HAKAN YORUK
New York: A Documentary Film is an eight-part, 17.5 hour, American documentary film on the history of New York City. It was directed by Ric Burns and originally aired in the U.S. on PBS. Notable figures, who appeared in the series, include Rudolph Giuliani (then the mayor of New York City), former mayor Ed Koch, former New York governor Mario Cuomo, former U.S. Senator Daniel Patrick Moynihan, poet Allen Ginsberg, novelists Alfred Kazin and Brendan Gill, director Martin Scorsese, journalist Pete Hamill, former Congresswoman Bella Abzug, historian Niall Ferguson, philosopher Marshall Berman, writer Fran Lebowitz, engineer Leslie E. Robertson, architect Robert A.M. Stern, high wire artist Philippe Petit, billionaire Donald Trump, and author David McCullough.
S C R A M B L E R
n e w
y o r k
a d o c u m e n ta ry f i l m
Here thirty two quotes are taken from these notable figures in order to reflect the essence of the city. It’s thought that these quotes, which try to emphasize several important points about New York including its dynamism, ambitions, history, mood etc. can help significantly to understand both the city and its people.
#1
#2
#3
#4
#5
#6
#7
#8
“It’s the laboratory of modern life.”
“It’s the safest harbour.”
“There is an opportunity to seize and celebrate differences.”
“They’ve got a chance to escape individuality and rediscover common humanity.”
“The only way out is up.”
“Come here! Everything is possible.”
“It’s the city of exchange in terms of not only materials, but also people, ideas, thoughts.”
“Mass media resulted the new American culture. Sell them what they long for!”
#9
#10
#11
#12
#13
#14
#15
#16
“They used Worlds Fair material, that were representing the future, in producing war instruments for World War 2.”
“If you look at photos of the opening day, you can see the joy in visitor’s faces. They welcomed it.”
“NY is apart form us. They are a bunch of aliens with all their odd fashion, music, gangsters and corruptions. NY is one of us. Because we share the same idea of representing modernity and possibility.”
“It’s the sense of there is no limit.”
#17
#18
“If you want your business in international stage, come to New York.”
“Superblocks were not only betrayal to New York tradition, but also to the community.”
“How can they build the highest building, while people are sleeping in the streets?”
“It’s the city of immigrants. It’s the architecture of newcomers.”
“City must change or it will perish.”
“It’s the architecture of human masses, not man.”
#19
#20
#21
#22
#23
#24
“Is the new always better than the old?”
“Each building was in that time. Each building was out of time.”
“There has been always tendency of romanticizing the height.”
“I know that we don’t have any space for containers. However, if the port doesn’t work, the city doesn’t work.”
“One entered the city like a god. One scuttles in now like a rat.”
“The car is the whole story.”
#25
#26
#27
#28
#29
#30
“Petit was the first person who humanized these things.”
“Extreme things happen so quickly and so irreversible, it’s like the death of someone you love. It’s the nature of both city and human.”
“New York doesn’t have a novel about itself. It’s so dynamic that you can describe the city with only newspapers.”
“All the people of the world could live together in a single place.”
“Whatever happens in New York City happens ten years later at the other part of the country.”
“They tried to provoke people by saying that twin towers would block TV signals. And actually it worked.”
?
ARCHITECTURE OF N E W C O M E RS In a city, where all the people of the world live how much can differences and freshness reflect to physical environment
New York has always been a city of immigration due to its own characteristics. It’s been nourished by newcomers and their variable attitude. These newcomers, who left their countries for the purpose of beginning a new life here, had significant impacts over the city on an individual basis. Some of them came here longing for their hometowns. Some of them came here as hating their country. Some of them hoped to find something similar with their former cities. Some of them didn’t want to meet anything, that would remind them their past. Anyway, all of them came here with their own perspectives on both the city and the life. It could be expected that newcomers would form this quite new city, New York, by the help of these different aspects and anyone could sense diversity and miscallenousness just by walking in the street. However, they unified for one purpose and accepted a newcomer like themselves: modernity. It’s still a mystery how much the idea of newcomers’ architecture can be push forward and differences and freshness can be reflected to physical environment.
After looking at visuals of New York in terms of not only two dimensions such as plans or sections, but also three dimensions, it can be seen that the city has a great enthusiasm of reaching at limits. Romanticizing the height and the size has a significant impact on today’s appearance of the city. All skyscrapers, bridges, tunnels, ports in the city seem to stretching out both the sky and the ocean curiously. At this point, it can be said that New York seeks for the beyond of the limit in three axes: x, y and z. New York, a place which has forgotten about being an island, settles at very center of these axes as the origin. Axes of x, y and z are in such a harmony that it is quite easy to observe spatial organization of the city works and a tiny deviation in that harmony can result a tremendous disaster like it was happened after the demolition of Penn Station. If a change in these three axes has the power of turning Gods into rats, it can be claimed that exact opposite situation is also quite possible.
?
CITY AS A LABORATORY Can guinea pig become the observor of its own experiment
?
origin of three axes Is it possible to change definitons of three axes: x, y and z and the origin
It is always being said that whatever happens in the New York city happens ten years later at the other part of the country. Hence, New York has always been a pioneer of the modern life. However, the cost of being a pioneer was bitter. The city turned into a giant laboratory, where some people with higher status was performing quite unusual tests and experiments on it. Governors, mayors, urban planners and architects used the city as an experiment field and most of these tests were surprisingly welcomed by residents. Because the city used to have no sense of limit, the idea of modernism was preventing the idea of preservation while promoting the the idea of the new. At the center of inevitable change and dynamism of the city, New Yorkers have existed like a guinea pig of this experiment. Involved but inefficient... Somehow at certain point, it is evocatory to think what would happen if the people of New York would involve more into this type of tests, which the city was passing through, and become the observor of their own experiment.
One of the most fascinating thing about New York is the dynamism. The change in the city is so quick that most people shows it as the reason why there is no novel of the city. Because it is not easy to describe it with a novel, it’s only possible by the help of a daily publishing: a newspaper. Common thought is that the destruction happens after the construction or it is inverse. On the other hand, these two concepts occurs at the same time, for instance of the fact that the life and the death exist together and at the same time. So, it is also valid for both destruction and construction. It is probable that the city may seek for an unusual architectural method to create a structure, which constructs itself while deconstructing in order to become both new and old.
?
regeneraTION OF SELF-DESTRUCTION Is the survival impossible unless the construction and the destruction happen at the same time
#31 “Having a car derives the most elemental urban question for New Yorkers to ask what a city is, what makes the city work and why there should be cities at all.”
#32 “We’ve spent too much time staring at ourselves and thinking that the world begin to The Hudson River and ends at The East River and there isn’t anything else.”
HAKAN YORUK t h e
s i t e
/ /
a n a l y s i s
h u d s o n y a r d
w e e h a w k e n The most recognizable things about the coastline of Weehawken are gigantic hotel buildings and huge parks. While the area getting its original topography through inside, mildly wild vegetations are seen on sloping hillsides and the proportion is getting smaller. On the contrary of Hudson Yard, the district differentiates with its plenty of recreational areas and sport facilities. However, a huge junction is forming a boundary between similar activities.
t h e
s i t e
/ /
k i p s
It can be claimed that the coastline of Hudson Yards is seperated with two lane road and Hudson Park remains unsufficient as a catalyser. The city enlarges on grid form through the island and several activities can be found. However, the area is mainly about transportation in terms of both railways and roads. Between two junctions, Hudsonyard and the Lincoln Tunnel, the district is kind of a cribriform. Streets for people and vehicles mash up in several places.
b a y
g r e e n p o i n t
Similar to west coastline of Manhattan, Kips Bay is also seperated from the river with two -somehow- connected highways, although there are some recreational areas adjacent to the river to bound New Yorkers to the water. It can be said that the area is mostly used fro medical purposes including gigantic hospital buildings and universities’ schools of medicine. The grid gets bigger to adapt to these massive buildings through the coastline.
On the contrary, Greenpoint has what Weehawken seeks for: penetrating coastlife through the district. However, it occurs in the manner of transportation of goods. It can be said that there is a similarity between the coastline and inner parts in terms of commercial usage such as massive warehouse and office buildings. On the other hand, there is a residential zone between these commercial areas, trying to exist while being squeezed between them.
s t r a t e g y what is missing?
the drive of the connection
Through the history of the New York city, each significant step of architectural change has the one common purpose: connecting the island to the surrounding in order to get the humanforce into growing popularity and power more. However, this type of plans only occured by the help of physical connections such as tunnels, bridges, ports etc. While getting it real, sometimes the idea of connecting had also leaded the idea of seperation, because of lack of the continiuty of activities apart from the continuity of spaces.
After looking at visuals of New York in terms of not only two dimensions such as plans or sections, but also three dimensions, it can be seen that the city has a great enthusiasm of reaching at. All skyscrapers, bridges, tunnels, ports in the city seem to stretching out both the sky and the ocean curiously. At this point, it can be said that New York seeks for the beyond of the limit in three axes: x, y and z. New York, a place which has forgotten about being an island, settles at very center of these axes as the origin.
“We’ve spent too much time staring at ourselves and thinking that the world begin to The Hudson River and ends at The East River and there isn’t anything else.”
non
p h ys i ca l
bridge
ryt h m & fl ow of
act i v i t i es
Between Weehawken, New Jersey and Hudson Yard, New York, the resemblence is the first thing to realize in terms of activities. As far as continuity and unity are concerned, a bridge in terms of not physical, but activity may be the main program that both cities seek for. Through the history of the New York city, each significant step of architectural change has the one common purpose: connecting the island to the surrounding in order to get the humanforce into growing popularity and power more. However, this type of plans only occured by the help of physical connections such as tunnels or bridges. While getting it real, sometimes the idea of connecting had also leaded the idea of seperation, because of lack of the continiuty of activities apart from the continuity of spaces. On the other hand, between two districts, there are also some differences, which form each city’s characteristics, including topography, urban pattern etc. It’s thought that these concepts have also the value to benefit from and gain the versatility.
LI FE SCENARIO p r o p o s e
A new collage has been design for the purpose of deciding on the life scenario through the area by the help of previous works, which were used for explaining four differenet concepts about New York in order to get the essence of it. It contains all of them and it questions what the possibility of the newcomer’s architecture can exaggerate while they are testing new models of life by both constructing and deconstructing at the edge of three axes in the center of the origin.
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m a i n
i d e a
In a city, where the idea of connection also leads to the seperation, where the continuity of the space is considered rather than the continuity of the life,
Before discussing scrambling theory, NTSC format has to be understood. The standard in which the world uses to transmit a television signal.
ntsc format
HORIZONTAL BLANKING
VIDEO
HORIZONTAL SYNC PULSE
VIDEO
HORIZONTAL BLANKING
HORIZONTAL SYNC PULSE
SCRAMBLED VIDEO
COLOR BURST
COLOR BURST
summing waves
The horizontal blanking pulse is the widest part and is used to turn off the CRT during the vertical retrace. This prevents the vertical retrace lines from showing up on the screen. On top of the blanking pulse is the horizontal-sync pulse. Its purpose is to synchronize the sweep circuitry in the TV with the video signal. After the horizontal-sync pulse's trailing edge and before the blanking pulse's trailing edge is the color burst signal.
One way to alter the sync pulses is to add a sine or square wave to the video signal. If the wave and the video signal are summed properly, it is possible for the sync pulse to reduce and the video signal to be higher.
VIDEO
how to scramble
The horizontal and vertical pulses and the color burst signal are used for timing and are needed to reconstruct a TV picture. If any of those signals are absent, distorted or changed in any way the TV picture will not be synchronized. The picture will be unwatchable. The picture will tear, roll, and the colors may be incorrect.
can there be a new method of spatial connection ?
VIDEO
tv scrambling theory
SUMMING AMP
SINEWAVE
COMPOSITE SCRAMBLED VIDEO
scrambled city // imagewise and nonphysical connection
HAKAN YORUK
NJ*NY ENCRYPTION - IN SEARCH OF THE CITY PULSE
CHECKPOINT
CHECKPOINT
TNIOPKCEHC
TNIOPKCEHC
TNIOPKCEHC
/ /
TNIOPKCEHC
p r o p o s e
p r o g r a m
CHECKPOINT
/ /
CHECKPOINT
S Y N T H E S I S
p r o g r a m checkpoint.kb oasis.03
oasis.06
checkpoint.w
checkpoint.gp
checkpoint.hy
oasis.05
oasis.01 oasis.02
P R E L I M I N A R Y
D I A G R A M
O F
T H E
oasis.07
P R O G R A M
“It’s the city of exchange in terms of not only materials, but also people, ideas, thoughts.”
3
1
loading catalyst and getting passengers in
2
cruise
3
arrival to oasis and interaction
2 collect
+ conn
ect + refle
ct
1 catalyst
oasis * offshore structure * artificial park * recreational area * scrambled city particules * dual life * escape tool
puller
catalyst construction
c h e c k p o i n t
a r k
o a s i s
ark * ferry * habitat * catalyst + puller * microcosm * life bringer
checkpoint * ferry station * shipyard * catalyst construction & transportation * collector+connector+reflector * design studios and offices *storage
w e l c o m e
t o
w a r p
z o n e
Next to the river, The Checkpoint is a place whereby the state is saved. The project site can be counted as the final or the first chapter of Manhattan, in which you have an access to nearly all of the island and various activities. When the flow brings you here, all you have to do is to save your journey and begin the new one.
c r e a t i o n
*
u n - c r e a t i o n
*
r e - c r e a t i o n
The story of the flood closely parallels the story of the creation: a cycle of creation, un-creation, and re-creation, in which the ark plays a pivotal role as microcosm. In New York, where all the people of the world live, an ark can carry the people as much as possible to demonstrate or create new life.
r e f l e c t i o n
o n
t h e
w a t e r
“Come here! Everything ispossible.” they said and New York became New York. When they came, the only escape was up; however there is a new escape tool for New Yorkers, which stands in the middle of Hudson River like an oasis and is ready to become anything. Come here! Everything is possible.
HAKAN YORUK
h u d s o n
The coastline of Hudson Yards is seperated with two lane road and Hudson Park remains unsufficient as a catalyser. The city enlarges on grid form through the island and several activities can be found. However, the area is mainly about transportation in terms of both railways and roads. Between two junctions, Hudsonyard and the Lincoln Tunnel, the district is kind of a cribriform. Streets for people and vehicles mash up in several places.
c h e c k p o i n t w e l c o m e
t o
w a r p
y a r d S
z o n e
Even though mentioned cribriform of the surrounding of Hudson Yard has lots of negativities for both pedestrians and drivers, the form itsel still has something to offer and shows significant potential as a transition area between connecting elements like metro station, tunnel or port. At this point, an approach, that tries to reveal potentials of connecting different aspects from different levels, is considered.
Next to the river, The Checkpoint is a place whereby the state is saved. The project site can be counted as the final or the first chapter of Manhattan, in which you have an access to nearly all of the island and various activities. When the flow brings you here, all you have to do is to save your journey and begin the new one.
G E N E R A L
c o n f i g u r a t i o n
c i r c u l a t i o n
o f
x
y
z
/ /
t h e
s i t e
a s
a
o r i g i n
V I E W
O F
T H E
P R O P O S A L
As the project site contains several axis including both underground and above ground, there are numerous possibilities to arrange or manipulate these axes for the sake of design. While tunnels and subway are tangled underground, ports and bridges try to reach beyond the river, buildings seek the limit of the sky. At this point, levels, where a pedestrian can reach at, varies a lot. Finally, adventage of being next to sea line results lots of combinations of spatial organization among the port(x), the subway(y) and the building (z).
d i a g r a m s
1 WHERE current position of highline on the project site ?* high line to the sea ?* high line to the train tunnel and metro ?* high line to the building
high line enlongments through underground and water level framing the site
2
high line to the street
WHAT
?* high line as ferry station ?* high line as shipyard ?* high line as public housing ?* high line as office building
perpendicular connections within the frame accessibility
high line as a connector
3 production line /shipyard + service buildings and ferry station
CIRCULATION train and metro comes into open
dry dock + marine on the water + framing buildings -observation decks
g e n e r a l
s i t e
water-street-underground connection & a new tunnel inner circulation
50m
100m
p l a n
10m
20m
HAKAN YORUK c h e c k p o i n t
/ /
e x p l o d e d
a x o n o m e t r i c s
1A
TOILETS
1E
CAFES
2A
STUDIO
2D
CONFERENCE HALL
1B
SECURITY OFFICE
1F
RESTAURANTS
2B
DESIGN OFFICES
2E
ADM. OFFICES
1C
WAITING HALL
1G
INFOCORE
2C
MEETING ROOM
2F
ADM. OFFICES
1D
TICKET OFFICE
3A
3B 3B
3C
2B 2B
2A
2C 2D
2E
1C
3F
1A
1B
2E
1G
1D
1E
APARTMENT 01
3B
ELEVATORS AND STAIRCASE
3C
APARTMENT 02
3D
MINI CINEMA
3E
ACTIVITY ROOM
3F
STORAGE
3D
3E
3E
3A
3F
2F
1F
HOUSING FOR WORKERS
DESIGN AND ADMINISTRATION OFFICES
UNITS FERRY TERMINAL PANEL WORKSHOP
+10m +7m
WELDING HALL
+4m +7m +4m
PIPE WORKSHOP
SUB-ASSEMBLY AND PAINT SHOP
+8m
0m
+5m
+3m
+7m
+7m
+10m
+4m
0m
+6m
-4m
0m
-8m
+7m
+9m
HIGH LINE
+3m
-6m
+3m +10m
0m
+7m
+2m +3m
PANEL CUTTING LINE STORAGE
WEB AND MICRO PANEL WELDING
ROBOTIC PIPE SHOP
SLIPWAY
DRY DOCK
PRODUCTION LINE
DOUBLE HULL WELDING GANTRY
PAINT SHOP GOLIATH CRANE
11 10 08 12
07 09
15 CHECKPOINT
13
14
16 01
06
05
04
18 03 19 02
17
12
administration and design offices
06
welding hall
13
recreational area. 01
01
HIGH line
07
panel workshop
14
recreational area. 02
02
dry dock
08 01
storage
15
infocore
03 01
goliath crane
09
train tunnel
16
ferry terminal
04
sub-assembly and paint shop
10
metro entry
17
car tunnel
11
housing
18
deck for ark
19
marine
05
pipe workshop
HAKAN YORUK c h e c k p o i n t
/ /
s e c t i o n s
a n d
v i e w s
a n d
e l e v a t i o n s F
G
H
E
SECTION A - 1/200
D
C
SECTION B - 1/200
B
SECTION C - 1/200
A
SECTION D - 1/200
SECTION E - 1/200
SECTION F 1OM
2OM
SECTION G 1OM
2OM
SECTION H 1OM
2OM
HAKAN YORUK The story of the flood closely parallels the story of the creation: a cycle of creation, un-creation, and re-creation, in which the ark plays a pivotal role as microcosm. In New York, where all the people of the world live, an ark can carry the people as much as possible to demonstrate or create new life. The ark consists of two main seperate parts, which are the puller and the catalyst. The puller, very similar to regular car ferries and container ships, contains dual life scenario for both passengers and the crew. It can be said that it’s kind of floating steel framing, which carries passengers and provide habitable spaces for the crew. 18x43 m2
On the contrary to the puller and its monotonic and cold spatial advantages, the catalyst is also being carried by the puller to activate scrambled pixels of both NJ and NY. At this point, it can be said that the ark has beyond what regular ferries in the manner of containing the life itself and its architectural reflectance.
18x43 m2
18x18 m2
18x25 m2
A R K CR EATI ON
*
U N-CR EATI ON
*
R ECR EATI ON
WHEELHOUSE
chamber*05
chamber*07
KITCHEN CATALYST
STORAGE*01
CATALYST
STORAGE*02
70m2
70m2
engine room
8-12m2
section 1/100
70m2
20m2 30m2 30m2
wheelhouse
15m2 30m2
DECK*01
30m2 DECK*02
chamber*01
90ps
KITCHEN
wc
KITCHEN
wc
60m2
60m2
DECK*03
120m2 storage*01
storage*02
watertank
engine room
section 1/100 program and circulation
HAKAN YORUK
C HEC K P OI N T* N J OAS I S .0 4
C H EC KP O I N T * N Y
OAS I S .03
OAS I S .02
OAS I S .01
“Come here! Everything is possible.” they said and New York became New York. When they came, the only escape was up; however there is a new escape tool for New Yorkers, which stands in the middle of Hudson River like an oasis and is ready to become anything. Come here! Everything is possible. In the light of previous research about the encryption of the city, seven different points, which contain variable architectural and functional elements from both cities, are determined to work as “oases” on the river for the purpose of designing a new type of connection, which can be called non-physcial and image-wise.
C HEC K P OI N T* K B OAS I S .0 6 C H EC KP O I N T * G P
In this chapter of the project, focusing on the Hudson River, architectural components of two oases and their spatial potential on the water via catalyst within the ark are discussed.
OAS I S .07
OAS I S .0 5
o a s i s r ef l ec t IO N
o n
t h e
w a t er
checkpoint.kb oasis.03
oasis.06
checkpoint.w
checkpoint.gp
checkpoint.hy
oasis.05
oasis.01 oasis.02
O A S E S
A N D
A R K
/ /
P R E L I M I N A R Y
I L L U S T R A T I O N S
/ /
oasis.07
P R O G R A M
OAS I S .01
OASIS.02
OAS IS .03
OAS IS .0 4
R OW H O U S E S * N J + S U BWAY E N T RY * N Y
DW E L L I N G * N J + C AT H E D RA L * N Y
P R I M A RY SCH OOL *N J + PA R K I NG LOT *N Y
BAS E BA LL P I T *N J + A RT G A LLE RY *N Y
In Oasis.01, a tunnel and subway entry from Manhattan scramble with row houses from Weehawken. Containers of the train act like the units of these dwellings, which are one of the powerful characteristics of Weehawken.
In Oasis.02, a cathedral from Manhattan scrambles with a house, which settles on the slope just next to the junction connected to Lincoln Tunnel in Kingswood of Weehawken. They orientate to each other without disturbing the hierarchy in terms of the height.
In Oasis.03, a primary school from Weehawken scramables with a parking area from Manhattan. As a parking area is nothing more than an empty space in the context of the river, it turns into something different, which can be utilized by pupils.
In Oasis.04, an outdoor baseball pit, which can be counted as a pretty rare facility in the context of Manhattan Island, from Weehawken coastline scrambles with an art gallery from Hudsonyard, as an enlongmet of Chelsea. This particular offshore structure waits for its hybrid audience.
OAS I S .05
OASIS.06
OAS IS .07
P LAYG R O U N D * G P + ST U D I O * K B
T RA I N STAT I O N * G P + C L I N I C * K B
CO N TAI N E R S *G P + A PA RT ME N T *KB
A R K
In Oasis.05, a playground, which tries to exist among huge port facilities in Greenpoint, scrambles with a studio from Kips Bay, which is used by college students. Artists create their work in peace, which is ony disturbed by joyful noise of children.
In Oasis.06, a train station from Greenpoint scrambles with a small clinic from the huge medical zone in Kips Bay. While the clinic offers a special treatment to its patients by the help of the river, train station tries to exist in East river and attached to the clinic by a simple elevator.
In Oasis.07, a generic New York apartment with its fire stairs and small windows scrambles with the area, which is full of containers in Greenpoint. At this point, detached apartment works with containers by using themas the new architectural tool for circulation.
Ark is an extraordinary ferry, which contains a habitat fro the crew as an extra program. It brings life to the oasis by stopping by next to it, since it has a catalys in its back to start the program. As passengers travel by seein what they left behind, they welcome oases suprised.
HAKAN YORUK In the first layer of the catalyst, the passenger has three option and three seperate corridor. This is what catalyst is all about. It takes, brings, carries, directs, points, underlines and activates. One corridor takes the passenger to the top floor, where a metro entry exists and OASIS.01 begins. Another one corridor takes him directly to a backyard of a row house in NJ.
OAS I S .01 And the last one offers something with the sea.
ROW H O U S E S * N J + S UBWAY EN T RY * N Y
W H AT A R K B R I N G S ? W H AT C ATA LY S T D O ? FRONTYARD
HOW OASIS.01 WORK?
SUBWAY
HALL WC
subway as the frontyard HALL
KITCHEN + DINING HALL
mezzanine as second floor
KITCHEN + DINING HALL
S U BWAY E N T RY
POI N T OF VI E W
BAC KYA R D
WC
BACKYARD
M E ZZAN I N E
sub-route for the sea without oasis
main route * hor.&ver. connector from ark through the subway entry
main route 02 * hor. connector from ark through the bacyard
THROUGH S U BWAY E N T RY
T E R RAC E T E R RAC E 3 R D L EV EL
BEDROOM*01 WC+SHOWER
MAIN ROUTE
THROUGH SUBWAY ENTRY
BEDROOM*02
E
BEDROOM*01
NIN
ZZA
ME
THROUGH M E ZZ A N I N E
WC+SHOWER BEDROOM*02 T E R RAC E
POI N T OF VI E W
POINT OF VIEW POINT OF VIEW 2 N D L EV EL
V E RT I C A L V E SS E L
THROUGH BAC KYA R D
S U B - R OU T E
M AI N R OU T E *01
E N T RA N C E HALL 1 ST L EV EL
M AI N R OU T E * 02
SUBWAY STAIRS
ROOFTOP
SUBWAY ENTRY POINT OF VIEW
POINT OF VIEW
POINT OF VIEW
ISOMETRIC PLANS 1/100 In OASIS.01, a tunnel and subway entry from Manhattan scramble with row houses from Weehawken. Containers of the train act like the units of these dwellings, which are one of the powerful characteristics of Weehawken.
SCRAMBLED IMAGE
SUBWAY ENTRY
DINING HALL
SHOWER+WC
BEDROOM
MEZZANINE? LIVING ROOM
KITCHEN WC BACKYARD
ENTRY
SUBWAY FRONTYARD
SECTION 1/100
SECTION 1/100
HAKAN YORUK W H AT A R K B R I N G S ? OASIS.02 is about a house, which was supposed to be next to a cliff, created by the junction on sloping coastline of New Jersey City but exists attached to a flying buttress of Holy Apostles of New York city.
WC
W H AT C ATA LY S T D O ?
Resemblance on the section and hierarcy in the manner of height is the key point of scrambled image of this particular offshore structure.
HOW OASIS.01 WORK?
DW E L L I N G * N J + C AT H E D RA L * N Y
TERRACE
In the first layer of the catalyst, the passenger has no option except the narrow and high corridor, ends with an arc, on the right side.
OASIS.02 begins with the entry of the cathedral and gives no clue about what it hides above except reinforced concrete slab.
OAS I S .02
BEDROOM
While going upstairs, central space of the cathedral leaves its occurance to the house, however masonry arcs and buttress remain still inside the house.
Passenger finds himself beneath a gigantic flying buttress and in front of a cathedral entry.
through third floor
Then he continues through inside and meets with a wooden transept, attached to Oasis.02 within catalyst of the ark. The only way up depends on seeing the church. By the help of the stairs through wooden structure, he observes the church and transition into the house.
KITCHEN + DINING HALL HALL
POINT OF VIEW
through second floor
CATALYST.02 provides extra vertical and horizontal circulation for this particular oasis. Beyond that, it frames and underlines certain points to emphasize a scrambled image from the point of view of the passenger. In the first layer of the catalyst, the only option/route for the passenger is to follow the right one, since the door on the left side is able to open by only the crew. At the end of this narrow and high corridor, the passenger meets with a buttress and a catedral entry.
main route * hor. connector from ark through the garage P O I NTS O F V I EW
GARAGE GARAGE ENTRY
P O I NTS O F V I EW
POINT OF VIEW
SO U P KI TC H EN TH R O U GH GA RAGE
sub-route for service kitchen
CAT HE DRA L E N T RY
HOUSE ENTRY POINT OF VIEW
TRA NS EPT
main route * hor. connector from ark through the cathedral entry
The passenger realizes the catalyst hides a partial transept to attach to the central space of the oasis/cathedral. And next to it, there is a stair, which carries people up to the gallery and proposed point of views. While going upstairs, perception of gigantism diminished and effect of the cathedraldecreases, as a house starts to show up with a garage, looking to the river.
L I GH T
GALLERY view through transept
P O I NT O F V I EW
TER RAC E 3RD LEVEL
P O I NT O F V I EW TH R O U GH TH E GA RAGE P O I NT OF V I EW
P O I NT O F V I EW 2N D L E V E L
V ERTI C A L CO NNEC TI O N TH R O U GH TRA NS EPT
GALL ERY L I GH T
ADD. PORT
SOU P KITCHEN
AISLE TH R O U GH TH E C ATH ED RA L ENTRY
1ST L E V E L
SOUP KITCHEN
TRANSEPT
CATHEDRAL ENTRY
ISOMETRIC PLANS 1/200
ISOMETRIC VIEW C ATA LY S T + O A S I S . 0 2
bedroom
wheel house
vertical circulation deck*01
garage
chamber*02 deck*02
aisle
transept kitchen
wc
activity room
through catalyst wc*02
kitchen*02
seats
entry
oasis*02 water tank
storage*01
storage*02
engine rooms
SECTION 1/200 SECTION 1/100