Mimarlık, bilgisayar ve sinema: Thomas' nın sanal evi

Özet

John Rajchmam 'in "sanal ev" kavramı, bilgisayar çağında sanallaşan mimarlığın yeni oluşumlarına ışık tutmaktadır. Rajchman Yapılar (Constructions) (1998) kitabında iki sanal ev tanımlar: bilgisayarla desteklenerek sanallaşan akıllı ev ve insanın varlığı ile evleşen internetin sanal ortamı. Bu çalışma Rajchman 'in çift anlamlı sanal ev kavramından yola çıkarak insan-makina-mekan üçgeninin karmaşık ilişkisini bilimkurgu sineması aracılığı ile incelemekledir. Sanal evlerin benzer ve farklı özellikleri Pierre-Paul Renders 'ın yakın gelecek filmi Aşık Thomas (Thomas in Love) (2000) özelinde ortaya konmakta, sanal evin mimarlığa katkısı üzerinde durulmaktadır.

Abstract

John Rajchman's "virtual house" concept questions the virtualization of architecture in the computer age. He defines two virtual houses in Constructions (1998): a smart house equipped with computers and a virtual house within the computer screen. In this study, I uncover the complex relationship of man-machine-space triangle through science fiction cinema using Rajchman's double-sided concept of virtual house. Similar and different features of the virtual houses are studied through Pierre-Paul Renders' near future film Thomas in Love (2000). The film depicts the Internet-dependent life of Thomas, an agoraphobe, who cannot stand open space, or any kind of human contact. Connected to an advanced version of the Internet, his "visiophone " is his only contact with the outside world. Thomas lives in two virtual houses, his smart house equipped for his handicapped body and the virtual house within his visiophone. Both houses are framed, confined and introverted. His first virtual house has materiality whereas the second is immaterial. The first house has depth while the second is flattened. The former has continuity; the latter is discontinuous. The wired house is static while the other is mobile. These are the characteristics of the virtual houses. In this unified virtuality, Thomas lives within the duality of the real and the simulated; the duality of the traditional and the technological; the opposition of the architectural and the digital.