THE ART WIND

Before starting to design The Art Wind; we reviewed the famous architectures, Landmarks and art centers in Chicago. We conducted research on the sociological structure and climate of the city. In line with the data we found; we made decisions based on the question of how we can design a better, more useful and more interesting structure than the existing ones. These decisions; 

• Appealing to different senses 
• Bringing together the artist and the art lover 
• To encourage people to make art 
• To be inviting, to create a Landmark 
• Calling the people of the city to art by using the power of colors 
• Creating exhibition areas with open, semi-open and closed workshops 
• It was to attract all people who are interested in art to the field without separating people by removing the borders. 

The first sketches were created in line with the exact locations in the program, the ground coverage limit determined on the land, and the decisions we made. A diagram describing the relationship between the spaces was created by calculating the approximate square meter measurements required by the desired spaces. In line with this scheme, the first plan designs were made. The first plans we designed consisted of enclosed spaces bounded by concrete. Abandoning this design decision; we decided to use glass surfaces where our senses can feel freely while making or experiencing art, by switching to an open space design where entrance and exit are free. 

Our first step towards achieving these goals was to lower the building to the underground level. Thus, we designed most of the desired units underground, transforming the entrance level into an art garden. Our aim in bringing the building underground was to get the light inside the building in a controlled way. For this, we designed the ceiling floor of our underground exhibition hall as a fogged glass floor, our aim was to feel the shadows created by the movement of people on the upper level in our lower level exhibition hall. We created visual differences in the exhibition area with the shadows that the steel beams carrying the glass ceiling will create on the floor. 

We planned the glass floor ceiling of the lower floor as an exhibition area that can be opened and closed at the entrance level. Considering Chicago's climatic conditions, we decided that the fully open studio is not useful in all seasons. Based on this, we designed a movable sliding copper-plated roof cover in order not to constantly close the open exhibition space. We achieved this by opening the façade of the painting-sculpture studio. We positioned the sliding roof over the paintingsculpture studio next to the exhibition area. The roof cover is carried by a structure of steel beams and columns and slides on wheels perpendicular to the building, providing a sheltered space for this open exhibition or studio space. We have made openings on the copper plate we use in the roof covering, where we can place blue, red and orange glasses. The purpose of using these colored glasses on the roof was to make the sunlight create different colors on the ground. 

We designed the green space distribution in a way that does not restrict people's access to the exhibition area. In this way, we brought people together with art with the exhibition area and pavilion that opens and closes without having to enter a building. The purpose of using the pavilion in the design was to ensure that it was in its free space. Our pavilion consists of wind turbines of different sizes and heights that can work with the wind of Chicago, the wind city, while at the same time people can move between them and touch and rotate them by hand. 

We placed a cafe and seating area right next to the pavilion area. Thus, we have provided an opportunity for people who are tired of visiting the art garden or who want to watch the art while sitting for a while. We have designed this area so that different activities such as celebrations and cocktails can be held. We designed the top of the cafe building as a terrace to obtain a semi-open space. 

There are three separate entrances in our art garden; the cafe, the painting-sculpture workshop and the entrance with stairs in the open area between these two buildings and providing access to the lower level. While making the staircase leading down to the lower level between the cafe and the painting-sculpture workshop to be noticed, we placed a wall decorated with eaves that partially hides the open car park, with water flowing over it. Thus, we decorated the lower quota entrance with art. We wanted to both affect the sense of hearing and benefit from the calming and calming effect of water by collecting this water coming down from the wall in the pool below. 

We made the walls of the performing arts studio located on the lower level glass, and associated it with the exhibition hall. The purpose of our use of glass walls is to enable the people who come to visit the exhibition to watch the artists and the art, and to interact with the artist and the art lover. 

The Art Wind; with its ever-changing pavilion design, harmonious studio design for all branches of art, and modern production techniques, it will be a Landmark that will keep up with its era and culture in the future.