// FALL 2017-8

avşar gürpınar // şule koç // tuğçe ecem tüfek

// FALL 2015-6

avşar gürpınar // simge göksoy // billur turan // fazıl akın

Figure 1. Dunne & Raby, Train, from United Micro Kingdoms, 2013. CGI by Tommaso Lanza.



This studio aims to tackle the issue of transportation where the concept is considered in its widest sense. The vehicle(s) of transportation will be considered as complex tools to carry (portare) objects and/or subjects on/between given paths (trans-), in order to prevent categorical/paradigmatic congestions. These vehicles, however, will not be taken into account as sole mechanical devices but moving structures interacting with/through its objects/subjects and their environment in a definite context and system. Thus, we will explore the critical position of transportation vehicles in the urban context, how they act as intermediaries/mediators between product design, interior design, architecture and city planning and are means to define the concept of transportation through their intrinsic qualities. Also, the assessment of the transportation vehicle as an ambiguous object in its relation with human beings, blurring the boundaries between interiority/exteriority, public/private,…
Throughout the course, the students are expected to develop an analytic, critical and speculative approach to transportation design:
Analytic, in the sense of given conditions of the transportation conjuncture of the city, will be analysed and discussed in depth. Critical and speculative in means of the approach to a new proposal for a transportation vehicle.
The final proposal will deal with concepts such as place, time, body, movement, velocity, shell, signs and many others either with an activist approach where an intervention regarding contemporary conjuncture or a critical/speculative one for a possible future scenario (utopic, dystopic or heterotopic)  is concerned.
Several screenings, readings, field trips and case studies, as well as discussions with professionals, will constitute the conceptual and intellectual background of the studio.

Figure 2. Dymaxion Car, Buckminster Fuller, 1933.


– Raising awareness and sensitivity towards context
– Ability to choose appropriate design research methods to utilize for a given brief
– Flexibility to question any given typology
– Incorporate making in the design process, not just for final presentations
– Practice structuring the project and time management
– Practice choosing and applying a variety of presentation techniques; which may include prototypes, simulations, video and photography.
Meetings: Tuesdays, 10:00-13:00, 14:00-18:00; Fridays, 14:00-18:00, SKD4-3

Credit: 12 (ECTS)

Attendance: Regular class attendance is mandatory and will be monitored. You will lose grades if you miss classes and fail the course if you miss 4 classes. You are expected to be in class on time; late show can be counted as an absence. It is your responsibility to sign the attendance sheet. When/if you miss a class it is your responsibility to catch up on the subject.




The breakdown of your evaluation is provided below (Please note that the percentages might change):
Short project: %20
Final project (Research, Design, Manufacture): %70
Attendance and participation: %10

Other remarks:

Late submissions without proper medical documents will not be accepted.
Individual submissions of exercises and homework are required from each student. Plagiarism will not be tolerated. You can fail from an exercise, homework, exam, or the entire course due to plagiarism.
Contact with instructors is possible only in announced office hours.

Figure 3. Crane Rooms, Aristide Antonas, 2009.

Issues to Cover:

#1 // Mobility and Daily Life
#2 // Communication and Signs
#3 // Ownership vs. Sharing // Private vs. Public
#4 // Ideology and Questioning Progress
#5 // Symbolic and Aesthetic Values, Gender
#6 // Implications of Speed, Technology and Displacement
#7 // Embodiment, Movement, Perception
#8 // Vehicle as Threshold
#9 // Materials, Energy and Sustainability

Weekly Schedule:

Week 1-2: Short Project

Week 3-6: Phase I: Research

Week 7-10: Phase II: Design

Week 11-14: Phase III: Production

Required Reading:

Barbara, A., 2014. ‘Forms of Space and Time’, Susan Yelavich and Barbara Adams (eds.), pp. 225-232, Bloomsbury, London, UK.

Barthes, R., 1957. “The New Citroën” in Mythologies, The Noonday Press, New York, USA.

Baudrillard, J., 2008. “Ek: Ev Yaşantısı ve Araba” in Nesneler Sistemi, pp. 83-88, BÜTEK, İstanbul, Turkey.

Baudrillard, J., 2008. “Gadget’lar ve Robotların Yer Aldığı Başkalaşmış ve İşlevini Yitirmiş Bir Sistem” in Nesneler Sistemi, pp. 135-166, BÜTEK, İstanbul, Turkey.

Calvino, I., 1963-64. ‘Shells and Time’ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 76-79, The MIT Press, USA.

Calvino, I., 1990. ‘Excerpts from ‘Görünmez Kentler’, pp. 27-28, 41, 97-98, Remzi Kitabevi, İstanbul, Turkey.

Dillon, B., 2011. ‘Present Future’ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 182-185, The MIT Press, USA.

Dunne, A. and Raby, F., 2013. “A Map of Unreality” in Speculative Everything: Design, Fiction and Social Dreaming, pp. 11-32, MIT Press, Cambridge, UK.

Dunne, A. and Raby, F., 2013. “Design as Critique” in Speculative Everything: Design, Fiction and Social Dreaming, pp. 33-46, MIT Press, Cambridge, UK.

Hebdige, D., 1988. ‘Object as Image: The Italian Scooter Cycle’ in The Object (Whitechapel: Documents of Contemporary Art), 2014, Hudek, A. (Ed.), pp. 74-76, The MIT Press, USA.

Kaynar, H., 2012. Projesiz Modernleşme: Cumhuriyet İstanbul’undan Gündelik Fragmanlar, pp.45-95, İstanbul Araştırmaları Enstitüsü, İstanbul, Turkey.

Kubler, G., 1962. ‘The Shape of Time’ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 28-29, The MIT Press, USA.

Latour, B., 1993. ‘ We have never been Modern’ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 166-167, The MIT Press, USA.

Le Corbusier, 2000. ‘Yol: Doğanın Bağrındaki Plastik Araç’ in Oto-Mobil: Bir Röntgen Denemesi, Cogito, s. 24, pp. 109-118, Yapı Kredi Kültür Sanat Yayınları, İstanbul, Turkey.

Massey, D., 2003. ‘Some Times of Space’ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 116-122, The MIT Press, USA.

McCorquodale, D. (ed.), 2011. Excerpts from Krzysztof Wodiczko, pp 38-45, 146-193, Black Dog Publishing, London, UK.

Serra, R., 1967-75. ‘Essay on Sculpture’ in The Object (Whitechapel: Documents of Contemporary Art), 2014, Hudek, A. (Ed.), pp. 194-195, The MIT Press, USA.

Tonkinwise, C., 2014. ‘Design Away’ in Design As Future-Making, Susan Yelavich and Barbara Adams (eds.), pp. 198-213, Bloomsbury, London, UK.



Trafic, Jacques Tati, 1971.
Journey to Italy, Roberto Rosselini, 1954.
Urbanized, Gary Hustwit, 2011.
Paris, Texas, Wim Wenders, 1984.
Place to Passage, Hussein Chalayan
The Light Bulb Conspiracy, Cosima Dannoritzer and Steve Michelson, 2010.
Ford: The Man and The Machine, Allan Eastman, 1987.
Devrim Arabaları, Tolga Örnek, 2008.
Quadrophenia, Franc Roddam, 1979.
The Century of the Self, Adam Curtis, 2005.
Berlin: Symphony of A Great City, Walter Ruttmann, 1927.
A13, William Raban
Thelma & Louise, Ridley Scott, 1991.
Vanishing Point, Richard C. Sarafian, 1971.