I like the brevity of number one. I think it reads better than the second one, which has quite a few repetitions and redundancies in it. Number one also cuts through all the description and setting to get us into the mind and the dliemma of your protagonist much quicker. It sums up his situation better.
So the simple answer to your 'which is best' question at least for me (although others may well differ!) is easily 'Opening - 1'.
That said, I think it still has some flaws, and could do with another round of editing to tighten it up and make the various moments stronger.
Danny's suggestions above, although I think threy're made on the Opening - 2 version, are really good, and the moments he mentions where the language is a bit odd or doesn't quite convey the meaning you're after were things I noticed immediately too.
But the biggest issue, for me, is that you're telling us what Selim is doing and (to an extent) what he's thinking without really showing us how he's feeling. So we're not really strongly invested in him and empathising with his dilemma. As Danny says, we need a hook.
I would suggest that the hook is in his feeling of being in the wrong place, trapped, and doing something which he doesn't really want to do. He's caught between his sense of duty to his parents and whatever it is that he really wants to be or do rather than be an engineer.
That's his dilemma. That sense of wrongness and being trapped is what you need to make us feel. Then we'll really care about Selim.
Your hook, I think, is contained within the line 'I don't belong here at all' - which is there in the text, but doesn't really have the prominence it merits.
As an exercise, can I make a really cheeky suggestion? It's something that's worked for me when I've needed to get deeper inside my character's head (usually in response to advice from people on here! 😁 ).
Try writing this opening scene in the first person, as if Selim is simply telling us his thoughts - his real, innermost thoughts, not just observations of where he is and what he's doing. His fear of disappointing his parents. His self-hate at the lie he's living. His worry at what the future holds. His sense of not belonging. You might find that some much more personal and emotional expressions come out. You can then re-use these when you go back to the third person viewpoint for another pass at the passage.
With that really personal aspect added, I think the shorter opening will be much stronger.
Hope this helps a bit!