portfolio

landscape of curiosities

Open Air Museum

Master’s Thesis

fracture

Port Wine Museum

homo ludens

Kindergarden Landscape with Open Fabric Competition

cel ati

Open Air Museum

Etruscan Necropolis

cittadella

Public Square Design

Rainwater Management

mds

Science Museum with Andrea Caputo Competition

karura & cooler

Landscape of the Italian Embassy in Kenya with Open Fabric & Microclimate Intervention

LANDSCAPE OF CURIOSITIES

Hiking Trail & Open Air Museum in Karaburun, Turkey master’s thesis

The thesis aims to reveal complexities of the Karaburun Peninsula through its landscape identity and authenticity. Using interpretative design, it translates collective memory, mythological narratives, and historical events into spatial and sensorial experiences. These interpretations are connected by a hiking trail network that allows personal and tactile discoveries.

The thesis aims to practice James Corner’s definition of an hermeneutic landscape architecture as ‘‘something that is based on situated experience, placed both within space and time as well as in tradition, and is equally about resurgence or renewal as it is about invention.’’

landscape identity

interpretative design embodied experience

Layers of tales make up a landscape hidden, neglected, and wildly Mediterranean.

Topography

Hilly and rugged, challenging for settlements and agricultural practices.

Soil Erosion

Erosion affects around 59% of the total area.

Wind

The peninsula is known for its strong winds as mentioned in the Odyssey of Homer.

Slope Aspect

The orientation of slopes can affect temperature due to sun exposure

Slope Angle

The angular deviation affects the difficulty of a hike

It has been a definitive element of the peninsula in mythological and historical texts.

is a back-and-forth between units of meaning a circle of recontextualization an iterative understanding

The Methodology

Interpretative design allows a personal and transformative engagement that goes beyond a literal understanding. The purpose is not to narrate the stories verbatim but to evoke a sensory, emotional, and cognitive response within the traveler.

Interpretation with its personal, evolving and open-ended nature aims to overcome the commodification and idealization of history and tradition as a pure Other that must never change.

Akdağ (Mimas) Mountain

INTERPRETATIONS and the hiking network

The interventions find their place where the landscape identity emerges as a natural phenomenon, an anthropogenic scar, or a group of ruins. They are strategically placed where the landscape intertwines with the interpreted stories.

Architecture is an articulation, an the urge to re-present a highly organized cosmos

It acts as a material expression of complex phenomena, such as collective memory, culture, and poetic meaning

James Corner

Palimpsest

Iris

Narcissus

Mustafa

Norberg-Schulz

HIKING TRAILS

Two examples from the network

The proposed trails of different difficulties can also be combined, resulting in strenuous and long walks.

Villages

These villages act as connecting nodes within the hiking trail network. Offering encounters with the locality.

Archeological Findings

The peninsula has always been a melting pot of different ethnic, religious, and linguistic groups.

The map is a result of author’s research and exploratory hiking

interpretation

to simultaneously remember, narrate and invent a culture in transition

- inter among, between, in the midst of - pre forward, through

interpretation PALIMPSEST

Open-air exhibition in an abandoned stone quarry

The stratification of this anthropogenic scar is interpreted as the superimposed layers of Karaburun’s history, to become an open-air exhibition of archeological artifacts.

The objects are buried within the rock, in glass facaded spaces. The lower corten surface accomodates written information while the upper surface protects from the rain.

The rock reveals artifacts like idols, vases, skulls of longlost animals from 3.3 million years ago, and a Roman altar dedicated to Dionysus.

interpretation

THE BIRTH a wind tunnel

Alexander of Myndus states that Goats born on Mimas do not drink for six months; all they do is to look towards the sea with their mouths open and to drink in the breezes from that quarter.

Aelian, On Animals ca. 300 AD

The structure is formed with the inspiration of the subsonic wind tunnels used by NASA.

Its shape enables the wind to enter and gather force in the narrowest section.

The roof detaches from the main structure, appearing to soar in the air, the detachment aids to capture the wind from the sea and to release it towards the land.

The Birth is also influenced by the local fisherman huts, however with the acknowledgement that it will never be as immediate and genuine.

The traveler needs to accept crawling on all fours to be able to taste the wind through the window to the sea.

landscape intervention ABANDONED MERCURY MINE

The traveler is welcomed by a channel winding down to the mine’s processing building. A corten steel grating path aids the visitors in descending into the valley.

When the path reaches down, it melts into the building to offer a vantage point for observing the stream flowing through the ruin.

interpretation

NARCISSUS the endless forest

While he is drinking he beholds himself reflected in the mirrored pool — and loves; loves an imagined body which contains no substance, for he deems the mirrored shade a thing of life to love. ...

Ovid’s Metamorphoses

8 CE

The visitors delve into the shadow of the pine trees surrounding the derelict miners’ houses.

The facing mirrors create a disturbingly artificial forest from only six trees. The endless forest offers endless self-reflections.

The wooden structure of the mirrors offers moments of rest on the outside.

As Narcissus wastes away and dies with the love for himself, the nymphs go to arrange a ceremonial rite. Yet upon returning to his lifeless form, they discover naught but a radiant flower in his stead.

The Daffodil (Narciso) is a fundamental part for Karaburun’s culture and narrative. During the end of winter these flowers cover the whole peninsula in white and yellow.

interpretation

ECHO the mirrored tower

Echo is a nymph, who cannot speak but only repeates the last words of others as a result of her curse

The traveler walks down towards a flying concrete cube. The tower rises in-between the stone walls of a ruin along the stream.

Upon entering, one is greeted by the resounding echo of the water drop on a metal tray.

One day, when she(Echo) observed Narcissus wandering in the pathless woods, she loved him and she followed him ...

Oh, how she longed to make her passion known! ...

He flies from her. ‘Take off your hands! you shall not fold your arms around me. Better death than such a one should ever caress me!’

Naught she answers save, ‘Caress me!’ ...

her great love increases with neglect; her miserable body wastes away, wakeful with sorrows; ...

nothing remains except her bones and voice

Ovid’s Metamorphoses

8 CE

Through an automatic system a drop of water is released down the pipe, resulting in an echo that repeteadly fills the room.

The

rainwater is collected in a glass tank on the roof. The excess rainwater is discharged down to the soil by the chain. The light enters via the glass tank, carrying the textures of the water.

The method of rehabilitating the reedbed is to offer a diversity of micro-habitats through changes in the wetland structure.

• Incorporating a network of ditches and pools

• Ensuring connectivity to facilitate movement of the fauna.

• Areas of deeper water (more than 1.5 meters to prevent reed dominance)

• Approximately 25-30% of the area should consist of open water.

• A mix of gentle and steep gradients.

landscape intervention IRIS LAKE reedbed rehabilitation & birdwatching tower

interpretation

IRIS LAKE the peak of rainbows

On a hill nearby, two rooms offer games of light, darkness and rainbows.

Iris on lofty Mimas was wroth with them all and utterly prevented them. And at her rebuke they fled all together...

Callimachus, Hymn to Delos ca. BC 350 - 250

Iris is a messenger goddess traveling by means of the rainbow. For a while, she sat on Mimas mountain to prevent Leto from giving birth to Artemis and Apollo.

ROOM 1

By moving the light along the grid, one achieves a full circle rainbow on the surface of glass beads.

ROOM 2

Brise-soleil systems open automatically according to the time of the day, allowing the prism to create a rainbow.

FRACTURE

The song still remains which names the land over which it sings Martin Heidegger, Poetry, Language, Thought

The museum brings a geographical interpretation of Douro Valley with its cracks and canyons to the city

Port Wine Museum in Porto, Portugal

The site is a concrete block along the riverside, used as an open air parking lot. The project hits and breaks this block and fits the functions of a museum within the broken fragments. The fragments become a structured landscape, allowing the urban movement to pass through.

Roof Top Vineyard

INSET

GRANITE

Landscape Islands

A number of fragments are shaped as gabion terraced islands to preserve existing trees along the riverside. Some of these are accessible and some just let nature be.

Touriga Franca & Festuca

FACADE | HIDING exhibiton fragments

FACADE | INVITING entrances and public fragments

Along the fracture there is a constant change in x,y and z.

Volumes get higher and lower, opaque and transparent, natural and man-made Proportions change, and from the in-betweens, the river glimpses

The museum is a translation of the winemaking process into sensorial human experiences in space

fermentation

While the museum is playful and experimental the marketplace settles on a grid, following functionality

point 0 being the river level the exhibition rooms affect above and below popping out of their boundaries

Fracture | Port Wine Museum

fortification and transportation aging

archive laboratories

an ordered alternation of contrasting elements

RHYTHM

The steps of winemaking process are translated as peace or chaos where each room is the opposite of the one before.

The spatial atmosphere of the museum defines a rhythm out of the alternation of contemplation and interaction.

interactive modern fermentation in tanks

a labyrinth of metal

contemplative traditional fermentation in lagar

a pool of pressure

Last Room | Archive & Tasting of Port Wine

Independent Spaces | Laboratories and Wine Lounge

Fracture | Port Wine Museum

harvest to transportation

HOMOLUDENS

Kindergarden in Solingen, Denmark Competition with Open Fabric

The kindergarden fosters a joyful ambiance, creating an environment that encourages interaction, exploration, and physical activity. Every corner of the garden aims to offer a variety of sensorial experiences. Incorporating existing trees as interactive elements allows children to discover nature in a tactile way.

Sandboxes

Water Features Tree Nets

Tree Top Trail Slide

Hammock

Ponds

Walking Net Woods

CEL ATI

Open Air Museum in Tarquinia, Italy Etruscan Necropolis

The necropolis is re-organized and re-generated through architectural interventions and landscape design.Drawing inspiration from the Etruscan civilization, the design incorporates the rich flora, traditional materials and lifestyle of the Etruscans. It pays tribute to the remarkable societal equality of women, a significant aspect of their culture. Studios for women arts & crafts act as the generator of life for the museum of death.

The journey starts with an itinerary for extensive trekking between two necropolises (Tarquinia and Cerveteri) to immerse in nature and discover history through-out the territory.

The underground tombs of the Necropolis are grouped regarding their wall paintings.

These themed groups are gathered in open-air rooms that are slightly lower than surrounding landscape.

Corten roofs cover the tombs from the rain while visually connecting different themes of tombs.

A linear structure is built to make up a tunnel. This coverage of the vehicle traffic aims to return silence and piece to the necropolis.

Tombs

visitor encounters with a symphony of open-air rooms, curved roofs, many public interactions and a complex path.

The borders of the area are re-considered as opportunities of gardens and human interactions, which are for both the public and the private parts. These borders are made of elements that are rememberances of the Etruscan culture and landscape, such as women art atelies and the plant species of the gardens.

The narrative is not enforced on the visitor, more the opposite, visitors create their own narrative with the help of the path that offers many options of interconnection.

The tombs that are hidden underground are grouped under themes regarding the stories that are painted on the walls. These themes find their architectural form as slightly carved open-air rooms in the landscape. However, the path and the roofs break the rule of themes and they offer a narrative-free connection.

Acontrol panel allows the selection of languages and starts the light show narrated by the story of the wall painting. Light projectors are placed on the surfaces that are not visible from the glass facade.

where the inside reaches out and spreads, welcomes the visitor teaser, which is a tomb that is open to visits without a ticket.

Ateliers of arts and crafts, offering a place of with reference to the Etruscan culture and fence reference to the geomorphology of the Necropolis, grant several access to the highline which is the pedestrian level tunnel. The services located in the building work for both museum visitors and the public. fence as an interactive border

the acropolis ateliers

while exhibiting all the open and available tombs, also exhibits the true number of tombs that are hidden underground via installation along the landscape. These corten sticks are a rememberence to the Etruscan bronze and in certain seawith the characteristic wind of the area, creating music

The soundsticks mark the locations of the unreachable tombs.

GUCUYETER SINEM

SALDUTTI MARIA LUZ

ABDALLAH MOHAMMED ABDALGADIR HUDA

They offer a musical experience thanks to the strong winds in the area.

REZAI MORTEZA

SADE PAOLA

ABBASI AGHDAM MOHAMMADREZA

WU PEIYUN

ALIPOUR ARDEBIL NEGAR

HAO RONGZHI

HUANG LIYE

CHAI XU

the necropolis tombs

sculptural chimneys serve for the ventilation of the underground tombs

CHENG ZIXUAN

WEI YUXIN

MORADI MALIHE

the soil accumulations on top of the tombs are kept as they are

WANG XUEQI

XU AI

KANA EDERA

TAHIRI DIELLEZA

ZEKAJ ENKELEJDA

SOUMITRA

MUDRABOINA NIKHITA

NEMA KRITIKA

Exhibition of Tombs

Some tombs are kept buried, others are carved out of the soil and covered with a corten case, a homage to the use of bronze in Etrucan culture.

The borders of the area are defined by the Acropolis and Etruscan Gardens serving both to the public and museum visitor, acting as a fence between the two

The open-air museum of the Etruscan Necropolis in Tarquinia is re-imagined as a free-flowing experience that changes with every visit. The visitor encounters with a symphony of open-air rooms, curved roofs, many public interactions and a complex path.

The open-air museum of the Etruscan Necropolis in Tarquinia is re-imagined as a free-flowing experience that changes with every visit. The visitor encounters with a symphony of open-air rooms, curved roofs, many public interactions and a complex path.

The borders of the area are re-considered as opportunities of gardens and human interactions, which are for both the public and the private parts. These borders are made of elements that are rememberances of the Etruscan culture and landscape, such as women art atelies and the plant species of the gardens.

The borders of the area are re-considered as opportunities of gardens and human interactions, which are for both the public and the private parts. These borders are made of elements that are rememberances of the Etruscan culture and landscape, such as women art atelies and the plant species of the gardens.

The narrative is not enforced on the visitor, more the opposite, visitors create their own narrative with the help of the path that offers many options of interconnection.

The narrative is not enforced on the visitor, more the opposite, visitors create their own narrative with the help of the path that offers many options of interconnection.

building as a fence

garden as a fence

The carway is replaced by a tunnel under the acropolis highline to eliminate the disturbance of the atmosphere.

The city entrance, where the inside reaches out and spreads, welcomes the visitor with a teaser, which is a tomb that is open to visits without a ticket.

The building acts as an interactive border, accomodating services for both the museum visitors and the public, separating and including at the same time.

The city entrance, where the inside reaches out and spreads, welcomes the visitor with a teaser, which is a tomb that is open to visits without a ticket.

Building as a fence artificial hills, with reference to the geomorphology of the Necropolis, grant several access to the highline which is the pedestrian level above the car tunnel. The services located in the building work for both museum visitors and the public.

Building as a fence

The building acts as an interactive border, accomodating services for both the museum visitors and the public, separating and including at the same time.

The tombs that are hidden underground are grouped under themes regarding the stories that are painted on the walls. These themes find their architectural form as slightly carved open-air rooms in the landscape. However, the path and the roofs break the rule of themes and they offer a narrative-free connection.

The tombs that are hidden underground are grouped under themes regarding the stories that are painted on the walls. These themes find their architectural form as slightly carved open-air rooms in the landscape. However, the path and the roofs break the rule of themes and they offer a narrative-free connection.

Arts & Crafts ateliers of the linear acropolis

Entrance

the museum reaches outside and reveals a public tomb as a teaser

Ateliers of arts and crafts, offering a place of expression to women with reference to the Etruscan culture and social life.

Ateliers of arts and crafts, offering a place of expression to women with reference to the Etruscan culture and social life.

CITTADELLA

Public Square Design in Piacenza, Italy

Water as a protagonist, aims to answer the flooding risk of Po River, providing aesthetics in a functional circular system. Rain and flood water is collected by the roofs and the permeable pavement. The selection of plant species and the placement of water elements act as an urban alternative to the desolate riverside of Po.

The pavement grid unifies the assemblage of fragments within the square and gives direction by bending towards the built heritage.

MDS

Science Museum in Rome, Italy

Competition with Andrea Caputo

(teamwork: contribution mainly in diagrams and technical drawings)

A new longitudinal volume is inserted in the center of the existing historical building, becoming the backbone of the intervention. The roofs of the existing building and the ground floor are transformed into green spaces. Innovative facades pay homage to the idea of a science museum, exhibiting the materials of the future and producing energy.

The flows outside the museum find their natural continuation inside the building: a long foyer welcomes visitors and passers-by, configuring itself as a slender public square. The foyer space is designed as a walkable greenhouse increasing the internal comfort of the building.

The completely transparent north facade is made up of ETFE cushions with a pressurized air gap. The south facing envelope is a double skin of large low-emissivity windows and a screen of adjustable photovoltaic panels.

COOLER

Microclimate Interventions on Piazza sant’Antonino in Piacenza, Italy

Since the bus routes were unchangable, the traffic problem is solved by redirecting the cars. The seperation of bus and pedestrian zone is emphasized by the tree line and the change in pavement.

The space is re-defined by two architectural characters. The Church Square is now a garden with a dense canopy whereas the Opera Square is defined by the colorful shading structure.

MODELS

For various projects

cel ati Etruscan Necropolis

fracture conceptual

Interpretations on rhythm, solid-void, and light and shadow in relation to space and architecture.

models for the Port Wine Museum in Porto

rainbow room for the goddess Iris

the birth

Interpretation of a mythological story

the endless forest

Interpretation of the myth of Narcissus

landscape of curiosities

Master’s Thesis

https://www.sinemgucuyeter.com