Exhibitions 06 was a program bringing together architects’ work from different parts of the world. A portfolio of projects by architects from Spain, Turkey and USA traveled to 6 cities in Turkey coupled with architectural discussions.
Steve Badanes (USA)
Alberto Campo Baeza (Spain)
Cengiz Bektas (Turkey)
Carlos Ferrater (Spain)
Greg Lynn (USA)
Eric Owen Moss (USA)
Sevki Pekin (Turkey)
Sema Soygenis – Murat Soygenis (Turkey)
Melkan Tabanlioglu – Murat Tabanlioglu (Turkey)
Emir Uras – Durmus Dilekci (Turkey)
Sevki Vanli (Turkey)
Projects by Steve Badanes
Palm Springs Parasol House
This house is located in an extreme site, Palm Springs, California, an environment so harsh that Jim Adamson – a partner of Jersey Devil – wondered how anything could survive outdoors. Noticing that the desert was actually full of life, and that the lizards and other locals tended to ‘hang out near the rocks’ for thermal mass or in the bushes for shade, Jersey Devil translated these two survival strategies into architecture; shade and mass became their architectural guideposts.
Shade and mass figure in the two dominant features of the house, a sheltering double roof and thick insulating walls. Every Jersey Devil house seems to contain at least one experimental element – a Roto-lid, silo sections, a Trombe wall – which plays a major role in the development of the design. In the Palm Springs house, that element is the composition of the massive walls. Originally designed as rammed earth, the walls are constructed of form panels of recycled polystyrene filled with reinforced concrete and plastered or finished as desired. With very little labor and virtually no waste, the system combines high insulation values with the thickness and thermal mass of masonry.
Montessori Island School
The school, Jersey Devil’s first public project is designed to be cooled without air conditioning, a feat that is accomplished through the use of generous operable windows, thermal mass, ceiling fans, and a radiant barrier. The basic part is a row of classrooms raised one story off the ground and set on either side of an open central corridor with a vented canvas top that acts as a solar chimney. The corridor swells in the center to make a gathering space. For security reasons, traffic through the building is funneled through the administrative offices in the center. There are entrances on both sides plus a pair of ramps, with railings of chain link fencing dipped in yellow plastic.
Many of the design decisions can be traced to climatic concerns. The end walls are set at forty-five-degree angles to help channel non prevailing winds into the central corridor, and even the raised first floor – while a code requirement – will ultimately contribute to ventilation : heated air at ground level will rise through openings in the corridor to further stir the air in the school.
Natchez Street Beach Pavilion
Finished with industrial-strength aircraft paint, the umbrella anchors the crest of a wooden wave-like walkway designed to take the visitor to the beach without disturbing the dunes. The walkway, with its integral seating and curved details, clearly carries the Jersey Devil imprint.
Although the original concept had been to allow the umbrella to fold down during hurricanes, in the end it was engineered to remain in place and withstand the frequent storms of the Florida Gulf Coast. The pavilion underwent its first test when Hurricane Opal made landfall in October of 1995 with sustained winds of 125 mph. Both town and pavilion survived the rough weather, while neighboring communities weren’t so fortunate.
Red Cross House and Pottery Studio
The project, which is located on an oceanfront site on one of the Florida Keys, provides living and work space for a pair of potters and their two daughters, who left New York with dreams of living and working on the beach. It is built around an existing concrete house – one of twenty-five built by the Red Cross in response to a destructive 1935 hurricane – and its carport. Jersey Devil renovated the existing house to contain a kitchen, living area, and office, added a new building of reinforced concrete with a pottery studio at ground level and bedrooms above. Placed centrally among the buildings and acting as a kind of architectural totem for the project is a stair tower – covered with corrugated steel and trimmed in fuchsia – that connects the three parts. Outdoor circulation is feasible, even pleasant, in such a felicitous climate. Atop the carport is a vintage Airstream trailer – a Jersey Devil icon – that is used as guest house. Across the northwest side of the house, which faces the main highway of the Keys, is a screen made from galvanized steel lath.
The new building, which is not air-conditioned, is sited to let ocean breezes pass through. Like the Palmetto House, it combines a radiant barrier with continuous ridge and soffit vents for natural cooling. The studio has rolling doors that open onto the beach, and the bedrooms above open up to an ocean-facing balcony with jalousie windows. The bedrooms sit under an all-encompassing shallow ceiling vault, with partitions stopping short of the ceiling.
Camino con Corazon
A thousand miles south of Tijuana on the Sea of Cortez, the site for this house is characterized by intensity, scorching sun and drenching storms. Despite its remoteness, the house sits within a residential subdivision that governs materials, setbacks, and form. The homeowners’ covenants have spawned what Badanes refers to as rows of ‘Spanish hacienda clones’.
As with most of their houses, Jersey Devil’s strategy for Camino con Corazon was to turn constraints into opportunities. Rather than fight the design guidelines, the Devils converted them into primary form-generators. Camino con Corazon’s roof represents a confluence of these constraints in a single architectural element. Bothered by the subdivision’s requirement for a pitched concrete roof covered in red tile, Badanes envisioned a roof that ‘looked as if it could fly’, and inverted the pitch.
The vaguely pre-Columbian imagery of the house was intentional, a way of seeking sources for appropriate ways to build on such a site. This sculptural, monolithic quality sets this house apart from most of Jersey Devil’s earlier work. Because the form was generated from the circumstances of building, this quality can be seen as deriving from both the requirements of the covenants – white stucco, pitched red tile roofs, and historic referencing – and the exigencies of a site where wood was prohibitively expensive and ready-made industrial components were not used by the local building industry. Instead, the design relies on local construction expertise in concrete, plaster, and tile for the primary finishes.
The house was designed as a live-work space for a woodworker and a writer, with a woodworking studio and office on the ground floor, a writer’s studio on top, and living quarters in between. It is lifted above the ground and sited to catch the prevailing southeasterly winds. The ground floor is of reinforced concrete post-and-beam construction with concrete masonry infill, while the upper floors, carried on large site-built box beams, are wood-frame with an aluminum-and-steel skin. Like the two other Florida projects that follow it, the Palmetto House uses a radiant barrier to block up to ninety-five percent of the radiant heat gain, a foil barrier stapled to the outside of the wall and roof frame reflects heat. The resulting hot air is vented out of the house through soffit vents, ridge vents, and wall vents.
The upper floor has screened porches at either end, with a single room between them that contains kitchen, living, and sleeping areas. Above this space in the center is a loft – intended as a writing studio – reached by a spiral staircase. Its floor is made of metal grating, to help hot air escape from the space below.
Consistent with Jersey Devil’s solar strategies, the length of the house is oriented east/west, pushing the western end off the brow of the hill. This cantilevered promontory is perhaps the most iconic image of the house, referencing either Frank Lloyd Wright or cold cuts on a roll, depending on one’s state of mind. This, however, is not the entrance. It serves as an abstract, presenting all of the significant architectural elements of the house and its relation to its site. These elements – the concrete tray, the wrapping horizontal wood siding, the sheltering roof, and the unique skylight – are developed and transformed throughout the rest of the house.
The house is organized by clear distinctions between public and private, inside and out, individual and family spaces. Despite its large size, there is a limited palette of spatial types, small cellular rooms and larger open spaces. The latter include the main public spaces, from the entry west to the living area and east to the kitchen dining area. These open spaces are differentiated from one another by a series of objects that mark the central spine, the circular stair, the ‘Wrightian’ fireplace, and the freestanding credenzas. By contrast, the private spaces, such as the bedrooms, sitting rooms, and office, are located in either the figural circular spaces or partitioned along the central spine. The thresholds to these private areas are clearly delineated either through a quality of thickness or by attention to craft, as in the door to the office.
The site for the house is a bald hilltop in the Santa Cruz Mountains fifty miles south of San Francisco. On a good day, the city is visible from the site. Because of dramatic weather conditions – most especially one-hundred-plus-mph winds – Badanes and Adamson proposed to remove the top of the hill, build the house, replace the hilltop above it, making the house an aerodynamically efficient part of the hill itself. Burying the house had the added advantages of satisfying the concerns of the local planning commission and helping to stabilize temperatures inside the house.
The plan, driven by the contours of the hill, is a rectangle bent into a rounded
L-shape, with a circular entrance courtyard and garden built around the inside of the curve, where they are protected from the wind. The outside of the curve, which predominantly faces southwest, is a glass wall that provides spectacular views of the mountains and forms part of a passive solar heating and cooling system. An eight-inch-thick Trombe wall beneath the windows also collects and conducts heat into the house.
Except for the curve, the plan of the house is somewhat conventional, with a master bedroom and children’s bedrooms separated by a large kitchen and living area.
The Silo House can be viewed as the project where Jersey Devil’s interests in unusual building forms and prefabricated components began to merge with their interest in carpentry and craftsmanship – in part because they had a client with an adequate budget. The circular forms of the house, which sits on a wooded rural site, were requested by the clients, who were inspired by the round huts of Tanzania, where they had lived for eight years. The plan places living, sleeping, and working spaces in separate circular modules connected by a central spine. The modules are made from prefabricated wooden grain silos forming double walls – with foam insulation between them – and topped by cone-shaped roofs.
The spine that runs the length of the house originally carried an active solar collector, an early use of such technology. Air heated by south-facing black panels was stored in bedrock beneath the house. Stoves burning wood that was cut on the site provided backup heating.
Projects by Alberto Campo Baeza
Light, the intense light of Cadiz, is the primary material with which this house has been made; it is a diagonal space crossed by diagonal light. The house opens to the garden with a large slice through a deep porch that allows a panoramic view framed within shade. The floor extends towards the surroundings on a platform that is as large as the house itself and projects out as if floating over the garden. Planted with grass only, the garden stretches uninterrupted, without fences or walls, towards the enormous golf course it faces. The large plane of the floor, built in stone, a plane of light, underlines the landscape, bringing it closer. Completing the principal operation, the house opens eyes to the landscape in various ways. In the library, the highest, a large square hole has been opened which frames and appreciates the landscape of the pine grove on the golf course. The square hole opened in the walls of the roof terrace functions in a similar manner; from it one can see the sea. AII together, the house is a square divided into two, or better yet, into four equal parts. The front half houses the common living areas, the dining room and the library. The back half, in addition to the vertical circulations, houses the more private spaces: the bedrooms and bathrooms. Arranged in an elementary manner. The construction is simple and finished in white like all of the Andalusian houses from the region. It appears as though the house had always been there, long before the housing developments arrived. It is inside the house, in the interior, where one discovers the secret play of light and shade, of space and time. As simple as necessary.
The project, “Between Cathedrals” seeks to create a piece of architecture capable of housing, protecting and meriting the most important place in the history of Cadiz, the oldest city of the West : the empty space facing the sea between the new cathedral and the old cathedral, now the site of an important archeological dig. The objectives are to cover and protect the archeological excavation. Furthermore, we would like the plane covering the area to serve as a stopping space for the public in front of the sea. It should be set high enough so that the cars on the city bypass cannot be seen. It is conceived as a lightweight, white platform, set over the excavation as if on tiptoe, and reached by a ramp from the side. Skylights will be opened on this plane to provide light and allow the excavation to be seen from above. In the back, we will cover one part above with a canopy to protect from sunlight and rain. All of this, built with light elements, perhaps metallic as if it were a naval construction, and painted entirely in white to accentuate its lightness. The area to be walked on will be carpeted in white marble.
In the undefined outskirts of Granada, the central offices of the Caja Granada, the most significant bank of the city, are to be built. A great semi-cubical volume is proposed which serves as a reference to tense this new part of the city. In order to resolve the slope of the site and the ground floor level, a great base is created between the two highways that border the site upon which the cubic piece sits. In this podium, parking and future additions are resolved. The emerging, stereotomic, cubic box, is built of a reinforced concrete grid 3 x 3 x 3 meters, which serves as a mechanism to collect light, the central theme of this architecture. The two southern facades function as a “brise-soleil”, finely shading the potent light, and providing illumination to the areas of open offices. The two northern facades, giving onto the individual offices, receive the homogeneous and continuous light characteristic of this orientation, and are enclosed by stone and glass in horizontal bands. The central interior courtyard, a true “impluvium of light”, gathers the solid southern light from the skylights and, reflected by the alabaster parameters, augments the illumination of the open offices. Functionally the building has a great capacity, flexibility, and simplicity.
Simply, it is a stereotomic, containing, stone and concrete box, that traps sunlight in its interior to serve a tectonic, contained, box enclosed in an efficient “impluvium of light”. A diagonal space crossed by a diagonal light.
De Blas House
Placed at the crest of a north-facing hill with views to the mountains near Madrid, the house, more than anything, is a response to this location to settle a platform. A concrete box was built, a platform upon which to sit. A transparent glass box, roofed by a delicate and light steel structure, painted in white, is placed upon this podium. One with the earth, the poured-in-place concrete box like a cave houses the program of a traditional house with a clear diagram of served spaces to the front and service spaces to the rear. The glass box is placed upon the platform, like a hut, is a belvedere to which one rises from within the house. Below, the cave is a refuge. Above the hut, an urn, is a space from which to contemplate nature. The entire project is conformed by the precision of its dimensions. The concrete box is 9 by 27 meters. The metallic structure is 6 x 15 meters. The glass box is 4.5 x 9 meters by 2.26 meters high. This house attempts to be a literal translation of a tectonic box set upon a stereotomic questions : a tectonic piece set upon a stereotomic box. A distillation of what is essential in architecture. Once again, “more with less”.
Editorial SM Offices
As a leaning steel giant. As a train, as a ship. A metallic skin building along the side of a road. The Headquarters of the SM Editorial is the result of the site where it is placed, using the actual constructing techniques, and showing its will to last in time.
Its situation on the border line of a road, and the shape of the plot, give the hints to the internal distribution of the building, which is parallel to the road in a linear scheme, that on the other hand is a very suited solution to the program of the offices needed by this company foreseing future ampliations. The facades accomodate to the different needs and orientations, creating different shapes and sizes of openings to capture the necessary light. To the west a great eye frames a gorgeous landscape of the Madrid’s mountain range. Constructively, a big concrete podium contains the servant elements inside. On top of it, a well organized steel structure, whose outer layer is made out of stainless steel panels : a light, metalic, tectonic box placed over a big heavy, stone, stereotomic big box. As a steel giant laying over a bed concrete.
The Ma: The Andalucia´s Museum of Memory in Granada
We would like to make “the most beautiful building” for the MA – Andalusia’s Museum of Memory – in Granada. A museum that wishes to convey all the history of Andalusia. Back in the time of the Romans, Strabon described the inhabitants of Andalusia as “the most cultured of the Iberians, who have laws in verse”. We propose a podium building measuring 60m x 120m and three stories high, so that its upper floor coincides with that of the lower body of the podium of the main building of Caja Granada. And also its facade. Everything is arranged around a central patio, in ellipsoidal form, in which some circular ramps connect the three levels and create a spatial tension of great interest. And to top it all, as if it were a gate to the city, a strong vertical piece arises, the same height and width as the main building of the Caja Granada. It appears in front of the highway that circles Granada like screen-facade on which to send messages over large plasma screens that will cover it entirely. Like Piccadilly Circus in London or Times Square in New York. The new building, silent in its forms, is resounding in its elements to communicate messages of the new millennium in which we are already immersed.
Mercedes Benz Museum
We wanted to construct a clear idea : the idea of movement, the automobile’s raison d’etre, as the central theme for the new Mercedes Benz Museum in Stuttgart. As a material base, with round-trip possibility, we conceived a piece of elevated highway in a kind of spiral, with a central strip or lane for the visitors to the museum and a lateral strip for the cars on display, all covered in a glass box. And on the other side, an open, uncovered strip, for the moving cars. In response to the location, an intersection between a road, an elevated highway and a river, we are creating a large podium on which the entire program of service elements is included. The upper level is reached by wide ramps and on it the powerful spiral emerges. All in exposed concrete. Simple and categorical. In this way, for this new Mercedes Benz Museum we seek to build an image capable of surprising and fascinating. A memorable place, capable of withstanding time.
Montenmedio Museum of Contemporary Art
In Montenmedio we would like to create a space to house art that would be the loveliest in the world. An architecture capable of being remembered and of becoming memorable, as the pieces exhibited inside it are. If we already have the most beautiful site in the world, as is the countryside of Vejer de la Frontera, and the most prestigious artists have already started to arrive, we could do no less than to erect a building to match. The intervention is proposed as a building that houses the cultural uses and at the same time joins and articulates the natural landscape, showing it to full advantage. Highlighting the virtues of nature, with the greatest delicacy possible, as the best Architecture has always done. Is it possible to achieve a contemporary architecture using white walls? Is it possible to erect the most avant-garde, cutting edge architecture using the simplest materials? We propose a building with white walls that accentuate its horizontality in contrast to the varied topography of the surrounding landscape. As if it were the wake of a reactor in the blue sky. We propose these walls over a north-south layout that will serve as theme and as recognizable form to our intervention. Between the aforementioned enclosures, there will be large patios with water and flowers and vines, typical of the Andalusian region: bougainvilleas and jasmine, wisteria and asparagus plants or when we want shaded spaces, grape arbors between the walls. These long patios between walls can always be crossed sideways.
Offices in Almeria
We covered the entire elongated plot, 40×8.5 m, with the seven levels permitted by law, forming a complete volume. We created a stone box. Thick walls house closets. The windows are doubled, glazed to the interior, with stone to the exterior : stone shutters. When the shutters are completely closed a solid box of stone appears. The rooftop terrace, a belvedere looking at the sea, is also in stone completing the operation. A stone box opening or closing its eyes in conversation with light.
Olnick Spanu House
In a place of profound silence, after a day of fog and mist, an intense overwhelming light reflects off of the mirror of the still, deep waters of the Hudson River. A place where the sunsets are of a thousand colors and where the water sparkles in a thousand reflections; where the clean air is calm and mild. A place that seems very close to heaven. In this impressive place, we decided to create a plane which by underlining the landscape rising before us would prove worthy of it and enhance it. To do so, we built a large box with strong concrete walls that show their relation to the earth. The lid of this box is a stone and concrete platform on which one lives. Three areas are created, divided by boxes of white glass that do not reach the ceiling and that contain the stairs and bathrooms. The central space is the living room; one side is for a bedroom and the other for the kitchen and dining room. Inside of the concrete box, there are more bedrooms and bathrooms. In the center and connecting the main entrance with the garden, there is a large luminous hall. The central idea of the house is the creation of that main plane, which has been conceived not only with a view to enjoying the incredible landscape, but also for the placement of some pieces of an important collection of contemporary Italian art.
Projects by Cengiz Bektas
The Afyon House
The summer house in Afyon built in the early years of the Republic, which still bears the traces of the era during which it was constructed, has remained intact up to date. The grandchild of the owner of the house wishes to have a new house built on the same site, while preserving this existing building as a guest house. The Afyon plain towards which the house will be oriented lies to the north. For this reason the living space has to be opened onto both the south and the north. The ground floor has been arranged accordingly. On the first floor, there is a sofa (hall) with bedrooms on either side. The sofa (hall) opens onto the roof garden on top of the living room. This enables a view of the sunset, the mountains and the plain.
The Museum of Çatalhöyük
Çatalhöyük, dating back almost 9000 years, is a settlement which has witnessed the Neolithic and chalcolitic ages. There is need for a museum in which the findings can be exhibited, and the common wish in the locality is that this should be an adobe building. The study for the project design began with trips to the area and discussions on the subject, and once the schematic organization of the museum was established it proceeded with architectural sketches. The proposal included the idea of using also the roof of the museum building.
Children’s Play House
This is a proposal which can be implemented almost everywhere, closed or open, and with whatever materials available. The wall defines the interior space while at the same time it creates spaces in the exterior. Thus, a whole range of play or activity areas, varying in size and location are provided for the children. When desired, the children can gather around the story pit in the center. The first design was implemented in a holiday village. The second design, which will use adobe as a building material, has not been implemented yet.
The Gülsema-Lutz House
This is a house which will initially be used as a summer home and in time year round. The ground floor is a single space formed out of different sections flowing into each other. There is a load-bearing, symbolic stone wall at the center. The open fireplace, T.V and music sets, and the bookshelves are located here. The cooking space and the open and closed eating areas are directly linked to one another. The living room has two different parts: one looks towards the sunrise over the swimming pool, the other opens onto the wooden deck, right down to the floor level, with sliding doors. The deck rests on green and soil, and faces the sunset. There is a door leading outside onto the deck in between these two areas. The swimming pool is accessible both from this deck and the dinning terrace. Half a storey above the living area is the study room. With another half storey climb one can reach the roof garden. Going down half a storey from the living area one arrives at the workshop. The workshop is directly linked to the closed garage and the garden with a door. The living area can be completely utilized as an open space during summer. The bedroom located in the garden looks onto the sunrise and the view.
Shared- Holiday Premises at Güre
A self-heating house, an underground Turkish bath and closed swimming pool.
Two different experiments for the design of the shared -holiday premises at Güre have been successfully accomplished. The first experiment was based on the bay-windowed design implemented in İzmir. In a house, formerly realized by the architect in the States, heat generated in a glazed room was transferred to the living space, thus supplementing the heating. In this case, it was possible to heat the whole house with the heat that was generated within a terrace closed to the exterior with sliding glazed panels and separated from the house with glazed doors with grills at the top and the bottom. The sliding glazed panels can be kept open in the summer and closed in the winter. Thus the terrace provides shadow and coolness in the summer and heat in the winter.
The layout of the Turkish bath has been based on the well-known Ottoman double hammam layout. A sauna and fitness center has been added to this layout. Each bathing unit has been placed in a niche, thus avoiding the splash of water from one unit to the other. Utilizing the various levels of the site, the whole building has been built underground, except for the light lanterns. This has provided very efficient heat insulation.
There are two swimming pools. The larger one has a closed and open section. One can swim from one section to the other. The small one is mainly for children and is a closed swimming pool.
Primary Education School
The Halil Bektaş Primary Education School has been built behind the existing primary school. This is a gift from the brothers Cihan, Cengiz and Ceyhan Bektaş, in the name of their father. Being located in the dense city center, the design, in respect to its relation with its environment, has been relatively difficult. The main challenge faced in the design was that while inside the building, the students should barely feel this density.
Due to this rather tight location, the building was oriented, as much as possible, to the only open view, towards the southeast and south. The classrooms, which have flower containers in front, face the sky. All services have been located in the north. None of the installations have been concealed.
Taking into consideration that they should also serve the people of the neighbourhood in the after-school hours, the library and sports hall have been located in a separate building. The library has been designed so as to be controlled by a single employee.
The materials were as plain as possible and were chosen among those easily available in the environment. The exposed concrete was covered with a protective layer, while in other parts exposed light-concrete was implemented with careful workmanship. No cladding material was used.
The community center was designed upon the request of the Municipality of Greater Antalya. Intended to be part of the social infrastructure, it would primarily be implemented in quarters that had emerged as a result of migration. As the aim was to build such a center for every 5000 people, the design should enable the implementation in various places, locations and topography. For this reason it was designed as four separate units which could be brought together to form an integral building. This also enabled a phased-out implementation, which could be carried out whenever funds were available.
These four units are gathered around a courtyard. There is an amphitheatre and stage in the center of the courtyard. The stage can be converted into a swimming pool. A tent which can cover the courtyard can protect it from rain and sun.
There is a handicrafts school on the ground floor and a public school on the first floor
of the first unit. A health unit is located on the ground floor of the second unit, while there is a crèche and visitors’ rooms on the first floor. In the third unit, there is a sports facility on the ground floor and an arts school and gallery on the first floor. Lastly, the fourth unit has workshops on the ground floor and a library, cooperative rooms and mukhtar’s quarters on the first floor.
Projects by Carlos Ferrater
House and Office Building
In a party-wall building the program is developed on three levels intended for an architect’s office; four residential levels, with two apartments per story; and three basement levels for parking organized in part floors.
The facade is structured using vertical elements with a fifty-fifty mix of solids and voids, as is compulsory in the Cerdá Ensanche. The four materials used are the traditional ones of stone, iron in the balconies, and porticos of wood and glass.
The facade consists of four onion-like skins so as not to have volumes protruding streetwards the facade takes the form of a single plane, a certain dynamism being produced by conjugating the fixed and moveable elements, with overtures of light playing on the interior and filtering the view and noise of the street.
The large openings on the ground floor give onto the street, providing an urban vision of openness towards the interior, solving access.
Zaragoza-Delicias High Speed Train Station
The project proposed an urban complex of buildings, civil train infrastructure, and landscape. The station is composed of large defining white concrete elements. The language of the system of construction, and the possibilities that it create for cantilevered volumes and concrete canopies, relates each situation to the movement, restriction, and protection of the occupants : access spaces, intermediate spaces, vestibules and the central space. The roof, composed of light-weight materials suspended by nine metal arches that rest on the main concrete volumes, creates a triangular composition floating in the light, reflections, and the geometric forms of the structure. The illumination of the arches at night appears as a new icon for 21st century.
Center for Social Services
The building is situated in a public space planned within a city block that picks up the course of the old Horta road. The main facade is oriented towards the southeast, which provides an uninterrupted view from the Calle Alibey, where the southern access to the garden is. The building is designed in line with the context it finds itself in and is integrated in the garden in a mimetic way.
The idea of bands, which we encounter in the design of the garden and which defines the different leisure areas via the use of different kinds of paving, is also found in the building, where these fringes clearly define the distinct zones of the functional program.
The elements going to form the building get longer according to the interior program and increase or decrease according to the light it is hoped to make fall on the inside. The different lengths of the various areas mean that a patio appears at each end, thus enabling the building to express itself more hermetically towards the outside. This idea of hermeticism is reinforced by the building materials employed bare concrete, glass in the patios and skylights, lattice-like perforated aluminum and zinc on the roof these appearing as a fifth facade.
The project design proposes, then, the construction of a small building erected at garden level, in which its integration in the setting, its charm and its sobriety are backed up by easy maintenance and durability.
Auditorium and Convention Center in Castellòn
The access plaza constitutes the site of social encounter and interaction typical of Mediterranean culture. The auditorium project posits an uninterrupted dialogue between exterior space and building. The paving of the gently sloping plaza invades the auditorium concourse via a sequence of spaces bringing about a transition between outside and inside beneath the concert halls, forming vestibules, foyers and spaces for socializing in. The overall volume is broken down into four units. In the first few are the concert halls. Beneath these, the concourse, waiting areas and bar are housed. A number of smaller, lateral bodies swathe these spaces. In one of them, the entire support program for the concert halls is concentrated. In the lateral body facing this there is a covered walkway that accommodates the different exits. Next to these units or volumes, and forming a single whole with the auditorium, are the facilities intended for conferences, social events, and exhibition and meeting rooms.
New Botanical Garden of Barcelona
The new botanical garden of Barcelona are set on the northern slope of the Montjuic hill. The site stretches over an area of 15 hectares. The complex forms a large amphitheater facing southwest.
In the project for the new Barcelona Botanical Garden, the plants are laid in accordance with their geographic characteristics and are assembled according to ecological similarities.
The project employs a triangular grid as its basic structure, which may after its form with a minimal repositioning of earth. The garden’s organization relates the mosaics – plants – with the walkways in according with the natural requirements.
Botanical Institute Building in Barcelona
The Botanical Institute building, a center dependent on the Higher Council of Scientific Research, is located at the uppermost datum of the Barcelona Botanical Gardens on the Montjuic mountainside, next to the Olympic Ring.
The building leans over the northwest wing of the garden, the area devoted to
phyto-sections from the western Mediterranean and North Africa, with views across the city of Barcelona. It is structured as a horizontal line that crosses the sloping natural terrain like a hinge between two topographical datums. Given this, the section permits the various programs to be organized with independent entrances from the road to the rear and from the network of pathways in the garden.
El Prat Golf Course Clubhouse
The scheme for siting the buildings results from conjugating aspects of accessibility, communication and centrality in relation to the layout of the golf course, a geometrical location in which the tee-offs and 18th holes of the various circuits come together.
Close study of the topography permits the building to be broken down into two levels, with the sports services, changing rooms, the areas for golf-bags and carts, shops and players’ bar being sited along the lower north-south level.
Housed on the upper east-west level are the social spaces, lounges, restaurants and bars, connecting up at each end with the natural terrain and providing extensive terraces and porches with excellent visuals over the course itself and the distant landscape.
Projects by Greg Lynn
ARK OF THE WORLD MUSEUM
The Ark of the World is conceived as an institution that celebrates the ecological diversity, environmental preservation, eco-tourism and cultural heritage of Costa Rica. It is a tourist destination situated in the heart of the mountainous primary rain forests of the country’s interior. It is a mixture of natural history museum, ecology center and contemporary art museum. The architectural design is inspired by the tropical flora and fauna indigenous to the country in its form, color and symbolism. The site is designed to accommodate a primary entry through a garden of water filled columns which keep the site cool and moist. From the entry lobby the three types of exhibit are both visible and accessible. There is a central vertical space and helicoidal stair that rises three stories and terminates in a glass fiber reinforced fabric covered canopy from which visitors can view into the canopies of the surrounding rain forests. This central vertical space is filled with representations of the Costa Rican environment and serves as an orientation zone for eco-tourists. Galleries for the exhibition of contemporary art inspired by the natural environment surround this vertical space in a circular fashion. These exhibitions will be drawn from local as well as international artists. The ground floor of the building extends as a single story natural history exhibition designed around E.O.Wilson’s concept of consilience. The Consilience Museum contains exhibitions of the global environment and of natural history and ecology. This ground floor museum unfolds into the landscape and terminates in a stage and amphitheater for outdoor evening music performances and for the event of the Ark of the World Awards in ecology that are being launched along with the building.
The Bloom House is an infill house situated on a 35×90 foot lot with views of the Pacific Ocean. The exterior is a box with a series of eyelet shaped windows with stainless steel trimming the outer edge of the windows. The trim runs continuously along the east and west facades and turns the corners to the north and south facades where corner windows are located. The interior of the house is massed with curvilinear surfaces which emerge from ceilings and walls to define enclosures, furniture and light. There are two and a half stories with the garage, maid’s room and utility rooms located on the submerged level. On the first full level the living room, dining room and kitchen terrace up from the front yard at 30 inch height intervals. Across the length of this open space is a luminous fiberglass lantern attached to the ceiling. Between the dining room and kitchen are two small curvilinear enclosures which contain the powder room and office. In the living room, a wall bulges to define the fireplace. Three bedrooms are located on the upper level along a spine of shaped walls. In the master bathroom, master bedroom and second bathroom, the walls are shaped from thermoformed Corian. The upper hallway wall, the two small enclosures and fireplace on the lower level are framed with laser cut vertical wood fins that are sheathed with lath and plaster.
ECB European Central Bank
The new building design we propose, the ‘sphere’, reflects the principles of growth and marketplace in the way its modular approach has been worked out as a system of morphological growth. In the sphere a reference is found to the arched roofs of the Grossmarkthalle. The site is laid out as a green landscape, which offers a sustainable, durable, relatively low-key image to the city and the immediate neighborhood, and which takes up the logistics of the various program parts and connects them fluently and efficiently. The site in its entirety is conceived as a landscape, in which the building elements are placed integrally, analogous to a campus. The new building contains the most secure parts of the program within a spherical volume. The program of the sphere comprises : a VIP lobby, an ECB staff lobby, two floors of IT offices, 1 floor of secured offices and 22 floor plates that are arranged to allow for all possible standard office layouts. Furthermore the connection in the middle of the sphere houses the main restaurant. The sphere does not have the classical weightiness of the traditional bank facade, yet it has its own, long, history as a monumental expression of shared values. As an image, the sphere works on different scale levels; locally, it contributes a new typology to the Frankfurt skyline. In this way, the ECB emphasizes its distinct position in relation to the financial center of the city. On the European level, the sphere provides a unified, yet changeable, subtle and flexible representation of a strong whole, made out of different components that remain visible and distinct.
KOREAN PRESBYTERIAN CHURCH OF NEW YORK
The Presbyterian Church of New York in Sunnyside, Queens, is the result of a collaborative effort by three teams working in three cities: Garofalo Architects in Chicago, Michael McInturf Architects in Cincinnati and Greg Lynn FORM. The new Church structure is an addition on top of and around the 1930’s Knickerbocker Laundry factory. Because of its WPA style facade that takes advantage of the traffic along the Long Island Railroad tracks, the existing building was once described by Lewis Mumford as America’s best example of “misplaced monumentality”. The adaptive reuse of the existing factory building as a church and community center for the primarily Korean American congregation called for a composite structure between the existing building and a vast new space for assembly. The Church’s accessory functions are housed within the original factory building. The new sanctuary is located on what was the factory roof and it is enclosed by a monumental long span roof and ceiling. The factory’s industrial vocabulary is retained and its interior spaces and exterior massing are manipulated and adjusted to facilitate a unique confluence of cultural programming. In the newly constructed sanctuary, the church hosts services for 2500 people. Within the same structure, multiple non-sectarian programs can occur simultaneously in 80 classrooms for use by schools and various social groups, a 600 seat wedding chapel, various assembly spaces, a choir rehearsal space, a cafeteria, a library and a day care center.
The showroom concept for PrettyGoodLife.com responds to the need for a mutable brand identity in a variety of contexts throughout the world. Given the same generic design technique, high degrees of variation can be produced for the showrooms of various size and shape in different locales. The interiors are both customized and mass-produced using advanced computer controlled manufacturing processes and the control of design variations. There are two types of construction in the showroom interiors. The first is a liner for the existing spaces. This is designed with gently bulging plaster walls, gradually sloping poured epoxy floors, aluminum metal trim and frosted glass luminescent ceilings. Encased within this cleanly defined shell is a second construction that provides for the display of objects of various shapes and sizes. This object is like a large piece of furniture as it is built of stained and painted wood walls and cork floors. The shape of the display vehicle is curvilinear and has a voluptuous undulating interior within which glass shelves nestle. These elements are manufactured using CNC – computer numerically controlled – cutting robots to achieve their variety and complexity. Rather than a smooth surface, the texture of these panels is designed as a rippling surface that exploits the artifacting of the manufacturing robot. Because the objects displayed in the showroom range in size from tableware to couches, the shelving system has to be extremely flexible. The undulations of the surface provide for both the projection of objects out from the wall and the nesting of smaller objects in niches. A system of stainless steel display pegs can be inserted across a network of receptacles embedded in the carved wooden blocks of the display wall. The reversible glass shelves have two different curved profiles so that they can be aligned to at least two different positions on the wall. In this way the design achieves both a flexible and unique functional scheme within each showroom as well as a variety of shapes, sizes and configurations in different locations; all of which derive from a single design and construction strategy.
The modern house, and the California house in particular, were driven by desires for dematerialization and extension. Today, we prefer dense luminescence to lightness and rich encumbrances to endless emptiness. The Venice House folds inside and outside rooms into a singular porous environment that occupies the entire triangular site. A one story high occupiable structural truss defines the mass of the house, composed of only two continuous extruded and radially bent steel tubes, braided and looped through one another that function simultaneously as horizontal and vertical members; beams and piloti. The integrated structure allows a one hundred foot long ground floor interior living area to be partially enclosed and yet blended with outdoor spaces and light courts that perforate the upper level and connect the landscape with the sky. These glowing wells both separate the upper floor’s bedrooms, study and children’s area from each yet link them with the lower zone as well as the roof as the fold upward along the curved structural radii. Each element of the house does more than one thing at a time: material and surface continuities make volumes both voids and solids, inside and outside, continuous filets and radial tangents enable the curvilinear basket structure to both support and create hollow courts. This flowing continuity of upper and lower levels, of roof and ground and of voided hollow structural baskets and mass engenders a new kind of porous domestic space that folds together: indoor and outdoor spaces, structural frame, void light wells, solid figures, translucent bounding envelope and an undulating ground plane into a suspended mixture.
ST. GALLEN ART MUSEUM
The St. Gallen Kunstmuseum is a unique institution in Europe because it combines, in the same structure, a Natural History Museum with a cutting edge Contemporary Art Museum. The design was extremely constrained by two factors. First, no visible surface of the existing building could be touched, altered or covered. Second, the site for the extension needed to maintain a connection to the public park directly behind the museum. These two constraints suggested a subterranean connection to the existing galleries. Two stories above this lower level extension we floated the archive and storage spaces that would otherwise have been buried underground. This made a monumental gateway to the adjacent park with the roof of the lower level extension acting as a plaza. Sandwiched between this outdoor ceiling and the plaza we located three volumes, each containing special galleries for sculpture that are visible both from the city and from the park. The structural and spatial system for this gateway was two surfaces that folded upward and downward from the ground and ceiling respectively. The folded loops or blebs created pockets of volume within the structural arcs for the exhibition and display at the level of the public park.
Projects by Eric Owen Moss
The Beehive, Culver City, Ca
The Beehive isn’t a form. It’s forms. And the forms change.
The Beehive is a new office building that is inserted into an existing fabric of warehouses. A two-story dilapidated building is removed and a new two-story structure is built over its footprint. The site is captured on three sides by existing buildings, leaving only 35-feet of public street façade. The architectural emphasis is on the front element, which forms the identity of the entire building.
The ground floor of the Beehive is the main entrance and reception area. A stair leads up to a second level conference room. A second stair triangulates around a pyramidal skylight and forms the roof of the Beehive. A roof terrace provides spectacular views of the city and a space for small informal gatherings. Stairs rise to the roof. Stairs are the roof. The edge of the stair is cut to conform to the exterior wall.
The exterior wall is contingent on the position of four bent interior columns. Each column leans, folds, breaks – independent of the other three. Each manipulation, a response to the square footage requirements of the second-floor conference room, redirects the shape. Curved horizontal pipe-beams at four-foot intervals connect the columns and confirm the form initiated by the columns. The skin of the building is a shingle system of glass planes and thin sheet metal walls that is expressed on both the interior and exterior.
The Beehive and adjacent buildings are set back from the street to create a garden plaza. The grass mounds were built up to form a semi-private area along the busy street and configured with steps, mounds and plateaus in anticipation of people meeting, lunching, or relaxing in the landscape.
Guangdong Museum, Guangzhou, China
The city of Guangzhou is growing at an unprecedented rate, particularly in a southern direction toward the Pearl River. The site area of the new Guangdong Museum and Opera House offers a unique planning opportunity to resolve this rapid urban growth where the expanding city meets the Pearl River, and to provide residents and visitors to the city with a new and unprecedented experience of art and culture.
We propose two conceptual design metaphors for the planning of the museum site: First, the Mountain with 4 Peaks and second, the Glass Forest. These two new organizational ideas will resolve the intersection of the expanding city, the Culture and Art Square, the Museum site, and the River, offering the citizens of Guangdong province a powerful and compelling sequence of spaces for promenading, exhibition, performance, and landscape in the intermediate zone where the city ends and the river begins.
The Mountain with 4 Peaks will alter an essentially flat landscape by introducing a new land form or promontory which rises from four points out of the horizontal museum site. The land is to be modified – stretched – as if the earth were elastic, extending vertically from four center points that signify the four new museum gallery towers. As the land form grows, it extends west, connecting with the raised land form of the new Opera House.
Running east and west along the top of the new ridge is the Long ‘Art’ March, a linear pedestrian path 7 meters wide that connects the Culture and Art Square with the new Museum and the Opera House. This new walk will become the primary pedestrian route to the new museum. Paralleling the ‘Art’ March is the new Glass Forest, a dense grouping of transparent hollow glass tubes -Glass Trees – that are aligned precisely on either edge of the pedestrian walk, and positioned more freely as the Glass Trees extend beyond the walk along the hillside. From the base of the raised land, this line of Glass Trees marks the presence of the walk. Both the 4 Peaks and the Glass Forest designate the terminus of the urban development moving south, and suggest an alternate landform and landscape, a new urban space and purpose – east to the Museum or west to the Opera House – a civic space for art and music, education and celebration.
The Patent Office Building, Smithsonian Institution, Washington D.C.
The design solution for the enclosure of the Patent Office Building courtyard offers a remarkable opportunity for the Smithsonian Institution, and its chosen architects, to re-confirm the building’s unique institutional and architectural pedigree – “America’s temple to the industrial arts” – by adding a dramatic contemporary chapter to the building’s history.
Fortuitously, the buildings’ original purpose – the display of inventor’s models submitted with patent applications – embodies a spirit of technical and artistic progress that the existing building will share with the newly enclosed courtyard.
The roof design that encloses the Patent Office Building courtyard is poetically and technically unprecedented: a dense vertical amalgamation of glass and steel rods of varying lengths offers an ever-changing presence of light and sky viewed through a spectacular, Seurat-like field of shinning points. Simultaneously the composite structure reaffirms the prominence of the original courtyard experience — the granite and sandstone walls that form the “great room”, now sharpened and re-focused in a new, reflected light.
The field of rods is lifted on 8 steel columns positioned on the original building foundation line that parallels the courtyard walls. 4 steel trusses span the columns and are integrated in the field of glass rods.
The iconic roof is not simply dramatic. In pragmatic terms, the field of rods is both a courtyard enclosing volume, and a versatile, multi-purpose composite that simultaneously provides structural, technical, and staging services for the great room.
The Stealth, Culver City, California
The design of the Stealth began as a consequence of remediation required for earth removal on what was formerly an industrial site. One of three existing industrial structures was demolished to provide access to the area. A block wall enclosed the two remaining buildings and the excavation was reshaped to from a sunken garden.
Inside the old structures, a new performance stage will face the garden, with seating on the stage perimeter and in the garden. The stage will hold 150 seats, the garden 600.
The block wall of the façade has two openings: the north opening forms the theater proscenium, the south opening allows parking and vehicle access at the rear of the site. On the north end, the new 325-foot long building is three sided. The south end is four sided. The building section varies constantly over its length, three becoming four; four becoming three. The building is entered through a glass-enclosed lobby at grade. The north wing of the raised two-story office block is a large floor with an open mezzanine. The south wing provided two more conventionally enclosed floor levels. The area adjacent to the lobby is a garden, sunlit from the south and west.
The aspiration was to investigate a changing exterior form and a varying interior space: to construct a building that remakes both outside and inside.
The Umbrella, Culver City, California
Two contiguous warehouse structures built in the 1940s – both in disrepair, one with a sawtooth roof, the other with a bowstring truss supported roof – were initially redesigned as a performance venue for an experimental performance series put on by the LA Philharmonic Orchestra, and ultimately were remodeled and converted into office, production and post-production facilities for an internet and graphic design firm.
The exterior box shapes remain essentially as they were. Entry ramp, walks, and stairs are added outside. The interiors include two lobbies, four avid bays, two conference centers, 20 private offices, and large open work areas.
The building exterior is finished with two types of cement board panels – smooth and lapped on the bowstring/ production side, corrugated on the saw-tooth/ post-production side. Because of the functions occurring in the space, the building, with the exception of the “Umbrella,” in introverted with little glazing – except for windows along the entrance ramp.
The key conceptual piece of the project is an outdoor seating, lounging, music-making amphitheater space located at the roof level on the corner of the bow-string building, cantilevering over the entry ramp. The Umbrella as it is called, is an experimental piece of construction. It is a conceptual bowl – an arena – the slope of which is determined by the top chord of two inverted wood trusses salvaged from the demolition of an adjacent project and inserted here.
Conjunctive Points Theater Complex, Culver City, California
The Conjunctive Points Theater Complex is a mixed-use development that will synergistically join art and technology through the creation of unique and innovative state-of-the-art theaters. Set against the backdrop of intellectually stimulating office, retail and restaurant space, the result will be numerous coordinated venues for commerce and the expression of the arts. The project also will provide substantial areas for public use including an amphitheater, south-facing plaza, and park.
To minimize the building footprint, the program was originally organized into a dense 100’x100’ block extrusion, positioned along the North perimeter of the site to maximize southern exposure. The volume is then adjusted at either end to accommodate three different types of theater environments within three distinct spatial envelopes. To the east, the form is ‘bent’ vertically to accommodate a high volume, 750-seat, ‘theater in the round’ and to take advantage of city views. To the west, the form is twisted 90 degrees, adjusted toward the corner of the primary vehicle access, and plunged into the site to accommodate a two-level, thrust-type theater with raked seating and a capacity for 1,650 spectators.
The central portion of the building, which retains the original 100’x100’ section, is occupied by five glass enclosed retail blocks on the lower floors and office space above. A continuous exterior ramp connects a series of floors located within the glass retail blocks ultimately connecting the theater volumes at either end of the project. A secondary system of theater-specific circulation is located within two large glazed atria, allowing theater patrons to both see and be seen from the variety of vantages. A third elevator core is located in the center of the building to connect the parking garage to the main plaza level, and the main plaza level to the offices above. The main entrance is located along the south perimeter of the building adjacent the large public plaza.
CP Gateway Tower, Culver City, California
The Conjunctive Points Gateway Tower will involve the demolition of 5,235 square feet of an existing 1940’s two-storey masonry building to be replaced with a new 1,486 square feet steel structure. Situated at the prominent corner of Hayden Avenue and National Boulevard, the structure will function as an entrance ‘Gateway’, announcing the arrival of visitors to the ongoing Conjunctive Points development. With the future MTA Exposition light rail line along National Boulevard, this structure will also serve to announce the arrival into Culver City from the larger Los Angeles Metropolitan area.
The project envisions a light tower, 72′ in height, and approximately 30′ in diameter. The form of the tower is composed as a series of conical ‘screen’ segments, each measuring 10′-6″ in height, stretched between a cantilevered steel ring beam armature. Each conical segment is unique. The intention is for these surfaces to be backlit through projection, or other media, to achieve a glowing, visually arresting sculptural form. The tower has five floors at 12’ intervals, each serviced by one exterior stair, and one glass enclosed elevator. The base of the tower is excavated to provide a landscaped amphitheater.
Projects by Sevki Pekin
Textile Factory, Çorlu
The office space, production and service areas have been organized in a single building. The production area is covered with prefabricated load-bearing units which allow for a width of 17 meters between vertical elements, and is on the top floor of the main building. Overhangs emphasizing the entrances, both of the trucks and of the office space, are steel structures added onto the building.
Publicity Towers, İzmit
Two aluminium clad, triangular towers, 45 meters in height, designed for the publicity of a firm are attached to a marble base.
Spacial organisation of a square and subterranean garage, Bucharest, Romania.
The subterranean building includes shopping space, stops for taxis and minibuses and a car park. The building is linked to the Northern station from underground. Above the ground there is a soil infill of 2 meters, with planted trees and entrances to the building.
Tyre Factory and Administrative Building, İzmit
In the premises used for the production of rubber tyres, the elevations are devoid of any punctures, so as to prevent carbon from seeping outside. The social building that has been designed completely apart from the production unit, houses the workers’ dressing rooms and dinning hall in one part and the administration in the other. The administrative units look on to the inner courtyard.
Summer House, Bademli
On a site densely planted with trees, mainly olives, the design challenge was to provide open and closed space, without disturbing any of the trees. This was secured with a steel structure.
Lawyer’s Office, Etiler, İstanbul
An existing building of 1050 square meters was totally rennovated, including its elevations, ready to accommodate new occupants.
TOSB-TAYSAD Administrative Building, Gebze
In the three-storeyed building placed in front of the stone reclining wall which controls the slope of the site, includes a conference hall for 200 people, various social space, office space and seminar areas.
Projects by Sema Soygenis – Murat Soygenis
Factory for Textile Chemicals
The building is a small industrial installation producing chemical additives that are to be used in textile manufacturing. Being located in an industrial estate at Büyükçekmece, only recently opened to development, the building has been designed taking into account the relevant building codes and limits imposed by the site, the dimensions of which are approximately 100 meters by 30 meters. The building coefficient for the site is 0.40/0.80 and the maximum height permitted is h: 9.50. The square building measuring 18meters by 18 meters and facing the front road is the administrative department, while the rectangular building extending towards the back road, measuring 48 meters by 18 meters houses the workshop. The administrative building consists of load- bearing 6m by 6m modules, with a structural system of reinforced concrete columns and beams, and is designed symmetrically according to the entrance axis.
The entrance hall of the administrative building has been designed as a three-storey high void, aiming at the integration of all three floors. The stairs placed within this void provide he vertical circulation between these floors. The entrance floor, maisonette floor and first floor each have a service core consisting of toilets, a utility room and kitchen. There are office space and meeting rooms on all three floors, encircling the void. Due to some technical prerequisites, such as the minimum ceiling height of 8 meters required for the chemicals’ mixer machines and the intense forklift traffic in between these machines, the workshop has been designed as a single span space with a steel load-bearing system and a high ceiling. The raw material comes through the basement where it is also stored, and is carried up to the workshop with cargo lifts. The mezzanine floor of the administrative building partly extends over the workshop. Laboratories are located on this extension.
A House at Arnavutköy
The aim of this project design was to complete an unfinished house located on a narrow site on the slopes of Arnavutköy, overlooking the Bosphorous . The givens were the already completed reinforced concrete load-bearing system, and the brick walls of the bathroom and kitchen space, which did not coincide. In contrast to the frequently applied rule of “imitating the old” both in the exterior and the interior of the building, an open-plan, simple and “new” concept was adopted for the interior space. In order to link the stepped street to the back garden, all space functionally required on the first floor of this four-storeyed building, such as living, sitting in front of the fireplace, kitchen and dinning, have been gathered along the wall distant from the axis of the entrance door and the garden gate.
This horizontal link has been accentuated with the uninterrupted horizontal line between the unpainted, plastered wall beside the entrance door and the ceiling; between the walls and the ceiling and between the walls and the skirting; also with the profiles of the metal lighting elements suspended from the ceiling. As a unifying colour, the plastered surface has been preserved also in the bathrooms, the chimney wall, and the ceilings of the upper floors and the risers of the staircase.
This is a project design for the renovation of the restaurant of a hotel at Edirnekapı. The existing data was restricted to the undefined entrance to the restaurant, the vestibule, a long corridor separating the dinning hall from the entrance hall and the dinning hall which was accessible from the service corridor. The targets set for the design were to introduce some spaciousness to the dinning space that was quite narrow in its present state, to provide a visual integrity between the entrance and the restaurant, and to add visually the service corridor, that was only used during certain hours of the day, to the dining section, at least during the hours when the restaurant was in operation. To this end, rectangular-shaped vertical openings were provided between the dining hall and various sitting groups and what formerly was the service corridor. The integration of space was further accentuated with the discontinuity of the wall separating the dinning hall from the corridor before it reached the ceiling. A rhythm consisting of solids and voids was introduced in the space, and treating the wall as a separating object, a sense of depth was given to the dinning hall which was in fact quite narrow and depressed. The suspended gypsum ceiling was also designed in support of the plan layout. Lights reflecting from lighting appliances hidden in the suspended ceiling and the walls were used in lighting up the dinning space. Using buried spotlights direct lighting was provided in the vestibule, entrance, bar and toilets. Using different colours on various surfaces, the transition between different sections of the space was emphasized while architectural elements such as partition walls, openings and niches were highlighted.
House in Colombia
The additions made to a wooden structure house in Maryland, Colombia, in the USA consists of an open terrace on the ground floor and a sitting room and viewing terrace on the upper floor.
Tourism Information Office in Istanbul
The Tourism Information Office has been thought out as an inconspicious building located amidst the monumental buildings of Eminönü. The building consists of a ramp rising as if torn from the surface of the earth. Considering the dense pedestrian traffic within the square and the monumental buildings all around, the decision to design an insignificant, plain building seemed logical. The monumental buildings illuminated for audio-visual spectacles can be viewed from the roof of the building, designed as sitting steps and a ramp. The information office and supporting units will be on the main floor, half a storey below the square, while there will be a film center level with the square. With various levels provided, the square around the building will be transformed into an area where pedestrians will not just pass by, but where they can sit, rest and benefit from the information regarding the city transmitted through screens.
Multi-Unit Housing, Istanbul
The multi-unit houses that have been designed in search for an alternative to the apartment- type houses that allow for life styles of a limited nature, offer solutions to the varying characteristics of the sites subject to development. In all the designs, innovative alternatives have been searched for the materials, proportions and colours currently used on the façades, roofs and interiors of the apartment buildings around us.
- Narrow site
- These are located on long and narrow sites with adjoining buildings on either side, opening to the exterior from the narrow sides at each end. They house two studio flats on the ground floor and a one-bedroom unit on each of the first and second floors.
- In this proposal, which also has existing buildings on both sides, the two-storeyed building has an inner courtyard at the center. All the spaces on either floor are located so as to face this courtyard. On the ground floor there is a studio flat on one side of the courtyard and a single room on the other. There is a one-bedroom unit on the upper floor. The building can either be utilized by a single user, or the one- bedroom unit upstairs and the small studio flat below can meet the needs of two separate users.
- Corner site
- The house located on a corner site is for a single user and consists of a living space and kitchen on the ground floor and two bedrooms on the upper floor.
- The living spaces are on the ground floor, while the two bedrooms on the upper floor open onto a gallery that looks down to this space.
- This is design for a corner-site that adopts the inner-courtyard approach. The whole layout is planned according to this inward looking way of life. On the ground floor the living and dining spaces are located on the parallel areas extending along the courtyard. The two bedrooms are on the upper floor.
- Low-rise designs.
- This proposal includes two double–bedroom units on the ground floor and four “loft” units on the upper floor. A covered street divides the two-storeyed building into two. The loft units are left to be completed by the users.
- There are two single-bedroom units on the ground floor, and two mezzanine type double bedroom units above this. The mezzanine floor looks down to the living space on the floor below, through a wide gallery.
A Restaurant at Anadolukavağı
The restaurant is located by the seaside, linking the existing two-storeyed buildings, overlooking the view from its elongated side. The aim is to benefit as much as possible from the view of the Bosphorous and also utilize the open space.
- The single mass with a sliced roof, separated from the street with a colonnade includes the closed sitting area and the services. Both sides of this unit will be used as open terraces. Areas that will serve the open terraces have been worked out.
- In this proposal, the closed sitting space has been located at a right angle to the sea, as two individual units. The beams linking these two units also serve as visual elements separating the open areas from the street.
Café at Rumelikavağı
The unit perpendicular to the sea houses the closed sitting area and the services. The café is accessed through kiosks and a colonnade from the pedestrian street. The open areas of the café are designed as terraces overlooking the view of the sea.
Projects by Melkan Tabanlioglu – Murat Tabanlioglu
The Astana Stadium is at Astana, the capital of Kazaghistan, located along the main road linking the city center to the international airport. The stadium has mainly an elliptical form. The elliptical geometry is evident in the roof shell. The main load-bearing structure carrying this shell is steel. A metal-clad roof structure suspended over the bleachers protects them from all climatic impacts. Thus the stadium can also be utilized for events other than football contests. The mobile roof modules move on the main load-bearing steel elements in an east-west direction. In order to let in sunlight while in a closed position, the mobile modules will be covered with translucent material. The total seating capacity of the stadium is 30 000 spectators. The lower course bleachers are designed so as to accommodate 16 000, while the upper course accommodates 14 000. The VIP stand is at the western side and is located in between the lower and higher course bleachers. There are sufficient number of toilets and kiosks for the spectators beneath the bleachers. Sportsmen’s dressing rooms and lockers, heating units, rooms for judges and official observers, rooms of varying size and function for the media, the VIP entrance as well as the technical and administrative space is located in this area. Here, the main load-bearing system is reinforced concrete, while durable, hard-wearing, easily cleansed and aesthetic materials are being used on the floors, walls and ceilings. The players or other sportsmen go out onto the playing field from this level. On entering the safeguarded area created around the stadium the spectators have access to the tribunes on the northern, southern and eastern sides with ramps. Car parks and service roads have been planned outside this safeguarded area. The ticket stands are within the car parks.
Housing in Esentepe
Situated on a site with an irregular geometry, this high-rise building designed with an architectural approach in compliance with its articulate location, displays a dynamic attitude in different floors and parts. The green areas organized as inner gardens on every floor provide a warm and natural atmosphere even for those living on the uppermost floors. Space located on the various storeys and directions of the building, opening onto different vistas, are placed at different angles. Hence, each space has its own unique positioning, with its specific view. Depending on the angle from which it is observed, the building may appear to have many different outlooks from the exterior. This diversity is also reflected in the location of the communal social areas. Such functions as sports halls, children’s playgrounds, cafés which are generally placed on the entrance floors of buildings have been distributed among storeys with more than one alternative. A boutique shopping area supports the integrity of the building. The building rises from a square that will be composed by including the peripheral roads into the landscape. In contrast to the other buildings within the environment, which mostly rise from a wide base and have a rather thick appearance, this building sits on a 600 square meter area and looks slender and graceful. Being taller than the rest of the surrounding buildings, it has access to a wide vista of the urban landscape and in turn, becomes part of the city’s silhouette.
The historical docks of Galata which are located in one of the most critical points of İstanbul and have sustained their presence throughout centuries as a gate opening onto the sea have been attributed new functions such as with the recently prepared project. Designed as a cultural, touristic and commercial center, it is expected that the project will add new value to İstanbul. The existing historical buildings within the area covered by the project, consisting of 100 000 square meters of open areas and 151 665 square meters of built-up areas , with a coastline of 1.2 km, will be renovated in compliance with their original forms but will be given new functions. When and if the implementation of the project is completed, Galata will integrate with Beyoğlu, and with the completely new aesthetic value it will acquire, this very precious part of the Bosphorous will add to the virtues of İstanbul. Except for the customs-controlled areas along the 1.2 km long coastal strip, the architectural design allows for functions that will be commercially viable. With its hotels, restaurants, bars, shops for all sorts of touristic items, shopping centers, exhibition and fair areas, museums, car parks and several other sales points, a high revenue is expected of the project. Another major contribution, once the project for the Galata docks is realized, should not be overlooked: this is the employment capacity that will be created considering all the people that will work in different units. It can be argued that a project of such intensity can only be realized through an international consortium, therefore, it may well be assumed that, through the presentation of the project during the call for bids, the probable participation of renown firms in the bidding and the place this whole process will occupy both in national and international media will contribute to the overseas image and promotion of Turkey. It is also expected that the project will have a positive impact on the national economy.
İstanbul Museum of Modern Art
The Galataport project is an urban transformation project for the 1.5 km long coastal strip and the buildings within, owned by the Marine Enterprises .The number 4 entrepot building which today houses the İstanbul Modern is one of the buildings within the boundaries of this area, and has also been utilized during the Bienales. The architectural approach was to keep the interference to the building at a minimum, so that the art objects on display would be the sole issue preventing its being perceived as an entrepot building. The walls on which the paintings are exhibited are painted white, while everything else is grey. Several different routes may be followed while visiting the main exhibition hall on the first floor. The white display walls around the load-bearing columns, ending at 60 degrees angle, enable this diversity. Rooms for education and training, meeting rooms, the museum shop and a restaurant utilizing a modernized version of the Ottoman theme in its interior design is also located on this floor. Space for temporary exhibitions, the library, photography exhibions’ space, media center, a cinema and offices have been provided on the ground floor. In order to provide a continuity of space most partition walls are transparent. Instead of designing the museum as a closed box, the controlled use of daylight was maximised, with the understanding that visitors could experience different feelings at different times as both works of art and space itself came to life through the change of atmospheric conditions. The museum is located within one of the world’s greatest open air museums; therefore it is an additional asset to be able to view some of the masterpieces of İstanbul through its windows, while enjoying the exhibits of the museum.
In this project, instead of using the whole surface of the concave site with insufficient green for individual buildings whereby the open space would be divided by several roads a dense and uninterrupted piece of green, a wooded area was secured in the midst of the site. By locating the buildings close to the periphery of the site, it became possible to open up to a wide view. The shopping center which has open, semi-open and closed areas has been placed along the road, in order to facilitate its accessibility. The shopping areas which are also accessible from various levels within the complex are conveniently linked to one another and have been placed so as not to obstruct one another’s view. The two low-rise, stepped, linear housing units have been designed parallel to one another, at a 90 degrees angle to the shopping center, at the far end of the site. This is a peaceful location, being at a considerable distance from the traffic. The natural landscape has been supported with terraces. At the lower storeys of the buildings the levelling of the site made it possible to design studio flats that opened onto the gardens. A street atmosphere was created, in the long and thin space between the two buildings. The architectural design suggests an alternative way of life; close to the city center, yet in a peaceful, natural setting, where shopping and other activities can also be enjoyed, and where personal preferences ca be taken into consideration.
The construction as an office building had already begun on the site between the Deva and Faco medicine factories, perpendicular to the Büyükdere Boulevard, along the Maslak- Levent axis that has developed as the new business center of the city of İstanbul within the last decade, when it was completely re-designed as a residential settlement, adopting the concept of Levent Loft. The Loft concept has developed in the 1970s in the States, as a result of the search for space of the American artists. Today, this concept has not only become a reflection of the way of life within the urban culture but has also become a reference point for contemporary architecture. Open space of industrial connotations, which is free of the strict limitations imposed by permanent divisions present solutions for living- working and creative functions, all in one, and brings flexibility to the relations of the interior and exterior. The existing wall which separates the building from the factories on either side has been included in the landscaping of the gardens as a “green wall”; the gardens which create a natural environment around the building. The entrance to the building which has not been designed as only a residential unit but also as a high-grade social activity area, is through a large lobby which also serves as an initial meeting point. Space for communal use such as meeting halls, health center, café and restaurants complete the design. This provides a well organized, peaceful and high quality way of life with modern standards in the very heart of the city, as an alternative to the distinguished settlements which have developed in the distant suburbs of the city within the last ten years. In addition to the provision of a large car-parking area, storage space, central heating, ventilation and security systems, the accessibility and use of the building has been facilitated through the adoption of the “clever house” approach. The project suggests a new way of life with the support of contemporary technology and services management capacity. As a result of the curtain systems used in the interior and the reflection of different colours and light, each unique division, perceived as different boxes on the surface of the façade, can be noticed from the exterior. Thus, function becomes also an aesthetic asset.
Conversion Project for the Samsun Tekel Factory
As the tobacco factories previously installed by the French, referred to also as the “Regie”, have been transferred to their new premises outside the city, the remaining buildings have been subject to renovation, with the aim of utilizing them as buildings for education, culture or other social uses. The aim of this specific project is to introduce new functions that will enrich these buildings, without harming their present historical identity and strong feeling of space, and to improve their architectural quality, through the contemporary identity they will thus adopt. The architectural brief was to form a new socio-cultural center in Samsun that would hopefully function as a driving force for new developments not only in the city but in the region. It is suggested that all façades of the buildings within the scope of the project should be conserved, while the load-bearing system is supplemented with steel structures. The circulation will be provided through transparent areas which will be added onto the exterior of the buildings. The arcades which were kept closed while the building was used as a factory will be exposed with transparent partitions, and will thus enliven the road at the back from where it will also be accessible. There will be no interference to the interior of the buildings, while the glass accessories and boxes that will be added on to the façades will enliven the exterior, giving it a new face. It will integrate with the square and with the participation of the citizens, will turn into an urban stage, alive 24 hours round. Other issues that will be dealt with within the scope of the project are: to form a square within the city center where concerts, fairs, open market place and similar multi-purpose social activities will take place, to revitalize the boulevards and streets on the pedestrian axis of the city with the support of infrastructure and to provide a pedestrian area on the section of Gazi Boulevard which remains within the boundaries of the project., With the implementation of this project which includes a forum and exhibition space, landscaping elements, and temporary exhibition space in its programme, the area presently used as a car park will be transformed into an urban square while the car parks will be provided underground.
Projects by Emir Uras – Durmus Dilekci
The 400 square meters structure consisting of steel and glass sits on top of the Mısır Apartment Building. In the section opening onto the landscape, the roof of the structure is raised and all front windows can be opened as curtains, thus providing full intake of the view.
The building which covers a total area of 30000 square meters is located by the superficial pond at Bahçeşehir. The design is based on horizontal positioning and is integrated with the ground. With the geometrical continuity of the structural system it acquires a soft and contemporary attitude.
Film House at the Koç Museum
This is a 250 square meters building located beside the Koç Museum at Sütlüce. The sliced steel box creates a variety of light effects, thus giving a cinematographic feeling. With its container-like appearance, the structure gives the impression of being weightless and temporary. Light itself has been used as one of the building components.
The Mısır Loft
This 280 square meters flat in the Mısır Apartment Building, is the week-end home of a married couple in the city center. Symmetrical with the entrance, the floor plate rises to create a bar that can be used for different functions, while at the same time organizing the space.
A shopping center, three residential towers and an office tower located on a 50 hectars site at Çekmeköy. Broken down into various parts, the shopping center creates a square. The 25 storey towers pay tribute to the formal language of the shopping center. Consisting of broken blocks, slabs and plaques, the project has an effect of tectonic dynamism.
Located within an old factory at Dudullu, this is a project designed to contain a showroom for men’s shirts and related offices, 800 square meters in all. The shell-shaped meeting table placed right in the middle of the space is at the same time the sales center. Remote control is utilized to bring from the showroom the shirts, which are organized in a conveyor system, to the meeting table.
This is an alternative Toyota Showroom. The structure located alongside the motorway consists of a tower which gives the impression of a totem. All the cars on display have been mobilized with lifts and the design has been based on this vertical circulation. It is these cars that form the façades of the tower. In a way, it can be considered as an advertisement panel.
The house which is located on a 30 hectare site at Polonezköy is a combination derived from the superposition of two star forms, each with three arms. The rotation movement of these two stars creates a variety of terraces and shaded areas.
Projects by Sevki Vanli
It is located at OR-AN settlement, Ankara. It is a workplace that has two halls on each of the two floors, circulation areas, and an entrance hall on the ground floor and a meeting room on the upper floor. The basic approach of the design is flexibility. The building is gathered under a roof with wide overhangs. The circular form of the meeting room is a reference to the center of decision-making, while at the same time it symbolically establishes the relation with the exterior space, which has been interrupted due to the presence of the entrance hall.
Recreation and Convention Center for the Exporters Union
The project has been initiated with the aim of providing a pleasant and hosbitable environment where matters regarding exportation could be discussed. The ondulating form of the ground, shaped under natural impacts on the coasts of the Lake Mogan, as well as the lake itself has influenced the design. The great void of the lake and its surrounding has been inspiring. It was a solitary site in the middle of an infinite plain. The nearby open space was internalized through voids in the building while the building was opened to the exterior via grand terraces. Functions requiring small space were gathered in vertical geometric units, and no addition was made to these so as to preserve the purity of form. Large interior space was formed out of curvilinear surfaces extended between symbolic elements. Profiles were used in order to accentuate these curvilinear forms. The aim was to unite in an exciting, shared expression the natural formation of the ground in the environment and the spatial structure. The use of earthern shades in the colour scheme of the building was a reflection of the affection felt for the soils of the plain. Architectural forms initiate the drive for establishing relations with buildings, communicating and conversing with them. Instead of interrupting these relations by giving the ordinary or departing from beauty through false exaggerations it should be a necessity to enhance the possibilities of perception with the use of a beautiful language. The main pattern is to re-establish the language of the earthern houses of Central Anatolia with the present accumulation of knowledge and improved possibilities. According to modern thought, it is only through knowledge and civilization that it becomes possible to differentiate between what is truly meaningful and what can be defined as “kitsch” or confusion; while trying to be different or to achieve progress which does not involve any change. We trust that, in this project, functions have be properly established, rational proportions and relations have been provided and that each space has been given an identity in compliance with its function.
The main building of the facilities located at Gölbaşı, is formed out of three blocks, laid out side by side. The entrance is from the middle block, where restaurants, cafés and table-games rooms are housed on various floors. In the block on the left of the entrance, there are the private bedrooms and meeting rooms. The block on the right is reserved for the closed swimming pool and other wet spaces. The additional sports facilities of the building are also linked to the swimming pool. As an element for recreation the open swimming pool is located in front of the café, in between the building and the lake.
World Trade Center: Soyut
It was accepted that the “window” was an inevitable element that defines the exterior when viewed from the interior and contributes to the building form from the exterior. It was mainly for this reason that, while deciding on the form of what was to be a “prestige” building, a “glass box” was not preferred. The monotony of the environment, formed out of buildings displaying unsuccessful architectural characteristics defined with equal heights of overhangs was broken and by adopting the principle of free design, the only limitation of which was not to exceed the total area permitted, an articulate, lively environment was produced. After the Hilton and Sheraton Hotels, Soyut has been the third high-rise building in Kavaklıdere that has departed from the customary arrangement. Soyut can be defined as a building trying to extend its neck for more breath amidst the intensity of the urban surrounding, while at the same time promoting its commercial effectiveness. The form chosen is a square that is depressed at the diagonal corners, so as to give a slim effect to the high-rise block. A “mukarnas” type of stepped structure was adopted, to make way for the people at the ground level, and to complete the form at its far end extending to the sky. The two columns, exposed as a result of the setback at ground level, are utilized so as to point out and emphasize the entrance of the building. The partition walls of the rooms and halls on each floor are not defined by a conventional axis system, but by the requirements of interior formation. The depressed corners of the square recalls triangles which have an additional emotional impact, both on the interior space and the building form as a whole. It adds mobility and vitality to the immobile rectangular form. The upper floors are allocated to private internal studies and partitions, while the lower floors house the space for communal use and public relations. On the ground floor, which has a rather complicated shape because it has been derived through joining two sites, there is also an attempt to create different functions, as on the upper floors, and to provide them with some identity. The effect of window frames has been minimized, among the white marble cladded surface contrasting with the glazed panes which create the illusion of voids. By utilizing the simplicity of black and white,
It has been possible to arrive at a new “form”.
Central Bank Republic of Turkey
It was intended to bring together two different functions, a bank and residences in a single building. As the houses were to be owned by the bank, the bank space gained priority in the design. On the lower floors, beginning right from the entrance hall, the formalistic lifestyle of the banking sector, began to dominate all basic decisions. The site is in a built up area, with existing buildings on either side. The main street is in the west. The silhouette of the city of Bursa, is at the back. Therefore the daytime living areas of the houses have been located at the rear of the site. The bedrooms which face the front façade get in-direct light from terraces, characteristic of Mediterranean architecture and are protected from the western sun. This enables a reconciliation with the bank below. The social facilities are freely grouped under a large roof on the terrace floor. The front façade accentuates The main function of the building is accentuated with the large glazed windows in the front elevation of the bank as opposed to the façade of the houses on the upper floors, shuttered with sun-breaking elements. The arcade covering the side-walk also supports this approach. The building is formed out of recurring elements of a certain depth, organized with a special rhythm so as to form the basic language of the design. The voids and depths on the façade, accentuate the value of the third dimension. The load-bearing elements, both in the interior and the exterior are of exposed concrete; the walls are plastered white and the joinery is aluminium. The balustrade and railings of the staircase leading up to the gallery and the cladding of the ceiling is wood. The floor is mainly stone. The building truly belongs to the Mediterranean. The rhythm established by recurring columns, the harmony of voids and solids, deep shadows are supportive of the design. The four challenges influential in the design were; The need to reconcile different functions within the same image, the curvilinear shape and tight location of the site, the orientation of the front façade facing the west and the orientation of the back façade, onlooking to the city of Bursa.
The Turkish Embassy /Tripoli, Libya
The Chancellery of the Embassy is, by definition, an office where the state is represented. The site is not at a right angle with the main street. This irregularity has been taken under control by utilizing a triangular depth and overhangs, level with the height of the roof, that can be used from both sides, one side of which is parallel to the street while the other is perpendicular to the site. A modern design, in compliance with the country represented has been produced. Walls with limited perforation, a precaution against the undesired impacts of the sun and wind, and travertine cladding that has the tones of the earth has been used, as a reference to the local trends of expression.
An Apatment Building at OR-AN
In the design of the Orman Apartment, intending to provide unification between home, environment and the view, man was placed at the very center where, through a wide slice of the circle, he could interact with and enjoy the beauty of the natural environment. This circular movement, adopted in the design with the aim of opening onto the view and the environment, created the form of the building, consisting of circular terraces.
Students’ Hostel at Tandoğan, Ankara
The hostel consists of three blocks, two of which are for boys and one for girls, with a total capacity of 400 students. The space for commonal use is on the ground and first floors, while the dormitories are placed above these.
In order to secure a regular way of life, students have been gathered in groups of twenty. Each group has five bedrooms, with four students per bedroom. Approaching the Tandoğan square from the direction of Kızılay, the monotony of block apartments with overhangs of equal heights is slightly broken the different levels of the square. The hostel has been placed within this system, thus contributing to the formation of the built environment. In shaping the building, the programme of requirements, as well as the vertical load-bearing elements necessary for structural stability, have been included in the design process. The repetition of various load-bearing elements running along the building height with a special rhythm and harmony, enrich the design. In order to prevent the staining of the building surface with rain water, the windows are uninterrupted right down to the ground level. Difference in the functions located along the front and back elevations are reflected in the shaping of the building.
Campus for the SEV Ankara College
In the design of the primary and secondary schools belonging to SEV (Foundation for Health Education) which have a total capacity of one thousand students, mainly boarders, the 1st Group was allocated to training areas and classrooms, social/cultural areas and the dormitories, the 2nd Group to the Primary Education and the 3rd Group to the sports facilities and housing. The rich programme, distributed on an 18 acre site guided this approach. The site extends from the slope of a large hill to a smaller one. The initial design decisions taken for the 1st Group are to locate the buildings in a row on the smaller hill, to form a square or courtyard of symbolic significance in the middle and to place the space housing functions which should benefit from the view facing outwards. The buildings were designed as arch -formed blocks, in compliance with the view and the topography. It was envisaged to build facing brick walls, with light, steel-construction roofs overhead, which would not touch the buildings, but simply protect them as an umbrella. The eaves are the extension of the roof cover, not a part of the walls or the floor slabs. The roof construction continues in the eaves, and these are exposed. The steel-construction eaves rest on steel columns, or else, columns transform into steel at the points where they approach the eaves. Making use of the topography and in order to provide a symbolic yet respectful identity the educational blocks were placed on the small hill, in accordance with their sacred mission instead of locating them on the plain. The top of the hill is the central courtyard of the school, encircled by buildings of education and other complementary functions. Only a circular form would allow the courtyard to be in harmony with the hill, it was therefore interpreted as an elliptical form or rather an “eye”. The boarding house buildings repeated this form on the other slopes of the hill. In short, the design was not carried out with pre-determined forms, but with principles which were guided by the environmental conditions. The coherence between the forms of the courtyard, the primary school, and the area for ceremonies and meetings with symbolical attributes ensures the integrity of design.
The Erkeksu Farm Campus
1989-1990 Tennis Club
1990-1991 Riding Club
1991-1992 Golf Club
Located out of town, on the countryside, adorned with hills the Erkeksu Farm (Kayı Village) is a charming area of the Central Anatolian plain that has a beautiful view and topography. Nature has been the main guiding force in the design of both the interiors and exteriors of the buildings of the Erkeksu Farm. The buildings have blended well into the environment, their roofs being almost a part of the topography consisting of smooth slopes and small hills. “Nature” has been drawn into the buildings and the transparency with which they have been designed has led to integration with the environment. The expression of the roofs is reflected in the plans, and both the interiors and the exteriors of the buildings are shaped with this approach. Loving both nature and buildings at the same time is not contradictory. In general, when one speaks of love for nature, one means preserving nature as it is. On the other hand, people have to organize nature so as to make way for their own essential needs. With all his sensitivity and knowledge accumulation, the architect is responsible for finding a sensible solution for the relation between nature and human existence. There should be a sacred consciousness in bringing together Building, Nature and Man. The fact that the Pyramids are built in the desert, while the Acropolis, St. Sophia and the Süleymaniye Mosque crown the hilltops reflects human choice. Almost like artificial mountains, the Pyramids may be considered as man’s enthusiastic rebellion to monotony. Whereas hills enhance even more the monuments built on their top.
The adobe used in the plains is moulded from the soils of the environment. The squatter houses situated on the slopes of Ankara with a traditional sensitivity, symbolize the longing for village life. Today, the reconciliation between man and nature has become more and more difficult. In this context, it has been envisaged that the Erkeksu Farm will become a suburb of Ankara, providing new orchards and gardens for its citizens. Comfortable country houses, and groups of houses, buildings for communal use that will be designed with due consideration of trends, a hotel and sports clubs for golf, tennis and riding, will constitute the social symbol of the new recreational suburb of Ankara. Another choice for design could be hiding these buildings among the hills, rendering them almost invisible and only highlighting the environment in the open areas. However, it was preferred to provide a balance between man’s relations with the environment, also in the closed space; open to the exterior and in harmony with nature.
A steel construction bears a light, metal roof. Beneath it, the necessary protection from external impacts has been provided by the facing brick walls. The fine aluminium casings of the sports clubs are in compliance with the forms of the roofs. All these provide the tectonics of the buildings. As a result, the technology that describes the cognitive choice of the relations between man and his environment as well as the slopes of the hills defines their forms. The roofs have a similar slant, almost repeating the hills. The projection of the roofs to the interior, the plans and the sections, integrates the design. The only exception is the stables and closed menagerie of the Riding Club, where a space frame has been preferred due to considerations of cost. The relation between the steel-construction roofs has fully influenced the design, especially in low rise buildings. The interior space is defined with the roofs, while the eaves define the exterior space.
Lisans B.Arch. : Wesleyan Üniversitesi Mimarlık Okulu Wesleyan University School of Architecture. Lisansüstü M.Arch. : Princeton Üniversitesi Mimarlık Okulu Princeton University School of Architecture. Tasarla-uygula atölyeleri Design-build workshops : Helsinki Teknoloji Üniversitesi University of Technology in Helsinki, Oregon Üniversitesi University of Oregon, Washington Üniversitesi University of Washington, Miami Üniversitesi University of Miami, Ball Eyalet Üniversitesi Ball State University, California Üniversitesi San Diego University of California San Diego, Florida A&M Üniversitesi Florida A&M University. Konferanslar Lectures : 46 eyalet, 10 ülke 46 states, 10 countries. Jersey Şeytanı Jersey Devil : Tasarımların uygulaması sırasında şantiyede yaşarlar Live on-site during construction of their designs.
Alberto Campo Baeza
Valladolid İspanya Spain, 1946. Lisans B.Arch. : Madrid Mimarlık Teknik Okulu E.T.S. Arquitectura de Madrid, 1971. Doktora PhD : 1982. Öğretim üyesi Faculty member : ETH Zürih Zurich, Dublin, Napoli Naples, Virginia Tech Blacksburg, Kopenhag Copenhagen, EPFL Lozan Lausanne, Pennsylvania Üniversitesi University of Pennsylvania, BAUHAUS Weimar, IIT Chicago, Columbia Üniversitesi University, Kansas Eyalet Üniversitesi State University. En temsili yapısı Most representative building : Caja de Granada, 2001. Yayınlar ve sergiler Publications and exhibitions : Dünyanın çok sayıda önemli mimarlık dergisinde işleri basılmıştır ve önemli birçok kentte sergilenmiştir His work has been published in most major architectural magazines in the world and he has been exhibited in many major cities.
Denizli Türkiye Turkey, 1934. Lisans B.Arch. : Münih Teknik Üniversitesi Munich Technical University, 1959. Yazar, ozan Writer, poet. Almanya’da çalışma Worked in Germany, 1960-1962. Davetli öğretim üyesi Invited faculty member : Orta Doğu Teknik Üniversitesi Mimarlık Fakültesi METU School of Architecture, 1962. Kendi mimarlık stüdyosu Established own architectural studio, 1963. Çeşitli çağrılı öğretim üyelikleri Invited faculty member at various institutions : İstanbul, Edirne, Makedonya Macedonia, ABD USA, Almanya Germany. Ulusal ve uluslararası ödüller National and international awards : Edebiyat ödülleri Literature awards, Ulusal Mimarlık Ödülleri National Architecture Awards, Ağa Han Ödülü Aga Khan Award, 2001.
Barcelona, İspanya Spain, 1944. Lisans B.Arch. : Barcelona Mimarlık Okulu Architecture School of Barcelona, 1971. Doktora PhD : Barcelona Mimarlık Okulu Architecture School of Barcelona, 1987. Kendi mimarlık stüdyosu Established own architectural studio, 1971. Öğretim üyesi Faculty member : Barcelona Mimarlık Okulu Architecture School of Barcelona, 1971. Ödüller Awards : Bonaplata Ödülü Prize, Mies van der Rohe Finalisti Finalist, Madrid Kenti Ödülü City of Madrid Prize, İspanyol Ulusal Mimarlık Ödülü Spanish National Architecture Prize. New York Modern Sanatlar Müzesi’nde projeleri sergileniyor Currently exhibiting at Museum of Modern Art in New York.
Ohio ABD USA, 1964. Lisans Bachelor degrees : Ohio Miami Üniversitesi Felsefe ve Mimarlık dereceleri Miami University of Ohio Philosophy and Architecture degrees, 1986. Lisansüstü M.Arch. : Princeton Üniversitesi Mimarlık Okulu Princeton University School of Architecture, 1988. Öğretim üyesi Faculty member : ETH Zürih Zurich, California Üniversitesi Los Angeles UCLA University of California Los Angeles, Yale Üniversitesi University. Kendi mimarlık stüdyosu Established own architectural studio, 1994. Çeşitli kitapların yazarı, Embriyolojik Ev Princeton Mimarlık Yayınları’ndan çıkıyor Author of several books, including Embryological House forthcoming by Princeton Architectural Press.
Eric Owen Moss
Los Angeles ABD USA, 1943. Lisans B.Arts. : California Üniversitesi Los Angeles University of California Los Angeles, 1965. Lisansüstü dereceleri M.Arch. degrees : California Üniversitesi Berkeley Çevre Tasarımı Okulu University of California at Berkeley College of Environmental Design, 1968 / Harvard Üniversitesi Tasarım Okulu Harvard University Graduate School of Design, 1972. Los Angeles’da kendi mimarlık stüdyosu Established own architectural studio in Los Angeles, 1973. Öğretim üyesi Faculty member : Yale Üniversitesi University, Harvard Üniversitesi University, SCI-Arc. Diğer Other : Kopenhag ve Viyana’da öğretim üyelikleri Teaching appointments in Copenhagen and Vienna. Sergi ve yayın Exhibitions and publications : Ulusal ve uluslararası National and international.
1946. Lisans B.Arch. : Viyana Devlet Güzel Sanatlar Akademisi Mimarlık Okulu Vienna State Fine Arts Academy School of Architecture, 1973. Viyana’da çalışma Worked in Vienna, 1966-1974. Kendi mimarlık stüdyosu Established own architectural studio, 1975. Yayınları Publications : Büro Çalışmaları Office Work, 1983 / Proje ve yapıları ile ilgili çeşitli yazılar ve söyleşiler Miscellaneous articles and interviews on his projects and built work. Konferanslar Lectures : Çeşitli üniversiteler Miscellaneous universities.
Ankara Türkiye Turkey. Lisans B.Arch. : İstanbul Teknik Üniversitesi Mimarlık Fakültesi ITU School of Architecture, 1982. Lisansüstü M.Arch. : ITU, 1984 / Buffalo Üniversitesi Mimarlık Okulu University at Buffalo School of Architecture and Planning, 1986. ABD’de çalışma Worked in USA, 1986-1990. Kendi mimarlık stüdyosu Established own architectural studio, 1990. Doktora PhD : İTÜ Mimarlık Fakültesi ITU School of Architecture, 1995. Öğretim üyesi Faculty member : Bahçeşehir Üniversitesi Mimarlık Fakültesi BU School of Architecture. Kitaplar Books : Mimarlık Düşünmek isimli kitabı yayına hazırlanıyor Her book titled Thinking Architecture is forthcoming.
Ankara Türkiye Turkey, 1961. Lisans B.Arch. : İstanbul Teknik Üniversitesi Mimarlık Fakültesi ITU School of Architecture, 1982. Lisansüstü M.Arch. : Buffalo Üniversitesi Mimarlık Okulu University at Buffalo School of Architecture and Planning, 1985. ABD’de çalışma Worked in USA, 1985-1990. Kendi mimarlık stüdyosu Established own architectural studio, 1990-present. Doktora PhD : İTÜ Mimarlık Fakültesi ITU School of Architecture, 1995. Öğretim üyesi Dekan Faculty member Dean : YTÜ Mimarlık Fakültesi YTU School of Architecture, 1995-2014. Sergiler Exhibitions : Baltimore AIA, 1990, 2002, 2015 / Buffalo Üniversitesi Mimarlık Okulu Dyett Galerisi University at Buffalo School of Architecture and Planning Dyett Gallery, 2002, Yapı Endüstri Merkezi Building Information Center, 2004. Üye Member : TMMOB-MO, AIA, RIBA. Uygulamalar Built work : Baltimore, Columbia MD ABD USA, Türkiye Turkey.
İstanbul Türkiye Turkey, 1969. Lisans B.Arch. : İstanbul Teknik Üniversitesi Mimarlık Fakültesi ITU School of Architecture, 1993. Lisansüstü M.Arch. : Metropolitan Catalunya Politeknik Üniversitesi Mimarlık ve Şehircilik Fakültesi Politechnical University of Metropolitan Catalonia, 1995. Kendi mimarlık stüdyosuna katılım Joined own architectural studio, 1995. Ödüller Awards : Ulusal Mimarlık Ödülü National Architecture Award. Üye Member : TMMOB-MO. Öğretim üyesi Faculty member : Bahçeşehir Üniversitesi BU, İstanbul Teknik Üniversitesi ITU, diğerleri others.
İstanbul Türkiye Turkey, 1960. Lisans B.Arch. : Viyana Teknik Üniversitesi Mimarlık Fakültesi Vienna Technical University School of Architecture, 1992. Kendi mimarlık stüdyosu Established own architectural studio, 1990. Ödüller Awards : Ulusal Mimarlık Ödülü National Architecture Award. Üye Member : TMMOB-MO, Uluslararası Alışveriş Merkezleri Birliği International Association of Shopping Centers, İstanbul Haliç Rotary Kulübü Rotary Club, TAÇ Vakfı Foundation, Yapısal Çelik Derneği Structural Steel Association. Öğretim üyesi Faculty member : Yıldız Teknik Üniversitesi YTU, İstanbul Teknik Üniversitesi ITU, diğerleri others. Konferanslar Lectures : Ulusal ve uluslararası National and international.
İstanbul Türkiye Turkey, 1969. Lisans B.Arch. : Londra Architectural Association, 1991. Lisansüstü M.Arch. : Güney California Mimarlık Enstitüsü Southern California Institute of Architecture SCI-Arc, 1996. Los Angeles’ta kendi mimarlık stüdyosu Established own architectural studio in Los Angeles, 1996. Stüdyosunu İstanbul’a taşıdı Moved studio to Istanbul, 1998. Öğretim üyesi Faculty member : Yıldız Teknik Üniversitesi YTU, diğerleri others. Konferanslar Lectures : Ulusal ve uluslararası National and international.
İzmit Türkiye Turkey, 1970. Lisans B.Arch. : Gazi Üniversitesi Mimarlık Fakültesi Gazi University School of Architecture, 1992. Lisansüstü M.Arch. : İstanbul Teknik Üniversitesi Mimarlık Fakültesi ITU School of Architecture, 1996. Kendi mimarlık stüdyosu Established own architectural studio, 1999. Öğretim üyesi Faculty member : Yıldız Teknik Üniversitesi YTU, diğerleri others. Konferanslar Lectures : Ulusal ve uluslararası National and international. Yayınlar Publications : Çok sayıda ulusal ve uluslararası dergilerde ve kitaplarda projeleri ile ilgili yayınlar Many articles in national and international magazines and books on their projects.
Konya Türkiye Turkey, 1926. Lisans Lisansüstü Doktora B.Arch. M.Arch. PhD : Floransa Üniversitesi Mimarlık Fakültesi University of Florence School of Architecture, 1954. Kendi mimarlık bürosu Established own architectural office, 1954. Türkiye’de ilk uydu kent denemesini başlattı Initiated the first satellite town in Turkey. Yayınlar Publications : Mimarlık Çalışmaları Architectural Work, 1977 / Düşünceler ve Tasarımlar Thoughts and Designs, 2002 / 20. Yüzyıl Türk Mimarlarına Eleştirel Bakış kitabı hazırlanıyor Criticism of 20 th Century Turkish Architects is a forthcoming title, 2006. Vakıf Foundation : Şevki Vanlı Mimarlık Vakfı Sevki Vanli Architectural Foundation, 1986.