Melis UÄ&#x;urlu
Architecture Portfolio 2011-2019
Melis UÄ&#x;urlu Rice School of Architecture, B.Arch 2017 melis.ugurlu@gmail.com 68 Swanfield St. London E2 7DS
Contents
Professional Work 01 The New St Pete Pier................................................................................................04 Project by: Rogers Partners Date Contributed: 2015-2016
02 Extent..........................................................................................................................08 Project by: KM,A Date Contributed: 2017-2018
03 Popover King.............................................................................................................10 Project by: KM,A Date Contributed: 2017-2018
04 STRAIT.......................................................................................................................12 Project by: NEMESTUDIO Date Contributed: 2015
Academic Work 05 Naturally Synthetic....................................................................................................14 Instructor: Andrew Colopy Date: Fall 2016
06 The Human Factory...................................................................................................24 Instructor: Tei Carpenter Date: Spring 2014
07 Specifying the Generic..............................................................................................32 Instructor: Neyran Turan Date: Fall 2013
08 Iconomics...................................................................................................................42 Instructor: Troy Schaum Date: Spring 2013
09 Lorem Ipsum..............................................................................................................50 Instructor: Sam Stewart-Halevy Date: Fall 2012
10 PLAT Journal..............................................................................................................58 Position: Editor-in-Chief Date: 2016-2017
01
The New St Pete Pier Year Location Type Project Owner Involvement Involved in the Schematic Design phase of this project. My design proposal was selected to be used for the main Pierhead building based on client's comments to pursue a new scheme. In addition to designing the formal strategy for this building and drawing in 3D, I also worked on drawing plans, produced early programming diagrams, and budgeting.
2015-2016 St Petersburg, Florida Landscape/Urban Design Rogers Partners Description The design of a new pier in St Petersburg, Florida aims to shift the role of the pier from a destination to an experience. The pier acts both as an icon and a place for the community to engage in various activities. The programming of the pier lends itself adaptable to a diversity of activities and a flexible relationship between natural and built environments. These activities present active and passive connections to its context, the bay, by inserting a wet classroom, water lounge, tilted lawn, places for dining, fishing, kayaking, boating, and swimming. The pierhead at the end of the walkway becomes both a destination for the community to discover a new hub as part of this experience, and also presents an image for the city to represent itself through.
Aerial view rendering of the New St. Pete Pier, displaying the entire pier and the design for the Pierhead building at the end.
Plan view of the New St. Pete
Melis UÄ&#x;urlu 5
Rendering of the Pierhead Building at night, as seen from the boats in the water
Rendering of the Pierhead Building, showcasing the use of the lawn and dock.
6 The New St Pete Pier
Melis UÄ&#x;urlu 7
02 Extent
Year Location Type Project Owner Involvement Participated in the conceptual design of the framework of the project and produced 2D drawings.
2018-2019 Joshua Tree, California Cultural/Installation KM,A Description “Extent” is a hyper-specific programmed structure that explores the spatial and visual limits of its environment. At once subtle and dominant, the space between and around two parallel walls enables activities of rest, viewing, and play, while engaging in a dialogue with the vastness of Joshua Tree. “Extent” performs as an instrument that is reciprocally imprinted on and projecting to the site. "Extent" was designed and installed as part of SCI-ARC's summer course as a response to the prompt by Space Saloon.
Rendering of the installation structure, showcasing the elements and user experience
Real-life installation of Extent in Joshua Tree, California
Melis UÄ&#x;urlu 9
03
Popover King Year Location Type Project Owner Involvement Involved in this project from the early conceptual design phases through the completion and submittal of construction drawings set. I was responsible for producing renderings that depict the interior of the space, communicating with the client, selecting fixtures, appliances and surface finishes, designing furnitures, and producing both 2D and 3D drawings.
2017-Present Boston, Massachusetts Bakery/Bar KM,A Description Popover King is a bakery in Boston that turns into a bar at night. The scope of the project includes reconstructing the space to provide for the program of a bakery and a bar, as well design of fixed and movable furniture to accommodate the use of space. A particular interest in this project lies in experimenting with different application techniques of familiar materials, in order to lend to unfamiliar atmospheric, acoustic, and formal qualities. Plaster is used in fluid forms that reads as a texture; fabric (felt) is experimented with pleating and inflation techniques to achieve both acoustic performance and visual aeshtetic. In this all-white space where materials claim their presence through texture, design of the furniture focuses on the contrast between wood and black steel to enable an at once clean and raw space.
Melis UÄ&#x;urlu 11
04 STRAIT
Year Location Type Project Owner Involvement Involved in this project from the early research phases through the final exhibition. Mainly responsible for producing the visual materials (drawings and collages that depic the fictional narrative) and the silent film that was screened throughout the exhibition.
2015 SALT Gallery, Istanbul Film & Installation NEMESTUDIO Description STRAIT consists of a speculative narrative that took form as a silent film and an installation in SALT Gallery in Istanbul. The installation explores the geopraphic scale of the narrow Boshoprus Strait as a human-scale passageway. The shape of the strait's shoreline is extruded to the height of the ceiling that transforms a map into a real life object. The construction of this object uses the ornamentation technique of crown moulding, where the profiles of this geographical object is recreated through this application. Accompanying silent film includes speculative drawings and collages that imagine a fictional story through architectural language. The story revolves around the oil tank, "Oilella," that ultimately gets stuck in this passageway due to the strait being more narrow then always assumed. STRAIT presents a critique on our understanding of our city's geopgraphies and how human actions and interruptions are in some ways disregarding the scales of geography.
STRAIT installation at SALT Gallery
Melis UÄ&#x;urlu 13
05
Naturally Synthetic: Thinking Plastically About the Wrapper Date Instructor Project
Fall 2016 Andrew Colopy Innovation Institute NASA Johnson Space Center Houston, TX
1
Wrapper Naturally Synthetic investigates the potentials of the ‘wrapper’ in an effort to
2
Plastic Plastic is at once the material and the
public and private spaces are covered in two visually and compositionally distinct plastic materials: the inside with hard, rigid, and shiny thermaform—acrylic—while the outside surface is soft, malleable, and matte elastomer—neoprene foam rubber. The users in private interstitial space
conceptual, spatial, and formal approach
experiences the wrapper in close proximity
to design. Plastic is fluid, viscous, shape-
as they literally work or lounge against the
less. Plastic can be hard, soft, shiny, matte,
surface. Therefore while neoprene provides
malleable, or rigid. The design of the NASA
a more intimate experience and aesthetic
Innovation Institute takes advantage of this
through the soft, matte surface that is fur-
multiplicity thinking and designing plasti-
ther molded into smaller curvatures in hu-
cally offers.
man scale, the acryclic in the public interior
Imagining a plastic organization of space
is hard, shiny, and reflective due to its color,
challenge the contemporary definition of
allowes the inhabitation to be open and
which speaks to the fact that the wrapper is
the envelope. The wrapper differentiates
collective, yet segregated and differenti-
always experienced at a certain distance,
itself from the envelope by taking part in the
ated that is programmatically a start-up
for instance standing in the middle of the
organization of space in the building, capi-
and dormitory. The fluid geometry in plan
room. Furthermore, while the inside surface
talizing on its materiality, and embellishing
is achieved through a system of morphing
is interpreted as an object that wraps the
the interior as well as concealing it.
of the initial geometry of an oval. It is open
user, the outside surface of the wrapper
Organizationally, the building imagines
through not having any additional partitions
is experienced as a wall, always walking
an alternative to the strictly distinct spatial
but is also privatized through creating small-
alongside of it and never comprehending it
types of free plan and terminal room by
er pockets of spaces around the main axis
in its totally.
offering a synthesis of the two. Initiated
of the oval through the deformation in plan.
through a process of deformation, the
The central axis that is inherent to the oval's
of the building constantly changes changes
wrapper is morphed into a geometry that
geometry is preserved and used as the main
and is multiplied.
is primary in determining programmatic
circulation path from which different spaces
organization.
of inhabitation are stemming off from. Such
While the wrapper is the three-dimen-
coexistence functions as both free plan
sional figure within the building that defines
and terminal room, creating a hybrid as an
the spatial organization, this figure, and the
alternative.
building, is then placed inside a secondary
The choice of plastic as a material is
enclosure. The bounding box accomplishes
equally important as it defines the space
the technical duties of an envelope: climate
atmospherically, aesthetically, and formally
control and weather protection. Other than
while offering a variety in kind, application,
serving the functional purposes, this bound-
and visually.
ing box does not communicate the formal,
The building is constituted of two distinct
Through such distinctions, the experience
3 NASA
In the context of Johnson Space Center, this building becomes one of the ‘objects.’ While seemingly similar to the rest of the
aesthetic, or organizational properties of the
environments through the choice of materi-
governmental buildings on campus through
building, stressing further the split in roles
al. The interior space inside of the wrapper
its glass façade, the wrapper inside implies
between the envelope and the wrapper. The
is public designated to activities that are
it to be different. Aiming to reflect the
glass envelope, the most immediate public
meant to invite large numbers of people,
image of NASA, this project asks: Is NASA
expression of the building, is transparent
such as auditorium, gallery, café. The inter-
represented by buildings or objects? Visual-
in order to reveal the wrapper inside of it as
stitial space, however, that is between the
ly, the exposure of the wrapper and the fact
the primary image of the building.
wrapper and the envelope accommodates
that the building is aligned with the objects
more private activities including private
of NASA, such as the space rocket, renders
lishes the aesthetic, atmospheric, organiza-
office or lounge spaces as well as the dorm
the buildings as one of the ‘objects’ of NASA.
tional, acoustical, formal, and experiential
rooms.
The Innovation Institution claims itself to be
The wrapper, on the other hand, estab-
characteristics of the building through geometry and material.
In order to respond to different uses, the two sides of the wrapper facing these two
at once an object and a building, aiming to represent NASA architecturally.
Melis Uğurlu 15
PINCH INCREMENT: 24.80
22 CONTROL POINTS PINCH INCREMENT: 24.80
20 CONTROL POINTS PINCH INCREMENT: 24.80
20 CONTROL POINTS PINCH INCREMENT: 24.80
20 CONTROL POINTS PINCH INCREMENT: 20.13
Grasshopper Variations
20 CONTROL POINTS PINCH INCREMENT: 20.13
Grasshopper generated threedimensional variation
16 Naturally Synthetic
3D printed concept model of one of the variations
Handmade ripple model of neoprene foam rubber
Melis UÄ&#x;urlu 17
2
1
INTERSTITIAL LINED WITH THE DORMITORY WALL
EXTERIOR PUBLIC FACE
5 4
DORMITORIES
INTERIOR II UPSTAIRS NATURALLY LIT
DARK
LIGHT
SOFT
2
HARD
SQUISHY
INTERSTITIAL LINED WITH THE WINDOW
PUBLIC CONFERENCE, EXHIBITION, “GARAGE”
SHINY
TEXTURED
SMOOTH
ORGANIZATIONALLY, THE WRAPPER GAINS HIGHER RESOLUTION WITH CLOSER PROXIMITY
ORNAMENTAL
TEXTURE
ORGANIZATIONAL
While both sides are made out of plastic, the visual, formal, and tactual differences between the two types (Elastomer & Thermaform)
Neoprene Foam Rubber
Acrylic
generate two completely different aesthetics
3 INTERIOR I DOWNSTAIRS ARTIFICIALLY LIT
PUBLIC LOBBY, CAFE, AUDITORIUM
THE MORE PRIVATE SPACES OF RELAXATION, WORKING, KITCHEN, SLEEPING IS LOCATED IN THE MORE OUTER LAYERS OF THE INTERIOR AS WELL AS BEING MORE DIRECTLY EXPOSED TO THE OUTSIDE PUBLIC
18 Naturally Synthetic
A FIGURE (”IN A B0X”)
PUBLIC THE FACE OF THE BUILDING IS THE MOST IMMEDIATE EXPRESSION OF THE BUILDING
southwest elevation: 1/8” = 1’
southeast elevation: 1/8” = 1’
+ 63.5’ roof + 60.0’
fourth floor + 45.0’
third floor + 30.0’
second floor + 15.0’
ground floor 0.0
basement floor -15.0’
Longitudinal Section
Transverse Section
transverse section: 1/8” = 1’
longitudinal section: 1/8” = 1’
2
1
INTERSTITIAL LINED WITH THE DORMITORY WALL
EXTERIOR PUBLIC FACE
5 4
DORMITORIES
INTERIOR II UPSTAIRS NATURALLY LIT
DARK
LIGHT
SOFT
2
HARD
INTERSTITIAL LINED WITH THE WINDOW
SQUISHY
PUBLIC CONFERENCE, EXHIBITION, “GARAGE”
SHINY
southwest elevation: 1/8” = 1’
southeast elevation: 1/8” = 1’
Southeast Elevation
TEXTURED
Southwest Elevation
SMOOTH + 63.5’
ORGANIZATIONALLY, THE WRAPPER GAINS roof HIGHER RESOLUTION WITH CLOSER PROXIMITY + 60.0’
ORNAMENTAL
TEXTURE
ORGANIZATIONAL
While both sides are made out of plastic, the visual, formal, and tactual differences between the two types (Elastomer & Thermaform)
Neoprene Foam Rubber
A FIGURE (”IN A B0X”)
fourth floor + 45.0’
Acrylic
generate two completely different aesthetics
third floor + 30.0’ 3 INTERIOR I DOWNSTAIRS ARTIFICIALLY LIT
PUBLIC LOBBY, second floor CAFE, + 15.0’ AUDITORIUM
ground floor 0.0
PUBLIC THE FACE OF THE BUILDING IS THE MOST IMMEDIATE EXPRESSION OF THE BUILDING
Melis Uğurlu 19
A1
B
A2 3’ 6”
24’ 0”
C 24’ 0”
D 24’ 0”
E 24’ 0”
F 24’ 0”
G1 24’ 0”
G2
3’ 6”
1 7’ 0”
2 14’ 0”
3 14’ 0”
4 14’ 0”
5 14’ 0”
6 14’ 0”
7 7’ 0”
8
Ground floor plan
A1
B
A2 3’ 6”
24’ 0”
1 7’ 0”
2 14’ 0”
3 14’ 0”
4 14’ 0”
5 14’ 0”
6 14’ 0”
7 7’ 0”
8
Second floor plan 20 Naturally Synthetic
C 24’ 0”
D 24’ 0”
E 24’ 0”
F 24’ 0”
G1 24’ 0”
G2
3’ 6”
A1
B
A2 3’ 6”
24’ 0”
C 24’ 0”
D 24’ 0”
E 24’ 0”
F 24’ 0”
G1 24’ 0”
G2
3’ 6”
1 7’ 0”
2 14’ 0”
3 14’ 0”
4 14’ 0”
5 14’ 0”
6 14’ 0”
7 7’ 0”
8
Third floor plan
A1
B
A2 3’ 6”
24’ 0”
C 24’ 0”
D 24’ 0”
E 24’ 0”
F 24’ 0”
G1 24’ 0”
G2
3’ 6”
1 7’ 0”
2 14’ 0”
3 14’ 0”
4 14’ 0”
5 14’ 0”
6 14’ 0”
7 7’ 0”
8
Fourth floor plan Melis Uğurlu 21
22 Naturally Synthetic
11 10
Acrylic:Acrylic: Discretization, Discretization, PanelingPaneling
steel armature steel armature laser cut, and assembled laser cut, to each and assembled other with fins to each other with fins
12 13 14 15 16
panelized acrylic surface panelized acrylic surface each panel precisely each fabricated panel precisely using multipoint fabricated stretch usingforming multipoint stretch forming
1 2
1
1 9
2
9
8 3
6
6
7
7
8
4
8
neoprene rubber foam
2
1/8” acrylic sheet
3
1/16 steel plate - laser cut
4
fire insulation screw with 2” washer
6
steel L-plate
7
steel Z-clip
3
4
6 7
1
5
8
10
8
rubber connector
9
VHB tape
10
1/4” rubber flooring 2” screed polythene membrane 1.5 sound insulation 8” reinforced concrete deck suspended ceiling galvanized metal
1
neoprene rubber foam
2
5 sheet 1/8” acrylic
3
1/16 steel plate - laser cut
4
fire insulation
5
screw with 2” washer
6
steel L-plate
7
1/8” acrylic sheet 2
3
1/16 steel plate3 - laser1/16 cut steel plate - laser cut
4
fire insulation 4
5
screw with 2” washer 5 screw with 2” washer
1/8” acrylic sheet
1/8” acrylic sheet
3
1/16 steel plate - laser cut
6
steel L-plate
6
steel L-plate
4
fire insulation
7
steel Z-clip
7
steel Z-clip
8
rubber connector 8
rubber connector
5
screw with 2” washer
9
VHB tape
VHB tape
6
steel L-plate
7
steel Z-clip
7
8
rubber connector
5
neoprene rubber 1 foam neoprene rubber foam
2
2
6
2
1
4
10
1
11
4
1
12
9
VHB tape
10
1/4” rubber flooring 2” screed polythene membrane 1.5 sound insulation 8” reinforced concrete deck suspended ceiling galvanized metal
13
3
14
9
fire insulation
1/4” rubber flooring 10 1/4” rubber flooring 2” screed 2” screed polythene membranepolythene membrane 1.5 sound insulation 1.5 sound insulation 8” reinforced concrete8”deck reinforced concrete deck suspended ceiling suspended ceiling galvanized metal galvanized metal
high performance 11 low-e highstructural performance glazing low-e structural glazing (3 1/2” in thick layers)(3 1/2” in thick layers)
6 in thick mineral 12 wool 6 in thermal thick mineral insulation wool thermal insulation
3
lateral support13 for glazing lateral support for glazing 2 in setting block 14
2 in setting block
15
steel L-plate providing 15 steel theL-plate verticalproviding support the vertical suppor for glazing for glazing
16
operable shading 16
17
roof glazing for17 indirect roofsunlight glazing for indirect sunlight
18
shingled glazing 18
19
gutter
20
roof flashing 20
roof flashing
PVC sealant
PVC sealant
19
operable shading
shingled glazing gutter
11
high performance low-e structural glazing 21 3” gravel 21 3” gravel vapour permeable membrane vapour permeable membrane (3 1/2” in thick layers) 5 in SPS thermal insulation 5 in SPS thermal insulation
steel Z-clip
12
6 in thick mineral wool thermal insulation
8
rubber connector
13
lateral support for glazing
9
VHB tape
14
2 in setting block
10
1/4” rubber flooring 2” screed polythene membrane 1.5 sound insulation 8” reinforced concrete deck suspended ceiling galvanized metal
15
20 steel L-plate providing the vertical support for glazing
16
operable shading
17
roof glazing for indirect sunlight
18
shingled glazing
19
gutter
11 10
2
neoprene rubber foam
high performance low-e structural glazing 11 (3 1/2” in thick layers) 11 17
17
18
18
12
6 in thick mineral wool thermal insulation
20
roof flashing
13
lateral support for glazing
21
14
2 in setting block
15
12 providing12the vertical support steel L-plate for glazing
3” gravel vapour permeable membrane 5 in SPS thermal insulation PVC sealant
16
operable shading
17
roof glazing for indirect sunlight
18
shingled glazing
13
13
14
14
15
15
20
19
19
21
Melis Uğurlu 23
21
06
The Human Factory: Body as Commodity & Formless Operations in Prototype Design Date Instructor Project
Spring 2015 Tei Carpenter Prototype Set Texas Medical Center Houston, TX
3
while consumption is the ongoing search for perfection of the human body. In the transition from production to consumption, patients become buyers. The coexistence of these two worlds are juxtaposed in the design both spatially and
1
Human Body in Progress In today’s medical world, the human body is artificially constructed and constantly changing. In the past, the human body was considered as the perfect object. Today, with the advance in technologies and research, human body is seen as a transformable matter that is targeted to be ever more perfect. The human body is a site of production and consumption; it is constant-
programmatically. Production spaces are gridded, regularized, rational and host re-
Spray Foam into Fabric Formwork Concrete
search and lab spaces. Consumption spaces
The fabrication of the prototype set relies
are unpredictable, ephemeral, desire-driven
on an analog operation that intends to use a
and include ‘gallery’ and ‘shopping’ for the
material that is malleable at first and gains
Medical Center.
rigidity once molded. The concept models experimented with spray foam and frame
2
Formless Prototype Design The studio focuses on the deployment of
built out of brass rods. Spray foam was a particularly significant material in testing the potentials of prototype making through an analog and formless process as the action of 'spraying' could not be pre-calculated and led to different results each time based on uncontrollable variables such as the force applied, amount released, and direction. Through an extensive material research,
ly modified and commodified. Consequently,
a prototype set as an adaptable system as
concrete was chosen in imagining the con-
the human body is unstable, unpredictable,
opposed to the design of a perfect singular
cept models' translation to full scale built
and incomplete: it is in progress.
object. Rather than the traditional meth-
form. Traditionally, concrete is known to be
od of thinking of the notion of prototypes
solid, heavy, and rigid. However, it is inher-
of a research seminar and a design studio—
through kit of parts or relying on the
ently a liquid material that later gains rigidy
rethinks the relationship between architec-
computer-generated variations, this project
when molded. Through formworks such as
ture and industrial production.
proposes a new way of understanding pro-
fabric, concrete can take fluid forms.
This studio—a year long course consisting
Our site, Texas Medical Center, is a
totype making. This new method explores
Through using silicone and fabric as
human factory. Here, human body is manipu-
an analog process that produces numerous
formwork and bags of sand as a way to give
lated, modified, and employed in various
possibilities arising from the outcomes
shape, concrete is molded into geometries
ways. Clinical medicine asserts its power
of unpredictability. The process and its
that are the result of the formless operation.
through technological hegemony. Technol-
products are formless through relying on
ogies and advancements in this field have
both an analog action that the outcomes of
of consumptions spaces, such as gallery
facilitated the transformation of human
cannot be predetermined and the element
and shopping, aiming to represent the
beings into products of the medical world.
of chance. No one product can be repeated
unpredictable and unfamiliar character of
The line between human and the machine is
in its exact way but a limitless number of
consumption through its form. The steel
blurred as a more dehumanized version of
versions can be generated.
frame is then the structural and organiza-
the body is produced. This mechanical pro-
The prototype consists of two elements: a
The concrete is designated for the areas
tional element for the production spaces in
cess of dehumanization devalues the body
fixed three-dimensional grid represents the
the building. Lab and consultancy rooms,
as a site of production. In the end, human
rigid and stable framework, while this frame
representing production and science, are
body becomes a medical construct.
is invaded by a fluid, unstable, and formless
located within the solid blocks in this steel
fluid. This formless operation suggests
frame and formally, as well as organization-
cation of the human body has generated two
that, much like Robert Smithson’s Asphalt
ally, share the rational and regular character
opposite phenomena within the Texas Medi-
Rundown, an analog process can yield to
of the grid.
cal Center. Production and consumption has
unlimited production of variations of the
In its fabrication, the project continues
split medicine into two worlds. Production
prototype due to its unpredictable nature.
to argue for transformation, artificiality, and
This project argues that such commodifi-
refers to the field of science and treatment,
formlessness.
Melis Uğurlu 25
In today’s market economy, everything on earth has the potential to become a salable commodity and human body is no exception. As medical production transforms the human body, reciprocally, the human body becomes at once the product and commodity. Medical technologies enable the commodification of the body, while current market economy catalyzes it. At Texas Medical Center, patients are buyers.
26 The Human Factory
Melis UÄ&#x;urlu 27
Fabrication Process: Silicone & Fabric Formwork Concrete
00:00 Silicon rubber
stabilized as the bottom layer.
02:30 The concrete can
also be molded in the opposite direction; the unit is ‘poked’ from the bottom with smaller bags of sand, creating varied curvature. The sandbags used to give shape to the concrete also speak to the formless character of the concrete pieces.
28 The Human Factory
00:10 Concerete is mixed
and poured onto the elastic surface of the silicone rubber along with a metal mesh on the edges for reinforcement.
00:30 Once the concrete
is poured and is about an inch thick, the top is covered with spandex—a fabric with a much higher elasticity than the silicon rubber on the bottom layer. The particular reason for choosing a higher elasticity material for the top layer is so it can be molded with application of force, weight, and gravity. The bottom layer, although also an elastomer with a certain elasticity, is more rigid, which is necessary to hold the concrete.
24:05
02:00 When the concrete
is still in a malleable state—not as liquid as in the beginning but not completely dry and rigid—a bag of sand is placed on top of the spandex layer. The weight of the sand, along with gravity, is meant to create a directional curvature and ‘bend’ the concrete.
24:10 The final product is rigid Similarly, the bottom hours later, the concrete is dry layer of silicon rubber can also be and have taken the shape of the and has gained rigidity in the peeled off to reveal the final form sand bags. form it was molded into. Spandex of the concrete unit. can be peeled off the surface now. 24:00 About twenty-four
Initial Formal Concept Studies: Spray Foam
Final 1:1 Fabric Framework Concrete Panel Mock-Ups
Melis UÄ&#x;urlu 29
Typical Plan & Section
1 2 3 4
Boundary: Site constraints that limit the leaks such as buildings and streets nearby Frame: Bounds and holds the form of Construction and provides the structure of the building Restrictions: Production spaces such as labs and consultancy rooms that fill in the frame control the movement of Consumption Leak: Consumption leaks out once not constrained by boundaries and fills
30 The Human Factory
Deployment of the Prototype Set
Melis UÄ&#x;urlu 31
07
Specifying the Generic Date Instructor Project
Fall 2014 Neyran Turan Masterframework & Live and Work Block Houston, TX
Examining the urban character of the
1
Masterframework
scale, and organization to achieve multi-
site, we argued that the comparatively
ple specified column grids. The resultant
large blocks were hindering the possibility
variety of fields could be associated with
of rapid change that we speculated to be
different kinds of activities to take place in
integral for its growth. Therefore, primarily,
these spaces.
we decided to reduce the block sizes. Based
Another level of specificity introduced
on our observations, there was already an
to the project was through the geometry of
inherent subdivision within this superblock.
enclosures. Driven by efficiency models,
In order to accommodate easier and faster
column grid typically wants to be a rectan-
change within the blocks, we proposed a
gle. The intention here is to take the column
denser grid, shifting the superblock to a
grid out of its comfort zone and into forms
supergrid.
that aren’t rectangles but still primitive in shape—a language of curves, diagonals that
Masterframework is an urban strate-
are in effect in plan primarily.
gy that is at once structured and loose.
Both the variety in column grid and
Masterframework aims to both contain
enclosures create different zones within the
and stimulate social and physical change.
building that can be occupied by different
Masterframework situates itself in between
uses of live and work and spatial organiza-
masterplanning and point interventions.
tions from open to modular.
Unlike masterplanning, masterframework
The ground floor is designated for work
is eager about change while having a legible
and mostly is an open space that welcomes
form through partial interventions.
different kinds of work spaces and organi-
2
The site that is located in Southwest Houston has a history of fluid and diverse populations that have socially transformed the area into a dynamic, constantly changing, heterogeneous community. Today, the area keeps changing and is expected to attract even more occupants in the future. Fantasizing over the unstable future of the site, we imagined an urban scheme that proposes physical transformation in response
Superneighborhood Block For the design of a single superneighbor-
zations. For instance, larger programs such a conference hall or theatre space can be occupied in a column field with a large span, while the denser, thinner columns can be expected to be occupied by a more free open workspace, such as bürolandschaft. Some column grids can also contain closed office plans, studio, and exhibition spaces or more flexible arrangements. The column grids are undefined in the way how the spaces could
to the social changes to accommodate
hood block, I was interested in responding
be used but gives certain clues about what
multiple publics and their diverse lifestyles
to the condition of social transformation
could go in them.
while also providing stabilities that can
observed in the site and the fact that con-
control this fluidity.
sequently, the site is experiencing multiple
residential units. This floor plan shows
publics with significantly varied lifestyles.
how different sizes of units in different
In an effort to design a building that can accommodate this change, I imagined a
The second level accommodates all the
arrangements can appear through a modular organization of various column grids.
site where the design of a ‘generic’ system
Thus, column grid, in its very generic
can get repurposed rather than a ‘specific’
nature is in fact very specific. It can trans-
building getting demolished because it is
form spaces and become anything. It can be
no longer relevant to a certain user and
both open and modular: work and live. Once
obsolete.
specificity and subjectivity is introduced,
Being interested in the inherent generic
the generic column grid gains new freedoms
character of a column grid, I was equally
and potentials rather than losing them. In
intrigued by the multiple kinds of a single
the context of Masterframework, this is a
column or field that can get specified in nu-
system that aims to celebrate the change
merous ways. Celebrating this multiplicity,
and imagine new potentials within the
I introduced a set of subjectivities of form,
system.
Melis Uğurlu 33
Site model showing 'delay' zones in gray, voids as objectified forests, the decreasing lifespan of existing buildings in gradients of pink, and finally individual studio projects as point interventions.
34 Specifying the Generic
Phases of a nine-block unit within the site showing how the objectified forests grow to gain its shape in addition to the constant deconstruction-construction cycle within each block.
Fragment of the site shown in Phase I: objectified forests in initial state, 'delay' zones containing buildings to be preserved, and point interventions(in pink)
Oblique drawing of the superneighborhood blocks.
Melis UÄ&#x;urlu 35
Studying the site of Southwest Houston, column grid typically wants to be a rectangle, a box, and a shed... In a context that presents such generic manifestation of the column grid, could the shape of the building, if other than a rectangle, mean something else?
36 Specifying the Generic
Within the realm of these 'boxes' or sheds such as drug stores, column grid is driven by efficiency models. What if the column grid could specified based on the activities it is meant to hold while still taking advantage of its relevance to use?
Melis UÄ&#x;urlu 37
The block is subdivided into zones
38 Specifying the Generic
Different column grids are assigned to the zoness
Non-rectangular shapes are introduced onto each zone
The shapes form solid and void spaces, differentiating inside and outside
Model of the block showing different column fields in different colors and the plexi for shape of the solid and void spaces that the column or tree fields reside.
Fragment model showing different kinds of column fields with different activities within each zone.
Melis UÄ&#x;urlu 39
Ground floor plan
40 Specifying the Generic
Second floor plan
Melis UÄ&#x;urlu 41
08
Iconomics: Aggregate Relations Date Instructor Project
Spring 2014 Troy Schaum Experimental Theatre Ciudad Cultural Konex Buenos Aires, Argentina
1
Iconicity The study of Iconomics in this studio
2
The achieve this multiplicity, the design
and spaces. Ultimately, this project aims to
the otherwise heterogeneous set of objects
primarily depends on a formal operation
entertain multiplicity and diversity within
that generates a pair. A volume is subtracted
unity, which is intended to achieve through
from a cube and then placed adjacent to it
both the grid and repeated formal operation
in order to formulate a solid-void pair. This
of the self-similar singular objects.
operation is then repeated four times with a different prism object each time in order to create a set of four pairs and ten linked objects. The clear legibility of the binary communicates the formal operation with the
design of this project is generated through
public and the form strives to achieve an
a formal operation that multiplies a singular
iconic character. While highlighting on the
architectural object to achieve a set. Ico-
clear legibility, this project also asks: how
nicity, therefore, is defined through a more
can this clear formal binary be blurred? The
complex understanding of multiplicity. The
lexicality of the operation is formally visible,
project acknowledges the current criticism
however, how can this indexical relation be
on the iconic architectural form that has to
more complicated on the inside? In order to multiple the experience
Rather than turning its back on these criti-
further, this clear binary is blurred through
cisms, this studio investigates the topic of
spatial organization within the building
iconicity further through research and travel
where the two singular objects of the pair
to develop a discourse of Iconomics.
aren’t simply inverted duplicates but create new combined spaces. This combination
Aires, Argentina, which is where the site was
generates new part to whole relationships
located. Responding to the relationship be-
that are different than the initial easily
tween global and local publics, this project
legible parts of the solid-void pairs. Through
is a design for an experimental theatre for
interior organization, programmatic distri-
Ciudad Cultural Konex. As a site of media
bution and exterior representation at times,
and global audience, CCK deals with the no-
I intended to lose the legibility of the binary
tion of the ‘public’ and the multiple publics.
and lexicality of the operation. The formally
The project aims to propose a way to ex-
negative-positive and graphically symmetri-
press the heterogeneity of different publics
cal spaces instigate unexpected inside and
in the global context through multiplicity in
outside relations once they are merged into
experience, objects, and space.
various continuous spaces.
In tracing the disciplinary history of
Each floor plan is overlaid with a grid that is both structural and organizational. The grid introduces the element of uniformity to
reproducibility of the architectural icon. The
The studio included a class trip to Buenos
building reveals the activities inside of it.
Multiplicty
capitalizes on the easy legibility and mass
do with global legibility and transportability.
ents the same shapes as openings into the
The solid and void pair investigates the
the icon, beginning with Venturi and Scott
same formal volume’s spatial implications
Brown's introduction of the "new monumen-
as a solid and void. As the ‘solids’ are
tality," this project also thinks through the
aligned on the same side of the building, the
concepts of "bigness" put forth by Koolhaas.
building communicates differently on the
Issues such as dislocation of large interior
exterior on all sides. While north and south
spaces from their exterior context and the
elevations directly suggest the solid-void
multiplicity achieved within in a single inte-
binary and indexicality, east elevation poses
rior is further investigated to understand the
the four objects against the ‘background’ of
notions of multiplicity and the aggregate.
their void pairs, and the west elevation pres-
Melis Uğurlu 43
44 Iconomics
the solid
void solid
Adjacent solid and void pairs in plan
Adjacent solid
void pairs theand solid-void pair section
in
sets of solid-void pairs
Exhibition vs Voyeurism The solid objects exposed against the background of the void boxes and the cut-outs on the opposite side allowing the viewer to voyeur into the building through the same 'shapes' as openings.
Melis UÄ&#x;urlu 45
a continuous circulation core
a continuous circulation core void
solid
void
the varied individual parts
solid
the solid-void pair the solid-void pair
create
Part to whole relationship
a continuous space
sets of solid-void pairs sets of solid-void pairs
individual objects
create
the varied individual parts
a continuous circulation core
Formal juxtapositions
a continuous space solid
individual
individual
the units Formal juxtapositions individual objects
individual
create
individual united
individual objects
a continuous space
parts? Part to whole relationship
Formal juxtapositions
individual
voyeuring
individual united
voyeuring exhibiting solid
the units
exhibiting voyeuring
individual objects
a continuous circulation core
46 Iconomics
exhibiting
the varied individual parts
parts?
Final model of the Cuidad Cultural Konex showing the further variety in each part through surface applications, wallpapers, material, and structural multiplicity.
Melis UÄ&#x;urlu 47
First floor plan
Third floor plan 48 Iconomics
Second floor plan
Fourth floor plan
North Elevation
Section
South Elevation
Section
East Elevation
Section
West Elevation
Section Melis UÄ&#x;urlu 49
09 Lorem Ipsum
Date Instructor Project
Fall 2013 Sam Stewart-Halevy Urban Design Houston, TX
nation of any program or architecture. They are the absence of architecture and initially no-build zones. However, their ultimate function is to accommodate what is yet to come that today’s architecture cannot pre-
1
dict or suffice. They represent the “unknown
2
Solids and Voids
future.” In the form of un-built, meaning as long as they stay voids, they are the expectations, speculations and hopes of the inhabitants for what could potentially come in here.
Indeterminacy
When the voids start to fill up, which could
As architects and urbanists we can only
pancy of the surrounding solids, they may
be the case of maximum activation or occu-
design what we can imagine or know of
take different forms. They could become a
within the means of our time. The time is
new world that provides every inhabitant
changing rapidly and so are people’s needs
with everything they would ever need; a cha-
a relationship of solids, three-dimension-
and desires with it. In a world where no one
otic outgrowth; a platform for all the more,
al frames to be occupied, and voids, the
generation owns the city and no one archi-
new and popular objects of architecture; or
undeveloped zones, are established upon
tect can predict what is yet to come, what
a distasteful architectural intrusion. Over
planning the site.
could accommodate the unknown future?
each phase and time period, contained in
The proposal for this urban project aims for a design, much like the world we live in, that constantly changes, disappears,
the boundaries of the voids, new futures will be accommodated here. These notions of indeterminacy and
and evolves with the changing demands of
absence manifests itself in multiple scales,
each new time period. The architectural
starting with the voids in the urban scale,
and urban approach is to establish a set of
theoretical frames in the architectural scale,
indeterminacies within certain boundaries
and finally, the flexible plug-in column units
and guidelines, which is imagined to both
in the scale of a detail.
contain and stimulate this change. The project consists of designated
The site was initially a tabula rasa and
As a result, the synthesis of solids and
The voids are then shifted along the site in order to follow for better flow and circu-
voids deal with indeterminacy on a both
lation around the site, leaving the unbuilt
solid and void spaces. The solid, the built
architectural and urban scale. While the life
zones as islands within the built zones.
space, is imagined as a field of blocks
built (and unbuilt) inside the frame blocks
in the form of structural frames. These
of solid activate new developments in the
with new developments throughout time
theoretical three-dimensional frames are
voids, these new developments and activi-
while the voids—unbuilt zones—are to remain
constructed out of and measured in terms
ties within the void also have the power to
empty, triggering growth around them.
of coordinates. The inhabitants own and buy
stimulate different kinds of growth in the
coordinates within the frame rather than
solids. Therefore, rather than becoming a
predetermined housing units. This allows
limit and a fixed predefinition that waits to
them to construct their own distinct living
be filled, this project proposes to become a
environment with the amount of space they
dynamic cycle of constant construction and
choose to own. When these units are no
deconstruction, activation and deactivation.
longer used by the specific user, they can be
A site that will remain under construction
deconstructed and replaced with the newer
and will not belong to any specific period of
ones. The building parts that constitute the
time. A site that accommodates the poten-
units such as the walls, furniture, and pipes
tial of the undefined.
The solid—frames—are meant to be filled
disappear, while the coordinates remain to be filled with something else. The voids in this project are a set of undefined spaces, which have no predetermi-
Melis Uğurlu 51
Site model where the 'solid' is represented as the foam and heteregenous activity is imagined for the future of the undefined voids.
52 Lorem Ipsum
Melis UÄ&#x;urlu 53
Axonometric of the fragment showing the activity in solid and void spaces.
54 Lorem Ipsum
Melis UÄ&#x;urlu 55
phase I
phase I
phase II
phase II
phase III
phase III
56 Lorem Ipsum
The future scenerios show three of the million possibilities of what this currently undefined space can turn into. With each generation’s pre-conceptions of the previous architectural productions, our profession constantly renews itself by denying its previous self. In this case, the voids can become the spotlight for these new and popular creations of time. When the built space of frames gets old, the voids can be filled with the most exciting contemporary objects of architecture and when these get old, they can be replaced with the newer ones. Therefore the site of the voids will remain forever under construction.
The inhabitants of this place can also decide that they enjoy the voids as they are. The voids, in their undefined state fuction as an empty space and a buffer between the lives built and filled inside the frames. The residents may choose to keep the voids free of any architectural intrusion: they are beautiful as absence. Thus, the voids may become parks, recreation areas or outdoor gathering spaces: a public green, a glue between the solids.
The inhabitants might end up building a new life inside the voids and realize that the only good life is the one they have created here. The voids are filled with their desires, fantasies, needs. The residents will evacuate entirely into the voids and thus the frames will be abandoned. However much like the frames can stimulate growth in the voids, the voids do the same. The frames and voids constantly rejuvinate each other and eventually new developments may happen in the frames. Neither one of them has bias over each other. So when the voids get “too boring”, which they will, the people will head back into their frames as if nothing happened.
Melis Uğurlu 57
10
PLAT Journal
Rice School of Architecture's independent student-run journal Date Position Issues
2016-2017 Editor-in-Chief PLAT 6.0 Absence PLAT 5.5 Re: License
1
2
PLAT 6.0 Absence In our current day and age of spectacle
PLAT 5.5 Re:License In the curation of PLAT 5.5 Re: License,
and excess, PLAT 6.0 Absence aims to offer
we asked ourselves the question, "What
a moment of pause and shift our focus to
does it mean to create discourse around
the quiet, unseen, unnoticed, and rare. This
and through a journal?" Rather than being
issue of PLAT uses absence as a lens to see
an independent issue that introduces a new
things extraordinarily while understanding
theme and curates new content, Re: License
the discipline in its nuances, possibilities,
serves as a direct response to its preceding
and reductions. Whether tired or bored of
issue, 5.0 License. We intended to use this
what is constantly there, in an attempt to
issue as a way to continue the conversation
escape, the editors and contributors of this
around License and construct a more direct
issue are seduced by absence. Perhaps it is
dialog between the two issues. This issue
a simple play of our prefixes: what is unseen
presents a retrospective look on both PLAT
is reseen; the deconstructed reconstructed;
5.0 License and the history of PLAT on a
the indeterminate redetermined; and so on.
whole.
The discipline of architecture insists that
Responding to the legacy of the journal's
its ideas, products, and conceptualizations
half-issue format, PLAT 5.5 Re: License aims
come to life, either through representation
to shift the model of the .5 issues closer to
or physical construction that claim its
the original intentions of the journal's found-
presence. We archive, name, and categorize
ers: an issue that captures reaction, review,
things. In return, the constant historiciza-
and judgment.
tion and theorization of the "built" may have left "absence" undertheorized. PLAT 6.0 Absence features solicited
In generating response, this issue capitalizes on the act of 'conversation,' a regular act we participate in everyday life,
and unsolicited work by artists, writers,
as a powerful tool and medium for capturing
designers, and architects who are provoked
our discursive engagement with the current
by the potentials of the notion of absence.
topics in our discipline.
The collection of work in this issue conveys
Thus, PLAT 5.5 Re: License positions
the range of readings that arise from a
itself in the PLAT canon in a particular way
word, arguing that both semantically and
that acts as a curator, mediator, and histo-
derivatively, absence's meaning is manifold.
rian all at once, aiming to turn the previous
Whether it is through focusing on absence
issue into an open conversation while en-
as a physical, social, psychological, eco-
couraging all to be active conversationalists.
nomic, destructive, or uncertain entity, the contributors of this issue unwittingly weave together to showcase this superfluity in interpretation.
Melis UÄ&#x;urlu 59
PLAT 6.0 Absence
60 PLAT Journal
PLAT 5.5 Re: License
Melis UÄ&#x;urlu 61