FADA Hangar Book 1 | 2014-2018 by FADA Virtual Collection

Editors: Burcu Serdar Köknar, Eda Yeyman Book Design: Eda Yeyman

*For photographs on pages 14, 15, 17, 18, 19, 62, 63, 64, 65, 486, 487, 500, 501, 506, 507, 512 and 513 we would like to thank Yerçekim, for the other photographs to Ünal Menteşe and İpek Yürekli and all FADA team.

Faculty of Arts, Design and Architecture

MEF FADA

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Those four years have been extremely exciting for all of us. Starting a new school of design has required a lot of hard work, as expected. What was the most challenging, however, has been defining the character of our school. This is no easy thing to do, it requires that a faculty from different backgrounds to agree on similar principles; the continuous support of the administration of the University and most importantly, the trust of the student body in its school. From the very beginning, we have adhered to a few guiding principles which define the character of our school: creation of a positive learning environment; a belief in the studio as the center of all learning; development of a strong work ethic; not letting any dogma into our school; emphasizing learning instead of teaching. The great variety in the projects presented in the book reflects our belief that we can reach, energize and inspire every student. Our studio spaces, HANGAR, is a major resource that is available to our students 24 hours a day and 365 days a year. The transparent nature of this space is a contributor to the flow and mix of ideas as well as a source of inspiration. We also strongly believe that architecture can and shall be used as a tool to improve the lives of all people, regardless of wealth or status. Our studios and especially design build studio program focus on the role of architecture as a public service. We believe that the success of our Design Build Studio program, where our students have designed and built thirteen different projects over the course of three summers, is an indicator that our school has embraced those principles very strongly. I want to thank to all our faculty and students for these special four years. Without their collective effort, such a creative learning environment would not be possible. Putting together such a book is no easy accomplishment either and plenty of effort went into its production. I want to say special thanks to Eda Yeyman for her excellent and creative work as well as her resilience that went into the design and production. Burcu Serdar Köknar, with her usual calm and precision, organized all the material and perfected everything. Our students, Merve Uçan and Ebrar Sayan helped in the editing of images. We also appreciate the help of our School of Foreign Languages team for proofreading the book, especially Vladlena Tcherkachina and Sally Gayford. Finally, I would like to thank to MEF University for making this book possible. Arda İnceoğlu

Founding Dean, FADA Istanbul June 2018

FADA 14-18 celebrates the work of our students in the first four years of the school. The works reproduced here represent only a small portion of all the creative work done in those years. We are genuinely proud of our students and their passion for design and hard work. As any other school, we believe that FADA is what it produces, in and out of the school, by its students and by its faculty. Here you will find work produced in Architectural and Interior Design studios and also in our already established Design Build Studio program. We also decided to include the products of some theory courses as well as other activities that took place between September 2015 and May 2018 in order to illustrate the connections between studios and other courses which is crucial in our approach to design education.

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Design Build Studio (DBS) One of the reasons that the education of architecture is very exciting and fulfilling is that students immediately start designing, even on the first day of their education. At FADA, we believe this is the only way of learning how to design: by actually doing it. The experience in the studio is very valuable, with its limitations. We can build a large mock-up, interact with real people to understand and respond to their dreams and inspirations, but still, everything we do in the studio is a simulation. Design-build- studio is taking this experience into the physical and social world. Our DBS program has two intertwined goals: -To give a real design experience to the students that covers all aspects of designing: interact with a group to understand their needs; develop a design and make this group

to accept it; design as a group; communicate with experts, engineers, and master builders in order to improve the design; build the design by getting involved in the production with its surprises that may necessitate a revision in the design itself; learn to live with praise as well as criticism. -Show the students early on how design can be used as a tool to improve lives of all people, especially of those who could not afford the services of designers: we work in underprivileged neighborhoods and villages, public schools which do not have the means or a structure for transforming their environments to stimulate creativity in their students; we also work with local governments that are willing to experiment together with us.

Arda InceoÄ&#x;lu, Ahmet Sezgin

A Design-Build-Studio program has its logistic and economic complexities. We offer the DBS not as an optional but as a required part of our program, which also makes FADA unique in a way: ALL of our students get involved in it after their first year. We need to develop enough projects to

accommodate about hundred architecture and interior design students. Moreover, we need to find sponsors for all these projects, develop local contacts and solve the logistics of accommodation and food. Working in summer is another hurdle. All that would not have been possible without a faculty which is truly dedicated to education and design as well as hard-working students who are passionate about creating. We see FADA DBS program as a small contribution to humanity but as a huge step towards the design education of the future.

We are proud of our achievements over the three summers that our DBS program has been running. FADA students and faculty have developed and built twelve projects which are impressive numerically, but our real pride comes from the quality of design. We believe that the emphasis of our program is both on ‘Design’ as well as ‘Build’. We believe that our projects bring an element of awe, surprise, and excitement to the people we serve designs to.

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!'&'07;5( Project name: Köprü

Project year: 2016 Project place: Ayazağa primary school

DBS 2015 focused on the design and construction of a bridge on a water channel that had divided the courtyard of Ayazağa Primary School (Ayazağa İlköğretim Okulu) into two parts. The part of the courtyard on the other side of the channel was not accessible to the students. Through the construction of the bridge, the courtyard area open to the use of pupils was increased by 100%. The bridge has been in use since November and is one of the favorite spots of pupils at the junction of the two sides of the school courtyard. As envisioned at the beginning of the project, the bridge will also be a milestone to convert the school court-

&)*07;5( Project name: Köprü Project year: 2016 Project place: Ayazağa primary school

yard into a livable and joyful place for pupils. By the completion of the bridge, the Sarıyer Municipality had cleaned the channel along the school, organized existing green areas and since has been cooperating with the MEF University Faculty of Art, Design and Architecture to organize school courtyard and provide various amenities and play areas. Project Team: Ceren Can, Arzu Ören, Kadir Mert Tatar, Deniz Torun, Tuğçe İratçı, Tuğçe Çelik, Yaren Bayır, Gökçe Demiral, Şengül Has, Arda Yaycı, Abdülselam Filizer, Kübra Karakaya, Tuğçe Selin Türk, Melis Özkaya, Selen Sürmeli, Selen Sönmez, Cansu Gösterişli, Gamze Adıgüzel, Hakan Akbulut, Ezgi Bahadırlı, Özgür Bulut Gümrükçü, Öykü ÖmürProje Project Coordinators: Arda İnceoğlu, Ahmet Sezgin, Burcu Serdar Köknar, Derya Uzal, Bengi Güldoğan Static project: A Teknik Construction support: Sarıyer Belediyesi Fen İşleri Müdürlüğü

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Our students have designed and built five projects in three different schools during the summer of 2016. As in 2015, we have continued our collaboration with Ayazağa Middle School with the design of an English classroom and outdoor play spaces. We are grateful to PATTU Design, OYAK Beton, Sarıyer Belediyesi Fen İşleri Müdürlüğü, Sarıyer Belediyesi Park ve Bahçeler Müdürlüğü and TAV for their kind support to these two projects.

In 2016, for the first time, our students have designed and built a project for a school out of Istanbul. They have worked in Kasaplar Köyü, Aydın, in collaboration with Yapı Biyolojisi ve Ekolojisi Enstitüsü, TABİT and TABİDER. In this project, we have also worker together with Herkes için Mimarlık Foundation. All these projects were published in Arkitera website as well as XXI magazine November 2016 issue. Dolambaç project, designed for Kasaplar village, is chosen to be included in Turkish Architectural Archive 2016.

In the other school we have worked in, Güney Kıldıran Kindergarten, our students have built a multi-purpose room and a playground. We are grateful to Rönesans Holding, TAV, Sarıyer Belediyesi Fen İşleri Müdürlüğü, DS Mimarlık and Sarıyer Belediyesi Park ve Bahçeler Müdürlüğü for their support of the projects.

!'&'07;5+ Project name: Dolambaç Project year: 2016 Project place: Aydın Kasaplar Village

Dolambaç was brought to life by the co-production of MEF University Arts, Design and Architecture Faculty first-year students and YBE (Building Biology & Ecology Institute Turkey) between 6-19 June 2016 in Kasaplar Village of Aydın province. The project, designed at the MEF University FADA Studios by the architecture students during a ten-day marathon, was constructed on site in the following fifteen days with the hosting of TABİDER, an association supporting the local development within the region. The primary objective of the design was to create a custom space for the children of the village and to ensure the exploration and transformation of the mentioned

&)*07;5+ Project name: Dolambaç Project year: 2016 Project place: Aydın Kasaplar Village

space through the requests of its users. Through the experimentation of its beginning, loops and limits, the volume was designated to become a part of the landscape composition.

Design Team: Ali Güzel, Ayşegül Şeker, Betül Çevik, Ceren İlayda Kaya, Eda Şimşek, Halit Özten, İlayda Kalender, Melike Kavalalı, Mustafa Mert Korkmaz, Nazlıcan Apaydın, Nimet Değertaş, Selin Alara Bilgin, Yusuf Aras Kalkan Proje Coordinators: Derya Uzal , And Akman, Merve Gül Özokcu (Herkes İçin Mimarlık) Construction: MEF University Architecture Department Freshmen, Herkes İçin Mimarlık (Merve Gül Özokcu), YBE-Building Biology & Ecology Institute Turkey (And Akman, Merve Titiz, Nilgül Özgür) Construction Support: TABİDER (Agriculture Awareness Improvement Association)

FADA 2016

DBS 2016

!'&'07;5+ Project name: Broca Project year: 2016 Project place: AyazaÄ&#x;a primary school

BROCA - AyazaÄ&#x;a primary school, English learning room is designed to develop an integrated interior design practice by transforming an empty classroom into a contemporary learning space as the first interior design project of the Design and Build Studio! The design phase of the project is conducted together with English teachers of the school to develop spaces unique for needs of the school according to a new and flexible learning process. Flexible space and furniture are designed specifically for desired activities such as puppet shows, drama, and word memorizing. To meet these needs, a continuous wall allowing different usages with different wall-desk usage combinations is designed. Material selection of a re-design project is also aimed to be made and re-used. One of the goals is to recycle and use recycled or extra materials from other projects mate-

&)*07;5+ Project name: Broca Project year: 2016 Project place: Ayazağa primary school

rials. From this perspective, materials from an architecture exhibit are reused and turned into interior elements. According to the needs of the users, cupboards, shelves, word card spaces and also a mini puppet stage are designed. To complete the 3d pattern, 2d patterns with are added to paint. The English room is transformed into an unconventional classroom specific for participatory and practical language education with the choice of form, detail, and materials. Design team: MEF Üniversitesi Mimarlık Bölümü 1. sınıf öğrencileri Students: Hayrünisa Bilgin, İsra Nur Aydın, Ömer Göksal, Sena Ünal, Selin Tüysüz, Berrak Oğrak, Özgürcan Aydın, Proje Coordinators: Eda Yeyman, Egemen Nardereli Construction team: MEF University Architecture Department Freshmen Construction support: DS Mimarlık, PATTU Mimarlık, Sarıyer Belediyesi Fen İşleri Müdürlüğü, TAV

FADA 2016 Project name: Küpküp Project year: 2016 Project place: Güneykıldıran primary school

Küpküp is designed and built by MEF University Faculty of Arts, Design, and Architecture (FADA) first-year students to create a playground for kindergarten students. By going beyond the traditional game patterns, it aims to enhance the creativity of the students by creating user-defined spaces. The project is based on 140cm-sized timber cubes referenced from an average height of the kindergarten students to create a space special for the students. Then the cube is multiplied according to necessary functions and dimensions in a physical harmony with spaces organized around the cubes. A tree house, music cube, puzzle, story corner, balance rope, writing and drawing cubes are created inside to provide physical and mental development of the children. The theme of each cube is developed based on observations and interviews with teachers. Interviews

DBS 2016 Project name: Küpküp Project year: 2016 Project place: Güneykıldıran primary school

and observations have shown the importance of both having an independent area only for children which would also provide close visual contact with teachers for observation. Cubes both invite children inside to a children’s world and create a permeable border for teachers to control them freely. In the end, it is aimed to create a space with various potential physical and mental activities dedicated to children with limited and safe materials (timber profiles, OSB panels, plywood, and rope) to bring dynamism to the schoolyard. Design team: Uğur Güler, Osman Faruk Akkum, Kürşat Apaydın, Kübra Erguvan, Yağmur Yıldırım, Melike Özden, Ayberk Özdemir, Alpaslan Turan, Emre Yurttaşer, Ubeydullah Yaşar, Hürcan Bayram, Azad Onur Demir, Tunahan Çelen, Dilşad Turna, Melike Tarakçı, Ahmet Sezai Aygül Proje Coordinators: Ahmet Sezgin, Hazal Seval Construction team: MEF University Architecture Department Freshmen Construction support: Rönesans Holding, Sarıyer Belediyesi Fen İşleri Müdürlüğü, Sarıyer Belediyesi Park ve Bahçeler Müdürlüğü

!'&'07;5+ Project name: m³ Project year: 2016 Project place: Ayazağa primary school

m³, a play space and open area reorganization project, was carried out at Ayazağa Primary School between May and July 2016. The school garden, which has been brought into use by a former Design and Build! Studio project Hayallere Köprü, was furnished with miscellaneous play spaces, seating modules, and stage design applications. In accordance with the requests of school teachers and parents, the

Project year: 2016 Project place: Ayazağa primary school

Design Team: Aleyna Vardar, Begüm Acar, Berin Erikçi, Beste Karaduman, Buğçenur Fıstaçoğlu, Buse Çiftlik, Çağatay Çelik, Ece Nakışçı, Efe Palas, Ege Manzak, Emir Hacısaffet, Eren Hatice Gedik, Eyüp Arıkboğa, Gamze Sunar, Gülçin Apaydın, Hüseyin Furkan Şenoğlu, İremsu Sarıoğlu, Jülide Gökçe Ağu, Kübra Aksoy, Merve Akdoğan, Naz Balekoğlu, Ramazan Ersin, Rümeysa Aksoy, Selin Tüysüz, Serpil Kardaş, Süleyman Aras, Tanya Davutoğlu, Zeynep Akyol Proje Coordinators: Bengi Güldoğan, Emre Gündoğdu, Merve Gül Özokcu Construction: MEF University Architecture Department Freshmen, Bengi Güldoğan, Herkes İçin Mimarlık Association (Anıl Tunahioğlu, Ekin Güneş, Emre Gündoğdu, Mert Can Ildız, Merve Gül Özokcu, Özge Öcal, Sercan Koçak, Serkan Kurt, Yağmur Kutlar, Yasemin Sünbül) Construction Support: DS Architecture, Oyak Concrete, Rönesans Holding, PATTU Architecture, Sarıyer Municipality Directorate of Science Affairs, Sarıyer Municipality Directorate of Parks and Gardens, TAV

design incorporated primarily concrete volumes, which led to numerous experiments on joining techniques of concrete with materials of timber and metal. Following the design process conducted at MEF University FADA Studios, the project was brought to life on site in June by students, instructors and members of Herkes İçin Mimarlık Association. The concrete prisms, rising up arbitrarily on two independent platforms, coming together with the pull-up cube and balance planks created a playful track for its users. On the level of concrete finishing, timber pieces met with the seating units facing the stage and with some of the track-prisms. The visual communication was strengthened by the colorful surface treatments done at the end of the application.

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Project name: m³

FADA 2016 Project name: Omnibüs Project year: 2016 Project place: Güneykıldıran primary school

Omnibus Project was built by the first-year students of MEF University, Faculty of Arts, Design, and Architecture (FADA) to provide a multi-purpose room for Güney Kıldıran Primary School students through a process in which design and building stages were experienced as a whole. For the design of the multi-purpose room, it was aimed to produce a versatile space to accommodate different activities taking place in school, separated from the existing classrooms. The design was developed following meetings with the school principal and teachers in which the needs and demands of the school were determined. The front façade was opened to the hobby garden, steps were built to allow the students to sit freely and a stage was created inside the room. The dynamic line which determined the form of the steps was maintained in the division of the ground covering, on lighting fixtures, for the division of the space and reflected

DBS 2016 Project name: Omnibüs Project year: 2016 Project place: Güneykıldıran primary school

throughout the whole design. The project included many different types of site work including the transformation of an old boiler room and changes in the plumbing system, fixed seating steps, window frames, plaster and paint, floor coverings, electrical fixtures. It only became possible to complete the work, which required intensive experience and equipment, with the support of Sarıyer Municipality. The project made students gain experience in design, manufacturing and coordination processes through an intense work period while providing a multipurpose room for the primary school. Design Team: Elif Lahor, Miray Akbulut, Mehmet, Eroğlu, İlayda Baydemir, Berfin Salebcioğlu, Gülfem Bayraktar, Öykü Beşer, Sami Yücel, Betül Çakmak, Aybike Şenkaya, Nagehan Taviloğlu Project Coordinators: Ahmet Sezgin, Hazal Seval Construction: MEF University Architecture Department Freshmen Construction Support: DS Architecture, Sarıyer Belediyesi Fen İşleri Müdürlüğü, TAV

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Our students have designed and built six projects in three different schools during the summer of 2017. Two of those projects were in small villages and towns of Anatolia. We are very happy to extend the reach of our DesignBuild program into areas we have never been before. It was also very important for us that we were specifically invited to these places by people who have seen our earlier projects. Three of our projects were located in Türkan Şoray Primary School: a play space, multi-purpose room and open-air lunch area. We want to thank to Türkan Şoray herself and Sarıyer Belediyesi Fen İşleri Müdürlüğü and Sarıyer Belediyesi Park ve Bahçeler Müdürlüğü for their support.

‘Station’ project was built around a derelict water mill building and was supported by Merzifon Belediyesi and Çekül Vakfı. Another project was in Kayadibi Köyü, Fethiye. This project was a play area for children. We are grateful to Seydikemer Belediyesi for their gracious support. Our last project was the entrance area of our new studios, HANGAR at FADA.

!'&'07;5, Project name: 22,5 Project year: 2017 Project place: Seydikemer, Fethiye

Twenty-two and a half was held in Fethiye Kayadibi Mahallesi between July 3-16 by MEF School of Art, Design and Architecture first-year students. Playground realized as Seydikemer Municipality’s first project of the social area on the Saklıkent road was made primarily for children living around Kayadibi. Using the information and the documents obtained from the municipality and local initiatives about needs and expectations of the region and an intensive study of two weeks in Istanbul led to the idea and design of the project. The project consists of units specialized for the Fethiye climate, primarily to ensure that children and all age groups can come together. The project area, located between Babadağ and Akdağları in the Lycian valley, is directly overlooking the Saklikent valley. This view is one of the most important significative for the orientation and form of the project units. These performance units in the form of an amphitheater are oriented towards certain points of the surrounding

&)*07;5, Project name: 22,5 Project year: 2017 Project place: Seydikemer, Fethiye

landscape. The visual link they create with the sight allows the side by side performance boxes to be used independently of each other at any time of the day. The holistic design is achieved by bringing 5*10 and 5*5 pine timbers, which are frequently used in construction, in varying sizes, with changing angles to ensure continuity of view. *The project name is taken from the timber elements that must be carefully cut through 22.5 degrees to form 45 degree views throughout the production of the units. Design Team: Ayşenur Naçar, Deniz Uluköy, Doğuş Asan, Elif Alnıak, İrem Koşalay, Muhammet Talha Uçar, Semih Berkay Alankaya, Talha Kaya, Zeki Küçüksarı, Zeynep Merve Hocaoğlu Project Coordinators: Derya Uzal , Eda Yeyman Collaborators: Tangala Proje Platformu, Bahri Kurt (Seydikemer Belediyesi), Bayram İnce (Seydikemer Belediyesi), Muharrem Büyükkaramuklu (Seydikemer Belediyesi)

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Project name: İstasyon Project year: 2017 Project place: Hırka, Merzifon

Built within the remaining walls of a watermill ruin in Merzifon, Turkey, the timber structure, 890 x 235 + 265 x 135 cm was the outcome of collaborative work by 16 participants from MEF University, FADA (Faculty of Arts, Design and Architecture). Fourteen first year students and two professors carried on an intensive period of 3 weeks of observing, talking, designing and swiftly constructing the “station” in the middle of summer. The station marks the beginning of a hiking trail that dives into the valley of the town, situated on the northern slope of the Central Anatolian Plateau, which is home to many ancient civilizations. The structure is a rational composition of simple 5/10 cm timber sections and boards, providing exhibition surfaces. The void between the existing mill walls and the station serves as a peripheral space, a linear path of communication between the old and the new. All is saluted by the dancing streaks of Anatolian sun, filtered through the articulated skin of the station.

Design team: Oğuzhan Yıldırım, Tutku Ak, Arif Şahin, Furkan Enes Apaydın, Berra Nur Bay, Zülfüye Yıldız, Ece Savaş, Nevres Arın Aydoğdu, Oylum Akgul, Berfin Cantekin, Ahmet Faruk Akdeniz, Resul Emre Kaba, Burak Özcan, Gizem Gerçek Project Coordinators: Kürşad Özdemir, Ozan Avcı Construction Support: Merzifon Belediyesi Contributors: Ertuğrul Sarıipek (Merzifon Belediyesi),Hüseyin Arslan (Merzifon Belediyesi), Hüseyin Bülbül, Alp Arısoy (Çekül Vakfı), Hırka Köyü insanları

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!*&*07;5, Project name: Dalga Project year: 2017 Project place: Türkan Şoray Primary School, İstanbul

Wave was made by MEF University Faculty of Arts, Design and Architecture first year students between the 3rd and 21st of July in Türkan Şoray Primary School backyard in Istanbul Sarıyer Rumelihisarı neighborhood. Project started with the idea of designing a flexible and multipurpose playground for children. This idea was realized by placing surfaces with differentiated slopes and heights in relation with each other in order to host creative, undefined and diverse plays for children. The project is located on a point where people are visually linked with the entrance of the playground, in border of landscape and concrete surface to connect different environments. The project was designed in two weeks by MEF University students with help of supervisors that took into mind the school administration’s needs and observing students’ usage of the playground and its needs with the help of the Municipality of Sarıyer. The existing flat and wide playground of the school and its monotone usage; differentiated sloped and heights used in order to facilitate different acts: running, sliding, climbing, sitting, chatting and all other new creative acts by students

&+,07;5, Project name: Dalga Project year: 2017 Project place: Türkan Şoray Primary School, İstanbul

with help of the different relationships of different surfaces. “Wave” surfaces that rise from the ground are constructed with wood and high areas covered by nets to provide a secure environment for children. Three different waves were created by cutting necessary sections from plywood to give the desired form, then reinforced with 5*10 sectioned timbers in opposite direction and finally covered with flexible plywood. Additionally, after preparing the higher wave with the same method, it was hung in a wooden cage by 5*10 sectioned timbers to provide security and enclosed with nets partially to provide circulation from above, underneath and from the sides. As a result, a flexible playground which can act as both partial or one connected area designed for children of the school. Desing team:Zeki Furkan Sarılıcan, Mehmet Cihat Ayaz, Nursena Dörttaş, Aleyna Ayşe Köksal, Yunus Emre Bağcı, Büşra Ebrar Sayan, Ayşe Bilge Keçebaş, Benan Ataulusoy, İrem Çirpik, Gizem Çongar, Enis Kara, Ahmet Anıl Yapıcı, Nazlım Demir, Elif Erdem, Ezgi Herdem, Emre Yavuz, Erden Erdemir, Cenk Berke Budak Proje Coordinators: Ahmet Sezgin, Başak Eren Construction Support:Türkan Şoray

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!*&*07;5, Project name: İçi Dışı Bir Project year: 2017 Project place: Türkan Şoray Primary School, İstanbul

İçi Dışı Bir was built by first-year students from MEF University’s Faculty of Arts, Design and Architecture (FADA) in July 2017 at Türkan Şoray Primary School located in Rumeli Hisarüstü District. Upon request from the school management, one of the existing classrooms was converted into a foreign language classroom. The program offered by elementary school teachers included a curriculum in which the students could learn language through alternative learning methods such as “role-playing games.” Through the interpretation of this demand, the movable curtain situated on the axis of the design has emerged as an alternative scene proposal offered by the design team. The seating units and tables were designed according to various scenarios which may occur in different events. In the design of

&+,07;5, Project name: İçi Dışı Bir Project year: 2017 Project place: Türkan Şoray Primary School, İstanbul

the project, the theme of “Recycling and Reuse” and its introduction to the primary school students became a critical decision. All the architectural elements in the classroom were made of reusable materials. Polycarbonate and MDF exhibition used in the 3rd Design Biennial were donated by İKSV were converted to sitting units where metal pulleys were transformed into the structure of the curtain. The MDF panels given by PATTU and DS Architecture were reused for the production of the play tables and exhibition panels. Design Team: Evrim Arıkan, Tuğçe Şimşek, İlayda Akdemir, Tuna Karataş, Ali Berk Beydili, İlkem Çirpik, Feridun Berke Güven, Buse Ayça Türk, İrem Yağmur Cebeci, Tutku Tunçkol Proje Coordinators: Tomris Akın, Sevince Bayrak, Cemal Temel Construction Support: Sarıyer Municipality Contributors: İKSV Design Biennial, PATTU, DS Architecture, Hikmet Açıkgöz (Sarıyer Municipality), Recep Kara (Sarıyer Municipality)

!*&*07;5, Project name: FADA Hangar Project year: 2017 Project place: MEF Üniversity, İstanbul

The project FADA Hangar was designed and built for MEF Faculty of Arts, Design and Architecture by the first-year undergraduate students between the 28th of June and 21st of July at MEF University Campus. The project includes the design and building process of the entrance area of the new studios for MEF Faculty of Arts, Design and Architecture located at UNIQ Maslak as an extension to the main campus building. The project enabled first-year students to be a part of the construction process for their own studios. Design proposals were finalized after a 10-day long intense work session, based on the briefing by Burcu Serdar Köknar, a representative of MEF FADA Hangar design team.

&+,07;5, Project name: FADA Hangar Project year: 2017 Project place: MEF Üniversity, İstanbul

The project was designed as a resting, reading and meeting area that hosts exhibitions, announcements, while defining an entrance for the new FADA studios. The final design was a cooperation of three proposals that work in tandem, however due to limitations of the ongoing construction site, only two of them have been so far realized. One of these proposals was a two-storey exhibition corridor; the second one was a module combining the sitting/resting/reading units; and the third one was a series of structural elements defining the entrance. Desing team:Ceren Kalaycı, Elif Ütebay , Enes Kaya, Güven Aylin Seziş, İdil Tutak, İmran Deniz Ertunan, Merve Uçan, Merve Yalçınkaya, Naz Üstündağ, Onur Berk Doğrulttucu, Roweida Emad Taha Nimry, Zeynep Yüksel Proje Coordinators: Arda İnceoğlu, Zeynep Aydemir Contributors:Cemal Temel, Mehmet İnceoğlu

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The “İZ” project was held at the front yard of the Sariyer Türkan Şoray primary school by the students of the 1st grade pupils from MEF Arts, Design and Architecture Faculty. İZ, one of the 3 projects realized in Türkan Şoray primary school, was designed as a place for eating/free time for elementary school pupils. The project, aimed to renew the existing canteen area, to provide new facilities and to give the area a holistic feel, was discussed with the Türkan Şoray Elementary School administration and pupils during both design and application phases. In the design phase, the project was developed with initial views and expectations, and later with feedback. The project was realized after a 2-week design phase at MEF studios and 3-week work at the construction site. In the design process, separate solutions of the given problems and needs unified (merged) around a single design identity. ‘Roof ’, ‘wall’, ‘facade’, ‘trace’ design/construction groups were created not only to gain advantage by logistics but also to introduce project management in design. The roof team handled the maintenance and fixing of the struc-

&+,07;5, Project name: İZ Project year: 2017 Project place: Türkan Şoray Primary School, İstanbul

tures and coatings. The wall team designed the free dining areas that seemed to be necessary in the field with the theater layout. The trace team had designed free units to keep the design language on the ground. The facade team, on the other hand, worked on material and color usage. The trace part touched upon every component of the project and created an identity, therefore the project was named “ İZ”.

Design Team: Aylin Acar, Barkın Enes Makara, Betül Kesgin, Buse Kılıç, Eren Temel, Kaan Kızıltepe, Koray Baş, Mükerrem Seca Kişmir, Nur Hazal Atalay, Nisan İpek Akkuzu, Polen Yurtan, Seliz Pars Proje Coordinators: Burcu Serdar Köknar, Egemen Nardereli Construction Support: Sarıyer Belediyesi Fen İşleri Müdürlüğü, Sarıyer Belediyesi Park ve Bahçeler Müdürlüğü, Türkan Şoray Collaborators: Türkan Şoray İlkokulu

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-./0:0102/340310!!&! First year design studio introduces fundamental design processes by examining design questions, principles, tools, techniques and materials of architecture whilst exploring personal, environmental, cultural, structural and relational contexts. Moreover, it aims at developing oneâ&#x20AC;&#x2122;s design skills by studying basic structural behaviors and materiality both in rural and urban contexts whilst exploring basic digital and analogue representation tools and techniques. Studios are based on studying understanding, exploring and representing architectural design questions critically and conceptually within the contexts of body, space, place, scale, basic structural knowledge and materiality. Students are expected to develop

design proposals in response to project assignments and develop their representational skills by doing studio exercises and homework. This course also requires working collectively and competently in a group setting as well as working independently. Objectives of first-year design studio covers acquiring critical and conceptual thinking skills; understanding the design process, the architectural literacy, basic elements of design, basic structural behaviors, construction and materiality; and using basic digital and analogue tools for representing architectural design ideas.

Zeynep Aydemir

Hürcan Bayram Melike Özden Ege Manzak Ramazan Ersin Nazlıcan Apaydın Azad Onur Demir Osman Tunahan Çelen Ece Nakisci Nimet Değertaş Sena Ünal Ubeydullah Yaşar Ece Yanık Gamze Sunar Selin Alara Bilgin Serpil Kardaş Merve Akdoğan Elif Zelka Batuhan Hacıbeyoğlu Mustafa Alparslan Turan Öykü Tuna Başer Çağatay Furkan Çelik Büşra Eda Gödek Emre Yurttaşer Emre Yavuz Berrak Oğrak Rümeysa Aksoy Gülfem Bayraktar Melike Kavalalı Halit Özten Betül Çakmak Muhammed Kürşat Apaydın Fatma Gül İldan Berin Erikçi Ahmet Sezai Aygül Kübra Erguvan Elif Erdem

Eda Yüksel Şimşek Esat Barkın Gürkan Selin Tüysüz Yusuf Aras Kalkan Yağmur Şevval Yıldırım Fatih Eken Betül Çevik Uğur Güler Mehmet Eroğlu Elif Lahor Melike Tarakçı Aybike Şenkaya Ceren İlayda Kaya Erden Erdemir Ömer Göksal İlayda Baydemir Dilşad Turna İrem Yağmur Cebeci Berfin Salebcioğlu Osman Faruk Akkum Batuhan Gürol İsra Nur Aydın Hayrunnisa Bilgin Eren Hatice Gedik Nagehan Taviloğlu Ali Güzel İlayda Kalender Ayşegül Şeker Mustafa Mert Korkmaz Burçin Ayberk Özdemir Özgür Can Aydın Sami Yücel Muazzez Nil Yalındağ Miray Akbulut

2015-2016 fall

ece nakışçı_2015-2016 fall

Oya Pakdil, Derya Uzal

First semester is mainly about triggering the notion of design awareness. The course structure is design based finding out the sketch, diagram, model and prototype making elements. Varied design exercises begin with basic analogies. Five projects were made during the first semester with the aim of solving various design problems.

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First, ‘City Walk’ project is about designing and exploring a personal route. The aim of this phase understands the urban fabric and human/ built environment interaction of Istanbul through the City Walk route. In order to understand the city and its layers students are expected to read short narratives about Istanbul and to walk a route through the defined stops. Short narratives about human-city interaction give the information about history of Istanbul and city walk provides to determine the current (contemporary) situation.

The Second Project is designing â&#x20AC;&#x2DC;From 2D to 3Dâ&#x20AC;&#x2122; an exhibition space in university campus. It is asked to find appropriate places for the exhibition and using the current elements of building in order to attach their design.

Taking photos, sketching, making maps, exploring the environment and collecting things helps to transfer of personal experiment into a paper/ route.

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Project explores of planar material transformation from 2D to 3D using folding techniques without any function. Second part of the study is concentrated on scaling, giving a function as either using the designed element in the building or outside.

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Third Project is related to a play space for children of different age groups. The Project is aimed at creating a space where children explore their creativity and go beyond conventional typologies of play spaces. Play space shouldn’t derive from surfaces and objects only, the design will include and explore the new landscape. It is better to involve climbing, running, rolling, hiding and sliding spaces. It will be essential to choose an age range while design a space with precise dimensions. Four different plots have been chosen in “Pinar Mahallesi” as sites for playground. The fourth project is focused on “for joining past and present” and one should understand the two notions perfectly. Student is asked to understand Edirne and the meaning of “join-

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ing” for Edirne and around. They have to use all documentation techniques they have tried so far.

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A three-day trip has been organized to Edirne. Four different sites have been identified by the instructors in the old part. According to their experience in Edirne (listening to people, trying to understand different culture and religion groups, daily transition between the nations because of the border settlement, trying to perceive and feel the old and present architectural settings) students have done sketches, taken notes, made videos. The fifth phase focuses on the “Exhibition and Portfolio design”. Students are asked to design

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their overall and personal exhibition spaces. They have to use all documentation techniques they have tried so far. Students also work on their first portfolio as an architectural CV.

The second term of the first year has covered three different projects. Marked through change in form, nature or appearance, transformation includes a process by which one or more elements are converted into another of a similar significance. Through tectonics, spatial relations, effects, environmental and social strategies, transformation embeds a process by which an element in the underlying logical structure of a space is converted to an element in the surface structure. The Transformation Studio is a sequence of phases that introduce the individual to spatial problem-solving across a set of exer-

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cises that trigger the notion of design awareness. It unfolds in a sequence of increasingly complex problems that requires to work within two transversal knowledge-based fields, the analytical and intuitive.

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Both operations are applied to the appropriation of existing spaces and their potential for transformation within a range of parameters. RETREAT, U/ DYS_TOPIA and SONICISLAND, represent the constraints that will translate a set of architectural challenges.

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In the first project of the semester, the students asked to design a weekend retreat. The design of the “weekend retreat”

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will accommodate an academic staff of the Boğaziçi University during his/ her weekend retreats in solitude to focus on his/her research and writing. The profile of the couple and the architectural program are expected to be developed by the student. It

should roughly cover the 200 m3 space offering amenities for cooking, shower. For the second project of the semester it is asked to design utopia or dystopia. The term ‘utopia’ is a hybrid,

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as many critics have pointed out, meaning â&#x20AC;&#x2DC;eu-topia (good place) or â&#x20AC;&#x2DC;ou-topiaâ&#x20AC;&#x2122; (no-place). This project consist from two parts. First, it is required to read/watch the movies and narratives on the reading list. Then, to compose alternative narrative / alternative life and write a text (200/500) words. Second, the students are asked to produce their own narratives. In addition, they are to build their utopia. Habitants, atmosphere, living standards and so on. In the third phase, it is expected that the students gain architectural literacy (read, write, under86

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stand, make valid critics, and continuously take notes and draw related visual analytical and technical drawings). It is required to design a Music-Performance Centre in Burgazada named Sonicisland. First, students asked to read and comprehend narrative and listen to music, (Fazıl Say’s music composition for “Stelyanos Hrisopulos Gemisi” narrated by Sait Faik Abasıyanık) and write their own scenario. Later, it is expected that they design it in a creative way.

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Zeki Küçüksarı Burak Özcan Ayşenur Naçar Betül Kesgin Zeynep Merve Hocaoğlu Muhammet Talha Uçar Zülfüye Yıldız Tunahan Karataş Ceren Akpınar Berfin Cantekin Merve Uçan Tutku Tunçkol Eren Temel Deniz Uluköy Elif Alnıak İmran Deniz Ertunan Aleyna Ayşe Köksal Ceren Kalaycı İrem Koşalay Naz Üstündağ Zeynep Yüksel Büşra Ebrar Sayan Ali Berk Beydili Talha Kaya İrem Çirpik Elif Ütebay Ece Savaş Onur Berk Doğrultucu Zeki Furkan Sarılıcan Nisan İpek Akkuzu Benan Ataulusoy Nevres Arın Aydoğdu Feridun Berke Güven Damla Zeynep Çalış Oylum Akgül Evrim Arıkan Güven Aylin Seziş Yunus Emre Bağcı

Furkan Enes Apaydın Elif Erdem İdil Tutak Seliz Pars Polen Yurtan Roweida Emad Taha Nimry Buse Ayça Türk Semih Berkay Alankaya Resul Emre Kaba Gizem Çongar Ezgi Herdem Nur Hazal Atalay Buse Kılıç Mükerrem Seca Kişmir Ahmet Faruk Akdeniz Doğuş Asan İlayda Akdemir Alara Çetinkaya İlkem Çirpik Koray Baş Kaan Kızıltepe Barkın Enes Makara Tutku Ak Enes Kaya Ayşe Bilge Keçebaş Berra Nur Bay Mehmet Cihat Ayaz Merve Yalçınkaya Nazlım Demir Ayşenur İlayda Tambova Arif Şahin Oğuzhan Yıldırım Tuğçe Şimşek Nursena Dörttaş Aylin Acar Enis Kara Gizem Gerçek

2016-2017 fall

eren temel_2016-2017 fall

Nada Subotincic, Zeynep Aydemir

â&#x20AC;&#x153;The work of students of architecture should not be directed to the solution of problems,but rather to sensing the nature of a thing.â&#x20AC;? Louis Kahn First year design studio focuses on observing, studying, understanding, exploring, and designing habitats within natural, built and fictional environments.

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Design involves understanding and creating relationships between human beings, artifacts, spaces, and their extended environments. The design process is a creative, complex, and comprehensive activity that includes assessment, insight, interpretation, clarification, intention, flexibility, judgement and consequence. The underlying objective of this firstyear design studio is to provide a thorough understanding of the basic principles of design within a creative, exploratory, skill-based, and process-oriented methodology.

The design process begins with design-oriented-research: the careful investigation, exploration, analysis, evaluation, and interpretation of a designated subject or theme of inquiry. Research findings help to clarify design criteria and intentions which then support the subsequent further exploration of particular design questions. Within this process, various ways of seeing, drawing, and making will be taught and employed as tools for developing critical thinking (reflective and comparative), in order to align design content with modes of representation. The two semester-long first year studios are intended to help students understand how to

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ilayda akdemir_2016-2017 fall

Advice me cousin an spring of needed. Tell use paid law ever yet new. Meant to learn of vexed if style allow he there. Tiled man stand tears ten joy there terms any widen. Procuring continued suspicion its ten. Pursuit brother are had fifteen distant has. Early had add equal china quiet visit. Appear an manner as no limits either praise in. In in written on charmed justice is amiable farther besides. Law insensible middletons unsatiable for apartments boy delightful unreserved.

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Work carried out during these two first year semesters (fall and spring) is to be cumulative, building upon the development, acquisition,

begin, develop, and gain experience in undertaking a design process that leads to the development and careful articulation of an architectural design proposal.

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and understanding of basic design thinking and language, drawing and making skills, as well as the conventions necessary for exploring design issues and their formal, spatial, and material implications. All work is to be supported by a consistent mode of inquiry culminating in a design proposal that consolidates the main subjects, themes, and findings discovered throughout the sequence of design-oriented research explorations. The studioâ&#x20AC;&#x2122;s collective investigations are intended to build a broader knowledge base through the diverse observations, analyzes, and interpretations carried out by each studio group. This collective knowledge base is shared through interim and final design exercise/project reviews.

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2016-2017 spring

Nada Subotincic, Zeynep Aydemir

â&#x20AC;&#x153;Architectural identity is sited where human action finds its spatial and material correlatesâ&#x20AC;Śâ&#x20AC;&#x153; D. Leatherbarrow, The Roots of Architectural Invention

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The first semester design studio introduces students to the design process through a series of design exercises that are intended to build an understanding of how a design is developed through a thoughtful and holistic approach. Students learn how to think in various ways (conceptual, abstract, imaginative, concrete, practical) in order to develop a body of design-oriented-research that will become the basis for their subsequent design thinking, project development, and final synthesis in a detailed

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The second semester reinforces the design themes and stages of developing a design

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design proposal. The general intention of this studio is to explore cultural,historical, theoretical themes, foundations, principles of architecture and interior design.

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process introduced in the first semester. Projects are introduced with increasing complexity and a more focused concentration on the practical interpretation and application of design-oriented-research within specified programs, sites, and contexts and is to be carried out through multiple scales of resolution. The general intent of this

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studio is to practice the design process whilst exploring cultural, environmental, material, structural and construction themes, principles, and techniques of architecture and interior design.

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Investigations this semester primarily addresses a more in-depth understanding of fundamental design principles and processes by examining how they are influenced by specific cultural, programmatic technological, material, constructional and environmental concerns and criteria. This studio is intended to further develop a design process by examining a variety of architectural ideas and building technologies, and balancing prag-

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matic requirements with poetic and conceptual intentions. Investigations increase in complexity by introducing multiple scales of resolution. Design explorations are undertaken throughout the semester, culminating in two fully articulated architectural design proposals that consolidate the main themes and ideas discovered during the semester’s research.

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Begüm Nar Ayşenur İlayda Tambova Mert Karakurt Muhammed Enes Bulut Mert Maruldalı Buse Sarıcan Didem Pekdemir Aslıhan Öztürk Kubilay Akkoyun Serenay Akçiçek Zeynep Pınar Nas Çağla Mısırlıoğlu Pelinsu Çelik Melike Obut Meris Eren Ayşe Nisa Zeybek Aleyna Şamlıoğlu İlayda Nehir Ayşe Nur Ok Can Tanrıverdi Sena Karatoprak Mehmet Sevban Uca Hatice Betül Öztanık İlyas Çiftçi Beliz Akalın Berk Özyedierler Helin Baskın İrem Yıldırım İdil Çelik Melisa Ağcıhan Eda Kesim Beyza Tanrıkulu Cemre Işıksal Mehmet Deniz Başkalem İrem Çetin Kürşad Sürmeli Caner Dönmez Rozerin Salman

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117

2017-2018 fall

mert karakurt_2017-2018 fall

Zeynep Aydemir

The first semester design studio introduces students to the design process through a careful study of fundamental concerns in developing architecture, organization of thought and information, collaboration, spatial and critical thinking, transformation of research and ideas into architectural propositions. Students learn to think within Soundscape, Cityscape, Streetscape, Macroscape, Filmscape, Landscape, Storyscape, Dreamscape and Lightscape.

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Design explorations were undertaken throughout the semester, culminating in a warm-up exercise and five articulated design proposals that consolidated the main themes and ideas discovered during the semesterâ&#x20AC;&#x2122;s research. Design proposals built upon a variety of scopes, objectives, stages, outcomes of developing a design process. The

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Ăśmer faruk Ĺ&#x;irin_2017-2018 fall

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design process is to continue to be supported by a consistent mode of inquiry, culminating in a fully articulated design proposal. At the beginning of the semester, with the one-week long warm-up exercise, groups of students were to explore sound and space through developing a 1/1 scale model of a

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machine designated for transforming sound in one way or another. After that, the first assignment was a design exercise, in which students were to visit and trace the routes of Istanbul Art Biennial installations and to map their personal journey in a conceptual way. They were also asked to prepare a conceptual

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dictionary on their sketchbook through visual and verbal notes, simultaneously. The second assignment was a two-week long collective design exercise, in which groups were to write a collective story triggered by short passages assigned to each of them. The story was about a rescue lasting thirteen days. Students were to imagine one day of it, and represent the atmosphere as models and sections in tandem. The third assignment was Setpiece which is about understanding a movie set by making research about iconic architectural spaces in the assigned movie, tracing the spatial traces in 5"$#'"#$$0&1!,$!3 122

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berre ezel yÄąldÄąrÄąm_2017-2018 fall

scenes, and representing them with orthographic drawings and physical models. Students were to work as pairs in this project. The fourth assignment, Game, was about designing a physical and/or conceptual space in which a game takes place. A temporary world where the rules of the game apply, rather than the rules of ordinary world. Students were to respond five categories which can be listed as: system, conflict, rules, platers, outcome/ score. The final project assignment of the first semester was about exploring

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how to live in a former fishing village in northern Istanbul and designing a temporary working/living unit there for a researcher. Students were to explore living cycles through personal observations, interviews, audio/visual recordings, sketches and mappings. Explorations were followed by articulation of a fullyfledged design proposal represented through drawings, models in different scales.

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2017-2018 spring

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selva kĂźĂ§Ăźk_2017-2018 spring Zeynep Aydemir

The second semester introduces design-oriented-research by practicing themes and stages of developing a design process. These include understanding of a design question, and introducing themes, principles, tools, techniques and materials of architecture and interior design whilst exploring personal, environmental, natural, cultural, structural, fictional, and relational contexts. Themes of the second semester were a careful study of a complex of concerns in developing architecture: the organization of thought and

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dilara tekin_2017-2018 spring

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information, collaboration, spatial and critical thinking, transformation of research and ideas into architectural propositions, documentary and exploratory photography, architectural conventions, technical, material, constructional, and environmental aspects and their resolution at different scales, dealing with an existing urban context and uncovering it, exploring architectural tectonics and structures. The semester will be comprised of completing three design proposals

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that build upon a variety of scopes, objectives, stages, outcomes of developing a design process. The design process is to continue to be supported by a consistent mode of inquiry, culminating in a fully articulate design proposal. The first part in the project was about discovering and analysing the site by pursuing a local object in Şişhane. Students were to explore, document and interpret urban

The second project was about confronting an unfamiliar place, discovering of a bodily

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context of the area through drawing/sketches, photographs, audio and visual recordings and interviews with locals. Inhabiting the experienced place by drawing the tangible and intangible qualities/subjects/structures/ elements/narratives was the main objective of this assignment.

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The final part of the project was about a thorough reading of an urban site (in Galata and Ĺ&#x17E;iĹ&#x;hane), exploring and interpreting of up-todate production techniques, and finally developing an architectural program and space responding to them.

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experience and enhancing this experience by exploring architectural tectonics and structures. Students were to further their experiential and spatial studies on the site by developing structural possibilities. They were to explore this through drawing/sketches in their sketchbooks, whilst thinking about the wind, trees, rocks, hills, rivers, plants, animals, caves, cavities and masses...

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142

FADA 2018 PLAN 1/100 SECTIONS

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59:0$;<06:!"0#$0%"&'#()&(*") Second year studio transforms students. Building on the enthusiasm and energy of their first year, students become quite mature in terms of overall design skills at the end of their second year. Our second year Architectural Design Studios focus on using the physical as well as non-physical characteristics of places as primary forces in creating architecture. The design problems are organized to develop an ability to transform places into socially meaningful architectural environments, focusing on the needs of people and environmental concerns. Primary concepts, related to human needs and environmental forces are discussed as the basic building blocks for design processes. The studios are conducted in coordination with Architectural Technology II and III courses, with

a focus on the environmental forces and the ways of modifying them in a sensible fashion for the creation of places and buildings that are both emotionally uplifting and environmentally resilient. Environmental concepts, ways and methods of gathering and visualizing data, impact of materials and structures are discussed in both courses. Studios investigate the characteristics of built form as it is experienced by humans; they intend to develop a thorough understanding of urban context in the students and also give the chance to the students to establish architectural programs which are derived from the needs of the people and the community of certain neighborhoods.

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2015-2016 fall

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Tuğçe Iratcı Melis Özkaya Ecem Özşahin Ezgi Bahadırlı Selen Sürmeli Tuğçe Selin Türk Hatice Kübra Karakaya Arda Yaycı Gamze Adıgüzel Emine Deniz Torun Şengül Has Özgür Bulut Gümrükcü

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“You could therefore see the countryside as a place where people are disappearing from. In this void new processes are taking place and new experiments and developments are being made.” Koolhaas, In the Country

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The population of the world who live in cities is increasing rapidly. Today, 54 per cent of the world’s population lives in urban areas, a proportion that is expected to increase to 66 per cent by 2050. It is apparent that more construction will be ongoing in the following years.

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Though this seems like good news for architects, there is another part to the story. More construction means using more resources of the earth, mainly land and water, which disappear faster. How to keep the balance between nature and built environment, (to build or not to build) is one of the main issues we have as architects. These issues are discussed in the studio while students are developing diverse design approaches.

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There were two projects throughout the semester. The first one was about a small intervention in the countryside while the second project was a social center design. Both projects were based on the debate above.

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First Project: Structure for nature on the route of ‘Between Two Seas’ Students have designed a temporary timber structure that will be an indicator as well as a resting stop for the visitors on the route of ‘Between Two Seas’. Structures should also provide an amplified experience of nature (land, sky, air, wind, sun, shadow etc.) for the visitors.

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Second Project: Community Center in Historical Peninsula The subject of this project was a community center in historical peninsula. The aim was to design a public building for different users including children, elderly people, housewives, students, the retired, unemployed, workers etc. The building would serve as a neighborhood meeting point and its program was formed by students. Haseki and Zeyrek were two neighborhoods where the project sites were located.

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The program of the community center had to include an exhibition area, a multi-purpose hall, a library, workshops, a communal kitchen, administration and an open-air meeting spaces.

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Hakan Akbulut Hayriye Tuğçe Çelik Kadir Mert Tatar Selen Sönmez Arzu Ören Yaren Bayır Cansu Gösterişli Öykü Ömür Gökçe Demiral Abdulselam Filizer Ceren Can

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“A house knows who loves it.” – John Hejduk This was an Architectural Design Studio focusing on forms and concepts of dwelling in the twenty first century. The design problem was organized in order to develop an ability to create places for different ff dwelling scenarios in Berlin, where a rich, diverse society which includes heterogeneous layers of community, is in need of various solutions to accommodation issues. The studio started with a site trip to Berlin, where two allocated sites and 164

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their environments were carefully examined and different ff housing typologies, starting from the 19th century extending to today, were scrutinized. Students were expected to transform their observations during the trip into knowledge for the seminars throughout the semester. Neo-liberal urban hot topics such as housing crisis and refugee crisis, environmental concepts, alternative strategies for dwelling were discussed in the studio. The projects which the students designed investigated the relationship between private space and public space. Students also had the experience of developing an architectural program which is based on and related to the needs of different ff parts of society as well as their own projec-

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tions for housing in the twenty first century. The studio emphasized individual initiative and responsibility.

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In the second part of the semester, the topic was a dwelling project with a complex program that was be developed by the students. The students have worked in groups while developing the urban intervention principles. While further designing their own residential areas some students have chosen to continue working in groups.

167

blocks or contemporary co-housing projects as well as re-used “Mietskaserne” in the gentrified districts of the city. The goal of the project was to introduce complex concepts about urban issues, housing strategies and environmental and cultural forces and methods of transforming them into architectural spaces and form.

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Yağmur Yıldırım Serpil Kardaş Ali Güzel Aleyna Vardar Osman Tunahan Çelen İrem Yağmur Cebeci Dilşad Turna Merve Akdoğan Aybike Şenkaya Doğu Özbarutçu

Özgürcan Aydın Eda Yüksel Şimşek Nazlıcan Apaydın Burçin Ayberk Özdemir Ece Yanık Nimet Değertaş Eren Hatice Gedik Batuhan Gürol

Betül Çakmak Öykü Tuna Beşer İlayda Kalender Berfin Salebcioğlu Berrak Oğrak Hüseyin Furkan Şenoğlu Muhammed Kürşat Apaydın Mustafa Alparslan Turan

Tanya Davutoğlu Kübra Aksoy Ubeydullah Yaşar Selin Tüysüz Sami Yücel Rümeysa AksoY Halit Özten Azad Onur Demir Jülide Gökçe Ağu

Berin Erikci Muazzez Nil Yalındağ Fatih Eken Melike Tarakcı Gamze Sunar Erden Erdemir Yusuf Aras Kalkan Isra Nur Aydın Cenk Berke Budak

Emre Yavuz Zeynep Naz Balekoğlu Uğur Güler Kübra Erguvan Osman Faruk Akkum Ramazan Ersin Ayşegül Şeker Melike Özden Nur Begüm Acar

Emir Hacısaffet Emre Yurttaşer İlayda Baydemir Ceren İlayda Kaya Mustafa Mert Korkmaz Hayrunnisa Bilgin Gülfem Bayraktar Nagehan Taviloğlu

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2016-2017 fall

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We live in a time in which publishing becomes a daily activity for almost everyone. Meanwhile, the act of reading goes through a format change; it no longer requires a specific space and time. One can read anywhere, anytime. This studio aims to explore spatial potentials of reading, an activity that has become a part of our daily routines. The calendar of the studio was divided into two parts: the first 4 weeks were to explore the existing reading spaces in Istanbul as well as

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to meet with the lecturers working on the topic. Esen Karol, founder of Manifold, İnan Özdemir, editor of Socrates, Ali Taptık, photographer and artist, Hülya Ertaş, editor of XXI and Ana Roca, the director of Cervantes Institute made presentations about their professions and how the activity of reading

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changed in the last decades. During the first four weeks, students were also expected to make an extensive research about the site and the program, that formed the basis of this semester’s studies. The first assignment ‘CYCLES OF READING’ resulted in an exhibition where all the information and observations of the students about allocated spaces were displayed. These spaces were chosen from the popular

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Distribution of Spaces Domed Study Room Group Study Room + Discussion Chamber Silent Study Room

Core 5th Floor

2nd Floor

WC Elevator Fire Stairs

4th Foor

1st Floor

Public Space

Utility Room WC Elevator Fire Stairs

Information Desk Elevator Fire Stairs

Facade

3rd Floor

Ground Floor

Terrace

Administration Elevator Fire Stairs

Storage + Utility Cafe

Foyer Computer Room Cafe

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places in the city, where reading materials are kept, shared, exhibited and sold, such as public libraries, bookstores, archives… Students picked one of these places, and made a profound research on the site, recording information about its spatial, sociological and urban aspects. Once the research and the recording of the stories were done, students were expected to discover the ‘CYCLES’ that were hidden in the existing flow of the space. Each cycle was presented by an appropriate technique, such as storyboards, animations, movies, stop motions, etc.

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Meanwhile, students also had the chance to explore the interaction of the users with the reading material (keeping, sharing, reading, writing, buying, collecting, disposing, selling, organizingâ&#x20AC;Ś) They worked on diagrams for daily, weekly and yearly cycles of the organization of the space (opening-closing hours, auction times, disposing periods etc.)

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In the second part of the studio, students were expected to decipher existing situations and activities based on reading, then they developed spatial proposals and programs for reading and related activities, considering their research. Each student proposed a unique program and a scenario related to the activity of reading, and enriched their projects based

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on the site they chose. There were six sites allocated by the tutors. All sites were in Kurtuluş and Nişantaşı, where not many buildings for reading and related activities could be found despite the density of urban life and public activities.

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Gamze Sunar Berrak Oğrak Hüseyin şenoğlu Özgür Can Aydın Kübra Erguvan Yusuf Aras Kalkan Emre Yurttaşer Gülfem Bayraktar

Cenk Berke Budak Melike Tarakcı Emir Hacısaffet Nagehan Taviloğlu Batuhan Gürol Batuhan Hacıbeyoğlu Muhammed Kürşat Apaydın

Melike Kavalalı İsra Nur Aydın Tanya Davutoğlu Betül Çevik Hayrunnisa Bilgin Halit Özten Aybike Şenkaya Mert Korkmaz

İlayda Kalender Nazlıcan Apaydın Rümeysa Aksoy Berin Erikci Nur Begüm Acar Ömer Göksal Nimet Değertaş

Doğu Özbarutcu Berfin Salebcioğlu Ece Yanık Mustafa Alparslan Turan Burçin Ayberk Özdemir Hürcan Bayram İlayda Baydemir

Ubeydullah Yaşar Zeynep Akyol Esat Gürkan Ahmet Sezai Aygül Osman Tunahan Çelen Azad Onur Demir Kübra Aksoy

SEVINCE BAYRAK Fatih Eken Jülide Gökçe Ağu Ramazan Ersin Selin Tüysüz Dilşad Turna Süleyman Aras Melike Özden

Sami Yücel Ege Manzak Muazzez Nil Yalındağ Efe Palas Ece Nakışcı Uğur Güler Erden Erdemir

Aleyna Vardar İrem Yağmur Cebeci Serpil Kardaş Merve Akdoğan Ali Güzel Eren Hatice Gedik Elif Lahor

Öykü Tuna Beşer Osman Faruk Akkum Betül Çakmak Eda Yüksel Şimşek Naz Balekoğlu Ayşegül Şeker

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The main discussion themes of the studio were working with density; generation of diversity; preventing gentrification; re-urbanism.

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Istanbul has plenty of neighborhoods that have not been developed according to any plan but just ‘happened’. The neighborhoods around the former industrial axis Levent - Maslak are typical examples of informal housing. Those areas started as ‘gecekondu’ settlements in 1950’s – 1960’s and

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increased in density over time, being re-built over and over. That re-building also did not occur according to any plan, but followed initial building plot lines. The result is huge city parts that are economically as well as socially thriving but are in a dire

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need of natural resources, open areas and public amenities. In those neighborhoods, there are almost no parks, playgrounds even enough air and sky. The neighborhood of Sanayi Mahallesi had been chosen as the project area.

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About ten building blocks on the main street, towards North from BĂźyĂźkdere Caddesi were studied. The area the studio focused on had changed radically in the last 10 â&#x20AC;&#x201C; 15 years. The former industrial buildings are being replaced with office towers and shopping centers. There have been developments within the neighborhood such as housing built by commercial developers, transforming not only the physical form but the social structure as well. This transformation is also plot-by-plot, thus not changing the overall problems of density and lack of public infrastructure.

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The studio asks a simple question: can we develop a better urban system without replacing the inhabitants of the neighborhood? The answer to such a question requires more than the involvement of architects, obviously. The studio approached the task as an intellectual design exercise, knowingly avoiding economic or legal layers of the discussion, thus relieving them from the pressure of an increase in density, which

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architectural design; developing an understanding of various dynamics of heterogeneous layers of society and the ability to transform those into a complex architectural program, ability to apply advanced architectural and urban design principles in accor-

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dance with data such as climate, users, place, cultural context and social issues in order to create novel architectural solutions.

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Old BĂźyĂźkdere Street faced a tremendous change in the last 30 years. The change was triggered with the urban transformation of Istanbul, where

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the growing axis moved through to the north of the city. While the factories are displaced with high-rise office buildings, the public spaces between the plots are not designed accordingly. Today, it is one of the wealthiest district of the city whereas the quality of urban life is among the

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poorest. So-called public space is mostly invaded by cars or security fences of the skyscrapers that occupy the pavements. The street is heavily used by white-collar employees as well as students, however there are no open areas or green spaces for public

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recreation. The studio has focused on Old BĂźyĂźkdere Street where students investigated the problems and potentials of the public space.

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First Project: Double life of Maslak The first project “Double life of Maslak” was about documenting the existing situations in the town where pedestrian life is being threatened by various actors. Students had to pick one of the places and conduct profound research on site, recording information about spatial, sociological and urban aspects of the site. Once the

research and the recording of the stories were done, students were expected to propose an urban intervention to make a better pedestrian life on Büyükdere Street. Each intervention had to be presented by an appropriate technique, such as storyboards, animations, movies, stop motions.

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of change brings various user profiles together and produces new kind of relationships, situations and spaces which could not have been anticipated before. The project focused on developing ideas for a dwelling on the

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site allocated, which is Karakรถy parking lot. The students had to analyze existing situations, cycles, routes and habits in Karakรถy and think about the spatial responses and then speculate about how to embed a

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dwelling program into a space that is occupied by the cars. This studio aimed to find diverse spatial responses for the dwelling and other functions as well as a variety of events and activities which were to be determined by the students according to their approach within

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the defined framework of the studio. Students were expected to research the effect of a parking deck in the city and how they can contribute to Karakรถy by adding a new function to it. For this purpose, examining both current cycles of the existing manufacturing shops, coffee shops and the demolished/transformed ones was

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an important part of the studio and provided input for the students for their own scenarios. This studio intended to encourage the students to design for various scales; from urban scale to 1/1; therefore, it was composed of two parts. In the first part of the semester, the students designed a 30 m3 unit in the selected area in Karaköy parking lot and proposed an alternative way of living for the potential user profile while the parking lot is still being occupied by the cars. Students were expected to speculate the relation-

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ship between the pedestrians and the cars and had to question the relationship between public and private areas. In the second part of the semester students were expected to develop ideas for dwelling and how to bring two programs ‘Urban Dwelling’ and ‘Car Park’ together. While the events, activities, function and the program can vary among the students, it was important to keep track of the main aspects of the Urban dwelling which will also serve for the basic aims of this semester.

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Upon completion of a small scale public building design in the fall term, the second-year students are given the task of designing a project which features an organization of spaces within an existing urban - social fabric. Each studio group specifies an area of the city with an evident social and physical character. character The common working plan for the studio includes an initial analysis phase with a preliminary design of a single habitation unit which is followed by the main project design phase. The main design is expected to contain a housing system, which reflects a tailoredto-user character. One other feature of the studio is the building technology-architecture integration. The accompanying technology module course Architectural Technology III is configured to consolidate this studio with a preliminary structural system design and details. The studio work focused on a habitation system design in Kadiköy, Istanbul. Central Kadıköy, as the main traffic hub of Istanbul’s Asian side, provides service to thousands of passengers every day, while acting as a stage for the urban culture,

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economy and politics. The ever-growing public transit network continues to enrich the KadÄąkĂśy environment in a social, cultural and economic sense, while demanding an increase in her capabilities, specifically in hosting groups and individuals in different time frames. Design Goal The goal of this course is to develop studentsâ&#x20AC;&#x2122; skills in designing a spatial system with corresponding struc-

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tural system and details. The building is envisaged to provide its guests with a system of accommodation, in accordance with their usual / unusual ways of living - working - moving around. The system is required to

present an interface to the flows of public life in its surroundings. Design Process Each participant is invited to start the work with an environmental

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analysis phase, which is expected to be reflected in the form of a documentary film. An introduction to the documenting eye and basic instruments and techniques is given by an architect-film maker at the initial

phase. The work commences with an on-site film shootings and interviews. This way all studio participants are given the possibility to present their site and actors of preference - interest within the designated area. The first

task is to provide an accommodation unit design for the main character in the documentary film. The film and the design are shown together at the first studio presentation event. This is an opportunity for the participants to share their perceptions and approach as well as a mid-term evaluation check point. Following the presenta-

tion of the starter kit, the work drives deeper into a main project design phase, articulating a program on the selected site and the characters. The outcome of the main phase is a habitation system for people with different and dynamic daily routines.

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The studio focused on various states and usages of dwelling that we, as architects and city inhabitants, commonly experience in practice

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and life. The course is planned in two main stages: research/analysis, and an architectural proposal. The studio first laid out a framework for understanding the roles that dwelling plays in the lives of individuals, neighborhoods, and the metropolis. Another additional assignment was to consider â&#x20AC;&#x153;dwelling in the Anthropocene epochâ&#x20AC;?, â&#x20AC;&#x153;artificial intelligence

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usage in architectural projects” and “big data and design analysis”.

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The first exercise of the term, as a warm-up task, was to offer ff a public intervention to one of these neighborhoods after analyzing both as a group work. This exercise has been supported by interviews, site analyses and re-mapping sketches for three weeks. Then each student had a public intervention project, aware of being in a rapidly changing epoch with its all possibilities and problems. The scales of the interventions were on a large spectrum, from a bike road to a hologram public space design. They tried to discover design solutions to the district by using new technologies while respecting the current cycle and situation of the site.

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The main task of the studio was a contemporary dwelling project which follows and is based on the first intervention task. Specifically, it was about the living opportunities for one of the chosen sites, with a limit of two thousand sq. meters for the project.

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The studio’s structure is founded on the tension between habits/ familiarity and today’s technology. Improving urban density changes that engage with demographic situation and technological developments are equally important tasks for future architects of the studio. In addition to these tasks, students have to discover and understand the typologies of dwelling and both their public and private extensions with their relationships to neighborhood and city. Possibly, this age of “sharing” corresponds to a paradigm shift in the status of the private so that the dwelling term argues the publicity of the private. Modern architecture re-discusses the conventional

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relationship between the public and the private, completely altering the space experience.

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Finally, students designed their projects by questioning the notions of “public” and “private”. Moreover, they considered that architectural discourse is not only about the intersection of representations, drawings, models, films, and texts, but also about the sense of relations and living. This was a critical and common intention to look at the architecture in a different way. Putting aside the efforts that were mentioned earlier, students have finally submitted quite dissimilar, well-resolved, admirable and questioning dwelling projects which have been supported by their well-analyzed concepts.

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2017-2018 fall

Talha Ucar Mükerrem Seca Kişmir Seliz Pars Ayşe Bilge Keçebaş Kübra Aksoy Emre Yavuz Erden Erdemir Ceren Akpınar Emre Taha Yıldız

Berra Nur Bay Merve Yalçınkaya Doğuş Asan Aylin Acar Gizem Gerçek Batuhan Hacıbeyoğlu Ahmet Anıl Yapıcı Burak Özcan Ezgi Herdem

Dilara Çerçi Yunus Emre Bağcı Ece Savaş Benan Ataulusoy Betül Kesgin Ayşe Aleyna Köksal Elif Erdem

Ayşenur Naçar Furkan Enes Apaydın Buse Kılıç İrem Koşalay Nevres Arın Aydoğdu Polen Yurtan İmran Deniz Ertunan Nur Hazal Atalay Onur Berk Doğrultucu Zeki Küçüksarı

Naz Üstündağ Büşra Ebrar Sayan Buse Ayça Türk Azad Onur Demir Ayşegül Şeker Batuhan Gürol Özgürcan Aydın Elif Zelka

Resul Emre Kaba Mehmet Cihat Ayaz Eren Temel Ahmet Faruk Akdeniz Zeki Furkan Sarılıcan Zeynep Merve Hocaoğlu Güven Aylin Seziş Zülfiye Yıldız Nazlım Demir

Barkın Enes Makara Nisan İpek Akkuzu Ceren Kalaycı Deniz Uluköy Zeynep Naz Balekoğlu Emre Yurttaşer Ömer Göksal Ceren İlayda Kaya

253

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The goal of this course is to train skills in designing a spatial system of a public building within a scenario, based on the analyses. The building design as an outcome presents a stage for discussions and development through the critical sessions during the Fall term. The final design is expected to contain a visible translation of the scenario into a program that shapes the organization of spaces. The interaction of the design with the physical and social conditions of the location appears as one of the main features of the work for

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feedback and evaluation. This second-year design studio was triggered by the theme â&#x20AC;&#x153;ritualâ&#x20AC;?. During the first three weeks, students conducted research on the rituals in the Golden Horn on 17 spots that were defined by the instructors.

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Most studio processes start with an ‘analysis’ of the area in which the project will be designed. In many cases, such analyses repeat generic and basic information such as location, physical conditions, basic land use data. On the other hand, a ‘creative’ research can be seen as the beginning of the design process, not focusing solely on the afore-mentioned data but discovering events, =:<28010:4:3

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conditions, lives, activities which are personally relevant to the designer. In such a process, students are encouraged to use and focus on subjective methods. Thus, in a way, the design process starts during the research. The allocated sites started with Sarayburnu and ended in SilahtaraÄ&#x;a, Bilgi University. The rituals

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which were investigated were either communal or individual, yet most of them take place in public areas and therefore were easy to discover. Ritual has been loosely defined, through a discussion session with the students, as any activity which has the following three elements:

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1: Repetition – an activity which is repeated with some frequency. 2: Sequence – an activity which has a series of connected events making up the whole. 3: Meaning – an activity which has any significant meaning for the participant(s).

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In the second part, loosely based on the discoveries, students started to work on creating their own rituals relevant for their chosen sites.

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In the second part of the studio, students designed a public building based on the ideas that were triggered by the rituals on their site. Those rituals should be based on the same three

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elements. Since we did not have a ‘meaning meter’, we accepted using of initiative as a satisfactory condition. Students were encouraged to guess – invent - create – make up that

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meaning based on their observations, design ideas, intentions. The rituals that were underlined vary widely from bird feeding to toy making. The

diversity in the first part of the studio is tracked in the second part, where each student was inspired by another ritual they have monitored.

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Each student decided to work on a different site on Golden Horn and the second part of the studio started with a group walk that passed through the studentsâ&#x20AC;&#x2122; sites. During this walk, not only the sites

but also the rituals that animate the upcoming design proposals were investigated.

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2017-2018 spring

Buse Ayça Türk Doğuş Asan Nazlım Demir Zeki Furkan Sarılıcan Buse Kılıç Anıl Erkan Ayşegül Şeker

Elif Ütebay Ece Savaş Zülfiye Yıldız Arif Şahin Elif Alnıak Betül Kesgin Deniz Uluköy Talha Uçar

Ahmet Faruk Akdeniz Berra Nur Bay Enis Kara Gizem Gerçek Emre Yavuz Nisan İpek Akkuzu Emre Yıldız

Enes Kaya Tutku Ak Eren Temel Büşra Ebrar Sayan İdil Tutak Naz Üstündağ Mehmet Cihat Ayaz Gizem Çongar Ceren Kalaycı

Zeynep Merve Hocaoğlu Barkın Enes Makara İmran Deniz Ertunan Ayşe Nur Naçar Nevres Arın Aydoğdu İrem Koşalay Ömer Göksal

Seliz Pars Furkan Enes Apaydın Mükerrem Seca Kişmir Aleyna Ayşe Köksal Zeynep Yüksel Güven Aylin Seziş Ayşe Bilge Keçebaş Yunus Emre Bağcı Nur Hazal Atalay

Ahmet Anıl Yapıcı Aylin Acar Merve Yalçınkaya Zeki Küçüksarı Batuhan Hacıbeyoğlu Dilara Çerçi

279

Benan Ataulusoy Resul Emre Kaba Polen Yurtan Elif Zelka Ezgi Herdem Ceren İlayda Kaya Onur Berk Doğrultucu Burak Özcan

#!"#!$%0&!' Arda İnceoğlu

This studio focused on the changing fortunes of the Beyoğlu district of İstanbul. The area has had cycles of better and worse times: it has been the cultural and social hub of the city

as well as the center for all sorts of marginal life over the last century and a half. Recently, after two decades of constant glamour, there has been plenty of discussion in the media that the area is once more declining: plenty of stores and restaurants closing, entertainment centers moving out, cultural centers and activities are driven out by raising prices, tourism

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is in decline, young urbanites do not frequent the area anymore. Cycles of prosperity in cities and city areas is normal, however the studio tried to raise the question of whether architecture can contribute to the reversal of the apparent decline of the area. The students have worked extensively in BeyoÄ&#x;lu, tried

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to discover its secrets and proposed interventions which may help to improve the quality of life for all its current and future inhabitants. The tool which we used for these interventions was culture: the students were responsible of designing a small center of culture with a number of public activities as

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relevant to their particular sites: reading, learning, co-working, exhibiting, watching, listening. They needed to include a small private program as well, in the form of a guesthouse. The idea was to make the programs a little bit more complex as well as create tensions which need to be resolved using architectural tools.

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The Studio 4 of Spring 2018 is built on the idea of high fidelity in architectural technology within a limited and controlled design scale. This approach points out areas with an existing urban fabric, hence clearly defined building plots, and even in-fill situations, that would enable higher resolution levels in building details.

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The common working plan for the studio included an initial analysis phase with a preliminary design of a single habitation unit that is followed by the main project design phase. The main design was expected to contain a housing system, which would reflect a tailored-to-user character. One other feature of the studio is the building technology-architecture integration. The accompanying technology module course Architectural Technology III is configured to consolidate this studio with a preliminary structural system design and details.

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The studio work focused on a public building design in the Yeldegirmeni neighborhood of Kadiköy, Istanbul. Central Kadıköy, as the main traffic hub of Istanbul’s Asian side, provides service to thousands of passengers every day, while acting as a stage for the urban culture, economy and politics. Yeldegirmeni, situated on the slope, facing west to the Kadiköy bay, has a distinctive spatial character, owing to its grid layout and masonry row houses. The rational layout of the Italian engineer-planner Storari housed apartment buildings, churches and schools for the European community of the city. A product of mid 19. Century urban planning attempts, Yeldegirmeni presents itself as an area of gentrification with

its cafes and spaces of creative industry in its partly conserved original urban fabric. The motivating idea at the studio is to use this architectural heritage of character as a defining format for our design operations, marking a path to increased fidelity in the technological aspect of the designs. Design Process Each participant is invited to start the work with an environmental analysis phase, which is expected to be reflected in the form of a comic strip. The overview to comic-style representations is provided at the initial studio sessions and the accompanying course of Digital Communica-

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tion, where digital instruments and skills in the required production are introduced. Using the comic drawing technique, each participant comes up with a short story, using the Yeldegirmeni built environment as the main set. The outcome of this stream of work is presented at the first pin-up of the studio, establishing a basis story for the upcoming main design. The initial phase commences with work on the main design, where an original program of spaces and use within a selected plot, indicated through the initial comic story, is

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constructed. The composition of spaces and their envisaged character in the now-familiar environment of Yeldegirmeni begin at this stage to point out at specific structural systems and even materials. The whole main design process is supported by the accompanying course, Architectural Technology III, where the general structural layout and details are presented, discussed and given feed-back.

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The studio revolved around hosting an exchange of ideas, experiences, or knowledge in a civil society. Nowadays, the abundance of knowledge is equal to its scarcity and exclusiveness for the larger segments of the population. In Istanbul, the fierce loss of the public space in the city in the

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last decade exacerbated the monopoly over education and commodification of knowledge. The Yeldeğirmeni neighborhood is one of the examples in which the local communities and agencies strive to preserve exchange of ideas in the community as well as its public spaces to host them. Yeldeğirmeni had been chosen as the project site for the studio. It lies just adjacent to downtown Kadıköy, one of the major transportation hubs of Istanbul. Although the demographic

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fabric of the inhabitants of the neighborhood changed dramatically in the last decades of the 20th century, the physical urban fabric retains much of its original character, which dates back to the late 19th century. In a grid iron plan of apartment blocks there are long and narrow gardens at the center and junctions of streets at the corners acting as public spaces. The studio challenged the students

in two ways: considering the local community and its relationship of the larger segments of the population of Istanbul, how to frame a program of exchange and storage of ideas/experiences/knowledge; and how to provide public spaces to host these to empower the civil society in social, cultural, and political terms. In the design process, students were asked to concentrate on the social

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and cultural terms rather than economic constraints. Students began the design process with their research on the urban context and its presentation. Based on their intellectual inquiry on the concept of exchange and the urban context, they devised an architectural program to be the basis of a sophisticated design. Their programs were expected to provide public and communal spaces, retail units, services, offices, and if necessary residential spaces. While converting their programs into architectural designs, students were asked to embed their designs in the urban context as an infill in the selected plot. The rhythm of the facades of the apartment blocks, the narrow green patches among the blocks, and the street fabric, all constituted the main points of reference for the designs creating a wide diversity and hierarchy of communal and private spaces for the community. )64*0:,.*00

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How can we imagine a community in the context of Beyoglu, a community of production, co-habitation and interaction with the public which will transform the urban/social context as it establishes itself? How can we materialize it as an architectural proposition? These were set as the primary initiating questions of our studio. Beyoğlu, if Istanbul has a center, claimed to be cultural core of the

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metropolis for a long time. An idea of community was expected to start an architectural discussion setting both internal and public purposes for itself. Each student made a comic strip that describes individual experience of their specific sites Thereafter four different ff areas are chosen during our walkabout survey on the northern basin of İstiklal Avenue. This work is backed up by street elevations that were prepared as group work and followed by our discussions on the nature of the community and

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students started to form their own narratives by research, observations and their own personal experiences of Beyoğlu while doing 3D volume+form sketches for their selected contexts. Original ideas for residential communities are formed from those studies. While in some cases these ideas are manifested as institutions rather than communities, the public aspect always prevailed. A seminar on how architectural tools can be used on research of Beyoğlu was held by İlke Tekin, PhD, and read-

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ing sessions on Uğur Tanyeli’s text about public experience and Günkut Akın’s text on architectural context were held. While with these events we tried to form a fundament for our discussions, we also experienced a social and creative design studio environment with film screenings and open seminars (in which each student presented a subject of their own choice (eg. Anthropocene, RuPaul’s Drag Race or the 21 Senses). During earlier weeks, students were asked to translate their community

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programs into the form of “furniture plans with people and actions”. These illustrations are discussed and developed further to understand and elaborate the proposed life in the communities and to help them have a more definite grasp on quantitative aspects of their design. “An Urban Park of Various Experience” was a one-day workshop which was held in the form of a daily contest where students were asked to reconsider their sites with publicity and experience aspects only. When design studio is considered as a cumulative process, the instructor

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seizes the opportunity to control and cross-fertilize design tools and inputs used by participants and plan fruitful interventions to these processes. However, the process itself is never really cumulative in a liner sense. It involves throwbacks, wasted efforts and abandoned ideas which form a genuine learning experience both for the instructor and the participant.

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Studios are focused on the integration of building technology components (i.e., structural environmental system and building material technology) within a spatial organization of different functions. The articulation of component spaces is synchronized with the structural system set up, providing an environment of active

experimentation and learning for the participants. In addition to technological aspects, students are expected to develop complex and hybrid architectural programs emerging through theoretical frameworks in a complicated environment through the integration of theory, context and materiality within a spatial organization of different functions.

305

Third-year architectural design studios aim to practice skills in technology integration into an architectural design project as well as developing complex and hybrid architectural programs in a multi-layered environment through advanced architectural representations while being able to work in collaboration with others as a member of the design team.

306

Hakan Akbulut Hayriye Tuğçe Çelik Kadir Mert Tatar Selen Sönmez Arzu Ören Yaren Bayır Cansu Gösterişli Öykü Ömür Gökçe Demiral Abdulselam Filizer Ceren Can Tugce Iratcı Melis Özkaya Ezgi Bahadırlı Selen Sürmeli Tuğçe Selin Türk Hatice Kübra Karakaya Arda Yaycı Gamze Adıgüzel Emine Deniz Torun Şengül Has

307

2016-2017 fall

!"#$%$0 Kürşad Özdemir

Fall Term 2016 studio work focused on public building design in Kasımpaşa, Istanbul. Kasımpaşa, in the form of an already extinct urban residential neighborhood, lies in the valley connecting Şişli to the Golden Horn waterfront. The area is cut off ff from the pulsating uphill Pera district with its hotels, bars and cultural centers

by a sharp fall in the topography that marks the eastern boundary of the neighborhood along with the Tarlabaşı main street. The physical separation leads to the conservation of the residential calm in Kasımpaşa, but as well as to segregation of lives within the complex system of the metropolis. The goal of this studio assignment was to design an environment with the focus on a public building that

308

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can establish the connection between segregated segments of the Kasımpaşa - Pera area beside presenting spaces of various characters to people for different uses. The function of the building was to be specified by the participant, in adjustment to the approach. The title “versus” points out at a state of meeting ends, interactions and transmissions rather than confrontations. Each participant was invited to have a different interpretation of “versus” leading to a

unique approach to the design case, based on forms and technologies of confrontations. Keeping the emphasis on the organization of a spatial layout and the structural character was the main goal of education aspect at this studio. The program had to provide a series of spaces for research, education, and performance as well as informal spaces for staff and users to interact, relax, or perform within the specified activity programs. Furthermore, the

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preliminary design for a public park had to be presented within the overall concept. One of the two components of studiocourse technology set, Architectural design studio V focus is adjusted to

technology-architecture integration. The counterpart course Architectural Technology IV is configured to consolidate this studio with a preliminary structural system design, presenting the technology incorporated into the project.

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selen sรถnmez_2016-2017 fall

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2016-2017 spring

Hakan Akbulut Hayriye Tuğçe Çelik Kadir Mert Tatar Selen Sönmez Arzu Ören Yaren Bayır Cansu Gösterişli Öykü Ömür Gökçe Demiral Abdulselam Filizer Ceren Can Tuğce Iratçı Özgür Bulut Gümrükcü Melis Özkaya Ezgi Bahadırlı Selen Sürmeli Tuğçe Selin Türk Hatice Kübra Karakaya Arda Yaycı Gamze Adıgüzel Emine Deniz Torun Şengül Has

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IPEK YÜREKLI

&4>'()(.0*&>*4+0,(0-.(*/),(0*,)(/+0)(0)+/>(5.& İpek Yürekli

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ARC 302 focuses on the relationship between an individual and the community. Within this context, the projects have dealt with ideas across a spectrum varying from individuality to the commons. Themes such as common sense, ethical responsibility and plurality related to individuality. Personal differences and possession related to the commons are discussed widely. The driver for the possible content and uses of the projects, beyond personal choices, need to be about the demands and the needs of ‘others.’ Empathy and common sense are abilities that can be developed. Design studio provides the right setting for this development.

Projection to AKM Building brings another meaning to the unifying of those constructions.

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cansu gรถsteriล li_2016-2017 spring

In ARC 302 projects, work areas were dense inner city public spaces of Istanbul where there are plenty of encounters and meetings. The main goal is to transform these places from areas of transit from one mode of transport to the other into more creative areas as part of the daily life of the city. The

chosen areas have the potential for variety and diversity that can trigger the projects. The studio has established that these areas are being perceived as having the character of transit hubs where different modes of transportation

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cansu gรถsteriล li_2016-2017 spring

overlap, with not much room for individual expression. Thus, the primary goal of the studio is to extend the time â&#x20AC;&#x2DC;passers-byâ&#x20AC;&#x2122; spend in those public spaces by involving them in the new activities, turning them into active users, increasing the layer of individuality into the already existing public nature of those spaces. The topic of education is left to the discretion of the students. Each

student chooses to work on a topic that she believes is addressed inadequately or insufficiently within the society. Both individual and communal aspects of education are focused on. Discussion of education buildings as the places where the person socializes and becomes part of the public inadvertently focus on the negotiation of the private and the public. The studio aims for transforming and translating the methods and tools of education developed by the students

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kĂźbra karakaya_2016-2017 spring

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into architecture.

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At the beginning of the semester, the following questions are discussed in order to trigger the development of the projects according to personal answers: â&#x20AC;&#x2DC;What is the primary deficiency in the society you are living (in the world)? What kind of education may contribute to overcoming this deficiency? Which areas of education is crucial for a better, more livable and just world?â&#x20AC;&#x2122; Students try to address local or universal problems that concern them from within their context in order to create a more livable world.

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ğçe selin türk_2016-2017 spring

These projects are developed with the belief that public spaces will become more habitable, more personalized, used by more people thus enriched in their character as long as they provide for individuality. Emphasizing the characteristics of those public spaces as well as exploiting their potentials for innumerable encounters was crucial.

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ARCH 302

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2017-2018 fall

IPEK YÜREKLI Efe Palas Öykü Tuna Beşer Nimet Değertaş Halit Özten Tanya Davutoğlu Nur Begüm Acar İrem Yağmur Cebeci İlayda Baydemir Betül Çevik Osman Tunahan Çelen Melike Tarakçı

Kübra Erguvan Melike Özden Hüseyin Şenoğlu Merve Akdoğan Muhammed Kürşad Apaydın Ege Manzak Ubeydullah Yaşar Berin Erikci

Betül Çakmak Ahmet Sezai Aygül Eren Hatice Gedik Osman Faruk Akkum Selin Tüysüz Gamze Sunar Nazlıcan Apaydın Ece Yanık Elif Lahor Mustafa Alparslan Turan Dilşad Turna

Mustafa Mert Korkmaz Uğur Güler Jülide Gökçe Ağu Zeynep Akyol Emir Hacısaffet Melike Kavalalı İlayda Kalender Özgür Bulut Gümrükcü

BURCU SERDAR KÖKNAR Eda Yüksel Şimşek Ece Nakışcı Rümeysa Aksoy Süleyman Aras Muazzez Nil Yalındağ Serpil Kardaş Ali Güzel Fatih Eken Hürcan Bayram Hayrünnisa Bilgin Nagehan Taviloğlu

Aybike Şenkaya Burçin Ayberk Özdemir Berrak Oğrak Berfin Salebcioğlu Yusuf Aras Kalkan Aleyna Vardar Gülfem Bayraktar

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OZAN AVCI

&&+'(6(% 0+*+!&+0*0!"#$"%&# İpek Yürekli

This semester ARC 301 projects focused on the concept of being in-between, by designing ‘productive

spaces’, ‘performative spaces’ and ‘learning spaces’. Discussions about _the tension between the individual, the group and the community, between the land and the water,

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kĂźbra erguvan_2017-2018 fall

between two sides of the sea, between scales, between human beings and the nature, _using architecture for the sake of building urban commons, _the potential of the thresholds

are main topics. The focus area was Bosporus, the specific region between two bridges. The everyday life in the ‘Bosporus villages’, old and new neighborhoods, yalı buildings along the shore, gated communities on the hills and all kinds

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irem yaÄ&#x;mur cebeci_2017-2018 fall

of public places are inquired. Maps, models and sections are prepared to see and show that ‘life’; the static and the dynamic, the permanent and the temporary, the occupied and the unoccupied, the ‘me’ and the ‘others’ etc.

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berin erikรงi_2017-2018 fall

-'?()?*+.,-'0C-+.'C0/0!)C-)?&C Ozan AvcÄą

The studio aimed to investigate the concept of performative space through spatial design on the Bosphorus in Istanbul. Working in a metropolis is associated with the keywords such as public space, civic space, private space, open space, etc. in

terms of its usage and programming. In order to comprehend the borderlines between these spaces, students were encouraged to think through commons and individuality and the thresholds, dichotomies and dualities of the city life and interpret the city as a whole body with its cultural, social, manmade and natural aspects. During this investigation process, architecture is considered as both the

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alparslan turan_2017-2018 fall

subject and the object of the design. In this context, the concepts of space, time and body become significant. The body extends its borders and covers not only the organic but also the inorganic circumstances. Bodily experience gains an important role in the design process and this experience is related to communication and interaction. Performance is also

under debate through being, doing and showing doing. In order to develop a holistic approach, students were asked to think on spatial and material boundaries and poetics of space so as to create an atmosphere. The design proposals focus on not only the body but also the skin, or sometimes the

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eliff lahor_2017-2018 _ 7 fall

second skin, that has a coherent character with the performative space. The structural details were a part of the design process and should reflect a future-proof character. The design and representation processes were intertwined so as to search for new technologies, mate-

rials and spatial emergences in the context of architecture. Advanced architectural representations were used not only to represent their ideas but also to improve their designs and discover new moods of architecture in-between materiality and immateriality.

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elif lahor_2017-2018 fall

and students are asked to represent this experience as a short movie. Through these movies, we had the chance to talk about the potentials of moving image and montage in order to represent new spatial and temporal relations in addition to discussing the dynamics and conditions of the Bosporus.

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A dynamic, interactive and productive studio atmosphere is created through field trips, lectures, workshops, jury sessions, readings, discussions, collective and individual works. We walked along the Bosporus, from Beylerbeyi to KanlÄąca, between two bridges as a group of 20. This was a bodily experience of the coastline

Fırat Neziroğlu, who is an international weaving artist and performer, did a workshop entitled “Performative Bodies.” During this workshop, students re-discovered their own bodies and its capabilities from another discipline’s point of view and gave a performance that converts individual bodies as a whole body through repetitive movements and flow.

All these activities are done to trigger relational and critical thinking. The studio atmosphere is interpreted as the place where we produce knowledge together. There is no strict definition. In this context, every student defined their own performative space and developed its corresponding program.

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osman faruk akkum_2017-2018 fall

-?)!"#$%&'0()*#'(0+0,-().-/"( Burcu Serdar Köknar

Productive Spaces @ Bosphorus Studio is part of the collective studio of ARC 301 In-Between. As the collective studio focuses on urban commons

and in-between as concepts of the metropolis; the studio Productive Spaces @ Bosphorus encourages students to search for spaces of Bosphorus which can be found as “edges” to investigate the borrowing concept of “Edge Effect” from ecology and permaculture and design a public

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ali gĂźzel_2017-2018 fall

open space and a public building focusing on production considering the energy of these “edges”. Students are asked to analyze and work on the info-sections of the slices of Bosphorus to see the edges coming together and generating the cumulative energy of the “sides” coming together. Emphasizing the power of

the “edge”, students put their reflections and creative look to both urban public open space and self-generated programmed public building on productivity in a metropolis. The design process is seen as an opportunity to discuss the possibilities of widening the concept of production through the debates on commons of the city, inclusivity, creation of new

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ali gĂźzel_2017-2018 fall

new forms of communication and promotion of exchanging the ideas of the individuals and place-making. They were challenged to create a complex hybrid architectural program and design an articulation of open and indoor spaces to

empower the sense of community in social, cultural and political terms. As the analysis of each student and the found â&#x20AC;&#x153;edgeâ&#x20AC;? differed the place where the student worked differed as well with its unique potentials.

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burรงin ayberk รถzdemir_2017-2018 fall

The studio was designed as an integrated studio with Architectural Technology courses. The information of the discussed technologies is expected to be transferred into the design process covering the essentials of the design idea.

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gĂźlfem bayraktar_2017-2018 fall

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burรงin ayberk รถzdemir_2017-2018 fall

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yusuf aras kalkan_2017-2018 fall

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FADA 2017 VIEW FROM EXTERIOR

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yusuf aras kalkan_2017-2018 fall

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2017-2018 spring

IPEK YÜREKLI Azad Onur Demir Cenk Berke Budak Aleyna Vardar Ali Güzel Berrak Oğrak Betül Çakmak Emir Hacısaffet Hürcan Bayram Jülide Gökçe Ağu

Melike Kavalalı İsra Nur Aydın Nagehan Taviloğlu Nazlıcan Apaydın Rümeysa Aksoy Selin Tüysüz Zeynep Akyol Sami Yücel Arzu Ören

Süleyman Aras İlayda Baydemir Eda Yüksel Şimşek Melike Özden Nimet Değertaş Nur Begüm Acar Halit Özten Öykü Tuna Beşer Aybike Şenkaya

Yusuf Aras Kalkan Muazzez Nil Yalındağ Serpil Kardaş Efe Palas Osman Tunahan Çelen Özgür Can Aydın Gökçe Demiral Ezgi Bahadırlı

TOMRIS AKIN Kübra Aksoy Emre Yurttaşer Ahmet Sezai Aygül Berin Erikci Betül Çevik Burçin Ayberk Özdemir Ece Yanık Ece Nakışcı Ege Manzak

Gamze Sunar Hayrunnisa Bilgin İlayda Kalender Kübra Erguvan Melike Tarakcı Mustafa Alparslan Turan Ubeydullah Yaşar Uğur Güler

Merve Akdoğan Hüseyin Furkan Şenoğlu Elif Lahor Tanya Davutoğlu Dilşad Turna İrem Yağmur Cebeci Eren Hatice Gedik Gülfem Bayraktar

Fatih Eken Osman Faruk Akkum Muhammed Kürşad Apaydın Berfin Salebcioğlu Ramazan Ersin Erden Erdemir Batuhan Gürol

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OZAN AVCI

/0/*@0*'12!"#$%& $'()$*(#$+"0,(*-&%(."&0//0&"%,0&$1*0// 0*2('$,$(30(%%1''1-(#$1* Ozan Avcı

The studio aims to investigate the concept of “rural aesthetics” through spatial design in Cappadocia, which is a unique natural and cultural landscape, listed as a UNESCO World Heritage Site. Rural

Aesthetics has two aspects. The first one “rural” is related to urban, nature, landscape, built/unbuilt environment, human/non-human and the second one “aesthetics” is related to experience, space-time-body relations, poetics and authenticity. These two aspects are discussed together with the mentioned concepts during the design process and the ontology and epistemology of architecture are examined through new ways of

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nil yalÄąndaÄ&#x;_2017-2018 spring

thinking, doing and representing. During the semester, rural aesthetics was discussed and studied in three phases: The first phase was “imaginative landscapes.” By making a virtual tour of Cappadocia through aerial views, students drew sketches of the landscape. All of these sketches were trying to catch the light and shadow created by the topography and at the final stage, each student drew his/ her own imaginary landscape that has some genetic codes coming from Cappadocia. The imaginative and the predictive were discussed through

readings, sketches, drawings, virtual and actual 3d models. Each student made four different physical models of their own imaginative landscape. The first one was a concrete model. In order to do that, students had to think on the negative space so as to make the mold of the concrete model. The second one was a wooden model. Each student found his/her own way of doing it; like making consecutive sections with hardboard or carving a massive wooden block. The third model was a woven one. Before that, we had a workshop on weaving landscapes tutored by Fırat Neziroğlu. Students discovered various ways of

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nimet değertaş_2017-2018 spring

The second phase focused on the concept of “seclusion.” Students designed a space for seclusion in a contemporary manner. The seclusion took place in each student’s imaginative landscape. The concept of dwelling was discussed through readings, sketches, drawings,

virtual and actual 3d models and technical drawings. Semra Aydınlı gave a lecture on rural aesthetics and phenomenology of architecture, and we discussed the concepts like dwelling, genius-loci, the poetics of space and atmospheres. This was a one-week exercise in order to introduce the concepts of dwelling and accommodation and improve design thinking. The third phase was “unfamiliar accommodation” which would be designed at a quarry closed to Nevşehir. The students were encouraged to think differently, ff discuss and interpret

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weaving and then weaved their own imaginative landscapes. The final model was a 3d printed model. By making four different ff models, we had the chance to discuss the making process, the potentials of materials and their representational characters.

the concepts authenticity, historical/ contemporary, natural/artificial, organic/inorganic, material/immaterial, local/global and propose a spatial design for travellers/tourists or locals as an unfamiliar accommodation. Unfamiliar is a keyword so as to discuss new ways of accommodation, not familiar to the existing ones in Cappadocia. Accommodation refers to both the function and the attitude of the design proposal. To accommodate is critical besides designing a kind of dwelling.

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At the beginning of the design process Gün Akıncı, a geographer, gave a lecture on the geography of Cappadocia region. Then we made an excursion to Cappadocia between March 2nd - 5th, 2018. During this trip, we visited Ürgüp, Göreme, Uçhisar, Sinasos, Nevşehir and around so as to understand the genius-loci of the area and the quarry to feel the scale of the site and to document it. As a group of 17 students, they measured the site by using analogue techniques

such as tape measures and photographs, and internet technologies like sharing locations and creating pins to draw the borderlines of the quarry. After this bodily experience of the site, students created a collective 3d model of the site. When we came back to Istanbul, they also made a collective physical model of the quarry on 1/1000 scale. Each student proposed a different program for unfamiliar accommodation. Some of them were hybrid programs merging research, entertainment, agriculture and accommodation, while some of them were focusing on different modes of accommodation through the ontology of space and its material reflections. Each design proposal created a new atmosphere within this rural context. Nazlı Eda Noyan, a graphic designer and an academic, delivered a typography workshop and each student designed a font inspired by his/her

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serpil kardaĹ&#x;_2017-2018 spring

discussions, collective and individual works. The design and representation processes were intertwined so as to search for new technologies, materials and spatio-temporal emergences in the context of architecture and landscape and to the discuss the ontology and epistemology of architecture.

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own design proposal for unfamiliar accommodation. These interdisciplinary works allow us to look at architecture from outside and enrich the studio atmosphere. A dynamic/ interactive/productive studio atmosphere was created through the these field trips, lectures, workshop ps, jury sessions, readings, writing writings,

-4>/*)*.0()>#4(0-*0>()>*0())4 İpek Yürekli

Education is a personal journey, but also includes the community, people, places and the world, changing one’s boundaries all the time. This project focuses on learning spaces and connections. All sites and topics are chosen by the students themselves.

The focus area is the Prince’s Islands and the land opposite, between Kadıköy and Bostancı including the sea and the areas between the coastline, railroad and the highways. There have been three main discussions about: being isolated/ closed/ lonely and being open/ connected/ in a crowd at the same time, interaction

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nagehan taviloÄ&#x;lu_2017-2018 spring

and transportation opportunities to meet/ communicate/ encounter / crash /flourish / collapse, rhythm and speed. Important parts of the projects are various aspects of architecture such

as time, movement, system, atmosphere, human being, power, change, threshold, and scale. These have been discussed by writing essays and drawing sections during the design process.

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betül çakmak_2017-2018 spring

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melike kavalalÄą_2017-2018 spring

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&,1(0%*% 0.1314!0"0#$%&'("()0*'+,-./ &('&',"001'(0-,#".2+00$"(#*3+"4$0 Sevince Bayrak, Oral Göktaş

This is an interdisciplinary studio course co-taught by Civil Engineering Department at Bogaziçi University (Emre Otay), and Sociology Department at Bogaziçi University (Ayfer Bartu Candan). We collaborated on designing an emergency scenario and

housing in post-earthquake Istanbul. The students worked in multi-disciplinary teams to design sustainable projects in the coastal environment. Students were responsible for the research and analysis of a particular design aspect relevant to their background. The outcomes of this year’s projects will be presented at the 4th Istanbul Design Biennial between Sep-Nov 2018. The studio was conducted in two

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irem yağmur cebeci, kürşat apaydın, gülfem bayraktar_2017-2018 spring

together with civil engineering students from boğaziçi university_ ömer necmettin baytimur, mustafa can sociology students from boğaziçi university_ şehrazat mart, zehra begüm kışla

phases: during the first six weeks students focused on a research about the general topic and worked in groups of 2-3 to collect sufficient data for the design phase. There were six groups working on research topics listed below. Site: Golden Horn Golden Horn is the case study area for the post-earthquake tempo-

rary housing site. Students l were expected to design a master plan located in the Golden Horn based on the outcomes of the research. The research outcomes include information about demographic data, day and night population, bathymetric maps, existing and potential ports and public areas, general knowledge about earthquake and environmental impact assessment.

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berfin salebcioÄ&#x;lu, fatih eken, merve akdoÄ&#x;an_2017-2018 spring

Infrastructure Extensive research is required for the scenarios of the master plan proposals that should include strategies about Waste Water (Grey Water/Black Water), Clean Water and Garbage. Energy Though named as temporary, it is reported that post-earthquake houses mostly become permanent

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Social Life and Living Quality While designing a post-disaster community, considering the needs of the society is crucial to creating a better social environment. Students were expected to develop alternative proposals for the master plan which will include public amenities, gathering areas and social infrastructure as well as housing units.

houses for the people who have neither network nor budget to leave temporary housing. This underlines the fact that it is required to provide heating solutions for the housing units. Solar and Wind Energy, Rainwater Collection, Generator are the main items to be investigated. Structure and Material This section includes research about upper structure, interior and exterior finishing, floating body and anchorage as well as cost analysis for various options.

Logistics & Production and Finance Students are expected to do elaborate research on logistics and planning in order to develop strategies about production phase. Strategic Planning (Before, During and After Earthquake Scenarios), Storage, Prefabrication, On-Site Production, Transportation of the modules are among the headlines of this section. After the research part is finished, the students started to work in mixed groups â&#x20AC;&#x201C;each group including 2-3

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berfin salebcioğlu, fatih eken, merve akdoğan_2017-2018 spring

architects, 2 sociologists, 2-3 engineers- and developed alternative master plan scenarios for temporary emergency dwelling on Golden Horn. There were six groups and during this phase, each group worked on a specific section on Golden Horn.

During the last four weeks of the studio, each group developed alternatives for the floating house unit. The idea of Group 2 was designing a self-constructed ferrocement brick house so that the construction of the

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While the first group working in Karaköy focused on a scenario of logistics, storage and production, the second group developed a master plan of housing units that are linked with public areas. The third group investigated the potentials of a master plan

composed of organic branches while the fourth group was interested in a pixelated accommodation scenario for a communal living. The fifth group designed a master plan made of row houses on water and the sixth group developed a neighborhood that starts on the land and extends to the water.

together with civil engineering students from boğaziçi university_ ali ihsan alagöz, elifsu balcı sociology students from boğaziçi university_ aysel kapsız, tunca avcı

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elif lahor, osman faruk akkum, dilşad turna_2017-2018 spring

developed a more conventional emergency unit, while Group 6 designed a demountable lightweight steel structure that could easily be produced by the inhabitants.

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floating houses would not require qualified manwork. Group 3 worked on hexagon unit made of fiberglass, that is possible to be produced fast and reused after the earthquake. Group 4 transformed all the pixels in the master plan into habitable areas, and their main idea was to create an adaptable and customized container for emergency housing. Group 5

together with civil engineering students from boğaziçi university_ thomas henzel, samed torun, orhan delil tanrıkulu sociology students from boğaziçi university_ deniz sağlam

>&0)&!"#$%0&'$0()*0+,*-. Tomris Akın

In relation to knowledge, technology, tectonics and open source procedures in the center of Istanbul The aim of our design studio was to think about the “new” in the context of architecture in relation to infor-

mation, accessibility and ‘shareability’ of knowledge with technology and tectonics and to develop these discussions with a public building proposal. While thinking about the relationship between the library, the mediatheque, the institute, or leisure spaces with the urban experience, we also discussed how the practice of architecture read the current variables and suggested “new” as an addi-

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ece yanÄąk_2017-2018 spring

tional quality for the urban life. The development of public structures especially the non-profit ones became particularly uncommon because of the increasing land prices in Istanbul. The concept of â&#x20AC;&#x153;newnessâ&#x20AC;? inspired us to study the potentials and the quality of the contemporary solutions and to affect the local context. The possibility of a public building with a tectonic novelty on a strong urban

context became our research and design objective. The designated sites with urban/ architectural potential and dense historical and/or social context were chosen from the core districts of Istanbul. The sites with strong urban/ historical backgrounds came forward within the context of Istanbulâ&#x20AC;&#x2122;s rapid change in the last decades which boasted our discussions on newness

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ece nakışçı_2017-2018 spring

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with additional topics of urban chance and the public good. Students worked in groups to research these issues and develop their preliminary design decisions. The group work triggered discussions and helped us on the processes of site selection and conceptual framework thus creating the base for each of the proposals. At their third year in architectural

education, students are expected to ask original questions and develop inquiries on both urban and everyday life scales and also to produce original outcomes from them. So, the studio focused on design research to be conducted with a wide variety of design tools and the final architectural submissions were expected to be elaborate in both urban arguments and detail/material composition.

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ilayda kalender_2017-2018 spring

Collages proved exclusively effective ff when expressing the spatial ideas, material textures and tectonic issues and became a key tool for the design process. Juries, presentations, surveys and in-studio discussions have been conducted with intense participation and helped producing highly differenff tiated proposals for the issues.

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During the term, students were expected to communicate with the basis that any kind of architectural idea can be expressed visually and/ or physically. Hence it was critical to develop and use the maximum of architectural tools -expressions -representations for all kinds of discussions, submission or presentations. They used not only digital tools but also analogue or hybrid techniques for their presentations.

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/010!F"06#$G0%H0&G'"%F#'FIG# Burcu Serdar KĂśknar

In the seventh semester, the studios focus more on studentsâ&#x20AC;&#x2122; analyzing the existing, understanding the problems from scratch and develop authentic high-resolution architectural proposals of their own creating a holistic look. Students are expected to propose architectural resolutions in differing scales and media carrying the idea developed in every layer. The process of the development stage is expected to be driven by the

students. System development, sense of materiality and multiscaled holistic approaches in the resolution are expected as well as mature proposals in the articulation of the spaces. The graduation semester which is the eighth semester is a unique semester where an academic and professional jury follows the process of the project developments through the semester as well as the studio instructors. Students are expected to demonstrate their qualifications by proposing an integrated design with various systems and scales. During the semester with the seminars given by academic or professional people, students find opportunities to discuss their work in differentiating perspectives. By the end of the semester, graduation candidates should deliver a holistic architectural resolution to the subject that proves their comprehension and ability necessary for the profession.

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The fourth-year studios are mature studios of the architectural education. In both seventh and eighth semesters studios investigate the process of studentsâ&#x20AC;&#x2122; developing critical thinking on detailed analysis and researches on the subjects given and architectural resolutions with advanced representation techniques based upon conducted analysis and researches. The discussions of the studios are focused on social and environmental issues for generating new ideas constructed on these discussions to build resilient places.

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2017-2018 fall

Hakan Akbulut Hayriye Tuğçe Çelik Kadir Mert Tatar Selen Sönmez Yaren Bayır Cansu Gösterişli Öykü Ömür Abdulselam Filizer Ceren Can Tugce Iratcı Melis Özkaya Selen Sürmeli Tuğçe Selin Türk Hatice Kübra Karakaya Arda Yaycı Gamze Adıgüzel Şengül Has

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TOMRIS AKIN

5267!"#$%&'0!()*+%,"*&!*.&0.$!/%"*!"#$.00%&1#%$20(&00%3*,0%&0%,".&4#0 Tomris AkÄąn

The focus of this studio was to generate ideas on the ever-emergent subject of coexisting in Istanbul that

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will work on both every day and urban scale with the help of architectural tools. Also, to experiment on these ideas and to structure them with the involvement of new problems such as materiality, detail design, movement. Cities,

especially

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hakan akbulut_2017-2018 fall

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area like Istanbul, can be considered as social, physical, psychological, cultural, perceptual, architectural networks of coexistences than anything else. These networks of coexistences evolve by themselves but also with each other where there are no defined rules. This studio was considered as an inquiry about the effects of architecture on “the state or condition of living in harmony despite different ideologies or interests.” As architects what could we offer for the quality of life? What is the role of the architect in common sense? Hence “structuring common sense.”

It is obvious that the population of Istanbul has risen heavily in the last 15-20 years and the density of the newly constructed buildings transformed the living conditions of coexistence. These rapid changes affected those not included in the main scenario such as newcomers, refugees, minorities, low-income groups, people with disabilities etc. The studio began with studies about these groups and investigating the needs and services they might be offered. Simultaneously, another research on the potentialities of the proposed areas was held. The potentials of past – current or future uses

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of the sites and what could possible interventions offer to public life were discussed. This four-week study formed the basis for our design concepts. During the term, students were expected to communicate with the

basis that any kind of architectural idea can be expressed visually and/or physically. Hence It was very important to develop and use the maximum of architectural tools -expressions -representations in all kinds of discussions, submission or presentations. The complexity and the bigness of

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the sites made it essential to work on different ff scales simultaneously. All kind of collages, models, sketches, diagrams, scaled drawings, videos, 3d models were used for the design and representation process. This research-based environment of

complex architectural problems and multiple demands proved to be fruitful by producing interesting encounters and various possibilities.

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oped to discuss the contexts of and debates on rural and urban. Looking at the situation in Urla, the students of Architectural Design Project VIII are expected to think about the indicated issues in depth and end up with an architectural proposal which tries to find the triggering phase of architectural space itself. The project intends to search for the potentials of

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architecture where alternative ways of living are possible. The architecture discussed here is a solution that creates hybridity to allow emergences of new models of organizations in life -which tend to build regenerative and resilient systems. The theme is rather related to understanding the environment with all of its facts holistically; including its population, landscape, production and economy.

stand in production, commerce and tourism; Urla bears both rural and urban characteristics and becomes a promising venue to discuss the coexistence of these dynamics. Besides the productive character of the town, in the past recent years, the region became an attraction point for the people who want to move from cities to the rural, creating a broad diversity in the profiles of its inhabitants.

Being not only neighbor to a metropolis but also taking a significant

As the town became a center of appeal in counter-urbanization, it started

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to host individuals and institutions focusing on issues of production, soil, nature, food and agriculture, and asking questions about the conventional production methods, use of chemicals, confined animal feeding systems, damage to farmland, and social and economic impacts. Urla takes an alternative stance on this subject with its historical background and layered knowledge on

food production as a town sustaining its rural existence by the traditional know-how of its local inhabitants. The complex relation of these approaches brings the interrogation of and discovery about production mechanisms of real food to the focal point of the project theme. As reaching real food became a big challenge, it is clear that there are

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nities” arise, the alternative ways of sharing knowledge and the role of the actors in this conventional chain should be evaluated. Besides all these, students are expected to be aware of the impact of the project on the planet with its all aspects as energy consumption, materials, sources and financial investment from the start. Thinking

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searches for a change in food and farm policies by new mechanisms, new networks of knowledge and production. Therefore, the need of co-living, and the economic model of this physical planning become another point that the studio attendants should take into consideration. As questions on the new ways of living, the related spaces, places of coming together and sharing, making new “commu-

on the limited source of the planet and the critical change in climate, we should search and discuss the approaches in ecology and ecological design throughout the project. The building with all its open spaces and landscape should be subject to stimulate the environmental awareness itself, as well as the knowledge of traditional construction techniques to build a contemporary language of architecture. The project aims to develop architectural proposals in Urla, that would bring together, collide, strike these vast scopes of ideas and guide them in discovering alternative outputs and environments.

to conduct necessary research and analysis on the subject given and provide interdisciplinary relations in both abstract and concrete concepts, as they work in harmony with their colleagues in collective productions. As the students demonstrate their qualification to work in various angles while proposing an integrated design of differentiating systems and scales; the instructors and jury members are intended to lead the students with feedback and comments -from which the students should benefit, in order to improve their proposals. By the end of the semester, students should deliver an architectural solution to the subject that proves their comprehension and ability necessary for the profession.

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,"$#!"#$%&'0!()*+%,"*&!*.&0.$!/%"*!"#$.00%&1#%$20(&00%>*,0%&0%,".&4#0 The focus of this studio was to generate ideas on the ever-emergent subject of coexisting in Istanbul that will work on both every day and urban

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3?K@ABCA0A@LBD?0EK02BAB FADA Interior Design Studios are conceived as a comprehensive succession of design studios in which students take their first steps into their profession. Beginning with the joint first year studios in the faculty, students are challenged to see their profession holistically. Eight consecutive projects and a design build Studio, one in each academic term, provide the basis to develop a personal perspective towards design. Within their studies, students begin to develop their own perspective of the profession to bring the principles, elements, processes and materials of design in a holistic approach to interior design. Each studio provides another set of challenges that are diverse in

scope, subject, program and character. A meticulous and comprehensive planning of the contents of these design studios spreading to eight semesters constitute one of the core strengths of the interior architecture program at FADA. The curriculum of design studios take issues of character of space, client, society and identity, social and private spaces, environmental responsibility into consideration to create complex design topics. After completion of the four year length of the succession of interior design studios, students involve in the complexity of the major challenges of the interior design practice to become an independent individuals in the field.

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The interior design studios at the second year of the curriculum provide an introductory understanding of interiors, concept, atmosphere and formation of design concept. At the end of their second year, students begin to develop different lifestyle scenarios for various user groups and represent their initial ideas through diverse techniques. Comprehending the requirements and dynamic reflection of activities in interior space constitute the basis of the studio work that results in the inte-

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INT 201 has concentrated on the interior design of two different spaces for a film festival on Istiklal Street in Beyoğlu, Istanbul. Film festivals are a crucial part of cinema industry in Turkey and the central location for these kinds of events is Istiklal street. We have chosen two old and disappearing movie theatres to re-think the cinema culture and to find out new actions and positions with the help of design. Students were expected to design a new festival concept and space in one of these two sites: the Beyoğlu Sineması and the AFM Fitaş Sineması. The former is located in

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the basement and the ground floor of a passage which directly spreads out to Istiklal street. The latter is located on the upper floors of a passage that also contains shops and food court facilities on the ground and basement

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floors. Therefore, these two locations determine studentsâ&#x20AC;&#x2122; projects due to their relationship with Istiklal street, the culture of the passages and shopping.

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alternative approaches to concepts of “watching”, ‘public space’ and “interiority” as the new initiative for the design. Additionally, they also had to contemplate the development of various remarkable movie theaters in order to understand contemporary approaches. After research and understanding process, students’ aim was to determine diverse reactions and a program for a variety of events, and, consequently, they had to present activity diagrams that describe their film festival scenario. Another goal of the project group was to achieve an architectural intervention focused on the possibility of a spatial event, and this intervention ought to subsequently raise a socio-political question as well. An important part of the studio was to examine current cycles of the existing cinema organizations the trans-

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formation/demolition of the iconic spaces in BeyoÄ&#x;lu. Students were supposed to depict the analysis of the observations, which provided a clear evidence of research. Objectives of the course were recording and examining peculiar environmental and building properties, specifying the architectural, sociological and urban aspects of the site and understanding various needs

of people and the ability to transform those into a spatial program. Furthermore, re-thinking the aspects and possibilities of public and private spaces, switching between various scales and finding architectural solutions for each of them in addition to understanding the effect of materials on architectural design, and importance of detail design.

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brands in a rapidly changing trends of design. Interior Design Studio II focused particularly on the relationship between a brand, image, and atmosphere of space in the context of Kanyon shopping mall in Istanbul. Students were offered to choose from a number of alternative shop spaces to convert them into a commercial interior for the particular brand they chose. The research component of the design process concluded with an in-depth analysis of the brandâ&#x20AC;&#x2122;s

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image and its reflection in the interiors. The well-defined character and organization of the shopping mall and the limitation of the spaces to single stories reduced the complexity of the project regarding the context and space. Therefore, students concentrated on the perceptive and behavioral aspects of human â&#x20AC;&#x201C; space relationship in a commercial setting. They developed their critical perspective to address spatial, and technical demands of the project in a holistic design.

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The studio aimed to introduce the students to the interior and urban interior design as means of a social catalyst which might affect the quality of life by creating better places, by making a place more organized and making a

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community more livable. In the broadest sense, the students searched for design solutions which can have a social impact, influence social conditions and hence become the cause of a positive change. Accordingly, the interior design of a community center acquiring a set of activities with a

goal around the definition of â&#x20AC;&#x153;Social Impactâ&#x20AC;? became the central focus of the project. Three different plots were given for the projects from which the students chose their desired sites and developed their scenarios accordingly.

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The first building was the IDEA, located in Moda-Kadıköy. The building is currently used as a co-working space open to public use and managed by the municipality. The second building was the IT Building located in Boğaziçi University Campus. The students who selected this site worked on scenarios concerning students’ social and cultural life. Another option was a building (private property) located in Şişhane, Beyoğlu. The most interesting issue about the sites was that all of them had central locations, but they also had distinctive characteristics regarding their surrounding physical and social conditions.

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Searching for the specifically defined retail identity through interior design became one of the major goals of the second-year studio. The project had students interpret a specific retail theme in their own special way by integrating the main sales function with a function of X. This additional function added to the standard program brought a new perspective

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to the idea of sales and ignited an idea of social interaction. The main groups of retail items to choose were defined in the project brief as stationery and office supplies, sports accessories, furniture and decoration, tea, coffee, spices, handicrafts, fashion

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and textile, culinary appliances. PTT Stamp Museum and Erimtan Museum, two alternative plots located in Ankara, were given as project sites. Partial areas of these buildings, namely the entrance and basement levels were separated for

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the retail part, considering the rest of the buildings as museum galleries related with the selected retail themes. The students have been encouraged to investigate the relationship between the given building character and the retail identity. Throughout the semester, they searched for the spatial potentials of the buildings and tried to utilize

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them to achieve coherent design solutions to the given problem. The activities to be accommodated were proposed by the students to support both the spatial experience and social interaction concerns.

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!"#0$)&0'#()0*60+60#)*-)0.#/*76 In their third year of study, interior design students begin to express conceptual statement and their personal styles while responding to the specific design problems of public and private interiors. Projects acquire sophisticated complexity that bring together the functional requirements, project constraints, and conceptual statements. Universal interior design principles and standards are visited and applied in the interior design projects in line with their design concepts. Third year projects also challenge students to creatively communicate their projects using a wide range of professional tools, including conventional methods and recent digital technologies. Students are asked to develop their presentation skills, as well as the conceptual approaches

and material choices, as integral part of their personal styles. In the third year projects, students begin to address lighting and furniture as major topics part of their holistic approach in interior design. They take a steptowards including lighting in their designs while satisfying elementary technical specifications. As well as selecting furniture, its finishes and materials, they also design built-in furniture for their interiors. Interior design student gains the complete set of key skills of professional interior designer by the completion of the third year of the interior design studios.

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The students had a chance to visit all the buildings and analyze each environment within its own

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context. The introductory part of the design process included the analysis of both physical and social parameters to make the appropriate contextual choices, detailed analysis of the

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users, setting the right goals and results expected of the program, and finally defining the scenario for the design proposal to that will initiate a form of a positive change. In the second part, the students finalized their programs, studied spatial layouts and discovered the relations

between the public, semi-public and private zones while deciding on the spatial configuration. They were also expected to propose open and semiopen areas within close proximity of the buildings to act as active parts of the community centers.

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Each student developed different scenarios and programs as a response to the initial project brief. Some of the themes were about providing space for childcare, studentsâ&#x20AC;&#x2122; needs, performing arts, music, knowledge sharing or education about a specific subject such as qualified food consumption. The outcomes were presented in 1/100 scale plans, models, 3D visuals and detailed drawings of the critical parts of the projects.

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The plot selected for the project was Tamirhane building and its terrace area located in Urla, Ä°zmir. With its creative atmosphere, Urla is a multi-cultural dynamic town, home of prestigious artists and artisans of almost all types. Moreover, its diverse culinary culture makes Urla a destination for gastronomic experiences. These inspirational features of the town became the main reasons to choose the area as the location of the project. Tamirhane building was selected due to its peculiar characteristic for being an important gathering space for local people as well as its historical identity and structural features. The students had a chance to see both the building

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and the region during a site visit at the beginning of the semester. They completed in-depth analyses of the local culture, the social life as well as physical conditions of both the building and the surrounding site. The specification of the architectural, sociological and urban aspects of the site and understanding of various needs of potential users had a significant contribution to the studentsâ&#x20AC;&#x2122; ability to utilize this data while developing their scenarios and spatial programs. The mixed-function space given in the brief was assumed to be used by

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a national/international agency or a non-profit organization dealing with subjects that are both universally and locally significant, upgrading Urlaâ&#x20AC;&#x2122;s specialties, its history and/or its cultural life. Accordingly, students designed spaces for organizational, promotional and educational activities. They found advanced solutions for spatial planning and layout for a complex-program. Particular attention was given to the material, furniture selections, and lighting design during the whole semester. The indoor-outdoor relations, integration with the surrounding site was approached with care.

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Architectural Technology Tomris Akın, Kürşad Özdemir ARCHITECTURAL TECHNOLOGY I The fundamental purpose of the course is to create the basis for the idea that the design is not an independent self, free from the structure, material or tectonic issues. In Architectural Technology I, which is the first of the four technology courses, the discussion is carried out on the contemporary architectural practices for the purpose of applying knowledge to the physical world. During the term, fundamental concepts of physics/statics are revised. Loads, the behavior of materials and the factors that determine material selection for the structural systems are also studied. The aim is to make students feel the liberating power of technical knowledge in the design process. Each class is structured in form of a debate and accompanied by visual examples of the architectural objects and construction videos along with interviews of architects, structural engineers, and other professionals.

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Students have the opportunity to carry out technology research through group exercises they participate in and their own investigation of their design project. ARCHITECTURAL TECHNOLOGY II The course focuses on the (principles of) structural and architectural design and the relationship of architectural practice with the civil engineering disciplines.

During the course, fundamental concepts of physics/statics are revised. Loads, the behavior of materials and the factors that determine material selection for the structural systems are discussed. Effects of material knowledge on the design process of main structural elements are described through contemporary examples of building design. At the end of the semester, each student prepared a presentation about one of the case buildings. These oral presentations were supported by scale models, sketches, and diagrams which examined the structural system of their subject of analysis.

During the semester, issues related to architectural and structural design

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At the end of the semester, each student made an oral presentation about one of the case buildings supported by scale models, sketches, diagrams and other printed material. The presentations were exhibited at the end of the term and overall quality of models was inspiring.

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are discussed and examples and problems related to detailing are also closely examined. Building elements such as floors, surfaces, roofs, circulation elements, facades/skins are studied. Contemporary approaches to construction, new technologies of prefabrication, energy issues, long span and high rise building techniques are also briefly discussed. After the 6th week, there was additional time for a group or individual in-class activities. Students searched for case-study buildings for in-class presentations and studied structural system, material choices and construction processes of selected buildings. Each student had their own sketchbook in which they took notes, made sketches and diagrams, collected examples in order to use these materials in class activities, presentations, and designs. Two of the main design-researches that students conducted on architectural technologies were Re-Designing Technology and Design Project Overview. Re-Designing Technology is a design-research for future uses, improvements or new applications of materials/technologies of their choice. Design Project Overview is a process designed to understand and help students design projectâ&#x20AC;&#x2122;s structural and technological approach. At the end of the semester, each student prepared a scale model along with printed materials that explain the technological/structural approach of their architectural design project.

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#$%&'(0)*++&,$-'.$*, Ozan Avcı, Zeynep Aydemir, Beril Sezen, Didem Sağlam İpek Avanoğlu, Yasemin Burcu Baloğlu, Beril Sarısakal, Tutku Sevinç The main objective for communicating visually is to use operative actions as tools for designing and communicate a space. Simultaneously these operational actions abstract the notion of the spatial formation to its most essential terms, allowing a clear and expressive approach in the generation, and illustration of abstract spatial intentions, demonstrating increased critical and relational thinking skills. The act of visual communication is an extremely powerful process in terms of architectural design. By following an array of layers which include sketching and modeling techniques, spatial relations, effects, environmental and social strategies form set of exercises that trigger the notion of design awareness. Trying to reach design awareness is a sort of analysis, which one immediately makes, as the analysis focuses and produces both models and diagrams and

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sketches of geometries, materials, colors, circulation. These representations are not only quantifications but also qualifications of existing components of space.

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This course aims to encourage students to think differently and represent it in their own ways. Students are expected to be able to understand the powerful role of visual communication techniques for architectural representation, represent the existing environment by freehand sketches, diagrams, mappings, notations, etc. both for the qualities and the quantities, express the ideas by means of analogue and digital graphical methods, read the technical drawings and represent the design by technical drawings and develop their own hybrid representations so as to represent their ideas and communicate with the others.

1$5$.'(0)*++&,$-'.$*,0 Egemen Nardereli, Eda Yeyman, Basak Eren, Derya Uzal Designing and representing are essential steps of architectural design since beginning of the profession. Today, with the dominance of developing technology, digital tools become an important element in both design and representation phases of architectural production since digitalization ease and fasten the production process. As a result, demand and usage of digital tools increases both in architectural practices and academia. Digital communication courses introduces effective usage of digital tools for architecture and interior design students to meet these needs and have a knowledge on the topic. The aim of the course is to bringing architectural representation techniques into the computer realm by introducing digital communication and production tools. The methodology unfolds the use of Digital Communication to a conceptual manipulation design should engage from the earliest stages of the design process. The courses are formed as two integrated terms:

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First term focuses on mainly 2D drafting and 3D modelling topics and starts with the 2D drafting for exploration of the digital equivalent of traditional technical drawing skills obtained in the first two semesters. Predominant digital 2D drafting tools are introduced and methods of technical drawing on digital platforms are studied. With using the basic knowledges on these platforms, 3D modelling techniques and programs are introduced following

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Second term focuses on advanced digital tools and techniques with using the basic representation and modeling knowledges on first term and introduces new digital design and representation tools. It aims to represent and express the potential of architectural designs - importing, export, modeling and rendering procedures as basic elements of digital representation. The course is formed by 3 sections for different areas of digital tools for architecture: First, advanced representation techniques are introduced in various media types and tools. In order to enhance and compose the different media types in digital world; digital image manipulation, vectoral drawing, diagram making, video editing and digital layout is introduced. Rendering prepared video and

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the 2D tools. 3 dimensional thinking and designing abilities are aimed to be developed through digital platforms. Through the use of technical drafting and modeling techniques, digital communication also studies rendering and post-processing phase of image and graphic presentation. Across an array of visual representations that include but are not limited to modeling, drafting rendering and graphic design the methods describe the conveyance of ideas and information in forms that can be read or looked upon. During the course, production methods from digital to physical is also aimed to be linked to each other and knowledge is transferred by usage of both techniques in harmony.

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image based materials are explored both in digital and physical media. Then parametric modelling is introduced with using basic modelling techniques following the first semester for showing logic of the basic graphic coding for design purposes. Usage of parametric design tools together with modelling tools and implementing the ideas on design is the main aim. Last, advanced rendering techniques and post-production techniques are carried out jointly with previously produced digital materials. Course is held as a studio course with first lectures followed by studio hours by student works. At the end of the courses, students have control on digital tools for architectural production and representation. The application of the techniques are explicit within a digital premise, which include drafting, modelling, image manipulation, diagrams, video editing, parametric modeling and visualization in different platforms to represent and express the potential of architectural designs.

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Architectural History and Theory Ahmet Sezgin Teaching Architectural History and Theory Courses in the Department of Architecture is composed of four consecutive courses. These series offer an overall scheme that begins with a global perspective, followed by surveys of architecture concentrating on the Mediterranean basin. It concludes with an overview of modern architectural theory and practice and is further supplemented by a specialized elective course. Thus, contemporary debates in the field can be a vigorous part of prelude and finale of undergraduate education of architectural history. ARC 122 - Architectural History and Theory I offers a broad perspective in the 2nd semester as an introduction to the fields of architectural history and its methods. It adopts a non-chronological and thematic approach to architectural history as the subjects can be freely linked by themes and debates.

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ARC 221 and ARC 222 - Architectural History and Theory II and III provides a chronological survey of architecture in 3rd and 4th semesters with flash and back forwards through comparisons of structures, and revisits of architectural history in contemporary design, and themes. It covers architecture from early societies to the industrial revolution with the focus on selected geogra-

phies, styles, and periods. Discussion sessions constitute an integral part of each week of the course as well as the lectures that build the framework for discussions.

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In each course of the series, the organization of the courses aims at studentsâ&#x20AC;&#x2122; critical reception and comparison of architectural history and theory. Sketchbooks are one of the main outcomes of the course that contain studentsâ&#x20AC;&#x2122; viewpoints based on lectures, discussion sessions, and out-of-class research. Students produce creative works to demonstrate their views of architectural history substantiated by research. In addition to sketchbooks, students design and create posters, videos, and postcards. They replace rote learning and conventional exams and promote developing personal viewpoints based on lectures, discussion sessions, and out-of-class research.

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ARC 321 - Architectural History and Theory III takes the chronological flow from the advent of the industrial material and concludes the series with the 20th-century architecture in the 5th semester. It provides the most in-depth discussions of the theory of architecture through the cases of modern architecture.

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Ahmet Sezgin Arda İnceoğlu Aren Kurtgözü Avşar Karababa Bahar Beşlioğlu (2014 – 2016) Başak Eren Bengi Güldoğan (2014 – 2016) Beril Sarısakal Burcu Baloğlu Burcu Serdar Köknar Derya Uzal Eda Yeyman Egemen Nardereli Fred Fialho Teixera (2014 – 2017) Kürşad Özdemir Mark West (2016 – 2017) Nada Subotincic (2016 – 2017) Oya Pakdil Ozan Avcı Sevince Bayrak Tomris Akın Ufuk Sezgen (2017 – 2018) Zeynep Aydemir

#-9&.&)*"01-%7-&8 Ahmet Rüstem Ekici Ali Paşaoğlu Ali Taptık And Akman Aslı Şener Başak Bakkaloğlu Beril Sezen Bilge Kalfa Bilge Kobaş

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