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I don't know if your still around but if yes I have inspirations for you!

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I don't know if your still around but if yes I have inspirations for you!

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Çekme Karavan Tasarımı Ulusal Öğrenci Fikir Yarışması

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Check out their webpage if you are interested!

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Hello. This is Piknik. Piknik is Oğul Öztunç, Atıl Aggündüz, Melodi Gülbaba.Here is a List of Things That Excite Us:* Articulating a unique space that works like a machine but also has a story to tell. If you are interested in any of those,

Piknik aims to play acrobatics between boundaries of art, architecture and graphic fields as a practice feeds itself from 21st Century's Creative Mechanics.
Piknik is Electric Blue.

Using drawing as main medium in order to understand, imagine and tell things. Anything really.
*
* Exhibiting work and discussing about it.
* Coming together with other creatives and playing together

contact us via [piknikworks@gmail.com]
* Observing the conditions of contemporary city, learning from it using unexpected methods, and reflecting on it with critical imagination.
* Making pictures and graphics that animate powerful moments and atmospheres.

You ask where we are ?
We work everywhere. here.
But if you insist on finding us,
We are doing a picnic somewhere around

instagram: piknik.works
Follow us if you want some good ideas eaten outdoors.

↑

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Hello. This is Piknik. Piknik is Oğul Öztunç, Atıl Aggündüz, Melodi Gülbaba.Here is a List of Things That Excite Us:* Articulating a unique space that works like a machine but also has a story to tell.

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The Homogenizing force of capitalism is incompatible with any inherent structure of differentiation: sacred-profane, carnival-workday, nature-culture, machine-organism... 24/7 steadily undermines distinctions between day and night, light and dark and between action and repose.
-Jonathan Crary

The increasingly aggressive process by which our daily routines have being technologized throughout the last decade has led to a dilution of time without time. And the erase of the differentiation between what have until now been very clear and distinct contexts has led to a homogenization of our machinic social operations.

As Jonathan Crary states, "both one's bank account and one's friendships are nowadays managed with identical gestures." Consequently, apparently unrelated architectures are progressively starting to be managed with the same bodily performance. The conceptual solidity of the architectural program, and architectural typology as such, is dissolving. In the quest for newer and more fluid models The juxtaposition between apparently opposed cultural conditions is being erased. To work and to live, to produce and to consume, to obey and to protest... All now merge into uncanny forms of complexity. This is the age of oxymorons.

Day vs. Night

Planetary Simultaneity© resurrects the failed Soviet cold war project for a satellite-based system for precise on-demand sunlight control. It offers its users the possibility to erase the differentiation between day and night. The social dependency on time is instantly obliviated. Tokyo and New York's stock exchange open in sync.

Cities around the world start to synchronize when required. Worldwide events gradually start to decentralize and take place simultaneously. No city will be ever again the host of the Olympic Games; they occur at the same time in a multitude of locations spread around the world. The globe, emancipated from its planetary implications, becomes flat again.

Care vs. Selfishness

The increasing detachment from physical interaction in our societies has led to the reinforcement of a desire for disengaged affection. Remotecare Ltd. provides a solution to the imbalance between affection and egotiism.

Its interactive and customizable robotic bodies are designed down to the last detail. Everything is possible. Affection is manufactured here from the lust for specific abilities, organs, or combinations. Its popularity of has degraded love to a literary nostalgia from the past. Humans are finally free from the dreariness of physical Interaction.

Consumption vs. Production

The merge between work and leisure during the first decades of the twenty-first century has led to a new paradigm of urban cultural practice. HobbyFAC® is the leading international company in producing digital leisure. It employs more than 400,000 young people who approach their hobbies as work. Labor has been freed from its link to production. Labor efficiency is no longer directly related to the quantity of what is produced, and instead to what is consumed. Practices that were originally understood as recreational or leisure, are monitored and converted into consumer products.

Life vs. Work

Home and labor are no longer opposed realms. Instead, they have become radicalized terms of a blurred reality. Work has merged with domestic activities, and domesticity has been released from the home under the command of taking place within labor spaces.

That primary division of labor space and domestic space that sustained the triumph of modernity has been dismantled by the subsequent releases of the personal computer, the world wide web, and the smartphone, among others. The technologies that those devices and systems involve have constructed a change in the medium by which publicness is constructed.

HomeWork Inc. offers a total-living platform for the emancipated contemporary worker. A condition of living that is totally attached to work and vice-versa.

Machine vs. Organism

Nature is no longer a single wild realm from which to take shelter from. The wild has multiplied into manifold "natures," which are not discovered, but constructed; which are not traversed, but narrated. The wild is no longer a realm from which to be sheltered from, but a realm of shelter.

CustomNatures ™️produces sophisticated natures on-demand. Any possible creature, environment, or climate can be artificially fabricated and delivered worldwide. Nature has been relegated to the past. Everything is now architecture.

Sacred vs. Profane

The capability of architecture to construct enclosed contexts allows for transcendence to be designed. A myth, a religion is built.

BlackBox LLC is a cult to digital production. A global pilgrimage leads its followers to the material abstraction at its very center: a thirty-meter-cubed black polished marble monolith. Following down a steep path, the route leads down to a fifty-by-seventy-meter rectangular plaza where the vision of the monolith is perfectly framed by the sky.

Devotees can work in unison for up to seventy-two hours at a time producing digital culture to be stored inside the monolith.

Domination vs. Emancipation

The ethos of the jail has been denaturalized by the will to construct environments of emancipation.

Voluntary prisoners of Render Jail are confined in small, 1.5-by-2.25-meter rooms where they produce 3D models around the clock. Their creations are instantly uploaded to the cloud and used around the world. They provide new vision. The prison becomes an archive, a space for production, for exhibition, and even for simulation.

×

Confinement is a collaborative exhibition curated by gta exhibitions and e-flux Architecture, supported by the Adrian Weiss Stiftung and the ETH Zürich Foundation.

Pedro Pitarch is an architect and contemporary musician. He works and lives in Madrid. His investigations focus on the interrelations between society, contemporary culture and media.

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The Homogenizing force of capitalism is incompatible with any inherent structure of differentiation: sacred-profane, carnival-workday, nature-culture, machine-organism... 24/7 steadily undermines distinctions between day and night, light and dark and between action and repose. -Jonathan Crary The increasingly aggressive process by which our daily routines have being technologized throughout the last decade has led to a dilution of time without time.

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will.i.am - Mona Lisa Smile ft. Nicole Scherzinger (Official Music Video)

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A digital architectural library, book suggestions and routes!

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A digital architectural library, book suggestions and routes!

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Scaffolding as a construction material!

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Little has been said about the contribution of scaffolding to the history of construction. These structures are generally treated as mere equipment and, as a result, their records are very scarce. Without scaffolding, however, it would be almost impossible to construct most of the buildings we know. Scaffolding allows workers to reach and move materials at difficult points in a construction, providing safety and comfort. But in addition to its role as a support structure for buildings, we have also seen that scaffolding can be used for mobile, temporary, and even permanent structures. Below, we explain its history and possibilities for use.

It is estimated that scaffolding was first used around 17,000 years ago in the Paleolithic period. Holes in the walls in caves in southwestern France, which presumably fixed these support structures, suggest that rudimentary scaffolding helped our ancestors make cave paintings [1]. Another important record of use dates to 1450 BC in Egypt, wherein Egyptian paintings illustrate the construction of an obelisk with the aid of scaffolding [2]. There is also documentary evidence that the Egyptians used wooden scaffolding to build the pyramids.

Like wood, bamboo is widely used for the construction of scaffolding, especially in Asia. As we have already discussed here, bamboo is a highly structurally resistant material for tensile and compression efforts, and it grows very quickly and can be harvested and used easily. The connections between bamboo trunks can be tied using vegetable or plastic ropes.

In fact, the junction between the scaffolding pieces was for a long time its primary weakness, an issue that required considerable time during assembly. An important actor in this history was Daniel Palmer-Jones, who with his brother set up the Patent Rapid Scaffold Tie Company Ltd in England. In 1911, they patented a set of fixings for wooden logs and metal tubes that were being introduced to the market at the time. The solution was called rapid scaffixers and used iron chains tied to small pieces embedded in the wood.

In 1923, with the advancement of metallurgy, metallic tubes became more and more common, and the same company developed other fixation systems, which are still seen on construction sites today. This system joined the tubular parts with clamps, screws, and nuts, achieving much more resistance and practical efficiency in the assembly. Another extremely important patent was the frame system, created by a construction worker who had survived a fall from a collapsed wooden scaffold. During his recovery, Reinhold A Uecker designed a steel frame that was safer and more practical than the wooden easels he used to use [2].

Nowadays, it is almost impossible to find a construction that has not used scaffolding at any stage of the work. But in addition to its traditional auxiliary use, we have seen the use of scaffolding as a primary material in some projects. Whether in pavilions, temporary structures, art installations, or even interior designs, the structural flexibility, ease of assembly, lightness, and translucency of scaffolding structures have fascinated architects.

An iconic project that used scaffolding permanently was Teatro Oficina, by Italian-Brazilian architect Lina Bo Bardi and Edson Elito. According to critic Rowan Moore, who published an article on the work in the English newspaper The Guardian, the structure was "A long, narrow space like a street in a burnt-out envelope of an old theater that is watched by a gable of galleries built with scaffolding. Teatro Oficina has challenging viewing angles, hard seats and a shape that is exactly what theaters shouldn't have, but it is all the more intense precisely for that reason." The theater's grandstands stacked on scaffolding structures remain in use 60 years after construction.

Another outstanding work, albeit temporary, was the Pavilhão Humanidade 2012, by Carla Juaçaba and Bia Lessa. Scaffolding takes on a major role, forming a structure that seems to dematerialize in its translucency, showing the movement of the public and the opaque volumes of the programs of the enormous building.

Another common use for scaffolding is to create temporary structures for meeting places, such as community centers, places for neighborhood meetings, and public spaces. As shown in this article, scaffolding allows architects to quickly compose the space by working with horizontal, vertical, and diagonal flexibility, especially combined with other materials such as fabrics, wood, polycarbonate and metal.

Like a huge assembly game, scaffolding allows architects to create solid structures quickly, erecting buildings in days or even hours. See, in this My ArchDaily folder, some projects published on ArchDaily where scaffolding is used in a leading role.

[1] Waters, Colin. Reaching for the sky - A potted history of scaffolding. scaffmag: The Scaffolding Magazine. Available in this link.
[2] Campolina, Felipe de Paula. Andaimes: a evolução do sistema e novas aplicações na construção metálica. Dissertação (Mestrado) - Universidade Federal de Ouro Preto. Escola de Minas. Departamento de Engenharia Civil. Mestrado Profissional em Construção Metálica. 2017.

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Scaffolding: From Auxiliary Equipment to Primary Function

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Little has been said about the contribution of scaffolding to the history of construction. These structures are generally treated as mere equipment and, as a result, their records are very scarce. Without scaffolding, however, it would be almost impossible to construct most of the buildings we know.

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Books that you can download or access free!

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For the ones who could not listen Alexis Sanal's presentation.

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For the ones who could not listen Alexis Sanal's presentation.

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Alexis Şanal, Assembled Cityscape - ARC4021 Guest Talks

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I wonder that when did you decide to work as an editor and can you explain the process?

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What advice do you want to give to those who want to turn to the writing part (magazine, book, article) of architecture?

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I would like to ask about as an architect and publisher, could you give advice to us about gaining a architectural perspective?

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As soon as we enter the Binatdanismanlik website, we see the article "Architecture is building ideas" and this was very interesting to me. It shows that architecture is not only dependent on building and mass, but actually has a connection with everything. I think its importance has also increased during the pandemic process, but still do you think the necessary value is given to urban architecture?

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I would like to ask about what is your decision point to being in the publishing part of architecture?

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Our second guest will talk about on architectural publications.

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Our second guest will talk about on architectural publications.

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https://teams.microsoft.com/l/meetup-join/19%3ameeting_ZDIwNDZiZTMtMTEyNC00ZmI3LWJlNzMtZWQ3NmM3ZDljNTk0%40thread.v2/0?context=%7b%22Tid%22%3a%228985f9b5-679c-4a39-8db6-854329895dac%22%2c%22Oid%22%3a%223b4e9b50-daf3-4cc7-841d-62b793d178c7%22%7d

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Meydan Herkesin! Meydan Hiç Kimsenin! is on Facebook. To connect with Meydan Herkesin! Meydan Hiç Kimsenin!, join Facebook today.

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Share your videos with friends, family, and the world

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Hilton Bosphorus Hotel (Midterm Make-Up Submission)

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Hilton Bosphorus Hotel (Midterm Make-Up Submission)

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Location: Harbiye, Şişli
Architect: SOM & Sedat Hakkı Eldem
Year: 1955

That project is one of the oldest modern Turkish architecture project in our architectural history. The hotel building is huge rectangular prism-shaped with simple geometry with a surface simplicity and understated with decor and functional priorities. Also for the material usage, in the construction time 1955, the Hilton Hotel building is one of the first huge concrete block complex in Istanbul. By the way, we may say that building and the others have started the concrete block ecole in Istanbul's modern architecture.

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Konstantin Melnikov, Burevestnik İşçi Lokali [1929]. Fotoğraf: Bradley Jardine

Burevestnik İşçi Lokali, Sovyetlerin gerçek bir proleter kültürü inşa etme yönündeki ilk girişimlerinin vücut bulduğu birkaç yapıdan biridir. Bu işçi lokalleri, Bolşevik propagandayı yaymak, halka eğlence sunmak, hatta çalışan anne-babalar için gündüz çocuk bakımı sağlamak için tasarlanmış çok amaçlı yapılardı. Bu yapılar, aynı zamanda sıkışık sosyal konutlarda yaşayan aileler için evden uzak bir oturma odası işlevi gördüklerinden, doğaları gereği pragmatiktiler. Halkın Eğitim ve Aydınlanma Komiseri (ve Lenin'in eşi) Nadejda Krupskaya, bu lokallerin "yoldaşça sohbetler"in yapılacağı sessiz mekânlar olmaları gerektiğini düşünüyordu.

Krupskaya'dan daha radikal isimler de vardı. Konstrüktif ressam ve tasarımcı El Lissitzki, Kilise ve Sarayın "eski düzenin iktidar kaynaklarını" temsil ettiğini, "yeni düzene ait yeni iktidar kaynaklarının" tesis edilmesi gerektiğini savunuyordu. Lissitzki'ye göre lokallerin işlevi o kadar ileri gidiyordu ki, "insanın dönüşümünü sağlayacak birer atölye" olmalarını öngörüyordu.

Rusya'nın hâlâ devam eden geçiş sürecinde, kamusal alanlar kapatılıyor ve endişe verici bir hızda özelleştiriliyor. Günümüzde işçi lokallerinden yalnızca birkaç tanesi ayakta kalmış durumda; iki tanesi halen düzenli olarak halka açık etkinliklere ev sahipliği yapıyor; diğerleri özel mülkiyette, geri kalanı ise harap durumda. Bu lokaller, mevcut durumlarına rağmen, Rus toplumunda kentlilik ve topluluk inşasının erdem olarak görüldüğü bir zamanı hatırlatıyor bize.

Aleksandr Deyneka, "V rayonnom klube" (Mahalle Lokalinde), Bezbozhnik u stanka (Ateist ve Makine) dergisi için illüstrasyon, sayı 3, Moskova 1927. Kaynak: Anna Bokov, "Soviet workers' clubs: lessons from the social condensers".

İlya Golosov, Zuev İşçi Lokali [1928]. Fotoğraf: Bradley Jardine

İşçi lokalleri oluşturmaya yönelik ilk denemeler, Sovyet rejiminin iktidara gelmesinden hemen sonra hayata geçirildi. Bu girişimler çoğunlukla yerel siyasi örgütler tarafından yürütülüyor; kilise, özel konut, hatta hangarlar da dâhil olmak üzere hazırda bulunan her türlü yapı bu amaçla kullanılıyordu. Bu elverişsiz yapıları, yeni doğmakta olan proleter kültürünün gereksinimlerine uyarlamak, Sovyet mimarlarının o çalkantılı yıllarda karşı karşıya kaldıkları ilk büyük zorluklardan biriydi.

Birinci Dünya Savaşı sonrası şiddetli yıkımın ardından, ilk başlarda işçi lokalleriyle, konut sıkıntısının sonucu olarak işçilerin yaşadıkları rahatsızlık ve aşırı kalabalığı telafi etmek amaçlanmıştı. Bu pragmatik hedef, kültürün artık evle sınırlanamayacağını, ev dışındaki kolektif merkezlerde geliştirilmesi gerektiğini savunan Krupskaya gibi insanların düşüncelerine de dayanak oldu. Bundan böyle ev yalnızca dinlenme yeri olacaktı - nitekim bugün Rusya'nın banliyöleri için yaygın olarak "uykukent" [ spalnıy rayon] tabiri kullanılır.

Ancak bu, mimari bir zorluğu da beraberinde getiriyordu: Lokalin, bir taraftan Krupskaya'nın tanımladığı şekliyle kamusal bir oturma odası işlevi görmesi, diğer taraftan Lenin'in tanımladığı şekliyle bir "komünizm okulu" olması beklentisi, farklı mekânların tek bir yapıda toplanmasını gerektiriyordu: hem sessizce dinlenmeye, hem de kalabalık toplantılara ve ideolojik çalışmalara elverişli mekânları.

Sendikaların etkisi arttıkça, işçi lokalleri giderek üye katılımı fikrini odağa almaya başladı; tiyatronun rolü öne çıktı. Bu hedef değişimi, prova odaları sağlamak, salon kapasitesini izleyici büyüklüğüne göre değiştirmek ve avangard sahne tasarımı alanında deneyler yapmak anlamına geliyordu.

Aleksandr Rodçenko, 1925 Paris Dünya Sergisi'nde teşhir edilen Lenin İşçi Lokali tasarımı

Rodçenko'nun inşa edilemeyen Lenin İşçi Lokali tasarımının Moskova Yeni Tretyakov Müzesi'ndeki rekonstrüksiyonu. Fotoğraf: Garret Ziegler

Rodçenko'nun lokal için yaptığı çizimler

Sendikaların toplumda ciddi bir ağırlığı vardı ve 1920'lerin ortalarına gelindiğinde, bu örgütler işgücünün neredeyse tamamını kontrol ediyordu. Sendikalar sadece tüm ekonomik sektörlerde işçileri yönetmekle kalmıyordu, dinlence faaliyetlerinden siyasi endoktrinasyona kadar üyelerinin hayatının pek çok yönü üzerinde etkiliydiler. Daha da önemlisi, sendikalar yeni işçi lokallerinin kurulması ve kullanılmasında başat aktör haline geldiler.

Bunun sonucunda, seri halde lokal inşaatı başladı: 1929 ile 1936 yılları arasında Moskova'da 100'ün üzerinde yeni lokal inşa edildi. Sendikalar sadece projeleri hayata geçirmek için gereken siyasi desteği sağlamakla kalmıyordu, projelerin mahiyetinin belirlenmesinde de etkiliydiler. Sendika çeşitliliği, ortak sorunlara çok çeşitli mimari çözümlerin uygulanması anlamına geliyordu. Konstantin Melnikov'un projeleri gibi en meşhur binalardan bazıları da bu dönemde inşa edilen lokaller arasındadır.

Melnikov zamanla işçi lokali hareketinin başat figürü oldu; inşa ettiği lokallerde, mekân kullanımı konusunda çeşitli deneyler yaptı. İşçi lokallerinin yeni işlevlerini ve sosyal gerekliliklerini karşılayabilecek tasarım çözümlerini ilk bulan oydu. Örneğin, ünlü Rusakov İşçi Lokali (1929), düzenlenen etkinliğe bağlı olarak daha küçük veya büyük mekânları sınırlandırmaya yarayan hareketli bölmelerle donatılmıştı. Oditoryum, ihtiyaca göre 350, 775, 1000 veya 1200 kişiye hizmet verecek şekilde dönüştürülmeye müsaitti.

Konstantin Melnikov, Rusakov İşçi Lokali [1929]. Fotoğraf: Bradley Jardine

Konstantin Melnikov, Kauçuk Fabrikası Lokali'nin [1929] önünde.

Kauçuk Lokali'nin ana dış merdiveni

Kauçuk Lokali'nin günümüzdeki görüntüsü. Fotoğraf: Bradley Jardine

Melnikov'un projeleri, çoğunlukla, tek bir sabit salona odaklanmak yerine gerektiğinde tek ve geniş bir alanda birleştirilebilen farklı salonlardan oluşan esnek bir sisteme dayanıyordu. Melnikov'un lokallerinin diğer bir ortak özelliği ise, dış merdivenleri çarpıcı biçimde kullanmasıydı; 1920'lerin imar kanunlarındaki, yangın tahliyeleri için geniş iç merdivenler öngören düzenlemelerin sonucuydu bu. Melnikov, binalarının iç mekânında alan yaratmak için, ana salonları, imar kanunlarında düzene tabi olmayan dış galerilere bağladı. Günümüzde ne yazık ki geniş çaplı tamirata ihtiyacı olan Kauçuk Lokali (1927), bu öğenin en çarpıcı örneğini yansıtmaktadır.

Günümüz Rusya'sında bu lokallerin çoğu metruk vaziyetteyken, Melnikov'un Dorhimzavod'u gibi kimi binalar ayakta kalmıştır ve örneğin mobilya mağazası gibi mütevazı işlevler görmektedir.

Bu gerçekten üzücü bir durum. Burevestnik Lokali gibi binalar, topluluk bilincini güçlendiren kamusal alanlar yaratmaya yönelik radikal bir programın cisimleşmiş halidir. Rus devleti, yurttaş katılımına sırtını dönerken, cesur bir alternatifi temsil eden işçi lokalleri, günümüzün yekpare kaçınılmazlığına meydan okumaktadır.

Bradley Jardine'in Calvert Journal'da yayınlanan Welcome to the club: how Soviet avant-garde architects reimagined labour and leisure başlıklı yazısından kısaltılarak çevrildi.

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Sovyet Avangard Mimarlarının İşçi Lokalleri | E-Dergi, Sanat Tarihi

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Konstantin Melnikov, Burevestnik İşçi Lokali [1929]. Fotoğraf: Bradley Jardine Burevestnik İşçi Lokali, Sovyetlerin gerçek bir proleter kültürü inşa etme yönündeki ilk girişimlerinin vücut bulduğu birkaç yapıdan biridir. Bu işçi lokalleri, Bolşevik propagandayı yaymak, halka eğlence sunmak, hatta çalışan anne-babalar için gündüz çocuk bakımı sağlamak için tasarlanmış çok amaçlı yapılardı.

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İstanbul Teknik Üniversitesi, Tuşpa Mimarlık ortaklığı kapsamında Bilgi Üniversitesi'nin desteği ve TUBİTAK Ardeb Araştırma destek fonu ile mimari tasarım oyunu " SpaceChase Game "geliştirildi.
Spacechase Mimari Tasarıma Meraklı Herkesin İlgisini Çekecek Bir Oyun
Oyuncular konut, restoran, kreş gibi birçok mekânı kurgusunu çözmeye davet ediliyor. Seçilen mimari yapının araştırma & senaryo sürecinde kullanıcılara gerçek zamanlı bilgi akışı sağlanıyor. Oyun kullanıcısına mekanlar arası ilişkiler kurgularken "kanıt temelli tasarımlar "ortaya çıkarıyor.

SpaceChase mekânı okumaya, çözümlemeye yönelik çeşitli temsil-analiz yöntemlerinden yararlanan, Mekân Dizimi ve çizge teorisi temelli bir yazılım altyapısı kullanıyor.
Akademik ve Profesyonellerden Oluşan Ekibin 16 Ay Süren Araştırmaları Sonucunda Oyun Hayata Geçiriliyor
Oyunun teknik ve yazılım desteğini PC ve konsol oyunları ile oyun teknolojileri üreten, geliştirici odaklı oyun stüdyosu Nowhere Studios, arayüz tasarımını ise EDL, senaryolaştırmayı Emre Kuzuoğlu üstleniyor. Mimari Kodlama ortamı Grasshopperda çalışan SC Eklentisi ise Oğulcan Üneşi tarafından geliştiriliyor.

İstanbul Teknik Üniversitesi öğretim üyesi Doç. Dr. Pelin Dursun Çebi uygulamanın mimari eğitime olan olumlu katkısını; "Tasarım sürecinde grafik-teorik temelli araçların yaratıcı bir şekilde kullanılması, düşüncelerini "yaparak" geliştiren, "yaptıklarından öğrenen" mimarlar için önemlidir. Mekânsal organizasyonların bilimsel anlamda ölçülmesine ve bir tasarım verisi olarak sürece aktarılmasına odaklanan, bu tür deneysel çalışmalar çok değerli. Mimarlara tasarlarken birlikte düşünebilecekleri araçlar olarak yardımcı oluyor" diyerek açıklıyor.

Tuşpa Mimarlık kurucusu Mimar Nilüfer Kozikoğlu ise uygulamanın mimarlık sektörüne olan faydası hakkında şunları söylüyor: "SpaceChase mimari tasarım kararlarını görselleştirmek ve mimari programa yönelik potansiyelleri ortaya çıkarmak için senaryoların geliştirilmesinde çoklu versiyonların hesaplanmasına ve değerlendirilmesine fırsat tanıyor. Mekânsal kurgunun iterasyona dayalı "skeç" yani karara dönüşmesini haller, senaryolar ve ambiyans yani fonksiyon ve algı ekseninde eğlenceli ve pratik şekilde ortaya çıkarıyor."

İstanbul Bilgi Üniversitesi öğretim üyesi Doç. Dr. Tuğrul Yazar, projenin dijital eğitim ve deneyimsel katkısı ile ilgili şunları ekliyor; "Geliştirilen oyun ve yazılım eklentisi, mimarlık okullarındaki tasarım stüdyolarında kullanılabilecek pratik bir araç setidir. SpaceChase Game öğrenciler için kolay anlaşılan bir uygulamaya dönüştürülebileceğini ön görebiliyorum."

Şu an gönüllü öğrenci atölyelerinde oynanmaya başlanan SpaceChase oyunu dijital platformda kullanıcıları ile ücretsiz olarak buluşmaya hazırlanıyor.

Profesyonel mimar veya mimarlık öğrencilerin gönüllü olarak katılabileceği projeye başvuru göndermek için tıklayın

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Mekansal Kurgu Oyunu: SpaceChase | Mimarizm

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İstanbul Teknik Üniversitesi, Tuşpa Mimarlık ortaklığı kapsamında Bilgi Üniversitesi'nin desteği ve TUBİTAK Ardeb Araştırma destek fonu ile mimari tasarım oyunu " SpaceChase Game "geliştirildi. Spacechase Mimari Tasarıma Meraklı Herkesin İlgisini Çekecek Bir Oyun Oyuncular konut, restoran, kreş gibi birçok mekânı kurgusunu çözmeye davet ediliyor.

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A fine read about public interest and housing!

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A fine read about public interest and housing!

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The period known in Portugal as the " Ongoing Revolutionary Process (25th April 1974- 25th November 1975) brought unprecedented visibility to the country's underprivileged classes. Emerging in response to a military coup d'état, the people's class consciousness was taken to the streets, with mass movements expressing a renewed awareness of their fundamental right to healthcare, food, education and quality housing. In order to support this grassroots political awareness, unveiled by the revolutionary event, public policies were put in place by the transitional government to meet the people's demands.

Up until that point, large sections of the Portuguese population experienced dreadful housing conditions. Under the umbrella of a paternalistic dictatorship, exploitative labour conditions and strong pressure exerted by a privately-controlled housing market combined to force a substantial number of families to sub-lease meagre accommodation, live in (literally 'islands': precarious units of collective housing built in the interior of urban blocks by the owners of the plots in order to increase rent extraction) or find residence in extremely dense communities of illegal shacks. Meanwhile, where the government did intervene, the policy was to relocate poor communities into newly developed areas on the urban periphery.

Under the revolutionary process, however, l ocal communities were allowed to organize their demands in neighbourhood associations and housing co-ops, whose purpose was to reclaim decent accommodation financed by the state within the neighborhoods they had called home for many years.

Decreed by then State Secretary for Housing and Urbanism, architect Nuno Portas, the SAAL ('Serviço Ambulatório de Apoio Local'; translated as Mobile Local Support Service) aimed to provide these sections of the population with the means to design and build their own houses and communities. In order to meet this provision, the state became not only responsible for subsidizing the operations (in some cases, through non-repayable funds), but also for soliciting and remunerating so-called "technical brigades" composed of both architects and architectural students. These technical brigades would provide the requisite technical (and artistic) assistance to those communities.

This situation of dual power, wherein people on the streets were temporarily able to exercise power over and above the government, opened the window for an unprecedented democratic way of conceptualising and building the city. As far as citizens were concerned, it offered them a chance to escape the ruthless imposition of real estate, and to express their particular visions and ideas of a dignified city. For young architects, it gave them new opportunities to experiment on an urban scale. They were also able to restructure their social role, which had hitherto been trapped between the bourgeois affectations of the liberal architect and the technical bureaucracy that came with working for a centralized state apparatus. Last, but not least, for students the situation represented the possibility for a 'radical pedagogy', as Joaquim Moreno puts it. It allowed them to overcome the limitations of the school and learn to build within a context where reality and ideology, political activity and disciplinary knowledge, objectivity and subjectivity, were refined dialectically. For that period, rather than being an institution of redundant protocols and canons, architecture became the universal right to a self-determined and dignified organization of space: a rich and multi-layered experience of concrete and collective expression, both on a disciplinary and political level.

With all that said, this process was only possible under specific historical circumstances. The revolution had temporarily brought capitalistic dynamics to a halt and reset the country on a path to socialism. On one hand, large sections of the population were mobilized to unveil and denounce social contradictions. On the other hand, invested political agents, like Portas, proved to be agile enough to unlock the bureaucratic apparatus of the State, and direct it to the benefit of the people. However, after a counterrevolutionary turn, the legal 'normality' of the bourgeois state was gradually reinstated and the SAAL operations ceased by decree on 26th October 1976, eventually opening the door to a new housing regime driven by state subsidised financial credit.

This was the way the wind was blowing in the late seventies. After decades of global emancipatory political struggles, the world started to experience a 'neoliberal turn'. Omnipresent free markets synchronized time and space all over the world. Labour became global, flexible, and mobile. The realms of extraction (e.g mining) and production (e.g. factory work) were systematically exported to poorer corners of the planet. Meanwhile, the governments of developed countries gradually allowed markets to expand once more into housing and the reproductive sphere (characterised by work that nurtures and regenerates the workforce and activity that re-creates the existing economy). If in the previous framework of welfare states, production and reproduction were co-dependent and regulated to varying degrees by the state, in this new phase of economic development full privatization became the order of the day. Housing went from a fundamental right to a stable and safe investment, for both domestic and foreign finance.

In Portugal, this paradigm had become fully entrenched by 2012, the year in which a right-wing government, controlled by the so-called European 'Troika' (composed of the European Commission, the European Central Bank and the International Monetary Fund) implemented austerity measures which included the liberalization of the rental market. In a sunny, quiet and inexpensive country, cursed by the sense of opportunity of big corporations such as or , this was a perfect recipe for profitable tourist-oriented urbanity, monopolized by private investment.

Some of the most recent statistics are essential to understand the scope of these policies. Take Porto for instance. Here, government had made considerable public investments in the city's public and transport infrastructure under the pretext of becoming European Capital of Culture in 2001. The resulting boost this gave to the local tourist trade, in turn, had the effect of increasing the potential land rent. Now, some neighbourhoods have become more than 50% tourist accommodation, with 57% of the houses in the city center requiring the eviction of long-standing residents against their will. For an 80 m 2 one-bedroom apartment, the average price is as much as €600 (precisely equivalent to the National Minimum Wage). Even the percentage of public housing owned by the municipality widely superior to the national average (13% against 2%) is insufficient to counteract this tendency. As growing sectors of the population, young and old, are deprived of a home of their own, the housing crisis has become as big a threat as low wages and unemployment.

On the flip side, the labour of those who plan and build the city has become a battlefield between productivity, profit and austerity . At the core of this dynamic, architects stand in a privileged position to understand the systemic nature of precarity. As it goes, not only is their labour exploited, but they are forced to act as agents of other people's exploitation. In fact, a quick overview of any given Portuguese studio's most recent output frequently reveals their active participation in the gentrification process, wherein they use their disciplinary background to this dispossession: increasing the exchange-value of those houses, often through the application of materials produced on the other side of the world under substantially worse labour conditions.

For architects, as with most workers, this culture of exploitation cannot be understood without reference to the new rationale that has come to dominate the world's political economy since the 1970s. As Byung-Chul Han brightly illustrates in his book Psychopolitics, today's capitalism preserves its power by seducing the mind. It encourages citizens to feel a sense of opportunities waiting to be seized and an all-encompassing ambition to succeed and satisfy their own desires. Workers become entrepreneurs-of-the-self, in charge of every aspect of life-as-investment. In the architectural realm, this means regarding a career choice in which you have subjected yourself to exploitative work conditions as a potential gain if you eventually succeed your masters .

Both dependent on and unable to escape the dominant structures of private initiative, if not lucky enough to have access to commissions of their own, young architects face a dangerous deadlock: either (1) alienate themselves in a big architecture office, with conspicuous connections to the real estate industry, and subject themselves to an abstract hierarchy of decisions; (2) find a smaller office presumably with good intentions, but running on overtime and underpaid labour; or (3) throw themselves at the mercy of the market as a start-up whose specific disciplinary knowledge merges with those of management and marketing, and whose time is mostly spent promoting their image in social networks (as seems to be the case with a studio like fala atelier ).

As Guy Debord puts it in La societé du spectacle , it is clear that " the "success of an economic system founded on separation inevitably leads to the proletarianization of the world." In the realm of architectural labour, this is clearly crystallized in the division between those who , those who and those who will . A split which transformed buildings into commodities, architects into entrepreneurs and disciplinary knowledge into a source of surplus-value. A separation which, as tested within the SAAL, must be abolished in order to reverse this proletarianisation of both 'producers' and 'consumers'.

While we may be far away from the historical circumstances which produced the Portuguese Revolution, it is both possible and urgent to restate the housing question. Still today, after 40 years of democratic communist administration, the Spanish town of Marinaleda offers the land, materials, and technical support of municipal architects to those who want to build their own house, with the only conditions being that the beneficiaries participate in the construction process and cannot sell the house in the future.

In Portugal, meanwhile, something else has been inherited from the revolutionary period: it was written in the constitution that "everyone has the right, for one and the respective family, to an adequate and properly dimensioned house, with both hygienic and comfortable conditions, allowing oneself personal and familial intimacy". In the same constitutional article, it is written that it is the state's duty to promote and offer conditions for communities to organize themselves in order to solve not only their housing needs, but also the social equipment required for living-together.

Even so, last year, a governmental survey on the existing housing needs showed that 25,762 families lived in "clearly unsatisfactory conditions" and 31,526 homes lacked the "minimal habitability conditions". If, on top of that, you consider the amount of work required to adjust the overall built environment to the severe climate transformations already being experienced across the world, it is not hard to recognize the inevitable collective dimension needed for the effective realisation of these efforts, as well as the sheer limitations of private property and our current economic model in general.

Today's capitalism reproduces its dominance through an individualist and market-oriented ideology which assumes that everything should be run as a business. Therefore, to invert the rule of real estate and private initiative, we ought to invent new ways of organizing space sustained by values other than productivity, marketability and profitability. In practice, this means that we need to envision a system where people own the means of production of their own and ; and under which the architects' knowledge and labour are matters of the common. To do so, we could even take inspiration from already existing structures, such as the policy common to many countries of providing free legal representation to every citizen.

In 2015, 40 years since the Revolution, Portugal's Socialist Party formed a minority government which was supported by an alliance of Ecology Party "The Greens", Left Bloc and the Communist Party. Thanks to this unprecedented left-wing alliance, as well as the long-standing commitment of people like architect-politician Helena Roseta, a National Fundamental Law of Housing was approved by the Portuguese parliament in July 2019, creating the political and legislative tools to address this housing crisis.

Interestingly, it is within this context that Portuguese architects formed the Architectural Workers' Movement (Movimento dos Trabalhadores em Arquitetura - MTA). Established in the latter half of 2019, the organisation has vowed to mobilise architectural workers to struggle collectively against the increasing precariousness of their work. However, while their represents a legitimate will to regulate and improve the specific material conditions of wage and salaried workers in architecture, it also reveals a missed opportunity to question the wider implications of this neoliberal mode of producing space, as well as the urgency to establish new social and political horizons for the profession.

This is why the early disruption of the SAAL process is still so important. Precisely for being unfinished, lessons remain to be learned from this moment, when architects worked for and with the people to solve their housing needs. As citizens, strengthened as a professional class, architects should channel their efforts into pushing for the materialization of these rights, while claiming their own emancipation from private rule. As the MTA implies, architects must unite and organize, yes; but as with the earlier precedent set by SAAL they must do so for with the people that they themselves belong to, rather than lobbying exclusively for their own professional interests. If done well, this ambitious struggle could act as a trigger to reawaken the class consciousness that both architects and citizens have lost in the post-revolutionary period. After all, what's better: working a precarious and alienated internship, or joining a renewed incarnation of the technical brigades working directly with your local community?

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When Architects Work for People not Profit: Revolution and the Architecture Workers Movement in Portugal - Failed Architecture

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The period known in Portugal as the " Ongoing Revolutionary Process (25th April 1974- 25th November 1975) brought unprecedented visibility to the country's underprivileged classes. Emerging in response to a military coup d'état, the people's class consciousness was taken to the streets, with mass movements expressing a renewed awareness of their fundamental right to healthcare, food, education and quality housing.

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First of all, I congratulate you for the success and uniqueness of your projects.I will ask questions about the Şişhane Park. How did you deal with environmental factors during the design phase of this park that we all know and where most of us have been before?

Thank you.

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for a topography as challenging as the topography of the Esma Sultan School's project, how did you convert this challenging topography into a connection between the upper side and the lower side while maintaining the same function of a school function?

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For The Neşe Fabrikası Competition, designed for 7 regions of Turkey, I wonder what attention has been paid to ensure compatibility when designing this structure for 7 different regions, given the differences such as different climates, different cultures.

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I would like to ask a question about your project, Şişhane Park, which we all know and have definitely gone to. Şişhane Park is located in a location that is a connection point for everyone. It has a connection with the subway, there is a heavy traffic flow around it. How did you deal with these intense problems while creating an area where people can have enjoy in Şişhane Park?

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Rethinking the threshold of the old city and modern city infrastructure. Istanbul, 2013 Services: City Design, Architecture Typology: Public Space, Public Park, Infrastructure, Transportation Hub, Parking

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SANAL arc - Şişhane Park // Public Realm and Transit Hub

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Rethinking the threshold of the old city and modern city infrastructure. Istanbul, 2013 Services: City Design, Architecture Typology: Public Space, Public Park, Infrastructure, Transportation Hub, Parking

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İSTANBUL MİMARLIK FESTİVALİ BAŞLADI!

Açılış etkinliği; Dilara Tekin Gezginti moderatörlüğünde, Selçuk Avcı ve Banu Binat tarafından başlatıldı. Banu Binat "Bu işin başarıyla tamamlanması, katılımcılar ile mümkün" diyerek katılımcıların ve sponsorların önemini vurguladı. Açılışta festival akışına dahil olan katılımcılar ve etkinlikler hakkında detaylı açıklamalar yapıldı. Konuşmada bir çok atölyenin fiziksel olmasının planlandığı ancak pandemi koşullarında online olarak yürütülmek zorunda kalındığı söylendi. Selçuk Avcı "ilk hafta sonu kapanışımıza açılışın denk gelmesi ilginç oldu." ifadesi ile mevcut durumun ironisini yaptı. Avcı, şu cümleleri ekledi: "Çalışmalar başladığında fiziksel atölye yapabilmeyi umut ediyordum. Ben rüyaların adamıyım."

Teknik aksaklıklardan dolayı biraz geç başlayan atölye katılımcılar ve yürütücülerin tanışmasıyla başlandı.Fiziksel ortamda bir masanın etrafında oturulup yürütülen bir atölye deneyimini yansıtmaya çalışan bir etkinlik planlanmış. Hedeflenen durum tüm ekiplerin doğal afet ve kriz durumlarında uzun süre boyunca işlemesi gereken yeni gündelik hayatı kurgulaması.Paradigma ve Paradigma kayması nedir sorularıyla tartışma ortamı açıldı. Paradigma ve Paradigma kayması nedir sorularıyla açılan tartışma ortamında ,oluşturulan diyagram üzerinden sorular sorularak ve farklı bakış açıları getirilerek diyagram geliştirildi. paradigma kayması olarak adlandırdığımız kırılma noktaları sonrasında yeni normaller ,yeni ritüeller oluştuğu üzerine konuşuldu.Paradigma kayması olarak nitelendirilen bu olaylar tartışıldı ve deneyimlemeyi öngöremeyeceğimiz şeyleri düşünmek ve bunlara çözüm önermek bağlamında fikirler sunuldu.Tanışma ile başlayan ve günün tamamını oluşturan tartışma ortamı ile bugünki etkinlik gerçekleştirildi.Yarın tasarım aşamasına geçilerek atölye kaldığı yerden devam edecek.

Yürütücüler: Ece Doğan,Öznur Aktaş,Reyyan Çulcu

Mimarların zaman algısı!

Mimarlığın Ayıbını peyzaj örter!

Taşa ne olmak istiyorsun dedim!

Panelin ana teması "Neden Doğal?"

Açılış etkinliği sonrası gerçekleşen ilk panel Selçuk Avcı koordinatörlüğünde başladı. Panel konuşmacıları Burak Pekoğlu, Ömer Selçuk Baz, Aslı Özbay ve Ali Derya Dostoğlu idi.

Ömer Selçuk Baz yapacağı sunumdan, doğallıkla ve taşlarla olan ilişkisinden bahsetti. Baz tarihi yüzyıllara dayanan taş örnekleri göstererek taşların dokusu ve zamanları hakkında yorumlarını dile getirdi. Türkiye'de taş ile yapılmış ve yapımı kendisine ait olan olan peyzaj-yapı ürünlerini görsellerle destekleyerek sunumunda yer verdi.

Baz, taş konusu üzerine şunları dile getirdi: "Taştan yapılan duvar neyse odur, iç duvarı dış duvarı çizgisi yoktur, ben şuan duvarın elemanlarını sıralamaya çalışsam karıştırırım fakat taş ile olan duvar tek bir katmandır." Bu fikir günümüz duvarına da eleştirel bir yaklaşımı doğurdu ve Ali Derya Dostoğlu konu hakkında fikirlerini dile getirdi.

Ömer Selçuk Baz: "Olmuş olan, onun olma biçimi, onu zamanda bu zamana kadar sürükleyen dinamiklerle öğrenmeye çalışıyorum"

İşverenlerinin şehir yaşantısına alışkın olması nedeniyle iç mekanı bağlamdan kopartmaya karar verdik."

Selçuk Avcı sözü Ali Derya Dostoğlu'na bıraktı ve Dostoğlu sunumuna başladı. Dostoğlu Ayvacık, Söğütlü köyünde yaptığı bir projeyi anlattı. Söğütlü köyünden bahsederek köyde çok dikkatli kullanılan bir taş ve malzeme paleti olduğunu söyledi. Sonrasında Söğütlü köyünde yaptıkları projeden görselleri yansıtarak köylüyle yaptıkları işbirliğinden duydukları memnuniyeti dile getirdi.

Aslı Özbay sunumda taşlar üzerine birçok düşüncesini dile getirdi. Bunlardan bazıları şunlardı: "Kapadokya'daki taşlar hamur gibi, ince çalışırsanız ince sonuçlar veriyor kalın çalışırsanız kalın sonuçlar veriyor.", "Kapadokya dediğimizde sadece Peri bacaları akla geliyor fakat orada bulunan tüf taşları çok güzel yaşlanan bir malzeme.", "Uçak seyahatlerinde dağların tepelerinde kahredici, devasa yaralar görüyoruz."

Aynı zamanda Türkiye'nin bir mermer cenneti olduğundan bahsederek sözlerine taşların hammadde olarak ihraç edilip, işlenip geri geldiğini de ekledi. Bu taş kaynaklarının işlenememesi hakkında eleştirel yorumlarını da ekleyerek bunun bir gaflet olduğunu söyledi. Konuşma sırasında İMİB Çin'e giden blok taşlar hakkında açıklama yaptı:

"Çin'e giden bloklar orada kullanılıyor büyük bloklar olarak lüks projelerde kullanılıyor, biz geri almıyoruz. Bu bir şehir efsanesi. "

" Taş ile neler yapabilirim merak ediyorum"

Söz sırası Burak Pekoğlu'na geldi ve Burak Pekoğlu şu sözlerle başladı:" Taş ile neler yapabilirim merak ediyorum" Burak Pekoğlu doğal taş kullanarak ürettikleri projeleri tanıttı. Sakarya'da yaptıkları yönetim binası üzerinden örneklendiren Pekoğlu, proje sürecinde işlemlerin süreç yönetiminin ve disiplinlerarası çalışmanın nasıl yapıldığından bahsetti.

Selçuk Avcı'dan Burak Pekoğlu'na bir soru : "Louis Kahn der ki "Tuğlaya ne olmak istiyorsun diye sormak lazım." Sen taşa ne olsun diye sorduğunda ne cevap alıyorsun?" Burak Pekoğlu buna şöyle cevap verdi: " Ben taşa, heykel oluşturmak olarak yaklaşıyorum, ben taşın üzerine işlemeyi seviyorum."

Uyumlar, Çatışmalar, Kavrayışlar Arasında Meydan Atölyesi

Tülin Görgülü, Ebru Erdönmez, Ervin Garip, Yeşim Hatırlı, Cemil Akçay ve Serhat Ulubay tarafından yürütülen atölyenin 24 saatlik bir workshop aynı zamanda bir yarışma olduğu belirtildi. Saat 14.00 da başlayan atölye Yürütücü ekibin kendilerini kısaca tanıtmasından sonra meydan üzerine konuşma ile devam etti. Arkasından Beşiktaş Meydanı ve çevresinin tarihsel değişiminin sunumu yapıldı. Saat 19.00 ve 23.00 da tekrardan toplanılacağı da eklendi.

Atölyede Beşiktaş Meydanı üzerinden "meydan" kavramının algısı ve zaman içerisindeki değişiminin irdelenmesi hedefleniyor. Ve katılımcılardan 24 saat içerisinde bu meydan üzerinde çalışmalar yapmaları bekleniyor. 24 Saat sonunda çalışmaların değerlendirileceği ve ilk 3'e girenlere küçük ödüller verileceği belirtiliyor.

Saat 19.00 da tekrar toplanıldı. Katılımcıların soruları cevaplandı. Chat kısmından soru cevap ile başlayan bu toplantı daha sonra katılımcıların kamera ve mikrofon açarak hem kendini tanıtması hem de takıldıkları soruları sormasıyla devam etti. Biraz daha sohbet havasında geçen bu toplantıda Tülin Görgülünün kedisinin sürekli kamera önüne geçmesi renkli anlara sahne oldu.

Saat 23.00 daki toplantıda Tülin Görgülü , Ervin Garip ,Serhat Ulubay ve Ebru Erdönmez katılımcılarla konuşup çalışmaların ne durumda olduğunu sordu. Bu kadar yoğun programın etkisindeki katılımcılarla konuşan Ervin Garip gece saat 3 te de toplanalım bari dedi. Bunu ciddiye alan katılımcıların olduğunu gördükten sonra "Bi dakika benim bağlantım kesildi." diyerek ortamın havasını değiştirdi.

İstanbul senaryoları, co-leXer ekibi tarafından yürütülen ve sanal deneyim üzerine dayalı bir atölye. İki günden oluşan atölye VR hakkında verilen bilgiler sonrası katılımcılardan İstanbul'un tarihi haritalarından faydalanarak çeşitli zamanlardaki mimari yapısını 3 boyutlu olarak modellemesini bekliyor. Atölye amacı bu modellemeleri uygun olan şekilde sanal gerçekliğe entegre ederek farklar üzerinden anlatılar kurmak.

Co-leXer ekibinin kendini tanıtmasıyla başlayan atölye süreci katılımcıların kendilerinden kısa kısa bahsetmeleriyle devam etti. Yürütücüler dahil atölye grubu konuya olan heyecanlarını açıkça belirtti.

Tanışma faslı sonrası VR'ın geçmişi hakkında kısmen detaylı bir sunum yapan yürütücü ekip sunu içinde geçmişteki VR denemelerinden, VR teknolojisinin gelişiminden ve bu teknolojinin mimari eğitime ve mimariye verebileceği katkılardan bahsettiler.

İlk günün sonuna gelirken İstanbul'a ait tarihi haritalar topluca incelendi ve bir sonraki gün başlayacak tasarım süreci hakkında konuşuldu.

Tarihsel İzler ve Sanal Kentler: İstanbul Senaryoları

WOW Büyük Kaşif Konuşması Mı???

Sanal ve gerçek hayatta oyunlar oynayarak beden, mekân ve kent üzerine ufak keşifler yapıyorlar.

Studio Niche (Niş) 'in yürüttüğü küçük ölçekte mekânsal keşifler atölyesi; atölye kapsamında hazırladıkları küçük sorunlara odaklanmayı düşünerek ve sözde "önemsiz" olanın dönüştürme potansiyelini araştırmayı hedefleyen oyunlarıyla başladı.

Kurulan bu oyunun 3 gün yani 72 saat sürmesi planlanmış. 3 Günde 15 farklı oyunla sanal ve gerçek dünya mekanını bu 15 farklı oyunla anlamaya çalışmak ve beden, mekan, kent üzerine düşünmek, bunlar üzerine keşifler yapmak hedeflenmiş. Keşif süreci, ileri bir hazine avına dönüşerek oyuncuları adım adım fiziksel çevrelerini keşfetmeye ve sorgulamaya yönlendiren bir dizi mekanizmadan oluşuyor. Kaşiflerin görevi ise fiziksel mekanın sırlarını açığa çıkarabilecek altın anahtarı bulmak.

Küçük dans, Gökyüzü gözlemciliği, Düzen kovalama bürosu, Konuşan mekanlar, Diyalog yüzeyleri, Elden ele

Altın Anahtarı bulup oyunu bitirenlerle, 7 Aralık 18:00'da Küçük Ölçek Kaşifleri Buluşması'nda yüz yüze buluşulacak.

Mimarlığın Biçimleri: Farklı Coğrafyalar,Farklı Mekanlar,Farklı Üretim Yöntemleri:

İstanbul Mimarlık festivalinin etkinliklerine tüm dünyadan kişiler katılmakta ve bu etkinlik festivalin ilk uluslararası etkinliği.

Onur Atay, Bihter Çelik, Mina Öner, Gigi Shukakidze, Tamara Janashi, Onur Ceritoğlu, Alp Arısoy, Katerina Protonotariou, Todo Por La Praxis(TxP)
Herkes İçin Mimarlık:
Katılımcı olmak kişiye sosyal değer ve bazı şeyler katar. Katılımcılık Türkçede imece olarak adlandırdığımız yeni bir konsept. Katılımcılar arası sosyal yarara ya da kargaşaya yol açabilmekte. Aynı zamanda birçok olasılık sağlamakta. Katılımcılar ile birlikte farklı bakış açılarından bakmayı öğreniriz. Örneğin; "Başka Bir Okul Mümkün"
Bu etkinlik ile çocuklar okullarını sorgulamayı ve etkinlik sonunda ne istediklerini tam olarak öğrenirler. Tüm çocuklar buna katılımcı olabildiği için farklı fikirlere nasıl cevap verip saygı duyabileceklerini öğreniyorlar.
Tiflis Mimarlık Bienali Hakkında:
Fiziksel ve dijital etkinlikler workshoplar vs. olduğu bir bienal. Bienal sonucunda çevrimiçi, 74 katlı ve her katında katılımcıların ortaya çıkarttıkları bir gökdelen oluşturuldu. Bienale biennial.ge adresinden ulaşabilirsiniz.
Bu etkinlikte katılımcılar farklı mimari disiplinlerini paylaşıp üzerine tartıştılar. Pandemide şartlar değişti ve biz bu şartlara adapte olmalıyız bu nedenle hayatlarımızı etkinlerimizi ve daha birçok buna benzer şeyleri yeniden düzenledik. Onur Atay'ın bu örnekler üzerine bu şu an yaşanmakta olan paradigma kaymasına bakış açısı olan cümlesinde dediği gibi "Sizi öldürmeyen şey yaratıcılığınızı arttırır."

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İSTANBUL MİMARLIK FESTİVALİ BAŞLADI! Açılış etkinliği; Dilara Tekin Gezginti moderatörlüğünde, Selçuk Avcı ve Banu Binat tarafından başlatıldı. Banu Binat "Bu işin başarıyla tamamlanması, katılımcılar ile mümkün" diyerek katılımcıların ve sponsorların önemini vurguladı. Açılışta festival akışına dahil olan katılımcılar ve etkinlikler hakkında detaylı açıklamalar yapıldı.

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I would like you to ask about the Bosphorus University Rasathane Advanced Research Campus. How you decide the arrangement of buildings, the relations between the functions and the space and lastly plan configuration?

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SANAL arc - Bosphorus University Rasathane Advanced Research Campus

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A campus to inspire the scientific mind set in the natural ecology of the Bophorus.

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I want to ask you a general question instead of asking you a specific question about one of your project. What do you pay attention to before and during design when you start a design, what do you prioritize and what questions do you ask to yourself?

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Architecture, Research, City Design studio in Istanbul

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Can you explain the idea behind the graphic that its shwon on your web page under studio part to initiate us where to start and how can we intergate many ideas to our design?

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ŞANALarc is a knowledge-centric design practice focused on civic and civil architecture, research and city-design situated in Istanbul.

The firm explores how unique qualities of place, intertwined with technology, art and social life, generate distinctive and expressive environments. Intensifying space, celebrating the natural environment, and delighting the imagination are valued in each of the practice's architectural endeavors. Professional efforts are focused on design as a contributor to civic society and nature by exploring cultural values, sustainable design principles, local ecology, natural light, geometry, local materials, and available craft and dexterity in construction methods.

The studio was founded in 2002 by Murat Şanal and Alexis Şanal

UCLA, MArch 1995, YTÜ, BArch 1994. AIA, TMMOB

Murat's professional efforts focus on design as a force for quality in built environments relevant to their context, construction technology and sustainable opportunities. Murat's love of natural beauty of light, materials unique integrity and tectonics as a form of human expression combined with his background in computational design and sustainable systems underpins the firm's commitment to realizing architectural excellence. He is currently pioneering new horizons for Istanbul's concrete construction sector as well as continues to contribute to studio jury's at Istanbul's leading architectural departments. (1969, Istanbul)

MIT, MCP 2002, SCI-Arc, BArch, 1995. ​​​​​​​AIA

Alexıs' vision of a streamlined relationship between people and the design of their environment reflected in her academic and professional pursuits. She has received awards for her architectural/urban design contributions to the community which reflect her passion is learning, cultural and civic environments that serve living culture embracing technologies and ecologies intelligently with the physical and natural environment. She currently leading research in Istanbul street markets structure, the Pazar, launching the Wedgetopia initiative for transforming residual land into vibrant urban places, and a member of Bomontiada's creative board for a district wide public realm realization. MIT, MCP 2002, SCI-Arc, BArch, 1995. (1974, Los Angeles)

Bassil Taleb, Project Manager

Handan Akyürek, Architect

Murat Demirkaya, Administrative Assistant

Get in touch with us.

Commissions Inquiry: murat <at> sanalarc.com

Media Inquiry: alexis <at> sanalarc.com

Team Contact: first name <at> sanalarc.com

Employment Inquiry: alexis <at> sanalarc.com

Internship Inquiry: ezgı <at> sanalarc.com ////// 2018 Fall positions are available.

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ŞANALarc is a knowledge-centric design practice focused on civic and civil architecture, research and city-design situated in Istanbul. The firm explores how unique qualities of place, intertwined with technology, art and social life, generate distinctive and expressive environments. Intensifying space, celebrating the natural environment, and delighting the imagination are valued in each of the practice's architectural endeavors.

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I would like to ask a question about Galata 61, one of your projects. First of all, it is located in a historically significant location and has an adjacent structure. Could you briefly explain what kind of applications are performed in adjacent structures and what did you think about during the design process while designing this project?

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Firstly I would like to ask a question about the difference between Civic and Civil Architecture as a start. My second question is related to the design of Orta Mahalle, Kurtulus, which is where advance technological structures are introduced, I wanted to take the chance to maybe ask if we could talk a little bit about the technological introductions. Thank you very much.

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Masterplan integrated to the urban pattern creating a centralized community center, park, library and marketplace for the neighborhood.

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First of all, I think your projects are really unique. Regardless of whether it is small or large project, how do you carry out the concept and analysis stages when starting your projects? What are your suggestions on this issue?
I have been to Şişhane Park before, which has a very beautiful view. What were your goals while designing this public space project? How did you handle the public space? Thank you.

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Rethinking the threshold of the old city and modern city infrastructure. Istanbul, 2013 Services: City Design, Architecture Typology: Public Space, Public Park, Infrastructure, Transportation Hub, Parking

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SANAL arc - Şişhane Park // Public Realm and Transit Hub

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Rethinking the threshold of the old city and modern city infrastructure. Istanbul, 2013 Services: City Design, Architecture Typology: Public Space, Public Park, Infrastructure, Transportation Hub, Parking

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Please post your questions for Alexis Şanal as soon as you can!

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Question to Alexis Şanal - Burak Can Bülbül

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Question to Alexis Şanal - Burak Can Bülbül

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I think all of their projects have quite interesting and unusual concepts for their context and surroundings. For instance, Şişhane Park and Neşe Fabrikası have these interesting features, such as usage of colors and triangular elements. How were the reactions of the contractors or clients to your projects? Also, as future architects, how can we improve our design perceptions more?

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Nese Fabrikası Competition (kindergarten) Selected Design adaptable to 7 climates and geography of Turky Prototype Design: Adıyaman, Turkey, April 2013

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Vakko Headquarters designed by REX in 2010. I think its modernity comes from its shape and used materials. At the top level the office mass was made from mirror and it adds different atmosphere to building.

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When Vakko - Turkey's most established luxury fashion house founded in 1938 - decided move their head quarters to Nakkaştepe on the Asian side of the city and into an innovative building designed by the New York-based Rex Architects, Autoban was appointed consultant for the interior design and architecture, as well as to design the office spaces, café and the Vitali Hakko Creative Industries Library - a public library named after the founder of the company.

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Ottoman Bank Building (Midterm Submission)

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Ottoman Bank Building (Midterm Submission)

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Ottoman Bank Building, Salt Galata, is in Karaköy, Istanbul. It was designed by Giulio Mongeri, it was opened in 1928. Modernism is not just newly created elements, but also how we transform the ones built almost a century ago to today. Therefore, Salt Galata is one the examples I would use. It’s usage of the original entrance, combined with the modern elements, such as a glass elevator, wooden workspaces, colorful ceiling etc. fascinates me every time I visit.

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Architect : Seyfi Arkan

Location : Florya / İstanbul

Date : 1935

A building with modest lines of modern architecture. It has a structure whose functionality and lean lines are at the forefront. In this modern architectural structure, which we can call "Bauhaus" style, Seyfi Arkan designed a pavilion with an "L" shape in plan, on steel construction legs nailed to the sea floor. Dividing the two arms of this L into two for living space and service areas, Seyfi Arkan resolved the service areas on the branch perpendicular to the shore, and on the branch parallel to the shore, Atatürk's study room, meeting room and bedrooms were resolved. Reflecting the important architectural features required by its period with its plain façade, the pavilion has geometry and aesthetics, which formally expresses the modern architectural movement.

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This place was built by the municipality of Istanbul, thinking that Atatürk would be good for his illness in the last period of his life. The project construction, whose architect was Seyfi Arıkan, started in 1935 and was completed in 43 days. Atatürk Deniz Köşkğü has a single floor and is located on large piles. It is an L-shaped wooden building made with specially designed materials and fittings. With the restoration work done today, it has undergone a large-scale renovation and some of it has been changed into reinforced concrete. The building, which is quite simple and modest and designed in Bauhaus style, is an example of modernism in Turkish architectural history and is one of the modern buildings in Istanbul.

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It is built in 2010 and it is 9100 m². In my opinion this looks very magical the way its connecting with the sky and reflecting the colors around it makes it beautiful. The design is actually really basic but with its location and the way architects used the glass makes it modern to me.

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Skyland Istanbul

Location: Istanbul- Sariyer
Architect: Peter Vaughan
Kind: Mixed
Total Hight: 293m

The Skyland Istanbul is with his hight of 293m the highest building in Turkey. The building complex have in total 3 towers which have a big amoung of residences a hotel and offices in side. The complex have allso a shopping mall in the goround floor. I like this building because of his modern and minimal look and allso because of his triangular footprint

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Architect : Seyfi Arkan

Location : Florya / İstanbul

Date : 1935

A building with modest lines of modern architecture. It has a structure whose functionality and lean lines are at the forefront. In this modern architectural structure, which we can call "Bauhaus" style, Seyfi Arkan designed a pavilion with an "L" shape in plan, on steel construction legs nailed to the sea floor. Dividing the two arms of this L into two for living space and service areas, Seyfi Arkan resolved the service areas on the branch perpendicular to the shore, and on the branch parallel to the shore, Atatürk's study room, meeting room and bedrooms were resolved. Reflecting the important architectural features required by its period with its plain façade, the pavilion has geometry and aesthetics, which formally expresses the modern architectural movement.

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The Project architecture is EMRE  AROLAT , Project year is 2014 project used for Office in now . The Project are located on business distrinct of İstanbul in Büyükdere Street on this Project most important element is prestige and the architect used some curved on facade. This glass facade create to some space inside the construction the architect used this void fort he gallery space and vertical gardens also this curved isulated to back side from the highway sound and climate. This building facade and the vertical gardens are not same to other ordinary  office buildings. They are just a building just a tower  but the maslak no:1 office from being a building also  this building is like a shelter that hides and protects living spaces.

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Text description provided by the architects. The project for the office building to be situated on the Mecidiyekoy-Maslak axis, where Turkey's foreign capital takes its most visible form, was conditioned by the tension between density of its environ and the tightness of the project site. It was the client's wish that the building would be a prestigious building, just like all the other surrounding buildings which only meant to be prominent, having been developed with no certain rule, plan or order.

Apart from the other projects along the Buyukdere Avenue, which is the main business district of Istanbul, Maslak No.1 Office Tower was designed to enrich the quality of the typical office space by vertical gardens. In order to accomplish that, a rational office block which was planned over a 8.25 x 8.25 m grid, enveloped with a free formed glazing system was designed. The envelope, acting as a secondary facade in south and west direction is detached from the building up to 17 meters, let vertical gardens in 20 meters high. The space in-between two facades was considered as a buffer zone both for the acoustical and the climatic sense. The simple reinforced concrete office building with a basic, operable aluminum framing and glazing system helped in ease of construction and decrease in budget compared to similar investments, being free of direct wind load and sun rays. The envelope in steel structure, while creating the climatic control, provides the building with the prestige, identity and peculiarity through the crowd of alike structures that is a part of the client's brief.

The curvilinear plan of the facade formed by the 150 x 200 cm rectangular modules was designed regarding the perception from the highway. These glass panels are arranged in the texture of fish-scale letting air flow through and they have a translucent film layer over it. The opacity of the film layer diverse, up to the orientation of the curvilinear facade; on southern facade a less transparent pattern was chosen; however in north, almost a transparent film was used which are designed according to environmental control issues.

The office buildings at this district are planned and are being managed as private gated communities, independently secured and controlled. No free access or passage is allowed even at the communal ground levels, that prevents any possible interaction with the street and neighboring alike complexes. As a matter of creating porosity on the urban level, a considerable part of the ground floor, together with the buffer zone and the outside terrace at Maslak No:1 Tower is kept except the secured, private areas of the building, that welcomes public freely with a hope that future developments or refurbishments at the region may carry on this attitude to empower the urban life throughout the district.

Concept Project presented at the beginning of 2009 was developed with all parties and local authorities until 2012. As opposed to many other projects in Turkey, the construction started then with all documents ready and completed in 2014 through a well-organized and controlled process.

Sustainability Statement

Maslak No.1 is certified with LEED Gold and is considered among the high-qualified and highly-demanded office buildings of the district, in spite of notably simple choice of materials compared to the counterparts in the market, inhabiting national and international significant companies such as Deloitte as the main tenant.

Main volumetric composition of the project depends on a simple reinforced concrete office block and a porous envelope that controls the general climate of the building. While letting air flow through the glass panels arranged as fish-scale, the envelope filters direct effects of the climate. The in-between buffer zone, provided the design of the office framing dependent on most simplest parameters technically; low wind loads and least amount of uv control. The envelope also provided acoustic comfort, made natural ventilation possible at suitable seasons by operable windows which also decreases the sense of working in a plaza effect on employees. The existence and density of the dots on the film coating on these glass panels are designed parametrically according to the movement of the sun in order to decrease solar gain and to provide shade control while at the same time letting panoramas at eye level.

General office planning strategy takes into account the issues of flexibility and adaptability, designed in the scope of shell and core design. The carpark levels, lobby space and circulation core together with minimum amount of common restrooms were completed with simple finishes of optimum budgets. Large amount of exposed concrete and use of partial suspended ceiling elements, together with a simple local stone on the floor are the main materials used. The rest of the office floors were finished as a simple naked grid structure, to be equipped with raised floor and dry wall structures. Concrete surfaces were finished in a quality that once again encourages the tenant to keep it as exposed or with partial ceiling elements.

The building has maximum energy efficient design based on the latest technology in building materials, illumination and mechanical systems. The 3D Variable Refrigerant Volume (VRV) system and heat recoverable HVAC Units help it to reach high efficiency level, aiming to reach an energy saving level of 40% compared to buildings with similar features. The building is equipped with maximum cooling / heating and story based control with three tube VRV system and reinforced fresh air with recycling fresh air units. Regenerative elevators produce their own electricity, water efficient appliances and fixtures are installed, energy saving is provided by the use of LED and T5 lighting fixtures,

The location of the site had benefits of highway access for material supply during construction as well as its close proximity to public transport; bus and metro that are a few minutes walk away. Finally, the project tries to create an urban porosity on the ground level, as described in the project description text, as opposed to the rest of the district that would behave as seeds for a future consideration of urban access and communal use throughout the neighborhood.

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Maslak No.1 Office Tower / EAA - Emre Arolat Architecture

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Text description provided by the architects. The project for the office building to be situated on the Mecidiyekoy-Maslak axis, where Turkey's foreign capital takes its most visible form, was conditioned by the tension between density of its environ and the tightness of the project site.

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The building, which is located in the corner area of Galatasaray Square, was built by Kazım Taşkent in 1922 in the neo-classical style like other buildings. Later, it was designed as a second building in 1958 by the German architect Paul Schmitthenner. This building continued its activities in 2014. The old building was preserved as much as possible during the renovation process. A transparent facade where vertical carriers can also be seen was created by evacuating the inside. This facade is the modernity it gives to Istiklal Street, but on the one hand, the feeling of the old building's existence is modernity for me. It gives a wide and spacious feeling with its transparent facade on the street. It is a privilege that can attract the attention of people traveling. Providing experience and perspective by adding a public culture and arts center to the surrounding urban structure, increasing the urban fabric within the center.

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Sancaklar Mosque: Built in 2012 by Emre Arolat Architects in the rurals of Büyükçekmece, Sancaklar Mosque is a contemporary structure and one of the best in Istanbul in my opinion. The rason I think it’s one of the must-see buildings is because not only it has a very interesting contemporary style but it also offers a new design language for religious buildings, as it’s also a mosque.

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Yasin ORHAN(MIDTERM)                  Garanti Bank Technology Campus-ERA Archıtects 

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Yasin ORHAN(MIDTERM)                  Garanti Bank Technology Campus-ERA Archıtects 

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GARANTI BANK TECHNOLOGY CAMPUS IS ONE OF THE SUCCESSFUL EXAMPLES OF MODERN ARCHITECTURE ON THE DEFINITION OF ARCHITECTURAL FACADE AND SPACE. ARCHITECTURAL SOLUTIONS IN BUILDING SUCH AS SPACES TO ENABLE DAYLIGHT, PLAYS IN THE MASS TO CREATE LANDSCAPE AND GARDEN AND POSITIONING ON ARTIFICIAL TOPOGRAPHIC HILLS CAUSES THE BUILDING HAVE A GOOD HARMONY WITH THE AREA.

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It was designed by Emre Arolat Architecture and Tabanlıoğlu Architecture in 2013. It is located at the junction of Büyükdere axis. It includes a residence, office, hotel, shopping center, restaurant and performing arts center. As a result, it is a complex structure that combines private and public spaces. Zorlu Center, we can call it a structure that becomes specialized as you go to the upper floors. The building is one of the most important modern architectural structures in Istanbul.

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Text description provided by the architects. The Zorlu Center Site is just at the junction of the Bosphorus Bridge European connection and the glamorous Büyükdere axis that connects the city center with the great business district Maslak.

The ground is reconstructed by a topographical interpretation, with a kind of shell that is transformed into an in-between layer for the different functions combined in the complex. The shell starts from the Boulevard Level, with a Public Square at the meeting point with the city, and rises towards south and east. It is split into two arms seperated by level differences, in order to overcome the dichotomy between the private and the public. The inner route, the Public Topography reaches to the 28m. higher Urban Balcony with the marvellous Bosphorus view. The outer ring ends up with a height of 32m creating the Private Topography of the residential units.

Just in the center, at the Boulevard Level is the Piazza surrounded by the retail units, that strives for creating an alternative public space. The Concert Hall of 2500 people capacity has an entrance amphi as a continuation of the Public Square and the Piazza, that offers a semi-closed space for alternative performances.

The terrace flats under the shell, are equipped with large gardens on the first level, and with large terraces on the upper levels enjoying the Bosphorus view. They are reached through the linear open air atrium, quite rich, lighted and cheery space. The rest of the residential units form three identical towers, detached from the shell with "piloti" and their structural formation continues the horizontal projections of the terrace flats, without turning into symbolic elements of the complex.

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Zorlu Center / Tabanlioglu Architects + Emre Arolat Architects

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Text description provided by the architects. The Zorlu Center Site is just at the junction of the Bosphorus Bridge European connection and the glamorous Büyükdere axis that connects the city center with the great business district Maslak.

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The Project architecture is EMRE  AROLAT , Project year is 2014 project used for Office in now . The Project are located on business distrinct of İstanbul in Büyükdere Street on this Project most important element is prestige and the architect used some curved on facade. This glass facade create to some space inside the construction the architect used this void fort he gallery space and vertical gardens also this curved isulated to back side from the highway sound and climate. This building facade and the vertical gardens are not same to other ordinary  office buildings. They are just a building just a tower  but the maslak no:1 office from being a building also  this building is like a shelter that hides and protects living spaces.

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Sancaklar Mosque located in Buyukçekmece, a suburban neighborhood in the outskirts of Istanbul, aims to address the fundamental issues of designing a mosque by distancing itself from the current architectural discussions based on form and focusing solely on the essence of religious space.The building blends in completely with the topography and the outside world is left behind as one moves through the landscape, down the hill and in between the walls to enter the mosque. I think that the mosque breaks people's taboos on this issue because it is designed by thinking about a religious structure such as a mosque so abstractly and finely.

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Istanbul Painting and Sculpture Museum (Midterm)

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Istanbul Painting and Sculpture Museum (Midterm)

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Istanbul Painting and Sculpture Museum, whose construction started in 2011 and completed in 2019, was built by Emre Arolat Architecture (EAA). It is the transformation of the old warehouse building designed by Sedad Hakkı Eldem into a contemporary art museum. During the process of transforming the building into a museum, this structural reinforced concrete grid, which will house the museum units and will form the carrier of the museum, was designed on the basis of the reinforced concrete carrier of the old building. The geometry of the façade of this museum, along with the colors and materials used, is aimed to reflect its former state. In my opinion, this building, which has preserved its old texture while transforming into New, is among the first examples that can be given to modern buildings in Istanbul.
https://tr.wikipedia.org/wiki/MSGS%C3%9C_%C4%B0stanbul_Resim_ve_Heykel_M%C3%BCzesi

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The main reason I chose this building is that the building has a very long history. While AKM carries the traces of Istanbul's 1940-50 years, it also carries traces of today's architecture with its renovation and restoration works. It is also located in Taksim Square, which can be shown as the center of Istanbul. The building, which was first started to be built in 1946, was undertaken by Hayati Tabanlıoğlu in 1956. AKM, which has a very controversial past, was started to be built by Tabanlıoğlu Architecture in 2019.It has modern features with its interior and exterior design.There is a suspended staircase inside the building without any column support. Lighting, ventilation and acoustic features have been selected with high quality. The aluminum metal, transparent façade draws attention from the outside.While carrying the traces of modern architecture, the carpets and ceramics used at the same time refer to Turkish culture and tradition.

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The new Atatürk Cultural Center (AKM) transforms a 1960's classic for cultural life into a new urban magnet for future generations

Designed by Tabanlioglu Architects, the new Cultural Icon for Istanbul, the Ataturk Cultural Center, was unveiled on November 6th.

The new contemporary culture center will appeal to a general public greater than other facilities have previously been possible to accommodate. Although it will mainly serve as a new opera house, the center will also have venues ranging from cinema and theater to exhibition halls, cafes and restaurants.

The Atatürk Cultural Center will be built to accommodate performances of international stature and designed to contemporary requirements and current technologies. As a very comprehensive urban structure, the center is also expected to be a major attraction for the city's residents and thousands of tourists visiting from around the world.

Preservation, restoration, and a new 21st century design provide the foundation and future for this great social experiment and public project that will serve generations of visitors and future populations of Turkish citizens.

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NEW ATATÜRK CULTURAL CENTER | TA_ Tabanlıoğlu Architects

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The new Atatürk Cultural Center (AKM) transforms a 1960's classic for cultural life into a new urban magnet for future generations Designed by Tabanlioglu Architects, the new Cultural Icon for Istanbul, the Ataturk Cultural Center, was unveiled on November 6th. The new contemporary culture center will appeal to a general public greater than other facilities ...

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Tabanlıoğlu designed Selçuk Ecza HQ and 2012 construction was completed. Tabanlıoğlu  designed this structure accordingly in order to give an experience that wants to experience the feeling of home in the office, referring to the organization and aesthetic housing environments, namely traditional Istanbul mansions.The brown color of the façade creates the effect of soft wood, and the structure of the windows and roofs integrates the structure with the effect of modernism.The integration of separate sections in one structure takes this structure into modern structures .

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Göksu Office designed by the architect Nevzat Sayın. Bringing out the beauty of a place by improving what is existing with the usage of a traditional material in a modern way is very approach admirance. Existing old building can be read from the outside of the building. It is well benefitted from the view while protected from the outside with the horizontal timbers.

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Text description provided by the architects. The Bosphorus is one of the world's most distinguished places with its unique landscape. The sea is there, exquisitely placid, the fertile land has suffused the valley in every shade of green. Its shores, which in the past were used as summer retreats, preserve this character and atmosphere to a large degree. While the European side has undergone a greater number of changes, the Anatolian side has protected itself from the violence of modernization, with a few exceptions.

Architecture's motto, "you should build on the ugly part of the site" paralyzes the architect: "then you can't," he thinks, "do it anywhere along the Bosphorus!"...The very beauty of the Bosphorus does pose a threat for the architect as well as it inspires. Nevertheless, architecture can sometimes, though very rarely, "bring out the beauty of a place"...

The office building is on the Anatolian side of the Bosphorus; not right on the shore but a little further inland, along the Göksu creek. On the slopes behind it there is a cemetery, the fishing boats lined up all along the creek contribute with their faintly discernible rhythm to the tranquility of the spot. Here, a person forgets that he or she is at the center of one of the largest metropolises of the world.

The lot is exceedingly narrow. The building is constructed on the traces of two tiny dwellings that used to be here: these traces serve as guidelines for the locations and silhouettes of the building and the open spaces. The building wants to take advantage of the view as much as possible, it wants to be as transparent as possible form the interior, but at the same time it should be sheltered from the sun and maintain its privacy. And when seen from the outside what it wishes is not to be different from the surroundings, but to dissolve within them and remain inconspicuous: to blend into the greenery of the slopes, to mingle with the boats by the shore... For this reason it conceals its interior with a wooden veil and it surrenders itself to the tranquility of the place.

The decisions regarding the silhouette and materials take shape through a harmonious dialogue established with the memory and landscape of 'place'. The building merely wishes to reveal and bring out, to display what is already there, latent.

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Text description provided by the architects. The Bosphorus is one of the world's most distinguished places with its unique landscape. The sea is there, exquisitely placid, the fertile land has suffused the valley in every shade of green. Its shores, which in the past were used as summer retreats, preserve this character and atmosphere to a large degree.

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One of the modern architecture examples I like in istanbul is the Hyatt Regency Hotel, Ataköy. It was built in 2015  by architect Hasan Sökmen and GA Design International Architecture. I chose it, because as stated by its architect, in the interior and exterior design of the building, details that reflect the natural flow of water appear, and these details attracted my attention. The terrace of this hotel built on the coastline also has a unique view of Istanbul. It impressed me when I went. Especially, the combination of RC, steel and glass construction and its striking feature in both interior and exterior architecture is its simplicity. I think the combination of RC, steel and glass construction and its simplicity in both interior and exterior architecture shows that the building is a good example of modern architecture.

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Beyklidüzü Ataturk Arts & Cultural Center (Midterm Submission)

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Beyklidüzü Ataturk Arts & Cultural Center (Midterm Submission)

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In my opinion, this building, which was built in Beylikdüzü, looks very modern with the modern elements used in its facade design and facade. In addition, the color harmony used in the facade design makes the building very modern. The use of recesses and protrusions in its outer lines has added a different atmosphere to the building and the concept has been created by continuing its interior design. The architects brought modernity to the landscape design and with greenery inside.

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It was designed by “FXCollaborative” an American architecture firm, completing it by 2014.
It was designed as an office high-rise building and what I really love about this magnificent tower is not only being one of the tallest buildings in Europe with a hight of 185 meters, but its special design triangular wall rotating 33 degrees for optimum solar responsive skin with double skin curtain wall to further reduce the heat loads. Its skin design is taking cues from Ottoman geometric motifs and draws inspiration from surrounding local landforms. also there are three sky gardens that provide a thermal buffer between the exterior and interior and give access to fresh air and a respite for office workers.

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Vakko Headquarters and Power Media Center - Miray Öztimur Midterm Submission

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Vakko Headquarters and Power Media Center - Miray Öztimur Midterm Submission

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Date: 2010

Architect: REX

Located: Altunizade, Üsküdar

The Vakko building was left unfinished as a reinforced concrete building previously built for the hotel. Rex architects have achieved the modern look of this reinforced concrete building by adding a complex steel structure and special glasses. The cross view of the carriers visible from the exterior and the mirror like of the capsule at the top make the building stand out. It is built on an area of ​​12 thousand 500 square meters. In the center covered with a special glass resistant to fire, earthquake and water; Ultra thin glass with increased resistance, consisting of 172 panels, is applied on an area of ​​855 square meters. The building has floor structures that surround the central area at night and give a circular appearance despite being square.

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İMÇ (İstanbul Manifaturacılar Çarşısı) is a bazaar consisting of 1117 shops and located between unkapanı and Atatürk boulevard. İMÇ is designed by Doğan Tekeli, Sami Sisa and Metin Hepgüler and built in 1967. It try to communicate with the street with his unique facade moment.
And İMÇ is too different with other malls in İstanbul due to differences such as seperated buildings open planned and courtyards.

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Istanbul Museum of Painting and Sculpture - Emre Arolat (Midterm submission)

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Istanbul Museum of Painting and Sculpture - Emre Arolat (Midterm submission)

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Located in Karakoy, near Mimar Sinan University. This building was out of use in end of 20th century, and it has been repurposed for public use as a museum of art, by Emre Arolat. The antrepot building's transformation into a museum was a movement to re-introduce the art culture in istanbul's historic district, the old reinforced concrete structure was not touched and kept in use for this repurposed building, The inner part seems to give the industrial sensation of the past in which we can see steel elements such as the stairs and exposed ventilation pipes on the ceiling and also the introduction of red lightings gave a whole new atmosphere to the building. as a result, the building seems to be perfectly modernized in contemporary standards.

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Transformation of an existing antrepot building into a contemporary arts museum is a progressive step for going public for the customs port area in Karaköy, which has been a segregated area in the heart of İstanbul, with no public access since it was constructed in 1960. The Museum is planned to house 15.000 pieces which include the most important examples of Turkish art since the late Ottoman to the modern period.

The structural reinforced concrete which is exposed on the façade has been the most prominent element of the antrepot buildings in the urban memory. For the designer of the building, the renowed Turkish architectSedadHakkıEldem, this grid has its reference in the "carcass" that is the basic constructive element of Turkish architecture.

When transforming the antrepot building into a museum, the reinforced concrete structure is kept as it is, while the walls and the slabs are removed in order to obtain a 3D, naked structural grid which will house the 'containers' of the new museum. Directed by a curatorial approach, the art objects are to be categorised and collected inside these containers. Overhanging outside the grid in a lively manner, the containers are linked with a network of ramps and bridges. Visitors are going to circulate on this route, having glimpses on the Istanbul view provided by the transparent facade outside the structure.

Visitors will enter the museum through a spacious hall that is enhanced with commercial units, workshop rooms and public facilities. Media-mesh on the back wall of the museum rejuvenates the facade which faces the busy road, acting as an interface between the new museum and the city.

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Istanbul Museum of Painting and Sculpture

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Transformation of an existing antrepot building into a contemporary arts museum is a progressive step for going public for the customs port area in Karaköy, which has been a segregated area in the heart of İstanbul, with no public access since it was constructed in 1960.

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Project Name : Metropol Tower Istanbul

Structure Type : Building

Status: Completed

City/Country : İstanbul/Turkey

Building Function: Hotel / Residential / Office (Mixed-Use Complex)

Structural Material: Concrete

Proposed/Construction Start/Completion : 2011/2013/2017

Developer: Varyap

Architect :  RMJM

Height: Architectural:    280 m / 919 ft

Height: To Tip:  300 m / 984 ft

Floors Above Ground:   58

Skyscrapers, one of the principles of modernization, are structures larger than a certain height. The strongest example we can give in a city among skyscrapers is the tallest building. One of the mixed-use complexes, which is a technique that is more preferred in modern urbanization and is the tallest building in Istanbul and has an advanced style shopping mall , is the Metropol Istanbul project. In addition, it manages to be one of the prominent focal points in the city with its modern facade design.

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C. Tuğçe Yılmaz-Özyeğin University Faculty of Architecture and Design Building (midterm submission)

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C. Tuğçe Yılmaz-Özyeğin University Faculty of Architecture and Design Building (midterm submission)

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The building was designed by BG Architects and ARK-itecture offices in 2019, located in Özyeğin University Çekmeköy campus. One of the most important factors that attracted my attention to the building is when I examine this building as an architecture student, I can say that the façade character, light, connection with campus and interior space provide all the necessary conditions for students. Design studios and co-working areas designed as open lofts keep the interaction between students always warm and offer them the opportunity to study in an innovative environment. In addition, by decorating the transparency it uses on its façade with natural-looking materials such as corten and basalt, it does the forest view more beautiful and even modern. b)Pilevneli Gallery is an art gallery and exhibition designed by EAA in 2017 in Dolapdere, İstanbul. The first thing that I can observe in the project is the façade design, which is based on the typical Dolapdere structure but adds a modern touch to it. The gallery , which contains the works of both local and national designers, is a good example to see that modern and city’s own texture can be in a harmony together.

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Zaid Alkhuli- midterm(The Şakirin Mosque)

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Zaid Alkhuli- midterm(The Şakirin Mosque)

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The Şakirin Mosque, located in uskudar, was opened on May 2009. This mosque was designed by Hüsrev Tayla and Zeynep Fadıllıoğlu, the first female interior designer to design a mosque. The dome of the mosque is  made from aluminum composite, the minbar is  made from acrylic, and the façade is finished with  stone and aluminum mesh; the mosque was reported to be "the most carbon-neutral mosque in Turkey". The layout of the mosque is based on traditional mosque architecture due to its courtyard with a central fountain that is surrounded by the cloister leading to the prayer hall inside the mosque. In contrast to traditional mosques, the Şakirin mosque is surrounded by glazing on three facades stirring away from the traditional light source that is focused from above in ancient mosques. These glazings are placed between the arches that support the dome.

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Sancaklar Mosque was made in 2013 by Emre Arolat. Instead of the classical domed minaret form and  carved ornaments used in mosque architecture, only light was used as an ornament in the space. When we compare the materials used in the past, we see that stone and brick have been replaced by exposed concrete and wood.So it distanced itself from the current architectural mosque discussion and these are the specialitys of modern architecture.

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Selcuk Ecza HQ by Tabanlioglu Architects, İstanbul, Turkey•  Architects: Tabanlioglu Architects•  Year:2013 The building consists of seven houses next to each other with a hipped roof. I think the reasons why it is a modern building: The garden, terrace and terrace balconies are integrated with the courtyard and air circulation is taken into consideration while designing. Apart from the office environment, areas where you can spend time with many different functions are taken into consideration. The brown color used in the exterior is integrated with the environment and greenery. It has achieved a dynamic appearance with the harmony it makes on its roof and mass. 

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Selcuk Ecza HQ by Tabanlioglu Architects, İstanbul, Turkey•  Architects: Tabanlioglu Architects•  Year:2013 The building consists of seven houses next to each other with a hipped roof. I think the reasons why it is a modern building: The garden, terrace and terrace balconies are integrated with the courtyard and air circulation is taken into consideration while designing. Apart from the office environment, areas where you can spend time with many different functions are taken into consideration. The brown color used in the exterior is integrated with the environment and greenery. It has achieved a dynamic appearance with the harmony it makes on its roof and mass. 

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Vakko Fashion Center was designed by REX Architecture built in 2010, it was a unique design with the use of mirrored glass on its facade , these mirror glasses created a different effect on the interior. Otherwise just by using a different type of glass, such an impressive facade design is a good example for modern buildings. In addition it also constitutes a successful design idea for the showcase.

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Zorlu Center is a building built in 2013 by AEE (Emre Arolat Architects) and Murat Tabalıoğlu (Tabanlıoğlu architecture). This structure is a mixed building with both a residence, a shopping center, a cultural center and a concert hall. In addition, in the project where 72 thousand square meters of green space is reserved, there are 200 different types of plants in total, 68 of which are composed of different types of trees. The project includes a square of approximately 10 thousand square meters, which is positioned as the center of attraction of the city. The most interesting feature of this building is that it contains many functions. The abundance of possibilities that come here surprises people and makes this complex structure more meaningful

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Besiktas Fishmarket / Istanbu l The design strategy behind the refurbishment of the historic fish market in the central Istanbul district of Besiktas was based on improving infrastructure and hygiene while organizing the stall and shop owners in a more contemporary retail environment. ( it was designed by architect Architects: GAD Architecture finished  in 2013 )

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Designed by Alatas architecture in 2018. It's an office building. Using a steel structure on the loadbearing system and glasses gives it a modern look. The steel panels on the facade can be seen as an example of sustainable architecture without breaking the concept in itself. Also there is a campus vibe that encourages creativity rather than the usual office building.

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the sapphire building by Tabanlioglu architects (2010) measures at 55 floors and 239.4 m.  the exterior of the building also features a curtain wall however it makes minimal use of sharp edges. In my opinion, a stand our feature in the mass is the curved surface connecting the vertical and horizontal blocks of the building. The transition is very fascinating and highlights a contrast between the Kristal tower, itself and its surroundings.

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Designed by Emre Arolat Architecture in 2014. What attracts my attention in this structure is the connection between public and private spaces and at the same time the harmony that these spaces create when they are intertwined. It is inspiring for me that the design concept is likened to topography and the slope is used in this direction. This structure is in a central location of Istanbul and attracts people due to the activity areas it is in.

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Mahir Erdem Sayır-Vakko HQ and Power Media Center 

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Mahir Erdem Sayır-Vakko HQ and Power Media Center 

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Built in 2010 by REX architects and they are from NY,USA. They convert an abandoned hotel into the mixed use complex. This design will lead modern architecture era with it's own structural usage, space usage renovation from abandoned building and glass usage of facade design. They decided functions in blocks.

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First of all, Zorlu Center is one of my favorite modern buildings in Istanbul. Zorlu Center was designed in 2013 by Emre Arolat Architecture. In the past Turkish societies, public spaces were used as multifunctional spaces rather than parks and squares. Zorlu Center is one of the modern examples of this feature.

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ATAKÖY MARINA PARK (REGATTA) & GALLERIA SHOPPING CENTER

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ATAKÖY MARINA PARK (REGATTA) & GALLERIA SHOPPING CENTER

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Built in 1993 and renovated in 2012

By Tabanlioglu Architects

Mixed use project, it has shops, restaurants, entertainment and pedestrian walks

It is a very nice project overlooking the coast of the sea, and the complex is renovated to fit the needs of the new urban life in that area with respect to nature and public spaces, which enriches the walking experience for pedestrians.

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‘’ If a foreigner would ask me to give them an example of modern buildings in Istanbul, I’d tell them about Sancaklar Mosque. Sancaklar Mosque is designed by Emre Arolat and it is built in 2012. I’d tell about this building to a foreigner because when we mention about the mosques in Turkey generally the ones from Ottoman era comes to everyone’s minds but Sancaklar Mosque is a good example of modern mosques and there is a nice balance with the nature and artifical built structure. And Emre Arolat is a very successful architect of late modern period. ’’

https://www.dezeen.com/2015/04/06/sancaklar-mosque-emre-arolat-architects-istanbul-concrete-stone-terraced-landscaping/

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The first would be the Arter museum. Because the structure attracts people with its external appearance and encourages art. Vehbi Koç's vision of creating the structure of Turkey's most important person very dynamic and modern looks. The works protected from natural and uncontrolled light and the fluid transportation feature of the building to every public space make a difference from other museums.

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Example of Modern Building : Santral Campus of Bilgi University/ Emre Arolat Architects + NSMH

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Example of Modern Building : Santral Campus of Bilgi University/ Emre Arolat Architects + NSMH

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This campus was designed in 2007 by Emre Arolat, Nevzat Sayın and Han Tümertekin. This project is the modern industrial settlement established between 1910-1950, the renovation of the Silahtarağa Power Plant and my reason for choosing this project is the well-renewal and protection of the area. Only the foundations of the demolished boiler rooms remain in Santralistanbul, and the design process has been designed taking into account the functions of the boiler rooms, so a timeless modern look has been achieved and I think this design idea can bring a different perspective in the future. When we look at the building, we see that the two blocks are connected to each other by glass bridges, the structure consisting of reinforced concrete walls and floors combined with steel columns and I think that it is a modern structure with this feature.In short, the originality of the project has not been spoiled and has adapted very well to the present day.

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Text description provided by the architects. The Golden Horn has been Istanbul's center and stage for centuries before it lost its glamour starting from the end of the 19th century, and gradually became drabber until the 1990s when it was rediscovered, and for the last 15 years it has started captivating the city once again thanks to many new projects. Bilgi University offered to carry out the renovation and transformation of the Silahtarağa Power Plant into a museum and recreation and educational center; this typical modern industrial installation constructed between the 1910s and 1950s occupies a 107,000-m ² lot forming a sort of peninsula between the Alibeyköy and Kağıthane creeks right where the Golden Horn ends.

At the initial stage of the project the aim was to establish a pool which would include all accessible strata of the installation in order to open up plausible channels of conservation and renovation. Research carried out within this context gave tangible results such as follows: the traces of the first project prepared in the 1910s are still to be seen, yet the tight decisions taken initially were loosened among the mass of industrial structures that had formed over the course of 40 years; formal violations had been made via pragmatic moves; though the stylistic characters and construction systems of the building groups, which could be generalized as the engine room, the boiler room and staff housing, were decisively dissociated from one another, both sets of buildings had the same typical characteristics of the industrialized world at the time they were built. As more time was spent on the site and as we went deeper in our surveys, these inputs, combined with the sense of place that developed spontaneously, emerged as valuable clues as to the design decisions for renovation and conservation.

A carefully-established renovation style, which would take into account the situation and the object at hand, and which at each specific encounter would reconsider them and give them their due, was accepted as the common denominator for the different components of this rather extensive project.

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Santral Istanbul Museum of Contemporary Arts / Emre Arolat Architects + NSMH

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Text description provided by the architects. The Golden Horn has been Istanbul's center and stage for centuries before it lost its glamour starting from the end of the 19th century, and gradually became drabber until the 1990s when it was rediscovered, and for the last 15 years it has started captivating the city once again thanks to many new projects.

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New Atatürk Culture Center, Tabanlıoğlu Architecture: New Atatürk Culture Center’s construction has started in 2019 and still beign constructed. The plannned opening will be on 2021. The project is located near Taksim square, which can be defined as the center of İstanbul. Design also contains contemporary elements such as simple squared form with the usage of non-traditional openings. The building is highly functional and will contain cultural spaces inside it. Design might lead people to use these cultural spaces such as opera halls and theatres. Also the open space usage might be considered as efficent. 

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New Atatürk Culture Center, Tabanlıoğlu Architecture: New Atatürk Culture Center’s construction has started in 2019 and still beign constructed. The plannned opening will be on 2021. The project is located near Taksim square, which can be defined as the center of İstanbul. Design also contains contemporary elements such as simple squared form with the usage of non-traditional openings. The building is highly functional and will contain cultural spaces inside it. Design might lead people to use these cultural spaces such as opera halls and theatres. Also the open space usage might be considered as efficent. 

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Mert Çelik-Selcuk Ecza HQ by Tabanlioglu Architects

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Mert Çelik-Selcuk Ecza HQ by Tabanlioglu Architects

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The Selcuk Ecza HQ is one of the few modern buildings I can recommend. In addition to the selection of materials and harmony with green, the hipped roof forms adds modernity to the building. In my opinion, the realization of large glass blocks made instead of small windows that are far from modernity on the facade makes it more spacious and welcoming.

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Milli Reasürans Building located on Maçka Street, Sevinç Hadi and Şandor Hadi jointly designed the project in 1987-1992. Having an important place in the modern architectural history of Turkey, this structure is also registered by the Conservation Board and this structure has many awards. It is designed with emphasis on data such as occupancy-emptiness, the memory of emptiness as eyvan, light-shadow-wall relations, semi-open-closed space relations, urban continuity, neighborhood relations, historicity. The building is noted for its architectural design and construction, this complex is considered a successful example that allows the integration of Man-City-Nature, which engulfs urban life without being overly attracted to the ambition of a closed space.

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Dilara Didem Şahin       Derviş Bey House-Sedad Hakkı Eldem

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Dilara Didem Şahin       Derviş Bey House-Sedad Hakkı Eldem

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Before the early Republican Period there where National Movement which consist of more Ottoman and Turkish Architecture. But after education has been improved Turkish architects start to develop themselves. This design locates Büyükada/İstanbul in 1956-1957. It is one of the important examples of the cubic houses. The building is simple, modernistic due to its flat roof,thin pillars,eaves, horizontal elements, strip glasses and interior design.

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Rıza Derviş Konutu, Büyükada, İstanbul, 1956-1957 - Google Arts & Culture

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Zaid Alkhuli Question for ArchiDesign Talks(TEGET Architects )

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Zaid Alkhuli Question for ArchiDesign Talks(TEGET Architects )

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Oriens Apartments is a really nice project and i like the front facade, but do you think we have to break the symmetry and similarity between the buildings?
i also have another question
why is the front building have a flat roof but the others have triangular shape?

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Question for ArchiDesign Talks(TEGET Architects )

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Question for ArchiDesign Talks(TEGET Architects )

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for the YKKS – Yapı Kredi Culture and Arts what are the main challenges that you face while designing a mixed use structure in one of the busiest streets in Europe?

and how do you design a new structure that fits  right in such an old architectural surroundings?
and I have personally visited the building several times, and every time there is a different visual art collection, my question is how do you design a structure that has a certain cultural identity to cohesivly accommodate such diverse types of arts inside?.

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Question for ArchiDesign Talks (TEGET Architects)

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Question for ArchiDesign Talks (TEGET Architects)

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Considering the design process, what effects did the pandemic have for you? Will there be continuity of your decisions when the pandemic situation is over? How do you adapt to situations such as a pandemic?

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Question for Archi Design Talks (TEGET Architects)

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Question for Archi Design Talks (TEGET Architects)

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My first question: Do you take steps regarding the concept of sustainability in your office and the buildings you design to good of the people and nature?
My second question: Generally speaking, you are an office that participates in and achieves success in competitions. What advice would you give students on this issue?

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The first thought that comes to my mind whenever I see the wonderful buildings designed by architects like you is; How do you deal with the difficulty and stress of such a big project? And another question is about the Naval Museum, how does it feel to design a building in such a central location?
Although the building is modern, the atmosphere inside is so historic that how do you achieve this?

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I have a great admiration for Japanese architecture in this respect when it comes to minimalism and the efficient use of small spaces. I look at this architecture with envy every time because it has the most important features that a public space should have for me.

Especially in crowded countries such as Japan, public areas that take people away from the density of cities and rest are very important. These are the two things that I can see in Omoken Park. This area, with its open air and material, gives the feeling that it has been separated from nature between the buildings. It has a great place and conditions for people who are tired of this density in the city to throw themselves into a spacious place and do other activities. At the same time, this collective area, which provides the connection between two streets, does not restrict the visibility of the people passing through the streets with its semi-open design and creates a functional area while using the area efficiently. I look forward to see it in real life.

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Question for Archi-Design Talks (TEGET Architects)-Datca House ll 

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Question for Archi-Design Talks (TEGET Architects)-Datca House ll 

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When designing such interior spaces, if the demands of the customer and your wishes coincide, how do you overcome this difficulty?

https://www.teget.com/works/datca-house-ii/

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Question for ArchiDesign Talks (TEGET)- Borsa İstanbul

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Question for ArchiDesign Talks (TEGET)- Borsa İstanbul

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What value did the design add to the area where it was built and did you achieve the harmony you expected?
https://www.teget.com/works/borsa-istanbul/

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Question for ArchiDesign Talks (TEGET Architects) - Avanos Wateryard

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Question for ArchiDesign Talks (TEGET Architects) - Avanos Wateryard

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Did you draw inspiration from local culture and environment while developing the design? If so, how did you integrate it into the project?

https://www.teget.com/works/avanos-wateryard/

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V-Plaza is located in Kaunas, Lithuania and was built in 2020. Designers had some challenges while designing this plaza because of it’s historical and architectural background but I think the result is very successful and outstanding. One of the things that’s impresssed me about it’s design process is that they’ve studied the movement of padestrians and worked with grids which’s created spaces for users. And it provides users the spaces and activities in a very harmonious way because of the forms that the grids create. There’s a skate park, water playground, event area, basketball court, sunbathing area and protected resting places. In my opinion, providing free activity areas for users at public spaces is very beneficial for society. Because public spaces are the gathering points of the community without any discrimination and they should allow everyone to do some activities other than just taking a walk by themselves or sitting at a bench and enjoying the weather. From this point V-Plaza would have contributions to society and it’s unique design would easily attract people.

https://www.3deluxe.de/en/architecture/projects/v-plaza

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''...I would suggest Pilevneli Gallery designed in 2017, which is in the close location to ARTER. This design of Emre Arolat architecture stands out from the surrounding buildings with its structure and appearance, and at the same time harmonizes with its color. A characteristic building with its linear structure and different openings... ''

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MEHMET EGE GÜLEÇ                 Seyir Tepesi Şehir Ormanı  

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MEHMET EGE GÜLEÇ                 Seyir Tepesi Şehir Ormanı  

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This project is located in Pamukkale District, Denizli.It is the largest thematic city forest in Turkey.It contains many parks, seating areas, playgrounds, waterfalls, adventure tracks, skateboard tracks, picnic areas and an amphitheater for 300 people.The 27-meter giant rooster statue on this hill attracts many people.When you climb to the top, the air quality and scenery fascinate you and people can constantly relax and listen to themselves here.The areas built in this project, which was built using slope, are distributed throughout the land. Many concerts and similar events are held here.

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Domino Park / James Corner Field Operations

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Domino Park / James Corner Field Operations

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Domino Park, New York's newest public space, opened on Sunday, June 10th. It is a tall public park located just north of New York's Williamsburg Bridge. It's  Estate's connection to the street grid is an urban movement that aims to direct people living in the community towards the coastal side, thus making the park part of everyday life for tens of thousands of local residents living in the immediate vicinity of the city. The park includes a range of activities such as beach volleyball, a playground, a dog run, a taco stand, water features, lawns, and plentiful seating.

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Text description provided by the architects. Inspired by community input and the site's rich history, Domino Park reconnects the Williamsburg neighborhood to the East River for the first time in 160 years. As the first phase of the transformation of the 11-acre former Domino Sugar Factory, the five-acre park celebrates the history of one of New York's most iconic industrial waterfront sites by integrating over 30 large-scale salvaged relics, including 21 original columns from the Raw Sugar Warehouse, gantry cranes, screw conveyors, bucket conveyors and syrup tanks into an interpretive and educational "Artifact Walk." Sustainability and resiliency measures are central to the design, construction and ongoing management of Domino Park. The park is raised above FEMA flood elevations with many native plant species that reduce stormwater runoff and function as an absorbent sponge and first line of defense for the neighborhood.

Dating back to 1856, the Domino Sugar Refinery was once the largest and most productive sugar refinery in the world. At its peak of productivity, it produced up to 98% of the sugar consumed in the United States. Closing its doors in 2004, the Domino Sugar Refinery was the last major active industrial operation on Brooklyn 's once bustling East River waterfront. The park is a tribute to the story of this site and is dedicated to the diversity and resiliency of generations of Domino workers, their families and their neighborhood.

Domino Park represents a commitment to deliver 6-acres of public open space to the North Williamsburg community, providing much-needed open space for local residents, while honoring and celebrating its industrial working waterfront history. The overall development by Two Trees includes transforming the Refinery into office space and mixed-use residential buildings with 700 units of affordable housing.

One of the most important first moves was the extension of River Street through the site to reconnect the park to the city grid and to deepen a sense of publicness rather than a perception of a private front lawn for new development. Designed as a city street, River Street also significantly improves east-west connections between the upland and the waterfront, eliminating the need for stairs and ramps and increasing the park's accessibility.

Since its opening, Domino Park has become a magnet, embraced by the diverse community it serves, offering a range of activities such as beach volleyball, a playground, a dog run, a taco stand, water features, lawns and plentiful seating.

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Domino Park / James Corner Field Operations

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Text description provided by the architects. Inspired by community input and the site's rich history, Domino Park reconnects the Williamsburg neighborhood to the East River for the first time in 160 years.

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Abbasağa Parkı
In this project that we also see in our school is located in Abbasağa District, Beşiktaş. People who live in that district come together at day and night time and this park brings people together. In this project the most I loved part is, it is compatible with the environment, the topography, streets, neighborhood and people. When you come to the Abbasağa district, you can see the park at right of your arm in Maşuklar Yokuşu. This park also have a historical meaning for Beşiktaş. People have come together with this park in concerts, activities, teatres and also protests. The construction and architect info is mostly unknown but in many resources they are claiming that reconstructed at 1940's and main architect is Davud Bey and Garebet Balyan.

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ARCHI- DESIGN TALKS QUESTION ( TEGET ARCHITECTS ) 

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ARCHI- DESIGN TALKS QUESTION ( TEGET ARCHITECTS ) 

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Turkish Embassy in Madrid

Since it is a building located abroad, what were the most difficult things in representing your own country and culture during the design phase and what were the techniques and materials you said we should definitely use.?

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Turkish Embassy in Madrid Client: Ministry of Foreign Affairs Date: 2012-2016 Location : Madrid/ Spain Construction Area : 4130m² Team : Mehmet Kütükçüoğlu, Ertuğ Uçar, Mert Üçer, Nazlı Balkaya, Mert Velipaşaoğlu, Yiğit YalgınMadrid

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QUESTION FOR ARCHI-DESIGN TALKS (TEGET ARCHITECTS)

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QUESTION FOR ARCHI-DESIGN TALKS (TEGET ARCHITECTS)

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İstanbul University Cultural History and Archaeology Museum
In the case of design educational/historical-cultural spaces, do you think which is the priority; to create new museum or to design compatible environment for university?

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Istanbul University Cultural History and Archaeology Museum is located at the courtyard of Istanbul University Faculty of Fisheries. Building site as an existing courtyard surrounded by university buildings was the first step for a different design approach. While the entrance of the museum is from the gate on Ordu Avenue, there is a direct connection to the main gate of the university through courtyard.

Layout of the museum both for function and form is a grid just like an archaeological excavation site. Programme of the museum including laboratory, exhibition space, cafe and museum store, dissolves into the courtyard on this grid which also forms the exhibition walls and cabinets where it ascends.

As the museum is engaged to the Istanbul University Department of Prehistory, main part of the exhibition will be registered collection of department of prehistory and its laboratory. Materials and studies on archaelogy of Turkey of other departments, collections from abroad, earlier boards, measurement and documentation tools and ethnographic materials will also be part of the exhibition, embracing the cultural and material history.

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Istanbul University Cultural History and Archaeology Museum

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Istanbul University Cultural History and Archaeology Museum is located at the courtyard of Istanbul University Faculty of Fisheries. Building site as an existing courtyard surrounded by university buildings was the first step for a different design approach.

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Sule S Celik - Waterfront Seattle - Seattle, WA

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Sule S Celik - Waterfront Seattle - Seattle, WA

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Waterfront Seattle is a project that has initiated by the City of Seattle. It has many steps, a promenade, a highway connection, a bike path, at least 3 piers, a railroad, 2 bridges, 2 squares, and 1 seawall also the port of Seattle, the Seattle Aquarium, and the Dock are involved with the project. The project has started in 2010 and designed to finish in 2024.

The thing I love the most about this project is, from the start, they ask the community about their needs and they continue to work with the "Seattleites". They live-stream the construction process over their website and they are really transparent about everything regarding this project. You can find everything on their website, easy to access.

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Seattle's new waterfront is taking shape

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With Seawall construction behind us and viaduct removal nearly complete, the City of Seattle is ready to rebuild the central waterfront. Learn more about the next phase of its transformation!

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Question for Archi-Desing Talks - Teğet Architects

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Question for Archi-Desing Talks - Teğet Architects

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After the İstanbul Maritime Museum was selected first place in the competition, were there any changes or revisions made in the construction process of the project?

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Istanbul Maritime Museum Client: Turkish Naval Force Date: 2005-2010 Location : Beşiktaş/ Istanbul Construction Area : 15.000 m²The project site had 3 façades -the remaining one facing the neighbouring ex-tabacco warehouse

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Burak Can Bülbül / Public Space - Fethi Paşa Korusu - Üsküdar

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Burak Can Bülbül / Public Space - Fethi Paşa Korusu - Üsküdar

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 Fethi Paşa Korusu, located in Üsküdar, welcomes you with its historical entrance and has one of the best İstanbul and sea views of public spaces in İstanbul. In my opinion, it is surprising that having such a green area and natural environment with walking paths, playgrounds, and gathering spaces in the middle of the city. 
 The locals of the city prefer to go there to get away from the busy life of Istanbul. Also, a lot of tourists visit the grove as well. In spring, Fethi Paşa Korusu is one of the best choices for outdoor picnics or study for the midterms with my friends. 

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Son Güncelleme 24 Temmuz 2020

Üsküdar ile Beylerbeyi arasında bir konumda, İstanbul Boğazı'na hakim bir tepede oldukça etkileyici ve güzel bir alanda yer alan Fethi Paşa Korusu, aynı zamanda İstanbul'un en güzel koru ve parklarından birisi.

Sultantepe sırtlarından başlayarak Kuzguncuk'a kadar bir alanı kapsayan ve karşısında Sarayburnu'ndan başlayıp Ortaköy'e kadar uzanan eşsiz Boğaz manzarasına sahip Fethi Paşa Korusu, özellikle hafta sonu manzaralı bir yerde güzel bir kahvaltı, yeme içme ve dinlence keyfi sürmek isteyenler için çok ideal.

İstanbul'un en güzel ve en iyi Boğaz manzaralarından birisine sahip bir konumda olan Fethi Paşa Korusu, yaklaşık 16 hektar yeşil alan üzerine kurulu.

Fethi Paşa Korusu'nda İstanbul Belediyesi tarafından işletilen Fethi Paşa Sosyal Tesisleri isimli restoran ve kafeterya ile birlikte yüzlerce bitki ve ağaç türlerini barındıran koru, yeşil alanlar, yürüyüş ve gezi parkurları bulunuyor.

Tesis Belediye tarafından işletildiğinden dolayı fiyatlar da gayet makul oluyor.

Fethi Paşa Sosyal Tesisleri

Burası koruya gelenlerin harika Boğaz manzarası eşliğinde yeme içme keyfi sürdüğü mekan. Kafeterya ve geleneksel Türk mutfağının menülerini sunan restoranı ile hizmet veriyor.

Özel lezzetleri arasında bulunan, domates sos ve kaşar peyniri ile tatlandırılmış Fethi Paşa Spesiyal ile birlikte kavrulmuş mantar eşliğinde sunulan Levrek Şiş oldukça popüler.

Sabah kahvaltıları da yine aynı şekilde oldukça kaliteli ve fiyatları uygun.

Adres: Kuzguncuk Mah. Paşa Limanı Cad. Nacak Sokak No:6, Üsküdar, İstanbul
Tel: 0216 444 10 34

Ziyaret Saatleri ve Giriş Ücreti

Fethi Paşa Korusu haftanın her günü 24 saat açık.

Fethi Paşa Korusu'na giriş ise ücretsiz.

Fethi Paşa Korusu'na Nasıl Gidilir? Ulaşım

Fethi Paşa Korusu, Üsküdar ile Kuzguncuk istikametinde tepelik bir alanda yer alıyor.

Üsküdar'dan başlayarak Kuzguncuk'a gelmeden, Paşalimanı caddesi üzerinden yaklaşık 20 dakika kadar yürüyerek Fethi Paşa Korusu'na ulaşabilirsiniz.

Ayrıca Altunizade Bağlarbaşı tarafından yukarıdan da ulaşım imkanı mevcut.

Google Haritası

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Fethi Paşa Korusu, Üsküdar (Nasıl Gidilir? Yeme İçme + Tavsiyeler)

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Son Güncelleme 24 Temmuz 2020 Üsküdar ile Beylerbeyi arasında bir konumda, İstanbul Boğazı'na hakim bir tepede oldukça etkileyici ve güzel bir alanda yer alan Fethi Paşa Korusu, aynı zamanda İstanbul'un en güzel koru ve parklarından birisi.

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ARCHI-DESIGN TALKS QUESTION  (TEGET ARCHITECTS) 

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ARCHI-DESIGN TALKS QUESTION  (TEGET ARCHITECTS) 

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Istanbul Maritime Museum is located in a very dynamic place due to its location, what was your first goal when you started designing and how did you follow your decision?

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Istanbul Maritime Museum Client: Turkish Naval Force Date: 2005-2010 Location : Beşiktaş/ Istanbul Construction Area : 15.000 m²The project site had 3 façades -the remaining one facing the neighbouring ex-tabacco warehouse