The exhibition of our 3D printed objects was in ALAN Istanbul. Next to the objects the visitors could discover our spaces with the help of Augmented Reality. Therefore they had to download a plugin for their smartphones and tablets. By aiming their gadget to a symbol next to the objects the 3D models of the adhocratic spaces generated with 123D Catch could be explored in a virtual space. Additionally the sound recordings were played. So the objects and therewith the adhocratic spaces could be discovered physically, virtually and acoustically.

Our task was to find adhocratic spaces in the city. We scanned the spaces to make a 3D model with 123D Catch and recorded the soundscape, the surroundings and the atmosphere. With two-axis diagrams we analyzed the space and visualized our feelings during the recordings. To compare them we divided the recordings into snippets and overlapped the diagrams. In a digital form we transformed the visualized experiences in a final 3D printed model by deforming a significant object for the space.

Unlike designed spaces, adhocratic spaces inform us about an informal appropriation of space. The difference lies in one's perception and empirical experience, as well as the way it correlates and orders itself to its environment, to its spatial dynamics. One's presence provides different percepts and affects, which oppose the over-coded, over-designed spaces of the city. Connected to the idea of the total work of art, the architecture is the idea of a direct participation of the observer and the synesthetic experience of space. Notions such as immersion, presence, authenticity and materiality thus shape the debate of such concepts.

Light scenes of Istanbul

The workshop at summer school started by doing of little movies - interviews with people and their opinions to light, darkness and shadow. In our next step we get to know the MAK-Method. A method which deals with a simple way to analyze a place on the base of its lighting atmosphere. We studyed a lot of different spaces.

In 16 steps of analyze we created little sketches which simplify the situation of the space likethe shadow quality and the different types of light. With the result of our observations we created somelight-memory-strings. To represent our results in a kind of abstract way - a collection of things.

On a basis of all our studies we decided to work with the fish market in Karaköy. Now our task was to create a light object out of our impressions and observation results. Three objects were developed -all with another topic (light, darkness, shadow) which reflect the place of the fish market in an abstract way.

Shadow, light and darkness belongs together you can find all of them in every scenery - more or less. In the time of project work we recognized it while a lot different work steps. With the meanings of other people and our own observation we got another view of the perception of light, shadow and darkness.

We had a very creative and experimental workshop and because of the MAK Method we got to know a new way of studying a space. But the MAK Method is not only useful for the observation of light, shadow and darkness - the method could be translated into other analysis areas to find a new design for interior or exterior spaces. All in all it was a very nice group work where we got to know a new method and good discussions and the exchange with people from other countries.

Effects of environmental colour - Remembering Istanbul

The aim of our project was to show the differences in perception of colours and the emotions they evoke. In analysis of day- and night-time situations we tried to investigate how colours and spatial situations can affect our feelings. Therefor we analysed various spaces in Istanbul using the semantic differential measuring-method. In conclusion we realized that many factors have an impact on our perception of colour and that it is difficult focusing and separating on one specific influence.

To realize the influence of environmental colour on humans we first analysed various spatial situations in Istanbul. Using the semantic differential measuring-method we examined the colour’s impact on our feelings. Over all the analysis we recognized that the perception of colours is strongly influenced by a lot of factors. We reached conclusions – bright colours and light catch our attention, colour evokes association, the amount of people influence how we experience space.

Using the results from our analysis of various spatial situations in Istanbul we decided to depict the importance and influence of colour in spatial experience. In order to bring the emphasis of colour, which is somehow not so prominent we decided to take one of these adhocratic spaces and depict them through colour. We try to explain how people choose colour to create the same scenario and ambience of a space experienced by us. 

In order to achieve this we took an image of one of the spaces analysed by us. We decided upon 13 colours, which included a combination of bright colours, greyish tones and dark tones of the same colour. The colours were printed onto a thick paper of 350 g/m2, which were cut into small squares of 5 x 5 cm. These acted as pixels, which we used to depict the image based on our own perception of the space. The limited colour choice enabled us to focus on colour as the primary factor rather than other influences.

We observed our process of making the picture through these colours and reached a few conclusions. Colour is never perceived in isolation we tend to attach a form or shape to it. The fact that we randomly placed the squares rather than a strict allowed us to attain contours and shape and play with the aspect of foreground and background. Through this process we were able to abstract the image to its most basic elements of emotions and colour. When one looks at the picture without the projection, which was the basis of this experiment, one may not be able to identify the exact association. However the concept of association becomes evident when one observes the image from a distance or through a camera. The form and the aspect of space become obvious, showing how one can move from abstract to real and from real to abstract just through the use of colour and process of placing them. This depicts how our perception of colour can vary through change of medium and the possibility of several levels of perception.


In order to understand space as a steadily changing system beeing in permanent mutation, we put the workshop's focus on the action. Space creates action and action creates space. Conceptional background is an effort to break through practice, dating back to Plato, to assign everything to all fixed determinations and draw attention to the change, to the transition. Our procedure is simple. The place is transformed by a staged event. In the final presentation in the gallery exact this event is pushed into the background, on a second level into virtual space, it can not dirctly be looked at. The event falls into he gap of the transition.

An outside place with interior qualities was searched for and appropriated in three successive phases. First spending time on the site alone, drawing. Second, measuring it with one's own body, drawing a plan and creating maps depicturing the psysical properties and social activities of the space. The findings of these observations build the source material for the third step, the development of a short slapstick movie scene, which then was played and filmed on the sites. The students choose one object, related to the film, which they left behind on the location as a marker, connected to the memory of the played scene. This marker is added as a new component integrated to the space.

Nine drawings fixed on carport sqares are hanged three by three on a detached white wall in the gallery. Left to them figures cutted out of the same material form a plan of the neighbourhood of the gallery, in which three spots are marked and named. In the space between plan and drawings a hand written text asks four questions: How do we think "space"? On a site, what do you hear, see, smell, taste or recall? When you start to play with a place, will it be transformed? What will be left? The drawings show one pair of perspectives of each of the three sites. They are taken from exact the same point of view but in another point of time. The second perspective has the intigrated new object. In between these pair of drawings hangs one barcode connected to every site. The bar code scanned by a samrt phone leads to the uploades slapstick film sequence, which was produced on the sites.