“Since ornament is no longer organically linked to our culture, it is also no longer the expression of our culture”, ORNAMENT AND CRIME | ADOLF LOOS

Adolf Loos was one of the most important and compelling European architect of the 19th century. He became a pioneer of modern architecture additionally contributed criticism of innovation in architecture. Other than he was a writer. One of his books which is Ornament and Crime that I am attending to specify, compose of his articulations almost ornament. He made a strong critic of ornament in this book. Besides, as an author, he had a major effect on the advancement of 20th-century architecture with an arrangement of his book. He made a discussion approximately how ornamentation is taken into thought as a crime since it could be a squander of wellbeing, time, cash, materials that are utilized. He thought that ornamentation is restricting the question to appear its possess potential. Too, he guards that the advanced man ought to dispose of the ornament to reach the most noteworthy advancement and ought to get freed of worsen title. He argues that the utilize of ornament closely related to social deteriorate. On the other hand, he examines that we have to design things without imitating the past ages, styles. We ought to not as it was inspired by previous periods and disregard our age since when the long run generations see at the back, they will not be able to comprehend our styles, needs.

“Since ornament is no longer a natural product of our culture so that it is a phenomenon either of backwardness or degeneration.”

He relates ornamentation to the deceleration of the country to his own time. He employments the similarities from ordinary objects such as cigarette cases, clothing, etc. to create this point.

Additionally, he also specifies that as long as the work of the protest does not alter, but something like ornamentation that we squandered our time on to do on that, can alter the cost of this protest. For example, he delivers a case on that, he compares two laborers working on the same protest, the distinction is one of the labor is creating an ornamented question and the other one is creating a basic, plain one. The labor who didn’t utilize ornamentations in his item, created the same question in terms of capacities as it were in less time. In concluding, he states that ornamenting may be a waste of time, parallel to this it is additionally squandered of cash. At the point, Loos moreover say to the economy and the negative impacts of ornamentation on shoppers, since ornamented objects draw in consideration outwardly than not ornamented ones.

In conclusion, I can’t specifically judge ornamentals as a criminal. I think purposeful is important on that point. I think we shouldn’t consider the ornament in an ethical measurement since it is more approximately stylish. It can alter individual to individual. For instance, somebody like ornamented and somebody just like the easiest, immaculate frame of the thing. I don’t also agree on the “ornament could be a squander of time and money” thought, since ornamenting something require manual labor and decision to how the producer applies it on the object. So in case, there’s more manual labor which implies investing more time on it and is such kind of diverse materials that’s utilized for ornaments, it ought to be more costly. But at a few time ornaments constrain us the otherworldly way so that we ought to utilize it reasonably and tastefully at the same time.

“It is not enough to see architecture; you must experience it!”/ EXPERIENCING ARCHITECTURE, Steen Eiler Rasmussen

Steen Eiler Rasmussen is a Danish architect. He was born on 9 January 1898 and died on 19 June 1990. He is the author of London: The Unique City, which is called the best book on London as a town. The other well-known books of him are Town and Buildings, Experiencing The Architecture.

The primary comparison that the author makes is comparing architecture and sculpture. He talks around ‘utility’ criteria in architecture as the greatest distinction. And after that, he talks about an architect as an organizer who plans the setting for our lives and after that he says the challenges. An architect has got to know individuals, he ought to set everything agreeing to the individuals who will utilize that building. So you cant fair duplicate the ancient excellent buildings, they would be futile in this modern era. In addition, an architect ought to anticipate the conditions of the future and he ought to construct such a way that the building can be standing still after so numerous a long time. Also, the building that architect has arranged cannot stay as an individual archive of design like an outline of a craftsman, it’s not that individual since ordinary, conventional individuals will bring it to life.

I need to include that I truly preferred this sentence: “Architecture is produced by ordinary people, for ordinary people.”  I think it is a quite good summarizer sentence.

In another subject, he gives the babies as a case. When they were born, they know nothing around the world. They learn everything by touching, looking at them. They learn by encounters. This can be not so much diverse for us. We learn the shapes by touching them. At this point, he talks around one of his encounters as a case. One day he was at the church of S. Maria Maggiore and he saw boys playing a few kinds of amusement with the ball, they were utilizing the bends of the building. And he says that whereas he was observing the boys, he detected the three- dimensional composition as he never sometime recently. It is the same when we are watching the difficult and delicate things. The shape gives us the impression of being difficult or delicate. The frame can moreover grant the impression of largeness or gentility. These impressions of hardness-softness or gentility largeness are around the surface character of materials.

He says that “Most buildings consist of a combination of hard-soft or light-heavy.”  I discover it curiously. I attempted to suppose how can the inverse things can be combined together. And he says that in case we need to encounter design, we ought to be mindful of all those elements. I figure I got to proceed considering almost them.

BİR ŞEHİR KURMAK: ANKARA, 1923-1933

This is an exhibition prepared by TED University Dean Ali Cengizkan and his daughter Müge Cengizkan with the support of a very large organization. In my opinion, this exhibition is a very useful exhibition especially for people living in Ankara, and I recommend that people from all walks of life visit this exhibition. I would like to express my gratitude to our dean Ali Cengizkan and his daughter Müge Cengizkan for their efforts.

The exhibition reveals a new field of knowledge by modeling the state of housing and public buildings, which is considered the first expansion of modern Ankara. When Ankara was declared a republic, it became the capital and had to expand both in terms of the easy running of the new government and in order to provide accommodation.

In this exhibition, Ali Cengizkan and his daughter made studies about this period of the history of Ankara, which we have the least knowledge about, and looking at the documents that have been ignored to date, original plan sheets, deed, and cadastre documents and increasing collections in the 2000s, archives based on postcards and albums in their knowledge. In addition, this methodology itself has produced an innovative digital valuation and microhistory study.

In addition, there are comments by major Turkish and famous people around the world (writers, politicians, etc.) about Ankara. When I read these comments, I was obviously proud of the city I lived in because I was happy to be aware of living in an important place both in terms of geopolitics and the history of my country.

The most remarkable part of the exhibition for me was the models that showed the changes that Ankara houses had undergone in these 10 years. I also caught my attention to the draft portrait drawings in the exhibition. These portraits were portraits of important people whose thoughts about Ankara were on display.

Some pictures from the exhibition:

Leonard Bernstein: Young People’s Concerts | What Does Music Mean?

     Leonard Bernstein who is a composer, but his understanding of music is the same as the way a designer’s understanding of plan ought to be. He talks almost how music does not really mean anything, that indeed the foremost famous tunes with stereotypical implications are really almost notes and nothing else. He says that the joy of the music comes from the way the notes are put together. Within the plan world, it is very much the same but we have components rather than notes and compositions rather than melodic pieces. Within the compositions we make, we do not put any deliberateness meaning. The components we utilize and the notes composers utilize are not words; they don’t cruel anything other than design and music individually. In the event that our composition is tastefully lovely, it is since of the relations between our components, not since we needed to form something that’s excellent and important to the human eye. These relations are similarly vital in both music and plan. The variety of components does not matter as long as their relations are the same. Bernstein clarifies it by sounding the same note from distinctive rebellious. What makes music ‘music’ is the way these notes are combined concurring to a certain arrange -which able to call as the structure in the plan. It is the creators and composers who make those plans, and the result was as it were a melodic or plan meaning. Any other meaning put upon those manifestations is extra and in no way the genuine point of the method. Subsequently having an point other than creating great relations with great components will as it resulted in disturbance of the entire work.

For those who want to watch the video: https://www.youtube.com/watch?v=rxwWlQNGeKE

Our Handbook!

There’s no question that design studios are the foremost adored portion of examining design by understudies, educators and indeed other individuals who don’t have any connection with design. And I, as a to begin with year understudy of design staff, am exceptionally recognizable with these enchanted places. When studios are watched by an irregular individual who doesn’t know their environment, they are the places as they were understudies draw outlines, make models and remain in for hours. And as you guess, there’s a colossal ‘BUT’. This is often fair to the obvious portion of studios. First perceptions that include shallow exercises alter when individuals got to be a component of the energetic stream of plan studios. Because it is said in STUDIOS Handbook, understudies learn, plan, think, have fun, trade their thoughts considering studio culture and morals. Not as it addressed, juries, workshops but moreover birthdays, snacks and spend time exercises can happen here. Additionally, studios give an expansive put us to be prepared with workforce-related capacities.