Mekan tasarlama, temsil, deneyimleme yöntemi olarak sinematografik kavramlar
Cinematographic notions as a method for space design, representation, experimentation
Yazar: MÜGE KUZUBAŞIOĞLU
Danışman: PROF. DR. AHMET ARDA İNCEOĞLU
İstanbul Teknik Üniversitesi / Fen Bilimleri Enstitüsü / Mimarlık Ana Bilim Dalı / Mimari Tasarım Bilim Dalı
Derece: Yüksek Lisans, 2014
Konu: Mimarlık = Architecture

Özet:
Bu çalışmada, mimarlık üretilmesinde ve mimarlığın konusu olan mekanın deneyimlenmesinde; insan, mekan, zaman etkileşimi içerisinde sinematografik kavramların tasarım aracı olarak kullanılırken dönüştüğü yazılı ve görsel biçimlerin araştırılması hedeflenmiştir. Çalışmanın amacı; filmlerde mimarlığın ve mimari çevrenin nasıl sunulduğu değildir. Genel manada sinematografik kavramlardan mimarlığın temsilinde ne şekillerde yararlanıldığı sorularına yanıtlar aranmıştır. Onların kapsamlı tanımları ve yorumları ortaya çıkarılırken, bu etkileşimlerle yaratılan, deneyimlenen mekanlar ve bu mekanların sunduğu mekansal deneyimler incelenecektir.
Mimarlığın sinematografik kavramlarla ilgisinden bahsederken, enstalasyon ve interaktif mimarlığın, mekanın oluşumunda, yeni mekansal ilişkiler yaratmada ve fiziksel mekanın deneyiminde etkin birer araç oldukları, görünenin ardındaki gerçekliği ortaya çıkarmak bağlamında gösterilmeye çalışılacaktır. Öncelikle sinematografik kavramlar, bu kavramların mimaride karşılık bulması ve bu kavramları kullanma yöntemleri, nasıl kullanıldıkları, birbirleriyle ilişkileri, incelenecektir. Daha sonra bu kavramlar ve yöntemlerin, mimarlıkta dönüştüğü biçimler, mimarlığın üretiminde ne şekillerde kullanıldığı ise bu çalışmanın temellerini oluşturacaktır.
Bu amaçlar doğrultusunda gerçekleştirilen çalışma beş bölümden oluşmaktadır. Birinci bölümde çalışmanın amacı ve kullanılan yöntemlere değinilmiştir. Daha sonra, sinema ve mimarlık disiplinlerinin terminolojileri incelenerek ortak noktalar araştırılmıştır. Mimarlıkla ilişkili olduğu düşünülen sinematografik kavramlar ve tanımları gruplanmış, bu gruplama yapılırken de yöntem olarak dil üzerinden gidilmiştir.
Tezin ikinci bölümünde ise, mekanı anlamlandırmada paradigma olarak sinematografik kavramlar konu edilmiştir. Konu farklı açılımları ile ele alınırken; mimari senaryo, ışık, gölge, renk, doku, ritim, ses ve zaman, mimarların benimsediği fikirler doğrultusunda incelenmiştir.
Daha sonra üçüncü bölümde mekanın iletişim kurma aracı olarak sinematografik kavramlar; atmosfer oluşturma ve onun bir parçası olma, bakış açısı değişimi, çerçeve, hikaye anlatma, mesaj iletme, mekana ve yüzeye derinlik katma, mekanı hareket yoluyla deneyimleme gibi kavramların mimarlık üretimi sürecinde paradigma olarak kullanılmaları mimari temsil, tasarlanan, yaşanan, deneyimlenen mekan bağlamında araştırılmıştır.
Tezin dördüncü bölümünde, deneyimi yapılandırma aracı olarak sinematografik kavramların mimari mekanın 'gerçek' olarak tasarlanmasına ve sunumuna katkıları, hareketli görüntüyle kazanılan potansiyel; kurgu ve montaj ilişkisi gibi kavramların mimarlığı nasıl dönüştürdüğü ve tüm bunların tasarım pratiği ve tasarımın sunum biçimleriyle ilişkilendirilmesi hedeflenmiştir.
Son olarak beşinci bölümde, sinematografik kavramların mekanın algısını dönüştürmesi; dijital medyayı mekan yaratmada kullanan enstalasyonlar ve interaktif mimarlığın, mekanın oluşumunda, yeni mekansal ilişkiler yaratmada ve fiziksel mekanın deneyiminde etkin birer araç oldukları düşüncesi araştırılmıştır. Mekanın, duyulan, içinde hareket edilen bir yer olarak temsil edilmesi, tecrübe edilmesi, insanların hareket ettikleri yol, nereden bakılacağı, mekanın bir sahne gibi nasıl kullanılacağı, mekanla kurulan ilişkiler, organizasyonu, fonksiyonunun temsili ile iki boyutlu olarak görülen mekan, yaşanılan, dokunulan mekan halini almıştır. İzleyici, katılımıyla birlikte enstalasyonun öznesi ve nesnesi olurken gerçekleştirdiği aktiviteyle, mekanı etkileşim mekanı olarak tekrardan tanımlamıştır. Bu başlıkta bu etkileşimlerle yaratılan, deneyimlenen mekanlar ve bu mekanların sunduğu mekansal deneyimler incelenmiştir.

Abstract:
In this thesis, the objective was to investigate written and visual cinematographic notions effects on architecture, users, space and their relationships. The aim was not to research how architecture is used in cinematography and movies. This research intends to contribute to the analysis of the specific uses of cinematography, film and computer generated moving pictures for the comprehension of architectural space. In general, the main questions were to understand how cinematographic notions are benefited in architecture. The research will focus on definitions and comments on these relationships and their effects on the experience of an architectural space. Following this, the possibilities of the representation of built space with cinematographic notions will be discussed. The approach combines phenomenological analysis, reference to theories of experience and more recent applications. As a starting point, the thesis considers the perceptual situation provided by moving images and later being immersed in 3D virtual reality in many cases.
The 'sense of space' is constituted by activation changing according to the people's movement in the space. The relationship between the experience of a space and cinematographic notions will also be investigated in terms of the effects of installations, interactive design and the reality behind the seen as tools of perception. Firstly, the cinematography tools and notions, their response in architecture, how they are used will be researched. Later, the way how these notions turn into tools of architectural production and representation will create the base of the research. Communication of people with space, the perceptual and physical relationship of the body with space, thinking about the identifiability of the space and developing awareness about the relationship with the experiencer depends on involving the notions like time, movement and perspective to the design process.
Architecture and cinematographic notions are in a methodological and terminological interaction. Cinematographic experience, motion picture and architecture are exist in time and movement dimension which is important in shaping the spatial perception. Representing the space as heard and acted in, practicing it, determining the organization of the space, where to look, the way to move, makes the two-dimensional space as three-dimensional lived space shaped by the experience living in. The changing character of space in time with movement is revealed. The way for not only watching, for feeling, experiencing and transforming the space is to look the space with our own perspective. Cinematographic notions create alternative time-space editions, images and thoughts to re-establish the space. When comprehending how is the effect of motion perspective on architectural creation, people find the opportunity to see the space from different perspectives as watched and being watched. Through the sequence of moving images and the montage of different perspectives the spatial impressions are combined. Thus, experiencing different aspects of space, to create the space in the mind in different ways and the representative of the space-event interaction is possible.
Cinematographic expression for expressing the successive occasions in space makes new arrangements belong to the entire, so provide the continuous reproduction of space. Revealing the relationship between space and the events that occurred in, video gathers images in different spaces, so that at the same time produces a different intersection of the current time. Images are independent or form a combination with another image. While looking the space from our own perspective, time gains a dimension based on space. The representation of space is not for watching, is for living in, feeling and being a part of it. Cinematographic images projected on the surfaces or the projection of the movement turn into walls and spaces define the space while re-establishing the format and characteristics of space.
By the use of digital media for creating space, the sense of the invisible occurs. The sense is not in the existence of space, is in the impression on the observer. By adding the dimension of time to the description of space, changing color, sound, light situations, with varying perspectives on the changing situation over time is recorded. The produced image reflects the spatial depth with camera movements. Space is not independent from the experiencer. Reflecting the integrity of human and designed are represented with such actions as moving around, experimenting through movement. Installations transforms the space by using space, object, people and time notions that can be experienced with creating an interaction between space and people. With the relationship established between body, movement, sound and our own perspective, bringing together different time pieces, installations reveals a variety of spatial experiences.
In this research, cinematographic notions, installation and interactive architecture will be shown as effective tools in the formation of space, creating new spatial relationships and experiencing the physical space. Firstly cinematographic notions, correspond of these notions in architecture, methods for using these notions and relationships with each other will be analyzed. Then, the forms and concepts that these notions are turned into, the ways that they are used in the production of architectural forms will form the basis of this study.
The aim is to examine the written and visual forms that cinematographic notions returned in the production of architecture, experience of the space as the subject of architecture; within the framework of human, space and time interaction. Spaces created and experienced with this interaction and the spatial experience of these spaces will be examined. Architectural scenarios, light, shadow, color, texture, excitement, rhythm, creating an atmosphere and being a part of it, perspective changes, frames, story telling, conveying messages, adding depth to the surface and space, experiencing space through movement and use of such like these notions as a paradigm in the process of architectural production will be analyzed through architectural representation, designed, experienced and lived space.
There are 5 parts of this investigation in this research. First chapter will focus on the aim of the research and it's tools. Then the similar terminologies between architecture and cinematography were compared and researched, these terminologies were categorized. this categorization was made based to the language. The second part of the thesis is focused on the cinematographic notions which are used as a paradigm to define the space. While researching from different point of views, architecture was investigated based on the notion of scenario, light, shadow, color, texture, rhythm, sound and time in architectural context. Later on, in the third section, cinematographic notions as mediums of communication of space; creating an atmosphere and being a part of it, transforming the point of view, frame, fiction, message, adding depth to space and surface, paradigms that is being used in the process of production of the notions such as experiencing the space by motion are discussed. In the forth section of the thesis, the contribution of cinematographic elements to the design and presentation of the architectural space as 'real', as a medium of constructed experience, the potential of visual motion, the transformation of motions like the relationship between fiction and montage to architecture, and the relation between all and design practice and design representation are aimed to construct. Finally in the fifth chapter, the conversion of cinematographic notions to perception of space; installations and interactive architecture that are considered as mediums which uses digital media for the creation of space, the creation of new spatial relations, and also the experience of the physical space are sought. Representing and experiencing the space as a place that can be heard and moved inside, the road that people move along, where to look at, how to use the space as a stage, the relations within the space, its organization, the space perceived as two dimensional via the function of spectacle generates a space, that is livable and touchable. The spectator, by being the subject and object of the installation through his/her activities, can turn the definition of space into an interaction space. In the chapter, the space that are created and experienced within this interaction, and the spatial experiences that these spaces offer are investigated.