Yitik alanın peyzajı
Landscape of lost spaces
Yazar: SEDA KURT ŞENGÜN
Danışman: DOÇ. DR. HÜSEYİN LÜTFÜ KAHVECİOĞLU
İstanbul Teknik Üniversitesi / Fen Bilimleri Enstitüsü / Mimarlık Ana Bilim Dalı / Mimari Tasarım Bilim Dalı
Derece: Yüksek Lisans, 2014
Konu: Mimarlık = Architecture ; Peyzaj Mimarlığı = Landscape Architecture
Dizin: Algı = Perception ; Fotoğraf = Photograph ; Katmanlar = Layers ; Mimarlık = Architecture ; Peyzaj = Landscape ; Peyzaj mimarlığı = Landscape architecture ; Yer = Place

Özet:
Peyzaj olgusu, kent düzlemine ait panoramik bir ifadeyle değerlendirildiğinde formülleri olan ama görünür olmayan, birbirlerine doğru geçişler ve kesişimlerde gelişen morfolojik, ekolojik, sosyolojik, ekonomik, kültürel katmanlılık içerir. Katmanlı ifadenin düğüm noktalarında ise tariflenemeyen, varlığı ile ilgili verilerin belgelenemediği, kent ve kır ilişkilerini bağlayan pozitif veya negatif unsurlar nedeniyle kaybedilmiş -yitik- olan alanlar varlıklarını bulurlar. Yitik alanlar üzerinden peyzajın nesnel verileri, kavramsal ve görsel algılanma biçimlerinin katkıları ele alınır ve bir fotoğraf seçkisi sayesinde söz konusu olan yitik alanların kent peyzajındaki konumları araştırılır ve tartışılır.  Peyzaj, yeryüzü ile sınırlı bir kavramdır. Peyzajı algılama yönteminin bir başlangıcı olarak peyzajın kelime olarak değeri, anlamsal çeşitlilikleri ve coğrafyalardaki kullanımları incelenir. Etimolojik düzeyde katkı sağlayan peyzaj kelimesinin verileri, peyzaj olgusunun doğal, kültürel, arkitektonik düzeyde katmanlılığına ait ifadelerini anlaşılır kılar. Peyzaj katmanlılığının okunaklı olması ve görsel karşılıkları için panoramik ifadelerle, perspektiflere değinilir. Yeryüzünün ölçülebilmesi zordur, ancak kent ve etrafının belirli bir alanında var olan kırsalın ölçülebilmesi imkânlıdır. Kent ve bitişiğindeki kırsalda, peyzajın malzemeleri yoğun bir biçimde bulunur. Bu konsantrasyon mimari ve sosyal açılımları olan kuramlar ile anlatılır. Peyzaja türlü biçimlerde ekli olası yitik peyzajların araştırmalarında yararlanılan görüntüleme yöntemleri, zihni nesnel yöntemlerin dolaylılığından koparır ve doğrudan algılanan görüntünün saf gerçekliği ile karşı karşıya bırakır. Bu nedenle peyzajdaki yitik alan algısının araştırılabileceği düzeyde peyzajı, peyzajın içindeki kenti, kentin karşılaştığı kırı seri halleriyle görüntüleyen fotoğraflar seçilir. Fotoğraf serilerinin sahibi olan sanatçıların yazılı belgeleri ve anlatıları okunur. Sanatçıların kendilerine özgü kavrayışları ve algısal çıkarımları sayesinde çağdaş kentin günümüzdeki hızlı ilerleyişi ve tarihi nitelik içeren/içermeyen katmanlılaşması üzerine kendiliğinden türeyen farklı bakış açılarının da üst üste gelmesiyle beraber tüketilen aynı zamanda, yeni ortaya çıkan kavramların anahtar kelimeleri veya kelime grupları fotoğrafların özgün çözümlenmesinde -algı deneyi- temel oluştururlar. Yitik alanlar peyzaj senaryolarında mahallere ait ilişki setlerinin meydana getirdiği atmosferin biçimsel ifadeleri olan karşıtlıkların alanları -heterotopyalar- gibi, metruk, muğlak, işlevsiz, üretimsiz, terkedilmiş, yeryüzünün olası genlerini içeren alanlar -üçüncül peyzajlar- ve kentin ağlarına sıvı bir örüntü gibi yayılmış, görünür terrain vague'lar halinde kent yaşamında varolurlar. Kent içindeki ve çevrelerindeki yitik alanların kamusal imkânlılığından, bu imkânın yüksek yoğunluklu olarak münferit bireylerin ortaklaşa kullanımlarına hizmet veren bir hale gelmesinden bahsedilebilir. Kentin nişleri olarak düşünülebilecek kentten arta kalmış olan -yitik alanlar- boşluklar, olası atmosferik doluşlarıyla üretimli hale gelebilir ve kenti canlandırıcı bir dinamo gibi katalizör görevi üstlenebilirler. 
Çağdaş ve kompleks kent koşullarında küreselleşme olgusunun yer üzerinden mimari yansımaları gözlendiğinde aşırı doygunluğun ve yetersizliğin senaryolarını izlemek mümkündür. Böyle bir doluluğun okunaklılığını arttıran karşıt durum ise kentin boşluklarındaki tartışılabilir varlıktır. Özgün, kentin ilerleyişiyle kendiliğinden -refleks ile- gelişen, spekülatif tavır içermeyen görüntü kanıtlarıyla -fotoğraflar- kentin zamanla tanımlanamaz hale gelmesinin saf gerçekliği sayesinde yalnız sözle değil görünenlerle de anlatılan boşluklar -yitik alanlar- kentsel, kamusal, doğal imkânlılığının tezahüründe kent, mimarlık ve peyzaj üzerine yeniden düşündürür.

Abstract:
Landscape as a phenomenon has natural, cultivated, architectonic, formal but invisible layering that is juxtaposed morphological, ecological, cultural, socio-economical ways of urban context. Lost spaces are nodes of urban landscape that evaluate itself from the consequences of juxtaposition. Lost urban spaces are anti spaces as a result of changes in land use, zoning policies in the inner city and for urban embankments. While fusion of rural to the urban existence the city is not legible with mostly positive but negative facts, and the emergency areas of urban renewal has been occured. The areas that displaced, replaced, try to relate with a place and clarify the identity accompanying datas of objectivity with aiming perceptional subjectivity from the selected photographs. The place that no longer in use has peculiar atmosphere existence of space and this a kind of heterotopic emplacement is ill-shaped, disused, unproductive, neglected, abandoned, obsolete, desolate, discarded, uninhabited areas as a result of loss of values and meanings that were traditionally associated with urban open space. Landscape as the beginning of the perceptional method, searching the value and roots of words that linked with landscape and paysage because of the semantic diversity of word usage from different geographies are examined. Etymologically, the word-level data contributing landscape in the literature of cases of natural, cultural, architectonic layering and makes it understandable. Legibility of landscape layering is probable with visuality of referring panoramic expressions and perspectives. Earth is vast, but there is a certain area of ​​the city and the surrounding countryside can be measured. In the city and the suburbs, landscape concentration has density with the positive and negative materials. Architectural and social implications of this concentration is explained by the socio-landscape theories. Rendering or monitoring ways of the additional landscape that are plugins or urban annexes, in mind, break from indirect objective methods and expose with photography that direct images of perception. Therefore, such that a search of the perception space lost in the landscape; landscape, landscaping within the city, the city faced break, serial cases displaying the selected photos. Photo series of artists who has written documents and narratives read critically. Artists of their own perceptual inferences obtained through the city's current rapid ongoing physical or historic qualities with or without layering upon the self-derived, different viewpoints overlap together with the depleted or newly emerging concept of keywords or phrases, photographs are being analysed at the stage where the basic form. Landscape narratives which appear as areas of loss, with situation of place or without and possibility of non-placeness has relational sets of localisation that producing areas of contrast, specific atmospheric conditions with unique heterotopic existences, privileged because of the genetic reservoir of the earth that called third landscape of délaissés and friches, urban liquidity that vacuumed membrane of terrain vagues are the areas of the negative vacant for the city and the areas of rural, public, ecological, sociological, cultural acquisition. Urban lost spaces have public possibilities. The possibility to use high-density serving as the individual person becomes jointly can be mentioned.
The city can be considered as niches that have left over from the city -lost spaces-covering spaces, may be engineered with possible atmospheric filling and refreshing city can act as a catalyst, such as a dynamo. Identification of gaps in urban and rural areas -lost- died as a negative asset, the public, ecological, sociological, cultural achievements areas should be considered. This field displays representing the landscape and the landscape as a whole, as well as in the content detached from the context, have lost data fields with the help of theoretical debate has opened. Complex conditions of contemporary urban architecture of globalisation over the place when observed reflections and lack of over-saturation is possible to monitor the scenario. Such an occupancy increase the legibility of the opposite case is being argued in the city's spaces. Find a place of nature in the urban areas of loss are the range. Ecological systems and land is intended to be completely destroyed in the city of visibility, uneven urban planning has led to the formation of the lost space. These areas contain the elements of a random form of development and in terms of the nature of landscape architecture, gardening can be a vital contribution with the production of local governments and citizens need to defend the ecological and public areas are important. The city's irreverence progress, the source of life of urban natural areas that host is accelerated by speculative assessments. Inhaled atmosphere, drinking water, soil seed of the natural balance of resources towards urbanisation and the industry's reckless progress, city dwellers and peasants positive perception by creating development phrases as if they were describing the local governments, cities and agricultural areas about the future a lot of responsibility receive. Of agricultural land unproductive, making education the lack of opportunities and the natural production on the working population lives in order to maintain employment opportunities are concentrated urban area, migration, urban sociological and demographic change and the city's volume begins to push. The city center and the periphery, while in contact with the post-colonial migration turns into a structure with a very centered. Natural resource efficiency and on the production of the working population, to survive in the city to develop and in itself is a system of natural resource consuming industry to be a part of the geography of unplanned demographic structure of the earth against the developed grave is one example. Urban life and rural life passing into each other randomly evolving, could not be part of the order, abandoned hope in terms of lost development areas include negative earth. Space as negative perception engendered urban and environment construction reflexes, as a result of the settlement itself or the surrounding nature with the sustainability of any sensitivity is not a case of random evolving nature of all kinds to the situation on earth in favor of that could be considered is the development and space, or just be left or natural balances consideration should be engineered. Sustainability of today's technology it is possible for any type of construction and the development of industrialisation of the city gradually lost pay his debt to nature is like. The city has lost as to identify areas that, consciously protect unproductive in those areas of wildlife and to revitalise the city life for a spontaneous collective behavior of public sustainable to create a balance if a capital without requiring possible. Landscape without norms of architecture as a case can be reconsidered due to the different forms of perception, and when examined in the context of forming a word on palimpsest structure is suggestive. The content of the landscape panoramic assumptions corresponding to an expression with a known formula, but the vital layered earth invisible markings are searched. The main areas of work which is the subject of loss, accompanied by photographs and urban landscape is explored through. The decision to become lost in the urban and rural areas connecting relations are considered positive or negative elements. When readings of the photos belong to the landscape layered phrases, this layered framework and alternative images that reveal a photographer on the metropolis that attracts attention back to the original reason for considering a perception has been developed. Through experiments performed on Photography discusses theories of perception, assumptions provisions of the visual representation, layers, concepts, stories, figures separated from the whole were discussed. First, perceptions of photographers -first layer-, then extracted from the text defines reality -tags, representing the second layer- and researcher have observed -third layer- layers are stacked one above the other are discussed. Perception experiment through photography has been developed as a method. Reality and assumptions formed by the upper and lower layers of landscape images are fed in this way is in itself can provide. Perception experiment is a research of landscape layering. Materials of the method are images which consisting of landscape located in the city, have the city faced by rural view series of cases, are aesthetic and social acceptance and part of critical series about urban photography have been exhibited in international galleries and owned by distinguished artists. Other materials are statements of artists and chosen key tags. Individually, the key tags are quoted from the artist statements and this is the result of a composition of phrases and words. Major photographers which was mentioned at the text Terrain Vague by the architect Ignasi de Sola-Morales are Manolo Laguillo, Thomas Struth, Olivo Barbieri and John Davies. And the other distinguished artists are acknowledged internationally. When could not be reached for direct expression of artist statements, institutions have been applied to the text of the exhibition. Exhibitions, artists, and rare printed materials associated with pictures or artists of the contemporary art museum has been obtained from the official site, so digital versions are taken into consideration. Photographs, landscape and lost on the field developed after a series of awareness and insight into the artist's mind with tags conspicuous in the text are described. With the artist's original conception of the perceived layered over a photo to be included in personal perception layer and overlap in photos with this experiment perceptions would be opened to discuss these results. Analysing the photos by following the statements of artists find their meaning.The key tags tell the city's palimpsest lost expression through the eyes of the photographer and the updating an existential perception of the today's city. With writing about photographs, photographic fiction that reveals the left to chance. For this reason photographs, artists thriving on the original perception of the text came after them to try the title 'writing about photograph' is integrated with.  The city's current rapid ongoing historic qualities with or without stratification due to the self-derived, different viewpoints overlap together with the depleted or newly emerging concepts and the lost space on the perception of the studies detailing up. Landscape with photographs of perception becomes legible to support the research nature of loss, the thesis studies submitted as attachments which are artist statements and key tags. In reality layered images of the landscape and the landscape as a whole as well as in the content detached from the context, have lost data fields with the help of visible perception experiment was open to discussion. The original city with the advancement of spontaneous speculative attitude-free images with evidences -these are photos- the city once defined becomes pure reality thanks to the only words but the ones displayed as described in the gaps -these are lost spaces- urban, public, natural possibilities manifestation of the city, architecture and landscape on the re-think. Landscape, perception, layering, lost spaces, non-place, heterotopia, the third landscape, délaissé, friche, terrain vague, photography are the keywords of the thesis.