Selected Works, v.04 Portfolio, 2022

2022

2022

Burhan Gün Rodoplu about 00 Gün is an architect, born on 1997 in Bursa, Turkey.

Architectural Portfolio

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Selected Works,v.04 architect-

Gün Rodoplu

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01 I have studied in İstanbul and have graduated in 2019. I have beendrawing as long as I can remember, and this was a major reason in my choosing of the field of architecture.

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I was always interested in arts and this has influenced me immensely in my own work. Upon realizing the actual work in any kind of medium

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‘‘ I’m interested in art and design theory, design thinking and processes. These include relations between seemingly seperate worlds of art, craft and design how many different historical, physical and abstract contexts effect them. I’m interested in seeing the products of creative processes through the lens of a designer and examine relations of form and context. ‘‘

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is a product of tireless and complicated I have become much creative interested in the process, more process itself. To me, architecture is like any other medium whose purpose is to get a message through,

rhizome

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ideas, es stori

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and I like to hope that there is a lot more to architecture than technical drawings and models. I believe that architecture starts on the ground and grows on

and in

spir ons. ati4

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Summer House for Four (x4) 2020 page13

Cinemateque fall, 2019 page61

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Co-Plus fall, 2017- 2018

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Yahşibey Design Workshops 43 summer, 2018 workshop

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Vardiya (The Shift) summer, 2018 workshop

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Uşak Yayalaştırılan iaac@İstanbul Sokaklar, 2020 summer, 2019 page95 national competition workshop page61

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Antakya City Square winter, 2021 page05 national competition

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Çayırpunk Evolo Spring, 2018- Skyscraper 2020 Competition

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Ulus Modern Art&Culture Center fall, 2021 national competition

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“ drwyituhout b p, s oats, th aned pt lace nagdereams e opfio placehe p a l dve tarkes of po e iraicteestaknetu ”.’’ the,

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4.01 Render

* Starred images

were prepared by me, while the others were handled by other members of the team.

One of the key decisions was to create an amphitheater on the site of the soon-to-be-demolished building. The late Ottoman viaduct is now exposed, creating a charming, touristic spot in the city centre.

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The project reimagines the urbanised situation of the Asi River, giving it a timeless look referencing the city walls of the Roman city and the waterside houses of the Ottoman era, using regional materials and landscape while creating a place with many different public uses.

2nd Prize

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16209 Antakya City Square

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with/ KAA Works winter, 2021

4.02 Render

0.00 The site has been the centre of the city for centuries, throughout different rulers and people.

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* 2.01 Illustrations and visualizations based on the research on the historical city, highlighting the remnants of many different civilazitons.

* 2.02 A map showing the physical context of the city surrounded by the mountain Habib-i Neccar and divided by thr river Asi.

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Site is situated on the centre of the historic city of Antakya, also known as Antioch throughout history. Antakya has been the center of significant cultural mix of east and west.

The city has been home to many civilazitions from Roman Empire to Arabian settlers. It was then under the control of Ottoman Empire and its successor, Republic of Turkey.

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A national architecture competition proposal awarded second prize out of more than a hundred entries, the project takes a deep look at the historic city of Antakya and tries to find the answer on how to modernise the city within this research.

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9.01 Axonometric

4.04 Various applications of the stone tiling can be seen in the render, where different sizes of stone tiles and blocks are used.

The proposed pavillions on the site of the city centre are much subtler compared to the surrounding concrete apartment blocks and more in line with the old houses of Antakya that can be still found within the city.

10.01 * Hand drawn plan showing the texture of the city with traditional tiling applied.

0.03 In the old city, many courtyards like this can be found, shared by several houses. This particular photo was also an inspiration for landscaping strategies.

Traditional stone tiling of the city was a major inspiration, as a lot of the other architectural elements comes from the decision to reignite this tradition on the site of the city square.

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* 6.04

5.02 Plan of the pavillions, referencing the old maps of the city and reviving the lost sreets of the city centre.

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4.03

* 7.02 Site Elevation

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The collage/drawing work exploring the idea of travel on foot vs. in a car; Paris vs. Nişantaşı.

* Starred images

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were prepared by me, while the others were handled by other members of the team.

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* 1.01 Axonometric

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Ulus Modern 53182 Art&Culture Center

A national competition entry awarded mention prize, the project proposes a lively culture and arts center in the unlikely neighbourhood of Ulus of Ankara.

Mention Prize

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* 2.02

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with/KAA Works Ulus, Ankara

While I wasn’t a part of the design process, I was in charge of producing several key images that would both be helpful in the understanding of the programmes throughout the building. I had liberties with the visualization process as the model was handed to me without anything to build upon.

Very near to both the old 0.00 city centre and the modern one, the site acts like a junction point.

* 3.01 Section Perspective

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1.01 Facade Render

3.01 Site Plan

Two double-houses are situated on the site where the slope is minimum and trees are relatively young, so that they can be replaced. This leaves very little room for massing variations.

Personal Work

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5.01 Axonometric

5.01

Summer House for 177 Four (x4)

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The project answers the needs of four families with children who are also close friends in creating an affordable and humble space to be used mainly in summertime, on land owned by clients.

When asked specifics about the project, the client haven’t adressed any architectural issues aside from her childhood memories of the summer houses of Karadeniz. She recommended a terrace on the roof or the second floor so that the house have a greater look upon the sea.

Assos, Çanakkale

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Houses are placed with older trees in mind, which would be harder to replace because of their somewhat strong trunks.

This leaves very little room for massing opportunities, with each house being 80 square meters large.

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The small land the four houses have to be built on is rich with olive trees. Because of the small area, four houses are planned as two double houses, back to back with each other, also presenting an easier way to deal with bathrooms and plumbing needs.

0.00 Assos, Çanakkale is relatively hot and dry in the summers with cold sea water. The land filled with olive trees and dry soil is very near to the sea, not many cars or people passing by.

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4.01 Plan 25x80cm

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Many variations of the rooms were prepared once the ideal mass of said rooms were known.

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ayakkabılık

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4.02 Plan

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Because of the limited area, a free-plan scheme was proposed to make the space wider and livelier. Windows were placed to let the wind in and keep the sun out as much as possible. A cabinet was designed under the staircase to keep useful stuff.

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A darkish green color was chosen to implemented with plaster on the facades, in reference to surrounding olive trees. White plaster were chosen for the interiors, with materials like brick and wood.

f�xed pencere?

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8.01 Collage

Cinematheque

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3.01 Collage

Cinemateque combines theaters, a film school and a museum while trying to capture the essence of film, exercising on what a ‘cinematic architecture’ could be.

Tutor: Ahmet Özgüner fall, 2018-2019 Şişli, İstanbul

0.01

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Site is situated between the street from City’s, a shopping mall and a high school. The other side of site is a park, the only one within the immidiate area.

Park is used by lots of people with different profiles, nearly every hour of the day, especially after school where kids and parents are there.

0.00 Nişantaşı is the oldest part of the city planned in grids. This serves an interesting juxtaposition of modernity in a historical context.

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Drawing explores how parts of the project and the movement on/in them can be interpreted onto a single cinematic surface.

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1.01 Drawing

Conceptual drawing trying to capture different aspects of the project, how the facade, structure and voids are formed within the body of the architecture.

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The grid-planned streets of Nişantaşı continue a situation that has not been common in Istanbul for many years: walking trough streets while adjacent, tall apartment facades stand like towers above you. Almost magically this is both a very ordinary and a very special situation.

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This drawing/collage work explores different sides of the project. In doing so, it creates a chaotic yet accurate representation of the process. On the right, there is the outside and an exploration of the idea of a free-standing facade. The facade is attached to the surfaces that float in the air, on the middle section, a system of beams and above them decks and floors.

These are repeated onto the left side, where sketches of columns are there to tie it all together.

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1.02 Drawing

The collage/drawing work exploring the idea of travel on foot vs. in a car; Paris vs.

Nişantaşı.

‘’(…) By d

ismember

ing and

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reassembling

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elements,

Tschumi

creates

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an

experienc

e similar

to

that

found

within

film01 Breathless

the language of film.

The follies in La Villette act as

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(...)it has not been subjected to interventions that would distort the late Ottoman and early Republic disguise.

Just like you experience moments while wandering around Nişantaşı, you can find yourself in different time-places while watching a movie, and this is exactly why this wandering is quite cinematic, You are almost on the set of a period-piece.

they create a sequence of controlled visual fields,

ated viewer or individual body in space

situ which allude to the motion of a

Gün Rodoplu

Wandering around the city and arriving at a place is always something to be taken seriously, especially if this ‘wandering’ is done in a place like Nişantaşı and your destination is a cinema, theater or museum.

This wandering state is already cinematic, especially in Nişantaşı, there are very few parts of the city with such a well-preserved texture in Istanbul, and although Nişantaşı is a much younger settlement compared to many parts of the city, (...)

the cinematic promenade and

much like how a film uses a series of sequential scenes to create it’s overall effect on a viewer.’’

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0.03 Text

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The strolling state continues the architectural and cinematic value Tschumi attaches to the human body. Tschumi’s argument is that body and space are two different ‘orders’, their relationship is intertwined, and what emerges from this relationship is cinematic.

The cinematic narrative “devices” of the project are not just architectural pieces that can change. The most powerful cinematic narrative of architecture is the circulation areas, as in Tschumi’s project, it is possible to compare this to the Nişantaşı stroll.

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‘‘The unprogrammed activities3+8.01 occurring in La Villette can be seen to generate space physically through fragmanted space,

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The collage/drawing work exploring the idea of travel on foot vs. in a car; Paris vs. Nişantaşı.

but are also being generated by space through le.’’ cinematic events npredictab u ly te le p re com ays that a w in e m ti in

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10.05 Overlapping beams and joint columns are studied.

Gün Rodoplu

The circulation elements of the project are proposed as an invisible rope connecting the stops (parts) in the project. The whole sequence of movements and the invisible thread that connects them is a phenomenon that cannot easily be captured by narrative devices outside of cinema: cinematic language exists to convey this feeling, especially with montage techniques, that is ‘movement’ and the only device that can capture it is the camera.

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The project’s claim to capture this feeling and to create a cinematic narrative through this feeling is through proposing the pieces and the elements of circulation between them. When moving from the language of cinema to architectural language, “parts” become rigid with tectonic expressions, and the “invisible rope” connecting them with circulation areas where movement will take place.

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10.04 A secondary beam system is studied, which is deeper at height and more structural.

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The interior circulation is through mesh decks that are placed around the complex structural system resembling a matrix that shift and re-form at every turn.

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7.1 Axonometric

The ground floor is semi-open, creating a welcoming space for the neighbourhood and the city.

It operates on two levels, one being the interior and the other, exterior overlooking the park.

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shops, service areas

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We can find the opposite of an assembly technique like jump-cut in the language of cinema again: track shots, which are continuous images that can last for minutes, record everything in the camera frame and have full control over their narration.

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For example, “jump-cuts”, which are one of the assembly methods in which pieces and the like come in one after another, are interpreted as is a highly influential technique. The first jump-cut experiment in movie history takes place in the car scene of Breathless(1960). When the scene is watched, it is easy to see how effective this ‘moment to moment’ narrative is: the automobile, which always moves in a linear manner, sets up the cinematic narrative through the division of the continuous city space around the movement, just like the experience in Nişantaşı streets.

5.1

the biggest theatre is under the ground where the park is, reached by a ramp starting from the open ground floor, leading you to an atmospheric darkness. smallest one is at the top of the building, inside the core of the original building. second one is in the middle of the two, at the heart of the building, hanging in-between two floors dramatically.

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The building consists of three theaters of different sizes. they are all connected trough a path that travels the building vertically.

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PARKING PARKING CORE

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gallery

service area

machinist room

temporary exhibition

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7.3 Axonometric

the second floor is where the cinematic device of the project -the ramps start to operate.Visitor arrives trough a ramp by the facade, then you make your way onto the back of the building, where it is a bit more dark and mysterious. You take afew steps and a staircase becomes a ramp that goes higher trough either a rip on the floor or a gallery space.

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theatre

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02 gallery viewing room 47

permanent exhibition 48

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cinematic device the circulation paths are designed in a way to put the visitor in a position of both the observer and the one being observed. This is the heart of the cinematic experience proposed by the project.

’Spaces, movements, events are contracted into only fragments absolutely necessary to outline the overall structure. Since each frame is isolated from the next, architecture can begin to act as a series of surprises, a form of architectural jump-cut, where space is carefully broken apart and then reassembled ‘at the limits’.’’

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At this point, the project presents an experiment that will fully mechanize this analogy and presents it as the backbone of its cinematic-spatial narrative: this experiment consists of bridges in plan and section to relate to each other both physically and visually. In fact, this means that people moving on bridges,

(because the common linearity of this architecture and track shots is obvious) is that people moving on each other partly see each other, partly cannot see each other, the movement of the person he sees from A to B is uninterrupted (track-shot) or jumps.

-cut) is a suggestion of a system it detects.

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photos from a video work, illustrating the idea of the physical connectivity throughout the the neighbourhood.

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Çayırpunk

A prediction into the world of future İstanbul, as well as an effort in creating a new atmosphere in the city.

3 Diagrams

w/ Büşra Özen, Oğuzcan Çavuş * Starred images were prepared Tutor: Büşra Al by me, after the group work was spring, 2017-2018 done.

a diagram set on the map of İstanbul, first being the default, second one is an unconventional, rhizomeinspired urban systematic.

Kadıköy, İstanbul

All over the city of İstanbul, there are undefined places of emptiness that people are refusing to use, painted in concrete.

These are places such as parking lots, defunct towers of business districts or pieces of land in and around infrastructure/ transportation centers.

existing linear roads and unused places of emptiness

0.00 The parking lot area known as ‘Eski Salı Pazarı’, it could be translated roughly as ‘the Old Bazaar Area’.

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proposed bicycle tracks and agricultural zones with their range of impact

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Reality

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The project proposes a near-future scenario focused on an area located in Kadıköy, İstanbul, which famously used to host a bazaar. It nowadays is used as a parking lot run by İstanbul Municipality, and in this scenario of ours, a construction is planned there. However, an enviorenmental crisis unfolds just after it starts, effecting the construction industry in Turkey which has already been fragile for some years. The housing project planned for the area is left unfinished, and the buildings are

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In this scenario, as roads and streets are now in service of people and bicycles rather than cars, they are literally connecting these forgotten pieces of land socially and economically in a thread-like manner, creating an alternative means of transportation more suited to human condition.

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2.01 Photographs

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1.01 Collage A conceptual collage done early on in the process, trying to capture the idea of the merging of urban infrastructure, colossal tower structures and the grassland.

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CTRL+C CTRL+V

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photos from a video work, illustrating the idea of the empty towers getting filled-up via extensions to the concrete.

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The project area located in Kadıköy, İstanbul, is one of the undefined, unused places that we speak of. Being a car park, it serves no real purpose to the neighbourhood, it is transitory.

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In our nearfuture and verylikely scenario, there is a construction planned on the site, and it is an exact copy of a set of residential towers as this is a common practice in the region.

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Figure/ground diagrams showing the two different type of urban context around the neighbourhood, 1. organic and dense apartment blocks more in line with the historical context, 2. Projectized areas along the highway and the urban infrastructure.

The project doesn’t glorify one and criticizes the other, it tries to melt the two through some likely scenarios that could happen on the site. With this approach, it is a look at a future that has finally started to allow many historical and physical contexts to exists at the same time at the city of İstanbul.

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These are out of human scale and unrelated to dense, organic fabric of the neighbourhood around.

By copying it to determined site, we develope a prototype for handling such situations, as they have many negative effects to their surroundings psychically, as well as from a civic standpoint. However, as it happened to many big projects on the region over the downfall of the construction industry in Turkey, this project is lef unfinished. These carcasses of towers are in a very unique position, in-between two very different fabrics of the city: one being the neighbourhood, dense and organic; other being the infrastructural, planned. The site is at the meeting point of the two, with the addition of an elevated railway, a major transportation point very near and one the biggest stadiums of the city. We propose different kind of adjustments to the dead towers over a timeline, creating a place of meaningful urban interaction.

0.01 A photo of the project that would be copied on to our site. It is absurdly out of scale on the original site with the surrounding neighbourhood.

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3 Site

Timeline 0.2

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industrial heritage

skatepark

bike route stadium pavillion

4.01 exhibition

6.02 pavillions inside the grass,

square

6.03 squares and bicycle tracks,

6 Diagrams 01 the untouched area in the parking lot is built in a manner reminiscent of the tense neighbourhood fabric. 02 two different fabrics of the city is blending through a vast grassland, and pavillions within are serving social purposes. 03 bicycle tracks are built to literally connect two different fabrics of the city, while creating squares for the area to breathe. 04 adjunctions to the towers are complete. The area is now a blending point for two different faces of the city,continuing the spread of the organic fabric while maintaning the verticality.

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foodmarket

6.01 further spread of the fabric,

concert hall

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One of the critical outcomes of the crisis is the lack of natural resources, resulting in many ways that changes the industry and the life in a city such as İstanbul. The reality of global warming and climate change is now more lethal than ever, and the attention to the earth and it’s utilization is at utmost importance. Scientists, engineers and urban planners who are society’s biggest instruments against the crisis are taking actions against further degradation of the earth. The ever increasing population and the earthquake expected to hit İstanbul being among many reasons, the architecture of the city is also expected to be re-thought of in favor of the social and ecological dynamics that are changing at a rapid pace.

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5.01 Axonometric View

6.04 new footprint of the towers,

6 Diagrams

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deck housing unit(s) office unit

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deck social space office space vertical circulation

Timeline 04

Timeline 03

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01 tower

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Timeline 01

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Towers are still unfinished and the extensions are ever-changing, ready to adapt to any situation for a foreseable future.

Timeline 02

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The grassland (‘çayır’ in Turkish) is the physical and social damping point inbetween different parts of the city, blending old city fabric of the neighbourhood, infrastructural pieces of city and the skyscrapers and their adjunctions together, making them dissolve into something earthly and organic, reclaiming something natural out of the concrete site and bringing it into the city; a phenemonen missing greatly in the urban life of cities all over the world, İstanbul being one of them.

Timeline 1.1 The role of the architect is redefined as a practicioner who relaunches the lifecycle of the buildings as the ones on the site, unused, dead. Newly built enviorenment envisioned by architects are to be adjuncts to such buildings, not just supplements to the original but additions capable of starting new life. This state of addition is already an important part of the urban memory of İstanbul, as the city has been reconstructed many times, layers upon layers.

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01 the building share the same fate as many housing projects do in İstanbul, left to rot, unfinished in it’s shell. 02 in time, people troubled with housing policies of İstan-

bul are occupying these spaces, building walls inside the structure to best serve their needs. 03 architects and planners are trying to make the most out of the situation, thus making the skyscraper a meeting point for very different type of users/dwellings.

04 top floors being more housing based, the floors near to ground have every type of program, and are broader in it’s footprint.

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Timeline 1.3

The times go on and the practices in the city life are changing; there is major urban agriculture activity in the city, on pieces of empty land like parking lots and infrastructural areas. İstanbul has witnessed similar practices since the ancient times. More people are moving out of the city to the countryside, as both are places of agriculture and sociality and the line between the two blurs. The main reason for this being the internet being a provider for a working enviorenment, as the people are no longer in need of plazas but a roof to be together under.

People remaining in the city are no longer living like they used to, few of them using cars in select roads of the city, due to shortage of oil and state of climate. People are often walking or using their bicycles, thus making distances between work, home and social areas shorter.

These are altering the city in a major way, creating neighbourhoods that serve many aspects of life rather than districts of singular services. Places are becoming more in dialogue with the human scale, as many pieces of architecture like plazas, malls and highways are shrinking down to pieces more suitable for human habitation and are dissolving into land.

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10.03

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9.02 Facade

*

5.03 Axonometric View

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10.05

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‘’(…) Michel Foucault’s 1967 lecture Of Other Spaces outlines his concept of the heterotopia, a sort of countersite which somehow contests or inverts the sets of relations by which spaces and sites in the rest of our world are constituted. Foucault claims that such sites are critical to functioning of the human imaginary and implies that without them a collapse into authoritarianism is inevitable.

Gün Rodoplu

Gün Rodoplu

04

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5.03 Axonometric View

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*

Gün Rodoplu

Gün Rodoplu

01 02 03 04 Our roots are in the dark; the earth is our country.

Why did we look up for blessing -- instead of around, and down? What hope we have lies there. Not in the sky full of orbiting spy-eyes and weaponry, but in the earth we have looked down upon. Not from above, but from below. Not in the light that blinds, but in the dark that nourishes, where human beings grow human souls.

-Ursula K. Le Guin

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1.01 Collage A mapping exercise, trying to give an impression of strolling around the neighbourhood, (...)

3.01 Site Plan Hatched areas are cemeteries, getting connected by major roads and hosting many historic sites inbetween.

İslam M Feriköy ezarlığı

İtalyan Musevi Mezarlığı Şişli Rum Ortodoks Mezarlığı

Şişli Rum Ortodoks Mezarlığı

Şişli Camii Şişli Camii meydanı

Bul r O Mezga arlığı rtodoks Helv ı Dede Mezaraclığ ı

Osmanbey Metro

Gürcü Katolik Kilisesi

Aya Orto Lefter Rum Mezardoks lığı

Feriköy Antika Pazarı

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CO-PLUS

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ARCH/301.2

Şişli İsrail Sinagogu Feriköy Protestan Mezarlığı

The project proposes a half-culture center, half-memorial museum for the neigbourhood of Bomonti and the city.

Feriköy İslam Mezarlığı

Tutor: Ali Onat Türker fall, 2017-2018 Şişli, İstanbul

Bulgar Ortodoks Mezarlığı

1.01 (...) also depicting inspirational places for the project like cemeteries and churches designated for minorities.

Şişli is a relatively young part of the city of İstanbul with lots of interesting history. Nowadays very central, it once was the outskirts of the city with populations of Greeks, Armenians and minorities of the city. Their memory still lives on with minority cemeteries, also providing much-needed green space for the city. Both in the context of minorities living in Bomonti, and the deserted factory building, a beatiful ruin that will play an important role in the new culture center, the project is decided to stand upon this notion of memory. This will be a place of memories of old, while producing memories of new through activities of culture and art.

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0.00 The neighbourhood of Bomonti hosts a precious part of urban history, including many factory buildings significant for the late Ottoman/Early Republic era.

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İslam Mezarlığı

01

0.01

Rum Ortodoks Mezarlığı

0.02 Project site hosts the building seen in the photo and a big urban gap behind it. There used to more buildings like this one, recently demolished.

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Gün Rodoplu

Site is situated opposite the street from Bomontiada, an urban spot always in great demand. Bomontiada and the factory buiding, nowadays empty, sits on top of a hill which is at the borders of the neigbourhood of Bomonti. Cross the highway is Kağıthane, a neighbourhood which was once a part of Şişli District.

3.02 Site Plan

Bomonti Flea Market

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Site

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2019

2019

1.02 Collage

03 Both subjects have a heavyness, a bigger than life situation to them.

Both stories of unstoppable forces and inevitable collision.

0.03 Mount Ararat

A collage on the aesthetic overlaps and possibilities between organic lines of topography maps and the grid setting of Bomonti streets.

01 From the idea of representing the minority cul-

ture in our country, especially Armenian people, comes the representation of Mount Ararat. It is a perfect symbol of a thing that endures for centuries against anything, the one thing that unites the Armenian diaspora.

4.01 Render.

02 From here, the project took

mountain formations, earthquakes and various natural phenomenons as it’s primary source of inspiration and it fit the narrative perfectly:

4.02 Render The roof was meant to resemble rocky mountaintops, also cemeteries in the way they both provide big urban gaps in the city.

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Gün Rodoplu

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The project proposes to exhibit memorabilia found across the city, from the jewellery found in Grand Bazaar in Beyazıt done by Armenian craftsmen for centuries, to hundreds of objects that can be found in Bomonti and Feriköy Flea Markets every week, which naturally showcases the history and culture of minority groups of the city.

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4.03 Render

the core mass

6 Diagrams

6.01 direct path between streets

6.02 an alternative path

6.03 the core mass coming down

6.04 fractured geometries forming

Gün Rodoplu

Gün Rodoplu

* A photograph found in Feriköy Flea Market, showing one of the old citizens of the neighbourhood, likely a minority, holding a violin in her hands.

01 a direct path between two streets surrounding the site is established, preserved buildings. 02 an alternative path is thought in response to physical data collected on site.

03 the core mass ‘comes down’, a new route is circling the mass. 04 the mass is breaking the clear lines that were established, creating fractured geometries like fault lines.

05 final form of the circulation routes generating most of the museum experience.

6.05 final form of circulation

6 Diagrams

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A collage that melts every major idea of the project, from the topography lines to the city, the memorabilia objects, the cemeteries and the scenery.

2019

1.03 Collage

4.05 entrance space, where working stations are.

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4.06 inside the core mass.

4.07 an exhibition space/courtyard under the core mass.

4.08 entrance from the factory, an exhibition space.

8.01 Section

B-B’

Gün Rodoplu

4.05

4.06 4.07

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Gün Rodoplu

4.04

THE CORE MASS

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THE CORE MASS

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8.03 Section

2019

8.02 Section

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THE COURTYARD

10 Sketches 8.02

8.03

Because of the courtyard in the middle, it is designed in split-level floors for denser, uninterrupted workplaces and also more playfullnes between places, which could spark creativity and connection between it’s users.

The project aspires to have a de-constructivist edge to it.

The decks attached to the core mass are freer places with triangulated glass curtains.

the exhibition wall 5.01 Circulation Axes

10.01

1 2

The design idea was to establish the metaphorical fault lines, which would dictate the negative and positive spaces of the whole project. These routes are more than circulation elements, as they are the manifestation of the inspirations of the projects, from the mountain-forming to the memorial aspects.

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Gün Rodoplu

‘‘Narrative Routes’’

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03 04

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102.20

8.06 Section

F-F’

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D

This is a clear section cut of the majority of the places of the project, from left to right; the big adaptable space, the dance/theatre studio, the staircase, the core mass, the decks, the amphi, the hallway, the exhibition space. These spaces have a relationship based on wieving, in the sense that they are constantly and easily linked with each other trough eyesight.

Drawing shows how the inspirations of the project shaped the geometries of the plates; the roof, the walls and the columns. Every piece of architecture is deliberately massive, to make the visitor feel a sense of gravity and heaviness. The whole project is basically underground, with the roof and the factory having a simple relationship.

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portfolio

8.06

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2019

9.02 Plan

A’ E’

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8.07 Section

entrance from rear side.

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The main circulation axes hold the facility together, making the narrative of the project binding material both figuritavely and literally. The axes go up, down, give way to other A axes or make up bigger spaces on every level.

Gün Rodoplu

Gün Rodoplu

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F’

B’

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2019

9.03 Plan

A lot of the places of the project are negative spaces left-out of the major decisions like the axes or the core mass. The main-study hall is the amphi-like space.

4.15

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This is a big empty space for the whole facility to benefit, that can answer different needs any given time. It is linked with the old factory through a staircasee, and also has relations with other floors and activities on section. If you go down a mini-staircase, you are at the dance/theatre studio, if you go up a few steps, you are at the classroom/workshop area.

You can see the core mass and it’s relation to it’s decks. Also, the same thing with the decks and the amphi-space. All these spaces are consantrated and seperate, but they are within reach almost always.

4.15 Render

A-A’

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8.08 Section

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6.1 Render

Bridge

2.01

2020

Nodes

2020

Acun Street is a major street connecting two main roads, which are bridging the north and the south parts of the city, where different cultural and social profiles reside.

2.02

Nodes where streets meet are set up as social stops where most people would take their time, therefore slowing the linearity of the space.

2.03

There are many different types of shops and users on the street everyday, which would arrive on the site through various means of transportation.

competition

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Uşak Yayalaştırılan 35748 Sokaklar

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Functionality

2 Diagrams 1.1 Site Plan

The project takes on the task of pedestrianizing and revitalizing a major street where various shops meet with different user profiles in the small city of Uşak. w/ Oğuzcan Çavuş, Büşra Özen city centre, Uşak

Gün Rodoplu

Gün Rodoplu

Design area consists of five streets with different types of building types from apartment blocks with little gardens to gecekondu-houses and various types of shops operating on different cultural, social and economical levels. It is requested to design all the streets with the user types and daily practices in mind, while making the street livelier than ever.

0.00 Acun Street is the main artery which connects the other four while operating as a typical city street with pedestrian-only access.

1.2 Site Elevation

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7.1-7.2-7.3 The idea is to extend every shop unto the street to make the street livelier while giving the shops the attention from people passing by. Each shop has customizable extensions for shop-owners to improve however they see fit. The system is a basic 3D-grid(...)

7 Axonometric View

7.1

2020

1.2 The facade charactheristics of entry-level shops troughout the street are analyzed. The main surfaces of these facades, which are often rugged and not pleasing to the eye are drawn in a concise and clean manner in an attempt to find the inspiration and beauty hidden in an ordinary street such as this one.

7.2

7.3

sun-cover

4.1 A-A Section

running water troughout the steet

construction-poles

A

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3.1 Plan

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5.1 Elevation (...) consisting of basic pieces scaffolding, which could be found anywhere in the city and is cheap.

Shop-owners can customize these according to their own needs and wants, such as hanging plates, clothing they are selling, menus for restraurants or plants for greenery.

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35748

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35748 2020

2020

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The drawing was a way of understanding how the street operates on the ground level. How shops with varying widths see the street and how they can use the shared area. This exercise turned out to be the colorful marking on the street, highligthing every shop, making them stand out and giving the street much-needed color.

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6.3 Render

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1.02 Axonometric

2018

2018 portfolio

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The whole process of the workshop was built on the act of hand-drawing, either on paper or with digital tools.

2.01 Section

workshop

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1.01 Sketches

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The project proposes to reconstruct the communal place to better serve the needs of the village, where the villagers have their annual, traditional meals.

2.02 Section

with/ Ömer Faruk Güven tutors: Nevzat Sayın, Seda Baltacı,Emre Senan Yahşibey, İzmir

Every year, people of Yahşibey host an annual festival where they cook and share meals together throughout the day.

There is an inadequate barn-like structure to host this festival.

As a team of students comprised of architects and graphic designers, we proposed projects to better suit the needs of the people of Yahşibey.

Gün Rodoplu

Gün Rodoplu

Yahşibey Design 43 Workshops 43

0.00 Yahşibey has a strong architectural identity with its nearly untouched stone houses. Our project was referencing a lot of the same principles these houses used.

3.01 Perspective

3.02 Perspective

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1.01 Drawing

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1809 Vardiya(the Shift) As a part of a group of students who were selected to participate in the Turkish pavillion of 2018 Venice Biennale.

workshop

iaac@İstanbul 1906 Summer Workshop

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The subject at hand for the workshop was the problem of pollution in big cities such as İstanbul. with/Muhammed Aydem 0.01 The selected sites were old neighbourhoods of İstanbul on sides of the Golden Horn, broken apart by heavily trafficked roads. These neighbourhoods were exposed to severe air pollution and CO2 emission.

0.01 The clothes were already put up in the space where the Turkish Pavillion is set up.

The last days of the workshop the cloth was altered by triangular paint blocks referencing the Venetian tile-work.

Gün Rodoplu

The workshop was aiming to collect data on various means of urban pollution and visualize this data by computational and parametrical methods. First, the pollution data was collected through Arduino scripts on site.

Then with this data at hand, Grasshopper modelling was done to visualize said data.

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Tutor: Gani Türünç summer, 2018 Arsenale, Venice

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