{"id":133,"date":"2022-03-24T11:27:02","date_gmt":"2022-03-24T08:27:02","guid":{"rendered":"https:\/\/mekon.ayvansaray.edu.tr\/?page_id=133"},"modified":"2022-03-31T13:54:15","modified_gmt":"2022-03-31T10:54:15","slug":"kongre-icerigi","status":"publish","type":"page","link":"https:\/\/mekon.topkapi.edu.tr\/index.php\/kongre-icerigi\/","title":{"rendered":"Kongre \u0130\u00e7eri\u011fi"},"content":{"rendered":"\n

B\u0130R \u0130LET\u0130\u015e\u0130M ARACI OLARAK MEKAN<\/strong><\/p>\n\n\n\n

MEKANIN \u0130LET\u0130\u015e\u0130M\u0130<\/strong>
\u0130LET\u0130\u015e\u0130MDE MEKAN<\/strong><\/p>\n\n\n\n

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Ba\u015fdiyakoz Claude Frollo \u015f\u00f6yle der: \u201c\u0130\u015fte bu \u00f6ld\u00fcrecek onu, kitap binay\u0131 \u00f6ld\u00fcrecek\u201d \u2026 Matbaa mimarl\u0131\u011f\u0131 \u00f6ld\u00fcrecektir. Hugo\u2019nun romandaki mimarl\u0131k anlat\u0131s\u0131na g\u00f6re, matbaac\u0131l\u0131kta kullan\u0131lan dizgi harflerinin icad\u0131na kadar mimarl\u0131k \u201cinsanl\u0131\u011f\u0131n b\u00fcy\u00fck kitab\u0131\u201d idi. Kolektif varolu\u015fun kayd\u0131 ve an\u0131t\u0131yd\u0131. Asl\u0131nda mimarl\u0131k yaz\u0131n\u0131n bir t\u00fcr\u00fcyd\u00fc: Her kabartma ta\u015f bir harfti; her s\u00fctun ba\u015f\u0131n\u0131n bir anlam\u0131 vard\u0131; ah\u015fap ve ta\u015ftan dile getirilmi\u015f harfler ve s\u00f6zc\u00fckler, toplulu\u011fun ar\u015fiviydi\u2026<\/span> <\/em> <\/p><\/p>\n\n\n\n

\u00d6rne\u011fin S\u00fcleyman\u2019\u0131n Tap\u0131na\u011f\u0131, kutsal kitab\u0131n cildinden ibaret de\u011fildi, kutsal kitab\u0131n bizzat kendisiydi. Dolay\u0131s\u0131yla kelam, binada mazruftu, ama imgesi \u2013t\u0131pk\u0131 bir mumya mezar\u0131ndaki insan fig\u00fcr\u00fc gibi\u2013 zarf\u0131n \u00fczerindeydi.<\/span><\/em> \n
Cousins M., 2021, \u201c\u00c7irkin: \u00dc\u00e7\u00fcnc\u00fc B\u00f6l\u00fcm\u201d, \u00c7eviri: Ak\u0131n Terzi, Skop Dergi, Say\u0131 19, Eri\u015fim Tarihi 07.02.2022<\/span><\/p>\n<\/div>\n<\/div>\n\n\n\n

Mekan bir ileti midir yoksa  iletinin bi\u00e7imi midir? Mekan\u0131n bir aidiyeti var m\u0131d\u0131r? Mekan\u0131n haf\u0131zas\u0131 var m\u0131d\u0131r? Mekan\u0131n kimli\u011fi nas\u0131l olu\u015fur? Mekan bir g\u00f6sterge midir?<\/p><\/p>\n\n\n\n

Mekan bir sosyolojik, politik, toplumsal, fiziki, alg\u0131sal, ideal, yap\u0131y\u0131 tan\u0131mlamas\u0131n\u0131n yan\u0131 s\u0131ra, \u201ci\u00e7erik\/bi\u00e7im\u201c ba\u011flam\u0131nda bir s\u00f6zd\u00fcr, bir kendili\u011finden veya tasarlanm\u0131\u015f bir metindir. Bu s\u00f6z\u00fcn, metnin kime ait oldu\u011fu, hangi d\u00f6nemde ve kime s\u00f6ylendi\u011fi \u00f6nemlidir. Bir yap\u0131y\u0131, kurulu\u015fu olu\u015fturan\/olu\u015fturulan t\u00fcm \u00f6\u011feler, metnin anla\u015f\u0131lmas\u0131n\u0131 sa\u011flar. Mekanda s\u00f6zc\u00fckler, kurgunun, mimari elemanlar\u0131n ard\u0131nda gizlidir. Ancak, bu durum mimari mekan\u0131n bir metin olarak okunmas\u0131n\u0131 ya da kurulmas\u0131n\u0131 engellemez. Kurgunun ard\u0131ndaki i\u00e7erik, i\u015faretler ve g\u00f6stergeler arac\u0131l\u0131\u011f\u0131 ile anlam\u0131 kurar. Mekan\u0131n bir metin olarak okunmas\u0131, ayn\u0131 zamanda \u00f6z\u00fcn\/i\u00e7eri\u011fin ke\u015ffedilmesi anlam\u0131na gelmektedir. <\/p><\/p>\n\n\n\n

Bir sosyolog i\u00e7in mekan bir kabuktur; sard\u0131\u011f\u0131 kimli\u011fin veya kimliklerin d\u0131\u015ftan g\u00f6r\u00fcn\u00fcm\u00fcd\u00fcr. Bir mimar i\u00e7in kovuktur; s\u0131\u011f\u0131nd\u0131\u011f\u0131m\u0131z korundu\u011fumuz ve mutluluk veya mutsuzluk an\u0131lar\u0131n\u0131 biriktirdi\u011fimiz. Tarih\u00e7i i\u00e7in toplumsal haf\u0131za depolar\u0131d\u0131r, tarih mekanlar\u0131n i\u00e7ine saklanan zamanlard\u0131r. Sanat\u00e7\u0131 i\u00e7in sanat\u0131n\u0131 var eden bir bo\u015fluktur konumlanmaya ve konumland\u0131rmaya ihtiya\u00e7 duyan. \u0130leti\u015fim uzmanlar\u0131 mekan\u0131 g\u00f6sterge kurucusu olarak tan\u0131mlar; her t\u00fcrl\u00fc apolitik\/politik yakla\u015f\u0131mlar\u0131, g\u00fcncel ve pop\u00fcler olan\u0131 onlara  mekan metinle\u015ferek okutur. <\/p><\/p>\n\n\n\n

Mekan tarihsel s\u00fcre\u00e7 boyunca pek \u00e7ok medeniyette, \u00e7e\u015fitli i\u015flevleri y\u00fcklendi; mekan ve onun y\u00fczleri bir kitap gibi bug\u00fcnden daha g\u00fc\u00e7l\u00fc bir anlat\u0131c\u0131 ve ileti\u015fim arac\u0131 olarak i\u015flev g\u00f6rd\u00fc. Dinlerin hikayeleri, y\u00f6netenlerin iktidarlar\u0131 mekan \u00fczerinden okundu. Bir ileti\u015fim arac\u0131 olarak y\u00fcceli\u011fin, g\u00fczelli\u011fin bilgeli\u011fin, iktidar\u0131n g\u00fcc\u00fcn\u00fc g\u00fc\u00e7s\u00fczl\u00fc\u011f\u00fcn\u00fc iletti. Adeta ge\u00e7mi\u015f zamanlar\u0131n bir hikaye anlat\u0131c\u0131s\u0131 idi. Victor Hugo matbaa ve mimarl\u0131k aras\u0131ndaki ili\u015fki \u00fczerine \u201ckitap, mabedi \u00f6ld\u00fcrecek.\u201d diyerek mimarl\u0131\u011f\u0131n yok olu\u015funu imler. Matbaan\u0131n kitab\u0131 seri ve \u00e7ok\u00e7a \u00fcreterek halka metinleri \u00e7o\u011falt\u0131lmas\u0131yla, mimarl\u0131\u011f\u0131n ileti\u015fim arac\u0131 i\u015flevinden kopu\u015funa dikkat \u00e7eker. <\/p><\/p>\n\n\n\n

Modern zamanlar\u0131n ba\u015flang\u0131c\u0131nda y\u00fczy\u0131llarca \u00fcstlendi\u011fi g\u00f6revin \u00fcretti\u011fi \u201canlam ta\u015f\u0131y\u0131c\u0131l\u0131\u011f\u0131\u201d i\u015flevi, \u201caz \u00e7oktur\u201d manifestosuyla \u00fcst\u00fcnden bir y\u00fck gibi at\u0131l\u0131verdi. Ancak bu s\u00fcre\u00e7 \u00e7ok uzun s\u00fcremedi ve mekan eski ileti\u015fim arac\u0131 olma i\u015flevini hat\u0131rlad\u0131. Bu hat\u0131rlay\u0131\u015f iyi ve k\u00f6t\u00fc sonu\u00e7lara neden oldu. Toplumsal haf\u0131za mekan\u0131n hat\u0131rlay\u0131\u015f olmas\u0131n\u0131 tart\u0131\u015ft\u0131 ve modern zamanlara ait olan bellek mekanlar\u0131n\u0131 kavram\u0131n\u0131 olu\u015fturdu. Ancak mekan neoliberal politikalarda bir g\u00fc\u00e7t\u00fc, y\u00fckselerek g\u00fcc\u00fcn tan\u0131mlanmas\u0131na, \u00e7o\u011falarak ve b\u00fcy\u00fcyerek do\u011fan\u0131n yok edilmesine ve sonu\u00e7ta politik kararlar\u0131n g\u00f6stergelerine d\u00f6n\u00fc\u015ft\u00fc. \u0130llegal mekanlar fakirli\u011fin ve yoksullu\u011fun a\u00e7\u0131\u011fa \u00e7\u0131kar\u0131lmas\u0131na, rant\u0131n, kontrols\u00fczce b\u00fcy\u00fcmenin yeg\u00e2ne yuvas\u0131 haline geldi. <\/p><\/p>\n\n\n\n

G\u00fcn\u00fcm\u00fcz mekan\u0131 yeni durumlar ve yakla\u015f\u0131mlarla yeniden tan\u0131mlan\u0131yor. Sanal mekanlar \u00e7o\u011falt\u0131lm\u0131\u015f ger\u00e7ekli\u011fin mekanlar\u0131 gibi. Ancak mekan hala tart\u0131\u015fma konusu olmaktan pek de uzakla\u015fmad\u0131. Bu tart\u0131\u015fmalar t\u00fcm \u00f6l\u00e7ekteki tasar\u0131mc\u0131lar\u0131, sanat\u00e7\u0131lar\u0131, sinemac\u0131lar\u0131, anlambilimle u\u011fra\u015fanlar\u0131, ileti\u015fim bilimcilerini, sosyologlar\u0131, psikologlar\u0131, sosyo-politik \u00e7al\u0131\u015fanlar\u0131, politika \u00fcreticilerini kapsar ve sorumlulu\u011fa davet eder. <\/p><\/p>\n\n\n\n

Bu kongre \u00e7al\u0131\u015fmas\u0131nda, yukar\u0131da a\u00e7\u0131klanan bi\u00e7imiyle mekan kavram\u0131 disiplinleraras\u0131 ba\u011flamda tart\u0131\u015f\u0131lacakt\u0131r. Mekan bu \u00e7al\u0131\u015fmada mimari bir disiplin ba\u011flam\u0131ndan daha geni\u015f bir ba\u011flamda okunmal\u0131 ve \u00e7al\u0131\u015f\u0131lmal\u0131d\u0131r. Ara\u015ft\u0131rma konusunun ba\u015f akt\u00f6r\u00fc bir ileti\u015fim arac\u0131 olarak mekan olacak ve a\u015fa\u011f\u0131daki ba\u015fl\u0131klarda tart\u0131\u015f\u0131lacakt\u0131r.<\/p><\/p>\n\n\n\n

Konu Ba\u015fl\u0131klar\u0131<\/h3>\n\n\n\n