Özet:

One of the most important discoveries for the history of mankind in the process from the early ages to the present day is the discovery of the book. When evaluated from the perspective of the historical process, literary societies, initially defined by symbols and picturesque expressions, were united in the fields of common life and culture. Nowadays, the discovery of the matban and the meaning and expression of the text have been quite developed and expanded. When assessed from this point of view, the language created by writing has also been incorporated into the design process and has been directed to typographic language and style. Especially in the context of the art dynamics that changed since 1960, with the increase in interdisciplinary production, typography has begun to be used in all fields. This spread of use has also gained a considerable increase through the Industrial Revolution, which is considered a return of the modern age and the technological developments that are currently undergoing. Today, artists interpret their new ideas in the context of the changing conditions of the age with the possibilities of expression such as material, exhibition area, size, shape, color and meaning with original structural solutions. There are many contemporary artists who take typography as a form of expression in the center of all these interpretations, partially or entirely. In this study, in particular, the works of Joseph Kosuth, Roy Lichtenstein, Emmanuelle Moureaux, Morag Myerscough, Ergin Inan, Anna Garforth, Max Kisman and Barbara Kruger, which were in production in the context of the new possibilities of expression created by typography, were also read through architectural fields such as RBC Design Center and Fukutake House.

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