The work presented in this publication is a selection of student works between Editors Başak Uçar, Derin İnan, Murat Aydınoğlu, Güneş Duyul - PDF

The work presented in this publication is a selection of student works between Editors Başak Uçar, Derin İnan, Murat Aydınoğlu, Güneş Duyul Design Murat Aydınoğlu, Güneş Duyul, Başak Uçar Printed

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The work presented in this publication is a selection of student works between Editors Başak Uçar, Derin İnan, Murat Aydınoğlu, Güneş Duyul Design Murat Aydınoğlu, Güneş Duyul, Başak Uçar Printed by Öz-san Matbaacılık 2016 TEDU Department of Architecture All rights reserved including the right of reproduction in whole or in part in any form. TED University Department of Architecture Ziya Gökalp Caddesi No , Kolej Çankaya Ankara Turkey CON ARCH Fall 2013 Fall 2014 Fall 2015 Fall 3 D_Construct dis l SOLVED 2x2 co-mo-ro[64] TENTS ARCH Spring OYUN A Structured Experience 2014 Spring Insta l Scape 2015 Spring AnAlice s Adventures in Kayaköy 2016 Spring s+f ARCH Fall 2014 Fall 2015 Fall Corridor Patterned Episodes In Between enroute ARCH Spring Scales of Contact 2015 Spring all-in-one 2016 Spring House: Rewind ARCH Fall University Housing ARCH Spring City Living Room 2016 Spring Winery in Kalecik 2016 Spring Prosteel Student Competition ARCH Fall Factory as a Maker of Culture ARCH Spring Existance in Mobility Yearbook documents the first four years of the architecture program at TED University Department of Architecture and hence represents more than a yearbook. This volume aims to capture the essence of four academic years in a brief manner and presents the objectives and selected works in the architectural design studios. Its being an extra large pile enables to reflect on the general structure and definition of the studios in a successive manner and also records the diversity of outputs in four years. This volume does not intend to explain the individual works in detail, but rather aims to provide insight into instruction and research perspective of the department through the selected works. Being the first of many yearbooks to come, this volume also celebrates the department s first graduates and represents their expertise and achievement. We are sincerely grateful to each and every member of the department for their contributions not only throughout the semesters in academic sense, but also for their support in managing the yearbook. We should also express our deepest gratitude to our research assistants Murat Aydınoglu ğ and Güne ş Duyul for their efforts in coordinating and designing this volume. P Design as PRAXIS Design education unavoidably involves conflicting yet intertwined issues; it accepts the existence of registered fundamental elements of architecture and yet, at the same time encourages the development of critical approaches that question these elements and provide a ground for the emergence of alternatives. Then, the pedagogy of the studio is based mainly on the development of critical approaches, which requires the acceptance of design not as an object of inquiry but as a research approach. Praxis, meaning to transform an idea into an action is significant to the studio pedagogy as it points out a process-oriented disposition of architecture by underlying the significance of research that yields to an architectural product. According to this point of view, design process is an intellectual and operational practice that involves the employment of tools and actions for the development of the product. Learning and knowing through the act of design Approaching to design as praxis suggests that the main objective of the design process is to be not solving a problem but defining new problems, taking decisions and proposing design actions that yield to an architectural product. Thus, studio pedagogy indicates an open-ended process that provides a ground for the students to explore architecture as a field of possible actions and relations. It is in this process that learning and production of knowledge are integrated. Berin F. Gür Head of Department of Archtecture R A X I S TEDU ARCH design is... Arch 101 Basics of Design Basic concepts and principles of design. Development of mental, perceptual and manual traits. 2D and 3D design exercises. Introduction to basic concepts and general traits of design. Abstraction and conceptualization. Development of mental, perceptual and manual skills in the presentation of design ideas. Arch 102 Introduction to Architectural Design Design and structuring of spatial relations. Scale, formal properties, structural and experiential aspects of architectural space. Arch 111 Architectural Communication Techniques I Visualisation and graphical representation techniques. Architectural representation techniques at different mediums. Orthographic drawing, free-hand drawing, model making, computer aided drawing and modelling techniques. Visualization and representation techniques in different mediums. Orthographic projection, free-hand drawing, architectural photography, communication with digital mediums. Arch 112 Architectural Communication Techniques II Architectural representation methods, tools and techniques. Expression methods of the natural and built environment. Design ideas, architectural elements and formal attributes. Visualization and representation techniques in different mediums. Expression and communication of design ideas, architectural elements and formal attributes. Perspective drawing, modelling techniques, communication with digital mediums. Arch 121 Introduction to Architecture Introduction to the vocabulary of architectural thought and development of design concepts in their relation to the urban, social and historical context. 101 ARCH 101 Studio in TEDUArch is titled Basics of Design instead of the usual Basic Design and the change implies that the Studio is devised to incorporate the pluralities and diversities that design education has developed in its recent history, while also acknowledging the fundamental values in the basic design tradition. The setup of the Studio is aimed to be reflecting a renewed emphasis on the study of the methodology of design, where the competence in managing the design processes is valued over the qualities of the product. In this aim, the studio projects are designed with interconnected stages that initiate from the observation and analysis of a given abstract/conceptual structure and develop towards an interpretational restructuring with increasing three-dimensional complexity. The basic skills that are expected from the students to be put into practice are the analytical ones on abstraction and conceptualization and operational ones on controlling the formation of complex compositions using geometrical and structural relationships evolving through the initial analysis. The compositional concepts that are traditionally associated with basic design education on the other hand (such as hierarchy, proportion, unity, rhythm, and etc.) are introduced as mediums that the analytical and conceptual qualities within the individualized design process (i.e. design decisions) are utilized and communicated through, and not as ends in themselves. The initial stage, with which each final project in the ARCH 101 Studio of past three years has started, (named as the initiator ) was chosen so that its analysis does not operate directly on visual terms but requires an interpretation to be abstracted into a visual structure. Student interpretations are not questioned or challenged in the initial stages in terms of their correctness or consistency; instead the students are encouraged to rapidly proceed into mid-stages where interpretations are translated into design decisions that form the compositional structure. Each new phase from mid to late stages are introduced into the project as a new set of operations that the students can put into use to increase their control on the design process, while their decisions are transformed into concrete, complex and individualized compositions. Students are expected to present their personal conceptualizations through which they utilize the operations given to them with diagrams and keywords and such presentations as visualizations of the process are evaluated as important as the final product. BASICS OF DESIGN ARCH 101 3 D CONSTRUCT _ 2012 fall Instructors Derin İnan Başak Uçar Bilge İmamoğlu Azize Elif Sudan Students Melis Acar Çağrım Koçer Elif Köse Seçil Telyakar The assignment started with an analysis of the body music performance by Assoc. Prof. Dr. Özgü Bulut, where the rhythmic choreography of sound and movement is documented by focusing on three segments extracted from one specific performance. Producing interpretative, generative layered drawings FRAGMENTED 3 different visual compositions were produced by the abstraction of the segments with the use of lines and planes and were considered as overlapping layers. Produced by particular techniques and materials, a 3-layered generative drawing (composite plane) was produced according to a repeating visual structure. To study the relations within and between the layers, the overlapped layers were constituted as interdependent rather than individual ones, where the relations between them were studied through back and forth works. Achieving a 3D spatial organization with linear elements and planes EXPLODE DISSOLVE Intersected composite planes were exploded and dissolved by introducing lines and planes and by the use of design actions such as move & rotate on these elements within the invisible 3D grid in forming the final construct. The produced composite plane was duplicated and intersected to initiate the formation of a 3D construct, where the information present in the drawing were transferred into an invisible 3D grid that defines the references for the spatial study. melis acar seçil telyakar elif köse çağrım koçer dis SOLVED 2013 fall Instructors Berin Gür Derin İnan Başak Uçar Azize Elif Sudan Students İpek Akın Aylin Alicanoğlu Mehmet Beyazlı Merve Cuştan Ozan Çiçek Özge Asena Durmuş Ezgi Gani Melis Özge Gayretli Müge Güreş Aysu Gürman Ömer Gözüküçük İdil İbrikçioğlu Raziye Sena Kocakaya Burak Kök Melis Küçüktunç Bora Meral Uğur Namdar Atacan Okumuş Özgü Özcan Bestenur Öztürk Kübra Öztürk Kübra Sönmez Tuğçe Çelinay Şahin Elif Tamay Özge Turgay Eren Yazıcıoğlu Leyla Yıldız superimposing information, unfolding to superpose and produce interdependent generative layers SUPERIMPOSE SUPERPOSE The three layers are superimposed and photocopied to arrive at a single layer that includes all the information existent in three layers. The single layer is unfolded to achieve 4 separate layers (two of the layers from colored acetate (drawing&hatching), one layer from cartridge paper (cutting out) and one layer from wire (folding). These 4 layers are superposed in a way that they bear information from the superimposed layer. FRAGMENTED I Starting with the site visit to Doğan Media Printing Center, the students were asked to observe and document the printing system. The sequential order of the printing system implying various operations and their repetition was a means to arrive at an abstract structure of the system. Through fragmenting the foam board in one direction, each project emphasized the changes, variations, repetitions and ruptures within the continuity of the system. analysis of a system to understand and reflect its abstract structure dissolving and merging layers to form a 3D construct dis solved Each superposed layer is exploded in a single vertical axis to form the basis of a 3D construct, where the regulating lines will be transferred into an invisible 3D grid. In this final stage, every project related the lines with each other in the 3D grid to activate the entire space and discover new relations. In addition, each project has applied the list of given actions (extrude, copy, add, move, rotate, align, extend, fold, juxtapose, intersect, subtract, group, layer) to the existing planes and lines to merge and dissolve the layers in improving the organization ideas, generated in four layers. FRAGMENTED II bringing complexity and variation to the abstract structure by layered fragmentation Deriving a method from the experience of body music workshop with Assoc. Prof. Dr. Özgü Bulut, where the focus was how repetition, variation and change can form a complex rhythmic whole. The method derived is utilized to bring complexity to each abstract structure (AS). Operations present in AS are used to generate its 3 different variations in the form of three overlapping layers composed of lines and planes. Regulating lines are expected to structurally initiate the composition developed in successive layers. elif tamay / kübra sönmez experience 2x fall Instructors Derin İnan Bilge İmamoğlu Gökhan Kınayoğlu Azize Elif Yabacı Students İpek Deniz Alpdoğan Doğa Can Ata Rümeysa Hilal Aydemir Zeynep Azboy Dila Batmaz İrem Baz Mehmet Beyazlı Meryem Ebru Burak Yağmur Gülru Burhan Sena Çatal Dilya Çelen Mustafa Can Dağlı Gözde Delice Tuğçe Erartsın Bilge Ersarı Ömer Gözüküçük Merve Işık Defne Işıklı Cemre Kale Burcu Kaplan Seyyid Ahmet Kılınç Ezgi Koyukan Seda Mercan Atacan Okumuş Kerem Orhan Didem Zeynep Ödemiş Kaan Öğetürk Behice Nur Özer İlayda Özkaya Ceren Özsu Elif Ezgi Öztürk Işık Öyküm Öztürk Sevinç Salmanlı Begüm Sarı Alper Ertuğ Sarper Ahsen Senem Sırma Beyza Şener Barlas Takmaz Selin Taşbilek Oğuz Han Taşçı Cansu Türk Melisa Unvan Nehir Melis Uzun Serap Sevgi Ünkaracalar Zeynep Yağcıoğlu Gökhan Yarar Rabia Meycan Yeğin Kübra Yıldırım Necmiye Seçil Yolalan Merve Nur Yurt Özgecan Zeybek Zarif Dijle Zırhlı COMPOSITION I analysis of a system to understand and reflect its abstract operational structure, fractal grid 2X2 is initiated with the observation of a chosen production process that is expected to be analyzed in a flowchart as an abstract structure. This abstraction is then quickly transformed to a three dimensional composition of linear elements that is formed by addition of 42 mm units that can rotate in 90 degrees, can branch (in 1 to 2 or 2 to 1) and that has to form a closed loop. The rules that came with the operations also provided the first experience of the grid that the whole compositional process would operate in. VARIATION I producing the planar variation model of the structural frame Variation I studied the same compositional principles that the set of operations created for C.I., but with planar elements instead of linear ones. Students were expected to study new options that the change brought and explore further possible differentiations and new variety of relations. The study with planes also made it more legible for the students to discuss the overall structure in terms of volumetric relationships. producing variation II by merging the linear & planar elements VARIATION II For Variation II, students were asked to merge C.I. and V.I. while shifting their grids for half a unit (21 mm). In addition, they were also allowed to use stretching and elimination, operations that were defined as applicable to groups of elements and not only single ones, with the aim of re-organizing the complexity that emerged from the merge. producing a variation in the light of the theme VARIATION III Before Variation III students were given random conceptual themes and were asked to research them. Then they were asked to study their compositions one more time, so that the final composition would become a variation of V.II. in terms of their interpretation of the given theme. In addition to the previous operations, extruding, changing transparency, and duplicating were also introduced for the final variation. oğuzhan taşçı COMMUNICA TION CO-MO-RO [64] 2015 fall Instructors Başak Uçar Onur Yüncü Gökhan Kınayoğlu Murat Aydınoğlu Students Arda İzgörden Aslı Gürcan Aylin Aşır Aylin Şen Berk Coşkun Bilgesu Şen Burak Ağbulut Can Çetiner Cansu Bayrak Cansu Yeşil Cansu Nur Ürek Deniz Yıldırım Didar Çayır Dilara Özlü Doğuş Can Kadıoğlu Ece Günal Ecem Olgun Eda Turgut Eda Nur Abanozoğlu Efe Yılmaz Ezgi Samancı Gökçe Naz Soysal Gül Sezen Baygün Gültekin Doruk Atay Hande Sığın Hatice Öz İlayda Genç İpek İmdat İrem Sümer İrem Asena Güney Melike Damla Sert Melike Zeynep Silahşör Melis Bel Melis Bolat Merve Şanlı Miray Yüksel Mutlu Akbulut Nevin Gizem Usanmaz Nilay Karaköy Nur Hazal Gürgöze Ömer Ege Pelin Bütüner Pembe Büşra Şafak Seran Şenyurt Sevinç Salmanlı Şeyma Akcan Tolgahan Şahin Ufuk Uğurlar Umut Onat The semester is structured to study relations and complex design strategies through design operations, where the production is continuous and leading to various end products. It is aimed to replace the singularity of the end product by that of pluralism, which enables to shift the focus from the final product to the process of production and design. Plurality of the end product also enabled to experience a non-linear design process, where the students worked on different design operations and hence explored ways to consider design as a tool for research on relations. practicing design operations Designed as a series of exercises, in the assignment titled comoro[64], the students were asked to work on and explore the potentials of certain design operations (move-copy-rotate-tear-fold-stretch and scale). Starting with the definition of an initial plane and followed by the formation of a unit to study its variations, the level of complexity is increased at every stage by means of introducing new design operations. In the initial stages of the assignment, the students were asked to use the initiating operations (copy-moverotate) to produce a 3D construct, which were revisited in the later stages of the assignment to be re-studied through different design operations. In the last stage of the assignment, the students were free to select the specific stage they wanted to start from, where the produced construct is initiated by the relations of that specific stage. Consciously using all the operations practiced so far, a 3D construct is produced with the repetition of the units through variation. didar çayır nilay karaköy nur hazal gürgöze 102 ARCH 102 Studio is titled Introduction to Architectural Design and the Studio in the past three years has been designed to achieve what the title suggests; the introduction of basic concepts, methods, procedures and issues that constitute the process of architectural design. The role of this studio in the whole architectural education is considered to be crucial as it is a transition from the fundamental, widespread and abstract approach of Basics of Design to the essentials of the processes of architectural design. This transitory role is formed through a single, multi-staged project where the students are expected to orient their skills on basic conceptualizations and operational practices of ARCH 101 towards the medium of the architectural design process. The assignments as serial/parallel stages of the project are designed to simulate the complexity of the procedures of architectural thinking by way of introducing abstract versions of programmatic and contextual components of an architectural problem as multiple layers of initiators (see ARCH 101 for the concept of initiator ), which have so far been named as instance(s) (as abstractions of programmatic structure) and the field (as abstractions of contextual inputs). Discussions on the instances are focused on the task of organization of space as structuring of multiple and diverse variances of spatial experiences. The field on the other hand brings in the concept of place and its experiences. Yet such issues are not developed into the full complexity of architectural problems that include function, human scale or a building site, since ARCH 102 projects are not designed as actual architectural design problems but are introductions that dwell on the methodology of undertaking them. In this sense, the basic objective is to experience and develop skills on the organizational tasks that orchestrate various design dec
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