DWELLING IN DUALITY FILMIC HOUSES OF BUYUKADA HAKAN YORUK
DWELLING IN DUALITY filmic houses of buyukada HAKAN YORUK
ARCHITECTURAL DESIGN VII TRANSPOSE SPRING 2015 AYSE SENTURER HAKAN TUZUN SENGUN ERENALP BUYUKTOPCU
DEFINITION
To transpose literally means to change or reverse relative position, order, or sequence of something; to interchange/transfer/shift it into another subject. Somehow, changing matter of subject (can be also referred as “adjacent” of subject) may vary and list of it can ADJACENT & SUBJECT expand. However, its still blur that the change in the adjacent causes the change of CHANGEABILITY subject in the manner of core and identity. Üzerinde bulunduğumuz enlemdeki her şey Dünya’nın kendi çevresinde dönüşü nedeniyle saniyede yaklaşık 350 metrelik bir hızla hareket ediyor. Dünya, Güneş’in çevresinde yaklaşık 30 kilometrelik bir hızla, Güneş sistemi de Samanyolu galaksisinin merkezi çevresinde saniyede yaklaşık 200 kilometrelik bir hızla dönüyor. Samanyolu galaksisi, bir yandan galaksi merkezi çevresinde saniyede yaklaşık 270 kilometrelik bir hızla dönerken bir yandan da saniyede yaklaşık 600 kilometrelik bir hızla uzayda hareket ediyor. Yaşamak ilerlemek olamaz, diye düşünüyor Cemil; ama geride bırakmak olabilir. -Barış Bıçakçı, Sinek Isırıklarının Müellifi
DIFFERENCE
In order to understand/realize the activity of transposing and call it as a “transpose”, it BEGINNING & RESULT can be said there must be a part of subject, which remains still. At this point, difference between the beginning and the result is the key point to read the transpose. Anyway, it is still an unaswered question if there is a beginning to read any changes.
EVERYTHING FLOWS
Aynı ırmaklara girenlerin üzerinden farklı sular akar; ruhlar nemli olandan buharlaşırlar. -Arius Didymus: Eusebius Aynı ırmaklara gireriz ve girmeyiz. Biziz ve biz değiliz. -Heraclitus Aynı ırmağa iki kez girilmez. -Plutarkhos Irmak sürekli aksa bile, kendi özdeşliğini korur. Suları değişir, ama ırmak aynı kalır. Nesneler dünyası sürekli değişim içindeyken kozmik düzenin kendisi değişmeden kalır.
AIM OF TRANSPOSE TO ESCAPE
TRANSPOSE THE REALITY
Beside this unintentional and unstoppable change that we are in, transposing something with total consciousness is opening up to a different and new topic. Although there may be several reasons behind it, one of them is more recognizable: urge of escaping / from the current to the desired, even from the reality to the illusion, the fake, the imitation. All that instant, aim of transposing gets close and bonds to the aim of the art itself. The product / A book, film, play or performance, painting or sculpture etc. of any art forms creates its own reality (blurness of the real and unreal) by transposing the current one. Sanatçı mutlak hakikate galip gelmek için uğraşıp didinen bir varlıktır. Sanatçı bu hakikate karşı, kusursuz ve bütün bir şey yarattığı her sanat eserinde galip gelir. -Tarkovski-Zaman Zaman İçinde
FILM Among of those art forms, cinema is one of the most affective channel, which produces
REAL VS UNREAL ART OF FAKING IT
its works in the manner of transposing the real into unreal. Imitating, as a form of transposing, is an aim for film due to its identity related to the art; and a process due to dependence to its own reality. Since we cannot change the reality, let us change the eyes which see reality. -Nikos Kazantzakis
CGI VIRTUAL SPACE
By the help of improving technology, the art of faking it is getting simpler and also chaotic. The reality, which is being tried to bend by new methods of CGI technology in movies, may have not even existed, it can be said. In other words, virtual spaces, which are produced from nothingness, consists of not only the potential of unlimited space, but also
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Owners of fılm houses generally rent their property to filmmakers for daily usage. While the movie is being shot in the house, there are two choices for owners. First one is to share the space with production crew while production continues. And second one is to leave the entire house to them and move to another place, where is possible alternative house of owner, until the end of production. In both scenario, identity of the house becomes blurry in terms of issues: privacy and public.
DUALITY OF REALITY IN FILM HOUSES When a house, which belongs to a specific person or a group of people , is used as a location for a film production, it is also adapted for sake of film transcript and director’s vision. There is no more a bond between the house and its user. Now, it belongs to the person , which is identified inthe script and exist in filmic reality. Therefore, this specific type of houses, film houses, serves a variety of users with several characteristics. At this time, what can be said about its own characteristics and its own identity, which make it itself?
DUALITY OF TIME IN FILM HOUSES
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After determining specific filmic spaces from selected movies: Sevmek Zamanı, Ve Allah Gençleri Yarattı, Kırmızı Karanfiller, Cevriyem, Evcilik Oyunu; they are all modeled 3D in consideration of what is seen through watching. If half of a wall is not seen through, it’s decided not to model it. Therefore, obtained modules seemed to have half formed. Possibility to arrange them according to the current strategies of architecture in Büyükada also brings the possibility to infill reasonable mssing parts. The proposal gets its form through both film selection and natural pattern of the island. Somehow, the life in reality and filmic reality mashes up together in dwelling in duality to occur a series of spaces to be lived in and to shoot a movie.
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location
strip configuration
levels
vegetation
axises
linkage
entrance
elevator user’s route inner route
direct route
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infill spaces
general view
equipment
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jib |6|
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cinematic facade
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suspended cinematic ceiling
film houses
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dual usage
In a usual day without any filmic event, residents occupy whole space and continue their routine.
equipment
* from daily life
After informing upcoming reservation of film production crew, the preperation starts.
SUSPENDED CINEMATIC CEILING ligthing setup technical equipment darkening fabric openings
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Then, living space shrinks and leaves itself to the fictional spatial arrangement, which is suitable for film collobaration.
ADJUSTABLE FACADE set flats
CINEMATIC FACADE sliding metal rails adjustable metal mesh
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** ** to film production
EXPLODED AXONOMETRICS