YELTA KÖM Yelta Köm is 1986 Istanbul born architect based in Istanbul. He has received bachelor degree in architecture at Yildiz Technical University also he studied at Aristotle University Thessaloniki as an exchange student. He lead an an organization “kayıtdışı” in Istanbul. He serves as the co-curator of this design collective. Kayıtdışı focuses on situational analysis and critical approaches. He was granted by Smart Geometry, IAAC (Institute of Advanced Architecture of Catalunia), AA (Architectural Associaton) Mittelmeerland. He competed in several national and international competitions and received awards or distinctions at each of them. His works focused on theoretical discussion about artistic/architectural interventions in public space, geo-politics and contemporary urban problems related to communities, conflict spaces. In 2011, he got a travel scholarship from Arkitera Architecture Center. He traveled in 35 days around 8 countries, 10 cities (Mumbai, Jakarta, Guanzhou, Beijing, New York, San Francisco, Mexico City, Buenos Aires and Sao Paulo). This travel was a rapid research project and its aim was to seek an answer of “How keeps production these cities alive? What is the role of liveness of production for these cities?”. Last year he founded with his friends Herkes Icin Mimarlik, a registered non-profit organization devoted to searching for architectural solutions to social problems are faced today in Turkey, where he is also member of auidit comission. His recent work “Adhoc Library” exhibited at 1st Istanbul Design Biennial “Adhocracy” exhibition, curated by Joseph Grima. Also his has two works in “Musibet” exhibition, curated by Emre Arolat, one of them with kpm -kerempiker mimarlık and other with Herkes İçin Mimarlık.
web blog google mobile twitter video
: yeltakom.info : yeltakom.tumblr.com : yeltakom@gmail.com : +90 535 773 08 23 : twitter.com/yeltakom : http://vimeo.com/user763543
EDUCATION
2012 Architectural Association School of Architecture, London AA Visiting School Mittelmeerland 3 - Beirut, Architecture Visiting School Student 2005 – 2012 Yildiz Technical University, Istanbul Faculty of Architecture Architecture 2009-2010 Aristotle Technical University of Thessaloniki Architecture Department (Exchange Program) 1997 - 2004 Uskudar Anatolian Highschool German Education in Science KOTUstudio Co-Founder, Freelance Architect
August 2007 – Present kayıtdışı Co-founder, Co-Curator May 2011 - November 2012 KPM Kerem Piker Mimarlık Architect 2009 with PAB and SO? Graphic Designer 2007 - 2008 YTU Architecture Department Computer Aided Design Department Student Asistant 2005 -2006 Istanbul Municipality Theatre International Theatre Festival Project Asistant 2004 -2007 Anatole Street Players Project Asistant 2005 - 2006 Parnas Visual Communication Design Graphic Designer
2012 2012 2011 2010 2009 2007 2007 2007 2007 2007 2007 2006 2005 2005
- Design Like You Give a Damn: LIVE! | Architecture for Humanity, San Francisco - AA Visiting School | Mittelmeerland Beirut - EASA010 Manchester |Data Scaping - IAAC Barcelona | SmartGeometry Workshop - Parametrics and Physical Interactions - EASA09 Italy | Re.Pose Pavillion - European Architecture Students Assembly: EASA 2007 ‘city index’ - a-m-b-e-r 07 body process arts festival Computational Visual Design Workshop - STL in Architecture: Cad to Cam - Bozcaada Mimarlik Bulusmasi 07 - imkan/mekan Salacak - imkan/mekan - !F Indepented Film Festival Interactive Video - The History of Graphic Design | Galatasaray University - Basic Design | Galatasaray University
TEACHING EXPERIENCE
WORK EXPERIENCE December 2011 – Present
December 2011 – Present Herkes İçin Mimarlık Co-Founder, Member of Audit Commission
WORKSHOP PARTICIPATIONS
“Herkes Icin Mimarlik” (Architecture For All) is a non-profit and independent architecture organization based in Istanbul devoted to offering architectural solutions to social problems which are faced today in Turkey and beyond and promoting participatory design process in architecture education.
“kayitdisi” , which is the first organization in Turkey to bring people from all art-social science-design disciplines together in one platform. It is one week organization with more than 200 participants, it includes workshops, lectures, discussions, parties, presentations and exhibitions. It is an informal experiment in formal architecture education.
2013 2012 2011 2011 2009 2009 2008
- Bisuru Design Week | Prothesis // Protest - Istanbul Design Biennial Workshop Series | Design for All with TAG Platform - insanity solves everything! | Yıldız Technical University - Betonart Concrete Summer School - Kayıtdışı02 “liminal” : media,press workshop for kayıtdışı - European Architecture Students Assembly: EASA 2009 ‘supermarchNET” - European Architecture Students Assembly: EASA 2008 ‘adaptation’
EXHIBITIONS / SCREENING 2012 2012 2012 2012 2007 2006 2006 2005
- 1st Istanbul Design Biennial “Adhocracy” | Ad-hoc Library - 1st Istanbul Design Biennial “Adhocracy” | Active Monument to Urban Destruction - 1st Istanbul Design Biennial “Musibet” | Söz - 1st Istanbul Design Biennial “Musibet” | Bomba - MIMED | Architecture Student Projects Exhibition - Tershane Exhibition | Young Artist Exhibition - Galatasaray University | Young Designers Exhibition - control/error/play | experimental video screened at Akbank International Short Film Festival
AWARDS 2012 2011 2010 2009 2009 2008 2008 2007
- Ankara Mamak Prison Renovation Idea Competition | 2nd Place with KOTUstudio - Manisa Municipality Building and Urban Design Architectural Competition | 1st Place with KPM - Çankaya Concert Hall and Municipality Building Architectural Competition | Honourable Mention - New Karakoy Vision Urban Design | Honourable Mention - Ankara Kızılay Square Urban Deisgn | 1st place - Chamber of Architects Architectural Education Poster Competition| Honourable Mention - National Architectural Competition Yozgat Culture Centre | 2nd place with PAB Architecture Office - European Architecture Students Assembly: EASA Archive Logo | Honourable Mention
PROJECTS OPEN CITY MALTEPE AA MITTELMEERLAND BEIRUT ARCHIVO PAVILLION SPACE FOR EVERYBODY ACADEMICS PROFESSIONAL
CANKAYA CONCERT HALL THE BOMB AD-HOC LIBRARY
INTERVENTIONS
WORD
COMPETITONS
SİSLİ HEA MAMAK OCCUPANT MOTION RE.POSE CCR HOTELS ECO-HOUSE MANISA MUNICIPALITY
NAME
TYPE
LOCATION
AIM
OPEN CITY MALTEPE ISTANBUL ROLE
PERSONAL PROJECT
DATA
ACADEMIC / THESIS PROJECT
2011
CITY HALL DESIGN FOR MALTEPE NEIGHBOORHOOD, ISTANBUL
decision maker is not an authority
permeable city
CITY
who owns the city?
EVENT-ACT-SCENE
şehir, medina, ville, citta, stadt, city, ciudad
City is the set of events
different moments, different experiences
The structure of the city is permeable. It slips away with this permeability.
decision- making authority
}
REPRESeNtaTION TOOL
Who is going to municipality?
SITE VIEW
MUNICIPALITY
Municipal buildings and methods of local authority have been the tools of government's representation.
The transparency of CITY PARLEMENT decision-making is shaped with
open to public, open to participation
public space is not so public.
the founded and broken context and also with its places which present new perspectives and potentials.
A municipality is usually an urban administrative division having corporate status and usually powers of self-government. The term municipality is also used to mean the governing body of a municipality. A municipality is a general-purpose administrative < Ar> kente ait olan, kentsel <Ar> kent, şehir, ülke, memleketsubdivision, --> belde as opposed to a special-purpose district. The term is derived from French "municipalité" and Latin "municipalis".
xix (umur-ı, daire-i) beledîye1854 idare reformuyla İstanbul'da kurulan idari birimlerin adı
Arapça nisbet sıfatının dişil hali iken 19. yy'da Frmunicipalité karşılığı bağımsız sözcük oldu.
a new city hall vision
belediye
dynamic
static
EARLY SKETCHES
City is the set of events that enables different moments, different perceptions, different experience. The structure of the city is permeable. It slips away with this permeability, builds frameless scenes.
How a public building, particularly a municipal building project the city, instead of the government? How is it entegrated with the city? And what does a municipal building bring to the city?
The decision- making municipal authority is an important part of permeable city. The transparency of decisionmaking is shaped with the founded and broken context and also with its places which present new perspectives and potentials.
“Maltepe Municipality- Open City” is a trial who wants to answer these questions. More of a building, this is a volume, defining the intersecting gaps of life.
While participating in urban management, the municipal authority integrates with it, cut into pieces, re-collects, penetrates into the space. Municipal buildings and methods of local authority have been the tools of government’s representation.
A twenty-four hours living complex, protects the urban memory, attracts users of all ages with its city park, ferris wheel, market areas under cover, wedding hall opened in front of the wedding square.
In addition, the building that has an innovative strategy for the internal organization, aims to maintain maximum transparency and make everyone work in coordination at the offices. The office floors relate with gardens, connect each other with bridges. They also have got both open and closed circulation areas by the agency of the upper cover. The city council, which is an important decision-making organ of the city, lengthens to the square with its mass - seperated structure. The transparent, permeable red texture on it shows the noticeability and accessibility.
can we build destruction of perception with breaking the pieces?
OFFICE FLOORS PLAN +9.00
OFFICE FLOORS PLAN +12.00
SITE PLAN
OFFICE FLOORS PLAN +15.00
EXPLODED VIEW
PUBLIC DEPARTMENTS
DEPARTMENTS
PUBLIC DEPARTMENTS
ORGANIZATION STRUCTURE
FRONT VIEW
PUBLIC DEPARTMENTS
MODEL WORKS
NAME
TYPE
LOCATION
TEAM
AA MITTELMEERLAND BEIRUT BEIRUT ROLE
DATA
ACADEMIC 2012 YELTA KÖM,ALINE HADDAD, MAYSSA JALLAD, KAROLINE LIEDTKE
TEAM PROJECT (CONCEPT DEVOLOPING, 3D AND 2D VISUALIZATIONS)
Beirut is a city, which got over a long term of war and still has its clues. Within the context of this work, five different regions of the city have been operated. My team worked at Normandy region. Normandy represented the filler area of the city. It was an artificial district, which had been made by filled up sea on the coast. On this
district, Beirut’s future projects are developing, construction proceeds all the time; however, the signs of the past are still visible. St. George Hotel was starting the private marina part. We did the first intervention to St. George Hotel, and made inside of it public by opening its walls. Thus coastline could continue uninterruptedly.
PROJECT SITES
1ST INTERVENTION | OPEN ST GEORGE HOTEL TO THE PUBLIC
NORMANDY NARRATIVE MAPPING
NORMANDY NARRATIVE MAPPING
Normandy will always stay as a construction zone in the future of the city. On the contrary, we developed the portative football pitch idea. A region will comprised, which provides both to come people to that area, and activate the city. The football interest of Lebanese will increase this addition. For each area, football pitches will build before the construction begins, stay until the construction completes on the next parcel, and then move to the other regions of Beirut. In a manner, football pitches will be the symbol of the urban renewal of Beirut, and provide social impact.
2ND INTERVENTION | FOOTBALL FIELDS ON THE NEW LANDFILL
2ND INTERVENTION | FOOTBALL FIELDS ON THE NEW LANDFILL
NAME
TYPE
LOCATION
TEAM
ARCHIVO PAVILLION MEXICO CITY ROLE
DATA
COMPETITON 2012 KOTUSTUDIO (YELTA KÖM,ERDEM TÜZÜN), MAP/MX ISAAC MICHAN
PROJECT OWNER (CONCEPT DEVOLOPING, 3D AND 2D VISUALIZATIONS)
“It would be a mistake to think that the painter works on a white and virgin surface. The entire surface is already invested virtually with all kinds of clichés, which the painter will have to brake with”. (Gilles Deleuze, The Logic of Sensation) The project operates between the different fields of forces that already exist on the site and rather than resisting them they are used as design tools to integrate the surroundings into the pavilion. By taking advantage of the site’s given conditions we are creating a living collage which operates and is conceived as both a fixed object and an open ended condition. Because of the duality between
these opposite ideas we were able to generate consistency and contradiction, specificity and randomness, fixed views and flexible frames, all at the same time. The project proposes a pavilion which is in a constant evolution, not because it changes but because of its visual and programmatic potential. Rather than conceiving it with some sort of symbolic re-presentation of the surrounding context, we want to leave its meaning open, commemorating public space throughout its use and interaction with people; throughout a democratic space, allowing users to give its own understanding and meaning. The project gives a different perspective of its environment.
L- 4.50m L- 3.05m
L- 0.00m
VIEW FROM BARRAGAN HOUSE
REFLECTION POSSIBILITIES
L- 4.50m L- 3.00m
L- 0.00m
SECTION
COLLAGE THEATER
LIGHTING
As the pavilion is built with mirrors panels the landscape of the project is not only the area in which the pavilion sits, but also its neighbors; from Luis Barragan’s Casa Estudio backside façade and garden to Av Constituyentes. We will create a surreal space where places that are not easily perceived together can meet. The placement of the mirror planes respond to the certain contextual conditions such as views, program and flow patterns as well as to some degree of randomness that will provoke unpredicted experiences and views, ones that we cannot even imagine. The engagement of the visitor with the pavilion will set the final touch to the design process.
WORKSPACE
The pavilion is conceived as an open ended playground where there are some fixed views that frame specific areas but because of the disposition and materiality of the project there are multiples views and interactions that the pavilion can give to its users. The pavilion can also be conceived as a hybrid urban piece of furniture, gradually emerging from one program to other, forming canopies, platforms, benches and everything that the user will create. In other words, it is a living playground; it will invite people to a mutual interaction and will awake their creativity.
If Archivo Diseño y Arquitectura, is known for its spectacular location (next to Luis Barragan’s Casa Estuddio) why don’t we take advantage and bring it into the pavilion to get a different perspective as well to meet with archivo diseno y arquitectura landscape and architecture.
VIEW FROM PAVILLION
S1
S2
1618 1618
1618
1618 1618 1618 1618 1618
1618
1618
1618
1618
1618
1618 1618 1618
1618
1618
1618
1618
1618 1618 1618
1618
1618
PLAN
NIGHT VIEW
NAME
TYPE DATA
LOCATION
TEAM
KIZILAY SQUARE URBAN DESIGN PROJECT ANKARA, TURKEY ROLE
COMPETITION 2009 YELTA KÖM, ERDEM TÜZÜN
PROJECT LEADER (CONCEPT DEVELOPING,3D VISUALIZATIONS, DIAGRAMS) During the mankind’s history, the plazas and public spaces have been the stage of municipality’s prestige projects, power elite’s ground and also the signs of politicial decisions taken by competent power without considering the real city dwellers at all. The public space has always been shaped by the decisions of external powers. Even the basic, naive city designment projects and public space projects have been shaped by the politicial powers of that time. Historicism in terms of design decisions has been dignified as a generical attack and also individual or ideological attacks have been given more importance than the city dwellers and the city’s essential requirements itself. However, contrary to some assumptions the others have the city is not in a passive location on which everybody can utter something or eveybody can take a decision. By contrast with, the city is in a location in which creates its own fiction, an active system having the power of reducing to absurdity, making even a monumental production totally meaningless.
Even though sometimes the city may seem to accept the utterings and the ideals on which has been said on behalf of itself; the time makes it possible for the city to find itself by converting all these ideals and utterings to total mistakes and dead-ends. Every single wrong decision will eventually come to the city’s agenda as a crucial problem which needs to be solved at once. Today, the biggest mistake which is still being done is the effort of intervention to the city with a totally external point of view. However, the city is a “changing times sequence” which moves altogether with its own time soul and according to the needs of city dwellers and their essential requirements.
EXPLODED VIEW
Today, the correct and well-balanced intervention to a city is a fictionalizing a system in which the city dwellers constitute the most important part of this organism and an creating a mechanism which are open to all potentials and facilities. The city should be purified from all individual, personal and ideological discourses and registers at once. The city should be converted into a condition which answers the city’s dwellers needs as soon as possible.
The city is wholistic and integral. The roads, the structures, the spaces and of course the people are the parts of this wholism. When there is an intervention to the city, all these elements interact in the end. The consequence of all those attacks influence this internal dynamism. For instance, a decision which is taken on behalf of a road will not only affect this mentioned road but also all this operational mechanism. The thing to be suggested as a place like Kızılay Meydanı which has been exposed to many interventions. During the history; must be a total, multi –level and interactive solution shaped by the city dwellers’s essential needs. The solution which has been suggested must belong to this place. A system, which does not only watch and stays at a passice location but also takes action must be shaped as soon as possible. A mechanism which determines its own essential requirements and behaves according to these needs must be shaped at short notice, immediately.
VIEW FROM GROUND
TIMELINE OF KIZILAY AND TURKISH POLITICS
VIEW FROM GROUND
SITE PLAN
NAME
TYPE
LOCATION
TEAM
SPACE FOR EVERYBODY, NEW SPACE ELEVATOR NORTH POLE ROLE
DATA
RESEARCH 2011 YELTA KÖM, ERDEM TÜZÜN, EGE ÖZGIRIN
PROJECT LEADER (CONCEPT DEVELOPING,3D VISUALIZATIONS, DIAGRAMS)
VIEW FROM CAPSULE
ELEVATOR
CONCEPT OF SPACE ELEVATOR
PLASMA CONDENSER
LAUNCH AREA
FIXING UNITS
NAME
TYPE
DATA
CANKAYA CONCERT HALL AND MUNICIPALITY BUILDING
COMPETITION 2010
LOCATION
TEAM
ANKARA, ISTANBUL ROLE
ONUR SAGKAN, ERDEM TUZUN, YELTA KOM, MIHRIBAN DUMAN, HAYRETTIN GUNC
TEAM PROJECT (3D AND 2D VISUALIZATIONS, DIAGRAM DRAWING)
SECTION
FANTASTIC SYMPHONY VIEW FROM STREET
Now, people expect more from public spaces. We are able to make videocalls or access internet and move from one place to another at the same time. When we are talking about public space now, we have distinguish the real one from the virtual one. As time passes by, evolving communication technologies are stretching our imagination. What we encounter on glossy screens, interferes our realities and starts shaping our cultural values. Fantastic Symphony is an update for public space. Coming into life as Cankaya Municipal Building and Ulvi Cemal Erkin Concert Hall, the project defines a new narration of time.
PLANS
SITE PLAN
BACK FACADE
NAME
TYPE
LOCATION
TEAM
THE BOMB
DATA
EXHIBITION 2012
1ST ISTANBUL DESIGN BIENNIALE MUSIBET EXHIBITION CURATED BY EMRE AROLAT ROLE
PROJECT ARCHITECT (CONCEPT DEVELOPING,3D AND 2D VISUALIZATIONS,
KPM KEREM PIKER MIMARLIK, ARCHITECTURAL STUDIO (YELTA KÖM, CANSU CÜRGEN , NIL KARAMOLLA, YAĞIZ SÖYLEV, YIĞITCAN ÜLKÜCÜ, GIZEM ŞAHIN, SELIN KÜÇÜK, DILDE BARUTÇU, AYŞE DEDE, ASLIHAN AVCI, KEREM PIKER)
MODEL)
‘The Bomb’ is an architectural mockumentary designed for the First Design Bienniale in 2012 in Istanbul, curated by Emre Arolat under the theme of ‘Musibet’. Three well known public buildings and structures, which can be identified by their lack of communication within their pysical environments, will be the subject of the exhibition in order to discuss the hidden potentials of each. Regarding their architectural potentials, abovementioned constructions, Taksim Maksem Building together with Former French Hospital, Taşkışla Building and Galata Bridge, are contextualized via some partial substractions or addings in terms of proposing alternative renovation scenarios.
BOMB AREAS
2. Three historical buildings and many sites were damaged by the dropped bombs. In chronological order, Galata Bridge, Taksim Maksem Building, Former French Hospital and the north wing of Taşkışla Building were damaged partially or completely. The ruins of Maksem Building was remained on site for many years. Following after the transportation of hospital, a competition for designing the public square was organised. However, it took several years, until mid-nineties, to complete the construction of the winning project. Meanwhile, the restoration process of Taşkışla was completed in seventies. The latter project for the damaged Galata Bridges was completed by 2000s.
The aim of this project is to examine the determining circumstances of the term ‘Context’ , which cause an evaluation passing beyond the current occurence of their physical environment. Within this framework, the project intends to discuss the issues about ‘restoration, preservation, public use, spatial occupancy in urban space, demolition’ and alike notions. The exhibition Bomb, interrogates the hidden potentials of our physical environments in Istanbul as a parallel universe speculation based on a fictional history. FICTION 1. On August 1, 1943, 178 of B-241 type bombardment planes flown by Allied Air Forces was took off from North Africa. According to official declaration, the prime target was in Romania, the oil refineries controlled by German Military Forces. However, due to a course deviation in one of those Allied planes, the city of Istanbul found itself in the line of fire and was bombed three times at 01:18, 01:20 and 01:35 pm. The bomber was shot down and the wreckage was found off Buyukada Island. Although these bad destinations were mainly public buildings, it was relieving that there was no loss of lives since the attack was occured during the night. However, the debates underlying the strategic significances of targetted buildings were remained inconclusive and suspicious.
GALATA BRIDGE
The exhibition Bomb, comprising the richest documentation of the period, reveals the processes of urban transformations in Istanbul as the consequences of that tough break in 1943 and is opened to public in Istanbul Modern as part of Istanbul Design Bienniale. 3. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental.
INSTALLATION
GOLDEN HORN AFTER BOMB
TASKISLA BUILDING / AFTER RENOVATION
MODEL
GALATA BRIDGE
TASKISLA SECTION
TAKSIM SQUARE
TAKSIM SQUARE
NAME
TYPE
LOCATION
1ST ISTANBUL DESIGN BIENNIALE ADHOCRACY EXHIBITION CURATED BY JOSEPH GRIMA ROLE
AD-HOC LIBRARY
DATA
NAME
TYPE
TEAM
LOCATION
TEAM
CURATED BY PELIN TAN, ETHEL BARAONA, DESIGN BY YELTA KOM
1ST ISTANBUL DESIGN BIENNIALE MUSIBET EXHIBITION CURATED BY EMRE AROLAT ROLE
EMRE GUNDOGDU, MIHRIBAN DUMAN, HAYRETTIN GUNC, YELTA KOM
EXHIBITION 2012
WORD
DESIGNER (CONCEPT DEVELOPING,3D AND 2D VISUALIZATIONS, PRODUCING)
DATA
EXHIBITION 2012
PROJECT ARCHITECT
(CONCEPT DEVELOPING,3D AND 2D VISUALIZATIONS,PRODUCING, PUBLISHING)
Ordinarily, we believe that knowledge is very near to us, sometimes we think knowledge is attainable and stable. Or we walk near it but don’t realise its movement and reflection. It is a kind of movement and a journey. It is personal but collective. It is boundless. It is emotional. In some cases it is a total, unstoppable experience. It exists and moves trans-locally. It is a representation. It is not presentable. Makes you feel alone as a singularity. Makes you feel near to something. Makes you feel like the Other. It is filled with space and love. You feel you are near even if it is always far away.
‘Word’ is a tactical media project prepared for the Istanbul Design Biennial where we envision a parallel universe that deals with current urban interventions. Through a television, a newspaper and a fax machine, we receive news from this other universe where our current conditions are handled through different perceptions, policies, strategies and foresights. Focusing on the highly controversial Taksim Project, the installation tries to emphasize the unsustainability of the proposal of the administration. To do so, it illustrates another reality composed of transparency, multi-actor collaboration and participation where we are able to explore alternatives of public action. Also, we are able to monitor the relationship between freedom of speech and politically driven construction space. In the envisioned parallel universe, the political power is in a perfectly objective position and fulfills its duties for the public good without any impositions of an ideology. The project blends existing process and alternative processes where the visitors are placed in the middle, creating their own debate space by asking: Which one is real?
The mobile archive presents our trans-local production of knowledge. Realities, objects, ideas, fly in the air that you can catch and reproduce. The Ad-hoc library intends to be part of the swarm intelligence of the city: it moves, expanding knowledge wherever it is taken, but never alone. Always with people.
Fax machine connected to twitter where people could tell what they think
PRODUCTION
Fake newspaper entitled ‘Paralel’ where alternatives processes are discussed
SKETCH
INSTALLATION
Interview with a fictional character working for the administration
PRE-MODEL
INSTALLATION
INSTALLATION
INSTALLATION
dükkânını, kafeteryayı ve bahçesini taşır. Bu sokaktan ulaşılan ikinci balkon rampası ise bara ve barın açık terasına ulaşır.
NAME
PROJE ALANI - YAKIN ÇEVRE 1:3000
DATA
k
COMPETITION 2011
LOCATION
114
112
KPM KEREM PIKER MIMARLIK (KEREM PIKER, DENIZ GEZGIN, YELTA KÖM)
112
113
TEAM
ISTANBUL
Gön en
ŞIŞLI HEA CULTURAL CENTER ROLE
TYPE
So ka
HEA Kültür Merkezi, Şişli’nin en dağınık örüntüsü içerisinde, Darülaceze Caddesi boyunca kendi içerisinde kamusal alanlar ve bahçeler içeren okullar, hastaneler, iş
111
Giriş 111
Otop opark Otopark Giriş iş
ARCHITECT (CONCEPT DEVELOPING,3D VISUALIZATIONS, DIAGRAMS)
SUPERPOOL (SELVA GÜRDOĞAN, GREGERS TANG THOMSEN, IRENE GUZMAN, DERYA IYIKUL,
110
SOKAK / RAMPA: SALON SOKAK / RAMPA: 1.MATTHIAS BALKON HANDE KARAKAŞ, MARTA MARSZAL, POEN)
PROJE ALANI
109 Giriş
108
Darü
lacez e Ca
110
107
ddes
i
109 9 106 1088 Servis Giriş 107
2. BALKON İZİ
SOKAK / RAMPA: 2. BALKON
ŞİŞLİ HALİDE EDİP ADIVAR Istanbul’s modernization projects are embodied in Şişli, MERKEZİ a districtKÜLTÜR that begun as Istanbul’s chic neighborhood in
Otopark Çıkış 106
Boru Çiçeği Sokak
SAHNE!
86341
Hürriyet Abidesi
YERLEŞİM PLANI 1:500 YTÜ İnsan Kaynakları Geliştirme Merkezi
ADMINISTRATION
E - 5 KARAYOLU
1850’s. What started as a typology of mansions in gardens, merkezleri ile konutlar arasında kent hayatına olabildiğince kamusal hayatıin kuvvetlendiren sokak yaşantısını then became European style açılan, apartments 1920’s,veand kendisine nüve alan bir yapı olma iddiasındadır. Şişli İstanbul’un” ve her 150 yeni gibiyears tereddütlebeen renewed and replaced have yeni” in semtidir; the last karşılanmıştır. Bugün hala “yeni”dir. kirlenmiştir, Proje yaya ilişkilerini ve yaya ölçeğini önemser, önceler. with the bigger and buildings, celebrating büyümüştür, çoğalmıştır, karışmıştır. Ancaknewer camlı kuleleri İçine aldığıcurrently yoğun ihtiyaç programının gerektirdiği eğimli ile, kaldırım kahveleri ve alışveriş caddeleri ile, taş binaları yüzeyler ile kaldırımın ilişkini sürekli kılar. Böylelikle hem the future of Istanbul as the financial capital of its region. ile, şimdilerdeyse renkli resimlerle müjdelenen rezidansları oditoryum kütlesinin binanın dışıyla ilişkisiz kapalı bir
si
de la c ez eC ad
Bu lva rı
Da rü
Pa şa
i des Cad ce vizl er
i es dd Ca ıvar Ad ip Ed ide
esi
CHANGING ROOMS
dd
Ca
CAR PARK TECHNICAL ROOMS
86341
In this scattered tissue of public institutions, HEACC has the necessity to create a relationship to the street. At the same time, requested to become a 1,000-seat theater, the building has to have street access to the stage, stage loading dock and the lobbies in order to function well. The ground floor is the most valuable and functionally the NIGHT VIEW most demanding zone.
ok
ak 2
5
8
6
9
7
10
3
4
11
14
+131.00
nS ne
1. Toplantı Odası 2. Resepsiyon 3. Yönetici Odası 4. Teknik Müdür 5. Eğitmenler Odası 6. Halkla İlişkiler 7. Program Müdürü 8. Arşiv / Depo 9. Fotokopi Odası 10. Mutfak 11. Açık Ofis 12. Muhasebe Ofisi 13. İnsan Kaynakları 14. Teras
20 m2 20 m2 20 m2 20 m2 15 m2 15 m2 15 m2 9 m2 8 m2 10 m2 100 m2 16 m2 16 m2 40 m2
Toplam Brüt Alan
530 m2
Gö
+131.00 5. Kat 1
5
113
6
2
+123.00 112 3. Kat
+127.00 4. Kat 1
1 – 4. Derslikler 5. Özel Prova Odası 6. Prova Salonu 7. Dinlenme Salonu
35 m2 40 m2 185 m2 35 m2
Toplam Brüt Alan
530 m2
1. Derslik 2. Salonlar 3. Dinlenme Odası
35 m2 300 m2 35 m2
Toplam Brüt Alan
530 m2
112 +127.00
3
+123.00 2
111
Giriş 111
4 12
7
13
3
Otop opark Otopark Giriş iş
110 109
SOKAK / RAMPA: 1. BALKON
Giriş
108
Dar
ülac
110
107
eze Cad
des
86341 86341
i
106
We propose to use the balcony ramps of the auditorium to create ‘multiple ground floors.’ The auditorium is imagined not as a closed room within a volume, but as an extended series of surfaces that give the building its overall shape. Each extended balcony level leads to programmed space and its terrace; the exhibition hall, the music library, café GÜNEY-BATI CEPHESİ and 1:200 the bar that ensure liveliness of the building beyond scheduled shows or events. + 120.60 2. Balkon
108 8
1. Işık Deposu 40 m2 2. Işık Köprüleri 3. Elektrik ve Dimmer 30 m2 4. Mekanik Odası 40 m2 5. Ses Kayıt ve Kontrol 30 m2
Servis Giriş 1
218 m2
4
107
4 2
5 1
SOKAK / RAMPA: 2. BALKON
SAHNE!
+120.00
5
2
Otopark Çıkış 106
Boru Çiçeğ i Soka k
3 +120.60
EVOLUTION
GÜNEY-BATI CEPHESİ 1:200
+116.10
3
DOĞU CEPHESİ 1:200
6
GÜNEY-BATI CEPHESİ 1:200 DOĞU CEPHESİ 1:200
YERLEŞİM PLANI 1:500
A
+ 115.70 1. Balkon 180 m2 120 m2 12 m2 95 m2 105 m2 224 m2
Total Brüt Alan
675 m2
1. 2. Balkon Terası 2. 2. Balkon Fuaye 3. Bar 4.2. Balkon
124 m2 95 m2 12 m2 90 m2
Total Brüt Alan
383 m2
+111.50 Giriş, Fuaye, Salon
C
1. Kafe Terası 2. Kafe 3. Müzik Dükkânı 4. 1. Balkon Fuaye 5. 1. Balkon 6. Sanatçı Terası
8SECTION 6341
109 9
Köprüler
2. BALKON İZİ
CAFETERIA CLOAKROOM WC
Hal
yu
rebo
De
PROJE ALANI - YAKIN ÇEVRE 1:3000
Total Brüt Alan
YÜKLEME ALANI
MAIN SCENE
1
SOKAK / RAMPA: SALON
LOADING
Özel Karagözyan Ermeni İÖO
114
PROJE ALANI
ENTRANCE, FOYER EXHIBITION INFO
TERRACE
Sıra
Özel Ufuk İÖO
There lacks however, a coherent strategy for Şişli’s urban 1000 kişilik seyirci kapasitesine sahip oditoryum iki outdoors. The project site for Halide Adivar balkonludur.Edip Salon ve balkonlarınCultural kendi eğimleri ile biçimlenen, Darülaceze Caddesi üzerinde Perpa yönünden Center borders Darülaceze Caddesi, the immediate urban ulaşılan ve cadde kotundan başlayan ilk ‘sokak/rampa’, geçici sergi alanlarını, danışma ve bilet kiosklarını corridor below the ring road. lobiyi, To the north many public içerir. Cevahir otel yönündeki ikinci sokak/rampa ise yükselerek birinci balkon eğimi institutions neighbor Darulaceze Caddesi, butüzerinde few müzik/hediye of HEA Kültür Merkezi, Şişli’nin en dağınık örüntüsü dükkânını, kafeteryayı ve bahçesini taşır. Bu sokaktan them have any urban içerisinde, Darülaceze Caddesi boyunca kendistreet içerisinde presence. ulaşılan ikinci balkon rampası ise bara ve barın açık
1ST TERRACE GIFT SHOP COFFEE
SOFITA
ze C add esi
Piy ale
terasına ulaşır.
rüla ce
Caddesi
kamusal alanlar ve bahçeler içeren okullar, hastaneler, iş
Da
Hürriyet
kütle olmasının önüne geçer, hem de caddeden eğimlerle ulaşılabilir üst sokaklar oluşturur.
Şişli İstanbul Motor Teknik Lisesi
S.S.K. Okmeydani Hastanesi
2ND TERRACE FOYER
CLASSES
Şişli Endüstri Meslek Lisesi
Abide-i
ile hep yeniye işaret eder. Her yeni iyi midir, bilinmez; ama yeni şehrin yeni alışkanlıkları vardır. Şişli zamanın yeni hayatına işaret eder; önceleri apartman hayatına, sonra gökdelen hayatına, şimdilerde rezidans hayatına. Avrupa’nın pek çok yerinde kuş bakışı gördüğünüz ızgara planlı sokaklar, İstanbul’a yabancıdır, oysa Şişli’nin alameti farikasıdır. Şişli’nin sokakları ise kapalı bahçeler arkasındaki özel hayatlar uğruna tenhalaştırılamayacak kadar değerlidir.
REHEARSALS
Türkiye Gazetesi Hastanesi
Şişli ne demektir? daha önemli soru belki de şu: Şişli neye işaret etmektedir?
14
+107.00
1. Giriş 2. Bilet Gişeleri 3. Sergileme Alanı 4. Fuaye 5. Görsel İşlev Odası 6. Salon 7. Işık Kumanda Odası 8. Dimmer Odası 9. Ses Kumanda Odası 10. Orkestra Çukuru 11. Yan Sahne 12. Yan Sahneler 13. Sahne 14. Depo 15 – 16 Giyinme Odaları 17. Sanatçı Girişi 18. Yükleme Alanı 19. Yükleme Girişi
400 m2 11 m2 290 m2 8 m2 8 m2 8 m2 50 m2 37 m2 30 m2 104 m2 15 m2 15 m2 10 m2 18 m2 37 m2
50 m2
Total Brüt Alan
1,353 m2
86341 FACADE
DOĞU CEPHESİ 1:200
11 5 +107.00
15
1
3
16
6
+115.70
+108.00 4
4
17
5
B
B +111.50
19
10
6 +107.00
+112.40
2
2. 2.BALKON
13
+110.50
1
A +111.50
2
18
12
3 7
N KO
AL
2.B
+108.00
9
8
N ALKO
1.B
SALON
N
PLANS
C
SALO
+103.00 1. Bodrum
+107.00 Ara Kat
SCENE SECTION
1. Bekleme Odası 2. Fuaye Hizmetli Odası 3. Görevli Odası 4. Personel Müdürü 5. Müzik Deposu 6. Enstrüman Tamir 7. Prodüksiyon Şefi 8. Çamaşırhane 9. Kostüm Deposu 10. Makyaj Odası 11. Sahne Şefi 12. Orkestra Şefi Odası 13 – 14. Solist Odası 15. Giyinme Odası (K) 16. Giyinme Odası (E) 17. Koro Odası 18. Green Room 19 – 22. Giyinme Odası 23. Orkestra Çukuru 24. İlk Yardım 25. Depo
17
1. Kafeterya 2. Mutfak 3. Vestiyer 4. Sahne deposu 5. Bilet Satış Ofisi 6. TV, Video Merkezi 7. Simultane Tercüme
50 m2 45 m2 40 m2 120 m2 9 m2 15 m2 8 m2
Total Brüt Alan
605 m2
12
13
14
8
18
15
19
23
45 m2 10 m2 35 m2
12 m2
A - A KESİTİ 1:200
B - B KESİTİ 1:200
25 m2
24
Total Brüt Alan
1,220 m2
9 25
21
16
1 10
22
6 4
1
5 2
15 m2 60 m2 40 m2 45 m2 30 m2
20
5
3
3
30 m2 18 m2 30 m2 15 m2 25 m2 30 m2 15 m2 10 m2 60 m2 35 m2 20 m2
6
2
7
4
7
11
+107.00
C
A
+95.50 3. Bodrum
+99.25 2. Bodrum 1-3. Teknik Odalar Otopark
Toplam 140 m2 70 Araç
1-3. Teknik Odalar Otopark
Toplam 180 m2 29 Araç
Toplam Brüt Alan
1,470 m2
Toplam Brüt Alan
1,480 m2
+99.25
2
+95.50
2
B
B
3
3
A 1
TOPLAM KAPALI ALAN: 8,994 m2
FOYER
1
C
TERRACES
STREET VIEW
NAME
TYPE
LOCATION
TEAM
ANKARA ROLE
DATA
COMPETITION 2013
MAMAK MILITARY PRISON
KOTUSTUDIO ( YELTA KÖM, ERDEM TÜZÜN, MIHRIBAN DUMAN) Tanks are covered penitentiary with large noises.
PROJECT LEADER (CONCEPT DEVELOPING,3D VISUALIZATIONS, DIAGRAMS)
Nightstick and kicking started to hit his back when he enters the car.
Committing actions aimed at lessening independence of country, and disturbing its unity, attempting alteration, change and abrogation to the constitutional law " The convict, personnel under arrest and custody by force... are accepted as military person as long as they are under military punishment and jail, and they subject to the military status._ Mamak Constitution General Instruction – I"
Mamak is addressee of the sentences containing comfort to take part in penitentiary - under normal conditions - . because all witnesses sees in the eyes of witnesses, and their thongs are talked. “this is penitentiary”. Blood dropped down at regular army. There is no humanity and conscious.
He understood that something ENTRANCE happens to him when he enters the regular army office. Blood dropped down.
One of the instigator said “there are abnormal operations,”, "they caused us not to seem human after few years. by beating us because they cannot take decision for death sentence. A soldier asked “give me blessing of A soldier yelling at the those whom I tortured. ventilation troop: don’t look They didn’t give us newspaper on your right, left, air. Don’t talk that morning. It is extraordinary with persons near you, don’t situation to give newspaper. On ask cigarette." morning, radio announced a The major prayed while waiting SAVCILIK death sentence news with state MAHKEME at cold “I wish it will be raining of siege announcement. "it is prohibited to them to look from windows: they plan C BLOK action in various wings with sings."
Meanwhile, first lieutenant, and major appear at hall, they smiled. They said “we have done it, let’s go and drink coffee".
A BLOK
Sometimes 3-4 persons were thrown together to the caskets of 1 meter. They are all naked. Most dangerous one is cold. The casters are freezing even on august. He told that "I will make you sleep with your shit". Then it is understood that he means caskets.
Night count, morning count, they said started to count again "1, 2, 3, 4, 5...". officer of the day followed those who count. He took one person outside. He said we didn’t hear your voice from regular army. He hit three nightsticks on his hand and three nightsticks on his other hand. At the cage, soldiers divided into two groups leftwingers and rightwingers. They asked two persons from both sets and asked to throw a punch to others face. He stood up. " order arms! ". they started to hit with nightsticks. "keep your hands side. There are only your testicles not touched.
He stayed at restricted rooms at Block A for 20 days. And he rested one day. This takes months. There are caskets on the place where intimidation policy is not sufficient at the cages, restricted areas.
Memorization is basis, thinking is prohibited. Talking is crime, even not talking is crime.
B BLOK
Now they blow it." He didn’t feel well with beat and he hardly talked. He is afraid of nauseation and vertigo.
The penitentiary fans (!) who are classified as cruel, most cruel; they counted convicts and persons under arrest, then counted soldiers to unify them under order and command. These fans (!) also count the casket as wing and twenty days of restricted room as one day. They counted “peace” as “fight”. They counted compulsory military as torturing official. Then they count what they remember as they don’t remember. The raising hands of the deputies by raising their hands by pointing out with their eyes for the death sentences are from previous periods, are prior periods from such periods… they are limits of beast taken as heritage with effervescence and the bodily unconscious. A-B-C-D-E and they are extra bodies. And many more... When considered in terms of all different politic, legal, scientific, physiological, religious, moral and aesthetic thinking, or when considered with new points of view, Mamak is the place with identical opinion:
There is crime against humanity in Mamak. The crime killed humanity in Mamak. ... “floor is 1 square meter. The casket is the concrete bared without touch of sun in height of 2.5 meter. There is grid on the top put as air hole in size of 10x20 cm. there is no small opening to take breath. Inside is dark. One has to live without noticing day and night. The architecture was used for evil by hands of evil-minded people.. However, architecture lost once again with evil intents in mental maps of those who wish not to forget the experienced pains, drawings of those who expresses memories and hopes of those who witnessed that period, plans, sections and when talked. The Mamak penitentiary is closed to the public currently (in other words prohibited), and this contributes to forget what is experienced. This area is scene which is physical reflection of timeline that ends many lives and shaken many hope – even it does not consume. The unreachable scene causes us not to create common connection what experienced as society, and created opportunity with more proper expression.
He has been taken to the small room with stairs of which photograph taking and tagging is made at the Block A. his photograph has been taken from front and side without hair and moustache.
MEMORIAL AREA MAP
001
002
However, of course, openness of one area to one region is not assurance of taking part in memory of urban. If place invites society as absolute visitor, it remains as a place they stop by with personal efforts of persons who are aware of subject in society. However, place gets through its presence at the moment when society stops by, can reach any moment, and it cannot cause to forget itself.
to forget. The vegetation on these present structures may pay back and damage its occupant.
There are many sources about the Mamak history( however, Mamak history is history of process of the country with history of those experienced in jail). However it is required not to forget importance of verbal expression at the unforgettable point of events affecting society deeply. Verbal expression is most natural tools with transfer from generation to generation. Those experienced in this transfer can be subject-matter.
People giving way in new halls, might meet with those experienced in old halls.
Memories in presence of jail on these days, structures hosting these memories on these days, stones, walls, stairs, windows and halls…being subject matter causing them to cross path, unforgettable. Contrary to the structures which carefully is cared, and wished not to exist in surface not only in that area (these structures prevent us to visit that places even only for five minutes), maybe we need
The damaged halls and paths causing to cross path those who were brought in the past, with hatred and blindness, those who were brought by mistake, causing to cross path torture and death, new halls causing people to meet people, all exist in Mamak.
When describing the stories of stone walls that meet halls on which walking with fun, to the curious child, feeling them falling when s/he understood that s/he cannot take kite expected to reach clouds, and fallen to the deep well, it embedded to the darkness under soil, at the place where the ceiling is sky, when noticed light below, you realize that there is no passing to other side.. they feel that moment, and this is what happened in Mamak. When passing front, side, under and top of those…and when asked, saw, listened, remembered. And described it is transferred and never forget. These abnormal incidents not said “not happened”, It was happened. “ 003
004
006
005
006
007
NAME
TYPE
LOCATION
TEAM
OCCUPANT MOTION, SMARTGEOMETRY 2010 IIAC, BARCELONA ROLE
DATA
RESEARCH 2010
NAME
TYPE
LOCATION
TEAM
RE.POSE, EASA009
TUTORS (FLORA DILYS SALIM, HUGO MULDER, PRZEMYSLAW JAWORSKI)
MILANO ROLE
DESIGNER (CONCEPT DEVELOPING,3D VISUALIZATIONS, CODING)
DATA
RESEARCH 2009
WORKSHOP PARTICIPANT (CONCEPT DEVELOPING,ON SITE APPLICATION)
TUTORS (FREDERIK DE SMEDT, EFTYCHIA PAPATHANASIOU, ALEXANDRE-M. BAUER, ALPER DERINBOGAZ)
1. TOPOLOGIC FORM The borders of space starts with a simple box and deforms into a tree house turns into a camera obscura, expands into a watching tower, merges into landscape ...
This project uses video to track motion. The focus was to depict people movements and transform this into geometry. The system is used as a design informer for the creation of space. As people move through space, the personal space that surround them changes. The prototype was installed in the workshop space of SmartGeometry2010.
2. LIGHT PLAYS Sunshines and the light rays form the landscape. Reflections of the lake go thorugh a small hole and draws a picture of outside inside the repose tower like a camera obsucra. When the sunsets the re.pose light rises. The tower becomes a lighthouse for the locals or visitors that enjoys the black scene of the mountains and the lake.
For the project a camera was installed right above the IAAC, Smart Geometry workshop area to record the motion generated by the occupants. Not the video was recorded, but the motions were, using frame-differencing technology that is available for Processing (Software). Larger clusters of motion were grouped together, so that they captured the movements of a single person. Every cluster in motion was a valuse assigned related to the speed at whic it translated. This data was fed to Generative Components using UbiMash. In Generative Components a triangulation algorithm was used to produce a 3D sample geometry.
3. TIME PASSES One day the beautiful Val Camonica landscape folds into a little tower and poses in front of it. Then easa people shoot memories of amusing times on top. Another day a Brescia local comes with his family for a picnic in this sensational spaceâ&#x20AC;Ś
PROGRESS
4. CONSTRUCTION Recyclable and light nature of the the steel structure preferred as a respect to the virgin enviroment of the site. Structural mesh designed as self supportive to allow a chance of changing the cladding in the future. CONCEPT
FLOW DIAGRAM
SCREENSHOTS FROM APPLICATION
INSTALLATION
SITE
NAME
TYPE
LOCATION
TEAM
CCR HOTELS CAPPADOCIA ROLE
DATA
PROFESSIONAL 2011-2012
KPM KEREM PIKER MIMARLIK (KEREM PIKER,YELTA KÖM, CANSU CÜRGEN)
PROJECT ARCHITECT (CONCEPT DEVELOPING,3D AND 2D VISUALIZATIONS )
Cappadocia is a historical region in Central Anatolia, largely in Nevşehir Province, in Turkey. It has an unique environment and landscape. We designed a hotel and a restaurant for there. From concept to application, we draw all details and pursued all process.
TERRACES
SYSTEM SECTION INNER GARDEN
ELEVATION
DETAILS
INTERIOR
INTERIOR
NAME
TYPE
LOCATION
AIM
ECO HOUSE ISTANBUL ROLE
DATA
RESEARCH 2009
YELTA KÖM, ERDEM TÜZÜN, EGE ÖZGIRIN
PROJECT LEADER (CONCEPT DEVELOPING,3D VISUALIZATIONS, DIAGRAMS)
IN 2050, IN ISTANBUL
WATER WILL RISE 1 METER MORE THE TEMPERATURE WILL RISE 12°C IN WINTER THE AIR POLLUTION WILL REACH TO ITS MAXIMUM
By making a foresight about future, we should see how we may find ourselves in some bad conditions day by day, in the manner of covering of our daily needs. We, as the individuals who perceive this situation partially earlier, should focus on our productions to improve an open sourced consciousness machine rather than self-contained solutions. What is a consciousness machine? In short: A system that is alive, self-supporting and relieved from the memorized construction in densely used centers by its context, form and usage. It wasn’t there yesterday, today it is here, tomorrow a similar one will be there and later on more will be somewhere else. When these buildings’ visibility become more obvious and “the man on the street” will be clear for the special components of the system, it may be produced and applied to houses, apartments by everyone.
ISTANBUL 2050 VISION
GARDENING
INTERIOR