Visualizing

Complexity
in Extreme
Architecture

ekstrem Çevre Koşulları

dijital Görselleştirme
Sunum
kompleksite,
mimarlık
extreme environments
digital visualization
representation
complexity
architecture
Morales-Beltrán, Mauricio1; Çetin,
Kaan2; Kavani, Berca3
1
Yasar University, Department of Architecture, Izmir, Turkey.
0000-0003-4883-4314
[Link]-beltran@[Link]
2
Yasar University, Department of Architecture (Undergraduate Student), Izmir, Turkey.
[Link]@[Link]
3
Yasar University, Department of Architecture (Undergraduate Student), Izmir, Turkey.
bercakavani@[Link]

Citation: Morales-Beltrán, M.; Çetin, K.; Kavani, B. (2022). “Visualizing Complexity in Extreme Date of reception: 07/03/2022
Architecture ” UOU scientific journal #03, 60-69. Date of acceptance: 06/05/2022
ISSN: 2697-1518. [Link]
This document is under a Creative Commons Attribution 4.0 International license (CC BY 4.0)
 #03 REPRESENTATION UOU scientific journal 61

Architecture deals with the design of

spaces for human activities, providing
comfort to its occupants, within a myriad
Mimarlık, insan faaliyetleri için mekanların of environmental conditions. When placed
tasarımı ile ilgilenir ve sayısız çevre in extreme environments, architecture
koşullarında sakinlerine konfor sağlar. must be responsive and turn these adverse
Ekstrem çevre koşullarıyla karşı karşıya conditions into a comfort space for human
kalındığında, mimarlık duyarlı olmalı ve bu occupation. The Extreme Architecture Unit
olumsuz şartları, insan koşulları için rahat bir at the Department of Architecture, in Yasar
alana dönüştürülmelidir. Yaşar Üniversitesi University, is a conceptual umbrella under
Mimarlık Bölümü’ndeki Ekstrem Mimarlık which students are invited to develop
Şubesi, öğrencilerin ekstrem koşullar için architectural projects meeting the technical
yapılar tasarlamanın teknik gereksinimlerini demands of designing buildings for extreme
karşılayan mimari projeler geliştirmeye davet conditions. While confronted with the
edildiği kavramsal bir çatıdır. Bu tür ekstrem evidence of the nature of such extreme
gerekliliklerin doğasına dair kanıtlarla karşı demands, students are requested to develop
karşıya kalırken, öğrencilerden tüm tasarım an extreme scenario, which is indeed the
öğelerinin kök saldığı ekstrem bir senaryo storyline wherein all design elements are
geliştirmeleri istenmektedir. Bu bağlamda, rooted. In this sense, a visual narrative is
görsel bir anlatım, projelerin sentaksını the key instrument to code the projects’
kodlamak ve her bir projenin anlaşılabileceği syntax and to explain the logic by which
mantığı açıklamak için kilit araçtır. Bununla each particular project can be understood.
birlikte, ekstrem mimarlık şubesi, ekstrem However, the unit demands the use of rather
koşullara duyarlı ve dolayısıyla bilimsel bir technical arguments to sustain a project that
yöntemle geliştirilmeye yakın bir projeyi is responsive to extreme conditions, thus
sürdürmek için teknik argümanların close to being developed through a scientific
kullanılmasını talep etmektedir. Öyleyse, method. But then, how can visualizations
görselleştirmeler, teknik bir sorunun birden express individual approaches to the
fazla çözümüne yönelik bireysel yaklaşımları otherwise obvious solution to a technical
nasıl ifade edebilir? Projenin teknik taleplere problem? How can visualizations maintain
verdiği yanıtı ifade ederken görselleştirmeler uniqueness while expressing the project’s
eşsizliğini nasıl korur? Her iki soruyu da response to the technical demands? To
cevaplamak için, ekstrem ortamların içsel answer both questions, we must embrace
karmaşıklığını benimsemek gerekmektedir. the inherent complexity of extreme
Görselleştirmelerin kullanımı, öğrencilerin environments. The use of visualizations
beyan ettiği bu karmaşıklıklarla kendi bakış allows students to deal with such complexity
açılarını kullanarak başa çıkmalarına olanak from their own perspective, expressed in
tanır. Bu yazıda yazarlar, ekstrem mimarlık the language of those representations. In
şubesinde geliştirilen iki projeyi eleştirel bir this essay, the authors attempt to provide
şekilde gözden geçirerek bu sorulara cevap answers to these questions by critically
vermeye çalışmaktadır. revising two projects developed in the unit.
62 VISUALIZING COMPLEXITY IN EXTREME ARCHITECTURE M. MORALES; K. ÇETIN; B. KAVANI

A SOURCE OF DESIGN like deserts. But also, conditions VISUALIZING

created by human-made disasters,
COMPLEXITY such as nuclear radiation, COMPLEXITY
Architecture deals with the droughts, or rising sea level. The realm of these explorations
design of spaces for human Consequently, architecture that is the digital environment, thus
activities, within a myriad of must be responsive to these the visualizations represents an
environmental conditions. From extreme conditions, must first immaterial world, where rather
a physical point of view, one equip itself with a set of technical than bounded by physical laws,
outcome of architecture is a knowledge - the goal of which the visualized objects acquire
construction whose goal is to is to support a design that can value as cognitive tools because
provide comfort to its occupants. turn these adverse conditions of their semantic value. Referring
The amount of work, or energy, into a comfort space for human to digital models in cultural
involved in providing this comfort conditions. Thus, how can this heritage (Pietroni and Ferdani,
is closely related to how far are architecture that is responsive to 2021), explain that the ‘content’
the comfort conditions from the extreme environmental conditions of such digital models is not just
environmental conditions, which be defined? a mere reproduction of a physical
are usually measured in terms of The Extreme Architecture entity, but ‘a communicative
temperature, daylight, ventilation, Unit is part of the Graduation and cognitive unity, endowed
acoustics, and so on. All these studio at the Department of with form and meaning.’ Such
conditions display average values Architecture, Yasar University, in an approach is valid beyond the
that define what we could call Izmir, Turkey. The main goal of limits of cultural heritage and
‘normal’ environmental conditions, the unit is a conceptual umbrella applicable to any digital model
and to which architecture under which students are used in a design process, because
responds in a similar fashion, i.e. invited to develop architectural it is in this dynamic process where
with technology and construction- projects meeting the technical the designer experiences and
related knowledge that entail the demands of designing buildings simulates possible scenarios,
design of an average building for extreme conditions. The unit which ultimately leads to meaning
or construction. Obviously, encourages design explorations and understanding, and thus to
these normal conditions are within a wide spectrum of acquiring knowledge. Hence the
highly dependent on specific extreme environmental importance of experimenting with
locations; for example, in terms conditions, including deserts, the virtual model. Visualization
of temperature, what it could space exploration, post-disasters, tools are not only useful to
be considered cold for a place, social inequalities, and so on. enhance students’ understanding
may be considered warm in While confronted with the of somewhat complex theoretical
another. The obvious point here, evidence of the nature of such subjects but also promote self-
in the definition of so-called extreme demands, students are learning by experience and
normal architecture, is that the requested to develop an extreme interaction. For example, they
conditions designers provide to scenario that justifies what seems “include dynamic demonstration
the occupants of these spaces, a contradiction in itself: why of theoretical engineering models
are setting up comfort levels anyone would live under these allowing students to manipulate,
within environmental conditions, conditions? And the answer is experiment, and translate theories
to which humans - in one way meant to support, primarily, the into real-world applications.”
or another- could adapt without arguments needed to define (Haque, 2003). Visualizations
threatening their very existence. the users-function relationship can be used to cover the entire
However, how does architecture (e.g. researchers- facilities for design process, from the initial
respond when the environmental exploration, or astronauts-habitat) design concepts to the final
conditions do pose a threat to and the particular technical stages of fabrication and building
life? To attempt a response, we demands over the design (e.g. construction. Moreover, 3D
must first address the concept the role of the building envelope models can be used by design
of extreme environmental or structural challenges). teams for coordination and also
conditions, which is encapsulated Nevertheless, when we considered to convey design ideas to clients
in the idea that all environmental the different projects developed in and stakeholders (Bouchlaghem
conditions are extreme as long as the unit during the last semesters, et al., 2005). Although a 3D
humans cannot live or even stay we realized that the extreme design process enhances data
within them, without resorting to scenario is indeed the storyline integration, visualization, and
life-support equipment or outfits. wherein all design elements are interaction, the use of 3D models
This is the case of extreme cold in the context of coordination and
rooted.
environments, such the Artic, discussion of the work associated
or extreme hot environments, to build what the model
 #03 REPRESENTATION UOU scientific journal 63

represents, remains a challenge To answer both questions, first structure will be built using
for design teams because these we must embrace the inherent 3D printer technology before the
digital models are difficult to print complexity of extreme astronauts reach Mars. Aluminium
(Tory and Staub-French, 2008). The environments. In all scenarios, and dry ice will be used as main
main disadvantages of 3D models narratives, and visualizations, building materials. The 3D printed
are the often-large file size, their there is one common aspect: structure will be vertical to avoid
inherent complexity that makes complexity. The use of dealing with the complex forms of
them unsuitable for a larger non- visualizations allows students to the Martian landscape. Vehicles
specialized audience, and that deal with such complexity from with wheels will not work here,
the potential of using structured their own perspective, expressed so the design is not based on the
information is lost due to the use by the language of those use of the land, but on the floating
of non-architectural applications representations. In the following elements and the advantages of
to produce the design outcomes sections, two projects developed the Martian atmosphere.
(Boeykens, Santana Quintero and in the unit will answer these
Neuckermans, 2008) questions. All this complexity is expressed
through the use of simple
The main role of digital DESIGNING FOR MARS visualizations. Because the
visualization in Architecture is Martian elements are unknown
representing relationships beyond Why going to Mars? Planet and their behaviour is therefore
the geometrical and establishing Mars represents the hope for a unknown to humans, their use
“relationships between analysis better future for humanity and an in the design needs to be easily
and visualization to the structure opportunity to avoid repeating the understood. Consequently, the
of abstraction” (Koutamanis, mistakes made on Earth, polluted building shapes are simple and
2000). In their study, Cao, Kahlon and in countdown to extinction. organized around three types:
and Fujii (2021), remind us of the For this reason, a pioneering the flying elements based on
key role of design interpretations research centre is proposed for the superconductivity on Mars,
during the design process, colonization and habitation on which allows them to float in the
bridging the gap between reality Mars. The Lava tubes located Martian atmosphere. The shape
and designers’ imagination. Design southwest of Mount Olympus, of these elements is shown with
interpretations are inherently were selected as location. Lava simple geometries; the ones with
ambiguous and hence, their value tubes are important because the spheres represent one-person
as both tools and framework they protect from radiation and capsules for searching & exploring
of design explorations. In this sandstorms, and because they the unknown Martian landscape.
sense, a visual narrative is the key provide access to underground The shape of the research centre
instrument to code the projects’ dry ice. This extreme scenario appears complex in opposition
syntax and to explain the logic by is completed with the use of a to the overall simplified forms.
which each particular project can superconducting substance, able The reason is that this complex
be understood. And herein lies to produce magnetism when the shape can create new structures
one first apparent contradiction. air temperature is -120 Celsius and new stations, so its complex
The unit demands the use of degrees. In architectural terms, shape represents the complexity
rather technical arguments to the complexity is addressed by of organisms. The capsules’ forms
sustain a project responsive to revolving around three aspects: are spheres and circles, which
extreme conditions, thus close material of the project, the 3D can be created by the 3D printers.
to being developed through a printing-based structures, and These simple geometries are
scientific method. Then, how can the verticality which converts supported by vertical structures,
visualizations express individual mechanical to static energy. The which are very tall. The vertical
approaches to the otherwise project comprises three types of shapes give the feeling of
obvious solution to a technical spaces: flying and fixed research ‘height’ compared to the small
problem? Whereas it is possible units, and research centre. Flying shapes, defining the border of
that visualizations allow the research units have the ability to the building areas. Because the
uniqueness to appear in the ‘fly’ thanks to the superconductor main idea is showing the visuals
design, as they bring in aesthetical properties and provide quick and with the simplest geometries, the
or artistic perspectives, in this case easy access to conduct research at research center and the building
the technical dimension of the any point on Mars. The main crew design uses only tubes, because
projects are also to be expressed. accommodation units are located a hierarchy is implied in the
Thus, how can visualizations close to the Martian surface, organization based on simplicity.
maintain uniqueness while and include all living areas; they This is for avoiding a crowded and
expressing the project’s response are located inside the lava tubes huge building, so only one of the
to the technical demands? to be protected from external buildings uses this complex shape.
factors. The construction of the
64 VISUALIZING COMPLEXITY IN EXTREME ARCHITECTURE M. MORALES; K. ÇETIN; B. KAVANI

DEALING WITH
UNCERTAINTY IN
REPRESENTATION
The Martian landscape is an
uncharted territory. The absence
of real photos of the area where
the project was located, made it
difficult for realistic visuals and
required the use of abstraction.
This proposal deals with the
complexity of the Martian context
by increasing the intelligibility of
the axonometric image (Fig. 1),
drawing it as simple as possible.
Since the form of the project
responds to the 3D vertical
printing logic of the structure,
the best technique to show the
resulting architecture is the
axonometric drawing technique.
The building type and mass are
thus defined by and through
the axonometric, which is the
output of the modeling software.
The uncertainties of the Martian
environment, on the contrary,
are just hand drawings, added
later through the use of shadows,
textures and selected colours.
The choice was thus drawing the
axonometric in a cartoon style,
blending the fictional aspects of
what is imagined to be or happen,
with the abstractions used to
represent both the conceptual
ideas and the location of the
project. These abstractions are
represented primarily by non-
scaled drawings. However, Fig. 1 - Superconductivity on Mars. Axonometric (Berca Kavani).
cartoons are usually images
depicting bright colours, which
form expresses the yet unknown surface and underground layers,
would contradict the overall
Martian underground. Grey breaking the dimensions of the
simplification of the building
indicates the crest of a crater and drawing.
drawing, where the cartoon
its darkness. Since the project
technique covers up the need The section drawing technique
was located inside a crater, part
for detailing and joints. For this is chosen to express the dynamic
of the surface is cut off in the
reason, pastel tones are used to of the structure and the life inside
drawings, so that the interior can
visualize the complexity of the the project. The section drawing
be shown. Finally, the astronaut
project. Colour choices define (Fig. 2) answers the question
is placed as the key element of
materiality. Blue represents the of how life on Mars would be?
the visual narrative: who will use
building envelope made of dry However, unlike the axonometric
this building? The astronaut is
ice and yellow represents the 3D drawing, the section follows the
the reason for the structure to be
printed structure. The yellow- conventional rules of technical
designed that way. The human
white texture indicates the surface drawing, yet is based on using
figure entails life, and thus it is
and atmosphere of Mars. The two specific tools: a range of
the first element of the project
clouds and surface layers look like pastel tones and lines of different
that attracts attention, while
a rusty paper texture, matching geometries. The colour scheme
simultaneously staying in both
the land surfaces. And this kind of defines the use of each material.
 #03 REPRESENTATION UOU scientific journal 65

Brown colours indicate the crater

where the project is located.
Thick and sharp brushed style is
used to represent abstract and
functional visualizations. In this
case it is used to express the
irregularity of the crater’s form.
In the section, the structure is
indicated in grey for a better
fit with the idea of being a
technical drawing. Attached to
this structure, blue is chosen to
represent the materials used to
build the flying units’ structures.
Gray is for the structure and the
super conductivity elements.
The gray lines in the background
represent the superconductivity
between the linear structures,
emphasizing their heights.
Fig. 2 - Superconductivity on Mars. Section (Berca Kavani).
Thin straight lines were used in
the background to emphasize
the heights and verticality of
the slender superconducting
structures. Since the goal of the
section is to show human life on
Mars, the circulation, the elevator
and the underground areas are
highlighted in here. The circulation
in the section helps to explain the
connection between the research
units and the research centres in
particular. At the same time, the
circulation logic in the project was
explained by showing the elevator
between the research centre and
the flying research units. Due to
the complexity of the project,
two further drawing decisions
are set up to emphasize the key
aspects: a strong horizontal line
connecting the two visuals (above
and under) — thus connecting the
external life with the inner living
space —, and using pop-up circles
to provide further information of
the designed areas. These close-
up images give insights into the
way people will live in the Martian
environment.

The accommodation units

located inside the crater
symbolize the hope for all
humanity (Fig. 3). The uniqueness
of the designers’ approach is
expressed by depicting the cave
as dark and somewhat scary;
conveying feelings of insecurity
Fig. 3 - Superconductivity on Mars. Render Visualization (Berca Kavani). in the background. However, the
66 VISUALIZING COMPLEXITY IN EXTREME ARCHITECTURE M. MORALES; K. ÇETIN; B. KAVANI

structure and all design that is EXTREME harmony with this complexity.
made by humans come from the However, since the distinctive
light, which represents hope, a TRANSPARENCY IN lines were clashing with the black
new life and a new beginning. THE NORTH SEA lines of the background, a further
The scary cave emphasizes the simplification of the design was
contrast between the bright layers A white background provides an required. Gradually, the lines’
and the background, representing adequate framework to highlight thickness and colour contrast with
what is still undiscovered and the scale of the oil refinery the external elements and, thus
untouched. complex and the complexity of combined, highlighted specific
its structural design (Fig. 4). While features against the deconstructed
From the surface the light the original contextual chaos blank design canvas.
comes in, thus the structure is is depicted in simple black and
very bright; hope is depicted white, the colour will be used in Transparency and depth
by showing the survival units further stages of the project to slowly began to play a role in the
in white. Visually then, the express a new complexity of both developing of the project and the
accommodation units are interior and exterior design. The expression of its technical features
highlighted and the emphasis is use of drawings meant to devise (Fig. 5). To achieve a full sense of
put on the feeling of hope. Life on a way to explore how intricate integrity, the complexity of the
Mars is indicated by placing the and compact the features of parametric design is integrated
astronaut figure in the centre of the existing structures were. using transparency in a way that
the image. The intricacy of the structural the even the supporting elements
components was one of the key are interlaced with the aesthetic
The astronaut represents references in forming the idea features of the proposal. The
humankind. No longer on Earth of uniqueness in the design. In drawing, thus, turns itself into an
but somewhere else on Mars. This the early phases of the design illusion, a jumble: it provides a
visual technique is not a cartoon process, sketches are used to distinct perception by generating
but a sort of rendering, which identify those key design aspects the sense of depth in this project,
we can call an abstract render. that lay the foundation of what will while simultaneously, grabbing
Some bright brush touches show be developed as an architectural attention by displaying a graphic
the contrast between the dark project. Such key aspects are language, which is close to a hand
background and the brightness, often complex compositions drawing. The simplified features
revealing the feeling of hope and a that, through the design process, intend to encourage the observers
new beginning. fostered an architecture in to figure out by themselves

Fig. 4 - Oil Rigs Representations (Kaan Çetin).

 #03 REPRESENTATION UOU scientific journal 67

Fig. 5 - Proposal axonometric (Kaan Çetin).

Fig. 6 - Plans (Kaan Çetin).

the mystery of the inside box, The integration of sections a significant role to convey
which was lacking details and and plans, which diverge the designer’s intentions. The
transparency. During the design with colours and the use of combination of a colourless,
process, the density and intricacy supporting detail drawings, had abstract, and translucent
of the project’s features, have to be defined without scaling background generated by the
resulted in unusual intersections. them or even adhering to any facade and shell structure, in
Simultaneously, along with the exact technical features of the contrast with the aesthetic
simplified diagram descriptions, oil refinery complex. Yet the concerns and optimized structural
the focus shifted to specific design intensity of the technical language system details, allows the designer
concerns, which required to solve of these drawings should not to gradually forge a unique
the overall confusion. The design be underestimated. Along with impression of the design solution,
components were put in focus by the technical representations in a technical sense.
the use of sketches and colours, in the plan drawings (Figure 6),
yet the resulting jumble began to the colours and line choices,
decay along with the many foci. integrated in this context, play
68 VISUALIZING COMPLEXITY IN EXTREME ARCHITECTURE M. MORALES; K. ÇETIN; B. KAVANI

DISSECTING intended visualization, somehow layouts and systems sections. This

combines the visions, providing singular image is, thus, based on
COMPLEXITY not only the exploded diagram, minimal features to emphasize
The specifics of the intricate but also those from the plan a design narrative where the
structural system, the extreme
environmental conditions in
which the project is located,
and the current design of the
oil refinery become the design
substrate to which the architect
is confronted. To display the
resulting complexity, therefore,
the design is deconstructed and
thus, the parts that are intended
to draw attention, exposed (Fig.
7). The deck, floors, structure,
envelopes, and building systems
structural systems have all
been separated in an exploded
diagram. The division helps to
differentiate between the specifics
of the intricate combination and
the design’s features. The inherent
chaos inside the black box is
separated into layers, using colour
codes to highlight the contrast
between the selected elements
and the blank background. The Fig. 7 - Exploded Axonometric (Kaan Çetin).

Fig. 8 - Axonometric section (Kaan Çetin).

 #03 REPRESENTATION UOU scientific journal 69

complex aspects of the structure into each other. These studies for example, might question the
have disappeared. are not developed in a sequential intrinsic nature of that difference,
order, but rather as a coordinated e.g. the lack of gravity, and thus
Drawing techniques, such task. Their goal is to make moving away from describing
as system sections, based on the architect’s and designer’s reality to designing one where
accepted technical format provide perceptions aware of the extreme spaces are indeed very different
integrity to the design; sketching conditions in their projects, by from ours on Earth. This is the
over the drawings provide a better experiencing the design values at moment when representation
fit with the design intentions. every stage of the architectural takes commands of the project
A balance in the use of these project, from technical decisions and thus reaffirming that indeed
drawing tools promotes design in visualization design aesthetics “architectural drawings are easily
integrity and depicts a sense of to the mixture of representation able to transcend any reference to
harmony in the composition (Fig. techniques. In this regard, the reality” (Cook, 2014).
8). The basic scale-free sketch section provided insights into the
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