BARISBARAN
My Architectural Education and Works
In the education on architecture, on my first year, we are thought to grasp Basics of Design (ARCH101), Architectural Communication Techniques (ARCH111) and Introduction to Architecture (ARCH121). The education is to develop a sense on critical thinking, how to work on a design, learning the basic technical communication techniques and preparing to become an architect.
ARCH101
AS01
SHADE and SHADOW
STEP 1 I We were expected to take 2 photos in the morning/noon and afternoon of the same scene with the exactly same angle and frame which records different shade-shadow conditions.
STEP 2 I We observed and identified the operations that affects the shadows. Through identifying and naming them, we produced a catalog of operations which will be used in the next stages of the work
STEP 3 I And to finalize, we applied the set of operations that we have identified before to the 3D construct. We produced a catalog where we control and indicate our design decisions. The aim was applying basic desing operations to a simple construct where we should be on control in our design.
After that, we produced a 3D construct which composed of two intersecting planes. One of the planes is a square (15X15 cm) and the other one is a rectangle (12 X 28 cm).
AS02
ABSTRACTION
STEP 1 I We were expected to select 3 scenes or sequences from a movie of our choice and we analyzed the selected scenes/sequences in terms of the relations between the major elements. Based on the analysis, we produced an abstract construction. This construct has been produced using only two types of elements; rectangle and circle. It had to contain a minimum of 15 elements and it had to remain within 21X35X51 cm.
STEP 2 I We were asked to revise the model and then cut it in more or less 3 equal parts. Then we randomly gathered 2 pieces from other students work and kept 1 part of our original work. Those 3 pieces were combined in the manner of basics of design.
STEP 3 I Finally we put the model in a Light Box which has the dimensions of 21x35x51cm. 2 different holes were put on 2 surfaces (one to the side, one to the front) and 3 different light conditions were obtained by having a 5cm gap on the top of the box. We had 6 different photographs which are all defined as abstract compositions to observe basic relations in light and shadowed parts.
AS03
PHRASES_strategy&tactics
We were expected to find 5 phrases from any text that we choose. The text can't be about architecture. The pharses will conclude adverbs and adjectives. Then we abstracted unneccesary words and left with 2 phrases. My phrases were: CENTRAL GAP and SUBDUED EXTENSION.
After that we were assigned to operate these phrases into our photos (AS02_STEP3) and define the qualities that the phrases can provide.
AS06 (As01+As02+As03)
Till now, we produced a catalogue of operations (AS01), a 3D construct (AS02), and a set of phrases (AS03) that refer to compositional qualities. We also produced a LIGHTBOX to take photographs.
For this assignement we dealt with the compositional qualities of the 2D construct. And so we were expected to achieve the compositional quality suggested by our strategy in one of the six possible photos, through:
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Revising the photo through re-framing the 3D construct
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Revising the photo by means of applying a set of operations to the 3D construct. The applied operations should be in reference to the catalogue.
JURY 1 SUBMISSION
So the compliation of all of the previous works, I have come up with a composition as seen at the right side.
Analysing and defining the design quıaliities and operations were the primary object of the jury.
We hung our 'poster' 'catalouge' and '2d construct'
5 minute was given to present the work and were expected to explain every decision that has given.
Below, you can find my self report on my jury.
SUMMARY OF THE PRESENTATION: The phrases were; central gap and subdued extension. The light quality of the composition is proper. The centrality has been achieved but in order to do so, the central gap has placed exactly at the middle of the frame. This caused an area where there are no defined elements which is located on the upper left of the composition. If the image was cropped and unneccesary parts are eliminated, the central gap would have shifted diagonolly but it would still be an important element. It becomes off-center but it still is the central gap. An example from our University is that the grass gathering area (amfi) is the most important and a central place on the campus but it is not litterally in the middle of the whole plan of the University. The referance of the subdued quality has questioned and could have been defined clearer. The strategy of the lines are not valid or not existing. Because of this, they seem arbitrary and so that while explaining what they do, the definitions became figurative. Having a center and not having proper strategy is a big loss of the potential. The intersection of the lines are all in the corners of the central gap and there was no explanation to that. To have extensions, lengthening the rectangular surfaces are a way better design than showing extensions by only lines. The one couple of lines which the ends are not meeting caused a lose on one edge. How linear elements produced must be planned and descriptive. They should have stopped at some point and defined. There were repetitive elements which are all intentional and contributed to the composition. The effort and the way of working is appriciated.
ARCH111
AS01 Sketches on CSO Ada Ankara
AS02 Abstracting the Image
AS03 Ortographic Drawing
AS04 Posterize 1
AS05 Steltman Chair
ABOUT: The iconic Steltman chair was originally designed by Rietveld as a commission for the Steltman jewellery store in the Netherlands. Rietveld designed two chairs in a mirror image of one another, where clients could sit when they selected their jewellery, so there is both a left-handed and right-handed chair
Ortographic Set
AS06 - AS07 Sectioning
STUDIO WORK
Orthographic Section of Steltman Chair
MID TERM 1 SUBMISSION
RED AND BLUE CHAIR
AS11 Posterize 2
ARCH121
What does Music Mean?
Leonard Bernstein
Young People's Concerts
In the video; Leonard Bernstein - Young People's Concerts: What Does Music Mean?, his main point is that music is not about anything but it is just is. As a musician myself, I have understood that us as human beings are all willing to fill the empty ''spaces'' with emotional or made-up informations to have a purposeful meaning, but it shouldn't have a purpose.
In corellation to our architectural education and studies in our studio in TED University, I can sense that what we should understand it as basic as what Leonard Bernstein is trying to explain.
The design operations and decisions we will make must always be controlled and systematical. Just like the music Leonard Bernstein defines, it is limited in a technical manner but has unlimited possiblities of outcomes. Fully grasping the first and essential proprety of a design will give us the opportunity to play and experiment with it.
The composer or the designer can explain the product in any understandable or incomprehensible manner. In any ways, it will make sense because thats what you are told.
Rather then taking account of fancy and decorated informations, the real meaning is in the essence of the elements that is making it up. The point is to sensing it as simple and fundamental as possible.
Towards a New Architecture, Le Corbusier
chapter: Regulating Lines (p.69-83)
So, regulating lines is the principle of a well-considered design. Pulling together all the parts, sections on the same unifying principle. A unit gives measure and unity; a regulating line is a basis of construction and a satisfaction.
In the book Towards a New Architecture, Le Corbusier is trying to tell that we are well ahead of the Romantic Gothic or the Classical eras. The industrial revolution causes a huge increase in human population and the speed of humanities evolution.
Le Corbusier who has an international influence on modern architecture is criticising the old, decorative, purposeless, and emotional architecture. In this sense he mentions about how the primitive human being has dealt with commensurate problems. They all had natural scaling which an order so that the whole outcome is in harmony, easy to live in; ...regulated the work.
Our origins and roots offer this approach and as we evolve our approaches and decisions change, develop. But keeping the original principle and evolving it is a must in our planet’s nature and of the reality of humanity. Geometry is the language of a man.
Being functional and purposeful must be the aim of our designs and livings, but also not being too repetitively monotonous and dystopic. The choice of regulating line is one of the decisive moments of inspiration, one of the vital operations of architecture.
Ornament and Crime, Adolf Loos
chapter2: Ornament and Austerity
