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ATMOSPHERES

 

Self -oneself -myself -selfish -select -fish
                                                               -water -earth -weed -oxygen -methane
                                                                            -concrete -wood -cloud -light

Self, a being is part of a whole thing, rather than an individual isolated from environment. It is a part of nature-environment that exists because of them and for them. It is the celebration of the self, as well as the earth, the planet Earth, together with its systematic in the planetary space.


Self in nature and nature in self creates an atmosphere together with the materiality of the environment. What is an atmosphere and how it can be defined, generated, captured? In an island ecology, how can we refer to an atmosphere that is specific to the place, the location, apart from a city ecology, which will praise awareness of the self and its environment altogether?

What is the place where ‘self’ becomes “one” with the environment, what is the atmosphere that generates it?

Water, maybe the most known material -or we may just say fluid- in the whole system of materialized world, is quite underestimated and even deleterious in the modern construction system. We isolate the buildings as if using sun screen for our skin. Every rain is another damage to the building. Roofs have to be sloped and foundations have drains to take it off the circumference. It is not only the problem of dealing with water in building scale, however in the greater scale of city or even bigger geographical areas, built environments dismiss water (especially the systems of water-rivers) and cage it in canals or drains it. The very problem we encounter is that we sort of not understand how this very fluid behaves and therefore we are unable to foresee the consequences.

Water is a low-viscosity fluid (for sure relatively) that has the potential to spread around its container environment very easily. Whether it is a man-made box, a river bed, or an underground path, it interacts with the porous material in that environment physically and try to diffuse into every little space its molecules can spread into (under gravitational force). In this writing, besides the scientific facts we will be focusing on how to document the fluid behavior.

It is an animating system of how fluids react. It shows a process of reacting forces, creating boundary changes. Here one important aspect is capturing sequences of images from a water surface and recreating them to express the boundary changes under various force effects. Tracing images to reduce the clutter, expresses actual boundary lines in a still image. The sequential images helps us to grasp under what forces the boundaries are changed and also to document these forces as a separate layer. This helps to create a system that can generate new boundary conditions under the same force effects.

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In this short blog post the computational system of forces-boundaries-fields are not being told. But as a reference this blog post of Lebbeus Woods (RIP) – http://lebbeuswoods.wordpress.com/2010/07/27/manuel-delanda-emergence/ about Manuel DeLanda’s book the emergence of synthetic reason can be looked at.

In a recent workshop Revaluate Ecoland (more information on http://revaluateecoland.wordpress.com/about/) participants as a first exercise traced the sequential water stills to understand how boundary changes are effected under what forces. The very idea of the workshop was that water systems tend to spread around and actually damage the solid forms-structures it interacts with, whether man-made or natural. So how we can redefine this relationship in order to create a mutual formation for the city design in ecological terms. This first exercise in the workshop actually helps to create a design grammar for how ecological areas-fields can sprawl to its surrounding environment. Sequential stills depending on the various places they are taken from also shows its interaction with the man-made structures. This helps us to estimate in what form(s) water can crate a long term interaction with these structures to create a mutual form all together. (in other terms damage the structure, like wall). Participants in later stages created a narrative for their future scenarios, and designing these settings are also helped by these water drawings. One participant also took this logic of effecting forces, changing fluid dynamics into an urban setting and created a simulation of how water can damage the existing structures.

This exercise is focusing on the very surface of water and its visible changes by human eye. However what is underestimated here is we cannot talk about a water surface, since this fluid is in a constant relationship with its gas form -water vapor- and therefore boundary conditions are more complicated than converging lines. It actually creates in between spaces of mix air and water, and there can be, maybe in a fractal logic, the same relationships in smaller and smaller scales. Another underestimated fact is again this exercise is focusing on so called surface, and the internal dynamics of water is not documented. As our aim was to understand how water is creating this mutual formation relationship with its outer environment, its internal dynamics play a very important role as well. Besides all these, this exercise still addresses the formational relationships and is valuable since it is not a representational documentation but rather an actual analysis of forms water (can) create.

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Orkun Beydagi

A workshop that focuses on to speculate utopian or dystopian narrations on how to reevaluate-and blend- Istanbul’s ecological life into the urban fabric -back again- using two or three dimensional techniques to spatialize these speculations.

September 15-19, 2014  
SALT Galata

Tutors: Cemre Çelikcan – Orkun Beydağı

iksv_poster_cemreorkun-kucuk

More information in Turkish:
Kentsel tasarım, bir çok farklı koşulun ve dinamiğin bir araya gelmesinin sonucu olarak yorumlanabilir. Sosyo-kültürel koşullar, ekonomik dinamikler, yerel veya tepeden inme politikalar kentin organik/çizgisel olmayan gelişimini etkiler. Doğal koşullar ise geçmişten beri bir yerleşimde en etkin koşul olarak kendini gösterir. Konumu, su ve maden kaynakları, tarıma elverişlilik hali gibi yaşamsal faaliyetleri sürdürmek için gerekli şartlar, şehrin doğal koşullar ile kurduğu ilişkiler ile sağlanır. Günümüze doğru geldikçe ise sanayi ve hizmet sektörünün ve teknolojik imkanların gelişimi ile sahip olduğumuz yanılgısına düştüğümüz doğayı dönüştürebilme gücü, şehirlerde doğal koşulların kent yaşantısındaki öneminin görmezden gelinmesine sebep olmaktadır.

Devamlı büyümekte ve dönüştürülmekte (!) olan İstanbul’un su kaynakları, ormanlar, bostan arazileri, dereler gibi ekolojik bileşenleri için de aynı durum söz konusudur. Özellikle dereler bakımından zengin bir şehir olan İstanbul’da, Bizans döneminden Osmanlıya dek dere çevreleri sosyal ve kültürel hayatta önemli bir yer tutmuştur. Kent yaşamına bu denli dahil olan bu dereler, sanayi ve hizmet sektörünün gelişimi ile artan nüfusa yer açmak için, çoğu yerde yol açmak için günümüzde kurutulmuş ya da kanallar içine alınmış haldedirler.

Dereler geçmişten bugüne farklı formlarda kentin bileşeni olarak varlığını sürdürüyorsa, bugün yeraltındaki derelerin yeniden form değiştirmesi daha sürdürülebilir bir kentsel tasarım sürecinin başlangıcı olabilir mi? İstanbul’un aktif topografyası, kent ve bir ekolojik bileşenin yeni formu arasında nasıl ilişkiler kurulabilir? Bir ‘palimpsest’ kent olarak İstanbul’un katmanlaşmasının ekolojik boyutuna odaklanan atölye çalışmasında, katılımcılardan bu bağlamda ütopik veya distopik bir anlatı kurmaları, bu anlatıyı iki ve üç boyutlu teknikler geliştirerek mekansallaştırmaları beklenmektedir.

In a black and white movie — five different scenes, all has the same scenarial importance and related with each other. Some are even filmed in color. You want to remember them all- because you liked them all and their cross-relation and filming technique. But all you remember exactly is that sharp sound, which turned out to be a well known song to you. A very image of a distorted clarinet and the very sound of the entrance of “the Plug(live)” (by Bonobo) — you are not sure if it is clarinet at all— A guy in his late twenties plany it to a lady, probably older, dining with another man. That is too “cliche” you think- you never like “cliche’s” You are sure other scenes are much ‘better’ but just because of that strong sound of the song – “the cliche” stuck in your mind.

It looks as if like it is an independent movie, but it is not obvious if independent from your brain patterns. You are sure it is made inside of it, since the moment after, you find youself in your bed.

Solaris might be the usual suspect. You started reading its ‘book’ for the first time (Lem, 1961). Maybe not the ocean, but the idea of it is creating these dreams. Wasn’t that you flying a helicopter above Chicago some nights ago, with an old couple, trying to find them a hotel room? But where does all these Freudian ideas come from? You don’t like Freud, find it too “cliche” again. There is all the netrino- quark, etc. happening in your brain – very mechanical everything. It must be it, and you are still wondering about the rest of the scenes.

//images are taken from the book “LEPER CREATIVITY: CYCLONOPEDIA SYMPOSIUM © The individual contributors and punctum books, 2012.”

Orkun Beydagi

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Stand still.. stand for two hours – look around, turn back, go around and walk. Walk – drawing circles – walk with no intention. Focus on your environment. Trees have left no leaves, branches waving under heavy wind. One leave fell of the ground, but you missed it – since you turned the other side of the circle. Continue walking, find out the front door was open. Go down, close it. Damn you fool, you looked at your watch and it was just four minutes, although you had thirty turns on your walk. You failed, because you realized the power of now was not enough to fill your time – you came from the busiest life ever and now looking at leaves or birds or cars or sth. sth. is like the strongest pain or is it?

Now your focus shifted from now to past and the future. What happened in the past- why? You want to have everything calm down and go in the harmony of what now and unknown future is. But you lose to the power of anxiety – it reminds your busiest ever life- start to think of past, go over and over the same old things and lose yourself in the power of hatred and regret and joy and anger. You looked at your watch again, dying to see it passed fourty five minutes – and what you realize is thirty. Better than nothing. You can leave it, quit there and go sleep. Bu you cannot – the very position you take is the best suitable way to watch, whatever needs to be watched. Even in an Auster style, be trapped in the work you do and be yourself. You know you have to both learn how to have two hours get passed and how to enjoy it. Than you realize you are the center of your domain and rule the entire environment around.

Urban and rural – urban surrounds and even maybe traps people’s life such high that, this incredible busyness looks as freedom. It is indeed freedom with the amountless number of choices that occupies time until you fall asleep. But when time is not occupied as it is in urban surroundings the distinction between asleep and awake is getting fuzzier. Hardest is the life style transition as body tries to fill that turn with anxiety because you…

It is 3 am, bed time – things normalized – freedom (cannot be found neither in urban nor rural)

Orkun Beydagi

[house] — one giant node all in the center of the crumpled lines, however also all the crumpled lines inside that one node as well. It is not an important place, but important only because it is the main spot of the persons awakening. When you awake, no matter how fast you leave the apartment, there is the very moment that fills your memory with the expectations of the day, blended with past events.

Memory is a constant transforming mechanism overlapping stimulations over time. Past events happened form neuron patterns specific for that event, however not that unique as it gets affected with the current stimulations of the constant present. {Constant present in my opinion is as explained by Derrida in ‘What comes before the question?’ …A different type of temporality that’s even older than the past, or a to-come beyond the future. The past and the future are like another present; a past-present and a future-present. I want to try to think of a past or a coming to be that is not just a modified present, not future presents of past presents, but a different experience with regard to the past or the future…} So we come to the conclusion that the events get effected with present stimulations, either good or bad way, which we can classify as depressing or non depressing very simply in ones perspective. We talked about waking up in the morning in a room, and the very first moment we see the ceiling or the walls and so on, of which has the ability to store information from the past events. That helps one to re-call a past event. From that perspective the crumpled lines are changing its scale and gets even more crumpled inside that tiny little room and creates a whole set of information system.

House is one very important place, that fills ones past. But also one can choose not to fill that with many other memories and stuff, or lets say less memories. This may not mean it is not going to re-call past events, but than it triggers one’s inner feelings, and starts to fill the space with the maybe outer stimulations. There it becomes a very personal space, because all the rest of the information will be filtered from a personal point of view. The more the house is shared, the more social it becomes, and also helping memory to be more social as well.

Once it is a difficult concept in relation to all of its clunkiness. But also a very delicate and fragile concept that it becomes the most crucial spot to form one’s memory. Very important to control the house to control the memory and to control the psychology of itself.

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