The Messe Performance Cube, complements the cultural heart of the Messe Berlin exhibition grounds, situated next to one of the busiest transportation nodes of Berlin. It is a centre for a wide range of performing arts and stands among the global frontrunners in the field of innovative theatre experience. The Cube transcends the traditional organization of theatre buildings, adopting a new approach in its design and layout. The design pushes the boundaries of performance spaces, resulting in a robust structure that can accommodate countless forms of performances. Due to its versatile design, the Messe Performance Cube extends beyond the confines of music, theatre or spectacle. It can also serve as a space for exhibitions, events, festivals and studios and can be played by artists and curators as an everchanging instrument.

With the help of information technology, people can not only store the massive knowledge formed over thousands of years in various network databases but also present the process of knowledge production in different spaces at the same time. At this time, education will present a new ecology that can be learned everywhere and all the time. The physical boundaries of peer communication, work, and learning become blurred or even disappear completely, and the fluidity of educational space arises at a historic moment. It can be seen from recent experience that the traditional model of space and ownership (space owned by colleges and departments) is changing to a more diversified and flexible shared space. Success depends not only on the type of space provided but also on how to connect different types of space through circulation and create interactive activities. This project, Google Computer Science Faculty, based on Google's plans and ambitions to enter the higher education market, tries to create fluidity in the next generation of educational spaces by focusing on the design of circulation areas.

This research aims to investigate how we can facilitate the digital transition into the metaverse at the scale of Rotterdam, through architecture and technology by understanding the gaps in metaverse enabling technologies and the infrastructure required to power the metaverse and its creation process.

Saint Petersburg is a second-largest city in Russia, having a population over 6 million people. Located in the northern part of the country on the edge of the Baltic Sea it was founded by tsar Peter the Great in 1703 as a future capital for Russian Empire. Tsar was wishing the new capital to become the most beautiful city in Europe and the city was built with an intention to open up Russia towards western traditions and western European world. Today the first core of the city – its` historic part built through 18-19th centuries – is world known as Northern Venice and conquers the hearts of millions visitors. But through 300 years of its’ history the city turned from being one of the most progressive cities in Russia into the city with the prejudice to anything new. Today the city is trying to keep its’ “historical appearance”, to preserve how it looked like when it was envisioned by one of the greatest tsars in Russian History, but this intension is leading the historic city centre of Saint Petersburg to its` devastation. In this Research and Design project I was reflecting on how to approach the consvervativist thinking about applying contemporary architecture in historically important areas of the city. In my research I explored what are the origins of conservatism among the citizens of Saint Petersburg and the reasons behind historic centre of Saint Petersburg being captured in its` past. I aimed to understand how to re-interpret the gaps in the historic fabric of the city and how to use them to bridge the gaps in-between progressive intentions of the architects and conservative view of the citizens of Saint Petersburg. As a result of this research I was designing a small scale architecture university on the edge of the historic city centre, which main aim is to be as open to the public of Saint Petersburg as possible to invite people for inspiring observations, thoughtful discussions and unexpected discoveries about the approaches that are used in the realm of contemporary architecture today...

Facing the neo-liberalisation of the city, "the furtive monument" is a path across the city, combining programs of the body, the mind and the politics, in order to reach a state of empowerment. Based on a situationist drift, architectural interventions transform the way the city of Rotterdam is experienced, not based on profit but based on programmatic activations. If the city is a generic cadaver, the project has the ambition to revive its soul from its carcass, extracting its qualities, disrupting the systems in place and re-assembling its components. The city, seen as programmatic intensities, states that architecture doesn’t have to be built.

Hoewel ik tijdens mijn opleiding leerde ontwerpen, voelde ik dat ik maar weinig grip kreeg op de dynamiek waarmee we dingen beleven. We ontwerpen gebouwen van steen en hout, die stilstaan; toch lijkt alles wat zich tussen de muren van onze huizen en steden afspeelt bewegelijk en tijdelijk. We nemen de materiële wereld allemaal ongeveer hetzelfde waar met onze zintuigen, toch beleven we alles anders. Soms beweeg ik me vluchtig en onverschillig en soms langzaam en aandachtig. Soms brengt een geluid of geur me in vervoering en vergeet ik voor even de wereld om me heen. Soms verdwaal ik in een dagdroom; en terwijl mijn lichaam zich nog altijd begeeft in dezelfde wereld, reis ik in gedachten door verschillende plekken en tijden tegelijk. Ik stelde aan het begin van dit jaar de vraag: wat is de geleefde ruimte? Een ruimte die gekleurd lijkt door onze herinneringen, associaties, verbeelding en onderbewustzijn. Ik richtte me in mijn onderzoek op film, omdat filmmakers - meer dan architecten - een taal hebben ontwikkeld die op expliciete manier uitdrukking geeft aan de belevingswereld van de toeschouwer. Filmmakers zijn zich ervan bewust, hoe je met montage - een nauwkeurige samenstelling van licht, geluid, schaal, beweging en ritme - de emotie van de toeschouwer kan sturen. Door het scheppen van relaties en met behulp van suggesties en associaties ontstaat nieuwe betekenis. Aan de hand van drie cinematografische ordeningsprincipes, bestudeerde ik de effecten van een architectonische montage op de belevingswereld van de gebruiker. Ik zocht naar een nieuwe taal om de dynamiek van licht, geluid, geur en beweging op een expliciete manier te integreren in het ontwerpproces.

This research delves into the post-war reconstruction of Damascus, focusing on the intricate balance between preserving cultural heritage and embracing modernity. Through the lens of informal settlements, particularly in the neighborhood of Jobar, the study examines the adaptability of contemporary dwellings alongside historic courtyard houses. The analysis highlights the tension between modernization aspirations and the preservation of unique cultural identities in a post-war context. A comprehensive survey, incorporating diverse voices from the Syrian community, revealed a tapestry of preferences and aspirations that underscore the importance of community living, memories associated with home, and resilience. This input shaped the design intervention known as Bait Byoot, which aims to rebuild structures while fostering a sense of community and resilience. The project integrates green spaces, communal hubs, and varied materials, addressing immediate housing needs and promoting sustainable, flexible growth. Bait Byoot,beyond a housing project, it serves as a blueprint for revitalizing war-torn communities, providing a foundation for healing and growth. The design respects traditions and experiences, bridging the past and future to create spaces for new memories and opportunities. This research emphasizes the human element in post-war reconstruction, advocating for urban resilience and recognizing that rebuilding communities extends beyond physical structures. It calls for a delicate interplay between modernization, cultural preservation, and the human experience. By envisioning the future of neighborhoods like Jobar, the study aims to revitalize the essence of community, creating spaces where resilience, cultural richness, and the philosophy of home-making converge into a narrative of hope and renewal.

In the pragmatic arena of architecture, where the foundation is laid in the tangible and the functional, a profound shift is underway—a shift that beckons architects to transcend the boundaries of practicality and engage with the ephemeral, speculative, and culturally resonant facets of their craft. In an era dominated by instant gratification, fleeting trends, and the constant flux of digital imagery, architecture finds itself at a crossroads. Traditionally anchored in permanence, architects have been steadfast in their commitment to designing tangible spaces that cater to human needs. Yet, in their pursuit of practicality, the discipline has inadvertently distanced itself from the nuanced realms of imagination, experimentation, and cultural discourse. As architects ardently focus on the physicality of their creations, the discipline witnesses a gradual erosion of its once vibrant and visionary dimensions. The pace of architectural innovation seems to lag behind the relentless evolution of societal values, aesthetic preferences, and cultural dynamics. The dichotomy between the practical and the theoretical persists, with the former often overshadowing the latter in an environment increasingly defined by rigidity and tradition. Amidst this tension, the need for a revival of discussions surrounding the aesthetic and cultural relevance of architecture becomes apparent. The relentless march of pop culture, marked by the ephemeral nature of Instagram reels and Tik- Tok trends, demands a recalibration of architectural discourse. It is imperative to acknowledge that innovation in architecture transcends the merely practical; it must also navigate the realms of beauty, culture, and the human experience within the built environment. In this context, ArchPOP emerges as a beacon—a platform that seeks to bridge the chasm between the pragmatic and the speculative, the tangible and the ephemeral. By drawing inspiration from the world of fashion, where the interplay of theory and practice is seamlessly woven into the fabric of creativity, ArchPOP aims to reintroduce the cultural relevance of architecture in an age dominated by disposable images and ever-shifting trends. As we navigate through the following exploration, we delve into the symbiotic relationship between architecture and fashion, examining how the latter navigates the cultural zeitgeist with unparalleled agility and applying the same treatment to the architecture realm. It is an invitation to architects to reevaluate their roles, to recognise that the discipline is not a solitary endeavour but a collective activity. ArchPOP reclaims the tradition of radical architecture magazines that embodied the spirit of the 60s and 70s. This issue aims to re-contextualise the progressive and bold positions animating these publications, delving into contemporary topics and engaging with the digital ages. The physicality and the immediateness of the magazine format allows architecture to be part of the everyday, easing the dissemination of information and drawing inspiration form to the variety of fashion editorials that to this day play an essential role in the industry, experimenting with aesthetic and fostering collaborations. Join us in this manifesto for change—a call to architects to embrace the dynamic interplay between the practical and the theoretical, the tangible and the speculative. In the relentless stream of information and the transient currents of pop culture, ArchPOP seeks to rekindle the flame of innovation in architecture, fostering a holistic approach that resonates with the ever-evolving desires of a society living in the whirlwind of the digital age.

My design focuses on creating a community space in Kanarya, Istanbul, with two main goals. The primary goal is to establish a safe space that provides all the necessary tools which are needed after an earthquake disaster. The residents of the neighborhood can come together in the self-sustaining building, which serves as a gathering point (based on the AFAD designated areas) after a disaster to have a safe space, away from the probably destroyed city. Later the building will facilitate the community with its “healing” character and give the community the space to recover after a disaster. The second goal is to use the proposed building before a disaster occurs. The reasoning behind that is so that communities can get familiar with the facilities, and create memories and a sense of belonging to the place. The building design, of a community kitchen, in the neighborhood Kanarya (before the disaster) contributes not only to the daily lives of residents but also to the overall development of the are by creating employment opportunities and facilities that attract people from neighboring localities. The community kitchen aims to provide inhabitants with a daily goal that aligns with the community’s needs. Keeping these requirements in mind, the community kitchen in Kanarya will include a market area and workshop spaces. Here, residents will be able to grow food, cook together, start small crafting projects, such as knitting, and have the opportunity to sell their creations, which aims to provide economic growth within the community. Many design decisions made during the design process are primarily based on the experience of people after the earthquakes on the 6th of February 2023 in Kahramanmaraş. This knowledge was mainly acquired during my work for the Architectural Recovery Team, a foundation created with fellow students to reconstruct long-term housing after the disaster. Besides that, my design decisions are based on the research conducted about disaster preparedness and the psychological influences of space to create a resilient city.

My design focuses on creating a community space in Kanarya, Istanbul, with two main goals. The primary goal is to establish a safe space that provides all the necessary tools which are needed after an earthquake disaster. The residents of the neighborhood can come together in the self-sustaining building, which serves as a gathering point (based on the AFAD designated areas) after a disaster to have a safe space, away from the probably destroyed city. Later the building will facilitate the community with its “healing” character and give the community the space to recover after a disaster. The second goal is to use the proposed building before a disaster occurs. The reasoning behind that is so that communities can get familiar with the facilities, and create memories and a sense of belonging to the place. The building design, of a community kitchen, in the neighborhood Kanarya (before the disaster) contributes not only to the daily lives of residents but also to the overall development of the are by creating employment opportunities and facilities that attract people from neighboring localities. The community kitchen aims to provide inhabitants with a daily goal that aligns with the community’s needs. Keeping these requirements in mind, the community kitchen in Kanarya will include a market area and workshop spaces. Here, residents will be able to grow food, cook together, start small crafting projects, such as knitting, and have the opportunity to sell their creations, which aims to provide economic growth within the community. Many design decisions made during the design process are primarily based on the experience of people after the earthquakes on the 6th of February 2023 in Kahramanmaraş. This knowledge was mainly acquired during my work for the Architectural Recovery Team, a foundation created with fellow students to reconstruct long-term housing after the disaster. Besides that, my design decisions are based on the research conducted about disaster preparedness and the psychological influences of space to create a resilient city.

Architecture as a discipline is deeply involved in a constant material entanglement with a large number of entities. Yet across the discipline, nature-culture, subject- object distinctions are still being forcefully being held up, with the consequence of invasion of many territories, inhabited by other species and the destruction of their environments. In order to overcome such damaging differentiations, it is necessary to reconsider tour concepts of ontological hierarchies and their outcomes in architecture. This may allow us to create new affective environments, considerate of the constant set of relations that we find ourselves entangled in.

The Untapped Potential of Video in Architectural Design is a research and design project that explores the application of video-based techniques in the architectural design process. The project started with an experimental and applied research phase diving into video-based techniques at different stages of the design process, followed by my own design project where I could further apply and test these techniques. Due to the time-intensive nature of video production, it turned out to be difficult to use video at certain stages of designing, specifically the phase of generating and developing design ideas. In other phases, such as at the beginning and final representation, the use of video was very fruitful. The same pattern emerged when I continued to use video in my own design process; the application in the earlier research phase and the final representation phase of my design project, worked well. The use of video in the intermediate phase of generating and developing ideas less so. All of the videos that I made throughout the project, including most importantly the Research Film containing all of my research compiled together, as well as my final design videos, are available on my YouTube channel at the link below.

Since the dawn of civilization, the architecture of power has been a means to symbolize societies´ beliefs. The parliament building is itself a great example. It has been used to project to nations images, associations, messages, and ideals. These buildings often embody a sense of oppression, intimidation, security, and protection. The Reichstag building in Berlin symbolized the German Unification in 1871; the National Congress in Brasilia symbolized the country´s economic progress in the 1950s; the European Parliament in Strasbourg symbolized the openness and democracy of the newly created European Union in the 1990s. If we believe that our buildings shape us - as Winston Churchill once said - what parliament are we seeking now? What comes next? The ambition of this project is to reflect on the powerful symbolism of the parliament as a tool for an emergent and extremely relevant global challenge: sustainability.

This research delves into the Maginot fortifications of the Second World War in Maurienne, a region nestled in the French Alps. The objective is to unravel the layers of this war heritage examining collected narratives to comprehend its material existence. Focusing on a distinctive architectural object within a specific geographical area, this study aims to provide a profound understanding of the interconnections between the physical integrity of heritage and its ethnographic narratives. In particular, the research focuses on the expression of human perception regarding architecture. The project explores ways to reconnect with forgotten heritage in a large-scaled environnement through the creation of a cultural path.