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ULUSLARARASI HAKEMLİ TASARIM VE MİMARLIK DERGİSİ
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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
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