Kokulu Hatıralar - The Osmotheque of Scented Memories

KOKULU H AT I R A L A R T h e O s m o t h e q u e of S c e n t e d Me m o r i e s

JOHNNY JIA SHUN XU S T U D I O 02 , S E M 2 , 2 0 21

BODRUM 2

(i) MFO – how to section a music video (ii)

ZEFYIRA – imagining a place + sensory urbanism

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PAMUK – a modest manifesto for museums

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BODRUM – forget what you know – the opportunity of ‘unique typologies’

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ABSTRACT DRAWINGS – plan and section as diagrams of composition

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ITERATIONS ON A PROCESS – the ‘archaeology of the mind’

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ONE TO TEN – the detail and consequence of spatial occupation

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MFÖ

h o w t o s e c t i o n a m u si c v i d e o M a z h a r A l a n s o n “B o d r u m B o d r u m” (1976) M F Ö

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' N o s t a l g i a' M F Ö ' s B o d r u m B o d r u m (19 8 4)

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'Nostalgia' for Bodrum Bodrum Capturing the feeling of nostalgia, a yearn and desire for the city of Bodrum. How do you represent time through visual representation?

The detail depicts the cross-section cut through a Turkish Oak showcasing tree rings that represent the passing of time. A nostalgic superimposition of two eras with older versions of Mazhar and Fuat in the original context of the music video, it depicts Bodrum with scenes of the bougainvillea and gulets. Reminiscing in the present on a time of the past captured in the music video, each ring represents the years gonebya - timeofreflectiononthememoriesandscenesofBodrum, with what was the 1984 black and white music video compared to today and how far they've come. As they sing live in the present many decadeslater,asenseofnostalgiaforBodrumslowlyows fl back.

The chosen scene of Mazhar Alanson's younger self sitting atop a tree playing the mandolin is juxtaposed with his older self from his live performances. The cross-section cut of the Turkish Oak frames the initial section through the music video.

The resultant drawing juxtaposes two scales, the cross-section of the Turkish Oak and the depiction of the scene shows where it’s cut on two diuerent scales highlighting its temporality and this visu bridgingoftwodiuerenterasofthemusicvideo–BodrumBodrum.

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The process of cutting a section through a scene in a music video as a means of illustrating and depicting the context pushes for a play on graphical representation and illustration. Pure contextual-thinking on the site of Bodrum, without strong visual cues for reference.

The pedagogical style of the task is aimed to begin thinking in the context of Bodrum, the specificities of th ora, fl the wider context, what does t keen eye see. What details does the eye pick out when exploring into context on an imaginary context and site unaccessible?

This makes one think about visual representation through hatches and line drawingstogenerateatmosphere– palimpsestoftemporality,twodiuer eras in time. How can this be achieved through visual representation?

Stills through MFÖ - Bodrum Bodrum, 1984 (music video)

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development sketches

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MFÖ - Bodrum Bodrum, 2015 (live music video)

early iteration of section

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D E TA I L S E C T I O N A - A SCALE 1.10

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A- A

The precedent drawings from ‘the Lab-lab’ for visual reference were the launching pad for distilling the ideas behind the "Section drawing through a Music Video". The Lab-Lab’s drawing style is known for the unorthodox approach and inventive lens on conventional architectural design drawing. Each drawing is layered with the typical architectural annotations and conventions but have a quality to them that tell a story with a certain poetic atmosphere.

The section becomes an orthographic drawing that depicts what the eye cannot see, a palimpsest of visual information and layering of spatial qualities beyond what is cut. In a similar approach, the section superimposes the aspect of time through visual orthographic drawing to generate the atmosphere of the subjects in the context of Bodrum.

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ZEFY IR A

i m a g i n i ng a place + sensory u rbanism Z e f y i r a S o k a k , L a n e w a y + M e h m e t’s O r c h a r d

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Zefyira Sokak, Laneway and Mehmet’s Orchard specialty – the Bergamot Orange.

Bergamot citrus trees ower fl in April with big, bold, white owers fl with a slight purple tinge. Unlike the lemon or orange that bear fruits in winter while new owers fl bud. The bergamot citrus fruit can be harvested early in the quiet, wet, and cold seasons of Bodrum. As Pallasmaa quotes in ‘Spaces of Scent’, '...there is a joy when travelling in being able to acquaint oneself with the microcosm of smell and taste of place...

Each city has its own distinct spectrum of tastes and odours.'

In researching for the context of Bodrum, the construction of a narrative was imperative, beginning with people, the community, the atmosphere, the climate, the materiality and phenomenology.

An exploration into adapted textural qualities of Bodrum from the streets of Bodrum through the virtual lens of Google Earth, discovering the details of local materiality, treatment of the streets of Bodrum and the imperfect surfaces showing the narrative of place through human use.

'Sense and the City’ by Mirko Zardini, In Juhani Pallasmaa’s ‘The Eyes of the explores a chapter on the ‘Seasonal Skin’, she introduces ‘Materiality and City’, and Zardini argues that the city is Time’ and highlights the veracity of equivalent to the air-conditioned home. natural materials – stone, brick, and in how people tend to Specifically, wood. Natural materials can enrich the construct a reality of the weather-less narrative of place, the origins, the age, society, with the goal of trying to make and history of human use. life in one geographic region as similar as the next - eliminating Winter and Bodrum is a Mediterranean climate of Summer seasons for purely aesthetic long, hot summers, overflowing with experiences. Zardini highlights that tourists and short, wet winters with very by eliminating climate and seasons few visitors. The old wall and archway from urban reality, people deprive in the laneway and workshop shed themselves the pleasure of the seasons. explored the materiality of traditional stone repurposed, expressing the To subvert this, a strong contrast and motif of age and human-use. Stone is focus on the atmospheric qualities predominately used in the architecture of the wet, cold winter season in of Bodrum for its insulating abilities Bodrum. ‘Winter in Bodrum, the in keeping houses cool in summer and laneway becomes a dystopian retention in heat for winter. nightmare with rotting slimy bergamot fruit everywhere’. Highlighting the In Mehmet’s Orchard, an exploration opportunities that exist in the quiet wet into the aspect of 'Seasonality' through seasons of Bodrum, unseen by the eyes scentswasmade.Identifyingspecificity of rampant tourists overflowing in the in the type of orchard and thus informed summer seasons. the narrative around Bodrum’s citrus

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Zefyira Orthographic Sections

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Zefyira Shed Window Grill Detail

Bodrum is the sea, Surrounded by the sea, Each coastline beautifully crystal blue.

Bodrum is a passion, Narrow arched laneways lined with whitewashed buildings, Multicoluored bougainvillea tresses nestle up to the sea, Bodrum is seasonal, Bustling with tourists in hot Summer, Deserted, cold and wet in Winter, Days smell like Bougainvillea, Night’s smell of violets and the ocean breeze, As you sip on your Bergamot scented tea.

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Zefyira Orthographic Section Detail 1.10

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PA M U K

a m o d e st m anifesto for m useu ms Z e f y i r a S o k a k , L a n e w a y + M e h m e t’s O r c h a r d

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BERGAMOT T R E E D E TA I L

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Making Sense of Scents

Martafromthefilm Hamam’ ‘

by Ferzan women can’t be explored without Özpetek becomes the key character in looking at the issue holistically, which shaping our brief for Pamuk. Building ties into themes around politics and upon the Zefyira context of Bodrum, religion. our community developed from our narrative of the imaginary context, We instead focused more broadly on issues of grief and loss, drawing from specifically Mehmet’s Orchard.

Focusing on the distinct unique Marta’s story of losing Francesco and olfactory of the Bergamot citrus moving to Bodrum in summer. As fruit, we started to explore scents and Bergamot aromas are widely used in perfumeries as ritual to empower our aromatherapy and known for there calming, tranquil and anxiety-reducing community. qualities, we can begin to explore Originally exploring the social issue of the trinity of the olfactory scent, women as victims of domestic abuse, memory, and emotions to empower our we shifted our focus towards tackling community and their wellbeing. The expressing of oils from the rinds of the a lighter social issue in the refinement of essences. As per the suggestion of bergamot fruit becomes the metaphor our critic, Marijke Davey, the theme for the healing process of processing around women as victims of violence grief. is a heavy topic, which needs to be handled with much sensitivity and care.

The societal issue of violence against

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Inhale. The aroma of bergamot wafts through the a i r, c a r r i e d b y t h e b r e e z e o ff t h e A e g e a n .

Exhale. It swirls around the orchard and seeps out of the cracks of the perfumery.

Inhale. The sweet citrus scent dissipates fear and melts away anxiety. ― Pamuk intro, Maddy and Johnny

Episodic Memories noun

the ability to conjure, recall and mentally reexperience specific episodes from one’s times, location geography, associated emotions, and other contextual information. ‘the party on one’s 7th birthday’

The Turkish ritual of limon kolonyasi as a means of welcoming becomes a starting point for the exploration of olfactory scents and its ability to trigger episodic memories. As our olfactory bulb is connected to the amygdala and the hippocampus, which are the memory and emotion parts of the brain. Hence why specific smells can provoke certain emotions of nostalgia based on a memory of the past. The manufactory and museology of scents becomes a vehicle of preserving and sharing Turkish tradition and culture. As well as utilizing the climatic seasonal changes in generating revenue from ou-peak tourism periods for ou local community who are left behind potentially with no source of stable income.

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“But when from a long-distant past nothing subsists, after the people are dead, after the things are broken and scattered, taste and smell alone, more fragile but more enduring, more unsubstantial, more persistent, more faithful, remain poised a long time, like souls, remembering, waiting, hoping, amid the ruins of all the rest; and bear unflinchingly, in the tiny and almost impalpable drop of their essence, the vast structure of recollection.” ― Marcel Proust, in Swann's Way

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CABINET OF CURIOSITIES The Museum of Innocence, Orhan Pamuk, 2008

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THE MODEST MUSEOLOGY A celebration of the archive, a depository of scented memories becomes an authentic modest museum celebrating Bodrum and its neighboring buildings, sokak and laneways as elements of the museology. As Orhan Pamuk in “A Modest Manifesto for Museums” expresses his opinions through manifesto writings about the nature of museums in the contemporary world. Pamuk points out the challenge in museums is to tell the stories of the local community in Bodrum with as much humanity, detail, and power as individuals through voice and at the same human scale. Further establishing the importance in the theme of the olfactory in triggering our memories. A canon in empowering Marta and the community to process grief and loss through the ritual of manufactory and museology.

We don’t need more museums that try to construct the historical narratives of a society, community, team, nation, state, tribe, company, or species. We all know that the ordinary, everyday stories of individuals are richer, more humane, and much more joyful.

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BODRU M

forget what you know - the opportunity of ‘unique typologies’ museology and manufactory

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KokuluHatıralar– The Osmotheque of Scented Memories

In the context of Bodrum, the key focus is on the character, Marta, from the film, ‘ Hamam’

by Ferzan Ozapet. Along with the constructed community of Burcu, Emine and Zehra, all who are processing their own narratives of grief and loss. A narrative focused on the theme of grief and loss, specifically exploring Elisabeth Kubler Ross’–Five ‘ StagesofGrief’andhowitbeginsto manifest into architecture as a ‘unique typology’.

On Death and Dying, 1969 Book Cover by Kubler Ross

InKublerRoss’book, 96 1 “On Death and Dying”, she examines the most common emotional stages of grief: denial, anger, bargaining, depression, and acceptance.

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S TA G E S O F G R I E F & L O S S ELISABETH KÜBLER-ROSS

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D E N I A L & S H O C K T H E A R R I VA L

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PA I N & G U I LT R E G I S T E R I N O B J E C T S O F M E M O RY

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ANGER & BARGAINING JOURNEY OF BARGAINING

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DEPRESSION & REFLECTION C U R I O S I T Y A N D D I S C O V E RY

T H E U P WA R D T U R N L E A R N I N G A N D A P P R E C I AT I O N

RECONSTRUCTION THERAPEUTIC REFLECTION

A C C E P TA N C E & H O P E RITUAL AND ARCHIVE

PROCESS OF GRIEF OVER TIME

S H O C K DENIAL ANGER I M PA C T

BARGAINING A C C E P TA N C E

DEPRESSION RECONSTRUCTION TIME

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U P WA R D T U R N

The community suuering from grief requires meaningful steps in the healing process. Grief and loss are both a cognitive manifestation as well as a physical one. People suuering from grief with painful memories and severe pain will have trouble recovering from the loss and resuming one’s own life over long periods of time. Passive aromatherapy medicinally improves health of the body, mind, and spirit, enhancing the physical and emotional health. Bergamot is known for its stress alleviating and pain-relieving qualities, commonly used in aromatherapy.

Museum of Innocence, Istanbull, Orhan Pamuk

The Osmotheque of Memories will function as a hybrid essential oil manufactory, focusing on the single scent production of Bergamot essential oil. Locally sourced from Mehmet’s Orchard just north of our Bodrum site.

As well as an archive for the collection of scented objects of memory – a ‘Cabinet of Curiosities’ drawing from Orhan Pamuk’s, ‘Museum of Innocence’.

The Osmotheque becomes more than just a mere repository of memory. The unique typology becomes a catalyst for new stories as it becomes the foundation in forming new narratives in Bodrum.

As Pamuk in ‘Manifesto for Museums’ alludes to museums being able to reveal the humanity of individuals, the present reality of healing with objects now devoid of memory and past narratives form the foundation of our own unique typology. Saturated with invisible memory through the olfactory, allowing visitors to resonate with the past.

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D E TA I L S E C T I O N

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exit/ gift shop

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04 production of essential oils

gallery

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the ritual of acceptance

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scentscapr garden

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arrival buffer

reflection

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entry

overlay of movement through bodrum esquisse

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EMINE'S RESIDENCE

CLEANSE

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A ESSENTIAL OIL MACHINES

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M A R TA ' S YA R D SCENTED DIFFUSION

O L FA C T O RY H E A L I N G

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R I T U A L O F A C C E P TA N C E

RESPITE CHAMBER

4 5 SCENTED MIST

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RECEPTION

WA I T I N G A R E A

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SKYLIGHT ABOVE

sequence of spaces and flow lines

Zumthor in ‘Atmospheres’ under ‘Between The scheme explores the rituals of the Composure and Seduction’, he uses the example preservation of memory through the olfactory. of Wolfgang Rihm and how architecture is like Aimed at encouraging the processing of grief music - a temporal art. The process of how people through passive aromatherapy because of the move through space. Similarly, processing grief manufactory of scent, it generates this unique is not a linear process, one doesn’t experience typology of manufactory and museology as the stages in order, thus the Osmotheque’s spaces ritual in Bodrum. are curated to allow people to reflect and take their own journey and pace with opportunity to move forward at every stage if they wish.

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sketching plan iterations

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ABSTRACT DRAWINGS

plan and section as diagrams of composition

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implied datum line

oculus of the scented archive

scentscapes

parti diagram of plan composition

‘Manual of Section’ by Paul Lewis, Marc the iterative process of rendering tools, the Tsurumaki, David J. Lewis explores the notion of process of exploring space, form, composition, material, and structure is all at play through conventionalarchitecturaldrawings, specifically plan and the Section’. ‘ What euects do they have onsection drawings. It is a medium and form, space, material, and program? Plans and tool that best graphically represents ideas and Sections are canons for iterative exploration into convey the spatial extension and relationships of our architectural ideas, often used as a tool to interior spaces to context. Atelier BOW-WOW’s reveal and generate spatial relationships. The ‘Graphic Anatomy 2’ sums it up perfectly by section drawing is the site where space, form referring to abstract drawings as ‘blueprints’ and material intersect with human experience, that summarises all information from building establishing the connection between the body technologies, spatial composition, contextual to the building and the interplay between relationships, surfaces, furnishing to occupant architecture to context. behaviour in a single drawing. The result is a series of diagrams of various scales iterating Plans and Sections explore the weaving of and communicating an architectural agenda. multiple aspects of experience and architectural Without being in Bodrum, the abstract drawings space through the intersection of scale and curated can evoke the sense of place, spatiality proportion; sight and view lines; touch; and of the architecture, and the experience through the layer of phenomenological senses in graphical representation. Plans and Sections are architecture, as explore in Juhani Pallasmaa’s the anatomical diagrams of composition.

‘Eyes of the Skin’. An exercise lost through 36

THE ABOVE AND THE BELOW GROUND

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compositional diagram the architectural representation of massing with no context

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A- A

It is important to note that the ‘below ground’ is just as important as above. As the pedagogical theme of the studio explores the information ‘below ground’, the site and context are just as important as the architectural composition and ideas. A common occurrence is that the poche is relegated the white emptiness and faded from view.

Plans and Sections are similar representational conventions

and ouer an important point of comparison. One depicts the relationship not visible to the human eye - in-between mass

and space - though both show the cuts – one horizontal and one vertical. It depicts the composition of program, organisation of space with scale, and proportion to the human body. The graphical conventions of visual representation such as line, hatch, tone, and colour will depict material and tectonics. It generates a sense of mood, atmosphere and evoke the senses; but most importantly is the tool to best communicate ideas, iterate, test, and illustrate to push the boundary of architectural designs. A theme that Donald Bates in the article, “Crossing the Line” (2015) advocates for in the importance of developing abstract drawings through line and the hand, rather than the ‘real-world’ renders, as a way of ‘thinking the world’. An issue that plagues architectural education, which the studio pedagogy shines a light on as an predominant theme. Hence why the composition of the drawings stands out among the others.

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reflection ritual of material memory altar of acceptance oculus of the scented archive

scentscape essential oil production respite and reflection

liminal transitional buffer

“No two people see things the same way” ― Jim Leher

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I T E R AT I O N S O N A P R O C E S S

the ‘archaeology of the mind’

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I T ER AT IO N S I T ER AT IO N S I T ER AT IO N S I T ER AT IO N S I T ER AT IO N S I T ER AT IO N S Architecture is a visual iterative process. The design of architecture occurs over a series of iterations to resolve ideas, themes, details, and design complications. The simplest of visualisation methods as designer is the hand and sketching - a tool for generation, production and critiquing of the design idea. Similarly, the studio’s overarching pedagogy was the representation and communication of ideas through conventional methods of representation. Through the iterative process of superimposing and building upon each repetition, it eventually becomestheembodimentofthefinal’ ‘ design.

A vicious cycle whereby the communication of process happens through our visual drawings and representation –theplans,sections,details,andmodels.Eachindi building block of an iteration becomes the new foundation to build upon in improving the clarity in the concept and ideas, not only though the visual abstract drawings, but also the verbal. This constant feedback loop of presenting ideas and drawings to build upon the last is imperative in the development of the project. Each iterations becomes a process of play, a constant battle, struggle, and doubt on the page. Discovery and resolution also come with each repetition which eventually turns to joy. This process builds the strong foundations whereby the final cannot easily be questioned or critiqued, but instead may prompt the abstraction of discussion on ideas and themes.

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The iterative process began at the start of the semester prior to the engagement of site. The chapters beginning with the MFO – Bodrum ‘ Bodrum’ music video to Zefyira builds upon the knowledge of last.

As the ‘Archaeology of the Mind’

by Jaak Panksepp and Lucy Biven explore the cognitive origins of human emotions, a distinction in the approach to repetitive learning can be applied.

An analogy can be of running a marathon - each day leading up to race day, the individual will need to train and build up the physical and mental endurance necessary. Each week builds upon the individual’s personal best and how far they can run. Only through repetition, discipline and good habits will enable race day to be possible. Similarly, this process can be transferred to the overarching studio pedagogy, with the repetition of drafting conventional architectural drawings, each submission, each session is an opportunity for feedback and idea sharing. By the time fin presentations come around, the foundation has been built strongly and the mind is primed to perform.

a series of development model images - same same but different

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1:10

ONE TO TEN

the detail and consequence of spatial occupation

The 1.10 detail drawing becomes the abstraction of process, giving the drawing an added level of depth, meaning and spatial occupation. It embodies a graphical perspective to better convey the spatial relationship and experiential aspects that transcend the two-dimensional line drawing –thedepictionofmovement,thepassingoftime, temporality and illustrating the senses not visible tothenakedeye–smells,scentsandtaste.

The detail become the blueprints to a moment in time on the Bodrum site. It is a summary of all iterations, learnings and ideas arranged to display the interrelationship between various diverse elements–thespatialrelationshipandoccupation to space, the material finishes as textures, objects of furniture and plants, the contextual surroundings, and most importantly, the people.

"Rooms must suggest their use without a name" ― Louis Kahn in “The Room, the Street, and Human Agreement”

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D E TA I L S E C T I O N

section detail unique typology

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STEEL UPRIGHT

GUTTER

C O R B E L B R A C K E T W / 1 2 M M B O LT S

RECESSED STRIP LIGHTING SET UNDER GRILL

H E R ø E Y Y O L 8 N A G I R E C E K Z-PURLIN

"EVERYTHING WILL BE ALRIGHT" CEILING LIGHT COVE R E C E S S E D I N T O WA L L

" EVET ANNE " "YES MUM"

HAPTIC

STRIP LIGHTING BELOW TIMBER S H E L F PA N E L S

50 X 50 MM RIGHT ANGLE

BOTTLES OF BERGAMOT ESSENTIAL OIL S K Y L I G H T B E T W E E N BLADE COLUMNS

RECESSED DOWN LIGHTS I N WA L L

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E X P O S E D A G G R E G AT E T I L E S

spatial occupation at one to ten The 1.10 detail has become a turning point in approaching architectural representation, the previous lack luster abstractions of renders as representation removes the senses from the architecture. The return to an emphasis online and detail in the varying scales of representation.

Donald Bates in the article, ‘Crossing The poche does not remain relegated the Line’ (2015), argues for the as white emptiness and faded, but architectural pedagogy and future is instead represented through a discipline to return to the traditional rigorous, iterative process to respond and hand-drawing over digital computational drawings – real ‘ to the spatial and material construction detail. world’ renders. His is a theme that has overarched the pedagogical outcomes of Studio 02 – Bodrum, The scale of the proposal in the context of Bodrum provides an intimate site since the beginning with this emphasis for exploration into the inside, and on process and iterations from the outside spaces. Addressing the unity aforementioned ‘Section through a of composition and detailing the Music Video’ chapter, as the task of complexity is no easy task. As with ‘super-imposing’ detail and spatiality Bachelard in ‘The Poetics of Space’, the into the drawings, in a way that proposal becomes a series of dispersed would vividly bring out the essence images–thespaceandbodyofimages of spatiality and occupation, through atthesametime–theoccupation. means of architectural representation in plan and section. This process is only possible through an acute understanding of spatial and material consequence.

The 1.10 drawing details the level of intricacy and understanding in structural and material beliefs alongside the ideas and patterns of behaviour and occupancy; resulting in the form of the ritual consequently.

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R EFER ENCE S the readings and titles shaping the journal

Bachelard, G. (2014). The Poetics of Space. Penguin Group, NY. Bates, D. (2015). Crossing the Line. CDE Design Studios (Short Essay). Melbourne School of Design.

Carlisle, S. & Pevsner, N. (2012) "The Performative Ground: Rediscovering the Deep Section," Scenario Journal, Spring.

Lewis, P. Tsurumaki, M. Lewis, Architectural Press, New York.

D, J. (2016). Manual of Section. Princeton

McCarter, R. & Pallasmaa, J. (2012). Understanding Architecture. Phaidon Press, NY. pp 289-290.

Pallasmaa, J. (2012). The Eyes of the Skin. Architecture and the Senses, John Wiley and Son, UK. Tsukamoto. Toshiharu. & M, Kaijima. (2017). Graphic Anatomy 2: Atelier Bow-Wow. Minato City, Tokyo: TOTO Publications. Pp 7-9

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JOHNNY JIA SHUN XU S T U D I O 02 , S E M 2 , 2 0 21

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