Issue 1 - February 2020 by proje501

proje501

editorial

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Why proje501? Proje501; being an environment in which topics that we would like to tell on behalf of the architecture can be discussed freely, brought us five friends together. We aimed to present architecture as a profession holds tightly to each branch of art and is empowered by them. Moving forward with the idea of understanding the architecture not being enough; we are committed to integrating it with music, painting, literature and other fields of arts and providing this awareness. Our content includes architectural projects, interviews, articles, comics and works from our esteemed readers. We are grateful to our valuable teachers and friends who did not leave us alone on this path; wish you good reading.

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COLO PHON Issue: 1 Founders Elif Başlı Kerimcan Ayaz Damla Karabay Emrullah Çakmaz Elif Dağtekin

February 2020

Communication Emrullah Çakmaz

Editor-in Chief Elif Başlı

Counsellors Mesut Dural Hasan Fırat Diker Kürşat Açıkgöz

Visual Director Kerimcan Ayaz

Webpage proje501.blogspot.com

Social Media Director Damla Karabay Article Manager Elif Dağtekin

Advertisement and Contact Tel: 0539 422 98 87 Franchise proje501

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colophon

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contents

6 serter karataban an interview by Elif Başlı

14 de stijl an article by Kerimcan Ayaz

16 reality

dilek türkan 34 an interview by Elif Başlı

kemenche 38 an article by Elif Başlı

shift in thinking 40

a work by Kübranur Akyol

an article by Kübra Hüma Ata

19 chow

route 42

a work by Hasan Fırat Diker

an article by Rana Güneş

20 a house in anatolia an article by Elif Başlı

26 experience of spaces works by Yasin Kaan Turan, Elif Dağtekin, and Hande Gaye Yiğit

CON TEN TS

fırat 44 comics by Cihan Altuner

and architectural projects Ahsen Çimen, Hazal Gizem Aydoğmuş, Kerimcan Ayaz, Elif Başlı, and Lütfiye Karaaslan

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interview

serter karataban

Serter Karataban, in his office © Emrullah Çakmaz

Was it your dream to be an architect?

So how did you react?

No, in fact, I wanted to be an engineer just like my brother and to study at İstanbul Technical University, but back in the day, we would decide and select our universities to attend before taking the exam. The last evening of the preference list making, after I went to bed, my father had added the department of architecture under mechanical engineering on my list. I didn’t have a vocational goal yet but my aim was to get 520 points in the last year of high school and I got exactly what I aimed. Mimar Sinan University was included in my preference list and I got in with my points. Sometimes your family knows you better than you and now I can say that I have studied at that school and fortunately I have become an architect.

It was fine by me, actually. It was a fortune that I did not become a mechanical engineer. But let me tell you something, even if I was a cleaning officer, I would try to be the best, I thought about the differences, I would try to create a social benefit. I would try to communicate at a high level again, I would look for ways to understand people. In my belief, everyone should do whatever they desire; but do it in the best way they can. I do not fancy people doing their jobs just because they have to. How was your student years? Were there any people you followed especially in those years? In my time, we were not aware who was a good and who was a bad architectin Turkey. In my freshman

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year, I started to work with a valuable teacher and as soon as I learned computer-aided softwares I worked for almost each teacher who work outside school. I was also a strict fan of Álvaro Siza. I still love him; he has a respectful, uncluttered and simple architectural approach. I also think Peter Zumthor has contributed so much to the architectural community. My aproach to the architecture is about simplicity based on still and linear lines. Orginised but seen as if it was unintentional. That is why I like Álvaro Siza. In fact, I sent him a portfolio at the end of the 90s. I also got accepted; but I could not go. So it had to be. Why? I am a very domestic man, I could not leave my mother, father, girlfriend. My static teacher was mad at me for not going. In fact, when I told my teacher in 2001; “I am going to buy a house, could you check if there is any problem statically?” then really he did not help me. He said, “No, you must be a world person, do not chain yourself.” Well, now I understand what he means exactly; but I am inside the ‘world’ here also. You said, “I started off in the construction site as a freshman intern, left as a senior student.” Where was the construction site you mentioned, what did you experience? There is a very important man in my architectural life; Nihat Gök. The construction site was in Çatalca. But at first, I could not distinguish the nail and screw from each other. I worked there for 7 months; all summer and sometimes even for a while in winter by leaving my courses. Ataturk have seen architecture, military and medicine, similar to each other. “The best commanders grow up at the front” he said. If you do not go on the field, you would not understand much of architecture. It was true that I learned much more in 7 months, than I did in 4 years of college. At the end of the fourth month, a set of adz, handsaw and a toolset, everything a mold maker needs, were their gifts for an 18 year old boy. Because I was working with them. You cannot learn this job in any other way. As an instructor, what do you think about the architect candidates? What are the things you find missing? What do you see when you compare your own time with today?

First of all, you are luckier than us; because the technology has developed. I first met with the computer in college. But a device could not provide a soul for a project. When extracting something in your mind into a computer, results are not as good as hand sketches. I believe in the importance of hand drawing. The technology that can transfer the image in my head, into 3D instantly, may exist one day tomorrow, but not yet. Benefits of technology has actually become the disadvantages for both the architect and the candidate. Therefore, a cosmetic architecture arised. This is what I say the most to students. Today we have so many populer names; but all they do is dressing the buildings. The buildings do not have a system, there is a little thought put for their functions; but they are good for photos and people talk about them in months even years based on them. We used to create the idea, write the story, then draw the project. Now, the projects are drawn accidently and then the story comes anyway it fits. They are published everywhere you look, on the magazines. Those who read them, actually believes the story. When students see those, they think they are not as lucky as others are, they disappoint and part ways with architecture. Visualization is important for architecture, but the conceptual and intellectual side is more important. Understanding the problem, approaching with a calm mind and looking for the right solution are almost outdated. So what should be done? I guess now there are 161 architecture departments in total in Turkey. Approximately 8 to 10 thousand people graduate each year. It is not an environment to be a skilled architect in Turkey. All this graduated people each year, what are they gonna do? If you ask me, architecture faculties should be refined; this will inevitably bring quality. Considering the current situation, you would be like “we are architecture students, what are we going to do?” But if you are going to be an honest architect, you will wonder and make an effort, you will question everything, you will stay away from any kind of imposition. In addition, you should acquire your own information with your own effort. While you know the computer well, you will develop your hand skills very well, you will sit and draw constantly. Maybe you will take drawing lessons. Research a lot, but try to get to the core of the job.

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After finishing the architecture department of Mimar Sinan University, you have studied philosophy. As a second major, when you could have chosen another department under architecture. In fact, you mentioned that this has been very effective on your projects and your life. What effects are you talking about and how did you decide on this? I still keep reading. First, it teaches questioning. It keeps you away from dogmas; developing your decision making, feeling others’ decisions, empathizing, your gut... Because architecture is already a profession with no boundries, I am not talking about spatial constraints, but a profession that we do not want intellectual constraints. When you get stuck in something, you cannot create comfortable design. Maybe this is the reason why I preferred philosophy. Keep listening; I started to do more analytical, more scientific, and much more free and free architecture. So if you ask me, it helped a lot in my life; because architecture is such a profession that when you are doing a project, you have to make instant decisions about whether the idea is correct or not. You should not be subjective in that direction. We do not want to use the instructions such as “It felt good to me, it was beautiful, I liked it…” You have to find the most correct one among the mechanics of that project. Because there are endless alternatives. Even in the same program, you make completely different drawings. I think philosophy helped me to understand this the most. In 1997, you established the TeamFores architecture office at the age of 22. Do you think a certain qualification is required for this? Yes, I started working as soon as I entered school. So it was quicker for me to open an office and discover my entrepreneurial side. Being with the right people, I learned how to treat others. Ask for the truth, you will be in the right place. That’s why we started an office with heavy pressure on my entrepreneur side. If I had my thoughts of today, I would not have been so brave. Can you explain foundation of your office? How was the proccess? We were two friends at first and then crowded came along. At the time, we could not plan everything. A place was found, we made all the furniture with our own hands. We made everything on our own; sofas,

interview

tables, libraries. Of course, we had no employers, we entered small contests. The architectural world was not contaminated at the time, we started with what we earned and then slowly got our name heard. And now here we are. In 2002, one of your projects received 3 different awards. First of all, do not mind the rewards at all. They spoil your mind’s clarity, but they also prove that you are on the right track. Still, the important thing is, you doing your best, and making the most of your effort. One of those competitions was the “architect’s first structure” and the summary of the jury report was as follows; “In their early construction, architects often try a lot of excitement, but this project was quite refined, very stable with little material.” When I look at this day, I think it was a building that could even be called bad, some aspects still disturbs me. In contrast, it was calm, determined, very functional and very comfortable. For example, a hotel project of mine once selected the best B&B hotel of the year in Turkey, with the votes of long-term customers. If you ask me, it’s the best reward. Because it is the users who voted, and at the end of the day, it is an architecture centers around human, so this project was successful. Congratulations, it has been one and a half year for this place. Yes, almost two years. Both the area and our building are very beautiful, we are lucky. There is a small library upstairs, from time to time my students even do their homework here. This was a living place, so I love it too. 5 small floors but an active 5 floors. Lean, warm, dynamic; I like how it lives. I guess we do not know how the foundation period has passed. We were drawing for competitions, and on the other hand, I was going to the construction sites because of the necessity of making money. So it was a natural process; it was founded, no hard feelings. If you say do you recommend it, I don’t recommend it to young people right now. I think you should continue training first. How did you establish your team? What things did you considered when setting up your team? I wanted to work with people who can express themselves correctly and who use Turkish correctly. When we look at resumes and portfolios, the incomings

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are almost a thousand per year and I read them all. I reply to most of them. Maybe if I am uncomfortable with them, I may not answer. I try not to evaluate those who has no photos. If it is not well written, I do not read it. Apart from that, the school is effective. What was your first project when you established your office? Were you excited? It was twenty-two years ago. One is the post-contest drawing work, and the other is the facade design from an acquaintance. You are excited of course, but the important thing is not the excitement, it is the fear of whether you will do it properly or not. That situation prevents you from sleeping at night anyway. But it is

Serter Karataban’ın ofisi © Emrullah Çakmaz

a good fear; because that kind of stress actually takes people to the good. It may sound strange; I still feel the excitement of the first day. People are getting old on everything, they do not get old on that. Even if each new project has been repeated before, it is an opportunity to meet someone new and learn something new. When we think like this, it is already exciting enough. Even when designing a tiny place, this may be a club, you may encounter a problematic person. Architecture is just like that; someone comes to you with a problem. They have a spatial problem. Something needs to be done, and the excitement of being able to really solve that problem well. And trying to solve it, that is something else.

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In 2002, you designed a showroom building belongs to Kuyubaşı Nursery. What do you think that made your success in that project? Did you think that you would achieve such a great success while you were designing it? There is no such great success, let us say a happy result. Both the customer, us, and the visitors are happy. Maybe it is a success, but otherwise it is a little bit pretentious. It was my first architectural project, it took a long time to draw, and I drew each line, I worked for a very long time; I even slept on the construction site, got up. In a natural environment; there were a residence, small housing, a glass office and a showroom. What I can boast about it is that I have never cut a single tree during the construction. I try not to get on with projects like that, we even rejected such a project in Zekeriyaköy. This is of course also criticized; If we did, maybe we would find a way to do it by saving the trees. We contrasted with the customer there. The customer is always right, of course, we used our right of choice and did not go on with the project. Is it always like this? It has always been. Kuyubaşı Nursery is inside the forest and made entirely with a brutalist architectural style. Notwithstanding, it is a structure that is extremely respectful to nature. This is one of the most important things for me, and when I did it, I was 24-25 years old. Whatever my thoughts were back then, they are the same now with a little more in theory. I cannot say I am doing a better architecture, but I can say that I am the same me. Still, the same respectful and honest understanding of architecture is valid for me. I had planned some things back then, and now I am still saying the same things. Of course, the world is changing, people are changing; it is not possible to be doing the architecture twenty, thirty, forty years ago. But at least it is important to keep the same approach. When was the most challenging period so far? How did you overcome this period? This is the period that I had the most difficulty, we did not yet exceeded, but I hope we will.

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Why this period? The architectural community is very dirty. There are maybe thirty or forty of our architect friends, who are well-known in the market. We sit and talk to all of them, we stand face to face, we come together. I want all of us to speak the same language. But architectural ethics are not really where they should be. If a cost for something is five dollars there should not be people doing that for three. There is an interesting gap in the market. Customers have realized this and are using this situation. I choose not to be a tool. As such, you are out of the race. But this will change, nothing will go on the same. Compared to many of my colleagues, I am young, how many crises I have seen in this country. But even if we say this is the worst crisis, this too will pass. You have to be prepared for those days. In Einstein’s words, “It is not the skeleton nor the muscular system that makes people go on, but their principles and beleives.” I think we will continue to survive as long as we remain principled. In an interview, you said “we are not involved in housing projects.” What is the reason? Because I do not believe in the urban transformation in Turkey. Urban transformation is a project based entirely on enriching the numerous contractor lobby, bringing no benefits to the end user. That is why I did not want to be a part of it. Our office received many offers, we did not take any of it. You have a certain principle; you prepare your projects faithful to them. How is this coming back to you? There was not one who thought our projects were unsuccessful or made badly. But even if there was something bad I would be aware of it, it is not possible to say that we did not make a mistake at all; but truly, it never happened. Also, details are very important for me, especially if I apply something to interior design. It is my only stiffness in architecture, my insecurity. Generally, there is always a positive turn in the projects, I did not experience anything negative.

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Serter Karataban’ın ofisi © Emrullah Çakmaz

Do you have any interests besides your job? I have been playing the guitar for thirty years. Music comes first among the things that make up a person’s personality, and it is very related to architecture. With seven notes, you can create endless alternatives. These are things that will benefit you professionally. Because we are really doing something for the human.

They want a whole world from us, we need to be prepared for anything, right? True, this has been such a period that probably your generation will save architecture in Turkey. So please work hard. I am a student, too. Architecture is a both-ways profession, and when I tell you something, I also benefit from it. One needs to think differently on this subject, and also architecture is not to be learn in one stroke. Mimar Sinan said on his deathbed, “God forgive me, how much remains to be learned.”

Elif Başlı FSMVU Undergraduate

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project

gentle monster

How can one design a glasses shop? While looking for an answer, the sense of seeing became the main concept of the project. As a result, what it means to see is questioned. The answer was to examine the details, have a look at every inch a bit, grasp the whole by a new look. That is why displaying glasses, is thought to be proper for the interior structure of the store, on the other hand allowing customers to discover for themselves. The basic aim was to create a shopping space which awakens the idea of an art gallery. There are mirrors sit opposite to each other to make the space seem like it is endless. When designing a store, another issue to be reminded is that what the incomer encounters when first stepping inside. In Gentle Monster, as the brand identity follows, monsters with different backgrounds are produced. The lightings on the ground are for seperating the visitors from the monsters, so that they feel safe inside. Enter the store, find the monsters welcome you, continue walking, sit and take a breath, try on some of the products, when it is time to pay for the glasses, you will see a cracked wall behind the cashier, it is the work of the monsters...

Ahsen Ă&#x2021;imen (Translation: Kerimcan Ayaz) FSMVU Undergraduate

project

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publisher In this project, designed for a publishing firm, the relations of the different units are considered and a function scheme is created. Avoiding long and dark hallways lie behind the angular partitions. This provided the space a new sense of depth, also creates a feeling to tour. This “touring instinct” which is created from the angular partitions, also continued on the design for the special furniture. Circulation areas were put in the first priority, as such new functions were given to them. Mostly being faithful to the ide of “open office” and equal distribution of the “personal spaces” were important.

SECTION Hazal Gizem Aydoğmuş (Translation: Kerimcan Ayaz) FSMVU Undergraduate

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article

de stijl

Stairs inspired by Mondrianâ&#x20AC;&#x2122;s works, Lahey, Netherlands

What is being modern is about? This word, calls us to keep pace with today in its meaning, became the order of business by some people in the each period of art which evolved as of today. It was not the first time, two completely foreign soul, Van Doesburg and Mondrian, meeting in Stedelijk Museum Amsterdam, and became one in the basis of an idea, to desire to have people pursue their agendas. Each artist wants to present the world in their work, not as it is, but as it should be. Maybe most of the times, when the first-thought idea is the same, but then the outcome is different. That is how De Stijl movement be formed. Whilst World War One alters the humanity, and turn the pain they are having into horror, death; it was not to be expected that the artists would stay exactly the same.

Van Doesburg and Mondrian, as normal individuals, defined life as lines who are following each other in a flat plane and they argued that only black and white existed.1 They started a newspaper, during the first years of the war, to propagate themselves, most importantly their ideas.2 Of course this movement did not stay only on the canvas paintins. The ideas on the works of Mondrian, in which he used three main colors; red, blue and yellow and three main values; black, gray and white were then jumped into the architecture.3 Gerrit Rietveld, who could prove to Van Doesburg that the machines could produce pieces of artworks, was an architect who believed in the basics of the movement. As he spent his youth in his fatherâ&#x20AC;&#x2122;s wood atelier, he designed Red and Blue Chair, which then became one of the key figures of De Stijl and SchrĂśder House.4

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References Seing this chair, Van Doesburg stated that he was mixed up by how machines could produce such a chair which owns the abstraction of the naturality, and degraded into flatlines both lay claim to aesthetics and main colors.5 After the war, ideas of almost all artists started to change. Now all they want is to “redesign the society.”6 Just like all other movements that supported modernity, De Stijl was also a shortly lived one. With Van Doesburg dying, the keystone of the group was gone.7 This short adventure coming to an end, did not provided the movement to be forgotten, on the contrary it ensured that it is reminded. For many years, artists continued to produce works under the influence of these principles. De Stijl also was in fashion, music and literature works. A fashion designer who was forced to join the army during the war, Yves Saint Laurent, brought a new identity to his brand by designing a new collection based on Mondrian’s ideas.8

So what is being modern is about? To not forget about the past, to know when and where are we living in and most importantly to have a soul. Creating a modern design is not making the abstraction of nature to degrade it into most basic shapes; it is to feel, to make feeled.

Righini, Paul (2000). Thinking Architecturally: An Introduction to the Creation of Form and Place. Kenwyn: Juta and Company Ltd. Pages 139-140. Retrieved June 9, 2019. 2 Rawsthorn, Alice (October 17, 2010) “Design’s Odd Man Out Gets Moment in the Sun”. The New York Times. Retrieved June 9, 2019. 3 Emanuel, Muriel (Ed.) (2016). Contemporary Architects. London: Springer. Retrieved May 28, 2018. 4 Kèuper, M., Rietveld, G. T., Zijl, I. v., Centraal Museum (Utrecht Netherlands), Nederlands Architectuurinstituut., & Centre Georges Pompidou. (1992). Gerrit th. Rietveld, 1888-1964: The complete works. New York, NY: Princeton Architectural Press. Retrieved May 26, 2018. 5 Russell, F., & Read, J. (1980). A century of chair design. New York: Rizzoli. Retrieved May 27, 2018. 6 Wagner, Thomas (June 18, 2012). “Nodes: Rietveld and the revolution of space – part 1”. Stylepark. Retrieved May 28, 2018. 7 Barcio, Philip (August 29, 2016). “Theo van Doesburg as De Stijl Ambassador”. Ideelart. Retrieved June 9, 2019. 8 Mawer, Simon (June 22, 2010). “Theo van Doesburg: Forgotten artist of the avant garde”. The Guardian. Retrieved June 9, 2019. 1

Composition with Red Blue and Yellow, Piet Mondrian

Rietveld-Schröder House, Utrecht, Netherlands

Kerimcan Ayaz FSMVU Undergraduate

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reality

Could you be quiet? We are in a dream world with no audible sound. In which we wiped out all truths, our souls created by a purple reality, percolates in an emptiness of a breathtaking nonexistence, passes to the nowhere places. That transparent blur, whispers us what? We broke the reality, destroyed it! Now we have nothing. That blur promised us a giant emptiness. It whispers to our ears the existence of lacking. That universe started to arise within, it is endless. Does the soul has tears? Thas emptiness will never be filled, not with tears nor the souls who live in different realities just like us. What are you imagining? What do you want it to happen? Havenâ&#x20AC;&#x2122;t you ever thought of existing in a null point, in which you split away from the current time with all stars dancing in a weird song, move at constant speed as captives but as moving forward you start to lose the meaning of ongoing, decide on our futures in that light darkness?

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Even the light comes to an end, scream of a dimension, weaved from the lines that lights faded away, vibrates our soulâ&#x20AC;&#x2122;s blurred transparency. When each vibration unites, all space time holds its breath, withdraw from time. Vibration, dragged that space and time, which we do not feel its existence but still lasting, from an aftermath that not yet mixed with entity, to a war of universe being in its energy. There is no running from this war! Something becomes, something perish. Our war of perishing, which truth of an imagination was it? Which time exists in the end of all? KĂźbranur Akyol (Translation: Kerimcan Ayaz) FSMVU Undergraduate

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“Gökyüzü” (“Sky”), Merve Beşpınar FSMVU Undergraduate

“Ekmek Teknesi” (“Breadwinner”), Serkan Solmaz FSMVU Undergraduate

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work

cycle

chow Being a cat or a dog is also difficult, chum. Eyes are always up front, the world is merely a set of feet. Just as if looking from the window of a basement floor apartment. Loved by some, but hated by some. Lacking freedom, always needy. Even your pleasures do not get condemned, you wander naked, nobody chides. And there is the matter of not accompanied by someone on death. You are lacking religious services. From gusl to cleaning the dead, devoid of each task. In this way, it is better though, who knows what would the ones, who obstruct the dead, do to the living. The only similarity with humans, is the lack of a carer. They could only be missed after death, if they had a name. Guess it is easy to praise after they are dead. People are strange anyways. They have feet, they walk. They cannot live without fear.

Hasan FÄąrat Diker (Translation: Kerimcan Ayaz) FSMVU Deputy Dean

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article

a house in anatolia

Mahsere, which is placed right on the entrance © Elif Başlı

Have you ever been to any village in Anatolia? Such as in Eastern Anatolia. Now, I will take you to one in Malatya, to the place where the sun dries the most beautiful apricots. I say the most beautiful, but ingenuity is not only in apricot, it is as if the sun has a big role in catching that taste. Like, there is another sun there, it is rising. I will leave the sun and apricots aside and take you to the 140-year-old mud brick house where my grandfather was born. Now, we are in the town of Sayfiye, where the Cor Harık is flowing affluent. My grandfather’s house welcomes us with an iron door. We open the door and move from gizzard to Hayat (“life”).a I think that a stone mass in the shape of a water drop on the mahzereb attracted your attention.1 Let me explain right away; a stone mass on which fruits such as mulberries and grapes are lined up.2 These fruits are crushed with

great force. The molasses is made from these juices. Yes, we have finally stepped into Hayat. How good does the name sound, right? Anyways, most of the summer days are spent in this area. Here, meals are made, quilts are beaten, apricots are extracted and guests are hosted. In winter, all this are passed to the room next to it. This area is called the Selamlıkc and is the most distant place from the private areas of the house.3 Sit for a minute or two, in the Hayat, you have a lush courtyard on the opposite. Do not think that these beauties are only for the eye that sees. The sound you hear is the sound of the flowing sparkling waters. Harık, a unique feature of this region, itself is a kind of water. This water canal was established to pass through the courtyard of each house.

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Let us go inside through this wooden blue crown door. A sofa with a half a meter height is welcoming us. On the sofa, there is the “pillar of the house”d extending from floor to ceiling.3 A traditional cupboard and plasterboard divisions on the ceiling are seen. Another room, when we pass the table from the right, on the opposite side, a door as tall as our height; other parts of the house are scattered in this area. The first door, which is tiny, opens to the kitchen. The house of the old, you cannot pass through that door without bowing; it diciplines people by this way. Going up from the wooden stairs, and a small landing takes us to the middle room. This place was used as a bedroom. When we keep going up, on the right, there is the roof on which dried apricots are laid, on the left is the L shaped hallway. There are bedrooms for other members of the house in there. Lamps, deep lampshade windows, cupboards, built-in closets… It is up to us to get inspired from the details of the house, after going through each corner. The passage from hayat to sofa © Elif Başlı

Laid apricots on the roof, awaiting for sun to dry them © Elif Başlı

Footnotes

References

hayat, closed space at theentrance of a traditional Turkish house, which follows to the courtyard b mahzere, stone structure in which a fruit is placed in the sacks of telis and the water is extracted c selamlık, the room on the ground floor d pillar of the house, the general name of the structural system of buildings in this region

2 3

Ocak, Ali Rıza (July 2016). Speech: Malatya. Can, Kifayet (July 2016). Speech: İstanbul. Ocak, Hamide (July 2016). Speech: Malatya.

Elif Başlı FSMVU Undergraduate

“Kehkeşan” (“Milky Way”), Ayşe Zişan Güveli FSMVU Undergraduate

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work

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Kürşat Açıkgöz Architect

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agora

project

a Greek restaurant in Goldern Horn

The main concept was to combine the location of the restaurant with its past, also the circular mass added to the center was a result of this. Stories about formation of the golden horn are common in Greek mythology. After studying these myths on historical aspects, and seeing how the food was sacred to them, an idea was formed. A circular mass is created based on the circulation of the people and put on the original structure of the schoolâ&#x20AC;&#x2122;s dining hall. From the moment you step inside, this form leads you until you sit to your table. Also lightning components and air conditioning became a whole with the design and followed the roof as they are.

creation of the roof first floor plan

section

Kerimcan Ayaz FSMVU Undergraduate

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“Hands Reflect Yesterday”, Dr FSMVU Undergraduate

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work

experience of spaces a series of writings by students who have listened to architects who experienced different spaces

KĂźbra KaynarpÄąnar FSMVU Undergraduate

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cannot be felt experienced by Architect Muhammed Emin Şişman

The professional, cultural and spiritual accumulation of a person shapes their view of the world and enables them to get on the path. When it comes to space, the first thing that comes to mind is an area surrounded by four walls; but cities should also be examined as a spatial concept. In the analysis of this week’s experience of spaces, I will talk about and analyse the architect Peter Zumthor, who cares about the reflection of emotions on the space and defends the importance of the first impression, as much as I can, with the information I gained from the lesson. First of all, the main fact that allows our architect to address emotions positively and also with a high quality, is that he knows his materials. So how can an architect recognise the material? Zumtor’s accumulation of knowledge comes from carpentry, which has lost its importance compared to the century we live in. He could directly touch the material and reflect the feelings he experiences on it. What is this quality architecture we mentioned? In my opinion, if the space moves you, it can touch your emotions and express something for you, then it is a quality architecture. Our architect says, “When I enter a building, I should be impressed, I expect a poetry effect from the buildings.” I think these demands for structures are interesting types of approach, which we could understand that he is actually a poet-spirited person. As an example, one day, when I sit down, I like the atmosphere and say, “This atmosphere gets to me, but why so? What provides this composition?” Questioning the

event with questions such as these, explains the deep thoughts in his works. I think that, questioning the situation and using the effects of materials on the environment, are the biggest factors on succeeding. In addition, in order to create the right outcome; walking through the memories of childhood, how her grandmother’s door closes and how she touches his emotions, searching this sound on the door he designed. This all proves that Peter Zumthor has great backgrounds in his each design. Actually, I think that the source of this desire to influence, in his works comes from him being a painter. It is not that his structure is obsessive; I think it is about the character, love of profession or striving to be competent. With this mentality, he deserved the valuable awards of today, with his few structures. In a situation where the aim is to “influence”, Peter Zumthor emphasized that one of the most important factors is the principle of contrast. For example, I was really impressed by the color harmony of a modern material with a traditional material in the Kolumba Museum project. I think such a restoration perspective is ahead of our period. I also think that Peter Zumthor is an impressive symbolist. He implements something real with the metaphors he makes in a way that would be perfect for the structure, and gives messages to the person who understands them. (But for those who understand!) Architects have to consider many parameters when designing. Zumthor is aware of this or I feel so. I am one of those who think that the design and form of a well-thought-out structure does not only come from function. From the atmosphere it is in, the designed structure... I think our architect is someone who can analyze these parameters well. This approach is what made Peter Zumthor skilled. “Good architecture is architecture that cannot be felt by narrating.”

Yasin Kaan Turan (Translation: Elif Başlı) FSMVU Undergraduate

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work

örencik cottages experienced by Architect Halil İbrahim Düzenli

Red houses, which are settled in the nature with little touches as if coloring a canvas, these small houses, which are positioned softly in the endless green, pushes us to question their colors in terms of their harmony with the environment at first glance. Why is the same effect not seen in the color preference while settling in the land with such humility? Even if the houses are wanted to be seen in different colors in the morning, afternoon and evening lights, wouldn’t this be achieved with another color that is more harmonious with its surroundings? Another situation that attracts our attention in the outdoor area is that these houses, with their subtle basement beneath them, lie softly on their fingers without touching the ground. This is exactly how the houses touch the land. When we come to the interior, the windows that look thinly slatted from the outside turn into the windows opening to the infinite space where they are located. Of course, with the white color that surrounds the interior, it becomes more transparent and more clear. If we look at the houses from a bird’s eye view, the light and dark tiles that are used in traditional hipped roofs are not only special but they only make these houses whole with the land they live on.

Of course, it would not have come to mind that these houses, which seemed to be interspersed on a sloping land, will actually become something that is located in endless space and opens new windows to that endless space. These crimson houses, which have been meticulously placed in endless places, seem in many ways like simple houses and they are shaped by a simple logic. We can also call it the blend of simplicity from the tradition with the touches of the architect in terms of construction techniques used from the roof to the window, from the basement to the leveling wall. This blending issue is actually the answer to the question of how the concepts used by Örencik country house architects to express themselves reflect on architecture; zühd, modesty, piety, temaşa, backward from the unnecessary, looking at the nature, touch the nature... They are all available in these houses.

Hande Gaye Yiğit (Translation: Damla Karabay) FSMVU Undergraduate

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Our adventurous journey continues unabated. Where are we now? Hola! We are in Barcelona. I realise that we are as the same as the people we look at in this city, in which wide streets feel spacious beyond privacy, on the other hand, where everywhere is clearly seen. I focus on the energy and how it makes me feel, as my teacher draws my attention to people. As I look at the photo, suddenly I hear voices, and I see that people are losing their joy, the local tastes are diminishing, the colors are disappearing; then I move away quickly. I looked up and saw many historical monuments and the city’s heritage. And just when I am enjoing this fact, my dear teacher comes in the middle, he explains the material they use, and the obsolescence of the materials they use. Because of the vertical windows, it seems that they want to establish a bond between the past and the present additions. As we travel, we come across the Palace of Torre, one of Gaudi’s works. The unique interpretation of this master, who accompanies a parabolic arch to the masonry structure, makes me feel as if it is unfair for the country to be unsustainable. With the fine craftsmanship we see in the details, it surrounds us around a net and you just dive in. This is actually why he is the first person we think of when we hear about Barcelona. I find myself in the narrow streets of life, where I get rid of the wide streets and find myself pale, which makes me feel good. I imagine I am walking down that street. While the flags on the windows whisper that we do not belong to anywhere, I fall into the colors of the wind rose and let this spirit takes me away. As I continue through the narrow streets, this time I find myself in a boutique book house that exists here with a photograph. Would you like to meet Mr. Nasreddin here? I did not expected it either, but it was just sitting there. This was what culture is, our teacher says. It draws our attention to the fact that we are visiting a city where different cultures have the opportunity to express themselves. We are going into a museum, it is an archaeological museum. Our teacher invites us in with a photo he took of us. The stunning turquoise, the impressive Murdum, the most ambitious shades of green... it becomes a museum that unsettles you at first, but then applauds

barcelona, barcelona experienced by Architect Hasan Fırat Diker

its courage and its fiction with the colors of the interior. Right after, you are like, it is unfortunate that so many colors could be in a museum. Our teacher is involved and says “No one is timeless, when you design a museum you are a part of history” and adds that the new is hard to accept, there are always great efforts to get the those accepted. Finally, he says “You are only aware of triumphant innovations” which opens up my perceptions. I dive back into the city from the photos. I am in front of a store now. It is a bag store and I am looking at the window. The use of many colors tells me something about the essence of the city in this showcase. The wind roses in the narrow streets, the colors I see in the museum, combines the pieces of a bigger picture and makes me think that it is a country that is open to innovation. On the one hand, I think of the works of the new generation of Gaudí and the endless church, the arena they turned into a shopping centre. With so many questions going through my mind, I wonder how we can take the new into our lives without hurting the old. We are getting to the end by looking at the last photos. Hopefully one day I will have the opportunity to go and experience it for myself. I would like to thank to my teacher Hasan Fırat Diker, who conveyed his experiences and made me feel like I was there. Stay in peace.

Elif Dağtekin FSMVU Undergraduate

“Tilki” (“fox”), Kübra Kaynarpınar FSMVU Undergraduate

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“Ayışığı ve Yukarı Mahalleye Çıkan Yol” (“Moonlight and the Road to the Upper Neighborhood”), Haydar Dışbudak Master Architect

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project

sykai The area of the project is called Sykai (“fig grove”) and is located at Şişhane/Galata. After a series of analyses about the region, project is developed around some basic concepts. These are; respect, art, trust and story. Trust with art and respect with story relations are aimed to be formed. The project is mixed-use; office, hotel, art gallery and commercial units. When topographic side of the land is considered, Galata Tower keeps under control the levelling of the structure. On the landscape decisions; offices and commercial areas are placed on the street side, and on the inside hotel is located. The streets there were in the land were kept the same. A landscape plan formed around them.

LANDSCAPE PLAN

FLOOR PLAN Elif Başlı (Translation: Kerimcan Ayaz) FSMVU Undergraduate

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“Galata’da” (“In Galata”), Kübra Kaynarpınar FSMVU Undergraduate

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interview

dilek türkan

Dilek Türkan

You came to İstanbul from Balıkesir alone at the age of 16 to receive conservatory education. My interest in music started in the middle of the first grade. My brother joined the Balikesir public education center choir, and I would chase him. I was eleven years old; everyone was over forty-fifty years old, only I would go out of school in a black apron. I loved this music in a very short time, after a while my mind was set that I should study music. I finished high school when I was sixteen and took the conservatory exam, I got in and my music adventure in Istanbul started. My family was not able to come to Istanbul because they lived there, I came to Istanbul alone, and my father had passed away a year before. In fact, my family was shattered in a very short time. My determination to succeed was due to this, I was alone; I would either do it or not. I

chose to do, to succeed. Until the conservatory, you have not played any instruments except block flute. Unfortunately, we are trying to understand, to learn other cultures while we do not know our own culture, music and instruments. Playing an instrument is not an easy task, especially Turkish Music instruments. Block flute or mandolin are instruments that are easier to learn, so at shcools they have a priority in education. It’s not an unfair reason; you cannot give Tanbur or Istanbul Kemenche to the hands of a child. It takes years for you to get the right sound from the Istanbul Kemenche, you know it very well. The important thing is not to play or sing well; the important thing is to know. If you are in this culture, you should have this knowledge. It is not difficult to

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know composers, songwriters and authorities, but families should listen to and speak to them. Unfortunately, this music is not listened to in most families. The only method of placing this music in people is to learn. We can make our own format in music for children to love. Children’s albums, children’s songs, beautiful lullabies are so few. Children will be familiar with these if they have good execution skills. I listened to you on the radio years ago. You said “People reach out to old artists and their music through knowing me. However, it shouldn’t be like this; they need to know them before me.” Why do you think this is wrong? Because of getting the right criticism. If there are serious critics around you, your seriousness will increase in your work. You try harder to do better. A music listener who has never heard of this music immediately embraces whatever sounds good. This seems nice from the outside but is not a good thing for the performer. It is not good at doing better, it makes you lazy. In the past, Turkish Music had very good performances. In my early days, I listened to a great performer, and I thought about quitting this job. “She covers so well, she sings so well, what do I have to add to this?” They were far superior to me, still they are, but when I found my own way of playing and started making the music that I heard inside, my faith increased. I started to question why I made this music. Of course, you do it with your own faith and love at first, but you also do it in order to reach an audience of a quality. If the audience knows what you are doing there, this time you have to “work even harder to add to what you already have”. I wish it was a really conscious society. I wish there would be a really conscious society that does not reach to them via my work but with knowing them before me they would comment “ah, this is the cover of that.” I think that some constructive comparisons and criticisms will be of great benefit to the artists. You were involved in a project with the Band Kargo. We listened to the song “Mazi Kalbimde Yaradır” with a completely different interpretation. Today, there are such studies. Do you think today’s cover makers are sufficient for this?

These are cover songs. In my opinion, this is a

burnout syndrome. In order to reach a wider audience, many artists live and survive only with this. Here, the situation is a little different. We started a friendship with the band Kargo and it was a work that was born with that friendship saying “let’s play together.” It wasn’t such an idea as “we will reach so many people” by preparing a planned programed cd. It was a friendly thing. It was nice, some people liked it, I am sure there were some critics; how beautiful, I wish, I wish more. But creating something new is the hardest and most accurate. In my opinion; in the name of consumption, it is not right to constantly repeat something that happened, but this is done a lot since the audience has such a demand. How do I do it for myself, on the one hand, I am doing new things. If I wasn’t doing anything new, it would not be right. I add this to the innovations I have made. Can we talk about the term “Turkish art music?” The one that its actual name is “Turkish Music.” How did this come about, how did it happen, I could not tell; under the name of “art music” and why did it come out with that name? Musicologists need to investigate this. We have a lot to research and find; Meanwhile, I am not bad on these issues, I wonder, I try to find. A concept called “Turkish art music” is a wrong concept. I do not know how it was found, how it came to today, but it is definitely a wrong concept. Actually; it is Turkish music. These lands, this climate, this geography has music. Just as Portugal had Fado Music, Turkish music needed such a name. I think; that a name called “Turkish art music” emerged in order to distinguish it with “folk music.” But I think this was not necessary, and many Turkish music works are actually folk music of Istanbul. The main source of Turkish music is Istanbul. In fact, Turkish music works are the music of Istanbul. Yes, its composers are obvious, and who owns some works of folk music is certain. There is a perception towards our Turkish music; this music is only for older age group. Whereas Zeki Müren was only seventeen when she wrote the book “Zehretme Hayatı Bana Cananım” What would you like to say about this subject? Your approach is very correct. Maturity is not about the age, it is about the mind. Yes, Turkish music requires a certain maturity, but I do not mean age. A

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sixteen year old girl who came to Istanbul from Balıkesir has this maturity. That’s why she realizes this music, loves it. I am not saying this in terms of glorifying music, shrinking the other, every person has a degree of maturity. This is the way you look at life. Some people prefer it, some people do not. Some people can understand this music, some people cannot. It is all a matter of taste; maturity is also a matter of taste. If you want, let us talk about the songs that have been touched by women. You recently had such a concert. March 8 was a concert you have prepared for International Women’s Day. It was very special. I liked the songs that women touched a lot. Because throughout the history, so many women are gone, who worked in different fields including music, without explaining and completing themselves. It hurts so much. This is a problem women has experienced all over the world. There are many beautiful works that have emerged, I want to explain them a little more and I want to enter the inner world of these women; The life of Seyyan Hanım, Safiye Ayla, Neveser Kökdeş… I feel like I have written the book of their lives while listening to them. I wondered so much and researched how their singing style, songs and lyrics came out... And at that moment, very mysterious things came up. I wanted to explain these, because there is a lot to consider, many things remained under the ground as these women migrated from this world. I wanted to make them remembered. And really, the songs that women touched, just like in its name, were very naive and beautiful. I have voiced them, loved it, maybe I can grow a series of concerts in the future. I was going to mention some names that you mentioned; Neveser Kökdeş, Perihan Altındağ Sözeri, Sabite Tur Gülerman, Seyyan Hanım and even, going back further, Dilhayat Kalfa. These names managed to exist as a “musician woman” during the times when the woman was difficult to exist in social life. Such great determination, a great success. You give something valuable to a person, then you push them, they somehow reach a point. It is a miraculous thing for me to add value to something that has not yet gained its value despite the burden and difficulty of life. And something that needs to be told frequently today.

interview

According to a rumor, at the time, women were writing male names under the songs they wrote, hiding themselves. Or vice versa; some people wrote female names under songs they believed that were not good enough. I listened to you in the conversation at Hezarfen Art School. You mentioned that Safiye Ayla took stage without a microphone and that it was stated on the posters. When we look at this day, it is not possible to take a stage without a microphone. Can we say that the absence or widespread use of the microphone at the time brought real audio artists forward? Having a microphone actually killed one side of the art. In other words, it has decreased the value of very strong sounds. In addition to the conversations we have with our friends at home, we also make music. This is what my friends who have come to my concerts say before; “the microphone kills your voice, the taste here is completely different.” When they hear the bare voice, they are more than impressed by the concert. Because everything is in there; you have breath, excitement. A lot has died with technology rising, and this is one of them. Today, the recording is done in the studio, and even someone who cannot sing can make an album. When you listen, you say “how beautiful, well said.” But listen to it in a bare voice, then will you be able to say the same thing? This is also a reality. “Aşk Mevsimi” is an album made with Western music orchestra, with works of the Republican era. In addition, the album consists of a concert recording. People’s applause is also included in your album recording. This leaves a very warm intimate effect. How did you decide on this? I can perform live and it is a valuable thing. I wanted to explain and convey this. The beautiful things that are done in most concerts are fading, the recordings in the album remain, and the listener can only reach them. But the concert has an enthusiasm and energy; not everyone can come to the concert and not everyone lives in big cities. We want to go anywhere in Turkey, but our desire is not enough, unfortunately. I wanted to give them a moment of the concert. I believed I could do this, so I wanted to record a concert, well I did. It

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was the first concert, especially I wanted it to be so, and I wanted to make them taste it. In my last album, I made two CDs, one was studio recording and the other was completely live. I always wanted to do this, I hope I will do it even more. Because I love what is alive, I love everything alive. For example, I do not like the perfect gardens and scrumptious stones, but stones with various shapes that have been washed from the sea; I love the natural one. Since I live my life the same, I try to convey it to my music. “I needed to show the affection I have accordingly in the Aşk Mevsimi album” you said. What accords are you talking about? Many of those songs were written on piano. Kaptanzade Ali Rıza Bey composed those songs with piano and played them. However, almost all of those records have disappeared or have not been recorded at all. That period; Turkish musicians went to Europe and they started to transfer what they had saw there into their music. I reflected that period, I did not want to take those songs and present them in another format. There are two CDs in the album “An.” One is the 1918 period songs, the other is the 2018 period; so you have your own songs. The works of two different periods are mutually greeting each other. You recorded this album live in Sirkeci station in Stone record format. Is there a special reason why it is in Sirkeci station? The reason for being in that place is that it was alive with the period it lived. Sirkeci station witnessed that music. All of the composers and songwriters in this album passed through that station. While that building was being made, these songs were being written. I wanted to bring them together there again. I wanted to feel like going back to then. With that music, with that place, with that period’s performance. For the album “An”, you said, “We created a colorful blend in addition to the blend I heard on traditional music, in an effort to discover today’s music.” What did you discover in today’s music? So many different music emerged that there is a serious erosion in Turkish music. Unfortunately, we did

not improve Turkish music, we changed it. New names appear in every period of music. When only traditional music existed, which you can count the Western music is also, out of nowhere a lot of genres formed. Rock music, arembi, jazz music came out. But jazz and blues’ source were already the traditional music. Then Turkish music remained where it was. It was also given a wrong name. When they all overlapped, it created a serious earthquake in our music and everything began to collapse. It is necessary to find a name for today’s modern way of performing this music. Musicologists are the ones who can create this name, but unfortunately we do not think about it, and I wanted to think about it a little bit. Because having an identity means having a name. If I call you Zeynep, this is not true. You are Elif and if I call you with another name, it is not healthy for anyone. That’s why it needs a name that suits its characters. In this last album, we started to make some differences on the music; we brought differences with arrangements, orchestrations and new songs. But it needs to have an identity and a name. Music is the one, not an album, needs a name, now I am in search of it. I watched your interview with Yekta Kopan. You said “If only you can put the song ‘Kimseye Etmem Şikâyet’ next to ‘Sabah Yıllardan Beri’, you would have reached the purpose of the album An.” I believe it has achieved its goal, I can see it because I follow your concerts. It realle has. After the last album (you know which one, you follow), I put together a section of 1918 songs, just traditional music. I was a little nervous at first, because the audience; awaits new songs, modern things, or what they know. “Do they get bored in that section? What would happen?” I did not know. Fortunately, there is something called applause for us to understand it. This gives us very serious information on the subject. Traditional songs started to get the biggest applause and it made me so happy that I cannot tell you. I think they find themselves, because these tunes are from our land.

Elif Başlı FSMVU Undergraduate

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article

iron chickpeas; three strings classical kemenche

Tanburi Cemil Bey on the left, İhsan Özgen on the right

When we say kemanche, although the first instrument that appears in our minds is the Black Sea Kemenche, there are 3 different types of kemanche played in our country. These are, three stringed classical kemenche (Istanbul kemenche), Kastamonu kemenche and Black Sea kemenche. These three kemenches are quite different from each other in terms of sound, performance, form and materials. If we examine the three stringed classical kemenche, which was recently called the Istanbul kemenche, it is an Istanbul instrument as befits the name, it is an instrument of Istanbul culture.1 Classical kemenche is also called Armudi kemenche (due to its form). This instrument, also known in Greece as “Political Lyra”. This instrument is one of the most difficult instruments to perform in Turkish music. The reason for this

is that it is played with nail contact and its keyboard is small and missing any frets. Going back to the history, in the 19th century, it was actually in the group of rough reeds, as a result of the works of Tanburi Cemil Bey’sa teacher Vasilb, it was treated under the palace music at the end of the 19th century and joined the thin reeds family and gained its main techniques with Vasil.2 The name that introduced us to the performance, playing, technique and style of the classical kemenche is Tanburi Cemil Bey. The classical kemenche’s previous performance is unknown. Primary kemenche players which continued after Cemil Bey are; Ruşen Ferit Kam, Fahire Fersan, Haluk Recai and İhsan Özgen etc. It is about 50 cm tall in terms of its classical kemenche structure. It consists of three wires, chest,

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cover, three auger, keyboard, threshold and life post. Trees often used by lutians (reed makers) are cypress tree for the chest; walnut, cypress, maple, cherry tree for cover; ebony for keyboard and augers; and for the bow, rosewood, balsam and fernanbuk.3 In addition, the hairs obtained from horsetails are used for bows. As of today, primary kemenche makers are Baron,c born in 1843, Izmitlid and İhsan Özgen.4 Consisted of three strings, this reed, due to the difficulty in performing it, have been tried to make out of four strings but it was not accepted by virtuosos because it did not give the original timbre. The most important reason for obtaining the right timbre from the three-stringed classical kemenche is that the wire lengths are not equal. The length of the rast wire is 36 cm, and the length of the yegâh and neva wires is 32 cm. The sounds of the strings are tuned to the notes of yegâh (re), rast (left) and neva (re) respectively. The frequency of the thinnest wire, neva, is the same as the la of the western music and it is 440 hz. When we refer to the materials used for the strings of the reed; animal intestine (Beam) for rast and neva wires; metal is used for yegâh wire. Instrument can be placed on a single direction or between two directions, and the augers are played by touching the chest. Kemenche performers are called “Kemenchev” or “Kemenchist”. The biggest living Kemenchev is İhsan Özgen. Tanburi Cemil Bey is undoubtedly the person who gave life to this instrument and shed light on the violinists. He played many instruments throughout his life and got his share in the Classical kemenche. Cemil Bey used the term “Iron Chickpeas” for this instrument in his time. He wanted to explain how difficult it is with this expression. Personal classical kemenche of Elif Başlı (Asude) © Kerimcan Ayaz

Thanks to my precious teachers Salih Bilgin, Yağmur Damla Bilgin and Hezarfen San’at School. Footnotes

References

a Tanburi Cemil Bey (1873-1916), born in Istanbul. He performed classical kemenche, lavta and cello besides tanbur. With his works, he brought a new interpretation to Turkish music. b Vasilaki (1875-1915), real name Vasil, was playing clarinet; after he learned how to play kemenche from Fenerli Yorgi, made his choice with kemenche. c Baron (1843-1900), is the most known person among the Turkish music reed makers (actually Parunak or Baronak). He is Armenian and born in Samatya. Started his working life as a carpenter, and then began to make reed. During Sultan Abdülaziz period, he made tanbur, ud, lavta for the palace. But he is known for his kemenches. d Izmitli (1870? - ? ), also known as “Little Izmitli”, is a Greek lutian and his actual name is unknown. His kemenches often are tortoiseshell or pearl covered.

1 “Derya Türkan Röportajı”. YouTube: Yedirenk Dergi. January 6, 2015. 2 Zilciyan, Varujan. “Vasilaki Efendi”. İslamansiklopedisi.org.tr. Retrieved May, 8 2019. 3 Erdal, Emre. “İstanbul Kemençesi”. Emreerdal.com. Retrieved 19 Nisan 2019. 4 “Türk Müziği Çalgıcıları ve Yapımcıları”. Sazadair.com. Retrieved May, 8 2019.

Elif Başlı FSMVU Undergraduate

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Human, which is the most developed member of the creation tree, is known to be lived in this universe for approximately three hundred thousand years. “When we think about what would be the first difference they put from the very first day that they existed; we cannot see any technological instruments, functional designs nor other things. The first remaining are always about art. The drawings that are on the walls of the caves from thousands of years ago, are the proves of human brain being able to create abstract works out of physical reality.”1 This is the basic feature between humans and animals. The reason for this is that brain’s frontal areas being more developed. And this indicates that we have the abilities to choose, chat, solve problems, delay pleasures of moments, which others do not have. “Our brain is just like a web formed with nerve cells. New information combining with the old ones, callbacks of the saved information happen because of this web. These synaptic connections of the brain are more powerful the more they are used. If they are not, they die and disappear.”2 Just like an unused house dissolving easily, the thing that human body leaves in the dark is bound to vanish. “Our cortices, allows us to express the feelings which are controlled by the midbrain with different methods. Our talents which allows us to vitalise our feelings’ equivalents such as poetry, literature, painting, music, are exist because of coordination features of those developed circuits.”1 In this context, art is shaping a concept.3 Among all organisms, another feature we have different than others is to default. (forget, reset, destroy) When people look at an artwork that they find fascinating, their brain pass to “default mode network” and connects to all parts of the brain.4 Sometimes brain can enter this mode while doing nothing. Activities on our brain find the opportunity to wander around the things a person has seen, read, or experienced.5 It is rumoured that Descartes found the x, y, z coordinate system while he was lying in his bed, watching a mosquito fly around.

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shift in thinking We turn to our ancestors rather than to understand the whole or question. Everything we saved, imagined in our minds are special to us, we live in a personal universe and we are responsible for it. We need to have shifts in thinking, in a society consists of people who takes care of themselves, severity nor injustice are discussed. Because everyone would be busy searching for themselves. A city where everyone cleans up their mass is a taintless city. We can only make the life liveable by being a part of a bigger orchestra with other organisms. For life, the purpose of art is to make others understand themselves according to Anderson. That is why artist are the antibodies of the society.6 The more they are the more they can protect the society.

References 1 Canan, Sinan “ Beynimiz neden sanat üretir ?“ [n] Beyin Magazine 3 (2016): 45. 2 Foster-Deffenbaugh, L. A., (November, 1996). Brain Research and its Implications for Educational Practice, A Dissertation, Brigham Young University, Hawaii. 3 Ülgen; G., Turgut, O., Ergen, H., & Uğur, O. Y., (2002). Beyin Temelli Öğrenme, Nobel Yayıncılık, Ankara, (Translation: Caine, R.N.; Caine, G., Making Connections Teaching and the Human Brain). 4 Buckner, Randy L., Jessica R. Andrews‐Hanna, and Daniel L. Schacter. “The brain’s default network.” Annals of the New York Academy of Sciences 1124.1 (2008): 1-38. 5 Hinton, C., Miyamoto, K., & Della‐Chiesa, B. R. U. N. O. (2008). Brain research, learning and emotions: implications for education research, policy and practice 1. European Journal of education, 43 (1), 87-103. 6 Mercin, L. (2006). Müzeler ve toplum. Retrieved: June 9, 2019.

Kübra Hüma Ata (Translation: Kerimcan Ayaz) FSMVU Undergraduate

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cultural center

A cultural center which has the concept of, “From the depths of the history to the horizons of the art”, is designed to follow our country’s cultural wealth and scientific studies and to leave next generations with its brightest. Away from stability, dynamic and complicated spaces that students can earn identity of culture are formed.

Lütfiye Karaaslan (Translation: Kerimcan Ayaz) FSMVU Graduate

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route

Travelling around Istanbul has a different beauty each season, but it is a different beauty especially in April; because of tulip festivals, and then Emirgan Grove, which gilds the lily of tulip time, comes to our minds. So let’s draw a travel route for Arnavutköy-Bebek-Emirgan together. First of all, we are in Arnavutköy. The historical mansions, right across the pier, have undoubtedly become one of the symbols of Istanbul with their pastel tones and unique architecture. You can go to the back streets of the mansions and experience the historical texture of Arnavutköy, take photos of the wooden architecture, or proceed by sketching the streets. You can take a little break in the boutique cafes that you encounter as you go on.

And then, returning to the coastal road and renting a bicycle from the smart bike rental systems located here and moving towards Bebek can be a fun alternative. When we move towards Bebek, we first meet with a magnificent building that was formerly Valide Pasha Mansion and now the Consulate General of Egypt. This building in art nouveau style was designed by Raimondo D’aranco, an architect whose name we often hear from the history of architecture. You can choose Bebek Park as your next stop. Do not forget to visit Bebek Hümayun-u Abad Mosque, whose architectural value is high and whose architect is Kemaleddin Bey.

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Before coming to Emirgan, you can go to Baltalimanı Japanese Garden on the road. When you come to Emirgan, Sakıp Sabancı Museum is one of the places you should visit. The main building of the museum, the villa was built by Italian architect Edoardo De Nari and was used as a summer residence for many years. In this building, which was later converted into a museum, there are temporary exhibitions and permanent works. You should definitely follow the exhibitions of this museum, which includes the works of many world famous artists from Pablo Picasso’s works to Ai Weiwei. Our last stop is Emirgan Grove, which welcomes us with colorful tulips. While enjoying the tulips in the grove, don’t forget to visit the historical buildings, pink and white mansion.

Our next stop is in Bebek, the Aşiyan Museum, which was the home of Tevfik Fikret at the time and was drawn by himself. You can find works about Abdülhak Hamit and Poet Nigar Hanım in the museum. After moving towards Rumelihisarı, our other stop is Borusan Contemporary Modern Art Museum, which is open only to visitors on the weekend, formerly haunted mansion or Yusuf Ziya Mansion. The mansion is one of the symbols of Istanbul with its original architecture. You should definitely visit the haunted mansion, which is open to visitors in the weekends, and enjoy the view of the Bosphorus on its terrace where it is exhibited in its works.

Rana Güneş (Translation: Damla Karabay) FSMVU Undergraduate

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comics

Issue 1 - February 2020

Articles inside

route

shift in thinking

reality

chow

dilek türkan

a house in anatolia

experience of spaces

de stijl

kemenche

serter karataban