Velocity v.1 2015/16 by fazilakin

Foreword

Velocity: Transportation Design Studio conducted in Istanbul Bilgi University Fall 2015/6 semester points to critical shifts in the conventional studio structure in Industrial Product Design departments. First of all, this studio aimed to break the common, year-based studio formation by experimenting with a vertical organization. Third and fourth year students have participated in this studio, where the goal was to construct a studio system based on concepts and issues instead of years and requirements. Secondly, we have tried to develop a holistic understanding of transportation in its widest sense considering the aspects of vehicles as well as passengers, infrastructures, regulations and urban life. Students have worked in individual and collaborative assignments to understand and reflect on the issues of transportation not solely from the perspective of product design but borrowing ideas and concepts from other disciplines such as interior design, service design, urban planning, architecture and art. This booklet attempts to document the issues, research and products of this four-month process. We would like to thank Istanbul Bilgi University, Prof. Ugur Tanyeli (Dean of Architecture) and Asst. Prof. Can Altay (Head of Industrial Product Department) for all their contributions. Asst. Prof. Avşar Gürpınar // Asst. Prof. Simge Hough Billur Turan (MA) // Res. Asst. Fazıl Akın 1

Index

Foreword 1 Index Boxed Assemblage Transportation Studio:Velocity Sketch Report City as Laboratory Tracing Movement Non-Linear Movement in Scale Example Studies Insan ne Yapar? Vehicle Investigation Final Project: Socially Hybrid Vehicle References

3 5 7 9 11 13 15 18 22 27 30 45

Boxed Assemblage

Choose a short story from Invisible Cities by Italo Calvino. Hunt for clues regarding the natural and man-made qualities of this world. Analyze its inhabitants, their everyday lives, values and beliefs. Try to form a holistic picture in your mind. Then make a boxed assemblage to embody the qualities of this world. Aim to engage all the senses, you may even choose to make your box interactive. You can look to the works of artists such as Joseph Cornell, Damien Hirst, Joseph Beuys, Marcel Duchamp and Tim Parsons for inspiration.

“Despina can be reached in two ways: by ship or by camel.The city displays one face to the traveler arriving overland and a different one to him who arrives by sea. [...] Each city receives its form from the desert it opposes; and so the camel driver and the sailor see Despina, a border city between two deserts.„ (Italio Calvino - Invisible

Boxed Assemblage Adnan Faysal Altunbozar

Cities)

Boxed Assemblage Adnan Faysal Altunbozar

“In Maurilia, the traveler is invited to visit the city and, at the same time, to examine some old postcards that show it as it used to be: [...] If the traveler does not wish to disappoint the inhabitants, he must praise the postcard city and prefer it to the present one, [...] It is pointless to ask whether the new ones are better or worse than the old, since there is no connection between them, just as the old post cards do not depict Maurilia as it was, but a different city which, by chance, was called Maurilia, like this one.„ (Italio Calvino

Boxed Assemblage Nazlı Pekdemir

Invisible Cities)

“In Ersilia to establish the relationships that sustain the city‘s life, the inhabitants stretch strings from the corners of the houses, white or black or gray or blackand-white according to whether they mark a relationship of blood, of trade, authority, agency. [...]

Boxed Assemblage Betül Şahin

They rebuild Ersilia elsewhere. They weave a simi- lar pattern of strings which they would like to be more complex and at the same time more regular than the other. Then they abandon it and take them- selves and their houses still farther away. [...] „ (Italio Calvino - Invisible Cities)

Boxed Assemblage Toprak Izgi Güven

“[...] Zora has the quality of remaining in your memory point by point, in its succession of streets, of houses along the streets, and of doors and windows in the houses, though nothing in them possesses a special beauty or rarity. [...] he remembers the order by which the copper clock follows the barber‘s striped awning, then the fountain with the nine jets, the astronomer‘s glass tower, the melon vendor‘s kiosk, the statue of the hermit and the lion, the Turkish bath, the cafe at the comer, the alley that leads to the harbor. „ (Italio

Boxed Assemblage Serkan Burak Çangır

Calvino - Invisible Cities)

Tansportation Design Studio:VELOCITY

This studio aims to tackle the issue of transportation where the concept is considered in its widest sense. The vehicle(s) of transportation will be considered as complex tools to carry (portare) objects and/or subjects on/between given paths (trans-), in order to prevent categorical/paradigmatic congestions. These vehicles however, will not be taken into account as sole mechanical devices but moving structures interacting with/through its objects/subjects and their environment in a definite context and system. Thus, we will explore the critical position of transportation vehicles in the urban context, how they act as intermediaries/mediators between product design, interior design, architecture and city planning and are means to define the concept of transportation through their intrinsic qualities. Also the assesment of the transportation vehicle as an ambiguous object in its relation with human beings, blurring the boundaries between interiority/exteriority, public/private,... Throughout the course, the students are expected to develop an analytic, critical and speculative approach to transportation design: Analytic, in the sense of given conditions of the transportation conjuncture of the city will be analysed and discussed in depth. Critical and speculative in means of the approach to a new proposal of a transportation vehicle. The final proposal will deal with concepts such as place, time, body, movement, velocity, shell, signs and many others either with 9

an activist approach where an intervention regarding contemporary conjuncture or a critical/speculative one for a possible future scenario (utopic, dystopic or heterotopic) is concerned. Several screenings, readings, field trips and case studies as well as discussions with professionals will constitute the conceptual and intellectual background of the studio.

Objectives

- Raising awareness and sensitivity towards context - Ability to choose appropriate design research methods to utilize for a given brief - Flexibility to question any given typology - Incorporate making in the design process, not just for final presentations - Practice structuring the project and time management - Practice choosing and applying a variety of presentation techniques; which may include prototypes, simulations, video and photography.

Issues to Cover

#1 // Mobility and Daily Life #2 // Communication and Signs #3 // Ownership vs. Sharing // Private vs. Public #4 // Ideology and Questioning Progress #5 // Symbolic and Aesthetic Values, Gender #6 // Implications of Speed, Technology and Displacement #7 // Embodiment, Movement, Perception #8 // Vehicle as Threshold #9 // Materials, Energy and Sustainability

Weekly Schedule

Week 1-2: Research and Analysis Week 3-7: Short Project Week 8-14: Final Project

Resources

Barthes, R., 1991. ‚The New Citroen‘ in Mythologies ( Cape, J., Trans. ), pp. 88-90, Twenthy-Fifth Printing, USA. Baudrillard, J., 2008. „Ek: Ev Yaşantısı ve Araba“ in Nesneler Sistemi, pp. 83-88, BÜTEK, Istanbul, Turkey. Bohm, S. et. al. (eds), 2006. Against Automobility, Wiley-Blackwell. Bois,Y., 2009. ‚Slow Fast (Modern)‘ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 145149, The MIT Press, USA. Calvino, I., 1963-64. ‚Shells and Time‘ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 7679, The MIT Press, USA. Crtitical Art Ensemble, 2012. ‚Utopia‘ in Networks (Whitechapel: Documents of Contemporary Art), 2014, Larsen, B. L. (Ed.), pp. 208-209, The MIT Press, USA. Dean, J., 2013. ‚Collective Desire and Pathology of the Individual‘ in Networks (Whitechapel: Documents of Contemporary Art), 2014, Larsen, B. L. (Ed.), pp. 184-187, The MIT Press, USA. Dillon, B., 2011. ‚Present Future‘ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 182185, The MIT Press, USA. Dunne, A. and Raby, F., 2013. „A Map of Unreality“ in Speculative Everything: Design, Fiction and Social Dreaming, pp. 11-32, MIT Press, Cambridge, UK. Dunne, A. and Raby, F., 2013. „Design as Critique“ in Speculative Everything: Design, Fiction and Social Dreaming, pp. 33-46, MIT Press, Cambridge, UK.

Dunne, A. and Raby, F., 2013. „Speculative Everything“ in Speculative Everything: Design, Fiction and Social Dreaming, pp. 33-46, MIT Press, Cambridge, UK. Eco, U., 1984. ‚The Encyclopaedia as Labyrinth‘ in Networks (Whitechapel: Documents of Contemporary Art), 2014, Larsen, B. L. (Ed.), pp. 30-31, The MIT Press, USA. Enwezor, O., 2004. ‚Travel Notes: Living, Working and Travelling in a Restless World‘ in Networks (Whitechapel: Documents of Contemporary Art), 2014, Larsen, B. L. (Ed.), pp. 122-124, The MIT Press, USA. Filipovic, E., 2007. ‚This is Tomorrow(Other Modernist Myths)‘ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 42-44, The MIT Press, USA. Galison, P. L., 2011. ‚The Refusal of Time‘ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 6972, The MIT Press, USA. Hebdige, D., 1988. ‚Object as Image: The Italian Scooter Cycle‘ in The Object (Whitechapel: Documents of Contemporary Art), 2014, Hudek, A. (Ed.), pp. 74-76, The MIT Press, USA. Hewitt-Cuevas M., 2011. ‚ Towards a Futurology of the Present: Notes on Wrtiting, Movement and Time‘ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 178179, The MIT Press, USA. Johanessen, T., 2012. ‚A Personal History With Science: In Conversation with Adnan Yildiz‘ in Time (Whitechapel: Documents of Contemporary Art),2013, Hudek, A. (Ed.), pp. 210213, The MIT Press, USA. Kubler, G., 1962. ‚The Shape of Time‘ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 2829, The MIT Press, USA. 12

Latour, B., 2005. ‚Network: A Concept, Not a Thing Out There‘ in Networks (Whitechapel: Documents of Contemporary Art), 2014, Larsen, B. L. (Ed.), pp. 68-73, The MIT Press, USA. Latour, B., 1993. ‚ We have never been Modern‘ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 166-167, The MIT Press, USA. Massey, D., 2003. ‚Some Times of Space‘ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 116122, The MIT Press, USA. Plant, S., 1997. ‚Shuttle Systems‘ in Networks (Whitechapel: Documents of Contemporary Art), 2014, Larsen, B. L. (Ed.), pp. 24-29, The MIT Press, USA. Roberts, D., 2011. Making Things Move, Mc Graw Hill, USA. Serra, R., 1967-75. ‚Essay on Sculpture‘ in The Object (Whitechapel: Documents of Contemporary Art), 2014, Hudek, A. (Ed.), pp. 194-195, The MIT Press, USA. Serres, M. & Latour, B., 1995. ‚Where Things Enter into Collective Society‘ in The Object (Whitechapel: Documents of Contemporary Art), 2014, Hudek, A. (Ed.), pp. 37-39, The MIT Press, USA. Serres, M. & Latour B., 1995. ‚Conversations on Science, Culture and Time‘ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 161-165, The MIT Press, USA. Serres, M., 1997. ‚Sciences and Humanities: The case of Turner‘ in Time (Whitechapel: Documents of Contemporary Art), 2013, Hudek, A. (Ed.), pp. 160-161, The MIT Press, USA. Terranova, T., 2004. ‚Network Dynamics‘ in Networks (Whitechapel: Documents of Contemporary Art), 2014, Larsen, B. L. (Ed.), pp. 88-95, The MIT Press, USA. 13

Case Studies

Şirket-i Hayriye // 1854 https://tr.wikipedia.org/wiki/Şirket-i_Hayriye Arabalı Vapur // 1871 http://www.uzmanlar.com/genel-kultur/arabali-vapuru-tu Hildebrand & Wolfmüller // Wilhelm Hidebrand & Alois Wolfmüller 1894 https://en.wikipedia.org/wiki/Hildebrand_%26_Wolfmüller Wright Flyer // Orville and Wilbur Wright // 1903 https://en.wikipedia.org/wiki/Wright_Flyer Ford Model T // Childe Harold Wills, Joseph A. Galamb and Eugene Farkas. // 1908 https://en.wikipedia.org/wiki/Ford_Model_T Autoglider // 1921 http://cybermotorcycle.com/gallery/autoglider/Autoglider-1921-01.htm Dymaxion Car // Buckminster Fuller // 1933-34 https://www.google.com/search?client=safari&rls=en&q=tatra+ledwinka&ie=UTF-8&oe=UTF-8#q=dymaxion+car https://www.youtube.com/watch?v=N1yxFDvqALI Tatra 77 // Hans Ledwinka // 1934 https://en.wikipedia.org/wiki/Tatra_77 https://www.google.com/search?client=safari&rls=en&q=tatra+ledwinka&ie=UTF-8&oe=UTF-8#q=tatra+77 Voiture Minimum // Le Corbusier // 1936 http://www.wallpaper.com/lifestyle/voiture-minimum-le-corbusier-and-the-automobile Dolmuş // 1940s http://www.uzmanlar.com/otomotiv/turkiyede-ilk-dolmus-taksiler 14

Cisitalia // Pinin Farina // 1947 http://www.moma.org/interactives/exhibitions/2002/autobodies/ Routemaster Bus // London Transport // 1954 https://en.wikipedia.org/wiki/Routemaster Citroën DS // Flaminio Bertoni // 1955 https://en.wikipedia.org/wiki/Citroën_DS Nobel 200 // Norbert Stevenson // 1958 https://tr.wikipedia.org/wiki/Nobel_(otomobil) Mini // Alec Issigonis // 1959 https://en.wikipedia.org/wiki/Mini Minibüs // 1960s http://wowturkey.com/forum/viewtopic.php?t=25993 Devrim // 1961 https://tr.wikipedia.org/wiki/Devrim_(otomobil) Apollo Spacecraft // NASA, Werner von Braun // 1961 https://en.wikipedia.org/wiki/Apollo_(spacecraft) Lotus Elan Sprint // Lotus Cars // 1962 https://en.m.wikipedia.org/wiki/Lotus_Elan Anadol // Ogle Design // 1966 https://tr.wikipedia.org/wiki/Anadol Concorde // Sir Archibald Russell, Dr. William J. Strang, Pierre Satre and Julien Servanty // 1967 https://tr.wikipedia.org/wiki/Concorde Arçelik Triporter // Arçelik // 1968 http://wowturkey.com/forum/viewtopic.php?start=10&t=36069 http://www.yenisafak.com/arsiv/2004/EKIM/03/e13.html 15

Kar-A-Sutra // Mario Bellini Architects // 1972 http://www.bellini.it/design/moma_kar_a_sutra.html US Space Shuttle Columbia // NASA // 1981 https://en.wikipedia.org/wiki/Space_Shuttle_Columbia Specialized Stumpjumper // Mike Sinyard // 1981 https://en.wikipedia.org/wiki/Specialized_Stumpjumper Segway // Dean Kamen // 2001 https://en.wikipedia.org/wiki/Segway_PT Tesla Model S // Franz von Holzhausen // 2012 https://en.wikipedia.org/wiki/Tesla_Model_S Toyota Mirai // Toyota // 2015 https://en.wikipedia.org/wiki/Toyota_Mirai Copenhagen Wheel // MIT Sensable City Lab // 2013 http://senseable.mit.edu/copenhagenwheel/wheel.html http://copenhagenwheel.tumblr.com/ Ford Edsell // Ford // 1958 https://en.wikipedia.org/wiki/Edsel Auto-mobility // IDEO // 2014 http://automobility.ideo.com/ http://www.wired.com/2014/11/ideo-imagines-self-driving-cars/ Critter Winds Up // Kikkerland // 1997-2015 http://critterwindups.com/ http://www.kikkerland.com/products/critter-wind-up/ Strandbeest // Theo Jansen // 1990-2015 http://www.strandbeest.com/ https://en.wikipedia.org/wiki/Theo_Jansen 16

Food Truck(s) // Anonymous // 2010‘s https://en.wikipedia.org/wiki/Food_truck http://cheeseweb.eu/2014/10/9-top-food-trucks-brussels-belgium/ United Micro Kingdoms // Dunne and Raby // 2012-2013 http://www.dunneandraby.co.uk/content/projects/666/0 Homeless Vehicle // Krzysztof Wodiczko // 1988 https://en.wikipedia.org/wiki/Krzysztof_Wodiczko http://www.designboom.com/eng/archi/wodiczko.html Bus for Bicycles // Richard Sapper // 1976 http://richardsapperdesign.com/products/1970-1980/bus-for-bicycles

Films

Urbanized, Gary Hustwit, 2011. Place to Passage, Hussein Chalayan 2010. The Light Bulb Conspiracy, Cosima Dannoritzer and Steve Michelson, 2010. Devrim Arabaları, Tolga Örnek, 2008. The Century of the Self, Adam Curtis, 2005. A13, William Raban, 1994. Thelma & Louise, Ridley Scott, 1991. Ford: The Man and The Machine, Allan Eastman, 1987. Paris, Texas, Wim Wenders, 1984. Trafic, Jacques Tati, 1971. Vanishing Point, Richard C. Sarafian, 1971. Quadrophenia, Franc Roddam, 1979. Journey to Italy, Roberto Rosselini, 1954. Berlin: Symphony of A Great City, Walter Ruttmann, 1927.

Sketch Report

In this assignment, you are asked to visit the Rahmi Koç Museum. You are to select one transportation vehicle and do detailed sketches of it. Try various techniques you have learned in your Design Communication courses, e.g. freehand sketching, elevations, sections, axonometric from different viewpoints to communicate your vehicle.You should then do a research about this vehicle where you should facilitate different sources such us books, articles, catalogues and reliable internet sources. You will present your work (in 3 minutes and less) only with your sketches and other had drawn figures -no photography allowed.

SKETCH REPORT Abdullah Selim Buldu

SKETCH REPORT Melih D. Shah

SKETCH REPORT Serkan Burak Çangır

SKETCH REPORT Adnan Faysal Altunbozar

SKETCH REPORT Ayşen Ünal

City as a Laboratory

In this assignment, you are asked to work in groups of 3conduct and visualise an investigation on the transportation system of your city. Considering urban transportation as a complicated network with its various actors, stakeholders and intricate interrelations, you should define a specific issue (some examples are provided below) and do a detailed research about it, using various research methods such as observation, mapping, visual/audial/textual documentation, interviews and literature review. The results of the analysis will be available to all, to be used in various stages of your future projects. … TRANSPORTATION Public Private Non-Motorized Rail Land Maritime Vehicles of Networks of Rules of Subjects of Applications of

Possible Sources:

-informationisbeautiful.net -http://burak-arikan.com/tr/ -http://www.superpool.org/index.php/research/dolmus-minibues-map -http://www.superpool.org/index.php/research/istanbul-bike-map -http://www.superpool.org/index.php/research/mapping-istanbul-is-here -http://www.superpool.org/index.php/research/vcmd-exhibition -https://www.google.com/mymaps/

CITY AS LABORATORY Betül Şahin, Nurseli Yorgancı, Özgüç Çapunaman

CITY AS LABORATORY Çagatay Özkardeşler, Kadir Salman, Mina Yanci

CITY AS LABORATORY Mertcan Avcı, Mert Bozaydın, Zeynep Gülerman

quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation quotation 26

Tracing Movement

In this exercise you are asked to define/trace, analyse and reproduce a certain movement. This can be based on nature (movement of animate objects i.e. animals -incl. human beings-, plants or inanimate matter i.e. flows and currents) in a short or long period of time.You can also draw your inspiration from urban settings. You should first diagrammatise the movement by analysing its characteristics and then reproduce it using various tools and methods of model making.

TRACING MOVEMENT Ayşen Ünal

TRACING MOVEMENT Sevgi Esra Genç

TRACING MOVEMENT Özgüç Çapunaman

TRACING MOVEMENT Kadir Salman

TRACING MOVEMENT Ufuk Baycan

Non-linear movement in scale

1. Design and make a compact moving object that travels in a

non-linear* fashion. It can operate in any medium (earth, air, water) and at any speed. It should accommodate an empty enclosure/space that is at least 1/3 of its total volume. Also it is expected to cross a distance 10 times its length (5 meters for 50 cm). This will be tested during the final presentation. For the first part, we advise you to focus more on the movement than the form itself.You should think/plan/research about possibilities of non-linear movement, do a number of different sketches and diagrams and are required to present them in class. You can start with a solid piece -a geometric or organic solid of a suitable material (foam, wood, plastic, stone, sponge etc.). It might be a good idea to think about the enclosure after your initial thoughts are formed.

* Non Linear Motion refers to any non straight line motion with changing direction 35

2. Document the journey, from the point of view of a

hypothetical subject located inside. Consider their position and orientation, openness of the object to the outside world.You may place a camera on the prototype, or employ animation and/or computer modelling techniques.

3. If your object was to transport people, what would be its

scale (1/5, 1/10, 1/20, 1/50 etc.) How many people would it hold?Speculate on the city morphology its particular movement would lead to. Finally make a sketch model of a section of this city that is populated by 500 people, which is served solely by this mode of transport.Your model can be very abstract and may exclude realistic materials and details. Instead it can emphasize concepts such as density, flow and regulation.

Objectives:

-experiment with creating movement in different media -gain experience with building working prototypes -get a sense of how the qualities of the vehicle relate to the urban -environment and context of use -practice shifts of scale during the design process

Machines à Revês Odile Faliu (1985)

Morphologie: City Metaphors Oswald Mathias Ungers (1976)

Morphologie: City Metaphors Oswald Mathias Ungers (1976) Transport Pictures Roojen P. Van (1999)

Transport Pictures Roojen P. Van (1999)

Nurseli Yorgancı Orbit is a fictive scenario about a city that is a rotational transportation vehicle itself. This vehicle is inspired by sea waves formations. Each part of the city connects with the one next to itself and the whole city rotates like a gear system.

Project Vivi Mert Bozaydın

Motus Cem Alpay

Natrix Sinem Halıcıoglu

Savvy Özgüç Çapunaman

Case Studies

Voiture Minimum