architecture portfolio | creating ones' own tools| nida ekenel by nida ekenel

// section //

so judge me by the page but not by my cover like it or not I live by the book *”

[re]

creating ones’ own tools

“ these aren’t fables between pages my book’s ageless and it’s pageless

creating one’s Own tools MArch Architecture Nida Ekenel

applicant:

3rd edition of the series; I. questionaire II. polylogue summary of works between 2015 - 2019 bachelor | Istanbul Technical University

| cover page |

C. concept

on the concept of creating onesâ&#x20AC;&#x2122; own tools //

During my studies, I tried developing experimental projects to nurture thoughts through the discovery of new tools. These tools aimed to subvert the common understanding of architecture by ensuring the involvement of imagination and attendance of multiple subjectivities. So that the projects can stimulate thoughts and challenge the borders of space by time. In this booklet, Iâ&#x20AC;&#x2122;ve tried to place various tools and tools that can be used in several different ways. In the beginning of each section you will be able to find some of the tools that I had used in the project.

the table of contents

I hope you enjoy.

fig. 2 . 01 from section III, scanning topographies

| II |

fig. 2 . 02 from section I, paper-being fig. 3 . 03 for the table of content, part of my table fig. 2 . 01

fig. 2 . 02

N. name

S. section

P. page no

t on

e bl

a e t

p. 4 - 15

II .

DTOB | dependent territory of belyaevo future visions moscow

p. 16 - 21

III .

scanning topographies photography vs. scanning

p. 22 - 27

IV .

from future to past habitable myth

p. 28 - 33

meow hotel | suadiye hotel building in suadiye kadıköy

p. 34 - 36

VI .

advanced roundabout unit | creative urban living fest Milton Keynes | UK

p. 38 - 40

VII .

speacetruction in tarlabaşı peace buildings

p. 42 - 45

VIII.

princes’ islands + island museum possible futures for Istanbul City Museum

p. 46 - 51

IX .

trashed-arian drawing of the year

p. 52 - 53

ceci n’est pas une toilette taksim toilet | common

p. 54 - 55

XI.

prototypo | agregeçao lisbon

p. 56 - 59

team work

| III |

paper - being ecologies of living | speculations for housing

the table of contents

fig. 3 . 03

fig. 4 . 01

|4| paper-being

// I //

I. paper drying

I. paper [re]making

K. key words

I. book binding

so judge me by the page but not by my cover like it or not I live by the book *” tools.paper models, paper collectors, paper making, binding paper, paper structure, cutting paper, paper living, paper actor, paper architecture *From the song The Book by King Gizzard Lizard Wizard, album Sketches of Brunswick East

fig. 5 . 03

|5|

“ these aren’t fables between pages my book’s ageless and it’s pageless

paper-being

individual work Istanbul Technical University Fall 2018 - 2019

// I //

with where date

Graduation Project Assoc Prof. Dr. Aslıhan Şenel Assoc Prof. Dr. Pelin Dursun

paper-being

studio tutors

ecologies of living - speculations for housing

the main actor was chosen to be paper because it was light, neither dead nor alive, and it had the capacity to store knowledge. I coined the word paper-being* for the material built life.

fig. 5 . 02

I. under formation

|6|

paper-being

// I //

[re] map of connection altering routes

fig. 6 . 01

P. purpose

E. actors

connections make individuals stronger and more efficient in city.

come together with purpose.

as opposed to a strong monopoly ideology, the scenario suggests observing the city as a multi-action land. having seen the intense action of the paper collectors [I], community gardeners [II] , book sellers [III] and the fishing network [IV] the project is shaped according to their possible ways of connecting in the city. in other words the screenplay is written for them to have their intersecting roles to play.fig. 7 . 02

living is not randomized. people come together for living in a collective for a purpose. it is the production that bring people around. the production space is not separated from living. living is feeding the need in production. so why does these people come together? paper re-making paper production is the reason why the people in the collective come around to live together in a certain time. anyone can join the life so should produce. fig. 6 . 01 demonstrate how those actors come together with this purpose.

// I //

[I]

[II]

[III]

[IV]

fig. 7 . 04

fig. 7 . 05

paper-being

fig. 7 . 02

|7|

fig. 7 . 03

if the architecture is based on paper that can store knowledge, it rather be based on ideas.. 1.light structure says something different on land occupation compared to heavy str. 2. technology and nature are not alternatives to each other fig. 7 . 04 3. intellectual farmers | farmer urbanites. fig. 7 . 05

fig. 7 . 06

ing

er m

n e rd ga

en ta

ity un om |c

erim

n io at et g ve

ex p

al tu r na

co ns tru ctio nm

er ials

ing

// I //

ind

paper-being

als ateri ng m osti omp e| c

insid

|8|

ďŹ sh

boo

harv est ctio

n du al

pro ctu elle int

rou

te ter wa

c re

le yc er at w

fig. 8 . 02 m co

fig. 8 . 01

res

rc ou

g hin

ďŹ s

// I // fig. 9 . 05

fig. 9 . 04

paper-being

fig. 9 . 03

|9|

fig. 9 . 06

fig. 9 . 07

fig. 9 . 08

how are these certain actions relate to the project I. the paper collectors in the city starts to exchange their papers with the agricultural goods that is produced in the collective. papers are places in the paper pond in the center. papers are grained in the pond. papers are ready for [re]papering process... II. community gardeners exchange their products to have varieity in their food. some seeds are used in paper making proces in order to give different textures to the papers. III. publishers sell the books that are produced from the papers that the collective make. IV. the papers are grained with some specfic fish that can grain the paper.

fig. 10 . 01

| 10 | paper-being

// I //

// I // paper-being

fig. 11 . 03

fig. 10 . 01

act I. area is zoned for vegetation act II. people start to live around, because of its common resources act III. a lot of common resource a common purpose action cyle;

fig. 11 . 02

| 11 |

act IV-X-IV fish brought to the pond, the collector collects the paper garbage, bring to the pond where the fish are living, fish grind the paper, paper passes the life in the city, being paper | paper being the book..

// I //

fig. 12 . 04

I. roof system .40x80mm wooden laths, exterior finish .0.1mm poliethilen felt, water proofing .40mm plywood .10cm mineral wool, thermal insulation. 10x20cm paper cardboard beams, structure .12mm gypsum board, interior finish II. flooring .40mm wooden parquet, flooring .40mm plywood, for surface .10cm mineral wool , thermal insulation in between .5x10cm secondary wooden beams structure .44mm plywood, structure .10x20 cm paper cardboard beams

| 12 |

paper-being

The fig. 12 . 02 demonstrates the use of different materials [fig. 11 . 03] and how the interior space is used by the collective members. In the first one, the process of the paper is seen when they are getting dry. In the interior people are using the library that is produced by the papers that are hanged. So it is the transformation of the paper to knowledge. The second one, shows the process of the abstract ideas [knowledge] being transformed on paper. The third one consists how the process of paper [re]making is integrated by the removal of paper in the daily life.

fig. 12 . 03 fig. 12 . 01 In the end, the project was designed on paper [with sketches], from paper

[used as a material], and eventually it evolved into a book [out of papers]. Books are powerful tools, tools that can share knowledge, make people interact and lead to construct new ideas. Victor Hugo mentions, because it endures for longer, a printed book has murdered architecture irreversibly...

fig. 12 . 02

// I // paper-being

| 13 |

// I // paper-being | 14 |

fig. 14 . 01

fig. 15 . 01

It was a huge lie, It all happened on a piece of paper

// I // paper-being

| 15 |

fig. 15 . 01

people are heavily sick from insomnia, central bank is the new church the houses are like prisons while the imprisoneds are free

the dependent territory of belyaevo future visions moscow

dtob

// II // DTOB - the dependent territory of Belyaevo | 16 |

fig. 16 . 01

fig. 16 . 02

studio tutors

Architectural Project VII Prof. Dr. Ayşe Şentürer Assist.Erenalp Büyüktopçu

with where date

individual work Istanbul Technical University Spring 2017 - 2018 fig. 16 . 03

tools . narrative as a tool to imagine alternative nows.

tool kit:

Located in a dis-utopian world in 2050 ,where a minority of the people rediscover spatial tools to reconstruct their truth against a totalitarian regime. It is an allegory of the present day. People eventually held the power of imagination to use the tools in order to create parallel realities by manipulating architecture to deceive the oppressive government. fig. 16 . 04

fig. 16 . 05

// II //

fig. 17 . 06

name of the project

| 17 |

fig. 17 . 01

T. tools

B. project brief

DTOB - the dependent territory of Belyaevo

// II //

DTOB* the concept of tools Mосква

fig. 18 . 01

It is a dispute whether there is a general truth or not. As human beings, we all know and believe in something and the track we usually fall in is that what we think is the truth. But existing is the truth is ambiguous, there are realities.

| 18 |

Here it should be stated here that the reality we all live in and create is not single-handed. There are many things that cause us to shape it, society, politics, advertisements, religion, the books we read; friends families are only some of them. This in the project is called the tools, the psycho-effective gadgets to built realities in people’s heads and perhaps eventually the truth. Every period of politician for instance, creates these tools to built realities in the advantage of its on ruling. The idea of this project started with a question, what if the world turns into a place where the truth is created single-handed, independent from the always-biased human mind? This project projects a future in Belyaevo, [Беляево] where the people are no more bond to the dictators or presidents of the usual world. When artificial intelligent starts to think and learn better than human mind, in short time, it will go beyond its current use. Human being as its creator, absolutely in love with the creation of it, cannot see anything but the world that exists with the machinery. But how is the city like that machines suggests the best for people Central bank the new church of the age, people go there every Sunday. They pray for wealthiest. McDonalds’ are the only restaurants. No need for agriculture. Protecting ones self is one of the most important thing of the time. Everybody stays in homes to stay safe, so the prisoners are no longer put in the jails, they are taken away their safely not freedom, thats how they pay their penalty The old communist lodges becomes the vertical cemeteries because people no longer want to live there.

fig. 18 . 02 fig. 18 . 01, 02

tools* can be categorized; [C] : constructive [D] : destructive [S] : spatial... 1*.a piece of equipment that you use with your hands/mind to make or repair something during particular political states

2*.something that helps you to do a particular activity, sometimes by force 3*.the psycho and physical effective equipment that is used by usually authorities to create or destroy mindsets the tools can be categorized as;

fig. 19 . 03 fig. 19 . 04

fig. 19 . 05

fig. 19 . 06

// II // DTOB - the dependent territory of Belyaevo

fig. 19 . 07

Tools in the collages tell the stories of what happened in Belyaevo during communism. There is a plane of the objective and the fictional reality as the project developed on this notion. In other words the very focal plane of the collage is what is thought to be the real, and the blurred part represents the reality that is hidden. fig. 19 . 04 Soviet communism brought equality? People watched how magnificent it was but Russians didnâ&#x20AC;&#x2122;t thought so. fig. 19 . 05 The picture that is shown in media was totally different from what is

lived. Beautiful happy portraits were shown in the Soviet paintings, a new are soviet realism had started. However people cannot be stayed deceived for long. Soviet communism ended because the fiction ended. fig. 19 . 06 People of Belyaevo seemed to be happy in all means but they were drastically thought into existence of microrayons. fig. 19 . 07 demonstrates the life of two people in 2000â&#x20AC;&#x2122;s after the soviet regime, The lifestyle represented here is similar to the present, the start of the distopic world in Belyaevo.

fig. 20 . 01

| 20 | DTOB - the dependent territory of Belyaevo

// II //

fig. 21 . 03

fig. 21 . 05

DTOB - the dependent territory of Belyaevo

fig. 21 . 02 fig. 21 . 04

| 21 |

As people suffer from insomnia the tubes that the ultimate machine design becomes the way that people wouldnâ&#x20AC;&#x2122;t slip over. fig. 21 . 02 demonstrates how tubes move upside down in order people to keep their balance. When tubes are hacked it is pulled inside a pond fig. 18 . 01 where the vision of the controlling drones are decieved so the truth is multiplied again. fig. 21 . 05 shows what are the difference in drones vision and the reality.

| 22 |

fig. 22 . 01

scanning topographies

// III //

R. recording

M. multiplying

P. plan

K. key words

// III // scanning topographies

scanning topographies

although photography can sometimes represent a duration, it captures certain moments. what are the alternatives to enlarging the duration?

fig. 23 . 03

with

Ekin EryÄąlmaz

date

ongoing..

tools . exploring the field in between photography and scanning. one being more dependent on time and depth the other flattens the reality, while captures a punctum. fig. 20 . 01 is a represention on how the process worked. fig. 23 . 02 is collection of the scanned images in time

| 23 |

project fig. 23 . 02

// III //

fig. 24 . 01

fig. 24 . 02

| 24 |

scanning topographies

fig. 24 . 01

use scanning as a tool documenting daily life

for

use mapping as a tool to superpose time. In fig. 25 . 03, the movement occur when the scanner is not working. While scanning gives some clues to freeze time, it also tell us something about the depth and the distance between the screen of the scanner and the surface of the scanned place..

AB5'

AB2'

BC4'

defter yeri değiştirir

BC0'

yastık yeri değiştirir

CD7'

CD3'

kablolar sürüklenir

yastık yeri değiştiriir

DE60'

DE1'

kitap okunmak üzere alınır

yorgan çekiştirilir

| 25 |

fig. 25 . 04

fig. 25 . 05

telefon komidine konur

yastık yeri değiştirir

E1A2'

kalem defterin yanına götürülür

scanning topographies

BC0'

yastık yeri değiştiriir

// III //

fig. 25 . 03

// III //

fig. 26 . 01

| 26 |

name of the project

fig. 26 . 01

fig. 26 . 02

// III // name of the project

fig. 27 . 03

| 27 |

In the later stage of the project we have decided to produce a machine to make the scanner something mobile. The project had evolved into something that questions the representation of the topography. So it the space that the same regardless to a persons movement?According the users speed the image that occurs re-shape itself fig. 27 . 04. coming soon.. fig. 27 . 04

| 28 | from future to past

// IV //

E. un zipping the past

B. project site

I. memory a of:

tools . books, book binding, story book, narrative, placing self in the collages, hand drawing, skeching, physical model making, zipper

| 29 |

individual work Istanbul Technical University Fall 2015 - 2016

from future to past

with where date

// IV //

Architectural Design III Assoc Prof. Dr. AslÄąhan Ĺ&#x17E;enel

from future t0 past

fig. 29 . 01

studio tutors

habitable myth the common question today is who owns the land. land in cities, space and sometimes heaven can be possessed among the powerful. the project on the other hand takes the issue not only from the perspective of equity but rather a concept to be impossible .

fig. 29 . 02

K. key words

| 30 |

fig. 30 . 01

B. project brief

I. name

// IV //

from future t0 past

the project was built upon a myth from the writings of Alan Lightman, Einsteinâ&#x20AC;&#x2122;s Dream, with a little editing from the people of future. History is the object of a construction whose place is formed not in homogenous and empty time, but in that which is fulfilled by the here-and-now*.

E. explained

History is under construction and there is an ever present negotiation on who the author could be. It is like an edited book that does choose the authors and never give voice to the oppressed. Time is irreversible, however it can be over written. Space on the other hand is under invasion. Foucault mentions the actual scandal of Galileo to be the constitution of an infinite, and infinitely open space**. Although it is known today that the universe is expanding from the first moment, there are serious concerns about owning the space.

If it is infinite and always expanding in time is it necessary to claim ownership to land, space? Moreover is it possible? Lefebvre claims that although they have strong connections, space deviates from time because it is reversible. But it is not the case for both a physical and phenomenological space. Not reversible because the space is ever expanding and the coordinates decentralize. Not reversible because the so-called possessed land cannot remain still over time.

// IV // from future to past | 31 |

fig. 31 . 02

the common good of the local living Think of a place where everybody wants to own. People, animals, plants, cars and history ... But the timeâ&#x20AC;&#x2122;s space is not negotiable. When historians from the future realize the fact about space, they decide to live in the past to rewrite the history as the way it could have been. During their travel, they construct living spaces that could not occupy the land as it is constantly moving [fig. 31 . 03]- moving deliberately, landlessly. fig. 31 . 03

*Walter Benjamin , On the Concept of History, section XIV **Michel Foucault , Of Other Spaces: Utopias and Heterotopias

// IV // from future to past

fig. 32 . 01

fig. 32 . 03

fig. 32 . 02

fig. 32 . 05

| 32 |

fig. 32 . 04

narrative[fig. 32 . 01]. Here, life is a matter of negotiation. between 14th century Genoese city wall and 21st century train bridge, sea and earth, light and shadow. And time is like a flow of water, occasionally displaced by a bit of debris a passing breeze now and then. Some cosmic disturbance will cause a rivulet of time to rub away from the mainstream to make connection back stream. When this happens; birds, soil, people caught in the branching tributary find themselves suddenly carried to the past.

When a traveler from the future must talk, he does not talk but whimpers. He whispers tortured sounds. He is agonized. For if he makes the slightest alteration in anything, he may destroy the future. At the same time, he is forced to witness events without being part of them, without changing them. He envies the people who live in their own time, who can act at will, oblivious of the future, ignorant of the effects of their actions. But he cannot act. He is an inert gas, a ghost, a sheet without soul. He has lost his personhood. He is an exile of time.

// IV // from future to past

fig. 33 . 06

fig. 33 . 07

| 33 |

Such wretched people from the future can be found in every village and every town, hiding under the eaves of buildings, in deserted fields. They are not questioned about coming events about future marriages, births, finances, inventions, profits to be made. Instead, they are left alone and pitied. The things that have been transported back in time are easy to identify. they wear dark indistinct clothing and walk on their toes, trying not to make a single sound, not to bend a single blade of glass for they fear that any change they make in the past could have drastic consequences for the future. ...as they move around they leave some marks behind, nothing that would affect the future just some small clues that people can split the time and look what happen in the past. note: you can see more from the book: https://issuu.com/vajejaksu/docs/son8

| 34 | meow hotel

fig. 34 . 01

studio tutors Construction Project Assoc Prof. Dr. Cem Altun Assit. Işıl Türkay

with where date individual work Istanbul Technical University Fall 2017 - 2018

tools . construction drawings integrated by the hand-made collages

fig. 34 . 01

liberated cats are the main guests and owners of the hotel the hotel is a temporal accommodation for the researches who wants to research on a specific topic, chose a particular room accordingly

cats | books | tea

meow hotel

// V //

// V // meow hotel

fig. 35 . 02

fig. 35 . 03

A hotel for cat lovers. Cats are free all over the hotel including rooms. While the people donâ&#x20AC;&#x2122;t have access from one room to another cats have. The hotel functions as a library, it is covered with books. Each room has a specific research topic such as literature, art, science etc. Teahouse separates the crowded street from the calm place since it is under soil with natural sunlight. There is a vet that is for cats both out and inside the hotel.

fig. 35 . 04

| 35 |

// V // | 36 |

meow hotel

fig. 36 . 01

fig. 36 . 02

fig. 36 . 03

fig. 36 . 04

fig. 36 . 05

// V // meow hotel

fig. 37 . 06

SD. 01

SD. 04

SD. 05

Hotels are often considered as a passing space. A place where people are confortable because of the service, but living there is often not the purpose but a trip for business, leisure or else. This project was influenced from the sense of a hotel with static inhibiters and purposeful visit for research. As the hotel is turned into a library and certain rooms for certain research topic, I was interested to place cats as the main guests for the hotel.

fig. 37 . 07

As the hotel is also used as a library and a place for research, the external loud noise was highly considered in order to reduce the unwanted noise [ fig. 36 . 05 ]. Measures were taken and architecture then evolved in to sensitive for sound and light. In the [ fig. 37 . 07 ]some system details were shown from the section [ fig. 37 . 06 ]of the building. a tea house and a vet is integrated in the program.

| 37 |

fig. 37 . 07

| 38 | advanced roundabout unit

// VI //

B. boulevard

P. proposal

B. buubles

K. key words

// VI // advanced roundabout unit

advanced roundabout unit

Milton Keynes | proposal for A Festival of Creative Urban Living’s Crossroads Open Call

fig. 39 . 02

competition Crossroads Open Call organized by raumlabor berlin Jury’s special mention

with where date

ekin eryılmaz Milton Keynes | UK April 2019

competition . the concept of competition was to propose a structure or a program for a festival in MK that is designed as an utopian city in 1960’s. see what we have proposed to the city’s endless roundabouts... fig. 39 . 02 : Scehmatic cross-section

of Milton Keynes’ Shopping Centre [source: mkdc collection] fig. 39 . 01

| 39 |

awarded

B. project brief

N. project name

the structure is;

Advanced roundabout unit aru // VI //

multi purpose - food | exhibition | riding eco-friendly - cycling socially reliant - interaction flexible and a little bit fun

how do we see Milton Keynes? even if it seems too common, MK’s roundabouts, porte cocheres, flyovers and bollards form the city’s character. “however unsustainable car-based design overlooked the flexibility of its grid”[1]

advanced roundabout unit

the new city movement [when applied in MK] cared less about social aspects than the infrastructure and commercial use. in order to enhace social interaction and simulate an experience- our structure takes the advantage of empty roads, as the grid system would be hacked within MK creative urban festival. therefore we tried to propose an open structure that referes to the unbuilt[social] and imagines the unbuildable. [1] Patrick Barkham, 2016

the structure shouldnt only seen as a proposal for the present day of the festival but an alternative mode of socializing in an around the roundabouts. ADVANCED ROUNDABOUT UNIT is a space for interaction, access, sharing, negotiation that can integrate with various combinations. In 1960 tv commercials were atracting its future residents with the question: “Wouldn’t it be nice if all cities were like Milton Keynes?” then when it comes to 2019 and even further...: “Wouldn’t it be nice if all” roundabouts had ADVANCED ROUNDABOUT UNIT?”

fig. 40 . 01

| 40 |

fig. 40 . 02

fig. 40 . 03

fig. 40 . 04

fig. 40 . 05

fig. 41 . 06

// VI // advanced roundabout unit

| 41 |

fig. 41 . 01

is peace something tangible? when feeling safe is not enough to create peace, can it be built by the people who are not intending to? here the project ensure multiple subjectivities to take place in the space and connect them in everyday life to possibly create peace.

peace buildings

*speacetruction in tarlabaşı

// VII // speacetruction in tarlabaşı | 42 |

fig. 42 . 01

fig. 42 . 02

studio tutors

Architectural Design IV Assoc Prof. Dr. Aslıhan Şenel Hilal Menlioğlu, Tuğçe Alkaş

with where date

individual work Istanbul Technical University Spring 2015 - 2016

tools . re-writing vocabulary for developing concepts upon peace, creating new words the dictionary *speacetruction is a word coined for the collective dictionary intended act of space in order to construct peace between users check more on: https://issuu.com/vajejaksu/docs/speacetruction

// VII // speacetruction in tarlabaşı

| 43 |

fig. 43 . 03

N. narrative

I. name

| 44 |

speacetruction in tarlabaşı

// VII //

speacetruction* in tarlabaşı

narrative. Pera divided the city, Istanbul, into two in medieval times. It was suddenly “us” and “them”. Then we were divided the territories, districts that led one another towards the neighborhoods as if one separation wasn’t enough. We grew apart redundantly, as we added up and reproduced division. Hence, the reason being the social class or the religions, the sects or sometimes the races, it didn’t really make any difference only caused a serious problem.

N. continued

No one did feel belonged to somewhere or something in actual fact anymore. If anyone felt intimate with either of the sides, they totally rejected the other and put a distance in between. Thus, nobody actually belonged to Istanbul. Every neighborhood had a particular image of the image for the city itself but it was far from Istanbul. On top of it every periphery was separated by a bridge, sometimes by a square, or perhaps with a boulevard. It wasn’t arbitrary, everything was according to a plan, the plan only slightly descended from one another. Then they have decided to transform it to something new as they set apart one side of the remaining land to the other. They have invented the thing they called it the urban transformation, another tyranny from above.

No one gave up, each day they transformed the city into a complete shambles; destroying, burning, never stopped never looked back. Replaced each one with a larger, taller, more modern one as until there is no sky left nor a tree, not a single street; then they understood that they were totally alone, no place would worth a look, to meet up, no one to make eye contact with. In each mind the whole city was sharply divided into two, “I” and “them”… No one could feel belonged to anyone, anywhere; neither the districts they were in nor the neighborhood they’ve resided, or the apartments they were living in. The only thing that city residents have shared in common was their loneliness.

// VII //

fig. 45 . 03

fig. 45 . 04

speacetruction in tarlabaşı

fig. 45 . 02

| 45 |

fig. 45 . 01

fig. 45 . 05

co tru ns

// VIII //

io ct ns po

d ea st

I. princesâ&#x20AC;&#x2122; islands - possible futures

| 46 |

I. ell

bir dr ep er sa lac

re p ed on th es ho re

w co nstru ction s pop -up in stea d

I. ne

B. project brief

I. information

F. figures ore sh he nt lac ed o re p sa ird rep elle r

e th I.

I. princes’ islands - possible futures

ar e

sla nd

ith

fe r

rie

I. b

// VIII //

princes' islands

possible futures

looking back to the islands in the eye of

|fig. 47 . 01| a contractor, |fig. 47 . 02| a visitor, |fig. 47 . 03| acity panner and |fig. 47 . 04| an islander

fig. 47 . 02

I. fig. 47 . 03

freelance work organized

Istanbul City Museum Salon Architecture

II.

fig. 47 . 01

fig. 47 . 04

project team

Ayşe Şentürer Ozan Avcı Çağdaş Kaya

where date work

Princes’ Islands | Istanbul Dec 2018 - May 2019 illustration

| 47 |

consulting team Ayşe Şentürer Erenalp Büyüktopçu Yeşim Armağan date Aug 2018

D. drawings

N. project name

II. Museum of the Princes’ Islands

// VIII //

Museum of the Princes' Islands

| 48 |

fig. 48 . 03

fig. 48 . 04 technical drawings above by Çağdaş Kaya.

fig. 48 . 02

E. explained

I. princesâ&#x20AC;&#x2122; islands are unique places to the mainland istanbul in many ways; the living, having no cars, traffic, phaetons and horses, clean air, beaches, villas, higher green area proportion and others...it has become a popular tourist destination because of its alternative living. however there are more destruction on the islands nowadays than preserving the qualities of living. sedef island, for instance, have become a massive construction site for congress.

fig. 45 . 01. even the islanders have debates whether to preserve some or turn it to something else. this work aimed to show some possible futures of the princesâ&#x20AC;&#x2122; island. although it might seem pessimistic, the fundamental arguments are what is in the present.

// VIII // II. Museum of the Princesâ&#x20AC;&#x2122; Islands | 49 |

fig. 49 . 05

D drawings

// VIII // Museum of the Princes’ Islands

fig. 50 . 01

II.

fig. 50 . 02

III.

IV.

I. extention of the roof for the entrance II. complete window surface | door III. transparent separateing with the street

| 50 |

IV. different floor materials to emphasize technical drawings above by Çağdaş Kaya. fig. 50 . 03

fig. 50 . 04

E. explained

The second part of islands work, I have done illustrations for a renovation project that was already designed by Ayşe Şentürer, Ozan Avcı and Çağdaş Kaya. I have added some technical drawings in order to show what I had worked on. The Museum of Princes Islands has an important meaning and location for the islands of Istanbul. As two of the design team are residents of the islands, they have noticed the potential and how it was not used as a landmark. Thus they have decided to make some small interventions in order to make the museum more

attractive to the visitors. The interventions consist of mainly three stages. First, relating to the entrance, second relating to the visibility from the street and third relating to the couryard. The project is still under negotiation with the contractor and the island’s municipality. So there are some new proposals from the design team. Therefore some of the images might be comparably old to the edited ones.

// VIII // Museum of the Princes’ Islands | 51 | fig. 51 . 05

what is special for this project? With the rise of the discourse of fear and identity, indoor and out

// IX // trashed- arian

competition organized

Drawing of the Year 2018 Aarhus School of Architecture

with date

Ekin EryÄąlmaz Nov 2018

â&#x20AC;&#x153; there is but one truly serious architectural problem and that is

the accumulation of trash.â&#x20AC;? tools . trash

| 52 |

waste is rapidly increasing, the ones that are not needed, wanted or seem to be useless. domestic and organic waste as the familiar form; and the digital as relatively new. regardless of the scale, trash are being removed or recycled under the laws of sustainability policies. but the reality is, the trash cannot be entirely destroyed, it can only be displaced or transformed. trash that are being removed from our personal eco-chambers are actually causing more pollution and waste. ironically the whole process seems to be only out of sight and so, out of mind at the end. moreover, this attitude is projected to our social lives. even animals and human beings can be the subject of this removal and repression process: decentralization of animals from the urban areas, migration, refugee crisis etc. can out-casted trash become a resource? a resource for architecture? a tool shaping an alternative reality? for reflecting the idea of trashed-arianism[being concerned in a specified thing-trash in this case] we started with collecting our own waste and use it as a resource for our drawing. enjoy!

fig. 52 . 01

// IX // trashed- arian

| 53 |

// X // ceci n’est pas une toilette

fig. 54 . 01

ceci n'est pas une

toilette studio

collective imaginations

where date

Istanbul Technical University Spring 2015-2016

tools . ...in fact not only a toilet, a temporary leisure place responding to the common needs of the “moving people”.

| 54 |

Taksim Square is a place where time never stops. There are always something going on with the people, birds, machines...It is alive 24/7 but it changes its character time to time. In order to capture the change, the project started by mapping the square. Mapping needed careful observations and a detailed analysis of different actors so then decide where and how to design the toilet. Mapping all those actors, there are no public toilets in the square, ironically... Toilet is considered to be something to be hidden, almost a taboo in the culture. Even the word is mostly avoided to be pronounced. It was hard to answer why something of that common could be banned. Because of that, the toilet was not hidden in some corner where no one would see. It had to be visible. But then it had to confront the difficulty of the moving people. The tactic was to place the toilet in the most crowded place where all the movements happened. So simply the design was not going to be for only people but “the moving people”. What had changed was the architecture that enables the actors to carry their direction, speed, duration, acceleration... See how, fig. 55 . 02

fig. 54 . 01

// X // ceci nâ&#x20AC;&#x2122;est pas une toilette

| 55 |

fig. 55 . 02

| 56 | an ever-augmenting house

fig. 56 . 01

// XI //

the challenge was to settle in 128m3 for a unit of four person and provide privacy in between crowded streets of lisbon

an ever-augmenting house

Architectural Design IV Prof. Dr. Hugo Farias

with where date

individual work Universidade de Lisboa | Lisbon Fall 2016 - 2017

an ever-augmenting house tools . all the project was made hand made on paper. model making from various materials such as raw spaghetti, rubber or paper fig. 55 . 01 demonstrates the first stage of multiplying while fig. 57 . 02 shows how it

is aggregated in the city

fig. 57 . 02

| 57 |

studio tutors

B. project brief

T. title

an ever-augmenting house

// XI //

The area is in the commercial center of Lisbon, Marquês de Pombal, very busy square with cars, behind new settlements. The site is in between Rue Martens Ferrão and Rue Andrade Corvo, parallel to the main street that comes from one roundabouts of Marquês de Pombal. The site is too large not to have connection in between those three streets. So in placing the buildings, I was considering to integrate those street with public access.

plan. top view

elev. north-west

| 58 |

elev. north-east

section. north-west

fig. 58 . 01

E. explained

The ever-augmenting house has three multiple stages. I. Material is multiplied. The whole building, including the furniture- such as cupboards and beds are made out of the same materials. The whole unit is made of laminated wooden panels that can be prefabricated in any dimensions. Wooden panels are carried by steel columns and beams. But the building starts living when people come there with their life...

II. Livability is multiplied. 4 random people can live together, preserving their privacy while having minimum closures. The panels and the objects that are placed in side create visual barriers where necessary. III. The unit is multiplied. A small livable unit is multiplied to overcome the need of the community. Sometimes the unit transforms because it needs to integrate with a stair or elevator. It is multiplied to create a better public space. A square and a view point for the beautiful sunset.

// XI // an ever-augmenting house | 59 |

fig. 59 . 02

// // creating onesâ&#x20AC;&#x2122; own tools | the cover |

summary of works between 2015 - 2019 created for you with joy by nida ekenel contact nidaekenel@gmail.com