Mimari tasarım sürecinde çizim mekanın keşfi - çizim edimi üzerine bir model önerisi
Mimari tasarım sürecinde çizim mekanın keşfi - çizim edimi üzerine bir model önerisi
Dosyalar
Tarih
2021
Yazarlar
Senvenli Bezircioğlu, Gaye
Süreli Yayın başlığı
Süreli Yayın ISSN
Cilt Başlığı
Yayınevi
Lisansüstü Eğitim Enstitüsü
Özet
Tasarımda görsel düşünme olarak ifade edilen çizim; düşüncenin geliştiği, dönüştüğü ve depolandığı bir üretim platformu sunar. Çizim düşünme olarak ele alındığında, belirli bir tasarım düşüncesinin simülasyonu yerine, tasarım fikrinin geliştiği dışsal bir bellek tanımlar. Tasarıma dair düşüncenin form bulduğu çizim süreci, tasarımcının eyleminin çizim yüzeyinde oluşturdukları ile kurduğu yansıtıcı bir oluşumu ifade eder. Tasarım çalışmalarında düşünme olarak çizim farklı bilişsel yaklaşımlar üzerinden değerlendirilmektedir. Tasarım dinamiklerini araştıran çalışmalarda çizim zihin, beden ve çevre ilişkisinde farklı yönleri üzerinden ele alınmaktadır. Bu tez çalışması temel tasarım aktivitesi olan çizim edimini keşfetmeye yönelik bir araştırma sunmaktadır. Çizim yüzeyi üzerinde oluşturulan ifadeler, temsili olmanın yanı sıra kendi gerçekliğine sahip bir mekânsallık ortaya koymaktadır. Tez kapsamında 'çizim mekânı' olarak tanımlanan bu alan, çizimi merkezine yerleştiren ilişkisel bir sistemi ifade etmektedir. Çizim, eylem ile kurduğu diyalogda aktif ve dışsal bir bellek oluşturmaktadır. Çalışmanın amacı çizimin ortaya koyduğu etkileşimli düşünme sürecini kavramsal bir model üzerinden tanımlamaktır. Çizim sürecinde düşünme karmaşık, örüntüsel ve bir o kadar da rastlantısal öğeleri içinde bulunduran ilişkiler zinciri ortaya koyar. Süreçte eylemin tanımladığı hamleler ve bu hamlelerin kaynak bulduğu savlar arasında dinamik bir oluşum gerçekleşir. Tezde bilişsel bir aktivite olarak nitelendirilen bu oluşum süreci zihnin sınırları dışında, çevre ve beden ilişkisinde materyale aktarılan ve beynin sınırları dışında form bulan bir fenomen olarak tanımlanmaktadır. Bu kapsamda çizimin konumu farklı bilişsel yaklaşımlardan temel alınarak yeniden değerlendirilmiştir. Tanımlanan kavramsal çerçevede çizim, zihin ve materyal etkileşimi üzerinden bir düşünme süreci ortaya koyarken, çizim yüzeyi üzerinde eylemi yönlendiren aktif bir bellek oluşturmaktadır. Bu çerçevede incelenen çizim bilişsel bir model önerisi üzerinden değerlendirilmektedir. Tez kapsamında kavramsal tartışma üzerine geliştirilen modelin bileşenlerinin saptanması için uygulamalı bir çalışma gerçekleştirilmiştir. Protokol çalışması olarak kurgulanan süreçte bir dizi çizim uygulaması ile sunulan kavramsal çalışmaya paralel olarak çizim süreci yeniden tanımlamaktadır. Zihin, el ve materyal arasındaki etkileşimli süreç çalışmada düşünme mekânı olarak tanımlanmakta, çizimin kendisi araştırmanın nesnesi olarak ele alınmaktadır. Sunulan protokol çalışmasında bireyin çizdikleri ile kurduğu diyalog incelenirken, çizimde ortaya konan diyalektiğin bileşenleri ve bu bileşenlerin kurduğu ilişkiler birbirinden ayrıştırılarak tanımlanmaktadır. Uygulama referans alınan çalışmalarda sunulan modellere bir eleştiri sunarken, çalışmanın ürünü olarak yeni bir model ortaya koymaktadır. Eylemin yansıtıcı süreci temel alınarak önerilen enaktif model kendini üreten bir sistem olarak tanımlanmaktadır. Bu yaklaşım bireyi ve bireyin öznel deneyimleri merkez alan teorilere farklı bir bakış açısı sunarak, çizimi zihnin sahip olduğu gibi üretme, depolama ve işleme gibi özelliklere sahip bilişsel bir merkez haline getirmektedir. Araştırmanın içeriği teorik ve uygulamalı çalışmaları kapsamaktadır. Tezin ilk bölümünde düşünme olarak ele alınan çizim süreci üzerine teorik bir çerçeve oluşturulmuştur. Bu bölümde çizimin literatürde nasıl ele alındığı ve çizim sürecini açıklamada kullanılan bilişsel yaklaşımlar değerlendirilmiştir. Bilişim teknolojisi ve sosyoloji alanlarında geliştirilen bilişsel teoriler bilginin oluşumu değişen koşullarda zihin ve çevre ilişki üzerinden açıklamaktadır. Tasarım bilişinde yer alan "Genişletilmiş", "Dağıtık" ve "Enaktif" biliş teorileri bu bölümde çizimde düşünme sürecini çözümlemede temel teoriler olarak sunulmaktadır. Tasarımcının çizim ile kurduğu diyalogda zihinsel aktivitenin sınırları dışsal bir olgu olarak temsilin üretimine uzanmaktadır. Bu yaklaşımda çizim eylem olarak etkin bilişsel bir üretimi tanımlanmaktadır. İkinci bölümde ise, çizimin bilişsel süreçteki konumunun belirlendiği temel bir düşünme modeli oluşturulmuştur. Eylem, materyal ve zihin ilişkisini birbirinden farklı tanımlar sunan bilişsel yaklaşımlar çizim süresince oluşan bilişsel etkinliğini farklı yönleri açıklamaktadır. Bu çalışmalarda eylem ve materyal birbirinden bağımsız olarak değerlendirilmektedir. Bu bölümde tanımı sunulan etkin model çizimi materyal ve eylem olarak bir bütünsel bir tanım sunmaktadır. Düşünme sürecinde eylemin etkin üretimini ve eylemin ortaya koyduğu dışsal belleği birbiri ile ilişkilendirmektedir. Model kavramsal çerçevenin oluşturulması, operasyonel yapısının tanımlanması ve bileşenlerinin saptanmasını içermektedir. Düşünme sürecine dair bir teorik modelin oluşturulması, kavramsal çalışmanın uygulama üzerinden deneyimlenmesi ile gerçekleşmektedir. Tezin üçüncü bölümü teorik alt yapının kurgulanmasında destek alınan uygulama bölümünü oluşturur. İki ayrı alan çalışmasından oluşan çalışma, çizim sürecindeki etkileşim modelin bileşenlerinin belirlenmesi ve çizim mekânın tanımlanması üzerine kurgulanmıştır. Uygulama bölümünde sunulan alan çalışması geliştirilen modelin deneyimlenmesi ve içeriksel tanımının oluşturulmasını kapsamaktadır. Çalışmanın son bölümünde ise etkin model bütünsel bir yaklaşım ile yorumlamaktadır. Sunulan tartışma bölümü aynı zamanda uygulama çalışmasının verileri ışığında çizim mekânı üzerine niteliksel bir tanım ile değerlendirmektedir. Çizimi eylem ve materyal olarak bütünsel bir ilişkide değerlendiren tezde, sunulan teorik yaklaşım ve uygulamaya yönelik yapılan alan çalışması sonucunda çizimi düşüncenin aktif olarak dışsallaştığı ve materyal üzerinde kendi dinamiğine sahip bir üretim alanı oluşturduğu gözlemlenmiştir. Çalışmada çizimin zihnin yapısını benzer olarak bilgiyi alma, depolama ve yeniden işlevlendirme yetilerine sahip olduğu tespit edilmiş, eskizin bilişsel süreçteki konumu, bu yaklaşımla, yeniden tanımlanmaya çalışılmıştır.
Drawing expressed as visual thinking in design: it provides a production platform where thought is developed, transformed and stored. When drawing is considered as thinking, it defines an external memory in which the design idea evolves, rather than the simulation of a particular design idea. The drawing process, in which the idea of design takes shape, expresses a reflective creation formed by the designer's action on the drawing surface. This reflective formation expresses an active thinking process in which the meaning is created on the material in the drawing. Drawing as thinking is evaluated through different cognitive approaches in design studies. In these studies that investigate the dynamics of design, drawing is addressed through different aspects of the relationship between mind, body and environment. This thesis presents a research to explore the basic design activity of drawing. The expressions created on the drawing surface reveal a spatiality with its own reality as well as being representative. This area, defined as "drawing space" within the scope of the thesis, refers to a relational system that places the drawing in its center. Drawing creates an active and external memory in the dialogue it establishes with action. The drawing space refers to the active memory that includes the figural and non-figural elements created on this material. The aim of the study is to present an analysis on the enactive formation process of the drawing space and to describe the reflective thinking process of the drawing through a theoretical model. In the process of drawing, thinking reveals a chain of relationships that includes complex, patterned and as well as random elements. In the process, a dynamic formation takes place between the moves defined by the action and the arguments where these moves find sources. This formation process, which is described as a cognitive activity in the thesis, is defined as a phenomenon outside the boundaries of the mind, transferred to the material in the relationship between environment and body, forming outside the boundaries of the brain. In this context, the position of the drawing has been re-evaluated based on different cognitive approaches. While drawing puts a thinking process through interaction of mind and material within the defined conceptual framework, it also reveals an active memory that directs the action on the drawing surface. The drawing examined in this framework is evaluated over a cognitive model proposal. The proposed model developed on drawing in the thesis is based on a holistic approach to action and material. The basic components of the model are composed of moves that are the initial parts of the action and arguments that reflects the smallest significant statement directing the moves. In this approach, the constructive thinking process occurs as a sequence of actions in which each successive drawing shapes the next one. The developed model offers an analysis on this relational pattern in- between the moves and the arguments. Within the scope of the thesis, an applied study was carried out to determine the components of the model developed on a conceptual discussion. In the procedure designed as a protocol study, the drawing process is redefined in parallel with the conceptual work presented with a series of drawing applications. The interactive process between mind, hand and material is defined as the place of thinking in the study, and the drawing itself is considered as the object of the research. In the presented protocol study, while examining the dialogue established by the individual with what he / she draws, the components of the dialectic are set out in the drawing, and the relationships these components establish are defined by separating them from each other. While the application presents a criticism to the models presented in the reference studies, it offers a new model as the product of the study. The enactive model proposed based on the reflective process of the action is defined as a self- generating system. This approach offers a different perspective to the theories centered on the individual and the individual's subjective experiences, making the drawing a cognitive center with features such as producing, storing and processing as the mind does. The content of the research includes theoretical and applied studies. In the first part of the thesis, a theoretical framework has been created on the drawing process, which is considered as thinking. In this chapter, the conceptual study is presented as to "how the drawing is handled in the literature, drawing as thinking process and, the cognitive approaches used to explain the drawing," respectively. Drawing as thinking refers to the dialogue that the designer establishes with the material memory created in the drawing. This interactive formation established by drawing is handled through Schön's reflective dialogue. Schön explains sketching as a process in which the designer talks to him/herself, and the drawing evolves as a product of this dialogue. The modeling of the thinking process is explained through Goldchmidt's "Dialectics of Sketching". The formation of meaning in drawing exists in the interactive tension between visible and invisible images. It is defined as the figural and non-figural arguments that guide the moves during the sketching process. Presenting a cognitive analysis, Goldschmidt's approach analyzes the act of drawing through the production of the arguments that make up the design thought. Following the literature review, cognitive approaches used to explain the drawing process were evaluated in the first chapter. Cognitive theories developed in the fields of information technology and sociology explain the formation of knowledge through the relationship between mind and environment in changing conditions. The drawing process, as both a mental and a physical activity, is evaluated through "Extended", "Distributed" and "Enactive" theories of cognition. In the dialogue established by the designer with drawings, the boundaries of mental activity extend to the production of representation as an external phenomenon. While the Extended Mind theory defines the material in drawing as a part of cognitive formation, it expresses an active affirmation of meaning rather than just being material. In this approach, drawing is defined as an active cognitive production. The cognition distributed between the material and the mind reveals a cognitive formation in the relationship it establishes with each other. This formation is explained as an active process which represents a continuous evolutionary contribution of action. In the second chapter, a base thinking model of the drawing in the cognitive process has been established. In the first part, cognitive approaches that offer different definitions of the relationship between action, material and mind, explain different aspects of the cognitive activity that occurs during the drawing; action and material are evaluated independently. In this chapter, the definition of the model relates the effective production of the action in the thinking process and the external memory revealed by the action. The developed effective model drawing presents a holistic definition as material and action. The model includes establishing the conceptual framework, defining the operational structure and identifying its components. The creation of a theoretical model of the thinking process is realized by experiencing the conceptual work through practice. The third chapter of the thesis constitutes the application part, which is supported in the formation of the theoretical framework. In this chapter, the applied study includes the approach used in the research, the application protocol and its parts. In the study, which is a subjective experience, data analysis is also done through the experience of the subject. The study is evaluated through a phenomenological approach as defined in this section. The applied study, which consists of two separate case studies, is based on the determination of the components of the enactive model in the drawing process and the definition of the drawing space. The fieldwork presented in this section includes experiencing the proposed model and creating a contextual definition. The last chapter includes the discussion section in which the study is evaluated with a holistic approach. In this section, the model developed in light of the data obtained from the theoretical research and application study presented in the previous sections is evaluated. The discussion part also presents a qualitative definition of "drawing space" with reference to the practical work. In the thesis, which evaluates drawing as action and material in a holistic relationship, it has been observed that as a result of the theoretical approach presented and the field study for practice, the idea of drawing is actively externalized and creates a production area with its own dynamics on the material. In the study, it was determined that drawing has the ability to receive, store and re-function information, similar to the structure of the mind, and the position of the sketch in the cognitive process was to be redefined with this approach.
Drawing expressed as visual thinking in design: it provides a production platform where thought is developed, transformed and stored. When drawing is considered as thinking, it defines an external memory in which the design idea evolves, rather than the simulation of a particular design idea. The drawing process, in which the idea of design takes shape, expresses a reflective creation formed by the designer's action on the drawing surface. This reflective formation expresses an active thinking process in which the meaning is created on the material in the drawing. Drawing as thinking is evaluated through different cognitive approaches in design studies. In these studies that investigate the dynamics of design, drawing is addressed through different aspects of the relationship between mind, body and environment. This thesis presents a research to explore the basic design activity of drawing. The expressions created on the drawing surface reveal a spatiality with its own reality as well as being representative. This area, defined as "drawing space" within the scope of the thesis, refers to a relational system that places the drawing in its center. Drawing creates an active and external memory in the dialogue it establishes with action. The drawing space refers to the active memory that includes the figural and non-figural elements created on this material. The aim of the study is to present an analysis on the enactive formation process of the drawing space and to describe the reflective thinking process of the drawing through a theoretical model. In the process of drawing, thinking reveals a chain of relationships that includes complex, patterned and as well as random elements. In the process, a dynamic formation takes place between the moves defined by the action and the arguments where these moves find sources. This formation process, which is described as a cognitive activity in the thesis, is defined as a phenomenon outside the boundaries of the mind, transferred to the material in the relationship between environment and body, forming outside the boundaries of the brain. In this context, the position of the drawing has been re-evaluated based on different cognitive approaches. While drawing puts a thinking process through interaction of mind and material within the defined conceptual framework, it also reveals an active memory that directs the action on the drawing surface. The drawing examined in this framework is evaluated over a cognitive model proposal. The proposed model developed on drawing in the thesis is based on a holistic approach to action and material. The basic components of the model are composed of moves that are the initial parts of the action and arguments that reflects the smallest significant statement directing the moves. In this approach, the constructive thinking process occurs as a sequence of actions in which each successive drawing shapes the next one. The developed model offers an analysis on this relational pattern in- between the moves and the arguments. Within the scope of the thesis, an applied study was carried out to determine the components of the model developed on a conceptual discussion. In the procedure designed as a protocol study, the drawing process is redefined in parallel with the conceptual work presented with a series of drawing applications. The interactive process between mind, hand and material is defined as the place of thinking in the study, and the drawing itself is considered as the object of the research. In the presented protocol study, while examining the dialogue established by the individual with what he / she draws, the components of the dialectic are set out in the drawing, and the relationships these components establish are defined by separating them from each other. While the application presents a criticism to the models presented in the reference studies, it offers a new model as the product of the study. The enactive model proposed based on the reflective process of the action is defined as a self- generating system. This approach offers a different perspective to the theories centered on the individual and the individual's subjective experiences, making the drawing a cognitive center with features such as producing, storing and processing as the mind does. The content of the research includes theoretical and applied studies. In the first part of the thesis, a theoretical framework has been created on the drawing process, which is considered as thinking. In this chapter, the conceptual study is presented as to "how the drawing is handled in the literature, drawing as thinking process and, the cognitive approaches used to explain the drawing," respectively. Drawing as thinking refers to the dialogue that the designer establishes with the material memory created in the drawing. This interactive formation established by drawing is handled through Schön's reflective dialogue. Schön explains sketching as a process in which the designer talks to him/herself, and the drawing evolves as a product of this dialogue. The modeling of the thinking process is explained through Goldchmidt's "Dialectics of Sketching". The formation of meaning in drawing exists in the interactive tension between visible and invisible images. It is defined as the figural and non-figural arguments that guide the moves during the sketching process. Presenting a cognitive analysis, Goldschmidt's approach analyzes the act of drawing through the production of the arguments that make up the design thought. Following the literature review, cognitive approaches used to explain the drawing process were evaluated in the first chapter. Cognitive theories developed in the fields of information technology and sociology explain the formation of knowledge through the relationship between mind and environment in changing conditions. The drawing process, as both a mental and a physical activity, is evaluated through "Extended", "Distributed" and "Enactive" theories of cognition. In the dialogue established by the designer with drawings, the boundaries of mental activity extend to the production of representation as an external phenomenon. While the Extended Mind theory defines the material in drawing as a part of cognitive formation, it expresses an active affirmation of meaning rather than just being material. In this approach, drawing is defined as an active cognitive production. The cognition distributed between the material and the mind reveals a cognitive formation in the relationship it establishes with each other. This formation is explained as an active process which represents a continuous evolutionary contribution of action. In the second chapter, a base thinking model of the drawing in the cognitive process has been established. In the first part, cognitive approaches that offer different definitions of the relationship between action, material and mind, explain different aspects of the cognitive activity that occurs during the drawing; action and material are evaluated independently. In this chapter, the definition of the model relates the effective production of the action in the thinking process and the external memory revealed by the action. The developed effective model drawing presents a holistic definition as material and action. The model includes establishing the conceptual framework, defining the operational structure and identifying its components. The creation of a theoretical model of the thinking process is realized by experiencing the conceptual work through practice. The third chapter of the thesis constitutes the application part, which is supported in the formation of the theoretical framework. In this chapter, the applied study includes the approach used in the research, the application protocol and its parts. In the study, which is a subjective experience, data analysis is also done through the experience of the subject. The study is evaluated through a phenomenological approach as defined in this section. The applied study, which consists of two separate case studies, is based on the determination of the components of the enactive model in the drawing process and the definition of the drawing space. The fieldwork presented in this section includes experiencing the proposed model and creating a contextual definition. The last chapter includes the discussion section in which the study is evaluated with a holistic approach. In this section, the model developed in light of the data obtained from the theoretical research and application study presented in the previous sections is evaluated. The discussion part also presents a qualitative definition of "drawing space" with reference to the practical work. In the thesis, which evaluates drawing as action and material in a holistic relationship, it has been observed that as a result of the theoretical approach presented and the field study for practice, the idea of drawing is actively externalized and creates a production area with its own dynamics on the material. In the study, it was determined that drawing has the ability to receive, store and re-function information, similar to the structure of the mind, and the position of the sketch in the cognitive process was to be redefined with this approach.
Açıklama
Tez (Doktora) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2021
Anahtar kelimeler
Mimari tasarım,
Architectural design,
Çizim,
Drawing,
Mekan,
Space