Working on the ELZ-32 prototype project, featuring a hand-cut jet engine turbine for the TF-X Kaan scale model.

Everything is built entirely from scratch using only 1mm–3mm grey cardboard, a craft knife, rulers, and glue-no 3D printing, laser cutting, or CNC. Following the "parçadan bütüne" (from parts to the whole) approach, relying purely on structural balance, gravity, and manual precision.

The invisible holds the visible. Let me know what you think of the blade details!

While the finalization process for the Elz-15 Hagia Sophia prototype continues, the new project, the Elz-32 KAAN prototype model, is in the process of being built. The construction of the motor nozzles, motors, and front folding wheel system is ongoing. Grey cardboard and recycled materials continue to be combined.

As the finalization process of the Elz-15 Hagia Sophia prototype continues, the first draft of the new project, Elz-32, has been determined.

First drawing from the research phase of the new Elz-32 prototype project.

(MMU) KAAN, 5th generation

Paper & Cardboard Types Used in Architectural Model Making - From Easy to Advanced

Not all paper and cardboard behave the same way when building an architectural model.

The material itself can determine the accuracy, strength, surface quality, and difficulty of the construction.

Here is a simple classification based on how each material behaves during cutting, shaping, and assembly:

LEVEL 1 - EASY

1. Tracing / Layout Paper
Thin, lightweight and semi-transparent. Excellent for sketches, layouts, templates and quick iterations. Easy to cut, but wrinkles easily.

2. Construction / Craft Paper
Economical, colored and easy to shape. Useful for quick surface cladding, color studies and simple architectural forms.

3. Foam Board
Paper layers surrounding a lightweight foam core. Very easy to cut and useful for quickly creating volumetric masses and large forms.

LEVEL 2 - MEDIUM

4. Bristol Board
Stiff, high-grammage card with a smooth surface. Excellent for clean architectural surfaces and facade details, but requires controlled cutting.

5. Kraft Board
Dense and strong, with a natural fibrous structure. Good for structural and industrial-looking elements. Dull blades can cause fraying.

6. Vellum / Tracing Vellum
Smooth and transparent. Useful for layered depth effects and technical drawings, but fingerprints and marks are easily visible.

LEVEL 3 - ADVANCED

7. Corrugated / Micro-Corrugated Cardboard
A fluted internal layer between flat liners. Useful for textures, facade panels and terrain effects, but requires careful cutting without crushing the internal structure.

8. Greyboard / Mukavva
Dense, rigid and heavily compressed paper fiber board.

This is where things become considerably more demanding.

It usually cannot be cut cleanly in one pass. Multiple controlled scoring passes are required, along with a sharp blade, pressure control and patience.

For structural model making, however, its density and rigidity make it extremely valuable.

9. Embossed / Textured Special Boards
Heavy boards with pressed surface textures such as linen, felt, leather or canvas. They can add significant surface depth, but cutting and shaping must be done carefully to preserve the texture.

Difficulty scale

Level 1 - Easy: quick cutting and shaping
Level 2 - Medium: requires greater precision and control
Level 3 - Advanced: demanding cutting, shaping and handling

The interesting part is that the “easiest” material is not necessarily the best material.

The choice depends on what the model is trying to achieve:

structure → geometry → surface → texture → finish

For complex architectural model making, understanding the material can be just as important as understanding the architecture.

Progress update: Hagia Sophia prototype texturing & painting are underway, alongside initial research for ELZ 32.

┼ │─│ │≡ │ │╱│ ▼ │ ∩│ │ │◖◗ ⌞ │≡ │─│ ○ ⌞ │◖ ∩│ ┼ │─│ │≡ ▼ │ ∩│ │ │◖◗ ⌞ │≡

ELZ-15 (HAGIA SOPHIA)
LAT: 41.0086° N LONG: 28.9802° E
LOG 001
STRUCTURAL REVOLUTION
15 / 36

SECTION 6: NEW GROUP: THE ARCHAEOLOGICAL RECONSTRUCTION & LOST STATICS
•  36 / 36 [ ∞ ] — ?

Every structure is a fragment. Every fragment is evidence. Every piece of evidence brings us one step closer to a forgotten engineering constitution.

ELZ-15 (HAGIA SOPHIA)
LAT: 41.0086° N LONG: 28.9802° E
LOG 001
STRUCTURAL REVOLUTION
15 / 36

Every structure is a fragment. Every fragment is evidence. Every piece of evidence brings us one step closer to a forgotten engineering constitution. BY ELIZI.
ELIZI
--------------------------Every Build Leaves A Mark-----------------------------
ELZ-15 (HAGIA SOPHIA)
LAT: 41.0086° N LONG: 28.9802° E
LOG 001
STRUCTURAL REVOLUTION
15 / 36

SECTION 6: NEW GROUP: THE ARCHAEOLOGICAL RECONSTRUCTION & LOST STATICS
•  36 / 36 [ ∞ ] — ?

Here's the latest progress update on my 100% handmade Hagia Sophia model. After months of meticulous, entirely hand-cutting of cardboard (no laser, CNC, or AI!), the intricate structure of the main dome, semi-domes, and four minarets has finally come together.

We are currently in the texturing and painting phase. I've applied a custom plaster/gypsum mixture to the cardboard surface to recreate the rough, historic, and massive stone feel of the original monument. As you can see, the walls are beginning to acquire an authentic, aged character.

Next up is the final patina and aging work to highlight details and shadows, followed by the final assembly of the remaining elements. The monumental finishing of this historic replica is coming soon! Feel free to ask any questions you may have about the process.

Every structure is a fragment. Every fragment is evidence. Every piece of evidence brings us one step closer to a forgotten engineering constitution. BY ELIZI.
ELIZI
--------------------------Every Build Leaves A Mark-----------------------------
ELZ-15 (HAGIA SOPHIA)
LAT: 41.0086° N LONG: 28.9802° E
LOG 001
STRUCTURAL REVOLUTION
15 / 36

SECTION 6: NEW GROUP: THE ARCHAEOLOGICAL RECONSTRUCTION & LOST STATICS
•  36 / 36 [ ∞ ] — ?

Here's the latest progress update on my 100% handmade Hagia Sophia model. After months of meticulous, entirely hand-cutting of cardboard (no laser, CNC, or AI!), the intricate structure of the main dome, semi-domes, and four minarets has finally come together.

We are currently in the texturing and painting phase. I've applied a custom plaster/gypsum mixture to the cardboard surface to recreate the rough, historic, and massive stone feel of the original monument. As you can see, the walls are beginning to acquire an authentic, aged character.

Next up is the final patina and aging work to highlight details and shadows, followed by the final assembly of the remaining elements. The monumental finishing of this historic replica is coming soon! Feel free to ask any questions you may have about the process.

Every structure is a fragment. Every fragment is evidence. Every piece of evidence brings us one step closer to a forgotten engineering constitution. BY ELIZI.
ELIZI
--------------------------Every Build Leaves A Mark-----------------------------
ELZ-15 (HAGIA SOPHIA)
LAT: 41.0086° N LONG: 28.9802° E
LOG 001
STRUCTURAL REVOLUTION
15 / 36

SECTION 6: NEW GROUP: THE ARCHAEOLOGICAL RECONSTRUCTION & LOST STATICS
•  36 / 36 [ ∞ ] — ?

Here's the latest progress update on my 100% handmade Hagia Sophia model. After months of meticulous, entirely hand-cutting of cardboard (no laser, CNC, or AI!), the intricate structure of the main dome, semi-domes, and four minarets has finally come together.

We are currently in the texturing and painting phase. I've applied a custom plaster/gypsum mixture to the cardboard surface to recreate the rough, historic, and massive stone feel of the original monument. As you can see, the walls are beginning to acquire an authentic, aged character.

Next up is the final patina and aging work to highlight details and shadows, followed by the final assembly of the remaining elements. The monumental finishing of this historic replica is coming soon! Feel free to ask any questions you may have about the process.

Every structure is a fragment. Every fragment is evidence. Every piece of evidence brings us one step closer to a forgotten engineering constitution. BY ELIZI.

Every Build Leaves A Mark

SECTION 2: Dome Revolutions and Magnificent Statics

• ELZ-15 (HAGIA SOPHIA) LAT: 41.0086° N LONG: 28.9802° E
• LOG 002
• STRUCTURAL REVOLUTION
• 15 / 36

SECTION 6: NEW GROUP: THE ARCHAEOLOGICAL RECONSTRUCTION & LOST STATICS

• ELZ-36 ([ ∞ ] — ?)
• LOG 001
• HISTORICAL REVOLUTION
• 36 / 36

ELIZ Engineering Method

Beyond Model Making

This project is not based on templates, CNC machining, laser cutting, or 3D printing.

It is based on a manually developed structural language.

Every component exists because it has a structural function within the whole.

1. Observation

The structure is first studied as a load-bearing organism rather than as an architectural object.

Questions are asked:

Where does the weight travel?

Which element carries compression?

Which element stabilizes lateral forces?

2. Structural Decomposition

The building is mentally separated into independent structural families.

Examples:

dome

buttresses

arches

walls

columns

transition elements

Each family is analysed individually.

3. Geometric Reconstruction

Instead of copying dimensions,

geometry is reconstructed from observation.

Every proportion is manually recalculated until the structural logic becomes understandable.

4. Modular Translation

The analysed geometry is converted into modular cardboard components.

Every module must satisfy three conditions:

manufacturable by hand

structurally compatible

repeatable

5. Structural Assembly

Construction follows load paths rather than visual appearance.

Elements are assembled in the same order that the real structure transfers forces.

6. Iterative Refinement

The model is repeatedly corrected through sanding, filling, rebuilding and testing.

The goal is not visual perfection.

The goal is structural coherence.

7. Final Integration

Only after the structural language becomes stable are textures, finishes and protective coatings applied.

The surface is the final step,

never the first.

ELIZI Principle

Every part exists because the structure needs it.

Nothing is added only for appearance.

Every structure is a fragment. Every fragment is evidence. Every piece of evidence brings us one step closer to a forgotten engineering constitution. BY ELIZI.

Every Build Leaves A Mark

SECTION 2: Dome Revolutions and Magnificent Statics

• ELZ-15 (HAGIA SOPHIA)
• LOG 001
• STRUCTURAL REVOLUTION
• 15 / 36

SECTION 6: NEW GROUP: THE ARCHAEOLOGICAL RECONSTRUCTION & LOST STATICS

• ELZ-36 ([ ∞ ] — ?)
• LOG 001
• HISTORICAL REVOLUTION
• 36 / 36

My Hagia Sophia project is currently ongoing. In addition to this, the sketches and detailed research for the three other projects on my roadmap are already complete. Since I work with chemicals during the construction of these structures, I utilize my downtime to focus on the drafting and conceptual design of the remaining projects. It is important to note that all of my works are entirely handmade using cardboard; Consequently, the construction phases are executed over long, meticulously planned periods.

ELIZI'S 36-PART ENGINEERING CONSTITUTION

https://www.youtube.com/@Elizi-EveryBuildLeavesMark?sub_confirmation=1

CHAPTER 1: Ancient Statics and Sacred Geometry (Fundamentals)

⦁ Chand Baori (India): "Inverted Pyramid Statics" and labyrinthine staircase geometry.

⦁ St. Peter's Church (Leuven): Soil statics and tower balance engineering.

⦁ Potala Palace (China): Mass balance on a mountain slope.

⦁ Mont Saint-Michel (France): Tidal statics and marsh ground defense.

⦁ Kaaba: Pure "Cube Statics" and sacred centripetal balance.

⦁ Pyramid of Giza (Egypt): Pure geometry, hidden internal channels, and massive mass management.

• Vatican (St. Peter's Square): The statics of the ribbed dome and Bernini's perspective geometry.

• Notre Dame Cathedral (France): Gothic skeleton, flying buttresses, and weight transfer.

• Big Ben (United Kingdom): Victorian tower statics and massive clock mechanisms.

• Petra - Al-Khazneh (Jordan): Rock carving art and layered relief engineering.

• Lalibela - Bet Giorgis (Ethiopia): Monolithic reverse engineering from a single piece of rock.

• Al-Aqsa Mosque (Palestine): Sacred geometry and the statics of the octagonal form.

• Pantheon (Rome): Ancient concrete dome, coffered ceiling, and Oculus pressure ring.

• Cordoba Mosque (Spain): Double-layered arch system and an endless forest of columns.

CHAPTER 2: Dome Revolutions and Magnificent Statics

⦁ Hagia Sophia (Turkey): Architectural static revolution and a massive suspended dome system.

⦁ Brunelleschi's Dome (Italy): Double-shell statics and herringbone stone interlocking system.

⦁ Gol Gumbaz (India): Intersecting arches and unsupported giant dome geometry.

⦁ San Lorenzo Dome (Italy): Star lattice arch system and light cavity statics.

⦁ Leaning Tower of Pisa (Italy): Center of gravity balance and internal spiral mechanics.

⦁ Cologne Cathedral (Germany): Gothic vertical statics and flying buttress system.

⦁ Sagrada Família (Spain): Geometric chaos, hyperboloid forms, and branching columns.

CHAPTER 3: Industrial Mechanics and Giant Structures

⦁ Eiffel Tower (France): Truss system and mechanical elevator statics.

⦁ Golden Gate Bridge (USA): Tension line and suspension cable mechanics.

⦁ Drilling & Oil Platform: Heavy industrial mechanics and Jack-up system.

CHAPTER 4: Modern Engineering and Precision Mechanisms

⦁ Rolex Daytona / Vacheron: Micro-mechanics, escapement and gear systems.

⦁ Lamborghini Veneno: Automotive engineering, aerodynamics and V12 engine block.

⦁ Turretless Tank (Strv 103): Swivel suspension and hull-mounted aiming system.

⦁ Armored Combat Ship (Dreadnought): Modular shipbuilding and engine room layout.

• Guggenheim Museum (Bilbao): Organic forms, titanium cladding, and curved skeleton.

• United States Pavilion: Geodesic dome, mathematical triangular network, and maximum volume.

SECTION 5: Integrated Systems and the Space Age (Summit)

• Nimitz-Class Aircraft Carrier: Integrated systems, hangar statics, and catapult mechanism.

• KAAN (MMU) (Turkey): Aviation, low visibility (stealth) angles, and composite statics.

• Mars Rover (Space): Robotic joints and Rocker-Bogie suspension mechanics.

• James Webb Telescope (JWST): Foldable mirror geometry and deployable sun shield.

• O’Neill Cylinder (Space): Artificial gravity and 360-degree retractable mechanical systems.

SECTION 6 NEW GROUP: THE ARCHAEOLOGICAL RECONSTRUCTION & LOST STATICS******

• ? The structure has been determined but will not be revealed. You can share your predictions in the comments.

The structural design has been finalized, but the veil of secrecy remains lifted. We invite you to share your predictions in the comments section as part of the discovery. The future belongs to those who piece it together.

This is not just a model. This is a piece-by-piece re-analysis of the greatest engineering constitution in history (The Engineering Constitution), entirely by human hands, without machines or artificial intelligence.

As the construction process progresses, the lead textures on the roof surface of the parts are being created sequentially, while the wall textures continue. The process is 2100 hours long, with 800 hours remaining. With all the wall textures and painting testing processes, our Hagia Sophia project will be completed. This is the process structure I planned because this is not a quick-consumption project.

My process plans are working correctly. Remember, we dismantled the entire structure. Yes, I'm applying texture to all four sides of the pieces. In this way, even the individual pieces will form a whole. And when they are all put together, the spirit of the great Hagia Sophia will be relived.

To recreate the authentic 1500 year old stone masonry grid, I implemented a strict 1.1cm rule 1cm for the pure stone height and 1mm for the mortar joint spacing. Every vertical joint is intentionally offset to respect the historical Byzantine structural integrity and interlocking static balance.

The truth is, I am building this impossible project under total physical limitations. No professional studio, no CNC, and no industrial lasers just old, cheap, basic hand tools on a crowded kitchen table.

This is a story no one knows about ELIZI. It is not a perfect model built with modern privileges. It is a 100% human model built entirely on pure patience and manual willpower.

Through textural analysis, a cardboard monument is now being transformed into stone.

To recreate the authentic 3D seam textures of the historic 1500 year old lead plates, I am using a unique method: laying 0.40mm transparent fishing line precisely over the hand-drawn grid lines.

The truth is, I am building this impossible project under total limitations. No professional studio, no workspace just a crowded kitchen table. No expensive equipment just old, cheap, basic tools. No protective masks, no industrial lasers, and no CNC. Sometimes, I don't even have the budget to buy raw materials; but the moment I find cardboard, I immediately push through.

This is a story no one knows about ELIZI. It is not a perfect model built with modern privileges. It is a 100% human model built entirely on pure patience and manual willpower.

The texture of all wall sections will continue from the roof textures.

ELIZI | Miniature Architecture and Structural Art. No CNC. No lasers. No AI. 100% handmade.

ELIZI explores the deep balance of geometry, light, and shadow through pure hand craftsmanship. These are not fast-paced models. Each project takes months or years built piece by piece, from the smallest structural element to the whole. A long-term commitment, not a show.

Part of a vision spanning decades: 34 Masterpieces The Engineering Constitution. From ancient sacred geometry to the space age, 34 of the world's most iconic structures will be rebuilt entirely by hand.

From Wall-E to Hagia Sophia and beyond.

Every building leaves a mark.

Now, we are continuing the textural work, starting from the dome and roof of the main building core of Hagia Sophia. The textural work continues in four directions from the dome to the ground. Like the building's cardboard structure, the textural work is also done 100% by hand.

As you know, I've reached the most important point in the Hagia Sophia project: the wall textures. Considering the Byzantine architectural logic and the changes over the 1500-year period, I'm evaluating theses and research I've found from external sources. While researching stonework from the Byzantine to the Ottoman period, I encountered a situation. I shared the results of my research in detail with artificial intelligence. As a result of the documents I provided, I encountered many masonry techniques in the construction process of the brick walls. I concluded that Hagia Sophia was built using the opus mixtum technique before the Fossati brothers. After the Fossati brothers, during the period when Mimar Sinan strengthened the structural integrity, regular buttress supports were created from cut stones. I combined all the data and wanted to see the final stage in artificial intelligence, and I produced 4 studies.

Model 1 (Structural Analysis): This model treats the main body of Hagia Sophia and the Byzantine Opus Mixtum masonry (stone-brick balance) as a bare, technical schematic.

Model 2 (Historical Layering): A more "realistic" model highlighting Ottoman interventions and Fossati restorations, showing the building's repairs with a "patchwork" approach.

Model 3 (Buttresses and Static Emphasis): A "static analysis" focused model examining how the buttresses added by Architect Sinan changed the structural statics.

Model 4 (Hybrid/Synthesis): An "integrated" model summarizing the entire history of the building, combining Byzantine, Sinan, and Fossati touches in a single model (with color codes and texture differences).

I have uploaded all the information I gathered from these studies and my AI research. I applied four different period construction wall samples to the main core building of Hagia Sophia. Now, in the final stage of my project, I am sharing these four AI-generated test building textures with you to complete the wall texture. The 4 images I created contain sample textures. I would be very grateful if you could number the image where the structure should appear among these 4 visuals.

Note: The images are results generated by feeding data I gathered through research into artificial intelligence. However, all theses and research entered into the AI ​​have been verified.

I would appreciate your feedback: Which of these four models best reflects the authentic material transitions and masonry logic in the evolution of Hagia Sophia? Your expertise in textural accuracy will be invaluable for the final stage of my project.