In our project for a design that deals with how to translate our design and compositional skills that we have gained from our first year studio into something that is established from a real life field where the designs are no longer existing in a hypothetical space and the site is observable in real life, we visited Meke Maar as our topography for intervention.
This semester of our second-year studio deals with how to enrich the experiences that are present in this volcanic formation with the inspiration and the information that transforms into forms and themes from Çatalhöyük and Taşkale.
This involves the study of human scale and the scale of the overall design that are evident in the site. This process allows me to see the part of the design process reflected to the real life examples of spaces and how they are formed. Even though the function of these constructs is absent, in this case, their function is to only make the experience of these people more enhanced.
My jury mostly involved the critics that the jury members directed towards me to create a discussing medium that allows me to further develop the project. My biggest critique was the sudden end of the design when encountered with a barrier. While I am trying to construct an “artificial landscape” that transitions into a singular space that is defined away from the topography, this sudden end is not evident in the field and is not naturally made. Nothing in nature ends in a climax point. There is always a dissolving afterward that make the process end somehow but in a suitable way.
What goes up must come down
Also after the jury, I needed to consider the reason why I choose that particular area with respect to the other parts that suit my analysis of enclosure levels. After some thought, I noticed that my area was the only one where the transition from a high enclosure level to a common openness was present in a linear manner that could allow me to study this condition sequentially.
In the jury, I became aware that my design did not consider the whole topography for the experience of this particular area. After the jury, I tried to solve this problem by making the path in a curvilinear way to always experience the perimeter of the main crater mountain.
In our Arch241 class, we were assigned a project where we construct a structurally stable construct. This assignment aims to make us think on how buildings structural elements come together to form a structure that is durable to the loads and the exterior forces. This building can be one story high and cannot be higher than 5m. The outline of the columns should have some braces that support its weight and allow for the building to withstand the wind pressure exerted towards the outer shell.
A fascinating aspect of this process was how the merging of three linear surfaces in a beam manner establishes a very structurally stable and strong element that is even constructible and improves its strength by only using some simple cardboard material.
In this time of the history of the architecture in our world, we are accompanied by the use of different figures and elements from different cultures merge together and can be seen in different periodicals and locations. In this time we can clearly see an emergence of some “Islamic” elements like some arches that are in a Christian setting which translates itself into hybrid designs and structures.
With the increasing amount of trade and communication through the society, we cannot define an exact location and predation for any architectural type. Actually, the classification of the type of architectural designs came in later periods where the characteristics are stereotypically categorized. The gothic use of churches indicates a reach and aim of the higher building which is also light and structurally stable in which they accomplished by the artrices that support the higher ceilings. But in Italy where their cultures are supported by the Roman heritage, their transition to the Gothic was a very radical and transforming transition. The new colorfully windows created this new concept.
Division of loads depending on the dimensions of the structural members are also evident in the loading if the gothic era.
Firstly I would like to apologize for the discontinuity in my sequential reviews of the world of architecture series. This was because of the extreme time schedule that is concentrated with lots of events and activities outside of classes that I need to organize ASAP. With this out of the way, I can continue this week’s reading review hopefully 😀
This time, we are looking at the Gupta Dynasty in India that has a very interesting quality to it which is the act of subtracting from nature and producing designs that resemble additive structural organizations. This requires an intricate level of planning to construct from top to bottom and still obtain the look of a ground-up process of intervention. With the Bhaja example, we can see a crossover of wooden architecture to the stone. In this case, the language of the construct was rather sculptural symbolizing the divinity of the Buddha that translates into columns that resemble wooden counterparts.
- Image 1: The singular rock- cut, two partied temple that has “structural and wooden” columns
At this point, I want to make the analysis that this was kind of an imitation of the religious meaning behind the structural system of an additive process that represents an everlasting, structurally stable and preservable building. After these temples, we start to observe the examples of the transition from the cave-like experience to the free-standing temple ideology. Therefore, the temples also become more differentiated in itself that creates a diversion in the south and the north part of the dynasty. The iconic Shikhara present in only the Buddhist Temples range from the curvilinear convex decorations in the Nagara to the Pyramidial decorations in the Pravida.
Then we enter the Islamic architecture with originating with the start of the religion itself. Without summarizing the whole part about this era, I want to mention the specific things that took my attention. The mentality of a monotheistic approach to religion reflects the main architecture of the mosques. Although early examples of the mosques take elements from previous cultures, there is a common understanding and approach about the minimalization of spaces and converting different scaled constructs ranging from small rooms to mega-churches of all sizes. This becomes possible because of the singular ideology that governs the religion. The additional parts that make a religious building, strip away to form a large hall that serves as a prayer space for the non-hierarchical order of the mosque. The religious order of power is much simplified and all believers can experience a similar spiritual experience with the religious leader. This is not the case in most ceremonial spaces which provide a more complicated relationship within the building with the use of different functional parts. The idea of a more simplified mentality with the emergence of a singular symbolical Kaaba that abstracts the singularity condition into a Black solid box can also be seen this way.
This time we are studying a very interesting exercise that can transform and study our 3D observational skills and help us think in an innovative manner.
To start off, we are assigned a plan of a building in which the orientation is irrelevant, and asked to interpret it as a section drawing that can be the basic starting point of our new volumetric design. The final product should have this sectional cut more or less and the rest is up to our interpretation. This exercise allows for the exemplification of the spatial relations present in the now section and produces a challenge that can help us get familiar with solving problems apparent in one section in designing the other dimensions of the design.
As I mentioned before, after our trip to Kolej-in, followed by our analysis of the relations inside them, we were required to establish a thought-through abstracted model that transfers our findings and discoveries to a three-dimensional medium that can enable us to further develop our understanding the potential of the building and its design principles. In this process, I produced 3 slabs like surfaces to refer to the main controlling roof like structures present in Kolej-in. The lines that pass through provide a transition in identity while defining spaces that allow for an enclosure.