1950-60 arası Türkiye mimarlığı'nda özgünlük arayışları

Özet

Bu çalışma problem alanını mimarlığın en temel tartışma boyutlarından biri olan “özgünlük” kavramına dayandırmakta ve Türkiye'deki mimarlık üretiminin, Modern Mimarlık ile ilişkisinde son derece kritik bir dönem olan 1950-60 arası ürünlerindeki özgünlük arayışları ve özgünlüğe ulaşma biçimlerini, seçilen örnekler üzerinden tartışmaktadır. Çalışmada izlenen yöntem ise; literatür araştırmasına bağlı teorik bağlamın ortaya konması, incelenen döneme özgü farklılıkların belirlenmesi ve bunların, dönem mimarlarıyla yapılan görüşmelerle mimarlık alanındaki izlerinin bulunmaya çalışılmasıdır. Çalışmada özgünlük, mekan kurgusu, form, malzeme-teknoloji ve yere özgülük bağlamlarında incelenmiş ve tasarımcının biçimi düşünme yaklaşımlarından yararlanarak, yenilikçi (innovative) ve yaratıcı (creative) olmak üzere farklı düzeylerde ele alınmıştır. Bu bakış açısıyla da 1950-60 arasına ait mimari ürünler değerlendirilmiştir ve bu ürünler üstünden özgünlük kavramı anlaşılmaya çalışılmıştır. Modern Mimarlık 1950-60 arası Türkiye Mimarlığı’nda 1930’ların ardından ikinci kez gündeme gelmiş ve ülke mimarlığının bundan sonraki gelişiminde önemli rol oynamıştır. Bu dönem içindeki bazı ürünlerin gerek biçim gerek içerik olarak birtakım özgünlükler barındırdıkları görülmektedir. Üretken bir yorum sürecinin ürünü olan bu ürünler hazır kalıpların ötesine geçme çabalarıyla üzerinde durulmaya değer mimarlık örnekleri olarak karşımıza çıkmaktadırlar.

Abstract

The major objective of this study is to define originality making use of different viewpoints and contexts and to discuss originality by exploring the cases that are regarded to reflect the 1950-60 periods’ architecture and the process of being original. The research methodology includes the theoretical context based on an extensive literature survey, analysis of the distinctions of the period under consideration, and investigation of the impact of these distinctions in the field of architecture through the interviews conducted with the architects of that period. Originality that has begun expressing itself in architecture since 19th century and previously covered a small intellectual area in the familiar concerns of architecture, similar to the other fields, is a different meaning, expression, search and defines a new interpretation and a different identity. Originality can be searched by means of spatial features, form, material-technology and context and evaluate in the levels of being innovative (refinement) or creative (heuristic). It can be assetted that the most important revolutions in architecture occurs by the space being thought by means of void. Architectural design should be thought not by means of the function or solid components of the space but by void itself. Thinking the void in designing process can create more original results and reveals an architecture which is not generic. The uniqness of the form is either an important way of originality. More, differences in using the materials and technology can reveal originalities. Architecture, differing from other design products, exists with a constant “place”. So “place” is the significant data for architecture and sensibility to context adds dissimilar diamentions to the buildings originality. “Originality” has not been a concept that was discussed and considered widely within the period before modernism. It has been important for the architects to be included in movements and styles. Actually, existence of the formal approach that is offered by the movements and styles bound originality. In this respect, Modern Architecture can be regarded as not being dominant like previous movements. Formal impositions become ordinary and generic when they arise. In other words, Modern Architecture, which comes out as a result of a critical process developed with modernism, can be reported to be “original” itself through its conflict with tradition. However, as soon as Modern Architecture transits to original phase, it has a favorable structure to produce generic conditions. Indeed, within the evolution of architecture, Modern Architecture has a very important role due to its conflict with tradition and creating an antithesis with its preceding architecture as a refusal of history-defense. As far as the probability of development to exist in a thesis-antithesis continuity is concerned, Modern Architecture is a milestone for the evolution of humankind based on its efforts to communicate the era with the era’s expressions and the rational and ethical values/ principles. Modern Architecture in Turkish Architecture within the period of 1950-60 has become popular for the second time after 1930s and has played a major role in the development of Turkish Architecture afterward. It can be claimed that the architecture of 1950-60 is a milestone for the modernism adventure of the Turkish Architecture. 1950s are the years that Turkish Architecture has reached its features of being globalized and future-oriented in the way of a productive settlement with modernism. It is observed that some buildings belonging to the architecture of 1950- 60 contain some type of originality both formal and conceptual. Buildings that are the outputs of a productive interpretation process strive for going beyond the formworks. Within the design process, interpretations, transformations and the quality of renewals appear in buildings in different traits based on the approach of the designer. Besides, conservation of modern architectural works is an important issue that should be carefully discussed. Originality, similar to conservation, is not a concept that can be negotiated easily. Criticizing the buildings as being “Western reproductions” or copies without concentrating on them sufficiently, makes it more difficult to mention originality and preserve them as an architectural heritage as well. In summary, the period of 1950-60 has a fair importance for the development of Turkish Architecture and the “originality” search grown around the modernism movement that is especially dominant in the architecture field, has distinguished this period’s architecture from others. It is strongly believed that the originality search of our current architecture will benefit from the originality search during 1950s within the modern language.