1960'lı yıllarda Fransa'daki mimarlık ortamı: Fransız yeni dalga sineması üzerinden bir okuma
The architectural context of 1960s france: A reading through the lens of the French new wave cinema
- Tez No: 1015934
- Danışmanlar: DOÇ. DR. DEMET ARSLAN DİNÇAY
- Tez Türü: Yüksek Lisans
- Konular: Mimarlık, Architecture
- Anahtar Kelimeler: Mimari doku, Mimari tasarım, Mimari çevre, Mimarlık, Mimarlık tarihi, Sinema, Sinema tarihi, Sinematek, Architectural texture, Architectural design, Architectural environment, Architecture, Architectural history, Cinema, Cinema history, Cinematheque
- Yıl: 2026
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Lisansüstü Eğitim Enstitüsü
- Ana Bilim Dalı: Mimarlık Ana Bilim Dalı
- Bilim Dalı: Mimarlık Tarihi Bilim Dalı
- Sayfa Sayısı: Belirtilmemiş.
Özet
Mimarlık ve sinema, mekânın üretimi, temsili ve deneyimlenmesi üzerinden kesişen iki disiplin olarak değerlendirilmektedir. Bu tez çalışması, İkinci Dünya Savaşı sonrasında Fransa'da mimarlık alanında ortaya çıkan yeni açılımlar ile aynı dönemde gelişen Fransız Yeni Dalga sinemasının mekân temsilleri arasındaki ilişkiyi incelemektedir. Çalışma, Fransız Yeni Dalga yönetmenlerinin stüdyo ve film platoları yerine gerçek kentsel ve mimari mekânlarda çekim yapmalarını temel alarak, bu filmlerin savaş sonrası Fransa'daki mimari ve kentsel dönüşümlerin okunabileceği özgün bir görsel arşiv niteliği taşıdığını ortaya koymayı amaçlamaktadır. Bu bağlamda tez, Fransa'da savaş sonrası mimarlık alanında ortaya çıkan yeni yaklaşımların yalnızca fiziksel olarak gözlemlenmesini değil, mekânsal deneyim ve kullanım biçimleri üzerinden incelenmesini ve simgesel yapıların filmdeki ve güncel hâllerinin karşılaştırmalı olarak ele alınmasını sağlayarak, mimarlık-sinema literatürüne yeni bir perspektif sunmaktadır. Tez çalışması toplam altı bölümden oluşmaktadır. Birinci bölümde, çalışmanın amacı, kapsamı ve yöntemi ortaya konulmaktadır. İkinci bölümde, II. Dünya Savaşı'nın sona ermesinden 1960'lı yılların sonuna kadar geçen süreçte Fransa'daki sosyo-politik ortam ile kültür-sanat ortamı ele alınmakta; savaş sonrası politik ve toplumsal dönüşümlerin mimarlık ve sinema alanlarında ortaya çıkan yeni yaklaşımlar üzerindeki etkileri tarihsel bir çerçevede değerlendirilmektedir. Üçüncü bölümde, Fransa'da savaş sonrası mimarlık ortamında ortaya çıkan yeni açılımlar incelenmekte; yeniden inşa süreci, devlet destekli kurumsal ve yasal müdahaleler, koruma ve restorasyon politikaları, konut krizi, banliyöleşme, toplu konut projeleri, mimari yarışmalar, modern mimari yaklaşımlar ve mimarlık eğitimindeki dönüşümler ele alınmaktadır. Dördüncü bölümde ise savaş sonrası sinemada yeni bir açılım olarak Fransız Yeni Dalga sinemasının ortaya çıkışı, hareketin temsilci yönetmenleri ile ayırt edici biçimsel ve düşünsel özellikleri tartışılmaktadır. Beşinci bölüm, tezin örneklem analizi bölümünü oluşturmaktadır. Bu bölümde, Fransız Yeni Dalga sineması kapsamında seçilmiş beş film üzerinden, savaş sonrası Paris'in mimari çevreleri ve özellikle konut mimarisindeki dönüşümleri incelenecektir. Paris Belongs to Us (Jacques Rivette, 1961), Cléo de 5 à 7 (Agnès Varda, 1962), Bande à Part (Jean-Luc Godard, 1964), Le Bonheur (Agnès Varda, 1965) ve Alphaville (Jean-Luc Godard, 1965) filmleri, savaş sonrası Fransa'da mimarlık ile sinema arasındaki ilişkinin mekân üzerinden okunabilmesine olanak tanıyan örnekler olarak ele alınmaktadır. Filmler; kent görünümleri, simgesel yapılar-kamusal iç mekânlar ve kişisel iç mekânlar olmak üzere üç ana başlık altında incelenmekte; Paris'in simgesel yapıları filmler aracılığıyla kültürel temsil ve mekânsal süreklilik bağlamında değerlendirilmektedir. Aynı zamanda modern mimari yaklaşımların kentsel ölçekte ve iç mekânlarda nasıl temsil edildiği ve sinemasal anlatıya nasıl yansıdığı tartışılmaktadır. Altıncı ve son bölümde, çalışmanın değerlendirme ve sonuçları açıklanmıştır. Tez kapsamında oluşturulan kuramsal çerçeve ile film analizlerinden elde edilen bulgular birlikte değerlendirilmekte; İkinci Dünya Savaşı sonrasında Fransa'da şekillenen mimarlık ortamı ile Fransız Yeni Dalga sinemasının mekânsal temsilleri arasındaki ilişki bütüncül bir bakış açısıyla ortaya konulmaktadır. Bu bağlamda, Yeni Dalga filmlerinde yer alan kent görünümleri, simgesel yapılar ile kamusal ve kişisel iç mekân temsilleri üzerinden modern mimarlık anlayışının sinemasal anlatı içindeki yansımaları tartışılmaktadır. Tez çalışması sonucunda, İkinci Dünya Savaşı sonrasında Fransa'da şekillenen mimarlık ortamının, Fransız Yeni Dalga sinemasındaki mekânsal temsiller aracılığıyla çok katmanlı bir biçimde okunabileceği ortaya konulmuştur. Bu değerlendirmeler doğrultusunda, mimari mekânın yalnızca fiziksel bir üretim alanı olarak değil; gündelik yaşam, deneyim ve kültürel temsil bağlamlarında anlam kazanan dinamik bir olgu olduğu görülmektedir. Fransız Yeni Dalga sinemasında mekân, anlatının pasif bir arka planı olmaktan çıkarak, savaş sonrası Fransa'daki mimari, toplumsal ve kültürel dönüşümlerin aktif bir taşıyıcısı hâline gelmektedir. Yapılan film analizleri, mimari mekânın modernleşme sürecinde tekil ve doğrusal bir gelişim izlemediğini; aksine farklı bağlamlarda yeniden anlam üreten, tarihsel süreklilik ve kopuşları eş zamanlı olarak barındıran bir yapıya sahip olduğunu göstermektedir. Bu bağlamda tez, sinemanın mimarlık tarihine tamamlayıcı ve eleştirel bir okuma alanı sunduğunu; savaş sonrası Fransa'daki mimarlık ortamının, Fransız Yeni Dalga sinemasındaki mekân temsilleri üzerinden daha bütüncül ve deneyim temelli biçimde değerlendirilebileceğini ortaya koymaktadır.
Özet (Çeviri)
Architecture and cinema are considered intersecting disciplines through the processes of spatial production, representation, and experience. This thesis examines the transformations in the field of architecture in France after the Second World War through the lens of the spatial representations in French New Wave cinema, which developed during the same period. The primary aim of the study is to evaluate the modernization processes that emerged in the postwar French architectural environment through the on-location shooting of urban and architectural spaces in New Wave films and to demonstrate that these films constitute a visual and cultural archive related to architectural history. In this context, the research addresses changes in the architectural environment not only through physical construction but also through spatial experience, usage practices, and symbolic representation, offering a holistic perspective to the architecture-cinema literature. The thesis consists of six chapters. The first chapter introduces the purpose, scope, and methodology of the study. The second chapter examines the socio-political and cultural-artistic context in France from the end of the Second World War until the late 1960s, evaluating the impact of postwar political and social transformations on new approaches in architecture and cinema within a historical framework. The postwar political and social structure was shaped under the influence of institutional and ideological transformations, generating a modernization process that necessitated the reorganization of the country. Despite their opposing political positions, the Vichy regime and the Resistance movement jointly accelerated administrative structuring, contributing to the formation of the modernization process. These conflicting ideological approaches reshaped the understanding of national identity in postwar France and laid the groundwork for the increasing prominence of nationalist thought during this period. Population growth, increased life expectancy, the shift of the economy from agriculture to the service sector, the rise of secular values, and the weakening of religious authority emerged as defining dynamics of social transformation. The spread of television and automobiles, changes in the education system, and the increasing participation of women in the workforce altered everyday practices and strengthened the pursuit of individual freedom. Political tensions stemming from colonial wars laid the social groundwork for the May 1968 uprisings, which became a turning point with lasting effects on social and political life in France. The May 1968 events are also considered a significant development that allowed the nationalist identity discourse, prominent in the postwar period, to give way to a new socio-cultural orientation emphasizing individual freedom and everyday life practices. It is observed that the cultural and artistic environment emerging in postwar France was shaped in accordance with the socio-political conditions of the period. All these developments reshaped the direction of postwar cultural policies and expectations regarding the social function of art; in this context, cultural and artistic representations were employed as instruments serving political objectives. Simultaneously, a common artistic language emerged across different disciplines, characterized by the questioning of traditional norms, experimentation with new forms of expression, and the adoption of experimental approaches. The third chapter examines the new developments in the architectural environment of postwar France. The reconstruction process was shaped within a multi-layered production system directed by public authorities according to reconstruction needs. This process, carried out through state institutions, local administrations, and technical offices, determined the priorities of architectural production; in particular, the urgency of housing needs led to specific orientations in architectural scale and spatial organization. Mass housing projects developed to address the postwar housing crisis were designed with a functional and rational planning approach, differing from the larger and detached housing typologies prevalent before the war. This approach brought functional interior arrangements aimed at accommodating more users in smaller spaces. As a result, housing spaces were defined within a more individual framework, creating spatial arrangements that reinforced tendencies toward individualization in everyday life practices. The limited presence of modern architectural examples in the center of Paris indicates that modernization policies were concentrated primarily in the city's peripheries, while interventions aimed at preserving the historic fabric were prioritized in the center. This situation, combined with the inadequacy of preservation-focused approaches in addressing the housing shortage, accelerated state-supported mass housing production. In this context, architectural competitions and large-scale mass housing projects organized in the postwar period provided experimental opportunities for the new generation of architects. Mass housing areas and accompanying site arrangements offered architects the opportunity to explore new planning strategies, building typologies, and ways of life. On the other hand, the limitation of modern architectural approaches to the scale of detached houses necessitated a more cautious approach in private housing production due to economic conditions, social expectations, and administrative processes. Consequently, the number of modern detached houses designed by leading architects of the period remained limited. During the same period, architectural education underwent a comprehensive transformation as the long-standing traditional curriculum failed to meet modernization expectations. This process made it possible to create a more participatory, pluralistic, and discussion-oriented educational environment. Following the May 1968 events, democratic and pluralistic tendencies emerging in architectural culture also influenced educational practices. Furthermore, mass housing projects of the period became the subject of criticism due to their uniformity and shortcomings in quality of life. Initially intended to provide solutions to the housing crisis and ensure adequate living standards, these projects were later criticized for insufficient user experience and spatial diversity. Within this framework, postwar architecture in France developed in a multi-layered and experimental environment, balancing preservation and modernization, city center and periphery, and short-term construction needs with long-term design objectives. The fourth chapter discusses the emergence of French New Wave cinema as a new development in postwar cinema, along with its representative directors and distinguishing formal and conceptual characteristics. The fifth chapter constitutes the sample analysis section of the study. In this chapter, the films Paris Belongs to Us (Jacques Rivette, 1961), Cléo de 5 à 7 (Agnès Varda, 1962), Bande à Part (Jean-Luc Godard, 1964), Le Bonheur (Agnès Varda, 1965), and Alphaville (Jean-Luc Godard, 1965) are analyzed to demonstrate how the new developments in postwar French architecture become visible through cinematic spatial representations. The films are evaluated under three headings: urban views, symbolic architectural structures and public interiors, and private interiors. In the sixth and final chapter, the evaluation and conclusions of the study are presented. The theoretical framework developed within the scope of the thesis and the findings obtained from the film analyses are evaluated together; the relationship between the architectural environment that took shape in France after the Second World War and the spatial representations of French New Wave cinema is presented from a holistic perspective. In this context, the reflections of the understanding of modern architecture within the cinematic narrative are discussed through the urban views, symbolic structures, and the representations of public and private interiors appearing in New Wave films. Through the urban views depicted in the analyzed films, it is observed that the historic fabric of the city was largely preserved in the center of Paris. At the same time, modern construction intensified in the city's periphery and suburbs, following a rational architectural language, with construction activity more prominent in these areas. Alongside modern development in the suburbs, prewar detached houses with gardens also persisted, creating a juxtaposition of traditional and modern urban fabrics. It is observed that the symbolic structures featured in the films have been preserved to the present day. The majority of these structures continue to serve their original functions, demonstrating continuity in use. However, some buildings have undergone functional transformations. Furthermore, the current use of symbolic structures is found to retain their role as social and cultural centers within the spatial organization of the historic city. Additionally, the use of symbolic structures in New Wave films is understood not merely as an aesthetic element but as serving an ideological function that makes visible the historical continuity of French cultural identity. In public interiors, a common approach to furniture and design is observed, manifesting in functional design, rational use of furniture, and open layouts. While modernism's principle of functionality is emphasized in public interiors, traditional design elements are also integrated within rational arrangements, creating an eclectic design approach in public spaces. Although modernist approaches are dominant in Paris's periphery and suburbs rather than the city center at the urban scale, the location of the space does not affect the character of interior design, and similar design approaches are maintained across both contexts. These observations indicate that public interior design is shaped by functionality and rationality, while traditional elements continue to exist. A common design approach is also observed in the private interiors depicted in the films. Private interiors are highlighted as spaces reflecting characters' psychological states, social roles, and individual identities. Considering the types of spaces in Paris's suburbs, detached houses with gardens are associated with family life and traditional values, whereas multi-story modern mass housing corresponds to individuality, freedom, and non-normative values. In contrast, the private interiors of characters living in central Paris are mostly located within historic buildings, which is emphasized through interior design. Rational design elements are more prominent in the spaces of non-normative or individualized characters, while traditional design approaches represent social values, family, and belonging. Many private interiors employ an eclectic design language combining these two approaches. In particular, in interiors where both traditional and rational design elements coexist, fixed furnishings are mostly composed of historical elements. Additionally, furniture is arranged in a simple, functional, and often context-independent manner, creating a spatial representation that parallels the characters' detachment from social ties, time, and reality. These arrangements reflect a transitional period in 1960s Paris, where modern and traditional design elements coexist. As a result, it is demonstrated that the architectural environment shaped in postwar France can be interpreted in a multi-layered way through the spatial representations in French New Wave cinema. Accordingly, architectural space is seen not merely as a field of physical production but as a dynamic entity that gains meaning through everyday life, experience, and cultural representation. In French New Wave cinema, space ceases to be a passive backdrop and becomes an active carrier of architectural, social, and cultural transformations in postwar France. Film analyses reveal that architectural space in the modernization process does not follow a singular and linear development; instead, it produces meaning anew in different contexts, simultaneously containing historical continuity and ruptures. In this regard, the thesis demonstrates that cinema provides a complementary and critical lens for architectural history, and that the postwar French architectural environment can be evaluated more holistically and through experiential perspectives via the spatial representations in French New Wave cinema.
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