Kavramsal Tasarım Çerçevesinde Distopya Sineması ve Mekan Etkileşimi
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This study, which opens the discussion of the production of new space through the dystopian cinema within the frame of conceptual design, is aiming the interaction with concepts outside the field to develop and / or change the discourse language of architecture and space production that Eisenman points out in the article ‘Notes on Conceptual Architecture: Towards a Definition’, published in 1970. The study on the hypothetical baseline must be evaluated within the framework of a three-step pyramidal model. On the basis of pyramid, the interaction of communication and space is accepted as the basis; within the context of the chapter, the traditional method of space production has been debated, on the other hand the transition from traditional production to conceptual production process has been discussed through examples. In the second step of pyramid; the production style of the new space in the future, in the direction of the interaction between architecture and cinema which are similar in terms of aesthetic discourse, production and presentation techniques, is revealed. In this frame, the production form of the space built in the art of cinema, in a way examining the conceptual usability of the cinematic process in the real (architectural) space; on the other hand, examines the use of real (architectural) space in the formation of cinematic space. In the third part of the pyramid which forms predominantly the layout and knot sections of the thesis, space examinations are made through the dystopian cinema as a subtype. In this context, the basic scope and limitations of the concept of dystopia are presented and then the dystopian cinema transformation of the process is discussed. Through the fourteen dystopic film samples that comes into prominence with the breakthrough points of the world cinema history and architectural manifestations, the production of new space is revealed through sociological, physical and aesthetic discourses. In order to make the cross-matchings, presented within the scope of conceptions, definitions and interdisciplinary interactions within subtitles, understandable and easily followed, the transfer of materials is frequently structured on a tabular thematic framework. The evolution of the general framework, derived from past and current film samples, reveals the positive contribution of space production to the primal form of dystopian cinema. In accordance with all these data, the study points to an ontological change on the new perception, form, meaning and production methodology of the space.