Ethics of Subjectivity and Aesthetics of Subjectivation: Adolf Loos, Le Corbusier and Sou Fujimoto Architectures Ethics of subjectivity can reach out for the truth when an emergent particular situation in an event and its relational... more
Ethics of Subjectivity and Aesthetics of Subjectivation: Adolf Loos, Le Corbusier and Sou Fujimoto Architectures
Ethics of subjectivity can reach out for the truth when an emergent particular situation in an event and its relational network is considered. Relational aesthetics of subjects are produced in many practical expressions. Architectural ethics in interpreting events problematizes virtual of the event and conscious and unconscious expressions of architects related to the event as a routine. The related things are denominated in aesthestic relations and emerges with mental imaginary and are expressed in language. These images become the foundamental problematics of transmission. In this paper privacy and publicness of architects producing ethical knowledge and forming the aesthetic images are discussed. Subjectivation of an architect being a subject, actor or witness, emerging the “power as truth” have forms showing compatibility and incompatibility with the power being practiced. Also, in this paper interpretation that produces subjectivity/self, takes the advantage of visual and auditory arts as drama, photography and cinema producing the power of truth. Strategic visibilities and masked invisibilities of subjectivities in practice present realities in ethics and relational aesthetics of architectural and art theories. Adolf Loos (18701933), Le Corbusier (1887-1965) and Sou Fujimoto’s (1971-) production of subjectivities are interpreted in serial images in emerging realities. Architectural particularities relating modernity, modern city and the social; enonciations, works and utterances form textualities emerging a contemporary architectural image. These textualities are also singularities and read in a frame of referential concepts: Multiplicity, theatricality, event, mask, gap, margin, denomination, home, gaze, real/surreal, image, symbol etc..
Ethics of subjectivity can reach out for the truth when an emergent particular situation in an event and its relational network is considered. Relational aesthetics of subjects are produced in many practical expressions. Architectural ethics in interpreting events problematizes virtual of the event and conscious and unconscious expressions of architects related to the event as a routine. The related things are denominated in aesthestic relations and emerges with mental imaginary and are expressed in language. These images become the foundamental problematics of transmission. In this paper privacy and publicness of architects producing ethical knowledge and forming the aesthetic images are discussed. Subjectivation of an architect being a subject, actor or witness, emerging the “power as truth” have forms showing compatibility and incompatibility with the power being practiced. Also, in this paper interpretation that produces subjectivity/self, takes the advantage of visual and auditory arts as drama, photography and cinema producing the power of truth. Strategic visibilities and masked invisibilities of subjectivities in practice present realities in ethics and relational aesthetics of architectural and art theories. Adolf Loos (18701933), Le Corbusier (1887-1965) and Sou Fujimoto’s (1971-) production of subjectivities are interpreted in serial images in emerging realities. Architectural particularities relating modernity, modern city and the social; enonciations, works and utterances form textualities emerging a contemporary architectural image. These textualities are also singularities and read in a frame of referential concepts: Multiplicity, theatricality, event, mask, gap, margin, denomination, home, gaze, real/surreal, image, symbol etc..
Research Interests:
Public spaces have been in interrogation in last decades. The focus of the discussions is privatization of public spaces, regarding the way of urbanization. The approaches to the publicness of public spaces developed via diverse... more
Public spaces have been in interrogation in last decades. The focus of the discussions is privatization of public spaces, regarding the way of urbanization. The approaches to the publicness of public spaces developed via diverse considerations such as the ambiguous meanings of the concepts of public and private, the role of public institutions, and control on public spaces. These approaches basically depend on the experiences of advanced capitalist societies. In this research, the aim is to understand the basic characteristics of public spaces in terms of user profiles and user habits in Istanbul in two distinctive districts in Asian side. The public space literature on İstanbul suffers from the lack of the research depending on field survey. Hence, one of the areas is Kadıköy which is located in central part, and urbanized in a conventional fashion. The other one is West Ataşehir developed in the last decade, and built up as a constellation of gated communities, which is called private space-led urbanization in this research. Also, West Ataşe-hir is announced as a new CBD, the so called " Finance Centre of Istanbul ". The findings of field research are interesting in terms of similar profiles of users, and quite different with regard to user habits in both cases. The article has for main parts, introduction clarifies the problem, the second part summarizes the debates on public space and publicness, the third part shows the results of the field research , and the last part includes results and conclusions.
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Bergsonculuk, Gilles Deleuze'ün Fransız filozof Henri Bergson üzerine yazdığı ana metinlerden biridir. Makalede Deleuze'ün çokluk fikrinin mimari tasarıma yansımaları Deleuze'ün Bergsonculukta belirlediği yöntem olarak sezgi düşüncesi... more
Bergsonculuk, Gilles Deleuze'ün Fransız filozof Henri Bergson üzerine yazdığı ana metinlerden biridir. Makalede Deleuze'ün çokluk fikrinin mimari tasarıma yansımaları Deleuze'ün Bergsonculukta belirlediği yöntem olarak sezgi düşüncesi üzerinden tekrar düşünülmektedir. Konuyla ilgili deneysel bir araştırma, yazar tarafından 2014-2015 öğretim yılı bahar döneminde Maltepe Üniversitesi Mimarlık ve Tasarım Fakültesi Mimarlık Bölümü MIM 202 Tasarım Stüdyosu dersinde gerçekleştirilmiştir. Deneyde bir taraftan Deleuzecü düşüncede yeninin üretimi, diğer tarafta temsilin uzlaştırıcılığından bağımsız öznel tekillikleri ortaya konmaktadır. Pragmatik bir tasarım yaklaşımında anlatı-sal olmayan temsilin ölçülemeyen yeğinlikleri, elle-çizim hareketinde sezgisel bir devinim olarak ele alınmaktadır. Diyagramatik bir dola-yımın zemininde kurgulanmasına rağmen sezgi dolaysız veriye işaret eder. Tasarımcının süresi, ontolojik çokluğun olumlandığı, dolaysız bilgiyi ortaya çıkaracağı sezgiselliği koşullandırır. Süredeki bölünemeyen ve ölçülemeyen doğal farkların devinimine, bir eğilim olarak ortaya çıkan derece farklarına bölünebilir ve ölçülebilir diyagramatik mekansallaşmalar eklemlenir. Kavramı başlangıç olarak kabul et-meyen dolayısıyla uzlaştırıcı olmayan bir tasarım düşüncesinde, kavram yerine saf algılar ve tekil özelliklerin bağlı olduğu eklemlenmeler, deneyimin koşularına bağlı olarak ortaya çıkar. Böyle bir tasarım düşüncesinde özdeşliğe ve özdeşleşmeye direnen diyagramatik temsiller, sezginin dolayımsızlığıyla farklı eğilimler, yeğinlikler ve yeni başlangıçlar oluştururlar. Anahtar sözcükler: Bergson; Deleuze; diyagram; mimari tasarım; ontoloji; sezgi; süreklilik. " Bergsonism, " written by Gilles Deleuze, is one of the primary texts on French philosopher Henri Bergson. This article reconsiders reflections on Deleuzian sense of multiplicity in architectural design through the " intuition as method " described in the concepts of Bergsonism. Experimental research was conducted by the author of the present article in the 2014-2015 spring term at Faculty of Architectural and Design of Maltepe University in ARCH 202 Design Studio. The work led to the production of the new and subjective singularities in architectural design, independent of mediation of representation. In a pragmatic design approach, movement of drawing by hand with an intuitive flow/ flux not related to narrative representation is discussed through incommensurable intensities. Although based on a meditative, imaginary, diagrammatic " ground " , intuition provides immediate data.Affirming ontological multiplicities, intuition/duration immediate data that produces the conditions of intuitivity. Dividable and quantifiable diagrammatic spatializations are articulated during the flux of that is emerging immeasurably as " differences in nature " and tendencies that are emerging as " differences in kind ". It is a design thinking without necessarily accepting " concept " as a beginning, and it accepts pure perception, articulations connected to singular characteristics occurring according to the conditions of the experience. This kind of design thinking resists labeling and identifying diagrammatic representations producing different tendencies, intensities and new beginnings by immediate intuition. ABSTRACT 1 Bergsonculuk, Gilles Deleuze'ün Fransız Filozof Henri Bergson üzerine yazdığı ana metinlerden biridir. Bu metinden önce Bergson üzerine yazdığı hazırlık niteliğindeki iki metin vardır: " Bergson 1859-1941 " ve " Bergson'da Farkın Kavranışı ". Bergsonculuk ile birlikte bu üç metin Deleuze'ün Bergsonculuğa dair eserlerinin merkezini oluştururlar. Bergson'un fikirleri özellikle Deleuze'ün erken dönem metinlerinden " Fark ve Tekrar " a ve iki sinema kitabına yansımıştır.