the cathedrals of england
'true taste' of Italian Renaissance architecture with the 'venerable barbarism' of the Gothic North.
(Sir Horace Mann)
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.
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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
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