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MEMORIAL FOR THE LOST SPECIES HOW ARCHITECTURE ENGAGE WITH MEMORY AND LANDSCAPE?

PHENOMENOLOGY, MEMORY, NAVIGATION, NARRATIVE, LIGHT, SHADOW, REFLECTION, BIODIVERSITY SERAY SUTCUOGLU

UNIVERSITY OF BRIGHTON MASTER OF ARCHITECTURE RIBA PART 2


MEMORIAL FOR THE LOST SPECIES

HOW ARCHITECTURE ENGAGE WITH MEMORY AND LANDSCAPE? Rich environments give us richer memories. Its about layers coming on top of each other and then the way we remember is like a cloud. Project investigates memory in terms of walking, seeing and experiencing. Designed developed in relation to a narrative about experience. My design developed through thinking about movement, walking through the pathways, what people will see and how their experience will shape the formation of their memories. In phase 1 of the project, I explored how we recollect our memoriesand how the memories travel with us. The programe of the building holds all the play of memory together

MEMORY OF MAKING


He wa mana s stil ge to l to endu o youn re th g to kn e bu rden ow that of th th e pa e hear t’s st

Our memories carry not the absolute truth but our own personal experience and interpretation with an object, space, or place. Our involuntary memories contain essence of the past where once we remember something this would lead into another memory and create a chaining effect.-In search of lost time

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How do we come to be here next to each other in the night Where are the stars that show us to our love inevitable Outside the leaves flame usual in darkness and the rain falls cool and blessed on the holy flesh the black men waiting on the corner for a womanly mirage I am amazed by peace It is this possibility of you asleep and breathing in the quiet air

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MEMORY NAVIGATION

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A day subtle and suppressed in mounds of juniper enfolding scratchy pockets of shadow while bigness—rocks, trees, a stump— stands shadowless in an overcast of ripe grass. There is nothing but shade, like the boggy depths of a stand of spruce, its resonance just the thin scream of mosquitoes ascending. Boats are light lumps on the bay stretching past erased islands to ocean and the terrible tumble and London (“rain persisting”) and Paris (“changing to rain”). Delicate day, setting the bright of a young spruce against the cold of an old one hung with unripe cones each exuding at its tip gum, pungent, clear as a tear, a day tarnished and fractured as the quartz in the rocks of a dulled and distant point, a day like a gull passing with a slow flapping of wings in a kind of lope, without breeze enough to shake loose the last of the fireweed flowers, a faintly clammy day, like wet silk stained by one dead branch the harsh russet of dried blood.

love is more thicker than forget more thinner than recall more seldom than a wave is wet more frequent than to fail

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DEVICE 01 - kinetic

DEVICE 01

DEVICE 01

DEVICE 03 - Shadow Catcher

DEVICE 02 - Layers of Memory

DEVICE 03


MEMORY NAVIGATION SITED PERSONAL EXPERIENCE

From

a wi ld

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liet h,

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It emerges as an artwork only when, in the middle of its use, something wonderful shines forth, as with everything that is beautiful. The experience causes us to pause in the midst of our purposeful doing, for example in a room of a church, or in a stairwell, when suddenly we stand there and remain entranced, -Gadamer

By a route

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UNESCO WORLD BIOSPHERE REGION - BRIGHTON MAP Active organisations: UNESCO and The Living Coast

HOW HOW ARCHITECTURE ARCHITECTURE ENGAGE ENGAGE WITH WITH MEMORY MEMORY AND AND LANDSCAPE? LANDSCAPE?

or or the the Lost Lost Species Species the the UNESCO UNESCO The The Living Living Coast Coast

MEMORIAL MEMORIAL FOR FOR THE THE LOST LOST SPECIES SPECIES

CITY CITY HOME HOME FOR FOR THE THE LIVING LIVING COAST COAST RESEARCHERS RESEARCHERS OF OF THE THE LIVING LIVING COAST COAST VOLUNTEERS VOLUNTEERS FOR FOR THE THE LIVING LIVING COAST COAST VISITORS VISITORS

Nature Conservation – improving urban green spaces with wildflowers, and creating ‘rain gardens’ for ground water quality and flood alleviation. Sustainable Socio-Economic Development – promoting water efficiency, active travel, outdoor recreation and eco-tourism. Environmental Awareness – actively engaging local people, delivering learning in schools, and working with universities to build knowledge.


MEMORIAL FOR THE LOST SPECIES

HOW ARCHITECTURE ENGAGE WITH MEMORY AND LANDSCAPE? Thesis project Memorial for the Lost Species explores Phenomenology, Architecture and Landscape. Key themes of the proposal are memory and biodiversity. Richer environments give us richer memories, the loss of species mean the loss of environment therefore lesser experience and memories. My proposal was initially activated by sited personal experience and then designed through exploring memories of the site. The project starts with memory mapping and connecting these memories spatially across time and space. The project programme was built for the UNESCO organisation The Living Coast and they, through voluntary work, protect the growth of our environment which in return gives us richer experience and memories. Programme BRIGHTON CITY HOME FOR UNESCO AND THE LIVING COAST Location PRESTON PARK, BRIGHTON BN1 6SD Users UNESCO RESEARCHERS THE LIVING COAST VOLUNTEERS VISITORS


GREEN CORRIDOR

current possible development


PRESTON PARK

Flooding Risk Location

Layers of Victorian Era History

Path Ways and Entrance Points

Existing Tree Locations

Lake Proposal to Reduce Flood Risk

Lake Proposal Location with Streetscape

Existing man made green area

Existing Transport Links

Existing Concrete Materiality

DESIGN THROUGH MAKING: Site model made form RHINO 3D and CNC MILL then carved through by hand

Existing Mature Trees

Inspiration Soft Hills and Shadows

Inspiration Path way to seperate nature

Inspiration Wilderness

Inspiration Reflection of Lake

Inspiration Variety of Species


MEMORY IN ARCHITECTURE AND LANDSCAPE

Architecture and designed landscapes serve ad grand mnemonic devices that record and transmit vital aspects of culture and history. Spatial Recall casts a broad net over the concept of memory. “How we ready the memory in the past, and how we can create it in the future.” -Spatial Recall LAKE PROPOSAL CHANGE OF WATER LEVEL THROUGH OUT SEASONS

PATH WAYS CARVED THROUGH SOIL

PROPOSAL TREE SPECIES

EXISTING MEMORIES OF PRESTON PARK

SOFT HILLS FOR PLAY OF LIGHT AND SHADOW

Inspiration Play of light and shadow on natural landscape j m w turner paintings


LANDSCAPE PROPOSAL

“A connection with the land through work creates knowledge, but it does not necessarily grant protection to the land itself. There is a modern romanticism of place that says that those who live and depend on a place will not harm it. Its conservative version is wise use. Its environmentalist version appears in bioregionalism or in the work of Wendell Berry. Berry regards his own writing as depending on “work of the body and of the ground.” He regards himself as being very much of a place. In part his connection is from deep familiarity, but it also comes from the pleasure he takes in the work of restoring that place by hand. Yet he restores land that others, who were just as fully of this place, destroyed through their work. Berry writes as if working in nature, of being of a place, brought a moral superiority of sorts. Such rootedness supposedly offers a solution to our problematic relationship with the nonhuman world. I do not think this is necessarily true. The choices are neither so simple nor so stark. Both destructive work and constructive work bring a knowledge of nature, and sometime work is destructive and restorative at the same time, as when we cut or burn a meadow to prevent the encroachment of forest.”--Richard White, “Are You an Environmentalist or Do You Work for a Living? -Uncommon Ground: Rethinking the Human Place in Nature


TECHNICAL INTENT

Technical intent focuses on the technical development of the pavilions. The research carried out as material investigations, structural and constructional solutions and environmental concerns. Pavilions are proposed to be made out of concrete. Due to this reason material investigation carried out mixing concrete receip with different intensities of cement, sand, water and gravel. First material experiment carried out with mixing resin. WAterproofing admixtures gives different properties to concrete. Current problem we are facing about out build environment is buildings are very much require maintenence or renovation and modern reinforced concrete is not long lasting. Inspiration about longetivity taken from Rome where buildings such as Pantheon still standing after 2000 years. Two different pavilion types are proposed within design thesis. Type A is for human use and these pavilions` programme examples are conference pavilion, observation tower and reading hall. These pavilions technica detailing carried on the concern of human confort and environmental factors. Pavilion type A is a reinforced concrete structure. Type B on the other hand designed as an experimental method to investigate a new way of making building, a concrete structure without any reinforcement. Inspiration for this is taken from Rome. These type B Pavilions are located within the damp land and mainly within water reserve. Through the change of season these pavilions water level will cover them and non-human life will florish within these pavilions. Casting and manufacturement is also seperated between these two types. The traditional reinforced concrete pavilion to be constructed though a traditional method. Where as pure concrete pavilion with no reinforcement to be constructed through an experimental method as use of an ice block for form finding method. Environmental longetivity is differnet between these two pavilions. Pavilion A has a shorter life span where as Pavilion B life span expandancy is +2000 years.


MOVEMENT ON LAND

British hardened field defences of World War II were small fortified structures made from concrete. These concrete structures are constructed as a part of British anti-invasion preparations. Now they are a great example to observe how environmental factors changed the concrete and in return how the these concrete structures were also changed the landscape that surrounds them.

In this experimental study an imitation of the site area created to observe how pavilions will react the change of landscape and in return how these concrete pavilions will change the land below them. Experiment duration: 3 hours Observation: Pavilions sank into wet land. Gradually passed into the surface of imitated landscape. Additionally movement and sliding of pavilions towards the area of water source observed.

Diagrams show how the process of how the concrete building capable of changing the landscape works 1-Building to be placed on the land and due to longetivity of concrete the builidng can stay there for quite a long time 2-Because of the heavy weight and time factor concrete slowly starts to sink into the wet land. This process called stamp. 3-Land to be shifted and moved around the concrete building and due to environmental factors such as rain and wind the movement of land starts to occur. 4-The concrete building is quite heavy and stable in contrast the land is more moveable and this leads the land to move away from the under of the block


CONCRETE PAVILION - TYPE A MANUFACTURING AND CASTING ON THE SITE

Process of manufacturing and casting on the site start as preperation site area and bringing the required materials to the construction zone. Pavilion Type A construction strategy consist of producing everything on the site by builders due to this there is a added benefit of reducing transportation of large scale building elements. 1-Preperation of site area 2-Removal of soil 3-Fill the base with gravel and then set the foundations 4- Build the interior shell mold by iron bars and wooden planks. At this point the required junction angles are to be made by builders on the site. 5- Exterior shell to be made through thicker wooden planks and ends of the walls to be located and stabilized in the ground. 6-Concrete to be poured by step by step operation. Each layer to be poured as 40mm - 80mm and before the concrete pouring the in-between layer needs to filled with a very thin layer of water. 7-A certain waiting period for concrete to be cured and become solid. Once concrete is solid the interior shell to be removed from the open door area of the structure. 8-Ready pavilion as a concrete shell 9-Placement of added elements such as wooden windows and door units.

This model is a very simplistic way of experimenting the possible problematic areas for casting process. Model is made from 2 layer shell as exterior skin and interior skin. Then in-between space of this cardboard model is filled with mix of plaster and cement. The visible problematic areas were junction points and bending on the surface.

CONSTRUCTION JUNCTION DETAIL DRAWING


CONCRETE PAVILION - TYPE B MANUFACTURING AND CASTING ON THE SITE

Pavilion Type B require transportation of the mega ice blocks and specially manufactured steel frame structures to the site area. 1-Preperation of site area 2-Removal of soil 3-Fill the base with gravel 4-Build the interior shell mold by placing steel frame and attaching wooden planks. At this point the required junction angles are previously made during the manufacturement of steel frame 5-Placement of the ice block 6-Concrete to be poured by step by step operation. Each layer to be poured as 40mm - 80mm and before the concrete pouring the in-between layer needs to filled with a very thin layer of water. 7-Shape of the foundations to be made by placing a mold filled with gravel 8-A certain waiting period for concrete to be cured and become solid. 9-Once concrete is solid the construction machinery to lift the pavilion and turn it 180 degrees. 10-Ready pavilion as a concrete shell 11-Placement of added elements such as wooden windows and door units.

EXPERIMENTAL MODEL OF CASTING CONCRETE WITH ICE / DURING PROCES

CONSTRUCTION JUNCTION DETAIL DRAWING


CONCRETE PAVILIONS

Study of shadows, light and reflection thorugh watercolour painting


MEMORY NAVIGATION THROUGH PAVILIONS

Location of pavilions and how memories transported through one another

HOW HOW ARCHITECTURE ARCHITECTURE ENGAGE ENGAGE WITH WITH MEMORY MEMORY AND AND LANDSCAPE? LANDSCAPE?

MEMORIAL MEMORIAL FOR FOR THE THE LOST LOST SPECIES SPECIES

CITY CITY HOME HOME FOR FOR THE THE LIVING LIVING COAST COAST RESEARCHERS RESEARCHERS OF OF THE THE LIVING LIVING COAST COAST VOLUNTEERS VOLUNTEERS FOR FOR THE THE LIVING LIVING COAST COAST VISITORS VISITORS

concrete pavilions

The The Memorial Memorial for for the the Lost Lost Species Species City City home home for for the the UNESCO UNESCO The The Living Living Coast Coast


MASTERPLAN PLAN SITESITE MASTER scale PLAN 1:1250

scale 1:1250


LANDSCAPE PROPOSAL AERIAL VIEW

Play of light and shadow on natural landscape


+22 +21.5 +21 +20.5

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MASTERPLAN PLAN SITE MASTER scalePLAN 1:500

scale 1:500


COLLAGE

Play of reflections, light and shadow

Whenever I see the alcove of a tastefully built Japanese room, I marvel at our comprehension of the secrets of shadows, our sensitive use of shadow and light. For the beauty of the alcove is not the work of some clever device. An empty space is marked off with plain wood and plain walls, so that the light drawn into its forms dim shadows within emptiness. There is nothing more. And yet, when we gaze into the darkness that gathers behind the crossbeam, around the flower vase, beneath the shelves, though we know perfectly well it is mere shadow, we are overcome with the feeling that in this small corner of the atmosphere there reigns complete and utter silence; that here in the darkness immutable tranquility holds sway.� -Jun’ichir Tanizaki, In Praise of Shadows


PROGRAMME KEY PAVILIONS A. B. C. D.

4.2 3.1

4. 1.2 1.2

A.

B.

3.

1.1

2.1

1.

1.2

7.2

2.2

7.2

UNDERGROUND PROGRAMMES

4.1

1. MUSEUM OF LOST SPECIES

2.4

5.3

2.

2.3

1.1 BUTTERFLY ARCHIVE 1.2 WILD FLOWER COLLECTION

5.2

2. FOYER AND VISITOR CENTRE 2.1 2.2 2.3 2.4

1.2

5.

C.

HELP DESK VISITOR`S INFORMATION POINT EVENT SPACE MEETING FOR COLLABORATION

3. VOLUNTEERS` MIX WORK SPACE

5.1

3.1 PRINT SPACE

4. RESEARCHER OFFICE

1.2

6.

7.2

6.2 6.1

7.

4.1 MANAGER OFFICE 4.2 PRINT SPACE

8.

7.1 1.2

5. SEED SHOP

8.1

5.1 RECEIVED PLANT SEEDS 5.2 WORK AREA 5.3 SEED STORE

7.2

D.

CONFERENCE PAVILION OBSERVATION TOWER READING HALL ECO PAVILIONS

6. CAFE

6.1 KITCHEN 6.2 STORE

1.2

D.

7. EXHIBITION SPACE

7.1 OPEN SPACE FOR EXHIBITIONS 7.2 OBSERTAVORTY TOWERS

8. ARCHIVE D.

8.1 NATURAL HISTORY COLLECTION PLAN

scale 1:200


PLAN scale 1:200

PLAN

scale 1:200


ROOF PLAN ROOF scalePLAN 1:200

scale 1:200


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MEMORY NAVIGATION scale 1:200


VISUALISATION Entrance to Butterfly Exhibition


SECTION 03 scale 1:200

SECTION scale 1:200


SECTION 02 scale 1:200

SECTION scale 1:200


SECTION 01 scale 1:200

SECTION scale 1:200


LONG SECTION scale 1:200

SECTION scale 1:200


ATMOSPHERE

Play of reflections, light and shadow

DATE: 3 JUNE TIME: SUNSET


SECTION DETAIL scale 1:20

DETAIL scale 1:20


ATMOSPHERE

Play of reflections, light and shadow

DATE: 3 JUNE TIME: SUNSET


SECTION DETAIL scale 1:50 SECTION DETAIL scale 1:50

Profile for Seray Sutcuoglu

RIBA PART 2  

RIBA PART 2  

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