MTD
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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:123 K:210
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)
166
ULUSLARARASI HAKEMLİ
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REFEREED
JOURNAL
OF DESIGN AND ARCHITECTURE
PRINT ISSN: 2148-8142 - ONLINE ISSN: 2148-4880
INTRODUCTION
From the early 20th century to the present
day, rapid revolution in production forms,
technological advances, the increasingly
shrinking world caused by globalization and
the Internet and different ideologies develo-
ped from all these changes have caused mo-
dern cities to become crowded and complex,
leading to difficult problems. Of course, the
community as a whole is most affected as a
result of these phenomena. Individuals in so-
ciety exist between buildings that are greater
than the human scale: they are stuck in their
routines, isolated from other members of the
community and uprooted from their own cul-
tural habits which represents a threat to cities.
The Internet seems to promise freedom, but
is actually isolating individuals and similarly,
technology is increasing the distances between
people while increasing the speed of transpor-
tation. All social life is based on consumption.
“The public spaces of modern cities are limi-
ted by consumption and only put consuming
on stage or they are limited by touristic life
and put tourism on stage” (Sennet, 1999:14).
The Open spaces in the cities are no longer a
reflection of the inner life. The buildings and
their surrounding open spaces, which appear
to be open to the public, are serving capital
and spurning public interest. Hovewer, rese-
arch in recent years points out that the presen-
ce of public spaces in a city is extremely im-
portant to improve the social life of citizens.
The individuals can reach them easily on foot
and are able to roam freely in public spaces,
may become friends by interacting with other
people, can socialize and can get rid of their
loneliness by feeling a part of the city. In this
way, happier and more effective people can
grow up in such cities.
CONVERSION of OPEN CITY AREAS to
the PUBLIC SPACES
To be able to accept the open city areas like
plazas and streets as public spaces; Habermas
(2004) explained that “free access”, “equal
participation” and “social equality” must be
obvious. These properties should be combi-
ned with “interaction”. Because, when the pe-
ople interact with each other, share common
activities and even project their own ideas
onto these spaces, they will feel more a part
of the community.
Public Art for the Public Spaces
The most effective tool is of course “art”
bringing communities together, providing
interaction and building a bridge between
people from different cultures. Art activities
embracing people of all ages can be organi-
zed in various forms in the public spaces in
the cities. These can be combined with tech-
nological installations such as light, laser and
projection and different disciplines such as
the performing arts and sculpture can be com-
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:123 K:210
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)
167
ULUSLARARASI HAKEMLİ
TASARIM MİMARLIK DERGİSİ
INTERNATIONAL REFEREED
JOURNAL OF DESIGN AND ARCHITECTURE
PRINT ISSN: 2148-8142 - ONLINE ISSN: 2148-4880
bined for these art activities. All art facilities
that are oriented towards the public and are
open to spontaneous, friendly interaction, are
defined as “public art”. The example of “The
RedBall Public Art Project”—( an invitation
to engage and to collectively imagine.), ig-
nites a sense of wonder, curiosity, commu-
nity engagement, and is just plain fun (Blank
Space 2016). The project has been touring
for several years making its way through all
the capitals of the world (Figure 1). In this
example, both audience and artist can interact
with each other and the people start to beco-
me aware of things around them by watching,
listening and/or touching. “These interventi-
ons of art interrogate the quality of life, the
social awareness and the spatial memory and
force the audiences to have an intellectual un-
derstanding of visuals” (Ergin, 2005:111).
Figure 1. The RedBall Public Art Project
The aim of artistic activity is to create awa-
reness of the citizens about the environment
they live in. It may not convey any message.
People walking with haste to reach somewhe-
re, without self-will, uninvited and even a litt-
le forced, can witness these activities. Those
who want to watch will stop, while others
will keep going. Being loved or hated is of
no importance, hence the citizen would be af-
fected in such a way by experiencing the art.
To make public art more effective, the artist
must surprise people, entertain and be very
creative.
GUERRILLA MARKETING on the
STREETS and GRAPHIC DESIGN
The characteristics of public art have attracted
the interest of marketing firms. The variety
of products in the global market, public we-
ariness towards of advertising and publicity
bombardment, and the high costs spent on
marketing have encouraged marketing firms
to find new methods. The necessity to deve-
lop more specific strategies has enhanced the
importance of guerrilla marketing. The gene-
ral definition of “Guerrilla Marketing”, first
defined by Jay Conrad Levinson in 1984, in
America, is the effort to influence people by
catching them in unexpected places and ti-
mes (Figure 2). The messages of portrayed in
guerrilla marketing also create a viral adver-
tising effect by enthralling the target group
with amazing ideas, provocative action and
creativity. (Dadaart 2015).