Architecture + Interiors + Art & Culture Curation & Consulting
DETROIT LAKES RESIDENCE
Detroit Lakes, Minnesota Started January 2017, Completed September 2017 Ceren Bingol Studio
The Moses Residence, two 85- year- old lake cabins in Detroit Lakes, Minnesota, demonstrates design imagination where new possibilities can be shaped within the confines of the existing footprint and envelope of multi-generational homes. Previously having designed museums, Ceren Bingol Studio designed the Moses residences with the precision of details found in museum architecture: eliminating trims, designing fine European -inspired built-ins and creating clean, volumetric masses that eliminate clutter. The main organizing concept for both houses is to introduce an architectural parti which creates a threshold between the public and intimate faces of domestic living. This continuous armature gives visual clarity to various functions such as one-to-two story structural walls, stairs, a built-in desk, built-in cabinets, entryways and a kitchenette.
Detroit Lakes Residence photography is by Kevin Miyazaki and Ceren Bingol.
QUEBEC NATIONAL MUSEUM OF FINE ARTS
Quebec City, Canada 14,900sm / 162,535sf Completed June 2016 OMA New York - Ceren Bingol (Project Architect)
The 14,900sf museum stacks three gallery volumes in a cascading cantilever over the Grand Hall. The museum structure steps up in section and steps out in plan, creating a cascading cantilever that opens up towards the Grand Allée and invites the city into the building while acting as an extension of the park through the green roofs and carefully placed windows and terraces. The Grand Hall, a transparent glass box independently supported by vertically cantilevering glass fins located underneath the cantilevering museum structure as well as the intimate courtyard, both add new urban plazas to the city and to the museum complex. Quiet, functional and understated, the museum’s galleries stack upwards in the order of required gallery dimensions for temporary, semi-permanent and permanent galleries. The hybrid steel truss structural system used throughout the building creates uninterrupted gallery spaces and provide the building’s formal identity as the truss structure is exposed behind the triple layered glass facade surrounding the entire building. The frit pattern on the glass facade mimics and enhances the reading of the steel structure while providing the required thermal control to lower mechanical loads.
FULL PHOTO SET AND STORY IN PROGRESS
QUEENS MUSEUM OF ART
Flushing Meadows, Queens, NY 105,000sf Completed November 2013 Grimshaw Architects - Ceren Bingol (Architect)
The winning competition entry by Grimshaw Architects in 2005 led to the renovation and expansion of the existing Queens Museum of Art in Flushing Meadows, Queens. The design proposed a series of interventions into the existing World’s Fair building which are aimed at keeping the historical identity of the building as well as providing the desired openness, daylight, visibility and functionality to the museum program. A chain of 7 daylit galleries surround the glass cascade of natural-light-diffusing and amplifying chandelier-like enclosure. Skylights above the glass enclosure filter ample daylight into the large works gallery, as well as into the surrounding chain of galleries, where the carefully designed louvred-roof structure both diffuses and reflects desirable amounts of evenly distributed daylight on the gallery walls.
The west facade, facing the Grand Central Parkway, has been redesigned with a new entrance and a 200’ wide by 27’ tall interactive glass wall that will announce the museum to the 244,000 cars driving by every day.
The reason the building has survived and been adapted for so many different uses over the years, is its intrinsic structural logic, robustness and inherent flexibility. The new design amplifies the building’s logic and makes strategic interventions that introduce natural light, improve the flow and circulation and create flexible art galleries.
Queens Museum photography is by Hai Zhang.
CENTRAL PARK WEST RESIDENCE
New York, New York Started January 2016, Completed May 2016 Ceren Bingol Studio
This minimal and airy apartment is designed to increase functionality from an existing studio apartment into a well proportioned and detailed 2-bedroom with ample storage as well as space and natural light. A floor-to-ceiling T-shaped armature containing kitchen, clothes and misc. storage was permanently inserted into the existing loft, from which the various spaces of the new 2 bedroom apartment are served and defined.
Tokyo, Japan 444.75sm / 4448sf Completed J2012 OMA New York - Ceren Bingol (Project Team member)
Text description provided by OMA. Photographs by Iwan Baan.
Inspired by the clarity of Coach’s original, systematic filing retail strategy, OMA designed a modular display unit that is flexible enough to accommodate the specific needs of each product and retail environment. The spatial possibilities of this highly functional system reinforce Coach’s mission to represent ‘logic and magic.’ For the first iteration at a kiosk within Macy’s department store at Herald Square, acrylic display units were assembled into a floor- to-ceiling high, “V” shaped wall. Products appear to fl oat amidst maintained views to the accessories floor beyond.
Coach’s ninth Japan fl agship is a two-story, corner site on Omotesando, a prominent retail corridor in Tokyo. In comparison to the increasingly decorative elevations that characterize Omotesando, OMA’s design integrates display into the façade, seamlessly communicating the brand’s presence from the inside out. The display units are stacked in a herringbone pattern of vertical and horizontal orientation to facilitate a range of curation scenarios. Dimensioned to accommodate Coach’s standard merchandising elements (ex. mannequins, busts, bags), the unit measures1800 mm x 520 mm. Frosted glass that provides shelving within the store is further articulated to the façade as louvers.
Architect-in-Residence at Cranbrook Academy of Art Started September 2017, First Phase completed May 2018 Ceren Bingol
Faux Monuments is a conceptual, political and formal project about an ever-evolving investigating and contemplation on defying and redefining form through a blurring of the traditional 2 and 3 dimensional spatial creation. The first phase of miniature faux monuments is currently transitioning into its second phase.
The Tale of Faux Monuments
A spell was cast on urbanity where a hazy soft veil of baby blue to pale pink hues dipped in just the right amount of glitter roamed like sweet mist only veiling the strong, stable, shiny and righteous objects made by man. These ever multiplying so-called smart thoughtful successful objects consciously or subconsciously targeted each and every life that came into real or virtual contact with them, infiltrating the deepest darkest corners of every bit of lifestyle that once fought to be left autonomous and unaffected. Not one and not even a combination of means of defense or amount of shielding worked. The routine practice of polite, complacent critique continued to be discussed in closed circles, rereading and appropriating interpretations of capitalism, Marxism, regionalism, minimalism, pluralism, functionalism, empiricism, environmentalism, anthropomorphism, egalitarianism, feminism, racism, ism, ism, ism, … but absurdism. Absurdism alone wondered if it could make sense of the glittery baby blue to pale pink haze that cast the magic spell on urbanity.
Eventually this exotic, slightly dangerous and unpredictable spectacle became so dominant and so important, that Faux Monuments gained a prominence of their own, boosting the lack of ego and fakeness of image they promised. Their instability and absurdity continues to threaten to be the new norm, the new functionality, the new trade and the new human made object. They soak and swallow as much of the baby blue to pale pink glittery haze as they can yet they spit it back out in the form of solidified baby Faux Monuments whose DNA has the traces of the soft glittery mist of smoke and mirrors.
IMAGINATION OF SPACE
JUNE 1ST - NOVEMBER 1ST, 2019
NOLAN PARK, 6B
Imagination of Space, presented by The Cooper Union and curated by Ceren Bingol, is dedicated to the exploration and exhibition of projects in architecture, art, poetry, sound and performance. A series of residencies and exhibitions will feature professional and student artists, architects, poets and writers creating and collaborating on immersive work that celebrates imagination in space, ecology, form, light, sound and material.
Phenomenology of Space, curated by Ceren Bingol, explores a multi-disciplinary discourse between professional and student creatives, and the public, across five months of programming.
As part of an advanced concepts seminar taught by Ceren Bingol, 10 architecture students, Juan Cardona, Claudia D’Auria, Yoonsang Jo, Jisoo Kim, Jihoon Park, Karim Sabry, Jeremy Son, Maren Speyer, Tracy Tan and Brandy Vazquez, explored the intersection of poetics and architecture through a series of full scale installations and moveable objects inside the house. The projects reimagine and activate the physical, constructed space and perceived emotional or metaphorical space.
Furthering the collaborative discourse and artistic production, a series of residencies and exhibitions featuring artists Rebecca Ripple, Ashley Ferlito and Mauricio Higuera, designer Sunny Kim, poet Anna McDonald and architectural critic and film producer Nina Rappaport create spatial and three-dimensional works that explore a range of poetic responses to the society, culture, ecology, light, shape and materiality of the architecture, urbanism, nature and habitants of Governors Island as well as of New York City and beyond.
THE DROP URBAN ART INFILL
THE DROP: URBAN ART INFILL is proud to present a day-long festival of public interactive art, music, and fashion projects in Chelsea on 25th Street between 10th & 11th avenues happening Saturday, Oct. 3, 2009 in New York City.
In the spirit of participation, THE DROP: URBAN ART INFILL is a double call to urban inhabitants to interact with and contemplate the city as well as their relationship to the greater global environment through the arts.
A series of planned indoor and outdoor art projects, including the best in New York’s independent music, fashion, art and design, blur the boundaries of artistic creatives into collaboration, asking artists and audience to intermingle. THE DROP activities are meant to create dialogue in the New York community about our relationship to art, the city and the greater global environment.
Included in THE DROP art projects is the special exhibition 2012+. The title is partly coined from the Mayan calendar, indicating an upcoming shift from one phase of life to something new about to take shape. With the Kyoto Protocol phasing out in 2012, it is also a call to look at where we are going in the near future as individuals who are part of the global community. THE DROP is proud to be presenting a new art installation work by Ryuichi Sakamoto titled Glacier created especially for the 2012+ exhibition.
Other interactive art projects include live painting with artists Christian Mendoza and Yuri Shimojo of the Barnstormers and a live ballgown draping by emerging fashion designers using recycled materials with Art for Progress. A schedule of activities follows.
The Drop is volunteer-run and based on the idea of creating a self-perpetuating series of Arts projects through other projects. The main goal of The Drop is to provide space in the city for a wide range of emerging to established artists to show and make work, and interact with the city.
Ceren Bingol Art and Design
Mie Iwatsuki Curator
Alexandra Chang Curator, Writer, Critic
Jonathan Lo Graphic Design, Communication Design
Christian Mendoza Artist representative, Barnstormers