81_LMTV6794

LMTV6794

TAKSIM THEORIES

LMTV6794

LMTV6794

PIANTA ASTRATTA

1

TAKSIM THEORIES

TAKSIM THEORIES

2

LMTV6794

LMTV6794

3.

MANIFESTO Taksim Theories

The public space we love has a specific shape and welcomes a multifaceted life.

Those two conditions are not in contradiction. In some ways, the space’s completeness is exactly what allows the urban collective life to cross that shape in so different ways.

The public space should always aim to a balanced formal definition and a strong aptitude to welcome the “multiplicity” and the “unpredictability”.

THE APP

pp. 13-14

During the construction phase and, then, when the whole project will be completed, a mobile application - open to citizens and tourists - will allow to manage the public space, providing suggestions and information on what Taksim has been in the past, what it represents nowadays and what it can become in the future.

2.

THE TRACKS

pp. 9-12

Theories of objects, lines coming to live, the Tracks stretch across Taksim space like the possible echoes of actions, sounds and words.

Throughout its history, the city has always fed and developed the Loggia as a type of public space, in countless ways and places. The Loggia in Taksim will mark the transition between an uncertain and vague public space (today) to an inclusive one (tomorrow). The suggested Loggia establishes a dialogue with Istanbul’s history, its mosques and its courtyards, the public markets, the pavilions along the Bosphorus, the complex relationship between light and shadow over the seasons.

The Loggia is a civil architecture, a generous and inclusive shelter apt to interpret the new course which Istanbul is experiencing.

1.

THE LOGGIA

THE PROCESS

THE MANIFESTO

If the balanced formal definition is represented by the Loggia, centrally located in the Taksim Square area, the “multiplicity” and the “unpredictability” are put on scene by the Tracks: cutting across the space, they exhort infinite ways to experience Taksim, to cross and to re-interpret it.

pp. 5- 8

The Loggia is a covered space suggesting a border and defining a place. It encourages simultaneously the rest and the transition and opens to unexpected visual perspectives. It is the perfect place where listening to someone telling you a story.

The Loggia will bring the new order needed in a square that lacks a strong identity, respecting and complying with those traces which have been left on the soil through the all different transformations: the soil is indeed fine just the way it is.

Taksim Square will be a democratic place, a space of freedom and dialogue. The Loggia welcomes every usages’ variations along the days and the seasons and all the fluid communities that inhabit and cross it.

Each Track, instead, is a “theory” made of repeated objects following a clear principle: the shadow, the boulders, the elevated walkway, the bench, the light, the sound. Along each Track, those principles are defined in many ways, while not losing the energy each one brings to the public space.

0.

THE SOIL

We will not reshape this layer: the soil is the Taksim’s history, the synthesis of those inextricable signs, among which it’s impossible to make any selection. All of them are essential and significant, all of them could be reconsidered in the future.

If the Loggia is the immovable scenography, then the Tracks, as distracted and masked actors, enter and go out from the scene. That’s exactly what we’ll do.

3

TAKSIM THEORIES

TAKSIM THEORIES

4

1.

LMTV6794

THE LOGGIA

Following a glorious urban tradition, a wide Loggia marks a new turning point in the life of Taksim. It’s placed next to the New Atatürk Cultural Center, sheltering the limit between Gezi Park and the Square and framing there its Propylaea.

The project is inspired by the covered spaces’ tradition: those spaces that are often all sides-open, housing markets and rallies, prayers and celebrations, calmness and entertainment.

The Loggia we designed is driven by this memory, becoming a starting point for a new role of the Square in the city.

18 meters-high, 140 meters-wide and 45 meters-long, the Loggia stands on four orders of light-colour painted galvanised steel

LMTV6794

columns. The four column orders originate three naves, the central one (25 m) is wider than the two other ones (5m).

The Loggia’s canopy, realized with the same material as the columns, is shaped in order to comply to the varied architectural façades overlooking the Square. By analogy, the column bases follow the soil: in this way, they adapt to the minimal square’s height variations.

Emerging on the edge of the twentieth-century Park, the Loggia is clearly visible from each of the streets that leads to Taksim.

Its role is to establish a new course for the Square encouraging a multitude of usages and actions.

Taksim in 1941

Taksim in 2020

z

1. THE LOGGIA

1. THE LOGGIA

-A Expo’98 Portugal National Pavilion, Lisbon (Portugal), 1998, Álvaro Siza Vieira. -B Loggia del Lionello, Udine (Italy), 1441. - C “Vue du Champ des Morts”, near Péra, Istanbul (Turkey), 1819, Antoine Ignace Melling. -D Loggia del Capitaniato, Vicenza (Italy), 1565 - 1572, Andrea Palladio. -E Vieux Port Pavillion, Marseille (France) 2013, Norman Foster. -F Loggia della Signoria, Firenze (Italy), 1376-1382, Benci e Simone Talenti. -G Winner of the competition for the Uffizi project, Firenze (Italy), 1999, Arata Isozaki. -H Palace Ali Qapu, Isfahan (Iran), 1600 approx. -I Theatre Square, Antwerp (Belgium), 2004, Secchi e Viganò. -J Padiglione IRI Fiera del Mare, Genova (Italy), 1963, Angelo Mangiarotti. -K São Paulo Museum of Art, São Paulo (Brazil), 1949-1968, Lina Bo Bardi. -L Loggia del Mercato di Rialto, Venezia (Italy), 16th century. -M Hudson Yards Cultural Shed, New York (United States), 2019, Diller Scofidio + Renfro. -N Sala Hipóstila Parc Güell, Barcelona (Spain), 1900-1914, Antoni Gaudí. -O Entrance to the Pearling Path, Al Muharraq (Bahrain), 2019, Valerio Olgiati. -P Çinili Köşk, Istanbul (Turkey), 1472. -Q Parc del Fòrum, Barcelona (Spain), 2004, Elías Torres and José Antonio Martínez Lapeñas. -R Altes Museum, Berlin (Germany), 1823-1830, Karl Friedrich Schinkel. -S Plaça de los Paises Catalanes, Barcelona (Spain), 1983, Piñon e Viaplana. -T Padiglione Parco del Cormor, Udine (Italy), 1993, Pirzio Biroli. -U Bagh-e Chehel Sotun, Isfahan (Iran), 1650 approx. -V The Caryatid Porch of the Erechtheion, Athens (Greece), 406 BC, Filocle. -W Mercat Encants, Barcelona (Spain), 2013, b720 Fermín Vázquez Arquitectos. -X Metropol Parasol, Seville (Spain), 2011, J. Mayer H. -Y Kiosque à musique, Guise (France), 1860, Jean-Baptiste Godin. -Z Proposal for Taksim Square.

21th MARCH, 12:00 p.m.

5

TAKSIM THEORIES

21th JUNE, 12:00 p.m.

21th SEPTEMBER, 12:00 p.m.

TAKSIM THEORIES

21th DECEMBER, 12:00 p.m.

6

LMTV6794

LMTV6794

taxi sun shelter concert siesta demonstration park entrance metro entrance urban landmark public debate UFO watching celebration urban farming water fountain chating focal point market group meeting point street vendor info point basketball toilet wheelchair accessible tourist attraction

1. THE LOGGIA

1. THE LOGGIA

art open-air theater street music family yoga local diversity Wi-Fi night lighting ice skating first aid circus picnic area blind person accessible 24h security plug annoucement table tennis resting rain protection reading elderly meditation playground soccer sun bathing cafĂŠ skateboarding open-air cinema bike sharing volleyball lawn pets climbing

7

TAKSIM THEORIES

TAKSIM THEORIES

8

2.

LMTV6794

THE TRACKS

If the Loggia is the immovable scenography of the Square along with the other relevant monuments - then the Tracks are the unpredictable and unstable elements: the Unexpected enters the scene.

We imagined thematic Tracks: the shadow, the boulders, the elevated walkway, the bench, the light, the sound. Each Track can use different objects to correspond to the relative theme: for example, the shadow can be provided by a row of trees, by a pergola,

LMTV6794

by a canopy, by parasols that capture solar energy...

The proposal shows just a possible placement of the Tracks: their final location, as well as their formal layout related to each specific Track’s theme, will be debated with the Istanbulites. People’s involvement will be part of every project stage, also thanks to a mobile application that will inaugurate – in the virtual world – an enthusiastic participation’s spirit: this is what we look forward to bringing to the real world of Taksim.

light - During the daylight the light trail is intangible, almost invisible.

At the sunset this street lamps row turns on and starts to illuminate Taksim Square. This inventory of different street lamps offers itself as a safe and bright path crossing the whole urban district.

Thanks to the Virtual Taksim App, the Istanbulites or the tourists will be able to play and interact actively with the lights (e.g. controlling the colour, the direction or the light intensity).

2. THE TRACKS

2. THE TRACKS

sound - The sound trail, aiming to give a voice not only to Taksim Square but also to the whole city, is the only one which can’t be perceived through the sight. Its rhythm corresponds to the output sound rhythm rather than to its physical devices’ one. The sounds can reproduce the “urban voice” (e.g. harbour, central market, stadium, mosque, Bosphorus’ waves, etc...), music or messages that are recorded through the Virtual Taksim App.

9

TAKSIM THEORIES

elevated walkway - An alternative path, a direct way connecting different strategic urban spots, such as the University or the Library.

Being elevated, the walkway overcomes the declivities offering an unprecedented urban point of view and intensifying the spectacular flux overlapping: pedestrians, cyclists, cars, public transport...

The structure is made of different segments, each one dedicated to a specific function and usage (the mirador, the tribune, the bar, the skygarden, etc...): the whole architecture becomes a unique linear playground, whose sequence will be debated with the future users.

The structure softly leans on the pre-existing soil, preserving all the trees and avoiding distorting the historical layout of Gezi Park.

TAKSIM THEORIES

10

LMTV6794

LMTV6794

bench - This single piece-linear track is born from the contradictory desire to bring a domestic form into the urban scale: a benchlike section is endlessly extruded to generate the world’s longest urban sofa!

It becomes a good opportunity to stopover and attend the metropolitan show, a place where to rest, meet, wait, communicate or just a spot for the lonely contemplations...

2. THE TRACKS 11

TAKSIM THEORIES

2. THE TRACKS

boulders - or the “unpredictability’s track”. Is it made by a sequence of alien objects, ruins fragments or cosmic dust?

It aims to activate and stimulate the human performances’ freedom and the curiosity of the people crossing the public space thanks to its ambiguity, vagueness and indefiniteness. The human body can interact with this surprising - and, why not, disorienting - urban boulders row in the most varied and unexpected ways.

The boulders sequence offers itself as a support for art, allowing writers, painters or sculptors to freely express themselves.

shadow - The Shadow Line is made by two different bodies: the first one is material, designed, threedimensional, and composed by different objects, both natural and artificial; the second one, intangible, two-dimensional and massless, whose realm is those untouched Earth’s crust. This path is never identical to itself, an ever-changing entity that is not always there: it exists only when needed.

TAKSIM THEORIES

12

3.

LMTV6794

THE APP

As we have been recently taught by this hard times, the loss of the public space’s use freedom has inspired the birth - or the enhancement - of new modalities and tools to stay together, to meet other people, to share our knowledge and new ideas. The idea that will bring us to develop a digital mobile application as part of a public space project implies a symmetrical space splitting: the Virtual and the Real.

The public space digitisation might mean an unexpected dissolution of the distance and time that disjoint us from it: anybody, from anywhere, at any time has the opportunity to experience Taksim Square, whether to attend a public event or to claim his/her rights.

LMTV6794

The App makes Taksim always available to everybody. The digital becomes the intermediary tool between the users and the space administrator at all scales and at every project stage: first, during the project decision-making phase; then, to manage the use of Taksim Square, to report any issues and for the maintenance; finally, for the future project development.

We do not want to forget the lesson we have learned from the historical city, continuously crossed by fluxes and events that built a complex and contradictory public spaces system: the App does not want to take over the real world, it wants to integrate, intensify, extend and make it last as long as possible.

㄀ ─

䌀䠀䄀一䜀䔀 吀䠀䔀 䌀伀䰀伀刀匀 伀䘀 吀䄀䬀匀䤀䴀 匀儀唀䄀刀䔀

䰀椀最栀琀

䘀䤀一䐀 夀伀唀刀 匀吀刀䔀䔀吀 䰀䄀倀匀

椀渀琀攀爀愀挀琀椀瘀攀 昀甀渀挀琀椀漀渀愀氀椀琀椀攀猀 愀椀洀 琀漀 攀渀挀漀甀爀愀最攀 琀栀攀 瀀甀戀氀椀挀 猀瀀愀挀攀 甀猀愀最攀 眀椀琀栀 愀 瀀爀漀愀挀琀椀瘀攀 愀瀀瀀爀漀愀挀栀

㄀ ─

倀唀吀 夀伀唀刀 匀伀唀一䐀 䤀一 䜀䔀娀䤀 倀䄀刀䬀

匀漀甀渀搀

匀䌀䄀一 儀刀 䌀伀䐀䔀

䴀唀匀䤀䌀

吀栀攀 眀漀爀氀搀✀猀 昀椀爀猀琀 瘀椀爀琀甀愀氀 猀焀甀愀爀攀

匀䔀䰀䔀䌀吀 夀伀唀刀 䌀伀䰀伀刀

刀䄀䐀䤀伀

嘀伀䌀䄀䰀 䴀䔀匀匀䄀䜀䔀 愀渀搀 吀䄀䰀䔀匀

匀琀愀礀 甀瀀 琀漀 搀愀琀攀 漀渀 琀栀攀 吀愀欀猀椀洀 匀焀甀愀爀攀 攀瘀攀渀琀猀

䄀 猀洀愀爀琀攀爀 愀渀搀 昀甀渀渀椀攀爀 椀渀琀攀爀愀挀琀椀漀渀 眀椀琀栀 琀栀攀 漀戀樀攀挀琀猀 椀渀 琀栀攀 瀀甀戀氀椀挀 猀瀀愀挀攀

唀刀䈀䄀一 匀伀唀一䐀匀

琀栀攀 猀漀甀渀搀 爀攀瀀爀漀搀甀挀琀椀漀渀 ⠀攀⸀最⸀ 栀愀爀戀漀甀爀Ⰰ 挀攀渀琀爀愀氀 洀愀爀欀攀琀Ⰰ 猀琀愀搀椀甀洀Ⰰ 洀漀猀焀甀攀Ⰰ 䈀漀猀瀀栀漀爀甀猀ᤠ 眀愀瘀攀猀Ⰰ 攀琀挀⸀⸀⸀⤀ 琀甀爀渀猀 吀愀欀猀椀洀 匀焀甀愀爀攀 椀渀琀漀 愀 猀攀渀猀漀爀椀愀氀 猀礀渀琀栀攀猀椀猀 漀昀 琀栀攀 眀栀漀氀攀 洀攀琀爀漀瀀漀氀椀猀

吀愀欀攀 瀀愀爀琀 琀漀 琀栀攀 攀瘀攀渀琀猀 甀渀搀攀爀 琀栀攀 䰀漀最最椀愀

㄀ ─

㄀ ─

䈀氀漀最 伀瀀椀渀椀漀渀 倀漀氀氀

圀栀椀挀栀 挀漀氀漀爀 眀漀甀氀搀 礀漀甀 氀椀欀攀 琀漀 戀攀 琀栀攀 戀攀渀挀栀㼀

愀⸀ 䜀爀攀攀渀 ㄀㐀─

戀⸀ 夀攀氀氀漀眀 ㄀㐀─

挀⸀ 刀攀搀 ㌀ ─

搀⸀ 䈀氀甀攀 㐀㈀─

圀栀椀挀栀 欀椀渀搀 漀昀 琀爀攀攀 眀漀甀氀搀 礀漀甀 氀椀欀攀 椀渀 䜀攀稀椀 倀愀爀欀㼀

䈀氀漀最

䔀瘀攀渀琀

倀栀漀琀漀

愀⸀ 䘀爀愀砀椀渀甀猀 㠀─

戀⸀ 倀氀愀琀愀渀甀猀 ㈀㤀─

挀⸀ 䄀挀攀爀 㐀㜀─

搀⸀ 刀漀戀椀渀椀愀 ㄀㘀─

䔀瘀攀渀琀

䈀氀漀最

䔀砀栀椀戀椀琀椀漀渀 䐀椀搀 礀漀甀 猀攀攀 琀栀攀 渀攀眀 氀攀最椀猀氀愀琀椀瘀攀 瀀爀漀瀀漀猀愀氀㼀

䰀椀最栀琀

㄀ 㨀 ㈀㈀ 㨀 ㌀㐀 㨀 㐀㔀

倀栀漀琀漀 ⌀嘀椀爀琀甀愀氀吀愀欀猀椀洀

䐀愀礀猀 䠀漀甀爀猀 䴀椀渀甀琀攀猀 匀攀挀漀渀搀猀

䤀琀✀猀 愀 猀挀愀渀搀愀氀⸀ 䤀 最漀琀 猀漀 洀愀搀 眀栀攀渀 䤀 爀攀愀搀 椀琀 漀渀 琀栀攀 渀攀眀猀瀀愀瀀攀爀

匀栀愀爀攀 䤀 挀漀洀瀀氀攀琀攀氀礀 愀最爀攀攀 眀椀琀栀 礀漀甀

伀欀攀礀 氀攀琀✀猀 搀漀 椀琀℀ 䰀攀琀✀猀 洀攀攀琀 椀渀 吀愀欀猀椀洀 匀焀甀愀爀攀 漀渀 渀攀砀琀 匀愀琀甀爀搀愀礀 愀琀 ㌀ 瀀⸀洀⸀℀ 圀攀✀氀氀 洀愀欀攀 漀甀爀 瘀漀椀挀攀 栀攀愀爀搀℀

TAKSIM THEORIES

圀攀戀挀愀洀

㄀ ─

䤀渀 吀眀漀 䐀愀礀猀

㌀㘀 뀀

䤀渀 吀爀攀攀 䐀愀礀猀

䰀攀琀✀猀 搀漀 愀 搀攀洀漀渀猀琀爀愀琀椀漀渀℀

13

㄀ ─

圀栀愀琀 搀漀 礀漀甀 琀栀椀渀欀 愀戀漀甀琀 椀琀㼀

匀漀甀渀搀

嘀椀爀琀甀愀氀 吀愀欀猀椀洀

㄀ ─

夀攀猀Ⰰ 䤀 搀椀搀

圀攀 猀栀愀氀氀 瀀爀漀琀攀猀琀 愀最愀椀渀猀琀 椀琀℀

圀攀戀挀愀洀

㄀ ─

㄀ ─

3. “VIRTUAL TAKSIM” APP

3. “VIRTUAL TAKSIM” APP

Virtual Taksim App

䤀渀琀攀爀攀猀琀攀搀

匀栀愀爀攀

䜀漀椀渀最

䄀渀挀椀攀渀琀 䤀猀琀愀渀戀甀氀 搀爀愀眀椀渀最 攀砀栀椀戀椀琀椀漀渀

TAKSIM THEORIES

14

LMTV6794 I’m an urban planner and I work to integrate the proposal to the existant city. I’m the team leader

I’m a landscape architect and I will cooperate to design the outdoor spaces I’m an artist and I will share my Istanbul artistic knowledge with the team

I’m an architect; I work on the architectural concept

I’m a botanist and I will work as consultant for the green outdoor spaces

THE 2ND STAGE TEAM

I’m an architectural consultant, curator, critic and writer I’m an architect and I’m the team leader

I’m an architect; I work on the architectural concept

I’m a sociologist and I will share my experience with the whole team

I’m a media expert and I will work with the app developer

I’m an app developer and I will conceive “Virtual Taksim” App I’m a traffic flows expert

15

TAKSIM THEORIES