Vision and Intention
In the modernizing world, mass housing was one of the biggest needs. Although the solution methods produced in a short time overcome this problem, their advantages and disadvantages have been discussed for many years. Although the need for mass housing is not at the same level compared to the past, it will always be one of the needs to be solved.
Our main goal is to develop alternative ideas for solutions that are discussed in mass housing design and which are considered to be inadequate for the majority. While achieving this goal, we produce ecological solution strategies in our designs. We want to restore our contact, which is increasingly being stripped with nature in the modernizing world. We are committed to ensuring that nature reaches people in all conditions. We want to increase our life standards and increase the happiness of our users by establishing much more sincere and close relationships when we are together. With our original new ideas, aesthetic and multi-functional space approaches, we aim to leave a mark that is similar in this field universally.
In addition, we aim to be a revolutionary inspiring company by revitalizing, renewing and revitalizing our revision day by day in our way of finding new alternatives to the solutions discussed and deemed insufficient for the majority.
I’ve fixed my basic design mistakes for the 202 Final. Everything else is in the same situation as in pre-jury. My poster design and section drawings should be as beautiful as I want. Despite the corrections I made in my plans, the project was quite funny.
The project did not have a proper reference for the channel system passing through the middle of the land. Therefore, it was not possible to establish a sufficient relationship with topography. The fact that the windows were open could have had more advantages for the users. The long and short sunscreens used for the windows had functional problems. The facade of the facade organization could add to the richness of design from a functional point of view. The office and workshops did not need to be monotonous spaces. They could be spatially diversified, and this could make the design better. The layout and usage of the furniture was quite logical. They greatly enriched the use of the spaces. This spatial experience created with design furniture such as the library was a very important design decision. Hence, the logic of beautifying the design was a movement.
My site is located in Kuala Lumpur, Malaysia. This region has a tropical climate, so the average temperature varies between 21-32 degrees. Humidity is very high and more than 70% of the country is covered with plants. The Glasir Torshavn collage by Bjarke Ingels Group is my main reference. The building basically consists of strips that form various zones at each level extending towards different directions. These strands formed the atrium formed by bending at the center. This atrium is the main place where circulation is provided as a common socialization area.
I used the idea of a linear strip zones at each level as a general program arrangement in my project. Each level in my library forms the zones. I’ve placed program elements in these zones. At the entrance of the library, the bookstore, the cafe on the first floor, the adult and children’s library on the second floor are the latest meeting, study and digital collection programs were located. Actually, I aligned my strips to the long edge of the terrain. So I created a blind relationship with semi detached houses on the edge of my land.
The atrium formed in the middle of the library consisted of by strips at the Glasir Torshavn Collage, in this project the strips are formed by the stairs of the atrium. Snohetta’s Calgary Library’s atrium is another feature I’m referring to. Landings were placed directly in relation to the atrium. In addition, these places are used as reading and study area. The landings come out in the form of an extension from the main atrium stairs and form the strips in the long direction of site.
Bruno Zevi is the most sharp-edged revolutionary you could possibly see in the history of architecture. Bruno Zevi and his critique of modern architecture can be followed in the presentation.
The Glasir Torshavn collage by Bjarke Ingels Group is my main reference. The building basically consists of strips that form various zones at each level extending towards different directions. These strands formed the atrium formed by bending at the center. This atrium is the main place where circulation is provided as a common socialization area.
I used the idea of a linear strip zones at each level as a general program arrangement in my project.Each level in my library forms the zones.I’ve placed program elements in these zones. At the entrance of the library, the bookstore, the cafe on the first floor, the adult and children’s library on the second floor are the latest meeting, study and digital collection programs were located. Actually, I aligned my strips to the long edge of the terrain.So I created a blind relationship with semi detached houses on the edge of my land.
I refer to the vertical program arrangement of the Tischuan Ocena Center. The program elements are arranged separately from each other in the horizontal plane. The gaps between them were used as common social areas. The building was then moved from the horizontal plane to the vertical plane. Thanks to the gap between them, the building can pass the wind through the building. I used this feature with the dog trot house logic of the Seashore library and prevented the humidity and temperature in the building.
The atrium formed in the middle of the library consisted of by strips at the Glasir Torshavn Collage, in this project the strips are formed by the stairs of the atrium. Snohetta’s Calgary Library’s atrium is another feature I’m referring to. Landings were placed directly in relation to the atrium. In addition, these places are used as reading and study area. The landings come out in the form of an extension from the main atrium stairs and form the strips in the long direction of site.
Semihcan Esin 