This month I choose a theme for a post on thevoidmag.com (a student based architecture and design magazine functioning in TEDU) to be about architectural photography. The subject was to experiment with photographing buildings in the lens of a crystal of some sort. This prism allowed me to discover and experience these buildings in a new environment like an alternative universe where the images coming to our eyes are multiplied in various different parts to sometimes overlap and relate themselves accordingly. This technique creates also different angles of information to be seen in the same medium. It is very close to a collage work where you can visualize something which was nonexistent before and helps with the understanding of the building in a new way.
I started with the photography trip in Kızılay, Ankara which is a very vibrant part of the city which was first designed with the first urban planning projects for the neighborhood. There are many old and new buildings which had a serious impact on the history of Ankara. Many buildings stand as they are for a very long time serving various functions and this new method of documentation/discovery brought forth relations that showed still parts of the building relating. A new form.
Because of the rich character and well-designed nature of the Middle East Technical University Campus, our instructors decided to take us on an educational trip to experience this campus. Our aim in this study was to vary the studio environment where we learn by experience to also affect our ability to design by seeing and documenting those different uses of design solutions. This trip was a continuation of the on-going studio times that will continue to shift environments from time to time in order to observe and analyze different design problems and how we can shift these solutions to implement our design problems in our own projects.
We also focused on the specific spatial use of
“hinge” in these buildings. For those of you who are unfamiliar with the word “hinge” in this architectural context, a hinge can be defined as how two elements are connected. As hinges in the context of attaching doors or windows change and adapt as the elements that are being connected to differentiate, hinges in the architectural means also adapt to differentiating conditions.
For example, if two elements form a junction or corner, they cannot just do that without any reaction to one another if they are not the same element. This results in a hinge solution that is unique to every design problem. Although these conditions are unique, we can also take note from these instances and apply a similar approach to other problems hence our trip to METU.
While talking about hinges, it is wise to ask how a hinge can be identified. There are no specific rules about this condition but it can be said that hinges are an in-between state between being considered as a gap or a mistake. This gap should be proportionally in a way that acts as a part of a plane. At certain parts reaction of one element to another can be in the form of a hinge but we need to ask ourselves whether it is a space or a hinge. Space can also act as a hinge but we need to draw a line between spatial hinges and surface hinges. The surface use of hinge can be used to exemplify certain spatial qualities but a spatial use of hinge can directly act as a space that is the result of two reacting spaces.
Proportionally the hinge is very small therefore it is experienced as part of the connection between two critical elements and not as a space/element itself. The use of light in surface treatments is also important when it comes to altering the spatial experience of the space.
In our Arch112 studies, we were advised to produce an expressive collage about our assigned houses reflecting ideas about our analysis about the design and spatial qualities of the architecture. Of the building. While designing this collage we were supposed to use at least one picture, one drawing of some sort and an alteration/addition of visuals such as an illustration or some lines to study the coming together of these elements in this new ground of design where you analyze & realize the projects main approaches. The variety of expressionist mediums like this sort is critical to the overall success of the collage work in terms of transferring the information to the viewer or the understanding of the study more thoroughly. With the difference in elements, we can conceptualize the effect and reaction of these different types of information in the representation of the design.
Simplicity in Expressionist collages is another topic that holds a great importance. I noticed that the more abstract and straightforwardly thinking my thought process gets, the better the legibility and readability of the information on my work. As a result, the collage is simple so that it is easily understandable and complex in order to contain more analysis of information. Therefore this collage must visualize a new idea that comes from the A+B->C situation. The finished product is not directed towards showcasing a real state of design in the real meaning but an expressive experience that comes from an otherwise impossible thing with only using a picture per say.
My expressive collage is the result of an overlap of a picture of Villa Savoye and an exploded axonometric projection with the addition of lines indicating the flow throughout the Villa.
Villa Savoye is designed by Le Corbusier and it is the representation of his 5 principles that he think is the new architecture’s most important principles. The house is located in Poissy, France and it is designed for the Savoye family. The client had not many requirements that limit Le Corbusier so he was free to practice his vision in this house. The house is quite modern at the time of the building when it is constructed which is between 1929 and 1931 with architectural elements which resemble the last decade.
Le Corbusier reflected his belief which is “A house is a machine to live in.”
He was fascinated with the engineer’s approach to designing machines and ships, therefore, he used materials which were not common to use in architecture such as steel and rainforest concreate. But because of this unique choice on material use, there came a lot of mishaps which resulted in the notorious reputation of the house. The moisture captured in the concrete which was built with little experience hurt the habilitation of the design. The house was abandoned most of its life and became a museum after that. The interesting thing it is that the museum was established while Le Corbusier was still alive which is a rare instance in the architecture world.
Continue reading “M1: Research about Villa Savoye”
After the first step of this assignment, we were assigned to study in a new medium which is translating this pixelated image into a relief.
A relief is the intermediate state between 2D and 3D were the elements present in 2D are adapted to 3D qualities according to a new information which was not represented in 2D form. This should be done carefully because a relief is a transition state between 2D and 3D aspects, therefore, is important to keep the identity of both forms. Our instructors didn’t want to put a height limit for the pixels because by doing this assignment we are also expected to explore the difference between these mediums and in what stage the result is no longer a relief but rather a 3D representation.
In order to produce this, we stacked pieces of cardboard on top of each other to introduce the dept. The dept should be used intentionally and the aim must be visible. The overall design should be consistent enough that another person can sense the classification between the parts.
In my first attempt, I treated each pixel separately, therefore, didn’t quite get an abstracted result. The aim of the assignment is not to represent the map exactly because we already did it in the first step. So this step’s aim is to produce an abstracted relief. In order to do this, I evaluated my perception and made it more abstract. The second attempt not a purely analytical analysis like in sciences but rather a cognitional practice towards understanding our perception.