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Suzan Bihter Oragli

2019

ArCHITECTURE


Currently in 2nd year of my Master’s Degree at ENSA Montpellier. This portfolio consists of some of my selected architectural and personal work and competitions throughout my architecture education. It also showcases my personal path throughout this journey.


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CV 4-5

Diffusion

A Pocket-Theather in Aigues-Mortes

6-15

543 DADA

Innovative Culture Center in Zurich

16-21

Up and Down

An exhibition space for contemporary art

22-29

Re-connect

Oenologie Center

30-39

Redefining the Rotunda

Community Center

40-47

Between Three

Student Dorm for Crous

48-57

Meanwhile

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A-D-Plier Bachelor Thesis

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contact me, +336795395 sb.oragli@gmail.com 3 Bvd Ledru Rollin Montpellier / France https://issuu.com/bihteroragli

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CV Education 2018-2020 (Expected)

Ecole Nationale Supérieure d’Architecture de Montpellier Montpellier/France Master’s degree in Architecture

2015-2018

Ecole Nationale Supérieure d’Architecture de Montpellier Montpellier/France Bachelor’s degree in Architecture

2010-2015

Lycée français de Notre Dame de Sion Istanbul /Turkey High School Diploma in Sciences - First Class Honours

Professional Experience 2019 June & July

Demain Architecture, Paysage Lyon/ France Intern Architect for two months

2018 January & February

Yan Olivares Architecture Saint-Etienne/ France Intern Architect for one month

2017 April

DAP Yapi Istanbul/Turkey Intern Architect for two weeks on construction site

Workshops and Competitions

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2019 March

Competition DoceXDoce Zurich/Switzerland Design alternative for a shopping mall

2019 January

Workshop Espace Publics de Poche Montpellier/France Street furniture design and manufacture

2018 October

Competition Adedu Wellington/New Zealand Creative Exhibition Center

2017 January

Workshop Visions of Future Montpellier/France Rethinking an alternative education complex in Detroit

Languages Turkish - Mother tongue English - C2 (Fluent in writing & speaking) French - C2 (Fluent in writing & speaking) Spanish - A2 (Beginner)

Skills AutoCAD Rhinoceros, SketchUp Adobe Suite (Photoshop, Illustrator, InDesign) 3D Printing Lasercutting


DIFFUSION collaboration with Agnès Caloni

Theme

A pocket theather

Place

Aigues-Mortes France

Supervisor

Gilles Cusy

Year

Spring Term 2019

“I can take any empty space and call it a bare stage. A man walks across this empty space, whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.” Peter Brook “Diffusion” tries to redefine the notion of temporality. It brings a different approach which takes into account different time-lines: past, today and the future. The project is highly influenced by the existing ramparts and the void who follows it afterwards. Aigues-Mortes provides a unique landscape which consists of different layers of salt farms, changing color every season, making impossible to see the horizon line. Our project tries to sit between on this delicate line just like the ramparts. A line between today and tomorrow. A light structure in wood and polycarbonate sits on top of the thick existing walls of this historic building. The contrast between those two materials adds value to the original building and the story behind it. By the night the buildings lights up to unveil its secrets. We were heavily inspired by the work of famous theatre critique Peter Brook and by “Le Théâtre du Bouffes du Nord”. His approach consists of understanding the existing spirit of this theatre to work with it. “Diffusion” was built around with the existing, slightly altering it in order to give a different approach on “What will happen next?”.

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when the curtains open


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Massing

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Section


Concept sketches drawn in charcoal

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Selected views from the theater

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In daylight

And by night 12


View from the entrance

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Main Facade

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534 DADA collaboration with Paul Susini and Emma Buard

Architectural Competition

Theme

Innovative Cultural Center

Place

Zürich/ Switzerland

Year

March 2019

What happens when a building can’t manage to evolve with the time and becomes an antiarchitectural figure? Would it be possible to save it from its eventual demolition? The building on the former Papierward Island, anchored like a boat on the Limmat River, functioned as the headquarters of the Globus department store until 1967 while the company built its new stores on Bahnoftrasse.After this period, the building should have ceased to exist, however a vote prevented its demolition and meanwhile a new development was planned to take its place. In recent decades, a large number of new projects and uses have been proposed for this privileged site, all of which have been discussed, but unfortunately without much success. After the catastrophic fire which disfigured the neighborhoods’ landscape, the city finally approved the decision of re-purposing the building. With our project we aimed to transform the space into an innovative Cultural Center, named after the famous art movement: Dada. The complex gathers different forms of art such as; cinema, music and video games. Structure-wise Globus’ original grid was conserved and adapted to the new project in order to create a rhythm. The damaged buildings facades are conserved and added to the new design, creating a connection between the old and the new.

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view from the river


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La maison brûle. Une toile de nuage, S’accroche au temps beau. Entre passage, Et vapeur d’eau. Elle laisse les présages, Ravive les couleurs Et agrippe les gens trop sages. Des cailloux, Immenses et lourds Dessinent des visages : Un enfant qui rigole. On tourne la page. Une souris qui danse. Un bateau part à la nage.

«Je pense à la chaleur que tisse la parole autour de son noyau le rêve qu’on appelle nous» Tristan Tzara, L’Homme Approximatif, 1931

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Axonometric view


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Section


UP AND DOWN collaboration with Kinga Kolackzo

Theme

An exhibition space for contemporary art

Place

Montpellier France

Supervisor

Frédéric Saint-Cricq

Year

Fall/Winter Term 2017

Would it be possible to transform a parking lot in the suburbs of Montpellier into an exhibition space for contemporain art? This architectural project was inspired by the definition of the “white cube” and how it might/ would evolve in the future. Our aim was to create a massif block in concrete, almost sculpture-like, who would re-configure the public space and the already existing park. The question of the light being the center of focus, zenithal openings were strategically placed in order to capture indirect sunlight in every season. The building was designed to be 80% energy independent by using concrete’s force of inertia and other energy efficiency strategies. Our hypotheses were tested by using different scaled models with different materials such as cardboard or concrete itself. The building doesn’t have any openings on its main facades in order to display the carefully designed texture of the concrete and honor its plastic capacity. The main entry of the project is placed on the northern part of the site to assure the conservation of existing pedestal flow. The roof also plays a crucial role on the manipulation of the public space: towards the main entry it embraces the main exhibition space with a narrow angle to signal the entry and it wide opens toward to park to assure a shadowed space.

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model in concrete, 1:50


Model in concrete

Model in cardboard

Producing the same architectural object with different materials such as concrete and cardboard drastically changes the traditional perception of the model.

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25 Floor Plan


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1:20th scale model permits to experiment with light and to observe how it is affecting the architectural space.


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Section AA

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Section BB


RE-CONNECT collaboration with Juline Rallet

Theme

Oenologie Center

Place

Aspiran/ Herault Region France

Supervisors

Pascale de Tourdonnet Alexis Lautier Marion Devillers Jean -Paul Laurent

Year

Fall/Winter Term 2018

How can architects contribute to maintain the French Villages’ values? It is possible to re-invent the village’s dynamics by building? The challenge for this project was to find a way to improve the village’s daily life and to express it in an architectural way. Just like many villages in France, Aspiran was suffering from the young populations’ migration and risking to become a dead-town. In order to attract population and create a circular economy we decided to create an Oenology Center and use it to propose a different urban organization. The project contains two multi-purpose ateliers accessible by locals, one restaurant and a museum explaining the wine-making traditions with a courtyard embellished with fruit trees. The whole project is buried and fortified with a stone surrounding walls for acoustic and thermic reasons. New urban organization will re-purpose the existing village entrance by placing a walkway for bicycles and pedestrians. Linked to the pedestrian bridge, a cultural center based on the existing wine-making culture aims to create a scene where certain flows cross. The oenology center impacts minimally the existing landscape and creates a natural transition through it. By using the local materials such as wood and stone the project integrates itself peacefully into the village.

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first glance towards the landscape


The roof is designed to be a multipurpose object. It dominates the space, regulates the overall temperature and assures the connection with the landscape.

The main circulations axes are guided by the roof and also limited by the surrounding walls.

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Axonometric view


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Section Restaurant

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Section Atelier


First Floor

Ground Floor

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Inner courtyard becomes a place to share where different flows cross. The fruit trees are implanted to protect the south facade from over heating but other than that they assure a natural transition between the project and the vineyards.

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Perspective Section


REDEFINING THE ROTUNDA collaboration with Birce Birgen

Architectural Competiton

Theme

Exhibition Center

Place

Wellington

New Zealand

Year

November 2018

By re purposing the original concrete foundation, the new exhibition center retains a connection to the site’s history and original use. As you move vertically up the structure, the transition to a wooden structure both physically and visually lightens the building as well as makes use of a more sustainable material with expanding possibilities. There are three entryways. The first and foremost is at the street level that draws you into the the exhibition hall, which begins the intended progression from exhibition hall, upstairs to the rooftop terrace, down to see the ocean, and ending back at the street and next to the community spaces. The second entrance is set below eye level to provide a more intimate entryway for the community rooms. Lastly, the third entrance a passage through the center of the complex to allow the public access to the sea regardless of the adjoining spaces’ operating hours. Also the connection through the staircase demonstrates the visual and physical relationship between the interior stairs and the exterior conditions which allow for the proposed interior circulation patterns.

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view from the harbour towards Rotunda


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Where the project and landscape meets

First Floor

First glance to terasse

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Ground Floor

View from the second floor


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Section AA


BETWEEN THREE

Theme

Student Residence

Place

Montpellier

Supervisors

Mathias Rollot Daniel Delgado

Year

Spring Term 2018

This project challenges the notion of living between two entities. Strategically positioned, three distinct buildings create new spaces due to their dialogue; fabricating inner courtyards, gardens etc. In the site’s entrance, a two story building is placed to assure a visual transparency between the street and the residence. A student library which is also accessible to the public is set down on the ground floor is furnished with a bioclimatic greenhouse. The use of material is also differentiated between two storys; ground floor is designed in concreted referring to a pedestal; and the first floor is built in CLT, which assures a homely ambiance. Finally the space gets more intimate towards the back of the site. This four-story building hosts about 30 rooms furnished with a personal kitchen, bathroom and toilet. On the ground floor there is a fitness center, accessible to every student. In Montpellier people are accustomed to live in the exterior, the design of the individual rooms take account of it by adding a semi-closed passageway. This passageway is meant to be a place where students can run into each other, make new friendships and appreciate the sunny weather all together. The inner space formed by three buildings can host concerts, summer markets and various cultural events.

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perspective section


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Ground floor being completly accesible for public, it lets through naturally the residents thanks to the openings.

Green patches are placed throughout the faรงades in order to assure the privacy of the ground floor.

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Axonometric view

Solar protections are placed on the south faรงade to prevent overheating.


Working Space

Inner Courtyard


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View from the living space

Student residence hosts ten shared flats, four twobedroom, six three-bedroom. The shared flats are placed in the third building, surrounding the courtyard. The courtyard is shared between two apartments, creating a communal space for its residents. The kitchen/dining area is designed within the courtyard, meaning that it interacts with the outdoor space even invites it indoors. Fixed oriented sun shades are placed in order to control the heat and separate the ground floor from the outside. 55


View from the one room flat

The 20 m2 studio flat is designed with ergonomic principles. Right at the bottom an elevated queen size bed is placed next to the wood framed windows and under the bed big storage units are placed thanks to its elevated height. Sliding doors allows to gain space, something highly appreciated in student dorms. The kitchen-space is next to the entrance, allowing to separate with the sleeping space.

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A-D-PLIER collaboration with Paul Susini and Lucie Durant

Theme

Pop up urban furniture

Place

Montpellier

Supervisor

Patrick Buffard

Year

Winter Term 2019

The goal of the workshop was to build urban furniture for the association called “Les restos du coeur” which distributes free food to people in need. The fence of the square is the element we chose to use for our project. The fence houses various social encounters and it is also a place that people eat and drink. Our proposal is based on the users’ need of proper eating and drinking, which meant a stable surface to put on plates and glasses. The tablet we designed allows to put objects on but also leave the space empty when not used. The object is designed regarding these two positions: opened, as an horizontal table; and closed a vertical element dissapearing with the fence. A rope allows to switch between these two functions. We produced the “A-D-Plier” in 3 versions: 30x60cm, 30x50cm and 30x40 cm. It is an economic and easy-toinstall object, made of wood and bolts which can be used for different events thank s to its capacity to adapt to any fence.

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A-D-Plier in action


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Concept sketches


BACHELOR’S THESIS

Architects and architecture in Turkey

a lecture through the notion of identity

Under the direction of

Elodie Nourrigat

Year

Spring Term 2018

wit This experimentation was an opportunity for me to use my architectural knowledge which I accumulated through my licence at ENSA_Montpellier to create a criticising posture towards my hometown, Istanbul. As we always say, architects don’t analyze cities just like their own inhabitants, cities contain a hidden dimension which only exposes itself to curious eyes. I’ve always been interested into analyzing different components which creates cities and its impacts on the people but accomplishing this work as a futurearchitect is not the same. When I started this research I was looking for answers to multiple questions at the same time. Interestingly I realized that I had most of the answers but missing the questions. The question of identity has always been important to me but I wanted to take it further by analyzing other cases. Of course everyone has a different story and different challenges but I do not think that it is possible to detach ourselves completely from our original backgrounds. Just like our discoveries or our grandma’s house with tiled floors, it will always remain with us. Of course every one would treat this problematic differently, some will choose to ignore it someones will embrace it. Speaking of embracing it, I am not mentioning that a French architect will only design Haussmannian style buildings or Turkish ones will mimic the Ottoman technique. What I am suggesting is we carry our experiences everywhere and it reflects on our work or our sensibilisations. Sometimes our experiences will become examples or sometimes it will become anti-examples.

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Sultanahmet Neighbourhood th its mosques, fountains and wood houses

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sultanahmet neighborhood with its mosques, fountains and wood houses


Karakoy’s landscape from a boat with a neo-classic building

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I will try to provide a lecture through the analyze of the architectural identity of Turkey concentrating on Istanbul. Furthermore we will dissect the place of the architect in this quadratic equation. We will also be interested in the experiences of those ex-situ architects in order compare the scales of different countries. For this exercise, I took the decision not to show any photographs; it is a conscious choice. I am a firm believer of the power of drawings and their capacity to tell a certain story, a point of view ; a single line should be able to reveal an iconic landscape. A drawing is personal and I want to show my personal opinion through my lines and sketches since Istanbul exposes a variety of urbanizations, sometimes so intricate that it becomes hazy to see the real image for foreigners. However I highly encourage to look up the real images to determine a more “objective� point of view.


Istanbul, the city founded on seven hills, the city who witnessed countless civilizations and praised by kings and prophets; still carries the weight of it’s glorious past on its shoulders; but its future remains uncertain for most of the city planners, architects and even its inhabitants . When analyzed Istanbul’s landscape seems confusing and unordered for foreigners yet it exposes a layered history to trained eyes. To resume briefly, these three distinct periods formed Turkey’s and specially Istanbul’s current urban shape: byzantine empire, ottoman empire and Turkish republic. 66


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Thank you.


Suzan Bihter Oragli +336795395 sb.oragli@gmail.com

Profile for suzanbihteroragli

English Portfolio 2019  

This portfolio consists of some of my selected architectural and personal work and competitions throughout my architecture education.

English Portfolio 2019  

This portfolio consists of some of my selected architectural and personal work and competitions throughout my architecture education.

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