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Example 2

Ecoms House Riken Yamamoto & Field Shop 2004 Japan, the birthplace of the tatami mat, has a long history of modular building. For centuries, the dimensions of these straw pads have dictated the size of rooms, walls, and windows. Picking up where traditional carpenters left off, Yokohama architect Riken Yamamoto has designed a prefabricated aluminum construction system. Ecoms House is the system’s first residential prototype. Developed at the request of SUS Corporation, a manufacturer of aluminum precision machine parts and furniture, the house is located in Saga Prefecture on Kyushu, at the southernmost tip of the Japanese archipelago. Situated next to the SUS factory that was also built using Yamamoto’s prefabricated aluminum technology, the house is a 24-by-24-foot cube made from a kit of parts based on a 4-foot module. Each of its four sides is composed of 34foot-square, 4-inch-thick panels, some transparent, some opaque, and some glass-covered-aluminum lattice that are a little of both. The framework of metal crosses is not only the system’s signature element but also functions as a structural support, holding the entire building without sacrificing light and view. Intended to demonstrate the system’s flexibility—it is equally suited to residential and commercial applications—the prototypical house contains two bedrooms, a bathroom, and a storage space on the ground floor; a kitchen, dining area, and workspace on the second. The two floors could be easily flipped for an owner who prefers an office at grade.

Example 4

Jean Marie Tjibaou Cultural Center New Caledonia Renzo Piano Building workshop 1998

The Centre Culturel Tjibaou, dedicated to Jean-Marie Tjibaou who died in 1989 while leading the fight for his country’s autonomy from the French government, is devoted to the cultural origins and search for identity of the native Kanak people of New Caledonia and the South Pacific. In the native tongue of Jean-Marie Tjibaou, pije language, it is also known as Ngan Jila meaning cultural center. The Center itself is similar to that of the villages in which the Kanak tribes live; a series of huts (or case in French) which distinguish the different functions and hierarchies of the tribes (les tribus) and a central alley along which the huts are dispersed. More specifically, the Cultural Center is composed of three ‘villages’ made up of ten ‘Great Houses’ of varying sizes and functions (exhibition spaces, multimedia library, cafeteria, conference and lecture rooms). The ‘Great Houses’ are linked by a long, gently curving enclosed walkway, reminiscent of the ceremonial alley of the traditional Kanak village.    The identity of the Kanak is not only reinforced through the form of the building but also through its relationship with the natural landscape. Located on a peninsula between the storm-tossed Pacific Ocean and a calm lagoon the design of Renzo Piano takes advantage of the prevailing winds from the ocean side through its system of natural ventilation. Horizontal wood slats composed of iroko wood (a type of wood that is impervious to rot and can withstand cyclone-force winds) of the outer façade on the ocean side filter the wind into a second layer of skin, an inner façade of glass louvers which open or close according to wind speed, allowing wind to flow through the building for passive ventilation. The double layer of skin also filters the warm air upward functioning similar to a chimney.

The sound and feel of the wind is something that can only be experienced by being there and seems to transcend any kind of technological terms or mechanisms. It is a feeling of being inside, yet outside at the same time; of being protected yet still close to nature.  The Center is also composed of various exterior spaces which further explore the relationship of the Kanak culture to nature and the landscape; a Kanak pathway which winds through the dense natural vegetation, traditional ceremonial grounds of the Kanak with traditional huts, an outdoor auditorium and residences for visiting artists, lecturers, scholars and students. These spaces, as well as the main building, integrate themselves and take advantage of the natural beauty of the site.


After the analysis of the cultural, historical, climate conditions of Istanbul, and studding the functions, areas, circulation and relationship between the different items of the space program, although studying the site in terms of environment and urban condition, we found some points to put into consideration before starting the design

SUSTINABILITY: Since the country is rising, so it has to take sustainability into consideration, so the design has to be sustainable in terms of energy, using the climate condition using it in natural lighting, natural ventilation, natural heating and natural air conditioning, although not having a bad impact on the environment.

FUNCTION AND STRUCTURE: The design has to be functional in terms of the best relationship between the different spaces, having the best areas and volumes for each item, with adequate and safe vertical and horizontal circulation, although having a good creative structure system.









Presentain B  

presntation B

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