Published 2020, July by Istanbul Technical University, Faculty of Architecture, Taşkışla
sociallydistantcollective.wordpress.com CAUTION * wash your hand before you read - covid is still here* If you do not understand the works, - stay calm - breath for a while - and then continue *Still, they seem too abstract, too conceptual or meaningless, the problem is not yours, you deserve better... *Close its cover and put a 1.5 m -social-distance between you and the booklet...
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conceptual studio !?
ts ..? designed though random or/and
collective works
connecting time - place - people
free - personal - public space
Before Covid, there are some rules for our studio which are written by Corita Kent. Following the unexpected process, world change, systems transform and rules are revised.
‘Online’ Studio Rules Rule 1: rule 2:
Find the link for the lesson, take a drink and click. -Don’t worry
UNMUTE - START VIDEO
Rule 3:
- a little chitchat :)
Try to put everything to the
‘TABLE’
- make your works understandable - with a good resolution - also from a proper perspective...
Rule 4: Make comments, use the advantages of making it online, find new opportunities ps. you can stalk, search or invent your Rule 5: The screen is your desk: write, draw, think, play
Rule 6:
Someone's background must be
rule 7:
Rule 8 :
'TAŞKIŞLA',
own way
otherwise this studio won't work. Ofcourse other virtual backgrounds are acceptable as well
Arrange your layout of camera, light and sorroundings...
Whatever happens,
It is important to see each other and keep our visions safe.
15.45 is always break time!
Rule 9: Do not make any plans after the studio, it can be string out:) also bring your stuffs around, meeting can turn into a workshop in any minute.... Rule 10: If not now, then you can put your remarks to the table afterwards.
Rule 11: You can have a break down, hard times or may be you want something to talk about then share... We are still together, connections can break the borders, just like we break our rules everyday
Who are we ? space and details
taĹ&#x;kÄąĹ&#x;la
commen
t
co
mm
en
t
the organizator
t
en
mm
co
brothers and sisters
smile:) ghosts around
works to do
seray
sometimes these things happen :)
Housing Imaginations p.138
What is Studio? What is Desk?
p.8
Life Forms p.132 Behind the Scenes Eventspace
p.110
p.10
Anti-monument p.28 Irreversible
23 April p.104
p.18
Egg p.96 Einstein's Dreams p.82 Continuous Time-Space p.40 Measuring Device p.76
A Future Archaeology p.50 Seed Field Works p.64
p.124
What
is
“Socially
Collective”?
“Socially
Collective” of
consists
of
Distant Distant a
group
Architecture students scholars
from Istanbul Technical University, who
continue
collective from
of
Table” is Socially
8
culture and
their homes
framework “The
the
work
within
social the
of
thinking the
distancing. workspace
Distant
of
Collective.
“This is a table.” What is the table? Does it have a place and time? What is the nature of the table* * Şeyler
Kitabı,
İlhan
Berk
What is the nature of the table?* This table is transparent. It does not have any table legs and it exists through a screen.
It gets
fulled and it accumulates on top.It is the mind map,
it is the envoy between the idea
and the reality. It is the frame that can be walked in, which that frame can chage by the time passes. While we think of all
these,
we found ourselves in our homes. With the joy of life, we put our pens on the table. We put he tea, the water, we put the light coming through
our windows. Could not get enough,
we put what goes around our heads, what we were willing to do? So, we put that. We did not have any materials, the egg cartoons, drug boxes we put. The window was next to us, the sky right next to it. We were not
going out
but we put everywhere on the table. The table was tough, it stood still after one or two little
shakes. And we
continued putting on top of it.
9
eventspace In this workshop we tried to find a pattern among various pictures. Create a story, create a world.
Ezgi Kaya / Ă–zlem ArÄą / Taner Durgut
Maybe the life of a person or a sheet of paper. This is another life triangle; we move from one corner to another where we can turn around and reach the same point. Our past flying in a triangle; accumulation, power for this endless road. Where are these flying pages taking us; What we achieve, what we miss while following them Sometimes it is flooded while on the road, sometimes they hide to call them. As we proceed unaware of these corners, we climb and fall on the path to reach it. The water we grapple in a moment, at another moment they fly their ships with our imagination balloons. Sometimes we diverge to get rid of everyone’s pages Sometimes we turn into a crowd.
12
// eventspace Ahmet Kemal Akbudak / Merve Çayır / Seray Rusçuklu
Streets full of people, One has to reach the top. In all this crowd, there is a sign to follow To follow your dreams and imagination. With every step you take, Something is happening everywhere. In a crowded street, On the solitary stair, On the pavements and on the road… One keeps walking and things become split: Rooms, Stairs, Paths, And even thoughts... 13
Ayganış Sarıgul / Ayşenur Evliyaoğlu
I'm on unknown streets The sea passes through us I found myself In a city covered with concrete
14
// eventspace Arın Aydın / Naz Nar / Berk Kesimoğlu
a man who is bored with flatness of the paris throws a lot of scenarios into the air and scenarios started to creating topographies. stairs are scattered and united, the scenario starts with the stairs, the stair is divided into two, half becomes another staircase, half becomes a new slope, there are people working for bread on the stairs, the script expands, expands, boundaries arise in this scenario universe, every border must have a guard, the guard waits on another stair, there is another slope on this staircase, these occurrences continue one after another, What’s the ship here? A different scenario must be mixed with ours
15
Banu Ulucan / Esra Yßksek / Erdem Karaçay
Everyone who lived in this city was waiting for an authori-
ties speech. They were unaware of what happened. There was an accident on beach road and a dead body rolled to the beach. Only a child saw the accident. The little boy who saw the death was sitting in an empty street while everyone in front of the Wall thought that supreme authority was drinking soda in the room. All these events simultaneously.
16
happened
// eventspace İpek Temizkan / Çağla Karen
twisted realities is just under our feet no perspective to observe no meaning to link in reality if the perspective is the reality then what is a twisted perspective?
17
Case #00-17163, Zone 6: Incorporations, Diller & Scofidio, 1992
drawing
an irreversable event
We found the material evidences of an irreversible event (a decay, decomposition, destruction, demolition,disorder...) and made a record of it by drawing it in minute detail.
ArÄąn AydÄąn
1- movement of furnitures in a room before and after cleaning. 2- stages of the linden while brewing.
20
// irreversible event
Banu Ulucan
Seray Rusรงuklu
I followed the traces of continuity around me, examined psychological relationships with marks, looking for the potential space between reality and the ideal events,
situations
model we aspire
that cannot be
to achieve.
repeated,can
These marks
be defined as
of moisture
irreversible
and traces
events.impossible
haunt the
to reinstate.It
place, surround
can be imitated
us. It is an
but not repeated.
investigation
Process of eating
of deformation
an apple, forest
and memories.
fires in the world, Transformation in the amount of green spaces in Istanbul.
21
Ayganış Sarıgul
Şirvan Yakut
Irreversible event can be defined that are not possible to change or
return
to a previous condition so it reminds of decaying a material (a tree or a lemon) or ending of a human life. In the movies of Theo Angelopoulos- eternity and a day, we meet the memories of irreversible life through the eyes of a man who always has questions about his life, the past and the future.
You cannot return some events. It can not be realized even if you want. We melt, get older and undergo change.
22
// irreversible event
Ă–zlem ArÄą
Esra YĂźksek
decisions / actions / behaviors daily or big they can have irreversible consequences. chopped pomegranates opened parachutes murdered nature
Irreversible events can come up with many events and scales in our lives. The main feature we look at when describing these events is that it contains a result. The result is a point, and the time indices that turn this event into a point and end it, divide into spirals around the point, moving past and backward. Here, I tried to map the situations and temporalities that brought the incident to this point by getting a result of the effect of the nuclear power plant on migration in a village. 23
Merve Çayır
Ahmet Kemal Akbudak
take sight, shoot, death. they are all sort of irreversible events. these movements have happened which causes endless effects on everyone around lemon decays, turns into soil and takes a shape on a tree. ırreversibilty is just scale.
24
// irreversible event
Ezgi Kaya *discovering a misery of a rotten leaf‌ Is it bitten, burnt or maybe fallen a prey to caterpillars? *mining in Istanbul turns into a geographical game; the area can be a hole, a hill and at the same time a plain * In one space, all smellings, actions and hormones creates an inseparable harmony with all its bad and goods.
25
OÄ&#x;uz Han Dede
Taner Durgut
Buddhist monk who burned himself in 1963 to protest the vietnam regime. Thich Quang Duc him skin, which burned himself, was now irreversibly destroyed. The soul has no chance to return to that body.
There were traces of time around. Some displayed the still-changing time. Some had to go back in time to understand. Nothing was indicating the repair of the computer, but this activity left its mark on the table and it was possible to see the trail of the sun from the greenery on the pavement. Of course, the toothpaste was squeezed from the bottom, not the middle.
26
// irreversible event
Naz Nar
1-
eczema,
Ä°pek Temizkan
for years with
1- The stages of the
me,eats, ends, heals comes
pomegranate until it turns
out again, anywhere it
into pomegranate juice.
touches cannot be restored,
2- Inspired from palm prints
or it can’t be the same
in Chauvet Cave, the process
2- tea glasses are filled,
of leaving a trace - creating
drunk, taken to the
an identity and making
kitchen, and put on the
history. If the person who
coffee table again, it
left the palm prints in
changes places every time,
the cave wouldn’t do, its
put in a different place
possible impacts were never
each time
going to happen.
27
anti-monument In this workshop, we tried to design an anti-monument for an irreversable event that questions the notion of monument.
Ezgi Kaya,Taner Durgut
“Arc de Triomphe” is a center of interest. This interest approaches and grows from the 12 streets surrounding it. A bubble is left under this monument, and it is fed with the density on 12 streets. As the bubble grows, the interest increases; as the interest increases, the bubble grows. The monument is now invisible. People should decide whether to protect the bubble or not and maybe they shouldn’t come anymore. Just at that moment, the bubble bursts and takes the Arc de Triomphe with it. Because it’s no longer its place, it’s where the balloon bursts.
Beyond owing, leading and paralyzed the monopoly, I am growing. 12 arms, under a masonry canopy, when movement takes off, I am diminishing. Maybe it is time of recreating the space or make my own place Maybe with every taking step you coming closer to me but, I am dissappearing. Stole the reputation, salute the fluid, smoke or tire Re-identifying, above freedom, war or victory In here the only matter is about making the present irrevesible, Cause We are harmonizing.
30
// anti-monument Esra Yüksek, Ahmet Kemal Akbudak
On Tuesday,X ventures along a deserted road and loses nine copper coins. On thursday, Y finds on the road foru coins,somewhat rustedby wednesday’s rain. On friday, Z comes across three coins on the road. On friday morning, X finds two coins in the corridor of his house. It is absurd,he states, to suppose that four of the coins have not existed between tuesday and thursday, three between tuesday and friday afternoon, and two between tuesday and friday morning. It is logical to assume that they have existed, albeit in some secret way, in a manner whose understanding is concealed from men,in every moment, in all three places. They presuppose that first nine coins and the second are identical. (Tlön, Uqbar, Orbis Tertirus / Ficciones)
31
Naz Nar, Arın Aydın, Berk Kesimoğlu
Being an anti monument, is not not-monument. Locusts caused damages here. Now we gonna build a ship uniting, a ship
but also knows how to fly,
it glides slightly over the NILE, we pull it down and take what we need, we pull it down and load more ones, birds are here to carry our seeds away, if nothing remains on the board, now we start eating the ship, when we stop flying completely, we sew tents from balloon.
32
// anti-monument Seray Rusçuklu, Banu Ulucan
“A monument” does not mean that it should be something majestic and irreversible. We can walk around it, touch it, see through it. It is even possible to re-create the place around us by imagining with the help of it.
33
İpek Temizkan, Özlem Arı
We assume that a monument is visible, it has boundaries and it’s about history making (documenting the time). If so, then what is an “anti-monument”? It could be an action which is reversible, it could have no boundaries and it could have any link with time and its documentation. Well, the anti-monument we consider as this variablebehavior; can it turn into a monument? Or if we foresee this to happen, how can we reflect this? When considering the anti-monument, we used an irreversible event, an event called “migrations as a result of the establishment of the nuclear power plant”. If we take the people who continue to live in this village and examine their behavior on a time scale that will last for years, we will probably find that these people produce similar reactions when dealing with this problem. If we can note the rhythms of the people, the process is an anti-monument, but the result may be a monument.
34
// anti-monument
An active performative art would be an anti-monument and with the result we thought we could describe this transformation. “entangled� is a mobile performative art platform which has 9 sections which ascend and descend. the performers walk through the sections as they get entangled to each other with the ropes they carry with them. when they eventually become unable to move with the intermingled ropes. the ropes will be cut and performers leave the platform uneffected.
35
Ayşenur Evliyaoğlu, Ayganış Sarıgul
We are forgotten... Nobody knows us. Yet water remembers its past! I deal with the ground now. I come to annoy you!
36
// anti-monument OÄ&#x;uz Han Dede, Erdem Karaçay
Destruction of historical monuments ... symbols of society ... In 1940, a famous fountain of Architect Sinan was destroyed. We have made an anti-monument to reveal this symbol to every car passing through it to make this symbol live again.
37
Ĺžirvan Yakut
As a result of Hasankeyf transforming into a dam, all beings in historical area collapse to the water. The anti-monument will disappear over time due to the change of water level and traces of anti- monument remain on the accumulating- spreading material.
38
// anti-monument Merve çayır, Adnan Murat Üçler
the borders we put toward our body our house our city to the land to the sky every border is a monument from the past we made them visible the borders we obey every day are an outcome, the outcome of something we made a monument. the thing they never let us forget.
39
continuous time-space In this workshop, we tried to find the material evidences of continuous time. Are there everyday ojects, mythological narratives and rituals which carry until today the ways in which people live and imagine living. How did the ways of living change, continue, get disrupted? How do the objects carry the narative through their unchanging or changing forms, multiplied or discarded versions, names and representations?
Dragon and bull relief
Kyzikos, hellenistic
Standing genie, relief slab from a wall Little man with a smile
‘‘When we look closely, finding rituals, traces and collective memory of the past is much more possible. From the reliefs, statues and objects, I tried to re-interpret the relations between past & future, human & desire to be remembered and rituals & time.’’
42
Unfinished statue of a king (assur-basalt)
// continuous time-space
Fight with satyr
Askleipos and hygieia relief
Sarcophagus in closed working box
Stele
‘‘The objects or rituals that I have drawn are the things that made a place in the past, present and future.’’
43
‘‘While looking at the objects in the present, they lose previous context, and in the end turn into an illusion for the future.’’
Lykian sarcophagus
Varpala, King of Tuyana, praying in front of Tarhunta, king of storm and plant
Wrestlers and musicians in the same frame
‘‘The physical items I encountered would take me to different times and places they witnessed.’’
44
// continuous time-space
‘‘The past has passed, we do not know the future; but we witness the rituals, objects, and lives that carry us from past to future.
Assur - kalat şergat El-nereib
Depicting woman crying on the sarcophagus
45
‘‘I drew the objects ,with their rituals or beliefs from different times and places, that served as a carrier for the future.’’
Urartian pins with heads
North Mesopotamia - middle new Assyria Nike
46
// continuous time-space
Syrians bearing tribute on their hands
Mosaics and capitals
Warrior depictions on sarcophagus
‘‘I sketched the things that deal with situations such as the objects, situations, perception and how it is transferred to us today.’’
47
‘‘The objects or people I have drawn are symbols that have symbolized a ritual in the past, or people who have played important roles in history.’’
Oily wrestling
Process of embalmment
Seker bird King of Adab
‘‘The objects are not only stone-made sculptures, but they are also pieces of information about rituals, society, statues and so on...’’
48
// continuous time-space
‘‘Every object has a story, every object makes me have a dream about its time.’’
Hekate Temple and positioning at the museum
Yeye and Neye Egyptian God Thoth and Sam’al (sinjerli)
Seal / stamp Cavalry Paulo
Footstool and the soles of a sandal-egytp
49
a future archeology In this workshop, we take a museum object then analyse it and tried to make an alternative display (by applying different operational tactics like completing, transforming, multiplying, ...) Without the object itself in order to question its various probabilities and present those simultaneously as a continuity in time and space.
Suppose this is a necropolis, let’s say it travels
through the ages, religions change
as the age changes, but the only thing that remains
constant is the doors,grave gates,
the transition between
the two layers, the finest depiction of the border between
and the other world, some of them open up and puts
this
new dead bodies enter, the opening of some
the worst curse on you, some of them don’t
seem like a door, some are above ground,
some are underground, and all these tombs are
interconnected by tunnels. Interperiodic
Necropolice of istanbul, is the archeological museum. We passed through the door and traveled between ages . We dreamed the back of the doors that we could not pass on the x, y and z axes. While travvelling between the planes we also traveled in time axes. Seray Rusçuklu/Naz Nar 52
// a future archaeology
Seray Rusรงuklu/Naz Nar 53
People from past to present have used different materials for lighting, fuels have differentiated; objects become movable, become larger. but there was only one thing that didn’t change: light itself
The oil lamp was shattered, each piece became special and gave birth to a new object to observe the light from different aspects. The opportunity to observe the light not directly but from its shadow, fuel and traces in the textures.
54
Taner Durgut/Ahmet Kemal Akbudak
// a future archaeology Jewelrys give some hint about societies’ beliefs and lifestyle. Jewelry has no ends. Sometimes even a needle can turn into jewelry. The most common example of ornamental needles can be seen in the Urartians. So how would it be possible to reproduce this object? What does a needle do? Pierces, empties, folds, curls.. all this produces some traces. Just like in the shirt of the woman who always wears brooch in the same place. This study records the traces of the needle exactly at this puncture.
Banu Ulucan/Özlem Arı 55
Arın Aydın/Berk Kesimoğlu 56
// a future archaeology
Meaning of ‘camera obscura’ is dark-room, also thought as a ‘social device’ which have caused different approaches between the artists and inventors especially during the 17-18th century.Technically ‘camera obscura’ can define as a black box with a pinhole which causes to reversed image because of the ‘refraction’ of light. With different perceptions of ‘camera obscura’ have interpreted as not being a device for visual objects, but being defined as the only place which vision can comprehend and represent in a few decades. Apart from the central perspective camera obscura does not dictate a limited place or area for image. Camera obscura obstruct to see observers’ space as a part of a representation priorly. Merve Çayır/İpek Temizkan 57
The designed object questions the spatiality and temporality of an ancient storage vessel. The spatiality of the designed object is defined, without being of the storage vessel itself and then filling- pouring time gains a temporality to the object depending on its function.The filling-pouring time of various sizes of the gaps are different from each other. Over time, it loses the function and becomes mossy so the defined temporality and spatiality change.
Ĺžirvan Yakut/AyĹ&#x;enur EvliyaoÄ&#x;lu 58
// a future archaeology
We chose oil lamp object from our museum trip. Considering that the lamp is our light provider, we made a mapping drawing about the development of the past and present and the places discovered. We prepared a handbook to explain how the oil was formed from the traces of clay that we had in time.W
Ayganış Sarıgul/Betül Sarıçam 59
Esra Yüksek/Ezgi Kaya 60
// a future archaeology
This design aims to create a confusing environment and make people think about some symbols for societies. A symbol about authority, which looks like permanent, can get changed and lose it’s power.
SAME SHAPES
*
DIFFERENT SIZES
|
DIFFERENT MEANINGS
Esra Yüksek/Ezgi Kaya 61
Oğuz Han Dede/Adnan Murat Üçler 62
// a future archaeology
Seal, which is a part of people’s identities in the past, evolves to today and starts to give new signatures to people.We have explored ways in which the seal is produced in a different way today. We used the paper to reproduce the seal.By folding the paper in different planes, we cut through the folding lines.The randomness of the planes and cuttings allowed different patterns to form on the paper.We have prepared a horizontal and vertical motion mechanism where we can see the paper we cut together. With the overlapping of the cut papers and the light source held to these papers, we obtained the shadow patterns of the papers and thus the paper with the shadow patterns became continuously reproducible.
Oğuz Han Dede/Adnan Murat Üçler 63
field works Drawing an “invented” site through gathering the spatiality and temporality of different “found” materials (objects, (pieces of buildings and structures), viewpoints,topography, routes, plants, animals, humanbeings...)
n
er
Ta
ut
rg
Du
OÄ&#x;uz Han Dede
66
// field works
ut
ak n Y
va Ĺžir
67
Naz Nar
68
Arın Aydın
// field works
an
n Ad
t ra
r
le
ร รง
Mu
69
Öz ayır Merve Ç
70
le
m
Ar
ı
// field works
Seray Rusรงuklu
71
Banu Ulucan Ayganış Sarıgul
72
// field works
Ezgi K aya
73
Esra Yüksek
74
// field works
Ä°pek Temizkan
75
measuring device A wearable/portable measuring device, which acknowledges that the body and place are organised together with time. what if another set of temporal regulations/irregularities were in operation within the same society at this very moment in history?
Oğuz Han Dede
Merve Çayır
78
Adnan Murat Üçler
// measuring device
Ezgi Kaya
Banu Ulucan
Taner Durgut 79
Ahmet Kemal Akbudak
Seray Rusçuklu
80
Ayganış Sarıgul
// measuring device
Şirvan Yakut
Özlem Kara
Arın Aydın
Esra Yüksek
81
einstein’s dreams In this workshop, we tried to read the different stories in the book of einstein’s dreams and express the different times described here with mock-ups.
layers of time / model: taner durgut / story: merve çayĹr
84
// einstein’s dream a tiny timeless place/ model: banu ulucan / story: erdem karaçay
85
shadows city / model: esra yĂźksek / story: ezgi kaya
86
// einstein’s dream sediments through the emptiness of time / model : ezgi kaya / story : esra yßksek
87
journey of mind through the ”timeless space” model: seray rusçuklu story: seçil yatan
88
// einstein’s dream time is a local phenomenon / model: seçil yatan /story: seray rusçuklu
in this world time flows at different speed
,model: erdem karaçay / story: banu ulucan
Alice birdenbire dar ve uzun bir geçitle karşılaştı. Geçitten baktığında karşı tarafta zamanın başka bir hızla aktığını görüyordu. Birbirlerinden uzak bu iki yerde, birbirlerinden uzak iki saat farklı hızda tıkırdıyor*du. İşte, beyaz tavşan da zıplaya hoplaya oraya doğru gitmekteydi! Ona yetişmek istiyorsam eğer, tek seçeneğim bu geçide girmek, diye düşündü. İçeri bir adım attı ve oda ne! Burada zaman o kadar hızlı akıyordu ki gölgelerin düştüğü yer sürekli değişiyor, insanlar oradan oraya koşar adım ilerliyordu. Kuşlar daha hızlı kanat çırpıp daha yüksekten uçuyorlardı. Alice’in bu hızdan başı döndü ve birden yuvarlanmaya başladı. Yuvarlandı, yuvarlandı ve yuvarlandı… Nihayet durduğunda bir de ne görsün! Başka geçitler, yarıklar ve engeller… Ara sıra gezginin biri, tutup bir kentten diğerine gidiyor.** Ama gezgin bu uyuşmazlıkların farkına varmıyor. Bir bölgesel zamandan diğerine yolculuk ederken bedeni yerel zamana uyum sağlıyor.** Birkaç adım ötede altından kıvrılıvermek istediğindeyse uğraştı, koştu, yürüdü ve yürüdü, diğer kente ulaştı. Mekan kadar zaman da değiştirdiğini ancak o zaman anlıyor.** Zamanın yerel olduğu bir yalıtılmışlık dünyası, kentlerin harmanlanması olmadan yaşam bin farklı şekilde gelişebileceğinden muazzam bir yaşam çeşitliliği yaratıyor.*** Yani hiçbir gezgin, hiçbir yolcu başladığı yere geri dönmüyor.** Her dağın, Her nehrin ötesinde bambaşka hayatlar yaratıyor.***
89
the curious case of samsa gregor / model: oğuz han dede / story: arın aydın
Ben Samsa Gregor. Bir sabah uyandığımda bir duvardaydım. Burası çok belli ki bir sınırdı ama her şey o kadar büyüktü ki benim etrafımı keşfedebilmem için gezinmem gerekiyordu. Sadece “kenar”lardan yürüyebiliyordum. Devasa çizgisel makinenin olduğu taraftan binaların kenarlarından gezinmeye başladım. Burada her şey normal gibiydi ancak herkes çizgisel makineye göre hareket ediyordu. Bir eylem çizgisel makinenin geçişine bağlıydı. Onun geçişi zamanlara bölünüyor ve her şey düzlemsel ilerliyordu. Tekrar duvarın olduğu bölümden eğrisel bölgeye geldim ve birden her şey çok farklılaştı. Burada her şey parçalara ayrılıyor, hızlanıyor, yavaşlıyor vehacimler bu ritme göre şekil alıyordu. Çizgisel makine artık çizgisel değildi, buradan hızlanıp yavaşlayan bir yılana dönüşmüştü. Her şey birbirini tekrar etmeye hatta çoğaltmaya başlamıştı. Kendimden 2 tane daha sonra 4 4 tane daha görmeye başladım. ve artık sonsuz tane böcek arasında bir yabancıydım ve yalnızdım.
90
// einstein’s dream all is real / model: İpek Temizkan / story: Banu Ulucan , Arın Aydın
91
the stickness of time / model: şirvan yakut, story: özlem arı
Rüzgarımız hafif esintiler saçarak denizden yükseklere çıkmaya karar vermişti. Sadece kolayca hükmedebildiği gökyüzüne değil,sınırlarla kuşatılmış yeryüzüne,yeryüzündeki en ücra noktalarada ulaşmayı amaç edinmişti.Eğimli sokaklardan tırmanmaya devam etti.Karşısına büyük bir duvar çıktı.Küçük bir çatışma süresinde kimi kısımlarda rüzgar duvarı aşabildi.Ufak noktalardan kaçış sağlayabildi ya da kaçamasa bile duvardan bazı parçaları götürdü.Bu parçalardan bazıları bir toz bulutu halinde, gözlerle görüleni buğuladı,bazıları eski yerindeki yaşamı yeni noktalara taşıdı.Duvar yine de yenilmedi,böylelikle rüzgar yana kaydı.Sokağın bir o yanına bir bu yanına çarparak savruldu.Bir sürü ev keşfetti, hepsinin önünde sanki şov yaparcasına birçok parçaya ayrıldı ve buluştu.Aşabildiği her boşluğu aştı,sınırlarla oynayarak dans etti.Ne zaman ki yoruldu,yaptığının bir dans olamadığını kabullendi geri çekildi. Rüzgar kendisini mağlup hissediyordu. Şimdiki zaman geçmiş zamanı yenememişti. Ama dikkatli bir şekilde rüzgarı takip ettiğimizde ve ona geçmişte kalan bir parçaymış gibi baktığımızda onun o güçlü etkisini nasıl da şu anda hissedebilirdik.
92
// einstein’s dream ratitational time / model: arın aydın / story: oğuz han dede / ipek temizkan
Yine karnım acıktı. Buradaki insanlar anca kendilerine yetecek kadar yiyorlar, bana buradan malzeme çıkacak gibi durmuyor. Bu insanları anlamıyorum, diğer insanlardan bu kadar uzakta ve bu kadar yüksekte yaşamayı kim ister ki? Neymis, yükseklerde temiz hava ve sağlık varmıs, hayatları daha düzenliymiş. Benim karnım aç olduktan sonra. Buraya da ne umutlarla gelmistim oysaki, o kocaman merdiven ve tünelleri aşmak günlerimi almıştı. Ama yapacak bir şey yok, aynı yoldan gene asağıya ineceğim mecbur. Asağıyı daha çok seviyorum aslında. İnsanlar daha kafalarına buyruk ve eğlenmekten anlıyorlar. Bu da bana yemek çıkması demek. Ama keşke her şey bu kadar yavaş akmasaydı. İnsanların zamanıyla bizlerin zaman algısı hiç uymuyor. Neyse hadi yola çıkma vakti. Balıkçı atıkları beni bekler. Yukarı çıkınca farkettim, buranın da manzarası cidden çok iyiymis. Bir de su gözüken yol mu? Aşağı iniyor gibi duruyor, acaba ordan mı gitsem bu sefer. Tamam haydi öyle yapalım. Yolculuk başlasın.
93
place where time stands / model: özlem arı / story: şirvan yakut
İşten evin yolunu tutmuştum birden çöp izlerini gördüm ve takip etmeye başladım. Bir yandan da bu dünyaya ait tüm yerleri ve zamanları düşündüm, acaba ben hangi zaman ve yere aittim? Tam o an kafamın üzerinden geçen metro sesini duydum ve ardından balkondaki çamaşırların uçuşmalarını, yerdeki giderek artan yığılmış çöpleri, yıkılmış parçalanmış evleri yoldaki izleri gördüm acaba burada birileri yaşıyormuydu?
Yoksa terk edilmiş bu yıkık evlerde varlığını sürdüren sadece anılar mıydı? Peki ya ağaçlar onlarda mı terk edilmişti yoksa? İncir ağacı
mı sadece burayı tanıyordu? Burada yabancıı olan
sadece ben miydim yoksa tüm imgeler mi ait olduğu yere yabancılaşmıştı? İçinde yaşadığım geri dönüşsüz gösteri zamanı durmuştu çünkü o da buraya yabancıydı tıpkı benim gibi. Peki O zaman hangi çizgi ayırıyordu gösteri zamanını, bu zamandan?
94
// einstein’s dream
old flat land news/ model: ayganış sarıgul story: naz nar
mechanical time of the body / model : adnan murat üçler / story : ahmet kemal akbudak
95
“ “Onu kurşuna dizecekleri
“Buradan hareketle , şimdi bu bölgede
açık yumurtalar her yerde ve her durum-
“Kentte halkın toplu olarak bulunduğu
yumurtanın dibine götürmelerinden önce
iki boyutlu bir yumurta görüp bunun
da öncelikle erkeklere ayrılmıştır.”
peder günah çıkarmaya geldi.”
üç boyutlu olduğunu cıkarsadığımda,
gerçekte, renkle aynı şey olmayan
“Yumurtadaki dairesine giden özel yu-
“Düşündüm: “Eğer Adelma yalnızca
ölçülemeyecek kadar küçük olması-
murta arşınlayan kadın ve erkek hayran-
ölülere rastlanan, düşümde gördüğüm bir
na karşın var olan, tanınmayan bir
larının listesi uzundu.”
yumurtaysa, bu düş korkutuyor beni.”
dördüncü boyut görüyor olduğum sonucu
“Beni yumurtların içine gömülmüş
Bölümlerin arkasına düşen ve yumurta
çıkmaz mı?”
kara bir koyun mu sanıyordu ve ordan
boyunca uzanan geçitte, alçacık tavla
“Montag’ın yüzü tamamen uyuşmuş ve
çıkarmak için efendisinin buyruğunu mu
yumurtalarında pul şakırdatmadan kapı
ifadesizdi; başını komşu yumurtaya,
bekliyordu?”
yapmaya çalışırdık biz.”
çiçeklerden oluşan parlak sınırının
“Yoksullar yumurtalarının yanından
“Bunu ona kocasının önerdiğini, ya da
ayrılmıyorlar, imkanları olan
bu işi onayladığını gösteren hiçbir
varlıklılarsa ısınmak ve eğlenmek için
kanıt yoktur; sadece kocasının hemen
yumurtaya doluşuyorlardı.”
kavga çıkarıp onu yumurta dışarı at-
içine kurulmuş o yumurtaya oyma taş
madığı bilinmektedir. “Küçük kutuyu tramplenlerin arkasındaki banklardan birinin üzerine koyarak
“Düşüncelerimizi kaplayan incecik bir
kocasına yumurtadan çıkınca almasını
yumurta olana kadar biçimlendirmeliyiz
rica etti.”
kelimeleri, çünkü düşünceler kutsaldır filan.”
gibi evrildiğini hissetti.”
egg In this workshop, we tried to draw an collective story , with selected sentences from each others different books, and change the spatial words to the word of “egg� with the inspire of easter.
Arın Aydın
98
Esra Yüksek
// egg
Seray Rusรงuklu
Seรงil Yatan
99
İpek Temizkan
100
Özlem Arı
// egg
Aslıhan Şenel
Merve Çayır
101
Ahmet Kemal Akbudak
102
Banu Ulucan
// egg
erdem karaรงay
Naz Nar
103
adnan murat ßçler
104
ezgi kaya
// egg
oÄ&#x;uzhan dede
105
106
// april 23, children’s day
april 23, children’s day In this socially distant workshop, we tried to reach memories of our own childhood. We have designed a card to give to our childhood states.
107
Aslıhan Şenel
Ezgi Kaya
Banu Ulucan 108
// april 23, children’s day Oğuz Han Dede
Seçil Yatan Özlem Arı Seray Rusçuklu
109
İpek Temizkan
Ahmet Kemal Akbudak
Arın Aydın
110
// april 23, children’s day Esra Yüksek
Adnan Murat Üçler
Naz Nar 111
112
// behind the scenes
behind the scenes In this workshop, We tried to find the temporality and The relationship between time and space in the films we watched. As a result of our analysis, we tried to explain these temporalities with collage and model techniques.
113
Adnan Murat Üçler / A Ay / Reha Erdem
‘so you can see! why all the trouble? is showing more important? can you show everything you see? tell me, Can you show me everything you see? can you take pictures of your dreams? you got enough light? can you adjust the clarity? do you know how to see, just see? besides, what are you gonna show me? to communicate? with whom? have you ever been oblivious to yourself? I see things that can’t be shown. see, just see!’
114
// behind the scenes Merve Çayır / La jetée / Chris Marker
La jetée is the essay short film by Chris Marker, who shapes the time travel theme which is an indispensable subject of science fiction movies. This short film - almost - entirely consists of photo frames. It is about a man falling in love with a woman while traveling in time to find a solution to world’s fate,
to replenish its decreasing stocks of food, medicine, and energies after World War III.
115
Özlem Arı / Last Year in Marienbad / Alain Resnais
The movie is based on the argument that a man met a woman last year. The movie is temporarily squeezed between two time frames and events deveop by feeding each other. Past events and venues are repeated throuout the movie, it is decorated with more details in every repetition. The film’s essential point about the past is this: “Memories are divided into three; what we remember, the opposite side remembers, what really happens.”
116
// behind the scenes Naz Nar/ Anlat İstanbul / Ömür Atay et. all
The movie “Anlat Istanbul” takes us through different lengths of life in different districts and “classes” of Istanbul, but at the beginning, in the middle or at the end, the subject is connected to the death of İhsan Bey. The diagram here is sometimes a retelling of fictional overlaps and sometimes temporal overlaps.
117
Banu Ulucan/ Inception / Christopher Nolan
‘multiple time’ can be mentioned in the movie.time and space are intertwined.time deepens by bending between the layers of the dream. The perception of time is different in each layer.the deepest of these layers is limbo.A life in limbo is actually equal to a few hours.
118
// behind the scenes Esra YĂźksek/ Night on Earth / Jim Jarmusch
- five cities - five lives - just one time -
simultaneous journeys, quiet / noisy / crowded / deserted / rich / poor streets
and lives that testify to them.
119
Ezgi Kaya / Stalker / Andrey Tarkovski
A forbidden journey,can take you in a different ‘Zone’ where the surroundings play with you and your deepest fears,hopes and desires. Patience,being out of the reality and finding the true ‘heaven’ in an abandoned timeline, could write another story,meanwhile.
120
// behind the scenes Seray Rusรงuklu/ Eternal Sunshine of the Spotless Mind / Michel Gondry /
Is it possible to realize
that we travel in places deep within our
subconscious? In this mad place, times are intertwined, past can visit you over and over again. Water, used in the movie as an element which indicates time, tells us so many things we are not even aware of. Is it frozen, liquid, raining, in a gas form or coming out of nowhere? Defining time and places in relation with our memories can vary as we keep collecting missing parts and traces of our spotless mind.
121
Erdem Karaรงay / The Science of Sleep / Michel Gondry
Stephane, who lives in her own world and dreams; he is not satisfied with his own life and tries to cover this dissatisfaction in his dreams. Over time, he started to take control in his dreams. This dream world that he lived has started to take over his own world in time; The sharp line, which is what is real and what is imagination, has started to mist up.
122
// behind the scenes OÄ&#x;uz Han Dede / 12 Monkeys / Terry Gilliam
A virus that emerged in the recent past destroys humanity, and the remaining group of people begins to live underground. The events that happen to a man who they sent to the past with the time machine to find the origin of the virus are told. It is quite impressive that the temporalities are intertwined and the different time periods affect each other.
123
Ahmet Kemal Akbudak / Ayneh / Cafer Penahi
to lost in somewhere you need to believe it is there, continuity is the main reason shapes your percieve
124
// behind the scenes ArÄąn AydÄąn/ Memento / Christopher Nolan
Editing is a way to create a designed space and time. In Memento time was flowing backwards. So we do not know the reasons of the events we watched. Is space creation activity can be created like that? With the rythms of spaces we build continuity across what we percieve. Maybe In the end, a volumes can build events that we can not make reasonings amon them until we percieve it in another way.
125
seed In this work, we tried to generate a seed from our projects and define the growing methods of it. Then we exchanged each other’s seed and grown them in our projects.
Oğuz Han Dede My seed is on the surfaces. bulunabilecek en karmaşık, en dağınık en dolu yerde yetişir, aldığı her şeyi dönüştürür değiştirir, olduğu yerde bırakın, o kendini olan her şey ile besler it incorporates everything around it, grows and grows, does not need care but loves attention,hides, moves and vomits.
Merve Çayır
128
Naz Nar
Surfaces do not stand still. They bend and twist. It opens a brand new window, produces a space. Once you have caught my seed, you can never predict what will happen.
// seed Arın Aydın I took Erdem’s seed. An open corridor, two way extendable, one pulls you down and may destroy, the other floats you to the surface when your head is up.
Banu Ulucan
I took Arın’s seed. This seed is a communication tool.Also an interface that turns the time of the place into space.his seed grew communication in my project. Now people need to communicate to move surfaces.
129
Ezgi Kaya
I took Merve’s seed. It grows and fall downs. then the seeds it left behind get greenish, give flowers and life the same cycle again. While it turning around this circumstances, you can dance, speak or even get folded within it.
130
// seed
Esra Yüksek
I took Ezgi’s seed. I blended the trace-bearing structure of the seed I bought, with the flexibility of my own seed, and produced a new seed, that left a mark on the changes.
bembeyaz, pürüpak bir tohum olarak filizlenirim aşağıda/yukarıda mekanlar üretirim boşluklarımdaki yaşamlarla var olurum her anımı belleğimize buluştururum
131
İpek Temizkan
I took Esra’s seed. The ground is on move. it ascends, descends, and decays. The ground is subtle but not still.
Adnan Murat Üçler
I took Seray’s seed. Seed of thought *
plant the seed in any part of
the place. **
imagine the interior of this
seed for the bubble to grow on. *** once the balloon has grown, the seed will slowly begin to take off.
132
// seed
Seray Rusçuklu
I took Murat’s seed. I took the balloon full of dreams and ideas and tried looking through it. I let this balloon join my mobile parts of the
structure as a
fabric. Frames now can be coated, deformed, concealed and even filled with the wind of ghosts! It creates ghostly shadows/places under the shiny sunlight.
133
life forms In this socially distant workshop, we examined Ernest Haeckel’s life form studies. We have examined the structure of life forms, drawing diagrams, what is connected to what, their tectonic structures and how they formed.
Radiolaria, (Murat and Özlem) Myctozoa, (Arın, İpek, Banu) Ascetta coriacea, (Esra) Amphoridea, (Şirvan) Cyrtoidea, (Oğuzhan) Basimycetes, (Merve and Ayganış) Tetracoralla, (Seray and Ahmet) Hexacoralla, (Ezgi and Taner) life forms
Özlem Arı
Adnan Murat Üçler
136
// life forms Banu Ulucan
Arın Aydın
İpek Temizkan 137
Esra Yüksek
Oğuz Han Dede Şirvan Yakut
138
Ayganış Sarıgul
Merve Çayır
// life forms
Ezgi Kaya Seray Rusรงuklu Ahmet Kemal Akbudak
Taner Durgut 139
housing imaginations This journey is the result of a carefully selected route and the ‘Longue Durée’ it has accumulated. We walked, searched, found, followed, and met the time of the place. We talked to it, played with it and kept up with it. We fused with the characters of the space and looked for ways to live, produce and dream together. It turned into an endless adventure. An adventure that will grow, flourish, and bear fruit with the time of the place ... and we enjoy this adventure with pleasure.
the atlas of misty doors Ebrehe’s Intelligence Agency The head of this intelligence agency which only those who memorize the first 666 digits of the number of π can enter was Ebrehe. Adnan Murat Üçler
The organization consisted of goldsmiths and watchmakers who made poisonous and antidote rings, to
pipes
secret
rooms;
for
listening
conversations
calligraphers
in who
could write fake edicts in different styles and imitate signatures.
The agency makes a periodic rotation movement and the interior is constantly relocated to protect privacy. 142
the atlas of misty doors // housing
In Pera, there was a man named Kubelik who was a clerk for The Venetian ambassador. He was drinking with all money he earned getting blind-drunk all the time.
One day he was walking around on the street drunk, and after a pliers hit his head, he started work as a dentist.
With the money he earned from dentistry, he bought a house near YanÄąkkapÄą.
He was caught and punished for his drunkenness, but he could not drop this habit.
In later time, he was abducting bodies and studying human anatomy.
imaginations
So, he got himself into trouble.
There were people following him all time now.
143
’s Kubelik n o e s u ho pı Yanıkka no St. was in longer place.
To start with, Kubelik had to find a new place to stay.
Agency Ebrehe’s Intelligence
144
the atlas of misty doors // housing
imaginations
With the changing time, the changing environment had created a different network of relationships. No one was around to catch Kubelik anymore.
Kubelik built a escape space above the fortification wall left by the Genoese, consisting of ramps which is supported by steel pipes and advective doors.
145
Thus, the escape space lost its intended function and turned into a new public living space.Doors to be used to escape space now open to ateliers,recreation areas, meeting places...
small ateliers of neighbouring electricians
public recreation areas
146
the atlas of misty doors // housing
imaginations
147
aka’
Ahmet Kemal Akbudak
Proje yazı altlığı bla bla bla blaa......
148
aka’// housing
imaginations
*nearby the subway two perceptions share the same place with reverse time scales and expectations
149
// // // //
one has dreams for future wants to meet people satisfy himself In a hurry
one has memories for past// miss the people she met// satisfied herself// In no hury//
150
aka’// housing
imaginations
151
*charlady comes everyday sook something cleans the house
152
aka’// housing
imaginations
153
spatial timeagnosia Arın Aydın
When the sails are set, Balloons fly high, Tides are gone, Sea is smooth and rides low, And the moon is half with the sun in the sky... Time perception of people around Şişhane is somehow and got lost. Rumors were real People diagnosed time agnosia. They are now unable to percieve and understand conventional time system. Now the city bring and stated to produce it’s own time to communicate share and live
Neighborhood built from
it’s ashes.
created a network that consolidate fragmanted time by
overlapping production rythm created in Şişhane.
District intersect with a connection newtorks of paper gatherers and lightning designers.
So people healed by the space making and
space changing practices
154
spatial timeagnosia // housing
imaginations
155
Moss cultivation spaces change according to the time of the season so the illumination proccess is change maybe we only use paper during hot summer or ice cold winter. output of the house is also the time monitor of the house
156
spatial timeagnosia // housing
imaginations
157
Ground floor accomodates paper works. Time patterns are recreated with the cycle of life life cells
water, sun and procces of paper cycle of a space becomes an time machine
158
around kitchen and ground floor and
spatial timeagnosia // housing
imaginations
159
the pebble house The Story One day, a Japanese archaeologist was daydreaming. She was researching Byzantine cisterns. She always encountered pebbles during the excavations. A lot of pebbles, ..alone. She was also fan of Steven Universe cartoon show that she Ayganış Sarıgul
Pebbles
knew every stone was special. She shared her ideas with an architect, as bookworm said. Architect was fascinated by the girl’s imagination. In her thoughts, mosses were friendly and helpful while bugs were
Moss
pessimist to all new ideas, like a parasite. (Book) Wroms were wise because they have easten a lot of books. There were no comments for skeleton and it’s bones. The architect has found a solution. Pebble’s dreams came true. Now, the pebbles were free in the air. The moss which had Fe(iron) element inside of that alter to
Bug
steel. It was still hugging the pebbles. Each pebbles had different space and function. But common point of all was attract people. The pebbles weren’t alone anymore. The
Book Worm Bug
collective life had begun.
Skeleton
Bone architect 160
archeologist
the pebble house // housing
imaginations
161
A Blogger’s Day I saw that building from a far. The building had a different form. I walked to the street where it was located. The street smelled good. I realized the smell was coming from the building. I learned that ground floor was a coffee shop. I was curious that they could guide me to upstairs, so i asked. Fortunately, they said yes. I followed them from their back. First, there were two small spaces which one of them was WC and other was a storage. As far as I can see WC was only available to customers. I continued to go up. The next place reminded me a living room. It had beautiful view to stadium and had console games. No wonder why children liked this place. Then there was a residence which was long and loccated to middle of the area. If I count correctly, the 4th floor space was also a residence. But it had view to the park.
Mostly, all spaces/places had domed shapes, like a pebble. I found that the
elements in the interior were formed inside instead of connecting to the outher shell. Then there were 3 small rooms which were
working stations. I noticed it had archeology books. After, there
was another residence which had view to stadium. I keep going up and i saw the semi-open place. It looked like a gazeboo where people gather together and eat. Lastly, the last residence had view to the park and stadium. I chit chat with them about the place and how it the organic form shaped while i was drinking their coffee. I must say it was best coffee I have ever had. I thanked them for everything and left the place.
162
the pebble house // housing
imaginations
163
164
the pebble house // housing
imaginations
165
in between
Banu Ulucan
The story of this place starts in Tahtakale where the time does not flow knitting. The main heroes of this place are the children of the neighborhood. Children and tailor uncle dream of a place for children who do not have a drawing book. This place where they dream about changes by time. The leftover fabrics from tailormesut come here and turn into paper.Then becomes a dream partner for children.After that added the shell of the place.
166
in between // housing
imaginations
The stories of places become r e a d a b l e as the time knitted Otherwise how would the children of the neighborhood dream The shell should be renewed before the winter come.
Colorful dreams and the Tahtakele give birth ‘in between’ Surfaces fold and unfold They knit and r e l a x Accompanian of the time New and old coexist together They keep a record of dreams
167
Games are played while dreams about the place are drafted. This game is part of a dream and played like that; These cards have some clues about the place. Then everyone is trying to set up this place with the help of the cards. In this way everyone create many different space alternatives with the same elements and feelings.
168
in between // housing
imaginations
169
So, this place exists between the past and future. Meanwhile the place of ‘in between’allows us to be both inside and outside. Also, above and below and sometimes in between the all of them.
170
in between // housing
imaginations
The structure itself creates new relationships. These relationships also relate people. The surfaces open and define a new space, close and
end relationships
171
act in/with space * a space that exists with what it contains * a space that exists with routines Esra Yüksek
* a space that exists with new-comers
dre
ss
sel
ler
Umu
t a nd
Han
de
Duygu works in textile and Hasan is a paper collector.
housing
*stage 1
* a space that exists with c o m m o n s
U
m
u
t
wa
Thei s
re
housing
bu
t
the
famil
y
housing
*stage 3
Fatma and Murat working at imç
h
e th
just
ir
migra
daug
ted
hter
r family has
here
from
Adan
Selin
wi
t
*stage 2
common area
common kitchen
he
they moved
here
ay
172
şe
te
yz
ame e c
a
act in/with space // housing
imaginations
This is a flour mill in the heart of the city It has rations.
crossovers thresholds
g
e
walls ne
r
and
re
fo h
e
be
en
li
v
g in
it’s own memory f ot both past & f uture th ere is always a new- comer.
re
the ar rivals settle be
ca
u
s
e
h
er
son is
working
at
a
t
t ex
il
e
l ate
ier
in
in the spaces
here.
of the shell. Gaps change / transf orm according to routines.
bu
i
ld
ing
as
a
ref
. lec
tion
of
rout
ines
the structure is made
calendar.
rebuilt
he
according to
the
unwritten
demolished /
173
The newcomers and the older ones meet l el
th
e
sh
touch each other’s lives
grows
and learn from each other they play they celebrate they cook they work they talk
er
wat
ac
r
o s f
ate
ul cum
the bu e in ild
us
ing
they laugh / cry they help each other . . . they live together and the time is reproduced together.
they
174
act
in
spa
ce.
they act with s p a c e .
o e b ons a r n e w comm
rn
p . s ace is
influ
enc
y the new-comer ed b s an d th e
ol
es. d on
act in/with space // housing
b i r d s
S e l i n
c o m e
p l a y s w i t h
t o g u e s t
#timezone1 // spring time
f r i e n n s
season is warm and the people are moving from there to there
N e w
t i m e
p e o p l e
i s s p e n t o n t h e t e r r a c e
imaginations
l a u n d r y
c o m e s
i s h u n g
shell spreads into gaps and gaps come alive. hammocks are set up chats on the terrace laundry is hung l i e s
birds take place in the shell
o n
the sheel which breaths
h a m m o c k s
turns into semi-open spaces laundry becomes a maze and the terrace is a tiny cafe. fabrics suddenly turn into a shadow play new comers arrive and they add their own parts to the calendar
175
b r e a a d s a r e b a k e d
b r e a d s a r e m a d e
N e w
S e l i n t e y z e d r i e s t a r h a n a
p l a y s w i t h f r i e n n s
l a u n d r y i s
p e o p l e c o m e s
h u n g
#timezone2 // summer time season is hot and people are dynamic. shell branches and branches. places and times accumulate underneath it. while old places and moments are closing, new ones are born. new presences are discovered. families come from the hometown and the living units expand. new comers arrive and they add their own parts to the calendar.
176
act in/with space // housing
s h e l t e r s
s n o w n a l l i s p l a y e d
#timezone3 // winter time
f o r a n i m a l s a r e
imaginations N e w
s n o w i c e
p e o p l e c o m e s
c l e a r e d
s e t u p
season is cold and people slow down. shell is shrank and the places are collected. while old places and moments are closing, new ones are born. new presences are discovered. new comers arrive and they add their own parts to the calendar. again & again ... 177
fermented encounters Sedimentens of old soup kitchen, mosses and hidden memories of ground, met with atmosphere, people and find itself a new soul when it’s story told by a speechless man. Ezgi Kaya
fermentation in 1/5 scale
178
fermented encounters // housing
imaginations
how the soup kitchen get fermented
179
Leafs of trees, with their greens and freshness Chocolate piece of kids, Teenage soul within its laughs, Sudden connecitons around a table,
Feeling coming through food, Smellings which are like symbols of a presence... One day they became as one and participate a new form
180
fermented encounters // housing
imaginations
181
182
fermented encounters // housing
imaginations
183
mobius route
İpek Temizkan
ne
somewhere in İstanbul, close to Goldenhorn, there were
zo
masters in the workshops, residents in their homes, and
ti
me
tourists in hotels. they run from place to place without
1s
t
realizing the slope they climb or the hole they descend. they produce*, they intervene** and they witness the lives of the inhabitants***. all these actions people do,
restored hotels
leave some characteristics to certain locations in their
it
ateliers
neighbourhood which vary the ‘overground time’ they live in.
n
,
abandoned hotel
me
ti
ation time st
ga be
II
so
st a on
ti
can h
184
r
ea
ed er ll ho Gr ou nd
just nod
me
hel lo
there an is yb
you if
he l
II
o? ll he
ut th er y o e? od
lo
no
on e
no
dde
d
mobius route // housing
imaginations
Proje yazı altlığı bla bla bla blaa......
the service spaces will be settled based on the regions where there are “time characteristics” since these spaces will get their “characteristic features” over time by the inhabitants of the neighbourhood. this approach makes these service spaces an “analogical topography” .
185
nd
top view the shell - the support structure for over growing plants over time. plants become infill material and furniture of living spaces.
+4.5m level overlooking the acommodation area of workers. the dividing walls are emerged from plants which are overgrew, following the structure.
ground level kitchen & mushroom field. mushrooms which will be used forW brick production are raised in the site. food waste from kitchen is used as substrates for the brick production.
underground level the lab and the substrate depot. the lab is equiped for the brick production which is directly linked to the service tunnel to the construction site.
wi 186 tne ssed
mobius route // housing
imaginations
top view the support structure for over growing plants and lift for the timbers to be carried to the site from atelier.
+6m level architect’s living and working space
underground level timber atelier and atelier’s workers’ living space
187
about the construction and
construction site
the “analogical topography”, construction site refers to
time stationII
restored hotels
a hotel construction that is not appropriate for the neighborhood, thus will be sabotaged by the architect using improper mycelium bricks. the construction couldn’t be finished and workers will
service tunnel
leave the neighborhood. after the spaces which are used by the construction staff will evacuate, the structures become analogical topographies defined by their overground time zones.
wood atelier
188
time stationI
mobius route // housing
imaginations
last but not least, there was a story untold, a story of a ground.
over the ground, people were wandering around, no one told them when to run, so they run and run to catch the time. they dig and find, build and settle, work and work to build more; then they demolish what they built, to be able to build more and more. years passed, rains fell, and the Ground is the same in a relative way but people are older. and then.. “dear people” said the Ground, “I have been here for more than you could ever imagine. I trembled, moved, rose, descended; I made hills and pits, I stood still under you while you were kicking around on a piece of me, unrealized that one day you will find
tens of years have got behind you meanwhile I
will still stand under you.”
189
gushinghall the gushinghall d/re-identificated, the holes are the traces of demolition. land hided the hall from the one destroys everything around. Merve ÇayĹr
the locals refuged land to wait time they will be shown again. the time was not flying, fleeing, or going. everything was already there. when they were supposed to draw their future secretly on sky ,they were scratching the negative in land unconsciously.
l o or . er f g ow in l sh h e li t es s , po rom o me l s . e h wa nlyf d h t e s e ap of ber dd while sc e the p l u m d s u th e a s de hom t e i n r h a w it the smoke sp ing ne y w y l eft everyth me a tor t he co s s the workshop be it it astreet rtists.ing a lway l s k ept t e l
190
i am the watchman of this place, which is not frequented by anyone.i am the wall of the genoese city.i am the timeless, with my individuality and the layers on my arms.
gushinghall // housing
imaginations
columns are touch the land in the middle, moving to the right to left. every movements create spaces and destroy spaces as well.the distants between foldable spaces expand and shrink, and also bear the traces of the movements on their fabrics.
it was a windy noo the clouds dropp n, th I was the last r ed he e sk y w oof r l of ight as bl ac the ning k, b str olt ee on t an m im y al br s. an c
he
s.
191
the memory of city forgets when they construct above it. the street cat can not find its food bowl on site.
gushinghall creats hills as a clue of its existance. the existance of relationships, between craftpersons and customers. the hall is reconnect the lighting shops upper part and lower part.
192
gushinghall // housing
imaginations
when they were supposed to draw their future secretly on sky ,they were scratching the negative in land unconsciously.
the people creats a new structures, even they are not noticed they forget their past when they build for future. while one fold is open in upper part, the ones connects is closed.
193
over the
the
the
r en d,
coll
ecte
d
mem
ory
il
194
s,
n ne ve
have
unt
at
year
itio
they
and
600
trad
the
y d es
tro
cha
nge
the
y
eve
beg
ryt
inn
ing
hin
.
g
gushinghall // housing
imaginations
s orthi ng f land, c is the p wata st. ve co forhe f h the s them of pa t t tw a nce ohich i r o w tfulnessthe evidmeind w le fo e e s t g i e r r o t i conc f ectab t e their d n u
195
antagonist-organism antagonist-organism Naz Nar
bla bla bla blaa......
caretaker of the garden, takes care with the organism for
Naz NazNar Nar ff
f t
en
ard c a l gnic ean
lo
a
n
l
nt
lk
n he il oo n
wa
e fr
br
n
in
m m ee m m
ns
ii
gar
mo t io
he he
gi ccaall n naircdcdeaeann bboo ttaa
ntt een err ffe iff ddi
oroyryo o t ff t
bboottaan n
aa
llo o iin n
aa nntt
t- c
-
. --aa.. . --ss tt--cc
a-c -
--ss
a nt
.. s- a
t
h u m an
onnss mmoott iio nntt
wwa all kk
n hhe rree n eiil l l lff
o rooo nn bbr
cca ann
cca ann
-s
yyo ouu
tt
hhuum aann m aa--cc --
one upon time, there was nutumilluses, organism is a result of evolution of this sea sheelfishs.
humans as one of the most curious living beings, feels the monster behind the wall and tries to see it.
figure figure nr. nr. 11
196
there is ants, they can walk wherever they want and can reach the every side of the garden with organism
ll
yyo ouu
nutummilus -- ppaal z oi s eaa rr oo cc kk bb oo tt tt oo mm -- nutummilus leeoozo i kk se
In figure nr.1 we see the habitat of the organism, as we mentioned earlier, it is under a botanical garden. There is a huge retaining wall in front of it. Then we see the buildings of the Küçükpazar.
ca
ca
r o c k b o t t o m - nutummilus - paleozoik se a
This book is a detailed study of an organism that has been under the botanical garden of alfred heilbroon, which is now under the management of the mufti and is under the threat of various damages. The organism is thought to have emerged as a result of evolution and is the only example of its kind. It also hosts many creatures that live mutualist with it. It is an organism, but it is also a garden. Sometimes it is a monster that follows us underground.
u
u
l
yo yo
t
i
bo t a
er
me m
di
ory o
he
b o t an
figure nr. 1
antagonist-organism // housing
the organism knits its crust under and above the ground, while growing plants in the underground, it creates areas for the caretaker and the local people at the above ground.
imaginations
botanical garden figure nr. 2 “growing step 1”
botanical garden
ventilation tunnels
public space & space for caretaker wall
figure nr. 3 “growing step 2”
soil
figure nr. 4 “growing step 3”
the bedrock (sandstone) void for spanning plants
void for growing longitudinally plants & tunnel
void for seeds, draw wells
figure nr. 5 “growing step 4”
shell
197
A
A
C
C
C’
C’
B
B
B’
B’
local people local people sew the sew the vegetables vegetables and and fruits fruits they want, they want, they come theywhen comethey when they want, sometimes want, sometimes they they just pass justthrough pass through facade AA’facade AA’
Here the Here caretaker the caretaker cooks the cooks collected the collected and processed and processed glass- glasses, producing es, producing lenses lenses to illuminate to illuminate the the beast's beast's shell. shell. section CC’section CC’
198
A’
section BB’section BB’
A’
the monster the monster brings brings the collected the collected bottles bottles to his to his caretaker, caretaker, the the caretaker caretaker breaks breaks them and them makes and them makes them wait. wait.
antagonist-organism // housing
Since plants Since plants such as such as the sebastian the sebastian plant plant are negatively are negatively affected affected by the by the airflow, airflow, the organthe organism builds ism builds walls walls into the into interior the interior space. space. figure nr.6 figure nr.6 “inner wall” “inner wall”
figure nr.7 figure nr.7 “rock garden” “rock garden”
Some flowers Some flowers needs needs rock gardens rock gardens to to live, live, the sheel the has sheel openhas openings in ings in someplaces someplaces and and creates creates rock gardens rock gardens with with the the
imaginations
Plants Plants grow, the grow, the garden garden grows too grows too according according to the to the flowering flowering and seed and seed times, times, thin parts thin of parts of the shell the are shell are disrupted disrupted and new and new areas are areas opened are opened figure nr.8 figure nr.8 “thin sheels&growing “thin sheels&growing diagram” diagram”
figure nr. figure 9-10 nr. 9-10 “sheel structure” “sheel structure”
It covers It covers its shell its shell from cellulose from cellulose and and soil with soildifferent with different layers layers and contains and contains soil in soil its in middle its middle
layer. layer.
199
t gh
dande
i nl su
n lio s
organism use sun tubes, for illuminate inside, there is lots of tubes in different directions because of the shades of trees in different day periods.
o
rg
lenses for adjusting the light which come from the lighttubes
sm
CO2+Ca CaCO3
S
yn
ech
occus oc
bacteria (Synechococcus) take carbondioxide from plants and produce lime-stone with using a little calcium,the organism adds it to its shell
the organism uses the drainage holes in the wall for ventilation
as ventilation c a v ity hol
e
200
ani
antagonist-organism // housing
iris xiphium, ispanyol süseni, spanish flag
acer palmatum,
convallaria najalis, lily of the valley
alaea japonica, açelya, japonica azaleas
aquilegia vulgaris, haseki küpesi
ajuga reptans, blue bugle gladious communis byzantinus, byzantine sword-lily
aquilegia x hybrida
aurinia saxalitis, basket of gold borago officinalis, hodan, star flower lampranthus roseus schwantes, ice plant crocus mathewi,
height: 20-70cm width: 6cm
height: 6-10 meter
height: 15-20 cm
height: 30cm1 meter
turnera ulmifolia,
deciduous plant, grows in forests, at shades
heliconia bihai,
wet soil with humus, half dark, need protection from the wind, garden stone wet soil with humus, half dark, need protection from the wind, garden stone breathing crushed seeds leads to poisoning
height:10-30 cm
color changes under the sun, bloomin in may and june, okey for the low temperatures until -15 celcius, sandy soil
eichhornia crassives, su sümbülü, water glaycinth
cycas revoluta, japon sago palmiyesi
nepenthes sanguniea,
height: 30-90 cm
height: 10-30cm
height: max. 1 meter
ficus benjamina, benjamin bitkisi, weepingfig
height: -
half sun, good drainaged soil, does not have a seed
coffe stenophyla sierra leone,
full sun, spreading, blooms in spring, pollen for bees
nynphea pubescens, nilüfer, waterlilly
open forest, march- april- may- june for blooming, using for recovery full sun, rock garden, can live in a flower pot
height: 1-20 cm
eatable, damages from low temperatures
height: 30-60cm
may- june for blooming, swamps and wetlands
height:60-80 cm
height: -
-
generally grows up by the roadside
height: -
height: -
height: higher than 1,5 meter
sierra leone coffee tree
it fills with water and creates a source of water for birds and insects
water plant
height: -
grows so slowly
height: 10-30cm
growing under the shade
height: higher than 1.5 meter
destructive root, high tolerance
height: higher than 1 meter
likes sun but has tolerance
height: 6 meter
-
width: 15cm
non-acidic water
height:9-12 meter
-
-
all time green
height: 1,5-3 meter
spring- and of the spring- beginning of the summer, likes sun, sandy soil
height: 4-5 meter
rocky soil, high tolerance,
coffee arabica, arabian coffee tree
room temperature, does not need direct sunrises, affected from air-flow
height: higher 1m (from the water surface)
pitcher plant
ruffled palm
musa acumimata colla, banana flows opuntina ficus-indica, kaynana dili, indian fig cactus nolina recurvata, elephant foot
pandanus veitchii
height:higher than 1 meter
papaver dubium, long headed puppy
yellow alder, iris germanico, alman süseni, german flag
macaw flower
licuala grandis,
height: -
blue star rhaponticadies,
aravcaria excelsa,
height: 1-2 meter
mathew crocur amsonia orientalist,
good drainaged soil, damages from the quite low temperatures, green plants at fall
imaginations
height: 60 cm
likes sun, but has tolerance
limestone soil
limestone soil
201
contiguous vita OÄ&#x;uz Han Dede
This story is the story of artisans. The story of those who live under the historical wall. Life is simple for them. LIFE IS WORK. Work at the top, sleep at the bottom. Sometimes top becomes down. They arrange their houses how they want.
Oh, and there are also tourists. This is also their story. People living on the other side of the wall. For them, life is simple because they only live. Spaces are temporary for them, insignificant. Whatever the place says to them, they live and go. They have no traces.
202
contiguous vita // housing
imaginations
Two opposite lives. They have to live in the same area. Oh, by the way, let’s not forget the subway
Artisan Settlement
Tourist Settlement
Wall of Genoese
that flows under them with all its majesty towards the Golden Horn. It is the true hero of this story. And here, there is a truly perfect Golden Horn view.
As I said, we live together. But on different sides of the wall. While we preferred to live underground, tourists preferred to go high for that wonderful Golden Horn view.
circulation of tourists circulation of artisans
We lived underground, but we had to go aboveground for our job. That's why we divided our house into two.
And we brought our workplaces to the ground during business hours, and when we were done, we lowered them back.
We are variable, we cannot stand still. But tourists are not like that. But we learned to live together. We even have a corridor that binds us, sometimes they come to visit us.
203
corridor
Here is the life source of this structure
AIR The subway does not only pass under this
common area
toilets
tourist rooms ramp
building, the air flow that occurs with each pass gives life to this building. The air flow in the subway pass is collected and makes the house move. Rooms rise... Facades move... Doors open...
artisan homes
204
workplaces
contiguous vita // housing
imaginations
Underground Level Houses of artisans are in this level. when the workplace
A C
goes underground, it reaches this level. 4 artisans live
-2.00
%17
here. It is also found on %17
stairs that allow artisans to go underground during working
B
%8 -4.40
-4.00
B
hours.
-4.00
For tourists, there are
+0.00
+0.00
toilets and showers at this level. And the corridor used
-6.00
to enter the building is at this level.
+0.00
+3.20
Ground Level It reaches this level when workplaces of the artisans A
rise. After the working hours, +4.20
the work places go underground C
again. For tourists, there is a common use area at this level. It has a kitchen and seating. Outdoor
plan view
at this level can be seen. The structure of tourists gradually increases. Along with the stairs, the connection between the levels is provided. The beds in the rooms are inflatable beds and inflated at any time by the air flow obtained from the subway. 205
0
5
10
15
20
m
10
15
20
m
Section A-A
0 206
5
Section C-C
contiguous vita // housing
imaginations
The building has a very active facade. The facade, which is made up of fragmented moving parts, is constantly in motion with the effect of the air flow. These parts on the glass surface on the outside enable the light coming into the building to change constantly and create a mobility inside.
0
5
Section B-B
10
15
20
m 207
woof-keep-sake The wall continues to capture all the memories. The wall is a filet and time is pulled out. In these places Ă–zlem ArÄą
that need a wall, fabrics are drawn. Fabrics are drawn, one space begins to fill up, one space to empty.
This film is a search for a solution through the communication between events stuck between two time
frames,
memories that are real or imaginary, with each other. In the process of persuasion of a man starting
with the argument
that they met last year shows us the logic of the film; “What we call the moment are divided into three;
the moment
we remember, the moment that the other side
remembers, the
moment that actually happened. 208
woof-keep-sake // housing
imaginations
Tahtakale is a region that constantly moves with its market and business life, it can become a place
where silence
collapse as we move away from the coast. The huge walls we can follow are a breathing
organism of this region.
It gets wealthy by getting savings from the environment it witnessed. Perhaps if we start pulling
these walls as
if they were a mesh, time particles start sticking to our hands.
This is an area next to the wall we associate with time. This field can take its strength from the wall. It can attract past time particles hidden in the wall and reveal them. There are two arms to the street from the area lying next to this wall. Staying between right extension
two time frames in the movie was inspired by the space here. The represents
the past, left extension represents the formation in the
present. These areas are in communication with each other.Past and present contain layers of time within themselves. There Starting from the
cross-sectional progress in these spaces.
street, it seeks to grasp and solve the time towards the wall..
209
210
1
6
2
7
3
8
4
9
5
10
woof-keep-sake // housing
As Tanizaki mentioned in the book “Praise to Shadow,� are hidden in textures that can
imaginations
experiences
create shadows . In the movie, the
processing is important, not the result. An argument may not come true and we can go back. Therefore, that come to the fore in the film, conclusions with 5 events
as a result of the interactions I started to examine how to reach
of the past and 6 of the past.
211
Layer 1 (past 1 and present 1)
First Floor - 0 m
212
Second Floor - 1,5 m
Third Floor - 3 m
Forth Floor - 4,5 m
woof-keep-sake // housing
imaginations
Layer 6 (past wall and present 6)
Fifth Floor - 6 m
Sixth Floor - 7,5 m
Seventh Floor - 9 m
Eighth Floor - 10,5 m
213
one hundred years of ghosts It all started when immigrant father and son (Ali & Ekrem) came Unkapanı Değirmeni to earn their future. Everything in this place is constantly changing and extraordinary! Young boys and fathers, grandpas and ghosts of past, birds, and Seray Rusçuklu
even other family members who are far away... They all live and create together for years, decades and centuries.
Kamber the
Bekçi Baba
Greengrocer
İstanbul Draper’s Shop (İMÇ)
bachelors’ rooms
İstanbul
İstanbul
Apprentice boy,
Draper’s
Draper’s
Hikmet
Shop
Shop (İMÇ)
(İMÇ)
bachelors’ rooms
Ancient walls of Unkapanı Değirmeni
214
Salih the Hosier
one hundred years of ghosts // housing
imaginations
215
YEAR 1: SETTLING DOWN
YEAR 50: PLACE IN TRANSIT 216
YEAR 10: PLACE IN CHANGE
YEAR 75: SPACES NEAR GROUND
YEAR 25: PLACE IN DISCOVERY
YEAR 100: WHAT IS NEXT?
one hundred years of ghosts // housing
YEAR 1: SETTLING DOWN
YEAR 10: PLACE IN DISCOVERY
YEAR 25: PLACE IN DISCOVERY
YEAR 50: PLACE IN TRANSIT
YEAR 75: SPACES NEAR GROUND
YEAR 100: WHAT IS NEXT?
imaginations
217
Time for ghosts’ arrival: They are stretching the rooms, deform the frames and even create fluid paths because of their angry winds they make. But... all these blurry movements could not be real, right? 218
one hundred years of ghosts // housing
imaginations
219
interweaving of resistance
Ĺžirvan Yakut
In the early 17th century, Galileo affirms the existence of infinitely open space as an expansion of space. Today, uniform space-expansion has been replaced by spaceneighborhood in urban area. These neighborhoods are completely distinguishable from each other, so we encounter deep-rooted heterogeneity in living spaces. This rooted heterogeneity is felt here because of the metro bridge,many destructing buildings around and migration.
220
a structure that resists the metro bridge next to it with intertwining space fragments an endeavour to holding on to there
interweaving of resistance // housing
imaginations
‘’There is no only a space that surrounds us, everywhere is filled with space crumbs’’(Species of Spaces, Georges Perec). These space crumbs establish the phenomenon of space with micro-life experiences in our memory when considered on a human scale. The images that take place in our memory, which we sometimes see in the city and the daily elements of the complexity of the metropolis convey various temporalities in the city.
221
222
interweaving of resistance // housing
imaginations
Michel Foucault says that wherever there is power there is a possibility of resistance or resistance. In the subway bridge, which is dominant (power) in the project study area, it questions how the spatiality and temporality of the street market (based on the relationship of the place with Tahtakale) can be established by intertwining space fragments. It reconstructs the temporality of the street market structure and the public and private spaces of its structural elements (fabric and carriers). The surfaces of the structure can be folded, opened, and changed with the temporary of the fabric.
223
224
interweaving of resistance // housing
imaginations
The upper floor of the building is at the same elevation with the street level above the retaining wall, so it is used a passing, observation, and imagination space. The street marketers and paper collectors live together in the structure. The ground level is designed as a street market and paper production area.
225
upside down cities are established, expand and spread spread.
Half a century old kaval master cannot find an apprentice to continue his craft
boundaries are overflowing, floor levels are diversified. Taner Durgut
new rhythms emerge as cities spread. walls are erected, layers multiply. each layer has a different time. all these layers are located in the city together. and all of them are stacked on top of each other.
Ali Rıza Acar, who has given the voice to trees for 50 years with great love and care in his workshop in Istanbul, is afraid that his craft will be forgotten because he cannot find an apprentice to continue his profession.
The wall, like those of at Süleymaniye and İstanbul University had been accustomed to being underground for years. whereas now it was the same but it was not underground. perhaps it was lowered, or the newly built building allowed it to reach the sea as a home for people and craftsmen. 226
upside down // housing
imaginations
Ali RĹza Acar, who was unable to find an apprentice, started looking for a new workshop. With this new workshop, he hoped to attract more people’s attention, and even to attract new apprentices by arousing curiosity in some young people.
While walking on the main street of Tahtakale, he saw a building right next to the metro bridge, that stretched all the way to the upper streets. He took his first step on the ramp to find what he was looking for in such a transition place, and this ramp brought him right in front of the atelier that he was looking for. He thought he found what he was looking for. but he never looked around, what is this place like?
this is a new journey
for both the walls and the visiters... 227
He
walk
forward
with
curiosity and found himself walking in a long gap from the
upper
underground.
street When
to
the
looking
down, a man at the bottom was caring for the ivy that just started coming out.
He went down to look at what was going on below. He accidentally entered the glass workshop next to the toilet while trying to land. But the master was so busy that he didn’t even notice that. A few meters later, he found himself in the kitchen where 3 or 4 people ate. There he met other people, with other masters here: the tailor, the woodworker and a few kids ...
They passed through the room where they rested rested and lived in their spare time. They started to go up to the atelier that he liked and the rest of the building...
the gardener yelled to the boy sitting a little above from him and reading his book: “Hey! Are you hungry? I can prepare something if you want. 228
upside down // housing
imaginations
They returned to the entrance ramp and came back to that atelier. It was so spacious. There were wooden boards instead of the walls. Since it could be closed at any time, it could also provide a closed space. The best part was that there was a gallery on the upper floor. He dreamed that he was playing backgammon with his friends who had been visiting for a moment. It was also on an alternative route that could be used to reach the upper street. it could reach anywhere: underground, above ground,
by ramp
or by stairs ...
plan senction B
plan section A
the boy said we eat 1 hour later and the man continued his job. the ivys were starting to grow, soon to close the kitchen wall. on the one hand he was working, on the other hand he dreamed of going to his house on the upper street. 229
the boy came running to
As
the hotel on the upper
things
up,
When time got close to 5 o’clock,
to
an officer who lived in the upper
street and let himself
get more fun. On the
street probably used this place
down
wall.
one hand, the paper
as a shortcut. This building was
the
collectors separated
not only made up of workshops and
flexible mesh ground, he
the paper in a room ,
ateliers on and under the ground,
grabbed the net and went
while on the other,
it was creating new routes for
the
people
After
from
the
rolling
on
down. maybe he was hungry...
they
went started
children
running
around
were
who
came
and
went,
it
and
connects old streets that had a
jumping on the net
memory of each other and it was
floors.
providing children with fun while constantly observing and learning.
walls were installed. some were down,they stucked; so they were heavy. as they went up, they eased, the distance between them widened, 230
upside down // housing
imaginations
plan e-e plan section E
Ali RĹza had found the sincerity and relationship he had sought for years in this structure. There were artisans that he could chat with when he was tired, there was not much from the kid who was wondering about everything. Perhaps, the profession of kaval, which was the father’s profession, was now approaching a new beginning instead of reaching an end ... plan d-d
plan c-c
these gaps were covered, closed or equipped with moving parts. At the top, the walls met the sky freely and got involved in the daily hustle and bustle. 231
232
233
234
235