(POST) MODERN BİR MİT OLARAK IZGARA: EISENMAN’IN KAVRAMSAL MİMARLIĞININ BAŞI VE SONU

Bu yazıda Peter Eisenman'ın daha ismi bile yok iken başlattığı mimari yapısökümün kendisinin mitsel bir yapıya sahip olduğu savunulmuş ve mimarın mitsellikle olan ilişkisini nasıl gözden geçirdiği açıklanmaya çalışılmıştır. Eisenman henüz tam anlamıyla gerçekleşmemiş olduğuna inandığı Modernizme taze bir yol açmak için yeni bir tarihsel kırılma arayışını kariyerinin başlıca amacı haline getirmişti. Eisenman'ın tarihselciliği çözmek için kullandığı yöntem, biçim ve anlam arasında kurulmuş olan tarihsel ilişkileri "mitsel" kabul etmekti. Farklı zamanlarda Yapısalcılık, avangard sanat, Kavramsal Sanat, psikanaliz ve Yapısöküm gibi farklı etkilere maruz kalan kuramsal gelişiminde hiç kaybolmayan ama giderek belirginleşen bir şey, ızgara, uzun kariyeri boyunca mimarın sentetik ve eklektik kuramından kaynaklanan çelişkileri çözmek için kullandığı başlıca araç olmuştur. Başlangıçta mimarlıkta rasyonellik mitosunu sağlayan ızgara gerekmedikçe ortaya çıkmayan soyut bir yapı iken, daha sonra Eisenman'ın, kendi mimarlığının mitselliğinin varlığını ve yokluğunu aynı anda ima eden ve üslupsal diyebileceğimiz bir temaya dönüşmüştür

GRID AS A (POST) MODERN MYTH: THE BEGINNING AND THE END OF EISENMAN’S CONCEPTUAL ARCHITECTURE

In this study, it is claimed that the architectural deconstruction, started by Peter Eisenman when the term did not yet exist, was itself mythical; it also tries to demonstrate how the architect reviewed his relationship with mythicality. Peter Eisenman made the fundamental purpose of his career to create a new historical break in architecture in order to clear a fresh route for Modernism. Eisenman’s method for deconstructing historicism was to regard the historical connections between form and meaning as “mythical”. One thing, the grid, which became even more perceivable instead of disappearing in his theoretical evolution that was subjected to various effects at various times, such as Structuralism, avant-garde art, Conceptual Art, psychoanalysis and Deconstruction, has always been his main tool to solve the contradictions resulting from his synthetic and eclectic theoretical approach. Initially, the grid was an abstract structure which provided the myth of rationality. Later on, it became a theme which we may call stylistic, implying at the same time the presence and absence of the mythicality of his architecture

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