{"id":262,"date":"2013-11-17T17:34:03","date_gmt":"2013-11-17T17:34:03","guid":{"rendered":"http:\/\/warholamagazine.com\/?p=262"},"modified":"2013-11-27T00:22:00","modified_gmt":"2013-11-27T00:22:00","slug":"kompleksin-uc-hali","status":"publish","type":"post","link":"https:\/\/warholamag.com\/tr\/kompleksin-uc-hali\/","title":{"rendered":"Kompleks’in \u00dc\u00e7 Hali"},"content":{"rendered":"

\"Kompleks'in<\/p>\n

\"three<\/a><\/p>\n

Tarihsel bir d\u00f6nem olarak tan\u0131mlanan postmodernizm sonuna m\u0131 geldi yoksa i\u00e7inde ya\u015fad\u0131\u011f\u0131m\u0131z d\u00f6n\u00fc\u015fl\u00fc bir modern d\u00fcnya m\u0131yd\u0131 tart\u0131\u015fmalar\u0131n\u0131n k\u0131y\u0131s\u0131nda olsak da postmodernizm k\u00fclt\u00fcr terminolojimize \u00e7oktan girmi\u015f ve hatta sonu bile ilan edilmi\u015ftir.<\/h4>\n

\"2-slow<\/a><\/h4>\n

Sanatsal ve mimari uygulamalar\u0131n yer de\u011fi\u015ftiren konumlar\u0131n\u0131n, k\u00fclt\u00fcrel de\u011fi\u015fimler \u0131\u015f\u0131\u011f\u0131nda izini s\u00fcren, \u00f6nemli bir yay\u0131n, Hal Foster\u2019\u0131n \u201cSanat Mimarl\u0131k Kompleksi\u201d adl\u0131 kitab\u0131 T\u00fcrk\u00e7e\u2019ye \u00e7evrildi. \u0130leti\u015fim Yay\u0131nlar\u0131n\u0131n Sanat Hayat dizisi kapsam\u0131nda dilimize \u00e7evrilen bu kitap serinin di\u011fer kitaplar\u0131 gibi \u00f6nemli kuramsal tart\u0131\u015fmalara yeni a\u00e7\u0131l\u0131mlar getiriyor. Sanat ve mimarl\u0131k aras\u0131ndaki ili\u015fki, elli y\u0131l\u0131 a\u015fk\u0131n bir s\u00fcredir, sanat pratiklerinin mimariyle, mimari uygulamalar\u0131n sanatla girdi\u011fi ili\u015fki \u00e7er\u00e7evesinde k\u00fclt\u00fcrel ortamda ilgin\u00e7 bir kar\u015f\u0131la\u015fmay\u0131 ortaya \u00e7\u0131kard\u0131. Bu kar\u015f\u0131la\u015fma sanat kurumlar\u0131n\u0131 etkiledi\u011fi gibi daha geni\u015f bir \u00e7er\u00e7evede \u015fehirleri ve k\u00fclt\u00fcrel politikalar\u0131 da i\u00e7ine alarak, sanat \u00fcretimleri ba\u011flam\u0131nda ekonomik, politik, teknolojik bir\u00e7ok parametreyi de yeniden d\u00fc\u015f\u00fcn\u00fcp sorgulamam\u0131z\u0131 da olanakl\u0131 k\u0131lar. Tarihsel bir d\u00f6nem olarak tan\u0131mlanan postmodernizm sonuna m\u0131 geldi yoksa i\u00e7inde ya\u015fad\u0131\u011f\u0131m\u0131z d\u00f6n\u00fc\u015fl\u00fc bir modern d\u00fcnya m\u0131yd\u0131 tart\u0131\u015fmalar\u0131n\u0131n k\u0131y\u0131s\u0131nda olsak da postmodernizm k\u00fclt\u00fcr terminolojimize \u00e7oktan girmi\u015f ve hatta sonu bile ilan edilmi\u015ftir. Postmodern tan\u0131mlamas\u0131n\u0131n, bir k\u00fclt\u00fcr terimi olarak ve \/veya tarihsel bir d\u00f6nem olarak, sanat ve sosyal bilimler alanlar\u0131na girmesinde Robert Venturi, Denise Scott Brown, Charles Jenks gibi mimarlar\u0131n katk\u0131s\u0131 b\u00fcy\u00fckt\u00fcr. Modernizmin aksine postmodernizm, mimarlari uygulamalar\u0131n daha belirleyici oldu\u011fu tarihsel bir d\u00f6nemdir. Belki de modernle\u015fmenin m\u00fchendislerinin biraz geriye \u00e7ekildi\u011fi bir noktada, mimarlar tekrar sanat pratikleri i\u00e7indeki belirleyici konumlar\u0131n\u0131 elde etmi\u015flerdir. Sanat ve mimarl\u0131k aras\u0131ndaki \u00e7izgi 1970\u2019lerde \u00f6zellikle Minimalizm anlay\u0131\u015f\u0131n\u0131n ortaya \u00e7\u0131k\u0131\u015f\u0131ndan sonra daha da girift hale gelir.<\/p>\n

Yirminci y\u00fczy\u0131l\u0131n bask\u0131n Y\u00fcksek Modernizm anlay\u0131\u015f\u0131n\u0131n birbirinden ay\u0131rd\u0131\u011f\u0131, heykel, resim ve mimarl\u0131k aras\u0131ndaki ili\u015fki ve 1970\u2019lerden sonra de\u011fi\u015fmeye ba\u015flam\u0131\u015f, sanatsal uygulamalarla mimari uygulamalar daha \u00e7ok birbirine yakla\u015fm\u0131\u015ft\u0131r. Ortaya \u00e7\u0131kan bu disiplinleraras\u0131 ili\u015fki, farkl\u0131 sorunlar\u0131 ve yeni k\u00fclt\u00fcrel ba\u011flamlar\u0131 da beraberinde getirir. Hal Foster\u2019\u0131n Sanat Mimarl\u0131k Kompleksi kitab\u0131, ortaya \u00e7\u0131kan bu yeni k\u00fclt\u00fcrel ba\u011flamlar\u0131 ve problematikleri modernite kavram\u0131 etraf\u0131nda tart\u0131\u015fmaya a\u00e7maktad\u0131r.<\/p>\n

\"walter<\/a><\/h4>\n

Her ne kadar mimari \u00f6rneklerde daha g\u00fcncel uygulamalara yer vermi\u015f, sanat pratikleri a\u00e7\u0131s\u0131ndan daha uzak tarihli \u00e7al\u0131\u015fmalara odaklanm\u0131\u015f olsa da,\u00a0 Foster\u2019\u0131n \u201cSanat Mimarl\u0131k Kompleksi\u201d kitab\u0131, g\u00fcn\u00fcm\u00fcz neoliberal ekonomi politikalar\u0131 ve k\u00fcresel g\u00f6steri k\u00fclt\u00fcr\u00fcn\u00fcn yaratt\u0131\u011f\u0131 etkiler \u00fczerine yeniden d\u00fc\u015f\u00fcnmek i\u00e7in \u00f6nemli a\u00e7\u0131l\u0131mlar sa\u011flamaktad\u0131r.<\/h4>\n

Dwight Eisenhower\u2019\u0131n ordu-sanayi kompleksi tan\u0131mlamas\u0131n\u0131 hat\u0131rlatacak bi\u00e7imde bir ba\u015fl\u0131k olan Sanat Mimarl\u0131k Kompleksi ad\u0131 Foster\u2019\u0131nda kitab\u0131n giri\u015finde alt\u0131n\u0131 \u00e7izdi\u011fi gibi bir\u00e7ok g\u00f6ndermeyi i\u00e7erir. Foster \u201ckompleks\u201d s\u00f6zc\u00fc\u011f\u00fcn\u00fc ba\u015fl\u0131kta kullanmas\u0131n\u0131n \u00fc\u00e7 nedeni oldu\u011funu belirtir. Bu nedenlerden ilki, \u201cbazen sanat\u0131n bir zamanlar mimariye ait oldu\u011fu d\u00fc\u015f\u00fcn\u00fclen mekana, bazen de mimarinin bir zamanlar sanata ait oldu\u011fu d\u00fc\u015f\u00fcn\u00fclen mekana ge\u00e7ti\u011fini\u201d <\/i>d\u00fc\u015f\u00fcnmesidir. \u0130kinci olarak, k\u00fclt\u00fcrel olan\u0131n ekonomik olana tabi k\u0131l\u0131nmas\u0131yla ortaya \u00e7\u0131kan sanat-mimarl\u0131k bile\u015fiminin yeniden tasarlanmalar\u0131 ba\u011flam\u0131nda ordu-sanayi kompleksi<\/i> veya \u00a0ordu-e\u011flence kompleksi<\/i> gibi tan\u0131mlamalara yak\u0131nl\u0131\u011f\u0131d\u0131r. Son olarak da, bir belirti olarak t\u0131kan\u0131kl\u0131kl\u0131\u011f\u0131, imkan tan\u0131d\u0131\u011f\u0131 etkinlikler kadar engellediklerini <\/i>ifade etmek amac\u0131yla kompleks kelimesini kullan\u0131yor.<\/p>\n

\"richter<\/a> \"richter_alt\u0131<\/a><\/p>\n

\u0130maj \u00fcretmek ve mekan\u0131 bi\u00e7imlendirmek tart\u0131\u015fmalar\u0131 \u0131\u015f\u0131\u011f\u0131nda Foster sanatsal ve mimari uygulamalar aras\u0131ndaki ili\u015fkiyi sorguluyor. \u0130mge ve y\u00fczey, y\u00fczeysellik ve g\u00f6steri Foster\u2019\u0131n \u00f6zellikle ilgilendi\u011fi konulard\u0131r. Sanatsal, mimari ve ele\u015ftirel hareketlerin \u00e7evresinde, Pop ve Minimalizm\u2019in uygulamalar\u0131n\u0131 ve etkilerini de\u011ferlendirir. Malzeme ve mekanla do\u011frudan fiziksel ili\u015fki ba\u011flam\u0131nda Pop\u2019un imgeyle olan ili\u015fkisi, Minimalizm\u2019le kar\u015f\u0131tl\u0131klar ta\u015f\u0131sa da bu iki yakla\u015f\u0131m\u0131n birbirine ge\u00e7i\u015fi ve birbirini canland\u0131r\u0131\u015f\u0131 konusunda<\/i> bu kar\u015f\u0131tl\u0131klar\u0131 tart\u0131\u015f\u0131r. 1960\u2019lardan sonra imgenin kazand\u0131\u011f\u0131 bask\u0131n dil nedeniyle bu ili\u015fkinin geli\u015fimini farkl\u0131 \u00f6rnekler \u00fczerinden konumland\u0131r\u0131r.<\/i><\/p>\n

\"installation<\/a> \"book<\/a><\/p>\n

Giri\u015f b\u00f6l\u00fcm\u00fc, uygulaman\u0131n formel dili ve \u00e7e\u015fitli hareketleriyle, politik, teknolojik ili\u015fkilerin k\u00fclt\u00fcrel ortamdaki yans\u0131malar\u0131n\u0131 anlat\u0131r. Sanatsal ve mimari uygulamalar aras\u0131ndaki \u00e7a\u011fda\u015f ili\u015fkinin tart\u0131\u015fmalar\u0131n\u0131 vurgular ve geni\u015f bir zeminde bu kompleks kar\u0131\u015f\u0131m\u0131n ge\u00e7erlili\u011finin ve k\u00f6kenlerinin ikna edici yanlar\u0131n\u0131 ortaya koyar. \u0130lk b\u00f6l\u00fcm\u00fcn \u00fc\u00e7 ana ba\u015fl\u0131\u011f\u0131 \u201ck\u00fcresel stiller\u201d \u00fczerinden Richard Rogers, Norman Foster ve Renzo Piano\u2019nun pratiklerini i\u00e7erir. Bu mimarlar\u0131n bir dizi projesi \u00fczerinden ikonografi, saydaml\u0131k ve mimari ifade \u00fczerine yorumlarda bulunur.<\/p>\n

\"kitap<\/a><\/p>\n

Daha yak\u0131n tarihli mimarlardan Zaha Hadid, Diller Scofido+Renfro, Herzog & de Meuron \u00e7al\u0131\u015fmalar\u0131 inceledi\u011fi ikinci b\u00f6l\u00fcmde, \u00f6zellikle Diller Scofidio+Renfro\u2019nun t\u00fcrler aras\u0131ndaki ili\u015fkiyi belirsizle\u015ftiren anlay\u0131\u015flar\u0131 dikkat \u00e7ekicidir. DS+R\u2019\u0131n, mimarl\u0131k, g\u00f6rsel sanatlar ve sahne sanatlar\u0131n\u0131 birbirine kayna\u015ft\u0131ran i\u015flerinde postmodern \u201cmelezlik\u201d stratejisi \u00f6nemli bir rol oynamaktad\u0131r. DS+R\u2019\u0131n mimari tasar\u0131mlar\u0131nda, enstalasyonlar\u0131nda ve performatif \u00e7al\u0131\u015fmalar\u0131ndaki disiplinleraras\u0131 yakla\u015f\u0131m birbirini destekleyen yarat\u0131c\u0131 bir ortakl\u0131\u011fa<\/i> d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n

Foster\u2019\u0131n sanat mimarl\u0131k kompleksi i\u00e7inde en iyi kurdu\u011fu ba\u011flant\u0131 sanat m\u00fczelerinin tasar\u0131m\u0131 \u00fczerinedir. Londra\u2019daki Tate Modern ve New York\u2019taki Dia: Beacon \u00f6zelinde ele ald\u0131\u011f\u0131 eski end\u00fcstriyel binalar\u0131n m\u00fczelere d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesi ba\u011flant\u0131s\u0131, e\u011flence ve k\u00fclt\u00fcr, spor ve servisin postend\u00fcstriyel ekonomisinin an\u0131tlar\u0131<\/i> olarak ifade etmesi \u00f6nemlidir. \u00d6zellikle MOMA\u2019n\u0131n 2004\u2019te a\u00e7\u0131lan yeni galerisi ve bunun i\u00e7in yap\u0131lan harcamalar\u0131 dile getirdi\u011fi hafiflik ve baya\u011f\u0131 kozmopolitlik kavramlar\u0131 ile ili\u015fkilendirdi\u011fi b\u00f6l\u00fcmde t\u00fcketim k\u00fclt\u00fcr\u00fc ve g\u00f6steri dinamikleri \u00fczerine epey sert bir ele\u015ftiri geli\u015ftirir. Minimalist m\u00fczeler ba\u015fl\u0131\u011f\u0131 alt\u0131nda ele ald\u0131\u011f\u0131 Dia Sanat Kurumu ve Minimalist sanat uygulamalar\u0131 ili\u015fkisi, enstalasyonlar\u0131n sergilenme, korunma zorluklar\u0131, mimariyi d\u00f6n\u00fc\u015ft\u00fcren yap\u0131tlar ve yap\u0131t\u0131 d\u00f6n\u00fc\u015ft\u00fcren mimari mekanlar fikri, g\u00fcn\u00fcm\u00fcz sanat\u0131n\u0131 anlamam\u0131z bak\u0131m\u0131ndan \u00f6nemli a\u00e7\u0131l\u0131mlar sa\u011flar. Foster di\u011fer b\u00f6l\u00fcmde Richard Serra, Anthony Mc Call ve Dan Flavin\u2019in \u00e7al\u0131\u015fmalar\u0131 i\u00e7inde heykel, film ve resim uygulamalar\u0131n\u0131 tart\u0131\u015f\u0131r. Bu b\u00f6l\u00fcm, Foster\u2019\u0131n \u00f6nceki metinlerinde de derinle\u015ftirdi\u011fi sanat pratikleri incelemelerine dayand\u0131\u011f\u0131 i\u00e7in kendi i\u00e7inde bir zenginlik ta\u015f\u0131r. Fakat mimari ile bu yap\u0131tlar aras\u0131ndaki ba\u011flant\u0131lar \u00e7ok derinlemesine ele al\u0131nmam\u0131\u015f gibidir. \u00c7a\u011fda\u015f mimarl\u0131k a\u00e7\u0131s\u0131ndan baz\u0131 \u015feyler yer de\u011fi\u015ftirmi\u015f gibi g\u00f6r\u00fcnmektedir. Yirminci y\u00fczy\u0131l\u0131n b\u00fcy\u00fck bir b\u00f6l\u00fcm\u00fcnde mimari avangard tasar\u0131mlar\u0131n\u0131 esinleyen felsefe, bilim ve teoriden faydalanm\u0131\u015flard\u0131r. \u015eimdi giderek artan bir bi\u00e7imde sanat mimari uygulamalar\u0131n ba\u015flang\u0131\u00e7 noktas\u0131 haline gelmektedir. Guangzhou Opera Binas\u0131\u2019n\u0131n mimar\u0131 Zaha Hadid, hemen bir ikon haline gelmi\u015f, Rus ressam Malevich\u2019ten esinlenmi\u015f, High Line diye bilinen\u00a0 New York park\u0131n\u0131n mimarlar\u0131, Diller Scofidio+Renfro, Marcel Duchamp\u2019tan etkilenen bir \u00e7al\u0131\u015fma yapm\u0131\u015flard\u0131r. Sanat ve mimarl\u0131k aras\u0131ndaki bu kar\u015f\u0131l\u0131kl\u0131 ili\u015fki Foster\u2019a g\u00f6re, mimari boyutta i\u015fler \u00fcreten bir \u00e7ok sanat\u00e7\u0131n\u0131n \u00e7al\u0131\u015fmas\u0131na d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Bu noktada Foster, daha gen\u00e7 bir jenerasyondan Cristoph B\u00fcchel veya Olafur Eliasson gibi sanat\u00e7\u0131lara odaklanmak yerine Richard Serra, James Turrel ve Dan Flavin gibi daha \u00f6nceki bir d\u00f6neme ait sanat\u00e7\u0131lar\u0131n uygulamalar\u0131n\u0131 merkeze al\u0131r. Her ne kadar mimari \u00f6rneklerde daha g\u00fcncel uygulamalara yer vermi\u015f, sanat pratikleri a\u00e7\u0131s\u0131ndan daha uzak tarihli \u00e7al\u0131\u015fmalara odaklanm\u0131\u015f olsa da,\u00a0 Foster\u2019\u0131n \u201cSanat Mimarl\u0131k Kompleksi\u201d kitab\u0131, g\u00fcn\u00fcm\u00fcz neoliberal ekonomi politikalar\u0131 ve k\u00fcresel g\u00f6steri k\u00fclt\u00fcr\u00fcn\u00fcn yaratt\u0131\u011f\u0131 etkiler \u00fczerine yeniden d\u00fc\u015f\u00fcnmek i\u00e7in \u00f6nemli a\u00e7\u0131l\u0131mlar sa\u011flamaktad\u0131r.<\/p>\n

 <\/p>","protected":false},"excerpt":{"rendered":"

Tarihsel bir d\u00f6nem olarak tan\u0131mlanan postmodernizm sonuna m\u0131 geldi yoksa i\u00e7inde ya\u015fad\u0131\u011f\u0131m\u0131z d\u00f6n\u00fc\u015fl\u00fc bir modern d\u00fcnya m\u0131yd\u0131 tart\u0131\u015fmalar\u0131n\u0131n k\u0131y\u0131s\u0131nda olsak da postmodernizm k\u00fclt\u00fcr terminolojimize \u00e7oktan girmi\u015f ve hatta sonu bile ilan edilmi\u015ftir. Sanatsal ve mimari uygulamalar\u0131n yer de\u011fi\u015ftiren konumlar\u0131n\u0131n, k\u00fclt\u00fcrel de\u011fi\u015fimler \u0131\u015f\u0131\u011f\u0131nda izini s\u00fcren, \u00f6nemli bir yay\u0131n, Hal Foster\u2019\u0131n \u201cSanat Mimarl\u0131k Kompleksi\u201d adl\u0131 kitab\u0131 T\u00fcrk\u00e7e\u2019ye […]<\/p>\n","protected":false},"author":1,"featured_media":263,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-262","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-homepage"],"_links":{"self":[{"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/posts\/262","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/comments?post=262"}],"version-history":[{"count":2,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/posts\/262\/revisions"}],"predecessor-version":[{"id":292,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/posts\/262\/revisions\/292"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/media\/263"}],"wp:attachment":[{"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/media?parent=262"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/categories?post=262"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/warholamag.com\/tr\/wp-json\/wp\/v2\/tags?post=262"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}