Bir eylem/eğlen[ce] laboratuvarı olarak fun palace: Mekansal deneyim açılımları ve yansımaları
Fun palace as a laboratory of action/fun: Extensions and reflections of spatial experience
Yazar: SEDA GÜL
Danışman: PROF. DR. AYŞE ŞENTÜRER
İstanbul Teknik Üniversitesi / Fen Bilimleri Enstitüsü / Mimarlık Ana Bilim Dalı / Mimari Tasarım Bilim Dalı
Derece: Yüksek Lisans, 2015
Konu: Mimarlık = Architecture

Özet:
Gündelik hayatta boş zamanın (leisure time) değerlendirilişindeki oyun dolu aktivitelerin eylemselliği, mekanı ve mekânsal deneyimi nasıl dönüştürür? Bu dönüşüm, mimarlığa ne gibi katkılar getirir? Bu sorular çerçevesinde tez çalışması, hayal gücüne ve özgürlüğe dayanan oyunun eylemselliğindeki dönüştürücü gücün mimarlıkta açtığı aralıkları inceleme düşüncesiyle başladı. Bu düşünce doğrultusunda birbirinin ardından gelen Fun Palace ve Pompidou Kültür Merkezi gibi iki önemli mimari örneklerde oyunun eylemi, mekanı ve mekânsal deneyimi nasıl açtığı tespit edilmeye çalışıldı. Bu tespitlerden yola çıkarak bugünün problemini oluşturan kamusal mekandaki deneyim yoksunluğunun aslında mimarlığa ve deneyime dair ne gibi potansiyellere sahip olabileceği gösterilmeye çalışıldı.  
Gündelik hayatın önemli bir meselesini oluşturan boş zaman ve çalışma zamanı arasındaki ilişkinin değişimi, sosyo-politik ve ticari amaçlarla yönlendirilen yeni bir zihniyeti ortaya çıkartır. Bu zihniyet, insanın hayal gücüne ve özgürlüğüne dayalı eylemselliğini kapalı ve tanımlı parçalardan oluşan mekânsal kurgularla şekillendirir. Bu durum, gündelik hayatta boş zamanın değerlendirildiği kamusal mekanı, mekânsal deneyimin yoksun hale geldiği tüketim modellerine dönüştürür. 
Tez, kamusal mekândaki mekânsal deneyim yoksunluğunu tersine dönüştürecek gücü, oyun dolu aktivitelerin eylemselliğindeki imkanların mekana ve mekânsal deneyime getirdiği açılımlarda ve mimari katkılarda arayacaktır. 
Oyun kavramının özgürlüğe ve hayal gücüne dayalı eylemselliği, insan odaklı mimarlığın oluşumunu sağlayan mekânsal kurguyu etkiler. Mekansal kurgunun zamanın bilinmezliği ve bu bilinmezliğe karşı esneklik anlayışıyla tasarlanması, çeşitli mekânsal olasılıkların yaratımına ortam hazırlayacak bir mimarlık laboratuvarı oluşturur. Bu mimarlık laboratuvarına tarihten bir örnek olarak Fun Palace, oyunun eylemselliğindeki çeşitliliği mekana ve mekânsal deneyime taşır. 
Fun Palace projesinde oyun dolu aktivitelerin eylemselliği, oyunun hayal gücü ve özgürlüğü ile çeşitlenerek çoğalır, değişir ve dönüşür. Geleceğin bilinmezliği içinde bu durum, oyunun eylemselliğini hem eğlenceli hale getirir hem de bu eylemselliğin esnek bir şekilde yerleşebileceği sabit ve esnek parçalardan oluşan eğlenceli bir mekânsal kurgu yaratır. Böylece mimarlık laboratuvarı, eylemselliğin eğlenceli hale geldiği farklı oyun senaryolarına ve mekânsal kurgularına ortam hazırlayan bir eylem / eğlen[ce] laboratuvarı haline gelir. 
Bir eylem / eğlen[ce] laboratuvarı olarak Fun Palace, mekânsal deneyimin açılımını ve farklı mimari anlayışlarını ortaya çıkaran bir mekânsal deney – deneyim ortamıdır. Bu ortam, bugünün yıldız mimarları diyebileceğimiz isimlerin projelerine ilham kaynağı olur. Bu projelerden bir tanesi de Pompidou Kültür Merkezi'dir. 
Pompidou Kültür Merkezi, Paris şehrindeki tarihsel bir alanda "kültür merkezi" tasarlamak amacıyla açılan yarışmada birinci olmuş ve uygulanmış bir projedir. Proje, muhafazakar bölgeyi ve yarışma programını ele alışıyla dikkat çeker. Pompidou Kültür Merkezi, oyuna dayalı kültürel eylemselliğin eğlence anlayışıyla tasarlandığı bir mekânsal kurgudur. Proje, tüm bürokratik engellere rağmen esnek bir iç mekan organizasyon tasarlamaya çalışır. Bu esneklik anlayışı çerçevesinde oluşturulmak istenen açık kat düzeni için tüm mekanik ve servis donanımlar cepheye taşınır. Böylece binanın strüktürel çerçeve ve cephe strüktürü olmak üzere iki bölgenin arasında farklı mekânsal kurguların yer alabileceği alışılmadık bir tasarım gerçekleşir. Bu tasarım, non-facade (cephe olmayan)'dır. Non-facade, hem çeşitli mekânsal kurgulara imkan verdiği için mekânsal deneyimin açılımına katkı sağlar hem de devasa renkli görünümüyle bir etki alanı oluşturur. 
Mekansal deneyimleri ve yansımaları içeren Pompidou Kültür Merkezi, oyun kavramının eylemselliğindeki özgürlük ve hayal gücü gibi esasları düşünerek Fun Palace'ın etki alanında tasarlanır. Bu tasarım ile hem tarihsel çevreye hem geleneksel kültüre hem mimarlığa hem klasik yapım teknolojilerine meydan okur. Pompidou Kültür Merkezi'ne bu gücü veren şey, oyunun eylemselliğidir. Bu yüzden mekânsal deneyimin yoksunlaşmasına neden olan tüketime yönelik sınırlı aktivitelerin eylemselliği, oyun kavramının dönüştürücü gücü ile bir daha düşünülmelidir. Oyunun eylemselliğindeki keşif ve keyif ile deneyime kapalı mekânsal ortamlara tekrar bakılmalıdır. Tez, yıllardır üzerinde konuşulan iki önemli projeyi oyun üzerinden bugünün mekânsal deneyim yoksunluğu ile tartışmayı hedeflemektedir.

Abstract:
How does the actuality of playful activities in making use of the leisure time in daily life transform space and spatial experience? What kind of contributions does this transformation entail for architecture? This thesis study, shaped around these questions, began as an effort to examine the interspaces that the transformative power of the actuality of the play, which is based on imagination and freedom, enables within architecture. In line with this research intention, the underlying idea was to look at how the play opens the action, space and the spatial experience in two significant architectural samples, respectively Fun Palace and Pompidou Cultural Center. On the basis of the findings, the aim has been to show the potentialities that the lack of experience in the public space, a current problem of our age, harbors in terms of architecture and experience. 
The transformation of the relationship between leisure time, which is a significant issue in daily routine, and working time reveals a new type of mentality guided by sociopolitical and commercial purposes. This mentality shapes the actuality based on a person's imagination and freedom with spatial fictions made up of closed and defined parts. The existence of this mentality turns the public space, in which the leisure time in the daily routine is seized, into consumption models bereft of spatial experience.
This study will look for the power, which is capable of transforming the lack of experience in space within the extensions, and architectural contributions that the possibilities present in the actuality of the playful activities bring to the space and spatial experience.
The play notion constitutes the actuality of the various activities of the play where freedom, imagination, and reality are categorized; and then it re-categorizes them. Through the ambiguity of temporality, the play may give way to different structures with different rules and it can change those structures. In this process the open order including the ambiguity of the play may turn into a closed order under the influence of the rules and boundaries. The repetition of this closed order over the course of different generations creates the culture. The only thing that can pull the culture apart from this order is a re-thinking of the play and its actuality that is at the heart of culture.
The transformation of playful activities into actuality and the multiplication of this actuality depending on the users' desires and needs make the actuality fun. The flexible spatial fictions that can emerge with the fun of actuality may multiply endlessly within the interspaces of ambiguity. The open order of the play made up of rules paves the way for a spatial experiment-experience for all those different play scenarios and spatial fiction possibilities. This spatial experiment-experience environment is a laboratory of architecture composed of various spatial fictions. Fun Palace, a historical example for the laboratory of architecture, conveys the diversity in the play's actuality to the space and spatial experience.
Fun Palace has taken its place in the history as a theoretical study, since its construction was never carried out. In the Fun Palace project the actuality of the playful activities become varied and multiplied, changed and transformed with the imagination and freedom of play. Within the uncertainty of the future, this situation makes the actuality of the play fun and creates an enjoyable spatial fiction made up of constant and flexible pieces in which this actuality may settle flexibly in. In this way the laboratory of architecture turns into an action / fun laboratory where actuality becomes fun and harbors different play scenarios along with spatial fictions. Each spatial fiction that may emerge in this laboratory is tested and each result is recorded with a diagrammatic visual expression.
Fun Palace, a spatial fiction in the fun of actuality, is distinguished from the same type of projects in the same period with similar goals such as New Babylon and Sin Centre through a single and significant characteristic of it. That characteristic is the design of the spatial fiction based on the actuality of play emerging out of the 'realization' plans of Fun Palace. In this way this project is designed by taking into consideration the systems that are related to technology in terms of space and structure. The diagrammatic demonstration of the project at each step explains the project in depth from a conceptual point of view toward a structural one. Every diagrammatic visual expression explaining Fun Palace stays in Fun Palace's drawing archive. This enormous archive constitutes an open source of knowledge not only for its own period, but also for dealing with the current architectural issues.
The diagrammatic expressions based on the principle of indeterminacy could be read and interpreted in different ways. The indeterminacy of the diagrammatic representations pave the way for the emergence of spatial experience's possibilities and also enables the different systems to be devised for the realization of these possibilities. In this way Fun Palace created an identifiable experiment-experience ground for the emergence of different architectural approaches and definitions. This indeterminable diagrammatic ground inspires the projects of today's star architects such as Bernard Tschumi, Rem Koolhaas, and Richard Rogers. The reason for this could be attributed to the fact that Cedric Price and Joan Littlewood were able to include the fun in the actuality of the play to the architectural design. In a similar vein Pompidou Cultural Center, whose design process started in 1971 by Richard Rogers and Renzo Piano, is also a project that was able to capture the fun in the actuality of the play-centered culture under the influence of Fun Palace. Hence as a continuation of Fun Palace, Pompidou Cultural Center, which transferred the actuality of the play and spatial experience along with Fun Palace's conceptual extensions related to action and space into practice, will be examined.
Pompidou Cultural Center ranked first in the competition to design a 'cultural center' in a historical part of Paris and the project was brought into being. The project stands out with its handling of the conservative area and the competition. Pompidou Cultural Center is a spatial fiction designed with an understanding reflective of the fun of cultural actuality based on play. The project tries to design a flexible interior organization against all the bureaucratic predicaments. All of the mechanical and service-related equipment is carried to the façade for the open-floor order that will be designed in line with the flexibility principle. This approach enables a type of unusual design where different kinds of spatial fictions can take place between two areas, namely the structural and façade framework. This spatial design is non-façade.
The flexibility principle within the Pompidou Cultural Center's interior organization creates a play-framework order between the systems that are carried to the outside from the inside and the structure of the building. This order paves the way for a spatial experiment-experience in the different spatial fictions and experiences of enjoyment of the cultural actionality through non-façade. At the same time technology along with the colorful design in structural connections of the play-framework order, direct people firstly into the square, and then to the building. People who climb to the top of the building with moving staircase could watch the cityscape or participate in the interior organization. Therefore, the fluidity of non-façade directed toward spatial fiction and action acts as an intermediary for the spatial experience to emerge. High-tech, where we can observe the impact of technology on spatial experience could be seen within the details of spatial fiction making.
The High-tech construction that makes the non-façade fluid in Pompidou Cultural Center is a technologic solution that will transfer the possibilities of spatial experience within the fun of cultural actuality to the reality. When the technology is deployed in a right way to solve the current problems of our age, a process capable of changing the future radically could be created. The technology of materials and systems together with the proper use of process discipline provides a form, scale and line for the building. In this way, the explanation of the construction process becomes intelligible and clear. Also technology acts as an intermediary for spatial fiction that is appropriate for the variety of performative interspaces that may be formed. As a result the fluid appearance that the play-framework spatial order gets via the impact of High-tech establishes an environment of spatial experiment-experience that brings the fun of the cultural actuality to the daily routine and city.
Pompidou Cultural Center, which includes the spatial experiences and reflections, was designed under the influence of Fun Palace and on the basis of principles such as the freedom in the actuality of the play notion and imagination. With this design, it challenges the historical environment, the traditional culture, and also the architecture and classical construction technologies. What gives Pompidou Cultural Center this power is the actuality of the play. So, the actuality of the restricted activities that is in favor of consumption and the cause of the deprivation of spatial experience should be reconsidered with the transformative power of play notion. One should look at the spatial settings that are closed to experience with the sense of discovery and enjoyment in the actuality of the play. The thesis in question aims to discuss the two significant projects, which have been the focus of attention for years, in their relation to the lack of spatial experience today through the concept of play.