Journal of Computational Design

Yazarlar: Burcu KISMET

Konular:Mimarlık

Anahtar Kelimeler:Uncanny,Sigmund Freud,Void,Light,Measurement

Özet: Uncanny, which has been the subject of philosophy since the 19th century, has evolved into a different dimension from the meanings imposed on it in previous times, with Sigmund Freud's work on uncanny in the 20th century; he defined “unheimlich” term in German as “the return of the repressed, in fact, is everything revealed as a secret or even though it should remain veiled”; he has related the uncanny with the concepts of mother - child - birth - death and the unconscious (Freud, 2003; Jentsch, 2008 and Vidler 1992). Horror and the moment of shock in horror are important factors in uncanny; as it is the name given to the situation being in danger without preparation; emphasizes the surprise factor. The moment of being mute speechless and the concept of ambiguity, which feed the uncanny and uncanny state, has been handled in different dimensions by artists, designers and architects. The components of uncanny and especially the potentials of different perceptions and meanings that ambiguity will create in the human mind in the field of art is a design factor that has been applied consciously, especially since the twentieth century. In this study, the notions of void and light in architecture will be questioned. The effect of the void and light on the uncanny character of architectural spaces is questioned in three stages in the content of the study: In the first stage, within the scope of the literature research, three examples in which the visual and spatial parameters of the uncanny of space and light are questioned in two and three dimensions are examined according to this study, general character of the uncanny in the architectural space is defined. De Chirico’s ghosted city representations from 1910s, Le Corbusier’s Villa La Roche and Daniel Libeskind’s Berlin Jewish Museum are discussed and interpreted uncanny from perspective of designed void and light. In the second stage of this paper, the question of how human consciousness expresses the uncanny through abstract representations in a phenomenological path is taken into consideration and a survey is conducted with a defined group of subjects. The survey is a set of different sections that are created with a simple drawing technique without any details. While creating these representations, people's minds did not include lines that evoke pre-meanings and personal memories; simple and ambiguous linear representations are created and asked from the group to interpret the uncanny as it is perceived. The third and final stage includes the interpretation of the survey results, and aims to reach a holistic representation of "architectural uncanny" with the distinction of "designed uncanny" and "perceived uncanny" from a wider perspective.

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