Bir Yöntem Olarak Ütopya ya da Gelecek Tasarrufları*
Ütopyacı şehir, modernizmin başlıca unsuruydu elbette; burada aklımıza Le Corbusier'den Constant'a pek çok isim, Rockefeller Center, muazzam Nazi ve Sovyet projeleri geliyor.2
* Çeviren Esma Kartal
2. Standart açıklama için bkz. Siegfried Diedion, Space, time and Architecture (Cambridge, MA: Harvard University Press, 1967).
Fredric JamesonKitabı okudu
The Christian church now functioned as “the Christian ‘state-within a state.’ ”
The word “vicar,” for example, is derived from vicarius , a title that was first used by the arch-persecutor Diocletian to identify the deputies whom he placed in charge of various provinces, and “diocese” is derived from the term that described the area under their administration. “Basilica” originally described a public building that housed the royal courts and other government offices—the word comes from “ basileus ,” the Greek word for “king”—but, significantly, it came to be associated with church architecture after Constantine deeded a basilica to the bishop of Rome for use as a church.
Sacred and Terrible Smell
What was that sacred and terrible, elusive smell in the air this time? My name is Ambrosius Saint-Miro, the locals call me “Ambrosius Pyhä-Mirä” and in Graad they call me “Svjata-Mira”. “Diduska?” they ask, their eyes wide with affection, but I answer them: “No. I am not your diduska.” I am Ambrosius Santa-Mira from Mesque, Ambrosio Hagiamira, I
Sayfa 60 - Unofficial English TranslationKitabı okudu
Then it is that I appreciate the beauty and the glory of architecture, which itself never turns in, but forever stands out and erect, keeping watch over the slumberer.
Sayfa 8Kitabı okuyor
The One
Geometry is also the bridge between the One and the Many. When you draw one of its basic figures—a circle, say, or a triangle or regular polygon —you do not copy someone else’s drawing; your model is the abstract ideal of a circle or triangle. It is the perfect form, the unchanging, unmanifest One. Below it are the Many—the expressions of that figure in design, art, and architecture.
While the terms "internet" and " web" have become synonymous, they function very differently. The web identifies and retrieves information using the server-client architecture enabled by the internet.
Sayfa 152Kitabı okudu
Corbusier’s ‘Five Points of the New Architecture’
Consequently ‘pilotis’, ‘free facade’, ‘open plan’, ‘strip window’, and ‘roof garden’ (the five points) were instantly established as tools for form-making.
None remembered of course, no memory of her dreams at all, each forgotten in the very dreaming of them as though to dream them were to erase them. And yet, so often have her dreams revisited fragments and images of dreams dreamt before, a sort of recognizable architecture has grown up around them, such that, though each dream is, must be, intrinsically unique, there is an ambient familiarity about them all that consoles her as memory might, did she know it, and somewhat teaches her whereto to flee when terror engulfs her like a sudden wicked spell.
Sayfa 6Kitabı okudu
2022'de Paris'te UNESCO'nun La Cité de l'Architecture Ödülü'nü almaya gittiğimizde, ödül programının yöneticisi Jana Revedin bizim Kapadokya'daki Taş Ocağı projemiz için şaşkınlıkla "Böyle bir şeyi nasıl yapıyorsunuz?" diye sormuştu. Sorusunun altında teknolojik olarak, ekonomik olarak ve de mevzuat açısından nasıl yapabiliyorsunuz!" hayreti yatıyordu. Aslında tam olarak bunun bir teknolojisi, gelişmiş bilgisi ve alışkanlığı olmadığı için yapabiliyoruz. Herhangi bir Avrupa ülkesinde bir taş ocağını dönüştürürken Kapadokya'da yaptığımız gibi 6-7 ton ağırlığındaki taşlarla imalat yapmanız neredeyse mümkün değil.
Sayfa 91 - Ömer Selçuk Baz | Yüzyıl Dönemecinde Malzeme ve Teknoloji: Gölgede Kalanlar, Ufukta Belirenler
The artist is a collector. Not a hoarder, mind you, there’s a difference: Hoarders collect indiscriminately, artists collect selectively. They only collect things that they really love.
“Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic.”
Theirs is no vapid, irresponsible happiness. They know that they, like the child, are not free. They know compassion. It is the existence of the child, and their knowledge of its existence, that makes possible the nobility of their architecture, the poignancy of their music, the profundity of their science. It is because of the child that they are so gentle with children. They know that if the wretched one were not there snivelling in the dark, the other one, the flute-player, could make no joyful music as the young riders line up in their beauty for the race in the sunlight of the first morning of summer.
“Fakat mimarî mekânla doğrudan ilgilidir. Mekânı malzeme olarak kullanır ve bizi ortasına yerleştirir.”
|G.Scott, Architecture of Humanism, s.168
Sayfa 16Kitabı okuyor
You were more interested in the architecture of the universe, but you failed to recognize the great architect who constructed the universe.
Sayfa 50 - Timaş - 2. Baskı
"Most of all, sketching technique is essential for architecture, embracing two distinct but complementary fields: one on the path of knowledge, approaching something that already exists, and the other on the path of conception, concerning what one has in mind to create."
Sayfa 33Kitabı okudu
A project, precisely because it's a bearer of novelty, must solve contradictions and follow rules-its novelty is the "new" application of an existing rule, the extension of an existing rule to a "new" context, or the institution of a "new" rule.
Not just that: given that the rules in architecture are as numerous as they are different-we can think here of certain "laws" (static laws, hygienic/sanitary codes, morphologic influences, etc.) and cultural aspirations (ethical, philosophic,aesthetic, etc.)-the architect's puzzle becomes a sort of arbitration among the different viewpoints, each with various dimensions. Finally, a creative action must be triggered for the possible-to-actual transition to occur; an action that is not merely abstract but rather "competent and aware of the objective," as the theorist of problem solving Genrich Altshuller says.
Sayfa 13Kitabı okudu