Revised 3D Diagram

I have changed my mind a little bit, revised my ideas and produced a new model! In this post, I will explain what I have observed from my case studies (even if I did before a little bit) so that I came up with a revised 3D Diagram.

I reinterpreted the reading the material phrase, after I reconsider my case studies I come up with an idea that in five of my case studies (Villa Curutchet, Endless House, Balancing Barn, House II, House for the Poem of the Right Angle) there is dominant use of a single material (also in same color, texture) in their all façades. On the other hand, there is a different one: Ipera 25 which is constructed around two blind walls made of fine concrete on two sides and wooden shell that cover the other two sides of the building. Therefore, it is like; the concrete surfaces make enhance the existence of wooden façades or vise versa. Instead of the dominancy of all façades, this contrast on façades makes us apprehend the materials easily, I thought. I interpreted the situation in Ipera 25 like the wooden material is used to be observed besides its functional side. If every façade is designed as wooden surface may be the existence of the wooden façade stand out, and make us observe it.

As the light condition is processed in various ways in each building, it was processed again in various ways in my case studies too. I have already mention how I interpreted the narrow exlosion phrase before. Explosion word remind me the light to explode in a space & narrow word sounds like being limited in a space. So, the light to be ample, lack of light or the light to be filtered conditions occured in my mind with the help of case studies. Therefore, this time, I have focused on my two case studies which process the light condition extremely. For example, Endless House has a shape that allow ample light to reach every corner of the room without being broken up by corners and interior walls of a conventional building. Unlike Endless House, there is House for the Poem of the Right Angle which has a vast contrast in light levels throughout the house with some areas seemingly devoid of windows. On the other hand there are two of my case studies: Villa Curutchet and Ipera 25. These houses has elements which filters the light and works as an element that controls the sunlight in their façades. In Villa Curutchet the main façade incorporates a brise-soleil &  in Ipera 25 “the whole gigantic wooden façade is partly perceived as blind, while functioning as a brise-soleil as it consists of horizontal slats”. Continue reading


3D Diagram

We were assigned to make 3D Diagram in the light of the given case study list (9 houses) and 2 phrases. You can see list of the case studies and the phrases I picked below.

Le Corbusier, Villa Curutchet / Argentina, 1949
Frederick Kiesler, Endless House / Unbuild, 1950
MVRDV, Balancing Barn / Suffolk, United Kingdom, 2010
Shigeru Ban, Wall-less House / Japan, 1997
Serhat Akbay, Bağevi, İzmir, 2000
Peter Eisenman, House II, 1968
Ahmet Alataş, ipera 25, İstanbul, 2011
Christian Kerez, House with a Missing Column / Zürich, 2014
Smiljan Radic, House for the Poem of the Right Angle / Chile, 2005

reading the material & narrow explosion

Instead of taking the meanings of phrases literarily, we were suppose to interpret them based on the given case studies. Here, the implied interpretation must be in a more abstract way. First, we need to understand, know, and analyze the houses very well so that we can able to find or build some relations between the houses and the phrases. These phrases are like initiators to guide us. They were relate to almost anything. Let’s see how did I interpret them?

The first phrase; reading the material. I thought that how materials are important pieces that may provide the basis for some integrated work, in the same way, I established an idea that the spatial organization is a needed material symbolically to design & produce a house. This association came to my mind when I perceived that each house is special with their own essential spatial configurations, and the spaces are organized under special characteristics. Yet, if we talk about THE material, then the spatial arrangement come into promience, I interpreted. Here, I thought the definition of the reading as apprehending the meaning. So, the phrase could sound like apprehending the spatial arrangement of houses.

The second phrase; narrow explosion. “One of Frederick Kiesler‘s main arguments for the derivation of the shape of Endless House is that it is based on a lighting system; a shape that would allow ample light to reach every corner of the room without being broken up by corners and interior walls of a conventional building.” On the other hand, there is absence of the windows on a lot of the facades of House for the Poem of the Right Angle, and the tubes on top of the house allow the light get into the interior. “There is a vast contrast in light levels throughout ‘House for the Poem of the Right Angle’ with some areas seemingly devoid of windows.”. “The interior spaces offer innovative plays on light and dark.” At the same time, there is Wall-less house for example, the abscence of walls allows the light to enter the house. There is no restriction (limitation) in light, so there is no privacy. By considering all these, I interpreted the word narrow as being limited in space. For example, the light to be limited in a space so that there occurs a maximization in the condition privacy. In this manner, this maximization, this increase represent the explosion.


While I am thinking how hard it is to overcome this all process of interpreation, a new challenge came: 3D Diagram! This time, I tried to express what I thought until now in a diagrammatic way, then made its model. Instead of modelling the each phrase separately, I wanted to bring them together in a common point. So, I made a new interpretation of what I interpreted (my goodness!!!!!).

These all explanations above made me think that while ‘reading the material’ makes sense as a gradual process, ‘narrow explosion’ is perceived as a sudden change. So, starting from the mark on the left side of the photograph, the dissolution of relations of triangles rotates clockwise, and this represent this gradual process & perceiving slowly. On the other hand, the start and the end part stands side by side, and this situation symbolizes the sudden & more rapid change compared to the other one. I hope it is visible.

If I am really overdo the make up, please let me know. Anyway, I think it is still better to be overfigurative! (too much to handle!!!!!!)

producing a collage in the light of the case studies and phrases

I produced a digital collage based on list of case studies & phrases below. We were supposed to research the cases and use, relate them with the phrases as a source, as a guide.

Le Corbusier, Villa Curutchet / Argentina, 1949
Frederick Kiesler, Endless House / Unbuild, 1950
MVRDV, Balancing Barn / Suffolk, United Kingdom, 2010
Shigeru Ban, Wall-less House / Japan, 1997
Serhat Akbay, Bağevi, İzmir, 2000
Peter Eisenman, House II, 1968
Ahmet Alataş, ipera 25, İstanbul, 2011
Christian Kerez, House with a Missing Column / Zürich, 2014
Smiljan Radic, House for the Poem of the Right Angle / Chile, 2005

Additionally, I have two initiator phrases as a orienting concept. They are not structural principles or ideas related with the case studies. They are more abstract terms and it is up to us to interpret these flexible statements. We need to take them as open ended themes because these phrases relate to almost anything since we do not take them with their literally meaning. So, here in order to find or build some relations, we need to know the case studies very well.

phrases: reading the material & narrow explosion


first collage

This was the first trial. As a beginner, I could not think how to use and relate these inputs properly. That’s why it does look like a sci-fi based collage.

I interpreted the phrase reading the material as to be able to observe the relationship between the materials of a building (the collage also has the meaning the hands let the materials & their relations to read, observe). For example, leftmost material is steel and on the right side of the steel, there is concrete. The relation, that I have observed, between these two material is taken from House with a Missing Column & the red strips between the materials represents the strenght of this relation compared to the relationship between the materials of buildings in other case studies. More strong the relationships are, less the width of red strip. By mentioning the strength of the relation, I mean are these two are constantly used with each other or not. So, the strong relations between the materials cause to explosion. It was an extreme interpretation, after we have discussed a bit in the studio, I have realized that my collage is not acceptable. Really!

By the way, I know that while trying to cope with the phrases I have produced the collage without using the case studies.


revised collage

After the discussions in the studio, I have began to think in another way which is more correlate with the case studies. This time, it came to my mind that I can refer the light condition in the houses to the phrase narrow explosion. Explosion is like the light to be ample in a space as in Endless House. In Endless House, “Kiesler’s architectural drawings, models, and photographs depicted a space allowing light to reach every corner of the room withous being broken up by corners and interior walls.”.However, we can observe how the light is limited in House for the Poem of the Right Angle. Here, the narrow explosion means the light to be limited in a space so that we will be able to read whether the material of building let the ample light to reach everywhere or filter the light. This contrast lead me to compose my collage. While in the example of House for the Poem of the Right Angle (left side of the collage) the condition of windowless (lack of material) make the light to be limited in a space, in the example of Wall-less House (right side of the collage) we can observe how this wall-less condition works (the condition of the material to be less make us to observe the amplitude of the light in the space). By thinking that the collage does not require well reasoned relationships, I hope it is clear how I combined these all inputs in a single collage.

Architectural Survey

Architectural Survey is the action of drawing and measuring a building to analyze its characteristics. It is the system of knowledge and activities aimed to draw the structure and the shape of a building, in both plane and three-dimensional form.

We have got a brief informing about measurement system and how to use AutoCad, right after, we assigned to produce the drawing set of the given area of our University. In this way, we had a chance to practice the techniques of architectural survey. After making the necessary measurements in group & we produced the final drawings accordingly in AutoCad.

We have produced 1 plan, 2 elevation and 2 section drawings as a group. Let’s see how did we get the measurements & how did we produce the drawings. Beside measuring the lengths, in order to determine the exact location of each element, side, edge, corner etc. in the area, we supposed a few corners of a few lines in the area as fixed. So, we took measurements from the corners of this identified lines towards the elements which we want to  identify their locations. This method of measurement is very useful.

As another method we used a plastic tube for measuring the level differences of two points. After the tube is filled with water, we marked those zero points and started to take measurements according to them. This method enabled us to take our measurement more accurate because we did not know whether the ground is flat or not. Continue reading


The relationship between design and research.

“What do architects understand research to be? How do architects use research? When and how do architects undertake research in their practices? What research knowledge do practising architects need? How does research bring value to architects’ practices and their clients? How do architects connect with research from academic and other research organisations?”


When it is necessary to create solutions to design problems, research become the part of design. These two works together, gets involved.

In order to get inspired and obtain useful information, we can analyze the case studies; search for the works of architects, engineers, other artists; use references, quotations, anotations, translations, adaptations; read magazines, websites. We can do research in various areas.Since everything refer to each other, the influences we have obtained from these research can help us to solve the design problem. Plus, how we interpret the things we learn, guide us on how to progress.

I highly recommend you to go through the guide: how architects use research. There are some given case studies which practically shows how to design better for different clients.


What if, Peter Eisenman designed the Gropius House?

As you can guess from the title, this is a kind of study that we speculate on what if, Peter Eisenman designed the Gropius House?

It is not expected the end product is to be a completely new house. I mean the purpose is not to design a thing. The purpose is keeping the characteristic features of the Gropius House or may be the reflections of the characteristic style of Walter Gropius in the house, later on, bringing some details of Peter Eisenman’s design style so that in the end, the result house will still be Gropius House.

The crucial feature of Peter Eisenman houses: the grid style plan. The plan of Gropius House is close to being a grid style plan with its  reference lines, so with a small touches it can be turned into a grid style plan easily. This would be the touch of Peter Eisenman, I think. Also, I think that the façade of Gropius House is so smooth that Peter Eisenman would fragment the planes and it would be like composition of rectangular elements, lines, planes. Furthermore, I think the stairs would not be stay in spiral form & outside the house because I have observed that Peter Eisenmann does not doing such things, instead I located the staircase interior and created it with mass. Continue reading