LISE + Bilgi Üniversitesi Mimarlık Fakültesi | Liselere Yönelik Tasarım Atölyesi

Istanbul Bilgi Üniversitesi Mimarlık Fakültesi tarafından düzenlenen Lise+ programı, halen lise ögretimini sürdürmekte olan ve gelecekte mimar, iç mimar veya endüstri ürünleri tasarımcısı olmayı planlayan ögrencilere bu bölümlerde okumanın ve tasarım gelenegine baglı bir meslege sahip olmanın ne demek oldugunu kısaca deneyimletmeyi amaçlayan bir yaz okulu. 18-22 Haziran tarihleri arasında gerçeklestirilecek

olan bu program dahilinde Mimarlık Fakültesi ögretim elemanları, mimarlık-iç mimarlık-endüstri ürünleri tasarımı alanlarına karsılık gelen örtü – yüzey – oyun baslıklı üç ayrı atölye yürütecek. Tasarım merkezli mesleklerin yaparak ögrenme geleneginden yola çıkan atölyelerde üretilen ürünler Istanbul Bilgi Üniversitesi Santral Kampusü’nde sergilenecek. Bu atölyeler örtü – yüzey – oyun kavramlarının arastırılıp tartısılacagı Istanbul gezileriyle desteklenecek. Atölye ve geziler sırasında ögrencilerin eskiz yoluyla gözlemleme ve tasarlama becerilerinin de gelistirilmesi üzerinde durulacak. Lise + kontenjanı, her bölüm için 10 kisi, toplam 30 kisiyle sınırlı oldugu için 8 Haziran 2012 tarihine kadar http://lisearti.bilgi.edu.tr adresinden ulasabileceginiz basvuru formunu doldurup lisearti@bilgi.edu.tr adresine göndermeniz gerekiyor. Degerlendirme sonuçlarını 12 Haziran 2012 tarihinde web sitesinde ilan edecegiz. Sizleri aramızda görmek dilegiyle..

SEBNEM YALINAY ÇINICI
TUGRUL YAZAR
SALIH KÜÇÜKTUNA
ELIF SIMGE FETTAHOGLU
IDIL KARABABA
CAN ALTAY
ELIF ERDOGAN
ALI ONAT TÜRKER
NEDIM KEMER
BENAY GÜRSOY
AVSAR GÜRPINAR
IDIL ERKOL

bi'sürü Workshop - Zamanın Çivisi Çıktı! 12-13 Mayıs YTU

bi'sürü 12-13 Mayıs 2012 tarihlerinde Yıldız Teknik Üniversitesi Mimarlık Fakültesi'nde "Zamanın Çivisi Çıktı" başlıklı workshop düzenliyor. 

Yürütücüler: 

Salih Küçüktuna 
Onur Sağkan 

Mert Eyiler 

Hülya Ertaş 

Alper Derinboğaz 

4. Uluslararası Genç Mimarlar Buluşması “Gelecekte Tasarım” | 18-20 Mayıs Antalya

Mehmet Gözetlik / Multidisciplinary Design Exhibition 7-27 May 2012 Galeri ISIK Istanbul

Cradle by Ball-Nogues Studio / Santa Monica, CA 2010

Photography by Salih Kucuktuna

Commissioned by the City of Santa Monica, Cradle is situated on the exterior wall of a parking structure at a shopping mall – originally designed by Frank Gehry. The site is near the beach, and is heavily trafficked by tourists on foot and in automobiles. An aggregation of mirror polished stainless steel spheres, the sculpture functions structurally like an enormous Newton’s Cradle - the ubiquitous toy found on the desktops of corporate executives in Hollywood films. Each ball is suspended by a cable from a point on the wall and locked in position by a combination of gravity and neighboring balls. The whole array reflects distorted images of passersby.

Aside from the Newton’s Cradle reference, we wanted the overall shape to elicit things that we thought might be slightly provocative when inserted into the glitzy Santa Monica urban landscape. On one hand the installation resembles a big banana hammock (the type worn by unashamed men at the beach) and on the other it suggests the female reproductive system. Sometimes we think of it as a giant fly eye with hundreds of little lenses and at others its like sea foam or coral. Sometimes it resembles an urban scaled wall sconce and at others, a kind of imaginary awning for an invisible storefront. Regardless of what it looks like, it was an opportunity to develop a new kind of building system.

Cradle is as much a sculpture as it is an approach to making experimental structure in the post-digital era. We were interested in exploring ways of producing large scaled self-organizing structures. Cradle is comprised of an “informal” arrangement of parts; the relationship between each cannot be accurately modeled with digital software. The work is, however, an outgrowth of digital technology.

A key technical concept for Cradle is “sphere packing” – the phenomenon where multiple balls squeezed together and self organize under the effect of gravity, a process we could only approximate, at best, using computer modeling. Software was useful for visualizing Cradle and for designing the overall shape of the formwork used to make it but not for predicting where the spheres positioned themselves in the physical world.

The fabrication process was a bit like the process of slip casting ceramics except instead of pouring ceramic slip into a mold we “poured” hundreds of spheres. To our knowledge, this was the first time this technique has been used.

Principals in Charge: Benjamin Ball and Gaston Nogues

Project Manager and Lead Fabricator: James Jones

Custom Software Design: Ayodh Kamath

Project Team: Benjamin Jennett, Rachel Shillander, Alison Kung, Daniel Morrison, Jielu Lu, Amador Saucedo, Ron Shvartsman, Lawerance Shanks, Norma Silva, Andrew Lyon, Tim Peeters, Will Trossell

Structural Engineer: Buro Happold, Los Angeles. Matthew Melnyk

PROCESS

IDEA, PHENOMENON AND MATERIAL by Steven Holl

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 phenomenalexperience 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