Dogan Media Center / Tabanlioglu

Architects: Tabanlıoğlu Mimarlık / Melkan Gürsel & Murat Tabanlıoğlu
Location: Ankara,
Project Team: Murat Cengiz , Çağrı Akay, Ozan Öztepe, Ali Eray
Interior Design: Tabanlıoğlu Architects
Client: Ortadoğu Otomotiv ve Tic.A.Ş
Structural Engineering: Altıneller
Mechanical Engineering: Elmak
Electrical Engineering: Öneren Proje Mühendislik
Facade: Emmer Pfenninger Partner AG
Architectural Lighting: Studio Dinnebier
Main Contractor: D – Yapı / Ataman İnşaat
Landscape Consultant: Esin Kılınç
Site Area: 4,299 sqm
Construction Area: 11,475 sqm
Project Year: 2006–2007
Construction Year: 2007–2008
Photographs: Thomas Mayer, Cemal Emden

On Ankara-Eskişehir road, Doğan Medya Center is a distinctive media figure in the Capital city, housing Ankara studios of Dogan Media Group and its newspapers’ regional editorial offices, creating the basis of interaction between the brands of the group and providing a common source. Conceptually, the Doğan Media Centre is a simple glazed cube in response to an orthogonal site.

site plan

Configured within a basic planning module of a 4m x 4m x 4m cube and a structural module of 8m x 8m x 8m, the purist form has subsequently been remodeled, with the extrusion and attachment of smaller cubes, and simultaneously eroded by the subtraction of other cubic volumes. The building is consequently perceived as a sculptural grouping of related boxes of the same genus but with a variety of sizes, starting on the surface. The concrete structure reaches up to 7 stories by feasible use of galleries so that extra operative space created by mezzanines, whereas the standard is 4-4 ½ floors. The story height is 4 meters, every two floors a cube is formed; the modular structure provides a flexible basis for planning. Intermediate floors are supported on secondary steel columns and beams.

section 05

The building is perceived from afar and in diverse prospects at various angles, due to perforated shield resembling Braille alphabet at range of sizes, symbolizing “communications for all”. The metal panels filter the sunlight entering the building into shifting patterns of dappled shade. The panels’ perforations are echoed in the suspended ceilings, where circular cut outs house connections for camera equipment and lighting.

The emblematic use of façade creates a visually legible dynamic ambiance with reference to today’s fast moving and assertive image of the media. In accordance with topographic directions, the modules on the entrance elevation are slightly angled to enhance the dynamic appearance. The finishes in the interior draw on the same muted palette of calming colours that is applied to the exterior: dark grey, black and shades of brown.

The projecting boxes are each dedicated to a specific TV channel or newspaper so that the various units within the Doğan conglomerate can be readily identified from afar. Intermediate floors are supported on secondary steel columns and beams. There is a layering of views through the building, both horizontally, across the open-plan offices and out into the city, and vertically, in the way the different levels open onto the internal atrium. The floors are framed by parapet walls topped with glazing. Here, the transparency is complete. The parapets consist of frameless supported by a stainless steel handrail; above the rail, there is only air.

Separate sections like studios and offices of press people preserve their exclusivity and each segment is accentuated in the integral form of the re-assembled blocks of cube. The assemblage of smaller cubes within the structure of the large box can be read as a metaphor for the diversity of the company’s operations and a high degree of transparency serve to reinforce the separate brand images.

The top of the building contains a VIP lounge and terrace with teak decking. The floors below are segregated according to their specialty – newspaper or TV – but everyone comes together in the canteen in the ground-floor atrium. There is an open car park in a L-form parallel to the building besides two underground levels reserved for parking. The first basement is saved for technical facilities and storage requirements are solved in basement floors. The first basement level contains large studios as well as support facilities such as a hairdresser and make-up rooms. The two floors below contain M & E equipment and parking, along with cisterns that allow the landscaped gardens to be irrigated with greywater. Technological facilities and healthy infrastructure makes the building user-friendly and provides easy maintenance.

DMC Ankara is a genuine building in terms of transparency; strong in-out correlation enables a well-defined description before getting in the building; and on the other hand, transparency provides the panoramic views of the city for all offices. Composed harmoniously with the environment; it is open to the cityscape. There is a strong relationship between the interior of the building and the public realm.

Cite: "Dogan Media Center / Tabanlioglu" 09 Feb 2010. ArchDaily. Accessed 22 Nov 2014. <http://www.archdaily.com/?p=49066>
  • ALI KHALIL

    impressive design and nice facades design

  • norm

    Ok, so the lobby is basically a watered-down version of Caja Granada by Alberto Campo Baeza… The perforations on the facade look very cheap for such a high profile project.. the ones on the interior look far better.. The sections are simple but effective, showing a range of social spaces, very appropriate for a media centre. Tabanlioglu is the largest and financially the most successful office in Turkey, but they deserved that title due to their technical achievements (in a country where craftsmanship is nonexistent) and not necessarily their ground breaking architecture. One expects, therefore, at least a well put external wall, which in my opinion this project fails to demonstrate. Saying that, the building is far above Turkish standards, but that should not be satisfactory for a practice who wants to compete with big box european offices such as F+P, RMJM, GMP.

  • norm

    also, teak is an endangered species and should not be specified in architure & design.. a bit more attention please!

  • Lunafuga

    In terms of its expression and the way the design is handled,its a far better step than any other so called “media centers” in Turkey. First of all, it’s not a glass clad box and the interiors are generously spacious, a nice environment.

    Yet especially within its context (this building stands between two other that are way bigger) its falls weak, gets a little lost. I agree that there’s a lack of “expression”. The elements of the facade are just too weak to create a certain image. I don’t know if its me but the overall just doesn’t satisfy me, it could be better.

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  • http://www.is-group.co.uk signage

    Impressive, I love the design, the teak is an interesting choice.

  • http://www.f9productions.com Alex Gore

    Very nice blend of light and shade

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