Name
Burhan Gün Rodoplu
References
Didem Kılıçkıran
Architect
Head of Architecture Department of Kadir Has University
Aslıhan Demirtaş
M.sc, Architect
Founding partner at Aslıhan Demirtaş Architects and KHORA Büşra Al
M.sc, Architect
Founding partner at Plug Ofis
you can see more of my life, and work, here: instagram.com/fkardesi
instagram.com/subat12_gun
Education
2015-present
Kadir Has University
Faculty of Art and Design
Bachelor of Architecture
+2017 Kadir Has Honour Scholarship
2011-2015
Nilüfer Milli Piyango
Anadolu Lisesi
Workshops and experience
Summer 2018 (will be) attendant, VARDİYA
Award
Fall 2017-2018
Awarded 2nd place, MimED2017.
Language
Turkish, native English, fluent
16th International Architecture Exhibition
La Biennale Di Venezia
Pavilion Of Turkey
Summer 2017 attendant, Nesin Sanat Köyü, Mimarlık Yazokulu
Summer 2017
Internship, Evke Yapı
Spring 2017
founding member, Kadir Has Mimarlık Kulübü
Summer 2013
attendant, Rotary Short Term
Summer Exchange Program
Fall 2012
attendant, Comenius Exchange Program
Summer 2008
attendant, CISV International Camp
Awarded 2nd place, MimED2017.
tutors:
Aslıhan Demirtaş
Orkun Beydağı
ARCH202 Architectural Design II RETREAT CENTER ON BURGAZADA
Spring 2017, 10 weeks.
The project does not aim to have conventional functions besides administration and service spaces. It includes five 'elemental' spaces, which is defined by different size and material choices, a food court and a watch-tower over Kalpazankaya.
The projects sits on the already damaged soil.
The linear road from Burgazada Pier to Kalpazankaya is such an interesting part of the experience.
First impressions was expressed on site plan and sections. Kalpazankaya and textures like the aggregate, the beach, greenery and sea were all represented on a single page. From the site plan drawing, the main decision behind the project came to be: all the textures are in and on one another, this is what we call earth.
From the red soil of the island and spesific inputs from the site, the second decision was that the architecture would mimic the Kalpazankaya’s relation to the rest of the island. That meant some places are under the ground and some above.
These are strengthened with the choice of materiality. The materials chosen is either earth-based, or has a strong relation to it. As it can be observed easily, Kalpazankaya does not end in a mere moment, or exists suddenly; what keeps stone, rock and water together is the earth. From this observation, it is decided that the project should be build of rammed-earth walls. What inspires the project other than this, is the main attraction of the site, Kalpazankaya. Inspired from the rock’s relation to the sea and and the rest of the island, some of the masses hide under ground where possible; the building imitates the rock which comes out from the sea, by coming out of the earth likewise.
Burgaz (Pyrgos) adını almıştır. Ortodoks kilisesinin en saygın patriklerinden
Metodios’un ikonakırıcılar tarafından
adadaki bir mahzende yedi yıl hapsedildiği söylenmektedir.
Bugün bu mahzenin üzerinde Ayios İoannis Kilisesi bulunmaktadır.
Evliya Çelebi’nin 17.yy’da yazdığnıa göre, ada halkı Rumlardan çok az sayıda Ermenilerden oluşmaktadır.
En az 1 kilometre genişliğindeki boğaz Heybeliada’yı Burgaz (Antigoni) Adası’ndan ayırır. Antikçağ yazarları bu adaya
Erebinthus, Bizanslı yazarlar ise Therebintos ya da Panormos adını vermişlerdir.
Çağdaş Türk edebiyatının önemliyazarlarından hikâyeci Sait Faik Abasıyanık, bölümünü burada geçirmiştir.
Burgaz Adası ve diğer İstanbul Adaları,
Burgaz Adası; ağaçlarla kaplı olan Heybeliada ve Kaşık Adası’na baktığı için
176 m yükseklikteki Bayrak Tepe, adanın güney kıyısından yükselen dik bir yamacın üstündedir.
adadaki Rumların sayısı da azalmıştır. Buna karşılık, adada
İstanbullu Yahudilerin sayısı artmıştır ve adanın nüfusunun büyük bir oranını
Türkler oluşturmaktadır. Adanın sol yamacındaki Avusturya Lisesi’ne ait
binalarda ise Avusturyalı rahip ve rahibeler yaşamaktadır.
da Yahudi ve Ermenilerden oluşmaktadır. En az 1 kilometre genişliğindeki boğaz Heybeliada’yı
Burgaz (Antigoni) Adası’ndan ayırır. Antikçağ yazarları bu adaya
Erebinthus, Bizanslı yazarlar ise Therebintos ya da Panormos adını vermişlerdir.
Çağdaş Türk edebiyatının önemliyazarlarından hikâyeci Sait Faik Abasıyanık,
Working by hand was important in this project because of the primitive feel of the subject.
buraya büyük bir kale yaptırmıştır. Ada önce onun adıyla anılmış, sonra Yunanca kale/burç anlamına gelen
Burgaz (Pyrgos) adını almıştır. Ortodoks kilisesinin en saygın patriklerinden Metodios’un ikonakırıcılar tarafından
adadaki bir mahzende yedi yıl hapsedildiği söylenmektedir.
Bugün bu mahzenin üzerinde Ayios İoannis Kilisesi bulunmaktadır.
Evliya Çelebi’nin 17.yy’da yazdığnıa
göre, ada halkı Rumlardan çok az sayıda da Yahudi ve Ermenilerden oluşmaktadır.
En az 1 kilometre genişliğindeki boğaz Heybeliada’yı
Burgaz (Antigoni) Adası’ndan ayırır. Antikçağ yazarları bu adaya
Erebinthus, Bizanslı yazarlar ise There bintos ya da Panormos adını vermişlerdir.
The ‘cave room’, which is a place completely underground, acts like a womb giving birth to other places. This place is low and crowded with material, only the deep place with the skylight on the threshold can light the inside, just like a cave. Spacewise, the place is inspired by the history of quarries on the island, as the space inside is carved. Relation of the human and earth is taken in it’s most prim itive way. Places where one can feel the materiality, takes the scale factor between human and earth in a different way. All the places are designed through their relation with the earth.
Massingwise, the project tries to mimic natural phenomenomns like Kalpazankaya. While doing so, it doesn’t forgets it is out of human hands, it’s geometry is primitive.
Earlier sections.
Collage-making is a good way to test material in a place, and the livelihood of the places designed.
Early sketches exploring the massing, circulation and the greenery, the atmosphere.
There are damaged parts of earth all over the island near asphalt roads. It is a great opportunity to examine the red soil. Inspired by this, the earth room is a place where cross-sections of red soil is exhibited.
Inspired by the cave and the underground, it is a place which gives birth to other places. The cave room, which is the most important part of the narrative of the whole architecture, is inspired by quarries and the notion of fire, as fire is lit inside rammed-earth columns.
This place takes the notion of fire a bit further, and used it as a tool of not just heat and light, but also for cooking. This is place of dining where people visitors can cook and eat themselves. Material-wise, it is of terra-cota and ceramics, which are also cooked.
The islands also have a very strong presence of forests. The place is a con tinuation of the feel of wandering in the forest. It is a place where cross-sec tions of wood and wood-working pieces are exhibited, where you can examine the nature itself and the human factor.
Rammed-earth walls of the architecture is reinforced with iron bars. Walls end but iron bars contin ues to grow and form a cage, where stones of the island are kept in a gabion-like way.
In comparative mythology, sky father is a term for a recurring concept of a sky god who is addressed as a “father”, often the father of a pantheon. The concept is complementary to an “earth mother”.
An Earth goddess is a deification of the Earth, in the sense of fertile soil, classical element and the inhabited world, typically pictured as flat surface stretched under the firmament. Earth goddesses are also often associated with the “chthonic” deities of the underworld.
The idea of fire in the cave room adds a different aspect to whole concept of this place: the infamous ‘‘Allegory of the Cave’’ of Plato, where one of his most famous theories took place. The project doesn’t necessarily comments on the allegory, it is merely inspired by it, given it is such an important work on the field of philosophy.
I tried to connect the idea of the cave and the light with the fire lit inside, because the project too is tackling with the concepts of the origin of humanity and it’s understanding of what is around them. The element of fire is what binds the two.
Gravings of Gustave Dore, where he depicts many stories of importance which takes place in the cave; from the Bible to Paradise Lost to Divine Comedy. The caves were always important devices to tell a story.
This place is where the project is most ambitious, with the concept of threshold, the cave, the fire are all together and works to remind a person of his/her relation to earth and life.
Architecture takes inspiration from many; the nature of the island, the greenery, the sea, the earth and it’s place in architecture, the quarries, stones, woodworking, etc.
Section drawing that shows the relation between places of ‘the cave’ and ‘the sky’ .
This is the place where the narrative of the retreat starts, and ends. The project is about human and the earth, about our history with the earth. This is a place of underground, and architecturally, it is a place that jumpstarts the others, in the sense that all other are born out of this place. It gives birth. When I started the toss the word of ‘birth’ around so much, I tried and come up with an idea that would bind the themes of birth and earth, the notion of underground and the cave.
The allegory is that the cave is a womb. It is dark, protective from the outside. Warm with little light. Like a mother giving birth to a child, the narrative of the space is the moment of birth, the threshold of the cave: threshold that is the inside and outside. The earth and the sky. The mother and the father.
In many stories of religion and myth, the cave is an essential part of the narrative, often a turning point in one’s life. The story changes after one goes inside. After one is outside, he/ she is more experienced, wiser.
Earth is both a conceptual and an architectural tool in the project. So much so that walls are made out of it with a technique called ‘rammed-earth building’.
A photo my instuctor took on one of the jury sessions.
1st year, Spring, Reading and Writing on Architecture.
ARCH122
Instructor: Asst. Prof. Ayşe Sevil Enginsoy Ekinci A GLOSSARY ON ARCHITECTURE IN 14 PARAGRAPHS
14 readings were given by our professor during the course of the second semester of my first year in graduate school. Those were extensive readings on the history of modern architecture and writings by the leading architects of the 21st century on their practises and theories. A word, a term or an expression was chosen in relation to that particular reading, and a paragraph was written for each of them. The project was a a graphic design project, as well as a reading/writing one, in the sense that 14 two-page spreads were designed spesifically which makes an architectural glossary of the semester when put together. The graphic design process was similar in all, as it was about using negative space and the text to create meaningful compositions on each of the pages, according to the written material.
An examplary two-page spread, pages 9 to 10.
Posters I have done for two films I admire, the first two for Beginners(2010), the third for The Dreamers(2003).
3rd year, Fall, identity and poster work for student club.
Graphic work I have done for myself and my brother, to avoid questions of Wi-Fi password in our apartment.
2nd year, Spring, graphic work for the student club, Kadir Has Mimarlik Kulubu, an organization among architecture and design students.
Graphic desicions taken, such as the font and the temporary logo, led to be consistent parts of the student club and it’s graphic language.
tutors: Nilüfer
Kozikoğlu
ARCH102
Introduction to Architectural Design ROW HOUSE FOR SCHOOL TEAM, IN BALAT
Spring 2016, 6 weeks.
private: the places they would occupy.
A row house for the school rowing team near campus, in Balat, Fener. The main inspiration was this Japanese artwork called ‘The Wave Off Kanaguwa’.
Different usages of the row house, both public and private.
Scenarios of daily life of users of public, and sporstmen were studied.
The building has a strong relation to it’s green enviorenment, and a contrasting structure to it’s surrounding neighbourhood, Balat where many wooden houses can be found.
What the project tries to achieve can be found in this drawing: A rowhouse in service of both sportsmen and the neighbourhood Balat, where kids and elders would like to spend time and have a new relation to Haliç coast.
The action of carrying the boat, and boat’s slender nature of characteristics, with the influence of sea and the great waves, helped me achieve a certain look and mass’ relations to the coast of Haliç.
with: tutor:
Burak Arifoğlu Nilüfer Kozikoğlu
tutor: Ali Onat Türker
Ali Onat Türker Onur Eker
with: Ali Onat Türker
