International refereed journal of design and architecture print issn
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- ISSN Print: 2148-8142 Online: 2148-4880 (ISO 18001-OH-0090-13001706 / ISO 14001-EM-0090-13001706 / ISO 9001-QM-0090-13001706 / ISO 10002-CM-0090-13001706)
- PRINT ISSN: 2148-8142 - ONLINE ISSN: 2148-4880
- KENTSEL MEKANLARIN KAMUSALLAŞTIRILMASINDA GRAFİK TASARIMIN ROLÜ 1 THE ROLE OF GRAPHIC DESIGN IN CONVERTING URBAN SPACES TO PUBLIC SPACES
- Anahtar Kelimeler
- Sorumlu Yazar: Elif ATAMAZ, Yakın Doğu Üniversitesi, Güzel Sanatlar ve Tasarım Fakültesi, Lefkoşa / TRNC
MTD www.mtddergisi.com ULUSLARARASI HAKEMLİ TASARIM VE MİMARLIK DERGİSİ Ocak / Şubat / Mart / Nisan 2017 Sayı: 10 Kış - İlkbahar INTERNATIONALREFEREEDJOURNAL OF DESIGNANDARCHITECTURE January / February / March / April 2017 Issue: 10 Winter – Spring ID:143 K:236 ISSN Print: 2148-8142 Online: 2148-4880 (ISO 18001-OH-0090-13001706 / ISO 14001-EM-0090-13001706 / ISO 9001-QM-0090-13001706 / ISO 10002-CM-0090-13001706) (Marka Patent No / Trademark) (2015/04018 – 2015/GE/17595) 163 ULUSLARARASI HAKEMLİ TASARIM MİMARLIK DERGİSİ INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE PRINT ISSN: 2148-8142 - ONLINE ISSN: 2148-4880 second Turkish artist that was threatened of disturbing public and power. Moral received death threats after her sensational performance at the Casa Dell’Arte Gallery in Istanbul in 2011, titled “Amemus” (Lovemaking), which included live sexual intercourse with a female partner. Because of the harsh public reactions and criticism in media reports, and also for security rea- sons, Moral had to cancel her exhibition of the same name, which was to feature photos from the performance. Sixth example is from Cyprus born artist Tracey Emin, who has exhibited a bed with which she revealed intimate details from her life to engage the viewer with her exp- ressions of universal emotions. She showed her own bed in all embarassing glory. Empty booze bottles, fag butts, stained sheets, worn panties, bloody aftermath of nervous breakdown. She presented her most personal space, insecure and imperfect as the rest of the world. ‘My Bed’ has received criticism on the grounds that it is ‘self-indulgent’ or “not real art!”. By some art critics, ‘My Bed’ and Emin herself have been described as ‘self-degrading’, ‘exhibitionist’ and even ‘self-flagellating’: nothing that amounts to much praise. So why would she display such personal things, such as her used underwear or empty bottles of vodka, to the general pub- lic? Many critics have found fault with this ‘exhibitionism’, but there’s nothing really innately wrong with it. For thousands of years, men have been using women as their subject, and Emin has reclaimed herself, her body and her life and turned the male gaze upside down. Her artwork is for herself, and those willing to understand it. Seventh was Chris Ofili’s shit material used work. In this lustrous yet provocative work, Ofili presents a black Madonna surrounded by fluttering putti against a yellow-and-orange background. In the tradition of Western paintings of the Madonna nursing her baby, her blue robe is parted to reveal one exposed breast. On closer inspection, it becomes apparent that the putti actually consist of material cut from pornographic magazines, enhancing the overall voluptuousness of the image. It was printed theat it was a picture of Holy Virgin Mary splattered with elephant dung. Many chritics wrote that it really offended them. Eighth was from Italian artist Piero Manzoni. The use of shit as an artistic medium continued on. Takin advantage of his father’s canning factory, he produced the work he came best known for: Artist’s Shit, a series of 90 cans, each numbered and signed which, according to Manzoni, contained 30 grams of the artist’s own excrement. The 48x65x65 mm cans carried details of their contetnts in three languages: “artist’s Shit, contetnts, 30 grams net, freshly preserved, prodused and tinned in May 1961.” Manzoni priced these acoording to the gold market, literally selling his own waste for its weight in gold - $37 at the time. Last is the extraordinary work of Marc Quinn, known as “Self”, a continuing project instantiated every five years from blood made self portraits. This self-portrait is cast with eight pints of Quinn’s MTD www.mtddergisi.com ULUSLARARASI HAKEMLİ TASARIM VE MİMARLIK DERGİSİ Ocak / Şubat / Mart / Nisan 2017 Sayı: 10 Kış - İlkbahar INTERNATIONALREFEREEDJOURNAL OF DESIGNANDARCHITECTURE January / February / March / April 2017 Issue: 10 Winter – Spring ID:143 K:236 ISSN Print: 2148-8142 Online: 2148-4880 (ISO 18001-OH-0090-13001706 / ISO 14001-EM-0090-13001706 / ISO 9001-QM-0090-13001706 / ISO 10002-CM-0090-13001706) (Marka Patent No / Trademark) (2015/04018 – 2015/GE/17595) 164 ULUSLARARASI HAKEMLİ TASARIM MİMARLIK DERGİSİ INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE PRINT ISSN: 2148-8142 - ONLINE ISSN: 2148-4880 frozen blood. Described by the artist as a ‘frozen moment on lifesupport’, the work is carefully maintained in a refrigeration unit, reminding the viewer of the fragility of existence. Art has had identity of sold out meta with pop-art. The ones rating art, galleries ruling the art market, gallery managers, museums, curators, have all become art dealers. Art has become gusto of a minority of coterie. But, has to renew itself all the time and be dynamic, to satisfy this minority. Art has faced a danger to be Kitsch object with the synonym for fashion. Scandals opt to be done fort the mondey and commercial. 165 165 KENTSEL MEKANLARIN KAMUSALLAŞTIRILMASINDA GRAFİK TASARIMIN ROLÜ 1 THE ROLE OF GRAPHIC DESIGN IN CONVERTING URBAN SPACES TO PUBLIC SPACES Elif ATAMAZ Yakın Doğu Üniversitesi, Güzel Sanatlar ve Tasarım Fakültesi, Lefkoşa / TRNC Öz: Günümüz kentlerinin en büyük sorunlarından biri, küreselleşme ve hızla gelişen teknoloji ile birlikte de- ğişen, çok-kültürlü ve gittikçe yalnızlaşan toplum ya- pısıdır. Bireylerin yalnızlığından sıyrılıp sosyalleşmesi için yaşadığı yere sahip çıkabilmesi ve böylelikle ken- disini kentin bir parçası hissetmesi gerekir. Bu da; kent mekânlarının kamusallaştırılması ile mümkündür. Ka- musallaşma için, bireylerle mekân arasında etkileşim önemlidir. Sivil toplum kuruluşları, yerel yönetimler, uzmanlar ve sanatçılar kamuya açık mekânlarda çeşitli etkinlikler, konserler, gösteriler, sergiler ve atölye ça- lışmaları organize ederek izleyicilerin çevresi ile far- kındalığını arttırmayı ve böylelikle kent mekânlarını topluma kazandırmayı amaçlamaktadır. Grafik tasa- rımda sanatsal etkinlik; akıl ile biçimlenmiştir ve me- saj iletme boyutu ile diğer sanat etkinliklerinden daha etkilidir. Grafik tasarım ile kentli ve kent ziyaretçileri mekân hakkında bilgilendirilir, yönlendirilir ve aynı zamanda bazı konularda eğitilip, uyarılabilir. Kentle- rin kullanıcıları ile doğru iletişimi kurmasında, grafik tasarım en yalın ve dolaysız anlatım dilidir. Bu maka- lede, gittikçe kalabalıklaşan ve karmaşıklaşan kentler- de, kent mekânlarının kamusallaştırılmasının önemi ve grafik tasarımdan nasıl ve hangi sebeplerle faydalanı- lacağı örnekler üzerinden yorumlanarak irdelenmiştir. Anahtar Kelimeler: Kentsel Tasarım, Kamusal Mekân, Mekan Grafiği, Grafik Tasarım Abstract: One of the most important problems in to- day’s urban cities is the multi-cultured and increasingly alienated social structure, caused by globalization and fast-growing technologies. Individuals should own their living areas and consider themselves as part of the city in order to socialize and get rid of their loneliness. This is only possible by converting urban spaces into public areas. Interaction is an important factor for cre- ating such desired spaces. Civil community organiza- tions, local governments, experts and artists organize various activities, performances, shows, concerts, exhi- bitions and active workshops on the streets and squares aiming to increase awareness for the living environ- ment and consequently to reclaim the public spaces. In graphic design; the artistic activity is shaped by rational thinking and due to its ability to transmit messages, is more effective and striking than other forms of art. By using graphic design elements on the public areas, citi- zens and visitors can be informed, navigated and at the same time can be educated and even warned in some respects. In the formation of the correct communica- tion with the users of the cities, the graphic design is the most simple and direct language. In cities which are day by day becoming more crowded and complex, the importance of converting urban spaces into public areas is pointed out, and how and why graphic design methods can be used will be evaluated by interpreting examples in this article. Key Words: Urban Design, Public Space, Graphic De- sign, Environmental Graphic (1) Sorumlu Yazar: Elif ATAMAZ, Yakın Doğu Üniversitesi, Güzel Sanatlar ve Tasarım Fakültesi, Lefkoşa / TRNC, elif.atamaz@neu.edu.tr Geliş Tarihi / Received: 13.10.2016 Düzeltme Tarihi / Revision Date: 08.01.2017-11.01.2017 Kabul Tarihi / Accepted: 16.02.2017 Makalenin Türü: Typeofarticle (Araştırma – Uygulama /Research - Applica- tion) Çıkar Çatışması / Conflict of Interest:Yok / None“Etik Kurul Raporu Yok – None of Ethics Commit Doi: 10.17365/TMD.2017.1.008.x TMD ULUSLARARASI HAKEMLİ TASARIM VE MİMARLIK DERGİSİ INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE Yüklə 38,03 Mb. Dostları ilə paylaş:
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