Colour, Light and Compositional Lines

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Başak Akman


EXTENSION of the inaccessible pretentious particularities of Manhattan

The Thesis: New York City is itself a hybrid, in which the architect does not need to add but connect by intervening and interjecting into the existing spaces. By providing connections and inhabitation to activate and bridge together multiple events and imagine multiple circumstances.


The device used to construct figurative bridges between events are literal bridges. These extended balconies that would be the set in the stage of Manhattan for both actors (people staying in the pods attached to the bridges) and the audience (visitors) of this bridge would start interacting. The bridges would enable: means of accessing existing spaces – at elevations inconceivable before, connections and displays for parties, exhibitions and concert functions. As everything goes upwards this intervention would be a method in which Manhattan would start re-imagining itself and re-existing as a different city and a different way to live.


A hotel, unlike what Hilton said “ In a hotel guests should find what they dream of at home,” should find what they cannot dream of at home and can find what a dream like way of existing in between estranged, “impossible coordinates” in New York City would be like. To be an actor or an audience on a stage that is confined by real life architectural parameters is the Extension of the inaccessible pretentious particularities of Manhattan.


People have stopped moving and using their physical selves. They have stored their physical mass onto a 30 by 50-inch chair and allowed their conscious to live without the need to build anything anymore, use the minimum amount of space and create their own worlds within their own minds. They are free of the need to use any resources, to function only for Selfies and social media.


They are the Gods, the rulers of their own world, time is nothing for them, their bodies can live triple the amount that they could before.

The world they left behind, however, has become a ruin, there is nothing left, no one cares about where they are anymore they just want to occupy their conscious and use their mind – nothing else, they don’t need anything else.


However, the inability to escape their bodies and the lack of its use has emancipated them, allowing those that can live between the two worlds of unconscious and reality to control each and every weak body, kill and use if necessary in every way possible.

The system, the authority lives behind the scene.


Who influences you graphically?

Definitely paintings influence me graphically: those of Francis Bacon, Joan Miro, J. M. W. Turner, and a little bit of Moholy-Nagy’s collages.

What is your take on colour?

I think that there are three tools you have when constructing an image: colour, light and compositional lines. If you look at films, emotion is told more by colour than music. Music is the most basic cue for emotion, but colour, colour is what truly seeps into your subconscious. I am incredibly influenced by the way directors use colour like Ken Russel, Kubrick, Almodovar.


What defines the approach to different projects?

I think my graphic approach comes with the emotion I want to convey. If what I want to portray is comical and satirical I take a cartoonish and unrealistic tone. If it’s grim or melancholic I’ll take a little bit of a serious tone in terms of colours and lights – even then I like adding some humour so regardless there is bound to be a cartoonish feel.

What is your work process sin terms of programs used?

I am in love with Photoshop and although I use rhino and illustrator to create the base images and lines, the final touch is bound to happen in Photoshop.

Are there any specific parameters you adhere to when constructing an image?

There is absolutely no parameter. I hate parameters, I hate rules, I hate time management. I love anarchy when it comes to constructing an image, all is fair in creating an image. I can be doing one thing one second and all of a sudden, I’ll trash it and do something else. My professor once that I should grow up: my parameter I would say is the opposite to that, the moment something feels to grown up I take the opposite route.



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