Nesne Yönelimli Ontoloji Perspektifinden Chichu Sanat Müzesi’nin Ontolojik Analizi

Abstract

Bu çalışma, Nesne Yönelimli Ontoloji (NYO) kuramı temelinde, mimari nesneyi insan merkezli temsil ve deneyim odaklı yaklaşımların ötesinde konumlandıran ontolojik bir analiz yöntemi geliştirmeyi amaçlamaktadır.Tadao Ando’nun Chichu Sanat Müzesi (CSO) NYO kuramından hareketle geliştirilen beş kavramsal analiz parametresi (Ontolojik Otonomi, Maddenin Ontolojisi, Negatif Boşluklar, Eş-Düzlemli Gerilimler, Zaman-Dışı Derinlik) ışığında kavramsal olarak incelenmiştir. Analizler, mimari nesnelerin yalnızca biçimsel ya da işlevsel değil, kendi başlarına özerk bir varlık olarak anlam üretebildiğini ortaya koymaktadır. Işık, boşluk, malzeme ve yüzeymimari ögeler olarak, insan dışı aktörler olarak yapıların ontolojik derinliğini belirler. Bu bağlamda çalışma, mimarlık eleştirisine nesnelerin içkin potansiyelleri üzerinden yeni bir bakış sunmakta ve mimari nesneleri temsilin ötesinde, kendi varlık kiplerinde değerlendirmeyi önermektedir. Elde edilen bulgular, NYO’nun mimari düşünceyi dönüştürme potansiyelini ortaya koyarken, gelecekte farklı bağlamlara uygulanabilecek çoğul bir analiz zemini oluşturur.

Keywords

• Nesne Yönelimli Ontoloji (NYO)
• Chichu Sanat Müzesi
• Tadao Ando
• Mimari Ontolojik Analiz
• İnsan-merkezcilik eleştirisi

Ontological Analysis of the Chichu Art Museum from an Object-Oriented Ontology Perspective

Abstract

This study aims to develop an ontological analysis method—based on the Object-Oriented Ontology (OOO) theory—that positions the architectural object beyond human-centered representations and experience-focused approaches. Tadao Ando’s Chichu Art Museum (CSO) has been conceptually examined in light of five conceptual analysis parameters (Ontological Autonomy, Ontology of Matter, Negative Voids, Coplanar Tensions, and Timeless Depth) developed from the OO theory. The analyses reveal that architectural objects can generate meaning not only through their formal or functional aspects but also as autonomous entities in their own right. Light, void, material, and surface—as architectural elements—determine the ontological depth of structures as non-human actors. In this context, the study offers a new perspective on architectural criticism through the intrinsic potentials of objects and proposes evaluating architectural objects not merely as representations but in their own modes of being. The findings highlight NYO’s potential to transform architectural thought while establishing a pluralistic analytical framework that can be applied to diverse contexts in the future.

Keywords

• Object-Oriented Ontology
• Chichu Art Museum
• Tadao Ando
• Architectural ontological analysis
• Critique of anthropocentrism

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