teoman ayas portfolio

TEOMAN N. AYAS2006 - 2013

ACADEMIC WORK

Istanbul Culture and sports Centre Yale sChool of arChIteCture, M.arCh I sprIng 2013 InstruCtor: Zaha hadId + patrIk sChuMaCher broad MuseuM redux Yale sChool of arChIteCture, M.arCh I fall 2012 InstruCtor: toM WIsCoMbe

staMford urban park(Ing) Yale sChool of arChIteCture, M.arCh I sprIng 2012 InstruCtor: bIMal MendIs

brooklYn navY Yards art MuseuM Yale sChool of arChIteCture, M.arCh I fall 2011 InstruCtor: MIChael Young

FABRICATION

slIpstreaM WIth freelandbuCk studIo suMMer 2011 - 2012

hangIng benCh Yale sChool of arChIteCture, M.arCh I sprIng 2011 InstruCtor: ben pell COMPETITIONS

Istanbul dIsaster preventIon Center WIth freelandbuCk studIo suMMer 2011

artIst CoMMunItY projeCt la reunIon tx, Make spaCe for art CoMpetItIon januarY 2008

PROFESSIONAL WORK

aMsterdaM unIversItY unstudIo suMMer 2012 lead arChIteCts: ChrIstIan veddeler

ChInese unIversItY of hong kong (shenZhen) unstudIo suMMer 2012 lead arChIteCts: ChrIstIan veddeler

beethoven ConCert hall Zaha hadId arChIteCts nov. 2008 - nov. 2009 lead arChIteCts: thoMas vIetZke, jens borstelMann

burnhaM pavIlIon Zaha hadId arChIteCts oCt. 2009 lead arChIteCts: thoMas vIetZke, jens borstelMann

Qatar petroleuM headQuarters skIdMore oWIngs & MerrIll (london) aug. 2007 - MaY 2008 lead arChIteCt: aYbars asCI

neW York jets traInIng faCIlItY skIdMore oWIngs & MerrIll (neW York) MaY 2006 - julY 2007 lead arChIteCt: darrell puffer

ZAHA HADID ADVANCED STUDIO

Starting with physical and digital modelling studies to analyze material properties, a parametrized structural concept is developed using interdependent tensile and compressive member. This concept is the driver behind spatial and formal explorations. The singular unit is comprised of a hybridized system of compression and tensile members. The tensile members are centrally located resolving into multiple inner rings under which key program is positioned. At the perimeter, the compression shells perform as the outer ring for the tensile member while preserving a formal continuity between the two parts.

The project site was located in Istanbul for the Olympic Park development and the large waterfront property was divided into lots for each student. Each student’s individual system and program was resolved throughout the semester into one masterplan proposal.

| ISTANBUL CULTURE AND SPORTS CENTRE | ACADEMIC WORK | YSOA SPRING 2013

| PHYSICAL MATERIAL STUDY

| SYSTEM VARIATION| STRUCTURAL CONCEPT / UNIT

| CONCEPT RENDERING

MAIN ENTRYPUBLIC ZONEMAIN COURT

COURT SUPPORT AREA

EL. 46.00 m

EL. 10.50 m

1m 5m 15m


| MULTI-NODAL TENSILE SYSTEM| PHYSICAL MODEL | TENSILE SYSTEM VARIATIONS

| LONGITUDINAL SECTION

MAIN ENTRYPUBLIC ZONEMAIN COURT

COURT SUPPORT AREA

EL. 46.00 m

EL. 10.50 m

1m 5m 15m

MAIN COURT

SECONDARY COURT

PUBLICZONE

MAINENTRY

CAFE

PRACTICECOURTS

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2m 10m 30m

| TYPICAL PLAN


| GROUND SYSTEM

| SHELL TO GROUND TRANSITION DETAIL

15m5m 35m

The ground system shares formal and conceptual similarities with the tensile members overhead. Local site tangencies are extrapolated into initial guide lines and alignments. These vectors are repeated through offsets controlled by potential programmatic and structural span capacities. The number and repetition of these offsets on site correspond to the anticipated usage and pedestrian traffic in a particular direction. Next, circular elements representing the location of major program are introduced onto the ground system. These circles play a disruptive role within the system stretching the initial guide lines around them and breaking up the linear traffic patterns with nodes of activity. This arrangement references a number of previous material studies.

The tennis stadia is located at the south tip of the overall cultural park site. The main entry is located to the north where majority of the traffic is expected. West of the main entry, the ground system stretches towards the waterfront from the internal cafe.

| AUXILARY TENSILE TRUCTURES


| ABSTRACT SYSTEM VIEW

90°SINGLE LOAD PATH DE-LAMINATES INTO MULTIPLE EVENLY SPACED ONES WITHOUT BUNDLING UP. ALL THE PATHS ARE EVENLY ARTICULATED WITHOUT HIERARCHY.

SINGLE LOAD PATHS ARE ATTRACTED TOWARDS EACH OTHER ACCORDING TO PROXIMITY AS THEY FLOW ON THE SHELL SURFACE AND START BUNDLING UP.

SINGLE LOAD PATH DE-LAMINATES INTO MULTIPLE ONES CONCENTRATED OVER THE ZONES OF HIGHER STRESS. PATHS BUNDLE BACK UP AT THESE POINTS. BUNDLED PATHS ARE ARTICULATED STRONGER THAN OTHERS.

SINGLE LOAD PATH DE-LAMINATES INTO MULTIPLE EVENLY SPACED ONES AND MEET THE EDGE OF THE SHELL AT NINETY DEGREES.

SINGLE LOAD PATH DE-LAMINATES INTO MULTIPLE EVENLY SPACED ONES THAT DEVIATE FROM THE PATH TO COVER MORE SURFACE AREA. EACH PATH THEN CONVERGES BACK WHERE THE SHELL TOUCHES THE GROUND.

A1. A2. A3.

B1. B2. B3.

A4.

| TENSILE MEMBER ARTICULATION

| SHELL TO TENSILE TRANSITION DETAIL WITH ETFE ROOFING

The transition between the perimeter compression shells and the central tensile members was developed through a number of articulation studies, taking methods of bundling and structural paths active on the shells into account.

A roof panelling system is utilized to blur the transition between the shells and tensile members, while providing shelter for the programed seating below. The vaulted shape of the transparent

ETFE panels provide structural rigidity while adding a visceral and material quality to the transition between the compression and tensile parts of the system. together the tensile members in concert the compression shells read as a single parametrized surface that correspond to the programmatic and structural requirements of the building on site.

| ISTANBUL CULTURE AND SPORTS CENTRE | ACADEMIC WORK YSOA SPRING 2013

| VIEW TOWARDS MAIN ENTRY AND CAFE

| AERIAL VIEW

In plan view, the two largest internal tension rings correspond to the two Olympic tennis courts below. One of these courts holds the main event, while the other court hosts secondary events.

The third tension ring in the roof marks the main public space located at the entry. One can access both courts as well as other closed practice spaces from the public gathering plaza. The public cafe, located under one of the perimeter shells, has views

towards this main public space as well as towards building’s waterfront extension.

From certain vantage points in the seating area, the tension rings frame views out to the city and the water, establishing a connection between the interior and the exterior. Given the location of the site, views towards Bosphorus reinforces the urban significance of water in Istanbul.

| ISTANBUL CULTURE AND SPORTS CENTRE | ACADEMIC WORK YSOA SPRING 2013

| MAIN AND SECONDARY COURT SEATING

| MAN ENTRY

| VIEW OUT FROM SEATING

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WALT DISNEY CONCERT HALLMoCaREDCAT GALLERYDOWNTOWN CBD

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25’0’ 50’ 100’

| BROAD MUSEUM REDUX | ACADEMIC WORK | YSOA FALL 2012

TOM WISCOMBE ADVANCED STUDIO

Jeffrey Kipnis’ box-in-a box problem is investigated through a series of formal operations applied to the diagrammatically free floating inner volume of Beinecke Rare books Library. The inner box pushed against the outer skin as first step is exemplified by Jean Nouvel’s Tokyo Opera proposal. In the final step the outer skin is stretched out around and fused together to create enclosure. Simultaneously it is sucked back in around the inner box to create deep involutions. The spatial and organizational potential of the interstitial space generated through these operations are further explored.

| SITE PLAN| TATTOO DRAWING

| BOX IN A BOX CONCEPT

FLOATING BOX IN A BOX: BEINECKE LIBRARY FIGURES PUSHED AGAINST SKIN: TOKYO OPERA SKIN PULLED OVER TO CREATE IMPLIED OUTER SHELL

| MODEL PHOTO

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WALT DISNEY CONCERT HALLMoCaREDCAT GALLERYDOWNTOWN CBD

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| BROAD MUSEUM REDUX | ACADEMIC WORK | YSOA FALL 2012

| URBAN ACCESS

On site, the project pulls the public in from Grand Avenue onto a new ground plane. This public zone allows for visual connection through the site onto Hope Street. The building form becomes orthogonal on its eastern elevation facing the book-end structure of adjacent Walt Disney Concert Hall. Programmatically building holds a semi-public art storage connected with office space, a main exhibition hall and public cafe formalized as the three internal figures connected through the public plaza / lobby.

The tattoo negotiates structural seams as well as areas of puncture through the outer skin for natural light. Graphically the tatoo collapses multiple layers of the building skin down to a two dimensional reading from certain vantage points. This graphic collapse provides additional dynamicism to the multilayered and involuted overall form as one moves around the building.

| FIGURES IN SKIN

INTERNAL FIGURES

LINER BETWEEN FIGURES

OUTER SKIN

LINER REMOVED

| BROAD MUSEUM REDUX | ACADEMIC WORK YSOA FALL 2012

| MODEL PHOTO

SUPER PODIUMBASE PROGRAM: MIXED USE RESIDENTIAL/OFFICE/HOTELSECONDARY PROGRAM: HEALTH/RECREATION

00:00 24:0012:00

00:00 24:0012:00

00:00 24:0012:00

00:00 24:0012:00

RESIDENTIAL PARKING DEMAND vs. FREE USE

OFFICE PARKING DEMAND vs. FREE USE

SHOPPING MALL GARAGE 2.0BASE PROGRAM: SHOPPING MALLSECONDARY PROGRAM: RECREATION

00:00 24:0012:00

00:00 24:0012:00

RETAIL PARKING DEMAND vs FREE USE

SWITCHBACK + EXCHANGEBASE PROGRAM: OFFICE+HOTELSECONDARY PROGRAM: RECREATION+DINING

TERRACE PODIUMBASE PROGRAM: RESIDENTIALSECONDARY PROGRAM: GARDEN+DINING

M-F

S-Su

00:00 24:0012:00

00:00 24:0012:00

RESIDENTIAL PARKING USE

recreational parking surface

motel parking

office/amenity

residential parking spiral

recreational parking podium

hotel/office

activated ramps

shopping mall

M-F

S-Su

M-F

S-Su

M-F

S-Su

residential+community parkingand amenities

114 PARKING STRUCTURE DESIGN [APPENDIX]

STAND ALONE GARAGES

PROGRAMMATIC ATTACHMENT NOTESCertain variations of this may be well-suited for someanchored program, while others may not. It is advised that the following recommendations be heeded:

1. Traffic can be routed in either single-threaded ordouble-threaded pattern.

programmed podium unitized parallel programming

gradated parallel programming embedded programming

full parallel programming programmed tower podium staggered ramping

2. The helix type is generally the most efficient in termsof its use of ramps and space, offers better wayfinding,is easily scalable, and most easily couples with program.

3. Coupling program can be accomplished by utilizing a double-helix, interlocking, or embedded configuration.

4. As these variations take on different sizes, some may not be suitable for their respective programs, and vice-versa. (see section 1.4X)

PROGRAMMATICALLY ANCHORED [HELIX]

AUTOMOBILES, ROADS, AND PARKING [APPENDIX]ARCHITECTURAL GRAPHIC STANDARDS

0ft. 10ft. 20ft. 40ft.

TRESSER BOULEVARD

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prof. Bimal Mendiswith Jon Reyes

In this urban proposal, we postulate a new urban reality: form follows parking in American urban centers. As ubiquitous urban forms, parking garages take center stage throughout the CBD, occupying nearly half of the street level surface area while simultaneously deadening viable public life.

Moreover, at peak times, many garages stand empty and unused, a symptom of the inefficiencies, assumptions, standards, and policies surrounding parking culture (or the lack thereof).

| STAMFORD URBAN PARK(ING) | ACADEMIC WORK | YSOA SPRING 2012

| GRAPHIC STANDARDS REVISITED

| SITE PLAN

| URBAN MASTERPLAN

Our strategy addresses these systemic issues by reformatting the genetic code of parking, embodied by outmoded graphic standards and policy, to produce a series of new typologies of garages. In turn, these new generics can be distributed throughout the city.

By embedding public use, scheduling, and direct programmatic integration into these new standards and typologies, the necessary and abundant urban forms that are parking garages can begin to partake in the greater public dialogue and contribute to the city’s public realm.

| STREET VIEW

| TYPICAL PLANS | MODEL PHOTO

prof. Michael Young

The organizational and formal idea behind the project derives from a desire to orchestrate the movements of various users through the project’s highly restricted site that is accessible from land only on one edge while it is surrounded by water on all other three.

Building mass positioned at the neck of the site depresses and lifts up the ground plane in order to separate the gallery visitors from the artists and from the commuters through the site. These circulatory movements are then further calibrated according to their various user speeds ranging from slow straight long ramps to fast spiraling vertical stairs.

ground floor plan1_Water taxI doCk2_sCulpture garden3_Cafe4_offICes5_lobbY6_tICket booth7_loadIng doCk

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level01 floor plan1_event spaCe2_artIst studIos3_ClassrooMs4_gallerY5_gallerY

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level02 floor plan1_gallerY MeZZanIne2_artIst studIos3_ClassrooMs4_gallerY MeZZanIne

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| BROOKLYN NAVY YARDS SITE PLAN

| BROOKLYN NAVY YARDS MUSEUM | ACADEMIC WORK | YSOA FALL 2011

ground floor plan1_Water taxI doCk2_sCulpture garden3_Cafe4_offICes5_lobbY6_tICket booth7_loadIng doCk

| VIEW OF THE ROOF SCAPE

level01 floor plan1_event spaCe2_artIst studIos3_ClassrooMs4_gallerY5_gallerY

| MAIN ATRIUM SPACE FOR CIRCULATION

| LIGHTING STUDY PHYSICAL MODEL FOR GALLERY


| CROSS SECTION

The Navy Yards site is a flat plane populated with object like buildings without necessary urban elements to be cohesively connected in a field condition with its surrounding. Therefore, formally the project takes on other industrial objects such as cars and boats as precedent and attempts to investigate their tectonics as and alternative to architecture.

The circulation starting as one approaches the site spirals up inside the building. Upon entry the main stairs pull the visitor up towards the level of the galleries as natural light coming through the patterned openings further heightens and guides the user into the galleries.


| EXTERIOR VIEW

The galleries are the destination points in where one can slow back down from circulation in order to experience the art work presented. The design challenges the typical procession at similar institutions.

As a part of the fundamental idea of flow and movement through the site the thresholds leading up to the galleries that typically help frame and distinguish the art inside from outside are minimized. Internal spaces are created as a result of the auxiliary circulation around them folding in on themselves.

Circulation routes both for the visitors and the artists from multiple entry points intensify at the centre of the building where one can travel vertically before they uncoil into designated destinations.

At this main intersection the three dimensional space is further accentuated with natural light coming down from the ceiling. The visitors gets a glimpse of the resident artist’s spaces while climbing up the main stairs but can not physically access them.


| SOUTH ELEVATION

| DETAIL MODEL

| MASSING MODEL PHOTO

with Sarah Gill + Peter Logan

This design for a hanging bench utilized the existing handrail on the Rudolph Hall Terrace as support. Water-jet cut steel profiles define the seat and ledges for placing drinks and are notched to receive wooden slats. The final length and configuration of this modular system is variable and determined by the spacing of the steel profiles and the length of the slats. The system could be propagated to turn the entire perimeter of the terrace into linear seating for informal student gathering and events.

| HANGING BENCH | FABRICATION | YSOA SPRING 2011

| FINAL PROTOTYPE | FABRICATION DRAWINGS

| FINAL PROTOTYPE

with Studio FreelandBuck

Slipstream design was inspired by Lebbeus Woods sketches studying fluid dynamics. A pattern with two distinct flow directions was developed using Grasshopper in Rhino and then extruded in order to create an egg crate structure.

Design intends to utilize the capacity of typical egg crate structures to define complex form while challenging their static and stable structural reading.

The visual and lighting affects of the Slipstream egg crate structure was the initial part of the investigation which, through-out the course of a year, developed into a full scale gallery installation in New York City.

| PHYSICAL STUDY MODEL| LEBBEUS WOODS SLIPSTREAM SKETCH

| PHYSICAL STUDY MODEL

| SLIPSTREAM | FABRICATION | WITH STUDIO FREELANDBUCK SUMMER 2012

| GALLERY INSTALLATION PROPOSAL

| FINAL GALLERY INSTALLATION PHOTO

with Studio FreelandBuck

The design for the Istanbul Disaster Prevention and Education Center (IDPEC) was conceived as a single structure that expresses the multiple atmospheres and climates it contains. The buildings is an integral matrix of environments, forms and activities.

A series of interdependent relationships between ‘boulders’ synthesize the varied program into a unified building. While The building’s forms may evoke the instability of disaster, it’s hybrid concrete and steel structure transfers load down from the elevated boulders to the ones on the ground providing a an optimized framework.

| MASSING STRATEGY

TYPICAL SCIENCE MUSEUM: OPEN HALL + EXHIBIT ‘FURNITURE’

INSTEAD IDPEC CONSISTS OF DISTINCT EXHIBITION ROOMS WITH SURROUNDING STRUCTURAL, MECHANICAL + ELECTRICAL INFRASTRUCTURE

HALF OF THE ‘BOULDERS’ FLOAT ABOVE GROUND LEVEL, SUPPORTED BY THEIR NEIGHBORS, TO OPEN LARGE LOBBY, EXHIBITION AND RECEPTION SPACES BELOW

PASSIVE VENTILATION + CONTROLLED DAYLIGHT: THE CORE OF EACH BOULDER IS A ZONE OF INTENSE ATMOSPHERE PRODUCED THROUGH DRAMATIC EFFECTS OF LIGHTING, CLIMATE AND COLOR.

THE CONNECTIONS BETWEEN BOULDERS ALLOW FOR A NETWORK OF TRIANGULAR SKYLIGHTS

| level01 floor plan

1_adMIn. offICe2_raInstorM sIMulatIon3_fIrst aId traInIng4_fIre preventIon5_sMoke MaZe6_Cafe7_eMergenCY CoMM. rooM8_4d vIdeo 9_ ConferenCe Center

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1_adMIn. entranCe2_ChIldern’s area3_exhIbItIon hall4_tICketIng5_Cafe6_lobbY 7_earthQuake sIMulatIon rooM8_planetarIuM9_lIbrarY 10_shelter11_ConferenCe hall

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| ISTANBUL DISASTER PREVENTION CENTER | COMPETITION | WITH STUDIO FREELANDBUCK SEP. 2011

| VIEW FROM PARKING

| ENVELOPE ARTICULATION

BOULDER MASSING

LARGE SCALE TRIANGULATION

SMALL SCALE TILING

RESULTANT SCALAR COLLAPSE

The structural system of the IDPEC consists of a hybrid concrete and steel structure. Concrete cores are enveloped by separate steel shells generating the boulder like architectural appearance. Within each volume, the concrete core defines the gallery space and handles the major lateral load. The steel shell creates a cavity around the concrete core to accommodate mechanical, electrical and plumbing systems and circulation.

The steel members within the outer shell are arranged to create a continuously braced dia-grid which can act as a diaphragm in its in-plane direction. Steel space trusses connect the outside steel shell to the core. Thus all of the lateral and vertical load of the suspended volumes are picked up, shared with the concrete cores and transmitted to the ground. This solution creates architectural drama while providing a rational, safe and efficient structural system.

| COMPOSITE STRUCTURAL AXON

| ISTANBUL DISASTER PREVENTION CENTER | COMPETITION | WITH STUDIO FREELANDBUCK SEP. 2011

| AERIAL VIEW

| CONFERENCE CENTER UPPER LEVEL | CONFERENCE CENTER LOBBY ON GROUND LEVEL


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with Sophia Razzaque + Michael Hargens

The proposal creates an artist community that encourages the residents to interact and collaborate while providing diverse, flexible spaces allowing them to express their individuality. Although the architecture itself responds to the environmental conditions by treading lightly on the site, it becomes a prominent marker acting as a point of social stimulus between the artists and the rest of the city.

Artists are given a small, private residence with an open plan, giving them the flexibility to locate their studio wherever they feel most appropriate. The main gallery/performance space becomes the heart of the community. This building gives the artists a space to meet and exchange ideas. It also acts as a medium for connecting the produced art with the public. It also provides a high level of flexibility and could quickly become a frequented destination through film and performance programs that could optimize both the interior and exterior via the amphitheater.

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| ARTIST COMMUNITY PROJECT | COMPETITION | La REUNION TX. JAN. 2008

| STRUCTURAL BUILD UP| SITE PLAN| GALLERY

| VIEW FROM THE AMPHITHEATER

| AMSTERDAM UNIVERSITY | PROFESSIONAL WORK | UNStudio SUMMER 2012

UNStudio’s proposal for the Amsterdam University adheres to the school’s motto: ‘Creating Tomorrow.’ The building reinforces the University’s connection to the city. The project formally and environmentally seeks direct dialogue with its surrounding. It functions as a distinct destination while refraining from alienating its users. To achieve this, the public functions are located at the base of the building on Wibautstraat. The result is a lively meeting place for students, staff and residents of the Amsterdam University. Inside, students have a number of options to choose from as a work-place. In the public corridors and the atrium vertically connecting the entire building, interaction between various faculty is encouraged.

| NORTH AND SOUTH STUDENT LOUNGES| MAIN CIRCULATION DETAIL

| PUBLIC ATRIUM

| SITE ANALYSIS

| ATRIUM CIRCULATION

| 24 HOUR CAMPUS

| EXTERIOR VIEW

The design for the CUHK campus focuses on an articulated differentiation between the ground floor related programs and the modular generic space to adapt over time in the upper floors. All large and heavy programs with intense traffic are located on ground level. They are directly linked to the adjacent landscape functions. This ensures low threshold access, orientation and the creation of recognizable addresses throughout the campus. Public programs such as library, exhibition, support facilities and lecture theaters serves to condense public program at this level to nourish the buzz of the 24 hour campus design. Students, faculty and visitors have the opportunity to informally meet and exchange ideas. Instead of approaching the program in a divisive way, distinct and complimentary identities for all buildings were created to constitute the new Shenzhen campus.

| CHINESE UNIVERSITY OF HONG KONG (SHENZEN) | PROFESSIONAL WORK | UNStudio SUMMER 2012

| CAMPUS MASTERPLAN

| CLUSTER PROGRAM AND IDENTITY

| WALKING DISTANCES

MIDDLE CAMPUS (CAMPUS LINK + RECREATION)UPPER CAMPUS (EVENT ZONE) LOWER CAMPUS (ACADEMIC HUB)

| EXTERIOR VIEW

| CHINESE UNIVERSITY OF HONG KONG (SHENZEN) | PROFESSIONAL WORK | UNStudio SUMMER 2012

| TYPICAL CLUSTER ORGANIZATION WITH OPTIMIZED ORIENTATION

| IDENTITY THROUGH FACADE TYPES AND COLOR

The proposal for the Beethoven Concert Hall competition was to replace the existing hall completely in order to achieve an uncompromising acoustical quality. Requirements for the requested 1,500 seat hall were not achievable through a refurbishment of the existing hall, mainly due to its limiting structural layout.

The materiality of the facade is in line with the metaphor of a crystalline rock formation. A series of sculptural operations such as cutting, slicing, sharpening, polishing and striating the exterior envelope underline the sensual presence of the facade’s materiality. Natural stone, glass inlays, and concrete will be used for the artificial ground modulations according to their respective properties, enriching the surface’s texture. Textured surfaces neighbor smoother panels to create perceptible variations within the building’s skin.

The underlying structure of the composition, the harmonies created by the interrelation of its single components, and the melodic fluidity in detail appears like a parallel model to a musical symphony.

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| BEETHOVEN CONCERT HALL | PROFESSIONAL WORK | ZAHA HADID ARCHITECTS NOV. 2008 - NOV. 2009

| MAIN FLOOR PLAN

| SITE PLAN

| BIRDS EYE VIEW

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Further explorations of the facade pattern take geometric and manufacturing constraints into account. Algorithmic applications lead to repetitive components while maintaining the sense of flow and blend within the overall field of components.

A black and white bitmap mapping the natural light requirements of the corresponding program behind the unfolded facade is generated. Then a script is utilized to read and apply the pattern according to the intensities of the bitmap on to the unfolded facade. White represents the maximum amount of opening and black the minimum. Later the pattern on the developable surfaces is further analyzed and rationalized. They are differentiated into window and stainless steel and photo voltaic panels.

| 2M x 2M DIA-GRID PANEL SIZE | DEFINITION OF 11 DIFFERENT ELEMENTS | VARYING DENSITIES IN THE PATTERN

| PATTERN APPLIED ON THE UNFOLDED FACADE

| BEETHOVEN CONCERT HALL | PROFESSIONAL WORK | ZAHA HADID ARCHITECTS NOV. 2008 - NOV. 2009

| SECTION THROUGH MAIN HALL AND ADJACENT LOBBY

| RENDERING OF THE MAIN CONCERT HALL | MAIN LOBBY SPACE (CANYON)

15.77

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SECTION D

SECTION A

SECTION C

SECTION B

15.77

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SECTION D

SECTION A

SECTION C

SECTION B

The pavilion was a commissioned project to celebrate the centenary of the Burnham Plan of Chicago. It was erected through the summer of 2009.

The light weight aluminium structure is draped with weather proof fabric to create the overall enclosure and form. The fins at the ceiling of the structure provide natural light to the interior as well as orienting the user along the diagonal axis of the original Burnham Plan. Various media celebrating the centenary is projected onto the interior walls of the pavilion.

| CROSS SECTION

| BURNHAM PAVILION | PROFESSIONAL WORK | ZAHA HADID ARCHITECTS OCT. 2009

| TOP VIEW | LONGITUDINAL SECTION

| EXTERIOR PHOTO

For the 18 building office complex for Qatar Petroleum, I constructed physical and virtual study models for façade designs of the low rise buildings. Later, I was responsible for translating these design studies into detailed technical drawings and for their coordination with the consultants.

I worked directly with the senior designer through the conceptual and schematic design of the stadium building of the complex. I developed the details for the stadium building and documented them.

Through out the design development I revised and updated the Building Information Model for the office buildings and the tower.

| DIGITAL PROJECT BIM MODEL

| SITE MODEL

| QATAR PETROLEUM HEADQUARTERS | PROFESSIONAL WORK | SOM LONDON JUL. 2007 - SEP. 2008

| TOWER STRUCTURE

| VIEW FROM UNDER BRIDGING OFFICE BARS

I joined the design team during the schematic design phase and started to work directly with the senior designer. I started with building physical and virtual models to further study overall form and program. Being a part of the fast paced ten month development of the project from schematic design into construction documentation phase, I took part on design development and coordination with consultants. For the final construction package I produced working drawings and followed them through construction administration.

| PHOTO

| NY JETS TRAINING FACILITY | PROFESSIONAL WORK | SOM NEW YORK MAY. 2006 - JUL. 2007

| CONSTRUCTION DOCUMENTATION DETAIL | SITE PLAN

| AERIAL RENDERING

| EAST ENTRY

teoman ayas portfolio

Documents

lead architects

tensile members

academic work istanbul

ground system shell

mthe ground system

students individual

typical plan istanbul

freelandbuck studio