Portfolio I Ayda Ağaoğlu

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2013 08 0 2

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O I L O F RT O YD .A

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Ayda Ağaoğlu is a 23 year old, Istanbul-based architect At six years of age she moved to Hong Kong, where she was exposed to a multicultural environment for 5 years, which is one of the primal inspirations for her illustrative work.

Moving back to Turkey in 2001, she carried on with her studies whilst engaging in photography, painting, acting and reading in her spare time.

Ayda received her Bachelor’s degree in Architecture from Istanbul Technical University and also spent one year studying as an Erasmus student at The Royal Institute of Technology i n Stockholm, Sweden.

Having chosen to study in the Performative Design Studio at The Royal Institute of Technology, she engaged herself with researching topics such as agrarian urbanisms and how they can be a part of our future as well as the performative aspects and applications of architecture. The project she co-proposed as a part of the Culture Capital of Europe 2013: Maribor - [ 100 Year City ] 2112Ai [Architectural Intelligence] Project was exhibited at the Venice Biennial - 13th International Architecture Exhibition at the Slovenian and Australian pavilions.

Ayda’s main areas of interest are photography, illustration & graphic design, typography, industrial design, performative, interactive & interdisciplinary architecture and animation.

Contact

Personal Information

Education

Website: www.aydaagaoglu.com E-mail: aydaagaoglu@gmail.com Mobile: +90 0554 927 37 09 Name: Ayda Ece Ağaoğlu Birthdate: 12.05.1990 Birthplace: Istanbul Gender: Female Nationality: Turkish Özel Kültür Lisesi

2004-2007

Istanbul Technical University

2008-2013

Kungliga Tekniska Högskolan

2011-2012

International Baccalaureate Programme IB: 37/42 GPA: 5.00 / 5.00 Faculty of Architecture . Architecture . Undergraduate studies GPA: 3.36 Faculty of Architecture . Architecture . Graduate studies

Experience

Salon 2 Intern

Istanbul Foundation for Culture and Arts

16th International Istanbul Jazz Festival / Hostess 11th International Istanbul Biennial / Artist assistant - Haejun jo 1st International Istanbul Design Biennial / Exhibition Guide

TAV Tepe Akfen - Construction Intern

Projects& Workshops

Kayaköy / Housing

Summer architecture workshop in collaboration with Uludağ University: 2009

Kent Düşleri Atölyeleri V - Urban Dreams Workshops V With the Chamber of Architects

WWOOF Italia

Voluntary organic farming at Casa Faustina : Assisi : Summer 2012

TED Conferences

Voluntary translator: January 2013 -

Scholarships & Awards

1st Honors Degree

Given by Kültür High School and Kültür High School Alumni Association

Education Grant

Given by Kültür High School throughout the three year International Baccalaureate Programme

Exhibition La Biennale di Venezia - 13th International Architecture Exhibition & @ Slovenian Pavilion & Australian Pavilion as a part of KTH: Productive SurPublication faces : (A)Biotic Architectures

The project in collaboration with Cesilia Silvasti, has been published as a part of the publication [1OO Year City] | 2112Ai [Architectural intelligence] under the heading of ''Productive Surfaces – (A)Biotic Architectures II'' with the name of 'Grow and Glow: The Intensive Surface'.

Language

English

Computer Skills

Operating Systems: Windows and Mac OSX Software:

Advanced Level

Adobe Illustrator Adobe Photoshop Adobe Premiere Adobe In Design Adobe Muse Autodesk Autocad Lumion

French

Beginner Level

***** ***** ** **** *** ***** ****

Swedish

Beginner Level

Autodesk Maya Autodesk Mudbox Rhinoceros / Grasshopper Graphisoft Archicad Microsoft Office Google Sketchup Autodesk 3ds Max

3D Printing **** Laser Cutting *** **** / * **** ***** ***** **

**** **

[ Project name]

[ Page number ]

Academic

Istanbul Technical University Royal Institute of Technology

Photography

132

Illustration

140

Ar Ar Gr

Sto Al Pe Pe

[ Project Year ]

[ Project Tag ]

[ Page number ]

rchitectural Design Studio I - II rchitectural Design Studio V raduation Project

......... 06 ......... 10 ......... 34

one : Elective Seminar in Architecture History and Technology lteration : Elective Seminar in Architecture History and Technology erformative Design Studio IV.I - IV.II erformative Design Studio IV.III - IV.IV

......... ......... ......... .........

62 66 68 86

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Architectural Design Studio I-II

Architectural Design Studio I-II

İstanbul Technical University . Faculty of Architecture . İstanbul .

8

2008 2009 2010 2011 2012 2013

academic photography illustration

9

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Architectural Design Studio V : PreP1

12

Architectural Design Studio V

Istanbul Technical University . Faculty of Architecture .

Istanbul

.

PreP1 .

Studio tutors: Prof.Dr. Ayşe Şentürer Assis. Bihter Almaç

abstract/abstraction: “Introduction to architecture must be abstract in nature. The site is given only as a generic volumetric boundary, and the student is asked to define space by means of lines and surfaces, working most often in large-scale models. As a consequence of this abstraction, the emphasis is placed on the development of an architectural idea as a spatial and sectional construct and on the placement and passage of the individual subject through these spaces.”

Berman, M., Tschumi, B. (eds), (2003), Index Architecture, A Columbia Book of Architecture, MIT Press, New York.

Task: Fold.SHRINK this << paper Design an urban* transition, a public interval-private in-between.

Explain: your ideas in another A4 paper with an urban* section of your [ urban* transition, a public interval-private in-between] by folded sketches, collages, writings etc. *scenario of an urbanity which you will define.

2008 2009 2010 2011 2012 2013

academic photography illustration

13

Architectural Design Studio V : Wallumetric Public Landscape

Architectural Design Studio V

Istanbul Technical University . Faculty of Architecture .

Istanbul .

p1: Wallumetric Public Landscape Studio tutors: Prof.Dr. Ayşe Şentürer Assis. Bihter Almaç

Project focus: The discovery of new urban topographies: Looking for and designing new modes of public spaces and buildings through in-between spaces, hybrid systems and dynamic topographies.

Keywords: interval, in-between, difference, hybrid, ground, circulation, entrance, usage, dynamic, unique, urban, con-temporary, permanent, material/substance

* Boundary: ‘‘ Area Rule: Rather than follow the strict linearitt of the given system and string together a series of isolated, discrete architectural objects, we have developed the interventions on the basis of existing property lines, articulated surfaces, and contiguous areas. Surfaces fold up and form structures, blurring the division of architecture and landscape.’’ * Frontier/edge/margin: ‘‘We are focusing on ‘links’ rather than ‘divisions’. the struggle is not to explore the borders or limits that architecture has with other disciplines but rather to recognize and understand ways in which architecture is influenced and in turn exerts influence. the presupposition that there is a seperation between architecture and other fields of cultural influence is problematic for us. We seek to blur that distinction.’’ * Interface: 1. A surface forming a common boundary of two bodies, spaces or phases 2. (a) The place at which the independent and often unrelated systems meet and act on or communicate with each other; (b) the means by which interaction or communication is achieved at an interface. * Montage: ‘‘The engineer-monteur is an architect who builds with images. Place is created out of fragments distant in time and space; by constructing ‘with intervals’, he recognizes the gap, the lag, which must now be built into the fabric of time and space. the metropolis produces a new subject: the montage eye capable of constructing a new reality out of the barrage of fragmentary, contradictory, and obsolete information which characterizes the modern city.’’

Berman, M., Tschumi, B. (eds), (2003), Index Architecture, A Columbia Book of Architecture, MIT Press, New York.

14

2008 2009 2010 2011 2012 2013

academic photography illustration

15

Archi-cine section_night

Archi-cine section_day

Archi-cine section_neutral

Architectural Design Studio V : Wallumetric Public Landscape

16

2008 2009 2010 2011 2012 2013

academic photography illustration

An entrance to the temporary but public, an interval co-existing between green spaces, a space, that has forgotten that itâ&#x20AC;&#x2122;s main idea is to act as a public space,and instead has adopted the idea that it serves mainly as a passage, a space of temporary circulation for its users.

A space, surrounded by structures for temporary usage, whether it be the the cars in the parking lots, the hotel for tourists, the offices for the businessman/woman, the library for its readers etc. A space whose only permanent inhabitants are two dogs. And besides all, a space that is seeking transformation, a space that desires neither of the qualities of its neighbors, but a space ready to give birth to a new â&#x20AC;&#x2DC;intervalâ&#x20AC;&#x2122; of time and spatialness.

17

18

2008 2009 2010 2011 2012 2013

academic photography illustration

‘‘Dynamic boundaries do not just divide two entities; they are entities them selves, and they may lie within a single space. They require human activity and even require human interference to function. By either triggering or inhabiting these boundaries, the people who move through them also define them. Space is therefore shaped and choreographed by the kinesthetic response of the human body.’’

Mori, T., (2002), Immaterial | ultramaterial: architecture, design and materials, New York: George Braziller.

19

Architectural Design Studio V : Urban Hous(e)ing Re-loaded

Architectural Design Studio V

Istanbul Technical University . Faculty of Architecture .

Istanbul .

Urban Hous(e)ing re-loaded : Hous(e)ing in Kasımpaşa Studio tutors: Prof.Dr. Ayşe Şentürer Assis. Bihter Almaç Beginning from the Ottoman conquest of Istanbul the Haliç coast of Kasımpaşa and its surroundings has been a center for sailors and the navy. The Haliç Shipyard of today was then called the Istanbul Shipyard. At 1516 the Gelibolu Shipyard was reallocated to this spot while the population coming from Gelibolu and Izmir that took ship building as a profession were relocated to the area. Till the mid and late 19th century the area became a dominant area for the middle class of the navy as well as artisans. At the 20th century Kasımpaşa gradually became a region for the poor and the workers.

Nowadays the area is covered by not so tall 3 to 5 floor masonry buildings scattered without order; along with a lot of small ateliers, shops and offices. The district is nowadays inhabited with communities that belong to the lower middle sosioeconomic layers of society. ............ ........ .. . . . . . . . .. . . . . . . . ....... . . . . ... ..... . . . . .... . . . .

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2008 2009 2010 2011 2012 2013

academic photography illustration

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Architectural Design Studio V : Urban Hous(e)ing Re-loaded

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2008 2009 2010 2011 2012 2013

academic photography illustration

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Architectural Design Studio V : Urban Hous(e)ing Re-loaded

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2008 2009 2010 2011 2012 2013

academic photography illustration

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Architectural Design Studio V : Urban Hous(e)ing Re-loaded

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studyroom + Larg e famili es / / I n Ka s ı m p a ş a h o u ses are g en er a l l y occuppi ed b y t w o g en er a t i on s . / / Fa m i l i es p r efer t o o w n a h ou s e r a t h er t h en li vi n g i n r en t ed h ou ses

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26

dini n g ro o

2008 2009 2010 2011 2012 2013

+ Couples

academic photography illustration

27

Architectural Design Studio V : Urban Hous(e)ing Re-loaded

28

semi-public space private spaces

hybrid interval spaces of interaction

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2008 2009 2010 2011 2012 2013

academic photography illustration

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between the folding//unfolding layers of homes

Architectural Design Studio V : Urban Hous(e)ing Re-loaded

32

Exterior Rendering: Front Elevation

Exterior Rendering: Top Elevation

Section Rendering & Superimposed Drawing

2008 2009 2010 2011 2012 2013

academic photography illustration

33

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Graduation Project

36

Graduation Project

Istanbul Technical University. Faculty of Architecture .

Istanbul Art & Car ‘Park’

A car ‘park’ and a modern art ‘park’ : at the same place, at the same time Aim: Designing a dynamic/changing building/a group of buildings that correspond to being a car park and a place for modern art at the same place, at the same time Location: The private car park lot right next to Istanbul Technical University, as well as a part of the neighbouring Maçka Park.

The aim can be defined as designing an architectural entity that hosts both spaces that are defined for cars and modern art pieces in the coincidental ways of daily life.

What is expected is not to design seperate areas for these seemingly seperate programs, but to design an entity that will provide the functionality of these two programs at the same place at the same time. In short the aim is to push the boundaries of the architectural entity.

Keywords: reality _ surreality_hyperreality blurred _ clear expanding _ shrinking homogeneoug space _ heterogeneous space singular _ plural The possibilities and oppurtunities of modern art to come across and blend with daily life brings up spacial relationships that push the boundaries of architectural entities. The modern art pieces and the aesthetic phenomenon that they carry now relate to new spatial possibilities. This project will explore and redefine such spatial possibilities in relation to a daily need: the car park.

Metro Teleferik

Aerial Tramway

Otel

Hotel

Kütüphane Library

Üniversite University

Hastane Hospital

Park Otopark

Carpark

Stadyum Stadium

İnşaat Sahası

Construction site

Sinema Cinema

Tiyatro Theatre

Konferans - Konser Alanı Conference - Concert Area

Sanat Galerisi - Sergi Alanı Art Gallery - Exhibiton Space

# Occupy Gezi

A

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Istanbul Kongre Merkezi

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Cemil Topuzlu Açıkhava Sahnesi

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Istanbul Hilton Oteli

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Project ROJE A Site LANI

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The Ritz Carlton Istanbul

39

Graduation Project

40

İSTANBUL TEK

PROJE ALANI Project Site

80.0

..................................

MAÇKA PARKI

..................................

Cemil Topuzlu Açıkhava Sahnesi

Istanbul Hilton Oteli

TAŞKIŞLA

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İSTANBUL TEKNİK ÜN

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The Ritz Carlton Istanbul BJK İnönü Stadyumu 41.5

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PROJE ALAN Project Site

MAÇKA PAR

2008 2009 2010 2011 2012 2013

academic photography illustration

41

Atatürk Kültür Merkezi

KNİK ÜNİVERSİTESİ KAMPÜSÜ

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Section B-B 1:2000

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Atatürk Kitaplığı

Hyatt Regency Hotel

Ceylan Intercontinental Divan Otel 85.5

>> Kesit A-A

Section A-A 1:2000

Graduation Project

42

Papa academic photography Ronc illustration alli S okak

43

Turna Sokak

Babil Sokak

Papa Roncalli Sokak

Üftade Sokak

Elm a d ağ C a d d e si

Nispet Sokak

Yedi Ku y u l a Abd rC a ü d l h d ak H esi a m it C a d d esi

2008 2009 2010 2011 2012 2013

Cumhuriyet Cad Cumhuriyet Caddesi

Divan Otel Hyatt Regency Hotel

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Model Photo: Fabric Modelling & Mixed media collage _ 1

Model Photo: Fabric Modelling & Mixed media collage _ 2

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Graduation Project

Panoramic Mixed Media Collage

44

2008 2009 2010 2011 2012 2013

academic photography illustration

45

Graduation Project

46

+0.00

+21.45

Building Scale Site Plan & Top Elevation Scale 1:500

academic photography illustration

2008 2009 2010 2011 2012 2013

47

+0.00

+ 0.00

+0.00

+1.21

Istanbu l Taşkışla Teknik Ünivers itesi Kampüs ü

Building Scale Site Plan _ Entrance level Scale 1:500

+2.67

Graduation Project

48

İS

Building Scale Side Elevation Scale 1:500

2008 2009 2010 2011 2012 2013

academic photography illustration

STANBUL TEKNİK ÜNİVERSİTESİ TAŞKIŞLA KAMPÜSÜ

>> Kesit A-A

1:500

MAÇKA PARKI

49

Graduation Project

50

+ 20.0 Plan 4

Plan 3

*Süreli sergi

Sergi alanı ^Yarı açık *7/24

+ 11.4 Plan 2

*Süreli sergi

Sergi alanı ^Yarı açık *7/24

+ 6.5 Plan 1

+ 0.0

Building Scale Section A Scale 1:200

Taşkışla Girişi *7/24

Kesit E-E

>>

+ 25.8

2008 2009 2010 2011 2012 2013

academic photography illustration

*Süreli sergi

Sergi alanı

_Süreksiz mekan: şişme / balon yapı *7/24 Hava koşullarına bağlı kullanım ^Kapalı

^Yarı açık *7/24

Üretim Atölyeleri

*Süreli sergi

*Süreli sergi

Sergi alanı

Sergi alanı

^Yarı açık *7/24

^Kapalı *7/24

*Sürekli sergi

Sergi alanı ^Yarı açık *7/24

_Karşılama mekanı _Nötr / sahipsiz mekan

Kamusal alan ^Yarı açık *7/24

*Sürekli sergi

Sergi alanı + Kafe + ^Kapalı

_Değişken mekan: Sanat üretimi + sergilenme çeşidine göre değişen mekan

51

52

Maçka Parkı

Biyotik sistem entegreli Kaburga cephe sistemi

*Süreli sergi

+8.35

Sergi alanı ^Yarı açık *7/24

Ray sistemi Hava koşullarına veya sergileme ihtiyaçlarına uygun olarak konumu değiştirilebilen sürgülü panel destek sistemi

Araç Çıkış Araç Giriş

çıkış _Değişken mekan *Süreli sergi

giriş

Sergi alanı ^Yarı açık *7/24

+Açık hava koşulları ile etkileşiminden +0.00

+ 8.00

kötü yönde etkilenmeyen, veya açık hava koşulları ile etkileşimi arzulanan eserlerin sergileneceği alan

+Enstalasyon

Performans sanatları

*Süreli sergi

+Video sanat

Sergi alanı +8.35

WC

^Kapalı *7/24

+Açık hava koşullarından kötü yönde

etkilenen, veya etkilenmesi istenmeyen eserlerin sergileneceği alan

! Sanatı üretimi / sanatın sergilenmesi esnasında Araç Çıkış

otopark alanları önceliği ve sanat alanları önceliği değişkenlik gösterecektir. Sanatçının gerekli gördüğü koşullarda otopark alanları sanat ürünleri tarafından işgal edilebilmektedir.

Araç Giriş

*Süreli serg

Sergi alan

^Kapa *7/2

TBT Lab.

Building Scale Site Plan _ Plan 1

Konferans Salonu * 127

Scale 1:200

Fo

53

*Sürekli sergi

Sergi alanı ^Yarı açık *7/24

çıkış *kamusal mekan

giriş

Kütüphane

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+6.35

+6.35

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Okuma alanı ^Yarı açık *7/24

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+ 6.31 Taşkışla Girişi +0.00

Kantin

+6.31

otokopi

Amfi * 231

Kırtasiye

Personel Yemekhanesi

54

Maçka Parkı

*Süreli sergi

Sergi alanı ^Yarı açık *7/24

_Değişken mekan *Öğrenci

Üretim atölyeleri +12.75

^Yarı açık /kapalı *7/24

Araç Çıkış Sürgülü cam cephe sistemi

Araç Giriş

_Değişken mekan *Süreli sergi

Sergi alanı

+Video sanat

^Yarı açık *7/24

+0.00

+8.00

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Araç Çıkış Araç Giriş

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TBT Lab.

Building Scale Site Plan _ Plan 2

Konferans Salonu * 127

Scale 1:200

Fo

55

+9.15

*Süreli sergi

çıkış

Sergi alanı ^Yarı açık *7/24

giriş

*Süreli sergi

Sergi alanı ^Kapalı *7/24

+10.35

+9.15

+6.35

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n kötü yönde mesi istenmeyen alan

Okuma alanı

^Yarı açık *7/24

! Sanatı üretimi / sanatın sergilenmesi esnasında

otopark alanları önceliği ve sanat alanları önceliği değişkenlik gösterecektir. Sanatçının gerekli gördüğü koşullarda otopark alanları sanat ürünleri tarafından işgal edilebilmektedir.

*Süreli sergi

Sergi alanı ^Yarı açık *7/24

+11.55

+0.00

Kantin +6.31

otokopi

Amfi * 231

Kırtasiye

Personel Yemekhanesi

56

Maçka Parkı

+ 13.00

_Değişken mekan *Öğrenci

Üretim atölyeleri

^Yarı açık /kapalı *7/24

Araç Çıkış Sürgülü cam cephe sistemi

Araç Giriş

_Değişken mekan *Süreli sergi

Sergi alanı

+0.00

^Yarı açık *7/24

+ 8.00

+ 12.75

+ 17.00

Araç Çıkış Araç Giriş *Süreli sergi

Sergi alanı ^Yarı açık *7/24

Amfi * 231

Building Scale Site Plan _ Plan 3 Scale 1:200

57

*Süreli sergi

Sergi alanı ^Yarı açık *7/24

^ Özel mekan

Konaklama

_Süreksiz mekan: şişme / balon yapı

Sanatçı ^Kapalı

Üretim Atölyeleri

Sanatçı ^Kapalı / açık *7/24

+ 14.40

+ 14.40

+ 10.35

+0.00

+13.65

Amfi * 230

Amfi * 229

Amfi * 227

Graduation Project

Panoramic Mixed Media Collage _ final

58

2008 2009 2010 2011 2012 2013

academic photography illustration

59

Graduation Project

60

>>

Ribbed Facade System how? why?

+ Biotic system integration

+ Self supporting

+ With a facade allowing air circulation, the structures need for artificial/internal air circulation is minimalized + With a biotic facade that gives an oppurtunity for â&#x20AC;&#x2DC;Art pieces which are not effected negatively from open air conditions, or art pieces which desire open air conditionsâ&#x20AC;&#x2122; art gains a time and weathering factor

+ The project site as an extension of the Maçka park, has been redefined based on the areas need for public space and a car park:

+ The ribs acting as seating and resting structures: art through physical experience + The ribs acting as a mesh on which to hang art pieces on or from: a wide range of possbilities for exhibiting

>>

Pneumatic Balloon Structure + This structure which is inflated and deflated according to weather conditions defines a dynamic space

Car:park!

>> Car park areas

!

The priority of parking on predefined car stall areas will change according to whether a spot has been occupied by art or not. If the artist sees fit, a predefined car stall may be redefined as an art spot.

Entrance - Exit ramps

>>

+ %5 sloped ramps suitable for both vehicles and pedestrians provide the main promenade route around the structure

2008 2009 2010 2011 2012 2013

Sliced Axonometric Rendering

Sliced Axonometric Drawing

academic photography illustration

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Alteration: A Case Study In Stockholms Tennishall

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Alteration: A Case Study In Stockholms Tennishall The Royal Institute of Technology . Faculty of Architecture .

Stockholm .

A collaborative project between: Ayda Ağaoğlu Anne Ingerbrigtsen Klara Bergdahl Thomas Fejder Johanna Hellström Kersti Miller Jacob Söderqvist Fredrikke Thuestad

T

he usage of the word alteration or the act of altering, re using or re defining is not a newcomer to the architecture scene; bringing with itself the ongoing controversy of what alteration in an architectural context really is, what it can do, why it is done, how far it can go and so on. It is quite hard to provide or come to conclusion on a definition and scope for alteration in an architectural context as the architectural context it concerns is affected by many parameters. The environment that the alteration takes place is one of these parameters, consisting of not only the built and natural environment but also social, political, economical, demographical and cultural environment. Each state of alteration is a clear statement of the attitude taken towards these environments. The idea of alteration may be brought about due to a building or environment that no longer functions in its intended ways and is pressed upon by its surroundings to either change or to bear the consequences – to disappear. In an ever changing, evolving world environments and individuals alter themselves to better suit the conditions that they bring about. Like the basic law of evolution, the species with the qualities that best suits the change is the one that possesses the highest potential to carry on its life. This law is evident not only in ourselves as human beings but also in the environment that we create. An important question in this evolutionary path is, what should be the focus of alteration? What are the qualities that will be preserved, and what are the ones to be altered? Where do ethics lie in alteration? Gentrification is a type of alteration, with a more negative tone, so what is the border between a negative and positive alteration? Can we as architects come up with a more scientific

approach towards alteration in an architectural context, or can alteration only be defined as the relationship of the conditions it is found in.

Stockholm’s tennis hall, a building that seems to both belong and be displaced is located in Kv. Tennisbollen 1,Kristineberg Park, Kungsholmen. The sports facility, once being located in an industrial area is now contrasting with the modern residential towers being developed nearby. Today the Tennis hall is under the never-ending threat of being torn down. Ironically, the area has almost completed its alteration from being an industrial area to an upper class residential area, leaving the tennis hall at the center of the storm, or at the center of a park literally speaking. Today Kristineberg Park has been designed, or planned to include public spaces such as skate parks and soccer fields embroided with green spaces till the waterfront; the tennis hall present in the middle of the planned area

is considered to be blocking, interrupting the greenway originally designed to lead from Kristineberg Castle to the waterfront.

Having not been a part of the competition constraints in the year 2005, the tennis hall is suffering greatly. Even though it is clear that the residents in the area favor to keep the tennis hall, or the tennis hall community in its given location, the conflict concerning the site and its faith cannot be brought to a decision; the future of the building remains uncertain. But the members agree: “There’s something about this place, it´s in the walls,” The voice of political backgrounds are heard louder than the voice of the community at Kristineberg, which leads one to question the reason for and the effects of such an alteration, if not based on and taking strength from the needs of the community and environment given that the community is of highest importance when it comes to deciding on the future of a public area.

2008 2009 2010 2011 2012 2013

Reflecting back on the course, working at Kristineberg has made me realize that it is not easy, nor is it right to come to a clear definition of what the scope and definition of alteration is. Each and every aspect of the collection of environments surrounding the area in question is an input that has to be considered while thinking about what to alter and whether it is necessary or not for it to be altered. Questioning these inputs is crucial as it is a negotiation of these inputs, these options and potentials of spaces/places and a stance taken towards these inputs that come together to define alteration. Alteration can never be thought of out of context.

As a reult of this case study a seven minute documentary was produced. The documentary can be found at: http://vimeo.com/28977760

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Stone : Elective Seminar in Architecture History and Technology

Stone : Elective Seminar in Architecture History and Technology

The Royal Institute of Technology . Faculty of Architecture .

Stockholm .

A collaborative project between Ayda Ağaoğlu and Yağdır Çeliker

M

ankind, a biological organism as well as a social agent lives a life within temporary spatial zones surrounded with and bounded by extensive boundaries with natural or artificial qualities.

These spatial temporary zones bear the potential to extend through space and time until they reach a limit marked by a borderline. Indifferent from their scale these borderlines come together to shape and define the identity of mankind. An addition to extensive borderlines is the intensive borderline, defined as a zone of intensity.

Intensive borderlines are zones created from material/immaterial qualities at critical points such as temperature, pressure, gravity, density, tension, connectivity and other qualities. Intensive borderlines, with their differentiating intensity of qualities shape and define the extension, protrusion of the borderline itself. ‘’All the extensive borderlines which define our space and time are generated through the interplay of intensive borderlines, critical points of intensity defining the virtual forms available to a material and energetic system within a particular intensive zone.’’i As architects, we are constantly dealing with borderlines whether they are at a larger scale such as the borderlines between two cities or at a smaller scale such as the partition wall between two different spaces. It is the way we choose to deal with these borderlines and the methods we use while dealing with them (technique, technology, material, intention) that defines them and gives birth to their potentials.

As a research task in Stone: an elective seminar in Architecture History and Technology, we were given the chance to design a wall that will function as a demonstration of the contemporary possibilities of stone at the Venice Biennale of Architecture. The context of the wall that will be designed for this study task is chosen so that the wall itself will be a part of the exhibition while acting as a separator between other exhibitions at the Venice Biennale of Architecture.

The idea behind the design research is to question the potential of a wall that uses stone, as it’s dominant element along with questioning the communicative role of the material used and the elements brought together when forming a wall.

A wall has a potential to define and redefine itself with its form, the level of interactivity it possesses, the technology used to build it, its material qualities such as its level of opacity or its surface texture etc. Therefore, a wall has in itself the potential to create critical points of intensity using its definitions and to form an intensive borderline, which will extend to bind its surroundings.

Our primary basis in this study task was to emphasize and portray our belief that contemporary architecture, in parallel with the newfound technologies and methods of modern day has the potential to re-integrate the sensory qualities of the material/im-

66 material and to create new spatial experiences. The sensory qualities of the material/immaterial is an important feature in design as these qualities make up the language of the material/immaterial itself and it is these qualities that trigger communication between the architectural element and the individual. To make use of the potentials of a wall we firstly decided to take an interactive approach that would aim at enabling interaction between the Biennale visitors and the wall. We aimed at creating a chance for the visitors to more actively sense the presence of the wall with the help of a feedback mechanism integrated into the wall and to raise the question of what the definition of wall is and how it relates to and forms what we define and sense to be space. The wall in its core is integrated with haptic and thermal sensors that draw real-time data from the exhibition and the people within the exhibition. The data gathered in this core system is then analyzed as density graphs: a mapping of critical points of intensity. The overall density mapping is then used as feedback, in such a way that the mapping is sent back to the system through layers of LED strands, visualizing the data collected as a gradient of colors in order to create an interactive and dynamic spatial experience that provides for communication and interaction between the wall and the observer.

The usage of stone to fulfill the needs of mankind in daily life and, to be more precise, architecture dates back a several thousand years. It is such a material that although it is brought together with one word, stone, its members have a vast amount of material qualities that can greatly differentiate from one to another. It is an organic and almost living material that has dominant characteristics deciding on what type of treatment it allows for and an age value showing how it will react to the passage of time. The vast amount of differentiating characteristics of stone, and its ability to undergo different finishes or treatments allows for stone to have in itself the potential to create critical points of intensity using its characteristic definitions. Our intention was to make use of these characteristic definitions, to emphasize and to bring out the qualities of the stone chosen in order to research and present the contemporary possibilities of stone.

The haptic and optical qualities of stone were the main parameters for the selection of the type of stone used for the design of the wall that will be a part of the exhibition at the Venice Biennale of Architecture. The stone was chosen so that it would let light through, creating a contrast between the belief that stone is a rigid material and due to this rigidness one would not expect it to be translucent. Stone panels of White Carrara marble with a thickness of 5mm (a thickness enabling the stone panels to be translucent when combined to work with dim backlights) and dimensions of – x – mm were used. To create contrast (to create a critical point of intensity) with the smooth and transparent Plexiglas panels holding the stone panels in place, the stone panels were chosen to be White Carrara tumbled marble which has gone through a tumbling process to get a rustic and worn off look capturing the age quality of stone. Alongside its translucent quality, the White Carrara Marble, which is a white marble with grey faint, cloudy grey veins, was chosen as it would let through the gradient of colors coming from the LED system integrated into the core of the wall structure. The stone panels were mounted onto transparent Plexiglas panels of

2008 2009 2010 2011 2012 2013

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50 mm thickness, where a bolt was used to fasten each stone panel into place. The Plexiglas panels on opposite sides of the wall were supported with a lightweight steel frame construction with a top and bottom track of ----- mm, providing space for the LED system to be integrated in. The total length of the wall is split up into a singular length of 2m, and a height of 2.5m, which will be brought together to make up the whole length of the wall that will be used in the exhibition.

It is our belief that the form of a wall greatly affects our spatial experience in the space bounded by the wall and the level of communication we have with the wall. A continuous linear surface will, after a while, seem indifferent to the senses of the beholder; therefore it will not provide a sustainable level of communication and interaction between itself and the beholder. However, an undulating wall or a wall that uses concave and convex surfaces will not only increase the surface area but also create poches, pockets of space that will provide for the beholder to relate to the wall.

As a result of this analysis, we have designed a wall that bends and breaks lengthwise, creating differentiating surfaces of interaction and communication.

De Landa, Manuel. Extensive and Intensive. Domus. No 892, May 2006.

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Performative Design Studio IV.I-IV.II

double pinch1d: top elevation

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Faculty of Architecture .

Stockholm

(A)Biotic Architectures .

Atmosphere Incubators: A New Market Hall in the Meatpacking district of Stockholm A collaborative project between Ayda Ağaoğlu and Yağdır Çeliker, with studio tutors: Daniel Norell Einar Rodhe Ulrika Karlsson Jonah Fritzell The objective of this studio is to synthesize knowledge in architectural design, digital and analogue design processes and (a)biotic architectures in the design of a new food market hall for the Stockholm meatpacking district. This task is ideally suited to exploring the architectural integration of organic matter in a public building in an urban context. As the studio progresses, work will be positioned in relation to three distinct areas of research. The first one concerns current design problems native to what Alejandro Zaera Polo has called the flat-horizontal envelope type, and in particular the structure and envelope of market halls. The second one deals with flows of goods and rethinking the relationship between display and production of organic produce by considering contemporary phenomena such as urban agriculture. The third one explores alternative concepts of nature - the articulation and texturing of architectural surfaces through incorporation of biological matter.

An innovative coupling of structural and atmospheric performance in the transition from exterior to interior of the hall will be of special interest to the studio. A light, permeable membrane envelope typically allows for atmospheric continuity through “gradual integration of nature and public space within the building”, while a more substantial, solid roof potentially “challenges a uniform concept of nature and alters a politically loaded architectural element” (Zaera Polo) by establishing a new datum – an artificial and programmable ground. Fusing these two models that are usually thought of as mutually exclusive will be an important design challenge. This will provide an opportunity to rethink the relationship between structural poché and infrastructures that channel light, views and circulation, respectively. Opportunities to diffuse interior and exterior relationships by dispersing spatial pockets of vegetation in the form of on- site farming of produce will be explored. In the vast interior of the hall, such relationships might incubate* new atmospheres by actively working with colors, textures, temperature gradients, sightlines, etc. Moving away from an idea of the market hall as a large, generic space that merely facilitates the program, the studio will search for ways of architecturally and materially integrate vegetation, soil, flows of nutrients, etc. The work will be informed by the particulars of food production in the context of the City of Stockholm, but also by cuisine as a contemporary cultural phenomenon with the capacity to radically alter the architecture of a market hall.

d.p1d : plan section

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d. 1:2 p2d : side

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d. 1:2 p2d : side

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d. 1:2 p2d : pe

Research Phase: pinching - tubular enclosing Autodesk Maya: Polygon Modelling & Fabric Modelling

2008 2009 2010 2011 2012 2013

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tubular enclosing1d : top elevation

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t.e1d : side elevation

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t.e1d : perspective

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t.n 1d: horizontal section

t.n 1d: perspective

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Urban Scale Site Plan Scale 1:1000

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Urban Scale Site View

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Building Scale Site Plan _ Plan a Scale 1:500

/ Veg et a t i o n Hydrophonic system

/ ETFE E t h y l e n e t e t r a fl u o r o e t h y l e n e

/ Metal reinforcement mesh

/ Veg et a t i o n Hydrophonic system

/ Self-compacting concrete Steel reinforcement

Exploded Axonometric diagram

Process Diagram

node node node

Building Scale Site Plan _ Plan b Scale 1:500

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Section B-B’ Scale 1:200

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Initial Building Model: 3D Printing : Top Elevation

Initial Building Model: 3D Printing : Bottom Elevation

Initial Building Model: 3D Printing : Side Elevation

Final Building Model: 3D Printing: Top Elevation

2008 2009 2010 2011 2012 2013

Interior Rendering _ Greenhouse Level

Interior Rendering _ Entrance Level

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Performative Design Studio IV.III-IV.IV The Royal Institute of Technology . Faculty of Architecture .

Stockholm

(A)Biotic Architectures .

Dirt _The Productive Surface: Agrarian compounds in Maribor A collaborative project between Ayda Ağaoğlu and Cesilia Silvasti, with studio tutors: Daniel Norell Einar Rodhe Ulrika Karlsson Jonah Fritzell

“

Surfaces are the boundaries of matter, the interface between solid or liquid matter and gaseous elements or space.”

(Jane and Mark Burry. In The New Mathematics of Architecture)

B

ut if the surface gets lax, punctuated or the encapsulation erodes, the surface dissolves into a fuzzy mélange of solid and liquid matter, gaseous elements and space. A productive surface is more than a surface’ boundaries of matter, it has byproducts – emissive in the sense that it produces architectural affect, energy, biotic and abiotic matter, conditioned by its context. The elusive relationship between the computational control of surface geometry in architecture, to produce mass and void, architectural interiorities, volumes, apertures and structure, and the surface’s material capacity, as a differentially permeable thickness, that engages with the surrounding atmosphere - moisture levels, substrates, dirt and vegetal matter involves a shift from the precisely figured toward a more entropic state, occasionally obliterating the discrete identities of its architecture.

At an urban scale as well as on a detailed building scale, the semester focuses on building envelopes and their potential of producing qualities of mass and void for holding and filtering biotic and abiotic program, exploring the ambiguous terrain between figure and when figure dissolves and looses its discrete identity. The aim of the studio is to further the knowledge of performative (A)biotic Architectures through the design of a comprehensive building project that engages biological processes and differential climates. With an emergent approach to the design and fabrication of architectural envelopes as productive surfaces, that has the capacity

to involve more extensive urban ecologies, including food production and urban agriculture, the studio will develop new typologies for growing food within an urban setting. These new typologies have cultural, social and economic consequences as well as they potentially challenge the notion of a “nature”, proposing the possibility of a ‘multiplicity of natures’.

As part of the 2012 European Cultural Capital, the Performative Design Studio was invited to do speculative architectural proposals for the future of Maribor, located where the alps descend to the planes in Slovenia. The studio explores food production tightly linked to the tectonic, spatial and affective qualities of architecture. An increased interest in food production and urban agriculture has been seen, but little has highlighted the implications for the shape and the structure of urban form. Charles Waldheim in his essay “Notes towards a history of agrarian urbanism” points out that Frank Lloyd Wright (“Broadacre city” 1934-35), Ludwig Hilbersheimer (“New Regional Pattern” 1945-49) and the more contemporary Andrea Branzi (“Agronica “ 1993-94) all share an interest in the reconceptualisation of the city in relation to urban agriculture and the possible implications on urban form. In these projects the classic distinction between city and countryside are extraneous and an urban decentralization, is favoured, where the city and countryside blended and produced a dissolution of the urban figure into field. In relation to the above strategies, this studio seeks to investigate urban agriculture as diverse compounds of nested volumes, mass and void, where a multiplicity of scales and spatial aggregates, allows for a manifold of social, architectural, biotic and abiotic qualities.

2008 2009 2010 2011 2012 2013

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row and glow: The Intensive Surface is a proposal built upon the questioning of the future projections of agrarian compounds in an urban context, under the circumstances of climate zones projected to change and the effect of this climatic change not only on farming but also on the public opinion and awareness towards farming.

At a building scale, the exterior surface of the buildings are informed and articulated through movements of ‘hugging’, where the buildings folds in on themselves almost as if to protect themself from the exterior environment through the deep enveloping of space.

Public opinion and awareness is a key factor in the use of aeroponic growing systems along with geoponic growing systems throughout the buildings; where the geoponic systems provide the conditions of a closed ecological system throughout the interior, dissolving the laboratory like perception of aeroponic growing systems while providing them with a controlled yet natural environment.

The performative aspect of Grow and Glow: The Intensıve Surface is experienced most at the boundary between the exterior and the interior where the meeting of the biotic and the abiotic material with Butong™, provides critical points of intensity in terms of temperature, density, tension and connectivity, leading to a gradient of conditions, to the emergence of a never ending movement from one side to the other; conditions dissolving into one another and resulting in the transition of the ‘surface’ identity of the boundary to a ‘living matter’ identity.

Boreal forest Hemiboreal, Nemoral coniferous, mixed broadleaved Alpine coniferous forest Acidophilous oak, oak-birch forest Mesophytic deciduous forest Beech forest Montane beech forest Thermophilous deciduous forest Broadleaves evergreen forest Coniferous forest of the mediterranean region

Source: ‘‘Modelling Current and Future Distribution of European Forest Categories’’, < http://doga.ogs.trieste.it/doga/echo/ecem07/Main/27Nov/casalegno.pdf >

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In you opinion, which of the following do you consider to be the most serious problems currently facing the world as a whole?

European Union Slovenia

69 %

Poverty, lack of food and drinking water

69 %

47 %

Climate change

70 % 39 %

A major global economic downturn 52 % 35 %

International terrorism

23 % 32 %

The spread of an infectuous disease 53 % 29 % Armed conflicts

20 %

24 %

The increasing world population 18 %

The proliferation of nuclear weapons

15 % 18%

Source: ‘‘European Attitudes Towards Climate Change’’, < http://ec.europa.eu/public_opinion/archives/ebs/ebs_322_fact_si_en.pdf >

2008 2009 2010 2011 2012 2013

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How serious a problem do you think climate change is at the moment? Please use a scale from 1 to 10, ‘1’ would mean that it is “not at all a serious problem” and ‘10’ would mean that it is a problem extremely serious”.

Inner circle : Slovenia Outer circle: European Union Not a serious problem (1 - 4) A fairly serious problem (5 - 6) A very serious problem (7 - 10) Don’t know

For each of the following statements’ please tell me whether you totally agree, tend to agree, tend to disagree, or totally disagree.

The seriousness of climate change has been exagerated.

Inner circle : Slovenia Outer circle: European Union

Total “agree” Total “disagree” Don’t know

Source: ‘‘European Attitudes Towards Climate Change’’, < http://ec.europa.eu/public_opinion/archives/ebs/ebs_322_fact_si_en.pdf >

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Change in mean annual precipitation Between 1971 - 2000

Maribor

WINTER

- 20 % - 10 -5 +5 +10 +20 +40

Maribor

SUMMER

- 20 % - 10 -5 +5 +10 +20 +40

Between 1971 - 2000 and 2071 - 2100 Based on IPCC SRES A2 scenario

Change in mean seasonal precipitation

1.600 - 1.800 mm 1.800 - 2.000 mm 2.000 - 2.600 mm 2.600 - 3.200 mm 3.200 - 4.000 mm

900 - 1.000 mm 1.000 - 1.100 mm 1.100 - 1.200 mm 1.200 - 1.300 mm 1.300 - 1.400 mm 1.400 - 1.500 mm 1.500 - 1.600 mm

800 - 900 mm

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Change in mean annual temperature Between 1971 - 2000

Maribor

WINTER

+3.0 째C +3.5 +4.0 +4.5 +5.0

SUMMER

+3.0 째C +3.5 +4.0 +4.5 +5.0

Maribor

Between 1971 - 2000 and 2071 - 2100 Based on IPCC SRES A2 scenario

Change in mean seasonal temperature

-2 - 0 째C 0-2 2-4 4-6 6-8 8 - 10 10 - 12 12 - 14

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Map of Maribor

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Project Site

Zoomed in Map of Maribor

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Research Phase Fabric modelling: Elastic fabric + Sugar / Rice + Stitching

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Fabric modelling: Form research: Plant nurseries ( ground arms + surface arms + surface droplets )

Fabric modelling: Form research: Plant nurseries ( ground arms + surface arms + surface droplets )

Fabric modelling: Form research: Plant nurseries ( ground arms + surface arms + surface droplets )

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10% Light climatized warm areas : housing, restaurant, store, educational facilities ect.

10% Dark climatized cool areas for storage ect.

40% Climatized warm areas for food production 40% Outdoor areas for food production

Climatized outdoor areas for food production Curbstones: separating the flowerbeds Seam: relating to the surroundings and separating the flowerbeds

Massing study: Fabric modelling: South elevation

Massing study: Fabric modelling: East elevation

Massing study: Fabric modelling: North elevation

Massing study: Fabric modelling: West elevation

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Massing study: Climatized zoning

Massing study: Fabric modelling: Top elevation

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Autodesk MAYA 째 Polygon modelling

Autodesk MAYA 째 Polygon modelling 째 Fur rendering

2008 2009 2010 2011 2012 2013

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Autodesk MAYA ° Polygon modelling

Autodesk MAYA ° Polygon modelling ° Fur rendering

Tomas Saraceno

I’m lost in Paris / R&Sie(n) : Hydroponic facade system

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Form Studies: Research Model: 3d Printing: Side View

Form Studies: Research Model: 3d Printing: Side View

Form Studies: Research Model: 3d Printing: Perspective

Form Studies: Research Model: 3d Printing & Fabric Modelling: Perspective

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Form Studies: Research Model: 3d Printing & Fabric Modelling: Perspective

Form Studies: Research Model: 3d Printing & Fabric Modelling: Perspective

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Biogas Conversion Eat

Urban Scale Site Plan Scale 1:2000

Grow

Sell

2008 2009 2010 2011 2012 2013

Urban Scale Site Plan & Diagram Scale 1:2000

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Building Scale Site Plan

Section

Building Scale Site Plan Scale 1:200

Building Scale Site Plan Scale 1:200

Building Scale Section Scale 1:200

Building Scale Section Scale 1:200

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translucent membrane steel mesh_secondary structure steel mesh_secondary structure translucent membrane

membrane fixture

fiber glass translucent membrane steel mesh_secondary structure heat insulation steel mesh_secondary structure translucent membrane fiber glass

butong™ _ bubble wrap cast translucent membrane steel mesh_secondary structure butong™ _ bubble wrap heat insulation steel mesh_secondary structure translucent membrane butong™ _ bubble wrap cast

Detailed Building Section Scale 1:20

concrete floor slab steel beam heat insulation concrete floor slab wireframe fixture aeroponic plant holder modules aeroponic biotic material

2008 2009 2010 2011 2012 2013

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Butong _ Spray Concrete

Steel Mesh

Translucent Membrane

Bolts

Biotic Material _ Vegetation

Exploded Material Diagram _ Initial

Exterior / Interior Atmosphere Collage _ day time

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118 LED lighting Red_Blue

*Maximum efficiency in lighting system

Plant holders

*rotation of plant modules for accessibility

Growing value *rotation of plant modules for accessibility

Save up to 60% energy with the Philips GreenPower LED production module in multilayer cultivation LEDs are used most effectively if the spectrum and light level are exactly tuned to the crop and growth conditions. In the past years, Philips conducted more than 50 field tests to determine the optimal spectrum and light level for multilayer production.

This results in the GreenPower LED production module reducing energy consumption and creating a more uniform light distribution.

*adjustable height

Aeroponic System Details

The GreenPower LED production module for multilayer applications (50-400 Îźmol/s/m2) can replace conventional TL lighting (36 W or 58 W) reducing energy consumption up to 60%. For most applications, the modules with the mix deep red/blue can be used. Next to energy efficiency, LEDs provide less heat and a more uniform light distribution. This makes the module also perfectly fit for conditioned environments.

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Interior Rendering & Collage _ surface droplets

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Exterior Rendering & Collage _ day time

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Exterior Rendering & Collage _ night time

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Exterior Rendering & Collage of Site_ night time

Exterior Rendering & Collage of Site_ day time

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Model Photographs: Plant Nurseries and Train Station: Fabric Modelling & Texturing

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Model Photographs: Interior and Exterior Articulation and Surface Quality: Fabric Modelling & Texturing

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Model Photograph: Plant Nurseries: Fabric Modelling, Texturing & 3D Printing

Site Model Fabric Modelling, Texturing & 3D Printing

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Model Photograph: Plant Nurseries: Fabric Modelling, Texturing & 3D Printing

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Site Model Laser Cutting & 3D Printing

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Site Model Laser Cutting & 3D Printing

Site Model _ side view Laser Cutting & 3D Printing

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‘‘Collide’’ mixed media collage

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‘‘We Fade Away’’ mixed media collage

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‘‘Slit ’’ mixed media collage

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‘‘The Water Sprite’’ illustration

2008 2009 2010 2011 2012 2013

‘‘The Wishing Well’’ illustration

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‘‘Through the Mirror’’ illustration

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‘‘Collide’’ illustration

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Black & White

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Ten: Skin

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