
83.2
5.8
330.1
5.8
82.7 83 138
5.8
330 138
43.4
83 138
K26
5.8
TARİH
ÖLÇEK
1/20
ÇİZEN
CEREN OKUMUŞ YAĞMUR YENİCE
KONTROL EDEN
702.2 98.7
Tavan alçıpan ile kapatıldı.
Modelling: Ceren Okumuş REVİZYON-2 Programs used:Konstrüksiyon SketchUp aralıkları düzenlendi.
A4
ahşap parke
35.5
REVİZYON-2
REVİZYON-1
12
C
12
kale seramik 17,5x60 cm
B28
54.7
12
MUTFAK SİSTEM KESİDİ
model and section drawing of the kitchen 27.05.16
50.1
C
ESENTEPE
5.4
ASLI ŞENER
office spaces The building has two same office floors which includes two meeting rooms. Empty space inside wooden seperators were used for placing air distributers that serve to the floor. The same design language were also used on wood cabinet doors and were created extra space for coats, water dispenser.
Drawings : Ceren Okumuş, Yağmur Yenice Programs used: AutoCAD
plan
elevations
sections
KTARI 1 ADET
logo & businesscard for the restaurant
custom made furniture designs
ground floor welcome desk
meeting room shelf
Design : Ceren Okumuş Programs used: Adobe Illustrator
door graphics
meeting room cupboard
AHLAT YOUTH CAMP ARCHITECTURAL DESIGN COMPETITION anonim.istanbul architecture July 2017 Location: Ahlat, Bitlis, Turkey Design Team: Ersin Temürcan, Sait Ali Köknar, Burcu Serdar Köknar, Aslı Şener, Hande Kalender Advisor: Kubilay Savaşeri Assistant: Ceren Okumuş, Cem Çakaloğlu, Fazıl Efe İlgen, Burak Can, Artun Agbulut, Zafer Nuriyev Ahlat Youth Camp Architectural Design Competition is a project which I took part when I was working in anonim.istanbul design office. Project aims to emphasize the view of Nemrut and Süphan Mountains, which located northeastern side of Lake Van. Besides, with accomodation solutions which has common spaces highlights guests interaction. As an assistant, I prepared and coloured the sections, elevations, floor plans, landscape plan and round-shaped diagrams of the project.
HALİÇ (GOLDEN HORN) SHIPYARD SCIENCE CENTER LANDSCAPE PROJECT anonim.istanbul February 2017- May 2018 Location: İstanbul, Haliç (Golden Horn) Team: Burcu Serdar Köknar, Aslı Şener, Ceren Okumuş, Başak Bilge Akçağoğlu, Dilek Yürük This project started with historical research on the Haliç (Golden Horn) Shipyard and its surroundings. The fact that the area is a very important point for Istanbul, increased the importance of historical research. After the research, due to the coastline of the area and the importance of the shipyard in the history of Istanbul, the design approach was to preserve the public space and the elements that would keep the memory of the shipyard alive in situ. In the project to be realized in 3 phases, it was decided that the 1st and 2nd phases would include a controlled public space project, while the 3rd phase would include the preservation of the shipyard, which was operating with low density at the time of the project, and making it suitable for visits.
TERSANE-İ ÂMİRE OLARAK DA BİLİNEN İSTANBUL TERSANESİ İSTANBUL’UN FETHİNDEN HEMEN SONRA FATİH SULTAN MEHMET TARAFINDAN 1455 YILINDA HALİÇ KIYILARINDA KURULUR. BAŞLANGIÇTA BİRKAÇ GÖZ OLAN TERSANE ZAMAN İÇİNDE BÜYÜR VE ÖNEMLİ BİR GEMİ ÜRETİM MERKEZİ HALİNİ ALIR. (KÖKSAL, 1996) GÜNÜMÜZDE HALİÇ TERSANESİ TERSANE-İ ÂMİRE’NİN BİR PARÇASI OLARAK KASIMPAŞA’DA BULUNMAKTADIR.
BUGÜN TERSANE-İ AMİRE
TAŞKIZAK TERSANESİ
CAMİALTI TERSANESİ
HALİÇ TERSANESİ
Green circle shows the location of the project area
PROJECT HTBMPROJESİ // PEYZAJ PROJES HTBM // LANDSCAPE PEYZAJ PROGRAM CHANGES IN THE COASTLINE PROPOSAL THROUGH HISTORY KIYI ÇİZGİSİNİN TARİHSEL SÜREÇTEKİ DEĞİŞİMİ
1922
ŞEHİR HARİTASI
1966
HAVA FOTOĞRAFI
1982
HAVA FOTOĞRAFI
2015
HAVA FOTOĞRAFI
GÜNCEL KIYI ÇİZGİSİ
KAYNAK: ISTANBULURBANDATABASE.COM
PROJECT HTBMPROJESİ // PEYZAJ PROJES HTBM // LANDSCAPE PEYZAJ
HISTORICAL LAYERING
PROGRAM PROPOSAL TARİHSEL KATMANLAŞMA
3 NO’LU HAVUZ ÇEŞME
1800
3 NO’LU HAVUZUN GENİŞLETİLMESİ MAKİNE ATÖLYESİ 2 NO’LU HAVUZ VE DUVARI MAKİNE- KAZAN DAİRESİ AZAPKAPI
1870
AHŞABİYE ATÖLYESİ MAKİNE-KAZAN DAİRESİ GENİŞLETİLMESİ 1 NO’LU HAVUZ VE DUVARI
1900
AHŞABİYE ATÖLYESİ EK YAPILARI TESVİYE ATÖLYESİ ESKİ MALZEME DEPOSU İNŞAAT ATÖLYESİ KIZAKLAR
1970
TARİHİ BİLİNMİYOR ESKİ AZAPKAPI KIYI ÇİZGİSİ
KAYNAK: -ISTANBULURBANDATABASE.COM -GÜL KOKSAL,1994 -BİMTAŞ RÖLÖVE RAPORLARI
PROJECT HTBM // LANDSCAPE PEYZAJ HTBMPROJESİ // PEYZAJ PROJES
PROGRAM PROPOSAL
PROGRAM ÖNERİSİ MÜZE GİRİŞİ MUSEUM ENTRANCE GÜV ENL
İK
EXHIBITION SERGİ
KAMUSAL ALAN PUBLIC SPACE
ENTRANCE GİRİŞ
KONTROLLÜ KAMUSAL ALAN CONTROLLED PUBLIC SPACE KAMUSAL-KONTROLLÜ KAMUSAL ARASI GÜN İÇİNDE AYRILMIŞ // KONTROL NOKTALARI CONTROL POINTS
RESTAURANT RESTORAN
TESFİYE ATÖLYESİ WORKSHOP SÜRELİ SERGİ TEMPORARY EXH.
ETAP 1
PHASE 1
TAM KAPALI TERSANE BÖLGESİ
MACHINERY MAKİNE ATÖLYESİ WORKSHOP
LIVED SHIPYARD YAŞAYAN TERSANE SERGİSİ EXHIBITION
SHIPYARD AREA
ETAP 2
PHASE 2
ETAP 3
PHASE 3
SHIPYARD TERSANE
PUBLIC PARK TAM KAMUSAL
ALANA UĞRAYAN SEA TRANSPORTATION DENİZ ULAŞIMI POINT
KONTROLLÜ ZİYARET ROTASI CONTROLLED VISITING ROUTE
PROJECT HTBM // LANDSCAPE PEYZAJ HTBMPROJESİ // PEYZAJ PROJES
PHASE 1 // DESIGN PROPOSAL
PROGRAM ÖNERİSİ
değişken bahçeler
PROJECT HTBM // LANDSCAPE PEYZAJ HTBM //PROJES PEYZAJ PROJES
PHASE 1 // SITE PLAN
PROGRAM ÖNERİSİ
CANOPIES
In the project where the preservation of publicity and the character of the shipyard are the main ideas, the layering of the shipyard is used as a design approach. The public platforms that will unite the large exhibition structures belonging to the shipyard and planned to be preserved are reinforced with different public proposals that emphasize the shipyard’s constant mobility. These proposals include the unifying platforms, dry pool, moving gardens, playground, open exhibition area, and public spaces shaded by canopies and trees. All these proposals aim to ensure the public use of the area.
MOVING GARDEN DRY POOL
BLOCK I MACHINERY WORKSHOP
I took part in concept design, construction design & drawing parts. Project didn’t realized.
GRID WOODED AREA
CARPARK AREA
MOVING GARDEN
BLOCK A ENTRANCE BUILDING
BLOCK H MANAGEMENT OPEN EXHIBITION SPACE UNIFYING PLATFORMS
BLOCK B EXHIBITION SPACE
BLOCK F RESTAURANT BLOCK G EXHIBITION HALL PLAYGROUND
BLOCK D INNOVATION CENTER
CAR ENTRANCE-EXIT
HTBM // PEYZAJ PROJESİ
A scene from the design area
HTBM // PEYZAJ PROJESİ
Grid Wooded Area
HTBM // PEYZAJ PROJESİ
Block A // Entrance Building // Moving Gardens // Unifying Platforms
HTBM // PEYZAJ PROJESİ
Unifying Platforms
HTBM // PEYZAJ PROJESİ
Design suggestion // canopies
PROJECT HTBM // LANDSCAPE PEYZAJ HTBMPROJESİ // PEYZAJ PROJES
PHASE 1 // SHIPYARD INVENTORIES
PROGRAM ÖNERİSİ HALİÇ TERSANESİ HTBM // PEYZAJ PROJESİ
TERSANE KİMLİĞİNİN KORUNMASINA YÖNELİK ENVANTER ÇALIŞMASI Inventories from the shipyard were photographed and listed for use in the design project.
TERSANE KİMLİĞİNİN KORUNMASINA YÖNELİK ENVANTER ÇALIŞMASI
TERSANE KİMLİĞİNİN KORUNMASINA YÖNELİK ENVANTER ÇALIŞMASI TERSANE KİMLİĞİNİN KORUNMASINA YÖNELİK ENVANTER ÇALIŞMASI
VISUALISATION // PORTFOLIO DESIGN in DGA Architecture March-April 2015
During the time that I worked in Dila Gökalp Architecture, I produced works in various fields of architecture. These are revisualization of the projects, preparing an office portfolio, Gaziemir Masterplan competition idea and visualization, Industrial Heritage research project coordination, research and visualization.
pictograms for portfolio MOBİLİKE L E V E N T O F İ S İ
project re-visualisation MİLANO MODERN SANAT MÜZESİ
1
ana müze strüktürü
2
müze ek işlevleri toplar
3
müze ek işlevleri dönüştürür
4
meydan fonksiyonel farklılık ile biçimlenir performans alanı ve açık kütüphane
müze
industrial heritage mapping // logo design
MADEN İŞLEME GIDA DERİ ENERJİ KİMYEVİ MADDE
5
geçirgen yüzeyler ile hacimler arasında iç-dış ilişkisi kurulur
yeme içme alanı idari birim ve cafe
scene from a project / modelling:rhino render:vray
HOUSING IN CITY ECOSYSTEM //KAĞITHANE BACHELOR GRADUATION PROJECT
While the number of inhabitants in metropolis Istanbul are growing rapidly and uncontrollably, the city is opening up new settlement areas which can be described as slots. Kağıthane is a place in the center of transportation nodes of İstanbul, is one of that slots of the city. Attempts to clean Cendere River, increasing student population along with new university campuses, urban transformation plans and the extra population of Levent office area affects the change of empty industrial spaces in Kağıthane and turn them into offices and dwellings. Regarding as a recreational area beginning from it’s past, new scenarios for Kağıthane as same as new generation settlement areas: settlement for the high-income population. However, of course there can be other scenarios as well. In this project, Kağıthane considered with it’s own city potentials and several question asked to improve the city’s own ecosystem.
atİstanbulTechnicalUniversity February 1 -June 1
research for an alternative dwelling: the situaitions which faced in housing production in the city
?
public space usage
research for an alternative dwelling: the situaitions which faced in housing production in the city additions on existing situations
belgrad
haliç
housing project
occupied public space
recreational area for housing
kalan son last green alanları spaces of the city
potential of being an ekolojik ecological koridor corridor olma
how can micro values of the are be used? DIVERSITY OF THE USER
potansiyeli
?
convenient for public transportation
among the riverside
gecekondu ve toplu konut alanları
boyunca 8 KM BICYCLE ROAD YOLU
shanty town and housing area
RIVER TRANSPORTATION
NEW OFFICES AND HOUSINGS NEW METRO LINE
empty factory buildings
CITY BAZAAR WHICH WILL BE MOVED TO AN UNCERTAIN PLACE
gecekondu ve toplu konut alanları
bugün
bugün
today
today
today
decrasing public space
tı kıyı hat
tı kıyı hat
tı kıyı hat
sadabad parkrecreation area
bugün
how can the entegration be possible?
shanty town and housing area
tı
kağıthane riverside recreation
?
NEW UNIVERSITY BUILDINGS
tı kıyı hat
kağıthane kıyı düzenlemesi
20 yy
river for all city
URBAN TRANSFORMATION
atıl kalmış fabrika alanları
18.yy
how can the existing city potential be used?
cendere cendere river which deresi connects haliç and belgrad forest
DIFFERENT TYPE OF TRANSPORTATION
2
sadabad parkı
? haliç ile belgrad’ı
kıyı hat
1
?
how can publicly used housing be produced?
The project consist of three main units, these are city units, circulation and housing units. While circulation and city units are totally open to public usage, the housing units designed as private areas considering of the user privacy. Public spaces under the housing units work with the city units and create meeting points of the project. City hubs allows public meetings in front of them and consist spaces such as library, openair cinema and city bazaar.
*
city units circulation housing units
housing buildings There are five housing buildings in the area which has three types. Circulation of the every housing block is attached to the main circulation in the 4.00 m level.
city units Using both the potentials of the city and the micro values of the area, this project aims to create a housing area that can be used as a public space. It can be seen as an alternative acoomodation design to gated communities which are highly popular in İstanbul.
housing units circulation kindergarden city unit
library city units
city unit
circulation
housing units Regarding the user numbers and changing needs of the users, the housing blocks consist of different housing units which has three sizes and seven types of plans. Plans are combined in a way that every unit has a patio and minimum connection with the main circulation.
open-air cinema, bazaar
a
city unit+ ferry dock
1
housing units
2
site plan
3
b
c
blok A1 plans
STREET.DWELLING BACHELOR 7TH SEMESTER DESIGN STUDIO atİstanbulTechnicalUniversity September 13-January 1 coordinatorDenizAslan
Are dwellings totally private? If dwelling units shared, what can change in daily life? Is a dwelling can be open to the city, to the street? The questions that I asked at the beginning of the project help me to question the structure of the modern dwelling and the way of using a dwelling in a daily life. Because of the fast-living way of life, dwelling became a place where most people spend limited time in it. This caused a limited personal production as well. Besides, because of the fast-living, encounters in the public spaces decreased, too. As a result of the lack of encounters, idea flow is decreasing which allows production and creativity. The main idea which shapes the project is creating shared spaces as an alternative to the privatized spaces. StreetDwelling,
which works as an opposite to the gated communities, is trying to create spaces where the street and dwelling being meshed. This meshing allows in-between spaces where can give opportunities to several encounters. The users of the area can share their private dwellings both with the other inhabitants of the project and passer-by users of the public spaces to turn their dwellings into creative spaces.
shaping the area area 12 locates between the area 11 and 13 creates a transition space.
considering the longitudinal location of the area, broken lines, which also kept the relationship between area 11 and 13, appear.
level differentiations and broken lines are specialized to make a distinction between users from the area and visitors, in-between spaces which are commonly used occurs.
upper level of the area works with the area 13. dwelling units rise, however they do not cut their connection with the ground. circulation’s location allows the visitors to reach upper levels of the dwelling.
general view of the area
dwelling units Dwellings, which located in two dwelling blocks inside the area, are used as shared spaces. Visitors who came for the public areas can also reach and participate the events in the shared event spaces inside dwellings with the circulation directly connects dwellings and public spaces. Event spaces are dwellings which are opened to the public by the owners, indeed. These dwellings turn into event/ shared spaces at certain times of the day. The owner of the large dwelling that has a library, cinema room, meeting room, dance area etc. can open these spaces to the public. Besides, kitchens and living rooms can also be shared.
OPEN
dwelling unit belongs to the ground floor single dwelling unit
folding door
The area which is opened to the outside time to time, has specialized functions differs from dwelling to dwelling. It is used as an area for dancing, reading, studying, etc.
C
B A
plan for a dwelling type
CLOSED
URBAN FIRST AID KIT ÇuhadaroğluAluminiumCompany StudentDesignCompetition May 1 withUmutAtlı,OzanÖzvatan
FIRST AID KIT TAKSİM
Multi-functional urban kit in Taksim Square. Inspired by the daily movements of the passangers. The design aims to create intersectional surfaces which turn into public toilet, wi-fi point, bicycle parking area, sitting spaces. Besides, piezoelectrical steps that activates with passangers’ steps aims to produce electricity for the first aid kit.
“LIVING CARTOGRAPHY” DESIGN & DRAWING in Section in Co-action Device: A study Artist:İnciEvinerI13thİstanbulBiennial August 2013 - December 2013 ithHilalMenlioğlu,EserEp zdemir, ÖmercanÇakır,SedaTavukçu, EminErenoğlu
Co-Action Device: A Study is a collective study in which the roles of participants and artists are constantly changing. While students from different disciplines are on stage as part of this device, they have the opportunity to experience many concepts in a creative researchproduction relationship. Based on performative research, this formation can be viewed from the balconies that see the exhibition space throughout the biennial. Living Carthography is located on the white wall inside the device. As the first idea, the map only covering the Galata Greek School and the device, however during the performative research it adds inside it’s layers to the participants’ personal histories of the time, the common experiences of Gezi Park and the Galata Greek School, the process of reading and examining and it turns into a semiabstract Taksim map telling the movement of a flaneur’s without being obstructed by the solid blocks of the city.
Auguste Perret’s distorted Paris theater with the inspiration of Device, collage Ceren Okumuş
abstract maps of Taksim and Gezi Parkı as a first study, Ceren Okumuş, Hilal Menlioğlu
Seçil, a woman has flying legs drawing, Ceren Okumuş
“SELECTIVE PERMEABLE” HOW TO SEE NEW INTERNAL ORGANS?
“THE BODY OF THE STUDIO” EXPERIMENTS OF THE BODY PIECES
Haliç University Architecture Faculty Interior Architecture Department
Haliç University Architecture Faculty Interior Architecture Department
Basic Design Studio I / 2021-2022 Fall Workshop Design
Basic Design Studio II/ 2021-2022 Spring Workshop Design with MK Yurttaş, Selin Erdemirci, Burçe Karadağ
Today, the changing city and changing technology bring about various changes in the body. If these changes produced a new internal organ in the body, what kind of internal organ would it be? How did this organ relate to other organs, and what kind of layering would mediate the visualization of this internal organ? Inspired by Nat Chard’s “Body Project”, in this workshop, first of all, a new internal organ that emerges due to the changes produced by the city in the body will be designed, and methods will be researched to display this internal organ in the body. While researches on X-ray imaging methods, shadow theaters and selectively permeable materials will mediate the imaging of the new internal organ, the relationship between different materials and light will be experienced.
Basic Design I Studio Workshop, first year student Burcu Yıldız project. An additional lung for air pollution.
Make a mold of the part of your body that most relates to the studio. Reproduce this pattern with different trials! Fill in the gaps with plaster. Reconstruct body parts by bringing them together with other body parts and space.
Efe Soytok, supportive piece
Selay Kılıç, second hand
Exhibition
COLLAGES FOR THE TOWN FOR THE THINGS MAKING NOISE IN THE WIND Istabul Technical University Architectural Design Master Program Architectural Narrattives Instructor: Associate Prof. Funda Uz