\u201c\u00d6te\/de\/ki Mimarl\u0131k\u201d ifadesinin bir sergi ad\u0131 olarak hayli ilgi \u00e7eken bir isim oldu\u011fu yads\u0131namaz. Sergi afi\u015finin \u0130stanbul\u2019un \u00e7ok farkl\u0131 noktalar\u0131ndaki panolarda, billboardlarda hatta metro istasyonlar\u0131nda y\u00fcr\u00fcyen merdivenler etraf\u0131nda -her iki y\u00f6nde de pe\u015f pe\u015fe ve g\u00fcnlerce- yer almas\u0131 da, mimarl\u0131\u011fa\/tasar\u0131ma ilginin \u00e7ok da y\u00fcksek olmad\u0131\u011f\u0131n\u0131 bildi\u011fimiz bir \u00fclkede \u015fa\u015f\u0131rt\u0131c\u0131 bile say\u0131labilir. Ger\u00e7i b\u00fct\u00e7e olduktan sonra, paras\u0131n\u0131 \u00f6deyebildi\u011finiz s\u00fcrece, dahas\u0131 siyasi g\u00fcc\u00fcn\u00fcz oldu\u011fu m\u00fcddet\u00e7e kentin g\u00f6r\u00fcn\u00fcr yerlerindeki billboardlarda g\u00fcnlerce, aylarca, hatta y\u0131llarca boy g\u00f6sterilebilece\u011fine \u00e7ok\u00e7a tan\u0131\u011f\u0131z. Tabi yine de bu afi\u015f bir mimarl\u0131k sergisine ait olunca insan d\u00fc\u015f\u00fcnmeden edemiyor, neden bu kadar tan\u0131t\u0131m diye. Sergi\u2019nin sponsoru Akbank Sanat b\u00f6yle bir sergiye neden bu kadar yat\u0131r\u0131m yapm\u0131\u015f? K\u00fcrat\u00f6r\u00fc Hasan B\u00fclent Kahraman, dan\u0131\u015fman\u0131 Luca Molinari olan bu serginin eserlerini sergiledi\u011fi iki mimar da Murat Tabanl\u0131o\u011flu ve Han T\u00fcmertekin olunca bir mimar olarak insan\u0131n merak\u0131 daha da art\u0131yor. Bu mimarlar\u0131n acaba hangi proje ve uygulamalar\u0131 sergilenmi\u015f? Sergilenenler i\u00e7inde bu mimarlar\u0131n ellerinden \u00e7\u0131kan ve kentsel \u00f6l\u00e7ekte hayli tart\u0131\u015f\u0131lan projeleri var m\u0131, varsa bunlar sergide nas\u0131l ifade bulmu\u015f?<\/p>\n
Gerek tan\u0131t\u0131m\u0131, gerekse de ismi bu denli ilgi \u00e7eken bir serginin derdi neydi ve bunu nas\u0131l sundu, vadettiklerini ne kadar ger\u00e7ekle\u015ftirdi diye bakarsak, dile getirmedi\u011fi baz\u0131 \u00e7arp\u0131c\u0131 ger\u00e7ekleri a\u00e7mam gerekti\u011fini ba\u015ftan belirtmem gerekiyor. \u00d6ncelikle sergiye ili\u015fkin g\u00f6rseller ve videolar ile sergi katalo\u011funa Aksanat web sayfas\u0131ndan halen eri\u015febildi\u011finiz Sergi, Beyo\u011flu \u0130stiklal Caddesi\u2019nde konumlanan AKSanat\u2019ta 28 Kas\u0131m 2018-5 Ocak 2019 tarihleri aras\u0131nda \u00fccretsiz olarak izleyicilere a\u00e7\u0131kt\u0131 (URL 1 ve 2). 4 Ocak 2019 ak\u015fam\u0131nda da serginin k\u00fcrat\u00f6r\u00fc, dan\u0131\u015fman\u0131 ve iki mimar\u0131n\u0131 a\u011f\u0131rlayan bir s\u00f6yle\u015fi oldu. S\u00f6yle\u015fiyi de ilgili youtube kanal\u0131ndan izleyebilirsiniz (URL 3).<\/p>\n
Serginin k\u00fcrat\u00f6r\u00fc Kahraman\u2019\u0131n sergi hakk\u0131ndaki metni ve sunumundan dikkat \u00e7eken noktalar olarak, \u201c…Mek\u00e2n\u0131 d\u00f6n\u00fc\u015ft\u00fcrd\u00fc\u011f\u00fcnde insan kendisini d\u00f6n\u00fc\u015ft\u00fcr\u00fcr… Mek\u00e2na y\u00f6nelik her m\u00fcdahale ideolojik bir d\u00f6n\u00fc\u015f\u00fcm\u00fc de i\u00e7erir… Mek\u00e2n son kertede kimlik, bellek ve aidiyet demektir. En katmanl\u0131 k\u00fclt\u00fcrel tart\u0131\u015fmalar \u00f6yle g\u00f6r\u00fcnmese dahi mek\u00e2nsal g\u00f6ndermelerle ger\u00e7ekle\u015fir…\u201d s\u00f6zlerini vurgulamak isterim (URL 1 ve 2). Kahraman, Sergi\u2019yi tan\u0131tt\u0131\u011f\u0131 k\u0131sa videoda \u201cbu mimarlar\u0131 sergide bulu\u015fturma fikri nas\u0131l olu\u015ftu\u201d sorusuna, bu mimarlar\u0131n \u00f6nemli isimler olmas\u0131, kendisinin onlarla daha \u00f6nceden \u00e7al\u0131\u015fmas\u0131 ve serginin tematik \u00e7er\u00e7evesine uygun \u00e7al\u0131\u015fmalar\u0131 olmas\u0131 cevab\u0131n\u0131 verince, insan yukar\u0131da vurgulad\u0131\u011f\u0131m ifadelerin kar\u015f\u0131l\u0131\u011f\u0131n\u0131 sergide bulmay\u0131 bekliyor (URL 4). Oysa ki vadedilenin felsefik geni\u015f a\u00e7\u0131l\u0131m\u0131 ile kar\u015f\u0131 kar\u015f\u0131ya kal\u0131nan\u0131n dar perspektifi aras\u0131ndaki \u00e7eli\u015fki de burada ba\u015fl\u0131yor. Sergi isminin ilgi \u00e7ekti\u011fini ifade etmi\u015ftim. Nitekim isim facebook, twitter gibi sosyal mecralarda mimarlar aras\u0131nda bir tart\u0131\u015fma konusu oldu. \u201c\u00d6te, \u00f6tede, \u00f6teki, \u00f6tedeki\u201d bi\u00e7imlerinde okunma imk\u00e2n\u0131 tan\u0131yan bu ismin, \u0130ngilizcesi (The far\/o\/ther) olduk\u00e7a zorlama olsa da Kahraman\u2019\u0131n s\u00f6zlerinden t\u00fcm bu isim \u00e7e\u015fitlemelerinin \u00e7a\u011fr\u0131\u015ft\u0131rd\u0131\u011f\u0131 felsefik a\u00e7\u0131l\u0131m\u0131n \u00f6tesinde s\u00f6ylemeye \u00e7al\u0131\u015ft\u0131\u011f\u0131 \u015feyin, iki mimar\u0131n co\u011frafi olarak T\u00fcrkiye s\u0131n\u0131rlar\u0131 i\u00e7inde olmayan iki uygulamas\u0131n\u0131n (Tabanl\u0131o\u011flu\u2019nun Dakar Kongre Merkezi, T\u00fcmertekin\u2019in Strazburg T. C. Misyon Binalar\u0131) serginin merkezinde konumlanmalar\u0131 oldu\u011funu anl\u0131yoruz (URL 3, 4).<\/p>\n
Kahraman sergi tan\u0131t\u0131m videosunda sergiye se\u00e7ilen projelerin sergi kavram\u0131 ile ili\u015fkisini a\u00e7\u0131klarken, \u00f6tedeki mimarl\u0131\u011f\u0131, \u201cbir mimar\u0131n kendi yeti\u015fti\u011fi k\u00fclt\u00fcr d\u0131\u015f\u0131nda mimarl\u0131k yapma s\u00fcreci olarak alg\u0131lad\u0131\u011f\u0131n\u0131\u201d, mimarlar\u0131n k\u00fcresel d\u00fcnyada her yerde mimarl\u0131k yapt\u0131klar\u0131n\u0131, \u201cfat cat veya starchitect\u201d (y\u0131ld\u0131z mimar) olarak isimlendirildiklerini ve mimarl\u0131klar\u0131n\u0131n farkl\u0131 co\u011frafyalarda nas\u0131l kar\u015f\u0131l\u0131kl\u0131 etkile\u015fimde bulundu\u011funu sorgulad\u0131\u011f\u0131n\u0131 ifade ediyor (URL 4). Ancak sergide g\u00f6rd\u00fcklerimiz bamba\u015fka. Mimarlar\u0131n \u00fcretimlerini \u015f\u0131k sonu\u00e7 \u00fcr\u00fcnler \u00fczerinden aktaran, s\u00fcreci politik-ekonomik, sosyal, toplumsal ba\u011flam yerine bu etmenlerden ba\u011f\u0131ms\u0131zm\u0131\u015f\u00e7as\u0131na fiziki bir tak\u0131m oryantalist veya Avrupai referanslarla ifade eden ve bi\u00e7imsel bir imgeye indirgeyen durum, mimarlar\u0131n ister T\u00fcrkiye\u2019de, isterse de d\u00fcnyan\u0131n herhangi bir yerinde yapt\u0131klar\u0131 mimarl\u0131kta farkl\u0131 bir sonu\u00e7 \u00fcretilmedi\u011fini g\u00f6steriyor. Ayn\u0131 \u015fekilde mimarlar\u0131n k\u00fcresel hareketlili\u011fini tan\u0131mlayan s\u0131fatlar\u0131n ne \u015fekilde t\u00fcretildi\u011fi de sorgulama kapsam\u0131n\u0131n d\u0131\u015f\u0131nda kal\u0131yor. \u201cFat cat\u201d ifadesi daha \u00e7ok \u201cvarl\u0131kl\u0131, kodaman\u201d ki\u015filer i\u00e7in kullan\u0131l\u0131rken, asl\u0131nda tasar\u0131m kabiliyetinden \u00f6te maddi zenginli\u011fe ve\/ya bu zenginli\u011fi sa\u011flayacak siyasi ili\u015fkilere sahip olanlara referans veriyor. \u201cStarchitects\u201d ise, \u00f6z\u00fcnde markala\u015ft\u0131r\u0131lan ve hatta metala\u015ft\u0131r\u0131lan y\u0131ld\u0131z mimarlar i\u00e7in kullan\u0131l\u0131rken, buna ili\u015fkin bir ele\u015ftirel literat\u00fcr de bulunuyor. Bunlardan biri olan E-skop\u2019taki yaz\u0131s\u0131nda Ali Artun, starchitects\u2019in, di\u011fer bir deyi\u015fle \u201cmimar\u0131n \u015f\u00f6hret d\u00fc\u015fk\u00fcnl\u00fc\u011f\u00fcn\u00fcn\u201d tarihsel s\u00fcrecinde 21. y\u00fczy\u0131la gelindi\u011finde ki\u015fisel kariyer pe\u015fine d\u00fc\u015fen ve kendisi de bir t\u00fcr \u201cin\u015fa, tasar\u0131m\u201d olan \u015f\u00f6hretli mimar\u0131n, k\u00fcresel rekabet halindeki kentleri mimarl\u0131k \u00fczerinden pazarlarken, \u201ca\u011f\u0131r sanayinin tasfiye edildi\u011fi post-Fordizm d\u00f6neminin \u00e7\u0131lg\u0131nl\u0131\u011f\u0131 haline gelen kentsel d\u00f6n\u00fc\u015f\u00fcm\u00fcn b\u00fcy\u00fcc\u00fcleri\u201d oldu\u011funu i\u015faret ediyor (URL 5).<\/p>\n
Artun yaz\u0131s\u0131nda yabanc\u0131 mimarlar gibi yerli y\u0131ld\u0131z mimarlar\u0131n tasar\u0131m\u0131n\u0131n da kendi kendine geli\u015fmedi\u011fini, arkas\u0131ndaki politik-ekonomik s\u00fcre\u00e7 kadar, baz\u0131 akt\u00f6rlerin \u00f6nemli rol oynad\u0131\u011f\u0131n\u0131 s\u00f6ylerken, S\u00fcha \u00d6zkan\u2019\u0131n \u201cYedi Tepenin Yedi Mimar\u0131\u201d ba\u015fl\u0131kl\u0131 sergisini hat\u0131rlat\u0131yor (URL 5). Buna U\u011fur Tanyeli\u2019nin Arredamento Mimarl\u0131k\u2019ta 2000\u2019lerin ba\u015f\u0131nda s\u00fcrd\u00fcrd\u00fc\u011f\u00fc -biraz da \u201calayc\u0131 bir tav\u0131rla\u201d New York Be\u015flisi\u2019ne nazire olarak- \u201c\u0130stanbul Be\u015flisi\u201d projesini de eklemek isterim. Tanyeli bir s\u00f6yle\u015fisinde, T\u00fcrkiye\u2019de \u00f6zneyi g\u00f6rmeme sorunsal\u0131na kar\u015f\u0131 Arredamento\u2019nun bir t\u00fcr \u201cstar \u00fcretim mekanizmas\u0131\u201d olarak da \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131, medyan\u0131n modern d\u00fcnyada bir g\u00f6rev olarak star \u00fcretti\u011fini, bu ba\u011flamda \u201cstar-mimar imalat\u0131n\u0131 bilin\u00e7li olarak yapt\u0131\u011f\u0131n\u0131\u201d ifade ediyor (URL 6). Tanyeli gibi Kahraman\u2019\u0131n da kabul etti\u011fi, ama belki de sorgulamaya gerek g\u00f6rmedi\u011fi bu ifadelerin mimari kar\u015f\u0131l\u0131\u011f\u0131n\u0131 sergide g\u00f6rmemiz de m\u00fcmk\u00fcn olam\u0131yor. O zaman sergi ad\u0131n\u0131n, co\u011frafik s\u0131n\u0131rlarla alakal\u0131 bir \u201c\u00f6tede\u201d olma ile s\u0131n\u0131rl\u0131 kalmas\u0131 anla\u015f\u0131l\u0131r bir \u015fey mi dersek, maalesef de\u011fil. Sergide co\u011frafi ba\u011flam \u00f6nemli bir \u00f6l\u00e7\u00fct ise, sergilenen maketlerin sadece birer imaj olarak g\u00f6sterilmesi, nereye ait, hangi yap\u0131 gibi bilgilerinin konulmam\u0131\u015f olmas\u0131 ba\u015fka bir \u00e7eli\u015fki olarak kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor. Kahraman \u201cbinan\u0131n bitmi\u015f yap\u0131s\u0131n\u0131n steril, cilal\u0131, fevkalade olgun olmas\u0131n\u0131 \u00f6nemsemedi\u011fini\u201d belirtse de, k\u0131sa ve uzun s\u00f6yle\u015fisinde ifade ettiklerinin tam tersini sergide yerine getirmi\u015f g\u00f6z\u00fck\u00fcyor ve s\u00f6z-eylem \u00e7eli\u015fkisini \u00fcst d\u00fczeye ta\u015f\u0131yor (URL 3 ve 4). Kahraman\u2019\u0131n uzun s\u00f6yle\u015fide Suriyeli g\u00f6\u00e7menlerden yola \u00e7\u0131karak sordu\u011fu \u201cco\u011frafya kader midir\u201d sorusu, Marksist literat\u00fcrden al\u0131nt\u0131layarak dedi\u011fi \u201cmimarl\u0131\u011f\u0131n yeniden \u00fcretim\u201d oldu\u011fu g\u00f6r\u00fc\u015f\u00fc bizi mimarl\u0131\u011f\u0131n politik-ekonomik, sosyolojik ba\u011flam\u0131na dair bir \u015feyler g\u00f6rece\u011fimiz vadiyle dolduruyor (URL 3). Ancak Sergide yer alan ve kent muhalefetine konu olmu\u015f Tabanl\u0131o\u011flu\u2019nun iki uygulamas\u0131n\u0131n (AKM ve Hali\u00e7 Port) arkas\u0131ndaki hi\u00e7bir mesele sergide yer almayarak, sadece g\u00f6rsel imajlara d\u00f6n\u00fc\u015f\u00fcyor. AKM\u2019nin bir g\u00f6rseli ve yap\u0131dan toplanan baz\u0131 malzeme par\u00e7alar\u0131n\u0131n \u201csergilenmesi\u201d, bug\u00fcn yerinde bir ta\u015f\u0131 bile kalmayan, \u201cbabadan miras\u201d AKM\u2019ye ait malzemelerin yak\u0131nda Tabanl\u0131o\u011flu taraf\u0131ndan yeniden bir metala\u015ft\u0131r\u0131lma suretiyle feti\u015fle\u015ftirilerek bizlere sunulaca\u011f\u0131n\u0131 hissettirmekten \u00f6teye gitmiyor. Ayn\u0131 \u015fekilde kamuoyu ile a\u00e7\u0131k\u00e7a payla\u015f\u0131lmayan, yak\u0131n zamanda m\u00fcellifli\u011fi Te\u011fet Mimarl\u0131k\u2019tan (Mehmet K\u00fct\u00fck\u00e7\u00fco\u011flu ve Ertu\u011f U\u00e7ar) Tabanl\u0131o\u011flu\u2019na devir olan Hali\u00e7 Port projesine konu olan Camialt\u0131 ve Ta\u015fk\u0131zak Tersaneleri\u2019nin eski g\u00f6rsellerinden olu\u015fan video ve kartlar, Hali\u00e7 Port projesinin ba\u011flam\u0131na, bu ba\u011flam\u0131 kuran arka plana dair hi\u00e7bir i\u015faret ta\u015f\u0131m\u0131yor. B\u00f6ylelikle Kahraman\u2019\u0131n s\u00f6zleri havada kal\u0131rken, T\u00fcmertekin\u2019in \u00f6nemli eserler yazm\u0131\u015f co\u011frafyac\u0131 ebeveyninden ald\u0131\u011f\u0131 ve s\u00f6yle\u015fide zikretti\u011fi birikiminin nerede kald\u0131\u011f\u0131 sorusuyla ba\u015f ba\u015fa kal\u0131yoruz (URL 3). Nitekim T\u00fcmertekin Avrupa\u2019n\u0131n hak m\u00fccadelesi kazan\u0131mlar\u0131 y\u00fcksek bir kentinde in\u015fa etti\u011fi devletin kullan\u0131m\u0131ndaki binas\u0131n\u0131 anlat\u0131rken, yap\u0131n\u0131n program\u0131na ba\u011fl\u0131 olarak tasar\u0131m girdilerinin ilk elden koruma\/g\u00fcvenlik ara\u00e7lar\u0131n\u0131n park ve manevra ko\u015fullar\u0131, devlet protokol\u00fcn\u00fcn i\u015fleyi\u015fi gibi veriler oldu\u011funu s\u00f6ylemesi dikkat \u00e7ekiyor (URL 3). T\u00fcmertekin\u2019in yap\u0131s\u0131n\u0131n \u201cbir kale gibi olmamas\u0131n\u0131n\u201d veya etraf\u0131nda \u201chafta sonu bal\u0131k tutulabilmesinin\u201d, mimar\u0131n tasar\u0131m yetkinli\u011finden \u00f6te, yap\u0131n\u0131n T\u00fcrkiye\u2019ye g\u00f6re daha demokratik bir Avrupa kentinde konumlan\u0131yor olmas\u0131ndan kaynakland\u0131\u011f\u0131n\u0131 fark etmedi\u011fini d\u00fc\u015f\u00fcnmek safl\u0131k olur (URL 3). Ancak Avrupa veya T\u00fcrkiye gibi co\u011frafi ba\u011flama ili\u015fkin ve politikekonomi ile do\u011frudan ilintili bu mek\u00e2nsal farkl\u0131l\u0131klar ne s\u00f6yle\u015fide, ne sergide zinhar ifade edilmiyor. Projelerin i\u015fverenleri, bu i\u015fleri nas\u0131l ald\u0131klar\u0131 gibi \u015feyler de s\u00f6z konusu olmuyor (Luca Molinari konu\u015fmas\u0131nda bu gerilimlere yer veren tek ki\u015fi, ama o da bu sorgulamay\u0131 elbette yap\u0131lar \u00fczerinden yapam\u0131yor URL 3).<\/p>\n
Kahraman \u201csteril, cilal\u0131…\u201d bitmi\u015f \u00fcr\u00fcn\u00fc \u00f6nemsemedi\u011fini s\u00f6ylese de, g\u00f6zler \u00f6zenle hep sonu\u00e7 \u00fcr\u00fcn\u00fcn b\u00fcy\u00fcs\u00fcne \u00e7ekiliyor ve \u201cyeniden \u00fcretilen ili\u015fkiler\u201d kadraja hi\u00e7 girmiyor. AKM\u2019nin y\u0131k\u0131m\u0131 ve yeniden in\u015fa s\u00fcreci ile \u201cyeniden \u00fcretti\u011fi\u201d \u015feyler, yeni Taksim Meydan\u0131\u2019nda Gezi Direni\u015fi\u2019ne inat camiyle kar\u015f\u0131 kar\u015f\u0131ya gelen \u201cyeni ideolojik konumu\u201d, sadece topra\u011f\u0131n\u0131n de\u011fi\u015fim de\u011ferine indirgenen tersanelerde Hali\u00e7 Port\u2019un in\u015fas\u0131 ile kentsel d\u00f6n\u00fc\u015f\u00fcm\u00fcn \u201cyeniden \u00fcretti\u011fi\u201d ba\u011flamlar, nereye ait oldu\u011fu belli olmayan maketler, sergideki halleriyle hepsi birer steril, cilal\u0131, \u015f\u0131k imajdan ba\u015fka bir \u015fey de\u011fil. Serginin dan\u0131\u015fman\u0131 Luca Molinari ise, gerek sergi tasar\u0131m\u0131, gerekse de sergilenenler hakk\u0131ndaki g\u00f6r\u00fc\u015flerini aktar\u0131rken bizlere neredeyse farkl\u0131 bir d\u00fcnyadan sesleniyor (URL 3). Molinari\u2019nin d\u00fcnyas\u0131ndaki \u201cbirbirleri ile diyalog halinde, demokratik bir mimarl\u0131k aray\u0131\u015f\u0131\u201d bizim co\u011frafyam\u0131zdan \u00e7ok, muhtemelen kendi yeti\u015fti\u011fi Avrupa kentlerine referans veriyor.<\/p>\n
Tabanl\u0131o\u011flu ve T\u00fcmertekin\u2019in ad\u0131 ge\u00e7en iki yurt d\u0131\u015f\u0131 projelerinin \u00e7izim, malzeme se\u00e7imi, uygulama a\u015famalar\u0131, maketleri vb. detaylar\u0131 ile gayet temiz bir bi\u00e7imde, titizlikle sergilenmesinin, sergiyi gezen b\u00fcy\u00fck k\u0131sm\u0131 20\u2019li ya\u015flar\u0131n\u0131n i\u00e7inde seyreden \u00f6\u011frenci ve\/ya yeni mezun ve gen\u00e7 mimar i\u00e7in ilgi \u00e7ekici oldu\u011fu a\u00e7\u0131k. Bu yaz\u0131y\u0131 kaleme almamdaki temel motivasyonum ilk ba\u015fta sergide AKM, Hali\u00e7 Port gibi projelere yer verilme durumunu g\u00f6stermek iken, s\u00f6yle\u015fi salonunun erkenden tamamen dolmas\u0131, di\u011fer katlara videodan canl\u0131 yay\u0131n yap\u0131lmak zorunda kal\u0131nmas\u0131 bende ba\u015fka bir motivasyon daha yaratt\u0131. Bu denli \u00e7ok say\u0131daki gen\u00e7 meslekta\u015flar\u0131m\u0131za sunulan mimarl\u0131k ortam\u0131n\u0131, ba\u015fl\u0131kta vadettiklerinden \u00e7ok daha s\u0131n\u0131rl\u0131, politik ve ideolojik bak\u0131\u015f a\u00e7\u0131lar\u0131ndan kaynakl\u0131 olarak \u00e7ok y\u00f6nl\u00fcl\u00fc\u011fe kapal\u0131, gen\u00e7 dima\u011flar\u0131 etkileyecek denli \u015fa\u015faal\u0131 iken, bu \u00e7eli\u015fkileri en az\u0131ndan yaz\u0131l\u0131 olarak geni\u015f bir mecrada tart\u0131\u015fmaya a\u00e7mak bir zorunluluk. Bu bizlerin mesleki bir sorumlulu\u011fu.<\/p>\n
Bu iki mimar\u0131n \u00e7al\u0131\u015fmalar\u0131n\u0131 \u00fcretimlerinin arka plan\u0131na haiz ol(a)madan izleyen gen\u00e7 mimarlar bu mimarlara \u00f6yk\u00fcn\u00fcrken, ba\u015flar\u0131na gelecek piyasa ko\u015fullar\u0131ndan \u00e7o\u011fu kez habersiz kalacaklar. \u00d6rne\u011fin her iki mimar\u0131n da ofis isimlerinde \u201cmimarlar\u201d olarak \u00e7o\u011ful ifade kullan\u0131lsa da, biliyoruz ki y\u0131ld\u0131zl\u0131k m\u00fcessesesi tek bir isim \u00fczerinden \u00e7al\u0131\u015f\u0131r, y\u0131ld\u0131z mimar \u00f6zne \u00e7o\u011funlukla erkektir, kad\u0131n \u00f6zne say\u0131l\u0131d\u0131r, ofislerin i\u00e7 yap\u0131s\u0131ndaki hiyerar\u015fik yap\u0131 ne y\u00f6nde olursa olsun (ister d\u00fc\u015fey, isterse de yatay) emek s\u00f6m\u00fcr\u00fcs\u00fc \u00e7o\u011funlukla \u00fcst seviyededir, g\u00f6z\u00fcn\u00fcn \u00f6n\u00fcnde \u015f\u00f6hret havucu salland\u0131r\u0131lan gen\u00e7 mimarlar -projelerde isimleri ge\u00e7se bile- asl\u0131nda \u201cno-name\u201d, birer i\u015f\u00e7i mimarlard\u0131r, emek s\u00f6m\u00fcr\u00fcs\u00fc d\u0131\u015f\u0131nda hayallerin s\u00f6m\u00fcr\u00fcld\u00fc\u011f\u00fc, mimar\u0131n kendini ger\u00e7ekle\u015ftirmek i\u00e7in gereken imkanlara sahip olamad\u0131\u011f\u0131, bir t\u00fcr \u00fccretli k\u00f6le olarak ve \u00e7o\u011fu kez g\u00fcvencesiz ko\u015fullarda \u00e7al\u0131\u015ft\u0131r\u0131ld\u0131\u011f\u0131 ve s\u0131n\u0131f i\u00e7i dayan\u0131\u015fma yerine rekabetin had safhada oldu\u011fu ortamlard\u0131r buralar (\u0130\u015f\u00e7i-mimarlarla ilgili G\u00fcl\u015fah Ayka\u00e7 ve Esra Sert\u2019in makaleleri bu konuyu gayet a\u00e7\u0131k olarak ele almaktad\u0131r, URL 7).<\/p>\n
Son olarak Sergi\u2019de ikinci katta Tabanl\u0131o\u011flu k\u0131sm\u0131ndaki \u201csosyal mimarl\u0131k\u201d ba\u015fl\u0131\u011f\u0131na de\u011finmek isterim. Bu ba\u015fl\u0131k alt\u0131nda Bayburt\u2019taki \u201cBaks\u0131, H\u00fcsame K\u00f6kl\u00fc Kad\u0131n \u0130stihdam Merkezi\u201d projesi sergileniyordu. Bu projeyle mimar sosyal mimarl\u0131\u011f\u0131, toplum\/halk yarar\u0131na mimarl\u0131k olarak alg\u0131l\u0131yor ve di\u011fer projelerindeki yakla\u015f\u0131mdan farkl\u0131 bir yerde tutuyor olmal\u0131 ki, b\u00f6yle bir ba\u015fl\u0131k a\u00e7\u0131yor. Bu durumda sosyal mimarl\u0131\u011f\u0131, mimarl\u0131k pratikleri i\u00e7inde kendine \u00f6zg\u00fc ayr\u0131 bir ba\u015fl\u0131kla, ayr\u0131 bir yerde sergilemek, i\u015fte bu da \u201csosyal sorumluluk\u201d projemiz mi anlam\u0131na geliyor diye d\u00fc\u015f\u00fcnd\u00fcr\u00fcyor. AKM, Hali\u00e7 Port gibi bir k\u0131sm\u0131 iktidar ve sermaye lehine i\u015fler, bu da toplum\/halk\/yoksullar\/kad\u0131nlar yarar\u0131na bir i\u015f. Mimar\u0131n kent muhalefetine konu olmu\u015f kent su\u00e7u projelerinin yan\u0131nda b\u00f6yle \u201cg\u00f6n\u00fcll\u00fc, masum\u201d i\u015fleri de var. Di\u011fer bir deyi\u015fle mimar i\u015fverenin talebi neyse, her iki t\u00fcrl\u00fc de i\u015f yapabilir. Bu projeye ait kitapta yer ald\u0131\u011f\u0131 \u00fczere \u201ckat\u0131l\u0131mc\u0131 kad\u0131n kuvveti, ortak tasar\u0131m ilkeleri\u201d vb. dert edinilerek proje de yap\u0131labilir, y\u00fczlerce insan\u0131n yerinden edilece\u011fi ve\/ya kent hakk\u0131 m\u00fccadelesinin konusu olan projeler de yap\u0131labilir. \u00d6zetle bu iki tutum aras\u0131ndaki \u00e7eli\u015fki de serginin kayda de\u011fer ba\u015fka bir tart\u0131\u015fma konusu kan\u0131mca.<\/p>\n
Yaz\u0131n\u0131n sonuna gelirken yeni bir sergi duyurusu ile s\u00f6zlerimi bitirmek isterim. Bu yaz\u0131ya konu olan \u00d6te\/de\/ki Sergisi gibi, yine ismi ile dikkat \u00e7eken Emre Arolat\u2019\u0131n sergisi, \u201cGen\u00e7 Cumhuriyet\u2019in Cesur Hamlesi Olarak Mecidiyek\u00f6y Lik\u00f6r ve Kanyak Fabrikas\u0131 ve Dahas\u0131: Kent Haf\u0131zas\u0131 Ba\u011flam\u0131nda V\u0131kv\u0131klanmalar\u201d yak\u0131nda a\u00e7\u0131l\u0131yor (URL 8). Serginin \u0130ngilizce ismindeki \u201cMurmurings (m\u0131r\u0131ldanmalar)\u201d olarak ge\u00e7en ifade T\u00fcrk\u00e7e\u2019sinde \u201cV\u0131kv\u0131klanmalar\u201d olarak kullan\u0131lm\u0131\u015f. Dikkatleri \u015fimdiden sergi i\u00e7eri\u011finden \u00e7ok bu ifadeye \u00e7eken isimlendirme, \u00f6nce hangi dilde yaz\u0131ld\u0131, T\u00fcrk\u00e7e\u2019deki kar\u015f\u0131l\u0131\u011f\u0131 ne demek veya ne ama\u00e7la b\u00f6yle ifade edildi hen\u00fcz bilmiyoruz ama Lik\u00f6r ve Kanyak Fabrikas\u0131\u2019n\u0131n yeniden in\u015fas\u0131 ve arsas\u0131na in\u015fa edilen yap\u0131lar modern mimarl\u0131k literat\u00fcr\u00fc, kent hakk\u0131 ve meslek eti\u011fi a\u00e7\u0131s\u0131ndan hayli \u00f6nemli olmakla birlikte bir t\u00fcrl\u00fc a\u00e7\u0131k, nitelikli bir tart\u0131\u015fma konusu ol(a)mad\u0131. T\u0131pk\u0131 Te\u011fet Mimarl\u0131k\u2019\u0131n Hali\u00e7 PortDarzana projeleri ili\u015fkisinde oldu\u011fu gibi bu uygulamada da merak edilen \u00e7ok husus vard\u0131, ama T\u00fcrkiye\u2019nin zaten c\u0131l\u0131z mimari ele\u015ftiri ortam\u0131nda kar\u015f\u0131l\u0131ks\u0131z kalm\u0131\u015ft\u0131. Acaba \u015fimdi \u00f6n\u00fcm\u00fczde bir f\u0131rsat daha m\u0131 var? 12 \u015eubat-24 Mart 2019 tarihleri aras\u0131nda izlenilebilecek bu serginin 12 \u015eubat\u2019ta da bir sunumu olacak. Ali Artun\u2019un \u201cMimar\u0131n \u015e\u00f6hret D\u00fc\u015fk\u00fcnl\u00fc\u011f\u00fc – Emre Arolat, Guy Debort\u201d makalesini yeniden hat\u0131rlatarak sergide g\u00f6r\u00fc\u015fmek \u00fczere diyeyim (URL 5). Bakars\u0131n\u0131z bu kez a\u00e7\u0131k, \u015feffaf, hakiki bir mimari ele\u015ftiri ortam\u0131na tan\u0131k olabiliriz. Ya da Darzana\u2019da oldu\u011fu gibi baz\u0131 mimarlar\u0131n isteksizli\u011fine ra\u011fmen bunu kendimiz sa\u011flamay\u0131 deneyebiliriz…<\/p>\n
T. G\u00fcl K\u00f6ksal
\nMimar-koruma uzman\u0131, Do\u00e7. Dr.
\nKocaeli Dayan\u0131\u015fma Akademisi + Ba\u015fka Bir At\u00f6lye
\nhttps:\/\/www.kocaelidayanisma.org\/tr\/anasayfa\/
\nhttps:\/\/www.baskabiratolye.com\/<\/p>\n
Kaynaklar:<\/strong>
\nURL 1. (2018-2019) http:\/\/www.akbanksanat.com\/sergi\/otedeki-mimarlik indirilme tarihi: 24 Ocak 2019.
\nURL 2. (20018-20019) http:\/\/www.akbanksanat.com\/content\/2018.0029oteki_mimarl%C4%B1k_kitapcik_w eb.pdf indirilme tarihi: 24 Ocak 2019.
\nURL 3. S\u00f6yle\u015fi videosu (2019) https:\/\/www.youtube.com\/watch?v=4NkEtMRRt9Q indirilme tarihi: 24 Ocak 2019.
\nURL 4. Sergi tan\u0131t\u0131m videosu (2018) https:\/\/www.youtube.com\/watch?v=qzfnFHXjjpI indirilme tarihi: 24 Ocak 2019.
\nURL 5. Artun, A. (2012) \u201cMimar\u0131n \u015e\u00f6hret D\u00fc\u015fk\u00fcnl\u00fc\u011f\u00fc \u2013 Emre Arolat, Guy Debort\u201d, E-skop, http:\/\/www.e-skop.com\/skopbulten\/mimarin-sohret-duskunlugu-emre-arolatve-guy-debord\/611, indirilme tarihi: 24 Ocak 2019.
\nURL 6. K. K. Akbulut ve U. Tanyeli s\u00f6yle\u015fisi (2017) \u201cArredamento Star Mimarlar \u00dcretti\u201d, Gazete Duvar, https:\/\/www.gazeteduvar.com.tr\/yazarlar\/2017\/03\/12\/arredamento-star-mimarlaruretti\/ indirilme tarihi: 24 Ocak 2019.
\nURL 7. Ayka\u00e7, G., E. Sert (2018) \u201cT\u00fcrkiye\u2019de Mimarl\u0131\u011f\u0131n Emek S\u00fcre\u00e7lerini Yeniden Tart\u0131\u015fmak\u201d, Moment Dergi, Hacettepe \u00dcniversitesi \u0130leti\u015fim Fak\u00fcltesi K\u00fclt\u00fcrel \u00c7al\u0131\u015fmalar Dergisi, http:\/\/www.momentjournal.org\/index.php\/momentdergi\/article\/view\/355 indirilme tarihi: 24 Ocak 2019.
\nURL 8. http:\/\/www.arkitera.com\/etkinlik\/5404\/genc-cumhuriyetin-cesur-hamlesiolarak-mecidiyekoy-likor-ve-kanyak-fabrikasi-ve-dahasi–kent-hafizasi-baglamindavikviklanmalar indirilme tarihi: 24 Ocak 2019<\/p>\n","protected":false},"excerpt":{"rendered":"\u201c\u00d6te\/de\/ki Mimarl\u0131k\u201d ifadesinin bir sergi ad\u0131 olarak hayli ilgi \u00e7eken bir isim…\n","protected":false},"author":5,"featured_media":40571,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[4689],"tags":[429,4766,2666,2665,4767,912,1883,4765],"class_list":{"0":"post-30956","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-secki","8":"tag-akm","9":"tag-aksanat","10":"tag-gul-koksal","11":"tag-halicport","12":"tag-kurator","13":"tag-mimar","14":"tag-mimarlik","15":"tag-yildiz-mimarlar"},"acf":[],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/posts\/30956","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/comments?post=30956"}],"version-history":[{"count":0,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/posts\/30956\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/media\/40571"}],"wp:attachment":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/media?parent=30956"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/categories?post=30956"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/tags?post=30956"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}