{"id":2209,"date":"2026-03-17T06:10:57","date_gmt":"2026-03-17T06:10:57","guid":{"rendered":"https:\/\/arttao.net\/?page_id=2209"},"modified":"2026-03-17T06:10:57","modified_gmt":"2026-03-17T06:10:57","slug":"donald-juddin-eserlerinin-analizi-f2-25","status":"publish","type":"page","link":"https:\/\/arttao.net\/tr\/f2-25-donald-judd%e4%bd%9c%e5%93%81%e5%88%86%e6%9e%90\/","title":{"rendered":"F2-25. Donald Judd&#039;\u0131n Eserlerinin Analizi"},"content":{"rendered":"<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"521\" src=\"https:\/\/arttao.net\/wp-content\/uploads\/2026\/03\/sprueth_magers_Donald_Judd_Untitled_9165_1991_9315-1024x521.jpg\" alt=\"\" class=\"wp-image-2210\" srcset=\"https:\/\/arttao.net\/wp-content\/uploads\/2026\/03\/sprueth_magers_Donald_Judd_Untitled_9165_1991_9315-1024x521.jpg 1024w, https:\/\/arttao.net\/wp-content\/uploads\/2026\/03\/sprueth_magers_Donald_Judd_Untitled_9165_1991_9315-600x305.jpg 600w, https:\/\/arttao.net\/wp-content\/uploads\/2026\/03\/sprueth_magers_Donald_Judd_Untitled_9165_1991_9315-300x153.jpg 300w, https:\/\/arttao.net\/wp-content\/uploads\/2026\/03\/sprueth_magers_Donald_Judd_Untitled_9165_1991_9315-768x391.jpg 768w, https:\/\/arttao.net\/wp-content\/uploads\/2026\/03\/sprueth_magers_Donald_Judd_Untitled_9165_1991_9315-1536x781.jpg 1536w, https:\/\/arttao.net\/wp-content\/uploads\/2026\/03\/sprueth_magers_Donald_Judd_Untitled_9165_1991_9315.jpg 1890w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Donald Judd&#039;\u0131n *\u0130simsiz* (1966) adl\u0131 eseri. Whitney M\u00fczesi&#039;nin sanat\u00e7\u0131 sayfas\u0131nda eser, &quot;on \u00f6zde\u015f, a\u00e7\u0131k \u00e7elik k\u00fcp&quot; olarak tan\u0131mlan\u0131yor ve koyu mavi g\u00f6r\u00fcn\u00fcm\u00fc, duvara monte edilmi\u015f d\u00fczeni ve \u00fcniteler aras\u0131ndaki hassas bir \u015fekilde kontrol edilen bo\u015fluk vurgulan\u0131yor. Judd Vakf\u0131, Judd&#039;\u0131n bu t\u00fcr eserlerini en temsili &quot;y\u0131\u011f\u0131nlar\u0131&quot; olarak s\u0131n\u0131fland\u0131r\u0131yor ve bunlar\u0131n tipik olarak on \u00fcniteden olu\u015ftu\u011funu, ideal kurulum ilkesinin ise &quot;her bir \u00fcnitenin hacminin aralar\u0131ndaki bo\u015flu\u011fun hacmine e\u015fit olmas\u0131&quot; oldu\u011funu a\u00e7\u0131kl\u0131yor.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bu \u00e7al\u0131\u015fmay\u0131 &quot;a\u00e7\u0131k mod\u00fcller&quot; ba\u011flam\u0131nda analiz edersek, tipikli\u011fi \u00e7ok daha belirgin hale gelir. &quot;A\u00e7\u0131k&quot; sadece i\u00e7i bo\u015f bir nesneyi ifade etmez, aksine \u00e7al\u0131\u015fma art\u0131k hacim elde etmek i\u00e7in kapal\u0131 bloklara dayanmaz; bunun yerine yap\u0131, bo\u015fluk, hava ve duvarlar birlikte \u00e7al\u0131\u015fmay\u0131 olu\u015fturur. Whitney&#039;nin Donald Judd hakk\u0131ndaki \u00f6zeti \u00e7ok do\u011fru: resim yapmay\u0131 b\u0131rakt\u0131ktan sonra, yava\u015f yava\u015f &quot;duvardan basamaklar gibi uzanan mod\u00fcler bir form&quot; geli\u015ftirdi; MoMA&#039;n\u0131n Judd galerisi hakk\u0131ndaki makalesi, onun \u00fcnl\u00fc de\u011ferlendirmesini al\u0131nt\u0131l\u0131yor: &quot;Ger\u00e7ek mekan, d\u00fcz bir y\u00fczeye yap\u0131lan resimden daha g\u00fc\u00e7l\u00fc ve daha somuttur.&quot; Bu, *\u0130simsiz* (1966)&#039;n\u0131n \u00f6z\u00fcn\u00fcn on kutu de\u011fil, on a\u00e7\u0131k birimin ger\u00e7ek mekan\u0131 \u00e7al\u0131\u015fman\u0131n i\u00e7ine nas\u0131l dahil etti\u011fi oldu\u011funu tam olarak g\u00f6stermektedir.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bu \u00e7al\u0131\u015fman\u0131n en \u00f6nemli y\u00f6n\u00fc, &quot;mod\u00fcl\u00fc&quot; salt tekrardan mek\u00e2nsal bir d\u00fczene d\u00f6n\u00fc\u015ft\u00fcrmesinde yatmaktad\u0131r. Her birim \u015fekil ve \u00f6l\u00e7ek olarak \u00f6zde\u015ftir ve hem end\u00fcstriyel bile\u015fenlere hem de en k\u00fc\u00e7\u00fck standartla\u015ft\u0131r\u0131lm\u0131\u015f yap\u0131sal birimlere benzemektedir. Ancak Judd&#039;\u0131n as\u0131l kayg\u0131s\u0131, tek tek birimlerin kendisi de\u011fil, aralar\u0131nda s\u00fcrekli bir ili\u015fki kurmakt\u0131r. Whitney, \u00f6zellikle izleyicinin bireysel detaylar\u0131 takdir etmesi yerine, &quot;bir b\u00fct\u00fcn olarak \u015fey&quot;i vurgulamak i\u00e7in hassas aral\u0131klar kulland\u0131\u011f\u0131n\u0131 belirtir. Bu nedenle, buradaki a\u00e7\u0131k mod\u00fcl art\u0131k &quot;kutular\u0131n&quot; bir birikimi de\u011fil, tekrar, ask\u0131, aral\u0131k ve dikey geni\u015fleme ile olu\u015fturulmu\u015f b\u00fct\u00fcnsel bir sistemdir.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bi\u00e7imsel olarak, eserin g\u00fc\u00e7l\u00fc modernli\u011fi, kapal\u0131 heykellerde yayg\u0131n olan &quot;kat\u0131 merkez&quot; kavram\u0131n\u0131 reddetmesinde yatmaktad\u0131r. Geleneksel heykeller genellikle a\u011f\u0131rl\u0131k hissi yaratmak i\u00e7in a\u011f\u0131r bloklara dayan\u0131rken, Judd&#039;\u0131n a\u00e7\u0131k mod\u00fclleri &quot;bo\u015flu\u011fu&quot; do\u011frudan yap\u0131ya entegre eder. \u0130zleyiciler esere bakt\u0131klar\u0131nda, sadece \u00e7elik \u00e7er\u00e7eveyi de\u011fil, ayn\u0131 zamanda \u00e7er\u00e7evenin i\u00e7indeki bo\u015fluklar\u0131, \u00fcniteler aras\u0131ndaki bo\u015fluklar\u0131 ve duvarlar\u0131n ve \u00e7evredeki havan\u0131n t\u00fcm diziyi nas\u0131l sard\u0131\u011f\u0131n\u0131 da g\u00f6r\u00fcrler. Whitney, 1968 tarihli bir ba\u015fka eserini tan\u0131t\u0131rken, Judd&#039;\u0131n geleneksel heykellerde oldu\u011fu gibi izleyicinin i\u00e7eride ne oldu\u011funu hayal etmesine izin vermek yerine, &quot;i\u00e7 bo\u015flu\u011fu&quot; do\u011frudan g\u00f6r\u00fcn\u00fcr k\u0131ld\u0131\u011f\u0131n\u0131 da vurgular; bu, 1966 tarihli bu a\u00e7\u0131k dikd\u00f6rtgen diziyi anlamak i\u00e7in de ge\u00e7erlidir. Ba\u015fka bir deyi\u015fle, a\u00e7\u0131k mod\u00fcllerin anahtar\u0131 &quot;d\u0131\u015f bir kabu\u011fa sahip olmak&quot; de\u011fil, &quot;d\u0131\u015f kabu\u011fun alan\u0131 nas\u0131l g\u00f6r\u00fcn\u00fcr k\u0131ld\u0131\u011f\u0131d\u0131r.&quot;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bu nedenle, bu \u00e7al\u0131\u015fma sadece end\u00fcstriyel kutular\u0131 duvara asmakla ilgili de\u011fil, ayn\u0131 zamanda &quot;mod\u00fclleri, aral\u0131klar\u0131, duvarlar\u0131 ve g\u00f6r\u00fc\u015f yollar\u0131n\u0131&quot; yap\u0131sal bir b\u00fct\u00fcn halinde e\u015f zamanl\u0131 olarak organize etmekle ilgilidir. Judd Vakf\u0131&#039;n\u0131n &quot;y\u0131\u011f\u0131n&quot; \u00e7al\u0131\u015fmalar\u0131 hakk\u0131ndaki a\u00e7\u0131klamas\u0131 \u00f6nemlidir: ideal olarak, birimin hacmi aral\u0131\u011f\u0131n hacmine e\u015fittir. Bu ilke, bo\u015fluklar\u0131n ikincil bo\u015f alanlar de\u011fil, kat\u0131 unsurlarla e\u015fit \u00f6neme sahip kurucu birimler oldu\u011fu anlam\u0131na gelir. Tam da bu nedenle *\u0130simsiz* (1966), &quot;a\u00e7\u0131k mod\u00fcllerin&quot; tipik bir \u00f6rne\u011fi olarak kabul edilebilir: mod\u00fcller a\u00e7\u0131kt\u0131r ve sistem a\u00e7\u0131kt\u0131r; alan\u0131 kapal\u0131 k\u00fctleyle doldurmaz, aksine alan\u0131 tekrarlayan birimler arac\u0131l\u0131\u011f\u0131yla b\u00f6ler ve ritimlendirir, b\u00f6ylece izleyici yukar\u0131 ve a\u015fa\u011f\u0131 hareket ederken &quot;alan\u0131n organize edildi\u011fini&quot; ger\u00e7ekten hissedebilir.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">G\u00fcn\u00fcm\u00fcz bak\u0131\u015f a\u00e7\u0131s\u0131yla, bu \u00e7al\u0131\u015fma hala &quot;a\u00e7\u0131k mod\u00fcller&quot; i\u00e7in \u00e7ok do\u011frudan bir ilham kayna\u011f\u0131 sunmaktad\u0131r. A\u00e7\u0131k mod\u00fcllerin sadece g\u00f6rsel olarak i\u00e7i bo\u015f formlar olmad\u0131\u011f\u0131n\u0131, daha derin bir yap\u0131sal kavram oldu\u011funu g\u00f6stermektedir: birimler tekrarlanabilir, ancak mutlaka kat\u0131la\u015fm\u0131\u015f olmak zorunda de\u011fildir; hacim var olabilir, ancak mutlaka kapal\u0131 olmak zorunda de\u011fildir; ger\u00e7ekten g\u00fc\u00e7l\u00fc k\u0131s\u0131mlar genellikle kat\u0131l\u0131k ve bo\u015flu\u011fun kesi\u015fiminde ortaya \u00e7\u0131kar. Bu nedenle, Judd&#039;\u0131n \u00e7al\u0131\u015fmas\u0131, izole bir form de\u011fil, s\u00fcrekli geni\u015fletilebilir a\u00e7\u0131k bir d\u00fczen sundu\u011fu i\u00e7in, mimari cephelere, sergi sistemlerine, b\u00f6lmelere, kitapl\u0131k yap\u0131lar\u0131na, \u0131\u015f\u0131k ve g\u00f6lge bile\u015fenlerine ve mod\u00fcler mekan tasar\u0131m\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fclmeye \u00f6zellikle uygundur. Donald Judd, *\u0130simsiz* (1966) adl\u0131 eserinde, &quot;a\u00e7\u0131k mod\u00fclleri&quot; basit i\u00e7i bo\u015f geometriden, kat\u0131l\u0131k ve mekan aras\u0131ndaki ili\u015fkiyi yeniden tan\u0131mlayabilen modern bir yap\u0131sal prototipe y\u00fckseltmi\u015ftir.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized has-custom-border\"><img loading=\"lazy\" decoding=\"async\" width=\"540\" height=\"540\" src=\"https:\/\/arttao.net\/wp-content\/uploads\/2026\/02\/art81.gif\" alt=\"\" class=\"wp-image-1059\" style=\"border-top-left-radius:41px;border-top-right-radius:41px;border-bottom-left-radius:41px;border-bottom-right-radius:41px;width:68px;height:auto\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\r\n        <div class=\"arttao-tts-wrap\" data-selector=\".entry-content p, .entry-content li, .arttao-tts-source-content p\" style=\"margin:12px 0;\">\r\n          <audio id=\"arttao-tts-audio\" controls preload=\"none\" style=\"width:100%; max-width:800px;\"><\/audio>\r\n          <div id=\"arttao-tts-status\" style=\"font-size:13px; margin-top:6px; color:#F7FFFF;\"><\/div>\r\n        <\/div>\r\n        <details class=\"arttao-tts-accordion\" style=\"margin: 20px 0;\">\r\n            <summary>Dersler F2-25: Okumay\u0131 g\u00f6r\u00fcnt\u00fclemek ve dinlemek i\u00e7in t\u0131klay\u0131n.<\/summary>\r\n            <div class=\"arttao-tts-source-content\">\r\n                <\/p>\n<p class=\"wp-block-paragraph\">Donald Judd&#039;\u0131n *\u0130simsiz* (1966) adl\u0131 eseri. Whitney M\u00fczesi&#039;nin sanat\u00e7\u0131 sayfas\u0131, eseri &quot;on \u00f6zde\u015f, a\u00e7\u0131k \u00e7elik k\u00fcp&quot; olarak \u00f6zetliyor ve koyu mavi g\u00f6r\u00fcn\u00fcm\u00fcn\u00fc, duvara monte edilmi\u015f d\u00fczenini ve \u00fcniteler aras\u0131ndaki hassas bir \u015fekilde kontrol edilen mesafeyi vurguluyor. Judd Vakf\u0131, Judd&#039;\u0131n bu t\u00fcr eserlerini en temsili &quot;y\u0131\u011f\u0131nlar\u0131&quot; olarak s\u0131n\u0131fland\u0131r\u0131yor ve bunlar\u0131n tipik olarak on \u00fcniteden olu\u015ftu\u011funu, ideal olarak &quot;her bir \u00fcnitenin hacminin aralar\u0131ndaki bo\u015flu\u011fun hacmine e\u015fit oldu\u011fu&quot; ilkesiyle yerle\u015ftirildi\u011fini a\u00e7\u0131kl\u0131yor. Bu eser, &quot;a\u00e7\u0131k mod\u00fcller&quot; ba\u011flam\u0131nda analiz edildi\u011finde olduk\u00e7a tipiktir. &quot;A\u00e7\u0131k&quot; sadece i\u00e7i bo\u015f anlam\u0131na gelmez; eserin art\u0131k hacim elde etmek i\u00e7in kapal\u0131 bloklara dayanmad\u0131\u011f\u0131, bunun yerine yap\u0131, bo\u015fluk, hava ve duvarlar\u0131n eseri birlikte olu\u015fturmas\u0131na izin verdi\u011fi anlam\u0131na gelir. Whitney&#039;nin Donald Judd hakk\u0131ndaki \u00f6zeti \u00e7ok do\u011fru: resim yapmay\u0131 b\u0131rakt\u0131ktan sonra, yava\u015f yava\u015f &quot;duvardan basamaklar gibi uzanan mod\u00fcler formu&quot; geli\u015ftirdi. MoMA&#039;n\u0131n Judd galerisi hakk\u0131ndaki makalesi, sanat\u00e7\u0131n\u0131n \u00fcnl\u00fc g\u00f6zlemini al\u0131nt\u0131l\u0131yor: &quot;Ger\u00e7ek mekan, d\u00fcz bir y\u00fczeye yap\u0131lan resimden daha g\u00fc\u00e7l\u00fc ve somuttur.&quot; Bu, *\u0130simsiz* (1966) eserinin \u00f6z\u00fcn\u00fcn on kutu de\u011fil, on a\u00e7\u0131k birimin ger\u00e7ek mekan\u0131 eserin i\u00e7ine nas\u0131l entegre etti\u011fi oldu\u011funu g\u00f6steriyor. Bu eserin en \u00f6nemli y\u00f6n\u00fc, &quot;mod\u00fcl\u00fc&quot; salt tekrardan mek\u00e2nsal bir d\u00fczene y\u00fckseltmesidir. Her birim \u015fekil ve \u00f6l\u00e7ek olarak \u00f6zde\u015ftir ve hem end\u00fcstriyel bile\u015fenlere hem de en k\u00fc\u00e7\u00fck standartla\u015ft\u0131r\u0131lm\u0131\u015f yap\u0131sal birimlere benzemektedir; ancak Judd&#039;\u0131n as\u0131l kayg\u0131s\u0131, tek tek birimlerin kendisi de\u011fil, aralar\u0131nda s\u00fcrekli bir ili\u015fki kurmakt\u0131r. Whitney \u00f6zellikle, izleyicinin bireysel detaylar\u0131 takdir etmesi yerine, &quot;b\u00fct\u00fcn olarak \u015fey&quot;, &quot;b\u00fct\u00fcn\u00fcn b\u00fct\u00fcn\u00fc&quot; niteli\u011fini vurgulamak i\u00e7in hassas aral\u0131klar kulland\u0131\u011f\u0131n\u0131 belirtiyor. Bu nedenle, buradaki a\u00e7\u0131k mod\u00fcller art\u0131k &quot;kutular\u0131n&quot; birikimi de\u011fil, tekrar, ask\u0131, aral\u0131k ve dikey geni\u015fleme ile olu\u015fturulmu\u015f b\u00fct\u00fcnsel bir sistemdir. Bi\u00e7imsel olarak, eserin g\u00fc\u00e7l\u00fc modernli\u011fi, kapal\u0131 heykellerde yayg\u0131n olan &quot;kat\u0131 merkez&quot; kavram\u0131n\u0131 reddetmesinde yatmaktad\u0131r. Geleneksel heykel genellikle a\u011f\u0131rl\u0131k hissi yaratmak i\u00e7in a\u011f\u0131r bloklara dayan\u0131rken, Judd&#039;\u0131n a\u00e7\u0131k mod\u00fclleri &quot;bo\u015flu\u011fu&quot; do\u011frudan yap\u0131n\u0131n bir par\u00e7as\u0131 haline getirir. \u0130zleyiciler esere bakt\u0131klar\u0131nda, sadece \u00e7elik \u00e7er\u00e7eveyi de\u011fil, ayn\u0131 zamanda i\u00e7indeki bo\u015fluklar\u0131, \u00fcniteler aras\u0131ndaki aral\u0131klar\u0131 ve duvarlar\u0131n ve \u00e7evredeki havan\u0131n t\u00fcm diziyi nas\u0131l sard\u0131\u011f\u0131n\u0131 da g\u00f6r\u00fcrler. Whitney, 1968 tarihli bir ba\u015fka eserini tan\u0131t\u0131rken, Judd&#039;\u0131n geleneksel heykellerde oldu\u011fu gibi izleyicinin i\u00e7eride ne oldu\u011funu hayal etmesine izin vermek yerine, &quot;i\u00e7 bo\u015flu\u011fu&quot; do\u011frudan g\u00f6r\u00fcn\u00fcr k\u0131ld\u0131\u011f\u0131n\u0131 da vurgulam\u0131\u015ft\u0131r; bu durum, 1966 tarihli bu a\u00e7\u0131k dikd\u00f6rtgen diziyi anlamak i\u00e7in de ge\u00e7erlidir. Ba\u015fka bir deyi\u015fle, a\u00e7\u0131k mod\u00fcllerin anahtar\u0131 &quot;d\u0131\u015f bir kabu\u011fa sahip olmak&quot; de\u011fil, &quot;kabu\u011fun mekan\u0131 nas\u0131l g\u00f6r\u00fcn\u00fcr k\u0131ld\u0131\u011f\u0131d\u0131r&quot;. Bu nedenle, bu eser sadece duvara end\u00fcstriyel kutular asmak de\u011fil, ayn\u0131 zamanda &quot;mod\u00fclleri, aral\u0131klar\u0131, duvarlar\u0131 ve g\u00f6r\u00fc\u015f yollar\u0131n\u0131&quot; e\u015f zamanl\u0131 olarak yap\u0131sal bir b\u00fct\u00fcn haline getirmektir. Judd Vakf\u0131&#039;n\u0131n &quot;y\u0131\u011f\u0131n&quot; eserler hakk\u0131ndaki a\u00e7\u0131klamas\u0131 \u00f6nemlidir: ideal olarak, birimin hacmi aral\u0131\u011f\u0131n hacmine e\u015fittir. Bu ilke, bo\u015fluklar\u0131n ikincil bo\u015f alanlar de\u011fil, kat\u0131 cisimlerle e\u015fit \u00f6neme sahip bile\u015fen birimler oldu\u011fu anlam\u0131na gelir. \u0130\u015fte tam da bu nedenle *\u0130simsiz* (1966), &quot;a\u00e7\u0131k mod\u00fcllerin&quot; en \u00f6nemli \u00f6rneklerinden biridir: mod\u00fcller a\u00e7\u0131kt\u0131r ve sistem de a\u00e7\u0131kt\u0131r; alan\u0131 kapal\u0131 k\u00fctleyle doldurmaz, aksine alan\u0131 tekrarlayan birimler arac\u0131l\u0131\u011f\u0131yla b\u00f6ler ve ritimlendirir, b\u00f6ylece izleyici yukar\u0131 ve a\u015fa\u011f\u0131 hareket ederken &quot;alan\u0131n organize oldu\u011funu&quot; ger\u00e7ekten hissedebilir. G\u00fcn\u00fcm\u00fcz perspektifinden bak\u0131ld\u0131\u011f\u0131nda, bu eser hala &quot;a\u00e7\u0131k mod\u00fcller&quot; i\u00e7in \u00e7ok do\u011frudan bir ilham kayna\u011f\u0131 sunmaktad\u0131r. A\u00e7\u0131k mod\u00fcllerin sadece g\u00f6rsel olarak bo\u015f formlar olmad\u0131\u011f\u0131n\u0131, daha derin bir yap\u0131sal kavram oldu\u011funu g\u00f6stermektedir: birimler tekrarlanabilir, ancak kat\u0131 olmak zorunda de\u011fildir; hacim var olabilir, ancak kapal\u0131 olmak zorunda de\u011fildir; ger\u00e7ekten g\u00fc\u00e7l\u00fc k\u0131s\u0131mlar genellikle kat\u0131l\u0131k ve bo\u015flu\u011fun kesi\u015fiminde ortaya \u00e7\u0131kar. Bu nedenle, Judd&#039;\u0131n \u00e7al\u0131\u015fmalar\u0131, izole bir form de\u011fil, s\u00fcrekli geni\u015fletilebilir a\u00e7\u0131k bir d\u00fczen sundu\u011fu i\u00e7in, mimari cephelere, sergi sistemlerine, b\u00f6lmelere, kitapl\u0131k yap\u0131lar\u0131na, \u0131\u015f\u0131k ve g\u00f6lge bile\u015fenlerine ve mod\u00fcler mekan tasar\u0131m\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fclmeye \u00f6zellikle uygundur. Donald Judd&#039;\u0131n &quot;\u0130simsiz&quot; (1966) adl\u0131 eserinde ba\u015fard\u0131\u011f\u0131 \u015fey, &quot;a\u00e7\u0131k mod\u00fcl\u00fc&quot; basit bir i\u00e7i bo\u015f geometriden, varl\u0131klar ve mekan aras\u0131ndaki ili\u015fkiyi yeniden tan\u0131mlayabilen modern bir yap\u0131sal prototipe d\u00f6n\u00fc\u015ft\u00fcrmektir.<\/p>\n<p class=\"wp-block-paragraph\">\n\r\n            <\/div>\r\n        <\/details><\/p>","protected":false},"excerpt":{"rendered":"<p>Donald Judd \u7684\u300aUntitled\u300b\uff081966\uff09\u3002Whitney Museum \u7684\u827a\u672f\u5bb6\u9875\u9762\u628a\u5b83\u6982\u62ec [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_crdt_document":"","footnotes":""},"class_list":["post-2209","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/pages\/2209","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/comments?post=2209"}],"version-history":[{"count":1,"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/pages\/2209\/revisions"}],"predecessor-version":[{"id":2211,"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/pages\/2209\/revisions\/2211"}],"wp:attachment":[{"href":"https:\/\/arttao.net\/tr\/wp-json\/wp\/v2\/media?parent=2209"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}