Mimarlıkta kartpostalın eleştirel imkânları
Critical possibilities of postcard in architecture
Yazar: BURCU SALİHA BOYBEYİ
Danışman: DOÇ. DR. SIDIKA ASLIHAN ŞENEL
İstanbul Teknik Üniversitesi / Fen Bilimleri Enstitüsü / Mimarlık Ana Bilim Dalı / Mimari Tasarım Bilim Dalı
Derece: Yüksek Lisans, 2019
Konu: Mimarlık = Architecture

Özet:
Bu çalışmada kartpostalın mimari tasarım aracı olarak imkânları değerlendirilecektir. Bir nesne, temsil ve arşiv öğesi olarak kartpostal değerlendirilip kartpostalın başka nelere aracılık ettiği anlaşılmaya çalışılacaktır. Kartpostalı ve arşivi bir tasarım aracı olarak ele alıp, geleneksel tasarım yöntemlerinden farklı olarak bu yöntemlerle nelerin gösterilebileceği ve geleneksel tasarım yöntemlerinin neyi göstermediğinin üstüne gidilecektir. Kartpostallar kullanılarak mekânın bilgisini üretmek hedeflenmektedir. Çalışma dört ana bölümden oluşmaktadır. İlk bölümde kartpostalın ne olduğu, sadece şehir kartpostalları değil genel olarak kartpostal üzerine ne tür değerlendirmelerin olduğu üzerine bir araştırma yapılmıştır. Dünyadan ve Türkiye'den kent kartpostallarının üretim biçimleri ve yayılma amaçları; sömürgecilikle, misyonerlik faaliyetleriyle ilişkileri açıklanmıştır.
Sanatçıların ve tasarımcıların kartpostalı tasarımlarında kullanış biçimlerinin araştırıldığı, yaratıcı pratikleri ortaya koyan bölümde tasarımcılar ve onların şehirler ve kartpostallar üzerine yaratıcı çalışmaları değerlendirilmiştir, bu aşamada kartpostalın bir bilgi üretme çeşidi olup olmadığı sorgulanmıştır ve kartpostal kentin mekânlarıyla ilgili ne tür kavramlar üretiyor sorusuna cevap aranmıştır. Sanat ve mimarlık disiplinlerinin, mekânın bilgisini üretirken ana akım üretim yöntemlerini tersyüz ederek veya taktiklerini deşifre edip kullanarak o mekânla ilgili yeni bir bilgi üretebilmelerine imkan veren eleştirel mekânsal pratikler tanımlanarak kartpostal üretiminin ve kartpostal alıcısının deneyiminin bu kapsamda nasıl değerlendirilebileceği, sanatçıların ve mimarların kartpostal mecrasını kullanarak mekânsal eleştiri yaptıkları tasarımlar ve ürettikleri tartışmalar üzerinden açıklanmıştır.
Üçüncü bölümde İstanbul için üretilen turistik şehir kartpostalları ve sanatçıların ürettiği kartpostallar üzerinde durulmuştur. Kartpostallaşmış kent görünümlerinin kentsel anlamların tartışılmasında bir veri olarak kullanılabileceği savıyla hareketle bu kartpostalların kentle ilgili ürettiği anlamlar görünür kılınmak istenmiştir. Bunun için kartpostallar İstanbul'un şehircilik kararları, sosyal ve politik kent söylemleri, gazete haberleri ve dergi yazıları ile birlikte ele alınmıştır. Kartpostallar gruplanarak anlatılar oluşturulmuştur. Kartpostallar ile gazete haberleri, devletin imar kararlarını açıklamak için bastırdığı yayınlar, belgesel fotoğraflar yan yana getirildiğinde kartpostallardaki baskın ideolojilerin okunması kolaylaşır. İstanbul için üretilen ana akım ve turistik kartpostallar ele alınıp mekâna sabitledikleri anlamların, hakim söylemleri kurma ve yaymadaki rolleri deşifre edildikten sonra, İstanbul için sanatçıların ürettiği kartpostallar incelenerek sanatçıların ana akım kartpostallarda kendine yer bulamayan mekânsal ilişkileri, kentin melezliklerini alıcıya deneyimlenmek üzere sundukları ve böylece ana akım kartpostallarla sabitlenen tekil bakışı çözerek kentin çokluklarını ortaya koyarak İstanbul'la ilgili eleştirel bir deneyim alanı yarattıkları keşfedilmiştir.

Abstract:
In this study, the possibilities of postcard as an architectural design tool will be evaluated. The postcard will be evaluated as an object, representation and archive item and it will be tried to understand what else the postcard mediates. Taking the postcard and the archive as a design tool, it will be discussed what can be shown with these methods and what the traditional design methods do not show. It is aimed to produce the information of the place by using postcards. The study consists of four main sections. In the first part, a research has been made on what the postcard is, not only the city postcards, but what kind of evaluations on postcards in general. Modes of production and objective of dissemination of the city postcards in the world and Turkey; relations with colonialism and missionary activities have been explained.
Postcards were one of the most powerful communication tools of the time when mobile phones were not commonly used and internet did not take place in every moment of our lives. Postcards have an image in the front side and text on the back side; these are small, portable memory spaces of memories and emotions that establish a connection between the sender and the recipient.
These small, portable memory spaces; if they have a city image in the front, build that place in mind. They are the circulating and accepted representations of the city. In this study, by means of representation of the city on the postcard, the new meanings of representation in production and application process were discussed. The representation of the city on a postcard is not a dull image; these representations produce new meanings throughout the production and application processes. These meanings produced by the postcard about the city are one of the research topics of this thesis.
In this study, the touristic city postcards that advanced rapidly in extensive postcard production area and the city postcards produced by the artists and architects will be emphasized. With the Fluxus movement, since the 1960s, artists have developed an art form called mail art. The artists who have criticized the elitist attitude of galleries; have disintermediated the galleries and spreaded their work through postcards. The fact that postcards produced by thousands of artists within the scope of this movement made the need to investigate the forms of production other than the usual touristic object meaning arise.
In this study, it is aimed to look at postcard with different features. The reasons for the production and spread of postcards, their relations with the city, the use of postcards by artists and architects and their contribution to architectural practices were investigated. The "critical spatial practices" that allow the disciplines of art and architecture to create a new information about that space, while producing the knowledge of space by reversing the mainstream production methods or using tactics to decipher, were defined. The scope of the postcard production in this context were explained by using spatial criticism, designs and discussions of artists and architects.
Istanbul constitutes the second focus of the thesis with postcards. Postcard production consumption practices were examined in the center of Istanbul. In the postcards circulated for Istanbul, the signs of the transformations that were and will be in Istanbul were investigated. The history and decisions of urbanism in the background of the examined postcards were presented and the production decisions behind the postcards were evaluated in relation to these activities. In this study, the postcards has been produced for Istanbul from the 1960s to the present were examined by Keskin Color editorship.
Fifty-six postcards produced by Keskin Color were examined in the study. Various partnerships produced by these postcards have been put forward. The images showing the neat and clean face of the city; authentic and nostalgic images, images that want to demonstrate the development of the city were determined; in the meantime, the reports and documentary photographs were brought together with the postcards, and what was dissembled by the postcards was opened up for discussion. When the postcards and the newspapers, publications published by the state to explain the zoning decisions, documentary photographs are brought together, it becomes easier to read the dominant ideologies in the postcards.
In this study, the touristic and mass produced postcards which are considered as mainstream are brought together with the archival documents that make up the urban discourse to reveal the meanings of these postcards. With this method, the role of the discourse valid at the time of the production of postcards in establishing the meaning conveyed by the postcard is aimed to be revealed.
In the second chapter, various assessments about touristic city postcards in the world and Turkey were discussed. Visual tactics in the production of these mainstream postcards and object properties of the postcard such as reproducibility and circulation were explained. On the assumption that postcard production can be a critical spatial practice such as mapping, guide book writing, documentary filmmaking, the use of postcard media has been investigated. The postcards produced by artists and architects for London, Paris, California and Palestine were examined and it was aimed to understand how the designers produced a critical knowledge and view of the city and even a country. As a result of the second chapter, the various production methods of postcards and the urban views and assumptions that can be disseminated by these methods were revealed by comparing and evaluating the mainstream ones and the ones which was artists' production together.
Parallel to the second section, in the third section titled "Istanbul Kartpostallari" (Postcards of Istanbul), the touristic mainstream postcards produced by Keskin Color in Istanbul and the artist postcards produced for Istanbul Tarlabasi were discussed. In the second section, the generality of the postcards in circulation and the ability to reproduce the meaning and fixation of the city, and the power to construct mythical realities were proved by the detailed examination of the mass produced postcards for Istanbul. In parallel with the postcards produced by the artists in the critical spatial practice in the second section, an example of postcard work that shows the critical spatial relations for Istanbul, shows what the masses do not show and contains the multiplicities and hybridities of Istanbul, was explained in the third section. The second and third sections are two sections that are suitable to be read in parallel with each other, not consecutively, that feed each other throughout the study and learn from each other.
The dominance of motorways and cars in urban spaces, their effects on squares and the experience of movement in the city, chaotic spaces represented nostalgically, sterile and homogenous ideal houses; mythical reality constructs created by infrastructures such as bridges, common and singular glances built in minds by the reproduction and circulation of the same parts of the city and certain relations are also revealed. It can be said that the experience that mass-produced postcards offer to their buyers is limited, limiting the inclusion of the majority chosen by the editor and the urban experience and meaning in this way, not the multitude of the city. It was gone about to the Tarlabasi postcards project, as an example that solved this singular view and revealed the hybridities in Istanbul. With Tarlabasi postcards, the artists presented their Istanbul experiences; they shared the recipients of these postcards with their own experiences and made the recipients produce their own critical spatial practices using multiple perspectives proposed by them.