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PORTFOLIO Interior Designer

Nazlı Can Özçoban


CONTENT

CURRICULUM VITAE

01 INTERNSHIP

EDUCATION Yeşilköy Halil Vedat Fıratlı İ.Ö.O ‘10 Oğuzkaan College ‘14 İstanbul Bilgi University ’19

PERSONAL INFORMATION

GPA : 3.50

Nazlı Can Özçoban 10.02.1996 Interior Design Student

(high honor student| graduated 3th one in department)

turkish english spanish (basic)

LANGUAGES

+905308665810

CONTACT

nazlicanozcoban@gmail.com www.speciesofdailylife.com

SKILLS

Adobe Illustrator CC Adobe Photoshop 3DSMax Rhinoceros Grasshopper Processing Autocad Sketch Up DIALux Evo

OTHER WORK WORKSHOPS

mealustrator speciesofdailylife ITU ‘19 Cıtıes ın a dialogue

TAK (Tasarım Atölyesi Kadıköy) ‘16

ESK/Z: graduation project

My internship was internship as internship. I have been involved in ongoing projects as long as I am. In addition, I worked in the design of the new bicycle park in Kadikoy. I have been developing solutions for new interventions

02

in various bicycle parks and street fathers.

Aykutoğlu Group ‘17

MET A QUA : phenomenologies

this internship was my job site internship. I worked in a residence project in Gokturk. My first ideas about how most of the thing s I designed were made here. In addition to the tasks given to me on the construction site, suspended ceiling, lighting and marble flooring worked on the drawings.

Pekka Studio ‘18 This was my first office internship. did this internship with a teacher that I like very much. in the field of interior architecture to draw up to the finest details, the day of the customer is the opportunity to work in line with the wishes. the drawings of the house before all of the rough draft of the drawings to make a real power drawings, wooden work drawings, customer-specific furniture (coffee table) was a project that I designed.

03 SELFICE :

detail studio

04 PLAYERSTAGE: heterotopias

05 MUSHOUSE : green house

05 DOGGYHOUSE : furniture design

06 TOYSTOOL : furniture design

07 BINOCULAR BOX : fabulations

09

PAUL HEBERT: a tiny home

10

PORT-TENT: basic design

12

LIGHT OF THE ICE: basic design

12

XEAMUL : design dictionary

11 SPECIESOFDAILYLIFE : art work

12

MEALUSTRATOR : art work


tabanlıoğlu architects

ESK/Z

SPRING’19

PASSAGE PETIT CHAMPS LECTURERS: Nihal Bursa Önen Günöz Our studio sees this phenomenon as an abstraction of the human mind and to be extended to the other fields of design. By this stance, we will work on the possibilities of creating a milieu for design in Istanbul. It will mainly be a design center aiming to; create opportunities for spatial, social and cultural connections and interactions, provoke ideas and channel further inquiry, be a creative incubator which will bring people together to proliferate ideas and contribute to intellectual enlightenment, contribute to the appreciation of design through community engagement, act like a vein so as to establish connections and to become nurturing for creative fields. This center will be located in a century old building, the Passage Petits-Champs in Pera, in Istanbul. The owner of this building, a prominent architectural office, is willing to allocate the first two floors of this building for this new function. It will be a significant offer t o the public considering the arcade in the building. Adapting the building for this new use will regenerate its public function by making the arcade part of the urban pedestrian circulation. It will become a hub for cultural activities and a meeting point for professionals and enthusiasts in the field of design as well as being a point of attraction for people passing by.

esk/z first floor plan

esk/z ground floor plan sketch designs constitute the architectural memory which we apply at the moment of remembering and understanding, keeps track of the developing chain of thinking, visualization of the process creates the memory of the process . the last pieces belonging to the authenticity of all creative drafts.

Today, however, these parts disappear and lose their functionality over time. Just like Passage petit champs.That's why Petits Champs has lost its mark, traces of architectural structures display, archive and remind is returning to life.


model exhibition

volta ooring shelf steel box profile

horizontal system / table vertical system / panel

lighting elements

esk/z

less line, much meaning see something in another form . construct meanings through lines unspecified,uncertain,playable


1/50 MODEL

1/50 MODEL

1/20 MODEL

1/20 MODEL


intensitivity of water healimng superimposed superstition

MET A QUA FALL ‘19

PHENOMENOLOGIES

Water appears in various forms. Sometimes even unaware of your presence. A team of coincidences, traces through which we discover the water. As long as it allows. Water hides themselves and underneath.changes of state , metamorphoses. It has always been the subject of curiosity. Legends are written to water, they hide into ıt past as a source, the people who can reach healing.

“See me, Feel me, Heal me...”: Architectures of Water

LECTURERS:İpek Kay, V. Şafak Uysal,Ezgi Tezcan In this module, you will work within the socio-physical context provided by the Yalova Thermal Hotel and its nearby surroundings. We will approach YTH as a site that reveals characteristics of a historically typical architectural design attitude with a particular set of values regarding water and as a mechanism of negotiating our relationship with water. .

heat leaking from cracks

other users of the space (animals)

architectural element bricks


First ideas | Tries

Cover: It is the element that establishes the identity of water. The cover is carried by thin structural elements. leakage of vapor in the bottom of the cover. so the cover invites people into curiosity. but ıt does not live clues about t he spaces below them. Transport of weight with thin roded elements supports uneasiness.

Wall: To indicate the presence of steam under the space, to feel the flying the walls are torn off from the ground for the feeling of volatility. the walls do not hit the floor directly. The body of the wall thickens. There are thin carriers under and above the wall. so that they both connect to the floor and help transport the top cover.

Towers The added surfaces (floor and wall) vary according to the experience. The walls rupture from the ground to signal the presence of water (heat), rises, indentations, and protrusions, creating intervals for us to interact with water. tower 1 Suddenly, our relationship with the outdoors makes the outer space curious (legends). This tower is the breaking point of the route and space. The surfaces are spaced outdoors. (discovery tower) tower 2 This tower takes the outside. Therefore, the surfaces are intermittent within the space but closed to the external environment. The mystery of the space is preserved.

Iron Mesh The iron grid allows coincidences and instant ramifications to be seen in the effects of water. The grid is a range from the discovery of ‘meta qua’ to the footwater.


SELFICE

FALL 2018

DETAIL STUDIO

LECTURERS:ÖZEN AKSU AKIN| AYÇA ŞENTOP |ÖZGE SARI | KÜBRA YANIK | YAĞDIR ÇELİKER

The place makes ice cream in summer and winter in a touristic area and organizes workshops at regular intervals. Thus, people make their own ice cream and discover new tastes.Ice cream is based on the atmosphere, ice-cold, but also so much fun to use cold materials are used. The general common area outside is colorless. Therefore ice cream attracts people and sold ice creams.With that dull space is colored.


PLAYERSTAGE

SPRING ‘18

3. heterotopia is a combination of many different places within a single space. The gathering of different places in the library of the Aptullah Kuran takes place with the new uses created by the spaces evoked by some objects. These objects form the basis of the new spaces we call the library. In the formation of spaces, certain surfaces that are used from the physical structure of the library. Thus, the library behaves like the structure of new spaces. Retract .And the library leaves the scene to new spaces.

HETEROTOPIAS

OnceUponATime, ThereWillBe...

Doruk Çiftçi, İpek Kay, Nil Aynalı, Semra Horuz, V. Şafak Uysal This module engages with one institutional site that still serve their original function (a library) while manifesting properties of a “heterotopia”. We will first articulate your experiential response to the site and explore how existing architectural dynamics contribute to our experience. Then, we developed a macro-analysis of the site so as to arrive at a narration of its functioning as the embodiment of a power structure – i.e. a utopia/dystopia. Later, w developed a design strategy that reveals either the essence of our institution as “close a point to its ideal original state as possible” (heterotopia’s analytic and dystopian momentum) OR the potential of your institution by opening it up “to challenges that could humanize and perfect it through reinvention” (heterotopia’s synthetic and utopian momentum). Finally, we gave concrete form to a micro-intervention by means of specific interior processes and elements at a scale appropriate for the operation and legibility of your strategy.

in a single real place , several spaces

From the physical structure of the library, the balustrades and handrails are seen as opportunities and the changing places are made with the surfaces that are attached to or removed from these railings and handrails. Therefore, the surface materials behave like the building itself on the inwardly facing sides of the building, while the surfaces remaining within the changing spaces vary according to their use.


stage 6 stage 5

stage 6

stage 5 Exchange of information Sharing information The exchange of information in this space takes place with the user's lecture notes. Thus, the old course notes of Boğaziçi University are added to the library's knowledge with the user.

lamp antiquarian function exchanging information

Information revitalization | Indicate The aim of staging the knowledge is not to teach the user by dictating the information, but to show and think. In this way, the users will question the information they receive in this space differently from the others, and pass from their active position to passive thinking. If there is no show or show, it will turn into a noisy study area where students studying for art can come and work.

light theater function format staging information Leading knowledge | Interested in the practical needs of the user

stage 4

stage 3

stage 4

tables light system the church function + form + ritual feed lead the user meet user's practical needs

Function + Form imprisonment of knowledge

stage 2

kullanıların a vermeden ,dağılmadan bilgiye gece gündüz ek kişilik kareller

stage 1

stage 2 Exhibition of information The space is a place prepared by a group, where they tell information about a subject in different cases and show their knowledge

display elements old book archive cabinet museum Function exhibition of information

stage 3

Information confinement Intensive weeks (visas, finals, theses, etc.) It is a place where the use is trapped without breaks, day and night.

doors rooms (single) tiny windows prison

stage 1

In this space, indoor and outdoor users are different. Indoor users (assistants, consultants, etc.) are able to provide the information they need to meet the needs of the outdoor users, while they lead their knowledge to specialize in their departments. The venue treats the external user as a wealth of information that is opened only at certain times when the experts come and make presentations.

gunwale stratification of elevations theater amplifier Function + Form learn by watching learn by listening

Interactive info In this space the user reaches the information, sometimes live and sometimes inanimate screens. If you interact with information here provided with ears on the tables.

Bilginin izletilmesi Bilgiyi dinletilmesi anın izleyicisi rolünü bazen canlı bazen


When making models, different colors were used to indicate the intervention areas and the existing building

section model

top perspective

detail

detail


MUSHOUSE CLIMATIC INTERIORS FALL ‘17

FROM THE GLASS ,GREEN WILL GROW

LECTURERS : IPEK KAY | DENIZ TUMERDEM | BAHAR AKGUN

Studio will focus on modes of interacting with plantea by contemp lating on interity while analyzing and parameterizing environmental conditions , atmospheric qualities and bodily experinence. The main project will concentrate on designing on conservatory / greenhouse complementary to Büyükdere Nursery and Horticulture School which has lost its educative purpose in 2001.While restoring and activing the old school ,our lecturers are expected to hybridize the programof the conservatory/greenhouse where plants are nurtured and exhibited.The crucial aspect of the project is to propose a scenerio that emerges both from ,the interaction between the ‘gazer’ and plants and how the user experinces the climatic interior that satisfies distinct environmental conditions such as light ,heat,humidity etc

The mushouse, designed in Büyükdere horticulture school, is designed primarily for the availability and convenience of the existing land. Mushouse is a building that used to be used as a coffee house from existing buildings. Thus, it maintains its function without disturbing the old one and connects it as a common area. 2 Mushrooms are grown as an additional function in Mushouse, which houses different types of climate. Mushrooms are fungi that we can not see on earth. Mushrooms are also available in other mushrooms They host gardeners according to the chemical and physical characteristics of the hunting students as a private production room and on the terraces of the tropical climate. By means of various fungi activities organized by people, people gather mushrooms from these areas and learn different information and at the end of day they feed them with workshops in form of food intertwining climatic zones There is a vertical circulation in the middle. The participants of this circulation enter the climate chambers at different elevation levels. Thus, a different dialogue with the plants will be entered. The relationship with the diari is made from the first terastan interior to the outer terrace, with the uppermost 35 m high seasons and the upper half terrace designed according to the seasonal passages. they can take it under their feet, they can master the gardening school.


BB SECTION BB SECTION

AA SECTION

+2.16 FLOOR PLAN

AA SECTION

+19.451/600 FLOOR PLAN PLAN VE KESÄ°TLER

Factor parameters| Sun and Shadow Rectangle parametera| Sun,Shadow and Space description WBThicken Distance | inner shell : 0.08 Tropic Climate Parameter| Rectangle | X:100 Y:80 Count| 250 Seed | 20 Factor| 0.90 Distance |0.12

grasshopper code

Desert Climate Parameter| Rectangle| X: 60 Y: 40 Count| 250 Seed | 50 Factor| 80 Distance| 0.12

Entrance and Public areas Rectangle | X:10 Y:5 Count| 250 Seed | 20 Factor| 0.80 Distance |0.12

AA SECTION

BB SECTION


DOGGY HOUSE SPRING ‘18

FURNITURE DESIGN LECTURERES :DENİZ TÜMERDEM ONUR CİRİTOĞLU ITIR SARAN EMRE BAĞDATOĞLU PROJECT TEAM:Büşra Aydın | Gülşah Aydın In this course we have designed kennels for Düzce Hope Houses. To do this, we first investigated the life requirements of dogs and performed various form exercises. After deciding on the form, we chose quality products that are cost effective to the outside weather conditions. we covered their eyelashes to look like awning. we opened spaces in the nose and mouth. The language part can be opened and closed, so we controlled the air intake so that we could create the food in the dining area.


production

DETAIL DETAIL

sectıon

DETAIL

SECTION SECTION

15x2x360 pine timber

70x100 red eva

175x220 poplar plywood

50x70 brown eva

3x3x64 wood


TOYSTOOL !!!!!!!!!!!!

FALL ‘17

FURNITUREDESIGN DESIGN FURNITURE LECTURERES:DENİZ :DENİZTÜMERDEM TÜMERDEM| ONUR | ONURCİRİTOĞLU CİRİTOĞLU| ITIR | ITIRSARAN SARAN|EMRE |EMREBAĞDATOĞLU BAĞDATOĞLU LECTURERES PROJECTTEAM: TEAM:Edanur EdanurKöşeli Köşeli PROJECT In!"#$%&'#()*+,-$#*.)#/,-$.),)'#01"$,2##$*#2,'&"3#1#-*44,,#$15/,#*)#'$**/# this project our lecturers wanted to desing a coffee table or stool .'&"3#0&$%#/1$%,67*"',($#01'#4),,60,#2,-&2,2#*"#1#4."#-*"-,($#4*)# using with lathe.Consept was free.we decided on a fun concept for -%&/2),"#$%1$#-*./2#5,#.',2#1'#'$*)13,#1"2#'$**/#4*)#8&"2,)31)$,"'60,# children that could be used as storage and stool for kindergartens.we .',2#$%,#/1$%,#$*#-),1$,#91)&*.'#'%1(,'#*"#$%,#4,,$#*4#$%,#$15/,6# used the lathe to create various shapes on the feet of the table. :%,',#'%1(,'#1),#'*;,$&;,'#%*",<#'(**"#'*;,$&;,'#'"*0;1"# These shapes are sometimes honey spoon sometimes snowman '*;,$&;,'#(&",#$),,#'*;,$&;,'#1/'*#0*)/2#666 sometimes pine tree sometimes also world ...


SKETCH SKETCH 3: 3: Cafes,Houses Cafes,Houses

SKETCH SKETCH 1: 1: Cafe,Office,House Cafe,Office,House

SKETCH SKETCH 2: 2: Kindergarten,Children Kindergarten,Children room room

Our Our Our Our

Our Our

SKETCH SKETCH 4: 4: Cafes Cafes


AA SECTION

BINOCULARS BOX SPRING ‘16

1/20 DETAIL

FABULATIONS A ‘’FABRICA SPIRATUS’’ AT HASANPAŞA LECTURERS:BELİZ SARIYER HİLAL MENLİOĞLU V.ŞAFAK UYSAL ŞEBNEM ŞOHER Amak-ı Hayal (In the Depths of Fantasy),is a 1910 sufi novel by Şehbenderzade Filibeli Ahmet Hilmi ,centralizing the idea of wahdat -al wujud as well as incorpora ting religious elements from various cultures such as those of buddhism,Zoroastri anism and Hinduism.The first book of AH tells the story of Raci,whose visits to Aynalı Dede in a cemetery are narrated in the form of nine dreams .In each dream ,Raci finds himself in different situations,householdijourney,geography,language, culturage and person.I read 4 chapther : arifler meclisi ,imtihan meydanı and I tried to reflect Raci’s experience from four chapter and our fabrica will be installed at Hasan paşa gasworks complex .so I developed my sacred experience design attitude towards dealing with the relationship between narrative and architectural space.

BB SECTION

Amak-ı Hayal 4. Chapter

We have learned that we will remain constantly in the same lag of time when we try to reach the truths that we know and can not reach, the facts that our knowledge knows and can not reach. They have witnessed ironic talks about the facts they can not access.


PAUL HEBERT A TINY HOME FOR AN FALL’16

IMAGINARY BEING

GEORGE PEREG :LIFE A USER’S MANUAL LECTURES:V.ŞAFAK UYSAL | DENİZ TÜMERDEM | ALİ D. DOSTOĞLU | BURCU GÜLMEN

This project we inspired by a book that is Life a User’s Manual by Georges Pereg.Everyone read one chapter and take two boxes which are designed a tiny home according to chapters experince, atmosphere and mood.My chapter was Paul Hebert and I worked at Paul Heberts life.I analyied his life and I reflect his experience.So people who enters my tiny home ,they feel and live paul heberts lifes and emotions.


In our first model textile was not only shade but also it was a construction element to support structure.Our texture shape was a rhombobohedron because of our structure’s space model .We cut double textile and we put the bamboo between each pair textile .That’s why we supported the models.When we worked at 1:1 model,parts of textiles was so big and this situation made tent heavier.After our critic we decided torend our parts of textile.

PORT-TENT

FALL ‘15

LIGHT STRUCTURES

In our second model designed our textile parts again but in this model textile wasn’t part of construction element so we didn’t cut textile double and put bamboo between textiles because of new macroform.We decided textile small section shapes but this time textile seemed like a covering .It caused tent seem like a pattern .SO:

LECTURERS: FULYA ÖZİPEK | NUR GÜRBÜZ | TUĞRUL YAZAR PROJECT TEAM :Nilay Öztürk İpek Özsandıkçı İlkay Özen Simge Çil Berat Deniz Pınar Karakaş Beyza Emir Deniz Öztürk .

In this project they aspect us to improve collapsible system and heavy structures. This is a tent that is designed to be simple yet flexible and adaptable as a shelter to any nature area due to spending time.It can also be a temporary structure to cheap tent for people.The Port -Tent is not a structure that requires lot of man power or vehicle to be set up. This foldable tent can be set up with assembling/ disassem bling technic and build up easily.The Port-Tent is not limited to just oıne shape like other tents.Most tents requires a landscape to be flat,but the Port-Tent can be set up at an angled or uneven terrain,making it more relient shelter of choice.

Finally, we added new structure elements. It was a rope and our teacher wanted us add more rope.Thanks to rope we set upmore 3D pattern.We reached suıtable form for textile a nd using pattern design we add our shadow parts.


HOW TO DO UNIT | PYRAMIDS ?

DESCRITION OF THE MATERIALS 1 It shouldn’t be hard to fold.

LIGHT OF THE ICE FALL ‘15

NEW YEAR’S LANTERN LECTURERS:TUĞRUL YAZAR ALEV ERKMEN

PROJECT TEAM :Nilay Öztürk İpek Özsandıkçı İlkay Özen Simge Çil Berat Deniz Pınar Karakaş Beyza Emir Deniz Öztürk In this projects we desinged new year’s lanterns for the school campus .So, in this project chosing material and system substantiality were important .They should be durable for bad weather conditions. For the light structure we used folding methods and we tried to improve these methods by several experiences.Thus ,while we were triying our system we saw that the geometrical figures help us to complete our system.

FORM

2| 200 mıcron semi transparent acetate was used.

In the subject of growth preference should be done between lenght and width at same time growth is impossinle both in length and width the hexagon helps broaden of the project.When we made it rectangular the form spontaneously closes and the strenght of the forms reduces.The number of age of the polygons increases as many as you want.If the exterior square size of the project is hxh, the minimum size of the square used in interior project is (h-3) x ( h-3).

3| the productıon was assayed by craft and paper. 4|ıt can be thought as minimum 15x15.problems will happern if the minimum size is smaller. 5|ıf the size grows (more tahb 20) in order to consolidate rope is needed.


/tuulink/ XEAMÜL

FALL 2018

A DICTIONARY FOR ALTERNATIVE DESIGN INTERFACES LECTURES:DİLEK ÖZTÜRK |FİTNAT CİMŞİT KOŞ

Within the scope of our course, the topics of the workshop are Sensitive Interfaces, Spatialization of the Body, Performative City; We designed a dictionary in which natural, social and built environments are experienced and transformed into a new visual and linguistic expression.

noun

/fiShabi’tāSH n e

toolink

fishabitation situation

fish. noun habit. noun

a limbless cold-blooded vertebrate animal with gills and fins and living wholly in water. a settled or regular tendency or practice, especially one that is hard to give up.

habitation. noun

the state or process of living in a particular place.

The situation in which the bazaar affects the eating habits of the district ,organizes environment according to these influences.

// End of the fish’s smell at home thanks to by fishabitation!

nazlıcan.özçoban

tool. noun A device or implement, used to carry out a particular function. link. verb Make, form, or suggest a connection with or between.

A set of instrumental circumstances, which not only limits the location and time of an individual by connecting to itself but also provides freedom to connect other locations.

met a meet /metamit/ noun

meta.adjective Denoting a chance of position or condition.

//Do you consider toolink as an architect while you are designing your projects?

a.prefix Used when referring to someone or something for the first time in a text or conversation. meet. verb Come into the presence or company of (someone) by chance or arrangement.

nazlıcan.özçoban

Places where metamorphism and invisible spaces were discovered spontaneously. //Something which is under the met a meet scares me. nazlıcan.özçoban


SPECIESOFDAILYLIFE

I and my friend edanur cornered with great admiration for the great celebrity illastration pages we had followed and decided to open a page with inspiration from those sites. we started to create a collection suitable for our own language to create human and plant figures that we will use in our projects. We decided to share these drawings on this page. We aimed to develop ourselves further by taking different concepts in the past. For more : https://www.speciesofdailylife.com ınstagram :speciesofdailylife

NAZLI CAN ÖZÇOBAN EDANUR KÖŞELİ


MEALUSTRATOR

Thanks to the masterchef TV program I watched, I learned new dishes and started to produce my own recipes. I love cooking as much as I love cooking. I started to illustrate and share my own recipes with the support of those around me.


Profile for Nazlı Can Özçoban

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