Menu

HOME
ABOUT
PROJECTS
MAP
CLIENTS
NETWORK
NEWS
CONTACT | LOCATIONS

HOME
ABOUT
PROJECTS
MAP
CLIENTS
NETWORK
NEWS
CONTACT | LOCATIONS

In-In Gallery

In-In Gallery

Area

110 m²

Year

2004

Budget: 7.000 €
Location: Istanbul, Turkey

Recently in Portfolio

Bursa Wholesale Greengrocers and Fishmongers Market

Aerial view of Bursa Wholesale Market

Harbiye Open-Air Theater

Botanic Garden and Landscape Design

BOUTIQUE HOTEL PROJECT BODRUM-TURKIYE

Republic Treasury, Capital Market Board and Baku Stock Exchange Building

ISTANBUL AIRPORT – Arena for Unifree Duty Free

Kaohsiung Port and Cruise Service Center

İstanbul Çamlıca Mosque

Restoration of German Ambassador’s Summer Residence

Consulate General of Switzerland

Bursa Town Hall

Art Line İstanbul

Magok Waterfront Seoul Urban Design Concept

Riyadh Sport Arena – Formula 1

Venice Architecture Biennale

Maltepe Open Air Theater Istanbul

ISTANBUL AIRPORT-Unending Technology for Unifree Duty Free

İstanbul Golden Horn Waterfront Landscape Design

BEHIND TCA DESIGN – Structure

Istanbul Erenköy Mental Health and Neurological Diseases Training and Research Hospital

BEHIND TCA DESIGN – Bench

The House on the Rock Kurşunlu-Gemlik

BEHIND TCA DESIGN – Landscape

Communication Tower Architectural Design Istanbul

İstanbul – Office Building, Structural Reinforcement and Renovation

Taksim Square and İstiklal Avenue Urban Planning for Habitat-ISTANBUL

The Cruiser’s Pause – İstanbul Airport

Fenerbahçe Sport Club Rowing Branch

Casa Lugano – Renovation of Historical Mansion – Carpark and Porch – LUGANO SWITZERLAND

BEHIND TCA DESIGN- Lighting

BEHIND TCA DESIGN – Table

Casa Todi – Toscana Italy

KOSBAŞ-Free Trade Zone -İZMİT

Qazvin Hotel and Shopping Mall

Libya Tripoli High Rise Building

Consulate General of Hungary in Istanbul

İstanbul Bar Association Research Center

BODTO – Bodrum Chamber of Commerce

North Cyprus-Denizbank Headquarters and Branch Concept

Bayrampaşa İstanbul Wholesale Market

Red Cross / KIZILAY – Branch Office – GÖLCÜK-TÜRKİYE

Atapark Shopping Mall Ataşehir

Residence Emirgan

İzmit Container Student Dormitory

House Baden Baden

Rauf Raif Denktaş Mausoleum and Museum

Five Star Hotel Kunming – China

USA Base in Libya

Karabük University Steel Research Institute

Navy Museum – Navy Forces Gölcük

Libya -TOBRUQ Hotel

Aquapark Kocaeli

Fair Stand for Valeo

Art and Culture Center – Ankara

Waterfront Landscape Design – Kartal

Art and Culture Center Karşıyaka-İzmir

Protestant Culture Center – Karlsruhe

Nancy Opera Culture House

Bibliotheca Alexandrina

Bursa Government House

BESAŞ – Bread Factory Bursa

German History Museum BERLIN

TCA – ARCHITECTURAL EDUCATION WORKSHOPS

TCA-DESIGN PROCESS MODELS

Fish and Seafood Wholesale Market

Turkish Naval Forces Education Center

TCA Architectural Office, Galata

Shelter for Earthquake Victims

Shopping Mall Extension in Istanbul

IMAM REZA HOLY SHRINE-COVARAGE OF RAZAVI GRAND COURTYARD

Art Decor Exhibition “Welcome-Goodbye”

Art Decor Fair Stand

ZEGO Office Interior Design

Galata Port – Salıpazarı

Interior Design for the Bar Association Intern Education Center

Law Offices for Earthquake Victims

TCA-DESIGN SKETCHES

German Catholic Church Nişantaşı

German Embassy Elementary School in İstanbul

“Alaturka” Restaurant Interior Design

Cultural Center for the Protestant Community

Tarabya Tennis Court Changing Room

Ecumenical Church

Riyadh Sport Arena, Football Stadium, Basketball Arena

European Culture Week Installation “Classism in Architecture”

Tariş Administration Building

Bursa Culture and Business Center

Bursa Sports Stadium

Art and Culture Center – Bursa

Xi’an New Silk Road Museum

Czech National Library- PRAGUE

City Square and Cultural Centre Urban Design -BURSA

Pendik Town Hall

German International School

Tudev Education and Sports Center

Norway Stavanger Concert Hall

West Kowloon, Reclamation, Cultural and Entertainment District-HONG KONG

İzmir Harbour International Congress and Culture Center Urban Planning

Royal Danish Playhouse-Theater-Waterfront COPENHAGEN -DENMARK

Kadıköy-Haydarpaşa Harbour Urban Design

International Airport Terminal LUANDA -ANGOLA

Sarajevo University Marijin Dvor Urban Planning

Opera, Art and Culture Center İzmir, Türkiye

Culture Center Marmaris Turkey

St. Joseph Senior Residence-Buchen

Tharandt School of Forestry-University-Education-Forest

Urban Planning Project for City Center

“Via Triumphalis” Urban Planning -KARLSRUHE-GERMANY

Yasem Administration Building

Spreeinsel Urban Design Competition

GAP Culture and Art Center Gaziantep Türkiye

Kosgeb Administration Building

Bakırköy Courthouse Buildings

Waterfront Revitalization -Yokohoma -Kaigon Dori-

Goethe Institute Istanbul- Cultural Architecture Design

Museum of the Acropolis-ATHENS

Monument for the Jews

HISTORICAL WALLS-LANDSCAPE DESIGN

Mediapark Cologne Germany

Elementary School Schwetzingen, Germany

The ZKM | Center for Art and Media Karlsruhe

Ponto del Academia

Low-Cost Housing

Taylan Holding Administration Building

Tekstilbank Management Building

Pipe Factory Administration Building

Sinpaş Holding Administration Building

Delta Petroleum Administration Building

Embassy of Turkey in Berlin

Tubitak Administration Building Interior Design

Çanakkale Municipality-Social Housing Area Urban Renewal

Casa Indipendente Lugano-Switzerland Apartments on the Rock

Nizza am Main Restaurant

Teskomb Administration Building

Gorna Bania “Ecopolis” Urban Design

Yener Apartment

Piyalepaşa Urban Regeneration Project

Urban Planning Project in Neckarelz

Low Cost Housing Design Kigali

Kocaeli Metropolitan Municipality Landscape and Urban Design

Bahrain Urban Planning Manama

Çayırhan Bridge ANKARA

Baku City Museum Azerbaijan

Rostov Arena Russia

Belgrad Forest Social Facility Istanbul

Wholesale Greengrocers Ankara

Ara Güler Museum in Beyoğlu

Between Two Altars: Ecumenism as an Architecture o

Between Two Altars: Ecumenism as an Architecture of Hope

Throughout the long history of humankind, religion has been both: the invisible thread that binds millions—and the sword that cuts them apart. That faith in the same God has led to war is no longer a paradox, but a historical pattern.
The split between Catholics and Protestants—two faces of the same Christian origin—was never merely a doctrinal disagreement over justification, the Eucharist, or indulgences. It was, like every schism, a psychological act. A quiet mistrust that found its way into physical form: separate churches, separate rituals, separate families.
The apple of discord thrown by Luther into the Roman window did not only lodge itself in the Vatican; it rolled into the living rooms of ordinary believers. And when a Catholic daughter fell in love with a Protestant boy, not only the heart trembled, but the foundation of family peace. A wedding—the moment of unity—became a stage for difference. Two denominations, one promise—but which altar?
The Ecumenical Church in Karlsruhe-Oberreut is not just a building. It is a thought cast in stone, a semantic bridge between theological languages. It carries within it a paradoxical idea: separation that enables unity. Two prayer rooms—back to back—like twins who cannot see each other, but share the same heartbeat. And in between: the third space.
A space that is more than a passage. It is the place of encounter, of library, of entrance, of dialogue. It is the room where a Catholic-Protestant wedding becomes possible without betrayal—of faith or of family. The walls open. The chairs turn.
The architecture itself preaches here—without words, but not without effect. Materials have been chosen as if diplomacy were being built. Everything carries meaning, because everything carries hope.
To say it with a semiotic smile: this house of God is a text. And this text does not say “Either – Or,” but “Both – And.” It is not a palace of tolerance—it is a space of recognition. Of difference, yes—but a difference rooted in togetherness.
Sometimes, new dogmas aren’t needed. Just a door. Or better yet: a wall that can be opened. Prof.Paul Schütz &TCA
#church #brutalism

TECTUM The Threshold as a Sign – There are place

TECTUM
The Threshold as a Sign –
There are places that seem to be mere passages: entrances, gates, canopies, zones of control. And yet it is precisely at these thresholds that the drama of the public and the private, of inside and outside, of arrival and departure, unfolds. In Bursa, before a monumental marketplace where streams of people and goods flow each day, such a place is being reimagined.
TCA conceives of this threshold not as a mere functional detail but as an architectural metaphor. The gate is not simply a checkpoint, not merely a security barrier against disorder, but a stage: it welcomes and it bids farewell, it illuminates and becomes a sign itself.
The response to this challenge is an elliptical disc, hovering, almost weightless. It rests upon slender steel columns, raised like fingers pointing toward the sky. At night, it shines — radiant like an artificial moon, a symbol of vigilance and a promise of protection. By day, it slices through the air with knife-like precision, separating inside from outside, yet never rendering that separation absolute: for every boundary is also a connection.
Thus, the canopy becomes not only a physical barrier but also an event of light and shadow. Whoever enters feels the dignity of the space; whoever departs experiences the ritual of farewell. The invisible — surveillance, order, security — merges with the visible — form, materiality, radiance — to create an architecture of attention.
This floating ellipse is more than a roof. It is a sign in the urban memory: a monument to coming and going, a threshold that not only protects but interprets. It declares to all who pass beneath it: Here begins a space of meaning.

#entrance #design #3d #model #bursa #steel #architechture #space

A Greenhouse for the Mind – On TCA’s Design fo

A Greenhouse for the Mind – On TCA’s Design for the West Kowloon Cultural District
There are places whose histories are not written in stone but inscribed in the spaces between. West Kowloon—this slender edge between megastructures and the sea, between high-rise and horizon—is such a place. Here, the narrative of everyday Cantonese life intertwines with the long shadow of British colonial architecture; here, the rising tide of China’s modernity collides with the memory of the South. What, then, can architecture mean in such a place?
TCA responds not with noise, but with clarity—a semiotic body that speaks softly, yet unmistakably. The linear hall they propose stretches as a horizontal gesture, threading itself calmly between the towers and the harbor. This is not a building in the conventional sense, but rather a mode of being, a space of possibility.
One could say it is a greenhouse—not only for plants, but for the human need for culture, exchange, and deceleration. It shelters without isolating, frames without constraining. And in a city where the logic of living often resembles that of survival—with towers as tall as they are anonymous—this space becomes a place for collective breathing.
The idea that a hall can be simultaneously open and closed, specific and flexible, is not new. We saw it in the medieval market halls of Europe—in Florence, Bologna, perhaps even in the Roman basilicas. Now, in West Kowloon, that idea returns in a new language: as urban landscape, stage, and quiet mediator between water and city.
But what is a space without its surroundings? TCA does not stop at the structure; it extends the narrative into the open. The landscape design, dense with vegetation, elevated walkways, and floating paths, is no mere embellishment—it is a counter-image to the city’s density. This is not just escape—it is reconnection: to walking, to seeing, to pausing.
Under TCA’s vision, the West Kowloon Cultural District becomes a readable space: one may walk through it as if reading a poem, linger as in a library, encounter one another as on a stage.
#westkowloon #westkowloonculturaldistrict #design #3dmodels

The Semantic Weight of the Threshold: Doors as Ope

The Semantic Weight of the Threshold: Doors as Operators of Space
To imagine the door as merely a hole in the wall, a trivial device to overcome masonry, is not just a simplification but an impoverishment of thought. The door is not a negligible detail but the first semantic act of architecture. It separates by establishing distinction: a Here from a There, an Inside from an Outside, the Profane from the Sacred.
For those who read architecture as text, the door is not punctuation but the beginning of the sentence. It is the paragraph that structures the narrative of space. The salon is not defined by its furniture but by the fact that a door marks it as such. Without the threshold, without this mark, space remains faceless, an amorphous container.
Yet true power lies not in the door but in the threshold. This modest line, once crossed, becomes a ritual. One knocks, one waits, one enters—and in that act the body, the voice, the inner posture are transformed. The threshold is less a place than a time: the suspended moment in which identity shifts, from guest to entrant, from outsider to participant.
In this semantics unfolds the philosophy of TCA. Against industrial indifference, which treats the door as a standardized spare part, they insist that each door has its own language. It becomes a vertical canvas, a scene upon which the dialogue between interior and exterior begins. The door to a library is not simply wood and hinge—its weight, texture, and handle articulate silence and contemplation. A communal door, by contrast, speaks in transparency and lightness.
Thus every act of opening becomes a conscious performance: a hand on the handle, a moment of anticipation, and the space behind reveals itself not as function but as experience. The door is not the limit but the prologue, the prelude to a poem of space, light, and silence.
Genius lies in transforming the most universal architectural element into a unique event of encounter—a discreet gesture that contains the very key to understanding the built world.
#door #thedoor #design #wood #architecture #semantics #space #line

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

Between Cathedral and Sound Lab: The Mediapark Col

Between Cathedral and Sound Lab: The Mediapark Cologne as a Semiotic Cosmos
When one contemplates TCA’s design for the Mediapark Cologne, one steps into an urban narrative that submits neither entirely to the myth of the industrial city nor to that of a futuristic media utopia. Rather, it unfolds as a palimpsest: layer upon layer of urban memories, dreams, and signs overlay each other.
It is telling — and surely no coincidence — that the architects have committed themselves to the idea of building a “new media city within the city.” It asks: how many subtexts can the urban syntax bear without losing itself?
The street axes of the Mediapark frame the cubic structures like words in a sentence. The recording and production studios disappear, half-buried in the earth — almost like medieval crypts, where no longer saints but sounds, images, and data streams lie in wait: the relics of the digital age.
The logic of the horizontal — office buildings stretching long and low — finds its counterpoint in the vertical towers. These rise like modern campaniles into the sky, charging the city with new significance. It is no coincidence that they evoke Cologne Cathedral, that Gothic hyper-sign that has shaped the city’s skyline for centuries, its spires a perpetual exclamation mark. The new towers of the Mediapark do not wish to compete but to quote, to echo, an ironic reference to the power of the vertical in the city’s horizon.
But what would such a place be without its landscape? The Mediapark’s parkland, so the plans promise, is to be shaped by hand. Here too lies a subtle irony: the handmade, the organic form, the wide meadows, water biotopes, and tree-lined avenues stand in contrast to the digital content generated beneath.
Thus, the Mediapark Cologne is more than a functional condensation of offices, studios, and park. It is, if you will, an urban sign laboratory, a semiotic cosmos in which the city itself becomes a medium.
And whoever strolls here does not merely wander through a green oasis, but through a city that quotes itself — like a medieval manuscript in whose marginalia new stories have long been waiting.
#cologne #cathedral #köln #mediapark #germany #sketch

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

BEHIND TCA DESIGN Between Mirrors and Justice –

BEHIND TCA DESIGN
Between Mirrors and Justice – A Threshold for the Future
There are places whose significance transcends their mere physical presence—spaces where time and meaning overlap, where history is inscribed not only in archives but in the very materials themselves. The Istanbul Bar Association—situated in a city that defines itself as a threshold between continents, cultures, and epochs—is such a place.
And yet, even such a space calls for re-narration.
During the solemn ceremony in which young lawyers, after two years of practical training, are admitted to the profession, the ritual of justice is concentrated into a single moment. A transition. A transformation. An initiation. Here, where the threshold is not merely symbolic but must be physically crossed, the design of Tuncer Cakmaklı Architects (TCA) intervenes—not with pomp, but with a sensitivity to the invisible: the interstitial space.
The newly designed entrance to the historic hall is not merely a passage, nor a bourgeois anteroom. It is a narthex, a term borrowed from Byzantine architecture, not only with architectural but also liturgical and symbolic value. It is a space for pause, for awareness—like the Roman limen, the threshold one does not simply step over, but must cross with intention.
TCA shapes this space with glass, steel, and mirrors—but these are not just materials; they are ideas. The glass walls are transparent yet defining; they reflect not only light but also the self-image of the one who enters. The steel crown, seemingly suspended, is not supported—but rather, it is carried by the glass itself—a subtle inversion of conventional hierarchies. The crown—symbol of law, of power, of dignity—floats, bound together by the most fragile yet most resilient element.
One glides—yes, that is the word—between depth and reflection, not from outside to inside, but from one state of being into another. It is a space of transformation, a liminal zone between study and responsibility, between the juridical “not-yet” and the ethical “already-now.”
And perhaps, just perhaps, one might remember that fleeting moment between mirror and depth, where the future began.
#architecture #istanbulbarosu

BEHIND TCA DESIGN “A Song of the Sea, Speaking O

BEHIND TCA DESIGN
“A Song of the Sea, Speaking Once Again”

Kartal, my friend, was once a song.
A song of salt in the air, of children running barefoot over the stones.
The Princes’ Islands stood on the horizon like silent poems,
and the people — simple, honest —
let their worries float in the water
while the sun turned the day to gold.
Then came the great dream of the city —
visions hard as concrete,
coastal roads like scars across the heart of the shore,
and the song fell silent.
The people now stood behind fences of asphalt,
and the sea,
once their mirror,
was now just a picture from old memories.
But now,
now the human hand holds a different tool —
not the jackhammer,
but the idea.
Not just a plan, but hope.
TCA didn’t merely draw.
No — they listened to the place,
spoke with the earth,
with the wind,
with the old shadows of the pines.
The levels shift,
like verses in a poem.
Open squares like exclamation points,
protected spaces like parentheses of silence.
The trees don’t just stand —
they sing,
they shield,
they whisper to people:
Here you are safe.
Here you may breathe.
And behold —
the Princes’ Islands wave once again.
Not just from afar,
but from within the hearts of those who sit, walk, and dream here.
The sea was never gone.
It was just buried under noise for a while.
Now the land rises,
the view opens,
and with it, the soul.
A city park — yes.
But more than that:
A promise.
A place where life begins to hear itself again.
Where landscape is not a backdrop,
but an answer.
To the call for calm.
For belonging.
For a simple, honest day in the light.
This is Kartal.
The new song of the sea.
Not invented —
rediscovered.
#design #ferryboat #istanbul #türkiye#princeislands #landscaper

“The Arena of Possibilities: An Allegory of the

“The Arena of Possibilities: An Allegory of the Desert”  In the heart of the Arabian Peninsula, where the sun shows no mercy and the horizon blurs between sand and sky, lies Riyadh — not merely a city, but an idea, a stage for profound transformation. It is here, amidst the climatic austerity, that a wish emerged: a stadium that would be more than a place of sports — an arena where the present meets the future. The design by TCA is not merely a response, but a proposition — a thesis of the possible.  Saudi Arabia, long a land of cultural stillness, now opens its doors. Sport and entertainment are becoming a new secular liturgy for a young society seeking expression without losing its identity. But how does one translate such an opening into architecture — without falling into the trap of imported, Western stereotypes?  TCA did not simply design — they interpreted. The arena for more than 75,000 spectators and the separate basketball and volleyball halls are only the framework for a deeper intention: leisure as a space for social unfolding. This design answers a need that transcends mere functionality — it is a poetic gesture to a society in transition.  The desert, once the silent witness of centuries, becomes a dialogue partner. Its infinite expanse, its silence, its clarity — it demands architecture that is not loud, but meaningful. Not monumental, but memorable. TCA responds with an ensemble that is permeable to meaning: a continuous bazaar wraps around the sports facilities, a social topography where families can gather and linger. It is not an isolated event machine, but a vibrant urban organism. The arena is not abandoned — it is inhabited.  The integration of an F1 circuit may seem spectacular at first glance. But within the semiological lens of Eco, it becomes a sign: speed as a metaphor for change, for the momentum of transformation. The motion of the cars stands as an allegory of a society that no longer fears the future, but accelerates toward it.

#stadium #sport #arena #riyadh #saudi #saudiarabia

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