{"id":70,"date":"2026-06-11T17:09:24","date_gmt":"2026-06-11T14:09:24","guid":{"rendered":"https:\/\/unite-mag.com\/2026\/06\/11\/bir-formln-peinde-burle-marx-ile-yzlemenbsp\/"},"modified":"2026-09-10T21:27:02","modified_gmt":"2026-09-10T18:27:02","slug":"bir-formln-peinde-burle-marx-ile-yzlemenbsp","status":"publish","type":"post","link":"https:\/\/unite-mag.com\/en\/bir-formln-peinde-burle-marx-ile-yzlemenbsp\/","title":{"rendered":"In Pursuit of a Formula: Confronting Burle Marx "},"content":{"rendered":"
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Yaz\u0131:<\/strong> M\u00fcnire Sa\u011fat<\/p>\n<\/div>\n

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Y\u0131llar \u00f6nce peyzaj mimarl\u0131\u011f\u0131 \u00f6\u011frencisiyken, bitkisel tasar\u0131m\u0131 \u00e7izgilerle harmanlay\u0131p kentsel bir “grafik form\u00fcl” \u00fcretilebilece\u011fini Roberto Burle Marx’\u0131n i\u015flerinde ke\u015ffetmi\u015ftim. \u00c7izim yapmay\u0131 her zaman sevdim; ancak benim i\u00e7in as\u0131l heyecan noktas\u0131, bitkisel karakter ile zemin \u00f6r\u00fcnt\u00fcs\u00fcn\u00fcn birle\u015fti\u011fi grafi\u011fi g\u00f6rebilmekti. Rio’daki ilk gecemde Copacabana’ya vard\u0131\u011f\u0131mda, kar\u015f\u0131mda duran \u015fey sadece bir sahil yolu de\u011fildi: Burle Marx’\u0131n me\u015fhur dalgal\u0131 kald\u0131r\u0131mlar\u0131, insan ak\u0131\u015f\u0131n\u0131 bir m\u00fczik ritmiyle y\u00f6nlendiren ya\u015fayan bir kentsel sahneydi.<\/p>\n<\/div>\n

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\u015eehirde ge\u00e7irdi\u011fim \u00fc\u00e7 g\u00fcn boyunca her sabah bu sahile uyanmak, bizim \u00e7oktan kaybetti\u011fimiz do\u011fal sahil \u015feridi ile sosyal ya\u015fam\u0131n birlikteli\u011fini g\u00f6rmemi sa\u011flad\u0131. Ayn\u0131 anda bu kadar \u00e7ok insan\u0131n spor yap\u00admas\u0131na ve bir kamusal alan\u0131 bu denli aidiyetle kullanmas\u0131na hayran kald\u0131m. Sabah\u0131n erken saatlerinde ba\u015flayan bu devinim, g\u00fcne\u015f y\u00fckseldik\u00e7e kendi ritmini kazan\u0131yordu.<\/p>\n<\/div>\n

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Snoop Dogg’un “Beautiful” klibinden a\u015fina oldu\u011fum Selar6n Merdivenleri, Jorge Selar6n’un 60 farkl\u0131 \u00fclkeden getirdi\u011fi fayanslarla s\u00fcrekli g\u00fcncelledi\u011fi dinamik bir sanat eseri olarak kentsel yap\u0131ya renk kat\u0131yordu. Kentin d\u00f6n\u00fc\u015fen y\u00fcz\u00fc olan Maua Meydan\u0131’nda; Santiago Calatrava imzal\u0131 Yar\u0131n\u0131n M\u00fczesi ve Rio Sanat M\u00fczesi’ne uzaktan bir bak\u0131\u015f at\u0131p, Porto Maravilha boyunca ilerledik\u00e7e Eduardo Kobra gibi yerel sanat\u00e7\u0131lar\u0131n devasa y\u00fczeylere hayat verdi\u011fi duvar resimleriyle kar\u015f\u0131la\u015ft\u0131m. Santa Teresa’n\u0131n dar ve dolamba\u00e7l\u0131 yollar\u0131nda ise duvar resimlerine me\u015fhur sar\u0131 tramvay (Bondinho) e\u015flik ediyordu.<\/p>\n<\/div>\n

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Bu mahalle ya\u015fant\u0131s\u0131n\u0131n tam z\u0131tt\u0131 ise Rocinha Favela’s\u0131yd\u0131; k\u0131s\u0131tl\u0131 alanda plans\u0131zca dikey olarak geni\u015flemi\u015f, birbirine ge\u00e7en kablolar\u0131yla yamaca park etmi\u015f devasa bir cruise gemisi gibi kaotik ve etki\u00adleyici. .. Buradaki duvar resimleri, \u015fehrin di\u011fer noktalar\u0131nda g\u00f6rd\u00fc\u011f\u00fcm\u00fcz grafik dilin daha ham halini yans\u0131t\u0131yordu.<\/p>\n<\/div>\n

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G\u00fcn bat\u0131m\u0131 i\u00e7in Sugar Loaf’un zirvesine \u00e7\u0131kt\u0131\u011f\u0131mda, Rio’nun ger\u00e7ek \u00f6l\u00e7e\u011fini ve binalar\u0131n aras\u0131ndan ta\u015fan yo\u011fun ye\u015fil katman\u0131 farkettim. \u015eehrin da\u011flar ve okyanus aras\u0131na s\u0131k\u0131\u015fm\u0131\u015f olmas\u0131, Urca ma\u00adhallesinde s\u0131\u011f bir k\u00f6rfezin doldurulmas\u0131 gibi rasyonel mimari \u00e7\u00f6z\u00fcmler \u00fcretilmesini zorunlu k\u0131lm\u0131\u015ft\u0131. Zirveden g\u00f6r\u00fclen Praia Vermelha’ya inip Sugar Loaf ve Urca’n\u0131n heybetli sil\u00fcetini izlemek, \u015fehir do\u00adkusunu \u00e7ok daha iyi anlamam\u0131 sa\u011flad\u0131. Rio’nun o kendine has nemli ve alt\u0131n sar\u0131s\u0131 \u0131\u015f\u0131\u011f\u0131n\u0131 “Hala Bura\u00adday\u0131m” (Ainda Estou Aqui) filmindeki evin de yer ald\u0131\u011f\u0131 bu mahallede ve lpanema’da hissettim.<\/p>\n<\/div>\n

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“Uzun ve esmer, gen\u00e7 ve sevimli, lpanemal\u0131 k\u0131z y\u00fcr\u00fcy\u00fc\u015fe gidiyor … O ge\u00e7erken ben g\u00fcl\u00fcms\u00fcyorum.”:) (The Girl from lpanema)<\/p>\n<\/div>\n

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Rio halk\u0131n\u0131n mutlulu\u011fu, sorunsuz bir hayat\u0131n sonucu de\u011fil; aksine zor bir hayatla ba\u015f etme bi\u00e7imiydi. M\u00fczik, spor ve bedenle olan o bar\u0131\u015f\u0131kl\u0131k hali, bu kenti g\u00f6z\u00fcmde iyile\u015ftirdi. \u0130nsanlar\u0131n kamusal alanlar\u0131 b\u00fcy\u00fck bir aidiyetle kulland\u0131\u011f\u0131 “alt\u0131n saatlerin” sil\u00fcetleri ve dalgal\u0131 kald\u0131r\u0131mlar \u00fczerindeki kalabal\u0131k, zih\u00adnimdeki yerini her zaman koruyacak.<\/p>\n

Bir dahaki sefere, Burle Marx’\u0131n bitkisel dehas\u0131n\u0131n ve “grafik form\u00fcl\u00fcn\u00fcn” laboratuvar\u0131 olan Sftio Ro\u00adberto Burle Marx’\u0131 yerinde deneyimlemek, bu bilin\u00e7le onun \u00f6zel botanik d\u00fcnyas\u0131na s\u0131zmak isterim. <\/p>\n

“Bah\u00e7e, insan\u0131n do\u011fa ile yapt\u0131\u011f\u0131 bir i\u015f birli\u011fidir.” – Roberto Burle Marx<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

Yaz\u0131: M\u00fcnire Sa\u011fat Y\u0131llar \u00f6nce peyzaj mimarl\u0131\u011f\u0131 \u00f6\u011frencisiyken, bitkisel tasar\u0131m\u0131 \u00e7izgilerle harmanlay\u0131p kentsel bir “grafik form\u00fcl” \u00fcretilebilece\u011fini Roberto Burle Marx’\u0131n i\u015flerinde ke\u015ffetmi\u015ftim. \u00c7izim yapmay\u0131 her zaman sevdim; ancak benim i\u00e7in as\u0131l heyecan noktas\u0131, bitkisel karakter ile zemin \u00f6r\u00fcnt\u00fcs\u00fcn\u00fcn birle\u015fti\u011fi grafi\u011fi g\u00f6rebilmekti. Rio’daki ilk gecemde Copacabana’ya vard\u0131\u011f\u0131mda, kar\u015f\u0131mda duran \u015fey sadece bir sahil yolu de\u011fildi: Burle […]<\/p>\n","protected":false},"author":283014129,"featured_media":2015,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1414,1382,1380],"tags":[],"class_list":["post-70","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kent-mimari","category-roportaj","category-tasarim"],"_links":{"self":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts\/70","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/users\/283014129"}],"replies":[{"embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/comments?post=70"}],"version-history":[{"count":2,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts\/70\/revisions"}],"predecessor-version":[{"id":2029,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts\/70\/revisions\/2029"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/media\/2015"}],"wp:attachment":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/media?parent=70"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/categories?post=70"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/tags?post=70"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}