Özet:

Abstract Surrealism, which was formally announced by Andre Breton with the publication of the Surrealist Manifesto in 1924, played an active role in art history by affecting some art movements such as Letrism, Situationist International and, Fluxus that developed after itself. Surrealism not only produces extensive cultural productions in different artistic disciplines such as photography, painting, sculpture and, literature but also transforms its manifestos, which try to explain the content and purpose of the movement, into an artistic production tool. However, surrealism, one of the most important avant-garde art movements of the 20th century, has been tried to be examined within the scope of this study from a different perspective that is thought to create potential ideas for architectural practice with its spatial experiments and productions. The main focus of this study is to reveal the potentials of the discourse, which has solidified into a place, on spatial design through the manifestos of the Surrealists, and to examine the examples of places that are visioned or actualized by the Surrealists through the relationship between discourse and place on a conceptual plane. While the three main manifestos written by Andre Breton determine the boundary of discourse analysis, the concepts in the manifestos are tried to be revealed through their meanings that can be associated with the places are designed by the Surrealists. In this study, the identification of the concepts contributes to the perception of the transformation of discourse into place and also allows the Surrealist doctrine to be observed in space. The chapter entitled “Spatial productions of Surrealists” includes examples of places that are visioned or actualized by Surrealists. The examples of the places in this chapter, which tries to exemplify the spatial readability of the relationships between discourse and place, have been tried to be explained under two main headings: “Visionary Places”, which includes the imagination about the city and home, and “Actualized Places”, which includes exhibition and performance places. This chapter consists of lots of spatial productions, including the survey studies on the city of Paris, paintings by Giorgio de Chirico and Conroy Maddox, home sketches and thoughts of Tristan Tzara, Roberto Matta Echaurren, and Frederick Kiesler, exhibition arrangements by many different Surrealist artists in Paris or America, and stage design production of Antonin Artaud and Frederick Kiesler, tries to explain how the concepts in the Surrealist manifestos have influenced or shaped the spaces designed by Surrealist artists. While the extended definition of action and usage within the framework of the concepts fed the survey and drawing studies on the city and home, affect spatial organization of the exhibition and performance spaces especially in the redefinition of the audience, work, and artist relationship. However, neither Surrealism nor place can be considered or evaluated independently of the social, cultural, or political factors of the period in which they lived. For this reason, socio-political debates in the history of Surrealism become a part of this section and are used as a supporting factor in the pursuit of the concept and space relationship. It is mentioned that the concepts such as “randomness, interaction, unusualness, uncanny, formlessness, incompleteness, ambiguity and fragmentation” which shaped around the social and political readings of the period, are played an active role in the process of designing the place and thinking about the definition of the action performed in the space. This active role played by concepts enables the concept to be considered as a carrier of possibility and to perceive the possibility as a set of potentials. Therefore, different approaches to the concept make it possible or diversify the realization of different potentials on a place. This situation also contributes to the derivation of concepts by reconsidering them through periodic readings or different disciplines and thus reconstructing the relationship between possibility and place. In this context, this study aims to reveal how the possibilities of each concept emphasized in the Surrealist discourse, have the opportunity to be shaped or diversified through action, user, and periodic factors while evolving into a new place. Each possibility, which is actualized in place stimulates another one when it is analyzed. This situation plays a role in reminding the discontinuous existence and cyclical journey of Surrealism.

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