the garden of forking paths
collage of the garden of forking paths(book)
1_light at forking point
mehmet cihat ayaz
2_waterscapes
bath (n.) Old English bÌð "an immersing of the body in water, mud, etc.," also "a quantity of water, etc., for bathing," from Proto-Germanic *badan , from PIE root *bhē- "to warm" + *-thuz, Germanic suffix indicating "act, process, condition" (as in birth, death). The etymological sense is of heating, not immersing.
The action of bathing in many different cultures and civilizations throughout history has been interpreted in different ways and the places where this action took place have shown differences. Since different stages of humanity, washing and cleaning has become one of the basic needs of human life as an action. The realization process of this action has differentiated with the development of humanity. In addition to the meaning of physical cleansing, the act of bathing and the process it contains has been interpreted as a part of these processes as a spiritual cleansing, recovery and meditative journeys in many cultures and societies. Human being has been in relation to the spatiality of water and heat throughout his life, at birth, even before and after death, and he placed different meanings on this spatiality.
In the determination made by the designer based on a focused idea, the Turkish baths public washrooms in different cultures also show similar relationships - it is thought that the spatial and eventual layers that the person is exposed to are based on the relationship between contrast and change.
3_layers of hamam
Publicity and Subjectivity: How does a subjective action, such as bathing, that is very close to one's own body and soul, exists in public or multiple bathing structures used simultaneously? As an action, the state of being alone with one's own body and soul also exists in a social environment. How do the spatiality that emerges when these two different situations combine with the existence of space feed on these situations?
All these different and multiple meanings have accumulated in a row until today, creating highly valuable places with intense spatiality and unique experience. What are the factors that make up this unique spatiality? How did these factors come together and can they be separated? What kind of spatiality occurs when the layers formed by these factors separate and reunite?
Hot and Cold: Although the fiction in the usual bathing places is direct and linear, the temperature changes in the transition moments manipulate this linearity in a different plane. Water and Vapour: These two layers are perhaps the two most important layers that can create boundaries on their own, show variability and create bathing spaces without the need for a bath or any other space. Spatial transitions fed from these and similar layers are based on a highly direct and linear route, axle, operation in the traditional bath setup, and these spatial transition combinations are highly defined. Can these bath combinations and the spatial layers in these combinations be completely separated from each other and not compressed into a specific definition, so the experience of the bath, which offers a unique experience when it is tried to be removed from this linearity and reassembled, can be maximized?
4_Hamams of Istanbul
Mexican Temazcal
Turkish Hammam
Korean Jjimjilbang
Sudanese Dukhan
Russian Banya
Native American Sweat Lodge
Japanese Sento
Jewish Mihvah
Roman Thermae
5_rituel of bathing
Finnish Sauna
t"I leave to various future times, but not to all, my garden of forking paths." “Lost in these imaginary illusions I forgot my destiny – that of the hunted.” “In all fiction, when a man is faced with alternatives he chooses one at the expense of the others. In the almost unfathomable Ts'ui Pen, he chooses – simultaneously – all of them. He thus creates various futures, various times which start others that will in their turn branch out and bifurcate in other times. That is the cause of the contradictions in the novel.” “Differing from Newton and Schopenhauer, your ancestor did not think of time as absolute and uniform. He believed in an infinite series of times, in a dizzily growing, ever spreading network of diverging, converging and parallel times. This web of time - the strands of which approach one another, bifurcate, intersect or ignore each other through the centuries - embraces every possibility. We do not exist in most of them. In some you exist and not I, while in others I do, and you do not, and in yet others both of us exist. In this one, in which chance has favored me, you have come to my gate. In another, you, crossing the garden, have found me dead. In yet another, I say these very same words, but am an error, a phantom."
Borges talks about a labyrinth that was written in 1941 and which can actually be described as a detective, and the process of every event that took place in this story, which occurred simultaneously in different parallels and extends to different endings and processes. This labyrinth is unusual, not a spatially bifurcated labyrinth. The book created by Ts'ui Pen mentioned in this labyrinth story in the fiction created by Borges is' 'Yolar Forked Garden'. Each choice bifurcates towards a different end to a different process. Can this world and fiction, which is so close to human life but outside of perception, that can be found in an invisible and book-like medium, find itself a place within an architectural structure? Can a literary work repeat itself within an architectural structure? Could the spatialities that occur when the user leaves his own fork in this garden and the other forks of the other forked possibilities in this garden, with the options that come up in the building, can be the reproduction of this setup in architecture?
Jorge Luis Borges 1941
6_imaginary sketch
"The Garden Of Forking Paths"
7_imaginary sketches
To be washed, purified, to reach its own pure state. It establishes a direct relationship with water and temperature throughout its life until the beginning and end of human life. Life, which starts in water in the womb, ends in the water and water vapor again when the lifeless bodies mix with nature. Perhaps, due to the spatiality of the mother's womb at the time of birth, which is the moment when human existence is closest to itself, with all its layers, this purification impulse occupies a place in human life. Therefore, water and bathing are two concepts that can take place both in a physical necessity of human life and in a mental reflex. When the various rituals and contexts on washing are examined, the effect of water, washing and purification on human psychological health is quite clear. The project aims to adapt these concepts to the architectural concept based on the need to treat one's own soul. In order to approach his own self, he will only have the opportunity to be washed with his own instincts and the possibilities that the place offers him, and to stay alone with himself in the "retreats" places placed inside and at the end of the bathhouse.
8_exterior view
In line with all these contexts and concepts, the project examines the unique spatiality of the bath, with the knowledge gained from different known bathing places that have survived to the present day. It reveals and decomposes the layers that make up this spatiality. Combining these layers again with more possibilities in it, the project aims to maximize the spatiality that it is examining. By constantly offering the possibility of multiple locations between space transitions, each user offers a separate cycle and a different eventuality. Using the mentioned layers and elements of architectural tectonics, it tries to arouse the user for the next space and give reasons for choosing that space. Each transition place takes the user to a different end, different possibilities. Every possibility is a forking path. Every forking path is a different process ...
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21_example path 4 and 5