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Architecture Portfolio Taner Keskin


Contents Resume Projects The Invisible Skyscraper A Sanctuary for All Merged Moderator The Site Theatre States of Music Market for Society Korean War Museum Run-p Others


Taner KESKİN Dodurga Mahallesi 5175. Cadde Hititpark Sitesi B Blok No:46 Çankaya/ Ankara | +90 506 307 3523 | keskintanerna@gmai.com | issuu.com/tanerkeskin1| Targets Learning much more about architecture Designing strong, utilitarian and aesthetic buildings Key Technical Skills (x/*****) Sketchbook Pro* Adobe Photoshop**** Adobe Illustrator** AutoCa*** Corona Renderer for 3ds Max** Sketch up*** 3ds Max*** Rhinoceros**** Revit Architecture** Adobe InDesign*** CorelDraw* Artcut* Summa WinPlot* LazyCam* Education 2013-2018 BA at TOBB University of Economics and Technology GPA 3.48/4.00 2009-2013 High School at TED Ankara College GPA 76.12/100 Personal Details Languages: Turkish (mother tongue) English- TOEFL IBT Score:62 (September 2013) German (learning process) Italian (intermediate) Date of Births: 26/03/1995 Sex: Male Nationality: Turkish


Internship & Experience July-August 2014, Guiding for Prospective Students at TOBB University of Economics and Technology Ankara (3.5 months) May-August 2016, Internship at TEGET – Architecture Firm Istanbul (3.5 months) January-April 2017, Internship at FREA – Architecture Firm Ankara (3.5 months) September-December 2017, Internship at Özdeş Kristal – Stained Glass Atelier Ankara 2015 CTBUH Design Competition: Resurgence of the Skyscrapercity Honorable Mention (International) CUHADAROGLU ALUMINUM Observatory Competition Participant BORNOVA CHILDREN’S WORLD National Architecture Competition (Professional) with Team Leader; Tolga HAZAN/Hazan Architecture Participant UIA- HYP CUP 2016 Design Competition: Architecture In Transformation Participant (International) KAIRA LOORO Design Competition Architecture for Senegal Participant (International) SITE THEATRE International Architecture Ideas Competition Participant (International) ÇANAKKALE MUNICIPALITY MARKET PLACE CAR PARK AND INNER CIRCLE National Architecture Competition Participant LÜLEBURGAZ MUNICIPALITY KOREAN WAR REMEMBRANCE CENTRE National Architecture Competition Participant KID’S FACTORY Young Architects Competition Finalist Mention (International) SUSTAINBUL IDEATHON World Cities Congress İstanbul’ 19 (As a design advisor) 2. Prize (National) Shelter for Street Animals (As an assistant constructor) with Tolga Hazan MATERIART (International Workshop) Intensive Program 1 ‘The Figure’TOBB University of Economics and Technology Ankara/ TURKEY Attendant -


Projects


THE INVISIBLE SKYSCRAPER The invisible skyscraper project is designed in an artificial hole in Eastern Siberia. Mirny Diamond Mine was available until 2004, but became inactive after this period of time. Therefore, the town of Mirny has lost its popularity and takes up a large space which is not available for society. These problems are solved by a skyscraper whose top level is placed at the ground level of the city. It is the continuation of the avenue. It means that street life is going on within the vertical plane. Building a skyscraper into the hole provides a strong communication with the city and a left-over space. Essentially, this blind pit is converted into a public area by the skyscraper. The building links the giant left-over hole back into the city and creates a new set of functions to this area. Additionally, the skyscraper cannot be seen by from the crowded city. It does not touch the silhouette of the town due to it being hidden.

CTBUH 2015 International Student Tall Building Design Competition Honorable Mention Location: Siberia Team: Adel GĂźrel, Rezzan Efil ErdoÄ&#x;an, Taner Keskin Instructor * Term: Tolga Hazan * Summer 2015 Jury Members: Moshe Safdie, Karl Finder, Fender Katsalidis Architects and Ron Klemencic, Simon Koster


1950

2004

2015

House Education Commercial 1950 House

2000

2050

Existing State

To strengthen the bound between the hole and Mirny, triple urban square design is thought for the first three levels from the ‘’top of the invisible skyscraper’’. Plans of these public floors are organized by taking references from the roads of Mirny and designed as the continuation of the main boulevard of the town. On the other hand, the entrance of the main square is planned with landscaping and floor organizations to strengthen the connection between the city and the pit. The vertical street is supported with horizontal and vertical circulations to enrich the continuing avenue idea. The idea of having a public domain in the skyscraper is supported by various public activities and public spaces.

Green

Activity

Education


1st Square Plan (Ground Level)

2nd Square Plan

3rd Square Plan

Tip Plan


The depth of the hole is about 0.6 miles and it has a width of 2.5 miles. The skyscraper is located according to the movement of the sun in order to benefit the lighting scheme of the building. Siberia has a consistent harsh climate during the whole year, therefore frosted glass is chosen for the material of the building to absorb the sun light most effectively. To ensure air ventilation and light reach the blind parts of the building, a space (sun gallery) is opened into the building from the top level. Geothermal energy is employed for the warming up and cooling down of the skyscraper. Ultimately, a sustainable, beneficial reverse skyscraper is created in a once unusable space.


A SANCTUARY FOR ALL A Sanctuary is designed in a gap which exists in a diversity in terms of population; there are houses, embassies, offices, cafes and etc. Therefore, the context- Çankaya, Ankara- consists of a good few outlanders and people from different ethnic origin who are living, working and enjoying with eachouther, but nowadays, relations between people of Turkey have begun to weaken. In order to prevent this demolition, architecture is able to say something. These people, one way or the other, live together, but when they die, people are buried in a place that is determined according to their own etnicity. ‘A Sanctuary For All’ is designed to ask that; can a combined -remembrance, praying and bruial- place gather the ‘different’ ones with using its toleration to death? Location: Ankara*Turkey Designer: Taner Keskin Instructor * Term: Emre Şavural, Fatih Yavuz, Ramazan Avcı * Spring 2016


Site Plan

+24.00

+8.00 +6.90 +3.60 -1.30

-11.30

Section AA

1st Floor Plan (+8.00)


praying/ memory rooms (at the top) & bruial places (at the bottom)

entrance from AtatĂźrk Boulevard & outside corridor

balconies & semi closed spaces for street animals

the slit & entrance to the Sanctuary from Tunus Street

railings that are constituted by flowers & revolving ramp

outside corridor & inside corridor


MERGED ‘’Since the awakening of religion, wars have been fought in the name of different gods and goddesses. Still today most violent conflicts contain religious elements linked up with ethno-national, inter-state, economic, territorial, cultural and other issues.’’ But religions/faiths instruct their believers to be kind with those of other faiths instead of damaging them. In the project place, Tanaf, the public consists of individuals who believe in different religions such as animism, Islam, Christianity. Even though there are a church and a mosque, these facilities are not suitable for use. The requirement of the project is designing a prayer place and we asked these questions for our design; Should a prayer place only serve to its own users? Can not all people in the village take advantage from the design?

Kaira Looro International Architecture Competition Sacred Architecture (2017) Participant Location: Senegal*Africa Team: Batuhan Çelebi, Yusuf Ertaş, Taner Keskin Jury Members: Kengo Kuma, Azzura Muzzonigro, Ko Nakamura, Agostino Ghirardelli, Pilar Diez Rodriguez, Rainer Kasik, Carmine Chiarelli, Rene Bouman, Angelo Ferrara, Sebastiano D’Urso, Ignazio Lutri, Walter Baricchi, Ibrahima Gomis


Site Plan

Publicness by Shadow


boat join detail

Roof Structure Gutter

air condition effect

Rope Canoe Section

detail of gathering water Floor

Structure

Foundation Car Tire

foundation detail


Religion has been approached as a unifying element rather than a discriminator. Worship places have been elevated 4 metres from the floor and located on the same level(Christian worship place is located to east and Muslim worship place is located to the Kaabeh) . This move has led the construction itself become a symbol for Tanaf without a need for an additional element such as a bell tower or a minaret. At the same time, this condition has protected the worship places from the effect of unfavourable physical factors which might have formed on the bottom base. The aim of separating the worship places from the base and collecting on the +4 level is creating a backdrop for the interaction of different religion believers. Even though the worship places are fragmental forms, has been thought as a whole.

Section aa

Section bb

Section cc

Eastern Elevation

Northern Elevation Plan (Âą 0.00) The pieces of the whole have been differentiated by light-lightness, full-empty constituted in the interior space and by the elements of their religion such as mihrab, pilgrimage. These architectural elements are not comprised of objects such as in conventional worship places but came into existence by differentiation of the ground surface .

Southern Elevation

The public space that we consisted of the 0 level has become defined by the shadow of the cover on it. This defined space has been transformed into a flexible place where all people can join in activities, such as celebrations, with each other without their religious identities. Western Elevation


Corridor


Plan (+ 4.00)


Animism Place of Worship

Christian Place of Worship

Muslim Place of Worship


MODERATOR Problem is to generate a makerspace which is located in Eskişehir, Turkey. The maker movement is a trend in which individuals or groups of individuals create and market products that are recreated and assembled using unused, discarded or broken electronic, plastic, silicon or virtually any raw material and/or product from a computer-related deviceand etc. Maker manifest describes this movement with the words ‘make and share’. In order to reflect the thought style (develop the existing one) of makers in a makerspace, the main idea is to protect the memory of the context. That building is located adjacently to the riverside of Eskişehir and the context includes dwelling units with a high rate, commercial units and also public units. That’s why, the Moderator consists of with these programs which existed here before it. In additon, the Moderator is designed by the principles of traditional Eskişehir houses whose ground floor is used for public programs and top floors are used for private programs. In brief, the Moderator is designed with existing issues to create something new, as makers.

Location: Eskişehir*Turkey Designer: Taner Keskin Instructors*Term: Aslı Özbek, Nihat Eyce* Summer 2017


Site Plan Existing Situation

Suggestion for Mass

Existing Programs Dwelling& Commercial Mass& Program Dwelling, Makerspace and Commercial Existing Transportation to Porsuk River Suggestion for Transportation to Porsuk River Urban Showcase

Production& Exhiition


Plan (±0.00)

Plan (+4.00)

Plan (+12.00)

Plan (+16.00)

Plan (+8.00)

Plan (-3.00)


Section AA

Section BB

Section DD

Section EE


THE SITE THEATRE “All the world’s a stage, And all the men and women merely players” Baleal/Peniche is a small village with its remarkable nature. The strong rocks of the striking landscape and the outstanding ruins of the history come together in an impressive composition. Normally, theatre is a type of performing arts that actors and actresses present their play to the audience in a specific isolated place. The area of performers and audience are strictly defined by a directed stage. However, for a site theatre, that definition loses its validity. The site theatre is a place to engage with the context. Is designing a stable and very oriented site theatre could be a proper solution for the enchanting, unpredictable and unstable nature of The Baleal Fortress? Is it possible to let the context (wild rocks, tired ruins, huge waves, dusty paths, whispering winds, picturesque village) become the stage itself?

Site Theatre International Architecture Ideas Competition*ARKXSITE (2017) Participant Location: Baleal*Portugal Team: Batuhan Çelebi, Gülsün Ecem Durukan, Taner Keskin Jury Members: Lisa Ekstrom+ Erik Gardell, Juan Antonio+ Paloma Baquero Masats, Luciano Kruk


1. Ruins 2. Pombas Island 3. Atlantic Ocean 4. Baleal PeninsulaBaleal FortressS. Estevao Church 5. Nossa Senhora da Luz FortressPapua Batteries Atlantic Ocean

Site Plan

0

25

50

The Concept Yes, it is. The idea focuses on turning nature into a scene for performers and audiences. Therefore, the all environment is accepted as the stage. And all elements and relationships are reorganised. The Intervention The audience grows into the only stable element on the new theatre comprehension. The scene has a flexibility to become everywhere, on the other hand, the audience has a very constant place to be located. There is no seating plan for the audiences, with the thought that providing free choices to the audience. The seating is made of the semipermeable pneumatic system. The design offers a stage which is directing nowhere. It is placed in a specific location which provides the best capability for observing the context. The programs are designed as a solid mass located under the audience area on –4.40 m level. The mass is directed to Nossa Senhora da Luz Fortress and ocean waves to provide a fascinating panorama. Exeunt


orientation of the mass according to Nossa Senhora da Luz Fortress


1. Entrance 2. Storage 3. Designing area w/ private rooms 4.Restrooms 5. Kitchen 6. Terrace 7. Cafe

Section AA


STATES OF MUSIC

On behalf of the development of Republic of Turkey, one of the most important tools was establishing sugar factories - that are the main characters for cultural and industrial heritage - for mass production. These factories are not only spaces to produce sugar, they are also models which constitute modern society of Turkey because of being semi closed social complexes themselves. This point of view is supported by the programs (in a sugar factory) that are not familiar with the society. Transformation of Ankara Etimesgut Sugar Factory into a Music School generates a great potential in terms of different spatial scenarios and daily life experiences of urban life. ‘‘Popular resistance will need a different spatial connection typology. As de Certeau’s description, this is a ’tactical’ method and invites the ’sneaky’ one: to stand against the force and domination, ‘concordance’ process is the best solution according to him. It is hard to resist the force and legality of hegemon, therefore, concordance is unsettled, unreliable and not depend on time but it’s an effective way and establishes a contradictory mechanism during the existence and perception of urban space. It binds a connection between the old one and the new one without destroying one of them.’’

Location: Ankara*Turkey Team: Batuhan Çelebi, Gülsün Ecem Durukan, Taner Keskin Instructors*Term: Nur Çağlar, Burçin Sönmez, Zelal Öztoprak*Spring 2018*Diploma


Sugar Production

Music Production

Existing Situation

Suggested Situation


The meeting between music and audience is discussed during design process of Music School. As a result of discussion, it is observed that audience interacts with only the outcome of music (concert, album,etc.). However, music does not only consist of performance (outcome), it is constituted by lots of phases such as instrument production, arrangement, rehaearsel and etc. Establisihing a contact with all phases over users is intended. In order to realise these notions, the whole design is thought as scene/ stage.

Section ZZ

Section EE

Ground Level Plan


Section BB

Section CC

Section DD


yoga/capoeira

rehearsal in old factory food &beverage

sunbath

rehearsal

mini concert

relaxation

wedding

restaurant with music

instrument production

concert

festival/ bazaar


First Floor Plan

Second Floor Plan


MERKET FOR SOCIETY How to place or design the car park which is requested by Municipality of Çanakkale is one of the starting points of ‘Market For Society’. Principles of design are questioning that in which way blocks of car park and market need to gather by paying regard to invasion of automobiles. Placing car park block under the ground level is not a sufficient solution to protect the identity of a street. In order to constitute a strong connection between the market units and car park, mass of the car park is designed in several/ different elevations.At the same time, fictionalising the parking area at the top levels and also demonstrating it to the citizens ensure a confrontation between people and the building which is designed as a layer of urban/ street process.Therfore, the design itself transforms into the urban process.

Çanakkale Municipality Market Place and Inner Circle (2018) Participant Location: Çanakkale*Turkey Team: Batuhan Çelebi, Burçin Sönmez, Nazlı Ebru Mutlu, Selçuk Yılmaz, Yusuf Ertaş, Taner Keskin Jury Members: Emre Aysu, Hasan Ömer Korman, Yasemen Say Özer, Tankut Balkır, Ali Emrah Ünlü


Site Plan

Traditional Market

Existing Market

Suggested Market


Plan (±0.00)

Section CC


commercial-building

service

car park-market

bike parking

Plan (-3.50)

Section BB

Section AA


Plan (+3.50)


Plan (+7.00)


Plan (+10.50)


Plan (-7.00)


Road Network

Existing Green

Suggestion


KOREAN WAR MUSEUM Starting point of this project is to demonstrate and question faces of war (prewar, postwar and also war itself). Beneath the discussion of designing Korean War Commemoration Centre,aim is to constitute spatial scenarios and interpretations about different faces of the war in today’s world. In order to express the opinion of war’s faces, two different attitudes are shown in landscape design. Museum block that seperates the context physically is also organizes the landscaping. Notion of abandonment which belongs to prewar and also notion of friendship- between Turkey and South Korea -that belongs to postwar are incorporated into design’s fiction. The walls - carries the main transportation tools of museum,ramps - that organize all of programs and the inbetween space that is located between them, create both tension and togetherness.One face of the walls are designed transparently, that’s why, landscaping can be perceived from the indoor. Exhibiton continues parallelly with the ramps inside of these walls. Therefore, circulation of museum is combined with the main idea and structure itself.

Lüleburgaz Municipality Korean War Remembrance Centre (2018-2019) Participant Location: Çanakkale*Turkey Team: Başak Yurtseven, Begüm Aksu, Berk Mutlu, Yusuf Ertaş, Taner Keskin Jury Members: Aydan Balamir, Ayşen Savaş, Feride Önal, Boğaçhan Dündaralp, Yıldırım Gigi, Sunay Erdem, Erdinç Keskin


Site Plan


Ground Floor Plan


First Floor Plan

Section AA

Section BB


Basement Floor Plan

Section CC


RUN-P Playing is important for everyone of all ages, since life transforms and takes meaning with games. For children playing means more than just fun. Children grow, discover the world around them and adapts themselves to that world. Game is a way of communication for them. With it they manage to cope with distressful situations. Child creates mises-en-scène in the playground to reflect the life that awaits and finds ways to overcome these situations. A route is designed which is aimed to avoid conventional space division and circulation and put both these objectives in one element. Required programs are defined in and around the route where a child can run and play and experience childhood this way the route becomes another tool of game process. The route maximises this game process and it integrates with the existing spaces of the factory. The vertical axis movement of the ramp-route, with ascension and descension creates passages and closed spaces, also serves the unpredictable nature of playground and doesn’t limit it to singular dimension.

Young Architects Competition- Kid’s Factory (2018-2019) Finalist Mention Location: Laveno Mombello*Italy Team: Begüm Aksu, Berk Mutlu, Yusuf Ertaş, Taner Keskin Jury Members: Ben van Berkel, Stefano Boeri, Mario Cucinella, Arne Emerson, Giuseppe Lobalsamo, Emmanuelle Moureaux, Keiichiro Sako, Luca Varesi, Peter Wilson


The spaces and walls obtained by scaling up and down two-dimensional curves after all. This curve is far from being parallel. This movement of the curve gives the route an interesting property, it’s impossible to conceive the factory as a whole at once. With this property the factory also gains rediscoverability every time it is experienced. Discovery aspect is hardly lost in this scheme. Flow between spaces become a game of it’s own. Instead of having standardised “game rooms” having a route that encourages to move and improvise the games to be played was considered to be a vital part of this design. It also doesn’t give us a firm line between inout and open-closed spaces, which gives the idea that game continues whenever and wherever.


1. museum/ entrance 2. ball pit/ 3. kitchen/ cafe 4. climbin hill 5. swimming pool 6. sports area 7. gymnastics 8. dance studio

9. fencing hall 10. changing room 11. sports area 12. library 13. classrooms 14. research centre 15. labs 16. workshop area 17. pet centre


Others


ISTANBUL SKETCHES

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LOGO DESIGNS

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BODY CONSTRUCTION


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