Kamusal sanatın mekansal ve toplumsal yorumunun Beyoğlu örneği üzerinden incelenmesi
Spatial and social view of publi̇c art: the case of Beyoğlu
Yazar: BÜŞRA YALÇIN
Danışman: DOÇ. DR. REYHAN GENLİ YİĞİTER
İstanbul Teknik Üniversitesi / Fen Bilimleri Enstitüsü / Şehir Planlama Ana Bilim Dalı / Şehir Planlama Bilim Dalı
Derece: Yüksek Lisans, 2018
Konu: Şehircilik ve Bölge Planlama = Urban and Regional Planning ; Şehircilik ve Bölge Planlama = Urban and Regional Planning

Özet:
Antik çağdan ortaçağa, sanayi devriminden 21. yüzyıla kadar süregelen kamusal alan tanımlamaları ve uygulamaları her dönem farklılıklar barındırmıştır. 1970'li yılların sonlarına doğru, kamusal alanların önemi terk edilmiş sanayi bölgeleri için hazırlanan yeniden canlandırma projeleriyle gündeme gelmiştir. 1990'lara gelindiğinde "güzel şehir" anlayışı kamusalın önemini daha çok arttırmış, küresel politikalar üretilmiştir. 21. yüzyılda ise kamusal alan; toplumsal bilinç oluşturma, ekonomik fayda gibi konuları yaratıcı yollarla ayakta tutan faaliyetlerin mekanı olmuştur. Sanat ile ilişkisinin daha kuvvetlenmesi fikri bu noktada ortaya çıkmıştır. Kamusal sanat 1960'larda sanatsal bir kavramdan öteye gitmediği görülürken, 19. yüzyılda sunuş erişim ve bu konuda yaşanan endişeler dile getirilmiştir. 20. yüzyılın başlarından itibaren sponsorları kendisine çeken planlı bir küresel model haline getirilmiştir. Yaratıcılık, teknolojik olanaklar, rekabetçilik fikri ile kamusal sanat; kentler, kurumlar, bireyler için çok yönlü bir süreci başlatmıştır. Bir taraftan kamusallık bilincini odağa alan projeler geliştirilirken diğer taraftan bunun toplumsal yansımaları göz ardı edilmiştir. Bu iki yönlü gelişen ve hızla devam eden kamusal sanat anlayışı üzerine bir bakış sunmayı hedefleyen bu çalışma sınırlarını toplumsal etkilere kadar genişletmeyi hedeflemiştir. Kamusal alanın değişimi, kamusal sanatın büyük ölçüde ekonomik gücünü genişletme hedefi güden siyasi taraflar aracılığıyla yürütülen bir sürece evrimi ve toplumsal etkileri araştırılmıştır. Kamusal alan ve sanatın tarihsel dönemler olarak ele alınmasının ardından bütüncül çerçevesinin görülmesi adına uygulamalara yer verilmiştir.
Yeni medya anlayışının gelişmesi, popüler kültür etkisi, ticari kaygılar, farkındalıkların artması gibi birçok etmene bağlı olarak sergi, anlam ve toplumsal kabul görme biçimleri değişmiştir. Değişen kamusal sanat uygulamaları ve kamusallıkları "katılımcılık", "algı" ve "erişim" kavramları üzerinden sorgulanmıştır. Kamusal alan kullanıcısı kamusalda etkileşim ve gereksinimlerinin giderilmesini talep etme hakkına sahip ilk bileşen olarak görülmüş ve kavramlar üzerine algı ölçümleri, etki süreçleri, mekansal yansımaları doğrudan katılımcı görüşmeleri aracılığıyla yorumlanmıştır.
Bu çerçevede, kent mekanında sunulma imkanı bulmuş bugünün kamusal sanat faaliyetlerine katılım gösteren kamusal kullanıcı görüşmeleri çalışmanın sonuç verilerini sunmuştur. Katılım nedenleri, erişim imkanları, kamusal sanat algı ve tecrübeleri, beklentileri, geçmiş ve gündelik deneyimleri, kolektif ilişki bakışları değişkenlik gösteren katılımcı profilleri farklı kamusal grupları temsil etmektedir. Eğitim düzeyi yüksek, sosyal çevresi ile ilgi ve yetenekleri üzerine teknik ilişkiler içerisine girebilen, hayat beklentileri ilgilerine göre şekillenen, ekonomik olanakları daha yüksek toplumsal grupların, çağdaş kamusal sanat faaliyetlerine ve politik kamusal sanat tercihlerine yoğunlaştığı görülürken; doğrudan rastlantısallıklardan doğan kamusal sanat faaliyetlerini tercih eden grubun eğitim, ırk, ekonomik faktörler gibi belirli kriterlere göre ayrılmasının güç olduğu görülmüştür. Bu durum tanıtım ve ilgi alanlarına göre şekillendirilen, hedef katılımcısı dışına çıkamayan büyük ölçekli sponsorlu kamusal sanat organizasyonlarının kamusala erişimde yetersiz kaldığı ve toplumsal ayrışma örneği yarattığı sonucunu doğurmaktadır.

Abstract:
The definitions and practices of public spaces from antiquity to the Middle Ages, from the industrial revolution to the 21st century, have had differences in each period. Especially in the late 1970s, the importance of public spaces came to the fore with revitalization projects prepared for abandoned industrial zones. By the 1990s, the concept of ları beautiful city usal increased the importance of the public, the fund programs were started and policies were produced.In the 21st century, public space; it has been the place of activities that create issues such as social awareness, economic benefits and other ways. At this point, the idea of strengthening its relationship with art emerged. Public art In the 1960s, it was seen that it did not go beyond an artistic concept, whereas in the 19th century, the ways of presentation, access and the worries about it were expressed. Since the beginning of the 20th century it has been a political form of government and has been transformed into a global model planned today. Creativity, technological possibilities, the idea of competitiveness and public art; it has initiated a multi-faceted process for cities, institutions and individuals. On the one hand, projects that focus on public awareness have been developed, while the social implications of it have been ignored. This study, which aims to present an overview of the two-way developing and fast-growing concept of public art, aims to extend its boundaries to social influences. The evolution of the public domain and the social effects of this new understanding have been explored as a process of formal and formal change of public space, a process that is carried out through the political parties aiming to broaden the economic power of public art. In designing the work fiction, after the consideration of public space and art as historical periods, it was ensured that the holistic framework was seen and a framework was drawn on the result products.
Due to many factors such as the development of new media understanding, popular cultural influence, commercial concerns and increased awareness, the forms of exhibition, meaning and social acceptance have changed. Changing public art practices and publicity were questioned through the concepts of "participation", "perception" and "access". The public space user is seen as the first component that has the right to request the interaction and needs of the public. Perceptional measurements, impact processes and spatial reflections on concepts were interpreted through direct participatory interviews.
In today's public art understanding, there are three basic judgments. The first of them; and underlines that a competitive process has begun in the understanding of art with the fact that nations are competing with each other. Latter; advocates that social relations should be emphasized. The final blood is; how the art products are presented, what is the level of intelligibility, and how the participant and product interaction can be provided. At the same time, based on the definitions and interpretations made, the public art of today is no longer an object and has become a social, multi-center, multicultural subject, shaped around an activity and fiction.
In this section, where detailed explanations about the developments, from the monuments and statues accepted as the beginning of the public art to the contemporary public art, the orientations of the public art in the urban and global view, and the varieties that have the possibility to apply in the cities, the most remarkable factor is the emphasis on the necessity of public art to be social. This emphasis not only transformed the process of public art and the traces it left in space, but also created a new perception of public art from a social perspective. The research has been completed by emphasizing the power of the public art practices, which are revealed in the consciousness of sociality, at the point of awakening sense of belonging.
In the participation literature, it was seen that the participation processes were influenced by many different factors. It was noteworthy that it was important to ensure that the process is properly managed and that the analysis of the benefits analysis is done correctly in order to ensure the correct detection and participation level of the participants at the same rate. The first result of the concept of perceptions of perception is that it changes according to the activity and presentation. Individual factors, external factors of impact, are in the sense of belonging to the place where they are located and come into prominence.
The sample examination process of the study has been initiated in order to test the accuracy of the finding that the readings on the basis of equal access, equal perception and equal participation in the basis of the definition of publicity are working on different planes today.
Examples of process on behalf of the very creation of the work area before starting the process of determining Turkey and Istanbul history and practice of public art have been examined. Turkey's history of public art process in Europe remains far behind but was seen as the first stage of the application process a bit heavy, heavy progress after 1980 has put this place on a rapid artistic development cycle. Starting from the 19th century continuing after the period of the Republic of the modernization efforts with the commencement of fiction with space equivalent to advancing the art in Turkey, Istanbul is gaining importance in the city, where the point of being the first example. The beginning of the relationship between art and space in Istanbul and its examples according to the types of public art coincide with the examples seen in Europe.
The research has been elaborated in the area of Beyoğlu region which contains important art traces for Istanbul. Beyoğlu region, with its cultural-art programs in the historical process, art installations in the first urban space, and the opportunity to give spatial possibilities to contemporary public art organizations and to be able to be chosen as the study area within the scope of the study with the perception of the art center of the city in the social memory. In order to present qualitative and quantitative data to the literature, participant profiles were examined through public art activities which were applied in Beyoğlu city space and the results were concluded on social acceptances.
In the spatial observation process, which is the first stage of the research, it was observed that the public art activities were closed / open in their preferences and the participatory gravitational forces varied in the hours of usage. The rate of participation from randomness was found to be high in the Beyoğlu Street Festival and individual performance shows using the urban space and having low temporal limits.
In this context, public user interviews who had the opportunity to be presented in the urban space and participated in today's public art activities presented the results of the study. Participatory profiles represent different public groups with their reasons for participation, access possibilities, public art perception and experiences, expectations, past and daily experiences, and collective relationship perspectives. It has been observed that the social groups that are able to enter the technical relations on their interests and abilities with a high level of education and who are able to enter into technical relations, whose life expectations are shaped according to their interests, concentrate on modern public art activities and political public art choices. It has been seen that it is difficult to differentiate the social group, who prefer the coincidental public art activities, to certain criteria such as education, race and economic factors. This situation leads to the conclusion that large-scale sponsored public art organizations, which are shaped according to their promotional and interest areas and who cannot go outside the target participant, are insufficient in accessing the public.
To sum up, it is necessary to examine the spatial and social reflections of today's cities when they are under the influence of globalization, and because of the spatial and social changes under this influence. In the 1980s he began to questioning of the public in Turkey have been included in this inquiry, from the traditional point of view, a lot of debate in the process until a new type of public art has been carried out, especially in the 2000s on a global scale with was put forward rotation arts organizations in cultural investment. Especially when technological developments bring innovative processes into our lives, cultural perspectives are shifted and local cultures and glances have been replaced by new fictions. The art that was fed into the new fiction of the public has found new forms of presentation to itself and this process has also shaped the user in certain profiles. The diversification of the possibility of meeting with the exhibitors and the change of their own has caused a new problem through public art activities.
In addition to emphasizing the integrative power of art, it has been seen that the possibilities of participation, access and perception are presented to different target groups at different levels and this situation is under the influence of personal, economic and physical factors. It is expected that at this stage, the public art should reach out of the target group. It is expected that the participant population, who stated that they could participate in a free public art activity, could not have olan provided access to the existing free activity Ücretsiz. The fact that there was an inaccessible mass even if financial obstacles were removed led to a lack of social cultural education at some point and raised concerns on the right to make the right promotions.
The fact that public art is actually the most critical and remarkable point when it is socially correct means that the evaluation of the achievement of social access and participation should be increased. It will be the correct analysis of the social habits, the awareness that is expected to be made at this stage, and the more effective use of the open urban planes for publicity and awareness.