Elif Erkan’s series of marble sculptures stand for summer housing models that align the coasts of Turkey’s Aegean and Mediterranean shores. Produced in smooth white marble surfaces and in abstract, hollow, uninhabited forms, these models convey a sense of detachment from ideas associated with ‘home’ and ‘domesticity’. In using marble, Erkan draws upon the material’s organic qualities and associations with ‘wet spaces’ in home architecture, which are, in turn, marked as female spaces, to turn domesticity inside out, turning the private space inside out. The hollowness, scale and vacancy of these models reference the summer house as a commodity, a speculative object and a projection space for both the potential homeowner, and the viewer. The scale model, in its modernist whiteness, brings forth ideas of modularity, mass production and standardization by infinite replication of the same.