housing in hamam at finike
ON COURSE
1_name of the image
elif ebrar zelka
citrus
greenhouses
finike 2_name of the image
tourism
Finike has a Mediterranean climate that is rich. Besides agriculture and greenhouse cultivation, seasonal tourism does not have a major place in Finike, although it is on the Lycian Way and is among the tourist resorts. Tourism is historical rather than seasonal and it is very rich in that aspect and it is possible to find ancient ruins in
sea and road access
As a slow city, there are production and distribution networks that shape their economies. Locals mostly consist of middle-aged people engaged in agriculture.
sea
Finike, a district in the west of Antalya, has been operating as a settlement since ancient times. It is a town with 48.000 population that is developing today with the citrus-based agricultural production that was brought to life as a port city with the advantages of natural conditions in ancient times and then grown on arable land.
fishing ancient cities
where are we?
natural marble slow city
the site
In addition to agriculture, greenhouse cultivation, fertile Finike lands allow vegetative diversity. In this district, where different traces of nature are together, Limestone ( limra ) is seen from place to place. The large quarries opened for use in the industrial field make the city's texture feel a little bit like industrial interventions. Limestone is a kind of marble and is used in indoor applications. I chose my project area as a large quarry area. This makes me visible, as well as some of the limestone texture, which was removed from the quarry as well as the sea view. By that way, my settlement in the area will provide me a double-sided facade.
48.000
2015
2005
1995
1985
1975
19.000 1965
1_pictures from finike
30.000
population of Finike through years.
45.000
2-4 3.240
35-39 3.680
5-9 3.455 10.14 3.528 15-19 3.264 20-24 3.160 25-59 3.269 30-34 3.443
40-44 3.596 45-49 3.479 50-54 3.316 55-59 3.118 60-64 2.571 65+ 5.017
population by age
NNW
N
25.375 married
8.368 single 1.634 divorced 2.354 widowed
marital status
dec jan
NNE
NW
> 35 °C NE
> 30 °C WNW
ENE
> 25 °C
>28 W
E
ESE
WSW
>19
> 20°C
>12
> 15 °C > 10 °C
SW
windmill
SE SSW
> 5°C
SSE S
july june
> 0°C
max. temperature by months
Based on these data, which I obtained online from the region and climate monitoring sites, I can say that the majority of the year is under the influence of hot weather and active wind line in terms of S and NNW. While about 15 thousand people of the 48 thousand population are young and in the age of development, the largest mass is formed by the retired group formed after 60 years of age. We can not say that young people of the age of university are common in the people of Finike, who are generally in family life. This situation in social structuring has affected public space shaping and architectural advancements in line with the supply-demand axis because there are no public spaces designed for young people to spend time with.
level of education
826 not a literate 4.859 literate without education 13.091 primary school 4.796 middle school 4.876 primary education 6.657 highschool 3.736 university 365 higher education 149 unknown
gĂśkbĂźk village
In addition to my observations during the discovery of Finike, the only thing that came to my mind in line with what I read about the area and our meetings with the municipal authorities was that the district's natural and human elements gave strong references to different senses. We had the opportunity to examine various phases of nature in terms of matter. The diversity of water resources, the promises of vegetation, the yields of the hillock, and climate facts allowed me to witness the diversity throughout our discovery route, which prompted me to think about the effects of the senses on experiences.
2_notation of exploring route
limra museum
greenhouses
In this discovery route, where I depict each factor of the senses I experienced at 5 different stops on our route with a rank, the volumes of the circles are shaped according to the dominance level.
turkuazkĂśy
arykanda
At this point, the first thing that came to my mind about my project was the idea of s p a t i a l i z a t i o n of s e n s e s .
spirit food
inward social natural
perception touch body experience self
physical peace
belief
multi-sensory inspiration
color growth
taste
instance interactions
light
smell
creativity fuel
sight freedom
mentality knowledge
understand linked
silence
mind
sound
This inference strengthened the idea that I should make a project that includes each of the dynamics that shape finike.
3_collages of site pictures
When I brought the photographs from different areas side by side to reflect the unique atmosphere of the city, it was more holistic than the ones formed in my mind.
5_ pen work - water eperiments
4_ink work - water eperiments
spatiality of water discussion After we returned to Istanbul, our discussions on the spatiality of the water and its effects on poetics were enriched with theoretical and practical examples from architecture . We have organized a collective activity for this. The aim was observing and reflecting it by hand-drawn types of equipment. As a start, dropped indigo ink into a jar of water and examined the spread of it at different stages.
In the second stage, we simultaneously reflected the movements that we have seen on the water to the paper in our hands using water and ink (image no 3). it was a work of simple watercolor techniques. In the next and last stage, we stopped the scene that we recorded in the video which we recorded while transferred to the paper with the watercolor technique and reproduced it with line and punctuation techniques.
Each participant observed the movement of dispersion into the water, which is diversified by density difference and ink type/water separation. On the one hand, we were recording videos of these observations.
I chose to obtain tonnage and texture by increasing the frequency and proximity of the lines I draw at an angle. You will be able to see the technical differences in my friends' examples.
bathhouses through their history in Turkey
The industrial revolution in the draw, from the pioneers of the fair, which reflected the structural states of the technical developments “1867 l'Exposition Universelle” in Paris, Turkey building was a bathhouse. While it resisted Westernization with the edict of Tanzimat, on the other hand, it was pondering that the perspective of the Ottoman Empire would change by blending the positive results in ancient Greek and Byzantine architecture.
Bathhouse; as a public space with a deep-rooted meaning, extending to religious, sociological, political, economic, and medical fields, it has taken place in the minds of history and has been identified with the traditional Ottoman lifestyle (in all its positive and negative aspects) in mind. It is a whole of global concepts that are intended to be demolished and reinterpreted because it is possible to see this as a bathhouse that will be presented to the world fair simultaneously, while there are baths in the country, which have been demolished and degraded (check: Çemberlitaş Hamam) in the capital city. In 1923, with the Republic Reforms, the bathhouses were accepted as a “museum content” and 86 of 150 baths were left in operation within 20 years, and operating taxes increased in this direction. Political concerns have determined the fate of architectural works; Ottoman-era Islamic Architecture works have been left in the shade. The bathhouse was deliberately cut from its past in line with the lack of modernity; it has become a touristic work.
Apart from the bath structures, interior organization, and structural features; it was one of the alternative public spaces and the subject was diverse and open to enrichment. As the French architect, Anatole de Baudot said; Ottoman architecture could not only be thought and understood structurally - independently of the interior. Certainly, the idea of blending innovations for the country's development and the bright aspects of Westernization had an impact on urban planning and architecture. It is desired to capture the city plans of London and Paris, it remains a decision that requires mass destruction and looks too daring.
(resource: Between East and West: Modernity, Identity, and the Turkish Bath by Nina Ergin)
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Bath structures have been identified with Oriental Turkish (Ottoman) and Islamic culture for hundreds of years (with undeniably the place of Roman baths in history). Although this image was not pleasant by the Ottoman elites, the world fair offered an opportunity and they would use it.
elephant eye
heat wave channels chimney
dome
water chamber
schematic section of a turkish bath
warm area
flooring hotspot
basin
firepan copper boiler
detailed functional spaces of Turkish bath
navel stone
elephant eye (light channel)
cabitets
towel drying owen
mahmutpaşa hamam section
hamams of istanbul
In addition to the histories, usage differences and structural features of the various bathhouses, we examined them considering their current state. Mahmutpasa Hamam is a bathhouse located in a complex ( Kulliye. )
The complex consisted of a mosque, mausoleum, double bath, madrasah, imaret, medical school, and a court (of unknown quality. ) Mahmutpaşa Hamamı Kesidi 1/100
Its current status has moved away from its former function and has become intertwined with trade areas, and it is a place where various textiles and articles are sold. Unfortunately, its original usage hasn’t been preserved and its quality has not been carefully observed.
mahmutpaşa hamam plan
Another of our work was on Hamams of Istanbul.
In addition to examining the Istanbul hamams, with their spatial qualities and usage purposes, our inquiries were continuing on the concept of poetics of space and at the light of the term genius loci. Meanwhile, as the next stage of the study, I examined the atmosphere of the MahmutpaĹ&#x;a bath, on the senses, perception styles, and the importance of the perspective that I will question in my hamam project, using the technical drawings I have obtained.
â—? genius loci:
the memory of the space is not linear but accumulative and preserves its existence. abstract and concrete context exists before the possible design phase of space; Afterwards, the designer (see the spirit of the space) interprets it in the light of analysis and gets the opportunity to add quality to the loci's memory. the place is alive, its soul breathes the accumulation I have mentioned.
6_atmospherics of Mahmutpasa
one of the "sine qua non" of Roman doctrine is the critical thinking process in architecture.
How do we perceive the space occupancy values of the space in negative space with variable angles? I have modeled in 3D as an answer to this question, the sections, and plans I drew to represent some units (such as elephant's chimney, muqarnas) as their negative response in volume. the rest of the model was together with the unique purposes and construction technique, preserved their structural context.
I shaped the volumes I achieved in a spatial fiction with a questioning attitude. Afterward, I asked each unit as a subject by questioning the minor interventions and gravity I would make to the perspectives we were used to. The collages formed to draw attention to the issue of how volatile the space quality and soul are, even with only the difference of interpretation and perspective. My starting point in my project is this state of inquiry.
In Turkish culture, the bathhouse is not only for bathing but also on special days such as marriage and holidays. some of these traditions are the bridal bath, the holiday bath, the maternity bath, the votive bath, the groom bath, the circumcision bath, and the forty baths. Turkish baths built as part of a complex or detached are unpretentious structures from the outside. Apart from the baths, separate structures for men and women are in common baths. separate days are given for men and women in common baths. According to the region where the baths are built, the material from which the bath was built differs, as well as the kabayonu stone is generally used. dressing place named with the word "camekan", derived from the word camegah, which means Persian "dress - undressing place". It consists of locker rooms, the largest volume of Ottoman bath architecture. The bath and bathing ritual starts with changing clothes here. Ilıklık; it is the part that is heated but not heated as high as the temperature. The warmth, like the sıcaklık, the walls, and the floor are covered with marble. Usually in this section, patients and patients who are uncomfortable with extreme heat are washed. Main aim is switch to the “sıcaklık” part after getting used to heat. This section includes private bathrobes for bathing, marble cedars for relaxation or massage, and spaces (shaving or razor) to remove unwanted hair. Sıcaklık ; this part is separated by a warm and narrow door to preserve heat is the washed part of the bath. this section, which has a temperature between 35-45 degrees, affects hot and steamy hot water pouring. Located in the middle of this section, 45-50 cm raised from the marble floor, the navel stone covered with marble is the most heated floor of the bath.
In the dome of the warmth section of the bath, there are small round and star-shaped windows that allow the place to get light almost every hour of the day. These windows are covered with outward-curved 15-40 cm diameter glasses called "elephant eye". Külhan: This section, in which hot and cold water boilers are burned in a hearth in baths, is called kulhan. Külhan is opposite to the entrance of the bath. Below the entry-level, there is an oven-shaped grill, above it a hot water boiler made of copper or iron. The canals opened to this boiler and called "hell" are circulated under the warmth and warm parts of the bath. The fire and smoke circulating in the canals come out of the chimneys called "tüteklik" after performing the heating task. The chimneys of the rifles built inside the wall were made of pipes, and the chimneys were raised to the dome level. These are common spaces at Turkish bathhouses. private room
women enterance
women dressing room
warm area
In the double bath, the plan scheme is like the reflection of the above.
bathing area
heating part (külhan)
schematic plan of a turkish bath
hamam culture and Turkey
The octagonal navel stone is used for lying on it, sweating, or getting a massage. Around the navel stone, some basins are spaced 15-20 cm high and 70-100 cm wide, on marble sets, spaced along the wall. "Halvets" are opened to this section, which is smaller and warmer places. Halvets are generally warmer than the large volume in the middle and are preferred by those who want to wash especially. In any case, there are three basins. Adjoining halvets in the hot water tank is always warmer. There is no door between the sections in the warmth part of the Ottoman bath architecture.
The spatiality of different degrees of water required by the bath structure is capable of triggering each of the senses. So can these spatialities be used as design inputs? What fictional techniques does the deliberate stimulation of the senses require?
The interoperability of accommodation units and Turkish bath functions and their readability are reinforced by the points I am looking for and questioning. Each unit that creates the space affects the soul of the space in a controlled or spontaneous way. Increasing the level of perception with perspectives is a subject that requires working on it. It was a spatial quality that I wanted to capture because I associated the poetics of space with the senses.
What if the negative part of the hamam mass is accommodation units?
Can the water vapor phase be used as a design input for partially visible surfaces? 7_ early atmospheric sketches
hamam + housing
phases of water, spatiality and hamam
in the sÄącaklÄąk part of the hamam, besides the constant temperature of the environment, the hot and cold waters in continuous circulation tend to spontaneously create spatialities in the environment. I think that I can use the generated steam and moisture as a design input from the point of questioning the spatiality of the water. In addition to the atmospheric effects of the accommodation units, I think that the water phases are suitable to be used as a design data and to obtain partial transparency.
evaporation is the process of turning water from liquid to gas or vapor.
collage below; natural lighting, accommodation units and steam was used together as a visualization at the design stage to examin the holisticness .
8_atmospheric collage as first idea
heat (energy) is required for evaporation. energy is necessary to dissolve the bonds that hold water molecules together; hence water easily evaporates at boiling point (100 ° C) but evaporates much more slowly at freezing point. evaporation cannot continue in a saturated air environment (i.e. if its relative humidity is 100%). the evaporation process removes heat from the environment, so the evaporation of water through the skin gives the person coolness.
2_name of the image
Previous Atmospherics
9_masterplan with ground level
1220
10_ groung level plan, 0m
2"
460
1070
2" 2"
5m
460
É‹
11_ +4m plan
5m
12_+9m plan
5m
13_+11.5 m plan
5m
The settlement works continued throughout the project to gain energy from the natural conditions, to experience efficiency and double fronts promised by the area. Hamam + Housing in Finike offers permanent accommodation with the opportunity to experience the Turkish bath culture with the beauties of nature.
14_ section
This project has kept the research motive constantly awake by abundant questioning throughout the process.
housing hamam pools circulation commercial spaces ( lobby of housing & technic rooms / cafe / shop)
sitting areas
15_ settlement diagram
gardening & fountains
17_ settlement on elevation
16_ settlement on plan
18_ sections as atmospherics
19_ axonometric collage
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20_ axo sequences
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21_ atmospheric collages