ARCHITECTURAL DESIGN PORTFOLIO

ASLI AYDI N
MAA _ institute for advanced architecture of catalunya
polytechnic university of catalunya e.mail mobile asliaydin87@gmail.com +905325155646

BArch _ department of architecture

middle east technical university

09 08

CONTENT

1.0 ...

professional works

2.0 ...

MAA - IaaC (08- 09)

3.0 ...

BArch - METU (04 - 08)

1.1 ... AZERZOO 1.2 ... IZMIR OPERA HOUSE COMPETITION 1.3 ... MOSQUE IDEAS COMPETITION

2.1 ... Archi _ On a Roll home made cnc machine 2.2 ... ENERGY PULSE 2.3 ... the SCALAR FRACTAL SHELVING TABLE 2.4 ... THE PIPE - laser cutting 2.5 ... CRAYON CASE - 3d printing 2.6 ... TILE - cnc milling Dissolving the edge 2.7 ... Decomposing & Recomposing CONTAINERS 2.8 ... FUNCTIONALISM a road map of contradiction

3.1 ... OUTSIDE BOUNDARIES INSIDE EXPRESSIONS 3.2 ... HURRIYET HEADQUARTERS / FLAnGE - THE BASIN 3.3 ... VOCATIONAL SCHOOL in ZNK 3.4 ... SHAPE GRAMMARS 3.5 ... WHAT IS NOT ARCHITECTURE?

0.0

program: project location: project team:

zoological park, recreation baku, azerbaijan ekodenge ltd.

AZERZOO
azerzoo zoological park project covers an area of 55 ha outside of gobu, a region of baku. the project fulfills the requirements of zoo design always refering to the 4 goals of the existence of zoos: research, education, recreation and conservation. the project follows the habitat concept in the masterplan and scatters them in the sequential order how they exist in nature. animal species are chosen critically so that they can live comfortably in baku climate. the main habitat sections are: polar zone, africa zone, australia zone, north america zone, south america biodome (which houses animals that cannot live outside in baku conditions) and eurasia zone. eurasia zone is further divided into wetland, woods and grassland, mountain, wetmontaine, desert habitats. zoological park also consists a biodiversity center for research and education, an aquarium, animal hospital, staff housing and a hotel facility overlooking the whole park. the design is a multidiciplinary process which receives constant feedback from veterinarians, zoologists and engineers and put out on paper by simultaneously working architects and landscape architects. 1.1

AZERZOO

1.1

AZERZOO

MOUNTAIN WOODLAND AND GRASSLAND DESERT WETLAND SOUTH AMERICAN BIODOME AFRICAN WET MONTANE POLAR NORTH AMERICAN AUSTRALIA

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

ENTRANCE GIFT SHOP CAFE INFO - BOOKSTORE - CONFERENCE HALL BIODIVERSITY SPLASH BUFFET - KIOSK - FAST FOOD BIODOME AMPHITHEATHRE AQUARIUM TRAM AVIARY KIDS ZOO EURASIAN SQUARE AFRICA CAFE HOTEL

MAIN AXIS

ROUTES

TRAM LINE

VEHICLE ROADS

1.1

AZERZOO
africa dry exhibit wetland aviary eagle owl exhibit

africa wet exhibit

wetland aviary

snow leopard exhibit eagle owl exhibit lemur island

stripped hyaena exhibit

snow leopard exhibit asiatic lion exhibit

1.1

AZERZOO
entrance - giftshop administration biodiversity center

1.1

AZERZOO
animal hospital staff housing hotel

1.1

AZERZOO
eurasia square south africa biodome

1.1

program: project location: project team: competition entry

cultural, opera house izmir, turkey ekodenge ltd.

IZMIR OPERA HOUSE COMPETITION

Contemporary opera houses require flexible space. Multidiciplinary works, and integration of different art branches renders a static opera house redundant. For different experiences and better integration of arts, the scenario of the opera house is centered around open, semi open and closed spaces along with many vista and interaction points that would stimulate new encounters. The key words of the design are: dynamism, durability, transformability, functionality, sustainability and aesthetics. The structure is composed of distinct yet fluid masses; ground base, halls, artist units and managerial units. The project tries to be a part of the city as a meeting point. It opens itself generously to outside and lets citizens flow inside through its cracks and openings. Designed together with the urban park in front of it, the site welcomes visitors from the sea as well as the pedestrians walking by.

1.2

IZMIR OPERA HOUSE COMPETITION

1.2

IZMIR OPERA HOUSE COMPETITION

1.2

IZMIR OPERA HOUSE COMPETITION

1.2

program: project team: competition enry

rethinking mosque in nowhere asl aydn, aslhan gnhan

MOSQUE IDEAS COMPETITION

Being in nowhere, the proposal tries to define a grammar on mosque design process rather than putting out a final product in an imaginary context. Baldachin is taken as a primary reference to mosque design. How the constituents of mosque are attached to baldachin form are examined. The elements of a mosque is abstracted from their conventional contexts and united with the abstract form of a simple cube. For its abstract appereance and symbolic meaning, cube is undergone a series of processes to become a mosque again of desired spatial requirements and rules. The elements which makes the cube a mosque again are: faades of the structure, minaret, minaret stairs, entrance portal, skydome, roof structures, mihrab wall, minber, muezzin mahfili, ablution fountain, late comers porch and position in the site. The cube, then, is deformed to house the abovementioned elements again.

1.3

MOSQUE IDEAS COMPETITION

1.3

MOSQUE IDEAS COMPETITION

1.3

course: project team: instructors:

cnc experimental fab nathaniel velez nieves, asl aydn, raquel gallego lorenzo, josiah j barnes marte mal-alemany with jeroen van ameijde + michael grau

Archi _ On a Roll - home made cnc machine

The Archi-Roll cnc machine allows for the ultimate flat pack fabrication and delivery of complex frame structures. The roll as the core concept, utilizes the maximum available space for packaging of semi-flexible materials. The Archi-Roll design team begins with a blank roll of material. This roll is inserted into the machine input roll section, where it awaits coding. The machine utilizes motor number 1 to pull out the material at lengths specified by the G-Code. Motors number 2 and 3 of the cnc machine position a hot pipe at a specific coordinate in the x and z directions. The hot pipe allows the machine to puncture holes where members of the structure meet. This system also allows for the machine to engrave the material where each structural member begins. The engraving will allow the assembly team to tear at these specified linear regions. The hot pipe device also allows for unique coding systems to be implemented for different structure types. This flexibility is important, as the assembly of such complex structures can become extremely complicated without a custom made coding system for identifying the joint connections. Once all of the information has been coded, the roll can be dismounted and prepared for shipment. An IKEAlike manual is utilized for easy assembly. 2.1

Archi _ On a Roll - home made cnc machine

cutting files for the machine assembly assembly process

2.1

Archi _ On a Roll - home made cnc machine

2.1

Archi _ On a Roll - home made cnc machine

prototype models

machine working

2.1

course: project team: instructors:

internet 0 (zero) asl aydn, guo liang, qiuxiau jian, mohamed omer, alejandro vega beuvrin victor via

ENERGY PULSE
the class aims to show the process of how a simple machine works by building one. the general terms were introduced at the very beginning and the machine is developed with the help of the instructor. The aim of the project is to raise social awareness about energy consumption in domestic environment though physical space. The main idea of visualization and monitoring is to put it in such a way that it cannot be ignored to such an extent that is almost disturbing. It should be unavoidable unless consumption is reduced. Yet, the decision of reducing consumption is left to the habitants of the house. The machine does not take any action in order to reduce it. The main difference between the gadgets in the market and the machine is that it transforms information collected from energy consuming devices into visual medium so that consumption is more graspable. What it also does different than the others is to use the energy consuming devices themselves in this visualisation.

2.2

ENERGY PULSE
import processing.serial.*; PFont Myriad; int servoA = 90; int servoB = 90; int[] coordsA = { 90,100,103,112,130,135,111}; int[] coordsB = { 88,91,97,91,85,90,66}; int[] amounts = { 1,1,2,1,2,2,2}; int currentLoc =0; boolean auto = false; long lastAutoTime; int autoSpeed = 3000; void setup () { size (200,200); initDriver(); Myriad = loadFont(MyriadPro-It-48.vlw); lastAutoTime = millis(); } void draw() { background(0); servoA = constrain(servoA,1,180); servoB = constrain(servoB,1,180); setServos (servoA,servoB); fill(255); textFont(Myriad); textAlign(CENTER); text(servoA+ +servoB,width/2,height/2); if (auto && (millis()-lastAutoTime) > autoSpeed) { currentLoc ++; lastAutoTime = millis(); if (currentLoc > 6) currentLoc = 0; servoA = coordsA[currentLoc]; servoB = coordsB[currentLoc]; setServos (servoA,servoB); delay (2000); shake(); } } void keyPressed() { if (key >= 49 && key <= 55) { servoA = coordsA[key-49]; servoB = coordsB[key-49]; println(set +(key-48)+ to +servoA+, +servoB); currentLoc = key-48; } if (key == 115) { shake(); } if (key == 97) { auto = !auto; } switch (keyCode) { case TAB: currentLoc ++; coordsA[currentLoc] = servoA; coordsB[currentLoc] = servoB; if (currentLoc > 5) { currentLoc = 1; } println(set +currentLoc+1+ to +servoA+, +servoB); break; case BACKSPACE: println(got +currentLoc+ to +servoA+, +servoB); case ENTER: currentLoc ++; servoA = coordsA[currentLoc]; servoB = coordsB[currentLoc]; if (currentLoc > 5) { currentLoc = 1; } println(got +currentLoc+1+ to +servoA+, +servoB); break; case UP: servoB --; break; case DOWN: servoB ++; break; case LEFT: servoA --; break; case RIGHT: servoA ++; break; } } void shake() { int amount = amounts[currentLoc] ; int time = 50; for (int i=0;i<20;i++) { int offsetA = int(random(-amount,amount)); int offsetB = int(random(-amount,amount)); setServos (servoA+offsetA,servoB+offsetB); delay(time); } setServos (servoA,servoB); println(currentLoc+ +amount); }

type of consumption
water gas electricity

ition
on

amount of consumption
increase

device_on

device_on

machine

device_on

Energy consumption in the house is divided into three according to the sources that are used; WATER, GAS, ELECTRICITY. Each constructs its own network of movement of laser in each room. The device can be part of more than one network according to the type of energy used in that device. A network is composed of one machine and devices that consume same type of energy. 2.2

ENERGY PULSE
input
sensors: devices coordinates

wireless network

PLAN: sweep angle around A axis

Plan

cpu
computer software
SECTION: sweep angle around B axis

usb - ethernet cable

micro controller
Elevation
A axis

Elevation

output
actuator: laser
B axis

Axonometry

2.2

course: project team: instructors:

rhino script josiah j. barnes, javier martinez, asl aydn luis fraguada

the SCALAR FRACTAL SHELVING TABLE

The Scalar Fractal Shelving Table was inspired by Madelon Vriesendorps doll collection as seen at the Venice Biennale as well as several other current exhibitions. The doll collection ranges from large scale to tiny. The SFST project attempts to remodel the case where these multi scalar dolls may sit. The script(s) specifically intend on creating an premeditated version of the SFST, while at the same time preserving the flexibility in order to create endless variations depending on user preferences. The logic behind a fractal branching structure was carried through to the construction logic. Bound wires create thick, structural members which begin to split into smaller groups as the fractal rises and scales. This material system reflects how the script itself was constructed as a splitting, copying, and scaling device. The user interface allows users to pick specific areas of the SFST and isolate their shelving condition. Someone with a doll collection that is mostly on the minute scale, might choose many divisions to create more, smaller shelves, whereas someone with larger dolls would opt for less, larger shelves. The isolated region of the SFST also affects the shelving outcome. Higher regions along the z axis will by nature yield smaller surface areas for shelves, as the fractal has split and scaled down several times. 2.3

the SCALAR FRACTAL SHELVING TABLE

2.3

the SCALAR FRACTAL SHELVING TABLE

2.3

course: project team: instructor:

digital fabrication asl aydn, burak kl, gken demirkr marte mal-alemany

THE PIPE -

laser cutting
Aim of the assignment is to get acquintant with laser cutting fabrication methods. the class is divided into groups of two and three people each building a certain part of the pipe. the end points of each groups pipe was given as a constraint so that they could be attached together as an assembly as seen in the picture. As a group of three people, our assignment was to build a pipe where we could attach a lamp. The pipe seeks to use the cross section ribs to both provide different levels of transparency and reflect the light by means of bouncing it when assembled into the composite structure of the class. The sections start perfectly perpendicular to the x-plane at the bulb part, but rotate radially at the body to accomplish the above mentioned effect.

2.4

THE PIPE - laser cutting

2.4

THE PIPE - laser cutting

Cutting files for laser cutter

Cutting Process 2.4

course: project team: instructors:

digital fabrication jose manuel alvarez, asl aydn marte mal-alemany

CRAYON CASE - 3d printing

The assignment aims to familiarize students with 3d printing techniques and how to treat models after printing for curing process. Building a cad model that can be printed (sealed on all sides) is another crucial aim of the course. It is asked to print a case for crayons which would hold 4 crayons inside in total. The group decided to put two of those crayons inside the case and the other two protruding from inside to outside.

2.5

CRAYON CASE - 3d printing

2) 7) 1) Create the outer surface according to the placement of the crayons. 2) Decide on the cutting surfaces and extrude them in different heights. 3) Do difference boolean operation. 4) Offset the outer surface to inside and play with it to create different thicknesses. (to decrease the material used and to achieve the cage) 5) Do the boolean operation to inner surface. 6) Create a cutting curve that is not colinear. 7) Cut through the model and separate two parts. 8) Create a surface on the lower part for two crayons to rest on, also double that surface. 9) Offset crayons and do difference boolean operation. 10) Replace the crayons inside.

4)

8)

STL Format

5)

10)

2.5

CRAYON CASE - 3d printing

Binding Process

Printing Process

Cleaning Process 2.5

course: project team: instructor:

digital fabrication asl aydn, johanna pea, jose manuel alvarez marte mal-alemany

TILE - cnc milling - Dissolving the edge

The assignment aims to model a formwork for a tile in rhino and simulate the milling process in rhino cam. The formwork is then milled and a tile is cast using this formwork. The exercise was about the creation of a 30 by 30 centimeters foam tile to be casted 4 or 6 times, to elaborate a different combinations of possible designs. The tiles needed to be designed with a surfaces and engravings always taking in account its 30 x 30 cm edges. As for the project, the work started by designing the engravings in a square, divided in each side by six points. By connecting the points in a non regular way, it recreated irregular polygons, that once you rotate the tile, it generates different shapes. This option makes the edge dissolve, focusing the attention in the lines. The other procedure done in the design stage was the surface of the tile. Once again it was settled a few points in the edges of the top surface, for continuity reasons, and then, played with the points creating a topography of soft curves. Finally, the previously horizontal lines were projected on the surface.

2.6

TILE - cnc milling - Dissolving the edge

Instructions 1. Create a CAD design for the engravings of the square. 2. Create in Rhino a box, with 30 cm x 30 cm and 10 cm high. ( Locate both the Rhino and the RhinoCam axis on the superior corner, x=0, y=0, z=0). 3. Create in Rhino a Surface, so that it later could be used as the milled shape for the tile. 4. Expand the edges of the surface 20 mm, so that the milling machine so that it wont leave any edges without being milled. 5. Import the CAD file, and project the lines, and connect its lines in order that the machine creates a trajectory out of this connections. 6. Project the lines into the surface. Open the Rhino Cam Pluggin, and assign a tool to the milling project. ( In this case, it was used a 12 mm ball mill tool). For the shape, it was used the Parallel Milling, using the created surface. For the engraving, it was used Engraving, selecting tregions.

2.6

TILE - cnc milling - Dissolving the edge

7. Generate the process, recreating what the machine would do, and revise its possibilities for thickness, angle of the Parallel Milling and profundity. 8. Post the processes, in order to be read by the machine. 9. Mill the Tile. Casting Process 1. After the milling process, spread latex on the surface. 2. Create a cast with the desired height for the tile thickness. 3. Pour the material in to foam mold. (In this case, Rapid Cement) 15 Minutes later, extract the borders of the castfoam from the material. Finished Tile

2.6

program: project location: course: instructors:

education catalyst for neighborhoods barcelona, spain eco-barrios miguel mesa

Decomposing and Recomposing CONTAINERS

The aim of the project is to reuse shipping containers to propose low-cost and quick solutions for city centers. Every year, many contianers are left decommissioned in the docks due to the fact that carrying unloaded containers is more expensive than abandoning them. Project uses these containers to provide solutions keeping in mind that Barcelona is a port city where access to these abandoned containers is easier. Oppose to well-known container projects, the proposal aims not to use the container structure as it is but the dismentle and use what comes out as the structural members to provide more freedom in terms of design. To achieve this goal, a container is examined for its structural parts and potentially useful parts are extracted. Those parts are arranged in a parametric model prepared in grasshopper that is the guide for the new construction.

2.7

Decomposing and Recomposing CONTAINERS

left-over parts (because of the inadequate number of elements extracted from a container) _ frame _metal door parts that are used in the proposal _ lateral c section _ longitudinal c section _ plywood flooring _ corrugated steel

exploded recomposed container

PARAMETERS

section is manipulated by forces in x - y direction

number of sections increase in z direction 2.7

Decomposing and Recomposing CONTAINERS

Reef Park of Barcelona is a project initiated in 2002 by the municipality of Barcelona to conserve biodiversity under water. Concrete blocks were sunken to provide a habitable environment for the species whose environment was altered by human activities. The ecological activity around these concrete vessels were monitored for research and better understanding of colonization process. These concrete blocks were concentrated in 5 different locations, of which only 1 of them is visitable. Aim of the my project was to bring the findings of these artificial reef to surface and raise public awareness.

I studied the coastline of Barcelona in detail to map the human activity to find suitable location for catalyst containers and suitable activity that they can carry. 2.7

Decomposing and Recomposing CONTAINERS

EXHIBITION SPACE

VIRTUAL DIVING CENTER

DIVING CLUB

2.7

course: instructor:

rethinking architecture neil leach

FUNCTIONALISM - a road map of contradiction

Functionalism, in architecture, is the principle that architects should design a building based on the purpose of that building. This statement is less self-evident than it first appears, and is a matter of confusion and controversy within the profession, particularly in regard to modern architecture [Wikipedia]. Many architects and theorists proposed oppositional ideas about functionalism, which all seem natural since even the definition of functionalism suggests contradictions inherent in its body. Starting from Adolf Loos, pausing in Theodor Adorno and ending with Bernard Tschumi, a road map of ideas on functionalism till today will be delivered in this essay. On the way, ornament, purpose, advertisement, aesthetics, use and necessity will be the key measures to understand how each perspective grasps functionalism. At the end, a very humble opinion on why functionalism is not valid today will be discussed from the eye of the author. Though he is very straightforward in terms of the way he explains his ideas, deriving functionalism from Adolf Loos Ornament is Crime is actually harder and only keen eyes can deliver meaning underneath it since he actually never mentions functions. Functionalism is a reminiscent after what has been told and evaluated. As the name suggests, Adolf Loos main subject of attack is the ornament and environment that creates it. Since ornament is no longer organically linked with the culture, they cannot be the expression the culture. He suffers from people in the society that cannot handle the change, that are spread over a period of time. But this should not be understood in the wrong way, he differentiates arts, which cannot free themselves from ornament and have taken

2.8

FUNCTIONALISM - a road map of contradiction

the place of ornament for his day, from obviously architecture. So, he rejects any kind of style. When ornament is seen from his eyes, it sounds like a corruption of society, since he attributes moral values to the reason why not to apply ornament. Ornament, according to him, is a crime against economy, waste of human labor, money and material, besides all that the work of ornamentor, the hours that he spends on production is not well paid and his conditions are not healthy. He concludes with a snob comment that, he can deal with ornament of people who are not capable of understanding what he claims. He shows superiority over other people. Adorno is the keen eye who saw the underlying intention in Loos, and built his essay Functionalism Today on his interpretations of Loos argument. His ideas, since they are not on the same direction with Loos, they add another flavor to the soup. Obviously, he is more comfortable about naming the subject. Once it is named, he starts talking about what is lacking or wrong in Loos. The base of his offense lies on the objectivity that Loos puts forward. Ornaments are traces of outmoded means of production. What is more, something functional today can become the opposite tomorrow. From these statements he concludes that defaming ornament merely means defaming something that is outmoded and which does not exist anymore to stand up for itself. Adorno tries to make a clear distinction of purpose-free and purposeful arts. but not to separate them totally, like Loos does which Adorno finds very inconsistent in term of evaluation, but to find some common grounds for both of them. He wants ornament to be valid for purpose-free arts also, which Loos rejects from the start. For Loos, artwork does not have to appeal to anyone, but a house is responsible to each and everyone. This anti-ornamental movement suggested by functionalists, as a result, affected purpose-free arts. Since the artwork seeks for necessary and essential inherent in it and to react against all superfluous elements, regardless of motivation coming from inside or outside. Purpose plays an important role in the essay by Adorno. In relation to that he also talks about advertisements which Loos would totally reject, but Adorno finds it necessary and very much related to the materiality of the matter. About fittingness to the material, he has again different thoughts with Loos. He claims that there are some times that society needs irrationalities, for example the advertisements. Their purposefulness is defined by material appropriateness. And by the nature and reason of advertisement, if it were strictly functional without ornamentation, it would no longer fulfill its purpose of existence. Expression is another thing Adorno discusses in accordance with Loos. From Loos idea that ornament is a mimetic impulse and related to pleasure, he derives that expression is found in every object and reducing this to only arts would be oversimplification of the subject. Adorno makes the distinction of symbols and ornament to be able to disprove that Loos was wrong once again. He states; The purposeful forms are the language of their own purposes. What begins as a symbol turns into ornament after sometime when the symbol loses its meaning. Having these two opposite views in mind, it would be better to look into another example from close history that deals with the issues of functions, pleasures, uses, aesthetics and at last advertisements which are the evaluation of the topic. For that purpose, Bernard Tschumis The Pleasure of Architecture will be discussed in accordance with Loos and Adorno. Tschumi starts with a reference to functionalists making his standing point clear from the beginning. He tries to speak for a concept, the pleasure, that is not touched very often yet when it is used, it makes a big impact on people. He refers to the times when pleasure of architecture was suppressed to be able to relate to his contemporaries and obviously takes functionalism and modernism as milestones in the process of suppression. He rejects the idea that architecture cannot exist without moral and/or functional justifications. Another reading derived from this article is the coexistence of dualities. As oppose to Loos, Tschumi does not find pleasure as something that needs to be avoided. On the contrary, he is known to question the necessity of the function to make up a space. He reveals several ways to grasp the pleasure in architecture, some of them are through tangible, physical means and some of them are related to the spaces abstract existence. The space or the geometry are themselves ways to get pleasure from architecture. Gardens, handled separately from other subject matter is seen as places to get pleasure from. They merge the sensual pleasure of space with the pleasure of reason in a most useless manner. While discussing pleasure, Tschumi does not forget to mention about necessity and prefers to play with it. His idea is not just to simply accept necessity as a way to get pleasure from architecture but to questions if the real necessity of architecture can actually be the non-necessity. The architecture can be the source of pleasure itself. While Adorno was validating the existing of advertisement in society, Tschumi goes beyond that and creates advertisements for architecture. Those advertisements are to convey architecture because what we have to explain it today does not seem enough for Tschumi. He uses advertisements to trigger something. Lastly, he compares language to the desire that we get from architecture. And suggests that whenever architecture is referred as language, it should be divided into fragments to be able to make up an architectural reality. At the very end, he concludes that ... a piece of architecture is not architectural because it fulfills some utilitarian function, but because it sets in motion the operation of seduction and unconscious. Keeping all these comments mainly about functionalism in architecture in mind, I find it more on solid ground before presenting own arguments, to study the ones that are leading the way. What is present today is the dissolution of the space. Space is dissolving into the noosphere and like all other characteristics of the space, it is function also becomes more undefined and open to discussion. Apart from pleasure and purpose that was presented by Tschumi and Adorno, today another agent renders functionalism invalid. The introduction of technology and mainly internet changed behavioral patterns of people. The shift in the behaviors is directly reflected in the space that the

2.8

FUNCTIONALISM - a road map of contradiction

behaviors are established. Those behaviors, so distinct from physical world and so much related with digital world that determining the function of the space to house the activity loses its importance and becomes irrelevant. For example, it became unnecessary to go to work, if you can achieve the same result from working at home. So, the work place lost its function, while house gained another function. Places gain multi-functional characteristics yet again having the same spatial characteristics. Here, what is changing is not the space itself but the behavior so that at the end, the function changes regardless of the space containing the function. Another aspect which is again related to Tschumis theories but apart from what is described in the Pleasure of Architecture is about shaping form according to the function that it houses. Now, the notion of using buildings for different purposes than they were constructed is gaining attraction. Old buildings of different uses are changed function, like many power stations turned into museums, industrial buildings into lofts and banal but affective example; factories into schools (IaaC). There are also buildings that are built before being assigned any function which is another extreme showing how function becomes a secondary element of architecture. Bernard Tschumis follies in Parc de la Villette in Paris is a typical example of such attempt. To sum up, the innocent attempts of modernists to create architecture on the basis of functionalism lost its importance. Just like Adorno said, what had a virtue yesterday (symbol), became an ornament today. its there are many aspects to architecture that renders pure functionalism impossible to practice. REFERENCE: 1. Adolf Loos, Ornament and Crime, Programs and Manifestoes on 20th-century Architecture, Ulrich Conrads (The MIT Press, 1970) 2. Theodor Adorno, Functionalism Today, Rethinking Architecture, Neil Leach (Routledge, 1997) 3. Bernard Tschumi, The Pleasure of Architecture, What is Architecture, Andrew Ballantyne (Routledge, 2002)

2.8

program: project location: course: instructors:

transformable / transportable spaces breaking the box ankara, turkey advanced architectural studio ayen sava, arzu gnen sorgu, can baykan

OUTSIDE BOUNDARIES - INSIDE EXPRESSIONS

the goal of the research studio was to seek answers to the problem of transformable / transportable spaces keeping in mind the issues as flexibility, mobility, lightness, transiency, affordability, reusability, mutability, and adaptability within the size constraints of a shipping container that is allowed to travel on land. the function to which the projects would serve was left to desicion of students themselves. the proposal, outside boundaries - inside expressions, is a result of a search for a platform where clubs and societies under the body of the university can express themselves to the rest of the student society. the project serves as an interface between the permenant residents (club or society members) and the temporary users (visitors). it becomes a platform of expression of the primer to the latter. where such expression is the goal, the container can no longer be closed and confined to its perimeters. it should expand beyond its limits and increase the volume of interaction.

3.1

OUTSIDE BOUNDARIES - INSIDE EXPRESSIONS

constant distance volume x1

differential distance volume x3

boundaries vs. breaking the box instead of containing the space in or out of a box, the project tries to define the space around it, blurring the boundaries between in and out.

expansion the volume of the container not also trifolds when expanded but also allows for differentiated and fragmented spaces that flow into each other where the unity of the whole is still the issue. this fragmentation yields to increase of volume of experience and expression, changing the distance to surfaces.

wall & volume dual existence of wall and volume are experienced simultaneously. Walls standing out as objects appear at the same time as the unified volume around them is perceieved or vice versa. therefore figure and ground becomes dissoluble in the single structure and the perception of depth oscillates continuously. 3.1

OUTSIDE BOUNDARIES - INSIDE EXPRESSIONS

x initiator: the starting shape

first cutting point

angle of rotation place of the rotation axis

number of divisions

second cutting point

side panel

generator: the collection of scaled copies of the initiator 1. number of divisions 2. first breaking point 3. second breaking point x

fracture breaking the box is achieved by using fractal methodology.

rule

4. rotation axis

a 5. angle of rotation b 6. number of iterations

in the generator, replace each copy of the initiator with a scaled copy of the generator. the rule of the project is based on the division of the total length of the container from points x and y to create 3 partitions. then the middle portion is rotated around an axis a with an angle b.

3.1

OUTSIDE BOUNDARIES - INSIDE EXPRESSIONS

3.1

OUTSIDE BOUNDARIES - INSIDE EXPRESSIONS

3.1

OUTSIDE BOUNDARIES - INSIDE EXPRESSIONS

prototype model water-jet cutter is experimented for the production of the prototype. ultrahigh molecular weight /high density polyethylene sheet is preferred for its performance to run through rails. 3.1

OUTSIDE BOUNDARIES - INSIDE EXPRESSIONS

3.1

program: project location: course: instructors:

educational center, newspaper headquarter istanbul, turkey architectural design VI lale zgenel, abdi gzer, yeim hatrl

HURRIYET HEADQUARTERS / FLAnGE - THE BASIN

Topographic tension along Kagthane river is evaluated as an advantage since it is now abandoned by former industy activity and awaits its new business entrepreneurs. This topographic tension creates basins along river with intervals. These basins, are proposed as recreation and business zones. The basin: Recreation finds itself a place along the river bed and business activity is carried in the inner parts of basins. The project proposes a wall between recreation and business. The wall acts both as a barrier between and a connector of two functions. Hurriyet Headquarters, which propose both public and business activities, then should be at the junction of the two zones. Its very unique location is selected because of its proximity to road junction which connects Kagithanes main road and the road that comes from 4. Levent. A newspaper building is a negotiation of many elements that are the constituents of newspaper. But there is one dichatomy under newspaper that neither negotiates nor serves efficiently when exist together. Yet it is the co-existence of them which makes the newspaper. They are the public that is the subject of the newspaper and the private system that is the object (creator) of the newspaper. 3.2

HURRIYET HEADQUARTERS / FLAnGE - THE BASIN

site plan site silhouette with surrounding background

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HURRIYET HEADQUARTERS / FLAnGE - THE BASIN

section d-d

level +1 section a-a

level +2 section b-b

level +3

level 0

north elevation 3.2

HURRIYET HEADQUARTERS / FLAnGE - THE BASIN

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program: project location: course: instructors:

education, accomodation, cultural center iznik, turkey architectural design IV aydan balamir, kadri ataba

VOCATIONAL SCHOOL in ZNK

The project group sees Iznik as a patterned organization of layers, with the ground level partitioned by a grid, originating from the layers beneath. The patterns of perimeter block, leftover space and gaps have been points which were studied on. The proposal supports and emphasizes recurring relations of these elements. The layered organization of the city is inspirational in forming the proposal and main ideas, taking this organization and treating it as a continuum. The gridiron, which constitutes the regulating lines of the city also is of importance and is considered for the organization of the site. The proposal views the program and the site as a themed urban open space, relating to the other such spaces in the city with different characters. The group aims to produce proposals that do not stand or lie on the site as over-powered elements in the vicinity of the historical building stock and also not obstruct solar exposure of the neighboring blocks. While historical buildings in the site are transformed to house program elements, recently built generic verancular building stock is replaced by the proposal. However, their proportions are still traced in the final outcome. 3.3

VOCATIONAL SCHOOL in ZNK

level -1

level 0

site plan

level +1

3.3

VOCATIONAL SCHOOL in ZNK

south elevation

west elevation

north elevation multi-layers of section a-a the city are preserved section b-b and brought out

section c-c

section d-d

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program: course: instructors:

evaluation of design studio shape grammars mine zkar

SHAPE GRAMMARS
The assignment aimed to grow mutually with design studio and to integrate understanding of shape grammars in in the design process. Being so, design and rules of the design were studied simultaneously during semester. Establishing rules during the process and questioning other ways to apply them gave possiblities to experiment more with the form in the boundaries of established constraints. This way, main idea behind how the form is achieved was always given priority and never got lost in the process and more possibilities were tried as comparison to other semesters. These rules not only left in this class only but also they were presented in the final jury of design studio and were appriciated by jury members.

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SHAPE GRAMMARS
GRID RULE CONNECTION RULE PERIMETER BLOCK RULE

on any site in iznik, connect two parallel roads with pedestrian walkways

build around the block and leave the courtyard empty.

1) erase buildings other than historically preserved ones.

1) direct passage, nothing introduced at the junction point.

program functions located on the perimeter in various ways to satisfy the rule. these are plan projections of the tried variations, but they also follow the dimensional grid of iznik in the third dimension.

2) apply 7 x 7m grid (smallest proportions found on the site).

2) axis shift to create point access to up and below. 3) further divide grid to 3,5 x 3,5m to achieve better resolution.

vocational school (research, training, production museum, library, multi-purpose halls accomodation

4) erase parts of the grid that coincide with historical buildings.

3) axis shift further apart to create a promenade and an observator in-situ museum

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course: instructors:

thinking (reading/writing) on architecture sevil enginsoy ekinci

WHAT IS NOT ARCHITECTURE?

In the book What is architecture1 Andrew Ballantyne searches for what is architecture. Whenever something is defined, actually there are two things defined; the aimed thing and not excluded part in the definition. The same thing applies for the book. While defining arhcitecture, Adrew Ballantyne also defines what it is not. He seems negligent of this fact; since he mentions that the book is a collection of essays that search for various ways of trying to understand what it is that architecture does and what we want it to do,2 but does not mention what it is that architecture does not do and what we do not want it to be, which is clearly explained in most of the chapters. Throughout the book, architecture can be anything -from Greek romanticism to individual oppositions to contemporaries. However, it cannot be only one thing; contemporary architecture. This study focuses on what is not architecture according to the chapters of the book. Author of each chapter has his/her own reasons for why it is not, so a part of this study is the answer to the question why contemporary architecture is not architecture. Besides, some articles (authors) offer another architecture in lieu of contemporary, the study also includes the traded architecture(s). The paper studies oppositions to contemporary architecture in three sections that come from the seperation derived from the book. In the first part, chapters 1 and 10 will be studied together. In part two, chapters 1, 2 and 10 will be studied together. In the last part, chapters 3, 4, 7 and 9 will be studied separately.

3.5

WHAT IS NOT ARCHITECTURE?

In the first part, as mentioned above, chapters 1 and 10 will be studied simultaneously. The criterion for this selection is the similar attitude that they perform against comtemporary architecture. Both chapters see the weakness of contemporary architecture in the lacking of aesthetic taste and pleasure in architecture. Roger Scruton and Bernard Tschumis reaction to the problem are also similar. Both present their own principles to enhance the aesthetic taste in architecture. In Chapter 13, Roger Scruton handles architecture from an aesthetical viewpoint. On his side, contemporary architecture, for the sake of a search for objective canons, is the enemy of aesthetic judgement4. This problem of architecture occurs due what modernism and postmodernism suggested. According to Scruton, modernism was about wrong things5 -rigidity, puritanism, true to function, to social utility, to materials, to political principles-. Additionally, postmodernism plays with history of architecture by playing with the gothic and classical details. Scruton does not see it as a rediscovery of history but an assimilation of it, ending up with nothing in hand. The nihilism of postmodernism departs from modernism. Also the dis-education of architects, claimed by the author, starts with modernism when ceratin things were no longer to be studied. The aim of Scruton is to enable re-education of the architects. So he proposes a twenty two-item list which is derived from the education of nineteenth-century architects. In Chapter 106, Bernard Tschumi displays similar concerns about the place of pleasure in conremporary architecture. His concerns also stems from modernism which presents functionalist dogmas and puritan attitudes. Since modernism, the article claims, any attempt to glorify pleasure of architecture has been seen as decadent, if not unintellectual or apolitical. In this situation, this chapter aims to present where the pleasure of architecture lies. It consists of fragments that are loosely connected to each other. These fragments -geometry, gardens, necessity, rationality, mask, bondage, excess, eroticism, adversitement, desire- show how architecture of pleasure can be achieved through the eyes of Bernard Tschumi. The part two of the essay studies chapters 1 and 10 on one hand and chapter 2 on the other. This part is rather a comparison of two opposite attitudes towards contemporary architecture that bestly represents how perception of architecture changes when handled from different viewpoints. Chapters 1 and 10 see the contemporary architecture lacking in terms of pleasure and aesthetics. On the other hand, Chapter 2 sees politics as a weakness of contemporary architecture. There is no need to mention again what chapters 1 and 10 claim for contemporary architecture in detail. Basically, they oppose repression of pleasure and aesthetics for the sake of functionalism, puritanism, social and political concerns that stems from modernism. They try to enhance these weaknesses by proposing some principles or fragments which can ensure achievement of lacking properties. On the other hand, Chapter 27 by Diane Ghirardo suggests an opposite viewpoint to contemporary architecture. The main point that the article makes is that areas of politics are not touched due to the fact that: It is easier and far more tidy to persevere in formalist critiques, thereby avoiding the risk of moneyed interest [Formal elements] avoid a critique of the existing power structure, of the ways power is used, and of the identity of those whose interests power serves8. Instead, contemporary architecture presents itself as an art, a fashion and a feeling. The common points of these modes of architecture are the exaltation of formal quality, subjectivity of taste, following the prevailing winds of the time, being dictatorial about how to make people feel. Author sees the crime of such attitude in architects, critics and art historians, shared equally. They turn architecture into harmless yet meaningless and consumable artifacts. This sitation will continue to exist unless they accept responsibility for building. In the third part, the rest of the chapters will be studied separately, since there are no or loose links between the rest of the chapters. Chapter 39 of the book, which is committed to paper by Michel de Certeau, presents a theoretical basis on space and narration which is out of the study of the essay so it is not mentioned in detail. What is discussed here is the delinquincies of todays attitude described at the end of the article. Boundaries which articulate spaces, are transportable limits and transportations of limits, they are metaphorai. However, the problem of today is the attempt to set fixed boundaries to stories. Another delinquency is to take stories literally in making the physical existence without giving any chance to symbolic expectations from spaces. This taking it literally causes stories to be immobile and firmly established. Chapter 410, Neil Leach aims to discuss a recent architectural approach to dwelling, regionalism, that is derived from Martin Heideggers works. He claims to argue that when taken to an extreme, dwelling has negative consequences. But what he does is just more than that, he proposes an architecture that is more suitable to contemporary situation than regionalism. He discusses the dwelling in Heidegger, which is linked to architecture, and therefore to soil. So it calls for situatedness and homeland where wanderers are not seem to be a part of it since they cannot be contained and controled by the concept of dwelling. Then, he introduces oppositions to Heidegger, which he also agrees on. The problem in Heidegger and also regionalist ideology is the emphasis put on place. He claims that, however, in the placelessness of contemporary society, place is seen as difference. At the end, Leach suggests cosmopolis (city life) as an acceptable face to megalopolis (the city), where the life is itself mobile, rootless, international, deterritorialized, offering a model of living together interdependently to allow fluidity and flux. This is the very basic idea that the domus rejects. So the contemporary situation requires an open architecture that is not bound to rigid constraints. Chapter 711 of the book, written by Demetri Porphyrios, displays similarities to chapter 1 but approaches the

3.5

WHAT IS NOT ARCHITECTURE?

problem of contemporary architecture from a different viewpoint so they are not discussed together. However, the similarity observed will be mentioned in this section. As mentioned earlier, chapter 1 sees the problem of architecture in lack of aesthetic subject to the fact that architects being dis-educated and presents twenty two principles to re-educate architects to regain what is lacking in architecture. These principles are Scrutons derivations from education of seventeenth-century architects which include classical antiquity also. On the other hand, chapter 7 looks to the problem from a different point but comes to the point which sees classical antiquity as the true form of arhcitecture. In this part, as the whole chapter is described as a full circle by the author, I will start from the end of the chapter and move back to the start. The problem of contemporary architecture is seen in the forgetting what makes a building in order to give sense of necessary and freedom. Necessary in terms of order which is marked off by form- giving capacity of materials. Freedom in terms of being bounded by rules that are made as symbols of recognition of ourselves as homo faber. According to the article, these can be found in what is taught by classical antiquity, so he goes through the pages of history to find out what makes building to convey necessary and freedom. He founds the answer in the roots of tectonics, the techne. In the last chapter which will be a subject of this essay, in chapter 912, according to David Goldblatt the problem of contemporary architecture is that it lacks a certain capacity to speak that paintings and novels do not.13 Some recent works try to fill what lacks in architecture and Peter Eisenman is among these architects. Though, Goldblatt critisizes if it is the correct form of achieving that architecture since he resides paradoxes in himself; being a commonplace dweller and still shaking or disorienting daily satisfactions. There is another objection to contemporary architecture mentioned in the article which is the objection of Eisenmans. Eisenman is skeptical about whether an exploratory architecture can be archieved by traditional methods of architecture, so he suggests dislocation of self. Dislocation of self requires rejection of traditional texts, formal typologies. What he searches for is an arbitrary text that does not belong to architecture. what is more, he searches for betweeness in the binary oppositions which can be achieved by juxtaposing the usual texts and arbitrary texts. The conclusion derieved from the analysis of selected chapters is that, it seems to be that what expands vision and shared knowledge in architecture lies in criticism of contemporaries and never accepting the available situation as it is as an input to architecture. There needs to be an evaluation of the situation to add up to the discussion. To sum up, What is Architecture? is not the contemporary situation but the criticism derived from it. NOTES: 1. Andrew Ballantyne, What is Architecture (Independence, Kentucky, U.S.A.: Routledge, 2002) 2. Andrew Ballantyne, Introduction, What is Architecture, Andrew Ballantyne (Independence, Kentucky, U.S.A.: Routledge, 2002) 2. 3. Roger Scruton, Architectural Principles in an Age of Nihilism, What is Architecture, Andrew Ballantyne (Independence, Kentucky, U.S.A.: Routledge, 2002) 53-62. 4. Roger Scruton, Architectural Principles in an Age of Nihilism, What is Architecture, Andrew Ballantyne (Independence, Kentucky, U.S.A.: Routledge, 2002) 53. 5. Roger Scruton, Architectural Principles in an Age of Nihilism, What is Architecture, Andrew Ballantyne (Independence, Kentucky, U.S.A.: Routledge, 2002) 54. 6. Bernard Tschumi, The Pleasure of Architecture, What is Architecture, Andrew Ballantyne (Independence, Kentucky, U.S.A.: Routledge, 2002) 173-183. 7. Diane Ghirardo, The Architecture of Deceit, What is Architecture, Andrew Ballantyne (Independence, Kentucky, U.S.A.: Routledge, 2002) 63-71. 8. Diane Ghirardo, The Architecture of Deceit, What is Architecture, Andrew Ballantyne (Independence, Kentucky, U.S.A.: Routledge, 2002) 70. 9. Michel de Certeau, Spatial Stories, What is Architecture, Andrew Ballantyne (Independence, Kentucky, U.S.A.: Routledge, 2002) 72-87. 10. Neil Leach, The Dark Side of the Domus, What is Architecture, Andrew Ballantyne (Independence, Kentucky, U.S.A.: Routledge, 2002) 88-101. 11. Demetri Porphyrios, From Techne to Tectonics, What is Architecture, Andrew Ballantyne (Independence, Kentucky, U.S.A.: Routledge, 2002) 129-137. 12. David Goldblatt, The Dislocation of the Architectural Self, What is Architecture, Andrew Ballantyne (Independence, Kentucky, U.S.A.: Routledge, 2002) 153-172. 13. David Goldblatt, The Dislocation of the Architectural Self, What is Architecture, Andrew Ballantyne (Independence, Kentucky, U.S.A.: Routledge, 2002) 171.

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