ARCHITECTURE PORTFOLIO Selected Works
Uğur ÇALDAŞ M. Sc. Architect
*Cover Photograph: Uğur ÇALDAŞ, Cave Church, 2014, Ihlara Valley, Aksaray, Turkey
Uğur ÇALDAŞ, M. Sc. Architect B. Sc. Mimar Sinan Fine Arts University M. Sc. Istanbul Technical University
(535) 315 46 23 ugurcaldas@gmail.com İcadiye Mah. Hacıbakkal Sokak No:61 D:3 Üsküdar / İstanbul
General 15.06.1985 | Bursa Academic Qualifications Istanbul Technical University, Istanbul | M.Sc. in Architectural Design 02.2008 - 06.2010 (GPA: 3.38/4.00) Mimar Sinan Fine Arts University, Istanbul | B.Sc. Architecture 09.2003 - 02.2008 (GPA: 3.39/4.00)
Uğur ÇALDAŞ Portfolio 2016
Academic Experience Master’s Thesis: “Reading Today’s City Through Contemporary Design Tools” 08.2010 Prof. Dr. Semra Aydınlı as Advisor Awards Niğde Fertek Education Campus Architecture Competition 1st Prize | 2013 (With Kaya Sönmezler, Ebru Sönmezler & Emre Akın) Denizli Municipality Building Architecture Competition Purchase Award | 2009 (With Kaya Sönmezler, Ebru Sönmezler, Burak Tolga) Historical Buildings of Bursa Competition 3rd Prize | 2002 Competition Entries Prosteel Steel Structure Design Students Competition | 2006 Çuhadaroğlu Alu’ 2005 Terminal Buildings Students Competition| 2005 Workshops & Exhibitions Istanbul Pedestrian Exhibitions 2 : Tünel-Karaköy Exhibition Workshop | 2005 Long live Cities : Transformation of Istanbul’s Docklands Workshop| 2006 Language Skills Turkish, native speaker English, proficient German, beginner
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Key Skills Theory, Research, Qualitative Research, Academic Writing, Culture Theory Architectural Design - experience in architectural design from details to master planing Project Coordination - experience in coordination with MEP & Structure designers & construction teams Urban Design - competition awards on urban design projects BIM (Building Information Modeling) Revit Architecture Adobe Photoshop, Illustrator, Indesign Autocad 3d Studio Max Design Research - research capability about contemporary materials & emerging construction technologies
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Professional Experience Project Coordinator, BIM Manager | EKS Mimarlık | Istanbul 02.2011 - Continues Experienced as project coordinator & design manager on architectural & interior design within all phases of a project from schematic design to construction documents & construction observation. Worked on various projects like industrial & logistics buildings, office buildings, municipality buildings, private schools & government schools, housing & hotels. 7 years experience in BIM (Building Information Modeling) & Revit Architecture 2 awards on National Architecture Design Competitions www.eksmimarlik.com Architect, Designer | EKS Mimarlık | Istanbul 11.2006 - 08.2010 Experienced as designer & architect on architectural & interior design within all phases of a project from schematic design to construction documents & construction observation Trainee | Nevzat Sayın Mimarlık Hizmetleri | Istanbul 08.2005 - 09.2005 Umur Paper & Stationary Products Facility Construction http://www.nsmh.com/proje_detay.asp?lang=tr&ID=5 Trainee | Ferzan Mimarlık Mühendislik Danışmanlık | Bursa 06.2004 - 09.2004 Municipality Building Construction Documents & Project Visualization
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Contents Professional Experience 10 Sütaş Head Offices 12 Hilton Garden Inn Bursa Hotel 18 TED Diyarbakır Schools 22 Mimar Sinan Fine Arts University Beşiktaş Campus 24 Turkuaz Housing 28 Office 4200 30 Sütaş Bursa District Office 32 Sütaş Karacabey Plant Offices 34 Apartment Project in Bursa 36 Apartment Project in Istanbul 38 Sütaş Karacabey Dairy Plant Operation Field Redesign 40 Prefabricated House 42 Vacation House In Black Sea Countryside 44 Sütaş Aksaray Plant Master Plan & Offices Uğur ÇALDAŞ Portfolio 2016
Academic Experience 48 50 56 60 62 64 68 70 74 76 78 80
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Reading Today’s City Through Contemporary Design Tools Karaköy Square: The Void As a Generative Space Search For Essence In Haydarpaşa Train Station Building Karaköy Beyond Borders Our Right, Effort & Means to Change Cities Ministry of Education High School Campus Competition Denizli Municipality Building Competition Silk Museum in a Former Silk Factory Classical Turkish Music Conservatoire Sports Facilities Complex in Istanbul Sailing Academy Ferry Terminal
*Photograph: Uğur ÇALDAŞ, Auditorium Barcelona, 2013, Barcelona Spain
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*Photograph: Uğur ÇALDAŞ, San Gimignano, 2015, Toscana, Italy
Professional Experience
2016
SÜTAŞ Head Offices Completed in collaboration with EKS Mimarlık
Architectural design, interior design,
Location: Dudullu OSB Bursa
Project Date : 2016
Project Area : 52.000 m2
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2016
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2015
Hilton Garden Inn Bursa Hotel Completed in collaboration with EKS Mimarlık
Architectural design, interior design, design development & construction documents Location: Nilüfer, Bursa Project Date : 2012
Hilton Garden Inn Bursa Hotel is located on main a beltways junction and very close to industrial sites in Bursa. Project location is also close to the ferry pier in Mudanya, thus it is 2 hours away from Istanbul. Project area is in 20 minutes distance from the city center of Bursa by car. Bursa Organized Industrial Site, Nilüfer Organized Industrial Site and Demirtaş Organized Industrial Site are in
Project Area : 20.256 m2
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Site Plan
2015
15 minutes driving distance to the project area. Therefore, Hilton Garden Inn Bursa is a suitable accommodation place by being 2 hours distance to Istanbul city center and being close to main industrial sites in Bursa for business people. Entrance facade faces the city centre and main scenery of the city, Uludağ mountain. Hotel is part of a housing project designed in the rest of the proje ct area. Adjacent to the housing blocks, hotel block is designed to be part of the whole project. Design of the facade is intended to be similiar to housing blocks in materiality but different in composition and for being in an important location it is anticipated to be a landmark in its location. This 172-room structure contains facilities such as ballroom for 450 people, 4 meeting rooms, fitness, restaurant and bar for 100 people. Guestrooms have a panoroma of Uludağ and historical Bursa city. Hilton Garden Inn Bursa aims to be the premier destination for business and touristic travellers to the city by creating an elegant and modern design.
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Ground Floor Plan
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Mezzanine Floor Plan
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Meeting Floor Plan
2015
Guestrooms Floor Plan
Building Section
Uğur ÇALDAŞ Portfolio 2016 Mal Sahibi Client
Güle Proje Ad Project Name
Hilton Ga
Mimari Proje Architectural Pro
M
E.K.[S Valide Ylmaz 34357 T: +90 F: +90 @: bilg
Statik Proje Structural Projec
S
Sal
Karam NİLÜF T: +90 F: +90 @:pro
Mekanik Proje Mechanical Proje
ME
EL
Proje E Barbar Beşikt T: +90 F: +90 @: elm
Elektrik Proje Electrical Project
E
Mühen Büyük No:47 Maslak T: +90 F: +90 @: info
Revizyon Tarih/N
Revision Date/Nu
No.
4
Kesit Perspektif
2
A
Dş Perspektif
5
64
01
65
Anahtar Plan Key Plan
Açklama Description
Ö Pafta Ad Sheet Name
Cephe S
Bina / Blok Ad
Building Block N Tarih Date Çizen Drawn by Kontrol Eden Checked by Pafta No. Sheet
Cephe Kesiti Facade Studies 5 1 : 20
3
İç Perspektif
1
Plan 1 : 50
15
01 Ölçek Scale
Suite Room Interior Design
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2015
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2014
TED Diyarbakır Schools Completed in collaboration with EKS Mimarlık
Architectural design, interior design, design development & construction documents Location : Kayapınar, Diyarbakır Project Date : 2014 Project Area : 17.958m2
TED Diyarbakir Schools is located in a recently developing modern district of Diyarbakir. School campus has an inclusive environment of education. For its architecture and facilities building itself is a leader among the private schools in the region. TED (Turkish Education Foundation) is a rooted institution in Turkish history of private education and Diyarbakir Schools has a strong connection with this background. Campus includes a kindergarten as a detached building, primary school, secondary school and high school. Education spaces ar connected to eachother with a covered alley. Alley conne-
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Site Plan
2014
Ground Floor Plan
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Section
cts the education spaces to common spaces like sports hall, auditorium indoor swimming pool, library, dining hall and performance arts space. Alley is lit with indirect sunlight on the roof and serves as a foyer for auditorium and sports hall. The alley creates visual interaction between education circulations and sports hall. Main building branches to seperate education units. Every school has its own courtyard, playground. Courtyards are seperated by the building itself. Sports courts are positioned in a distracted place on the south in order to suspend noise from the education spaces.
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Kindergarten Ground Floor Plan
Kindergarten Section
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2014
Interior Color Studies
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Facade Details 21
2014
Mimar Sinan Fine Arts University
Beşiktaş Campus
Completed in collaboration with EKS Mimarlık
Mimar Sinan Fine Arts University Beşiktaş Campus is a renewal project of former faculty building in Beşiktaş. Space occupied by the former building is being rebuild to accommodate the Literature and Sciences Faculty of the University and a painting restoration instituiton. Plot is long and narrow in shape, facing Bosphorus on one narrow side and the main street of Beşiktaş on the other narrow side. Two adjecent buildings on the wide sides block the building. Above 3rd floor building has a view of Bosphorus and Historic Peninsula of Istanbul on one side. Education spaces are located on the two
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Ground Floor Plan
2014 UÄ&#x;ur ÇALDAĹž Portfolio 2016
opening sides and circulation is on the less luminous spaces, center of the building. Facade of the building is designed to restrain the direct horizontal sunlight on the west. The building is intended to be percieved as a monolithic mass in its fragmented urban environment. In order to create a monolithic look and restrain the direct sunlight, building facade is covered with a metal mesh skin and divided on slices to strenghten its horizontality.
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2013
Turkuaz Housing Completed in collaboration with EKS Mimarlık
Architectural design, design development & construction documents Location : Nilüfer, Bursa Project Date : 2011 Project Area : 55.860 m2
Turkuaz Housing Project is located in a new developing wealthy district of Bursa. Project area is on a junction of two main beltways that connect İzmir and Istanbul - two important cities of Turkey. Housing Project is the 4th and the biggest phase of a previous housing project in adjecent parcels. Project shares a 25.000m2 building plot with a 172 room hotel, a gym club, and a private office. Residences are placed in 3 blocks each 13 storey high, all facing an essential scenary of Uludağ Mountain and the historic city center of Bursa on its skirts. Two of the identical blocks include 4-rooms and 3-rooms
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Site Plan
2013 Uğur ÇALDAŞ Portfolio 2016
luxury apartments. One block includes 3-rooms and 2-rooms apartments. Most of the apartments are positioned to see Uludağ Mountain from their spacy designed balconies. Each block has special duplex apartments on its last floors. An underground garage supplies the space for cars and has a green roof on it that provides an open leisure space that include two open air swimming pools and social spaces. Project is adapted to slope of the plot
Site Section
and graded. Gym club is on the front and by means of the slope it is underground on the apartments side but open to the driveway on the front. The building envelop is designed to have distinguishing and elegant texture. By being in main roads junction buildings are percieved evidently. Therefore they are in a landmark position. Turkuaz Housing Project will be distinct project among its neighbourhood and city of Bursa.
Floor Plans 25
Section
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Floor Plans
2013 Uğur ÇALDAŞ Portfolio 2016
Office Ground Floor Plan
Office Basement Floor Plan
Section
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2012
Office 4200 Completed in collaboration with EKS Mimarlık
Architectural design, conceptual design, design development & construction documents Location: Nilüfer, Bursa Project Date: 2010 Construction Date : 2012 Project Area : 10.323 m2
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Office 4200 is new type of work place for the city of Bursa which has a long established trading history. Office building is adjacent to the biggest industrial site in the region and located on a busy street that connects suburbs to the city center of Bursa. Office building serves a solution for the necessity of well equipped private offices in the district. The 4-storey building block includes seperated private offices on the upper floors, shops on the gorund floor facing the passing-by roads and a garage in the basement. Offices on the main street side are directed to the street. A big portal seperates the bu-
Typical Floor Plan
Year 1 Uğur ÇALDAŞ Portfolio 2016
n
ilding on its wide side and becomes an 3 storey high essential spacy entrance foyer. Dashing boxes on the facade are intended to express the division of the private office spaces inside. The name 4200 comes from the parcel number on the municipality’s plans. It is used to be an indicator code for the location and context.
Section
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2012
Sütaş Bursa District Office Completed in collaboration with EKS Mimarlık
Architectural design, design development & construction documents Location: Bursa, Turkey Project Date : 2012 Construction Date : 2012
Sütaş Bursa District Offices accommodates the region offices and distribution center for the sector leader dairy firm Sütaş in Turkey. For its assignment for distribution building is located on the periphery of the city and close to main roads. Most of the land is reserved for the distributing lorries for parking and docking. Building faces the driveway and covers the operation field. Building entrance is on the road side facade. Rear side is reserved for loading ramp. Ground floor is designated for cold-rooms stores, loading platform and common spaces like dining and restrooms. Upper floor accom-
E.K.[S] Mimarlk İnşaat Taahhüt ve Dş Tic. Ltd. Şti.
www.eksmimarlik.com
Project Area: 2.500 m2 1
R 2
3
4
B
5
6
7
8
9
5600 700
-1.00
700
700
700
-1.00
-1.00
5 x 28 / 17 cm
448
600
10
155 Elektrik Rögarı
B
60
155 60
170
160
290.1
K1
343 1174
13.5
336.5
+0.00
60
640
60
77.5 13.5
215.5
60
C
60
20 40
40 20
150
A
20
132
K3
18.5 95
Z-10 Yemekhane 34 K. 53.73 m² 60x60 Seramik
Z-07 Bay WC 589 28.26 m² 162 Seramik Kaplama
675
277
18.5
-0.65
461.5
90
200
640
95 95 10 13.5
210
Z-09 210 Bayan WC 70 3.15 m² Seramik Kaplama 210 Z-08 90 243.5 Soyunma Odas 11.63 m² Seramik Kaplama 90
744 930.5
13.5
13.5
186.5
125
K1
95
K1
210
27
145
740.5
515
40 20
1507.5
Lavabo tesisat çekilecektir
Lavabo tesisat çekilecektir
640
680
800
735
735
835
735
60
158.5
176.5
215
Z-11 Rezerv Müdür Odas 15.82 m² 330 PVC
20 40
260
51.58.5 180
200
K8
90
295
650
60
60
105
220
10
Yağmursuyu iniş borusu 40 20 Ø100
210
285
90
210
Z-15 Giriş Holü 75.6 m² Granit Kaplama 220
400
Z-16 Koridor 29.85 m² Granit Kaplama
210 13.5
270
270
+0.00
35
20
415
K1
13.5
60
60
1008 310
190
1140
K5
210 180
30 10 95
K1
675
350
310
20 4010
27
K19
25 x 28 / 17.4 cm
20
No.
355 315
Açklama
11
D
Yağmursuyu iniş borusu Ø125 Pis su Rögar
Yağmursuyu iniş borusu Ø125 mutfak rögar
4 x 28 / 16.25 cm
-0.65
700
690 700
710 700
5650
700
1075 700
870
196
700
Sütaş Süt Ürünleri A.Ş.
700
Ground Floor Plan SÜTAŞ BURSA BÖLGE
B Mekan No Z-01 Z-02 Z-03 Z-04 Z-05 Z-06 Z-07 Z-08 Z-09 Z-10 Z-11 Z-12 Z-13 Z-14 Z-15 Z-16 Z-17 Z-18 Zemin Kat
Mekan Adı Depozito 102 Palet S. H. Deposu 112 P. Saha İGP D. 44 P. Ambar Y.M. Odas S.H Deposu 56 P. UHT Deposu 44 pl. Bay WC Soyunma Odas Bayan WC Yemekhane 34 K. Rezerv Müdür Odas Görüşme Odas Arşiv Revir Giriş Holü Koridor Geçiş Holü Yükleme Rampas
Zemin Kat Mahal Listesi Alan Zemin Kaplaması 113.84 m² 201.77 m² 55.37 m² 30.76 m² 58.15 m² 92.4 m² 28.26 m² 11.63 m² 3.15 m² 53.73 m² 15.82 m² 14.67 m² 17.12 m² 8.25 m² 75.6 m² 29.85 m² 7.97 m² 345.95 m² 1164.29 m²
Beton Yüzey S. Beton Yüzey S. Beton Yüzey S. PVC Beton Yüzey S. Beton Yüzey S. Seramik Kaplama Seramik Kaplama Seramik Kaplama 60x60 Seramik PVC PVC PVC Seramik Kaplama Granit Kaplama Granit Kaplama Granit Kaplama Beton Yüzey S.
MÜDÜRLÜĞÜ
Duvar Kaplaması Sva + boya Soğuk Oda Paneli Sva + boya Sva + boya Soğuk Oda Paneli Sva + boya Seramik Kaplama Sva + boya Seramik Kaplama Sva + boya Sva + boya Sva + boya Sva + boya Sva + boya Sva + boya Sva + boya Sva + boya Sva + boya
Tavan Kaplaması Sva+boya Sva+boya Sva+boya Asma Tavan Sva+boya Sva+boya Asma Tavan Asma Tavan Asma Tavan Asma Tavan Asma Tavan Asma Tavan Asma Tavan Asma Tavan Asma Tavan Asma Tavan Asma Tavan Sva+boya
Zemin Kat Plan Bina / Blok Ad Building Block Name Tarih Çizen
Uğur ÇALDAŞ
Drawn by Kontrol Eden
Kaya SÖNMEZLER
Checked by Pafta No.
01 Ölçek Scale
Bölge Müdürlüğü Binas 12.03.2013
Date
Sheet No.
M
Mimari Proje
1 : 100
15.03.2013 10:50:00
1935 700
30
Tarih
40 20 20 40
8 10 50
26
650
35
269.5
632
92.5
455 354
360
60
650
1020
7.5
1314 622
25
2
190
K5
20 40
60 10 8
24
5
160
630
21 23
4
35
Z-17 Geçiş Holü 7.97 m² Granit 260 Kaplama
20 22
8
20 40
242.5
Z-12 Görüşme Odas 14.67 m² PVC
Z-13 Arşiv 17.12 m² PVC
19
1
alçpan duvar
675
alçpan duvar
10
370
60
Yağmursuyu iniş borusu Ø125
Z-03 Saha İGP D. 44 P. 55.37 m² Beton Yüzey S.
20 40
18
Z-06 UHT Deposu 44 pl. 92.4 m² Beton Yüzey S.
461.5
17
501.5
16
826.5
50
15
3
alçpan duvar
735
675
675
675
Z-14 Revir 8.25 m² Seramik Kaplama
235
K18
210
14
60
622 8 10 52.5
8 60 60
632
170
çat çkş merdiveni
210
13
27 x 28 / 16.11 cm
6
8 20 30 10
alçpan duvar
60
1544
622
A
235
255
107
97 12
8
730
60
630 60
60
20 40
1322 60 10 8
315
K7
60
175 383
11
100
550
10 9
20
50
7
740
165
492
392 Elektrik panosu 489
60
Z-04 Ambar Y.M. Odas 30.76 m² PVC
20
717
Z-05 S.H Deposu 56 P. 58.15 m² Beton Yüzey S.
735
735
Z-02 S. H. Deposu 112 P. 201.77 m² Beton Yüzey S.
831.5
735
735
Z-01 Depozito 102 Palet 113.84 m² Beton Yüzey S.
700
100
220
210
44
13.5
682
62
160
260
60
20
44
Yağmursuyu iniş borusu Ø100
8
160
60
260
160
260
60
210
60 800
735 2190
25 x 28 / 17.4 cm
60
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100
493
493
235
K7
62
160
95
235
95
60
175
295
K7
180
160
283
185
10
60
107
175
K7
97
160
60
295
62 8
60 100
155
155
630
A
+0.00
5615.8 60
K19
Yağmursuyu iniş borusu Ø125
750
217.5
+0.00
20 +0.00
Z-18 Yükleme Rampas 345.95 m² Beton Yüzey S.
600
600
600
493
190 590
445
445
510
6 x 28 / 16.67 cm
Ölçüler rampa aks için verilmiştir. Hidrolik rampa detay için imalatç firmann detaylar ve boyutlar geçerlidir.
445
Ölçüler rampa aks için verilmiştir. Hidrolik rampa detay için imalatç firmann detaylar ve boyutlar geçerlidir.
Ölçüler rampa aks için verilmiştir. Hidrolik rampa detay için imalatç firmann detaylar ve boyutlar geçerlidir.
600
700
2193
700
750
700
60
700
2012 Uğur ÇALDAŞ Portfolio 2016
modates district offices. Entrance of the plot is designed with a long white canopy that covers security office and drivers’ lounge. Entrance canopy an the building facade is designed to have similar look in order to create an corporate identity.
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2011
Sütaş Karacabey Plant Offices Completed in collaboration with EKS Mimarlık
Architectural design & design development Location : Karacabey, Bursa Project Date : 2011 Project Area : 2500 m2
Plant Offices is designed to accommodate the exisiting offices of the plant which are in a adjacent building to the production facilities. An expansion in management crew made it necessary to build new offices. A new office building is placed in front of the plant building facing the passing by motorway. The office building is considered to create a corporate identity for the plant and its brand. Offices are desired to be seperated from the plant in order to constitute hygiene in the production areas so visitors were kept outside the plant and welcomed by the office building. Plant office accomodates management offices, education and meeting spaces. Education and meeting spaces are in the ground floor and the management spaces are in the second floor. Facade of the building is designed in various alternatives to establish a corporate identity.
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Ground Floor Plan 32
Upper Floor Plan
2011
Facade Studies
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2011
Apartment Project in Bursa
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Typical Floor Plan
2011
Section
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2011
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Apartment Project in Istanbul
2011
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Section
Typical Floor Plan
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2010
Sütaş Karacabey Dairy Plant
Operation Field Redesign Completed in collaboration with EKS Mimarlık
Masterplan, architectural design, design development & construction documents Location : Karacabey, Bursa Project Date: 2009 Construction Date : 2010 Uğur ÇALDAŞ Portfolio 2016
Open Area: 160.000 m2
Site Plan
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Sütaş is the biggest firm in dairy industry in Turkey. Karacabey plant is the first plant of the firm and it has ben built step by step through time without a masterplan. The plant expanded by purchasing land pieces around the plant. Main aim of the project is to reorganize the logistics operation field in order to gain a neat image for the plant. Main
2009
gas refill and weighing. There are to main parking areas in the operation field. One is for the trailers the others for the visitors and staff parking. Staff parking is paralel to the passing by road and designed to be adjecent to a detached office building of the plant. A plant for seed producing and its office is built after on adapting the criterium of the masterplan. The plant is percieved as a whole representing the logistics and production of all dairy stuff.
UÄ&#x;ur ÇALDAĹž Portfolio 2016
dairy plant is diagonal to the passing by motorway and the client wanted it to look more organized to make it parallel to the road. The operation field between the plant and the motorway is designed to be paralel to the motorway so a passer-by would see an organized plant. A wide canopy is designed to be the main gate of the plant. Trailers and other vehicles pass through this gate by the reception office. Entering and exiting trailers go through a tunnel which is designed for disinfection of the vehicles,
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2009
Prefabricated House Prefabricated Single Family House for a Pre-Fab Construction Firm
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Ground Floor Plan
Upper Floor Plan
2009
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Elevation Elevation
Section
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2009
Vacation House In Black Sea Countryside Vacation House for a Large Family in Rural Black Sea Region
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Site Plan
2009
Ground Floor Plan
Elevation
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Upper Floor Plan
Section
Section
Elevation
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2008 Masterplan, architectural design, interior design, design development & construction documents Location: Aksaray, Turkey Project Date : 2008 Construction Date : 2008 Open Area: 74.691 m2 Enclosed Area: 12.732 m2
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Sütaş Aksaray Plant Master Plan & Offices Completed in collaboration with EKS Mimarlık Sütaş Aksaray Plant is the 2nd plant of a sector leader dairy firm in an extensive milk production basin in the heart of Anatolia. The plant is designed in collaboration with the engineering team of production. Filed operations
Year 1 UÄ&#x;ur ÇALDAĹž Portfolio 2016
Plant elevation
are seperated. Incoming milk is collected on the front road. Office building is adacent to the plant and designed and the milk products are distrubuted on the backyard with a plaza in front of it. Staff and visitors parking area is where is wide enough to make it possible for the trailers adjacent to the plaza. manoeuvre and park. A wide canopy is esembled with a totem to consitute a gate for the entrance of the vehicles. Offices and staff entrance of the factory is on the front
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*Photograph: Uğur ÇALDAŞ, Antony Gormley’s Human Exhibition, 2015, Florence, Italy
Year 1
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Academic Experience
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2010
Reading Today’s City Through Contemporary Design Tools *Master’s Thesis Advisor : Prof. Dr. Semra AYDINLI
Master’s Thesis is written in Turkish. Summary and table of contents are in English here. Full text of the thesis in Turkish is deliverable upon request.
Uğur ÇALDAŞ Portfolio 2016
Hamam (Bath) Scenes from “Nefes” Pina Bausch’s Choreography
SUMMARY Contemporary urban environment imposes us to work with several viewpoints. In this thesis statement, in order to understand the sophisticated structure of the contemporary city; It is recommended to use design tools that are capable of having various sounds, voices and viewpoints. The way to understand contemporary city is experiencing and reading it. In the first chapter of the thesis statement, I tried to define a new aspect in order to read today’s city. This aspect is a multi directional aspect; viewpoint keeps moving in order to make this aspect effective and interchangeable so as to interpret the reality in the city by all means. A concept which clears the split between subject and object is the point of issue. Therefore concept of bodily experience and perception with the whole senses has been discussed. In order to understand today’s urban environment; the life of dweller in the city, and his involvement in it, and his will to make the city his own stated as a problematic. In this argument design tools are recommended as a response to the problem of ones involvement in the city, how he designs the city and makes it his own city. The ones who want to make the city their own, and the ones interested in the city, sensible to the city designs projections on the conceptual layer of the it.
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In order to experience and read the city I have made some practice through contemporary design tools in the context of the aspect proposed in the thesis statement. In the first practice cinematography is used to re-experience the city. The space of Haydarpaşa Train Station building is read through the Turkish films. The films which used the stations space as scenes are investigated in order to light the way for the probable future state of the station. The films ‘Gelin’, ‘Gurbet Kuşları’, ‘Hiçbiryerde’ ve ‘Çarpışma’ are used to read the city.
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Another design tool used to read the city is choreography. I tried to interpret Istanbul through ‘Nefes’, Pina Bausch’s choreography which is dedicated to İstanbul. I tried to read the city and the bodies in relation with the city by the use of this show. The last design tool used in order to understand the city is Serge Spitzer’s installation in Mayor Synagogue which accommodates a number of different functions and spaces. Serge Spitzer helps us to produce important questions in order to understand the today’s city’s space. It renders a abstract mapping of the city which converts the city into a web of relations which is non-hierarchical structure. As a consequence, in the context of this thesis statement; the production of design tools, use of them, and experiencing them in order to experience and read the city converts today’s city to a participation, agreement platform. These tools becomes important tools in investigation of the hidden and discovery of the unknown knowledge in today’s complex city. TABLE OF CONTENTS
Serge Stipzer’s Molecular Installation
1 11 13 17 28 33 35 39 45
Uğur ÇALDAŞ Portfolio 2016
Preface Table Of Contents List of images Turkish Summary English Summary 1. INTRODUCTION 2. READING TODAY’S CITY 2.1 A New Perspective for Reading Today’s City 2.2 Subject - Object Displacement 2.3 Exploration of Senses for Multi Point View: Bodily Experience 3. COMPREHENDING TODAY’S URBAN ENVIRONMENT 3.1 Designer Designed Cycle: Who Is Designing Today’s City 3.2 Rights to the Place and Local: Whose City Is It? 4. CONTEMPORARY DESIGN TOOLS FOR READING TODAY’S CITY 4.1 Cinmetography : Reading Haydarpaşa Train Station Through Turkish Cinema 4.1.1 Gelin (Bride), 1973, Director: Lütfi Ömer Akad 4.1.2 Gurbet Kuşları (Birds Abroad) , 1964, Director: Halit Refiğ 4.1.3 Hiçbiryerde (In Nowhereland), 2001, Director: Tayfun Pirselimoğlu 4.1.4 Çarpışma (The Crash) , 2005, Director: Umut Aral 4.1.5 Regarding Haydarpaşa Through Films 4.2 Choreography: ‘Nefes’ (Breath) Pina Bausch’s Istanbul 4.3 Sergé Spitzer’s Molecular(Istanbul) Installation 5. CONCLUSION Literature Cited Appendixes
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A scene from “Nefes” Pina Bausch’s Choreography
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2009
Karaköy Square: The Void As a Generative Space Deleuzean approach of looking at contemporary public space *This essay written in the scope of “Culture & Urban Space” course Lecturer: Prof. Dr. Gülden ERKUT
Uğur ÇALDAŞ Portfolio 2016
Abstract Through development and change in the industrial and post-industrial society cities and components of urban form evolve their identity, function and meaning. I will try to decipher reproductive and generative ability of emptied public spaces through Deleuzean concepts. Karaköy square becoming void through social events now is a pregnant form for new eventualities.
Karaköy Square
1. Introduction Cities and urban forms of living had a rapid change after industrial and post-industrial revolution through modernism till today. There have been social, economical and political revolutions and evolutions in the contemporary society. Through the last century percentages living in the cities raised and urban form enlarged. The enlargement and population growth in today’s metropol bring out a social revolution and modernization of life styles. Rational planning ideas and rebuilding of the cities bring out non-identified homogeneous, de-singularizing places. Cities had become alienating places for the people living inside. Indeed Deleuze resists this way of thinking. His way of thought is about creativeness. Deleuze thinks that problemetizing force of nature forces us to design. As a 20th century philosopher Deleuze rejects only the phenomenological or the structuralist way of looking at things. He thinks of interchangeable concepts to get in touch with the problems. With his conceptual understanding of the event he rejects the pessimistic ideas about -as said- homogeneous space. He thinks that contemporary space is a condition for the emergence of uniqueness and singularities, identities and heterogeneous social life. Karaköy, urban void as thought is exampling a deterritorializing public space of transitivity It is a distribution land of city where there is not any relations could be established. On the contrary there are the possibilities of relations could be set up. What If we try to examine the space through Deleuzean concepts like rhizomatic relationships, nomads and migration? 2. Gilles Deleuze and Philosophy
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Deleuze was born in Paris in 1925 and suicide in 1995. He is a post structuralist 20th century philosopher. He served as a professor of philosophy in Sorborne University in Paris. He had an enormous scope of interest but he always considered himself as philosopher. Deleuze took nothing for granted and insisted that the power of life – all life and not just human life- was its power to develop problems. Life poses problems to thinking beings, but to all life. The questions of philosophy, art and science are extensions the questioning power of life, a power that is also expressed in smaller organisms and their tenden-
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cy to evolve, mutate and become. (Colebrook, 2002) His philosophy of becoming is a post-structuralist approach. Post structuralists as Martin Heidegger and Edmund Husserl examine life and emergence of knowledge through phenomena. They reject the systems of knowledge. Structuralism associated by Ferdinand de Saussure tries to examine the social systems and languages with scientific and methodological approach. Structuralist approach rejects that knowledge is human centered and seeks it in the structure. Both approaches try to have a granted foundation. In phenomenology knowledge resides in experience, in structuralism knowledge is only inside the structure, it is inbetween the signs, language and meaning. Structuralists only think that nothing can have meaning individually, they think that meaning is only between things. Post-structuralism responded to impossibility of founding knowledge either on pure experience (phenomenology) or systematic structures (structuralism). In Deleuze’s case, like many other post-structuralists, this recognized impossibility of organizing life into closed structures was not a failure or loss but a cause for celebration and liberation. The fact that we cannot find a secure foundation for knowledge means that we are given the opportunity to invent, create and experiment. Deleuze asks us to grasp this opportunity, to accept the challenge to transform life. (Colebrook, 2002)
Instead of studying life in closed systems, as the structuralists had one, post-structuralists looked at the opening, excess or instability of systems: the way languages, organisms, cultures and political systems necessarily mutate or become. Indeed, for Deleuze the challenge of thought and writing is the diversity of becoming, so that the becoming of a language, for example, can be infected by other modes of becoming such as the becoming of organisms or social systems. (Colebrook, 2002)
Uğur ÇALDAŞ Portfolio 2016
Post structuralists, in general, reject the idea that we could examine a static structure of differences that might give us some point of foundation for knowing the world. Post-structuralism sought to explain the emergence, becoming or genesis of structures: how systems such as language both come into being and how they mutate through time.(Colebrook, 2002) That is the reason why Deleuze and the other post structuralists all thought about conceptualizing the Becoming and Difference. Deleuze thinks of dynamism and instability of the knowledge rather than offering us still systems. Every concept is defined in its own terms in Deleuzean philosophy. These concepts cannot emerge individually so every Deleuzean concept is a challenge of knowledge. His works try to understand about life.
Deleuze’s works intention to understand the chaos of life. Because of that, Deleuze thinks that the aim of writing should not be representation but invention. (Colebrook, 2002) Organisms live only by responding to other changing systems, such as the environment and other organisms. Similarly, acts of thought, such as philosophy and literature, are also active responses to life. (Colebrook, 2002) According to Deleuze, however, there is nothing privileged about philosophy in relation to other activities, each of which is perfectly capable of thinking for itself. There is nothing essential or fundamental about philosophy. It is the ground of truth, the pinnacle of reason or the font of knowledge. Deleuze tries to insist on any disciplines. We cannot place Deleuze’s thinking in any discipline’s context. We would have to see Deleuze’s work as an active response to a host of problems from diverse areas, not just problems within philosophy. These include: the problem of capitalism and how we can think revolution; the problem of man and how we can think evolution; the problem of thought and how we can think creation. Deleuze creates concepts. His concepts can not be considered as labels or names attached to things the concepts orient and direct us about thinking. His concepts are organically reshaped through gathering of knowledge. Deleuze refuses to see the everyday or common form of something as the essence of something. Our day to day concepts do not capture what a concept is because they do not allow the full force of what a concept can do. Indeed, for Deleuze, if we want to understand what thinking is we should not gather examples from everyday and draw conclusions; we should look at thinking in its most extreme forms(such as art, philosophy, stupidity, madness or ill will.) ( Colebrook, 2002) 51
Rhizome Concept Rhizome is a philosophical concept developed in “Capitalism and Schizophrenia” by Deleuze and Felix Guattari (psychoanalyst). Rhizome concept is based on botanical rhizome. Deleuze and Guattari used the term rhizome to describe theory and research that allows multiple and non-hierarchical entering and exiting in interpretation. They compare rhizome to a map with an infinite number of entrances. Deleuze’s work is about a non-linear reading of philosophical approaches. You can enter the history of philosophy from any part you want without knowing the past or the future. Rhizome is a botanical term for a plant. The rhizome is a plant like organism which has a body and root as a same organ. It establishes connections with the other rhizomes from any place.
Rhizomatic Diagrams
Unlike a tree it can link any give point to any other point. Dissimilar elements can also be linked together also together in this manner. Rhizome cannot be reduced to a number of discrete components, as it does not consist of units but of dimensions, or, more accurately, of dimensions in motion. There is no beginning and no end but there is always a specific environment in which the rhizome thrives. (Graafland,1999) As conceptualized, rhizome is a form of possible connections that could be established. These connection can be broken and re-established rapidly. Rhizome does not have a systematic establishing rationality. It does not constitute a structure. So instead of being a model rhizome is a line of flight which transforms philosophy to a map of knowledge and give way to encounters.
Uğur ÇALDAŞ Portfolio 2016
Rhizome doesn’t consist of root, body or branches. There is no hierarchy between the units. The units does not have to be from the same kind. There is not a particular order, it is a structure that you can have connection from any point you want. Concept of Cinema Deleuze conceptualizes time and movement as a constraint of becoming in his books Cinema 1: movement image and Cinema 2: time image. Deleuze sees cinema mode of production for knowledge and imagining instead of just a way of presenting stories and information. He uses cinema to theorize time, movement and life as a whole. He thinks that we can think by a perception detached from human eye. Cinema offers us a data reception without locating in the subject. Deleuze approaches cinema by way of two broad concepts: the movement-image of early cinema and the time-image of modern cinema. this then allows a reconsideration of time and movement, and so we are once again in the domain of the problem of life as a whole. Deleuze traces the power of cinema in the transition from the movement-image to time-image. The movement-image is the first shock of cinema, where the play of camera angles moving across a visual field gives us the direct expression of movement and there by opens thought up to the very mobility of life. In the time-image we are no longer presented with time indirectly – where time is what connects one movement to another – for in the time image we are presented with time itself. (Colebrook, 2002) In order to understand what is cinematic about cinema we need to ask how cinema works. Ittakes a number of images and connects them to form a sequence, and it cuts and connects sequences using the inhuman eye of the camera, which can therefore create a number of competing viewpoints or angles. What makes cinema cinematic is this liberation of the sequencing of images from any single observer, so the affect of cinema is the presentation of ‘any point whatever’. Our everyday seeing of the world is always a seeing from our interested and embodied perspective. (Colebrook, 2002) Movement-Image Time is the power of life to move and become. Time produces movements. We no longer see life as some unified whole that goes through time; we se divergent becomings, movements or temporalities from which the whole would be derived. Instead of seeing each step of my walk as linked up through time I could see a flowing movement – my continuous passage from one point to another- which I then cut up to distinct steps. I would see the walk not as a collection of steps, but a process of change. (Colebrook, 2002)
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The movement image is a form of spatialized cinema: time determined and measured by movement. In the time – image which finds its archetype in the European modernist or art film, characters find them selves situations where they are unable to act and react in a direct immediate way, leading to what Deleuze calls break down in sensory-motor system. The image cut off from sensory motor links becomes “pure optical and aural image”, and one that “comes into relation with a virtual image, a mental or mirror image” (Gilles Deleuze, 1990) The movement image of cinema takes us back from this homogeneous and ordered world of one single point of view to differing durations. Through the use of camera we see time no longer as the line in which movement takes place but as divergent pulsation or difference of incommensurable durations. Time-Image Because of these we can think about a world containing flow of time rather than just containing time. This flow constitutes different durations. Time is a whole connected to these durations. Deleuze tries to remove the dependence of movement in his concept of time-image.
Karaköy in 60s
Deleuze opens his second book about cinema with a suggestive thesis: that post-war engages thought, is a thought cinema, an emergence of a new kind of cinematic production interested in exceeding limits of action and narration. He situates his break in the films of neo-realism, which offered us scenes and shots that fall outside the conventional use of camera to capture the actors’ physical and motivated participation in a visual story (Chan, 2007)
In the time image, rational or measurable temporal links between shots, the staple of the movement-image, gives way to incommensurable, non-rational links. But of these non-rational links between shots, vacant and disconnected spaces begin to appear (“any space whatever”). As a consequence the journey becomes a privileged narrative form, with characters in a more passive role, and themes centered on inner mental imaginary, flights of fancy and emotional an physic breakdown. The result is this pure optical and sound image is, according to Deleuze, a direct image of time.
Uğur ÇALDAŞ Portfolio 2016
In these shots the camera chooses to dwell on its subjects not to show us their motivation, their actions or reactions, but to show us their subjectivity, their physicality, their presence outside of dramatic narration.
Any Space What Ever Deleuze transforms this existing term into entirely different meaning and making it a concept of his thinking. Pascal Auge uses the term to help understand the effects of modern urban planning on the human psyche and interpersonal relations. Pascal Auge determines the term:
Galata Bridge in 60s
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Karaköy Square in 60s
Uğur ÇALDAŞ Portfolio 2016
It is a space such as a metro stop, doctor’s waiting room, or an airport terminal,… An anonymous space people pass through… apoint of transit between places of importance, such as the metro which is merely the space one passes through between home and work. Moreover in such spaces individuals become depersonalized. It is for this reason that Auge argued that the ‘any space what ever’ is a homogeneous, de-singularizing space. In contrast to Auge, Deleuze thinks that the ‘any space what ever’ is a condition for emergence of uniqueness and singularities. ‘Any space what ever’ is not an abstract universal, in all times in all places. It is a perfectly singular place, which has merely lost its homogeneity, that is, the principal of its metric relations or the connection of its own parts, so that the linkages can be made in an infinite number of ways. It is a space of virtual conjunction, grasped as pure locus of the possible ( Deleuze, 1990a) 3. Karaköy Urban Development Emergence as a city of Galata had been with determining the borders of it. Galata in 552 transformed into closed city after being surrounded by the walls around central tower. In this era an important harbor city Galata, to defend itself against attacks from the sea had to have a higher point to see around. During the Byzantine period, Galata protected its homogeneous cultural structure. With the conquest of Istanbul, there some interventions which had not distort this homogeneous structure. Tophane was established as a Turkish neighborhood. Galata Had become a important port city in the Mediterranean because of the Kanuni’s capitulations for the French. After that, the Galata port function has developed an urban identity. With Trade deal, foreigners began to settle in Galata and the Galata’s cosmopolitan foundations were laid to create in 19th century. (Nur Akın, 1998) 18th century city began to develop outside the city walls. During this period, beginning with construction activity to the villages around golden horn, and the formation of a structured Galata seeds were laid in the vicinity. Some of Levantine Dealing with sea trade, and some of the Jewish people began to settle around Galata. With the impact of western movement in 1852 first modern municipality was established in Galata called ‘Altıncı Daire’. This administrative structure, with the name Altıncı Daire, a forementioned sanctions have a team of city and urban growth to ensure the quality of published regulations. In 1879 construction began in Pera. It has been the first step towards the north of the city that has been growing. People living in Galata had moved to Pera in that period,. (Nur Akın, 1998)
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It is known that, Levantine and Jewish dealing with trade had lived in Pera, and had es-
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tablishments in the Galata. With the start of the housing to move Galata to Pera identity of town has become a business area. To the speed up the transport between Pera and Galata the Tunnel was made in 1872. The first bridge was built connecting Galata to Eminönü in 1845. Previously, transport was made by boat and accelerated and carried out two commercial center of the city to be connected to each other in real terms by the building or the bridge. During the 19th century, as a result of continuing growth outside the city walls, in the settlements around Galata, and the access to this location has been established by streetcar lines.
Today Galata is part of a city with many functions. The protected identity of the original Galata is the inner center of this city between the Bank Street and region Kuledibi. This centre includes synagogues, churches, schools and hospitals and this includes minority culture institutions and refers to the cultural traces of the city. The area between the end of the tunnel and the Tower Square, began to occur in restaurants, hotels and hostels, which serves as touristic area.
Uğur ÇALDAŞ Portfolio 2016
The first line between Voyvoda - Şişhane cemetery, later Karaköy-Ortaköy lines will be in 20th century would be established. In the second half of the 19th century Galata had become the finance district of the city after the building of work and office buildings. Heterogeneous and multi-cultural identity has changed to uncertainty in the 20th century in Galata. Elimination of the Capitulation with the Lausanne treaty, with the of the embassies transported to Ankara in 1927-29, Property tax for the foreigners in 1942, World War II between 1945-49 led to decrease the foreign population in town. In addition, with the establishment of the state of Israel Jewish migrated to Israel in 1947-1949, with the 6-7 September 1955 events and the Greeks leave the country after the Cyprus crisis, a different place to bring the social structure and change have led Galata. (Nur Akın, 1998) This events have caused manufacturers and the class dealing with cheap trade to come here. An extension arm which started industrialization in the Golden Horn with a production studio has found himself in Galata. 1950s with the first migration strengthened the commercial identity of Galata. Adnan Menderes devastations caused the square of the town become a non-identified void in 1958 by facilitating the access of the new bridge in undefined at an point. Decentralization of industry from the Golden Horn and the building of the Bosporus bridge in1973 Galata lost its commercial importance. In 1980 period by the mayor Bedrettin Dalan, in terms of physical destruction, the current sitescape of Karaköy of became. (Nur Akın, 1998) Manufacturing and trade moved to Perpa by building of it. In 1986.
The current situation also occurs Karaköy is similar to the use of the coast. Departure and arrival time, especially in the work day despite heavy use to respond to users’ requests place can not create their own user space that lead to be an urban transit space. 4.Conclusion Galata as a historical town of the Istanbul’s Metropolitan area has developed fast and had rapid transformations. By these rapid transformations rhizomatic relations of Deleuze had been established and broken and re-establihed during the develeopment of the square of Karaköy. Karaköy today with its commercial and finance buildings, minority institutions, international harbor is a multi-functional public space. Because of the transfer routes of the city joining together here, Karaköy square is a transitive place of non-importance. It can be called a ‘any space whatever’. This place leads to a great number of rhizomatic relationships to be established. These relationships bring Karaköy Square to a dynamic urban landscape. The square can have a dynamic urban quality by interchanging relations between current structures in the context and possibly established others. This dynamic identity can bring Karaköy to a place where cultural production continuously develops. Previous urban issues and developments has made Karaköy square a void without identity, function, owner, resident etc… But this void is a potential for creativeness and invention for experimental designs. The exhibition held here called Passenger Exhibitions showed that this place has an importance because of its transitivity. Artists in this exhibition tried to establish new connections and awareness of the city. We have to be aware of the possibilities and urban development will continue in the way of this awareness.
Urban Void Formation in Karaköy
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2009
Search For Essence In Haydarpaşa Train Station Building *This essay written in the scope of “Qualitative & Quantitative Methods in Architectural Research” course
Uğur ÇALDAŞ Portfolio 2016
Summary In the thresholds of transformation, Haydarpaşa Train Station and surrounding are waiting for an involvement about their presence. Changes and remains will occur after the operations about the place. Identifying the character of Haydarpaşa will serve a conscious in depth view to the intervention. The place should be identified through various disciplines together to reach the precise meaning. Research uses a hermeneutic phenomenological approach to Haydarpaşa through cinema in order to interpret and uncover the meaning. Haydarpaşa Train Station
Introduction Haydarpaşa Train Station is formed in Istanbul’s character, perception of the city, in its memories and totality. Today the train station and its surroundings are in the threshold of transformation. The area will be transformed because of change and modernization in the transportation systems, because of a demand of settlement in the city center. Today the station building and its near surroundings have become idle. The Haydarpaşa harbor and industrial facilities like TMO’s silos surrounding it are desired to be moved to another place. All of these situations form opportunities and threats. As an opportunity for the city something will change and something will remain after the transformation. The significant building in the environment of Haydarpaşa is the station building. We have to conserve some of the qualities of Haydarpaşa Train Station. What are they? What have been the memorable of the place in the society’s memory? And what is essence of the place? What is covered and wants to be explored? This study is a search for the essence Hayparpaşa Train Station Building covers. This study suggests a conceptual understanding about the station building. The aim is to discover the essential character of the train station.
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In contemporary approach to the situations, conceptual frameworks of sciences are not adequate to be compatible with reality. Pure functionalist approaches are not efficient to understand the human experience and behavior. Haydarpaşa Train Station is more than just a train station in our perception today. It is important to understand the relations between the station building, space, time and people. We need to have a holistic view looking at things. In case of uncovering the meaning we have to look for architectural essence through different disciplines. This is the one part of the whole study looking for the Haydarpaşa Train Station’s essence through Turkish cinema. Haydarpaşa is one of the essential places that Turkish cinema has especially used. Existence of Haydarpaşa can be understood through its situation in the fiction of the films. Change of the station building in time can be comprehended through interpretation about cinema. Discovering
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and defining the essential about Haydarpaşa Train station building through cinema is a hermeneutic-phenomenological approach. Haydarpaşa Train Station is the entrance of Istanbul. People coming to Istanbul from Anatolia meet the city after leaving this station. In the late sixties and seventies it has been the specific place for immigrants which meet the city first. Migration has been the common subject of the films in the Turkish cinema those days. Haydarpaşa Train station was filmed during these years. There is a strong environment and people relationship in Haydarpaşa. It is the history of the people that started to participate in Istanbul’s city life. And Haydarpaşa Train Station has had a place in people’s and society’s memory. One of the goals of the study is to discover the essence of the place through the films that took place in Haydarpaşa Train station. And my aim is to uncover the basic structures of the experience in meeting the city first time, being in a station, and what opportunities station building serves as a phenomenon. I will try to interpret the meaning people bring to Haydarpaşa Train Station building through films. Table Of Contents
Uğur ÇALDAŞ Portfolio 2016
1 Summary 2 Introduction 3 Background 3.1 Problem Statement 3.2 Significance 3.3 Literature Review 3.3.1 Phenomenology 3.3.2 Hermeneutic - Phenomenological Research Method 4 Methods 4.1 Documents - Texts 4.2 Data collection 5 The Search for Essence in Haydarpaşa Train Station Building: Through Turkish Films 5.1 Gelin (Bride), 1973 – directed by Ömer Lütfi AKAD 5.2 Bitmeyen Yol (Unending Road) (1965) – directed by Duygu SAĞIROĞLU 5.3 Gurbet Kuşları (Birds Abroad) (1964) – directed by Halit REFİĞ 5.4 Hiçbiryerde (Innowhereland) (2001) – directed by Tayfun PİRSELİMOĞLU 5.5 Çarpışma (Crash) (2005) - directed by Umut ARAL 6 Conclusion 7 Literature Cited 8 Appendixes 8.1 Frames from Gurbet Kuşları - 1964 8.2 Frames from Hiçbiryerde – 2001 8.3 Frames from Çarpışma
Haydarpaşa Train Station
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5.1
Gelin (Bride), 1973 – directed by Ömer Lütfi AKAD
The film begins with a scene train coming into the Haydarpaşa Train Station. Platforms are crowded quite. Hıdır meets Meryem, her husband Veli and their son Osman in the station getting of the train. This scene is an opening for the story that will be lived in Istanbul. They seem confused while waiting in the quay to get on the ship. The kid that never saw sea asks: - Mother, What’s this? Hıdır: - Ship, we will get onto it now. The ship draws closer to the quay.
Bride Film Poster
Uğur ÇALDAŞ Portfolio 2016
In the next scene, the ship is seen in Bosporus and Hıdır tells Meryem,Veli and Osman about Istanbul showing around. Meryem seems so twisted and looks around excited. The film “Gelin” is one of the first and significant films which based on the migration to the big cities. In the middle of the 60s there has been a huge movement from country to cities in consequence of the economical crises in the Anatolian cities and villages and because of the demand of manpower in industry holding cities. During those years migration phenomenon occupies a serious place in urban society and culture. It has been mentioned frequently in the Turkish films. The story of migration to the city begins in Haydarpaşa Train Station mostly. In that age of having no visual communication tools, as a foreigner to the city - and anything about it - he/she meets the city In the station building. His/her mind is tabula rasa. He/she begins to receive information and form knowledge about city for the first time. This is a place where he/she haven’t been before. The phenomenon experienced here is an archetypal experience. Becoming into a different place, he/she confronts a lot of differences at the same time. The station building is a threshold that he/she came through before being inclusive to the city. The in-between reality continued all the train travel to Istanbul and meeting with the city becomes real in this threshold. This experience of in-betweenness is a pregnant point for perception of the city and forming knowledge about it. The space communicates with the perceiver and becomes place. The place here is a threshold phenomenon just beneath the city. It serves opportunity of primarily meeting the city without knowing anything. The city starts here. 5.2
Unending Road Film Poster
The film talks about a social phenomenon about unemployment, and exploitation of labor. These weak and poor 6 men try to find ways of working in an unknown city, in the rest of the film. The station building used in the scenes beginning of the film became connected to the phenomenon like migration, unemployment, cultural degeneration and it symbolized the Anatolian people coming Istanbul. It symbols the background of this city and the whole country. They are manpower; workers and officers. The experience is the same in similar films about migration, Hopes and worries together seen in the faces of people entering the station. This psychological mood bursts getting of the train and it gets up to pick point by meeting the whole city in the Bosporus. Social and individual troubles were mentioned by the help of Haydarpaşa Train Station through the film. 5.3
Birds Abroad Film Poster 58
Bitmeyen Yol (Unending Road) (1965) – directed by Duygu SAĞIROĞLU
Gurbet Kuşları (Birds Abroad) (1964) – directed by Halit REFİĞ
6 people of Bakırcıoğlu family get off from the train coming from Maraş-Adana-Kayseri-Ankara destination. They prepare to meet Istanbul. The Father Tahir counts the members of the family and checks. Tahir says; “Be careful of loosing eachother, It is not a joke in Istanbul.” The fiction of the film is mentioned here by the words of Father Tahir. The following words show the hopes that every people came to Istanbul had. “We will be shah to Istanbul, in the permission of Allah” “It’s easy If we give back to back.” After going through platforms and building, going down the stairs they come to the quay in front of the building. Then, Haydarpaşa Train Station is seen as witness to the immigrants and encouraging the migration phenomenon by its existence here. The next image of Istanbul is ships. They get confused seeing the ship near. They watch the beautiful city they came to conquer. Father of the family Tahir says; “When the works went bad in Maraş, we were forced to sell the shop and father’s memorial house. We don’t have any way out of struggling in Istanbul. We would open a car service and manage it with my two sons. My little son Orhan just graduated from high
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school and wanted to attend university. My daughter Fatma would help her mother in the house by the way. We came here before and found a house convenient for us.” This film shows the experience of being involved in a city. Getting into an only namely known city, Bakırcıoğlu family meets Istanbul. The story is an involving the city life and process of the involving starts in Haydarpaşa Train Station. All the ritual of entering Istanbul recorded in this film. Coming to station, going down the stairs and getting to the European coast by ship. After starting to live and work in Istanbul, Bakırcıoğlu Family lost a lot from themselves, and this unusual life style drag them to very bad situations that they didn’t want to be in. After the story ends up with the death of their little sister Fatma, they consider to go back to their motherland. They would leave Istanbul in Haydarpaşa Train Station again. The Train Station building is seen from the railway side. Train comes to the station. Their son Orhan who attends university sends his family off with his girlfriend Ayla. After that another train coming to station is seen. In the following scene a family is seen coming with the same hopes to Istanbul. The years when it was filmed are the years of migration repeated. In those years The way to come and go from Istanbul was Haydarpaşa. The story of the film started here and ended here. The family coming to Istanbul in the last scene points at repetition of the usual story. And the Station Building becomes to the society’s memory in the sum of these stories. 5.4
Hiçbiryerde (Innowhereland) (2001) – directed by Tayfun PİRSELİMOĞLU
5.5
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The introduction text of the film: Number lost people is supposed to 3000 in Turkey. Some one saying this number is much more. Some of these people get lost under arrest. Every year more than 1000 people get lost because of “normal” reasons and the half of them can be found. Şükran, on the way out to Mardin; “That day when I learned that my son was somewhere, I realized distances could be disturbing as much as truth of my belief that he was living. He was there in a distant place. I, here, miss him. My heart wanted him. He was away in an unknown place. The distant is where my son was. This was the first real journey of mine. The longest, most peaceless, and most hopeful. In fact, I have never seen beyond Ankara. I didn’t know what was beyond. The only thing I know was Veysel out there was waiting for me.” “Looking behind what was left, I thought that, In spite of getting away from somewhere, I went closer to some place. To an earth, a sky, to a place that I have never seen before… I was so sure that he was waiting there for me; I would find him waiting for me after entering the city. There was a huge gap opened inside me a time ago, and gets increasingly deeper.” Şükran, coming back from Mardin; “I thought that it the longest journey of my life. The longest and happiest. But every journey has an end. There is always somewhere to go and come back. Always hope an desperate. Always finding and losing…” Contrary to the films mentioned before the main space of the film “Innowherland” is Haydarpaşa Train Station. We witness to the life inside the Station closer. We watch the life in Haydarpaşa with its Manager, officer, ticket sealer, barber, cook, and waiter. From the fiction of the film and the words Şükran said before we can realize that the station is just a starting and ending point. Being in the search of a person everywhere can be the place where he/she exists. And If the aim is to go to the place where he/ she is, then where we stay is nowhere. This nowhereland is Haydarpaşa Train Station in the film. The crowd which could be called everybody in the scenes and the son seen in Haydarpaşa Train Station and people exists here being not aware of the place shows that this space conceptually does not exist indeed. This phenomenon makes us the questions abput place and being again. From where? To where? And how far?
In Nowhereland Film Poster
Çarpışma (Crash) (2005) - directed by Umut ARAL
The film Crash is based on the dialectic between destiny and coincidence. And asks the perceiver If it is destiny or coincidence. This coincidence-destiny matter comes out with a crash in Haydarpaşa Train Station. This crash, whether it is destiny or coincidence, It is clear that the station building has the ability to form this contact. This is a point that more than one line goes over and comes to. Because of these the space is a conjunction point where these kind of crashes may come up. It is a pregnant place for coincidences.
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2008
Karaköy Beyond Borders Urban Design Project in Istanbul Technical University Karaköy in the Threshold for Transformation
Galata, since it has came to stage of the history, has been in a multicultural state exceeding the boundaries of Istanbul. It is a land piece which has always been “the other” through times of the history. Genovese in the Byzantine Period and minorities in the Ottoman and republic period constituted the foreign culture on this piece of land. Minorities lived here with their culture and produced the unique Galata culture. Galata has gone away from having a multi-cultural, cosmopolite space. Today Galata is in the
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threshold for a transformation. Research in this project’s context show that Galata has wide range of oppotunities for a new change. These opportunitites can bring galata back to its multicultural diversive environment in new meaning.
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2009
Our Right, Effort & Means to Change Cities *This essay written in the scope of “Paradigms in Architecture” Course Lecturers : Prof. Dr. Semra AYDINLI, Asst. Prof. Dr. İpek AKPINAR
Keywords: Pseudo modernism, humorous democracy, disparate analogy, non-places, locals dignity
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Introduction Urban life and architecture has always been compressed in time for arrangability, controllability, understandability through regulations, theories, methods, discourses and politics. These compresses most of the time ended up with freedom explosions which are anarchist and prefers disorder over order so as to preserve the preowned rights. The explosions which are cause of pressure lead to a change in order. In this context the tools, regulations and theory of the unsustainable present order has lead the cognitive production to crises points. The cities we are living in now are expanding permanently. Because of population growth in world cities and and the widening means of communication, we are in a far away point from where we were in the beginning of the 20th century. Today big cities are like embodying containers. This container has pulled in to safe ground by theories, structures or discourses in order to understand it but it is obvious that there is no such ground. Modern city today can not sustain for only a short period of time as it is predicted. So we are forced to design, invent and construct our methods in order to understand and recreate to city and urban life. Although modern city and urban life may seem to homogenize it opens to new ways to recreate, design and personalize. Ian Borden tries to open and widen this tension through thinking on modernism and the city about Jacques Tati’s Playtime film. Although the high modern city on the film, excludes the banal, regular and vital things in order to create an plain, universal and rationalist living environment, people recreate the city which they adapt and belong to at the end of the film. Jacques Tati, examines an important dialect between individual-society, individual and collective production.
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Subheadings Pseudo-City Pseudo-Modernism Unbounded Body / Right to be Stupid Beyond Visible The Others, Other Worlds Conclusion References: David Harvey (1990) The Condition of Post-Modernity David Harvey (2002) Spaces of Hope Iian Borden (2001) Playtime, Tativille Paris, Hieroglyphics of Space, Ed. Neil Leach, Colebrook, Claire, Gilles Deleuze, c. Colebrook Donato Totaro: Gilles Deleuze Bergsonian Film Project
Scene from the film, Playtime
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Scenes from the film, Playtime
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2014
Ministry of Education High School Campus 1st Prize in Competition Completed in collaboration with EKS Mimarlık
Architectural design, design development & construction documents Location : Fertek, Niğde Project Date : 2014 Project Area : 121.500 m2
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Site Plan
2014
Ministry of Education Nigde Fertek Education Campus (MoE), in the northwest of the city is situated on a land area of 361 088 square meters of Nigde. Land consists two main parts. Education campus locates on northern part of east main part by reason of both road connection and topographic suitability. Including the construction area of about 121,500 square meters campus, 5,000 students will be trained, as well as to accommodate 300 boys and 300 girls in the country, is designed as a complex.
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Ground Floor Plan
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MoE. Nigde Fertek Education Campus opened outward from the center “concentric” has a layout. General construction, building central circulation (A-Block central building) has an organized around urban composition. Campus urban composition, topography, about 10% -20% due to the sloping terrain in mind the silhouette in the top position, surrounded by a green belt to create a base set of the generated structures. Across campus, a rhythmic pattern of urban spaces that create intermediate tap the green courtyard with blocks were targeted. Passage that connects the courtyard of the building blocks of each other are connected at different elevations along the slope to provide articulation. These blocks with passages with school places are associated with outdoor interiors.
Dormitory Ground Floor Plan
2014
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Dormitory Upper Floor Plan
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2009
Denizli Municipality Building Purchase Award in Competition Completed in collaboration with EKS Mimarlık
National Architecture Competition Purcahe Award Location: Denizli Turkey Project Date: 2009
Project Area: 28615 m2
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2009
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2008
Silk Museum in a Former Silk Factory Bachelor Graduation Project in Mimar Sinan Fine Arts University Renovation of a Former Silk Factory in Bursa Re-Using Industrial Site as a Living Silk Museum
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Romangalle Silk Factory located in a historical district of Bursa is founded by a French businessman Marcel Romangalle at the end of the 18th century. Then reowned by a Turkish businessman and has gone out of service after technological improvements in weaving technology. Synthetics displaced silk and the silk bussiness diminished rapidly in time. Project aims to bring the silk factory back into today’s cultural practices by giving it a role to be a vital museum of silk production and design. The project is designed in former factory buildings by adding extensions and new interventions in the factory area. Two main routes are designed in
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the area. Existing production line is re-established and a visitor experience route is designed to interact with the production.
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2007
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2007
Classical Turkish Music Conservatoire Classical Turkish Music School Campus in Istanbul Project 3 in Mimar Sinan Fine Arts University
Darülelhan is the first official and institutional music school of Ottoman Period used to be in this project’s quarter. Projects plot is in the historical peninsula of Istanbul bordered by Valens Aqueduct on the north and an “imaret” (on of the buildings of the Şehzade Mosque Complex) on the west and kalenderhane Mosque on the east. Ground Floor of the project is designed to be a public hub which is designated for performers and the public to meet. A concert hall is placed on the north-wesern corner of the project facing Sinan’s Apprenticeship piece Şehzade Mosque. Concert hall has a transparent facade on the stage side making it posible for audience to see Şehzade’s dome on the background while listening to the concert.
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Site Plan
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Concert Hall Plans & Sections
Mass Studies
Urban Environmet Section
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2006
Sports Facilities Complex in Istanbul Project 2 in Mimar Sinan Fine Arts University
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Ground Floor Plan
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Exterior İmage
2006
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Massing Studies
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2005
Sailing Academy Project 1 in Mimar Sinan Fine Arts University
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Upper Floor Plan
Section
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2005
Ferry Terminal Student Competition Entry Ferry Terminal in Istanbul
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Ground Floor Plan
2005
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Structure Model
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Thank You.
*Photograph: Uğur ÇALDAŞ, Human Exhibiiton, Antony Gormley, 2015, Florence, Italy