Hareketli Görüntülerle Mimarlığı Düşünmek Ve Bir Deneme

Abstract

Sorularla başlayan bir yolculuk olan bu metin mekan kavramının ve mekansal üretimlerin yerleşik kavrayışlarına eleştirel bir bakış geliştirmek için kurgulandı. Bu bakış yerleşik kavrayışların yeterli olamadığı düşüncesinden beslenmektedir. “Mekan” gündelik deneyimde anlamlarla dolu, her an algısı değişebilen ve kullanıcılarının düşünsel ve somut anlamda üretimine bilfiil dahil olduğu yerken, temsil düzeyinde “mekan”ın yaşamsallığının temeli olan bu özellikleri görünmez hale gelmektedir. “Mekan”ın deneyimle ve hafızayla ilişkisi ise neredeyse yok sayılmaktadır. Teknik olarak sürdürülebilir temsilin fazlasıyla ön planda olması sebebiyle düşünsel ve yaratıcı süreçlerin karmaşası, çelişkileri ve zenginlikleri yansıtılamamaktadır ve bu kısırlık mekansal üretimin bizzat kendisine içkin hale gelmektedir. Temsilin ne olduğuyla düşüncenin ne olduğu ve en sonunda somut ürünün ne olduğu bizzat ilişkilidir dolayısıyla herhangi bir aşamadaki çoraklık topyekûn bir etkiye sahip olmaktadır. Tersinden düşünüldüğünde ise herhangi bir aşamadaki zenginliğin tüm süreci zenginleştireceği söylenebilir. Bahsi geçen zenginliğe ulaşmak amacı mekan kavramının yerleşik kavrayışın dışında temsillerle de araştırılabileceği düşüncesini doğurmuştur. Burada zamanla ilişkisi sebebiyle hareketli görüntülerin, yani sinemanın ve videonun, bu amaç doğrultusunda kullanılabileceği düşünülmüştür. Zamanı yapısında içkin olarak barındırması, yeni bir dil olması ve kendine has bazı niteliklerinden ötürü hareketli görüntüler yaklaşık yüz yıldır yeni bir düşünce ortamı sağlamaktadır. “Sinematografik düşünme” adının verilebileceği bu düşünme tipi mekanı ve mekansal üretimleri yeni bir ortamda ele alma olanağını da tanımaktadır. Hareketli görüntülerin gerçeklikle kurduğu bağ ve deneyimsel oluşları da bunu pekiştirmektedir. Dahası “mekan”ın zamanla birlikte temsili başka temsil araçlarında olmayan bir nitelik olarak ön plana çıkmaktadır. “Zaman-mekan” kavramı modern fizikle birlikte ortaya çıkmış ve her tür düşünceyi etkilemiştir. Temelinde zamanın ve mekanın ayrı öğeler olmadıkları, bir bütün oldukları düşüncesi yatan “zaman-mekan” kavramı, hareketli görüntülerin oluşturduğu ortamda mekansal üretimleri ve mimarlığa dair kavramları yeni şekillerde ele almayı sağlamaktadırlar. Yeni bir kavrayış oluşturabilmek adına hareketli görüntüleri düşünme aracı olarak kullanmak ve mekan kavramını hareketli görüntüler vasıtasıyla irdelemek için videolar hazırlanmıştır. Bunun dışında halihazırda mevcut sinema tarihinden de örnekler ele alınmıştır. Böylece hareketli görüntülerin düşünce aracı olarak kullanılıp kullanılmayacağına dair bir tartışma ortamı hazırlanmıştır. Bu tez yerleşik kavrayışın dışına çıkarak yeni kavramlar vasıtasıyla mekanı düşünmenin mümkün olup olmadığının araştırmasıdır. Yeni bir ortamda, yeni araçlarla oluşturulan düşünceler eskisi gibi olmayacaktır. “Zaman-mekan kavramının yarattığı düşünsel kırılmanın da pekiştirdiği yeni temsil ihtiyacı hareketli görüntülerle karşılanabilir mi?” sorusu tezin çekirdeğinde durmakta ve başka soruları beslemektedir. Bu tez, tüm bu sorular etrafında çıkılan bir yolculuğun izleğidir.

This text which has begun with questions, has ended with newer questions. Some of them were “How does one start thinking of space? What are the tools for thinking space?”. Simple answers are always ready for those questions; but not always enough to discuss further into the subject. In this study concept of “space” and spatial productions are approached critically considering the current status quo. This critical approach has emerged from the idea that status quo cannot provide adequately nourished environment for these concepts. “Space” whose perception changes unexpectedly and in which the users constantly participate to its production both physically and intellectually is full of daily routines and its users’ temporary experiences. Nevertheless these qualities become invisible when it comes the representing it. Interconnectedness of experience and memory is ignored. Complexity and richness of intellectual and creative processes cannot be reflected due to dominance of technically productive representation. And this intellectual poverty has become immanent to spatial representation. Two dimensional representations such as drawings or sketches or three dimensional representations such as models are never enough to capture the liveliness of space, but mostly they are used tools for representing space. Digging deeper, other types of representations exist, even though they are rarely used. One of them is motion videos, which consists of cinema or video. Through the processes which representation, thoughts or physical product come about are always related to each other so any lack of richness affects the whole system. To think of it the other way, it can be said that any richness nourishes the whole system. To reach that, “space” concept can be researched and studied with the help of newer representations. At that point, it is discovered due to their interconnectedness with “time” concept, motion videos, which is cinema and video, can be of great use. Since time is immanent to motion videos, and that motion videos form a new language and have other idiosyncrasies, they create paths to a new intellectual thinking. That new intellectual thinking that can be named as “cinematographical thinking” defines a new environment in which space and spatial productions can be newly approached to. Relation of motion videos with reality and them being experiential also supports the idea. What is more, representation of “space” with “time” in motion videos is a qualification that is distinct from other representation types. To discuss the use of motion videos as a tool, characteristics of motion videos are firstly analysed. Their immanence of time, their own tools of thinking such as montage, the “blind field” concept, the specific language of motion videos, “space-time” representations are among the subjects discussed. “Blind field” and “montage” are especially emphasized since they are the conceptual thinking model of motion videos. Two types of gaps are discussed in the thesis. First one is the gap between reality and experience of motion videos. Second one is the gap defined by “blind field” which can be named as vanishing point of the motion video frame. The field which is not visible to the eye but to the mind of the spectator. “Blind field” is the gap in which spectator fills with his/her own vision, thoughts and memory with relation to the motion video in front of his/her eyes. Motion video experience is a specific experience in which spectators lose themselves in. It is an “in and out” experience, spectators live in physical reality; then comes the moment they start watching motion videos and they lose themselves in them and forget about physical reality; and finally after they finish watching they go back to experiencing physical reality again but this time with different eyes. Their mind has been to the foreign land of motion videos and back. In between these two realities (physical reality and reality of motion videos) they have experienced distancing themselves to physical reality and let themselves into a new world. That creates the gap in which ideas and experiences migrate and transform into newer and more different ideas and experiences. “Space-time” concept has been used for near a century and it has affected almost every kind of thinking. It basicly indicates that “time” and “space” are connected and makes up a whole. Therefore the environment defined by motion videos is enriched by “space-time” concept when it comes to thinking about space and spatial productions. To form a new thinking, it is suggested that motion videos can be used as a tool to think about space and three short videos are produced for that. Other than that, existing works of cinema are examined in this conceptual framework. So a new platform for discussion is established on whether motion videos can be a tool into a new kind of thinking. Moving further on the subject, the videos which are produced to discuss the ideas are each assigned for a particular thinking type. One of them is the “documenting” type, in which specific data to a particular place is processed into a video. It does not require much creative effort but rather a process of translating existing data to motion videos. The second one is the “augmented” type, in which data is amplified in a way that is not possible to experience in physical reality but only in motion videos. It differs from the previous type by increased amount of creativity put into and thus increased subjectivity. Third type is the “whole new” type, in which motion videos are used to create a thinking and experience totally new and not existing in a physical reality. There are many studies which examine the interface between motion videos and space concept. However most of them try to pick space concept or representational spaces within motion videos and to evaluate it in terms of architecture without considering it as a part of a cinematographical thinking but as a frozen photograph of a place, some kind of an isolated data in which space is used somehow. There are many studies which work on psychological effect of spaces in movies or how certain spatial effects arouse certain feelings, like uncovering meanings behind claustrophobic rooms or how distopic futures are designed. Unlike other studies on cinema and architecture, in this study it is claimed that, motion videos, a particular type of language and thinking can be used as a tool to broaden the horizon of space and spatial production thinking. And a new approach was tried out on behalf of that idea, which is thinking space with the help of three motion videos and discussing that new cinematographical thinking with these videos and other existing videos. This thesis tries to find ways of thinking space by new tools in an attempt to overcome status quo. In a new environment, with new thinking tools, ideas will not be the same as before. The question that “Can the need for new representations be satisfied with motion videos after the emergence of space-time concept?” stands at the core of the thesis and leads to other questions. This thesis is the pathway of a journey in and about these questions.