Architect’s Journey : (Im)mobile Travels in 2021

…trip without traveling; a journey that does not include traveling to a destination, but uses only paper to find out about the places and buildings that we would like to visit.


Pozo, J.M. and Medina, J.A. (2011) “Paper Taken on Trips, Trips Taken on Paper” C. Buckley and P. Rhee (eds.) Architects’ Journeys: Building, Travelling, Thinking, pp.188-207. New York: GSAPP Books.








Places we ‘Travel’: The Caucasus

Beril Alara Demirhan

This study explores the ‘‘journeys’’ of three women in nineteenth-century-Caucasus to trace the places they travelled, whose intertwined story is also about the captivity of two of them in the dwelling the third woman calls home. Anna Drancy (Dranza, Drancey), a French woman, who travelled to Tbilisi, Anna Chavchavadze, a Georgian Princess, who travelled to Tsinandali and Shouanete, an Armenian wife of Shamyl, who came to live in the Aul of Imam Shamyl, Dagestan. This research aims to curate the architectural background of the spaces they travelled to and were taken as captives in order to unravel the daily life in the settlements and dwellings of 19th-century-Dagestan.








Peripatetic Photo-Journal of Tuzla 

Zeynep Eda Gönen


Due to the ongoing global pandemic, the movement of people around the world has become extremely limited. Nowadays, we can travel only within certain boundaries. Most people created their own mini-travels around their neighborhoods to break the cycle of being at home. I, too, started to go for daily walks and photograph my journeys. My daily peripatetic travels and looking at my surroundings literally through a lens brought fresh points of view for me to see Tuzla, where I lived for my whole life. I created various itineraries to different locations; however, the scenes that I capture evolve around three main sites: the sea, the neighborhood, and the bazaar. Considering the current issues of the anthropocene, I was drawn into to shoot the encounter of humans and non-humans from a critical perspective.

In each location, I focused on the site-specific subjects such as the natural/human, agricultural/industrial, (im)mobile structures, and (im)mobile objects. I created frames to capture the relation between the sea and the mucilage, the human waste and the green fields, the tectonic architecture of the bazaar, and the agricultural-industrial products. Doing so, I notice the degree of mobility of the structures and objects in the sites. As I was traveling, I became aware of the travel of the mucilage, the animals, the people, the fruits, the vegetables, and the structural elements of the bazaar. In this regard, the tension between mobility and immobility became one of the readings of my photographs.









Terra Australis Incognita

Meltem Köse

Terra Australis Incognita (the unknown southern land), Australia today, was a hypothetical island known only because it was featured on maps or journals from the times when it was believed that the equator could not be crossed until its later discovery by the British. The discovery of the island in 1770, and after the American Revolutionary War in 1776, the British Empire needed a new location since they could not send prisoners to America anymore, and it was decided to use Australia as a distant penal colony. Since the first landing, the native people and the British encountered with each other, and the decrease in the native population and the increase in the European population changed the dynamics of the island. In addition, events such as the establishment of the Commonwealth of Australia in 1901, shaping the immigration with the White Australia policy in the following years, and even the island’s refusal to be fully independent in latest referendum, show the dominance of the British Empire on the island. This study aims to reveal this multi-layered structure of Australia that has formed over the years, through 4 different actor groups as modern travelers who have the potential to visit the island as tourists today, those who first settled on the island since 1788, prisoners and immigrants in the following years, the natives of the island, namely Aborigines, whose population has drastically decreased with the arrival of the British and whose way of life has changed dramatically, and the Royal family members visiting the island from time to time in parallel with colonial activities. Although these actors are presented separately from each other, quite remarkable intersections emerge where each group can be overlapped with the other.








I traveled around the streets of Ulus and observed the same environment that my great grandfather observed with an altered perception as an outsider and the member of the third generation of his family. While taking the photographs, I had in my mind the term “zoomscape” “which is introduced by Mitchell Schwarzer as “a largely optical mode of perception characterized by speed and surface. Fragmented perception encourages the viewer to imagine what is left beyond the frame. As a result, “buildings are liberated from their status as an object by offering new visual experiences in virtue of a new perception caused by mobility.”


Tracing the daily itinerary of a tradesman between 1920 – 1950

Yaz Ertürk


My inspiration for this location is my father’s grandfather who lived in Ankara as a tradesman when Ulus was considered the heart of Ankara with its multilayered settlement between 1920-1950. In the first project, I traced the daily itinerary of my great grandfather from his home to his candy store in Çerkeş Street and reflected his perception of his environment as an inhabitant. The unfragmented perception of movement on the route of Hasan Hüseyin Ertürk was reflected with the wide angled photographs where roads, streets, and buildings around can be identified and even cognitively mapped as a whole.








LOOKING FOR LOUIS KAHN THROUGH STRUCTURE, SURFACE AND LIGHT

Doğan Hazar

Louis Kahn was born on the Estonian island of Saaremma, in 1901. The significance of this place, where there is a castle that he often referred to in connection with his childhood, comes from his first encounter with medieval architecture. Accordingly, Louis Kahn once has said that he became an architect at the age of three. In 1905, he immigrated to the United States with his family and grew up in Philadelphia. He was educated at the University of Pennsylvania with a strict Beaux-Arts tradition that gives importance to drawing. Saying that an individual can only learn what is already in himself, Kahn also believed that the apprenticeship process is a continuous self-discovery. Therefore, after completing his Master’s degree, Kahn went on a tour of Europe that would affect his understanding of architecture and settled in Carcassonne, a city with medieval walls instead of the castles of classicism or modernism. Traveling to other European cities for inspiration, and self-discovery, Kahn embarked on his own Grand Tour. The events he encountered throughout his life shaped the ideas that boiled in him. Historically, Kahn has created a completely unique new architecture that goes beyond modern architecture and brings different understandings; he developed original ideas that determine volumetric relations and space. The aim of this inquiry is to reveal the experiences of Kahn in the European cities he visited, starting from the city where he was born, and looking for the traces of those experiences through the structure, surface and light in his buildings.









Strolling in Diyarbakır with Evliya Çelebi

Nazlı Delal Ensarıoğlu


In this project, I followed the footsteps of Evliya Çelebi in Diyarbakır and created my own itinerary in the historical Inner Castle District of the city. Starting by marking the places he visited during his Eastern travel, I zoomed in into the Diyarbakır province and quote his notes about the spaces included in his travel book “Seyahatname” which worked as a guidebook for my own visit of the area. While doing this, in my project his notes were translated into English and photographs from several time periods of the mentioned spaces, inevitably only after the mid-nineteenth century, given with the years when they were taken.

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