{"id":12258,"date":"2014-12-01T22:07:27","date_gmt":"2014-12-01T20:07:27","guid":{"rendered":"http:\/\/109.232.216.219\/~bilimvegelecek\/?p=12258"},"modified":"2018-04-19T17:34:37","modified_gmt":"2018-04-19T14:34:37","slug":"yeni-cumhurbaskanligi-binasinin-mimarlik-elestirisi-mumkun-mu","status":"publish","type":"post","link":"https:\/\/bilimvegelecek.com.tr\/index.php\/2014\/12\/01\/yeni-cumhurbaskanligi-binasinin-mimarlik-elestirisi-mumkun-mu","title":{"rendered":"Yeni Cumhurba\u015fkanl\u0131\u011f\u0131 Binas\u0131n\u0131n mimarl\u0131k ele\u015ftirisi m\u00fcmk\u00fcn m\u00fc?"},"content":{"rendered":"

Yeni Cumhurba\u015fkanl\u0131\u011f\u0131 Binas\u0131na, Tanp\u0131nar ve Benjamin\u2019in tarihe, topluma ve \u00fcretilen mek\u00e2na bak\u0131\u015flar\u0131 ile ba\u011flam, yer se\u00e7imi ve s\u00fcre\u00e7, mimarl\u0131k ve mimarl\u0131k ele\u015ftirisi, yap\u0131n\u0131n \u00f6zellikleri, sosyal akt\u00f6rlerin s\u00f6ylemleri ve farkl\u0131 temsiliyet eksenlerinden k\u0131sa kesitler alarak bakaca\u011f\u0131z. Bu \u00e7al\u0131\u015fma, uzun soluklu bir Yeni T\u00fcrkiye Projesi okumas\u0131n\u0131n m\u00fctevaz\u0131 ve deneysel bir ba\u015flang\u0131c\u0131\u2026<\/em><\/p>\n

Ahmet Hamdi Tanp\u0131nar, Saatleri Ayarlama Enstit\u00fcs\u00fc<\/em>\u2019nde ayr\u0131 iki k\u00fclt\u00fcr d\u00fcnyas\u0131n\u0131n ironik \u00e7eli\u015fkilerini aktar\u0131r; iki uygarl\u0131k, iki zihniyet d\u00fcnyas\u0131n\u0131n farkl\u0131 de\u011ferleri aras\u0131nda bocalayan T\u00fcrkiye toplumunun trajikomik hik\u00e2yesini betimler.([1]<\/a>) <\/sup>Yazara g\u00f6re, tepeden inme tav\u0131rla y\u0131karak yapan modernle\u015ftirici d\u00fcnyada \u201cy\u0131k\u0131m hep zararl\u0131d\u0131r\u201d; hatta yeniden yap\u0131m i\u00e7in bile olsa,\u201cger\u00e7ek in\u015fa, eklemekten ge\u00e7er.\u201d Asl\u0131nda kurulu\u015f y\u0131llar\u0131ndaki kentin ve kentlinin ikilemlerini aktaran Tanp\u0131nar\u2019\u0131n hik\u00e2yesi, bug\u00fcn hi\u00e7 olmad\u0131\u011f\u0131 kadar g\u00fcncel, i\u00e7inde bulundu\u011fumuz \u015fizofrenik ortam\u0131n ta kendisi.([2]<\/a>) <\/sup>Erken Cumhuriyet d\u00f6neminin ruhunu ele\u015ftiren bu sat\u0131rlar, g\u00fcn\u00fcm\u00fcz\u00fcn iki d\u00fcnya aras\u0131nda s\u0131k\u0131\u015fm\u0131\u015f, yaln\u0131z kendi bak\u0131\u015f a\u00e7\u0131s\u0131ndan d\u00fcnyay\u0131 kavrayan ve \u201c\u00f6teki\u201dnin varl\u0131\u011f\u0131n\u0131 ve de\u011ferlerini reddeden g\u00fcn\u00fcm\u00fcz egemen y\u00f6netimi i\u00e7in de ge\u00e7erli. 1930\u2019larla adeta \u201cideolojik bir sava\u015f\u201d ya\u015fayan y\u00f6netim, Cumhuriyet\u2019in simge mek\u00e2n\u0131n\u0131, Yeni T\u00fcrkiye\u2019nin bir numaral\u0131 binas\u0131na d\u00f6n\u00fc\u015ft\u00fcrd\u00fc. G\u00fcndelik hayat\u0131n par\u00e7as\u0131 haline gelen, kamusal belle\u011fin simgesel bir mek\u00e2n\u0131, tepeden inme bir kararla revize edildi.<\/p>\n

Derginin bu say\u0131s\u0131nda Yeni Cumhurba\u015fkanl\u0131\u011f\u0131 Binas\u0131 \u00fczerine mimarl\u0131k i\u00e7inden bir yaz\u0131 istediklerinde do\u011frusu duralad\u0131m. Ele\u015ftiriye tahamm\u00fcl\u00fcn olmad\u0131\u011f\u0131, iki zihniyet d\u00fcnyas\u0131 aras\u0131nda keskin kopu\u015flar\u0131n ve \u00e7at\u0131\u015fmalar\u0131n ya\u015fand\u0131\u011f\u0131 bu topraklarda, T\u00fcrkiye Cumhuriyeti\u2019nin bir numaral\u0131 binas\u0131 \u00fczerine ele\u015ftiri geli\u015ftirilebilir mi? 20 y\u0131ld\u0131r par\u00e7as\u0131 oldu\u011fum mimarl\u0131k e\u011fitim ser\u00fcveni i\u00e7inden ne s\u00f6ylenebilir? Mimarl\u0131k ve toplumsal e\u011fitim alan\u0131ndan sistematik bir ele\u015ftiri bu bina \u00fczerinden nas\u0131l yap\u0131labilir? Etik kavram\u0131n\u0131n yerle bir edildi\u011fi, ahlaktan s\u00f6z edildi\u011finde ta\u015f devrinden kald\u0131\u011f\u0131n\u0131z\u0131n d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fc bir toplumsal ve politik ortamda, mimari etik \u00fczerinden y\u00fcr\u00fct\u00fclen mimari ele\u015ftirinin nesnesi, kamusal ve kentsel belle\u011fin yok edildi\u011fi bu hukuksuz s\u00fcre\u00e7 ba\u011flam\u0131nda nas\u0131l ele al\u0131nabilir? Tam da bu \u00e7er\u00e7evede bu karma\u015f\u0131k mek\u00e2n, toplumun belle\u011finden ba\u011f\u0131ms\u0131z bir \u201chistiografik yaz\u0131n\u201d ile anlat\u0131labilir mi? Toplumsal ve mek\u00e2nsal bellek katmanlar\u0131 ile revizyonist tarih \u00fcretimi, ideolojik mimari tercihler aras\u0131ndaki ili\u015fkiler nas\u0131l ele al\u0131nabilir?<\/p>\n

Bu yaz\u0131, Tanp\u0131nar ve Benjamin metinlerinin anlat\u0131lar\u0131 e\u015fli\u011finde, \u00e7arp\u0131\u015fan iki zihniyet d\u00fcnyas\u0131n\u0131n i\u00e7inden, Yeni Cumhurba\u015fkanl\u0131\u011f\u0131 Binas\u0131 \u00fczerine bir okumay\u0131 hedefliyor. Tanp\u0131nar\u2019\u0131n ikili zihniyet d\u00fcnyas\u0131 aras\u0131nda bocalayan T\u00fcrk toplumu yorumlar\u0131 ile Nazi d\u00f6nemi Almanya\u2019s\u0131 \u00fczerine sorular soran Benjamin\u2019in yorumlar\u0131 \u0131\u015f\u0131\u011f\u0131nda mek\u00e2nsal ve toplumsal bellek katmanlar\u0131 nas\u0131l ele al\u0131nabilir? Benjamin\u2019in \u201cfizyo(g)nomik tarih yaz\u0131m\u0131\u201d diye nitelendirdi\u011fi ele\u015ftirel okuma bug\u00fcn\u00fcn T\u00fcrkiye\u2019si i\u00e7in m\u00fcmk\u00fcn m\u00fcd\u00fcr? Benjamin, her ne kadar do\u011fru tarih yaz\u0131m\u0131 olmad\u0131\u011f\u0131n\u0131 ileri s\u00fcrse de, \u201cbili\u015fsel montaj\u201d kavram\u0131 \u00e7er\u00e7evesinde felsefi bir in\u015fa s\u00fcrecinden s\u00f6z eder.([3]<\/a>) <\/sup>Tanp\u0131nar ve Benjamin\u2019in tarihe, topluma ve \u00fcretilen mek\u00e2na bak\u0131\u015flar\u0131 ile ba\u011flam, yer se\u00e7imi ve s\u00fcre\u00e7, mimarl\u0131k ve mimarl\u0131k ele\u015ftirisi, yap\u0131n\u0131n \u00f6zellikleri, sosyal akt\u00f6rlerin s\u00f6ylemleri ve farkl\u0131 temsiliyet eksenlerinden k\u0131sa kesitler alarak konuya bakaca\u011f\u0131z. Bu \u00e7al\u0131\u015fma, uzun soluklu bir Yeni T\u00fcrkiye Projesi okumas\u0131n\u0131n m\u00fctevaz\u0131 ve deneysel bir ba\u015flang\u0131c\u0131\u2026<\/p>\n

Mimarl\u0131k ve mimarl\u0131k ele\u015ftirisi i\u00e7inden bak\u0131\u015f <\/strong><\/p>\n

\"\"
Hermann Jansen\u2019in 1932 tarihli Ankara Plan\u0131.<\/figcaption><\/figure>\n

Mimarl\u0131k, sadece bir meslek de\u011fil, bir arama ser\u00fcveni, bir ke\u015fif maceras\u0131\u2026 Michael Hays\u2019in de belirtti\u011fi gibi, tek bir do\u011frunun bulunmad\u0131\u011f\u0131 bir ifade alan\u0131.([4]<\/a>)<\/sup> Postmodern ortamda giderek insan\u0131 \u00f6n plana \u00e7\u0131karan, merkeze alan yakla\u015f\u0131mlarla Ole Fisher mimarl\u0131\u011f\u0131n \u201cperformatif\u201d ve \u201cinteraktif\u201d bir hale d\u00f6n\u00fc\u015fen, nesnesi olmayan, s\u00f6z\u00fc edilemeyen, beklenmedik soyut \u00f6zelliklerle, anlamla \u00f6zerklik kazand\u0131\u011f\u0131ndan bahsediyor.([5]<\/a>)<\/sup> Mimarl\u0131k kullan\u0131c\u0131 ile bulu\u015fuyor, k\u00fclt\u00fcr pratiklerimizi ele\u015ftiriyor, mek\u00e2n\u0131 sorgulat\u0131yor, kendisini sadece bir hizmet alan\u0131 olmaktan \u00e7\u0131kart\u0131yor. Sanat ve k\u00fclt\u00fcr ortam\u0131ndan beslenen, i\u00e7 i\u00e7e ge\u00e7en mimarl\u0131k alan\u0131ndaki d\u00f6n\u00fc\u015f\u00fcmler \u00fczerine Aaron Betsky bir s\u00f6yle\u015fisinde genel bir kuraldan bahseder, \u201cHalk\u0131n ya\u015fad\u0131\u011f\u0131 de\u011fi\u015fimler \u00f6nce m\u00fczikte, sonra modada, \u00fc\u00e7\u00fcnc\u00fc olarak sinemada, d\u00f6rd\u00fcnc\u00fc olarak resim benzeri medyumlarda, sonras\u0131nda i\u00e7 mek\u00e2n tasar\u0131m\u0131nda ve en son olarak mimarl\u0131kta g\u00f6r\u00fcn\u00fcr. En son mimarl\u0131kta g\u00f6r\u00fcn\u00fcr, \u00e7\u00fcnk\u00fc \u00e7ok daha yava\u015f bir \u015fekilde ger\u00e7ekle\u015fir.\u201d([6]<\/a>)<\/sup> \u00a0<\/u>Mimaride bir yandan farkl\u0131 yakla\u015f\u0131mlarla, s\u00fcrpriz s\u00fcre\u00e7lerle rastla\u015f\u0131yoruz\u2026 \u00d6zg\u00fcr d\u00fc\u015f ortam\u0131nda, d\u00fc\u015f\u00fcnsel derinli\u011fi olan ola\u011fan\u00fcst\u00fc yap\u0131tlarla kar\u015f\u0131la\u015f\u0131yoruz. Bug\u00fcn halen e\u011fitim, modernizm i\u00e7inden yerellik-modernite ile ili\u015fki kurma, modernizmi s\u00fcrd\u00fcrebilir bir proje haline ge\u00e7irme, ba\u011flam\u0131yla ili\u015fki kurma vb. kavramlarla, tasar\u0131m st\u00fcdyosuna ve \u00f6zg\u00fcn tekil \u00f6rneklere s\u0131zm\u0131\u015f durumda\u2026([7]<\/a>)<\/sup> Lakin e\u011fitim ve meslek prati\u011finde takdir g\u00f6ren tekil \u00f6rnekler, pop\u00fcler k\u00fclt\u00fcr be\u011fenileri, egemen siyasal k\u00fclt\u00fcr\u00fcn tercihleri ile \u00f6rt\u00fc\u015fm\u00fcyor. Mimarl\u0131k mesle\u011fi g\u00fcncelli\u011fe ve ara\u00e7sall\u0131\u011fa ma\u011flup olan ve pazar de\u011ferini korumak i\u00e7in g\u00fcndelik ya\u015fam\u0131n k\u00fclt\u00fcr\u00fcne ve egemen siyasal g\u00f6r\u00fc\u015f\u00fcn be\u011fenisine ge\u00e7irgen \u00f6zel ve kamusal \u00fcr\u00fcnlerle dolu. Di\u011fer bir deyi\u015fle g\u00fcn\u00fcm\u00fczde mimarl\u0131k ve \u015fehircilik bir ifade alan\u0131 olarak hi\u00e7 olmad\u0131\u011f\u0131 kadar politik ve ideolojik. Yap\u0131lar\u0131n i\u00e7inde yer ald\u0131klar\u0131 \u00e7evre ve kent kimli\u011fi ile uyumu ve kamu yarar\u0131 gibi konularda \u00f6nemli etik sorunlarla kar\u015f\u0131la\u015fan mimarlar, planlamac\u0131lar ve tasar\u0131mc\u0131lar, kentsel-mimari bir tart\u0131\u015fmadan \u00e7ok, Ertu\u011f U\u00e7ar\u2019\u0131n da vurgulad\u0131\u011f\u0131 gibi, politik-ideolojik bir tart\u0131\u015fman\u0131n i\u00e7ine \u00e7ekiliyorlar.([8]<\/a>) <\/sup>Mesle\u011fimizin bilim, k\u00fclt\u00fcr, e\u011fitim ve sanat\u0131n do\u011frudan par\u00e7as\u0131 oldu\u011funu unutuyor, ideolojik-siyasi \u00e7eki\u015fmeler i\u00e7inde hapsoluyoruz. Ge\u00e7en haftalarda toplanan T\u00fcrk Serbest Mimarlar Derne\u011fi, \u0130stanbul Serbest Mimarlar Derne\u011fi ve \u0130zmir Serbest Mimarlar Derne\u011fi \u00c7e\u015fme \u00c7al\u0131\u015ftay\u0131\u2019nda \u201cMimarl\u0131k mesle\u011fi, etik sorunlar ve mesleki kimlik a\u00e7\u0131s\u0131ndan, Cumhuriyet tarihinin en problemli d\u00f6nemlerini ya\u015f\u0131yor\u201d diye not d\u00fc\u015f\u00fcld\u00fc.([9]<\/a>) <\/sup>Pazar ekonomisinin 150 y\u0131l \u00f6nceki ilkel kurallar\u0131n\u0131 benimseyen y\u00f6netimin y\u00f6nlendirdi\u011fi soylula\u015ft\u0131rma projeleri ile kentler, tepeden inme karar ve s\u00fcre\u00e7lerle in\u015faat sekt\u00f6r\u00fcn\u00fcn lokomotif olarak kullan\u0131ld\u0131\u011f\u0131 \u201cy\u0131karak yapmak\u201d d\u00f6nemlerinden birini daha ya\u015f\u0131yor. Bu noktada y\u00f6netim, t\u0131pk\u0131 \u00c7o\u011funluk<\/em> filminde oldu\u011fu gibi, \u201c\u00c7o\u011funluk biziz, ne istersek yapar\u0131z\u201d ruh hali i\u00e7inde.([10]<\/a>)<\/sup><\/p>\n

\"\"
Ernst Egli’nin Jansen plan\u0131na uygun olarak AO\u00c7 i\u00e7in haz\u0131rlad\u0131\u011f\u0131 vaziyet plan\u0131 (1936). Kaynak: Leyla Alpagut, \u201cAtat\u00fcrk Orman \u00c7iftli\u011fi\u2019nde Ernst Egli\u2019nin \u0130zleri: Planlama, Bira Fabrikas\u0131, Konutlar Ve \u2018Geleneksel\u2019 Bir Hamam\u201d, http:\/\/aocarastirmalari.arch.metu.edu.tr\/aoc-merkez-bolgesi\/<\/figcaption><\/figure>\n

Tam da bu noktada mimarl\u0131kta ele\u015ftiri devreye giriyor\u2026 Tasar\u0131m nesnesi birden fazla zemin \u00fczerinden nas\u0131l okunabilir? Nas\u0131l tart\u0131\u015fmaya a\u00e7\u0131labilir? Yap\u0131t ile ili\u015fkiler nas\u0131l \u00e7\u00f6z\u00fcmlenebilir? Nas\u0131l anlamland\u0131r\u0131labilir?<\/p>\n

Asl\u0131nda Eski Yunanca\u2019da \u201ckrit\u1e17s\u201d (yarg\u0131)<\/em> k\u00f6k\u00fcnden gelen \u201c<\/em>criticise\u201d, yani <\/em>ele\u015ftiri, farkl\u0131l\u0131klar\u0131 ortaya koyma, ay\u0131rt etme, mimarl\u0131\u011f\u0131n anlamsal boyutunu kavrama ba\u011flam\u0131nda fark\u0131ndal\u0131k yaratma anlam\u0131na geliyor.(<\/sup>[11]<\/a>)<\/sup> Ele\u015ftiride pop\u00fcler ve akademik eksenler kendini g\u00f6steriyor. ([12]<\/a>)<\/sup> G\u00fcncel ya\u015famda egemen olan, pop\u00fclerden beslenen okumalar, asl\u0131nda bir t\u00fcr indirgemece.([13]<\/a>) <\/sup>Genel ge\u00e7er de\u011ferlerin egemen oldu\u011fu ortamda, \u00e7okdisiplinli bir zeminde sorgulama gerektirmiyorlar; \u00e7o\u011funluk taraf\u0131ndan bir t\u00fcketim alan\u0131 olarak kabul g\u00f6r\u00fcyorlar. G\u00fcncel olan\u0131n bask\u0131nl\u0131\u011f\u0131nda, kal\u0131c\u0131l\u0131k de\u011feri g\u00f6z ard\u0131 ediliyor. Akademik eksen ise ba\u011flam\u0131 ve tarihi eksenleri ihmal etmeyen okumalar, edebiyat ve sanattan \u00f6d\u00fcn\u00e7 ald\u0131\u011f\u0131 de\u011ferlendirmelerle ifade ediliyor. ([14]<\/a>)<\/sup> K\u0131sacas\u0131 mimari ele\u015ftiri, s\u00fcreci, yer se\u00e7imini, \u00e7evre ile ili\u015fkileri, kat\u0131l\u0131mc\u0131 bir anlay\u0131\u015fla projelendirilip projelendirilmedi\u011fini de\u011ferlendirerek yap\u0131n\u0131n hik\u00e2yesini anlatabilir; ba\u011flamsal \u00e7er\u00e7eveyi ve ba\u011flamsal ili\u015fkileri vererek s\u00fcreci egemen sosyal akt\u00f6rler \u00fczerinden ele alabilir; mimari de\u011ferler ve kriterler do\u011frultusunda ele\u015ftiri geli\u015ftirebilir; etik, estetik, k\u00fclt\u00fcrel, sosyal okumalar \u00fczerinden tamamlanabilir.<\/p>\n

\u00c7al\u0131\u015fman\u0131n bundan sonraki b\u00f6l\u00fcm\u00fc, bu tan\u0131mlanan eksenler \u00fczerinden ba\u011flamsal ili\u015fkiler kuruyor ve T\u00fcrkiye Cumhuriyeti\u2019nin bir numaral\u0131 binas\u0131n\u0131n \u00fcretim s\u00fcrecini, mimarl\u0131k \u00fcr\u00fcn\u00fcn\u00fc, \u00fcretilen s\u00f6ylemi ve estetik \u00e7er\u00e7eveyi de\u011ferlendiriyor.<\/p>\n

Ba\u011flam i\u00e7inden bak\u0131\u015f<\/strong><\/p>\n

Manfredo Tafuri\u2019nin Kuzey Amerika kentleri ba\u011flam\u0131nda aktard\u0131\u011f\u0131 \u201cac\u0131mas\u0131z bir metala\u015fma\u201d s\u00fcreci ve t\u00fcketim k\u00fclt\u00fcr\u00fc ile \u00e7evrili \u201cg\u00f6steri kenti\u201dnin, g\u00f6steri mek\u00e2n\u0131n\u0131n bask\u0131nla\u015ft\u0131\u011f\u0131 bir d\u00f6nemdeyiz. Vah\u015fi kapitalist ortam\u0131n ve ideolojisinin egemenli\u011fi kar\u015f\u0131s\u0131nda Tafuri, yaz\u0131lar\u0131nda umutsuzlu\u011funu payla\u015f\u0131r. ([15]<\/a>)<\/sup> \u00c7a\u011fda\u015f mimarl\u0131\u011f\u0131n toplumsal i\u015flevi konusunda ayn\u0131 umut kesme noktas\u0131na gelip, mimarl\u0131\u011f\u0131 b\u0131rakmak ve yiten anlam\u0131 y\u00f6re mimarl\u0131\u011f\u0131 incelemelerinde aramak gibi \u00e7\u00f6z\u00fcm p\u0131r\u0131lt\u0131lar\u0131 arar. T\u00fcrkiye \u00f6zelindeki g\u00fcncel ara\u015ft\u0131rmalar ise, kapitalist ortamda \u00fclke \u00e7ap\u0131nda kentsel kaynaklar\u0131n payla\u015f\u0131m\u0131ndaki e\u015fitsizliklere, kent yoksullu\u011funun derinle\u015fmesine ve mek\u00e2nsalla\u015fmas\u0131na odaklan\u0131yor.([16]<\/a>) <\/sup>Bu s\u00fcre\u00e7te, vars\u0131ll\u0131k kutupla\u015f\u0131yor; kentin ya\u015fam, i\u015f ve e\u011flence mek\u00e2nlar\u0131 sosyal, ekonomik ve mek\u00e2nsal olarak ayr\u0131\u015f\u0131yor; bir ba\u015fka deyi\u015fle, 20. y\u00fczy\u0131l\u0131n modern kentine ideolojik anlam\u0131n\u0131 veren kentsel mek\u00e2ndaki kamusal b\u00fct\u00fcnl\u00fck giderek par\u00e7alan\u0131yor. \u0130\u015fte tam da bu noktada \u201ck\u00fcresel b\u00fcy\u00fck \u00fclke projesi\u201dnden ve bu kapsamda s\u00f6zde neo-liberal politikalar\u0131n mek\u00e2nsalla\u015fma s\u00fcrecinin sahnelenmesinden bahsedilebilir.<\/p>\n

Sosyolog Nora \u015eeni, g\u00fcn\u00fcm\u00fcz T\u00fcrkiye\u2019sinde radikal bi\u00e7imde ayr\u0131\u015fm\u0131\u015f ve ideolojik a\u00e7\u0131dan farkl\u0131 sosyolojik gruplar\u0131n paralel varolu\u015funa dikkat \u00e7ekiyor: sek\u00fclerler ve muhafazak\u00e2rlar. [17]<\/a> Bu farkl\u0131 sosyolojik gruplar\u0131n ideolojilerinin kamusal mek\u00e2na yans\u0131d\u0131\u011f\u0131 \u00fczerine geni\u015f bir literat\u00fcr var. Kamusal alan, her \u015feyden \u00f6nce J\u00fcrgen Habermas\u2019\u0131n vurgulad\u0131\u011f\u0131 gibi \u201ctoplumsal ya\u015fam\u0131m\u0131zda kamuoyunun i\u00e7inde olu\u015ftu\u011fu aland\u0131r.\u201d([18]<\/a>) <\/sup>Michael Hardt ve Antonio Negri\u2019nin \u201c\u00e7okluk\u201d anlay\u0131\u015f\u0131n\u0131n ve \u201cb\u00fct\u00fcn\u00fcn par\u00e7as\u0131 olabilme s\u00fcreci\u201dnin([19]<\/a>)<\/sup> \u00f6n plana ge\u00e7ti\u011fi g\u00fcn\u00fcm\u00fcz dinamiklerinin ve ruhunun kar\u015f\u0131s\u0131nda yer alan merkezi otorite, kamusal alan\u0131 yeniden tan\u0131mlama s\u00fcrecinde Habermas\u2019\u0131n beyaz burjuva adam\u0131n se\u00e7kinci alan\u0131ndan yana tercihini ortaya koyuyor. Ve modernle\u015fme s\u00fcrecindeki T\u00fcrkiye\u2019de, kamusal alan \u00fczerinden egemenlik kavgas\u0131 t\u00fcm \u015fiddetiyle devam ediyor\u2026 Bizim gibi modernle\u015fme s\u00fcreci devam eden \u00fclkelerde\/toplumlarda toplumsal olan\u0131n siyasi olana etkisi daha s\u0131n\u0131rl\u0131. Sorunlar ve sorunlar\u0131 ele alma bi\u00e7imi, sosyolojik de\u011fil, politiktir.([20]<\/a>) <\/sup>Tanp\u0131nar, Erken Cumhuriyet d\u00f6nemindeki modernle\u015fme s\u00fcrecinin ele\u015ftirisini yapar: Modernle\u015fmenin ge\u00e7mi\u015fle kurdu\u011fu ili\u015fki bi\u00e7imini ele\u015ftirir. Modernle\u015fmenin, gelenek ile aras\u0131nda kurdu\u011fu kat\u0131 duvar\u0131 delip, ba\u011flant\u0131 kurmaya \u00e7al\u0131\u015f\u0131r. Tarihe, kurumlara, ya\u015fama tercihlerine kategorik olarak bakmamak gerekti\u011fini anlat\u0131r. \u201cS\u00fcrekli kendisi olmak ile ba\u015fkas\u0131 olmak aras\u0131nda radikal se\u00e7imler yapma durumunda kalmak\u201d,\u201cb\u00fct\u00fcn modernle\u015fmeler gibi trajiktir.\u201d([21]<\/a>)<\/sup><\/p>\n

\"\"
Atat\u00fcrk Orman \u00c7iftli\u011fi\u2019nin ilk y\u0131llar\u0131ndan genel bir g\u00f6r\u00fcn\u00fcm.
Kaynak: http:\/\/aocarastirmalari.arch.metu.edu.tr\/<\/figcaption><\/figure>\n

Modernle\u015fmesini tamamlamam\u0131\u015f T\u00fcrkiye\u2019de, modernle\u015fme projesi halen ele\u015ftiren ve de\u011fi\u015ftiren bir s\u00fcre\u00e7 olarak devam ediyor. Sadece egemen akt\u00f6r de\u011fi\u015fti. \u00d6mer Kan\u0131pak\u2019\u0131n deyimiyle \u201cT\u00fcrkiye\u2019de kamusal alan, ideolojinin cisimle\u015fti\u011fi, g\u00f6r\u00fcn\u00fcr k\u0131l\u0131nd\u0131\u011f\u0131 ortamlar olarak alg\u0131lanmakta. Kamusal alan\u0131, modern toplumlarda ba\u011f\u0131ms\u0131z sivil kurulu\u015flar taraf\u0131ndan olu\u015fturulan, ele\u015ftirel ve \u00f6zg\u00fcrle\u015ftirici ifadenin hayat buldu\u011fu metaforik platformlar olarak g\u00f6rmemiz gerek.\u201d Modernle\u015fmeyi farkl\u0131 sosyolojik gruplar aras\u0131nda gerilimler ve d\u00fczenlemelerle birlikte ya\u015famaya ba\u015flayan bu topraklarda s\u00fcre\u00e7 hep mek\u00e2n ve yeni tasar\u0131mlar \u00fczerinden g\u00f6r\u00fcn\u00fcr k\u0131l\u0131nd\u0131.<\/p>\n

Se\u00e7ilen \u201cyer\u201d ve tasar\u0131m s\u00fcreci i\u00e7inden bak\u0131\u015f: Atat\u00fcrk Orman \u00c7iftli\u011fi\u2019ni yok etmek <\/strong><\/p>\n

Atat\u00fcrk Orman \u00c7iftli\u011fi, d\u00f6neminin ruhunu yans\u0131tan, kentli i\u00e7in batakl\u0131k bir alan\u0131 ormana d\u00f6n\u00fc\u015ft\u00fcren k\u00fclt\u00fcrel ve sosyal d\u00f6n\u00fc\u015f\u00fcm ile modern bir rejenerasyon projesi. Hijyen ve estetik anlay\u0131\u015f\u0131n\u0131n kent ve kentli i\u00e7in uygulat\u0131ld\u0131\u011f\u0131 bir proje. Hermann Jansen\u2019in 1936 tarihli bu projesi kentli i\u00e7in sportif, e\u011fitimsel ve k\u00fclt\u00fcrel mek\u00e2nlar, di\u011fer bir deyi\u015fle modern d\u00f6nemin ruhunu ta\u015f\u0131yan kamusal alanlar-mek\u00e2nlar tasar\u0131m\u0131n\u0131 i\u00e7eriyordu. Yeni ve modern ya\u015fam senaryosu ile planlanan ba\u015fkent i\u00e7in, kad\u0131n ve erke\u011fi kamusal alanda bir araya getiren simgesel bir mek\u00e2nd\u0131. Atat\u00fcrk Evi, AO\u00c7 M\u00fcze ve Sergi Salonu, piknik ve park alanlar\u0131n\u0131 i\u00e7eren, Ankaral\u0131\u2019n\u0131n g\u00fcndelik ya\u015fam\u0131n\u0131n par\u00e7as\u0131 olan alan, \u00e7iftli\u011fe daha dinamik bir kimlik kazand\u0131rmak ve \u00e7ok y\u00f6nl\u00fc bir b\u00fcnyeye kavu\u015fturulmas\u0131n\u0131 ve kendisine \u00f6zg\u00fc ekonomik bir varl\u0131k olarak ya\u015fam\u0131n\u0131 s\u00fcrd\u00fcrmesini sa\u011flamak i\u00e7in T\u00fcrkiye B\u00fcy\u00fck Millet Meclisi\u2019nin 01. 04 1950 tarihinde y\u00fcr\u00fcrl\u00fc\u011fe giren 5659 say\u0131l\u0131 Kanun ile \u00c7iftli\u011fin ad\u0131, kurucusunun \u00f6l\u00fcms\u00fcz ad\u0131 verilerek \u201cAtat\u00fcrk Orman \u00c7iftli\u011fi\u201d olarak de\u011fi\u015ftirilmi\u015ftir.<\/p>\n

\"\"<\/strong>24.03.1950 tarihinde kabul edilip 1.4.1950 tarihinde ne\u015fredilen 5659 say\u0131l\u0131 kanunla, \u00e7iftlik yeni bir stat\u00fcye kavu\u015fur, G\u0131da Tar\u0131m ve Hayvanc\u0131l\u0131k Bakanl\u0131\u011f\u0131\u2019na ba\u011fl\u0131 t\u00fczel ki\u015fili\u011fe haiz bir kurulu\u015f olarak \u00e7al\u0131\u015fmalar\u0131n\u0131 s\u00fcrd\u00fcr\u00fcr. Esra Sert\u2019in g\u00fcndelik ya\u015fam i\u00e7inden betimlemesine kulak vermek gerek: \u201c\u015eehrin merkezinde bal, dondurma, s\u00fct, s\u00fct \u00fcr\u00fcnleri, meyve suyu, malt, bira ve deri fabrikalar\u0131 ile rak\u0131 imalathanesi, laboratuvar, memur-i\u015f\u00e7i konutlar\u0131, \u00e7al\u0131\u015fanlar\u0131 i\u00e7in in\u015fa edilmi\u015f hamam, dinlenme bah\u00e7eleri, halka a\u00e7\u0131k kad\u0131nl\u0131-erkekli birlikte y\u00fcz\u00fclen havuzlar, meyve-sebze \u00fcretimi yap\u0131lan bah\u00e7eler ve binlerce a\u011fa\u00e7 uyum i\u00e7inde bir arada, yan yana. Burada \u00e7al\u0131\u015fanlar\u0131n\u0131z, in\u015fa edenleriniz, ev ge\u00e7indirenleriniz oldu. Muhtemelen burada \u00fcretilmi\u015f yiyecekler sofralar\u0131n\u0131zdan ge\u00e7ti, \u00e7ocuklar\u0131n\u0131z s\u00fctlerinden i\u00e7ti, burada \u00fcretilen alkol\u00fcn payla\u015f\u0131ld\u0131\u011f\u0131 dost sofralar\u0131nda oturdunuz. Bir de bu bah\u00e7elerin, a\u011fa\u00e7lar\u0131n, konutlar\u0131n, fabrikalar\u0131n, e\u011fitim, e\u011flenme ve dinlenme alanlar\u0131n\u0131 hep birlikte\u201d d\u00fc\u015f\u00fcnmek gerek.([22]<\/a>)<\/sup><\/p>\n

\"\"
Hermann Jansen\u2019in 1936 tarihli AO\u00c7 projesi, modern ya\u015fam senaryosu ile planlanan ba\u015fkent i\u00e7in, kad\u0131n ve erke\u011fi kamusal alanda bir araya getiren, spor, e\u011fitim ve k\u00fclt\u00fcr mek\u00e2nlar\u0131 i\u00e7eriyordu.<\/figcaption><\/figure>\n

1937 y\u0131l\u0131nda, Atat\u00fcrk\u2019\u00fcn vasiyetiyle devlete emanet edilen Atat\u00fcrk Orman \u00c7iftli\u011fi, yukar\u0131da belirtti\u011fimiz gibi,1950\u2019de \u00e7\u0131kar\u0131lan bir yasayla resmi stat\u00fcs\u00fcne kavu\u015fur. 1950\u2019den sonra \u00e7e\u015fitli kurum ve kurulu\u015flara tahsis ve sat\u0131\u015f\u0131 yap\u0131larak, ama\u00e7lar\u0131 d\u0131\u015f\u0131nda par\u00e7a par\u00e7a k\u00fc\u00e7\u00fclt\u00fclen AO\u00c7, 1992\u2019de\u00a0\u201cDo\u011fal ve Tarihi Sit Alan\u0131\u201d\u00a0ilan edilerek koruma alt\u0131na al\u0131n\u0131r.<\/p>\n

Mimarlar Odas\u0131\u2019na g\u00f6re AO\u00c7\u2019daki yap\u0131la\u015fma s\u00fcreci, 2006\u2019da yap\u0131lan yasal d\u00fczenlemelerle Ankara B\u00fcy\u00fck\u015fehir Belediyesi\u2019ne verilen yetkiye dayanarak haz\u0131rlanan Naz\u0131m \u0130mar Plan\u0131 ile ba\u015flar. 2006 y\u0131l\u0131nda AO\u00c7\u2019a \u00f6zel olarak 5524 say\u0131l\u0131 \u201cAtat\u00fcrk Orman \u00c7iftli\u011fi M\u00fcd\u00fcrl\u00fc\u011f\u00fc Kurulu\u015f Kanununda De\u011fi\u015fiklik Yap\u0131lmas\u0131na \u0130li\u015fkin Kanun\u201d y\u00fcr\u00fcrl\u00fc\u011fe sokulmu\u015f ve bu de\u011fi\u015fiklik ile AO\u00c7\u2019un \u201c\u00f6ncelikle \u00fcst \u00f6l\u00e7ekli plan ve Koruma Ama\u00e7l\u0131 \u0130mar Plan\u0131 ve bunlara uygun her t\u00fcrl\u00fc imar planlar\u0131n\u0131 yapma\u201d yetkisi Ankara B\u00fcy\u00fck\u015fehir Belediyesi\u2019ne verilmi\u015ftir. ([23]<\/a>) <\/sup>2011 y\u0131l\u0131nda AO\u00c7\u2019un \u201cBirinci Derece Do\u011fal ve Tarihi Sit<\/strong>\u201d alan\u0131 stat\u00fcs\u00fc, \u201c\u00dc\u00e7\u00fcnc\u00fc Derece Do\u011fal Sit\u201d <\/strong>alan\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015f ve\u00a0\u201cTarihi Sit\u201d<\/strong>\u00a0stat\u00fcs\u00fc kald\u0131r\u0131lm\u0131\u015ft\u0131r. Ayn\u0131 y\u0131l \u00e7\u0131kar\u0131lan Kanun H\u00fckm\u00fcnde Kararname (KHK) ile, \u00e7iftlik arazisinin par\u00e7alanarak ya da tamam\u0131n\u0131n adalet hizmetlerinde veya Bakanlar Kurulu\u2019nca belirlenecek kamu hizmetlerinde kullan\u0131lmas\u0131 i\u00e7in bedelsiz olarak hazineye devredilebilmesinin \u00f6n\u00fc a\u00e7\u0131lm\u0131\u015ft\u0131r. ([24]<\/a>)<\/sup><\/p>\n

Ankara 11\u2019inci \u0130dare Mahkemesi AO\u00c7\u2019daki yedi hektarl\u0131k alan\u0131 sit stat\u00fcs\u00fcnden \u00e7\u0131karan Tabiat Varl\u0131klar\u0131 B\u00f6lge Komisyonu karar\u0131n\u0131n y\u00fcr\u00fctmesini durdurur. Ard\u0131ndan Ankara 5\u2019inci \u0130dare Mahkemesi, AO\u00c7\u2019daki 33.500 dekarl\u0131k alanda yap\u0131lan AO\u00c7 Naz\u0131m \u0130mar Plan\u0131 ve Birinci Derece Do\u011fal ve Tarihi Sit Alan\u0131 Koruma Ama\u00e7l\u0131 Naz\u0131m \u0130mar Plan\u0131 ile Ula\u015f\u0131m Uygulama Projesi\u2019nin y\u00fcr\u00fctmesini durdurur. Bakanlar Kurulu 2012 y\u0131l\u0131nda\u00a0\u201cBa\u015fbakanl\u0131k Hizmet Binas\u0131\u201d\u00a0yap\u0131m\u0131 amac\u0131yla Gazi Yerle\u015fkesi arazisini\u00a0\u201cKentsel D\u00f6n\u00fc\u015f\u00fcm ve Geli\u015fim Proje Alan\u0131\u201d\u00a0ilan eder. Ard\u0131ndan K\u00fclt\u00fcr ve Turizm Bakanl\u0131\u011f\u0131, Ankara B\u00fcy\u00fck\u015fehir Belediyesi, \u00c7evre ve \u015eehircilik Bakanl\u0131\u011f\u0131, TOK\u0130, Orman Bakanl\u0131\u011f\u0131 ve K\u00fclt\u00fcr ve Tabiat Varl\u0131klar\u0131n\u0131 Koruma Kurulu\u2019nun i\u015fbirli\u011fiyle,\u00a0\u201cAk Saray\u201d\u00a0olarak bilinen projenin in\u015faat\u0131 ba\u015flat\u0131l\u0131r.<\/p>\n

Dava i\u00e7in haz\u0131rlanan bilirki\u015fi raporunda,\u201cHerhangi bir alanda in\u015fa edilebilecek bir kamu yap\u0131s\u0131n\u0131n k\u00fclt\u00fcr ve tabiat varl\u0131klar\u0131n\u0131n s\u00fcrd\u00fcr\u00fclmesinden daha \u00f6nemli bir kamu yarar\u0131 bar\u0131nd\u0131rd\u0131\u011f\u0131 kolayl\u0131kla savunulamaz. Bu \u00f6l\u00e7\u00fct herhangi bir alanda in\u015fa edilebilecek kamu yap\u0131s\u0131n\u0131n kullan\u0131m ihtiya\u00e7lar\u0131yla kar\u015f\u0131lanabilir g\u00f6z\u00fckmemektedir\u201d\u00a0\u015feklinde ibarelerle toplumsal yarar fikrinin alt\u0131 \u00e7izilmi\u015ftir. Almanya\u2019da yay\u0131mlanan Der Spiegel<\/em> ise\u00a0Cumhurba\u015fkanl\u0131\u011f\u0131 Binas\u0131 i\u00e7in \u201cErdo\u011fan, iktidar g\u00fcc\u00fc ve \u2018Yeni T\u00fcrkiye\u2019siyle tarihe ge\u00e7mek istiyor. Yasalar ve kurallar, Ak Saray\u2019\u0131n yap\u0131m\u0131nda da g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi onu sadece rahats\u0131z ediyor\u201d yorumunu yapar.<\/p>\n

Hukuki kararlar verilmeden ba\u015flanan, y\u0131k\u0131mlarla ilerleyen, kamusal ve kentsel belle\u011fi ala\u015fa\u011f\u0131 eden bir s\u00fcre\u00e7 ya\u015fan\u0131r. Ba\u015fkentte yerel ve merkezi y\u00f6netim, kapal\u0131 kap\u0131lar ard\u0131nda, T\u00fcrkiye\u2019nin simgesel mek\u00e2n\u0131n\u0131 \u015feffaf olmayan bir s\u00fcre\u00e7le kamusal bir parktan kapal\u0131 bir yap\u0131ya d\u00f6n\u00fc\u015ft\u00fcr\u00fcyor. Sonu\u00e7ta hukukun egemenli\u011finin g\u00f6z ard\u0131 edildi\u011fi, kent, kentli, do\u011fa, peyzaj hakk\u0131n\u0131n tan\u0131nmad\u0131\u011f\u0131, kamusal ve mek\u00e2nsal belle\u011fin silindi\u011fi, merkezi otoritenin \u201cBen yapt\u0131m oldu\u201d tavr\u0131n\u0131n bask\u0131n oldu\u011fu bir s\u00fcre\u00e7le bina tasar\u0131m\u0131 ve in\u015fas\u0131 ger\u00e7ekle\u015fir ve Ekim 2014\u2019te kullan\u0131lmaya ba\u015flan\u0131r.<\/p>\n

Peki \u015fizofrenik g\u00fcnler ge\u00e7iren bir toplumun dinamiklerinden mimarl\u0131k ad\u0131na zaten iyi \u015feyler \u00e7\u0131kabilir miydi?([25]<\/a>)<\/sup> Hem egemen pop\u00fclist be\u011fenileri, hem bask\u0131n siyasal g\u00fcc\u00fcn tercihini, hem de pazar de\u011ferini g\u00f6zeten meslek insan\u0131, \u00e7eli\u015fkilerle dolu, \u015fizofrenik yap\u0131t \u00fcretmez mi?<\/p>\n

Yap\u0131n\u0131n mimari \u00f6zellikleri i\u00e7inden bak\u0131\u015f: temsiliyet-etik-estetik sorunsal\u0131<\/strong><\/p>\n

\"\"
Birinci Ulusal Mimarl\u0131k Ak\u0131m\u0131 i\u00e7indeki
mimarlardan Vedat Tek\u2019in bir eseri:
Sirkeci B\u00fcy\u00fck Postane.<\/figcaption><\/figure>\n

Sibel Bozdo\u011fan, Modernizm ve Ulusun \u0130n\u015fas\u0131<\/em> kitab\u0131nda Erken Cumhuriyet d\u00f6neminin mimarl\u0131k \u00e7izgisini, tepeden inme merkezi kararla belirleme anlay\u0131\u015f\u0131n\u0131 anlat\u0131r. ([26]<\/a>)<\/sup>Bozdo\u011fan, 1908\u2019de ilan edilen 2. Me\u015frutiyet\u2019le birlikte geli\u015fen milliyet\u00e7ilik e\u011filimlerinin, mimarl\u0131kta da yeni aray\u0131\u015flar\u0131 g\u00fcndeme getirdi\u011fini,\u00a0Mimar Kemalettin ve\u00a0Vedat Bey\u2019lerin ba\u015f\u0131n\u0131 \u00e7ektikleri ak\u0131mla T\u00fcrk mimarl\u0131\u011f\u0131n\u0131n, \u201cNeoklasik T\u00fcrk \u00dcslubu\u201d ya da Milli Mimari R\u00f6nesans\u0131 ad\u0131n\u0131 alan yeni-klasik d\u00f6neminin ba\u015flad\u0131\u011f\u0131n\u0131 yazar. Daha sonralar\u0131 (1970\u2019lerde sonra) Birinci Ulusal Mimarl\u0131k ad\u0131yla an\u0131lacak bu tarz, klasik Osmanl\u0131 yap\u0131lar\u0131ndan aktar\u0131lan \u00f6\u011feler ve s\u00fcslemelerle y\u00fckl\u00fc yeni bir mimarl\u0131k yaratmaya y\u00f6nelmi\u015ftir. Birinci Ulusal Mimarl\u0131k Ak\u0131m\u0131,\u00a0Neoklasik T\u00fcrk \u00dcslubu\u00a0veya\u00a0Milli Mimari R\u00f6nesans\u0131, Yeni Osmanl\u0131c\u0131l\u0131k veya Osmanl\u0131 canland\u0131rmac\u0131l\u0131\u011f\u0131, a\u011f\u0131rl\u0131kl\u0131 olarak 1908-1930 y\u0131llar\u0131 aras\u0131nda yayg\u0131n olan bir mimari \u00fcsluptur. I. Ulusal Mimariyi karakterize eden ideolojik yakla\u015f\u0131m \u201cT\u00fcrk Milliyet\u00e7ili\u011fi\u201ddir. ([27]<\/a>)<\/sup> Milliyet\u00e7i olma hedefi olsa da, klasik Osmanl\u0131 yap\u0131lar\u0131nda yer alan mimari \u00f6\u011feler ve s\u00fcslemeler s\u0131kl\u0131kla kullan\u0131lm\u0131\u015ft\u0131r. Her ne kadar\u00a0Osmanl\u0131 \u0130mparatorlu\u011fu\u00a0d\u00f6neminde ba\u015flam\u0131\u015f bir \u00fcslup olsa da, esas etkisini\u00a0T\u00fcrkiye Cumhuriyeti\u00a0d\u00f6neminde g\u00f6stermi\u015ftir. Bozdo\u011fan, bir ulus-devlet yaratma deneyinin bir\u00e7ok kamusal ifadesinden biri olarak, hem de modernle\u015fme program\u0131n\u0131n g\u00f6r\u00fcn\u00fcr bir simgesi ve etkin bir arac\u0131 olarak modern mimarl\u0131k sahnesini betimler. Osmanl\u0131 canland\u0131rmac\u0131l\u0131\u011f\u0131n\u0131n miras\u0131n\u0131 devralan modern ve rasyonel mimarl\u0131k \u00e7izgisinin, Milli Mimari yaratma ad\u0131na \u201cmoderni millile\u015ftirmek\u201d yakla\u015f\u0131m\u0131yla ikinci mimari \u00fcslupta kendini buldu\u011funu betimler. ([28]<\/a>)<\/sup><\/p>\n

Afife Batur, \u201cOsmanl\u0131 canland\u0131rmac\u0131l\u0131\u011f\u0131\u201d d\u00f6neminin yap\u0131 tasarlama ve bi\u00e7im \u00f6zelliklerini s\u00f6yle s\u0131n\u0131flar:<\/p>\n

– \u00c7o\u011funda yeni yap\u0131m y\u00f6ntemleri (betonarme vb. ) ve yeni malzeme kullan\u0131lm\u0131\u015ft\u0131r; pek \u00e7o\u011funda \u00e7a\u011fda\u015f donat\u0131 vard\u0131r.
\n– Genellikle simetrik ve aksiyal kitle d\u00fczenlemeleri ve planlar\u0131 vard\u0131r.
\n– Kullan\u0131lan \u015femalar, kitle ve mek\u00e2nlardaki \u00f6l\u00e7\u00fc ve oranlar ve kompozisyon kurallar\u0131 bak\u0131m\u0131ndan Avrupa Neo-Klasizmine paralel bir yap\u0131 g\u00f6sterir.
\n– Kolon, kolon ba\u015fl\u0131\u011f\u0131, kemerler ile parmakl\u0131k, kap\u0131, pencere vb. str\u00fckt\u00fcrel veya str\u00fckt\u00fcrel olmayan mimari \u00f6\u011felerde ve dekorasyonun tasar\u0131m ve motiflerinde ve cephe d\u00fczenlemesinde geleneksel Sel\u00e7uklu, Osmanl\u0131, \u0130slam mimarl\u0131\u011f\u0131ndan se\u00e7ilmi\u015f ve al\u0131nm\u0131\u015f \u00e7izgi ve bi\u00e7imlere sahiptirler.
\n– B\u00fcy\u00fck ve temsili nitelikteki yap\u0131lar\u0131n m\u00fcellifi olan mimarlar, Cumhuriyet \u00f6ncesi d\u00f6nemin tan\u0131nm\u0131\u015f ve meslek alan\u0131nda etki ve \u00f6nemleri kabul edilmi\u015f ki\u015filikleridir.
\n-Mimarlar aras\u0131nda \u00fcslup ve yakla\u015f\u0131m a\u00e7\u0131s\u0131ndan ki\u015fisel ayr\u0131mlar bulunsa da, e\u011filimin ana \u00e7izgisi kesin ve belirgindir.([29]<\/a>)<\/sup>
\nHem Batur hem Aslano\u011flu\u2019na g\u00f6re, Osmanl\u0131 canland\u0131rmac\u0131l\u0131\u011f\u0131 d\u00f6nemi, ikili bir kimli\u011fe sahiptir. Bir yandan Bat\u0131 k\u00f6kenli yenilikler uygulan\u0131rken, bir yandan da gelene\u011fe sahip \u00e7\u0131k\u0131larak gelenek yeniden diriltilmeye \u00e7al\u0131\u015f\u0131l\u0131r.([30]<\/a>) <\/sup>2. D\u00fcnya Sava\u015f\u0131 d\u00f6neminin ko\u015fullar\u0131nda, \u00f6zellikle Almanya ve \u0130talya\u2019da mimarl\u0131k alan\u0131ndaki kimlik aray\u0131\u015f\u0131, kendi \u00f6z\u00fcne d\u00f6n\u00fc\u015f ve tek an\u0131tsal mimari anlay\u0131\u015f\u0131na y\u00f6nelme istekleri, T\u00fcrkiye\u2019de de g\u00f6zlenir. Ama\u00e7 \u00f6z kaynaklar\u0131m\u0131za d\u00f6n\u00fc\u015f, T\u00fcrk ruhunu yans\u0131tacak, millete has bir \u201cmilli\u201d mimarl\u0131k yarat\u0131lmas\u0131yd\u0131. \u201cMilli\u201dnin s\u00f6zl\u00fck tan\u0131m\u0131 \u015f\u00f6yle: \u201ckendi milletine has, kendi milletinin olan \u015feylerin a\u00e7\u0131k olarak ve karakterli surette terch olunmas\u0131d\u0131r. Milli ilhamlar\u0131 ve milli gelene\u011fi arayan doktrindir. Bu doktrin beynelmilelcili\u011fe kar\u015f\u0131 ve z\u0131tt\u0131r.\u201d([31]<\/a>)<\/sup><\/p>\n

\"\"
Ankara Tekel Ba\u015fm\u00fcd\u00fcrl\u00fc\u011f\u00fc.<\/figcaption><\/figure>\n

Kimlik aray\u0131\u015flar\u0131 en fazla mimarl\u0131kta, kamusal mek\u00e2nlarda kendini g\u00f6steriyor. Tarihselci yakla\u015f\u0131mlar, egemen ideolojiyi me\u015frula\u015ft\u0131rman\u0131n ara\u00e7lar\u0131na d\u00f6n\u00fc\u015f\u00fcyor.([32]<\/a>) <\/sup>\u201c\u0130deolojilerin zaman\u0131ym\u0131\u015f ge\u00e7ti\u011fimiz y\u00fczy\u0131l\u201d diye yazan U\u00e7ar, ge\u00e7mi\u015fin egemen ruhu i\u00e7in \u015funlar\u0131 s\u00f6yl\u00fcyor: \u201c\u00c7izgileri belli, kat\u0131, ama net ideolojiler, d\u00fc\u015f\u00fcncelerini halkla payla\u015fmak, ve yahut diyelim halka dikte etmek i\u00e7in her yol gibi edebiyat\u0131, sanat\u0131 ve mimariyi de kullan\u0131yorlarm\u0131\u015f. Bug\u00fcn bu siyasi alanda gereksiz bir incelik say\u0131labilir. Daha h\u0131zl\u0131, pratik yollar var ileti\u015fim i\u00e7in.\u201d([33]<\/a>) <\/sup>Adeta \u201ci\u00e7imize yerle\u015ftirilen kimliksizlik paranoyas\u0131n\u0131n, veya kaybolmu\u015f kimli\u011fin yeniden bulunmas\u0131 hayali en fazla mimarl\u0131k alan\u0131nda somutla\u015f\u0131yor\u201d diye yazan \u00d6mer Kan\u0131pak\u2019a g\u00f6re, \u201ckimlik buhran\u0131 T\u00fcrkiye\u2019de \u00f6zellikle mimarl\u0131kta \u00fcst\u00fcm\u00fcze yap\u0131\u015f\u0131p kalm\u0131\u015f bir kompleks olarak yer etmi\u015ftir.\u201d([34]<\/a>)<\/sup><\/p>\n

Asl\u0131nda Hitler\u2019in Almanya\u2019s\u0131ndan \u0130talya\u2019ya, Amerika Birle\u015fik Devletleri, Ortado\u011fu \u00fclkeleri, g\u00fcn\u00fcm\u00fcz\u00fcn aniden zenginle\u015fen Uzakdo\u011fu \u00fclkeleri, kentsel tasar\u0131m\u0131 ve mimarl\u0131\u011f\u0131 bir ileti\u015fim mecras\u0131 olarak ara\u00e7salla\u015ft\u0131rm\u0131\u015flard\u0131r. \u00d6zellikle son on y\u0131llarda postmodern tarihselcilik ve neo-klasisizm \u00fczerinden simge ve anlam aray\u0131\u015flar\u0131, di\u011fer bir deyi\u015fle pop\u00fcler be\u011feni kazanan \u201cpseudo\u201d yarat\u0131lar, taklitler, kendi \u00fcretemeyen, ge\u00e7mi\u015ften \u00f6d\u00fcn\u00e7 alan tav\u0131rlar, serbest piyasa ekonomisinin ko\u015fullar\u0131 i\u00e7inde egemen oldular. Tarihten imgeleri se\u00e7me tavr\u0131, bi\u00e7imcili\u011fi de beraberinde getiriyor. Se\u00e7meci mimarinin kulland\u0131\u011f\u0131 dil, d\u00fcnden keyfi bir se\u00e7imle al\u0131nm\u0131\u015f, e\u011freti bir bi\u00e7imsel dildir. Bu nedenle, tarihe \u00f6yk\u00fcnse de, tarihe ayk\u0131r\u0131 d\u00fc\u015fmektedir. Kimi ara\u015ft\u0131rmac\u0131lar bu t\u00fcr eklektik, indirgemeci se\u00e7meci tavr\u0131 \u201ckitsch\u201d\u00a0olarak betimler.([35]<\/a>)<\/sup> Bu terim ayr\u0131ca, kibirli ve baya\u011f\u0131 bir tada sahip \u015feylere ve ticari kayg\u0131larla \u00fcretilmi\u015f olan banal, r\u00fck\u00fc\u015f ve s\u0131k\u0131c\u0131 \u00fcr\u00fcnlere g\u00f6nderme yaparken de kullan\u0131l\u0131r.<\/p>\n

Art\u0131k bu tarihsel, indirgemeci se\u00e7melerden olu\u015fan mimarl\u0131k repertuvar\u0131, Atilla Y\u00fccel\u2019in \u201ctarihin \u00e7o\u011fulcu ba\u011flam\u0131 i\u00e7inde ve g\u00fcncel de\u011ferlendirme sorunlar\u0131 a\u00e7\u0131s\u0131ndan ortaya koydu\u011fu k\u00fclt\u00fcrel boyutun \u00fcstesinden gelmek i\u00e7in yap\u0131lan \u00f6nermeler olarak g\u00f6r\u00fclmeli\u201d diye olumlayan de\u011ferlendirmesinin \u00f6tesine ge\u00e7tiler.([36]<\/a>) <\/sup>\u201cPlanl\u0131 Alanlar Tip \u0130mar Y\u00f6netmeli\u011fi\u201dnde yap\u0131lan de\u011fi\u015fiklikle, mimari eser ve projelerin \u00f6zg\u00fcn fikir ifade edip etmedi\u011finin bir estetik komisyon taraf\u0131ndan belirlenmesi, hem mesle\u011fin hem toplumun \u00e7o\u011fulcu kimli\u011fiyle ba\u011fda\u015fm\u0131yor. Bu s\u00fcre\u00e7te Kan\u0131pak, AKP iktidar\u0131n\u0131n giderek g\u00fc\u00e7lenen pozisyonu ile birlikte \u201cmilli kimlik\u201d mevzusunun imar hareketlerinde yeniden g\u00fcndeme oturmaya ba\u015flad\u0131\u011f\u0131n\u0131 yaz\u0131yor.([37]<\/a>) <\/sup>Ona g\u00f6re, AKP h\u00fck\u00fcmetinin, gerekse yerel y\u00f6netimlerin ve bu y\u00f6netimlere yak\u0131n ki\u015filerin fiziksel \u00e7evre ve mimarl\u0131kla ili\u015fkisi \u201cemperyal Osmanl\u0131\u201d imgesinin yarat\u0131lmas\u0131d\u0131r. Kamusal mek\u00e2nda elektrik trafolar\u0131n\u0131n cephelerinde T\u00fcrk Evi motifli resimlerle ba\u015flayan geleneksel simgelerin,([38]<\/a>)<\/sup> okullar, karakollar, kamu idare binalar\u0131nda kullan\u0131m\u0131n\u0131n resmi tercihi ise topyek\u00fbn \u201cYeni T\u00fcrkiye\u201d projesinin mek\u00e2nsal temsiliyeti. Bu ba\u011flamda Hasan Cemal T\u00fcrkiye\u2019nin ve daha genel anlamda M\u00fcsl\u00fcman d\u00fcnyan\u0131n tarihini yeniden yazma \u00e7abas\u0131nda<\/em>\u00a0<\/em>revizyonist<\/strong> bir tarih anlay\u0131\u015f\u0131na i\u015faret ediyor.(<\/sup>[39]<\/a>)<\/sup><\/p>\n

\"\"
Mimar Vedat Tek ve
Mimar Kemaleddin\u2019in
ortak imzas\u0131n\u0131 ta\u015f\u0131yan
Ankara Palas.<\/figcaption><\/figure>\n

Tan\u0131l Bora T\u00fcrk Sa\u011f\u0131n\u0131n \u00dc\u00e7 Hali <\/em>\u00e7al\u0131\u015fmas\u0131nda, milliyet\u00e7ilik, muhafazak\u00e2rl\u0131k, \u0130sl\u00e2mc\u0131l\u0131\u011f\u0131n, T\u00fcrk sa\u011f\u0131n\u0131n ana \u201cmalzemesi\u201d olan bu \u00fc\u00e7 ideolojinin, \u00fc\u00e7 ayr\u0131 pozisyon olman\u0131n \u00f6tesinde, beraberce bir yumak oldu\u011funu yazar.([40]<\/a>)<\/sup> Milliyet\u00e7ilik, kat\u0131 hali: sa\u011f\u0131n dilbilgisi\/grameri… Muhafazak\u00e2rl\u0131k, gaz hali: bir \u00fcslup ve \u201chava\u201d… \u0130slamc\u0131l\u0131k, s\u0131v\u0131 hali: onsuz olunmaz bir imge ve de\u011fer kayna\u011f\u0131… Bu metaforunda muhafazak\u00e2rl\u0131k gayet masum bir duru\u015f olarak alg\u0131lanabilirken, asl\u0131nda her an s\u0131v\u0131 (\u0130slamc\u0131l\u0131k) ve kat\u0131 (milliyet\u00e7ilik) haline d\u00f6n\u00fc\u015febilecek bir ruh halidir. Art\u0131k Erken Cumhuriyet d\u00f6neminin laik-milli \u00e7izgisinden \u0130slami-S\u00fcnni milliyet\u00e7ilik eksenine ge\u00e7en Yeni T\u00fcrkiye\u2019nin kimlik aray\u0131\u015f\u0131, \u015eefik Birkiye imzal\u0131 Cumhurba\u015fkanl\u0131\u011f\u0131 Binas\u0131 ile ruhunu bulacakt\u0131r. Sel\u00e7uklu mimarisinin modernize edildi\u011fini a\u00e7\u0131klayan <\/strong>Birkiye, bir canl\u0131 televizyon yay\u0131n\u0131nda \u201cT\u00fcrk motiflerinden esinlenip modernle\u015ftirip kendi stillerine uydurup bir senfoni gibi her tarafa yayd\u0131\u011f\u0131n\u0131<\/strong>\u201d s\u00f6yler.([41]<\/a>) <\/sup>\u0130\u015fvereni Erdo\u011fan\u2019\u0131n ve kendisinin ortaya \u00e7\u0131kan mimariden memnun oldu\u011funu ekler. Erdo\u011fan ise i\u015fveren olarak Sel\u00e7uklu mimarisi istedi\u011finin alt\u0131n\u0131 \u00e7izer:<\/p>\n

\u201cBizim amac\u0131m\u0131z, t\u0131pk\u0131 ecdad\u0131m\u0131z gibi, \u00fclkemize kal\u0131c\u0131 bir eser b\u0131rakmak. Projeyle ilgili olarak ben nas\u0131l bir \u015fey istedi\u011fimizi s\u00f6yledim. O da \u015fuydu: Binan\u0131n d\u0131\u015f\u0131nda, Ankara\u2019da da izlerini g\u00f6rd\u00fc\u011f\u00fcm\u00fcz Sel\u00e7uklu mimarisi olmal\u0131. \u0130\u00e7eride Osmanl\u0131\u2019n\u0131n taban tavan aras\u0131ndaki mesafedeki o rahatl\u0131k olmal\u0131. Donan\u0131m olarak da modern teknolojinin kullan\u0131ld\u0131\u011f\u0131 ak\u0131ll\u0131 bir bina olmal\u0131. Sa\u011f olsun arkada\u015flar, iyi bir i\u015f \u00e7\u0131kard\u0131lar.\u201d<\/strong><\/p>\n

Bu noktada hem mimar\u0131n hem i\u015fverenin aktard\u0131\u011f\u0131 tarihten se\u00e7meci tav\u0131r, indirgemeci bir anlay\u0131\u015f\u0131 yans\u0131t\u0131r; mimarl\u0131\u011f\u0131 ve ba\u011flamsal ideolojiyi bilimsellikten koparan metafizik\u00e7ilik ve tarihsel taklit\u00e7ilik ise iktidar\u0131n ideolojik se\u00e7imidir. \u0130ktidar\u0131n bu ideolojik, tarihselci se\u00e7meci tavr\u0131n\u0131 ele\u015ftiren Mimar Nevzat Say\u0131n zaman\u0131n ruhuna ayk\u0131r\u0131 bir mimarl\u0131k \u00fczerinden de\u011ferlendiriyor Cumhurba\u015fkanl\u0131\u011f\u0131 Binas\u0131n\u0131: \u201c\u0130ktidar, Sel\u00e7uklu \u2018olmak\u2019 istiyor ama aralar\u0131nda Sel\u00e7uklu mimarisinin ne oldu\u011funu bilen biri yok\u2026 Ka\u00e7\u0131rd\u0131klar\u0131 ise \u015fu: Zaman\u0131n ruhu diye bir \u015fey var. Bir derede iki kere y\u0131kanamazs\u0131n<\/strong>. (…) AK Saray, kafas\u0131 kar\u0131\u015f\u0131k, ne yapaca\u011f\u0131n\u0131 bilemeyen, geriye do\u011fru bakmay\u0131 bilmeyen, geriye do\u011fru bakt\u0131\u011f\u0131nda bulabilece\u011fi \u015feylerin say\u0131s\u0131 hakk\u0131nda bile bir fikri olmayan, ileri do\u011fru bak\u0131\u015f\u0131 t\u0131kal\u0131, arada bir yerde kalm\u0131\u015f bir adam\u0131 yans\u0131t\u0131yor.\u201d(<\/sup><\/strong>[42]<\/a>)<\/sup><\/strong><\/p>\n

\"\"
Mimar Kemaleddin\u2019in eserlerinden
Laleli Tayyare Apartmanlar\u0131.<\/figcaption><\/figure>\n

Mimarlar Odas\u0131 Ankara \u015eube Ba\u015fkan\u0131 Tezcan Karaku\u015f Candan ise, \u201cMerdivenleri Dolmabah\u00e7e Saray\u0131\u2019n\u0131n merdivenlerinden, seyir teras\u0131 Topkap\u0131 Saray\u0131\u2019ndan \u00f6zentidir. An\u0131tkabir\u2019in \u00f6n\u00fcndeki meydandan daha b\u00fcy\u00fck bir hitabet meydan\u0131 ve bin odal\u0131k saray\u0131n b\u00fcy\u00fck kabul salonlar\u0131 var. Cumhuriyet rejiminin yap\u0131s\u0131 olmad\u0131\u011f\u0131 ayan beyan ortada<\/strong>\u201d diye ele\u015ftiriyor yeni ama geleneksel izler ta\u015f\u0131yan binay\u0131.([43]<\/a>) <\/sup>New York Times<\/em>, Erdo\u011fan i\u00e7in haz\u0131rlanan di\u011fer konutlar\u0131 da s\u0131ralayarak,\u00a0\u201cBunlar\u0131n hepsi, tek bir adam\u0131n \u00e7ok b\u00fcy\u00fck olan h\u0131rslar\u0131na hizmet etmek i\u00e7in yap\u0131ld\u0131: Recep Tayyip Erdo\u011fan\u201d\u00a0diye vurguluyor.<\/p>\n

Bu noktada, yap\u0131n\u0131n an\u0131tsal \u00f6l\u00e7e\u011fi, devasa b\u00fct\u00e7esi, bu \u201cmuazzam kamuya a\u00e7\u0131k mek\u00e2n\u0131\u201d en k\u0131sa s\u00fcrede bitirebilmi\u015f olmak, iktidar\u0131n ba\u015far\u0131s\u0131n\u0131n temsiliyetine destek olur. \u00d6ncelikle iktidar taraf\u0131ndan\u00a0\u201dan\u0131tsal boyutta\u201d olarak nitelendirilen Cumhurba\u015fkanl\u0131\u011f\u0131 Binas\u0131, asl\u0131nda ba\u015fkentin toplumsal belle\u011fine yabanc\u0131 de\u011fil. \u0130kinci Milli Mimari ba\u015fl\u0131\u011f\u0131yla yer eden Jansen\u2019in geni\u015f bulvarlar\u0131 Alman-Avusturyal\u0131 mimarlar taraf\u0131ndan imzalanm\u0131\u015f kamusal binalarla dolu. Tam da bu noktada, iktidar\u0131n, hep ele\u015ftirdi\u011fi Erken Cumhuriyet d\u00f6neminin mek\u00e2nsal izlerini takip etti\u011fi s\u00f6ylenebilir. En b\u00fcy\u00fc\u011f\u00fc, en y\u00fckse\u011fi, en \u00e7ok odal\u0131 binay\u0131 yapmak ba\u015far\u0131lar\u0131n\u0131n g\u00f6stergesi olarak kamuya sunulur.<\/p>\n

\u0130kinci olarak, devasa b\u00fct\u00e7esi yaln\u0131z ulusal de\u011fil, uluslararas\u0131 yay\u0131n organlar\u0131n\u0131n da dikkatini \u00e7ekmi\u015ftir.(44) <\/sup>\u0130ngiliz \u00f6zerk yay\u0131n kurulu\u015fu BBC, \u00f6zel bir video haz\u0131rlayarak, tan\u0131t\u0131lan yap\u0131n\u0131n b\u00fcy\u00fckl\u00fc\u011f\u00fcn\u00fc ve y\u00fcksek maliyetini ele\u015ftirir. M\u0131s\u0131r\u2019\u0131n devlet gazetesi El Ahram <\/em>da\u00a0\u201cBu saray, Erdo\u011fan\u2019\u0131n megalomanisini, mevki ve servet h\u0131rs\u0131n\u0131, kendisi sultan\u0131n taht\u0131nda otururken Osmanl\u0131\u2019n\u0131n emperyal zenginli\u011fini ve ihti\u015fam\u0131n\u0131 canland\u0131rma arzusunu a\u00e7\u0131k\u00e7a ortaya koyuyor\u201d\u00a0yorumunu yapar. Ama t\u00fcm bu harcama kalemi \u201cKamu ad\u0131na, kamu i\u00e7in yap\u0131lm\u0131\u015ft\u0131r\u201d denilerek me\u015frula\u015ft\u0131r\u0131l\u0131r.<\/p>\n

Son olarak da bu devasa b\u00fct\u00e7eli an\u0131tsal yap\u0131y\u0131 en k\u0131sa s\u00fcrede bitirmek d\u00f6nemin ruhuyla \u00f6rt\u00fc\u015f\u00fcr. En y\u00fckse\u011fi, en b\u00fcy\u00fc\u011f\u00fc en k\u0131sa s\u00fcrede tamamlamak ba\u015far\u0131n\u0131n g\u00f6stergesidir iktidara g\u00f6re. Tabii Say\u0131\u015ftay\u2019\u0131n yetkilerinin k\u0131s\u0131tland\u0131\u011f\u0131, rapor yay\u0131mlanmas\u0131n\u0131n yasakland\u0131\u011f\u0131 denetimsiz bir s\u00fcre\u00e7te,\u201ch\u0131zl\u0131, \u00e7abuk\u201d s\u00f6ylemleri e\u015fli\u011findeki in\u015faat s\u00fcreci de anla\u015f\u0131labilir.<\/p>\n

\"\"
Ankara gar\u0131.<\/figcaption><\/figure>\n

Asl\u0131nda Henri Lefebvre\u2019in y\u0131llar \u00f6nce yazd\u0131\u011f\u0131 gibi, egemen \u00fcretim ili\u015fkilerinin do\u011fal \u00fcr\u00fcn\u00fc olan mek\u00e2n, ideolojik aktar\u0131m\u0131n ger\u00e7ekle\u015fti\u011fi bir sahnedir.(45) <\/sup>Toplumsal ve k\u00fclt\u00fcrel bir mek\u00e2nizma olan mimari yap\u0131lar, devletin mek\u00e2nsal kavray\u0131\u015f\u0131na g\u00f6r\u00fcn\u00fcrl\u00fck, sembolik i\u015flerlik ve iktidar\u0131n s\u00fcreklili\u011fini sa\u011flayarak h\u00e2kim ideolojiye eklenen bir ara\u00e7 olmaktad\u0131r.(46) <\/sup>D\u00f6neme egemen olan ideoloji de mimariye yans\u0131r. T\u00fcrkiye ba\u011flam\u0131nda \u201c19. y\u00fczy\u0131l halen ikilemlerini koruyor\u201d ve mimari repertuvar olarak \u201ck\u0131\u015fk\u0131rt\u0131c\u0131 \u00e7ekicili\u011fi varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcr\u00fcyor.\u201d(47) 100 y\u0131l \u00f6nce oldu\u011fu gibi, iktidar\u0131 elinde tutan egemen s\u0131n\u0131f\u0131n ideolojisi ve mesaj\u0131, iktidar\u0131n izlerini ta\u015f\u0131yan mek\u00e2nlarda, merasimler, t\u00f6renler, toplant\u0131lar \u00fczerinden topluma iletilir ve iktidar\u0131 me\u015frula\u015ft\u0131ran bir araca d\u00f6n\u00fc\u015f\u00fcr. Mek\u00e2nlar i\u00e7erisindeki iktidar\u0131n sembolik pratikleri ve devlet eliyle in\u015fa edilen mimari yap\u0131lar, d\u00f6nemin ideolojik g\u00f6r\u00fcn\u00fcr s\u00f6ylemleri ile kar\u015f\u0131l\u0131kl\u0131 me\u015fruiyet ili\u015fkisi i\u00e7erisindedir.<\/p>\n

Bitirirken<\/strong><\/p>\n

Muhafazak\u00e2r olarak damgalanan Ahmet Hamdi Tanp\u0131nar, asr\u0131 saadet veya alt\u0131n \u00e7a\u011f aray\u0131\u015f\u0131nda de\u011fildir. Ge\u00e7mi\u015fi ve gelene\u011fi, \u015fimdiyi zenginle\u015ftirmek i\u00e7in \u00f6nemser. Ge\u00e7mi\u015fe-gelene\u011fe geri d\u00f6nmek gibi bir derdi yoktur. . . Mevlana okur, Baudelaire ve Proust gibi d\u00fc\u015f\u00fcnebilir\u2026 1940\u2019larda ve 1950\u2019lerde Dede Efendi ve Mozart dinler\u2026 Tanp\u0131nar, ya\u015fanm\u0131\u015fl\u0131klar\u0131n izindedir\u2026 Ya\u015fad\u0131\u011f\u0131 an\u0131n pe\u015findedir\u2026 Tam da bu nedenlerle, d\u00f6nemin ruhunun de\u011ferini kavrar, i\u00e7inde ya\u015fad\u0131\u011f\u0131 \u00e7a\u011f\u0131n k\u00fclt\u00fcrel ve teknolojik de\u011ferlerinin fark\u0131ndad\u0131r. Tanp\u0131nar i\u00e7in \u015fehri fakirle\u015ftiren \u015fey, ekonomik olanaks\u0131zl\u0131klardan \u00e7ok \u201cdevam ve b\u00fct\u00fcnl\u00fck\u201d fikrinin yok olmas\u0131, \u015fehrin sakinlerinin bir \u201cr\u00fcya art\u0131\u011f\u0131\u201dndan ibaret kalmas\u0131d\u0131r.(48) <\/sup>Genelde ge\u00e7mi\u015fe bak\u0131\u015f\u0131m\u0131z, m\u00fczele\u015ftiren bir bak\u0131\u015f. Ya \u201cm\u00fczele\u015ftirerek\u201d ya da \u201cy\u0131karak yaparak\u201d, yeniyi de hayattan kopar\u0131yoruz. Tanp\u0131nar, m\u00fczele\u015ftirmenin, asl\u0131nda ge\u00e7mi\u015fi paranteze almak oldu\u011funun fark\u0131ndad\u0131r. Ama kaybedilene y\u00f6nelik kayg\u0131 ve \u00fcz\u00fcnt\u00fc dolu geriye bak\u0131\u015fa sahiptir.(49)<\/sup><\/p>\n

D\u00fcnyaya Bergson, Proust, Baudelaire\u2019den ortak esintiler ile bakan Tanp\u0131nar ile Benjamin\u2019i bulu\u015fturan nokta, kategorik olana y\u00fcz vermeyi\u015fleri. Tamamlanmam\u0131\u015fl\u0131k, bitmemi\u015flik, deneyim ikisinin de kimli\u011finin par\u00e7as\u0131.(50) <\/sup>Kayg\u0131lar, ortak izlekler, \u00e7arp\u0131c\u0131 ifade benzerlikleri var. Ge\u00e7mi\u015fin ger\u00e7ek imgesinin u\u00e7uculu\u011fundan s\u00f6z ederler. Her iki yazar da hat\u0131rlaman\u0131n \u00f6neminden bahseder; \u201ctarihsel geli\u015fimi do\u011frusal bir geli\u015fme olarak g\u00f6ren bir ilerlemecili\u011fe uzaklar.\u201d(51)<\/sup><\/p>\n

Bu ba\u011flamda \u00f6zg\u00fcr, kat\u0131l\u0131mc\u0131 bir bug\u00fcn ve yar\u0131n i\u00e7in, d\u00fcn\u00fcn sorunla\u015ft\u0131r\u0131lmas\u0131n\u0131 \u00f6neren Walter Benjamin, kent ve mimarl\u0131k tarihi ve ba\u011flam\u0131 i\u00e7inden bak\u0131\u015f\u0131n gereklili\u011finin alt\u0131n\u0131 \u00e7izer. (52) <\/sup>Benjamin i\u00e7in ge\u00e7mi\u015f yaln\u0131zca kurtar\u0131lacak bir \u015fey de\u011fil; ayn\u0131 zamanda felaketler zinciri, bir talan alan\u0131, bir y\u0131k\u0131nt\u0131lar toplam\u0131d\u0131r. Benjamin\u2019in tarih ve mek\u00e2n kavray\u0131\u015f\u0131n\u0131 bi\u00e7imlendiren, toplumlar\u0131 sarsan iki b\u00fcy\u00fck sava\u015f\u0131n ve Nazi k\u0131y\u0131m\u0131n\u0131n etkisi\u2026(53) <\/sup>Yazar\u0131 ilgin\u00e7 ve halen g\u00fcncel k\u0131lan asl\u0131nda tarih ve mek\u00e2n ile kurdu\u011fu bu ili\u015fki bi\u00e7imi. Toplumsal iktidar m\u00fccadelesinin ta\u015f\u0131y\u0131c\u0131s\u0131 konumunda olan mek\u00e2nda, tasar\u0131mda, tarihselci yakla\u015f\u0131mlar, Benjamin\u2019e g\u00f6re \u201chistiografik ve ayn\u0131 zamanda pedagojik bir sorun.\u201d(54) <\/sup>B\u00f6ylesi tepeden inmeci otoriter bir ba\u011flam i\u00e7in Benjamin, \u201cfantazmagorya\u201d kavram\u0131yla hayaletlerin canland\u0131r\u0131lmas\u0131na at\u0131fta bulunuyordu. \u00c7izgisel ve d\u00fcz tarih yaz\u0131m\u0131na kar\u015f\u0131 \u00e7\u0131k\u0131yor ve \u00e7izgisel ve kronolojik bir tarih yaz\u0131m\u0131 olamayaca\u011f\u0131n\u0131 s\u00f6yl\u00fcyordu.<\/p>\n

Bug\u00fcn T\u00fcrkiye\u2019deki t\u00fcm kamu bina ve arazilerinde oldu\u011fu gibi, Cumhurba\u015fkanl\u0131\u011f\u0131 Binas\u0131nda da kapal\u0131 kap\u0131lar ard\u0131nda ger\u00e7ekle\u015ftirilen y\u0131k\u0131m ve tasar\u0131m s\u00fcreci, Benjamin\u2019in deyimiyle \u201chistiografik\u201d bir sorunu g\u00f6rselle\u015ftiriyor. Erken Cumhuriyet d\u00f6nemiyle ideolojik \u00e7at\u0131\u015fma ya\u015fayan iktidar\u0131n h\u00e2kim s\u00f6ylemi, \u00f6ncelikle, \u201cGe\u00e7mi\u015f iyiydi: Yeniden in\u015fa ile d\u00fczeltelim\u201d \u015feklinde. Bu asl\u0131nda olduk\u00e7a \u201cnaif\u201d bir beklenti. Binalar\u0131 y\u0131karak, baz\u0131 ge\u00e7mi\u015fi silemez; tarihselci tav\u0131rla in\u015fa ederek, \u00f6zlem duydu\u011funuz o ulvi ge\u00e7mi\u015fi yeniden in\u015fa edemezsiniz! Tarihten toplumca koptu\u011fumuz inanc\u0131, U\u011fur Tanyeli\u2019nin deyimiyle \u201chastal\u0131kl\u0131 bir tav\u0131r.\u201d<\/p>\n

Bu s\u00fcre\u00e7te ikinci h\u00e2kim tav\u0131r, yine di\u011fer t\u00fcm kamu binalar\u0131nda oldu\u011fu gibi tepeden inmeci \u201cestetizasyon.\u201d Benjamin\u2019in belirtti\u011fi gibi, asl\u0131nda estetizasyon \u201ctotaliter bir tav\u0131r\u201d ve tam da fa\u015fizm ile ili\u015fki kurulan bir s\u00fcre\u00e7. (55)<\/sup>Ge\u00e7mi\u015fin sorunsuz oldu\u011fu, sorunlu bir duru\u015f.<\/p>\n

\u00dc\u00e7\u00fcnc\u00fc olarak, mimarl\u0131k ve mek\u00e2nlar \u00fczerinde ideoloji kurgulama s\u00f6z konusu: \u0130deolojinin mek\u00e2nsalla\u015fmas\u0131 s\u00fcrecinde, eski-yeni t\u00fcm yap\u0131larda benzeri tav\u0131rlar g\u00f6zleniyor. T\u00fcm \u00fclkeyi topyek\u00fbn o \u201culvi\u201d ge\u00e7mi\u015fe g\u00f6t\u00fcrme tavr\u0131 egemen. Bu s\u00fcre\u00e7te, U\u011fur Tanyeli\u2019nin deyimiyle, \u201cbinalar\u0131 kullanarak birbirimizi ter\u00f6rize ediyoruz.\u201d(56) <\/sup>Bu mesele, Benjamin\u2019in belirtti\u011fi gibi totalitarizme giden bir yol.<\/p>\n

Peki bir se\u00e7kinci modernle\u015fme ser\u00fcveninden ba\u015fka bir se\u00e7kinci modernle\u015fme s\u00fcrecine itilen T\u00fcrkiye\u2019de, yeni Cumhurba\u015fkanl\u0131\u011f\u0131 Binas\u0131 ile bir diyalog kurabilmek halen olas\u0131 m\u0131? Ara\u015ft\u0131rmada ve tasar\u0131mda, 1968 Paris \u00f6\u011frenci olaylar\u0131 sonras\u0131 devlet i\u00e7in ara\u015ft\u0131rma y\u00fcr\u00fcten ekibin ba\u015f\u0131 olan Michel de Certeau\u2019nun deyimiyle \u201cDevletin tepeden inme stratejilerine kar\u015f\u0131 yeni s\u00fcrpriz taktikler\u201d \u00fcretilebilir mi?(57) <\/sup>Ya\u015fan\u0131lan \u00e7eli\u015fkilerin, \u00e7arp\u0131\u015fmalar\u0131n, hem dinamikleri hem potansiyelleri ortaya d\u00f6k\u00fclebilir mi? Kentin merkezinde, \u201ckentli ve kent hakk\u0131\u201d kriterlerinden uzakla\u015fm\u0131\u015f, tasar\u0131m d\u00fc\u015flerinden ar\u0131nm\u0131\u015f, steril projeler ve emrivakilerle dolu kritik kapitalist ve ideolojik kentle\u015fme s\u00fcreci,21. y\u00fczy\u0131l\u0131n \u00e7o\u011fulcu ortam\u0131nda adeta bir trajik komedi. Farkl\u0131 kamusall\u0131klar\u0131 i\u00e7eren \u00e7o\u011fulcu ve holistik bir tasar\u0131m s\u00fcreci kurgulanabilirdi. Mek\u00e2n politikalar\u0131 \u0131\u015f\u0131\u011f\u0131nda, yeni bir tasar\u0131m s\u00fcreci nas\u0131l olu\u015fturulabilirdi? Kentsel politikay\u0131 ve kentsel tasar\u0131m\u0131 yeniden nas\u0131l olu\u015fturabiliriz? \u00d6zg\u00fcr, kat\u0131l\u0131mc\u0131, y\u00fcr\u00fcnebilir, herkese a\u00e7\u0131k kamusal bir mek\u00e2n i\u00e7in ad\u0131mlar nas\u0131l yeniden at\u0131labilir? Roland Barthes\u2019\u0131n vurgulad\u0131\u011f\u0131 gibi, insan varolu\u015funun izlerine bakarak, AO\u00c7\u2019un i\u00e7inden ge\u00e7erek, t\u0131n\u0131s\u0131n\u0131 dinleyerek, kokusunu koklayarak, kent ile, kentli ile konu\u015farak, ba\u015fka bir ileti\u015fim-diyalog ekseni aranabilirdi. Kamusal mek\u00e2ndaki bu \u00e7eli\u015fkilerle dolu z\u0131tla\u015fma, toplumsal bir bulu\u015fmaya d\u00f6n\u00fc\u015ft\u00fcr\u00fclebilirdi. Ne yaz\u0131k ki merkezdeki y\u00f6netici bu f\u0131rsat\u0131 da ka\u00e7\u0131rd\u0131.<\/p>\n

Siyasetin mimarl\u0131kla, sanatla kar\u015f\u0131la\u015fmas\u0131, siyasetin \u201cestetize edilmesi\u201d ya da \u201cs\u00fcslenmesi\u201d de\u011fil, d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesi, yeniden bi\u00e7imlendirilmesidir. As\u0131l sorun, yaln\u0131zca kamunun kapal\u0131 olmas\u0131 de\u011fil, siyaset\u00e7ilerin tasar\u0131m\u0131 bir iktidar tercihi olarak g\u00f6rmesi. Ama siyaset bu kar\u015f\u0131la\u015fman\u0131n yok say\u0131ld\u0131\u011f\u0131, ertelendi\u011fi de\u011fil; g\u00f6r\u00fcn\u00fcr k\u0131l\u0131nd\u0131\u011f\u0131 ve d\u00f6n\u00fc\u015ft\u00fcr\u00fclmeye \u00e7al\u0131\u015f\u0131ld\u0131\u011f\u0131 anda ve yerde ba\u015flar.<\/p>\n

Dipnotlar<\/strong><\/p>\n

1) Ahmet Hamdi Tanp\u0131nar, Saatleri Ayarlama Enstit\u00fcs\u00fc<\/em>, \u0130stanbul, 1961.<\/p>\n

2) 12 Haziran 2013 tarihinde, d\u00f6nemin Ba\u015fbakan\u0131 Recep Tayyip Erdo\u011fan ile toplant\u0131m\u0131z s\u0131ras\u0131nda kendisine aktar\u0131lan metinden al\u0131nt\u0131d\u0131r.<\/p>\n

3) Walter Benjamin, Illuminations Essays and Reflections<\/em>, Edited by Hannah Arendt in 1968, 2nd edition, New York: Shocken Books, 2007.<\/p>\n

4) Michael Hays, \u201cCritical Architecture: Between Culture and Form\u201d, Vol.21, 1984.<\/p>\n

5) Ole W. Fisher, \u201cAtmospheres-Architectural Spaces Between Critical Reading and Immersive Presence\u201d,\u00a0 Field<\/em>, Vol.1, September 2007.<\/p>\n

6) Aaron Betsky, H\u00fclya Erta\u015f s\u00f6yle\u015fisi, XXI <\/em>dergisi, Ekim 2012.<\/p>\n

7) Atilla Y\u00fccel, \u201cMimarl\u0131kta Metodoloji\/Sistemli Yakla\u015f\u0131mlar ve Mimarl\u0131k E\u011fitimi\u201d, Mimarl\u0131k<\/em>,1973\/4; Atilla Y\u00fccel, \u201cMimarl\u0131kta Bi\u00e7im ve Mek\u00e2n\u0131n Dilsel Yorumu \u00dczerine\u201d (yay\u0131nlanmam\u0131\u015f do\u00e7entlik tezi), \u0130T\u00dc, 1981.<\/p>\n

8) Ertu\u011fU\u00e7ar, \u201cTaksim Sempozyumu\u201d A\u00e7\u0131l\u0131\u015f Konu\u015fmas\u0131, 8 Aral\u0131k 2012, SALT Galata, \u0130stanbul.<\/p>\n

9) 7-8 Kas\u0131m 2014, \u00c7e\u015fme, http:\/\/www tsmd.org.tr\/haber\/mimarlar-icin-cumhuriyet-tarihinin-en-problemli-donemi\/23422<\/p>\n

10) Seren Y\u00fcce, \u00c7o\u011funluk<\/em> filmi, 2010.<\/p>\n

11) Afife Batur, \u201cMimaride Ele\u015ftiri Sorunsal\u0131\u201d Ba\u015fl\u0131kl\u0131 Paneldeki Sunumu, Moderat\u00f6r: \u0130pek Akp\u0131nar, Serbest Mimarlar Derne\u011fi Organizasyonu, \u0130stanbul Mimarlar Odas\u0131, Karak\u00f6y, 22 Kas\u0131m 2014.<\/p>\n

12) Atilla Y\u00fccel, \u201c\u00c7a\u011fda\u015f T\u00fcrkiye Mimarl\u0131\u011f\u0131\/Tarihselcili\u011fe Kar\u015f\u0131 Tarihsellik: Eldem, Cansever ve \u00c7inici\u2019nin Yap\u0131tlar\u0131 \u00dczerinden Tematik Bir Okuma\u201d, Tansel Korkmaz (der.) 2000\u2019lerde T\u00fcrkiye\u2019de Mimarl\u0131k -S\u00f6ylem ve Uygulamalar-<\/em>, TMMOB Mimarlar Odas\u0131, Ankara, 2007, s.165-173; Atilla Y\u00fccel, \u201c80\u2019lerin Tematik Panorama Metninin Analizi: Ele\u015ftirinin Ele\u015ftirisi\u201d, Tansel Korkmaz (der.),2000\u2019lerde T\u00fcrkiye\u2019de Mimarl\u0131k -S\u00f6ylem ve Uygulamalar-<\/em>, TMMOB Mimarlar Odas\u0131, Ankara, 2007, s.175-186. Atilla Y\u00fccel\u2019in y\u00f6netti\u011fi \u201cT\u00fcrkiye\u2019de Mimarl\u0131k Ele\u015ftirisi\u201d, Emin Mahir Balc\u0131o\u011flu, Afife Batur, B\u00fclent \u00d6zer, Zeki Sayar, Mimarlar Odas\u0131 Dergisi<\/em>,\u00a0 http:\/\/dergi.mo.org.tr\/dergiler\/4\/519\/7606.pdf; Atilla Y\u00fccel, \u201cMimarl\u0131kta Ele\u015ftiri Boyutu\u201d, Mimarlar Odas\u0131 Degisi<\/em>, 1985, S.5-6, http:\/\/dergi.mo.org.tr\/dergiler\/4\/522\/7648. pdf; Abdi G\u00fczer, \u201cK\u00fclt\u00fcrel \u00c7at\u0131\u015fma Alan\u0131 Olarak Mimarl\u0131k Ele\u015ftirisi\u201d, Mimarl\u0131k Dergisi<\/em>, Dosya 348, http:\/\/www.mimarlikdergisi.com\/index.cfm?sayfa=mimarlik&DergiSayi=362&RecID=2113<\/p>\n

13) Beral Madra, \u201cMimaride Ele\u015ftiri Sorunsal\u0131\u201d PanelindekiSunumu, Moderat\u00f6r: \u0130pek Akp\u0131nar, Serbest Mimarlar Derne\u011fi Organizasyonu; \u0130stanbul Mimarlar Odas\u0131, Karak\u00f6y, 22 Kas\u0131m 2014.<\/p>\n

14) Afife Batur, \u201cMimaride Ele\u015ftiri Sorunsal\u0131\u201d ba\u015fl\u0131kl\u0131 paneldeki sunumu, Moderat\u00f6r: \u0130pek Akp\u0131nar, Serbest Mimarlar Derne\u011fi Organizasyonu; \u0130stanbul Mimarlar Odas\u0131, Karak\u00f6y, 22 Kas\u0131m 2014. Abdi G\u00fczer, \u201cK\u00fclt\u00fcrel \u00c7at\u0131\u015fma Alan\u0131 olarak Mimarl\u0131k Ele\u015ftirisi\u201d, Mimarl\u0131k Dergisi<\/em>, Dosya 348. http:\/\/www.mimarlikdergisi.com\/index.cfm?sayfa=mimarlik&DergiSayi=362&RecID=2113<\/p>\n

15) Manfredo Tafuri, Architecture and Utopia<\/em>, London: The MIT Press, 1994.<\/p>\n

16) Hatice Kurtulu\u015f (der.),\u0130stanbul\u2019da Kentsel Ayr\u0131\u015fma<\/em>, \u0130stanbul: Ba\u011flam Yay\u0131nlar\u0131, 2005; Binnur \u00d6ktem, \u201cK\u00fcresel Kent S\u00f6yleminin Kentsel Mek\u00e2n\u0131 D\u00f6n\u00fc\u015ft\u00fcrmedeki Rol\u00fc\u201d, \u0130stanbul\u2019da Kentsel Ayr\u0131\u015fma<\/em> i\u00e7inde, (der.) H. Kurtulu\u015f, Ba\u011flam Yay\u0131nlar\u0131, 2005, s.25-76.<\/p>\n

17) Nora \u015eeni, Taksim Platformu Paneli, \u0130T\u00dc Ta\u015fk\u0131\u015fla, 22 Mart 2013.<\/p>\n

18) (Ed.) Meral \u00d6zbek, Kamusal Alan<\/em>, Hil Yay\u0131n, Aral\u0131k 2004, \u0130stanbul.<\/p>\n

19) Michael Hardt, Antonio Negri, Duyuru<\/em>, Metis, \u0130stanbul, 2012.<\/p>\n

20) Besim Dellalo\u011flu, Ahmet Hamdi Tanp\u0131nar, Modernle\u015fmenin Zihniyet D\u00fcnyas\u0131<\/em>, \u0130stanbul: Kap\u0131 Yay\u0131nlar\u0131, 2012.<\/p>\n

21) Age, s.26.<\/p>\n

22) Esra Sert, \u201cHalk\u0131n \u00e7iftli\u011finden 1000 odal\u0131 ka\u00e7ak saraya\u201d, \u0130leri Haber, 09 Kas\u0131m 2014.<\/p>\n

http:\/\/ilerihaber.org\/yazarlar\/esra-sert\/halkin-ciftliginden-1000-odali-kacak-saraya\/411\/<\/p>\n

23) http:\/\/www.mimarlarodasiankara.org<\/p>\n

24) Say\u0131\u015ftay\u2019\u0131n haz\u0131rlad\u0131\u011f\u0131 AO\u00c7 M\u00fcd\u00fcrl\u00fc\u011f\u00fc 2012 raporuna g\u00f6re, \u00e7iftlikte toplam 33.256 dekar orman alan\u0131 vard\u0131r. Bu rakam 1925\u2019de toplam 55.540 dekard\u0131. Buna g\u00f6re, toplam \u00e7iftlik arazisinin y\u00fczde 40\u2019\u0131 yok edildi. En \u00f6nemli sebebin yol a\u00e7ma oldu\u011fu belirtiliyor. http:\/\/www.mimarlarodasiankara.org<\/p>\n

25) Emre Arolat ve Abdi G\u00fczer s\u00f6yle\u015fisi, Kalebodur serisi.<\/p>\n

26) Sibel Bozdo\u011fan, Modernizm ve Ulusun \u0130n\u015fas\u0131<\/em>, \u0130stanbul: Metis Yay\u0131nlar\u0131, 2002.<\/p>\n

27) Eser G\u00fcltekin, http:\/\/restoraturk.com\/mimarlik-mimari\/mimarlik\/300-ulusal-mimarimizin-olusumu.html; http:\/\/restoraturk.com\/mimarlik-mimari\/mimarlik\/300-ulusal-mimarimizin-olusumu.html<\/p>\n

28) Sibel Bozdo\u011fan (2002), age.<\/p>\n

29) Afife Batur, \u201cCumhuriyet D\u00f6neminde T\u00fcrk Mimarl\u0131\u011f\u0131\u201d, Cumhuriyet D\u00f6nemi T\u00fcrkiye Ansiklopedisi<\/em>, Cilt 5, \u0130leti\u015fim Yay\u0131nlar\u0131, \u0130stanbul, 1993, s.1382.<\/p>\n

30) Afife Batur(1993), age; \u0130nci Aslano\u011flu, \u201cI. ve II. Milli Mimarl\u0131k Ak\u0131mlar\u0131 \u00dczerine D\u00fc\u015f\u00fcnceler\u201d, Erken Cumhuriyet D\u00f6nemi Mimarl\u0131\u011f\u0131 (1923-1938)<\/em>, Ankara: Bilge-K\u00fclt\u00fcr Sanat Yay\u0131nevi, 2010.<\/p>\n

31) \u0130nci Aslano\u011flu (2010), age, s.44.<\/p>\n

32) Sibel Dosto\u011flu, \u201cTarih, Mimarl\u0131k Tarihi ve Baz\u0131 Kavramlar\u201d, Mimarl\u0131k<\/em>, 1981\/3.<\/p>\n

33) Ertu\u011f U\u00e7ar, \u201cEski Bir Hik\u00e2ye: \u0130deoloji ve Mimarl\u0131k\u201d, http:\/\/v3.arkitera.com\/k188-eski-bir-hikaye-ideoloji-ve-mimarlik.html<\/p>\n

34) \u00d6mer Kan\u0131pak, \u201cMimarl\u0131k Ortam\u0131nda Kamusal Bulan\u0131kl\u0131k\u201d, http:\/\/www.omerkanipak.com\/2007\/12\/09\/mimarlik-ortaminda-kamusal-bulaniklik\/<\/p>\n

35) \u201cKitsch\u201d var olan bir tarz\u0131n a\u015fa\u011f\u0131 bir kopyas\u0131 olan sanat\u0131 s\u0131n\u0131fland\u0131rmak, ifade etmek i\u00e7in kullan\u0131lan Almanca bir terimdir.<\/p>\n

36) Atilla Y\u00fccel (2007), age, s.165-173.; Atilla Y\u00fccel, \u201c80\u2019lerin Tematik Panorama Metninin Analizi: Ele\u015ftirinin Ele\u015ftirisi\u201d, Tansel Korkmaz (der.) 2000\u2019lerde T\u00fcrkiye\u2019de Mimarl\u0131k -S\u00f6ylem ve Uygulamalar<\/em>–,<\/em> TMMOB Mimarlar Odas\u0131, Ankara, 2007, s.175-186.<\/p>\n

37) \u00d6mer Kan\u0131pak, \u201cMimarl\u0131k Ortam\u0131nda Kamusal Bulan\u0131kl\u0131k\u201d, http:\/\/www.omerkanipak.com\/2007\/12\/09\/mimarlik-ortaminda-kamusal-bulaniklik\/<\/p>\n

38) \u0130pek T\u00fcreli, \u201cModelling Citizenship in Turkey\u2019s Miniature Park\u201d, Orienting Istanbul<\/em> i\u00e7inde,(edit\u00f6rler) D. G\u00f6kt\u00fcrk, L. Soysal, I. T\u00fcreli, Routledge, London, 2010.<\/p>\n

39) Hasan Cemal, \u201cBenim Erdo\u011fan ve Putin\u2019in makus tarihi!\u201d,\u00a0 T24, http:\/\/t24.com.tr\/yazarlar\/hasan-cemal\/erdogan-ve-putinin-makus-tarihi,10661<\/p>\n

40) \u201c\u00d6nerdi\u011fim, milliyet\u00e7ilik, muhafazakarl\u0131k ve \u0130slamc\u0131l\u0131\u011f\u0131, pozisyonlar olmaktan ziyade \u2018haller\u2019 olarak anlamakt\u0131r. Fizikteki \u2018maddenin halleri\u2019 gibi: kat\u0131, gaz, s\u0131v\u0131\u2026 Milliyet\u00e7ili\u011fi, muhafazak\u00e2rl\u0131\u011f\u0131 ve \u0130slamc\u0131l\u0131\u011f\u0131, T\u00fcrk Sa\u011f\u0131n\u0131n birbirine d\u00f6n\u00fc\u015febilir olu\u015f bi\u00e7imleri olarak yorumlamaya \u00e7al\u0131\u015f\u0131yorum. Bunlardan birinde veya \u00f6tekinde T\u00fcrk Sa\u011f\u0131n\u0131n \u2018maddesini\u2019 g\u00f6rmek istiyorsak, o maddenin bir bile\u015feni veya kanad\u0131yla falan de\u011fil, bir haliyle kar\u015f\u0131 kar\u015f\u0131ya oldu\u011fumuzu hesap edersek, durumu daha iyi anlar\u0131z, diye d\u00fc\u015f\u00fcn\u00fcyorum.<\/p>\n

\u201cBu anlam \u00e7er\u00e7evesinde, salt bir ideoloji de\u011fil, bir zihniyet \u00f6rg\u00fcs\u00fc olarak d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm milliyet\u00e7ili\u011fi T\u00fcrk Sa\u011f\u0131n\u0131n grameri\/dilbilgisi olarak ele al\u0131yorum. \u0130\u00e7erikleri, kavramlar\u0131, imgeleri uyarlama, uydurma g\u00fcc\u00fc esas olarak ondad\u0131r. Milliyet\u00e7ilik, maddenin halleri mecaz\u0131na ba\u015fvurursak, T\u00fcrk Sa\u011f\u0131n\u0131n kat\u0131 halidir.<\/p>\n

\u201c\u0130slamc\u0131l\u0131\u011fa, T\u00fcrk Sa\u011f\u0131n\u0131n lugat\u00e7esi olarak, imge, de\u011fer, rit\u00fcel kayna\u011f\u0131 olarak bak\u0131yorum. Tek kaynak de\u011fil tabii; ama belki en bereketli, en hararetli kaynak, onsuz olunmaz bir hayat p\u0131nar\u0131. Mecaz\u0131m\u0131z\u0131 zorlarsak, \u0130slamc\u0131l\u0131k T\u00fcrk Sa\u011f\u0131n\u0131n s\u0131v\u0131 halidir -kap de\u011fi\u015ftirme ve mecra bulma g\u00fcc\u00fc modernlik kadar y\u00fcksek!\u2026<\/p>\n

\u201cMuhafazak\u00e2rl\u0131k, i\u00e7eriklerin ve zihniyet kal\u0131plar\u0131n\u0131n \u00f6tesinde bir ruha hali, duru\u015f\/duyu\u015f bi\u00e7imi, \u00fcsluptur; T\u00fcrk Sa\u011f\u0131n\u0131n \u2018havas\u0131d\u0131r\u2019. Burada \u2018maddenin halleri\u2019 mecaz\u0131n\u0131 \u00e7ok g\u00fczel istismar edebiliriz: muhafazak\u00e2rl\u0131k, -hele buharla\u015fana d\u00fc\u015fk\u00fcnl\u00fc\u011f\u00fcyle -, T\u00fcrk Sa\u011f\u0131n\u0131n gaz halidir. \u2013 \u2018gaz\u2019\u0131n amiyane kullan\u0131mlar\u0131n\u0131 da (\u2018gaz verme\u2019, \u2018gaza getirme\u2019) hesaba kat\u0131yorum\u2026 T\u00fcrkiye\u2019de k\u00fclt\u00fcrel ve etik bir program olarak d\u00fc\u015f\u00fcn\u00fcrsek son derece g\u00fcd\u00fck ve \u2018yalan\u2019 oldu\u011funu s\u00f6yleyebilece\u011fimiz muhafazak\u00e2rl\u0131k, T\u00fcrk Sa\u011f\u0131n\u0131n (yine ayn\u0131 kay\u0131t: sadece sa\u011f\u0131n m\u0131?) modernizmle ba\u015f etme ser\u00fcveninin asli s\u0131fat\u0131d\u0131r belki de.\u201d Tan\u0131l Bora, T\u00fcrk Sa\u011f\u0131n\u0131n \u00dc\u00e7 Hali<\/em>, \u0130stanbul: Birikim Yay\u0131nlar\u0131, 2014.<\/p>\n

41) \u015eefik Birkiye, 5N1K, Cnnt\u00fcrk, 2014, 29 Ekim 2014, http:\/\/www.youtube.com\/watch?v=qf24CV3q36E<\/p>\n

42) Nevzat Say\u0131n s\u00f6yle\u015fisi, 26 Ekim 2014, Taraf<\/em>gazetesi, http:\/\/www.taraf.com.tr\/haber-ickili-yerler-tarlalara-itiliyor-166781\/<\/p>\n

43) Candan binan\u0131n ku\u015fbak\u0131\u015f\u0131 g\u00f6r\u00fcnt\u00fcs\u00fc hakk\u0131nda \u201dCumhurba\u015fkan\u0131 ka\u00e7ak saraya yukar\u0131dan bakmas\u0131 halinde, mimari formunun alaturka tuvalet ta\u015f\u0131na benzedi\u011fini g\u00f6recektir\u201d yorumunu yaparken, asl\u0131nda tam da iktidar\u0131n dilini \u00f6d\u00fcn\u00e7 al\u0131yor\u2026 Mesleki ve toplum yarar\u0131na ele\u015ftiri yapay\u0131m derken yad\u0131rgat\u0131yor.<\/p>\n

44) Meclis Plan ve B\u00fct\u00e7e Komisyonu\u2019nun 5 Kas\u0131m 2014 tarihli toplant\u0131s\u0131nda konu\u015fan Maliye Bakan\u0131 Mehmet \u015eim\u015fek, \u201c\u015eu ana dek 964 milyon TL harcanan \u2018Ak Saray\u2019\u0131n toplam 1 milyar 370 milyon TL\u2019ye mal olaca\u011f\u0131n\u0131 kaydetti. http:\/\/www.diken.com.tr\/9-soruda-ak-saray-2\/<\/p>\n

45) Henri Lefebvre, The Production of Space<\/em>, Oxford: Blackwell, 1991.<\/p>\n

46) \u201cMek\u00e2n ve \u0130ktidar; Ayasofya\u201d, K\u00fcnye <\/em>dergisi,http:\/\/kunyedergisi.net\/blog_post.php?id=17<\/p>\n

47) Atilla Y\u00fccel, (2007), age, s.165-173.<\/p>\n

48) Nurdan G\u00fcrbilek, Benden \u00d6nce Bir Ba\u015fkas\u0131<\/em>, \u0130stanbul: Metis Yay\u0131nlar\u0131, 2010, s.122.<\/p>\n

49) Nurdan G\u00fcrbilek, (2010), age, s.5.<\/p>\n

50) Besim Dellalo\u011flu (2012), age.<\/p>\n

51) Nurdan G\u00fcrbilek, (2010), s.108.<\/p>\n

52) Walter Benjamin, (2007).<\/p>\n

53) Nurdan G\u00fcrbilek, (2010), s.101-128.<\/p>\n

54) Walter Benjamin, (2007).<\/p>\n

55) 12 Haziran 2013 tarihinde d\u00f6nemin Ba\u015fbakan\u0131 Recep Tayyip Erdo\u011fan ile toplant\u0131m\u0131z s\u0131ras\u0131nda kendisine aktar\u0131lan metinden al\u0131nt\u0131d\u0131r.<\/p>\n

56) U\u011fur Tanyeli, \u201cd\u00fcn-bug\u00fcn\u201d, Taksim Sempozyumu, \u0130pek Akp\u0131nar (moderat\u00f6r), konu\u015fmac\u0131lar: Cengiz Aktar, D\u00fccane C\u00fcndio\u011flu, SALT Galata, \u0130stanbul, 8 Aral\u0131k 2012.<\/p>\n

57) Michel De Certeau, The Practice of Everyday Life, Berkeley, <\/em>Los Angeles, 1984.<\/a> <\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n

<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Yeni Cumhurba\u015fkanl\u0131\u011f\u0131 Binas\u0131na, Tanp\u0131nar ve Benjamin\u2019in tarihe, topluma ve \u00fcretilen mek\u00e2na bak\u0131\u015flar\u0131 ile ba\u011flam, yer se\u00e7imi ve s\u00fcre\u00e7, mimarl\u0131k ve mimarl\u0131k ele\u015ftirisi, yap\u0131n\u0131n \u00f6zellikleri, sosyal akt\u00f6rlerin s\u00f6ylemleri ve farkl\u0131 temsiliyet eksenlerinden k\u0131sa kesitler alarak bakaca\u011f\u0131z. Bu \u00e7al\u0131\u015fma, uzun soluklu bir Yeni T\u00fcrkiye Projesi okumas\u0131n\u0131n m\u00fctevaz\u0131 ve deneysel bir ba\u015flang\u0131c\u0131\u2026 Ahmet Hamdi Tanp\u0131nar, Saatleri Ayarlama Enstit\u00fcs\u00fc\u2019nde […]<\/p>\n","protected":false},"author":611,"featured_media":12259,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[167,1464,234],"tags":[548,2926,337],"class_list":["post-12258","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-130-sayi","category-dosya","category-mimarlik-mimarlik-tarihi","tag-akp","tag-kacak-saray","tag-mimarlik"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t