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BE
YOND
ARCH
ITEC
TURE
An Architectural Theory Magazine
JUNE, 2015 / VOLUME 1 / ISSUE 1
Peter Eisenman and

His Architecture
Bernard Tschumi and

His Architecture
Daniel Libeskind and

His Architecture
Rem Koolhaas and

His Architecture
Gozde Damla Turhan

and Her Architecture
BEYOND ARCHITECTURE
MAGAZINE BY OHO
SPRING 2015 ISSUE 1
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Gzde Damla TURHAN
Mehmet Sadk AKSU
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OHO Architecture
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ISSN: 1992-2610
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Page | 1
OHO ARCHITECTURE
OHO
Architecture
was
established by M.Arch. Gzde
Damla Turhan in zmir, Turkey in
June, 2015.
M.Arch. Gzde Damla Turhan

was born in Manisa, Turkey,
1992. She came to zmir 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 (20142015).
She worked as an architect in
different offices and then she
established her own office: OHO
Architecture.
BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1
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.
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
___________________________
Page | 4
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.
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.
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.
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
https://www.pinterest.com/pin/528258231264500624/
Page | 5
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).
http://www.mascontext.com/tag/peter-eisenman/
He compares two significant

exhibitions
which
are
Architerrura
Razional
and
Ecole des Beaux Arts. Each of
the exhibitions have a different
approach of form and function
(type and function).
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. PostFunctionalism, pp. 234-239, in
K. Michael Hays (ed.)
Architecture Theory Since 1968.
http://www.thecityreview.com/archnowv4.html
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.
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.
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
Cannaregio Project
http://www.archdaily.com/429925/eisenman-sevolution-architecture-syntax-and-new-subjectivity/
PETER EISENMAN
Page | 6
However, it does not mean that

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.
Page | 7
BERNARD TSCHUMI
1944-
http://www.architonic.com/ntsht/maintenantbernard-tschumi-at-the-pompidou-centre/7000944
Bernard Tschumi was born in

1944 and he is an architect,
writer, and educator, mostly
associated with deconstruction
movement in architecture. Son
of the well-known architect
Jean Tschumi, born of French
and Swiss parentage, he works
and lives in New York City and
Paris. He studied in Paris and at
ETH in Zurich, where he
received
his
degree
in
architecture in 1969.
He does not believe in a
building-user relationship in his
designs, once saying "Any
relationship
between
a
building and its users is one of
violence, for any use means
the intrusion of a human body
into a given space, the
intrusion of one order into
another."
Tschumi
in
Architecture and Disjunction
(2001, p. 122).
_________________________
Tschumi, Bernard, Architecture
and Disjunction. (Cambridge,
MIT Press, 1994).
Throughout his career as an

architect,
theorist,
and
academic, Bernard Tschumi's
work
has
reevaluated
architecture's role in the
practice of personal and
political freedom.
Since the 1970s, Tschumi has

argued that there is no fixed
relationship
between
architectural form and the
events that take place within it.
The ethical and political
imperatives that inform his
work
emphasize
the
establishment of a proactive
architecture
which
nonhierarchically engages balances
of
power
through
programmatic and spatial
devices. In Tschumi's theory,
architecture's role is not to
express an extant social
structure, but to function as a
tool for questioning that
structure and revising it.
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
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
material but the physical
presence of a person takes up
the space itself so their
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. 214229, in K. Michael Hays (ed.)
Architecture Theory Since 1968
(Cambridge Mass: The MIT
Press, 1998).
http://www.bustler.net/index.php/article/bernard_tschumi_retrospective_op
ens_on_april_30_at_centre_pompidou_paris/
http://architizer.com/en_us/blog/dyn/33815/compose-tschumi/
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
http://www.frac-centre.fr/gestion/public/upload/oeuvre/maxi/TSCH_992_01_59.jpg
other than architecture itself
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. 214229, in K. Michael Hays (ed.)
Architecture Theory Since 1968
(Cambridge Mass: The MIT
Press, 1998).
Page | 10
BERNARD TSCHUMI
Manhattan Transcripts
Micheal Hays talks about

Bernard Tschumis 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. Thats why he
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
Lacans psycho-analytical theory
and he gets help from the
theory to produce architecture.
__________________________
Tschumi, Bernard. Spacing, pp.
135-170,
in
Architectures
Desire: Reading the Late AvantGarde.
Micheal
Hays.
(Cambridge Mass.: The MIT
Press, 2010)
https://www.flickr.com/photos/80352374@N07/12036560096
http://www.tschumi.com/projects/18/
http://urbsolare.tumblr.com/post/5773577188/arkitektonas-la-villette-bernard-tschumi
Page | 11
BERNARD TSCHUMI
Manhattan Transcripts
In Lacans 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
look at the drawings; we should
understand and feel the
experience there.
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.
http://emperors.kucjica.org/event-and-movement-in-architecture/
https://www.studyblue.com/notes/note/n/final-exam-slides/deck/6472613
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
Lneburg,
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.
l
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
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
Life and Architecture (NY:
Riverhead Books, 2004), pp. 77102
http://myhero.com/hero.asp?hero=d_libeskind
Identity
http://deathofdrawing.com/daniel-libeskind-on-drawing/
DANIEL LIBESKIND
http://www.dezeen.com/2013/02/28/architecturaldrawings-by-daniel-libeskind-at-ermanno-tedeschi-gallery/
Page | 13
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
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
was very critical and established
a balance to make the proposal
appeal to the authorities.
http://pixshark.com/jewish-museum-berlin-plan.htm
http://tr.wikipedia.org/wiki/Berlin_Yahudi_M%C3%BCzesi
http://www.e-architect.co.uk/berlin/jewish-museum-building
__________________________
Libeskind, Daniel. Building, in
Breaking Ground- Adventures in
Life and Architecture (NY:
Riverhead Books, 2004), pp. 77102.
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
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
is metaphorical because it is
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)
http://www.tumblr.com/search/journal%202.1
http://www.supermanoeuvre.com/blog/?p=989
https://jennibarrett.wordpress.com/2010/05/19/orchestrating-architecture/
Page | 16
DANIEL LIBESKIND
Music and Architecture
In Bremen Philharmonic Hall,

Libeskind used lines from city
and related it with music and
thats 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)
http://libeskind.com/work/chamber-works/
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. Thats
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.
Page | 17
REM KOOLHAAS
1944-
http://www.porcelanosa.com/interiorismo/cre
adores.php?cod=321&idi=gb
Rem Koolhaas is a Dutch

architect,
architectural
theorist,
urbanist
and
Professor in Practice of
Architecture and Urban Design
at the Graduate School of
Design at Harvard University.
Koolhaas studied at the
Architectural
Association
School of Architecture in
London
and
at
Cornell
University in Ithaca, New York.
Koolhaas is the founding
partner of OMA, and of its
research-oriented counterpart
AMO based in Rotterdam, the
Netherlands.
Koolhaas's book Delirious New
York set the pace for his career.
Koolhaas
celebrates
the
"chance-like" nature of city life:
"The City is an addictive
machine from which there is
no escape " Rem Koolhaas.
A key aspect of architecture

that Koolhaas interrogates is
the "Program": with the rise of
modernism in the 20th century
the "Program" became the key
theme of architectural design.
The notion of the program
involves "an act to edit
function and human activities"
as the pretext of architectural
design.
The
notion
was
first
questioned in Delirious New
York, in his analysis of high-rise
architecture in Manhattan. An
early design method derived
from such thinking was "crossprogramming",
introducing
unexpected functions in room
programmes, such as running
tracks in skyscrapers.
He defined the city as a

collection of red hot spots.
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
of identities.
__________________________
Koolhaas, Rem. Junkspace, in I
de SolaMorales, Differences:
Topographies of Contemporary
Architecture, Cambridge Mass.:
MIT Press, 1997: pp. 175-190.
http://architecture.about.com/od/20thcenturytrends/ig/Modern-Architecture/Deconstructivism.htm
http://glwsketchworks.blogspot.com.tr/2012/04/sketchcrawl-and-book-talk-seattle.html
Page | 19
REM KOOLHAAS
Junkspace
If we give examples about the
analogies, the most interesting
is the bubbles. Koolhaas thinks
that bubbles have no easilyidentifiable 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
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.bustler.net/index.php/article/oma_media_campus_competition_-_whos/
http://www.oma.eu/projects/2003/european-central-bank/
__________________________
MIT Press, 1997: pp. 175-190.
Page | 20
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 nonspaces 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.
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, openoffice 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.
__________________________
MIT Press, 1997: pp. 175-190.
Page | 21
REM KOOLHAAS
Life in the Metropolis
In the text of Rem Koolhaas, he
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 preindustrial 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.
If we look at the contemporary

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)
Page | 22
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)
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.
Page | 23
GZDE DAMLA TURHAN

1992-
https://www.facebook.com/gozdedamla
Gzde Damla Turhan is a

Turkish architect. She was
borned in Manisa, Turkey,
1992. She went to high school
at her hometown and then she
moved to zmir to study for
bachelors degree. She studied
architecture in Izmir University
of Economics, Faculty of Fine
Arts and Design between 20092014 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.
Before establishing her own

office, she practiced at
different offices and worked at
many scales such as Project
Architect, Facade Systems
Designer
and
Design
Consultant.
Besides an academic career,

Turhan is a practicing architect
at her own office, OHO
Architecture, founded in June
2015.
Page | 24
GZDE 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 spacetime compression concept on
producing architecture in the
contemporary urban space or
not.
__________________________
Turhan, Gzde Damla. The Role
of Space-Time Compression in
Deconstruction in Architecture,
pp.3-15.
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.
Page | 25
GZDE DAMLA TURHAN

Her Manifesto
Her article is comprised of
mainly two parts: a theoretical
part which identifies the spacetime 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, Turhans 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 spacetime compression affects the
built
environment.
__________________________
pp.3-15.
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 Harveys
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.
Page | 26
GZDE DAMLA TURHAN

Her Manifesto
Turhan underlines the concept
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 timespace 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.
From the perspective of the

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
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.
__________________________
pp.3-15.
Render, Informational City Skyscraper, Turhan, Gozde (2014).
Sketch, Informational City Skyscraper, Turhan, Gozde (2014).
Sketch, Informational City Skyscraper, Turhan, Gozde (2014).
t
Page | 27
GZDE DAMLA TURHAN
Informational City
Page | 28
GZDE 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,
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,
how individuals come together
into collectives to advocate for
social change.
Set of Sectional Drawings and Sketches, Turhan, Gozde (2014).
To
respond
this
social
movements, it should be
understood
that
how
information
technologies
interact with urbanization to
create new socio-spatial forms
and meanings.
This
project
has
an
understanding of responsing to
the new contemporary society in
terms of flows.
Page | 29
GZDE 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
with the environment.
46. Floor Plan, Informational Growing City, Turhan, Gozde (2014).
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
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,
capital, etc.
52. Floor Plan, Informational Growing City, Turhan, Gozde (2014).
Section through 35. Floors, Informational Growing City, Turhan, Gozde (2014).
Page | 30
GZDE 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
good
enough
to
create
architectural useful spaces. The
latest form is now suggesting
different kinds of opportunities
in terms of the spatial qualities.
Voronoi Modules, Informational Growing City, Turhan, Gozde (2014).
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
Projects Program: Tech-City
Hexagonal Modules, Informational Growing City, Turhan, Gozde (2014).
Platododecahedron Modules, Informational Growing City, Turhan, Gozde (2014).

Page | 31
GZDE 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.
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JUNE, 2015 / VOLUME 1 / ISSUE 1

Peter Eisenman and

Bernard Tschumi and

Daniel Libeskind and

Rem Koolhaas and

Gozde Damla Turhan

OHO Editorial Team______________

M.Arch. Gzde Damla Turhan

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

Peter Eisenman is an architect

Peter Eisenman and other four

Eisenman studied at Columbia

Although Eisenman never used

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

In pre-industrial ages, there was

He compares two significant

In contrast, Eisenman claims

In 20th century the architects

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

Eisenman advocates that once a

Fragmentation of the forms can

There are no identifiable

However, it does not mean that

Bernard Tschumi was born in

Throughout his career as an

Since the 1970s, Tschumi has

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

According to Tschumi, there is a

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

Tschumi calls that relationship as

Micheal Hays talks about

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

If we look for a clue in his works

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

Daniel Libeskind (born May 12,

Since then, Libeskind has lived,

The same year, he was hired to

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

He inspired by the incomplete

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

In Bremen Philharmonic Hall,

If we look at City Edge project,

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

Rem Koolhaas is a Dutch

A key aspect of architecture

He defined the city as a

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

He uses many analogies to

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

The other analogy is the

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

If we look at the contemporary

Moreover, there are other

However, skyscrapers create

BEYOND ARCHITECTURE | SUMMER 2015 | ISSUE 1

GZDE DAMLA TURHAN