Watercolor Art

Greetings, this time I’m posting a post about my personal hobby, not an architectural homework or research. Watercolor was an art form that I wondered about last season. You can find the watercolor manifesto I made with my friends in my ART100 course. I’m doing this hobby as an amateur I’m doing to make myself empty and listen a bit. But I’m still trying to reflect this on my profession. For example, in this final semester I colored with Axonometric Drawings watercolor. In architecture wants a little courage to do with watercolors because the lines are clear. I mean, the watercolor wants the painting style without borders. The boundaries are also clear in architectural drawings. So it can cause problems from time to time. Despite everything, I think it is a very artistic and loving art form. Here are some examples of watercolors that I made in my spare time 🙂

 

 

 

Single – Space Sense in Architecture

In this project I worked on this period, when I entered a place, I tried to interpret how we perceive that place. In particular, in my project, from the moment we entered the house, I tried to create a one-room feel at home, thanks to an ongoing top cover, including the entrance and exit. In making this interpretation, I did a research on how a single sense of space was applied in architecture. These are;

Wall Cloud by Sasaki Architecture

A disco called “Juliana’s Tokyo” was untouched by a variety of renovation projects for a warehouse that existed as a symbol of Tokyo’s coastline in the early 1990s. Because there was a low ceiling height of only 1.7m to 2.1m on the ground, which provided a cramped experience on space people. The ceiling was removed, and the beams were now surrounded by voids as gripping walls, giving the light the importance that the shares gave between the shafts. Separators for individual areas for users are transparent glass attached under the wall volume. Floating walls were also placed in the entrance hall and functioned as shelves or countertops. I think it was a nice design for the walls to be used as furnishing items at the same time. The area adjacent to the entrance hall gives a sense of unity and openness visually and consists of a single sliding space of all the walls. The repressive ceiling-like area of a symbol of the past has been transformed like a wall cloud and repeated as an impressive space.

 Scenario’s House by Scenario Architecture

This house is a house designed by the architect for his own family, so he put the name of the Scenario’s House. The main design challenge was to find a way to connect the front of the house. Initially, there were two separate reception halls, in the basement, full height, both physically and visually, to create a single and two-way emotion. It is connected to outdoor living and kitchen areas. Creating a split-level open double reception connected to the kitchen and garden floor with an angled glazed roof extension and a ‘sliding’ library feature that goes up to the floor in the bedroom solves this challenge.

 

‘House in Reference’ – PreJury I

In this semester, we have been working on a project which depends on researching and analyzing the houses, buildings, concepts and architects, because the main purpose of the project is building a house which is referred from other houses as you can understand the name of the project. In my previous posts, I explained my research about the case houses.

Research – Analysis

First referred house is Ö Evi by Erginoğlu-Çalışlar (Muğla, Turkey, 2006). Ö Evi has a single space sense. Actually, it looks like a three separate block from the outside, but inside there are three division parts which do not break the sense of the single space at the same time. Additionally, it has not got any partition walls; this also supports single space sense of the house. Space has been privatized with different furniture. It is an architectural interpretation that contains the sense of contemporary living and open space on the scale and on the underside, unfamiliar to the field without being overwhelmed by too much material. Designers say that “spaces are separated by elevation differences and moving elements, fluidity is impaired”. Also, openings are located through vista; this again supports single space idea. All spaces oriented through the same direction.

The second one is Maison Louis Carré by Alvar Aalto (France, 1959). Maison Louis Carré was designed by Alvar Aalto who use the warm and cold elements with together in his designs. The spatial organization was designed to bring private and public life in a case that divided these spaces with layers. One most move through multiple layers in order to reach the most private areas of the house. 

The third one is the Azuma House by Tadao Ando (Osaka, Japan, 1976). There is an axially symmetric composition. There are two cubical boxes are connected with one courtyard which is also transition space and circulation between the spaces in a way that horizontally and vertically. These two blocks are totally close, only the courtyard which is located the middle of the house open to the outside. So, it is only and natural light source of the house, in other words, the hearth of the house. In the courtyard part, there are 2 transitions one of them is from downstairs to the upstairs, another one is between the upper levels of the house. Additionally and importantly, visual continuity between the spaces is created by this connection/courtyard part.

House in Reference

Main referred qualities; Spatial continuity -single space sense- which also supported by the directing opening through the rich vista in Ö Evi. Visual continuity in Azuma House which is achieved by connection and transition part. Dividing spaces with layers as in the Maison Louis Carré. In a way to; Relation of two blocks in Azuma House is varied and multiplied in the design as a three-part which also referred Ö Evi. Due to this non-break block relationship, visual continuity between spaces is achieved. To differentiate spaces without using partition walls, elevation differences were used, for example, one of the three blocks shifted as Ö Evi by pilots. For single space sense, all openings of the spaces’ oriented through a certain direction, all of them look the same side.  This orientation is quoted from Ö Evi.  There is still transitional courtyard between the spaces, top of it again open to nature as in the Azuma House while it is closed to outside from exterior facades.  At the same time, this semi- invisible (this is my thought) courtyard, compare to the Azuma House’s, helps to divide spaces without any partition wall. In there, we can again mention the single space sense. Private spaces divided by layers, as Alvar Aalto did in Maison Louis Carré, by rotating upper levels in Azuma.  Also, these spaces’ scale supports this privacy.

Main referred qualities;

  • Spatial continuity -single space sense- which also supported by the directing opening through a rich vista in Ă– Evi.
  • Visual continuity in Azuma House which is achieved by connection and transition part.
  • Dividing spaces with layers as in the Maison Louis CarrĂ©.

In a way to;

Relation of two blocks in Azuma House is varied and multiplied in my design as a three-part which also I referred Ö Evi. Due to this non-break block relationship, visual continuity between spaces is achieved. To differentiate spaces without using partition walls, elevation differences I used, for example, one of the three blocks shifted as Ö Evi by pilotis. For single space sense, I oriented all openings of the spaces’ through a certain direction, all of them look the same side.  I quoted this orientation is from Ö Evi. There is still transitional courtyard between the spaces, top of it again open to nature as in the Azuma House while it is closed to outside from exterior facades.  At the same time, this semi- invisible (this is my thought) courtyard, compare to the Azuma House’s, helps to divide spaces without any partition wall. In there, we can again mention the single space sense. Private spaces divided by layers, as Alvar Aalto did in Maison Louis Carré, by rotating upper levels in Azuma.  Also, these spaces’ scale supports this privacy. There is still transitional courtyard between the spaces, top of it again open to nature as in the Azuma House while it is closed to outside from exterior facades.  At the same time, this semi- invisible (this is my thought) courtyard, compare to the Azuma House’s, helps to divide spaces without any partition wall. In there, we can again mention the single space sense. Private spaces divided by layers, as Alvar Aalto did in Maison Louis Carré, by rotating upper levels in Azuma.  Also, these spaces’ scale supports this privacy.

The jury advised me that I did not have to take every reference at the same time and that I could get less than the other while I was taking a more arrow. So it was said that my head would be less involved. They also advise me that one of the houses I referenced has contributed to me and that I have to think once again about its relevance to other references.

What IF.. – Revision

This is the link of my “What If” post: https://haticeoztedu.wordpress.com/2017/02/17/what-if/

As an addition to linked post, If I had used the carrier wall instead of the pilot, I could have used the ribbed window again from the references of Corbusier. So that I can restore the relationship between the house and nature by using continuous window instead of completely destroying it. So that I can draw the boundaries of the house floor space even stronger. If I replace the pilot from the remote with the carrier walls, I will sit completely on the floor of the building.

WhatIf_HaticeĂ–zRevised

Quotation and Reference in Architecture

The dictionary meanings of quotation are a sentence or phrase that is taken out of a book, poem, or play and reference are a few words that you say or write about someone or something. Quoting in architecture and getting references is interpreted somewhat differently. Namık Erkal, the previous lecture, reference represents the dialogue between the  architects on the way from the presentation of our instructor. As a first example, Esra Akcan gave an example from the book “Architecture in Translation”. This book is talking about re-thing in another architectural language in general. Throughout the history, some structures give reference to later structures for example Hadrian Villa’s and Pantheon are more influential structures for the later ones. My way of understanding the reference; instead of copying the places completely, apply the references taken from those structures to our own design and I aware that extreme referencing make it copying. And in order to be able to take a reference from an architect and his designs, we need to understand and analyze the ideas, style and ideas of that architect in his design. One of the most exciting examples of the given examples was one of the most successful examples of how to take reference in architecture, a structure based on Le Corbusier and good enough to compete with his designs.

If I came up with quotation, I wanted to quotation from Azuma House. The two cubic and symmetrical structures are connected by a courtyard with two architectural elements. In fact, the purpose here is to reinforce the design that looks like a simple structure with the ideas behind it. The designed courtyard is the place where the relationship with the outside world is the greatest, as well as combining the two cubic buildings.