Araştırma Makalesi
BibTex RIS Kaynak Göster
Yıl 2023, Cilt: 11 Sayı: 2, 209 - 223, 30.06.2023

Öz

Kaynakça

  • [1] J. D. Kasarda and . M. Janowitz, "Community Attachment in Mass Society," American Sociological Review, 1974.
  • [2] M. Tsilimpounidi, "if these walls could talk street art and urban belonging in the athens of crisis,"  Laboratorium, 2015.
  • [3] M. Halsey and B. Pederick, "City: analysis of urban trends, culture,," City: analysis of urban trends, culture, 2010.
  • [4] M. E. Greaney, "The Power of the Urban Canvas: Paint, Politics, and," New England Journal of Public Policy, 2002.
  • [5] M. E. Greaney, "The Power of the Urban Canvas: Paint, Politics, and Mural Art Policy," New England Journal of Public Policy, p. 1, 2002.
  • [6] A. Young and M. Halsey, "'Our desires are ungovernable' : Writing graffiti in urban space," Theoretical Criminology, 2006.
  • [7] G. Erdoğan, KAMUSAL MEKANDA SOKAK SANATI: GRAFİTİ, Trabzon, 2009.
  • [8] Ö. Tanglay, "Kentsel Dışavurumun Sınır Tanımaz Halleri: Sokakların İç Sesleri," Planlama Dergisi, 2005.
  • [9] E. Toy and E. Görgülü, "KAMUSAL ALANDA SANAT UYGULAMALARINA BİR ÖRNEK: MURAL İSTANBUL," The Journal of International Social Research, 2018.
  • [10] M. Halsey and A. Young, "The Meanings of Graffiti," THE AUSTRALIAN AND NEW ZEALAND JOURNAL OF CRIMINOLOGY, 2002.
  • [11] J. M. Gadsby, "Looking at the Writing on the Wall: A Critical Review and Taxonomy of Graffiti Texts," http://www.graffiti.org/faq/critical.review.html, 1995.
  • [12] A.Wacławek, "Graffiti and Street Art," London: Thames & Hudson, 2011.
  • [13] T.Manco, "Street Logos," London: Thames & Hudson, 2004.
  • [14] M. E. Greaney, "The Power of the Urban Canvas: Paint, Politics, and," New England Journal of Public Policy, 2002.
  • [15] L. L. Lees, T. Slater and E. Wyly, GENTRIFICATION, New York: Routledge, 2007.
  • [16] D. Ley, "Artists, Aestheticisation and the Field of Gentrification," Urban Studies Journal Foundation, pp. 2535-2536, 2003.
  • [17] L. Lees, "A reappraisal of gentrification:towards a ‘geography of gentrification’," Progress in Human Geography, pp. 396-397, 2000.
  • [18] T. D. Y. Léopold Lambert, "e-skop,Sömürgeci Mimariler, Mutenalaştırıcı Bedenler," 16 4 2014. [Online]. Available: https://www.e-skop.com/skopbulten/somurgeci-mimariler-mutenalastirici-bedenler/1861#:~:text=Mutenala%C5%9Fma%2C%20insanlar%C4%B1n%20tarihsel%2C%20k%C3%BClt%C3%BCrel%20ve,aksama%20yaratt%C4%B1%C4%9F%C4%B1nda%2C%20%C5%9Fiddet%20uygulam%C4%B1%C5%9F%20oluyor.. [Accessed 13 3 2023].
  • [19] "Çevre ve Kültür Değerlerini Koruma ve Tanıtma Vakfı," 23 03 2011. [Online]. Available: https://www.cekulvakfi.org.tr/haber/kadikoyun-tarihi-yeldegirmeni-mahallesi-canlaniyor.
  • [20] C. DEMİR, "PUBLIC ART IN URBAN SPACE: THE CASE OF YELDEĞİRMENİ,," p. 121, December 2019.
  • [21] A. S. ŞAHİN, "KÜLTÜREL MİRAS ALANLARININ DÖNÜŞÜMÜNDE YENİ BİR," İstanbul, 2013.
  • [22] O. Zeybek, "Kentlerin Tekdüze Gelişimine Bir Başkaldırı Olarak Mural: İstanbul Örneği," İnönü Üniversitesi Sanat ve Tasarım Dergisi, 2018.

A Research on Murals In The Context Of Place Perception: The Example Of Yeldeğirmeni

Yıl 2023, Cilt: 11 Sayı: 2, 209 - 223, 30.06.2023

Öz

People want to create a common identity with the city that they live in through interaction. Visual expression tools in public spaces convey messages and influence the public. Since murals and graffiti have been used to express feelings/ideas, recently the search for creating a shared identity in different audiences through an innovative method has emerged. Murals and graffiti create a chance for people to slow down, see the area they are in, and think. The Yeldeğirmeni district was chosen as the research sample since empty building surfaces, which are worn out by physical effects over time and are unnoticed in the flow of life were covered with murals during art-design festivals within the scope of the “Revitalization Project" carried out by the municipality. This historical district has stood with its characteristic structure that has kept different subcultures alive in its streets and now it includes art-design workshops and new-generation cafes thanks to urban studies. In the district, structural features and residential areas have been preserved and social places have been restructured on a narrow scale. Although these arrangements don’t radically change the spatial perception of the natives, the non-residents increase their interest in the neighborhood and make the area a demanded place from the outside. With the collected data murals and graffiti works are considered by some as works that leave a legacy by layering with "art" and new-generation touches. But on deeper consideration, it is noticed that the gentrification path is drawn in the long term by “Revitalization ‘’.

Kaynakça

  • [1] J. D. Kasarda and . M. Janowitz, "Community Attachment in Mass Society," American Sociological Review, 1974.
  • [2] M. Tsilimpounidi, "if these walls could talk street art and urban belonging in the athens of crisis,"  Laboratorium, 2015.
  • [3] M. Halsey and B. Pederick, "City: analysis of urban trends, culture,," City: analysis of urban trends, culture, 2010.
  • [4] M. E. Greaney, "The Power of the Urban Canvas: Paint, Politics, and," New England Journal of Public Policy, 2002.
  • [5] M. E. Greaney, "The Power of the Urban Canvas: Paint, Politics, and Mural Art Policy," New England Journal of Public Policy, p. 1, 2002.
  • [6] A. Young and M. Halsey, "'Our desires are ungovernable' : Writing graffiti in urban space," Theoretical Criminology, 2006.
  • [7] G. Erdoğan, KAMUSAL MEKANDA SOKAK SANATI: GRAFİTİ, Trabzon, 2009.
  • [8] Ö. Tanglay, "Kentsel Dışavurumun Sınır Tanımaz Halleri: Sokakların İç Sesleri," Planlama Dergisi, 2005.
  • [9] E. Toy and E. Görgülü, "KAMUSAL ALANDA SANAT UYGULAMALARINA BİR ÖRNEK: MURAL İSTANBUL," The Journal of International Social Research, 2018.
  • [10] M. Halsey and A. Young, "The Meanings of Graffiti," THE AUSTRALIAN AND NEW ZEALAND JOURNAL OF CRIMINOLOGY, 2002.
  • [11] J. M. Gadsby, "Looking at the Writing on the Wall: A Critical Review and Taxonomy of Graffiti Texts," http://www.graffiti.org/faq/critical.review.html, 1995.
  • [12] A.Wacławek, "Graffiti and Street Art," London: Thames & Hudson, 2011.
  • [13] T.Manco, "Street Logos," London: Thames & Hudson, 2004.
  • [14] M. E. Greaney, "The Power of the Urban Canvas: Paint, Politics, and," New England Journal of Public Policy, 2002.
  • [15] L. L. Lees, T. Slater and E. Wyly, GENTRIFICATION, New York: Routledge, 2007.
  • [16] D. Ley, "Artists, Aestheticisation and the Field of Gentrification," Urban Studies Journal Foundation, pp. 2535-2536, 2003.
  • [17] L. Lees, "A reappraisal of gentrification:towards a ‘geography of gentrification’," Progress in Human Geography, pp. 396-397, 2000.
  • [18] T. D. Y. Léopold Lambert, "e-skop,Sömürgeci Mimariler, Mutenalaştırıcı Bedenler," 16 4 2014. [Online]. Available: https://www.e-skop.com/skopbulten/somurgeci-mimariler-mutenalastirici-bedenler/1861#:~:text=Mutenala%C5%9Fma%2C%20insanlar%C4%B1n%20tarihsel%2C%20k%C3%BClt%C3%BCrel%20ve,aksama%20yaratt%C4%B1%C4%9F%C4%B1nda%2C%20%C5%9Fiddet%20uygulam%C4%B1%C5%9F%20oluyor.. [Accessed 13 3 2023].
  • [19] "Çevre ve Kültür Değerlerini Koruma ve Tanıtma Vakfı," 23 03 2011. [Online]. Available: https://www.cekulvakfi.org.tr/haber/kadikoyun-tarihi-yeldegirmeni-mahallesi-canlaniyor.
  • [20] C. DEMİR, "PUBLIC ART IN URBAN SPACE: THE CASE OF YELDEĞİRMENİ,," p. 121, December 2019.
  • [21] A. S. ŞAHİN, "KÜLTÜREL MİRAS ALANLARININ DÖNÜŞÜMÜNDE YENİ BİR," İstanbul, 2013.
  • [22] O. Zeybek, "Kentlerin Tekdüze Gelişimine Bir Başkaldırı Olarak Mural: İstanbul Örneği," İnönü Üniversitesi Sanat ve Tasarım Dergisi, 2018.
Toplam 22 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Mimarlık
Yazarlar

Setenay Özer 0000-0001-6418-5882

Yayımlanma Tarihi 30 Haziran 2023
Gönderilme Tarihi 17 Ocak 2023
Yayımlandığı Sayı Yıl 2023 Cilt: 11 Sayı: 2

Kaynak Göster

APA Özer, S. (2023). A Research on Murals In The Context Of Place Perception: The Example Of Yeldeğirmeni. Gazi University Journal of Science Part B: Art Humanities Design and Planning, 11(2), 209-223.