Arazi Sanatının Çağdaş Peyzaj Tasarımı Üzerine Etkileri
Arazi Sanatının Çağdaş Peyzaj Tasarımı Üzerine Etkileri
Dosyalar
Tarih
2011-07-08
Yazarlar
Büyükgökçesu, Zeynep
Süreli Yayın başlığı
Süreli Yayın ISSN
Cilt Başlığı
Yayınevi
Fen Bilimleri Enstitüsü
Institute of Science and Technology
Institute of Science and Technology
Özet
Çağdaş peyzaj mimarlığı kendi özgün dilini oluşturma yolunda gelişmektedir. İnsan ve doğanın sürekli değişim gösteren ilişkisi, çevreyle ilgili endişeler ve estetik gereksinimler, sanat ve mimarinin potansiyelini açığa çıkarmaktadır. Hem Arazi Sanatı, hem de bağlantılı sanat akımları, yeni bir dil oluşturmada peyzaj tasarımı ve kamu sanatına ilham kaynağı olmaktadır. Büyük ölçüde ahenk, romantisizm, düzen ve kaosa bağlı kalan erken dönem peyzaj tasarımı, müze sınırlarının dışına çıkan bu sanat akımının doğuşuyla birlikte sorgulanmaya başlamıştır. Arazi Sanatı, mekan tasarımına yeni standartlar getirerek, peyzaj mimarlığı ve peyzaj sanatında birçok çağdaş yaklaşımı etkilemiştir. Peyzaj ve bahçede geçişkenliğin keşfedilmesiyle, sanat formlarının tüm ölçeklerde kolayca birbirlerine dönüşebilmesi de mümkün olmuştur: sanat heykelle, heykel de peyzajla ifade edilmiştir. Ancak, Arazi Sanatının, insan algısında yaşanan krizin aşılması amacıyla peyzaj mimarlığına yeni yollar mı sunduğu, yoksa sanata yönelik subjektif yaklaşımın yalnızca estetik bir çıkmaza mı yol açtığı da sorgulanmıştır. Bu çalışmanın konusu, sözü edilen sorun ekseninde Arazi Sanatı akımının peyzaj mimarlığı üzerindeki güçlü etkisini vurgulamaktır. Bununla birlikte, Arazi Sanatının peyzaj mimarlığını tek yönlü olarak mı etkilediği, yoksa peyzaj tasarımı ve peyzaj tasarımcılarının da mı arazi sanatçılarını etkilediği sorulabilir. Dolayısıyla, bu çalışmanın amacı, kısaca, peyzaj mimarlığını bir sanat formu olarak konumlandırarak Arazi Sanatı ve çağdaş peyzaj tasarımı arasındaki etkileşimi vurgulamak ve konuyla ilgilenenlere güvenilir bir referans kaynak sunabilmektir. Peyzaj mimarlığının bugünkü tasarım dilini ve önde gelen çağdaş peyzaj mimarlarının günümüzdeki tasarım bilinçlerine erişene kadar geçirdikleri süreçleri anlamak amacıyla, bu iki disiplin arasındaki bağlantı ortaya koyularak, sanatın peyzajda geçirdiği dönüşüm ayrıntılı biçimde incelenmiştir. Bu geçişi göstermek için, sanata ve doğaya yönelik yaklaşımları birbirlerinden farklı olan sanatçılar, sanat eleştirmenleri, sanat teroisyenleri ve peyzaj mimarlarından alıntılara ve arazi sanatçıları ile peyzaj mimarlarının çalışmalarından örneklere yer verilmiştir. Bu geçiş, biçim ve anlam bakımından en açık şekilde kentsel peyzajda görülmektedir. Seçilen projeler ve bu projelerin felsefeleri, peyzaj mimarlığı ve Arazi Sanatı arasındaki sınırın belirsizliğini ve buna bağlı olarak, kentsel peyzajda yeni bir tasarım yaklaşımının doğuşunu açıkça göstermektedir. Doğaya yönelik yaklaşımlarındaki farklılıklara rağmen sanatçılar ve peyzaj mimarları, peyzajın, çeşitli tasarım disiplinlerini bünyesinde barındırabilecek ortak bir dil olduğunu kanıtlamışlardır. İlham kaynaklarını tarih öncesi yapılardan ve geleneksel bahçe sanatından alan Arazi Sanatı akımı, insan ve doğa arasındaki bağlantıyı vurgulamış ve bunu onarmayı hedeflemiştir. Bu felsefesiyle Arazi Sanatı, peyzaj mimarlığı için bir ilham kaynağı olmuştur. Arazi Sanatı, insan algısındaki krizin aşılması amacıyla yeni yollar açarak, peyzaj mimarlığının kendi tasarım dilini yaratmasını sağlamıştır. Peyzaj mimarlığı artık yalnızca işlev ve çevreyle ilgili doğru kararlar vermekle yükümlü değildir; araziyi, biçimi ve sanatı da hesaba katar. Peyzaj mimarlığı, sanattan soyutlanamayacağı gibi, sürekli olarak kendi biçimlerini ve akımlarını yaratabilen bir “sanat biçimi” olarak değerlendirilmelidir.
Contemporary landscape architecture is progressing towards an independent language of its own. The ever-changing relationship between man and nature, ecological concerns and aesthetic aspirations are evolving the potentials of art and architecture. Land Art and related art movements are both sources of inspiration and innovation of a new language in landscape design and public art. Early landscape design, which adhered by and large to the concepts of harmony, romanticism, order and chaos, was questioned by the birth of this art movement, which broke the confines of the museum walls. Land Art has set new standards for designing space, which have influenced many contemporary approaches in landscape architecture and landscape art. Landscape and garden have discovered the fluidity, with which art forms flow easily from one into the other on all scales: art becomes sculpture; sculpture becomes landscape. However, it is also questioned whether an examination of Land Art opens up new avenues for landscape architecture to overcome the crisis in human perception or the subjective approach to art only leads to an aestheticizing impasse. Considering this question as the starting point, the subject of this study is to emphasize the strong influence of Land Art movement on landscape architecture. We may also ask, however, whether the influence of Land Art had a one-sided effect on landscape architecture, or landscape design and landscape designers influenced land artists as well. Accordingly, the purpose of this study, briefly, is to emphasize the interaction between Land Art and contemporary landscape design by positioning landscape architecture as an art form, and to create a reliable material that may serve as a reference for anyone interested in the subject. Revealing the connection between these two disciplines, the evolution of art in the landscape has been carefully analyzed to understand the current design language of landscape architecture, as well as the processes that the leading contemporary landscape architects had gone through to reach their design consciousness today. Proving this transition could only be possible by providing quotations from artists, art critics, art theoreticians and landscape architects, and giving examples of works by land artists and landscape architects, who have different approaches to design and nature. This transition certainly reveals itself in terms of form and meaning especially in urban landscapes. Selected projects, with their underlying philosophies, clearly show that the boundaries between landscape architecture and Land Art are blurred, and, therefore, a new design approach appeared in urban and public landscapes. Regardless of the differences in their approaches to nature, artists and landscape architects have provided significant proof that landscape is a shared language that is capable of containing various design disciplines. Land Art movement, which appeared as an assemblage of inspirations taken from prehistoric monuments and traditional garden art, emphasized the connection between humans and nature, and undertook a mission to restore it. With this philosophy, Land Art became a source of inspiration for landscape architecture. Land Art helped landscape architecture to create its own design language by opening up new avenues to overcome the crisis in human perception. Landscape architecture is no longer only about making correct decisions on function and environment, but it also considers land, form and art. Landscape architecture cannot be isolated from art, but it should rather be considered as a “form of art,” which can consistently build its own forms and trends.
Contemporary landscape architecture is progressing towards an independent language of its own. The ever-changing relationship between man and nature, ecological concerns and aesthetic aspirations are evolving the potentials of art and architecture. Land Art and related art movements are both sources of inspiration and innovation of a new language in landscape design and public art. Early landscape design, which adhered by and large to the concepts of harmony, romanticism, order and chaos, was questioned by the birth of this art movement, which broke the confines of the museum walls. Land Art has set new standards for designing space, which have influenced many contemporary approaches in landscape architecture and landscape art. Landscape and garden have discovered the fluidity, with which art forms flow easily from one into the other on all scales: art becomes sculpture; sculpture becomes landscape. However, it is also questioned whether an examination of Land Art opens up new avenues for landscape architecture to overcome the crisis in human perception or the subjective approach to art only leads to an aestheticizing impasse. Considering this question as the starting point, the subject of this study is to emphasize the strong influence of Land Art movement on landscape architecture. We may also ask, however, whether the influence of Land Art had a one-sided effect on landscape architecture, or landscape design and landscape designers influenced land artists as well. Accordingly, the purpose of this study, briefly, is to emphasize the interaction between Land Art and contemporary landscape design by positioning landscape architecture as an art form, and to create a reliable material that may serve as a reference for anyone interested in the subject. Revealing the connection between these two disciplines, the evolution of art in the landscape has been carefully analyzed to understand the current design language of landscape architecture, as well as the processes that the leading contemporary landscape architects had gone through to reach their design consciousness today. Proving this transition could only be possible by providing quotations from artists, art critics, art theoreticians and landscape architects, and giving examples of works by land artists and landscape architects, who have different approaches to design and nature. This transition certainly reveals itself in terms of form and meaning especially in urban landscapes. Selected projects, with their underlying philosophies, clearly show that the boundaries between landscape architecture and Land Art are blurred, and, therefore, a new design approach appeared in urban and public landscapes. Regardless of the differences in their approaches to nature, artists and landscape architects have provided significant proof that landscape is a shared language that is capable of containing various design disciplines. Land Art movement, which appeared as an assemblage of inspirations taken from prehistoric monuments and traditional garden art, emphasized the connection between humans and nature, and undertook a mission to restore it. With this philosophy, Land Art became a source of inspiration for landscape architecture. Land Art helped landscape architecture to create its own design language by opening up new avenues to overcome the crisis in human perception. Landscape architecture is no longer only about making correct decisions on function and environment, but it also considers land, form and art. Landscape architecture cannot be isolated from art, but it should rather be considered as a “form of art,” which can consistently build its own forms and trends.
Açıklama
Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2011
Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2011
Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2011
Anahtar kelimeler
arazi sanatı,
peyzaj mimarlığı,
çevresel sanat,
toprak işleri,
çağdaş peyzaj tasarımı,
etki,
land art,
landscape architecture,
environmental art,
earthworks,
contemporary landscape design,
influence