{"id":2604,"date":"2016-12-06T23:35:32","date_gmt":"2016-12-06T21:35:32","guid":{"rendered":"http:\/\/www.tasarimgunlukleri.com\/?p=2604"},"modified":"2016-12-08T00:44:43","modified_gmt":"2016-12-07T22:44:43","slug":"le-corbusieri-bilir-misiniz-sark-seyahati","status":"publish","type":"post","link":"https:\/\/www.tasarimgunlukleri.net\/index.php\/2016\/12\/06\/le-corbusieri-bilir-misiniz-sark-seyahati\/","title":{"rendered":"Le Corbusier’i Bilir Misiniz? – \u015eark Seyahati"},"content":{"rendered":"
\"Yasemin
Yasemin Akyol – Ahmet Kabakta\u015f<\/figcaption><\/figure>\n
\n

Bir grup mimarl\u0131k \u00f6\u011frencisi hasb\u0131hal etmek \u00fczere Mimar Turgut Cansever\u2019i ziyaret etti\u011finde, Cansever Le Corbusier\u2019den bahsederken s\u0131kl\u0131kla bu bahislerin ba\u015f\u0131na \u201cLe Corbusier\u2019i bilir misiniz?\u201d diye bir ifade eklemi\u015ftir. Bu yaz\u0131 merhum Turgut Cansever\u2019e ithaf olunur.<\/p>\n<\/blockquote>\n

De\u011ferlendiren: Mustafa K\u00f6m\u00fcrc\u00fco\u011flu
\nAra\u015f. G\u00f6r., Sakarya \u00dcniversitesi
\n\u0130\u0130BF, Kamu Y\u00f6netimi B\u00f6l\u00fcm\u00fc<\/p>\n

Modern mimarl\u0131k denilince akla gelen ilk isimlerden biri \u015f\u00fcphesiz Charles-Edouard Jeanneret ya da bilinen mahlas\u0131yla Le Corbusier\u2019dir. 1887 do\u011fumlu \u0130svi\u00e7reli-Frans\u0131z mimar, tasar\u0131mc\u0131, \u015fehirci, yazar ve ressam olan Charles-Edouard Jeanneret ya da bilinen mahlas\u0131yla Le Corbusier mimarl\u0131k okullar\u0131n\u0131n en \u00e7ok at\u0131f yapt\u0131\u011f\u0131 mimarlardan birisidir. Modern mimarl\u0131\u011f\u0131n en \u00f6nemli isimlerinden biri olan Le Corbusier hen\u00fcz \u015f\u00f6hrete kavu\u015fmadan, 1911 y\u0131l\u0131nda, daha 24 ya\u015f\u0131nda iken o d\u00f6nemde \u00e7ok moda olan bir \u015fark seyahati ger\u00e7ekle\u015ftirmi\u015ftir. Arkada\u015f\u0131 Auguste Klipstein ile birlikte gen\u00e7 bir desinat\u00f6r olarak yola \u00e7\u0131kan Le Corbusier \u00fczerinde bu seyahat esnas\u0131nda g\u00f6rd\u00fckleri b\u00fcy\u00fck bir etki yapt\u0131 ve onun mimarl\u0131\u011f\u0131 ke\u015ffetmesine neden oldu.<\/p>\n

\u015eark seyahati esnas\u0131nda Le Corbusier notlar \u00e7\u0131kard\u0131, bu notlar\u0131 makaleler halinde derledi, g\u00f6rd\u00fcklerini hem anlatt\u0131 hem de \u00e7izimler halinde aktard\u0131. Onun mimarl\u0131\u011f\u0131 ke\u015ffetmesine neden olan bu seyahatindeki notlar\u0131n\u0131n ve \u00e7izimlerinin bir k\u0131sm\u0131 hemen o y\u0131llarda yerel bir gazetede tefrika edildi. Ancak seyahatnamenin bir kitap halinde yay\u0131mlanmas\u0131 1965\u2019te, \u00f6l\u00fcm\u00fcnden ancak bir hafta \u00f6nce m\u00fcmk\u00fcn oldu.<\/p>\n

1911 y\u0131l\u0131nda kariyerinin ba\u015f\u0131nda olan Le Corbusier bu y\u00fczden eserini son derece kesin \u00f6n yarg\u0131lar, s\u00fcbjektif de\u011ferlendirmeler, romantik ifadeler, fazla cesur genellemeler, bazen de a\u015fa\u011f\u0131lamalar ve k\u00fc\u00e7\u00fcmsemeler yer almaktad\u0131r. Yani me\u015fhur bir mimar\u0131n ileri ya\u015flarda g\u00f6sterdi\u011fi a\u011f\u0131r ba\u015fl\u0131l\u0131kla de\u011fil, yeni yetme bir tasar\u0131mc\u0131n\u0131n gen\u00e7lik heyecan\u0131yla s\u00f6yledi\u011fi s\u00f6zler bu eserde h\u00e2kimdir. Fakat eserin de\u011ferlendirilmesi bak\u0131m\u0131ndan bu durum bir handikaptan ziyade, bir f\u0131rsatt\u0131r. Zira g\u00f6sterdi\u011fi a\u00e7\u0131kl\u0131k ve d\u00fcr\u00fcstl\u00fck metne do\u011frudan n\u00fcfuz etmeyi sa\u011flad\u0131\u011f\u0131 gibi, akl\u0131nda olan\u0131 dile getirmesiyle niyeti ve g\u00f6r\u00fc\u015f- lerini \u00e7ok daha rahat bir bi\u00e7imde g\u00f6rmeyi sa\u011flar. B\u00f6ylece bir bat\u0131l\u0131n\u0131n do\u011fu hakk\u0131ndaki g\u00f6r\u00fc\u015f\u00fc ba\u015fka her hangi bir analize gerek kalmadan \u00e7\u0131plak bir \u015fekilde ortada durmaktad\u0131r. Le Corbusier bu yarg\u0131lar\u0131n\u0131 1965 y\u0131l\u0131ndaki bask\u0131da de\u011fi\u015ftirmedi, fakat hakaretin dozunu artt\u0131rd\u0131\u011f\u0131 yerleri yumu\u015fatmay\u0131 da ihmal etmedi.<\/p>\n

Le Corbusier\u2019in bir \u015fark hayali tatmak \u00fczere \u00e7\u0131kt\u0131\u011f\u0131, yakla\u015f\u0131k yedi ay s\u00fcren bu seyahati ve yazd\u0131\u011f\u0131 seyahatnamesi en genel anlam\u0131yla do\u011fu ve bat\u0131 medeniyetlerinin kar\u015f\u0131la\u015f- t\u0131rmal\u0131 bir panoramas\u0131yd\u0131. Do\u011fu ile bat\u0131n\u0131n farkl\u0131l\u0131\u011f\u0131n\u0131 ve \u00f6zg\u00fcnl\u00fc\u011f\u00fcn\u00fc merkeze alan bu yakla\u015f\u0131m\u0131 de\u011ferlendirmek i\u00e7in \u015fu soruyu sormak gerekir: Bir bat\u0131l\u0131 i\u00e7in do\u011fu nerede ba\u015flar? Bu sorunun cevab\u0131 do\u011fuya do\u011fru at\u0131lan ilk ad\u0131mla ba\u015flar olmal\u0131d\u0131r. \u00c7\u00fcnk\u00fc Le Corbusier do\u011fuyu anlatmaya \u0130stanbul\u2019dan ba\u015flamaz. Tam tersine \u0130stanbul\u2019da bitirir, b\u00f6ylece \u0130stanbul\u2019la ilgili sat\u0131rlar\u0131n\u0131 bitirdi\u011finde do\u011fu ile ilgili her \u015feyi anlatm\u0131\u015f gibidir. Belki de tam bu y\u00fczden gitti\u011fi halde Bursa\u2019dan pek bahsetmez, ismini sadece birka\u00e7 yerde kullan\u0131r. Bu noktada me\u015fhur Orient Express hat\u0131rlat\u0131labilir, bilindi\u011fi \u00fczere Osmanl\u0131 Devleti\u2019nin son d\u00f6nemlerinde bir fenomen olan Orient Express\u2019in son dura- \u011f\u0131 \u0130stanbul\u2019du.<\/p>\n

Le Corbusier\u2019in \u015eark\u2019\u0131 daha Macaristan\u2019dayken ba\u015fl\u0131yordu. Bir tasar\u0131mc\u0131 olarak Le Corbusier\u2019in arad\u0131\u011f\u0131 \u015fey sanat\u00e7\u0131 ruhlu k\u00f6yl\u00fclerin \u00e7\u00f6mlekleriydi. Le Corbusier bu \u00e7\u00f6mlekleri k\u00fc\u00e7\u00fcmsemez, tam tersine neredeyse sanat\u0131n zirvesi kabul eder. Fakat bu sayg\u0131 bir \u00e7e\u015fit yabanc\u0131la\u015ft\u0131rma ve folklorikle\u015ftirmeden kaynaklan\u0131r. Bu folklorik sanat kimi zaman modern insan\u0131n sayg\u0131 duydu\u011fu bir \u015feydir, ayn\u0131 sayg\u0131 farkl\u0131 bir formda postmodern insanda da vard\u0131r. O \u00e7\u00f6mlekler ancak kendi ya\u015fam alanlar\u0131nda de\u011ferlidir, modern insan\u0131n ilgisi de onun otantik olu\u015funad\u0131r. Di\u011fer taraftan bu \u00e7\u00f6mlekleri ararken bakt\u0131\u011f\u0131 kap\u0131lar\u0131 \u201cAli baba\u2019n\u0131n ma\u011faralar\u0131na\u201d benzetir ya da en y\u00fcksek medeniyetlerden bile \u00fcst\u00fcn g\u00f6rd\u00fc\u011f\u00fc bu sanat\u0131n \u00f6l\u00e7\u00fct\u00fcn\u00fcn \u201cvah\u015fi insan\u201d oldu\u011funu s\u00f6yler. Bu sanat asl\u0131nda ne \u00e2li ne de ince ve nezihtir, tam tersine \u00e7\u00f6mlek\u00e7ilik sanat\u0131 basit bir sanatt\u0131r, Le Corbusier\u2019e g\u00f6re bir manav\u0131n zekas\u0131ndan daha ileri bir zekay\u0131 gerektirmez. Basittir, ancak zenginli\u011fini de bu basitlikten al\u0131r. Le Corbusier bir taraftan modern desinat\u00f6rlere s\u0131rf bir \u00f6nceki g\u00fcnden farkl\u0131 \u00e7izmek i\u00e7in yeni tasar\u0131mlar deneyen al\u0131klar diyerek y\u00fcklenirken, di\u011fer taraftan Macar k\u00f6yl\u00fc \u00e7\u00f6mlek\u00e7isini y\u00fczlerce y\u0131ll\u0131k gelene\u011fe bilin\u00e7siz bir \u015fekilde boyun e\u011fiyor diyerek \u00f6ver. Burada \u00f6vg\u00fc ile k\u00fc\u00e7\u00fcmseme i\u00e7 i\u00e7e ge\u00e7mi\u015ftir.<\/p>\n

Le Corbusier\u2019in nefret etti\u011fi \u015fey ise Macar topraklar\u0131nda g\u00f6rd\u00fc\u011f\u00fc Avrupal\u0131la\u015fmad\u0131r. Ona g\u00f6re Macaristan\u2019da Avrupal\u0131la\u015fma her yan\u0131 istila etmi\u015ftir, Le Corbusier bu Avrupal\u0131la\u015fma\u2019dan nefretle ka\u00e7ar ve halk gelene\u011finin s\u00fcrd\u00fc\u011f\u00fc k\u00f6ylere s\u0131\u011f\u0131n\u0131r. Evet, burada Le Corbusier\u2019in Avrupa ile Macaristan olgular\u0131n\u0131 ayr\u0131\u015ft\u0131rd\u0131\u011f\u0131 net bir \u015fekilde g\u00f6r\u00fc- l\u00fcr. Macaristan Avrupa i\u00e7inde bir \u015farkt\u0131r. \u015eark Avrupa\u2019ya benzemek istedi\u011fi \u00f6l\u00e7\u00fcde ise k\u00f6t\u00fcd\u00fcr. \u00c7\u00fcnk\u00fc b\u00f6ylelikle otantikli\u011fini ve anlam\u0131n\u0131 yitirir. Dolay\u0131s\u0131yla en g\u00fczeli \u015fark\u0131n \u015fark, k\u00f6yl\u00fcn\u00fcn k\u00f6yl\u00fc kalmas\u0131d\u0131r. Zaten o bu g\u00f6r\u00fc\u015f\u00fcn\u00fc \u201coldu\u011fu gibi kalm\u0131\u015f bir \u00fclke\u201d arad\u0131\u011f\u0131n\u0131 s\u00f6yleyerek daha a\u00e7\u0131k bir \u015fekilde ifade eder. K\u0131sacas\u0131 Le Corbusier \u015farkta \u015fark\u0131 arar. \u015earkta g\u00f6rd\u00fc\u011f\u00fc her garb onun i\u00e7in bir hayal k\u0131r\u0131kl\u0131\u011f\u0131d\u0131r.<\/p>\n

Le Corbusier\u2019in garba bak\u0131\u015f\u0131 bir garp k\u00f6\u015fesi olan Viyana\u2019da \u00f6zel bir hal al\u0131r. Viyana ona g\u00f6re k\u00fcl rengi, heyecans\u0131z bir \u015fehirdir, mimarisi de zevksiz ve k\u00f6t\u00fcd\u00fcr. Burada iki hususa dikkat \u00e7ekmek gerektir: Birincisi Viyana Le Corbusier\u2019in anlam standartlar\u0131nda bir \u015fehirdir. Dolay\u0131s\u0131yla Viyana\u2019n\u0131n anlam\u0131n\u0131 kavrayabilir, sa\u011fl\u0131kl\u0131 olarak de\u011ferlendirebilir. \u015eark \u015fehirleri ise Le Corbusier\u2019in anlam\u0131na varamayaca\u011f\u0131 \u015fehirlerdir. Bir bat\u0131l\u0131- n\u0131n \u015fark \u015fehirlerini de\u011ferlendirmek i\u00e7in elinde anlaml\u0131 ve tutarl\u0131 bir \u00f6l\u00e7\u00fc aleti yokken, Le Corbusier\u2019in Viyana\u2019ya ili\u015fkin bak\u0131\u015f a\u00e7\u0131s\u0131 bu y\u00fczden bir \u00f6zele\u015ftirinin ac\u0131mas\u0131zl\u0131\u011f\u0131n\u0131 ta\u015f\u0131r. \u0130kincisi Viyana \u015fark heyecan\u0131 tatmak isteyen birinin kar\u015f\u0131s\u0131na \u00e7\u0131kan garp \u015fehridir.<\/p>\n

Le Corbusier Tuna k\u0131y\u0131s\u0131ndaki Budape\u015fte\u2019den fazla bahsetmez. Zira sevmemi\u015ftir Budape\u015fte\u2019yi, ona g\u00f6re Budape\u015fte bir ilahenin bedenini bozan c\u00fczzam yaras\u0131 gibidir. Macar k\u00f6ylerini, k\u00f6yl\u00fclerini ve onlar\u0131n sanatlar\u0131n\u0131 \u00f6ven Le Corbusier Macarlar i\u00e7in bir gurur kayna\u011f\u0131 olan Budape\u015fte \u015fehrini \u00fcst\u00fcn k\u00f6r\u00fc. Budape\u015fte\u2019den sonra ele\u015ftirme\u00a0s\u0131ras\u0131 bu sefer Belgrad\u2019a gelmi\u015ftir. Fakat burada Le Corbusier ele\u015ftirinin dozunu ka\u00e7\u0131r\u0131r. Belgrad i\u00e7in \u201cAlay edilesi bir ba\u015fkent; daha da k\u00f6t\u00fcs\u00fc, d\u00fcr\u00fcstl\u00fckten uzak, pis, nizams\u0131z bir kent.\u201d diyecek fakat ya\u015fl\u0131l\u0131\u011f\u0131nda d\u00fc\u015ft\u00fc\u011f\u00fc dipnotta bu s\u00f6zlerin gen\u00e7li\u011fine verilmesi gerekti\u011fini s\u00f6yleyecektir, dahas\u0131 Le Corbusier bu s\u00f6zleri i\u00e7in \u00f6z\u00fcr dilemi\u015ftir.<\/p>\n

Belgrad\u2019dan sonra s\u0131ra B\u00fckre\u015f\u2019e gelen Le Corbusier B\u00fckre\u015f\u2019i de be\u011fenmez. B\u00fckre\u015f\u2019teki krali\u00e7enin saray\u0131n\u0131 tek kelimeyle \u00e7irkin diye \u00f6zetler. Fakat h\u0131z\u0131n\u0131 alamaz, duvardaki tablolar\u0131n birer \u201cpislik\u201d oldu\u011funu s\u00f6yler, m\u00fczik salonunun ise inan\u0131lmayacak kadar \u201cberbat\u201d oldu\u011fundan dem vurur. Neden bu kadar k\u0131zg\u0131nd\u0131r? \u00c7\u00fcnk\u00fc B\u00fckre\u015f\u2019in her taraf\u0131 Paris kokmaktad\u0131r. Yani Le Corbusier ayn\u0131 noktaya \u00e7\u0131km\u0131\u015ft\u0131r: Do\u011fuda g\u00f6rd\u00fc\u011f\u00fc bat\u0131. Ona g\u00f6re B\u00fckre\u015f\u2019in sadece kad\u0131nlar\u0131 g\u00fczel, sadece kad\u0131nlar\u0131 bakmaya de\u011ferdir!<\/p>\n

B\u00fckre\u015f ile ilgili \u015fu s\u00f6zleri \u00f6zellikle ilgin\u00e7tir: \u201cMimari de buradaki hayat gibi hafif ve de\u011fersiz: Paris G\u00fczel Sanatlar Okulu tarz\u0131 kaplam\u0131\u015f her yan\u0131; bir tek Paris\u2019ten diplomal\u0131 mimarlara i\u015f veriyorlar burada.\u201d Bu s\u00f6zleriyle Le Corbusier son derece a\u011f\u0131r bir do\u011fulu hastal\u0131\u011f\u0131 olan sadece bat\u0131da e\u011fitim alm\u0131\u015f meslek sahiplerine itibar verilmesi durumu g\u00fczel bir \u015fekilde \u00f6zetlemi\u015ftir. Bu noktada Le Corbusier\u2019in ba\u011flam\u0131n\u0131n d\u0131\u015f\u0131na \u00e7\u0131k\u0131p bu hastal\u0131\u011f\u0131n daha da a\u011f\u0131r bir durumunun, bat\u0131da e\u011fitim alm\u0131\u015f yerlinin de itibar g\u00f6rmeyip, sadece bat\u0131l\u0131 olan\u0131n itibar g\u00f6rmesi oldu\u011funu s\u00f6yleyebiliriz. Bu durum Cumhuriyet T\u00fcrkiye\u2019sinde \u00fclkenin en \u00f6nemli \u00fc\u00e7 kentinin ilk planlar\u0131n\u0131n yabanc\u0131lar taraf\u0131ndan yap\u0131lmas\u0131nda kendisini g\u00f6sterir. Ger\u00e7ekten de Ankara Hermann Jansen, \u0130stanbul Henri Prost, \u0130zmir Raymond ve Rene Danger karde\u015fler taraf\u0131ndan planlanm\u0131\u015ft\u0131r. \u0130lgin\u00e7tir, Le Corbusier\u2019in kendisi de 1940\u2019l\u0131 y\u0131llar\u0131n sonunda \u0130zmir i\u00e7in bir taslak plan yapacakt\u0131r; bu plan taslak olarak kalm\u0131\u015f, uygulamaya ge\u00e7memi\u015ftir.<\/p>\n

Le Corbusier\u2019in Bulgar topraklar\u0131ndaki dura\u011f\u0131 Orta \u00c7a\u011f Bulgar \u0130mparatorlu\u011fu\u2019na da ba\u015fkentlik yapm\u0131\u015f, tarihi T\u0131rnovo \u015fehridir. K\u00fc\u00e7\u00fck, fakat otantikli\u011fini korumu\u015f bir \u015fehir olarak T\u0131rnovo Le Corbusier\u2019in ho\u015funa gitmi\u015ftir. Bir taraftan Orta \u00c7a\u011f ba\u015fkenti olmas\u0131 hasebiyle g\u00fc\u00e7l\u00fc surlar\u0131; \u00f6te yandan Osmanl\u0131 egemenli\u011finden \u00e7\u0131kal\u0131 \u00e7ok olmad\u0131\u011f\u0131 i\u00e7in hala bir M\u00fcsl\u00fcman \u015fehri havas\u0131 katan cumbal\u0131 evleri, temiz ve \u00e7i\u00e7ekli sokaklar\u0131yla iki g\u00fczel mirasa sahip pitoresk bir \u015fehirdir T\u0131rnovo.<\/p>\n

Bulgaristan\u2019dan sonra T\u00fcrk topraklar\u0131na yani \u015fark\u0131n kalbine gelir Le Corbusier. Burada art\u0131k \u015fark anlat\u0131s\u0131 daha kristal bir hal al\u0131r. Tabi ki yava\u015f yava\u015f \u015fark\u0131n b\u00fcy\u00fcs\u00fcne kap\u0131lacakt\u0131r. Edirne\u2019deki \u00fc\u00e7 caminin misli olmad\u0131\u011f\u0131n\u0131 s\u00f6yleyen Le Corbusier, bu camileri \u201cGloria Deo\u201d (ilahi ihti\u015fam) ifadesiyle y\u00fcceltecektir. Edirne \u015fehrine hayran kalan, Selimiye Camii\u2019ni de bu \u015fehre tak\u0131lm\u0131\u015f bir ta\u00e7 olarak tan\u0131mlayan yazar T\u00fcrklerin s\u0131cakl\u0131\u011f\u0131ndan da ho\u015fnut kalm\u0131\u015ft\u0131r. Zira herkes ona selam vermekte, kibar davranmakta, onu el \u00fcst\u00fcnde tutmakta ve hep bir \u015feyler \u0131smarlamaktad\u0131r.<\/p>\n

Nefis, k\u00fc\u00e7\u00fck bir liman \u015fehri dedi\u011fi Tekirda\u011f\u2019dan deniz yoluyla \u0130stanbul\u2019a gelen yazar, g\u00f6rd\u00fc\u011f\u00fc manzara kar\u015f\u0131s\u0131nda \u015funu s\u00f6yleyecektir: \u201c\u2026ne kadar g\u00fczel olduklar\u0131n\u0131 bildi- \u011fim i\u00e7in tapmaya geldi\u011fim bu \u015feyler kar\u015f\u0131s\u0131nda \u015fiddetli bir \u015fa\u015fk\u0131nl\u0131k ya\u015f\u0131yordum.\u201d Le Corbusier \u0130stanbul\u2019a tapmaya gelmi\u015ftir, ama ba\u015fta tapamam\u0131\u015ft\u0131r da. \u0130stanbul hayalini\u00a0ya\u015fayabilmek i\u00e7in \u00fc\u00e7 hafta kendi kendisiyle m\u00fccadele etmi\u015ftir. \u00dc\u00e7 hafta bu \u015fehri sevememi\u015f, hatta nefret etmi\u015ftir. \u0130\u015fte bu \u00fc\u00e7 haftadan sonra \u0130stanbul\u2019u anlad\u0131\u011f\u0131 kadar\u0131yla sevmi\u015f ve bu \u015fehri ya\u015famak i\u00e7in kendisini \u0130stanbul\u2019un kollar\u0131na (sokaklar\u0131na) b\u0131rakm\u0131\u015ft\u0131r.<\/p>\n

\u0130lk tespiti \u0130stanbul (suri\u00e7i) Beyo\u011flu ve \u00dcsk\u00fcdar\u2019\u0131n ayr\u0131ks\u0131l\u0131\u011f\u0131 \u00fczerinedir: \u201cBirbirlerinden vazge\u00e7emeyecekleri d\u00fc\u015f\u00fcncesindeyim, kimlikleri hi\u00e7 mi hi\u00e7 benzemiyor birbirlerine, ama gene de birbirlerini tamaml\u0131yorlar. Pera, \u0130stanbul, \u00dcsk\u00fcdar, bir teslis!\u201d Bunlardan Pera Levanten semtidir. Burada Levantenler sonsuz bir keyfe dalm\u0131\u015f olan T\u00fcrkleri, suri- \u00e7ini seyrederler. Pera ac\u0131mas\u0131z \u0131\u015f\u0131kta zehirli bir havan\u0131n doldurdu\u011fu bir semttir, birbirinin \u00fcst\u00fcne \u00e7\u0131kar gibi duran ta\u015f evler domino ta\u015f\u0131 gibi dizilmi\u015ftir. Buras\u0131 yer kaplamas\u0131n diye tek bir a\u011fac\u0131n bile olmad\u0131\u011f\u0131, ta\u015f y\u0131\u011f\u0131n\u0131 bir semttir. So\u011fuk, kuru ve kurakt\u0131r Pera ve tabi ki kalpsiz, insanlar k\u00e2r pe\u015finde soluk solu\u011fa ko\u015far bu tepelik semtte. Pera y\u00fczy\u0131llard\u0131r ya\u015fad\u0131\u011f\u0131 T\u00fcrkl\u00fc\u011f\u00fc inkar eden, sokaklar\u0131n \u201cfahi\u015fele\u015f[ti\u011fi]\u201d bir yerdir; burada yazar Pera\u2019da fuhu\u015fun serbest olmas\u0131na da at\u0131fta bulunmu\u015ftur. Pera, \u0130stanbul\u2019u izler, ama sadece izler, oraya ait de\u011fildir, belli \u00f6l\u00e7\u00fcde ondan korkar, ona yabanc\u0131d\u0131r. Le Corbusier de hem de bir yabanc\u0131 oldu\u011fu i\u00e7in hem de \u0130stanbul\u2019u izlemek istedi\u011fi i\u00e7in \u0130stanbul g\u00fcnlerinde Pera\u2019da kalm\u0131\u015ft\u0131r.<\/p>\n

\u201cB\u00fcy\u00fck, iyice b\u00fcy\u00fck birer cami olan bu tepeler.\u201d der \u0130stanbul\u2019un tepelerini tarif ederken Le Corbusier, evet, \u0130stanbul\u2019da tepe ile cami b\u00fct\u00fcnle\u015fmi\u015f; camiler tepe, tepeler cami olmu\u015ftur; bu, topografya ile mimarinin muhte\u015fem harmonisidir. \u0130stanbul\u2019da evler Pera\u2019ya tezat te\u015fkil edecek \u015fekilde ah\u015fapt\u0131r ve \u0130stanbul derin kuytulara sahip yemye- \u015fil bir \u015fehirdir. Burada insan geni\u015f avlulu evlerinde \u201chayal mahsul\u00fc hayatlar\u201d ya\u015farlar, daha do\u011frusu bir garpl\u0131 bu hayat\u0131 ancak yar\u0131m yamalak hayal edebilir. Zira T\u00fcrk ruhu \u00fcst\u00fcne bir \u015feyler s\u00f6ylemek isteyen yazar, bunu beceremeyece\u011fini itiraf eder. T\u00fcrk\u2019\u00fcn sonsuz s\u00fckunetini anlamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 s\u00f6yler, buna a\u015fa\u011f\u0131lamak i\u00e7in kadercilik denebilece\u011fini ama iman denmesinin daha do\u011fru oldu\u011funu belirtir. Bu noktada kendi dini olan hristiyanl\u0131\u011f\u0131 \u201cinsana i\u015fkence eden bir iman\u201d olarak tarif ederken \u0130slam\u2019\u0131 tan\u0131mam\u0131\u015f olmas\u0131na hay\u0131flan\u0131r.<\/p>\n

Le Corbusier T\u00fcrk\u2019\u00fcn s\u00fckunetine ve mistisizmine en \u00e7ok bir yang\u0131n vakas\u0131nda \u015fahit olur. 1911 y\u0131l\u0131nda vuku bulan me\u015fhur Aksaray yang\u0131n\u0131 Le Corbusier \u0130stanbul\u2019da iken \u015fehrin \u00f6nemli bir k\u0131sm\u0131n\u0131 k\u00fcle \u00e7evirmi\u015ftir. Yang\u0131n esnas\u0131nda insanlar\u0131n en b\u00fcy\u00fck silah\u0131- n\u0131n tevekk\u00fcl oldu\u011fundan dem vurur. Yemye\u015fil ve ah\u015fap \u0130stanbul\u2019un en b\u00fcy\u00fck handikap\u0131 yang\u0131nd\u0131r. Bu muhte\u015fem \u015fehrin, yang\u0131n\u0131 da muhte\u015femdir ve ka\u00e7\u0131r\u0131lmamas\u0131 gereken bir seyirliktir. Yang\u0131n \u0130stanbul\u2019un \u00f6l\u00fcm\u00fc ya da can \u00e7eki\u015fmesidir, bir canl\u0131 b\u00fct\u00fcn kudretini can \u00e7ekerken g\u00f6sterir ve bir canl\u0131 ne kadar b\u00fcy\u00fckse can \u00e7eki\u015fmesi de o kadar trajik olur. Yang\u0131n ayn\u0131 zamanda \u0130stanbul\u2019un i\u00e7kin tezad\u0131n\u0131 da g\u00f6zler \u00f6n\u00fcne serer: bir tarafta \u0130stanbul k\u00fcl olurken \u00f6b\u00fcr tarafta kar\u015f\u0131 tepede me\u015frutiyet kutlamalar\u0131, \u015fenlikler, vard\u0131r. Bir tarafta \u0130stanbul a\u011fl\u0131yor iken \u00f6b\u00fcr tarafta Peral\u0131 Rum b\u0131y\u0131k alt\u0131ndan g\u00fcl\u00fcyordur.<\/p>\n

\u0130stanbul\u2019da fanilerin evleri ah\u015faptan, Allah\u2019\u0131n evleri ise ta\u015ftan der Le Corbusier. \u0130nsan\u0131n fanili\u011fine, Allah\u2019\u0131n ebedili\u011fine basit bir g\u00f6ndermedir bu. Le Corbusier \u0130stanbul\u2019un camilerini sevmek i\u00e7in \u00e7ok \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 s\u00f6yler, onlara al\u0131\u015fmak kolay de\u011fildir. Bir camide\u00a0en \u00e7ok dikkatini \u00e7eken, onun g\u00f6ky\u00fcz\u00fcne nazire olan kubbesidir, kubbeyi \u201cbildi\u011fim en \u015fiirsel mimari yarat\u0131mlardan biridir\u201d diye \u00f6ver. Ah\u015fap T\u00fcrk evi olan kona\u011f\u0131n ise mimari bir \u015faheser oldu\u011funu s\u00f6yler.<\/p>\n

Camilerden sonra Le Corbusier\u2019in dura\u011f\u0131 mezarlard\u0131r. Mezarlar sadece \u00f6l\u00fclerin g\u00f6m\u00fcld\u00fc\u011f\u00fc bir yer de\u011fil, etraf\u0131nda hayat\u0131n akt\u0131\u011f\u0131 canl\u0131 bir yerdir, \u0130stanbul\u2019un ya\u015fayan ve ondan ayr\u0131lmaz bir par\u00e7as\u0131d\u0131r. Yazar T\u00fcrk\u2019\u00fcn hayat\u0131n\u0131n Cami-Kahve-Mezar \u00e7izgisinde ilerledi\u011fini kaydeder.<\/p>\n

Le Corbusier t\u0131pk\u0131 \u0130stanbul ve camiler gibi \u0130stanbul kad\u0131nlar\u0131ndan da ilk \u00fc\u00e7 hafta nefret etmi\u015ftir. Sonra ne hikmetse onlardaki \u0131\u015f\u0131\u011f\u0131 fark etmi\u015f ve sevmeye ba\u015flam\u0131\u015ft\u0131r. \u201cGizli hazine\u201d olarak g\u00f6rd\u00fc\u011f\u00fc T\u00fcrk kad\u0131n\u0131n \u00f6rt\u00fcnmesini \u201czorbaca (belki de bilgece) bir adet\u201d diye tan\u0131mlayarak anlamaya \u00e7al\u0131\u015f\u0131r. Kad\u0131nlarla konu\u015fmay\u0131 i\u00e7inden ge\u00e7irmi\u015ftir, ancak bir yabanc\u0131 olarak bunun tehlikeli olabilece\u011fini s\u00f6yler, T\u00fcrk\u2019\u00fcn namus konusunda ba\u015f-tan beri uzun uzun anlatt\u0131\u011f\u0131 o s\u00fck\u00fbnetini terk edip bir canavara d\u00f6n\u00fc\u015fece\u011finden dem vurur.<\/p>\n

Le Corbusier kahveleri de ziyaret eder. Huzur dolu, sessiz, sakin ve serin bir dinlenme mek\u00e2n\u0131 olan kahvelerdeki ya\u015fl\u0131lar\u0131n nas\u0131l ne\u015feli, parlak y\u00fczl\u00fc ve sevimli oldu\u011fundan bahseder, sa\u011fl\u0131klar\u0131n\u0131n ise ibadetlerine bor\u00e7lu oldu\u011funu belirtir. Le Corbusier kimsenin konu\u015fmad\u0131\u011f\u0131 bu sessiz kahve ortam\u0131na ve kahvenin \u00f6n\u00fcndeki a\u011fac\u0131n serin g\u00f6lgesine hayran kalm\u0131\u015ft\u0131r.<\/p>\n

Le Corbusier \u00e7ar\u015f\u0131ya da gider. Fakat \u00e7ar\u015f\u0131 farkl\u0131d\u0131r. Bir kere h\u0131zl\u0131, hareketli ve g\u00fcr\u00fclt\u00fcd\u00fcr. Le Corbusier s\u00fcrekli s\u00fck\u00fbnetinden dem vurdu\u011fu insanlar\u0131n burada bu kadar h\u0131zl\u0131 ve y\u00fcksek sesle konu\u015fmas\u0131na \u015fa\u015f\u0131rm\u0131\u015ft\u0131r. Dahas\u0131 T\u00fcrk t\u00fcccar\u0131n\u0131 \u00fc\u00e7 ka\u011f\u0131t\u00e7\u0131 bulur, zira s\u0131radan fabrikasyon \u00fcr\u00fcnleri, \u0130ran\u2019dan geldi, otantik, el yap\u0131m\u0131 diye pahal\u0131 satmaya \u00e7al\u0131\u015f- m\u0131\u015flard\u0131r. Bir sat\u0131c\u0131dan duydu\u011fu \u015fu s\u00f6zler yoruma gerek b\u0131rakmaz: \u201cM\u00f6sy\u00f6, bu el yazmas\u0131 var ya, \u015ferefim \u00fczerine yemin ederim ki ba\u015ftan a\u015fa\u011f\u0131 elde yaz\u0131lm\u0131\u015ft\u0131r!\u201d Turiste g\u00f6sterilen bu \u00fc\u00e7 ka\u011f\u0131t\u00e7\u0131l\u0131\u011f\u0131 bir tarafa b\u0131rak\u0131rsak yazar\u0131n hem T\u00fcrklerin s\u00fckunetini hem de \u00e7al\u0131\u015f\u0131rken g\u00f6sterdi\u011fi enerjiyi anlat\u0131rken abartt\u0131\u011f\u0131n\u0131 s\u00f6yleyebiliriz. Bir \u015fark insan\u0131 olarak T\u00fcrk\u2019\u00fcn bu ikisi aras\u0131nda kurdu\u011fu dengeyi anlayamam\u0131\u015ft\u0131r.<\/p>\n

Le Corbusier \u0130stanbul\u2019daki modern mimariyi ise \u0130stanbul\u2019a bir hakaret kabul eder. Be\u015fikta\u015f\u2019taki saraylar\u0131 i\u011fren\u00e7 bulur. \u201c\u2026 ey J\u00f6n T\u00fcrklerin \u00fclkesi, ilk eserlerin bunlar m\u0131?\u201d diye k\u00fc\u00e7\u00fcmsemesine devam eder. Yazar bu noktada ne padi\u015fah ismine ne de y\u00f6netimde kimin oldu\u011funa dikkat \u00e7eker, modern mimariye J\u00f6n T\u00fcrk mimarisi deyip tek kalemde \u00fcst\u00fcn\u00fc \u00e7izer. Eserin II. Abd\u00fclhamit d\u00f6neminde ya da \u0130ttihat ve Terakki d\u00f6neminde yap\u0131lm\u0131\u015f olmas\u0131 bir \u015feyi de\u011fi\u015ftirmez. Sonu\u00e7ta J\u00f6n T\u00fcrkle\u015fmeyi (modernle\u015fmeyi) \u0130stanbul\u2019un felaketi olarak g\u00f6r\u00fcr, ona g\u00f6re 1911 y\u0131l\u0131 \u0130stanbul\u2019un alacakaranl\u0131\u011f\u0131d\u0131r. Bu noktada \u015fu tespiti al\u0131nt\u0131lamaya de\u011ferdir: \u201cKanlar\u0131na hala dokunulmam\u0131\u015f olanlar neden bizim en k\u00f6t\u00fc yanlar\u0131m\u0131z\u0131 almakta bu kadar acele ediyorlar.\u201d<\/p>\n

\u201c\u015eark\u0131n tamam\u0131 da simgelerden yap\u0131lm\u0131\u015f gibi geldi\u201d der Le Corbusier, bu noktada hakl\u0131d\u0131r. Fakat mesele bu simgelerin neyi simgeledi\u011fini anlayabilmektir ki bu da olduk\u00e7a \u00e7etrefilli bir konudur. Zira d\u0131\u015far\u0131dan olan ya\u015famad\u0131k\u00e7a tam olarak bu simgeleri anlayamaz, ya\u015fayan ise kesin olarak tarif edemez. B\u00f6ylece \u015fark Le Corbusier\u2019in de tespiti \u00fczere hep gizem olarak kal\u0131r. H\u00e2lbuki modern olan b\u00f6yle de\u011fildir. Zira modern olan, simgesel boyuta da \u015f\u00fcphesiz sahip olarak, daha ziyade fonksiyoneldir. Bir \u015feyin fonksiyonu ise kendini a\u00e7\u0131k\u00e7a belli eden bir olgudur. Fonksiyon kendini geli\u015ftirmeye a\u00e7\u0131k bir olgudur. Di\u011fer taraftan simgesel olan derinle\u015fmeye a\u00e7\u0131kt\u0131r. Fakat 19. y\u00fczy\u0131ldan bu yana \u015fark\u0131n kendisi dahi bu simgelere vak\u0131f olamad\u0131 ya da vak\u0131f oldu\u011fu kadar\u0131yla bunlar\u0131 ink\u00e2r etti. Sonu\u00e7ta bir taraftan devlet eliyle, bir taraftan m\u00fcteahhit eliyle, ba\u015fka bir taraftan fakir halk\u0131n eliyle \u0130stanbul bu simgeselli\u011fini kaybetti. Simgesel d\u00fcnya derinle\u015fmedi, tersine y\u00fczeyselle\u015fti. \u015eehrin b\u00fct\u00fcn anlam\u0131 ve de\u011feri olan bu simgesel d\u00fcnya \u00f6nce g\u00f6rkemini, sonra \u00f6nemini, sonra da hayatlara akseden \u00f6zelli\u011fini kaybetti. Dahas\u0131 bu d\u00fcnya ac\u0131mas\u0131zca y\u0131k\u0131ld\u0131, elde tutuldu\u011fu kadar\u0131yla da m\u00fczele\u015fti, donukla\u015ft\u0131. K\u0131saca \u015farka en b\u00fcy\u00fck k\u00f6t\u00fcl\u00fc\u011f\u00fc \u015farkl\u0131n\u0131n kendisi yapt\u0131.<\/p>\n

\u015e\u00fcphesiz bir bat\u0131l\u0131n\u0131n \u015fark hayali, \u015farkta g\u00f6rd\u00fc\u011f\u00fc ya da g\u00f6rmek istedi\u011fi \u015feyler ile onun \u015fark anlat\u0131s\u0131 \u015fark\u0131n kendisi i\u00e7in referans te\u015fkil edecek de\u011fildir. Ancak bu noktada \u015fu soru sorulmal\u0131d\u0131r: \u015eark\u0131n kendisi, yani \u015farkl\u0131lar \u015fark\u0131 ne kadar bilmektedir, bir \u0130stanbullunun \u015fehir alg\u0131s\u0131 ne derece \u015farka, \u0130stanbul\u2019a \u00f6zg\u00fcn bir \u015fehir alg\u0131s\u0131d\u0131r ya da bug\u00fcn\u00fcn \u0130stanbullusu 1911 \u0130stanbul\u2019unu ne derece bilmekte, hissetmekte, ya\u015famakta ve o kimli\u011fe sahip \u00e7\u0131kmaktad\u0131r? K\u0131saca \u015fark garb\u0131 referans almasa da, kendisini unuttu- \u011fu noktalarda bir bat\u0131l\u0131n\u0131n \u00f6\u011frettiklerine de ihtiya\u00e7 duyar.<\/p>\n

Makaleyi \u0130ndirmek \u0130\u00e7in T\u0131klay\u0131n :\u00a0LE CORBUS\u0130ER\u2019\u0130 B\u0130L\u0130R M\u0130S\u0130N\u0130Z? \u2013 \u015eARK SEYAHAT\u0130<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Bir grup mimarl\u0131k \u00f6\u011frencisi hasb\u0131hal etmek \u00fczere Mimar Turgut Cansever\u2019i ziyaret etti\u011finde, Cansever Le Corbusier\u2019den bahsederken s\u0131kl\u0131kla bu bahislerin ba\u015f\u0131na \u201cLe Corbusier\u2019i bilir misiniz?\u201d…<\/p>\n","protected":false},"author":12,"featured_media":2605,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[63],"tags":[274,272,270,275,271,111,273],"class_list":["post-2604","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kitap-seckileri","tag-dogu-kulturu","tag-dogu-bati","tag-le-corbusier","tag-sark-kulturu","tag-sark-seyahati","tag-turgut-cansever","tag-turkiye","post-item"],"_links":{"self":[{"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/posts\/2604","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=2604"}],"version-history":[{"count":6,"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/posts\/2604\/revisions"}],"predecessor-version":[{"id":2645,"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/posts\/2604\/revisions\/2645"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/media\/2605"}],"wp:attachment":[{"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/media?parent=2604"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/categories?post=2604"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.tasarimgunlukleri.net\/index.php\/wp-json\/wp\/v2\/tags?post=2604"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}