haticeoz | becoming an architect | TEDUARCH | theVoidMag
3 December 2017 3 December 2017 / HaticeOz	/ Leave a comment
Last week, 15. In the neighboring activity of the Istanbul Biennial, the Museum Evliyagil, I found the opportunity to participate in exhibitions with basic concepts such as “home, neighbor, property”. There were interesting details and works at the show. One of the most impressive for me was the portraits of person who were carved from a tree root, which was quite old. The face of man consisted of the roots of the tree. The detail to be mentioned here is “being made from a place of residence”. Another interesting work was a cuckoo clock. It was a rope made from time to time, with handkerchiefs to escape. Those hanging handkerchiefs had indicated the desire to escape from the house where the cuckoo had to be trapped. It was meant to be talked about forced ownership, that is, the cuckoo was forced to be imprisoned. Another study was the statue of the landmark of the lieutenants’ park. In this room, both the sculpture and the story were sheltered. This was the original pattern of the statue that was stolen with unknown reasons for the past few months. The reconstruction is planned using this original pattern.
Panoramic Views of OSTIM
20 November 2017 20 November 2017 / HaticeOz	/ Leave a comment
In the process of documenting the information and data on the site, the examination of the panoramic views and the preparation of the use were given to us as Poche Architects. These are the end products of our work.
16 November 2017 16 November 2017 / HaticeOz	/ Leave a comment
Edebiyat ve Mimarlık
Edebiyatın ve mimarlığın benzer özellikleri olduğu gibi birlikte çift yönlü bir iletişim ve etkileşim halinde ortaya çıkardıkları ürünler de söz konusudur. CerModern’de yapılan “Edebiyatta Mimarlık” adlı kitabın söyleşisine katılma fırsatı yakalamıştım. Orada edindiğim bilgiler ışığında ve kendi fikirlerimle edebiyat ve mimarlık hakkında ufak bir ürün sunmak istiyorum. İlk olarak “yapı/strüktür” konusuna değineceğim. Mimarlık için yapı, temelde, sıfırdan yeni bir ürün tasarlamaktır / inşa etmektir. Bu ürünün tasarım sürecinde, yani yapıyı oluştururken, elimizde ve zihnimizde sürekli uğraştığımız bir tasarım problemi vardır. Yapının temellerini oluştururken, tasarım süreci boyunca bu problemi çözmeye çalışırız. Bu tasarım problemini düşünürken birtakım araştırmalar yaparız, referanslar kullanırız, oluşturacağımız yapıya uygun senaryolar kurgularız, kendimizce karakterler oluştururuz ve bu karakterlere bir deneyim çeşitliliği sunarız. Bu eleştirel süreçte parçaların bir bütünü nasıl oluşturduğunu ya da bir bütünü parçalardan nasıl anladığımızdır asıl mesele. Ufak ufak taşlardan kocaman bir strüktür oluşturabiliriz ya da bu bütünün bu ufak taşlardan nasıl meydana geldiğini sorgulayabiliriz. Burada bütünden kastettiğim şey koca bir kent de olabilir tek başına duran bir duvar da. Ölçek farkı gözetmeksizin, mimari disiplin her ikisi için de aynı sorumluluğu ister. Edebiyata geldiğimizde, bir eseri oluştururken ilk olarak harflerden başlarız ve hedefimiz parçalardan oluştuğunu görebileceğimiz bir bütün yaratmaktır ve oluşturacağımız bütüne bakarak parçaları görebilmektir. Tıpkı mimarlıkta da olduğu gibi, tasarım problemimiz sıfırdan bir eserin bir araya gelişin düzenidir. Yani, ikisi için de farklı ölçülerde yaratı söz konusudur. Örneğin bir romanda, bir senaryo vardır ve bu senaryonun deneyimlerini okuyucuya aktarmak için oluşturulan ana karakterler ve tipler vardır. Yani ortada bir hikâye söz konusudur. Hikâye ve mimarlık… Neden bir binanın hikayesi olmasın? Kurgu ve senaryo edebiyatta olduğu kadar mimarlıkta da oldukça önemlidir. Söyleşide konuklardan biri ve aynı zamanda ODTÜ Mimarlık Fakültesi Öğretim Görevlisi olan Celal Abdi Güzer, mimarlıkta bir yapıyı obje / nesne haline getirmeden hikayesiyle, içinde olanlarla yorumlarız demişti. Bu cümleyi kendime göre şöyle yorumluyorum; bir yapının neye ihtiyacı olduğunu ve bu ihtiyacın nedenini sorgulamak aslında bize yapının hikayesinden parçaları okumamızı sağlar. Bu nedenler ve nasıllar bizi parçadan bütüne yani yapının hikayesine götürür. Ve bu sürece bütünden yani hikayesinden baktığımızda da parçalar gözümüze batmaz ve hikayeyi okumamıza yardımcı olurlar. Ayrıca bu hikayelerle ve senaryolarla hayatın birçok alanına değinme gücüne sahip iki sanat dalı da. Örneğin bir roman okuduğumuzda hayata başka insanların gözünden bakma fırsatı bulabiliriz. Yazarın romandaki bir karakteri romanın bir parçası yaparkenki amacını sorgulayabilir ve nedenini bütüne bakarak anlayabiliriz. Mimarlıkta da zaman zaman aynı sorgulama yöntemiyle cevaba gittiğimiz olur. Mimarlıkta ve edebiyatta karakterlerimiz olabilir ve bu karakterler bize bir şeyler anlatmalıdır. Hikaye, senaryo bu anlatılanların toplamıdır; bütünüdür. Bu nedenle bir yapının hikayesi olması önemlidir. Bize bir şeyler anlatması bizim onu bir bütün olarak anlamamıza ve mimarın bu eseri tasarlarken geliştirdiği düşüncelerini okumamıza yardımcı olur. Yani benim burada düşündüğüm şey, mimarlığı edebiyatla ilişkilendirmek aslında bize hiç tanışma fırsatımız olmayan ve bizden daha önceki dönemlerde yaşamış olan öncü mimarlar arasında bir diyalog oluşturmasına yardımcı olur. Tüm bunların yanı sıra, bu öncü mimarların birçoğu aynı zamanda edebiyatla da ilgilenmiştir. <<Mimar ve yazar olan Matteo Pericoli, Turin İtalya’daki Scuola Holden ve New York Amerika’daki Colombia Üniversitesi Sanat Okulu’nda yazarlık programında yazar adaylarını mimarlık öğrencileriyle bir araya getirerek edebi metinleri mimari mekânlara dönüştürmeleri için çalıştırmıştır. Amaç bir “boşluk” etrafına tasarım yapan mimarlık kültürünün yazar adaylarının zihninde yeni bakış açıları getirmesidir(1).>> Mimarlığın ya da edebiyatın tarihine baktığımızda bunun gibi örnekleri görmemiz oldukça mümkün. Yani, mimarlık ve edebiyat tarih boyunca etkileşim halinde olmuştur ve olmaya da devam etmektedir. Bunların yanı sıra, naçizane tavsiye olarak yine yazımın başında bahsettiğim CerModern’de yapılan söyleşinin teması ve “Edebiyatta Mimarlık” adlı Nevnihal Erdoğan ve Hikmet Temel Akarsu çalışmasının ürünü olan kitabı okuyabilirsiniz.
Referans : XXI Dergisi, Hacıömeroğlu N., Mimarlığın Edebiyatla İşi, Şubat 2017
14 November 2017 14 November 2017 / HaticeOz	/ Leave a comment
Our first analyze in the site, there is a monotonous life in Ostim, there were just car parking areas, shop and market areas and human profile working areas such as industrial areas of Ostim. Also, socializing areas are so limited in the near of our site. While we analyzing the site, we focus on the green areas and use of the green areas in Ostim, residential area and high-voltage line which very close to our site. Then, we researched and documented the percentage of the green areas in larger scale, especially in industrial areas, in further steps they focused on green areas of threshold and the inner cycle of our site area and their relation. According to this analysis, we divided green areas into active and passive based on relation and usage of areas especially, recreation. In residential part, the percentage of the green area increasing so these green areas were called as active green zones. However, in industrial areas, percentage of green areas decrease and also in residential part and industrial part usage of green are changed, activity of industrial part green areas is sitting or resting, users do not sport or active recreation in these green areas, also industrial workers used green areas as a storage so we called these green areas as passive green zone. They analyze also high tension line green areas and these green areas also were called as the passive green zone. We aim to get structure and green space together by going out from the green patterns which are near to our site we called interlace. Our strategy is the use of green spaces are not limited to solved only the ground level but also into the structures to form a network. This green area network when entering units, causes these units to rotate in order to make them even more usable upper levels, and the level of privacy also changes according to the user profile. About our program, we’ll organize our project according to the recreation which is active and passive. We also related our scale issue ‘1-year duration’, the 1-year duration cames from our user profile which is defined R&d Center Workers, Industrial Workers, and Officers. When, we listed their activity patterns in their duration scale, for example, when a user who has the 1-year duration in his/her living space he/she is generally listed as the passive relation. We focused on R&D Center workers which, because of their project testing process, they stay in Ostim in one year, after the project finished, they go back their homes. When we divided the workers in this condition, 1-year staying workers which are doctors, R&D Center workers, teachers, İstanbul Firms’ workers more than 1-year staying workers which are local workers in Ostim, Industrial workers, Officers and R&D Center workers. These local workers, in most of their times, we know each other and they spend time together, with also their family. Then, we analyzed their user profile relations with their dwellings. For example, industry worker with family is the local user of Ostim, they had bigger kitchen and living space. Also, we analyze this users relation with green areas. Therefore, users communication, we suggested that common green areas, between units they injected green areas. In our proposal, there was a private garden for industrial workers. Then, the , neighbor issue is one of our concern in our design. Variation of use of green areas affects the neighborhood issue so, when they work in the same area, same things are sharing, sharing is important in our design, 1-year duration affected the neighborhood condition, One-year staying worker maybe do not want to be share something, they may not need a neighborhood. Ownership and renting are other conditions that affect the neighborhood. Green spaces for controlling neighborhood effect, this green space are also sharing space.
15th Istanbul Biennial “a good neighbour”
12 November 2017 13 November 2017 / HaticeOz	/ Leave a comment
The Istanbul Biennial of this year (15th) was in the neighborhood from “how should a good neighbor be”. “Who is a good neighbor?” This biennial, which is often prefaced to the question, makes us think about neighborhood and exchange. I would like to say that I would say that based on my research on neighboring in Turkey I can say that neighborhood and architecture are directly related to each other and at the same time they both affect daily life and daily life. Over time, architectural change directly affects the neighborhood. For example, as people’s living quarters approach their physical proximity, starting from the door neighbor, people are beginning to see themselves moving away from each other. Differences brought about by physical proximity.
It’s obvious that your neighbor has changed into the person you are. For example, a good neighbor can do something with a good neighbor forever while a good neighbor does not bother me for me. So we can bring a lot of discussion on this “good neighbor” promise. On the other hand, during the exhibition, I noticed that neighborhood is not only a physical or relational situation that exists only among people. A table can already be a table neighbor. They can communicate with each other. In fact, you do not have this word on the basis of your neighbor “dialogue”.
Among architectural works, even among people and even between tables; dialogue. Maybe it was the best result for me, from the biennial. Dialogues and neighborhoods of people, the dialect of architectural elements and neighborhood.
29 October 2017 29 October 2017 / HaticeOz	/ 1 Comment
I participated in the workshop of TED University, Middle East Technical University and the Chamber of Urban Planners of the TMMOB during the 21-22 October, Cinnah19 / Mimarlar Derneği 1927 (Architecture of Partnership). The first day of the workshop started with the presentation of Umut ŞUMNU, one of the important old buildings of Ankara, who is the lecturer of Başkent University Faculty of Architecture. This presentation; İkramiye Houses, Subayevleri Houses, Cinnah19, Cinnah22, İlbank Blocks and Hayat Apartmanı. After the presentation, Umut ŞUMNU together with Cinnah19, Cinnah22, Hayat Apartmanı and İlbank Blocks, visited and photographed and made sketches and documented our impressions. We then returned to Cinnah19 and argued over the data we collected for the collage work we would do the next day. The foundation of collage work was “KORUMA”. We wanted to protect the way we wanted, and ask “What if?” Questions. I and my group of friends thought, “What if Cinnah Street was overshadowed by the use of pedestrians?” And we came up with the following question: “What if the streets are out of the ground?” By asking for these “what if?” The streets can infiltrate into the structures, we thought. That’s how I got my collages. The collages we made are exhibited at TED University – KORUMA SEMPOZYUM. I will be able to say; this process was a very pleasant process.
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