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|Title:||Yüzyıl Sonu Modernite Kavramı|
Dilekçi, M. Durmuş
|Publisher:||Fen Bilimleri Enstitüsü|
Institute of Science and Technology
|Abstract:||Bu çalışma, 1980'lerden beri süregelen, belleğe ve tarihi operasyonlara bağlanan, yeni bir modernite kavramının açılımını sağlamaktadır. Anahtar kelimeler: "Heterojen olma, hafiflik, erteleme, sanallık, belirsizlik, günün ruhu, elektronik medya, hız ve zaman, yerel ve evrensel, yapay ve doğal, orada ve mobil, yalın ve karmaşık" olarak ele alınmıştır. Tez dilinin genel karakteri, anlatılan konunun duyulara hitap etmesi ve yalın-karmaşık çizgisi hedef alınarak, benzer kaygılar içinde oluşturulmuştur. Giriş bölümü, günümüzün ortak problemlerinin üzerindeki sorgulamaları ortaya koyan, diğer disiplinlerle örneklendiren, sonuçlarını mimarlık üzerinde değerlendiren bir çatı sergilemektedir. Tez çerçevesi içinde, konu başlıkları kavramsal ifadelerin ve fiziksel özelliklerin verildiği, iki ana grup üzerinde kurgulanmıştır. Soyut ve kavramsal ifadelerin olduğu birinci grup anlatımlar, günümüz mimarisinin bellek üzerinde doğru yerlere oturmasına çalışmaktadır. Bunlar; "yeni ve or j inal" arayışının geçmişten günümüze örneklerini vererek, günümüz mimarisini değerlendiren birinci bölüm, konunun esas tartışma noktasını oluşturan yeni bir modernitenin kavramsal analizini veren ikinci bölüm, bir bağlam üzerine oturmasını sağlayan, sanat kavramının ele alındığı üçüncü bölüm, mimarlığın dışındaki disiplinlerle işbirliğini anlatan dördüncü bölümden oluşmaktadır. Fiziksel ifadelerin anlatıldığı ve günümüz mimarisinin daha önce üzerinde düşünülmemiş ve ortaya çıkartılmamış varolan anlamları, mimari üzerinde yorumlamasını, örneklerle gösteren beşinci bölüm, alt başlıklarıyla konunun görsel bağlamda kavranmasını sağlamaktadır. Sonuç bölümü, "bu doğrudur"un kesin çizgisinden uzakta, günümüzde varolan, yavaş yavaş gelişen bir mimari oluşumun gelecek üzerindeki etkilerinin ne olabileceğini anlatan bir bölümdür.|
In our daily lives we witness the speed of change and displacements. To adapt to this change in some way is indispensable for all disciplines. This century brought us an unbeliavable scope in the means of wonder and joy and taught us to search for beauty in many different realms. If we observe them closely this fantastic discovery is one of the main things to be studied and it is true that architecture is rather behind the times. This fact was not true for the beginning of the century when a pure start was given and incredible adventures were inclined. This radical attitude had consequently refused all historical heritage and while breaking off all links with the past caused serious and unrecoverable defects. However, to deny the advantages brought by the modern is yet out of question. The modern had been the source of many theoretical movements evolved through the course of this century and achieved in opening a door that had never been opened before. In following periods degenerations and interpretations of the modern outside its own status has ended up with a mental and visual pollution. Considered in this way the interrogations of the postmodern were necessary in getting rid of these toxins. Despite the inevitable globalization and orientation of communication and space technologies, people today do not want to give up their environment, the nature and their cultural inheritage. The only thing that is left to be done is to evaluate the outcomes of the 20 th century; the originality and minimality considerations with the sociologic gains of pop art and art povera as well as locality, and to reach a synthesis with the refining with all other disciplines and especially arts. To intertwine and substitute with other disciplines is an outcome of this age. By this way architecture can operate everywhere. Beyond the concepts of information, communication and exteriority, to follow the latest developments in medical or space technologies, to concentrate on materials and researches in new material transformations, the use of light, lightness, the will to form microcosmosis in membranes, the global interpretations of locality form XI an upper scope for architecture. We live in an age where life is no longer seperated between home and work functions and spaces; where a house may act like an office or an office like a house, and even everywhere might become an office with the use of devices such as hand phones. People can now prepare themselves work bases in their own rooms and communicate with the outside world and work only through their computers. This new hybrid life style carries a hybrid architecture. Architecture in these conditions become an organismic body where the functional differences are eliminated in the urban life. These informational impositions reveal at a point where the historicist postmodern architecture is thoroughly insufficient and the modernist teachings have to be developed. This study questions the formation of a hybrid architecture that takes into account the contemporary interrogations of the postmodern culture while following the formal eliticism and guiding of modernism. The scrutinised identity of this architecture lies in the description of a new modernity. In the world we live in, the aim is to reflect and unite the complexity of our lives with a purified expression. Today the diffusion of locality in globality to form the architecture of everywhere with the formal interpretation of purification makes up contemporary architecture. The modernity defined as such is always a historical operation and always has its foundation on memory. To be modern is to use the memory in the best possible way, to connect certain information without being obliged to a chronological order. To be modern is not to write a book with the words found in the last twenty years, but to make up new sentences with those words. What is interesting is to unite different disciplines and provide a permanent cultural exchange. To be conceptually and implicitly modern is the modernity which contemporary architecture wants to achieve. Today's modernity is interested in the aesthetics of the miracle. This architecture does not form a space and a protective skin for the human who seeks for shelter from the threatful outside world, but stands at a point where the human is sheltered inside with the existence of an intruded exterior purified from its threats. With this architecture we consider a medium where spatial differences might be lost, where spatial formations which provide all the necessities of Xll life exist; an organismic spatial development where all the functions and all the information are loaded; a living, thinking, breathing robot like body, permeable as well as impeding with no borders but an ability to surround. By this we mean an architecture which has a life, which can die just as it lives, which can be mobile where it is needed and adapt to the site conditions, which reacts to the senses; an architecture that can behave just like a human being. Coming close to the realization of such an Utopia we question an architectural formation that may introduce the developments to reach it and form a first step towards it. In this context the key words to describe such an architecture which are subject to this study are: Heterogeneous references, lightness, skin and membrane, delay, virtuality, ambiguous, mysterious, intelligent, the spirit of today, sensual, organic, plastic, immaterial, technological, demolisment, arts, the search for originality and miracles, the use of images, electronic media, conceptual, the spirit of the material, the fourth dimension; speed and time, the controversial; local and global, artifical and natural, there and mobile, modern and postmodern, simple and complex, diminisment and augmentation. Through the representation of the subject these keywords, under different headings, are given as a return to the essence related with the whole. Therefore each subject might give references to another, considering them parts that are intertwined to make up a reality. The introduction of the study mentions the contemporary situation of architecture based on the contemporary condition of the society and evaluates the results of this condition on architecture, exemplifying the general situation in other disciplines. To give a general understanding of the subject, the complex and abstract expressions of the subject are related under sub-titles. These sub-titles, in the frame of the text are arranged under two main groups; the conceptual expressions and the physical expressions. The first group consisting of abstract and conceptual expressions tries to point out to the place where this contemporary architectural vision X1U stands. These are; the first section that gives the conceptual analysis of a new modernity which makes up the main discussion of the subject, the second section that considers contemporary architecture under the examples of the search for the "new and original", third section that tells its relation with the arts that provides a context for the discussion and a fourth section that relates architecture's interrelation with other disciplines. The fifth section mentions the physical characteristics and meanings in contemporary architecture that have not been considered or brought out before. These are related in sub-titles with visual support of existing examples. Although these sub-titles, in reality give the general, indivisible characteristic of this architecture, to make the understanding easier they are given in different titles. As a result each example for one title can form an example for the other. These sub-titles are: (I) "Transparency and Lightness" which tells how the contemporary use of glass with lightweight structures has led to a different interrelation between the viewer and architecture creating a new sense of transparency and a feeling of lightness. II) "Skin and Layering", discusses the changes in the understanding of the facade as an architectural element all through this century; from modernism to post modern facade and contemporary architecture in which the facade of the building becomes an independent skin which creates its own space while providing a filtered visual contact between the interior space it encloses and the environment outside. This new understanding of the architectural facede operates with mysterious surfaces that filter, hide, disclose, surround and isolate the interior volume but create a distinguished relation with the outside at the same time. (III) "Immateriality" concentrates on the results of the transformation from the mechanistic paradigm to the electronic paradigm which especially in the last decade caused an obvious correlation between the electronic media and architecture. (IV) "Materiality" explains hoe the sarchs of new materials and details become formally and conceptually influential on architecture and this future; giving examples of situations where where material either XIV architectural or not effects the formation of an architectural work or idea. (V) ^he Use of Light and Its Technological Expression" relates the changing use of light; in contemporary architecture light is used as an architectural element with support of new glass technologies. Artificial light becomes one of the most important factors to perceive architecture especially because of the shift in city life from day to night. Sunlight also becomes an important factor in energy concerned architectural works. (VI) "To Seize the Spirits of Time" mentions the everlasting will to achieve the architecture of ^today' and to form an architecture that uses of the facilities of the day. In the conclusion distant from the strict result of what is right or wrong, the study questions the role of this new architecture which is still in progress on the future world.
|Description:||Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 1997|
Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 1997
|Appears in Collections:||Mimarlık Lisansüstü Programı - Yüksek Lisans|
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