Aliud

PREFACE

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What is Çanakkale?

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In fact, we obviously cannot find an answer to this question. At first glance, although Çanakkale province is associated with the ruins of Troy and a history patterned with the First World War, these two historical landmarks will be insufficient to define Çanakkale. Perhaps we will have to ask another question before we can answer the question at the beginning of the paragraph. “While determining the identity of Çanakkale, it is whether the strait, its history, its location, or the Mediterranean-Aegean architecture, or the civilizations and states that lived along this strait will be taken as a basis.”

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The main point when starting this project was how the physical geography of Çanakkale has shaped the civilizations that developed on its shores and inside this strip. Civilizations at a great distance from each other were connected and interacted with each other by the Mediterranean and Aegean waters. This interaction still continues today. Commercial, cultural and political ties have been established. The wealth of the city of Troy or the fighting of the Anzac soldiers at Gallipoli was based on the unifying power of the sea. Significantly, this strong interaction also showed itself in architecture. Traces of Greek and Anatolian Turkish houses can be seen in Bozcaada, and there was only one stream separating these two styles. As a plus, Çanakkale has been able to protect itself thanks to its location in the Marmara Region, where industrialization and urbanization are at the highest level.

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Coastal-Inner Zone & Standing-Impermanence Dilemma

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Communication ties with the inner regions of the provinces with coasts have been one of the most important criteria of the cities. Districts located on the shores of the Dardanelles (Gallibolu, Lapseki, Eceabat, Çardak, etc.) have created Çanakkale's own internal micro-scale sea ties. However, the connection of this coastal interaction with the inner parts of the city is often problematic as in our other cities. When Çanakkale ferry port is included in this, vertical and horizontal barriers are formed on the Çanakkale coastline. These barriers intersect in an undefined square and it has been seen that they serve the city apart from its function. Although the square is outside the project area, it also has an important function for the building to be designed: slowing down the people of the city. As seen in the field surveys, the ferry pier square is surrounded by various bus companies and a vertical barrier to the shore is formed with the vehicle queues formed at the pier. Thus, the square and the entrance to the ferry port became a focus of attention for pedestrians, and turned into a temporary place where they try to catch up with their hand luggage, rather than a place where they stop and spend time. In addition to this situation, the project area is surrounded by building blocks aligned parallel to the coast and cuts off its connection with the coast.

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ALIUD?

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/ˈa.li.ud/, [ˈa.li.ʊd] Latin word used to mean other-other, different and alternative. Based on the readings made in the analysis, a new alternative route to the coastal use axis of the city was created and it was envisaged to attract pedestrian traffic to the building area. Because there is a weakness in the direct visual connections of the area where the building will be designed. This decision was taken for the immediate surroundings of the competition area and it was aimed to establish a strong relationship between Muhammer Aksoy Park with the public garden and the square and green areas on Cumhuriyet Boulevard. This parallel connection to the shore also constitutes an important point in the design of the structure.

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Shooting Points

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Within the scope of sight seeing, the examination of the competition area started primarily from Kayserili Ahmet Paşa Street. The reason for this was that it was the place where pedestrian traffic was the most lively for most of the day. However, the result that emerged in the analyzes mentioned in the previous section was that a space that stopped the pedestrian flow could not be formed. An alternative green space, the Public Garden, provides pedestrian flow from the space next to the governor's office, which opens to the coastline. This point is important for the city as the starting or ending point of an alternative second route. This point also takes the human attraction from the area where the Trojan statue is located on the shore and heads towards the commercial area of ​​the city.
 

Mass Development – ​​On Structure

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Between the Walls, Courtyard – Building – On Pedestrian Flow

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It is aimed to transform Muammer Aksoy Park, located at the front of the building to be designed, into a place that determines the controlled opening of the building, its inner garden and its perimeter. A semi-circular wall with a radius of 41 meters and a height of 4 meters is offered the opportunity to radically reflect its own internally controlled life. As in the logic of the courtyard operation of Turkish houses. A single entrance to the inner garden from Muammer Aksoy Sokak was a decision to protect the privacy of the building. Controlled pedestrian flow allowed people to slow down and stop and direct them to the pedestrian circulation axes on the ground floor. The 8-meter retreat and the arcade on the ground and first floors provide the connection between the Public Garden and Cumhuriyet Boulevard on the east-west axis of the building, while creating a drawing line to the building again. One of the positive aspects of the backyard is the preservation of the existing trees and the integration into the building.


Program and Operation

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Vertical and horizontal corridors of 7.2 meters are considered in the passage logic in order to organize the intense commercial movement on the ground and first floors in a linear, axial and rational manner. In the comfortable program on the upper floors, it is thought that people will be moved to the next floor with food and beverage units, children's activity center and municipal service units. +9,00 level is considered as a floor where artistic activities, dance, choir and theater works are carried out, with an open foyer and inner garden around the vertical circulation, where there is a slower pedestrian circulation. The roof, which is accessed by a spiral staircase from the inner garden, allows various activities. Access to the basement floors is provided from the 2 main cores inside the building. It is possible to reach the level of -7,00 by the ramp provided from İnönü Boulevard. Rubik's polypark system with a 3-storey 9-vehicle capacity was placed in a two-storey high basement, reaching a capacity of 402 vehicles. The technical volume at -3.50 level is accessed from the stairs next to the bunker.

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Neighborhood Design

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The focal points such as Muammer Aksoy Park, Cumhuriyet Square, cannon from the Çanakkale War, and ceramic sculptures, which are located in the immediate vicinity of the designed building, have been tried to be integrated in the design of the immediate environment in order to give a trace of orientation to the building. In addition to the integration of Muammer Aksoy Park into the structure, the circular Cumhuriyet Square was lowered to the level of -2.00 and it was desired to be cut off from the movement of the boulevard it is adjacent to.

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Considering the approach to the building by the square, in addition to the historical ball and ceramic sculpture, modern pods scattered in the green area were thought to slow down the pedestrian flow and attract attention. The parking lot belonging to the Police Department, which is located at the current location of the entrance to the parking area, was taken underground and free pedestrian access was provided from the south of the building area. A small amphitheater is in the southern part of the building, where it opens to the immediate surroundings.

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