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Bahar Aktuna, Master of Architecture, University of Florida, 2010. Bachelor of Architecture, Eastern Mediterranean University, 2006.


Peace-building in Cyprus: Reconnecting, Remembering and Memorializing

Burial Chapel in Gainesville FL

Inhabiting Grid

P. 4-25

P. 27-33

P. 38-41

Urn for Robert Rauschenberg

Interpretive Center in St. Augustine

Groundscraper

P. 26

P. 34-37

P. 42-47

Supervisors: Asst. Prof. Bradley Walters (UF), Assoc. Prof. Charlie Hailey (UF)

Instructors: Visiting Prof. Juhani Pallasmaa, Assoc. Prof. Nancy Clark (UF)

Instructors: Visiting Prof. Juhani Pallasmaa, Assoc. Prof. Nancy Clark (UF)

Instructor: Visiting Assoc. Prof. Peter Rumpel

Instructor: Assist. Prof. Ruth Ron (UF)

Instructor: Prof. Robert Macleod (UF)


Freehand Sketches from Field Trip to TX

Structural Design (collaborative work)

Instructor: Prof. Robert Macleod (UF)

Instructor: Assoc. Prof. Michael Kuenstle (UF)

Lutfiye Ozatac Residence Design

P. 48-49

P. 51-54

P. 60-62

Fish Scales

Applied Acoustics Lab

Labels and Stamps

(collaborative work)

Instructors: Prof. Arzu Gönenç Sorguç (METU), Asst. Prof. İpek Gursel Dino (METU), Sabri Gökmen (Gatech), Volkan Alkanoğlu (Gatech), Daniel Baerlecken (Gatech)

Instructor: Assoc. Prof. Gary Siebein (UF)

P. 50

P. 55-59

Ziya Necati Ozkan Arch & Eng Office

(collaborative work)

Borderstories Exhibition in Berlin

P. 63


peace-building in cyprus: Reconnecting, Remembering and Memorializing with Asst. Prof. Bradley Walters, Assoc. Prof. Charlie Hailey

The following is a part of a research project developed in order to act as a catalyst in peace-building process in the divided country of Cyprus. The site chosen is the Green Line in the old city of Nicosia. One of the main barriers standing between two communities in peace-building process is the fact that they blame each other for the past and ignore the losses of the other one. However, both of them suffer from losses. Making a place which inhabits the memories and history of both sides in order to accept the damage made by the civil war to both sides, and share the pain caused by the losses, can be a big step in the healing process which could lead weakening of bitter feelings toward the other community. This new place becomes a place of negotiated history and collected memories of both communities. This piece of architecture can influence the course of process by teaching people of their past, reminding them of what has been lost, providing a place for reflection on their individual and collective memories, and by bringing them to the same place in order to remember the people they lost in the war. The idea of providing a place for commemoration of historical facts and lost people has led to the development of a memorial. Design is never an easy task, but designing a place which is going to hold much emotions, feelings, and meanings is a harder task. A memorial is a place which traps memories of people, but it also has to be a place where people are moved by their experiences. Experiences start at the sensory buffer of the body and turn into memory.

auditory sense/experience This painting explores the source of sound and how it propagates in a medium. Sound moves in a concentric way and fades away as it goes further. The boundaries of the space emerge as a reaction to the form of sound’s movements in order to embrace and enhance it, and to trap various sounds in various sound chambers. It is also possible to get conditions of overlapping sounds as transitioning from one space to another. The experience takes place by moving through these various spaces and stopping at some points. It is a meditational space through use of sounds of a quieter quality.


olfactory sense/experience

gustatory sense/experience

Smell is known to be one the strongest senses in terms of remembering. The connection between the source of smell and the receptor which is the body is the air molecules and air current. The smell moves through the air more quickly by the aid of wind and/or humidity. Wind gives smell directionality. It is hard to mix smells and it is easier to perceive them individually. The idea of the painting was to create a spatial condition suitable for getting to experience various kinds of smell, familiar or unfamiliar and pleasant or unpleasant. By imagining that wind would carry the smells towards one direction, various spaces emerge adjacent to each other in a way to accommodate these various smells. The volume of each space has an effect on the intensity of the smells. The smaller the space, the more intense is the smell in the space. If the smell spreads over a larger volume, the intensity of the smell decreases. The experience takes place by either moving through the space or by stopping at different points.

This experience is mostly, but not always, related to dining, an event which brings people together. It differs from other experiences since it is a static experience as opposed to other experiences which take place by moving through the space. The painting reflects the ability to experience different tastes together by connecting and grouping them. The same concept applies to people where they come together around the source of taste in order to connect to each other and form groups. The painting explores the possible interactions among these groups of people which lead to formation of a space which is able to accommodate these interactions.


tactile sense and experience

visual sense/experience

Tactility comes from the contrast of background and foreground, depth, smoothness roughness, texture, and temperature. Tactile experience takes place at the boundary of our body which is our skin. Similarly, tactile experience in a space takes place at the edges/boundaries of the space which can be the wall, floor, ceiling, etc. Thus, tactile experience is where two boundaries interact with each other. The painting related the tactile sense and experience expresses the interaction of the body with the space which takes place at the edges by touching the edges and moving by these edges.

Visual sensing and seeing takes place when there is a light source. When there is no light, there is no view. The painting creates the condition where the body is located in a blank space greatly disassociated with light which brings in the feeling of ambiguity on time and place. Thus, the time and space are collapsed. The space acts in a way to frame important views in order to direct people’s vision and perception. These framing is created by letting the light through the aimed locations. The experience takes place both in the center and also at the edges where the view is created. The black color represents the absence of light in the space which is an important part of the experience. The light might be framing the views either inside the space or outside the space, so it has the potential to extend the view outside.


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pre v

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bandabulya: top covered bazaar area having a very distinct smell of vegetables, fruits, raw meat, etc...

auditory experience

visual experiexperience olfactory ex experience gustatory expeexpe rience

tactile experiexperi ence

distribution of major sensory experiences: In the bubble diagram, the sensory experiences are mapped on the site according to the qualities of the

context. They are located on the connections of voids within the urban context. The old bazaar area has a very distinct smell which could contribute to the olfactory experience, so moving the space related to this experience somewhere on the wind direction would enable to use the potential of connecting the context to the proposal. The space related to the gustatory experience is located near the first one because of their close relations. There might be opportunities for some overlaps between these experiences. The space for auditory experience is located in the area where it can be more secluded and far from the noise of traffic. The space related to visual experience is moved on the area where there is a potential of extending the view into the context and directing it toward the other experiential spaces. The tactile experience is located in close distance to visual experience since there are some programmatic relations between them.


final collage plan showing major experiences

I used the analytical paintings of experiences and some texts of memories of various people about Cyprus conflict in order to generate a collage work. I used the collage technique in the second step of moving toward the construction of an architectural design since it gave me opportunities to work on the overlaps between various spaces and constructing in-between spaces of transitions from one experience to another. The pieces of paintings formed the figure conditions, whereas the pieces of texts formed the ground conditions. Various ground conditions defines various events, materials, level differences, and movement. They also show the relationship between the proposal and the context and how they are connected. In some cases the context flows in to the proposal and sometimes the proposal flows into the context. The sections are made with the same concepts.

adjacent spaces of olfactory experience

connecting space of gustatory experience


overlapping space of auditory experience

collapsed space of visual experience

inverted space of tactile experience


sections showing major experiences

adjacent spaces of olfactory experience

connecting space of gustatory experience


inverted space of tactile experience


adjacent spaces of olfactory experience

connecting space of gustatory experience


collapsed space of visual experience

overlapping space of auditory experience


adjacent spaces of olfactory experience

connecting space of gustatory experience


inverted space of tactile experience

overlapping space of auditory experience


from sensory experience to architecture The analytical paintings took their ideas from targeted experiences coming from senses and the collage work became a transition from art to architecture. The plans and sections of the collage work acted on each other to generate the spaces for various experiences. The overall layout of the area allows the movement along the street on one side of the wall or the other side of the wall. However, these parallel experiences are more in number than that because of further divisions of events along the street. There are also opportunities to cross the wall from one side to the other along the street. The whole place has the potential to become part of people’s daily itineraries as they cross from one side of Nicosia to the other side. One of the main goals is to use traditional elements of Cypriot culture throughout the memorial which are plants, arts and handcrafts, ethnic food, materials, costumes, etc. in order to give people a sense of belonging to the place as they experience it. The whole memorial will also be accommodating an annual event dedicated to remember all those lost in the civil war. The space related to visual experience developed to collapse the time and space and just let the targeted visual information be the experience. The space is programmed to hold information on the history of Cyprus from the beginning of the conflict until now. The information on the events is given in the chronological order. This is the space where the negotiated past is presented in order to teach people about the history of civil war. The view is extended outside where a physically inaccessible garden of memory depicts scenes of war through art works. The perception of the viewer changes as they move to a new frame to view the same field through another opening. The garden is made secluded through use of water and weeds which do not permit physical and visual access except for the access from inside of the space of visual experience. The space also frames the other experiential zones for the visitors. The space related to tactile experience is designed to have strong relationships with the visual experience. The surfaces forming the space become the holders of memories of people lost in the civil war by being imprinted of their names. The space has different conditions of proportions to emphasize on the various psychological experiences depending on these proportions. People interact with the boundaries of the space as they move through and as they look for a specific name. The names of people are organized in the order of death. An element of barbed wire running through the whole memorial becomes very dominant in this space as a symbolic element of both division and touch related pain. The barbed wire also forms one wall surface of the visual space where it helps to create light effects in the space. The nearby existing context is dedicated to the arts and handcrafts of Cyprus culture and traditions where people can experience how they are made while handcraft people work on them.


The space related to olfactory experience developed in a way to support the ideas of having separate spaces for different sources of smell. The sources of smell supporting the spatial characteristics come from the existing bazaar area, various plants of Cyprus such as jasmines, narcissus, the coffee shop and the aromas of various plants applied to the concrete walls. The nearby context is given programs to contribute to the type of experience here. It becomes a place where people move through, stand or sit down to smell the old and traditional scents of Cyprus to travel back in time to another moment where they had the same experience. It is a meditational space where people can just sit around, think in silence, read their book, etc.

The space related to gustatory experience emerged from the concept of connections. The painting has become the architecture of the space where the organization of space enable some groups of people to sit closer and some of them further in an outdoor dining space. There is a chance for interactions among the groups. The plants play an important role in the existence of this space. All plants near the space are local plants of Cyprus and produce fruits. Different groups of trees such as olive grove, citrus grove and climber vines become very dominant in the construction of the experiences in this space. The existing context is used to support the dining area by providing a kitchen.

The space related to auditory experience comes from the intersection of the ideas on the plan and the section. The surroundings are made quiet by use of noise barriers in order to produce sounds within the space. The architecture of the space becomes suspended solid which are either elements to carry water up and let it down slowly in order to create water sounds or wooden wind chimes operated by the wind producing quiet quality sounds. This is meditational space where people can sit around, remember a moment from their past, think quietly, rest, escape from sun, etc. The landscape around this area uses acacia trees which are very efficient noise barriers.


selected itineraries


urn for Robert Rauschenberg- advanced studio III with Prof. Juhani Pallasmaa, Assoc. Prof. Nancy Clark

The urn designed for Robert Rauschenberg extracts its meaning and existence from Rauschenberg and his works. Rauschenberg says the following: “Every time I’ve moved, my work has changed radically.� There is a strong sense of transformation and progression in his words and works. An urn is a material object which holds and honors the spirit of its owner. In order to be able to honor his ashes, this urn establishes connections with its owner through its form, materiality and tactility. This urn is a transforming object which transforms itself constantly as the viewer turns it around or as he moves around. It is a still object totally in balance, but it looks like it is leaning to one side in order to extend itself towards the sky which gives the impression that it is almost moving or is about to take off from the Earth. It also gives the impression that when it takes off, the urn is going to carry its owner to the skies. Although it is on the brink of moving, it has found balance, it does not need to move any further. The whole object is proposed to be made of clay which enables the expression of its fluid and transforming nature, and evokes a sense of smoothness and softness which are necessary qualities for its owner, Robert Rauschenberg, to rest in peace.


burial chapel for downtown Gainesville, FL - advanced studio III with Prof. Juhani Pallasmaa, Assoc. Prof. Nancy Clark The chapel is for mourners as much as it is for the deceased. It is a place where the deceased is accompanied by his beloved one through his last journey. The chapel should be a place where the people can find a peaceful and comforting environment while they participate in the event. The chapel takes the mourners to a journey where the deceased joins at some point. As they go through the garden of memory, they get closer to the funeral as they get further from the daily city life. The memorial, which is a long path to the event, acts as a medium of presence in absence; a vast space of absence, confronting the mourners and paralleling with their grief, telling them that it understands. The mourners also confront themselves and their reason of being there as they walk through the path of memorial. Once, they are inside the chapel, they are exposed to the dark of the vastness of the entry: another transition space from the daily life to the spiritual world. The light at the end of the entrance hall invites people to the ceremony. The chapel is a wooden box with light seeping through the screens, and promising a good afterlife for the deceased and peace for the mourners. The wooden box, as a vulnerable space, is held by a shell of glass and surrounded by water, detaching the chapel from the surroundings. Everything helps with the peace provided in the chapel. The light is quiet, the shadows are quiet and the water is still. Everything pays respect to the last ceremony and the last journey of the deceased and the feelings of mourners..

sketch models showing the evolution of the project.


screen studies to find the correct expression.

BAHAR AKTUNA

light studies to analyze the daylight and space at different times of day.


screen detail constructed at the real life scale (wood type does not reflect the chosen wood type)


interpretive center for St. Augustine, FL - advanced studio I with Assoc. Prof. Peter Rumpel the plane folds to define the spaces underneath and embrace the courtyard

the horizontal element connects two interior spaces

the horizontal element extends to define the entrance which leads to St. George St.

St. Augustine Interpretive Center acts as an educational center to inform people about the Colonial Spanish Quarter and Castillo San De Marcos in St. Augustine. The concept of the project has been derived from the folded walls of Castillo San De Marcos. A folded plane shapes the design. It folds to define the interior spaces underneath and a courtyard in the center. The courtyard is the main connection point to the Spanish Quarter. As the project developed the folded plane has evolved to wrap around itself to accomodate the Spanish Quarter exhibition hall. The entrance of the interpretive center faces the Castillo but also leads to St. George Street where most of the visitors are expected to come from. Once the visitors are in the entrance lobby, they may get their ticket to visit the exhibition areas on the first floor. Then, they will be able to visit the Spanish Qarter and the fort. The Castillo exhibition hall has an old map of St. Augustine laid on the ground and the movable exhibition panels are organized to create streets in reference to the map. Castillo exhibition has an open exhibition area on the way to the fort. People may go through the open exhibition which tells narratives of battles or daily life of old St. Augustine through wall paintings and includes exhibitions of old battle tools at certain points.


ground floor plan


first floor plan


inhabiting grid - digital murals with Assist. Prof. Ruth Ron “From morning commutes - whether in a car moving along a highway, a subway on a magnetic rail, or even a walk in the grid of city streets-all the way to the last check of our e-mails at night, we involve ourselves in an infinite network of grids, which act in obvious or hidden ways to order our movements, our work, our thoughts, our leisure time and probably our dreams.” Dan Cameron

“And no sooner have we done that than we must remind ourselves that the two spaces in fact exist only in mixture: smooth space is constantly being translated, transversed into a striated space: striated space is constantly being reversed, returned to a smooth space.” Gilles Deleuze and Félix Guattari


placing a virtual door

emerging striations

abstraction with grid

grid is distorted to accomodate new formations

The project is an exploration of creating a continuity between physical and virtual, two dimension and three dimension, different times and different locations. A mural is a gradual transition between the physical and virtual. It is derived from the context, and it extends the physical beyond its limits and also two dimensional medium to three dimensional. Inhabiting Grid is a projection to explore the idea of digital mural which is dynamic as opposed to static. Grid is revealed as the dominating component of the built environment as a tool of rational element orginizing our lives. The installation adds a virtual door to the context where a repeating sequence of doors already exists. The doors opens to create a connection with the inside and outside. Moving lines emerge to define the nature of space and forms a grid cage. Finally, the lines disappear to collapse the space. The handle of the door is left on the blank wall to turn the door back to the wall-its existing condition. This work represents and criticizes the Cartesian understanding and approach of the world, which is a mathematical abstraction and omits the lived experience of space, and which still persists in architectural education and practice. It shows what a studio space as the core of architectural education might hold inside and might be made of itself through projecting its story on it.

ground floor plan department of architecture university of florida


groundscraper for Orlando, FL - urban regeneration project in advanced studio II with Prof. Robert Macleod the focus of the project was to work on urban planning of SODO orlando, which is currently a medical and industrial district. The urban fabric of the area is highly fragmented lacking urban density. The goal of the project was to increase the density and re-connect the area within itself and with its neighbour areas which is torn apart by a railroad and highway in east-west direction. The proposal was to overcome the adverse condition of east-west axis by proposing a reconnection above the ground level. The skyscaper collected living units, commercial and retail activities together becoming the most dominant part of the design. Collecting rainwater in a canal and using the canal as a place for recreational activities also became an important part of the project.


freehand sketches in Texas - field trip to museums, chapels, sculpture gardens with Prof. Robert Macleod The Rothko Chapel, Houston, TX (Philip Johnson)

These analytical sketches made during a field trip to various cities in Texas explore the human experiences depending on form and void, rythm, scale and proportion, and light and shadow.

Byzantine Fresco Chapel Museum, Houston, TX (Franรงois de Menil)

The Menil Collection, Houston, TX (Renzo Piano)

Stretto House, Dallas, TX (Steven Holl)


Museum of Fine Arts - Beck Building, Houston, TX (Mies van der Rohe and Rafael Moneo)

The Lillie and Hugh Roy Cullen Sculpture Garden, Houston, TX (Isamu Noguchi)


Fish Scales in aggregated workshop collaborative work by bahar aktuna (GAU), elif neslihan ozmen (CIU), fulya tutarli (METU), cem dalkiranoglu (METU)

This 4 day workshop program focused on developing aggregated systems using digital modeling and scripting tools to address to specific design and representation problems in architecture. The participants at¬tended the workshop tutorials that covered Grasshopper and Rhinoscript with improving levels of complexity. The international team of tutors provided technical assistance and led all individual projects from the initial idea to the scripting, draw¬ing, modeling and fabrication processes. In addition to the tutorials, lectures and presentations were held by the visiting tutors and organizers on digital design and fabrication. Participants engaged in group discussions, received feedback from tutors and experienced fast-pace productive environment. The collaboration among group members were highly important to come up with an idea for final project, to divide the workload among members and to finalize the installation on time for the exhibition. The final assignment of the workshop was produced and fabricated for an exhibition to be held on 13th of May at the Faculty of Architecture at METU, Ankara. During the workshop, participants produced digital drawings using scripting tools, then they added three dimensionality, rule-sets and variation to their systems. Finally. the groups produced two vertical boards [size A0 841 × 1189mm] with various materials to address to the problem of aggregation in architectural systems. Fabricated final pieces were displayed on a wall. Participants were provided with natural and articificial aggregation types such as glass cracking, sand dunes, tree barks, weaving, triangulation and drapery as topological variations. Materials offered in the workshop were paper, thin plastic sheets, mylar, sheet metal, signFoam, MDF, foam board, aluminium sheet and aluminium mesh. Fabrication media were lasercutter and CNC. Our group was inspired from the tactility of fish scales and what they were capable of generating through triangulation. Each generated unique piece of whole composition was constructed as two layers – white outer layer and black inner layer. The feeling of the designed work reveals itself depending on from which side it is viewed from. The fabrication was made with paper by using lasercutter. I participated in all phases of the project starting from idea generation through fabrication. I acted as team leader, organized the work phases, coordinated people besides taking part in each phase.


structural design of house #22 - structures with Assoc. Prof. Micheal Kuenstle term project: bahar aktuna and matthew judge

design: Brian McKay-Lyons location: Nova Scotia, Canada

The goal of the project was to develop a new structural system for an existing building, House #22 by Brian McKay-Lyons in order to analyze the forces exerted on the building and provide resistance against there forces.


shear walls A shear wall is one that resists lateral forces by developing shear in its own plane. It also develops flexural stresses in addition to its basic shear stress. Shear walls acts as cantilevering beams that rise from the ground that develop flexural stresses in addition to their basic shear stresses.

torsion is the rotation caused in a diaphragm when the center of mass does not coincide with the center of rigidity. While torsional effects cannot be entirely eliminated, they can be reduced by locating shear resisting elements at the perimeter of a structure and by making the bulding and its systems of shear resisting elements symmetrical.

by placing shear walls at the end planes on both axes, the structure became more rigid and resistant to the torsional effects of the lateral loads.

shear walls are especially effective on the longitudinal axis where beams are more suspectible to deflection.


concentric diagonal bracing A braced frame is a vertical truss that resists lateral forces by axial tension and compression in the truss members. The center lines of the intersecting members meet at a point which causes the members to be subjected to axial forces.

cross bracing that spans from the ground to the roof resists the lateral forces applied in the longitudinal axis. Cross bracing also resists uplifting forces and therefore reduces overturning effects.

lateral loads along the short axis resist forces with a system combined of crossbracing and a shear wall.

vertical loads from wind and live loads like rain and snow can cause deflection in columns and beams are resisted by crossbracing. Deflection can cause the brittle elements to break.


diaphragm A diaphragm is a horizontal floor or roof system that distributes lateral forces to the vertical resting elements, such as, shear walls, braces frames, or moment-resisting frames.

the addition of the diaphragm helps to resist the torsional effect by improving the rigidity of the center structure.

the use of shear walls, cross-bracing, and a diaphragm creates a rigid structure capable of resisting lateral loads in both axes.


acoustics design for Queen of Peace, FL - applied acoustics design lab with Prof. Gary Siebein This project attempts to achieve good acoustics qualities through architectural details. Church acoustics deal with the issue of designing acoustical environment to provide a suitable medium for both speech and music. Speech needs shorth reverberation time for intelligibility whereas music and singing need longer reverbaration time for enhancement. Satisfying both conditions at the same time is a hard task to deal with. The church is a Catholic church in which preaching, playing organ and singing take place. The church hall is accomodates around 1200 people during a service and other actitivities. It is important to provide fair watching and listening conditions for everybody who attends the church. Since the slope of the floor base is fixed, the height of the altar can be increased to achieve better sightlines. The seats are also staggered for optimizing the view. Studies made in this area show that there is a need for 2seconds RT at mid-frequencies (500Hz-1000Hz) to be able to achieve both speech and music qualities. In this design, it is aimed to obtained 2 sc RT through use of different materials ( a combination of more reflective and more absorptive materials). In the designed proposal the RT at mid-frequencies is between 1.5sc and 1.7sc. Since the hall is assumed to be fully occupied for calculation, it is expected that RT at mid-frequencies will be higher and closer to 2sc during a service in which the hall is not fully occupied.

ray diagramming

ray diagramming

to show the reflected sound path of speech without any acoustical treatment.

The plan illustrates the reflected sound path of speech after any acoustical treatment. The panels help sound to be received from sides, and thus, improve the envelopment. Time delays are also shown on the plan. Diffusion panels help with both redirecting the sound and diffusing to help the sound to come from all directions.


ray diagramming Analyzing the direct sound and reflected sound with time delays. The panels can highered for music and singing in order to provide more reverberation. Sound path difference is lower than 20ms in all rays shown above which means that it is perfect for both speech and music.


finishes Various finishes have been used at different locations to achieve the required RT which is 2sec. Front wall is composed of cmu and gypsum diffusing panels at some locations. Back walls are composed of glass and gypsum board diffusing panels upto the height of 10’. The uppest part is composed of shredded wood fiberboard to provide absorption at the back walls. All ceilings are made of plaster on lath.Glass panels which should be kept due to program requirements have been re-designed to provide diffusion.Diffusion panels hanging from the ceiling are made of gypsum board on the lower side and a more absorptive material on the upper side to prevent repeated echos.


diffusion panels the plan shows the location of diffusion palnels on the ceiling and walls. Glass is also located inclined to help with diffusion.

air handling unit design Noise created by the ahu was high in the existing condition, so some treatment has been made to the system to lower the noise. Forward curved fan has been changed to backward curved fan. More ducting has been added to increase the distance to the first diffuser. Two silencers of 5 lfm have been added to the system.


lighting system catwalks with the location of spotlights and loudspeakers are shown.

sound reinforcement system sound should be given from the first speaker with 13ms delay in order to let the actual sound reach the audience first. It is also necessary to provide the desired sound levels (between 90dB and 100dB) on the loudspeakers in order to achieve 90dB.

sound reinforcement system sound should be given from the second speaker with 25ms delay in order to let the actual sound reach the audience with right reverberation time.


residence design for Lutfiye Ozatac, Nicosia, Cyprus - addition and rennovation in ZNO Arch & Eng Office The residence project for Lutfiye Ozatac has been designed by more by my collegue and less by me. The project had the limits coming from its base and access location. My contribution to the project started at the schematic design stage as a contribution to the plan layout and continued in the design development stage. My major contribution has been through the drawings and represention, and also through the design of the staircase leading to the mezzanine floor.


labels and stamps - borderstories exhibition in Berlin The following work has been prepared in the first part of a tri-lateral training program. Two days were spent on forming the team, coming up with the concept and creating the art work.The goal of the training was to bring people of various communities together to discuss the idea of border and what the term “border” means to various people. The concept developed from the “labels and stamps” as a border creating condition among various groups of people, and how a “box” is created through personal identifications and collective imposing -stereotyping-. The group I worked in was formed of various ethnicities, religions, sexes, gender identities, sexual orientations and socioeconomic conditions. All of the team member contributed to the work with their personal stories. The project focused on representing a two-way labelling process which formed of labelling oneself and being labelled others. The ‘box’ became the most important element of the work since it erased the face, thus individual personality. Labelling oneself has been represented through removing all clues of personalities which are seen in personal style. Being labelled by the others has become a colletive process which takes place as soon as people are in the public and exposed to the external world. People are asked to choose labels for the team members in the public in order to observe the stereotypes. Team members: Bahar Aktuna, Cassandre Bichect, Deniz Urfali, Ellada Evangelou, Lothar Hermann, Vincent Renai, .

Bahar Aktuna's design portfolio