Heval Zeliha Yüksel Üçok Mimar / Architect
“Facades were veneered with precast concrete panels. Yellow colors with different shades implicitly refer to honey and comb. Along with the irregular window openings in the circulation spaces, these plates of different colors indirectly make reference to the honey/comb sensation engraved in our memories.”
We installed the structure on the only vacant space available of the land that holds the primary production facility. Surrounding lands are bought afterwards but the only possible solution back then was that exact location. Industrial structures on flat lands with steel bodies are highly common for us. However the relevant structure is located on a steep terrain. Therefore it’s almost like it was self-created due to the decision that projects a concrete structure starting from the top elevation to reach the ground level. Maintaining this concrete structure on top levels was decided upon the application possibility of using the top levels as production spaces. When we integrated a practical situation with the functional usefulness, designing a concrete structure from top to toe turned out to be the only option,in order to maintain toolings and structural features. The structure that has been installed in the elevation difference which reaches up to 10 metres, seems as it’s a two-storied building when examined from the roadside. But in fact, it’s a six-storied structure. Four lower floors are segregated for production and storage units and upper two floors are seperated for the offices. There are support units in sections near the perimeter that are located in the mid-sections of the production floors. They are mainly designed for storage units and are located underground.As for the offices, settling is achieved near the exterior wall and there is an atrium in the middle functioning as a common area.Daylight is unwanted for the production section but highly-needed for the offices. From the conveyor system to facades, same materials were used throughout this large block which was identified by the colors and voids through standing between this random creation. We can say that it is an experience that was enriched by the different usage of the same material.” INTERVIEW WITH NEVZAT SAYIN ON ONE HIS LATEST PROJECTS: BALPARMAK PRODUCTION AND MANAGEMENT STRUCTURE
You have designed a new plant for Balparmak in the Çekmeköy Campus.Structure is completed and started its operations during recent months.Could you please tell us about this project and the overall process? Were there any advantages or disadvantages regarding settling in anexisting campus?
Relations both with the topography and the former structures have special significance when a new building is projected for an experienced institution that makes productions in the same campus. The elevation is different between its two endpoints and i can say that we obtained a quite different building when compared to ordinary industrial structures in terms of its relation with the existing structures. With regards to internal operations, protecting the production and research spaces from daylight is an important matter. Therefore the sections that are near the exterior walls of the structure were segregated for circulation and the sections situated inside were seperated for production and research. From lower floors to the top, operations are arranged as storage, production, research, offices and social spaces and they all function in a building that looks incomprehensible when examined from the outside. Circulation spaces which are located at the outer perimeters of the structure make it impossible for us to estimate the exact locations of production and other applications inside the building. Apart from the overall circulation relations of the building, the structure was tackled as a monoblock building with the thought that it would be the best option to embrace this building as an independent structure in terms of its location in the campus and the relation of the building with the surrounding structures. Therefore the obtained mass effect holds the characteristics of a structure that has suggestions about corporate identity even though it is mediated. You have lots of experiences in industrial structures and many projects that can be counted as good references regarding this matter. Could you please share your opinions about the design of industrial structures by giving examples from your previous works? Industrial structures are among the most important structure types of the 20th century. They make most people think that it is almost sufficient for them to be handled as function valves for they are designed to make productions. Therefore they are contemplated as “space closers” which stands for an expression of prefabrication workers. However, there are many similarities between the definition of architecture and manufacturing. Accordingly, the industrial structure and industrial manufacturing share many parameters in common. They have similar qualities in many significant points such as their economic natures; short-term construction processes; proper organizations of direct or indirect inputs; simple, easy and sustainable functions; projection of the essence of time; usage of new developments and inspection of quality during various processes. Maybe that’s why a proper production does not occur from a poor structure. Another subject that concerns me the most is the inevitability of lower and upper class to coexist in the same structure. This detail turns those structures into intense environments. Togetherness of blue-collars and white-collars is a condition for this intensity to evoke a unique living/ working culture. These buildings operating 24 hours through three shifts form the most significant inputs of an optimist future vision along with the energy they carry.By pushing the limits, we endeavor to design buildings where different classes of society enter the building through the same door, share the same common structures and the departments of management and business function as a whole.
Those who use the route are probably familiar with the point where the road becomes a steep hill with an abrupt elevation while heading from Çekmeköy to Çavuşbaşı.At that exact point, a structure shines out in the distance with its honey color. New structure of Balparmak also offers such a beautiful outlook. How much do you pay attention to the relation of the building with the exteriors during the design process? Have you taken into account such an angle concerning this building?
Intersection of exteriors with the interiors are connected with both the inside and (maybe more with) the outside as a fundamental construction element.That is why the outlook of structures points out extremely important data. Calculating each and every possible angle is the duty of the architect.We tried to calculate the location, outlook and style of the building and make sure that sections left for coincidince would be as little as possible. “Honey- colored shades” that attract your attention is a result of this survey. This is why the building is highly visible even from 5 kms of distance while coming from Ümraniye or Dudullu Organized Industrial Site.
Which materials were used on the facade? Were the colors chosen in a particular envisioning?
Facades were veneered with precast concrete panels.Ir regular window openings and these plates in different color simpli citly make reference to the honey/comb sensat ion that is engraved in our memories.
We see that natural materials are used throughout the project. Those who follow you are probably aware of the importance you attach to the natural and the local. Are there any materials in this sense within the scope of the project? Definition of “natural” changes in each building. We can say that the “natural” was ensured in this project through installing the spaces without the requirement of daylight into the middle, carrying the circulation points and offices to the perimeters and designing the business section as fully closed units because of the health requirements. Additionally, social spaces are covered with daylight, terraces and openable windows. If “being local” stands for “belonging to that place”, we can say that it’s a quite “local” structure owing to the aforesaid reasons. Which natural stone did you choose for this project?
When i get to make a decision about the natural stones, i always use the Marmara stone. I usually change their cuttings based upon the usage of the space, its location, daylight, significance and effect. Our clients do not make any requests regarding this issue; this is a part of the design process.
There is a question that i usually ask for our magazine is mainly on natural stones. Our country is really rich considering the marble resources. Do you think that this precious material is being used enough and the local is being appreciated? Do you use natural stones? Which natural stones do you prefer the most?
I think it’s not used enough and when it is, it’s usually used poorly. It’s difficult to see the difference between stone and carpeting. Instead of forcing the material to unveil its features, all the materials are used in order to obtain a decorative surface. My next choice after Marmara stone is travertine.
I ask every architect that we interview about the local/global designers and/or architects that he follows. If you have any, i would be delighted if you have shared with us.
As a matter of fact, i like to know what everyone is doing in terms of their professional lives. But if i were to give names, i can say that Han Tümertekin, Emre Arolat, Cengiz Bektaş, Ömer Selçuk Baz, Şevki Pekin, Alişan Çırakoğlu, David Chipperfield, Peter Zumthor, Herzog de Meuron are among the figures i watch with curious eyes.