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 the 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 starting 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 at Meke 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 whole Meke 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 part in 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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Triangulation vs Curvalinear vs Ortogonally Linear

For the first initial process of my design project in the Arch201, I wanted to explore different languages of design. Because of the reason the reason that in our first studio I choose to study with a purely orthogonal design, I wanted to challenge myself to see the different possibilities and potentials that come with different tools. Firstly I studied with the addition of some paths that move around and create separations and spaces with the usage of red-taped lines. Then I saw that the creation of spaces can also be constructed in a more volumetric manner. I used triangulation to obtain a folding surface and has more orientation.

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After that, I saw that I can also produce a spatial experience by using organic curvilinear elements. These curved surfaces were constructed by the strategy of a transition that comes from being at zero level to some value in a smooth manner. This creates an increasing enclosure level that I got inspired very much that to inject that triangulation tool to that strategy of producing volumes.

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Arch201 Prejury

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.

Taşkale & Meke Maar

Introduction to SketchUp

This year there is a workshop prepared and given by instructors from our faculty every week. The true core of this project is to make us feel more familiar with computer programs that enable us to design and represent designs that would be not very convenient without using an online software. There are many programs attached to our agenda and in this week, we start with SketchUp: an intuitive way to create 3d models.

Before lecture started our instructor made several important arguments about the common understanding of computer programming and how it is useful to us. There is no proper “knowing” a software which many designers aim to achieve. You can never fully “know” a program. Even the people who created that code that allow this program to work do not fully make use of the programs full capabilities. We should instead strive to know enough about the software that gets the job done. If you solve your problems using this you know this software. Simple as that. And also we are in the age of endless knowledge that is so very easily accessible to everyone, anytime that learning what you aim to solve should be the ultimate goal knowingly.

Our other instructor showed how to first grasp the overall basic structure of SketchUp and how to get accustomed to it. We learned how to draw, push to get 3d objects, move surfaces and how to multiply several elements. We saw how to work in several components, edit groups simultaneously and offset geometrical elements to get various results.

The endless possibilities of this technology also allows us to create quick render-like images that allow the main idea to come through in an organized and realistic manner using help from Photoshop.

I am very excited to start using SketchUp more and produce models that will have a gigantic effect on my designing process.

Experiencing METU in terms of Hinges

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.

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We also focused on the specific spatial use of dfg
“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. sketchd

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.sketchhh

Scannable Document 2 on May 1, 2017, 4_41_08 PMWhile 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. hingegSpace 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.

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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.