Temsil tektonik gerilimleri Mies Van Der Rohe
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Tarih
2019
Yazarlar
Dergi Başlığı
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Cilt Başlığı
Yayıncı
İstanbul Bilgi Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Bu çalışma, Ludwig Mies van der Rohe’nin (1886-1969) “Baukunst” yani yapı sanatı teorisini, tektonik kavramı bağlamında Mies’in üretmiş olduğu temsiller üzerinden karşılaştırmalı olarak yorumlar. Tektonik kavramı ve Mies’in temsilleri arasında tanımlanan ilişkinin, onun ifadelerini ve yapılarını yorumlayabilecek bir çerçeve olarak kullanılabilmesi için, temsil ve tektonik kavramlarının daha genel anlamda mevcut tanımları toplanarak sınıflandırılmaya, ve tarihsel gelişimleri açıklanmaya çalışılır. Mimari temsilin tarihsel gelişimini değerlendirmek ve Modern Dönemde geldiği noktayı anlamak, Mies van der Rohe’nin temsillerini yorumlamak açısından açıklayıcı olacaktır. Tektonik kavramı ise, Mies van der Rohe için doğrusal elemanların birleşim noktalarıyla bir araya geldiği ve hafif malzemelerle doldurulduğu “çerçeve sistemli bir yapı sanatı”na işaret eder. Tektonik ve temsil kavramları arasındaki ilişki Mies’in eserleri özelinde incelenirken, Mies’in yapı sanatı kuramı referans alınır. Mies, mimarisinin tektonik ifadesini yapı sanatı olarak adlandırır. Yapı sanatında, çerçeveler oluşturma fikri ve geniş açıklıklı strüktürler, Mies’ci mekanın atmosferini oluşturan sistemdir ve dış dünyayla kurulan bir ilişkidir. Mies’in kariyeri boyunca tasarımlarını etkileyen kritik tektonik yaklaşım temiz açıklıklardır. 1926’dan sonra iç mekanda açıklıklar oluşturmaya odaklanır, 1930’larda ise Karlfried Graf Dürckheim (1896-1988) ile tanıştıktan sonra – Dürckheim Lao-Tzu felsefesini özümser – Mies mimari yaklaşımının yapıların maddeselliğinin ötesinde olduğuna işaret eder. Mimarisini, Lao-Tzu boşluklarının potansiyelini sorgulayarak ve minimalist çerçeveler oluşturarak, kendi deyimiyle “neredeyse hiçbir şey” formuna ulaştırmaya çalışır. Mies van der Rohe mimarisi klasik tektonik kavramının dışında kaldığından, eleştirmenler yer yer Mies’ci tektoniği kararsız bulur. Mies farklı malzemelerin birleşim detaylarını göstermemeye çabalar, teknolojiyi ve endüstriyel malzemeleri kullanmanın önemine dikkat çeker ancak temsillerinde bunlar açık olarak görülmez. Açıklamaları ve üretimleri arasında yer yer zıtlıklar gözlemlenebilir. Bu bağlamda ilk bakışta mimari yaklaşımı tektonik açıdan kararsız olarak değerlendirilebilir. Strüktürün belirleyici olduğu, prensiplere dayalı, bir yandan da atmosferik ve soyut olan, Mies’ci tektonik ifadeyi anlamak için, onun sözlü açıklamalarında yer bulmayan, ancak pratikte dikkat çeken temsilleri incelenir. Özellikle Modern Dönemde, mevcut temsillerinin dışına çıkan, dönemin sanat akımlarından etkilenmiş çizimler ve kolajlar, Mies’in tektonik yaklaşımına dair ipuçları bulundurur. Onun tektonik kavramı ve temsilleri arasında doğrusal bir ilişki kurmak mümkün değildir, yalnızca tek şekilde formüle etmek zordur ancak tam olarak bir ilişki olmadığını söylemek de yanlış olacaktır. Mies van der Rohe, teknik çizim, perspektif, fotomontaj ve kolaj gibi birden fazla tekniği aktif olarak kullanır. Bazen bir proje için bütün bu temsilleri ürettiği görülür ve her temsil tekniğiyle işaret etmek istediği ya da gizlemek istediği noktalar farklıdır. Bu bağlamda Mies’in tektonik yaklaşımı ve temsilleri arasındaki ilişki bir tür gerilim olarak adlandırılır. Mies van der Rohe, kendi yapı sanatını gerçekleştirmek için, dışa dönük temiz açıklıkları içeren, tektonik olarak bütünleşmiş bir yapının en üst seviyesine – bu tez çalışmasındaki adıyla Mies’ci tektoniğe – yaşamındaki son büyük projesi olan, Yeni Ulusal Galeri yapısıyla kavuşur. Bu çalışmada, Mies’in yapı sanatının oluşumu, Mies mekanlarının karakterini oluşturan bileşenlerin ortaya çıkışı, mimarın kariyerindeki anahtar yapıların kendi temsilleri ile karşılaştırılması üzerinden analiz edilir.
Ludwig Mies van der Rohe’s (1886-1969) “Baukunst” theory is interpreted in terms of the tectonic and representations produced by Mies. In order to understand the relationship between the notion of tectonics and representations of Mies as a framework that can interpret his words and structures, the definitions of representation and tectonics are collected through their historical development. Analyzing the historical development of architectural representation and understanding its position in the Modern Era will be illustrative in terms of interpreting the representations of Mies van der Rohe. Mies van der Rohe’s concept of tectonics refers to a frame structure, where linear elements are combined with point details and filled with light materials. When examining the relationship between the concepts of tectonics and representation, Mies’s art of building is taken as a reference. Mies calls the tectonic expression of his architecture as the art of building. In the art of building, the idea of creating frames and structures with clear spans is the system that creates the atmosphere of the Miesian space and defines a relationship with the outside. Throughout his career, the critical tectonic approach that influenced Mies’s designs has been the clear space idea. After 1926, he focused on creating clear spaces in interiors, and after meeting Karlfried Graf Dürckheim (1896-1988) in the 1930s, Mies pointed out that his architectural approach was beyond the materiality of buildings. Mies tries to convey his architecture to the “almost nothing,” by questioning the potential of Lao-Tzu spaces and creating minimalist structural frames. Since Mies van der Rohe’s architecture falls outside the common conception of classical tectonics, critics sometimes find the Miesian tectonics ambivalent. Mies strives not to show the details of the joints of different materials, draws attention to the importance of using technology and industrial materials, but these ideas are not seen clearly in their representations. The contrasts between Mies’s descriptions and productions can be observed occasionally. To understand the Miesian tectonic, which is atmospheric and abstract, based on the principles that the structure is decisive, it is examined over his representations that are not found in their verbal explanations, but are striking in practice. Especially in the Modern Period, the drawings and collages influenced by the art movements of the period, which go beyond the present representations, give hints about the tectonic approach of Mies. It is not possible to form a linear relationship between Mies’s tectonic concept and his representations, it is difficult to formulate it in one way only, but it would be wrong to say that there is not a relationship at all. Mies van der Rohe actively uses multiple techniques such as technical drawing, perspective, photomontage and collage. Sometimes it is seen that he produces all these representations for a project, and each representation technique differs in the points it wants to reveal or hide. In this context, the relationship between Mies' tectonic approach and representations is defined as a kind of tension. In order to realize his art of building, Mies van der Rohe regains the highest level of a tectonically integrated structure with extroverted clear space in the New National Gallery. In this study, the formation of Mies's art of building, the emergence of the components of Mies' spaces are analyzed by comparing the built expressions of specific key buildings of his oeuvre with their representations.
Ludwig Mies van der Rohe’s (1886-1969) “Baukunst” theory is interpreted in terms of the tectonic and representations produced by Mies. In order to understand the relationship between the notion of tectonics and representations of Mies as a framework that can interpret his words and structures, the definitions of representation and tectonics are collected through their historical development. Analyzing the historical development of architectural representation and understanding its position in the Modern Era will be illustrative in terms of interpreting the representations of Mies van der Rohe. Mies van der Rohe’s concept of tectonics refers to a frame structure, where linear elements are combined with point details and filled with light materials. When examining the relationship between the concepts of tectonics and representation, Mies’s art of building is taken as a reference. Mies calls the tectonic expression of his architecture as the art of building. In the art of building, the idea of creating frames and structures with clear spans is the system that creates the atmosphere of the Miesian space and defines a relationship with the outside. Throughout his career, the critical tectonic approach that influenced Mies’s designs has been the clear space idea. After 1926, he focused on creating clear spaces in interiors, and after meeting Karlfried Graf Dürckheim (1896-1988) in the 1930s, Mies pointed out that his architectural approach was beyond the materiality of buildings. Mies tries to convey his architecture to the “almost nothing,” by questioning the potential of Lao-Tzu spaces and creating minimalist structural frames. Since Mies van der Rohe’s architecture falls outside the common conception of classical tectonics, critics sometimes find the Miesian tectonics ambivalent. Mies strives not to show the details of the joints of different materials, draws attention to the importance of using technology and industrial materials, but these ideas are not seen clearly in their representations. The contrasts between Mies’s descriptions and productions can be observed occasionally. To understand the Miesian tectonic, which is atmospheric and abstract, based on the principles that the structure is decisive, it is examined over his representations that are not found in their verbal explanations, but are striking in practice. Especially in the Modern Period, the drawings and collages influenced by the art movements of the period, which go beyond the present representations, give hints about the tectonic approach of Mies. It is not possible to form a linear relationship between Mies’s tectonic concept and his representations, it is difficult to formulate it in one way only, but it would be wrong to say that there is not a relationship at all. Mies van der Rohe actively uses multiple techniques such as technical drawing, perspective, photomontage and collage. Sometimes it is seen that he produces all these representations for a project, and each representation technique differs in the points it wants to reveal or hide. In this context, the relationship between Mies' tectonic approach and representations is defined as a kind of tension. In order to realize his art of building, Mies van der Rohe regains the highest level of a tectonically integrated structure with extroverted clear space in the New National Gallery. In this study, the formation of Mies's art of building, the emergence of the components of Mies' spaces are analyzed by comparing the built expressions of specific key buildings of his oeuvre with their representations.
