{"id":39551,"date":"2023-12-04T15:41:03","date_gmt":"2023-12-04T12:41:03","guid":{"rendered":"https:\/\/politeknik.org.tr\/?p=39551"},"modified":"2023-12-04T17:06:49","modified_gmt":"2023-12-04T14:06:49","slug":"gelecegin-gida-sistemlerini-tasarlamak-meredith-tenhoor","status":"publish","type":"post","link":"https:\/\/eonmeet.com\/pol\/gelecegin-gida-sistemlerini-tasarlamak-meredith-tenhoor\/","title":{"rendered":"Gelece\u011fin g\u0131da sistemlerini tasarlamak – Meredith TenHoor*"},"content":{"rendered":"

Ge\u00e7ti\u011fimiz on y\u0131lda, zanaatkar (artisanal) g\u0131da \u00fcretiminin yeni estetik modelleri pop\u00fcler medyada h\u0131zla yay\u0131l\u0131rken; mimarlar da buna bir dizi yenilik\u00e7i \u2019\u2019kent \u00e7iftli\u011fi\u2019\u2019 tasar\u0131mlar\u0131 ile yan\u0131t verdi.\u00a0<\/span><\/p>\n

Mimari st\u00fcdyolarda \u00e7izilen, g\u00fczelce renderlanm\u0131\u015f, iyi niyetli, yo\u011fun pestisit kullan\u0131m\u0131na ve emek s\u00f6m\u00fcr\u00fcs\u00fcne kar\u015f\u0131 avantajlar sunan bir\u00e7ok kent \u00e7iftli\u011fi, uzun s\u00fcredir kentlerde g\u0131da yeti\u015ftiren insanlar\u0131n -\u00f6zellikle de Ashley Gripper ve Kyle Powys Whyte’\u0131n ABD ba\u011flam\u0131nda i\u015faret etti\u011fi gibi Siyahlar\u0131n ve Yerlilerin- \u00e7al\u0131\u015fmalar\u0131n\u0131 k\u00fc\u00e7\u00fcmseme e\u011filimindeydi.[1]<\/a> \u00c7\u00fcnk\u00fc yeni nesil \u2018\u2019kent \u00e7ifli\u011fi\u2019\u2019 projeleri, kentsel alanlarda g\u0131da \u00fcretiminin \u201cyeniden yap\u0131land\u0131r\u0131lmas\u0131\u201d i\u00e7in tasar\u0131mc\u0131lar\u0131n gerekli oldu\u011funu \u00f6ne s\u00fcr\u00fcyordu.<\/p>\n

Bu proje \u00e7al\u0131\u015fmalar\u0131n\u0131n \u00e7o\u011fu, \u015fehirlerde ya\u015fayan insanlar\u0131n k\u00fc\u00e7\u00fck saks\u0131larda yeti\u015ftirilebilen bitkilerle (microgreen) veya \u00e7ilek gibi meyvelerle kendilerini doyurabileceklerini hayal ederek, \u015fehirlerin yiyecek sa\u011flama sistemlerini olduk\u00e7a basitle\u015ftirdi. Besin ihtiyac\u0131m\u0131z\u0131n \u00e7o\u011funu kar\u015f\u0131layan tah\u0131l ve protein bazl\u0131 yiyecekler unutuldu ve emek-bak\u0131m sorunlar\u0131 g\u00f6rmezden gelindi.[2]<\/a> Bir k\u0131sm\u0131 lojistik ve ziraat konusunda e\u011fitimli olsa da, k\u00fc\u00e7\u00fck \u00e7apl\u0131 g\u0131da \u00fcretimi – end\u00fcstriyel g\u0131da \u00fcretimi dualist tart\u0131\u015fmas\u0131n\u0131n d\u0131\u015f\u0131na \u00e7\u0131kmak m\u00fcmk\u00fcn olamad\u0131. Bu dualizm belki de daha trend tasar\u0131mlar \u00fcretebilmek ad\u0131na g\u0131da \u00fcretiminin kompleksli\u011fini basite indirgiyor olabilir.<\/span><\/p>\n

G\u0131da aktivistleri ve ara\u015ft\u0131rmac\u0131lar\u0131, g\u0131da da\u011f\u0131l\u0131m sistemindeki sorunlar\u0131n, iklim krizine de ba\u011fl\u0131 olarak farkl\u0131 alanlarda i\u015fbirli\u011fi gerektiren stratejiler ile \u00e7\u00f6z\u00fclmesinin zorunlu hale geldi\u011fini s\u00f6yl\u00fcyor. G\u0131da yeterlili\u011finin te\u015fvik edilmesi, ziraat alan\u0131nda d\u00f6n\u00fc\u015f\u00fcm, yeni reg\u00fclasyon ve yasalar, daha iyi \u00e7al\u0131\u015fma ko\u015fullar\u0131, end\u00fcstriyel seviyede da\u011f\u0131t\u0131m a\u011flar\u0131n\u0131n d\u00fczeltilmesi bu \u00e7\u00f6z\u00fcm maddeleri aras\u0131nda say\u0131labilirdi.[3]<\/a><\/p>\n

Ele al\u0131nmas\u0131 gereken pek \u00e7ok zorluk mevcut: tar\u0131m i\u00e7in uygun maliyetli arazilerin sa\u011flanmas\u0131 ve g\u00fcvenceye al\u0131nmas\u0131, tar\u0131m s\u00fcbvansiyonlar\u0131n\u0131n yeniden d\u00fczenlenmesi, hayvansal tar\u0131mdan uzakla\u015f\u0131lmas\u0131, pestisit kal\u0131nt\u0131lar\u0131na ve topra\u011f\u0131n yenilenmesine y\u00f6nelme, tar\u0131msal emtialar\u0131n finansalla\u015fmas\u0131 ve finansalla\u015fman\u0131n bor\u00e7lar \u00fczerindeki etkileriyle ba\u015fa \u00e7\u0131k\u0131lmas\u0131, da\u011f\u0131t\u0131m\u0131n basitle\u015ftirilmesi, arazi m\u00fclks\u00fczle\u015ftirmesinden kaynaklanan ve devam etmekte olan adaletsizliklerin \u00e7\u00f6z\u00fcmlenmesi\u2026\u00a0<\/span><\/p>\n

Mimarlar ve tasar\u0131mc\u0131lar, g\u0131da sistemlerinin d\u00f6n\u00fc\u015f\u00fcm\u00fcn\u00fcn bir par\u00e7as\u0131 olabilmek i\u00e7in, giderek artan politika ara\u015ft\u0131rmalar\u0131ndan ve bunun yan\u0131 s\u0131ra, g\u0131da \u00fcretimi ve sahadaki zorluklar konusunda uzman olan g\u0131da \u00fcreticilerinden ve i\u015f\u00e7ilerinden pek \u00e7ok \u015fey \u00f6\u011frenebilirler. Ancak, \u00f6\u011frenmenin faydas\u0131 ile beraber, g\u0131da sistemlerini \u201cyeniden dizayn etmekle\u201d ilgilenen mimarlar, bu karma\u015f\u0131k d\u00fcnyaya para\u015f\u00fctle inen \u00e7\u00f6z\u00fcmc\u00fc tarzdaki projelerin s\u0131n\u0131rlar\u0131n\u0131n ve potansiyel zararlar\u0131n\u0131n fark\u0131nda olmal\u0131.\u00a0<\/span><\/p>\n

Mimarlar k\u00fc\u00e7\u00fck \u00f6l\u00e7ekte veya b\u00fcy\u00fck \u00f6l\u00e7ekte \u00e7al\u0131\u015fabilirler ya da bunlar aras\u0131nda ge\u00e7i\u015f yapabilirler ancak bu yakla\u015f\u0131mlar d\u0131\u015flay\u0131c\u0131 veya \u00e7eli\u015fkili olmamal\u0131d\u0131r. Ekolojik ve sosyal a\u00e7\u0131dan sa\u011fl\u0131kl\u0131 bir g\u0131da sistemi projesinde, disiplinleraras\u0131 ekiplerin par\u00e7as\u0131 olarak ya da kendi disiplinleri i\u00e7inde \u00e7al\u0131\u015fabilirler.[4]<\/a><\/span> Bu \u00e7al\u0131\u015fmalar \u00f6nemli olacakt\u0131r, \u00e7\u00fcnk\u00fc temsili bir proje, mimarlar\u0131n b\u00fcy\u00fck \u00f6l\u00e7\u00fcde zaten sahip oldu\u011fu disipliner bilgi ile geli\u015ftirilebilir.<\/span><\/p>\n

Yirminci y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda Fransa’da, sosyalist tar\u0131m politikas\u0131<\/b><\/p>\n

G\u0131da sistemleri gelece\u011finin \u201crender\u201dc\u0131lar\u0131, mimarl\u0131k tarihinden \u00e7e\u015fitli dersler \u00e7\u0131karabilirler. Fransa’da tar\u0131m\u0131n son b\u00fcy\u00fck d\u00f6n\u00fc\u015f\u00fcm\u00fc s\u0131ras\u0131nda -k\u00fc\u00e7\u00fck \u00f6l\u00e7ekli bir sistemden sanayile\u015fmi\u015f bir sisteme ge\u00e7i\u015f-, Frans\u0131z tar\u0131m bakan\u0131 Georges Monnet ve mimar Charlotte Perriand aras\u0131nda, k\u0131sa ama \u00f6\u011fretici bir s\u00fcre\u00e7 ya\u015fand\u0131. Sol partilerden olu\u015fan bir siyasi ittifak olan <\/span>Halk Cephesinin,<\/span><\/i> May\u0131s 1936’da Frans\u0131z meclisini ele ge\u00e7irmesinin ard\u0131ndan, yeni sosyalist ba\u015fbakan L\u00e9on Blum, Georges Monnet’i Tar\u0131m Bakan\u0131 olarak atad\u0131. Uluslararas\u0131 \u0130\u015f\u00e7i Partisi (SFIO) \u00fcyesi olan ve tar\u0131m i\u015f\u00e7ilerinin haklar\u0131n\u0131 savunmaya kendini adayan Monnet, ayn\u0131 zamanda, 250 hektarl\u0131k bir \u00e7iftli\u011fin sahibi ve tecr\u00fcbeli bir \u00e7ift\u00e7iydi.[5]<\/a><\/span><\/p>\n

Monnet \u00e7al\u0131\u015fmalar\u0131na politika ile ba\u015flad\u0131: “Toprak \u00fcr\u00fcnlerinin yeniden de\u011fer kazanmas\u0131” program\u0131, Fransa’da yeti\u015ftirilen g\u0131dalar\u0131n k\u00fclt\u00fcrel ve parasal de\u011ferini y\u00fckseltmeyi ama\u00e7lam\u0131\u015ft\u0131. K\u00fc\u00e7\u00fck \u00f6l\u00e7ekli \u00e7ift\u00e7ilerin \u00e7\u0131karlar\u0131n\u0131 destekledi ve daha y\u00fcksek \u00fccretler i\u00e7in pazarl\u0131k umuduyla tar\u0131m i\u015f\u00e7ilerine bir dizi sosyal yard\u0131m sa\u011flad\u0131.<\/span>\u00a0Monnet \u00f6zellikle tah\u0131l\u0131n pazara ne zaman ve nas\u0131l girece\u011fini d\u00fczenlemeye kararl\u0131yd\u0131, b\u00f6ylelikle tah\u0131l\u0131n \u00e7ok oldu\u011fu zamanlarda da \u00e7ift\u00e7iler i\u00e7in fiyatlar korunabilecekti. Tar\u0131mda piyasa ve reg\u00fclasyonlar\u0131n d\u00fczenlenmesi, uygun fiyatl\u0131 g\u0131daya ihtiya\u00e7 duyan kentsel t\u00fcketiciler ile daha iyi ve daha istikrarl\u0131 \u00fccretlere ihtiya\u00e7 duyan k\u0131rsaldaki \u00fcreticilerin gereksinimleri aras\u0131nda uygun bir denge sa\u011flayacakt\u0131.<\/span><\/p>\n

Monnet, k\u0131rsal yenileme program\u0131n\u0131n estetik ve mimari bir bile\u015feni oldu\u011funu da idrak etmi\u015fti. 1930lar\u0131n ba\u015flar\u0131nda, Monnet, Bakanl\u0131\u011f\u0131n yeni politika hedeflerini g\u00f6rselle\u015ftirilmesine ve ileti\u015fimine yard\u0131mc\u0131 olmas\u0131 i\u00e7in mimar ve foto\u011fraf\u00e7\u0131 Charlotte Perriand’a ba\u015fvurdu. Perriand, siyasi olarak Halk Cephesi ile ayn\u0131 \u00e7izgideydi. 1936\u2019da, Dekoratif Sanatlar Salonu’nda sergilenen, Paris’in yoksul mahallelerindeki g\u00fcndelik ya\u015fam sahnelerinden olu\u015fan devasa fotomontaj\u0131 kentteki sosyal zorluklar\u0131 haritaland\u0131rmada \u00f6l\u00e7ek d\u0131\u015f\u0131 fotografik g\u00f6r\u00fcnt\u00fcleri kullanma becerisini ortaya koymu\u015ftu.<\/span> Dolay\u0131s\u0131yla mimar Perriand bu pozisyon i\u00e7in bariz bir se\u00e7imdi.<\/span><\/p>\n

Perriand, Monnet taraf\u0131ndan Tar\u0131m Bakanl\u0131\u011f\u0131’n\u0131n bekleme salonu ve toplant\u0131 odas\u0131n\u0131 dekore etmekle g\u00f6revlendirildi.[6]<\/a><\/span> Perriand \u00e7al\u0131\u015fmas\u0131nda, yak\u0131n toprak resimleri\u00a0 ile y\u00fcz ifadeleri duygu dolu i\u015f\u00e7i y\u00fczlerininin benzerliklerini ortaya koydu. Bitki g\u00f6r\u00fcnt\u00fclerini b\u00fcy\u00fct\u00fcp dramatik a\u00e7\u0131larla \u00e7ift\u00e7ilerin aras\u0131na yerle\u015ftirerek bitkilerin, insanlar\u0131n ve topra\u011f\u0131n tar\u0131msal d\u00f6n\u00fc\u015f\u00fcm\u00fcn temel par\u00e7alar\u0131 oldu\u011funu \u00f6ne s\u00fcrd\u00fc. Yeni Nesnellik (Neue Sachlichkeit) ak\u0131m\u0131n\u0131n g\u00f6rsel dilinden \u00f6d\u00fcn\u00e7 al\u0131nan ger\u00e7ek\u00e7i foto\u011fraflar, de\u011fi\u015fen \u00f6l\u00e7ekleri nedeniyle ayn\u0131 zamanda ger\u00e7ek \u00fcst\u00fcyd\u00fc. Perriand, g\u00f6r\u00fcnt\u00fcleri do\u011frudan duvarlar\u0131n s\u0131vas\u0131na yap\u0131\u015ft\u0131rd\u0131, b\u00f6ylece gelecekteki bir y\u00f6netim taraf\u0131ndan duvarlar\u0131 tahrip etmeden kolayca kald\u0131r\u0131lamayacaklard\u0131.<\/span>[7]<\/a><\/span><\/p>\n

\"\"<\/span><\/p>\n

Halk Cephesinin tar\u0131m politikalar\u0131na destek sa\u011flamak i\u00e7in erzaklar\u0131n\u0131n kayna\u011f\u0131ndan habersiz ve g\u0131da \u00fcretiminin siyasi ekonomilerinden kopuk olan Parislilere tar\u0131m reformlar\u0131n\u0131n daha g\u00f6r\u00fcn\u00fcr olmas\u0131 gerekiyordu. 1937 D\u00fcnya Fuar\u0131 yakla\u015f\u0131rken Monnet, Bakanl\u0131\u011f\u0131n hedeflerini g\u00f6sterecek bir tar\u0131m sergi alan\u0131 planlad\u0131. Sergi alan\u0131n\u0131, k\u0131rsal kesimdeki i\u015f\u00e7ilerin i\u00e7inde bulundu\u011fu k\u00f6t\u00fc durumu, k\u0131rsal alan\u0131n potansiyelini ve k\u0131rsal ya\u015fam\u0131 iyile\u015ftirmek i\u00e7in bakanl\u0131k ofisinin gelecek \u00e7al\u0131\u015fmalar\u0131n\u0131 yay\u0131nlamak i\u00e7in kullanmay\u0131 umuyordu. Monnet, Perriand’dan bakanl\u0131\u011fa tahsis edilen sergi alan\u0131n\u0131n duvarlar\u0131n\u0131 yeniden tasarlamas\u0131n\u0131 istedi.[8]<\/a><\/span><\/p>\n

\"\"Bu sergi alan\u0131n\u0131n tasar\u0131m\u0131nda; Perriand\u2019\u0131n se\u00e7ti\u011fi foto\u011fraflar\u0131n \u00fczeri L\u00e9ger taraf\u0131ndan boyanm\u0131\u015f ve k\u0131rsal ya\u015fam\u0131n modern altyap\u0131y\u0131 da i\u00e7erdi\u011fi basit bir grafik dille anlat\u0131lm\u0131\u015ft\u0131. Kolajlanm\u0131\u015f g\u00f6r\u00fcnt\u00fcler yeni elektrik hatlar\u0131n\u0131 ve elektrifikasyonun faydalar\u0131n\u0131, Eyfel kulesinin demir yap\u0131s\u0131n\u0131 ve zafer yumruklar\u0131yla tutulan narin \u00e7i\u00e7ekleri g\u00f6stermekte, modernize edilmi\u015f k\u00f6ylerin yenilenmi\u015f Fransa projesinin nas\u0131l \u00f6nemli bir par\u00e7as\u0131 olabilece\u011fini temsil etmekteydi. Halk Cephesi’nin k\u0131rsal kesimdeki i\u015f\u00e7ilere y\u00f6nelik \u00f6nerileri sergi alan\u0131n\u0131n i\u00e7 k\u0131sm\u0131nda sergileniyordu. “Toplu pazarl\u0131k”, “i\u015f g\u00fcn\u00fcne s\u0131n\u0131rlama”, “ya\u015fl\u0131 i\u015f\u00e7iler i\u00e7in emeklilik yard\u0131m\u0131”, “aileler i\u00e7in yard\u0131m” ve “\u00fccretli tatil” bu \u00f6nerilerden baz\u0131lar\u0131yd\u0131.<\/span><\/p>\n

Monnet, tar\u0131m\u0131n t\u00fcm \u00fclkeyi destekledi\u011fini anlam\u0131\u015f ve mimar Perriand’\u0131n yard\u0131m\u0131yla, modernize edilmi\u015f k\u00f6ylerin -i\u015f\u00e7iler i\u00e7in adil \u00fccretlendirmenin oldu\u011fu- nas\u0131l g\u00f6r\u00fcnebilece\u011fini tasvir edebilmi\u015fti. \u00c7al\u0131\u015fmalar\u0131, Halk Cephesi’nin planlar\u0131n\u0131n politikaya d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesine yard\u0131mc\u0131 oldu; \u00e7ift\u00e7ileri sanayi i\u015f\u00e7ileriyle dayan\u0131\u015fma i\u00e7inde g\u00f6steren muzaffer i\u015f\u00e7iler olarak tasvir edildi. K\u0131rsal ustal\u0131k ve k\u00fclt\u00fcr\u00fcn tar\u0131m\u0131n makinele\u015fmesi ile silinmeyece\u011fi foto\u011fraflarda g\u00f6steriliyordu. \u015eehir ve k\u0131rsal kesim aras\u0131ndaki i\u015fbirli\u011fi ve ba\u011flant\u0131 imgeleri, hem Tar\u0131m Bakanl\u0131\u011f\u0131’n\u0131 hem de 1937 D\u00fcnya Fuar\u0131’ndaki sergi alan\u0131n\u0131 teknolojikle\u015ftirilmi\u015f ve \u00e7eperlerinden ar\u0131nd\u0131r\u0131lm\u0131\u015f bir k\u0131rsal alan vizyonuna d\u00f6n\u00fc\u015ft\u00fcrd\u00fc. Mimar Perriand, g\u0131da sistemini yeniden in\u015fa etmeye \u00e7al\u0131\u015fm\u0131yordu, bunun yerine tar\u0131msal d\u00f6n\u00fc\u015f\u00fcm\u00fc di\u011fer Halk Cephesi programlar\u0131na ba\u011flayabilecek estetik bir dil sunmaya \u00e7al\u0131\u015f\u0131yordu.<\/span><\/p>\n

Halk Cephesi iktidar\u0131n\u0131 koruyamad\u0131 ve \u0130kinci D\u00fcnya Sava\u015f\u0131 Fransa’n\u0131n k\u00f6y modernizasyonu projesini ge\u00e7i\u015fini kesintiye u\u011fratt\u0131. Monnet’in fakir k\u00f6yl\u00fclerin ihtiya\u00e7lar\u0131n\u0131 giderecek g\u00fc\u00e7l\u00fc \u00e7iftlik \u00fcretimi vizyonu kayboldu. Sava\u015ftan sonra, k\u0131rsal reformla ilgilenen mimarlar, \u0130kinci D\u00fcnya Sava\u015f\u0131 s\u0131ras\u0131nda y\u0131k\u0131lanlar\u0131n yerini alacak daha rasyonel \u00e7iftliklerin tasar\u0131mc\u0131lar\u0131 olarak g\u00f6revlendirildi<\/span>.[9]<\/a> Bu projeler \u00e7ift\u00e7ilerin \u00e7al\u0131\u015fma ko\u015fullar\u0131n\u0131 iyile\u015ftirdi, ancak ekonomik g\u00fc\u00e7lerini iyile\u015ftirmedi.<\/span>[10]<\/a><\/span><\/p>\n

Nihayetinde Fransa’da 1950’lerden 1970’lere kadar k\u0131rsal ya\u015fam standartlar\u0131n\u0131, \u00fcretim uygulamalar\u0131n\u0131 ve da\u011f\u0131t\u0131m modellerini de\u011fi\u015ftiren bir dizi tar\u0131msal d\u00f6n\u00fc\u015f\u00fcm ya\u015fand\u0131. Bu d\u00f6n\u00fc\u015f\u00fcmler yan\u0131nda; b\u00fcy\u00fck \u00f6l\u00e7ekli \u00e7iftliklerin birle\u015ftirilmesi, yo\u011fun tar\u0131m ilac\u0131 kullan\u0131m\u0131 ve ihracat i\u00e7in fazla \u00fcretimi de getirdi. Ayn\u0131 zamanda k\u00fc\u00e7\u00fck \u00e7apta ekolojik y\u0131k\u0131mlara yol a\u00e7arak topraklara ve su havzalar\u0131na da zarar verdi. Monnet’in ideallerinden ve Perriand’\u0131n modernist esteti\u011finden yararlanm\u0131\u015f olsalar da, k\u00fc\u00e7\u00fck \u00f6l\u00e7ekli \u00e7ift\u00e7iler i\u00e7in zorluklar ve t\u00fcm \u00fclkeyi etkileyen ekolojik sorunlar ortaya \u00e7\u0131kard\u0131lar.<\/span><\/p>\n

Tar\u0131msal \u00fcretim ile t\u00fcketim aras\u0131nda adalet ve ekoloji dilinden ba\u011flant\u0131 kurmak<\/b><\/p>\n

Her ne kadar ama\u00e7land\u0131\u011f\u0131 gibi sonu\u00e7lanmam\u0131\u015f olsalar da, Monnet’in tar\u0131m i\u015f\u00e7ilerinin ya\u015famlar\u0131na ve zamanlar\u0131na verdi\u011fi de\u011fer ve mimar Perriand’\u0131n tar\u0131m reformu vizyonlar\u0131n\u0131 sembolize etme ve basitle\u015ftirme prati\u011fi bug\u00fcn hala anlaml\u0131 bir \u015fekilde yeniden canland\u0131r\u0131labilir.\u00a0<\/span><\/p>\n

Tasar\u0131mc\u0131lar, planlamac\u0131lar ve g\u0131da sistemleri uzmanlar\u0131 aras\u0131ndaki \u2018daha iyi \u00e7al\u0131\u015fma ko\u015fullar\u0131 ve ekolojik \u00f6nemi \u00f6ng\u00f6ren\u2019 i\u015fbirlikleri, bu t\u00fcr yap\u0131land\u0131rmalar i\u00e7in bir\u00e7ok potansiyel model sunuyor.<\/span><\/p>\n

\"\"<\/span><\/p>\n

Peyzaj tarih\u00e7isi ve mimar Anita Bakshi ve Rutgers \u00dcniversitesi’ndeki \u00f6\u011frencileri, Ramapough Lunaape Nation toplulu\u011fu ile birlikte yak\u0131n zamanda \u00f6nemli bir \u00e7al\u0131\u015fma sundu. \u00c7al\u0131\u015fma sonunda; Lunaape yerlileri topraklar\u0131nda kanser, hastal\u0131k ve zehirli toprak miras\u0131 b\u0131rakan Ringwood Madenleri hakk\u0131nda bir e-kitap, sergi ve film (2019-2021) \u00fczerinde i\u015fbirli\u011fi yapt\u0131<\/span>.[11]<\/a> Bakshi ve \u00f6\u011frencileri, sahadaki ge\u00e7mi\u015f ve g\u00fcn\u00fcm\u00fcz\u00fcn g\u00f6r\u00fcnt\u00fclerini toplad\u0131 ve b\u00f6lge sakinleriyle toksik kal\u0131nt\u0131lar\u0131n onlar\u0131 nas\u0131l etkiledi\u011fi hakk\u0131nda r\u00f6portajlar yapt\u0131. \u00c7al\u0131\u015fmalar\u0131n\u0131n bir par\u00e7as\u0131 olarak \u00f6\u011frenciler, 2019 y\u0131l\u0131nda Munsee Three Sisters T\u0131bbi \u00c7iftli\u011fini kuran \u015eef Vincent Mann ve Kabile Lideri Michaeline Picaro ile g\u00f6r\u00fc\u015ft\u00fcler. Bu \u00e7iftlik, bir \u2018g\u0131da egemenli\u011fi yaratma prati\u011fi\u2019 olarak NJ, Sussex County’de g\u0131da ve ila\u00e7 yeti\u015ftiriyor ve araziyi koruyor.[12]<\/a><\/span> \u00d6\u011frenciler \u00e7evresel adalet taleplerini belgeledik\u00e7e, daha iyi tar\u0131m vizyonlar\u0131n\u0131n \u00e7izilmesine ve temsil edilmesine yard\u0131mc\u0131 oldular. \u00c7izdikleri resimler, diyagramlar ve haritalar haz\u0131r \u00e7\u00f6z\u00fcmler de\u011fil, bir tabana inme, diyalog kurma \u00e7al\u0131\u015fmalar\u0131yd\u0131.<\/span><\/p>\n

B\u00fcy\u00fcyen topluluklar\u0131n i\u00e7inden geli\u015ftirilen planlar, topluma ba\u015fka temsil bi\u00e7imleri ve ekolojik vaatler de sunuyor. Philadelphia’da siyahi kad\u0131nlar ve trans \u00e7ift\u00e7ilerden olu\u015fan bir koalisyon olan Soil Generation, kent i\u00e7in \u2018kentsel \u00e7iftlik\u2019 politikas\u0131 \u00f6nerilerine rehberlik etmek ve agro-ekolojik g\u0131da \u00fcretimi hakk\u0131nda bilgi payla\u015fmak i\u00e7in uzun s\u00fcredir kentte ya\u015fayan \u00e7ift\u00e7ilerin g\u00f6r\u00fc\u015flerinden yararlan\u0131yor. [13]<\/a><\/span> Soylula\u015ft\u0131rma kaynakl\u0131 yerinden edilme tehdidi alt\u0131nda olan ve kentsel g\u0131da \u00fcretimi konusunda derin uzmanl\u0131\u011fa sahip \u00e7ift\u00e7iler olarak Soil Generation, kentsel bah\u00e7eciler ve \u00e7ift\u00e7iler i\u00e7in kentsel arazilere eri\u015fimi korumak i\u00e7in \u00e7al\u0131\u015farak g\u0131da egemenli\u011fini te\u015fvik etmekte. \u00d6zellikle siyahiler i\u00e7in arazi edinme stratejilerini haritaland\u0131ran ve planlayan \u00e7al\u0131\u015fmalar\u0131, kentsel araziye eri\u015fimi k\u0131s\u0131tlayan sistemik \u0131rk\u00e7\u0131l\u0131kla m\u00fccadele ediyor. Planlar haz\u0131rlaman\u0131n yan\u0131 s\u0131ra k\u00fc\u00e7\u00fck \u00e7ift\u00e7ileri de destekleyen Soil Generation, ekili alanlar\u0131n tasar\u0131m\u0131, planlanmas\u0131 ve bak\u0131m\u0131nda bir adalet ve onar\u0131m modeline y\u00f6neliyor.<\/span><\/p>\n

Yirminci y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda Fransa’da, sosyalist tar\u0131m politikas\u0131 program\u0131na eklenen yeni estetik dil; kentsel ve k\u0131rsal alanlar aras\u0131nda bir yak\u0131nla\u015fma ile hen\u00fcz var olmayan tar\u0131m vizyonu sunarak, g\u0131da \u00fcretimine yabanc\u0131la\u015fm\u0131\u015f insanlara tar\u0131m\u0131 ve g\u0131da \u00fcretimini anlatmaya yard\u0131mc\u0131 oldu. Art\u0131k, iklim kriziyle ba\u015fa \u00e7\u0131kmak i\u00e7in g\u0131da sistemlerimizi yeniden d\u00fczenlemeye ihtiya\u00e7 duyuyoruz. Soil Generation, Ramapough Lunaape ve di\u011fer pek \u00e7oklar\u0131n\u0131n yapt\u0131\u011f\u0131 gibi, ekolojik olarak sa\u011fl\u0131kl\u0131 g\u0131da \u00fcretimi modellerini hayata ge\u00e7irmemiz gerekiyor. Mimari d\u00fcnya in\u015fas\u0131, yeni yasalar \u00fcretmek i\u00e7in heyecan yaratabilir ve mimari dayan\u0131\u015fma in\u015fas\u0131, pek \u00e7ok g\u0131da sistemine zarar veren arazi h\u0131rs\u0131zl\u0131\u011f\u0131, spek\u00fclasyon ve toksisite gibi sistemik adaletsizliklerin onar\u0131lmas\u0131n\u0131 sa\u011flayabilir.\u00a0<\/span><\/p>\n

(e-flux.com<\/a>\u2018daki \u0130ngilizce orjinalinden politeknik.org.tr i\u00e7in \u00e7evrildi.)<\/strong><\/em><\/p>\n

[1]<\/a> Ben bu iki d\u00fc\u015f\u00fcn\u00fcr\u00fc ele\u015ftirileri nedeniyle \u00f6ne \u00e7\u0131kard\u0131m, ancak pek \u00e7ok ba\u015fka d\u00fc\u015f\u00fcn\u00fcr de bu noktaya de\u011finmi\u015ftir. Bkz. Ashley Gripper, \u201cWe Don\u2019t Farm Because It\u2019s Trendy; We Farm as Resistance, for Healing and Sovereignty,\u201d Environmental Health News, May 27, 2020, \u279d; Kyle Powys Whyte, \u201cFood Sovereignty, Justice, and Indigenous Peoples,\u201d in The Oxford Handbook of Food Ethics (Oxford: Oxford University Press, 2018), and \u201cSettler Colonialism, Ecology, and Environmental Injustice,\u201d Environment and Society 9, no. 1 (2018): 125\u2013144.<\/em><\/p>\n

[2] <\/em>\u00a0Tart\u0131\u015fmalar hakk\u0131nda bilgi i\u00e7in bkz. Gabriel N. Rosenberg and Jan Dutkiewicz, \u201cAbolish the Department of Agriculture,\u201d <\/span>The New Republic<\/span><\/i>, December 27, 2021,<\/span> \u279d<\/span><\/a>. Raj Patel and Jim Goodman, \u201cA Green New Deal for Agriculture,\u201d <\/span>Jacobin<\/span><\/i>, April 4, 2019,<\/span><\/p>\n

[3] Green New Deal Superstudio bu t\u00fcr \u00e7al\u0131\u015fmalar\u0131n \u00f6nemli bir \u00f6rne\u011fidir; ar\u015fivlenen 671 projenin 479’u toprak ve tar\u0131msal d\u00f6n\u00fc\u015f\u00fcmle ilgilidir. Daha fazla ayr\u0131nt\u0131 i\u00e7in, bkz \u279d. Mimarlar\u0131n Green New Deal\u2019\u0131n hedeflerini nas\u0131l anlayabilece\u011fi hakk\u0131nda daha fazla bilgi i\u00e7in bkz: Billy Fleming, “Design and the Green New Deal,” Places Journal, 16 Nisan 2019, \u279d; Reinhold Martin, “Abolish Oil,” Places Journal, Haziran 2020, \u279d; Sam Velasquez, “Green and New,” Urban Omnibus, 29 Ekim 2020,<\/span><\/em><\/p>\n

[4] John Bulaitis, Communism in Rural France: French Agricultural Workers and the Popular Front (London: I.B. Tauris, 2008), 106.<\/span><\/em><\/p>\n

[5] Perriand\u2019\u0131n projesi hakk\u0131nda daha fazla bilgi i\u00e7in, bkz. Gabrielle de la Selle and Max Bonhomme, \u201cLa Grande Mis\u00e8re de Paris par Charlotte Perriand,\u201d Photographie arme de classe: La photographie sociale et doucmentaire en France, 1928-36 (Paris: Centre Pompidou, 2018) and Romy Golan, Muralnomad\u202f: The Paradox of Wall Painting, Europe 1927-1957 (Yale University Press, 2009): 150-162.<\/span><\/em><\/p>\n

[6] Bu proje hakk\u0131nda daha fazla bilgi i\u00e7in bkz., Danilo Udovicki-Selb, \u201c\u2018C\u2019\u00e9tait dans l\u2019air du temps\u2019: Charlotte Perriand and the Popular Front,\u201d in Charlotte Perriand: An Art of Living, ed. Mary McLeod (New York: Harry Abrams, 2004) and Golan, Muralnomad.<\/span><\/em><\/p>\n

[7] Ibid, 85<\/span>.<\/span><\/p>\n[8] Ibid<\/p>\n

[9]Bkz Xavier Dousson, \u201cLa reconstruction du village t\u00e9moin du Bosquel dans la Somme apr\u00e8s 1940. R\u00e9cit, ambitions et paradoxes d\u2019une op\u00e9ration singuli\u00e8re,\u201d In Situ. Revue des patrimoines 21 (July 16, 2013), <\/span>\u279d<\/span><\/a>.<\/span><\/em><\/p>\n

[10]Fransa\u2019da sava\u015f sonras\u0131 tar\u0131m modernizasyonu hakk\u0131nda daha fazla bilgi i\u00e7in, bkz: Venus Bivar, Organic Resistance: The Struggle over Industrial Farming in Postwar France, Flows, Migrations, and Exchanges. (Chapel Hill: University Of North Carolina Press, 2018)<\/span>.<\/span> <\/em><\/p>\n

[11]Daha fazla ayr\u0131nt\u0131 i\u00e7in, 2019 e-kitab\u0131 Our Land, Our Stories’e ve konuyla ilgili bir belgesel olan The Meaning of the Seed’e (2021) ba\u011flant\u0131lar i\u00e7eren https:\/\/our-land-our-stories.libraries.rutgers.edu\/ websitesini ziyaret edin \u279d.Ayr\u0131ca bak\u0131n\u0131z Anita Bakshi, “The Settler Colonial Present:Contaminated Representations,” The Settler Colonial Present (e-flux Architecture, 2020),<\/span><\/em><\/p>\n

[12] Bkz: https:\/\/munseethreesisters.org\/about-2\/<\/span><\/p>\n

[13]Bkz: Soil Generation, \u201cAgroecology from the People Volume 1\u201d<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"Ge\u00e7ti\u011fimiz on y\u0131lda, zanaatkar (artisanal) g\u0131da \u00fcretiminin yeni estetik modelleri pop\u00fcler medyada…\n","protected":false},"author":3,"featured_media":39558,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[1991,4729],"tags":[5981,5982,1622,5977,3046,5980,3712,5983,5978,3230,5984,5122,5976,5979],"class_list":{"0":"post-39551","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-yazilar","8":"category-tarim-yazilar","9":"tag-fransa-ekoloji","10":"tag-fransa-tarim","11":"tag-gida","12":"tag-gida-krizi","13":"tag-iklim","14":"tag-iklim-krizi","15":"tag-manset","16":"tag-mimarlar-tarim","17":"tag-pestisitler","18":"tag-tarim","19":"tag-tarim-mimari","20":"tag-tarimsal-uretim","21":"tag-toprak","22":"tag-uretim"},"acf":[],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/posts\/39551","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\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/comments?post=39551"}],"version-history":[{"count":0,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/posts\/39551\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/media\/39558"}],"wp:attachment":[{"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/media?parent=39551"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/categories?post=39551"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/eonmeet.com\/pol\/wp-json\/wp\/v2\/tags?post=39551"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}