Ana Sayfa

YUNUS ARAN BİRLİKTELİĞİ

"Continuity"

tarih: 
04/30/2003
poster: 
yunus-juha.jpg

 

 

“Continuity”

Tarih: 30 Nisan 2003

Saat: 14.30

Yer: Mimar Sinan Güzel Sanatlar Üniversitesi, Fındıklı, İstanbul.

 

Yunus Aran Birlikteliği ve Mimar Sinan Güzel Sanatlar Üniversitesi Mimarlık Fakültesi Mimarlık Bölümü tarafından Mimar Yunus Aran'ın anısına düzenlenen Konferanslar dizisinin 14. konuşmacısı, ‘Continuity’, başlıklı konuşması ile Juha İlmari Leviska olmuştur.

Konuşma 30 Nisan Mart 2003 günü Mimar Sinan Güzel Sanatlar Üniversitesi Oditoryum'unda gerçekleşmiştir.

Konuşmacı hakkında daha fazla bilgi için  http://www.yunusaran.org/juha-ilmari-leviska  adresini ziyaret edebilirsiniz.

 

Konuşma Özeti

Konuşma özetine ilişkin bilgi yakında yüklenecektir.

 

“Continuity”

Juha İlmari Leviska  

I’m, I’m... As you see I’m very happy to be here. Second time, when I am in İstanbul. The first was forty-two years ago, in the year sixty-one. And at that time, I’ve learned to... Somehow I’ve found myself in the industry. We’re supposed to be about spaces, to organize spaces, especially the big spaces, for light the space… You understand that, the biggest-the most beautiful biggest decision for me is, the biggest and the most beautiful interior in the world is Hagia Sophia...

On the same trip, I’ve learned to know was also Mimar Sinan and Süleymaniye, and this already somehow saw, small mosques like Rustem Paşa, Mihrimah made very big impression on me. And somehow towarded (told?) (leaded/guided) me to think about spaces. Buildings, most buildings are, especially older Byzantine-Turkish like, like Kariye Cami, Small Hagia Sophia are the spaces -----  in his mind and the people who have been helping him, and the exterior does not have any other role than just to be the---- (shape?) for the space. And the structures… The stone structures ---that keep the building up...  That is the way, that how I think my own buildings, and I either thought ---with the (passats ?)

That is the role of the building in the environment, and in the landscape. So in that meaning in that relation to the man made environment to the landscape and to the nature, is something which we just can beg(?) from the history.

So its continuity, what is the subtitle for my show. Is a good subtitle, you can speak what you want. So so, what for me, there are, different culture continuity, met the (horizons?) continuity in time, we must connect the past, the tradition to this day, to what is now, and then what is coming to the future. So to be important in the future, our work must be tightly connected in to ----aration. And I don’t think we should copy all the historical forms, but we just must do the same as the people, while they are working in the history. They built..., nowadays architects ----of old time. But at the same, it was in the ---- (Marolmothers?) philosophy, because nothing of good, you don’t need to think about your environmental entities, your environmental hopes instead of just he building as a piece of architecture.  Perhaps? Early American---- So the building got to be a work of art we look at, and has nothing to do with the architecture, for me.

Now I must begin, so this is some kind of prologue.

So that the main aim, is to create belongings together with the man-made architecture and the environment, and the landscape of the city, environment...

So as we speak a Greek temple and a Finish old ----on an island in the Gulf of Finland… Nowadays occupied by Rusmuesend (?)------- destroyed. So these belonging together doesn’t mean that, the architecture copies the nature. Of course the nature is such a musical process, bringing the themes of architecture, side by side to the sounds, and themes of nature. So they..., the architecture is experienced like music, you move in it, you experienced it as a space of continuities, --- space of sequences...

Every space is between to other some how an intermediate space... The space is influenced, by the space where you come and then while you are walking on.  So its not separated form the other spaces in the neighborhood. So that is the same in music, when we go on, when we move, (slightly?) in music, there are high points and (poses?) and different directions.

These were too old Finnished farm houses from 1700’s and 1800’s. This old Finnished environment landscape countryside architecture is preserved only in fragments, nowadays. But this is our own very Fin / thin (?) traditional. Not so, not so Fin/ thin but its just because built of wood, it has supposed to be destroyed and banished (?). We must keep in our memories to be able to use it with a positive way, use it in our own work.

One of the best, best examples, of the most, most poetic examples, is a question about architecture and landscape architecture and music is Alvar Aalto’s summer villa in Noura (?) .  So I think, I believe we really have this history. So the natural forms is a rich rocky, rocks, these rocks and then the buildings somehow, when the you go on there you are expecting to  (read?) them... Somehow architects and the themes, and the sound and the music walk forward together, supporting each other.

This was Solisanberg (?) Alvar Aalto and was built, I think approximately around 1950-53. Then gapatio(?) an then the framed view to the lake. As a, when the view is totally opened, it’s somehow boring. And then, the way to use the possibilities towards the nature needs to play ------ in zooids (?) as fragments.

So such a very gentile way to fit the building in the landscape and the surroundings means that, one last one, is more than two. To improve the situation by environment, buying (?) your house and the buildings, instead of what this is little most no-man’s-land situation that you’re demolishing it. There is one ----- joke, but is the real project or in(?) my own. Quite reasoned from the year ‘95. I’ve sketched for a big villa, and another house for the pianist. This villa was meant for the big opera, big singer Karita Mattila (?),  ---- metropolitana, they are one in the world.  She is a very good ---, she --- a --- understands my ideas.

So she is a very marvelous musician and, it is not right to demand her to understand about the architecture so much. And when you are drawing intensity, when we come from nature, to home and to our protected courtyard...

And old small farm in Finland. So architecture and nature belong together.

This one my own, earliest buildings, very small one family house in Lewi, in southeastern Finland. So just in, when you’re just deciding,  while you’re designing one small dwelling is the, should be able to create a whole (?) ----- (familiar / milelur?) of it, to make sure these really rooted on the site, on the ground.

This house lies tightly to the border, to the way, to the street and then to the neighbor’s plot to the border,  the rows of the right. And then the courtyard, protected courtyard, of the south and the west ----. So its leading has clue to --- (the?) different characteristics. It is closed somehow monumental, but very very small, closed to the, to outside to the, this street has a bit traffic chaos and then it happens to ------- ?

So its just an old farm from the 1600’s and to be moved to outdoor museum in Helsinki. So the landscape, or nature is our best, best teacher to create special solutions, special processes, continuities in the big scale or in a very small scale, like architectural microclimate.

Here in İstanbul, I have realized that there are big scale and small scale very tightly together, but so that you are either in the big space like the Ancient Hippodrome while these monumental buildings and then you don’t need to go faraway when you come this small sensitive scale. In Istanbul is one of the most semi -urban environments, which I know.  So the nature as teacher, and take the big drama, big symphonie of the nature in to your own job when you are..., own project, what is going to be situated there...  --- Eric Erigma (?) is master for instance Alvar Aalto also... I believe the Helander, Porf. Helander has shown -----from ‘40’s. Even the plan shows the topography, and shows where the best (?) directions; south, west are, and we used to see.... And here in the south, people seek a place where you have shadow in Finland. It is really uneasy to come. The sun...

My only thought is to do something like that. That is a plot on the Gulf of Finland, towards such a wide bay.

And this is the plot for German Embassy. The competition was in the year ’68. So I try to bring the spatial --- and the structure to the surrounding, to my plot. Where on the other hand...., So the plot itself has four characteristical parts. There earlier was a villa from 1920’s, which was demolished before the German’s boat ---. So this is the German Embassy. I thought it was in earlier years.

And then the four/all original entrance courtyard is here, the original represented garden is here, original kitchen (?) garden there and there is a ----er like form in the nature, of beautiful trees.

So I’ve located the wings of the Embassy, on the borders of these parts of the --- wood where the vegetation and landforms were most beautiful and I’ve worked to preserve. So the sensory, the offices open to this kitchen garden, and the residence open to the original garden, and then there is a terrace between these two buildings. Somehow the residence and sensory parts all meet each other in an erotic foyer. And then we have marvelous views, framed views to the sea, between them. So it has an effort to make a big building, appear so small as possible because this is in an island of villas. Then, entrance to the residence and to the sensory, were originally plan, come from the, from this terrace, so that the everybody who visits the house, has possibility to enjoy your soul and views from the terrace. For security reasons, then it had to be change, so that you had to divide the entrance courtyard in to two parts, and then the entrance to the sensory, it from here. It was a pity.

The residence, the space self system is that, you have these saloons; up stairs we have the ambassadors flat, and we have views from space to space they can be open, dining room, big saloon, small saloon and library, sauna with a basement(?) kitchen... These representing spaces, important change. At the same time you have the view to the landscape.

So here Arthur Parales (?) Frank Lloyd Wright’s Hollywood House, and then 1600 --- dwellings this radial transition from inside to the wild nature. These happens by terraces and gardens in both cases.

So the zooids / voids (?) between the nature and the buildings are something very important to take care of....

So we have a horizon (?) we have a view in the residence, from room to room and at the same time to the landscape. And then we have, when we are in the building, at the time, we see the passades of the building. So that  we really have the feeling to be safety, at home. There is a view from the terrace to the island. These oldest thoughts come from the competition entry. And then it was ready in the year ’93. These are a couple of views from the terrace.

On the right from the residence, the big saloon, on the left the view from the chansory (?), here also terrace...

Now we come to the next...

I have done some competition enteries, concerning graveyards and funeral ------ There is one enlargement for existing graveyards, on those sites. ----- which hold the focus in the interior --- (milieu ?) environment and in the bigger townscape.

On the right we have San Gimignano… Here, the... This is based on such a how to come in to entrance court garden, and then, in to the lobbies and waiting rooms, and then to the high sets(?) full of light and then to the, where the ceremony over, we go on to the graves. There was passing by a river, this narrow river, and this area was filled by water on spring every year.

So the.., I proposed that, to be persons to use it as a graveyard, it had to be, much of the earth had to be drought on  the area, that I decided to save these, to make a system of ------ framed by bushes. And then, in the plan we see how we come in to the waiting rooms, and then to the high spares (?) We take family members and the ---- there --- in and then after the ceremony, we go on, we take the coffin, and come to the grave as here also.

So the system of…,somehow the buildings just are framing the spatial process. But still the interiors have a very big role in this space. Spaces, which are full of indirect daylight….

This was a project from the year, in the year ’66, competition entry… So Willi Helander probably show to you the equipments ----- the Hagia Sophia, the space was actually ----------------------

So I have ….  Yes just a building where, which is at the same time is closed, when you come in, the space goes on to the eternity, to the sky, through out to the outer. And on the other side, it is open to the nature. So the building with its architects has done a very rich (hole ?)all. The wall expecting ---- that here has been used, such compared to some very pure functionalism, here has been used romantical details, decorative details here and there. And I have nothing against it. The most beautiful, sacral modern, sacral space for me…

So every building, which we’re deciding, must find its real, right role in the environment. I had to commissioned to design a perish (?) building closed to ‘30’es church in western Finland, not Gillah. So the role of my building was something like and old villages in Finnish countryside. The real architecture is in the background and then, the sco--- is in the front, and there need (?) accompany to it, some how support it, give gradual growth in to the all for the forest. So the role of the building can be dominating, but also submissive or completing the frame etc…

Between the ‘30’es church and the graveyard here and there, and then the “Leylakbaşı” (?) and “Çeribaşı” (?) is here… It was possible to form a piazza, where the ground was sloping, with entrances to the church and to the graveyard, and to the new perish (?) building. With a whole/all, for instance for all cause of fields concerts, as a sofa (?) for weddings, funerals etc. And then there ---- and dwellings also…

The entrance to the new building can be seen on the left. And this in a slope so that the higher roofs, are ----on the--- corner. At the same time I was, the architect when an old countryside so called the vernacular was restored, and the atmosphere of this church gave much to my perish(?) building. These are the first light fittings, which I have designed, and they... The way how to think, artificial light with its warm and then cold-cool day light, I have found in Istanbul Mosques and Hagia Sophia…

With its back in Gillah (?), perish building… So it is, my effort is to create spaces where people feel comfortable and happy. Give…, when it is question about churches or chapel, some how give poor people light and mercy and consolation.

It is a Finnish tradition to paint, very often to paint wooden… In historical architecture the wooden surfaces, inside and outside are painted. Finnish countryside village is, or where…, urban concentrations very often narrow but long… For instance, the group of villages on the right is many kilometers long, but still we have…, from every house, with its grouped around to courtyards. We have closed…, closing main-building towards to the public space, the street, and the river. And then we have a summer-time rowing (?) room, and an economical courtyard for the animals etc. Then we have direct connection to the hills (?) and to the nature.

This is a system which could be used in nowadays city planning. Here we have the common drawing (?) room, monumental part, and then we have the intimate courtyard, behind… It is a very small-scale city-planning project, which also already has been built, but the buildings have been designed by other architects… Still the system is, still there… So the houses have same amount of traffic disturbance on the other side and then the views and the connections to the beautiful pine and bird forest, towards south and west, which are the best directions in Finland.

And the historical military roses/rows (?) are used as the pedestrian ways. Here is a school and a kindergarten. Another variant of the same theme… Just villages between traffic disturbances and nature... A Soraki (?) mountain between old Children’s Hospital and these new blocks of flats, very small flats with all have views at least two directions, but very often to four. Even to four or three… And the best views are to west, to the evening sun.

It is very important, when you built in city, so to find a human scale, though you must make high-rise buildings. Here is a village in the middle Finland… On the right I have tried to create an equal urban concentration. It is a question about a competition, concerning new center for --- suburb, which has a name ----. As you told us. But that is also a question about the church and the perish building.

My plan was form by a chain of residential buildings, and then the church in the far most end. And then low commercial buildings surrounding a Piazza, it was dominated by church. And then these low wings here were closed to the public, pedestrian roads and open to interior courtyards, are consisting a perish clubrooms and offices, and ------ and then kindergarten and library.

So as in old ---- a separation of public outdoor spaces, piazza, and pedestrian paths and then the park… And then the buildings have small-big scale monumental side to the public areas, and then intimate-sensitive scale to the interior courtyards. Entrance to the…, only the church was built according to my plans.  But the city-planning offices designed the dwelling, buildings and the commercial buildings.

The entrance is just the gradual system. Here on the left through under the canopy and then to the entrance whole which is opening to the courtyard. And then you have last come to the, high space. As when I come to the Hagia Sophia, I prefer not to go directly to the space. I just go around under the galleries, and look to the big universe form there…

Most of these historical examples come from… This is an inexistent group of old church and ---- house --- (Fagerweek ?) And here we have this scale country-side architecture. The entrance courtyard of my church…

On the left we have a German Late Baroque Miracle Church on the Medow-WiesKirche by brothers Zimmermann, and aquarelle, which was made, by one of my assistants. And at the same time she made an aquarelle of my  Oğlu  ---. So this system…, so the skill to create spaces, one of these examples of the early, late antique times, Romans begun to build terms and then with the Christianity these churches, like Hagia Sophia… So one of the last, to end this process is in Southern-Germany. William Marthens (?) has learned from Italy, Borromini --- mini etc. Just as the same way like here, to use this indirect light, to do some kind of a double cell system. Where the light, the sun gives light to the surfaces, instead of just being contrasting to the walls. A very rich system of nuances, full shadows and full light, and then the all kinds of in direct reflections…

This church was built from ‘971 until ‘975. My effort was to do some kind of immaterial---. It functions very well when its cloudy, but it is still, still…. Still I think, in the next church, I succeeded it better... Here are these, ----sources, here are the sources for our work, instruments played by light. And as you see, instead of having a feeling of that how heavy the vaults and copulas are, and how heavy every thing is. So we have an impression that these are blowing, the wind is blowing them up, so the spatial dynamics grow from us, upwards. So that is immaterial lightness. Other cases we are almost crossed by the heaviness of the architecture.

For instance in the architecture, St. Peter’s in Rome, this is the Heavenly Jerusalem on Earth. And the same efforts had the Late Gothic Architects. When the built holes where every detail is formed, for the light to play on like strings of the ---

Milwaukee (?) Church closed to Helsinki, Wanta (?) is located on a narrow plot, by a local railway on a very high embankment. So my solution was instead of building the church, in the middle of the plot, as was suggested in the town-plan, I didn’t follow it. I did built a big parking space for cars. I concentrated to the traffic and cars, so close as possible to the border, to the railway. They all --- traffic kept on this side. And then I just built a long wall; and all rooms and spaces are leaning to it. And then the main entrances are from the other side.  It is also possible to preserve forest as a park, continuous park.

So we’ll come… The entrance, the process when we come in so… The entrance is not easy to find like in many other, like in many historical examples. So so, this is some kind of adventure, we come to also a wall, which you can see there. And then the wall turns to movement. So and back, and then we come to the low lobby, and the low part of the church. So the entrance process has some kind of…, may be every time a bit different, we have eight different possibilities to come, form the low spaces to the high spaces. So there.., just preparing elements intermediate spaces…. On the left we are in the west turbulent, and then we come in to the church and through back part, we begin to see some thing of high space.

There in Mihrimah Mosque, I came in through the side entrance because of the fact that then we come to the side under the…, side gallery. And there is another gallery a bit upwards; there is a system of galleries, and a gradual growing system with its…. I think it is very effectfull and that is also how much light, daylight there is. And somehow sensitive, decoration the light is belongs to my favorites among the mosques which I have not seen Selimiye Mosque in Edirne. But it was remarkable that Sinan guru as an architect towards, when he was 92, he was at his best. So here I have just tried to manage with those indirect reflections with light, and it is changing lot depending whether it is sunny or cloudy, morning or evening, and winter or summer... Here we have Sasani transparent textiles, by a textile artist.

An other building, not so spiritual as Hagia Sophia, but still a space with its, weather main material is light, with its monastery --- Haim in Baviera by Balthazar Noima (?). And back to Murmacky... (?)

Now we have come to the, other cathedral very very... It is here the right side, is on the right; and the left side is on the left... So left side is here, and the right side is there...

So this European city culture, which is represented so in marvelous way for instance by Istanbul. We have historical, some small historical towns in Finland also… This is Porbo (?); the old part of Porbo wich is almost preserved as we see here... So just a system; big spaces, small spaces, shadow and light... So we have 72 or 126 possibilities to go through it. So such really a musical experience.

And then Italy, Verona on the left, and Roma on the right. Where in this so called polis map we have all public areas, streets, piazzetas, piazzas, Piazza Navona there... And then, at the same time we have all public interiors. In this case they are mostly churches or here University courtyard. So we have St. Agnese and we have Pantheon, and we have St. Ignasio is on the right, Santa Maria della Patzie... So we have such a nest special happenings.

So architecture is music. I am convinced of that. But here, we are in Finland, my earliest work made together with an older architect Belter Sarnio (?), was town hall in Congola, a poor railway crossing. So I’ve got the task, to do the competition entry, and then we won. So my effort was to take, bring back these a bit of Italian city structure, city culture to that poor, some how scattered unorganized village. Still the main street, here and here, they have certain character. Especially this while which was framed by buildings, most from ‘30’es. This piazza was quite nice. From there, we could come to the city hall, to the upstairs after the courtyard from where we have...,  or the entrances to the interiors. And then under the house was standing on pillars and then we come to the bigger square and over the street by grids to the park and church etc...

Some effort to..., in very old architectural methods using them still create architectural our-time. This competition was in the year ‘63 -’64 the house was ready in ’68. So the office thing (?) is up here, and then offices have lobbies which open to the courtyard here we have, here we have the concert hall and the festival hall, city council chamber etc. ...  So the spatial structure is based on, on views which are opening from different parts of the house to the courtyard, which (?) is a main interior some how...

Now this is actual, because this Carara Marbel is totally, totally impossible material, there in far in the north, in that climate. Alva Aalto Sindantia Hall (?) was prepared using the same material. But I’ve decided here to use granite which is so light as possible. It is now actual, it’s preparation. Here we have different views from the two other courtyards. On the right from foyer of the hall...

Another effort to combine tradition with modern architecture is Valula (?) Library and Kindergarten. It was in an old suburb for industrial workers, where these blocks were surrounded by wooden two-storied houses. Here is, left one, couple of the main streets, framed by higher buildings. The suburb was built from 1910 to 1925. But then in this part of the are, most of the houses are collapsed, only some fragments... When this ....

It was in the plan. According to the plan, these old houses were to be restored. But now they have been collapsed also and now we are deciding a new, a new small dwelling house there. So the system of the area was that we had, there was a fine garden inside, and then the two-storied houses that surrounded it. In this case, I had to, so some how to follow the principles of the conservatory materials, and the scale of the street sides, but then to open all spaces towards the courtyard, which is quite nice with old trees, then the interior..., inside this block got this free, these free how to say... This some how regular system... These buildings are build totally of wood. Only the basements are concrete.

On the right we have Susentlich (?) Library in Bavaria (?) Baviera (?) by Brother Zimmermann.

We are now in Bethlehem. There was an international project Bethlehem 2000, still going on... You know how difficult it is in the latest years, during the latest years to build anything there... we still are almost ready in our project... All the infrastructure of the city was prepared. And there were many separate projects going on supported by different nations. And the Ministerial Foreign Affairs in Finland supports a project, it was...

As I said this was an international aid program concerning to help Bethlehem to be repaired, and the infrastructure of the city. A Finnish part of this project was just to build a new enlargement of existing Dar Al-Kalimia Academy, which has been found earlier, to create and strengthen the cultural connections between Palestinians and the rest of the world, to combine people which represent different religions and different cultures.

And before these last times, it was already functioning quite well. Here you see, on that..., there is the plot and then we have old buildings framing it. But here in the center was a courtyard area. My or our extensions flow other courtyard, but still we have roof terraces on each level there.

And this is, belongs to these projects, which I have had in the latest years. Mostly should be added something new, to the old, old buildings to get them function better. But still to find architects well balanced (?) and to find a some how submissive role for the new elements in the all.

These are competition entry, competition drawings. From the narrow main street, we have had the main entrance, and through this all materials, and everything was brought to the plot, as well as all earth as it has been excavated, was taking through the hall (?).

So this, we have the entrance hall, with co-exhibitions, and then bar and then stairs up and down. And we have upstairs, we have the restaurant, and then this entrance area, and then down wards we have the all levels. On the right the Dar Mosque level where in my project, was the early one who created this connections between the old part of the Academy, the cript of the church. There is a literal (?) church here...

Here are some older images of Bethlehem. The structure of the city, some how forms of ---- such very human scale... The right one, picture is taken from the valley, the valley where the priests, the Shippers’ (?) Valley... On the left we have a very old view to the Church of Nativity...

And this structure, this scale I wanted to use also in the new building we have in the plans there are small gardens, all sort of vegetables, I mean plants are growing there I hope in the future... And four marvelous pine trees were growing there... These are the restaurant level here...

These pictures have been taken last year, October, if I remember right...

Now the works are going slowly forwards. These from the hall…

Here is the last of my projects which I show shortly Mendiser (?)Church, in Coopio (?) in Finland. My effort is to create a belonging together with residential area here in the background, consist of very brutal concrete element dwelling houses, and goes on is very big. Though the model does not so... Model, this, it ... The plan in the competition, given plan was the plot here, and in the given plan that was the church that had to be build here down in the valley. But I raised it up to the slope, just so many views belonging together to the background. And also preserve this area here, as a continuous park, and preserve the existing pine trees also...

From this raised terrace, we come in, we have different entrances. Main entrance is just here on the left. We come to a lobby, Meandering (?) Lobby, which is underground here. And then have different views to the high main spaces and entrances. On the left we are in the lobby... I come here so... On the left we have come to the balcony and on the right we are under the balcony, coming in to the church. Some kind of, some effort of this gradually growing effect.

These wooden structures, which you have seen also in the other spaces are..., have, are not just sculptural  or decorative elements. They are hiding air condition, heating, and then they have acoustical functions also.

Here I had an artist with me, who painted partly behind the, these wooden panels and these concrete walls. So that the colours, just lightly are reflecting to the surfaces... And then they on the other side has painted such sequences of colour systems. So this reflecting colours grow from upwards and these come like answers to our prays from the sky. I, myself designed the system in the --- (?) What is the question about external appearances in them. Here are you see these colour reflectings, when they are... When the light position is so, that colour is the strongest, when there is very much sun, then they are so vanished.

Alvar Aalto did not..., he hated Baroc, he said he hated, but still he created very organic Baroc spaces, which has a Baroc character. On the left we have Aalto’s hall in, Turkish (?) Hall in Uvescular (?) University. And on the right we have Schloss Brür by Balthazar Noiman (?) in Germany.

And here we have Alvar Aalto’s Voheninska (?) Church. On the left, and Monastery Bands by Johan Liesenhoffer Baviera.

As you see, you can...,  modern means; reads the same --- (?) as with historical forms also. Thank you very much.