suckerPUNCH: Describe your project.
yeliz OZSOY: The main ambition of the project is to restructure the design principles and to rearrange the hierarchies of the traditional opera house and experiment different approaches of people behaviours towards music and performance.
The approach for the concert hall is to achieve various user experiences and different perspectives of the performance mainly in horizontal and vertical gatherings and to provide the audience with individual spatial experiences based on the spatial potentials of the cellular systems including botanical gardens as biological habitats.
The code of the units are set back to their genetic mutation of a cellular composition of an outer unit that consists of an opaque, massive and hard outer shell and a contrary soft interior body. This cellular code reflects to the overall compositional mass of the performance hall with a challenge between its mass and the interior structure by trying to keep itself as lightweight and fragile as possible, in the meantime pushing the limits of its own heavy mass.
sP: What or who influenced this project?
yO: Hernan Diaz Alonso, Jose Paixao, Steven Ma, Hussein Chalayan, and nature itself.
sP: What were you reading/listening to/watching while developing this project?
yO: Reading: Frankenstein by Mary Shelley, The City of Glass and Travels of Scriptorium by Paul Auster, Design for the Apocalypse by John McMorrough, Against Architecture by Denis Hollier; Listening: CocoRosie, Mercan Dede, Xploding Plastix, Baba Zula, The Red Snapper; Watching: Ted Talks.
sP: Whose work is currently on your radar?
yO: Xefirotarch, Greg Lynn, Emergent Architects, H. R. Giger.
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