Mimarlar Neden Hala Çiziyor?

by Paolo Belardi, Atilla Erol (Translator)

Bu kitapta, sanal üniversite derslerinden oluşan iki metin biraraya getiriliyor. Metinlerden ilki bilinçli çizim, ikincisi de yaratıcı çizim üzerine.

Kitabın amacı, Rönesans İtalyası'ndaki 15. yüzyıl stüdyoları (perspectiva naturalis'in yerine perspectiva artificialis'in geçtiği dönem) ile 16. yüzyılda akademilerin kurulduğu (desinatörün zanaatkâr olmaktan çıkarak öğretmen haline geldiği dönem) zaman dilimleri arasındaki uzun yıllara göndermelerde bulunarak, mimari çizimin en derindeki anlamını bilimsel kodlarına geri döndürmektir.

Kitap boyunca insanlığın bütünlüklü tarihinin içinden geçiyoruz. Aralarında bağ olmadığı sanılan önemli insanların hangi kaygılarla birbirlerine bağlandığını görüyoruz: Michelangelo Buonarroti ve Albert Einstein, Andrea Palladio ve Louis Armstrong, Giacomo Leopardi ve Robert Venturi. Hepsi de bize bildiğimiz üç boyut, yani genişlik, yükseklik ve derinliğin yetersiz kaldığını, bunlara iki boyutun daha, tarihin ve kültürün de eklenmesi gerektiğini söylüyor. Mimarlar işte bunun için hâlâ çiziyor.
-Atilla Bekdemir-

Genres: Architecture, Nonfiction, Drawing

136 pages, Paperback

First published February 14, 2014

Reviews

[Melis Baloglu · Rating 4 out of 5]

Lisans öğrencisi iken okusaydım daha da heyecan duyardım. Keyifli okumalar!

[Lucas M]

"Since the dawn of civilization, 'drawing' has not merely meant 'reproducing.' Instead, as Paul Gauguin understood ('I close my eyes to see'), it means probing our internal world."

"Stop writing and listen as I repeat that point: what we perceive, copy in our sketchbooks, and memorize are the final architectural forms in front of our eyes. These forms, however, are not the result of processes of architectural addition only, but also of subtraction."

Belardi's project here is to engage readers as prospective students of his fictional courses on Inventive Drawing & Informed Drawing. He is so successful as to be triumphant in this goal, creating - in his words - "an intellectual conversation between a teacher and a student" which not only informs the student on the details of Belardi's philosophy, but drives him to invent his own response to the lectures, in Belardi's own mode. This book has driven me to draw more often and more constuctively even while in the midst of reading it, and it has driven me to want to study the authored and the anonymous buildings around me in turn.

[Ebru Şevli · Rating 4 out of 5]

here are some short parts of the book to give you an idea what it is like;

''because skeetching is, above all, a valuable notational system that somehow is ahead of the future''

''drawn impulsively as the real time transcription of unconsciously accumulated anergy''

''...such sketches reveal with their 'thickness' the tortuos process of design, revealing references and images that were not strictly part of it. Ideas abondened and retrieved, along with uncertainties, dissapointments and enthusiasm''

[Diane Henry]

Can’t rate this. I’m clearly not the intended audience, and so there were large sections opaque to me. Still, I could catch glimmers of what he was saying, thinking about social and pragmatic contexts of architecture beyond a formal and seemingly precise schematic. I could never quite capture the ideas, but what I glimpsed was sometimes really intriguing.

[Pía López Copetti · Rating 3 out of 5]

It's an interesting take on how we develop ideas by using our hands, the core of why we design, and how to understand creativity as a discipline.

[mahatmanto · Rating 4 out of 5]

bukunya kecil.
tidak tebal pula.

meski pun ditulis dengan keren dan ditulis untuk menjawab pertanyaan dari jaman ke jaman: mengapa arsitek selalu gatal untuk menggambar, buku baru [2014] terbitan MIT press ini bebas dari gambar. tidak ada gambar secuil pun di buku tentang gambar ini.

kalau pembaca mencari gambar, mereka disendirikan di PINTEREST. yang bisa diakses siapa saja di pinterest. com/whyarchitects/
dengan membebaskan dari gambar, buku ini layak tampil sebagai esai panjang mengenai nilai kultural dari pensil, serutan, kuas, kertas, kanvas dsb. ini buku isinya memang dirancang seperti kuliah bersambung tentang sketsa dan berpikir.

gambar adalah alat berpikir. benih-benih gagasan besar selalu sudah termuat dalam sketsa-sketsa awal arsitek, sebelum diterjemahkan ke dalam gambar instruksional yang menggerakkan para pembangun mewujudkan gagasan besar tadi.

[Andrew Bourne · Rating 1 out of 5]

Tepid, romantic even. I was hoping for something more Luddite.

[Simo Simo · Rating 5 out of 5]

An author who never disappoints!

[Luca Martini · Rating 5 out of 5]

Dischiude prospettive inedite, come ogni buon libro!