Mimarlık Ve Moda Tasarımı Arakesitinde Bir Okuma

Abstract

Bu çalışmada, mimarlık ve moda tasarımı arakesitinde yapılan bir okuma ile, farklı tasarım disiplinleri arasında yapılacak çalışmalar için bir araştırma yöntemi önerilmektedir. Sürecin bütününün sonuç olduğu bu çalışmada, iki disiplinin arakesitindeki uygulamalara, araçlara ve kavramlara, eşzamanlı ve geri dönüşlü olarak okumalar yapılarak bir dizin oluşturma ve polar bir haritalama yapmaya gidilmektedir. Mimarlık ve moda tasarımı disiplinleri arasındaki ortak nokta insan bedenidir. Bu disiplinler arasındaki ilişkiler irdelendiğinde, modadaki mimarlığa, mimarlıktaki modaya bakılmaktadır. Moda tasarımındaki mimarinin arka planına, felsefesine, teknolojilerine bakılarak, mimariye gönderme yapan modacılar ve mimar kökenli modacıların işleri incelenir, tekstil enstalasyonlar, zar strüktürler, mobil yapılar, malzemelere yönelik genel okumalar yapılmaktadır. Mimarlık ve moda tasarımı disiplinleri arasındaki tarihsel paralelliklerin altı çizilir, Roland Barthes’in, Moda Dizgesi isimli doktora tez çalışması üzerinden okumalar yapılırken, bu çalışmadan metodolojik referanslar alınır. Metodoloji okumaları ile, çalışma alanı, dekonstrüktivizm-yapıbozum ile sınırlandırılır, tez çalışmasının kapsamında sadece dekonstrüktif örnekler üzerinden gidilmesine karar verilir. Bu kararla birlikte, moda tasarımı ve mimarlık disiplinleri ilişkisindeki beslenme kaynakları idealar, ve araçlar, teknoloji irdelenir. Disiplinler arasındaki ilişkiler kurulurken, dekonstruksiyona yönelik kavramlar tartışılır, bu kavramlara karşılık gelen uygulamalara yönelik okumalar yapılır. Moda tasarımı ve mimarlık disiplinleri arakesitinde birarada ve arada olan etkinlikler, sergiler, çalışmalar irdelenir. Star mimar ve star moda tasarımcılarının ortak üretimleri ve nesneleri üzerinden yapılan okumalarda yeni kavramlara varılır, böylece, irdelenen kavram ve örneklerin dekonstrüktivist-yapıbozumcu olması ile birlikte, okumanın kendisi başlıbaşına yapıbozumcu bir metodoloji önerisi oluşturur.

The scope of this theisis includes, requestioning the dynamics between fashion and architecture disciplines by discussing the updated issues about the practice of architecture. It aims to read the intersection points of fashion and architecture, the concepts that both disciplines uses and and the conceptual reading through the opportunities and potentials of new openings due to the togetherness of the concepts and evaluation together with their reflections to the practice. All of the work that is presented is putting on all the donnes that have been found during the research process itself. That is the reason why the theisis starts with giving some information about the process. At the beginning and during the process of the research, literature, magazines of popular culture, internet, fashion and architecture magazines are looked for and a notebook that includes some brainstorming collages of the concepts, tools, technology, questions and products that stand in the intersection areas of fashion design and architecture. With the ones on the notebook, first of all the products that are in between have been cross-read, a reading through objects and the dominant concepts are determined. Then another reading is done through this concepts that stands in-between. During the literature research, it has been found that Barthes has a Phd theisis about the fashion system and the references and the methodology he uses during his research has a very huge effect in this theisis and Barthes has been placed in the thresholds section of the theisis. Barthes’ references, such as Vladimir Propp and Greimas have also an important place in order to understand the methodology of Barthes. It is important to note that, Barthes has not been a reference at the very beginning of the theisis. His work has been found during the literature research and also effects the general methodology of the theisis this way, just like this theisis itself. The variety and complexity of the concepts that have been assumed to be related with the theisis because of their positions between the two disciplines, and the flashbacks of the process makes detemining the boundaries of the theisis and the main question of the theisis very problematic and at that point one should make a decision about the conceptual frame in order to express the main problematics and main position of the theisis. At that point, it is chosen to use a deconstructive methodology during the process. Although this title aims to narrow the working area, it is accepted as the cross reading and understanding method. It is very important to point out that, the main structure of the work has not been set during the research process. Because the research is very simultaneaus and includes too many flashbacks , for making the research understandable and readible, the structure has been set afterwards. In order to make the discovered imprints, examples, cases, concepts, all of the visual and linguistic information readible, some codings are prepared and revisualise the codes, some mappings are prepared. It is assumed that with the unanswered questions for the new motivations for researches, new openings can be achieved. While editing the theisis this way, it is aimed to discuss the tools which are accepted with the strategies of the process that helps to produce and the directing conceptual outputs which stand backstage at the up-to-date products of the two disciplines. That is why the dominant samples, objects and actors are chosen because of their innovative characters at this direction. At this point, it is not aimed to compare two disciplines that have determined boundaries but to understand what goes on at the area which the boundaries of the disciplines melt and reading the distinctive products at that area. In order to visualise the melting points, after determining the general concepts, some cases that can be assumed to be related with that concepts are chosen as samples. While working on that samples, a polar mapping is done with the concepts related with the cases. The axes that make the polars of the mapping are the case’s qualitative, quantitative, functional and conceptual characters. After polar mapping has been done, then, blurring of the conceps which are close to the polar lines has been being made,which helps to compare different cases on the same images. Also, a conceptual mapping is done in order to see which concepts are dominant among the cases, which stand recessive. Even the theisis generally continues with the reading on the fashion and architecture disciplines, it is important to express the variety of the layers that it includes, the relation it has with the language and the way it influences the design principles. The work as a whole, the referances and resources and the objects that have been reached have a variety. To reduct this variety and complexity to the base of relations and because of realising that encountered readings that have the references of the two disciplines having related with language, it is important to determine the concepts that will make an index while doing a reading over the products ( objects). At this point, it is seen that the linguistic indicators making a sembolic meaning for the objects in between fashion design and architecture, and in fact this also marks the important location of the metaphysics making the reading at the area where the boundaries melting. Another important point is, presenting the readings in different layers at the same structure. This theisis while marks the historical parallels, similarness of the forms, the common concepts and at the points where the functions transforming to each other , with all of the concepts and the tools that are meant to be the background of the design idea, also includes the layers that can be more philosophical in a way it relates with the language.