Please use this identifier to cite or link to this item:
|Title:||Deneyim Ve Deneyim Odaklı Mekan Üretimi Üzerine Bir İrdeleme|
|Other Titles:||A Study About Experience And Experience-oriented Space Production|
Production of space
|Publisher:||Fen Bilimleri Enstitüsü|
Institute of Science And Technology
|Abstract:||Beden ve mekan kavramı, deneyim tartışmalarında önemli bir yere sahiptir. Beden ve mekanın ayrı ayrı birer fiziksel gerçeklik olarak ele alınması, mekansal deneyimi tartışmayı olanaksız hale getirmektedir; çünkü mekansal deneyim, beden ve mekanın karşılıklı etkileşimi aracılığıyla gerçekleşen bir süreçtir. Kartezyen bakış açısına göre ele alındığında mekan, bedenden bağımsız, sayısal verilere dayalı bir gerçeklik olarak karşımıza çıkar. Yirminci yüzyılın sonlarından itibaren gelişen bütüncül bakış açında ise beden ve mekan bir bütün olarak ele alınır, mekanın fiziksel özelliklerinin yanında zihinsel özelliklerinden de bahsedilir. Beden ve mekana bakış açısı ve bunun yansıması olan mekan üretimi, içinde bulunulan dönemin özelliklerinden, o dönemin yaşam tarzından bağımsız olarak gerçekleşemez. Küreselleşmenin etkisi altındaki modern dönemden itibaren yaşam şekli gözle görülür bir şekilde değişmiştir. ‘Tüketim kültürü’, ‘kültür endüstrisi’ gibi kavramlarla gündelik yaşam tartışılır olmuştur. Küreselleşme ve tüketimin hakim olduğu bir çağda görme duyusunun egemenliği artmıştır. Eski zamanlardan bu yana popülerliğini sürdüren görme duyusu, kendine kültür içerisinde de yer bulmakta; toplum ve bireyler kendini görsel bir kültürle sarmalamaktadır. Görme duyusu ayrıca, imgenin üretiminde büyük rol almakta; imgeler dünyasından, imajlar dünyasına doğru bir geçiş yaşanmaktadır. Çağın özelliği olan hızla birleşen görme, pazarlamanın da aracı haline gelmiş; ‘deneyimsel pazarlama’ kavramı ortaya çıkmıştır. Tüm bu kavramlar deneyim kaybı başlığı altında incelenmiştir. Daha sonra, bu kavramlar ekseninde mimarlık ve mekan üretimi ortaya konulmuştur. Görmenin hegemonyası altında mekan, mekansallaşan tüketim, meta olarak mekan ve standartlaşan mekan öne çıkan başlıklardır. Deneyimin şekil değiştirdiği, bedenden uzaklaştığı ve tüketimin boyunduruğuna girdiği bir ortamda, tüm bu amaçlardan uzak, salt bedenin deneyimine odaklanan bir tasarımdan bahsedilebilir mi, sorusu çalışmanın odağını oluşturmaktadır. Çalışmada algısallık, eylemsellik ve dokunsallık başlıkları altında deneyimsel mekanların özellikleri araştırılmıştır. Bu amaçla kentsel mekandan mimari mekana, ya da bir enstalasyona kadar, büyük ve küçük ölçekte mekan üretimleri ve bu mekanın getirdiği deneyimsel olanaklar ortaya çıkarılmıştır. Tez sürecinde deneyimin, karamsar bakış açısıyla kaybolan bir gerçeklik olarak görülmesinin önüne geçilmeye çalışılmıştır. Bu doğrultuda yapılan incelemede, mimarlığın ve mekanların kendine has taktiklerle güçlü deneyim imkanları yaratabildiği görülmüştür. Algısal, eylemsel ve dokunsal zenginlikler beden ve mekanın etkileşimini arttırıp, deneyimi zenginleştirmektedir. Mekan üretiminde önemli olan, mekanı alınıp satılan bir meta ya da ölçülebilen fiziksel bir gerçeklik olarak görmeyip, mekanda deneyim imkanlarını çoğaltmayı sağlamaktır.|
The concept of body and space has an important place among experience discussions. Taking body and space into account as distinct physical realities makes it impossible to discuss spatial experience; because, spatial experience is a process which happens via the interaction of body and space. Space, when approached from the Cartesian point of view, appears as a reality which is based on numerical data, independent from body. In the context of holistic point of view, which has grown since mid-20th century, body and space are approached as a whole, and apart from the physical characteristics of the space, the cognitive characteristics of it are also mentioned. Production of space, which is the reflection of the point of view of body and space, can not happen independently from the characteristics and the lifestyle of the current era. Since the modern era under the influence of globalization, lifestyle has changed visibly. Everyday life is discussed under titles such as “consumption culture”, “culture industry”. In an era, which is dominated by globalization and consumption, the reign of the sense of sight has become important. The sense of sight, which has been popular since the old days, finds itself a place in the culture; the individuals and the society cover themselves with a visual culture. On the other hand, sense of sight has an important role in the production of image a transition from the world of images to the world of visual images is seen. Vision, combining with the era’s speed trait, is a tool for marketing; and as a result, the concept “experiential marketing” emerged. All these concepts are studied under the title “loss of experience”. Afterwards, the architecture and production of space of these concepts’ axis are revealed. Space under the hegemony of sight, spatialization of consumption, space as meta and standardization of space are the titles which become prominent. The situation of ‘loss of experience’ is actually quite impossible because all kinds of experiences (multiple or superficial, temporary or permanent, etc.) create its own reality. However, ‘loss of experience’ was emphasized deliberatively in order to draw attention to the problematic aspects. Moreover, the architecture and production of space was revealed in ‘loss of experience’ axis. Later in the study, it was attempted to search for lost experience, an analysis has been done on the samples and the results was seen. The concepts that is examined in two different chapter of this study (loss of experience and search for lost experience) are feed each other and the concepts discussed under the title of ‘loss of experience’ are create a dialectical for the concepts will be discussed in the next chapter. This study consists of five chapters. In the first chapter, the aim of the study, content and method are explained. In the second chapter, there is a general examination about experience. In this chapter, the following topics covered such as experience concept, the relationship of body and space, the footprints of experience in defining the architecture and space, spatial experience, experience as a problematic and consideration. In the third chapter, space was investigated with ‘loss of experience’ concept. In the first part of the fourth chapter (search for lost experience), the main concepts of the study (perceptivity, actuality and hapticity) was examined. In the second part (Exploring the lost experience with design: The discussion on examples), explanations are given about selected samples. Evaluations are carried out in the third section. In this section, an evaluation was made for each sample with the main concepts, and tables as a result of the evaluations are given. In the end part of the evaluation, there is a diagram consisted the concepts of all samples. It can be seen the comparisons in this diagram. The purpose of the study is drawing attention to improvements that make the experience problematic and then revealing in what way and in which tools the experience elucidates through spaces that is considered highlighting the experience as a focus point in the production of space. During the study, space of experiment that is away from standards and clichés is being searched rather than how an empirical space is exactly to be. Thereby, in this study the driving powers that ensures the interaction between body and space together with richness of space of experiment is tried to be found. The study consists of literature review and investigation of samples about the subject. While choosing the samples, beyond being intuitive, the potentials that would enable to discuss the subject and different points of view were searched; samples outside the clichés and standards were attempted to be chosen. Samples were chosen among many options from public to private, from urban to architectural space or to an installation study; samples were not experienced in person. The evaluations for samples was done by the help of the ideas of designers of architectures about that specific space, of the examinations on the leading websites about architecture (archdaily, arkitera etc.), of the criticism about the sample in the literature and the comment of thesis author. In all the samples chosen, the relationship of body with space and the experience resulting in this relationship was taken into account as problematic, and out of various samples, different experiences of body was brought forward. The subject of the study, space, was spaces that were designed by a designer or an architect with specific aims rather than spaces that were naturally occurring as a result of reproduction. As the result of the study, nowadays production of space was tried to be reflected through experience. By revealing the emphasis on the design, it was aimed to contribute preciously to the understanding, knowledge and production of architectural space. The question of can be a design that only focuses on the body experience mentioned in an environment that is surrounded experiences such as changing, away from the body and dominated consumption is starting point of the study. The main questions of the study are: 1. How is experience-oriented space production? 2. What tools are used in experience-oriented space production? 3. What is the characteristic of the experience lived in such a place? With these questions in the fourth chapter, it was an attempt to search experience that is proposed it is disappear. For this reason, it was consulted to the concept of perceptivity, actuality and hapticity. These concepts are what is consulted to answer the question of the study, what is discussed and found in the samples and tried to be brought about in sub concepts; they are the concepts which is helping but at the same time, making up the focus of the thesis. Concepts were chosen and brought together because they are thought to have the characteristics that enables researching experience and give hints about versatile experience. In the simplest context, concepts can be explained as situations about perception, action and palpation respectively. In addition, concepts are strongly related with the element of time; hence, they are defining a process in the meantime. The concept of spatial experience, similarly, points out process rather than a momentary situation. In the next section, these are what remains as the result of the study: in spaces focused on experience, effort to consolidate with nature, usage of natural materials, preference of forms which are plain but effective, addressing more than one sense rather than dominant sense of sight are standing out. Experiential spaces are utterly important although they seem not to offer something new in the beginning. Formations including experience can create the breaking point for architecture. One of the architects who were approached in the context of the study, Peter Zumthor, was one of the persons who created the breaking point in the architecture. Another result out of the study is that other samples approached within the context of the study can be the breaking point similarly. Study tried to overcome seeing experience as a fading reality with a pessimist point of view. In this direction, it was seen that architecture and space could present experiences of their own with tactics. It was seen that in the production of space, by presenting different and/or interactive action opportunities, creating perceptiveness mentioned in the study and keeping tracks of hapticity, the opportunities of experience increased. What is important is to ensure increasing the opportunities of experience which can be live in, without seeing space as a meta that is bought and sold or as a reality that is attached to dimensions; the rest will stand out via the interaction of body and space.
|Description:||Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2015|
Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2015
|Appears in Collections:||Mimarlık Lisansüstü Programı - Yüksek Lisans|
Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.