Final Jury

Here’s my final jury poster with elevation and section drawings besides the top view expressed with shadow to make a better comprehension and plan.Plus I put diagrams to indicate the overall spatial organisation and the axis that I have used as reference.NİLAY KARAKÖY final poster.jpg

detailed views of design

Here you see me, I really have no idea about why I have laughed this much.

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PRE-JURY 1 | On This Earth

I couldn’t have any opportunity to share about my design before, so that I will be explaining all the details with the process and jury comments.

salt-lake-map

I started the project with deciding on where to locate. It took time but finally I have found a road which was coming from the hills behind the lake and ending with combining itself with the main road. This road is special to me since it sees the focus point at the horizon all the way down (focus point is where the sky touches the lake or the area in between two hills at the horizon) I wanted my project to be as an extension of the road on the lake. The jury did not find it strong enough since the road I chose was not as significant as the main road. I should find a way of enhancing it. 

I focused on space perceptions while designing my spaces.  I want you to see them with sections drawings of my design since both are referring to bodily experiences and spatial configurations.

The images above show what I used as grafting ideas from Göreme. Since the topography of Göreme was really hilly and on the contrary the salt lake is very flat, I used multiples of ramps and stairs with different scales and ramps with diverse slopes and used different heights for spaces to enrich the movement and sometimes the perception of the lake. For instance, in some cases the ground level of the lake becomes your eye level or you see it from the three persons height in some other spaces. The jury found those interventions successful in terms of changing space perceptions but they also stated that my design is not that strong from the point of bodily experiences. Further more, for the subject of -ish condition, I used corridor-like or door-like openings to work as thresholds between spaces. I kept them really tiny in dimension so that people would not be able to walk through outside but to next space and they would work as elements framing vista.

On the lake there were two directions that people were going through. One is the focal point that I mentioned above (I will be calling it Josephine right from this point) and the other was the sunset in the evening. Yet, since where the sunset happens is changing throughout a year a divided it into two parts to study it precisely. So that I had 3 directions.Later on, I came up with a strategy of adding new directions to the already existing ones to enrich the orientation, because people were going and turning back on a line and they were not experiencing what was happening on their left or right hand sight. So while designing my spaces I wanted them to be directing people to vista only visually, but to the sides of the lake physically. So that they would be walking around the spaces from the main directions I created to access the direction on the lake. There was no clear comment to my strategy but I think that they did not find it weak to work on an I personally find it strong with respects to make people experience the lake moreprejury-i-expressive-drawings

Additionally, the jury said me to be aware of the courtyard-like space that is occurred from the location of my spaces. Since it was becoming a very strong space and as long as I do not control it, it and turn out to be an uncontrolled space and inconsistent design. As the revision of this comment I am planning to create an underground path from the most right place through the courtyard which will be enlarging in size through the court and with the help of this path I am planning to enrich the bodily experiences which was not that strong in my design as I noticed before.

prejury-i-density-of-peopleI differentiated my spaces as those facing Josephine and those facing sunsets. While doing this I wanted to transfer the changing density of people in the area through a day to my spaces. The jury did not comment to it directly but I sensed that they didn’t really find it essential. Seems like I should decrease this strict differentiation between spaces.
One other comment of the jury was about the scales of my two spaces the one at the northwest and the other one close to it which is not colored. They thought that I added them just because the dominant structure does not work well and needed some additions.
I should play with its form to adjust itself to the others and changing its scale or maybe the position.

Briefly, I should increase the bodily experiences while also revising my spaces in terms of this idea and sizes and forms of them. I should control the courtyard occurred. While studying on the project I have found something very weak in the design that jury didn’t notice. I have a problem about the most right space which goes underground. People who entered them does not have a quick access through the courtyard area or spaces marked with gray color. As I remarked above I came up with a path idea which will connect the rightmost space to the courtyard area and while doing so I want to enrich the bodily experiences also at this point the connection path to the ramp in the middle will be very crucial for me.

Here are further images of the model:

 

Spatial Analysis of Zelve and Uçhisar

Diagrams

Zelve and Uçhisar are both archaeological sites where fairy chimneys are located, in Turkey. Our visitation was accompanying to our second year studio in respect to spatial qualities of spaces and role of architectural elements to this formation. We stuck to the point of individual features of each space besides the relation by means of their positioning, access points etc.

Uçhisar

Continue reading “Spatial Analysis of Zelve and Uçhisar”

“…Poetically Man Dwells…”

Martin Heidegger is a German philosopher who received education in the fields of divinity and christian philosophy.  He is well known with his philosophical thought besides his political career which quite often casts a cloud over his ideas.

The essay “…Poetically Man Dwells…” by Martin Heidegger is exploring the phrase “poetically man dwells” of Friedrich Hölderlin in a widely sense in which he criticize diverse aspects through some chosen statements of the poem.

Heidegger, initially clarifies the world “dwelling” -for the aim of making a clearer comprehension- as not occupying a building, yet dwelling on earth. (In that sense poetical dwelling should be understood as the poetry is the cause of dwelling not as a fictitious imaginary world.) The earth which is beneath the sky on the upward glance. All between of sky and earth defines the enclosure of a man for dwelling. Then a discussion occur in what defines the measurement that man need for dwelling is the distance between earth and sky, or the two are placed through this measurement?!. Yet, through the poem Heidegger states that man measure out his dwelling on earth against something heavenly. Measure in between earth and heaven. This exact point is what makes dwelling poetic. It is poetic because the measure between two is not quantifiable. The heaven is unknown beyond sky and sky is where the appearances of all these hidden unknowns appear on its unknown border, so what the man measure is not the reality, but what is perceivable.

Heidegger, through his final statements asserts that “Poetry and dwelling not only do not exclude each other; on the contrary, poetry and dwelling belong together, each calling for the other.” In order to think of this sentence I might claim that, since the poetry is the very nature of dwelling, gauging as the heart of this poetical thought, becomes the very primary configuration of building. (sense of poetic taking of measure)

The -ish

Spatial composition of architectural elements

After our analyses at Uçhisar and Zelve and after the process of working with variations of spaces and spatial conditions, our new assignment was related to architectural elements.

Architectural elements and their role in spatial composition in which they can work multi-functional, was our main focus. How can a window be a corridor, too? or Can an opening be neither a window nor a corridor? I worked on some possibilities and variations of these kind of cases.

The opening on the top is not like a usual opening for a window taking the light in but not providing a visual relation. Besides the space that the wall separates is not in a proper size for human body. So they both create a space where it is neither a corridor nor a window, something we call window-ish.
Here are some other variations of this corridor like window-ish case:

window-ish
Window-ish A very tiny corridor which a human cannot pass through but taking the light in without a window like opening on the wall.
space-ish-window
In this case the window-ish space and opening is providing visual relation unlike previous ones.

window-ish-space

The -ish condition is working with different human scales this time. The pit like space is providing both visual relation and physical access. However physical access here is valid only if you are in the height of  a child. So the yellow colored area becomes both space and the gap above might become either a door or window through changing human scales.

On the continuation of the space there is difference in the height so the space can bu used for any human scale. And the space would be differentiated from each other and acting as two different space in one single space. Here the experience is completely different then the one in which it is a wall which separates the spaces.

wall-ish
Over here, the lined opening both on the wall and ceiling becomes a light source and en element ensuring visual relation. Since the wall in so more like a usual wall which blocks the view It becomes wall-ish.

 

 

 

 

 

A Brief Examination of The Salt Lake & Initial approaches and suggestions

Through our examinations in the Salt Lake, I went over some ideas that will bring solutions to the existing problems (negative points for my interpretation) and those of positive factors that i would want to highlight.

Since these are the most initial sketches of mine and due to my lack of time, i will be uploading more tomorrow, hold on!

WIND

salt lake1-wind.jpg

Effect of the wind is really strong and turns out to be an obstruction for the movement in the Salt Lake. For the first step I considered it as something that I would want to break and brought up some solutions such as

  • increasing the amount of natural elements that would block the wind
  • or, creating some little hills to be blocking the wind again.

 

 

SLOPE
salt-lake2-slope-conditionIn our second destination of the Salt Lake, access from the road to the lake is differentiated with a hight difference and sustained by an highly inclined ground. The ramp remarkably restrict the access to the lake and makes it a negative point i would want to alter with a declined level of slope.

 

ORIENTATION

All through the road surrounding the lake, there is a settlement which allows visitors to enter the lake and you sat–tart examining the lake from one single point. Orientation of the lake both in the morning and evening is a single pointal orientation just with a tiny difference in the positioning of that point. However that might be a fact I would rather to change by adding some new gate-like settlemnts around to experience the site from diverse points.

LOOSE IN THE PERCEPTION OF TIME

On the way to the horizon the intense flatness and reflections of the white ground give the sense of walking in an endless area where there is no time in which you loose all your sensation of time. To avoid it, making some pit like indicators where the visitors can play with salty and watery texture would help to grasp the distance and evaluate the time we spent.

How do the bodily experiences alter via diverse spatial conditions?

As always, the most beneficial way of understanding different circumstances and cases is working with its variations. From the critics at the studio hour and discussion within our group members, we decided on evaluating how different geometries and dimensions of a space can switch the experience. Additional to that what differs the experience is not only the space, but the number of people existing at that space.

plan of the model.jpg By virtue of this criteria, we went through defining a geometrical shape which is combination of a trapezoid and a circle so that different geometries would be examined. The logic behind the trapezoid was to evaluate both a larger and a smaller area in the same model to discover how the body will react to this transition.
We produced two models to show the difference in the experience through changing number of people.

We considered the matters of speed, directions, perception of a space in both conditions (less number of people and a plenty amount of people).
Here is a series of schematic representations of the data gathered through our analyses:

For the step of making a model we again used the method of layering and for the aim of giving more information we added some new features to every layer. Continue reading “How do the bodily experiences alter via diverse spatial conditions?”