MEHMET CAN OZCAN
2023F_ARCH121_SEC01Discussion Assignment: Studios Handbook'We expect you to complete your submissions.'
I think the studio is a very special place. I remember the days when I first came, my first weeks. At first, our awareness was very weak. As the weeks passed, we realized that the studio was a place where we constantly learned something, participated in general discussions, and changed perspectives in our lives. It was like a Pandora's magic box. Even though it is very tiring, especially in our last weeks, the 10-12 hours we spend in the studio on Wednesdays and Thursdays after classes, being there more than at home, discovering new things and learning new things every second while we are there, we realize its value after our tiredness wears off. The things we experience there, the things we learn, are very tiring. Even though, as our homework progresses and our level progresses and we learn more things, the things that tire us out are actually a great blessing for us to understand their logic for our future studies if we do them properly. After a while, our desks become like our beds and our teachers become like our parents because we start to spend a lot of time there. .I started coming to the studio at the beginning of October, now I'm at the end of December. Many things have changed so much even in these 2-3 months. I wonder what else I will learn while I'm here, how tired, sad and happy I will be. I hope it will be very enjoyable, warm and happy for everyone. Most importantly, it is a very instructive place because, as one of my teachers said in the studio, they said that you cannot find the things we talk and teach here in any book, and I realized that they were right. Also, while sitting in front of a chair for hours was painful in the beginning, now waiting to see what I will learn is a very different feeling. No matter what I write to you, no matter what you read, unless you are sitting in this chair, unless you are in this studio, it is not possible for you to truly understand them. 19.12.2023
Adolf Loos and Ornament and Crime
Adolf Loos was a notable Austrian and Czechoslovak architect, as well as a respected European theorist. He had a significant impact on modern architecture and was known for his criticism of the Art Nouveau movement. Loos' ideas and writings played a crucial role in the establishment of the Vienna Secession movement and postmodernism. Despite facing personal challenges, including hearing impairment and multiple failed marriages, Loos pursued his passion for architecture. Influenced by the Chicago School of Architecture, particularly by architect Louis Sullivan, Loos emphasized the importance of functionality and simplicity in design. His renowned manifesto, Ornament and Crime, advocated for clean and unadorned surfaces, contrasting the extravagant decorations of the time. Loos also developed the "Raumplan" method of arranging interior spaces, showcased in his design of Villa Müller in Prague. Adolf Loos passed away at the age of 62 in 1933.n his pursuit of education, Loos attended various Gymnasium schools and explored different programs. Although he faced setbacks and changed his field of study multiple times, his diverse background equipped him with a wide range of skills. For instance, he gained an understanding of masonry and craftsman work, which greatly influenced his architectural work. Loos' experience and expertise in the field earned him recognition and respect from scholars in the architectural community.n the late 1800s, architect Adolf Loos traveled to the United States to study outside architecture. He worked various jobs to support himself and explored American architecture in New York and Chicago. Loos was particularly inspired by architect Louis Sullivan and his concept of form follows function. Despite leaving America in 1896, Loos later submitted a building design for the Chicago Tribune Tower Competition in 1922, which showcased his architectural ideas. He eventually returned to Vienna, where he became a prominent figure and rejected the ornate style of the Vienna Secession. Instead, he advocated for a new, plain, and utilitarian approach to architecture. Loos's early commissions in Vienna mainly involved designing interiors for shops and cafés.Loos was an Austrian architect who criticized the Vienna Secession and used provocative catchphrases in his essays. He argued that the evolution of culture is associated with the elimination of ornament from everyday objects, making it a crime to force craftsmen to waste their time on ornamentation. Loos's stripped-down buildings influenced the minimal massing of modern architecture and were finished with rich and expensive materials. He was also interested in the decorative arts, collecting sterling silver and high-quality leather goods. He designed the interior of the Kníže of Vienna and had a brief collaboration with Frederick John Kiesler in 1920. His glassware, produced by Lobmeyer, is still in production today.Loos designed big projects such as the "Looshaus" for the Viennese tailor Goldman and Salatsch, which was criticized by contemporaries. He also designed several housing projects for the City of Vienna and was awarded Czechoslovakian citizenship after World War I. Loos had an admiration for classical architecture and his entry to the 1922 Chicago Tribune competition was a massive doric column. He taught at the Sorbonne and was contracted to build a house for Tristan Tzara in Paris. His main place of residence remained in Vienna.The essay was written at a time when Art Nouveau, often referred to as Secession in Austria, was demonstrating a new direction for modern art, something that Loos had denounced even at its height in 1900. The essay played a significant role in defining the philosophy of modernism in architecture and in articulating some moralizing beliefs that were carried over from the Arts and Crafts movement and would be essential to the Bauhaus design studio.Loos asserted, "The evolution of culture marches with the elimination of ornament from useful objects," connecting the modern trend of applying evolution to cultural contexts with the idealistic notion of cultures progressing linearly and upward. Loos's work was inspired by the rules he came across while designing a plain building next to a palace. In the end, he added window flower boxes as a concession to specifications.When he is eight years old, he becomes aware of violet, the colour which the eighteenth century had discovered, because before that the violet was blue and the purple snail red. If, however, the modern man slaughters and devours somebody, he is a criminal or a degenerate. The Papuan tattoos his skin, his boat, his oar, in short, everything that is within his reach. The modern man who tattoos himself is a criminal or a degenerate. Those who are tattooed but are not imprisoned are latent criminals or degenerate aristocrats. The urge to ornament one`s face, and everything in one`s reach, is the origin of fine art. The first ornament that came into being, the cross, had an erotic origin. The first work of art, the first artistic action of the first artist daubing on the wall, was in order to rid himself of his natural excesses. The man who created it felt the same urge as Beethoven, he experienced the same joy that Beethoven felt when he created the Ninth Symphony. But the man of our time who daubs the walls with erotic symbols to satisfy an inner urge is a criminal or a degenerate. It is obvious that his urge overcomes man: such symptoms of degeneration most forcefully express themselves in public conveniences. With children it is a natural phenomenon: their first artistic expression is to scrawl on the walls erotic symbols. But what is natural to the Papuan and the child is a symptom of degeneration in the modern man. I have made the following observation and have announced it to the world: The evolution of culture is synonymous with the removal of ornament from objects of daily use. What cast the gloom was the thought that ornament could no longer be produced. Those objects without ornament, which mankind had created In earlier centuries, had been carelessly discarded and destroyed. We possess no carpenter`s benches of the Carolingian period: instead any rubbish which had even the smallest ornament was collected, cleaned and displayed in ostentatious palaces that were built for them, people walked about sadly amongst the display cabinets. What makes our period as important is that it is incapable of producing new ornament. Behold, the time is at hand, fulfilment awaits us. ” But there are still hobgoblins who will not allow it to happen. Humanity is still to groan under the slavery of ornament. Man had progressed enough for ornament to no longer produce erotic sensations in him, unlike the Papuans, a tattooed face did not increase the aesthetic value, but reduced it. Man had progressed far enough to find pleasure in purchasing a plain cigarette case, even if it cost the same as one that was ornamented. And I said: “Behold, Goethe`s death chamber is more magnificent than all the pomp of the Renaissance, and a plain piece of furniture is more beautiful than all the inlaid and carved museum pieces. Goethe`s language is more beautiful than all the ornaments of the shepherds of the Pegnitz. ” This was heard by the hobgoblins with displeasure. The state, whose duty it is to impede people in their cultural development, took over the question of development and re-adoption of ornament and made it its own. Soon one was to see a buffet introduced into the Viennese Museum of Applied Arts, which was called “the prosper°us fish shoal,” them was even a cupboard, which was given the trade name “the cursed princess” or something similar, which referred to the ornament with which this unfortunate piece of furniture was covered. The state forces every cultivated twenty-year-old man to wear outdated footwear for three years (after all, every state proceeds on the assumption that a poorly. 26.12.2023
What did Leonard Bernstein say about music?
No matter what stories people tell you about what music means, forget them. Stories are not what music means. Music is never about things.
Bernstein starts the symposium by erasing our knowledge of what music is and asserting that it has never been about anything. He says that music is simply notes and songs composed in a way that makes us enjoy listening to them.
Nevertheless, the question of what music means remains unanswered, and in asking this question we really ask what it is trying to tell us, what ideas does it make us have? Music is enjoyable because it is created by human nature, and all music is composed of various sounds that are combined in a way that eventually sounds exciting, fun, touching, or interesting to listen to. By stating this, I have suddenly integrated the commonalities with architecture since it is also a combination of various sounds.
DISCUSSION ASSIGNMENT 1
When we look at the first picture, we can see that the whole picture consists of rectangles of different sizes and several color types.(We can also say that there is a single gray square in the middle of the picture, different from the rectangles.).We can also say that in the first picture, the drawn area is completely filled.Since all rectangles appear to be on a single plane in the first photo, we do not know the background and its color.When we look at the second photo, the difference in color tones and the more regular use of the drawn area help us understand better which shape is on top and which remains in the background.In the second picture, the long lines,help us to better understand which object or color(rectangles and color tones) is on the upper layer. Although the color variety and shapes used in the second picture are less than the first picture, the second picture offers a more beautiful image as the layer differences are evident.(First picture=A , Second picture=B)
Le Corbusier
Toward an Architecture
Regulating Lines
Le Corbusier, better known as Charles-Edouard Jeanneret, was born on October 6, 1887 in Switzerland. After living for a long time in Switzerland, he moved to Paris in 1917 and began using the pseudonym Le Corbusier. In its architecture, steel and reinforced concrete were mainly used and basic geometric forms were used. In his structures, he sought relationships that offered better living conditions for people living in crowded cities.(Le Corbusier, a Swiss-French architect, designer, urbanist, writer, and painter, was a pioneer in modern architecture and the International Style. Born in Switzerland, he studied high design and built buildings in central Europe, India, Russia, North and South America.)In 1918, Le Corbusier collaborated with Cubist painter Amedee Ozenfant, resulting in their manifesto "Apres le cubisme". They published essays in L'esprit nouveau, advocating for modern industrial techniques to transform society and improve living standards. Le Corbusier's "Vers une architecture" (Toward an Architecture) was published in 1923, urging readers to think of architecture as a matter of historical styles. He argued that beauty in architecture comes from clear physical conditions and that pure geometry should be used to bring volumes and surfaces together. The book influenced architects and continues to be a foundational text for students and professionals.Le Corbusier, a French architect, sought to address the urban housing crisis in Paris by designing modern architectural forms to improve the quality of life for lower classes. His Immeubles Villas (1922) involved large blocks of cell-like apartments, while his "Contemporary City" (1922) featured sixty-story, cruciform skyscrapers encased in glass curtain walls. Le Corbusier hoped that French industrialists would adopt efficient Taylorist and Fordist strategies to reorganize society. In 1925, he proposed to bulldoze central Paris north of the Seine and replace it with his skyscrapers. However, his scheme was met with criticism and scorn from French politicians and industrialists. In the 1930s, Le Corbusier expanded and reformulated his urbanism ideas, publishing them in 1935 in La Ville Radieuse (The Radiant City).The Radiant City abandoned class-based stratification and assigned housing according to family size, not economic position. Le Corbusier's designs for Stockholm did not succeed, but later architects took his ideas and partly destroyed the city.Le Corbusier's dissatisfaction with capitalism led him to adopt right-wing syndicalism. During the Vichy regime, he designed cities like Algiers but was rejected by the government. After WWII, he built housing units around France, such as the Unite d'Habitation. In the 1950s, he expanded on the Radiant City by designing the Union Territory Chandigarh, India's first planned city. Le Corbusier also developed Albert Mayer's plan.Le Corbusier developed the Modulor system in 1942 to 1948, a system of measurements based on the Golden Section and Fibonacci numbers. This system was used to achieve harmony in Le Corbusier's architectural compositions, including the Chapel at Ronchamp, Sainte Marie de La Tourette, and the Unite d'habitation. Le Corbusier sought to introduce a scale of visual measures that would unite the Anglo Saxon foot and inch and the French Metric system. In 1943, he asked an apprentice to consider a scale based on a man with his arm raised to 2.20m in height. The first graphical representation of the Modulor, a stylized human figure with one arm raised, was created in 1943.Le Corbusier's book The Modulor discusses modular design in Unite d'Habitation, governing plan, section, elevations, brise-soleil, roof, supporting columns, and apartments. Modulor Man was used for 1947 commemorative stone.Toward an Architecture a collection of essays by Le Corbusier, advocates for modern architecture and explores its concept. The book, translated into English as Toward an Architecture, has had a lasting impact on the architectural profession, serving as a manifesto for a generation of architects. The polemical book contains seven essays, all published in L'Esprit Nouveau magazine, dismissing contemporary trends of eclecticism and art deco. The authorship of the book was complex, with Le Corbusier co-owning L'Esprit Nouveau with Amédée Ozenfant, who denied writing the book. The English translation has been controversial due to its style changes and text alterations, leading to criticism and correction.(Regulating Lines is an architectural design concept that uses geometric proportions to create harmony and order in buildings.A prominent architect who espoused this concept was Le Corbusier. Le Corbusier, a prominent architect, argues that great architecture has been guided by this method, using lines to rationalize feature placement. He lists several structures that used this method, including ancient temples, Notre-Dame de Paris, Piazza del Campidoglio, and the Petit Trianon. This method formalizes aesthetics and integrates human proportions. Although no Beaux-arts architects use regulating lines, most Grand Prix architects do.)
