Portfolio 2020

PORTFOLIO Mert Zafer Kara

Selected Works in Architecture and Interior Design

2016-20

CONTENTS

Resume Works 1. Urban Connections as Dwelling.........................................................................................................................3-8 Architecture Studio VII, 2016

2. The Facility of Personal Expression............................................................................................................ ....9-15 Architecture Graduation Project, 2018

3 Research: Body-Space Tension: Decoding Bodily Experience with Space Syntax..............................16-21 Proceedings of the 12th Space Syntax Symposium, Beijing, 2019

4. Artist Residency & Art Gallery........................................................................................................................22-26 Interior Desing Studio IV, 2017

5. Cognitive Experience Lab................................................................................................................................27-30 Interior Desing Studio III, 2017

6. The Governors Island Pavillion.......................................................................................................................31-33 ÖNEY Architecture, FIGMENT The City of Dreams Pavillion Competition, 2017

7. Suma Beach Installation...................................................................................................................................34-36 ÖNEY Architecture, 2017

8. Zonguldak Coastal Arrangement....................................................................................................................37-39 BARN Architecture, 2018

9. Contributed Art Projects..................................................................................................................................40-46 Exhibition: “Hollows & Mounds”, 2019 Exhibition: “Karagöz, My Dear”, 2020 Exhibition: “Rutubet”, 2017 Exhibition: “Shared Sacred Sites”, 2019 Exhibition: “Shared Sacred Sites”, 2020 Exhibition: “Inside The Same Dream”, 2020

10. Performance: “On Relativity”...............................................................................................................................47 Dadans, 2019

11. Architectural Photography...............................................................................................................................48-49 Photography & Architecture, Mimar Sinan Fine Arts University, 20151

Architectural Design Projects Other Projects (Publication, Art Projects, Performance Art)

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EDUCATION 2O20-ongoing İstanbul Technical University Master of Science: Architectural Design

MERT ZAFER KARA 1994 İstanbul

mertzaferkara@gmail.com +9O 546 432 O6 1O

LANGUAGES Turkish - Native Language English - Advanced / C1 Italian - Intermediate / B1 Spanish - Beginner / A1

2O12-2O19 İstanbul Technical University Bachelor of Architecture GPA: 3.39 Bachelor of Interior Architecture GPA: 3.35 (Double Major) 2O15-2O16 Università IUAV di Venezia (Erasmus Student) 2OO8-2O12 Haydarpaşa High School

WORK EXPERIENCES 2O20 Exhibition Designer - Karşılaşmalar Exhibition: Karagöz, My Dear / Yapı Kredi Museum

2O19-2020 Architectural Visualisation - Karşılaşmalar

SKILLS

Exhibition: Shared Sacred Sites / Cer Modern Exhibition: Inside The Same Dream / Ara Güler Museum Exhibition: Eyelids, Two Friends Two Foes / Galata Greek Primary School Exhibition: İstanbul University Archeology Museum Exhibition: Shared Sacred Sites / Depo Gallery

Adobe Photoshop

2O19 Exhibition Designer, Project Assistant

Adobe Illustrator Adobe InDesign Adobe Lightroom Adobe Premiere Autocad Rhinoceros SketchUp Microsoft Office

PERSONAL INTERESTS Visual Arts Performance Art Aerial Acrobacy Contemporary Dance Psychology / Cognition

Exhibition: Hollows & Mounds, Sinem Dişli Ara Güler Museum / Leica Gallery İstanbul

2O17-2O20 Artist Assistant - Sinem Dişli

Project Assistant - Exhibition: “Rutubet”, TOZ Artist Run Space, 2O17 Project Assistant - “Repetition & Cycle” Series of Talks and Performances, SALT Galata, 2O17

2O18 Intern Architect - BARN Architecture RedBull Organize İşler Movie Set RedBull Music Festival Area Avlu Grill Restaurant Cotbox Store Zonguldak Coastal Arrangement

2O17 Intern Architect - ÖNEY Architecture

The City of Dreams Pavilion Competition FIGMENT, NYC Design & It’s Dimension Exhibition Miami Design District

2O15 Intern Architect Nif Mountain Archeological Excavation 2O14 Staff - 20th Annual Meeting of Archeologists ITU Faculty of Architecture

OTHER EXPERIENCES 2O20 Debator (as Exhibition Designer), Exhibition Dynamics (Talk) with Sinem Dişli, Evren Kıvançer & Atölye Mil / The Circle Space

2O19 Paper Author - 12th Space Syntax Symposium Beijing

Paper: Body & Space Tension: Mapping/ Decoding Bodily Experience by Space Syntax

2O19 Performer - Performance: On Relativity

Dadans / Sakıp Sabancı Museum, Saint Joseph Private French High School

2O17 Participant - Workshop: So, what is performance art?

Coordinator: Ayça Ceylan / Studio X

2O15 Exhibition Participant - 7th Photography Meetings Group Exhibition İTÜFK / Istanbul Technical University

2O15 Organizer - 7th Photography Meetings İTÜFK / Istanbul Technical University

2O14 Organizer - 6th Photography Meetings İTÜFK / Istanbul Technical University

2O14 Exhibition Participant - FKare 04 Photography Festival Group Exhibition YTÜFOK / Yıldız Technical University

2O14 Participant - POSIAC International Summer School

Theme: Adhocratic Spaces, Coordinator: Mary-Anne Kyriakou / ITU Faculty of Architecture

2O13 Exhibition Participant - 11th Amateur Photography Days Group Exhibition YTÜFOK / Yıldız Technical University

2O13 Participant - Workshop: Body & Space

Coordinator: Nursev Irmak Demirbaş / ITU Faculty of Architecture

PUBLICATIONS 2O19 Author - Proceedings of the 12th Space Syntax Symposium Beijing

Paper: Body & Space Tension: Mapping/ Decoding Bodily Experience by Space Syntax https://www.academia.edu/40680337/BODY_-SPACE_TENSION_Mapping_Decoding_bodily_experience_with_space_syntax

2O19 Project Assistant - Hollows & Mounds Artist Book Sinem Dişli / Ara Güler Museum Publication https://vimeo.com/380254956

2O18 Writer - Orta Format #25

Interview / On Sinem Dişli’s Work / Online Publication http://ortaformat.org/sinem-disli-ile-calismalarina-dair-25

2O18 Architect - Zonguldak’ta Doğa ve Kültür Turizmi Booklet / Kivi Stratejik Planlama AŞ.

Zonguldak Coastal Arrangement / BARN Architecture

2O17 Project Appearence - Future Visions at İstanbul

Architecture Studio VII, İstanbul Technical University / Online Publication https://issuu.com/future-visions/docs/futurevisionsatistanbul

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ARCHITECTURE STUDIO VII FUTURE VISIONS AT ISTANBUL

New Urbanity & New Architecture City as A Place of Social Development İstanbul Technical University Advisors: Ayşe Şentürer, Ozan Avcı 2O16

1 URBAN CONNECTIONS AS DWELLING SİRKECİ TRAIN STATION

The term “lifestyle” can be defined as opinions, acts, point of view, behaviours or behaviorual orientations. A concept that is always in motion which makes it difficult to think about it without the concept of time. When its thought about past lifestyes; they are the traditions or cultures of today. For present, it is even started to become a concept that people are defining others regarding their life styles. These characteristics of the concept “life style” makes it also possible to think about its future.

The future shapes the lifestyles while the changes on lifestyles redefine the future.

The Concepts of

TIME & EXPERIENCE If we check last century, even from that time some concepts are started to be defined again with the change on life styles. As it can be seen on the drawing of Sarah Wigglesworth, The Dining Room Table (2), the process or the experience of an act started to define it. Process became a concept which is more important than the results. It can also be seen on the old photographic experiments of Edward Muybridge and Etienne Jules Marey (1). Differ from their experimental ways, their affect on showing the act itself also made these photos really famous today. Especially while the concept of experience is taking much more importance nowadays. The changes in lifestyles have been happening throught the generations. New concepts are always emerging and disappearing. If these changes are discussed in a narrower aspect of time scale; just between old and new generations; it is possible to see how quick these changes are. Nowadays for many people from the younger generation ; the values of success, time, experience, family... are changing. People starts to give more importance to experience things rather than owning things. Learning from experiences, sharing ideas, self-education, involving groups are the concepts which are more important for them.

It can be said that these changes make people more aware of time and experience mainly. The concept of “space” in architecture is being defined over the concepts of time and experience.

1_Photographs of Etienne Jules Marey and Edward Muybridge

2_Drawing of Sarah Wigglesworth, “The Meal” from Dining Room Table

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FUTURE PROJECTION The Way of Living

Changing The Way of Living

Housing, Privacy, Ownership

Housing, Privacy, Ownership

Socialising in Urban Context

Socialising in Urban Context

Functionality

Functionality

Family Structures

Family Structures

Power, Wealth

Power, Wealth

Sharing

Sharing

How the change of lifestyles affects the city life and housing?

The changes on the life styles are connected with the environment which people reside in. The cities are becoming the places with lots of people from varied cultures and living areas and they are mixing them all together. While the life style of the city is shaped by all these differences, also the city life is affecting the life style of its inhabitants.

Having lots of different lives in the same place, makes city life a bit complex. In this complexity, big amount of people are spending their time in city rather than their houses. While sometimes it happens because of obligations; some people are choosing it just because they are more interested in with this life style.

Because of these obligations, some people are finding their own solutions. For example, some people are using libraries to sleep in daytime, or they are studying or working in cafes. As a result of being in a rush, they sometimes have their breakfast on the way while going to work or to school. In İstanbul, it is so common to see people eating simit or having tea in the boat. All in all, a type of “partial life� is emerging which makes people to meet their needs in the city rather than their houses.

Nevertheless, some people, especially young generation, are choosing this kind of partial life on purpose. Generally it s because of the changes in their point of view. They start to give more importance to experience things while interacting with others. The measurement of success is becoming having more experiences rather than having more property. The idea of owning gives place to idea sharing. Instead of having their own houses or cars; they prefer sharing them when they need it. This way, they are having more interaction and more discoveries of new places.

In this way, development on technology also helps them to do this. Nowadays, social media or some online applications let them to experience things by sharing or exchanging it wtih the others. It makes it easier to travel, to try new things or to meet with new people. That way they are able to spend more time on these experiences without trying to own things.

These changes are bringing some other concepts like co-ownership, connecting, interacting or involving. When they have the support of other people, it makes eveything easier for them and it makes people to have willing to involve other groups.

While these concepts are emerging and while individual ownership gives place to co-ownership, naturally, one of the concepts which has been a strong connection with individual ownership “housing” strats to change its meaning. The people who realize that they can meet their needs out of their houses, starts to prefer a “partial life style”.

Instead of housing; the concept of “dwelling” is being used more and more. The definition of dwelling doesn’t only have meaning with a shelter. It has the meaning of meeting the most important or vital needs like sleeping, privacy, taking a shower, or using the toilet.

Conceptual Collage

What are the essential functions of a house?

A house is basically a shelter which people can meet their needs, stock their things or have privacy. There are also other comfort requirements of a house, but still these are the concepts which are able to change or evolve. Although a partial life style in the city is emerging, there are some essential functions of a house which makes people connected to housing. The basic and most essential ones can be classified as heating, ventilating, electricity, plumbing, privacy and safety. It can be seen that these requirements are generally about building sub-sytems and the need of a private, safe shelter. However, it also shows us that the essential functions are the things that can be met in another way.

By taking these kind of essential needs and putting them or spreading them in a city can turn a city into a dwelling.

Heating

Ventilating

Electiricty

Plumbing

Privacy

Safety

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Proposal of the project The proposal of the project is taking the idea of housing and spreading it in a city. This way, the new concept “city as a dwelling” can be a supportive factor for the new “partial life style” .

At the same time, it changes the way of designing or panning a city. Todays cities have the character of being spread in a vertical direction mainly for housing and in a horizontal direction to have new housing areas. This proposal aims to change this dimensional growing by combining them and mixing them in the city texture.

User Profile

The proposed user profile is defined on time. The users can stay for days, weeks, months, years or just for some hours. However, to be able to stay or use this facility, they should also add something in exchange.

For example, if a yoga teacher is staying here, he/she can give yoga lessons there or for students, they can make studying groups. A tourist can share its experiences with the others.

Also, where they stay will be connected with their reason to stay there. If a yoga teacher is using the sport area, his/her dwelling will be also be there. By the changing of thime that they spend there, the privacy they have will also differ.

Why proposing a new partial life if some people are already having it?

In the book of Hannah Arendt. The Human Condition, she indicates that

“for the actions to actualize, a field of epiphany is needed.”

This proposal aims to provide this field to people who has a new partial life style.

THE PARTIAL LIFE STYLE

The Project Area

The project aims to be spread through the city. To make this spread more effective, it follows the intersection points and transportation lines. With the design systematic it has, it can spread and in the future it can reach other places.

In this spreading process, the project includes two different elements. “The brain part” of the project and “the hubs”. For the brain part and as a starting point Sirkeci area is chosen where is one of the important intersection points of İstanbul. This way, the new concept of partial life will actualise on the connection lines of İstanbul.

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1.Transportation / Boat Lines 2.Transportation / Metro Lines 3.Transportation / Sirkeci Railway

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Connection with City Transportation

1966

2006

1970

2011

1982

2015

Transportation lines and focal points of the historical peninsula

1836

1845

The two sides of The first Galata the Golden Horn Bridge is conwere connected structed. for the first time.

The Hayratiye Bridge set between Unkapanı and Azapkapı has used by pedestrians only.

Satellite images of Sirkeci

1875 A new alternative route was set up with commuter trains on the Sirkeci- Küçükçekmece line, on the Marmara Sea south shore of the European side of İstanbul.

1890 Sirkeci Train Station is conctructed.

1914

1994

The tram was used on the Galata Bridge for the first time. The other lines soon followed during the same year.

The last Galata Bridge is constructed. The tram line is made longer till Kabataş. Topkapı Bus station shut down.

2000 Opening of the Taksim - 4 Levent underground subway.

Connection with City Memory

Sirkeci Train Station

Sirkeci Post Office

Topkapı Palace

Gülhane

Dolmabahçe Palace

2013 The part of Marmaray line between Ayrılıkçeşmesi- Kazlıçeşme is opened.

CONNECTIONS

Visual Connection

Galata / Karaköy

Üsküdar / Beşiktaş

Gülhane

Sirkeci The project area is in and around the Sirkeci Train Station. For the design process, first the present functions of the area is analyzed. The areas include train station and the top parts of railway platforms, the green area near the train station and the car park next to train station. The projects aim is not changing the built environment. It just adds some connection elements between these areas with an infrastructure and with some mobile elements. The missing or needed functions is given the area while also changing the area to a “dwelling”.

The present state of the area

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A certain amount of the capsules are hanged on the columns which are added also for wind turbines. These capsules are the only stabile capsules in the area which also gives the area more animate atmosphere by the irquantity . Through the hanged capsules, pipes and cables are also following the railway. The capsules can be used with the electrÄącÄąty of the train station or also with the electricity that is provided from solar panels and wind turbines.

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THE PROPOSAL

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1. Bazaar / Exhibition-Performance Area 2. Mechanical Rooms 3. In use Capsule 4. Multifunctional Capsule / Log in Available Rooms 5. Parking 6. In use / Hanged Capsule 7. Bicycle Road

Construction, Basketball court with solar panels

8. Water Tank 9. Bicycle Hiring Unit 10. In use Capsule 11. Multifunctional Area with Open Kitchen 12. Public Bathroom 13. Multifunctional Capsule / Log in Available Ateliers 14. Basketball Court

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Capsules located through the top of train station platforms

Mechanical room and in use capsule

The Capsules The capsules are the tiny “dwellings� to meet the needs of privacy and safety. Even though, the life style and needs are changing, privacy is still one of the most important human needs. For this reason, the capsules are basically designed for private activities as sleeping, taking shower, resting, staying in silence etc. They are made of non wettable fabric which makes it possible to provide space for varied activities These mobile capsules are working either air or electricity. Its a pneumatic system that can be blown up or it can be blown up itself by using its electrical engines. They have logins for electrical cables, air blowing systems, hot-cold and waste water pipes.

Usage examples of the capsules

For this reason, building sub-systems take an affective role for capsules.

The pipes or cables which starts from the main engines or water tanks are following the all transparent walls.

The capsules can be plugged in a suitable point to the construction.

The construction also includes some other elements like wind turbines or solar panels which allow to use sustainable energy sources for capsules.

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ARCHITECTURE GRADUATION PROJECT Education, Accomodation & Public Space İstanbul Technical University Advisors: Ayşe Şentürer, Aslıhan Şenel 2O18

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THE FACILTY OF PERSONAL EXPRESSION MOSCOW

The Cycle of Memory & Personal Expression Remedying the deficiency on personal expression in the city life which derives from standardization, stereotyping, strict political disciplines, strong control mechanisms, cencorship, surveillance and daily routine necessities by redefining and hybriting the concepts of accomodation, public space and education: and by bringing these concepts together under another type of space: a space for personal expression. This idea covers all the other concepts of spaces and put them into the cycle of personal expression.

The cycle consist of three main parts which are impression, processing and expression. Impression, the first and the strongest impact of a being, is provided from the quantity and the corporality of the new hybrid space. Processing, more intense part of the cycle, differs in accordance with the needs of the space type and defines a productive, intellectual active period. Expression, the end of the cycle and the beginning of another cycle, frames all the period and collect all the data that has been produced during the processing part. For this reason, the never ending cycle makes itself more and more impressive by time. Being more impressive gives way to be more expressive.

The hybrid space presents an organic life style which the needs of education, accomodation and sociability are met. For every concept, users experience the period of impression, processing and expression. After they leave from the hybrid space, they leave their traces of expression in the hybrid space. By time, the collection of these expressions construct a personal expression museum. That way, having more users will end up with more data for the museum. In short, users are living in a building site of a museum; and their cycles in the building site will construct the museum. With each new user, the museum will get larger and larger and it will refresh itself constantly.

Analysis on MEMORY & PERSONAL EXPRESSION In Moscow and Its History (20th-21st Century)

The City and Daily Life The Spatial Organization of the City Moscow is situated on the banks of the Moskva River The road system is centered roughly on the Kremlin at the heart of the city. From there, roads generally span outwards to intersect with a sequence of circular roads. The outermost ring within Moscow forms the cultural boundary of the city.

Even though the public transportation is highly used between the borders of the city and the center, it can still be said that there is a disconnection between the center and the borders.

Map of Moscow Central

Usage of Public Spaces The usage of public space is quite high in Moscow. here are 96 parks and 18 gardens in Moscow, including four botanical gardens. One of the earliest examples of public park concept, Gorky Park along the Moskva river contains estrades, children’s attractions, dancing, tennis courts and other sports facilities. It has also highly used squares as Kremlin and Red Square which are the most popular public areas both for the natives and the tourists.

Gorky Park

Daily Routine Necessities One of the biggest problems in the city life in Moscow is the daily routine necessities of natives. The main reason for this is the disconnection between the city center and the borders of the city. Despite the crowded population of the city, since the city cannot provide an adequate transportation system, transportation to the city center is a situation that affects the daily routine.

How can the connection between the city life and daily routines can be strenghtened?

What kind of alternatives on life styles can be provided?

Economic Difficulties & Inequalities The price Sof real estate in Moscow is one of the biggest problems in Moscow. Many people cannot move out of their apartments, especially if a family lives in a two-room apartment originally granted by the state during the Soviet era. Some city residents have attempted to cope with the cost of living by renting their apartments while staying in dachas (country houses) outside the city.

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Analysis on MEMORY & PERSONAL EXPRESSION In Moscow and Its History (20th-21st Century)

Art, Design & Culture Art & Design Movements Moscow is a city which has witnessed varied art movements through its history.

One of the most famous movements, the Russian avant-garde was a large, influential wave of avant-garde modern art that flourished in the Russian Empire and the Soviet Union, approximately from 1890 to 1930. . The term covers many separate, but inextricably related, art movements that flourished at the time; including Suprematism, Russian Futurism, Cubo-Futurism, Zaum and Neo-primitivism and Constructivism.Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1915 by Vladimir Tatlin and Alexander Rodchenko. Abstract and austere, constructivist art aimed to reflect modern industrial society and urban space.

Cultural Developments

Through the history of Moscow, there are many attempts to improve the rate of literacy, intellectuality, or cultural life. Soviet Union had times that it has the highest number of reading rate than any other nation. Varid museums and libraries built for mainly political purposes during the period, also provided cultural development in a longer period. For the same purpose, many improvements are made on social,cultural and scientific fields.

1946, Soviet Propoganda Poster

Art Life & Art Spaces The city of Moscow, where many art movements developed, still contains many art areas and activities today. In addition to many historical art spaces as The State Tretyakov Gallery, The State Historical Museum or Kremlin; it can be said that Moscow also includes varied spaces for contemporary art. Moscow Museum of Modern Art, The Moscow Planetarium (an interactive museum), Garage Museum of Contemporary Art or The Multimedia Art Museum can be considered as some of the main contemporary art spaces.

“Unofficial” Art

What kind of alternatives can be developed to encourage art, design and cultural studies?

How can people express themselves without any limitation?

Through the history of Moscow many art forms were forced underground and sometimes prosecuted depending on the political view of the period. One of the attempts to break out of the underground to more public view was the Belyayevo exhibition.

The Bulldozer Exhibition

The Belyayevo exhibition or in other words “the bulldozer exhibition”, was an unofficial art exhibition on a vacant lot in 1974 which is organized by avante-garde artists of the period. The exhibition was forcefully broken-up by a large police force that included bulldozers and water cannons, hence the name.

Inspired by this memory of the city, it can be considered if it is possible for people to express themselves in public space by using similiar “occupation methods”

Politics Cencorship & Surveillance

“Keep your mouth shut!”, Nina Vatolina, 1941

Censorship in the Soviet Union was pervasive and strictly enforced. Several organizatiıons were in charge of cencoring all publications and broadcasting for state secrets. In addition, several other organizations was working to cencor all printed matter including fiction, cinema and radio-television broadcasting. Soviet books and journals also disappeared from libraries according to changes in Soviet history. Repressed people were routinely removed not only from texts, but also from photos, posters and paintings.

Decontextualisation / Loss of Collective Memory Through the history of Moscow, varied methods are tried to lose the memory of the city. Regardless of the political views, it can be said that the city has history on the loss of collective memory. As an example, a large number of statues all across the Soviet Union are carted off and put in the “Muzeon Park of Arts” which is also called as “The Graveyard of the Fallen Monuments”. Regarding this history, the acts of decontextualization, can be replaced by the acts of expression in accordance with its context.

Stereotyping

The Graveyard of Fallen Monuments “What the October Revolution gave to the female worker and peasant” 1920 Soviet Propaganda Poster.

How can personal memory be archived?

Can the archives be embraced as social spaces?

“The New Soviet man” or “New Soviet person” was an archetype of a person with specific qualities that were said to be emerging as dominant among all citizens of the Soviet Union, irrespective of the country’s cultural, ethnic, and linguistic diversity, creating a single Soviet people and Soviet nation. The same approach was also effecting on the social roles and gender roles by defining the ideal men or women archetypes.

Can the historical ways of agitprop be used as the ways of personal expression?

Agitprop

The Agitprop Trains

Agitprop is political propaganda, especially the communist propaganda used in Soviet Russia, that is spread to the general public through popular media such as literature, plays, pamphlets, films, and other art forms with an explicitly political message.

The trains and ships are also used to carry the agitators armed with leaflets, posters and other various forms of agitprop.

Soviet Propoganda Poster El Lissitzky, Beat the Whites With the Red Wedge

Analysis on MEMORY & PERSONAL EXPRESSION In Moscow and Its History (20th-21st Century)

The Living Space Communal Living

Kommunalki or communal apartments appeared in the Soviet Union following the Russian revolution of 1917. The concept of communal apartments’ grew in Russia and the Soviet Union as a response to a housing crisis in urban areas – authorities presented them as the product of the “new collective vision of the future.” Between two and seven families typically shared a communal apartment. Each family had its own room, which often served as a living room, dining room, and bedroom for the entire family. All the residents of the entire apartment shared the use of the hallways, kitchen (commonly known as the “communal kitchen”), bathroom and telephone.

Narkomfin Building

Existenzminimum Although communal houses could not maintain their continuity in the long term, new approaches can be created on the concept of living space by re-examining the innovations and deficiencies of these experiments.

Dwelling Units of Narkomfin Building

The shared and micro living areas which are designed for the communal buildings has a potential to be be reinvestigated with a contemporary approach to think on the functions or the dynamics of a dwelling.

Standardization

Image from the movie “The Irony of Fate”

How can the living space be personalized in accordance with its environment?

When it is considered through the personal expression, the standardization of the spaces where individuals are in contact can be considered as a factor that prevents their expression. It has been observed that the standard space types brought along by communal living approaches that have been tried before do not match the needs and identities of the people.

For this reason, the spaces should be customized according to the person rather than a standard structure.

From Soviet Constructivist theory, the social condenser is a spatial idea practiced in architecture.

Central to the idea of the social condenser is the premise that architecture has the ability to influence social behavior. The intention of the social condenser was to influence the design of public spaces, with a goal of breaking down perceived social hierarchies in an effort to create socially equitable spaces.

Approaches in creating the built form of a “social condenser” include the intentional overlapping and intersection of programs within a space through circulation.

Social Condensers

The Zuyev Workers Club

Can these approaches benefit the new kind of idea on living space?

The Proposal Education Area

The education areas aims to encourage sharing, experiencing, producing, exchanging and oto-didact instead of traditional education systems.

The areas have private, semi private and most importantly, public areas.

It is aimed to put the education areas as focal points in the hybrid space.

This areas will have a strong relationship with the life cycle inside the hybrid space and by this way it will take and use the data of daily life cycle directly for education.

Accomodation Area Accomodation in this hybrid space defines a partial accomodation style.

There are not any certain living areas or private houses. Instead the functions of a house are spread around the hybrid space and all areas have some of the functions of a traditional house. Accomodation here is also not limited by the time. It can be used for hours or even for years depending on the role of the user for the hybrid space. It aims to answer the changes in norms,values and life styles.

Public Space Public space is where people have connections with city life. It s an area that makes people express themselves. It has the biggest impact area inside the hybrid space. It connects other functions and also draws a circulation line through the hybrid space. It gains new meanings by the hybridity it has by having direct connectionss with accomodation and education areas.

Processing Processing part is defined as the in-between situation from an impression to an expression. It has productive, creative, intellectual characteristics. For each area, another type of processing area will be provided.

It can be a production area or an experimental area for education purposes while it can be formed as “basic human needs areas” for accomodation purposes.

Impression Impression is defined as the first impact of a being. The more a being is impressive the more expression can be provided. The impression of space is given here by its quantity and corporality.

Its in-between character makes it possible to put processing areas in overlapped parts of the hybrid system. That way, it can reach data and produce data/information with a direct connection to the system.

Expression Expression is kind of a reaction that derives from the impressions. Every kind of action in a social area can be defined as expression. It is the result of the life cyle in the hybrid system. The results of expressions are collected inside the hybrid system and by time, it transforms the hybrid system to an archive/museum of personal expressions. Every act (in different time periods) will be archived as a museum object layer by layer. The new layers will produce new overlappings. It means that “expression” will be the basic unit of the museums characteristics. The expression derives from the impression of the area which has local characteristics. Thats why, It will form the hybrid systems in different forms for all different areas. In short, the expressions will include local data.

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Novo Ryazanskaya Bus Station The projects start point is Novo-Ryazanskaya Bus Station and the area around. The public spaces, art galeries & museums and the sport facility nearby will be the referance points for the hybrid system. By using their local data and function and combining them; the hybrid system will be constructed.

The area has also another bus stop and a train station with a museum inside. The present state of the area already includes some overlapped areas. Thats why this area is chosen as a potential area for the new personal expression museum.

General Organization on the Area The project spreads over a wide area including the Novo Ryazanskaya bus station. While creating the general plan scheme, it was aimed to create a circulation system that works like a spider web which allows inordinate encounters through the area. The circulation systems also aim to provide connections with its surrounding to gather varied users inside the area to have a stronger relationship with the users around.

The Proposal

Accomodation Units

Personal Expression Units

Accomodation units are located with a connection by physical, bodily and data based expression parts. The units include small living areas and some other communal areas like laundry, atelier, study rooms or kitchens. A communal area is used by 3 or 4 people for comfortable usage possibility for each person. The users of the accomodation areas can differ from collectors, researchers, architects, artists, authors to students or tourists.

Personal expression units will be the source of provocative truck exhibitions or the source of archive/ museum. Each user type will have a personal expression area depending on his/her way of archiving. These units locate near the users accomodation units. The units’ portable construction (with trucks) allows them to be carried or to be stored in the facility or in the city.

Processing Units

Mobile Units

Processing is the part that users collect or process data/ input. The types of the processing units differ by the users needs. For the data based expressionists, these parts include technological studios, study rooms, workshop areas, reading and resarching areas or studios. For the physical archivers, these parts are generally ateliers. For bodily expression, these parts are used as sport or performance studios; or even as a stage. Inside the garage, the processing part includes fabrication and production of pop-up truck exhibitions, technological products or the products with bigger dimensions.

Mobile units include trucks which are able to carry one unit of personal expression for each. These units provide mobility both inside and outside the facility. They can be used to carry a studio to work somewhere else or to work with another institution/university, museum etc. They can also be used to open an exhibition somewhere in the city.

Another usage of these trucks is taking the expression units and carrying them to the museum/ archive construction. They can also be visited as galleries or open studios while they are inside the garage.

Archiving Units Archiving units are used as the storage areas of personal expression units. While a user accomodate in the facility, they use their own/shared personal expression areas, but after they leave the facility; the personal expression units can be both moved from the faciltiy with trucks and can be stored in the museum construction. This way, by using the users own expressions, a museum will be constructed in the area by time. The archiving units can also include labels that is gives information about the time span that the user accomodated and the information of his/her experience.

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1. Micro Living Space

2. Mobile / Dwelling & Personal Working Area

6. Multipurpose Acitivity Space

3. Trucks

7. Acoustical Studio

11. Private Studios

12. Production Ateliers

17. Circular Covering Units

18. Rectangular Covering Units

8. Communal Kitchen

Overlapping & Intersecting the Units The project basically aims to design units and discover unknown possibilites through the overlaps or intersections of the units. For this reason, flexibility and adaptability are the major characteristic of the units. This flexibility is provided by mobility as it can be seen in the trucks, or portable dwellings, or by having adaptable systems which let the each unite to be able to combined with eachother.

4. Circulation Core

5.Secondary Circulation Elements

9. Wet Areas

10. Multi-use Wall Panels

13. Integrable Additional Volumes

14. Stage & Backstage

19. Event & Performance Space

15. Showcase

20. Archival Space

16. Gallery Space

21. Shared Studios

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Plan +3.00

Plan +7.00

Intersection of Units, Focusing on Dwelling

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The Sections

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PROCEEDINGS OF THE 12th SPACE SYNTAX SYMPOSIUM Research Project in collaboration with Büşra Balaban Pelin Dursun Çebi 2O19

3 BODY-SPACE TENSION Mapping / Decoding Bodily Experience with Space Syntax

ABSTRACT Body, as a whole of senses, can be defined as a receptor due to its inherent features as perceiving, experiencing and having potentials of behavior. At the same time, body generates and transforms a new type of space within the space it exists. Besides, space is not positioned as a passive element either; it is the equal and active partner of the body that can shrink and expand with bodily effects. Therefore, body and the space in relation cannot be thought separately. They identify each other over and over again. The living body is inevitably garbled with the environment it lives, and it creates its own space.

The ‘tension’ between body and space appears as the leading actor of their interrelation.

This research is based on an experimental case study that aimed to discover the body-space tension by using syntactic analyzes, which was prepared for an undergraduate course entitled “Architectural Morphology” in Istanbul Technical University, 2017. It differs from the idea that regards space only as a physical shell and aspires to analyze the space that the body identifies and experiences with the senses, by using both cognitive and analytical methods. ITU Faculty of Architecture, Taşkışla Building, was chosen as the field of study. Within this context, the principal questions were the following: What is the possible movement pattern of Taşkışla? / How can this pattern vary with the bodily experience? / What is the meaning of this variation for body-space tension? / How does Space Syntax contribute to analyzing this tension, as a scientific method? / How does bodily experience, cognitive maps and space syntax contribute to each other?

As a first step to study, to discover how bodies restructure the space, a performative experience in Taşkışla was recorded. The movements and traces of the performers’ bodies were conceptualized as a new type of space which the body created by changing the routine use of their bodies, changing the everyday movement pattern and thinking their bodies as a receptor. Performers investigated the space by their bodies throughout a particular route in the building. The process is followed by externalizing the narratives of the performances as cognitive maps. To be able to search body-space tension, interpreted cognitive maps were compared with the analyzes of routine movement by using syntactic tools. Having scientific and visual data on both cases, the properties of the space which are considered as invisible or non-discursive were made debatable. Different results from two separate cases on the same space showed us the substantial effect of body-space interaction.

As a result of this study, indicating the dynamic relationship between body and space, it is understood the importance of layering the analyzes for perceiving and conceptualizing the space. This multi-layered analyzing process can enhance the bodily way of knowing and syntactic methods, mutually. This research system that provides varied viewpoints can open up new horizons to think on a space.

Full Paper: https://www.academia.edu/40680337/BODY_-SPACE_TENSION_Mapping_Decoding_bodily_experience_with_space_syntax

Living Body and Performative Space “...This is a truly remarkable relationship: the body with the energies at its disposal, the living body, creates or produces its own space; conversely, the laws of space…also govern the living body and the deployment of its energies.”

(Lefebvre, 1974) In this project, the body is considered as the synthesis of corporeality and cognition which perceives, feels, experiences and transforms with this experience while the space is approached as a structure that correlates with the body and establishes with experience. Consequently, these notions are examined through focusing on theinevitable connection called ‘tension’. Synthesizing the tangible and intangible features of body and space leads to a definition of space as a whole of possibilities and of body as a trigger that reveals these possibilities.

This potential can only result from the interaction between these two concepts. The process of revealing also allows decoding these properties of space by examining the body, reciprocally.

Body

Cognition

Generation of Space

as a whole of senses

perceiving the space

expanding space, restructuring the space

Body

Shrinking Space receiving data of the space

transformed body

Space

as a whole of possibilities

This body-space tension is evaluated in parallel with the ideas of Maurice Merleau-Ponty (1945) which describes the living body, not only with its physical aspects, but also as a whole of consciousness within its context and surrounding. Space is shaped to accommodate the possibilities of this tension beyond the concept of static space on which events take place. As Merleau-Ponty mentioned; “Space is existential in its origin because it is created according to individual’s perception.”

(Merleau-Ponty, 1945).

“The living body touches the space through experiencing; meanwhile, space reaches the body by its dynamism.”

(Tschumi,1996) Tschumi also describes this idea as a constant reconstruction of body and space. Tschumi insisted there is no architecture without events, actions or activity. As he indicates with the definition of ‘performative architecture’ rather than the physical aspects of the architectural object, its ability to transform and interact; how it performs becomes crucial (Tschumi, 1996).

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Routine and Potential Movement Patterns of a Space in Relation to Bodily Experience

The existence of space brings with the potential of varied movement patterns, configuration networks and alternative spaces in relation. However, this potential can only be revealed through the body-space relationship. The dynamics that occur as a result of this relationship are formed in relation to the type of body-space interaction which involves the movement patterns.

Each movement in the space exposes a new type of potential depending on the bodily and perceptive factors that form itself. The traces which are left by the movements by time creates the dynamics of the space. In the process of this creation, various movement-related factors as the type, repetition or duration of movement contribute to the type of dynamic that occurs.

Over time, the accepted and repetitive movement pattern of the space becomes its everyday movement pattern

Generation of the routine movement patterns in a space

Nonetheless, the generation of everyday movement patterns is not only the result of the body-space interaction process. It also causes the occurrence of the learned body-space behaviors that can also be named as body-routine and time-space routine. David Seamon defines body-routine as: “a set of integrated gestures, behaviors, and actions that sustain a particular task or aim” (Seamon, 2007). while he presents time-space routine as: “a set of more or less habitual bodily actions that extends through a considerable portion of time” (Seamon, 2007).

The everyday movement that is created by the effects of the body at the beginning, appears as a factor that designates the learned body-routine later on. Body starts to shape its behaviors in a space in relation to its time-space routine. Seamon explains this idea with reference to the definition of Merleau-Ponty ‘body-subject’ -the lived ability of the body to move intelligently and thus, act as a special kind of subject expressing awareness in a pre-conscious way- as: “In terms of intentionality, it is crucial to understand that the knowledge of body-subject is a knowledge that is only forthcoming in effort of the movement, which in turn is only forthcoming because of an already-learned bodily knowledge of the physical world in which the movement unfolds” (Seamon, 2007).

Even though the body-routine or ‘already-learned bodily knowledge’ has information of the related space, it can only enlighten the restricted potential of space. Space still embodies various undiscovered potentials. The revelation of more potentials of space can be possible by the non-routine usage of body and alternative movement patterns. If the creation process of everyday movement patterns is examined and if it is recognized that everyday movement pattern of a space only presents limited part of the varied spatial potentials, it becomes more understandable how non-routine movement patterns restructure the space.

Cognitive Maps and Space Syntax as Tools of Decoding Body-Space Tension Human mind embodies different types of data derived from examining, perceiving, feeling and experiencing the environment. Cognitive map shapes as a tool for reflecting this acquired intangible data. As being a product of bodily experience, cognitive maps provide a representation of how the space is perceived by a person and how the physical and perceptual information of the space is stored in his mind. Considering Penn’s (2003) definition, cognitive map is; “Process composed of a series of psychological transformations by which an individual acquires, codes, stores, recalls and decodes information about the relative locations and attributes of phenomena in his everyday spatial environment.” (Penn, 2003).

In this context, it is aimed to reconsider the body-space tension which is externalized through the cognitive maps with a more scientific and universal method, and cognitive maps are analyzed through the space syntax methodology.

BODILY EXPERIENCE POTENTIAL

BODY

SPACE TIME-SPACE ROUTINE

TENSION

MIND

BODY ROUTINE

ROUTINE DYNAMISM

FEELING

CONNECTION NETWORKS

PERCEPTION EXPERIENCE

MOVEMENT

RELATIONSHIPS

COGNITION POTENTIAL MOVEMENT PATT ERNS

CONVEX SPACE

SPACE SYNTAX

POSSIBLITIES

Space syntax theory involves a set of techniques for quantification, representation, and interpretation of the spatial configurations in various scales (Peponis, 2001). Space syntax theorists claim that spatial configuration can be intelligible in only two ways; one is through the representation -a plan diagram- and the other one is through the movement which is experienced in the space (Rashid, 2012). Space syntax takes an effective role to investigate body-space tension through analysing the spatial configuration which involves movement patterns and connection networks. Its methodology that is based on convexes and their links can be a significant tool for decoding the cognitive information. Just as the morphological aspects and routine movement patterns can be examined through space syntax methodology, so does the cognitive spatial and relational variances can be revealed with this methodology. The intangible data which is externalized in cognitive maps can be transmitted to a tangible and discursive basis through the space syntax.

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Designing a Performative Experience

On the purpose of observing how the bodily experience differentiates the space, a place which has an apparent routine movement pattern and participants who have repeatedly experienced the place in this routine way became two main components of the case study. In this way, it would be possible to observe the situations that occur by altering the participants’ body-routine and everyday movement patterns’ who have experienced the space through only its everyday usage before. Regarding this aim, Istanbul Technical University Faculty of Architecture, Taşkışla Building was chosen as a field of case study and three architecture students who have been studying in this building for almost five years were selected as participants to vary the alternative configurations. The case study focuses on one of the towers where the routine movement patterns are most clearly observed. In this tower, a route from the ground floor to the roof floor which only includes its transition areas is determined. On the ground floor, the tower contains a hall with an exhibition area in the center, two classrooms, one technical room related to this space while the first floor has a hall with exhibition boards and library. Roof floor is differentiated from other floors with its components as the open-air atrium, administrative offices, and wet area.

Field of the Case Study / Performance Route

Ground Floor

First Floor

Second Floor

Performative Experiences and Narratives The physical aspects and the routine movement patterns of Taşkışla were also discussed with three participant performers. It seemed that each participants’ everyday movements have similar patterns for each space. The areas of passing, resting and encountering were each matched with the same parts of Taşkışla.

This situation proves how certain borders were accepted by different people without considering personal and perceptive experiences when a place is only used by its learned movement patterns.

For this reason, to vary the performers’ experiences in the same space, a general guideline that defines the main criteria of the performance was explained to performers’. The performers’ were informed about the particular performance route which is one of the towers’ transition areas in Taşkışla.

To be able to observe how bodies restructure the space by generating their particular spaces and connections in relation to the environment they exist; three main criteria were explained to performers as a guideline which are; changing the routine use of their bodies changing the everyday movement they are used to thinking their bodies as a receptor that they define their own spaces with it

Photographs from the performative experiences

Within the directions given to the performers, each performer (Performer A, B, C) investigated the space by their bodies throughout the route starting from the ground floor and ending in the roof floor. During the performance, the bodies were used out of the routine movement pattern of the space which is formed only between walk and stand. Instead of walking, which is consisting of a two-step rhythm, alternative rhythms were constructed, more fluid movements were tried, and alternative moves were performed as creeping, climbing, rolling, crawling or jumping. For example, Performer B followed a movement parallel to the steps by changing the vertical axis of her body in the stairs, where the routine movement was the most apparent. At the same time, thinking of their bodies as a receptor, they defined the boundaries of space and also their perceptual boundaries with their bodies. For instance, Performer A scanned the border walls, niches and the invisible borders that he perceived by his body. As it seems, each performance also differentiates from each other, and the performers’ bodily experiences and spatial identification criteria vary within themselves.

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Movement traces and photographs of the performers during the transition from the ground floor to the first floor

To start with Performer A , altering the existing data of the space appeared as the major factor to shape his movement pattern and restructure the spatial configuration in the space. He had performed by changing the routine usage of the areas with defined boundaries and reproduced new connections between these spaces.

For example, during the transition from the ground floor to the first floor, he did not follow the order as stairslanding-ground and constituted a new transition area by climbing to the railing between the stairs and the first floor.

According to Performer B, the variation on the body use was the primary factor that determines the relationship between body and space. The different positioning of the body provided different perceptions of space even within the same space. Within the space, the limits of the body were investigated, and it was tried to use the body to scale the space. These trials highlighted many places which the bodies do not penetrate in everyday movement. For example, the niches which located between the ground floor and the first floor were experienced in different ways of body use. The bodily experiments converted the area into a connected point between the stairs and the first floor.

For Performer C , environmental phenomena such as light, odor, temperature, color, texture were dominant for shaping her movement pattern and body-space interaction areas and recreating the spatial configuration. As an example, on the ground floor and following stairs, the natural light that comes from outside made the windows focal points for the performer. These points encouraged performer to move in a particular direction. At the same time, the varied density of light and the heat in entire space, motivated her to create her own separate spaces through the areas of this variance.

Cognitive map samples drawn by the performers

After each performative experience, the performers drew their own cognitive maps about how they perceived the space as cognitive maps appear to be the major sources of personal expressions. At the same time, their written and verbal narratives and the records of the performances are evaluated together with the performers. Their movement traces are also visualised as diagrammatic maps. Considering all these multi-layered narratives of the case study -to create a database ground that makes these subjects debatable by using space syntax- it is determined how space was divided into new spaces spaces and what kind of connections/links were created between them. In this way, it is possible to create a new perspective to think on a space by the intersection of cognitive and database parameters in addition to the conventional architectural practices.

Movement traces of the performers

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Reconsidering Performative Experience with Space Syntax On the purpose of decoding new spatial configurations created as a result of the case study, each performers’ cognitive maps were reconsidered in relation to the space syntax methodology. These reconsidered cognitive maps were structured based on the convex spaces ( Hillier & Hanson, 1984) and links to be able to work with depthmapX, as a space syntax tool. Thus, it can be analyzed how the performers restructured the same space by differentiating the use of their bodies through the configuration values -connectivity and integration- of the new convex spaces they create.

The convexes are organised according to the factors which are highlighted by the performers. In addition, the ways of experiencing the space -the variation of movements and how much the body interacts with the space- were considered as decisive factors in determining the types and dimensions of convexes. The boundaries of the convexes were defined in parallel with the threshold points of changes on body use and movement type. While a repetitive movement in a particular axis resulted in a corridor shaped convex, bodily researches in a defined point resulted in specialized convexes. The reference points and directive elements for performers were also treated as separate convexes. While creating all these convexes, the relationship with each other was one of the decisive factors for evaluating the maps. The spaces which performers avoided interacting were excluded from the relationship network between convexes and they are represented as grey areas in the maps. During the performance, links were established between the spaces that were physically or perceptually connected. Therefore, the relationship networks for the redefined convexes are attached to the maps. In order to understand what kind of character each convex has in this network and to observe each one’s effect on the configuration, varied analysis on cognitive maps are made by using space syntax tools.

Basic syntactic data regarding to routine movement and three performative experiences

“Connectivity measures the number of spaces immediately connecting a space of origin.” ”Integration is a normalized measures of distance from any a space of origin to all others in a system. In general, it calculates how close the origin space is to all other spaces, and can be seen as the measure of relative asymmetry.”

“A justified map/graph is one in which a node is drawn at the base, and the all points of depth 1 from that point are aligned horizontally immediately above it, all points at depth 2 from that point above those at depth 1, and so on until all levels of depth from that point are accounted for.”

(Hillier & Hanson, 1984).

These analysis were used to decode the new configurations which had formed by performers in space by analyzing each convex spaces roles and the interaction between them that corresponds to the links. Regarding to this aim; analysis on connectivity values were used to reveal the contribution of each convex to configuration network while justified graphs represented the interaction and connection between them.

Besides, the integration analysis were reflected the new spatial configurations with a holistic approach.

As a first step to analyze the effect of bodily experience on restructuring the space, individually created convex spaces has been examined through the connectivity analysis. When the connectivity values are examined specifically to each performative experience and comparatively to each other, it has been observed that the most connected areas are differentiated from the values of routine movement patterns. These areas are located at the intersection points of the areas which had most diversified bodily movement. Performers, who created their own spaces with their movement patterns, transform the spaces they pass through in order to provide a transition from new convexes to more connected spaces. Invisible potential transition areas become visible in this way.

In the routine movement pattern, a particular space can be connected / related to maximum 6 spaces around it, yet this number is increased to 11 over the performers’ restructured spatial configurations.

The maps of Performer A result in having more grey areas where are not experienced as he performs by altering the routine movement patterns and physical possibilities of space more than other performers. The sharp alterations on his movement pattern causes lower connectivity values in the areas that have higher connectivity values in other performers’ maps or the maps of routine use as it seem in the landing between ground floor stairs and first floor.

The ground floor map of Performer B has a low connectivity value in the central exhibition area while the areas in its orbital axis have higher values due to her movements that she performed through the orbit of the central exhibition area in the ground floor.

In the maps of Performer C, each floor has particular convexes with high connectivity values. One reasons of this is the high quantity of convexes (137) compare to other performers that she defined by the effects of environmental phenomena as heat in front of the heaters and light in front of windows and by her diversified bodily experiments that she did through the borders of the space, especially in the third floor. The variance and high quantity of the convexes bring along more connected convexes which has the function of connecting other convexes.

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Justified graphs are used to examine the relationships between convex spaces. The number of links in each condition are: 38 for routine movement, 121 for Performer A, 170 for Performer B and 202 for Performer C. When the graphs are compared with each other, it seems that shallow justified graphs of routine use gives way to deeper justified graphs of the performers’.

The performers’ graphs also differ from each other. While Performer B’s graph has the highest number of steps with 34, Performer C’s graph has the highest quantity of links. The difference of the graphs can also be seen from their mean depth values which reaches to 12,83 for Performer B while the other values are 5,23 for routine movement, 8,47 for Performer A and 12,50 for Performer C. The distribution of the links also differs for each graph remarkably. Whereas the floor with the highest number of links is ground floor for Performer A, it gives way to the second floor for Performer C. The significant effects of altering the connections between spaces through personal perception can be seen more clear when the justified graphs are compared with each other. If the graphs are moved out of the maps, it would not be possible to recognize that each configuration network belongs to same space.

38 links

121 links

170 links

21 steps

24 steps

34 steps

202 links 30 steps

mean depth: 5,23

mean depth: 8,47

mean depth: 12.83

mean depth: 12,50

mean integration: 0,22

mean integration: 0,29

mean integration: 0,31

mean integration: 0,33

Finally, integration values are considered to examine the holistic spatial cognition in detail. In routine use, integration values are in the expected order; while the numbers are decreasing to the edges of ground and roof floors, it has the highest values in the first floor which is located in the middle of the route. But this situation differentiates in the each experience, and with the new configurations of Performer A, ground floor has higher number than the other alternatives. In the same way, while the roof floor has quite low values in routine use, Performer B and Performer C are increased the integration values of this space by altering the spatial configurations. In this way, all the performers with their experiences tackle the space in more holistic way compared to the routine use, and the tower is encountered as a more integrated system; while the mean integration value of routine movement is 0,22, it is 0,29 for Performer A, 0,31 for Performer B and 0,33 for Performer C.

Conclusion During the performative process which is the basis of the research, the bodies formed interactions within the same space by altering the spatial configuration or adapting to existing spatial qualities. It makes possible to observe how different definitions of the same space had formed in accordance with different bodily behaviors through the cognitive maps created after the performances. Using space syntax to examine the obtained performative and cognitive data, established an analytical basis for the study. Together with the mathematical values and analytical graphs acquired through the space syntax, individual spatial perceptions were represented scientifically. The analytical data on the new spatial definitions and the altered spatial configurations makes the hidden potentials of the space visible. Space syntax also contributes to investigate the case in detail by revealing the role of each convex spaces with connectivity values as well as to examine the performative experience with a holistic approach through the integration values and justified graphs.

As a result of this study, indicating the dynamic relationship between body and space, the importance of layering the analyzes for perceiving and conceptualizing the space is discovered. Apart from the conventionalarchitectural practices, by re-examining and rethinking the data with varied tools and points of views, a method beyond the common practices is represented. The multi-layered analyzing process may enhance the bodily way of knowing and cognitive representation as well as space syntax methodology reciprocally.

This research system that provides varied viewpoints can open up new horizons to think on a space.

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INTERIOR DESIGN STUDIO IV Adaptive Re-use Multiple Functions (including Accomodation) İstanbul Technical University Advisor: Deniz Ayşe Kanoğlu 2O17

4 ARTIST RESIDENCY & ART GALLERY GALATA BEDESTENİ

The expectation for the interior design studio was to re-use Galata Bedesteni, a historical bazaar building, in a way that it can have multiple functions including accomodation. Galata Bedesteni, locates in Perşembe Pazarı Street, Karaköy and was constructed to support Ayasofya Foundation financially during the Ottoman Empire Era. The word “Bedesten” which is originated from the words “Bazzistan” or “Bazzaistan” in persian language, defines a closed bazaar to sell highpriced products as jewelry or textile.

Through the history, this function of the building changed and it started to be used for selling implement and hardware by different shops. In this process, varied unqualified parts are added to the building which damaged the historical construciton and an unorganized interior plan is shaped. In addition, the lack of conservation work in the building over the years caused the historical character of the building to lose its significance day by day. To regain the importance of the building while making it functional and conserving it, another main characteristic of the area is used which is the connection of the area with art.

Karaköy, Beyoğlu has also been an ideal area for artist studios and galleries for decades since it is close to production ateliers, material shops, art spaces and since it provides studios with more affordable rents. For this reason, many artist studios and art galleries have been located in the area. However, even though the galleries are known in this area, the studios where artworks are produced are generally unknown by public. Since it is thought that the production process of the artwork is as important as the artwork itself, it is decided to provide a collective art space where artworks can both be produced and exhibited while all the process is open to public. It is also planned to relocate the existing shops in another place in Perşembe Pazarı street and collaborating with them and the other shops / ateliers in the area for the prodcution of the artworks. This way, the building can also have a stronger relationship with its location.

In addition to these reasons, the fact that it is planned by the companies to convert the building to an hotel, an alternative and hybrid way of usage both for accomodation and for producing-exhibiting art is developed. Instead of a profit-oriented purpose that will offer a permanent, routine usage for a specific user group; a non-profit , collective and temporary usage is planned that can be shaped by the cycle of the different users and the artworks.

Perspective / Re-used Version of the Building

Elevation / Present State of the Building

Karaköy, Perşembe Pazarı

Through these factors, it is decided to create an interior space which allows different usages while protecting the historical construction. The main functions of the re-used building are exhibiting artworks, accomodation and collective art production. To be able to provide these functions, two new flats and six accomodation spheres are added inside the building. In this way, the interior is created through three different levels that all additional elements are carried by a secondary interior consturction which doesn’t touch to the building itself but follows its interior forms. While adding new elements, it is also planned to emphasize the historical interior forms. For example, the spheres that locates below the ceiling are thought as the negative space of the domes. However, only six spheres are added under the domes for making it possible to see the other three dome structures itself. In addition to these changes, the circulation of the building is also altered. The entrance which takes the users inside directly from Perşembe Pazarı Street, is converted to a glass showcase that can take attention from the street view. Instead, the door on the western side is planned as the new entrance. To direct the users to this entrance, an exterior construction is added that forms a semi-closed tunnel. For the vertical circulation, a spiral staircase is added in the middle of the building which also follows the vertical axis of a dome.

As it can be seen from the stairs, the metal interior construction and the spheres are also created to form an impressing atmosphere by exhibiting themselves.

Section Perspective A

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A

B

Ground Floor

First Floor

The ground floor is the main exhibition area. The entrance to this area is from the corridor which follows the entrance on the western side of the building. On the left side of the corridor, the information desk and the office is located. On the right, there is the storage area with foldable walls which makes it easier to put large scale artworks inside when it is needed.

The first floor contains the comm ing area mainly for the residents. which locates in the middle of the staircase landing continues along nuity and direction

Materials Brick Walls Black Metal Inner Structure White Epoxy Flooring Black Epoxy Flooring White Wooden Flooring Chrome Plate White Wall Paint Dark Red Wall Paint

2nd Floor

Temporary Accomodation Spheres Collective Production Area

1st Floor

Shared Spaces as Kitchen, Bathroom Personal Working Areas

Ground Floor

Adaptive Exhibition Area

munal kitchen, wet areas and workIt is reached by the spiral staircase e building. The black flooring of the g the floor, giving a sense of conti-

Second Floor The second floor includes the accomodation spheres and the collective production area. The access to the spheres is provided by the flooring that goes along the inner walls of the building. The same flooring also provides access for installing lighting or artworks to the interior construction.

Section Perspective B

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0. Original Roof Structure

2. The Spheres

1. Detachable Interior Construction

4. Directive Elements

3. Foldable Exhibition Walls

0. Original Building Structure

1. Detachable Interior Construction The interior construction is mainly designed to carry all additional elements and floorings. The reasons for not using original building walls for this purpose is to conserve them as they were before and to be able to make all additional elements detachable which makes it easier to change the interior for another future use without giving any damage to original structure. The detachable structure is thought as a reminder of ephemerality and flexibility of the funciton.

It also emphasize the original interior forms by following its traces. It points out the importance of all processes of art from producing to exhibiting by connecting all different funcitons and combine them under the same character.

The Spheres

Second Floor

4. Directive Elements

First Floor

Ground Floor

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1. Detachable Interior Construction

Usage of interior construction for installing lighting elements.

The Interiror Construction Usage of interior construction to hang art installations.

Usage of interior construction to support the flats and the stairs.

Shared Kitchen and Dining Area

Usage of interior construction to carry the spheres.

Collective Production Area

suspension detail.1

2. The Spheres

embedded lighting.2 embedded curtain.3 structure system.4 plumbing system.5

B

1 2 3 4

A

5

Layout Plan

Section A

Floor Plan

The spheres are designed as micro living spaces. They mainly meet the need of privacy and some other basic needs by including a toilet, a bed, a desk and several storage areas. Since it is aimed to practice a communal and transparent way of art production, all other areas in the building are shared spaces. The spheres are carried by the interior construction. The same construction is also used to connect the water pipes of the spheres to the plumbing system of the building.

The detachable and prefabricated characteristics of the spheres make it possible to construct and deconstruct them on-site. The down sides of the spheres are covered by chrome plates to reflect the interior light. It is also aimed to emphasize the accomodation function of the building by making the spheres visible other than providing an impressive interior atmosphere by the reflections on the chrome covered spheres.

Section B

Structure Plan

The adjustable covering system made of sunproof black fabric.

3. Foldable Exhibition Walls

A Layout Options

The lower parts of the columns are covered in a way that can include the openings for foldable wall panel units.

The foldable wall panel units are mounted in the specified openings.

B

C

The ground floor of the building is all surrounded by exctractable exhibition wall panels. In addition to these high lenght walls, the original brick columns which are in the middle of the building are covered with foldable wall panel units. The reason to use foldable wall panels is to be able to provide varied design options by creating different layouts for different exhibitions. Above, some layout options are shown. In diagram A, the ground floor is used without any partition walls. The diagram B descibres a space with two seperate closed parts and an area without any partiton.

In the diagram C, all area is divided into two closed and some semi-open parts.

The foldable walls which are embedded in the units are opened to create the intended separations.

After opening the foldable walls completely, necessary dividing walls are created and can be used as exhibition walls.

The Exhibition Area

4. Directive Elements

The circulation systems are one of the most important things in art spaces since they directly affect the perception of the users by shaping their movement patterns. Due to this effect which is also the reason for the flexible design of the exhibition area, several directive elements are added. One of these directive elements, the glass showcase aims to engage attention from the main street. The feeling of “seeing inside but not being able to get in directly from this point� was planned to arouse users curiosity. At this point, the arc shaped structure is added as an invitation to get in. The perceptual tunnel that the structure provides and the following interior corridor which need to be passed to get in, were planned to strengthen the feeling of users to get out of the busy street flow and move to another area. The spiral staircase is located in the middle of the building to connect the production and exhibition areas of the artwork other than emphasizing the domes of the historical structure and providing a focal point for the interior atmosphere.

Glass showcase on the main street

The Entrance

Night view of the showcase

INTERIOR ARCHITECTURE STUDIO III INNOVATION LAB

in collaboration with Bengisu Öten İstanbul Technical University Advisors: Bahadır Numan, Emine Görgül 2O17

5 COGNITIVE EXPERIENCE LAB (BLOB LAB) ITU FACULTY OF ARCHITECTURE

The cognitive experience lab is produced for an interior design studio that expects to think on and design an innovation lab in the ITU Faculty of Architecture by considering the labs corporality, identity, domesticity and facilitation. Regarding this aim, it is decided to design an unfamiliar, provocative, enigmatic and experimental lab inside the faculty which can evoke the senses and make the users (mainly students) think about cognition.

The lab basically investigates the effects on different senses on people by designing experiments in and outside of the lab. Its unfamiliar “blob like” appearence aims to provide and unfamiliar and provocative atmosphere that can evoke the feeling of curiosity since the lab aspires to collect several experimental data. For this reason, variations take an important role for the lab. It is run by a core team which includes scientist, designers, researchers, artist and makers and it embraces the collaborations with other participants or supporters from varied disciplines. By researching and designing cognitive experiences and by using the experience as a source of knowledge, it aspires to widen its impact on a larger scale than the physical space it occupies.

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BLOB LAB Blob lab is an innovation lab located in Ä°TU Faculty of Architecture. The main purpose of the lab is

experiencing the body by creating and using sensual illusions.

The blob lab identifies itself as a provacative and

unfamiliar place. It est-

abilshes connections between art, science and senses and produces a place, which people can question their self awareness.

There are 7 main parts inside of the blob lab. 5 different blob spaces for each sense, 1 blob for artists and designers, 1 blob for meetings. and these blobs are constructing a labyrinth by their negative space, which people can experience the final testing productions of the lab, for example people can try new tastes on the licking wall in the labyrinth under the blobs.

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Second blob is for designers and artists.

The users are testing how they can turn the results of the sensual productions into an experience.

The first blob is the main blob. It’s designed for meetings between artists and designers and the scientists that they can produce their products and ideas together for providing new experiences.

The fourth blob is about tactual sense. In this blob it is searched for human reactions for different materials and surfaces.

The third blob is about the sense of taste. In this blob it is searched for human reactions on different mixtures of tastes and psychological effects of these mixtures.

The fifth blob is about the sense of smell.

In this blob researchers are searching for human reactions for different mixture of scents and psychological effects of these mixtures.

The sixth blob is, about eyesight and sense of hearing. ĂŽn this blob it is searched for human reactions for different ligts and sounds.

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Section A

Section B

Plan

CIRCULATION BETWEEN BLOBS EXPERIMENTAL CIRCULATION AREA

PUBLIC

SEMI PRIVATE

SEMI PUBLIC

PRIVATE

4000 K

3000 K

3500 K

2800 K

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FIGMENT CITY OF DREAMS PAVILION COMPETITION Öney Architecture Intern Architect Content Developing / Design 2O17

6 THE GOVERNORS ISLAND PAVILION NEW YORK CITY

The pavilion proposal is developed for the seventh “The city of dreams pavilion” competition which is held

by FIGMENT in the Governors Island, New York. The expectation for the pavilion is to design a gathering place for people to meet, learn about the art programs on the island, enjoy a performance or lecture, and experiment the interaction of the art and the hitoric context on Governors Island. In addition, the sustainability is another main concept of the competition. As a first step to design, the gathering place and the other expected functions of the pavilion are considered through the idea of defining spatiality with a structure that can gain its program later on. This idea of “post-programming” is evaluated in parallel with the ideas of Aldo Van Eyck. To define a space, it is decided to design a lightweight structure that can be in relation with the historical context of the island. At this point, the tetrahedral kites of Alexander Graham Bell are taken as inspiration. By the examination of these kites’ structure and main principals, a modular pavilion concept which is made of reused materials is evaluated. Other than this relation of the pavilion with the concept of sustainability, it is also thought that the sustainability is not just about dismounting, but providing the pavilion a social / symbolic afterlife once it has served its spatial function. Through these decisions, a modular sphere sheped pavilion that can divide into modules and move by the wind is designed. Varied usage options are planned for the pavilion to make it adaptable for several functions.

New York, The Governors Island

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Governors Island is a 172-acre island in the heart of New York Harbor.

Yards away from lower Manhattan and Brooklyn, it’s easily accessible by ferry and open to the public during the summer.

“Each year, more than 5OO,OOO people visit the island through its summer season to engage in a variety of arts and cultural programs, as well as to enjoy summertime activities like picnicking and bike riding on the island.”

The Pavilion Concept 2

1 The history of the Governors Island *First succesful flight trial of Wright brothers happened in Governors Island.

2 A lightweight structure which provides shadow and defines spatiality *Tetrahedral kites of Alexander Graham Bell.

3 The systems which create interaction between nature and humanity The vision of the Island which is “creating a recreational landscape area” after its army base charecteristic is decommissioned

2

4 Air as a “borrowed material” The true sustainability is not just about dismounting, but providing the pavilion a social / symbolic afterlife once it has served its spatial function.

5 The idea of post-programming “A building is more than the sum of it’s functions; architecture has to facilitate human activity and promote social interaction” Aldo Van Eyck

Main Unit

Possible orders created by the repetition of the unit

Final Modules

Module A

Module B

The Structure

The Inner Frame

The Covering

The pavilion modules can be fractionated and can float in the air due to their aereodynamic structre.

Elevation

Alternative Positions

1 Defining space by pavillions form

2 Defining space by pavillions form, floating modules and the shadow under the dome

3 Defining space directly under and around the dome

Plan

Plan Elevation

ÖNEY Architecture Intern Architect Content Developing / Design

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2O17

SUMA BEACH INSTALLATION KİLYOS / İSTANBUL

Suma Beach is a place that both works as a private beach and a party place. It is far from the center and located in Kilyos, the northern part of İstanbul. The expectation for the project was to design a temporary installation which can provide an atmosphere both for daytime and nighttime usages in regard to the different activities happening in the area. When the area is analysed, it is observed that the horizontal settlement in a wide area without any visual reference points is one of the factors that can be changed to provide an atmosphere. It is also decided to design an installation with a lightweight structure in accordance with the untouched, plain characteristic of the beach. Benefiting from the environmental phenomena as wind, shadow and sun was another design criteria for the project.

Regarding all these parameters, an installation with a cylindrical studs which supports other circular and organic forms is designed. For organic forms, textile is used while circular forms is provided by huge metal hoops. In addition to the geometrical shapes, neon and vibrant colors are chosen to enhance the visual effect. Other than generating vertical reference points, the installation also switch the visual focus from a narrow visual angle to a wide one when the installation route is followed. At nighttime, the rings which frame the sky view, also provides light for the events.

2

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Suma Beach

3

4

2

1

The Route Plan

The first part of the installation which is designed for the event space. It provides shadow in daytime and light for nighttime. The rings are framing the sky and the neon coloured fabrics provide visual effects.

1

1

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1

2

4

The second part directs the users to beach from the event space. It starts as a tunnel and ends as a thin, strechted fabric through the way.

2

The third part locates on the beach. It defines the second event space by the oblique located studs.

3

The forth part is an alternative for beach area. Cylinrical shapes and hanged vertical tubes are used instead of studs. The structure of the tubes are inspired by foldable fishing traps.

3

4

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LANDSCAPE & URBAN DESIGN BARN Architecture Intern Architect Concept Design, Visualisation and Presantation 2O18

8 ZONGULDAK COASTAL ARRANGEMENT

Orta Kapuz & Tersane Coastline and Surrounding

The project is one of the coastal arrangement projects carried out within the scope of Zonguldak Nature and Culture Tourism (Project 67) developed by Kivi for Zonguldak Governorate, integrated with Zonguldak Tourism Development Plan.

In the project, which deals with the arrangements of Zonguldak Tersane-Orta Kapuz Beach and its surrounding, by the aim of strengthening the communication of the city users and visitors with the sea; walking route, recreation areas and activities for the development of sea tourism are proposed. Considering the preservation of the existing geographical structure of the region, a coastal design that will integrate with the industrial identity of the city has been developed.

The project area is 6 minutes by car from the city center. In the current use, the connection between Fener district and the city center weakens through the Fener-Uzunkum axis, in the Regional Directorate of Forestry area specifically. In the project, a pedestrian walking axis from the center to the Uzunkum region is defined by providing a new pedestrian path connection through the coast of the area where the Forest Regional Directorate is located.

For the coastal area, beaches, observation areas, shading areas, jumping tower and water sports facility have been proposed. An underpass proposed to provide an alternative entry point to the neighboring Kapuz beach between the Orta Kapuz and the park area.

Buffet - restaurant volumes have been designed by considering the usage of the area for all seasons and they have been positioned in accordance with the climatic conditions. The volumes that users can access to the area to meet their needs easily are critical in terms of supporting social activities in the area.

The project aims to expose city potentials with current natural rehabilitations and sustainable suggestions by affecting the city use and tourism strategies in a short time.

http://www.arkiv.com.tr/proje/zonguldak-orta-kapuz-tersane-ve-yakin-cevresi-duzenleme-projesi/10151

Present State / Analysis

Section A

Section B

Section C

Fener-Uzunkum Line

Section D

Photographs of the present state

Section E

Section F

1

2

3 6 5 8

4 7

11 14 12

13

9 10

15 16

1.Parking Area 2.Underpass 3.Observation Area 4.Service Road 5.Observation Area 6.Stone Beach 7.Kiosque 8.Diving Tower 9.Service Road 10.Restroom, Shower, Storage 11.Restaurant 12.Shading Area 13.Event Area 14.Walking & Observation Area 15.Lifeguard, Kiosque, Pier 16.Water Sport Club A.Landscape Rehabilitation B.Recreation Facilities C.Beaches & Temporary Structures

A

C

B

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Pedestrian Way

Bay / Institution 1 Bay / Institution 2

Service Road

Landscape Area 3

Landscape Area 1

Landscape Area 2

Bay / Institution 3

Instead of the unfunctional parking lot used for Kapuz beach, a new type of landscaping is proposed that can be used as park in winter and parking lot in summer. In addition, the vehicle road between the Kapuz District Headquarters and the Topbaşı region is not convenient for pedestrians and vehicles. Foreseeing that the Mithatpaşa Tunnel which will be opened in the future will decrease the density, the coastal road which continues from Kapuz Neighborhood Headquarters to Topbaşı region has been rearranged.

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EXHIBITION DESIGN CURATION 3D MODELLING & VISUALISATION ARTIST BOOK EDITING PRODUCTION MANAGEMENT PROJECT ASSISTANCE

in collaboration with Sinem Dişli Karşılaşmalar 2019-2O20

9 CONTRIBUTED ART PROJECTS Galata Greek Primary School, Ara Güler Museum Leica Gallery İstanbul, Yapı Kredi Museum, DEPO Gallery, CER Modern, TOZ Artist Run Space

This part includes varied art projects with different contributions. For the first projects in order: “Hollows & Mounds” and “Karagöz, My Dear”, it is worked from the beginning of the concept till the opening of the exhibition.

Through this process, curation, concept design, exhibition design or production phases are all experienced and varied knowledge is gained on different topics. This section also includes the realization of other exhibition projects by 3D modelling which the content and concept ideas are decided. The concept and design ideas are done by an exhibition design team named “Karşılaşmalar”. Together with this group, the ideas are tried in 3D models and the architectural solutions are discussed in accordance with the design concept. The decisions for colors and materials are made. The necassary controls are done mainly for the content of the exhibition. In addition to these experiences on exhibition design process, varied information is gained on design. For example, by taking part of the exhibition “Shared Sacred Sites” which is opened in two different art galleries, Depo and Cer Modern, with different interior design ideas, the effects of the space on content is experienced. Similarly, the exhibition “Aynı Rüyanın İçinde” which is opened in Ara Güler Museum, made it possible to think on the impact of interior design since it is worked in this museum for another exhibition design (Hollows&Mounds) before. For these reasons, the reciprocal relationship between the events, time and space is experienced and several information is gained to use for further design projects.

Exhibition: “Eyelids, two friends two foes” Sevim Sancaktar Galata Greek Primary School, 2019 3D Modelling & Visualisation

Artist Book: “Hollows & Mounds” Sinem Dişli Ara Güler Museum Publishing, 2019 Project Assistance & Editing https://vimeo.com/380254956

Exhibition: “Hollows & Mounds” Sinem Dişli Leica Gallery İstanbul, 2019 Exhibition Design, Curation Production Management, Project Assistance http://www.sinemdisli.com/SinemDisli_HollowsAndMounds.pdf

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Exhibition: “Hollows & Mounds” Sinem Dişli Leica Gallery İstanbul, 2019 Exhibition Design, Curation Production Management, Project Assistance

*Exhibition Photographs: Korhan Karaoysal

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Exhibition: “Karagöz, My Dear” Yapı Kredi Museum, 2020 Exhibition Design

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Exhibition: “Rutubet” Toz Artist Run Space, 2017 3D Modelling & Visualisation Architectural Solutions http://www.sinemdisli.com/rutubet.html

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Exhibition: “Shared Sacred Sites�

DEPO Gallery, 2019 3D Modelling & Visualisation Architectural Solutions http://www.depoistanbul.net/event/paylasilan-kutsal-mekanlar/

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Exhibition: “Shared Sacred Sites�

CER Modern, 2020 3D Modelling & Visualisation Architectural Solutions

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Exhibition: “Inside The Same Dream” Ara Güler Museum, 2020 3D Modelling & Visualisation Architectural Solutions

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PERFORMANCE Performer in collaboration with Dadans Creative Performers: Dila Yumurtacı, Melek Nur Dudu, Merve Uzunosman, Neslihan Koyuncu 2O19

1O PERFORMANCE: “ON RELATIVITY” Sakıp Sabancı Museum Saint Joseph Private French High School

This performance is practised in two different places and times with different groups. The concept of the performance is developed by Dadans, a group of performance artists. For each time and space the performance is differentiated by the effects of time, space and the performers.

Explanation of the work by Dadans We are surrounded by surfaces that we can see and touch. These surfaces can be defined by the individual as familiar or unfamiliar and they help one to get to know oneself. In this performance that focuses on the relationship of the individual with her/his own reflection, reflecting surfaces are sometimes another individual, sometimes an object. How is the individual influenced by her/ his own reflection? Do we transform into our own reflection or does our own reflection transform into us? Experiencing the phases of transformation through movement research, performers question the phases of acknowledgment, exposure and the marks left after the end of transformation.

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PHOTOGRAPHY & ARCHITECTURE İstanbul Technical University Advisor: Ali Taptık

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2O15

ARCHITECTURAL PHOTOGRAPHY Mimar Sinan Fine Arts University Building (Çifte Saraylar)

This project is developed for an undergradute course which aims to produce a visual document of a building in a booklet format by following the rules of architectural photography. Some of the photographs are shown through the next pages. For the project, the fine arts faculty buildings of Mimar Sinan University are chosen to be documented.

The History The buildings are constructed in 1859 by architect Garabet Amira Balyan as palaces for the daughters of sultan Abdülmecit in Fındıklı, Beyoğlu. They are called as “Çifte Saraylar” which means pair of palaces or two palaces. Each palace is named by each dauhgthers names as Cemile Sultan Palace and Münire Sultan Palace. Through the history, the buildings are also used for varied purposes as parliament building, court house building or high school building. Cemile Sultan Palace is burnt in fire in 1948 and is reconstructed with varied changes in 1953 by architects Sedat Hakkı Eldem and Mehmet Ali Handan. Münire Sultan Palace is also reconstructed in 1975 by Sedat Hakkı Eldem.

After this year, both palaces are started to be used as the fine arts faculty of Mimar Sinan University.

Due to the reconstruction, the building has the features of modern architecture in addition to its original characteristics. The old wooden construction was completely removed and the new structure was made of reinforced concrete. The flats were reorganized. The inteior plan was altered with the purpose of providing necessary areas for a university as studios, classrooms, library and conference hall.

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Thank you for your time.