GRADUATED!

It’s been a long journey which is now, has come to an end. 4 years of architectural education teach me a lot of thing; it was hard and overwhelming as well as educative and self-developped. Now, I’m happy to say that I’m graduating and starting a whole different journey of my life.

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Last JURY

In the last final jury of my education process, the museum project has evolved and changed a lot.

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Second Prejury

There are two main focal points near the site which is an attraction point and create the flow of people. The site is located on the junction of those points so, it can embrace the people. The aim is to create a gradually increasing and decreasing building to form a relationship between human/ground and the action of exhibiting. The free-platforms are formed to create gradual level difference and pavilions of temporary exhibition whereas all the function of the given program are also divided to help increase the level of fragmentation.

Understanding the museum itself as an object to be exhibited, fragmentation and creating spaces to be experienced separately is the aim for making people to fully integrate themselves with the museum. It is out in the open, to be experienced. Museum and site are infiltrating to each other. All the exhibition areas are crating a network within themselves through going different levels. There are having a visual connection with the laboratories, library, workshop areas and so forth. The way of exhibiting are depending to the need of space according to the program; static display or dynamic display which varies to the themes.

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First Prejury

As general approach the given themes are investigated and also the site approach and general first approaches are formed. According to my first general approach, the site should be linked to the different masses through the given themes and studied separately.

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Initial Post

Istanbul, which is being a cosmopolitan center in the 19th century; 19th century Of Istanbul is a cosmopolitan city with its diverse minorities and Ottoman citizens. Galata and its old urban pattern of narrow streets, where social interaction is increased – is followed by the Tünel and Şişhane districts. The touch of modernity is visible in Şişhane in the straight lines of 19th century roads and the traffic junction of 1982.

The city from now on was establishing the relations with the region and the world with steam ships and railways. These new relation channels have meant new station buildings, ports and new postal facilities in the center. There were such new roads, transportation systems that made new link between nations and also new technologies after Industrial Revolution that also brings trade and capitalism of the Western World and new critical thinking understandings after Enlightenment and french Revolution, there were such new attempts in all fields of Ottomans to catch up with Europe.

Istanbul was a city where built for trading purposes. Throughout history, Istanbul was a warehouse location regulating the Black Sea and the Mediterranean transit trade.
Besides being political capital city of Ottoman Empire, Istanbul has become in short the main center of the changing 19th-century new economy with its effective communication network. The new city as the major distribution point of the export products has provided an attractive market place for inner-outer capitalists. Besides, throughout the country, the effort to establish a powerful central government dependent of intensive bureaucracy -especially the effort to establish a central budget- have resulted in the flow of large parts of tax revenues into the city.

From the beginning of 19th-century, Galata had become the symbol of modernization not only for Istanbul but also for the entire country. Regions had become an independent town in nearly all respects.With the start of the residence of French ambassador here (Pera) in 16th-century, the town have gained a distinctive European characteristic. Thus, the population was mostly composed of Non-Muslims. Central branches of large commercial organizations/banks, modern shops, theaters, entertainment places, modern schools and military facilities were all started to be established within the borders of the region.

This was the era where such things that were once considered as beyond imagination was achieved and there were attemps in making even more and more. Utopic ideas are coming from great genius minds and they expanded visions. Those visions are very much related with the characteristics of the period and always in a reciprocal relation with the state and the economy of the state.  The things that would be displayed in a Museum, also had a link with their period and what was considered as pioneer in the era. The way they are reflected, the spatial conditions and the user experience within that space are also should be a developing path. Museum as a promenade path, that displays timelines and alternative timelines with the utopic and distopic spaces, the link of 19th century with today. The promenade path should also reflect the urban city. (the promenade path of the site should infiltrate to the museum and also the path should convert itself with the existing Maliye Building.

Imagination and Utopia // Citizenship and Cosmopolitanism // State and Politics

References from A CITY RIGHT AT THE CORE OF GLOBAL, POLITICAL, ECONOMICAL AND SOCIAL CHANGES OF THE 19THCENTURY: ISTANBUL, M. Burak BULUTTEKİN

Museum; spaces only to exhibit?

Museum(n.): a building or part of a building in which objects of interest are displayed. Looking at the etymology and the origin of the word it comes from Latin Museum place for learned occupation, from Greek Mouseion, from neuter of Mouseios of the Muses, from Mousa. (merriam-webster)

Museums are structures in which some artifacts are exhibited since they are valued. Value here has deeper meaning than being only financial; their scientific, biological, chemical or artistic values are also playing a crucial role. But how actually this concepts emerged? In order to exhibit, one first must collect. This urge of human beings to collect can be considered as one of the primary instincts regarding the instincts “to possess something” and also “to give a meaning”. Collecting such materials concerning some meaning are the basic idea behind the museums.

Looking back in the history,  15th century is where the royal families and nobles are collecting such precious treasury things and started to exhibit in smaller events and not-directly designed for the purpose structures. The art of collecting become more general  after the middle of the sixteenth century and continued to last in the seventeenth century. As a glorious example, The Russian Tsar Peter the Great composed a scientific collection by gathering curiosities during his trips to the Netherlands and also added Egyptian coins and cultural belongings to his collection. Tsar stored the obtained items in the Kunstkamera in Russia which later on become the Museum of Anthropology and Ethnography. It is clear that his works became the roots of such huge institutions and exhibitions. Research activities were connected with the institution, as well as a library, anatomical theater, laboratory and an observatory.

Museums, until then, played an important role as an expression of the art and collections drastically changed around nineteenth century. What is important now here is the beauty of the place that things are exhibited. Geometric shapes and forms and spatial characteristics are there to serve the purpose of beauty. The beauty is now more subjective and also dynamic; so the museums should be.

Coming to the nineteenth century, we encounter with the favorite example of the studio 😀 Altes Museum!  Altes Museum designed by Schinkel in which is Berlin (Germany) gives a good idea of the interior of a museum as envisaged in those days. The building has the Roman roots; it is inspired by the Roman architecture and their structures such as Pantheon. It is not surprising that, also considering the period, they seek beauty in Romans and their work. There is also the use of Doric Pillars, which was thought as the reflection of what is beautiful. The “classic” approach is common on those days and Altes Museum is such a great example to understand. The plan of the museum is like the pioneered typological element to the upcoming museums on the following centuries. Looking at the plan, we can see on big space at the center and the important use of geometry as a way to make the museums beautiful. This idea of having a centered void is actually very common in contemporary architecture,too. (Guggenheim Museum)

 

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The period is mostly influenced by Roman and Greek architecture. For example, we can see the Greek inspiration in The Bode Museum  in Berlin. The structure is round in shape as referring to the tholos building from the  Ancient Greek.

The museums of the nineteenth century are also important because they also added  contemporary art in their collection. The Musée du Luxembourg in Paris was one of the first buildings to have an contemporary art exhibition, when it was initiated in 1818. .

As an example of such different buildings, we can look at the Museum district of Amsterdam. At the hearth of the city, there is a specific part where all the knowledge is accumulated. Between two museums, it is only two minute walk. The city is embracing its culture. There are all kind of arts; from renaissance to contemporary art. The Rijksmuseum, Van Gogh Museum, Stedelijk Museum and Moco Museum are interrelated in their urban context. All the museums are located to form urban spaces which is also in relation with the green area. The center of the city, the town is attracted by the charm of the museums. museum acting as a living organism which is controlling its perimeter. The concentrated historical or artistic knowledge is also combined with different public functions such as commercial, retail activities. There is a square where there is ice skating in winter and different festivals during summer. There are tons of cafes and restaurants, tons of souvenir shops… This is a very intelligent tactical move; museum is no longer only a space for artifacts to be exhibited but as a part of the urban life.

 

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As another example, we can look at Mucem in Marseille. MUCEM is the museum Built on the historical site of the Fort St-Jean. most recent cultural offering bridges the gap between the city and the sea. The Museum of European and Mediterranean Civilisations is sited on the edge of the shore of Marseille. The built structure is in relation with also the historical area. The link of the building to the ground is a flying bridge. The MuCEM provides a complete overview of the Mediterranean: a permanent exhibition on the ground floor retraces the history of the Mediterranean, while on the upper floor, there are temporary exhibitions dedicated to civilisations, cities and the people who made the Mediterranean what it is. The building itself speaks a clear voice; the materiality and the flexible space formation reflects a part of nowadays understanding.

for more you can visit: https://www.archdaily.com/400727/mucem-rudy-ricciotti

 

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Final Jury

In the last step of the arch401 course, we were asked to develop a complex of building regarding the concept of emsalsizlik and explain our process of thinking through diagrams. My design is concerned with youth and art center whereas it is without precedent in our city in such scale. My structure is formed with terraces and relating itself with the green area behind while this idea of diffusion is also existing concerning the relation between concrete and green. There is a core strip that works as a spine of the project and it is controlling all the other volumes attached to it. The two distinctive parts; the small volume for youth and the larger one for the culture, all the attached volumes have their own terraces facing the park.

There is a promenade area of bridge that is connecting these volumes and provide both an exhibition and relaxation vista point for the user. The two facade of the building have different approaches; the one facing the road which is an active facade has the monotonous and neat character which is working as a wall and the other facade has the readability of the different functional volumes. It has the character of translucent facade on the dynamic spaces as rehearsal spaces, neat facade on offices and small concrete wall openings on the interactive learning volumes. On the ground floor there is a huge void space which is working as a social tunnel and make you wonder the other side of the building. It has the adjustable space character that can hold a symposium, exposition or event. Then, the core strip is like the extensions of the public void to the structure; it has permanent and temporary exhibition spaces inside that is working in coherence with the all the studios, ateliers and workshops and their productions.

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Third Prejury

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In this last prejury, we were asked to develop the mass of the structure that we taught according to our site analysis and program analysis. The given site provides me a linear massing which is related to the idea of horizontal skyscraper in our analysis of distopia. The program of youth and art center to enhance the youth in Ankara by also gathering the city is still the basic concept in my design.

According ot the site, there is a green space just next to my site, so in the ground level there can be an association with that. the density of Çukurambar can also allow me to rise from the ground which can also provide me to control privacy.

Forum space which is a very important space according to our program, is like the main element that control design and most public usage, so it is also in interrelation with the green behind our plot. Then, the fragmentation provides positive outdoor spaces which are specialized to each classrooms, workshops, studios and so forth. The most private parts such as offices and accommodation are placed on the top to be more isolated.

 

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