ÖRÜNTÜLER, GEOMETRİLER VE TASARIM
Tarih:13 Kasım 2009 Cuma, 14:00-17:00
Yer:YEM, Fulya
Konuşmacılar:
Onur Yüce Gün - Tasa.RAM
Zafer Sağdıç - Matematik ve Tasarım İlişkisi
Salih Küçüktuna - Sayısal Estetik
Karmaşık olaylar, olgular ya da nesnelerin diziliminin ardında çözümlenebilecek ve yeniden kurgulanabilecek kurallar ya da kavranabilir düzenler yatar. Bu kurallar ve düzen genellikle bir şablon kadar katı ve belirgin olmasa da bir ‘dikiş patronu’ gibi ana prensipleri ortaya çıkaracak nitelikte, ilişkisel ve matematikseldir. Bu anlamda örüntüler, doğadaki oluşum prensiplerinden kentlerdeki dizilimlerin ardındaki düzenlere uzanan örneklemleriyle mimarlık alanını neredeyse varoluşundan beri ilgilendirmekte. Bilgisayar destekli tasarım ve üretim teknolojileriyle sayısallaştırılabilen veriler, veriler arası ilişkiler, düzenler ve kurallar tasarımda “örüntü” ve “geometri” kavramlarının yeniden sorgulanmasını tetiklemekte ve yeni açılımlar sağlamaktadır. 2009-10 güz yarıyılı YTÜ Mimari Tasarıma Giriş Stüdyoları Program Akışı içinde yer alacak bu söyleşi ile bu yeni açılımlar sorgulanacaktır.
Düzenleyen:
YTÜ Mimarlık Bölümü, Bilgisayar Ortamında Tasarım Bilim Dalı, MTG Koordinasyon Ekibi:
Yrd. Doç. Dr. Şebnem Yalınay Çinici, Arş. Gör. Dr. Fulya Özsel Akipek, Arş. Gör, Serkan Uysal.
Tarih : 22 Ekim 2009, Perşembe
Yer : Yapı-Endüstri Merkezi, Fulya/İstanbul2009
Hollanda Maaskant “Genç Mimar Ödülü”Sahibi Julien De Smedt Hakkında
3 Aralık 1975 Brüksel doğumlu Julien De Smedt Fransız sanat düşkünü Jacques Leobold ve Belçikalı sanatçı Jacques Léobold ve Belçikalı sanatçı Claude De Smedt’in çocuğudur. Brüksel’de St Luc, La Cambre, Sint Lukas, Paris’te Belleville ve Los Angeles’te Sci-Arc’ta öğrenim gördükten sonra, 2000 yılında Londra Barlett Mimarlık Okulu’ndan mezun oldu. 1997- 1998 ve 2000- 2001 yılları arasında OMA, Rotterdam’da çalıştı. 2001’de PLOT ofisinin kurucularından biri oldu. Çalışmaları Kopenhag, Toronto, Paris, New York ve Sao Paulo gibi pek çok yerde sergilenmiş olan Julien De Smedt Kopenhag’da ve Brüksel’de yaşamaktadır. JDS’nin “PIXL TO XL” adlı ilk monografisi Aralık 2007’de Damdi Yayıncılık tarafından yayınlanmıştır.
Nowadays, a Video exhibition called ''When Angels Fall'' in Istanbul Museum of Modern Art. A remarkable video by Jaroslaw Kozakiewicz includes an architectural point of view. Unit-E was there and took some notes from the exhibition for you. Some details as below,
11 September 2009 - 10 January 2010
Curator: Paolo Colombo
The title of this program comes from the short film by Roman Polanski When Angels Fall (1959)
more details, http://www.istanbulmodern.org/en/f_index.html
Satopticon is the project of a circumterrestrial-orbit prison of the future; it was presented for the first time at the Panopticon. The Architecture and Theatre of the Prison exhibition at the Zachęta National Gallery in Warsaw.
‘In the second half of the 21st century, a huge leap was made in genetics, nanotechnology and robotics. It finally became possible to fulfil man’s dream of returning to paradise. Poverty was eliminated, all known diseases cured, people were physically rejuvenated, and robotic technology made them virtually immortal. But there still existed the problem of the neo-Luddites and other apostates refusing to adapt to living in the new earthly paradise. To address the problem in a humanitarian way, the Satopticon was designed – a global prison to be located on Earth’s orbit. In its form, the prison alluded to the first human colony that had been supposed to be set up in space. The project, known as the Stanford Torus, dated back to the 1970s. The Satopticon’s construction was a reference to the structure of the carbon nanopipe, a material that, thanks to its immense resistance to ripping and unusual electric properties, had revolutionised 21st-century electronic and become a symbol of the new era. The closed pipe forms a torus, and its surface is covered by hexagonal structures in which the cells have been located. The construction, which resembles a net, is also an intelligent robot controlling the facility’s operation – reducing or increasing the number of cells and the length of the torus itself, depending on the needs. This means that the operation of the facility – Earth’s artificial satellite – does not require the physical presence of human personnel. Functions such as inmate supervision, database operation, medical care, supplies, visits, waste utilisation, and technical upkeep are coordinated from Earth. Each cell has been equipped with two windows, one letting in sunlight, the other offering a view of the distant Earth. Each inmate is able to view the blue planet for several hours a day. The view of Earth and the lack of gravity would aid the inmates’ moral renewal. Technology kept developing, and the changes brought about by that development were occurring ever more rapidly. Machines more intelligent and efficient than people had been built, and they relieved humans at their tasks in all areas of life, until they gained full control of their conscience. Robots took control of the natural world, including the replication and evolution processes across the planet. Eventually, the last reactionaries were adapted to the new living conditions in the earthly paradise. Universal order prevailed. There was no need for building the prison anymore.’
Jarosław Kozakiewicz
