Author: Zeynep Tuğtekin
An architect who is passionate about how art of architecture not only transforms the spaces but also changes the perception of the world. Feels responsible to design to strengthen worldwide sustainable developments. Currently making master's degree at Politecnico di Milano.
Final Jury – Architecture of Assemblage
Here is the final jury of my undergraduate architecture education. We also joined the group of students who graduated online. I would like to present my project in front of a jury rather than an online meeting but there is nothing to do about it. We are learning and growing while handling extraordinary situations…
Techniques of Architectural Photography – Final Submission
Techniques of Architectural Photography – project renders
Nowadays, we are stuck at home because of the Coronavirus. Therefore, we are not able to take new photographs by using the techniques that we have discussed in the class. So, we were asked to take renders from our studio projects by applying these techniques and considering framing. The picture below is only a quick draft to explore what kind of pictures I can make.
Prejury 2 – Architectures of Assemblage
Architecture Portfolio
Partial Space Organization
After the first prejury, I have focused on the physical representation of my liquify operation: how it will work with ground and the building façades, what could be the variations of it, could it be another band that leading the pedestrian and visitor movement and usage…
I have impressed by the cases that are made for Chicago Navy Pier. These gave me the idea of making the liquify operation not only at x,y direction but also at z direction. Also, the idea of having leveled ground is functional to control the water intake by giving a beach impression. Levels continue to rise to create sitting places while also merging with the façade.
Sketch Problem 2
We were asked to make a quick sketch problem to understand the scale that what we have proposed at the prejury for 3D programming. For the comparison, I have chosen the Maxxi Museum and located it to our site. I realised that its total square-meter is the half of the what is required at the given program. Therefore, I doubled it and see that after multiplication its scale is so similar with my building. That work helped me to understand my scale is proper for the program and the expected.
Architectural Photographer
For the architectural photography course we were assigned to analyse the work of an architectural photographer to contextualize, analyse formal qualities and interpret the ideas and meanings. I have studied on the works of Filip Dujardin.
Dujardin started his career as an art and architecture photographer and moved on to creating his own imaginary architecture by digital collage technique. More recently, he has developed installations that explore the boundaries between architecture and sculpture. On top of that, Dujardin creates a fascinating dialogue between 3D-installation and photography.
Besides his photography of documentation, he mostly in the side of translation of architectural knowledge which means interpretations of the photographer. He thinks that architectural photography gives the opportunity to interpret what is expected to be presented. Such as compression to show more or elimination to show less.
While analyzing his formal qualities such as arrangement within the frame, it is possible to see the aimed context: it adapts itself to the borders of the frame while creating tension. A common concern in his works is exploring new tensions by detecting new typologies in architecture and interpreting them. Also, he mostly uses frontal expressions of the objects to clearly capture and integrate the horizontal and vertical elements within the frame while experiencing them on different scales.
The main keys in his works are typological approach, tradition, compressing, fragments of reality, surrealism, manipulation, and fictions. He focuses on the ordinary types of objects such as columns, walls, chimneys, and observes how interpretations and manipulations can expand their genres. These observations have encouraged him to make a series of images that deal with notions of the architecture of re-realized reality, as a kind of fabricated reality. His fictional buildings evolved out of his frustration with not always having a dynamic-enough subject to make an interesting image. Since then, he is weaving the surreal into the urban language as Belgian cultural heritage, referencing surrealist artists such as René Magritte and Raoul Servais.
Fictions present impossible architecture in conceptual subjectivity created with digital collage techniques from photographs of existing buildings in and around Ghent. So this work deals with ways in which fragments of reality can be recorded and re-imagined in a series of whole as collages. Dujardin has created buildings that impossible to construct; sculptural formations which are occurred after criticizing and manipulating the ordinary typologies & traditions of the architecture. At his series of ‘Fiction’, there is a confusion that at first glance they seem ordinary but they reveal their absurdity upon closer inspection. Their attractiveness is that they look like impossible architecture but still in the range of plausibility. He called them ‘ancient monuments from the future’ because of the tension that they are high-tech but exteriors were added in low tech skin with industrial materials like concrete or brick. With his approach, he distances himself from today’s conventional methods of depicting real architecture like renderings. Dujardin appreciates the complete freedom and spontaneity he has during building in a virtual model.
In conclusion, it is possible to say that his works are a kind of evocative reconceptualization, rethinking, and re-fragmentation of the architecture that exists as a kind of image system. Compressions of the cultures, regions, traditions, history, memorials, and cityscapes.
Prejury 1 – Programming in 3D
Locating the program elements according to their functions, user types and surrounding roads helped me a lot to define the relations between the components. I have four category as collector, connector, hybrid and liquify. For 3D representation, I have intertwined these categories by considering the special operations for each. Also, according to the functions of the programs I have defined which component should be in direct relation with the other within the spatial loop by creating the threshold of possibilities at intersection spaces.
I mostly took reference from Maxxi Museum by Zaha Hadid Architects and Guggenheim Helsinki Museum by Peter Eisenman.
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