A READING OF INTERPRETATIVE MODELS OF MINIMALISM IN ARCHITECTURE

Mimarlıkta minimalizm 80'lerde ortaya atıldığından bu yana tartışmalı, kendine özgü bir konudur. Minimalizm üzerine söylem 90'larda yoğunluk kazanırken 21. yüzyılın ilk on yılının ortalarında kuramsal bir odak olmaktan yavaş yavaş çıkmaya başlamıştır. Mimarlıkta minimalizmin bir kökeni ve süregelen bir gelişmesi olmadığından ve çok az mimar kendini minimalist ilan ettiğinden, tartışma tarz, eğilim, akım ya da okuldan bağımsız olarak sürmüştür. Demek ki, mimarlıkta minimalizm postmodern dönem ve sonrasında varolan ve yaygınlaşan biçimsel deyimi açıklama ihtiyacından doğan mimari bir söylem olarak da nitelendirilebilir. Önerilen araştırma çerçevesinin amacı, yorumlayıcı modelleri okuyarak, mimarlıkta minimalizmin tarihinin kuramsal bir tarih olduğunu öne süren çağdaş mimarlığı daha iyi anlayabilmektir. Bu nedenle çağdaş mimarlık araştırmacısı, minimalizmin, ne sadece biçimsel yapısının açıklanması, sınıflandırılması, şiirsel çözümlemesi, hatta ne de yalnızca minimalizmin ortaya çıkışını toplumsal ve tarihsel bağlama dair sorunlarla yüzyüze gelir. Herşeyden önce bir dizi muğlak kuramsal yorumlara karşı eleştirel bir bakışa sahip olmak gerekiyor.

MİMARLIKTA MİNİMALİZMİN YORUMLAYICI MODELLERİ ÜZERİNE BİR OKUMA

ly-scientific view of the world. Phenomenology proposes immediate, intuitive knowledge, whereby the pure consciousness is intentionally focused on the essence of the observed subject.6. This topic is often discussed in the context of Ando. Taki (1984) interprets Ando's minimalist monotonousness as refusal of values of consumer society and turing to the spirituality of Japanese tradition.7. Rassegna 36/4: Minimal in short notes and bibliography lists appears together with the German edition Daidalos 30: Pathosformeln in der Architectur (Formulae of Pathos in Architecture), as one of the first journals that thematically treated minimalism in architecture. While Savi and Montaner (1996, 176) and Macarthur (2005, 105,108) refer to both issues, Melhuish (1994, 10), Bertoni (2002, 221) and Ruby et al (2003, 26) include only Rassegna. The truth is that only Rassegna was dedicated exclusively to minimalism, because Daidalos contains only one text that explicitely uses the term.perspective, we can say that the majority of dominant research approaches on minimalism in architecture is unified in that very journal. Theoretical contribution to this field greatly relies on identification, interpretation and criticism of what is written in Rassegna

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