Drive-in movie theater was one of the extraordinary activities in the 1980s. In the proposal, the registered structure’s north facade works as a screen of the theater. That’s why the site considered as a large public space which works in two different levels. At the zero level site works as a drive-in movie theater and -5.00 altitude public space works as an amphitheater. Also, in between 0.00 and -5.00 levels, there are two different surfaces which have a different kind of privacy level. The registered building functioning as a commercial which links with the drive-in movie theater and amphitheater.
Kartal Brick Factory is located in Old Industry Area in Eskişehir. The factory created by two similar volumes. The main purpose of what if the question is creating a generator in terms of special sense and also to understand the district. The question is what if a science laboratory is injected to Kartal Brick Factory.
There are two different volumes which different functions. In terms of the program, in the proposal, the additional structure and existing two volumes have different functions such as administration, laboratories, offices and necessary functions. The idea is creating a connecting volume between existing two volumes. The additional volume functions as a storage which linked with the laboratories. Also, the additional volume barely shows itself to respect the industrial heritage. The facades remain and contain the original properties.
The definition of the curtain is a piece of material that hangs down to cover a window, stage. That’s why the screen can be considered as a curtain as well because the definition of the screen is the part of a television or computer that shows images or writing. Actually, it is the same thing with theatre stage or tv screen. So, the smallest screen which we learn almost everything the mobile phone. What if spaces covered with the screen? What if double it’ size, triple it, What if 5000 screen placed with the orientation side by side and back by back? The length of the screen is 78,1 mm and the height is 158,4 mm which our mobile phone. The screen of the mobile phone is something personal, we can do many activities with it such as writing, texting, calling, watching movies etc. Actually, the screen of the mobile phone is an interface which works on the scale of the entire world. Additionally, we can do group activities on the screen of the mobile phone but it is generally a device for the purpose of personal learning. The combination of 64 mobile screens can be considered as a TV screen as well. On the other hand TV screen is a device for group activities, many people can share the same thing on that screen for examples in the cafes, bar etc. The screen is actually a surface so we can cover the wall with the screen, what will be different then? Users still orientate itself with same positions or there are different orientation outside of the space and inside of the space. The human body reacts it very differently because if there is a screen on the roof and want to look at it then you have to lie on the floor. Or the facade of the structure covered by the screens, it can react as a stage as well because in the end screen is just a surface.
The last semester, Salient Design worked on Housing Project and our main concern was the relationship between dwelling and workshop activities. So, as designers wanted to consider them as the same activity which takes place in the same structure. That’s why it was good opportunity to test workshop spaces in terms different activities. Firstly, the furniture in workshop area covered by the screen of a mobile phone by the operation of multiply not re-size. So, it is the same activity with working on a computer on the table, there are no big differences except the position of the human body differences. Finally, if the entire area covered with the screen with multiply operation, it has the different relation with the human body such as there is no certain activity in that space and the user can sit everywhere and any position.
After the revolution of industry affect entire world in terms of social, culture and architecture as well. As similarly, the hygiene issue was one of the highest problems in the 20th century in industrial cities in smaller scale in houses and in the factories. This term we are working on an industrial heritage which located in the Old Industrial area at Eskişehir/ Turkey. The site is very close to the Kılıçoğlu Brick Factory. The Old Industrial Area had different types of structures and it was an example of production and social life. The architect of the structure was Robert Aebi. In the north side of the factıry, there is Eti Bisküvileri Factory, the west of it Doğan Factory, the south of it Kartal Brick Factory and in southeast side, there is a train station. There are three different structures in Kılıçoğlu’ site. The number one factory and the number two factory has a relation in terms of spatial sense, material, structural technics and mechanical features as well. The most significant symbol of the Kılıçoğlu Brick Factory is located in the number one factory which is in East facade of the structure. The East facade has Neo-Classic features and we can sense Bauhaus as well.
”It could be a grouping of physiognomic types, vernacular buildings, or species of monkeys. A typology is assembled by observation, collection, naming and grouping. These actions allow the members of the class to be compared, usually in search of broader patterns. These patterns may reveal biological constants if the subjects are living
things, or social truths if the subjects are human creations.” Marc Freidus, 1991
The Fagus Factory by Walter Groupies and Adolf Meyer
Fagus Factory is one of the earliest built works of modern architecture. The chief architect of the project was Walter Groupis. Before the Fagus Factory, Walter Groupis was working under the architect Peter Behrens who designed the AEG Turbine building. Both of the architects had interest in an industrial architecture but they had different attitudes. Peter Behrens with the AEG Turbine building introduced a sense of nobility to industrial architecture. Groupies’ idea about the industrial architecture was beyond his era. His critical idea about the Fagus Factory was a unique exterior design which could be linked to the problem of hygiene. Groupies believed that the exterior design should reveal the construction logic of a structure. His design ideas about the industrial architecture formally expressed during a lecture at the Folkway Museum in April 1911. In his lecture ”Monumental Art and Industrial Construction” and he explained that;
‘The train stations, departments stores, and factories should no longer be built like those from previous decades and needed to evolve to suit changing social and cultural dynamics.’ Groupies emphasized the aspect to the architectural design suggesting that improving working conditions through increased daylight, fresh air, and hygiene would to lead to a greater satisfaction of workers, and therefore, increase overall production. The same inputs like daylight, fresh air and hygiene were also a very important consideration of housing projects as well in that period. So the critical idea about the Fagus Factory actually explained in this lecture.
Carl Benscheidt was the owner of Fagus Factory. Fagus Factory is located in Alfeld, Germany and produces the wooden lasts for manufacturing of boots. Eduard Werner was already designing a series of buildings, renovations and, additions. Walter Groupies and Adolf Meyer commissioned in May to assist with the project. Groupies and Meyer stay with Werner’s floor plans and focused on the exterior and interior design of the project. The most architecturally significant aspect of Groupies’ contribution
fully glazed exterior corners; free from structural elements (OFFICE BUILDING)
Flat roof + Facade of the building; more glass than brick
not the conventional structural system; place reinforced concrete columns inside the building to free the facade.
Ex Furnace di Riccione Recovery by Pietro Carlo Pellegerini Architetto