{"id":1228,"date":"2015-10-11T16:32:57","date_gmt":"2015-10-11T13:32:57","guid":{"rendered":"http:\/\/www.tasarimgunlukleri.com\/?p=1228"},"modified":"2016-03-10T00:45:33","modified_gmt":"2016-03-09T22:45:33","slug":"mimari-tasarimda-dokunma-olgusu-ve-dokunsal-haritalamaya-iliskin-bir-alan-calismasi","status":"publish","type":"post","link":"https:\/\/www.tasarimgunlukleri.net\/index.php\/2015\/10\/11\/mimari-tasarimda-dokunma-olgusu-ve-dokunsal-haritalamaya-iliskin-bir-alan-calismasi\/","title":{"rendered":"Mimari Tasar\u0131mda Dokunma Olgusu ve Dokunsal Haritalamaya \u0130li\u015fkin Bir Alan \u00c7al\u0131\u015fmas\u0131"},"content":{"rendered":"

\u00d6ZET<\/strong><\/p>\n

Mimari u\u0308retim su\u0308recinde g\u00f6rmeyi, mek\u00e2n\u0131n alg\u0131lan\u0131\u015f\u0131 ve temsilinde\u00a0di\u011fer duyulardan u\u0308stu\u0308n bir konuma yerle\u015ftiren faydac\u0131l-estetik bak\u0131\u015f\u00a0a\u00e7\u0131s\u0131 literatu\u0308rde \u201cg\u00f6zmerkezcilik\u201d olarak tan\u0131mlanm\u0131\u015ft\u0131r. Ne var\u00a0ki bu kavray\u0131\u015f bi\u00e7imi, \u00f6znenin deneyim su\u0308recinde mek\u00e2nla kurdu\u011fu\u00a0bedensel ili\u015fkiyi, bu ili\u015fkinin sonucunda meydana gelen bedensel\u00a0haf\u0131zay\u0131, hareket ve zaman olgular\u0131n\u0131 dikkate almamas\u0131 nedeniyle\u00a0ele\u015ftirilmi\u015ftir. \u00d6znenin deneyimi s\u0131ras\u0131nda bedensel ve zihinsel\u00a0alg\u0131ya ba\u011fl\u0131 olarak mek\u00e2nla kurulan etkile\u015fim ve bu\u0308tu\u0308nle\u015fme u\u0308zerinden\u00a0kavranabilen dokunma olgusu, g\u00f6zmerkezci paradigmadan\u00a0farkl\u0131 olarak, mimariyi du\u0308\u015fu\u0308nmenin, anlamland\u0131rman\u0131n ve tasar\u0131ma\u00a0kaynak olabilecek ba\u015fka bir \u00e7\u0131k\u0131\u015f noktas\u0131n\u0131n varl\u0131\u011f\u0131n\u0131 i\u015faret etmektedir.\u00a0Bu \u00e7al\u0131\u015fman\u0131n hedefi, tasar\u0131mda dokunma olgusunu tasar\u0131m\u00a0kavramlar\u0131 u\u0308zerinden ara\u015ft\u0131rmak, dokunsall\u0131\u011f\u0131n mek\u00e2nsal deneyimdeki\u00a0etkilerini ortaya koymak ve temsil edilmesi, g\u00f6ru\u0308len ve \u00f6l\u00e7u\u0308lebilen\u00a0olgulara g\u00f6re daha zor olan dokunma olgusunun nas\u0131l ifade\u00a0edilebilece\u011fine y\u00f6nelik bir g\u00f6rselle\u015ftirme \u00e7al\u0131\u015fmas\u0131 sunmakt\u0131r. Bu\u00a0kapsamda ger\u00e7ekle\u015ftirilmi\u015f olan alan \u00e7al\u0131\u015fmas\u0131nda, tasar\u0131m su\u0308recini\u00a0duyum, malzeme ve atmosfer u\u0308zerinden \u015fekillendirdi\u011finden s\u00f6z\u00a0eden Peter Zumthor\u2019un tasarlad\u0131\u011f\u0131 be\u015f yap\u0131 gezilerek; dokunma olgusu\u00a0u\u0308zerinden incelenmi\u015ftir. \u0130nceleme s\u0131ras\u0131nda, mimar\u0131n soyut ve\u00a0somut tasar\u0131m \u00f6\u011feleri, bu \u00f6\u011felerin mek\u00e2nda kullan\u0131m bi\u00e7imleri ve\u00a0mek\u00e2ndaki duygulan\u0131m, bedensel \u00f6l\u00e7me kullan\u0131larak belirlenmi\u015ftir.\u00a0Gezinin bulgular\u0131, dokunma olgusunun temsiline ili\u015fkin bir deneme\u00a0olu\u015fturan ve \u201cdokunsal haritalama\u201d ad\u0131 verilen \u00e7al\u0131\u015fmalarla ifade\u00a0edilmi\u015ftir. \u201cDokunsal da\u011f\u0131l\u0131m \u015femas\u0131\u201d, \u201cmalzeme-etki tablosu\u201d ve\u00a0\u201cduyum analizlerinden\u201d olu\u015fan dokunsal haritalama, dokunma olgusu\u00a0ve onu tan\u0131mlayan duyum, etki, maddesellik, zihinsel \u00e7a\u011fr\u0131\u015f\u0131m\u00a0gibi kavramlar\u0131n, soyut ve ula\u015f\u0131lmaz kabuller de\u011fil, tasar\u0131ma d\u00e2hil\u00a0edilebilen mimari u\u0308retim ara\u00e7lar\u0131 olduklar\u0131n\u0131 ortaya koymu\u015ftur.<\/p>\n

Anahtar s\u00f6zcu\u0308kler: <\/span>Beden; dokunma; duygulan\u0131m; duyum; g\u00f6zmerkezcilik;\u00a0haritalama; mimari tasar\u0131m.<\/p>\n

Giri\u015f<\/span><\/strong><\/p>\n

Gu\u0308nu\u0308mu\u0308zde, mimarl\u0131\u011f\u0131n u\u0308retiminde, \u00f6\u011fretili\u015finde\u00a0ve kavran\u0131\u015f\u0131nda, g\u00f6zmerkezci bir e\u011filim s\u00f6z konusudur.G\u00f6zmerkezcilik,2 <\/span>\u201cnesnel bak\u0131\u015f\u201d kavram\u0131n\u0131n di\u011fer\u00a0her \u015feyden u\u0308stu\u0308n tutuldu\u011fu du\u0308\u015fu\u0308nce bi\u00e7imidir. Bat\u0131\u00a0ku\u0308ltu\u0308ru\u0308nde benimsenmi\u015f olan, bilgi ve ger\u00e7ekli\u011fin g\u00f6rme\u00a0u\u0308zerinden sa\u011fland\u0131\u011f\u0131 anlay\u0131\u015f\u0131na g\u00f6zmerkezci paradigma\u00a0denmektedir.3 <\/span>Martin Jay\u2019in \u00e7al\u0131\u015fmas\u0131yla4 <\/span>daha\u00a0gu\u0308ncelle\u015fen bu terim, g\u00f6rme duyusunun di\u011fer tu\u0308m duyulardan\u00a0u\u0308stu\u0308n oldu\u011fu ve benzersiz bir bilgi u\u0308retimi ile\u00a0ba\u011fda\u015ft\u0131r\u0131labilece\u011fi fikri olarak tan\u0131mlanmaktad\u0131r.\u00a0Gu\u0308nu\u0308mu\u0308ze kadar devam etmi\u015f olan bu kavray\u0131\u015f bi\u00e7imi,\u00a0temel olarak, g\u00f6rme duyusunun tarihin ilk d\u00f6nemlerinden\u00a0bu yana en soylu ve \u00f6nemli duyu olarak kabul\u00a0edilmesi ve Kartezyen Du\u0308\u015fu\u0308ncenin ortaya \u00e7\u0131kmas\u0131yla\u00a0birlikte, g\u00f6rmenin bedenden ziyade ak\u0131lla ili\u015fkilendirilmesiyle,\u00a0bedenin aldat\u0131c\u0131 kabul edilmesinin5 <\/span>bir sonucudur.\u00a0Sosyal, ekonomik ve ku\u0308ltu\u0308rel anlamda toplumla ili\u015fkili\u00a0her tu\u0308r prati\u011fe egemen olmaya ba\u015flayan; g\u00f6rmeye\u00a0ve usa u\u0308stu\u0308n bir konum veren bu du\u0308\u015fu\u0308nce bi\u00e7imi,\u00a0mimari u\u0308retim su\u0308recinde, bat\u0131n\u0131n mimari ba\u015far\u0131 vemek\u00e2nsal kalite alg\u0131s\u0131na da s\u0131zm\u0131\u015ft\u0131r.<\/p>\n

Juhani Pallasmaa, g\u00f6rmeye odaklanarak; sahne dekoru\u00a0ya da bir heykel gibi ele al\u0131nan ve insan bedeniyle\u00a0edilgen bir ili\u015fki i\u00e7erisinde olan yap\u0131lar i\u00e7in \u201cretinal\u00a0mimari\u201d6 <\/span>terimini kullanmakta ve insan\u0131n evrendeki\u00a0varolu\u015funu tam olarak kar\u015f\u0131layamad\u0131\u011f\u0131n\u0131 iddia etti\u011fi\u00a0bu tasar\u0131mlar\u0131n, ak\u0131lla g\u00f6rmeye dayal\u0131 bak\u0131\u015f\u0131n mimarl\u0131k\u00a0prati\u011findeki bask\u0131nl\u0131\u011f\u0131n\u0131n yans\u0131malar\u0131 oldu\u011funu belirtmektedir.\u00a0Mimarl\u0131kta g\u00f6zmerkezcili\u011fi sorgulanmas\u0131 gereken\u00a0bir olgu haline getiren \u015fey, \u00f6znenin deneyim su\u0308recinde\u00a0mek\u00e2nla kurdu\u011fu bedensel ili\u015fkiyi, bu ili\u015fkinin sonucunda\u00a0meydana gelen bedensel haf\u0131zay\u0131, harekete zaman olgular\u0131n\u0131 \u00e7ok fazla dikkate almay\u0131\u015f\u0131d\u0131r. Oysamek\u00e2n sadece g\u00f6rerek de\u011fil, tu\u0308m bedenle deneyimlenmektedir.\u00a07 <\/span>\u00d6znenin \u00e7evresi hakk\u0131nda bilgi edinme\u00a0su\u0308recinde geli\u015fen duyumsama ve alg\u0131lama, bilimsel\u00a0olarak d\u0131\u015far\u0131dan gelen uyaranlar\u0131n ilgili duyu organlar\u0131yla\u00a0bedene al\u0131nmas\u0131, sinyallerle beyne g\u00f6nderilmesi\u00a0ve beyin taraf\u0131ndan anlamland\u0131r\u0131lmas\u0131 olarak \u00f6zetlenmektedir.<\/p>\n

Mek\u00e2nsal \u00e7evrenin temsilinin g\u00f6rsel a\u011f\u0131rl\u0131kl\u0131 oldu\u011fu\u00a0yan\u0131lg\u0131s\u0131na du\u0308\u015fmemek gerekir. Yayg\u0131n inan\u0131\u015f\u0131n aksine,\u00a0g\u00f6rsel uyaranlar di\u011ferlerinden daha bask\u0131n de\u011fildir.\u00a0D\u0131\u015f du\u0308nyan\u0131n ger\u00e7ekten nas\u0131l oldu\u011funun do\u011fru bir bi\u00e7imde\u00a0alg\u0131lanmas\u0131 i\u00e7in tu\u0308m duyu motorlar\u0131n\u0131n (g\u00f6rme,\u00a0dokunma, i\u015fitme, koku alma, tatma ve kinestetik duyum)\u00a0\u00e7evre ile etkile\u015fim halinde olmas\u0131 esast\u0131r. Yap\u0131lan\u00a0ara\u015ft\u0131rmalar, d\u0131\u015f du\u0308nyadan gelen uyaranlar\u0131n tu\u0308m duyu\u00a0sistemleri kullan\u0131larak al\u0131nd\u0131\u011f\u0131n\u0131 g\u00f6stermektedir.8\u00a0<\/span>Duyular\u0131n birbirlerinden ayr\u0131 mekanizmalar gibi \u00e7al\u0131\u015ft\u0131klar\u0131\u00a0ve g\u00f6rmenin di\u011fer duyulardan u\u0308stu\u0308n oldu\u011fu\u00a0inanc\u0131, g\u00f6rme duyusunu bedenin geri kalan\u0131ndan kopararak\u00a0ak\u0131lla ili\u015fkilendiren bir anlay\u0131\u015f\u0131n yaratt\u0131\u011f\u0131 bir\u00a0yan\u0131lsamad\u0131r. Farkl\u0131 duyular\u0131n di\u011ferlerinden de\u011ferli\u00a0kabul edildi\u011fi ya da her duyunun e\u015fit g\u00f6ru\u0308ldu\u0308\u011fu\u0308 \u00f6rnekler,\u00a09 <\/span>g\u00f6rme duyusunun birincil duyu olarak kabul edilmesinin\u00a0ku\u0308ltu\u0308rel bir sonu\u00e7 oldu\u011funu g\u00f6stermektedir.\u00a0Japon ve Hint ku\u0308ltu\u0308ru\u0308nde, g\u00f6rme d\u0131\u015f\u0131ndaki duyular\u0131n\u00a0gu\u0308ndelik ya\u015famda ve \u00f6zel etkinliklerde bat\u0131 u\u0308lkelerine\u00a0k\u0131yasla daha fazla yer ald\u0131\u011f\u0131n\u0131 g\u00f6rmek olanakl\u0131d\u0131r. \u00d6rne\u011fin\u00a0Hindistan\u2019da, sevecen bir kar\u015f\u0131laman\u0131n, \u201ckar\u015f\u0131daki\u00a0ki\u015finin elini koklamak\u201d \u015feklinde ger\u00e7ekle\u015fti\u011fini anlatanmetinler bulunmaktad\u0131r.10\u00a0<\/span>Ne var ki bat\u0131 ku\u0308ltu\u0308ru\u0308nde dokunma duyusuna kar\u015f\u0131\u00a0geli\u015ftirilen diren\u00e7, onun fiziksel yak\u0131nl\u0131k ba\u011flam\u0131nda\u00a0g\u00f6rme duyusuyla aras\u0131ndaki farkla da ili\u015fkilidir. Uzaktan\u00a0bakman\u0131n verdi\u011fi gu\u0308ven duygusunun aksine; dokunma\u00a0ile \u00f6zne, yabanc\u0131 bir varl\u0131\u011f\u0131 kendi bedeninde duyumsama\u00a0riskini kabul etmektedir. Bu risk, canl\u0131lar\u0131n yaln\u0131zca\u00a0kendi bedeni ve varl\u0131\u011f\u0131yla bu\u0308tu\u0308nle\u015fmesinde sak\u0131nca\u00a0g\u00f6rmedi\u011fi nesne veya \u00f6znelerle cesaret etti\u011fi bir eylemdir.\u00a0Dolay\u0131s\u0131yla,g\u00f6rmenin ak\u0131lla kayna\u015ft\u0131r\u0131lmas\u0131n\u0131n \u00a0sonucunda, mant\u0131\u011f\u0131n hislerden u\u0308stu\u0308n kabul edilmesi;tarihin ilk d\u00f6nemlerinden itibaren bat\u0131da toplumlar\u0131nbilin\u00e7alt\u0131na yerle\u015ftirilen dokunma korkusuyla da beslenmi\u015ftir.11<\/p>\n

H\u00e2lbuki dokunma, insan bedeni i\u00e7in vazge\u00e7ilmezdir.Bu\u0308tu\u0308n tu\u0308rler u\u0308zerinde bugu\u0308ne kadar yap\u0131lan ara\u015ft\u0131rmalara\u00a0g\u00f6re, dokunma duyusu ilk geli\u015fen duyu olmu\u015ftur\u00a0ve tu\u0308m duyular\u0131n dokunma duyusunun farkl\u0131la\u015fmas\u0131yla\u00a0meydana geldi\u011fi g\u00f6ru\u0308lmektedir. \u015eeffaf olan kornea tabakas\u0131\u00a0bile derinin \u00f6zelle\u015fmi\u015f bir \u015feklidir.12<\/span><\/p>\n

Kavray\u0131\u015fsal a\u00e7\u0131dan yakla\u015f\u0131ld\u0131\u011f\u0131nda da, tu\u0308m duyular\u0131nduyu ve alg\u0131 su\u0308recini ba\u015flatan moleku\u0308l, dalga ya da \u0131\u015f\u0131n\u0131n\u00a0derimizin \u00e7ok \u00f6zelle\u015ferek uzmanla\u015ft\u0131\u011f\u0131 b\u00f6lu\u0308mlerine\u00a0temas etti\u011fi, yani dokundu\u011fu g\u00f6ru\u0308lmektedir. Frans\u0131z\u00a0filozof ve fenomenolog Maurice Merleau-Ponty de dokunma\u00a0ve g\u00f6rme aras\u0131ndaki ili\u015fkiyi kurarken g\u00f6rmeyi\u00a0\u201cbak\u0131\u015flarla nesnelere dokunmak\u201d olarak tan\u0131mlam\u0131\u015ft\u0131r.13<\/span><\/p>\n

Tu\u0308m bunlar\u0131n haricinde, dokunma, \u00f6znenin bu evrendeki\u00a0varl\u0131\u011f\u0131n\u0131 sorgularken kullanabilece\u011fi \u00f6nemlibir duyudur. \u0130nsan, dokunarak, hem kendi varl\u0131\u011f\u0131 d\u0131\u015f\u0131ndaki\u00a0varl\u0131klarla bu\u0308tu\u0308nle\u015fmekte hem de onlardan farkl\u0131\u00a0oldu\u011funun bilincine varmaktad\u0131r.14 <\/span>\u00d6zne, kendi varl\u0131\u011f\u0131\u00a0d\u0131\u015f\u0131ndakilere de\u011fdi\u011finde; \u0131s\u0131 al\u0131\u015fveri\u015finin bir getirisi\u00a0olarak; iki varl\u0131\u011f\u0131n s\u0131cakl\u0131\u011f\u0131 e\u015fitlenerek, ikisi aras\u0131ndaki\u00a0keskin s\u0131n\u0131r \u015feffafla\u015fmaktad\u0131r. \u00d6zne ve nesne aras\u0131ndaki\u00a0s\u0131n\u0131r\u0131n yok olmas\u0131 durumu, Martin Heidegger\u2019in15\u00a0<\/span>bahsetti\u011fi gibi, bir varl\u0131\u011f\u0131n g\u00f6rme mesafesindeki \u201cnesneden\u201d\u00e7\u0131karak; dokunma mesafesindeki \u201c\u015fey\u201de d\u00f6nu\u0308\u015fme\u00a0durumudur. Heidegger, insanlara yak\u0131n olan\u00a0\u201c\u015fey\u201d ile nesneler aras\u0131ndaki fark\u0131, testiyi tutma eylemi\u00a0u\u0308zerinden anlatmaktad\u0131r. Testi tutuldu\u011funda o, nesne\u00a0olman\u0131n \u00f6tesine ge\u00e7erek; \u201c\u015fey\u201d haline gelir. Her bir\u00a0farkl\u0131 ki\u015fi, testiyi kendi varl\u0131\u011f\u0131yla ba\u011flant\u0131l\u0131 olarak yeniden\u00a0var eder. Ona g\u00f6re \u201c\u015fey\u201d, modern felsefede du\u0308nyadan\u00a0ba\u011flar\u0131n\u0131 koparm\u0131\u015f olan g\u00f6zlemcinin \u00e7evresini\u00a0ku\u015fatan nesnelerden \u00e7ok daha fazlas\u0131d\u0131r. \u015eey, insan\u0131n\u00a0gu\u0308ndelik ya\u015fam prati\u011finde fiziksel ve zihinsel temasa\u00a0ge\u00e7ti\u011fi kavramd\u0131r. Nesne ise gu\u0308nlu\u0308k hayattaki deneyimden\u00a0kopmu\u015f; soyut, a\u015fk\u0131n zihinsel formlard\u0131r. Nesneler\u00a0\u015feylere d\u00f6nu\u0308\u015ftu\u0308klerinde, \u00f6znenin bir par\u00e7as\u0131 haline\u00a0gelmektedirler.<\/p>\n

\u0130\u015fte nas\u0131l ki, dokunma, ki\u015finin \u00f6zu\u0308 ve nesne aras\u0131ndaki\u00a0s\u0131n\u0131rlar\u0131 bulan\u0131kla\u015ft\u0131rarak onlar\u0131 birbiri i\u00e7inde kayna\u015ft\u0131r\u0131yorsa;\u00a0mimari ve bedeni birbirine kayna\u015ft\u0131ran da\u00a0dokunma olgusudur. Bedensiz g\u00f6rmenin kar\u015f\u0131s\u0131na yerle\u015ftirilen\u00a0bu olgu, ilk bak\u0131\u015fta, g\u00f6zlem yoluyla do\u011frulanabilirli\u011fi\u00a0\u015fu\u0308phe g\u00f6tu\u0308ren felsefi bir yorum gibi alg\u0131lansa\u00a0da, \u00f6zne ve mek\u00e2n etkile\u015fimi u\u0308zerinden kavrand\u0131\u011f\u0131nda;\u00a0asl\u0131nda mimari tasar\u0131m ba\u011flam\u0131nda somut g\u00f6stergelere\u00a0kar\u015f\u0131l\u0131k geldi\u011fi anla\u015f\u0131lmaktad\u0131r.<\/p>\n

Mek\u00e2na dokunmak, mek\u00e2nla etkin bir ili\u015fkiye girebilmek\u00a0ve onunla bu\u0308tu\u0308nle\u015fmektir. Duygular\u0131, duyumlar\u0131,\u00a0hatta du\u0308\u015fu\u0308nceleri mek\u00e2na aktarmakt\u0131r. Bir kap\u0131 a\u00e7\u0131l\u0131rken\u00a0kap\u0131 kolunun \u0131s\u0131s\u0131 vu\u0308cut \u0131s\u0131s\u0131yla artar. Ku\u0308pe\u015fteyi\u00a0tutarak merdivenlerden inmek, gu\u0308ven vericidir. Yu\u0308zeyinde\u00a0buhar olan bir cama elle \u00e7izilen bir desen, cama\u00a0b\u0131rak\u0131lan izdir. \u00dcstu\u0308nde yu\u0308ru\u0308nen zeminde b\u0131rak\u0131lan\u00a0ayak izleri bedenin mek\u00e2na b\u0131rakt\u0131\u011f\u0131 kal\u0131nt\u0131lard\u0131r. Ad\u0131m\u00a0sesleri, s\u00f6zcu\u0308kler ya da m\u0131r\u0131ldanan bir melodi, mek\u00e2n\u0131n\u00a0duvarlar\u0131na ve tavan\u0131na \u00e7arpar. Bedene ait koku mek\u00e2n\u0131\u00a0doldurur, oradaki insan varl\u0131\u011f\u0131n\u0131n kan\u0131t\u0131d\u0131r.<\/p>\n

Tu\u0308m bu deneyimler, bedenin mek\u00e2na temas etti\u011fianlard\u0131r. Bu anlarda mek\u00e2n ve beden aras\u0131ndaki s\u0131n\u0131rlar\u00a0bulan\u0131kla\u015ft\u0131\u011f\u0131ndan \u00f6zne, i\u00e7inde bulundu\u011fu hacmin bir\u00a0par\u00e7as\u0131 haline gelmekte ve onunla bu\u0308tu\u0308nle\u015fmektedir.<\/p>\n

Mek\u00e2n\u0131n dokunmas\u0131 \u015feklinde tan\u0131mlanabilecek kavram\u00a0ise, mek\u00e2n\u0131n ya\u015famla kurdu\u011fu \u00f6zel ili\u015fkiyi, kendine\u00a0has \u00f6zelliklerini, bir ba\u015fka deyi\u015fle \u00f6zu\u0308nu\u0308, onu deneyimleyen\u00a0ki\u015fiye iletmesidir. Her bir mimari mek\u00e2n\u0131n kendine\u00a0\u00f6zgu\u0308 sesi, \u0131s\u0131s\u0131 ve kokusu bulunmaktad\u0131r. Yu\u0308zeyleri\u00a0ve di\u011fer yap\u0131sal elemanlar\u0131n\u0131 \u00f6rten maddenin dokusu,\u00a0mek\u00e2n\u0131n derisini olu\u015fturmaktad\u0131r. Bu deri kimi zaman\u00a0pu\u0308ru\u0308zlu\u0308, kimi zaman kaygan, bazen \u015feffaf, bazen mat,\u00a0yumu\u015fak ya da sert olabilmektedir. Tu\u0308m bu say\u0131lan\u00a0\u00f6zellikler, Peter Zumthor\u2019un s\u00f6z etti\u011fi gibi,16 <\/span>mimarinin\u00a0de vu\u0308cut bulmu\u015f halleridir. T\u0131pk\u0131 insan bedeni gibi, her\u00a0bir mek\u00e2n, tasar\u0131mc\u0131n\u0131n onu hayal edip u\u0308retti\u011fi bi\u00e7imiyle\u00a0bir di\u011ferinden farkl\u0131 ve biriciktir. Bu nedenle, \u00f6znenin\u00a0mimariye temas etti\u011fi anlarda, mimari de kendi\u00a0bedeniyle \u00f6zneye dokunmaktad\u0131r.<\/p>\n

\u00a0Bahsedilen aktar\u0131m, ki\u015fiye ve zamana g\u00f6re de\u011fi\u015fen\u00a0bir su\u0308re\u00e7tir. Bu su\u0308re\u00e7te, mimari ve \u00f6zne aras\u0131nda olu\u015fan\u00a0devingen etkile\u015fim, ki\u015finin ya\u015fad\u0131\u011f\u0131 du\u0308nyaya alg\u0131lar\u0131\u00a0arac\u0131l\u0131\u011f\u0131 ile ba\u011flanmas\u0131ndan kaynaklanmaktad\u0131r. Beden\u00a0ve alg\u0131, ki\u015fiden ki\u015fiye hatta bir andan di\u011ferine farkl\u0131l\u0131k\u00a0g\u00f6sterdi\u011finden dokunma olgusunu nesne odakl\u0131 de\u011fil;zaman, \u00f6zne ve mimarinin birbirleriyle su\u0308rekli etkile\u015fim\u00a0halinde oldu\u011fu de\u011fi\u015fken bir su\u0308re\u00e7 olarak ele almak\u00a0gerekmektedir.<\/p>\n

Mek\u00e2ndaki dokunsall\u0131\u011f\u0131,<\/p>\n

\u2022 Tasar\u0131mda kullan\u0131c\u0131n\u0131n bedensel duyumuna odaklan\u0131lmas\u0131,<\/p>\n

\u2022 Malzemenin maddesel \u00f6zu\u0308nu\u0308n \u00f6nemi,<\/p>\n

\u2022 Hareketin mek\u00e2nsal alg\u0131daki fark yaratan rolu\u0308,<\/p>\n

\u2022 Zaman\u0131n getirdi\u011fi ya\u015fanm\u0131\u015fl\u0131k izlerinin korunmas\u0131,<\/p>\n

\u2022 Bu\u0308tu\u0308n alg\u0131s\u0131n\u0131n \u00f6znel ve devingen yap\u0131s\u0131,<\/p>\n

\u2022 Bi\u00e7imin tan\u0131mlay\u0131c\u0131 kurallara tabi olmadan olu\u015fmas\u0131,<\/p>\n

\u2022 Mek\u00e2nda yap\u0131sal ve kavramsal s\u0131n\u0131rlar aras\u0131ndaki<\/p>\n

keskin ayr\u0131m\u0131n zaman zaman ortadan kald\u0131r\u0131l\u0131p<\/p>\n

\u00f6znenin yorumuna izin verilmesi u\u0308zerinden kavramak<\/p>\n

olanakl\u0131d\u0131r.<\/p>\n

Mek\u00e2ndaki dokusall\u0131\u011f\u0131n kavranmas\u0131na yard\u0131mc\u0131 olacak\u00a0kavramlar ve bu kavramlar\u0131n her birinde tespit edilen\u00a0dokunma olgusu a\u015fa\u011f\u0131da ele al\u0131nm\u0131\u015ft\u0131r:<\/p>\n

Ara\u015ft\u0131rmada Kullan\u0131lan Kavramlar<\/strong><\/span><\/p>\n

Duyum<\/strong><\/p>\n

Birbirinden farkl\u0131 bedensel engelleri olan kullan\u0131c\u0131lar\u0131n\u00a0mek\u00e2nla kurduklar\u0131 ili\u015fkiler, \u00e7o\u011fu tasar\u0131mc\u0131 taraf\u0131ndan yarat\u0131c\u0131l\u0131\u011f\u0131 k\u0131s\u0131tlayan zorunluluklar olarak yorumlanm\u0131\u015f,\u00a0onlar\u0131n mek\u00e2nsal deneyimlerinin potansiyeli\u00a0g\u00f6lgede kalm\u0131\u015ft\u0131r. Oysa bu durumu \u00e7\u00f6zu\u0308lmesi gereken\u00a0bir problem olarak g\u00f6rmek yerine mek\u00e2nsal zenginlik\u00a0yaratacak bir tasar\u0131m girdisi olarak ele almak, hem sonu\u00e7\u00a0u\u0308ru\u0308nde hem de tasar\u0131m su\u0308recinde mimarlara dokunsal\u00a0perspektifler a\u00e7maktad\u0131r. Mek\u00e2ndaki s\u0131n\u0131rlar\u0131\u00a0sadece yatay ve du\u0308\u015fey elemanlar de\u011fil, bedenle alg\u0131lanan\u00a0herhangi bir duyu uyaran\u0131 da \u00e7izebilmektedir.17<\/span><\/p>\n

Bedensel g\u00f6rme d\u00e2hil tu\u0308m duyular\u0131n bilin\u00e7li \u015fekilde\u00a0uyar\u0131ld\u0131\u011f\u0131 mek\u00e2n, tasar\u0131ma bedensel alg\u0131lama ve ona\u00a0ba\u011fl\u0131 olarak \u00f6znede olu\u015fan duygulan\u0131m\u0131 da katarak,\u00a0mimariyi akl\u0131n g\u00f6zu\u0308 i\u00e7in tasarlanm\u0131\u015f bir stru\u0308ktu\u0308r, teknik\u00a0bir kutu olmaktan uzakla\u015ft\u0131r\u0131p, bir deneyim su\u0308reci\u00a0olarak ele almaktad\u0131r.<\/p>\n

Maddesellik18<\/span><\/strong><\/p>\n

Malzemeyi bedenle kurulan ileti\u015fim arac\u0131 olarak ele\u00a0almak, mek\u00e2n\u0131 dokunsal yapan bir unsurdur. \u0130nsan\u0131 mimariye\u00a0dokunmaya \u00e7a\u011f\u0131ran maddesel \u00f6z, kendi karakterini,\u00a0u\u0308zerindeki y\u0131pranma izlerini ve ya\u015fanm\u0131\u015fl\u0131klar\u013119\u00a0<\/span>g\u00f6sterirken; bedende de\u011fi\u015fik izlenimler olu\u015fturmaktad\u0131r.\u00a0Bu haliyle maddesellik, mek\u00e2n\u0131n bedensel alg\u0131lanmas\u0131n\u0131n\u00a0en somutla\u015fm\u0131\u015f halidir.<\/p>\n

Olay Mimarl\u0131\u011f\u013120<\/span><\/strong><\/p>\n

\u201cOlay Mimarl\u0131\u011f\u0131\u201d s\u00f6yleminde Bernard Tschumi,21\u00a0<\/span>mimarl\u0131\u011f\u0131n asl\u0131nda mek\u00e2n\u0131n i\u00e7indeki olay\/eylem ile tan\u0131mland\u0131\u011f\u0131n\u0131\u00a0ve eylem olmadan mek\u00e2n\u0131n var olmayaca\u011f\u0131n\u0131\u00a0belirtmektedir. Mek\u00e2nlar hareketlere, hareketler\u00a0de mek\u00e2nlara g\u00f6re \u015fekillenmektedir. Mek\u00e2n, olay\u00a0ve hareket aras\u0131nda \u00f6ncelik s\u0131ralamas\u0131 olmayan bir birle\u015fimi\u00a0i\u015faret eden bu etkile\u015fim, bi\u00e7im ve i\u015flev aras\u0131nda\u00a0kurulmu\u015f olan neden-sonu\u00e7 ili\u015fkisini y\u0131kmaktad\u0131r.<\/p>\n

Bir mek\u00e2ndaki hareket, sadece g\u00f6rme ve dokunma\u00a0aras\u0131ndaki ilintiyi kurmaz, ayn\u0131 zamanda bedendeki somatik\u00a0duyular\u0131 (bedensel duru\u015f, bedenin hareketi ve\u00a0i\u00e7 kulaktan gelen denge duyusu) da harekete ge\u00e7irir.\u00a0Mek\u00e2n i\u00e7inde beden, s\u0131n\u0131rlar\u0131, mek\u00e2n i\u00e7indeki hareketi\u00a0ve hareket s\u0131ras\u0131nda bedende olu\u015fan yo\u011funluk ve duyumlar\u0131\u00a0deneyimleyerek onlar\u0131 hat\u0131rlamaktad\u0131r. Ayr\u0131ca\u00a0mimari mek\u00e2n, birbirinden farkl\u0131 i\u00e7 ve d\u0131\u015f etkilerle, zamanla\u00a0ve en \u00f6nemlisi hareketle su\u0308rekli de\u011fi\u015fime u\u011fray\u0131p\u00a0yeniden u\u0308retilmektedir. Dolay\u0131s\u0131yla mek\u00e2n, uzaktan\u00a0seyredilen bir nesne de\u011fil; eylemlerle, bedenlerle ve\u00a0bedenlerin kurdu\u011fu ili\u015fki a\u011f\u0131yla su\u0308rekli de\u011fi\u015fen ak\u0131\u015fkan\u00a0su\u0308recin bir par\u00e7as\u0131d\u0131r.<\/p>\n

Eserin Biricikli\u011fi: Aura<\/strong><\/p>\n

Walter Benjamin, sanat eserindeki auray\u0131 \u201ceserin\u00a0biricikli\u011fi\u201d olarak tan\u0131mlamaktad\u0131r.22 <\/span>Aura, nesneden\u00a0veya mek\u00e2ndan kar\u015f\u0131dakine ge\u00e7en, o ana ait ve tek\u00a0olma hissidir. Terim, du\u0308\u015fu\u0308nu\u0308ru\u0308n yine ayn\u0131 d\u00f6nemlerden\u00a0yazd\u0131\u011f\u0131 ba\u015fka bir denemesinde,23 <\/span>\u201cbir nesneyle kurulan\u00a0ili\u015fkiler s\u0131ras\u0131nda istemsiz olarak an\u0131lar\u0131n ortaya\u00a0\u00e7\u0131kmas\u0131\u201d \u015feklinde betimlemektedir.<\/p>\n

Mek\u00e2n\u0131n auras\u0131n\u0131, mek\u00e2n\u0131n onu deneyimleyen insanda\u00a0uyand\u0131rd\u0131\u011f\u0131 istem d\u0131\u015f\u0131 an\u0131msama; kullan\u0131c\u0131 taraf\u0131ndan\u00a0hissedilen ve maddenin a\u015f\u0131nm\u0131\u015fl\u0131\u011f\u0131n\u0131n mek\u00e2na\u00a0kazand\u0131rd\u0131\u011f\u0131 \u201cya\u015flanma izi\u201d ya da mek\u00e2nda olu\u015fan\u00a0\u201czamansal katmanlar\u201d olarak yorumlamak olanakl\u0131d\u0131r.\u00a0Karsten Harries\u2019e g\u00f6re,24 <\/span>tarihin en eski zamanlar\u0131ndan\u00a0bu yana, insan\u0131 d\u0131\u015f kuvvetlerden koruyacak bir\u00a0bar\u0131nak olarak g\u00f6ru\u0308len mimari mek\u00e2n\u0131n en \u00f6nemli i\u015flevlerinden\u00a0birisi, insan varl\u0131\u011f\u0131n\u0131 zaman\u0131n ter\u00f6ru\u0308nden\u00a0korumakt\u0131r. Zaman\u0131n ter\u00f6ru\u0308nden korunmu\u015f olma, k\u0131r\u0131lganl\u0131k\u00a0ve \u00f6lu\u0308mlu\u0308lu\u0308k gibi hislerden kurtulmak anlam\u0131na\u00a0gelmektedir.<\/p>\n

Aura, \u00f6zneye zaman duygusunu, mek\u00e2ndaki insan\u00a0varl\u0131\u011f\u0131n\u0131n kan\u0131tlar\u0131n\u0131 ve kal\u0131c\u0131l\u0131k kavram\u0131n\u0131 iletmektedir.\u00a0\u0130nsan varl\u0131\u011f\u0131n\u0131n ileri nesillere iletilebilecek izler b\u0131rakabilmi\u015f\u00a0olmas\u0131n\u0131n bilincinde olmak; mek\u00e2n\u0131n ge\u00e7mi\u015f\u00a0kullan\u0131mlara ili\u015fkin belle\u011fini, bu bellekte ya\u015fanm\u0131\u015fl\u0131klar\u0131\u00a0hissetmek, mek\u00e2n\u0131n kullan\u0131c\u0131ya bir di\u011fer dokunma\u00a0bi\u00e7imidir.<\/p>\n

Alan Durumu25<\/span><\/strong><\/p>\n

Temeli, fizikteki manyetik alana ya da elektrik alan\u0131na\u00a0dayand\u0131r\u0131lan \u201calan durumu\u201d, herhangi bir etkiyle\u00a0de\u011fi\u015febilen bu\u0308tu\u0308nu\u0308 tarif etmek i\u00e7in kullan\u0131lmaktad\u0131r.\u00a0Stan Allen alan durumunu, \u201cfarkl\u0131 par\u00e7alar\u0131 par\u00e7alar\u0131n\u00a0\u00f6zgu\u0308nlu\u0308kleri kaybolmadan bir araya getirmeye olanak\u00a0veren bi\u00e7imsel ya da mek\u00e2nsal matris\u201d olarak tan\u0131mlamaktad\u0131r.26<\/p>\n

Alan durumu, zihnin daima en basit, en dengeli ve\u00a0en bu\u0308tu\u0308ncu\u0308l g\u00f6rsel yap\u0131lanmay\u0131 alg\u0131lama e\u011filiminde\u00a0olmad\u0131\u011f\u0131n\u0131; de\u011fi\u015fken ve par\u00e7al\u0131 bu\u0308tu\u0308nleri de alg\u0131layabildi\u011fini\u00a0\u00f6ng\u00f6rmektedir. Bu \u00f6ng\u00f6ru\u0308, sabit \u015fekil zemin\u00a0ili\u015fkisini ve bu ili\u015fkinin g\u00f6rsel alg\u0131ya yu\u0308kledi\u011fi derin anlam\u0131\u00a0sarsmaktad\u0131r. Alan durumuyla, bedensel konum,\u00a0bu\u0308tu\u0308nu\u0308n alg\u0131s\u0131n\u0131 tamamen de\u011fi\u015ftiren bir etken, yani\u00a0onun uzant\u0131s\u0131\/belirleyicisi haline gelmektedir.<\/p>\n

Mimari bi\u00e7imleni\u015fte, yap\u0131lar\u0131n cephelerinde, plan\u00a0\u015femalar\u0131nda ya da kentsel \u00f6l\u00e7ekte alan durumu; par\u00e7alar\u0131n\u00a0\u00f6zellikleri kaybolmadan aralar\u0131ndaki ili\u015fkinin\u00a0alg\u0131land\u0131\u011f\u0131 bir mek\u00e2n ya da yu\u0308zeyi betimlemektedir.\u00a0Bu olgu, ge\u00e7icilik ilkesinin mimariye eklemlenmesine\u00a0olanak tan\u0131maktad\u0131r. Ge\u00e7icilik, bir sistem olarak de\u011fil,\u00a0konum ve zamana g\u00f6re olu\u015fan \u00f6nceden g\u00f6ru\u0308lemeyen\u00a0de\u011fi\u015fime cevap veren ani geli\u015fme olarak ortaya \u00e7\u0131kmaktad\u0131r.\u00a027<\/p>\n

Yani alan durumu, mek\u00e2n\u0131n her noktas\u0131nda oraya ve\u00a0o ana \u00f6zel bir bu\u0308tu\u0308n alg\u0131s\u0131n\u0131n olu\u015fmas\u0131n\u0131 sa\u011flamaktad\u0131r.\u00a0Bu sayede belli bir yerde belli bir zamanda alg\u0131lanan\u00a0bu\u0308tu\u0308n, yer ya da zamandaki de\u011fi\u015fiklikle yeniden u\u0308retilmekte\u00a0ve deneyimlenen ayn\u0131 olmamaktad\u0131r.<\/p>\n

Zay\u0131f Bi\u00e7im28<\/span><\/strong><\/p>\n

Mimarinin anlam\u0131, ba\u015fka bir \u015feyi temsil etmesinde\u00a0de\u011fil; kendi karakterinde ve bu karakterin \u00f6zneyle kurdu\u011fu\u00a0alg\u0131sal ili\u015fkidedir. Mimari, \u00f6zne taraf\u0131ndan nas\u0131l\u00a0alg\u0131land\u0131\u011f\u0131, nas\u0131l du\u0308\u015flendi\u011fi ve nas\u0131l deneyimlendi\u011fi il \u00a0anlam kazanmaktad\u0131r. Mimarinin ya\u015famla kurdu\u011fu \u00f6zel\u00a0ili\u015fki, onun ya\u015fam\u0131 sarmalayan yap\u0131s\u0131ndan kaynaklanmaktad\u0131r.\u00a0Kendisi ile bar\u0131\u015f\u0131k mimari, d\u0131\u015far\u0131ya herhangi\u00a0bir mesaj verme kayg\u0131s\u0131 ta\u015f\u0131madan sadece hissedilmek\u00a0i\u00e7in oradad\u0131r.29<\/span><\/p>\n

Rasyonel ba\u011flar\u0131n gev\u015fetilip kullan\u0131c\u0131n\u0131n yorumuna\u00a0ve hislerine g\u00f6re anlam kazanan bi\u00e7im, Ignasi de Sol\u00e0-\u00a0Morales30 <\/span>ve Peter Eisenman31 <\/span>taraf\u0131ndan, \u201czay\u0131f bi\u00e7im\u201d\u00a0olarak tan\u0131mlanm\u0131\u015ft\u0131r. Zay\u0131f olmak, tasar\u0131m ba\u011flam\u0131nda\u00a0yetersiz olmak de\u011fil; Modern Mimarinin \u00f6ng\u00f6rdu\u0308\u011fu\u0308 bi\u00e7im-\u00a0i\u015flev ili\u015fkisinde, i\u015flevin bi\u00e7imin tan\u0131mlay\u0131c\u0131s\u0131 olmas\u0131\u00a0zorunlulu\u011funu ta\u015f\u0131mamas\u0131d\u0131r.<\/p>\n

\u0130\u015flev ve anlam, anlam ve stru\u0308ktu\u0308r, anlam ve bi\u00e7im\u00a0aras\u0131nda birebir kar\u015f\u0131l\u0131kl\u0131l\u0131k s\u00f6z konusu olmad\u0131\u011f\u0131ndan;\u00a0zay\u0131f bi\u00e7imler, i\u015flevi g\u00f6steren ara\u00e7lar de\u011fil, t\u00f6zlerdir.32\u00a0<\/span>Yani kendili\u011finden ve kendileri i\u00e7in var olurlar. Bu sayede\u00a0mimari bi\u00e7im, neyi temsil etti\u011fiyle de\u011fil, ne oldu\u011fuyla\u00a0ele al\u0131nmaktad\u0131r. Mimari, sadece tan\u0131mlay\u0131c\u0131\u00a0kurallara ba\u011fl\u0131 kalmayarak; \u00f6znenin kendi yorumunu\u00a0olu\u015fturmas\u0131na da izin vermektedir.<\/p>\n

\"Ekran
\u015eekil 1. Peter Zumthor\u2019un yap\u0131lar\u0131n\u0131n deneyimlenmesi sonucu olu\u015fturulan bir tasar\u0131m su\u0308reci \u015femas\u0131<\/figcaption><\/figure>\n

Katlanma33<\/span><\/strong><\/p>\n

Katlanma olgusu, alg\u0131sal anlamda olduk\u00e7a net farz\u00a0edilen s\u0131n\u0131rlar\u0131n bulan\u0131kla\u015f\u0131p, u\u0308st u\u0308ste \u00e7ak\u0131\u015fmas\u0131 ve\u00a0bu ani de\u011fi\u015fimin alg\u0131layanda yaratt\u0131\u011f\u0131 duygulan\u0131md\u0131r.\u00a0Katlanmayla, birbiriyle kar\u015f\u0131tl\u0131k olu\u015fturmas\u0131 beklenen\u00a0iki olgunun veya durumun aras\u0131nda kalan,34 <\/span>ya da bu\u00a0iki olgunun\/durumun u\u0308st u\u0308ste \u00e7ak\u0131\u015ft\u0131\u011f\u0131 noktalarda yer\u00a0alan yeni olgular\/durumlar olu\u015fmaktad\u0131r. Bu \u00e7ak\u0131\u015fmalar\/\u00a0katlanmalar, mek\u00e2nsal organizasyonu betimlemek\u00a0amac\u0131yla ortaya konmu\u015f kat\u0131 i\u00e7-d\u0131\u015f, \u015fekil-zemin, i\u015flevbi\u00e7im,\u00a0i\u00e7erme-i\u00e7erilme ili\u015fkisini sorgulamaktad\u0131r.<\/p>\n

Peter Zumthor\u2019un Mimari Uygulamalar\u0131nda\u00a0Dokunsal Haritalama \u00dczerine Bir Alan\u00a0\u00c7al\u0131\u015fmas\u0131<\/span><\/p>\n

Mimari mek\u00e2n\u0131n kavran\u0131\u015f\u0131nda g\u00f6zmerkezcili\u011fi sorgulayan\u00a0dokunma olgusunun mimari uygulamalarda\u00a0nas\u0131l temsil edilebilece\u011fini ara\u015ft\u0131rmak i\u00e7in, mimar Peter\u00a0Zumthor\u2019un tasar\u0131mlar\u0131n\u0131 kapsayan bir alan \u00e7al\u0131\u015fmas\u0131\u00a0ger\u00e7ekle\u015ftirilmi\u015f ve bulgular, dokunsal haritalama\u00a0\u00e7al\u0131\u015fmalar\u0131yla ifade edilmi\u015ftir.<\/p>\n

Peter Zumthor, kendi tasar\u0131m su\u0308recinde odakland\u0131\u011f\u0131\u00a0\u201catmosfer\u201d kavram\u0131n\u0131, kendi ya\u015fam\u0131\u015f oldu\u011fu bir meydan\u00a0deneyimi u\u0308zerinden tan\u0131mlarken, meydanda alg\u0131lad\u0131klar\u0131\u00a0ve bu alg\u0131 sonucu kendisinde olu\u015fan duygusal\u00a0hareketlilikten yola \u00e7\u0131karak; mek\u00e2n\u0131n atmosferi olarak\u00a0tan\u0131mlad\u0131\u011f\u0131 olgunun \u00f6zne u\u0308zerinde \u00e7ok \u00f6nemli bir etkisi\u00a0oldu\u011fundan bahsetmektedir.35 <\/span>Hatta Zumthor, mimari\u00a0tasar\u0131mda her \u015feyden \u00f6nemli olan\u0131n, mek\u00e2n\u0131n kullan\u0131c\u0131da\u00a0meydana getirdi\u011fi duygu yo\u011funlu\u011fu, mek\u00e2n\u0131n atmosferi\u00a0ve mek\u00e2n\u0131n \u00f6znenin zihnindeki imaj\u0131 oldu\u011funu\u00a0belirtmektedir.36<\/span><\/p>\n

\"Ekran
\u015eekil 2. Alan \u00e7al\u0131\u015fmas\u0131nda deneyimlenen yap\u0131lar.<\/figcaption><\/figure>\n

Tasar\u0131ma an\u0131lar\u0131ndan yola \u00e7\u0131karak kafas\u0131nda hayal\u00a0etti\u011fi bir imajla ba\u015flad\u0131\u011f\u0131n\u013137 <\/span>dile getiren mimar\u0131n, yap\u0131\u00a0ve kullan\u0131c\u0131lar aras\u0131ndaki ili\u015fkileri, duyusal prensiplere\u00a0ve farkl\u0131 karakterdeki malzemelerin insan bedeninde\u00a0olu\u015fturdu\u011fu etkiye dayanarak \u015fekillendirdi\u011fi saptanm\u0131\u015ft\u0131r\u00a0(\u015eekil 1).<\/p>\n

\u00a0Alan \u00e7al\u0131\u015fmas\u0131n\u0131n ilk a\u015famas\u0131n\u0131 olu\u015fturan anlama ve\u00a0yorumlama deneyimi i\u00e7in; Almanya\u2019n\u0131n K\u00f6ln kentinde\u00a0bulunan Kolumba Mu\u0308zesi, Avusturya Bregenz\u2019te yer\u00a0alan Bregenz Sanat Mu\u0308zesi, \u0130svi\u00e7re\u2019nin Sumvitg kasabas\u0131nda\u00a0bulunan St. Benedict \u015eapeli, \u0130svi\u00e7re\u2019nin Chur\u00a0kentindeki Roma kal\u0131nt\u0131lar\u0131 i\u00e7in tasarlanan korunak ve\u00a0son olarak \u0130svi\u00e7re Vals\u2019te in\u015fa edilmi\u015f olan Therme Vals\u00a0(\u015eekil 2), 2013 y\u0131l\u0131n\u0131n \u015eubat ve A\u011fustos ay\u0131 i\u00e7inde ziyaret\u00a0edilmi\u015ftir.<\/p>\n

Alan \u00e7al\u0131\u015fmas\u0131 su\u0308recinde, yap\u0131lar\u0131n teknik \u00e7\u00f6zu\u0308mlemelerine,\u00a0i\u015flevsel \u00f6zelliklerine, say\u0131sal bu\u0308yu\u0308klu\u0308klere\u00a0de\u011fil; mimari mek\u00e2n- \u00f6zne aras\u0131ndaki etkile\u015fime odaklanm\u0131\u015ft\u0131r.\u00a0Mek\u00e2nda nelerin alg\u0131land\u0131\u011f\u0131 ve bunlara bedenin\u00a0ve zihnin verdi\u011fi tepkiler u\u0308zerinde duruldu\u011fundan,\u00a0mek\u00e2n\u0131 Kartezyen bi\u00e7imde \u00f6l\u00e7meye yarayan hi\u00e7bir teknik\u00a0cihaz kullan\u0131lmam\u0131\u015f; \u00f6l\u00e7u\u0308mler, alg\u0131lama, bedensel\u00a0\u00f6l\u00e7eklendirme ve yorumlamayla elde edilmi\u015ftir.<\/p>\n

Bu noktada, dokunsal haritalama \u00e7al\u0131\u015fmas\u0131n\u0131n \u00f6zneler-\u00a0aras\u0131 nesnelli\u011fine dikkat \u00e7ekmek gerekmektedir.\u00a0Mek\u00e2ndaki dokunma olgusu, bedene ve zamana \u00f6zeldir.\u00a0Bu \u00f6zgu\u0308nlu\u0308k, dokunsal haritalar\u0131n da zamana ve bedene\u00a0g\u00f6re de\u011fi\u015fken olabilece\u011fi anlam\u0131na gelmektedir.\u00a0Ayn\u0131 yap\u0131n\u0131n, farkl\u0131 bir zamanda, farkl\u0131 bir beden ve zihinle\u00a0deneyimlenmesi durumunda, niceliksel ve hatta\u00a0niteliksel olarak daha farkl\u0131 dokunsal haritalar\u0131n\u0131n olu\u015fmas\u0131\u00a0muhtemeldir. Dolay\u0131s\u0131yla, dokunsal haritalamada\u00a0tek ve kat\u0131 bir ger\u00e7eklikten s\u00f6z etmek olanaks\u0131zd\u0131r.\u00a0Aktar\u0131lan deneyimler ve sunulan dokunsal haritalama\u00a0\u00f6rnekleri, alan \u00e7al\u0131\u015fmas\u0131n\u0131n ger\u00e7ekle\u015fti\u011fi zamanda mimari\u00a0mek\u00e2nla ara\u015ft\u0131rmac\u0131n\u0131n (\u015fahs\u0131m\u0131n) kurdu\u011fu etkile\u015fimi\u00a0ifade etmektedir.<\/p>\n

Dokunsal Haritalama Y\u00f6ntemi \u00dczerine<\/span><\/p>\n

Mimari anlat\u0131m teknikleriyle temsilindeki gu\u0308\u00e7lu\u0308klere\u00a0de\u011finilen dokunma olgusunun grafik y\u00f6ntemlerle ifadesi\u00a0olan dokunsal haritalama, u\u0308\u00e7 analizden olu\u015fmaktad\u0131r:<\/p>\n

\u0130lk analiz olan \u201cdokunsal da\u011f\u0131l\u0131m \u015femas\u0131nda\u201d mimarl\u0131kta\u00a0dokunma olgusunu tan\u0131mlayan tasar\u0131m kavramlar\u0131n\u0131n,\u00a0incelenen yap\u0131da saptan\u0131p saptanmad\u0131\u011f\u0131\u00a0g\u00f6sterilmektedir. Dokunsal da\u011f\u0131l\u0131m \u015femas\u0131, s\u00f6z konusu\u00a0dokunsal haritalama su\u0308recinde, Zumthor yap\u0131lar\u0131ndaki38\u00a0<\/span>dokunsal \u00f6zellikleri g\u00f6steren bir eskiz niteli\u011fi ta\u015f\u0131maktad\u0131r.<\/p>\n

\u0130kinci analiz olan \u201cmalzeme-etki tablosu\u201d yap\u0131 i\u00e7indeki\u00a0malzemelerin bedende yaratt\u0131\u011f\u0131 etkiyi ortaya koymaktad\u0131r.\u00a0Mek\u00e2nda alg\u0131lanan tu\u0308m malzemelerin (tavanda, zeminde, duvarlarda ya da hacim i\u00e7inde \u00e7e\u015fitli\u00a0elemanlarda kullan\u0131lan malzemelerin) kendi maddesel\u00a0\u00f6zu\u0308nu\u0308n ya da tasar\u0131mdaki kullan\u0131m \u015feklinin \u00f6znede\u00a0nas\u0131l bir etki olu\u015fturdu\u011fu, bu analiz ile ifade edilmi\u015ftir.\u00a0Bu etki, birbirine z\u0131t 10 kavram \u00e7iftiyle betimlenmi\u015ftir\u00a0(Tablo 1).<\/p>\n

Malzeme-etki tablolar\u0131nda, d\u0131\u015f cephede kullan\u0131lan\u00a0malzemeler, i\u00e7 mek\u00e2nda kullan\u0131lan malzemelerden\u00a0farkl\u0131 bir renkle ifade edilmi\u015ftir. Bu sayede, yap\u0131n\u0131n\u00a0i\u00e7inde ve d\u0131\u015f\u0131nda duyumsanan etki aras\u0131ndaki farklar\u00a0da diyagramda okunur hale getirilmi\u015ftir.<\/p>\n

Son analiz olan \u201cduyum analizinde\u201d, bedensel\u00a0duyumlar ve aralar\u0131ndaki yo\u011funluk fark\u0131 diyagramla\u015ft\u0131r\u0131lm\u0131\u015ft\u0131r.\u00a0Diyagramlar\u0131n kurgulan\u0131\u015f\u0131nda, Kelum\u00a0Palipane\u2019nin filmlerde mek\u00e2n, zaman, hareket ve mu\u0308zik\u00a0aras\u0131ndaki ili\u015fkiden yola \u00e7\u0131karak olu\u015fturdu\u011fu ve\u00a0kentsel \u00f6l\u00e7ekte deneyimlenen mek\u00e2nda zaman ve duyum\u00a0aras\u0131ndaki ili\u015fkiyi g\u00f6rselle\u015ftiren haritalama tekni\u011finden39\u00a0<\/span>faydalan\u0131lm\u0131\u015f ve alan \u00e7al\u0131\u015fmas\u0131nda tespit edilen\u00a0bedensel duyuma ili\u015fkin verilerin ortaya kondu\u011fu\u00a0duyum analizi olu\u015fturulmu\u015ftur.<\/p>\n

Her yap\u0131n\u0131n farkl\u0131 b\u00f6lgelerinde alg\u0131lanan duyumlar,\u00a0su\u0308reklili\u011fi olan e\u011frilerle ifade edilerek, zamansal ve\u00a0mek\u00e2nsal bir su\u0308reklilik i\u00e7inde ele al\u0131nm\u0131\u015ft\u0131r. Bu \u015fekilde\u00a0mimari i\u00e7inde hissedilen bedensel etkilenme ortaya \u00e7\u0131kar\u0131lm\u0131\u015ft\u0131r.<\/p>\n

Grafik anlat\u0131m\u0131n ba\u015f\u0131nda, her bir diyagram\u0131n nas\u0131l\u00a0okunaca\u011f\u0131n\u0131 anlatan bir a\u00e7\u0131klama b\u00f6lu\u0308mu\u0308 bulunmaktad\u0131r.\u00a0Bu lejand (\u015eekil 3), duyumu temsil eden e\u011frilerin,\u00a0birbirlerine g\u00f6re nas\u0131l farkl\u0131la\u015ft\u0131\u011f\u0131n\u0131 g\u00f6stermektedir.<\/p>\n

\"Ekran<\/p>\n

Lejanddan da anla\u015f\u0131laca\u011f\u0131 gibi, yatay eksende, e\u011frilerin\u00a0ba\u015flang\u0131\u00e7 noktas\u0131, duyumun ba\u015flad\u0131\u011f\u0131 an\u0131, biti\u015f noktas\u0131\u00a0da duyumun kesildi\u011fi an\u0131 g\u00f6stermektedir. Mek\u00e2n\u00a0i\u00e7inde bir duyum tu\u0308m hacimlerde devam edebilece\u011fi\u00a0gibi, bir anda ba\u015flay\u0131p sonlanabilmektedir. Bu durumda\u00a0e\u011frilerin dalga boylar\u0131 birbirinden farkl\u0131 olmaktad\u0131r.<\/p>\n

Yine yatay eksende, mek\u00e2n\u0131n deneyimlenme su\u0308recinde\u00a0\u00f6zne ve duyum aras\u0131ndaki etkile\u015fim \u00f6l\u00e7eklendirilirken;\u00a0her bir hacmin deneyimlenme su\u0308resi, diyagramlarda\u00a0farkl\u0131 zaman aral\u0131klar\u0131yla ifade edilmi\u015ftir. \u00d6rne\u011fin\u00a0bir hacimde ge\u00e7irilen on dakika, o hacimde alg\u0131lanan\u00a0duyumlar\u0131n g\u00f6sterildi\u011fi aral\u0131kta zaman\u0131n on e\u015fit par\u00e7aya\u00a0b\u00f6lu\u0308nmesiyle; ba\u015fka bir hacimde ge\u00e7irilen otuz\u00a0dakika, zaman\u0131n otuz e\u015fit par\u00e7aya b\u00f6lu\u0308nmesiyle temsil\u00a0edilmi\u015ftir. Bu sayede, deneyim alan\u0131n\u0131 temsil eden\u00a0b\u00f6lgedeki zaman aral\u0131klar\u0131na bak\u0131larak; bedensel duyumun\u00a0su\u0308resi de anla\u015f\u0131labilmektedir.<\/p>\n

Dikey eksende g\u00f6sterilen \u00f6l\u00e7eklendirme, \u015fiddet ve\u00a0(yatay ve dikey hareketi g\u00f6steren e\u011friler i\u00e7in) h\u0131zd\u0131r.\u00a0Mek\u00e2nda hissedilen i\u015fitsel, kokusal, dokusal, \u0131s\u0131sal, tatsal,\u00a0kassal ve g\u00f6rsel duyum, alt\u0131 adet \u015fiddet derecesiyle\u00a0kademelendirilmi\u015ftir. \u00d6l\u00e7ekte, alt\u0131, \u00e7ok \u015fiddetli; bir, az\u00a0\u015fiddetli duyumu yans\u0131tmaktad\u0131r. Farkl\u0131 \u015fiddetlerdeki\u00a0duyumu temsil eden e\u011frilerin genlikleri de birbirlerinden\u00a0farkl\u0131la\u015fmaktad\u0131r.<\/p>\n

Kolumba Mu\u0308zesi, K\u00f6ln, Peter Zumthor, 2007<\/span><\/p>\n

Almanya\u2019n\u0131n K\u00f6ln \u015fehir merkezinde, ge\u00e7mi\u015fte bombalanarak\u00a0y\u0131k\u0131lan St. Kolumba ve B\u00f6hm \u015eapeli\u2019nin kal\u0131nt\u0131lar\u0131n\u0131n\u00a0bulundu\u011fu alana, tarihi miras\u0131 koruyup de\u011ferlendirmek\u00a0amac\u0131yla yeni bir mu\u0308ze tasarlanmas\u0131na\u00a0karar verilmi\u015f ve 1997 y\u0131l\u0131nda a\u00e7\u0131lan yar\u0131\u015fmay\u0131 Peter\u00a0Zumthor kazanm\u0131\u015ft\u0131r. Mu\u0308zenin en can al\u0131c\u0131 noktalar\u0131,\u00a0yeni tasar\u0131m\u0131n St. Kolumba\u2019dan kalan\u00a0gotik duvarlar u\u0308zerine konumland\u0131r\u0131lmas\u0131yla\u00a0\u00f6zellikle cephede, tarihi-yeni\u00a0dengesinin yakalanmas\u0131 ve zemin kattaki\u00a0sergi alan\u0131nda tu\u011fla cephenin adeta\u00a0bir zar gibi, hava-\u0131\u015f\u0131k ve sesleri d\u0131\u015far\u0131dan\u00a0i\u00e7eri ge\u00e7irmesidir.<\/p>\n

\"Ekran
\u015eekil 3. Duyum analizlerinin okunmas\u0131 i\u00e7in haz\u0131rlanan lejand.<\/figcaption><\/figure>\n

Kolumba Mu\u0308zesi\u2019nin dokunsal da\u011f\u0131l\u0131m\u00a0\u015femas\u0131ndan (Diyagram 1) malzemeyle\u00a0kurulan ili\u015fkilerin, bedensel duyumun\u00a0ve auran\u0131n a\u011f\u0131rl\u0131kta oldu\u011fu okunmaktad\u0131r.\u00a0Eski kilisenin kal\u0131nt\u0131lar\u0131n\u0131n bulundu\u011fu\u00a0sergi salonu, mu\u0308zenin di\u011fer b\u00f6lu\u0308mlerinden\u00a0net bi\u00e7imde ayr\u0131lmaktad\u0131r. \u0130\u00e7- d\u0131\u015f\u00a0aras\u0131ndaki s\u0131n\u0131rlar\u0131n bulan\u0131kla\u015ft\u0131\u011f\u0131 bu\u00a0mek\u00e2nda, zaman\u0131n izleri olduk\u00e7a bask\u0131nd\u0131r.\u00a0Salonu \u00e7apraz ge\u00e7en ah\u015fap yaya\u00a0yolu, so\u011fuk salonda malzemesi sebebiyle\u00a0s\u0131cakl\u0131k hissi veren bir \u00f6gedir. \u00dcst katlarda,\u00a0sergi salonlar\u0131nda olay kavram\u0131ndan\u00a0bahsetmek olanakl\u0131d\u0131r. Sergilenen\u00a0eserler ve bu eserlerin mecbur k\u0131ld\u0131\u011f\u0131\u00a0hareket, mek\u00e2nlar\u0131n farkl\u0131 deneyimlenmesine\u00a0olanak vermektedir.<\/p>\n

\"Ekran
Diyagram 1. Kolumba Mu\u0308zesi dokunsal da\u011f\u0131l\u0131m \u015femas\u0131.<\/figcaption><\/figure>\n

Kolumba Mu\u0308zesi\u2019nin malzeme- etki\u00a0tablosu incelendi\u011finde (Diyagram 2);\u00a0ziyaret\u00e7ilerin en yo\u011fun olarak temas etti\u011fi\u00a0malzemelerin tu\u011fla, beton, ta\u015f, deri,\u00a0ah\u015fap, saten ve kil s\u0131va oldu\u011fu g\u00f6ru\u0308lmektedir.\u00a0Mu\u0308ze, d\u0131\u015far\u0131dan bak\u0131ld\u0131\u011f\u0131nda\u00a0tu\u011fla ile \u00f6zde\u015fle\u015fmektedir. Malzeme-etki\u00a0tablosundan tu\u011flan\u0131n s\u0131cakl\u0131\u011f\u0131n\u0131n, yumu\u015fakl\u0131\u011f\u0131n\u0131n,\u00a0matl\u0131\u011f\u0131n\u0131n, hafifli\u011finin ve\u00a0k\u0131r\u0131lganl\u0131\u011f\u0131n\u0131n yap\u0131n\u0131n d\u0131\u015f cephesine de\u00a0yans\u0131d\u0131\u011f\u0131 anla\u015f\u0131lmaktad\u0131r. \u0130\u00e7 mek\u00e2nda bu\u00a0etki k\u0131smen devam etmekte birlikte, zeminde\u00a0kullan\u0131lan ta\u015f\u0131n yarat\u0131\u011f\u0131 so\u011fuk ve\u00a0sert etki ile bask\u0131nl\u0131\u011f\u0131 azalt\u0131lm\u0131\u015ft\u0131r. Malzeme-\u00a0etki tablosundan okunabilen bir\u00a0di\u011fer \u00f6nemli nokta, s\u0131cak-so\u011fuk, karanl\u0131k-\u00a0ayd\u0131nl\u0131k (a\u00e7\u0131k-koyu) ve sert- yumu\u015fak\u00a0kar\u015f\u0131tl\u0131\u011f\u0131yla kurulan dengedir.<\/p>\n

\"Ekran
Diyagram 2. Kolumba Mu\u0308zesi malzeme-etki tablosu.<\/figcaption><\/figure>\n

Kolumba Mu\u0308zesi\u2019nin bedensel duyum\u00a0analizleri (Diyagram 3a, b), birbirinden\u00a0farkl\u0131 duyumlar\u0131n mek\u00e2na ve zamana\u00a0g\u00f6re de\u011fi\u015fimini g\u00f6stermektedir. Mu\u0308zenin\u00a0farkl\u0131 katlarda bulunan sergi salonlar\u0131nda\u00a0g\u00f6rme d\u0131\u015f\u0131nda, i\u015fitme, dokunma\u00a0ve kas ba\u015fta olmak u\u0308zere farkl\u0131 duyusal\u00a0uyaranlara yer verilmi\u015ftir. Zemin katta\u00a0bulunan sergi salonlar\u0131 ve iki avlu birden\u00a0fazla uyaran\u0131n en yo\u011fun olarak hissedil\u00a0<\/span>di\u011fi mek\u00e2nlard\u0131r (Diyagram 3a). Bunun yan\u0131nda mu\u0308zede,\u00a0baz\u0131 duyular\u0131n bilin\u00e7li olarak bast\u0131r\u0131ld\u0131\u011f\u0131 \u00f6zel sergi\u00a0b\u00f6lu\u0308mleri bulunmaktad\u0131r. Birinci katta bulunan karanl\u0131k\u00a0odada (Diyagram 3a) g\u00f6rme duyusu zay\u0131flat\u0131larak\u00a0dokunma duyusu \u00f6ne \u00e7\u0131kar\u0131lm\u0131\u015ft\u0131r. \u0130kinci katta kulele\u015fen\u00a0sergi mek\u00e2nlar\u0131nda ise (Diyagram 3b) bo\u015flu\u011fa e\u015flik\u00a0eden sessizlik; ziyaret\u00e7ileri kendi du\u0308\u015fu\u0308nceleriyle ba\u015f\u00a0ba\u015fa b\u0131rakmaktad\u0131r.<\/p>\n

\"Ekran<\/a>
Diyagram 3. Kolumba Mu\u0308zesi duyum analizi (a) k\u0131s\u0131m 1 (b) k\u0131s\u0131m 2.<\/figcaption><\/figure>\n

Bregenz Sanat Mu\u0308zesi, Bregenz,\u00a0<\/span>Peter Zumthor, 1997<\/span><\/p>\n

Avusturya\u2019n\u0131n en bat\u0131s\u0131nda, Bodensee k\u0131y\u0131s\u0131nda yer\u00a0alan Bregenz kentinde ana tren istasyonundan g\u00f6l boyunca\u00a0giden ana cadde u\u0308zerinde konumlanm\u0131\u015f Bregenz\u00a0Sanat Mu\u0308zesi, Bodensee\u2019nin su ye\u015fili renginde, yar\u0131\u00a0saydam dikd\u00f6rtgen cam panellerden ve aralar\u0131ndan\u00a0d\u0131\u015far\u0131 f\u0131rlayan \u00e7elik ta\u015f\u0131y\u0131c\u0131lardan olu\u015fan giydirme cephesiyle,\u00a0dev \u015feffaf bir ku\u0308pu\u0308 and\u0131rmaktad\u0131r. Mu\u0308zenin en\u00a0can al\u0131c\u0131 noktas\u0131, bo\u015fluk ve hareket kavramlar\u0131n\u0131 eserlerin\u00a0ve mek\u00e2n\u0131n alg\u0131lanmas\u0131na d\u00e2hil etmesidir.<\/p>\n

Bregenz Sanat Mu\u0308zesi\u2019nin dokunsal da\u011f\u0131l\u0131m \u015femas\u0131nda\u00a0(Diyagram 4) olay, duyum, malzemeyle kurulan\u00a0ili\u015fkinin haricinde \u00f6ne \u00e7\u0131kan ve di\u011fer yap\u0131lardan farkl\u0131la\u015fmas\u0131n\u0131\u00a0sa\u011flayan kavram, alan durumudur. \u00d6zellikle\u00a0mu\u0308zenin cephesinde ve birinci kattan itibaren asma\u00a0tavanda hissedilen alan durumu, her ne kadar g\u00f6rsel\u00a0alg\u0131 du\u0308zeyinde kalsa da tasar\u0131mda de\u011fi\u015fken bir bu\u0308tu\u0308n\u00a0olu\u015fturmas\u0131 sebebiyle \u00f6nemlidir. Bo\u015flu\u011fun bir tasar\u0131m\u00a0karar\u0131 olarak \u00f6ne \u00e7\u0131kt\u0131\u011f\u0131 sergi salonlar\u0131nda ise, bedensel\u00a0hareket hacmin deneyim su\u0308recinde etkili bir ara\u00e7t\u0131r.<\/p>\n

\"Ekran
Diyagram 4. Bregenz Sanat Mu\u0308zesi dokunsal da\u011f\u0131l\u0131m \u015femas\u0131.<\/figcaption><\/figure>\n

\u00a0Bregenz Sanat Mu\u0308zesi\u2019nin malzeme-etki tablosu\u00a0(Diyagram 5) incelendi\u011finde, sert ve pu\u0308ru\u0308zsu\u0308zlu\u0308k kavramlar\u0131n\u0131n\u00a0bask\u0131n oldu\u011fu g\u00f6ze \u00e7arpmaktad\u0131r. Ziyaret\u00e7ilere\u00a0yans\u0131yan bu etki, d\u0131\u015f cephede kullan\u0131lan buzlu\u00a0cam\u0131n maddesel \u00f6zu\u0308nden kaynaklanmaktad\u0131r. Camla\u00a0\u00f6zde\u015fle\u015fen d\u0131\u015f cephe, mu\u0308zenin k\u0131y\u0131s\u0131nda yer ald\u0131\u011f\u0131\u00a0Bodensee\u2019nin suyunun \u015feffaf, pu\u0308ru\u0308zsu\u0308z ve so\u011fuk yap\u0131s\u0131na\u00a0g\u00f6nderme yapmaktad\u0131r. Mu\u0308zenin i\u00e7inde ise yu\u0308zeylerde\u00a0kullan\u0131lm\u0131\u015f olan beton ve ta\u015f nedeniyle, \u015feffafl\u0131k\u00a0yerini opakl\u0131\u011fa b\u0131rak\u0131rken; so\u011fuk, sert, a\u00e7\u0131k ve pu\u0308ru\u0308zsu\u0308z\u00a0karakter devam etmektedir. Cam\u0131n \u015feffafl\u0131\u011f\u0131 ve betonun\u00a0opakl\u0131\u011f\u0131, a\u00e7\u0131kl\u0131k-koyuluk ve doluluk- bo\u015fluk kar\u015f\u0131tl\u0131klar\u0131yla\u00a0<\/span>yakalanan denge, mu\u0308zenin malzeme-etki tablosundan\u00a0<\/span>okunmaktad\u0131r.<\/span><\/p>\n

\"Ekran
Diyagram 5. Bregenz Sanat Mu\u0308zesi malzeme-etki tablosu<\/figcaption><\/figure>\n

Bregenz Sanat Mu\u0308zesi\u2019nin bedensel duyum analizinden\u00a0(Diyagram 6) mu\u0308zede g\u00f6rsel, i\u015fitsel, dokusal\u00a0ve kassal uyaranlar\u0131n a\u011f\u0131rl\u0131kta oldu\u011fu anla\u015f\u0131lmaktad\u0131r.\u00a0\u00d6zellikle sergi salonlar\u0131nda bedensel hareketin bask\u0131nl\u0131\u011f\u0131\u00a0fark edilmektedir. Yerlere konmu\u015f ta\u015flara e\u011filmek\u00a0ya da sergilenen tek bir nesnenin etraf\u0131nda dola\u015fmak\u00a0gibi eylemler, mek\u00e2ndaki bo\u015flu\u011fu ve eserlerin alg\u0131lanmas\u0131\u00a0i\u00e7in du\u0308\u015fu\u0308nu\u0308lmu\u0308\u015f bir tasar\u0131m \u00f6gesidir.<\/p>\n

\"Ekran
Diyagram 6. Bregenz Sanat Mu\u0308zesi duyum analizi.<\/figcaption><\/figure>\n

Saint Benedict \u015eapeli, Sumvitg,\u00a0<\/span>Peter Zumthor, 1989<\/span><\/p>\n

\u015eapel, \u0130svi\u00e7re\u2019nin Graubu\u0308nden B\u00f6lgesi\u2019nde, topografyan\u0131n\u00a0el verdi\u011fi \u015fekilde birbirlerinden kopuk\u00a0ku\u0308melenmi\u015f yerle\u015fmelerden biri olan Sumvitg\u2019in St.\u00a0Benedict isimli kasabas\u0131nda bulunmaktad\u0131r. Buraya\u00a0da\u011flar\u0131n u\u0308zerinde k\u0131vr\u0131larak yu\u0308kselen asfalt yolda olduk\u00e7a\u00a0zorlu yakla\u015f\u0131k bir saat su\u0308ren bir yu\u0308ru\u0308yu\u0308\u015fu\u0308n sonunda\u00a0ula\u015f\u0131lmaktad\u0131r. \u015eapelin en karakteristik \u00f6zelli\u011fi,\u00a0bulundu\u011fu do\u011faya, topografyaya, k\u00f6ye ve orada hissedilen\u00a0atmosferle yakalad\u0131\u011f\u0131 uyum ve i\u00e7 mek\u00e2ndaki\u00a0ah\u015fap kokusudur.<\/p>\n

Saint Benedict \u015eapeli\u2019nin dokunsal da\u011f\u0131l\u0131m \u015femas\u0131nda\u00a0(Diyagram 7) zay\u0131f bi\u00e7im (k\u0131r\u0131lganl\u0131k), bedensel\u00a0duyum ve malzemeyle kurulan ili\u015fki \u00f6n plana \u00e7\u0131kmaktad\u0131r.\u00a0K\u0131r\u0131lganl\u0131k hissi en \u015fiddetli \u015fekilde cephede\u00a0hissedilirken; i\u00e7 mek\u00e2nda a\u011fa\u00e7 kokusu ve ah\u015fap, \u00e7ok\u00a0yo\u011fun olarak duyumsanmaktad\u0131r. D\u0131\u015far\u0131da, bi\u00e7imin\u00a0\u00f6znede uyand\u0131rd\u0131\u011f\u0131 k\u0131r\u0131lganl\u0131k, i\u00e7 mek\u00e2nda malzemenin\u00a0bask\u0131nl\u0131\u011f\u0131 ile dengelenmi\u015ftir. Yap\u0131, Sumvitg i\u00e7inde\u00a0sanki ezelden beri bulunmakta olan ah\u015fap bir kulu\u0308beyi\u00a0and\u0131rmaktad\u0131r. Bu, onun zay\u0131f bi\u00e7iminden ve hem\u00a0d\u0131\u015f hem i\u00e7 mek\u00e2nda kullan\u0131lan malzemelerin yap\u0131n\u0131n \u00a0bulundu\u011fu yerdeki do\u011fan\u0131n bir par\u00e7as\u0131 gibi alg\u0131lanmas\u0131ndan\u00a0kaynaklanmaktad\u0131r.<\/p>\n

\"Ekran<\/a>
Diyagram 7. St. Benedict \u015eapeli\u2019nin dokunsal da\u011f\u0131l\u0131m \u015femas\u0131.<\/figcaption><\/figure>\n

Saint Benedict \u015eapeli, ah\u015fapla \u00f6zde\u015fle\u015fmi\u015ftir. \u015eapelin\u00a0malzeme-etki tablosu (Diyagram 8) incelendi\u011finde,\u00a0ah\u015fab\u0131n malzemeye \u00f6zgu\u0308 niteli\u011finden s\u0131cak, yal\u0131tkan,\u00a0sert, opak, ve k\u0131r\u0131lgan karakterin yap\u0131ya yans\u0131m\u0131\u015f oldu\u011fu\u00a0g\u00f6ru\u0308lmektedir. D\u0131\u015f cepheden farkl\u0131 olarak; i\u00e7\u00a0mek\u00e2nda, i\u015flenmi\u015f ah\u015fab\u0131n daha yumu\u015fak, a\u00e7\u0131k ve pu\u0308ru\u0308zsu\u0308z\u00a0bir etki yaratt\u0131\u011f\u0131 fark edilmektedir.\u00a0Saint Benedict \u015eapeli\u2019nin duyum analizinden (Diyagram9), \u00f6zellikle i\u00e7 mek\u00e2nda koku uyaran\u0131n\u0131n bask\u0131nl\u0131\u011f\u0131\u00a0okunmaktad\u0131r. G\u00f6rme ve i\u015fitme duyular\u0131n\u0131n zay\u0131flat\u0131larak\u00a0koku duyusuna yo\u011funla\u015f\u0131lmas\u0131yla elde edilen yal\u0131t\u0131lma\/\u00a0vakumlanma hissi, ki\u015finin sadece kendi du\u0308\u015fu\u0308ncelerine\/\u00a0inanc\u0131na odaklanmas\u0131n\u0131 sa\u011flamaktad\u0131r.<\/p>\n

\"Diyagram<\/a>
Diyagram 8. Saint Benedict \u015eapeli malzeme-etki tablosu.<\/figcaption><\/figure>\n

\"Ekran<\/p>\n

Chur Roma Kal\u0131nt\u0131lar\u0131 Koruna\u011f\u0131, Chur,\u00a0Peter Zumthor, 1986<\/span><\/p>\n

\u0130svi\u00e7re\u2019nin Chur kentinde Roma D\u00f6nemi\u2019ne ait kal\u0131nt\u0131lar\u0131n\u00a0korunmas\u0131 i\u00e7in tasarlanm\u0131\u015f olan yap\u0131, koyu\u00a0kahverengi iki adet tek katl\u0131 prizmadan ve onlar\u0131 ba\u011flayan\u00a0lineer bir akstan olu\u015fmaktad\u0131r. Ah\u015faptan kozalar\u0131\u00a0and\u0131ran koruna\u011f\u0131n cephesi, hafif e\u011fik ve aral\u0131kl\u0131 ah\u015fap\u00a0yatay elemanlarla olu\u015fturulmu\u015ftur. Bu aral\u0131klardan i\u00e7eri\u00a0giren hava ve \u0131\u015f\u0131k, d\u0131\u015far\u0131ya olduk\u00e7a kapal\u0131 gibi duran\u00a0ku\u0308tlenin asl\u0131nda d\u0131\u015f mek\u00e2nla ili\u015fki i\u00e7erisinde oldu\u011funu\u00a0g\u00f6stermektedir.<\/p>\n

Chur Roma kal\u0131nt\u0131lar\u0131 koruna\u011f\u0131n\u0131n dokunsal da\u011f\u0131l\u0131m\u00a0\u015femas\u0131nda (Diyagram 10) duyum, malzemeyle kurulan\u00a0ili\u015fki, aura ve katlanma olgular\u0131 \u00f6n plandad\u0131r. Kal\u0131nt\u0131lar\u0131n\u00a0sergilendi\u011fi salonlarda eski d\u00f6nemlerin yani zaman\u0131n\u00a0izleri bask\u0131nd\u0131r. Bu mek\u00e2nlar ayn\u0131 zamanda birbirinden\u00a0farkl\u0131 malzemelerle (ah\u015fap, \u00e7ak\u0131l ta\u015f\u0131, kuma\u015f)\u00a0bedensel ili\u015fki kurulup; \u00e7e\u015fitli duyumlar\u0131n (ru\u0308zg\u00e2r\u0131n\u00a0esintisi ve sesi, ad\u0131m sesi gibi) hissedildi\u011fi alanlard\u0131r.\u00a0Salonlar\u0131 dik kesen koridorda eski \u2013 yeni, i\u00e7-d\u0131\u015f aras\u0131ndaki\u00a0s\u0131n\u0131rlar bulan\u0131kla\u015ft\u0131\u011f\u0131ndan burada katlanma olgusundan\u00a0bahsetmek olanakl\u0131d\u0131r. Korunak, eski ah\u015fap bar\u0131naklar\u0131 an\u0131msatmaktad\u0131r. Auras\u0131, insanda o d\u00f6nemde\u00a0yap\u0131lm\u0131\u015f hissi uyand\u0131rmaktad\u0131r.<\/p>\n

\"Ekran
Diyagram 10. Chur Roma Kal\u0131nt\u0131lar\u0131 Koruna\u011f\u0131n\u0131n dokunsal da\u011f\u0131l\u0131m \u015femas\u0131.<\/figcaption><\/figure>\n

Yap\u0131n\u0131n malzeme-etki tablosu incelendi\u011finde; koyu,\u00a0sert, ge\u00e7irgen, opak, ve pu\u0308tu\u0308rlu\u0308 olma kavramlar\u0131n\u0131n\u00a0bask\u0131nl\u0131\u011f\u0131 fark edilmektedir. Korunak da t\u0131pk\u0131 Saint\u00a0Benedict \u015eapeli gibi ah\u015fapla \u00f6zde\u015fle\u015fmi\u015ftir; ancak \u015fapelden\u00a0farkl\u0131 olarak, yal\u0131tkan de\u011fil, ge\u00e7irgen bir yap\u0131da\u00a0oldu\u011fu (Diyagram 11) g\u00f6ru\u0308lmektedir. D\u0131\u015f cephenin ge\u00e7irgenli\u011fi\u00a0ve bi\u00e7imin i\u00e7e kapal\u0131l\u0131\u011f\u0131 olduk\u00e7a dengeli bir\u00a0kar\u015f\u0131tl\u0131k olu\u015fturmu\u015ftur. Bunun yan\u0131nda cephede kullan\u0131lan\u00a0ah\u015fab\u0131n uyand\u0131rd\u0131\u011f\u0131 sertlik ve sa\u011flaml\u0131k hissi, yap\u0131n\u0131n\u00a0\u201ckal\u0131nt\u0131lar i\u00e7in korunak olma\u201d i\u015flevinin kavramsal\u00a0a\u00e7\u0131dan gu\u0308\u00e7lenmesini sa\u011flam\u0131\u015ft\u0131r.<\/p>\n

\"Ekran
Diyagram 11. Chur Roma kal\u0131nt\u0131lar\u0131 koruna\u011f\u0131n\u0131n malzeme-etki tablosu<\/figcaption><\/figure>\n

Chur Roma kal\u0131nt\u0131lar\u0131 koruna\u011f\u0131n\u0131n bedensel duyum\u00a0analizinde (Diyagram 12) g\u00f6rme haricinde i\u015fitsel, kassal\u00a0ve dokusal uyaranlar g\u00f6ru\u0308lmektedir. Kal\u0131nt\u0131lar\u0131n bulundu\u011fu\u00a0salonlarda zeminde bulunan \u00e7ak\u0131l nedeniyle\u00a0i\u015fitsel ve dokusal uyaranlar\u0131n \u015fiddeti artmaktad\u0131r. Birinci\u00a0salona ini\u015f olmad\u0131\u011f\u0131ndan; di\u011ferlerinden farkl\u0131 olarak\u00a0burada mek\u00e2n g\u00f6rme ve i\u015fitme duyusu ile alg\u0131lanmaktad\u0131r.<\/p>\n

\"Diyagram
Diyagram 12. Chur Roma Kal\u0131nt\u0131lar\u0131 Koruna\u011f\u0131n\u0131n duyum analizi.<\/figcaption><\/figure>\n

Therme Vals, Vals, Peter Zumthor, 1996<\/span><\/p>\n

\u0130svi\u00e7re\u2019nin Vals b\u00f6lgesinde bulunan Therme Vals,\u00a0sade ve keskin hatlar\u0131 ve kendinden emin ku\u0308tlesiyle,\u00a0ta\u015ftan oyulmu\u015f dev bir blok, bir ma\u011fara, bir monoliti\u00a0an\u0131msatmaktad\u0131r. Termal, i\u00e7inde bulundu\u011fu kasaban\u0131n\u00a0dokusunda, da\u011f\u0131n i\u00e7inde kendili\u011finden olu\u015fmu\u015f gibi\u00a0durmaktad\u0131r.<\/p>\n

Ta\u015f, su ve bedenlerin tasar\u0131m\u0131n bir par\u00e7as\u0131na d\u00f6nu\u0308\u015ftu\u0308\u011fu\u0308\u00a0Therme Vals, ba\u015fl\u0131 ba\u015f\u0131na iki ana malzemeyi,\u00a0suyu ve ta\u015f\u0131 hissettirmek i\u00e7in tasarlanm\u0131\u015ft\u0131r. Bu sebeple\u00a0termalin dokunsal da\u011f\u0131l\u0131m \u015femas\u0131nda (Diyagram 13),\u00a0maddesellik ve duyum kavramlar\u0131 \u00f6ne \u00e7\u0131km\u0131\u015ft\u0131r. Bunun\u00a0haricinde, havuzlarda ta\u015f ve su aras\u0131ndaki i\u00e7erme-i\u00e7erilme\u00a0ili\u015fkisi katlanma kavram\u0131n\u0131n, kullan\u0131c\u0131 hareketlerinin\u00a0malzemede b\u0131rakt\u0131\u011f\u0131 izler de olay kavram\u0131n\u0131n dokunsal\u00a0da\u011f\u0131l\u0131mda yer almas\u0131n\u0131 sa\u011flam\u0131\u015ft\u0131r.<\/p>\n

\"Diyagram
Diyagram 13. Therme Vals\u2019in dokunsal da\u011f\u0131l\u0131m \u015femas\u0131.<\/figcaption><\/figure>\n

Therme Vals, hem ta\u015f hem su ile betimlenmi\u015ftir.\u00a0Bu iki farkl\u0131 malzemenin ziyaret\u00e7iler u\u0308zerindeki farkl\u0131\u00a0etkileri (Diyagram 14) ve birbirleriyle kurduklar\u0131 kar\u015f\u0131tl\u0131klar,\u00a0yap\u0131n\u0131n \u00f6nemli bir tasar\u0131m \u00f6zelli\u011fini olu\u015fturmaktad\u0131r.\u00a0Ta\u015f\u0131n gu\u0308\u00e7lu\u0308 karakterinin yaratt\u0131\u011f\u0131 so\u011fuk, sert,\u00a0dura\u011fan, opak, a\u011f\u0131r ve sa\u011flaml\u0131k izlenimi kapl\u0131can\u0131n d\u0131\u015f\u00a0cephesinde net olarak okunmaktad\u0131r. \u0130\u00e7 mek\u00e2nda ta\u015f\u0131n\u00a0bask\u0131nl\u0131\u011f\u0131 devam etmekle beraber, suyun ak\u0131\u015fkanl\u0131\u011f\u0131 ve\u00a0\u015feffafl\u0131\u011f\u0131 da hissedilmektedir. Dolay\u0131s\u0131yla, ta\u015f\u0131n opakl\u0131\u011f\u0131\u00a0ve sertli\u011fine kar\u015f\u0131n suyun \u015feffafl\u0131\u011f\u0131 ve yumu\u015fakl\u0131\u011f\u0131,\u00a0tasar\u0131m\u0131n dengelenmesini ve \u00e7ok y\u00f6nlu\u0308 olmas\u0131n\u0131 sa\u011flam\u0131\u015ft\u0131r.<\/p>\n

\"Diyagram
Diyagram 14. Therme Vals\u2019in malzeme-etki tablosu.<\/figcaption><\/figure>\n

Therme Vals\u2019in bedensel duyum analizleri incelendi\u011finde\u00a0(Diyagram15a,b); tat alma d\u00e2hil birden \u00e7ok duyumun\u00a0ayn\u0131 anda alg\u0131lanabildi\u011fi ya da belli bir duyumun\u00a0di\u011ferlerinden daha bask\u0131n oldu\u011fu mek\u00e2nlar g\u00f6ru\u0308lmektedir.\u00a0Orta havuz, merkez hacim ve d\u0131\u015f havuzda i\u015fitme ve\u00a0dokunma duyumlar\u0131 \u00f6ne \u00e7\u0131karken; ses odas\u0131nda g\u00f6rme\u00a0duyusu olduk\u00e7a bast\u0131r\u0131larak i\u015fitme duyusu vurgulanm\u0131\u015ft\u0131r.\u00a0\u00c7i\u00e7ek havuzunda koku, rezonans havuzunda i\u015fitme,\u00a0tat odas\u0131nda tat duyumlar\u0131na ait uyaranlar gu\u0308\u00e7lendirilirken,\u00a0di\u011ferleri bilin\u00e7li olarak zay\u0131flat\u0131lm\u0131\u015ft\u0131r. Bu sayede, \u00f6znenin\u00a0her mek\u00e2ndaki bedensel deneyimi farkl\u0131la\u015fm\u0131\u015ft\u0131r.<\/p>\n

\"Diyagram
Diyagram 15. Therme Vals\u2019in duyum analizi (a) k\u0131s\u0131m 1, (b) k\u0131s\u0131m 2.<\/figcaption><\/figure>\n

Bulgular ve De\u011ferlendirme<\/span><\/p>\n

Peter Zumthor\u2019un incelenen tasar\u0131mlar\u0131n\u0131n birbirinden\u00a0farkl\u0131 ve ortak yanlar\u0131 oldu\u011funu s\u00f6ylemek olanakl\u0131d\u0131r.\u00a0Mimar\u0131n yap\u0131lar\u0131 bi\u00e7im bak\u0131m\u0131ndan olduk\u00e7a\u00a0sadedir. \u0130lk bak\u0131\u015fta modern olarak yorumlanabilecek,\u00a0\u00e7o\u011funlukla dik k\u00f6\u015feli prizmatik bi\u00e7imler, Modern Mimari\u00a0bi\u00e7imlerden farkl\u0131 olarak g\u00f6zmerkezci bir bak\u0131\u015fla\u00a0tasarlanmam\u0131\u015ft\u0131r. Bu, mimari tasar\u0131mda dokunma olgusunun,\u00a0a\u00e7\u0131sal ya da boyutsal de\u011ferlerle de\u011fil; a\u011f\u0131rl\u0131kl\u0131\u00a0olarak beden, duyum ve deneyim ile ilgili bir kavram\u00a0oldu\u011funu kan\u0131tlamaktad\u0131r. Dokunma olgusunda \u00f6nemli\u00a0olan; \u00f6zne-mek\u00e2n aras\u0131nda kurulan etkin ili\u015fkidir.<\/p>\n

Mimar\u0131n her yap\u0131s\u0131n\u0131n, bulundu\u011fu yerle \u00f6zel bir ili\u015fki\u00a0kurdu\u011fu g\u00f6ru\u0308lmektedir. Yap\u0131, asla \u00e7evresinden soyutlanm\u0131\u015f\u00a0bir heykel gibi ele al\u0131nmam\u0131\u015ft\u0131r. Bulundu\u011fu yerde\u00a0\u00e7ok uzun su\u0308redir bulunuyormu\u015f hissi veren tasar\u0131mlar,\u00a0\u00f6zellikle konumland\u0131klar\u0131 \u00e7evrenin dinamikleriyle\u00a0kendili\u011finden bi\u00e7imlenmi\u015f izlenimi olu\u015fturmaktad\u0131r.<\/p>\n

Yap\u0131lar\u0131n dokunsal da\u011f\u0131l\u0131m \u015femalar\u0131 incelendi\u011finde;\u00a0mimar\u0131n tasar\u0131mlar\u0131nda dokunsal karakterin a\u011f\u0131rl\u0131kla\u00a0malzeme ve duyum ile ili\u015fkilendi\u011fi g\u00f6zlenmi\u015ftir. Bir\u00a0maddenin \u00f6zu\u0308 (ah\u015fab\u0131n s\u0131cakl\u0131\u011f\u0131), ayn\u0131 maddenin farkl\u0131\u00a0kullan\u0131m\u0131 (deri perde-deri puf) maddelerin bir araya\u00a0gelip birbirini etkileyi\u015fi (ta\u015f ve su) tasar\u0131mlarda dokunsal\u00a0odak noktas\u0131n\u0131 olu\u015fturmaktad\u0131r.<\/p>\n

Her bir yap\u0131y\u0131 bask\u0131n bir malzeme ve o malzemenin\u00a0bedende b\u0131rakt\u0131\u011f\u0131 hisle tan\u0131mlamak olanakl\u0131d\u0131r. Di\u011fer\u00a0bir ifadeyle, madde kendi karakterini, \u00f6zu\u0308nu\u0308, tasar\u0131ma\u00a0da yans\u0131tm\u0131\u015ft\u0131r. Bu bask\u0131nl\u0131k ve yaratt\u0131\u011f\u0131 etki, malzemeetki\u00a0tablolar\u0131ndan okunmaktad\u0131r. Her yap\u0131n\u0131n ziyaret\u00e7iye\u00a0yans\u0131tt\u0131\u011f\u0131 etki, mimar\u0131n zihninde olu\u015fturdu\u011fu atmosfer\u00a0ve bu atmosferi en iyi \u015fekilde sa\u011flayacak olan\u00a0malzemeyle \u015fekillenmi\u015ftir.<\/p>\n

Malzeme- etki tablolar\u0131ndan anla\u015f\u0131lan bir di\u011fer\u00a0\u00f6nemli nokta; kap\u0131 kollar\u0131ndan oturma yerlerinde kullan\u0131lan\u00a0kuma\u015flara kadar mek\u00e2nla kurulan temaslarda\u00a0tene de\u011fen yu\u0308zeylerde \u00e7o\u011funlukla s\u0131cak ve yumu\u015fak\u00a0malzemelerin kullan\u0131lm\u0131\u015f olmas\u0131d\u0131r. Ziyaret\u00e7ilerin oturduklar\u0131\u00a0elemanlarda deri ve ah\u015fap, ku\u0308pe\u015ftelerde ah\u015fap,\u00a0perdelerde deri ve saten, duvarlarda kil s\u0131va, kadife\u00a0ve ah\u015fap \u00f6ne \u00e7\u0131kan malzemelerdir.<\/p>\n

Peter Zumthor\u2019un tasar\u0131mlar\u0131nda hangi duyum sinyallerinin\u00a0saptand\u0131\u011f\u0131n\u0131 ortaya koyan bedensel duyum\u00a0analizlerine g\u00f6re; genellikle, tat ve koku duyumuna\u00a0di\u011fer duyulara g\u00f6re daha az rastlanmakla birlikte;\u00a0hangi duyuya ne kadar yer verildi\u011fi, yap\u0131n\u0131n i\u015flevine\u00a0ve mek\u00e2nda yarat\u0131lmak istenen atmosfere g\u00f6re farkl\u0131l\u0131k\u00a0g\u00f6stermektedir. Kolumba Mu\u0308zesi, Bregenz Sanat\u00a0Mu\u0308zesi ve Chur Roma D\u00f6nemi kal\u0131nt\u0131lar\u0131 koruna\u011f\u0131\u00a0gibi, eserlerin sergilenmesine hizmet eden yap\u0131larda,\u00a0g\u00f6rme d\u0131\u015f\u0131ndaki duyumlar daha az belirgindir. Bunun\u00a0yan\u0131nda, Saint Benedict \u015eapeli ve Therme Vals gibi kullan\u0131c\u0131y\u0131\u00a0gu\u0308nlu\u0308k ya\u015fam rutininden \u00e7\u0131kart\u0131p, farkl\u0131 bir ger\u00e7ekli\u011fe\u00a0y\u00f6nelten yap\u0131larda, koku, i\u015fitme, dokunma ve\u00a0hatta tat duyular\u0131na yap\u0131lan vurgu artmaktad\u0131r.<\/p>\n

\u00c7oklu bedensel duyumun, deneyimlenen tu\u0308m yap\u0131larda\u00a0\u00f6n planda olmas\u0131na kar\u015f\u0131n, baz\u0131 mek\u00e2nlarda yara\u00a0t\u0131lmak istenen \u00f6zel etki, istenmeyen duyusal uyaranlar\u0131n\u00a0bilin\u00e7li olarak zay\u0131flat\u0131lmas\u0131 ya da tamamen ortadan\u00a0kald\u0131r\u0131lmas\u0131yla sa\u011flanm\u0131\u015ft\u0131r.<\/p>\n

Anlama ve yorumlama deneyimi s\u0131ras\u0131nda birbirine\u00a0kar\u015f\u0131t kavramlar\u0131n tasar\u0131mlar\u0131n bir\u00e7o\u011funda \u00f6nemli bir\u00a0ara\u00e7 oldu\u011fu g\u00f6ru\u0308lmu\u0308\u015ftu\u0308r. Bu kar\u015f\u0131tl\u0131klar tasar\u0131m\u0131n \u00f6zne\u00a0u\u0308zerinde yaratt\u0131\u011f\u0131 etkilerin dengelenmesini sa\u011flam\u0131\u015ft\u0131r.\u00a0Tasar\u0131m arac\u0131 olarak belirlenen di\u011fer kavramlar birle\u015ftirme,\u00a0d\u00f6nu\u0308\u015ftu\u0308rme, saklama ve ortaya \u00e7\u0131kartmad\u0131r.\u00a0Therme Vals\u2019de su, bir yap\u0131 eleman\u0131na d\u00f6nu\u0308\u015ftu\u0308ru\u0308lmu\u0308\u015ftu\u0308r.\u00a0Bregenz ve Kolumba Mu\u0308zeleri\u2019nde bo\u015fluk kavram\u0131,\u00a0ortaya \u00e7\u0131kar\u0131lm\u0131\u015ft\u0131r. St. Benedict \u015eapeli\u2019nde manzara\u00a0saklanm\u0131\u015ft\u0131r. Kolumba Mu\u0308zesi ve Chur\u2019daki korunakta\u00a0ge\u00e7mi\u015f zaman\u0131n izleri \u015fimdiki zamanla birle\u015ftirilmi\u015ftir.<\/p>\n

Alan \u00e7al\u0131\u015fmas\u0131 bulgular\u0131ndan ve mimar\u0131n yerinde\u00a0deneyimlenmeyen di\u011fer yap\u0131lar\u0131ndan da (Norve\u00e7\u2019teki\u00a0an\u0131t ve Almanya\u2019daki Bruder Klaus \u015eapeli) yola \u00e7\u0131karak,\u00a0Peter Zumthor\u2019un olas\u013140 <\/span>tasar\u0131m bile\u015fenleri tablola\u015ft\u0131r\u0131lm\u0131\u015ft\u0131r\u00a0(\u015eekil 4). Bu tablonun yap\u0131lma amac\u0131, Peter\u00a0Zumthor\u2019un tasarlama y\u00f6ntemini bir formu\u0308le oturtmaktan\u00a0ziyade; deneyim s\u0131ras\u0131nda tespit edilen ara\u00e7 ve\u00a0tasar\u0131m eylemlerini ortaya koyarak, her tasar\u0131mc\u0131n\u0131n\u00a0mimari u\u0308retim su\u0308recinde kendi tasar\u0131m spektrumunu\u00a0olu\u015fturabilece\u011fi fikrini sunmakt\u0131r.<\/p>\n

\"\u015eekil
\u015eekil 4. Deneyim bulgular\u0131ndan ve Peter Zumthor\u2019un di\u011fer yap\u0131lar\u0131n\u0131n
ara\u015ft\u0131r\u0131lmas\u0131 sonucu olu\u015fturulan tasar\u0131m bile\u015fenleri.<\/figcaption><\/figure>\n

Sonu\u00e7lar ve Tart\u0131\u015fma<\/strong><\/p>\n

Bu \u00e7al\u0131\u015fmada, mimari tasar\u0131mda g\u00f6zmerkezcili\u011fe\u00a0ele\u015ftirel bir yakla\u015f\u0131m olana\u011f\u0131 sa\u011flayan dokunma olgusunun,\u00a0mimari mek\u00e2n deneyiminde yaratabilece\u011fi\u00a0farklar\u0131 ara\u015ft\u0131rmak amac\u0131yla ger\u00e7ekle\u015ftirilen alan \u00e7al\u0131\u015fmas\u0131\u00a0bulgular\u0131na yer verilmi\u015ftir. \u00d6znenin, daima \u00e7evresindeki\u00a0nesnelerle ileti\u015fim halinde olmas\u0131ndan yola\u00a0\u00e7\u0131karak; bir mimar olarak bu ileti\u015fimin niteli\u011fini tasarlamay\u0131\u00a0ama\u00e7 edinmi\u015f Peter Zumthor\u2019un projelendirdi\u011fi\u00a0be\u015f yap\u0131daki anlama ve yorumlama deneyimi, dokunsal\u00a0haritalama y\u00f6ntemiyle ifade edilmi\u015ftir. Radikal g\u00f6zlem\u00a0ve dokunsal haritalama \u00e7al\u0131\u015fmalar\u0131yla ara\u015ft\u0131rman\u0131n\u00a0ortaya koyduklar\u0131, \u015fu bi\u00e7imde \u00f6zetlenebilir:<\/p>\n

Dokunma olgusu ve onu tan\u0131mlayan duyum, etki,\u00a0maddesellik, zihinsel \u00e7a\u011fr\u0131\u015f\u0131m, gibi kavramlar, temsil\u00a0edilebilirler. Mimari tasar\u0131mda kullan\u0131c\u0131n\u0131n deneyim\u00a0su\u0308recinde \u00f6zne u\u0308zerinde olu\u015fturulmak istenen etki, tasar\u0131ma\u00a0d\u00e2hil edilebilen mimari bir ger\u00e7ekliktir. Mek\u00e2n\u00a0ve \u00f6zne aras\u0131nda bu ger\u00e7eklik u\u0308zerinden kurulan dokunsal\u00a0ili\u015fki, mimarinin nesneden \u00e7\u0131k\u0131p \u201c\u015feye\u201d d\u00f6nu\u0308\u015fmesini;\u00a0bir di\u011fer ifadeyle \u00f6znenin mek\u00e2n\u0131n, mek\u00e2n\u0131n\u00a0da \u00f6znenin bir par\u00e7as\u0131 haline gelmesini sa\u011flamaktad\u0131r.<\/p>\n

Di\u011fer duyular\u0131 bask\u0131lar bi\u00e7imde mek\u00e2n\u0131n \u00f6zneyle\u00a0kurdu\u011fu ileti\u015fimin a\u011f\u0131rl\u0131kl\u0131 olarak g\u00f6rmeye dayal\u0131 oldu\u011fu\u00a0anlay\u0131\u015f\u0131, g\u00f6rme eyleminin ger\u00e7ekten ger\u00e7ekle\u015fti\u011finin\u00a0kolayca kay\u0131t alt\u0131na al\u0131nabilmesinden kaynaklanmaktad\u0131r.\u00a0Ara\u015ft\u0131rma kapsam\u0131nda sunulan dokunsal haritalama\u00a0\u00e7al\u0131\u015fmalar\u0131, g\u00f6ru\u0308nmeyen bir etkile\u015fim su\u0308recini g\u00f6ru\u0308nu\u0308r\u00a0hale getirme yolunda ger\u00e7ekle\u015ftirilen y\u00f6ntemsel\u00a0bir denemedir. Ayr\u0131ca dokunsal haritalama \u00e7al\u0131\u015fmalar\u0131,\u00a0mimari tasar\u0131m su\u0308re\u00e7lerinde yararlan\u0131labilecek analitik\u00a0bir ara\u00e7 olarak da du\u0308\u015fu\u0308nu\u0308lebilir. S\u00f6z konusu analitik\u00a0y\u00f6ntem, potansiyellerin, gu\u0308\u00e7lu\u0308 ve zay\u0131f y\u00f6nlerin belirlenmesinde\u00a0bir tasar\u0131m girdisi sa\u011flayabilir.<\/p>\n

Yap\u0131lar\u0131n dokunsal da\u011f\u0131l\u0131m \u015femalar\u0131, mimari tasar\u0131mda\u00a0dokunma olgusunu a\u00e7\u0131klamak i\u00e7in kullan\u0131lan\u00a0kavramlar\u0131n mimari projelere nas\u0131l yans\u0131t\u0131labilece\u011fini\u00a0g\u00f6stermektedir. Malzeme-etki tablolar\u0131, malzemenin\u00a0dokunulan ve g\u00f6ru\u0308len maddesel \u00f6zelliklerinin fiziksel\u00a0parametreler olmalar\u0131na ra\u011fmen, kullan\u0131c\u0131 u\u0308zerinde\u00a0psikolojik etkiler olu\u015fturarak; deneyimlenen mek\u00e2n\u0131\u00a0maddesel bir karakterle \u00f6zde\u015fle\u015ftirdi\u011fini ortaya koymaktad\u0131r.\u00a0Bedensel duyum diyagramlar\u0131, mek\u00e2nda\u00a0olu\u015fturulmak istenen etkinin elde edilmesinde \u00f6nem\u00a0te\u015fkil eden duyumun niceli\u011finin ve niteli\u011finin g\u00f6rselle\u015ftirmesi\u00a0a\u00e7\u0131s\u0131ndan \u00f6rnek olu\u015fturmaktad\u0131r.<\/p>\n

Tasar\u0131mda hangi duyuya ne kadar yer verildi\u011fi ya da\u00a0baz\u0131 duyusal uyaranlar\u0131n bilin\u00e7li olarak bast\u0131r\u0131lmas\u0131, yap\u0131n\u0131n\u00a0i\u015flevine ve mek\u00e2nda yarat\u0131lmak istenen atmosfere\u00a0g\u00f6re farkl\u0131l\u0131k g\u00f6stermektedir. Deneyim su\u0308recinde \u00f6znenin\u00a0bedeni ve zihni kimi zaman fazla kimi zaman da\u00a0gere\u011finden az uyar\u0131lmakta; bu sayede, mek\u00e2nla kurulan\u00a0fiziksel ve psikolojik ba\u011f\u0131n niteli\u011fi farkl\u0131la\u015fmaktad\u0131r.<\/p>\n

Duyusal girdilerin g\u00f6rselle\u015ftirilmesi s\u0131ras\u0131nda, alg\u0131lanan\u00a0duyumun \u015fiddeti, su\u0308resi ve niteli\u011fine g\u00f6re de\u011fi\u015fkenlik\u00a0g\u00f6steren birbirinden farkl\u0131 ifadelere ba\u015fvurulmu\u015ftur.\u00a0Her bir duyum diyagram\u0131n\u0131n ba\u015f\u0131nda yer alan\u00a0ve duyum e\u011frilerinin neyi yans\u0131tt\u0131\u011f\u0131n\u0131 anlatan lejand,\u00a0farkl\u0131 \u00f6zelliklere sahip (uzun su\u0308reli-anl\u0131k, devaml\u0131-kesilen,\u00a0artan-azalan-sabit) duyumlar\u0131n nas\u0131l temsil edilebileceklerine\u00a0\u00f6rnek te\u015fkil etmektedir.<\/p>\n

Mek\u00e2n\u0131n \u00f6zneye nas\u0131l ve ne kadar dokunaca\u011f\u0131 konular\u0131nda\u00a0\u00f6l\u00e7meyle ilgili k\u0131s\u0131tlamalar s\u00f6z konusudur. Bu\u00a0\u00e7al\u0131\u015fmada \u00f6l\u00e7ek, bedensel ve zihinsel alg\u0131yla s\u0131n\u0131rl\u0131 tutulmu\u015f\u00a0ve tart\u0131\u015fmaya a\u00e7\u0131lm\u0131\u015ft\u0131r.<\/p>\n

\u00a0\u0130ncelenen, g\u00f6zlemlenen, ya\u015fanan ve hissedilen be\u015f\u00a0yap\u0131n\u0131n dokunsal haritas\u0131, deneyim su\u0308recinin \u00f6zetini\u00a0olu\u015fturmaktad\u0131r. Ara\u015ft\u0131rma bulgular\u0131ndan elde edilen\u00a0tasar\u0131m paleti, Peter Zumthor\u2019un tasar\u0131m y\u00f6ntemi\u00a0arac\u0131l\u0131\u011f\u0131yla bahsedilen fark\u0131ndal\u0131\u011f\u0131n tasar\u0131m su\u0308recine\u00a0nas\u0131l yans\u0131t\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6steren bir anahtar olmu\u015ftur. Bu\u00a0anahtar, mek\u00e2nsal u\u0308retim su\u0308recinde tasar\u0131mc\u0131n\u0131n duygulan\u0131m\u0131\u00a0k\u0131smen \u00f6ng\u00f6ru\u0308p geri beslemelerle tasar\u0131m\u0131n\u0131\u00a0zenginle\u015ftirmesini sa\u011flayan bir tasar\u0131m arac\u0131 olarak\u00a0kullan\u0131labilir.<\/p>\n

\u00c7al\u0131\u015fma s\u0131ras\u0131nda belli bir kabulle s\u0131n\u0131rl\u0131 tutulan ve\u00a0gelecek ara\u015ft\u0131rmalar i\u00e7in tart\u0131\u015fmaya a\u00e7\u0131lan noktalar\u00a0bulunmaktad\u0131r. G\u00f6zmerkezci paradigman\u0131n sorguland\u0131\u011f\u0131\u00a0\u00e7al\u0131\u015fmada, \u00f6zneler-aras\u0131 yorumbilimsel bir y\u00f6ntem\u00a0tercih edilmi\u015ftir. Bu su\u0308re\u00e7te, Peter Zumthor\u2019un binalar\u0131\u00a0beden ve duygulan\u0131m u\u0308zerinden okunmu\u015ftur. Farkl\u0131\u00a0deneyimlerden daha de\u011fi\u015fik sonu\u00e7lar\u0131n elde edilmesi\u00a0olas\u0131d\u0131r. Bununla beraber, konu ile ilgili yap\u0131lan \u00f6ng\u00f6ru\u0308,\u00a0farkl\u0131 bedenlerin dokunsal haritalamalar\u0131nda nitelikten\u00a0ziyade nicelikte farkl\u0131la\u015fmalar olaca\u011f\u0131 y\u00f6nu\u0308ndedir.Di\u011fer bir deyi\u015fle, bir mek\u00e2ndaki su sesinin varl\u0131\u011f\u0131, onu\u00a0deneyimleyen kullan\u0131c\u0131lar\u0131n hepsi olmasa da, bir\u00e7o\u011fu\u00a0taraf\u0131ndan tespit edilecek; ancak miktar\u0131 ve onda uyand\u0131rd\u0131\u011f\u0131\u00a0histe ki\u015fisel alg\u0131dan do\u011fan ayr\u0131mlar olacakt\u0131r.\u00a0Farkl\u0131 ara\u015ft\u0131rmac\u0131lar\u0131n ortaya koyaca\u011f\u0131 yorumbilimsel\u00a0okumalar, konunun daha iyi anla\u015f\u0131lmas\u0131, bedensel\u00a0alg\u0131n\u0131n ve mek\u00e2nla kurulan etkile\u015fimin nas\u0131l farkl\u0131la\u015ft\u0131\u011f\u0131\u00a0ve tu\u0308m bu farkl\u0131la\u015fmalara ra\u011fmen dokunsal anlamda\u00a0nitelikli mek\u00e2nlar olu\u015fturmak ad\u0131na belli \u00f6l\u00e7u\u0308tler olu\u015fturulup\u00a0olu\u015fturulamayaca\u011f\u0131n\u0131n belirlenmesi a\u00e7\u0131s\u0131ndan\u00a0\u00f6nemlidir.<\/p>\n

Gelecek ara\u015ft\u0131rmalar i\u00e7in dikkat \u00e7ekilen bir di\u011fer\u00a0nokta, temsil ara\u00e7lar\u0131n\u0131n k\u0131s\u0131tl\u0131l\u0131\u011f\u0131d\u0131r. Analiz a\u015famas\u0131nda\u00a0ya da tasar\u0131m su\u0308reci i\u00e7indeki geri besleme amac\u0131yla\u00a0kullan\u0131labilecek dokunsal haritalamalar\u0131n anlat\u0131mlar\u0131nda\u00a0g\u00f6rme a\u011f\u0131rl\u0131kl\u0131 ifade tekniklerinden faydalan\u0131lm\u0131\u015ft\u0131r.\u00a0Bu durum, temsil ara\u00e7lar\u0131nda da g\u00f6zmerkezci bir e\u011filim\u00a0oldu\u011funa i\u015faret etmektedir. Bahsedilen e\u011filimi a\u015fabilecek,\u00a0video, sanal veya etkile\u015fimli modelleme gibi farkl\u0131\u00a0anlat\u0131m teknikleri geli\u015ftirilerek; dokunsal \u00f6zelliklerin\u00a0temsil ara\u00e7lar\u0131n\u0131n zenginle\u015ftirilmesi u\u0308zerine \u00e7al\u0131\u015fmalar\u00a0artt\u0131r\u0131labilir.<\/p>\n

YAZARLAR;<\/strong><\/p>\n

P\u0131nar \u00d6KTEM ERKARTAL<\/span><\/p>\n

Hikmet Selim \u00d6KEM<\/span><\/p>\n

KAYNAK;<\/strong><\/p>\n

m garonjournal.com ,<\/p>\n

C\u0130LT VOL. 10 – SAYI NO. 1<\/p>\n

NOTLAR;<\/strong><\/p>\n

2 <\/span>(Ocular-centrism) Uluslararas\u0131\u00a0literatu\u0308rde bu terim, \u201cakl\u0131n g\u00f6zu\u0308yle\u00a0g\u00f6rme\u201d, \u201cKartezyen g\u00f6zle\u00a0g\u00f6rme\u201d, \u201cbedensiz g\u00f6zle g\u00f6rme\u201d\u00a0\u015feklinde de ifade edilmi\u015ftir.<\/p>\n

3 <\/span>Kavanagh, 2004, s.445.<\/p>\n

4 <\/span>Jay, 1994, s.25-30.<\/p>\n

5 <\/span>Descartes, 1644, s.9.<\/p>\n

6 <\/span>Pallasmaa, 2005, s.33.<\/p>\n

7 <\/span>Rasmussen (1959, s.35), mimarinin\u00a0anla\u015f\u0131labilmesi i\u00e7in tu\u0308m\u00a0vu\u0308cutla deneyimlenmesi gerekti\u011fini,\u00a0g\u00f6rsel de\u011ferlendirmenin\u00a0yap\u0131sal bu\u0308tu\u0308nlu\u0308\u011fu\u0308 alg\u0131lamada\u00a0yetersiz kalaca\u011f\u0131n\u0131 belirtmi\u015ftir.\u00a0oldu\u011funa dair ara\u015ft\u0131rmalar\u0131 bulunmaktad\u0131r.<\/p>\n

8 <\/span>Downs ve Stea, 2011, s.316.<\/span><\/p>\n

9 <\/span>Bu konuda, Classen (1999, s.274-275), Howes (2005, s.167-168)\u00a0ve Feld\u2019in (1996, s.98-100) de\u011fi\u015fik\u00a0co\u011frafyalarda ya\u015fayan ilkel\u00a0topluluklar\u0131n ya\u015famlar\u0131nda farkl\u0131\u00a0duyular\u0131n ne kadar bu\u0308yu\u0308k \u00f6nemi<\/p>\n

10 <\/span>Social Issues Research Centre,<\/p>\n

Smell Report, 2009, s.28.<\/p>\n

11 <\/span>Sennett, 1994, s.190-193.<\/p>\n

12 <\/span>Montagu, 1978, s.1.<\/p>\n

13 <\/span>Merleau-Ponty, 1968, s.250-\u00a0251.<\/p>\n

14 <\/span>Connor, 2009, s:3-4.<\/p>\n

15 <\/span>Heidegger, 1971, s.165-175.<\/p>\n

16 <\/span>Zumthor, 2006, s.11.<\/p>\n

17 <\/span>Heylighen, 2012, s.27 ve s.37.<\/p>\n

18 <\/span>\u0130ngilizce \u201cmateriality\u201d terimi\u00a0\u201cmaddesellik\u201d olarak \u00e7evrilmi\u015ftir.<\/p>\n

19 <\/span>Pallasmaa\u2019ya g\u00f6re (2005, s.40)\u00a0maddenin a\u015f\u0131nm\u0131\u015fl\u0131\u011f\u0131, deneyimin\u00a0yap\u0131 malzemesine yans\u0131mas\u0131d\u0131r.<\/p>\n

20 <\/span>Uluslararas\u0131 literatu\u0308rde \u201c Event\u00a0Architecture\u201d olarak ge\u00e7en bu\u00a0terim, \u201cOlay Mimarl\u0131\u011f\u0131\u201d olarak\u00a0\u00e7evrilmi\u015ftir.<\/p>\n

21 <\/span>Tschumi, 1991, s.125.\u00a0Condition\u201d olarak ge\u00e7en bu terim,\u00a0\u201cAlan Durumu\u201d olarak \u00e7evrilmi\u015ftir.<\/p>\n

22 <\/span>Benjamin, 1968(a), s.221-222.<\/p>\n

23 <\/span>Benjamin, 1968(b), s.187-188.<\/p>\n

24 <\/span>Harries, 1982, s.59.<\/p>\n

25 <\/span>Uluslararas\u0131 literatu\u0308rde \u201cField<\/p>\n

26 <\/span>Allen, 1997, s.24.<\/p>\n

27 <\/span>De Sola- Morales, 1987, s.622.<\/p>\n

28 <\/span>Uluslararas\u0131 literatu\u0308rde \u201cWeak\u00a0Form\u201d olarak ge\u00e7en bu terim,\u00a0\u201cZay\u0131f Bi\u00e7im\u201d olarak \u00e7evrilmi\u015ftir.\u00a0Ancak \u201ck\u0131r\u0131lgan\u201d, \u201cnaif\u201d, \u201cg\u00f6steri\u015fsiz\u201d,\u00a0\u201cnarin\u201d, \u201chassas\u201d gibi fakl\u0131\u00a0terimlerin uygunlu\u011fu tart\u0131\u015fmaya\u00a0a\u00e7\u0131labilir.<\/p>\n

29 <\/span>Zumthor, 2010, s.17.<\/p>\n

30 <\/span>De Sola- Morales (1987, s.623),\u00a0mimarinin gu\u0308cu\u0308nu\u0308n\u201d sald\u0131rgan\u201d\u00a0ve \u201cbask\u0131n\u201d bir duru\u015ftan ziyade,\u00a0\u201cyu\u0308zeysel\u201d ve \u201czay\u0131f\u201d bir duru\u015fla\u00a0ortaya \u00e7\u0131kt\u0131\u011f\u0131ndan bahsetmektedir.\u00a0Bu gu\u0308cu\u0308, zay\u0131fl\u0131\u011f\u0131n gu\u0308cu\u0308 olarak\u00a0ifade etmektedir.<\/p>\n

31 <\/span>Eisenman (1991, s.32), stru\u0308ktu\u0308r,\u00a0form, anlam, ba\u011flam, sembolizm, temsil aras\u0131ndaki birebir\u00a0ili\u015fkinin kenara koyulmas\u0131yla,\u00a0yani mimarinin zay\u0131f ba\u011flarla\u00a0kurgulanmas\u0131yla birlikte mimar\u0131n\u00a0bir ad\u0131m yana \u00e7ekilerek kullan\u0131c\u0131n\u0131n\u00a0yorumuna izin verdi\u011fini ve\u00a0b\u00f6ylece deneyimle gelen hayal\u00a0gu\u0308cu\u0308nu\u0308n yeniden ye\u015ferdi\u011fini savunmaktad\u0131r.\u00a0Ona g\u00f6re mimari,\u00a0hi\u00e7bir kurala tabi olmamal\u0131d\u0131r.<\/p>\n

32 <\/span>T\u00f6z, Felsefe Terimleri S\u00f6zlu\u0308\u011fu\u0308nde,\u00a0\u201cDe\u011fi\u015fen durumlar ve niteliklere\u00a0kar\u015f\u0131 kal\u0131c\u0131 olan; bir ba\u015fka\u00a0\u015feyle ya da bir ba\u015fka \u015feyde de\u011fil,\u00a0kendi kendisiyle, kendi kendisinde\u00a0var olan. \u00d6znede de\u011fil, kendinde\u00a0var olan. Ba\u011f\u0131ms\u0131zca kendi\u00a0i\u00e7inde var olan\u201d \u015feklinde tan\u0131mlanm\u0131\u015ft\u0131r.\u00a0s.83), katlanmay\u0131, arada kalm\u0131\u015fl\u0131k\u00a0ve belirsizlik olarak yorumlam\u0131\u015ft\u0131r.<\/span><\/p>\n

33 <\/span>Deleuze ve Strauss taraf\u0131ndan\u00a0<\/span>(1991, s.242) \u201cThe Fold\u201d \u015feklinde\u00a0<\/span>kullan\u0131lm\u0131\u015f olan terim \u201cKatlanma\u201d\u00a0<\/span>olarak \u00e7evrilmi\u015ftir.<\/span><\/p>\n

34 <\/span>Kornberger ve Clegg (2003,\u00a0s.83), katlanmay\u0131, arada kalm\u0131\u015fl\u0131k\u00a0ve belirsizlik olarak yorumlam\u0131\u015ft\u0131r.<\/p>\n

\u00a035 <\/span>Zumthor, 2006, s.15-17.<\/p>\n

36 <\/span>Spier, 2001, s.19-21.<\/p>\n

37 <\/span>Zumthor, 2010, s.10.<\/p>\n

38 <\/span>Analizlerde kullan\u0131lan plan ve kesitler, yap\u0131lar\u0131n Peter Zumthor ve at\u00f6lyesi\u00a0taraf\u0131ndan \u00e7izilmi\u015f olan ve hali haz\u0131rda bulunan plan ve kesitlerinin\u00a0\u015fematikle\u015ftirilmi\u015f halleridir. Yaln\u0131zca \u00e7izimlerine eri\u015filemeyen baz\u0131\u00a0kesitler, mevcut kesitler u\u0308zerinden u\u0308retilmi\u015ftir.<\/p>\n

39 <\/span>Palipane, 2011, s.11-12.<\/p>\n

40 <\/span>Tasar\u0131m paleti, alan \u00e7al\u0131\u015fmas\u0131nda elde edilen verilerin yorumlanmas\u0131\u00a0ve mimar\u0131n di\u011fer yap\u0131lar\u0131n\u0131n literatu\u0308r u\u0308zerinden incelenmesiyle olu\u015fturuldu\u011fundan,\u00a0kesin de\u011fil; olas\u0131d\u0131r.<\/p>\n

Kaynaklar<\/strong><\/p>\n

1. Allen, S., (1997). \u201cFrom Object to Field\u201d, Architectural\u00a0Design Profile, 67(5\/6): 24-31.<\/p>\n

2. Benjamin, W. (1968a). \u201cThe Work of Art in the Age of\u00a0Mechanical Reproduction\u201d, 217-251; Derleyen: Arendt,\u00a0H., (1969). Illuminations: Walter Benjamin Essays and\u00a0Reflections, Schocken Books, New York.<\/p>\n

3. Benjamin, W. (1968b). \u201cOn Some Motifs in Baudelaire\u201d,\u00a0155-200; Derleyen: Arendt, H., (1969). Illuminations:\u00a0Walter Benjamin Essays and Reflections, Schocken Books,\u00a0New York.<\/p>\n

4. Classen, C., (1999). \u201cOther Ways to Wisdom: Learning\u00a0Through The Senses Across Cultures\u201d, International Review\u00a0of Education-Internationale Zeitschrift fu\u0308r Erziehungswissenschaft-<\/p>\n

Revue Internationale de l\u2019 Education\u00a045(3\/4): 269-280.<\/p>\n

5. Connor, S., (2009). \u201cIntroduction\u201d, 1-6; Serres, M., (2009).\u00a0Five Senses: A Philosophy of Mingled Bodies, Continuum\u00a0International Publishing, London.<\/p>\n

6. De Sola- Morales, I., (1987). \u201cWeak Architecture\u201d, 614-\u00a0624; Derleyen: Hays, K., M., (1998). Architecture Theory\u00a0Since 1968, MIT Press, USA.<\/p>\n

7. Deleuze, G. ve Strauss, J., (1991). \u201cThe Fold\u201d, Yale French\u00a0Studies, 80:227-247.<\/p>\n

8. Descartes, R., (1644). \u201cPrinciples of Philosophy\u201d, 177-\u00a0293; Trans. Cottingham, J., Stoothoff, R. and D. Murdoch,\u00a0D., (1985). The Philosophical Writings of Descartes Vol. 1,\u00a0Cambridge University Press, Cambridge.<\/p>\n

9. Downs, R., M. ve Stea, D., (2011). \u201cCognitive Maps and\u00a0Spatial Behaviour: Process and Products\u201d, 312-317; Derleyen:\u00a0Dodge, M., Kitchin, R. ve Perkins, C., (2011). The\u00a0Map Reader: Theories of Mapping Practice and Cartographic\u00a0Representation, John Wiley & Sons Ltd., UK.<\/p>\n

10. Eisenman, P., (1991). \u201cStrong Form, Weak Form\u201d, 32-43;\u00a0Derleyen: Noever, P. and Haslinger, R., (1991). Architecture\u00a0in Transition: Between Deconstruction and New\u00a0Modernism, Prestel, Mu\u0308nich.<\/p>\n

11. Feld, S., (1996). \u201cWaterfalls of Song: An Acoustemology\u00a0of Place Resounding in Bosavi, Papua New Guinea.\u201d 91-\u00a0135; Derleyen: Feld, S. and Basso, K., (1996). Senses of\u00a0Place, School of American Research Press, Santa Fe.<\/p>\n

12. Harries, K. (1982). \u201cBuilding and the Terror of Time\u201d,\u00a0Perspecta: The Yale Architectural Journal, 17:59-69.<\/p>\n

13. Heidegger, M., (1971). \u201cThe Thing\u201d, 211-229; Poetry,\u00a0Language, Thought, \u00e7ev. A. Hofstadter, Harper & Row,\u00a0London.<\/p>\n

14. Heylighen, A., (2012). \u201cChallenging Prevailing Ways of\u00a0Understanding and Designing Space\u201d, Spatial Cognition\u00a0for Architectural Design SCAD 2011 Symposium Proceedings,<\/p>\n

16-19 November 2011, Bremen\/Freiburg, 23-40.<\/p>\n

15. Howes, D., (2005). \u201cScent, Sound and Synaesthesia: Intersensorality\u00a0and Material Culture Theory\u201d, 161-173;lands,\u00a0M. ve Spyer, P., (2006). Handbook Of Material Culture,\u00a0SAGE Publications Ltd, London.<\/p>\n

16. Jay, M., (1994). Downcast Eyes, University of California\u00a0Press, California.<\/p>\n

17. Kavanagh, D., (2004). \u201cOcularcentrism and Its Others: A\u00a0Framework for Metatheoretical Analysis\u201d, Organization\u00a0Studies, 25(3): 445-464.<\/p>\n

18. Kornberger, M. ve Clegg, S., (2003). \u201cThe Architecture of\u00a0Complexity\u201d, Culture and Organization, 9(2):75-91.\u00a019. Merleau Ponty, M., (1968). \u201cThe Visible and the Invisible:\u00a0The Intertwining- The Chiasm\u201d, 247-272; Derleyen: Baldwin,\u00a0T., (2004). Maurice Merleau Ponty Basic Writings,\u00a0Routledge, USA.<\/p>\n

20. Montagu, A., (1978). Touching: The Human Significance\u00a0Of The Skin, Harper & Row Publishers, USA.<\/p>\n

21. Palipane, K., (2011). \u201cTowards a Sensory Production of\u00a0Urban Space: Developing a Conceptual Framework of Inquiry\u00a0Based On Socio-Sensory Perception\u201d, International\u00a0RC21 Conference, 7-9 July 2011, Amsterdam.<\/p>\n

22. Pallasmaa, J., (2005). Tenin G\u00f6zleri: Mimarl\u0131k ve Duyular,\u00a0\u00e7ev. K\u0131l\u0131\u00e7, A.,U., YEM Yay\u0131nlar\u0131, 177, \u0130stanbul.<\/p>\n

23. Rasmussen, S.,E., (1959). Ya\u015fanan Mimari, \u00e7ev. Erduran,\u00a0\u00d6., 3. Bas\u0131m, 2010, Remzi Kitabevi, \u0130stanbul.<\/p>\n

24. Sennett, R., (1994). Ten ve Ta\u015f: Bat\u0131 Uygarl\u0131\u011f\u0131nda Beden\u00a0ve \u015eehir, \u00e7ev. Birkan, T., D\u00f6rdu\u0308ncu\u0308 Bask\u0131, 2011, Metis Yay\u0131nlar\u0131,\u00a0\u0130stanbul.<\/p>\n

25. Social Issues Research Centre, (2009). The Smell Report:\u00a0An Overview of Facts and Findings, http:\/\/www.sirc.org\/\u00a0publik\/smell.html.<\/p>\n

26. Spier, S., (2001). \u201cPlace, Authorship And The Concrete:\u00a0Three Conversations With Peter Zumthor\u201d, Arq: Architectural\u00a0Research Querterly, 5: 15-36.<\/p>\n

27. TDK, BSTS, Felsefe Terimleri S\u00f6zlu\u0308\u011fu\u0308, http:\/\/www.tdk.\u00a0gov.tr\/index.php?option=com_bilimsanat&arama=kelim\u00a0e&guid=TDK.GTS.530a091d97c399.76144521, 4 Kas\u0131m\u00a02013.<\/p>\n

28. Tschumi, B., (1991). \u201cEvent Architecture\u201d, Architecture\u00a0in Transition Between Deconstruction and New Modernism,\u00a0Prestel Publishing, Mu\u0308nich, s. 125-131.<\/p>\n

29. Zumthor, P., (2006). Atmospheres: Architectural Environments-\u00a0Surrounding Objects, Birkh\u00e4user Architecture,\u00a0Basel.<\/p>\n

30. Zumthor, P., (2010). Thinking Architecture, Birkhauser\u00a0Publishers for Architecture, Berlin.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00d6ZET Mimari u\u0308retim su\u0308recinde g\u00f6rmeyi, mek\u00e2n\u0131n alg\u0131lan\u0131\u015f\u0131 ve temsilinde\u00a0di\u011fer duyulardan u\u0308stu\u0308n bir konuma yerle\u015ftiren faydac\u0131l-estetik bak\u0131\u015f\u00a0a\u00e7\u0131s\u0131 literatu\u0308rde \u201cg\u00f6zmerkezcilik\u201d olarak tan\u0131mlanm\u0131\u015ft\u0131r. Ne var\u00a0ki bu kavray\u0131\u015f…<\/p>\n","protected":false},"author":12,"featured_media":1534,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[88],"tags":[82,91,78,126,52],"class_list":["post-1228","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-makale-okumalari","tag-makale","tag-makale-okumalari","tag-mimari-tasarim","tag-mimari-tasarimda-dokunma-olgusu","tag-mimarlik","post-item"],"_links":{"self":[{"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/posts\/1228","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/comments?post=1228"}],"version-history":[{"count":8,"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/posts\/1228\/revisions"}],"predecessor-version":[{"id":1479,"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/posts\/1228\/revisions\/1479"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/media\/1534"}],"wp:attachment":[{"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/media?parent=1228"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/categories?post=1228"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/tags?post=1228"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}