'Untitled' the film

alternative link

'I am a kino-eye. I am a builder. I have placed you, whom I have created today, in an extraordinary room which did not exist until now when I also created it.'(Dziga Vertov)

Many designers and architects nowadays mainly design for the pleasure of the eye, making buildings that have turned into image products detached from existential depth and sincerity. But to understand, to situate ourselves into the space, we need to feel it, to feel its atmosphere and have our emotions echoed back to us. But, ofcourse, every person feels himself differently in the same space.

In my project ‘Untitled’ I am bringing you to the exploration of the site (Canterbury West station) from the way I saw it. This film has its own atmosphere, very different from what the station is like. I am exploring the site as a space of compression, speed, loud noises and crowd that I had to face. I am looking at three phobias: xenophobia, claustrophobia and phonophobia. And now my site is my film. 

This film creates the fusion of space and time, where architecture participates in the very emotion of the film, and as Anthony Vidler said, it does not surround anymore, but enters the experience as present. The audience can only experience it when I decide so, as I am the creator of this site. It became a spatial proposal when I have started to draw into the video with my diagrams, that show the spatial tension of phobias between the site, its inhabitants and the operator. The two-dimensionality of the picture is being extended in depth by the fourth dimension-time.

End of Year Book

designed by me. Kept it as simple as possible, so that the work stands out more. 

Illustrator

Untitled Teaser

I am still trying to upload the final variant of the film somewhere, so let's pray it will work out soon and my blog will have a beautiful copy of the actual film. And for now, here is the screenshot of it, little 'taster'. 

John Berger 'Ways of Seeing'

'According to usage and conventions which are at last being questioned but have by no means been overcome, the social presence of a woman is different in kind from that of a man. A man's presence is different upon the promise of power which he embodies. If the promise is large and creditable his presence is striking. If it is small or incredible, he is found to have little presence. The promised power may be moral. physical, temperamental, economic, social, sexual-but its object is always exterior to the man. A man's presence suggests what he is capable of doing to you or for you. His presence may be fabricated, in the sense that he pretends to be capable of what he is not. But the pretence is always towards a power which he exercises on others.

By contrast, a woman's presence expresses her own attitude to herself, and defines what can and cannot be done to her. Her presence is manifest in her gestures, voice, opinions, expressions, clothes, chosen surrounding, taste-indeed there is nothing she can do which does not contribute to her presence. Presence for a woman is so intrinsic to her person that men tend to think of it as an almost physical emanation, a kind of heat or smell or aura.

To be born a woman has been to be born, within an allotted and confined space, into the keeping of men. The social presence of women has developed as a result of their ingenuity in living under tutelage within such a limited space. But this has been at the coast of a woman's self being split into two. A woman must continually watch herself. She is almost continually accompanied by her own image of herself. Whilst she is walking across a room or whilst she is weeping at the death of her father, she can scarcely avoid envisaging herself walking or weeping. From earliest childhood she has been taught and persuaded to survey herself continually. 
And so she comes to consider the surveyor and the surveyed within her as the two constituent yet always distinct elements of her identity as a woman.

She has to survey everything she is and everything she does because how she appears to others, and ultimately how she appears to men, is of crucial importance for what is normally thought of as a success of her life. Her own sense of being in herself is supplanted by a sense of being appreciated as herself by others. 

Men survey women before treating them.

Consequently how a woman appears to a man can determine how she will be treated. To acquire some control over this process, women must contain it and interiorize it. That part of a woman's self which is the surveyor treats the part which is the surveyed so as to demonstrate to others how her whole self would like to be treated. And this exemplary treatment of herself by herself constitutes her presence. Every woman's presence regulates what is and is not 'permissible' within her presence.Every one of her actions-whatever its direct purpose or motivation-is also read as an indication of how she would like to be treated. If a woman throws a glass on the floor, this is an example of  how she treats her own emotion of anger and so of how she would wish it to be treated by others. If a man does the same, his action is only read as an expression of his anger. If a woman makes a good joke this is an example of how she treats the joker in herself and accordingly of how she is a joker-woman would like to be treated by others. Only a man can make a good joke for its own sake. 

One might simplify this by saying: men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of woman in herself is male: the surveyed female. Thus she turns herself into an object-and most particularly an object of vision: a sight...'

Synopsis : 4. Contemplation

When something looks like structure, its being legitimized by this ‘looking like’, and not necessary by the structure itself. So the image and look is always dictated by an icon; the design process produces something called architec- ture that always look like something which was characterised by its genre. In other words, the design is dictated by its function. But the architecture provides only one level of information. In this case, the machinic process is not so much a condition of providing a clarity of information, a yes/no set of answers, or a condition of form versus space, presence versus absence, but a process whereby the idea of spacing will be revealed to lie within the form- ing, where presence lies within absence, and private with public. (Peter Eisenmann)

The design process that I called’ Contemplation’ illus- trates this idea. There is no more private or public, it is all formed into one living organism, called and formed by nature. There is no more differences between form and function, now it is all about adopting to the environment.

The designer is out of the control in design; the creator is out of control on his creation. After the landscape ab- sorbed the architecture, human would no longer be in con- trol of nature. Nature is a creator that provides a shelter to those, who are looking for one. Drawing above shows the scene in the architecture block’s foyer, where materials and underground springs have creates cave-like ledge that can provide a shelter to inhabitants.

Synopsis : 3. Apocalypse

For this project i have been exploring the geological map of Canterbury to see how it may effect the the site (Canterbury School of Architecture). After 'digging deep' into the soils, i have picked up the concept of the Apocalypse, where nature 'takes over' the human habitats. In my case though i have done it so that the soils take over the building, so the closer the building element comes to the earth, the more it is of its original form, for ex. brick becomes sandstone, concrete- limestone, glass-sand, etc.

The boundaries between architecture and landscape are dissolved, so the CSA building is now part of the terrain map of Canterbury. It is occupied with the nature, and only few elements upstairs remind of the human culture that has been there years ago.