'MİMARLIK ÖĞRENCİSİ MİSİN?' KİTABI İÇİN

GERİ DÖNÜŞ YAPAN OKURLAR

BAYKUŞLARDAN (ȹ) GELENLER

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Guidance Through Empathy: Are You an Architecture Student? (ȹ)

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Abstract

Architecture deals with not only visible concrete values but also invisible abstract concepts. This nature of architecture liberates its education in the context of its tools, methods and relationships and renders it unique. It is observed that high school students in Turkey, who go through a multiple-choice based education system, have difficulty in thinking through visual images and imagining. When the basic and widespread problems are presented through empathy two groups of suggestions can be made. The first group of suggestions that provide solutions to the problems are about the mental transformation. The second group is behavioral and performative activities. It should be emphasized to the prospective architects during their undergraduate education that the school is not the place where ways are found, but rather where they are taught how to find them. The question of how to prepare architectural education for the digital age is also important.

1. Introduction

Architecture deals with not only visible concrete values but also invisible abstract concepts. Architecture is an art. However, it has technical, economical, legal, political and functional dimensions. As an artist, a painter can draw a square wheel, but as an artist, an architect’s wheel should be able to turn even if it is square. Architecture offers molded forms and spaces that provide pleasure, but at the same time incorporates and integrates mental constructs. This nature of architecture liberates its education in the context of its tools, methods and relationships and renders it unique. Architecture is an eternal process of education so there is no ideal formula. Efforts aimed at formulating architectural education are meaningless in the face of branched, multi-layered and fuzzy ontology of architec- ture. The challenging and stressful nature of the architectural education, the demanding characteristics of the training program structured with theoretical and practical content brings unique problems and difficulties for all actors involved in education (Erman, 2000). Problems and expectations of students should be determined in order to establish a healthy learning-teaching environment. Empathy avast password activation code  is to understand and internalize the motivation in someone else’s situation or behavior. This study aims to reveal through empathy the fundamental and common problems and guiding ideas that could serve as solutions to those problems. Developing a common language through empathy will increase fluidity between the learner and teacher. In this study, defining architecture students as owls and coding them with the symbol (ȹ) was preferred to underline the concept of empathy.

2. Focus of Research

The main focus of this study is to understand through empathy the problems which ȹ encounter in Turkey and to serve as a guide for basic mental, behavioral and pragmatic ideas.

2.1. Spirit of the age; nomads teach the natives

Today’s ȹ are digital natives because they have been using the internet since infancy. They perceive technology as a natural standard of living. On the other hand, those who teach them are digital immigrants. Generation X, now in their 40s and 50s have witnessed many of the technological inventions and have learned to use at the same time. Generation Y, in their 20-30 years old nowadays, has internalized the digitalized world not only with its technological dimensions but also with its social dynamics. Generation Z, who was born after the 2000’s, has the ability to handle different issues simultaneously and consumes ideas, objects and relationships faster than generation X-Y (Csobanka, 2016). Generation Z grasps technology quickly, performs their activity within a short time, uses the latest communication tools and prefers to maintain relations with their friends through social media. Generation Z chooses the path of digital learning, has fun digitally, and lives a creative and innovative lifestyle with less productivity, but more consumption. Therefore, the state of the experienced X-Y generation instructor who knows a lot, dictates, shows and teaches the right way to the little-knowing generation Z student does not work anymore. Unfortunately, generation X and Y lag behind the ȹ in terms of adaptation to technology.

2.2. Distorted Perception of Definition

Defining architecture with concreate values and criteria such as money, prestige and social status, which capitalism glorifies, and choosing this profession on the basis of those criteria constitute a problem. Moreover, glorification of the definitions suggested by popular culture in the media and social media through capitalistic values causes ȹ to begin the school of architecture with a distorted perception. It is not adequately recognized that architecture is an occupation of pleasure, humanism and aesthetics that generates a life scenario. Indeed, there are reductionist approaches that associate architecture with the ability to paint pictures or see it simply as constructing buildings. Architecture is the profession of asking questions and questioning. Architecture is first and foremost about our ability to find answers that no one else can see and in fact to ask new questions in response to those answers. Therefore, questions are asked in architectural education not to seek answers but to seek ways to generate new questions. Questions are a means of gaining new awareness rather than finding the answers.

2.2. Distorted Perception of Definition

It is observed that high school students in Turkey, who go through a multiple-choice based education system, have difficulty in thinking through visual images and imagining. During their adolescence, they constantly did tests, memorized texts, were programmed to respond with similar answers to certain types of questions. They are evaluated using tests that include clear questions from a maximum of four or five options and with only one correct answer (Figure 4). When they marked one of the given choices without even understanding the question, they now had an answer. This mindset has encompassed the mental states and ways of thinking of ȹ.

2.4. Concrete to Abstract Thinking Paradigm

The most challenging issue in architectural education is perhaps the ability to switch from precision to contextual and from concrete to abstract thinking paradigm. A thinking method based on patterns develops in multiple-choice curriculum, but in architectural education, one should be prepared to give open-ended, flexible and multi-dimensional answers by being sensitive to the differences in perceptual paradigms.

The obvious, linear and sequential perceptual paradigm of 2 + 2 = 4 should be gradually replaced with a spiral, fluid and variable flexibility that evolves into the multiplicity of 2 + 2 = 0 (mod 2) and 2 + 2 = 1 (mod 3). The mind, accustomed to thinking with a clarity of 2 + 2 = 4, must evolve to comprehend with contextual facts. Our way of thinking must acquire perceptual flexibility by being predisposed to the probability. It is difficult for ȹ to leave aside the piecemeal, singular, rigid and constrained dogmatic approaches and learn to reach a holistic, inclusive, spiral, fluid and flexible way of thinking.

2.5. Problems Stemming from the City, Institution and Instructors;

Architectural education cannot be confined to the border of university. The life in the city itself is a kind of education. The city trains the designer with its managers, employers, architects, faculty members. If the city cannot cater to the prospective architects with its lifestyle and culture, this is a problem for ȹ. Schools offering architectural education have many dilemmas stemming from the institution’s facilities, educational programs, administrators and academic staff. The absence of a studio environment results in failure to comprehend three-dimensional design thinking capacity which is also influenced by the space where it is produced. An even more unfavorable factor than insufficient physical conditions, spatial problems, lack of technological tools and equipment and their implications on architectural programs is the absence of a motivating and exciting environment.

2.6. The Impact of the Turkish Family Life

One of the major problems faced by ȹ in Turkey concerns the family codes and widespread interventions in family relations. Here, one encounters difficulties associated with delayed adulthood caused by cultural codes in contrast with universal criteria. Individuals receiving university education are put under pressure by their parents’ expectations. The high cost of architectural education, working for long hours uninterruptedly, tools that have not been encountered in the previous education periods such as model making, technical trip, and staying at school at night worry some families. Seeing their parents’ worried state in turn makes ȹ more anxious.

3. Method

In this study, the basic research problem and the proposed solutions to this problem are presented with the idiographic method. The epistemological assumption seeks the causal relationships and regularities between the parts that constitute the whole in architectural education. Hypotheses created according to the current state of things can be confirmed or falsified by empirical research programs suitable for them (Burrel and Morgan, 1979). The present study handled and examined the generalization and validation principles in epistemological dimensions. Collection of data and analysis and interpretation of data involve observations, memoirs, case studies and experience transfers covering a period of 24 years obtained from different architecture schools. There are observed and latent variables depending on the observability of the variables. In order for the observations to be safe, valid and gain scientific merit, individual experiences should be recorded and systematized and general principles related to these should be discovered with experience, consensus and expert opinion.

4. Findings and Discussion

According to Rogers et al. (2014), the first rule to form an interaction through empathy is to understand. The second rule is to prepare the environment according to what is understood. In order to empathize with ȹ and provide a healthy learning experience, it is important to know the problems they face. Accordingly, suggestions were made concerning the problems stated above, which are commonly observed in architecture schools in Turkey

4.1. Meta – Thinking

It is important to acquire the skill of “thinking about thinking”. The questioning mind, called “meta-thinking, will lead to constant dialogue, review, critique and re-questioning about our thoughts, and generate creative solutions in architectural thought. Higher order thinking skills will bring one closer to abstract rather than concrete, asymmetry rather than symmetry, and simplicity rather than complexity. Designers should return to the very origin, the most basic, the essence. Nature is the best teacher and inspirational. Higher awareness will give us the ability to think outside the box.

4.2. Learning from Encounters

The city one lives in should be considered as an architectural laboratory and seen as an extremely important opportunity. Travel is so vital to create encounters.ȹ can be travelers in the city they live in with the urban idleness called flaneur (Benjamin 1999).ȹ is a person who generates ideas with the impres sions of the environment while walking around on foot and can make new discoveries with the spirit of a traveler.

4.3. Studio Culture and Peer Learning

The design studio is a collective environment designed to learn the application of architectural education, with its own truths, materials, tools and language (Schön 1985). In the studio, instructors often do not say clearly what they want. This is the nature of architectural education, because truths and ways must be discovered in the process of architectural design. Exercises done in the studio are not expected to be perfect. What is important here is to learn to develop a design method. With peer learning and approaches that put learning at the center rather than the educator, anxiety and defense will give way to communication and dialogue.

4.4. Killing the Butterfly

Transformation occurs, in a sense, with the death of the caterpillar in the cocoon and its rebirth as a butterfly. If the theme of the design does not get approval, the process of accepting the mistake and starting again in a labored project requires a serious emotional effort. The spirit of design is to always stop at one point during the development phase, give up and succeed in killing the butterfly by crossing the emotional threshold.

4.5. Architecture Transform Everyday Life

Architectural education involves some vital changes in the process of mental transformation and awareness. Everyday life is intertwined with architecture. Everyday life we perceive as ordinary, is full of principles of basic design.ȹ should keep a special diary in which they keep visual records of their architectural perceptions and experiences. Architecture diary has a triggering and accelerating effect on learning. When the details that seem ordinary are noted in the diary with a certain level of awareness and sketched, they are retained in the mind.

4.6. Sketch Is as Unique as Our Fingerprints

Sketch improves the brain’s ability to perceive, observe and think. With visual cues, memory is motivated, which increases the ability to think flexibly. Taking an interest in the environment, trying to grasp instead of looking meaninglessly, memorizing visual messages by sorting them out, noting the first perceived visual effect with a few lines, and improving hand-eye-brain coordination will increase with the frequency of sketching. Sketch is a kind of mental seed of what is imagined.

4.7. Taking Photographs Enriches Our Visual Memory

Looking is an activity that the brain performs when the eyes are open. Seeing, on the other hand, is effectively sending what is looked at to the brain. To grasp the dimension of architecture that explores the world visually,ȹ should learn how to take photographs. Photography is a state of constant exploration by a person who has visual ability. The art of photography develops basic design skills and knowledge such as composition, lines, col- or, tone, texture, light, perspective and harmony with a mysterious insight like balance.

4.8. Reading Broadens the Perspective

The most classic way of using and opening the mind is through reading. Reading requires effort and is a matter of discipline. The act of reading expands the scope of comprehension, interpretation, understanding, criticism, asking questions, establishing new relationships or perceiving relationships that already exist. Reading books increases the power of imagination. A person who does not read perceives the world through a frame with sharp corners. Tradition and generalizing assumptions are safe for the non-reader. For the reader, on the other hand, it is important to reproduce by questioning themselves with contextual and conceptual perceptions.

4.9. Watching Movies Provides Inspiration

Movies are a guide for architects who want to rediscover buildings and cities. Both cinema and architecture create experimental scenes, situations and spaces in life. The common terminology and methodological similarities such as visualist, movement, montage, frame, cutting, composition, light, space, sound, perspective, symmetry, texture, shadow used by cinema and architecture make it inevitable for the two arts to interact with each other in the products generated. Films have the ability to make visible imagined but not constructed, fantastic and futuristic buildings and spaces of the future cities visible. With this aspect, they are an important data source for ȹ.

4.10. Time management

The design process does not end, but the deadline to submit ends. Being productive is all about efficiency as well as time management. It is not necessary to work hard, but to work smartly. When ȹ cannot manage time, they suffer from sleep deprivation and insomnia becomes a problem area. Excessive insomnia prevents proactive and positive thinking, leading to instantaneous responses so managing time and learning to work efficiently is important for ȹ.

4.11. Standing Upright

We experience the world with our bodies. Our body and architecture complement and define each other. We reside in architectural products, and architecture in turn resides in our bodies. While spending long hours in front of the computer drawing, we should notice our spine, and precautions should be taken against spine disorders triggered by posture disorder.

4.12. Digital Revolution

With the concepts of virtual design/online/cyber studio, remote collaboration design and web-based design, distance learning is becoming a part of daily life due to Covid-19 epidemic. Design critiques were given on the screen through images and sound. This revolution has replaced face-to-face interaction in urban gathering areas with digital social formations. Distance education has provided advantages such as flexibility in time and space, equality of opportunity, removal of borders, reduction of costs by being liberated from the building-classroom-studio-workshop-space, cheap and effective communication and rapid feedback. While the instructor has the role of mentor in the digital environment,ȹ learn by themselves, analyzing information and control the learning process.

The codes of the virtual environment have also removed the borders. Distances have decreased. Academicians from different schools across Turkey and abroad and self-employed architects in the private sector have easily joined the studios. Although e-learning is not compatible with the nature of architectural education, it has been seen that it has the potential to support face-to-face education if effective communication is provided with the use of the right methods and technologies. ȹ should be ready for new developments to come with the digital revolution.

5. Conclusion

Architecture seeks to improve human life through buildings and cities. If values such as pleasure, humanism, creativity, usefulness, firmness and aesthetics cannot be offered to people, and if people do not encounter an aura that seduce their thoughts and bring their emotions and thoughts into contact with space, then there is no such thing as architecture there. Instead, there are forms and buildings. Architecture is not taught, but learned over time. When the basic and widespread problems which high school students coming from a predominantly multiple choice-based education system encounter in the field of architecture, which offers a predominantly visual communication education, and the ideas that could serve as solutions to those problems are presented through empathy two groups of suggestions can be made. The first group of suggestions that provide solutions to the problems faced by ȹ are about the mental transformation. The second group is behavioral and performative activities. ȹ, with a mindset for multiple-choice exam systems, should evolve into multiple and alternative thinking systems. It should be emphasized to the prospective architects during their undergraduate education that the school is not the place where ways are found, but rather where they are taught how to find them. Architecture is a biochemistry to establish a link between the shape, color, form, function, material, structure, detail and emotion. This biochemistry must have new learning dynamics in the face of the new world order and spaces brought about by the digital revolution. In order to be able to empathize with generation Z, it is crucial to learn thought patterns, behavioral forms, daily practices, the technology they use and even the language they have developed.

6. Further Research Question

Architecture evolves every day dealing with smart cities/homes, vertical cities, living affordable community, nomad micro homes, organic roof, immersive virtual reality, big data, Building Information Model, parametric architecture, 3D printer, internet of spaces, wearable technologies, chatbots, dialogue-based artificial intelligence software, robots, space age technologies. How should ȹ prepare for themselves when architecture is headed for a world where it may lose its function as a professional practice owing to artificial intelligence?

Are You an Architecture Student? (Book Review)

Onur Erman

Onur Erman

Assoc. Prof.

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Onur Erman, Department of Architecture, Faculty of Architecture, Çukurova University

Assoc. Prof. Dr. Onur Erman; teaches architectural design and various theoretical courses in architectural education. Her main academic and professional interest areas are architectural education, design theory and methodology, spatial configuration and spatial analysis in scope of space syntax. At present, she works as academic in Faculty of Architecture in Çukurova University.

The book named as ““Mimarlık Öğrencisi misin?” (Are you an Architecture Student?)” written by Havva Alkan Bala, published by YEM Publishing in 2020 is a guide for architecture students. The book is a simple, sincere guide to architecture students and even educators with both its content, design, and approach. While guiding, the book does not dictate, show the correct path, or be distant from the reader. On the contrary, the author uses the language of “we” with an empathetic approach. This book is useful for architectural literature since architecture is a multidimensional and multidisciplinary profession in terms of its scope and components. The richness of the area where the profession has spread is reflected in the meaning of architecture. Architecture; the solidified music for Schelling (1859, p. 177), the great book of humanity to be read again and again from marble pages for Victor Hugo (1831, p. 229), for Hegel simply everything (Tschumi, 1998, p. 220), the way of thinking for Leach (2005, p. viii), for Barthes, it is always a dream-an expression of a utopia and, a function-an instrument of a convenience (2005, p. 166), for Mayne (2005) a way of seeing, thinking and questioning our world and our place in it. Vitruvius, perhaps the first architectural theorist in history, expressed the multi-layered characteristics of the profession, and education in this context, exactly two thousand years ago. He considers talent important to be a good architect but could not be an architect only with talent without education. According to him, architecture is omniscience, that is, it requires knowing and comprehending everything (see: Figure 1). Therefore, an architect; must study geometry, history, philosophy, music, medicine, law, astrology, and astronomy. Thousands of years ago, the need for the architect to be versatile stands in front of us in an unchanged way today. This requirement can be attributed to the profession being nourished by science and art, its being at the centre of life, and inevitably placed in every moment of life.

Figure 1

Roman mosaic, depicting the architect and his assistants, Bardo Museum, Tunisia (MacDonald, 1986, p.35).

Figure 2

An owl figure with the questions in his mind from the book (Bala Alkan, 2020, p.138).

Although education, which is based on various grounds in the theoretical and practical field, ultimately provides professional gains, it brings unique problems and difficulties for all actors involved in education. Architectural education has been pedagogically in the focus of researchers from different views, and it has been tried to develop methods and approaches aimed at solving the problems and improving education. It is noteworthy that the target audience of the most studies and research subjected to architectural education is educators. However, students are also participant of the education process. In addition to the challenging and stressful nature of the education, the demanding characteristics of the training program structured with theoretical and practical content, which requires skills, can be shown as the source of the problems that architecture students sometimes experience during their education. From this point of view, it is seen that the book makes a difference in the literature on architectural education by making architecture student the subject, with the language that directly addresses him. In essence, the book aims to take care of those who are new to the adventure in architecture, to give them an idea of what they may encounter during their education, and in a way to be a companion. The intention of the book is not to give some advice to the beginner, but to convey what awaits him/her at the beginning of the road, to guide him on how to complete this adventure more efficiently. Another remarkable aspect of the book is the author’s appeal as an owl to those who have just started their journey in architecture. The owl metaphor is used to represent the situation of the young architect candidate and even to facilitate his/her understanding of this situation. Obviously, this representation is quite effective and convenient by the characteristics of an owl are attributed to the architect such as its wisdom, superior point of view, and, its distinctness from the others with his living at night (see: Figure 2).

In terms of its general fiction, it is seen that the structure of the book consists of three main parts. The first part is devoted to understanding architecture. This part is structured with questions such as “What is architecture?”, “Is it a profession that can be done by those without talent?”, and the question of “Interior or Exterior?” that every architect heard at least once during his career from the first day of his/her education. In this section, the extraordinary nature of the education environment is also emphasized through the answers. As a matter of fact, for most beginners, the studio environment is a medium for discovering oneself and the limits of what they can do. The studio has its own rules, and sometimes the beginner may find it difficult to cognize this. In the meantime, although studying in the studio environment seems fun, enjoyable and the environment sounds unregulated in a way, “architecture is too convivial to be done seriously, and it is too serious to be disregarded.” (Bala Alkan, 2020, p.33). The second part, which prepares the newcomer in the metamorphosis for the moment he will emerge from his cocoon, is devoted to the practices of being an architect. Preparation is supported by giving an implicit reading list in the section where mental and behavioral preparation is transferred in the education process. The book calls for the beginner to “be different” through the common features of the characters presented in the readings, as by pursuing what you believe, but not to be contrarian, do it creatively in thought and action. Mallgrave (2010) interprets the difference of the architect from an even more different (!) perspective. According to him, the architectural profession requires a wide range of technical skills, professional knowledge and equipment. What is required to be successful in the highly competitive profession is to be creative. Creativity, as the ability to respond to a known problem in a different way than ever, is the playground of the architect. Emphasizing that creativity is a learnable skill, Mallgrave (2010) states that the function of the mind of architects to process certain information is highly developed with his study in neuroscience, and defines this mind that works differently as the “architect’s brain”. The profession of architecture requires reading, seeing, and traveling a lot, in a way, to accumulate everything about human, nature, and existence. The architect’s brain has the cognitive skills to process, associate, understand and interpret the accumulated things, and in some cases, it has evolved to manipulate them in an unusual way. The third part of the structure is on the post-diploma phase. The common concern of every architect candidate is what he or she will do after graduation. Perhaps the main reason for this concern is to break away from the comfortable and unlimited environment of the studio and become aware of the reality framed by the boundaries that can be encountered sometimes under the name of regulation and law, sometimes economy, sometimes as opportunities and stakeholders. However, the book did not forget to prepare owls on this subject and presented a list of things to do.

It is clearly understood that, behind this book which simply comes up with the question of “Are you an architecture student?”, lies the academic experience of Havva Alkan Bala, as well as the experience of an educator, which has been the gain of many years. Book: certainly will guide the owls who have just started their journey and especially those who intend to become an owl by getting ready to the journey. As an academic, working in the field Lisensi Avast Secureline Vpn of architectural education, what this book makes me think is how common our concerns in education and how universal values of architectural education are. At the end of this brief critique, I wish to contribute to the student readers’ journey of architecture, so my last word to the owl who download artmoney pro wants to be able to fly higher is spread your wings widely and fill them full of wind.

^
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Mimarlık Öğrencisi Değilim

Hüzeyme Yeşim Koçak

Hüzeyme Yeşim Koçak

Merhaba Gazetesi Yazarı

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“Mimarlık derin bir bilgi birikimine sahip olmamızı sosyoloji, felsefe, psikoloji ve coğrafya gibi sosyal bilimlerin yanı sıra fizik, matematik, geometri, mekanik gibi fen bilimlerini de içermektedir.(…) Mimarlık sadece binalar ve şehirler yaratmaz. Bu, herkesin anladığı ve görebildiği kısmıdır. Mimarlık, binalar ve şehirler aracılığıyla insan ruhunu yüceltmenin peşindedir.”

Havva Alkan Bala, Mimarlık Öğrencisi Misin?

Mimarlık öğrencisi değilim ama kendimi yoldaki bir talebe gibi de gördüğümü söyleyebilirim. “Mimarlık Öğrencisi Misin?*” kitabının yazarı Prof. Dr. Havva Alkan Bala’nın sorusuna karşılık verdiğim cevap bu ve belki okuduğunuz küçük, mütevazı yazı…

Öğrenciliğimin; yine kafamızda ruhumuzda yapı(lanma) izleri bırakan, kazan, binalar yıkan, odalar kiralayan, üst üste katlarla, çöküntü alanlarıyla yoğunluklar, karabasanlar ve terör yaşatan ya da gönül şehirleri kuran f(aktörlerin) farkındayım.

Bu anlamda mimar çok. Şerre konuşlanan İblis bile; insanı nice ihtirasın oynaştığı, farklı zemin ve mekâna yerleştirmek gayesinde, kara bir evren niyetindeki hınzır, karizmatik(!) bir tasarımcı, inşacı olarak düşünülebilir.

Yine insan eylemleriyle, bizâtihi hem iç hem dış dünyayı oluşturup, inşâ eden, ayrıca yazılan çizilen bir varlık.

Bu bağlamda, Havva Hoca’nın kitabı; çeşitli yönlere sevk edilerek donatılmış, renklendirilmiş bilgisiyle, sizi yeni cümleler kurmaya, düşünüp durmaya ve hesaplı konuşmalara itiyor.

Mimarlık Öğrencisi Misin; samimi, akıcı bir dille yazılmış, ustalıkla felsefesini metne yedirmiş; mimarlığın içyüzüne, inceliklerine değinen bir eser.

Satırlar arasında yetkin bir Hocayı, mükemmel, özlü bir birikimi izlediğiniz gibi, bazen de rikkatli, zarif bir annenin, müşfik sesini işitiyorsunuz.

Kitapta; turna, kumru, bülbül, serçe gibi kuşlara göre; pek yakın durmadığımız baykuş Mimarlık mesleğinin ve öğrencilerinin sembolü olarak ele alınmış. “İşitme sistemleri çok üstün olan ve kafalarını 270 derece çevirebilen, geniş bir görüş açısına sahip” türlü olumlu özellikleriyle bilge, müstesna bir yaratık gibi duruyor kuş.

Mimar Sinan, yaptığı kimi camilerde baykuş figürünü kullanıyormuş mesela. Bu soylu kuşun, uğursuz veya felaket tellalı değil, daimî ayık, uyarı görevini yapan, cesur, bir çift karagöz olduğunu da düşünebiliriz pekâlâ.

Kitap, belki ilk etapta, mimarlık öğrencilerine, genç tasarımcılara eğiliyor ama devranın neresinde olursak olalım, hayat acemiliği ve cehalet bitmediğine göre, herkesin kendince dersler çıkaracağı türde, değişik kesimden okurları da cezbedebiliyor.

Söz gelişi “empati”, duygudaşlık sadece mimarlara has değil, genel olarak insanî münasebetlerimizde bizim için de geçerli olan bir hususiyet.

Yazar kavramı geliştirerek, “mimarın kendini yalnızca herkesin yerine değil, her şeyin yerine koyabilmesi olarak” tanımlıyor.

Eğitim deneyimi için kurgulanan, mimarlık öğrencisinin alışılmış düşünce kalıplarını aşmasını sağlamayı amaçlayan, aslında “Dünya üzerinde mevcudiyeti bulunmayan, hayali varlık Aquaina” misali gibi. Öğrenciler derste; değişik şekillerde sunulan bu hayalî varlığa, ilginç yaşam alanları tasarlayacaktır.

Mimarlık Öğrencisi Misin; sinema, edebiyat gibi muhtelif sanat dallarıyla, farklı disiplinlerle kurduğu yakın ilişki ve sağladığı kazanımlara işaret etmesiyle, verdiği örneklerle de dikkat çekiyor.

Mimarlık sahasının büyüklerinin, seçkinlerinin yanı sıra; Antoine de Saint- Exupéry’in Küçük Prens’i, Richard Bach’ın Martı’sı, Samed Behrengi’nin Küçük Kara Balık’ı, İtalo Calvino, Leonardo Da Vinci gibi önde gelen, değişik pek çok isim, şahsiyet, süzülmüş fikirleri, eserleri, yansımaları ve hayatlarıyla kılavuzluk yapıyor.

Havva Alkan Bala kitabıyla bizi, görünenin, sıradanın, sathînin ötesine, nesnelerin ardına götürüyor. Dinlemeyi, anla(mlandır)mayı, sınırların dışına çıkıp, araştırmayı, zorluklar karşısında pes etmemeyi, çözümü öneriyor.

Çoklu okuma biçimlerini; özgür fakat iradeli uçuşları, girişte çetin ancak neticede bilgi, muvaffakiyet ve haz yüklü, özgün ilerleyişleri gösteriyor.

Kelimeler âdeta kanatlanıp, tüm varlığın birbiriyle gizli açık münasebetini ihsas ediyor.

Yeni bakış açıları, zengin açılımlarla ufuk genişliyor ve bir bütünlüğe ulaşılıyor. Belki İlâhî bir Sanatın zevki de duyu(ru)luyor.

“Mimarlık Sorgulama Mesleğidir; Mimarlık Günlüğü Servetimizdir; Fotoğraf Çekmek Görsel Hafızamızı Geliştirir; Okumak Zihnimizi Açar; Film İzlemek İlham Verir; Yeni başlangıç kozalarına sahip olmak için kelebeği öldürelim” derken, aşarken; farkındalık ile aydınlanmanın getireceği enerjiyle şevkle, mimarlığı içleştirmenin, adım adım çıtayı ve (mimarî) şuuru yükseltmenin, yeni bir idrakin yöntemlerini de bildiriyor.

Bir teyakkuz hali, hayat boyu talebelik, kâmil bir mimarlığın sırları belki de…

Yeni sayfalar, defterlerle buluşmak; kalıcı, hoş bir portrenizi çizmek size ait.

 Sayın Bala’yı kutluyor; bütün öğrenciler(in)e başarılar diliyorum.