Design Research Portfolio by Ceren Okumuş

design research portfolio CEREN OKUMUŞ 2023 NOVEMBER

Hello! I am Ceren Okumuş, I am interested in ; space-body relations, drawing research, alternative ways of doing architecture, processes, light-shadow-motion relations open-ended structures born 1991 / Turkey living in Stuttgart

HOW DO I 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. For more info please visit the website: https://issuu.com/cerenokumus/docs/booklet_how

References

Cain, P. (2010). Drawing: The Enactive Evolution of the Practitioner, Intellect Books Ltd. ProQuest Ebook Central, http://ebookcentral. proquest.com/lib/itup/detail.action?docID=584349. Deleuze, G. (2000). Spinoza Üzerine Onbir Ders. (Çev: Ulus Baker) (Original name: Deleuze’s Seminar on Spinoza). Ankara: Öteki Yayınevi. Gansterer, N. (2019). Drawing As Thinking In Action, Nikolaus Gansterer, solo show at Drawing Lab Paris, France, 21 March - 15 June 2019, Curated by Jeanette Pacher https://www.gansterer.org/drawing-as-thinking-in-action/ Ingold, T. (2013). Making: Anthropology, archaeology, art and architecture. Routledge. (p.126). Kandinsky, W. (1946). On the spiritual in art. New York: Guggenheim Foundation. Nicolaides, K. (2013). The Natural Way to Draw: A Working Plan for Art Study (English Edition) Kindle Edition, Morison Press, https://books.google.de books?id=bxp5CgAAQBAJ&printsec=frontcover&source=gbs_ge_ summary_r&cad=0#v=onepage&q&f=false Ruskin, J. (1904). The elements of drawing in three letters to beginners. The Complete Works of John Ruskin. Ed. Cook, Wedderburn. London. (p. 91). Voigt. J. (2011, Aug 22). Jorinde Voigt in her Berlin studio. https://www. youtube.com/watch?v=5duZvRer30s&ab_channel=cranetvart Voss, J. (2019, June 25). The first abstract artist? (And it’s not Kandinsky) Focus: Hilma Af Klint. Tate ETC. https://www.tate.org.uk/tate-etc/issue27-spring-2013/first-abstract-artist-and-its-not-kandinsky

the action drawings of wrinkling the textile

Multiplexing the drawing; on the left; expension; surfaces, lines, in the middle; staining; surfaces, lines, 50x70 cm Drawing commonalities, on the right; folding, 100x170 cm

SPATIAL BODIES: EXPERIENCING SPACE WITH DRAWING AND IMPROVISATION

Workshop and exhibition in the Circle Space, 3-7 July 2022 with the grant of Haliç Universtiy Scientific Research Project with Burçe Karadağ, Tuğba Sorgun, Mustafa Kemal Yurttaş Participants: Alessa Dilara Demircan, Adem Yağız Baran Karadeniz, Berfin Kırali, Betül Sarıkavak, Beyza Ceran, Çiğdem Akgün, Defne İşanç, Dilara Bayram, Ebrunur Kılıç, Fatma Yaren Alparslan, Fatma Celep, Gülbahar Aslan, İrşad Alpaydın, Mustafa Tamay Yıldırım, Nilsu Taşpınar, Ömer Kızıltepe, Şevval Yazıcı Photos and Videos: Kevser Göze

Abstract Considering the act of “making space”, it can be argued with a conventional point of view that making space is only done by architects. However, making space is an act performed by many living and non-living beings. The spatiality of stones rolling from the mountains, the spatiality of randomly overlapping textile folds, the spatiality of virtual communication tools, or the spatiality of a nest built by an eagle living anywhere in the world can be described as different spatialities as well as the establishment of space. In this context, the question of how the space of architecture can be related to the differentiating spatialities is an interesting one and the answers that will emerge from the uncertainty are considered important for the differentiating spatialities. The act of making space is a concept that is discussed not only in the discipline of architecture but also in terms of the theater discipline. What are the limits of the space of theater; can every venue where performances take place be considered the space of theater; where does the actor’s body stand in the spatial question; is it the body itself that creates space; these questions have been discussed since the early 1900s. Since the 1960s, studies on the bodyspace relationship have intensified with the emergence of performance art. This project is a scientific research aiming to establish relationships between body-space-drawing with an interdisciplinary perspective, to liberate the actor’s body through these relations, to expand the boundaries of architectural drawing and to explore new possibilities for both disciplines. This research project is about revealing the possibilities of considering drawing an improvisation techniques as methods in order to open up the perception and experience of space for discussion and transformation. Drawing and improvisation methods allow the discussion of space in relation to the body in both disciplines. For this research, where the disembodied and static premise of space is approached from a critical point, it is considered important to experience the space in a temporal and dynamic way, and it is recommended to look at the space as a process instead of result-oriented production. Processoriented research method will be structured mainly as a

workshop. During the workshops, improvisation and drawing actions will be examined and applied simultaneously, the transitions between the actions will be investigated and their effects on each other will be observed. Therefore, the boundaries of the two actions that established the workshop will be questioned in the process and the possibilities of transformation will be investigated. It is aimed that the dialogue between performance and drawing, established with the blurring of interdisciplinary boundaries as a result of the workshops, will reveal unexpected spatialities and open the experience of space to discussion as an implicit knowledge. Keywords:Drawing, Improvisation, Spatial Studies, Performance. References

Blom, L. A., & Chaplin, L. T. (1988). The moment of movement: Dance improvisation. London: Dance Books. Denervaud C. (t.y.). Kişisel Web Sitesi. Erişim adresi: https://www. carolinedenervaud.com/ Frascari, M. (2011). Eleven Exercises in the Art of Architectural Drawing : Slow Food for the Architect’s Imagination, Taylor & Francis Group, 2011. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/itup/detail.action?docID=668749. Grosz, E. (2001). Architecture From the Outside: Essays on Virtual and Real Space, Cambridge (Mass.) : Massachusetts Institute of technology Press Lefebvre, H. (2016). Mekanın Üretimi. İstanbul: Sel Yayıncılık Lucas, R. (2016). “Inscriptive Practice as Gesture”. Allen, L., & Pearson, L. (Eds.). Drawing Futures: Speculations in Contemporary Drawing for Art and Architecture. London: UCL Press. doi:10.2307/j.ctt1ht4ws4 Open House ( t.y.) Coop Himmelblau. Erişim Adresi. http://www.coop-himmelblau.at/architecture/projects/ open-house/ Improvisation. (t.y.). Cambridge Dictionary. Erişim tarihi: 28 Haziran 2020. Erişim adresi: https://dictionary.cambridge.org/dictionary/english/improvisation Improvisation. (t.y.). Merriam-Webster. Erişim tarihi 28 Haziran 2020. Erişim adresi: https://www.merriam-webster.com/dictionary/improvisation Improvisation. (t.y.). Oxford Learner’s Dictionaries. Erişim tarihi: 28 Haziran 2020. Erişim adresi: https://www.oxfordlearnersdictionaries.com/definition/english/ improvisation Sheets-Johnston, M. (2011). The Primacy of Movement. Amsterdam; Philadelphia: John Benjamin’s Publishing Company), s. 420-490 Voshell, B. Prosthesis Number Five. Kişisel Web Sitesi. Erişim adresi: http:// vvvvvv.ooo/#/prosthesis/

Day 1, To investigate the relationship between what is looked at and what is drawn

Day 1, Group discussions

Day 1, Making and changing the drawing surface

Day 2, Draw what you feel, a drawing exercise by Dennis Oppenheim

Day 3, Drawing “Hamlet”

At the end of the workshop an exhibition took place in theCircle Space. For more info please visit the website: https://thecircle-o.com/blog/mekansal-bedenler-atolye-surec-ve-sergi

DRAWING AS A RELATIONAL ACTION : DRAWING OF CONTACT IMPROVISATION Istabul Technical University Architectural Design PhD Program Epistemology in Architecture in the Context of Cognition 2021-2022 Fall Instructor: Prof. Belkıs Uluoğlu

Abstract In this research the act of establishing a relationship is primarily discussed in the context of two main approaches knowing and doing. When these two approaches come togethe, they relate to each other or conflict. Both of the results lead to a state of creativity. If this creativity takes place continuously and effortlessly flow occur. It can be realized by the presence of a body that establishes a relationship with the environment. Witin the scope of the research, while the actions that establish relationships are discussed within embodied cognition and contact improvisation, diagram drawing is used as an action that produces flow. Since there is a two-way relationship here, the actions that establish a relationship produce the flow, and the production of the flow makes it possible to establish a relationship. For this reason, diagram drawing is also considered as an action that establishes relationships. In the research, the concepts produced with the idea of establishing embodied cognition are sought in the contact improvisation performance called “Chute” and the transformation of these concepts into unpredictable actions of contact improvisation, which produces a flow state, is drawn with a diagram. While drawing, the feature of the diagram to produce the unpredictable is brought to the fore, and the diagram produces a flow action by drawing relations, not the existing ones. Keywords: Flow, Embodied Cognition, Diagram, Relational Action, Contact Improvisation References Art & Education, (2019, Nisan). “Chute” Contact Improvisation at John Weber Gallery, 1972, Performance Assembles Publics: Contact Improvisation as Landmark. https://www.artandeducation.net/classroom/video/265896/chute-contactimprovisation-at- john-weber-gallery-1972 Belardi, P. (2019). Mimarlar Neden Hala Çiziyor? Janus Yayınları. Clark, A. (2008). Supersizing the Mind. Embodiment, Action, and Cognitive Extention. Oxford University Press. s.7. Csikszentmihalyi, M. (1991). Flow: The Psychology of Optimal Experience. Harper Perennial: New York. Kaltenbrunner, T. (2004). Paxton, S. (1981-1982). Chute Transcript. Contact Quarterly, Contact Improvisation Sourcebook. Volume 7. s. 86-87. Contact Improvisation: Moving, Dancing, Interaction : with an Introduction to New Dance. Meyer & Meyer Sport.

Sidall, C. (1977). Bodies in Contact. Contact Quarterly. Volume 2. Shapiro, L. (2011). Embodied Cognition. Routledge, London, New York. Tanrıverdi Çetin, Ç., (2020). Mimari Çizimin Görünmeyen İçeriği ve Eylemselliği. Doktora Tezi. Van Berkel, B., Bos, C. (1998). Diagrams: Interactive Instruments in Operation, ANY: Archiwtecture New York, Diagram Work: Data Mechanics For A Topological Age, No. 23, pp. 19-23. URL: https://www.jstor.org/stable/41856095 Wheeler, M., Clark, A. (1999). Genic Representation: Reconciling Content and Causal Complexity. The British Journal for the Philosophy of Science. 1999 50:1, s.103-135, alıntı s.110. Wilson, M. (2002). Six views of embodied cognition. Psychonomic Bulletin & Review 2002, 9 (4), 625-636

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, Aybike Batuk, Selin Erdemirci, Ceren Okumuş

There must be less windows particularly on northern facades in order to provide natural lighting and ventilation.

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.

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 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

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.

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.

Console stairs must be avoided. All the stairs must be continuous until the basement floor.

[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.

Play Practices Diagrams

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.

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. İpek Akpinar

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

FROM SOVEREIGN OF SEEING TO INTERACTION WITH BODY: A BACKYARD NARRATIVE IN HARBİYE Dakam Archtheo ‘17 / XI. Theory and History of Architecture Conference *This article was produced within the scope of İTÜ Architectural Design Master Programme, in Project II course. Instructor: Assoc. Prof. İpek Akpinar

Abstract Harbiye is one of the modern settlements of İstanbul. In this neighborhood, residential buildings typologically include backyards which are close to each other. Because of the location of residential buildings, interaction starts with a curtain opening every day. Seeing the other neighbor or not being seen from outside rule the everyday life, and the lives of the backyard users take shape according to this observer-observed relationship. However, seeing is not the only interaction in the backyards: With a deeper observation of everyday life, another way of communication can be discovered. A garden wall which is used as a shelter for the cat, a morning shout from upper floor neighbor, shadow of a chestnut tree which is used by first-floor neighbors creates another way of communication. This essay investigates the other way of communication in everyday life with the following questions: How did seeing become so important in our lives and what is the effect of its importance? Is there a way to take down the sovereign of seeing and building up a new way of interaction via other senses? And could this interaction create more humanitarian and bodilysense relationships between various kinds of lifestyles? The research will be held on backyards of Harbiye and Osmanbey starts with an investigation of the historical importance of seeing which became more dominant with the central perspective tradition of Renaissance painting and expands through daily life. With the domination of seeing, the separation between the vision and the body occurs and causes the loss of importance of other senses. But with a rich environment of daily life, dispense the authority of the vision could be possible and it can give opportunities of another way of communication. In addition to writing, the printout will be collages of different narratives of each life which tell the stories of their everyday life events. Keywords: Harbiye, Osmanbey, Backyard, Interaction, Seeing, Perspective, Observation, Surveillance, Everyday Life References

Berger, J., 1995. Görme Biçimleri. 6th ed. İstanbul: Metis Yayınları. Florenski, P., 2007. Tersten Perspektif. 2nd ed. İstanbul: Metis Yayınları. Merleau-Ponty, M., 2008. Algılanan Dünya. 2nd ed. İstanbul: Metis Yayınları. Pallasmaa, J., 2011. Tenin Gözleri. İstanbul: YEM Yayın. Rancière, J., 2010. Özgürleşen Seyirci. İstanbul: Metis Yayınları. Kaygusuz, S., 2017. Gözün kayıp oyuğu. T24, [online]. (Last updated 13:44

[Shape 1 ] Solid-void map of Harbiye District PM on 02nd May 2017). Available at: <http://t24.com.tr/yazarlar/komsu/ gozun-kayip-oyugu,17163> [Accessed on 15 May 2017]

Figure 2: The backyard where has been shaped by the authority of the eye

POSSIBILITIES OF A GAZE Bodily research, Video 2021- ongoing

Getting to know another person is a state of letting go. Getting to know is a different view of yourself. Thanks to the possibility of video to record and combine different perspectives, I try to get away from my own view and see the other person from another perspective. This becomes a way of getting to know the other person.

Instructions: Find a partner for the experiment Insert the video cameras on your chest Start recording Start explore each other via movement Stop Take off the video cameras Exchange them Watch the recorded videos If you want to repeat, repeat.

Images captured from the videos taken by the cameras fixed to the chest level.

“LIVING CARTHOGRAPHY” DESIGN & DRAWING Section in Co-action Device: A study Artist: İnci Eviner I 13th İstanbul Biennial With Hilal Menlİoğlu, Eser Epözdemir, Ömercan Çakır, Seda Tavukçu, Emin Erenoğlu

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

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

“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

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