Case study & Sketch Problem

In order to start with our house in reference project,

We were firstly assigned a design problem of producing a case study of 10 examples of domestic architecture in varying scales. After the detailed analysis of the designs by producing diagrammatic scaled plan and section drawings, the concept of referencing in architecture was introduced. I designed some kind of a hybrid design that collects the problem solving solutions that are in some houses in varying degrees of referencing. After that we were given the challenge of adding a quote to our designs in the form of a sketch problem. We deliberated on the topic and this was the result. 12b92bdb-3959-42dc-8169-b002e904ddae

The volumes are inserted to a tilted surface referencing the Fukuta House and the formation of a directional path is encouraged referencing the Tolo house which features a series of modules connected to form a house a as a path on a inclined way. This house also have two alternative ways of circulation inside of it. I draw my reference again to produce a circulation pattern that have two ways to circulate. One is through a main circulatory staircase volume quoted directly from the Fukuta house. And the other is going inside the volumes being parallel to the inclined surface similar to the inclined interior way of motion in the Tolo house. This allows a layered condition of levels of privacy. The higher layers are much more isolated in the sense that it is harder to reach that level while also strictly integrating with the lower volumes of the diachronic pattern of sequential transposition experience. Therefore the lower spaces are much more commonly used for inevitable by most of its users concerning the position of circulation direction. Also the lower spaces have a more fluid semi-open relationship with the outside when compared to the more private upper spaces.img_1284img_1289

Also, this design approach was assigned not to have any concern about the site in this stage. Therefore in order to play and emphasize this condition, i disturb my design by making a collage that increases the floating in space aspect šŸ™‚

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Mama Gusto Drawing

To start of the semester, we were assigned to work on the technical and analytical part of our design processes therefore made to get the sense of a real life designed space that we can actually get in! The assignment espected us to first create a visual that would be usefull in understanding the proportions of that design.Image result for mama gusto

We later learned the techniques of taking a proper survey of a building and then expected to implement that process to our sketch. We were in groups of 6 people therefore took the measurements together and recorded them on our sketches but the production of the AutoCad digital scaled drawing was individual.

I experienced that in a real life scaled design, the theoretical design is never the same as the actual result. If the structure is made by hands, there can always be distortions on references and no angle can be truly 90 degrees. Therefore, the measurements should not be taken thinking the assumption that the lines are parallel and somewhere is the angle that it seems. Since there is no way that we can calculate the proper angle on site, we use a technique which our instructors call the ā€œtriangulationā€. After the determination of two exact points, we than measure the distance of another point that we want to pinpoint and the other two points. Then we use circles that has the center points on those known points and highlight the point that the circles intersect. In this way, the third point is determined without ever knowing the angle of it.

But as you noticed we need a starting point to help us produce this map of points. Therefore firstly the 0 line is determined using pipes that have a constant water amount in it to help us carry a given 0 point to other sides of the building. After that we record the measurements. And produce it in autocad.

 

Ersan_ilktan_MamaGusto_Front_Elevation_13 (1)-Model plot

The Villa of Mysteries is located little away from the city walls of the Ancient City of Pompeii and was built around the beginning of second century B. C. It involves at least 60 rooms and is around 40,000 square feet in area. This example of a Roman villa is one of the most prominent cases of it in terms of its scale and the extraordinary decorations that it contains.1 There is a mix of spaces that act as dining and entertaining areas and also different spaces for the production of resources such as wine. The materials that were used in the construction was similar to the typical Roman Villas and was consisting of mostly stone and bricks(pilae). As mentioned in the website of the Bradford on Avon Museum in Wiltshire, ā€œThe bathhouse of the Roman Villa, built with coursed limestone blocks that have been trimmed all round except at the backā€, describes the variety of building elements that were available by the large trade routes that enable different materials to circulate. The Murals on the walls were mostly constructed using plaster because it had a quick drying time and shaping it was rather easy. The bath spaces and the dining spaces were covered with these relics. In the villa, the design of the function patterns of the rooms shares a striking similarity with another roman domestic building which is the Domus. A similar use of the names of the rooms translates also into the villa medium from the Domus like the term Triclinium which is being used to mean the room where three couches are used for the act of dining in social gatherings. This space, in particular, reference to the Villa of Mysteries, has a shifting relationship with the exterior spaces. The big openings offer a direct relationship with the outside garden (Viridarium) and the distant sea view and make space have an open and permeable state of transparency. But during the nighttime, these big openings are covered with opaque wooden elements to fully isolate the space and make the Triclinium have a private, more well-defined quality to it. The light condition is now shifted from having a relationship with a naturally lit open space with having a mutualistic way through the transfer of light and visuality, to the self-lit isolated condition of having the sources of light inside this dining space. The private condition is the result of a lack of light in terms of the exterior spaces which evidently weaken the relationship of it with the interior causing this space react by exemplifying this condition. The function of the villa is the fact that the social dining is a very big part of the way Romans live in those times. Therefore the rhythmic rituality that governs the circulation path is inverted compared with the Roman Domus.2 The way of circulation through the Villa is now Vestibulum (the entrance) than the big Peristylium (the colonnaded garden), the Atrium (the transitional hall) and then the Triclinium. This shows the axiality factor of the villa governed by this ritualistic approach to the social dining. This is also reflected on to the wall paintings that are on the walls, that do not have openings, of the Triclinium. These paintings depict life-sized human figures that dance and dwell in an illusion of architecture. The Murals are a representation of the function of that space and are a projection of the life in that space.

In the case study of the Villa of Mysteries, the occurrence of the wall paintings that show a three dimensional organic experience that is projected onto a two dimensional surface to imitate that experience in a visual manner, inspired me to mention the architectural concept of designing a perspective experience that is accomplished by the perception of a two dimensional visual as a three dimensional visual present in space. This application is commonly used to give the visual experience without producing the actual architecture. The result is a static representation of what is real and reflects the ideology behind it. The relationship between form and function is that the form solely stands for the visual experience of the viewer and therefore decorative. The experience is captured onto a surface and its only focus is the observer. The spaces are formed as relating visually to the actual space. The three-dimensional qualities that govern a space or an object are now frozen in time and projected in a decrease in information.

A relating example of this concept can be the Trompe L`Oeil`s in the Michelangelo Sistine Chapel`s ceiling designs. These paintings are distorted according to giving the impression of three-dimensional arches and columns along with the addition of human-like figures. Some of the surfaces of the ceiling has curved surfaces in a result of the construction techniques present in that times and this three-dimensional quality is being eliminated by the distortion of the figures to fit the perspective of the observer. In this case, the experience of these fake visuals distorts the experience of a spatiality architecturally. What is different in the Michelangelo Sistine Chapel compared to the Villa of mysteries is that the projected surface is also three dimensional resulting in the change of experience as one moves inside the space. But the visual experience is optimized in only in one position. The condition is the same projection method in this context but the visual is now more fluid in the sense that the canvas is also three dimensional. The focus is directly on the viewer and their experience of it. In the Chapel, this is used to promote a spiritual notion that comes from sensing an extraordinary situation. The condition of losing the usual information that helps us to recognize a curved surface is now altered to give the sense of another form while still containing its real structure. Shifting from an everyday life to give a different sense of space is being used in all sorts of religious buildings all throughout history.

A contemporary example in relation to this concept can be the works of Felice Varini, a contemporary artist that projects abstract shapes onto architectural spaces. In his paintings, the canvas is not flat and consist of a space which a person can move and experience in an infinite number of ways. The variations are depicted to the various positions a viewer can take inside the installation and therefore the experience is fluid. In this case, there is a contrast with my concept and the projecting element is flat while the projection is applied to a three-dimensional space. The different kinds of light conditions and perspectives change the visual and in only in one position the visual becomes two dimensional while still coming from a three-dimensional surface. I think giving this contemporary example is important because it is the same ideology of visually projecting onto something but very different in terms of function. While in the ancient example the aim is to have a decorative sense of space that tries to elevate a two-dimensional surface, in the modern example, the aim is to fragment the flat shape that has only two dimensions and create a dynamic immersive look to it in terms of spatial organization.

Final Project Arch201: Phoenix

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First of all, I want to refer back to my previous analysis and continue on from there. My Arch201 project started with the idea of analyzing theĀ site in terms of definition, in other words, how do we orientated ourselves and reference our location. I observed that our site has a unique ring formation that first had a subtracting hilly ring that goes down around the site, forms a lake base and then rises again to surpass that original startingĀ point to be mountainous and then go down again to form a second lake that is not deeper than the actual starting point. This gives us a valley, a flat land salty surface, a mountain, and a second smaller crater lake.

Because we are trying to enrich this location’s experience in some reference to the topics that are present in Taskale and Catalhoyuk, I saw that I can base my proposition to the problem in terms of the tension between common flat circulation surface and the isolated single object-like definition that is separated from the topography. This occurs both in Taskale and Catalhoyuk. In Taskale the circulating common slab is vertical and at the surface of a wall like a cliff and this slab is then punctured in smaller holes to provide well-defined spaces that break that continuity. These spaces are formed by the subtraction used as a tool. These holes are very dominantly breaking the continuity of the vertical surface and if observed in an inverted manner it would look like singular objects that are poking through this wall in an isolated way which is the case in Catalhoyuk where the common slab is horizontal and the additive volumes create differentiation from the topography. The topic of an organic topographic common area in contrast to defined spaces that are separated from this condition is also here. The tool is an addition.

Therefore when I looked atĀ MekeĀ Maar, I realized that the flat salty surface is clearly defined by the surrounding valley and the mountain in the middle. When we were walking on the salt our sense of place were very primitive and a person could walk from one place to another without realizing that they have traveled that much. Therefore this area was very commonly open, without much differentiation and definition. In opposite, the mountain and the valley offered differentiation and an object like quality. So I decided that I can investigate these qualities and explore their meaning in my project.

With the information gathered from my topic, I searched the areas where the definition is increasing and separating itself from the topography of the flat commonplace. I found various indents and well-defined areas but they were all having a common quality that passes through the definition. In only one particular area, the definition reaches a peak level and has the ultimate isolation from the wholeĀ MekeĀ Maar which is between the mountain and the smaller hill next to it that forms a nook that ends with a barrier.

This condition offered me to have a transitional area that has a changing linear level of definition that starts with the most commonly open and ends with the most isolated and defined. In this way, I can have both cases of extremes and a transition between them.

As the experience slowly became more isolated and defined as is goes I thought that I can make this experience enriched by exemplifying it. So the new thing was to increase the enclosure level of it. Therefore I had the most enclosed isolated object-like spaces at the top end and have a transition from it towards the journey.

At first, I experimented with speaking a very similar language to the topographic formation which is the curvilinear elements because the topography was like a bowl at the end. But as I continued, my spatial variation was lacking and I could not solve it at this stage. Therefore I observed that in Taskale and in Catalhoyuk different kinds of tools were being used in the case of addition and subtraction. So my enriching elements could have a contrasting language of the tool with the topography as well.

I used surfaces which contrasts the organic surface of the topography and reveals itself as it is manmade. As I was trying to obtain a design where manmade spaces were emerging from the topography, I researched the topological design examples that have a high relationship with the manmade partĀ inĀ our universities library. The examples of artificial topographies were very influential in my design approach. They offered a solution that was working in both horizontal and vertical movements. The elements were emerging from the ground to have an organic structure. These examples offered a key role in meeting the gap between object like buildings in cities to the common topography. This was achieved by the uncanny border between the two and the extension of the inferiority ideology to the exteriority. No distinction between the interior and the exterior but still keeping these concepts to the fullest was very fascinating to me.

To first start my journey, I produced possible paths that visitors can take towards the end. These paths were later simplified and abstracted to three paths as the definition level increased. These three paths are the one coming from the mountainside which the most of the people visit, the one coming from the smaller hill and the one that is collected from the middle of them. They react to the topography and collide in some areas which are also taken reference from the topographic lines. They do not have a physical connection when they meet but have their character effected and fragmented. As they collide and split each time their elements become fractured and become more complex. Because I am increasing the level of the enclosure also, this fragmentation allowed me to produce more intricate and high level of complexity in the final stages. In the final stage, the three paths are destined to meet in reaction to the barrier which stimulates the higher level which also allows me to make people overcome the obstacle of the barrier.

At the end, the enclosure level is so high that the only light source is towards looking the front facade and facing the end of the journey to the south. The light is very crucial to my design because this light is only directly affecting my construct from the final stage towards the end between the two mountains. Therefore through the experience, the visitor is encouraged to follow to the end by following the light path. But there are always exits and other possible breakpoints that give the freedom to go away from one path and enter to another. But the paths are located to the human behavior in this area, therefore, people are mostly expected to stay inside the paths.

As the journey reaches the peak point, the return can be done choosing the other two possible routes back to an experience in reverse. Also, the experience is tied back to the circulating character of the Meke Maar having no end by offering an observing open final space and the end to give a new experience of visual connection to the other side of the barrier which is now passable.

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