Baris' Portfolio

BARIS CINARGRADUATE ARCHITECT



Hello, my name is Baris Cinar and Igraduated with a BSc in ArchitecturalEnvironmental Design in the Summer of2014, from Sheffield Hallam University.Since then I have worked in a numberof design roles, ranging from freelancedesign to luxury furniture design, where Ihave acquired significant experience andexpanded my already extensive skill set. Ifeel that this, combined with my architecturalbackground and design mentality, makeme a strong candidate for a junior-level role;from which I aim to build a strong career.I hope you enjoy my portfolio, and find myskills and experience suitable for your firm.Thank you for your time. 1

BARIS CINAR CURRICULUM VITAE Personal BackgroundI am a positive, goal-oriented individual with a well rounded academic background, excelling inmathematics and the arts in particular. I have a natural aptitude for numerical subjects and spendmuch of my time painting or drawing. I possess excellent artistic ability, with a good eye for humanscale and detailing; which enables me to visualize and communicate ideas with great ease. I amalso well versed in various types of software, ranging from creative to parametric Academic Qualifications Sheffield Hallam University - BSc Architectural Environmental Design 2011 - 2014 Caterham Sixth Form - GCE Mathematics: A - GCE Physics: C 2009 - 2011 - GCE Economics & Business: B - AS Fine Art: C Caterham High School - 11 A - C GCSE’s including Maths, English & Science 2004 - 2009 Experience Third Space Learning Design/layout of numerical learning material Composition of business presentations FREELANCE DESIGNER Illustration for marketing purposes 11/2014 - 12/2014 Logo & banner design Minor administrative duties Cloudwear Design development GRAPHICS DESIGNER Conceptual design 12/2014 - 03/2015 Brand & typography development Competition/precedent research Hull Studio Design development - material, pattern, furniture Conceptual sketching DESIGN INTERN Product research & procurement Administration 03/2015 - 09/2015 Materials specification 2D drafting - design detailing Furniture prototyping 3D modelling - concept development2

Key Skills Level of CompetencyAdobe Creative Suite - Illustrator, Photoshop Very HighAdobe Creative Suite - Indesign ModerateSketchup 3D Modelling Very HighRhinoceros 3D Modelling ModerateAutoCAD 2D & 3D Very HighKerkythea Rendering SoftwareDrawing/Sketching/Hand-drafting HighPlanning/Fire Safety Regulations Very HighEnvironmental Design Solutions ModerateConstruction DetailingPresentation Skills - Participation/Development HighMicrosoft Office ModerateAnalytical & Problem Solving SkillsNumerical Ability HighCultural & Social Awareness HighDesign Development HighEnglish Language & Literacy Very HighTurkish Language & Literacy High Very High Contact Details Very High Moderate 49 Owenwaters House 380 Fullwell Avenue Availability 3 Ilford, Essex, IG5 0RU Avalable for an immediate start [email protected] within a design role. 07449976319 Preferrably full time, would consider part-time.



UNIVERSITY WORK CONTENTS Biomatrix Wildlife Centre Lunar Bird

B 3 2 Situated alongside the River A 4 Don, the site challenged me to produce a scheme which 1 not only raised awareness of ecological and environmental problems, but also evoked a sense of wonder within the users. The name BIOMATRIX derives from the river treatment system of the very same name, which is not only utilised throughout, but is a key feature of the project. A - Observation Deck 1 - Main Wildlife Building: reception, lab, B - BIOMATRIX River Treatment Pods lavatories, library, storage, open gallery4 2 - Multi-use Greenhouse: meeting room, kids recreational space, reading space 3 - Outdoor Viewing Platform 4 - Arrival Deck

The river treatment system exists in the form of pods, BIOMATRIXand utilises existing marine biological processes to WILDLIFE CENTREgradually remove the contaminants within a river, and EFFINGHAM STREETuse this as a source of energy to expand and recover SHEFFIELDthe surrounding ecology. They can come in variousbuoyancies, hence, can support sculptures, andeven serve as temporary habitats for small animalssuch as birds etc. this makes them ideal viewpointsfor a wildlife centre. A: Observation deck sketch 5B: This sketch shows one of the pods and howthey may be used to house sculptural works

BIOMATRIXWILDLIFE CENTREOPEN GALLERYPURPOSE: MOVEMENTThe idea behind the layout of thegallery, and its ‘open’ nature, is togenerate a sense of movementthroughout the building. Thegallery leads them to the outdoorsculptural works, which then lea,dsthem to the main spectacle, theBIOMATRIX pods. Enlarged view showing movement throughout the primary building Image of the pod system in real-world application used in a ‘Lake restoration in Seattle’ Enlarged view showing the sculptures spilling out6 into the outdoor area, effectively leading the users to the pods

North elevation of main wildlife building (from river-side) BIOMATRIX- Adjustable internal furniture WILDLIFE CENTRE- Utilisation of architectural elements for MULTI-USE GREENHOUSE visual separation etc.- Interactive boxes READING/MEETING/CHILDREN’S AREA- Flora provides privacy in an intimate natural environmentCross-section of greenhouse building (from road-side) Visuals showing the multi-functional interior of the greenhouse, with interactive boxesVisual of greenhouse building showing the materiality suggestion of aged birch wood 7

BIOMATRIX A CONSTRUCTION DETAIILS A - Roof Construction: EXTERNAL TO INTERNAL 20 mm rainscreen cladding 11 mm timber railing aluminium standing-seam roofing 22 mm rough-sawn wood 128 mm counterbattens/ventilated cavity nail sealing tape plastic sarking membrane 45 mm wood-fibre sheathing, water repellent 92 mm structural timber/cellulose insulation 15 mm oriented-strand board vapour retarder 70 mm building-services layer/battens 12 mm fir panelling8

BIOMATRIX MAIN WILDLIFE BUILDING CONSTRUCTION The building is consructed using a primary timber frame structure, which is then clad in rainscreen panels. These then attach to a series of wooden battens using aluminium fixings. In order to achieve a homogenous aesthetic, the cladding system is also used on the roof, albeit without any function as the building is already sufficiently weather-proof and air-tight even without its addition to the roof structure. The whole building rests on a conrete raft foundation. B C - Floor Construction:B - Wall Construction: EXTERNAL TO INTERNAL 225 mm concrete raft foundation EXTERNAL TO INTERNAL damp-proof membrane 47 mm rigid thermal insulation 20 mm rainscreen cladding panel 170 mm rigid thermal insulation 50 mm battens/ventilated cavity vapour barrier membrane moisture-diffusing membrane 90 mm conrete slab with 16 mm wood fibreboard underfloor heating 235 mm timber beam/ thermal insulation C9 16 mm wood fibreboard vapour barrier 43 mm thermal insulation 25 mm battens 12 mm aged birch plywood

- Arrives on site in separate components - Precast components slot together - They are then fixed permanentlyvia bolt mechanism - Exposed area is capped for aesthetic purposes10

This pre-cast concrete structure rests within DerwentReservoir, with beautiful, desirable views situated all around.The site chosen lies just north of the Dam and rests at thetop of a hill, giving the route a monumental feel. The conceptis derived from the Ancient Greek lore of the Minotaur, asthe Lunar Bird sculpture rests enigmatically within the displaystructure, with the user’s view distorted and fragmentedby the crystalline glass panels. The glass is of varyingproperties, so that each fragment interacts with light in adifferent manner. This gives a distorted view somewhat akinto Cubism. LUNAR BIRD SCULPTURAL DISPLAY DERWENT RESERVOIR, PEAK DISTRICT SHEFFIELD - Assembled legs insert into central hexagonal base - A metal plate slots in from above - Plate is secured via bolt system - Finally topped off with a cap 11



YACHT BESPOKE FURNITURE CONTENTS Lobby Ceiling Panel VIP Dressing Table HIS & HER Wardrobe Door TOTEMIC Coffee Table

This drawing shows the construction of the support system which also accomodates for the spotlights. There is an aluminium bracket bolted to the back of the board, which fixes the panel in place. It also shows the cornice detail which is fixed in the same manner and acts as the crowning element. The panel dimensions are approx. 4000x900 mm CEILING PANEL LOBBY SUPERYACHT, PRIVATE CLIENT This ceiling panel went through several complete A mock-up sample of the panel, showing the changes in design from start to finish, going from subtle tapering and leather finish of the design what was intially envisioned as a rippled texture to a pattern that can most accurately be described as ordered chaos. Whilst not immediately apparent, the lines do possess a common relationship to each other, which brings it a strange visual uniformity despite its chaotic nature. In terms of make-up, the panel consists of a composite fibre-glass board with a laser-etched pattern in the specified design. 1.5 mm steel wire is then stuck on top of the etching and tapered, and finally wrapped in leather. Plan drawing of the split-lines of the ceiling panel, the hole accommodates for the fire alarm12

This concept was for a dressing table for the interior of the master bedroom. In order to simplifythe production process, a decorative wood marquetry pattern was specified. This is done in aweathered, rippled sycamore veneer, on a composite base. The subtle ornamentation is achievedthrough the use of a moon gold leaf finish on the specified areas as well as a brass inlay.There are also two alternative designs, which are similar but bring a slightly different feel throughthe use of different material finishes. VIP DRESSING TABLE MASTER BEDROOM SUPERYACHT, PRIVATE CLIENTALTERNATIVESAlternate materiality: Spinneybeck VP 449 Alternate materiality: CNC textured wenge 13

This drawing shows the make-up of the son’s wardrobe door and how the aesthetics areachieved, you can see how there is a central origin point from which the linework is orientatedHIS WARDROBE DOORSON’S BEDROOM A sample which shows the portrusions andSUPERYACHT, PRIVATE CLIENT carved textures as well as the stainless steel finish The client specified a different take on the vibranium shield wielded by Marvel’s Captain America. The design linework went through multiple stages in order to capture the essence of the superhero’s weapon. As for the construction of the front doors, as you can see there are three separate doors, these have a composite wood base and the method varies depending on the aesthetic detail intended. Some areas are CNC carved, whilst others are fitted with a 5 mm piece of card. This is then wrapped in leather. There are also stainless steel inserts fitted into the specified locations. to get the desired end-product.14

This drawing shows the make-up of the daughter’s wardrobe door and how the aesthetics are achieved, you can seehow some of the flow-lines overlap. I feel there is a good balance between visual uniformity and chaos within the linkeworkHER WARDROBE DOORDAUGHTER’S BEDROOM A sample which shows the describedSUPERYACHT, PRIVATE CLIENT flow-line texture and stainless steel finishThe client specified a bespoke piece with a comparableaesthetic to Jackson Pollock’s famous works, butwith a more feminine and elegant take. It progressivelyevolved and took on its own style, the idea was putforward for these flow-lines which integrated a texturewithin a texture. These gradually tapered out to surfacelevel in a very natural, organic manner, which gaveit the femininity. In terms of the construction, similarmethods are applied as in the previous son’s design.CNC sculpted flow-lines are wrapped in leather, and astainless steel insert isfitted into the specified regions. 15

TOTEMIC COFFEE TABLELOUNGING AREASUPERYACHT, PRIVATE CLIENTThe client wanted a bespoke A sample showing the marquetry pattern of the table top, the background is acoffee table that complemented the pale straight-grained wood and the details are in a mixture of rare dark woodsaesthetic of the current interior, whichhad a plain, warm colour scheme Overall dimensions approx. 700x850x800 mmwith a mixture of contemporaryOriental and Aboriginal elements. Theidea for this piece derived from anAboriginal rug that I saw displayedat the 2015 Masterpiece exhibition,and the eventual name ‘Totemic’ isderived from Aboriginal mythology.The tabletop creates an interestingforeground/background relationship.As for the construction, five carved,organic wooden columns fit into thebase at the bottom, then the top halffits into a small conical base, ontowhich the table top is attached.Elevation and plan view, showing the coffee table at a human Perspective sketch showing the form and the secondary floralscale next to a woman: approximate height 1700 mm marquetry pattern of the bottom support base16 END