p o r t f o l i o EKiN ĂœNal
www.ekinunal.com
education • M.E.T.U. Architecture B.Arch / Honor, 2013_2019 • Ecole Nationale Supérieure d'Architecture Paris-Belleville Erasmus+, 2017_2018 • Ankara Milli Piyango Anadolu Lisesi High Honor, 2009_2013 • Ankara Özel Tevfik Fikret Okulları High Honor, 2001_2009
software • • • • •
Rhinoceros Illustrator Photoshop After Effects Premiere Pro
• • • • •
Cinema 4D Revit Lumion AutoCAD InDesign
languages • • • •
French English Spanish Turkish
Delf B2 Level Professional Proficiency Elementary Proficiency Native Language
cv
experience • Motion Graphic / Graphic Designer Adore Furniture 01.2020 _Ongoing, Ankara • Graphic Designer Freelance 2018_Ongoing, Ankara • 3D Modeler / Illustrator ZEUGMA Archaeological Project 06.2016 _Ongoing, Zeugma
• Architect Ünal + Keskinok Architects 09.2018 _01.2020, Ankara • Graphic Designer / Intern Girl Museum / girlmuseum.org 05.2019_09.2019, Virtual Museum • Graphic Designer / Intern Konvex Cultural Heritage Solutions 09.2017_01.2018, Paris
• Photographer Assistant / Intern Çatalhöyük Archaeological Project 2017 Summer, Çatalhöyük • Architectural Intern MESA Mesken 2016 Summer, Ankara • ARCH190 / Materials, Modelling, Digital Media Intern METU Architecture Department 2015 Summer, Ankara
i n d e x
1.00
architecture 1.01 1.02 1.03 1.04 1.05
2.00
design + illustration 2.01 2.02 2.03 2.04 2.05
3.00
stitch diegesis cloud9 utopia roots habitat
inziva / tangerine rasa say no to plastic great planet illustrations
photography + video
3.05
across_ çatalhöyük algorithmic botany dysphoria ezdad
4.00
_sojörn
3.01 3.02 3.03 3.04
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B.Arch. Graduation Project location: City Center, Skopje 2019
stitch diegesis
For my graduation studio, I worked in Skopje to develop an urban program reconsidering the structure, resources and the history of the city. The objective of the brief was to unveil the multi-layered structure of the city through architectural interventions, therefore re-minding Skopje, learning from its history and interrogating the current conditions. More information about the brief can be found at http://www.odtuarchgrad.com/2019/savassorguc-erkal-oktem-sarica
The brief took Kenzo Tange's urban plan for Skopje as its point zero. After the earthquake of 1963 which demolished the city entirely, Tange and his team put into practice what Metabolism suggested for a Modern city. The Metabolists conceived the city as a processa and so did Tange. He introduced a new type called “spatial structures” which were three dimensional physical structures, agents for the representation of the city and various urban narrations. He defined a “City Wall” and a “City Gate” for Skopje, which were the progressive urban elements for the recovering city.
This project is relatively based on my personal experience of Skopje, however I don't believe my experience is unique at all. Stitch Diegesis takes its inspiration from the urban art culture of Skopje, which is unavoidable once you take a stroll down the stone bridge. You might miss the little sculpture of a mid-air swimmer about to dive in to the Vardar River or the teary eyed bronze girl of the Parc de la Francophonie, but definitely not the paint marks on Porta Macedonia left behind by the Colorful Revolution. The fragile and the naive art that tries to patch up the many tragedies and destructions the city faced generated the Stitch Diegesis.
The brief asked us to design a way to define the city as a productive space the definition I put into place with my proposal was "City as an Art Promenade". As the name suggests, this project is a narration of the city through a stitch. The stitch is an organic structure passing through the city. This walkway first and foremost defines the city itself as an artwork, mimicking a walkway or a corridor passing through a museum. But it also relies on its stitch metaphor to work as a healer on the city, it gently reminds the residents of the history, icons and the art of the city by just pointing at it. Like any other stitch through a tear, it points at the tear but with all the best intentions.
The stitch reaches beyond the center to create a habitat at the edge of the city. This habitat merges with already existing abandoned buildings to reclaim and upcycle these spaces as studios and ateliers for the urban artists that have scarce funds. The structure itself creates a communal housing for the artists and city residents.
As the final part of the project, the stitch generates Centre/Центар; an urban art museum and institute at the very center of the city. The cave like cavities within the museum mimick our first canvases – the caves we painted and lived in some time ago. It stands in solidarity with the urban artists and their primal raw expression. The structure investigates and examines the relationship between the museum, the artist and the art.
CENTRE це нт ар
це нт ар
institute of art+heritage
Additional identity/brand design for Centre
24h Competition Project Location: Unspecified 2018 cloud9 was a response to the 22th edition of the 24h Competition by Ideas Forward and as the name suggest was developed in 24 hours. The framework of the competition called for a sensitivity to climate change and the subsequent wild fires. The main objective was to design a fire watch tower and to reflect on a broader fire prevention plan. Tower replication within an overall strategy was one of the key points. The included text was submitted as the descriptive story of the cloud9.
cloud9
Project in team with Gökçe Özer & Melih Şimşek. More information about the brief can be found at www.if-ideasforward.com/fire
cloud nine /ˈklaʊd ˈnaɪn/ n. 1. A state of bliss, elation or happiness. 2. A state of fantastic or impractical dreaming.
[Chapter 1]
[Chapter 2]
Watchtower and its guard.
Solitude can get depressing. Guard has a family. They move in. Modular spheres are added to accommodate them.
Peak of the tower is the observatory. It is the Guard's eye, watching over the forest. Motion detectors and thermal cameras are all around the forest. Concentric animal escapes and heat peaks are monitored. Anomalies are detected and drones are sent to scope out the area. Fire extunguishing balls are in the storage below the drone room. They are transfered to the drone via a small lift between the rooms. Drones carry out the balls to the area in case of a threat. Water tank is below ground for bigger threats.Vehicles park above it for access. Largest sphere is the living space. Guard in solitude.
Children grow up in the wild, they befriend the wild. More eyes to watch over the forest. To guard it. [Chapter 3] Grid is built to accommodate these growing cloud of spheres. Some people in search for an alternative way of living leave the cities and move to the clouds. Modularity allows everybody to organize their own living quarters. Means of transportation are constructed between clouds. A neighborhood, a community of people living with the forest. More eyes to watch over the forest. To guard it. On Cloud 9.
kitchen + bathroom
storage
living
drone room
observatory
arch393 / "Principles of Cultural Heritage Conservation" Project Location: Ayvalık 2017 "Taking Roots, Extending Branches"
utopia
Photocollage work prepared for Utopia; an architectural analysis for Ayvalık, Turkey and an accompanying intervention strategy. The objective of the analysis was to explore the values, problems and potentials of the town. This analysis led to a broad theoretical proposal titled "Utopia". Utopia proposed new open public squares, integration of the green into the townscape, replanning of the dense vehicular traffic and parking, building cycling and walking paths along the coast and supporting the local production. Utopia's intentions were derived from the analysis and could be summarized as to protect and to emphasize the identity and the heritage of the town and to amplify the organic urban fabric. Photocollages are individual works. Analysis and proposal in team with Müge Beyazıt, Batuhan Başçıl, Yağmur Dilek & Burak Ayaz.
arch201 / 2nd Year Architectural Studio location: Eymir Lake Area, Ankara 2015
roots
The brief for this project called for a locus of cultivation; a spatial scenario developed around a central theme of human-nature relationship. We were expected to focus on one of the three types of specific cultivation; of knowledge, of self or of nature. The project I developed, titled Roots, instead, merged all three into one narrative with an emphasis on the cultivation of self. More information about the brief can be found at https://metuarch201components.tumblr.com/
To approach The seed, the dimly lit crystal silhouette, shows itself through the forrest. The light bounces off the bronze ribbon that flows through the space and callls me in. A moth to a flame, I follow the curve of the landscape up to the source. To harvest The bronze trail of the seed greets me and guides me to the gardens. I bow to the first task at hand; I sow seeds of daisies, sage and thyme. The field and I, we cultivate each other. I mirror the thyme and greet my roots as they unravel. To unveil I follow the bronze trail to the first level ahead. Here, I lay out my harvest, a modest crop. We clean each other of our soil and expose ourselves. As the harvest dries out and loses water, I confess to the excesses of my mind and surrender them. Core unveils its form. To infuse The guide leads me to the second level, the hearth. Here, I reintroduce water over fire to pull the essence out of the body. The plants infuse the liquid leaving behind the form and I follow suit. We see each other, truly. To settle I climb the bronze stairs up to the final level, holding a small teakettle. I sit down to pour myself a cup of a tea and I take a sip. Simple as it may seem, we share a secret in our union, thyme and I. We now know where we come from, we settle.
arch202 / 2nd Year Architectural Studio Location: Kazıkiçi Bostanları, Ankara 2015 The brief for this project called for collaborative and interdisciplinary work both in its production and its product. The main objective was to design a social condenser that would dissolve such binary oppositions as "artisanal vs. artistic" and "everyday vs. academic" under one bounding social program. Through cross-programming, the boundaries between functions are dissolved and a totality is generated within the 24 hour cycle.
habitat
Housing project is individual work. Atelier project in team with Buse Ezgi Sökülmez, Dersu Değer & İlker Yurtcan. More information about the brief can be found at https://issuu.com/metuarch202life/docs/arch202_2016_booklet_template
QMBOT TFDU‘POT The project is situated in Ankara KazĹkiçi BostanlarĹ and has three main programs; atelier culture which encompasses education by production, housing commune which manifests programmed everyday-life-cycles and social hub which enforces urban contact by face-to-face encounter.
B B
As
a team we decided on a division scheme that had the atelier at the centre of the site, communes at the borders and social hubs in the interstitial spaces defined between. The atelier was designed collaboratively within the team while each person simultaneously designed a part of the site as a different housing commune. The social hubs were mostly collaborative work but each commune building has its own individual social spaces as well.
QMBOT
C C
D D
B
FMFWBUJPOT
D
B
C
D
C
The atelier education/production is focused on woodworking, the space itself has layered and intertwined functions which include a databank, lecture spaces, model-making studios, exhibition halls, a library and administrative spaces. The circular and ramp-like circulation system of the atelier allows the programs within the building to flow into each other seamlessly, all parts are in communication at all times. All of the housing units look into the atelier and form connections with it through elevated walkways and courtyards. This ensures a totality on site in which no part is ever independent of one another.
10
1
3
The private/public space balance was the key point in all of the design decisions as it would be a communal living space where social interaction would be mostly inevitable. The communal areas of the entry level link to private areas with a ramp in a smooth transition and in similar fashion to the atelier. While the entrance level could be reached and be used by the rest of the residents of the atelier, the second level has semi-public functions serving the residents of the building. The third floor has a workroom which defines another level of privacy as the users will not be interacting as much but still will be using the same spaces. All of these said spaces center around an inner courtyard which serves the upper floors.
There are three types of dormitory spaces; 1 person, 3 people and 10 people units. The private/public levels are best explained through the 10 people unit. The most private level is defined by the individual bed nooks which angle in a way that would ensure full privacy but this privacy can also be broken with a step into the central study area of the unit. Each nook has a small balcony so each resident can make a home out of their small space.
vinyl and artwork design for Rasa 2019 Artwork is based on the Hermit archetype as an allusion to the title; İnziva (seclusion). The packaging is entirely hand-crafted and represents an outer / inner world and the Hermit’s interwoven existence within these worlds. A poster and a sticker accompanies the artwork as part of the narrative.
tangerine / inziva
Vinyl itself has a single track on it and that is because it is laser cut from plexiglass using the open source code and method provided by Amanda Ghassaei. The method uses Processing, Python, Audacity, Rhinoceros and, naturally, a laser cutter to engrave approximately 3 minutes of sound onto a choice of material. Amanda Ghassaei’s information can be found at http://www.amandaghassaei.com/ The track can be found at https://soundcloud.com/rasa-sound/inzivav2
TPVUI
XFTU
single cover designs for Rasa 2019 / 2020
rasa
Artist’s page can be reached at https://soundcloud.com/rasa-sound
ben ve bana söylenmeyen şeyler 2020
marionette automation 2019
inziva 2019
say no to plastic
NBH Awards / poster competition entry 2018 The brief of the competition called for an original campaign concept dealing with ecological problems that Bahrain currently faces. Entries were asked to highlight a contemporary problem and to be a call for action in solving said problem. I chose to focus on coastal / marine pollution, and more specifically plastic related pollution. The two posters and the accompanying text I submitted outlined a campaign that revolved around minimizing the use of single use plastic and popularizing more eco-friendly solutions.
exhibition poster design 2016 “visual reflections on the future of our planet�
great planet
Poster design for Great Planet; a mixed exhibiton of five artists who all reflect on the current situation of our ecosystem and discuss the future of the planet through their art.
ustrations
photo essay 2016
across_light
After the death of my grandfather, whom I loved dearly, his old Pentax with leftover film fell into my hands. I used this remaining film to document a month of travel between Ä°stanbul and Ankara. This project started with no clear aim but it ended up documenting of my tendency to frequent places and objects that I find comfort in. Within the essay, these places become a blurry thread that runs through the ever-changing moments of the day. And just like these places serve a day, the photos serve the essay as textural pieces instead of standing by themselves.
across_dark
çatalhöyük
archaeological photography 2017 Artefact photography, realized in the scope of the media internsip I completed at Çatalhöyük Research Project.
algorithmic botany
Video and graphics produced in collaboration with Arda Saraçoğlu / Rasa’s final project for COMD527 Creative Sound Design and Synthesis.
video production 2019 Video can be found at https://dai.ly/x7u2ueg
“Algorithmic Botany. Humanity has evolved past a point of no return. The convenience offered has its downsides, a loss of meaning and connection with our roots. Information isn’t cumulative, sacred wisdom gained by our ancestors have left its place to noise. Algorithmic Botany is an ode to our origin, to simpler and more meaningful times. It is filled with samples from nature, lush textures, ambient synths, fast percussive elements and polyrhythms conveying the calmness of nature in its own thrilling way. It is meant to explore the truths offered by nature itself. The glorious yet terrifying ebb and flow of the inherent balance present in every living creature and systems created by them. An underdog triumphing against all odds. It is a personal way of worshipping a forgotten deity and finding purpose. God is math. God is probability. God is an algorithm.” Text written by Arda Saraçoğlu
video production and performance 2018 Video can be found at https://dai.ly/x7ritpt
arch447 / The "Place " of Film: Cinematic Spaces, Sites, Settings
dysphoria
Dysphoria is the performative exploration of body as space and the subsequent documentation of it. It demonstrates a discussion between the body and the persona and reveals a conflict in their two separate identities. Project in collaboration with Batuhan Türker & Müge Beyazıt.
ezdad
video production 2020 Video can be found at https://dai.ly/x7up13c
Ezdad (opposites or antonyms in english) bases itself on the duality of the humankind and the nature. It deals with the binary relationships of opposites and searches for the truth in the interstices between these oppositions. In collaboration with Arda SaraçoÄ&#x;lu.
_sojörn
_sojörn is an art/artists alliance with me and my partner Müge Beyazıt’s identities as creators at its core but it aims to expand and contract through other creators. We create and/or curate “occurrences” as we define them. These “occurrences” are temporary installations, environments and/or performances that aim to alter and shift the space that they inhabit for as long as they exist.
More information at https://projectsojorn.com/