Mimari tasarım süreçlerinde çizim ve maketi, üretimleri çoklayan eylemler üzerinden ele almak
Approaching drawings and physical models in design process through acts which multiply productions
Yazar: ÖMER FARUK TEKİN
Danışman: DOÇ. DR. SIDIKA ASLIHAN ŞENEL
İstanbul Teknik Üniversitesi / Fen Bilimleri Enstitüsü / Mimarlık Ana Bilim Dalı / Mimari Tasarım Bilim Dalı
Derece: Yüksek Lisans, 2016
Konu: Mimarlık = Architecture

Özet:
Mimarlık pratiğinin temel kavramlarından biri olan mekanı, öznesinden bağımsız düşünen yaklaşımlar, onu statik, değişmez ve nesnel bir olgu olarak ele alırken; öznesinin duyularıyla, deneyimleriyle, algılarıyla ve eylemleriyle birlikte ele alan yaklaşımlar, mekanı değişen, her özne ile ilişkisinde yeniden üretilen dinamik bir kavram olarak incelerler. Günümüzde de böyle bir yaklaşımın sergilendiği ve böylece her ilişkide ve her eylemde yeniden üretilen mekanın tanımının çoklandığı görülmektedir.
Bu çalışma da mekanın bedenin eylemleriyle üretildiği tartışmasından hareketle, mimari tasarım süreçlerinde yapılan eylemlerin, çizim ve maket gibi sürecin ürünleri olan anlatım biçimlerindeki mekanları da çoklayabileceğini iddia eder. Eylemleri, bu çoklukları açığa çıkarmada potansiyelli birer araç olarak kullanır. Çalışma süresince yapılan çizim ve maketlerde kullanılan dolanmak, kaybolmak, hızlanmak, durmak, tıkanmak ve çevirmek eylemleri üzerinden tasarım süreçlerinin ele alındığı çalışma, sonuca odaklı tasarım yerine süreci ön planda tutan bir anlayışla, tasarım süreçlerindeki anlatım biçimlerini, sözü edilen eylemlerin getirdiği belirsizlik, rastlantısallık ve şans gibi kavramlarla okuyarak üretilen mekanların nasıl çoklanabileceğini araştırır.
Tezin ilk bölümü, çalışmanın amacı ve bu amacın hangi kapsamda ve hangi yöntemle gerçekleştirileceğini içerir. İkinci bölüm ise belirli zaman aralığındaki bazı mekan yaklaşımlarını irdeler. Bu bağlamda, mekanın yerle ilişkisine Heidegger üzerinden; duyularla ilişkisine Pallasmaa ve Zumthor üzerinden; eylemlerle ilişkisine ise Tschumi üzerinden bakılarak, bedenle birlikte düşünmenin mekanı çoklayıcı etkisi ortaya konmaya çalışılmıştır.
Üçüncü bölüm ise, mekanın eylemlerle üretilmesi tartışması üzerine, tasarım süreçlerinin ürünleri olan anlatım biçimlerinden çizim ve maketin mekanlarının da süreçte yapılan eylemlerle çoklandığını iddia eder ve bu iddiayı metinler ve örnekler üzerinden tartışır. Seçilen örnekler, belirsizlik, şans, rastlantısallık gibi kavramların tartışıldığı anlatım biçimleri olmaları yönüyle önemlidir. Dolanma eylemi performatif bir hareket olması, dolayısıyla keşfetmelere ve karşılaşmalara olanak sağlaması; hızlanma eylemi üzerine uzunca düşünmeyi devreden çıkararak sezgisel ve anlık olana imkân tanıması; kaybolma eylemi öznesini belirsizliğe düşürmesi ve bu belirsizlikle birlikte rastlantısallıkları ve şansı beraberinde getirmesi; durma eylemi tam da o devamlı hareket halinde soluklanıp, ne yaptığına ve neyi gördüğüne dair farkındalık oluşturması; tıkanma eylemi, kullanılan aracın, yöntemin düşünceyi ifadedeki yetersizliğini fark ettirmesi ve başka bir yöntemi kullanmaya itmesi ve son olarak da çevirme eylemi bir anlatımdan diğer anlatıma geçişi ima etmesi sebebiyle ele alınır.
Dördüncü bölümde ise üçüncü bölümde üretilen anlatım biçimlerinin açıldığı ve tartışıldığı eylemleri, bir tasarım süreci içerisinde üretilen çizim ve maketler ile tekrar ve başka bir bağlamda tartışmayı hedefler. Bu bölümde eylemlerin bir araç olarak kullanılması, anlatım biçimlerinin eylemler sonucu üretilmesi ve belirsiz oluşları önemlidir. Belirsizlik üzere üretilen anlatımların, yine belirsiz ve her an değişebilir mekanları olan savaş alanlarında taktik mekanları olarak kullanılması öngörülerek, Suriye'de devam eden savaşa yönelik bir proje yapılmıştır. 
Sonuç bölümünde çalışmanın sonuçları değerlendirilerek, tasarım süreçlerinde yapılagelen eylemlerin farkında olarak üretmenin, tasarlama biçimlerini değiştirebileceği, özellikle tasarım stüdyolarında süreci bu şekilde ele almanın görülemeyen ilişkileri açığa çıkarmada bir yöntem olabileceği söylenir.

Abstract:
Space is one of the most basic concepts of architectural practice. While some approaches thinking of it independent of its subject and handle it as a static, unchangeable and objective fact; approaches handling it with subject's senses, experiences, perceptions and acts examine space as a dynamic concept that is produced again in every subject relations. Today it can be seen such an approachment and this approachment multiplies definitions of the spaces produced in every act.
This research claims that acts done in architectural design process multiply spaces of expression forms such as drawings and physical models that are productions of the process. This research uses acts as a tool that has potential to disclose the multiplicity. In this research, design processes are handled through acts of meandering, getting lost, accelerating, stopping, deadlock and translating which were used in drawings and physical models done throughout the research that prioritizes process instead result-oriented design. It researches how produced spaces can be multiplied by doing those acts. Expression forms are examined through the concepts like vagueness, accidentality and chance. 
The second chapter of the research is fictionalized to search an answer to the question of what makes it precious to expounding acts of meandering, getting lost, accelerating, stopping, deadlock and translating through drawings and physical models which are frequently used in design process. How spaces are produced and multiplied with body's acts, senses and perceptions is also a topic desired to be searched. For this purpose, relations of spaces with perspective, place, senses, and acts are broached in separate chapters. Perspective makes space a thing that abstract, geometrical and based on mathematical calculations. Space has become an object that its subject is inside the space but has no relation with space except eyesight. Perspective leaves the other senses out of the space and put its subject in a fixed point.
In Heidegger's place concept, human experience has an important place. He claims that, phenomenology that features this human experience is richer than descriptive and mathematical geometry in grasping the world. According to him human experiences are what makes a place a place. In the chapter that space and senses relations is examined, Zumthor's concept of atmosphere and Pallasmaa's emphasis on senses and acts are broaching. Athmosphere is an intergrity with its all temperatures, materials, bodies, sounds, and visuality that appeals to human.
The third section aims to discuss how acts in design process multiply the spaces of expression forms through texts and examples of drawings and models. This research makes this discuss through the concepts of vagueness, chance, and accidentality that were determinative to select the examples. Selected examples enable one who looks at it or designed it to make different readings by means of containing vagueness and of not being descriptive. While this concepts multiply meanings of drawings and models; this concepts' relations with acts that are done in design process are also important in process of disclosing these multiplicities.
In this section six acts are examined through drawings and physical models. Acts are meander, get lost, accelerate, stop, deadlock, and translate. The acts are frequently used or encountered in design process and performed while drawing or making physical models. Put emphasis on contributions of this acts to the design process and scrutinize them is puspose of this section.
The act of meandering searches yields of focusing on process instead being result-oriented in the design process. Focusing on process is explored by four different approaches. First, throughout the design process, designer's projecting himself into the drawings' spaces; by meandering around the drawings; by making drawing in various steps that enables accidentality and by using potentialities of objects that drawings are made on. This research claims, these approaches multiply meanings that were produced by meandering act.
The act of getting lost is handled through the vagueness that put its subject into it. This vagueness enables accidentality and different readings of the same expressions. Different readings and accidentality in desing process, enrich the productions and spaces of productions. Getting lost in design process while drawing and making model brings unfamiliarity to the productions. By doing so, it enriches meanings and productions' spaces.
The act of accelerating enables intuitional and immediate one by cutting-out think of something extensively. Speed and the act of accelerating have an important role in multiplying meanings and spaces of productions of the design process. The act of accelerating plays this role sometimes by chance-based drawing and by drawing what comes to mind urgently; sometimes by meandering the subject in the drawing by means of dynamic lines of the drawing; sometimes by the transformative power of speed that is evoked in the entire drawing. In each case, disclosing and multiplying possible spaces that the drawing contains is at stake.
Deadlock varies from other acts in terms of consciousness. While meander, accelerate or stop are the acts that can be performed intentionally, deadlock is a situation which its subject can not control it. Deadlock is a situation in which no progress can be made. In design process it is also possible to speak of similar situation in which the designer can not make a progress while s/he making drawings and models or writing the text of the process. It can not known what keeps the designer from making drawings or models. In this section, this research handles this deadlock situation as a motive force for switching from one representation method to other. It takes deadlock as a chance to explore new relations and enrich productions. 
When the act of translating is opened up through the concept of translate in literature, multiplying of meanings, supplementations, subtractions or making a series of productions that refers to a whole become discussed topics. While translating produces lots of things from one thing, it also makes the whole visible with these productions. In this part of section the act of translating is handled in this context. This part aims to point that while translating enriching the production on the one hand, it makes the subject close to original thing with these productions on the other hand. A drawing of a thought and physical models of this drawing's translations are examined for this purpose.
In the fourth section it is aimed to discuss the acts that are discussed and handled in the previous section again but in a different context through the drawings and models that has been made in a design process. What makes this process important is performing these acts consciously and being aware of their potentials. The spaces of drawings and models create a project concept in which these spaces are used by Syrian civilians as a tactical spaces because of the ongoing war that changes cities' spaces in every action. It is important for this section to produce drawings and models by means of aforementioned acts. As mentioned before, these acts read productions through the concepts of vagueness, accidentality and chance. Wars, with their devastating power on cities, transform cities and make their defined spaces unrecognizable. They produce fields that are vague, ambiguous and open to get lost. In this context it is thought that using the vagueness spaces of drawings and models in a city that there is an ongoing war overlaps with their (drawings and models) purpose of production.
Throughout the existence of him, human acts in spaces. But approaching the space through the acts brings new discussions and it changes and enriches the way designs are made. In a similar way, approaching drawings and physical models through acts can bring new discussions in a design process, too. This study can be used as a base to make further researches and make these acts as design tools. Instead of producing result-oriented works, designing by performing these acts that enable vagueness and accidentality can help to make invisible relations visible,especially in design studios where it is encouraged to think freely and broadly.