Luka Piškorec, firstly talked briefly about historic problems with measurement, and how industrialization and mass production have acted as a solution to this problem. He continued by talking about numerical design processes with machines such as the perspective machine, Alberti’s machine, and code generated machines. Machines sequentialize everything, and sequentializing is also a pattern language.
And then, he mentioned two paradigms in digital design which are manual drawing and generation through instructions.
Playing sand is much more free than other methods of digital fabrication if we compare it to timber, concrete, and other techniques. There is an endless circulate.
Ali Murat Cengiz, architect and pianist, talked about the relationships between architecture and music, and the possibilities of representing architecture through music. He explained how he uses shape grammars and architecture – two/ three-dimensional physical objects to find another order for a four-dimensional medium which is music.
Pınar Yoldaş presented her work in which she focuses on the ‘human experience’ via a specific medium which she calls ‘Speculative Biology’. With the questions, we have discussed this futuristic, combinatorially ‘free’ area where art, architecture and science learn from each other and turn into real products.
Marco Ferrari of Studio Folder shared us his work on the melting Italian border. This prompted an interesting discussion about the nature of borders and their simultaneous architectural invisibility and cartographic presence.
The first digital critic of Vardiya 4 has been ‘ONAGÖRE’ – Ali Taptık and Okay Karadayılar, a group based in Istanbul practicing architecture critically. Okay introduced imkan-mekan, which was an initiation of four academics and Karadayılar himself focusing on the needs of the “small-people” in the urban scale. They very briefly mentioned the activities interacting with public of their initiative. Karadayılar stated that they could not implement what they have projected within the scope of their initiative. Later, Ali Taptık presented his works on libraries starting with Atatürk Library project, which he performed one year after the Gezi Park protests.
She have been conducting interdisciplinary research at the intersection of architecture and cinema in the USA, the Netherlands, Turkey, Ireland and the UK since 1994. She studies both architecture and film and creates an understanding about built environment and urban geographies via film making.
In her presentation we saw lots of examples of her previous students and we saw how those student used the cinematic tools to create the feeling of suspense. Which were very valuable for us since our workshop was about creating a Horror B Movie. She also widen our perspective about different elements such as sound, rhythm, narrative and even stop-motion.
Ayşe Şentürer is a professor in Istanbul Technical University. She focuses on many fields such as perception, representation, philosophy, metropolis, cinema, multi-media, complexity, urban reading, representation and design, experience.
In her session she told us about how cinematic tools are used for representing architecture with many examples and their representation techniques. She explained how motion could be expressed by the medium of image.
Cüneyt Özdemir, journalist and youtuber based in New York, was our first Digital Critic during the last days of our Vardiya Workshop. He talked about his long-lasting love for architecture, his experience from covering the past Biennale organizations and his efforts to include the architectural discourse in the mainstream news of Turkey. We also discussed the opportunities and limitations of Journalism in Turkey, his diverse experiences from mainstream media and his recent social media engagement and how he feels that freedom of speech cannot be accomplished merely by a change of medium. “If you are talking in this new digital age, in my opinion, it doesn’t matter where you speak but mostly what you are saying” he describes. He also explained how freedom of speech is connected with and restrained by the private ownership of media and that the strict state of censorship in Turkey could be a dystopic future we will have to face globally.