YEAR
2
Studio Book
Tutors
Fall 2017/2018
Ali Kural Ayça Alangoya Burcu Kütükçüoğlu** Ceren Balkır Övünç Defne Önen Elif Kendir Beraha* Evren Aysev Deneç Gizem Albayrak Göksenin Ekiyorum Kerem Akın Oğul C. Öztunç* Past Semesters 2010-2016
Ali Onat Türker Ali Tan Aran Arzu Erdem Aslıhan Demirtaş Bahar Deniz Çalış Kural** Can Tamirci Deniz Erdem Elif Simge Fettahoğlu Emir Drahşan Eser Ergün Gamze Alataş Gökçen Erkılıç Nazlı Tümerdem Nil Aynalı Seçkin Maden Ufuk Sezgen Uğurcan Ünal Ünal Özger * Coordinator / Co-coordinator during Fall 2017/2018 **Coordinators from previous semesters
Year II : Ideas, Phenomena & Tectonics After two semesters of basic design education during the first year, second year undergraduate architecture studios introduce students to the concepts of space, place and context and provide them with basic skills of spatial analysis, design and representation through problems of low/medium complexity. The projects during the fall semester focus on the notion of tectonics and the spatiality of natural landscapes through the design of small scale site structures. The spring semester builds upon the basic knowledge and skills gained during the previous semester, aiming to develop and articulate the understanding of space as a lived-in experience and its fundamental relationship to placemaking through the design of a cluster of units with a mixture of public and private programs within a rural setting. Second year architecture students are expected to be able to analyse given site conditions in detail, while proposing appropriate materials and structural systems for their individual projects. A short site trip is an integral part of the spring semester and acts as a polysensorial learning tool that sensitizes students to the dynamic interactions between natural and vernacular contexts through a critical visit to the countryside. The main aim of the second year architecture studios is to challenge students’ preconceptions of the natural and built environments by discussing and redefining basic architectural concepts and terms while helping students develop sensitivity towards the intrinsic qualities of existing natural and urban atmospheres. In this booklet we have decided to portray one specific semester in its entirety, in order to give a better grasp of the introductory architectural studio after a generalized basic design education. All selected projects belong to the ARCH 201 studio from the Fall of 2017-2018. Elif Kendir Beraha Oğul C. Öztunç
spatial hunt *
An architectural treasure hunt for the elusive spatial gems at Kapalıçarşı
In this first assignment of this semester, you are set on a quest to find your very own architectural treasure within the interconnected maze of the wonderful Grand Bazaar of Istanbul. The criteria of selection for your area of analysis are as follows
It should feature at least one corner where there is a change of direction afforded by its geometry;
Apart from the selection criteria, you are free to introduce and represent your own reasons for arguing that you have found a true architectural gem hidden at the Grand Bazaar.
It should feature a change of materials in relation to different use patterns;
In conducting and representing your quest, you will be required to find and extensively document your own spot with the means of representation to be decided by your group tutors in the scales of 1/50 and 1/200. Different scales may be suggested by your group tutor; in any case, you will be expected to show sufficient detail while being able to show the location of your selection within a more general context. You should represent the existing condition in detail and elaborate how your selection fits the hunt criteria listed above in different layers. Don’t forget to bring equipments for measuring: tape measure, laser meter, etc.
It should feature a change of scale that defines different boundary conditions and vantage points;
It should be distinctive for its acoustic, tactile, olfactory or illumination qualities.
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Treasures & Hunters Shapeshifter Akın Arslan Silent Bubbles İrem Ersoy Spatio-Material Bazaar Ayça Özgün Elusive Gems Nebile Ertürk Orizzonte Gizem Fazlıoğlu Chaotic Harmony Bilge Yılmaz A Far Cry Berrak Akyol Down Under Irmak Okumuş Inner City Can Çobanoğlu Secret Tower Ecem İrem Kılınç Domes and Columns Oğuzhan Akgün Inception İrem Erdim Head Over Heels Pınar Kaynak The Octagonal Knot Mustafa Banzaroğlu Mystic Lattice Ebru Okşaksin To the Courtyard Kerem Yücel Nested Space Ceylin Başer Çuhacı Han Exploded Selen Cihan The Limitless Cave Selin Güner Connected Peaks Taylan Tosun Frozen Time Fahriye Danışman Aggregate Yaren Şirin Where to from Here? Ant Güngör Alive Canan Işık Balcony Özge Yılmaz Tunnel Passage Selen Küçük
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Gates 1 Nuruosmaniye Gate 2 Sandal Bedesten Gate 3 Kılıççılar Gate 4 Mahmutpaşa Gate 5 Mercan Gate 6 Tacirler Gate 7 Örücüler Gate 8 Cebeci Han Gate 9 Lütfullah Gate
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10 Yorgancılar Gate 11 Bodrumhan Gate 12 Fesçiler Gate 13 Hacı Hüsnü Gate 14 Beyazıt Gate 15 Çarşıkapı Gate 16 Sorguçlu Han Gate 17 Merdivenli Gate 18 Kürkçüler Gate
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01 Shapeshifter AkÄąn Arslan
I decided to approach circulation as the instigator of an elusive and valuable spatial characteristic. The platform which I chose for my project leads to the discovery of different kinds of units in different planes resulting in an impressive three dimensional experience.
02 Silent Bubbles Ä°rem Ersoy
Sandal Bedesten is a huge void with the high domes that change scale according to your standing point. There are 3 main different locations you can look up and see different scales of the domes.
Dome Views from: 1 Ground Floor 2 Mezzanine 3 Window Level
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03 Spatio-Material Bazaar Ayça Özgün
Apart from the intricate spatial passages, the Grand Bazaar features multiple materials in different scales, each transforming the individual experience of space. Unexpected materials are layered upon each other, only to be found by an itinerant observer..
04 Elusive Gems Nebile ErtĂźrk
This silent courtyard is reached via a narrow passage. One is only guided by the alteration of light and dark, while the tactile sensations generated by different patterns direct not only the movement, but the gaze as well.
05 Orizzonte Gizem FazlÄąoÄ&#x;lu
The interior streets come together at a juncture marked by a fountain and a steel column. The vanishing points double, as the gaze is directed upwards towards the lantern that radiates daylight as well as giving direction to the wandering crowd.
06 Chaotic Harmony Bilge YÄąlmaz
The ad-hoc structure of the Grand Bazaar is revealed in a complex juncture, many geometries and patterns merging to create a sense of harmony and chaos at the same time. The section, while absurd, invites one to stop and look around.
07 A Far Cry Berrak Akyol
My selection of the space within the Bazaar depends on the layered ground in relation to the emergent patterns on the ceiling. The ground takes a second seat in relation to the complexities of intersecting vaults, each inviting one to take a different direction.
08 Down Under Irmak OkumuĹ&#x;
Seemingly simple masses hide a bubbled grid underneath. Both close by and distant, the space down under is worth exploring...
09 Inner City Can Çobanoğlu
Zenneciler Sokak is one of many streets of the Grand Bazaar – yet, the effect of complete buildings with half lit façades under a common roof gives one the impression of a hidden city.
10 Secret Tower Ecem İrem Kılınç
To go up, or to go down? Venturing upwards towards the hidden heights after finding the hidden entrance of this small tower, wondering if one would be able to find this secret tower again.
11 Domes and Columns OÄ&#x;uzhan AkgĂźn
Never before have columns made so much sense in terms of spatial experience. Columns guiding us to go forward, while domes inviting us to stop and take a look around.
12 Inception Ä°rem Erdim
Which is the right way? Many different options, each leading to a new scenario. Old and new, daylight and electric light, cables, merchandise, colourful patterns all around.
12 Head Over 13 Up Pınar HeelsKaynak Pınar Kaynak
Walking through the Bazaar, one needs to keep her calm. Crowds of people soon take over with their noise and bodies filling up everywhere. Only respite is looking up, savouring the vaults in worm’s eye view, head over heels in love with the space.
14 The Octagonal Knot Mustafa BanzaroÄ&#x;lu
The inner street I selected is different from other parts of the Grand Bazaar with its angular steel roof instead of a masonry vault. All the movement comes together under the octagonal lantern, that spreads patterns of light inside at different times of the day.
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15 Mystic Lattice Ebru OkĹ&#x;akĹ&#x;in
The junction I found has a lattice structure that mimics the roof of the fountain below in complete harmony. Different types of roofs give structure to the space, creating a mystic sense of order.
16 To the Courtyard Kerem YĂźcel
Many ways to reach the courtyard with the chains and the tall tree. One leads up towards calm, the other leads straight over pebbles embedded in the ancient skin of earth.
17 Nested Space Ceylin BaĹ&#x;er
Space within space, everchanging with various patterns and structures. An orthogonal grid of transient stores covered with colourful textiles, looking up to a grid in different scale that bubbles up to the sky.
18 Çuhacı Han - Exploded Selen Cihan
One of the many hans of the Grand Bazaar, Çuhacı Han is an easy to stroll but difficult to draw. Secret passages lead to unexpected platforms, only intelligible in their exploded form.
19 The Limitless Cave Selin GĂźner
The entrance to this area gives little away. Accompanied by a faint scent of saltpeter, different ways invite one to explore its limitless depths, like a grotto. Thick stone walls, dusty light and the faint hum of the crowds from nearby passages make this space a rare find.
20 Connected Peaks Taylan Tosun
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Section CC
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Peaks and valleys upside down, strange structural connections that make little sense when one tries to understand it all on paper. The complex spatial experience unravels when one follows the connections tying the columns of the vaults.
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Ceiling Plan
21 Frozen Time Fahriye Danışman
In my spatial gem, stairs tell a story: the story of the times göne by, leaving their trace on the old skin of the building, organic and inorganic, all open to the ravages of time, as is the body giving its existence a sense of scale.
22 Aggregate Yaren Ĺžirin
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Seemingly simple, the spatial section I selected involves the coming together of many different materials in its corners: some old, some new, all changed, while the structural skeleton persists since the beginning of the Old Bazaar.
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23 Where to from Here? Ant GĂźngĂśr
A stepped ramp leading to a layered steep stair. Many options, one courtyard as the goal.
24 Alive Canan IĹ&#x;Äąk
You can almost taste the stones and the bricks once inside this lively courtyard. A mixture of static and transient, the space buzzes with life coming from every corner.
25 Balcony Ă–zge YÄąlmaz
This balcony is not for the random passanger: it is at a crossroads where craftsmen continuing their trade have come and gone since generations, only occasionally taking a peek before moving on with their work.
26 Tunnel Passage Selen Kßçßk
I selected the tunnel at the entrance of the courtyard, connecting one of the main axes of the Grand Bazaar to the tranquil courtyard of the Zincirli Han. Patterns, light, and ceiling heights all combine to maket his tunnel an experience in itself.
“And as the evening darkens, lo! how bright, Through the deep purple of the twilight air, Beams forth the sudden radiance of its light With strange, unearthly splendor in the glare!” Henry Wadsworth Longfellow, “The Lighthouse”
assignment II:
HIDDEN NATURE
A speculative design proposal for the coastline of Şile Lighthouse
The lighthouse of Şile, built in 1859 and first lit in 1860, is the biggest lighthouse in Turkey still in use today. Illuminating the tricky shore of the Black Sea, it is skirted by a jagged coastline with the verdant flora of northwestern Anatolia and the restless Black Sea. However, looking from the town of Şile today, it is almost totally hidden by the surrounding old townhouses and recently added concrete buildings. Approached from the sea, one can grasp the beauty and wild environs of the historical stone lighthouse, however, for visitors coming from the land, its true nature remains hidden. In this project, you will design the cliff face next to the historical Şile lighthouse and a small architectural unit –an annex to the existing lighthouse complex. This annex will be located on a path planned for experiencing a specific element or aspect of the nature in this area, through bringing out, highlighting or amplifying its effects and characteristics. The whole path and the annex must be designed as the scene of a scenario that defines one’s
encounter with nature at the lighthouse site, spatially and temporally. In other words, you must think of the path as a route with certain critical stops for experiencing the natural phenomena, one of which is the annex building. The annex will feature a public and a private program: a small scale public exhibition space showcasing lighthouse paraphernalia and a private accommodation area for a fortnightly artist-in-residence program. The proposed of the annex must include open, semi-open and closed spaces (cs bw. 100m2-150m2) composed in a strong relation to each other and the natural environment of their surroundings. As you will be working at a natural site with distinct characteristics, the annex building(s) and the path must be designed as lightweight structures that respect and enhance the characteristics of that place. In order to develop this sensitivity towards nature and place in general, we suggest you think about the concepts of temporariness and permanence in architecture.
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SITE ANALYSIS group work | due Friday, November 3rd
DESIGNING the PATH individual work | due Friday, November 10th
As groups of 4 or 5, you are expected to analyze the site with all its natural and man-made elements and make a thorough documentation of them through various media. This step will begin with your observations and documentations during the site visit; continue with further research through different sources and be finalized on the submission date as a final presentation. Each group is expected to produce appropriate media of presentation (drawings, maps, photographs, video and audio recordings, models etc.) in relation to their theme of analysis. (See Assignment sheet for Step 1 for details)
As the preliminary stage of your individual design work, you will define a path within the site at Ĺžile. The path should be designed as a journey that makes one experience the specific natural phenomena you are dealing with and there should be a number of sequential stops on it, marked with open or semi-open spaces or the annex building itself. You may work with tools like story-boards or short movies that are appropriate to your design idea and present the experience of a person moving on the path. (See Assignment sheet for Step 2 for details)
3 DESIGNING the LIGHTHOUSE ANNEX individual work | due Tuesday, January 2nd 2018 The final phase of this assignment is the design of an annex building for the lighthouse, which must be an integral part of the path and one of the sequences on it. Apart from its relation the existing lighthouse complex, you must incorporate the natural phenomena that you have enhanced through your path design to the design idea of the lighthouse annex. The annex will be (an) architectural unit(s) that house(s) a public program for a small exhibition space showcasing lighthouse paraphernalia with a small library/archive, and a private artist-in-residence program accommodating one or two artists for a stay of
maximum two weeks. The total covered surface area for these programs should be between min. 100 m2max. 150m2. The annex building(s) must feature additional open and semi-open spaces, all designed as parts of a whole and in strong relation with the path, the lighthouse and the natural features of the site. Both throughout the design process and in your final presentation you are expected to work with creative 2D and 3D techniques in addition to architectural drawings and models of appropriate scales. (See Assignment sheet for Step 3 for details) Ĺžile Lighthouse
Project Site
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We have designed several charrettes throughout the semester in order to direct certain stages of student work. These short but intense efforts have been the impetus of a major portion of the studio work. In the following pages, we have decided to only include the results of the charrettes, which were mostly related to the creation and depiction of an atmosphere from within, rather than showing student work in more conventional formats like technical drawings, or models as objects, that depict their projects from without.
charette 02
cabinet of curiosities
organizing site findings
ARCHITECTURAL STUDIO II
assignment: In this charrette, you will be designing a cabinet of curiosities for the historical Ĺžile lighthouse. In order to do this, you must organize your site findings under relevant categories and design a structure for their display. You need to come prepared with your site analyses and site findings to continue working on their display design in groups. Keep in mind that in the final step of your ongoing assignment, your individual designs will have an exhibition space as part of the lighthouse annex, and that you may incorporate your site analyses in the presentation of your final design.
31.10.2017 Tuesday
10:00 / 13:00 In the end of the this charrette, we expect each of you to produce two individual visuals: 1 a partial inventory of your site findings organized according to your exhibition design Please come prepared with your laptops, and/or drawing papers or drawing equipment, along with all the additional site findings, photographs and the drawings you have produced so far. Have fun!
2 an interior perspective from your cabinet of curiosities for the Ĺžile Lighthouse
Section 7
Section 9
Section 8
Section 10
charette 03
Dioramas and Beyond ARCHITECTURAL STUDIO II
Capturing Time and Life on Models
assignment:
In this charrette, you will be using your existing 1:50 models in order to capture the life you imagine around your annex buildings. In order to do this, you must bring additional materials that can be used to create a scenery such as human figures, vegetation, and photographs of vistas from around your annex. At the end of this charrette, we expect each of you to produce two individual visuals by taking photographs from your models:
1 An interior perspective from the 1:50 model of your annex building
2 An exterior perspective showing your annex building in relation to the Ĺžile Lighthouse.
Please come prepared with your cameras, and/or drawing papers or drawing equipment, along with all the additional site findings, photographs and the 1:50 models you have produced so far. Have fun!
YEAR
2
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bilgi mimarlik