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CANSU ERGÜN

EDUCATION 2016-STILL

UNIVERSITY OF APPLIED ARTS VIENNA MAG.ARTS in SITE SPECIFIC ART

ISTANBUL TECHNICAL UNIVERSITY 2008-2015 B.ARCH in LANDSCAPE ARCHITECTURE

ANADOLU UNIVERSITY 2007-2008 BA. BUSINESS ADMINISTRATION

LICEO CLASSICO ‘RUGGERO SETTIMO’ AFS (Intercultura) exchange year HIGH SCHOOL, CALTANISETTA/SICILY/ITALY

2006-2007

AWARDS & ACTIVITIES TEL: +4368864717291 E-MAIL: cansuergun@gmail.com ADDRESS: Liebhartsgasse 22, 1160 WIEN PORTFOLIO: issuu.com/cansuergun

KUNSTZELLE, SELECTED PROJECT

JAN 2018

To be applied between 24 May- 09 June 2018 Project between Transarts/Uni. of Applied Arts Vienna, Kunstzelle/WUK WUK, VIENNA www.wuk.at/programm/kunstzelle/cansu-erguen/

A(FA) LAB FEB 2017 Applied Foreign Affairs Lab, Arch. Faculty of Uni. of Applied Arts Vienna LAGOS/NIGERIA dieangewandte.at/[applied]foreign_affairs

JULY 2016

HELLO WOOD, FORMACTIVE HYBRID STRUCTURES Architectural wood workshop CSOROMFOLDE/HUNGARY hellowood.eu/form-active-hybrid-structures.html

MAY 2014

LANDSCAPE IN MOTION, ITU PEM STUDIO

FEB 2014

1st YEAR DESIGN CHARETTE “COVERING THE ISLAND”, 1st PLACE

JUN 2010

CHINA INTERNATIONAL GARDEN EXPO STUDENT COMPETITION Workshop at Huazhong University of Science and Technology WUHAN/CHINA

Experimenting landscape through video and sound ISTANBUL/TURKEY kozmofol.wordpress.com/devinim

ISTANBUL/TURKEY s-e-y-y-a-r.blogspot.co.at


EXHIBITIONS

LANGUAGE PROFICIENCY

F5 JAN 2018

TURKISH ENGLISH GERMAN ITALIAN

An exhibition of Mehrdiziplinares projekt: Grafik Design und Fotografie 5 class

SHIZZLE CONTEMPORARY ART CENTER, VIENNA esel.at/termin/94783

CIRCUIT TRAINING JUN 2017 An exhibition of the University of Applied Arts Vienna in cooperation with CERN

DAS WEISSE HAUS, VIENNA dieangewandte.at/en/news/exhibitions/detail?artikel_id=1492157709041 A(FA) LAGOS LEGACY, FEB 2017 An Exhibition within the context of A(FA) Lab workshop

RUNNING SHED, RAILWAY COMPOUND, LAGOS/NIGERIA issuu.com/appliedforeignaffairs/docs/_a_fa_lagos_legacy

ECHOES IN THE WHEELS OF SILENCE In DER KUBATUR DES KABINETTS, FLUC, VIENNA

JAN 2017

ortsbezogenekunst.at/notes/view/echoed-in-the-wells-of-silence-fluc

WORK EXPERIENCE MAR - OCT 2015

OFFICE INTERN, LAL BAHCELERİ (laldesign.com.tr)

JUN - AUG 2012

INTERN, ESKISEHIR METROPOLITAN MUNICIPALITY

JULY - AUG 2013 JULY - AUG 2011

Design Office, ISTANBUL Design & Construction management

Landscape Architecture Office, ISTANBUL

Municipal Plant Nursery, ESKISEHIR

A&R ASSISTANT, REMOOV RECORDS

2011-2013

EVENT MANAGER, TAŞKIŞLA SPRING FESTIVAL

2009-2011

Independent Record Label, ISTANBUL

ITU Architectural Faculty yearly spring festival, ISTANBUL

Family Company, ESKISEHIR Aluminum indoor/outdoor furniture fabrication

SOFTWARE AUTODESK AUTOCAD ADOBE PHOTOSHOP ADOBE ILLUSTRATOR ADOBE INDESIGN ADOBE PREMIERE ADOBE AFTER EFFECTS SKETCH UP AUTODESK 3DSMAX RHINO GRASSHOPPER Maya MS OFFICE IWORK

++++++ ++++++ +++ ++++ ++++ ++ +++++ +++ ++ + ++ ++++++ ++++++

SKILLS

JUNIOR DESIGNER, SELIN ATAMAN INTERIOR DESIGN (iddstudio.com)

INTERN, ERGÜNLER PRES LTD.

NATIVE FLUENT BASICS (A2) CONVERSATIONAL

JUN - AUG 2010 JUN - AUG 2009 JUN - AUG 2008

MODEL MAKING LASER CUT WOOD FABRICATION PORCELAIN CASTING

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TOUCH THE BOX//WUK, VIENNA, 2018 KUNSTZELLE, SELECTED PROJECT

In coorperation between the class Transarts/Roman Pfeffer/ University of Applied Arts and the KUNSTZELLE/Christine Baumann https://www.wuk.at/programm/kunstzelle/cansu-erguen/

The centerpiece of the presentation will be an iPhone X, 64 GB, currently the most powerful mobile phone in the world, to be shown in the KUNSTZELLE during the three-week exhibition. The walls of the old phonebox covered with pictograms derived from emoticons in the form of hands refer to the object of desire, which has long since become a social fetish and is now the focus of the installation. The exhibition itself is less a classic form of representation than a teaser for the upcoming event of 9 June 2018. The interactive performance “Touch the Box� is derived from the TV game shows Touch the Truck or Touch Me, popular in the early 1990s, especially in Turkey. From the participants of these reality shows who managed to touch the object of desire, such as a car, for the longest time, which could go on for days, would become the winners and the price home. In the transformation of this principle, the ART CELL becomes the setting for a public show in which the issued iPhone X becomes a contested object. Who manages to touch the box, the showcase of the iPhone X the longest, will win the coveted cell phone! Sponsored by Hutchison Drei Austria GmbH


FALSE HORSE// VIENNA, 2016 resin, paper, metal, soil

Site-Specific Art Dept. Uni. of Applied Arts Vienna, ZKF PROJECT, PAUL PETRISCH ortsbezogenekunst.at

“False horse” comes from the term of a camouflage method that was used by the French soldiers during the WW-I against Germany. As the story goes, during the war which went on for years the terrain between two sides, so-called no man’s land, came to resemble a barren, post-apocalyptic wasteland. The problem was to sneak out as close as possible to the enemy’s side to observe, spy or place a sniper without being seen while everything around them was obliterated until the entire landscape was just a flat expanse of charred dirt and corpses. The French soldiers had an idea to disguise themselves as a dead thing. So they built to hollow papier-mache replica of the dead horse that was shot a few days before on the terrain between two sides. Even though it is inspired by a happening at war, my personal approach to this work is more connected with the feeling of hiding, not being seen. It is made out my visa documents that have been asked by the Austrian authorities during my resident permit application. It contains all the personal information about me such as; birth certificate, criminal records, bank accounts both mine and my parents, proof of all the property that is owned by my parents, old visas, insurance, old passports, school diplomas and so on. On the one hand they might seem like the things that represent, define me but on the other hand, they do not actually contain any real, sincere information about who I really am, my personality. They are only the things that I used to disguise my real self under as I move around bureaucracy. It is a shell that is shiny and polished with bank accounts, diplomas, proof of all the things that make me valuable to enter this country. As I am using it as a shelter which I don’t intend to stay for long, it would protect and finally get me in. Since the process of the resident permit takes up to 6 months, this situation left me with no particular home for more than a year. Constant moving between cities and not knowing how things would work out made me feel very out in the open with no protection and certainty. So this documents in a way would be the only things that I could count on to take me to the next home.

found images


The materials also led the way during the process. As I chose resin to build the papers together, it also gave a transparent, sticky, polished look. On the way, the stickiness of the resin made the soil mix with the papers as I worked outside in the garden. So all together it also becomes a part of the actual landscape between the real borders which can be placed in the middle of the no man’s land with it’s dirty, polished and unstable look during the current situation of the border crisis. As much as it looks like the structure is holding itself, it is maintained by the skeleton-like metal wraps in the hollow inside since the paper makes the whole structure very unstable almost it could be destroyed with a little force.


HEM İLERİ HEM GERİ//VIENNA, 2017 video installation, movie, screen, five chairs

Site-Specific Art Dept. Uni. of Applied Arts Vienna, ZKF PROJECT, PAUL PETRISCH ortsbezogenekunst.at

“Hem İleri Hem Geri”, meaning “back and forth at the same time” in Turkish, is a time and site-specific work that starts from a random video that I recorded on the morning of January 1st, 2014 morning from a back seat of a taxi between Taksim and Maçka, on my way back home from a New Year’s Eve party. The second video is a re-enactment of the first video which is recorded on the morning of January 1st, 2017. The significance of this route is that it has been my daily route for 8 years between home, school and work triangle as well as it has been the political stage of the city. The time period between these two videos is the focal point of the work; what has changed between me and the city, what has changed in the city, what has changed in the life of the inhabitants of the city and also what has remained the same. As I moved away from Istanbul in 2016, the city is no longer home as it was during the first video, and it is not leading me to my flat this time. Therefore the process of becoming a tourist in my old town and being a guest this time reveals itself on the sound of the video which is a talk/interview with a friend that I visited at his flat in Kurtuluş/Şişli who is experiencing the change in his own circumstances and has been acting on it by establishing a communal kitchen at his own apartment. The talk, revolves around how did the political situation in Turkey, especially after the Gezi Park protest in 2013, led us to go through these changes in some way? The route starts from ‘Cihangir’ neighborhood and continues to ‘Taksim square’ under construction, from Taksim it passes by ‘AKM’ (the opera) which has been closed for years and being demolished to be replaced by a new controversial opera building by the government. Then it passes by the ‘Gezi Park’, ‘Taşkışla’ Architectural Faculty of ITU, the tunnel of ‘Lütfi Kırdar Congress and Exhibition Center,’ ‘Maçka Park’ which has lately become an issue of a new road project through the park. Then it arrives in Maçka neighborhood with the view of the ‘Hilton Hotel’ that is the first modern hotel in Europe built from the ground up in the aftermath of World War II in 1955 and lastly, officially unauthorized skyscraper ‘Süzer Plaza/Ritz Carlton Hotel’ appears over the Maçka Valley. This route connects Taksim to Şişli and Beşiktaş which are the most central areas of the city where millions of people work and live. These areas contain most of the cultural, educational and artistic institutes of Istanbul. It has the highest intellectual capacity of the city, therefore the country. In addition to this, areas described above have the largest non-muslim population since the Ottoman times. Thus, they have always been the center of politic events, culture, trade, tourism, creativity… In the video, all these layers of the city become visible in a personal perspective, and it investigates how the political changes affected the city and its inhabitants through 3 years of time. What stayed the same, disappeared, replaced by its elements as well its people and their actions. It asks the questions about leaving and staying or if they are any different from each other.

vimeo.com/222601514


IVY// LAGOS/NIGERIA, IVY// LAGOS/NIGERIA, 2017 Y// LAGOS/NIGERIA, 20172017

LAB A(FA) LABWORKSHOP WORKSHOP A)A(FA) LAB WORKSHOP

BY BAERBEL PROJECTPROJECT BRIEF BYBRIEF BAERBEL MUELLERMUELLER All at the same time, Lagos is constantly and renewing and teetering on the of a possible All at the same time, Lagos is constantly growing growing and renewing itself, anditself, teetering on the edge of aedge possible crisis. Lagos is shaped by incredible contrasts. Lagos is ambiguous. Lagos is vibrant. Lagos is demanding. The crisis. Lagos is shaped by incredible contrasts. Lagos is ambiguous. Lagos is vibrant. Lagos is demanding. The most pressing issues are the lack of space and transportation: There seems to be no escape from a fate of most pressing issues are the lack of space and transportation: There seems to be no escape from a fate of (often dysfunctional) (often dysfunctional) urbanity.urbanity. Against this backdrop, and informed Legacy 1995’́sand agenda and location, namely, its dedication Against this backdrop, and informed by Legacyby1995’́ s agenda location, namely, its dedication to the to the built heritage of Lagos and it’s base in the Nigerian Railways compound in Ebute-Metta, [a]FA Lagos Legacy built heritage of Lagos and it’s base in the Nigerian Railways compound in Ebute-Metta, [a]FA Lagos Legacy has been conceptualized as a joint laboratory, with a speculative and artistic approach. The intention has been conceptualized as a joint laboratory, with a speculative and artistic approach. The intention was to was to identify the potentials of thecompound railway compound kind of enchanted terrain with intriguing, abandoned identify the potentials of the railway as a kindas ofaenchanted terrain with intriguing, abandoned structures in the middle of Mainland Lagos. Legacy’s Running Shed has thereby been the “node” of interest structures in the middle of Mainland Lagos. Legacy’s Running Shed has thereby been the “node” of interest from which the lab was started in a playful, transdisciplinary manner. Navigating between field research, from which the lab was started in a playful, transdisciplinary manner. Navigating between field research, spatial articulations andinterventions, artistic interventions, of urbanity, space,identity, history, identity, andwere agency were spatial articulations and artistic questionsquestions of urbanity, space, history, and agency addressed. addressed. As a conceptual starting point, the lab centered around threeHeritage, topics: Heritage, Scale, andVague. Terrain Vague. As a conceptual starting point, the lab centered around three topics: Scale, and Terrain Based on these notions, participants were asked to map the fragility, beauty, and potential of the given site. Based on these notions, participants were asked to map the fragility, beauty, and potential of the given site. An interdisciplinary team of architecture and art students, young architects, and Lagos-based artists An interdisciplinary team of architecture and art students, young architects, and Lagos-based artists collaborated adhoc projects were in realized digital and forms, physicaland forms, andtoshown to the collaborated on adhocon projects that werethat realized digitalin and physical shown the public atpublic at the end of a two-week onsite lab that took place in February 2017. Working on these spatial and ephemeral the end of a two-week onsite lab that took place in February 2017. Working on these spatial and ephemeral interventions served as a kind of trial arrangement. It was possible to experience the pure scale of interventions served as a kind of trial arrangement. It was possible to experience the pure scale of the giventhe given space, and its potential future programming. The space was envisioned as ational, recrea-creative, tional, creative, and space, and its potential for futureforprogramming. The space was envisioned as a recreaand shared space for diverse user groups, beyond commercially driven or exclusive interests. shared space for diverse user groups, beyond commercially driven or exclusive interests. TERRAINTERRAIN VAGUE VAGUE With theof coining of the term “Terrain Vague”architect (1995), architect and philosopher de Solà-Morales With the coining the term “Terrain Vague” (1995), and philosopher Ignasi deIgnasi Solà-Morales demonstrated his interest in the concept of absence in the contemporary metropolis. This focuses interest focuses demonstrated his interest in the concept of absence in the contemporary metropolis. This interest on abandoned areas, obsolete and unproductive spaces and buildings, often unde ned and without specific on abandoned areas, obsolete and unproductive spaces and buildings, often unde ned and without specific limits, places to which he applies the French term terrain vague. Regarding the generalized to limits, places to which he applies the French term terrain vague. Re- garding the generalized tendencytendency to “reincorporate” these places into the productive logic of the city by transforming them into reconstructed “reincorporate” these places into the productive logic of the city by transforming them into reconstructed spaces, de Solà-Morales on the of their stateand of ruin lack of productivity. Only in this way spaces, de Solà-Morales insists oninsists the value of value their state of ruin lack and of productivity. Only in this way they can manifest themselves as spaces of freedom that serve as an alternative to the lucrative they can manifest themselves as spaces of freedom that serve as an alternative to the lucrative reality reality prevailing in the capitalist city. prevailing in the capitalist city. Meaning essentially ‘non-design’, Terrain is a compelling in its to theorize Meaning essentially ‘non-design’, Terrain Vague is Vague a compelling concept,concept, powerfulpowerful in its ability toability theorize on the margins of the ordered world, offering the opportunity to investigate existing urban phenomena of on the margins of the ordered world, offering the opportunity to investigate existing urban phenomena of indeterminacy – both spatial and social – and to learn from this existing urban condition. It is about forces indeterminacy – both spatial and social – and to learn from this existing urban condition. It is about forces instead forms, the incorporated instead of the the distant, theinstead hapticof instead of the optic, and the rhizomatic instead of forms,ofthe incorporated instead of the distant, haptic the optic, and the rhizomatic instead of the gurative. instead of the gurative. role of the architect is inevitably problematic. Architecture’s destiny hasbeen always been colonization, the “The role“The of the architect is inevitably problematic. Architecture’s destiny has always colonization, the imposing of limits, order, and form [...].” imposing of limits, order, and form [...].” can architecture in thevague terrain vague becoming without becoming an aggressive instrument power and “How can“How architecture act in theact terrain without an aggressive instrument of powerofand abstract reason? Undoubtedly, through attention to continuity: not the continuity of the planned, abstract reason? Un- doubtedly, through attention to continuity: not the continuity of the planned, efficient,efficient, and legitimized but of the flows, the energies, the rhythms established by theof passing of time and legitimized city, but city, of the flows, the energies, the rhythms established by the passing time and the and the loss of limits... ” (Ignasi de Solà-Morales, 1995) loss of limits... ” (Ignasi de Solà-Morales, 1995) photo credit:Allyn Gaestel photo credit:Allyn Gaestel


HERITAGE HERITAGE Based on Legacy ́s interest in and knowledge of Lagosof́s built we looked the notion her- of herBased on1995 Legacy 1995 ́s interest in and knowledge Lagosheritage, ́s built heritage, weat looked at theof notion itage in itage the context of the Nigeria Railways compound in terms of the following aspects: History – or rather in the context of the Nigeria Railways compound in terms of the following aspects: History – or rather historieshistories – as heritage, referringreferring to events processes that have a special in collective memory; a – as heritage, toor events or processes that have a meaning special meaning in collective memory; a site as heritage having a value of being of political, military, cultural, or social national importance to the hissite as heritage having a value of being of political, military, cultural, or social national importance to the history of that from industrial culture as industrial heritage;heritage; cultural cultural heritageheritage as the legacy torynation; of that monuments nation; monuments from industrial culture as industrial as the legacy of physical artefacts and intangible attributes of a group or society; fauna and flora, landscape and landforms of physical artefacts and intangible attributes of a group or society; fauna and flora, landscape and landforms understood as natural understood as heritage. natural heritage. SCALE SCALE “Scale is“Scale not a limited it overcomes borders borders and in reality, is collapsing, making making the nanothe into is not a concept, limited concept, it overcomes and inscale reality, scale is collapsing, nano into the global, and beyond.” (Hannah Le Roux). the global, and be- yond.” (Hannah Le Roux). We investigated the Nigeria Compound, starting starting from thefrom Running Shed as Shed an architectural object ofobject of We investigated the Railway Nigeria Railway Compound, the Running as an architectural the Railway Compound as an ensemble, area, and urban island; an island located in the middle of Lagos the Railway Compound as an ensemble, area, and ur- ban island; an island located in the middle ofasLagos as a Megacity, which again is again a national and continental waypoint, with a railroad track leading to Kano... a Megacity, which is a national and continental waypoint, with a railroad track leading to Kano... We identified the spatial relationships, proportions, connections, and effects through cross-readings within awithin a We identified the spatial relationships, proportions, connections, and effects through cross-readings full spectrum of scales. Operating within this spectrum and within scale shifts implies a shift from topdown full spectrum of scales. Operating within this spectrum and within scale shifts implies a shift from top- down planningplanning and object-defined architecture to relational approaches, which are so desperately needed to un- to unand object-defined architecture to relational approaches, which are so desperately needed derstandderstand and react toreact the contemporary (African)(African) urban condition. and to the contemporary urban condition. CONCEPT CONCEPT The onsite was lab structured in four stages: / Conception / Translation / (Re)Presentation. Thelab onsite was structured in four Perception stages: Perception / Conception / Translation / (Re)Presentation. Perception: The team of architects and artists explored the given terrain through walks, docuPerception: The team of architects and artists explored the given terrain throughmaps, walks,talks, maps, talks, documents, and narrations, followed by further individual encounters, whereby what was perceived was documents, and narrations, followed by further individual encounters, whereby what was perceived was documentedmented throughthrough the medium of photography or videoor(camera, smartphone), sketches, or text. or text. the medium of photography video (camera, smartphone), sketches, Conception: Based on the previously identified (spatial) intensities, atmospheres, and facts, each participant Conception: Based on the previously identified (spatial) intensities, atmospheres, and facts, each participant worked worked on a concept for an investigation – either individually, or in collaboration. on a concept for an investigation – either individually, or in collaboration. Translation: The proposed conceptconcept was translated into pieces work of which then developed individu-individuTranslation: The proposed was translated intoofpieces workwere which were then developed ally, or as a group project. The medium of expression was defined according to the respective topic. ally, or as a group project. The medium of expression was defined according to the respective topic. (Re)Presentation: The projects – or works progress – were shown shared a wider at (Re)Presentation: The projects – orinworks in progress – wereand shown and with shared with aaudience wider audience at the verythe endvery of the laboratory. This publication was produced in order to collect and archive the works, end of the laboratory. This publication was produced in order to collect and archive theand works, and docu- ment the lab and the and public place onplace February 25th, 2017, and around Run-the Rundocument the lab theevent publicwhich eventtook which took on February 25th,in2017, in and the around ning Shed. ning Shed. * Sources: * Sources: http://atributosurbanos.es/en/terms/terrain-vague/ http://atributosurbanos.es/en/terms/terrain-vague/ http://landscapeandurbanism.blogspot.co.at/2011/07/source-terrain-vague-de-sola-morales.html http://landscapeandurbanism.blogspot.co.at/2011/07/source-terrain-vague-de-sola-morales.html http://ufolog.co/wp-content/uploads/2014/11/48643515-de-Sola-Morales-I-Terrain-Vague.pdf http://ufolog.co/wp-content/uploads/2014/11/48643515-de-Sola-Morales-I-Terrain-Vague.pdf OriginallyOriginally publishedpublished in ‘Anyplace’ - edited by Cynthia Davidson (1995) (1995) in ‘Anyplace’ - edited byC. Cynthia C. Davidson

facebook.com/aFA.appliedforeignaffairs facebook.com/aFA.appliedforeignaffairs dieangewandte.at/[applied]foreign_affairs dieangewandte.at/[applied]foreign_affairs issuu.com/appliedforeignaffairs/docs/_a_fa_lagos_legacy issuu.com/appliedforeignaffairs/docs/_a_fa_lagos_legacy

photo credit:Allyn Gaestel Gaestel photo credit:Allyn


This spatial installation is formed the patterns This spatial installation is formed by theby patterns that that has imprinting been imprinting ontofrom me: its from its streets, Lagos Lagos has been onto me: streets, its its people, what they wear, what they sell, what they people, what they wear, what they sell, what they carry, carry, andthey howuniquely they uniquely with individual their individual and how stage stage these these with their patterns the markets the tracks. patterns in thein markets along along the tracks. the common most common objects of Lagos’ daily life As oneAsofone theof most objects of Lagos’ daily life transfigures, the patterns continuously articulate transfigures, the patterns continuously articulate them-themselves into the shed, acting as an element of nature, selves into the shed, acting as an element of nature, vegetating anthropocenic landscape. vegetating withinwithin Lagos’Lagos’ anthropocenic landscape.


photo credit: Baerbel Mueller; Frida Robles


TAKSIM GEZI PARK// ISTANBUL, 2014 TAKSIM GEZI PARK// ISTANBUL, 2014 TAKSIM GEZI PARK// ISTANBUL, 2015

TU STUDIO PROJECT ITULAND.ARCH. LAND.ARCH. STUDIO PROJECT ITU LANDSCAPE ARCH. GRADUATION PROJECT

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Since this between Gezi Park and Taksim between Gezi Park and Taksim between Gezi Park and Taksim between Gezi Park and Taksim between Gezi Park and Taksim between Gezi Park and Taksim between Gezi Park and Taksim between Gezi Park and Taksim between Gezi Park and Taksim between Gezi Park and Taksim buffer zone suggests aSince soft gradation buffer zone suggests athis soft gradation Square. Since this buffer zone Square. Since buffer zone Square. Since this buffer zone Square. Since this buffer zone Square. Since this buffer zone Square. this buffer zone Square. Since this buffer zone Square. Since this buffer zone Square. Since this buffer zone Square. Since this buffer zone between it’s borders (park and square) suggests a soft gradation between suggests a soft gradation between between it’s borders (park and square) suggests a soft gradation suggests a soft gradation between suggests a soft gradation between suggests a soft gradation between suggests gradation between suggests aasoft gradation between suggests asoft soft gradation between between suggests asoft gradation between +plants +plants +plants +plants +plants +plants +plants +plants +plants +plants it’s borders (park and square) has it’s borders (park and square) ititithas it’s borders (park and square) it’s borders (park and square) has it’s borders (park and square) ithas it has traces at both sides. It subsides it’s borders (park and square) itithas has it’s borders (park and square) it has it has traces at both sides. It subsides it’sit’s borders (park and square) it has it’sborders borders (park and square) has (park and square) it ithas traces atItat both sides. subsides traces at both sides. ItItItsubsides traces at both sides. traces at both sides. Itsubsides subsides traces both sides. Itsubsides traces at both sides. Itpark subsides traces both sides. subsides traces atat both sides. It subsides traces at both sides. Itbetween subsides traces at both sides. It subsides on the topography between the on the topography the park on the topography between the on the topography between the on the topography between the on the topography between the on the topography between the on the topography between the on the topography between the on the topography between the on the topography between the on the topography between the and the square and solves the problem and the square and solves the problem park and the square and solves park and the square and solves park and the square and solves park and the square and solves park and the square and solves park and the square and solves +integration park and the square and solves park and the square solves park and the square and solves park and the square and solves +integration ofof ofthe the technical technical +intervention +intervention to to the the platform platform with with new new +integration the technical +intervention to the platform with new +integration +integration of of+intervention the the technical technical +intervention +intervention to to the the platform platform with with new new +integration of the technical +intervention to the platform with new +integration technical platform with new +integration ofof the technical +intervention toto the platform with new with grading terraces. At the same time +integration of the technical +intervention to the platform with new +integration ofthe the technical +intervention tothe the platform with new with grading terraces. At the same time the problem with grading terraces. the problem with grading terraces. the problem with grading terraces. the problem with grading terraces. the problem with grading terraces. the problem with grading terraces. infustructure infustructure toto tothe the whole whole system system materials materials the problem with grading terraces. infustructure the whole system materials infustructure infustructure to to the the whole whole system system materials materials the problem with grading terraces. the problem with grading terraces. infustructure to the whole system materials infustructure whole system materials the problem with grading terraces. infustructure toto the whole system materials infustructure to the whole system materials module infustructure tothe the whole system materials module module module it multiplies Gezi Park’s topographic At the same time multiplies Gezi At the same time itGezi Gezi itAt multiplies Gezi Park’s topographic At the time ititmultiplies Gezi At the same time multiplies Gezi At same time itmultiplies Gezi At same time ititmultiplies multiplies Gezi the same time itthe multiplies Gezi AtAtAt the same time itthe multiplies Gezi the same time itmultiplies multiplies Gezi the same time itsame Park’s topographic typologhy atat Park’s topographic typologhy at Park’s topographic typologhy at Park’s topographic typologhy at Park’s topographic typologhy typologhy at micro scales. Park’s topographic typologhy at Park’s topographic typologhy typologhy at micro scales. Park’s topographic typologhy atatat Park’s topographic typologhy at Park’s topographic typologhy micro scales. micro scales. micro scales. micro scales. micro scales. micro scales. micro scales. micro scales. micro scales. micro scales. topography topography topography topography topography topography

EXISTING EXISTING USAGE USAGE PROPOSED PROPOSED CONNECTION CONNECTION EXISTING USAGE PROPOSED CONNECTION EXISTING EXISTING USAGE USAGE PROPOSED PROPOSED PROPOSED CONNECTION CONNECTION EXISTING USAGE PROPOSED CONNECTION EXISTING USAGE PROPOSED CONNECTION EXISTING USAGE CONNECTION EXISTING USAGE PROPOSED CONNECTION EXISTING USAGE PROPOSED CONNECTION

+highlight +highlight Prost’s plan plan +highlight Prost’s plan +highlight +highlight Prost’s Prost’s plan plan +highlight Prost’s plan +highlight Prost’s plan +highlight Prost’s plan +highlight Prost’s planProst’s +highlight Prost’s plan


surfacing started with grid system surfacing started with grid system surfacing started with grid system surfacing started with system surfacing started with gridgrid system

topographic lines re-arrenged over topographic lines re-arrenged over topographic lines re-arrenged over topographic lines re-arrenged over topographic lines re-arrenged over the grid system the grid system the grid system system thethe gridgrid system

re-arranged topography re-arranged topography

re-arranged topography re-arranged topography re-arranged topography

structures that designed based onon structures that designed based on structures that designed based structures designed based structures thatthat designed based on on new topography lines the new topography lines the new topography lines new topography lines the thethe new topography lines

module detail module detail

module module detail detail module detail

wopportunities opportunities w opportunities

+mesh +mesh +mesh metal structure metal structure pergola pergola

+plants +plants +plants

he theplatform platformwith withnew new the platform with new wew module module

+connect +connect +connect +detect +detect +detect

module module module

metal metal structure structure metal structure pergola pergola pergola

Suggested Suggested 6mx10m 6mx10m grid Suggested 6mx10m grid Suggested 6mx10m gridgrid terraces Suggested 6mx10m grid Suggested 6mx10m grid terraces, terraces, degrade degrade based based on on terraces, degrade based on terraces,degrade terraces, degradebased basedon on the topograthe the topography topography and and each each the topography and each thetopography topography and each the and each phy and each terrace functions terrace terrace functions functionsseperetaly seperetaly terrace functions seperetaly terracefunctions functions seperetaly terrace seperetaly seperetaly such as firm grounds, such suchas asfirm firm grounds, grounds,pools, pools, such as firm grounds, pools, suchasasfirm firm grounds, pools, such grounds, pools, pools, green structures. green green structures. structures. Thismodular modular green structures. This modular greenstructures. structures. This modularThis green This modular This modular system’s multipliedmodules modules degradedmodules modules system’s system’s answer to to answer multiplied modules degraded modules system’s answer to degraded degraded modules moduleswit wit surfaces surfaces answer degraded modules wit surfaces multiplied modulesmultiplied degraded modulesdegraded system’s answer multiplied modules degraded modules degraded modules wit surfaces system’s toto answer degraded modules wit surfaces to ‘sustanibility’ ‘sustanibility’ is to collect the ‘sustanibility’ isis isthat that itititcollects collects that collects ‘sustanibility’is‘sustanibility’ isthat thatit itcollects collects ‘sustanibility’ ground water through the lower the theground ground water water throughthe the the ground water through the theground groundwater water through the through the through the Modular system allows various social Modular system(diversifiedcsurfaces) (diversifiedcsurfaces) allows various socialactivities. activities.lower grades Modular system (diversifiedcsurfaces) allows various social activities. grades ingrades order nourish Modularsystem system (diversifiedcsurfaces) allowsvarious various social activities. lower lower grades inin inorder orderto tothe Modular (diversifiedcsurfaces) allows social activities. lower grades order to inorder order lower grades in toto to green structure. nourish nourish the thegreen greenstructure. structure. nourish the green structure. nourishthe the green structure. nourish green structure.


+ The 1% of slope, ground water flows to lower level to the + Theand 1% green of slope, ground water flows to lower level to the pools areas. pools and greenground areas. + The 1% of slope, water flows to lower level to the pools and +green The areas. connecting point of the modules is the grain system. + The connecting point ofwater the modules is the grainthe system. With grains,point collected can around + Thethis connecting of the modules is themove grain system. With this With this grains, collected water can move around the terraces. grains, collected water can move around the terraces. terraces. Collected ground water provides the nourishment of the plants. ++ Collected ground water provides the nourishment of the + Collected ground water provides the nourishment of the plants. plants.


+ The grain system is also placed on the pools. So + The grain system placed thepeople pools. can So the plants can grow is byalso them selveson and + be The system isgrow alsothem. placed on theselves pools. So thepeople plants can grow theingrain plants canwith by them and can contact bybe them andwith people can be in contact with them. in selves contact them. The grain system at of some part of ++ The grain system grades grades veriticallyveritically at some part the firm grounds + The grain system grades veritically at some part of thefunction firm grounds and function pergolas. and as pergolas. Thus it servesas another kind ofThus use toitthe the firmanother grounds and as users. pergolas. Thus it users. serves kind offunction use to the serves another kind of use to the users.

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FORM-ACTIVE FORM-ACTIVE HYBRID HYBRID STRUCTURES// STRUCTURES// HUNGARY, HUNGARY, 2016 2016 FORM-ACTIVE HYBRID STRUCTURES// HUNGARY, 2016 HELLO HELLOWOOD WOODINTERNATIONAL INTERNATIONALARCHITECTURAL ARCHITECTURALWORKSHOP WORKSHOP HELLO WOOD INTERNATIONAL ARCHITECTURAL WORKSHOP

Team TeamLeaders: Leaders:Gregory GregoryQuinn Quinnand andDragos DragosNaicu Naicu- -Berlin BerlinUniversity UniversityofofArts Arts Team Leaders: Gregory Quinn and Dragos Naicu - Berlin University of Arts Team TeamMemebers: Memebers:Géhberger GéhbergerMáté, Máté,Rafael RafaelSilveira, Silveira,Viktoria ViktoriaMank, Mank,Ana AnaMaria MariaRodriguez RodriguezBisbicus, Bisbicus,Anyana AnyanaZimmermann, Zimmermann,Maria MariaTanska, Tanska, Team Memebers: Géhberger Máté, Rafael Silveira, Viktoria Mank, Ana Maria Rodriguez Bisbicus, Anyana Zimmermann, Maria Tanska, Paola PaolaChessa, Chessa,Cansu CansuErgün, Ergün,Alan AlanBigelow, Bigelow,Elisabeth ElisabethKofler Kofler Paola Chessa, Cansu Ergün, Alan Bigelow, Elisabeth Kofler PROJECT PROJECTVILLAGE VILLAGE2016 2016 PROJECT VILLAGE 2016 Participants Participantswere wereasked askedtotoconstruct constructa aplace placeofofarrival, arrival,permanence, permanence,and andconnection. connection.We Weexplored exploredthe thefirst firstarchitectural architecturalacts actsofofsettling, settling,while while Participants were asked to construct a place of arrival, permanence, and connection. We explored the first architectural acts of settling, while debating debatingcurrent currentand andhistorical historicalprecedents precedentson onthe thetopic topicduring duringthe thesymposium symposiumand androundtable roundtablediscussions, discussions,examining examiningwhat whatsubtle subtlecues cuesand and debating current and historical precedents on the topic during the symposium and roundtable discussions, examining what subtle cues and territorial territorialdefinitions definitionsmake makethe theroles rolesofofhost hostand andguest guestchange changeororinterchange. interchange.The Thetopical topicalchallenges challengesofofsettling settlingininthe thecontext contextofofglobal globaldisdisterritorial definitions make the roles of host and guest change or interchange. The topical challenges of settling in the context of global displacement placementand andthe theever evermore moretransient transientnature natureofofcurrent currentdomesticities domesticitieswere werealso alsochallenged challengedand andexamined. examined.While Whileparticipating participatingininthe theedueduplacement and the ever more transient nature of current domesticities were also challenged and examined. While participating in the educational cationalprogrammes programmesofofthe thesummer summerschool, school,we wehelped helpedtotoinvent, invent,design designand andrealise realiseour ourown owncampus, campus,based basedon onthe thecollective collectiveideas ideasofofthe the cational programmes of the summer school, we helped to invent, design and realise our own campus, based on the collective ideas of the community. community.This Thisrural ruralcampus campuswill willbecome becomethe thebase baseofofthe theeducative educativeactivities activitiesand andresearch researchofofHello HelloWood. Wood. community. This rural campus will become the base of the educative activities and research of Hello Wood. INSTALLATION INSTALLATION INSTALLATION Actively Activelybending bendingslender slendernatural naturalmaterials materialsand andcombining combiningthem themwith withother otherlinear linearororplanar planarmaterials materialsinto intostiff stiffstructural structuralhybrids hybridshas hasbeen been Actively bending slender natural materials and combining them with other linear or planar materials into stiff structural hybrids has been prevalent prevalentininvernacular vernaculararchitecture architecturesince sincethe thebeginnings beginningsofofhuman humandwellings dwellingsand andhomes. homes.Engaging Engagingexamples examplesofofthis thiscan canbebeseen seenininthe thetratraprevalent in vernacular architecture since the beginnings of human dwellings and homes. Engaging examples of this can be seen in the traditional ditionalMudhif MudhifininAfghanistan Afghanistanorortraditional traditionalIranian Iranianfelt felttents. tents.While Whilethe theconcepts conceptsand andtechnology technologyofofsuch suchhybrids hybridsisisnot notnew, new,there thereisisgreat great ditional Mudhif in Afghanistan or traditional Iranian felt tents. While the concepts and technology of such hybrids is not new, there is great potential potentialfor fornovelty noveltyand andinnovation innovationininthe thedigital digitaltools toolsnecessary necessaryfor fortheir theirdesign. design.The Thehybrid hybridstructures structuresbuilt builtfor forProject ProjectVillage Village2016 2016will willalso also potential for novelty and innovation in the digital tools necessary for their design. The hybrid structures built for Project Village 2016 will also host hostthe thevillage villagemuseum museumwith withananongoing ongoingexhibition exhibitionofofvillagers villagerswork worksuch suchasassketches, sketches,drawings drawingsand anda asculpture sculpturepark. park. host the village museum with an ongoing exhibition of villagers work such as sketches, drawings and a sculpture park.

hellowood.eu/form-active-hybrid-structures.html hellowood.eu/form-active-hybrid-structures.html hellowood.eu/form-active-hybrid-structures.html archdaily.com/793672/architects-construct-village-of-14-wooden-structures-at-hello-wood-2016 archdaily.com/793672/architects-construct-village-of-14-wooden-structures-at-hello-wood-2016 archdaily.com/793672/architects-construct-village-of-14-wooden-structures-at-hello-wood-2016

photo photo credit: credit: Gregory Gregory Quinn, Quinn, Gábor Gábor Somoskői Somoskői photo credit: Gregory Quinn, Gábor Somoskői


RHINO-GRASSHOPPER MODELLINGS


CANSU ERGÃœN 2018

**ALL THE PHOTOS ARE TAKEN BY ME UNLESS IT STATED OTHERWISE

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