In our Urban Design course, we heard a name a lot: Patrick Geddes and his Valley Section. So, for this post I wanted to do some research on him and Valley Section as well.
Patrick Geddes was a Scottish biologist, sociologist, geographer, philanthropist and pioneering town planner. He is known for his innovative thinking in the fields of urban planning and sociology. He introduced the concept of ‘region’ to architecture and urban planning.
His ideas on ‘region’ showed itself in the Valley Section of him. In the Valley Section, he combines physical condition and their biological associations.
From my point of view in first glimpse, we observe a valley drawing and some shapes under the valley. In upper part of the drawing, we can see the valley with different types of plants and so on. There is also a place, most probably a village, and the sea. For the shapes that are placed in the bottom, they represented the occupations for humans. So, we can say, the section shows how patterns of settlement are related to those topography.
Since we mentioned in the course, I also wanted to do a research on Alison – Peter Smithson approach for the Valley Section.
Alison – Peter Smithson were English architects and a member of Team 10. They influenced by Geddes’ Valley Section. They used the valley section for designing a range of house types to suit different communities: the hamlet, the village, the town and the city. They tried to emphasize different solution for different scales by interpreting the Geddes’ Valley Section.
This summer, I had a chance to see a construction site, and spent my time in there. I really enjoyed while working there, so I wanted to mention about this experience a little, here.
The site was a police station construction. When I began to my internship, foundation of the construction was already done, and I start my observation with the of the first floor. After finished the internship, I decided to stay a little more because there are different materials to use in the façade and I wanted to see them, also the field engineer also suggested me to stay.
This was a helpful experience for me. We always designed the project through drawing and models. That’s why seeing the project from a drawing to real life was really interesting. I analyzed the drawings first and try to understand it, and day by day I saw the applications of the construction.
Let’s see some photos of the site;
And an important point of the site was the cats 😊 There were a cat which was belonged to the engineer, and in time we found a kitten that was left by the mother. I love cats and in site I played with them a lot.
Second year of my architecture education is over. I am about to be an 3rd year student. This year passed too fast. I was in Kerpe at the beginning of this year and at the and I was working a library in Vladivostok, Russia. To compare to last year, I was more confident this year since I get used to the education system of our university. Last year, I had harsh time about almost every part. I didn’t sleep for days, I had terrible models and also there are more problems. I was calling my mom, ad crying to her about how harsh this department is. So that year was a little problematic, however at the beginning of this year I gave a promise to myself that I will do my best without damaging myself. I did it partly, of course I did my best about the project and for all lessons but sometimes other lessons was ignored and I gave more times than I expected, so I didn’t give enough time to myself. Even though the project still end before the deadline I believe that this year is more satisfying for me. I am now curious about third year, as I listened their juries they have exciting project so we also have exciting project… Anyway… Let the holiday begin!! 🙂
After our juries is done, I had to chance to go the 3rd year studio’s final jury. Actually, I wanted to go pre-jury of them, too but I don’t have the chance. Their proposal was designing a workroom in Bursa. The definition of the work was up to them and they can choose the user type as well. Since their site is in the Bursa, they considered the historical side of the city as well.
I listened some projects, but I wanted to mention one of them which is took my attention. It is from Elif Ezel Özenir. The main thing that take my attention was a double skin wall that she designed. Jury asked for the reason of that thick wall why it is that much thick and so on. I also thought about that thickness of the wall but she answered since this wall is the dominant part of her design, she decided to make this wall thick. She showed the detail of this wall however she took critic from this decide. They said that this was not necessary. The workroom that she has, was a buried structure. The only thing that can seeable was that dominant wall. There is one more critic about one of the drawings that she has. It is a space that one side of it glass and the other side of it wall. But the furnishing for this two side was the same. Jury suggested that they couldn’t be the same since the quality of them was different. Also, they criticized the user condition of this space as well. She designed this space for administration and jury said that it can be used by visitor as well since that space has potential.
I really enjoy listening senior studios’ juries. I liked their models as well. They have a general topography of the area and they have small scaled model that fit the blank space that they designed the structure on it. I am curious to see what we will do in next years.
Jüri hazırlıkları, finaller derken kendime vakit ayıramadığımı fark ettim. Uzun zamandır bir sergi ya da bir gösteriye gitmiyordum ve tam bu esnada CerModern’deki Büyülü Afrika Sergisi’ne denk geldim. Sergi gazeteci, yazar Hıfzı Topuz’un 500 eserden oluşan koleksiyonunun gösterimiydi. Farklı Afrika kabilelerinin maskeleri, heykelleri ve onlara ait pek çok şeyden oluşan sergide en çok ilgimi çeken şey bu eşyaların bazılarının Topuz’a bizzat o kabilelerin reisleri tarafından verilmiş olmasıydı. Yani, Topuz bu eserleri bizzat oradaki yerlilerle konuşarak elde etmiş. Sergideki pek çok maskenin ve heykellerin özel anlamları olduğu için sergi bir rehber eşliğinde geziliyor. Yeni kültürler tanımak isteyenler için sergi 23 Haziran’a kadar CerModern’de devam ediyor. Aşağıda çektiğim bazı fotoğrafları görebilirsiniz.
In our department, we are writing these posts and if we are good enough we can be chosen by Blog of the Month. It is important because in first it is a memory and also, we are having a gif from our instructors. So, this month it was me! I was the BOM! And more importantly I was aiming to buy this book and they gave it to me. I am really happy. 😊
Ankara’daki üniversitelerin bir araya gelerek oluşturduğu AnkaraAks’nin düzenlemiş olduğu 1Yapı 1Değer serisi kapsamında, bu hafta Can Çinici ile Meclis Camii Üzerine yapılan bir söyleşiye katılma fırsatım oldu. Söyleşide daha çok Meclis Camii’nin yapım aşamalarını, bir tasarımda hangi zorluklarla yüzleşebileceğimiz üzerinde duruldu.
Öncelikle size biraz AnkaraAks, 1Yapı 1Değer serisi ve Can Çinici hakkında bilgi vermek istiyorum. AnkaraAks belirttiğim gibi Ankara’daki üniversitelerin Mimarlık Tasarım Topluluklarının bir araya gelerek oluşturduğu bir grup. 1Yapı 1Değer Serisi de Ankara’daki mimarlık konusunda tartışmaya yol açan yapılar hakkında bilgi sahibi olmak, onların tarihleri hakkında bilgi edinmek için yapılmış bir organizasyon. Ben bu organizasyonda Can Çinici ile olan söyleşiye katıldım. Peki Can Çinici kimdir? Can Çinici 1962 yılında doğdu ve ODTÜ ve Londra Architectural Association’da eğitim gördü. Kendisi ulusal ve uluslararası pek çok ödül almıştır. Bunlar arasında 1995 yılında TBMM Cami ile Uluslararası Ağa Han Mimarlık Ödülünü, 1999’da Tepe Mimarlık Vakfı Ödülünü ve Ulusal Mimarlık Ödüllerini (1994 ve 2014) saymak mümkündür.
Meclis Camii 1989 yılında inşa edilmiştir. Camii yaklaşımı olarak farlılık gösteren bu yapı, Cami’ye modern bir yaklaşım olarak görülüyor. Ama Çinici’nin söylediğine göre Camii, Osmanlı Camileriyle özellikle de Şehzade Camii ile pek çok ortak benzerliğe sahip. Şu anki stüdyoda yaptığımız referans alma çalışması gibi Meclis Camii’nin referansı Şehzade Camii.
Aslında en dikkatimi çeken şey, Camiinin yapımı sırasında ortaya çıkan sorunlara nasıl tepki verdikleriydi. Yani, bina sadece tasarlamakla bitmiyor, herhangi bir sorunla karşılaştığımızda vazgeçmeden devam etmek oldukça önemli.
Söyleşide ayrıca yapının bağlamla ilişkisini ve bu bağlama nasıl tepki verdiğini ve bu bağlamda yapılan değişikliğin yapıyı algılamada nasıl değişiklikler yaptığını da gördük.
Böyle bir söyleşiye katıldığım için oldukça mutluyum. Teşekkürler AnkaraAks.