Abstract
Abstract
 Looking at its historical process, the ceramic tile technique that appears in religious, military and administrative buildings as a wall cladding method, has nowadays given way to ceramic wall panels that contribute to the aesthetic values of contemporary architectural structures. This contribution made by the coordinated effort of the architect and the artist via ceramic wall panels, which started to be installed at specifically reserved spots within such contemporary architectural structures, also adds a positive impression on the identity of the structure. These panels, which are considered to be means of surface enrichment and identity attribution, comprise all the stages of forming a work of art. Light, color, circulation, balance, composition, etc. are the factors which stand out as the significant elements within the artwork. Unfortunately, aesthetic and environmental factors are not taken into account within the scope of the rapidly increasing settlement rate worldwide, including our country; and this in turn causes numerous structures in various cities around the world to look alike in shape and form. Still, there are artists, though few in number, who apply structural ceramic elements, which are both environment-friendly and have been in use for thousands of years, with a contemporary understanding. This study aims to elaborate on this issue with a specific focus on the case of the ceramic wall panel titled “Freedom” by Huseyin Ozcelik, executed in 2012 to qualify as a permanent example in which art engages with education; at the Central Library Building of the Near East University, North Cyprus. This application is a completely subjective, and by demonstrating the design and application processes to a group of students, it was aimed to serve educational purposes as well as to empower the structure with an artistic identity.
 Keywords: ceramic tiles, ceramic wall panels, design.
Highlights
Global Journal of Arts Education. 7(1), 12-18. When their historical process is examined, it is seen that the ceramic wall claddings made for the interior and exterior surfaces of the architectural structures in Anatolia are termed as cini
These cinis applied differently in civilian and religious buildings were used during the Anatolian Seljuk period in exterior spaces, on minarets and brick carcass shrines in the form of glazedunglazed bricks that are more resistant to environmental erosion
When the ceramic wall panel applications are evaluated within the context of architectural structures, they are designed by considering the effect of the exact function of the buildings, their style, color, illumination and circulation, as well as their interaction with other environmental elements
Summary
When their historical process is examined, it is seen that the ceramic wall claddings made for the interior and exterior surfaces of the architectural structures in Anatolia are termed as cini (tile). We see the initial works made in this sense in Fureya Koral's and Sadi Diren's works Departing from tradition, these artists reinterpreted the cini art that had been applied for centuries in Anatolia with the contemporary understanding of art and brought the concept of wall panel formed with artistic plastic concerns in the modern Turkish ceramic art. Many state or private institutions have taken the initiative that ceramic panels with high levels of artistic value are made either through inviting artists or organizing prize competitions By this means, many public institutions, hotels and shopping arcades hosted artworks and the modern interpretations of traditional cini have taken their places in public spaces and civil architecture. This has led in modernizing life to the production of many artworks departing from tradition and adapted to contemporary life by artists
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