architectural portfolio ‘20 e v r i m
e c e m
s a ç m a l ı
Evrim Ecem Saçmalı
sacmalievrim@gmail.com +90 539 477 63 28 +39 339 593 23 08
Education Politecnico di Milano Milano / Italy
Master of Architecture Built Environment & Interiors 2020 - ongoing
Middle East Technical University Ankara / Turkey Bachelor of Architecture 2014 - 2020
ÇEAS Anatolian High School Adana / Turkey
High School Education 2010 - 2014
Languages Turkish English German Italian
(Mother-tounge) (Advanced) (Beginner) (Beginner)
Skills
resume
Experiences Frea Architects, Ankara / Turkey
Junior Architect- Golden Horn Shore Competition March 2020 - September 2020
Faculty as Archive-Getty Foundation Keeping It Modern Middle East Technical University, Ankara / Turkey Documentation of METU -Permanent archive September 2019 - January 2020
Erginoglu & Çalıslar Architects, Istanbul / Turkey
Office Internship-Worked in design stages,representation,digital and physical modelling, 3D print, July 2019 - September 2019
Eray & Carbajo, Istanbul / Turkey
Office Internship-Worked in design stages,representation,digital and physical modelling,fabrication in wood atelier June 2018 - August 2018
UMOB 17.5 , Adana / Turkey
National Architecture Students Meeting- Atelier TablaDocumentation of food peddler vehicles February 2018
Esas Properties, Adana / Turkey
Adobe Photoshop Adobe Illustrator Adobe Indesign Adobe Premier Autodesk Autocad Autodesk Recap Autodesk Maya Autodesk Revit ArchiCad
(Advanced) (Advanced) (Intermediate) (Intermediate) (Intermediate) (Intermediate) (Beginner) (Intermediate) (Beginner)
Construction Site Internship-01 Burda AVMDocumentation+Observation of Work Items June 2017 - August 2017
Rhinoceros Grasshopper Houdini Ms Office Unity 3D Sketch Up Python Processing
(Advanced) (Intermediate) (Beginner) (Advanced) (Advanced) (Intermediate) (Beginner) (Beginner)
June 2020
METU Summer Practice, Ankara / Turkey Summer Intern-Practice in Building Construction and SurveyingDocumentation of a Historic Building June 2016 - July 2016
Honors & Awards Golden Horn Shore Competition 1st Prize - Der-Zemin Archiprix Turkey 3rd Prize - M.E.M.O.R.Y. G.R.O.U.N.D. December 2019
Middle East Technical University High Honor Student spring 2018, fall 2018, spring 2019, fall 2019
Türk Serbest Mimarlar Dernegi Selected Student Project ‘‘Steps’’ Exhibition spring 2018
2
Content Academic experiences M.E.M.O.R.Y. G.R.O.U.N.D. Regeneration of Skopje
I
4-10
II
11-16
Sinop Line From Decumanus to Pontus Euxinus, Sinopale along the wall
III
17-22
Stiching the Fabric AOÇ II along the Banks of Bentderesi, Forest Farm and Housing
IV
23-28
DeepLoria Underwater experience pavilion
V
29-31
Doors of Perception Compose your universe
VI
32-35
Bog Cabin Bee-Breeders Competition
Work experiences
VII
37-42
SMG Erginoğlu&Çalışlar Architects
VIII
37-42
Der-Zemin Frea Architects
3
academic experiences
4
I
M.E.M.O.R.Y. G.R.O.U.N.D. Regeneration of Skopje architectural design studio V oct 2018-june 2019 indvidual project location: Skopje type: urban supervisiors: Prof.Dr.Ayşen Savaş Sargın Prof.Dr.Arzu Gönenç Sorguç Inst.Onat Öktem Emre Erkal Kerem Yazgan Res.Assist.Sezin Sarıca
Archiprix 2019 3rd Prize The city of Skopje has a distinct character of chaos and destruction resulting from natural and manmade disasters through its history which in turn results in losing the physical environment and city memory. The reconstruction of this ravaged city is always an inevitable world problem. Although, the people of Skopje struggle with political disputes about their cultural identity even today, is it possible to reconstruct the resilient city that bear informal and formal history and unofficial memories as a remembrance of cultural identity to blend in with the new life order and new construction technologies? Can architecture reclaim its social and political role as a discipline in the past catastrophic condition since architecture is an anchor and physical reminder of collective memory? After the catastrophe of the 1963 earthquake, the scale of the international solidarity towards Skopje has been described as ‘‘unrivalled in UN history.’’ hence an international competition was initiated, charity organizations including dozens of countries donated materials for aid and reconstruction, but instability between funds allocation and realization for reconstruction of Skopje shows the lack of technique and procedure. In that sense, the proposal envisions how it could unveil the multi-layered structure of the city by managing the debris fro m the disasters. What if all the city could be made by sustained ruin until now, how could it have looked and what kind of tamed structures would been erected? Coexisting of architectural history of Skopje was a first step to understanding dialectic relation of debris and earth because overlapping city damage pattern maps gives a new landform to the city in urban scale. In architectural scale, intersection and accumulation of the vast collection of architecture in Skopje is catalyzed by different kinds of speculative spatial organization and memories of their exact locality.
memory ground
5
memory ground
analysis
6
3D scanned mesh models
memory ground
scale: 1/10.000
lead
destruction
wax
ground
conceptual physical model of city
7
mineral
Macedonia 1990
brick steel concrete brick glass
20 m 48 m
metal
concrete stone
reinforced concrete
alkemi composite foamed metals
wapan tiling
carbon-fiber reinforced concrete honeycomb steel plate
EARTHQUAKE 1963 Federal People’s Republic of Yugoslavia 1946
marble
steel stone brick glass
15 m
20 m
recycled glass concrete
periodic cellular materials
concrete video screen Kingdom of Yugoslavia 1867 stone 10 m
15 m
shape memory alloys (SMA)
steel concrete brick glass precast concrete
EARTHQUAKE 1555 Ottoman Era 1352 travertine
photo-engraved aluminium panels 20 m
15 m
steel stone brick glass wood
EARTHQUAKE 518
Byzantine Era 395 AD
additive polymers
wood medium density fiberboard (MDF)
12 m 9m
glass timber stacking
steel stone brick glass
glass fin connection
plastic acryclic panel-rod
translucent floor
Roman Era (Scupi) 148 BC filigree wood
15 m
12 m
wheat straw tile
masonry stone glass
plastic pavement-wall bubble glass
glass-fiber reinforced polyster (molded plasctic) insulated structural chanel glass
Ancient Macedonia 850 BC masonry stone brick wood
6m 8m
acrylic-resin infused wood
black stained plywood
kinetic glass shape memory bioplymer glass tube
Pre-historic (Neolithic settlement) 5000 BC 3m
2m
stone wood PMMA-PC sheet (plastic inserts)
memory ground
architecture
material&strucutre
architecture & material of Skopje
8
amphitheatre
helicopter-runway spaces
foyer- entrance
exhibition space
precast highway entrance
vardar river
01
17
09
03
11
00
+12.00m
+12.00m
+9.00m +7.00m +4.00m +3.00m -0.00m
-0.50m
-2.50m
-4.00m
-8.00m
Structure consists of taming spaces such as processing labs, catastrophe offices, ateliers, public spaces, data library etc. Program of that locality acts as a prototype of taming process to merge new and old socially and spatially. Moreover, it creates an environment in which the global capital can invest in sustainable construction in Skopje.
memory ground
section
9
3
1_medival wall 2_I beam 3_tempered glass 4_steel buttresses 5_steel deck
1
1
2
4
4 3
BUTTRESS-FLOOR DETAÄ°L
2
3
2
5
1
MEDIVAL WALL CONNECTION DETAIL
memory ground
WALL-FLOOR CONNECTION DETAIL
details
10
memory ground
axonometric plan views
11
memory ground
life
12
II
SİNOP LINE From Decumanus to Pontus Euxinus, Sinopale along the wall
architectural design studio IV feb-june 2018 group member: Fulya Yener location: Sinop, Turkey supervisiors: Prof.Dr. Aydan Balamir Instr. Kadri Atabaş Instr. Marco Bruno Res.Asst. Saliha Aslan
Produced by me *
What is the resumption of a ruin? What is the rehabilitation? The city of ‘’Sinop’’ has developed with its own dynamics throughout the history related to ‘publicness’ and ‘historical’ background of the city are. In our project,rather than boundaries, tangible and intangible connections are constructed through the organization of ‘Sinopale’ which leads to collect memory and gathers people around the city walls that is the core of our design. The abandoned wall is gained a new identity by a ‘path’ on it ,leads people to experience multi-layered historical background of the city by walking on the path,offers several vistas towards the sea. Three main components, ‘city walls, people,sea’ are well connected in the architectural program contains some public spaces such as bridge, study units, workshops, cafe,multi-purpose hall for public usage and Non-Governmental organizations activities. The existing gap on the wall and a gap in between two masses provides a connection between the main square of the city and the backside of the wall. an inner street parallel to the path on the wall also forms an inner garden in the core of the building becomes a focal point in order to experience a space in between old and new architecture.
sinop line
13
layers of the wall
view toward sea
stairs in front of cafe and clock tower
sinop line
connection of layers
clock tower
axises
gaps of the wall
parallel streets to the wall
longitudinal section of building
latitudinal section of building
pedestrian paths
upper connection between building and the wall
accessibility
underground part of the wall
existing connection to the wall and clock tower
continuity of the wall
underground part of the building
view from the wall
* concept sketches
14
Black Sea
proposed stairs proposed stairs
corpurpsus
existing square existing square
co
existingexisting stairs stairs
clock tower clock tower
bridgebridge
upper pedestrian way
us man
decu
decumanus
castle
castle
Black Sea
sinop line sinop line
master plan * master plan
38 15
* basement
sinop line
ground floor
* roof
plans
16
X
sinop line
stairs
clock tower
cafe
co-working spaces
bridge
elevator
bastion
semi-open spaces
toilets
exhibition spaces
stairs
01 02 03 04 05 06 07 08 09 10 11
X’
* section&details
17
wood top rail silicone heat-soaked glass metal clamping M12 bolts wood parquet steel deck I beam
sinop line
anchor concrete wall tempered glass step steel
concrete wall wood cladding
* details
18
III
STICHING THE FABRIC AOÇ II Along the banks of Bentderesi, Forest farm and housing
architectural design studio III oct 2017-jan 2018 group member: Fulya Yener Gökberk Koçak Zoha Zaka location: Ankara, Turkey supervisiors: Prof.Dr. Aydan Balamir Instr. Kadri Atabaş Instr. Marco Bruno Res.Asst. Saliha Aslan
Produced by me *
In an old fabric of Ankara, a new urban complex is proposed. It consists of housing, forest farm, agriculture, recreation and husbandry spaces. Main idea for this project is creating connections between different parts of the site, relationships between different patterns of fabric and urban tissue. By starting from the idea that turns urban fabric into human fabric, and turns microeconomy to macroeconomy; a new system is provided. This new complex provides common spaces for public in terms of both physical and social manner. When we look at Ankara,perceiving old settlements is so easy. It is starting from castle era and city spreading like a oil stain. While the city is growing, density of urban pattern decrasing step by step. In that respect, surronding of castle area has many layer of urban tissue.It has an organic layout between patterns.The history of that area date back 2 B.C. But if we want to visit this rich historical place in terms of urban tissue, there is not almost nothing that protected properly. Apart from this, you cannot walk in there safely because of the social pressure even women live in there under danger at any moment. So citizens of Ankara,out of tourists do not go to that area. These situation create some problems in terms of social economic,social life and human zooning. There is a very bad wound at the middle of the Ankara. Not just successfull example as a capital city in showing social life. The city life mean should not be like that. Our intention is that dwellers should be fit into society especially in that area. Without any destruction on the urban tissue and also not throwing people to the somewhere, we should solve that problem at the exact venue.
stiching the fabric
*
19
TOKI BLOCKS individual high- rise housing blo cks detached from the ground.very less relationship with the surronding. they can abstacted as points as an urban pattern ground level is mostly reserved for parking.la ck of the daily life like as it is on the street.
ROW HOUSES
*
*
5-6 storey housing units,located in their individual parcels . units are very close to ea ch other. they can be abstacted as lines as an urban pattern. on the ground level,there are commercial zones that creates a daily life on street level.
toki housing a fabric that needs connection tall buildings that are scrat ched from the ground squatter area a fabric that needs healing squatters are one by one fading away a fabric that is broken into pieces castle and ulus a fabric that needs protection historical buildings,existing mutually with squatters ankara s historical hearth beats in this region
*
building patterns which shows the different types of relations between the streets and building
BUILDINGS ON BENTDERESI 6-7 storey mixed used buildings. located on the former bent deresi. units are close to ea ch other but not adjacent. they can be abstacted as lines as an urban pattern. on the street level,commercial zones exist at the base .
a closer look to the remaining squatter blo cks most of them are demolished, there came out empty open areas, not functioning for any building or being used for now the intersitial spaces between those blo cks can be functioned with urban farms,where inhabitants can work and collaborate
natural zooning a typical arrangement of a squatter blo ck,with their open spaces and greenery
DEMOLISHED SQUATTER AREAS
social zooning stiching the fabric
vacant lands at between remaining squatters. few houses remained,most of the empty areas between remained ones does not have any function. dramatic empty topography can be observed clearly.
tokis abstracted as dots having weak relation with the land,ea ch other and surrondings arteries grow into those dots pedestrian bridges,paths,walkways connection through the farming area,both sociolly,physically
analysis
20
existing squatter blocks on the site toki blocks proposed housing area small scale urban farming big scale-mass production farming recreational area husbandry small scale industry foresting pedestrian paths
stiching the fabric
* master plan life
21
90
10
second floor
10
ground floor
10
ground floor
+0.00
entrance
kitchenette
500
100
kitchenette
bedroom
living space
200
10
390
1000
400
1000
10
240
bathroom
490
dinning space bedroom
490
For one person.........................50 m2 For two person..........................80 m2 For a family; three person.....85 m2 with a 25 m2 terrace 80 m2 For a family; four person......150 m2 For two or three person........125 m2 with a 25 m2 terrace
100
dinning space
type I_ type II_ type III_ type IV_ type V_
living space
1000
150
200
type I
bathroom
bathroom bedroom
bedroom 100
100
entrance 100
+3.20
50
+0.00
140
140
10
10
10
second floor
290
300
200
10
10
ground floor
10
190
10
290
200
200
1000
10
190
100
1000
type IV bathroom
living space
dinning space
+3.20
500
500
330
290
kitchenette
+0.00
bedroom
living space
190
+0.00
entrance
10
10
150
entrance
10
390
200
10
390
10
190
10
390
400 1000
second floor
10
ground floor
type II
10
1000
290
300
10
living space
bedroom 100
190
190
bedroom
100
10
1000
1000
second floor
ground floor
+0.00
200
100
100
bedroom
bathroom
dinning space
90
100
750
entrance
200
+0.00
500
+3.20 kitchenette
bathroom
+3.20
terrace 190
kitchenette
90
150
200
+3.20
terrace
entrance
100
10 10
40
150
240
200 1000
350
10
10
40
150
240
100
10
440
10
250
490 1000
1000
type III
stiching the fabric
10
10
10
140
140
bathroom
100
100
dinning space living space
100
140
10
10
250
490
100
140
10
1000
type V * plans
22
type I
type II
type III
type IV
type V stiching the fabric
*
axonometric views&detail
23
stiching the fabric
life
24
IV
DeepLORIA Underwater pavilion digital design studio II feb-june 2018 group member: Merve Özkul Simge Gider location: anywhere supervisiors: Prof.Dr. Arzu Gönenç Sorguç Instr.Fırat Özgenel Res.Assist.Müge Kruşa Yemişcioğlu Produced by me *
The challenge was designing an underwater pavilion for one person who examines and experience underwater life. The design concept is based on the study of the coral reef family. The pavilion demonstrates how combining morphology and formations of the brain coral reef found in nature and its behavioral and adaptable features with composite fabrication methods. In the first step, with the idea of the underwater pavilion, an air bubble was created within 1.5 m radius. To maintain a relation between inside and outside of the bubble, the pavilion had should be deployable. Regarding it, as a biological role model, we focused on brain coral which is formed by colonies of small organisms called polyps, which create hard exoskeletons of calcium carbonate that, over time, develop into the distinctive patterns on the surface. Each polyp can build onto the colony structure over the skeletal remains of old polyps. In that sense, the surface of the brain coral creates an uninterrupted pattern with polyps that independently exist but coherently work.
deeploria
*
*
25
Coral polyps live on the calcium carbonate exoskeletons of their ancestors, adding their own exoskeleton to the existing coral structure. CORALS as colony of polyps
The strategy for the biomimetic investigation was that surface division of pavilion respect to the curvilinear system instead of the cartesian coordinate system enables that creating holes on the surface of the pavilion for the examiners to observe underwater life and animals. The advantage of using a curvilinear reference system instead of the cartesian system was that preventing polarization of the sphere, so we could procure a natural and adaptable structure that consists of stable carcase, modules, and mechanism. The mechanism is including six different pieces. For a successful deployment, each branch of the umbrella structure should move in a different curvilinear path, so that each branch has a unique mechanism. Three different simulations of fabrication methods were built with different materials and processes. The performance of these lightweight structures relies on layered systems or carving methods. In the first scenario was for producing 1/5 scale working model, XPS layers were came top of each other, and reinforced with gypsum mortar and gauze. Second and third scenarios are for 1/1 scale, 3D printing produces modules, the skeleton of the pavilion in a continuous way. The mechanism does not need to assemble in that case. Robotic CNC arm method has two phases. In phase I, arm carves monolithic material to obtain a carcase system and modules after that mechanism is added into it.
polyp
POLYP as each individual coral
extension
thickening
old skeleton
step I_ vertical extension
step II_ lateral thickening
biological role model
2 mm
diploria
skeleton
pattern of corralite walls reproduction&colony formation
polyph structure of corralite
mechanism
Integration of multiple process parameters into a component based constrcution systems
deeploria
* analysis
26
deeploria * axonometric views&detail
27
thickness
skeleton
emptiness
ridge
distance
extension/ invagination
deeploria * axonometric views&detail
28
length
mechanism
length
mechanism
surface area
modul
layers system brings layers top of each other from bottom to top with fiber renforcement
carving system reveals modules and skeleton of pavilion
3D print reveals modules and skeleton of pavilion deeploria
Integration of multiple process parameters into a component based constrcution systems fabrication processes
29
deeploria
* life
30
V
Doors of perception Compose your universe digital design studio I sept 2017-feb 2018 group member: Ala Haj Taleb Ezgi Geyik location: The Milky Way supervisiors: Prof.Dr. Arzu Gönenç Sorguç Instr.Fırat Özgenel Res.Assist.Müge Kruşa Yemişcioğlu Produced by me *
This VR project is based on the marvelous Milky Way, our home. The research phase began with understanding our galaxy and creating our own. For our story, we chose an avarage (wo)man and questioned what would happen if they were to widen their doors of perception. How they would perceive what is around them and to what extend they could effect their enviroment. This led us to an interactive universe building with player creating their own universe at the start by placing red or black little squares into a two by two bigger square. Black ones being the black holes or density and red ones being the worm holes or relations. Their choice effect the density, relation, sound, textures and movement within their universe. The result is 256 different experiences. 5 different universes were created with specified readings of black holes and worm holes beforehand. Each group member was responsible for their structure, its textures and sounds.
doors of perception
31
universe exists
how would we
widen our doors of perception...
perceive the universe then?
-what if we had the power to create? -to what extend can we understand the universe?
-does perception demand individual universes? - to what extend can we interact with the universe?
-how would we perceive the creation of our universe? - to what extend can we create our the universe?
raw data of the universe
contextualized data
information
blackhole | wormhole | interstellar medium | halo | galaxy | energy |matter | cloud | singlepoint | bulge |spiral | gravity | nuclear force | electro magnetic | force | flat | ring | dark matter
black hole | worm hole density | relation
/
our senses
dimensions of perception
interface
sight | taste | hearing | smell | touch | balance | proprioception | temperature | colour | texture shade | shadow | rhythm | movement | heat | form | speed | hot | heavy | opaque | dark | milky
speed | scale | texture | music | colour
perceive it,
doors of perception
what if we were to
a much as one can
story
32
t0
t1
t2
universe
Layer 2
dimensions of perception
Individual
t2 information experience as experienced
Unique Universes
Layer 1
t1 context user preferences as designed
User
Selection
Simplified Selection
User Selects
Their Universe
eerie sound
t0
t1
t2
universe
Layer 0
t0 data birth as they are
User Creates
Construction of the Universe
highestperception density lowest relation
high density perception low relation
* Layers of the Universe
echo
eerie sound
t0
eerie sound
heart beat
t1
t2
universe
Individual readings give us the structure of the universe Black Hole Density
User Affect
Structure of the Universe r/
Te xt
ure
}
{
}
e
}
}
Lateral readings give us perceptional features
colour / texture 2 x 2 possibilites 4x4x4x4 possibilities
eerie sound
radio static
heart beat
heart beat
echo
t1
t2
Vertical readings give us movement features
2 x 2 possibilites 2 x 2 possibilites
radio static
radio static
echo
low density perception high relation
t0
t1
t2
universe
Perceptional Features lowest perception density highest relation
doors of perception
echo
universe
Colour / Texture {
Echo Tune
oT un
Mutation Matrix
t0
heart beat
Affect Style
lou
Universe Speed
Co
Ec h La Pe yers rce of pti on
5 different structures with individual laws Worm Hole Relation
{
rse ive e Un uctur r St
Speed
{
User Preferences
4B 0 W lack orm Hol 3B e Ho s / 1 W lack l 2B H o rm oles es lac 2 1B H / Wo k H rm oles oles 3 W lack Ho / 0B orm Hol l e e s 4 W lack Ho s / les orm Hol e Ho s / les
equal perception density equal relation
radio static
* mutation matrix
33
VI
BOG CABIN Bee-Breeders Competition participant june-nov 2018 location: Riga, Latvia group member: Arda Ertan Yıldız
‘‘ Make an island of yourself, make yourself you refuge; there is no other refuge. Make truth your island, make truth your refuge; there is no refuge. Peace of nibbana (freedom from all suffering) within.’’ ‘‘ Attadiipaa Sutta: An Island to Oneself’’ (SN 22.43), translated from the Poli by Maurice O’Connell Walshe.Access to Insight (BCBS Edition) Around the world, people are living in condition of great mental and emotional stress and they are eager to find methods to create an environment of peace. We can say that one of them is meditation which is a method of consciously exploring the body and mind. It comes from meanings of grow or become and derived from two roots; seeing or perceiving with the basic meaning of ‘‘ cultivation’’. The other common method is eagerness to interact with the nature. Despite modern people get distant from the nature in time, it is clear that eliminating the differantiation between being in/ with the nature is a crucial issue to sustain Latvia’s vast collection of fauna and flora without negative impact on the local environment. With ‘‘The Bog Cabin’’ concept both methods can took place and dwelling issue on the nature turns into a productive process by using the nutrient-rich soil of underneath pit of cabins. Bog cabin proposal considers treating feces as a resource rather than a waste of product to cultivate both people’s mind and the nature itself. Possible locations of cabins are where trees were gone to cultivate new trees. Cabins are paced near the lake to interact with water and nature which is a tradition of Latvian culture. While meditation process, guest can sit on hammock in bog cabin by feeling the tranquility or watching the lake, listening the nature and being in a peaceful state liberating his/her mind. Ground level can be used as a servant space for public activities for instance semi-open gathering space by visitors. Elevated floor offers service facilities contains temporary freeplace, toilet, bed, small food storage, shelfs for one guest. Meditation space is secluded from other ones not to interrupt meditation by any distractor factor. Just sit down, relax and watch the lake between interfenestrations.
bog cabin
34
bog cabin
structure diagram
35
bog cabin
plans
36
bog cabin
life&section
37
work experiences
38
VII
SMQ Sumqayıt Shopping Mall/Facade Work july-sept 2019 location: Sumqayıt, Azerbaijan group members: Hasan Çalışlar Kerem Erginoğlu Barış Yüksel Hilal Kurt Elif Özüçağlıyan Batu Berk Bahçeci Samed Kaya
Produced by me *
Sumqayit s the third largest city in Azerbaijan. It’s located near the Caspian Sea and about 31km away from Baku, the capital. SMQ’s location is enchanced accessibility by Baku Road where passes in front of it and the central bus station. Formation of mass creates slits inside and outside of the volume, so the concept was developed around creating a bow tie effect on facade. Dimensions and angles of panels differentiate depends on direction and function of facade. In commercial entrances, big gestures occured and create semi-open spaces at turning points which are parallel with the slits. For advertising sign board, panels are getting flat.
SMQ
*
39
1
4
3
5 2
1
5
SMQ
2
4
3
* physical model of site
40
D
east facade
C
Residential Blocks
Grill
B
C
semi commercial
service
D
Plaster + paint
B
A
B A
B
south facade
Carpark Entrance
north facade
Park Entrance
A
B
A
B
west facade
Main Entrance
commercial
commercial
3D FACADE
Aluminum Composite Panel
A
B
2D FACADE
Aluminum Composi~0,5 m ~3 m
~0,42 m
SMQ
~2,9 m
*
facade pattern study and alternatÄąve II
41
bow tie effect The linear facade panels are tilted at most on the breaking point of the backface.
Gold background
Corten textured panels
SMQ
*
facade pattern study and alternatÄąve II
42
SMQ
life
43
SMQ
life
44
VIII
DER - ZEMİN Means “door’’ in Persian march 2020-june 2020 competition project location: İstanbul type: urban group members: Fatih Yavuz, Emre Şavural, Pelin Yoncacı, Murat Memlük, Ebru Dehmen Memioğlu, Sevgi Çalı, Kıvanç Tunçkale, Faruk Sarıhan, İsa Eren Akbıyık, Mehmet Nazım Özer, Hasan Hüseyin Özdurmuş, Sema Çağlayan, Çiçek Su Yavuz, Alperen Pehlivan, Gaye Gültekin, Okan Mutlu Akpınar, Hüseyin Kezer
Golden Horn Shore Competition 1st Prize
“The ruins of those Byzantine Walls, the ruins of the walls built to protect the city five or six centuries ago, did not cut the city-sea relation at all ... Those walls with their doors, holes, ruins, suddenly plunging into the sea turned into works of art. ! “ Aydın Boysan, “Nereye Gitti İstanbul?, YKY, İstanbul, 2004, 45. The zoning activities that started in the 1950s initiate the destruction and reconstruction process that causes irreversible effects on the historical texture of the Golden Horn. After the demolitions carried out in order to create a modern road system in the historical peninsula, the expansion of Atatürk Street connecting the Unkapanı-Aksaray-Yenikapı axis and the establishment of the connections it established with the coast, the opening of the Ragıp Gümüşpala Boulevard from Unkapanı to Eminönü, the sea walls and gates. and the pier remains disappear almost completely over time (Semiz, 2014, p. 415). Pedestrian and vehicle systems are separated from each other, especially due to the speed brought by the coastal road and the coastal texture that it destroys. Pedestrian track and speed become obscure on the Golden Horn fill ground, and the pedestrian scale becomes invalid. The road becomes an impenetrable new ‘border’, severing the relationship between the coast and the city. The project proposal, which set out to re-establish this relationship, produces the presentday equivalent of the door-pier couple that will reintegrate the Golden Horn into the historical city behind the city wall, whose existence is still felt despite its disappearance: Der-Zemin. This new surface, which emerged by tracing the traces of their coexistence and the plurality they presented at certain times in the Golden Horn in the historical process, are the activity foci that turn the function of “being a door” lost both in memory and in physical structure to the present day. The proposed Haliç der-grounds are multifaced scenes in the daily play where the city touches people, the city is the city, the production is the main, and the place itself is an actor. He is a productive force in timespace that confuses and brings together those who go everywhere and those who come to everywhere, who sell the field above all, those who approach from all directions, people of all ages, and speakers of all languages.
der-zemin
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1.Period 2. Period 3.Period der-zemin
historical coastal use analysis and suggestion
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der-zemin timeline
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3.Period
2.Period
1.Period
der-zemin
analysis
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5th century - Byzantine Period
Byzantine Period - 15th century
15th century - 16th century
16th century - 18th century
the coastline of the next period
the coastline of the next period
the coastline of the next period
the coastline of the next period
Byzantine Walls
Byzantine Walls
Byzantine Walls
Byzantine Walls
Çemberlitaş
Çemberlitaş
Çemberlitaş
Çemberlitaş
18th century - 19th century
19th century - 20th century
20th century - 21th century
20th century - 21th century
the coastline of the next period
the coastline of the next period
the coastline of the next period
the coastline of the next period
Byzantine Walls
Byzantine Walls
Byzantine Walls
Byzantine Walls
Çemberlitaş
Çemberlitaş
Çemberlitaş
Çemberlitaş
Eminönü
proposal coast line filled area
der-zemin
coastline history of historical peninsula
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scale: 1/2000
der-zemin
masterplan
50
der-zemin
EminĂśnĂź focus 1-urban design and landscape project
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der-zemin
Metro Bridge Focus 2-Urban Design and Landscape Project
Kadir Has Odak 3-Urban Design and Landscape Project
Haliรง Social Facility Focus 4-Urban Design and Landscape Project
Fener Pier Focus 5-Urban Design and Landscape Project focal points
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der-zemin
architectural elements
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der-zemin
architectural elements
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der-zemin
architectural elements
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der-zemin
architectural elements
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der-zemin
focal points
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der-zemin
eminĂśnĂź sqaure
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der-zemin
eminĂśnĂź sqaure
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Eminönü Tram Station Entrance - Canopy
der-zemin
Eminönü Square
focal points
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Eminönü Square
der-zemin
Public Steps
focal points
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