Reclaiming The Expressivity of Hand Drawings

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Reclaiming The Expressivity of Hand Drawings

Iñigo Esteban Marina, Carlos Gamarra Cortina, Galo Sanchez Sanchez & Carlota Álvarez Guzmán


Trade has always marked the path towards the Bosphorus polis.
It ́s no coincidence that this geographical border has been taken by a city that has served as meeting point between people of both continents, nor is it that the main public spaces have been transformed into areas dedicated to commerce.
A city planning forged by the influence of every possible city has kept on transforming itself overcoming its citizens continuous changes.

With the intention of capturing the rhythm and life of Istanbul, we have attempted to blur the limits imposed by the fixed plots by unifying the whole public space in one same context, respecting every existing cultural element that the city has to offer. We believe therefore necessary the need of prevailing the cultural heritage granted not only by the city but also by its countrys citizens.

The project, in its core essence, borrows the preexisting elements and forms with them a new character. The volume the dome holds becomes a landmark in the area and transforms the facade into a filter that doesn ́t unveil its content until the whole public space has been crossed. The market takes over the street, while the rest of floors use their space for other city activities and the inner square marked by the dome ́s base.

The perspective from where it has been projected allows several necessary solutions for a sustainable performance. Taking advantage of the climatic conditions and using strategical ventilation points and conserving energy are essential conditions in a light architecture which doesn ́t waste its resources.

Redefining a city that finds itself as a market.


Who influences you graphically?

The possibilities of 3D images are inmeasurable but we think that this project could be the perfect oportunity to reclaim the expressivity of hand drawings. That’s why we tried to find our inspiration in previous artists like Albrecht Dürer. We studied his engravings and tried to make our images using him as a reference but giving them a new language through the work of actual artists like Juan Francisco Casas.

What is the significance of the use of monochromatic images?

We wanted to use a common language for all the project. It was very important for us to find an intermediate point between the hand drawings and the photomontages and we found that using the monochromatic scheme really satisfied that need.

Until what extent is texture used as a tool to establish the historical feeling of Istanbul or to establish a specific atmosphere?

The texture is used to treat  light. Light has always been very important for arabic architecture. It is used to differentiate the range of privacy between spaces in architecture. That is the reason we decided to use a traditional geometric pattern, to control light, opacity and  visibility of the spaces in our building.

Whilst the architecture is represented using a specific graphic approach, you feature real people- what is the meaning and purpose of this decision?

The essence of the project was to generate a public space  based on traditional turkish architecture. We employed a dome but giving it a new way to resolve the structure. This idea of mixing new and old concepts was the reason of  integrating real people and old fashioned drawings.

You neglect to show your proposal within the larger context of the urban Istanbul, why so?

The reason  we didn’t introduce an image showing the relation between our proposal and the urban context is because we couldn´t choose the place for it. It’s was given a specific location for the contest and we thought it would not be usefull to waste space with a drawing to show the relationship with the city for those who decided the location.

You mainly explore your proposal three dimensionally, what is the effect of this?

Obviously 2D images are enough to explain a project for people with a high understanding view but three dimensionally images can make it much more understandable for all kinds of people. It is a main skill for an architect to adapt his language for each customer and, like we did not know what  the composition of the jury would be, we decided to use the easier language possible.

Do you trust that only through these kind of drawings is the viewer able to fully immerse himself in the proposal?

Yes. Obviously, it is impossible to get a perfect understanding of a proposal. However, we think that three dimensional views and simple schemes are the best way to reach the viewer. We wanted to make a proposal that could be understood at a glance instead of a complex presentation.


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