Ege

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ARCH 333; MATHEMATICS IN ARCHITECTURE

Reflecting Multi-dimensional Dance Pattern

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ARCH 302 ‘ 19 .. ARCHITECTURAL DESIGN IV..

TERM PROJECT

PUBLIC SPACE RE-VALUED & COMMUNITY HOUSES ALONG THE SARIÇAY, ÇANAKKALE

REVIVAL OF THE SEA CULTURE

*Model

*aquarium model 

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ARCH301 ‘ 18 .. ARCHITECTURAL DESIGN III..

TERM PROJECT

      *experience with material

*Concept Model on the site

*DETAILED MODEL

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ARCH202 ′ 18 ..ARCHITECTURAL DESIGN II..

TERM PROJECT

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ARCH201 ′ 17 ..ARCHITECTURAL DESIGN I..

FINAL PROJECT

The Social Activity Center for the Student’s Communities in the ODTÜ

CONCEPT ; nebulous spaces which are suspended by steel structure.

-The suspended spaces enable the students to spend time for their community activies or meetings.

Technical Aspect: The space frame system on the roof carries the whole construction with the steel components.

space ; *introverted in itself but also willing to connect the environment*

The area which is given is in the campus with full of trees. Therefore, the design is respectful to the environment.

The materials; timber and steel

THE DESIGN PROGRAM

-4 different space to use in different sizes.

-1 storage

-1 WC

-1 Register Space

-Circulation between the spaces ( is provided by the suspended steel stairs to the roof)

-1 Courtyard on the ground at the center

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ARCH102′17

SUBMISSION FOR FINAL JURY

as an example for walking on stairs which belong to topography.

THE GARDEN OF FORKING PATHS

Firstly, when I start to work, I imagine an exhabition area for displaying temporary paintings and other areas for usual activities as walking, watcihng, reading, and eating .In this topography, I have two main area for exhabition which defined with the interventions. 

Also, the main exhabition area is designed as a nodal point. The other paths are formed according to that nodal point.

The main aproach is divided into 3 paths which also is opened to the exhibition area by one of interventions.

I create a sitting, watching, walking and eating area with herbs which people can reach after passing the main exhibition place.

By the architectural interventions, lower and upper pathways are created in my design. ( I showed them with the helping of acetate paper on map.)

*Interventions are based on the characteristic lines of topography.

I escalated the topography towards the eating and watching area in order to make these places meaninful in terms of their own activities.

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ARCH102′17

PROCESS OF FINAL JURY

FIRST WORK

SECOND WORK

FOR ACTIVITIES

THE GARDEN OF FORKING PATHS

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ARCH102′17

FINAL PROJECT: THE GARDEN OF FORKING PATHS

Firstly, we are required to read the short story ' The Garden of Forking Paths' written by Jorge Luis Borges in 1941. In this story, Borges introduces stories within a story, narrative ''forking'' paths branching to various infinite directions, and maze-like spaces in which all possible worlds are contained, simultaneous and equally real.                In the final assignment, we are designing an architectural environment influenced by the spatial characteristics in this fictive narrative.                  We are expected to develop a scenario, in which occupants will be engaged in various everyday activities individual and public. Also, we are required to determine a set of associated activities and the required spaces.                                 I chose an abstract painting created by Paul Klee.

Design considerations:

You are free to choose any material or method of construction, but remember that all your architectural interventions should bear a similarity in language.

Maximizing the vertical distance between the lowest and highest points in your topography can be useful for the defition of your spaces.

Remember that the continuity of the human movement should be paralleled by the continuity of the topography.

The scale of your models should be 1/100.

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ARCH102′17

EXERCISE:

KNOTS AND FLOWS: WATHING, WAITING, WALKING

GROUP WORK

SUBMISSION FOR JURY

Second Step    

We are required to design an architectural intervention accommodating watching, waiting and walking in front of the main Library. Derived from our activity maps, our design consist of several event paths intersecting at certain nodes that facilitate resting and movement.

We created a 3D map according to our research. White sticks represent the walking people, blacks represent the people sitting and waiting so we distinguish people by considering their speed.

Then, we create a tectonic intervention.

We are expected to use folding . As a method of construction. This technic provides a continuous surface and we accommodated it various of activities that we chose.  

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ARCH102′17

EXERCISE KNOTS AND FLOWS: WATCHING, WAITING, WALKING

GROUP WORK

STEP I

Firstly, we visited the main entrance of the Main Library Building and the surrounding area for a whole day with our group mates to observe and record the human movement, various uses, events, and activities.       Based on these analyses, we produced maps based on human activities, specifically of watching, waiting and walking.

In these maps, we showed the density of walking and waiting people in certain areas, cone of vision and all the paths.We learned what should be mapping and how can we represent the information we obtained to the map.

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ARCH102′17

THIRD ASSIGNMENT

EXERCISE: REFRAMING THE VIEW : THE SPECTO

“The frame was thought as a window, through which the observed peeped into an outer world, confined by the opening of the peephole but unbounded in itself.” In our present discussion, this means that the frame was used as figure, with the picture space supplying and underlying borderless ground.” - Rudolf Arnhem, ‘ Art and Visual Perception: A Psychology of the Creative Eye”

In this exercise, firstly we went to Anatolian Civilization Museum, we found a point there and took panaromic (360 degree) photos. in this specto I choose three views, one is a displayed sculpture, second one is quite tall tree, third one is a small piece of green area which includes grass small trees and a bird house. So, I designed this model to make frames to all those views considering  their dinstance, importance, etc. Also in my model those designed vertical elements may act as  ground elements or flying elements depending on the special cases.

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ARCH102′17

SECOND ASSIGNMENT: PERFORMING TOPOGRAPHY- PART II

-FIRST JURY

STEP II :

Create your own choreography by reassembling several sections of the body/ movement instances that you previously created. This choreography should exhaust an 8m*8m field with a minimum of 5m height.

Then represent this new choreography in an abstract 3D form using wooden sticks, cardboard, acetate or wire, specifically focusing on the sequential continuity of the movement. The scale should be 1/20.

STEP III:

Design a “performing topography” for the choreography that you created in the first step. To do this, you should reinterpret the construction principles of your abstraction model you created in Step2, in order to “unfold” it to create a surface. Notice that your designed topography has to be in one piece and should have high tectonic quailities.

The scale of all your model will be 1/20. High workmanship quality is expected.

(You don’t have to work with the gravity.)

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ARCH102′17

SECOND ASSIGNMENT- PART I

PERFORMING TOPOGRAPHIES

STEP I

“Choreography is about organising bodies in space, or you’re organising bodies with other bodies, or a body with other bodies in an environment that is organised.” (S. Spier,(1998) ‘ Engendering and Composing Movement: William Forsythe and the Ballett Frankfurt’, The Journal of Architecture,3,136).

EXPLANATION:

The relationship between the moving body and space typically considers the physical environment as an a priori condition. In this exercise you will challenge the preconceived meanings of topography, and explore the ways in which a dance-topography can be shaped in reference to body movements.

Watch the video below, and analyze the motion/ speed/ form/ movement patterns/ sequences and relationship between the body and space.

Create a 3D representation of the movement in the video in 1/20 scale. First, capture images of the bodily movements from the video and create squential sections on acetate paper. The existing surfaces that the moving body is in contact with should be represented with Styrofoam boards.

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ARCH102′17 First assignment

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ARCH101′16

GROUP A

GROUP B

GROUP X : A’ - A - B

GROUP Y : A - B

FINAL PROJECT

FINAL JURY

03.01.2017

Explanation

Inıtıials: “α” and “β”

Groups:  A:   2 α +  β

              B:    α +  3 β

Cluster: X:   A’-A-B

             Y:   A-B

About size;

X1> X2> X3    /    Y1> Y2> Y3  

***My ordering principles are rhythm and hierarchy.

***As an order of change; I used “scale” and “rotate”.

 1)The change of scale refers to the change of tones.

 Small size = Light tone  /  Big size = Dark tone

2) The change of rotation is used while connecting the clusters. In additon, in X cluster, I connected A group with B group by rotating. ( Also, I tried to define this A group, which is rotating in X cluster, with using sticks in it. This A group is denoted  A’ )

***COLOR: A group>>>> Blue

                  B group>>>> Orange

*** Sticks ---1) As a member of A group in cluster X.( to define the rotating A)

                    2) As a member of B group

                    3) As a member in connection of X-Y ( to define the 45-degree angle)

About Diagram I :

1) Connections created by 45-degree angle are denoted two line ( = ) in diagram. (with triangular surfaces.)

2) Connectiona created by 90-degree angle are denoted one line ( - ) in diagram. (with rectangular surfaces)

About Diagram II :

** Connections with 45-degree angle are denoted <->

** Connections with 90-degree angle are denoted -

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ARCH101′16

FINAL PROJECT

WORK IV

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ARCH101′16

FINAL PROJECT

PRELIMINARY JURY III

Ordering Principle; Dominance, and Rhythm