Ozturk, Esra

Hacer Esra Ozturk Master of Architecture

2022 Portfolio Liverpool School of Art and Design

2022 Portfolio Hacer Esra Ozturk

About Me

Contact

I am interested in creating spaces that challenges thinking, feeling, and storytelling in every visit. Spaces that entice perception is shown throughout my projects. I am ready to deliver my own creativity that forms a new dialouge and adds variation to architecture today.

Email: haceresra@hotmail.com archhea@hotmail.com Website: https://archhea.wixsite.com/archhea Instagram: @archhea [PLEASE CONTACT FOR FULL CV]

Hacer Esra Ozturk 2022 Portfolio

Contents Thesis Project: 3 The Insight Gallery & Studio Urban Design Project 2: ‘Stimulate The Senses’

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Live Project: 73 FabLab Bootle Housing Project: 81 Open Housing; ‘Connecting & Retreating’ Specialist Study: 107 The Metaphorical and Cultural Meanings of Space: Explained Using the Film ‘Parasite’ Other Projects 111

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THESIS PROJECT THE INSIGHT GALLERY & STUDIO

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SITE : MERCHANT CITY GLASGOW, SCOTLAND The history of Merchant City within Glasgow shows a wide range of the arts and skills that raised different types of craft which locals became a part of.

Currently the site shows unused empty spaces that were once full of interaction and artistic creation. People use the site as a transition site and avoid any type of communication with the site.

The main roads, Gallowgate and London Road almost draw a clear line where aptitude is lost. These forgotten spaces burden local artists that aim to thrive alongside ‘The Barras’. Refining ‘The Barras’, located within this region, was prioritised within the scheme as the space holds a strong sense of community and the arts.

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Flow and movement are lost due to the lack of boundaries that frame and direct the site. The development of stitching the site together mainly came from changing the routes and directing people. The analysis overall showed the lack of direction and connection throughout which wasted the potential of showcasing history and skill within the site. The downfall in creative businesses within site was approached with creating a stronger connection with the area by introducing spaces that people will spend more time in and engage with.

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A new perspective and a space to express and experiment is needed. This is where this thesis project comes forward to propose a Gallery and Studio that will gather local artists to enhance the site and inspire minds. This thesis aims to create a space where people have the freedom to interpret art in endless ways.

Architecture that entices you to challenge thinking, feeling, and storytelling in every visit. A place can be set to tell the story of a site but the people within are the ones adjusting these narratives.

A place where people are more than passive onlookers.

GALLOWGATE

LONDON ROAD

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POSSIBLE CONNECTIONS ON SITE:

DESIGN DEVELOPMENT

MERCHANT CITY

The projects programme is to create a studio and gallery space for the artists within the local area to assist the storytelling through the design and their artwork to the public. The design will tell the story of the site whilst helping the occupants narrate their own life experiences through the art that is framed withing the project.

These viewpoints become either the circulation or paths the visitors take whilst invading the site to observe this story, connecting the site and people to a new story on every visit. This requires new directed places to showcase these narratives.

The concept of directing and framing is important for the site to flourish and the locals to be provided by a space that encourages the act of creativity.

A grid concept was formed to study the several views that could be created within the site and to maximize other possible perspectives that could be made or illustrated.

GLASGOW GREEN

A - ST ANDREW’S IN THE SQUARE

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B - NELSON’S MONUMENT

C - THE BARRAS/ ART & DESIGN DISTRICT

VIEW 3 ART & DESIGN DISTRICT

THE BARRAS

VIEW 2 THE BARRAS GATE

CONCEPT EDGES

NEW MAIN ROAD

CONCEPT LINE

PEDESTRIANISED AREAS

NEW CONNECTIONS

NEW CYCLE LANES VIEW 1

SERVICE ROUTE/LOADING BAY

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The design aims to be a structure that is bold and features the importance of walls for the showcasing side of the concept.

Concrete was introduced to the design as the main material to create the sense of unity to act as a whole element.

The concept also developed from using the full area of the site. This initiates the story of aligining and using the full space the site provides. The corners and edges that will be altered after containing this site will start to direct the space while still connecting to the surroundings.

EXPLODED AXONOMETRIC MASSING CONTAINING & CONNECTING SPACES

PHYSICAL SITE MODEL VIEW FROM LONDON RD

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MASSING DEVELOPMENT CLAY REPRESENTING CONCRETE

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PUBLIC REALM The public realm is also guided by concept. Taking the form of the site to feature the figure ground was important when it came to showing sense of place.

The design filling every corner of the site will direct people around, into, and through it.

Views available from the site was also encouraged to keep the link with history, The Barras gate framing the building is a main view. The height of the massing also depends on the surrounding context, where it must set a distinct point to become a destination yet a space where the site is not overwhelmed. Travelling to the site will showcase different elements of the structure due to the changing façade.

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The existing residents garden is improved by adjusting the gated spaces that open up to an enhanced walkway/path. This space encourages the workers within the gallery/studio to use the outdoor space. The connected path also directs more people through the site whilst still keeping parts of the unused residents garden private for the residents.

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SERIAL VISION

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The functions and size of each space reflects to the exterior of the building. The spaces that are enlarged or adjusted all play with the defined massing of the structure, such as the Insight Gallery being the main event gallery. This gallery extends the walls that displays a significant ‘canvas’ wall that faces The Barras site. The elevation of this wall becomes the highest point of the structure and illustrates the significance of the space created and creates within.

EXPLODED ISOMETRIC (DEFINING FORM OF ELEVATIONS WITH MASSING)

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ELEVATIONS

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GROUND FLOOR PLAN

LONDON RD

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1

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SECURITY ROOM

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A TOILETS

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LOCKERS COLLECTION STORAGE

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PLANT ROOM

B 10 STORAGE

C 11 GREENDYKE ST

MONTEITH ROW

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FIRST FLOOR PLAN

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F

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D

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VISITOR EXPERIENCE; 1. MAIN LOBBY ENTRANCE 2. SHOP 3. ORIENTATION SPACE 1 4. PROJECTION GALLERY; OPEN GALLERY 1 5. GALLERY 2 6. ORIENTATION SPACE 2 7. INSIGHT GALLERY; OPEN GALLERY 3 8. GALLERY 4 9. ACTIVITY ROOM 10. CAFE 11. SCULPTURE GARDEN WORKER EXPERIENCE; A. SHARED GARDEN/WALKWAY B. STUDIO 1 (PRINTMAKING WORKSHOP) C. LOADING BAY D. STUDIO 2 (PAINTING & GRAPHIC DESIGN) E. MAINTANENCE ROOM F. PHOTO STUDIO & WET-DARKROOM G. MEETING ROOM H. INSIGHT GALLERY; CLOSED GALLERY 3 (USED FOR RETREAT)

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LONG SECTION

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ISOMETRIC SECTIONS

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LAYOUT & SPACES

Travel is important within this scheme as there is a story to be told by the locals and workers within. The architectural design of the gallery aids this narrative by following a layout that is adaptable to function yet directs visitors to certain spaces within.

Galleries are ordered in two categories; open and closed, which can be found in both levels of the building to encourage movement and engagement. The open galleries, Gallery 2 and 4, welcome visitors daily with free entry to exhibitions. Gallery 1 and 3 represent the closed galleries that are shut when workers/ artists within are using this space for inspiration, work, and setting exhibitions. Exhibitions will be showcased when open to the public. The story concept of opening and closing, directing and framing are mainly told by the closed galleries 1 and 3.

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The building introduces the visitors through the main lobby and into the orientation central space. The main lobby is also connected to the gallery’s shop where items made from the local artists and workers within the gallery are for sale. Other items such as current exhibition collections can also be found when the event frame is ongoing.

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GALLERY 1 PROJECTION GALLERY

Gallery 1 introduces an enclosed dark space with projectors directing to walls and suspended screens which show digital art/ videos that are taken by the artists/locals. This Gallery also highlights the importance of connecting through media during the pandemic. Screens are adjustable and the space offers projectors that guide visitors through their desired narrative.

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The Insight Gallery can be closed until the opening of an event made by the workers. This space is also used after building closing times where the public retreat back and the workers will have the gallery space to occupy.

This gallery space also continues the story told by the projection gallery. The Projection gallery starts with stories told on screen then leads to the Insight Gallery to showcase the artwork made in this space.

The Insight Gallery, when open to the public, showcases art work from local workers. Exhibitions include prints from the printing studio, photographs taken and processed in the wet-darkroom/ photo studio, paintings and even graphic designs made and printed out all using the functional spaces within the building.

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GALLERY 3 THE INSIGHT GALLERY WHEN CLOSED / ONLY OPEN FOR WORKERS

GALLERY 3 THE INSIGHT GALLERY WHEN OPEN TO PUBLIC

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INSIGHT GALLERY / GALLERY 3

Gallery 3, the Insight Gallery, shows directed views out and beyond the site whilst showing art in different levels through the space. Edges are created to help the main walls to be set, and then introduces smaller structures that expand into the space or cut through main walls. These are designed for spaces people can sit, stand, and view from therefore following human scale and seating dimensions.

DIRECTING GRID CONCEPT SKETCHES

ANTHROPOMETRIC STUDY VIEW & MOVEMENT SKETCHES

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INSIGHT GALLERY SPATIAL DEVELOPMENT CONCEPT APPLIED TO MAIN GALLERY 3

DISABLED ACCESS DESIGN CONSIDERATIONS

ORIENTATION SPACE 1 STRUCTURE DESIGN CONCEPT DEVELOPMENT DIAGRAM

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INSIGHT GALLERY PROGRAMME

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GALLERY WHEN OPEN

GALLERY WHEN CLOSED

VISITOR EXPERIENCE; INTERACTING WITH EXHIBITIONS & VIEWING SPACES DIRECTED BY ARTISTS/WORKERS

WORKER EXPERIENCE; INTERACTING WITH SPACE TO CREATE ART, WORK/REST, & PLAN/DESIGN EXHIBITION BEFORE OPENING

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A

V6

V5

3 V1 B 2

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V4 V3

V2

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INSIGHT GALLERY SERIAL VISION

V1

V2

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V4

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INSIGHT GALLERY ISOMETRIC DIAGRAM

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PERSPECTIVE SECTION

The main idea for facade of the building was to have a layer of concrete that represents a canvas and/or covering the structure to create designs or textures. This is where the idea of a ‘sandwich concrete wall’ came into place.

Depending on whether the outer layer will be large panels or precast would depend on the areas that the facade would want to cover. The exposed concrete walls within represent and highlight the idea of having the building as one element. The idea of concrete walls surrounding the main gallery spaces will create a feeling of compression with how closed-in it could feel within. This also links into the human scale concrete planes/extrusions that come out from the walls and as these spaces are being used, standing on them, sitting on them, and using them as display areas, the concrete being reinforced insitu concrete was seen as a better alternative as the structure will be easier to fill its desired form. The reinforcement will also help aid the easy construction of the concrete and will provide a closed envelope throughout the building. This envelope will save energy costs, keep the building warm in the mainly cold climate within Glasgow and also provide a good acoustic environment.

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D1

D2

D3

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D1: ROOF, WALL & CEILING DETAIL

1. 8MM ALUMINIUM SHEET COVERING (LIGHT GREY

5. APP WATERPROOFING MEMBRANE (INSTALLED

COLOUR)

IN ROLLS ON PRIMED ASPHALT ADHERED AND

HELD IN AN ANGLE BY TIMBER BATTERN

STRUCTURAL CONCRETE)

2. APP WATERPROOFING MEMBRANE (INSTALLED IN ROLLS ON PRIMED ASPHALT

6. 200MM REINFORCED CONCRETE ROOF

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ADHERED AND STRUCTURAL CONCRETE)

SUSPENDED CEILING HUNG FROM CONCRETE ROOF BY

THIN CONCRETE SLAB

STRAPS & WIRES (ALSO SECURING INSULATION)

150MM INSULATION SUSPENDED CEILING HUNG FROM CONCRETE ROOF BY STRAPS & WIRES HVAC SYSTEM INCLUDING DUCTS, ELECTRICAL SERVICES

150MM INSULATION SAFETY MESH

AUTOMATED CLEANING DEVICE

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HVAC SYSTEM INCLUDING DUCTS AND AHU WITHIN

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SUSPENDED SPACE

WITHIN SUSPENDED SPACE

LIGHT COLOURED ALUMINIUM GRID SYSTEM HOLDING

ELECTRIC ACUATOR (MOVING LOUVRE BLOCKS

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CEILING TILE

CONNECTED THROUGH BEAMS)

THIN SUSPENDED LIGHTING TRACK SYSTEM HUNG ON

LIGHT COLOURED ALUMINIUM GRID SYSTEM HOLDING

CEILING TILES

CEILING TILE WITH ROUGH FINISH TO RESEMBLE

MOVEABLE LIGHTING ON TRACKS

CONCRETE 3. STEEL GRATING FOR LIGHT DIFFUSION INTO MAIN GALLERY SPACE AUTOMATED CLEANING DEVICE 9MM GLAZING FOR SOLAR PROTECTION TEMPERED GLASS 10MM CAVITY SAFETY GLASS 4. LIGHTLY TEXTURED CONCRETE SURFACE (OFF-WHITE PIGMENTED) RIGID INSULATION

15MM CONCRETE SHELL ELEMENT COVERING MECHANICAL LOUVRES (JOINING BEAMS) NOTE: BEAMS SHOULD BE ENCASED FOR FIRE RESISTANCE

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CONNECTORS WITH CONNECTING STUDS STRUCTURAL REINFORCED CONCRETE WALL NOTE: ‘CANVAS’ WALL IS CONCRETE WHICH HAS BEEN SCRAPED AND PUSHED BACK TO GAIN A LINEAR TEXTURE TO ENHANCE CONCEPT DESIGN AND PROVIDE A TEXTURE THAT ALLOWS SUNLIGHT TO PAINT SHADOWS ON THE WALL.

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D2: INTERIOR DETAIL

D3: STAIRCASE DETAIL

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1. IN-SITU CONCRETE WALL WITH CONNECTION TO STAIRCASE REINFORCEMENT 2. HANDRAIL FROM STEEL WITH SAFETY GLASS FILLING 3. STAIRCASE STEEL CONNECTION 4. IN-SITU CONCRETE STEP 5. LED LOGHT FITTING 6. 150MM GAP TO SHOWCASE STAIRCASE FORM

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1. 12MM DARK OAK FLOORING (EXTENDS ON WALLS THAT AID SPACES FOR WORKING EXPOSED WAFFLE SLAB HVAC SYSTEM WITHIN WAFFLE SLAB

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The waffle slab was introduced to the design as the structure that holds the main gallery. The waffle slab design was altered to ensure the structure was able to handle the many concrete walls designed with extrusions from the gallery above. This structure is also exposed to the HVAC system to hold mechanical ventilation ducts that provide easier maintenance and improves ventilation throughout the large closed space.

STRONG STRUCTURAL DESIGN

[ WAFFLE SLAB HAS A HIGH ACOUSTIC PERFORMANCE WHICH WILL BE NEEDED FOR THE PROJECTION GALLERY AND THE INTERACTIVE GALLERY ] [ WAFFLE SLAB DOES NOT NEED ADDITIONAL FIRE PROTECTION DUE TO STRUCTURAL DESIGN ]

ACOUSTIC PERFORMANCE

FIRE RESISTANCE

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REINFORCED CONCRETE WALL

REINFORCED CONCRETE SLAB STARTER BARS

FLOOR REBAR LAPPING

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EXPLODED AXONOMETRIC OF STRUCTURAL DESIGN

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MAIN GALLERY ‘CANVAS’ FACADE

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MATERIALITY 1. Precast concrete panels are introduced to the site after the insitu building process. Panels come in two finishes (FACADES: F1/2 AND F3) being lightly textured to pushed back to create a linear extrusion. The gallery side of the building, (the ‘canvas wall’), will be scraped to create a linear texture. Concrete mortar mixed with broken gravel (off-white) will be used for these panels.

2. Locally sourced timber represents the retreat concept and brings warmth to the interior amongst the concrete structure.

This hardwood is easy to maintain and is longlasting.

3. Dark aluminium associates with the dark timber within the building whilst also assisting the window frames that use the same material. This material was mainly chosen to conncet the conceptual approach with defining an outline for directed perspectives. The recycled aluminium is used as it is easily attained locally alongside being robust to aid the impression of the concrete mass.

4. Cast in-situ concrete is used to highlight the importance of creating within the site as a concept. The reinforced concrete will take the form of the casting and aid the notion of the design.

Concrete is also adaptable and affordable. The low maintenance and the application of fire safety is also a great advantage to the structure.

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F1

F2

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1. PRECAST TEXTURED ‘CANVAS’ CONCRETE PANELS 2. DARK OAK TIMBER FLOORING 3. DARK RECYCLED ALUMINIUM 4. CONCRETE (OFF-WHITE PIGMENTED)

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ENVIRONMENTAL STRATEGIES The environmental strategies within the project focuses on the development of the public realm and the ventilation spaces within the galleries to provide spaces that can set a good environment for the visitors and the locals that pass by the site or go through and experience. Sustainable strategies and materials are used, and all materials are locally sourced to support businesses around the site and the next generations.

RISERS BASEMENT PLANT ROOM ACCESS PERMEABLE PAVING PLANTERS COMPOST BIN SUMP AND LAND DRAINAGE

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DARK OAK TIMBER FLOORING: This material is used widely throughout the site and is durable and easy to maintain. Locally sourced and an efficient option.

RECYCLED ALUMINIUM: This material is also easily obtained and sustainable as it can be recycled. This material is mainly used as window frames.

COMPACT FLOURESCENT LIGHT (CFL): These bulbs last longer and they are inexpensive. They also consume less energy than most light bulbs.

SMART LED LIGHT BULBS: These light bulbs change colours and therefore can be adjusted to the gallery and occupants needs. This can be helpful for different exhibitions that could take place to set a different atmosphere.

SOLAR PANELS / PHOTOVOLTAICS: Panels face the south and are installed on the roof top. This energy is converted into electricity within the building. The renewable energy can save costs while reducing carbon footprint.

SHARED GARDEN/OUTDOOR SPACE: The help of the vegetation that will be grown in the shared space (in timber planters) will increase biodiversity.

PLANTS IMPROVING AIR QUALITY: Air purifying plants that absorb pollutants, such as Rubber plants and Areca plants are placed throughout the building mainly in the studio working spaces.

FURNITURE: The furniture follows the neutral colour pallete of brown and green (plants). These colours also compliment the main colour used for the structure of the building being off-white/grey. Main colour codes: #A69486, #CDCFCE, #F1F2F4, #D7BCD5.

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HVAC SYSTEM GRID WORK

FOR GALLERY 2, 3, & 4

The HVAC systems requires a layout that would be most suitable for the space within and the occupants. The two types of gallery spaces include closed and open with spaces that will both need to be controlled due to the exhibitions. Galleries 2, 3, and 4 will have suspended ceilings that can cover these ducts and provide a place for maintenance when needed. These galleries will require air distribution by pipes with a variable diameter. Gallery 1 is more flexible when it comes to HVAC ventilation due to the available waffle slab structure.

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FOR GALLERY 1

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HVAC & AIR HANDLING CHILLED WATER (FROM RISER) EXHAUST AIR OUTSIDE AIR RETURN AIR SUPPLY AIR

FOR GALLERY 3

EXHAUST AIR

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RETURN AIR ROOM SENSOR

OUTSIDE AIR

SUPPLY AIR

A. DAMPERS B. PREFILTER C. BYPASS FOR RECIRCULATION D. PREHEATING COILS E. SUPPLY FAN F. FILTER (/FINE FILTERS) G. COOLING COILS (DEHUMIDIFIER) H. REHEATING COIL I. HUMIDIFIER J. RETURN FAN K. FILTER

HVAC FOR CONDITIONED GALLERIES

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LIGHTING FOR INSIGHT GALLERY / GALLERY 3

Most artwork, due to the placement within the arranged Gallery 3 space, avoid the glaring problem. However for artwork that involves desired spotlighting, that is vulnerable to glaring, will be accompanied by a 30 degree angled spot light (from wall).

Colour temperature of the lighting fittings will vary from warm to natural light: 3000K-4000K.

30°

40°

LED RECESSED LIGHTING: This is used around the central/ orientation spaces and are installed highlighting the main staircase. These lights are dimmable and can save energy costs.

1.5M

SPOT LIGHTING: Spot lighting is used mainly within the gallery spaces.

TRACK LIGHTING/ GRIDS: Thin ceiling tracks that avoid vents, are installed and adjusted to the suspended ceiling grid system. These are controlled by the gallery workers that can adjust the spot lighting to fit their exhibition environment. The maintenance room holds main controls and holds light bulbs with different colour temperatures, spare parts, and other tools.

CONTROLLED COLOUR TEMPERATURES: When the galleries are closed, the workers can adjust lighting for resting in better conditions such as ‘Warm Lighting’; 2,500-3,000 K. Natural light can also be achieved, 4,900-6,500 K to achieve a more comfortable environment that helps improve attention and mood.

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1.5M

SUSPENDED LIGHTING TRACKS

OVERHEAD BEAM SYSTEM

LIGHT FITTINGSON SUSPENDED CEILING TILES

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HEATING, VENTILATION & COOLING SYSTEM

1. CONCEALED HEAT REJECTION & HVAC SYSTEM ON ROOFTOP

6. DISCRETE HUMIDITY AND TEMPERATURE SENSORS WITHIN ALL GALLERIES

2. CONDENSER WATER PIPING FROM HEAT REJECTION SYSTEM TO COOLING PLANT

7. WARM AIR NATURALLY RETURNS AT HIGH LEVEL AND COLLECTED BY HVAC DUCT WORK

3. LOUVRE DESIGN ATTACHED TO SOUTH FACING MULLIONS ONLY

8. DIFFUSERS SUPPY CONDITIONED/FILTERED AIR TO THE GALLERIES AND EXHIBITION SPACES

4. INLET/EXHAUST LOUVRES FOR (HIDDEN BEHIND EXTENDED CONCEPTUAL WALLS)

9. AHU (AIR HANDING UNITS) ARE PLACED ON BOTH LEVELS

5. OPEN GALLERIES WELCOME FILTERING LIGHT THROUGH THE PLACEMENT OF WALLS

10. THE HVAC SYSTEMS WILL ALL PROVIDE CONTROLS THAT ARE DIGITAL AND CAN BE MONITORED FROM THE MAINTENANCE ROOM

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11. ADJUSTABLE MECHANICAL LOUVRES WITH CONCRETE SHELL ELEMENT 12. THIN STEEL GRATING AND GLAZING FOR SOLAR PROTECTION: PROTECTING DIRECT SUNLIGHT FROM ARTWORK 13. CENTRAL WATER COOLED CHILLERS (FOR HVAC SYSTEM) 14. RAINWATER HARVESTING TANK IN CENTRAL BASEMENT PLANT ROOM: REUSED FOR TOILETS 15. PERMEABLE PAVING 16. SOLAR PANELS

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URBAN DESIGN PROJECT 2 ‘STIMULATE THE SENSES’

WITH: OLI MARTIN & TOM HARTLEY-COOK

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MASTERPLAN

The history of Merchant City within Glasgow shows a wide range of the arts and skills that raised different types of craft that locals became a part of. Currently the site shows unused empty spaces that were once full of interaction and artistic creation.

Passive onlookers use the site as a transition site and avoid any type of communication with the site.

The main roads Gallowgate and London Road almost draw a clear line where aptitude is lost.

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Refining ‘The Barras’, located within this region, was prioritised within the scheme as the space holds a strong sense of community and the arts. The available open space is mostly used for parking which also highlighted the issue of how the site is served for cars and not people. The flow and movement are lost due to the lack of boundaries that frame and direct the site. The development of stitching together the site mainly came from changing the routes. The analysis overall showed the lack of direc-tion and connection through the Merchant City which wasted the potential of showcasing history and skill within the site.

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41% - CAR 25% - WALK

10% - TRAIN 2% - CYCLE

20% - BUS

45% - OPEN SPACE 35% - BUILT AREA 20% - ROADS

65% - EXCESS PARKING AVAILABLE 35% - TYPICAL OCCUPANCY AT PEAK

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The concept of the urban design scheme focused on ‘stimulating the senses’ which meant designing spaces that were more interactive and made the visitors and the locals immersed with the whole experience of the site. The downfall in creative spaces and businesses within site was approached with creating a stronger connection with the area. Encouraging movement through the city was further-more accentuated with the addition of reusing the neglected railway and proposing a train station that will welcome the wider city of Glasgow. This creates a destination for passive onlookers to spend their time within the site while the local businesses come back to life.

AIMS: POTENTIAL DEVELOPMENT SITES (VACANT LAND) COMMUNITY CLUSTERS & CULTURAL ATTRACTIONS IMPROVING TRAVEL CONNECTIONS

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SCHEMATIC SECTIONS

NE-SW Section: Towards the left shows the new Gallowgate station, moving to the right is the new square with a central fountain. A new underground platform that is connected via the square opens into St Andrew’s in the Square.

South-North Section: Moving through the collannade adjacent to London Rd, the space opens up into a courtyard which then progresses through and into garden space. Adjacent to Gallowgate street is a succession of courtyards and gardens.

NW-SE Section: The Barras is a destination both during the day and at night. During the day markets occupy the streets, visitors come to shop and view that art. At night, bars, social clubs, and performative or digital arts bring a lively atmosphere.

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LIVE PROJECT FABLAB BOOTLE WITH: WILLIAM LEWIS & CHARLOTTE TOPHAM TUTOR: CHARLIE SMITH CLIENT: LOL BAKER

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A fab lab is a workshop offering digital fabrication and is typically equipped with an array of flexible computer-controlled tools that cover several different length scales and various materials, with the aim to make “almost anything”. The Brief states that Fab Lab Bootle is to be a community focused social and education space to become the blueprint for future labs around the world. The building itself is to be self sustaining, self regulating and prefabricated on site. The building requires the space to accommodate up 100 people at a time within a large central social space and external pods one of which needs to support Virtual reality. The materials for the building are locally sourced and new/high tech with breathable paint suggested to absorb toxins from the air. Additionally the furniture for the building will be made in house with large biodegradable elements.

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CONCEPT DEVELOPMENT

NUCLEUS

NUCLEUS

CENTRAL SOCIAL SPACE

NEUTRONS & PROTONS AROUND CENTRAL NUCELUS TO CREATE FORM

EXPANSION OF ELEMENTS TO CREATE SPACE

AMENDMENT OF SHAPES TO CREATE PODS & CENTRAL SPACE

10

9

CENTRAL SOCIAL SPACE

PODS

3 4

DEVELOPMENT OF POD SHAPE & EXPANSION OF CENTRAL SPACE

8

REMOVING CURVES TO REDUCE COST AND INCREASE IN-HOUSE BUILDABILITY

2 7

5

6

1

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(1) (2) (3) (4) (5)

ROOF WATER COLLECTION

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Pod 1 Pod 2 Pod 3 Pod 4 Bathroom (F)

(6) Bathroom (M) (7) Central Hub (8) Recycling (9) Parking (10) Retained foliage (11) Urban Farming

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Fab Lab Bootle is a new single storey structure to house the blue print for future FabLabs around the world. The scheme features; virtual reality, a recycling plant, urban farming and pods of various sizes to house Fablab machinery revolving round a central space for innovation, socialising and energy generation. The pods have a large space between ceiling and roof to allow space for ventilation and services. The central space features rainwater harvesting and the building energy controls/ regulation to act as the ‘heart’ of the building. There is glazed area beneath the central rainwater harvesting roof that can be opened to bring the ‘outside inside’.

The internal wall of the pods are not built with the rest of the scheme rather are built in house by the Fab Lab team and volunteers to allow flexibility and client creativity/personality within the space as requested.

In addition furniture and fit out is done in house from ‘open desk client’ as requested.

Materials are locally sourced, prefabricated and biodegradable.

The building itself can be dismantled and reassembled elsewhere if necessary as requested.

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HOUSING PROJECT OPEN HOUSING; ‘CONNECTING & RETREATING’

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The concept and innovation of connect and retreat became more important due to the pandemic (COVID-19) events.

Adapting to working from home and still connecting with people will be easier within the sheme as there are different communities within the site that share many spaces and units. These dwellings become multi-purpose and are arranged to have a clean linear layout relating back to the street markets. However the design is also arranged to form an enclosed space that is still flexible enough to reach out from a fragmented origination. The similarity in shape and form of each unit brings a sense of unity while only expanding based on the needs of the residents such as spaces that provide learning, sharing, creating, and leisure.

The scheme invites the new and existing community within the previous street market masterplan. The masterplan focus on the street market created a linear space for the local community to engage, work and connect with their abilities and different cultures. The origination of street markets always offered sharing, buying and trading through different skill sets and involved all ages.

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SITE : DINGLE, LIVERPOOL The site shows the need for a strong community after a long history of fragmented spaces. The area also does not provide options of employability thus the start of the street market space. The linear street market space ends with a drop in topography, this is where the concept of connect and retreat comes forward.

The path above the housing project allows the workers of the market to have the options of retreating and gaining privacy or retreating back to a closer community and overall not losing, yet sharing culture.

Hacer Esra Ozturk 2022 Portfolio

HOUSING OCCUPANCY - DINGLE

ONE PERSON

TWO PEOPLE

THREE PEOPLE

FOUR PEOPLE

FIVE PEOPLE

38%

85

37%

15%

7%

3%

HOUSING PROJECT URBAN DESIGN PROJECT 1

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CONCEPT DEVELOPMENT

STREET MARKET

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-

OPEN HOUSE

-

COMMUNITY/SHARED SPACE

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-

ALLOTMENTS

-

SHARED COURTYARD

UNITS ARE PLACED ACCORDING TO THE CONNECT AND/OR RETREAT CONCEPT. THE STREET MARKET PLAYS OUT ON CERTAIN CORNERS AND LINEAR SPACES SIMILIAR TO HOW THEY ARE USUALLY ARRANGED.

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8

1 - SHARED COURTYARD 2 - BLOCK A1

6

3- BLOCK AB

2

4- BLOCK A2

17

9

5

5- OFFICE WORKSHOP WITHIN BLOCK B1 6- RECEPTION/COMMUNAL BUILDING WITHIN BLOCK B1

7

7- BRIDGE CONNECTING BLOCKS 8- ELEVATOR ONLY FOR RESIDENTS USE 9- MAIN CIRCULATION ACCESS POINT, RESIDENTS ONLY 10 - BICYCLE STANDS 11- STAIRS FOR PUBLIC ACCESS 12- SHARED GARDEN AREA

14

10 16

15

1

13- STREET MARKET SIDEWALK TO GRAFTON STREET

3

14- GRAFTON STREET - PEDESTRIAN

12 11

15- CAFE 16- STUDY AREA/ WORKSHOP 17- OPENING SPACE FOR OFFICE AND WORKSHOP AREA 18- CAR PARK - RESIDENTS ONLY 19- MAIN STREET MARKET

4

13

SITE PLAN

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FIRST FLOOR PLAN - BLOCK A1 & B2

SECOND FLOOR PLAN - BLOCK A1 & A2

THIRD FLOOR PLAN - BLOCK B1

FIRST FLOOR PLAN - BLOCK B1 & AB

90

SECOND FLOOR PLAN - BLOCK B1 & AB

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MAIN CIRCULATION POINT STREET MARKET

CONTINUED STREET MARKET

GRAFTON STREET

CIRCULATION

BLOCK B2

BLOCK B1

WEST ELEVATION

BLOCK AB

BLOCK A1

BLOCK A2

PROGRAMME

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UNIT TYPE A

- Studio - 2 Bedrooms, 2 People - Students/Work Partners

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UNIT TYPE B

- 1 Bedroom, 2 People - Couples/Small Family

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UNIT TYPE C

- 2 Bedrooms, 4 People - Family/ Parents and Children

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UNIT TYPE D

- 2 Storey - 4 Bedrooms, 5 People - Large Family

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UNIT TYPE E

- Social Housing - Open Space - Units vary in size ( 1 additional bedroom) however provide the same layout - Unit includes Bedrooms, Bathroom, Kitchen from the entrance corridor.

- Type E Units are placed close and work alongside the facilities designed around it. Type E residents own the facilities and are the head of the markets, workshops/ studios and communal spaces.

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UNIT TYPE F

- Social Housing - 4 Bedrooms, 6 People - Large Family

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SPECIALIST STUDY THE METAPHORICAL & CULTURAL MEANINGS OF SPACE: EXPLAINED USING THE FILM ‘PARASITE’

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The Metaphorical and Cultural Meanings of Space: Explained Using the Film ‘Parasite’

ABSTRACT Parasite is an expressive film that has captured the imagination of many people.

The cinematography and visual journey in the film have the potential to create a better understanding of the spaces shown in the story and the spaces surrounding us. The film has the potential to explain spaces and how architecture could be a living structure with more meaning to unravel. The architecture will be examined as a character within the film to understand spaces through metaphors and cultural meanings. The overall meaning of ‘Parasite’ might be evident to many due to the clear execution of the film, however, many intricate details are missed or overlooked.

The Korean film will be translated beyond the given subtitles and language. Observed metaphors will be deciphered and assessed with sensible interpretation and cultural implications will be interpreted and clarified.

The purpose of this study is to show the metaphorical and cultural meanings behind spaces, how they create a dialogue, and how we respond to it.

EARLY DRAWINGS OF THE MANSION & BUNKER - BONG JOON HO, PARASITE STORYBOARD BOOK

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THE MANSION & BUNKER AXONOMETRIC ILLUSTRATION

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OTHER PROJECTS UNIVERSITY & PERSONAL

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URBAN DESIGN PROJECT 1: ‘RESILIENT SPACES’ UNIVERSITY PROJECT

CONCEPT SKETCHES

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SPACE & MOVEMENT

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CDP ‘PARASITIC FABRIC’ BUILDING ILLUSTRATION UNIVERSITY PROJECT

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FORMBY RESEARCH BUILDING ILLUSTRATION UNIVERSITY PROJECT

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‘WEATHER OR NOT’ BUILDING ILLUSTRATION UNIVERSITY PROJECT

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IMAGE COLLAGE: LIVERPOOL

VECTOR ILLUSTRATION: PARASITE MANSION (FROM FILM: ‘PARASITE’)

PERSONAL PROJECT

PERSONAL PROJECT

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LINE DRAWING: ŞiLE, TURKEY

ACRYLIC PAINTING ON CANVAS

PERSONAL PROJECT

PERSONAL PROJECT

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VECTOR ILLUSTRATION PERSONAL PROJECT

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VECTOR ILLUSTRATION: MAMURBABA ILLUSTRATION PERSONAL PROJECT

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VECTOR ILLUSTRATIONS : ARCHHEA PERSONAL PROJECT

AMILU FARMHOUSE Gassino Torinese, Italy

RESIDENCE IN CRETE Heraklion, Greece

UNDER Lindesnes, Norway

GARDENHOUSE Los Angeles, USA

YALIKAVAK PALMARINA Bodrum, Turkey

YESILOVA HOYUK CENTER Izmir, Turkey

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CABIN NORDERHOV Norderhov, Norway

ODUNPAZARI MODERN Eskisehir, Turkey

PATIO HOUSE Karpathos, Greece

AL-ISLAH MOSQUE Singapore

DESERT X ALULA Al-Ula, Saudi Arabia

NAMHAE SOUTHCAPE Namhae-gun, South Korea

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