CONTENT
SKILLS
I’m Utku
u
The way information presents itself and the way we interpret said information are the two main elements which build our 4 dimensional existence. As architects and designers, we obtain the choice of how the information is being presented, as we design buildings and objects which becomes the reality of the people and their life. It is this responsibility that a designer should consider: we are creating a common world for ever ybody to experience. This responsibility falls on ever y designer ’s shoulders as well as mine. In order to create the world I am describing, a world which has been designed by people who care about what they are doing, a world designed for the satisfaction and happiness of people, I strive to live up to the words of one of the most important figures in architectural histor y Vitruvius which are: “... Let him be educated, skillful with the pencil, instructed in geometr y, know much histor y, have followed the philosophers with attention, understand music, have some knowledge of medicine, know the opinions of the jurists, and be acquainted with astronomy and the theor y of the heavens.� As you progress in this portfolio, you will find not only my architectural works, but also a diverse collection of multidiciplinar y design works. It has been intended this way as architecture itself is diverse and interdiciplinar y. Thank you. Gmail: utkuakcay@gmail.com Phone: +90 535 654 46 96
Institution of
f Philosophy
One who does not know the past can not see the future.
“A life can not be fullfilled without philosophy ” argued the ancient Greek philosophers. Of course back then, the word “Philosophy ” included mathematics, geometr y, music, painting as well as questioning meanings and heavenly matters. This can be observed clearly from the fresco “The School of Athens” done in High Renassaince by great painter and architect Raphael. From the painting, Plato’s great school’s system can be analysed. It is this realisation that gave me great happiness when the third year studio project brief revealed that we were asked to design a university which the curriculum of education depended on us.
The analysis of the painting revealed the backbones of the education system and the building function. The most important aspect of the analysis turned out to be the freedom of defined space for education. We can see Diogenes casually laying on the steps of the school reading a paper. On the right corner Euclid has been surrounded by eager students who are learning geometr y on the floor. In the Left corner Pythagoras, on his knees, tr ying to write down and on his right Heraclitus, all by on his own, sitting and thinking.
Freedom of space! Choose the shape you want to take! Often in a modern classroom, only options we have about using the space are:
a. Stand up b. Sit down
But with the computationally generated surfaces, students and teachers will be able to use the three dimensional space they live in the way they want to use it, without any barriers or obstacles.
Human Shape According to my personal experiences, as humans we fail to use our human shape in the three dimensional space at full capacity. As designers and architects, we should create new opportunities for users to experience new ways of using their bodies rather than telling them how to sit and where to sit.
Generation of Iterations with Galapagos (Grasshopper 3D) By using the power of algorithmic design tools, the surfaces of education spaces have been generated. The selection of the surfaces have been made by assesing the maximum possible ways that a human body can use it in different ways.
The building literally and figuratively runs away from conventional design strategies and conventional building methods. It has been designed to linger around the edges of uncertainty and experimentation.
SECTION PERSPECTIVE
It is this effort “running away from convensional” which enabled my project to be designed from the “human eye” rather than the bird eye view. This drastic change allowed a more “ free” understanding of space but at the cost of a more complex and misleading plan which in a phenomenological point of view, is a beautiful exchange.
From my personal experience, I conduct a subjective result to this experimental arrangement of spaces and elements which is: Although plan is extremely important and essential, human life within the building has to be designed from the human eye, not from the bird eye view.
Space frame which holds the load of the shell structure.
CIRCULATION DIAGRAM
Accesible pathway which the spaces arrange around.
Algorithmically generated “meaning dependent � surfaces.
The accesible pathway surrounds the topography.
Spaces arrange around the pathway.
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Shell surrounds the spaces like a blanket. 3
Space frame supports the shell. 4
Tension rods connect to the space frame and carr y the load of the building. 5
Exca because the environment. flows through the natural t
vation has been avoided e site belongs in an all natural . Instead of excavation, building h the site and takes the shape of topography.
The accesible pathway (%5 slope) is not only a way of transportation but also works as a education space within itself. Aristotle famously took his students for walks and educational spaces most frequently has been a shadow of a tree.
Ladybug Analysis of the Shell // Janu
Januar y - March
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April - June
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July - September
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October - December
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The shell takes it ’s form from two main factors; the flow of the topography and the radiation analyses. The analyses have been conducted via Ladybug (A Third party add-on for Grasshopper 3D).
RADIATION ANALYSIS
uar y - December
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The form conducts one of the oldest architectural tricks in the book. Analysis of the sun’s behaviour on the surface enabled me to design the shell in such a way that the form allows in the maximum radiation in winter and minimises the radiation in summer.
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In order to understand the weather ’s effects’ on the building, several analyses have been conducted such as psychrometric charts, dr y bulb temperatures, wind speeds, relative humidity etc...
Basilica di Santa Maria Ma
aggiore, Cappella Paolina
Cappella Paolina First semmester of the Mater Degree conducted by La Sapienza University of Rome, has focused on the introduction of the surveying process of historic buildings. In order for the new students introduction to the tools and methdos of the process, the Papal Basilica of Santa Maria Maggiore has been divided to groups to be surveyed. The section which has been provided to myself and my group was the renowned Cappella Paolina. Paulina or Borghese chapel, ordered by Pope Paul V Borghese to the architect Flaminio Ponzio, who repeated with greater pomp the architectural scheme adopted by the architect Domenico Fontana in the construction of the Sistine chapel; the frescoes in the pendentives of the dome (prophets and sibyls) and in the lunette above the altar (Apparition of the Madonna and S. Giovanni evangelista to S. Gregorio thaumaturgo) are by the painter Giuseppe Cesari, called Cavalier d’Arpino; in the dome, Virgin and apostles of Lodovico Cardi known as Cigoli; the altar, designed by architect Girolamo Rainaldi, the fusion of metal is the work of Pompeo Targone; on the frontispiece, with bronze angels by the sculptor Guglielmo BerthÊlot, relief in marble and gilded bronze (Pope Liberius traces the plan of the basilica) by the sculptor Stefano Maderno; in the center a crown of angels whose fusion of the metal is the work of Camillo Mariani surrounds a Madonna on a panel of the orientalizing Roman type (XII - XIII century) called Salus Populi Romani, for the numerous prodigies operated in favor of the Roman people, the image is traditionally attributed to the evangelist Saint Luke, who was also a painter and doctor; on the sides of the altar (statues of St. John the Evangelist and St. Joseph) whose casting of the metal is the work of Camillo Mariani, the statue was made by Ambrogio Buonvicino; on the right wall sepulcher of Clement VIII designed by Pontius, the statue of the pope by the sculptor Giacomo Silla Longhi; in the lunettone and in the arch, frescoes (Spirito Santo, Ss. Cirillo, Pulcheria, Gertrude, Cunegonda, Giovanni Damasceno and Ildefonso) by Guido Reni; on the left wall sepulcher of Paolo V designed by Ponzio, the statue of the pope is by the sculptor Longhi; the bas-reliefs with scenes from the pontificate are: by the sculptor Paracca, Giovanni Antonio, known as Valsoldo; in the lunette and in the arch, frescoes (Eternal Father, retorts from Narsete, Eraclio and Ss. Francesco and Domenico) by Guido Reni.
Problems Encountered The project, although being challenging by its own, made futher complicated by the indroduction of the “net ”. This net has been stretched through out the Cappella’s second floor, just only hang about by the main altar, has been put there in order the ensure safety of the users, for the falling debries of the painting had been an issue before. This net made the second floor impenetrable by the 3D Scanner ’s lazers therefore the data - Point Cloud - was missing vital elements. In order to overcome this funtamental problem which disturbed our survey, Structure From Motion solution has been implemented. In order to create structure From Motion, 386 different images from different locations have been combined in Agisoft Metashape. After the Point Cloud of the missing structure had been built, 3D Scan data have been combined with the data from 3 different 3D Scanners -C10, FARO, ZF- for minimizing the error margins. Furthermore, the 3D Scan and Structure From Motion has been confirmed by the Eioditypes which has been produced on location with increadible care for attention.
Geometric Plan Intersected w/Point Cloud (Designed as 1/100) PRODUCED BY AN AUTODESK STUDENT VERSION
Geometric Plan (Designed as 1/100)
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Architectural Plan (Designed as 1/50)
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The two drawings on the left, from top to bottom are the 1/100 Geometric Section and 1/100 Geometric section combined with Point Clouds from 3 different 3D Scanners as well as Structure from Motion which have been produced in order to indicate the Surveyed and Non-Surveyed parts of the drawings to keep true to the scientific methodology. The Main drawing which is 1/50 Architectural Section, has been produced to focus on the Architectural values of the Cappella Paolina. The scale 1/50 has been choosen, because this scale not only is one of the most understandable to show architectural elements, but also the error margin of the avarage meter -1cm- has been subtitued by the human eye for the distances between lines are closer than the human eye can detect.
Corinthian Pilaster Section (Designed as 1/20)
Corinthian Pilaster Plan (Designed as 1/20)
Corinthian Pilaster Elevation (Designed as 1/20)
Second part of the ual work, focuses on a det 1/20. The element to be d from the Cappella itself. I p fascinated by Corinthian O der of the Cappella Paolin my drawing to be studied
e project which was individtail drawing on the scale of drawen had to be selected personally always have been Order and to my luck, the orna is Corinthian. The order for d includes plinth, base, shaft,
capital. It should be stressed that Column Orders constitute the column itself as well as the entablature. “The Order” does not finish with the column itself but includes all parts of the facade: base, shaft, capital, architrave, friese and cornice. For this specific detail of the column order the most important and difficult part to survey was the Corinthian Capital with it’s acanthus leafes. I had to spend %80 of my time trying to understand the specific design of the leafes. In order to accurately survey the 3 Dimensional form of the acanthus I had to produce a quite sizeable sum of hand made drawings and sketches. In these two sections of images you can observe the point cloud analyses and some of the sketches I have produced.
Amsterdam Vincent V
Van Gogh Art Bridge
Understanding the painting technique.
The Starr y Night, one of the most recognisable paintings of all time, painted by the great Vincent Van Gogh in 1889 while he was in Saint Paul de Mausole Lunatic Asylum. It has been one of my and my collegue Uğur Yıldırım Şimşek’s favourite painting. One might say that we were looking for an excuse to use this painting for inspiration. Luckly we were about to encounter this excuse in the form of an architectural competition, based in Amstedram.
“How did he see Amsterdam?”
Can Not Touch Anything Amsterdam has alwals been one of the most beautiful cities in the world, so naturally when the project brief asked for a bridge design in the heart of Amsterdam we knew that we should tr y our best not to disturb any of the existing elements.
Framing the Beauty The site which we were asked to design has seen to us so “pure” that it created the whole design idea itself. “If we can not add to the beauty, we shall frame it, emphasize it”. After working of the frame for some time the realisation of the potantial possibilities of such frame got us wondering If we could use this oportunity to get inside of the head of one of the most important artist of all time, Vincent Van Gogh. The frame works as a slice of Van Gogh’s imagination. “How did he see Amsterdam? / How did he imagine this space?” was the question that started all.
Phenomenology ... .... has taken a serious place within the process of the projects for us. The Van Gogh Art Bridge has not been an exception. Awakening of the human emotion through architectural elements has always been a goal of mine and my collague Uğur Yıldırım Şimşek.
NATIONALE OPERA BALLET
The Frame is located in Amstel River, connecting two quite important spaces. On one side the frame makes way to the magnificent Hermitage Museum, on the other side it has Collectie Six, one of the most important private collections of art in Amsterdam.
HERMITAGE MUSEUM AMSTEL RIVER
MAGERE BRUG BRIDGE
COLLECTIE 6
On the other hand, the frame filters two iconic Amsterdam monuments. On one side, Nationale Opera Ballet building, on the other side Magere Brug Bridge.
Algorithmic Expe
erimental Design
Computational design posseses a certain power and knowing how to create algorithms is the key to use it. It can be seen as an external brain that is helping you with your problems but only if you know it ’s language. With algorithmic design tools it is possible to create works which with human abilities we can not create.
These examples have been created to get a better understanting about parametric approach to design and in order to learn algorithmic design tools.
SIMPLE FIRE V1
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*1, 2 The forms have been generated via Cocoon add-on. By charging the surfaces, lines and points, the definition creates mesh surfaces which travels amongst the charged space.
*3 “Simple Fire V2� has been generated by looping the code via Anemone add-on. Basic function is that the magnetic fields push the randomly generated points on a given surface.
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CO NT I
The room continuu to represent “a fraction in continuum�. Need fo atmosphere in order to From said reasons, emerg
I N U U M
um has been designed of time & space frozen or contemplate requires be successfuly fulfilled. ges the room continuum.
Automated Production “The Room Continuum� has been designed to be shaped by KUKA Robotics. Freedom the algorithmic design enables each and ever y room to be different and personal for the users. Each room can be cut from a selection of stones primarily for soothing the emotional responses of the user and can be assembled within three hours.
SKYSCRAPER STUDIES The renders exhibited are some of the selected examples of the studies conducted in order to achieve a computational approach to skyscraper design process.
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The parametric tools can be used to design not only in architecture but also in various other platforms as well. In this case (*1) the “Simple Walk� definition has been used to create the structural base for this chair.
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The bench has been designed specifically for exhibition spaces. The structure has been generated by using 3 dimensional proximity of selected groups of points. The definition enables the designer to modify the volume, the amount of the connections and the desity of the structure.
Furniture
2
e Design
Mrs. Grace Dalrymple Elliott (1754 - 1823)
In 1774 Gainsborough moved to London, and by 1777 he was exhibiting portraits of members of the royal family at t h e R o y a l A c a d e m y. T h i s f u l l - l e n g t h o f t h e s t a t u e s q u e M r s . Elliott—a Scottish lady of great beauty but easy virtue— w a s a p p a r e n t l y c o m m i s s i o n e d b y h e r l o v e r, t h e f i r s t m a r q u i s o f C h o l m o n d e l e y, a n d w a s s h o w n i n 1 7 7 8 . I t s e l e g a n c e , delicate golden coloring, and fluid handling reflect the i n f l u e n c e o f Va n D y c k.
FRENCH
The word ‘rapier ’ is though term, espada ropera or ’sword sword or one associated with clothing. It also may be traced that makes reference to the epé the term was in common usage b
RAPIER
ht to have come from a Spanish of the robes ’–hence, a dress h civilian rather than military to a French document of 1474 ée rapière. Whatever its origin, b y t h e l a t e 1 5 t h c e n t u r y.
ASSYRIAN BULL (8TH - 9TH Century B.C.) T hi s c a r v e d i v o r y p laqu e was f o u n d in a st o r age r o o m in Fort S h a l m a n e s e r, a r oy a l bui ld ing at Nimr u d t h at was u se d t o st o r e bo ot y a n d t r i b ut e co lle ct e d by t h e A ssy r ians wh il e o n m il it ar y c am paig n. It d ep i ct s a b ull, s t r i d i n g to t h e r igh t wit h h e ad l o we r e d; t h e l o w er l egs, ta i l, a n d h or n s ha v e b r o ke n o ff. T h e bu l l is c ar v e d in t h e o penw o rk te c h n i que, i n w hi c h t he bac k gr o u nd is c u t away and r e main ing el em en t s a r e c a r v e d i n t h e r o u nd. T h e l ar ge e y e was dr il l e d f o r t he i n s ertion of a n i n la y, n o w missin g. T h e r ibs ar e de fine d by v e r t ical p a ra l l e l li n e s, a n d s i mi la r li ne s fr am e t h e e y e and t h e mu sc u l ar r idges o n th e ba c k o f t he n e c k, as we l l as t h e c h e st. I n f r o nt o f t h e h in dqu a rt er s, a ho r n i s c a r v e d in r e l ie f, su gge st ing an o t h e r bu l l was o r ig i n a l l y po s i t i o n e d be h i n d t his bu l l and o v e r l appin g it.
I n fac t, t h is pl aqu e was prob ab ly p art of a row of ani mals po sit io ne d in a fr ie ze and us ed to decorate a pi ece of furni ture. C ar v e d iv o r y pie c e s su c h as thi s were wi dely us ed i n the p roduct io n o f e l it e f u r nit u r e du r in g the early fi rs t mi llenni um B. C. They were o f t e n in l aid int o a wo o de n frame us i ng joi ner y techni ques and gl u e, and c o u l d be o v e r l aid wi th g old foi l or i nlai d to create a daz zl in g e f f e c t o f gl e amin g s ur faces and b ri g ht colors. Rows of bu l l s an d c o ws wit h nu r sing calves, ei ther car ved i n reli ef or i n the o pe n wo r k t e c h n iqu e, h av e b een found among the i vori es collecte d by t h e Assy r ian k in gs, includi ng s everal other examples i n the Me t r o po l it an’s c o l l e c t io n.
Sketc
ches
I
Understanding S
Isometric Study of a Cabin
Scarpa: Attempt on Temple
Rose Window of Bloom
Understanding Da
ali: A Vibrant Coastline
Beginning
Light Study: Light in Front
Proportion of Epic
Geometric Explanation of Mathematical Arrangement of Bricks in an Arc
Illustra
ations
INKTOBER 2020 Day 4: fish
What is Inktober?
Inktober is a month long challenge created by artist Jake Parker that is focused on improving skill and developing positive drawing habbits. Ever yday for the month of October anyone participating in the Inktober Challenge creates an ink drawign and posts it online. Initially the challenge of Inktober was focused on traditional inking however since the first challenge of 2009 Inktober evolved into a multidiciplinar y challenge for ever ybody who wants to improve themselves in skill sets of their choosing.
Illustration List • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Home Raccoon Bridge Fish Sword Wood Bugs Prize Rainbow Pet Egg Foam Horn Storm Core Stripes Lilypad Warm Cold Pie Shadow Rain Glow Carton Burn Hat Orchard Bloom Fossil Balloon Moon
watermelooooN In the anxious and fast world of architecture, fun of design sometimes can be forgotten. Illustration is not only a great way to spend some time interpreting the world around us, but also a great way to learn and practice design philosophy. It allows one to interpret concepts in any shape and form in an exceeeding amounts of freedom..
The process which I follow in order to visualise an idea almost always starts with pen and paper. The manual labour of drawing, I believe, leaves marks on the final digital creation.
Although there are millions of sandwiches around the world, when one starts to design a sandwich, you realise it is facinatingly hard to come up with ingredients to put in one.
Aviation is a simula “ what if in the future I get to
tion of a scenario. I thought o do a bar menu�.
Rocketship project started of as a cute little illustration and quickly turned into an experiment on color.
Photogra
ammetr y
postbox in san lorenzo Although I have been thought Photogrammetr y for the purposes of getting reliable information about ancient buildings while I was doing my Masters Degree on Conservation / Restoration in Architecture, I have experimented on many other elements apart from buildings and structures.
bronze lions by davide rivalda In this case one of the exhibitions in Galeria Nazionale d’Arte Moderna e Contemporanea, Davide Rivalta’s Bronze Lions have been an outstanding experiment on form, texture and lighting.
fontana di santa maria in trastevere One of the oldest and most important fountains of Rome, the Fontana di Piazza Santa Maria in Trastevere, has been build by Donato Bramante, (Later additions from Gian Lorenzo Bernini and Carlo Fontana) was an exceptional challenge as the form of the sea shells surrounding the fountain consists multiple folidng surfaces as one can see from the 3d model exhibited.
The fountain has been rumoured to date back to the Agustan period. It has been subjected to multiple restorations, even a location change.
@ c o l o r. e x
periments
What is “@colo
@color.experiments is an Instagram page which focuses on the st combination, texture, form, shape, and space etc. It has been inspired afte has been neglected therefore I have dedicated such page to understan
Follow on In s tag ram
or.experiments�?
udy of color. Studies focus on saturation, value, hierarchy, composition, er Josef Albers. It seems, esspecially in architecture, the importance of color nd what can be achieved with color itself.
@ c ol or. exp erime nt s
Reactions of red, orange and blue to black gray and white.
Analysis of the change of perception through background.
Value, saturation study.
Interraction of values.
Combination of colors in order to generate certain atmospheres.
Experimentation of color wheel evolution.
Analysis of the change of perception through background on a high color.
Analysis of the effect of colors persentage allowed within a composition.
Color Exp
by Utku
Book of “Color Experime
periments
u Akçay
ents” is avaiable at Issuu
Algorithmic Acc
cessor y Design
C O N T E
İ • S A N T O R I N I P A L E T T E
G • V I N
P A L E
Accessor y design is actually an excuse in order to conduct the capacities of the “Minimal Surfaces” was the main o definitions to create the surfaces in a more challenging way
Q U A N N
N T A G E
E T T E
E • U T O P I A P A L E T T E
t further experiments with Grasshopper. Specifically, exploring objective. The flexibility of the accessor y forms allowed the y and became the perfect medium to express the definitions.
V O U
L O I R
F O R E S T
F L O W E R
E L A
You can f i n d mor e desi gn s i n my “
L I N A
“A l g ori th mic Acc es s o r i es ” Po r t fo l io
Miscella
aneous
Presented a Radio Show for 3 Y I have professionally interviewed over 300 people from ever y profession possible, such as architects, professors, scientists, lawyers, students, mayors, engineers, divers, travelers... I am glad and proud to say that after three years of presentation and interviews, my communication skills have improved drastically. It gives me great pleasure to get to know people who are from different life styles and have different stories to tell.
Years
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In order to generate and learn more I like to mess around a bit. The images you view are from different aspects of life. They are all created for the reason to improve my own skill sets.
Ways of gaining skills.
Water marbeling is a technique that has been around for quite some time. My curiosity led me to experiment with this technique on lights.
This example includes an Ed covered in black and red paint marble technique.
dison Lamp via water
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Thank You
* I would like to thank all my teachers who supported me through tough times and showed me the correct way. Because of them, now I have passion and love for what I do and examples about whom I would like to become.