unit-E

LIGHT BLIND WORKSHOP Grup 1

2010-02-15T15:27:00.012+02:00

LIGHT BLIND WORKSHOP Grup 3

2010-02-15T14:43:00.000+02:00

LIGHT BLIND WORKSHOP Grup 4

2010-02-15T14:34:00.000+02:00

LIGHT BLIND Workshop at Yıldız Technical University 08-13 February 2010

2010-02-08T18:11:00.004+02:00

Driftwood Pavillion | AA School Unit 2

2010-01-28T14:07:00.007+02:00

the Architectural Association Summer Pavilion, designed by students from Unit 2, which opened today in London’s Bedford Square.Based on a concept by 3rd year student Danecia Sibingo, the pavilion is the fourth in the annual AA Summer Pavilion series.

Now in its fourth year of building pavilions, Intermediate Unit 2 pavilion projects are led by tutors Charles Walker and Martin Self with technical advice from ARUP, this year led by Ching Luan Lau, Senior Engineer. The unit challenges students to create architectural space through the construction of a sustainable timber pavilion and is also sponsored by HOK architects who pride themselves on their global reach and ability to respond to the most demanding of design challenges. Driftwood is on show in Bedford Square until 25 July 2009.

"Butunlesik Tasarim Stratejileri" Konferansi YEM | Integral Design Strategies

2010-01-28T10:51:00.000+02:00

http://www.yem.net/yem07/Katilim/?EtkinlikID=1789&d=1

Kayıtdışı_03 doku[n Workshop 8-13 Şubat / 8-13 February

2010-01-18T13:39:00.002+02:00

http://www.kayitdisi.org/

ÖRÜNTÜLER, GEOMETRİLER VE TASARIM

2009-11-12T14:31:00.004+02:00

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.

JULIEN DE SMEDT KONFERANSI | 22 Ekim 2009, Perşembe YEM

2009-10-21T18:56:00.001+03:00

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.

SATOPTICON (2005) at Istanbul Museum of Modern Art Video Program

2009-10-14T10:39:00.012+03:00

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

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

video,http://www.kozakiewicz.art.pl/wpis_video_en.php?id=24

Geometry of Inside (2005) Jaroslaw Kozakiewicz

2009-10-14T10:26:00.014+03:00

In collaboration with Akademie Schloss Solitude in Stuttgart

Geometry of the Inside is the project of a metropolitan cinema. The building could be located nearby the Zacheta Gallery, the National Theatre, and the Metropolitan office building, fitting the architectural and cultural context of the Pilsudski Square. The shape of the building has been derived from an over 8 hour-long recording of the involuntary movements of a sleeping young woman. Her bodily movements were recorded by a computer and transformed into interweaving lines – the image of the attractor. In physics, the attractor is a ‘set of physical properties towards which a system tends to evolve regardless of the starting conditions of the system.’ The term, originally used in the theory of dynamic systems, has also proved useful in sociology and ecology. In Kozakiewicz’s project, the attractor describes the movements of the sleeping figure, plotted with lines drawn from the woman’s bodily orifices. The grid so obtained has been transformed into an irregular, sculptural figure that, properly enlarged, becomes an architectural form. Geometry of the Inside explores the, seemingly untranslatable to the language of architecture, phenomena of movement and change. The building’s walls will be semi-transparent to make it possible to project images directly on them, both inside and outside, erasing the division between the private (inside) and public (outside). The continuity of the private (dream) and public (reality) spheres is already present at the project’s preparatory stage. By employing outer-wall screens, the object engages accidental passers-by who at any moment can become viewers of a projection. The use of walls as screens also means that the building’s shape has not been determined once and for all; the projected images will co-determine the building’s appearance and make it unique. Geometry of the Inside isn’t a static figure but a changeable form shaped by visual information.
Lidia Klein

http://www.kozakiewicz.art.pl/wpis_video_en.php?id=22

http://www.kozakiewicz.art.pl/wpis_video_en.php?id=2

KENT&MİMARLIK GÜNLERİ | ARCHITECTURE&URBANIZM DAYS 2-3 NOV

2009-10-11T12:33:00.005+03:00

3 KASIM 19:30 RICHARD ROGERS KONFERANSI | 3 NOVEMBER 19:30 RICHARD ROGERS LECTURE at Bahcesehir Unv. Conference Hall / Besiktas

Guerilla Lighting | Istanbul

2009-10-07T10:41:00.008+03:00

Tarih: 10 Ekim 2009, Cumartesi.

Saat: 20:00 – 24:00

Yer: Şişhane Meydanı, Teutonia Binası, Galata

Tasarımcılar:

Faruk Uyan, Aydınlatma Tasarımcısı, Planlux

Faruk İTÜ Mimarlık’ta Aydınlatma üzerine (yüksek lisans) tezini yazıyor. Aynı zamanda 2 senedir profesyonel olarak aydınlatma tasarımı üzerine çalışıyor.

Chantelle Stewart,Aydınlatma Tasarımcısı, İngiltere, Studio Dekka

Avrupa’daki bir çok (Dublin, Belfast vb.) Guerilla Lighting etkinliği arkasında onun imzası var. BDP firmasında çalışırken tanıştığı Guerilla Lighting konseptini sürdürüyor. Son olarak Polonya ve Portekiz etkinliklerine imza attı.

Proje Tarihçesi:

Guerilla Lighting etkinliği, BDP Lighting (İngiltere merkezli önemli bir aydınlatma tasarım ofisi) çalışanları tarafından Design Week, Light Festival gibi çeşitli sanat ve tasarım etkinlikleri kapsamında gerçekleştirildi. BDP lighting çalışanları arasında çıkmış bir fikir, yine onlar tarafından ilk defa uygulanıyor. Daha sonrasında farklı şehirlerde bu etkinliği organize etmeye başlıyorlar.

BDP Lighting’den Martin Lupton, aynı zamanda PLDA Dernek Başkanı, ile kontağa geçen PLD Türkiye Editörü Emre Güneş, projeyi Türkiye’de gerçekleştirmek için bir girişim başlattı. Proje Türkiye’de ilk olarak 10 Ekim 2009’da Galata Perform tarafından düzenlenen Görünürlük Projesi 2009 kapsamında gerçekleşecek.

İstanbul Büyükşehir Belediyesi ve PLDA Derneği tarafından da desteklenen Görünürlük projesi, etkinlik sponsorları Cemdağ, İkizler Aydınlatma, LSP Aydınlatma ve Philips firmaları iken iletişim sponsorları ise Yapı Dergisi ve Mimarizm.com.

YTÜ İlk Yıl Stüdyo Deneyimi Sergisi | YEM

2009-06-18T22:19:00.006+03:00

YILDIZ TEKNİK ÜNİVERSİTESİ MİMARLIK FAKÜLTESİ MİMARLIK BÖLÜMÜ MİMARİ TASARIM 1 STÜDYOLARI
Y.T.Ü. Mimarlık Fakültesi Mimarlık Bölümü’nde yürütülmüş olan 2008/2009 bahar yarıyılı Mimari Tasarım 1 Stüdyoları, 19 Haziran 2009’da Kolokyum ile tartışmaya açılacak ve 19 Haziran-26 Haziran 2009 tarihleri arasında sergilenecektir.

Sergi + Kolokyumda Yer Alan Stüdyolar:

Canan Akoğlu/ Birgül Çolakoğlu/ Eylem Erdinç/ Meral Erdoğan/ Sinan İzgi/ Nilüfer Kozikoğlu/ Salih Küçüktuna/ Fulya Özsel Akipek/ Serkan Palabıyık/ Ufuk Sezgen/ Murat Soygeniş/ Bora Soykut/ Murat Şanal/ Togan Tong/ Zehra Uçar/ Şebnem Yalınay Çinici/ Tuğrul Yazar

Ve 168 öğrenci…

Eğitim Projelerinin Kurum Dışına Açılması ve
Karşılaşma Mekanlarına Duyulan İhtiyaç
Eğitimin, artık, sadece kurum içinde yürütülen bir etkinlik değil, dış dünyayla ilk günden itibaren etkileşim içinde olan ve yaşam boyu süren bir süreç olması nedeniyle bu süreci oluşturan ortamların ve ürünlerinin okul içinde ‘sınırlı’ kalması yerine tartışma-geri bildirim için kamuya, diğer eğitim ortamlarına ve kişilere açılması önemlidir.
Bu süreç ve ürünlerin, tam da mimarlık eğitiminin başlangıcında, değerlendirmeye, eleştiriye ve tartışmaya açılması ögrencilerin düşünsel, sosyal, ruhsal donanımlarını destekleyecek ve onlara bir "başlangıç" ivmesi verecektir.
YEM in, mimarlık pratiğini, mimarlık eğitimini ve kamuyu bir araya getiren ve karşılaşmayı sağlayan bir merkez olması bu ilk adımın burada atılmasında önemli olmuştur.

Bu sergi+kolokyumda, kitlesel eğitim nedeniyle gruplara bölünerek yürütülen stüdyolar arası iletişim ve etkileşim ortamlarının sorgulama, tartışma, geri bildirim ortamına dönüştürülmesi ve diğer mimarlık okulları ile ilk yıl mimarlık eğitimi üzerine tartışmanın başlatılabilmesi hedeflenmektedir.

08/09 MT1 Proje Koordinasyonu: Meral Erdoğan, Fulya Özsel Akipek, Tuğrul Yazar.

PROGRAM:

SERGİ ve KOLOKYUM
KOLOKYUM: 19 HAZİRAN 2009 SAAT 14:00
SERGİ AÇILIŞI ve KOKTEYL: 19 HAZİRAN 2009 SAAT: 17:00
SERGİ: 19-26 HAZİRAN 2009
YER: YAPI-ENDÜSTRİ MERKEZİ, FULYA

Zilvinas Kempinas

2009-06-18T15:04:00.001+03:00

http://www.kultureflash.net/archive/289/ZilvinasKempinas_Venice2009.html

Branko Kolarevic | Yildiz Teknik Universitesi | Stüdyo 5

2009-05-17T21:00:00.015+03:00

Yıldız teknik Üniversitesi Bilgisayar Ortamında Mimarlık (BOM) Lisansüstü Programi’nin davetlisi olarak Istanbul’a gelen Dr.Branko Kolarevic, 15 Mayis 2009 günü Yildiz Teknik Universitesi Mimarlik Bölümü Mimari Tasarim Proje Stüdyolarini da ziyaret ettikten sonra Yapi-Endüstri Merkezinde ''Surface Effects And The Craft Of Digital Making'' konulu sunumunu gerceklestirdi. Ziyaret ettigi MT1 (Mimari Tasarım 1) proje stüdyolarindan birisi olan Stüdyo 5 in ders program dahilindeki editörlüğünü Farshid Moussavi & Michael Kubo’nun yaptiği ''The Functions of Ornament'' kitabı üzerine kurgulanmış Tasarım Egzersizleri VI uygulamalı dersinde degerli görüslerini bizimle paylasti. Stüdyo 5 , Dr.Branko Kolarevic’in sunumunda özellikle üzerinde durdugu, Bütünlesik Tasarim, Hesaplamali Tasarim, Performatif Tasarim, Yüzey Etkileri, Djital Üretim, Desen Etkileri, Malzeme Efekti gibi agirlikli olarak lisansütü programlarda karsilastigimiz konularin erken dönem mimarlik egitiminde Analog > Dijital iliskisi ile ne sekilde ele alinmasi gerektigi ile ilgili stüdyo ortaminda cesitli deneysel calismalar yürütmektedir. Stüdyo 5, kapsami itibari ile erken dönem mimarlık egitiminde Performatif Tasarim, Algoritmik Tasarim, Modüler Komponent Tasarimi, Kendi Kendini Tasiyan Sistemler, Mekan Etkileri, Fiziksel ve Dijital Modelleme Teknikleri ile artik günümüz mimarliginda bir tercihten öte gereklilik olarak ele aldigimiz Sürdürülebilirlik gibi konularin temellerinin anlatilmasini ve deneysel süreclerden gecirilmesini hedefler. Bunun ötesinde mimarlik egitiminin ilerleyen donemlerinde yukarida bahsi gecen konularin ders programlarina uygulamali olarak eklenmesi, mimarlik disi disiplinlerin Aktif-Etkin olarak egitim surecine katilmasinin saglanmasi, Dijital Uretimin egitim surecine entegre edilmesi yakın gelecekteki beklentilerimizden bir bolumunu olusturmaktadir ayrica Unit-E cesitli etkinlik ve workshoplar vasitasi ile bu sürece aktif ve etkin olarak katki saglamaya devam edecektir.

project jouberton

2009-05-08T12:07:00.004+03:00

http://www.projectjouberton.com/

In September 2008, two hundred second year students studying Architecture at the University of Nottingham's Institute of Architecture were briefed by Education Africa to design a sustainable nursery school for Jouberton, an impoverished township near Klerksdorp in South Africa, 250km South West from Johannesburg.

In December a panel of tutors and lecturers from the Institute of Architecture long listed the eighteen strongest proposals, three of which were chosen for further development. A team of thirty students consisting of twenty eight 2nd years and eight 5th years were selected to detail the overall winning scheme as well as taking up responsibility for fundraising, sourcing building materials and making travel arrangements to South Africa where they physically built the nursery.

Yıldız Technical University Design Studio ''BARINMA'' Group 5 II.Jury

2009-04-21T14:38:00.003+03:00

Unit-E Workshop Series II | liminal / İKİ ARADA | IN BETWEEN

2009-02-12T13:28:00.006+02:00

Visualisation of unit-E Blog

2009-01-27T22:17:00.003+02:00

The image above is a visualisation of this blog made 27th January using a Processing application found here

http://www.prusikloop.org/mrwatson/?cat=5

Unit-E Workshop Serileri II | liminal / İKİ ARADA | IN BETWEEN 2-7 Şubat | 2-7 Feb

2009-01-25T14:46:00.003+02:00

program;

http://www.kayitdisi.org/?page_id=130

YILDIZ TECHNICAL UNIVERSITY 08-09 MTG DESIGN STUDIO FINAL JURY WORKSHOP

2009-01-22T14:39:00.011+02:00

John Maeda: My journey in design, from tofu to RISD

2009-01-16T22:13:00.001+02:00

Maeda grew up working in his father's tofu factory and like all creatives, his parents told him not to be creative. Instead he majored in math at MIT, but he just so happened to start working when computers got visual. He became a self-professed "icon master" until he discovered Paul Rand. And realized how bad he was at design. So he went to design school. He started learning how to make his design work move and flail about on the screen and his design teachers told him to stop it. And it was right around then he noticed a now-famous quote from Rand: "A Yale student said, 'I came here to learn how to design, not to learn how to use a computer.' Design schools take heed."

he says: "It's not about making the world more technological anymore, it's about how to make it more humane again."

http://www.ted.com/index.php/talks/john_maeda_on_design.html

TED Talks Greg Lynn

2009-01-15T15:29:00.001+02:00

http://www.ted.com/index.php/talks/greg_lynn_on_organic_design.html

Ambient Design by Simon Heijdens

2009-01-09T18:05:00.002+02:00

Dutch visual artist combines responsive virtual spaces with their natural surroundings

http://www.simonheijdens.com/

Unit - E | Workshop Series I

2009-01-08T22:59:00.002+02:00

Unit-e / unit9 Bartlett School of Architecture Discussions 19th of January at YTU Istanbul

2009-01-08T12:40:00.004+02:00

BSc Unit 9 Max Dewdney and Chee-Kit Lai

Programme 08-09: Alter Ego

The term alter ego; (latin for “the other I”) coined by psychologists in the 19th century and popularised by the psychoanalytic movement, is said to refer to a second self or double psychological life. The alter ego is often used to describe identical characters within literature and film and is also used as a tool to analyse the relationship between a character and it’s author. Alter ego is the creation of an imagined other self, making a parallel or imagined universe, or second life, both absent and present.
The architecture of alter ego will explore multiple identities and layered memories of place. We will investigate the spaces of heterotopia, that are neither here nor there, spaces that are simultaneously physical and metaphysical. In exploring the multifaceted psychological, literary, artistic and cultural dimensions of alter ego, Unit Nine aims to delineate a non linear architecture of duality. We will investigate duplicated and mirrored spaces as a means of posing questions of scale and authenticity.
The concept of alter ego also encompasses ideas about the relationship between an original and its copy and of parallel spaces thus creating two figures within a figure, two references within a reference, or two cities within a city. We will focus our spatial explorations of alter ego on Istanbul or Constantinople, which has historically been a city of otherness to Northern European Capitals and which marked an edge of Europe a point of confluence for Europe and Asia. Istanbul will form the site for the main building project this year.

Assemblage12 weeks (Sept - Dec) / Project 1

The assignment for the first project is to assemble a spatial architectural interpretation from a piece(s) of fictional or non-fictional narrative derived from the city of Istanbul. Unit Nine will delve into the ancient and the modern in search of the mirror between the two. Using myths, mystical maps, travelogues, journeys across land, sea and continents (eg. The Orient Express, Flaubert, Gautier, Le Corbusier1, etc.) and trade routes which once made Istanbul the global centre of exchange. We will draw from the spectacle of cultural assemblage between the East and West, Asia and Europe. We will investigate cities within cities, such as that from Rome reborn in Constantinople from Byzantium, or Constantinople within Istanbul. We will appropriate, uncover or reuse spaces making them our own (such as the Hagia Sophia – Church/Mosque/Museum), gaze at heroic wars such as the 1453 fall of Constantinople (or conquest of Istanbul), borrowing their spatial strategies. We will use literature, film and theatre to reveal clues of the double identity of characters, scripts, or plots expressed through spatial patterns. We will search for the alternative versions of history within our found narratives for the architectural spatial quality of otherness.
Assemblage will span the first term, and consist of a focused and obsessive investigation into a new way to reveal Istanbul’s undiscovered identities. Your assemblage will have a real site in London that will allow you to test the intervention. The qualities and conditions of use defined by your chosen London site will act as a lens to define, contrast, or question the selection of your Istanbul narrative. The first half of assemblage will be workshop based, where your intuitive processes and accidental discoveries may reveal unimagined truths. The final stage of assemblage requires the use of time media to capture and create the movement and performance of your proposal, using video, stop frame animation, or film. Your assemblage should result in a series of flickering and magical images of duplicitous movement and imagination not in the design of a static object or building.
Second year students will present their found narrative as a site-specific installation or device. Third year students will build a model (to scale) that contains their found narrative, projected across a site in London.

Istanbul1 week (Jan) / Field Trip

The architecture of alter ego can be seen as the meeting of East and West, of Asia and Europe, of Istanbul and Constantinople contained within one place.
“It was a brutal symbiosis: Western observers love to identify the things that make Istanbul exotic, non-Western, whereas the Westernisers amongst us register all the same things as obstacles to be erased from the face of the city as fast as possible.” (Orhan Pamuk, ‘Istanbul: Memories and the City’, 2005, p218)

Foresight16 weeks (Jan - May) / Project 2

The second project entitled Foresight will be Unit Nine’s main architectural building project of the year, sited in Istanbul. Your proposal will present an architecture of alter ego, one that questions identity (physical and/or programme). It will be a complex public-private building that draws ideas from the first exercise and site in Istanbul, in order to define a scheme that has not only an outward appearance of an enclosed building but an inner character or possibly double state of mind drawn from the layers of history, shifting patterns of weather, pollution or the picturesque ruins of the city.

YILDIZ TECHNICAL UNIVERSITY / MTG DESIGN STUDIO 08-09 STUDENT WORKS

2008-12-22T20:08:00.005+02:00

project by Secil Sarpkaya / 1.st year student

project by Cansu Aydilek/ 1.st year student

project by Gulcin Borucu / 1.st year student

project by Ebru Cangazi / 1.st year student

project by Selman Ozcelik / 1.st year student

project by Secil Sarpkaya / 1.st year student

Robert Neuwirth's "Shadow Cities"

2008-12-20T01:14:00.003+02:00

http://vodpod.com/watch/232922-ted-talk-robert-neuwirth
Robert Neuwirth has a thing for squatters. Fascinated by the illegal, homemade neighborhoods lived in by a billion people worldwide, Neuwirth spent two years (courtesy of a MacArthur Foundation grant) living in four squatter neighborhoods around the world: Rocinha, in Rio, Brazil; Kibera, in Nairobi, Kenya; Sanjay Gandhi Nagar, in Mumbai, India; and Sultanbeyli, in Istanbul, Turkey. His time living in these neighborhoods has led to a book - Shadow Citiesand a blog, Squatter Cities.
His time in these communities has cemented his conviction that urban planners, NGOs and city governments need to stop thinking of squatters as outlaws and to start thinking of them as productive fellow citizens:
"The true challenge is not to eradicate these communities but to stop treating them as slums - that is, as horrific, scary and criminal - and start treating them as neighborhoods that can be improved. They don't need to be knocked down and built new, because in most cases this will only produce housing that is not affordable to the people who are living there."
To convince the readers that these communities aren't as horrific as we might think, Neuwirth spend the first half of the book recounting his experiences in these neighborhoods, helping us to understand the details of daily life and how these neighborhoods came to be. Clearly, not all squatter cities are created equally - Sultanbeyli is almost indistinguishable from other new neighborhoods of Istanbul, despite the fact that many builders took advantage of a Turkish law called "gecekondu", which allows illegal building during nightime hours, so long as the structure is occupied the next morning.
And Rocinha, where new businesses are opening everyday, and moped-taxis shuttle passengers between three-story apartment buildings - built illegally - sounds downright idyllic. (At least, until he explains that security in the neighborhood is provided by the local druglords and their semi-automatic weapons.)
But even a squatter afficianado like Neuwirth has to acknowledge that life in Kibera can be rough. In parts of the neighborhood, it's so dangerous at night that residents are afraid to walk to the nearby community latrines. (Instead they urinate in plastic bags, which they call "flying toilets", because they tie the bags shut and fling them as far away from their houses as possible.) One of his friends in Kibera loses all his possessions when local thugs dig through his mud walls to enter his house. Neuwirth discovers that there's an art to staying clean in a neighborhood where water costs up to 30 times what it does in the "legal" city, and that he hasn't mastered it - his friends confess that they find his disheveled appearance comical.(more...)
It's personal touches like this that make the book an enjoyable read. Neuwirth is an excellent reporter, and when he's sharing his experiences, he's an entertaining, if occasionally didactic, companion. The book fares less well when he tries to provide a historical content and philosophical justification for squatting. We get a whirlwind tour of squats through history, starting in ancient Rome, moving through the mining camps that became San Francisco and Sacramento, and an extended discussion of squatting in turn of the 20th century New York City. Neuwirth wants us to understand that squatting is a movement with a long history - it's hard not to get the sense, though, that it's a phase that cities in the developed world moved through and overcame as they matured.
Neuwirth wants to end the book with a critique of land ownership, hoping to demonstrate that while individuals should have rights of posession, they shouldn't have rights of property. In other words, he wants squatters - as well as "legitimate" property owners - to have some certainty that they will continue to possess their homes, but doesn't want non-resident landlords to speculate in property markets, turning land into a commodity.
It sounds like Neuwirth read a lot of philosophy by the light of oil lamps while living in the developing world. It takes him roughly 5 pages to reject Locke's theory of property and Aristotle on government, and to paint Peruvian economist Hernando De Soto as a "hypercapitalist" with a land-title fetish. Even Peter Marcuse, son of radical Marxist Herbert Marcuse, is against him, terming squatting an essentially "conservative" movement based on individual, rather than collective action.
Ultimately, he finds solace in Marx, Arendt, and ultimately, Pierre-Joseph Proudhon, a French socialist, who declared "Property is robbery." As Neuwirth explains:
...there's a difference between property and possession. Property turns land into a commodity: people own land not to use it, or because they need it for survival, but simply as an investment. Possession guarantees personal use and control rather than profit. For Proudhon, property, not money, is the root of all evil..."
While "Shadow Cities"is a useful introduction to these growing communities, and goes a long way towards building the reader's appreciation for the ingenuiety and creativity of developing world squatters, one is left with few concrete steps to take. Neuwirth is deeply mistrustful of NGOs working on this issue, and spends a chapter on the follies of the UN's Habitat project, which is based in Nairobi, near Kibera. He admires the legal flexibilities that have made Rocinha and Sultanbeyli so liveable, but seems concerned that these neighborhoods are "selling out", and becoming unaffordable for the most needy squatters. If there's a single, overarching solution to the problems squatters face, Neuwirth doesn't seem to have it.
Ultimately, Neuwirth's primary goal is increasing our understanding of squatter communities - something he accomplishes admirably in "Shadow Cities,"and continue to focus on in his blog. Both are recommended to anyone interested in the reality of urban life in the developing world and in a set of issues that developing nations will be confronting in the immediate future.

Ethan ZuckermanJanuary 31, 2005 9:28 AM

Herzog & De Meuron , 2001 Pritzker Architecture Prize / Acceptance Speech

2008-12-16T23:24:00.000+02:00

....

''In 1978, Pierre and I opened our joint architectural office, but it was neither a historical decision nor a momentous founding event. During our last semestre at the Federal Institute of Technology, we had already realized that we had a great deal in common. The fact that we struck out on our own was more or less an act of rebellion and desperation. What else were we to do?
The economy was not very rosy and architecture both at home and abroad seemed forign to us. We had no idea what we wanted, we only knew what we didn't want. ''

....

FIBONACCI SERIES

2008-12-16T02:45:00.001+02:00

E_Wall Golden Section Pattern 01

2008-12-14T21:08:00.001+02:00

An Incomplete Manifesto for Growth by Bruce Mau

2008-12-11T20:38:00.000+02:00

Written in 1998, the Incomplete Manifesto is an articulation of statements exemplifying Bruce Mau’s beliefs, strategies and motivations. Collectively, they are how we approach every project.

1. Allow events to change you.
You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.

4. Love your experiments (as you would an ugly child).
Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.

9. Begin anywhere.
John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.

16. Collaborate.
The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.

34. Make mistakes faster.
This isn’t my idea -- I borrowed it. I think it belongs to Andy Grove.

41. Laugh.
People visiting the studio often comment on how much we laugh. Since I've become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.

43. Power to the people.
Play can only happen when people feel they have control over their lives. We can't be free agents if we’re not free.

full manifesto is here; http://www.brucemaudesign.com/incomplete_manifesto.html

MASSIVE CHANGE by Bruce Mau

2008-12-11T20:36:00.000+02:00

http://www.massivechange.com/

The Story of Stuff

2008-12-11T19:45:00.000+02:00

http://www.storyofstuff.com/

IDEA, PHENOMENON AND MATERIAL by Steven Holl

2008-12-09T22:18:00.001+02:00

There is a story that when Louis Sulllivan lay on his deathbed in a little hotel room, someone rushed in and said, ''Mr. Sullivan, your Troescher Building is being torn down.'' Sullivan raised himself up and responded, '' If you live long enough, you'll see all your bıildings destroyed. After all, its only the idea that counts.''
It is the idea that counts. The concept, whether an explicit statement or a subjective demonstration, establishes an order, a field of inquiry, and a limitedprinciple. An orginizing idea is a hidden threat connecting disparate parts.An architecture based on a limited concept begins with dissimilarity and variation but ends up illuminating the singularity of a spesific situation. In this way, concept can be more than an idea driving a design; it can establish a miniature utopian focus.
The essence of a work of architecture is the organic link between idea and phenomenal
experience that develops when a building is realized.Architecture begins with a metaphisical skeleton of time, light, space and matter in an unordered state; modes of composition are open. Through line, plane and volume, culture and program are given an order, an idea and perhaps a form. Materials the transparency of a membrane, the chalky dulness of a wall, the glossy reflection of opaque glass - intermesh in reciprocal relationships that form the particular experience of place. Materials interlock with the senses to move the perceiver beyond accute site to tactility. From linearity, concavity, and transparency to hardness, elasticity and dampness, the haptic realm opens.Through making, we realize that an idea is a seed to be grown into phenomena. The hope is to unite intellect with feeling, and precision with soul.
Architecture must remain experimental and open to new ideas and aspirations in the face of conservative forces that constantly push it toward the already proven, already built and already thought. Architects must explore the not yet felt. The realization of one insipired idea in term inspires others. Phenomenal experience is worth the struggle. It yields a silent response - the joy radiated in the light, space, and materials of architecture.
My favourite material is light. Without light, space remains in oblivion. Light's myriad sources, its conditions of shadow and shade, and its opacity and transparency, translucency, reflection and refraction intertwine to define or redifine space. Light makes space uncertain. What a pool of yellow light does to a simple volume, or what a paraboloid of shadow does to bone-whitewall-these comprise the transcendental realm of the phenomena of architecture.

I recently had an opportunity to make something out of just light and one other material, frozen water. The work is a nine-meter cube that I created in collaboration with the sculptor Jene Highstein. One enters the cube and comes into a space of reflection. The idea is that this architectural space is made of almost nothing. A month after its completion, it disappears and leaves no trace. Using materials as minimal and ethereal as light an water, one can make something that expresses and idea.
The design for the cube was based on a historical event in the city of Rovaniemi in northern Finland.At the end of World War II, the Germans burned down the entire city as they retreated. They didn't have to do it - the war was nearly over. When the inner circle of the nine meter cube melts through, the first view one has is directed precisely toward Rovaniemi.

Between idea and phenomenon, meaning vibrate, gather, loosen, disperse, shine, and mutate.Even delayed meanings may exert pressure, crack, fissure and be pulverized.

The state of Architecture at the Beginning of the 21st Century Edited by Bernard Tschumi + Irene Cheng p: 27

Richard Serra at Gagosian Gallery London

2008-12-09T17:29:00.000+02:00

Over the weekend unit-e had the opportunity to witness the outstanding scupltures/spaces created by American sculptor Richard Serra. Serra's sculptures are not only objects. They entail time, movement, process and define the space they are exhibited like no other. His oscilating waves, double curves, although its sizeable scale and material, are incredibly inviting and intimate.

"Allegedly about the twisting ellipses and soaring forms of the Baroque, these works feel mouthwateringly lyrical. Walking around these undulating sidewinders is like being around a herd of otherworldly elephants, or seeing steel skirts blowing in the breeze. Here you understand that Serra’s foes are right: His work is not about looking. These sculptures are so huge that they blind you. This work takes you on a sensuous trip beyond language and optics to a place where physical sensations replace sight. You don’t see a Serra with your eyes; you see it with your whole body. Sheer excess disarms sight. You walk around and through a Serra, brushing very close to it—closer than to any art I can think of—taking in its weight, texture, temperature, mass, and volume with parts of you you didn’t know you had. Flow, fullness, and rhythm become ways of knowing. It’s like being very close to another person; vision is useless as it’s subsumed into other parts of your body; you experience a loss of control. Surprise, entrancement, and enchantment mingle, and you become a walking nerve ending."
Review by New York Magazine Buona Serra
http://www.gagosian.com/

THE CYCLE OF THEORY AND PRACTICE, LEARNING AND TEACHING by Ben van Berkel

2008-12-09T14:41:00.000+02:00

From Gaudi’s suspended constructions to Le Corbusier’s five points of the new architecture, architects have sought to formulate new models that encapsulate and consolidate into one bold statement aspects of construction, occupation and context in the broadest sense - always with a view to immediate implementation. It is much harder for academics to come up with new models, just as it is difficult for an educational institute to be a laboratory for cultural experiment in the way that Andy Warhol’s Factory was. Research and experimentation have to be based on real needs, a real drive, and real questions.
Yet, the academization of architecture has become relentless, with more students prolonging their studies, more universities offering more and higher degree courses, and more practising architects supplementing their income and status by teaching design. The next important question therefore is: how to teach?
DIGITALIZATION AND GLOBALIZATION
Since the architectural practice has transformed rapidly and profoundly due to digitalization and globalization, architectural teaching has necessarily changed too. In the offices the drawing tables have gone out, the staff has become international; in the universities and academies the same shift has occurred. The architectural project has changed; most often it now consists of a multi-functional hybrid of urbanism, infrastructure and various public and private programs, and this is what we teach. Architects have become hyper-conscious of the economic ramifications of their work: rising ground values, commercial potential, investment values, these are phenomena that were meaningless and unfathomable until the client, in collusion with the economic news media, enforced a new awareness of their importance. In response, architects have earnestly begun to try to incorporate economic principles in their design approach. Students, never having known a world without the pervasive echo of the media, have been quick to respond.
THE PITFALLS OF DESIGN
This is the Beaux Arts all over again: architecture has become restrictively academic once more. But how could this have happened? There is nothing intrinsically sterile to this technique. The only reason for the lack of evolution of computational design techniques is that they are taught and exercised in a hermetic way that is impossible to sustain in the actual practice of architecture, which is profoundly complex. It simply is not possible to foresee and to register in your computer all the real parameters that you will be working with as you engage in the long process of architecture as a practice that begins with an early vision, not necessarily that of the architect, and ends with a ruin in progress.The conclusion? There is nothing like teaching to open your eyes to the pitfalls of design. Seeing twenty to thirty projects unfold similarly and ineffectually every few months must be one of the most efficient forms of early warning system. It tells you that no further time must be wasted. Architects had better learn to apply more intelligence, more planning, and more strategic planning to design!

ELEMENT by Cecil Balmond

2008-12-09T03:07:00.000+02:00

Patterns within structure the Divine as complex beyond the rules of simple understanding, but underneath is a notion of order and a unifying principle.
Number is an Element its value a universal. Beyond Emotion and language number is the perfect abstract ; it serves a cipher , symbol and a classification. Ideal of the making forms, to order and generate sequences that lead to assamblies impossible to think of otherwise, number is a catalyst.

Element, p 194

E_WALL

2008-12-06T11:02:00.001+02:00

INTERSCALAR’08 systemic operations Istanbul workshop

2008-12-04T11:34:00.000+02:00

http://www.interscalar.com/

27th eCAADe CONFERENCE / SEPTEMBER 16-19, 2009 / ISTANBUL - TURKEY

2008-12-04T09:03:00.000+02:00

http://www.ecaade09.itu.edu.tr/

KAYITDISI 02 ''liminal''

2008-12-03T21:52:00.000+02:00

Kayıtdışı bir kez daha kayıtta!
Farklı alanlardan katılımcıların araştırmaları, tartışmaları, ortak üretimleri, bunların etkinlik sonrası sergilenmeleri ve partileri ile Kayıtdışı 02 Tasarım Haftası için geri sayım başladı. Geçtiğimiz sene kayda geçen Kayıtdışı 2-7 Şubat tarihlerinde “tasarım”ı dert edinmiş herkesi yine YTÜ Mimarlık Fakültesi’ne bekliyor.
Kayıtdışı ekibi tasarımı, sınıflardan ve eğitimin düzenli yapısından dışarı çıkarmak, eşit ve özgür ortamlarda tasarım yapmanın keyfini bir kez daha deneyimleyebilmek için tam kadro çalışıyor.
Kayıtdışı02 Tasarım haftasında 1 hafta boyunca üzerine konuşulup tartışılacak ve üretim yapılacak; tema uzun, yoğun tartışmalar sonucunda belirlendi: ‘liminal’
Bilindiği üzere tasarım ile ilgilenen herkesin katılımına açık olan Kayıtdışı’nda; amaç değişmedi. Oluşturulacak atölye ve tartışma grupları aracılığıyla disiplinlerarası ve enformel (kayıtdışı) bir tasarım süreci daha deneyimlenmesi hedefleniyor. Hedef ise Kayıtdışı 02 de farklı atölyeler, tartışmalar etkinlikler ve daha fazla katılımcı!