Bir kalıtımsız iz olarak mimarlık üzerine bir deneme
Architecture as a genetic trajectory
- Tez No: 100723
- Danışmanlar: PROF.DR. K. FERHAN YÜREKLİ
- Tez Türü: Doktora
- Konular: Mimarlık, Architecture
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 1999
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Fen Bilimleri Enstitüsü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: 96
Özet
ÖZET“BİR KALITIMSAL İZ OLARAK MİMARLIK”ÜZERİNE BİR DENEME.“Bir Kalıtımsal İz Olarak Mimarlık”üzerine yaptığımız bu çalışma, görüngübilimsel temelde mimarlığı bir üst başlık olarak ele alan, onun özünün de bojluk olduğu ön kabulü ile mimari biçimlenmeyi eşzamanlı (senkronik) ve artzamanlı(diakronik) olarak tartışmaktadır. Bu niyetle, Giriş Bölümü, kapsamın ele alınma sebeplerini içerir. İkinci Bölüm özellikle çağdaş mimarlık söylemlerinin görüngübilimsel bir yönelme ile kavranmasına olanak sağlamak için olgu, görüngü ve olay kavramlarının farklılaşması ve mimarlık alam ile kurulacak ilişkiler üzerine yorumlan içerir. Mimarlık olgu, olay, ve görüngülerin metaforik algısı, farklı olguların birçok an ve olay ile biçimlenmesidir. Bu varoluşların insan algısındaki şekillenmesi ise görüngüler yoluyla olur. Görüngülerin içsellikleriyle yapının göstereninden daha aşkın iletişim kurma yeteneklerinin olmasından dolayı anlamsal dizgeler oluşur. Böylelikle gerçek bir yapıdan bahsedilebilir. Bu bölümün önemli kavramı dekonstrüksiyon, bir üslup olarak değil, yine zamandan bağımsız bir iletişim olanağı olarak da değerlendirilmiştir. Çalışmanın Üçüncü Bölümü“arkitektonik yapı ve kalıtımsallık”kapsamında mimari biçimlenmeyi inceler. Kalıtım, önceki ve sonraki arasında var olan aktanmsal bağdır. Ardışıklık ve evrimsellik kalıtımın özüdür. Önceki, sonrakine göre yeterli olmayan bir zorunlu koşuldur, buna göre takip edenin öncekine göre daha zengin ve aşkın olması beklenmelidir. Çalışmanın bundan sonraki alt bölümlerinde biçimlenmede kapalı dizgelere dayalı statik biçimlenme (özellikle toplumsal uzlaşmaya dayalı bir biçimlenme olarak) 'doymuşluk' algıda dinamik süreçleri güçlendiren açık dizgeli biçimlenme (özellikle 20.yüzyılın deneysel biçimlenme süreci olarak) 'arakesit biçimlenme' kavramları ile ele alınmıştır. Mimarlık kuramlarının çoklaştığı ve karmaşıklaştığı bu zaman diliminde karşımızda birden ev gibi, mağaradan bu yana inşam mekânsal bir iz olarak kuşatan en öz, en bildik ve en güvenilir yaşam birimini bulmak çok düşündürücüdür. Tüm arkitektonik oluşlar arasında en geçici olma özelliğini taşıyan ev, ürettiği imgesellikle en kalıcı olandır. Bu nedenle kişinin seyirci olmadığı tek gerçek olan ev üzerine yapılacak deneysel çalışmalar, insanın genetik programında algıya yönelik bir iz olarak da yer alacaktır. Sonuç bölümünde ise çalışmanın mimarlık alanı içindeki yeri tartışılmıştır.
Özet (Çeviri)
SUMMARY ARCHITECTURE AS A GENETIC TRAJECTORY Structural changes in the conception of knowledge thus lead us to a better understanding and definition of phenomenology. Phenomenology interprets knowledge not as a closed system or construction, but rather as a dynamic existence signified by interaction with and transition to others. Phenomenological method contradicts with the preposition that bases its emergence on knowledge theory. Due to the nature of its subject it is a mental process. Phenomenology, as a product of twentieth century western critical thinking, has been mutually influential with hermeneutics and existentialism. And yet while positive thinking is engaged with the visual or the factual; phenomenology demands a receptivity to the full ontological potential of human experience. This study aims to discuss architecture from a phenomenological perspective, emphasising space as its core and conceiving architectural formation as a diachronic process. Space, in architectural context, is generally conceived as a void defined through design. The objective is to transform void/space into a defined and recognised tangible entity. Through the transformation, the undefined space attains a new reality possessing both objective and mental attributes. In this study, some generic traces of architecture are referred to as oppressive, thus it is aimed to elude all architectural acts based on presumptions. New provides the energy required to activate imagery. Like space/void, it is not quantifiable, but it can communicate and trigger desire. And this is essential in distinguishing architecture from the art of building. Communication is a consequence of the formation of parallel texts by meaning allocating mechanisms. This is an act of superposition. Today fact, phenomena and happening/occurrence are frequently misconstrued. Although they might have similar connotations, their definitions require different contextual thresholds. Second section of the study comprises a commentary on the differences of these concepts and then- potential relations to architectural context. Fact is distinct, detailed and final. It is a construction. Phenomenology can be defined as the study of how phenomena appear/happen. However it can not be limited to the visual domain. Occurrences that are not visual or factual can be classified as phenomena. Phenomenon is a mental manifestation. It may also concede the ability of thinking on a thing not thought of before. Phenomena lead us to new understandings when facts are inadequate. Phenomenology entails a deeper interpretative dimension in the form of hermeneutics, and hermeneutics allows for the disclosure. VIIt is obvious that there are powerful interactions with facts and their supporting phenomena. Yet, it introduces a paradoxical situation indicated by a potential problem of synchronisation. Derrida proposes the term original dilay to explain the situation;“first is not a first if there is not a second to follow. Thus, second is not only a procrastinated occurrence but also a must to enable first's existence. Thus the existence of the first is not only limited to its own attributes.”The interaction of fact and phenomena has the potential to introduce a similar problem. The concept of occurrence comprises a collection of uncontrollable processes with inner cycles. Program is a fact ascribed by attributes such as, a priori existence, cyclical recurrence, empirical and transitional (Tschumi, 1994). Occurrence is defined“when the program's potential meets the conditions surrounding the construction.”Architecture is the metaphorical perception of the facts, occurrences and phenomena, thus concretion of different facts through a variety of instances and occurrences. Phenomena are accounted for the formation of these existences in human perception. Meaningful systems are due to the inclusive nature of phenomena enabling more effective communications than the visual attributes of constructions. It is agreed that all perception-based productions are consequences of a multiple reading process. This process is distinguished by distribution and address determination. Image hunting, visual media, consuming of visual declarations without decoding... all account for today's perception styles. It can also be argued that different media, effecting taste and perception levels, dominate every period. At this point what is important is the timing or duration of the conception patterns. In the prominent essays of thinkers/philosophers like Descartes, Aristhotheles, Kant, Hegel, Heidegger, Derrida, Deleuze aesthetics is exhorted as a dimension of perception and presentation, thus the attributes of architectural instances transcending the limits of time and locality are enhanced. Historians of architecture, architects and philosophers agree that architecture cannot be limited to the concretion of functionality and/or form. If the problems of architecture are to be traced to their roots, then attention should be focused on each and all of the issues like sheltering, socialising, possessing and identifying. Design is the act that leads to the creation of place. Designers seek to meet the requirements of the individual, society and nature in their constructions. The house accelerates the feelings of identifying with a place and inclusion within a place. It provides a sensation of inclusiveness. Deconstruction is an approach adopted to overcome a misrepresentation. In this respect deconstruction is as ancient as the existence of language. As highlighted by Octavio Paz and Bachelard, poems can be conceived as transformations within a language.“ Material exists in a free state in poetic creation. Transformation commences as soon as words, sounds, colours and materials are introduced to the poetic cycle.”There exist a variety of deconstructivist processes in a variety of contexts. Thus, deconstruction cannot be limited to a theory or a singular concept. viiIts existence depends on operational but not control mechanisms of today.“Rules become Nietzchean manifestations, and they, consequently, enable the probability of an instance referred to as architecture by Derrida. All values are ascertained.”In a state where there is nothing left to say, deconstruction obtains an enriched background. In an architectural entity, this process commences when values related to its aestethic conception, its functionality and form are suspended. Human beings transform themselves within a universe of manifestations while constructing house versus nature, society versus individual, interior versus exterior. They surround. This is the conscious of image making and designing individual. In the third section of the study, hereditary context is discussed in relation to consciousness and descent. Heredity is a transmittable relation existing between post and prior. Evolution and succession are essential to heredity. The prior is an inadequate conditional for the post, the post is expected to be more comprehensive and enriched.“All of the succeeding stages continuously improve thus reaching to a level more elaborate and complex than the precedent.”An architectural entity can be conceived as the enclosure of closed systems bearing an ability to transform when interacted. Integrity, transformation and self- referentiality (Piaget, 1982, pp. 10-13) enhance its tectonics. Hereditary construction contains knowledge forwarding mechanisms enabling a constructive program for a potential successor, while protecting its own. This is a coding system based on transmission. Tradition is also exposed to dissociation through repetition -thus protection- of knowledge and cultural abstraction.“Attribute required to signify the traditional, is repetition from its exordium to end- through a time span long enough to keep its periodicity indistinct. At the same time the whole background and ideological context becomes vague, and the form transforms into a traditional topos. This is relevant to symbolism. Symbols, through successive repetitions, also tend to differ from their initial states and attain abstraction. ”Architecture as a dynamic process, provides an effective medium for formal and semantic changes.“Changing conditions in the use of lighting, allocation of functions, and consequent changes in interior and exterior organisations will trigger building's reactions thus effecting its perception. Such mental/visual accumulations will enable the perceiver to recognise the building's identity.”In the following sections of the thesis, the term saturation will be used to refer to static formation resulting from closed systems; whereas open-ended systems enabling dynamic perceptions will be referred to as intersectional formation. According to Tanyeli pre-modernist architectural space exist in a cultural framework, and tradition and unavoidable conformation have impacts on its formation. Constructive conception of the central authority and the traditional formation- perception pattern of the society act in a dialectic nature to enable architectonic body. The state of saturation continues till a new perspective is adopted by the society. viiiModern architecture was required to comply wit a dichotomy. As Tanyeli states, modernism sought to find a mutual conformation between the desires of the central authority and the traditional continuity. This, in a way, aims to delete the formal aspects of the collective memory in order to enable a new abstract construction. Thus, new aesthetic values are defined. In relevance to intersectional formation, modernism will be accepted as the framework for discussion on the thresholds of 20th century architectural discourse. Thus, today's architecture will be discussed on an axis determined by the sub programs of modernism, including post-modernism. Revivalist/historicist formation approach will be excluded from discussion. According to Tanyeli, like modernism, post-modernism also contradicts with a limited definition. Post-modernism can be identified by its adopted narrative based on visual communication and repressed reasoning of form. Everybody is allowed through the gate to modernism. This is synonymous to the modern revolution reaching out to people. This extensive nature reflected in architecture, economics and politics; consequents in the emergence of new authorities, like media and stock markets; growing with the dynamics of populism. In this polyphonic state is now distinguished a decentralised new reality. Current debates, referring to the interactions of nature and architectural formations, were initiated by a series of natural phenomena: erosive natural forces constantly changing earths surfaces and topography, winds reforming dunes, endless folds and striations... Consequently, a new series of concepts such as“folds”and“striae”were elaborated. Deleuze bases his definitions of“fold”and“stria”on time and material transformations, thus highlights an organismic stratification. While exemplifying his analysis on the dynamic relation between perception and physical reality, he refers to Baroque Architecture;“Folds, existing in decorations and articulations of Baroque space, are like the consequences of individual bodily or holistic experiences feflected in religious contexts.”As in other cyclical movements, elastic fluctuation also provides a new reason of existence for materials. This in a way, is anew energy. Indefinite points on topography define a line. The points of inclination in a fold resemble the“elastic points”of Klee and“smooth and firm angles”of Kandinsky. Architecture as a means of communication enables the possession of new perceptual understandings. Building is now conceived as an industrial product; an entity to be consumed. Here, electronic media and virtuality also account for an abstract reality. This abstract neo mechanical reality bears a supportive role in our mental quest for freedom. While extending the discussion on architectural discourse to other directions, we find ourselves in a very familiar dimension. Allegorically, this situation can be depicted by descend. Space leads us to house through spatialising man, who is restructuring and dimentioning space. The last parenthesis of the study is dedicated to house in this respect. The first shelters man inhabited to be protected from natural conditions were caves. Through the course of evolution, caves were abandoned in favour of dwellings of ixman's creation. Technological innovations enabled new constructions or architectonics, articulated according to extended requirements and programs. As Kuban states,“After all these centuries of developments and evolutions it is rather fascinating to still discuss doors, windows, roofs... In all architectural traditions; the most humanistic, common yet personal and social amongst all artefacts is the house. It is unique for its potential to fully reflect even the most private moods of its inhabitant.”From primitive to virtual, house encloses man as a spatial boundary. The physical life of a house is similar to that of man. Although possessing the attribute of being the most temporary among other architectonics; house also attains longevity due to the existence of its symbolic attributes especially significant in monumental architecture. According to Bachelard, house embraces dreams and shelters the dreamer. Hence, dreaming guides us in this hereditary flow. Modern architecture, in a position against the evolutionary development of architecture, proposed to restructure the imagery and semantic coding of a house while trying to convey the idea of modernism to the society. In this restructured system the house is defined by an alienated and tyrant nature. The tyrant discourse of Le Corbusier, consequents in a“dishousing”project. House is a goal. The theoretical and practical dimensions of a new life are experimented in the house. Man is considered only as another moving element in this new tyrant architectonic context. The sheltering edges/walls are punctured, the interior became the exterior, and the dominant sheltering element- the roof- is omitted and transformed into a plane slab, another space to be inhabitted. The first program that Eisenman dealt with in respect to deconstructivism is again a house. In his virtual house project, Eisenman, reprocesses the precedent deconstructivist house 4 while eliminating all generic elements and undefinable forms. An objectively definable house does not exist for there exists no house image that could be attributable to virtuality. Eisenman' s constant experiments on house can be interpreted as a step towards restructuring of human perception. His experiment is very critical in respect to architectural practice, education and theory. House is considered as a pure ideological object. The attempt to take man out of his house is equivalent to dissuading the architect from being a portrait designer.
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