For our end-of-term project, we were first given our plots of land. Unfortunately, we didn't go on a site visit this year, so our plots are fictional, and we only know as much about the surroundings as we were given. My plot was a sloping area by the sea. It's a hot and humid place, and somewhat wooded. Throughout the project this year, we worked at a 1/50 scale, and the plot's boundaries were 35x50 meters. So everything we made was very large. Based on our previous analyses, we needed to choose a reference that had already been analyzed in the studio and create a specific form based on that reference. My first reference was Fisherman House and Gwathmey because I wanted to work with wood, and considering that wood rots quickly in a humid place, I needed a structure like Fisherman that had solved this problem. Due to the slope of the land, I created a form with two steps at the top and three steps at the bottom, and like Gwathmey, this form was a rectangle. Later, our scenarios were determined. My scenario included a family of three and a rentable space. With the scenario in place, I realized I hadn't used the form and this reference as I wanted; I also felt that it wasn't a suitable reference for the topography and environment. So I chose Memo House as a new reference. Memo House is actually a structure on a rectangular plot within the city, supported by load-bearing walls on both sides. One of its distinguishing features is its green roof. Another characteristic of this structure is that its vertical circulation element is a continuous module. So, while there are stairs inside the house, we see the reflection of these stairs on the roof in a curved way. Of course, after choosing this structure as a reference, the project changed considerably, along with the scenario. In my first attempts at drawing plans on my own, I discovered some interesting things. A plan should have a plan. Of course, saying it like that isn't entirely clear, but what I mean is: instead of listing the necessary things and randomly placing them, determining the general outlines of what will be on which floors or what will be connected to what makes drawing plans much easier. Of course, although I produced some somewhat unusual plans in the initial stages, I improved them with revisions. As for the form, it changed as the plans changed, of course. I changed the curved structure above the circulation area to simply an inclined plane because I felt it better suited the overall form and topography of the house. I aimed to create different experiences by using this inclined plane at different angles. Later, based on the feedback I received, I raised the roof of the rentable space slightly, trying to make its form noticeable from within the entire organization and create a special space within itself. I positioned this rentable space so that it can be used independently or together with the entire organization, depending on the needs. In addition to the main entrances of the house, there are side entrances and private small gardens, or courtyards, for the rentable space and the regular residents of the house. I used a green roof similar to the one in Memo House, but I proceeded in this way because I wanted the structure to integrate with the topography. While arranging the topography, I designed a pier that integrates with the form of the house to strengthen its connection with the sea. The topography around the house also changed accordingly, of course.

I honestly believe I've improved considerably in the structural analysis section. I'm much better than I was before. This time, the structure I need to analyze is one I've seen many times before: the Double House. Frankly, I really like this building; maybe it's because there's so much to analyze? Maybe. This building uses load-bearing walls as its structural system. The dividing walls on either side and in the middle support the entire structure. The front and back of the building are mostly transparent openings. Because it doesn't receive light from all four sides, it receives more light from two sides. The areas without these openings are the bedrooms. At the same time, from the outside, we can understand which areas are more private and which are more common; this is due to the high number of openings. Similarly, we can understand how the house is divided from the outside. The reason for the division is that there are two common areas on the property. The circulation between the houses is also created vertically, stacked on top of each other.

In this course, we first learned to analyze existing structures. That is, we tried to find and predict the reality. We tried to understand how these structures remain standing and what different materials or geometries require. Analyzing a structure was quite difficult at the beginning of the semester, but now it's much easier. It's a skill that develops with a little experience.   The first structure I had to research was Casa Gomez. This house was designed by Jorge Garibay Architecture and is a brutalist structure located in Mexico. It's built using solid concrete blocks, like Lego blocks, where each block supports the others. Because it's made of concrete, and concrete is a heavy material, the load is actually carried by the walls together, with few dividing walls. In the second round, we needed to understand how roofs are constructed, how the roof itself supports the structure, what materials are used, and if there's a strategy used in its construction. We also needed to integrate this roof, which we researched in the first case, into the structure whose load-bearing elements we understood. I think the difficult part of this assignment was bringing the two strategies together, since each case has its own unique strategy. The second structure I needed to research was Fallingwater House. I'm sure even people unfamiliar with architecture have seen this building at least once. It's worth noting that this building is very generous in terms of roofs and terraces. Fallingwater uses layering to combine these terraces and roofs, with each element having its own unique support system. Reverse beams are used on the terraces, while the support system is embedded in the concrete where there's only a roof. Of course, integrating both the layering and these different support systems into the existing structure required a slight increase in size. To make the layering strategy visible from the outside, I raised some of the load-bearing walls and added terrace and roof combinations with different geometries and cantilever sizes. I believe these variations better reflect the even or irregular layering strategy that is noticeable in Fallingwater. Our final, third case involves circulation elements, which we all inevitably encounter and pay attention to in our daily lives. These circulation elements, too, required us to examine their materials, structures, and strategies within a different building and then integrate them into our newly constructed home. In this case, my design was the Double House. This building, designed by MVRDV, is frankly very interesting from the outside. Moreover, its most striking feature isn't even its circulation. In this building, the original owners of the land didn't have enough money to finance the house, so they found a partner and essentially gave him 1/3 of the house, dividing it in a zigzag pattern, like a key and lock. If you ask why it's divided this way instead of straight, it's because they wanted to benefit from the view in a similar way. Also, this zigzag form prevents the living spaces from being small and fragmented. It takes from one side and gives to another, without dividing the living space. Returning to our main point, most circulation elements have glass on both sides, and these are often stacked vertically. In this way, we can also perceive the circulation as a vertical space from the outside. After all this research, adding these circulation elements to my own project wasn't difficult at all because they were already similar to the building's original staircases. I only added stairs to connect the terraces, but I added them in a similar way, stacked on top of each other. After making all these arrangements and finalizing the integrated model, all that remained was to gather all this information together. Frankly, I think researching structures in this way and learning through experimentation has greatly changed my perspective on buildings. They even changed my way of understanding them; now when I see a building, I can put the grid on top of it or instinctively understand its structural system.

After becoming a little more familiar with building a community, we went to Sille district in Konya to see the terrain. On the coldest day of April, we were at the dam, taking notes and trying to remember everything around us, trying to find what we considered important. Later, to warm up a bit, we went to the village of Sille and immediately climbed into the caves formed by natural causes. Afterwards, we saw the church in the village, the primary school which was entirely made of wood, and the main roads around the village. I have discussed this field trip in more detail in another article; if you are interested, you can access it here . After seeing and analyzing all this environment, our teachers taught us that determining the main strategy for the organization we would create and proceeding around it would make it easier to establish the organization. For my main strategy, I developed it with the idea that in the dam area, we could experience our relationship with nature differently at different levels, and that I could use the sloping terrain as an advantage. Since I could control the water by changing the shape of the land, and this would affect our relationship with and perception of the water at different levels, I developed my strategy around this. Ultimately, my strategy emerged as Cleave through the Water. Of course, since the word "cleave" itself has a direction, I envisioned an organization that cleaves from land to water, and I decided that this organization needed to be divided into three parts due to the difference in topographic slope. As the organization took shape around these three main parts, the shoreline was shaped accordingly, creating different water levels. I arranged the cavities and the splitting of the water along the shore according to how we experience the water and the land. I created nested volumes. This design process, filtered through the strong winds and natural caves of Sille, transformed into an organization that shaped the topography by cutting through it with water. The interwoven volumes I conceived with the "Cleave through the Water" strategy, dividing from land to water into three main parts, did not remain merely a design experiment. It was a great source of pride for me that this project was deemed worthy of exhibition within the Mimed (Association for Supporting Architectural Education) Competition, held at Istanbul Technical University (ITU), one of the most prestigious platforms for architectural education. The exhibition, where my project met with professionals and students, is the best proof of how powerfully my dreams resonated in the sloping terrain of Sille.

I've analyzed many houses before this project, but I did them all for different areas. This time, I need to analyze a structure in all its aspects. Actually, this isn't different from the others, but applying all the analyses can sometimes be challenging. Gwathmey Residence is a completely wooden structure. That means its internal frame is also wooden, and everything rests on this wooden frame. The overall strategy of the structure is plug-in and subtraction. Subtraction comes from the fact that it looks like one cube has been extracted from another large cube. Plug-in refers to the circulation elements being attached to this cube in a cylindrical shape. Wood facilitates the formation of these cylindrical shapes because it's a flexible material. This structural system, which is in the form of an 8x9 grid, connects everything together.

For me, the History of Architecture course was much more than just an introduction to significant buildings or a chronological ranking of movements. This course was a truly eye-opening experience that allowed me to understand how architectural thought and practices have evolved from prehistoric times to the modern age. The best part of the course was that instead of defining architectural history only through "styles" (such as Gothic Cathedrals or Baroque Palaces) or specific "canons," it examined architectural concepts, themes, and ideas within a chronological flow. Rather than a prescribed "correct" style, I saw what motivated the people of those periods, what needs arose, and how these needs were resolved spatially, structurally, and technically. Although our main geographical focus was the Near East, the Mediterranean, and Europe, the brief mentions of other architectural cultures allowed us to see the universality of architecture and how it diversified across different geographies. I was fascinated by seeing a wide range of examples, from basic shelter needs to monumental structures, and from small settlements to massive cities. Of course, we hear about many important buildings everywhere, but understanding and feeling why  they are important was truly mesmerizing. After this course, I now much better understand and can recognize what influences today's buildings and why they have certain forms or functions. The needs, technological possibilities, cultural values, and even worldviews of past civilizations have left traces in today's architecture—sometimes lying in the subconscious, sometimes shouting, "I am here!" I have begun to see not just the exterior appearance of a building, but the processes and thoughts that brought it into being. Most importantly, because I can now "read" buildings, this course gave me the ability to compare them and understand their similarities and differences. Seeing what common points an ancient temple and a modern skyscraper might have in terms of functional or aesthetic aspects—or how similar problems were solved with different solutions in entirely different contexts—was incredibly enlightening. The architectural vocabulary I gained through this course is an added bonus! I can now use much more conscious and accurate terms when defining a space, a building, or a structure. In short, for me, this course was far from being a dry historical narrative; it became a tool for understanding the present through the wisdom of the past and imagining the future. I would also like to share some of the comparisons I made for the course here: 1- Terra Amata - Glass House Terra Amata is a settlement located in Nice, France, dating from the Lower Paleolithic period, dating between 400,000 and 300,000 BC. Such early structures emerged as a result of the physical threats that shaped human life. The fireplace's central location served as a focal point, providing protection from physical threats and meeting the needs of the time. The structure is quite simple and temporary , with spaces focused on essential needs. Philip Johnson's Glass House shares a similar focus: the central living space, the hearth, reveals the space. Visible from everywhere, the hearth is the most important element in the structure. However, the material used here allows the space to integrate with nature while also offering a minimalist aesthetic. The space is transparent  and open, with social interaction still organized around the center, but presented in a much more visual and experiential way. The fact that these two structures, built at very different times and with different opportunities, create similar spaces around the hearth  demonstrates that this strategy is linked not to time but to humanity. 2- Marsh Arabs - Markhall Markhall and Marsh Arabs, with their monumental  structures, semicircular and elliptical  forms and similar light and shadow  conditions, are reflections of each other at different times. 3- Temple of Queen Hatshepsut - Fallingwater While the Temple of Queen Hatshepsut acts as an extension of the cliff  beneath it, establishing a connection with nature, Fallingwater's structure balances with nature   this by being placed on a rock above the temple. Another similarity is that, despite their different shapes, we can still perceive the layered structure  in both. 4- Hanging Gardens of Babylon - La Strada dei Mille Vasi Rossi Both La Strada dei Mille Vasi Rossi and the Hanging Gardens of Babylon create layered spaces by placing vegetation vertically. Both structures create multi-level gardens where greenery becomes a structural element rather than a decorative element. Their terraces encourage social interaction, treating the built space as a shared experience. 5- Roman domestic villa houses - Rijksmuseum Although the two courtyards  in to the Rijksmuseum and the conecting of the two roads consept are very similar to Roman domestic villa houses, the two streets in the Rijksmuseum connect to the other road by passing through the courtyards, not through the courtyards; So their axes  are different. Similarly, vaults  can be read in the interior of the building 6- The Athens Agora - The Lawn The Athens Agora and the University of Virginia's "The Lawn," despite their exterior locations, create essential  social focal points  for a city and an academy, respectively. While the Agora is an organic public  square, emerging from the accumulation of independent structures over time, void emerges spontaneously between the buildings. In contrast, "The Lawn," designed by Thomas Jefferson with a single, rational vision, serves as the primary axis  connecting and hierarchizing  all the surrounding structures, thus making void the fundamental architectural element that organizes the buildings. 7- Hagia Sophia - the Great Courtyard of the British Museum Both structures (Hagia Sophia and the Great Courtyard of the British Museum) share the principle of using a circular focus  within a  square/rectangular outer frame  to establish a spatial hierarchy  that brings people together. The key difference lies in the organization: in Hagia Sophia, the circle (dome) rises vertically through structure and light, creating a sacred unity and the sole focal point of the interior; in the Great Courtyard, the circle (Reading Hall) stands as a separate object placed horizontally, and the primary gathering space becomes the surrounding square frame. In short, while in Hagia Sophia, the center unifies and encompasses; in the Great Courtyard, the center is framed as a distinct focal object. 8- Lalibela Churches - Chichu Art Museum Both structures share the same goal of preserving the landscape and creating a sense of introspection by being buried underground ; this is the powerful relationship these geometrically formed spaces establish with nature. While the Lalibela Churches (12th century) embody religious symbolism by carving the rock ( subtractive ) into the earth, the Chichu Art Museum (21st century) conceals reinforced concrete (additive) geometries underground, offering an experience of art and light isolated from the outside world. Both create a simple and monumental architectural  language by concealing their masses within the earth. 9- Alhambra - Doha Tower Both the Muqarnas Dome in the Alhambra and the façade of the Doha Tower employ a complex angular geometry that dematerializes the surface, creating a sense of dematerialization. In the Alhambra, this effect is achieved through the Muqarnas; these cells diffuse light and create shadow play, concealing the weight of the ceiling and simultaneously serving a structural function. In contrast, the Doha Tower employs the same principle in a modern shading layer. The geometric lattice of metal and glass that envelops the tower's exterior, with its repetitive angular modules, blocks out external light and heat. The key difference between the two structures is that the Muqarnas is part of the traditional load-bearing structure, while the Doha Tower's lattice is a non-load-bearing structure focused on climate control. 10-  Gaudí - The TWA Flight Center The TWA Flight Center's fluid, wing-like form was designed, like Gaudí's, using natural principles of load distribution. Eero Saarinen and his team designed the roof's thin reinforced concrete shell structure , resembling the inverted catenary curve of ropes under gravity, based on compressive forces that would transfer loads most efficiently. This method allowed them to capture the structural efficiency of Gothic cathedrals with modern materials and create vast, column- free span s like those of the Gothic cathedral. 11- Grote Markt - Silodam The shops and merchant houses on Grote Markt, like Silodam, are characterized by the unification of similar yet distinct units on a single facade . The Grote Markt facade is formed through a historical and organic proces s, with individual and diverse commercial/residential properties juxtaposed . The diversity stems from differences in ownership and use (commercial and residential). In contrast, Silodam, as a result of a modern and planned design , combines 10 different housing types in a single large structure. The diversity here is a programmatic and conscious design decision, and its function is solely residential. 12- Fatih Complex - The Interlace While the Fatih Complex features repeating domed madrasa units forming courtyards on a horizontal plane, The Interlace extends this modular logic vertically by stacking and cross-arranging massive residential blocks. Both structures create enormous "cities within cities" with their own squares and social amenities through the repetition of units. 13- San Carlo - Jubilee Church In San Carlo, Borromini reveals the "restless" energy of the Baroque by bending the stone walls like paper, creating those famous concave and convex curves.  Richard Meier, in the Jubilee Church, modernizes this movement, transforming it into gigantic concrete sails; it's as if he took Borromini's complex waves, simplified them, and inflated them with the wind.  In both, it's impossible to see straight walls; both architects make the rays dance on those curved surfaces, adding incredible dynamism and spiritual depth to the space.

Site visits are generally one of the most talked about, most anticipated, and most exciting things in first-year school. Naturally, I saw it that way too. We gathered our maps, sketch paper, pencils, and cameras and set off. We already knew we would be visiting the dam and naturally formed caves in the Sille region of Konya, but we hadn't anticipated that this trip would coincide with the coldest day of the year. It was so cold that my phone decided to shut down, leaving me stranded. First, we went to the dam. The dam had a huge and beautiful area. One of my first experiences was actually how quickly we progressed on the map. Because without a certain reference point, it was very difficult to understand where we were. I recorded my entire trip using some places on the map as references. We drew approximate cross-sections in the places we visited. We saw the difference in understanding between seeing and experiencing the slope of a terrain. We noted the animals and trees in the surroundings. We thought about which experiences we enjoyed, what was beautiful, or what could have been better. But of course, doing all this in the cold and snow was quite a difficult experience. We then left there and went to Sille village. After warming up a bit, we first climbed to the area with the natural caves. From there, almost the entire village was visible. We examined the caves. We noted which ones were accessible and which were inaccessible. We drew cross-sections. After the caves, we toured the village. We visited the wooden primary school in the village. Then we saw the church. While doing all this, we mapped the textures around us, the physical and visual boundaries, our references, and the places we visited. In short, we transferred all our experiences onto maps, and this experience was incredible. When I describe it like this, it sounds like doing all the work at once was very tiring and difficult; because that's what I initially thought when I heard we had to do these things. But honestly, it was incredibly enjoyable. Observing the environment, experiencing it, and knowing that the design would be formed around these experiences was very pleasant. After this exciting and intense trip, it was necessary to gather these experiences and make them usable. For this, we created a texture library, booklets containing cross-sections of some places, and experience maps. All of this was both enjoyable and educational. After using these, I know better what to pay attention to on my next field trip, and of course, that I shouldn't just take my phone with me.

August 7 – Eindhoven We took the train to Eindhoven. After landing, our first stop was the Van Abbemuseum. The Van Abbe Museum is a significant museum housing modern and contemporary art. Its collection includes works by prominent artists such as Picasso, Kandinsky, and Mondrian. It was truly a beautiful place. I was especially happy to see "Composition VI" in person. Frankly, my favorite part was the wall covered in inscriptions. After that, we went to the St. Catherine's Church. The bones found beneath the church were quite intriguing. It was also a very large and beautiful church. We lit candles and made wishes. 🕯️✨ Afterward, we rested for a while and visited the Philips Museum. Philips is very important to this region because after the factory was established, urbanization began, and many things developed around this company. Even the region's football team, PSV, is actually a Philips football team. August 8 – Helmond The next day, we took the train to Helmond, closer to where we live. We saw Helmond Castle and the Helmond Museum. We also saw a model of the cubic houses in Rotterdam. It was mostly a day of wandering the streets, wandering in and out of alleys. August 9 – Maastricht We visited this city with our family this weekend. We first visited a building that had been a passage for years, with images printed on the tiles on its walls. Afterwards, we had coffee in the square and explored the market. People were selling items from their homes. There were old records, music cassettes, embroidery, plates, and much more. After leaving there, we went to a church that had been converted into a bookstore. Frankly, I think it's a perfect space for a bookstore. Afterwards, we visited the large Saint Sevatius Church. Inside, there were large stones placed on the ground in memory of people. After visiting there, we crossed the canal and visited a brewery. Frankly, every street looked like it had stepped out of a painting. Instead of placing large signs on shops and restaurants like in Turkey, to avoid damaging the structure of the buildings, people simply hung flags on the side or stuck them on the windows. They did so without damaging the building's structure. It's a very subtle detail that has greatly contributed to the city. August 14 – Toverland This is a huge amusement park. First, we rode Felix, a rollercoaster that flips three times. After that, we rode another motorized rollercoaster. Frankly, it was easier to ride. Then, there was another rollercoaster where you could go both upside down and straight down on the water with a boat, which we tried. Finally, we did various small indoor activities. Frankly, it was a really fun day. August 15 – Beekse Bergen Safari Park A large safari park. First, we saw cheetahs, zebras, and gazelles by car. Then, we took a short break and walked to see penguins, monkeys, birds, and hippos. Then, we took a short boat trip along the canal within the park. Just as we got off and were returning to the car, we saw orangutans and other monkey species, cheetahs, hyenas, lions, the largest elephant in the Netherlands, red pandas, and a bear. When we returned to the car, we saw many other animals on the way out, and most importantly, we fed the giraffes. August 19 – Rotterdam We woke up early this morning and took an hour-long train ride to Rotterdam's main train station. Its architecture was intriguing; it opens onto the city like a modern gate, and its steel-clad triangular form leaves a very contemporary impression. First, we saw the Luxor Theater. Then we walked to the Markthal and visited the cube houses next to it. Markthal is certainly a very interesting place architecturally, but I couldn't quite figure out what the pineapple, garlic, and other fruits above meant. (I later learned that this giant digital artwork, called "Horn of Plenty," was by Arno Coenen.) The cube houses are certainly visually and architecturally interesting and original. However, my personal opinion is that they are not very comfortable to live in or use. (The concept of these houses, designed by Piet Blom in the 1970s, was based on the idea of ​​"living in a forest." The sloping walls are truly striking inside.) After this, we went to the Maritime Museum. It was a truly impressive place. Since the Netherlands thrived on maritime trade, ships were very important to them. It was a truly grand museum. (It included 18th-century ship models, exhibits on harbor craftsmanship, and a historic ship undergoing restoration.) After leaving there, we went to see the Erasmus Bridge. Designed by Ben van Berkel in 1996 and nicknamed "The Swan," the bridge's 139-meter white, leaning pylon has become a true symbol of the city. Then we arrived at the Depot. Depot Boijmans Van Beuningen holds a special place. As the world's first public art depot, this building, with its mirrored exterior blending into the surroundings, glass exhibitions and restoration studios, and its forest above, combines both art and sustainability. The structure itself was quite intriguing. The inside was even more interesting. The building itself was quite interesting. We ended our day's visit with the best pasta I've ever had, right across from Central Station. August 23 – Cologne We crossed the country in an hour, crossing into Germany and visiting Cologne. We parked at the Rheinauhafen Tiefgarage, Europe's longest underground parking garage at 1.6 km. Our first stop was the Schokoladenmuseum, which we walked to. In this museum, we couldn't see all the steps involved, from harvesting the cocoa beans from the trees to packaging them and delivering the chocolate to us. It was truly enjoyable and informative to visit. One section of the museum was made of glass, like a boat tournament, and the view was stunning. After leaving the museum, we walked along the canal to see the Hohenzollernbrücke. This bridge, with its love locks, has been a significant feature since 2008, a tradition. Our walking route brought us to the Museum Ludwig. It was a museum I'd been longing to visit. I was really looking forward to seeing the works of Warhol, Lichtenstein, and Picasso in person. The building, designed by Peter Busmann and Godfrid Haberer, opened in 1986. Built alongside the Wallraf-Richartz Museum under a "double museum" plan, it was completely dedicated to Museum Ludwig in 1994. The museum's interior and architecture were truly magnificent. My journey through the museum truly broadened my horizons. Finally, we visited Cologne Cathedral, which UNESCO declared a World Cultural Heritage Site in 1996. This structure, a High Gothic example, began construction in 1248 and was completed 632 years later in 1880. At 157 meters tall, the church is not only the tallest church in Germany but also one of the world's tallest twin towers. Moreover, these twin towers are visible from every corner of the city. The cathedral's interior is as magnificent as its exterior, with 14th-century stained glass and sculptures adding to the impression. As always, this grand cathedral was very crowded when we visited. August 25 – Amsterdam Since we were traveling by train, we first saw Central Station and its large square. We could see the tower of the Oude Kerk church in the distance. We walked through the streets in the early morning hours and saw the dancing houses. Some of the houses along the canals in Amsterdam are crooked because they are side by side and the sand beneath them. Noticing and searching for houses with leaning forwards or sides was one of my greatest joys while wandering the streets. Moreover, seeing one building with a vacant lot next to it, where they had installed staple-like iron supports on its wall to stop it from leaning, and having the chance to examine it was truly valuable. Another unique detail I noticed about the houses on these streets was that since the stairs in Dutch houses are so steep, they've installed a hook on the front of the building, protruding from the roof, so that instead of having to pull furniture out of the windows, they can be pulled up with a rope. Frankly, I found it very interesting. It's especially nice to see this design in so many buildings. Even though the houses next to each other are all different, their harmony within themselves gives one a distinct pleasure as one wanders the streets. Furthermore, it's truly incredible that even the buildings used daily are historical, and that their high schools and shopping malls date back to a time before the Orient was a royal palace, and that they have been preserved so well. As in every city we visited, the Royal Palace on Dam Square, the city hall, was particularly magnificent. This imposing structure was built in the 17th century as a symbol of the Dutch Golden Age, intended to serve as the city hall (Stadhuis). Architect Jacob van Campen undertook the project in 1648 and completed the building in 1655. This structure symbolized the Netherlands' international power and wealth. In 1808, when Louis Bonaparte became King of the Netherlands, the building ceased to be the city hall and became his residence—and the Royal Palace—and remains so today. Before visiting the palace, we had the chance to see the Oude Kerk on the way. This church, Amsterdam's oldest structure, dates back to the 13th century. Built around 1250 as a small wooden chapel in the city's early settlement, it was dedicated to St. Nicholas by the Bishop of Utrecht in 1306 and converted into a stone church. Over time, it was expanded in the Gothic style as the city grew. Then we arrived at the Rijksmuseum. This unique building, as impressive inside as it is outside, was designed by Dutch architect Pierre Cuypers. Blending Gothic and Renaissance Revival styles, the building opened in 1885. The predominantly red brick exterior is enriched with natural stone ornamentation. A plan symmetrically shaped around two large courtyards on a central axis allows for both natural light and guides visitors. The bicycle path and archway crossing the axis create both a physical and symbolic connection between the city and the museum. The acoustics it creates make it a popular spot for street artists. The two main towers within the building are reminiscent of Gothic church towers, lending vertical emphasis and a monumental character to the structure. Inside, the high ceilings, vaulted structures, and colorful stained-glass windows create a sense of grandeur borrowed from religious buildings. Among the works exhibited inside were many important works from the Dutch Golden Age, including Rembrandt van Rijn's *The Night Watch*, Johannes Vermeer's *Woman Pouring Milk*, Frans Hals' *The Merry Knight*, Jan Steen's *The House in Chaos*, Rembrandt's *The Jewish Bride*, Van Gogh's *Self-Portrait*, and Van Gogh's *Blossoming Almond Branch*. Afterwards, we explored the streets of Amsterdam and concluded our tour with fries. While there are many striking structures along these streets, I think the most striking was the "Crystal Houses" building, built in 2016 and housing the Hermes store. This building, located on the luxury shopping street P.C. Hooftstraat, was designed by MVRDV, which interprets the traditional Amsterdam facade texture in a modern way. August 30 – Kinderdijk and Scheveningen We went to the Kinderdijk region, where it was easier to drive, to see the windmills, which are under UNESCO protection. The 19 windmills here are a combination of wood and stone construction techniques, and some are still used as living spaces. It was a fascinating place to behold and see. It was like something out of a painting. After leaving there, we went to Scheveningen, the Netherlands' most famous coastal town. This town, located on the North Sea, is connected to the ocean. After sitting and eating somewhere, we rode the Ferris wheel on the pier and had a truly wonderful and enjoyable time. General Assessment While many things about the Netherlands impressed me greatly during this trip, I realize that it all stems from a genuine interest in and care for me. Dutch cities offer a wide variety of experiences with their history, architecture, layout, and established systems. I'm so glad I had the opportunity to experience all of this.

AutoCAD is a very important medium for all architects. It contains the most basic tools we need when making digital drawings. Of course, there are other alternative programs on the market, but AutoCAD still stands out as the most classic and well-known option. Therefore, it is of great importance both for us to learn this program well and for our professors' expectations of us. When they first explained the program in class, everything seemed very easy. However, when it came to actually using it, I realized that it had a different logic and its own shortcuts than other media tools we were used to. Frankly, this was the most challenging part for me. Even though I knew what to do, sometimes everything could get messy just because of a wrong key combination. In my opinion, such software should be started step by step and with simpler examples. However, in our first assignment, since the plan of the house we were working on was a bit complicated, managing the process was really challenging. So much so that I can say that this drawing was definitely the most difficult task I had during this term. Fortunately, our professors gave us another drawing assignment that was simpler and easier to learn afterwards. This new plan was both more understandable and did not tire me technically. Then I realized that as the difficulty decreases, my relationship with the program starts to get better and the fun comes into play. This second experience was really very educational and fun for me in terms of getting used to AutoCAD.

Architectural drawing techniques have always been very fun for me. We had previously learned orthographic and axonometric drawings. Now it was time for perspective drawing. Frankly, we all know something about perspective drawing. Every day, we see everything in some kind of perspective. Most of the photos or drawings we see around us can be perceived this way. Even if we don't know the technique, we all have a grasp on it more or less. Isn't the object that is close big and the one that is far away small? Basically, yes. But of course, in order to use it as an architectural technique, we need some reference points and lines. Even after understanding how these reference points are used, it can sometimes be confusing not to mix them up or to understand how to proceed. After learning the basics of this drawing technique in class, they wanted us to apply it to our case studies from different angles. At first, since I understood the logic, I thought it would be easier to draw in AutoCAD. Because we had both our elevation and plan ready. Unfortunately, it didn't turn out exactly as I expected. First of all, as I mentioned above, I often got confused about which point came from where or what I should do next. After getting used to it, one of my biggest problems was getting lost between reference lines and being able to see what I was drawing. This made it so hard for me that I opened a new layer and moved the lines I didn't need to that layer. These two problems were the kind of problems that everyone can encounter. My last problem was more related to the fact that the lines of the house we were working on were not perpendicular but curved. I think these curves need to be shown with light and shadow, but I still don't have any idea how to show this in AutoCAD.