Menu

HOME
ABOUT
PROJECTS
MAP
CLIENTS
NETWORK
NEWS
CONTACT | LOCATIONS

HOME
ABOUT
PROJECTS
MAP
CLIENTS
NETWORK
NEWS
CONTACT | LOCATIONS

Tuncer Çakmaklı at Xella Innovation Meeting 2014

Tuncer Çakmaklı at Xella Innovation Meeting 2014

Mayıs 17, 2014

Tuncer Cakmaklı is going to make a presentation regarding “Challenges in the designing process of buildings for future housing” in Xella International Marketing, Product Management & Innovation Meeting 2014.

Challenges in the designing process of buildings for future housing Innovation Tuncer Çakmaklı Architects Xella Innovation Meeting

ByTuncer Cakmakli Mayıs 17, 2014 CONFERENCE

Prev Tuncer Çakmaklı – İstanbul Rotary Club Speech

Next Tuncer Çakmaklı, Ytong ile Venedik Bienali’nde

Comments are closed.

The Measurement of the Earth – On Signs, Borders

The Measurement of the Earth – On Signs, Borders, and the Architecture of Nation
The Earth has given humankind a place to live, to wander, to think.
And man, unable to grasp this gift in its wholeness, began to divide it.
He drew lines where once there were only horizons; he cast nets of words over the silence of nature.
Thus languages were born — the first borders, not of land, but of the mind.
Later, as Jean-Jacques Rousseau wrote in one of his unbearable yet lucid sentences, someone took four stakes, drove them into the ground, and said: “This belongs to me.”
And the others, instead of laughing, believed him.
Yet wherever boundaries are drawn, bridges also arise.
A place that is both here and elsewhere — an architectural paradox, a symbol of the simultaneity of distance and proximity.
In Berlin, a city shaped by the dialectic of division and reunion, the Turkish Embassy holds a particular significance.
It is not merely a diplomatic residence but a translation — a translation of history, culture, and tectonic language into the stone and landscape of another country.
The TCA Design Team sought here to articulate the unspeakable — to create an architecture that does not simply speak but suggests.
The forms, materials, and landscapes of Turkey were deconstructed, analyzed, and recomposed.
From the tectonic language of Anatolia, a new syntax emerged: spaces that carry meaning, just as words carry memory.
The public areas unfold like a dialogue — transparent, welcoming — while the diplomatic, protected zones retreat inward, listening to themselves like a second heart.
For what is diplomacy, if not the art of speaking between borders, without crossing them?
And what is architecture, if not the art of making such invisible relations visible?
Thus the embassy becomes more than a building — it becomes a thought in stone,
reminding us that ever since man began to measure the earth, he has still been searching for a place where he might truly arrive.
#embassy #design #space#turkey #berlin #consulate

TCA - 33 years all around the World ! . . . #archi

TCA - 33 years all around the World !
.
.
.
#architecture #global #anniversary

A Tower for Sight and the Invisible One must some

A Tower for Sight and the Invisible

One must sometimes remind oneself that the tower, as it emerges from the fairy tales and chronicles of the Middle Ages, was never merely a structure but always a promise: the promise of seeing farther than the eye can reach and knowing more than humans are meant to know. Perhaps this explains our insatiable desire to erect towers that touch the sky, even though we have long since bid farewell to the gods.
A tower rising 350 meters into the air — a construction so bold it inevitably conjures up Babel — is not merely a matter of concrete, steel, and statics. It is a semiotic monument. For what does height mean if not the longing for oversight, for distance from the everyday, for that godlike perspective that allows us to recognize the world as a pattern?
Yet this tower is not only meant to satisfy human curiosity, that same curiosity which, as with medieval city wall towers, gazed out to spot enemies or storms in time.
Think of the Eiffel Tower, that iron colossus so heavy and so delicate at once, that in its time it seemed like a paradox — a promise of a future in which matter would be forced to serve the mind.
But more than that: this tower must not only be a technical marvel but also a stage for the gaze. From 350 meters up, the world looks different. Street patterns become ornaments, houses shrink to miniatures, people blur into dots, scarcely distinguishable from birds. Perhaps it is this perspective that reminds us we live in patterns and structures we only recognize when we detach ourselves from them. A tower of such height is a philosophical instrument — it compels us to renegotiate our relationship with the earth and the sky.
Thus the tower becomes a semiotic node: a sign of power, progress, communication — and at the same time a symbol of the eternal fragility of human hubris.
In the end, it is probably thus: we build these towers because we know they will one day fall again. But for a moment, for a generation, they grant us the illusion that we can escape the things that bind us to the ground.

#tower #towerbridge #eiffeltower #design #steel

Between the Sea and Memory: A Semiotic Meditation

Between the Sea and Memory: A Semiotic Meditation on a Place Called Silence
There are places that are not read like books, but like poems: without beginning, without end, yet full of meaning. Places that are not merely built, but composed—from light, air, water, and the quiet intelligence of materials. In Bodrum, where the sea is not just a backdrop but an ancient memory, lies such a place. A hotel—or rather, a secret haven of restoration—created by TCA, hidden between dense forests and the salty vastness of the Aegean.
Here, nothing is loud. Not even beauty. As Peirce might say—it is a sign whose object cannot be named, only felt.
The hotel lies cradled between trees, as if it chose not to interrupt, but to listen. The forest, with its millions of standing witnesses, is not a backdrop—it is a living presence.
The guests—a small, curated number of travelers—find not just accommodation here, but arrival. They enter through a courtyard where food is not simply cooked, but celebrated. Private chefs who don’t just prepare nourishment, but translate culture. A library—not a decorative relic, but a sanctuary for the intellect. An indoor pool that invites not movement, but suspension. And a vast terrace, open to the sky, not for sleeping, but for dreaming.
This hotel is a narrative that doesn’t unfold from reception to room, but from sensation to sensation. The walls speak. The ceilings pause meaningfully. The lighting is not illumination, but thought. And together, these elements do not define luxury—but invent a new way of experiencing.
One could say that TCA did not simply build here—they researched. They searched for that fragile balance between presence and restraint, between creation and nature. A palimpsest of architecture, landscape, stillness, and intellect.
And the guest? They are not merely a visitor here. They are the final interpreter.
� Bodrum, Türkiye

#hotel #hoteldesign #bodrum #bodrumhotel #sky

The Fish Wholesale Market in Bursa One must imagi

The Fish Wholesale Market in Bursa

One must imagine the fish not merely as a product of the sea, but as a sign — a gleaming, silvery sentence written by fishermen every night on the paper of the sea. Each catch is a punctuation mark, a comma, an exclamation point of nature. And where is this sentence read? Not on the shore, nor in the harbor, but in a hall built solely to decode it: the Fish Wholesale Market of Bursa.
Here, dawn is not simply a transition from night to day; it is a curtain rising. Before the first light kisses the asphalt, heavy trucks arrive, their refrigerated compartments filled with the night’s haul. The hall — a ship that never leaves the ground — receives them: a belly of steel, embraced by cold storage rooms, supported by balconies like ship bridges from which the entire spectacle can be seen.
The fish market is both stage and marketplace. There is no curtain that falls here; only the auction, which plays out the same plot every night: Who will claim the best fish? Who will get the best price? Wholesalers, restaurant owners, middlemen — all stand shoulder to shoulder, hands raised like the fins of a school of fish.
But what is a market without its architecture? The design of this hall seems to carry the language of the sea within it: its form a ship, the auction hall a sharp bow that cleaves the crowd. The cold rooms are cabins, the balconies command bridges. From above, one sees not just the fish but the entire social web that circles around it. It is like peering into the depths of an ocean from the deck of a ship: the market itself becomes a sea.
Perhaps this is the secret of such places: they are not mere halls, not bare functional buildings. They are ships that never set sail. They remain stranded at the city’s edge, yet every night they embark again — with fish, with language, with people bargaining between desire and necessity. And like all ships, they carry the longing that somewhere beyond the horizon, a better catch awaits.
#stadium #fish #market #wholesaling #türkiye

Architecture begins where steel meets meaning. In

Architecture begins where steel meets meaning. In Gölcük – a place where earthquakes have shaken not only the earth but also the collective memory – a staircase is being built for the Red Cross / Kızılay administration. This staircase is more than just a functional element; it is a text, a sign, a narrative in steel.
Roland Barthes would say: “Everything is readable.” The staircase, made of segmented steel structures rising through the Red Cross administrative building, is not a neutral object. It is a system of meaning. For Barthes, objects are never innocent; they are ideologically and culturally charged. Thus, this staircase becomes an allegory of ascension after disaster – each step a symbol of reconstruction, of hope, of humanitarian presence.
Umberto Eco, master of open meaning, would add: “A sign is everything that can be interpreted as a sign.” This staircase is not a closed system, but an open architecture. It invites interpretation: For one person, it is a symbol of institutional stability; for another, a bridge between past and future; for yet another, a silent guardian of the region’s trauma.
But what happens when these two thinkers cross paths – like the twin flights of this staircase?
Barthes might claim that the staircase’s function – to connect the administrative levels – lies only on the surface. Beneath that lies a body of myth: the myth of control, of order amid the chaos of nature. The staircase is not only built; it is told.
Eco, meanwhile, would emphasize the polyphony of signs. For him, it is crucial that this staircase not dictate a single narrative. Its open structure – modular, made of exposed steel, visibly engineered – should not conceal but reveal. It becomes a “readable text,” interpreted differently by each user – the engineer, the doctor, the volunteer.
And together, they might agree on this:
This staircase is a manifesto.
A manifesto made of steel.
A sign of resilience.
A sign of a humanitarian system that stands not only for quick response, but for structural integrity.
#architecture #design #stairs

Valeo: The Garden as a Sign Imagine this: a trade

A House Like an Armor, a Haven Like a Womb — Ref

A House Like an Armor, a Haven Like a Womb — Reflections on a Design for Safety
From the outside, it might appear paradoxical at first: a building that must serve both as a place of refuge and a bearer of meaning cannot merely erect walls — it must tell stories.
Thus, in this design, a circular structure rises — an architectural gesture that recalls the eternal validity of geometry. The circle, 360 degrees, an endless continuum: it cradles the team that rests, watches, and lives within its embrace, ready at every hour. An embrace of concrete and steel that defies the elements and grants humans shelter when the unpredictable flares outside.
Yet this is no bunker that entombs its inhabitants in darkness. Inside, a small courtyard opens — a catcher of light, an oasis. It pierces the monolithic wall; the windows become membranes between inside and out. Here, in the heart of the circular bastion, nature may flourish, the eyes may find rest.
The steel framework envelops the structure like a delicate veil, softening the rigidity of the reinforced concrete. It is not a mere structural element but a semantic filter: the veil allows glimpses while shielding from overly intrusive gazes. It evokes the image of a parchment through which sunbeams seep like ink, tracing lines on the walls that shift with each passing hour — a living palimpsest of time.
For every sign, as semiotics teaches us, lives in ambivalence: it is never only what it appears to be.
May its walls be strong, its windows wide, its courtyard green — so that the people who inhabit it will always know why they keep watch.
📍 Türkiye

#design #house #circle #build #building #türkiye

A Sign in the Landscape An Essay about a House Tha

A Sign in the Landscape
An Essay about a House That Wishes to Be More Than a House

There are places where things do not merely exists, but instead carry meaning—as though part of an alphabet that only the patient can read. The mountains above Lugano are such a place. The air is thinner here, yes—but not only in a physical sense. The gaze, the thought, even history itself seem clarified here, stripped bare, almost archaic.
The landscape—let us call it semantically complete—is made up of fragments of memory: dry-stone walls, weathered timber beams, roofs crouching like animals in hibernation. The architecture that has survived here for centuries is not mere shelter, but a manifestation of topography, an echo of slope and sun, of alpine silence.
The client—wise, daring, or perhaps both—did not desire a bland volume, a typological cliché. He envisioned a sign, a built form that would exist not only in physical space, but in cultural space as well. Something to inhabit, observe, and question. A holiday house, yes—but also a semantic event.
The result: an oval volume, somewhere between nautilus shell and spacecraft, between primordial egg and American football. This form—curved, gliding, soft—resists Cartesian logic, defies the right angle. It is an architectural “perhaps.”
And yet it is precise: prefabricated in a workshop, crafted from sustainable wood, accurate like a Swiss timepiece, delivered by helicopter—an act of logistical choreography. One might say: a modern myth.
Each apartment is an autonomous narrative. Spaces that unfold not by norm, but by intention. Interiors that not only function, but signify.

And so it stands, this building. Not a foreign object—but not a chameleon either. It does not crouch, but it does not shout.
For architecture is not only what is built. Architecture is what is told—about place, about people, about time. This house in the heights of Lugano is such a telling. Perhaps not an easy text. But a necessary one.
#architecture #wood #woodworking #shingle #lugano #switzerland

The Art of Designing – Architecture as a Meaning

The Art of Designing – Architecture as a Meaningful Quest
Architecture is more than the mere construction of walls and roofs. It is a multifaceted discourse, a semiotic world where forms and spaces carry not only function but meaning. Architects like TCA decipher the questions of time and place in their designs, offering answers—not as mere solutions but as rich, multifaceted experiences.
TCA understands design not as a spontaneous act of creation, but as rigorous research. Every question, every demand is simultaneously a problem to be carefully explored and penetrated. The search for the core of the problem is the first act of a lengthy investigation involving models, sketches, and design iterations. These tools are not just means of visualization but vehicles through which meaning is shaped and articulated.
Once the problem-finding phase is complete, an uninterrupted, almost meditative phase of elaboration begins. Models are built, dismantled, reinvented; sketches arise, fade, and take new form—a continual negotiation between idea and reality. This process imbues the design with meaning and breathes life into it.
A particularly striking example of this methodology is seen in the project of the Vegetable and Wholesale Market Hall, where TCA creates not only functional spaces but a symphonic composition of spatial and façade design with offices and communal areas. Here, the façade becomes a musical score that melodiously and rhythmically envelops the users, offering them a spatial experience that goes far beyond mere pragmatic use. Architecture becomes a musical image in which users and space engage in harmonious dialogue.
With each design, TCA transforms spaces into meaningful experiences, presenting architecture as a profound language—a language expressed in the tension between research, intuition, and cultural significance.
#wholesale #market #design #architecture #vegatables #türkiye

Daha fazla yükle Instagram'da takip et

Galıp Dede Caddesi Yörük Çıkmazı 8 | 34420 Beyoğlu Istanbul Tel. +90 (212) 249 21 64 | Fax +90 (212) 249 22 95 | info@cakmakli.com

Galıp Dede Caddesi Yörük Çıkmazı 8 | 34420 Beyoğlu Istanbul Tel. +90 (212) 249 21 64 | Fax +90 (212) 249 22 95 | info@cakmakli.com