Akademik Veri Yönetim Sistemi
Tezin Türü: Yüksek Lisans
Tezin Yürütüldüğü Kurum: Gazi Üniversitesi, Fen Bilimleri Enstitüsü, Mimarlık, Türkiye
Tezin Onay Tarihi: 2023
Tezin Dili: İngilizce
Öğrenci: İREM DURGUT
Danışman: Aysu Akalın
Özet:
Rethinking the relationship of the
ornament with other arts through its relationship with the “body” can provide
to reconceptualize of its problematic position with a holistic view. In this
manner, this thesis focuses on this problem through the concept of Cassirer’s
“symbol” and representation following Kant’s transcendental scheme based on
“free” and “adherent” beauty. From this point of view, John Ruskin discusses
the perfect whole/single body can only be achieved through free beauty
attitude. On the other hand, the efforts of Gottfried Semper and Henry Louis
Sullivan to fuse ornament and “body” by animating ornament with artistic
sculptural forms shows the possibility of achievement of symbol/single body in
“adherent beauty” while providing the rethinking of the strong connection of
figural arts and architecture. This thesis aims to reveal Cassirer’s perfect
whole/symbol in solid geometry as an adherent beauty, answering to Renaissance
art historian and architect Leon Battista Alberti’s search for a harmonious
geometrical whole based on the metaphor of the human “body” concept which ties
figural arts and architecture. The study focuses on the development of the sculptural
ornament muqarnas, which is the gradual transition and basic element of Islam,
in the degree of fusion in relation to other transition elements to the dome,
as pendentive, Turkish triangle, and squinch in the historical process of
mosque architecture. When we examine this process, the mosques of Architect
Sinan reveal a breaking point. So, the
three great mosques of Sinan were selected. Muqarnas squinch that appeared
after the union of squinches and shouldered arch after the Seljuks increased
the fusion until the Ottomans contrary to the single use of elements in the
pre-Seljuks period. In the period of Sinan, in the high-level use of technology
with the abandonment of the previous use of muqarnas, it emerges as an element
formed by hybridization of transition elements to dome in a perfect fusion to
form a single body/symbol together with other elements such as arches, semi
domes, exedras, and pendants. Thus, Sinan provided the realization of Alberti’s
perfect whole along with the perfect reinterpretation and abstraction of
muqarnas in the gradual and parametric transition between the two realms
through bodily movement with perfect use of technology and has succeeded in
reaching the perfect symbol of Cassirer in adherent beauty. Ornament revealed its necessity
with its holistic role which provides this fusion.