Ozan Cicek SCI-Arc M.Arch II Portfolio

SCI-Arc Fall | 18

OZAN CICEK

Master of Architecture II 1 SCI-ARC

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SCI-Arc Fall | 18

OZAN CICEK PORTFOLIO

2019 All rights reserved. No part of this book may be reproduced in any form without permission of copyright owner.

Master of Architecture II 3 SCI-ARC

Curriculum Vitae

Ozan Cicek Curriculum Vitae

EDUCATION SCI-Arc Southern California Institute of Architecture Master of Architecture II GPA: 3.80 / 4.00 TED University Bachelor of Architecture GPA: 3.71 / 4.00 Aristotle University of Thessaloniki Erasmus+ Exchange Program

2018-2020 Los Angeles, CA

2012-2017 Ankara, Turkey

2015-2016 Thessaloniki, Greece

EMPLOYMENT Patrick Tighe Architecture Architectural Intern EAA Emre Arolat Architecture Architectural Intern Makridis Associates Architectural Intern

2019 Los Angeles, CA

2016 Istanbul, Turkey

2016 Thessaloniki, Greece

SCHOLARSHIPS SCI-Arc Continuing Student Scholarship TED University Full Scholarship

2019 2012-2017

SCI-Arc SCI-Arc Fall | 20 | 18

CONTACT

Phone (+1) 213 215 3353

E-mail ozancicek94@gmail.com

Address 632 1/2 North Cummings Street Los Angeles, CA 90033

SKILLS Rhinoceros - V Ray - Revit - Autocad - Maya - Z Brush - Illustrator Photoshop - Premiere - After Effects - InDesign - Unity

LANGUAGES English Turkish

Fluent Native

ADDITIONAL EMPLOYMENT TEPE-MESA Partnership Construction Site Internship

2015 Ankara, TR

FIRAT-DEMA Partnership Construction Site Internship

2015 Ankara, TR

SCI-Arc Supply Store Sales Assistant

2018-2019 Los Angeles, CA

REFERENCES John Enright, FAIA SCI-Arc Graduate Thesis Advisor

Los Angeles, CA

Patrick Tighe, FAIA Patrick Tighe Architecture - Previous Employer

Los Angeles, CA

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Words follow doings. All courageous design reveals alternate realities to the author himself. The journey is not to materealize what is already in mind. It is rather a discovery of qualities as the process unfolds. Design exists in the narrow crack between perception of the created object and its domestication through its associations.

Ozan Cicek is an architectural designer operating his research on where architecture intersects with the field of visual arts. He is currently pursuing his Master of Architecture II degree at Southern California Institute of Architecture in Los Angeles, California. | Prior to joining SCI-Arc, he attended TED University`s Bachelor of Architecture program between 2012-2017 with a full merit-based scholarship in Ankara, Turkey and graduated with High Honors.

During this degree, he has completed a 1-academic year Erasmus+ Exchange program in Aristotle University of Thessaloniki School of Architecture in Greece funded by the European Union. In addition to architecture, he studied Communication and Media Studies as his minor, focusing on Image Management, Media Literacy and Chaos-Crisis Management. | His work has been published in various exhibitions and publications including LIFO Magazine in Greece, and awarded by various juries in both student and professional competitions. The spectrum of projects that he has worked on ranges from Cukurova Regional Airport, Manisa Metropolitan Municipality Complex to small scale residences on Greek islands. In addition to the office experience, he has worked on two big-scale mixed-use construction sites with Tepe-Mesa Partnership and Firat-Dema Partneship in Ankara, Turkey. He is now a registered architect to the Chamber of Turkish Architects. | He has initiated Open House Ankara as a voluntary collective effort to document, understand and showcase urban artefacts of exceptional architectural quality in the city of Ankara in collaboration with TEDU Center for Social Innovation. | After periods of practice in EAA Emre Arolat Architecture, Makridis Associates and Onur Yuncu Architects in Turkey and Greece, he is striving for discovering where his architectural skill set collapses with the needs of contemporary society in the United States.

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Final Review at SCI-Arc | End of 2GAX Fall, 2018

Academic References

Professional References

Prof. Dr. Ali Cengizkan

Thodoris Makridis | M.Arch, MSAUD

Dr. Onur Yuncu - M.Arch., Ph.D

TEDU Faculty of Architecture | Ankara, Turkey

Columbia GSAPP

Middle East Technical University

Dean of Faculty

Makridis Associates | Thessaloniki, Greece

Onur Yuncu Architects | Ankara, Turkey

General Manager

Founder

Prof. Dr. Berin Gur TEDU Department of Architecture | Ankara, Turkey Head of Department Prof. Dr. Jale N. Erzen TEDU Department of Architecture Instructor

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Content

2GAX 9

Curiosities v1

DS1200 Complex Morphologies

26

X-Ray Vision

DS1200 Complex Morphologies

30

Curiosities v3

DS1200 Complex Morphologies

39

Re-Enclose Dalian

51

Go Big!

AS3302 Advanced Structural Systems

65

Repeat the Module

AS3302 Advanced Structural Systems

77

The Augmented Object

87

Scales of Biopower

95

Forms of Knowledge

DS1201 2GBX Generative Morphologies

139

Become the Internet

VS4201 Visual Studies II

153

Architectural Reference in Turkey

AS 2GAX Advanced Materials and Tectonics

VS4200 Visual Studies I

HT2200 Theories of Contemporary Architecture I

2GBX

HT2201 Theories of Contemporary Architecture II

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3GAX 95

Little Dipper, Big Dipper

177

DD Design Development

207

Detached Monastery

DS5000 Vertical Studio

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Monte d’Oiro Wine Tasting Room

DS5000 Vertical Studio

DS4000 Vertical Studio

AS3222 Design Development

3GBX

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10

Course

DS1200 Complex Morphologies

Instructors Marcelyn Gow, Natasha Sandmeier, Florencia Pita Semester Fall 2018, 2GAX Team Ozan Cicek, Julia Pike

make-believe.

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Curiosities v1

Curiosities v1 Los Angeles, California

We began with a process of digitally extracting 1:1 details from two sites in Downtown Los Angeles using the Agisoft​3D scanning app. The site for Exercise 1 was the Bradbury Building and the site for Exercise 2 was the Bonaventure Hotel. In Exercise 1 we transformed a detail extracted from the first site into a curio object whereby the object can be understood both at 1:1 scale and at the scale of furniture.

The curio will be materialized as an ABS 3D print. In Exercise 2 we transformed a detail extracted from the second site into a curio object whereby the object can be understood both at 1:1 scale and at the scale of a small enclosure when it engages with the first object. The two objects will form the basis of a collection of curios.

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Curiosities v1

Through the act of selecting, grouping, and tagging, we can project and create cultural and/or personal identities. In this way, everyone is a designer.

Everyone has aesthetic affiliations and affections.

Architecture is a part of this widespread culture of collecting and curation.

We are all collectors and curators of stuff. Our stuff defines us. Michael Meredith – “One Thing Leads to Another”

Left Image Photogrammetry of Handrail in Bradbury Building 1:1 Extraction of Architectural Detail 6x6 Bounding Box

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Consequatur, vel illum qui dolorem

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Collage | Handrail in Bradbury Building Downtown Los Angeles

Consequatur, vel illum qui dolorem Consequatur, vel illum qui dolorem Consequatur, vel illum qui dolorem Consequatur, vel illum qui dolorem Consequatur, vel illum qui dolorem12

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Curiosities v1

It’s not that it doesn’t matter what architecture is shown, it’s just that, for now, the real work lies in the architecture of the showing itself. Sylvia Lavin – “Showing Work”

Left Image Photogrammetry of Frame in Bradbury Building 1:1 Extraction of Architectural Detail 6x6 Bounding Box

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Consequatur, vel illum qui dolorem

Consequatur, vel illum qui dolorem

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Collage | Iron Frame in Bradbury Building Downtown Los Angeles

Consequatur, vel illum qui dolorem Consequatur, vel illum qui dolorem Consequatur, vel illum qui dolorem Consequatur, vel illum qui dolorem Consequatur, vel illum qui dolorem12

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Curiosities v1

Resin dipping enabled us to develop a unifying materiality to our model which then informed the design process.

3D Composition from “Borrowed Details�

Physical Model after Resin Dipping

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6x6 Bounding Box was used as a design element through cutting various openings on the mass which allowed us to create different light/shadow conditions in and around the composition.

3D Composition from “Borrowed Details�

Physical Model after Resin Dipping

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Curiosities v1

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The program introduced was a `Bus Stop` in downtown Los Angeles, which engages with its user in new ways due to its formal qualities.

Left Image Elevation Drawing Right Image Detail in Elevation Drawing 21

Curiosities v1

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Interiority of the mass consists of technological equipment which supplies two urban screens, reflecting social media posts from Bradbury Building.

Left Image Plan Drawing Right Image Detail in Plan Drawing 23

Curiosities v1

Bus Stop Physical Model after Resin Dipping

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Formal qualities of the new Bus Stop that we propose engages with its users in different open and semi-open spaces.

Bus Stop Physical Model after Resin Dipping

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Curiosities v1

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Bus Stop Downtown Los Angeles

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X-Ray Vision

X-Ray Vision Los Angeles, California

Today we live in a world entirely dominated by the production, proliferation and consumption of images. Image literacy is, arguably, one of the most crucial skills we need in order to go about our daily lives, distinguishing the real from the fake, the authentic from the artificial, the relevant from the frivolous.

This workshop asks you to walk a tightrope between those conditions in order to challenge our contemporary means of architectural representation, and to begin to construct your own attitude towards it. At the beginning of your MArchII program, we ask you already to consider your identity, and that of your visual media as a thing to design and construct over the next few years as much as any other project you will work on.

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X-Ray Vision

Rialto VR Theatre creates new adjacencies between peoples of the world around an art performance, while having downtown Los Angeles as its physical stage showcasing its events to the city.

Right Image Interior Render

Left Image International User Data Map

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Curiosities v3

Curiosities v3 Los Angeles, California

We began the process by photoscanning 1:1 architectures from downtown LA and look for ways for stacking them in the place of the DWP buliding. Programmaticly we conceived the future of transportation as a way of daily life where people will not afford to commute and work where they live.

Formally, we experimented with extrusion as a way of generation mass out of the elevational detail. In frabricating the model, we worked with casting concrete cement and resin. While working with the concrete, we found new ways of coloring it as baked in the very process of mixing and casting rather than a post-application. Different materials represent masses belonging to different programs of accommodation and social program.

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Curiosities v3

Physical model consists of concrete cement, translucent resin and 3D-printed PLA parts.

Left Image PLA 3D Part of the Model Increased Level of Detail

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Contrasting materiality of the soild concrete and translucent resin expresses the sharp duality of the program: social program that has a lighter presence ruptures into the solid masses of accomodation-work stacks.

Right Image Concrete and Resin Stacking

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Curiosities v3

Formal continuity through materials creates the sharp rupture along the elevation.

Right Image Concrete and Resin Stacking

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Wedges through the elevation of the tower creates ruptures along the linear continuity, which is in line with the idea of stacking.

Left Image Physical Model Wedges along the Elevation

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Curiosities v3

Contrasting materiality of the soild concrete and translucent resin expresses the sharp duality of the program: social program that has a lighter presence ruptures into the solid masses of accomodation-work stacks.

Right Image Elevation Drawing

Left Image Plan Drawing

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Course

AS 2GAX Advanced Materials and Tectonics

Instructors Maxi Spina, Randy Jefferson Semester Fall 2018, 2GAX Team Ozan Cicek, Blake Minster, Saleh Jamsheer, Sixtina Maculan

re-enclose dalian.

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Re-Enclose Dalian

Dalian International Conference Center Dalian, China

Currently, the Dalian International Conference Center operates on the idea of a double façade – an exterior aluminum panelization, along with an interior skin that functions as a thermal barrier and a rain screen. Our intentions for undergoing a transformation is to develop a single skin, acting as both the form of the building as well as the thermal and rain control.

With the utilization of these panels, the need for insulation would be eliminated as ETFE develops a greenhouse effect, allowing sunlight radiation to accumulate in the interior without escaping, unless required.

Doing so, we aim to remove the curtain walls, which would allow us to redesign the conference room, along with its connection to the ETFE skin, retaining an acoustical barrier. This would also leave room for experimentation with the form itself, whether it would become smoother or remain entirely the same, and with the transparency and size of the ETFE panels.

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Re-Enclose Dalian

Birds’s Eye Chunk Envelope’s Relation to Structure

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Envelope Dalian International Conference Center

Structure Dalian International Conference Center

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Re-Enclose Dalian

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Bird’s Eye Chunk

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Re-Enclose Dalian

Worm’s Eye Chunk

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Re-Enclose Dalian

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Envelope Transformation ETFE

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Course

AS3302 Advanced Structural Systems

Instructors Greg Otto Semester Fall 2018, 2GAX Team Ozan Cicek

go big!

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Go Big!

Soccer Stadium Los Angeles, California

Deriving ideas from Aviva Stadium in Dublin, Ireland and Vodafone Arena in Istanbul, Turkey; this stadium explores the capacities of a tension ring structure to be 3-dimensionally tilted in order to be able to provide new visual relations towards its immediate context rather than only the sports event that is taking place.

The stabilization in the tilted situation is achieved through the application of a horseshoe radial steel structure that is anchored on two points on the lower end. Idea being originated from Aviva Stadium, this second system acts like a digonal reinforcement onto a egg-crate which prevents in folding into a flat surface. Therefore, it performs in compression unlike the primary radial system, which is a cable-truss system.

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SCI-Arc Fall |Fall 18 | 18 Translucent PTFE Strecthed on Radial Beams

Horse-Shoe Steel System In Compression

Radial Cable Truss System Tensile Inner Ring

Steel Outer Ring Beam Self-Resolving Circle

Precast Concrete Concourses Angled for Vision

Reinforced Concrete Structure

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Go Big!

Horse-Shoe System Diagonal Truss In Compression

Horse-Shoe System Ring Beam In Compression

Horse-Shoe System Anchor Point Base Column Connection

Site Plan Structural Forces Diagram

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Inner Tensile Ring Self Resolving Circle

Radial Beams Steel

Tensile Cables Connection to Columns

Outer Ring Beam In Compression

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Go Big!

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Longitudinal Elevation

Longitudinal Section

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Go Big!

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Transversal Elevation

Transversal Section

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Go Big!

Outer Ring Beam In Compression

Tensile Cable Steel

Outer Ring Beam In Compression

Precast Concrete Concourses Angled for Vision

Radial Support Beam Steel

Horse-Shoe System Anchorage Steel

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Steel Truss `Diagonal in Egg-Crate System`

Steel Tie-Bar

Steel Spreader Bar

Steel Ring Beam Vectorized

Corner Chunk Bird`s Eye Isometric View

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Go Big!

Precedent Study Vodafone Arena | Istanbul, Turkey DB Architects | IZ Engineering

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SCI-Arc Fall | 18 Steel Arc Tie-Bars In Compression Translucent PTFE Spanning Across Radial Beams Radial Trussesed Beams Steel Steel Outer Ring Beam In Compression Roof Support Column Steel Primary Columns Reinforced Concrete

Zoom-in Chunk Axonometric View

Translucent PTFE Spanning Across Radial Beams Roof Support Column Steel Secondary Compression Ring Reinforced Concrete

Axonometric Section Structural Forces Diagram

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Course

AS3302 Advanced Structural Systems

Instructors Greg Otto Semester Fall 2018, 2GAX Team Ozan Cicek

repeat the module.

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Repeat the Module

Train Station Los Angeles, California

The necessary span for this train station terminal was about 40 meters, which would accommodate its user functions such as circulation, waiting, maintenance etc.

Regular section-active post-beam sturcture is developed through the application of a double-arched system, which self-resolves in both x and y directions. In this way, the structure is made more efficient by adding a geometry, rather than extra material. In short direction, an arched is laterally supported by a flipped arch, which is as again support with an identical of the first one.

The transfer of the load to the ground is achieved through enlarging columns which originate from the node points of the arches at the very top. Where four adjacent arches form a compression ring, a tension ring is also applied in the middle so that a cantilevering PTFE roof can be applied above the train path. Two different kinds of translucent PTFE was applied to the roof, which utilized the secondary framing of the system as its panelization.

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SCI-Arc Fall | 18 Outer Compression Ring Steel

Inverted Steel Arches In Compression

Steel Joinery On Column Tensile Inner Ring

Primary Angled Arches Steel

Primary Vertical Supports Reinforced Concrete

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Repeat the Module

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Structural Force Diagram Top View

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Structural Force Diagram Longitudinal Section

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Structural Force Diagram Worm`s Eye Isometric View

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Transversal Section Bird`s Eye Isometric View

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Structural Force Diagram Top View

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Course

VS4200 Visual Studies I

Instructors Michael Casey Rehm, Andrea Cadioli Semester Fall 2018, 2GAX Team Ozan Cicek, Julia Pike

make the given.

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The Augmented Object

The Augmented Object Los Angeles, California

The range of contemporary methods for entangling physical and digital realities confronts the designer with opportunities to reconsider the capabilities of design objects to convey multiple meanings. This course will look at a series of methods for augmenting physical objects with digital overlays, from hypergraphic textures, convolutional neural networks, and interactive 3D augmented reality apps.

Central to the exploration is the question of what role the qualities of physical objects have in the dialogue with the different modes of augmentation. Rather than presenting the digital and physical in a hierarchy, this course will flatten their relationships to produce outputs which could only exist through their superposition.

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The Augmented Object

Through a series of decimation, a low-res transformation of the initial flower was created. This object then was tracked in the AR app that we developed and utilized in the making of a mediated AR environment.

Left Image Mid-Term Exhibition | SCI=Arc Spanish Steps

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Low-Res Flower Composition through Decimation

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The Augmented Object

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Augmentd Reality App in ActÄąon Mid-Term Exhibition in SCI-Arc Spanish Steps

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The Augmented Object

Fragmentation Diagram Creation of False Interiorities

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Augmented Reality App enables us to reveal the false interiorities that we digitally created on the physicial model in real time.

AR App in Action Opening of the Mass revealing False Interiorities

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“Death was now something permanent, something that slips into life, perpetually gnaws at it, diminishes it and weakens it.�

-Michel Foucault

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Course

HT2200 Theories of Contemporary Architecture I

Instructors Marcelyn Gow, Timothy Ivision Semester Fall 2018, 2GAX Team Ozan Cicek

experience bio-power.

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Experience Biopower

Scales of Biopower from a Phenomenological Perspective: Familiy Home, Paper, Hospital

As the phenomenon of death was introduced to populations as something omnipresent in their lifespan, the ways in which life itself has been arranged around it both spatially and socially has been undergoing a drastic change. This paper aims at analysing the experiential effects of Biopower felt at three different scales, which are the “family home”, “writing of this very paper” and the “transformation of the typology of the hospital and consequently the city around it”.

By doing so, it looks ways for understanding how both man and his social existence has been shrunk to his milieu, and how his orientations towards the objects around him has been formed by the power relations that precedes the arrival of the phenomenon which comprises this milieu.

Family, when considered as the core of modus operandi of biopolitical power, co-incide with phenomenology as being the essence of the familial, the condition for the possibility of the family home, the most familiar milieu of all familiarity. This intense domesticity of experience here, should be read also as the normalizing venue of Biopower, where everything in the subject’s lifeworld is hidden under the blanket of the present.

It is at the same time, the most subtle and effective moment of biopolitical influence being applied on the individual. Sara Ahmed asserts that, within this context of familiarity, the `natural attitude` of the subject does not in fact “see the world”, as every thing appears is taken for granted, immediately fades into oblivion of familiarity. This fading results from the very perception of objects being “available” to us, as the “paper” is available for Ahmed to write upon it, the “matter” of paper quickly disappears into an

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idea of function, depriving it of its “objectness”.As the duration of time between the sensory perception of the object and its becoming into some assumption of “use” or “function” shortens, subject’s capability of suspending his/her perception of its existence in that specific form decreases. In other words, as soon as the object is thought to be “ready” to perform its duty -as the paper being blank, on a flat surface and waiting to be written on- the focus of the mind shifts towards “what to do with it”, rather than “what it is”. Here, we can argue that this minimizing of the duration of this very shift has something to do with how human beings are made subjects, as discussed by Wallenstein. Because this undoubtful determination of what to do with objects is very much related to the way in which Biopolitical power produces individuality. Having been exposed to the culture of Panopticon, the self-reflexive subject automatically looks for ways to utilize the object as he/she has already been taught to render effective. The freedom given to the biopolitical subject here could be what to write on the paper.

This effectiveness here, is also related to the political economy of the household.

Because the time allocated for writing highly depends on the power relations that act in and around the house. Here, we can discuss about the example of Adrienne Rich who is a mother-writer-philosopher-poet given

by Ahmed, who struggles to make time for writing a letter in fifties and early sixties, as her time is in constant demand by her child(Rich: 1991:23). If we consider this instance from a perspective where family is a context within which production of sex acts as an individuating force, Rich’s wish for writing clearly contradicts with her role assigned by the biopolitical power relations aiming to administer her life based on her gender. Here, the family performs as the site of exchange between individuality and collectivity as asserted by Wallenstein, where the political economy in terms of Rich’s use of time becomes an issue of a clear

intervention of Biopower, determining the experience and production that will form her individual existence in the world. This political economy works in close relation with the use of time, which is highly characterized by how the subject prioritizes phenomena that exist in his/her life. The choices and preferences that are posited to the subject forces him/her to construct a self out of events –consequences of choices- that add up to one another through time. This very process determines the form of his/her arrival at any given moment in time in Ahmed’s terms, which comprises the cognitive and emotional sedimentation necessary for constructing histories that would allow him/her to make the next choice. This freedom marks the relocation of responsibility from the Biopolitical Machine to the individual, which Wallenstein concretizes through giving the example of preventive medicine in contemporary society.

The way of experiencing time as a finite resource as discussed in the last part of the previous paragraph, plays a crucial role in determining the form of our direction towards objects. My direction to this paper as an example is highly dependent on the time when it should be submitted and the number of words that it is supposed to include. Having an intermittent gaze on these two quantifiable parameters on the two corners of my digital screen; it would be easy to suggest that these ultimate resources results in a certain narrowing down of my argumentation that is driven throughout this paper. In this sense, this specific way of orientation towards this textual production, requires the relegation of other orientations to a kind of background, as discussed by Ahmed. In other words, our orientations towards some objects may condition other orientations in terms of their intensity and longevity. Because this paper, through the process of its arrival to my screen, was created and designed in a specific format and deadline within a finite duration of time as an 91

Experience Biopower

abstract entity. Simultaneously, if we follow Ahmed’s argumentation, if we consider my body as the “other” arrivant, there had to be process of intellectual formation through readings and discussions, which were part of a process of “discipline”, structured around a pedagogy.

The very problem of the deadline could be associated with the power relations which are fluctuating in order to create the most productive and efficient biopolitical subject; in this case, student. Because the self-monitoring that originates from the located responsibility on the subject helps to build a self-reflexive body politic. This location of responsibility is partly made possible through the freedom of choosing the topic of the paper, even though the pool had been specified by the “discipline”. This tactical move could be correlated with what Wallenstein argues about the moment where that State retreats, performs a useful lack of control in order to give the ground for the subject to discover him/herself once his/her formation has been assured. The very provision of this choice, in relation to the conceptual arrival of the mind to the paper, could be related to Foucault’s idea of modernity as a complex production of subjectivity, rather than a continuous process of discipline and control. The curation of this balance between subjugation and subjectivity plays a crucial role for the individual to discover him/herself free following the process of intellectual formation, which is necessary for the emergence of the responsibility of production.

As well as producing individuality in the micro level, Biopower also works on the macro-level in the scale of a population, where these individuals appear as statistical phenomena. In this part of the paper, its application on this scale and its reflections on architecture and the built environment will be discussed in relation to the transforming typologies of public buildings and

spaces; hospital in particular. If we start with Wallenstein’s description of how the emergent Biopolitical Machine instrumentalized architecture for its purposes of ordering, regimentation and administering of space in its totality during the latter half of the eighteenth century, we will understand how these typologies are formed in relation to the emergent need of rearranging the public domain.

As Biopower took action and this new form of sovereignty started to consider populations as wholes that needed to be dealt as such with new forms of measures and tools concerning what is happening to the overall rather than the individuals; the criteria used in evaluating the quality and the performance of urban space changed drastically.

With the use of statistical data, what these buildings or spaces “does”, rather than what they “are”, has become crucial for the functioning of the Biopolitical Machine. In this sense, this shift illustrates the fading away of the “objectness” of the objects discussed in the first paragraph on a bigger scale, as exemplified formerly as the “writing paper”.

As “what to do” with the object dominates the perception and the experience of it, what that object `is` disappears into the conceptions of function and use.

The heavy emphasis on the function and the performance of such public facilities such as hospitals, I will argue, comes from the anxiety that originates from the eighteenth century public experience of endemics – the form, nature, extension, duration, and intensity of the illnesses prevalent in a population as defined by Foucault. Because the way these endemics changed the perception of death from something sudden and temporary into something permanent, created a new public opinion that the ways of dealing with these problems also needed to be modified in a way that they would be able to perform a permanent resistance. In other words, addressing these issues has come to 92

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form one of the main programmatic inputs in the design of the cities for these populations. We can see this shift in the example of the reconstruction process of the “general hospital” Hotel-Dieu of Paris after the fire of 1772. As Biopolitical Machine regarded the population as the “object of politics of health”, the ideas on how the new facility should be started to take form of a rather urban discussion, which was eradicating the boundaries separating the inside and the outside of the building, as Wallenstein asserts. As the conceived use of the facility takes the form of a determining permanent condition, the whole city now needed to adapt to it. In this sense, classical orders that formerly determined the value of design and architecture were rendered almost irrelevant, or secondary at best, to this new politics of social space. As the relationship of bodies to these facilities has become more and more vital, the existence of them has gradually become these relationships. In this sense, bodies started to be deprived of their isolated existence from the Biopolitical Machine; instead, they were left with no choice other than being a part of it. This is another form of the existence of a body turning into its milieu by the character of his/her relationship to the milieu. We can trace this in the example of the “tick” by Agamben, where the animal’s life-world only consists of three sensory stimuli which conditions its actions towards the warm blood of a mammal. In both cases; where the individual is freed from the system of Biopower and the Tick from the search for a prey for blood, marks their death.

As well as the urban space, the inside organization of the hospital had to respond to the emergent needs of surveillance and the effective ordering of time. As the strict ordering about how the doctor sees the patients marked the centralization of power that has been extracted from medical knowledge. In its functioning, the introduction of the Panopticon by Bentham, which

argued to provide the possibilities of “allowing everything to be seen from one point and to make everything accessible in the shortest possible time”, was then conceptualized by Foucault as a “diagram” which could be applied to multiple typologies such as prisons, military barracks, factories, schools, as well as hospitals. As Panopticon allows for the maximization of influence over a population by simultaneously minimizing the use of physical force, we see the new role that is demanded from architecture for the ordering, controlling and regimenting space. In this sense, the typology of the hospital was used as a laboratory for the experimentation of this new system suggested

by Biopower. The reason why the `hospital` was the laboratory rather than other building typologies is that the efficiency in terms of its collective functioning is vital in the most literal sense. In other words, it suggests an experience of life that is irrevocable; so its architecture had to be rethought in relation to this vitality.

This new ordering, under the name of efficiency, the way in which it arranges the adjacencies of peoples tells a great deal about how the emphasis has shifted towards collaborations and communications that are essential for the working of the social order, and thus the Biopoliticial Machine. In these collaborations, each man is reduced to his function, which determines his specific adjacency both spatially and socially. In other words, the interactions are designed in a way that a person would only interact with whom he/she is supposed to be collaborating or communicating with. This determined adjacency points to the vitality and the universality of the “milieu”, which we see in the writings of Agamben about Uexküll on the “tick”. Through the individuating power of the Biopolitics, the ‘Umwelt’ of the man is determined from a perspective that is looking from the ‘Umgebung’ of Biopower, and its life-world is more or less determined accordingly. The existence of a biopolitical 93

Experience Biopower

“Death was now something permanent, something that slips into life, perpetually gnaws at it, diminishes it and weakens it.”

-Michel Foucault

body is only possible through its functioning in the eyes of the Biopower, which is determined by his/her interactions with his/her milieu. However, I strongly believe that, if we consider the quantity and the quality of the carriers of significance for man, the criticism for modern architecture of these facilities as alienating was inevitable, as they were in a way meant to be so. Still today, for architects the typology of a hospital is one of least flexible building types, which shows the existing grip on the organization of it by the Biopolitical Machine still in action today in contemporary societies.

To conclude, Biopower has been the driving force of not only the shift both in mentality and the form of architecture and the built environment departing from the classical models, but also the conceptions related to efficiency, productivity, discipline, political economy and so on. This formation has been radically affecting how we perceive and orient towards the objects around us, our relationships to which, shapes our existence in the world. More importantly, it has been radically transforming our relationships to our milieu in a phenomenological sense, where our singular existences has been shrinking to our function which the Biopolitical Machine assigns us to perform. I firmly believe that the criticism of the modern architecture has a lot to do with this aspect of Biopower System which generated such spatial arrangements for the purposes of ordering, regimentation and administering; which has been largely governed by the population’s relationship to death, in its daily “life”.

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References I

References II

Agamben, Giorgio, and Kevin Attell. The Open: Man 2004.

Foucault, Michel, and François Ewald. Society Must Be Defended: Lectures at the ColleĚ ge De France, 1975-76. 1st ed. New York, NY: Picador, 2003.

Ahmed, Sara. Queer Phenomenology: Orientations, Objects, Others. Durham: Duke University Press, 2007.

Wallenstein, Sven-Olov. Biopolitics and the Emergence of Modern Architecture. New York: Princeton Architectural Press, 2009.

and Animal. Stanford, CA: Stanford University Press,

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DS1201 2GBX Generative Morphologies

Instructors Jackilin Hah Bloom Semester Spring 2019, 2GBX Team Ozan Cicek, Kristoffer Tjerrild-Lund

form knowledge.

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Forms of Knowledge

Forms of Knowledge | Atlanta Central Library Atlanta, Georgia

In the place of the controversial Atlanta Public Library designed by Marcel Brauer, the challenge is to re-imagine the relationship between public and knowledge, people and data. Being the library of the future, the programs dwells on the questions about shifting sources of information and possible ways of storing that information. Furthermore, how to express this data to the public through the architecture of the new library is taken under investigation as an expression of power in the contemporary city.

In the future library that we propose, the integration of data/storage and the cultural program has been the key issue in developing the new typology for the contemporary public building. In our library, architectural expression of data/storage expresses its contemporary nature as a hyperobject that is significantly big and onmipresent. We no longer hide data in far-away data centers or bury it underground. Here, it gains a new formal quality together with the cultural program which creates a new aesthetic for the new public building through its monumentality.

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Forms of Knowledge

Massing Study I Collage Composition with Containers

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The question is how to bring various containers together to study the massing of the building that would create a monolithic effect and posture in the city.

Massing Study I in Context Axonometric View

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Forms of Knowledge

Massing Study I investigates the possibility of incorporating various containers in a big one, which creates a pure rectangular posture in the city.

Left Image Massing Study I Physical Model

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The smaller containers inside form a contrast with the pure rectangular geometry of the big one.

Massing Study I in Context Elevation

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Forms of Knowledge

Massing Study II Collage Composition with Containers

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Massing Study II deals with the question of a monolithic gesture of lifting a pure mass up in order to house other containers as a welcoming presence in the city.

Massing Study II in Context Axonometric View

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Forms of Knowledge

Lifting of the mass creates an urban continuity from outside towards inside with the boldness of its monolithic move.

Left Image Massing Study II Physical Model

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The open space gained through the elevation of the mass creates a welcoming urban space with a formal variation of smaller containers.

Massing Study II in Context Elevation

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Forms of Knowledge

Massing Study III Collage Composition with Containers

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The monolithic posture towards One Margeret Mitchell Square creates a memorable civic image.

Massing Study III in Context Axonometric View

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Forms of Knowledge

Massing Study III investigates a high-rise possibilty with a monolithic posture in the city through precarious arrangement of its containers.

Left Image Massing Study III Physical Model

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Pure rectangular arrangement of background containers form a contrast with curvilinear nature of bigger ones which signifies a programmatical duality.

Massing Study III in Context Elevation

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Forms of Knowledge

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Conceptual Development Physical Models

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Forms of Knowledge

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New library integrates gridal data/storage with the cultural program which poses towards civic plaza.

Left Images Casting Experimentation in Conceptual Models Right Image Axonometric View of Conceptual Mass 115

Forms of Knowledge

Flatness of contemporary culture brings together seemingly irrelevant objects and collapses them together, which can be observed in our massing studies.

Conceptual Image Flatness of Representation in Contemporary Culture

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Conceptual Elevation Juxtaposition Study of Collapsing Elements

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Forms of Knowledge

Relief Conceptual Elevation Model

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Collapsing different elements together as an elevational study enabled us to imagine the programmatical juxtaposition of our library as data/ storage and cultural spaces.

Right Image Relief Model Detail

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Forms of Knowledge

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Cultural program takes up various formal qualities in order to be able to accomodate ever-changing social events and ways of engagement of the contemporary society.

Left Image Programmatical Diagram

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Forms of Knowledge

Storing of data engages with public with its formal existence in moments within the cultural program within the building.

Left Image Section I

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The grid appears to be generic that can simultaneously form and interrupt public program.

Elevation I New Library in Context

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Forms of Knowledge

Data penetrates into public program as an infrastructure as well as providing the circulation through the building within the grid.

Left Image Section II

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The duality of the program marks the character of the new typology and is boldly expressed in the formal gesture of the building in the city.

Elevation II New Library in Context

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Forms of Knowledge

Community Center placed on the ground floor relates to the civic plaza which is coming from One Margeret Mitchell Square.

Ground Floor Plan Relation to the Urban Plane

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Various aspects of cultural program is attached to the grid which provides vertical circulation and infrastructure through data storage.

Floor 8 Plan Relation of Grid to the Cultural Program

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Forms of Knowledge

Method of casting is implemented in the physical model in harmony with the idea of capturing moments in the cultural program.

Molds and Base Pieces for Casting Physical Model-Making Process

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The program introduced was a `Bus Stop` in downtown Los Angeles, which engages with its user in new ways due to its formal qualities.

Corner Chunk Resin Casting Bird`sModel-Making Eye Isometric View Physical Process

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Forms of Knowledge

Contrasting materiality of translucent resin and solid grid expresses the programmatical integration in the physical model.

Left Image Physical Model

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Physical Model Grid-Cultural Program Integration

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Forms of Knowledge

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Formal integration of the grid appears in abrupt places in harmony with the idea of data as a hyperobject which is big and omnipresent.

Right Image Physical Model

Left Image Physical Model Detail

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Forms of Knowledge

Cultural Program such as the Auditorium interacts with the gridal data.

Physical Model Detail Auditorium’s Relation with Data

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The program introduced was a `Bus Stop` in downtown Los Angeles, which engages with its user in new ways due to its formal qualities.

Physical Model Entrance for Library

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Forms of Knowledge

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New library offers different formal experiences with its posture from different perspectives of it in the city.

Right Image Physical Model - Elevation

Left Image Physical Model - View from One Margeret Mitchell

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Forms of Knowledge

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Physical Model Atlanta Public Library

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VS4201 Visual Studies II

Instructors Damjan Jovanovic, Angelica Lorenzi Semester Spring 2019, 2GBX Team Ozan Cicek

become the internet.

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Become the Internet

Become the Internet Los Angeles, California

With emphasis to the flatness of contemprary culture which collapses highly distinct entities on a flat screen as images, the aim of the course is to study a new way of digital modeling as a representation of this current tendency. Starting from the theme “Asia�, several objects were found in the Internet and transformed through materials and shader in order to create a new aesthetic from this given genre.

In terms of its argumentation about architectural representation, this class aims at a criticism about the labour spent on post-production. In other words, Platform Sandbox developed by Damjan Jovanovic, suggest the replacement of rendering and the entire process of post-production with simply taking screenshots where all the materiality and visual effects are already present during modeling in the design process. In doing so, it collapes design and its final presentation onto one single realm.

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Become the Internet

Various objects related to the genre “Asia� were brought together and used in different compositions with their new materials, colors and shaders.

Digitally-Modeled Compositions Screenshots

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Objects in Platform Sandbox take on new qualities due to animated shaders, therefore transcend the dimensions of traditional still rendering.

Composition with Animated Shaders Screenshot

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Become the Internet

The challenge is to create a new aesthetic with previously irrelevant objects, textures, materials and shaders in a neutral digital environment.

Digitally-Modeled Compositions Screenshots

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Become the Internet

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Found objects were then combined with modeled objects in order to collapse these different realms of design onto a single one of Platform Sandbox.

Found Objects with Modelled Objects Screenshots

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Become the Internet

Method of texture-mapping onto found objects were brought together with objects having animated shaders that now exist in the same realm of Platform Sandbox.

Corner Chunk Bird`s Eye Isometric View

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An authentic aesthetic through forms, materials, colors and textures has been developed throughout the class, which emphasises the flatness of contemporary culture best illustrated by the use of the Internet.

Corner Chunk Bird`s Eye Isometric View

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Become the Internet

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Close-up Render Perspective View

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Course

HT2201 Theories of Contemporary Architecture II

Instructors Erik Ghenoiu, Marko Icev Semester Spring 2019, 2GBX Team Ozan Cicek

justify by vernacular.

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Justify by Vernacular

Architectural Reading and Reference in Turkish Political Scene Modernism, Neo-Liberalism, Islamist-Nationalism

Based on the different readings of the vernacular architecture in Turkey discussed

by Bozdogan(1996), this paper investigates whether these kinds of rational-technical readings and ways of architectural thinking could actually be appropriated by the general public in relation to the fate of prominent modernist projects such as Ataturk Cultural Center, Provincial Bank and Ataturk Forest Farm. In other words, it analyzes their cultural durability in relation to how the perceptions around modernism and its architectural artefacts has changed by Turkish society up until now. Throughout this analysis, this change will be illustrated as an ever-widening gap between two polarized cultural sides of the country as nationalist secular and religious liberal; and how their voices has been raised in the political scene by ruling parties and professional unions such as the Chamber of Turkish Architects. The question raised here is whether the modernist way of

architectural analysis and design is still valid on a society scale, and if not, how new ways have been invented in post-modern Turkish society such as the overall imagery of the urban scene in contrast to the orthographic techniques.

Starting from the most contemporary, demolition of the Atatürk Cultural Center(AKM) in Taksim Square, Istanbul has caused a substantial amount of controversy and conflict within Turkey. Originally designed

by Hayati Tabanlıoğlu in 1970, AKM has hosted numerous shows, events, theaters; and therefore acted as one of the most prominent venues for Istanbul Art Scene.

As the political polarization in the nation peaked, the building has become a symbol of conflict between two opposing parts in “post-modern Turkey” where there has been a “growing reaction to the official ideology of the old Republican Elite and a radical

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departure from the universalistic claims of modernity in favor of an emphasis on cultural identity and difference”.(Bozdogan, 1996, p.13)2. Although the new plan was announced as a renovation to be made by architect’s son, Murat Tabanlıoğlu, which will preserve the main features of its facade regarding its place in the urban memory, the mere act of its destruction was heavily politicized by President Recep Tayyip Erdoğan as a victory following the dispute over Taksim Square originating from the protests that took place in 2013 (Image.2).

Its demolition was accompanied by the erection of a large mosque in the square with will drastically change its imagery in accordance with the Islamist agenda of the authorities. This shows us how a social conflict that has been accumulated over the years can be materialized around a civic plaza and its neighboring public buildings.

In the making of this conflict, disdain on the overall urban development of Turkish cities being narrowed down to an invented opposition between “concrete” and “green” also contributed to negative change of opinion around “exposed concrete” buildings such as AKM. Another recent example of such cultural displacement took place in the capital city of Ankara, by the demolition of the Provincial Bank (Image.3) in 2017. The building was designed by Seyfi Arkan in 1930s in an architectural competition, and was built in 1937. It was located on the main axis of the city, Atatürk Boulevard, which is the main spine of the capital city of the modernist young republic and there has not been any religious facilities built on either side up until 2013 as a manifestation of the secular character of the new regime. The historic Provincial Bank was demolished overnight according to the plans of the expansion of the mosque’s courtyard, despite all the opposition made by the Chamber of Architects. The mosque’s sheer scale heavily dominates the overall character of the urban

and its Ottoman-Islamic ornamentation reinforces its alien existence on the modern early-republican context.

In addition to mosques, new presidential complex(Image 5) built in Ankara (2015) again in the place of Ataturk Forest Farm founded by Kemal Ataturk himself, reveals itself as a statement of displacement of the existing establishment and its replacing it with the nostalgic old with reference to an argued cultural essence. Its facade with references to Seljukit palaces thrive to build an identity referring back to the Ottoman-Islamic era, which was argued to be deviated

by Western influence during 20th Century.

Additionally, the large “People’s Mosques” within its premises complements the Islamic flavour in its character and justifies its coming to being in religious terms. As opposed to the reading of the Turkish House by Eldem as an “essential modernity” (Bozdogan, 1996)3, this way of making reference seems to be limited to the facade composition and pastiche ornamentation. This in fact shows a lot about the depth of how contemporary political leadership understands cultural history and uses it as an expression of power of its ideology.

In all of the examples, we see that the cultural symbols of the old Republican elite built in modernist public buildings in key strategic locations have been countered by new public facilities with Islamic tendencies with an abundance of Ottoman-Seljukit ornamentation pastiched onto them. This new collage-like way of referring to architectural history illustrates how a nostalgia about a desired past could be materialized in contemporary architectural practice. Despite the emphasis on the local and nationalist identity of these gestures, there is an irony that the architect commissioned for Taksim Mosque and the new presidential Palace is Sefik Birkiye, founder of Vizzion Architects based in Brussels, Belgium. This fact relates back to the Kemer Country example 157

Justify by Vernacular

(...)In the making of this conflict, disdain on the overall urban development of Turkish cities being narrowed down to an invented opposition between “concrete” and “green” also contributed to negative change of opinion around “exposed concrete” buildings such as AKM.

designed by Florida based firm of Andres Duany and Elizabeth Plater-Zyberk investigated by Bozdogan (1996)4. In other words, even though the built artefact is claimed to be intensely nationalist, the process by which it is built shows contradictory attitudes such as disregarding the voice of the Chamber of Architects and local people who live in the area. We see this attitude of biased opposition in many examples including a prominent pro-Erdogan historian and columnist Murat Bardakcı’s (Bardakcı, 2018)5 daily writing where he explains “an architect that the Chamber opposes is actually the one who is a genius like Sinan”. The tone of hostility towards the West in the political rhetoric contradicts with where the the public money is channelled towards.

As Bozdogan(1996)6 asserts in the beginning of her writing that the same architectural form has been interpreted in different terms in different periods in Turkey’s history (Turkish House), today we see a similar situation of reinterpreting a specific part of history; however this time, not in a ration-based reading as Eldem once did for the vernacular around Anatolia, but in an image-based fashion where the overall imagery of the traditional scene is the focus in a populist political agenda. This is why we see that the most important representation method of the project Kemer Country as discussed by Bozdogan (1996)7 is the perspective sketches rather than the orthographic drawings once done by Eldem showing the use of proportions of the elements in the elevations and plan organizations. This will have implications on the design culture especially on its representation to the general public on a political level where the overall imagery might become the most important aspect of the design and unsettle basic priorities of architectural discipline.

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Image I: President Erdogan after demolition of Ataturk Cultural Center (AKM) in Taksim, Istanbul.

References I

References II

Image References

Bardakci, Murat. “ Türkiye’nin en büyük kütüpha-

Bozdogan, Sibel. “Vernacular Architecture and Identity Politics: The Case of the “Turkish House”.” Traditional Dwellings and Settlements Review 7, no. 2 (1996): 7-18. http://www.jstor.org/stable/41757194.

Cover Image: https://gazetemanifesto.com/2016/yerleskeden-kulliyeye-iii-48489/

nesi Bestepe Külliyesi’nde insa ediliyor” Haberturk, January 21, 2018, late edition. https://www.haberturk. com/yazarlar/murat-bardakci/1805064-turki-

Image 1: https://140journos.com/ataturk-kultur-merkezi29073a040dd7

yenin-en-buyuk-kutuphanesi-bestepe-kulliyesinde-insa-ediliyor (accessed March 12, 2019)

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Course

DS4000 Vertical Studio

Instructors Eric Owen Moss Semester Fall 2019, 3GAX Team Ozan Cicek, Andrew Stone

little dipper, big dipper.

161

Little Dipper

Little Dipper | House in Santa Monica Canyon Los Angeles, California

A person looks at the night sky and tries to get some meaning from what he sees. He sees constellations of stars of some sort.

Some big, some small. Big dipper, little dipper. Little Dipper stands for the inital one month period of the studio, where we were asked to design a house located in the Santa Monica Canyon.

We have focused on the urban section of the canyon that cuts through the project site and squeezed it to form the intimate enclosure of the house. This enclosure corresponds to the introvert condition of the residential typology. On the other hand, the house opens itself to generous views towards the upper parts with various open spaces as an extrovert behaviour.

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Little Dipper

Cultural Program such as the Auditorium interacts with the gridal data.

Two Sides of Santa Monica Canyon Urban Section

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_LOWER SITE

_LOWER SITE

Ground Strategy Profile as Introvert Enclosure

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_VALLEY PROFILE

Little Dipper

_COLUMN LAYOUT

_COLUMN LAYOUT

Column Arrangement _COLUMN & ENVELOPE STRUCTURE Rib Structure for Main Massing

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_INTERIOR MASSING

Programmatic elements are hung on the arched parts of the overall massing of the house, which characterize the interior fragmentation.

Axonometric View Rib Structure with Program Pieces

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Little Dipper

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Longitudinal Section 1 Programmatic Division

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Little Dipper

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Longitudinal Section 2 Cavities Encapsulating Program

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Little Dipper

1

1

3

up

4

5

2

1 terrace 2 roof garden

1 terrace 2 roof garden

_ROOF PLAN @ 1/8” = 1’

_ROOF PLAN

Left Image @ 1/8” = 1’ Roof Plan Right Image Third Floor Plan

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PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

2

1. lookout room 2. pantry 3. kitchen 4. bathroom 5. bedroom

_3rd FLOOR PLAN @ 1/8” = 1’

SCI-Arc Fall | 19 18

2

2

3

1. STUDY 2 ENTRY HALL

_2nd FLOOR PLAN @ 1/8” = 1’

1. STUDY 2 ENTRY HALL

_2nd FLOOR PLAN

Left Image@ 1/8” = 1’ Second Floor Plan Right Image Ground Floor Plan

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PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

1

1

1. LIIVING ROOM 2. WALKWAY TO CANAL GARDEN 3. INTERIOR COURTYARD

_1st FLOOR PLAN @ 1/8” = 1’

Little Dipper

The rib structure defines the overall massing of the house while the gray profile on the outside determines the visual relations towards the immediate context.

Physical Model Worm’s Eye View

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The west elevation of the house reveals the overall form of the massing as well as the programmatic elements which are carved from the interior.

Physical Model Bird`s Eye Elevation View

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Little Dipper

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West Elevation Little Dipper | House in Santa Monica Canyon

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Curiosities v1

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Course

AS3222 Design Development

Instructors Herwig Baumgartner, Brian Zamora, Matthew Melnyk, Jamey Lyzun Semester Fall 2019, 3GAX Team Ozan Cicek, Andrew Stone, Kshitij Bhende, Blake Minster, Gia Zhao, Deepak Agrawal, Kaiyun Lei, Kristoffer Tjerrild, Nero He

develop atlanta library.

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Design Development | Atlanta Public Library Atlanta, Georgia

This proposal for Atlanta Central Library was made during 2019 Spring semester at SCI-Arc by Ozan Cicek and Kristoffer Tjerrild under inspection of Jackilin Hah Bloom as the studio critic. The project then was developed as a Design Documentation exercise in the following semester.

The development was made in terms of structure, materials and tectonics, kinetic facade systems, panelization, climate analysis, egress and fire simulations, ADA specifications and cost analysis.

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DD Design Development

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The site is located in the Fairlee-Poplar district of Atlanta, Georgia, which has a general wind direction of east-west.

Site Plan Context of Atlanta Central Library

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DD Design Development

Structure of the building is conceived as a hybrid of various steel framing systems and concrete columns.

Corner Chunk Bird`s Eye Isometric View

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Primary Materials Used in the Building Axonometric View

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DD Design Development

Auditoruium Chunk Structural System - Interior Materials Applied

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The Auditorium Chunk is a steel-framed enclosure with punched openings on its facade, which then connecs to the overall glazing and panelizations systems of the building.

Auditorium Chunk Bird`s Eye Isometric View

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DD Design Development

The envelope of the Auditorium Chunk consists of GFRC paneling and Low-E glazing.

Auditorium Chunk Bird`s Eye Isometric View

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Auditorium Chunk Structural and Tectonic Layers

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DD Design Development

Auditorium Chunk Bird`s Eye Isometric View

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Auditorium Chunk Layers of Facade Assembly

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DD Design Development

The Gallery is placed within the Reading Hall Space as a whole steel-framing system which also differentiates itself of the facade with its form and material.

Reading Hall - Gallery Chunk Bird`s Eye Isometric View Structural System - Interior Materials

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DD Design Development

Structure for Facade System Bird`s Eye Isometric View Kinetic Facade Elements Bird`s Eye Isometric View

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A kinetic facade system is applied, where every individual element can be opened or closed in relationship to lighting-shading needs throughout the year.

Reading Hall - Gallery Chunk Bird`s Eye Isometric View

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DD Design Development

Individual facade elements are fixed to a secondary system of steel tubes, which then attaches to the primary facade structure.

Left Image Facade Chunk

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Kinetic Facade System Bird`s Eye Isometric View

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DD Design Development

Natural Lighting Conditions throughout the Year Kinetic Facade System

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Mechanical Ventilation Systems Bird`s Eye Isometric View

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DD Design Development

Occupancy Types Diagram Bird`s Eye Isometric View Water Disposal Diagram Bird`s Eye Isometric View

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Egress Simulations Bird`s Eye Isometric View

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DD Design Development

Fire Seperation Diagram Elevation View Fire Simulation Auditorium Chunk

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Fire Exhaust Systems Auditorium Chunk

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DD Design Development

Cost Analysis Structural Steel Cost Analysis In-Situ Concrete

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Cost Analysis GFRC Panelization Cost Analysis In Total

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DD Design Development

Atlanta Central Library as a new hybrid typology suggested unusual ways in terms of structure and material, which pushed the boundaries of the conventional building practice.

Gallery Space Plan View

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Corner Chunk Bird`s Eye Isometric View

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Curiosities v1

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Course

DS5000 Vertical Studio

Instructors John Enright Semester Spring 2020, 3GBX Team Ozan Cicek

detach the monastery.

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Detached Monastery

Detached Monastery SĂŁo Domingos da Baralha Fortress, Cape Espichel, Portugal

This monastery detaches from the land, in the form of a hovering cantilever below the ruins and above the sea. It creates a series of spaces that offer stillness, contemplative views, and spaces of inner reflection.

Stillness is through being detached, and not yet arriving anywhere. It is inbetween the essential conditions: the earth, the ocean and the sky. This tension between essential conditions gives way for contemplation, where one can feel all of them intimately, yet can not touch any of them. It is a break from life on earth.

This experience start with the long entrance platforms that detach from the earth together with the structure and allows for a journey that also mentally detaches from the thoughts and worries of the mundane terrestrial life. Solitude is sleeping at the edge of the monastery, with daylight passing through the narrow slit on the ceiling. It is not about the view outside, instead it is about listening to the waves hitting the rocks down below and trying to seeing inwards, the reflection of the world inside one`s mind.

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Detached Monastery

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Vıew from the Ocean Detached Monastery

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Detached Monastery

Trussed structure detaches from the land and carries the hovering cantilever which also defines the entrance spaces.

Structural Diagram Axonmetric Section VÄąew

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The Detached Monastery centers the Barralha Castle with its structural elements that come out the earth, which reinforces the presence of the historic ruins.

Site Plan Detached Monastery

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Detached Monastery

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Hovering over the Ocean Detached Monastery

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Detached Monastery

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Upper Image Plan Drawing

Lower Image West Elevation Drawing

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Detached Monastery

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Experience of the Coast Detached Monastery

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Curiosities v1

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Course

DS5000 Vertical Studio

Instructors John Enright Semester Spring 2020, 3GBX Team Ozan Cicek

taste the terroir.

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Taste the Terroir

Monte d’Oiro Wine Tasting Room Lisbon, Portugal

This wine tasting room forms within the linear masses that are extended from the rows of vines out in the land. ‘Terroir’ as the place that determines the character of the wine, the morphology of this room creates a relationship to the soil, therefore, creating a direct relationship between building, the nature, as the source of wine. and winemaking.

Wine tasting room is regarded as a spatially in-between condition where you can see both the first and the last phases of wine production, which are the vineyard and the barrel room. It ties these phases together, hence emphasizing that this process is a cycle that repeats itself over time.

The spaces in-between the linear masses offer framed views through long rows of vines into the landscape, hence making the user contemplate about the larger process behind the final product that he/she is sipping at his/her hand. In the interior, the tables used for tasting are at the same height as the land outside, creating a direct relationship between the tasting area and the vineyard. As patrons taste wine, socialize, and enjoy food, they are reminded of the deep connection between the land and wine making. The building is seen as a direct outcome of the environment, just as the fine wines of the region and vineyard reflect the specificity of the terroir.

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GLAZED ENVELOPE

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Taste the Terroir

This wine tasting room forms within the linear masses that are extended from the rows of vines out in the land.

Left Image Site Plan

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Wine tasting room is regarded as a spatially in-between condition where you can see both the first and the last phases of wine production, which are the vineyard and the barrel room. It ties these phases together, hence emphasizing that this process is a cycle that repeats itself over time.

Right Image Axonometric Drawing

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Taste the Terroir

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View from the Vineyard Perspective Render

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Taste the Terroir

The Glazed Envelope encloses the interior spaces inbetween the linear masses, and offers open views towards the surrounding landscape.

Cut-away Axonometric Drawing Relationships of the Glazed Envelope

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In the interior, the tables used for tasting are at the same height as the land outside, creating a direct relationship between the tasting area and the vineyard.

Top Image Section Drawing I Bottom Image Section Drawing II

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Taste the Terroir

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Perspective Render Approach from the Barrel Room

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Taste the Terroir

As patrons taste wine, socialize, and enjoy food, they are reminded of the deep connection between the land and wine making.

Left Image Plan Drawing

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The spaces in-between the linear masses offer framed views through long rows of vines into the landscape, hence making the user contemplate about the larger process behind the final product that he/she is sipping at his/her hand.

Perspective Render Interior Perspective towards the Vineyard

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Taste the Terroir

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Perspective Render Experience of the Landscape

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