Osman Sümer Selection of Design Works v2.1

selected design works v.2 osman sĂœMEr

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The copyright of all content presented in the portfolio that are named with a tag of TABANLIOGLU ARCHITECTS, GAD, ONZ ARCHITECTS, are belong to these companies.

These works cannot be copied on to other websites or into other works.

osman sÜMEr i s a n Aw a r d Wi n n i n g y o u n g c r e a t i v e g r a d u a t e d f r o m M E T U w i t h a 1 s t D e g r e e , C h a i r ’s Aw a r d B e s t G r a d u a t i o n P r o j e c t a n d h i s n a m e i n c l u d e d i n M E T U R o l l o f Ho n o u r.

He h a s w o n n u m e r i o u s I n t e r n a t i o n a l a n d Na t i o n a l C o m p e t i t i o n s a t a c a d e m i c a l a n d p r o f e s s i o n a l degrees. C ompetitions, Future of Architecture and Digital Design has always been his prior interest.

S u m e r w o r k e d f o r l e a d i n g A r c h i t e c t u r e F i r m s s u c h a s T E G E T ( I s t a n b u l ) , G A D ( Ne w Yo r k , I s t a n b u l ) , O N Z A r c h i t e c t s ( A n k a r a , R o t t e r d a m ) a n d TA B A N L I O G LU A r c h i t e c t s ( I s t a n b u l , D u b a i , Doha) He s t a y e d a s a n A r c h i t e c t u r a l D e s i g n e r a n d C o m p e t i t i o n Te a m Me m b e r a t Ta b a n l i o g l u A r c h i t e c t s f o r n e a r l y 2 y e a r s a n d s t u d i e d A r c h t e c t u r a l D e s i g n C o m p u t i n g a t I s t a n b u l Te c h n i c a l Un i v e r s i t y.

S u m e r d e v e l o p e d a T h e s i s R e s e a r c h o n A R / V R b a s e d t e c h n o l o g i e s a t E i n d h o v e n Un i v e r s i t y o f Te c h n o l o g y.

He m a i n l y i n v o l v e d i n d e s i g n c o m p u t i n g , p a r a m e t r i c d e s i g n , r e s e a r c h a n d d e v e l o p m e n t c o u r s e s a n d s u c c e s s f u l l y c o m p l e t e d a n U S R E I n t e r n s h i p.

He r e c e n t l y r e c e i v e d h i s M a s t e r o f S c i e n c e D e g r e e f r o m I s t a n b u l Te c h n i c a l Un i v e r s i t y D e p a r t m e n t o f I n f o r m a t i c s - A r c h i t e c t u r a l D e s i g n C o m p u t i n g Program.

OSMAN SÜMER

Education 2018 Research and Development Project & USRE Virtual Reality Media, Computer Graphics and Game Engines Eindhoven University of Technology / Netherlands Design Systems Unit 2016-2019 Master of Science Degree (Postgraduate) Thesis : Evaluation of Game Engines in Design and Representation Processes Istanbul Technical University, Istanbul/Turkey Department of Informatics, Architectural Design Computing Program Honor Student 2017-2018 M.Sc. Architecture Specialization Courses (Postgraduate-60ects) Eindhoven University of Technology / Netherlands Department of Built Environment Faculty of Architecture 2015- 2016 M.Arch Special Student (Postgraduate) Representation of Architectural and Urban Space Course Istanbul Technical University, Istanbul/Turkey Faculty of Architecture, Architecture Honor Student 2009- 2014 Bachelors Degree in Architecture Best Graduation Project // Chair’s Award A Public Water Culture Center, Portugal / Lisbon Cgpa: 3,23 Honor Student METU Digital Design Studio Courses: Digital Design Studio Advanced Design Studio Middle East Technical University, Ankara/Turkey Faculty of Architecture, Architecture

Honors and Awards International Union of Architects - Global Student Competition // Finalist Jury Chairman - Daniel Libeskind, 2014, China, Beijing

Çanakkale Governorate Gökçeada Sustainable School Campus w/onz architects // Honorable Mention, 2014

Archiprix International – Madrid // Nomination for World’s Best Graduation Project, 2014, Madrid//Spain

Adiyaman Municipality of Family and Social Politics, Active Life Center for Adiyaman w/onuryuncu architects // Honorable Mention, 2014

2nd Istanbul Design Biennial // Selected Work for Exhibition, 2014 Arch2O International Student Competition-5th Cycle // Winner, 2014 Archi-World Academy Awards Global Architectural Competition Futures Design // Architecture for Tomorrow // 1st Prize-Winner, 2015, Munich//Germany Age Twenty Something-Young Successfull Creatives in Their 20’s // Speaker Turkey Architecture Student Council – Istanbul Technical University 2016 Istanbul // Turkey Tabanlioglu Architects MIPIM AR Future Awards – Residential Category Winner Overall Winner - Design Team Member 118 East 59th Street Residences w/Tabanlioglu 2017/New York Young Architects Program MoMA New York & Istanbul Modern Nomination for Installation Project // Portfolio Proposal 2017 / Istanbul Jury Member Istanbul Technical University 3rd Year Architecture Design Studio Jury 2017 / Istanbul World Architecture Festival GAD // KNDU Villas Shortlisted in Residential Category-Design Team Member, w/GAD, 2015 World Architecture Festival Tabanlioglu Architects // Kaliningrad Heart of the City Post-Castle Complex , w/TA_, 2016 Middle East Technical Univertsity Department of Architecture Chair’s Award // Best Graduation Project, 2014, Turkey // Ankara Arch2O Student Big Ideas Competition // Winner, 2012 ArchED(MimED) 3rd Category // Jury Special Prize, 2014 ArchED(MimED) 2nd Category // Jury Special Prize, 2013 Van Ipekyolu Municipality Building Competition // 2nd Honorable Mention Prize, 2016 Miami Wynwood Gateway Park Competition w/onz architects // Finalist, 2014 Miami//USA Moscow Architecture & Design Awards Gokceada Sustainable w/onz architects School Campus “Best Sustainable Project’’ // 1st Prize, 2014

Nexus - Relationships Between Mathematics and Architecture International Conference // Selected Work for Exhibition, 2014 Ankara Chamber of Architects Saracoglu Neighbourhood Re-Evaluation Project // Honorable Mention, 2013 Ankara 1927 Architects’ Associaton Best Design Works Exhibition // Selected Work, 2013 METU Architectural Design Studios // Best Studio Works Magazine 2010-2011, 2012-2013, 2013-2014 my projects are selected and featured in Journal as Best Works of Studios.

Languages

Work Experience

English - Advanced

Tabanlioglu Architects

ONZ Architects

2015 september 2017 march

Conceptual Design, Architectural Design, Computational Design

july 2014-september2014

Conceptual Design, Architectural Design, Competition Team Studio V Miami Wynwood Gateway Park Competition // USA Miami Manhattan Midtown Housing Project // USA New York

Gokceada High School Project Competition // TURKEY Canakkale

118 East 59th Street Housing Project // USA New York Miami City Hall // USA Miami Miami Workforce Housing Project // USA Miami Istanbul Airport Vip Terminals // TURKEY Istanbul Kaliningrad Heart of The City Competition Project // RUSSIA Kaliningrad

IELTS Score 7.0/9.0 ITU Proficiency Exam 91/100

Contact mail: osmansumer.arch@gmail.com phone : 00905375483823

TEGET Architectural Office

2013 august-2014 january

Summer/Winter Internship Architectural Design Drawings

Lugano Housing Project, SWITZERLAND Lugano Benchmark Competition Project // QATAR Lusail City

Zurich Multi-Use Housing Project Competition // SWITZERLAND Zurich

Seyrantepe Housing Project // TURKEY Istanbul

Izmir Opera House Competition Project (Shop Drawings) // TURKEY Izmir

Nisantasi Housing Project // TURKEY Istanbul Malta Multi-Use Competition Project // MALTA Haskoy Housing Project // TURKEY Istanbul Halic Port Design Development // TURKEY Istanbul

Global Architectural Development & Gökhan Avcıoğlu November 2014 – September 2015

Architect Assistant of GadLabs & Research, Computational Design GAD Competition Team KNDU AHK Villas Conceptual Design - Built // TURKEY Antalya Akmerkez Installation for Boyner Concept Design // TURKEY Istanbul Villas & Village Proposal Bodrum // TURKEY Bodrum Pinar Academy // TURKEY Istanbul

Skills & Softwares

Research&Development

USRE Virtual Reality Media Development Computer Graphics and Game Engines Research on Multipurpose Acoustics in Virtual Media eındhoven unıversıty of technology

DESIGN SYSTEMS LAB

2018- eındhoven/netherlands Advısor : Aant van Der Zee

‘‘Future`s Reality in Digital Media’’ Computer graphics is a sub-field of Computer Science which studies methods for digitally synthesizing and manipulating visual content.

Although the term often refers to the study of three-dimensional computer graphics, it also encompasses two-dimensional graphics and image processing.

In this report, the Virtual Reality Technology will be deeply analyzed through different softwares and applications. The main focus in Virtual Reality for softwares will be for Visual and Acoustic Design applications.

Virtual reality (VR) have become a worthwhile topic in many industries. The main development areas for this emerging technology are gaming, entertainment, marketing, education, fashion and art. Virtual reality is showing some effective industry use-cases as well, from real estate applications to tourism. Lately one of the Visitor’s Bureau in a renowned city started to use VR to immerse tourists in how the city looked 5,000 years ago. Furniture and interior design companies have started to make VR applications that allow users to scan the room and see furniture in 3D in that same room. They can position the furniture and change its color, which allows users to engage with furniture like never before.In 2014 VR technology had less than one million users, but that number has incredibly grown to more than 150 million users this year.

Real-time screenshots of application

User Interface Design Proposals for Representation and Design Media

Visualization of Soundwaves in Virtual Environment with audial real-time feedback.

As designers we have close relationship with programming and computer graphics as we create our professional and student work mostly with computers starting from late 1980. In today’s world, designers are surrounded with so many modelling and editing tools requiring user to follow certain design pattern in interface.

The way we create depends on the environment we create in digital media and being part of a Virtual Media development and using it to create design work is a great opportunity to discover design process and end product with a new perspective. Currently, there are new developments in Virtual Media answering design problems varying from human scale to urban scale in Architecture as well in Archeology, providing users a versatile and flexible work space that includes large number of documents, drawings, and CAD models.

The aim of this study is to create a workflow that uses VR technology to analyze multidisciplinary design processes and look for potential medias in representation techniques for the process and product of design work. The process of study includes analysis based on feasibility of analysing space,creating space, making spatial organization and applying acoustical principles in virtual media, and searching for enhanced possibility of building with VR. Identification of a unique methodology and process for design work is questioned by the application of game engines with VR and extensions in 3D modelling environment. The afford was to point out creating a design environment in VR that enables user to integrate multiple inputs,analysis and parameters to design process.

GENERATOR 2018- Eindhoven, Netherlands The Eindhoven School / Gerard van Zeyl Eindhoven University of Technology has been training engineers since 1967.

Within the concept of the ‘versatile engineer’, a group has distinguished itself, which attracts a great deal of attention because of its unusual architectural achievements. This group of young architects seems to hold different opinions than the older generation, which continues more or less in the modern architectural tradition.

This modern architecture, hardly shows any development; years ago it had already descended into pragmatism. The younger generation does not submit to this and rebels; the break with the older generation has become a fact.

The reactions towards such a doctrine are varied but, taken as a whole, are forceful enough to cause us to speak of an ‘Eindhoven School’.

Generally speaking, the word ‘school’ is used to describe a group whose members show similar characteristics. In this way, we speak of a school of fish, which, led by instinct, swim in the same direction. It is their sense of direction that fascinates us. In the case of human beings, admiration for their sense of direction can be expressed in two ways: the concept ‘Avant Garde’ and the concept of ‘school’. In both cases it is principle that forms the basis. They either explore new avenues or they entirely disagree and return to rigid concepts.

In studio we took as a starting point JeanNicolas-Louis Durand’s 19th century method of composition for architecture and similarly identify architecture’s general principles and particular compositional elements in order to systematically develop new architectural solutions. Together with computer scientists, we begin by examining the work of the 1980s so-called Eindhoven School of architecture in order to determine its main architectural qualities (building forms, major elements, spaces, relations, and compositions) and develop a way to make those machine readable.

Based on this examination, we select one building/project (Wiel Arets/Arts Academy from the canon of the Eindhoven School for further study.

Building program: KUNSTHAL / Rem Koolhaas Conceptual program for the building has been selected as Kunsthal. One of the main example for this nuilding program was designed by Rem Koolhaas. As a result ARTS ACADEMY AND KUNSTHAL mixed regarding architectural program.

Among the elements to be studied within the selected building/project will be the implicit and explicit historical references present in the project. Then we modelled the problem of designing a building in this style as a combinatorial puzzle (based on the identified architectural references for the selected building), or a mathematical optimization problem, so that algorithmic techniques are used to solve that problem. Afterwards we did develop algorithms that create basic designs of buildings with the desired properties, complemented by

Flight Inspired Data informed Form Generation 2017 ıstanbul technıcal unıversıty

Generative Design Systems Partner : Demircan Tas

Intro Arbitrary coordinate and measurement values were generated on a spreadsheet in order to simulate wind speed and direction data collected from 7 observation stations.

The spreadsheet was utilized in ArcGIS software to map coordinates and interpolate data in order to create wind maps containing speed and direction information. Color maps were later normalized into 8 bit grayscale bitmaps which were mapped on 3 dimensional geometry within Maya Software.

Polygon models representing individuals based on birds were created on 3ds Max were combined via the morph modifier and the morphs from one subject to the other were animated. The models were duplicated on a flat surface as a 2 dimensional grid, and were connected to the wind rasters.

Individual animations were disconnected from the time channel and were instead connected to the wind speed value of the corresponding UV coordinates. Facing directions were connected to the wind direction attribute.

As a different approach, skeleton systems inspired by avian wings were created via forward kinematics tools. The systems were utilized to create inverse kinematics handles which were constrained to curves representing wind tip motion paths.

The wing tips U position on the motion path was animated in order to create animations similar to flapping motions.

Poses of the objects were frozen as separate geometries on each frame, resulting in a series of objects that produce similar results to long exposure photography. 3 dimensional forms were synthesized by this method, resulting in the illusion of a dynamic motion. This method was later improved, by moving the whole object on a motion path while the lower level animation was also active, creating spine-like shapes.

Apart from the shape characteristics, this method also provided the ability to use the animation as an interpolated shape grammar algorithm. Curves were projected on the landscape surface, acting as rails for the animated object.

Result were achieved, combining large numbers of primitive objects, IK based animations and the landscape surface, in order to create complex forms that adapting to the topography.

Another approach was to identify each cluster of animated objects as members of a swarm. Couples of animated wing geometry were combined with Mainframe Mash Plug-in for Maya. Software tools were used to form a swarm intelligence based on separation, alignment and cohesion parameters. The swarms were constrained to the surface and were interacted with attractors, based on aforementioned wind speed and direction data while also cycling their internal animation loops. When combined with the “long exposure” method, this approach produced complex geometry adhering to the terrain while being influenced by the integrated wind data.

the wall

2013-ankara / metu dıgıtal desıgn studıo

‘‘Border as living space’’ Highway that connects Konya Road and Eskisehir Road,was built in Middle East Technical University in 2013.

The planned wall reflects characteristcis of the site and living environment of the METU Forest.

The main idea was to design a wall that lives with the forest and section of wall changes along the highway that provides sitting and recreational areas for people.

The Wall units are designed to answer different functions. The relations of units form various spaces.

The Wall includes sitting areas,green areas,closed and semi closed areas (for different weather conditions) and void relations within itself.

The Wall changes with the texture of forest and instead of having only ‘’border function’’ it welcomes nature and respects it.

HOPE Anımatıon / Movıe 2017 - ISTANBUL

HOPE is a short animation movie and ongoing project about cardboard spaceships and their war for claiming land in a desk in living room.

The project created @ ITU 2017/may with collaboration of Generative Design and Animation Courses. program lecture by w/Hakan Tong

dıffusıng random walk

2017 ıstanbul technıcal unıversıty

Computer Programmıng Architectural Desıgn and Modellıng Intro Diffusion is the net movement of molecules or atoms from a region of high concentration (or high chemical potential) to a region of low concentration (or low chemical potential). This is also referred to as the movement of a substance down a concentration gradient. A gradient is the change in the value of a quantity (e.g., concentration, pressure, temperature) with the change in another variable (usually distance). For example, a change in concentration over a distance is called a concentration gradient, a change in pressure over a distance is called a pressure gradient, and a change in temperature over a distance is a called a temperature gradient.

The word diffusion derives from the Latin word, diffundere, which means “to spread out” (a substance that “spreads out” is moving from an area of high concentration to an area of low concentration). A distinguishing feature of diffusion is that it results in mixing or mass transport, without requiring bulk motion (bulk flow).[1] Thus, diffusion should not be confused with convection, or advection, which are other transport phenomena that utilize bulk motion to move particles from one place to another.

Process of diffusion is related with mathematical equations and random walk-growth principles/ Experiment tried to render these realitons using ink,acrylic,glue,thinner,watercolor and water. Heat material types and mixtures are varied to evaluate and re-write codes of diffusing.

Abstract 001 Glue holds ink or acrylic on surface. Diffusion is hold by thin layer of glue forming variety of topological shapes. Reactions to temperature and diffusion varies from material to material. Therfore, a number of different shapes can be observed in the experiments.

Tension forces and diffusion are tried to be related in the abstraction part. Geometrical relations are experimented via rhinoceros and grasshopper. THE DENSITY difference between materials affect diffusion directly. In this part generations on this issue is researched.

A diffusion is a process in physics. Some particles are dissolved in a glass of water. At first, the particles are all near one corner of the glass.

If the particles all randomly move around (“diffuse”) in the water, they eventually become distributed randomly and uniformly from a area of high concentration to a area of low concentration, and organized (diffusion continues, but with no net flux).

Abstract 002 In higher dimensions, the set of randomly walked points has interesting geometric properties. In fact, one gets a discrete fractal, that is, a set which exhibits stochastic self-similarity on large scales. On small scales, one can observe “jaggedness” resulting from the grid on which the walk is performed. The trajectory of a random walk is the collection of points visited, considered as a set with disregard to when the walk arrived at the point. In one dimension, the trajectory is simply all points between the minimum height and the maximum height the walk achieved. To visualize the two dimensional case, one can imagine a person walking randomly around a city. The city is effectively infinite and arranged in a square grid of sidewalks. At every intersection, the person randomly chooses one of the four possible routes (including the one originally traveled from). Formally, this is a random walk on the set of all points in the plane with integer coordinates.

Will the person ever get back to the original starting point of the walk? This is the 2-dimensional equivalent of the level crossing problem discussed above. It turns out that the person almost surely will in a 2-dimensional random walk, but for 3 dimensions or higher, the probability of returning to the origin decreases as the number of dimensions increases. In 3 dimensions, the probability decreases to roughly 34%.

Robotics Parametric Wall 2018

Eindhoven University of Technology Elianne Hoogenraad Nathan Gonsalves Osman SĂźmer Si Chen Wardah. Hiola Wenxin Zhu Yuxiao Wang

The Robotic Institute of America and the Robot Industries Association defined a robot as a “programmable, multi-function manipulator designed to move material, parts, tools or special devices through variable programmed motions for the performance of variety of tasks� (K.C. Jain, 2001).

Simply described, a robot is a machine that is controlled by a computer. A robotic arm is comparable with a human arm. The human arm consists of wrist, with three joints, and the arm itself with two joints, the shoulder and elbow. In total, the human arm has seven degrees of freedom (Harris, n.d.).

The industrial robotic arm at the university is the ABB IRB 6650. This robotic arm has six degrees of freedom (6 axis) (ABB, 2004). The robotic arm is therefore comparable with the human arm. The advantages of the robotic arm compared to the human arm is the strength and accuracy (RobotWorx, n.d.).The use of robotic arms is well known in the automotive industry. This industry started using robotics arms from the 1960s (Robotics Online Marketing Team, 2017). The robotic arm with six degrees of freedom provided new opportunities.

Nowadays, the robotic arm is used in several industries, including automotive, aerospace, electronics, food and beverage and construction (RobotWorx, n.d.). As a result of the robotic arm, the processes of these industries became more efficient. The robotic arm can be used for many different purposes.

The gripper attached to the robotic arm has a large influence on the use. Therefore, the different types of grippers and the consequences for the use will be discussed. In this report, we will consider the functionality of a robotic arm to create a parametric wall. We will create a grasshopper script which allows us to create a virtually robot arm that moves and creates a wall.

Robot end-of-arm tool is the part that is attached to the end of the robot which performs actions such as cutting, drilling, grabbing or sucking. In the case of our parametric wall, the end-of-arm tool is intended to perform the task of picking up, holding and releasing of the target object. There are various types of tools that may be suitable for this task. The most widely adopted ones are suction system, magnetic system, and gripper system.

The suction system works with a suction cap which is usually connected to a vacuum and using the air pressure difference to suck and release the item. The advantage is that it can grab the object from the top and does not require space between each object when placing. However, the object needs to have smooth surface and in regular shape in order for the vacuum seam to work. Additionally, such system requires a high level of knowledge in pneumatic engineering and requires extensive testing.

The magnetic system is widely adopted in metal production industry because of its strong gripping power and can be easily switched on and off through electrical control, but this method is limited to magnetic materials such as steel or iron alloy. In our case of design, we are not intending to use metal to construct the wall, thus this method is not suitable.

The gripper system is the most common and more economical system. There are open source digital models of the grippers from the internet which can be 3D printed and assembled. The actions of the gripper can be controlled either by synchronising it to the robot, or to keep it simple and control through an independent switch.

This Medium-Duty Robot Gripper is developed by Mad Mare Studio and the open source is available at: https://www.thingiverse.com/thing:51403. The gripper has two arms, a set of interface links and two drive gears which link the arms to the two servo motor. The torque of the servo motor determines the strength of the grip. The current version supports standard servo motor, which is possible to provide a torque strength of up to 3.4 N.m, which means the gripper will probably be able to carry foam and light timber, but unlikely to handle heavy items such as brick. The maximum opening of the gripper is 82mm. It is possible to enlarge the gripper and install a larger motor in order to carry heavier objects.

Our parametric wall is a linear design. Each block is to be placed next to each other with the long edge of the block aligned with the tangent of the linear curve. Thus, it is ideal for the gripper to catch the longer edges of the brick and leave the short edges free. This way the gripper will not interfere with the blocks that were already in place.

FRAGMENTATION CREATING GENERATIVE URBAN SPACES////// 2013-ankara/ulus ‘‘Architecure is an agent’’ Tomorrow’s Housing design should be generative and capable of spreading into urban spaces defined by users.Today’s housing design understanding is not for /every user and not proposed in the sites that everyone can afford.

Because not every people can afford livable homes//urban spaces should be defined and city should include these /urban spaces as main parts of its consistent system.We can produce //beautiful architecture but for who,when and where? Senseless designs of cities are not working properly as //some lands become priceless while remaining considered as left over parts of city for //others to live.The system vanishes the borders of that is city defined with respect to variety of social class.//System is a reaction to the housing system of the cities that are not fictionalised well.The cities are living with touch of human,the proposed system says that ‘’we can all touch and change the system’’.

Tomorrows cities and living environments will not be called as //system if we will not change our attitude towards our environment.Cities should be //where we want to live,and housing is a crucial part of whole structure as living system./System proposes //codes and lets people write the program.However /system is very consistent in some points city should include for users which are /green /working opportunities /education /suitable living environment and / equal rights for every users.SYSTEM proposes a green environment for ones who wants to plant tree on ground.It is nature friendly and all materials can be re-used and can be constructed easily.Simple frame structure includes containers.

Because //containers are very modular and easy to produce for different purposes,they can be house,cafe,playground or many other things if anyone wants it to be.People can easily turn container into a house.Moreover,frame structure allows users to change location of containers.The location,the design and the purpose is defined by users.However,the surrounding buildings should be considered with the self-sufficent system as // the system should be living with the surrounding environment.

We all desereve //a home and a better future can start with //a home. //As the system is generative,user-defined and an example of volumetric urbanism,it can be applied to every urban space where needed.

It is open to change and can keep up with the requirements of users and /future city life.In addition to this,container is easy to produce and locate in the system,as frame was designed with respect to dimensions of containers and requirements of users.

The cities are being used as fund accumulation tools and designed in accordance with this logic.

Because of this logic,the central potential of physical environment of CITY in some parts becomes PRICELESS lands.These lands are used as maximum benefit tools. Every building provides a value to provide its environment and the environment becomes a center of attraction for others.

HOWEVER the city has a Limited physical environment.Dominant social class has the power to structure the land in accordance with the land use policies of the capitalist state.In order to act parallel to the ruling power the dominant social class will try to control others who are claimed to be dangerous and unnecessary.The environment of the occupants will be changed with respect to the capitalist strategies and their rights will be limited. The spaces defined and profesed as public spaces by the rulers,may not be open for everybody’s use.

The so-called public spaces are ruled by the dominant social class and are accessible to those who are defined by the capitalist policies. Becuse of these Rules and Restrictions occupants can only live limited lives. Circulation system works with the underground system.

Surrounding buildings and their circulation systems are used as part of whole system. In other words,they are becoming gate of system as well. Moreover,the walls of existing buildings can be used as free-cinema. Because underground life has cafes,shops and many different commercial activites it can also spread into city as well as superstructure.It is using buildings’ circulation and can be expanded through other buildings.Green is entegrated to the site for both structure and ground.The openings in the ground improves the relation among superstructure,underground and existing buildings.

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118 E 59TH STREET RESIDENCES 2017NEW YORK, NY, USA TABANLIOGLU ARCHITECTS Project Team : Murat Tabanlıoğlu, Çagrı Akay, Selcen Karatay responsibilites:

Desıgn, Computational Design Concept Images, Dıagrams

Located at the nexus of the upper east side and midtown and only three blocks from Central Park and the prestigious madison and fifth avenue retail corridors, the project offers convenient access to the diverse amenities of the surrounding neighborhoods.

The well established residential nature of the upper east side is characterized by the abundant supply of amenities including grocery markets, commercial banks, restaurants and bars located on most street corners. While the avenues running North and South are usually bustling with commerce and traffic, most upper east side cross streets are tree lined and serene.

The development aims at creating a much needed niche for the upper east / midtown Residential market by offering high-end and compact serviced apartments for long or short term stay.

The luxury condominium tower is approximately 80,000 square feet with 70-75 units on 25 floors, together with a ground floor lobby including Shops and restaurants and a separate amenities floor. Reaching aproximately 320 feet (100 meters) in height, the design of the tower is a simple and straightforward Interpretation / reflection of the programmatic and environmental data.

The behive like pattern of the facade represents the multiplicity of unit typologies and Different unit types where each module represents a vertical cluster of similar units. Being stuck in between three buildings at three sides, the modules enlarge so as the units and have greater openings to the view as the building rises up.

This facade pattern is further articulated by creating planar movement generating variations on different unit types.

Kaliningrad Heart of the City, Post-Castle 2016-

KALININGRAD, RUSSIA

TABANLIOGLU ARCHITECTS Project Team : Murat Tabanlıoğlu, Çagrı Akay, Idil Akay responsibilites: Desıgn, Concept Images, Dıagrams

Kaliningrad Heart of the City, Post-Castle project site used to house the Königsberg Castle which was founded in the 13th century by Teutonic Order. The castle was destroyed after a series of attacks during the World War II and the Soviet invasion. The site which used to be Königsberg’s city center has been excluded from the evolution of the new city of Kaliningrad for over 60 years. The project for the castle area aims to form a new center by stimulating the urban transformation of the city, core of the program being arts and culture, to attract a variety of people of Kaliningrad which is at the crossroads of a multiplicity of cultures. The city is a melting pot where Germans, Greeks, Armenians, Poles, Russians and Lithuanians live side by side. The new complex is to be formed around public spaces to meet, buildings accomodating functions of congress center, museums and galleries supported and enriched by retail and catering facilities.

The site is nearby Kant’s island where his grave is located in the recently restored Königsberg’s Cathedral. The concept of the project emerges from Kant’s philosophy of a structure that is considered to be a priori (logically independent of experience); with the status of the ‘thing-initself ’ that the ultimate reality presumably lurks behind the apprehension of an object.

Today, in the city of Kaliningrad, the Castle of Königsberg exists by its absence. The project articulates this phenomenon by unearthing the original footprint of the castle. Unveiled traces of the castle is preserved as an archaeological park and surrounded by a new structure, the void is emphasized. To strengthen the concept, the exterior wall of the castle is extracted and reused as the inner wall of the new building. The main decision in the layout plan is conceived by respecting the border of the ancient castle walls.

The idea of duality is a strong record within the reality of the city of Königsberg /Kaliningrad.

The contrast of the old and the new, the opposition between different presences of the Castle and the House of Soviets is powerfully evident within the boundaries of the competition area. These contradictory circumstances has led us to use the conventional architectural method of ‘poché’ in a modern way.

‘Poché’ which is the “blackening” method of architectural drawings to signify the thickness of walls in plan, creates a particular type of space that is sculptural and subtractive. The abundant, well defined, thick walls conceptually offer themselves to be carved or excavated. Granting ability to create niche spaces, poche yields to ‘figural void’.

The project expresses the metaphorical absence of the castle by using a variation of ‘pochés’.

The exterior wall of the castle is the original boundary of the poché. The wall expands and contracts in order to accommodate the architectural program. In the project, the pochés are realized by the use of contemporary construction methods and materials, in contrast to the conventional way of stone building that existed in the former castle.

Maintaining the corners of the former castle, the traces of the castle is emphasized by the excavated park, surrounding wall and structure.

The space left in the middle of the park is transformed into an inner plaza/event space.

Besides the feeling of spaciousness, a holistic vision is created, to explore new possibilities of contemporary temples where people meet, for daily activities, concerts and celebrations. The new Main City Square located on the north of the House of Soviets and the new Event Space of the project will serve together for main public events.

Conceived as a government building, the House of Soviets which was deemed structurally unstable, has never been occupied.

It is physically existing but contains a void, whereas the castle, buried with its ruins under the city, still holds a strong presence within the collective memory of the city of Königsberg / Kaliningrad.

The lower floors of the “House of Soviets” are assigned for new functions, a contemporary arts museum, as an initiator and the first phase of the socio-cultural transformation of the urban complex, aiming to spread this rehabilitation trend throughout the town. The program may include studios and laboratory spaces for artists and curators, resident artist, experimental programs, and its welcoming attitude may encourage youthful creativity.

In order to initiate the new space which is designed to link the castle representing the Prussian heritage and the House of Soviets representing the Russian culture, the first phase of the project will involve the unearthing of the castle ruins and the inhabiting of the ground floors of the House of Soviets. This method will facilitate the re-connecting of the city with its multi-cultural heritage and create a contemporary relation with the ruins and the House of Soviets. The new wall and buildings will be constructed during the second phase.

Project’s ground floor contains facilities like shopping and thematic esplanades or squares, enlivened with cafes, catering and shopping facilities as an extension of the street level.

The street level units of the surrounding structure contain stores and restaurants to attract people. The trade functions will create a financial vivacity that will facilitate the building management and support maintenance expenses, besides helping to create an urban hub.

Since the start of the nineteenth century, the Kaliningrad University’s observatory became one of the most important centers of astronomy in the world. Saluting the city’s significant capacity, the corner tower of the low-rise complex rises to gain ground for an observation deck open to beautiful panoramas. This magnetic Tourette, like a signaling beacon, will attract visitors and citizens to enjoy the views and also the smart environment of this contemporary culture zone.

Extension of the urban fabric as an aesthetic inkling, the traces of all the historical layers –including that of the 21st century- will make the building complex a part of the natural urban flow, and the populace will easily embrace and frequently and cheerfully use the novel spaces and places.

It is important to maintain and revive the soul of the city, with reference to close and far history.

Thus the project aims to accommodate all the traces and cultures of the city’s history. The architectural resolution is to respect the traces and memories; yet reconstruction is not only the means to revive, but also the means to involve ethics, aesthetics and methods of our day to promote and build the presence of the collective memory.

LUGANO ROMANTICA RESIDENCE 2016- SWITZERLAND TABANLIOGLU ARCHITECTS Project Team : Murat Tabanlıoğlu, Çagrı Akay, Selcen Karatay

responsibilites: Desıgn, Concept Images, Dıagrams

MIAMI WORKFORCE HOUSING COMPLEX 2017-

MIAMI - FORT LAUDERDALE

TABANLIOGLU ARCHITECTS Project Team : Murat Tabanlıoğlu, Çagrı Akay, Selcen Karatay, Bennu Tunc responsibilites: Desıgn, Concept Images, Dıagrams

Kızılırmak Bridge 2016- Sıvas selcuk gullu/gokhan catıkkas responsibilites:

Design, Images, Diagrams

Kızılırmak üzerinde bir tarih varolur.

Irmakla var olmuş, ırmakla sosyo-kültürel etkinliğini devam ettirmiş medeniyetlerin onlarca izi kale, mezar, köprü ve yerleşim bölgeleri olarak ortaya çıkar.

Ekip olarak çalışmalarımız, Kızılırmak’ın Sivas halkının süregelen güçlü ve aktif sosyal hayatına dahil edilmesini hedeflemiştir. Nehir üzerinde mümkün olabilecek en güçlü ve tekil mimari kararlarla Sivas coğrafyası ve tarihinin sergilenmesini amaçlamıştır. Köprüler, ulaşımın en önemli mimari elemanları olarak kullanıcıları “ulaşım” eylemine dahil etmeyi amaçlar.

Günümüz aktif sosyal ve çalışma hayatı, bizlere ulaşılması gereken hedefleri dikte eder, eski bir deyişle köprüler geçeriz. Sivas’ın gelişim sürecini ele aldığımızda, kent belleğinde yer edinebilecek bir yapının bir geçiş aktivitesi üzerine değil tarihe tanıklık etmiş bir nehrin ve şehrin sergilenmesi üzerine kurulması gerektiğinden yanayız.

Biz, “ulaşım” eylemi çerçevesindeki sürecin bir tasarım konusu olduğu kanaatindeyiz. Önerimiz Kızılırmak’ın iki kıyısı arasındaki tasarım hacminde “ulaşım” eylemini yorumlarken, nehri deneyimlemeyi kullanıcıya bir seçenek olarak sunar. Proje net formu çerçevesindeki statik ve mimari kararlarının tutarlılığı ile sosyal mekanlar Kamuya açık bir seyir terası görevini üstlenirken, ticari ve rekreatif aktivitelere olanak sağlar.

Köprü, Sivas Kent Merkezi ve Cumhuriyet Üniversitesini bağlarken farklı deneyimleri kullanıcıya sunabilecek bir biçimde ele alınmıştır.

Bunu yaparken biçimsel ve formal kaygılardan uzak, zengin çevre ve Kızılırmak’ın deneyimi ön planda tutulmuştur.

Köprü üzerinde çözülmesi gereken 21m araç yolu ve 8m hafif raylı sistem, daha zengin bir görüş ve sosyal hayatın kalitesinin artırılması amacı ile 10m yaya yolu ve 5m bisiklet yolundan düşeyde ve yatayda farklı bir organizasyon şemasına hizmet edecek biçimde ayrılmıştır. Bu ayrım, maksimum düzeye ulaştığı noktalarda Kızılırmak’ın kullanıcı tarafından tecrübesi için mekansal kalitesi yüksek Sosyal Teras lar üretir.

Köprüdeki araç ve tramvay yolu ile yaya ve bisiklet yolu arasında oluşturulan Nehir Avluları kullanıcıya araç ve trafikten uzak, çift taraflı ve yükseltilmiş bir görüş açısı sağlar. Bu ikili yatay ve dikey kopma, köprünün iki farklı kolunda da farklı deneyimler sunar. Yükseltilmiş bant üzerinde proje bölgesi ve çevresinde kesintisiz bir görüş açısı sağlanırken, alçaltılmış bant üzerinde Kızılırmak ile yakın bir ölçek ilşkisi kurulup nehrin deneyimi en yüksek düzeye çıkarılmıştır.

Tasarımımızın nehir üzerinde tanımlanan proje hacmi içerisinde verilen 70m toplam genişliği aşmadan, 2 kola ayrılarak farklı yükseklikte ve aktivite içeriğindeki kamusal mekanları kullanıcıya sunar. Köprü Kızılırmak üzerinden diğer yakaya direkt geçiş sağladığı gibi, gündelik sosyal ve kültürel paylaşımlar için de kullanıcıya farklı opsiyonlar sunar.

lusaıl marına mıxed use tower

2017-

LUSAIL - QATAR

TABANLIOGLU ARCHITECTS Project Team : Murat Tabanlıoğlu, Çagrı Akay, Selcuk Gullu, Gokhan Catikkas,Selcen Karatay, Bennu Tunc responsibilites: Desıgn, Concept Images, Dıagrams

LOCATION Marina Mix-001B is located, within the Marina District which is the southernmost district in Lusail.

Lusail City is a master planned city developed immediately along the North of Doha City shoreline and approximately 15 kilometres to the North of its historical centre. Lusail is anticipated to be home to approximately 200,000 people and is expected to attract numerous tourists and visitors and to establish itself as the premium urban center in the North of Doha, state of Qatar; a destination for business, tourism, dining, shopping and high end living.

The aim of the project is to come up with an outstanding design solution to create an instant Residential Landmark Tower which should earmark Lusail‘s Urban life by blending the indoor and outdoor spaces and transforming the terraces or balconies as expandable indoor living areas.

The design calls for a daring, innovative and modern architecture, functional in its distribution, contemporary in its style and sustainable in its components.

VISION Recent urban developments in Master Planned cities have always been faced with the danger of being flooded with an excess of form and image, turning these urban islands into a showcase of ego and extravagance. Architectural interventions in a location like Lusail is even more challenging since it is still very underdeveloped with an almost non-existent urban fabric and where all is predetermined with volumetric restrictions of a given masterplan.

The main concept of the project revolves around the question of how to design a tectonically, functionally and symbolically “unique” building which will not only distinguish itself from the dominant international style architecture but also pave way for a smarter development around it acting as a reference point, a benchmark.

CODES Faced with this challenging dilemma, the immediate reaction was to establish a series of multilayered codes and rules that would anchor the building to the site. The first set of these rules which constitute the tectonics of the structure are based on environmental and contextual data.

The three main objectives we have taken into account are the view corridors, solar exposure and prevailing wind direction where the latter two seem to be very important for the climate of the area.

The idea was to start the planning accordingly so these simple facts / data present themselves as the driving force behind the massing, the facade and general aesthetic qualities of the building. Being less dependent on a designed exterior envelope to respond to environmental factors, planning according to these codes would enhance passive systems and generate not only the image of the building but also maximize view corridors to the desirable panaromas stated in the brief.

Since it was not possible to rotate the main mass of the tower predetermined by the masterplan, a diagonal layout was introduced which seemed to respond to the ideas mentioned above in a very effective way. The plan layouts are generated around massive walls that run diagonally in NE, NW and SE directions which correspond to the Waterfront / Marina Hotel view, Marina District view and Admiral Club view respectively. SW direction which is highly undesirable both for views (looking directly to the neighbouring tower) and for solar gain, is thus blocked.

The massive diagonal walls that block the south / west sun, acting as the thermal mass of the structure, are a very powerful image for the facade and the interior qualities of the architecture very much like the Brie Soleil ideas of Le Corbusier in a giant, blown up scale with a contemporary interpretation. The recessed windows behind the massive diagonal blades and the triangulated terraces minimize solar gain and allow for maximum clear surfaces towards view corridors without being depended on additional mechanical or manual tools for solar control like curtains, fritted glasses, louvers etc.

This not only minimizes the ecological foot print and makes a smart and sustainable structure but also creates a massive monolith with a spectacular sculptural presence that responds to changing patterns of the 24 hour light cycle of a day creating a unique look at any given moment.

It is a living and ever changing facade behind its strict tectonic pattern.

The diagonal cut through the structure in the NW-SE direction is not only a response to the prevailing winds from NW but also is a signature urban gesture, a landmark that divides the mass into two identical triangular pieces.

By letting natural air flow through, it not only acts as a means for various passive systems but also provides lobbies and corridors with natural lighting and dramatic views / vistas. These secondary common spaces of circulation are very much ignored in contemporary high rises and this slot provides them with spectacular visual connections making them as interesting and attractive as the interiors of the apartments themselves. This linear cut also acts as a chimney for cross ventilation for the units. The natural air let in through the main facades is let out / sucked into this space creating natural air movement which is rarely achieved in generic high rise apartments.

These codes shaped by the programmatic and volumetric studies result in a self generating architectural design that eliminates the excesses of subjective interventions and creates a flexible system that responds to the changing demands without losing the core conceptual spirit.

GENIUS LOCI In Roman mythology a Genius loci was the protective spirit of a place. In contemporary usage, “genius loci” usually refers to a location’s distinctive atmosphere, or a “spirit of place” which has been frequently discussed but mostly underestimated in contemporary architectural making. As also stated in the brief, the International style architecture has dominated the character of the recent developments in the area, especially that high-rise building architecture was never a typical Qatari typology. The above discussed environmental strategies are a means to set local codes for a sustainable, smart structure but they all fall short when we delve further into place-making in a phenomenological sense. The following series of interventions aim at responding to taking the generic, repetitive high rise apartment into a single home, a private hanging villa with all of its components from scale to spatial qualities to indoor / outdoor spaces.

As discussed before the footprint of the tower has been determined by the master plan. Since the program given in the brief also calls for a tight fit, the more conventional ways of creating unique layouts in a planar fashion is almost impossible. This led the way to step back and examine the local urban patterns and vernacular architecture. The courtyard houses with high walls and a hierarchy of vertical spaces, the shadowed narrow roads with dramatic linear vistas and dense hillside villages with a richness of individual homes stacked on top of each other were not only a response to the climatic conditions and social patterns but also were a symbolic representation of what “home” is to this region. The proposed 6 storey cluster formed around a compact core which is designed in a way to give flexibility for various different floor plan layouts, could be repeated, rotated, mirrored or revised throughout the tower based on changing demands and constitutes the more abstract coding for space/place making of the concept.

The top of the tower ends with four penthouse units that utilize the roof top as their private gardens and it meets the ground within a symbolic, abstract courtyard.

Bound with a massive wall on the North and East and the showroom mass on the South and West edges, the narrow gap around the tower not only contains various programmatic elements like circulation, outdoor lobbies, semi open retail spaces but also is a means to bring daylight, intimacy, scale and green space to the pedestrian ground level. The monotonous and alienating podium level given by the master plan dissolves into a variety of intimate, human scale spaces that creates a network of courtyards, streets and arcades that connect and separate various programmatic elements.

EPILOGUE The design concept in its essence explicitly adopts a phenomenological and Heideggerian approach beyond all its modern technological innovations, systems and structure. “the spaces where life occurs are places…A place is a space which has a distinct character. Since ancient times the genius loci, or spirit of place, has been recognized as the concrete reality man has to face and come to terms with in his daily life. Architecture means to visualize the genius loci and the task of the architect is to create meaningful places, whereby he helps man to dwell.”

Christian Norberg-Schulz, Genius Loci

public water culture center at tagus

2013-portugal / lısbon graduatıon project - metu ‘‘Um Planeta Um Oceano’’ ‘‘One Planet One Ocean’’

Architecture in Portugal, especially in Lisbon has always been in close relationship with water as a design element. However most of the Lisbon shoreline has been filled artificially for the construction of Expo ‘98 leaving the shoreline with buildings constructed on artificial concrete ground. The project site is the last remaining beach of Lisbon.

The main elements of the project are /water, / land and /sky. Architecture in site should interact with nature and be capable of changing with nature. In Lisbon, water levels and accordingly the waves vary drastically during the whole year. Water changes everything: daylight, wind, temperature. These variations have been the inspiration for the project. The design transforms itself with the changes in nature.

The design concept is to leave the last remaining beach to the inhabitants of the city and use water as an exciting building location. Bridges increase the accessibility of the beach from bus and metro stations. The project rises on water, however instead of filling the ocean with building mass, vertical concrete blocks are used both as loadbearing walls and for creating spaces. These walls also divide water into different parts where people can interact with water such as swimming, fishing, observing,t water polo, or an aquarium. Aquatic animals and the water itself also create different patterns on the concrete walls which show the changes in time created by the nature.

Morphological Change in Topography

walls river flow direction

Direction of flow will be changed by walls and this will create variations in topography due to drastic changes in water level during year.

public enterance

public main e nterance enterance

circulation

altered direction

All components of project are working together.The walls are crucial parts of the sytem as they are space dividers,structural elements,experimental papers of nature at the same time. Blocks and their mechanical,electrical,sanitary and gas systems are connected to the walls. Middle lanes of each block is designed for services as clearly can be seen in floor plans.

walls and blocks

circulation and blocks

building systems

`96 Expo was built upon concrete plate built over sea.

Instead the concrete walls are becoming main design elements.

In between spaces can be used for various required programs and functÄąons.

AQUARIUM

VASCO DE GAMA RESEARCH CENTER

WATER LIBRARY

ADMINISTRATION

Aquarium is a designed as a/water box that surrounded by walls from each side and aquariums are located next to this load bearing walls.It looks like closed box but people could experience water and aquatic animals in an unexpected way.Sky and water are connected by transparent surfaces forming the slabs and ceiling.There is only a feeling of completeness with water from 4 sides and sky from the above.Aquarium is designed in water as Aquatic Animals here are not always in their aquarium, they have a chance to live in their natural environment and people could join them.Therefore,Diving Training and Swimming activities take place near the aquarium.

AQUARIUM SWIMMING DIVING TRAINING

In order to carry out research,Vasco de Gama Research Center should have ‘’study pools’’ as required in architectural program.Instead of /pools,research activities will take place in the river where the natural life and research could be observed in a better way.Parallel walls define area for research and divides water into different functional spaces.The Institute is elevated and circulation is differantiated for this building due to privacy and better working environment.

UNDERWATER RESEARCH

The Project tries to re-define the term ‘’public square’’.Circulation is not provided from the/main enterances.The complex have many, enterances which have direct connection to spaces.It enables users to experience design without any limitation.While walking,each wall could be percieved as an artwork of nature.Nature paints walls with water and living creatures.Walls become the living part of project and nature at the same time.Level differences are connected with ramps to ease flow of public circulation. In ‘’public water square’’,the activities such as water polo,rowing,boating,swimming,water ballet will take place.People can use this square for gathering or participating in the activities.

WATER EVENTS PUBLIC WATER SQUARE

water sky courtyards The openings in block are named as water/sky courtyards as they are main elements to connect sky,people and water.

The sky and water can be seen through these openings and completes the feeling of togetherness with nature.These spaces are theatres for watching nature’s symphony.

aquarium The aquarium is one of the most important parts of the Architectural Program. One enters below water level and visitors experience from a glass tunnel. The aquarium is partially located below the water to provide a natural environment for animals and create water pools in direct contact with the river. Swimming around the aquarium you can interact with the aquatic animals.

wind energy Nature gives us opportunity to benefit from its endless resources.In order to produce energy from the wind that site potentially includes,wind tribuns are located near pier The qr5 turbine, rated for 6 kW, measures 3.0m in diameter by 5m high.Transformed energy will be used for buildings.

structural system To provide a flexible floor plan and to maximize the view of the water and surrounding environment, a truss system with 50 cm thickness is proposed for the main structure. I-beam/waffle system is used for slabs and roofs with the thickness of 40 cm. The different components of the building are all transparent, however façade design controls privacy and architectural quality of spaces.

facade design The facades are designed to use daylight efficiency. Shades are used to control the amount of light coming in. The Architectural Program of the spaces was also considered in terms of privacy, working environment, studying etc.. Therefore all the different components of the building have a unique design of the façade.

public water square The design includes a square where people can gather, enjoy the river, view or watch aquatic animals and water sports. The term ‘square’ is refined as ‘water square’ that gathers people around the water for activities.

walls Walls are experimental elements of design.

They will shape the topography by changing directions of waves.Design will act with nature.Moreover,concrete walls will be home of living aquatic animals in river and will change over time.Therefore they can be named as ‘’research walls’’ or ‘’observation walls’’

study and research pools The Research Center has pools for study. To improve the studying environment, studies will take place in the natural environments of the aquatic creatures. Therefore the pools and labs are in the river. The water level is suitable for diving and swimming, all adding to a better work environment and results than a traditional lab.

bridges The project site is blocked by a highway. To allow for easy access to the Centre for Water Culture, bridges are designed to connect the metro- and bus stations on the other side of the highway with the project site. People will be guided to the main entrance after crossing the bridges.

wave energy Wave energy units use the renewable energy from ocean waves to generate clean, zero-emission electricity. Location of the system is studied with respect to the direction of the waves. It is estimated that a farm of a farm of 20 Oyster 2 units could produces enough energy to power 13,000 homes.

living bridge

2013-ankara / metu dıgıtal desıgn studıo

‘‘Everything is alive’’ Highway that connects Konya Road and Eskisehir Road,was built in Middle East Technical University in 2013. During construction,many trees were harmed in campus area and Mayor of Ankara used campus area for this road even he did not have to. The road was not necessary at all and even city planners did not approve such road. However,he used his political power to finish construction before local elections to get more vote from electors by using highway as a gift to city. This highway divided the campus and damage the natural life.

Each division creates borders.

In order to connect University campus and student residentals in 100.YIL, In METU/Digital Design Studio we were asked to design bridges that can behave as a reaction to highway.

As project location* was on highway and we were asked to design a bridge in order to connect connect sides that are divided . Every highway defines a border between divided locations.

Therefore, it is clear that borders cause variety in divided spaces.

Bridging does not only connects point A and point B, it also connects lives. Bridging between different lives should be provided with a living bridge which is capable of changing with environment,reacting to certain events.

Tomorrow’s architecture needs designs that could change in time due to change in its living environment. That is what keeps design //alive.

The structure of bridge also supports the pathway.The pathway consist of 2 parts that are providing different experiences for bridge users.

Each one could be used for enjoying view,while the other one is used for circulation.In opposite to usual bridges that we see in our daily life,Living Bridge is not only a //pass-by space,it gives us opportunity to enjoy it.

Polygon based units enhances the potential of tensegrity.The pathway and its number could change from site to site.The system is very consistent and answers the needs of each different locations.

Municipality Building of Ipekyolu 2015- Van

oktaatolye responsibilites:

Design, Images, Diagrams

Dünyadaki şeylerden ne denli etkilenirsek etkilenelim, bunlar bizi ne denli kavrarsa kavrasın, ancak başka insanlarla onlar hakkında konuştuğumuz zaman bizim için insanlık kazanırlar. Dünyada ve kendi içimizde olup bitenleri yalnızca onlar hakkında konuştuğumuz zaman insanileştiririz ve ancak bu konuşma süreci içinde insan olmayı öğreniriz (H. Arendt, Men in Dark Times, 1968, 24).

Neoliberal düzende devlet sermayeyi desteklemeye yönelik politikalar izlerken kent yönetimi anlayışında ciddi değişimler gözlenmektedir. Harvey’nin “yönetimden yönetişime (governance) geçiş” olarak tanımladığı bu durum günümüzde kent yönetiminin devletin ötesinde bir boyut kazanarak çok aktörlü, kurumsal sınırların, özelkamu ayrımının bulanıklaştığı enformel ve esnek bir yapı tanımlar.[1] Çoğulcu bir oluşumu tanımlayan alternatif yönetim sistemi, devlet, girişimciler ve yerel toplulukları birleştirmeyi hedefler. Günümüzde devlet ve özel sektör arasında işbirliği kolaylıkla gerçekleşirken, yerel toplulukların bu tip koalisyonlarda temsiliyetleri zayıftır .

Bu noktada yerel yönetimler talep edilen haklar etrafında verilen mücadelenin siyasal gücü olarak karşımıza çıkmaktadır. Yerel yönetimler, kaybolan sahiplenme, aidiyet, hemşerilik duygularını pekiştirerek, katılıma, hayal gücünün geliştirilmesine açık, özgür politikanın üretim alanı olarak, kentsel örgütlenmeleri destekleme potansiyeline sahiptir. Yerel yönetimler sadece kentteki altyapı, sağlık ve bayındırlık problemlerini çözmeye yönelik ortaya çıkan bir olgu değil, siyasal katılım ve demokratik yaşam adına sosyo-ekonomik evrim süreci ile merkezi yönetime karşı özerkleşen imtiyazları da içinde barındırır. Yerel yönetimlerin sosyal ve fiziksel yapılanışının şeffaflığı, tüm özerkleşen imtiyazların seslerinin duyulması anlamına gelmektedir.

“Halk Odaklı Yönetim” anlayışının ve hizmet kalitesinin, halkla birlikte planlama, birlikte yönetme ilkesini benimsemiş olan Van İpek Yolu Belediyesi Hizmet Binası ve çevresi için önerilerimiz bu şeffaflık kurgusunu mimariye dönüştüren bir tasarımın gerçekleşmesidir.

Van İpekyolu Belediye Binası kentsel ve toplumsal hayata katılımı ile karşılıklı iletişim ve paylaşım platformlarına olanak sağlayan, mevcut kentsel dinamiklerle bütünleşen katılımcı, şeffaf kamusal alanın inşasına olanak sağlayan bir kurgu ile tasarlanmıştır.

Health Center 2013- Adıyaman

onur yuncu/seray turkay/esat coskun responsibilites:

Design, Images, Diagrams

Adıyaman Aktif Yaşam Merkezi engelli bireylerin üreten, paylaşan, eğlenen, dinlenen, kaynaşan aktif bireyler olarak toplum yaşamına katılmasında bir katalizör olacaktır.

Bu amaçla proje arazisi bir bütün olarak ele alınmış; yer, program, yapılar, dolaşım ve peyzajdan oluşan organik bir bütünlük amaçlanmıştır.

DURUM: Yer: Adıyaman genel olarak yazları sıcak ve kurak, kışları soğuk ve yağışlı olarak kabul edilmesine rağmen güneydeki ovalık kısım ile kuzeydeki dağlık kısım temel olarak iki farklı iklimsel özellik göstermektedir.

Proje arazisinin de bulunduğu güneydeki ovalık kısımda Akdeniz iklimine yakın özellikler görülebilmekte, yazları sıcak ve kurak, kışları ılık ve yağışlı geçmekte, kışın ısı yaklaşık -4 dereceden aşağıya düşmemektedir. Bu iklim koşullarında iç mekânlar ile peyzajın birlikteliği önem kazanmaktadır.

Arazi bozkırın ortasında doğu batı yönünde uzanan ince uzun, topografyasında farklılaşma olmayan bir arazidir. Batı kenarında yol, kuzey ve güneyinde yapı yerleşkeleri ile çevrili olan arazi doğu yönünde oldukça geniş bir peyzaja açılmaktadır.

Program: Yapı programı birçok farklı özellik gerektiren, farklı işleyişte parçalardan oluşmaktadır. Mekânlar hem bu farklılıklara yanıt verebilmeli, hem de bir arada var olabilmelidir.

Yapılar: Yapılar engellilerin kullanımını güçleştirmeyecek netlikte, toplumun tüm katmanlarının bütünleşmesini ve doğaya açılmasını sağlayacak nitelikte olmalıdır.

Dolaşım: Tüm arazi bir bütün halinde örgütlenmeli, yapıları ve peyzajı örtüştüren bir sistem oluşturulmalıdır.

Peyzaj: Yapı parçalarının yer ile ilişkisini örgütleyen peyzaj çeşitli işlevlere yönelik olarak farklılaşırken tüm araziyi bütünleştiren bir arka plan oluşturmalıdır.

Bu koşullar göz önüne alınarak yer üzerinde programın fiziksel ifadesi olan yapıların birbirleri ve peyzaj ile ilişkilerini kurgularken yerleşkedeki dolaşımı mekânsal deneyimin omurgasına dönüştürecek bir yapısal strateji geliştirilmiştir.

Gökçeada Sustainable School Campus 2014- Canakkale ONZ ARCHITECTS responsibilites:

Design, Concept Images,

Diagrams

For the design of the school campus, the remarkable topography of the site has been the major source of inspiration. School buildings have been positioned on the north-south axis in order to give small façades to north because of Gökçeada’s harsh climatic conditions. The main mass positioned on the site has been divided from north to south into public (sports facilities, conference hall and activity square), semi-public (school buildings, library and refectory) and private (dormitories) spaces. These spaces were then separated from each other and shaped according to the topography which infiltrates into the campus.

Tornado Catcher 2014- Mıamı

ONZ ARCHITECTS responsibilites: Computatıonal Desıgn, Concept Images, Diagrams

Nature is the powerful force to shape the earth to keep its balance. Besides all that it gives to humankind sometimes it takes back what it offered. These times people may feel desperate against its destruction. Nevertheless we always learn from nature and slowly discover how to cope with its destructive forces. Miami faced two tornadoes in 1925 and 1997. They caused considerable damage but once again they reminded us of our connection with nature and of our duties for the mother earth.

Although we may not control nature in its fury, we can learn how to minimize its effects.

In our design for the Wynwood Gateway Park we wanted to raise awareness about these rapidly rotating columns of air and remind people of their responsibilities for the mother earth without the need of experiencing a real destruction. The design is also an attribute to man’s faith and ability to control nature’s destructive forces. In a way the Tornado Catcher is a symbol of our remittent bonds with nature.

For the design of the park the main inspiration source was tornado’s movement pattern and its power to shape the nature. The site is divided into two as natural (park) and man-made (buildings and parking area). Our main idea was to remove the borders between these two and to express that they can coexist without hurting each other.

The hardscape in the park follows tornado’s trail where it touched the ground, thus creating a tornado valley. The green area is located 50 cm higher from the ground as if earth was accumulated to the sides as the tornado splits the site. The green texture as well as the pavement continues throughout the site uniting the park and the parking area on the north. Therefore this clear distinction between manmade and nature dissolves and the two lots blend into each other. This also might be especially valuable for attracting visitors to the park since important pedestrian and vehicle traffic as well as the bus stops are located on the NW 29th Street on the north of the site.

On the two sides of the tornado valley, pebbles and bushes intensify tornado’s impact with their irregular movements in the wind, in this transition zone between the hardscape and the softscape.

ceylan apartmanı 2016- NİŞANTAŞI

TABANLIOGLU ARCHITECTS Project Team : Murat Tabanlıoğlu, Çagrı Akay, Selcen Karatay responsibilites: Desıgn, Concept Images, Dıagrams

SEYRANTEPE RESIDENTIAL CONCEPT 2017- ISTANBUL

TABANLIOGLU ARCHITECTS Project Team : Murat Tabanlıoğlu, Çagrı Akay, Selcen Karatay, Selcuk Gullu, Bennu Tunc

responsibilites: Desıgn, Concept Images, Dıagrams

kundu vıllas

2014- antalya GAD / Gokhan Avcıoglu team : Mustafa Kemal Kayis, Nesime Onel, Yucel Demir, Goksen Gungor, Durak Arikan

responsibilites: Desıgn, Concept Images, Diagrams

Antalya is a city on the Mediterranean coast of South-West Turkey. The project site is located next to a tourism zone of Antalya with a distance to the city centre of 20 km. The seaside of Antalya, with its many Hotels and Residential Buildings, is highly active and developed.

KUNDU project aims to work with nature in the form of sustainable design principles. Each housing unit includes photo-voltaic panels to produce energy, with housing units oriented to match the sun path of Antalya to benefit from daylight in the most efficient way. The general master plan organisation has the housing units arranged in a south-north direction. Façade and roof openings are designed in accordance with natural cross-ventilation principles.

The total sustainable design strategy consists of the following: natural ventilation via strategic openings, maximum daylight usage and capturing due to floor plan shape, sunlight collection and control as a renewable energy source, plus a green public space for socialsustainability use. The curved exterior timbercladding acts as a shell for the housing units.

It also helps to improve daylight quality of the interior and controls climatic conditions during the night. Moreover, the individual private areas of each unit are defined with the help of this architectural feature. A landscaped zone for the ground plane of the project site allows free circulation of pedestrians. Each housing unit has its own car park linking to transportation links via underground circulation and connections.

The project includes 4 large, 22 medium and 12 small housing units. The project site is located next to a tourism and transportation corridor zone of Antalya with a distance to the city centre of 20 km. As a typical characteristic of the Mediterranean climate, the city experiences warm, dry summers and mild to cool, wet winters. Considering the climate, the project is designed with many features to utilize the tropical atmosphere at the building exterior and comfortable living environment. There are several significant and exceptional essentials on this contemporary project which consist of; care and compatible efforts to integrate with the ecological system, assistance and efficiency of natural sunlight, positioning of the housing units according to good aspect orientation, and the use of selected exquisite materials for the exterior and interior that complement each other.

As the airport and city centre are close to the site, and development in the city’s layout plan is designed to grow eastwards, the site is becoming an attraction centre, with many investments being made in this region in the Leisure and Residential sectors in the last 10 years. Kundu region, where the project site is located is planned as a layout that welcomes people to invest, and provides ease of planning and development for other projects.

Other than the properties of the site, the design provides private green areas for each unit, social areas, Green Design principles, thereby utilising the natural environment for public enjoyment.

Rainwater and sun energy is used in buildings to help lower the user expenditures. Interiors are designed with the products, systems, and designs of world-wideknown companies. All carefully selected movable or built-in furniture are combined with pastel textiles to emphasize the unique elegancy of the overall design. KUNDU Villas truly set themselves apart from other similar projects in the region, with many quality and well-considered Interior Designers aim to use daylight in the most efficent and impactfull way. Sunlight directly affects the interior concept and overall quality of space. Each housing units consist of an entrance floor that includes; pool and terrace, living and dining room, guest room, kitchen, greenhouse, storeroom, & toilet. The second floor contains bedrooms with their own private bathrooms , and a working area that has a connection to a galley. Finally a basement floor includes; fitness area, sauna, hobby room and servant storage rooms. This floor also benefits from natural sunlight via an inner courtyard that also has a connection to the sauna; however it is designed to consider the amount of privacy required.

The design principles of AHK KUNDU houses are respectfull to the location, using various naturally exisiting local materials and textures.

Commonly, floors are covered with natural stone while ceilings are covered with wooden timber to support the feeling of warmth and elegancy. Bedrooms typically use the natural warmth of timber for flooring and textured walls for a subtle effect. Furniture selection is influenced by these floor and ceiling materials, using various tones that compliment. All carefully selected movable or built-in furniture are combined with pastel textiles to emphasize the unique elegancy of the overall design.

Walls of

Innocence 2015 GADLabs

METROPOLIS MALTA M I X E D -U S E PROJECT 2017- MALTA TABANLIOGLU ARCHITECTS Project Team : Murat Tabanlıoğlu, Çagrı Akay, Selcen Karatay, Selcuk Gullu, Betul Ay, Bennu Tunc.

The recent history of the archictectural developments within the cities, mainly global metropolitan areas has been a showcase of buildings designed by an important architects invited spesifically to these locations either by private developers or governments.

Cities like NYC, London, Paris and newly developed zones like Dubai or Doha have participated greatly in this phenomenon which deserves a closer look to understand the dynamics of the METROPOLIS ARCHITECTURAL COMPETITION in Malta.

The first and the main motivation behind this is the homogenization of the modern global city.

With the rise of liveral global economy and the single handed development of the construction industry, the process of architectural making has narrowed down to be anywhere and everywhere . The international architecture competitions mainly aim at inviting most proggresive minds to very spesific lovarions so that they can question and reinvent the ideas of being local again without falling into trap of mimicking the past. The second reason and perhaps a logical outcome is to generate branding and create a more vital economy through design and signature buldings that would define certain lifestyle.

Our very own design process has been interrupted by a late visit to Malta that forced us to reconsider our purely romantic approach in a radical way.

We have come to terms that the situation in Malta is no different many of the up and coming metropolitan areas, where an excess of degenerated buildings not only overshadows the local urban fabric but also results in a fragmented and weak socio-cultural situation.

The challenge in this competition is a well known and hard one of answering the economic and programmatic needs without compromising on designing a local and unique building that is able to transform the existing context in the best possible way. Rather than mimicking the surrounding context out we diverted our aim towards creating an architectural prothesis that will bring in the necessary density and urban codes which can constitute the start of a transformation.

Our initial thoughts on creating a single introverted volume changed towards expressing the volumetric identity of each major function seperately and focusing on the relationshipt of these big masses within the immediate urban context.

The three programmatic elements of residences, offices and retail are defined clearly with each having its own mass that overlap each other forming a corner plaza a composition, where each mass is expressed individually yet forming a sculptural unity together and laying the foundations of a set of very bold and strong urban codes for future developments. The urban plaza defined by the L-shaped massing, tends to connect to the Marina Park via Trig Testeferrata by opening up the eastern corner towards the marina and the city.

The two main boulevards of Trig Testeferrata and Triq D`argens are then connected with an urban gate that is speculated to be the heart of the development. The scale of the opening references to the surronding building scale but by creating a negative space, a void, which will become a major meeting place, a focal point, not only for the building complex but also for the city. The ground level of the development is allocated for high end retail functions that serve the plaza and the streets and the social amenities like health club, gym, spa bussiness and media centers are strategically located at the intersection of the three programmatic masses that give easy acces not only to complex but to the city as well.

The residential tower which is located at the more private western corner is a 32mX32mX32m that is a very efficient and straightforward in its organization. The four different floor plates stack upon each other flexibly to create any possible unit without being dependent upon a facade and volumetric design. The idea is to set up the codes for planning and let the massing and the facade generate itself, stripped of any subjective or decorative motivation. The main living spaces are recessed with large terraces that not only create large views of the city but also act as shading devices. The secondary rooms without terraces are organized around a grid and they have automated fabric shutters for privacy and climate control. The stacking of the solid void spaces creates a very rich and complex exterior matrix that also taxes a bow to the Malta balconies at a very abstract level. The office tower is located towards the busy Rue D`argens with its main enterance facing the roundabout.

In section the office is rich volumetrically revolving around the urban void and an interior upper level courtyard which not only brings sunlight to the deep layout but also gives opportunities for cross ventilation and passive systems. Finally the big retail box is a massive horizontal block that connects the offices and the residences, forming an upper plaza, where a more private outdoor space with pool is located.

Pinar Academy 2015- Istanbul GAD / Gokhan Avcıoglu team : Mustafa Kemal Kayis, Emir Drahsan, Cemal Erol, Martina La Vista

responsibilites: Desıgn, Concept Images

Pınar lojistik merkezi Esenyurt Istanbul da bulunmakta olup, sadece normal bir lojistik merkezinin amacı olan depolama, nakliye gibi işlevlerle sınırlı kalmayıp aynı zamanda Pınar için bir iş merkezidir. Pınar lojistik merkezi, tamamıyla işlevde olan ofisleri, ticari birimleri ve işçi tesisleriyle kendini normal bir lojistik merkezi olmaktan çıkarıp, daha ileri boyutlu çok işlevli bir merkez haline getirmektedir. Farklı mekan yerleşimlerine de olanak sağlayacak sekilide yalın ve sistematik bir çözüm sunulmuştur. İleride olası, ekstra mekan yerleşmelerine ve ya eklemelere olanak sağlamak amacıyla, bu Lojistik Merkezi için, strüktürel olarak sistematik ve yalın bir çözüm sunulmuştur. Bu lojistik merkezinin ileride olası mekansal eklentilere olanak sağlayan, sistematik, doğasında düz ve geniş olan kütlelere sahip olan yapısıyla, inşaat sürecini de hızlandırmaktadır.

Bu yapının görünen cephesi, tamimiyle camlarla donatılmış olan ana cephenin önünde bulunup, binanın işlevsel olan özelliklerini yansıtmaktadır.

Bina işlevlerinden esinlenilerek tasarlanan bu 2. Cephe, beş ayrı modülün bina boyunca tekrarlanmasıyla oluşmaktadır. Bu tasarının 5 tane modüle indirgenmesi aynı zamanda da fabrikasyon maliyetini de büyük miktarda azaltmıştır.

Bu sistem sadece binayı istenmeyen güneş ışınlarından korumakla kalmayıp, aynı zamanda, Pınar Lojistik merkezini temsil eden bir kütle haline gelmiştir.

Bu cepheye yerleştirilmiş olan yeşil bitkiler sürekli devam eden cephe modullerini canlandırıp içeri alanlarda bulunan avlularla direkt bir ilişki kurmakla kalmayıp aynı zamanda da karbon emisyonunu azaltmakta yardımcı olmaktadır.

Astas Etıler 2015- Istanbul GAD / Gokhan Avcıoglu team : Mustafa Kemal Kayis, Volkan Bulucyag, Cemal Erol, Gurkan Okta

responsibilites: Desıgn, Concept Images

Astay Bodrum 2015- Istanbul GAD / Gokhan AvcÄąoglu team : Semih Acar, Santiago Brusadin, Jonas Kirsch, Volkan Bulucyag

responsibilites:

Concept Images

ıstanbul aırport,

State Guest House and

General Aviation Buildings pre concept studıes

2015- Istanbul TABANLIOGLU ARCHITECTS Project Team : Murat Tabanlıoğlu, Çagrı Akay

responsibilites: Desıgn, Concept Images

selected design works v.2 osman sĂœMEr