Yaşlı Adam/ Gammaz Yürek – Edgar Allen Poe

(You can reach my other writings from my other blog http://seymakcan.blogspot.com.tr/.)

Yaşlılık mı, sırtınız her gün daha fazla ağrımaya başlıyor, sesler daha kısık geliyor kulağınıza ve ayna baktığınızda buruşuk bir yüz ve kafanız üstünde birkaç tel beyaz saç. Evet yaşlılık korkunç bir gerçek, ölüme gün ve gün yaklaşmak bir de yalnız bir hayatınız varsa daha zor. Oysa gençken hiç bunun farkında değildim yaşlılara güler, dalga geçerdim. Ama o öyle değil bana karşı her zaman yardımsever ve kibar heralde kendi oğlum olsa bu kadar yardımcı olmaz, sevmezdi beni. Bazen bakışlarında bir şey hissediyorum, küçümseme ve tiskindi gibi değil nefretle bakıyor. İnsanlara çok güvenmem aslında ama bakışları dışında ona güvendim, güvenmek zorundaydım kime kimsem yoktu. Son günlerde daha alakadar olmaya, hatta sabahları odama gelip rahat uyduğumu bile sormaya başladı ondan ne gibi kötülük bekleyebilirim ki? O gece, uykuya hemen uykuya daldım. Uyanmam çok uzun sürmedi bir ses duymuştum evet, yataktan sıçrayarak kalkmıştım. Etrafıma baktım karanlıkta hiçbir şey göremedim, bir ses duyduğuma eminim. Hırsız mı girmişti fakirhaneye, insanlar evimin önünden geçmiyor başlarına yıkılacak diye, hırsız napsın benim iki kuruş paramı. Kediler çöp karıştırırken tenekeyi düşürdüler heralde. Acaba o da duymuş muydu sesi, uyanmış mıydı? Tam bu sırada kapının biri tarafından açıldığını fark ettim, kim var orda diye bağırdım, yutkunmaya başlamıştım, Ali sen misin? Yaklaşık bir saat sessizce kapıya doğru baktım başka ses gelmedi. Galiba Ali uyuyordu veya yoktu, tek başıma ne yapabilirdim hırsıza karşı. Kalbim göğsümden çıkacakmış gibi atıyor, yataktan çıkacak cesareti bulamıyordum. Ölümün çok yakın olduğunu hissetmiştim üzerimindeki yorgan kadar yakındı bana. Ses çıkartmazsam hırsız beni öldürmeden gider diye düşünüp sakinlemeye çalıştım, avuçlarım terli, nefes nefeseydim. Gözüm birden kamaştı bu da neyin nesiydi, o an paramın derdinde olmadığını anladım beni öldüreceğini anladım, üzerime birden atladı çığlık attım, yere düşmemle beni boğmaya başladı, derin bir acı hissettim göğsümde.

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Gallery Design

In my proposal depend on my reference house Maison Louis Carré and the scenario, the atrium should be also a gallery to reflected core of social life. Then I research and think about them, what is the basic design idea of the gallery. I think gallery has the same quality with museum because in both of them there are large circulation areas and with help of wall or panel orientation and circulation are provided. Last semester, we analyzed Erimtan Museum in terms of human experience, but of course, in this study and observation we are aware of circulation and orientation in the Erimtan, the building is guided people as if it says turn left or stop there etc… Apart from this quality, generally both gallery and museums have huge volume I mean especially galleries are just whole single space, you can sense huge single space so they should cover a large area with too height. For more understanding, I shared some of the examples from analysis.

Maison Louis Carré/ Alvar Aalto

In this example, in the hall of the house there is an art collection, for this art collection exhibited, two walls used this walls also other aims to isolated private spaces and oriented to people from the dining room to living room. The interesting feature of the gallery is its ceiling, the ceiling is curved for the sense a space higher and larger. As seen at section middle part is hall.

MAİSON LOUİS CARRE section ile ilgili görsel sonucu

Planar House/ Steven Holl

This example similar with the Maison Louis Carré in terms of house and gallery combination. It included large contemporary art collection. Gallery and living room is separated from each other by the narrow wall so they are not completely separated each other, people experience them together. They also placed the core of the house so they can be defined public space of the house.

Yale University Art Gallery / Louis Kahn

It is large scale gallery comparing with other examples, the gallery divided two spaces with triangular staircase. The gallery is important with its material and structure system. As is apparent in this structure, Kahn typically tended toward heavily textured brick and bare concrete, which he wonderfully juxtaposes against more refined and pristine surfaces, like the large glass windows of this building beautifully lined by steel.

yale art gallery kahn ile ilgili görsel sonucu

Multifunctional Gallery Space in Tehran / Kaaf Foudation

The project can be considered as a place that tries to introduce a new space for a showcase of art, a contemporary oriental and specific space with looking into traditional principals. Something that might not fall into the object oriented spaces of an exhibition that isolate the act of expecting but to celebrate the idea of living and spectating also being oriented towards nature.

Tahran ile ilgili görsel sonucu

Alvar Aalto and Material

I like to use material that doesn’t need to much upkeep since the economy of a building depends on this in the long run. But the question may also have a humanist dimension in that the social function of a building is relevant to the choice of materials. There is a relation between people and building material can’t be pinpointed by any amount of theorizing. I designed the first buildings here with copper facing, and later also facades of cast bronze. The durability approaches eternity; they need no maintenance at all. The saving in human work are naturally something to be reckoned with, but the main emphasis is on another plane. a building must not have a negative effect on everyday work of its users…” Alvar Aalto

Alvar Aalto was Finnish architect, city planner, and furniture designer whose international character rests on a unique combination of modernist refinement, natural materials, and personal expression in form and detail. Aalto forged an organic design vocabulary that juxtaposed concrete and wood, copper and brick, volume and form in an original synthesis. In his every design, he worked on material and its combination on landscape and material.

experimental house alvar aalto ile ilgili görsel sonucu

The significant example on Aalto and material is the Experimental House. The house was meant as a site of experimentation where he could test different architectural elements, construction technics and above all various building materials from both the aesthetic and practical stands out. Its inner courtyard walls (he called experimental walls), clad with various types brick and ceramic tiles, exhibit the great delight he took in random, playful and tactile qualities. The walls reflect the very nature of the experimental home, as there are more than fifty different types of bricks which are arranged in various patterns. This allowed Aalto to test the aesthetics of different arrangements while also observing how they reacted in the rough climate. This house is  just one of his the best works, for understanding Aalto material approach other buildings should be investigated also his influence,

His Influence

Henry van de Velde was one of the designers whom Aalto Aalto held in particularly highly appreciation. According to van de Velde, “No material is beautiful on its own […]. Wood, metal, stone and precious stone owe their particular beauty to the life shaped by working process, the traces of the tool, the various ways, in which the inspired passion or sensibility of the artist who works with these tools expresses itself” from his writings Animation of Material as a Principle Beauty, this quotation is basic for Aalto’s ideas on material. A material identity must be recognized by the architect and articulated in his works, Aalto stated that art as a process in which materials assume their nature.

Aalto also affected from Semper’s theory that explains the transformation of material. Therefore, Aalto followed up the form of Ionic capital back to the flexible form of wood and the way its fiber unravel and curve under a load.

finnish pavilion eliel saarinen ile ilgili görsel sonucu

Finnish Pavillion

When Aalto was a student in Finland, the National Romanticism was dominated by architecture. National Romanticism gets popular with the success of Eliel Saarinen, Herman Geselius, and Armas Lingren The Finnish Pavillion at 1900 World’s Fair in Paris. Aalto studied under the Lingren so he strong influence from them. In the national romanticism use of material cladding to articulate the composition of various dimensional structural volumes. Especially brick and timber dominated material in National Romanticism, Aalto generally used this material with different ways. Aalto held in high esteem, exhibits an especially original relationship to history, not through citation of form but with the virtuosic treatment of materials, especially brick.

Multi Materiality

Aalto emphasized the multi materiality of architecture as the result of industrial building methods. Insulation and sound proofing materials take on greater significance along with manufactured elements such as doors, windows, and surfaces, he had no particular preference for a certain material, he employed various material ‘because the nature of project demanded. You should not be monomaniacs on this point; you must let your hands be tied by theory. His this idea result is Villa Maire perhaps the most impressive demonstration of resulting from his masterly combination of natural and industrially processed material.

villa mairea ile ilgili görsel sonucu

Villa Maire surprises and confounds with its abundance of images and meanings, its delight in telling a tale expressed in episodes full of surprising twists and turns. Each door handle is different, whether in bronze, rattan or covered with leather. Aalto recorded the various material in a table, regarding the floor coverings and the wall and ceiling surfaces for all the different rooms, down to the various woods for the skirting boards.

References:

Second Pre-Jury ‘House in Reference’

After the first pre-jury, I focused on my references differences and my design approach on the project became a related difference of houses with their similarities. How can I do this? In the courtyard house, two mass spatial conditions provided a passage and two courtyards. In this relation, there was only visual contact with the courtyard and between courtyards (passage) is the only transition but in the atrium house there was a similar approach but this time this transition space also using for a living, their difference was scale other differences the main courtyard of atrium house directly relate with courtyards. Therefore, there these two different quality combined with their similar spatial qualities.

I obtained space from there like an atrium. The atrium was inner space like grand entry space focal courtyard. Its difference from the courtyard with enclosed and organized space. In the central part of my design, I have an atrium and it is related to the other spaces and courtyard.

In my other reference house was a Maison Louis Carré, in the Maison Louis Carré, there was huge entrance hall, it is also exhibition hall. The house public and privacy controlled from the hall with help of wall. Walls layered the private spaces also private spaces had the low level from the hall. The hall has a similar attitude with atrium quality as a mentioned above. Therefore, from this similarity, I combined exhibition hall layering and combining with proposal atrium. I also interpreted the wall idea, and I used the wall for integration of spaces. The other difference this house the house spaces grouped around the hall according to their function. I combined this group functions as masses(Atrium House and Courtyard house) I had five masses and they had different functions. Private, Public(kitchen, dining room), Living, Relaxing space and Garage.

These masses are connected in terms of a three-way. Private unit and atrium relation I interpretMaison Louis Carreé private and public distinction with the wall but I applied idea with up-staircase, downstairs also same in Maison Louis Carreé. Relaxing unit and atrium connection from courtyard enclosed part, this space more isolated spaces them. Final relation, because of spreading atrium all public spaces connected with atrium they became one space (atrium) so atrium are used for living, translation, exhibition. Kitchen unit does not completely combine but with the same high of space dining room using for kitchen and atrium translation spaces. About exhibition, wine room became an exhibition panel and panels provide integration different spaces in the atrium and provide circulation.

Also, Passage became a space for living and Courtyard house spatial relation and spreading atrium with courtyards combined. However, because of climate the site, atrium house this attitude are not suitable so atrium became enclosed space, courtyards as well, I interpret this idea inner of houses atrium spread public units (well seen at top view), dining room, living room, wine room became a part of the atrium. Between private spaces and atrium, there was a visual relation with two story high also between stories of circulation occurred in the atrium. What happened courtyard? In the proposal entrance from courtyard and courtyard still provided a relation between spaces with enclosed part. Units are connected in terms of a three-way. Private unit and atrium relation I interpret Maison Louis Carreé private and public distinction with the wall but I applied idea with up-staircase, downstairs also same in Maison Louis Carreé. Relaxing unit and atrium connection from courtyard enclosed part, this space more isolated spaces them. Final relation, because of spreading atrium all public spaces connected with atrium they became one space (atrium) so atrium are used for living, translation, exhibition. Kitchen unit does not completely combine but with the same high of space dining room using for kitchen and atrium translation spaces. About exhibition, wine room became an exhibition panel and panels provide integration different spaces in the atrium and provide circulation.

diagram

From Villa Maire site I refer its relation with the environment, it was in a rural area that was completely forest. The material of house came from site qualities timber and local stone also in the entrance, forest abstracted with linear timbers. About climate, day and night can be twenty-two hours so winter is hard, summer is s shining. About the location of the house, the south of house there was a sea, it can be only seen (vista), house located forest but it is not completely isolated between street that had connected city center and house there was 180 metres.

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First Pre-Jury ‘House in Reference’

In this term, our project name is House in Reference so we designed a house with references from other houses. Actually, the project based on research and analyzing. In the first pre-jury instead of the function of house and scenario, the aim was focusing the houses’ spatial qualities. In my proposal references house was Courtyard House by Abin Design Studio, Atrium House by Erkut Şahinbaş, Esherick House by Louis Kahn, Maison Louis Carrée by Alvar Aalto, Kaufmann House by Richard Neutra and Glass Shutter House by Shigeru Ban Architects.

Courtyard House: I refer from this house its general spatial condition. According to general spatial conditions of the house, two mass connected with a narrow passage and integrated with a courtyard and outdoor spaces provide mainly visual relation between courtyard and inside of the house. This relation is provided by a transparent glass. The passage provides also transition between upper levels and between two masses. Especially its narrow passage and this passage creation of outdoor space is important for my design decision. I defined courtyard from this condition.

Atrium House: The Atrium House has a similar approach in terms of narrow space connect two main masses. It extended and expanded that creates other spatial qualities. According to that reference, I expanded the narrow passage in the proposal. Basically, I adopt atrium house’ atrium quality to Courtyard House’ passageway. Therefore, atrium and courtyard begin to work together. In addition to that, the architect also refers to the Roman Atrium Houses. These houses also have an atrium that focuses the center and circulation on the center. Erkut Şahinbaş refers Roman atriums and I refers Erkut Şahinbaş’s design. Roman atrium house reference also helped to me about circulation in design.

Esherick House: I referred the Esherick House’s stairs that bring circulation between the spaces. In that house, there are also two spaces that separated with a staircase. One part of the space is two story height and between that two separate spaces, there is a visual relation thanks to the height difference. I adopted that the idea of two story height and circulation that provided by the middle staircase.

Maison Louis Carreé: I referred the usage of the wall to support the circulation idea that in the proposal. In the house, walls are used to layering the spaces in terms of privacy but they also provide orientation, especially I want to translate this orientation for supporting my circulation concept in the atrium. Also according to layering concept, to change of levels provide privacy levels, I adopted this idea to my proposal.

Kaufmann House: I adopted the Kaufmann house centralization and groups of spaces separated each other with outdoor spaces so instead of separate with wall space I prefer this concept. With this approach in design, there are several outdoor spaces and they provide increase integration with outdoor.

Glass Shutter House: I referred the house open-close shutter for integration with outside so outdoor spaces can be like a space in the house.

Jury advised more research about houses and understanding architects’ attitude. Also, I referred similar aspects from houses, I should focus on their differentiation from each other.

Quotation

References in architecture are the crucial issue, from the antiquity, almost architects and designers used references from previous works. Like every kind of art, an architecture developed references from previous works. So that, some works such as Hagia Sophia, Pantheon, Villa Adriana became a collective knowledge, different civilizations different architects references from them. The important issue in references copying and replica. Unfortunately, some of the architects copy and reply previous works instead of reference.

The quotation is a kind of reference, in architecture quotation is receive an original idea with interpretations. I want to give my example,  I quoted wall idea from the wall house 2. In wall house 2, architect orginaze around a central axis of a horizontal and vertical plane, with three-dimentionality, spaces can be experienced. A vertical plane became a concrete wall and a group of functional spaces appears separate from one another. A group of space the wall appears to be freestanding with glass connection. In my design, wall presented as thick cardboard and I used hinges on the thick cardboard for translation between spaces in the plan, there was a translation.

For the freestanding, right part spaces only connected with the hinge, another part they connected the wall, it was my interpretation. Also, I did not use the long horizontal part in the model.

3d Diagram Revised

After collage revision, my ideas also changing in the 3d diagram. In first revision, I changed my model a bit, my first problem about 3d diagram is  the way of showing private and silence part. In initial part my aim was the simple spatial relation with little strips then I am aware of that these strips lead to complexity and I changed them with a plane. In this way, the relation of private (simple) and public (complex) became a more readable. Also After the wall part (thick corrugated cardboard) I also want to level between spaces in terms of complexity, when increasing the complexity public and private separated each other. There was three level of spaces, with created common volume between spaces, my aim was an achieving complexity. Also because of the L-shaped wall, I integrated two group of spaces. Also, for the harmony of the nature in spaces relation I used L shaped for consistency of the model in the integration of the groups.

Then, I thought that this model cannot explain my ideas clearly, also I revised my interpretation of reassurance also with changing the relation of private and public spaces could not be explained this model. Also, the model looks like a basic design model, I should try to more diagrammatic model.

I revised this model I still used wall idea come from wall house 2 and I give three levels to walls to show changing the relation of private and public spaces. The model had still the same concept, separation of public and private spaces and private has a simple relation same reputation so same elements create same spaces in the same direction. therefore, it showed privacy and silence (monotone movement between elements).  Public parts elements have differents sizes and random places, they are mixed and between elements defining different spaces. About three different levels of wall, in first part of wall(orange), wall is thick and sizes of elements are prevented relation with public part and public part also enclosed with two elements ( for interrupting relation), in the second part (blue part) size of element increasing and interrupting element getting smaller and wall also get thinner and some part of wall, voids occurred for continuity of element from private part, the continuity of elements increase the integration of public and private spaces. In last part (purple), I increased the number of voids and wall get thinner, elements of private parts sizes close to a wall and public part elements distributed all area so on the wall elements are connected. These three level presented the idea of houses in collage, first level wall house 2, second level Saltzman house and Villa Savoye, third level Moriyama house. Also, showing relation element continuos in the other part like previous models (yellow parts).