Fluxus. An Art Incubator Project by Didem Uyeturk

fluxus

AN ART INCUBATOR PROJECT

VERSATILE SYSTEM ARCHITECTURE TO FOSTER THE LOCAL CONTEMPORARY ART SCENE IN PASALIMANI DISTRICT, ISTANBUL.

Politecnico di Milano School of Architecture, Urban Planning and Construction Engineering MSc. Programme “Architecture - Built Environment - Interiors” A.y. 2021-2022

Thesis Title

Fluxus. An Art Incubator Project Versatile System Architecture To Foster The Local Contemporary Art Scene In Pasalimani District, Istanbul.

Supervisor Co-Supervisor Author Date

Prof. Marco Borsotti Prof. Pierluigi Salvadeo Didem Uyeturk, 9 39 4 85 April 2022

Fluxus noun Flux·us | \ ˈfləksəs \ The Latin word Fluxus means flowing, in English a flux is a flowing out. 1. The action or process of flowing; A continuous moving on or passing by, as of flowing stream; A continuing succession of changes. 2. An international movement of artists, poets, composers and designers of the 1960s and 1970s, noted for experimental syntheses of different media and disciplines. One of Fluxus’ goals was to remove the boundary between art and the everyday world, to reject the notion of “high art” and to bring it closer to the public.

index

p. 14 p. 16

p. 78

p. 104

p. 126

p. 140 p. 142

p 218

Abstract CHAPTER 1: Critical Analysis 1.1 The City of Istanbul Historical Transformation Context Analysis 1.2 Pasalimani District Coastal Transformation District Analysis Site Development 1.3 Pasalimani Flour Factory Historic Timeline Existing State 1.4 Art Theme in Istanbul The Art Scene Reference Places Emerging Art Forms CHAPTER 2: The Project 2.1 From Analysis to Project The New Factory of Art Conceptual Approach Main References Further Case Studies Architectonic Solution Participatory Design Systems 2.2 Fluxus Art Factory Introduction Level Plans Schematic Sections Structural Systems Views Conclusion Bibliography and Sitography

abstract in English

Istanbul locates in unique geography where the continents Europe and Asia blend in one city. Today, there is a great threat in Istanbul by the destruction of historical industrial structures due to unconsciousness and wrong conservation efforts. The industrial buildings that had served for active production during the Industrialization era remain idle when the need changes or disappears, and are slowly omitted from the urban memory. A remarkable example in this context is Pasalimani Flour Factory, one of the first three factories of the Ottoman Empire. Located on the Asian shore of the Bosphorus, the building is a critical part of the seafront silhouette. Though, it has been dysfunctional since 1940 and became dilapidated over time. The factory, a cultural and historical heritage, is on a continuous extinction. Its roof and slabs have disappeared completely. The fact that no effort is made to preserve and reuse the historic factory is a part of the neglective attitude that undermines national values. For these reasons, this study is an alternative for repurposing Pasalimani Flour Factory. The building is positioned on an advantageous site to contribute to Istanbul’s

progressive contemporary art scene. It has a panorama of the Bosphorus and is next to the State Opera Ballet Directorate and Theater stages. Thus, a collective and creative program can interact with adjacent features to enrich the arts-based community development. A motivational reference is Maciunas’s manifesto of the 1960s Fluxus art movement, not only about the creation of art that presents contemporary life but also making the art as pervasive with the local community. In this context, the proposal Fluxus Art Incubator¹ is developed to reuse the left-idle landmark with a versatile architectural system that can recover the productive spirit. Inspired by the cross-cultural nature of Istanbul, a vital corridor of “flux” is introduced to connect the city with the forgotten factory. With the dynamic design strategies, the intention is to achieve an innovative, self-sustaining art incubator where emerging artists, professionals, and the public can exchange ideas, collaborate, and perform experimental works of art. The first milestone of the design process was the analogy method to make the industrial heritage visible and understandable. When developing the architectural language, the project draws

inspiration from the phenomenal “Fun Palace” project by Cedric Price, which he proposed was not a building in any conventional sense, but was instead a socially interactive machine. Along with reading Price’s design language, the project adopts an industrial language by the exposed structural elements to revive the industrial identity. The secondary analogy is the pre-existed production process. Mills are usually multi-storey where each floor has a separate function, that there is vertical processing for flour production. In this case, the existing building with its whole-void interior is taken as a challenging opportunity. The proposal consists of alternative mobile spatial systems of vertical and lateral movement that can cooperate for various configurations. Art studios and multipurpose spaces are designed flexibly in a participatory manner to respond to users’ needs for different occasions. The circulation, mobile platform, and partition elements are applied to achieve optimal interplay of interior spaces with outdoors. Briefly, the thesis work presents an adaptive reuse proposal of an everchanging creative hub that continually interacts and responds to the inhabitants.

1 Arts incubator means a facility that provides nonprofit arts organizations or individual professional artists with shared support services and with office, storage, studio, gallery, performance or other work or living space at a lower rent than the market rate in the community.

abstract in Italian

Istanbul si trova in una geografia unica dove i continenti Europa e Asia si fondono in un’unica città. Oggi c’è una grande minaccia a Istanbul dalla distruzione di strutture industriali storiche a causa dell’incoscienza e degli sforzi di conservazione sbagliati. Gli edifici industriali che erano serviti per la produzione attiva durante l’era dell’industrializzazione rimangono inattivi quando il bisogno cambia o scompare e vengono lentamente omessi dalla memoria urbana. Un esempio notevole in questo contesto è la Pasalimani Flour Factory, una delle prime tre fabbriche dell’Impero Ottomano. Situato sulla sponda asiatica del Bosforo, l’edificio è una parte fondamentale della silhouette del lungomare. Tuttavia,

è disfunzionale dal 1940 e nel tempo è diventato fatiscente. La fabbrica, patrimonio culturale e storico, è in continua estinzione. Il tetto e le lastre sono completamente scomparsi. Il fatto che non venga fatto alcuno sforzo per preservare e riutilizzare la fabbrica storica fa parte dell’atteggiamento negligente che mina i valori nazionali. Per questi motivi, questo studio è un’alternativa per riproporre la Pasalimani Flour Factory. L’edificio è posizionato in un luogo vantaggioso per contribuire alla scena artistica contemporanea progressista di Istanbul. Ha un panorama sul Bosforo ed è vicino alla Direzione del Balletto dell’Opera di Stato e ai palchi del Teatro. Pertanto, un programma collettivo e creativo può interagire con le caratteristiche adiacenti per arricchire lo sviluppo della comunità basata sull’arte. Un riferimento motivazionale è il manifesto di Maciunas del movimento artistico Fluxus degli anni ‘60, non solo sulla creazione di un’arte che presenta la vita contemporanea, ma anche rendendo l’arte pervasiva nella comunità locale. In questo contesto si sviluppa la proposta Fluxus Art Incubator¹ per riutilizzare il landmark lasciato inattivo con un sistema architettonico versatile in

grado di recuperare lo spirito produttivo. Ispirato dalla natura interculturale di Istanbul, viene introdotto un corridoio vitale di “flusso” per collegare la città con la fabbrica dimenticata. Con le strategie di progettazione dinamica, l’intenzione è quella di realizzare un incubatore artistico innovativo e autosufficiente in cui artisti emergenti, professionisti e pubblico possano scambiare idee, collaborare ed eseguire opere d’arte sperimentali. La prima pietra miliare del processo progettuale è stata il metodo dell’analogia per rendere visibile e comprensibile il patrimonio industriale. Nello sviluppo del linguaggio architettonico, il progetto trae ispirazione dal fenomenale progetto “Fun Palace” di Cedric Price, che ha proposto non fosse un edificio in alcun senso convenzionale, ma fosse invece una macchina socialmente interattiva. Insieme alla lettura del linguaggio progettuale di Price, il progetto adotta un linguaggio industriale dagli elementi strutturali esposti per far rivivere l’identità industriale. L’analogia secondaria è il processo di produzione preesistente. I mulini sono solitamente a più piani in cui ogni piano ha una funzione separata, cioè c’è una lavorazione verticale per la produzione di

farina. In questo caso, l’edificio esistente con il suo interno completamente vuoto viene preso come un’opportunità sfidante. La proposta consiste in sistemi spaziali mobili alternativi di movimento verticale e laterale che possono cooperare per varie configurazioni. Gli studi d’arte e gli spazi polivalenti sono progettati in modo flessibile e partecipativo per rispondere alle esigenze degli utenti nelle diverse occasioni. La circolazione, la piattaforma mobile e gli elementi divisori vengono applicati per ottenere un’interazione ottimale tra gli spazi interni e quelli esterni. In breve, il lavoro di tesi presenta una proposta di riuso adattivo di un hub creativo in continua evoluzione che interagisce e risponde continuamente agli abitanti.

1 Per incubatore artistico si intende una struttura che fornisce alle organizzazioni artistiche senza scopo di lucro o ai singoli artisti professionisti servizi di supporto condivisi e con ufficio, deposito, studio, galleria, spettacolo o altro lavoro o spazio abitativo a un canone di locazione inferiore rispetto al tasso di mercato nella comunità.

Keywords Participatory (adjective) characterized by involving participation, allowing everyone in a society, business Versatile (adjective) able to adapt or be adapted to many different functions or activities. Coworking (adjective) when people assemble in a neutral space to work independently on different projects, or in groups on the same projects. Typically so as to share equipment, ideas, and knowledge. Experimental (adjective) based on new ideas, forms or methods that are used to find out what effect they have Flexible (adjective) characterized by a ready capability to adapt to new, different, or changing requirements Multipurpose (adjective) having several purposes or functions.

Partecipativo (aggettivo) caratterizzato da partecipazione coinvolgente, consentendo a tutti in una società, affari Versatile (aggettivo) capace di adempiere a funzioni disparate o rivolgersi a fini differenti Coworking (aggettivo) quando le persone si riuniscono in uno spazio neutro per lavorare indipendentemente su progetti diversi, o in gruppo sugli stessi progetti. Tipicamente per condividere attrezzature, idee e conoscenze. Sperimentale (aggettivo) basato su nuove idee, forme o metodi che vengono utilizzati per scoprire quale effetto hanno Flessibile (aggettivo) caratterizzato da una pronta capacità di adattarsi a esigenze nuove, diverse o mutevoli Multiuso (aggettivo) avente più scopi o funzioni.

chapter 1

CRITICAL ANALYSIS

1.1 the city of Istanbul

“If the whole world were one country, Istanbul would be it’s capital.” Napoleon Bonaparte

CRITICAL ANALYSIS

ISTANBUL, TURKEY Istanbul, formerly Constantinople and in classical antiquity, Byzantium, is the largest city in Turkey and the country’s economic, cultural and historic center. Founded around 660 BC as Byzantium, the city now known as Istanbul has developed to become one of the most significant cities in history. For nearly sixteen centuries following its reestablishment as Constantinople in 330 AD, it served as the capital of many empires. Istanbul is a unique experience. The Bosphorus with the city on either sides creates a bridge between Europe and Asia, West and East. All around the city there is the duality of the ancient versus modern. With the minarets of mosques, Istanbul symbolizes the relationship between secular and sacred. Migrant cultures from Eastern Europe, North Africa and Middle East have all mixed here. ILL 01. Ortakoy Mosque, Istanbul

ILL 02. The location of Istanbul on Turkey

CRITICAL ANALYSIS

BOSPHORUS STRAIT The city’s make up, with the Bosphorus Strait acting as a natural border between its European and Asian sections, has played a huge role in its progression. As a maritime waterway, the Bosporus connects various seas along the Eastern Mediterranean, the Balkans, the Near East, and Western Eurasia, and specifically connects the Black Sea to the Sea of Marmara. The Marmara further connects to the Aegean and Mediterranean seas via the Dardanelles. Thus, the Bosporus allows maritime connections from the Black Sea all the way to the Mediterranean Sea and the Atlantic Ocean via Gibraltar, and the Indian Ocean through the Suez Canal, making it a crucial international waterway, in particular for the passage of goods coming in from Russia.

ILL 03. Aerial View, Bosphorus Strait

CRITICAL ANALYSIS

ILL 04. 1899 Regional Map of Istanbul

ILL 05. Close-Up satellite image of the Bosporus strait, 2004 21

PEARLS OF BOSPHORUS The waterfront mansions, in Turkish definition “yalı”s of the Bosphorus in Istanbul are undoutedly a representation of Ottoman lifestyle and taste distilled through centuries. Living by creating a threshold between the sea and earth, integrating human life with nature organically. In such an experience, the genius loci or -spirit of place- of the waterfront house is conceived primarily in the dialectics of nature and man-made, of time and space.

ILL 06. The Yalıs near the Bosphorus, Istanbul

The spirit of a place can be described not only by means of its geometric and functional forms but also by means of invisible orientation, abstract symbols, topological characters, memories..(Cassirer, 1955). That is why, very often, the qualities of architectural spaces like the Bosphorus houses are described by referring to metaphors in poems and literature which, unlike scientific historical knowledge, serve to clarify the universal character of ideas.¹

ILL 07. The Yalı of Ahmet Afif Pasha, Yenikoy, Istanbul 1 Erkılıç, Mualla Bayar, ‘Genius Loci of the Bosphorus Houses’, EJOS, IV (2001), Proceedings of the11th International Congress of Turkish Art, Utrecht - The Netherlands, August 23-28, 1999), No. 15, 1-13. 22

CRITICAL ANALYSIS

ILL 08. Locations of Yalıs in Bosphorus Shores

Bosphorus Bridge

Bosphorus Yalıs

CULTURAL TORNADO While Istanbul’s population has increased dramatically in more recenttimes, it’s long been an influential city, having served as the capital of three major empires Roman, Byzantine and Ottoman. “There is a cultural tornado going on here,” says Turkish psychologist and author Azra Kohen, who lives in Istanbul. Being in the middle of two continents, this act is obviously a necessity to combine all the cultures and people’s need. Does it give an identity of its own? Or does it end up as a mere confusion? “..The city where everyone found strength to be themselves or the city that gave people strength to be themselves...A city where power balances shifted suddenly yet something always remained unchanged that is everyone is equal in their shortcomings. The city was like a womb that nourished everything and allowed to be reborn; gave villagers the courage to become artists.. the starving to get rich, to live with their essence without hiding, that it would allow them to hide from themselves if they wanted.”¹

ILL 09. Galata Tower, Istanbul 1 extract from “Phi”, by author Akilah Azra Kohen, 2014 24

CRITICAL ANALYSIS

1.1.1 Historical Transformation

BRIEF HISTORY Neolithic artifacts, uncovered by archeologists at the beginning of the 21st century, indicate that Istanbul’s historic peninsula was settled as far back as the 6th millennium BCE. That early settlement, important in the spread of the Neolithic Revolution from the Near East to Europe, lasted for almost a millennium before being inundated by rising water levels. The first human settlement on the Asian side, the Fikirtepe mound, is from the Copper Age period, with artifacts dating from 5500 to 3500 BCE. It’s also worth noting that in the European side, near the point of the peninsula (Sarayburnu) there was a settlement during the early 1st millennium BCE. Modern authors have linked it to the possible Thracian toponym Lygos, mentioned by Pliny the Elder as an earlier name for the site of Byzantium. The history of the city proper begins around 660 BC when Greek settlers from Megara colonized the area and established Byzantium on the European side of the Bosphorus. It fell to the Roman Republic in 196 BC, and was known as Byzantium in Latin until 330, when the city, soon renamed as Constantinople, became the new capital of the Roman Empire. During the reign of Justinian I, the city rose to be the largest in the western world, with a population peaking

CRITICAL ANALYSIS

at close to half a million people. Constantinople functioned as the capital of the Byzantine Empire, which effectively ended with the fall of Constantinople in 1453. Constantinople then became the capital of the Ottoman Turks. The population had declined during the medieval period, but as the Ottoman Empire approached its historical peak, the city grew to a population of close to 700,000 in the 16th century, once again ranking among the world’s most populous cities. With the founding of the Republic of Turkey in 1923, that country’s capital moved from Constantinople to Ankara (previously Angora). Since 1930 the native name Istanbul has been the sole official name of the city in Turkish and has since replaced the traditional name “Constantinople” in most western languages as well. ILL 10. Galata Bridge, Istanbul, circa 1880

PREHISTORY Humans have lived in the area now known as Istanbul since at least the Neolithic period. The earliest known settlement dates from 6700 BC, discovered in 2008, during the construction works of the Yenikapı subway station and the Marmaray tunnel at the historic peninsula on the European side. The first human settlement on the Anatolian side, the Fikirtepe mound, is from the Copper Age period, with artifacts dating from 5500 to 3500 BC. In nearby Kadıköy (Chalcedon) a port settlement dating back to the Phoenicians has been discovered. LYGOS The first name of the city was Lygos according to Pliny the Elder in his historical accounts and it was possibly founded by Thracian tribes along with the neighboring settlement of Semystra. Only a few walls and substructures belonging to Lygos have survived to date, near the Seraglio Point (Turkish: Sarayburnu), where the famous Topkapı Palace now stands. Lygos and Semystra were the only settlements on the European side of Istanbul. On the Asian side there was a Phoenician colony. On the site of Lygos, the later Byzantium was located, thus Lygos is accepted as the city which gave rise to Istanbul.

BYZANTIUM Byzantion , Latinized as Byzantium, was the next name of the city. The name is believed to be of Thracian or Illyrian origin and thus predates the Greek settlement. It may be derived from a Thracian or Illyrian personal name, Byzas. Ancient Greek legend refers to a legendary king Byzas as the leader of the Megarian colonists and eponymous founder of the city. Cape Moda in Chalcedon was the first location which the Greek settlers from Megara chose to colonize in 685 BC, before colonizing Byzantion on the European side of the Bosphorus under the command of King Byzas in 667 BC. Byzantion was established on the site of an ancient port settlement named Lygos. During the period of Byzantion, the Acropolis used to stand where the Topkapı Palace stands today. After siding with Pescennius Niger against the victorious Septimius Severus the city was besieged by Rome and suffered extensive damage in AD 196.[15] Byzantium was rebuilt by the Roman Emperor Septimius Severus and quickly regained its previous prosperity, being temporarily renamed as Augusta Antonina by the emperor, in honor of his son.

CRITICAL ANALYSIS

LATE ROMAN PERIOD The location of Byzantium attracted Constantine the Great in 324 after a prophetic dream was said to have identified the location of the city; but the true reason behind this prophecy was probably Constantine’s final victory over Licinius at the Battle of Chrysopolis (Üsküdar) on the Bosphorus, on 18 September 324, which ended the civil war between the Roman Co-Emperors, and brought an end to the final vestiges of the Tetrarchy system, during which Nicomedia (present-day İzmit, 100 km east of Istanbul) was the most senior Roman capital city. Byzantium (now renamed as Nova Roma which eventually became Constantinopolis) was officially proclaimed the new capital of the Roman Empire in 330. At the end of his reign in 337, Constantine declared his three sons as joint heirs of the Roman Empire in a system of co-emperorship. However, the sons couldn’t govern together peacefully and their military rivalry split the empire on the north–south line along the Balkan Peninsula. The territory was officially split in 395 when Theodosius I (ruled, 379–395) died, leaving his son Honorius emperor of the western half, and his other son Arcadius emperor of the eastern half of the empire.

ILL 11. Ancient illustration of Byzantium/Constantinopolis

BYZANTINE EMPIRE Constantinople became the capital of the Eastern Roman (Byzantine) Empire. The combination of imperial power and a key location at the crossing point between the continents of Europe and Asia, and later Africa and other regions, played an important role in terms of commerce, culture, diplomacy, and strategy. It was the center of the Greek world and, for most of the Byzantine period, the largest city in Europe. Constantine’s conversion to Christianity, in 312, had set the Roman Empire towards Christianization, and in 381, during the reign of Theodosius I, the official state religion of the Roman Empire became Christianity, turning Constantinople into a thriving religious center. Throughout the 5th century, the western half of the Roman Empire lost most of its power through a decline in political, economic, and social situations, the last western emperor being deposed by Germanic mercenaries in AD 476; the eastern half, however, was flourishing. According to historians this flourishing Eastern Roman Empire was then classified as the Byzantine Empire to distinguish it from the Roman Empire. This empire was distinctly Greek in culture, and became the centre of Greek Orthodox Christianity after an earlier split with Rome, and was

adorned with many magnificent churches, including Hagia Sophia, once the world’s largest cathedral. The most famous Byzantine emperor was Justinian (527-565). During his reign, he extended the Byzantine Empire to its largest boundaries spreading from Palestine to the tip of Spain. His other achievements include the famous Hagia Sophia church and the organized law system called the Codex which was completed in 534. Justinian’s reign was the greatest influence of the Byzantine Empire. Starting in the 600s, warfare kept Constantinople’s power flip-flopping between decline and progression. Alliance with Europe slowly began to break away from the Byzantine Empire between the 7th-8th centuries, when the Byzantine and Roman churches disagreed on various subjects. From around the 9th to 13th centuries, Constantinople developed complex relationships with an emerging and later the largest and most advanced state of that time in Europe – Kiev Rus. Constantinople played a significant role in the Kiev Rus development, culture, and politics. Many of the Kiev Princes were married to daughters of the Byzantine Emperors, and because of this connection, Eastern Europe became Orthodox after it was Christianized by Vladimir the Great of

CRITICAL ANALYSIS

Kiev. However, these relationships were not always friendly – Constantinople was sacked several times over those 400 years by Kiev Princess, forcing Constantinople to sign increasingly favorable treaties for Kiev, the texts of which were preserved in the Primary Chronicle and other historical documents. Byzantine constantly played Kiev, Poland, Bulgaria, and other European Nations of that time, against each other. Near 1204, Constantinople began to decline in power. In 1204, western armies captured Constantinople and ransacked the city for treasures. This new Latin Empire at Constantinople lasted until 1261 when the Byzantines under the command of Michael VIII Palaeologus recaptured the city and some outlying territory. After this, Constantinople never regained its former glory. Rather than a thriving metropolis, Constantinople transformed into a collection of villages, and became a semi-ghost town with, as Ibn Battuta noted, sown fields within the city walls. The city by 1453 held less than a tenth of its former population. ILL 12. Geographical history of the Byzantine Empire

OTTOMAN EMPIRE The city, known alternatively in Ottoman Turkish as Kostantiniye or Istanbul (while its Christian minorities continued to call it Constantinople, as did people writing in French, English, and other western languages), was the capital of the Ottoman Empire from its conquest in 1453 until the empire’s collapse in 1922. The Conquest On 29 May 1453, Sultan Mehmed II “the Conqueror” entered Constantinople after a 53–day siege during which his cannon had torn a huge hole in the Walls of Theodosius II. The city became the fourth and final capital of the Ottoman Empire. Mehmed had begun the siege on 6 April 1453. He had hired engineers to build cannons and bombs for the occasion. He also acquired scholars and imams to encourage the soldiers. In accordance with Shariah (Muslim Holy Law), Mehmed gave the Byzantine emperor Constantine Palaeologus (1449–1453) three chances to surrender the city. He guaranteed the safety of the city’s residents, with their riches, beliefs, and honor. Constantine valiantly refused the offer. After more than a month of fighting, Mehmed’s advisors were beginning to lose hope. Against their counsel, Mehmed continued to fight. The night before the final assault,

he studied previous attempts to take the city to distinguish potentially successful approaches. On the morning of 29 May 1453 the sultan ordered Adzan (the call to prayer). This was not a regular prayer session for religious reasons but rather a scare tactic: the sight of the entire Ottoman army getting on their knees to pray provided an intimidating display of unity to the Byzantine forces designed to overcome their minds before their bodies. Once the fighting started, it went on for 48 days. The wall was beginning to collapse when Constantine sent a letter to the pope asking for help. In response, the Papacy sent five ships full of reinforcements, weapons, and supplies. Another defense tactic involved Constantine blocking off the Golden Horn so that the Ottoman army could not get ships into it. Mehmed had his people pave a path from oiled tree branches in order to bring eighty ships overland via Galata and placed them into the Golden Horn behind the enemy ships. The Ottoman ships burnt the Byzantine ones in a naval battle. Since the Byzantine army was still holding on after this defeat, the sultan thought it was time to set up his secret weapon, a huge mobile tower. This tower could hold many soldiers who could be at the same level as the walls of the city, making it easier

CRITICAL ANALYSIS

for them to break into Constantinople. The first group of Ottomans who entered the city were killed almost immediately, with the effect that the other Muslims began to retreat. Witnessing this, the sultan encouraged his soldiers. Soon after the sultan’s encouragement the Muslims broke the wall in two places and entered the city. In a last attempt to protect it, Constantine attacked the enemy sword raised; however, he was defeated. Finally, Constantinople was under Ottoman rule. Mehmed entered Constantinople through what is now known as the Topkapi Gate. He immediately rode his horse to the Hagia Sophia which he ordered to be sacked. He turned the Orthodox cathedral into an Islamic mosque, solidifying Turkish rule in Constantinople. Following the sack, Mehmed’s main concern with Constantinople had to do with rebuilding the city’s defenses and re-population. Building projects were commenced immediately after the conquest, which included the repair of the walls, construction of the citadel, and building a new palace. Mehmed issued orders across his empire that Muslims, Christians, and Jews should resettle the city; he demanded that five thousand households needed to be deported to Constantinople by September.

ILL 13. The Byzantine Empire in 1453, before the fall of Constantinople.

ILL 14. Painting by Fausto Zonaro depicting the Ottoman Turks transporting their fleet overland into the Golden Horn.

Imperial Capital By 1459, the Sultan dedicated a lot of energy to bringing prosperity to Constantinople. In several quarters of the city pious foundations were created; these areas consisted of a theological college, a school (or a Madrasa, usually connected to the mosque), a public kitchen, and a mosque. In the same year, Mehmed sent out orders that any Greeks who had left Constantinople as slaves or refugees should be allowed to return. These actions led it to become a once again thriving capital city, now of the Ottoman Empire. In the final years of the Byzantine Empire, the population of Constantinople had fallen steadily, throwing the great imperial city into the shadow of its past glory. For Mehmed II, conquest was only the first stage; the second was giving the old city an entirely new cosmopolitan social structure. Most of what remained of the Byzantine population – a mere 30,000 persons – was deported. According to the Ashikpashazade, a Turkish chronicle, “Mehmed then sent officers to all his lands to announce that whoever wished should come and take possession in Constantinople, as freehold, of houses and orchards and gardens ... Despite this measure the city was not repopulated. So then the Sultan commanded that from every land families, rich and poor alike,

should be brought in by force ... and now the city began to be populous.” Mehmed took much personal interest in the creation of his new capital. On his orders, the great mosque and the college of Fatih were built on the old burial grounds of the Byzantine Emperors at the Church of the Holy Apostles. Bit by bit the great Christian city was transformed into a great Muslim city. Even so, the city was not to be entirely Muslim, at least not until the late 20th century. Slavs, Greeks, Jews, and Armenians, all of whose diverse skills were needed, were allowed to settle. According to the census of 1477, there were 9,486 houses occupied by Muslims; 3,743 by Greeks; 1,647 by Jews; 267 by Christians from the Crimea, and 31 Gypsies. Mehmet also re-established Constantinople, as it was still called at that time, as the center of the Orthodox patriarchate. There was also an Italian community in the area of the Galata Tower. Having surrendered before the fall of the city, Mehmed allowed them to preserve an element of self-government. For generations after, they supplied interpreters and diplomats for the Ottoman Court. After the conquest of Egypt in 1517, and the Sultan’s acceptance of the position of Caliph, Constantinople

1 Bosphorus at the Orientalist Paintings, Pera Museum online website, published 29 September 2017 2 The Golden Horn, Pera Museum online website, published 16 November 2017 34

CRITICAL ANALYSIS

acquired additional importance in Muslim populations. Mosques built by Sultan Suleiman I and his successors gave the city the unique appearance it still preserves today. The individual communities, though, still lived in self-contained areas and had little in the way of social interaction, a source of future trouble.

ILL 15. View of İstanbul from the Galata Tower, Antoine Ignace Melling, 1787¹

ILL 16. Yeni Camii and the Port of İstanbul, Jean-Baptiste Hilair, 1789²

Developments A 16th century Chinese geographical treatise described Constantinople/ Istanbul as follows: “Its city has two walls. A sovereign prince lives in the city. There are Muslims wearing headwraps. There are translators. People cultivated dry fields. It has no products.” The statement that there were translators suggests it was a multilingual, multicultural, cosmopolitan city. Until the eighteenth century, living standards were at least equal to most of Europe. For example, the development of urban craftsmen’s wages was on a level similar to southern and central Europe during the sixteenth to eighteenth century. The Grand Bazaar (1455) and Topkapı Palace (1459) were erected in the years following the Turkish conquest. Religious foundations were endowed to fund the building of mosques such as the Fatih (1463) and their associated schools and public baths. The city had to be repopulated by a mixture of force and encouragement. Suleyman the Magnificent’s reign over the Ottoman Empire from 1520 to 1566 was a period of great artistic and architectural achievements.

The famous architect Mimar Sinan (the Architect Sinan) was the most important architect of the Ottoman Empire. He was the chief Ottoman architect and civil engineer for sultans Suleiman the Magnificent, Selim II, and Murad III. His training as an army engineer gave Sinan an empirical approach to architecture rather than a theoretical one. He was responsible for the construction of more than 300 major structures and other more modest projects, such as schools. His apprentices would later design the Sultan Ahmed Mosque in Istanbul and Stari Most in Mostar. Meanwhile, Ottoman arts of ceramics and calligraphy also flourished. Many tekkes (dervish lodge) survive to this day; some in the form of mosques while others have become museums such as the Cerrahi Tekke and the Sünbül Efendi and Ramazan Efendi mosques and türbes in Fatih, the Galata Mevlevihanesi in Beyoğlu, the Yahya Efendi tekke in Beşiktaş, and the Bektaşi Tekke in Kadıköy, which now serves Alevi Muslims as a “cemevi” (house of gathering).

CRITICAL ANALYSIS

ILL 17. Suleymaniye Mosque, work of Mimar Sinan

ILL 18. Portrait of Suleyman the Magnificient

Seraglio Point (Historical Peninsula) The Historical Peninsula is the heart of the Empire. The Topkapı Palace was the center of political authority until the 19th century, and many other examples of classical Ottoman and Byzantine architecture included in its premise. The headland on which Topkapi Palace stands is known as Sarayburnu (Seraglio Point). Sarayburnu lies at the mouth of Bosphorus overlooking both this strait, the Golden Horn and the Marmara Sea. The palace built here by the Ottomans was for 400 years the administrative centre of the empire as well as the private home of the sultan. Every westerner who wants to be thoroughly acquainted with the Ottoman Empire must first view the Historical Peninsula. The peninsula was depicted as viewed from the embassies located in Pera until the second half of the 19th century. This location provided the best perspective from which one can view the city’s topography, the maritime transportation facilities, the shipyards and boathouses of the Golden Horn, the position of the Prince Islands that generate the first visual impression of the town.

ILL 19. Panorama of Sarayburnu (Seraglio Point), Louis-François Cassas, 1787- 1827

CRITICAL ANALYSIS

ILL 20. The Imperial Council In the Topkapi Palace, Luigi Mayer, Late 18th Century

ILL 21. Bayram Greeting Reception, Topkapı Palace, Germain Fabius Brest, 1865

Modernisation As the years passed the population increased, from about 80,000 at the death of Mehmet, to 300,000 by the 18th century, and 400,000 in 1800. The capital of an empire that stretched across Europe, Asia, and Africa, it also became an important diplomatic centre, with several foreign embassies. The city was modernized from the 1870s onwards with the building of bridges, the creation of a proper water system, the use of electric lights, and the introduction of trams and telephones.

ILL 22. Panoramic view of the city in the 1870s as seen from Galata Tower

CRITICAL ANALYSIS

ILL 23. The Bosphorus, Ortaköy Mosque, anonymous painter, circa 1880

REPUBLIC OF TURKEY After the First World War, the Armistice of Mudros decreed that Constantinople would be occupied by Allied Forces. On 13 November 1918, the Occupation of Constantinople by Allied forces began, ending on 4 October 1923. When the Republic of Turkey was founded under Mustafa Kemal Atatürk (then known as Mustafa Kemal Pasha) on 29 October 1923, the capital was moved from Constantinople to Angora, which became Ankara. As a consequence, the population collapsed, from an estimated 1,125,000 in 1914 to about 500,000 in 1924; but the population steadily grew during the later 20th century, the metropolitan population surpassing 10 million in the year 2000. The city’s current name İstanbul is a shortened version with a Turkish character of the Medieval Greek phrase “εἰς τὴν Πόλιν” [is tin polin], meaning “into the city”, which had long been in vernacular use by the local population. The international name Constantinople also remained in use until Turkey adopted the Latin alphabet in 1928 and urged other countries to use the city’s Turkish name in their languages and their postal service networks.In 1929 Lloyd’s agents were informed that telegrams now must be addressed to “Istanbul” or “Stamboul”,

but The Times stated that mail could still be delivered to “Constantinople”. However, The New York Times stated that year that mail to “Constantinople” may no longer be delivered. In 1929 Turkish Nationalists advocated for the usage of Istanbul in English instead of Constantinople. The U.S. State Department began using “Istanbul” in May 1930. With the establishment of the new Turkish Republic, built on a wave of nationalism, there was a mass exodus of much of the Greek and Armenian population from Istanbul, which had ceased to be the capital. After the pogrom of 1955, the remaining fraction also departed. In the early years of the republic, Istanbul was overlooked in favour of Ankara, the new capital. However, starting from the late 1940s and early 1950s, Istanbul underwent a great structural change, as new public squares (such as Taksim Square), boulevards and avenues were constructed throughout the city; sometimes at the expense of the demolition of many historical buildings. In September 1955, many ethnic Greek businesses were destroyed during the Istanbul pogrom. This accelerated the departure of Greeks from the city and Turkey. Jews, Armenians, and Georgians were also targeted.

CRITICAL ANALYSIS

Starting from the 1970s, the population of Istanbul began to rapidly increase, as people from Anatolia migrated to the city to find employment in the many new factories that were constructed at the outskirts of the sprawling metropolis. This sudden sharp rise in the city’s population caused a large demand for housing development, and many previously outlying villages and forests became engulfed into the greater metropolitan area of Istanbul.

ILL 24. Istanbul at night, view from an airplane

URBAN FOOTPRINT The following infographics show how Istanbul’s built-up area has expanded from the pre-fifteenth century up to 2000. In the late Ottoman era, the city started to develop from the historical peninsula on the Bosporus. By 1950, the built-up area expanded along the East-West axis, covering most of the Marmara Sea’s coast on the Anatolian side. Between 1950 and 1970, the first wave of largescale migration brought with it gecekondu (informal) settlements occupying large areas on the peripheries. Industrial development continued to promote migration, and by 1990, the forest and water reservoirs began to be threatened by uncontrolled development, further fuelled by the opening of two bridges spanning the Bosporus. In 2000, the builtup area spread even further outwards on the European and Asian sides. A significant portion of this recent expansion can either be tied to the development of gated communities for the wealthiest of the city’s population or to mass housing for its middle classes.¹

ILL 25. Aerial view of the urban context 1 Burdett, Richard, ed. (2009) Istanbul: city of intersections. Urban Age. 44

CRITICAL ANALYSIS

Prior 15th Century

19th Century

1950

1970

1990

2000 Istanbul provincial boundary

built-up area

ILL 26. Historical Evolution of Istanbul’s Urban Footprint

Rumelifeneri Anadolufeneri

Rumelikavağı

Anadolukavağı

Sarıyer

Tarabya

Beykoz

Elmalı Dam ULUS

Sazlıdere Dam

USKUDAR

Historical Peninsula

ESENYURT Kucukcekmece Lake

Kınalıada

He 1990-2000; 1980-1989 1980-1989; 1970-1979; 1990-2000 1970-1979; 1960-1969; 1980-1989 1960-1969; 1950-1959; 1970-1979 Prior to 1929; 1930-1949; 1950-1959; 1960-1969

ILL 27. Socio-Spatial Urban Formation Through Age of Buildings 1 LSE Cities. Age of buildings, Istanbul (November 2009), accessed 8th August 2021 https://LSECiti.es/u39be1399. 46

Burgazada

CRITICAL ANALYSIS

This map charts the city’s growth according to the date of construction of residential buildings. Darker shaded areas correspond to older buildings, providing an insight into how Istanbul’s socio-spatial urban formation has evolved.¹

Ömerli Dam

eybeliada Büyükada

1.1.2 Context Analysis

THE CLIMATE The climate of Istanbul, the largest city of Turkey, can be defined as transitional Mediterranean, in fact, it has quite cold winters, but otherwise it has Mediterranean characteristics: the rainiest seasons are autumn and winter, and summer is hot and sunny. The city is located in the west of Turkey, at 41 degrees north latitude, in the Bosphorus strait, which separates the Black Sea from the Sea of Marmara, and also Europe from Asia. The amount of sunshine in Istanbul is scarce in winter, when cloudy skies prevail, and sometimes fog can form, while it is very good in summer, when sunshine prevails. On average, there are 2,200 hours of sunshine per year. The best times to visit Istanbul are spring and autumn, in particular, the months of May, June, and September. September is an interesting month, especially in the first half, since it’s usually pleasant and with little rain, and the sea is still warm enough. In July and August, at certain times, the heat is acceptable, while at other times, it can be intense.

CRITICAL ANALYSIS

ILL 28. Average Daily Temperature and Rainfall

120

107

Temperature (°C)

87 20

25 19

12 10

11 9

Jan

Feb

60 15 40

100

Jun

Jul

Aug

Rainfall (mm)

11 5

0 Mar

Apr

May

Main Maximum and Minimum Daily Temperature (°C)

Sep

Oct

Nov

Dec

Mean Total Rainfall (mm)

DEMOGRAPHICS Istanbul is a migrant city. Since the 1950s, Istanbul’s population has increased from 1 million to about 10 million residents. Almost 200,000 new immigrants, many of them from Turkey’s own villages, continue to arrive each year. As a result, the city constant change, constantly reshaped to achieve the needs of these new population. Throughout most of its history, Istanbul has ranked among the largest cities in the world. By 500 CE, Constantinople had somewhere between 400,000 and 500,000 people, edging out its predecessor, Rome, for world’s largest city. Constantinople jostled with other major historical cities, such as Baghdad, Chang’an, Kaifeng and Merv for the position of world’s most populous city until the 12th century. It never returned to being the world’s largest, but remained Europe’s largest city from 1500 to 1750, when it was surpassed by London. The Turkish Statistical Institute estimates that the population of Istanbul Metropolitan Municipality was 14,377,019 at the end of 2014, hosting 19 percent of the country’s population. Then about 97–98% of the inhabitants of the metropolitan municipality were within city limits, up from 89% in 2007 and 61% in 1980. 64.9%

of the residents live on the European side and 35.1% on the Asian side. While the city ranks as the world’s 5thlargest city proper, it drops to the 24th place as an urban area and to the 18th place as a metro area because the city limits are roughly equivalent to the agglomeration. Today, it forms one of the largest urban agglomerations in Europe, alongside Moscow. The city’s annual population growth of 3.45 percent ranks as the highest among the 78 largest metropolises in the Organisation for Economic Co-operation and Development. The high population growth mirrors an urbanization trend across the country, as the second and third fastest-growing OECD metropolises are the Turkish cities of İzmir and Ankara. Istanbul experienced especially rapid growth during the second half of the 20th century, with its population increasing tenfold between 1950 and 2000. This growth in population comes, in part, from an expansion of city limits—particularly between 1980 and 1985, when the number of Istanbulites nearly doubled. The remarkable growth was, and still is, largely fueled by migrants from eastern Turkey seeking employment and improved living conditions.

CRITICAL ANALYSIS

The number of residents of Istanbul originating from seven northern and eastern provinces is greater than the populations of their entire respective provinces; Sivas and Kastamonu each account for more than half a million residents of Istanbul. Istanbul’s foreign population, by comparison, is very small, 42,228 residents in 2007. Only 28 percent of the city’s residents are originally from Istanbul. The most densely populated areas tend to lie to the northwest, west, and southwest of the city center, on the European side; the most densely populated district on the Asian side is Üsküdar.

ILL 29. People at the commuter ferry quay of Karaköy in Istanbul in the 1930s

Historical Populations¹ Pre-Republic Year Population 100 36,000 300,000 361 500 400,000 541 500,000 7th c. 350,000 8th c. 500,000 9th c. 250,000 1000 500,000 1100 400,000 1200 200,000 1261 100,000 1350 80,000 1453 45,000 1500 200,000 1550 660,000 1700 700,000 1815 500,000 1860 715,000 1890 874,000 1900 942,900

Republic Year Population 1925 881,000 1927 691,000 1935 740,800 1940 793,900 1945 845,300 1950 983,000 1960 1,459,500 1965 1,743,000 1970 2,132,400 1975 2,547,400 1980 2,853,500 1985 5,494,900 1990 6,620,200 1994 7,615,500 1997 8,260,400 2000 8,831,800 2007 11,174,200 2015 14,657,434

1 Jan Lahmeyer 2004, Chandler 1987, Morris 2010, Turan 2010 52

±% p.a. — −11.44% +0.87% +1.39% +1.26% +3.06% +4.03% +3.61% +4.12% +3.62% +2.30% +14.00% +3.80% +3.56% +2.75% +2.25% +3.42% +3.45%

CRITICAL ANALYSIS

1975

2011 ILL 30. Comparison of the growth of Istanbul between 1975 and 2011. (The grey areas are buildings)

Million people 20

Shanghai Istanbul

Mumbai Sao Paulo Mexico City New York

London

Johannesburg Berlin

0 1900

1910

1920

1930

1940 1950

1960

1970

1980

1990 2000 2010

2020

ILL 31. Population Growth Comparison of Istanbul¹

ILL 32. Population Density on Istanbul

1 LSE Cities. Population Growth, Istanbul (November 2009), accessed 8th August 2021 https://LSECiti.es/u39be1399. 54

CRITICAL ANALYSIS

Female

Male 80+ 70s 60s 50s 40s 30s 20s 10s 0s 14%

14%

ILL 33. Istanbul’s Age Pyramid

Other 0.9%

Services 14.3%

Manufacturing 37.9%

Transport, storage and communication 8.5% 42% 58%

Commerce 34.6%

Construction 3.8%

ILL 34. Istanbul’s Workforce by Sector

ETHNIC DIVERSITY In the late Ottoman period non-Muslim ethnic minorities in the empire used French as a lingua franca and therefore used French-language newspapers and other media. In addition French businesspeople and vocational workers used Frenchlanguage media to get in touch with clients in the empire. French-language journalism was initially centred in Smyrna (now Izmir) but by the 1860s it began shifting towards Constantinople. Many newspapers in non-Muslim minority and foreign languages were produced in Galata, with production in daylight hours and distribution at nighttime; Ottoman authorities did not allow production of the Galata-based newspapers at night.¹

ILL 35. Istiklal Avenue on a Friday afternoon in May, Istanbul

CRITICAL ANALYSIS

Arabs The Arabic newspaper Al-Jawā’ib began in Ottoman Constantinople, established by Ahmed Faris Efendi (1804-1887), after 1860. It published Ottoman laws in Arabic, including the Ottoman Constitution of 1876. Armenians As of 2015 there are between 50,000 and 90,000 Armenians in Istanbul, down from about 164,000 according to the Ottoman Census of 1913. Bulgarians Bulgarian newspapers in the late Ottoman period published in Constantinople were Makedoniya, Napredŭk (“Progress”), Pravo, and Turtsiya; Johann Strauss, author of “A Constitution for a Multilingual Empire,” described the last one as “probably a Bulgarian version of [the French-language paper] La Turquie.” Greeks Phanar Greek Orthodox College is a Greek minority school was founded in Ottoman Empire in 1454.Constantinople had a majority Greek population from the 8th century BC through till the Ottoman conquest in 1453.

adopting Greek culture, the Phanariotes, based in the neighbourhood of Phanar, now Fener, in Fatih. About eleven families were a part of the Phanariotes. Because of events during the 20th century, the 1923 population exchange between Greece and Turkey, a 1942 wealth tax, and the 1955 Istanbul riots—the Greek population, originally centered in Fener and Samatya, has decreased substantially. At the start of the 21st century, Istanbul’s Greek population numbered 3,000 (down from 260,000 out of 850,000 according to the Ottoman Census of 1910, and a peak of 350,000 in 1919). There is a Greek newspaper, Apoyevmatini. Jews The neighbourhood of Balat used to be home to a sizable Sephardi Jewish community, first formed after their expulsion from Spain in 1492. Romaniotes and Ashkenazi Jews resided in Istanbul even before the Sephardim, but their proportion has since dwindled; today, 1% of Istanbul’s Jews are Ashkenazi. In large part due to emigration to Israel, the Jewish population nationwide dropped from 100,000 in 1950 to 18,000 in 2005, with the majority of them living in either Istanbul or İzmir.

After 1453, there remained a group of prominent ethnic Greeks and/or people

Kurds The largest ethnic minority in Istanbul is the Kurdish community, originating from eastern and southeastern Turkey. Although the Kurdish presence in the city dates back to the early Ottoman period, the influx of Kurds into the city has accelerated since the beginning of the Kurdish–Turkish conflict with the PKK (i.e. since the late 1970s). About 2 to 4 million residents of Istanbul are Kurdish, meaning there are more Kurds in Istanbul than in any other city in the world. Levantines The Levantines, Latin Christians who settled in Galata during the Ottoman period, played a seminal role in shaping the culture and architecture of thenConstantinople during the 19th and early 20th centuries; their population in Istanbul has dwindled, but they remain in the city in small numbers. Other ethnicities There are other significant ethnic minorities as well, the Bosniaks are the main people of an entire district – Bayrampaşa. From the increase in mutual cooperation between Turkey and several African States like Somalia and Djibouti, several young students and workers have been migrating to Istanbul in search of better education and employment opportunities. The major

areas of African settlement are Eminönü and Yenikapi in Fatih, and Kurtulus and Osmanbey in Şişli. The largest groups of Africans that year were from Nigeria and Somalia, with the latter often working in business and the manufacturing of clothing. There are also Cameroonian, Congolese, and Senegalese communities present, with the first group directly involved in the vending of clothing and the last involved in the sale of goods streetside. As of 2011 about 900 Japanese persons resided in Istanbul. Of those living in Istanbul, about 500 are employees of Japanese companies and their family members, making up around half of the total Japanese population. Others include students of Turkish language and culture, business owners, and Japanese women married to Turkish men. Istanbul has several Japanese restaurants, a Japanese newspaper, and a 32-page Japanese magazine. According to the Istanbul Japanese School, circa 2019 there were about 2,000 Japanese citizens in the Istanbul area, with about 100 of them being children of the ages in which, in Japan, they would be legally required to attend school. At the same period there were about 110 Japanese companies in operation in the city.

1 The Economies of Urban Diversity: Ruhr Area and Istanbul, Palgrave Macmillan, 2013, ISBN 9781137338815, p. 117-122 2 The Economies of Urban Diversity: Ruhr Area and Istanbul

CRITICAL ANALYSIS

ILL 36. Ethno-religious groups in Istanbul (1896-1965)¹

ILL 37. Greek-Orthodox population of Istanbul (1844-1997) and percentage of total population²

RELIGION IN ISTANBUL Istanbul has been a cosmopolitan city throughout much of its history, but it has become more homogenized since the end of the Ottoman Empire. The vast majority of people across Turkey, and in Istanbul, are Muslim, and more specifically members of the Sunni branch of Islam. The largest non-Sunni Muslim group, accounting 10-20% of Turkey’s population, are the Alevis; a third of all Alevis in the country live in Istanbul. Mystic movements, like Sufism, were officially banned after the establishment of the Turkish Republic, but they still boast numerous followers. The Patriarch of Constantinople has been designated Ecumenical Patriarch since the sixth century, and has come to be regarded as the leader of the world’s 300 million Orthodox Christians. Since 1601, the Patriarchate has been based in Istanbul’s Church of St. George. Into the 19th century, the Christians of Istanbul tended to be either Greek Orthodox, members of the Armenian Apostolic Church or Catholic Levantines. Eldem Edhem, in his entry on “Istanbul” in the Encyclopedia of the Ottoman Empire, wrote that about 50% of the residents of the city were Muslim at the turn of the 20th century.

According to the 2000 census, there were 2691 active mosques, 123 active churches and 20 active synagogues in Istanbul; as well as 109 Muslim cemeteries and 57 non-Muslim cemeteries. Religious minorities include Greek Orthodox Christians, Armenian Christians, Catholic Levantines, Assyrian Christians, and Sephardic Jews. Some neighbourhoods have been known with their sizeable populations of these ethnic groups, such as the Kumkapı neighbourhood, which had a significant Armenian population, the Balat neighbourhood, which used to have a sizeable Jewish population, the Fener neighbourhood with a large Greek population, and some neighbourhoods in Nişantaşı and Pera, which had sizeable Levantine populations. In some quarters, such as Ortaköy or Kuzguncuk, an Armenian church sits next to a synagogue, and on the other side of the road a Greek Orthodox church is found beside a mosque.

CRITICAL ANALYSIS

ILL 38. Calligraphy on the pillars of the Blue Mosque

ILL 39. Mosaic of Jesus Christ in Hagia Sophia

Islam The urban landscape of Istanbul is shaped by many communities. The most populous major religion is Islam. The first mosque in Istanbul was built in Kadıköy (ancient Chalcedon) on the Asian side of the city, which was conquered by the Ottoman Turks in 1353, a full century before the conquest of Constantinople across the Bosphorus, on the European side. The first mosque on the European side of Istanbul was built inside the Rumelian Castle in 1452. The first grand mosque which was built in the city proper is the Eyüp Sultan Mosque (1458), while the first imperial mosque inside the city walls was the Fatih Mosque (1470) which was built on the site of the Church of the Holy Apostles, an important Byzantine church which was originally edificed in the time of Constantine the Great.

ILL 40. Interior of the Sultan Ahmet Mosque

Many other imperial mosques were built in the following centuries, such as the famous Süleymaniye Mosque (1557) which was ordered by Suleyman the Magnificent and designed by the great Ottoman architect Mimar Sinan, and the famous Sultan Ahmed Mosque (1616) which is also known as the “Blue Mosque” for the blue tiles which adorn its interior.

CRITICAL ANALYSIS

Istanbul was the seat of the Islamic Caliphate, between 1517 and 1924. Some of the personal belongings of Muhammad and the earliest caliphs who followed him are today preserved in the Topkapı Palace, the Eyüp Sultan Mosque and in several other prominent mosques of Istanbul. The conquest of the Byzantine capital of Constantinople in 1453 enabled the Ottomans to consolidate their empire in Anatolia and Thrace. The Ottomans later revived the title of caliph during the reign of Sultan Selim. Despite the absence of a formal institutional structure, Sunni religious functionaries played an important political role. Justice was dispensed by religious courts; in theory, the codified system of sharia regulated all aspects of life, at least for the Muslim subjects of the empire. The head of the judiciary ranked directly below the sultan and was second in power only to the grand vizier. Early in the Ottoman period, the office of grand mufti of Istanbul evolved into that of Sheikh ul-Islam (shaykh, or leader of Islam), which had ultimate jurisdiction over all the courts in the empire and consequently exercised authority over the interpretation and application of sharia. Legal opinions pronounced by the Sheikh were considered definitive interpretations. ILL 41. the Sultan Ahmet Mosque (the Blue Mosque)

Christianity Constantinople is generally considered to be the center and the “cradle of Orthodox Christian civilization”. The city has been the seat of the Ecumenical Patriarchate since the 4th century AD, and continues to serve as the seat of some other Orthodox churches, such as the Turkish Orthodox Church and the Armenian Patriarchate. The city was formerly also the seat of the Bulgarian Exarchate, before its autocephaly was recognized by other Orthodox churches. Following the Turkish conquest of Constantinople in 1453, the Ottoman Sultan Mehmed II established the Nation System, according to which the different ethnic groups within Constantinople and the rest of the Ottoman Empire were to be governed by a group of institutions based on faith. For this purpose, Mehmed II also founded previously non-existent religious authorities such as the Armenian Patriarchate of Constantinople in 1461. With the Nation System, a great deal of the internal affairs regarding these communities were assigned to the administration of these religious authorities; such as the Ecumenical Patriarchate for the affairs of all Orthodox Christians, the Armenian Patriarchate for the affairs of the Armenian (and for some time also

the Syriac) Christians, and later the Chief Rabbi for the affairs of the Jews. Into the 19th century, the Christians of Istanbul tended to be either Greek Orthodox, members of the Armenian Apostolic Church or Catholic Levantines. The everyday life of the Christians (50%), particularly the Greeks (260,000) and Armenians (160,000), living in Istanbul changed significantly following the bitter conflicts between these ethnic groups and the Turks during the Decline of the Ottoman Empire, which began in the 1820s and continued for a century. The conflicts reached their culmination in the decade between 1912 and 1922; during the Balkan Wars, the First World War and the Turkish War of Independence. The city’s Greek Orthodox community was exempted from the population exchange between Greece and Turkey in 1923 following the establishment of the Turkish Republic. However, a series of special restrictions and taxes during the years of the Second World War (see, e.g., the wealth tax), and the Istanbul Pogrom of 1955 which caused the deaths of 15 Greeks and the injury of 32 others, greatly increased emigration from Istanbul to Greece. In 1964, all Greeks without Turkish citizenship residing in Turkey (around 12,000) were deported. Today,

CRITICAL ANALYSIS

most of Turkey’s remaining Greek and Armenian minorities live in or near Istanbul. The number of the Armenians in Istanbul today amount to approximately 40,000, while the Greek community amounted to slightly more than 3,000 at the beginning of the 21st century. Beside the mostly Catholic Levantines, who are the descendants of European (Genoese, Venetian and French) traders who established trading outposts during the Byzantine and Ottoman periods, there is also a small, scattered number of Bosphorus Germans. A number of places reflect past movements of different communities into Istanbul, most notably Arnavutköy (Albanian village), Polonezköy (Polish village) and Yenibosna (New Bosnia).

ILL 42. Byzantine mosaics in Pammakaristos Church

ILL 43. St. Anthony of Padua Church in Istanbul

There were more than 40,000 Catholic Italians in Istanbul at the turn of the 20th century, a figure which not only included the descendants of the local Genoese and Venetian merchants who lived here since the Byzantine and early Ottoman periods, but also the numerous Italian workers and artisans who came to the city from Italy during the 19th century. Giuseppe Garibaldi and Giuseppe Mazzini came to Constantinople in 1832, and again in 1833. Garibaldi lived in Beyoğlu and taught Italian, French and Mathematics in the foreign schools of this district. Garibaldi also established the Società Operaia Italiana di Mutuo Soccorso on May 17, 1863, in Beyoğlu, and became its first President (Mazzini was the second President). The Società Operaia Italiana di Mutuo Soccorso is still active and is located in its original site, on a side street of İstiklal Avenue. The number of Istanbul’s Italians decreased after the end of the Ottoman Empire for several reasons. The Turkish Republic no longer recognized the trade privileges that were given to the descendants of the Genoese and Venetian merchants, and foreigners were no longer allowed to work in Turkey in a wide number of sectors, including many artisanships, in which numerous Istanbulite Italians used to work.

The Wealth Tax of the World War II years, which imposed higher tariffs on nonMuslims and foreigners in Turkey, also played an important role in the migration of Istanbul’s Italians to Italy—who still live in the city, but in far fewer numbers when compared with the early 20th century. The influence of the Italian community of Istanbul, however, is still visible in the architecture of many quarters, particularly Galata, Beyoğlu and Nişantaşı.

CRITICAL ANALYSIS

ILL 44. Società Operaia Italiana (Casa Garibaldi) in Beyoglu, 1885

ILL 45. Gruppo Schermitori, Casa Garibaldi

Judaism The Sephardic Jews have lived in the city for over 500 years, see the history of the Jews in Turkey. The Sephardic Jews contributed much to the rising power of the Ottoman Empire by introducing new ideas, methods and craftsmanship. The first Gutenberg press in Istanbul was established by the Sephardic Jews in 1493, who excelled in many areas, particularly medicine, trade and banking. The Camondo family was highly influential in the Ottoman banking sector. The famous Camondo Stairs on the Bankalar Caddesi (Banks Street) in Karaköy (Galata) was built by them. More than 20,000 Sephardic Jews still remain in Istanbul today. Romaniotes and Ashkenazi Jews resided in Istanbul even before the Sephardim, but their proportion has since dwindled; today, just 1% of Istanbul’s Jews are Ashkenazi. The Avusturya Sinagogu (Austrian Synagogue), also known as the Aşkenaz Sinagogu (Ashkenazi Synagogue) is one of the most famous synagogues in Istanbul and stands out with its interesting architecture. A wave of Ashkenazi Jews came to Istanbul during the 1930s and 1940s following the rise of Nazism in Germany which persecuted the Ashkenazi Jews of central and eastern Europe.

Today, a total of 20 active synagogues are to be found in the city, the most important of them being the Neve Shalom Synagogue inaugurated in 1951, in the Beyoğlu quarter. The Turkish Grand Rabbi in Istanbul (currently Ishak Haleva) presides over community affairs. A decrease in the population of the city’s Jewish community occurred after the independence of the State of Israel in 1948, but the Turkish Jews who migrated to that country helped to establish strong relationships between Turkey and Israel. The founders of the State of Israel and prominent Israeli politicians such as David Ben-Gurion, Yitzhak Ben-Zvi and Moshe Shertok had all studied in the leading Turkish schools of Istanbul in their youth, namely Galatasaray High School and Istanbul University.

CRITICAL ANALYSIS

ILL 46. Ashkenazi Synagogue

ILL 47. Camondo Steps in Galata, constructed by Ottoman-Venetian Jewish banker Abraham Salomon Camondo

URBAN INFRASTRUCTURE

Fatih Sultan Mehmet Bridge

SARIYER

r ho

e Ha

lic

Bri

idg

BESIKTAS

BOSPHORUS

BEYOGLU

GOLDEN HORN

PROJECT SITE

turk

Bri

USKUDAR

Gal

ata

Brid

FATIH

tro B

rid

Ata

HISTORICAL PENINSULA

KADIKOY

SEA OF MARMARA

1km seatransport node

light rail

intercity & regional rail

bus & rapid transit

subway

seaways

ILL 48. Infrastucture of Mobility¹

1 LSE Cities. Infrastructure of mobility, Istanbul (November 2015), accessed 31st July 2021 https://LSECiti. es/u45c31422. 2 LSE Cities. How people travel, Istanbul (November 2011), accessed 25th August 2021 https://LSECiti. es/u4abd141e.

CRITICAL ANALYSIS

Istanbul’s population has expanded rapidly in the last decade, from 10 million in 2000 to 13.6 million in 2011. Strongly committed to achieving global city status, the ancient ‘hinge city’ has a large, unified provincial and city government, which ensures greater regional coordination in transport and economic planning. The city is accommodating large numbers of new government-funded housing (TOKI) and has a complex public transport network of rail, metro, ferries and trams. The city introduced a Bus Rapid Transit system and is completing the first rail link across the Bosporus through the Marmaray tunnel. Despite the experience of seemingly endless traffic congestion, only 13% of Istanbul use cars, with public transport and walking taking the bigger share.

Car 13.7%

Walking 45%

Ferry 16% Minibus/ dolmus/ taxi 9.3%

13%

45% 41% Private bus 11.5%

Bus 14.8%

Rail 3.8%

ILL 49. Travel Distribution²

PUBLIC TRANSIT STATISTICS Public transport in Istanbul comprises a bus network, various rail systems, funiculars, and maritime services to serve the more than 15 million inhabitants of the city spread over an area of 5712 km2. The analysis¹ reflects how people in Istanbul get around each day with public transit compared to other cities. The statistics present the average commute and wait time for riders, the distance people travel to get to work with public transit and the average distance people in Istanbul walk each day. Istanbul’s most popular Tram, Metro, Train, Bus, Ferry, Cable Car & Funicular and stations are mentioned. Istanbul has 7 transit type(s), including: Tram, Metro, Train, Bus, Ferry, Cable Car & Funicular, operated by several transit agencies, including Metro İstanbul, Metro İstanbul, Marmaray, Metrobüs, Şehir Hatları, İDO, Turyol, Dentur Avrasya, Prenstur, Mavi Marmara, Beyden & Metro İstanbul.

1. Commute Times in Istanbul The average amount of time people in Istanbul spend commuting with public transit, for example to and from work, on a weekday is 68 min. Istanbul, Turkey Ankara, Turkey

56 min

Bursa, Turkey

50 min

Athens, Greece

47 min

Antalya, Turkey

54 min

The percentage of transit riders in Istanbul who ride public transit, including Tram, Metro, Train, Bus, Ferry, Cable Car & Funicular for more than 2 hours every day is 47%. Istanbul, Turkey

47%

Ankara, Turkey

35%

Bursa, Turkey

26%

Athens, Greece

22%

Antalya, Turkey

27%

1 Moovit, Istanbul Public Transit Statistics, accessed 25th August 2021, https://moovitapp.com/insights/en/Moovit_Insights_Public_Transit_Index_Turkey_Istanbul-1563 72

68 min

CRITICAL ANALYSIS

2. Waiting Time in Istanbul The average amount of time people in Istanbul wait at a stop or station for their Tram, Metro, Train, Bus, Ferry, Cable Car & Funicular line on a weekday is 13 min.

3. Travel Distance in Istanbul The average distance people in Istanbul usually ride in a single trip, for example to or from work, with public transit including Tram, Metro, Train, Bus, Ferry, Cable Car & Funicular is 9 km.

Istanbul, Turkey

9 km

14 min

Ankara, Turkey

7.7 km

Bursa, Turkey

14 min

Bursa, Turkey

5.7 km

Athens, Greece

16 min

Athens, Greece

6.1 km

Antalya, Turkey

19 min

Antalya, Turkey

7.0 km

Ankara, Turkey

13 min

The percentage of people in Istanbul who wait for over 20 minutes on average for their transit line every day, for example to and from work is 17%.

The percentage of people in Istanbul that usually travel for over 12 km in a single direction, for example to or from work, each day with public transit is 24%.

Istanbul, Turkey

17%

24%

Ankara, Turkey

18%

Ankara, Turkey

Bursa, Turkey

17%

Bursa, Turkey

20%

Athens, Greece

25%

Athens, Greece

12%

Antalya, Turkey

30%

Antalya, Turkey

12%

4. Number of Transfers in Istanbul The percentage of people in Istanbul who don’t need to transfer during an average commute trip (one way) is 33%.

5. Walking Distance in Istanbul The average distance people in Istanbul walk every day in one direction, for example on their way home or to work is 1 km.

Istanbul, Turkey

33%

1.07 km

Ankara, Turkey

35%

Ankara, Turkey

0.83 km

Bursa, Turkey

49%

Bursa, Turkey

0.58 km

Athens, Greece

34%

Athens, Greece

0.67 km

Antalya, Turkey

60%

Antalya, Turkey

0.71 km

The percentage of people in Istanbul who make exactly two transfers when traveling to a certain destination on a single trip is 41%.

The percentage of people in Istanbul who walk for over 1 km each day to reach a specific destination, for example to or from work is 40%.

Istanbul, Turkey

41%

40%

Ankara, Turkey

48%

Ankara, Turkey

29%

Bursa, Turkey

39%

Bursa, Turkey

15%

Athens, Greece

46%

Athens, Greece

19%

Antalya, Turkey

27%

Antalya, Turkey

20%

CRITICAL ANALYSIS

FERRYBOATS IN ISTANBUL Ferry rides is a unique experience of Istanbul. The sea transportation of the city is mostly made by the Public Ferries, and it is the most easiest, cheapest and the most pleasant way to travel up, down and across the Bosphorus. Istanbul Sea Buses The city’s largest ferry operator, Istanbul Sea Buses (İstanbul Deniz Otobusleri in Turkish, IDO), runs a combination of allpassenger and car-and-passenger ferries to ports on both sides of the Bosphorus, as far as the Black Sea with additional destinations around the Sea of Marmara. Until it was privatized in April 2011, İDO ran the largest municipal ferry operation in the world. Turyol Another smaller ferry company, Turyol, provides frequent services on routes from Eminönü, Kabataş, Beyoğlu and Karaköy to ports at Üsküdar, Haydarpaşa and Kadıköy, among others.

ILL 50. Sea transport seen on Golden Horn

In the past few decades, the ferries have been partially replaced by the two Bosphorus bridges, the Marmaray rail tunnel, fast catamarans and water taxis.

ILL 51. One of the many ferries that cross the Bosphorus

CITY PERFORMANCE

Population

Current population in the city (millions)

Current population in the metropolitan area (millions)

Economy

Average annual metro population growth 2012-2030

GVA per capita in metro area (US$)

Society

Average annual Percentage of GVA growth in metro country’s GVA area 2012-2030 (%) produced by the metro area

LONDON

TOKYO

NEW YORK

ISTANBUL

BERLIN

Ill 52. City Performance Comparison of Istanbul¹

1 LSE Cities. How Cities Perform (November 2009), accessed 8th August 2021 https://LSECiti.es/u39be1399 76

Unemployment rate (%)

Income inequality (GINI Index)

Percentage of the population under 20

Murder rate (homicides per 100,000 people)

CRITICAL ANALYSIS

Governance

Voter turnout in the last local elections (%)

Number of elected Term limit for Number of Twitter representatives in city mayor/city leader followers the mayor council/assembly (years and mandates) /city leader has

Planning

Built up area in the city (%)

Transport & Environment

Average density of built up area (people/km²)

Green space in the city (m² person)

Percentage of daily trips made by public transport (modal share)

Car ownership rate Cost of a bus ticket (per 1,000 people) in the city (US$)

Annual mean PM₁₀ Levels (µg/m²)

1.2 pasalimanı district

CRITICAL ANALYSIS

USKUDAR REGION Üsküdar, traditionally known in Italian and English as Scutari, and in classical antiquity known as Chrysopolis (Greek: ‘Golden City’), is a large and densely populated district and municipality of Istanbul, on the Anatolian shore of the Bosphorus. Üsküdar is a sprawling residential area on Istanbul’s Asian side, where the ornate Beylerbeyi Palace sits in the shadow of the Bosphorus Bridge. The leafy Kuzguncuk neighborhood has a quiet, village feel, while the vaulted Mihrimah Sultan Cami mosque stands near the ferry wharves on the busy waterfront. Promenade cafes offer views of tiny Maiden’s Tower island and toward Sultanahmet across the water.

ILL 53. Uskudar, Anatolian Side, Istanbul

ILL 54. Maiden’s Tower, Uskudar

The district is one of Istanbul’s oldestestablished residential areas. The transport across the Bosphorus is easy by boat or bridge. So there are well-established communities here, many retired people, and many residents commute to the European side for work or school (being cheap and central Üsküdar has a large student population). During the rush-hour, the waterfront is bustling with people running from ferryboats and motorboats onto buses and minibuses. Üsküdar also has the smell of the sea, the sound of foghorns, motorboats and seagulls and one of the best views of the city.

HISTORY OF USKUDAR Üsküdar was founded in the 7th century BC by ancient Greek colonists from Megara as Chrysopolis (Greek:‘Golden City’), a few decades before Byzantium was founded on the opposite shore. According to an ancient Greek geographer, the city received the name Chrysopolis because the Persian empire had a gold depository there or because it was associated with Agamemnon and Chryseis’ son, Chryses. On the other hand, according to an 18th-century writer, it received the name because of the excellence of its harbor. The city was used as a harbor and shipyard and was an important staging post in the wars between the Greeks and Persians. In 410 BC Chrysopolis was taken by the Athenian general Alcibiades, and the Athenians used it thenceforth to charge a toll on ships coming from and going to the Black Sea. Long overshadowed by its neighbor Chalcedon during the Hellenistic and Roman period, it maintained its identity and increased its prosperity until it surpassed Chalcedon. Due to its less favorable location with respect to the currents of the Bosporus, however, it never surpassed Byzantium. In AD 324, the final battle between Constantine I, Emperor of the West, and Licinius, Emperor of the East, in which Constantine defeated Licinius, took ILL 55. Uskudar Map by Joseph von Scheda, 1860–70

CRITICAL ANALYSIS

place at Chrysopolis. When Constantine made Byzantium his capital, Chrysopolis, together with Chalcedon, became suburbs. Chrysopolis remained important throughout the Byzantine period because all trade routes to Asia started there, and all Byzantine army units headed to Asia mustered there. During the brief usurpation of the Armenian general Artabasdos, his eldest son, Niketas, was defeated with his forces at Chrysopolis by the army of Constantine V, before Artabasdos was finally deposed by the legitimate emperor Constantine and blinded. For this reason, and because of its location across from Constantinople, it was a natural target for anyone aiming at the capital. Also, in the 8th century AD it was takena by a small band of Arabs, who caused considerable destruction and panic in Constantinople, before withdrawing. In 988, a rebellion that nearly toppled Basil II began in Chrysopolis, before he was able to crush with the aid of Russian mercenaries.

with Eyüp and Galata). The area was a major burial ground, and today many large cemeteries remain, including Karacaahmet Mezarlığı, Bülbülderesi Mezarlığı, and a number of Jewish and Christian cemeteries. Karacaahmet Mezarlığı is one of Istanbul’s largest cemeteries. The Bülbülderesi cemetery is next to Fevziye Hatun mosque. As of 2006, the central square is being dug up for a tunnel under the Bosphorus which will carry an underground railway. However, this is predictably continuously running into artifacts of great archaeological value.

In the 12th century, the city changed its name to Skoutarion, the name deriving from the Emperor’s Skoutarion Palace nearby. In 1338 the Ottoman leader Orhan Gazi took Skoutarion, giving the Ottomans a base within sight of Constantinople for the first time. In the Ottoman period Üsküdar was one of the three communities outside the city walls of Constantinople (along

USKUDAR NEIGHBORHOODS Üsküdar is a municipality within borders of Istanbul Metropolitan Municipality. The municipality is subdivided into neighborhoods. The boundaries and names of the official neighborhoods change from time to time and sometimes do not correspond to historically recognized neighborhoods or to residents’ own perceptions. The most prominent neighborhood is Üsküdar’s historic center, centered on the ferry docks and roughly corresponding to the current Mimar Sinan neighborhood. This area includes large historic mosques, many businesses and markets, and is a transportation hub. Other prominent neighborhoods include the former villages on the Bosphorus to the north of the historic center, Kuzguncuk, Beylerbeyi, Çengelköy, Kuleli, Vaniköy, and Kandilli; the neighborhoods along the Bosphorus shore south of the historic center, Salacak, Harem, and Selimiye; and the mostly residential neighborhoods on the hilltops and hillsides, Doğancılar, İmrahor, Selamsız, Bağlarbaşı, Altunizade, Acıbadem, Küçük Çamlıca, and Büyük Çamlıca.

CRITICAL ANALYSIS

ILL 56. Uskudar Aerial Footage

SULTANTEPE NEIGHBORHOOD Sultantepe is a neighborhood in the municipality of Üsküdar on the Asian side of Istanbul, Turkey. The name Sultantepe means “sultan hill”. The historical Sultantepe district was established on a hill overlooking the center of Üsküdar and was shaped around a city square. The roads leading down to the shore lead to Paşalimanı Avenue.

ILL 57. Sultantepe Neighborhood, Uskudar

The traditional Sultantepe neighborhood is centered on a public square at the top of a hill overlooking the historic center of Üsküdar. During Byzantine times, there was a building with marble columns, possibly a church, on the hilltop. During Ottoman times, according to one source, the neighborhood was selected as a residence by a woman in Suleiman the Magnificent’s court, Hacı Hesna Hatun (Lady Hesna the Hajji), the nursemaid of his daughter Mihrimah Sultan. Sultantepe is mostly a residential neighborhood. Retail businesses are concentrated along Selmani Pak Avenue on the southern edge of the neighborhood and around the square on top of the hill. The largest green space in the area is the Fethi Pasha Grove, on the northeastern edge of the neighborhood.

CRITICAL ANALYSIS

ILL 58. Üsküdar and Historical Peninsula Region from Sultantepe, 1890

PASALIMANI DISTRICT Paşalimanı district is located on the Anatolian side of the Bosphorus, between Üsküdar and Kuzguncuk. It was called Öküzlimanı because they brought the oxen going to Anatolia from Beşiktaş to this port by boat. Later, after the Piyalepaşa coastal palace was built, this area was named Paşalimanı.

ILL 59. Paşalimanı District, Sultantepe, Uskudar

Pasalimani, which was used as a pier during the Ottoman period, is also a famous district with its architectural and historical monuments. There are many works such as Fethipaşa Mansion, Özbekler Lodge, Serasker Hüseyin Avni Paşa Mansion, Abdurrahman Ağa Mosque, Yarımca Baba Bektaşi Lodge and a fountain built by Hüseyin Avni Paşa in 1875. Towards the end of the 19th century, the region began to expand and develop by establishing various coffee shops, tanneries, steamer mills, grain warehouses, police station and Mumhane piers. There are important historical structures such as Nemlizade Tobacco Warehouse and Historical Monopoly Warehouses in the immediate vicinity of the building. Today, Nemlizade Tobacco Warehouse is privatized and used as the headquarters of a capital group. Tekel Depoları has been opened to the public by Istanbul State Theaters and serves as Üsküdar

CRITICAL ANALYSIS

Tekel Stages. Although these two structures are located in one of the important centers of Istanbul, they also have an important place in the Istanbul skyline with their location on the coast. This area, which is connected by the shore axis, is the only area open to public use. The accessibility and recognizability of the Paşalimanı Flour Factory structure is low due to the different types of borders such as the building groups and the vehicle road that passes in front of the facade facing the shore.

ILL 60. Historical sea houses in Bosphorus shoreline, Paşalimanı District, 2017

1.2.1 Coastal Transformation

18th CENTURY - “Öküzlimanı” The coastal part of the area where most industial facilities are located and their surroundings were named as Öküzlimanı (Ox Port) before the name Paşalimanı during the Ottoman period. Abdurrahman Aga Mosque, built in 1766, constitutes an important location for the settlement of the region, new constructions take place around the mosque.

19th CENTURY - “Öküzlimanı” During the reign of Sultan Selim III, two grain warehouses in 1798 and 1808, a military police station in 1842 and a flour mill with twenty stones in 1863 were built on the shoreline belonging to the Foundation of Abdurrahman Aga, who was the Armed Forces of Sultan Mustafa III.

20th CENTURY - Paşalimanı Paşalimanı district, meaning “the port of Pasha” in Turkish, began to expand towards the end of the 19th century. District has been developed by establishing various coffee shops, tanneries, steamer mills, grain warehouses, police station and candlehouse piers.

CRITICAL ANALYSIS

Mosque

ILL 61. Part from Istanbul Anatolian Side Map, 1780

ILL 62. Map by J. Scheda, 1860–70

ILL 63. Real Estate Plan by J. Pervititch, 1930

1.2.2 District Analysis

NEIGHBORHOOD CONTENT 1. Historic Pasalimanı Flour Factory 2. Istanbul State Opera and Ballet Directorate 3. Istanbul State Theater in Uskudar Tekel Stage 4. Corporate Office Headquarters 5. Private companies 6. Abdurrahman Aga Mosque 7. Pasalimanı Public Park 8. Coastal Safety Directorate Station 9. Municipality’s Infrastructure construction field 10. Fethi Pasa Natural Reserve 11. Bookstore 12. Restaurant 13. Residential mid-rise blocks 14. Kindergarten 15. Private property 16. Middle school 17. High school 18. District office

CRITICAL ANALYSIS

6 3

4 2 5

11 12

18 0m

20m

50m

100m

ILL 64. Pasalimani District Plan 91

1.2.3 Site Development

Prior: Pasaliman Present: No

Prior: Tekel Grain Warehouse (1799) Present: State Opera and Ballet Directorate (2009) Prior: Tekel Grain Warehouse (1799) Present: State Theaters Tekel Stage (2009)

ILL 65. Pasalimani District Present Situation of the Industrial Heritages

CRITICAL ANALYSIS

These structures are located on the Bosphorus shoreline in Uskudar, Paşalimanı district. It’s a part of the frontal silhouette. There are three historic buildings in the district; the tobacco warehouse, grain warehouse and the Paşalimanı Flour factory. They are considered as industrial heritage.

With the changing technology 2 of these buildings are adapted for reuse. Tobacco warehouse now serves as an office building and the grain warehouse is now theater stages for the state opera and ballet. However the flour factory has been abandoned since 1940.

nı Flour Mills & Factory (1863) on-functional (1940-today) Prior: Nemlizade Tobacco Warehouse (1925) Present: Corporate office headquarters (2004-)

TEKEL GRAIN WAREHOUSE Cultural Inventory Type: Industry Structure Type: Warehouse Theme: Neoclassic Movement Cultural Period: Ottoman Century: 18th century The Grain warehouse was built between 1798-1799 during the reign of Sultan Selim III (p. 1789-1807) and functioned as a “Tobacco Regiment” in 1931. The building, which was restored by ‘Tekel’ (monopoly) in 2005, currently serves as the State Theaters Tekel Stages together with the State Opera and Ballet Directorate. Previously this historical building was used as a tobacco warehouse for many years, then turned into ruins with the wearing effect of the years. It was repaired in the 1950s. After its restoration, the Old Monopoly Warehouse was put into service as the Monopoly Museum and Cultural Center. The building, which was used as a Monopoly Museum for a while after being restored in the Republican period, later started to be used as the Istanbul General Directorate of the State Opera and Ballet and the Tekel Stage of the Istanbul State Theater. It has two theater halls. Since 2009, it has been hosting plays and performance rehearsals within the scope of Istanbul State Theatres.

About the new role of the old warehouse Culture and Tourism Minister E.Gunay said “We identified the absence of State Theaters on the Anatolian side as an important shortcoming... thus, Uskudar will benefit from this hosting”.

CRITICAL ANALYSIS

ILL 66. Monopoly Grain Warehouse seafront view, 2021

ILL 67. Monopoly Grain Warehouse backyard view, 2021

NEMLIZADE TOBACCO WAREHOUSE Cultural Inventory Type: Industry Structure Type: Warehouse Theme: First National Architecture Movement, Vedat Tek Works Cultural Period: Republic Century: 20th century The warehouse was built between 19231925. It is the work of Vedad Tek, a well known architect during the Late-Ottoman period. Nemlizade Tobacco Warehouse, with a total of 7 floors, is the highest historical building of the Bosphorus with the characteristics of a waterfront mansion. The building is used as a business center today. It is known that there had been a mansion that belonged to Grand Vizier Hüseyin Avni Pasha in the place where it was built. While the mansion, which was in ruins, was being used as a tobacco warehouse, it had been demolished to build the new warehouse. The building, which was used as a tobacco warehouse, was recently restored and sold to one of Turkey’s leading holdings and is still used as the headquarters of the holding. As it is known, the commercial buildings of Vedad Tek, the architect of the building, among functionally new building types that appeal to different professions, are

the keystones of the architecture of this period. Nemlizâde Tobacco Warehouse has also taken its place in Turkish architectural history as the most remarkable industrial structure of the 1st National Architecture Period with its facade design, plan scheme specific to industrial buildings, techniques and materials used.

CRITICAL ANALYSIS

ILL 68. Tobacco warehouse building captured from the Bosphorus, 2021

ILL 69. Aerial view of Tobacco warehouse building as the business centre.

PASALIMANI FLOUR FACTORY Cultural Inventory Type: Industry Structure Type: Factory Theme: Neoclassic Movement Cultural Period: Ottoman Century: 19th century Pasalimani Flour Factory was built between1861-1863, next to the grain warehouses during the reign of Sultan Abdülmecid (p. 1839-1861). It is the third oldest ﬂour mill in İstanbul, also the oldest mill still standing. The mill has remained non-functional since 1940 and was sold to a large company in 2012. Currently, only 4 main walls remain of the building. In 1973 it was registered as a 1st degree old monument. It is one of the industrial heritages from Ottoman period. The factory was built with 5 floors, has a rectangular volume of 17,34x21,43m. There had been two main operations: washing and grinding. Different processes were carried out on each floor. Although there were 24 millstones in the building, these installations are not present in the building today. The building, with a triangular pediment on the entrance, has a neoclassical facade. The chimney of the Flour Factory was built lower when the factory was first established. After a while, it was decided to raise it due to the health concerns and complaints of the people.

The interior of the factory, which was repaired in 1910 and new additions were made to increase its capacity, was a wooden construction. Today, wooden construction and the roof are absent. With the developing industry and technology, the use of such factories is almost nonexistent today, and the Pasalimani has been forgotten as in most flour mills.

CRITICAL ANALYSIS

ILL 70. The active production situation of the Flour Factory,1870

ILL 71.Abandoned situation of the Flour Factory, 2021

ILL 72. Shoreline silhouette

100

CRITICAL ANALYSIS

101

THE CONSERVATION AND REUSE OF INDUSTRIAL HERITAGE IN ISTANBUL After the Industrial Revolution, many industrial buildings were constructed in the Ottoman Empire by the government and the private sector. Most of the industrial buildings were located in the capital city Istanbul. In the 19th century, there were 256 industrial buildings in Istanbul, but today only 43 survive. They need to be put under protection as architectural, historical and technological heritage. The industrial heritage in Istanbul is a significant component of the Ottoman Empire’s technological history and has taken an important part in Istanbul’s physical development. With this study, the industrial heritage of Istanbul has been recorded. Preserving the industrial heritage aims at keeping the specific features of the buildings, as well as giving them suitable functions which will let them merge with city life. Industrial archeology is an interdisciplinary field of study. The project of protection and re-functioning of an industrial establishment should bring together specialists of restoration, architecture, historian of architecture and art, civil engineer, mechanical engineer, landscape designer, and city planner. Within the scope of the internationally

102

acceptable principles, conservation proposals have been developed for the protection of Istanbul’s industrial heritage. Specific features and the present condition of the industrial heritage in Istanbul have been presented in charts. Also, a tentative Industrial Heritage Route has been constituted to introduce the industrial heritage of Istanbul to a wide public. Historical buildings, which have contributed to the economy for many years and have lost their functions over time, appear as ruins in the city center with the expansion of cities. If these buildings were functionalized again, they would be both preserved and used for social and cultural facilities. With adaptive reuse efforts, the empty and dilapidated buildings will survive and become the enrichers of urban life. To Protect the historical value of the building, it must be converted according to the needs of the area and become an ordinary part of the city.

CRITICAL ANALYSIS

ILL 73. Street view on Pasalimanı Avenue

103

1.3 pasalimanı flour factory

ILL 74. Pasalimanı Flour Factory, exterior view

104

CRITICAL ANALYSIS

THE FORGOTTEN INDUSTRIAL HERITAGE The place in question is a cultural heritage accepted from the first three industrial facilities of the Ottoman Empire, together with the Büyükada Mill and Cibali Mill. Today, there is a great threat to the destruction of historical industrial structures due to ignorance and wrong conservation efforts. These structures, which lost their function over time, were not well preserved. Many industrial structures lost their function with the development of technology and the establishment of new factories and were left to collapse. In recent years, these have begun to be accepted as historical witnesses of the industry and have been included in the scope of protection. It is a situation encountered all over the world that industrial facilities are closed due to various reasons such as not being able to operate efficiently, being technologically inadequate, polluting the city, or losing their functions. However, these structures should not be allowed to be deliberately destroyed or destroyed over time. Industrial facilities that contribute to the economic development of countries can be re-evaluated as traces of the industrial past, to be used for the benefit of the city and the public. Important studies are

being carried out in European countries on this subject, and technical monuments are handled together with their social environments in the efforts to protect the industrial heritage. The industrialization process, which started in Europe in the 18th century, accelerated in the 19th century. The industrial buildings built in the late 19th century in the Ottoman Empire are of great importance in terms of reflecting the technology of that period and a certain process that the society went through. These structures, which are dilapidated and neglected today, need to be protected as much as possible by preventing them from being damaged over time. One of the examples that can be considered in this context is the Paşalimanı Flour Factory. Located on Paşalimanı Avenue in Üsküdar, the factory was established by Sultan Selim III in 1863. It was built as 5 floors that had a vertical transmission processing and had 24 double stones. The building was restored according to the new technology in 1910 and became one of the first mills to produce flour with electric motors and vapour engine. It is the second oldest factory in Istanbul. Since 1940 the historic factory remains in its idle state.

105

1.3.1 Historic Timeline

106

1863 Pasalimani Flour Factory was built by Sultan Selim III, next to the grain warehouses. It is the second oldest factory in Istanbul.

1880 It is known that there were 3 steam boilers and 14 grinding devices for the flour processing.

1940 In the process until 1940, the building became dysfunctional again and dilapidated over time. Since 1940 the building is unoccupied.

1973 It was registered as a 1st degree old monument by the High Council of Real Estate and Antiquities and Monuments, according to the decision numbered 7856.

1883 A fire broke out in became dysfunctio

period I: active

2011 Site specific ligh Bertrand Ivanoff “ the collaborative Industrial Heritage

period II: dysfunctiona

the building and it onal.

CRITICAL ANALYSIS

1910 It was renovated with some additions to increase its current capacity.

1920 After this repair, the building, which was rented by a milling company at the beginning of the 20th century, started to be used after 1920.

2012 It was purchased by Sinpaş in 2013 and project studies have been carried out on it to be the head office of the company.

2022 - present Still the construction phase has not been started yet and the building continues its current idle state.

e factory processing

ht installation by “Rainbow Box” for project “Making e Visible”.

al and delapidated

107

1.3.2 Existing State

Currently, the floors, interior walls and roof of the building have been absent; masonry stone outer walls, storage sections and chimney remained standing. The main building has five floors and the annexes are two floors. There are roof pediments on the northwest and southeast facades of the main building. There is a masonry stone wall two stories high inside the building and this wall divides the building into two parts indoors. There are arched window openings on all floors and all facades of the building. Since the building was idle and dilapidated for many years, wild vegetation has formed on the ground. The whole building is in a very neglected state and is open to negative physical effects from the outside. While the adjacent heritage factories are preserved and in reuse for cultural purposes, no reuse approach has ever been executed for the ancient factory. Besides the academic proposals from the national architecture faculties there is only an attempt of transforming it to a private company’s headquarter office.

ILL 75. Pasalimanı Flour Factory, interior facade view

108

CRITICAL ANALYSIS

ILL 76. Pasalimanı Flour Factory, Üsküdar

109

ILL 77. Paşalimanı Flour Factory present situation

State Opera and Ballet Directorate

Tekel Stages

110

CRITICAL ANALYSIS

Residential Blocks

Historic Paşalimanı Flour Factory

Private Companies

Corporate Office

Public Park

Bus Stop

Paşalimanı Avenue

Bosphorus Seafront

111

e at or rp Co ffice O

im sal

c bli Pu nı

iv Pr

e at

112

n pa

L SA PA

NI MA

EN AV

AIT

RU HO SP

Ista

Sta

all

n aa

rate

ecto

Dir

ILL 78. Existing Site Plan

HUSEYIN

BAYKAR

A STREET

Ceram

rer

ufactu

ic Man

g Parkin

10m

20m

50m

CRITICAL ANALYSIS

Z SU G

BA RE

ST ET

113

ILL 79. Bosphorus panorama through the site

114

CRITICAL ANALYSIS

115

ILL 80. Pre-existent roof cover

116

CRITICAL ANALYSIS

ILL 81. Pre-existent stairs on 2nd floor

117

ILL 82. Present interior of the core area

118

CRITICAL ANALYSIS

ILL 83. Brick columns in the warehouse area

119

120

Corpora Office

ILL 84. Street Level Plan

ny Compa Private

Pasalimanı Public Park

Bus Sto

I AVENUE

PASALIMAN

Istanbul State Opera and Ballet Directorate

BOSPHORUS STRAIT

AYK

IN B

SEY

ARA

STR

EET

Cera

mic M a

nufa cture

Park in

10m

CRITICAL ANALYSIS

HU SEY IN B AR AYK

SUSUZ TRE ET

BAG ST

REET

121

ILL 85. Longitudinal Section AA’

+16.70m

+13.80m

+10.60m

+7.40m

+4.20m

+0.00m

0 1 2

122

10m

CRITICAL ANALYSIS

123

ILL 86. Front Facade Elevation

+16.70m

+13.80m

+10.60m

+7.40m

+4.20m

+0.00m

0 1 2

124

10m

CRITICAL ANALYSIS

ILL 87. Transversal Section BB’

+16.70m

+13.80m

+10.60m

+7.40m

+4.20m

+0.00m

0 1 2

10m

125

1.4 art theme in Istanbul

126

ILL 88. Conceptual illustration by the author

art fusion of two continents

istanbulite contemporary art

annual+biennial events

cultural mosaic

CRITICAL ANALYSIS

Asia

Europe

127

1.4.1 The Art Scene

ILL 89. Famous street art in Beyoglu, Istanbul

Istanbul is a bustling metropolis that bridges Asia and Europe and has witnessed the rise and fall of many great empires, who all left their mark on the city. Like London, Paris or Rome, Istanbul is one of the worlds most historically rich cities, full of architecture and cultural delights. But aside from the religious and traditional charms, Istanbul’s contemporary art scene is making waves, and away from the mainstream tourist crowds, the city is a hotspot of artistic energy. Istanbul is notable for its miraculous architecture, Grand Bazaar, and vibrant nightlife. Such a set of colorful peculiarities makes this grandiose city a perfect destination coveted by tourists from around the world. Yet, there is one more side of Istanbul’s magnitude, which holds its own charm. Whenever you are walking through the city’s streets, you may discover amazing murals that make you lose your breath. However, street art is only part of the remarkable art scene of this flourishing city because Istanbul can offer you many more. There is an Istanbul way of creating art. The cultural fusion that happens in Istanbul is the real excitement for the local artists which reflects on the artistic creation. By the end of the 19th century, Istanbul had established itself as a regional artistic

128

CRITICAL ANALYSIS

center, with Turkish, European, and Middle Eastern artists flocking to the city. Therefore Istanbul’s art scene has an important influence for the creative industries. Istanbul has been known to have art events ranging from glamorous party spots to converted Ottoman power stations, showing works by emerging artists to masters. The city hosts Istanbul Biennial and it is home to Contemporary Istanbul art fair, the leading art fair in Turkey that offers a platform for the city’s thriving art scene. Contemporary Istanbul is one of Turkey’s most well-known platforms for local contemporary and modern artists across most mediums. It is an annual event that highlights cutting-edge and established talent from Turkey and abroad, and it attracts art lovers from across the globe. The event and its supporting trade and art fairs support Turkish artists and spotlight emerging talent. The popular artisan district of Beyoglu is widely considered the centre of Istanbul’s contemporary art scene. It is home to Istanbul Modern, Turkey’s first contemporary art museum that hosts many wonderful works, plus several notable private galleries showcasing a wide range of emerging, mid-range and well known local and international artists.

MUSEUMS IN ISTANBUL Museums in Istanbul come in quite a broad range. When planning a visit, you should first decide on what kind of experience you are after. On the one hand, there are many traditional museums featuring historically and culturally significant antiques and artifacts. For example, you might consider visiting Hagia Sophia Museums or Topkapi Palace for that purpose. On the other hand, there are envelope-pushing contemporary art museums, such as Arter and SALT, focused on collecting and displaying the freshest works by both local and international contemporary artists. ART GALLERIES IN ISTANBUL Artspace in Istanbul would not be complete without its topmost galleries that every self-respecting art lover should visit at least once in a lifetime. There are lots of worthy galleries there, and to mention all of them is simply impossible. Here are some references that are worthy to mention to conceive the Istanbul art scene. These are Anna Laudel Gallery, Galeri Nev, Galerist, x-ist, Zilberman Gallery, Global Art Karaköy and Pilevneli Gallery. Each of these galleries has its unique atmosphere and an absolutely fantastic selection of art.

129

1.4.2 Reference Places

HOPE ALKAZAR “The Stage of the Movement” HOPE Alkazar is a platform brought to life by Nike and its program partners, bringing people and communities that make a difference with their ideas and works, on the axis of sports, culture and art, that puts the purpose of social goodness at its center. It is the meeting point of those who feel that they have a purpose in life, who dream of a better common future not only for themselves but for everyone, who believe in equality in every sense, and who are ready to take action in the fields of diversity and sustainability.¹

ILL 90. HOPE Alkazar Performance Stage, Beyoglu 1 Fatih Hardal, Behance, https://www.behance.net/gallery/132683135/HOPE-Alkazar-by-Nike 130

CRITICAL ANALYSIS

ILL 91. HOPE Alkazar Performance Stage, Restored Cinema Hall

ILL 92. HOPE Alkazar Performance Stage, Digital Art Performance

131

PILEVNELI ART GALLERY Located in the historical district of dolapdere in istanbul, pilevneli gallery is the realisation of murat pilevneli’s long-term ambition to mark an exciting new chapter in the contemporary art scene in istanbul and the region with an international perspective. Designed by Emre Arolat Architecture, winner of notable international awards, the gallery encompasses a 1.500 Square meter vast exhibition space. Only a year after pilevneli dolapdere’s opening, pilevneli mecidiyeköy opened at the historic liquor and cognac factory building. With an exhibition of scale and content that has never been done before, and has shone light upon the cultural and historical significance of the “mecidiyeköy liquor and cognac factory” that was built by Atatürk’s orders during the early 1930’s by renowned french architect robert mallet stevens. With 4.000 Square meters of indoor and 5.500 Square meters of outdoor space, the factory in p?Levnel?’S use opened with an exhibition titled “at the factory: 10 artists / 10 individual practices” that was seen by over 38.000 Visitors. Pilevneli gallery has a vibrant and engaging exhibition programme profiling local and international artists which is solely focused on contemporary art.

Pilevneli gallery aims to bring stimulating worldviews to istanbul by hosting international artists and presenting several contemporary turkish artists in a local and global context. The exhibition programme is accompanied by a range of activities including artist’s talks, related book launches, private exhibition tours and similar projects. For over 20 years Murat Pilevneli has been one of the main actors of the contemporary art scene in istanbul. Pilevneli initiated galerist in 2001 and ran it until 2011. He is also the founder of turkey’s leading arts and culture publication istanbulartnews. Contributing to pioneering institutions, movements and trends in the contemporary art scene, pilevneli gallery is his latest project.¹

1 Pilevneli Gallery, https://www.artdubai.ae/gallery/pilevneli-2020/ 132

CRITICAL ANALYSIS

ILL 93. Pilevneli Art Gallery, Restored Liqour Factory

133

1.4.3 Emerging Art Forms

ART FUSION FOR PERFORMATIVE EXPERIENCE Hope Alkazar Beyoglu hosts participatory performance stage along with digital art exhibition. “If Istanbul is the most dynamic city in the world, then there is no doubt that Beyoğlu is the leading actor. Alkazar Cinema, one of the symbolic places of Beyoğlu, is turning into a brand new stage in collaboration with Nike. With “HOPE Alkazar”, the city is given a new opportunity to revive sports, culture and art. For HOPE Alkazar, who focuses on social well-being, there are no physical or digital boundaries. While the dream of a more sustainable future has begun to take shape in our minds, this is an area where we can dream together for more. “Transformative power of movement” is the starting point of the renewed world of Alkazar, and there is no place for taboos here.”¹

1 A Brave Monologue On The Stage Of Movement, Based Istanbul Team, https://www.basedistanbul.com/en/a-brave-monologue-on-the-stage-of-movement/ 134

CRITICAL ANALYSIS

ILL 94. Hope Alkazar, Yoga Event with digital art

ILL 95. Hope Alkazar, Dance Week Event with digital art

135

ART FUSION FOR SUSTAINABLE CULTURE Modern art forms by artist Mr. Besk on the ethnic textures as canvas. Mr.Besk is a street artist, lives in Turkey,Istanbul. Blending the portraits with modern art examples along with ethnic textures, reflecting his fantastic world is his special style applies on canvas and street walls.¹ Turkish artist graduated from the Faculty of Fine Arts, Department of Graphic Design. Having met graffiti in high school, he developed street art in Istanbul, where she came for university education.

ILL 96. The artist in his studio

During his university years, he collaborated with many brands. After his graduation he continued to make graffiti for places and brands and opened his first studio in 2019. In the same year, he began to work on his signature art forms by inspiring from Mustafa Kemal Atatürk’s saying, “The artist must have a basic culture and know his history well.” The artist, who added traditional Turkish tile ceramics and carpets to his art as his material, created his own language with this approach. The artist continues his work in his studio in Istanbul.

1 Mr.Besk personal website, https://www.mrbesk.com/ 136

CRITICAL ANALYSIS

ILL 97. “Made in Turkey” Artwork by Mr.Besk

ILL 98. Art work in progress

137

ART FUSION FOR ECO SENSIBILITY ‘Original By Nature’ Exhibition curated by Studio Mercado, 2022 Nutritioned by glass recycling and digital art, the urban agriculture installation transforms art into a living system inspired by water. Inspired by the sustainability principle of a Scottish distillery that returns 96 percent of the water it uses, the exhibition presents a living installation. The installation consists of recycled glass bottles, light and water that allows plants to grow. Plants such as basil, lettuce and chard were placed in the works of glass artist Egemen Kemal Vuruşan, who transforms used bottles by giving them amorphous shapes, to be grown for 22 days. The works of digital artist Ecem Dilan Köse provided the light that enables plants to grow. With the hydroponic system that the urban agriculture initiative “Ek Biç Ye İç” established inside the work of art, the water that was poured into all the glass bell jars and returned again became a source of nutrients for the plants. The living artwork was presented as a meal and cocktail on a menu to be held at the end of the exhibition.

1 Mercado’s First Exhibition, Original By Nature, Opened in Akaretler, Studio Mercado, https://www.studiomercado.com/post/original-by-nature 138

CRITICAL ANALYSIS

ILL 99. Living art installation by combining recycled glass, digital media, light and live plants.

ILL 100. Hydroponic planting by glasswork and mechanism

139

chapter 2

140

THE PROJEC T

141

2.1 from analysis to project

142

THE PROJECT

2.1.1 The New Factory of Art ILL 101. Urban Morphology, pre-existent state BUILDING ANALYSIS 01. URBAN MORPHOLOGY Prior, the building’s urban footprint had been in harmony with the context morphology. Currently, the most of its footprint is absent because of the missing structure and the roof. The void is superior than the footprint and it has a porous formation.

ILL 102. Urban Morphology, present state

Pasalimanı Flour Factory

surrounding buildings

143

02. FUNCTIONAL COMPOSITION It is known that the Pasalimanı Mill, like other mills, grinds in the German style and uses an English machine. Steam-powered mill structures usually have 5 floors and the during the production the process is continuously shifting floors. There is the transmission floor on the bottom floor and the grinding floor above it. While washing, drying and sorting processes are carried out on the two floors above the grinding floor, the sieving process is carried out on the top floor. In steam mills, the warehouse buildings were built separately from the mill building.

ILL 103. Active production state of the flour factory 3 steam boilers

storage for wheat sacks

level 5: sifting level 3 & 4: washing, drying and sorting level 2: grinding level 1: transmission

144

storage

THE PROJECT

step 3: sifting step 1: washing, drying and sorting

step 2: grinding (14 grinding devices)

step 4: transmission

145

03. ARCHITECTURAL RULES & THE RHYTHM The traces of the pre-existent structural system informs that the building had a regular gridal arrangement, dominantly on the central production space. Secondary spaces have slight irregularity with inclined axis according to the central grid. Design interpretation is based on the central rule of the pre-existent structural grid and the present regular, corresponding facade openings. ILL 104. Pre existent state of the rules

structural rule 146

facade opening rhythm

THE PROJECT

ILL 105. Interpretation study by the author

primary guideline

secondary guideline 147

THE PRODUCTION PROCESS Machine As The Building Itself, 19Th Century Flour Mill: Flour milling is a five-step process that begins with the receiving and storage of whole grain. The grain is then moved through a cleaning process to remove stones, sticks, dirt and debris. In a modern mill, the grain also goes through a tempering process to control the moisture content before it is milled. The flour milling process began with the break system, using roller or stone mills to break down the grain into components. The rolls in the roller mill run in opposing directions at different speeds, and are designed to break the kernel open. A sifter/bolter is then used to separate the endosperm from the bran and germ. The reduction system consists of a sequential series of roller mills and sifters used to reduce the endosperm to flour. In a modern flour mill the process may be repeated as many as 11 times. As the bran is separated from the endosperm, it is sent to a packing machine and sold as the end product.

148

THE PROJECT

service for clarification 2 DUST COLLECTOR

act of blending and mixing FLOUR BLENDERS 5

4 SQUARE SIFTER

service for preperation MIDDLING PURIFIER SUCTION FAN

act of directing

act of organizing

DIFFERENTIAL REELS

act of filtering

SUCTION BOX FLOUR BIN FLOUR PACKER

storage for the product

envelope to serve the consumer

ROLLER

MILLS 3

collaborative production

interconnected vertical motion for the main subject “the flour”

ILL 106. Machine interpretation diagram by the author, background: schematic end section of a 19th century flour mill

149

ANALOGY OF MACHINERY The potential use of the factory to produce artworks led to study the machinery inside the old factory. The factory was composed of milling technology worked by a vapor engine. Its process was in vertical motion to process differently on each level. The building was an envelope for the machine. By studying this metaphor, the idea is to give the city a place for emerging artists who want to start a career. While considering the old building as an envelope of the machine, the new system is an art factory for artists. Like the original productive use, it can be a flexible system, this time to serve artists’ needs for their creation. It can keep together different forms of art for different groups, so that everyone could find a solution for themselves. Meanwhile it is a great opportunity to show the public even the process of creating.

ILL 107. Art scene study according to the scale of participant and the type of art, produced b the author 150

society

scale of participant

THE PROJECT

crowd

“Contemporary Istanbul”, Art Fair Artists and Art Enthusiasts

Mural Arts Grafitti Artist

Glass Arts Workshop Artists and Art Enthusiasts

community

Art Talks Artists and Spectators

“East vs. West”, Rap Battle Themed Performance Professional Rappers Art Interviews, Hope Alkazar Performance Organisation

organisation

Ballet Peformance, İstanbul State Opera and Ballet Theatre

“Dance Weekend Event”, Dance Lesson & Digital Wall Performance, Collaboration of Digital Artist, Professional Dancers’ Organization and Performance Space Founders

G “Raspberry”, Comedy Theatre, Cast Production

collaboration

Hiphop dance performance by Professional Dancers Organisation

“Resounding Io”, Sound Sculpture, Collaboration of Sound Artist, Curator and Art Foundation

team

“Original by Nature”, Urban Design Installation with Glasswork and Digital Art, Collaboration of Curator, Glass Artists and Digital Artists

“Barcelona Guitar Trio”, Music and Dance Performance, collaboration of Dancers and Musicians “Gidion’s Knot”, Drama Play, collaboration of Actresses and Directing Team

partnership

“Limbo”, Living Art Installation by Visual Artist and Art Foundation

Graffiti on Sculpture by Street Artist and Sculpture Artist

individual

Latin Dance Performance, by Partner Dancers

Sculpture Art by Sculpture Artist and Painter

“Face to Face”, Solo Performance, theatre monologue by the performing artist “Dream World”, Multimedia Installation by Visual Artist “Euphoria”, Wall Art by Visual Artist

151

fine arts

hybrid arts

performative arts

art form

2.1.2 Conceptual Approach

DESIGN STRATEGY The design strategy diagram explains the new form that is introduced to the site. By perceiving that there are different levels of intersections in between the Bosphorus sea and the natural green land, the new Fluxus axis defines this connection passing through the present corridor. While connecting the city with this new art incubator, the connective flux also links the theater stage with the art incubator.

152

THE PROJECT

CONNECTIVE FLUX

Seaways Access Point

Public Access Point

Pedestrian Access Point

Vehicle Access Point

Pedestrian Access Point

Bosphorus

Pasalimani Public Park

Pedestrian Side Walk

Pasalimani Avenue

Pedestrian Side Walk

Access Point

Historic Pasalimanı Flour Factory

Access Point

Fluxus Art Factory New Art Incubator

Istanbul State Opera and Ballet Directorate + State Theatre Stages

Access Point

Natural Greenery

CONNECTIVE FLUX

ILL 108. The Design Strategy 153

COLLECTIVE HUB FOR EMERGING ARTISTS The programme for the art incubator is circulated around 4 types of users that interfere together: young artists, professional artists, visitors and the operational staff. accomodation

YOUNG ARTIST

PROFESSIONAL ARTIST

VISITOR

OPERATIONAL STAFF

interaction interaction productive collaboration organization and consulting

exhibition assistance and maintenance experience exhibition assistance and maintenance

creaive community interaction

ILL 109. Collective Hub for Emerging Artists, Programme of use +₺₺₺

provides +₺₺₺

OPERATIONAL STAFF

studio for enthusiasts studio for young artists

154

studio for

interaction interaction

THE PROJECT

productive collaboration organization and consulting

THE OPERATIVE SYSTEM exhibition The operative system could be sustainable in many profitable ways; while providing artists and art enthusiasts new places toexperience collaborate and exchange, exhibitionthe creative hub also offers rental spaces for fairs, exhibitions or private events.

assistance and maintenance

creaive community interaction

+₺₺₺

provides +₺₺₺

OPERATIONAL STAFF

studio for enthusiasts studio for young artists

studio for professionals profit by professionals +₺

creative community

events with professionals

productive collaboration mentoring

events with enthusiasts

events with young artists

fabrication

public events and activities archiving profit by public +₺ public

assisting

organization and assistance

hosted private events provides

ILL 110. Collective Hub for Emerging Artists, Operation mechanism

155

2.1.3 Main References

THE FUN PALACE Cedric Price Location: London, England Year: 1963 (unrealised) “The Fun Palace wasn’t about technology. It was about people.” Cedric Price ¹ During a drive up to Cambridge in 1961, the internationally renowned British theater director Joan Littlewood tells her new friend Cedric Price about her lifelong dream. She envisages an alternative kind of social space, an experimental space where the public can freely interact in new ways, endlessly stimulating their creativity and broadening their knowledge. As if in passing, she wonders whether architecture might play a role.² Working with Joan Littlewood, Price proposed a programmatic fusion of traditional cultural institutions such as the theater, museum or university within a single, temporary mega structure. The architecture of this gigantic laboratory was not conceived as a finished object but rather as a constantly changing structure that, like a theater stage, would adapt itself to diverse and unforeseeable uses. Although unrealised, the project has since become legendary, providing inspiration for numerous buildings such as the Centre Pompidou in Paris.³

156

1 Cedric Price, interview with the author, transcribed tape recording, London, 2000 2 Wigley as cited in Ozkoc, Social Potentials Of Pattern: Cedric Price’s Fun Palace, p.2, Ankara, 2009 3 Urban catalyst conference, Project introduction of “Fun palace berlin 200x, Berlin, 2004 4 Ozkoc, 2009 5 Ozkoc, 2009

THE PROJECT

Fun Palace is an alternative educational leisure center proposal designed to facilitate the various programmatic and spatial reconfigurations initiated by its users. The project is significant for its radical interpretation of leisure and learning as intertwined concepts, rather than focusing on one or the other as most of its contemporaries (which were usually conventional buildings such as sports halls).₄ Subsequently, the pattern of processing the activities expands gaps of uncertainty into the process of designing activities. Considering activities as processes and not products, the pattern illustrates how Fun Palace program structure differs from most contemporaneous projects on leisure and education (such as concert halls, movie theaters, or sports facilities). It has been observed that the activity prefiguration is to be an ongoing phase for Fun Palace. Price argues that buildings must be able to adapt to the changing needs of individuals and provide “gaps of uncertainty in which the individual can participate”₅. Consistently, he proposes a structure in the Fun Palace that generates the numerous possibilities of spatial arrangement that enable “gaps of uncertainty”. These various possibilities of spatial arrangements derive from the intellectual framework set by Price, which suggests a set of guidelines.

ILL 111. The Fun Palace, axonometric section by Cedric Price

157

ILL 112. Brochure for the Fun Palace project by Cedric Price 158

THE PROJECT

159

ILL 113. The Fun Palace, interior perspective by Cedric Price 160

THE PROJECT

161

Price’s idea created a unique synthesis of a wide range of contemporary discourses and theories, such as the emerging sciences of cybernetics, information technology, and game theory, Situationism, and theater to produce a new kind of improvisational architecture to negotiate the constantly shifting cultural landscape of the postwar years.¹ The Fun Palace was not a building in any conventional sense, but was instead a socially interactive machine, highly adaptable to the shifting cultural and social conditions of its time and place. The project would challenge the very definition of architecture, for it was not even a conventional ‘building’ at all, but rather a kind of scaffold or framework, enclosing a socially interactive machine - a virtual architecture merging art and technology. It was not a museum, nor a school, theater, or funfair, and yet it could be all of these things simultaneously or at different times.²

The organization of the Fun Palace, which was outlined by the Cybernetics Subcommittee in a 1964 memo, was a division into six organizational zones. Zone One was dedicated to the various types of teaching machines that Pask and his Systems Research team had already developed. In Zone Two, users could participate in new forms of expression, including but not limited to theater, music, and dance. The cinemas and studios in Zone Three gave young directors a chance to make their own films, while in the Zone Four laboratories, users could conduct their own scientific experiments. Zones Five and Six provided studio space for painting and sculpture.³

The Fun Palace was an environment continually interacting and responding to people. Throughout his life and career, Price remained committed to architecture as an instrument of social improvement. As in all his projects, his motivation for the Fun Palace was primarily social: the emancipation and empowerment of the individual.

162

1 Stanley Mathews, The Fun Palace: Cedric Price’s experiment in architecture and technology, Technoetic Arts, 2005 2 Mathews, 2005 3 Mathews, 2005

THE PROJECT

ILL 114. Typical plan of the Fun Palace complex by Cedric Price

ILL 115. The Fun Palace, interior perspective by Cedric Price

163

CENTRE GEORGES POMPIDOU Renzo Piano + Richard Rogers Location: Paris, France Year: 1977 “It was designed as a machine, a tool.” Renzo Piano

Winning the national competition, Piano and Rogers’ entry exemplified constructivism and was a high-tech modern cultural center structured with a system of gerberettes and trusses, a pioneer of its time. The centre is like a huge spaceship made of glass, steel and coloured tubing that landed unexpectedly in the heart of Paris, in Piano’s words.¹ The Centre Pompidou brings together the themes which have characterized Rogers’ architecture from the mid 1960s; skin and structure, technology and flexibility, movement and antimonumentalism. The design expresses the belief that buildings should be able to change to allow people the freedom to adjust their environment as they need. An immediate architectural icon, Centre Pompidou is a vast multidisciplinary structure, a culture factory that preserves and exhibits important modern art collections. It is a place where the many strands of contemporary culture intertwine: art, design, literature, music and cinema.² Richard Rogers and Renzo Piano’s proposal – a comprehensive cultural amenity and one of France’s grand projects of the 1980s – was a truly flexible container in which all interior spaces could be rearranged at will and exterior elements could be clipped on and off over the life span of the building.

1 Lizzie Crook, Centre Pompidou: High-tech architecture’s inside-out landmark, Dezeen, 2019 2 Rogers Stirk Harbour + Partners, Centre Pompidou – Culture & Leisure Projects, official website 164

THE PROJECT

ILL 116. Glazed escalator tube on the west facade, by Rogers Stirk Harbour + Partners

ILL 117. External services with color-coding, by RSHP

165

The notion of flexibility is extended to every component of the building; the Centre was to act as ‘an ever-changing framework, a meccano kit, a climbing frame for the old and the young’. Conceived as a well-serviced shed, the building contains a series of uniform spaces supported externally by a free-standing structural frame, the whole capable of change in plan, section and elevation, able to absorb the unforeseen requirements of the future.¹ “The one thing we knew about this age is it’s all about change, if there’s one constant, it’s change.” Richard Rogers ² Their concept, depicted in one of their competition drawings as a collage, was portraying the museum itself as movement. The other concept in their design, and perhaps the most obvious, was exposing all of the infrastructure of the building. The decision to place structure and services on the outside was driven by the need for internal flexibility, as a result providing huge expanses of uninterrupted space on massive, open floors – the staggering scale of these internal spaces is free from the intrusion of services and stairs. The structural system provided for a braced and exposed steel superstructure with reinforced concrete floors. External services give scale and detail to the façades,

166

while celebration of movement and access is provided by lifts and escalators. The result is a highly expressive, strongly articulated building that has come to be seen as a Parisian landmark. Movement is celebrated throughout the building, and expressed overtly in the great diagonal stair that runs up its outside and affords views over Paris. The transparency of the façade, the galleries and especially the escalators snaking their way up the side of the building combine to reveal two captivating sights: the tiled roofs and medieval grain of Paris in one direction, and the revelation of the building – a flexible, functional, transparent, inside-out mechanism in the other.³ “The idea was that you had a public space, and you’d go up the facade of the building in streets in the air with escalators floating across it, so the whole thing became very dynamic,” says Rogers.₄ The entrance to the building is at the level of the street and the piazza and relates to the life of both. Alternative access is via the lifts, escalators and staircases attached to the west façade. Each of the five major floors are uninterrupted by structure, services or circulation. The corridors, ducts, fire stairs, escalators, lifts, columns and bracing which would ordinarily interrupt the floors are exposed on the exterior.

1 Rogers Stirk Harbour + Partners, Centre Pompidou – Culture & Leisure Projects, official website 2 Lizzie Crook, Centre Pompidou: High-tech architecture’s inside-out landmark, Dezeen, 2019 3 Rogers Stirk Harbour + Partners 4 Crook, 2019

THE PROJECT

ILL 118. The external circulation system, by RSHP

167

At ground level the Centre Pompidou has a double-height space that contains all the large publicly-accessible areas. such as the theatre, shops, reception and street-level café. Above, vast open floors house galleries, outdoor terraces and administrative areas.

ILL 119. Centre Pompidou, Interior Lift, by RSHP

Finally, the top floor accommodates a restaurant, experimental cinema and temporary exhibitions, all of which could be open late into the night, bringing life and activity to the square during the evening. Visitors travel from the ground level up a giant diagonal escalator, on the facade facing the square, to external corridors and viewing platforms. These walkways and escalators are designed to create a dynamic ever-changing facade.¹

1 Rogers Stirk Harbour + Partners, Centre Pompidou – Culture & Leisure Projects, official website 168

THE PROJECT

ILL 120. Original competition entry drawing, by G. Franchini, R. Piano and J. Young

ILL 121. Concept sketch for Centre Pompidou, by RSHP

169

FONDATION GALERIES LAFAYETTE OMA Location: Paris, France Year: 2018 “The building will change each time you come to see it.” Clément Périssé (OMA project architect)

In the past, institutions such as the Guggenheim constructed buildings that directly competed with the art. With artistic institutions today courting audiences with increasingly large, multidisciplinary, experimental shows, however, the expectation now is for architecture that submits to curatorial will, to be reconfigured however the art may please. As a paradigm of Modernist principles, OMA has delivered what it refers to as a “curatorial machine”—the implication being that Lafayette Anticipations is a sort of ideal appliance, one equipped with multiple settings that’s happy to operate quietly in the background.¹ OMA has transformed a former industrial building in Paris’s Marais district into a museum of contemporary art. The heart of the new Fondation Lafayette Anticipations is a steel tower in the former inner courtyard, in which four mobile lifting platforms allow for multiple space configurations. The site is surrounded by artists, craftsmen, ateliers and workshops. This area, in immediate proximity to the Centre Pompidou, is one of the oldest neighborhoods of the city and its distinctive architecture is protected by a heritage preservation plan. The project is based around the renovation of one of Groupe Galeries Lafayette’s historical properties – a former industrial building, erected in 1891.

170

1 Janelle Zara, Oma’s Paris “exhibition tower” isn’t a showstopper, just eager to please, Metropolis, 2018 2 OMA, Fondation Galeries Lafayette, Official website 3 Zara, 2018 4 Ellie Stathaki, Oma’s Lafayette Anticipations in Paris is a ‘curatorial machine’, Wallpaper*, 2018

THE PROJECT

OMA was commissioned to transform the existing structure into a production and exhibition centre to host the Fondation d’Entreprise Galeries Lafayette, while respecting and preserving the building’s heritage.² The solution, says Périssé, “was to do absolutely nothing to the building,” and the existing architecture was “faithfully restored.” The main intervention occurred in the building’s 100 m2 courtyard, into which the architects inserted an “exhibition tower”, a vertical structure of glass, aluminum, and steel framed by rectangular columns in the beige limestone.³ The architectural concept was derived from the need for flexibility – a common requirement for cultural institutions – and from the restrictions applied to the site by heritage authorities. The 19th century building has been fully preserved, cleaned and restored to its initial state, and a new exhibition tower inserted to fill the footprint of the courtyard (100m²).

ILL 122. Exhibition tower with mobile floors, by OMA

‘We were asked to accommodate an institution that offers carte blanche¹ to artists in a building entirely protected by heritage regulations. Only a machine could solve this. By inserting a moveable mechanism into its courtyard, the only space open to intervention, we activated the entire existing building and gave it the potential to serve this ambitious project.’₄ Clément Périssé

1 Carte blanche is much like a blank check. In French, carte means “document” and blanche means “blank,” so the phrase means “blank document.” English retained that literal meaning: a carte blanche was a blank document signed in advance by one party and given to the other with permission to fill in conditions later. Much like blank check, carte blanche also took on the extended meaning “complete freedom.”

171

The tower features two mobile floors that can each split into two unequal parts, thus creating four independent platforms that can move vertically through the space and can be arranged into as many as 49 spatial compositions. The ‘machine’ at its center appears analogue in the extreme – using onboard motorisation, a highly readable rack and pinion system enabled the floors to move – and its clasped inside sturdy industrial-standard I-beams.¹ Accessible from the original openings onto the courtyard, the new exhibition spaces of the tower extend and articulate the existing spaces; the mobile floors offer a new curatorial dimension, complementing the traditional use of the preserved structure. Located in the basement is a production centre for the arts, a fundamental component of the institution, where invited artists conceive and build their projects. This, combined with the exhibition tower aims to trigger new ideas and new works; artists will develop projects according to a selected arrangement of the mobile platforms. The programmatic flexibility provided increases the potential of the existing building.² “The building will change each time you come to see it,”³ says Périssé, in order to accommodate Fondation d’entreprise Galeries Lafayette’s various exhibitions of ILL 123. Exhibition tower physical model, by OMA

172

1 Ellie Stathaki, Oma’s Lafayette Anticipations in Paris is a ‘curatorial machine’, Wallpaper*, 2018 2 OMA, Fondation Galeries Lafayette, Official website 3 Janelle Zara, Oma’s Paris “exhibition tower” isn’t a showstopper, just eager to please, Metropolis, 2018

THE PROJECT

contemporary art, design, and fashion, as well as performances and workshops, continuing the legacy Renzo Piano and Richard Rogers’ Centre Pompidou in the 1970s. Whereas the notion of flexibility at the Pompidou is borne out through the mounting and dismounting of temporary walls, it plays out, on a much smaller scale, at Lafayette Anticipations through the unfixed, movable floors. The moving floors inserted by OMA allowing for 49 combinations (aligned with floors) - are made of steel (structure) and are covered in wood (floor), with a cladding of aluminium. The platforms are self contained: all the mechanisms of rack and pinion, the motors, the electronics for safety and lighting are contained within them (thickness : 700mm) Each of the 2 big platforms weighs 12T and can lift 10T in movement, the small ones weigh 6T and can lift 5T in movement. Despite their industrial scale, they can be adjusted in height to the millimeter, offering total flexibility to artists and curators.₄

ILL 124. Mobile floors configuration diagram, by OMA 4 EUMiesAward, Lafayette Anticipations, Fundació Mies van der Rohe Illustrations provided by the architects. https://www.oma.com/projects/fondation-entreprise-galeries-lafayette

173

2.1.4 Further Case Studies a. Programmes

SAHA STUDIO Location: Istanbul, Turkey Year: 2011 Designed as a program of interaction and production for artists and curators, SAHA Studio focuses on providing art professionals from Turkey opportunities for learning, and strengthening their production environments through global networks and connections. SAHA Studio provides artists with a co-working space and curatorial support, in addition to a budget for research, production, exhibition and presentation for their projects. SAHA Studio offers its participating artists curatorial feedback, collaboration and learning opportunities through the contribution of SAHA’s domestic and international partnerships at a repurposed 350 m2 space in Beyoglu. In addition to the meet-and-greets and events organized at the SAHA Studio space with the participating artists, SAHA Studio contributes to the development of knowledge and connections for the artists with activities such as research trips and visits to exhibitions, collections and workshops. SAHA also supports the research of the curators and institution representatives it hosts from abroad for different periods of time, and ensures their interaction with the Istanbul art scene and venue artists.

Description provided by the institution. http://www.saha.org.tr/en 174

THE PROJECT

ILL 125. SAHA Studio, multipurpose interior space

ILL 126. SAHA Studio, meeting room

175

Founded by a crowded team of professionals, SAHA believes in the importance of collective effort to create an independent “field” [saha] that helps integrate art from Turkey into the universal artistic ecosystem. SAHA is a not-forprofit organization that offers its support to visual arts through a participatory approach in governance and fundraising with its members, institutional supporters, project partners, and consultants. SAHA collaborates with not-for-profit organizations to realize exhibitions, publications, projects and public programs by the invited artists and curators; over the course of the specific project, SAHA acts as a facilitator and gives production grants if necessary. Establishes partnerships with residency and research programs abroad to facilitate the participation of art professionals from Turkey; works directly with the artists and curators invited to SAHA Studio in Istanbul for their new projects and to expand their networks. Helps art institutions and professionals to conduct research in Turkey and to produce new projects with artists and curators that they would like to invite. Develops funds and programs geared towards contemporary art biennials, art initiatives and art writers in different parts of the country to foster sustainability of independent artistic production in Turkey.

Description provided by the institution. http://www.saha.org.tr/en 176

Opportunities Provided by SAHA Studio: •Personal work and activity space at SAHA Studio for a period of at least 6 months •Accommodation for participants who are not residents of Istanbul •Artist’s fee and research funding •Work production and exhibition budget •Equipment and technical support during the production and installation process •Curatorial, editorial, professional and legal counseling from SAHA team and consultants •Participation in SAHA’s programs and at least two SAHA Studio Open events

THE PROJECT

ILL 127. SAHA Studio, social event gathering in the multipurpose space

ILL 128. SAHA Studio, transformable subspaces

177

MATADERO MADRID Location: Madrid, Spain Year: 2006

Matadero Madrid – Centre for Contemporary Creation is run by Madrid City Council’s Department of Culture and Sport. Matadero is located in the city’s former slaughterhouse and cattle market, a complex that is of great historical and architectural value, has tremendous character and is a focal point for Madrid’s citizens. The old slaughterhouse and livestock market of Madrid has been turned into a large multidisciplinary place for art experimenting and production. It is an international center of culture and artistic creation. Its various spaces host an extensive programme of exhibitions, plays, festivals, concerts, films and audiovisual projects, conferences, conversations and workshops, artistic residencies, educational programmes and activities for families. It is a vibrant place, dedicated to the enjoyment of culture, to artistic experimentation and to discussing ideas in the fields of the visual, performing and visual arts, design, literature, digital culture, architecture and many other creative practices. Its programme is constructed through the diversity of the institutions that make up the Centre and through ambitious transversal and interdisciplinary lines of work in connection with international networks.

Description provided by the institution. https://www.mataderomadrid.org 178

THE PROJECT

ILL 129. La Casa del Lector interior view, Matadero Madrid

ILL 130. Nave 16 interior view, Matadero Madrid

179

Matadero fosters the encounter of languages in search of exchange and contamination between different modes of cultural production in a way that facilitates interdisciplinary experiences. It is an ecosystem whose various spaces accommodate a wide range of uses, initiatives and stakeholders. An ecosystem in which artistic knowledge is combined with scientific and technological research. An ecosystem that operates at the local level and which is also alert to issues that have a global impact. There are individual services in the programme by the “Venue Hire” system. Private events can be organized in the spaces in Matadero Madrid, provided they are compatible with the center’s usual activities. Matadero is also a space that promotes inclusion and diversity, that carries out specific projects for different communities, that proposes a wide variety of programmes in its squares and halls, with experimental and quality initiatives. It works as a watchful radar to propose a programme capable of reacting in a flexible way to new social challenges in the face of which culture activates itself as a tool for change. It is a Centre for conversation and debate, a Centre that promotes more contemporary creation and critical thinking and that contributes to the renewal of ideas and artistic languages. ILL 131. Cineteca interior view, Matadero Madrid

180

Description provided by the institution. https://www.mataderomadrid.org Illustration provided by the architects. http://www.chqs.net

THE PROJECT

ILL 132. Cineteca axonometric illustration, by Churtichaga + Quadra-Salcedo Arquitectos

181

FACILITIES Abierto X Obras [Open Works] The refurbished refrigeration room in the former slaughterhouse is now a space for “site-specific” artistic work. The installation programme includes well-known artists with a commitment to young ideas. Archivo Matadero [Archive] It is a space for consultation and research for accessing documentations physical and online. The four archives are for the visual arts; the performing arts, architecture, urban planning and public art. El Taller [Workshop] Devoted to thought and discussion, it is designed especially for meetings between artists and the public. All kinds of workshops, discussions and lectures are held here. Calle y Plaza Matadero These spaces hosts large art events: dance, theatrical and circus performances, concerts and big art interventions in the open air. They are also the complex’s main area for meeting and socializing. Incubator Through its satellite office, the Associated Visual Artists of Madrid, it offers specialized services to professionals in the contemporary art sector.

182

Description provided by the institution. https://www.mataderomadrid.org Illustrations provided by the architects.

THE PROJECT

Cineteca The Cineteca aims to become center of the documentary film genre in Madrid. Aside from screenings, it also deals with artistic creation with the film set, training and memory conservation. Depósito de Especies [Public Garden] The water tank of the old Legazpi slaughterhouse has been turned into a plant memorial and archive, a “Noah’s Ark” of the species found in the vicinity of Matadero Madrid today. A public garden that can be visited through the new access point at the Legazpi roundabout. Avant Garden Designed by the French-German group atelier le balto offers ecological and participatory activities. Intermediæ It is a public, experimental programme. Conceived as a laboratory, not a museum, Intermediæ operates with creation as a means of exploration, research and experimentation. Process and participation are the formulas for its development. It works with the community; ecology, art and activism; games as a form of exploration; visual culture; archival processes and memory. Different exhibit and activity formats, invite visitors to inhabit a space in transformation.

183

Naves del Español Artistic creation focused on the performing arts has an important resource in Matadero Madrid: the Naves del Español, one of the cornerstones of the project. This great staging centre is composed of three buildings joined together with a main hall, which can be configured as needed; a theatre-café, which also functions as a foyer or lobby to the performance space; and Room 2, for small-format shows, next to spaces for rehearsal and training. Central de Diseño [Design Studio] A space given over entirely to design, at the service of Madrid and its inhabitants, where all kinds of different projects are created in connection to graphic, industrial and interior design. Nave de Música The space hosts the centre’s entire musical programme; with a radio studio and a recording studio, a small stage for concerts, nine rehearsal rooms and other facilities. Another highlight of the place is that emerging artists is able to rent the studios for rehearsal and experimentation. One of these studios is dedicated for use by artists whose career is not limited to music but who develop projects linked with sound, thereby attaining one of the main objectives: dialogue and hybridisation between different artistic disciplines.

184

Description provided by the institution. https://www.mataderomadrid.org Illustrations provided by the architects.

THE PROJECT

Nave 16 With an expository space covering more than four thousand square meters, Nave 16 is the heart of visual arts at Matadero. Due to its singularity and size, Nave 16 is a unique space in the city of Madrid that can host all kinds of events thanks to the versatility of its architecture: presentations, major exhibitions, concerts, work production workshops, performances and social activities. La Casa del Lector [Reader’s House] This large cultural space is an initiative of the Germán Sánchez Ruipérez Foundation, which mainly focuses on readers and books. This is a place for experiencing reading, its new forms, its promotion and training, along with its intermediaries. It is a place for both the general public and professionals. Exhibitions, conferences, workshops, music and film series, together with applied research, helps to shape readers who understand, evaluate, assimilate, share and interpret the world, society and their times because they read. Central de Instalaciones [Services Center] The service center houses the technical systems servicing the whole Matadero complex. A ring of buried galleries links it with the existing warehouses.

185

b. Concept

TRÈS GRANDE BIBLIOTHÈQUE OMA Location: Paris, France Year:1989 (unrealised) OMA received an honorable mention for Très Grande Bibliothèque, a competition to build a new national library in France. The program called for the creation of various smaller libraries contained in one building envelope; including libraries for moving images, recent acquisitions, reference, catalogues and scientific research. The immense amount of information to be stored within these spaces (books, films, digital databases) became the impetus for the overall concept design. The library is imagined as a solid block of information, a dense repository for the past, from which voids are carved to create public spaces – absence floating in memory.

The ambition of this project is to rid architecture of responsibilities it can no longer sustain and to explore this new freedom aggressively. It suggests that, liberated from its former obligations, architecture’s last function will be the creation of the symbolic spaces that accommodate the persistent desire for collectivity. At the moment when the electronics revolution seems about to melt all that is solid – to eliminate all necessity for concentration and ILL 133. Conceptual drawing of the façade, by OMA Description provided by the architect. https://www.oma.com/projects/tres-grande-bibliotheque 186

THE PROJECT

physical embodiment – it seems absurd to imagine the ultimate library. Along with conference centers, restaurants, offices, etc., it would consolidate five separate and autonomous institutions in which the complete production of words and images since 1945 – the Bibliothèque is as much cinema as library – would be contained: a cinematheque, a library of catalogues, and a scientific research library. The scheme is based on technological scenarios developed with inventors, systems analysts, writers and electronics companies. They all anticipate the utopia of fully integrated information systems to materialize before the opening of the building: books, films, music, computers will be read on the same magic tablets. The future will not spell the end of the book but a period of new equalities. STRATEGY OF VOID The Very Big Library is interpreted as a solid block of information, a repository of all forms of memory – books, laser disks, microfiche, computers and databases. In this block, the major public spaces are defined as absences of building, voids carved out of the information solid. Floating in memory, they are multiple embryos, each with its own technological placenta.

ILL 134. Très Grande Bibliothèque axonometric illustration, by OMA

187

ILL 135. Très Grande Bibliothèque’s Mass and Void contrast through consecutive floor plans

Level -4m

Level -3m

Level -2m

Level -1m

Level 0m

Level +1m

Level +2m

Level +3m

Level +4m

Level +5m

Level +6m

Level +7m

Level +8m

Level +9m

Level +10m

Level +11m

Level +12m

Level +13m

Level +14m

Level +15m

Level +16m

Level +17m

Level +18m

Level +19m

Level +20m

Illustrations provided by the architect. https://www.oma.com/projects/tres-grande-bibliotheque 188

THE PROJECT

ILL 136. Très Grande Bibliothèque’s Mass and Void contrast through consecutive sections

Section 01

Section 02

Section 03

Section 04

189

c. Architecture

AMERICAN SCHOOL OF BALLET Diller Scofidio + Renfro Location: New York, United States Year: 2007 “Programmists have a social approach. They’re saying that life is the interesting part, not the building.” Charles Renfro The design transformed two of School of American Ballet’s existing ballet studios into a suite of four distinct studios through the imaginative restructuring of space and innovative engineering techniques. The School of American Ballet is the premiere ballet academy in the U.S. and the official training academy for the New York City Ballet. Located within the Rose building, a 1980s high rise, the renovation and 8,200 sf expansion includes the addition of two new dance studios, accomplished by nesting two sets of floating studios within existing studios and reconfiguring equipment in the mechanical plenum. The local experience describes the renovated ballet academy as “a pair of ghostly, floating dance studios” in the School of American Ballet.¹ Inside each of two double-height rooms, DS+R team had inserted a glass case that felt as if it were levitating near the ceiling, even though it was quite obviously resting on

1 Justin Davidson, The Illusionists - How Diller Scofidio + Renfro is transforming New York, 2007 190

Description provided by the architects. https://dsrny.com/project/school-of-american-ballet

THE PROJECT

three massive beams. The kinetic design seemed to be colluding with the dancers in their assault on gravity. Seen from below, dancers in the glass-encased studios looked like figures in a snow globe. Diller makes explicit parallels between dance and design; she talks about her desire to create a “choreography of space,” by which she means leading people along pathways through a building, predicting their rhythms, and revealing rooms and views in a calculated sequence. The existing 5 meters high studios are optimized by capturing most of the volume of the mechanical plenum above the ceiling and reorganizing ductwork to produce sectional depth for stacked studios. These smaller nesting studios get structural, electrical, and mechanical sustenance from their host. Three steel beams bridge the load into the building’s structure, allowing the new studios to float. Light and views are borrowed from the existing clerestory windows through floor–to–ceiling acoustic glass periphery walls. The two sets of stacked studios are connected by a mezzanine lounge. Its liquid crystal sidewalls can be switched on and off from translucent to transparent at the discretion of instructors to allow or deny visual access to the spaces. ILL 137. American School of Ballet, Ballet studio view from the mezzanine lounge, by DS+R

191

ILL 138. American School of Ballet, Ballet studio on the base floor, by DS+R

ILL 139. American School of Ballet, Ballet studio on the upper floor, by DS+R

192

THE PROJECT

ILL 140. American School of Ballet, Ballet studio view from the mezzanine lounge, by DS+R

193

d. Versatile Installation

MADRID CENTRO CENTRO Héctor Fernández Elorza Location: Madrid, Spain Year: 2019 Colgando del Centro is the result of a public competition called by Madrid City Council (Madrid Destino) in order to adapt the existing Operations Court of Cibeles Palace as a new public space for the city of Madrid. Therefore, the project consists of a number of interventions inside the old Telecommunications Palace, built at the beginning of the 20th century as the Post Office. Today it serves as the home of CentroCentro cultural space The historical context of the project conditioned the nature of the intervention, turning the proposal into a reversible intervention, without affecting any original structural element. In addition, it is mainly a mobile construction, so it would be possible to hide its main elements and furniture when necessary, thus creating a slight modification on the current morphology of the Operations Courtyard.

ILL 141. Madrid Centro Centro, Concept sketch, by HFE

Description provided by the architect. http://www.hfelorza.com/centrocentro.html 194

The goal of the project was to intensify the reception, information, and participation functions through a new zoning strategy that clarifies the interior organization of the Courtyard. In order to implement this design strategy, HFE included new furniture pieces and hanging structures that illuminate,

THE PROJECT

multiply the versatility of the space, and facilitate the exchange of information. Central nave: The Operations Courtyard space is divided into three naves. Its monumental scale creates an infinite number of possibilities in terms of its program. One of the main features of the project is the system of curtains and lighting that HFE proposed for this nave. They work as a hanging structure suspended from the original steel structure of the building. This system allows configuring new domestic spaces within its central nave. The new structure could host events ranging from a town hall meeting, a workshop for children, to a larger venue like a conference or institutional gatherings. The project aims to be a respectful intervention inside the historical Telecommunications Palace through a series of actions that give value to the scale, color, materials, and light of the existing building. Colgando del Centro aims to provide the building with a new changing and attractive program of activities, turning this Center into a reference point for the city of Madrid.

ILL 142. Madrid Centro Centro, Curtain system in the central nave, by HFE

195

ILL 143. Madrid Centro Centro, Central nave (number 4) in the ground floor plan, by HFE

Illustration provided by the architect. http://www.hfelorza.com/centrocentro.html 196

THE PROJECT

ILL 144. Madrid Centro Centro, Curtain system in the central nave, by HFE

ILL 145. Madrid Centro Centro, Curtain system in the central nave, by HFE

197

e. Art Attitude

FLUXUS ART MOVEMENT Year: 1960’s - 1970’s Fluxus refers to an international avant garde art movement, popular in the 1960s and 1970s that valued chance, indeterminacy and the process of artmaking over the final product. Fluxus artwork typically consisted of experimental art performances that were expressly antiart and Fluxus artists sought to make all forms of art accessible to the masses by rejecting their institutional conventions. The Fluxus art movement embraced the collaboration of many art forms, including visual art, poetry, music and design. Fluxus played an important role in opening up the definitions of what art can be. It has profoundly influenced the nature of art production since the 1960s, which has seen a diverse range of art forms and approaches existing and flourishing sideby-side. Fluxus had no single unifying style. Fluxus was a democratic form of creativity open to anyone. Collaborations were encouraged between artists and across artforms, and also with the audience or spectator.

198

THE PROJECT

ILL 146. Fluxus Chart by Dick Higgins, 1981

Inte

rme

dia

Concrete Poetry

Visiual Poetry Visual Novels Sound Poetries Object

Mail Art

Poems

Fluxus (objects, cinema and performance

Conceptual Art

Action Music Happemings

Object Music

Graphic Music Notations

Science Art

Performance Art Dance Theater

ILL 147. Intermedia Chart by Dick Higgins, 1995

199

2.1.5 Architectonic Solution STAGE 01. EXISTING STATE The historic flour factroy that was built in 1863 is currently in abandoned state and registered as a 1st degree old monument.

STAGE 02. PRESERVED VOID Void is preserved on the street level to be used as a collective space.

reference existing partition

void as a collective space 200

THE PROJECT

STAGE 03. JUXTAPOSITIONED WORKSPACE Main workspace is added by using the principle of juxtaposition.

main workspace for studios

STAGE 04. SERVICES Primary services: Management office, art depot, print lab, organization office Secondary services: Artist residence, cafeteria, bar. artist residence bar

cafeteria

organization office

art service management office

primary service spaces secondary service spaces

201

STAGE 05. STRUCTURAL GUIDELINES Gridal parameter is defined by the existing opening axes. Primary, secondary and tertiary guides are aligned accordingly.

primary guideline secondary guideline tertiary guideline

STAGE 06. STRUCTURAL FRAMING New structural system is added. Steel Columns: HD 320 * 245, Steel Beams: HE 220 C steel beam HE 220 steel column HD 320

structural framing 202

THE PROJECT

STAGE 07. ARTIST WORKSPACE 2 major convertible spaces are added in the main workspace. Centers for fine arts and performative arts. fine arts hub 1st level: multipurpose studio 2nd level: fine arts studio 3rd level: private studio

performative arts hub 1st level: drama studio 2nd level: dancing studio 3rd level: common terrace

fine arts hub performative arts hub

STAGE 08. SEMI-OPEN SPACE Common platforms are added to offer connective space for artists (collaboration, exhibition) and spatial enlargement for the convertible studios.

common platform 203

STAGE 09. ADJUSTABLE SPACE Mobile platform deck is added to serve multistorey use. The single platform is in vertical motion and can align to different levels.

mobile platform mobile platform alternative allignment

STAGE 10. VERTICAL ACCESSIBILITY For site accessibility the 2 gateway towers are added on both ends to serve to-beadded Fluxus axis. For the main workspace 2 types of lifts are added on necessary nodes: lift for artists and visitors, goods lift for service and art materials.

2 types of lifts: for artists/visitors and goods

lifts 204

semi-open gateway towers

THE PROJECT

STAGE 11. PRIMARY CIRCULATION The lateral connection as defined as “Fluxus axis” is attached to two gateway towers, it connects the context with the 3 main workspace entrances. This hanging walkway is formed with the help of two parralel reticular beam with supports.

entrance for fine arts studio

art depot connection

cross connection between the state opera ballet rehearsal and stages building for artists common entrance entrance for performative arts studio

lateral connection entrance opening

STAGE 12. SECONDARY CIRCULATION 7 stair cores are added along site for easy accessibility. Main workspace levels are connected to street level through the direct stair system that is attached on the steel columns. stair 1/ fluxus tower stair 2 / artist residence

stair 4 / private studio stair 5 / art service stair 6 / office

primary connection

stair 3 / workspaces

stair 7 / fluxus tower

primary workspace connection secondary workspace connection

205

POROSITY Overall, the idea is to maintain the characteristics of the existing, so the street level has the maximum porosity.

porosity corridor

permeable void on the street level “floating” spaces permeable corridors permeable facade openings

BUILDING ENTRANCES The permeable entrances on the ground floor and the upper floors preserve the connection between inside and outside.

common art factory entrance

performative arts studio entrance

fine arts studio entrance

front facade entrance

hanging walkway entrance

permeable facade openings

206

THE PROJECT

OCCUPANT CAPACITY The envelopes of the new spaces are highlighted in the illustration below. The core is the main space to host the performative and the graphic arts or collaboration of both. artist residence (tot. 200m²) 3 shared apartments: (50m² per flat) staff: 2 p. guest: max. 6 p. management office (tot. 53m²)) staff: 8 p. cafeteria (29m²) staff: 2 p. guest: 4 p.

art service (tot. 162m²)) staff: 4 p. guest: max. 30 p.

bar (11m²) staff: 2 p. guest: 3 p.

fine arts hub (tot. 196m²) max. occupancy: tot. 40 p. multipurpose studio (85m²): 17p. fine arts studio (85m²): 17p. private studio (26m²): 5p.

performative arts hub (tot. 170m²) max. occupancy: tot. 34 p. drama studio (85m²): 17p. dancing studio (85m²): 17p. overall: occupancy capacity: 135 p. staff capacity: 18p. guest capacity: 117p.

207

CIRCULATION SYSTEM The necessary possibility is to provide an effective circulation. To take under control different fluxus of activities for the artists, visitors and the staff, the circulation system is studied as a double check.

CIRCULATION FOR ARTISTS

artist residence

artists’ lift

fine arts studio

performative arts studio

bar cafeteria

artist circulation emergency circulation goods lifts for art pieces lifts for artists workspaces and services for artists

208

art service

THE PROJECT

CIRCULATION FOR VISITORS

visitor lift

fine arts studio

performative arts studio

bar cafeteria

library and art depot

staff circulation emergency circulation lifts for visitors visitable workspaces and service spaces for visitors

CIRCULATION FOR STAFF

staff lift

organization office

art service

cafeteria management office

staff circulation emergency circulation lifts for staff workspaces and service spaces for staff 209

2.1.6 Participatory Design Systems

210

There are different elements that compose the interactive machine for the emerging artists; they are defined as the participatory design systems. The intention is to to let users decide the configuration as they need. It needs to be an easy system that can be adapted quickly. The components are; the mobile platform, removable parapets, curtain partitions and the folding partitions.

THE PROJECT

ADJUSTABLE BUILDING ELEMENTS 01. MOBILE PLATFORM

01.1 street level allignment

01.2 level 2 allignment

01.3 level 3 allignment

211

02. REMOVABLE PARAPET

212

03. CURTAIN PARTITION

02.1 total isolation

03.1 closed mode

02.2 semi-isolation

03.2 semi open mode

02.3 total removal

03.3 open mode

THE PROJECT

04. FOLDING PARTITION

04.1 closed mode

04.2 semi-open mode

04.3 open mode

213

SCENARIOS OF USE SCENARIO 01: MULTIDISCIPLINARY COLLECTION OF ARTS activity group

alternative configuration Street Level / Adaptive Unit A

workshop event

ballet rehearsal workshop event platform on street level + isolating parapet

Street Level / Adaptive Unit A sculpture art

drama lesson

sculpture art platform on street level + closed curtain

Level 2 / Studios

ballet rehearsal + drama lesson removable parapet locked + closed partition

214

THE PROJECT

SCENARIO 02: ISTANBUL HIPHOP FESTIVAL activity group

alternative configuration Street Level / Adaptive Unit A

artist interview

hiphop dance lesson

rap contest

artist interview platform on upper level + semi-open curtain

Level 1 / Studios

graffiti art

rap contest + temporary exhibition platform on level 1 + semi-isolated removable paraapet

Level 2 / Studios

hiphop dance lesson + grafitti art removable parapet locked + semi-open partition

215

SCENARIO 03: ISTANBUL DESIGN WEEK activity group

alternative configuration Street Level / Adaptive Unit A

social event

art expo

improvise painting

social event + art expo platform on level 2 + open curtain

Level 1 / Studios

collection exhibition

improvise painting removable parapet locked + open partition

Level 2 / Studios

collection exhibition platform on level 2 + total removal parapet

216

THE PROJECT

SCENARIO 04: “SPONTANEOUS ART” WORKSHOP activity group

alternative configuration Street Level / Adaptive Unit A

music performance

installation design

improvise drama acting

music performance

Street Level / Adaptive Unit C

collaborative art installation design platform on street level + semi-open curtain

Level 1 / Studios

improvise drama acting + collaborative art removable parapet locked + open partition

217

2.2 fluxus art factory

218

THE PROJECT

2.2.1 Introduction

The project Fluxus Art Factory is developed to reuse the left-idle landmark with a versatile architectural system that can recover the productive spirit. Inspired by the cross-cultural nature of Istanbul, a vital corridor of “flux” is introduced to connect the city with the forgotten factory. With the dynamic design strategies, the intention is to achieve an innovative, self-sustaining art incubator where emerging artists, professionals, and the public can exchange ideas, collaborate, and perform experimental works of art. The final result consists of alternative mobile spatial systems of vertical and lateral movement that can cooperate for various configurations. Art studios and multipurpose spaces are designed flexibly in a participatory manner to respond to users’ needs for different occasions. The circulation, mobile platform, and partition elements are applied to achieve optimal interplay of interior spaces with outdoors. The work presents an adaptive reuse project of an ever-changing creative hub that continually interacts and responds to the inhabitants.

219

3 11

Ista

Sta

era

all

Dir

ecto

rate

AIT

m Co

at or rp Co ffice O

im sal

ıP an

lic

to sS

ny pa

S PA

N MA

NU VE

SITE PLAN 1. Fluxus Art Factory 2. Istanbul State Opera and Ballet Directorate 3. Istanbul State Theater in Uskudar Tekel Stage 4. Natural Greenery 5. Private Company 6. Ceramic Manufacturer 7. Private Company 8. Pasalimanı Public Park 9. Corporate Office Headquarters 10. Residential District 11. Coastal Safety Directorate Pasalimani Station

220

HUSEYIN

BAYKARA

STREET

an mic M

Cera

ufactu

rer

Parkin

YIN

10m

20m

50m

THE PROJECT

S SU UZ G

6 BA RE

ST ET

221

NEW URBAN MORPHOLOGY Historic factory was the only gap remaining in the neighborhood. By using juxtaposition method several volumes are included in the interior void. The new morhphology prevails the existing porosity through the new design as an act of tribution to the historic factory. In this way, the existing gap becomes more balanced with the neighborhood; and the disturbing void of such an important site has a reasonable communication with the city.

NEW AXIS DEFINITION The Fluxus axis is introduced to the site. This axis is vital for the new art incubator. In the existing state it is noticable that the old factory is almost deleted from Istanbul’s urban memory. Through this new definition, the old factory connects to Bosphorus and Paşalimanı District’s art scene. It opens a gateway to welcome everybody and communicate again with the city.

222

Fluxus axis

THE PROJECT

NEW ART COMMUNITY The two industrial heritages have an affinity since their construction. During the Ottoman period the grainary warehouse was providing the grains to be transformed to flour in the flour factory. They always had a symbiotic relationship. With the new fluxus axis, the intention is to bring back the old spirit of these two industrial heritages. Their communication is important to revive back the productive spirit of the region. The connection links the artists who perform in the Tekel Theater Stages to the new art incubator where they can perform, practice and rehearse.

state theater stages

NEW SITE ACCESSIBILITY The site is accessible through multiple ways. Sea transport can arrive at the port. Pedestrians can cross or overpass the mainroad or directly enter through the street level.

access node

bus stop

main flux

pedestrian mobility

seaways

vehicle transportation

223

SOUTHEAST ELEVATION 1:1000

224

THE PROJECT

0 1

10m

+16.70m

+13.80m

+10.60m

+7.40m

+4.20m

+0.00m

225

0 1

+16.70m

+13.80m

+10.60m

+7.40m

+4.20m

+0.00m

NORTHWEST ELEVATION 1:1000

226

10m

THE PROJECT

+16.70m

+13.80m

+10.60m

+7.40m

SOUTHWEST ELEVATION 1:1000

227

AXONOMETRIC VIEW 1:500

228

THE PROJECT

229

2.2.2 Level Plans

Street Level On the core of the street level plan there is the urban plaza for different activities. The curtain partitions serve this plaza for configuration. In the perimeter you can find services that are artist residence, cafeteria, organization office, repository and the registration office. If you are across the building, you can overpass the road by reaching the Fluxus walkway located in the public park. Inside, you can move up by using the main stair that reaches on every level or you can use the lifts that take you directly to the studios. The elevators are to serve all types of users, therefore goods lifts are included separately for carrying art objects. First Level On the first level there are the areas of the services, that are the management, print lab, and the prototype of a shared artist residence with two bedrooms. And the mobile platform is aligned at this level for the representative moment.

230

THE PROJECT

Second Level The common workspaces for the artists are located in levels 2 and 3. On level 2 there are two entrances that pass through the existing building. One entrance is for the performance studio, the other is for the main aisle which also connects the theater stage. So that the artists who perform on the stage can also use the new studios for practicing and rehearsing. There are also two internal corridors that connect the studios with the print lab in the art service department. Third Level On level 3 here is the third entrance from the fluxus walkway that enters to the graphic arts studio.

Fourth Level On level 4 there is the private artist studio that can be rented and the common terrace that has a perception of the surrounding, especially the landmark Bosphorus bridge. Roof Level The roof level plan can explain the attitude towards the existing building. While providing effective space for the art incubator system, the main intention is to touch the existing building as little as possible. Respecting the pre-existent characteristics, the historic building is considered as an envelope for the new use, as a sign of tribution to the industrial heritage.

Overall, the idea for these studios is to use the primary partitions to change their capacity for different activities, likewise the vertical mobile system also serves in this manner. The mobile platform can help the studio expand its capacity or can transform the whole level to become a single, wider space.

231

BOSPHORUS STRAIT

-0.32 m

Pasalimanı Public Park a +0.00 m

Street Level (+0.00m) 1. Seafront Public Park a. Overpass Entrance b. Exhibition Garden c. Seatransport Deck d. Lift 2. Multipurpose Hall “Garden te Corpora ofOPossibilities” (482m²) ffice a. Mobile Platform Area b. Adaptive Unit A c. Adaptive Unit B d. Adaptive Unit C e. Goods Lift f. Visitor Lift 3. Service Courtyard (57m²) 4. Reception (19m²) a. Information Desk b. WC (3m²) c. Staff Storage (3.5m²) d. Lift 5. Library (65m²) a. Bookshelves b. Lift c. Courtyard 6. Organization Unit (14m²) 7. Artist Residence Lobby (46m²) a. Reception Desk b. Catering Area c. WC (4m²) d. Lift 8. Cafeteria (29m²) a. Service Area b. Courtyard

d 1

Bus Stop

I AVENUE

PASALIMAN

A’

B’

Istanbul State Opera and Ballet Directorate

Private

Compa

+0.00 m

c d

F’

+0.00 m

-0.16 m

a -0.55 m

-0.32 m

e -0.48 m

-0.32 m

-0.16 m

C’

3 c c

5 b

-0.55 m

e d

D’

+0.00 m

-0.48 m

SEY

Cera

IN B

AYK

ARA

mic M a

STR

nufa

cture

EET

Park

ing

+0.00 m

d b

+0.00 m

+0.32 m

+0.00 m

+0.05 m

+0.64 m

a 1

+1.44 m

HU IN SEY

TRE

KAR

REET

BAG ST

BAY

SUSUZ

E’

STREET LEVEL PLAN (+0.00m) 232

10m

THE PROJECT

BOSPHORUS STRAIT

Pasalimanı Public Park

+5.00 m

First Level (+4.20m) 1. Overpassing Tower / North Gate Stairs 2. Primary Connection Stairs 3. Goods Lift 4. Visitor Lift 5. Mobile te Platform (43 m²) Corpora 6.OManagement Office (27 m²) ffice 7. Printing Lab (47m²) 8. Organization Office 9. Artist Residence Shared Flat (50m²) a. Common Space (19m²) b. Bathroom (4m²) c. Storage and Laundry (3m²) d. Single Bedroom (12m²) e. Single Bedroom (12m²) 10. Hanging Walkway Ramp Landing 11. Cafeteria 12. Bar (11m²) 13. Lounge Terrace (23m²) 14. Overpassing Tower / South Gate Stairs

Bus Stop

I AVENUE

PASALIMAN

A’

B’

Istanbul State Opera and Ballet Directorate

Private

Compa

5 +4.20 m

F’

+3.72 m

3 4 2

C’

7 +4.20 m

D’

SEY

Cera

IN B

AYK

ARA

mic M a

STR

nufa

cture

EET

Park

ing

c +3.20 m

10 11

IN SEY

KAR

TRE

REET

BAG ST

BAY

SUSUZ

E’

+3.40 m

B +3.40 m

FIRST LEVEL PLAN (+4.20m)

10m

233

BOSPHORUS STRAIT

Pasalimanı Public Park

+7.40 m

Second Level (+7.40m)

1. Overpassing Tower / North Gate Stairs 2. Hanging Walkway 3. Primary Connection Stairs 4. Connective Walkway te Corpora 5.OSemi-Open Common Space ffice (89m²) 6. Performative Arts Studio (85m²) a. Goods Lift b. Visitor Lift c. Changing Room (2.5m²) d. WC (2.5m²) 7. Multipurpose Studio (85m²) a. Goods Lift b. Visitor Lift c.WC (2m²) 8. Mobile Platform Gallery 9. Staff Terrace (29m²) 10. Art Depot (65m²) 11. Artist Residence Shared Flat (50m²) a. Common Space (19m²) b. Bathroom (4m²) c. Storage and Laundry(3m²) d. Single Bedroom (12m²) e. Single Bedroom (12m²) 12. Hanging Walkway Ramp 13. Overpassing Tower / South Gate Stairs

Bus Stop

I AVENUE

PASALIMAN

A’

B’

Istanbul State Opera and Ballet Directorate

Private

Compa

9 +7.40 m

F’

+7.40 m

8 4

C’

+7.40 m

10 +7.40 m

D’

SEY

Cera

IN B

AYK

ARA

mic M a

STR

nufa

cture

EET

Park

ing

c +6.40 m

HU IN SEY

+3.40 m

TRE

KAR

REET

BAG ST

BAY

SUSUZ

E’

SECOND LEVEL PLAN (+7.40m) 234

+8.20 m

10m

THE PROJECT

BOSPHORUS STRAIT

Pasalimanı Public Park

Third Level (+10.60m) Third Level (+10.60m) 1. Hanging Walkway 2. Primary Connection Stairs 3. Secondary Connection Stairs 4. Semi-Open Common Space te Corpora (43m²) Office 5. Performative Arts Studio (85m²) a. Goods Lift b. Visitor Lift c. Changing Room (2.5m²) d. WC (2.5m²) 6. Fine Arts Studio (85m²) a. Goods Lift b. Visitor Lift c. Studio Service Core(15m²) d. Changing Room (2.3m²) e. WC (2.6m²) 7. Mobile Platform Gallery 8. Art Depot (65m²) 9. Artist Residence Shared Flat (50m²) a. Common Space (19m²) b. Bathroom (4m²) c. Storage and Laundry(3m²) d. Single Bedroom (12m²) e. Single Bedroom (12m²) 10. Overpassing Tower / South Gate Stairs

Bus Stop

I AVENUE

PASALIMAN

A’

B’

Istanbul State Opera and Ballet Directorate

Private

Compa

F’

7 3

C’

+10.60 m

4 1 2 3 4 5 6

6 6 5 4 3

D’

SEY

Cera

IN B

AYK

ARA

mic M a

STR

nufa

cture

EET

Park

ing

2 1

+10.60 m

c d

+9.60 m

HU IN SEY

TRE

KAR

REET

BAG ST

BAY

SUSUZ

E’

THIRD LEVEL PLAN (+10.60m)

+10.60 m

10m

235

BOSPHORUS STRAIT

Pasalimanı Public Park +7.40 m

Fourth Level (+13.80m) 1. Multipurpose Terrace (85m²) 2. Primary Connection Stairs 3. Private Studio Mezzanine (26m²) a. Studio te Desk Corpora counter ce ffiStudio Ob. c. Goods Lift d. Visitor Lift 4. Secondary Connection Stairs 5. Artist Residence Shared Terrace (49m²)

Bus Stop

I AVENUE

PASALIMAN

Istanbul State Opera and Ballet Directorate

Private

Compa

+7.40 m

+13.80 mm +13.80

+7.40 m

4 +7.40 m

a 3 +13.80 m

c d

SEY

Cera

IN B

AYK

ARA

mic M a

STR

nufa

cture

EET

Park

ing +12.80 m +12.80 m

HU IN SEY TRE AS

KAR ET

REET

BAG ST

BAY

SUSUZ

FOURTH LEVEL PLAN (+13.80m) 236

+10.60 m

10m

THE PROJECT

BOSPHORUS STRAIT

Pasalimanı Public Park

Roof Plan (+16.70m) 1. Overpassing Tower/North Gate 2. Overpassing Tower/South Gate 3. Hanging Walkway 4. Performative Arts Studio te Corpora 5.OFine ffice Arts Studio 6. Management Office and Reception 7. Art Service 8. Organization Office 9. Artist Residence 10. Cafeteria 11. Bar and Lounge Terrace

Bus Stop

I AVENUE

PASALIMAN

Istanbul State Opera and Ballet Directorate

Private

Compa

6 4

SEY

Cera

IN B

AYK

ARA

mic M a

STR

nufa

cture

EET

Park

ing

IN SEY

HU ET

TRE

KAR

REET

BAG ST

BAY

SUSUZ

ROOF PLAN (+16.70m)

10m

237

2.2.3 Schematic Sections

LONGITUDINAL SCHEMATIC SECTION AA’ 1:500

238

THE PROJECT A’

+16.70m

+13.80m

+10.60m

+7.40m

+4.20m

+0.00m

239

LONGITUDINAL SCHEMATIC SECTION BB’ 1:500

240

THE PROJECT B’

+16.70m

+13.80m

+10.60m

+7.40m

+4.20m

+0.00m

241

C’

+16.70m

+13.80m

+10.60m

+7.40m

+4.20m

+0.00m

LONGITUDINAL SCHEMATIC SECTION CC’ 1:500

242

THE PROJECT

D’

+16.70m

+13.80m

+10.60m

+7.40m

+4.20m

+0.00m

LONGITUDINAL SCHEMATIC SECTION DD’ 1:500

243

traveller curtain modules / vertical fullness and double face textile: 8 layered sound barrier

mobile platform / metal mesh floor

2.2.4 Structural Systems E

+16.70m

mobile platform / parapet plug-in

+13.80m E’

+10.60m

+7.40m

+4.20m

+0.00m

LONGITUDINAL PERSPECTIVE SECTION EE’

244

removable parapet

folding partition / double sided mirror

floor fini outdoor water

THE PROJECT

way finding sign

ish / rproof vinyl

envelope / double translucent glass folding partition / single layer glass

lift / perforated metal mesh

roof opening / translucent glass mechanical supplement

laser rail system for curtains

envelope / steel framework with insulation layer and zinc cladding

245

F’

mechanical supplement

stairs finish / perforated metal mesh

slab structure / sandwich system: insulation and U profile steel deck terrace floor finish / outdoor waterproof vinyl

folding partition / single layer glass

dance floor reversible finish / Peroni/TSM-Silviagrips

roof cladding / zinc

elevated platform

+16.70m

+13.80m

+10.60m

+7.40m

+4.20m

+0.00m

TRANSVERSAL PERSPECTIVE SECTION FF’

246

THE PROJECT

SYSTEM MODULES 01. RETICULAR BEAM AS HANGING WALKWAY

01 04

Components 01. welded connection of frame modules 02. lightweight metal mesh floor cladding10 mm tickness 03. reticular beam module 1200x1200x100 mm by using 10x10mm steel component 04. lightweight bolted zinc cladding 3mm thickness 05. reticular beam module 1200x1200x200 mm by using 10x10mm steel component

247

02. MAIN DETAIL

07 08 02 03 04 05

09 10

Components 01. bifold window partitions’ hinge 02. dance floor reversible finish: Peroni/TSM-Silviagrips 03. slab structure /sandwich system: insulation and U profile steel deck 04. steel frame bolted on the slab structure 05. steel frame bolted on the slab structure 06. traveller curtain modules with vertical fullness and double face textile: 8 layered sound barrier 07. removable mesh barrier for protection 08. gear mechanism for platform mobility bolted to structural column 09. removable partition placement hollow 10. lightweight metal mesh floor cladding 10 mm tickness

248

THE PROJECT

03. COLUMN & BEAM MODULE

Components 01. bolted connection 02. European Wide Flange Beam, Designation: HE220C h:230mm b:223mm 03. Wide Flange Steel Column, Designation: HD 320, h:359mm b:309mm

249

2.2.5 Views

View 01. Street level, the seafront piazza / the coastline

250

THE PROJECT

251

View 02. Level 2, the Fluxus gateway tower / Bosphorus viewpoint

252

THE PROJECT

View 03. Level 2, the Fluxus hanging walkway

253

Corporate Office

PASALIMANI

AVENUE

Istanbul State Opera and Ballet Directorate

Private

Company

+0.00 m

-0.16 m -0.32 m -0.55 m

-0.48 m

-0.55 m

-0.32 m

-0.16 m

-0.55 m

+0.00 m

-0.48 m

SEYI

Ceram ic Ma

N BA

YKAR

A ST

nufact

REET

urer

Parkin

g +0.00 m

+0.00 m

+0.32 m

+0.00 m

+0.05 m

+0.64 m

+1.44 m

HU N SEYI ET STRE

STREET

ARA BAYK

BAG SUSUZ

10m

View 04.1 Street level, the garden of possibilites / performance setting for Istanbul Jazz Festival

254

Corporate Office

PASALIMANI

AVENUE

Istanbul State Opera and Ballet Directorate

Private

Company

+0.00 m

-0.16 m -0.32 m -0.55 m

THE PROJECT -0.48 m

-0.55 m

-0.32 m

-0.16 m

-0.55 m

+0.00 m

-0.48 m

SEYI

Ceram ic Ma

N BA

YKAR

A ST

nufact

REET

urer

Parkin

g +0.00 m

+0.00 m

+0.32 m

+0.00 m

+0.05 m

+0.64 m

+1.44 m

HU N SEYI ET STRE

STREET

ARA BAYK

BAG SUSUZ

10m

View 04.2 Street level, the garden of possibilites / exhibition setting for on-site installation art performance

255

Corporate Office

PASALIMANI

AVENUE

Istanbul State Opera and Ballet Directorate

Private

Company +7.40 m

+7.40 m

SEYI

Ceram ic Ma

N BA

YKAR

nufact

A ST

REET

urer

Parkin

g +6.40 m

HU N SEYI ET STRE

STREET

ARA BAYK

BAG SUSUZ

+3.40 m

+8.20 m

10m

05.1 Level 2, performance arts studio / ballet rehearsal of State Opera and Ballet cast

256

Corporate Office

PASALIMANI

AVENUE

Istanbul State Opera and Ballet Directorate

Private

Company +7.40 m

+7.40 m

THE PROJECT

+7.40 m

SEYI

Ceram ic Ma

N BA

YKAR

nufact

A ST

REET

urer

Parkin

g +6.40 m

HU N SEYI ET STRE

STREET

ARA BAYK

BAG SUSUZ

+3.40 m

+8.20 m

10m

05.2 Level 2, open studio / improvise performative arts workshop

257

Corporate Office

PASALIMANI

AVENUE

Istanbul State Opera and Ballet Directorate

Private

Company +7.40 m

+7.40 m

SEYI

Ceram ic Ma

N BA

YKAR

nufact

A ST

REET

urer

Parkin

g +6.40 m

HU N SEYI ET STRE

STREET

ARA BAYK

BAG SUSUZ

+3.40 m

+8.20 m

10m

View 06. Level 2, mutlipurpose studio / young artists’ exhibition setup

258

Corporate Office

PASALIMANI

AVENUE

Istanbul State Opera and Ballet Directorate

Private

Company

THE PROJECT +10.60 m

1 2 3 4 5 6

6 5 4 3 2 1

+10.60 m

SEYI

Ceram ic Ma

N BA

YKAR

nufact

A ST

REET

urer

Parkin

g +9.60 m

HU N SEYI ET STRE

STREET

ARA BAYK

BAG SUSUZ

+10.60 m

10m

View 07. Level 3, graphic arts studio / fine arts atelier

259

View 08. Street level view, service area courtyard

260

THE PROJECT

View 09. Street level view, backyard garden

261

conclusion

The fact that this dormant Ottoman legacy, which has a precious location and history, was left to its fate under the witness of the Bosphorus, was the most triggering factor for me to start this thesis. Dealing with many disciplines and themes such as industrial heritages, new generation art practices and participatory architecture technologies was the factor that improved my professional equipment the most during the study process. In this regard, I would like to touch on two issues that affect my approach on the architecture while I develop this experimental Art incubator project. A participatory architectural solution can easily adapt to the variability of our age, and can provide a more subjective use that is free from monotony. Artists are far from a routine, unmotivated lifestyle when they have sudden inspirations and changing decisions, this was one of the motivations to compose the building around the participatory concept. Participatory architectural systems not only respond to the instant needs of the user, but also enable them to be creative about the way they use the space. Second motivation had been the productive spirit of the district that once lived in the Ottoman period. Paşalimanı Flour Factory could not contain this spirit

262

THE PROJECT

when it became unoccupied in 1940 until today. The factory had been useful for the Ottoman citizens with the flour it produced. The machinery was helding many different components to perform this service to Istanbul. This fact led me to realize the pre-existent soul of the factory to serve Istanbul for a similar purpose. Moreover, the two industrial heritages have an affinity since their construction. During the Ottoman period the granary warehouse was providing the grains to be transformed to flour in the flour factory. They always had a symbiotic relationship. With the new fluxus axis, the intention is to bring back the old spirit of these two industrial heritages. Their communication is important to revive the productive spirit of the region. The connection links the artists who perform in the Tekel Theater Stages to the new art incubator where they can perform, practice and rehearse.

artists who want to start a career and help them to get away from the routine; and the solution is to communicate with the space and to resonate with the production spirit of the historical factory. Artists can experience the collective and engaging environment with participatory design systems. The idea is to give the possibility for the artists to change, experience, and improve themselves. Ultimately, it becomes a space where the art scene of the city pulses here, where people can experience the cultural fusion of Istanbul inside the Fluxus Art Factory.

To conclude I have worked on an idle industrial heritage building that I believe deserves a new meaning. There is an intense relation between the existing and the new building. The final result is a social interactive system to respond to possible artistic needs. The main intention is to serve the emerging

263

bibliography Divan, A. (1984), “Paşalimanı Un Fabrikası Restorasyon Projesi“ [Pasalimani Flour Factory Restoration Project], Unpublished Master Thesis, Istanbul Technical University, Faculty of Architecture, Istanbul. Koksal, G. (2005) “İstanbul’daki Endüstri Mirası için Koruma ve Yeniden Kullanım Önerileri” [Conservation and Reuse Recommendations for Industrial Heritage in Istanbul], Doctorate Thesis, Istanbul Technical University Institute of Natural Sciences, Istanbul. Kona, S. (2015). “Paşalimanı Un Fabrikası ve Yeniden İşlevlendirme” [Paşalimanı Flour Factory and Reuse], Master Thesis, Turkish Republic Maltepe University Institute of Science, Department of Interior Architecture, Istanbul. Ozkoc, O. (2009) “Social Potentials Of Pattern: Cedric Price’s Fun Palace”, Thesis in Master of Architecture, Middle East Technical University, Ankara. Mathews, S. (2005). “The Fun Palace: Cedric Price’s experiment in architecture and technology”. Technoetic Arts. 3. 73-92. 10.1386/tear.3.2.73/1. Mathews, S. (2006). “The Fun Palace as Virtual Architecture: Cedric Price and the Practices of Indeterminacy”. Journal of Architectural Education, Vol. 59, No. 3, pp. 39-48. Price, C. “The Invisible Sandwich,” in Re:CP, ed. Cedric Price and Hans Ulrich Obrist (Basel: Birkhauser, 2003), 13. Secer Kariptas, F. (2012). “Üsküdar’da Endüstri Mirası Örneği Bir Değirmen Yapısı: Üsküdar Paşalimanı Değirmeni” [An Example of Industrial Heritage Mill Structure in Üsküdar: Üsküdar Paşalimanı Mill]. International Uskudar Symposium. ISBN 978-605-84934 ~ 1-4 Severcan Y. C. (2012). “Endüstri Mirasının Korunması ve Yeniden İşlevlendirilmesine İlişkin Özelleştirme Yaklaşımları: Sorunlar ve Olanaklar” [Privatization Approaches to Conservation and Reuse of Industrial Heritage: Challenges and Opportunities], Journal of The Chamber of City Planners Union of Chambers of Turkish Engineers and Architect, 2012 /1-2, issue 52, page: 40-46.

sitography Colombo, A. (2022, January 14). Cose Turche, ma di città e design [Turkish things, but of city and design] . Giornale dell’Architettura. Retrieved January 17, 2022, from https://ilgiornaledellarchitettura.com/2022/01/14/cose-turche-ma-di-citta-e-design/ Crook, L. (2019, November 5). Centre Pompidou: High-tech architecture’s inside-out landmark. Dezeen. Retrieved October 19, 2021, from https://www.dezeen.com/2019/11/05/centre-pompidou-piano-rogers-high-tech-architecture/ Davidson, J. (2007, May 7). The illusionists. The New Yorker. Retrieved November 21, 2021, from https:// www.newyorker.com/magazine/2007/05/14/the-illusionists Diller Scofidio + Renfro. the School of American Ballet. Official website. from https://dsrny.com/project/school-of-american-ballet Glynn, R. (2005, October 19). Fun Palace – cedric price. Interactive Architecture Lab. Retrieved October 20, 2021, from http://www.interactivearchitecture.org/fun-palace-cedric-price.html Heathcote, E. (2021, March 10). Renzo Piano on remaking the Pompidou. Financial Times. Retrieved October 19, 2021, from https://www.ft.com/content/0f440d6d-f05d-47d5-8adb-f5a2e6dab18f Héctor Fernández Elorza. Madrid Centro Centro. Official website. from http://www.hfelorza.com/centrocentro.html Matadero Madrid. Official website. from https://www.mataderomadrid.org Merriam-Webster. (n.d.). Carte blanche. In Merriam-Webster.com dictionary. Retrieved October 21, 2021, from https://www.merriam-webster.com/dictionary/carte%20blanche OMA. Fondation Galeries Lafayette. Official website. Retrieved October 21, 2021, from https://www.oma.com/projects/fondation-entreprise-galeries-lafayette OMA. Très Grande Bibliothèque. Official website. Retreiced October 24, 2021 from https://www.oma.com/projects/tres-grande-bibliotheque Price C. Archive. Cedric Price fonds. Collection. Canadian Centre for Architecture. Montréal. Retrieved October 20, 2021, from https://www.cca.qc.ca/en/archives/380477/cedric-price-fonds

Rogers Stirk Harbour + Partners | RSHP. Centre Pompidou – Culture & Leisure Projects. Official website. Retrieved October 19, 2021, from https://www.rsh-p.com/projects/culture-and-leisure/centre-pompidou/ SAHA Studio. Official website. http://www.saha.org.tr/en Stathaki, E. (2018, June 15). Oma’s Lafayette Anticipations in Paris is a ‘curatorial machine’. Wallpaper*. Retrieved November 20, 2021, from https://www.wallpaper.com/architecture/lafayette-anticipationsrem-koolhaas-oma-paris Urban catalyst: Projects: Fun palace berlin 200x (2004, October 17) – urbane kommunikationsräume für das 21.jahrhundert. Retrieved September 19, 2021, from http://www.urbancatalyst.net/fun_palace2.php?lang=en Zara, J. (2021, November 4). Oma’s Paris “exhibition tower” isn’t a showstopper, just eager to please. Metropolis. Retrieved November 20, 2021, from https://metropolismag.com/projects/oma-paris-lafayette-anticipations

Politecnico di Milano School of Architecture, Urban Planning and Construction Engineering MSc. Programme “Architecture - Built Environment - Interiors” A.y. 2021-2022 Supervisor Co-Supervisor

Prof. Marco Borsotti Prof. Pierluigi Salvadeo

Master of Science Graduation Thesis Submitted By Didem Uyeturk, 93 9 4 85