a praxis of tools

// section //

nida ekenel BArch Architecture Editions: 3.Creating one’s own Tools 2. Polylogue 1.Questionaire

| cover page |

or a portfolio of selected works between 2015 - 2019

a praxis of tools | nida ekenel

a praxis of tool s

C. concept

//

on the concept of a praxis of tools //

during my studies, I tried developing experimental projects to nurture thoughts through the manipulation, speculation and discovery of alternative 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.

the table of contents

praxis refers to the act of tools that are employed in design process. thus a praxis of tools tries to display various tools in use and the outputs. in the beginning of each section you will find various tools and how their praxis resulted.

2 . 01 from section III, scanning topographies

| II |

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

2 . 02

N. name

S. section

P. page no

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th

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p. 4 - 23

II .

DTOB | dependent territory of belyaevo future visions moscow

p. 24 - 31

III .

scanning topographies photography vs. scanning

p. 32 - 37

IV .

from future to past habitable myth

p. 38 - 45

V.

meow hotel | suadiye hotel building in suadiye kadıköy

p. 46 - 51

VI .

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

p. 52 - 57

VII .

speacetruction in tarlabaşı peace buildings

p. 58 - 63

VIII.

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

p. 64 - 69

IX .

trashed-arian drawing of the year

p. 70 - 71

X.

ceci n’est pas une toilette taksim toilet | common

p. 72 - 73

XI.

prototypo | agregeçao lisbon

p. 74 - 79

for more inidividual works please check; https://cargocollective.com/footnotes for more collaborative work please refer; https://cargocollective.com/faaltools

collaboration faaltools

collaboration faaltools

collaboration faaltools

| III |

paper - being ecologies of living | speculations for housing

a praxis of tools | nida ekenel

3 . 03

I.

|4| paper-being

// I //

K. key words

// I //

paper-being *

a praxis of tools | nida ekenel

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.

individual work Istanbul Technical University Fall 2018 - 2019

tools. paper models, paper collectors, paper making, binding paper, paper structure, cutting paper, paper living, paper actor, paper architecture 5 . 01

|5|

Graduation Project Jury Members Assoc Prof. Dr. Aslıhan Şenel Prof. Dr. Ayşe Şentürer Assoc. Prof.Erdem Ceylan et.al

|6|

paper-being

// I //

mapping of routes

6 . 01

// I // a praxis of tools | nida ekenel

7 . 02

7 . 03

connections make individuals stronger and more efficient in city.

|7|

In search of an alternative urbanization, the project concentrates on the “connections” that makes individuals stronger and more efficient in the multi-action land. Observation on the existing city performers reveals paper to be a significant actor and a profound connector.

Coined as an initiator of life—paper-being — creates an ecosystem, which challenges the contemporary dualities, such as technology versus nature; intellectual vs. farmers.

7 . 04

|8|

paper-being

// I //

mapping of connections

8 . 01

// I // a praxis of tools | nida ekenel

9 . 02

* Jorge Luis Borges, On Exactitude in Science,1946 9 . 03

9 . 04

** the concept by Sola Morales

|9|

Appropriated as a tool for measuring, maps reflect its proponent’s ideology. This authenticity impacts how architects discern a place and as a consequence develop their proposal. With his allegory, Borges* illustrates the dual reality of maps that is to be being both inclusive and exclusive. Eliminating city actors and their connections, conventional mapping, though indirectly, resulted in terrain vague**. Seeking a substitute for the anthropocentric ecology and speculations for housing, my project compelled an alternative mapping, where the actors were measured within their connections. Hence the mapping allowed me to realize how powerful and effective the city performers are so instead of eliminating them in the design stage, I have built all the architecture on their act.

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// I //

e insid

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| 10 |

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10 . 02

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// I //

11 . 03

a praxis of tools | nida ekenel

11 . 04

| 11 |

11 . 05

Material world continues. It is endless and it is ubiquitous. Materials, however, is now associated more with obsessions and possessions. Rather then properties, their continuity can be projected as complex relations between things. Perhaps, this shift of the perception from commodities to connections may reconstruct

11 . 06

the ecology we live in. Rejecting the repeated anthropocentric urbanization in modern cities, materials – something far less anthropocentric [1] – can be cast as the main character of architecture. Thus, the architecture is reduced to the materials in action, rather than invited to serve human-being.

[1]Petra Lange-Berndt citing Tim Ingold in Materiality, 2015, 13

// I // paper-being | 12 |

12 . 01

Materials that are cast to build life are called the matter-being. Here, the life is stimulated by papers in the first place. Paper is light, neither dead nor alive, and it has the capacity to store knowledge that is essential for cognitive evolution. Paper-being, in this case, builds life in the

neighborhood for the city actors to perform. Any action is performance in the city and the performance requires connections. As connections make individual actors more powerful in the city, the paper-being aims to build a network of actors.

paper [re] making

// I // a praxis of tools | nida ekenel

| 13 |

13 . 02

14 . 01 14 . 02

| 14 | paper-being

// I //

// I // name of the project | 15 |

15 . 03

Every jury session, invited people to collaborate the design process. In order to spur direct interaction, some models consisted additional voids 14 .02—so that people could readjust the patterns of columns—and every single physical model contained extra materials with its tools attached beside. 14 .01, 02

15 . 04

// I // paper-being | 16 |

16 . 01

Connectivity is performed as such; I. The paper collectors in the city start 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 | 16. 01 II. Community gardeners exchange their products to have variety in their food. Some seeds are used in paper making process in order to give different textures

to the papers.

III. Publishers sell the books that are produced from the papers that the collective make | 16 . 02 IV. The papers are grained with some specific fish that can grain the paper.

A specific area is used for fishing and trade for fishing. in the collective as an exchange.

// I // a praxis of tools | nida ekenel

| 17 |

17 . 02

| 18 |

a

b

C

D

E

f

paper-being

// I //

// I // a praxis of tools | nida ekenel

19 . 01

aims to make city actors of this world rather than just remain on or in this world [2].

The SPURSE group mentions in A Guide Book of Alternative Nows, edited by Amber Hickey, 2012, 62 [4]

19 . 01

| 19 |

paper-being

You are invited to go through pages of a study that was designed on paper [with sketches], from paper [used as a material], thus had never been outside a paper and eventually 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 [3] .

| 20 |

paper-being

// I //

[3] From Victor Hugo, Notre-Dame de Paris, 1833

20 . 01

// I // a praxis of tools | nida ekenel

| 21 |

21 . 03

21 . 02

// I //

so judge me by the page but not by my cover like it or not I live by the book [4]”

| 22 |

paper-being

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

22 . 01

Sketchbooks are like dated litmus papers.

Litmus Papers are tools for measuring the pH level by changing color when interacted with a solution. Since there isn’t a perfect acidity in designing, you need a judge to measure your thoughts. Sketchbooks can show where you are and where you were.

[4] From the song The Book by King Gizzard Lizard Wizard,

album Sketches of Brunswick East

// I // a praxis of tools | nida ekenel

| 23 |

23 . 02

a dystopia where people are heavily sick from insomnia / central bank is the new church / the houses are like prisons / the imprisoneds are free

the dependent territory of belyaevo future visions Mосква

dtob

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

24 . 01

individual work

| 24 |

Istanbul Technical University Spring 2017 - 2018 Architectural Project VII Prof. Dr. Ayşe Şentürer Assist.Erenalp Büyüktopçu tools . narrative as a tool to imagine alternative nows.

Located in a dystopian world in 2050, a minority rediscovers spatial tools to reconstruct their truth against a totalitarian regime—an allegory of the present day.

// II //

fig. 25 . 06

name of the project

| 25 |

25 . 02

25 . 01

| 26 | DTOB - the dependent territory of Belyaevo

// II //

the suspended layer of drones

26 . 03

26 . 01

26 . 02

// II // a praxis of tools | nida ekenel

27 . 04

27 . 05

Tools in the collages tell the stories of what happened in Soviet Russia. Each image contain a plane of a fictional and an objective reality, distinguished by the level of blurriness.

Yet the reality we all live in is not created single-handed. There are many tools that cause us to shapethe reality; society, politics, advertisements, religion, the books etc. Here, tools demonstrate the power to create reality. 26 . 02

26 . 03 People watched how magnificent it was but Russians didn’t thought so.

27 . 04 The picture that is shown in media was utterly disparate from how people lived. Soviet Realism in paintings showed happy working class, but seldomly the suffer. Thus, Soviet communism toppled because the fiction ended.

27 . 05 People of Belyaevo seemed to be happy in all means but they were drastically pushed into living in small units of microrayons.

However, what if the world turns into a place where the truth is created single-handed in a dystopia where patrolled by a suspended layer of drones? 27 . 01

| 27 |

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. Thus existing is the truth is ambiguous, there are realities. 27 . 03

// II // | 28 |

DTOB - the dependent territory of Belyaevo

28 . 01

28 . 01 demonstrates the life of two in 2000’s after the soviet regime, The lifestyle represented here is similar to the present. In a way, it is the start of the dystopia in Belyaevo. Accompanied with 29 . 03, the allegory starts when people waive their rights to use the tools to the suspended layer of drones, a developed system of AI.

// II //

29 . 02

a praxis of tools | nida ekenel

29 . 03

30 . 01

| 30 | DTOB - the dependent territory of Belyaevo

// II //

// II // a praxis of tools | nida ekenel

31 . 02

| 31 |

31 . 03

31 . 04

Yet, the ruling of the drones do not survive for long. A number of artists find a way to hack the oppressive system of the drones. By pulling the life tubes inside a pond, the artists multiply the reality again, because the drones either do not see or view different life in the water. 31 . 04 shows what are the difference in drones vision and the reality.

| 32 |

32 . 01

scanning topographies

// III //

R. recording

M. multiplying

P. plan

K. key words

// III // a praxis of tools | nida ekenel

scanning topographies

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

33 . 03

2019 - ongoing self initiative research Istanbul | Turkey tools . exploring the field in between photography and scanning; one being more dependent on time and depth while the other flattens the reality capturing a punctum.

| 33 |

33 . 02

collaboration faal tools https://cargocollective.com/ faaltools

// III // scanning topographies | 34 |

34 . 01

34 . 01

34 . 02

use scanning as a tool documenting daily life

for

use mapping as a tool to superpose time.

In 35 . 03, the movement occurs when the scanner is not working. Thus, it freezes the place beneath but enable the rest to move. While scanning gives some clues to freeze time, it also tells us things about the depth and the distance between the screen of the scanner and the surface of the scanned place..

// III //

| 35 |

35 . 05

35 . 04

a praxis of tools | nida ekenel

35 . 03

| 36 | scanning topographies

36 . 01 36 . 01

36 . 02

// III //

// III // a praxis of tools | nida ekenel

37 . 03

| 37 |

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 questioning the representation of the topography.

Can the space alter depending the features of movement such as acceleration, speed, direction? The image tells us that it can. 37 . 04. coming soon..

37 . 04

| 38 | from future to past

// IV //

E. un zipping the past

B. project site

I. memory a of:

| 39 |

39 . 01

a praxis of tools | nida ekenel

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

// IV //

Architectural Design III Assoc Prof. Dr. AslÄąhan Ĺženel

from future t0 past Istanbul Technical University Fall 2015 - 2016

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 .

individual work

K. key words

| 40 |

40 . 01

B. project brief

I. name

// IV //

from future t0 past

the project was built upon a myth from the writings of Alan Lightman, Einstein’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 [time] is under construction and there is an ever-present negotiation on who the author could be. It never gives 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 land dispossession.

An infinite and expanding space preclude one from claiming ownership over a place.

Lefebvre claims that although they have strong connections, space deviates from time because it is reversible***. However, taking in count Foucault, a place is irreversible too, because of the decentralization of the coordinates caused by the ever expanding universe. Yet, not reversible because the so-called possessed land cannot remain still over time.

// IV // a praxis of tools | nida ekenel | 41 |

41 . 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 time’s space is not possessable. When historians from the future realize the fact about space, they decide to live in the past to rewrite the history.

During their travel, they construct a place that could not occupy the land as it is constantly, deliberately, landlessly moving 41 . 03.

41 . 03

*Walter Benjamin , On the Concept of History, section XIV **Michel Foucault , Of Other Spaces: Utopias and Heterotopias *** Henri Lefebvre, The Production of Space, 1991,p.175

// IV //

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.

from future to past

narrative . Here, life is a matter of negotiation; between 14th century Genoese city wall and 21st century train bridge, between sea and earth, between 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.

| 42 |

42 . 01

42 . 02

42 . 03

// IV // a praxis of tools | nida ekenel

| 43 |

43 . 05 43 . 04

// IV // from future to past | 44 |

44 . 01

44 . 01

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.

// IV // a praxis of tools | nida ekenel

| 45 |

45 . 02

cats | books | tea

meow hotel

// V // meow hotel

individual work Istanbul Technical University Fall 2017 - 2018

| 46 |

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

tools . construction drawings integrated by the hand-made collages liberated cats are the main guests and owners of the hotel 46 . 01

47 . 02

// V // a praxis of tools | nida ekenel

| 47 |

47 . 04

47 . 03

// V //

48 . 02

meow hotel

48 . 01

| 48 |

48 . 03

48 . 04

48 . 05

// V //

49 . 06

a praxis of tools | nida ekenel

Hotels are often considered as a passing space. A place where people are confortable because of the service.

In fact hotels do not primarily aim a life there but often a temporary habitation following a trip for business, leisure etc. This project was influenced from the sense of a hotel with static inhibiters and purposeful visit for research. As the hotel turns into a library and certain rooms for certain research topic, cats become the main dwellers.

49 . 01 49 . 07

| 49 |

As a result of its library function, external sound becomes a matter to solve—considering the noisy road in front of the site. Trees and barriers in 48 . 05 demonstrates the sound insulation solutions in reducing the unwanted noise. Measures evolved architecture into a sensitive environment for sound and light 48 . 03.

A tea house and a vet is integrated to the program due to the large cat population.

| 50 | meow hotel

// V //

// V // a praxis of tools | nida ekenel | 51 |

51 . 01

51 . 02

A system section is shown above 51 . 02. dual details of the building, from above; roof-external wall, external wall-opening, floor-external wall

| 52 | advanced roundabout unit

// VI //

B. boulevard

P. proposal

B. buubles

K. key words

// VI // a praxis of tools | nida ekenel

advanced roundabout unit

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

53 . 02

collaboration faal tools https://cargocollective.com/faaltools

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...

53 . 02 Scehmatic cross-section of Milton Keynes’ Shopping Centre [source: mkdc collection] 53 . 01

| 53 |

Crossroads Open Call raumlabor berlin Jury’s special mention

B. project brief

N. project name

Advanced roundabout unit aru

advanced roundabout unit

// VI //

54 . 01

the structure is; multi purpose; food | exhibition | riding eco-friendly; cycling socially reliant; interaction | flexible | fun

How do we see Milton Keynes?

| 54 |

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] The new city movement [when applied in MK] cared less about social aspects than the infrastructure and commercial use. In order to enhance social interaction and simulate an experience— our structure takes the advantage of empty roads, as the grid system is going to be hacked within MK creative urban festival. As a consequence, our proposal is an open structure that refers to the unbuilt[social] and imagines the unbuildable.

[1] Patrick Barkham, 2016

54 . 02

55 . 03

// VI // advanced roundabout unit

| 55 |

fig. 55 . 01

| 56 | advanced roundabout unit

// VI //

// VI // a praxis of tools | nida ekenel

57 . 02

57 . 01

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 attracting 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?”

57 . 01

57 . 04

| 57 |

57 . 03

58 . 01 | It all started when the city was divided into two:“us” and “them”.

The only thing that city residents have shared in common was their loneliness.

peace buildings

*speacetruction in tarlabaşı

// VII // speacetruction in tarlabaşı

us

them 58 . 01

individual work

| 58 |

Istanbul Technical University Fall 2015 - 2016 Architectural Design IV Assoc Prof. Dr. Aslıhan Şenel Assit.Hilal Menlioğlu Assit.Tuğçe Alkaş tools . re-writing vocabulary for developing concepts upon peace, placing those new words in a peace dictionary and sewing as a tool for drawing in flow *speacetruction is a word coined for the collective dictionary intended act of space in order to construct peace between users

// VII // a praxis of tools | nida ekenel

| 59 |

59 . 02

N. narrative

I. name

narrative. Pera divided the city, Istanbul, into two in medieval times. It was suddenly “us” and “them”.

| 60 |

speacetruction in tarlabaşı

// VII //

speacetruction* in tarlabaşı

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.

N. continued

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. 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.

// VII // a praxis of tools | nida ekenel

61 . 02

| 61 |

61 . 01

61 . 04

| 62 | speacetruction in tarlabaşı

// VII //

a praxis of tools | nida ekenel

63 . 03

// VII //

63 . 02

63 . 04

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.

63 . 01

| 63 |

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”…

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// VIII //

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I. princes’ islands - possible futures

ew

| 64 |

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I. information

F. futures

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// VIII // a praxis of tools | nida ekenel

princes' islands

possible futures

all the illustration in the portfolio are my individual work, except for the technical drawings in pages 66 and 68 [mentioned] I. Istanbul City Museum Salon Architecture

consulting team

Ayşe Şentürer Erenalp Büyüktopçu Yeşim Armağan Aug 2018

II. project team

Ayşe Şentürer Ozan Avcı Çağdaş Kaya Princes’ Islands | Istanbul Dec 2018 - May 2019

65 . 01

| 65 |

freelance work organized

D. drawings

N. project name

II. Museum of the Princes’ Islands

// VIII //

Museum of the Princes' Islands

| 66 |

fig. 66 . 02

66 . 03 technical drawings above by Çağdaş Kaya.

66 . 01

E. explained

I. Princes’ 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 65 . 01.

Even the islanders have debates whether to preserve some or turn it to something else.

The first work, for the City Museum Istanbul, aimed to show some possible futures of the princes’ island. Although it might seem pessimistic, the base argument is the present itself.

// VIII // a praxis of tools | nida ekenel | 67 |

67 . 04

D drawings

// VIII // Museum of the Princes’ Islands

68 . 01

I.

II.

68 . 02

III.

IV.

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

| 68 |

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

68 . 03

68 . 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 courtyard.

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 // a praxis of tools | nida ekenel | 69 | 69 . 05

// IX //

“ there is but one truly serious architectural problem and that is the accumulation of trash.”

collaboration faal tools https://cargocollective.com/faaltools Drawing of the Year 2018 Aarhus School of Architecture

trashed- arian

Nov 2018

“ there is but one truly serious architectural problem and that is the accumulation of trash.” tools . trash Waste is rapidly increasing some of which are not needed, wanted or seem to be useless. domestic and organic waste as the familiar form; and the digital as relatively new.

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Regardless of the scale, trash are being removed or recycled under the laws of sustainability policies. But 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 aim being out of sight, thus, out of mind. 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 for architecture? A tool shaping an alternative reality? For reflecting the mindset of trashed-arianism—being concerned with trash and its use—we started with collecting our own waste and use it as a resource for our drawing.

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// IX // a praxis of tools | nida ekenel

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// X // ceci n’est pas une toilette

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ceci n'est pas une

toilette individual work Istanbul Technical University Spring 2015-2016 collective imaginations Assoc. Prof. Aslıhan Şenel tools .

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

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.

To place the toilet in the most crowded place where all the movements happened was the starting point.

So simply the design was not going to be for static people but “the moving people”. Thus architecture enabled the actors to carry their direction, speed, duration, acceleration...See how, 73 . 02

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// X // ceci n’est pas une toilette

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// XI //

// XI //

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

a praxis of tools | nida ekenel

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 74 . 01 demonstrates the first stage of multiplying while 7 . 02 shows how it is aggregated in the city

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Architectural Design IV Prof. Dr. Hugo Farias

T. title

// XI // an ever-augmenting house

plan. top view

elev. north-west

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elev. north-east

section. north-west

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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.

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// XI // a praxis of tools | nida ekenel

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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.

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creating ones’ own tools

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a praxis of tools selected works between 2015 - 2019

thank you for reviewing my application nida ekenel