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Interior

Aerial view of Bursa Wholesale Market

Bursa Wholesale Greengrocers and Fishmongers Market

BOUTIQUE HOTEL PROJECT BODRUM-TURKIYE

ISTANBUL AIRPORT – Arena for Unifree Duty Free

Consulate General of Switzerland

ISTANBUL AIRPORT-Unending Technology for Unifree Duty Free

The House on the Rock Kurşunlu-Gemlik

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

Consulate General of Hungary in Istanbul

İstanbul Bar Association Research Center

North Cyprus-Denizbank Headquarters and Branch Concept

Residence Emirgan

Fair Stand for Valeo

Fish and Seafood Wholesale Market

TCA Architectural Office, Galata

Shopping Mall Extension in Istanbul

Art Decor Exhibition “Welcome-Goodbye”

Art Decor Fair Stand

ZEGO Office Interior Design

Interior Design for the Bar Association Intern Education Center

“Alaturka” Restaurant Interior Design

European Culture Week Installation “Classism in Architecture”

Waterfront Revitalization -Yokohoma -Kaigon Dori-

Tubitak Administration Building Interior Design

Belgrad Forest Social Facility Istanbul

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

There are cities whose histories do not merely res

There are cities whose histories do not merely rest in archives but continue to breathe through the joints of their walls, the shadows of their arcades, and the rhythm of their bazaars. Qazvin, in the northwest of Persia, is one such city. Here, the millennia meet like two old acquaintances who no longer need to explain themselves. For Persia—this high civilization that has patiently corrected, refined, and at times reinvented the world’s cultural landscape—remains a place where past and present coexist in a rare equilibrium.

It is in this setting, along the historic route between Tabriz and Tehran, that a new tourist complex is envisioned: a five-star hotel, a bazaar, and cultural institutions—an ensemble that demands not only to be built but to be read. For in Qazvin, architecture is never just stone; it is a text written in light and shadow, revised by generations, edited in every dome and every vault that stretches above the viewer like a carpet woven in stone.

Within this hermeneutic landscape, the design by TCA does not seek to imitate the historical architecture—a sin in architecture comparable to plagiarism in literature. Instead, TCA proposes a dialogue rather than an echo. The architectural heritage of the region is not quoted but interpreted: the play of light and shadow reappears, freed from nostalgia; the domes and vaults resonate again, without collapsing into museum-like replicas.
• Qazvin, Iran🇮🇷

#qazvin #iran #hotel #design #shoppingmall #persian

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

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

“Space” Architecture does not begin with ston

“Space”

Architecture does not begin with stone.
It begins with an emptiness… that dares to imagine itself.
A boundary is not always a wall.
It can be a shadow, a breath, a frame of wood that closes nothing,
yet defines everything.
Without limits, there is no space.
Without space, no form.
Without form… no meaning.
And yet – every limit is also a threshold.
It divides, in order to unite.
It turns a passage into a belonging.
In the Swiss Consular building,
a loop of wooden frames connects rooms without locking them in.
No absolute endings.
Only lines, pauses, invitations.
Space speaks to the mind,
but it also listens to the heart.
It asks you not only to enter,
but to find yourself –
in the room, in the others, in your own story.
Because space is not where life happens.
Space is what makes life possible.

_____________________________  “Mekân”  Mimarlık taşla başlamaz. Kendini hayal etmeye cesaret eden bir boşlukla başlar.  Bir sınır her zaman duvar değildir. Bazen bir gölge, bir nefes, hiçbir şeyi kapatmayan ama her şeyi tanımlayan bir ahşap çerçevedir.  Sınır olmadan mekân olmaz. Mekân olmadan form olmaz. Form olmadan… anlam olmaz.  Ve yine de – her sınır aynı zamanda bir eştir. Ayırır, ama birleştirmek için. Geçişi, aidiyete dönüştürür.  İsviçre Konsolosluk binasında ahşap çerçevelerin sonsuz döngüsü, mekânları birbirine bağlar ama onları asla kapatmaz. Ne mutlak sonlar vardır ne de kesin kopuşlar. Sadece çizgiler, duraklar, davetler…  Mekân zihne konuşur ama kalbi de dinler. Senden yalnızca içeri girmeni istemez, kendini bulmanı ister – odada, başkalarında, kendi hikâyende.  Çünkü mekân, hayatın olduğu yer değildir. Mekân, hayatı mümkün kılan şeydir.

#space #sdesign #wood #model #ahşap #3d #architecture #swiss #consulate

“Relationship” – The Staircase as a Palimpse

“Relationship” – The Staircase as a Palimpsest of Movement
There is hardly an invention in human cultural history that is more banal yet more metaphysical than the staircase. The ascent, the descent, the movement between levels, the overcoming of gravity through the mere geometry of steps — all this is as old as the human need to assert itself in the vertical. In the office of TCA, hidden within a historic building in the winding old town of Galata, Istanbul, this story comes alive in a new form: as “Relationship.”
One might be tempted to read the word “Relationship” too sentimentally. Yet what is a staircase if not a relationship? A relationship between above and below, between the first step and the last, between the body that walks it and the space it cuts through. In this case, the staircase is more than just a functional construction. It is a palimpsest: a place where the past, present, and future are interwoven.
What is particularly remarkable is the material: the remnants of old wooden floors — in a sense, the archive of the building — were not discarded but brought back into circulation. In an age when the word “recycling” is mostly reduced to a moral obligation, here the discarded becomes a new web of meaning.
Thus, from these fragments grows a structure that is more than merely statically functional: it becomes a walkable narrative. The staircase bears what it tells. It bears the memory of the felled tree, the plank in the floor, the first step of a resident centuries ago. And it bears the body that walks it today — each time forming a new, individual relationship with this wooden weave.
And so, “Relationship” rises from the darkness of the ground floor to the brightness of the upper level like a band linking the familiar and the past with the step into the new. A walk upon these steps is more than mere movement: it is a quiet dialogue with the material, the space, and time — and, in the end, perhaps, with ourselves.

#stairs #stairdesign #relationship #relation #architecture

Architecture as Space and Body – On the Semiotic

Architecture as Space and Body – On the Semiotics of Building
Architecture is never merely the act of erecting walls, placing beams, stacking stone or concrete. Architecture is – if one dares say – a double gesture: it creates space and at the same time body. The space we enter, that surrounds us, is never empty. It is infused with meanings, with codes inscribed within it. The body we see – the building as a figure in the urban landscape – is not only form, but also bearer of this invisible semantics.
Yet this meaning is not born solely in the act of construction. It is born through use. The worker, the visitor, the wanderer – all of them, through their movements and actions, inscribe a text into architecture. Architecture is thus not only an object, but also a discourse.
In the urban fabric, this means: every building is embedded within a network of relations. The street that surrounds it, the neighboring structure, the invisible threshold between public and private space – all these are semantic markers.
Humans recognize architecture through codes. Some are immediately legible: a door that invites or excludes; a staircase pointing upwards; a square promising community. Others are hidden, almost esoteric: proportions that generate harmony; the guidance of light that suggests transcendence; material layers that tell stories. It is these hidden codes that enrich human experience, because they suggest more than they reveal.
This is where the approach of TCA takes root: every design is a newborn, a new text inscribed into cultural discourse. Not as a repetition of old patterns, but as a constant re-formation, an attempt to reinterpret the codes of space and body, and at the same time to make them accessible. Architecture emerges where space is not only used, but also read and understood – and where the human being, amid signs and meanings, finds a fragment of their own well-being.
#architecture #design #space #building #figure

On the Patient Anatomy of a Design – or: How Mea

On the Patient Anatomy of a Design – or: How Meaning is Stitched Layer by Layer
By one who lives among signs, models, and nights
There is, in the work of the TCA team, a peculiar, almost medieval rigor that recalls the workshops of the early cathedrals. There, as here, nothing begins with a mere line on paper, but with the patient investigation of the problem itself: the field in which the building will arise is not simply measured, but questioned – as if it were a witness, carrying in its landscape, its history, and its silences the answers we seek.
Yet the decisive step – and here TCA differs from the more impatient ateliers of our time – is the first physical grasp of the material: the working model.
From the outset, several models emerge in parallel, each in a different scale. This is not excess, but method: the 1:500 scale speaks of urban forces; the 1:100 reveals spatial proportions; the 1:20 has already begun to tell of surfaces, shadows, of the touch of a hand. And so these objects are not merely built, but interrogated, rotated, dismantled – day and night, often in silence, sometimes in the heat of a dispute that resembles a philosophical colloquium more than an architect’s meeting.
Each of these nights leaves traces. Not in the coffee on the table or the dust on the cutting mat, but in the deepened understanding of the building mass. The design does not grow linearly, but like a palimpsest: each layer bearing the scars and revelations of the one before.
The Guggenheim project in Helsinki shows this working method in its purest form. Here, urban and spatial meanings intertwined into a dense textile skin that wrapped itself around the building mass like a carefully woven coat.
In the sum of these steps, one sees a quiet truth: TCA does not simply construct forms. TCA dresses meaning in matter. And that – like all serious crafts – demands time, devotion, and the willingness to lose oneself in the darkness of one’s own questions until the morning brings a little more clarity.

#helsinki #design #architecture #3d #3dmodel

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

RIYADH MOSQUE There are places in every city that

RIYADH MOSQUE
There are places in every city that are more than a mere fabric of streets and façades. They are carriers of signs, symbols that shape a community and inscribe its memory into the future. The commission to build, in the very heart of Riyadh, a mosque that is simultaneously a foundation and an urban center with commercial spaces, is more than an architectural program.
The mosque – for centuries it has been a place of gathering, of contemplative order, of ritual rhythm in which the individual and the community turn toward transcendence. It is not only a built space; it is semiotics in stone: the orientation toward Mecca as an arrow of meaning, the minaret as a voice in the urban palimpsest, the courtyard as a stage of encounter.
Yet here, in the center of Riyadh, a second syntax joins this sacred vocabulary: the commercial spaces, conceived as an endowment. For the patron – the Saudi prince who acts in the name of his father – inscribes through this gesture a chapter of continuity: a building that is at once spiritual heritage and economic foundation for the community and its future.
The task of TCA – Tuncer Cakmaklı Architects is therefore not only to build, but to interpret. One must read as a philologist does: the signs of tradition, the texts of Islamic geometry, the invisible strata of the city of Riyadh.
The mosque must not only be space, but sign. It must mark, within the dense texture of the city, a point of gathering, a silent center that acts like a breath.
The architecture of TCA can here become a hermeneutics: a reading of Islam that also thinks of urbanity; a morphology that unites heaven and earth within a single construction.
And so, the commission is not merely the erection of a building. It is the creation of a symbol, a sign at the heart of Riyadh, one that will endure for centuries. A construction that narrates – of faith, of community, of responsibility, and of the infinite human capacity to bestow meaning through architecture.

#riyadh #mosque #design #architecture #islam #religion

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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