He tried to achieve the human scale with the gradual pixels rising from the ground level. Thus, he made the big picture more understandable and perceptible. Ingels went in the way of dividing the object through pixels when designing macro-scale structures. Ingels' pixelated buildings Suitable human scale, the language of mass and form, relationship between human and space, the suggestion of space for experience, public space concept, dialogue spaces were discussed based on architect's approach. The stepped pixels in this classification are the main subject of this study. In this context, the repetitive examples that the architect defines as mutation and adaptation are classified. While Ingels' design philosophy constitutes the conceptual approach of the study, this study is prepared by using the architect's discourse, interviews, videos, digital texts, and literature studies. It has been how much questioned the stages, which offer a public space proposal, in the stepped pixelated buildings allow urban dialogue. This study, it is aimed to scrutinize the public space alternatives proposed for the 21st-century city through the comparative analysis of the stepped pixelated buildings, one of the mutants of the architect. Ingels, who was influenced by Darwin, designs new mutants by developing prototypes. Its results that can be useful for social measures towards urban planning and management to reduce the negative effects caused from forced migration population. This study is the first research which examined spatially, how forced migration has an impact on local residents. Time restriction, unfavourable weather conditions, missing information for socio economic status calculation, reluctance of women to join the survey. The rate at which Syrians are declared a problem in the districts of Fatih district is directly proportional to the distribution of the Syrian immigrant population. Our analysis found that the main reason why Syrian immigrants are cited as a problem is "economic motivation". As part of the research on social risk mapping for Fatih District, immigrants - especially Syrian immigrants - have been identified as the main cause of problems by residents (the locals), with this group experiencing higher layoffs in terms of economic opportunities. Interviews wereįatih in İstanbul is one of the districts where Syrian immigrants most often settle. Stratified simple random sampling was used. The sample size of the study is 953 and the margin of error of this sample size is ± 3.17 at a 95% confidence level. The distribution of Syrian refugees in Turkish cities revealed considerable spatial heterogeneity and differences. Syrian refugees were unequally distributed or dispersed not only in leading metropolitan areas of western Turkey but also in many neighbouring cities in the southeast. Turkey is one of the countries most affected by the wave of migration from Syria. Syrian migratory flows have caused social, economic, and ecological problems in the hosting countries. A wave of migration began in 2011, especially from Syria to its neighbouring countries including Turkey and Lebanon. The paper reflects the impacts of the "Arab Spring" that broke out in Tunisia and Syria and led to the loss of more than 300,000 people. Lastly, this paper suggests that we need to reexamine the notions of postmodernity and postmodernism through the theoretical lenses provided by Reinhold Martin and Hal Foster, respectively. Contextualism and replication emerge as two postmodern themes that continue to haunt architecture and urbanism, in spite of the “exorcism” performed by post-critics. In Ingels’s architectural production – particularly his way of metamorphosing photographic pictures into entire facades – we witness a resurfacing of postmodernist strategies first promulgated by Robert Venturi and Denise Scott Brown. Similarly, Hans Ibelings’s notion of a contemporary “Supermodernism” is dismissed. This paper argues that Danish architect Bjarke Ingels’s rise to global stardom disproves the tenets of post-criticality, since Ingels successfully raises all the “un-architectural” representational strategies from the dead. Post-critics prophesied the merging of design and discourse, and the emergence of self-explanatory works of architecture. In the 2000s, the post-critical position emerged as a rejection of architectural criticism.
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