README file About the data set Data creators Birge Yildirim Okta: https://orcid.org/0000-0001-7872-2239 Gurkan Okta-Architect Murat Opus-Composer Organisations with which the creators are affiliated : Birge Yildirim Okta:LJMU, OKTAA STUDIO Gurkan Okta-Architect, LJMU (sessional staff, OKTAA STUDIO) Murat Opus-Composer Kebt Sanat Akademi (Birge Yildirim Okta: https://orcid.org/0000-0001-7872-2239 Gurkan Okta-Architect Murat Opus-Composer Rights holder(s) for the dataset :Birge Yildirim Okta, Gurkan Okta, Murt Opus Year of publication 2025 Description * Provide a brief abstract or description of the dataset HILL OF TEARS Hill of Tears makes visible the state of “being in-between” through an installation that explores how space can act as a political instrument and how architecture can intertwine with collective memory. Drawing on Judith Butler’s reflections on the political power of public mourning, the installation revolves around two essential questions: “Whose grief counts as public?” and “Can architecture mourn with us?” It constructs a threshold space where society cannot fully experience, express, or articulate its grief—making the absence of public mourning, the limits of political recognition, and the processes of collective repression spatially perceptible. Recalling those condemned to oblivion through the state’s biopolitical framing, Hill of Tears functions as a site of memory that releases the repressed energy of mourning. Public mourning becomes a political act, showing how individual experiences of loss can be transformed into a collective expression. Traumas that are rendered invisible in social memory—such as femicides and child murders—are spatialized in this installation as a collective scene of remembrance. The blurring effect created by the curtains and the refraction of light intensify the sensation of being “in-between.” Within this hazy field, the viewer both sees and loses sight; both witnesses and remains silent. In a world where grief cannot be voiced or recognized in public space, Hill of Tears exposes the realm where individuals become trapped between mourning and collective memory. Butler’s notion of mourning as resistance here transforms into a stance against enforced forgetting—grief that was suspended at the threshold is finally released. Inspired by Guy Debord’s concept of the spectacle, the installation seeks to transform the viewer from a passive observer into an active participant in mourning and remembrance. The flickering light and echoing water drops behind the curtains respond to the viewer’s bodily presence, turning the space into a living field where memory, guilt, and witnessing are not only represented but also produced. Each drop of water behaves like a “tear,” triggered by the viewer’s breath, movement, or silence—blurring the boundaries between individual grief and collective loss. This interaction breaks Debord’s one-way spectacle; the viewer no longer merely observes but weeps, remembers, and bears witness with the space itself. Located in the Tamirhane Building of the abandoned Battery Factory in Kepez, Antalya, Hill of Tears transforms the site into a performative stage through reflection, sound, and movement. Here, tears merge with light; grief transforms from bodily silence into public resistance. THE FACTS According to data from the Ministry of Interior, there were 284 femicides in Turkey in 2022, 309 in 2023, and 275 in the first ten months of 2024. Regarding child murders, the FISA Child Rights Center’s “Violation of the Right to Life” report states that in 2024, at least 777 children died from preventable causes. The same report also notes that 56 children were killed as a result of violence or homicide. Key information The dataset was generated through a research-by-design and site-specific installation process combining architectural construction, audiovisual production, and iterative spatial testing. Data were produced through the physical assembly of suspended projection curtains mounted with steel cables and lead weights, enabling controlled tension, movement, and spatial layering within the exhibition environment. Key data types include custom-produced video projections, original sound compositions, and spatial documentation (photographs, diagrams, and layout drawings). Video data were specifically developed to interact with textile projection surfaces, calibrated for scale, luminosity, and looping behaviour. Audio data were composed to support immersive spatial experience and emotional resonance.The dataset reflects an iterative production methodology, with multiple configuration tests informing the final installation. All data were generated under controlled interior exhibition conditions and curated to ensure coherence between spatial form, projected media, and sound. The dataset incorporates the names of deceased women, retrieved from public memorial monuments, as an act of feminist remembrance and counter-archiving. How the dataset should be cited Y?ld?r?m Okta, B. and Okta, G., with Opus, M. (2025) Hill of Tears. Installation exhibited at the International Architecture Biennial of Antalya (IABA), 4.5 In-Between, Antalya, Türkiye. Contact details * Provide email for the PI:lsabyild@ljmu.ac.uk * Optional: Provide contact information for any queries or forwarding contact should you leave LJMU birgeyildirim@gmail.com Terms of use Creative Commons Project and funding information * The project start and end dates : 01.01.2024- 01.01.2026 * Funding organisation : Antalya Chamber of Architects, OKTAA STUDIO Contents * List all files included in the dataset, along with their extensions and brief descriptions of their contents. If there are numerous files, provide a dataset structure key or file naming convention MP4 -The video of installation Public Opening MP4 2_Public Openning installation and performance * If applicable, describe any specialised data file formats and specify the software used to generate or render the data files, including versions and relevant links Mp4 Methods * Describe how the dataset was generated, including experimental procedures/protocols, environmental/experimental conditions, instruments used (hardware and software), data processing methods The dataset was generated as part of the research-by-design installation Hill of Tears, combining spatial experimentation, audiovisual production, and iterative design testing. Experimental Procedures and Protocols The dataset was produced through an iterative design–make–test process. The installation was first developed through architectural and spatial prototyping, followed by on-site assembly and audiovisual testing. Multiple iterations of hanging configurations, projection alignments, and sound calibration were tested to evaluate spatial perception, material behaviour, and emotional atmosphere. Each iteration informed subsequent adjustments to the physical setup and media content. Environmental and Experimental Conditions Data collection took place in an interior exhibition environment under controlled lighting conditions. Ambient light levels were intentionally reduced to optimise video projection quality. The suspended projection curtains responded to gravity and minor air movement, introducing controlled variability into the spatial configuration. Acoustic conditions were tested to ensure sound diffusion without overpowering the space. Environmental conditions such as room dimensions, ceiling height, and circulation paths directly influenced the final configuration and dataset outputs. Instruments and Technologies Used Hardware Projection screens (fabric curtains) Steel cables and lead weights (suspension system) 3 Projectors Speakers for spatial audio playback Video recording equipment for documentation Software 3D modelling software (for spatial planning and layout testing) Video editing and compositing software (for producing projected video content) Audio production software (used by Murat Opus for composing and mixing the soundscape) Image and video processing tools for post-production and optimisation Data Types and Processing Methods The dataset consists of: Video files produced specifically for projection onto textile surfaces Audio files (original music composition and spatial soundscape) Spatial documentation (drawings, diagrams, and photographs of the installation setup) Raw video and audio files were edited, compressed, and formatted for projection and playback while preserving visual and acoustic integrity. Video files were calibrated for scale, brightness, contrast, and looping behaviour. Audio files were mixed to balance spatial immersion and ambient presence. Documentation data were curated, labelled, and organised to ensure clarity, reproducibility, and long-term accessibility. Overall, the dataset reflects a hybrid methodology in which architectural design, material experimentation, and audiovisual production operate together as both research process and research output. * Any information about data sources or individuals involved in the dataset creation or analysis. DesignTeam: Birge Y?ld?r?m Okta (Curator of the installation Hill of Tears) Gurkan Okta Musical Composition: Murat Opus People who support the Site Installation: Furkan Toru Can Gök Ece Erçelik Batuhan Efe ?ahin Ece Ba?gör Ay?e Öztürk Hira AylinÖzkan Elif Temel Mustafa K?l?ç — Dance Performance: Özlem Ural Özlem Soytürk — Supporters: Liverpool John Moores University Mimarlar Odas? Antalya ?ubesi OKTAA.Studio Hasan Çerçiler Antalya Dans Akademi Published or forthcoming article, you can refer to it here and provide a brief citation. Y?ld?r?m Okta, B. (2025) Hill of Tears: Feminist mourning, spatial resistance, and the politics of visibility. Paper presented at the International Conference on Architectural Culture and Cultural Architecture (ICACCA-25), Istanbul, 30–31 December. 2025