Month: November 2012
Today was the deadline of our pre-eliminary 3D explosion models. It was probably the most progressing work we had ever.
Before the slide show,i want to tell you 3 basic things about my work. First is about it’s structural elements. I got two chances to explode: triangles or quadrilaterals. I prefered triangles because as we learned triangle is the most stable and resistant element/shape in the world of structure. So all is based on triangles. The second is about the whole structure and it’s rules. It has 2rules: except the planes, sticks define planes too, and the hyerarchy of transparecy guides the whole structure. Three, the hyerarchy is defined by materials (clear, sanded acetates and model cartridge) which have different transparency qualities. And finally the structure is designed and constructed through: “From an invisible core to bounds: differentiations in transparency.”
Yesterday we decided to visit an exhibition with our instructors in Galeri Nev. The exhibition was about an artist’s, Burcu Perçin, “Gizli Saklı – Hidden” works on lost spaces: She is “giving a birth” to the lost spaces with oil painting, with collage of different photogrphfs taken by her, and by substructing / adding some pieces on the base. No one explain her works better than “herself” so i want to share with you a short text in her own words:
“By revealing the hidden spaces, things that are carried on or experienced “under the rose”, I am emphasizing that nothing actually remains a secret. I revive in my works traces, writings, objects and colours that are taken for granted or concealed in space or in time…”
I don’t know what did you feel when you read the text, but i strongly recommend you to go Galeri Nev and see the exhibition because i can clearly say that it was the best personal exhibition i’ve ever seen. She plays with colours, textures; makes graffities & stencils on photographs, and when you look from an enough close angle, you feel like if the space were not lost and someone were visiting, meeting, or living there. The most successfull, and the more “LOST but ALIVE” i’ve ever seen.
Finally, please see the page:
I took many photos, and i will put them here with more explanations when i get them, you’ll be able to see whole, texture of her paintings and the closer look with my shots then.
Our termwork for 121 course is making a research on Ulus İş Hanı (G. Beken, O.Bolak, O. Bozkurt 1954 – 1958), as searching it’s “Biography”. We are expected to collect some informations about it like: who builded that building and how/why/for what; is it restorated if it’s restorated why and what were it’s conclusions, does any projects planning for it, or is it still? if it has, what are the reactions of people, and what is the project about? How it’s related with it’s context? etc..
- Ulus İş Hanı (Ulus Office Building)
We (before having this work) did an architectural tour in Ankara to understand, and look like an architect at that structures. That was our first architectural tour, and with seeing that buildings first i also began to look at them in an architect’s eye. Now, as given in assignment, i’ll tell a bit about my first impressions about Ulus İş Hanı.
As a very first look, the relationship of Sümerbank & Ulus İş Hanı buildings took my attention strongly. Because the İş Hanı was had a convex form and Sümerbank which is placed cross İş Hanı had a concave form. So i though two buildings were formed as a induced-fit harmony for a balance which placed crossroads. I wanted to learn if it was a right impression of me or not so i asked my instructor about it and he said it was a contextual harmony between them and the main thing was it.
- Photograph which show the balance between Sümerbank and Ulus İş Hanı
Then i began to look at the facade of the building, it looked modern to my eye with evaluating it in it’s historical context. Because the glass used in facade, the harmony of metarials used in it, the convex form of the whole looked new, comparing with the other buildings we visited. One more thing, the blocks next to İş Hanı are connected by the colour and material used on them, and this idea is really successfull i think. Because when you look at them even they haven’t got the same convex shape you can see that they are related somehow and it makes you look at them as if they are connected in both ways. You are strongly able to see that the base column’s of grand floor at outside are connecting parts because hey all are covered with same material after construction.
An additional information, i remember that this building were planned in a competition by a group which had the members G. Beken, O.Bolak, O. Bozkurt in 1954 – 1958. Today what we see is also the winner of the competition, too.
this week we have an assignment for the 121 course again, and in this assignment our instructor wants us to summarize the essay of Adolf Loos on ornament and crime, which is also the title of the essay. Here is my summary of it:
Essay of Loos argues on ornaments and claims that ornaments are not as necessary or as inevitable as the people think in the past. More, he claims that they’re sometimes even like trifles and just made for fulfilment of the one so they’re like surplusses. He also says that the ornamented/detailed things were the masterpieces and most prefered ones, but now the modern age people has not that much desire to keep, buy or appreciate them. Also he argues that maybe ornamented objects were valuable things and the ornamental artisans were strongly respected by people in the past, but the people who is an ornamental artisan are not even the part of the society today and more, we don’t even call them as cultivated person. Because of that Loos says about, “a waste of labor and abuse of material”. But when we search for more we see that the ornamental workers enjoy doing this job for hours or even days long. We are aware that there’s something wrong at this point: More time, less appreciated. Because there’s something becoming more important than the thing called “ornament” day by day, of modern age: plain texture, which means the smooth and pure. Then he tells about the ornament for human: The ornament as a mask of today’s man: how much going on decides the strenght of the one’s spirit”. As a conclusion: More ornament, less pure: more mask, less from the spirit.*
* Paragraph is edited on 27.11.2012 for typos and spelling errors.
And my comment on it:
I may say that yes I agree with him, but not totally. I want to ask a question: does he say that the “classical ornaments” are some detailed garbages or surplusses or just some trifles? I think this essay has a bit absence on this point. And it feels like he don’t even care about some masterpieces of ornaments worked on different materials. There are things which are still important and precious called as ornaments. So that, I will say yes modern age people doesn’t use ornaments as much as used in the past, but they stil mean so much, maybe because of being less spread, they’re precios and they’re not so much. This causes a new thing: the ornamented things become more important, and this is the conclusion of what he told. This was the main thing that i wanted to underline.
- Loos, Adolf. “Ornament and Crime” in: Conrads, Ulrich (ed.) Programs and Manifestoes on 20th Century Architecture, The MIT Press, 1975.
Today i borrow my other friends’ works on Van Gogh’s paintings too, then i started having fun by taking some photographs from different angles of them. Here are the photos, I hope you’ll enjoy.
We were expected to draw our expolsion’s planes and sticks of intersections for this assignment by orthographic projection. Here are my drawings:
- Whole (70 x 100 canson technique drawing cartridge paper), and separately every part:
Here, I want to share with you the poster which we were expected to refine and also add some informations to make it more informative presentation poster. To achieve this i used some explanation parts, and also dissolving regulating lines which are used to emphasize hyerarchy. I choosed dissolving lines to use, because it’s good that an eye automatically completes the lines, so again they’re same but not with so much strong, just as linear elements put there. Here are:
- The Informative Presentation Poster
- From Progress: Orthographic projection which i drew to guide me the strips & circles, basic sketch. I did the sketch-like projection of my idea first, because i couldn’t know that if it will work or not. But when i calculated the raiusses of the circles by a reference from Gogh’s colour use percentages on Starry Night and i drew them all, i saw that it works. And i want to add something also, the overlapping parts between the different colour parts are defining the colour transitions he used. when they overlap, from the right angle you are being able to see other colours appearing because of his use of colour.
- The project itself