CARBON AESTHETIC by Kumsal Akdogan, Directed Research Book, MS.ARCH, Pratt Institute, 2021

CARBON AESTHETIC MSARCH 2020-2021 KUMSAL AKDOGAN

CARBON AESTHETIC by Kumsal Akdogan

© August 2021 Kumsal Akdogan

A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science, Architecture School of Architecture Pratt Institute August 2021

CARBON AESTHETIC by Kumsal Akdogan

Received and approved:

Thesis Advisor Signature Dr. Ariane Lourie Harrison Thesis Advisor Name

August 25, 2021 Date:

Program Introduction

08 - 19

Ariane Lourie Harrison

The Hidden Aesthetic within Carbon

20 - 21

Research Statement

22 - 23

The Beginning

24 - 39

Material Exploration

26 - 31

Deep Section/Speculative Plan

32 - 35

Temporary Entrance

36 - 39

A New Aesthetic

40 - 61

Social-Political Image

42 - 45

Position Paper

46 - 55

Activated Carbon/Bioachar

56 - 61

Carbon Rainwater Filteration

62 - 87

Darkness and Dark Aesthetic

64 - 67

Passive Robotic Condensation Collector

88 - 97

Soil Exploration Carbon Aesthetic Project

98 - 105

106 - 133

Anthropocene Memorial with Carbon Casting

134 - 161

The Exploration of Digital to Physical

162 - 165

The Evolving Image of Governors Island

166 - 171

Bibliography

172 - 173

References & Image Citations

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The Beginning

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Program Introduction

MS Arch Program Introduction

We began the 2020-2021 MS program year musing on the Anthropocene, the geological period marking the undeniable impacts of human activity on the planet; and we undertook our research on Governors Island in entirely new learning conditions that, on some level, usher in the “post-Anthropocene.” With the increase of face-to-face learning and field studies this spring and summer, we encounter the smoke from California wildfires and record hot temperatures, reminding us of the urgency for design to engage climate crisis and the post-Anthropocene.

What does it mean to be post-Anthropocene? The term “post” yokes us to our environmental condition: it means that we wrestle with our anthropocentric exploitation of the planet; that we examine and acknowledge the inextricable relationship between racism and environmental degradation; and that we look at the manner in which social inequity is inscribed in the built environment.

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Program Introduction

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Pandemic brought us into new dialogues with the effects of the Anthropocene.

Infection is not limited to animals and humans, but describes, as well, a structure of interactions that are reconfiguring around pandemic, racism, isolation, and environmental catastrophe. The conventional physical aggregation of non-diverse academic bodies makes way to zoomed discussions across time-zones and perspectives; studio reviews, the province of top down expert monologues makes way for new platforms of committed listening, engaged looking and real dialogue. Simultaneously, forays into in-person fabrication this summer accomodated making huge site models with surfaces that registered mutli-modal reresentational strategies.

The Covid-19 crisis atomized urban space. Self-quarantine and isolation, necessary to fight the epidemic, are spatial practices that inscribe intimate boundaries and that counter the ideals and, in fact, the very idea of public space. Urban parks, considered the lungs of the city, today become potential hot spots for respiratory illness; access to verdant material and fresh air is increasingly constrained by life circumscribed by one’s interior space. Yet any “nature” left in the city is highly unnatural: it is constructed, cultivated and maintained by man and machine. It has few if any provisions for non-human species. The MS Architecture program took these constraints as cues, with intensive explorations of water, moss, biochar and earthen surfaces as new material for building interiors, seeking to brin the palette of nature into new public spaces.

We suggested that it may be timely to bring nature’s “wilderness” inside.

The problem posed in the program asks whether architecture can re-imagine biophilic interiors as interiorized wildernesses – we see that the densely programmed interior cores that you designed anticipate and relieve the pressure of quarantined living. Your proposals explored the architectural reconfiguration of the domestic interior in integrating a constructed wilderness. The definition of “service core” as a space for plumbing,

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Program Introduction

circulation and power was radically redefined to embrace ecological services: plant-life generators, algae-producing units, carbon sequestering media, desalization platforms and stormwater retention give new dynamics to the domestic core. These proposals explored environmental affects as well, in producing spaces that integrate nonhuman presence, that manifest actors outside of human perception. Volumetric interior landscapes created new outputs, from oxygen-rich air to biodiverse vertical surfaces to lighting that unfolds new potentials for domestic space under the confines of quarantine. Proposals focused on ecological service cores that channel and filter stormwater, that nurture plant, algae and other animal life, that produce new lighting systems, and that condition air in novel ways.

The MS Architecture project worked across several different scales, starting with an interrogation of the soils, histories and legacies of Governors Island.

Soil studies contended with Lenape archaeology, brackish water-tables and lead contaminants on this urban island park whose checkered history is writ across its geological strata. Research posed questions of pressing concern: how can a park serve as a outdoor school? how can we create potable water for an island tethered to the mainland? how do we address geological racism in this island’s colonial heritage? Studio faculty (Jonas Coersmeier, Ariane Lourie Harrison, Ferda Kolatan, Jing Lui and Kevin Lamyuktseung) and Mediums instructors (Jeffrey Anderson, Mia Landsbergis) worked through the “rewilded” interior at multiple scales. Electives in fabrication (Jason Vignieri Beane) and Urban adaptations (David Erdman, Jeffrey Anderson, Hart Marlow) tested concepts from Governors Island in new material and geographic contexts. And pro-seminars (Cynthia Davidson, Sanford Kwinter and Beatrice Galilee) developed theoratical and cultural frameworks for architectural interventions on Governors Island.

The culminating project site on Governors Island afforded a unique and relevant locus of exploration. In the early 20th century, the Army Corps of Engineers doubled the island, adding millions of cubic yards of fill to the south

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The Beginning

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side. West 8’s masterplan brought artificial mounds to the island. Governors Island was a constructed nature. In 2016 on Governors Island, the British artist Rachel Whiteread furnished one of the island paths with a concrete cast of a small home titled Cabin. The domestic inscribes the island. Governors Island opened its thirty-odd Victorian homes for cultural, environmental and educational residencies. Pratt GAUD has occupied Building 14 in one of these residencies, with The Climate Museum, the NYC Audubon and the Urban Soils Institute as neighbors. This set of resources, along with recreation and arts programming, brings nearly one million visitors each summer.

The MS Architecture project adapted the historic structure of Building 14 with cores that, in addition to providing water, energy and air climatization, bring new formulations of wilderness into the interior. This work is the subject of Pratt GAUD’s “Re-Coring” exhibition in the Fall of 2021, along with an ongoing “Pratt Climate Provocations” exhibition involving a number of MS students as graduate assistants and collaborators. Merav Gil Ad has worked

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Program Introduction

closely with the Field team producing biogels from Governors Isalnd grass clippings and prepping robotic extrusion as a fabrication method, in addition to working with the Guerilla Science team’s “Communicating Climate Science Through the Arts” workshop.

It is important to recognize the degree to which MS Architecture program work has received recognition for its curricular focus on Governors Island.

Directed Research has been published in architectural journals (Humna Naveed, Carlos Balza Gerardino), included in the 2021 Italian Virtual Pavilion at the Venice Biennale and related Pratt microsite, and featured in Dean’s and Chair’s talks on post-pandemic education (Carlos Balza Gerardino, Kumsal Akgodan, Merav Gil Ad, Gabriella Lanaro, Maria Rojo, and Absari Shah.

The MS research has also been recognized in national design awards and received the top award in the GAUD Post-Anthropocene Student Design Prize sequence (Wei Lin). The MS cohort was represented by Humna Naveed in the Graduate Student Council and by Absari Shah as the GAUD graudate assistant.

It is a testament to your resiliency, your commitment to your education and your understanding of the significance of this period — one of pandemic and climate emergency – will mark a significant change for architecture and urban design. We are different now. Your culminating projects suggest that we have already ushered in the post-Anthropocene: that, in acknowledging the blinkered perspectives of the Anthropocene period, architects and urban designers will now envision, fabricate, and script more inclusive engagement in a global environment circumscribed by pandemic, climate change and inequitable socio-economic policies.

Ariane Lourie Harrison MS Architecture, Program Coordinator

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Figure 1: Magnified Biochar.

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The Hidden Aesthetic within Carbon

The Hidden Aesthetic within Carbon - In design, every line has to reflect aesthetic sensibility.

- An aesthetic sensibility is part of an approach to the Anthropocene; climate crisis requires architecture to consider functionality, aesthetics, and materiality as a whole.

- The aesthetic language can address the multi-faceted qualities of carbon: as a fundamental element of organic life, as a fossil fuel, as an atmospheric threat in high concentrations.

- An aesthetic language can transform the perception of functional and environmentally oriented design: allure, according to Timothy Morton, is the aesthetic language between things.

- Some materials, while controversial, offer new aesthetic languages for the relationship between architecture and climate change.

-A new perspective on carbon can emerge from an aesthetic sensibility. Carbon accommodates a hidden aesthetic quality.

- Carbon’s specific porous structure and darkness points to the formation created by mother nature that brings a new perspective to the Anthropocene.

-The hidden cellular and the porous structure brings a new aesthetic language as a form to the purpose of the material in design.

- The unique features of carbon as a material reveals a new language to points out to the Anthropocene.

-Darkness refers to the aesthetic language of the design process.

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Figure 1: Magnified Biochar.

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Research Statement

Research Statement My research topic centers on water and emphasizes carbon, biochar material as its filtering quality adsorption and the aesthetic - dark aesthetic and unique aesthetic structure - of the material.

The question is, How can architecture frame physical encounters with such a complex, massive problem (or Hyperobject in Timothy Morton’s term) of climate change?

This abstraction can become tangible in a natural resource: fresh water.

Most of the water on Governors Island is not potable. There is a reliance on plastic bottles. What if Governors Island could harvest its rainwater for drinking and eliminate plastic bottles on the island? For this aim, rain is the best source to harvest for drinking water. Can activated carbon (biochar) filtering system become the renewable system to filter rainwater?

To use its unique structure to create a form that emphasizes the filtering feature (filtering rainwater to produce freshwater), to use its unique structure to create a form as an architectural component, emphasize its darkness feature to touch upon to the Anthropocene.

Figure 2: Speculative Water Interpretation.

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The Beginning The project centers on a material carbon with an aesthetic sensibility.

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Figure 3: Material Exploration.

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The Beginning

Figure 4: Material Exploration.

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Figure 5: Material Exploration.

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Material Exploration Material exploration - testing - is the process of understanding the correlation between different materials’ combinations and the reaction of their quality as a material. Material testing leads to my research interest for the start of the project.

The combination of materials- rockite, resin, ink, etc.- creates architectural effects.

Material transformations generate these speculative drawings, which offer new visions of architectural space.

The speculative interpretation - drawings- is the way to understanding the site in close perspective in terms of the site’s condition and the environmental effects - sea level rises, precipitation, the strata of the earth, etc -.

With the combination of materials, boundaries are fading between materials, and new possibilities emerge.

To start looking at Architecture from the perspective of environmental thinking, speculative drawings offer the approach to design environmental-friendly structure.

There are two speculative drawings created from the material exploration; deep section and plan.

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Figure 6: Material Exploration.

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The Beginning

Figure 7: Material Exploration.

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Figure 8: Speculative Deep Section.

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Deep Section The deep-section is a speculative cut through the atmosphere through the earth and sea bottom layers.

The data demonstrates climate change effects of heat differences kilometers of the atmosphere through time and the levels of the ground that are characteristic of Governors Island.

The image portrays the lack of drinking water in the island environment that is surrounded by salty water. Governors Island has a shallow water table (2-3 feet deep). Salty water makes inroads into the water table, limiting its use for drinking.

Rain is the best source to harvest for drinking water.

Speculative Plan The speculative plan explores the correlation between land, salty water, sea-level rises caused by climate change and the storm. The work emphasizes the salty composition and materiality of water.

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Figure 9: Speculative Plan.

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Temporary Entrance What are we doing in this universe? Our time is restricted, temporary. Thousands of generations have existed and vanished since the universe began.

How many eras will pass, how many new generations will appear? How many of us know our ancestors? Not centuries ago, just a few generations back. What did they deal with? What were their fears in life, what were their dreams, expectations?

One day we will be forgotten as human beings. Who is going to remember us? Is it important? What is this feeling that we are going to preserve our existence in this universe to eternity? But not!

We are only temporarily here.

Temporary entrance raises questions. Why is it temporary? What is temporary?

And if there is a concept of temporary entrance, where is the permanent entrance?

There is no permanent entrance for us, but the existence of earth, nature is permanent, has to be permanent.

Figure 10: Material Exploration.

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Chapter Title

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A New Aesthetic

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Figure 11: The Social-Political Image.

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A New Aesthetic

The Social - Political Image How do we shape the earth as humanity is present in the Anthropocene?

Humankind has developed rapidly since the agricultural revolution. We reside in settlements, have multiple technologies, believe in progress in every field to achieve better living standards. This velocity is constructive for a limited amount of humans and destructive to a vast number of humans and non humans. Increasing plastic waste, rising waters, swelling human population, and degraded soils emphasize the things that connect each other. If these elements are tangled together in the Anthropocene hyperobject of climate change, is it possible that a small scale action, harvesting rainwater to produce freshwater, can have larger scale effects?

Figure 12: Material Exploration.

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Figure 13: Material Exploration, Water Texture.

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Water Harvesting ‘‘Nearly 97% of the world’s water is salty or otherwise undrinkable. Another 2% is locked in icecaps and glaciers. That leaves just 1% for all of humanity’s needs — all its agricultural, residential, manufacturing, community, and personal needs.’’1 Water is the most precious and essential source in the universe for the continuation of life. The necessity of drinkable water has always been the most fundamental source for centuries. Today, the lack of potable water is a serious issue, the rapid increase of human population, climate change, and global warming direct humans to look for alternative resources and innovations to achieve potable water.

Considering the increasing precipitation due to Anthropocene and also the importance of the sustainable approach to obtain vital drinkable water, harvesting rainwater is the best approach to contain stormwater and to -capture water for later use as potable water. Rainwater harvesting is the process of capturing and storing rainwater into the water tanks for later use in buildings and the filtration process is the addition system for obtaining potable water. ‘‘Rainwater harvesting; it is an important alternative with the potential to increase the usable domestic water, to protect the underground water and to ensure its sustainability.’’2 The idea to collect rainwater has been used from prehistoric times to today both in arid and rainy regions. From a historic perspective, there are traditional rainwater harvesting methods that human beings used in different regions. The structures for obtaining water are various such as stepped water well, and rooftop water collection. ‘‘Innovative approaches to rainwater harvesting, one of the most promising alternatives for achieving water in the face of decreasing water resources and increasing demand, have been addressed through biomimicry and constructions in the architecture of the future.’’3 1 ‘‘Water Facts of Life Ride the Water Cycle With These Fun Facts’’, EPA, www3.epa.gov/safewater/kids/ waterfactsoflife.html, Accessed 18 November 2020.

2 Duygunur Koç Aslan and Semra Arslan Selçuk, ‘‘A Biomimetic Approach to Rainwater Harvesting Strategies Through the Use of Buildings’’, Dergipark, dergipark.org.tr/tr/download/article-file/503945, Accessed 01 April 2021.

3 Ibid.

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Filtering and Porosity Through the unlimited forms of nature, one of the unique structures observed in nature is ‘‘porosity’’. As a definition, ‘‘Porosity is the quality of being porous, or full of tiny holes. the Greek word poros for “pore,” which means “passage.” ”4 The concept of ‘‘porosity’’ as an approach to the biomimetic design used in architecture by inspired nature and organic materials. The approach begins to investigate the specific material or process from nature and integrate the design ability meticulously.

The Instances of Porous Atchitectural Language: - As a Biomimetic approach the interior design of Alhambra Palace in Spain is inspired by the unique porous ‘‘honeycomb’’ structure and mimics the tectonicity of the ‘‘honeycomb’’ structure. The palace was built in 889AD. - Steven Holl’s dormitory project ‘‘Simmon Hall, MIT’’ reflects the porosity concept inspired by ‘‘sea sponge’’. The designed porous unique structure aimed to bring daylight into the building which is the main goal for the architect and also circulate the air interior. Holl used porosity concept vertically in the building to exploit tectonic quality of the structure. The porosity concept gives a positive effect in terms of how it is placed.

4‘‘Porosity’’, Vocabulary.com, www.vocabulary.com/dictionary/porosity#:~:text=Porosity%20is%20 the%20quality%20of,or%20full%20of%20tiny%20holes.&text=Go%20back%20far%20enough%2 and,with%20porosity%20lets%20things%20through, Accessed 2 April 2021.

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Figure 14: Karl Blosfeldth’s Photograph, Art Forms in Nature.

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The Forms of Nature Nature comes into existence with infinite amounts of unique forms. Even the same plants have very distinctive formations hidden in them. This astounding formation creates incredible coherence. In Nature, the formation perfectly integrates with every aspect, such as color, texture, and proportion. The integrity is so enchanting that the beauty of the structure of every one of the natural elements and plants goes unnoticed unless we get close and look at it with a magnified perspective.

Karl Blossfeldt’s works look at plants from a close perspective. The correlation between the form of the plant in the image and the architecture is so prominent. As we look at the architectural point of view, the form offers inspiration to the design process as a biomimetic approach in architecture. The porous form occurs in numbers of cells that successively gather and create a porous structure. The integrity of the gathering cells occurs with a unique aesthetic.

The porous form has a tactile feel. The structure constitutes a unique composition, and every one of the cells creates exclusive spaces in them. You can imagine there is a life coming out from every unique void and the voices of human beings that we are not able to see.

The organic form reminds almost of a village or ancient civilization in ancient times.

When you look at the image attentively, it makes you feel like a human being is about to come out from one of the structures and walk along the road. The aesthetic organic form creates a rhythm in it.

Nature’s organic forms can be seen as an architectural inspiration for architects.

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Figure 15: Alhambra Palace, Spain.

Figure 16: Alhambra Palace, Spain.

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The Darkness in Voids Alhambra Palace, Spain - Honeycomb The ‘‘Honeycomb’’ is a unique form created by non-human - bees - in nature. This organic unique form occurs by numbers of hexagonal cells - prisms - to be able to create positive space for the non-human needs and their way of living as a whole porous structure. As a biomimetic approach, this consisting of hexagons is used in structures by interpreting the form in different architectural elements, such as muqarnas’’. The Alhambra Palace’s muqarnas are shaped by interpreting the Honeycomb form in design. The composition of design includes the honeycomb’s color and geometry as an aesthetic approach.

Reflection of Color and Structural Integration Can the atmosphere formed by nature create different forms of awareness ? The integration of the honeycomb’s structure has ‘‘voids’’ in its natural porous structure created by hexagonal cells. The voids’ deepness creates darkness. What is the void? Is it the beginning of life, is it the birth? Does life come from nothingness?

Does nothingness have the greatest significance? Maybe the answer is to look at the void and darkness into it to reach some answers if there are any answers. The void is the ‘’temporary entrance’’ into life for non-humans. The adaptation to the state of existence of non-humans - living beings, bees- begins in the void. If the adaptation starts within the void, the sustainability of life should continue from there.

To look at closely, in terms of the one nature’s oriented formation- honeycomb- and its integration into the architecture. The nature-based formation creates the void like architecture creates the voids, surrounding the voids to create spaces for sustaining life into it. The honeycomb surrounds the voids and creates a space for life for the new generation-to of non-human species- within the dark. Life comes from the void, from the nothingness. They are going to exist and vanish like thousands of generations have existed and vanished since the universe began.

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Figure 17: Material Exploration.

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Biomimicry

‘‘Nature and natural processes are the guiding principles or the main metaphors of the design approach.’’ – Frank Lloyd Wright The pursuit of a new language, aesthetic quality, and functionality of structures in nature has led architects to look into it more closely for centuries. The interest increased to be innovative through biomimetic approach recently. “The term “biomimicry” comes from the Greek words “bios,” meaning “life,” and “mimesis,” meaning “to imitate.””5 Biomimicry is the process of copying nature’s form and as well as function to create innovative structures and simply designing and modeling nature. Biomimicry also incorporates an aesthetic quality. ‘‘Biomimicry as an aesthetic involves copying the complex structures and intricate details found in nature,’’6 Biomimetic approach in architecture has been used for centuries.

Since nature inspires architects to create organic forms and as well as imitate the functionality of the natural materials and living beings structure to aim certain approaches - such as filtering water- to the ecological benefits. Architectural structures emerged as innovations and continue to emerge from the unlimited forms of nature.

5 Bryony Schwan, ‘‘Biomimicry’’, Nyupress, keywords.nyupress.org/environmental-studies/essay/biomimicry/#:~:text=The%20term%20%E2%80%9Cbiomimicry%E2%80%9D%20comes%20 from,Biomimicry%3A%20Innovation%20Inspired%20by%20Nature%E2%80%94, Accessed 2 April 2021.

6 Hannah Walsh, ‘‘Aesthetic Explorations 2020–Biomimicry’’, Aesdes, www.aesdes.org/2020/01/22/ aesthetic-explorations-2020-biomimicry/#:~:text=Biomimicry%2C%20or%20biomimetics%2C%20is%20 the,purpose%20of%20solving%20human%20problems.&text=Biomimicry%20as%20an%20aesthetic%20 involves,with%20curves%20and%20flowing%20surfaces., Accessed 21 March 2021.

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Figure 18: The density and simplicity of the porous structure create an unprecedented integration.

Figure 19: Magnified Biochar.

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The Activated Carbon/Biochar Carbon is the key to life on earth and without it life would not exist. Biochar and activated carbon are carbon-rich solids. The difference between these two materials is not always possible. ‘‘Biochar is a carbon-rich solid that is derived from biomass (organic matter from plants) that is heated in a limited oxygen environment.’’7 Biochar is used in Agriculture, as a fuel and in almost every aspect of contemporary logistics, transportation and commercial cultures. ‘‘Activated carbon is a carbon-rich solid that is derived from biomass or other carbonaceous substances such as coal or tar pitch, using pyrolysis. In the process, a carbon material is also “activated” by processes that greatly increase the surface area of the material, allowing it to capture (or “adsorb”) a larger quantity of molecules.

This high adsorption capability allows activated carbon to be effective at removing contaminants from water and air, which is why activated carbon is typically intended for remediation or purification projects.’’8

7 ‘’Biochar vs. Charcoal vs. Activated Carbon: What They Are & How They Work’’, CharGrow, char-grow. com/biochar-vs-charcoal-vs-activated-carbon, Accessed 03 April 2021.

8 Ibid.

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Figure20: Activated Carbon Filter Process.

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Figure 21: Vertical Granular Activated Carbon.column.

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The first recorded use of charcoal-biochar- is around 3750 BC to smelt ores to create bronze. The usage of the material diversifies throughout the history. To aim to use activated carbon as a filtering element to purify water, it is first used in 400 BC by the ancient Hindus and Phoenicians. From the perspective of global warming to the carbon-enriched material, biochar can be the answer to the capture of CO2 from the air. The datas that scientists demonstrate very striking.‘‘Adding biochar to 10 percent of global cropland could sequester the equivalent of 29 billion tons of CO2.’’9 Biochar can be produced from waste materials such as chicken manure, coconut shells, leaves and other organic materials as an accurate approach to the environment.

9 Mark Hertsgaard, ‘‘As Uses of Biochar Expand, Climate Benefits Still Uncertain’’, YaleEnvironment360, e360.yale.edu/features/as_uses_of_biochar_expand_climate_benefits_still_uncertain, Accessed 03 April 2021.

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Carbon Ra Rainwater FFiilteration

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The exploration of the structure of the material -carbonleads to the unique developing architectural language for the project.

Figure X-X: Description.

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Darkness and Dark Aesthetics

Darkness

Darkness is the absence of visible light. Considering this definition, creating a structure that represents the Anthropocene by its darkness is the right direction to follow.

The Anthropocene is dark, and it is getting darker. It has to be seen by humankind.

Is it possible to call attention to the ecological crisis by its darkness feature? The darkness of a material to use in Architecture and the language of it provides new possibilities to define the Anthropocene. The darkness of the carbon as a material elicits the perception of the Anthropocene by architecture. The material’s unique dark feature Visual aspects of darkness create visibility of the severe problem (Anthropocene) as opposed to the definition of darkness. The quality of darkness is defined by architecture in the light of the Anthropocene in projects. Darkness does not conceal the fact; on the contrary, it reveals it.

Dark Aesthetics

The aesthetics are reinterpreted with darkness called dark aesthetics. The aesthetic value of darkness can bring new possibilities in the design process in Architecture.

Is it possible to reflect the Anthropocene by aesthetics, by dark aesthetics? The extraordinary emotional impact of architecture on humankind by form, material, texture, color, etc. considering aesthetics is an indisputable fact. The interaction between emotional awareness and architecture through an aesthetic approach has to be considered. Based on this, approach to such a significant topic, problem (Anthropocene, climate change) with aesthetic sensibility using a unique feature of material assists to extend the sensibility of the issue to be noted fact through human

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eyes. In the light of all these, architecture can be transformative if the right perception is detected by aesthetics of the right material in terms of highlighting the aim.

The design language by dark aesthetic escalates the awareness of climate change.

Humankind’s emotional answer to the ecological problem through architecture should not be ignored. Instead of the imagination of darkness concealing footprints, dark aesthetics elicit the emergence of global warming through architecture.

Destructive effects of the Anthropocene have to be seen by humankind due to the lack of light surrounding the dark aesthetic. To reframe the meaning of the Anthropocene by the feature of material as being contradictory of its notorious perception escalates the meaning and emotional awareness of humankind. The potential aspects of darkness through architecture to highlight the meaning is precious in terms of architecture language. Humankind’s capacity to understand the destructive effects of ecological crises can be possible only with emotional awareness. The emotional awareness starts with the possibility of aesthetics through the imagining of the Anthropocene which is the truth of the dark point of the heavy topic. The destructive aspects of the climate crisis evoke the darkness of the structure. Locating the awareness in our minds can be possible through architecture that reaches more people. Dark aesthetics created by the dark quality of material assist us to understand and connect the truth of the destruction caused by human beings through aesthetics in architecture.

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Figure 22: Render of the project, rainy day background.

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1 2

3

Figure 23: Illustration of Vessels. Vessel 1: 13.21m³, Vessel 2: 9.28m³, Vessel 3: 9.93m³.

A

B C C D E

Figure 24: The system Section Render . A: Overflow Pipes, B: Evaporative Cooling, C: Actİvated Carbon, D: Faucets, E: Basin.

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Magnified Biochar The density and porous structure create an unprecedented integration. Biochar accommodates a hidden aesthetic quality to the design. The exploration of the structure of the material -carbon- leads to the unique architectural language for the project.

Dark Language The concept focuses on aesthetic dominance to expand ecological awareness. The development process of the project’s geometry creates a dramatic effect with dark language

House 14 The focus is harvesting rainwater to produce potable water as a sustainability approach. The passive system collects and filters rainwater by using carbon tubes.

Governors Island gets 1 million visitors per season, and the usage of plastic bottles harms the environment. The idea is to produce freshwater for House 14, which has no water, and make House 14 a gathering point for visitors to reduce the usage of plastic bottles.

The intervention is through the roof and south facade of House 14. The system includes three vessels and layers of biochar - carbon- tubes capturing the rainwater and filter down through gravity, without using energy.

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Figure 25: Physical Model, Vessels.

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Figure 26: Physical Model, Entryway.

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Figure 27: Physical Model, Entryway.

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Figure 28: Entryway Render, Back of the House 14.

Figure 29: Site PLan Render.

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The system includes a basin for overflow water. The entryway is designed for capturing the acoustic effects of water on the back facade of the building, which creates an engaging environment for exhibitions that actualize at House 14 throughout the season. The surface of the roof captures rainwater into the system, and House 14 produces filtered drinking water. The project takes the filtering system to the architectural scale and makes the filtering system a much bigger experience for visitors.

The harvested water is used not only for drinking but also is used as an evaporative cooling system for House 14, and the project ensures a gathering point for the public.

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Figure 30: Section Render.

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Figure 31: Facade Render.

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Carbon Rainwater Filteration

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CARBON AESTHETIC

Figure 32: Close Perspective Render.

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Carbon Rainwater Filteration

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CARBON AESTHETIC

Gravity System (Low Energy), Harvested Rainwater

Roof surface is 96.5 m² Average 4.4 in = 111.76 mm / month X 96.5 m ² = 10,784 liters per month from House 14 roof

Vessel 1 - 13.21 m³ - 13,000 liters filters to activated carbon beds* Vessel 2 - 9.28 m³ - 9,280 liters filters to activated carbon beds* Vessel 3 - 9.93 m³ - 9,930 liters

9,930 liters*6 months = 59,580 liters filtered drinking water over season (6 months) 1.5 16 oz/0.5 liter bottles = 0.75 liters est. average per visitor 1000000 visitors per season (6 months) * 0.75 liters = 750,000 liters ( total: 12 house roof needed (equivalent to House one roof surface) to supply the wholw island.

84

Carbon Rainwater Filteration

*NOTE:

Filteration velocity 2-8 m³/h.m² Contact time 10-30 minutes Diameter 50cm to 3m Filtration Area 0.2 to 7 m² Flowrate 10L/h 100 m³/h Pressure ratings 4 to 10 bar Bed Depty 1 meter min.

https://www.lenntech.com/systems/deep/activated-carbon/ gacfilter.htm#ixzz6f7WExpG2

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CARBON AESTHETIC

Figure 33: Render of the project, sunny day background.

86

Carbon Rainwater Filteration

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CARBON AESTHETIC

88

Passive Robotic Condensation Collector

CARBON AESTHETIC

Figure34: Passive Robotic Condensation Collector, Chindogu.

Figure 35: Passive Robotic Condensation Collector, Chindogu.

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Passive Robotic Condensation Collector

Figure 36: Passive Robotic Condensation Collector, Chindogu.

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CARBON AESTHETIC

Figure 37-1: Tryptic Images,1, cut-out hand figure is Kumsal Akdogan.

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Passive Robotic Condensation Collector

Humanity’s interaction with nature did not go well. Freshwater, the element to maintain life is running out.

The problem directs humanity to invent new interventions to reach potable water.

We have noticed that every droplet is valuable. In the darkness - climate change, lack of water, decreasing resources, Anthropocene -, humanity could not let it flow any drop that has incredible value. To think about droplets, the first thing that comes to mind is the condensation on our windows, which we look into the world in our domains - homes -. On a window, the device that is collecting condensation into the collector. A human reaches the freshwater.

Humanity created the darkness - Anthropocene-, then to mitigate the darkness looked up to the sky to another darkness. The darkness that the earth creates -the dark weather, the rain-. Now, the sources are on a bigger scale than the source on our frame in our domains, condensation.

If the darkness was the answer, a human searched the darkest material, carbon.

Water harvesting, purifying, architectural scale approach was reachable in the darkness.

The human had stopped in the middle of the dark, in the rain, and looked up to the sky. The darkness was not anymore a situation to escape, rather the fact to look more closely.

After the rainy day, water was captured. The rainwater harvesting structure becomes a gathering point, a destination for individuals. Like settlements have been established beside water resources throughout history. The area that people stop and breathe. The water ensures the sustainability of the community.

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CARBON AESTHETIC

Figure 37-2: Tryptic Images, 2, cut-out figure is Kumsal Akdogan.

94

Passive Robotic Condensation Collector

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Figure 37-3: Tryptic Images, 3, cut-out figure is Kumsal Akdogan.

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Passive Robotic Condensation Collector

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98

Soil Exploration The study explores different strata and features of the soil of the project’s site in Governors Island with a speculative approach in the light of data.

CARBON AESTHETIC

100

Soil Exploration

Figure 38: Soil Boring, LUB, House 14, Past.

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CARBON AESTHETIC

102

Soil Exploration

Figure 39: Soil Boring, LUB, House 14, Present.

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Soil Exploration

Figure 40: Soil Boring, LUB, House 14, Future.

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106

Carbon Aesthetic Project

CARBON AESTHETIC

108

Carbon Aesthetic Project

The project centers on Harvesting rainwater to produce potable water For house 14 in Governors Island. For this aim, the design concentrates on carbon with an aesthetic sensibility as a touch on its unique structure and darkness of the material that refers to the darkness of the Anthropocene and its functional feature- filtering process- adsorption.

Hybrid Model The hybrid model aims to create connectivity within components of the building - the roof, vessels, and the rainwater filtering system - for the project.

The Project The harvesting rainwater process actualizes in the core of the house and starts from the shaping of the roof. The redesigned roof has a certain inclined form to take maximum advantage of the roof surface to direct rainwater into the funnel-like form ( glass tubes) which include activated carbon bed. Rainwater filtered down through the activated carbon bed to the basin on the first floor and collected into basins on the basement floor.

Figure 41: Render of the Core.

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Figure 42: Hybrid Model.

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Carbon Aesthetic Project

Figure 43: Hybrid Model.

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INCLINED ROOF

SECOND FLOOR

FIRST FLOOR

BASEMENT FLOOR

Figure 44: Axon.

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Carbon Aesthetic Project

DIRECT RAINWATER INTO THE CORE

BASIN ON THE ROOF

STEEL STRUCTURE TO HOLD THE ROOF

RAMP STORY FOR CIRCULATION

ACTIVATED CARBON IN GLASS TUBES FOR FILTERING RAINWATER

FAUCETS ( INTERIOR AND EXTERIOR), BASIN

ZEN GARDEN

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CARBON AESTHETIC

A

Figure 45: Roof PLan.

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A

Carbon Aesthetic Project

A

A

Figure 46: Basement Plan.

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CARBON AESTHETIC

A

Figure 47: First Floor Plan.

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A

Carbon Aesthetic Project

A

A

Figure 48: Second Floor Plan.

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Figure X: Description.

Figure 49: A-A Section.

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Carbon Aesthetic Project

INCLINED ROOF

BASIN

ACTIVATED CARBON BED IN 4 GLASS TUBES (FILTERING)

BASIN (FRESH WATER)

BASIN (FRESH WATER)

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Figure 50: Physical Model Photographs.

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Carbon Aesthetic Project

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Figure 51: Section Render.

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Carbon Aesthetic Project

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Figure 52: Render of Zen Garden.

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Carbon Aesthetic Project

As for its aesthetic quality, the project creates a new aesthetic language interpreting the carbon’s unique structure. The carbon has a porous structure that the dark vertical carbon elements inspired from this unique form create a dark aesthetic and dominate the space of its darkness and emphasize Anthropocene as a dark approach.

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CARBON AESTHETIC

126

Carbon Aesthetic Project

The project has two parts; the carbon’s new aesthetic language on top and a garden at the bottom on the basement and the relationship of this space creates a unique atmosphere for visitors as an exhibition place. As an exhibition area carbon tubes create carbon sculptures and art objects displayed on them. The ramp system around the carbon sculpture on the second floor creates circulation to integrate with art objects. The soil workshop from two sites in governors island. One is from house 14 site explores the soil as an element with different aspects. As an interpretation in protecting existing parts of the soil pushed up into the basement floor and breaking it on the zen garden, the first floor of the house looks through the glass to integrate with the overall relationship.

Figure 53: Render of Second Floor.

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Carbon Aesthetic Project

Figure 54: Render of the First Floor.

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Chapter Title

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Chapter Title

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Anthropocene Memorial with Carbon Casting

CARBON AESTHETIC

Figure 55: Speculative Carbon Casting Textures from 1/50 Physiclal Model.

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Anthropocene Memorial with Carbon Casting

Carbon Casting

‘‘... the aim is to try to reverse the carbon cycle by attempting to remove the excess carbon from the atmosphere and also trying to bring down the emissions due to the construction process, by using Biochar, which has been under investigation as a material to mitigate climate change. The carbon is stored in the building structures, converting the buildings into “carbon sinks” which can store carbon for decades’’1

1‘‘Cast in Carbon’’, IAACBLOG, www.iaacblog.com/programs/cast-in-carbon/.

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CARBON AESTHETIC

138

Anthropocene Memorial with Carbon Casting

The Project

The project centers on reflecting the Anthropocene with an aesthetic sensibility as an Anthropocene Memorial. The project is located on the original part of Governors Island and designed as an underground project that integrates with the landscape on roof level to create the illusion that the project is not seen from far away. The Anthropocene does not get attraction from human beings. The project is the standout idea of invisibility of the Anthropocene.

Figure 56: 1/500 Physical Model.

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Anthropocene Memorial with Carbon Casting

The memorial is designed with notorious carbon material by casting it. The material carbon is chosen to emphasize the darkness of the topic and contrasts the notorious sense of the material. The walls are emerging from the deep by cutting out the landscape like a ruin to represent the Anthropocene. The depth of the darkness and volume stands out only to human beings who are willing to go into the darkest aspect of the Anthropocene, and when visitors go deep into the underground the darkness of the carbon presents around them.

Figure 57: Site Plan.

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D

CARBON AESTHETIC

A B

ENTRANCE

ENTRANCE ENTRANCE (RAMP)

Wall Text

Projection Wall

Soil

C

Projection Gallery

Sculpture Platforms

GALLERY 4 Sculpture Gallery

Down

Up

Up

Down

GALLERY 5 Projection Gallery

Projectio

Figure 58: First Basement Floor Plan.

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Anthropocene Memorial with Carbon Casting

A

Outside Wall Texts EXIT

B GALLERY 1 Painting Gallery

C

FOYER

EXIT

GALLERY 3 Water Gallery (Wall Texts) exhibition platform

exhibition platform

GALLERY 2 Extinction Gallery

exhibition platform

exhibition platform

exhibition platform

EXIT

D

on Wall

Projection Wall

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D

CARBON AESTHETIC

A B

FOYER

Wall Text

GALLERY 10 Photography Gallery

C

Down

Up

Up

Figure 59: Second Basement Floor Plan.

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Anthropocene Memorial with Carbon Casting

A B

GALLERY 6 Art Gallery

GALLERY 7 Texts Gallery

C

exhibition platform

GALLERY 8 Water Gallery (Wall Texts)

exhibition platform

GALLERY 9 Extinction Gallery exhibition platform

exhibition platform

exhibition platform

D GALLERY 11 History Gallery

GALLERY 12 Projection Gallery

Projection Wall

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Figure 60: 1/500 Physical Model.

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Anthropocene Memorial with Carbon Casting

In the underground, the project formed like a maze that aims to experience getting lost and confuse visitors. The complexity of the Athropocene is emphasized by a maze and provides visitors with a sense of the situation of the Anthropocene that the world is facing.

The project has two entrances, one is the main entrance and the other one is the entrance that is followed by a ramp. The circulation to be ensured with different stairways that go into the underground up and down to distinct galleries surrounded by carbon casting texture. Up and down directions provide the experience of the earth’s strata; sand, clay, fill. The up and down stairs allow visitors to see all the strata of the earth and experience the deepness of the earth that showed in detail and the text about Anthropocene placed on walls in galleries and also on the outside wall that faces Fort Jay. The outside wall with text provides visitors to read passing by on the way through the entrance. The five exits are placed at the end of the stairways and ramp.

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Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Mollis aliquam ut porttitor leo a. Morbi tristique senectus et netus et malesuada. Natoque penatibus et magnis dis parturient montes nascetur ridiculus mus. Pellentesque dignissim enim sit amet venenatis urna cursus. A scelerisque purus semper eget. Posuere urna nec tincidunt praesent. Donec ultrices tincidunt arcu non. Vestibulum morbi blandit cursus risus at ultrices. Facilisis magna etiam tempor orci eu lobortis elementum. Feugiat nisl pretium fusce id velit. Amet nulla facilisi morbi tempus iaculis. Iaculis nunc sed augue lacus viverra vitae.Nec tincidunt praesent semper feugiat nibh sed pulvinar proin. Aliquam ultrices sagittis orci a. Faucibus scelerisque eleifend donec pretium vulputate. Nunc non blandit massa enim nec. Amet facilisis magna etiam tempor orci eu. Nisl purus in mollis nunc sed id semper. Eu volutpat odio facilisis mauris sit amet. Sit amet nisl purus in mollis nunc. Vestibulum sed arcu non odio euismod lacinia at quis risus. Tempus egestas sed sed risus pretium. Sit amet purus gravida quis blandit turpis cursus in. Varius quam quisque id diam vel quam elementum pulvinar. Faucibus pulvinar elementum integer enim neque volutpat ac tincidunt vitae.Euismod in pellentesque massa placerat duis ultricies lacus. Porttitor massa id neque aliquam vestibulum morbi. Imperdiet sed euismod nisi porta lorem mollis aliquam. Ut placerat orci nulla pellentesque dignissim enim. Sit amet massa vitae tortor condimentum lacinia quis vel eros. Arcu dui vivamus arcu felis. Quam lacus suspendisse faucibus interdum posuere lorem ipsum dolor. At erat pellentesque adipiscing commodo elit at imperdiet. Tempor commodo ullamcorper a lacus vestibulum sed arcu. In fermentum posuere urna nec tincidunt praesent. Morbi tincidunt ornare massa eget egestas purus. Massa massa ultricies mi quis hendrerit dolor magna eget est. Eleifend quam adipiscing vitae proin sagittis. Risus feugiat in ante metus. Ullamcorper morbi tincidunt ornare massa. At elementum eu facilisis sed odio.Nunc id cursus metus aliquam eleifend mi in nulla. Erat imperdiet sed euismod nisi porta lorem mollis. Lectus mauris ultrices eros in cursus turpis massa tincidunt. Ullamcorper dignissim cras tincidunt lobortis. Nulla malesuada pellentesque elit eget gravida cum. Eleifend mi in nulla posuere sollicitudin aliquam. Sed lectus vestibulum mattis ullamcorper velit sed ullamcorper. Eu consequat ac felis donec et. Lorem ipsum dolor sit amet consectetur adipiscing. Non tellus orci ac auctor augue mauris augue neque gravida. Aliquet eget sit amet tellus. Urna molestie at elementum eu facilisis sed. Condimentum lacinia quis vel eros donec ac. Eget felis eget nunc lobortis mattis aliquam faucibus purus. Facilisis sed odio morbi quis commodo odio aenean sed. Pellentesque habitant morbi tristique senectus et netus et malesuada. Nam at lectus urna duis convallis convallis tellus id interdum. Scelerisque in dictum non consectetur a erat nam at. Amet porttitor eget dolor morbi non arcu risus quis. Euismod in pellentesque massa placerat duis. Facilisi cras fermentum odio eu feugiat pretium nibh ipsum. Eu scelerisque felis imperdiet proin fermentum leo vel orci. Viverra vitae congue eu consequat ac felis. Id semper risus in hendrerit gravida rutrum. Risus nullam eget felis eget nunc lobortis mattis. Libero id faucibus nisl tincidunt. Etiam dignissim diam quis enim lobortis scelerisque. Ultrices gravida dictum fusce ut placerat orci nulla pellentesque dignissim. Nec feugiat nisl pretium fusce id velit. Eget est lorem ipsum dolor sit amet. Ipsum faucibus vitae aliquet nec ullamcorper.tincidunt lobortis. Nulla malesuada pellentesque elit eget gravida cum. Eleifend mi in nulla posuere sollicitudin aliquam. Sed lectus vestibulum mattis ullamcorper velit sed ullamcorper. Eu consequat ac felis donec et.

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Mollis aliquam ut porttitor leo a. Morbi tristique senectus et netus et malesuada. Natoque penatibus et magnis dis parturient montes nascetur ridiculus mus. Pellentesque dignissim enim sit amet venenatis urna cursus. A scelerisque purus semper eget. Posuere urna nec tincidunt praesent. Donec ultrices tincidunt arcu non. Vestibulum morbi blandit cursus risus at ultrices. Facilisis magna etiam tempor orci eu lobortis elementum. Feugiat nisl pretium fusce id velit. Amet nulla facilisi morbi tempus iaculis. Iaculis nunc sed augue lacus viverra vitae.Nec tincidunt praesent semper feugiat nibh sed pulvinar proin. Aliquam ultrices sagittis orci a. Faucibus scelerisque eleifend donec pretium vulputate. Nunc non blandit massa enim nec. Amet facilisis magna etiam tempor orci eu. Nisl purus in mollis nunc sed id semper. Eu volutpat odio facilisis mauris sit amet. Sit amet nisl purus in mollis nunc. Vestibulum sed arcu non odio euismod lacinia at quis risus. Tempus egestas sed sed risus pretium. Sit amet purus gravida quis blandit turpis cursus in. Varius quam quisque id diam vel quam elementum pulvinar. Faucibus pulvinar elementum integer enim neque volutpat ac tincidunt vitae.Euismod in pellentesque massa placerat duis ultricies lacus. Porttitor massa id neque aliquam vestibulum morbi. Imperdiet sed euismod nisi porta lorem mollis aliquam. Ut placerat orci nulla pellentesque dignissim enim. Sit amet massa vitae tortor condimentum lacinia quis vel eros. Arcu dui vivamus arcu felis. Quam lacus suspendisse faucibus interdum posuere lorem ipsum dolor. At erat pellentesque adipiscing commodo elit at imperdiet. Tempor commodo ullamcorper a lacus vestibulum sed arcu. In fermentum posuere urna nec tincidunt praesent. Morbi tincidunt ornare massa eget egestas purus. Massa massa ultricies mi quis hendrerit dolor magna eget est. Eleifend quam adipiscing vitae proin sagittis. Risus feugiat in ante metus. Ullamcorper morbi tincidunt ornare massa. At elementum eu facilisis sed odio. Nunc id cursus metus aliquam eleifend mi in nulla. Erat imperdiet sed euismod nisi porta lorem mollis. Lectus mauris ultrices eros in cursus turpis massa tincidunt. Ullamcorper dignissim cras tincidunt lobortis. Nulla malesuada pellentesque elit eget gravida cum. Eleifend mi in nulla posuere sollicitudin aliquam. Sed lectus vestibulum mattis ullamcorper velit sed ullamcorper. Eu consequat ac felis donec et. Lorem ipsum dolor sit amet consectetur adipiscing. Non tellus orci ac auctor augue mauris augue neque gravida. Aliquet eget sit amet tellus. Urna molestie at elementum eu facilisis sed. Condimentum lacinia quis vel eros donec ac. Eget felis eget nunc lobortis mattis aliquam faucibus purus. Facilisis sed odio morbi quis commodo odio aenean sed. Pellentesque habitant morbi tristique senectus et netus et malesuada. Nam at lectus urna duis convallis convallis tellus id interdum. Scelerisque in dictum non consectetur a erat nam at. Amet porttitor eget dolor morbi non arcu risus quis. Euismod in pellentesque massa placerat duis. Facilisi cras fermentum odio eu feugiat pretium nibh ipsum. Eu scelerisque felis imperdiet proin fermentum leo vel orci. Viverra vitae congue eu consequat ac felis. Id semper risus in hendrerit gravida rutrum. Risus nullam eget felis eget nunc lobortis mattis. Libero id faucibus nisl tincidunt. Etiam dignissim diam quis enim lobortis scelerisque. Ultrices gravida dictum fusce ut placerat orci nulla pellentesque dignissim. Nec feugiat nisl pretium fusce id velit. Eget est lorem ipsum dolor sit amet. Ipsum faucibus vitae aliquet nec ullamcorper.Porttitor massa id neque aliquam vestibulum morbi. Imperdiet sed euismod nisi porta lorem mollis aliquam.Ut placerat orci nulla pellentesque dignissim enim. Tempor commodo ullamcorper a lacus vestibulum sed arcu. In fermentum posuere urna nec tincidunt praesent.tincidunt lobortis. Nulla malesuada pellentesque elit eget gravida cum. Eleifend mi in nulla posuere sollicitudin aliquam. Sed lectus vestibulum mattis ullamcorper velit sed ullamcorper. Eu consequat ac felis donec et.

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Mollis aliquam ut porttitor leo a. Morbi tristique senectus et netus et malesuada. Natoque penatibus et magnis dis parturient montes nascetur ridiculus mus. Pellentesque dignissim enim sit amet venenatis urna cursus. A scelerisque purus semper eget. Posuere urna nec tincidunt praesent. Donec ultrices tincidunt arcu non. Vestibulum morbi blandit cursus risus at ultrices. Facilisis magna etiam tempor orci eu lobortis elementum. Feugiat nisl pretium fusce id velit. Amet nulla facilisi morbi tempus iaculis. Iaculis nunc sed augue lacus viverra vitae.Nec tincidunt praesent semper feugiat nibh sed pulvinar proin. Aliquam ultrices sagittis orci a. Faucibus scelerisque eleifend donec pretium vulputate. Nunc non blandit massa enim nec. Amet facilisis magna etiam tempor orci eu. Nisl purus in mollis nunc sed id semper. Eu volutpat odio facilisis mauris sit amet. Sit amet nisl purus in mollis nunc. Vestibulum sed arcu non odio euismod lacinia at quis risus. Tempus egestas sed sed risus pretium. Sit amet purus gravida quis blandit turpis cursus in. Varius quam quisque id diam vel quam elementum pulvinar. Faucibus pulvinar elementum integer enim neque volutpat ac tincidunt vitae.Euismod in pellentesque massa placerat duis ultricies lacus. Porttitor massa id neque aliquam vestibulum morbi. Imperdiet sed euismod nisi porta lorem mollis aliquam. Ut placerat orci nulla pellentesque dignissim enim. Sit amet massa vitae tortor condimentum lacinia quis vel eros. Arcu dui vivamus arcu felis. Quam lacus suspendisse faucibus interdum posuere lorem ipsum dolor. At erat pellentesque adipiscing commodo elit at imperdiet. Tempor commodo ullamcorper a lacus vestibulum sed arcu. In fermentum posuere urna nec tincidunt praesent. Morbi tincidunt ornare massa eget egestas purus. Massa massa ultricies mi quis hendrerit dolor magna eget est. Eleifend quam adipiscing vitae proin sagittis. Risus feugiat in ante metus. Ullamcorper morbi tincidunt ornare massa. At elementum eu facilisis sed odio.Nunc id cursus metus aliquam eleifend mi in nulla. Erat imperdiet sed euismod nisi porta lorem mollis. Lectus mauris ultrices eros in cursus turpis massa tincidunt. Ullamcorper dignissim cras tincidunt lobortis. Nulla malesuada pellentesque elit eget gravida cum. Eleifend mi in nulla posuere sollicitudin aliquam. Sed lectus vestibulum mattis ullamcorper velit sed ullamcorper. Eu consequat ac felis donec et. Lorem ipsum dolor sit amet consectetur adipiscing. Non tellus orci ac auctor augue mauris augue neque gravida. Aliquet eget sit amet tellus. Urna molestie at elementum eu facilisis sed. Condimentum lacinia quis vel eros donec ac. Eget felis eget nunc lobortis mattis aliquam faucibus purus. Facilisis sed odio morbi quis commodo odio aenean sed. Pellentesque habitant morbi tristique senectus et netus et malesuada. Nam at lectus urna duis convallis convallis tellus id interdum. Scelerisque in dictum non consectetur a erat nam at. Amet porttitor eget dolor morbi non arcu risus quis. Euismod in pellentesque massa placerat duis. Facilisi cras fermentum odio eu feugiat pretium nibh ipsum. Eu scelerisque felis imperdiet proin fermentum leo vel orci. Viverra vitae congue eu consequat ac felis. Id semper risus in hendrerit gravida rutrum. Risus nullam eget felis eget nunc lobortis mattis. Libero id faucibus nisl tincidunt. Etiam dignissim diam quis enim lobortis scelerisque. Ultrices gravida dictum fusce ut placerat orci nulla pellentesque dignissim. Nec feugiat nisl pretium fusce id velit. Eget est lorem ipsum dolor sit amet. Ipsum faucibus vitae aliquet nec ullamcorper sed euismod nisi porta placerat orci nulla massa id neque aliquam.massa id neque aliqua.massa id neque aliquam. Sit amet massa vitae tortor condimentum lacinia quis vel eros. Arcu dui vivamus arcu felis. tincidunt lobortis. Nulla malesuada pellentesque elit eget gravida cum. Eleifend mi in nulla posuere sollicitudin aliquam. Sed lectus vestibulum mattis ullamcorper velit sed ullamcorper. Eu consequat ac felis donec et. tincidunt lobortis. Nulla malesuada pellentesque elit eget gravida cum. Eleifend mi in nulla posuere sollicitudin aliquam. Sed lectus vestibulum mattis ullamcorper velit sed ullamcorper. Eu consequat ac felis donec et. tincidunt lobortis. Nulla malesuada pellentesque elit eget gravida cum. Eleifend mi in nulla posuere sollicitudin aliquam. Sed lectus vestibulum mattis ullamcorper velit sed ullamcorper. Eu consequat ac felis donec et.

Figure 61: A-A, B-B, C-C, D-D Sections.

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Anthropocene Memorial with Carbon Casting

Fill

Clay

Sand

Clay

A - A Section

Fill

Clay

Sand

Clay

B - B Section

Fill

Clay

Sand

Clay

C - C Section

Fill

Clay

Sand

Clay

D - D Section

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Figure 62: 1/50 Physical Model Photographs.

150

Anthropocene Memorial with Carbon Casting

Glass

Grating

Fill

Clay

Sand Soldier Piles Mesh

Clay Gravel Layer

Optional Drilled Hole

Soldier Piles Mesh

Figure 63: Detail.

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CARBON AESTHETIC

Fill

Clay

Texture of Carbon Casting

Sand

Water

Clay

Gravel Layer

Figure 64: Detail.

152

Anthropocene Memorial with Carbon Casting

A few pools of different sizes placed in galleries create a reflection of the darkness of the place and human beings (visitors) that represent the creation of the Anthropocene by human beings, which creates a sense that aims visitors to confront the fact with their reflection on water. The pools are also collecting rainwater and creating an experience of water for the visitors that emphasize the importance of water in terms of the Anthropocene. The multiple galleries such as projection gallery, extinction gallery, soil gallery, etc. which are placed in distinct levels of the earth provide visitors experiencing and getting informed of the Anthropocene.

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Figure 65: 1/500 Physical Model.

154

Anthropocene Memorial with Carbon Casting

Rain Grass Growing Medium Drainage Water Proofing

Texture of Carbon Casting

Fill

Clay Figure 66: Detail.

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Figure 67: Detail.

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Anthropocene Memorial with Carbon Casting

Highlights of the Project

- Darkest reality of the Anthropocene.

- Reflecting the darkness with carbon casting (notorious sense of the material).

- Complexity of the topic detected from the created maze layout.

- The way out of the Anthropocene is complicated.

- Carbon Casting to experience carbon as an architecture component as a future reference.

- Attract attention to the awareness of the earth through experiencing its multiple strata.

- To increase the awareness of the Anthropocene through human eyes and confront the fact with reflection on water.

Figure 68: 1/500 Physical Model.

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Figure 69: 1/500 Physical Model.

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Anthropocene Memorial with Carbon Casting

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Figure 70: 1/500 Physical Model.

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Anthropocene Memorial with Carbon Casting

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The Exploratation of Digital to Physical The work aims to create a physical object from a digital object by using and exploring CNC-Milling, 3d Printing, etc.

The forms are developed from the studio project to explore the architectural language through technologies.

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Figure 71: CNC-Milling, 24’’x36’’x3’’ Foam, Black color 3d-Printing Pieces.

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The Exploration of Digital to Physical

Figure 72: CNC-Milling, 18’’x18’’x2’’ Foam, Black color 3d-Printing Pieces, Silicon Casting.

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The Evolving Image of Governors Island

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Figure 73: Site Plan of Governors Island.

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The Evolving Image of Governors Island

The Evolving image of Governors Island

Governors Island, a 172-acre island is located in the heart of New York Harbor. The island has an ice cream cone shape today, but originally it was an egg-shaped and only 72-acre island. Over one hundred years ago in 1912, The 100- acre cone shape was created by using fill to make room for facilities and thereby today the island has more land to use as a public space. Throughout history, the use of Governors Island has been perceived differently by the public who define a place. The changing image of the island, in terms of its use, has linked its tenants and political conditions since the island has had different tenants over time; native Americans, the colonial period, and then the continuum to now-the tenants are new yorkers-. Since every tenant has different thinking over how to use and see the island as a place. The first occupants of the island are the Native Americans of Manhattan, the Lenape. Governors Island was called ‘‘Nut Island’’ by the Lenape, because the island was thickly covered with various nut trees; hickory, oak, and chestnut trees. The Lenape did not reside on the island, but only used it for seasonal fishing, harvesting, and as a resource for timber.

The image of the island for them was to use the island for what it provided. In time the island was used for different aims for its occupants such as military use. When we come to the 2000s, the island opened to the public for the first time in 2005. The image of Governors Island transformed from a military enclosure for a restricted group into a dynamic public park. Governors Island developed as a park and public space, picnic points opened, ferries began to work. The decision to become a public space opened the idea to design a new park on the island. Besides that, 70 feet above sea level hills-new park- were built on the island. ‘‘The first 30-acres of the new park opened to the public in May 2014. On land that was once flat and featureless, visitors were now able to enjoy a meal in Liggett Terrace, play or nap in Hammock Grove, or play sports on the Play Lawn.’’1 Considering all these developments in the 2000s, New Yorkers started to use the island as a park, a picnic area, and a place where New Yorkers can enjoy and interact with nature.

1‘‘An Island Transformed for the Future’’, Governors Island, www.govisland.com/the-park.

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Figure 74: House 14, Governors Island.

Today, in 2020, Governors Island is also considered to be a center for climate crisis solutions in the future. ‘‘The Trust for Governors Island today unveiled plans to develop a center for climate solutions, leveraging Governors Island’s unique environment and waterfront location as a public living laboratory. The proposed center will provide a central convening spot for researchers, advocates, innovators, and students from around the globe focused on climate change solutions, while offering meaningful opportunities for public engagement, bringing hands-on education, programming, and advocacy initiatives around climate and environmental issues directly to New Yorkers.’’2 The center for climate crisis solutions would be a positive development for the transforming image of Governors Island in the future as we think of Governors Island’s geological significance. Fortunately, I had a chance to visit Governors Island a few times this year, and I saw the importance of the location.

2‘‘Trust for Governors Island Unveils Bold Vision for Climate Solutions Center’’, Governors Island, 17 September 2020, www.govisland.com/blog/trust-for-governors-island-unveils-bold-vision-for-climatesolutions-center.

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The Evolving Image of Governors Island

The research that I did about climate change shows that Governors Island is at huge risk to be impacted by the effects of climate change—sea-level-rise, powerful storms, and so forth. And as we know that New York has a large population and dense formation, Governors Island - existing open spaces, absence of residence and close location to such a big city that is more open to effects of climate changes - would be an appropriate choice to become a center for climate solutions. Various climate crisis solutions approaches would be considered for the future such as; laboratories, education centers. In addition to these, I would like to point out the freshwater issue that I am focusing on in my project. Based on my research, only 1% of water is potable and it is divided into agriculture, and so forth as well and when we look at Governors Island, most of the water is not potabI approached to get ‘‘freshwater’’ with an installation of a filtration system on an architectural scale. In House 14 on Governors Island, I have created a passive (using gravity) carbon filtering system that captures stormwater by using carbon tubes without energy. The harvested water is used not only for drinking but also as an evaporative cooling system. In the future, these kinds of educational and water-service based installations can become applicable for other houses on the island as well. Furthermore, it fosters the idea that designing climate change solutions offer a positive example for the world.

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Bibliography ‘‘Water Facts of Life Ride the Water Cycle With These Fun Facts’’, EPA, www3.epa.gov/safewater/kids/ waterfactsoflife.html, Accessed 18 November 2020.

Duygunur Koç Aslan and Semra Arslan Selçuk, ‘‘A Biomimetic Approach to Rainwater Harvesting Strategies Through the Use of Buildings’’, Dergipark, dergipark.org.tr/tr/download/article-file/503945, Accessed 01 April 2021.

‘‘Porosity’’, Vocabulary.com, www.vocabulary.com/dictionary/porosity#:~:text=Porosity%20is%20 the%20quality%20of,or%20full%20of%20tiny%20holes.&text=Go%20back%20far%20enough%20 and,with%20porosity%20lets%20things%20through., Accessed 2 April 2021.

Bryony Schwan, ‘‘Biomimicry’’, Nyupress, keywords.nyupress.org/environmental-studies/essay/ biomimicry/#:~:text=The%20term%20%E2%80%9Cbiomimicry%E2%80%9D%20comes%20 from,Biomimicry%3A%20Innovation%20Inspired%20by%20Nature%E2%80%94, Accessed 2 April 2021.

Hannah Walsh, ‘‘Aesthetic Explorations 2020 – Biomimicry’’, Aesdes, www.aesdes.org/2020/01/22/ aesthetic-explorations-2020-biomimicry/#:~:text=Biomimicry%2C%20or%20biomimetics%2C%20is%20 the,purpose%20of%20solving%20human%20problems.&text=Biomimicry%20as%20an%20aesthetic%20 involves,with%20curves%20and%20flowing%20surfaces., Accessed 21 March 2021.

‘’Biochar vs. Charcoal vs. Activated Carbon: What They Are & How They Work’’, CharGrow, char-grow. com/biochar-vs-charcoal-vs-activated-carbon, Accessed 03 April 2021.

Mark Hertsgaard, ‘‘As Uses of Biochar Expand, Climate Benefits Still Uncertain’’, YaleEnvironment360, e360.yale.edu/features/as_uses_of_biochar_expand_climate_benefits_still_uncertain, Accessed 03 April 2021.

‘‘Activated carbon filters’’, Lenntech, www.lenntech.com/systems/deep/activated-carbon/gacfilter. htm#ixzz6f7WExpG2

‘‘Cast in Carbon’’, IAACBLOG, www.iaacblog.com/programs/cast-in-carbon/.

‘‘An Island Transformed for the Future’’, Governors Island, www.govisland.com/the-park.

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Bibliography

‘‘Trust for Governors Island Unveils Bold Vision for Climate Solutions Center’’, Governors Island, 17 September 2020, www.govisland.com/blog/trust-for-governors-island-unveils-bold-vision-for-climatesolutions-center.

Image Citations Figure 01: Magnified Biochar, https://www.rhs.org.uk/advice/profile?PID=1014.

Figure 08: Data on the Speculative Deep-Section Image; climate.nasa.gov/vital-signs/global-temperature/, data.giss.nasa.gov/gistemp/graph_data/Global_Mean_Estimates_based_on_Land_and_ Ocean_Data/graph.txt.

Figure 14: Karl Blosfeldth’s Photograph, Art Forms in Nature, https://arquitecturaviva.com/articles/karlblossfeldt-art-forms-in-nature.

Figure 15: Alhambra Palace, Spain, https://www.andalucia.org/en/alhambra-in-granada-a-place-builtfor-the-light.

Figure 16: Alhambra Palace, Spain, https://black-pool.tumblr.com/post/607049414/thethinkingtankwriting-a-term-paper-on-the.

Figure 18: The density and simplicity of the porous structure create an unprecedented integration, https:// www.rhs.org.uk/advice/profile?PID=1014.

Figure 19: Magnified Biochar, https://laramie.org/ignite-ingenuity-february-2020-featuring-high-plainsbiochar-llc/.

Figure 20: Data on Activated Carbon Fiter Process Image; https://www.ucsusa.org/resources/biocharclimate-change-mitigation-strategy#ucs-report-downloads, https://www.cwts.ca/collections/wholehouse-carbon-filters-1, https://www.sappohill.com/pilot.asp?pg=Activated Charcoal.

Figure 21: Vertical Granular Activated Carbon Column, https://www.researchgate.net/figure/Verticalgranular-activated-carbon-column_fig1_327519668.

Figure 74: House 14, Governors Island, Photography by Kumsal Akdogan.

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KUMSAL AKDOGAN