Atakan accomplishes in his work a balance of solids and voids in terms of their relative sizes. As these parts behave in contrasting ways under light, the work demonstrates a significant use of their spatial and material property to achieve unity. Asymmetrically curved planar elements that repeat a simple spatial relation give way to varying spatial experiences from different viewpoints according to light.

The balance in the use of planar and stick elements provides a set of steady relations to the composition that are legible from every angle. The way the elements come together and the rhythm achieved in their organization provide dynamism to the overall composition. This rhythm is strengthen by the material qualities of the planner elements, which define transparent and solid volumes to create a steady hierarchic compositional unity.

In Binboga’s work the contrasting use of material and the orderly arrangement of the elements create a harmonic composition. The unity achieved through the successful articulation of the relations and the opaque-transparency balance created with the material properties are the positive aspects of Binboga’s work. Besides, the repetition of same relations or their articulation with size and material differentiations of the elements result in the definition of various spatial experiences.

Güryay’s work is visibly ordered through a steady rhythm of equally sized parts which dominate the hierarchical arrangement of elements at different scales. These primary parts vary, in the way their own respective parts, such as planes, are articulated. Articulations are simple but inventive, consistent throughout the design, and refined. Variations in the materiality of the planar elements establish thematically coherent relations between the volumes they define.

By formulating a particular system of relations between three combined elements, one planar and one rigid linear element, Habili creates a 3D composition with varying spatial qualities. Throughout the composition the relations between the groups are fixed, but the sizes and the materials of the elements are changing according to the spatial requirements. In this way fixed relations create a unity out of variety. His way of using diagrams while presenting the work is also positive.

Summer’s project tried to achieve an organic form in line with its inner ordering principles, framed by the use of curvilinear and straight stick elements. The planner elements used within the structure without getting in any particular repetition delineate a continuous order through the proportions of solid-void (transparent – solid) volumes, the choice of material and the articulation of joints and intersections. Added to these, the search on the potential structural and formal qualities of the chosen materials is a successful approach.