Architectural Design Portfolio by Ozkan Eyup

OZKAN EYUP architectural design portfolio

eyüp özkan

adalet sitesi, 4/17 tarabya, sarıyer, istanbul

+90 544 564 08 44

ozkaneyup00@gmail.com

OZKAN EYUP Thanks for your consideration

“Mimarlık ürünü sadece denemedir; bir bilimsel bildiri sunmaktan, düşünceleri tartışmaya açmaktan başka bir şey değildir. ” Ferhan Yürekli

CONTENTS a collection of academic works

ARCHITECTONIC OF PAPER: LUMINOUS PAVILLION EXCHANGE: WATERFRONT ISTANBUL COOCCURRENCE: ART ARCHIVE + AUTO STORAGE INTEGRATION: ARCHITECTURAL ENGINEERING CONTRAST: RESTORATION OF ALLALEMDJI HAN ARCHIVECTURE: ARCHIVAL MAPPING CITY OF BITS: VALENS AQUEDUCT all rights reserved by Øzkan

FORMATTING RESEARCH AN EXPERIENCE ON ARCHITECTONIC

assembling the modules and waving the paroies from opaque to transparent?

LUMINOUS PAVILLION POTENTIALS OF ‘PAPER’ AS ‘EXPOSITION’ AND‘EXHIBIT’

undulation of the bands

assembling the loops

Why do we involve multi layers as supplemantary materials for building components despite the fact that from the beginning of design we are aware of these materials are not adequate. Is it possible to process a single material to meet different performance requirements? [Is this process called design?] [Could it also be seen as some form of sustainable construction method?]

How to optimize the usage of paper to avoid any additional way of structuring? The undulation rigidifies the structure; the stability of the module is achieved due to the succession of the loops created with single layer of paper.

fluidity flexibility temporariness constraints structure

LIGHTING POETIC Experiencing the light; Light as a spatial material. Light as a definition of space.

scale: 1:100 180

90 500

100

60 150

650

Developing a language of production drawings. Experiments on drawings not only for presentation but also to set a contruction method.

120.0

68.0

0.0

630.0

620.0

22.0

660.0

650.0

160.0

96.0

148.0

240.0

300.0

184.0

25.0

0.0 22.0

200.0

38.0

40.0 44.0

330.0

282.0

68.0

88.0

320.0

380.0

180.0

160.0

440.0

400.0

360.0

120.0

138.0

370.0

420.0

240.0

210.0

270.0

300.0

500.0 530.0

460.0

470.0

330.0

320.0 350.0 380.0

510.0

450.0

410.0

550.0 570.0

470.0

530.0

490.0

520.0

530.0

620.0

525.0

600.0

560.0

570.0620.0

AN ARCHITECTURAL EXPERIENCE ON TEMPORALITY EFFICIENCY OF EVERYDAY LIFE IN THE METROPOLIS

changing the date of free time

Time exchange through the daily life cycle, cohering to dynamics of modern life in Karaköy so as to increase the quality and efficiency of leisure/taken life. Does not a transfer center offer the basis for spatilazation of facilitative activities for daily life? Kabataş, waterfront Istanbul, an urban node where all means of transport meet linearly providing easy and quick transfer for the public to diffrent poles of the city even in cross-continental way. Kabataş, a mobile surface, encounters various inputs such as different means of transport, workers, students and so on from all around the city which are seen as ‘sources’. An experience on spatialization of a ‘library’ through the potential of ‘source’ and housing units [considering the high populution of student around] privatized from the source on the mobile surface of Kabataş.

KABATAŞ AS AN URBAN HUB travel from/to Kabataş

duration

density

speed

day

night

Kabataş, where it is possible to arrive by a single public transportation vechicle from different edges of the city such as Bağcılar and Sarıyer, furnishes an occasion for the public to benefit a ‘book exchange spot’ purposed to increase the interaction and disseminate the cultural discourses for all decomposed pieces of the society.

KABATAŞ

The refutation of existance and expectation of ‘ideal leisure time’. ‘Leisure time’ coexists and is defined by practice and reality. Only ‘procured’ leisure time is worthwhile and tempting.

The edge of The Metropolis The joint of transportation network On the waterfront By Bosphorus

private

ro c

essing

‘The Critic of Daily Life’, Henri Lefebvre

from sourc

e to

VIEW

public

watching the other side of the city

*KABATAŞ

publicity of the waterfront

PSYCHOLOGY OF STUDYING

SKYLINE ISSUES

Designing the space which allows concentrate on their own also to interact surroundings simulteneously.

sky ground

static learning_monologue

interaction_dialogue

non-static learning_caologue_polylogue

skyline boundary

bluring the boundary

autonomous cells / espace in espace

flexible skyline

PROGRAM topoghraphy

PLANS liquid topoghraphy

+4.50 Level Plan

+24.00 +18.00 +9.50 +4.50

movement of surface

eat + drink + chillout + personal stores publicity

surface as source

swim!

1.vertical circulation 2.entrance, information 3.service zone 4.library 5.book exchange/store +24.00 +18.00

+9.50 Level Plan

+9.50 +4.50

1 library+urban terrace

public surface

+24.00 +18.00

+18.00 Level Plan

minimum surface

*topography of the movement of human body

+24.00 +18.00

housing units housing units housing units housing units housing units housing units housing units

generated surface

+24.00 Level Plan

3 8

5 4

3 8 6

+4.50

6 7

7 8

1 4

5 3 9

8 6

+9.50

1.vertical circulation 2.entrance, information 3.horizontal circulation 4.common chillout space 5.common kitchen 6.viewing areas, bosphorus 7.viewing areas, urban landscape 8.housing units 9.horizontal circulation

+9.50 +4.50

housing units*

1.vertical circulation 2.entrance, information 3.individual study space 4.teamwork space 5.meeting room 6.administration 7.boardroom 8.meeting room 9. book exchange/store

C ONC URRE NC Y OF ACT U AL AND VIRT UAL

V I RA L PRO GRAM Grenoble, FRANCE

[to blind faรงades / spaces]

New York, USA

[to the spaces defined by time gaps between different activities or occurrences (work/rest, day/night)]

AN EXPERIENCE ON COOCCURRENCE ART ARCHIVE__AUTO STORAGE Three Moment on

contemporary art__museum__archive__exhibition

[DIALECTICS OF SEEING] Through the Eyes of HAL

FOSTER

endless objective ordinary unique digital scholar

AUTO STORAGE HORIZANTAL CIRCULATION pedestrian pathway

parking lot

limited ambiguity untimely indefinite formal

*Charles Baudelaire __ Edouard Manet ‘memory’ is the great criterion of art; art is the mnemotechny of the beautiful ...art is already historical, as it were, and it already presumes the space of the museum as the structure of its mnemonic effects, as the place (more imaginary than real) where an artistic tradition happens. [The mirror of art: Critical studies of Charles Baudelaire]

static dynamic artificial natural private public

the memory-structure of painting, its continuity as asubtextuality of afterimages, is in danger of corruption the practice pushes the subtextuality of mnemonic afterimages toward a pastiche of overt close citations... subjective

*Paul Valéry __ Marcel Proust

indefinite

‘museum’ and ‘mausoleum’ are connected by more than phonetic association ...museums are like the family sepulchres of works of art. they testify to the neutralization of culture... afterlife of art piece ...the museum is a kind of phantasmagorical perfection of the studio, a spiritual place where the material messiness of artistic production is distilled away.

constant

[A l’Ombre des jeunes filles en fleurs]

*Erwin Panofsky __ Walter Benjamin reification, reanimation archaeological research is blind and empty without aesthetic re-creation and aesthetic recreation is irrational and often misguided without archaeological research.

reification, reanimation

the principal agent of this fragmentation is mechanical reproduction: in his “art work” essay it strips art ofcontext, shatters its tradition, and liquidates its aura. [The Work of Art in the Age of Mechanical Reproduction, Walter Benjamin]

exit

entrance

driveway

A R T I N NON_PLACE IN IN DAILY LIFE ORDINARINESS - CARPE DIEM

ATTIC

instantaneous sustainable chaos order formal informal transient permanent temporary uncertainty certainty

bibliothek administration foyer conference hall backstage service+technical zone

SPATIALIZATION OF THE S I T U A T I O N S OF ART PRODUCTION PROCESSES

An architectural experience, seeking to continuity of publicity through Congress Valley, Maçka Park, Taşkışla Campus, Taksim Gezi Park

#resistgezipark

STUDIOS + HOUSING goods lift stairs

public lift housing units

cars lift

and Taksim Square

#resistanbul

by contunuation of programme on the single surface.

ARTIST_IN_RESIDENCE [WITHIN THE FINE ARTS DEPARTMENT OF ISTANBUL TECHNICAL UNIVERSITY] MOBILITY IN ART ON LOCAL AND GLOBAL SCALE

Artist-in-Residence; studios and housing units (as temporary/permanent/long-short term rentals) for the A+R programs within the scope of The Fine Art Department of Istanbul Technical University, circulating mobility in art on local and global scale, increasing the constrast of the‘storage’.

CRR CONCERT HALL

ISTANBUL CONGRESS VALLEY

ITU SCHOOL OF FOREIGN MACKA PARK LANGUAGES

* IAAAS ITU FACULTY OF ARCHITECTURE

ART STORAGE There is no defined museum meeting or promenade spaces as circulation spaces expand as ‘espace’ -cells, lay-bys and extensions to the park- to enable the permeability and randomness among the different units of the program. Mediatheque; bluring the boundaries of different disciplines serving as an informal education plot NOVE L EXPERIENCE OF THE SPACE IN CONTEMPORARY ART EXHIBITION for the public.

Experiences within the tension of different conditions articulated in everyday life eliminating daily limitation of time by means of the mobile program of the ‘storage’, blurring all the visible or invisible spatial boundaries. Production to sharing, exhibition spaces with applied, interactive surfaces.

TAKSIM GEZI PARK!

TAKSIM SQUARE

ATATÜRK CULTURAL CENTER

BESIKTAS STADIUM

ITU FACULTY OF MECHANICS

ISTANBUL ART ARCHIVE & AUTO STORAGE

+2.50 Level Plan 30.50

+9.60 Level Plan 30.50

26.50

30.50

26.50

25.90

24.70

21.70

21.10

21.70

13.50

21.70

21.10

13.50

12.40

21.70

12.40

10.00

7.60

9.60

7.60

7.00

6.00

6.00 4.30

4.30 2.50 0.00

0.00

+3.00 Level Plan 30.50

+14.80 Level Plan 30.50

26.50

30.50

26.50

25.90

24.70

21.70

21.10

21.70

21.10

21.70

14.80 13.50

13.50

12.40

10.00 7.60

7.00 6.00

4.30

4.30 3.00

0.00

+22.80 Level Plan 30.50

+28.90 Level Plan 30.50

30.50

26.50 26.50

28.90 26.50

25.90

24.70

24.70 22.80 21.70

21.10

13.50

21.70

21.10

13.50

12.40

10.00 7.60

21.70

10.00 7.60

7.00 6.00

4.30

0.00

ARCHITECTURAL ENGINEERING AN EXPERIENCE ON

INTEGRATED DESIGN

CONSTRUCTION TECHNOLOGIES An architectural office integrated with an housing unit in beetwen the central business district and the residental zone of northern Istanbul in order to blur the boundries of different urban textures in terms of time, space and life. Subsystem development in accordance with building function, impartment of the skill for architectural solutions with consideration to technical and legislative factors as well as aesthetical, in the process of integration establishment bet. Achieving the development of detail projects at all scales for building elements and the preparation of a design for execution.

I. Determination of the given values 1.width, length, height of the room H= 5,5-0,7(susp. ceil.) = 4,8 m 2.colours, light reflectances ceiling: white (80-85) walls: sky blue (39) floor: dark grey (9) II. Determination of the various values

alumınyum bindirmeli harpuşta 0.15 cm

aluminyum levha 0.1 cm tyvek su yalıtımı 0.2 cm benchmark karrier panel 10 cm aluminyum c profıl 20x50 cm

dupont buhar kesici 0.1 cm 1. required illumination of workplane: 500 2. lamp type: fluoerscent benchmark karrier panel 10 cm 3. characteristics of the lighting system: direct tyvek su yalıtımı 0.2 cm 4. luminaire type and efficiency: direct 5. height of the luminaire: 0 m ahşap profil 5x5 cm hava boşluğu 4 cm

III. Installation and Mounting 1. individual for 600 mm ceiling grids, visible Tbar profiles

ahşap bindirme kaplama 2 cm aluminyum kutu profıl 4x4x20 cm hava boşluğu 7 cm aluminyum kutu profıl 4x4x20 cm dupont buhar kesici 0.1 cm benchmark karrier panel 10 cm

The sound transmission loss is calculated so as to compare with TL required which is the distinction of sound amount of outside and L criteria (acoustically comfortable sound amount). +6.00

+3.75

tyvek su yalıtımı 0.1 cm ahşap profil 5x5 cm hava boşluğu 4 cm ahşap bindirme kaplama 2 cm

The sound transmission values of each different building elements are involved to the calculations except the heat insulation layers and plasters. Double glazing (with 6mm air space) is chosen for the transparent parts of facade.

+3.00

Materials with different acoustical properties are placed in order to obtain a acoustically comfortable space.

aluminyum doğrama kolon hizası duvar hizası

0.00

-1.30

-3.00

Sound absorbent materials are applied to floor of hall and office, to back wall and to lower levels of the side walls whereas the reflector materials are applied to stage wall, front face of stage, to upper levels of side walls and to ceiling.

The noise barrier provides attenuation of noise level 1,48 dB for 125 frequency, 15.78 dB for 500 frequency and 19.72 dB for 2000 frequency . The total attenuation rates are % 14, %22, % 30 respectively for 125, 500 and 2000 frequencies. For the continuity of noise barrier the entrance of the building is resigned. According to calculations, the distance between noise source (highway) and the receiver (building) provides 0,1 dB noise reduction.

aluminyum kompozit panel 0.4 cm hava boşluğu 4 cm benchmark karrier panel 10 cm aluminyum c profıl 20x50 cm benchmark karrier panel 10 cm tyvek su yalıtımı 0.2 cm aluminyum levha 0.1 cm

seramik kaplama 1 cm koruma betonu 3 cm bitüm esaslı su yalıtımı 0.3 cm xps ısı yalıtımı 8 cm eğim şapı 3 cm trapez levha+betonarme d.12 cm npı30 tesisat boşluğu 25 cm asma tavan taşıyıcı strüktür alçı panel asma tavan 1 cm

aluminyum kutu profıl 4x4x20 cm hava boşluğu 7 cm aluminyum kutu profıl 4x4x20 cm

kolon hizası

benchmark karrier panel 10 cm

ahşap süpürgelik ahşap parke kapla yapıştırıcı katman düzeltme şapı betonarme döşeme

hava boşluğu 5 cm benchmark kompozit panel 0.4 cm

5 2 1 3 7

aluminyum doğrama

cm cm cm cm cm

aluminyum damlalık yassı kiriş xps ısı yalıtımı 5 cm hava boşluğu 5 cm benchmark aluminyum kompozit panel 0.4 cm

dolgu bloğu 25x40 cm

muynimula amarğod

kaba sıva 3 cm alçı kaba sıva 0.5 cm alçı ince sıva 0.5 cm

xps ısı yalıtımı 2x10 cm aluminyum doğrama

ısazih nolok

kolon hizası

The final result of calculation of the reverberation time of interior spaces matched the required reverberation time gap which satisfy the optimum acoustical comfort degree.

duvar hizası

aluminyum damlalık duvar hizası

çelik kutu 20x20 cm NPI 30 aluminyum kutu profıl

The building is blocked by north and east. The north and east obstruction angles are calculated and used to find the transparency ratios.

+9.70

4x4x20 cm

According to transparency ratios, the area of windows are benchmark karrier panel 10 cm determined. The height of tyvek su yalıtımı 0.1 cm windows are assigned as 1.5 metre. ahşap profil 5x5 cm hava boşluğu 4 cm seven types of windows are designed to optimize the usage of solar energy for lighting and heat. aluminyum kutu profıl 4x4x20 cm aluminyum kutu profıl

3x15 cm

dupont buhar kesici 0.1 cm

aluminyum doğrama

hava boşluğu 7 cm aluminyum kutu profıl 4x4x20 cm benchmark karrier panel 10 cm

kolon hizası

+8.45

+6.72

hava boşluğu 5 cm

+5.96

+5.29

Envision of flexible building elements in accordance with demands of different performance requirements progressing relatively for further environmental requirements.

+3.06

+2.50

ARCHITECTURAL RESTORATION AN EXPERIENCE

CONTRAST

ALLALEMDJI HAN ISTANBUL

ALLALEMDJI HAN WAS USED AS A COMMERCIAL AND OFFICE BUILDING, SHOWS THE COMMON CHARACTERISTICS OF THE LATE 19TH CENTURY COMMERCIAL BUILDINGS WHICH ARE FORMED WITH THE CHANGES THAT OCCURRED IN THE COMMERCIAL LIFE OF ISTANBUL. THERE IS NO INFORMATION ABOUT THE ARCHITECT OR ALLALEMDJIYAN FAMILY. ALLALEMDJI HAN WAS CONSTRUCTED ON THE JUNCTION OF BÜYÜK POSTANE ROAD AND POSTANE YANI STREET IN SIRKECI WHICH IS AN AREA OF FATIH DISTRICT INCLUDED IN THE HISTORICAL PENINSULA OF ISTANBUL THAT BORDERS THE GOLDEN HORN TO THE NORTH AND THE SEA OF MARMARA TO THE SOUTH. THERE ARE IMPORTANT BUILDINGS HERE AS THE BIGGEST POST OFFICE IN TURKEY WHICH IS CALLED AS THE ISTANBUL MAIN POST OFFICE AND SIRKECI STATION. ALLALEMDJI HAN WITH THE FACADE IN ART NOUVEAU STYLE IS AMONG THE EARLY REINFORCED CONCRETE AND MASONRY SYSTEMS CONSTRUCTED IN THE LATE OTTOMAN PERIOD. The widths and depths are measured by running method and then each of the rooms and the halls were measured by triangulation method. For the section measuring, a zero point above 120 cm was designated it was removed by using water level to all over the places in the building. After that, lower and upper sides of these points were measured to find the heights and the situation of the ground height. In detail, stairs, doors, windows, sills, tow boards and railings were measured and documented by sketching and taking pictures. The L shaped building has ground floor and four stories. Allalemdji Han has galleries, corridors, halls and also pitched glass roofs above galleries. The main door opens up to the gallery which connects the halls in each side and there are U shaped stairs with an iron stair rail.

asian side

european side

Hagia Irene

Hagia Sophia

Istanbul Main Post Office

Allalemdji Han

THE SURVEY P R OJECT

610 C

0 23.5

151

G2 G

5 58

294 72

512

243.5

427 B1

2.5

1 30

428 23 6.5

731

37 394 3.5

144

306

150 143

0 492

221.5

507

485

536

526

498

123

345.5

317

383 28

301

367.5

29,51

9.5

+10.76 42 0

148 142

266 260

325 320

648

3 0

timber floor (13cm)

6.5

282 5

359

235

255.5

2B03c

502 525

312.5

346

327.5

shelf

225 214

17,5

378 367

+10.76

144 137.5

Wall: plaster+painting Floor: timber Ceiling: plastered ceiling

169.5 157.5

90 79

11.5

37.5 34

2B03a

5 479. 5 545.

337

Wall: plaster+painting Floor: linoleum Ceiling: plastered ceiling

158.5 152

112

partition wall

172 157

208 202.5

335

511

2B03b

237.5

118.5

+6.47

gallery space

0 295

A2 R

8 26

172

A1 A

77.5 777

48 58

0 174

201 190.5

666

601.5 158

309

647.5 390.5

202 190

256

linoleum floor

301

21 296.5

134 130

false ceiling

0 82

150.5 145

359

+12.72

371

271

578

+11.27

detached wall paint

Floor: timber Ceiling: plastered ceiling

31 21

450.5

false ceiling

The building construction system is a mixture of masonry and reinforced concrete. The floor construction is of jack arches supported by iron beams.

381

145 Floor:

472.5 18,5

handrail

+13.44

188 179.5 174

2B02c

18,5

168

164

210

5.5

272,5

193

false ceiling

2B02b

Wall: plaster+painting linoleum 1. 23 Ceiling: false ceiling Wall: plaster+painting partition wall

139

detached wall paint

partition wall

239 228 226.5

2BK1

Wall: plaster+painting Floor: terrazzo Ceiling: plastered ceiling

125.5

476

+10.76

false ceiling

191

+10.76

+14.63

0 171.5 163

31,5

527

2AK1

+14.94

terrazzo(16x16cm)

393

5 68 9 69

0 0 7

490

483

524.5

100

+13.30

Wall: plaster+painting wooden partition wall Floor: linoleum Ceiling: plastered ceiling

+10.76

timber floor (13cm)

379.5 362

+15.08

+14.64

184.5

230.5

+15.03

2B02a

+10.76

309

+15.07

+14.63

188

+15.60

+15.59

+13.26

2.5

2 30

+15.97

Ceiling: suspended ceiling +14.75

brick wall

+13.47

324.5

1.5 57

3B01

Wall: plaster+painting Floor:

471.5

500

2A04

+13.94

+12.76

329

+16.90

209

+13.82

timber

+14.93

142

broken plate

+15.04

552

+17.16 +17.01

+17.29

226.5

+14.99 +14.65

468

26.5

+15.11

2A01

179 166.5

+15.00

2A02

7.5 86

baseboard crashed

2A03

+15.11

+14.67

Wall: plaster+painting Floor: timber Ceiling: plastered ceiling

+17.36

+16.30

detached wall paint

2B01

466

57 48.5

+15.01

+17.74 +17.59

+15.96 +15.71

E F

+15.74

wooden roof

detached wall paint

Wall: plaster+painting Floor: timber Ceiling: timber roof

+16.53

+17.92

+17.02

3B02

space

+17.31

+18.58

detached wall paint

+17.53

+18.87

460

+18.60

+18.46 +18.29 +18.11

+17.65

+17.56

+17.49

+17.80

timber boarding

+17.82

365

+17.89

329.

+19.10

1 55

+17.28

floor crashed

+17.99

194

+18.18

534.5

+18.53 +18.36 +17.93

0 8

+19.10

160.5

146

722

+11.36

It has two facades; one of them is parallel to Büyük Postane Road and it is on the north side; and the other one is parallel to Postane Yanı Street and has the only entrance.

+7.63

+6.30

+5.40

+2.10 +1.77 +1.24

2B04

2BK2

Decorative program can be seen on the facade, the entrance door, the stair and the stair rail. As mentioned in historical background, it has the effects of the Baroque and Art Nouveau styles.

2B06

2B05

491.5

partition wall

515

Wall: plaster+painting Floor: timber Ceiling: suspended ceiling

+16.21

timber floor (10cm)

265

511

329

164

23.5

timber floor (10cm)

3B01

486.5

509 0

493

369

9.5

361

3 68

271

277 254.5

false ceiling

3A01

3A02

6 65

3A03

3 65

3T01

3B02

224

Wall: plaster+painting Floor: timber Ceiling: timber roof

223

275 289

3 85

522

+16.21

475.5

terrazzo (16x16cm)

false ceiling

187.5

timber beam

166.5

502.5 529.5

575 37

+16.21

3.5

538

+16.21

Wall: plaster+painting Floor: terrazzo Ceiling: glass ceiling

573

534

timber beam

28.5

timber floor (10cm)

463

458

72 378.5

handrail

120 69 5 9.

+16.21

299.5

307

+16.21

151.5

gallery space

8.5 58

3B03

Wall: plaster+painting Floor: linoleum Ceiling: timber roof 324.5

362

408

215

490

3B04

3BK2

According to the German Blue Istanbul Maps (1904) and Pervitich Maps (1940), the roof was hipped, has wooden structure covered with tile. Also there are two parts which have iron structure covered with glass.

3B06

450 0

205.5

570

350 359.5

548.5

3B05

485

557.5

506.5

711.5 0

492.5

533.5

497

3BK1

456.5

189.5

+16.21

325

98.5

262

3AK1

330

346

161

194.5

handrail

193.5

168

partition wall

+7.40

+10.71

+10.86

+10.74

+10.76

+10.95

+10.89

+10.78

unableto enter

+8.07

The â&#x20AC;&#x2DC;Lâ&#x20AC;&#x2122; shaped corridor which links the rooms on the B side of the building at the 2nd floor. It is one step above the stairwell with the leftovers of an iron doorframe at the entrance, on the right and the left side. The floor is covered with 16cm x 16cm terrazzos. Walls and the ceiling are plastered and the walls are painted as well.

THE MATERIAL ANALY SIS partition wall

+9.12

3B01 stone

3B02

false ceiling

brick partition wall

timber

+16..21

plaster

false ceiling

paint

+16..21

wallpaper

+16..21

3BK1

linoleum

stone

terrazzo

brick

iron

timber

marble

plaster

tile

paint

plastic

wallpaper

leather

linoleum

brick+metal

glass

aluminum

+16..21

+6.47

3B03

linoleum floor +16..21

+17.28

partition wall +16..21

false ceiling timber beam

+16..21

timber beam

However, some transformations have been added in the scale of detail throughout the years.

+16..21

3BK1

timber beam

+16..21

+6.47

The decorations and ornaments have remained on both of the faĂ§ades and the interior of the building.

3B03

+16..21

+19.10 +18.87 +18.58

+18.53

+17.65

+17.93

+17.82 +15.97

+17.36

+16.90

+17.89 +17.65

+17.28

+17.29

3B01

+16.35

+17.82 +15.97

+17.36

+15.60

+17.02

3B02

+18.53

+18.53 +16.90

+17.89

marble

+17.29 +15.60

+17.02

3B02

+14.75

leather

3B01

+16.35

+14.75

+15.74

brick+metal +15.00

3B02

+18.58

tile

+15.74

3B01

false ceiling

+19.10

iron

plastic

+9.12

+18.87

terrazzo +17.93

The atmospheric pollution effects both facades and they are getting weak slowly, however the facades are in good state.

partition wall

The gallery space on the right side is surrounded by a timber handrail supported with iron pillars. Furthermore, the rooms are opened to the corridor with iron doors which are designed for Allalemdji Han.

glass

The structural system does not have any significant problems.

THE DETERIORATION ANALY S IS

aluminum

+14.94

+15.07 +14.93

+14.99 +14.63

+15.00

+14.63

+14.64

+14.94

+15.07 +14.93

+14.99 +14.63

+14.63

+14.64

+11.27

+13.82

2B02a

+13.44

2B02a

2B01

+13.44

2B01 +8.07

+8.07 +7.40

+7.63

+7.40

+10.78

+7.63

+11.36

+11.36 +6.30

+10.76

+10.74

+10.71

Room 2B02b is a passage volume allows access to gallery space from room 2B02a SECTION throughout room 2B02c. The floor is in good condition and furnished by linoleum. The room shares the painted exterior stone wall with room 2B02a. The painted timber partition walls separates the rooms coded 2B02a, 2B20b and 2B02 partly defines the spaces of room of 2B02b but also leaves some distances for connection of the rooms coded 2B02a and 2B02b.

+10.78

+5.95 +5.40

+6.30

+10.76

+10.74

+5.50

+2.10 +1.77 +1.24

ELEVATION

The elevator no longer exists today. But there are still the elevator doors which have significant design details. The interior walls and ceiling have also been affected from humidity. Because of the humidity, there are paint and plaster detachments on the walls. There are some cracks on the floors and some erosion on the stairs. The iron shutters on the doors and windows are the unique elements of the building.

+10.71

+5.95 +5.40

+5.50

+2.10 +1.77 +1.24

THE RESTITUTION PR OJE CT

terrazzo(16x16cm)

3B01

+9.12

3B02

Wall: plaster+painting Floor: timber Ceiling: suspended ceiling

Wall: plaster+painting Floor: timber Ceiling: timber roof

+16..21

handrail

timber floor (13cm) terrazzo(16x16cm)

3BK1

+16..21

THE RESTORATION P R OJ E CT

The reliable sources are old maps, old photographs and some other sources from the same period. The researches and observations show that the building had been through some changes; however, the faĂ§ade is preserved without changes except additions.

missing windows and sills are installed

handrail

+16..21

gallery space +6.47

3B03

Wall: plaster+painting Floor: linoleum Ceiling: timber roof

timber floor (13cm)

+16..21

missing windows and sills are installed

+16..21

3B01

missing windows and sills are installed

door case andleaves are added

+16..21

According to Goad Maps (1904) and Pervititch Maps (1940), the roof was hipped, has wooden structure covered with tile. And also there are two parts which have iron structure covered with glass.

timber floor (13cm)

missing windows and sills are installed

+9.12

+16..21

Wall: plaster+painting Floor: terrazzo Ceiling: glass ceiling

Considering the historical background and context of memory of Allalemdji Han, it is decided to restore the building as a law office.

+16..21

3BK1

3B02

door case andleaves are added

missing windows and sills are installed +16..21

+6.47

missing windows and sills are installed

gallery space

missing windows and sills are installed

3B03

+16..21

door case and wings are removed

+19.10

+18.87 +18.58

+18.58

+18.53

+16.90

+15.97

+17.28

door case andleaves are added

+15.60

3B01

3B04

3BK2

+16.90

3B02

+18.53

+17.28

Those constructive interventions are designated based on deterioration and actual material analysis and restitution project.

+19.10

+18.87

+18.53

In order to do that, some interventions are required such as cleaning, repairing and reintegration.

+15.60

3B01

3B02

+14.75

+15.74

+14.94

+15.07 +14.93

+15.00 +14.63

+15.00

+14.63

+14.64

+14.94

+14.93

+14.633B06

+14.64

+11.27

+13.82 +13.25

+14.63 +11.27

+13.82

2B01

2B02

3B05

+13.25

+13.44

2B01

2B02 door case andleaves

+13.44

are added

+8.07 +7.40

+8.07 +7.63

+7.40

+5.63

+11.36

+11.36 +6.30

+10.78

+10.76

+10.74

In Allalemdji Han, both sides of the stairwell, which are called A and B parts, are separated with characteristic iron doors. These iron doors are preserved well in some floors but in the corridors of the 2nd onthe B part there is only the iron doorframe left. That is why the doors are added to 2nd and 3rd floor to the restitution drawings.

+10.71

+10.78 +5.40

+5.50

+6.30

+10.76

+10.74

+10.71 +5.40

+1.77 +0.93 +.85

In spite of having separated from the rest of the building by the doors on the entrances of 2BK1 and 3BK1, these hall ways are considered as passages to access to wet areas for the users of the building so as to perpetuate the notion of â&#x20AC;&#x2DC;Hanâ&#x20AC;&#x2122;. It is also can be considered as an attempt to increase the interaction among the users of the building.

+2.10 +1.77 +1.24

ARCHIVECTURE MAPPING AN ARCHITECTURAL ARCHIVE

SPATIAL FILTER

ARCHIVE

This archival discourse provides a window onto current debates and common concerns in many academic fields. It also helps illuminate the ways in which all of us are implicated in transformations in scholarship, publication, and the changing fortunes of libraries and archives. This essay provides both an overview and a sampling of archival discourse across the disciplines Jacques Derrida argues, “[T] here is no political power without control of the archive, if not memory. Effective democratization can always be measured by this essential criterion: the participation in and access to the archive, its constitution, and its interpretation. But as Derrida has also pointed out, “nothing is less clear today than the word ‘archive.’ Many writers investigating the concept begin with a standard dictionary definition: “a place where documents and other materials of public or historical interest are preserved”.

Jacques Derrida argues, “[T]here is no political power without control of the archive, if not memory. Effective democratization can always be measured by this essential criterion: the participation in and access to the archive, its constitution, and its interpretation.

ar Jacques Derrida argues, “[T] here is no political power without control of the archive, if not memory. Effective democratization can always be measured by this essential criterion: the participation in and access to the archive, its constitution, and its interpretation. But rather at the word “archive”-and with the archive of so familiar a word. Arkhe we recall, names at once the commencement and the commandment

WHAT TO MAP? Should it be mapped the network of physical material or the network of information within the material? The relationship between physical material and the information itself constructs a network.

WHY TO MAP? Storing the information within a linear “list” in a fixed arrangement contrasts with the concept of acquiring/synthesizing knowledge. In order to be able to “see” the archive out of its “stacked” character, as an interface visually available, it is needed to deconstruct its material. By this operation it is aimed to set the information as a reactive component. According to the need of learning something specific and seeing it visually, we need filter(s) to reorganize the existing.

MAPPING CONCEPTUAL REFECENCES / METHODOLOGY Grids:

Duygu Tüntaş. METU Faculty of Architecture, Kubbealtı, 2014.

“In the flatness that results from its coordinates, the grid is the means of crowding out the dimensions of the real and replacing them with the lateral spread of a single surface.”* “…whereas grids are not only spatial to start with, they are visual structures that explicitly reject a narrative or sequential reading of any kind. But the notion of myth I am using here depends on a structuralist mode of analysis, by which the sequential features of a story are rearranged to form a spatial organization.”* “Therefore, although the grid is certainly not a story, it is a structure, and one, spiritualism to maintain themselves within the consciousness of modernism, or moreover, that allows a contradiction between the values of science and those of rather it is unconscious, as something repressed.”* As mentioned, grid as a system of non-direction, can be both a geometrical and a conceptual structure. Due to its nature, it denies sequence, order, any start or any end references. Rather than a narration, it declares ubiquitous presence. Given these features, it matches the state of archival milieu and media of its representation. As Foucault states, “archive emerges from fragments”** and it can be represented as such.

Collage:

Pablo Picasso. Glass and Violin, 1912.

“If one of the formal strategies that develops from collage, first into synthetic and then into late cubism, is the insistence of figure/ground reversal and the continual transposition between negative and positive form, this formal resource derives from collage’s command of the structure of signification: no positive sign without the eclipse or negation of its material referent.”* “What collage achieves, then, is a metalanguage of the visual. It can talk about space without employing it; it can figure the figure through the constant superimposition of grounds; it can speak in turn of light and shade through the subterfuge of a written text. This capacity of “speaking about” depends on the ability of each collage element to function as the material signifier for a signified that is its opposite: a presence whose referent is an absent meaning, meaningful only in its absence. As a system, collage inaugurates a play of differences which is both about and sustained by an absent origin: the forced absence of the original plane by the superimposition of another plane, effacing the first in order to represent it. Collage’s very fullness of form is grounded in this forced impoverishment of a ground – a ground that is both supplemented and supplanted.” *

Krauss re-examines the cubist collage by employing the structuralist sign relationship. The meaning of the object is revealed by the partial appearance of the figures of the collage. This definition of the object by its absence provokes the idea of the projection of archival material which has been exiled to archival frames. Having considered such overarching, we intended to visualize the material and space simultaneously in a dynamic collage.

MAPPING CONCEPTUAL REFECENCES / METHODOLOGY Snapshot(s):

Digital Humanities Manifesto 2.0

“The proliferation of the snapshot, of domestic photographic production, clarifies this process. However, we know that in this guise of image production—its crudest, most sentimental form—the making of a photograph is part of a constant construction of aide-mémoires, a gigantic machine of time travel, as much teleological as technological ... The snapshot that documents scenes of life’s many turns—birthdays, holidays, and events of all kinds—perhaps exemplifies the most prominent aspect of the private motivations for image making, for it not only records that burning desire for the archival, it also wields a formidable ethnographic meaning. The photographic image, then, can be likened to an anthropological space in which to observe and study the way members and institutions of a society reflect their relationship to it… Organizing and making sense of them in any kind of standard unity is today impossible. At the same time, we have witnessed the collapse of the wall between amateur and professional, private and public, as everyday users become distributors of archival content across an unregulated field of image sharing. In this prosaic form, the photograph becomes the sovereign analogue of identity, memory, and history, joining past and present, virtual and real, thus giving the photographic document the aura of an anthropological artifact and the authority of a social instrument.”***

We specify photographic image as a trans-component of visualization of archival material. Its presence can be tidal way of communicating static data through vibrant “shots”. Regarding the architectural value of METU Campus and Faculty of Architecture, the knowledge it offers is taken as the initial object of our research. Rather than employing the formal textual data and the architecture itself will be processed to create a ubiquitous visual.

The conceptual references is converted into the methodology of the creation of the mapping. Grid refers back to the information’s both actual and virtual “stack” space [which is needed]. Collage is the filtered information that is formed as a reconstruction which is a different way of seeing out of the boundaries. Snapshot(s) locate in the connection/relation of the material and the information, which is the root of the information which will be converted into knowledge. * Rosalind E. Krauss. The Originality of the Avant-garde and Other Modernist Myths. The MIT Press, 1986. ** Michel Foucault. The Archaeology of Knowledge. New York: Pantheon Books, 1972. *** Okwui Enwezor, ed. Archive Fever: Uses of the Document in Contemporary Art. Steidl/Edition7L, 2008.

MAPPING STEP I: GRID Names Years Documents

Abdullah Kuran

Ahmet Tokuş

Arif Payaslıoğlu

1966 Report METU News Letter

Bahattin Baysal

Bülent Yazıcı

1967 Report Report Report Report Report Report Report Report Report

Doğan Energin

Duran Taraklı

Ekmel Derya

Erdal İnönü

Erdoğan Tekin

Ertuğrul Onat

Esat Turak

Gönül Tankut

Hasan Tan

İbrahim Karal

1968

1970

1973

1974

1975

METU News Letter

Report

Report Report Report

Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report

Report Report Report Report Report Report Report Report Report Report Report Report

METU News Letter METU News Letter METU News Letter

METU News Letter METU News Letter METU News Letter METU News Letter

Announcement

İlhan Tekeli

R R R R R R R R R R R R R R R R R R R R R R R R R R

Announcement

Anno

Announcement

Anno

Grid refers back to the information’s both actual and virtual “stack” space [which is needed].

İhsan Doğramacı İsmet Özdemir

Kemal Kurdaş

Leila Erder

Mustafa İnan

Mümtaz Turhan

Necat Erder

Nejat Eczacıbaşı Orhan Alsaç

Orhan Özgüner

Özer Örüklü

Sadrettin Alpan

Sevgi Aktüre

1976

1977

1978

1979

1980

1981

1982

Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report

Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report Report

Report Report Report Report Report Report Report Report Report

Report Report Report Report Report Report Report Report Report Report

Report

METU News Letter

Report Report Report Report Report Report Report Report Report Report Report Report Report

METU News Letter

ouncement

METU News Letter

METU News Letter Announcement

Announcement

Announcement Announcement Announcement Announcement Announcement

Announcement

METU News Letter METU News Letter METU News Letter METU News Letter

Announcement

METU News Letter METU News Letter METU News Letter METU News Letter METU News Letter METU News Letter METU News Letter METU News Letter METU News Letter METU News Letter METU News Letter METU News Letter

Announcement

Sevin Osmay

Şaban Karataş

Tansı Şenyapılı

Tamer Gök

Teoman Aktüre

Tuğrul Akçura

Turan Güneş

Uğur Ersoy

Yaşar Gürbüz

MAPPING STEP II: COLLAGE

Documents Documents Documents Names Years Documents

Collage is the filtered information that is formed as a reconstruction which is a different way of seeing out of the boundaries.

MAPPING STEP II: COLLAGE

MAPPING STEP III: SNAPSHOTS virtual and actual document

Snapshot(s) locate in the connection/relation of the material and the information, which is the root of the information which will be converted into knowledge.

thickness of relations

s, di ya ur n e d u k r üh unt ulu or çü n y m z z u ü e at o o ur e k ın lur t şa hiç b na b n d n o i n eri . ka ozu ın da a fe ı d z c d y n r a ka iği ü inle na b r, k rso layı r u e i l rd ur an ç b dis en d a fe yo uğ nu n u , n c r r tu eri uğu ge he ed yın a ü m n o ns v old a ı r l d ad a y ın at m ve an n r k nfer rso i a a a y u b e r, y inş ntu ğun nç ir ko ur e u ğ rd y’a ozu ldu ag kb n u o o nd üçü şini y o ı pı ers iç b oy an ne k u ki a y , h s y r ur eri ğ uk uğu y da r er rd i üz uştu l o u ıy liğ n lc idir, rso ğu ap dis a ko o u y a y dis ur e in uk hen und l t k n in cu ü n ol at m so ça ühe , uğ kiş y u n ir ta a e oy at m ver uğu ak a inş dın s ç a ’ er şa ns uşt y u oy r. k o r e s l s r u n in era on ğ er r e din r u dı nf a k u ğu n uğ ir, u ede ka ir ko nd id rm b nu ve so

CITY OF BITS - VALENS AQUEDUCT