OHO Architecture Publication JUNE, 2015 / VOLUME 1 / ISSUE 1

Copyright. Alrights reserved.

BE Peter Eisenman and

His Architecture

YOND Bernard Tschumi and

His Architecture

ARCH Daniel Libeskind and

His Architecture

ITEC Rem Koolhaas and

His Architecture

TURE
An Architectural Theory Magazine
Gozde Damla Turhan
and Her Architecture
BEYOND ARCHITECTURE
MAGAZINE BY OHO
SPRING 2015 ISSUE 1

Publisher______________________
OHO Architecture Ltd. Şti.

OHO Editorial Team______________

Gözde Damla TURHAN
Mehmet Sadık AKSU

Translation and re-write___________

Gözde Damla TURHAN

Photo Editors____________________
Gözde Damla TURHAN

Art direction and design____________

OHO Architecture
www.ohoarchitecture.com

Cover and inside front cover design___

OHO Architecture
www.ohoarchitecture.com

Website______________________
www.ohoarchitecture.com

E-mail________________________
info@ohoarchitecture.com

Print run________________________
1000 copies

ISSN: 1992-2610

The views expressed in articles

appearing in Beyond Architecture are
those of the authors and not
necessarily shared by the Publisher.

2015 OHO Architecture.

OHO and OHO logo are registered
trademarks used under licence by the
OHO Architecture.
o
Page | 1

OHO ARCHITECTURE

OHO Architecture was

established by M.Arch. Gözde
Damla Turhan in İzmir, Turkey in
June, 2015.

M.Arch. Gözde Damla Turhan

was born in Manisa, Turkey,
1992. She came to İzmir to study
architecture. After she graduated
from Izmir University of
Economics, she got her bachelor
degree in architecture in 2014. In
the same year, she started to
study two master degrees in the
same university; Master of
Architecture (2014-…) and
Master in Advanced
Architectural Design (2014-
2015).

She worked as an architect in

different offices and then she
established her own office: OHO
Architecture.

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

p
Page | 2

PROVERB
Beyond Architecture Magazine
aims to bring people in theory
of architecture. Since the
partners of the publisher
company studied on theory
and they practiced architecture
for years, they believe that
without theory, you cannot
ground your approach and
then your design means
nothing at all. In order to gain
knowledge about different
architects from different eras
and scholars, follow us!

In this issue, we will review

contemporary starchitects.

We wish you a pleasant read of

Beyond Architecture.

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

c
Page | 3

CONTENTS
SPRING 2015 – ISSUE 1

OHO ARCHITECTURE_________1
PROVERB__________________2
CONTENTS_________________3

___________________________

PETER EISENMAN___________4
___________________________

BERNARD TSCHUMI_________7
___________________________

DANIEL LIBESKIND__________12
___________________________

REM KOOLHAAS____________17
___________________________

GOZDE DAMLA TURHAN_____23

___________________________

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

e
PETER EISENMAN
1932-…
http://eisenmansminions.tumblr.com/
Peter Eisenman is an architect
from United States of America.
He is also a significant
theoritician and he is one of
the pioneers of
deconstructivism movement in
architecture.
Eisenman studied at Columbia
High School which is located in
New Jersey. He moved into
studying architecture school as
an undergraduate at Cornell
University. After he graduated
from Cornell University, he
studied for masters degree at
Columbia University in the
program of Architecture,
Planning and Preservation.
Eisenman took his Ph.D. from
University of Cambridge. In
addition, he was given an
honorary degree from Syracuse
University School of
Architecture in 2007.
BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1
Page | 4
Peter Eisenman and other four
architects became members of
New York Five (also known as
Whites) and later each of them
developed their own style.
Therefore, he became affiliated
with Deconstructivism.
Although Eisenman never used
the term «deconstructivism» in
any of his articles, books or
works, his works are referred
to as formalist, deconstructive,
late avant-garde, late or high
modernist.
Moreover, he is influenced by
the post-structuralist thinker
Jacques Derrida.
In terms of his writings, he
makes comparative formal
analyses through emancipation
and autonomization of the
discipline. His focus is on
liberating architectural form
from any possible meaning.
 e
Page | 5

https://www.pinterest.com/pin/528258231264500624/
PETER EISENMAN
Post-functionalism

In pre-industrial ages, there was

an obsession of form which
represents and signifies
something other than
architecture itself.

Eisenman argues humanism

concept in terms of architecture
and he claims that humanism is
based on both theme (form) and
program (function).

He compares two significant

exhibitions which are
http://www.mascontext.com/tag/peter-eisenman/

“Architerrura Razional and

“Ecole des Beaux Arts”. Each of
the exhibitions have a different
approach of form and function
(type and function).

In 20th century the architects

started to perceive the design as
“form follows function.”.
According to him, the problem
was not based on the function,
it was a total modernist
sensibility because modernism
broke the relationship of form
and function in terms of culture.
http://www.thecityreview.com/archnowv4.html

In contrast, Eisenman claims

that the post functionalism is a
critique of both modernist and
humanist approach of form and
function because it can be
defined by the absence.
__________________________
Eisenman, Peter. Post-
Functionalism’, pp. 234-239, in
K. Michael Hays (ed.)
Architecture Theory Since 1968.
BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1
 e
Page | 6

PETER EISENMAN

https://www.pinterest.com/pin/520095456940993830/
Cannaregio Project

There are no identifiable

objects; they are seem like
“repetitions” in the drawings so
there is a figure-ground
relationship which makes us
realize that the site is signifier
and the blocks are signified. In
fact, the drawing itself is the
signifier and the presence of
absence of the blocks are
signified. Therefore, this makes
the blocks detached from its
context.
http://mariacosentino.altervista.org/terzo%20ciclo.html

Eisenman advocates that once a

sign gets repeated, then the
reality starts to represent its
own dead so there is no
difference between reality and
representation. There is only
fiction.

Fragmentation of the forms can

be evaluated as fragmentation
of the time. In other words,
“signified repetitive architectural
object” should be timeless; no
beginning point, no historical
starting point and no direction.
evolution-architecture-syntax-and-new-subjectivity/

However, it does not mean that

http://www.archdaily.com/429925/eisenman-s-

Eisenman does not care about

history; instead, he takes
«traces» from the history to
realize his projects.
__________________________
Eisenman, Peter. The End of the
Classical: The End of the
Beginning, the End of the End”,
pp. 522-539, in K. Michael Hays
(ed.) Architecture Theory Since
1968. BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1
t
Page | 7

BERNARD TSCHUMI
1944-…

http://www.architonic.com/ntsht/maintenant-
bernard-tschumi-at-the-pompidou-centre/7000944

Bernard Tschumi was born in Throughout his career as an

1944 and he is an architect, architect, theorist, and
writer, and educator, mostly academic, Bernard Tschumi's
associated with deconstruction work has reevaluated
movement in architecture. Son architecture's role in the
of the well-known architect practice of personal and
Jean Tschumi, born of French political freedom.
and Swiss parentage, he works
and lives in New York City and Since the 1970s, Tschumi has
Paris. He studied in Paris and at argued that there is no fixed
ETH in Zurich, where he relationship between
received his degree in architectural form and the
architecture in 1969. events that take place within it.
The ethical and political
He does not believe in a imperatives that inform his
building-user relationship in his work emphasize the
designs, once saying "Any establishment of a proactive
relationship between a architecture which non-
building and its users is one of hierarchically engages balances
violence, for any use means of power through
the intrusion of a human body programmatic and spatial
into a given space, the devices. In Tschumi's theory,
intrusion of one order into architecture's role is not to
another." Tschumi in express an extant social
Architecture and Disjunction structure, but to function as a
(2001, p. 122). tool for questioning that
_________________________ structure and revising it.
Tschumi, Bernard, Architecture
and Disjunction. (Cambridge,
MIT Press, 1994).

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

 t
Page | 8

BERNARD TSCHUMI
Pyramid and Labyrinth

According to Tschumi, there is a

distinction between “conception
and perception” of space and
“conceived” space deals with
the “nature” of space. To create
something, to call something
into being; we should first have
an idea about how that
"something" is to be brought
together including its potential
properties so that conception is http://www.bustler.net/index.php/article/bernard_tschumi_retrospective_op
ens_on_april_30_at_centre_pompidou_paris/
the outcome of our brains that is
builder of the architectural
space. In this view, the core of
the space is based on its
conception; not its material
entity.

Moreover, space is also

undoubtedly real. The senses of
someone can be manipulated by
space quite more easily than the
mind of someone can be. The
instant reception of space is http://architizer.com/en_us/blog/dyn/33815/compose-tschumi/
material but the physical
presence of a person takes up
the space itself so their https://www.pinterest.com/pin/532409987170961601/
materiality is simultaneous. This
demonstrates that the space is
also sensorial and equals to the
“conception of perceived space”.
__________________________
Tschumi, Bernard. The
Architectural Paradox’, pp. 214-
229, in K. Michael Hays (ed.)
Architecture Theory Since 1968
(Cambridge Mass: The MIT
Press, 1998).

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

 t
Page | 9

BERNARD TSCHUMI
Pyramid and Labyrinth

Tschumi calls that relationship as

“a paradox” because he thinks
that to "define/describe space"
can be either considering the
“physical border lines of space”
or defining the “non-material
being of the space”. This
paradoxical relationship creates
the problem of an inequality
between ideal space (the result
of cognitive process) and real
space (the outcome of real
production) and he sees this
http://www.tschumi.com/projects/47/
split as intrinsic to architecture.
There is pyramid (absolute truth)
and labyrinth (sensory space)
which are used by Hollier and
Bataille. Hollier is using the word
“pyramid” in contrast to
“labyrinth” of Batalle. Pyramid is
referring to the “representation”
such as monuments. They are all
created to represent something
other than architecture itself http://www.frac-centre.fr/gestion/public/upload/oeuvre/maxi/TSCH_992_01_59.jpg

such as the social, political,

cultural, economic conditions of
the society; power of the God or
government / king etc. Labyrinth
is what we sense and what we
experience; it is subjective.
However, architecture owns
both of them at the same time
so that we have the problem of
inequality between what is ideal
and what we have as real.
__________________________
Tschumi, Bernard. The
Architectural Paradox’, pp. 214-
229, in K. Michael Hays (ed.)
Architecture Theory Since 1968
(Cambridge Mass: The MIT
Press, 1998). BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1
 t
Page | 10

BERNARD TSCHUMI
Manhattan Transcripts

Micheal Hays talks about

Bernard Tschumi’s notion of
“desire” and declares that
Tshumi interrogates that if we
produce architecture through
the reality or through our
senses. Tschumi believes that
the thing which seduces us is
our senses and we are restricted
in terms of perception; it is not
like the reality itself. Desire is
what puts us forward to explore
or imagine more. That’s why he https://www.flickr.com/photos/80352374@N07/12036560096
advocates the production of
architecture through our senses.

According to Tschumi, the

experience of a space is more
important than the drawings of
a space; we should explore and
experience to have a better
understanding of the space. We
always have a desire to see, to
hear or to touch to understand
the environment around us.
Tschumi is influenced by
Lacan’s psycho-analytical theory
and he gets help from the
theory to produce architecture. http://www.tschumi.com/projects/18/

http://urbsolare.tumblr.com/post/5773577188/arkitektonas-la-villette-bernard-tschumi
__________________________
Tschumi, Bernard. ‘Spacing’, pp.
135-170, in Architecture’s
Desire: Reading the Late Avant-
Garde. Micheal Hays.
(Cambridge Mass.: The MIT
Press, 2010)

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

 t
Page | 11

BERNARD TSCHUMI
Manhattan Transcripts

In Lacan’s theory, there are

personal identity, social identity
and unconscious. According to
this trilogy, we have both our
desires and the society around
us so we have “ego” but we are
restricted by norms and our
socially constructed identity. He
implies “city” by using the
phrase “social identity” here.
https://www.tumblr.com/search/manhattan%20transcripts

If we look for a clue in his works

which reflects the “desire”, we
can say that “Manhattan
Transcripts” is a good example
because we can see his
advocacy of the “event
architecture” by considering the
notion of “desire”. In his work,
Tschumi utilizes the photographs
and drawings and some
juxtapositions in order to tell the
experiences themselves because
it is hard to understand to just
http://emperors.kucjica.org/event-and-movement-in-architecture/
look at the drawings; we should
understand and feel the
experience there.
https://www.studyblue.com/notes/note/n/final-exam-slides/deck/6472613
He has photographs of soldiers,
skaters, football players and on
the other side, he has traces of
the movements of them. He
somehow juxtapositions them in
order to produce event
architecture disregarding the
programs of the places
themselves. Each movement
creates its own time and space.

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

l
Page | 12

DANIEL LIBESKIND
1946-…

http://normblog.typepad.com/normblog/2013/06/
an-interview-with-daniel-libeskind-.html

Daniel Libeskind (born May 12,
1946) is a Polish-American
architect, artist, professor and
set designer of Polish Jewish
descent. Libeskind founded
Studio Daniel Libeskind in 1989
with his wife, Nina, and is its
principal design architect.
In 1968, Libeskind briefly
worked as an apprentice to
architect Richard Meier. In
1970, he received his
professional architectural
degree from the Cooper Union
for the Advancement of
Science and Art; he received a
postgraduate degree in History
and Theory of Architecture at
the School of Comparative
Studies at the University of
Essex in 1972.
Since then, Libeskind has lived,
among other places, in New
York City, Toronto, Michigan,
Italy, Germany, and Los
Angeles, and has taught at
numerous universities across
the world, including the
University of Kentucky, Yale
University, and the University
of Pennsylvania.
Since 2007, Libeskind has been
a visiting professor at the
Leuphana University
Lueneburg in Lüneburg,
Germany. He is both a U.S. and
Israeli citizen.

The same year, he was hired to

work at Peter Eisenman's New
York Institute for Architecture
and Urban Studies, but he quit
almost immediately.

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

 l
Page | 13

DANIEL LIBESKIND

drawings-by-daniel-libeskind-at-ermanno-tedeschi-gallery/
Identity

http://www.dezeen.com/2013/02/28/architectural-
Libeskind, in his architecture,
uses drawings as well as the
signs and symbols. He claims
that the drawings are the
production of the mind; in fact,
there is a feedback loop in this
process. We are drawing while
at the same time thinking and
drawings can affect our way of
thinking. Reversely, our thinking
also affects how and what we
draw.

His usage of sign and symbols

http://myhero.com/hero.asp?hero=d_libeskind

are the abstract elements in the

composition of his drawings.
They are involved into the
drawings sometimes
involuntarily and voluntarily.
Libeskind mostly is interested
with the process of drawing and
tries to search for new
possibilities and also tracing
what is existing.

__________________________
Libeskind, Daniel. ‘Building’, in
Breaking Ground- Adventures in
http://deathofdrawing.com/daniel-libeskind-on-drawing/

Life and Architecture (NY:

Riverhead Books, 2004), pp. 77-
102

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

 l
Page | 14

DANIEL LIBESKIND
Identity

If we look at the Jewish

museum, we can see how he
uses symbols and signs in his
process of drawing. Since he
creates symbols and signs, in the
case of Jewish museum, they are
abstracted because Libeskind is
very critical and tries to be http://pixshark.com/jewish-museum-berlin-plan.htm
objective since it was a really
sensitive case. He did not want
to marginalize Jews and did not
want it to be clear; he wanted
the form to be subjective and
did not want to assign a
meaning.

What he did was that he took

the traces of the map of Berlin
as the first layer and then put a
distorted Jewish star and as the
third layer he put the names of
the people who died in the
holocaust. Libeskind juxtaposed
three layers and manipulated
the occurred geometries. He http://tr.wikipedia.org/wiki/Berlin_Yahudi_M%C3%BCzesi
was very critical and established
a balance to make the proposal http://www.e-architect.co.uk/berlin/jewish-museum-building
appeal to the authorities.

__________________________
Libeskind, Daniel. ‘Building’, in
Breaking Ground- Adventures in
Life and Architecture (NY:
Riverhead Books, 2004), pp. 77-
102.

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

 l
Page | 15

DANIEL LIBESKIND
Music and Architecture

Libeskind combines music and

architecture in his works by
using different types of relations
such as metaphorical, functional
and structural etc. If we look at
Jewish Museum, there are both
metaphorical and structural
relationship between music and
architecture.

He inspired by the incomplete

opera piece “Moses and Aaron”.
It was actually created as three http://www.tumblr.com/search/journal%202.1
parts by Schoenberg, however,
they did not complete the third
part. Since Libeskind is also a
musician, he got involved into
the opera through his
architecture. There are axial
voids (corridors) and he creates
acoustics in the space. In this
way, visitors can hear their own
steps. If they go there again,
they will remember their
experience and it makes the
relationship metaphorical,
structural and also functional. It
http://www.supermanoeuvre.com/blog/?p=989
is metaphorical because it is https://jennibarrett.wordpress.com/2010/05/19/orchestrating-architecture/
done as the third part of an
opera; it is structural because of
the corridors and it is functional
because of the acoustics.
__________________________
Libeskind, Daniel. ‘Chamber
Works’, pp. 28-45, in R. Ritter &
M. Haberz (ed.) Music
Architecture, (Austria: HDA,
1997)

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

 l
Page | 16

DANIEL LIBESKIND
Music and Architecture

If we look at “City Edge” project,

he made the music involved into
architecture in the design
process. He was drawing while
he was listening music and did
not realize what he draws. That’s
why we see diagonal forms; he
used them where the melody
gets intense for instance. This
usage of music is both
metaphorical and structural
here.

In Bremen Philharmonic Hall,

http://libeskind.com/work/chamber-works/

Libeskind used lines from city

and related it with music and
that’s why we see a functional
relationship. What makes it
functional relationship is the
changes in forms, geometries,
materiality and acoustics.

In the extension to Victoria and

Albert Museum, we again see
structural and functional
relationship through
“resonance” which was
metaphorically used as
decreasing in time.
__________________________
Libeskind, Daniel. ‘Chamber
Works’, pp. 28-45, in R. Ritter &
M. Haberz (ed.) Music
Architecture, (Austria: HDA,
1997)

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

k
Page | 17

REM KOOLHAAS
1944-…

http://www.porcelanosa.com/interiorismo/cre
adores.php?cod=321&idi=gb

Rem Koolhaas is a Dutch A key aspect of architecture

architect, architectural that Koolhaas interrogates is
theorist, urbanist and the "Program": with the rise of
Professor in Practice of modernism in the 20th century
Architecture and Urban Design the "Program" became the key
at the Graduate School of theme of architectural design.
Design at Harvard University.
Koolhaas studied at the The notion of the program
Architectural Association involves "an act to edit
School of Architecture in function and human activities"
London and at Cornell as the pretext of architectural
University in Ithaca, New York. design.
Koolhaas is the founding
partner of OMA, and of its The notion was first
research-oriented counterpart questioned in Delirious New
AMO based in Rotterdam, the York, in his analysis of high-rise
Netherlands. architecture in Manhattan. An
early design method derived
Koolhaas's book Delirious New from such thinking was "cross-
York set the pace for his career. programming", introducing
Koolhaas celebrates the unexpected functions in room
"chance-like" nature of city life: programmes, such as running
"The City is an addictive tracks in skyscrapers.
machine from which there is
no escape " Rem Koolhaas.

He defined the city as a

collection of “red hot spots.”

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

 k
Page | 18

REM KOOLHAAS
Junkspace

In the article of Junkspace by

Rem Koolhaas, we see that he
reviews and puts critiques on
modernism movement and its
consequences such as
urbanization, urban
modernization, and
technological developments in
the contemporary urban space. https://nusdigitaldesignfabrication.wordpress.com/precedent-studies/rem-koolhaas-cctv-building/

He uses many analogies to

compare the pre-industrial era
conditions and the changes in
the conditions in the
contemporary urban
environment.

He discusses about junkspace by

indicating identity turbidity in his
analogies. Koolhaas claims that
junkspace is political and it
confuses the ideologies because
in the junkspaces there are
multiple ideologies; everyone
has their owns so there is a
pluralism in the environment. As
a result of this, there is turbidity http://architecture.about.com/od/20thcenturytrends/ig/Modern-Architecture/Deconstructivism.htm
of identities. http://glwsketchworks.blogspot.com.tr/2012/04/sketchcrawl-and-book-talk-seattle.html
__________________________
Koolhaas, Rem. ‘Junkspace’, in I
de SolaMorales, Differences:
Topographies of Contemporary
Architecture, Cambridge Mass.:
MIT Press, 1997: pp. 175-190.

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

 k
Page | 19

REM KOOLHAAS
Junkspace

If we give examples about the

analogies, the most interesting
is the bubbles. Koolhaas thinks
that bubbles have no easily-
identifiable structures; they are
made out of skin and this is very
similar to what the junkspace is.

There is something that unites

them. The connections are
awkward and we cannot easily
understand the space. By saying
http://www.bustler.net/index.php/article/oma_media_campus_competition_-_whos/
that, he refers to air
conditioning system that we see
in our contemporary urban
space.

We condition our environment

to provide environmental
pleasure and comfort. In order
to do this for instance, we have
junkspaces for the cables in the
system in the suspended
ceilings.
http://www.oma.eu/projects/2003/european-central-bank/

__________________________
Koolhaas, Rem. ‘Junkspace’, in I
de SolaMorales, Differences:
Topographies of Contemporary
Architecture, Cambridge Mass.:
MIT Press, 1997: pp. 175-190.

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

 k
REM KOOLHAAS
Junkspace
The next analogy is the diet. In
terms of the quality of the
space, it is marketed as
something healthy. However, it
is just the make-up of it. It is also
marketed to us like there will be
an award like we give a break to
the diet once a week.
For instance, the airports, train
stations or shopping malls have
make-ups to get more audience.
However, it is not the case;
there is something paradoxical.
Airports can be counted as non-
spaces because there is always
momentary relation with the
space; you do not feel that you
belong there. In this kind of
spaces, everybody waits,
everybody reaches everywhere;
however, they are all different in
terms of their identity.
White wall can be the next
analogy. He says that different
types of paintings are hang up
on the same white walls. All
have different identity again; in
terms of their techniques or
colors, however, they are on the
same wall to be exhibited.
__________________________
Koolhaas, Rem. ‘Junkspace’, in I
de SolaMorales, Differences:
Topographies of Contemporary
Architecture, Cambridge Mass.:
MIT Press, 1997: pp. 175-190.
BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1
Page | 20
The other analogy is the
definition of junkspace through
bestseller books. It might be
related with some provoking
subject, something popular or
something that creates chaos. It
attracts many audience.
However, when we look at its
content, we see that it is empty.
Another analogy is the
radioactive wastes.
He explains that in pre-modern
era, aging of the materials was
okay, however, in the
contemporary urban space we
try to make-up things. Cracks or
deficiencies are not seen; we
packed them to be seen as nice.
Even we are not using the
materials as they are.
Koolhaas uses many other
analogies such as Jacuzzi, open-
office working spaces, Bermuda
triangle, a screen saver, web
without a spider, ballrooms,
fascism minus dictator,
sandwich, forest fire in LA,
paintings on white walls etc.
 k
Page | 21

REM KOOLHAAS
Life in the Metropolis

In the text of Rem Koolhaas, he If we look at the contemporary

refers to metropolitan life as a
culture of congestion which you
exploit and as a result of it, you
get chaos and then you get
benefit from the chaos. When
we look at the examples in the
text, we can see that in the pre-
industrial society, there was a
hierarchical urban plan in the
city and it turns out to be grid
form which contains blocks
(building lots) in the modern
ages. He gives Manhattan as a
case study to examine which he
describes the city as a laboratory
for metropolitan life style; an
archetype of planning which
they test many things in it.
According to him, metropolitan
life is not only about grid itself
but also about sharing the
utopias. He gives Coney Island as
a miniature version of
Manhattan. He says that they
built new roads, amusement
parks, residential parts etc.; all
in one. Therefore it became a
laboratory of collective
unconscious which they can
share the desires in a utopia.
examples of these utopias, we
can talk about amusement
parks. It can be also counted as
a junkspace which all people go
and consume money and time
to be able to meet their utopias.
Being in an amusement park will
turn the utopias out to be real.
Moreover, there are other
examples such as artificial cow,
evening sunbathing and artificial
horse transportation system.
Those irresistible synthetics
were put forward in order to
become superior to the nature
and as we all know, modernism
was the time that people try to
push the limits. Therefore,
people tried to simulate nature
through consumption.

__________________________
Koolhaas, Rem. ‘’Life in the
Metropolis’’ or ‘The Culture of
Congestion’’, pp. 320-331, in K.
Michael Hays (ed.) Architecture
Theory Since 1968 (Cambridge
Mass: The MIT Press, 1998)

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

 k
REM KOOLHAAS
Life in the Metropolis
In addition, in the text, he
mentions about elevators a lot
and in 1909, The first elevator
was founded by Otis and he
showed people how to use it.
Therefore, the first theorem
came up about the initial
skyscraper idea. Industrialization
played a big role to let the
people build the taller buildings.
Theodore came up with the first
idea of mixed-use buildings with
different functions up to 100
storeys.
They seem it as the
accumulation of the privacies. It
is said that the idea of
recreation evolved with
skyscraper and everyone
became to have a chance to buy
his/her privacy; they were
feeling safe only in residential
parts, but in this way they can
feel secure also in public areas
as we also understand from the
case of Downtown Athletic Club.
__________________________
Koolhaas, Rem. ‘’Life in the
Metropolis’’ or ‘The Culture of
Congestion’’, pp. 320-331, in K.
Michael Hays (ed.) Architecture
Theory Since 1968 (Cambridge
Mass: The MIT Press, 1998)
BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1
Page | 22
However, skyscrapers create
paradoxes. When you build a
skyscraper, you feel closer to the
sun and sky, however, you are
getting far away from the
ground. Therefore, place
attachment is getting hard in an
urban condition and the
neighbor relationships change;
you become isolated from your
environment.
The other discussion was about
Radio City Music Hall and he
gives it as an example to these
results of evolution of
metropolitan lives. In Radio City
Music Hall, the external look
contrasts with the interior
condition. They try to make
people perceive the artificial
sunset; they simulate the natural
environment. They also use
laughing gases to dominate also
the senses of the audience.
At the end, Rem Koolhaas
suggests a metaphorical
planning called as Uncity like a
plug-in city which is consisted of
different layers of urban ecology.
There are again blocks which
was thrown up with the grid
system of modernism showing
the pieces from different
architects together. There is also
a metaphorical conception of
caption of the globe in the
middle; “The City of The Captive
Globe”.
t
Page | 23

GÖZDE DAMLA TURHAN

1992-…

https://www.facebook.com/gozdedamla

Gözde Damla Turhan is a Before establishing her own

Turkish architect. She was office, she practiced at
borned in Manisa, Turkey, different offices and worked at
1992. She went to high school many scales such as Project
at her hometown and then she Architect, Facade Systems
moved to İzmir to study for Designer and Design
bachelors degree. She studied Consultant.
architecture in Izmir University
of Economics, Faculty of Fine
Arts and Design between 2009-
2014 in Izmir and continued
her education with two
masters degrees at Izmir
University of Economics,
Graduate School of Natural and
Applied Sciences. She attended
Advanced Architectural Design
Master Program and
Architecture Master Program
at the same time. She is
currently preparing herself for
Ph.D. degree abroad.

Besides an academic career,

Turhan is a practicing architect
at her own office, OHO
Architecture, founded in June
2015.

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

 t
GÖZDE DAMLA TURHAN
Her Manifesto
In her text, Turhan focuses on
the relationship about the role
of space-time compression on
the deconstructivism movement
in architecture in the
contemporary environment. She
focuses on the discourses of
three architects and one
geographer; Peter Eisenman,
Bernard Tschumi, Daniel
Libeskind and David Harvey.
She makes an introduction
saying that in the last three
decades, we see the influences
of globalization in any layer of
our lives. The discourses and
discussions have been done
both by popular and academic
worlds in terms of different
layers of daily life. This study is
concerned with the assumption
that there is an inevitable
relationship between space-time
compression and
deconstructivist architecture. By
considering this assumption, the
study is questioning whether
there is an influence of space-
time compression concept on
producing architecture in the
contemporary urban space or
not.
__________________________
Turhan, Gözde Damla. ‘‘The Role
of Space-Time Compression in
Deconstruction in Architecture‘‘,
pp.3-15.
BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1
Page | 24
Turhan advocates that in the
contemporary urban space, we
see the impacts of globalization
on producing architecture by
looking at the buildings and
structures which are being done
in the post-industrial urban
environment. After
industrialization and
development of the technology,
there also had been many
developments in the other fields
such as architecture, from the
materials and construction
methods to the quality of the
spaces which accommodate all
kinds of flows of urban dynamics
such as people, capital, and
commodities.
She claims that on the other
hand, deconstruction was
thrown out first by Jacques
Derrida in his work “Of
Grammatology” in 1967 and it
has been used as a theoretical
term in different fields such as
humanities, philosophy, social
sciences, architecture, literature,
politics etc. In terms of
architecture, the deconstruction
ideology which does not accept
the notion of “pure essence”
influenced architecture under
the name of “deconstructivism”.
There are many “iconic”
architects involved in this
movement such as Peter
Eisenman, Bernard Tschumi,
Daniel Libeskind, Rem Koolhaus,
Zaha Hadid etc.
 t
GÖZDE DAMLA TURHAN
Her Manifesto
Her article is comprised of
mainly two parts: a theoretical
part which identifies the space-
time compression in the global
urban environment; and a
qualitative part which is based
on the empirical case studies of
the impacts of the notion of the
space-time compression on the
built environment.
The impacts of the notion of the
space-time compression on
iconic deconstructivist
architecture is discussed in
terms of social, economic,
political, and cultural
contemporary urban life through
the concept of globalization and
architectural works of three
main architects who are
involved into deconstruction
movement (Eisenman, Tschumi
and Libeskind) and their
buildings and works are studied
as case studies. By rather than
focusing on the theoretical
aspects, Turhan’s research aims
to contribute to the current
literature in terms of different
layers by studying the physical
built environment and to
identify where and how space-
time compression affects the
built environment.
__________________________
Turhan, Gözde Damla. ‘‘The Role
of Space-Time Compression in
Deconstruction in Architecture‘‘,
pp.3-15.
BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1
Page | 25
Another aim of Turhan is to help
the other researchers or
practising people in different
business sectors in terms of
these two related concepts.
This research is about the effects
of globalization on the physical
built environment considering
several specific constructions
such as airports, train or metro
stations, some specific bridges
and high-rise buildings.
Turhan adds that Space-time
compression or distantiation
phrase comes from Harvey’s
approach which was first
propounded in 1989 in his book
“The Condition of
Postmodernity”. He refers to any
events or situations which affect
the qualities of time, space and
their relationship. In this regard,
her research aims to underline
the physical and functional
features of the space under the
impact of global forces which
shape the events and situations.
 t
Page | 26

GÖZDE DAMLA TURHAN

Her Manifesto

Turhan underlines the concept From the perspective of the

of globalization saying that since
the 1980s, globalization has
been one of the forces which is
shown up in social, economic,
cultural and political areas.
According to Sassen, there are
certain building types which are
serving as connection nodes in
order to be connected to the
global networks. These kind of
buildings such as airports, train
stations, metro stations, bridges
and high-rise buildings are not
only serving as connection
nodes but also where the time-
space connections shows itself.
In order to see what the effects
are, these building types are
significant to be studied. As one
of the results of this research,
emerging land-use patterns of
global cities might be more
visible.
She approaches to the subject
also from the view of Castells
and says that global cities are
creating a network and since the
cities are involving into these
network.
__________________________
Turhan, Gözde Damla. ‘‘The Role
of Space-Time Compression in
Deconstruction in Architecture‘‘,
pp.3-15.
global companies, they need to
be in constant interaction with
the other companies and their
consumers so that they also
transformed the idea of where
and how to be located.
Turhan considers this idea and
claims that some assumptions
might be made about how the
cities are building their
environment so it might also
contribute to the further
planning ideas in the future
through discussing physical
global environment with the
case studies.
Turhan support her manifesto
which is about the relationship
and impacts of two concepts
through giving case studies from
the other scholars and also she
tells about her own project:
«Informational City»

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

 t
Informational City
GÖZDE DAMLA TURHAN

Render, Informational City Skyscraper, Turhan, Gozde (2014).

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

Sketch, Informational City Skyscraper, Turhan, Gozde (2014).

Sketch, Informational City Skyscraper, Turhan, Gozde (2014).

Page | 27
 t
Page | 28

GÖZDE DAMLA TURHAN

Informational City

The project ‘’Informational City’’

is an organic skyscraper serves
as a TechCity and has 8 different
zones in terms of the program.
They are; Educational Zone, Set of Sectional Drawings and Sketches, Turhan, Gozde (2014).

Financial Zone, Media Zone,

Technological Zone,
Health&Recreational Zone, Legal
Zone, Design Zone and Services.

Since her writings have

addressed a wide range of
topics, but a consistent theme
has been the interplay between
urbanism and social
movements, in other words, Set of Sectional Drawings and Sketches, Turhan, Gozde (2014).
how individuals come together
into collectives to advocate for
social change.

To respond this social

movements, it should be
understood that how
information technologies
interact with urbanization to
create new socio-spatial forms
and meanings.
Set of Sectional Drawings and Sketches, Turhan, Gozde (2014).

This project has an

understanding of responsing to
the new contemporary society in
terms of flows.

Set of Sectional Drawings and Sketches, Turhan, Gozde (2014).

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

 t
Page | 29

GÖZDE DAMLA TURHAN

Informational City

In terms of its form making

process, the organic skyscraper
was formed according to the
environmental analysis such as
solar irradiation analysis, wind
analysis, shade & shadow
analysis, space syntax etc. The
building is responding to the
environmental design problems
and it is not rejecting its context,
instead; it is trying to get along 46. Floor Plan, Informational Growing City, Turhan, Gozde (2014).
with the environment.

In order to make the growing

idea, the capsules were created
in a form of Platonic
Dodecahedrons.

In a pineapple, there are many

cells and each of them is
producing its own fruit. It was
the inspiration from biomimicry
and based on that idea, the
platonic dodecahedron cells
were attached to the double
skin structure. Their sizes are 52. Floor Plan, Informational Growing City, Turhan, Gozde (2014).
based on the program of the
building.

If needed, the spaces can be

expanded to met further space
demand by connecting several
modules. Therefore, they are
‘’spaces of places’’ which
inhabitants can play with the
form and functions as they
want. As it is a TechCity in the
business center of a global city;
London, they are inevitably
spaces of flows of people,
Section through 35. Floors, Informational Growing City, Turhan, Gozde (2014).
capital, etc.
BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1
 t
Page | 30

GÖZDE DAMLA TURHAN

Informational City

The growing idea was always the

same but the form has always
changed. The previous forms,
some of them were not as
strong as it should have been
and some of them were not Voronoi Modules, Informational Growing City, Turhan, Gozde (2014).
good enough to create
architectural useful spaces. The
latest form is now suggesting
different kinds of opportunities
in terms of the spatial qualities.

The modules can create a space

on their own and at the same
time some of them are getting
together and creating bigger
spaces.
Voronoi Modules, Informational Growing City, Turhan, Gozde (2014).
Project Credits:

Project Name: “Informational

City; grows when required.’’

Project Location:
Shoreditch,London, UK

Project Size: 20.000m2

Project’s Program: Tech-City Hexagonal Modules, Informational Growing City, Turhan, Gozde (2014).

Platododecahedron Modules, Informational Growing City, Turhan, Gozde (2014).

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1
 t
Page | 31

GÖZDE DAMLA TURHAN

Informational City

Since the theory behind this

project is the contemporary
production in globalization era,
sustainability has a big role here.
To achieve minimum used
energy and natural sources,
form was shaped according to
the environmental parameters
through solar irradiation
analysis, wind analysis, shade &
shadow analysis, space syntax
etc.

According to the solar analysis,

apertures are designed and
amount of them is optimized to
get maximum solar energy;
because the site is in London
and most of the year, London
gets low amount of sunlight.

According to the shade-shadow

analysis, spaces are determined
because according to the
program of the building, we
need both spaces which are
undershade and non-shaded.
Therefore, arrangement of the
spaces is shaped accordingly.

According to space-syntax
analysis, functions are defined
and proximity is the major
parameter to be able to decide
on the arrangement of the
spaces.

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

BEYOND ARCHITECTURE
NEXT ISSUE
FALL 2015
FROM VITRIVIUS TO PRESENT
10$