Nazli Ergani Portfolio
Š 2014 by Nazli Ergani All rights reserved.
2
Nazli Ergani b. 1990, Istanbul Columbia University GSAPP Master of Science in Advanced Architectural Design, 2014 Rhode Island School of Design Bachelor of Architecture, 2013 Bachelor of Fine Arts, 2013
3
4
CONTENTS
Studio Work
House of the Myth: Inhabiting the Distance [Renwick Revisited] Urban Nomad Alewife Artist Housing Maps,Stories and Buildings; Hotel Vista Cambridge Montessori School Marionette Theatre
Collaborative Work
Slaughterhouse Ecuador Design Build Morph The Living Room
Professional Work
Chaumont de Loire Atlanta History Center Doluca Winery
Art and Research Work
Culture Shift Architectural Photography Jewelry Installations
5
6
Studio Work
7
House of the Myth: Inhabiting the Distance Thesis Spring 2013, RISD Advisor: David Gersten “…..you Muses of Olympus, daughters of Zeus whose shield is rolling thunder, sing, sing in memory all who gathered under Troy.” The Iliad , 2.580-582 As performers in the real world, we are in constant motion, so is the history and place, layering the information of the past. Our procession unfolds through movement to activate new configurations. The space of encounter is the hidden element, a place, a void that is in anticipation; which awaits for a new conversation to begin; between light and dark, past and present, reality and myth. Through exploration the nuance in observation, sensory acts and the interplay of perception through movement in the archeological site of Troia. Between light and dark, interstitial spaces house the Muses, composing the memory of the layered human experience in place. The ground is the “in-between”, conducting the separation between past and present, allowing the layers of the history to induce the present, as the body oscillates through. The excavated cut of the ground activates the conversation between all the layers by moving down in time; thus what is distant becomes intimate through the introduction of the present and the light into the cut. 8
By means of the first person view the history, the place becomes grounded, revealing the interconnected story of Troia. There are two scales of movement: the internal and the external. The latter takes the visitor down and up through a ramp that allows the third person view to the house of the myth, as it becomes a direct path that is a translation of walking through history. As the ramp elevates the depth of the houses change according to their standing along the rising path. Whereas the former movement unfolds in section creating a continuous flow bringing an experiential procession that literally digs through layer and re-stitches which creates a sequence along the path. This progression allows the inhabitant to breathe and register with the current horizon line. The myth gains a literal dimension with time, telling and distance. One disengages from the present by going down in the ground, which introduces the multiple presents to the inhabitant. The subtle gradiations in perspective reveal the depression that activates the fourth dimension otherwise the ground remains flat. The changing point of view rearticulates the seeing of the distant and the seeing of the distance, as it creates a phenomenal experience of the movement with the changing horizon line that corresponds to ground. The distant, mid and foreground collapses, enabling the inanimate to become alive. The House of the Muses poses to stimulate the ability of imagination and empathy to think here and now,but also imagine the past. While the occupation of the in between captures the present, that gives the path a constructed experience. The myth is sensed rather than only understood, through mediation between the times of the past and the present through the re-engineered telling. As movement is something stable, like time and being, one keeps it going through inhabitation.
9
10
Bench
Nature of interaction allows the in-between to be activated and be spoken. Thinking about the silence, the design and the form is conducted through the relation of the body. The new set of relation is also an occupation of the third dimension and even may be the fourth that corresponds to time. The middle is the hidden element, the inactivated space in between.
11
occupying the void
This makes the temporal dimension of the work, the other dimension,is hidden in the work. The in-between does not necessarily be the physical aspect but also the temporal existance of the work. The transition and the movement also becomes a stable element in the work, allowing me to explore the act.
12
figure ll figure
Background is constantly inter-changable, the interactions reveals another’s presence beyond their surfaces. Thus the figure-ground relation seems to be inverses, allowing the work to become double sided. In the sequence, the in between speaks the language of light. It reveals itself through cuts, shifts and folds. The depression and extension has a continuos dialogue that revokes the light. It catches, transmits and reveals. 13
Interval
Through the use of the hand. the volumetric expression of the print series find their life in a stop motion video, that responds to the notion of time. The layered experience of the prints activates the series of the excavation that adds another layer. The interval becomes the activator, that animates the space as the prints build up a three dimensional experience of the move.
Movie stills from “Interval� stop-motion 14
Drawing the screens
The act of de bordering questions of the limitation or the expansion of space started to occur. The limitation lies in the movement of the inhabitant, thus the perception changes as we move along/within the space.
15
Screens
As the body moves along, there is an embodied memory that builds up the space. The difference among the first and the last states allow an undulating surface to capture the experience within.
16
Letting the body become the inhabitants in the space. The seires takes the inhabitant as the first person point of view and represents an activated procession. The planes are located apart from eachoter that questions the relation of fore,mid and the distant view. Between the ideas of long and short perspective brings an immediate change which eye adjusts as it moves along, differenciating between the intimate and distant relation to the planes.
fore/ mid/ distant ground 17
The body, as the active element as the viewer is present, yet the activation occurs when the viewer rotates around the piece to activate the visually constructed path. The inhabitant is the viewer as well as the light. The changing openings allow the patterning of the illuminated path which brings the viewer in and out of the piece as well as rotating around defining ““parallax�
Depth of flatness
18
Flateness of depth
the focus and depth is the element that forms the optical definition, allowing the viewer to question the surfaces defined by light. The background is brought to the foreground blurring the edges and the horizon line that is defined by the varying shades. The adjustment to the horizon line and the depth is the understanding of a compressed space in which the eye is in constant search for the horizon to register oneself.
19
Site plan
Being of the UNESCO heritage sites, Troia, is an archeological and architectural graveyard. A site that bears 5000 years of history, myth and speculations. It is a site of layers and the collapse of time and layers. When we look at the history. we should be asking where do we stand in Troia. I has been a place that has been alienated from itself, the question should be how do we represent Troia through its own story and the place itself. 20
Layered site plan
Light and archeology interferes with, along with the movement. The geology of the site consist of nine layers of civilizations that are built and destroyed on top of each other. Light joins everything together, curating the present tense experience of the myth, including the Homeric Troia. The layered understanding of the ground brings the sense of rootedness, anchoring the past into its place, a reenactment of the telling. The act of architecture conntains the telling. 21
the site projects the composed human experience through movement, bringing one down into the ground to experience the field/ ground/history and myth that is embedded within the ground. An excavated cut of the ground activates the conversation between the layers of the ground, by moving down in time through successions. What is distant becomes the intimate by introducing the present and the light. By introducing the first person view the history, the place becomes grounded, revealing the interconnected story of Troia. A continuous flow brings an experiential procession that literally digs through layer and re-stitches. The light also becomes the inhabitant, a protagonist in the story that follows the self. It leads the continuous procession, by illumnating and framing the points of entry and points of disengagement. The excavated path lies next to the road that takes the visitor from the Tevfikiye Village, which is considered as the tenth layer of Troia, to the architectural site. it is a procession from literal present to the past and from timed past to present.
light studies 22
One disengages from the present by going down the ground, which introduces the multiple presents to the viewer, thus reengineering the telling process of the literal history. The subtle gradiations in perspective reveals the depression that activates the other dimension. Without the third dimension, the ground rematins flat,. The changing point of view rearticulates the seeing of the distant and the seeing of the distance, and creates a phenomnal experience of the movement with the changing horizon line that corresponds to ground. The distant, mid and foreground collapses, enabling the inanimate to become alive.
Axonometric houses
23
Inside out site model
The house of the muses asks to active the ability of imagination and empathy to think here and now and imagine the past. the place is sensed rather than understood, that creates the spacetimes, mediating betweeen the times of the past and the present. The occupation of the in between captures the present, giving the path a constructed experience.
24
25
26
The scale of movement is directly related with the depth that the current ground brings. The houses are dispersed equally among the path to reinvent the circulation and both in section and plan. The houses are grouped to register a constructed myth narrative.
Site model
Site plan and sectioin
27
Shifting scale perspective
There are two scales of movement, internal and external, The external takes the visitor down and up through a ramp that allows the third person view to the house of the myth. It becomes a direct path that is a translation of walking through history. Whereas the internalized path takes one from a house to another, which are interlinked through an underground path. The secondary experience of being underground is further expressed with the stitching action of the circulation that re-tell.
Shifting scale perspective 28
Rotating house section
Rotating house sections 29
The movement unfolds insection creating a sequence along the path. Going under and going over action allows the viewer to breathe and register with the current horizon line. As the ramp elevates the volumes of the houses shrink,their depth changes according to their standing along the path. thus creating a literal dimension with time, telling and distance.
30
Unfolded interior elevation
31
32
Plan perspectives
33
34
Rotating perspectives
35
Towards the underground passage
Skylight
36
Entering the house
Inside the house
37
Renwick Revisited Fall 2013, GSAPP Instructor: Marc Tsurumaki We perceive spaces around us through a set of perceptive laws of the Gestalt theory in which the discrepancies in visual information are bridged by our mind. This decomposition is conducted through creating a space for arts outside of Manhattan, within the Roosevelt Island. The art institute is situated in the deserted Renwick Ruins, as an act of refoming the deinstitutionalized, mental institution. The program of the institute acts as a space of experimentation to study these differences in perception as well as a place to showcase these differences in perception in the form of art. The program takes on the role of a facilitator to study the relationship of the whole and parts, as both the artist and the public eventually become the test subjects for the researchers whom have expertise in the Gestalt Psychology, whom also reside with the building. There is an inversion of figure ground, that allows the freestanding facade of the old building to become a threshold between inside and outside. Both the public and the artist, oscillate in and out of the facade,as well as meiendaring between the notion of perceiving part and whole. As the Four Freedom Park is adjacent to the building, the inversion of inside out allows the memorial to extend within the building, blurring the boudaries between insideout and public- private.
38
39
interior wrapping public program
40
exterior wrapping individualized program
Nesting the program
Echoing of the facade
Visual relations [framing] 41
framing the path[interior]
framing the entrance Framing devices
42
Framing the individual
43
Visual and haptic relations
44
Exploded axon
View of the library 45
A’
LEVEL 00
LEVEL -01 A
N N
Plans : 1’=1/16”
Section Sect c C-C’ C , 1’=1/16” C’ 16” 16
Section B-B’ , 1’=1/8”
Section B-B’
46
C
C’
B
B’
LEVEL 01
LEVEL 02
N N
Plans
Section A-A’ , 1’=1//8”
Section C-C’
47
Artist Gallery Entry
Fou ourr Fre reed edom ed omss Par om arkk
48
Performance Space
Section A-A’
49
Artist catwalk, facing the installation galley
50
Catwalk
51
52
Atrium
53
Urban Nomad Summer 2013, GSAPP Instructor: Joaquim Moreno Urban Nomad seeks for the balance between adapted and the inherited lifestyle. The nomad searches for the domestic in the double meaning, to differentiate the routine from the ritual which is about time and purpose. The kitchen becomes the site, as it becomes a vessel that holds and transmits knowledge, narrative and performance. The double is yielded through the table, as a physical element and as a conceptual organizing element. The table is the decoration, but it yields the event by changing from vertical to a horizontal domain. It is the technique that determines the function. Based on the research the lamb becomes the measure, the gap/in-between which prepares for the ritual, that can happen twice a year. Once you have your lamb cut into parts, one recreates the ritual by flavoring to bring difference to the table. The kitchen prepares for such a setup. As the table and eating is an important event for the day, the “temporary� makes such event a memory, an experience. This further accentuates on realization of the space for eating.
54
AS
DR Y
RR
CU
UT
EL H ANO
THYME
RAS
MA
RM OU SEA SA
LA LT
FRA SPIC Y WA GRAN RM T
W COM ARM PLE X
PO LEM W O WA ER R
THYME LEAVES
GA BLACK RPLIC E LEMON PPER OREGANOIL SALT O MARJOR AM
KEEMA CURRY
STRON SMOKYG
ICE
DRY MINT Y
RIKA PAP VES CLO MIN CU MEG ER D NUT PEPPER N ICE CK PER P EL N IN C BLA ED PEP IL IC R ER R M E O M
CHE
BLA GAR L LE CK PE IC OREMON PPER G OI ROS SAL ANO L E T COR SAGMARY I A CIN N E PARNAM DER O S F N CEL ENN LEY E E CUMRY SE L IN ED
FUL L PLE FLAV ASA OR NT ED
E
SP IC
MINT LEAV ES
ROSEMARY NEEDLES SPEA R RK ISH
TU
CUR
NATURAL PACIFIC SSMOKED EA SA LT
NY UL F M
E PIC
IAN SP
T SWEET Y MINBTLE SU
CO A RI F LL A CU EN S TU GAR M CA GIN RM RD G A
PAPRIKA CARDAMOM CORIANDEEGR NUTM SALT RED PEPPOENR CINNAM ONION GINGER
BL PAPR AC SA C KP G UM RE ORE AR PAD PE G RS
WARM SWEET HOT
ICE SMOKED
RE CORD PEP GI IAND PER ON NGER ER I CINFENN ON N E ANI GARAMONL L NU SE SE IC C TUR TME ED BLA ARDA MER G CK MO IC PEP M PE R
S TE NA
ERRAN
RITUAL A GR
ME
MEDIT PO
AL CORIL SPICE A GIN NDER ON GER F ION CI ENNE ANINS NAMOL NU E SEE N T TME D CA URME G BLACRDAMORIC K PE M PPE R
SLIGHTLY LEMONSWEET Y
VES
GY TAN IC Y SP LICKY GAR
CE O DAL VAN
RED CHILI CARDAMOM CORIANDREIRC TURME CINNAMON ER BLACK PRELPICP GA GINGER PAPRIKA
SPIC Y
XTRIN ROSEMARY NEEDLES SPE TO DE OKE ARM MALSQUITE SM INT LEA ME
PE SWE WA PPE R
ET Y R M
SPICE
RY
DER IAN COR PRIKA PA IN CUMLA OIL O D CAN TIC ACI ER ACE D PEPPNGER RE ND GI CID A OU GR CITRIC ERIC ER M D TURIC POW L GAR
BERBERE SPI IKA R LT EPPE IN IC L NO A PER P EY L
P AT S
UR
AR BAH
ER
UB
PP
PE
GREEK
Y NG TA OUR T S EE SW
S RIT PER Y G EP SO CK P N OILID A O C BL LEM RIC A OSE IC T XTR AR E OIL DE SUG ABL T GE VE
ANO OREGASIL B ME THY ORAM J MARAGE S LEY PARSWEED DILL EMARY ROS
Y SMOKTY NUT
ATE AN GR ER ME WD PO PO
Y ON RY LEMPPE PE
E FLO
OT LY H GHT SLI
ROUTINE
MINT Y
SW FRE EET COO SH L
TABLE vs, TABLE
55
NY UL F M
RIKA PAP VES CLO MIN CU MEG NUT PEPPER CK PER BLA ED PEP
OT LY H GHT SLI
ER ND ICE P EL N IN CO R LL IA NS
ABLE
UIT MESQ
BR
LAM
ON LEM
PO LEM W O WA ER R
NE PAPRIKA CARDAMOM CORIANDEEGR NUTM SALT RED PEPPOENR CINNAM ONION GINGER
SPIC Y
GA BLACK RPLIC E LEMON PPER OREGANOIL SA O MARJOLRT AM
FUL L PLE FLAV ASA OR NT ED BLA GAR L LE CK PE IC OREMON PPER G OI ROS SAL ANO L E T CO SA MAR CINRIAN GE Y PARNAM DER O CEL FENNSLEY N ERY EL
SLIGHTLY LEMONSWEET Y
KITCHEN IS THE NEW HOME! TABLE VS TABLE
Y ON RY LEMPPE PE Y SO C A BL
GR
BE
the urban nomad tandirhouse the urbanthe nomad the tandirhouse
room
ocak kitchen kitchen kitch
kitchen kitc itchen n room
ocak kitchen kitchen kitch
room
kitchen kitc itchen n
room
courtyard co courty yard arrd
room room
courtyard co courty yard arrd
inner courtyard courty rtyard ard
barn
barn
kitchen kitche tchen n
room
inner courtyard courty rtyard ard
courtyard
inner courtyard
kitchen kitche tchen n
room
inner courtyard
courtyard
PASSING THROUGH THRESHOLDS PASSING THROUGH THRESHOLDS
RUMFORD KITCH RUMFORD KITCHEN
Kitchen as the threshold
MAKING OF THE TANDIR MAKING OF THE TANDIR
12 am 12 am
+1.8 m
showcasing shelving showcasing shelving
+1.8 m
c o o ki n g
g
living
n epi sle
12 pm
g
living
c o o ki n g
s howcasing
12 pm
n epi sle
+0.5 m +0.3 m
s howcasing +0.5 m +0.3 m
+0 m
+0 m 12 am
PROGRAMMING THE TANDIRHOUSE PROGRAMMING THE TANDIRHOUSE
56
12 am
Programming the kitchen
6 am
12 pm
6 pm
12 am 2
E OUSE
L LANDSCAPES OF THE KITCHEN KITCHEN
2
72m
COOKING SLEEPING LIVING SHELVING
UNFOLDING THE KITCHEN
6 pm
12 am 2
KITCHEN
2
72m
COOKING SLEEPING LIVING SHELVING
DING THE KITCHEN
Unfolding the kitchen
57
the urban nomad lamb from farm to table
LAMB /77 lbs PEN
STUNNING STICKING
1 H 20 MINS
5 MINS
20 SEC
3 SEC
BLEEDING
MEAT PROCESSING
f farm
slaugterhouse g
4-12 months
3 hours
TIMELINE FOR THE PROCESSING 58
12 months
5 day
TEXTILE USE EXHAUST HAIR / 3 lbs SOLID WASTE
BIOGAS
FERTILIZER SKIN / 35.5 lbs
CLARIFICATION TREATMEN TREA TMENTT
SKINNING WASHING EVISCERATION RECTUM BLADDER
FOR CURING PURPOSES
RUMEN
0.6 L
STOMACH INTESSTINES HEEART HEART
DISTRIBUTION
KIDN KIDNEY NEYS YS
COLD STORAGE 25-32 F
HEAD D
RESTAURANTS
30 MINS
LAMB 41.5 lbs
CARCASS
meat markets 20- 40 min awayy
OVERNIGHT CHILLING 32- 40 F
BUTCHER SHOPS
grass fed lamb farms slaughterhouses
2-3 h awayy 1-1.5 h awayy Mear processing
meat market
kitchen 6 months From farm to table 59
LAMB TONGUE LAMB SOUP BONES GROUND LAMB LEG OF LAMB ROUND STEAK SIRLOIN ROAST SIRLOIN CHOPS LAMB CHOPS RACK OF LAMB SHOULDER ROAST ARM ROAST ARM CHOPS SHOULDER CHOPS SHORT RIBS SHANKS BONE-IN STEW MEAT BONELESS STEW MEAT
<16.7
80.2
10
lamb
100
red meats
lbs
102
50s
60s
70s
80s
90s
2000s
15
2010s
12
9
6
3
annual red meat consumption (lbs)
T
85 415
VEGGIES M IS
8% VEGGIES M IS
19%
5
6
280 lbs
43.8
36.5
25.5
14.6
YEARLY AVERAGE PROTEIN INTAKE
7.3
YEARLY PROTEIN INTAKE (LBS)
FRUITS
132.7 lbs
YEARLY RECOMMENDED PROTEIN INTAKE
FRUIT S
278
19%
<100 mg cholesterol
DAILY PROTEIN INTAKE (LBS)
4 lbs
66
18 0
Zn Fr
0.04 0.02
DA I
ME A
<4.5 g saturated fat
0.07
3
RY
B12
0.1
BS CAR
21%
<10 g fat
0.12
ME A
175 cal
RY
g la m b
%
100
240
24
DA I
2
0
BS CAR
T
9%
LAMB IS LEAN
1
unit price ($)/ lbs
DAILY NUTRITION INTAKE
AVERAGE YEARLY NUTRITION INTAKE (LBS)
% 92.6
%7
meat processing/packaging plant
chil
ler
bu
tch e
r
sel
fre
ect
eze r
butcher
h we ig
vac u
um
dic insp e/s ect lice
de
bo
nin g
pro
ces s
ing
cut
tin
$
g
% 0,4 self buying
$$
$
$$
$$$
$
DISTRIBUTION SYSTEMS
<5$ Distribution systems <9$
NECK
77 lbs LAMB
LEG
CHUMP
LOIN
RACK
SHOULDER
<13$
<15$
<20$
<25$
FORESHANK & BREAST
<10$ PRIMAL CUTS- 41.5 lbs carcass
60
value of the lamb cuts [price /lbs]
meat processing/packaging plant
chil ler
bu tch er
sel ec
t
fre eze r
butcher
we igh
vac u
um
dic insp e/s ect lice
de bo nin
g
pro ces sin
g
cut
tin
$
g
% 0,4 self buying
$$
$
$$
$$$
$
DISTRIBUTION SYSTEMS
<5$ <9$
NECK
77 lbs LAMB
LEG
CHUMP
LOIN
RACK
SHOULDER
<13$
<15$
<25$
<20$
FORESHANK & BREAST
<10$ PRIMAL CUTS- 41.5 lbs carcass
value of the lamb cuts [price /lbs]
45
BARDING G
75
90
105
REST
CA RV 120
E
150
REDUCE
COOK
CUTTING DEBONING
60
GREEK SPICE DICED ONIONS CHICKEN STOCK RED WINE
PEPPER SALT
30
EAT EH PR
OVEN
LARDING
ROOM RUB WITH LEMON JUICE
ROASTED LLEG OF LAMB GREEK SPICE
active time 20mins
total time 2.5 h
MI MIN
BRINING
TS
60
MARINATING
or
45
AT 30
15
BASTING 120
125
PREPARATION
150
170
Domesticizing the mear
210
TANDIR
KAMADO
CONVENTIONAL GRILL
INTERNAL TEMPERATURE
FIRE ROASTING FI
T TIME
DOMESTICIZING THE ROAST
135
OVEN ROASTING
150
90
CCROWN ROAST
RIB ROAST
SLICED SHOULDER ROAST
SHOULDER ROAST
TOP
ROUND
SIRLOIN ROAST
LEG ROAST -ROLLED
LEG ROAST
LAMB LEG, BONELESS
4
LAMB LEG, BONE IN
LAMB LEG, BONE IN
30
Y LBS
8
WARM SWEET
MODES OF ROASTING
5 32
5 32
0 25 75
5 17
0 25
1
0 25
175
5
175
STRON SMOKYG
61
KITCHEN IS THE NEW HOME! MULTIPLICITY OF PROGRAM Table as the stage
62
Herb Growing Wall as a sensory threshold
<5$ <9$ <13$
<15$
<20$
<25$
Herb Growing Wall
multiplicity of the program 63
AILY E NEW RITUAL HOME! DAILY RITUAL
NIGHT
NIGHT
DAY
Chaingin plans from day to night
64
GRAM
SECTION A-A’
SECTION B-B’
SECTION C-C’
Sections
65
KITCHEN IS THE NEW HOME! UNFOLDING THE LEARNING
66
ribbon 1 45 cm
ribbon 2 85 cm
ribbon 3 175 cm
unfolding the learning 67
KITCHEN IS THE NEW HOME! DOUBLING THE PURPOSE
68
40 cm
90 cm 9
40 cm 185 cm 40 cm
60 cm
85 ccm
60 cm 6
85 cm
doubling the purpose diagrams 69
KITCHEN IS THE NEW HOME! RITUAL IS THE NEW ROUTINE
RITUAL IS THE NEW ROUTINE- performance of the routine
70
RITUAL IS THE NEW ROUTINE- performance of the ritual
71
Alewife Artist Housing Fall 2012, RISD Instructor: Pari Riahi In between the commuter rail track and the car path, Alewife Artist Housing is an act of conducting a link between rate and perception. The housing complex is a live-work-exhibit space with the artist studios located on the ground floor. Outside the housing lies the main gallery which is connected to the residential complex by a pedestrian path in . The studios and residences are linked to each other through a continuous path at street level allowing the visitor to be aware of the functions of the complex at all times. Taking into consideration the three different viewing movement (by train, by car and by pedestrian) studios are exposed to the viewer and vice versa at different heights and locations throughout the site.
72
site analysis diagrams
site formation models 73
apartment axonometric diagram
unit formation diagram
74
site plan
site elevation and main gallery section
75
ground floor (artist studios) plan
first and second floor (residential) plan
transverse section through shared courtyard
76
transverse section through unit and main gallery
view of the vertical circulation through the unit
view from the artist path
view from the pedestrian path
view from the main greens passing with a car
77
Maps,Stories and Buildings; Hotel Vista Spring, 2012 , RISD Instructor: Gabriel Feld Along the curving Malecon, the unfolding Hotel provides amplified visual and physical links between the water and the city through hinged, of scale volumes. The strategic location of the site in relation to the fortifying towers of Havana, allows one to overlook to the Havana Bay and towards the Atlantic Ocean. The views extend which, frames the monuments along the water both at the ground level and the top levels. This act of framing conducts the play of scale; intimacy and distance that starts to identify and extract information, which positions the volumes facing water and the framed views. The hotel becomes an urban apparatus, leading to the views of interest through a set of corridors. The dichotomy that stretches along the site brings in dynamic points of views that start to overlap to create a dock for a wider panorama of the city. The linear gesture start to play with the proportions for the space of the activities that creates an elongated circulatory path that weaves the tall volumes together. The sequence of movement along the path is animated by yielding views that reveals the presence of what extends beyond.
78
initial study of Havana: intersecting stories , overlayed maps
birdâ&#x20AC;&#x2122;s eye view of Malecon
79
A
B’
B
A’
ground floor plan
80
top floors unit plan
81
section A-A’
section B-B’
82
“OPENINGS” model
“PATH” model
viewing decks
83
view of the viewing decks
looking down from the main stairs
84
main stairs
stairs and viewing deck
85
Montessori School, Cambridge,MA Spring, 2011 , RISD Instructor: Maria Guest The Montessori School Project is generated through manipulation of the ground by the means of folding in different scales. In the classroom scale, the folds and buckling allow the creation of a continuous play scape for all ages and pockets of spaces for individual learning in the Montessori environment. In urban scale, the building acts as a link from park to park, engaging the building through narrowing, thickening and folding of the paths. The porosity of the ground floor connects the green spaces, making the school ground a social hub for the community.
86
wall panel
reading station
shelving
classroom scale tectonic intervention
87
+2’
+1’
0”- ground level sloping ground
reading area
classroom space
garden entry lockers
preliminary classroom plans showing static and sloped planes
initial classroom sections
88
school formation diagrams
89
A’ A
C’
C
r-
She t.
nS
ma
ground floor plan
90
B’
B D’
D
first floor plan
91
section A-A’
section C-C’
92
section B-B’
section D-D’
93
view of the western facade and the ramp from the Sherman St.
view from the greens towards the classrooms and the underpass
94
view of the top floor classrooms
view from the staircase to the entry and upstairs
95
Marionette Theatre Fall, 2010 , RISD Instructor: Olga Mesa Through the tectonic exploration of knots, Marionette theatre plays with the idea of the shifting planes with the understanding of a modular system. This allows one to formulate a language of facade structure to filter the light into the building at different levels through multiple angles. This shift and fold is not only present in the facade but it also extends through the building to create bleachers and the stage.
96
preliminary sketches
knot study models
97
aggregation diagram
sketch modelo of the stage
98
module
aggregated module
aggregated facade
99
section
plan
100
section
view of the southern facade
101
102
section perspective through the lobby
103
104
Collaborative Work
105
Slaughterhouse Fall, 2012 , RISD Instructor: Jason Wood Worked as a designer in a group of five The notion of ritual and routine is blurred in the daily act. The proposal separates these two acts and implies the program of dining. The spaces of the human and the cow are overplayed at times to create a sectional dialogue. The building is divided into parts by the fireplace, which separates the functions both in plan and section. The slow dining space is located on the right is placed on the cow rest area, and the deli and fast dining space one the left is situated on top of the meat curing room - which one could peek upon. The transition area in between is unknown to the visitor, yet through the detail of the concrete floor and the thin light slit, one could notice the slaughter room underneath.
106
Ritualistic everydayness has become an inherent characteristic in American life. Stemming from a stable economy and government, Americans have allowed their behavior and habits to be influenced by a capitalistic market. Thus, the everyday routine of life in the US has been in a process of reduction; from a time that was replete with labor intensive tasks (which in the end provided immense satisfaction), to today where people thrive on an immediacy of satisfaction derived from as little work as possible. The benefit of a free and capitalistic market drives competition and spurs innovation, but it also comes with a price. To quench our thirst for efficiency and prosperity we challenge the idea of what it truly means to be a human inhabiting this earth. Architecture in the US has a unique task of not only providing habitable space for people to exist within, but also provides a special connection to a place. These connections are really opportunities for the act of space making to become an offering to a community. As an offering, architecture becomes an active agent in the critical discussion on the loss of ritual in everyday routines. Its design, structure and habitability can work to slow people down and remind them of their physical presence in the world. 107
108
Avnee Jetley, Trsitan Mead , Henry Zimmerman , Julie Sylvester, Nazli Ergani
SLAUGHTER HOUSE
Avnee Jetley, Trsitan Mead , Henry Zimmerman , Julie Sylvester, Nazli Ergani
SLAUGHTER HOUSE
Avnee Jetley, Trsitan Mead , Henry Zimmerman , Julie Sylvester, Nazli Ergani
SLAUGHTER HOUSE
A fast food restaurant is the antithesis to this design idea. It is an example of how architecture can speed people up and eliminate any possibility for moments of peace and reflection. Very few Americans know where their food comes from. The immediacy of how fast they are handed their hamburger (while idling in the drive-thru) occurs with such speed that there is no time for contemplation. As a result, there is a disconnection and lack of knowledge of where the food comes from. A more important question might be how the food got tÂŹhere. In order for these foods chains to keep up with the demand for cheap food the effects of the process reach deep into the farming and production of food in the US, brutally harming the environment and the animals that are trapped in our system. By collapsing the food production chain, from a sprawling industrial and inhumane machine; into one building on a plot of land where the food is grown harvested, prepared and served; we seek to re-instill an awareness of both where our food comes from, and the process it takes to get to our plate.
109
110
sectional perspective(hand drafted 8’x12’) 111
112
plan perspective from the mezzanine looking down to the first floor (hand drafted 10â&#x20AC;&#x2122;x12â&#x20AC;&#x2122;) 113
114
ceiling plan perspective of the ground floor (hand drafted 4â&#x20AC;&#x2122;x6â&#x20AC;&#x2122;) 115
Ecuador Design Build Wintersession, 2012 , RISD Instructor: Olga Mesa Worked as a designer and a builder, specializing in making bamboo connections and unrolling surfaces. Located in the village of Pile in ManabĂ area, the project is inspired by the Panama hat weaving methods. The structure is sited at the entrance to the village as an open exhibition space for the people of Pile to show their arts and crafts. A secondary function for the structure is thought to be a bus stop through its proximity to the main road. The project uses local materials bamboo and toqillla leaves.
116
=
117
bamboo roof connection detail
footing detail
118
construction process
119
plan
northern elevation
120
surface details 121
122
Finished construction 123
Morph Fall, 2010 , RISD Instructor: Pari Riahi Worked as a designer and builder in a group of four. Morph is a compact installation made out of corrugated cardboard which allows one to interact for different purposes. It acts as a space maker and an object that expands the gallery space on the ground floor of the Bayard Ewing Building at RISD. The installation intends to create spaces for gathering and triggers the transformation of the gallery into a space of exchange for the students. While Morph operates as seating at the entry, it transforms into a crit wall towards the end of the room.
124
conceptual model
125
plan
elevations
programmatic diagram
126
exhibition views
detail
127
The Living Room, Elmwood Community Garden Spring, 2010 , RISD Instructor: Silvia Acosta Worked as a designer,builder and modelmaker in a group of 12. The Elwood Community Garden is based on the dual engagement and relationship of garden to community as well as gardener to gardener. While the primary objective is to grow plants by efficiently incorporating shared spaces, interaction is created from which every person in the vicinity of garden can benefit. In order to foster engagement on a variety of scales, each gardening spot allows for storage, including a small bench with a lid to store tools. Planting beds are at a height of comfortable seating, creating an even condition for all the gardeners.
128
conceptual pespective of the garden
Dalen Gardener 20 Year Weed Shield Fabric (Planter Lining)
1”x6” Lumber (Operable Bench)
2”x4” Lumber Framing
1”x3” Lumber
1”x6” Lumber (Bottom of Personal Storage Unit )
Concrete Masonry Unit at Foundation
EXPLODED AXONOMETRIC
FINISHED ASSEMBLY
exploded axonometric diagram of the planters PLANTER AXONOMETRIC
Responsive Living Room April 8, 2010 Page 9.
129
transverse section with pavillion detail
longitudinal section east-west
130
study models
131
132
conceptual pespective of the garden 133
built section from the looking from the planters
view from the pavillion
134
resting pavillion 135
136
Professional Work
137
Le Jardin Dâ&#x20AC;&#x2122;armnature Fall 2011 Internship at Pari Riahi Architects Worked under the supervision of the Principal on making the graphics and the 3D model for the proposal. Competition entry for Chaumont de Loire Landscape Installation. The Re-bar garden densely populated by 350 recycled rebars, enhances the notion of the space perceptible and the space accessible. The path wanders through the garden, showing the variation in the rebars, from bare rebar to densely planted, undulating by mimicking the wild grass fields.
138
exploded axonometric diagram
139
planting scheme
140
plan
longitudinal section 141
142
conceptual perspective
143
Atlanta History Center Summer 2011 Internship at 3six0 Worked under the supervision of Chris Bardt ion the 3D model and the graphics including a render for the final proposal. The proposal is a reorganization of the current plan of the building through unifying the architectural elements to transform the existing building. The change is conducted through a monumental roof and undulating ceilings that disperse through the interior spaces that adds fluidity within the museum. The new transparent facade is presented as a new image for the building, to strengthen the identity of the museum.
144
exploded view of additional elements
145
view of the upper lobby
view of the lower lobby
146
section A-A’
section B-B’
section C-C’
147
ground floor plan
148
first floor plan
view from the parking lot
149
Doluca Winery, Istanbul Turkey Summer 2010 Internship at Sanal Architecture, Istanbul Worked under the supervision of Alexis Sanal on the 3D modeling ,sun studies and elevator facaded drawings. The winery is a building that brings together the factory and headquarters together. The drum is conceived as a lightwell that allows to become the center of the building that each part connects to. The frames attached on the room fo the lightwell, acts as an animating element with the movement of the sun. The elevator facade is a differentiated through ones movement and relation to the volume, going up the stairs. Mesh and dark reflective glass acts as a volume identifier against the concrete background.
Š Refik Anadol, all building photography
150
view from the elevator
151
elevator facade design
Photo courtesy drum shadow studies 152
drum sections
drum plans 153
shadow detail
elevator material detail
154
elevator-staircase detail
elevator-staircase detail
155
156
Art and Research Work
157
Culture Shift Seminar: Architecture vis-a-vis Ideology: The Reappearing acts of Spatial Practice Instructor: Srdjan Jovanovic Weiss Fall 2013 Culture shift is a document in progress, a work that I considered as an inner dialogue. Through this book, my aim was to bring out many layers within the Turkish Republic and its correspondence to architecture. This dialogue was especially was triggered by the events of the summer of 2013. As I was pursuing my education at Columbia University, GSAPP, I couldnâ&#x20AC;&#x2122;t physically be in my hometown Istanbul; so in a way, I also consider this book as my voice. I chose to concentrate on not only the protests but mainly questioning the changing ideology that lead to series of events which questions the role of the opera and the mosque as ideological objects. My main goal was to make this cultural change clear for myself and my peers. Thus along with careful consideration of history (both older and recent), I also choose to bring in many protagonists. Although the book is a collection of different instances and quotes from many people, for me it is a free platform for ideas.
158
159
CULTURE VS RELIGION PUBLICTY VS SACRALIZATION 3. OPERA vs MOSQUE 1.
Thus we question The role of public The role of architect The role of the administration- both municipal and central
This project portrays the questions of the public space within the problematic urban settings of Istanbul. The problem mainly stems from the tension created by the policies imposed by the municipal authorities and the central administration and the response of the people towards it.
2.
6
7
It could be said that the political approach that *AKP is taking nowdays is more about interference. Celebrating their 11th year in power, the current administration has already started to make changes to the secularly founded Turkish Republic. Redesign of the Gezi Park was only one aspect. It stood out because people as the “other %50”, RTE would say, were dissatisfied the the whole interference of the government. into their private lives.
in·ter·fere intransitive verb \in-te(r)-’fir\ to become involved in the activities and concerns of other people when your involvement is not wanted [1]
Questioning the causes of the Gezi Park Protest, Slavoj Zizek says, “Is this just a struggle against corrupt city administration? Is it a struggle against authoritarian Islamist rule? Is it a struggle against the privatisation of public space? The question is open, and how it is answered will depend on the result of an ongoing political process.”[2]
“ They can tweet millions, but our one **Basmala will put a stop to their games.”
RTE spoke in Samsun on June 22,2013 [3]
His saying clearly states that the governement is approaching from a religious approach.
12
160
*AKP (Justice and Development Party) **In the name of God
13
Ahmet Kuyas writes in the Magazine. “Yasarken Yazilan Tarih”, that history never repeats again. None of the conditions or people are ever the same, since every context that makes up any moment will differ from each other. He comments on this writing about the protest over Gezi Parki over the summer; criticizing the governments approach to such events. He emphasizes that the concern to loose power leads to the choice of the easier way of comparing such events with their “replicas” in the past.
March 31 Incident, 1909
fig.5
1960 Beyazit Protests
fig.6
Gezi Protests
fig.7
[7]
[8]
“The meaning of politics, comes from polis”, notes Ahmet Kuyas, which means that the country have honored the government to rule them in peace. In this case, the protagonists that create this peace are in balance, and when that balance is destroyed, the peace just disappear.
This approach consequentially leads to the polarization of the society – the opponents vs. the defendants. It is by no chance that the protests over summer 2013, were compared to the military uprise during the Ottoman Empire era , protest against the sharia, and the coups of 1960s and 1980s. Aiming to belittle and alienate the protests, this mentality leads to the paradox of putting coups and the Gezi Protests to the same plate in an effort to find similarities between these totally contradicting events.
16
17
Emre Kongar, a Turkish sociologist, refers to RTE, who comments that the protest for being an ideological protest. Kongar states that, Actually all the states are ideologic. For a religious states, the ideology is religion and sect. For nationalist states, the ideology is nationalism. But Democratic states’ ideology is democracy and human rights! [9]
fig.8
“A protest that asks for rights, in democratic terms, is an ideological protests. Because, its ideology is DEMOCRACY.”
“Can it be still called democracy when a certain religious point of view is forced upon the public?”
[11]
Dogan Akin
[10]
Emre Kongar
18
19
161
Built as an opera house in Turkey, AKM portrays the modernist Turkey; its architecture and emerging techniques of its time. It is considered as a cult in the history of the Turkish architecure. It represents a cultural heritage as it bears most of the Republicâ&#x20AC;&#x2122;s culture.
fig.12
26
27
With is strategic location in Taksim Square, the building also acts as a bilboard: Once a vessel to broadcast cultural acts, and now, a common place to frame social acts.
fig.13
28
162
29
“It is an element of manipulation”
Just even the fact the the mosque is trying to achieve being the “most” symbolizes the power of the government and it tryingto use a sacred institution as a political tool, to achieve political aspirations.
Normally, the mosques were meant to be the locations where people would meet, not only just to pray. In Turkish culture, mosques play a great role in defining the public space. In the old parts of Istanbul, the urban fabric was generated through the location of the mosque. In many parts of the city this still takes place. People convene at the mosque; the idea of the mosque is the space to meet and make connections within the community. The Camlica Mosque, currently under construction, will be the biggest mosque in Turkey, does not serve the purpose of bringing together,commented on by the even by the conservative columnists. [28]
fig.16
“My only rival is Suleymaniye ( Blue Mosque)” *As the jury decided to go with a traditional look of a mosque, Camlica mosque essentially, will be a replica of The Blue Mosque.
“It is just another campaign to make the conservative portion happy, since they support the construction of religious monuments. Thus this is a way to buy their votes for the next elections.”
Renee Van Staveren of CoLAB, MIT questions the need of a mosque in such a place. There are many other public spaces that the public really needs before a mosque, like schools, green spaces. Some of the anonymous comments on Staverens website notes on the fact that the mosque is only a monument of the power of the government, they want to continue the religious political hierarchy. It is believed that the project bears religious attributes to the religious multitude, but political attributes to the secular multitude. [29]
36
37
CAMLICA
indicates mosque
The current administration has the tendency to campaign through the use of religion, in many cases, the building of the Camlica Mosque could as well be considered a political point for the upcoming elections. But do people of Camlica need that mosque? Or is the mosque only an object of power to portray the different scenario for the (secular) Republic of Turkey. 38
fig. 17
According to the Turkish Statistical Organization, the population of Istanbul is 13,9 million. (where there are 7789 or more people living in the km sq in the urbanized area of the city. For the whole city of Istanbul, number of mosques: 3028 churches: 40 synagogues: 16 And this means that the number of mosque per km sq is 0.55. And yet , the population of the Camlica area is about 30000 people.and the sq footage of the mosque will be 110000 meter sq. This means, each person in the area will have about 3.6 meter sq within the mosque. According to math, there is about 30000 people living in 4 km sq area. And for a 4 km sq area, the number of mosques adds up to be 2.2. In this case, basic ratio proves that Camlica Mosque is not intended for the locals but it serves as symbol of power. 39
163
You can’t even design a dumpster in the given time over at the Camlica Hill. The principle in architecture is not to make a copy, the importance lies within making the new, stating new relations. Dogan Hasol [46] fig. 23
The mosque is not only functional place, but it should represent sublime, should create atmosphere. The mosque in Atasehir is just a caricature within the shadow of the high-rise buildings... These are statements of a shallow architectural culture. Dogan Tekeli [46]
Camlica Mosque’s contemporary rivals.
fig. 24
In her article, Zeynep Ozkartal writes about copying in architecture, speaking critically of the copied architecture of mosques that are newly built, Atasehir Mosque and Camlica Mosque.
fig. 21
She stresses on the notion on the competition brief: “ The project should reflect the language of Turkish Ottoman architecture from the past to the future..”, together with the 40 day given for the whole competition timeline. [46] In the article she interviews contemporary Turkish architects, Cengiz Bektas, Dogan Hasol, Dogan Tekeli, Hasan Calislar, Ihsan Bilgin, Mehmet Konuralp and Melkan Tabanlioglu
Wouldn’t he be right if Mimar Sinan wakes up and looks around,and say “Why are you infidels still at the same place I left 400 years ago?” Contemporary mosque should interpret the modernity of Islam. A mosque is a place of meeting, not just a place to pray. Even in Suleymaniye Mosque there are 13 different functions within the campus. These people are building shopping malls within mosques!.... Cengiz Bektas [46] fig. 22
56
164
OPERA VS MOSQUE
48
No one is trying to replicate Notre Dame or San Pietro. In the conservative community, no one is thinking about how to create a mosque that represents our time. We are facing an attitude of “I have decided and it will happen that way.” of the PM. The contemporary mosque should represent todays’ spatial organization,program and symbols of today. In such a manner, we have a lot to learn from old mosques, but this shouldn’t be about form and structure, but more about the morals. Hasan Calislar [46] fig. 25
Atasehir Mosque must have mislocated itself. Desiging a mosque shouldn’t be about fitting into the form given, it should be recreated every time. Ihsan Bilgin [46] fig. 26
It is sad to create a concrete space that does not speak to its time. The religious architecture in Turkey is moving within the vicious cycle. Mehmet Konuralp [46] fig. 27
Copying a structure that is 400 years old, shows that we haven’t moved forward a year. Of course the notions of Islam shouldn’t change but people, space, urban space, technology changes with time. Mosque should aim to bring people together, to create public peace, and this shouldnt be done through the size but actually the spatial implementation. fig. 28
Melkan Tabanlioglu [46]
Is AKM’s future to be turned into a mosque? fig. 34
57
49
WHAT ABOUT THE SQUARE ? Taksim square is the house, the site of AKM, as well as One of the main squares of the city. Guven Gurkan Oztan notes that Taksim is a place where no matter what, one can feel free. [55] Not only with its histroric buildings, churches, hidden streets, but also with its people; running or standing, protesting, fighting, kissing, surveying, filming. ... Taksim not only served for the daily life but it also acted towards the course of political and intellectual events.
Gezi Park and Taksim Square have been the event spaces of public politics; with speeches, protests, monuments.
“ In Turkey, whomever wants to prove their political and social power will choose to deal with Taksim Square. ” 2013 AKP, decides to remove Gezi Park, for rebuilding the replica of Ottoman Baracks on its long gone original site. And revisits the discussion of building a mosque in the site of AKM while pushing the idea of the demolision of AKM further.
Early 1990s During the reign of Refah Party ( a political pary with islamic affiliations) the discussion of a mosque to be built in Taksim Square is brought to the public’s attention
1983-1989 During Turgut Ozal Period, the renovation of Tarlabasi( an area adjacent to Taksim Sqaure) starts.
12 September1981 Second Military Coop happens. The daphne monument associated with the first coup is removed by the political party in power.
27 May 1960 Military Coop took place. The monument in the ssqure called the “Independence Monument” is answered with another monument wrapped in daphne leaves, that was put across from the AKM.
Guven Gurkan Oztan [55]
1960 Arrangement in the Taksim Gezi, and the squre. The idea of closing Istiklal Street to traffic is on the table.
1956 The news about demolishing buildings around the park in order to build Hilton.
82
1950 Democrat Party is in power. Their main agenda becomes, resituating Taksim Square and promoting the Congress Valley:
looking into the history of the square... [55]
fig. 59
83
There is a continuous rumor that the AKM will be demolished. Meanwhile detailed search conducted by architect Sukru Kocagoz reveals the laws that basically shows that this saying is just a speculation. [64]
What do these permits mean? 1. AKM is a building that portrays the modernist architecture of Turkey and draws attention to the modern era. It should be preserved as a cultural heritage 2. the fact that its under the premiere group means that nothing could be changed regarding the way it looks without consulting to the architect 3. the fact that its facade drawings are stamped means that in case of a destruction, it needs to be rebuilt exactly the way it was built. 4. The restoration project was given permit to preserve the building for it to sustain for a longer time.
90
fig. 69
Huseyin Kaptan of IMP( Istanbul Metropolitan Planning ) Project Manager, states that there should be done many other things until it is time to demolish the building. Taksim square bears a lot of pressure being the center o f the city, and in order to take that stress out of the square, there should be many other city centers. [65 ] Also Ihsan Bilgin, an architect who worked with the chief architect of the AKM Hayati Tabanlioglu, summarizes that -AKM should be restored as a modern cultural entity - in terms of sustanabilty, AKM is not only a cultural heritage but also an economical buildin. - AKM should be an interdisciplinary project.
WHICH MEANS THAT AKM CAN NOT BE DEMOLISHED IT COULD ONLY BE RESTORED.
1. the law passed by the Preservation department on 06.01.1999, AKM was named a cultural heritage and that it needs to be preserved 2. by the same department, it was decided to become a part of the premiere group to be preserved 3. its facade drawings are stamped and not to be changed 4. on 14.05.2008 the permit was given only to work on the restoration of the building.
91
165
Architectural Photography Visual Studies: Architectural Photography Instructor Erieta Attali Fall 2013 [Reminiscent] I see the city with multiple realities, in general the city as a whole lives with the ephemerality, whether its is Manhattan or Providence. My photography is concentrated in the city of Manhattan and Providence; my new home and old home.I portray both cities with their empty face, that is revealed by light, illuminating, framing the long gone life. The light is the subject of the background in the photos, illuminating the subject while creating a silhouette. By removing the information reveals the form and the ground, in other cases it also acts as a frame that objectifies a notion of the city stylizing an urban landscape with the continuous silhouette. My work struggles between the dance of light and shadow, harmonizing and creating the unreal. Thus I choose to see the other, the oblique, the abstracted and deserted reality. As the spaces become the extensions and reflections of their conditions that allow multiple perspectives and time to collide to each other. Whether it is the reflection projected on to the neighboring building, or the illusion created by the shadow, or the facade of one appearing on the other. They all create the other, the deserted, the distant city.
166
Brown University, Providence
167
Midtown, NYC
168
Lincoln Center, NYC
169
South Main St., Providence
170
Fulton St., NYC
171
Chappaqua, NY
172
Washington Park, Providence
173
Mt Sinai Hospital, NYC
174
Washington Park, Providence
175
Lincoln Center, NYC
176
Hudson River, NYC
177
Lincoln Center, NYC
178
Federal Hill, Providence
179
Jewelry:Memory Collection â&#x20AC;&#x153;the look throughâ&#x20AC;? ring Spring, 2012 I consider jewelry as a medium that I can further express my thoughts. Taking cities, buildings and body as the subject, I intend to expand my horizon in micro scale. The rings take the finger as the site, allowing the metal to fold to create a landscape. The square rod is hollow, thus operates as a micro scale viewing device which choreographs the way the hand is positioned to ones face. Silver, oxidized copper and brass rod is used in the making of the ring.
180
181
Jewelry:Memory Collection â&#x20AC;&#x153;where I was, where I amâ&#x20AC;? bracelet Spring, 2012 Working with metal has been a great tool in formulating the ideas of the body as the site. Metal responds to the user and to time. It changes color and deteriorate as one wears it. The bracelet was an exploration through imprint and overlay. It is a reflection of two maps at two different scales at different locations and times creating a metaphysical memory void in between.
182
183
Jewelry:Memory Collection â&#x20AC;&#x153;amplifiedâ&#x20AC;? necklace Spring, 2012 Amplified is designed with the intent to create an armor for the body. It takes the triangulated pattern of the skin and literally applies a secondary protection to the soul through the design of a necklace. The necklace takes the form of the chest allowing the patterns to morph in section. Oxidized copper is used in the making of the necklace.
184
185
Void Wintersession, 2010 Void is a fabric wall, indicating a relocation of a cultural-visual element of Istanbul. In old part of the city, between the narrow passageways, clothes-pins are weaved through up in the air this introduces a cross grain by a flexible material against the regular grain of the city. The project debates the issue of individuality looking at the metaphysical voids between the buildings in American culture. Void aims to introduce the cross grain through a uniform wall made out of patched t-shirts which mimicking the pattern of the brick structures on the site.
186
187
Nest Wintersession, 2011 Nest is a representation of duality defining surfaces both in the interior and the exterior. The light source is the object that is nested, yet the undulating surface inverts the relation of the interior and exterior. The light becomes extraverted, leaving the inhabitant as the element that is nested. Light shining through the translucent cups also plays a role of comfort, creating a tranquil ceiling. Using paper and plastic cups, uniform texture is created, allowing light to amplify its presence at parts.
188
uality. It is he interior element that e piece concale helps ior, but also ement to the plastic cups, light has been e. 189
Sensational Space Wintersession, 2011 Collaboration with Rawan Al-Saffar The space is something often understood but not always felt. The project begins to explore the perception of space engaging all senses from touch to sound to sight. A space is intended to be created which is not defined by its architecture, but instead, it is felt and heard. A pathway constructed out of snow is what leads the participant into the tunnel of fabric. The fabric essentially takes on the form of the forces that act on it, it is a shape shifter, constantly in motion, creating a space that is stimulating- changing and contorting the movement of the human body.
190
191
inagrE ilzaN oiloft roP