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