Sinematografik montaj yoluyla mekansal belleğin temsili: Milli Reasürans yapısı
Representation of spatial memory through cinematographic montage: Milli Re Building
- Tez No: 949412
- Danışmanlar: DOÇ. DR. FUNDA UZ
- Tez Türü: Yüksek Lisans
- Konular: Mimarlık, Architecture
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2025
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Lisansüstü Eğitim Enstitüsü
- Ana Bilim Dalı: Mimarlık Ana Bilim Dalı
- Bilim Dalı: Mimari Tasarım Bilim Dalı
- Sayfa Sayısı: 121
Özet
Bu tez, İstanbul'un Nişantaşı semtinde yer alan Millî Reasürans Genel Müdürlük ve Çarşısı'nı, yalnızca bir mimari yapı olmanın ötesinde, kentin değişen sosyal, kültürel ve mekansal dinamiklerini yansıtan, yaşayan bir bellek mekanı olarak incelemeyi amaçlamaktadır. Mimarları Sevinç Hadi ve Şandor Hadi'nin, birlikte son projesi olan bu yapı, anıtsal eyvanı, iki caddeyi birbirine bağlayan iç avlulu pasajı , bu pasaja bağlı sanat galerisi, dükkanlar, restoranlar gibi birimleriyle ile kentsel doku içinde özel bir örnektir. Çalışma, yapının mimari kimliğinin, kentle kurduğu ilişkinin ve kolektif bellekte edindiği çok katmanlı yerin izini sinematografik montaj aracılığıyla sürmektedir. Tezin ana argümanı, Millî Reasürans Kompleksi'nin, özellikle pasaj ve sanat galerisi gibi kamusallaşan mekanları aracılığıyla, Nişantaşı'nın kentsel dokusu içinde sadece nitelikli bir mimari yapı örneği olmakla kalmayıp, aynı zamanda kentin değişen sosyal ve kültürel dinamiklerini yansıtan, kolektif belleğin aktif bir inşacısı ve yaşayan bir kamusal bellek mekanı haline geldiğidir. Bu bağlamda, tezin temel amacı, bu yapıyı sinematografik montaj aracılığında deşifre ederek, farklı mekansal fragmanların bir araya gelişiyle oluşan çok boyutlu bellek anlatısını imgeler ile çözümlemektir. Bu çalışma, yapının çok katmanlı bir analizi için, tüm katmanların serimlendiği“masa metaforu”çerçevesinde dört ana kategoride kurgulanmıştır. Araştırmanın ilk aşamasında, yapının teorik ve eleştirel bağlamını anlamak amacıyla literatür taraması yapılmış, ilgili kavramsal çerçeveler ve eleştirel yazılar incelenmiştir. İkinci olarak, yapının kamusal algıdaki dönüşümü ve kentliyle kurduğu dinamikleri çözümlemek için 1993-2007 yılları arasındaki gazete arşivleri üzerinden içerik analizi gerçekleştirilmiştir. Üçüncü adımda, yapının konvansiyonel çizimleri ve fotoğrafları aracılığıyla kentsel mekanla ilişkisi mimari temsiller üzerinden incelenmiştir. Mimar Sevinç Hadi ile yapılan söyleşiler ve ilgili metinlerin ifade analizi yoluyla, yapının müelliflik meselesi ele alınmış; bu yolla yapının kimlik inşasının ve eleştirel okumasının derinlemesine anlaşılması hedeflenmiştir. Bu arşiv toplama süreci, yapının farklı bellek parçalarını bir araya getirerek, sinematografik montaj yoluyla bellek temsillerini inşa etmenin zeminini oluşturmuştur. Metodolojinin“masanın yüzeyini”oluşturan kavramsal çerçeve ise imge, bellek ve sinematografik montaj üzerine odaklanmaktadır. Burada, imgenin algı, temsil ve anlam boyutları; belleğin bireysel, kolektif ve mekansal işleyişleri; ve sinematografik montajın imgeleri bir araya getirerek yeni anlamlar ve bellekler inşa etme gücü kuramsal olarak açıklanmıştır.“Temsilin Belleği”ve“Belleğin Temsili”gibi ifadelerle, mekan imgelerinin oluşumu, sinematografik anlatıların bellek üzerindeki etkisi ve imgeler aracılığıyla kolektif belleğin nasıl yeniden inşa edildiği tartışılmıştır. Tezin bulguları, Millî Reasürans Kompleksi'nin mekansal belleğini yorumlamada sinematografik montajın güçlü bir metodolojik araç olarak potansiyelini ortaya koymaktadır. Pasajının ve sanat galerisinin zaman içinde üstlendiği farklı roller, yapının sadece bir bina olmaktan öte, kentlinin zihninde dinamik, dönüşen ve çok katmanlı bir bellek alanı olarak yer edindiğini ortaya çıkarmıştır. Sinematografik montaj, mimarlık tarihi yazımını yeniden düşünmeye olanak sağlamış, yapının zaman içindeki zamansal kopuşlarını ve mekansal dönüşümlerini vurgulamıştır. Bu yaklaşım, yapıların nasıl okunduğu, hatırlandığı ve temsil edildiği konusunda yeni imkanlar sunarak mimarlığa katkıda bulunmakta ve sinematografik montajın mimarlık tarih yazımında hem analitik hem de yaratıcı işlevler üstlenebileceğini ortaya koymaktadır.
Özet (Çeviri)
The thesis examines the Milli Re (Milli Reasürans) Complex in Nişantaşı, Istanbul, viewing it beyond a mere architectural structure to understand its role as a living memory space that reflects the city's evolving social, cultural, and spatial dynamics. This collaborative project by Sevinç Hadi and Şandor Hadi, marked by its monumental iwan, an inner-courtyard passage connecting two streets, and integrated units like an art gallery, shops, and restaurants, stands as a unique urban example. The study traces the building's spatial memory, its relationship with the city, and its multifaceted place in collective memory by employing cinematographic montage. The central argument is that the Milli Re Complex, particularly through its public spaces such as the passage and art gallery, is not just a distinguished architectural example within Nişantaşı's urban fabric but also an active constructor of collective memory and a living public memory space, reflecting the city's dynamic social and cultural shifts. Therefore, the primary objective is to decipher this structure through cinematographic montage, analyzing its multi-dimensional memory narrative, which arises from the convergence of various spatial fragments and images. The research employs a qualitative methodology that utilizes the“table metaphor”as a framework for its multi-layered analysis. This metaphor serves as a dynamic space where various research methods and sources converge to examine the building's complex memory. The research is structured into four main analytical categories within this framework. Firstly, a literature review was conducted to establish the theoretical and critical context of the building, including academic works and interviews with architect Sevinç Hadi. Secondly, content analysis of newspaper archives from 1993 to 2007 was performed to understand the building's public perception and its interaction with urban dwellers, focusing on the bazaar and passage units and their evolving role in collective memory. Thirdly, architectural representations, including drawings and photographs, were used to analyze the building's relationship with urban space, emphasizing its“passage”quality and public nature. Lastly, interviews with Sevinç Hadi and textual analysis addressed the building's authorship, aiming for a deeper critical understanding of its identity. This archival collection formed the basis for constructing memory representations through cinematographic montage, by assembling different fragments of the building's memory. The conceptual framework, integral to the“table metaphor,”revolves around the concepts of image, memory, and cinematographic montage. The thesis theoretically explores the dimensions of image, encompassing perception, representation, and meaning, alongside the functions of memory, including individual, collective, and spatial aspects, and the capacity of cinematographic montage to forge new meanings and memories by combining images. Concepts such as“Memory of Representation”and“Representation of Memory”are discussed, investigating how spatial images are formed, the influence of cinematographic narratives on memory, and how collective memory is reconstructed through images. The study posits that while traditional architectural historiography often views buildings as static objects, this work examines the Milli Re through layers of memory, gathered incrementally like a film montage, focusing on life, experience, testimony, and representation. Cinematographic spatial montages synthesize traces from the building's past, accumulated images in its memory, and historical experiences to reanimate the building with its memory. This approach offers a time-spatial perspective, revealing the building's experience, the dynamic interplay between movement and space, and its multi-layered memory. The thesis asserts that Milli Re is not only a unique architectural example but also an active creator of collective memory and a living public memory space, mirroring the city's evolving social and cultural dynamics. Cinematographic space facilitates the revival of the building from diverse angles, time periods, and memory layers through the imaging of various memory sources, providing a more dynamic narrative that prioritizes memory and experience over a metronomic or linear temporality. The findings underscore cinematographic montage as a potent methodological tool for interpreting the spatial memory of the Milli Re Complex. The evolving roles of its passage and art gallery over time demonstrate that the building is more than a mere structure; it is a dynamic, evolving, and multi-layered memory space in the minds of urban dwellers. Cinematographic montage facilitates a re-evaluation of architectural history writing, highlighting the temporal discontinuities and spatial transformations of the building over time. This approach offers novel possibilities for how buildings are interpreted, remembered, and represented, contributing to architecture by illustrating that cinematographic montage can serve both analytical and creative functions in architectural history writing. The thesis explores various types of cinematographic montage, adapted from Eisenstein's five methods. Metric montage, based on fixed shot durations, places memory fragments at equal intervals to establish relationships based on equality. Rhythmic montage varies image durations based on their significance, with movement within images guiding the tempo and flow of cuts. Tonal montage focuses on the emotional“tone”of successive shots, with cuts made based on changes in the scene's emotional atmosphere, using elements like light and shadow to create sensory experiences. Overtonal montage is a complex meaning production formed by the simultaneous combination of metric, rhythmic, and tonal montages, emphasizing the multi-dimensionality and ambiguity of memory. Intellectual montage aims for metaphorical inference by juxtaposing conceptually unrelated images, fostering critical reading and interpretation. These montage types, adapted from film theory, are translated into architectural representation to serve as tools for depicting a building's memory, offering diverse ways to visualize specific time-space relationships or memory fragments. The“table”metaphor is central to the thesis's methodology, acting as a memory keeper that systematically collects and organizes the building's memory. It examines the selection of testimonies and documents, what is remembered or forgotten, and the manipulation of subjective perceptions. The table preserves traces of the past and brings them into the present, rearranging every object, thought, and spatial transformation like a cinematographic scene. Beyond its physical form, the“table”extends into the digital realm, with the computer desktop serving as a digital extension and the research's memory, accumulation point, and interface. Digital files, open tabs, and organized folders of plans, photos, and drawings represent mental and spatial layers. These multi-layered pieces of information, integrated on the digital desktop through the“table metaphor,”allow for the re-arrangement of data produced at different times and spaces, akin to a film montage. The digital desktop becomes a montage interface where ideas intersect, discussions unfold, and memory layers are re-ordered, dictating the rhythm of the research. Spaces that bear the imprint of urban memory preserve this memory, bringing together individual and collective memories of a city. The Milli Re Building, a notable example of late 20th-century Turkish architecture, is examined through the lens of urban memory. Having profoundly impacted Istanbul's collective memory over the years, this structure contributes to societal memory through experiences imbued in spatial memory. Milli Re is not merely a functional building; it embodies the city's social and cultural life, connects generations, and spatially transmits the traces and narratives it gathers within a city's memory. With over 30 years of continuous exhibitions, units with diverse functions over time, and its ability to reflect the city and its inhabitants through spatial memory, the Milli Re can be seen as a constant montage. It merges past memories with contemporary perspectives, transforming the space into a living memory repository. The building, beyond its physical presence, necessitates a cinematographic interpretation due to its spatial organization offering transitions between different levels, its passages intertwining interior and exterior spaces, and its dynamic relationship with public areas. Traditional architectural history, relying on plans, sections, and facades, often falls short in capturing such multi-layered spatial experiences. Therefore, to comprehend Milli Re's impact on collective memory and to reveal its relationship with the city and its residents, it is crucial to create new representations that combine these memory fragments through cinematographic images. The building's bazaar, exhibition areas, inner courtyard, and its connection with public spaces of varying scales cannot be understood from a single viewpoint; they can only be made visible through cinematographic techniques that interweave multiple perspectives. In summary, this thesis's methodology integrates the physicality of the table, its digital surface, and the symbolic spaces of urban memory, examining the temporal and spatial transformations of thoughts through a cinematographic language. The“table metaphor”serves as a unifying element for the research's multi-layered structure, acting as a common meeting ground for individual and collective memory. Urban memory-keeping structures like Milli Re, in this context, represent a cinematographic montage of a city; traces of the past meet contemporary interpretations, forming new narratives. Thus, the table, constantly reconfigured at every step, serves as a central surface in the research process, where thoughts, visual data, and spatial traces dynamically interact. The cinematographic representation of architectural spaces through montage is a process of creating a new visual narrative by bringing together different parts of a space, images taken at different times, or even images of entirely different spaces. This process can be further enhanced by collage techniques to achieve a more abstract and experimental expression. Through cinematographic montage, the memory elements gathered under“Representation of Memory”offer the opportunity to reinterpret this spatial memory within a new context, enriched by manipulating time, revealing symbolic layers of space, and introducing new meanings through sounds and collages. As a result, the viewer begins to see the space from a different perspective, forming a new memory impression in their mind.
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