# data[].attributes.body
-7 Ocak'da getireceğimiz çıktı teslimlerinde kat planlarının ve kesitlerin sadece en yoğun halinden olanların çıktılarını getirip teslim edeceğiz.

-Dijital teslim (31 aralık)'da ise her halinden kesit ve planları yüklüyor olacağız.

# data[].attributes.body
24.12.2024 tarihli derse gelirken çıktı olarak aşağıda listelenmiş çizimler beklenmektedir:

1/500 ölçekli vaziyet planı. Kağıt boyutu serbest.

1/200 ölçekli kat planları, kesit ve görünüşler. A0 kağıt boyutu

Her bir modülün 1/50 ölçekli plan, kesit ve görünüşler. Kağıt boyutu serbest.

# data[].attributes.attachment_link.description
Real-time meetings by Google. Using your browser, share your video, desktop, and presentations with teammates and customers.

# data[].attributes.body
Yaren Kurban

# data[].attributes.body
Yağmur AYDOĞDU

# data[].attributes.body
Yaren Kurban

# data[].attributes.body
Yağmur Aydoğdu

# data[].attributes.body
ege fethi hergün

# data[].attributes.body
ege fethi hergün

# data[].attributes.body
yaren kurban

# data[].attributes.body
ayşegül subaşı

# data[].attributes.body
yaren kurban

# data[].attributes.body
Yağmur Aydoğdu

# data[].attributes.body
Önceki tasarımınızla uyumlu olacak şekilde, projenizin belirli bir bölümünün çok katlı bir yapı olarak ele alınması ve bu bağlamda bir çekirdek tasarımı oluşturmanız beklenmektedir. Tasarım sürecinde dikey sirkülasyon kriterlerini dikkate alarak bir çekirdek çözümü geliştirmeniz önemlidir.

# data[].attributes.attachment_link.description
The Wendell O. Pruitt Homes and William Igoe Apartments, known together as Pruitt-Igoe, were joint urban housing projects first occupied in 1954 in the U.S. city of St. Louis, Missouri. Living conditions in Pruitt-Igoe began to decline soon after completion in 1956.

# data[].attributes.attachment_link.description
The Wendell O. Pruitt Homes and William Igoe Apartments, known together as Pruitt-Igoe, were joint urban housing projects first occupied in 1954 in the U.S. city of St. Louis, Missouri. Living conditions in Pruitt-Igoe began to decline soon after completion in 1956.

# data[].attributes.attachment_link.readable_text
Text description provided by the architects. After World War II, the need for housing was at an unprecedented high. The Unite d'Habitation in Marseille, France was the first large scale project for the famed architect, Le Corbusier. In 1947, Europe was still feeling the effects of the Second World War, when Le Corbusier was commissioned to design a multi-family residential housing project for the people of Marseille that were dislocated after the bombings on France.

Completed in 1952, the Unite d' Habitation was the first of a new housing project series for Le Corbusier that focused on communal living for all the inhabitants to shop, play, live, and come together in a "vertical garden city."

The Unite d'Habitation was a first, both for Le Corbusier and the ways in which to approach such a large complex to accommodate roughly 1,600 residents. Especially since Le Corbusier did not have many buildings of such a substantial scale when compared to the villas. When designing for such a significant number of inhabitants natural instinct is to design horizontally spreading out over the landscape, rather Le Corbusier designed the community that one would encounter in a neighborhood within a mixed use, modernist, residential high rise.

Le Corbusier's idea of the "vertical garden city" was based on bringing the villa within a larger volume that allowed for the inhabitants to have their own private spaces, but outside of that private sector they would shop, eat, exercise, and gather together.

With nearly 1,600 residents divided among eighteen floors, the design requires an innovative approach toward spatial organization to accommodate the living spaces, as well as the public, communal spaces. Interestingly enough, the majority of the communal aspects do not occur within the building; rather they are placed on the roof.

The roof becomes a garden terrace that has a running track, a club, a kindergarten, a gym, and a shallow pool. Beside the roof, there are shops, medical facilities, and even a small hotel distributed throughout the interior of the building. The Unite d'Habitation is essentially a "city within a city" that is spatially, as well as, functionally optimized for the residents.

Unlike Corbusier's usual employment of a stark, white façade, Unite d'Habitation is constructed from reinforced beton-brut concrete (rough cast concrete), which was the least costly in post-war Europe. However, it could also be interpreted as materialistic implementation aimed at characterizing the conditional state of life after the war - rough, worn, unforgiving.

Even though Unite d'Habitation does not take on the same materialistic qualities as most of Corbusier's works, there is still a sense of mechanistic influence, in addition to the Five Points developed by Corbusier in the 1920s. For example, the buildings large volume is supported on massive pilotis that allow for circulation, gardens, and gathering spaces below the building; the roof garden/terrace creates the largest communal space within the entire building, and the incorporated patio into the façade system minimizes the perception of the buildings height, as to create an abstract ribbon window that emphasizes the horizontality of such a large building.

Also, it is apparent that Le Corbusier's mechanized influences from other industries have not been lost in design. As massive as the Unite d'Habitation is, it begins to resemble the steamship that Corbusier is so intrigued with.

The massive volume appears to be floating, the ribbon windows resemble the cabin windows running along the hull, while the roof garden/terrace and sculptural ventilation stacks appear as the top deck and the smoke stacks. Even though that these elements are quite figural and open to interpretation based on perception, there is an inherent connection between the two.

One of the most interesting and important aspects of the Unite d'Habitation is the spatial organization of the residential units. Unlike most housing projects that have a "double-stacked" corridor (a single hallway with units on either side), Le Corbusier designed the units to span from each side of the building, as well as having a double height living space reducing the number of required corridors to one every three floors.

By narrowing the units and allowing for a double height space, Corbusier is capable of efficiently placing more units in the building and creating an interlocking system of residential volumes. At each end of the unit there is a balcony protected by a brise-soleil that allows for cross ventilation throughout the unit flowing through the narrow bedrooms into the double height space; emphasizing an open volume rather than an open plan.

Unite d'Habitation is one of Le Corbusier's most important projects, as well as one of the most innovative architectural responses to a residential building. So much so, that the Unite d' Habitation is said to have influenced the Brutalist Style with the use of beton-brut concrete. Unite d'Habitation has since been the example for public housing across the world; however, no venture has been as successful as the Unite d'Habitation simply because the Modular proportions that Corbusier established during the project. Nonetheless, Le Corbusier's first large scale project has proved to be one of his most significant and inspiring.

Update Feb 10th, 2023: Updated with additional photography from Gili Merin.

# data[].attributes.attachment_link.title
Architecture Classics: Unite d' Habitation / Le Corbusier

# data[].attributes.attachment_link.description
Completed in 1952 in Marseille, France. After World War II, the need for housing was at an unprecedented high. The Unite d'Habitation in Marseille, France was the first large scale project...

# data[].attributes.attachment_link.readable_text
Text description provided by the architects. The first example of a 'Vertical Forest' (il Bosco Verticale) was inaugurated in October 2014 in Milan in the Porta Nuova Isola area, as part of a wider renovation project led by Hines Italia. Milan's Vertical Forest consists of two towers of 80 and 112 metres, hosting 480 large and medium trees, 300 small trees, 11,000 perennial and covering plants and 5,000 shrubs. The equivalent - over an urban surface of 1,500 m2 - of 20,000 m2 of forest and undergrowth.

The Vertical Forest is an architectural concept which replaces traditional materials on urban surfaces using the changing polychromy of leaves for its walls. The biological architect relies on a screen of vegetation, needing to create a suitable microclimate and filter sunlight, and rejecting the narrow technological and mechanical approach to environmental sustainability.

Biological Habitats:

The Vertical Forest increases biodiversity. It promotes the formation of an urban ecosystem where various plant types create a separate vertical environment, but which works within the existing network, able to be inhabited by birds and insects (with an initial estimate of 1,600 specimens of birds and butterflies). In this way, it constitutes a spontaneous factor for repopulating the city's flora and fauna.

Mitigation:

The Vertical Forest helps to build a microclimate and to filter fine particles contained in the urban environment. The diversity of plants helps to develop the microclimate which produces humidity, absorbs CO2 and particles, produces oxygen, and protects against radiation and noise pollution.

Anti-sprawl:

The Vertical Forest is an anti-sprawl method which helps to control and reduce urban expansion. In terms of urban density, each tower constitutes the equivalent of a peripheral area of single family houses and buildings of around 50,000 m2.

Trees:

The choice of species and their distribution according to the orientation and height of façades is the result of three years of studies carried out alongside a group of botanists and ethologists. The plants which are used on the building were pre-cultivated in a nursery in order for them to become accustomed to similar conditions to those which they will find on the balconies.

Changing façades:

The Vertical Forest is an ever-evolving landmark of the city, whose colours change depending on the season and the different natures of the plants used. This offers Milan 's population an ev- er-changing view of the city.

Management:

The management of the basins where the plants grow is the responsibility of the condominium, as is the maintenance and replacement of all vegetation and the number of plants established for each basin.

Hydration and irrigation system:

Following micro-meteorological studies, the calculation of irrigation requirements was carried out by examining climatic characteristics and was diversified depending on the exposure of each façade and the distribution of vegetation on each floor.

# data[].attributes.attachment_link.description
Text description provided by the architects. The first example of a 'Vertical Forest' (il Bosco Verticale) was inaugurated in October 2014 in Milan in the Porta Nuova Isola area, as part of a wider renovation project led by Hines Italia.

# data[].attributes.attachment_link.readable_text
On the 29th December, 1940, at the height of the Second World War, an air raid by the Luftwaffe razed a 35-acre site in the heart of the City of London to the ground. The site was known as the Barbican (a Middle English word meaning fortification), so-called for the Roman wall which once stood in the area. Following the war, the City of London Corporation-the municipal governing body for the area-started to explore possibilities to bring this historic site into the twentieth century.

The Barbican's location in the financial center of the British capital made it attractive to commercial developers and, as a result, several office schemes were proposed. These were rejected by the Corporation, partly due to the area's dwindling population. As the area had become increasingly commercialized, the number of residents had plummeted from 100,000 in 1851 to just over 5,000 in 1951.[1] With such a small electorate, the City of London was at risk of losing its Member of Parliament (MP) and, as a result, its political clout. A housing scheme put forward by Chamberlin, Powell and Bon in 1955 offered an opportunity to reverse the population decline by enticing new residents into this void in the City.

Since 1948, Peter Chamberlin (b. London) and Geoffry Powell (b. Bangalore, India) had been teaching colleagues at London's Kingston School of Art, where they were joined in 1950 by Christof Bon (b. St. Gall, Switzerland). Their architectural partnership began two years later, after Powell won a competition to design the Golden Lane Estate - a large scale residential project also commissioned by the City of London Corporation. The design of this earlier scheme, located just north of the proposed Barbican site, paved the way for their more ambitious neighboring project.

While the selection of Chamberlin, Powell and Bon's housing scheme would allow the Corporation better chances of maintaining its parliamentary representation, it would bring in far less revenue than a commercial development. In order to maximize rental income and make the scheme financially viable, the architects proposed a high-density development aimed at those earning a mid-to-high income.[2] The complex was designed as an urban microcosm, with residential blocks arranged around communal spaces - an approach inspired by the work of Le Corbusier. Le Corbusier's Unite d'Habitation housing project in Marseilles had been recently completed; his vision for a 'vertical garden city' is evident in both the Golden Lane Estate and the Barbican.

In addition to "luxury" housing, Chamberlin, Powell and Bon's masterplan for the Barbican featured cultural facilities (including a concert hall and theater), a shopping mall, underground parking, private gardens, and lakes with fountains and a waterfall. It was hoped that the vast array of amenities within the estate would attract their target market and justify the higher cost of the housing. The Guildhall School of Music and the City of London School for Girls would also be moved to new premises on the site, forging a sense of community within the complex. St. Giles Church, one of the few buildings to survive the bombings of 1940, would stand in the center of the estate.

Collectively, the residential blocks of the estate form one of the most remarkable examples of Brutalist architecture anywhere in the world. The term ' Brutalism' is derived from the French béton brut, meaning raw or unfinished concrete. Although the concrete at the Barbican Estate was left exposed, it was not unfinished, having been pick-hammered to give it a rough, rusticated appearance implying a sense of monumentality.

The estate comprises three tower blocks, thirteen terrace blocks, two "mews" (terraces of small two-story houses) and a row of townhouses. The tower blocks dominate the skyline, their facades featuring a grid pattern of concrete paneling. The horizontals of this concrete grid are broken by the continuous lines of the verticals, emphasizing the height of the towers. The terrace blocks, meanwhile, are orientated horizontally, creating a dynamic contrast to the soaring towers. In both the tower and terrace blocks, the layout of the apartments was designed to maximize the amount of natural light in the rooms that would most benefit from it. Bedrooms, dining rooms and living rooms are therefore positioned along external walls, while kitchens and bathrooms are placed against inner walls.

The residential blocks are linked by two systems of pedestrian circulation: the highwalk and the podium. The highwalk, a network of bridges and narrow walkways, encompasses the estate. The podium is a raised platform which becomes a new 'ground level' once inside the boundary of the estate. This design feature allows the Barbican to be entirely pedestrianized, with road and rail traffic passing underneath, out of both sight and sound.

All three tower blocks and the majority of the terrace blocks stand above the podium on piloti, enabling pedestrians to navigate the estate unimpeded by buildings. Perhaps the most striking of these can be found beneath Gilbert House, a terrace block spanning the lake which bisects the podium. The height of the columns allows even the highwalk to pass beneath the main structure; a bridge is nestled amongst the supporting colonnade. The podium creates a sense of airiness, while the highwalk encourages movement and exploration; together, they produce open space which flows throughout the estate.

While developing the design for the Barbican, Chamberlin, Powell and Bon travelled abroad extensively to seek architectural inspiration, spending much of their time in Italy. Bon had spent part of his earlier career working in Milan, and the architecture of Italy held a great fascination for the three architects. This influence is evident in the estate; the penthouses of the terrace blocks, for example, have barrel-vaulted roofs - a feature widely employed in Roman architecture. The architects cited the canals, bridges and pavements of Venice as the model for the pedestrians systems of the Barbican, describing it as "the best example of a city where foot and service traffic is completely segregated. This segregation," they continued, "has worked admirably for many centuries and there is no good reason why the principle should not be applied equally effectively in the City of London."[3]

The lake and gardens provide the residents with generous communal outdoor space; a rarity in an otherwise heavily built-up area of London. These landscaped areas lie below the level of the podium, with the changing elevations adding visual interest and lending a sense of seclusion. To ensure the underground line below did not disturb those enjoying the gardens, Ove Arup devised an engineering solution to reduce vibration from passing trains. The track was mounted on rubber bearings; the only section of the entire London Underground network to be modified in this way.

Chamberlin, Powell and Bon's original plans featured five tower blocks of twenty stories. These designs were rejected by the planning authority, primarily on the grounds that the scheme had insufficient outdoor space.[4] In response, the architects reduced the number of tower blocks to three in order to minimize the buildings' footprints. At the same time, they more than doubled their height to maintain housing density.

Cromwell Tower is forty-three stories high, while Lauderdale Tower and Shakespeare Tower stand at forty-four stories; at the time they were the tallest residential towers in Europe.[5] The architects devised ingenious solutions to the perceived problems of living in buildings of this height. "Each lift," for example, "is designed with a secondary small panel door which provides direct access between the lift and a tenant's service cupboard. [...] In this way the daily milk, the morning newspaper and post can be delivered directly from the lifts to the individual flats without the milkman or the postman having to get out of the lift."[6] Similar attention to detail was paid to the fixtures and fittings: the architects installed windows which pivoted horizontally to make them easy to clean from the inside, and a Garchey sink unit was employed across almost all residential blocks to facilitate waste disposal.[7]

Standing at such a height and with complex programmatic requirements, the project demanded specialised engineering, delivered by Ove Arup & Partners. The towers utilise pre-cast reinforced concrete elements for the frame, which places the majority of the load around the exterior of the building "on the same principle as is familiar in a chimney."[8] Roughly triangular in plan, each floor of the towers contains three apartments arranged around a central core of lift shafts, stairwells and service risers. The living rooms are located at each corner of the triangle, where the meeting of two walls affords panoramic views.

The highly distinctive cantilevered balconies of the towers, with their elegantly curved tips, resemble the hull of a ship. They also have a practical application: their unique form reduces wind resistance and eases the strain on the structural frame. The long protrusions of the balconies, a design feature recommended by the engineers, create deep eaves over the apartments below.[9] The eaves offer both protection from the elements and a sense of security to residents, some of whom, the architects reasoned, "might otherwise dislike the impression of living on the edge of a cliff."[10]

Surviving fragments of the ancient Roman wall, and a later 13th-century bastion, can be found about the estate. History and modernity collide as the weathered bricks of these ruins are juxtaposed against the grey concrete of the monolithic structures above. Further references to the history of the site were made by naming each of the residential blocks after a prominent local figure. Shakespeare Tower, for instance, is so called because the great playwright once lived in the area.

Construction of the Barbican Estate took thirteen years, concluding in 1976 with the completion of Shakespeare Tower. Critics have accused the layout of the estate as being disorientating and cluttered, though the blame for this cannot be entirely attributed to the design. In 1964 the City of London Corporation presented Chamberlin, Powell and Bon with a revised brief which demanded an expanded theater and concert hall. The outcome of this was the Barbican Center, a building which had to be shoehorned into the master plan after construction had already begun.

As Brutalism became the prevailing architectural style for new housing estates in Britain throughout the 1970s, the reputation of the Barbican suffered from association with less successful projects (such as the Hulme Crescents in Manchester). More recently, however, the estate has benefited from a resurgence of public interest in Modernist and Brutalist architecture. It received Grade II listed status from the British government in 2001, and apartments in the estate are now highly sought after.

Residents speak of the excellent quality of life they enjoy there; architecture critic Jonathan Glancey spent four years living in the estate, and proclaims that "there is nothing like [it] in scale, intelligence, ingenuity, quality, urban landscaping and sheer abstract artistry anywhere else in Britain, perhaps even the world."[11] Alongside buildings such as the Royal National Theatre in London and Park Hill Estate in Sheffield, the Barbican Estate has become a symbol of British post-war architecture.

References
[1] Harwood, Elain. Space, Hope and Brutalism: English Architecture, 1945-1975. London: Yale University Press, 2015. p.73
[2] Harwood, Elain. Chamberlin, Powell and Bon: The Barbican and Beyond. London: RIBA Publishing, 2011. p.103
[3] Chamberlin, Powell and Bon Architects. "Proposals" In Barbican Redevelopment 1959. London: City of London Corporation, 1959. p.5
[4] Ibid. Harwood. Chamberlin, Powell and Bon. p.108
[5] Orazi, Stefi. Modernist Estates: the buildings and the people who live in them today. London: Frances Lincoln, 2015. p.109
[6] Ibid. Chamberlin, Powell and Bon Architects. p.15
[7] Ibid. Harwood. Chamberlin, Powell and Bon. p.118
[8] Ibid. Chamberlin, Powell and Bon Architects. "Technical Section". p.6
[9] Ibid. Harwood. Space, Hope and Brutalism. p.74
[10] Ibid. Chamberlin, Powell and Bon Architects. "Proposals". p.15
[11] Glancey, Jonathan. "Barbican: the critics' verdict". Time Out, 6 February, 2007. Accessed 10 June, 2016 [ access]

# data[].attributes.attachment_link.title
AD Classics: The Barbican Estate / Chamberlin, Powell and Bon Architects

# data[].attributes.attachment_link.description
On the 29th December, 1940, at the height of the Second World War, an air raid by the Luftwaffe razed a 35-acre site in the heart of the City of London to the ground. The site was known as the Barbican (a Middle English word meaning fortification), so-called for the Roman wall which once stood in the area.

# data[].attributes.body
Yağmur Aydoğdu

# data[].attributes.attachment_link.readable_text
Text description provided by the architects. Swelling out towards the city of Manhattan, the Solomon R. Guggenheim Museum was the last major project designed and built by Frank Lloyd Wright between 1943 until it opened to the public in 1959, six months after his death, making it one of his longest works in creation along with one of his most popular projects. Completely contrasting the strict Manhattan city grid, the organic curves of the museum are a familiar landmark for both art lovers, visitors, and pedestrians alike.

The exterior of the Guggenheim Museum is a stacked white cylinder of reinfored concrete swirling towards the sky. The museum's dramatic curves of the exterior, however, had an even more stunning effect on the interior. Inside Wright proposed "one great space on a continuous floor," and his concept was a success.

Walking inside, a visitor's first intake is a huge atrium, rising 92' in height to an expansive glass dome. Along the sides of this atrium is a continuous ramp uncoiling upwards six stories for more than one-quarter of a mile, allowing for one floor to flow into another. The ramp also creates a procession in which a visitor experiences the art displayed along the walls as they climb upwards towards the sky.

The design of the museum as one continuous floor with the levels of ramps overlooking the open atrium also allowed for the interaction of people on different levels, enhancing the design in section.

Although the space within the building is undeniably majestic and the building itself monumental, it was not perfectly successful in terms of function. The curved walls of the interior were intended so that paintings had to be tilted backward, "as on the artist's easel." This was unsuccessful because the paintings were still very difficult to display because of the concavity of the walls, and because of this before its opening 21 artists signed a letter protesting about their display of work in such a space.

Many critics also argue that the building competes with the art work that is intended to be displayed, a problem which Museum Director James Johnson Sweeney took seriously, stating, "This is the most spectacular museum interior architecturally in this country. But my job is to show off a magnificent collection to its fullest. Wright also had a problem with Manhattan's building-code administrators who argued with him over structural issues, such as the glass dome that had to be reduced in size and redesigned to include concrete ribs that are extensions of the discreet structural pillars on the exterior walls.

In 1992 the museum built an addition that was designed by Gwathmey Siegel & Associates Architects that Wright had originally intended. The architects analyzed Wright's original sketches and from his ideas they created a 10-story limestone tower that had flat walls that were more appropriate for the display of art.

Between 2005-2008 the Guggenheim Museum went under an exterior renovation where eleven coats of paint were removed from the original surface and revealed many cracks due to climatic reasons. This revelation led to extensive research in the testing of potential repair materials, as well as the restoration of the exterior.

Despite the opinion of critics, there is no doubt that Wright's design for the Guggenheim Museum provides a spatial freedom that is unique to his style. It took Wright 700 sketches and six sets of working drawings to turn his vision into an extraordinary sculpture of a building overlooking Central Park, that in the very least should be acknowledged as one of the most spatially beautiful International-style works of architecture.

This building is part of our Architecture City Guide: New York. Check all the other buildings on this guide right here.

# data[].attributes.attachment_link.title
AD Classics: Solomon R. Guggenheim Museum / Frank Lloyd Wright

# data[].attributes.attachment_link.description
Completed in 1959 in New York, United States. Swelling out towards the city of Manhattan, the Solomon R. Guggenheim Museum was the last major project designed and built by Frank Lloyd...

# data[].attributes.attachment_link.title
Gallery of 9 Projects Selected for AIA Education Facility Design Awards - 15

# data[].attributes.attachment_link.description
Image 15 of 19 from gallery of 9 Projects Selected for AIA Education Facility Design Awards. Photograph by Christian Columbres