Doğal ışığın mimari mekanı biçimlendirmesi ve anlam boyutu üzerine: Louis I Kahn ve Tadao Ando
The Forming of architectural space by natural light and semantic dimension: Kahn ve Ando
Yazar: GÖKHAN YILDIZ
Danışman: YRD. DOÇ. DR. BELKIS ULUOĞLU
İstanbul Teknik Üniversitesi / Fen Bilimleri Enstitüsü
Derece: Yüksek Lisans, 1995
Konu: Mimarlık = Architecture
Dizin: Doğal ışık = Natural light ; Mekan planlaması = Space planning ; Mimari tasarım = Architectural design

Özet:
Mimarlık, farkla, tanımlarına rağmen, "Mekan Yaratma Sanatı" olarak tanımlanmaktadır. Bundan dolayı, insanı içine alan yapısı ile iç mekan önem kazanır. Mimari mekan asıl itibari ile bir boşluktur. Bu noktada sorun, aslı boşluk olan bir mekanı görünür kılmaktır. Işık, mekanı görünür kılar ve vareder. Doğal ışık, gün boyu mekanda farklı algılar ve ruh halleri veren, statik olmayan tek tasar öğesidir. Doğal ışığın anlam boyutundaki kullanımı mekan biçimini doğrudan etkiler. Mimari mekandaki bir kullanıcı doğal ışığın çağrıştırdığı anlamın ve mekan geometrisinin birlikte oluşturduğu bütünü algılar, mekana ait bir anlam zihinde oluşur ve sonuç olarak estetik bir yargıya varır. Mimari mekandaki bir kullanıcı ışığın kurguladığı bir anlamı, ontolojik, psikolojik ve kültürel boyutlara bağımlı olarak algılar. Bu algı kullanıcının kültürü ve kişisel özelliklerinin etkisi altında biçimlenir. Mimari mekanda bir felsefenin, dinin veya düşünce sisteminin şekillendirdiği bir anlamı, doğal ışık aracılığı ile mekana aktarmak mümkündür. Bunu yapmak için bazen ışık ve karanlığın anlamları, bazen ise ışık ve gölgenin tanımlayıcı özellikleri kullanılır. Doğal ışığı anlamsal bir araç olarak kullanan iki mimar, Louis I Kaim ve Tadao Ando kurgulamaya çalıştıkları anlamları kurgularken farklı yöntemler kullanmışlardır. Kahn, insan merkezli çeşitli anlamları, rasyonel bir tavır ile mekana aktarmış, Ando ise, belirli felsefi ve kültürel kavramları doğal ışık aracılığı ile mekana aktarmaya çalışmıştır-.. Sonuç olarak; bir mekanda ışık hesaba katılmadan hiçbir anlam yetkinlikle kurgulanamaz. Bu nedenle doğal ışık, reel ve irreel boyutlarına hakim olunması gereken bir tasar elemanıdır.

Abstract:
Despite of different definitions, architecture is comprehended as "Art of Creating Space". After focusing on architectural space by Giedion and Zevi, it began to be important for historians and theoreticians of architecture. Especially, the fact of being hidden essence of architecture in space was indicated in "Architecture as Space" written by Zevi. Architectural space is perceived by means of touching, smelling and seeing senses but in fact a space is perceived by seeing. To be able to perceive a space it is necessary to see and especially to see the light. Because light is a form giver all presents as perception. Natural light in the architectural space has different intense and comes from different sides, from year to year and season to season. That's why the natural light in space, gives various sensations and perceptions. The natural light is a semantic tool in space, has real and irreal dimensions. objectif iying the meaning by natural light in architectural space, effects the space form. The space structure- is the answer to the question that "how the natural light will be taken in to the space and in which way? " There are some space definitions but, among these definitions the most important one is "architectural space is an emtiness". It is possible to say definity of space and time for architectural space. At this point, the main problem is that building emtiness as three dimensioned formation and creating it. Architecture is different from the other arts. Because of the fact that buildings have inner emtiness which contains human beings. A man can perceive a painting on two dimension and perceive a statue by walking around three dimensioned formation of it. However, in architecture, to be able to perceive a building by entering into its inner space and paying time for it. The architectural space can be perceived and judged just as an impact of different sort of intellectual frame works. It is not possible to achive and independent judgement by passing over the frame works. Because of this reason, the architectural space has a multi-meaningful structure. An user experiencing an architectural space VIIIperceives the space under the influence of the culture of the society he/she lives in, his/her own cultural structure, personality caracteristics and intellectual background. The architectural space does have a meaning for the user just under this influences. The comprehension of the semantics existing in the architectural space by the user and the role of natural light acts in the semantic dimension has also and onto logical dimension. A human being exists in the space constrained by the earth and covered over by the space. This "world space" exists with the effect of the natural light coming from all directions in it. All of the phenomena existing in this space are gained different sort of meanings and the principles of their existence by the creator as a result of light rediating through each directions. An architectural space, too, gets us its inside just like the sky does so and gives meaning to the whole of the space that the existing space constraints and natural light forms by the aid of natural light being received inside. It is possible to create a new world of which the principles of existence and meaning determined by us. If we specify the form of space contraints and use in the way "of the meaning wished to be given the natural light. It is necessary to understand "how an user perceives the space and realizes the meaning surrounding the architectural space for the speculation of the proposed meaning. An user geting in the structural shell constraining the architectural space perceives the space as a whole "formed by natural light. The sense signals being sent to the user by space constraints and natural light are perceived sensor ially in the effective field and intellectually in the cognitive field. As a result he/she reachs a judgement and the space makes a sense for the user. The architectural object and architecture are themselves as an "unfree art" in the sense of Kant's saying needs a special perception. Aesthetic perception has an intellectual dimension as a result of the cultural level of the user and the social culture. The signal sent by the architectural space motivates the accumulation in the memory of the user by its stimulant properties. Some certain thoughts in the memory are motivated in the different ways depending upon the sorts of the stimulant provacating the user and causing him/her to reach a certain judgement about the space. Natural light has a certain site in the mind of the user as a knowledge in ontological and conseptual dimensions. It creates a certain meaning in the space for the user by the addition of the cultural dimension to this affect. This process defines its research field under the name of "Human Information Processing". The information saved in IXmemory store termed as "Long-term" and "Sort-term" is released due to the effect of the stimulant and determines the aesthetic judgement. The information with the ontological and conseptual dimensions is saved in the long-term memory whereas the voletile and daily information is saved in the sort-term memory. The information due to the natural light has effects setting at the first kind of memory since it has either ontological and conseptual dimensions. As the result of this process, the symbolic and existential effects of the space contraints and the meanings of natural light and darkness which is the state of nonexistance of light together makes a certain sense for the user in mutual influences. A human being has in his/her mind assorted meanings due to darkness which is the state of nonexistance of light and due to light, either having an ontological dimension settling in his/her existence continuing since the birt till the death and also being sourced from culture of the society he/she lives in. The effect created by these images due to darkness and light settling in the demand of the user experiencing the architectural space has a significant site in his/her action of meaning attribution to the space. Darkness, physcially amounts to nonexistance of the light. This state is compatible with the inability of seeing of the eyes. Darkness assists a human being to stay alone his/her own thoughts. Darkness is associated with assorted meanings related to fear, in indistinctiveness and death. Darkness exists in mind symbolically as an intensive black. Light and darkness may involve different meanings in their structures. Light is the one making all the phenomena be seen and so be existed. Light is identical in the mind with an intensive white. Light is associated with meaning such as freedom, goodness, clearness and healty, salvation. Light has orienting or focusing effects. Light seems to be identical with the "God" in a teological dimension. The meaning of "light" and "darkness" mentioned above have been used in attributing meanings to the architectural space. Generally, two ways are held in attributing meaning to the architectural space. First one is creating in space the meaning proposed to be speculated by the aid of the identifying properties of light and shadow. The other one is using the meanings that light and darkness which is the state of nonexistence of light have. Sometimes in a space both of these two ways can be held. It is possible to speculate a philosophycal meaning in space by means of natural light. Speculating a meaning effects form of architectural space, in Christianity and Islamism, the space form is effected by meaning related these religions. It is tried to speculate the meanings of Xlight which take place in holly books and the user is effected by these meanings. In the Bible of Christianity, God is desciribed by light and light is essence of goodness and Crist is the son of light. In Christianity, God lives in sky. Natural light therefore is received from top of the space and human scale. This light is a heavenly light describes God. in Islamism, light describes goodness. God is all, in earth, in sky and in everywhere. At Sinan' s mosque, light therefore is received both from human scale and top of the mosque. Light and darkness which is the state of nonexistence of light have psychological effect. Intensive light disturbes human but sufficient light makes human feel better. Dimness helps the human to get relax but darkness makes human afraid and makes them down. It is effected human psychology by how is received natural light in architectural space. Louis I Kahn and Tadao Ando attaches importance to the relation between natural light and space. In their buildings, it is possible to see using of light in semantic dimension. Louis I Kahn is one of the pioneer of the rationalism. Kahn belongs to a culture in which human is protected aganist Nature but Tadao Ando belongs to a culture in which the harmony between human and nature is believed in. Louis I Kahn understood architecture as the things which are coming from silence to light. The meaning speculated in Kahn' s spaces changes depending on function and the religious culture which the building takes place in, surrounds the human in architectural space. The meaning, Kahn speculated in architectural space had a formation associating function of building. Kahn did not objectify a meaning relating to a certain philosophy and a thinking system but, he tried to speculate a meaning related to human being and the subject. Kahn took into consider associations and tried to make reletions between human beings and associations, became strong. Kahn created the structure in eccordances with the meaning and improved his own manner. The most useful way of Kahn for speculating the meaning in space was creating building coffer with full of light. The natural light was being received from the top of this building coffer which placed in corners as seen at Mikveh Synagogue or placed in the middle which is at Exeter Library. Ando' s spaces are world of certain belief and philosophy. Ando tried to speculate same kind of Zen Budist and Japanese cultural concepts in space by means of natural XIlight. These concepts are; 1. "Yin-Yang" (Dualist balance) 2. "Ma" (Fragmantation) 3. "Mu" (Emtiness Sensation) 4. "Oku." (Limitlessness) Ando speculates the meanings in space by using definitional properties of Natural light. The most important point is here, Ando' s some concepts are sometimes exist alone in space or all together. The theorical tool which brings these concepts together in architectural space is the natural light. Light some times is received from the split which is between ceilings and walls. The wall plane is defined by this way sparetes from ceilings and side walls as visual. "Ma" and "Yin- Yang" which are concepts of Japan culture is speculated by mean of balance between darkness and light, with this way the building shell is broken into pieces. Concept "Oku" is speculated by means of wall plane which gives the sense as if it were going away from building box. For creating negative effect on space shell, smooth concrete is used and it is tried to be given the sense of emtiness by means of this way. Due to that, the most important concept of Zen Budism is "Mu" which is speculated in space. As a result: Light is the form giver of architectural space. Any meaning can not be speculated exactly without considering Natural light. The main method of speculating the meaning is, to use meaning of light and darkness which is the non-existence of light or definitional properties of light and shadow. The buildings of Louis I Kahn and Tadao Ando are samples for this situation. Kahn' s buildings can be given as examples of second situation as mentioned above. Kahn speculates the meanings related with human being but, Ando spaculates the meanings related with Zen Budist belief world.