portfolio
‘18
architectural and personal works
DUYGU SAYGI dusumusu@gmail.com +90 (535) 798 58 97 Gayrettepe/İstanbul
Education
Computer Skills
Personal Experiences Yellow Stories Photographer
Professional Experiences
2017-Ongoing
Hemhal Atmospheres’ ITU Lecture Project
2017
Presentation Jury: Nil Aynalı Eğler, İsmail Eğler, Nevzat Sayın, Nilüfer Kozikoğlu,Büşra Tunç
Ortabahçe Cinema Organizer
2017
Team Member-Designer-Architect/Part-Time Yoğunluk Art Collective
05.2017-Ongoing
Architect/Part-Time Rekare Architecture & Restoration
08.2016-04.2017
Architect/Intern Slash Architects
07.2016-08.2016
07.2015-08.2015
Asmalımescit/İstanbul/Turkey
Şişli, İstanbul, Turkey
Duende Mag Author, Illustrator
2015-2016
Galatasaray/İstanbul/Turkey
Yerden Yüksek Team Member
2014-2016
Architect/Intern Mendos İnşaat
Architectural Workshop Series with Children
Şişli/İstanbul/Turkey
*Worksite of the Quasar İstanbul, designed by EAA.
index
Architectural Works 1 co-subjective
2 make-scape
3 museum-ex
4 iç-içe/dışa
Installations 5 ‘the house’
6 reflection
7 hemhal
Graphic Design 8 book cover
9 brochure
Photography
architectural works
co-subjective Art and Design Campus in Ayvalık, ‘18
Graduation Project
Jury Members:
Prof. Dr. Birgül Çolakoğlu Doç. Dr. Yasemin Alkışer Bregger Araş. Gör. Ahmet Gün Prof. Dr. Gül Koçlar Oral Prof. Dr. Mehmet Ocakçı Prof. Dr. Hayriye Eşbah Tuncay Doç. Dr. Fatma Erkök Doç. Dr. Yasemen Say Özer Arch. Nevzat Sayın
The Faculty of Design and Architecture is a space or ‘creation’ and ‘production’ on its own. For this reason, the design has been conceptualized as an open space where everyone can learn from one another. Along with this, students who aspire to become architects and designer should develop a style and expression language of their own. For this reason, individuality is as important as collectivity. In this regard, it is useful to recall Deleuze’s concept of ‘subjectivity’.
CONCEPTUAL APPROACH The Faculty of Design and Architecture is a space or ‘creation’ and ‘production’ on its own. For this reason, the design has been conceptualized as an open space where everyone can learn from one another. Along with this, students who aspire to become architects and designer should develop a style and expression language of their own. For this reason, individuality is as important as collectivity. In this regard, it is useful to recall Deleuze’s concept of ‘ subjectivity’. ‘’To ask what a body can do is to ask what particular relations a body (whether human or non-human) is capable of ‘composing’ with other bodies’’ (Deleuze,1997). Each individual differentiates from each other by degree of their capacities to affect and be affected, and by their capacities to enter into new relations with other individuals. That considers individual bodies in terms of their ‘power of acting’ which grows as a body becomes more capable of entering into novel relations with other bodies, and thus more capable of affecting and being affected by these bodies. Given the heterogeneity of these relations, and the encounters that sustain them, a body’s capacity to be affected does not remain fixed at all times and from all viewpoints. In this manner, human bodies attain an individuality that is also a characteristic subjectivity (Deleuze,1988). This is an embodied
subjectivity, a situated or spatialized subjectivity that is always, already a multiplicity. Deleuze’s ethology spatialises subjectivity. Subjectivity is the achievement of bodies acting together. Subjectivity, in other words, lies in the hand meeting the concrete, palms pressing into the textures of haptic sentation, where each(hand and concrete) composes a subject (‘Addiction, Modernity, and the City: A Users’ Guide to Urban Space’, Smiths, 2015). When a person interacts with others, and when the qualities of these interactions differ considerably, it is possible to talk about an important mutual and reciprocal development. This is where the ‘CO-SUBJECTIVE’ project name comes from. CONCEPTUAL SCENARIO AND SPATIAL RELATIONS s close to each other as possible. In this morphology of the city where the different small residential buildings are arranged adjacently around narrow streets, all the buildings are perceived as a whole. These urban features of Ayvalık can be directly related to the concept of ‘co-subjectivity’. The squares that the narrow streets create when they intersect with each other and the usage patterns of these squares played an important role in the formation of this project’s social and climatic scenario.
Architectural Typology
Today, all along the AyvalÄąk sea shore there are a lot of old olive oil factory buildings which are constructed due to sea connection for logistic reasons. Whereas some of that buildings have restorated and refunctioned, many of them are idle.
The city has developed parallel to the shore and slope throughout history. Today, new city settlements are located at the north part of the city. The city center is capable of adapting itself in a condition of developing tourism and trade. Some streets, Barbaros St. or Talatpaşa St., have high trading activity. However, there are also some local spots which are calm. Also, some idle spots became more active with the opening of new cafes or ateliers. Depending on the development of the city, needs have increased. Therefore, the port have enlarged and moved to the north; city terminal have moved to a larger site at the intersection point of 29 Mayıs Street and İzmir-Çanakale road; and a new hospital has constructed to the Ahmet Taner Kışlalı Street.
The project site is located on intersection of Ayvalık-İzmir Asfaltı Street and 29 Mayıs Street. The site have topographical characteristics which reflects the relations with roads and nearby old agriculture area. The weather on site is windy and the wind generally comes from north side of the site. The Area also open to direct sunlight from south and have high numbers of sunny days. On the site there are different types of plants, which are enough big to call trees. Approximately there are 144 trees exists on site. Cemetery exists in front of the site and also there is one bus stop on the Ayvalık-İzmir Asfaltı Street, which is near the site. Site have a panaromic vistas of Mytilene and Dikili, but also City Dump. The site connects to the Ayvalık with 13 Nisan Street and it enables to reach Ayvalık less then 15 minutes by walk.
Square Typology of Ayvalık
CONCEPTUAL SCENARIO AND SPATIAL RELATIONS ‘A structure that presents different perspectives and is integrated by the coming together of different parts’. Due to the climate characteristics of Ayvalık and in order to control the wind and the sun, the houses in the city are placed as close to each other as possible. In this morphology of the city where the different small residential buildings are arranged adjacently around narrow streets, all the buildings are perceived as a whole. These urban features of Ayvalık can be directly related to the concept of ‘co-subjectivity’. The squares that the narrow streets create when they intersect with each other and the usage patterns of these squares played an important role in the formation of this project’s social and climatic scenario.
‘square’
In Ayvalık, streets are very narrow and they alwas intersect one to another. Some intersections creates squares that people can gather or some facilities can go on. Every street represents the ‘individuality’ because it is hard to walk more than a few people. As a metaphor of ‘ finding your own way’. However, the ‘square’ is a gathering space that contains variety.
THE PROJECT AREA AND SPATIAL ORGANIZATION DECISION If we analyze the spaces given in the function list in relation to each other in a conceptual way,it is also worth mentioning that the people of the city will use and produce on campus as well. For this reason, the functions mentioned have been intermingled with each other (owning also their own specific areas). More private functions such as accomadation have been reserved exclusively for students.
Due to the strong and disturbing character of the North Wind, the units were designed as to form a barrier on the north front. Thus, the inner square will be able to operate without being affected by the harsh climate. The building was solved by connecting the different small units to each other with closed bridges. In this way, all structures form a whole and at the same time produce different capillarities. These bridges and patios that are created on In the proposed scheme, social functions have not been cen- the facade have been usually designed as social / circulation tralized; they rather circulate freely among other functions. areas. This organization has been inspired by AyvalĹk’s above mentioned squares. A social backbone has been created and the other structures are arranged around this backbone.
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STUDIOS AND WORKSHOPS The studio and workshop areas, which are the main centers of production, have generally been designed as connected to the square, and in a way that will encourage ‘co-production’. Besides this, free spaces that can be adapted according to the users’ needs have been proposed in the studio and workshop areas. These spaces, which are divided by divisory panels that can be opened and closed when needed, allow for different activities to take place. WHAT IS A STUDIO? Studio is not a mere space product. The studio is a living space. For this reason, one should be able to adapt themselves to this space according to what they want or do not want. This project, which seeks an answer to the “What kind of relationship is established with the ‘studio’ when one is working, resting, studying, sleeping, doing sports and playing games?” question, has been designed with a flexible space setup that allows for such activities and more.”
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make-scape Creative Arts Institute in Zeytinburnu, ‘17
Architectural Design V//
Prof. Dr. Ayse Senturer Dr. Ozan Avcı ‘Every present moment disappears before the next, and now a new moment begins, it becomes a new moment. infitinite moments of time. ‘ Today in Zeytinburnu, there is a disjointed situation on community due to the co-existence of different identities. So, it is attempted to create a new locality where these different identities can coexist by interfering with the social situation which will become more complicated in the future.
‘’hakiki zaman süredir. ele geçirilemez, bölünemez. tam bir değişiklik halidir.’’ ‘’zaman anları asla birbirine eklenip toplanamazlar ... ‘’g e ç m i ş , halde(şuanda) belirerek geleceği oluşturur ‘’ Bergson oments of time are infinite particles, m and they make sense on their own. d. ‘’we experience time as fragments that pass us and immediately vanish.’’ Inhabiting time|Karen S Franck e very present moment disappears before the next, and now a new moment begins, it becomes a new moment. infitinite moments of time the infinite moments of time, the infinite times of rebirth, change without ceasing. We can not talk about progress towards the future or the past because every moment has its own time inside. every change is new. new, birth and re birth. d. ‘’süre: arasında olma, aralık olgusu ile üst üste düşer’’ Sınır Boyları|Prof.Dr. Ayşe Şentürer The projection of the concept of ‘inbetween’ on the space is borderline. These areas may be intervening, separate or non-one-sided areas.
In this context, if the ‘place’ is superposed with ‘duration’, the inbetween place will expand through the its surrounding space and relieve itself from the quality of ‘dividing’. d. ‘’Mekan zamana açıldığında dönüşüme ve yeniden biçimlendirilmeye uyumlu hale gelir, özelleşir ve tekilleşir.’’ Sınır Boyları|Prof.Dr. Ayşe Şentürer The non-characterization of the time-widening boundary space is shaped by the identity of its surroundings, so belongs to both sides. This, in turn, creates a new function in the city, creating a coexistence. d. ‘’Kent, kenti kullananlara her türlü temsil, üretim ve paylaşım için uygun platformlar önermelidir.’’ Sınır Boyları|Prof.Dr. Ayşe Şentürer On this point, places of encounter are created and these conflicts creates new. Every moment of time is ‘new’ itself by creating it, so this borderlines, so this borderlines starts to produc ‘time’ also. A space created time, and a space created from time. There is no final product in this process, which proceeds in the cycle of infinite change / transformation. d.
free spaces
road
city wall
coal gas factory
yedikule dungeon
With a view of the residence, between a large gap and a vehicle path a green area becomes a picnic space.
A large vehicle road that separates the two sides from each other by restricting the passage, which forms the boundary between the demonstration area and the ramparts.
On a close scale: a park that does not serve exactly the purpose of one side - industrial ruins on the other side. On a remote scale: a boundary that has lost its purpose,a historical value has two neighborhoods with social life on both sides.
Un-functioned and abandoned. And an industrial urban memory
An enge that must be overcome to reach the dungeons from the gas house, A vehicle path that creates a critical union with the dungeons, which allows the limited walk on the sidewalk with the banquets.
İsmet Sungurlu’s House
Has hosted a multitude of ethnic identities. it has attracted the attention of the cinema and television industry, which is important in terms of the relationship established with the dungeon in a historical neighborhood that creates historical memory.
neigborhood In a historic neighborhood, with most of the restored houses, still have neighborhood associations and the stairs were the meeting place of the neighborhood.
This mapping shows the transformation of the area since 1946. While it was a low density district, today its built worlds increased with the increasing of the population.
In the late 1950s, Millet Caddesi, the oldest transportation line in the direction of the city regulations, carried out by the Democratic Party, was rearranged and Vatan Street was opened as a new transport line parallel to it. The history of these streets has been directly influenced by the population in the half-island region, and the growing population has suddenly started to rise. The population of Zeytinburnu, which was 89,397 in 1960, was measured as 289,685 in 2015. Zeytinburnu became district in 1957, was known as a slum region until the 1990s. ‘’1990 yılından sonraki nüfus artışı gecekondulaşmanın yavaşlaması ve mevcut gayrimenkulların tapu sorunlarının büyük bölümünün çözümlenmesi nedeniyle ruhsatlı binaların yapılmasına bağlı olarak yerleşim alanlarının açılmasından kay-
naklanmaktadır.’’ (Zeytinburnu İlçe Portalı) The region was also evaluated by the opening of Marmaray in 2013 and the connection to Zeytinburnu by Kazlıçeşme stop. Nowadays the population of the district is increasing with the Sriya immigrants. The transportation of the district is provided with tram line north of Semte transportation, IETT buses in the south, and Marmaray. In addition to these, transportation is also provided with the dolmush. The suburban train line which was working between Sirkeci and Halkalı until 2012 was closed due to the opening of Marmaray and still does not serve today. Causing the people to walk to the Sirkeci or Kazlıçeşme Marmaray stops, which constituted a constraint to meet the transportation needs of the people.
ONCE UPON A TIME Today’s demonstration area was a housing zone until 1980s. Also the number of the gasworks increased and decreased by time with changes of energy which city needed. In 1670’s, from Piri Reis’ Map, the city walls
was a protector of the site but today it has lost its purpose. Also the end of the city walls was meeting with the sea in 1670s but it has lost its connection because of the additional land application.
Yedikule Neighbourhood
Yedikule, an old Greek city, is one of the rare places where the concept of the neighborhood still continues. Nevertheless, over time the change of the social circle has also affected the local culture. There is a famous barber who still gets red eggs in every easkaly from his old Greek neighbour.
Yedikule Dungeons
İstanbul City Walls
It is a city defense wall built around Eastern Istanbul during Eastern Roman times. The additions made in time, the destructions, the repairs have become what it is today ... It is now a lost historical value. At the same time, it forms a border situation in the city with its integrated and high structure. Many of the doors that provide access to the sides of the rampart are in a closed position. The historic Golden Gate is located between Yedikule Kazlıçeşme and connects the two regions.
Historical Yedikule City Gardens
In fact, it was made to meet the guests of Byzantium and the members of the foreign palaces in a magnificent way. Following the conquest of Fatih by the city, 4 more towers were added with 3 more names. The towers were used as dungeons during the Ottoman period. Recently, dungeons used as open air museums are not used today.
Sirkeci - Halkali Suburban Train
It was one of the main transport lines of Istanbul, starting from Sirkeci which is the European side of Istanbul and serving up to Halkali. It took 47 minutes for Trenin to get out of Sirkeci and get to Halkalı. However, the train line, which was opened with the opening of Marmaray in 2012, is still out of use.
With more than 1,500 years of history, the bostons have been faced with the danger of becoming a rubble pile for a large park project while the famous fertile agricultural areas are being cultivated, and a city solidarity has been formed in order to protect the gardens.
Kazlıçeşme Marmaray Station
Güntekin Sokak,
which divides the walls of the city, also forms a boundary between Gazhane and Yedikule Dungeons and reduces the communication between the two historical values
The Marmaray project, which links many points on the city scale, is a borderline between the coast and the inner part of Kazlıçeşme.
onaltıdokuz istanbul
a re the residences of about 130 m in height, which have taken its name from the idea of framing the scenery they see. They disturb the silhouette of Istanbul in terms of their location. Therefore, even if the last few floors have been reported to be demolished, these unrealized, silhouetted skyscrapers have been added. It is the first step in the urban transformation projected to be done in Zeytinburnu.
Yedikule works
Kennedy Street
I t is a vehicle road that surrounds the historic peninsula, which was constructed as one of the urban regiments conducted by the Democratic Party in 1958. The coast has been filled in order to be able to make the road. In the following years, the roads were built on the beach side and parked for public use. However, mountain access is only provided from one point.
Gas-
The gaswork which was put into service in 1880 was the first gaswork factory established for social purposes, producing lighting. The most important reason for the establishment of the factory in that location is the relationship with the sea, but this relationship has been cut with the filling fields currently in the sea. In 1993, the use of natural gas started so they closed together with other gasworks.
sewing
3d printer atelier
fashion design
art
open studio
wood atelier
ATELIERS
hand embroidery metal atelier weawing
looms room design studio
material stores
sewing
glass atelier
3D
drama
drama studio
PERFORMATIVE ATELIER
open rehearsal saloon rentable rehearsal saloon talk room costume studio changing rooms make up rooms material store
music studio
dance studio
music
dance
scenario
After the current situation assessments, the future life has tried to be predicted: The population resident after the continuation of the Marmaray line and the newly added public transport lines, settling after urban transformation, the locals still living in the historic Yedikule neighborhood and Kazlıçeşme, remnants of unreturned Syrian immigrants will create a new community. Today, there is a disjointed situation on community due to the coexistence of different identities.
So, it is attempted to create a new locality where these different identities can coexist by interfering with the social situation which will become more complicated in the future. A spatial situation is defined, that is shaped by all the needs and occurrences. The new community, the concept of ‘connecting’ and doing this based on the ‘production’ represents a moment of time individually. Every piece of the uture, as time, constantly produces itself and therefore the space.
programme the production ? The production areas are spatialized by the re-functioning of the historical buildings and the attachments done to them, and that seperated spaces comes together with the industrial lansdcape arrangements. The gasworks area will be refunctioned as workshop area. The city walls and its surroundings are used for agriculture facilities. - agriculture/kitchen, textile, wood, metal, artworks, information
the education ? A training environment is proposed, based on the principle of information sharing, in which the public can learn the information they need to learn to meet their production needs and that the tutors are available but differentiated from the school or course thinking.
GASTRONOMIC
GATHERING
square
farming &cooking walking around
square
picnic
ARTS&CRAFTS
SHOPPING
PASSING
SPORTING
indoor shopping
short passing
experience passing
bazaar
bicycle passing
experience passing
running
borders
The area has tought to become a pruduction land with its all industrial and historical exixtence. So, every ruin is refunctioned and new spaces are proposed. The site contains a large area, so in the design phase the routes, which are based on activities, are obtained and then the spaces located, and related to each other.
EXPANDING BORDERS In the section from city walls to sea, the borders are obtained. The aim was the expanding that borders with given functions and space qualities.
As its tall and thick, the city wall is an obstacle for passages. It has doors on it but they are closed today. Within the project that door are opened again and emphasized with new structures added to city walls. The animal shelter is moved to an other part of the park, so the animals could be more related with the new area and also the borderline situation is broken. The height difference is a border with seaside and the site. With bridge connections from the site, the land is expanded towards the sea.
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museum-ex A Museum of a ‘new’ Timeline of Art History in Galata
Architectural Design V Tutors:
Aslı Şener Merve Kılıçbay This project is located next to historical Galata City Walls which are surrounded by new concrete buildings used generally for trade. The aim was creating a ‘new’ to stress both history and new together. So, the new buildings are destroyed but their skeletons and the street facades are kept. Because there was an important street view and it should not be broken, also to be able to wink to past w ith new touches.
Preserved Facade
Preserved Structures of Existing Buildings
Additional Structure of Designed Building
The Experience Tunnel
Galata City Wall
CONCEPTUAL APPROACH This project is located next to historical Galata City Walls which are surrounded by new concrete buildings used generally for trade. The aim was creating a ‘new’ to stress both history and new together. So, the new buildings are destroyed but their skeletons and the street facades are kept. Because there was an important street view and it should not be broken, also to be able to wink to past w ith new touches. In this museum people can experience art and history in a mixed chronological route. That brings a new perception of time forvisitors, unlikely in daily life. MANIFESTO Infinity is unfinished. While it products ‘new’, ‘new’ creates a new infinity. So, it expands. History gives the meaning of new. So every new, creates new histories. So does new. Therefore, there is infinite history and ‘new’. So, will not new become a history? Can it be talked about a permanent history or historical values? Skeletons refer to the destroyed buildings and so they refer to the new project. New structures are added and a ‘new’ is created with old references. Project’s aim is creating a new atmosphere where people can gather and experience the art and history in a historical new. So an experiencing museum occurred. There is no hierarchy in time, so past cannot tell what is next. Human brains can only percept one time direction, chronology. But, if there is no hierarchy, that line can be changed.
Sur parçası, 14 numaralı burçtan baslayarak güneybatı istikametinde devam eder, 16 numaralı burç ile St. Pierre Kilisesi arasından geçerek St. Pierre Han’da son bulur. 15 numaralı sur parçasının kuzey cephesi, 162 ada, 55 parseldeki arsadan görülebilmektedir (Sekil 4.54, Sekil 4.57).
16 numaralı burç, İstanbul Beyoglu Bereketzade Mahallesi, Sair Ziya Pasa Caddesi, 162 ada, 55 parsel içinde yer almaktadır. Burç, Galata Kulesi’nin güneybatısı yönünde uzanan sur hattı üzerinde, Kuleden itibaren ikinci burçtur (Sekil4.58). U planlı burç, 9.80 x7.70 m ölçülerinde, avluya bakan kuzey cephesi dairesel,yüksekligi yaklasık olarak 16 m olan bir yapıdır. Düz olan güney cephesinden, St.Pierre Kilisesi ile arasındaki sur duvarına bitisiktir. Kaba yonu tastan yıgma olarak insa edilmistir (Sekil 4.59).
Burcun kuzey cephesi daireseldir. Bu cephede duvar, kullanıcı müdahalesi ile çürütülerek geçis saglamak amacıyla açılmıstır. Geçis kapısı genisligi, cephede 130 cm, içeride 150 cm olup yüksekligi 230 cm’dir. Geçis kapısı boslugu, demir bir kapı ile kapatılmıstır. Mekanın dogu yönündeki beden duvarı zemin kotunda, içeriye dogru yaklasık 30 cm taskındır. Dogu yönündeki beden duvarı üzerinde herhangi bir hatıl izine rastlanmamıstır. Duvar üzerindeki giris kapısından +1.18 kotundaki beden duvarı kalınlıkları tespit edilebilmistir. Buna göre, giris kapısı açıklıgından alınan ölçüye göre dairesel kuzey cephesi duvarının kalınlıgı 185 cm, batı cephesi üzerindeki depoya geçis kapısı üzerinden alınan ölçüye göre batı cephesi beden duvarı kalınlıgı 128 cm’dir.
constructivism
kinetic art
street art cubism
minimalism manierism
futurism
surrealism
pop art
realism
op art
gothic
THE EXPERIENCE TUNNEL DIAGRAM
renaissance
free exhibition area
East Elevation
West Elevation
East Section
North Section
iç-içe/dışa Rönesans Holding Sürdürülebilir Gelecegi Tasarla Student Competition in Beylikdüzü, ‘15
with
Melis Yüksel Murat Usta Özlem Dobrçan This project is located in an imaginary land in İstanbul Beylikdüzü. It is aimed to build a new educational system and educational building that does not have any boundaries. By removing the boundaries within the society, an environment of mutual interaction is created so that a space / society is created that does not learn and teach existing knowledge, but comprehends existing and produces new knowledge.
Floor Plan
Basement Plan
SOCIAL SUSTAINABILITY Children need to be able to express themselves at the best level for their personal development. This can be made possible by the areas where they feel comfortable and free. A system without hierarchy is established which everyone was both a student and a teacher, they clean their own schools and distributed their own food. This system does not dissociate the school and the society, it brings not just the students and teachers but all the people who connect with the school in together. By removing the boundaries within the society, an environment of mutual interaction is created so that a space / society is created that does not teach existing knowledge, but comprehends existing and produces new knowledge. ‘İç içe/dışa’ provides theoretical and practical training together to make possible the permanence of the knowledge. All age groups from the 1st grade to the 8th grade are studying together on the same floor. All the furniture in each class is made up of units and can be placed on the desired layout by adapting to changing conditions. The innermost and with the lowest ceiling height shell is considered for the 1st, 2nd, 3rd and 4th classes to ensure that the youngest age group feel physically and psychologically more aware of the space. The middle shell is thought to be the social corridor that the whole school
uses together openly as a library, a painting room, a music room or a dance hall. In this way, they are provided with high social areas of interaction with younger and older learners. The higher grade’s classrooms are located in that shell. At the same time, the cafeteria unit, with a scattered seating arrangement which all the school users eat together, was also created as a social corridor. Trees located in the outermost shell form an atmosphere inside the nature by breaking the inner-outer concept.
in the area where the 2 building units are connected to each other. These new annexes will be made periodically in the context of needs and desires, removed and will be repeated all together, so that the building will never be completed in a definite way. A trait will be repeated without monotony, each time in a different form, without interruption, and new experiences will be gained each time. The school will turn into a public space and will have a new appearance each time.
In open areas, non-defined playgrounds were created that fit physiological developments, look at objects from different angles and produce different games. At the same time, an atmosphere was created in which children could experience nature, learn how to grow their own plants, seasonal changes from different fruit trees, and establish relationship with water.
ECONOMICAL SUSTAINABILITY The structure consists of 3 compressed soil shells which are intertwined, forming the innermost outermost hot volumes by holding the heat inside in the winter, while in summer they form the innermost outermost cool areas under the influence of the soil material. This reduces the energy used for heating. It prevents installation of anti-eco-friendly or much higher budget heating systems. At the same time, planting supports passive climate control. Rammed earth blocks are produced from the earth that is collected from the excavations of basement floors and gardens and from surrounding construction sites to be used to construct the walls of the building. Thus, a minimum budget is allocated to building materials.
Education and teaching are more effective and efficient if there is more interaction on the field. Accordingly, it is important that everyone (such as students, teachers, parents, people of the environment) who is involved in or interacting with the building come together for a common purpose. The newly added function is to complete the region defined by the remaining structures
installation works
The House A spatial installation for 15th Istanbul Biennial in Asmalı Mescit, ‘17
As a team member of Yoğunluk Art Collective
The space is a part of the atelier of Y O Ğ U N L U K art initiative at Asmalı Mescit Mah, Beyoğlu/ İstanbul. The project space consistsan entrance hall and a room with a window. Some old furniture and objects will be placed in the space and will be coated with a special layer of matter. This matter is texturized in order to give a familiar-butalienated feeling. With the help of light and sound a narrative is created.
The door opens into a darkness. Inside, the time is frozen. There is no present at all. Only presence is the darkness itself. You join it, Your eyes get accustomed to it. You start to see things, Things start to see you. How do you figure out that somewhere is a house? Things are not unfamiliar. But not familiar at all. They are like solid ghosts, Which belong to anywhere. Which belong to nowhere. Your existence in this darkness, Makes the frozen time move again, In a distinct manner: Time doesn’t flow, it floods into the space. A sleepwalking body of light, The sounds awaken... Sounds from different eras leak from the cracks delicately. In this darkness, What is absorbed up to now, is being revealed. As you leave the house, The body of light withdraws into the darkness, The solid ghosts into their sleep And the space into its rest.
Hemhal A spatial installation for the lecture:
Experimental Studies for Space and Design
Lecturers: Nil Aynalı Eğler İsmail Eğler in Küçükyalı Arkeopark, ‘16
with Ezgi Umut Türkoğlu Ozan Keşmer
The Atmosphere lesson was realized by predicting a process in which students would intensively relate to a space of their choice, create personal understandings of the place and disclose the hidden potentials of the spaces by producing artistic installations based on physical experimentation. The first half of the semester was composed of courses that would constitute the conceptual foundation of this process whereas the second half of the semester went on with workshops based on the choice of space, production of conceptual framework and making of suggestions.
Alanı neden seçtik?
2001
2016
Belki hafızamızda kalan bir yer belki de hiç bilmediğimiz... Bizi bekleyen ama bizden haberi olmayan...
Alanın bu ilk kısmı, 28 kubbeli olduğu tahmin edilen ama günümüzde tavansız kalmış duvarları ve içeri çağıran kapısı.
Burada, kubbeden zemine akan yağmur suyunun bıraktığı izle yüzleşme... Yer ile göğün birleşmesi.
Sarnıç suyunun geldiği kaynak.
Kendimi tutuyorum götürüyorum bir yere bırakıyorum. Neresi burası, bilemiyorum. Bir yokluğun içindeyim, yer çim gök ise gök. Adım atıyorum toprak, kafamı kaldırıyorum uçsuz bucaksız gökyüzü, ama bir anda bir kubbe görmüş gibi oluyorum. Bir var oluyor bir yok oluyor. Ne olduğunu anlayamıyorum. İçinden geçip gidiyorum çünkü karşımdaki kapıdan seslenen bir şeyler var. Ona ulaşıyorum. Işık değil çağıran, ışık yokluğu. Gerimde bırakıyorum ışığı, ışığı var eden ışıksızlığa uzanıyorum. Bir başka görüyorum artık sanki gerçeklik benim gerçekliğim değil, sanki benim gözlerim değil burada dolanan. Çevremi sarıyor karanlık, kabuk gibi. Neresinden geçsem yine aynı yere varıyorum. Dönüyorum dolanıyorum, çıkış yolu bulamıyorum. Zaten çıkmak da istemiyorum. Döne dolaşa tam merkezde duruyorum. Kafamı kaldırıyorum yine bir kubbe görüyorum, bu sefer yok olmuyor ilki gibi. Varlığı sağlam. Var olmak yetmiyor ona, birden çok oluyor. Her şeye bulaşıyor. Tepemdeki kubbe yere düşüyor, toprak da kubbe oluyor. Sanki kubbe ve yer birleşiyor, boyutsuzlaşıyorum. Artık asla gerçekleşmeyecek kadar var oluyorum ve asla yok olmayacak kadar da hiçliğe bürünüyorum. Sanki üst üste biniyor bütün anlar, dönüyorlar etrafımda. Hepsi birbirinin izi oluyor. Gelecek geçmiş kayboluyor. Unutuyorum zamanı, zamansız oluyorum. Bir var oluyorum bir yok oluyorum tıpkı ilk karşıma çıkan kubbe gibi. Ayaklarımın altındaki tortu topraktan sesler duyuyorum. Bir yerlerden su damlıyor. Toprak oluyorum suya doyuyorum. Su içimden geçiyor bir anda sırılsıklam oluyorum, boğulurcasına suya batıyorum. Bir karşımdan geliyor boşalırcasına sonsuz bir delikten su, bir tepemden. Tane tane süzülüyor biri, sanki en sakin hali zamanın. Diğeri, bir o kadar güçlü ve kendinden emin, gümbür gümbür. Gittikçe yükseliyorum, kaybolacak gibi dibinde. Sonra bir nefes alıyorum, soluk oluyorum. Salınıyorum içinde boşluğun, boşluğun sınırlarını keşfediyorum. Hissediyorum bir bir tüm duvarları. Biraz sonra artık algılıyorum tüm dokusunu, yaşanmışlığını, boşluğu var edişini duvarların. Duvar oluyorum, sınır oluyorum. Taşmasına izin vermiyorum, o dolananın hep buraya ait olanın. İçine dalıyorum, arıyorum, benliklerini bulup çıkarıyorum, tanışıyorum bir bir. Hepsini içime hapsediyorum, hapsettiklerim oluyorum. Artık nefes de alamıyorum, ihtiyaç da duymuyorum. Boşluk doluyor içime, ya da ben boşluğa doluyorum. Bırakıyorum kendimi su oluyorum. Su boşluğa doluyor boşluğu boşluk ediyor. Boşluk girdap oluyor. Alıyor her şeyi bir ediyor, aynı anda var ediyor. Bir girdap ki döne dolana yükseltiyor kendini, çoğaltıyor. Uzanıyor göğe ve yerin en dibine: suyun hem geldiği hem gittiği yere...
Bir oda iki kapı bir pencere. O gittiğinden beri kendime ayırdığım yer bu kadar. Bahçem belki hepinizin. Aydınlık. Oda daha benim. Karanlık. Penceremden giren ışık artık karanlık. Karanlık. Bir zamanlar beni besleyen bu pencereyi hiç kapatmadım belki bir gün geri gelir diye. Bekledim. Dokunulursa bozulur korkusuyla mı yoksa dokundurursam bozulur korkusuyla mı yüzlerce sene onsuz yaşadım? Aman dur şimdi kötü olur, kötü yaşarım korkusuyla.. Hiç mi yaşamadım? Yaşadım evet.. Damla damla. Bir atardamar altında kılcallarla beslendim yıllarca. Yalnız kaldım ve çekinmedim yalnızlığımı yaşamaktan. Milyonlarca insan arasından belki de kimseye çarpmadan
suyun izi süzülüyorum. geçerek bir bir damarlarımdan tüm yaşanmışlığım, tüm yaratılmışlığımdan. toplayıp tüm anılarımı içime hapsediyorum. kana kana süzülüyorum doya doya içtiğim suyu. bedenim öylesine dolu, nefesim tutuk. bir adım atıyorum, hazırım yeni hayatıma. artık yalnız kalmayacağım. artık yalnız kalmayacağım. tutunacağım, büküleceğim taşacağım, kendimi. düşüyorum, yolum uzun ama karşımda işte, görüyorum, beni saracak. nasıl da şaşıracak! habersizliğine ulaşacağım. tüm heyecanımı şaçıyorum, titreye titreye yayıyorum. birden etrafıma bakıyorum, ne çoğuz… meğer ne çok ben varmış içimde. ne çok yer ve gök birleşti
taşmışım. Ah! yalnız değilmişim. yalnız değilmişim! ah! Hepimiz yalnızmışız, nasıl da heyecanla düşüyoruz karşıdakine yumuşacık. buharlaşıyor sanki nabzımız, artık çevremizde atmaya devam ediyor bangır bangır. varıyoruz. yolun sonuna geliyoruz. üstüme milyonlarca daha ben düşüyorum. sonsuz kez varıyorum, ah nasıl da şaşkın. nasıl da sevindi gelişime. her sefer düşüşümde daha da içine işliyorum. tüm yaşanmışlığına, tüm yaratılmışlığına yerleşiyorum. daha da bir oluyoruz. ben olmaktan çıkıyorum, o da o. eriyoruz. içim dışıma karıştı
yürümeyi başardım ki kimseden bir yardım göremedim. Biri de demedi ki ‘burada bir pencere var ama neden karanlığa bakıyor?’ Sorulmadıkça da ben konuşmadım. Söz verilmedikçe konuşmam, öyle öğrendim. Gelen vurdu, gelen yaraladı, gelen gitti. Kimse bana bakmadı. Bahçemdeki aydınlığa aldırma, ben güneşi göremiyorum.Arada damla damla hüzün geliyor. Dökülüyorum. Son mutluluk da yıllar önce uçtu gitti. Gittiği yer.. Gözden ırak. Yanaklarımda ona benzeyen birkaç damla.Yaşamadım.. Birkaç damla... Şimdi anlıyorum.Ben işte oyum. Kafanın içindeki gizli, karanlık köşe.
Hareket Sensörüne Bağlı Hoparlör
Hareket Sensörüne Bağlı Şerit Led Sabit Hoparlör
kavuşmakohezyon.
Kesit
iz bırakmahafıza.
sızma
serbest dolanma Önce çok sonra hiç sonra damla damla şimdi yok.
Giriş
Suyun gökten gelip sızması, hafızaya alması iz bırakması diğer damlaları çekmesi.
Yolculuğun bu ikinci aşaması, son aşama, sese ulaşma, ona ulaşma, gökten yere yerden göğe kavuşma, görme artarak görme duyma artarak.. her gelende daha heyecanlı, daha aydınlık daha sesli .
Plan
Ziyaretçilerin yolculuğu burada başlar. İçeride damlayan suyun sesi tekrar edilerek 3 noktadan verilir. içeri insanlar girdikçe ses miktarı artar. Her insan yeni bir su damlasına her damla kavuşmaya adım adım heyecana eştir. (diyagramlardaki her bir çember bir insanı temsil etmektedir)
Epoksi Kaplı Şerit Led ARDUINO
Hareket Sensörü
İnsan yoğunluğu ve mekanın ilişkisi
Hoparlör
Bir yuvamız var artık zihinlerinizde... Hoşgeldiniz, Davet edildiniz, çağrıldınız. Size ‘gel’ dedim. Yaklaştınız ‘gelin, gelin’ dedim. Belki başka arkadaşlarınızı siz çağırdınız ve ben de sevinçle ‘HOŞGELDİNİZ’ diye bağırdım. Çünkü burada bir anım var anlatılmayı bekleyen. Dilim var pasını atmak isteyen. Siz bir kapıdan girdiniz, ve bizi tanımaya başladınız yavaş yavaş, hatta birer birer.. Çünkü sizinle beraber canlanmakta hafızamızda bütün anılar. Nedenlerle sonuçlar. Her adımda daha güçlü, yaklaştıkça daha güçlü, çoğaldıkça sizlerle daha da heyecanlı. Bakın, bakın bir zamanlar bu bastığınız yerlerde ben vardım. Şu anda bir hikaye anlatıcı konumunda olsam da bir zamanlar, buralardaydım. Ve o zamanlar gelseydiniz eğer, ki o zamanlar atalarınız bile bu tarihe gelinebileceğini düşünmemişti. Düşünün maya takvimi 2012’de bitiyordu. Anlayacağınız asırlar önce burada olduğumu söylüyorum size hüzünle, biraz konuyu dağıtarak. Neyse, işte o zamanlar gelseydiniz eğer, bulacağınız bendim ve benim sesimdi (ilk ağızdan). Gelin biraz daha ilerleyelim, beni biraz daha takip edin. Eğer yaklaşırsanız görebilirsiniz, eğer yalnız değilseniz, endişe etmeyin hepinize yetecek kadar yer var. Ben o yerlerde yaşamak istiyorum. O yerler zihniniz olsun. Ben o zihinlerde dans etmek istiyorum. O yüzden daha da içeri buyrun. Ben olun. O zaman mutluluk lütfeder belki bize dansı? Eğer hatırlıyorsanız, hafızanızdan değil, ben olduğu-muz içindir, Hoşgeldiniz. 4. Hemhal https://www.youtube.com/watch?v=uBiOl-7_ OqI&list=PLNoU31tyVgQHeQgwnSp_gd_ Nza8zW6SJ5&index=4
Reflection An installation for an urban gap in Esentepe, ‘15
Architectural Design V Pre-liminary Project Tutors: Aslı Şener Merve Kılıçbay
The installation is located in between 2 high apartment buildings. On side of them faces with the forest but the other with another high buildings. While passing by from that gap as a pedesterian, to can experience and keep the feeling of walking through to the forest a mirror installation is designed.
graphic design
Book Cover Design for: Architecture and Interdisciplinary Studies Tutors Funda Uz, Burçin Kürtüncü
‘’Senin içindekini barındıracak derinlikte hiçbir şey yoktur gerçek dünyada; ama sen de, yaşamın, ölümün ve bütün düşlerinle, gerçeğin korkunç sonsuzluğunda, oylumsuz bir noktadan daha büyük değilsin.’’
Bedeninden çok ruhunun alışamadığı, hayatının amansız bir kurşunla veya bir papaya suyu uğruna kolaylıkla bitebileceğini çoktan öğretmiş tropiklerde, bir ‘gringa’nın ölüm kalım mücadelesi...
KIRMIZI PELERİNLİ KENT
‘’Bir parça huzur gerekli bana, huzur ve unutuş. Kendimle aramda bile silah sesleri var artık, (...)’’
Aslı Erdoğan
‘’(...) Rio sokaklarında amaçsız, başıboş dolaşan bir Türk kadını; bir salyangoz kabuğuna nasıl çekilirse, öyle sığınmış kendi benliğine; her an kafasına dayanacak bir silahın korkusu içinde; ağzı zımpara kağıdı gibi; adımları titrek; koltuk altlarında iri ter halkaları... Gözlerinden başka güvenebileceği hiçbir şeyi yok; ufku bakışlarıyla sınırlı. Bu vahşi topraklarda yürürlükten kaldırılmış geleceğe doğru, solgun varlığını sürüklemeye çalışıyor. (...)’’
KIRMIZI PELERİNLİ KEN Aslı Erdoğan
Brochure Design for: 15th Istanbul Biennial ‘The House’ by Yoğunluk Art Collective
photographs
Yellow Stories I. ‘Into the Wild’ with Ezgi Umut Türkoğlu
Yedikule Gas Works Photography Tutor Ali TaptÄąk
yedikule
duygu saygı ‘18 2015-2018 selected works