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KÜRESEL COĞRAFYALARDA MİMARLIK NESNELERİ Ve YILDIZ MİMARLAR

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KÜRESEL COĞRAFYALARDA MİMARLIK NESNELERİ Ve YILDIZ MİMARLAR T.C. MALTEPE ÜNİVERSİTESİ FEN BİLİMLERİ ENSTİTÜSÜ MİMARLIK ANABİLİM DALI KÜRESEL COĞRAFYALARDA MİMARLIK NESNELERİ ve YILDIZ MİMARLAR DOKTORA TEZİ Esra AKBALIK 13 14 51 101 Danışman Öğretim Üyesi: Prof. Dr. Ferhan YÜREKLİ İstanbul, Eylül 2017 T.C. MALTEPE ÜNİVERSİTESİ FEN BİLİMLERİ ENSTİTÜSÜ MİMARLIK ANABİLİM DALI KÜRESEL COĞRAFYALARDA MİMARLIK NESNELERİ VE YILDIZ MİMARLAR DOKTORA TEZİ Esra AKBALIK 13 14 51 101 Danışman Öğretim Üyesi: Prof. Dr. Ferhan YÜREKLİ İstanbul, Eylül 2017 KÜRESEL COĞRAFYALARDA MİMARLIK NESNELERİ ve YILDIZ MİMARLAR ÖZET Mimarlık üretimi, parçası olduğu çok aktörlü ilişkiler sisteminin -- daha büyük sistemlerin, üretim ilişkilerinin, aktörlerin ve ağların -- tüm dinamiklerini yansıtmaktadır. Bu durum mimarlık üretim süreçlerinde karşılık bulduğu kadar, sonuç ürünleri de doğrudan etkilemektedir. Mimarlık ürünleri, mekânsal ihtiyaçları karşılamanın yanı sıra sosyal ve kültürel biçimlenişin de hem sonuçları hem de aracıları olduğundan, yapılı çevrelerin sahip oldukları fiziksel ve ekonomik değerler yanı sıra üstlendikleri sembolik değerler de inceleme konusudur, olmalıdır. 20.yy’ın ikinci yarısından başlayarak günümüz ortamını tanımlayan küreselleşme ve neoliberalizm kavramları; teknolojik, politik, ekonomik ve sosyal değişimlerin ele alınmasında olduğu kadar mimarlık üretiminin seyrini incelemek için de önemli referanslar oluşturmaktadır. Yeni işbirlikleri, zaman-mekân algısı, bireysellikler, hız, değişim gibi pek çok olguyu barındıran bu ortam içinde mimarlık üretim sürecinin ve özne olarak mimarın nasıl bir pozisyonda durduğunu anlamayı hedefleyen bu tez kapsamında, özellikle sembolik değer üretiminde ön plana çıkan yıldız mimarlar ve ürettikleri ürünler mercek altına alınmaktadır. Bu hedef doğrultusunda öncelikle, kavramsal ve tarihsel bir arka plan değerlendirmesi olarak, 1945’ten günümüze yaşanan değişimler ve bunlara paralel giden yıldız mimar üretimleri ve söylemleri ele alınmış, ardından da seçilen beş çağdaş yıldız mimarın işleri ve söylemleri üzerinden ağ haritalamaları yapılarak daha derinlikli bir kavrayış geliştirilmeye çalışılmıştır. Anahtar Kelimeler: Küreselleşme, Kapitalizm, Yıldız Mimarlar, Ağ Haritalaması, Mimari Söylem iv ARCHITECTURAL ARTIFACTS and STARCHITECTS in GLOBAL GEOGRAPHIES ABSTRACT Architectural production reflects all the dynamics of actors, networks, production processes and bigger systems since it is involved in a system of relations including different actors. This involvement has a direct impact on architectural production processes as much as on final built environments. As architectural products are both results and mediators of social and cultural configurations, besides their spatial and economic values, their symbolic values are also to be defined as research problems. Concepts of globalization and neoliberalism, which are used to describe the period beginning from the second half of the 21th century till today, constitute important references for analyzing the progress of architectural production as much as technological, political, economic and social changes. In the scope of this thesis which aims to understand the position of architectural production processes and the architects as subjects in this setting of new collaborations, space-time perceptions, individualities, speed and change; taking into account their active role in production of symbolic value, starchitects and their design objects are scrutinized. Within this aim, first, changes from 1945 to today and starchitect products and discourses parallel to these changes are embraced as a conceptual and historical background and following this background, a deep understanding is tried to be developed through works and discourses network mapping of five contemporary starchitects. Keywords: Globalization, Capitalism, Starchitects, Network Mapping, Architectural Discourse v ÖNSÖZ “Senin meselen nedir?” sorusunu sorarak bunu takip eden bir tez sürecine girmemi sağlayan ve süreç boyunca güven veren desteğini hep hissettiğim tez danışmanım Sayın Prof. Dr. Ferhan Yürekli’ye, verdikleri cesaret ve verimli geri dönüşler ile yol almama yardımcı olan Sayın Prof. Dr. Semra Aydınlı ve Sayın Prof. Dr. Emre Aysu’ya, Cesaret ve hevesimin kırıldığı noktalarda bana beni hatırlatan değerli dostlarım Yrd. Doç. Dr. Esra Sakınç ve Yrd. Doç. Dr. Pınar Engincan’a, Ağır Dostluk ekibimin sevgili üyeleri Prof. Dr. Emine Onaran İncirlioğlu, Melike ve Betül’e, hayatımın en büyük şansı olarak, koşulsuz ve yargısız her zaman yanımda olan ailem Aysel- Mehmet-Lulu Akbalık ve Ferda-Sinan-Ayşe-Elif Zarakolu’na, sonsuz teşekkürlerimi sunarım. Esra AKBALIK vi İÇİNDEKİLER ÖZET .......................................................................................................................... iv ABSTRACT ................................................................................................................ v ÖNSÖZ ....................................................................................................................... vi ŞEKİL LİSTESİ ........................................................................................................ ix EKLER LİSTESİ .................................................................................................... xvi 1. GİRİŞ ...................................................................................................................... 1 2. KAPİTALİZM, KÜRESELLEŞME VE MİMARLIK İLİŞKİSİ ..................... 7 2.1. Mimarlık, İnşa Etmek ve Ekonomik Sermaye İlişkisi .................................... 12 2.2. Mimarlık, İnşa Etmek ve Kültürel Sermaye İlişkisi ........................................ 18 3. PRATİKLER ve SÖYLEMLER (1945-2017) .................................................... 23 3.1. 1945-1970 / Savaş Sonrası Dönemde Mimarlık Ortamı ................................. 24 3.2. 1970-2017 / Neoliberal Hayaletin Gölgesinde Mimarlık ............................... 28 3.2.1. Rem Koolhaas .......................................................................................... 44 3.2.2. Zaha Hadid ............................................................................................... 80 3.2.3. Frank O. Gehry ...................................................................................... 107 3.2.4. Norman Foster ........................................................................................ 139 3.2.5. Bjarke Ingels .......................................................................................... 161 4. İŞLEVLER, SÖYLEMLER ve KONUMLAR ÜZERİNDEN BİR ZAMAN ÇİZELGESİ ve AĞ HARİTALAMASI ÇALIŞMASI ....................................... 177 4.1. Rem Koolhaas ............................................................................................... 181 4.2. Zaha Hadid .................................................................................................... 186 4.3. Frank Gehry .................................................................................................. 190 4.4. Norman Foster ............................................................................................... 193 4.5. Bjarke Ingels ................................................................................................. 197 vii 5. DEĞERLENDİRME VE TARTIŞMA ............................................................ 202 KAYNAKLAR ........................................................................................................ 210 ÖZGEÇMİŞ ............................................................................................................ 227 viii ŞEKİL LİSTESİ Şekil 1.1 Tezin kavramsal çerçevesi ............................................................................ 4 Şekil 2.1 Çalıştırdıkları mimar sayısına göre dünya çapında önde gelen mimarlık firmaları grafiği………………………………………………………………….......16 Şekil 2.2 Bourdieu’nun ekonomik, sosyal ve kültürel sermaye tanımları..…………19 Şekil 3.1 House VI, Peter Eisenman, 1975, ABD ...................................................... 32 Şekil 3.2 Mimarlık için Reklamlar (Advertisements for Architecture), Bernard Tschumi, 1976-77 ...................................................................................................... 33 Şekil 3.3 Strada Novissima, Venedik Bienali 1. Mimarlık Sergisi (solda), Koolhaas tasarımı, 1980 (sağda) ................................................................................................ 34 Şekil 3.4 “Dekonstrüktivist Mimarlık” sergisi, MoMA, 1988 ................................... 36 Şekil 3.5 Rem Koolhaas, Mimarlık Olarak Berlin Duvarı ......................................... 46 Şekil 3.6 Exodus or The Voluntary Prisoners of Architecture................................... 48 Şekil 3.7 Zaha Hadid (ayakta) Rem Koolhaas, Elia ve Zoe Zenghelis, Madelon Vriesendorp (Sanat dergisi Viz no1, 1978) ............................................................... 51 Şekil 3.8 Hollanda Parlamentosu Ek Binası yarışma Projesi, The Final Push, OMA, 1979 ............................................................................................................................ 52 Şekil 3.9 Hollanda Dans Tiyatrosu dış ve iç görünüş, OMA, 1987 ........................... 55 Şekil 3.10 CCTV Genel Müdürlük Binası (2002-2012) ............................................ 63 Şekil 3.11 Content sergisi için hazırlanan kitap-katalog kapağı ................................ 66 Şekil 3.12 Avrupa’nın İmajı çalışması kapsamında Barkod tasarımı (2001) ve Brüksel Sergisi (2008) ..............................................................................................
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