Çağdaş ahşap yapılarda tektonik okuma ve poetik karakter analizi
Tectonic reading and poetic character analysis in contemporary wooden buildings
Yazar: ENGİN TAYFUN BAKIŞ
Danışman: PROF. DR. SİNAN MERT ŞENER
İstanbul Teknik Üniversitesi / Fen Bilimleri Enstitüsü / Mimarlık Ana Bilim Dalı / Mimari Tasarım Bilim Dalı
Derece: Yüksek Lisans, 2019
Konu: Mimarlık = Architecture

Özet:
Günümüz mimarlık üretiminde, mimari yapıların ağırlıklı olarak formal tutum ve görsel kaygıyla üretilmesi, makyaj ya da kaplamayla kullanılan malzemelerin karakterinin kaybedilmesi, yapıların bulunduğu yerin kültürüne uzak olup ve kendi bağlamını yaratması, mimarlığın geleceğine dair düşündürücü ve kaygı vericidir. 1800'lü yıllarda mimarlık literatürüne giren tektonik teorisi, günümüz mimar ve teorisyenleri tarafından mimarlığın bu gidişatına bir eleştiri bağlamında ortaya atılmış; yapıların fiziksel var oluşlarıyla birlikte sanatsal ve şiirsel var oluşuna da vurgu yapılmıştır. Bu tez çalışmasında günümüzdeki mimarlık üretim sistemine karşı bir duruş sergileyen mimar Peter Zumthor'un ahşap yapılarını, tektonik ve poetik bağlamda dökümleyerek, gelecekteki mimari üretimlere katkı sağlanması amaçlanmıştır. Tez "Ahşap yapıların tektonik kültürlerini oluşturan; mimari söylem, strüktür, konstrüksiyon, form gibi öğeler nasıl bir araya gelerek anlamlı bir bütün oluşturmaktadır?" sorusu etrafında şekillenmiştir. Bu bağlamda tektonik: "Parçaların ya da öğelerin bir araya gelmesiyle oluşan anlamlı bir bütün ve şiirsel bir artikülasyon" olarak tanımlanmıştır.

Kenneth Frampton ve Eduard Sekler'in ortaya koydukları tektonik teorilerinde; tektonik, atektonik, strüktür, konstrüksiyon ve skenografi kavramları mimarlığın kökenine dair üsluplar üstü bir mimari okuma sağladığı için, incelenecek yapıların metodolojisini de oluşturmaktadır. Bu kavramları içine alan yöntem "yerin öyküsü, mimarın öyküsü, yapının kurgusu ve poetik karakter" olarak 4 farklı başlıkta toplanarak seçilen yapıların tektonik değerlendirilmesi sağlanmıştır.Tektonik teorisinin şiirsel anlamı sonucun nesnelleştirilebilmesi için de tektonik çerçevede sınırlanıp gestalt öğrenme prensipleri üzerinden ele alınmıştır. Zumthor'un mimari tasarım süreci ve 3 ahşap yapısının analizi sonucunda atektonik, tektonik ve skenografik yapı yapma durumları da ortaya çıkmış ancak genel eğilim Kenneth Frampton ve Eduard Sekler'in tektonik teorileriyle örtüşen ontolojik tektonik olmuştur. Zumthor'un geçmişinin, mimari tasarım süreci ve tektonik kurgu anlayışı üzerinde önemli etkileri olduğu dökümlenmiştir. Yapılardaki poetik karakterler de sadece o yapıya ve yere özgü olarak üretilerek, çoklu duyuların (koku, sıcaklık, ses) tetiklenmesi sonucunda zenginleştirilmiştir. Sonuç olarak Frampton ve Sekler'in günümüz eleştirisi olarak ortaya attıkları tektonik teorisi, Zumthor'un ahşap yapıları üzerinden incelenmiş olup yeniden değerlendirilerek, yapıların ürettiği anlam ve şiirsel karakter ortaya çıkarılmıştır.

Abstract:
The following things in the contemporary architectural production are perturbing for the future of architecture: architectural buildings are put up with the formal attitudes and visual concerns, the character of the materials are lost due to coating, buildings are alienated from the culture of location. The tectonic theory which entered the architectural literature in the 1800s was put forward by today's architects and theorists in the context of a criticism for attitude of today's architecture. The term tectonic was used to refer "building, construct" until 1800s. Thanks to the theory of Karl Ottfried Müller the term was adapted to the needs of people and artistic ideas. Thus, the connotations of the term has been defined. Karl Bötticher was influenced by Müller's theory and used the tectonic as a reassessment of the Hellenic architecture. As a result, he has been defined a distinction between core form and art form. The core form is defined as the first title that allows the building to exist structurally, while the art form is defined as metaphysical elements such as the meaning, essence and poetry of the building. In this way, the physical and metaphysical elements that construct the building are considered and the integrity of these two is emphasized.
Eduard Sekler distinguishes the terms of structure, construction and tectonics. As a result, he expressed the tectonic as a form of artistic expression arising from the interaction of structure and construction. He also defined the term of atectonic to anaylse the buildings. For him, the atectonic is an attitude in which the relationship between building and structure is hidden. The terms are defined by him are also used in the thesis. Another important person in the composing of the theory of the thesis was Kenneth Frampton. Frampton's tectonic theory, which he put forward as a criticism of the current mode of production, allows the re-evaluation of structures. He associates the term of tectonic with the term of poetic. In addition, he has been defined three different construction type. These are; tectonic, technological and scenographic object. He developed the theory of Sekler and categorized the tectonic concept into ontological tectonic and representative tectonic. Ontological tectonic is the opposite of scenographic construction type.
An example of ontological tectonics is that the columns in the Greek temples function statically and culturally. The fact that the same column has a religious representation is given as an example for representative tectonics. The technological object is also the non-scenographic construction type which is only for one function. The object is to prioritize the visual attitude of the building from its essence, meaning and cultural existence. The aesthetic value of the building can be given by make-up or covering. Frampton and theorists use tectonic and poetic as a whole and considered prominent in the thesis. In this context, in order to focus on the tectonic discussion, emphasis made on a specific building material and an architect. Peter Zumthor has been recognized as an important architect in the scope of this thesis in terms of his definitions and exemplary buildings(cases studies) related to carpentry education, tectonic and poetic concepts.
In this thesis, it has been aimed at contributing to the future architectural productions by exposing in the tectonic and poetic context of wooden buildings of Zumthor who has had an anti-attitude towards contemporary architectural production systems. The thesis has been formed upon the question of "How the architectural components such as expression, structure, construction, and form, which have constituted tectonic cultures of wooden structures, are combined in order to create a meaningful whole?". In this context, tectonic was defined as "a meaningful whole and poetic articulation, which has been formed by the combination of components and elements."
In the tectonic theories of Kenneth Frampton and Eduard Sekler, as the term of tectonic, atectonic, structure, construction and scenography provide a supra-style architectural reading on the core of the architecture; they also constitute the methodology of the buildings to be analyzed. This makes it possible to return to the internal parameters of the building and make an examination. This examination requires the process of separation into physical and metaphysical components of the architecture. In this context, a new model has been developed to reveal the meaning of buildings and their tectonic fictions. This model has four basic headings; the story of the place, the story of the architect, the fiction of the building and the poetic character. The title of the story of the place; contains the stories and culture of the place before the construction. The title of the architect's story was also created to analyze the design process and understanding of the architect. This title was considered important in the context of tectonic reading, his culture and design process of the architect would directly affect the building. The poetic meaning of the tectonic theory was also defined through the Gestalt Principles of Perception in order to provide objectivity. The Zumthor's buildings that are wanted to be examined draw attention to the world architecture community; Saint Benedict Chapel, Allmannajuvet Zinc Museum and Gugalun House. The common aspect of these buildings is that they have all a story of the place and they are made by wood.
In the first analysis, Zumthor's understanding of architectural design is analyzed in twelve chapters. The fact that Zumthor put forward the form as the last goal to be reached, that he cares about the environmental conditions of the building, its meaning, the effect of light, and the integrity in fiction, has ensured that the understanding of design coincides with Sekler and Frampton's theory and is ontological tectonic.
When we look at the analysis of Saint Benedict Chapel, it is seen that structural scenario affects all elements of the building. The structural system as the main element that constitutes the space rather than just carrying the structure, organizing sound within the space is in accordance with the definition of Sekler's structure. In the construction, scenographic and atectonic, representative and ontological tectonic conditions were observed. However, with the emphasis on locality, proper use of materials and holistic fiction, the construction type is close to the ontological tectonic building. The perception of the building is facilitated by the decisions taken in the poetic character of the structure. The classification of the materials used in the space, clarified the perception of the interior space. The poetic character is generated from the context of the locality of the building. The first important thing for the Allmannajuvet Zinc Museum is the story of the place. Structural scenario was built on the old mining path. Zumthor puts emphasis on the difficult working conditions thats why he creates his scenario with humble intervention.
As a result of this, structural scenario is composed of three basic elements as vertical weight carrier, a black coated box and roof. This system is used in all buildings. In addition, scenographic and atectonic conditions were observed in the construction. The interior has become scenographic and atectonic with the usage of black jute coating to capture theatrical spatiality. However, in the aesthetic expression of the general building, as a result of the creation of aesthetic attitude with all elements of the structure and construction, it is close to the ontological tectonic construction type. The poetic character of the building is also based on the story of the place and its holistic fiction.
Gugalun House is a traditional village house. The importance was the resistance of the structure against the time and its traditional tectonic scenario. As a result, instead of interfering to the old building, it was preferred to be attached. The fibers of the old wooden building were continued as traces and connected through the topography. As a result of this scenario, the structural system was established only between the topography and the old structure without a vertical weight carrier. The traditional construction system of the building was also applied in the new building.
Thus, the tectonic scenario of the structure can be seen in the details. The building has been ontological tectonic with prioritizing of wooden material's character and essence. The use of the old heating system extended in an innovative manner in the new building and it has become an ontological tectonic construction type. The poetic character of the building is produced from the dialogue between old and new.
As a conclusion the architectural design process of Zumthor and the analysis of three wooden buildings of him demonstrated that the architect has used atectonic, tectonic and scenographic components, but his tendency was towards the ontological tectonic corresponding to the tectonic theories of Kenneth Frampton and Eduard Sekler. It has been found that Zumthor's background has had substantial impacts on his architectural design process and tectonic conception. Moreover, the poetic characters in the buildings were enriched by triggered multiple senses (odor, temperature, sound) by being produced peculiar to the building and location. As a result, the tectonic theory of Frampton and Sekler, which they put forward as a contemporary criticism, has been analyzed and re-evaluated through the wooden buildings of Zumthor in order to reveal the meanings and poetic characters of the buildings.