{"id":4599,"date":"2019-02-15T12:01:23","date_gmt":"2019-02-15T09:01:23","guid":{"rendered":"https:\/\/aura-istanbul.com\/?p=4599"},"modified":"2020-08-21T22:06:20","modified_gmt":"2020-08-21T19:06:20","slug":"hip-hop-mimarligi-daha-esitlikci-hale-getirebilir-mi","status":"publish","type":"post","link":"https:\/\/aura-istanbul.com\/index.php\/2019\/02\/15\/hip-hop-mimarligi-daha-esitlikci-hale-getirebilir-mi\/","title":{"rendered":"Hip-Hop Mimarl\u0131\u011f\u0131 Daha E\u015fitlik\u00e7i Hale Getirebilir mi?"},"content":{"rendered":"

Tarih boyunca R\u00f6nesans, Modernizm ve Postmodernizm gibi ana k\u00fclt\u00fcr ak\u0131mlar\u0131 kendilerini g\u00f6rsel sanatlar, m\u00fczik, mimari ve dans yoluyla ifade etti. Syracuse \u00dcniversitesi<\/a><\/strong> profes\u00f6r\u00fc, mimar ve k\u00fcrat\u00f6r Sekou Cooke<\/a><\/strong> Hip-Hop k\u00fclt\u00fcr\u00fc hakk\u0131nda d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcnde, bu ak\u0131m\u0131n neden mimarl\u0131k d\u0131\u015f\u0131ndaki t\u00fcm sanat alanlar\u0131nda \u00e7ok \u00fcretken oldu\u011funu merak etti.<\/p>\n

\u201cNeden? Neden Hip-Hop kendi mimarisini olu\u015fturam\u0131yordu? Ve \u00fcretirse nas\u0131l g\u00f6r\u00fcn\u00fcrd\u00fc? E\u011fer Hip-Hop kendi mimarisine sahipse, biz onu bulabilir miyiz? \u201d Cooke\u2019un New York Center for<\/strong> Architecture<\/strong><\/a>\u2019 da ger\u00e7ekle\u015fen \u201cClose to the Edge: The Birth of Hip-Hop Architecture<\/strong><\/a>\u201d (S\u0131n\u0131r\u0131n K\u0131y\u0131s\u0131nda: Hip-Hop Mimarl\u0131\u011f\u0131n\u0131n Do\u011fu\u015fu) sergisinin a\u00e7\u0131l\u0131\u015f\u0131nda kafa yordu\u011fu sorular oldu.<\/p>\n

Be\u015f y\u0131l boyunca Cooke bu sorular\u0131n potansiyel cevaplar\u0131n\u0131 ara\u015ft\u0131rarak ve mimarinin yeni \u2013izm-ini tan\u0131mlama ve ortaya \u00e7\u0131karman\u0131n heyecanl\u0131 giri\u015fimi ile manifestolar, konsept projeler, in\u015fa edilmi\u015f yap\u0131lar ve akademik tezler aras\u0131nda ara\u015ft\u0131rmalar yapt\u0131. Cooke\u2019a g\u00f6re Hip-Hop Mimarisi ya\u015fam\u0131n bir par\u00e7as\u0131 haline gelmeye ba\u015flad\u0131. Ama kar\u015f\u0131t k\u00fclt\u00fcr bir felsefenin mimarinin yeni ana ak\u0131m hareketine d\u00f6n\u00fc\u015fmesi beklentisi, serginin ele ald\u0131\u011f\u0131 konu ve hizmet etti\u011fi durum d\u00fc\u015f\u00fcn\u00fcl\u00fcnce; \u201c Sergi ayn\u0131 zamanda kendi topu\u011funa m\u0131 s\u0131k\u0131yor?\u201d sorusu ak\u0131llara geliyor.<\/p>\n

\"\"<\/a>
\nG\u00f6rsel: Shanty Megastructures- Olalekan Jeyifous, 2015- Kaynak: Center for Architecture<\/a><\/em><\/p>\n

Peki Hip-Hop Mimarisi tam olarak ne? Cooke\u2019un sergisine g\u00f6re; 1970\u2019lerde South Bronx\u2019 ta ya\u015fayan gen\u00e7 Afro-Amerikal\u0131 ve Latin Amerikal\u0131lar taraf\u0131ndan olu\u015fturulan Hip-Hop hareketini somutla\u015ft\u0131ran t\u00fcm mekanlar, binalar ve yap\u0131l\u0131 \u00e7evre. Hip-Hop yap\u0131l\u0131 \u00e7evreyi tekrar ele alarak adapte etti. Hip-Hop sosyal e\u015fitli\u011fi geli\u015ftirdi. Hip-Hop baz\u0131 \u015feyleri par\u00e7alara ay\u0131rd\u0131, \u00fczerine yeni \u015feyler ekledi ve bunlar\u0131 kar\u0131\u015ft\u0131r\u0131p yeni bir birliktelik \u00fcretti. Bu ak\u0131m enerjik ve renkli. Hip-Hop Mimarisi, ana ak\u0131m mimarinin g\u00f6z ard\u0131 etti\u011fi, geride b\u0131rakt\u0131\u011f\u0131, zarar g\u00f6rm\u00fc\u015f insanlar\u0131n iyili\u011fi i\u00e7in ve \u00e7o\u011funlukla bu insanlar\u0131n kendisi taraf\u0131ndan \u00fcretiliyor.<\/p>\n

Hip-Hop Mimarisi i\u00e7erisindeki baz\u0131 teknikler Postmodernizm, Dekonstr\u00fcktivizm, Afrof\u00fct\u00fcrizm ve aktivist mimarl\u0131k gibi \u2013izm-lerle benzerlik g\u00f6steriyor olsa da, Cooke\u2019un iddias\u0131na g\u00f6re bu ak\u0131mlar Hip-Hop ile ba\u011flant\u0131l\u0131 k\u00fclt\u00fcrel, politik ve ekonomik durumlara aktif olarak kar\u015f\u0131l\u0131k vermedi\u011finden birbirleri ile mukayese edilemezeler.<\/p>\n

University of Michigan<\/strong><\/a> profes\u00f6r\u00fc, serginin dan\u0131\u015fma kurulu \u00fcyelerinden ve mimariyi Hip-Hop\u2019 un g\u00f6z\u00fcnden tasarlaman\u0131n ilk uygulamac\u0131lar\u0131ndan olan Craig Wilkins<\/strong><\/a> \u015f\u00f6yle a\u00e7\u0131kl\u0131yor: \u201cD\u00fcr\u00fcst olaca\u011f\u0131m: Mimarl\u0131k beyaz olmayan topluluklara kar\u015f\u0131 d\u00fc\u015fmanca. Bunu fark etmek, konu\u015fmaya cesaret etmek yava\u015f ilerleyen bir s\u00fcre\u00e7. Hala tart\u0131\u015fmas\u0131 a\u011f\u0131r ilerleyen bir mesele. K\u00f6klerini tart\u0131\u015fmas\u0131z Afro- Amerikal\u0131 k\u00fclt\u00fcrden alan ger\u00e7ek bir mimari felsefenin (hem ideolojik hem estetik olarak) ihtimalinin heyecan\u0131 ile doluyum.\u201d<\/p>\n

\"\"<\/a>
\nG\u00f6rsel: Grafiti sanat\u00e7\u0131s\u0131 Boris \u2019Delta\u2019 Tellegen\u2019in Hollanda\u2019da yapm\u0131\u015f oldu\u011fu cephe \u00e7al\u0131\u015fmas\u0131 – Kaynak:\u00a0Center for Architecture<\/a><\/em><\/p>\n

\u201cClose to the Edge\u201d<\/strong> projesinde yer alan i\u015fler, 1992 y\u0131l\u0131nda Wilkins\u2019in \u015eikago i\u00e7in tasarlad\u0131\u011f\u0131 konsept proje Hip-Hop Park (terk edilmi\u015f bir alandaki malzemelerin geri d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesi ve kullan\u0131m\u0131 ile olu\u015fturulan bir kamusal alan projesi) ile ba\u015flayan 25 y\u0131ll\u0131k i\u015fleri kaps\u0131yor. Sergi ayr\u0131ca Nina Cooke- John<\/strong><\/a>\u2019un 1995 y\u0131l\u0131nda Bronx ve Queen\u2019de bulunan Karayip mahalleleri i\u00e7in tasarlad\u0131\u011f\u0131, binalar\u0131n aras\u0131nda kalan bo\u015fluklar\u0131 m\u00fczik \u00f6yk\u00fcc\u00fcl\u00fc\u011f\u00fc i\u00e7in kullanmay\u0131 \u00f6ng\u00f6ren \u201cUrban Porch<\/a><\/strong>\u201d (Kent Verandas\u0131) projesi de yer al\u0131yor.<\/p>\n

2013 y\u0131l\u0131nda Haarlem, Hollanda\u2019da bir binan\u0131n cephesine 3 boyutlu gibi g\u00f6r\u00fcnmesi i\u00e7in yapt\u0131\u011f\u0131 yap\u0131bozumcu \u00e7al\u0131\u015fmas\u0131 ile bilinen Hollandal\u0131 grafiti sanat\u00e7\u0131s\u0131 Delta<\/strong><\/a>\u2019n\u0131n da bir \u00e7al\u0131\u015fmas\u0131 sergi kapsam\u0131ndaki i\u015flerden. Olalekan Jeyifous<\/strong><\/a>\u2019un modern altyap\u0131 ve binalar\u0131 katmanlara ay\u0131rd\u0131\u011f\u0131 Lagos, Nijerya\u2019da i\u00e7in \u00e7al\u0131\u015fm\u0131\u015f oldu\u011fu konsept projesi \u201cShanty Megastructures\u201d<\/strong> (Gecekondu Megastr\u00fckt\u00fcrleri) de g\u00f6rmek m\u00fcmk\u00fcn.<\/p>\n

Cooke enstalasyon boyunca y\u00fcr\u00fcrken \u201cJeyifous\u2019nun bak\u0131\u015f a\u00e7\u0131s\u0131 ve \u00fcretti\u011fi i\u015fler estetik olarak hip-hop mimarisi olarak tan\u0131mlanabilir ya da kolaj, remiks ve sampling (m\u00fczikte bir ses kayd\u0131 ya da \u015fark\u0131n\u0131n bir k\u0131sm\u0131n\u0131 al\u0131p yeniden ba\u015fka bir kay\u0131t i\u00e7in kullanma) ile ilgili mimari bir y\u00f6ntem.\u201d c\u00fcmleleri ile i\u015fi a\u00e7\u0131kl\u0131yor. Ve \u015f\u00f6yle devam ediyor: \u201c\u0130ster Legos olsun ister Brooklyn\u2019 de bir depo, bu mekan ve ba\u011flamlar her zaman k\u00fclt\u00fcrel olarak provokatif- bunlar kentsel stratejiler.\u201d<\/p>\n

G\u00fczel sanatlar alan\u0131nda \u00e7al\u0131\u015fan mimarlar da sergide kendini g\u00f6steriyor. Amanda William<\/strong><\/a>\u2019\u0131n Color(ed) Theory Series<\/strong><\/a> (Renklendirilmi\u015f Teori Serisi) <\/strong>y\u0131k\u0131lmaya y\u00fcz tutmu\u015f enerjik renklerle boyanm\u0131\u015f binalar\u0131n foto\u011fraflar\u0131n\u0131 i\u00e7eren eserleri soylula\u015ft\u0131rma ve imtiyaz \u00fczerine bir ara\u015ft\u0131rma niteli\u011finde. Afrikal\u0131lar\u0131n da\u011f\u0131ld\u0131\u011f\u0131 b\u00f6lgelere odaklanan bir ara\u015ft\u0131rmac\u0131, sanat\u00e7\u0131 ve tasar\u0131mc\u0131 olan Nathan Williams<\/strong><\/a> serginin en eski ve en yeni i\u015fleri olan iki kolaj i\u015fi ile sergide. Bunlardan biri 1993 y\u0131l\u0131nda Cornell University\u2019<\/strong>de haz\u0131rlad\u0131\u011f\u0131 tezi projesi, di\u011feri 2017 y\u0131l\u0131nda \u015fehri Hip-Hop fikirleri ile haritalad\u0131\u011f\u0131 projesi. Lauren Halsen<\/strong>\u2019e ait olan Crenshaw District Hieroglyphic Project<\/strong><\/a> (Crenshaw B\u00f6lgesi Hiyeroglif Projesi) ise Los Angeles sanat camias\u0131na g\u00f6re en \u00e7a\u011fda\u015f temsillerden biri olarak kabul edilen heykel projesi.<\/p>\n

\"\"<\/a>
\nG\u00f6rsel: Lauren Halsey- Crenshaw District Hieroglyphic Project- Kaynak:\u00a0Center for Architecture<\/a><\/em><\/p>\n

Sergi tasar\u0131m\u0131 Cook<\/strong><\/a>\u2019 un kendi st\u00fcdyosu taraf\u0131ndan, grafikler ise WeShouldDoItAll<\/strong><\/a> taraf\u0131ndan Hip-Hop Mimarisi\u2019 ni yans\u0131tacak \u015fekilde tasarland\u0131. Duvarlar \u00f6nceki serginin kal\u0131nt\u0131lar\u0131, Chino\u2019 <\/strong>nun grafitileri ve bir nakliye konteyn\u0131r\u0131n\u0131n par\u00e7alar\u0131 ile katmanland\u0131.<\/p>\n

\"\"<\/a>
\nG\u00f6rsel: Exothermic, Boris Delta Tellegen<\/em><\/p>\n

Tek bir mimari hareketin ad\u0131na t\u00fcm bu i\u015fleri bir araya getirmesi ile Cooke\u2019un sergisi Philip<\/strong> Johnson<\/strong>\u2019un 1932 Museum of Modern Art (MoMA<\/strong>)\u2019 ta ger\u00e7ekle\u015ftirdi\u011fi ve mimariyi yakla\u015f\u0131k otuz y\u0131l boyunca estetik ve sosyal anlamda derinden etkileyen sergisi International Style<\/strong><\/a> (Uluslararas\u0131 Stil) ile benzerlik kuruyor.<\/p>\n

\"\"<\/a>
\nKaynak:\u00a0Center for Architecture<\/a><\/em><\/p>\n

Bu y\u0131l Amerika\u2019da, Hip-Hop ve R&B janralar\u0131, ilk kez rock m\u00fczi\u011fi ge\u00e7erek en pop\u00fcler janralar olmay\u0131 ba\u015fard\u0131. Bu durum yayg\u0131nla\u015ft\u0131k\u00e7a, Hip-Hop ve R&B ile me\u015fhur olanlar da kendilerini ifade etmenin daha kapsaml\u0131 y\u00f6ntemlerini ke\u015ffediyor. Bronx\u2019ta prestijli Hip-Hop galerileri a\u00e7\u0131l\u0131yor. Kurulu\u015flar ilk Hip-Hop m\u00fczesini a\u00e7abilmek i\u00e7in birbirleri ile yar\u0131\u015f halinde. S\u00f6zde Hip-Hop mimarlar\u0131 da bunun i\u00e7in debeleniyor. Hip-Hop ya\u015fam\u0131n kenarlar\u0131ndan, akademi ve enstit\u00fclerin de dahil oldu\u011fu b\u00fcy\u00fck bir kabule do\u011fru ilerlerken, bu tarz\u0131n ne oldu\u011fu, ne vaat etti\u011fi, nas\u0131l kullan\u0131laca\u011f\u0131 ve nas\u0131l suistimal edilece\u011fi yeniden sorgulan\u0131yor.<\/p>\n

Cooke\u2019a g\u00f6re: \u201c Hip-Hop Mimarisi\u2019nin imkanlar\u0131 beni ger\u00e7ekten heyecanland\u0131r\u0131yor: mimari s\u00fcre\u00e7 herkesin katk\u0131da bulunmas\u0131na a\u00e7\u0131k ve ki\u015filerin kendi \u00e7evrelerini tasarlama ve \u015fekillendirmede faaliyette bulundu\u011fu daha demokratik bir hale gelecek. Olas\u0131 en b\u00fcy\u00fck tehlike insanlar\u0131n b\u00fct\u00fcn i\u015fler ve a\u015famalarda sosyal olarak proaktif duru\u015fu mimarin g\u00f6revi ya da sorumlulu\u011fu olarak g\u00f6rmesi olur. Bana g\u00f6re mimarl\u0131k Hip-Hop k\u00fclt\u00fcr\u00fcn\u00fcn saf estetik ve sosyal aktivizm spektrumunun i\u00e7inde var olabilmeli. \u201d<\/p>\n

Nina Cooke-John tez projesini tamamlad\u0131\u011f\u0131nda, kendini yapayaln\u0131z hissetti. \u015eimdi i\u015fini 25 y\u0131ld\u0131r benzer konular \u00fczerinde \u00e7al\u0131\u015fm\u0131\u015f di\u011fer kat\u0131l\u0131mc\u0131lar\u0131n eserleri ile bir arada g\u00f6rmenin heyecan\u0131n\u0131 ya\u015f\u0131yor.<\/p>\n

\u201cE\u011fitim y\u0131llar\u0131mda olduk\u00e7a s\u0131k\u0131 modernist bir temelimiz vard\u0131. Bununla spesifik bir y\u00f6ntemle, farkl\u0131 konseptlerde m\u00fccadele edebilece\u011fimiz fikri ger\u00e7ekten heyecan verici. Bu sadece mimarl\u0131\u011fa ve kentsel tasar\u0131ma bu \u015fekilde bakan k\u00fc\u00e7\u00fck bir grup insan de\u011fil. T\u00fcm mimarlar nas\u0131l daha insani bir y\u00f6ntemle, insanlar\u0131n ihtiya\u00e7lar\u0131n\u0131 anlayarak ve onlara bir ses olacak \u015fekilde tasarlayabiliriz diye kendine sorabilir. Herkes i\u00e7in en iyisini bilen, herkes ve her durum i\u00e7in uyumlu \u00e7\u00f6z\u00fcmler aray\u0131p s\u0131k\u0131c\u0131 ve ruhsuz binalar y\u00fckselmemeli. \u201d c\u00fcmleleri ile Cooke Hip-Hop k\u00fclt\u00fcr\u00fcn\u00fcn mimarideki d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc kuvvetine dikkat \u00e7ekiyor.<\/p>\n

\"\"<\/a>
\nG\u00f6rsel: Hip-Hop M\u00fczesi Michael Muchmore- Kaynak:\u00a0Center for Architecture<\/a><\/em><\/p>\n

Wilkins i\u015fi ilgili yapt\u0131\u011f\u0131 TED<\/strong><\/a>\u00a0konu\u015fmas\u0131nda Hip-Hop Mimarisi\u2019 nin sosyal sorumlulu\u011fu \u2018sesi olmayana ses vermek ve mimariyi mekansal adalet ve sosyal e\u015fitli\u011fi sa\u011flamak i\u00e7in bir ara\u00e7 haline getirmek oldu\u011funu vurguluyor. \u00d6te yandan Hip Hop Mimarisi\u2019 ni yaln\u0131zca kendi toplulu\u011funa mal etmesi durumunda bu eti\u011fin \u00e7\u00f6kmesinden endi\u015fe duyuyor.<\/p>\n

T\u00fcm kentsel d\u00f6n\u00fc\u015f\u00fcm ve gayrimenkul geli\u015ftirme giri\u015fimleri, (iyi niyetli olanlar bile) Hip-Hop m\u00fczi\u011fi ke\u015ffeden topluluklar i\u00e7in her zaman \u015fiddet i\u00e7eren ve yerinden eden bir kuvvet oldu. Yarat\u0131c\u0131 mekan olu\u015fturma ad\u0131 alt\u0131nda fayda sa\u011flayacaklar\u0131n\u0131 iddia ettikleri Afro-Amerikal\u0131 topluluklar\u0131n ihtiya\u00e7lar\u0131 ile ger\u00e7ekte ili\u015fki kuramayan projeler gibi, Hip- Hop Mimarisi \u00e7abucak reklam kayg\u0131lar\u0131 ile y\u00fczeysel g\u00f6sterilen ve felsefesini kaybeden bir duruma d\u00fc\u015febilir mi?<\/p>\n

Wilkins\u2019 g\u00f6re; \u201cTarih boyunca kapitalizmin \u00e7arklar\u0131, varl\u0131\u011f\u0131na tehdit olarak g\u00f6rd\u00fc\u011f\u00fc her \u015feyi yenmeyi ba\u015fard\u0131. KRS-One<\/strong><\/a> i\u00e7ten beyan\u0131nda \u015f\u00f6yle dile getiriyor: \u2018Rap yapt\u0131\u011f\u0131n\u0131z bir \u015fey ama, Hip-Hop ya\u015fanan bir \u015fey.\u2019\u00a0 Korkar\u0131m bu ana ak\u0131m ileti\u015fimin bir par\u00e7as\u0131 haline geldik\u00e7e, giderek toplumun her k\u0131sm\u0131 ile daha ilgili, daha \u00e7ok insan\u0131n me\u015frutiyetini kabul etti\u011fi, mimarl\u0131\u011f\u0131n ne yapabilece\u011fi ile ilgili daha b\u00fcy\u00fck bir hareketin par\u00e7as\u0131 haline gelerek ele ge\u00e7irilecek. Ve burada bunun tarihi g\u00f6zler \u00f6n\u00fcnde duruyor.\u201d<\/p>\n

Wilkins tasar\u0131m, teknoloji ve mimarl\u0131k ile herkes i\u00e7in ya\u015fama standartlar\u0131n\u0131 y\u00fckseltmeyi\u00a0\u00a0 hedefleyen bir y\u00f6ntem olarak ba\u015flayan modernist hareket ile bu noktada benzerlik kuruyor. Yeni teknolojileri kullanarak, verimlili\u011fi \u00f6nceliklendirerek ve daha ucuza in\u015fa etmenin y\u00f6ntemlerini bularak daha \u00e7ok insan\u0131n bar\u0131nma ihtiyac\u0131n\u0131n kar\u015f\u0131lanabilece\u011fini ve toplumsal e\u015fitli\u011fi sa\u011flaman\u0131n m\u00fcmk\u00fcn oldu\u011fununun alt\u0131n\u0131 \u00e7iziyor.<\/p>\n

Wilkins: \u201cSadece mimari bir ak\u0131m olmay\u0131p sosyal bir harekete d\u00f6n\u00fc\u015fmek Modernizm\u2019in ana prensiplerinden biriydi. Bir\u00e7ok nedenle bu hedef ba\u015far\u0131s\u0131zl\u0131\u011fa u\u011frad\u0131. Modernizm sonunda yaln\u0131zca y\u00fcksek moda ile e\u015fle\u015fen bir kavram haline geldi. Hip-Hop Mimarl\u0131\u011f\u0131\u2019n\u0131n da toplum i\u00e7in e\u015fitlik\u00e7i bir hareket olmaktan \u00e7\u0131karak, sadece modaya d\u00f6n\u00fc\u015fmesi ve Modernizm ile ayn\u0131 kaderi payla\u015fmas\u0131ndan korkuyorum.\u201d c\u00fcmleleri ile Hip-Hop Mimarl\u0131\u011f\u0131\u2019n\u0131n ba\u015f\u0131na gelebilecekler hakk\u0131ndaki endi\u015felerini dile getiriyor.<\/p>\n

\"\"<\/a>
\nG\u00f6rsel: Amanda Williams, This is My Nursery School- Kaynak:\u00a0Center for Architecture<\/a><\/em><\/p>\n

Ancak negatif anlamda pop\u00fcler olma Hip-Hop Mimarl\u0131\u011f\u0131\u2019n\u0131n kaderi de\u011fil. Wilkins ve Cooke-John bu hareketin yapabilece\u011fi olumlu de\u011fi\u015fiklikler (mimarinin a\u015famalar\u0131n\u0131 daha zengin ve renkli bir hale getirmek gibi) hakk\u0131nda umutlu.<\/p>\n

Sergideki i\u015fler Hip-Hop Mimarl\u0131\u011f\u0131\u2019na akademik ba\u011flamda odaklan\u0131yor. 2015 ve 2017 y\u0131llar\u0131nda lisans \u00f6\u011frencilerini ile Hip-Hop m\u00fczesi tasarlad\u0131\u011f\u0131 st\u00fcdyolar y\u00fcr\u00fcten Chris Cornelius<\/strong><\/a>\u2019un \u00f6\u011frencilerini Hip-Hop m\u00fczi\u011fin arkas\u0131ndaki \u00fcretim s\u00fcrecini sorgulay\u0131p tasar\u0131m s\u00fcrecine bunu dahil etmelerini istedi\u011fi (bir \u015fark\u0131n\u0131n diyagram\u0131n\u0131 \u00e7\u0131kar\u0131p benzer organizasyon \u015femas\u0131n\u0131 konsept \u00e7al\u0131\u015fmalar\u0131nda kullanmak gibi) \u00e7al\u0131\u015fmalar\u0131n\u0131 da sergi de g\u00f6rmek m\u00fcmk\u00fcn.<\/p>\n

Sergide ayr\u0131ca 2017 y\u0131l\u0131nda tasar\u0131m kamplar\u0131nda az\u0131nl\u0131k \u00e7ocuklara mimarl\u0131\u011f\u0131 Hip-Hop arac\u0131l\u0131\u011f\u0131yla \u00f6\u011freten bir mimar olan Mike Ford<\/strong><\/a>\u2019un Hip-Hop \u2018un Modernizm\u2019in d\u00fc\u015f\u00fc\u015f\u00fcn\u00fcn ard\u0131ndan onun yerine ge\u00e7ecek bir hareket olup olmad\u0131\u011f\u0131n\u0131 tart\u0131\u015ft\u0131\u011f\u0131 TED<\/strong><\/a>\u00a0konu\u015fmas\u0131 da bulunuyor.<\/p>\n

Wilkins\u2019 e g\u00f6re \u201cE\u011fer mimarl\u0131\u011f\u0131 mimarl\u0131k olarak ele almaya devam edersek, az\u0131nl\u0131k gen\u00e7ler mahallelerinin soylula\u015ft\u0131ran yap\u0131lar ve hi\u00e7bir zaman \u00e7al\u0131\u015fmayacaklar\u0131 ofis binalar\u0131na bak\u0131yor olacak. Ancak \u00e7evreye kendinizi merkeze alan bir bak\u0131\u015f a\u00e7\u0131s\u0131 ile bakmaya ba\u015flad\u0131\u011f\u0131n\u0131zda, bu durum \u00fczerinden \u00fcretebilece\u011finizi g\u00f6r\u00fcyorsunuz. Bu benim i\u00e7in. Bu sergi ve t\u00fcm Hip-Hop Mimarl\u0131\u011f\u0131 hareketi toplumla alakal\u0131. Bu g\u00fc\u00e7lenmek i\u00e7in. Tasar\u0131mc\u0131dan gelen bir g\u00fc\u00e7lendirme. Toplumun, i\u015fverenin ve gen\u00e7li\u011fin faydalanabilece\u011fi bir g\u00fc\u00e7.\u201d<\/p>\n

\"\"<\/a>
\nG\u00f6rsel: PHAT (Nathaniel Belcher, Stephen Slaughter), Harlem Ghetto Fabulous, 2003 – Kaynak:\u00a0Center for Architecture<\/a><\/em><\/p>\n

Ekim 2018\u2019de Center for Architecture ve AIA New York bu Ak\u0131m\u0131n k\u00fclt\u00fcrel koruma i\u00e7in bir ara\u00e7 olma potansiyelini tart\u0131\u015fmak, ama\u00e7lar\u0131n\u0131 analiz etmek ve mimari ve tasar\u0131mda s\u00fcren daha kapsaml\u0131 tart\u0131\u015fmalar\u0131n i\u00e7indeki yerini konumland\u0131rmak i\u00e7in Hip-Hop Mimarl\u0131\u011f\u0131 ile ilgili bir sempozyum<\/a>a<\/strong> ev sahipli\u011fi yapt\u0131. Hip-Hop Mimarl\u0131\u011f\u0131 art\u0131k hayat\u0131n bir par\u00e7as\u0131.<\/p>\n

E\u011fer Hip-Hop Mimarl\u0131\u011f\u0131 ile ilgili fikirleri tart\u0131\u015fmaya a\u00e7\u0131ksan\u0131z bunun sadece Afro-Amerikal\u0131 topluluklardan do\u011fan bir misilleme olmad\u0131\u011f\u0131n\u0131 g\u00f6receksiniz. Bu hepimizi ilgilendiriyor. Bu t\u00fcm disiplini ilgilendiren bug\u00fcne kadar yararlan\u0131lmam\u0131\u015f bir da\u011farc\u0131\u011f\u0131 g\u00fcndeme getiriyor. Bu mimarl\u0131k i\u00e7in, bu da\u011farc\u0131\u011f\u0131 kendi b\u00fcnyesine dahil etmesi i\u00e7in bir f\u0131rsat. Yapmaya devam etti\u011fimiz \u015feyleri her ne olursa olsun yapaca\u011f\u0131z. E\u011fer siz bununla ili\u015fkili olmak isterseniz daha \u00e7ok siyahi birey i\u015fveren olabilir. E\u011fer d\u00fcnya ile daha ilgili olmak isterseniz bu ak\u0131ma daha \u00e7ok dahil olmak isteyebilirsiniz.<\/p>\n

\"\"
\nKaynak: Zvi Belling
\n<\/em><\/p>\n

Haber Kayna\u011f\u0131: Curbed,\u00a0Can hip-hop make architecture more equitable?,\u00a0Diana Budds<\/a>
\n\u00c7eviri \/ Derleme: Zeynep Bur\u00e7o\u011flu
\n<\/em>Kapak G\u00f6rseli: Sekou Cooke k\u00fcrat\u00f6rl\u00fc\u011f\u00fcnde haz\u0131rlanan \u201cClose to the Edge: The Birth of Hip Hop Architecture\u201d sergisi, Erik Barden – Kaynak:\u00a0Center for Architecture<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Tarih boyunca R\u00f6nesans, Modernizm ve Postmodernizm gibi ana k\u00fclt\u00fcr ak\u0131mlar\u0131 kendilerini g\u00f6rsel sanatlar, m\u00fczik, mimari ve dans yoluyla ifade etti. Syracuse \u00dcniversitesi profes\u00f6r\u00fc, mimar ve k\u00fcrat\u00f6r Sekou Cooke Hip-Hop k\u00fclt\u00fcr\u00fc […]<\/p>\n","protected":false},"author":4,"featured_media":4604,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_seopress_robots_primary_cat":"","_seopress_titles_title":"Hip-Hop Mimarl\u0131\u011f\u0131 Daha E\u015fitlik\u00e7i Hale Getirebilir mi? | %%sitetitle%%","_seopress_titles_desc":"\u201cNeden? Neden Hip-Hop kendi mimarisini olu\u015fturam\u0131yordu? Ve \u00fcretirse nas\u0131l g\u00f6r\u00fcn\u00fcrd\u00fc? E\u011fer Hip-Hop kendi mimarisine sahipse, biz onu bulabilir miyiz? \u201d Cooke\u2019un New York Center for Architecture\u2019 da ger\u00e7ekle\u015fen \u201cClose to the Edge: The Birth of Hip Hop Architecture\u201d (S\u0131n\u0131r\u0131n K\u0131y\u0131s\u0131nda: Hip-Hop Mimarl\u0131\u011f\u0131n\u0131n Do\u011fu\u015fu) sergisinin a\u00e7\u0131l\u0131\u015f\u0131nda kafa yordu\u011fu sorular oldu.","_seopress_robots_index":"","_price":"","_stock":"","_tribe_ticket_header":"","_tribe_default_ticket_provider":"","_tribe_ticket_capacity":"0","_ticket_start_date":"","_ticket_end_date":"","_tribe_ticket_show_description":"","_tribe_ticket_show_not_going":false,"_tribe_ticket_use_global_stock":"","_tribe_ticket_global_stock_level":"","_global_stock_mode":"","_global_stock_cap":"","_tribe_rsvp_for_event":"","_tribe_ticket_going_count":"","_tribe_ticket_not_going_count":"","_tribe_tickets_list":"[]","_tribe_ticket_has_attendee_info_fields":false,"_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":[],"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueState":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":"","_VenueShowMap":false,"_VenueShowMapLink":false,"footnotes":""},"categories":[191,1],"tags":[232,234,231,233],"class_list":["post-4599","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-genel","tag-center-for-architecture","tag-close-to-the-edge-the-birth-of-hip-hop-architecture","tag-hip-hop","tag-sekou-cooke"],"acf":[],"_links":{"self":[{"href":"https:\/\/aura-istanbul.com\/index.php\/wp-json\/wp\/v2\/posts\/4599","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aura-istanbul.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aura-istanbul.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aura-istanbul.com\/index.php\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/aura-istanbul.com\/index.php\/wp-json\/wp\/v2\/comments?post=4599"}],"version-history":[{"count":11,"href":"https:\/\/aura-istanbul.com\/index.php\/wp-json\/wp\/v2\/posts\/4599\/revisions"}],"predecessor-version":[{"id":4637,"href":"https:\/\/aura-istanbul.com\/index.php\/wp-json\/wp\/v2\/posts\/4599\/revisions\/4637"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aura-istanbul.com\/index.php\/wp-json\/wp\/v2\/media\/4604"}],"wp:attachment":[{"href":"https:\/\/aura-istanbul.com\/index.php\/wp-json\/wp\/v2\/media?parent=4599"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aura-istanbul.com\/index.php\/wp-json\/wp\/v2\/categories?post=4599"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aura-istanbul.com\/index.php\/wp-json\/wp\/v2\/tags?post=4599"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}