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Phantom City
Cognitive Self-storage Center

Advisor: Meral Özdengiz Başak

Studio 402 Spring 2021

Architecture, the meta-language of lines, creates an endless grid in space and turns into a system of ever-changing ‘(meta)-physical spaces’ in the infinity that can be defined through the matrix of syntax. In this concern, how the architecture of mind surpassing its liminal presence as the dematerialization becomes higher and higher, would be if it was created by imagination where the grid accepted as the universe that comprises of compressed time. As an attempt of an interdisciplinary theoretical approach to architecture, which is regarded as a poetic composition of real and perceptual collectivity, the model for the ideal city of mind is to be explored as a microcosmic reflection. While the ‘cognitive side of architecture’ accessed by running the mind is to be discovered, time is accepted as a ‘constructed space’ that surpasses past, present, and future in its compressed existence and the collection of concepts linked to philosophic and psychological notions are to gain metaphorical meanings for the elements of architecture and nature according to the subjective perceptions of the mind. In this regard, Phantom City is to be designed as a Cognitive Self-Storage Center that is an allegorical realm where the spectators, who are the nomads searching for their individualism, are to become a part of the city where is always anachronistic to them, and the minds of the nomads are to turn to be the land in search of  Neverland.

Phantom City, 2021
Mixed Media , 16 x 16 cm 

The Gate and the City, 2021
Mixed Media , 16 x 16 cm 

GATES
as portals to the Phantom City

ENCLOSURE
as boundries and limitations of memory

LABYRINTH
as an archetypal symbol 
that represents search

BRIDGE
as a cementing element for compressed
time as a meta(physical) space and cognition

TOWER
as storages for the collective memory 
consisting of dreams, obsessions, fears

SANCTUARY
  as transformation space between 

zeitgeist and imagination

DWELLINGS FOR DEAD
as spiritual space trying to free itself from nature

SHELTERS FOR NOMADS
man becoming refuge as
he lives in an anachronistic city

 

Edwar Burne-Jones, Golden Stairs, 1880

BATH

purification 
center     

THEATHRE

performing center for the collective  memory

    

LIBRARY

dematerialized
information center

‘It is truly strange to no longer inhabit the earth,
to no longer practice customs barely acquired,
not to give a meaning of human futurity
to roses, and other expressly promising things:
no longer to be what one was in endlessly anxious hands,
and to set aside even one’s own
proper name like a broken plaything.
Strange: not to go on wishing one’s wishes. Strange
to see all that was once in place, floating
so loosely in space. And it’s hard being dead,
and full of retrieval, before one gradually feels
a little eternity. Though the living
all make the error of drawing too sharp a distinction.
Angels (they say) would often not know whether
they moved among living or dead. The eternal current
sweeps all the ages, within it, through both the spheres,

 

MUSEUM

exhibitions of         dreams, hopes, 
obsessıons     

Hans Von Mares, Die Lebensalter, 1877-1878

Rainer Maria Rilke, The First Elegy, 1923

The Threshold I, 2021
Mixed Media 29,7 x 42 cm

Transcendental Dimensions, Translucent Spaces, 2022
Mixed Media Collage, 29,7 x 42 cm

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