Miniature-Axonometric Technique Representation of the Site and Project
Project Description
Located in the seafront of Kadıköy, one of the most important cultural centres of Istanbul, project aims to utilise the program of ‘center for performing arts’ as a cultural accelerator and a new possibility to redefine connections between sea and city.
Located in the seafront of Kadıköy, one of the most important cultural centres of Istanbul, project aims to utilise the program of ‘center for performing arts’ as a cultural accelerator and a new possibility to redefine connections between sea and city.
Project Information
Location : İstanbul / Turkey
Recognition : 1.st Prize, Archiprix Turkey 2014. ITU Best Graduation Project of Year (Equal Award). HPP Foundation Travel Prize.
Publications : Bauwelt, Arkitera, XXI, Drawing Futures Book
Architectural Design : Oğul Öztunç
Instructors : Aru Erdem, Aslıhan Şenel, Deniz Aslan, Emre Altürk, Hüseyin Kahvecioğlu, Şebnem Şoher
Consultant : Oruç Çakmaklı
Recognition : 1.st Prize, Archiprix Turkey 2014. ITU Best Graduation Project of Year (Equal Award). HPP Foundation Travel Prize.
Publications : Bauwelt, Arkitera, XXI, Drawing Futures Book
Architectural Design : Oğul Öztunç
Instructors : Aru Erdem, Aslıhan Şenel, Deniz Aslan, Emre Altürk, Hüseyin Kahvecioğlu, Şebnem Şoher
Consultant : Oruç Çakmaklı
Radial-Animative Section of Site Exploring Circular Urban Space
Board with Concepts as Idiosyncratic Approach to Initiation of Project
Manifestal Positions of Project by Nine-Questions
Drawing Experiment for Manifolding Ideas on Random Possibilites of Public Performance Stages
A Text on Project's Approach to 'Interpretation of Drawing Techniques' is published in Drawing Futures Book and Exhibited by UCL Bartlett, London - UK. (find here)
Exploded-Axonometric Technique Drawing, Showing Structural & Spatial Components of Main Stage
Drawing Experiment for Manifolding Ideas on Random Possibilites of Public Performance Stages
Short Animated Teaser of the Project on Concepts & Approach to Site
Detailed Information
I. On Kadıköy
The urban organization of Kadıköy is observed in two main layers. The ‘inner city’ layer which defines the inner pattern of connections and the ‘seafront layer’ which defines relationship with the sea, pedes- trian movements in the shore and transportation.
II. Adding a new layer to city
At this point, project proposes a third main layer to reorganize and accommodate;
-better connection between inner kadıköy and seafront
-redefinition of relationship with the sea
-describing a new ground movement trough characterizing the radial perception of the city scape. The new performance center of Kadıköy is structurally and programmatically teared apart and its fragments are defined with and within the city.
III. On some problemmatic issues
-Transportation stops that occupy a very large area in seafront in a chaotic way
-Buildings that are disfunctioned for years that block possible connections
-The Conservatory that never relates with its context or pedestrians
-Huge car park spaces that divides public space into pieces and defines non-passable routes.
Those problems are not understood as issues that is going to be expelled from city with deconstructions or with rant projects. To enrich public life, designing trough their deficiencies and to refunctioning them is proposed.
IV. On water as boundary and being in the sea
Like all of İstanbul’s seafront settlements, the problem of relating with water becomes an issue in Kadıköy. To experience city in a vehicle -in motion- (as a way of modernities transformations) clearly changed Kadıköy’s relation with the sea eternally. A concretized ground layer added in all the seafront of Istanbul for that reason. This new layer destroyed the relationship between city and the sea. But it also came with a potential of a more democratic, more public relation with sea by defining a new ground. Proposal aims to use this potential to create more dynamic, transparent, flexible and variable city segments."
The urban organization of Kadıköy is observed in two main layers. The ‘inner city’ layer which defines the inner pattern of connections and the ‘seafront layer’ which defines relationship with the sea, pedes- trian movements in the shore and transportation.
II. Adding a new layer to city
At this point, project proposes a third main layer to reorganize and accommodate;
-better connection between inner kadıköy and seafront
-redefinition of relationship with the sea
-describing a new ground movement trough characterizing the radial perception of the city scape. The new performance center of Kadıköy is structurally and programmatically teared apart and its fragments are defined with and within the city.
III. On some problemmatic issues
-Transportation stops that occupy a very large area in seafront in a chaotic way
-Buildings that are disfunctioned for years that block possible connections
-The Conservatory that never relates with its context or pedestrians
-Huge car park spaces that divides public space into pieces and defines non-passable routes.
Those problems are not understood as issues that is going to be expelled from city with deconstructions or with rant projects. To enrich public life, designing trough their deficiencies and to refunctioning them is proposed.
IV. On water as boundary and being in the sea
Like all of İstanbul’s seafront settlements, the problem of relating with water becomes an issue in Kadıköy. To experience city in a vehicle -in motion- (as a way of modernities transformations) clearly changed Kadıköy’s relation with the sea eternally. A concretized ground layer added in all the seafront of Istanbul for that reason. This new layer destroyed the relationship between city and the sea. But it also came with a potential of a more democratic, more public relation with sea by defining a new ground. Proposal aims to use this potential to create more dynamic, transparent, flexible and variable city segments."
V. On Performance Arts and Spatiality
Performance creates a new reality situation for the spectator. Traditionally this creation is made by decorating the stage in many forms in the purpose of making an illusion of space. Today a person whose life is endowed with endless virtualily, experiences this in every moment. In cinema, while wathing television or in front of a computer screen; this side-reality is always experienced. But in performance art, different from artificial reality a new kind of concept arises; the perception of real artificiality. Todays performance art is shaped with that perception. Spectator may be placed in - front - outside, stage takes exraordinary shapes of imaginary spaces, performance could be defined in many ways like expressions of senses, virtual spaces, play spaces, installations, space of nothing,..
Scenario
The performance center designed for Kadıköy includes fixed and dynamic building parts. Those building parts are composed with a fragmented program and located in different critical positions in the seafront. Fixed parts aim to relate with consisting connections in context with urban elements. Dynamic parts aim to transform city into a stage usign the program of performance and compose an open air musem of performance in the seafront. Fixed structures tries to relate with the sea and use it as its main element.
Proposal consists of; main performance buildings, an atelier and a new layer of performance created by planting hundreds of seapoles into seafront. All those are programatically based on using floating stages as a performance stage. Anybody who wants to perform a performance and need a space can use those stages. ‘Performance’ defined very widely here, it could be ‘a protesto show’ or a ‘spatial experiment’, ‘a playscape’ or a ‘traditional theathre play’ or could be anything performer(s) visions. Potential performer comes to the atelier and design his/her stage there with professionals and construct it with the equipments. Later, this stage gets launched in the water and gets in its place in the seafront carried with a boat. When performance is over it gets recycled and an other stage comes to its place.
Performance creates a new reality situation for the spectator. Traditionally this creation is made by decorating the stage in many forms in the purpose of making an illusion of space. Today a person whose life is endowed with endless virtualily, experiences this in every moment. In cinema, while wathing television or in front of a computer screen; this side-reality is always experienced. But in performance art, different from artificial reality a new kind of concept arises; the perception of real artificiality. Todays performance art is shaped with that perception. Spectator may be placed in - front - outside, stage takes exraordinary shapes of imaginary spaces, performance could be defined in many ways like expressions of senses, virtual spaces, play spaces, installations, space of nothing,..
Scenario
The performance center designed for Kadıköy includes fixed and dynamic building parts. Those building parts are composed with a fragmented program and located in different critical positions in the seafront. Fixed parts aim to relate with consisting connections in context with urban elements. Dynamic parts aim to transform city into a stage usign the program of performance and compose an open air musem of performance in the seafront. Fixed structures tries to relate with the sea and use it as its main element.
Proposal consists of; main performance buildings, an atelier and a new layer of performance created by planting hundreds of seapoles into seafront. All those are programatically based on using floating stages as a performance stage. Anybody who wants to perform a performance and need a space can use those stages. ‘Performance’ defined very widely here, it could be ‘a protesto show’ or a ‘spatial experiment’, ‘a playscape’ or a ‘traditional theathre play’ or could be anything performer(s) visions. Potential performer comes to the atelier and design his/her stage there with professionals and construct it with the equipments. Later, this stage gets launched in the water and gets in its place in the seafront carried with a boat. When performance is over it gets recycled and an other stage comes to its place.