english summary

inexhaustibility of spatial experience Semra Aydınlı | This article explains the concept of impermanence as an inexhaustible journey of spatial experience. In order to understand and interpret the paradoxes of today’s architecture, we need a paradigm shift which refers to dialectics of seeing and thinking, the inexhaustibility by contrast and gestalt shifts. The concept of impermanence initiates a spatio-temporal journey in architecture which is called spatial experience. It triggers imagination, calls the architect to think with paradoxes, and establishes a connective integrity. Architecture could be considered as a conceptual possibility as well as a physical reality; interconnection between the two makes the spatial experience inexhaustible. Architectural paradox implies a complex system of relationships that includes inexhaustibility of both pragmatics and poetics, of both tangible and intangible entities.

aesthetics of incompleteness and states of inhabitation Didem Sağlam | We mostly describe poetics of space over visuality. As such, the way of doing architecture is also related with a concern about providing a good image. To reverse this approach about the aesthetics in architecture, this article focuses on the invisible poetic quality. It is about having the power to transform the limits of perception and consciousness, by breaking down the subject and the image. Three different degrees of incompleteness are discussed with three different versions of inhabitation. In the example of a ruin that could not be completed due to reasons such as the depletion of capital and the failure of planning, the “completing” thing is the nature of inhabitance. The settlement of the incomplete part of the Corviale social housing block is an example of the urban equivalent of a similar situation. Finally, the editorialization of the design process in the case of Elemental, similar to that in Corviale, opens this kind of design approach to discussion. Through incompleteness, architecture can achieve being the stage of ethical and critical activity by pushing the user to be an architect.

designing as an act of unfinishing Burcu Serdar Köknar, Saitali Köknar | The text discusses the possible design strategies for an unfinished architecture, aiming to be a platform for urban commons, by analyzing the “Die Laube”, a recently “finished” structure inside the infamous nomadic Prinzessinnen Garten in Berlin. Based on the interviews conducted with co-founder of the Garden Marco Clausen, and co-designers of “Die Laube” Florian Köhl and Christian Burkhardt, key elements of a “nomadic” architecture is explored, articulating a participatory process of designing not terminated by the inauguration of the structure, but continued after the act of building.

in search of the unfinishedness of the theatrical place Mehmet Kerem Özel | Based on that the origin of the word “performance” means “to complete”, this article offers a proposition that the spaces where the performing arts are performed, namely the theatrical places, are “unfinished” but complete, even “liberated”, when the audience enters and watches the performance. This article discusses this proposition through examples both designed but not built and realized since the 1970s. In the context of the notion of atmosphere in architecture, where the emotions felt while being in “here” and “now” by focusing on the bodily presence, it is concluded that the atmosphere of the found spaces contains more of the unfinishedness than the designed ones. The article ends with the question of whether one of the ways to achieve unfinishedness in the theatrical places designed from scratch is through creating atmosphere.

the immortality of the incomplete: the story of two buildings

Yasemen Say Özer, Nevzat Oğuz Özer | The article tells the story of two identical buildings. The first one of these buildings is in Milas, and the second one is in Bodrum. We all know the one which is in Bodrum; the “Tomb of King Maussollos”, is considered one of the seven wonders of the world and gave its name to all mausoleums. Most of us do not know the one in Milas; the “Tomb of Hekatomnos”, the Father of Maussollos, the head of the Hekatomnid Family, and the famous satrap of the Caria Region. The second one of these structures is the one that has entered the architectural literature with all its greatness and is still being talked about, painted and remembered. The other one is the unrecorded, unknown and is known by another name (Uzunyuva), which was first discovered by an archaeologist (Frank Rumscheid) in 2006. The difference between the two is that one is finished till to the statue (Quadriga) at the end of the pyramidal roof, while the other one is left unfinished. On the other hand, only the traces of the bedrock, a few sculptures in the British Museum and dozens of restitution attempts have survived from the one in Bodrum. The one in Milas has survived with the unfinished walls, the tomb chamber, the sarcophagus inside (if we could act before the thieves -who were the first people to enter in 2007- probably with the mummified body of Hekatomnos). The aim of this article is to compare the lives of these two structures, which are identical to each other, have the same function, same design and details, but while one is completed, the other one is not, and to produce results from this comparison.

“i read, i finished?”: notes on fiction and space Merve Eflatun | Reading is an action that permanently increases the memory of the reader through different perspectives. On the other hand, concepts such as “the death of the author” and “intertextuality” in fictional literature saved the text from a fixed, unchangeable frame. Also the fictional space has an important place in terms of adding an invisible denominator to what seems written, drawn, finished. In this sense, books such as Building Stories, House of Leaves, Children Who Die in Their Sleep, The Black Book are contemplated in the context of these changing perspectives in both the reader and the text. The examples are based on the fact that it is not possible to create an ending point in the fictional narrative and space from the perspective of the text and the reader.

the open table: an essay on drawing and legged bodies Elif Hant | Plan drawing as an architectural representation style and table drawings discussed in this text, offer not only a technical image, but a performativity that brings action and interpretation together. While the table mediates to think about the plan drawing with reference to horizontality, it also refers to the simplest form of architecture because it can stand as a legged object. From this point of view, the story of three different embodied tables that will serve to point out the performative act is told: The Magic Table from Junya Ishigami; Ines-table from Enric Miralles; Defeated Table or Dining Table from Sarah Wigglesworth and Jeremy Till.

end of the road: on incompleteness and sketch Hüseyin Yanar | This is a story of a journey which begins with the combination of words “essay” and “esquisse”. Writer draws a kind of line from his own life and makes quite a long sketch with his essay. He finds some turning points in the story where the notion of sketch and incompleteness comes together. The story sometimes turns to surreal from the real; sometimes the writer suddenly comes across new characters on the road. In the final part of this story, the journey ends in a park which is at the end of a long axis of the road Unioninkatu. But the road still goes on and on with many paths.