Sürrealizm kaynaklı mekansal verilerin incelenmesi yoluyla çağdaş mimarlık ürününün okunması

Abstract

Sürrealizm, farklı karakterdeki çok sayıda çalışma zeminine uzanan tarihsel ve kavramsal bağların kombinasyonları aracılığıyla, etkileşim halinde olduğu üretim alanlarının pozisyonunu, rasyonel değerlendirme kriterlerinin ötesinde bir bakış açısıyla değerlendirmeyi mümkün kılar. Bu doğrultuda çalışma, sürrealizmin mekâna olan etkilerinin mimarlık disiplini bağlamında ele alınabilirliğine ilişkin potansiyelleri, iki temel bölümün tarihsel ve kavramsal çıktılarını kapsayan bir bakış yoluyla inceleyi hedefler. Fotoğraf, resim, edebiyat ve heykel sanatları ile doğrudan bir ilişki kurarak, kapsamını türetebilmiş sürrealizmin, mimarlık ile olan ilişkisi, mimarlık disiplini kapsamındaki pozitivist ilkelerin etkisiyle, benzer doğrudanlıkla gelişmez. Öte yandan, çok sayıda mimari üretimin yalnızca pozitivist ilkeler gözetilerek tasarlanmadığı ve geliştirilmediği, irrasyonel kavramlar ve teknikler aracılığıyla da çeşitli etkileşim alanlarının türetildiği görülür. Sürrealizm bilgisi, bahsedilen irrasyonel etkenlerin önemli bir kısmını oluşturan tarihsel bağları ve kavramsal altlıkları içermesi sebebiyle çalışmanın altlığını oluşturur.Çalışmada, sürrealizmin mimarlık ile olan etkileşimi, mekânın değişim süreçlerindeki sürrealist öğelerin değerlendirilmesi yoluyla ele alınır. Bahsedilen değerlendirme süreçleri, mimarlık ürününün çeşitli temsillerinin sürrealist kavram ve teknikler aracılığıyla okunmasıyla inşa edilebileceği gibi, mekânsal üretim süreçlerinde, içkin sürrealist öğelerin rasyonalist metotlar aracılığıyla takibi yoluyla da geliştirilebilir. İki çalışma biçimi birlikte de kullanılabilir.Çalışma, mekânsal üretimlerin hangi sürrealist kaynaklı veri akışlarından beslendiğini ilişkisel şemalar üzerinden inceler. Şemalar, tarihsel sıra gözetilerek ilerler ve figürlerin temsil ettiği çalışma alanlarının kesişim ve benzeşimleri doğrultusunda çeşitli sıçramalarla bağlanır. Mekânın sürrealizm aracılığıyla gelişmiş durumunu ve/veya mevcut potansiyellerini işaret eden bu şemalar, radikal değişkenlerin, avangard perspektif aracılığıyla gelişen tartışmaların ve sürrealist tekniklerin uygulanmasına ilişkin esneklik alanlarının varlığının ön kabulüyle değerlendirilir. Mimarlık ürününün okunmasına yardımcı olan parametreler, sürrealizmin tarihsel gelişiminde mekân kavramının incelenmesi ve kavramın sürrealizm ile ilişkili olarak değişiminin takibi yoluyla ele alınır. Bu yaklaşım, salt rasyonalist yönlendiricilerin hakim olduğu çalışma alanlarının ötesinde konumlanma motivasyonunu beyan eden çağdaş mimarlık pratiklerinin üretimlerinin mekânsal dil ve kurgusunda sürrealist izlerin varlığını ve etkinliğini tartışmak için tutarlı bir altlık sunmayı hedefler. Sürrealizmin mekânsal bağlamda türetilmesi yoluyla beliren çalışma zeminlerinin, bazı mimarlık pratiklerinin sürrealizmi çalışmalarında kullanmasına yardımcı olmuştur. Sürrealizmin kavram paletinde yer alan mekânsal vurgular, mimarlığın çeşitli çıktılarında yer edinmekte ve sürrealizm mimarlık literatüründeki kapsamını genişletmektedir. Bu doğrultuda, mimarlıkta sürrealizmi ikincil bir ilgi alanı olarak konumlandıran yaklaşımların ötesine geçen kapsayıcı bir kavrayışın gerekliliği önem kazanır.

Surrealism enables to evaluate the position of production areas in which they interact through a combination of historical and conceptual ties to a myriad of working bases on different characters, beyond a rational evaluation criterion. Surrealism, which is able to reproduceits coverage by establishing a direct relationship with the arts of photography, painting, literature and sculpture, does not directly develop with the influence of positivist principles within the discipline of architecture, the relationship with architecture. On the other hand, it can be seen that a large number of architectural productions are derived not only by positivist principles, but also through various irrational concepts and techniques. Surrealism knowledge constitutes the basis for studying because it contains historical ties and conceptual pads that make up a significant portion of the mentioned irrational factors.In the study, the interaction with surrealism is addressed through the analysis and evaluation of the surrealist elements of the process of space change. These analysis and evaluation processes can be constructed by reading various representations of architectural product through surrealist concepts and techniques, as well as by following the rationalist methods of interior surrealist elements in spatial production processes. Two work formats can be used together.The study examines which surrealist data streams feed spatial productions through relational schemas. The charts proceed in chronological order and are connected with various jumps in the direction of intersections and similarities of the work areas represented by the figures. These schemas, which point to the sophisticated position and / or potential for development of the space through Surrealism, are assessed as presupposing the existence of the elasticities of radical variables, debates arising through avant-garde perspectives and the application of surrealist techniques.In the study, the parameters that help to read the architectural product are addressed through an examination of the concept of space in the historical development of surrealism, and a follow-up of the change in relation to surrealism. This approach allows discussion of the contemporary architectural products in a space that is found in the spatial language and context, or in a consistent space of surrealist traces that can be found in the near future. The spatial emphasis on the concept palette of surrealism takes place in the various outputs of architecture and surrealism extends its coverage in the architectural literature. In this direction, the necessity of a formal understanding that goes beyond approaches that place surrealism as a secondary interest in architecture gains importance.The study focuses on the basic output of the production of knowledge of Surrealism in the first part and examines the evolution of these outputs in the process of derivation of surrealism in spatial context. At this point that the development of the boundaries of the data pool in which the Dada movement works chronologically within the pre-emptive search and surrealism of the data sources of different characters that have been discovered and derived before the definition of surrealism.The effects created by the identification and declaration of surrealism are primarily observed in propaganda vehicles. Propaganda is carried out through actors and their producers who appear as first advocates and practitioners of the movement. From the pioneering expression of Apollinaire to the death of Dada, it has been seen that there is an opposing production ground to meet various avant-garde quests. Surrealism has been found in several singular examples, but the role of Breton and the Surrealism Manifestos in constructing a consistent production base is great. The fact that the knowledge of surrealism is spatially derived is primarily determined by the two main points of the thesis. The numerous productions covered in Surrealism have been addressed in this section to include in the process of producing and deriving space using methods such as beautification, identification, and analogy. While the approaches pointing to the spatial derivation processes of surrealism knowledge are presented in chronological order in the study, a breakdown has been made in the direction of thematic orientations. At this point, while the historical structure was maintained, the readability of orientations as plural spots was made possible.The process of spatio-temporal derivation of surrealism is read through the initiatives of Baudelaire and Lautréamont, who are in similar literary pursuits before the definition of surrealism is known. These initiatives reveal the organic language that Cheval and Rousseau have developed through naïve efforts, transcending disciplinary boundaries and combining Gaudí's innumerable connotations of nature with strong mathematics. In the following years, Chirico's melancholy, which emphasizes the stability and the unfolding themes, has the power to represent spaces. Duchamp stands out with his multi-piece coherence from the avant-garde approach to attempting to transport surrealism, his attempts to popularize the Braque and Picasso collage, and Schwitters to the collage space. Freudian influences of ideas, surrealism have an important share in gaining the characteristics of surrealism. The fact that Breton was influenced by Freud's work has increased the consistency of the standards for finding the relevant parts in the image and space.Apollinaire's coincidental parts combined with kaligrams follow Magritte, Aragon, Tzara and Ernst with their collective orientations and original works in the period corresponding to the end of Dada. While facing the street and the house, at the same time irrationality is questioning modernity. This contrast of surrealism is emphasized by Kiesler as a figure opposite Le Corbusier and Mies van der Rohe. While the emphasis on surrealist automatism and surrealism in the exceptional cadaveric game develops, Dali's approach, which will be referred in the following years by a paranoid critical method, appears.While Tanguy and Matta stand out with their metaphorical language, they also have surrealist figures who perform their production with similar concerns. Over the following years, Brassai, Delvaux and Maddox also pursued different approaches to the heritage and melancholy inheritance from Chirico. While introducing surrealist works with Cornell installations and the Agar exhibitions, Guggenheim stands out as a curator of unity and inclusion. The study also examines the spatial citation, examination and approaches of Lefebvre, Benjamin, Bataille and Lacan in criticizing the approaches mentioned, and also makes a reading through the dissenting debate.The prominent approaches and figures in the processes of spatial derivation of surrealism have helped to internalize the surrealism characteristics by many disciplines. With the help of this situation, architects' understanding of the surrealism can develop through an approach that involves searching for a common ground. In this respect, the way in which architectural practices take up surrealism is examined in an everyday context from Le Corbusier.While Le Corbusier is using modernist things over a universal language, he does not search for details in surrealism before, then in some of his constructions. Le Corbusier's examples, in which surrealism and rationality are resolved on their own grounds, follow the implicit autonomy of Invernizzi's work called Villa Girasole. The fiction of the turn of the building, which was designed in a process similar to the reflection of a typical Exclusive Cadaver game, constitutes the most important stance of this structure which reflects the unity of the different characters. In the following years, Niemeyer, Tschumi and Hadid stand out. Brasilia, created by Niemeyer's powerful masses, offers surprising clues about the surrealist city. Tschumi stands out with the emphasis on autonomy in Manhattan Transcripts and continues to work on pieces that reflect the multi-part way of thinking to the place. It can be argued that Hadid is in the effort to create an autonomous representation through suprematism. Koolhaas is assessed with a surreal view of the metropole, while Hejduk and Eisenman are handled with different emphasis on the center in relation to the center. Libeskind questions the autonomy of parts and lines in his sketches. Coop Himmelblau stands out as one of the most similar production forms to the Exquisite Cadavre game. Diller + Scofidio focuses on the games that transform the space into action.The study takes a close look at the output together with recent past and present-day small-scale architectural initiatives. At this point, the effect of surrealism on architecture is read through intersections between related figures and inferences from possibilities.