Scene 1

•
He graduated from ITU 
faculty of Architecture in 
1954

Scene 2

•
Behruz Çinici seems to have a 
design approach that meets the
demands, takes into account
urban integrity, and addresses
urban and environmental
problems.

•
In addition, his designs contain
movements of currents such as 
Brutalism, which dominated the
last quarter of the 20th century.

Scene 3

•
METU Faculty of Architecture, designed 
by Behruz Çinici and Altuğ Çinici couple, 
emerged as a result of the competition 
organized for its campus and buildings 
in 1961.

METU Faculty of Architecture
consists of corridors, nested
courtyards and galleries.
The different buildings attached
to Alle in the project are
designed with a spatial setup
that will provide indoor-outdoor
permeability.

Scene 4

•
The faculty library and the 
auditorium connected to the 
main mass with a semi-open 
arcaded connection.

•
The main entrance a square space
but this is not fully felt on the 
ground floor.

Scene 5

•
Stairs are not hidden anywhere 
in the building but are 
emphasized with a sculptural 
expression.

Scene 6

•
Using bare concrete, marble, 
brick, wood, etc.) together with 
their raw forms.

•
In order to benefit from sunlight 
in the large interior volumes that 
arise, openings have been left in 
the ceiling and upper walls.

Scene 7

•
When we look at their contemporaries 
around the world during the years 
when the Çiniciler were working on 
the Çorum Bin Evler Project, we can 
talk about architectural production, 
pluralism and participation.

•
In addition, it constituted an 
important source of sociological 
research related to the region during 
the years it was studied.

bin evler
birinci
yerlesme
alamnda •

Scene 8

•
It is desired to create a strong fluidity 
between the spaces by using as little 
partition walls as possible in the 
houses.

Scene 9

•
The Bin evler project is valuable in 
that Altuğ - Behruz Çinici not only 
produces in accordance with the 
criteria brought about by process 
focus, but also in that the participant 
conveys his beliefs about production.

Scene 10

•
It is closely related to analyzing, using, 
transforming the physical and social 
data transferred specifically to the 
Binevler Building Cooperative and the 
realization of this process together 
with the people of the region in both 
the design and implementation 
phases.

Scene 11

1/200
63 nelu blok
vaziyet
site plan
sluet

•
The transportation scheme 
consists of vehicle roads serving 
from the rear to the residential 
areas and pedestrian roads that 
pass parallel and perpendicular 
to the slope.

•
Selected geometric, basic forms, 
the idea of detaching buildings 
from nature, simplicity in the 
materials used, etc. They are 
rationalist items.

Scene 12

•
The building deliberately
avoids the monumentality
(neo-classical style) of the
TBMM Complex in which it is 
located, leaving the traditional
mosque architecture and
proposing a new design.

.iIii1iiIliiliiiliii117E$:E'liiiliiIlii11171—

Scene 13

•
Religious space is distinguished
from the architectural habits of 
the past, defined by the
processing of form, space and
light, and landscape - building
relationships.

•
When settling in the Assembly 
Complex, which extends in the
north-south direction, the
structure creates a orientation
arrow or even a circulation
distribution point in the area.

Scene 14

•
The qibla wall is completely
transparent, and the mihrab
forms an outward-facing glass
niche with a rectangular plan.

Scene 15

•
The minaret of the mosque is 
designed as a two-stage
platform, and a cypress tree, 
symbolizing the vertical effect
of the minaret element, is also
located at the point where the
ladder reaches.

Scene 16

Mahmut Mert BİTER-170501051
Tayyibe KORKMAZ-170501031

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