Mimarlıkla uyanma: Görünenle görünmeyenin arasında
Awaking with architecture: Between visible and invisible
Yazar: FATMA ECEM ERGİN
Danışman: DR. HAKAN TONG
İstanbul Teknik Üniversitesi / Fen Bilimleri Enstitüsü / Mimarlık Ana Bilim Dalı / Mimari Tasarım Bilim Dalı
Derece: Yüksek Lisans, 2014
Konu: Mimarlık = Architecture

Özet:
Bu tez kişinin günlük yaşamında mekanı algılamasına dair yeni bir yöntemi, uyanma
kavramı ışığında kurgulamaya çalışır. Uyandırma işlemini, mekana giydirilecek
cisimsiz bir görüntü katmanı üzerinden gerçekleştirmeyi önerir. Bu uyanmanın
ardından özne için iki yeni mekânsal iletişim modeli tanımlanmış demektir. Birincisi
görüntü katmanı görülmeye devam ettiği sürece görseldeki uyaranlar sonucu
uyanmadır, ikincisi de görüntü katmanı kaldırıldıktan sonra yeniden buluşulan somut
mekanla, bu ani buluşmanın getirmiş olduğu uyanmadır. İkincisinin izlenme
frekansının ilki kadar sık olmayacağı tahmin edilmektedir, fakat sistemde niceliklerin
bir önemi yoktur. Tek defaya dahi mahsus olsa uyanma gerçekleşir ve sistem
bununla ilgilenir.
Bu noktada önerilen uyandırma katmanının cisimsiz olması büyük önem
taşımaktadır. Çünkü bu sayede görüntünün müzik ile aynı şekilde deneyimlenme
yolunun açılacağı iddia edilmektedir. Günümüze dek biricik olan resimler, sosyal
ağların genişlemesiyle sayısal ekranlarda defalarca kez tekrarlanır hale gelmişlerdir
fakat yine de müziğin yarattığı gibi bir mekan tanımlamamaktadırlar. Bu, Plüton
gezegeninin yörüngesini hala temizleyememiş olması sebebi ile, karşısına çıkan bir
takım enerjiler yüzünden, yolundan sapmalar göstermesine benzetilebilir. Plüton'u
gezegenlikten çıkarma noktasına gelen bu durum, statünün geri verilmesiyle
tehlikesizleşmiştir fakat varlığını sürdürmektedir. Aynı şekilde resimde artık (burada
resimle tüm görüntüler kast edilmektedir) performans sanatları gibi kendine ait bir
yörünge temizleyebilmeye yakındır.
Karşılaşılacak her düşüncenin altında otoriteler tarafından kabul edilmiş bir kaynak
ya da teori bulunmayabilir. Anarşist bilgi kuramı gereği, tezin geçmişin omuzlarında
yükselmesindense kendi cümlelerini kurabilmesine özen gösterilmiştir. Deneyimler
kişisellik, örnekler öznellik barındırır ve bunun tartışma zeminini kayganlaştırması
olumlanırken, bu sayede tezin bilimsel dünyaya daha fazla soru işareti katması
bakımından faydalı olacağı düşünülmektedir.
Tez boyunca öncelikle giyinmek kavramı tarih süresince ne şekillerde hayatımıza
girmiştir sorusu cevaplanmaya çalışılmıştır. Ardından Las Vegas örneği irdelenmiş
ve orada arabalarla seyahat eden özneler için yaratılan uyandırma katmanının,
tabelalar ile şehre nasıl giydirildiğine işaret edilmiştir. Uyandırma kavramının
görüntüyle nasıl yapılabileceğinden; uyanık kişinin dikkatinin boyut değiştirmesini
sağlamanın, uyandırmak ile dirsek teması halinde olduğundan bahsedilmiş ve kişisel
deneyimler yardımıyla bir takım örnekler üzerinden bu deneyimler aktarılmaya
çalışılmıştır.
Bir sonraki bölümde sayısal görüntünün ne olduğu, nerden geldiği, neden geldiği,
neler yapabileceği ve nasıl yapabileceği irdelenmiştir. Son olarak da önerilen bu yeni
tanışma, buluşma ve kaynaşma eyleminin hangi yönlere evirilebileceği, ne tip
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donanımlar ve yazılımlara ihtiyaç duyabileceği, kişiye ve topluma neler verip kişiden
ve toplumda neler alabileceği tartışılmıştır.
Tez uyanmak ve uyandırmanın önemini vurgulamaya çalışırken, kendisi de
okuyucusunu uyandırmaya soyunur. Tezin bazı bölümlerinde karşılaşılan görseller
yazar tarafından bilinçli olarak bulanıklaştırılmış, renkleri değiştirilmiş ya da
çizgiselleştirilmiştir. Bu değişimler ile izleyicide merak uyandırmak hedeflenmiştir.
Merak eden kişinin, merak etmeyene oranla imajla daha az zaman geçireceği
kurgulanmış ve harcanan zamanın artması ile uyanışın gelmesi düşlenmiştir. Aynı
zaman da tezin akışından ayrı, isimsiz bir dizi yazı ve imajdan oluşan bölüm de, tezin
içine serpiştirilmiş öncül ve ardılları gibi kişide bir yabancılaşma, soru sorma, kafa
karıştırma ve merak etme etkisi yaratmayı amaçlamaktadır. Tez görselliği ve algıyı
yüzeyden başlatmakla ilgilenirken, tez yazım yöntemlerinin görünüşlerini
değiştirmeyi kendine borç bilmiştir. Aksi halde bahsettiklerini uygulamayarak,
inandırıcılığını yitirme ihtimali barındırmaktadır.
Sonuç olarak bu yeniden uyanmaların sayısal görüntü yardımıyla illüzyon bir dünya
da gerçekleşiyor olmasının kişinin deneyimlerini nasıl etkileyebileceği, bu yabancı
ve deneyimlenmemiş dünyanın ne kadar günlük yaşama tezahür edebileceği, hepimiz
için eşit derecede uzak sorulardır. Yaptığımız yaşanması muhtemel bir gelecek
diliminde yaşanması mümkün bir algı yöntemi önermektir. Geleceğini bildiğimiz
geleceğin nasıl geleceğini tasarlama girişimidir.

Abstract:
There is a room which is surrounded by some materials. There is music in the room,
which is also surrounded by the room. Music leaves its source and reaches to ears;
ears receive the music then body feel the space of music around. This space is
something different from the space which is defined by the materials. The air in the
space communicates with us through music, without seeing any material, not in the
visual world.
In addition, nowadays it has became real to come across visuals without any
material, even without a screen, just like music. That would end the cold war
between music and painting. For centuries the two were never in the same side, cause
keeping a painting is never equal to listening music (there is not such a thing that
'keeping the music'). However, keeping a painting points to its owner's class, a
person who is with high taste of art and accumulation of intellectual. However,
nobody feels like they are owners of the music, after they listen it. The piece of
music always belongs to its composer everywhere it is performed. Architecture is
quite similar with paintings in this case. After the architect, house owner has a full
power on the building and uses it however he or she wants.
Actually this big separation is just because of materials. The materialized world not
only makes human feel its energy; but also affects their viewpoint to their place in
the society. This does not mean non-materialized world is out of feelings. It is
obvious that getting to communicate with any subject is not about being materialized.
That is why we called these kind of happenings 'trans-material' which means
something more than material. Non-materialized and surrounding visuals can define
a completely non-experienced communication method with the space, different from
it used to be. This is not talking about the space that is seen in visualizations; it is
talking about the visualizations that define their space, with holograms and mirrors.
It is something about reproducing the perception, without building it.
In this work, we used methods which are not necessarily based on widely accepted
theories. We believe that to support a theory which is made in the past does not serve
to our platform of discussion. Defending that there is only one kind of truth is
opposite of democratical thinking. In democracies, there are multiple views on a
subject and every one of them has the same importance. That is why searching for
one universal truth is not possible and also it is not suitable for human thinking.
In this thesis we followed the theoretical method of Feyerabend and Kuhn. Both of
them says that the positivism is not on the right track. Consequently, researching for
a global and objective truth cannot be the duty of academicians. Main thing which
improves science and consequence of our world, is whatever works. In a world
where everything can be possible, many surprises can occur at any instant. That is
how the world has been working for centuries. The same principle was valid for
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Einstein and also at the time they were working on quantum theory. It is said that it
should also be valid for us.
In addition, our thesis tries to discover whatever it searches by enriching its
ingredients all over the document. It uses its writer's works as references, because
only us can be totally sure what we would really like to say.
In the thesis, there are three main sections to explain our ideas about space. The first
one is about awakening. How can we wake up? How could waking up affects our
perception of space? There is a slight line between being asleep and being awake.
We believe that in that line people can create something which they cannot do easily
when they are fully conscious. They need to lose some of their balance but not all of
it.
How can a city wake us up? Of course every piece of the city is a performance and
they move around constantly. This situation can be enough to wake us. However, do
we notice all of these movements around or do we ignore them? How a layer on the
city which can communicate with people and break through their ignorance can be
created? What about city performances? There is already one well known example:
the city of Las Vegas. In Vegas, city wears a board cloth like a second face. This
colorful and restless layer always tries to reach people's perception to communicate
with them. Functionalist and modernist architects did not give much attention to
people who stand outside of their buildings. Instead, they glorified purism which
does not aim to attract people at all. As a result, people start to feel like they are lost
in not to scale, grey, concrete cities. Concrete is not the guilty one, it is just a
material but way of use it, affects the perception of city at all.
Secondly, we try to explore how the concept of "wearing" appears in architecture. It
has been common to see that the perception of interior space is different from the
exterior. In prehistoric time, the caves that people were living in were their homes
but it was actually a mountain. From that point of view, these caves look like they
are wearing a mountain on them. However the situation becomes different in
renaissance, domes were built to create a different kind of perception in the city and
in the building itself. The layers which hide the truth in a way; give us another
chance of perception in daily life. Encountering the unexpected always attracts our
feelings. We desire to follow the unexpected to convert it and make it a part of our
system.
Thirdly, we introduce the concept of numerical image. Numerical means all images
which are defined by numerics in the digital world. Digital world is a part of our
daily life and it is getting closer. Almost everybody use the internet and social
networks. They let us know this; because most of them let us to see their location.
This world of illusion is enlarging day by day. In this non materialized world, there
are many data transformation systems. Some of them generate the vision on their
façade, some of them uses other façades. This is a really important difference. In our
hypothesis, we believe, if we put music and the vision on the same side; it will
become obvious that images are obligated to be none-materialized.
However, none-materialized vision is not just none-materialized; it is trans-material.
With this work, we would like to compose an idea with a well-known method. It is a
type of light, which carries information, belongs to everything. It is possible to get
across with it, in every part of city. This meetings can transform the daily habits, not
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only good way, but also bad way. Important point is not left the common sence about
the public.
Nowadays, all around the world, designers print their works by using 3D printing
machines. It is a huge shift. We have anticipated and welcomed this improvement;
however now we imagine something faster, nature friendly and easier to obtain. This
is a kind of challenge between production of factory and production of mind.
Capitalism is the slave of demand. If consumers will not buy any more, than there
will be no need to product which means another revolution after the agriculture and
industry.
Finally, these awaking, which stimulated by numerical light projectors, will affects
the daily life in what scale is something impossible to know. In addition, this strange
and inexperienced world has lots of potential about the life styles. We will build the
future with light, like we have built the past, as we always do. It is simple, without
light there is no vision. As a result, our work is about light. Light in houses, light in
cities, light in mind.
Without a window, can we build the image of it? Can we suggest a new area of
architecture in this century? We can prepare a platform for architect to build the
vision on the mind without volume itself. This is communication age, this is
transportation age. This means there will be no more stabile buildings. Everybody
will be carrying their own place with them. Only with a click, people in a forest will
have a room, in the room they will have a sea, in the sea who knows what else.
After all we have said about technology, our system of design may look like it only
appeals to wealthy side of the society. However, we are suggesting the opposite. We
believe, architecture should be based on peace and happiness and serve people
equally. Good wishes can make future be completely different from our expectations.
Nobody can guess what will happen tomorrow. We make predictions based on our
experiences; however, how reality works is much more complicated issue. The
power of waking up to the next day is given by the hope.