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AS AN
A THESIS
S U BMIT T E D TO THE D E P A R T M E N T OF
OF BtLKENT UNIVE R S I T Y
MA S T E R OF FINE ARTS
in
By tarafiriLCn
Yılmaz Burak Güven
June, 1993
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ЬСОІІЦЯ-
I that I have read this thesis and that in my
opinion it is fully adequate, in scope and in quality, as
a thesis for the degree of Ma s t e r of Fine Arts.
11
ABSTRACT
M.F.A. in Interior A r c h i t e c t u r e
June, 1993
Ornamentation, Contextual
iii
ÖZET
Yüksek Lisans
Haziran, 1993
Süsleme, Bağlamsal
IV
ACKNOWLEDGEMENTS
useful suggestions.
TAB L E OF C O N T E N T S
ABSTRACT 111
ÖZET iV
A C K N O W L E D G E ME N T S V
TABLE OF CONTENTS vi
LIST OF FIGURES vi i i
PREFACE xi
2. POSTMODERN ARCHIT E C T U R E 8
Robert Venturi 9
2.3. Ration a l i s m 12
2.5. Po s t m o d e r n i s m in 1980s 16
3. POSTMODERN INTERIORS 27
3.1. Emergence of P o s t m o d e r n i sm in
Interior Design 27
3.3.1. E cle c t i c i s m 41
3.3.2. H i s t o r i c i s m or R e v i v a l i s m 41
3.3.3. O r n a m e n t a l i s m 42
vi
3.3.4. Contextualism 42
5. C O N C L U S I O N 78
S E L E C T E D BIBLI O G R A P H Y 82
APPENDICES
APP E N D I X B: GLOSS A R Y 89
VI 1
LIST OF FIGURES
vi i i
F i g . 25. Austrian Travel Bureau Axonometric, Hans Hollein.
Hoi l e i n .
Hoi 1ei n .
Phillippe Starck.
IX
Fig.48. Prestige Billiard Parlor (facade), Güner Mutaf,
Namık Özer.
xi
Interior design which is concerned with a 1 1 the elements
XI 1
1. INTRODUCT I O N : THE P O S T M O D E R N C O N D I T I O N
1 2 ).
The debate that the Mod e r n Age -the cha n g e in the world
1
a new society type has been emerg i n g from the end of
society.
1450 ]
All the data about the ' First Wor l d ’ shows us that
cognitariat.
2
we achieved a society w i t h o u t class ( then the
o p p o sitions as M a r x i s m -Capitalism.
reproduce the real, and the ' simulations ’ that are the
4
Capitalism", goes into an intellectual analy s i s of
5
These themes are no more e x i s t e n t in the world of
culture.
or Balzac).
6
Jameson sees the cultural periods realism, modernism,
production machines.
been shaken from its roots. The une a s i n e s s felt for the
8
The historical forms and styles provided a repository of
hesitation.
9
Complexity is the si m u l t a n e o u s action of various factors
10
signs, commercial graphics that are used by the American
being elitist.
Envi r o n m e n t " )
entrance and the for t y-five ton wedge draws out from this
11
2.3. R a t i o n a l i s m
12
analytical reasoning results in ' w h o l e s ’ where each
states,
13
influence of Louis Kahn is achieved by tearing the
14
Rob Krier, in his book Stadr a u m in T h eorie und Praxis
city.
W u r t t e m b e r g is h e S t a a t s g a l e r ie ( F i g . 11) in S t u t tgart
postmodern phase.
15
Egyptian cornice, an open-air Pantheon and segmental
neither a priority.
considers t o d a y ’s ar c h i t e c t u r e as an intercultural
built in 1988.
16
ground all over the world. Modern a r c h i t e c t u r e considered
upon aesthetics.
17
for the first time to realize a project that illustrated
reminiscent to M i c h e l a n g e l o ’s buildings.
18
continue to expand with v a r i ations as it gains popularity
19
Fig.1. Venturi, Rauch and Scott Brown
Tucker House
Katonah, New York (1974-75)
20
Fig.3. SITE
Best S u p ermarket
Houston (1974)
F i g . 4. SITE
Best Supermarket
S a c ramento (1977)
21
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F i g . 6. Aldo Rossi
M o d e n a Cemetery
(1971-85)
22
.......... · · · · '
F i g . 7. Regional A d m i n i s t r a t i o n Building
T r ieste (project)
1974
F i g . 8. Mario Botta
"Casa Rotonda"
Stabio (1981)
23
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F i g . 9. Leon Krier
The C o m p l e t i o n of W a s h i n g t o n DC
Aerial Pe r s p e c t i v e (1985)
24
Fig.11. James Stirling
Württe m b e r g is h e S t a a t s g a l e r ie
Stuttgart (1977-84)
25
F i g . 13. Os w a l d M a thias Ungers
Deutches A r c h i t e k t u r m u s e u m
Frankfurt Am Main (1980-83)
26
3, POS T M O D E R N INTERIORS
living area under a large dome and a bath tub under the
27
The found objects as part of the f u r nishing act as
way.
Classicism.
28
The a r c h i t e ct-design e r Michael Graves has affected the
consistency,
131 ).
29
The architectural theorist Charles Jencks designed houses
1980s.
30
a pluralism of styles in contrast with the classic French
31
on two sides giving an illusion of spatial infinity are
' h i - t e c h ’ touches.
32
homogeneous in every direction, abstract and rational
74).
33
integral part of the a r c h i t e c t u r e developed
from the fu nctionally necessary elements"
(Klotz, 1988, 134).
34
semantic references (including the palm columns of John
(Cerver, b, 216).
35
The interior archite c t u r e of the Musee D ’Ors a y in Paris
1840 opposite the Tuileries along the quay that was built
the design.
36
Gae Aulenti actively partic i p a t e d in a vast, magnificent,
fastfood.
37
language that speaks to us through formulae and
(Cerver, b, 47).
38
the imagery, derived from pop culture as much as history,
39
of directing m ovemen t through space. By controlling paths
whose heart is the dance floor. From the dance area, the
40
Main trends in postmodern interior design are discussed
3.3.1. Eclect i c i s m
than 'o r d e r 1y ’ .
3.3.2. H i s t o r i c i s m or R e v i v a l i s m
41
The eclectic chooses a historical model as his point of
and houses.
3.3.4. C o n t e x t ú a 1ism
42
F i g . 15. Charles Moore
O r i n d a House
1962
43
F i g . 16. Robert Stern
Cohn Pool House
New Jersey 1982
44
F i g . 18. Michael G r a v e s
Sunar S h owroom
New York
45
F i g . 19. Charles Jenc k s
Thema t i c House
46
Fi g . 20. Andree Putmann
Minister of C u l t u r e ’s Office
Paris (1985)
47
Fi g . 2 1 . Ron Arad
Bazaar Shop
London (1985-86)
48
Fi g . 23. Hans Hollein
Schul 1 in Jewelry Store
Vienna (1972-74)
49
F i g . 24. Hans Hollein
Austrian Travel Bureau
Vienna (1976-78)
.lij- ·.
<
F i g . 25.Hans Hollein
Axonometric Drawing of
Austrian Travel Bureau
50
F i g . 26. Hans Hol l e i n
Detail of Column and Palmtree
A u s t r i a n Travel Bureau
51
f'''9-27. Hans Hollein
Facade of Schul 1 in II Jewelry Store
Vienna
52
F i g . 28. Hans Hollein
S c h u l ! in II Jewelry Store
(interior)
53
Fig.30. Gae Aulenti and ACT
Musee D ’Orsay
Paris (1980-86)
54
F i g . 31. Gae Aulenti and ACT
Musee D ’Orsay
F i g . 32. B.D.M,
M e mphis Bar
B a r celona
55
F ig . 33. Philippe Starck
Cafe Costes
Paris
56
F i g . 34. Philippe Starck
Cafe Costes
Detail of Chairs, Table and Clock
57
F i g . 35. Nigel Coates and Nato
Caffe Bongo
(view from the entrance)
58
4. P O S T M O D E R N EXPERIENCE O F T U RKEY
societies.
be left non-flowered.
59
'a n a c h r o n o u s ’ pieces of creation which would be annexed
modern movement.
60
facade which faces the main boulevard is a blend of the
space.
61
The building is completely a s i m ulation of Western
of 1960s.
107).
62
is a controversial example of how the traditional
pot.
postmodern culture.
63
postmodern in its audacity to state ; "this has been done
to sit is the very few steel stools that are mounted onto
64
The tale of decay and the ' i m p e r f e c t ’ is reminiscent of
65
isolated manner. Nothing is remained from the historical
elegance.
66
The chaotic postmodern situation creates an advantageous
67
F i g . 37. T u r k i s h History Society
Tur g u t Ca n s e v e r
Anka r a
68
F i g . 39. ö z a l t ı n C o n s t r u c t i o n Company
Hal u k Bozoğlu
A n k a r a (1989-90)
69
Fig.40. Doğuş C o n s t r u c t i o n Company
Erol Aksoy
A n kara
70
Fig.42. Shopping Mall and Tower
Ragip Bulug
Ankara (1987-89)
71
Fig.43. Shopp i n g Mall and Tower
Ragip Buluç
72
F i g . 45. Sürücü Terrace Houses
Merih Karaaslan
73
Fig.47. Vakk o r a m a Coffee Shop
Barbara Pensoy
74
Fi g . 49. Twenty Bar
Kadir Akorak
İstanbul
75
F i g . 51. Hilton Hotel
Grah a m and Salone Architects
Ankara (1987-88)
76
F i g . 53. Beymen Store
Hasan Mingü
77
5. C O N C L U S I O N
78
space uses symbolism and reference.
interior design.
perfectionist space.
regained memory.
contextual conditions.
79
into " Fiction as well as function ! ” (Klotz, 1988,
421 ).
80
hand, postmodern interior design is a luxury, an affair
twenty-first century.
we accept as true.
individualistic way.
81
SELEC T E D B I B L I OGRAPHY
82
P o r t o g h e s i , Paolo. 1983. Postmodern: The Architecture
of the Postindustria1 S o c i e t y . Trans. Ellen
Shapiro. New York: Rizzoli.
83
APRENDICI
APPENDIX A; COLOR PLATES
84
85
86
87
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88
APPENDIX B: GLOSSARY
89
Postindustrialism: An economic system in which
informational interests predominate, as opposed to
the interests of industry.
91