collecting arch territories by nergani

DISMANTLING THE INSTITUTION Nazli Ergani

DISMANTLING THE INSTITUTION Columbia University Graduate School of Architecture Planning and Preservation Seminar: Collecting Architecture Territories Mark Wasiuta with Marina Otero Spring 2014

Book designed and edited by Nazli Ergani

dis·man·tle transitive verb \ (ˌ)dis-'man-tᵊl\ : to take (something, such as a machine or structure) apart so that it is in separate pieces [*]

[*] Dismantle definition. Merriam Webster < http://www.merriam-webster.com/ dictionary/dismantle>

foreword

Debating and learning from criticism and crossing boundaries is a daring task. Searching to claim, finding new tools to provoke the audience, to establish and to maintain an institution with its users and to develop a common intelligence is what SALT opted for. SALT rejects what the tradition proposes and the institution becomes an experiment itself. In SALT people collaborate with ever changing roles whereas the institution tries to maintain the delicate balance between orthodoxy and elitism with this new typology. In SALT, evolution becomes more of a technique than just a statement as every act is considered a project itself. SALTâ&#x20AC;&#x2122;s interest lies in transforming this evolution into exhibition. Process becomes the work and process leads the work through creating a dialogue between the artist and the programmer as well as the artist and the public. Public is an important element for SALT as it is considered to create an active input. SALT embarks on trans disciplinary thinking that is both supportive and varied. Moreover SALT has an intricately designed program and identity which makes a distinct statement on what the institution stands for within the art scene.

SALT deliberates itself as a research based, transitory, non linear, introvert institution . SALT does not consider itself a museum, does not collect and there is no hierarchy at SALT. It’s approach to the relation between the player and the participant in terms of conventions of curation also reflects SALT’s counter institutional approach. SALT prefers decentralized non hierarchical work order rather that the full command of a curator . The structure of SALT also reflects the incoherence and incompletion of the institution- from the website to the non hierarchical structure and can be considered as the dialectic result of SALT’s objectives. Due to the reasons indicated above, the method chosen for the analysis of SALT was to decompose it into units that described SALT objectives . Thus a Lexicon was formed in an attempt to dismantle the institution and to penetrate through its walls and to analyze the correlation between this future institution and the public. As an institution that works intuitively, SALT is not structured in an encyclopedic way. However it is crucial to further investigate where public stands for SALT to confirm SALT’s statement of being a “future institution”. This research aims to identify the institution thorough dismantling it into its parts and commenting on each of the items which form the institution in an encyclopedic manner and seeking the how the correlation between the public and the future institution is achieved.

SALT is defined as; an institution that searches for experiments in visual and material culture. a place that creates architecture and preserves the â&#x20AC;&#x153;historicalâ&#x20AC;? and inserts the new, flexible program that allows sharing of both ideals and ideas. a place for experimental learning and sharing experience that public is looking for. a place for art and knowledge to be shared with the broader public through the elements of design. SALT is an experiment in the reterritorialization of cultural space, and it is created to operate in a flexible space. The flexibility offers the collaboration of different cultural activities which creates an ongoing dialogue. This dialogue is initiated by artists, researchers, curators and especially the public. making the institution for the people and education.

SALT remains within the territory of research, making both the building and so called the permanent collection a living archive.

an institution that is a platform for research where the works could be performed and exhibited. an institution that allows for a dialogue between the researcher and the public and the artist.

Unlike other institutions, SALT does not collect. The manners of collection lies within the research, which brings a new contemporary collection activity. One could argue that such mode of collection is a reinterpretation of the historical collection. It is a counter model to the traditional museum and the contemporary museum as it only collects temporality and its associations with the social culture.

SALT is an inside-out kind of institution. Spatially and institutionally it reveals â&#x20AC;&#x153;the processâ&#x20AC;?. Research becomes the main component of the organization of the institution as well as the building, since it bears a spatial research component named SALT RESEARCH. As research is what is being exhibited, the form of research becomes the permanent collection, that is open to publicâ&#x20AC;&#x2122;s use.

access amalgamation approached programming archive authorship adaptability branding collaboration collection connection conversation contribution counter-institution discussion duration decentralization exchange exhibition experiment flexibility hybrid` identity interpretation interdisciplinary intuition knowledge library local narrative openness parallel participation program public research recomposition superimposition temporal transformation

letter guide

page number

approached programming

continued

Approached programming works in a way that integrates more than one point of view, thus engages the groups of curators, exhibitors and artists, and in some cases the public.

page number

terms related

Exhibition might be one of the more prominent programs that require intensive critical thinking, but it could be regarded as the main program and everything else becomes an extension of the main program. For example an exhibition may sometimes be aided by a film screening that is relevant to the subject, but sometimes it could be a workshop.

‘collaboration’ ‘exhibition’ ‘parallel’ ‘decentralization’ ‘interdisciplinary

archive ‘library’ ‘hybrid’ ‘access’ ‘knowledge’ ‘identity’ ‘public’ ‘research’ ‘collection’ ‘intuition’

maps

Artist Archives

coins

Turkish Exhibition Archive Turkish Curatorial Archive magazines

journals

reports

Architecture and Design Archive

Archive of Crete

Nilgun Ozayten Archive Saint Pierre Archive

newspapers Annuaires

statistics

Koridor Archive monographs

Italian Embassy Archive

diagram

Ottoman Bank Archive

French Press in Ottoman Empire

photographs

banknotes

World Council of Churches Archive

archive [4] Archive can be defined as both physical and abstract space. The word is originally derived from Ancient Greek where important state documents were filed under the authority of Archon. Archive has a submerged meaning of authority and history. While archive has an understanding associated with authority, fig.2 an open archive creates an anti-authoritarian figure, that releases the tension created by the control mechanism. [5] In a way SALT questions the notion of control and public interface. Unlike the general understanding of archive, SALT does not collect or does not store.

figure

footnote

Sedad Hakki Eldem Archive

[3]Interview with Duygu Demir [4]Interview with Duygu Demir [5 ]Interview with Duygu Demir

Explanatory chart

Archiving is one of the main functions of SALT along with research, allowing the research to hold as a permanent collection. Archive can be interpreted as the starting point of a research or can be the end result , depending on the researcher. Archive is the model of accessibility for SALT. It deems to be the permanent program that is seen as the core of the institution as much as the building. Archive at SALT is a permanent non object oriented collection. This collection grows through exhibitions and their belongings. Since the institution does not physically collect, it operates as a digital archive, that is executed both in the context of the library as well as the context on their website. [6] Archiving sequence works as a necessary instrument in the institution since it is not a collecting institution. SALT doesn’t not have an “owner” but it operates currently through its founding sponsor, Garanti Bank. [7] “ If I had the control, I would have tried to leave everything open, rather than storing certain documents away” Sezin Romi

[6]Interview with Duygu Demir [7]Interview with Duygu Demir [8 ]Interview with Duygu Demir [9 ]Interview with Duygu Demir

But this way of operating allows SALT to work through the idea of the archive. The permanent is the temporary, allowing the subject to keep up the contemporary. In a way one could deem that the since SALT considers itself as an institution of the future, digital archiving is the contemporary archive,. The program is not about viewing an artwork that is owned by someone ,but to engage critically in a statement an artist is trying to put out. Since digitalization became a part of the institution, the storage space within the building is kept minimal, and it is only used to store the books that are not actively used within the library. [8] The only permanent aspect of the archive as a program is the Ottoman bank archives that constitute the history of the building. This particular archive stays as a permanent exhibition, creating an escape to the past, with the history embedded within the place. Sezin Romi, director of SALT RESEARCH, tells that archive has

interpretation

quotation

access ‘public’ ‘branding’ ‘contribution’ ‘library’ ‘openness’

fig.2

Access can be an approach either to a space or subject. In case of SALT, access can be approached in two ways. As it is a free institution, SALT aims to celebrate public as a part of the institution. Anyone can walk into the building, use its components and leave. It depends on how people want to use these components; For example one could only use the bathroom and leave. In a way this is considered as an active usage of the institution, to allow public to become a user of any part of the institution, SALT is an intricately designed institution that allows for everything to be designed. From overall architecture to rooms, from the chair to its fabric, every thing is custom made for the institution. This allows an unconscious recognition of design for those who are not closely affiliated with art and design. For example; bathrooms are designed and fabricated by Autoban, a interiors and product design studio that specializes in inventive products. The bathrooms are designed in a way that fits to the overall idea of conversation, which the institution proposes. Even though the stalls are standard, the sink is a central element within the bathroom, rather than a linear organization which only creates a conversation with oneself. Even the unexpected nature of the sink hints at what the institution tries to accomplish by applying design in every detail. Design becomes a way of access, a way to bring people in. It becomes the notifier. On the other hand, access could be identified within the stance of the library. The institution tries to bridge the gap by bringing knowledge together, creating a rich and centralized research body. Everything at SALT Research is accessible by public. This notion is also emphasized in the website that is operated by the research section of the Institution. Materials such as photographs as well as some books are accessible to the public through web integration. In essence SALT aims to be an institution fully open to public both spatially and institutionally.

NOMIC ECO AR C

TORICAL HIS AR N

DES IG

‘collaboration’ ‘interdisciplinary’ ‘participation’

[1]Time Out Istanbul. “SALT Galata” Accessed March 30,2014,

L CIA SO

amalgamation

ECTURE HIT

fig.2

Initially Garanti Bank initiated the merger of cultural institutions that belonged to the Group. By merging Garanti Platform, Garanti Galeri and Ottoman Bank, a hybrid platform fed from different backgrounds was eventually transformed into a larger network. [1] SALT is a young and active institution that considers research as the keystone of their structure. SALT is the product of three different points of views brought together. This might be seen as an act of bringing different crowds into each others spaces, even if they are not related. In general one would not necessarily be interested in design if they are searching historical documents . But SALT intends to integrate and weave the crowds together to create a public that is more aware of the context and surrounding. This simplifies the research process for the people who work through multiple platforms. One can find more research on a certain subject in a larger database, thus the model with which SALT operates opens up opportunities for further exploration.

<http://www.timeoutistanbul.com/en/ artculture/venue/9604/SALT-Galata>

approached programming SALT does not curate, SALT exhibitis through the act of programming. ‘collaboration’ ‘exhibition’ ‘parallel’ ‘decentralization’ ‘interdisciplinary

[2]Duygu Demir, interview by Nazli Ergani, March 17, 2014, SALT Galata, Istanbul, Turkey

Programs are designed through a body of research rather than a prescribed program. The work itself becomes a body of research that somewhat directs itself but it also yields opportunities for collaboration, and imaginative thinking. The parallel structure of approached programming could be seen in the formation of such groups that excel in certain subject. [2 ]The exhibitions are created and then recreated again. This way of working helps both the programmers and in some cases artist to actively participate in the creative process. The process operates as a system in SALT. It is a system that in which variables change from exhibition to exhibition and program to program. On the other hand, exhibition is a program but a program is not necessarily an exhibition. Program relates to a series of activities that occur within the building and exhibition is one of them.

12 SCREENING LECTURE

INTERPRETATION

WORKSHOP

CRITICAL TOUR

RESEARCH

EXHIBITION

RESEARCH fig.3

approached programming Exhibition may be one of the more prominent programs that require intensive critical thinking, but it could be regarded as the main program and everything else becomes an extension of the main program. For example an exhibition may sometimes be aided by a film screening that is relevant to the subject, but sometimes it could be a workshop.

‘collaboration’ ‘exhibition’ ‘parallel’ ‘decentralization’ ‘interdisciplinary

ARCHIVE

adaptability

‘flexibility’ ‘hybrid’ OTTOMAN BANK

SALT’s buildings are a part of Ottoman Bank buildings that Garanti Bank acquired when it purchased the Ottoman Bank. [19]The Buildings were transformed into spaces that will hold the program requirements of SALT.The building has gone through an intensive renovation.

SALT

WW I

TREASURY TANZIMAT ERA

TURKISH REPUBLIC FOUNDED

COMMERCIAL BANK

SUEZ CANAL CRISIS PRIVATE INSTITUTION

DOGUS GROUP

BRANCHES SOLD TO FOREIGN OWNERS

GARANTI BANK KORFEZ BANK

OTTOMAN BANK

1863

1876 1892

1914-18

1923

1933

1952

1956

1969

1996

1999 2001 2009

2011 2013

OTTOMAN BANK HEADQUARTERS O.B. ARCHIVES

fig.8

SALT

RENOVATION

[16][17] Duygu Demir, interview by Nazli Ergani, March 17, 2014, SALT Galata, Istanbul, Turkey [18] “Venue Hire” Accessed March 30, 2014. < http://saltonline.org/en/615/venue-hire> [19] “Osmanli Bankasi Arsiv ve Arastirma Merkezi” Accessed April 20, 2014. < http://www.obarsiv.com/hakkinda.html>

fig.9

Initially, both SALT buildings were not appropriated for any kind of institution.SALT Galata being a bank and SALT Beyoglu being an apartment. SALT Beyoglu Originally named, Sinissoglou Apartment, the building bears the particulars of 19th century architecture. [20] The first floor is the commercial floor and the six floors were constructed for housing . During its history the building was used for different purposes and was adapted accordingly . In the late years before the merger ,the ground floor and the mezzanine floor was occupied by Garanti Platform And after the merger, Garanti purchased the whole building so that it could be utilized for art and culture. SALT Beyoglu was designed to adapt to the street condition, allowing public to swoop to the ground floor. Whether the program is given or not. Han Tumertekin, the architect who redesigned the two buildings, tells that they intended to design a forum, a space that would eventually activate the vertical circulation. [21] In a way, the ground floor opens to o lstiklal Street that has a high level of pedestrian traffic.This set back allowed for the flow for different spaces within the building, thus eventually enabling everything to become a destination.

[20] “SALT Beyoglu” Accessed April 26, 2014. < http://saltonline.org/en/41/salt-beyoglu> [22] “Osmanli Bankasi Arsiv ve Arastirma Merkezi” Accessed April 20, 2014. < http://www.obarsiv.com/hakkinda.html> [21][23] Han Tumertekin, interview by Nazli Ergani, March 20, 2014, Mimarlar Office, Istanbul, Turkey

SALT Galata Originally an operating bank, the Ottoman Bank Headquarters had undergone through many revisions and restorations during the past years ,various materials were augmented on the on top of the original material it was built with. [22] Han Tumertekin mentions that, in order to bring out the presence of the additional building and in order the bring out the monumentality of the grand stairs, the vertical circulation core had to be moved. [23] Thus while previously the building operated in only one vertical volume, after the recent renovations, it allowed the volumes to be separated and this move have led the architects to work through light spaces such as the skylight of archive where the light scene that catches one’s eye directly from the main entry . Furthermore Mr. Tumertekin mentioned that the building had to be adapted to the new law requirements and the installment of fire escape stairs had to become another vertical core that needed

a-b

adaptability to be installed in as a mandatory requirement. [24] Contrary to the service elevator and the fire escape, the functioning stairs become a transparent element that reveals the section of the building. One could deem that the elevator is the only moment that the critical section is revealed according to its relation to the main stairs. The building opens up to the city in many different ways but adapting to the city fabric itself might seem a little problematic in the scale of SALT Galata. It is located on “Banks Street” that mostly operates during day time and the site is adjacent to Persembe Pazari, an area that is a production center, operated by guild workers and affiliates . Unfortunately one can see the displacement of the building from its context, walking up Persembe Pazari area and searching for the SALT Galata Entry that is only located on the “Banks Street”. The notion of the program adapting to the building works fluidly yet the adaptation of the program to the public and its location in the city becomes somewhat problematic and separated. This questions the control mechanisms that do not necessarily exist within the building. The architecture becomes the controlling device, filtering the public that situates to the building.

‘flexibility’ ‘hybrid’

branding ‘authorship’ ‘public’ ‘experiment’ ‘narrative’ ‘conversation’ ‘interdisciplinary’ ‘temporal’ ‘recomposition’

Branding is the hidden agenda of SALT. SALT uses advertisement in a very untraditional way. SALT does not advertise openly to the public. Institutional identity becomes a way that people perceive the institution. [25] SALT commercializes itself through branding yet this commercialization is not excessively public. Branding at SALT works at a discrete level, through a synchronized program. The institution’s strategy is to create their identity through parts, and not to reveal themselves as a whole.

[24] Han Tumertekin, interview by Nazli Ergani, March 20, 2014, Mimarlar Office, Istanbul, Turkey [25] Melisa Korkmaz, interview by Nazli Ergani, March 21, 2014, SALT Galata, Istanbul, Turkey

This eventually leads to the question “ What is SALT?” The meaning of SALT in Turkish is “not only” or “pure”. So the way branding implies the name is through identification of what SALT is not, which allows the institution to point out to the public that SALT is not an institution one would expect.

SALT uses branding and communications in 5 different categories: [26] 1. Press This could be regarded as creating an internal network, through non-profit acts. As the exhibitions and the programs starts to form, the editors at SALT make connections with other editors in newspapers and magazines, to publicize the programs that take place at SALT. This is an indirect form of advertising which targets a certain public who have highly level of education and reads the newspapers and magazines. One could see the notions of eliticism in this act, since it only targets people who are really interested in a certain point of research. fig.10

2. Advertisement SALT collaborates with a graphic design office, DANISKA and Digital Agency for social media purposes and Media Planning Agency for decide on promoting SALT within the city . This three tier model is utilized in order to find the best ways for SALT to promote itself within public. The Media Planning teams searches for the best possible magazines for SALTâ&#x20AC;&#x2122;s advertisements to be displayed to bring in more public. 3.Development Although SALT is founded by Garanti, it is an autonomous institution where the development team reach out for other institutions and organizations to support SALTâ&#x20AC;&#x2122;s program. For example in the case of Vanabben Museum exhibition, Dutch Consulate became actively involved in the funding of the project exhibition. 4. Special Events As mentioned earlier in authorship, SALT sublets the rooms and spaces that they do not occupy to third parties, for additional programs funding.

[26]Melisa Korkmaz, interview by Nazli Ergani, March 21, 2014, SALT Galata, Istanbul, Turkey

b-c

branding ‘authorship’ ‘public’ ‘experiment’ ‘narrative’ ‘conversation’ ‘interdisciplinary’ ‘temporal’ ‘recomposition’

5. Visitor Communications Visitor Communications execute itself in two different forms, physical and digital. SALT prepares an interpretation package for the high school student groups that visit the institution. Secondly for the non-student groups, SALT operates critical viewing sessions that allows the visitors to grasp and exchange ideas and interpretations of projects. On the other hand. SALT Online takes up the biggest portion of visitor communications, as they do not differ if the visitor has to be physically active within the space or not. But SALT Online is considered as their fourth venue of operation. SALT Online, similar to how the building and institution spatially operates, allows access to almost every exhibition through videos, photos, lectures. But one deems that the overall structure of not so simplistic operation of branding lies on the fact that SALT does not have a logo. [27] The reason behind this choice is the fact that SALT intends to be discrete as an institution. Thus the typeface solely created for SALT, called Kralice ( Queen) becomes the ever changing logo. This typeface changes every 4 months in order to keep both the designers and also minds active, as it creates perceptual selectivity. [28]

collaboration ‘public’ ‘local’ ‘hybrid’ ‘participation’ [27] Duygu Demir, interview by Nazli Ergani, March 17, 2014, SALT Galata, Istanbul, Turkey [28] “Kralice Open by Timo Gaessner and Project Projects” Accessed April 20, 2014. < http://saltonline.org/en#!/en/36/kraliceopen/>

Collaboration is defined as the general means of production within SALT. It is interpreted as the cycle among the artist, public and the programmer and denotes the hybrid structure between these elements. This collaboration takes place both within SALT and with the curators outside the SALT structure for the exhibitions. For this reason the term co curation should be used rather than curation which signifies the collection structure when defining this relationship.

21 PROGRAM

COMMUNICATION

The algorithm for this relation can be as follows:

RESEARCH

fig.12

[29]

1. An agreement is reached with an artist as per the research executed previously . Rather than acting as a curator and instructing the artist for certain steps, this research is handled between these two parties and a eventually the dialogue follows. 2. Material is supplied through the programmer and thus understanding the exhibition with the artist is achieved. 3. The programmer contacts the network (communication ) department and the graphics company Daniska 4. Both communication department and Daniska visits artist’s studio and disucusses the mode of communication with the artist where various opinions and mode of action is widely discussed .This step is followed by the discussion of the program with the artist. 5. The graphics agent submits four or five different alternative approaches to communication department and the artist. Pursuant to the approval of this approach by the artist, the advertising phase starts with an approximate duration of one month

collection ‘archive’ ‘exchange’ ‘exhibition’ ‘experiment’ ‘knowledge’ ‘openness’ ‘research’

[29]Melisa Korkmaz, interview by Nazli Ergani, March 21, 2014, SALT Galata, Istanbul, Turkey

SALT doesn’t collect. It can be considered that SALT understands permanent collection to be in close ties with the past. It is because of this reason that SALT is involved in collection and thus intends to be a contemporary establishment. However this contradicts SALT’s target of being a future institution. Because of conceptual and storage concerns, it is intended to overcome this contradiction by digital archiving supported by further research. Collecting is dependent on the idea of archive and in conversation with the individuals. Sustainability and renewability are other characteristics of SALT. SALT is based on active users as well as the users of social media. The building is open to all kind of groups.

collection The importance of the archiving at SALT comes from the focus on generation of knowledge. What SALT intends is to attract is the attention of the academic public. In a way their target group is not the man on the street but the academic elite. The managers at SALT emphasize that while entering the building , there is security personnel at the outer entrance, then one directly finds himself in the midst of the books and there is no librarian around. It is intended to give the visitor the impression that this is a free public space where one should feel secure and safe. This consequently creates a flexible environment. It is aimed to show that SALT belongs to the public. The managers also comment that SALT develops their network communication through academic network. [30]

‘archive’ ‘exchange’ ‘exhibition’ ‘experiment’ ‘knowledge’ ‘openness’ ‘research’

connection ‘branding’ ‘discussion’ ‘conversation’ ‘interdisciplinary’ ‘counter-institution’

[30]Sezin Romi, interview by Nazli Ergani, March 19, 2014, SALT Galata, Istanbul, Turkey [31] “Linternationale” Accessed April 20, 2014 < http://internacionala.mg-lj.si/> [32] “L’internationale” Accessed April 20. 2014. < http://www.saltonline.org/tr/534/linternationale?q=archive>

SALT intends to establish various connections in various aspects. This is achieved through institution public, institution city and institution global. Through these connections a interdisciplinary base is accom plished. This network is further strengthened due to SALT’s presence with the International Group. [32] As SALT is a corporation which does not collect, sharing through this network is of prime importance to SALT Within this international confederation which aims sharing between the member bodies, SALT can collaborate with five different museums. [32] Complementarily SALT’s archive and salts exhibition spaces are open to these museums.

conversation ‘contribution’ ‘discussion’ ‘temporal’ ‘flexiblity’ ‘knowledge’ ‘research’ ‘openness’ ‘participation’

Dialogue is a part of the programming process. Actualy conversation is a cultural concept SALT intends to develop. To develop dialogue over the art and history concepts through their programs is one of the main priorities of SALT. The “It was a time of conversation” exhibition is a good example of this effort. [33] The main purpose of this exhibition is to create a cultural environment away from commercial concerns, along with other exhibitions with spatial and historical values. The main purpose is to establish the perception that art is a mode of conversation. As we can presume that only a certain audience can understand this style, we can realize how open is the subject to public. However SALT emphasizes the critical thought rather than the visuality of art. This approach inevitably turns out to be an elitist approach. But we should question To what extent can one can speak through art.

contribution ‘amalgamation’ ‘collaboration’ ‘participation’ ‘decentralization’ ‘superimposition’

[33] “It was a time of conversation” Accessed April 10, 2014. < http://saltonline.org/en/236/o-zamanlar-konusuyorduk>

In fact contribution can be defined as a different version of collabo ration. Contribution can be defined as collective construction of an environment through cultural factors and space enriched by different point of views. In fact architecture can be considered a a product of this contribution. But contribution has a linear structure. It is unilateral. Although spatially SALT is designed by different contributors, it can be considered as a one time process. It reflects a thought where time is spatially frozen.

c-d

fig.13

counter-institution

SALT can be considered as a counter institution unlike others mainly because SALT does not collect and does not consider itself as a museum. Furthermore there is no hierarchy in SALT’s organization.

‘openness’ ‘experiment’ ‘flexibility’ ‘adaptability’

One expects to see artworks, yet SALT brings up the back stage of the argument rather than looking at a single object. It is important to see how the object embeds its meaning through different disciplines, tools and acts. The counter institution idea positions itself in order to explore the critical argument. thus counter institution is neither a museum nor a gallery nor a library. SALT has two meanings in Turkish. 1.SALT means pure 2.SALT is also an means ‘not only’ Contrary to the meaning of the word, we can say that SALT is an impure institution.

discussion ‘collaboration’ ‘participtaion’ ‘public’ ‘interdisciplinary’ ‘interpretation’

[34] Melisa Korkmaz, interview by Nazli Ergani, March 21, 2014, SALT Galata, Istanbul, Turkey [35] Artun, Ali. “SALT’ta Bir Gun” e-skop Magazine, May 24, 2012. < http://www.e-skop.com/skopbulten/salttabir-gun/756>

SALT considers every act as an experiment. Although SALT is praised as a body where contemporary art space, architecture and design gallery, and a scholarly archive is merged, promoting research and experimental thinking, SALT is criticized by some critics from a different perspective . Architect and art critic Ali Artun described his concerns in an article titled “ One day at SALT in the e-skop magazine, an Art History e-magazine Artun mainly criticizes Vasif Kortun, the world renowned director of SALT, a recipient of the Award or Curatorial Excellence from Bard College and the founding director of SALT and consequently the governing body of SALT. He draws attention to an anonymous artist’s comment NY Times published in the past years.” Most artists tell you that Kortun is the father of Istanbul’s art world. We can say there was before and after Vasif” . Drawing attention to previous art activities in Turkey, it can be deemed what Artun criticizes is the comparatively elitist approach of SALT management.

fig.14

In his article, he describes his experience of a day he spent at SALT Beyoglu and SALT Galata. The most striking event he experienced tells Artun, was the emptiness of the spaces. He adds that contrary to the madding crowd of Beyoglu ,during three hours he was able to meet only one visitor except the security personnel and a few officers. He comments that despite the far open gates and the giant announcements on the city’s billboards and walls, the interest of the public was very low. He further comments that this emptiness was almost the same at other privately owned galleries such as Borusan and AK- Sanat on lstiklal Avenue. Despite well designed spaces, authoritarian art management teams, the most extravagant communication strategies and boundless resources it seemed that these galleries were displaying the event solely to themselves he adds. Artun resembles this to Borgesian style absurdity whereas Argentine novelist Jorge Luis Borges used absurdities in his short stories to note points. Then Artun compares this scarcity to a contemporary modern art exhibition held in Paris in 1880 which summoned 683.000 people. Furthermore he argues how modern art which claims to be ‘elitist’- turns out to be actual- and the actual art which praises popularity can be so elitist that it can be contended with a narrow circle of art administrators. Artun then concludes that evidently the “artocrats” who successfully run scarcely populated exhibitions prefer to hide and refrain from trying to find answers to these crucial questions and to open the existing grave situation to discussion. The only people they share their views with are the so called strategists and brand consultants- he adds. After Beyoglu, Artun moves to SALT Galata and experiences almost similar scenes at Galata too. He further remarks that one can not say anything against the corporate management system of SALT but considers that this is almost as much there is to it.

discussion He then compares SALT with her international partners Iike Mondrian Fund, Eurasia Partnership Foundation and Allianz Kulturstiftung and determines that SALT can be considered as ideal example of neo liberal governance whereas SALT is a perfect blend of state a global company and a non profit organization. Furthermore he criticizes that this blend has reached to such extremity that it can be commented that the organization endogenously absorbs the activities managed by themselves as if SALT is solely displaying their power and capability to the bureaucrats and artocrats of the owner. Artun finally makes and analogy between the abstractness of SALT and the aestheticization of the governing body and Walter Benjamin’s famous “The Work of Art in the Age of Mechanical Reproduction” where he fears the darkness of the aestheticization of the politics rather than the politicization of aesthetics.

‘collaboration’ ‘participtaion’ ‘public’ ‘interdisciplinary’ ‘interpretation’

After Mr. Artun’s harsh critic regarding SALT and the management team, we can ask ourselves a further question ask where does the ‘public’ stand in this argument. From this perspective and taking into consideration Artun’s diagnosis, one can say that ‘public’ is not a primary element in SALT’s formation.

duration ‘temporal’ ‘exhibition’

[36] “Agenda” Accessed, April 21, 2014. < http://saltonline.org/en/agenda/2014/04> [37] Duygu Demir, interview by Nazli Ergani, March 17, 2014, SALT Galata, Istanbul, Turkey

Everything is temporary at SALT. [36] Duration allows a quick turnaround both for new ideas and new public. The short term programs enables the formation of a dynamic structure. The exhibitions are generally kept short. But the process period until exhibition shows variety. This duration may be three months and in some cases this phase may take almost two years. [37] This longevity is mostly due to research and the availability of the artists.

fig.15`

decentratlization ‘parallel’ ‘collaboration’ ‘recomposition’

Decentralization is actually a term used by Group International. [38] It is indeed one of the reasons SALT participates with this corporation. Because decentralization requires a parallel and non-hierarchical work order, the spirit of pluralism governs. This in turn contributes to the development of the individuals. An employee does not monotonously perform a certain job. For example main programmer of an exhibition may have an alternative responsibility in the following exhibition. [39] This consequentially leads to equal opportunity to all employees. By this approach the corporation can be considered to be nurtured by employees of different backgrounds which eventually leads to inter disciplinary thinking.

collection

[38]“Linternationale” Accessed April 20, 2014 < http://internacionala.mg-lj.si/> [39] Duygu Demir, interview by Nazli Ergani, March 17, 2014, SALT Galata, Istanbul, Turkey

public mediation

publication

conservation archive

fig.16

SALT Beyoglu

SALT Galata

SALT Ulus

GLOBAL

LOCAL

fig.17

exchange ‘knowledge’ ‘decentralization’ ‘interdisciplinary’ ‘program’

SALT uses the advantage of being a member of International Group through sharing material and ideas accordingly through a worldwide network. Since International Group is scattered throughout Europe in different locations, this relationship allows SALT to bring out regional artists and data into European context. [40] This also enables Turkish artists in collaboration with SALT to expose their work to the global viewers. Thus the institution can be termed as a projecting device which eventually leads to understanding the public and artist in local and global context.

Van Abbemuseum (VAM)

Eindhoven, Netherlands

Museum Van Hedendaagse Kunst Antwerpen (MHKA)

Antwerp, Belgium

Moderna Galerija (MG) Ljubljanna, Slovenia

SALT

Istanbul, Turkey

Museo d’art Contemporani de Barcelona (MACBA)

Barcelona, Spain

Museo nacional centro de arte Reina Sofia (MNCARS)

Madrid, Spain

[40]“Linternationale” Accessed April 20, 2014 < http://internacionala.mg-lj.si/>

fig.18

exhibition ‘archive’ ‘experiment’ ‘public’ ‘narrative’ ‘flexible’ ‘recomposition’

Exhibition can be considered as a part of the process. In some cases an archive research leads to an exhibition and sometimes an exhibition leads to archive research. However as the sustainability of the research is essential for the corporation, neither can be considered the end point. The exhibition is generally considered as a ‘crit’ medium, a platform where the research is evaluated. [41] Exhibition is the public face of SALT. All exhibitions are free of charge and open to public. But there are no explanatory notes in the exhibitions. The reason for this approach is to enforce the usage of the SALT website as the 4th venue where all the complementary information is abundant. In some cases, some of the exhibitions are borrowed from other institu tions. These exhibitions may be displayed ‘as is’, while in some cases there may be some augmentations or omissions . In such cases the project may be filtered and displayed in a repurposed manner. In fact the adaptation of the project is itself a control mechanism. [42] For example Rabih Mroue Exhibition is an exhibition adapted for Istanbul. An exhibition arriving from Group International undergoes the below process. [43] 1.Conceptualizing 2.Negotiation with the artists. 3.Publication phase 4.Shipping and insurance 5.Communication 6.1nstallation- to be followed by SALT interpretation- school tours, lectures and film displays 7.Photographing, scanning and archiving 8.Return of the goods

[41] [42] Sezin Romi, interview by Nazli Ergani, March 19, 2014, SALT Galata, Istanbul, Turkey [43] Duygu Demir, interview by Nazli Ergani, March 17, 2014, SALT Galata, Istanbul, Turkey

experiment Salt offers a flexible and adaptable space within the institution. Even though research is the experiment the programmers operate within, SALT, is open for the changes in space for different types of research. Consequentially SALT creates opportunities to different types of research like a residency program. For example in SALT Beyoglu the cafe is subcontracted to Gastronomika, a group that researches Anatolian slow food. This group holds experimental studies on Anatolian Cuisine. Their motto is ‘ Can Hosmerim ( a creamy sweet made with unsalted cheese) be as cool as Cheese cake?) [44]

‘public’ ‘openness’ ‘authorship’ ‘temporal’ ‘discussion’

The group further intends to create a narrative and reactivate a waning storyline which can be termed as another means of reaching to the public. fig.19

Another experiment of SALT is the acceptance of Robinson Cruseo 389 one of the leading bookstores of Beyoglu which had to be closed down due to economical reasons, for residence in SALT Galata. [45]

fig.20 [44]”Gastronomika” Accessed April18, 2014. < http://yaraticifikirlerenstitusu.com/projects/ gastronomika/> [45] Duygu Demir, interview by Nazli Ergani, March 17, 2014, SALT Galata, Istanbul, Turkey

fig.21

flexibility ‘adaptability’ ‘discussion’ ‘openness’ ‘approached programming’

BEDRI ALPTEKIN ARCHIVE, IN CAFETERIA

fig.22

Actually flexibility is a word which describes the identity and the setup of SALT along with adaptability. When space is not clearly defined there is a possibility of taking other forms and perform other functions. Even the transformation of the Ottoman Bank Building designed by Alexander Valery to its existing status is an act of flexibility. Indeed it is an act of integrating the building to contemporary architectural measures. When we speak of the SALT spaces, it can be said that flexibility is more apparent at SALT Beyoglu. As the first floor of this building has access to lstiklal Street, the flexibility can be termed as the public being a part of this entity while flexibility at SALT Galata is more introvert. During our interview , Han Tumertekin, a successful Turkish architect who was commissioned for the overall design of SALT buildings, comments on this issue as follows: SALT Beyoglu is a more exhibition oriented place while SALT Galata is a destination for more static activities. Flexibility can be observed in many scales at the building. Some of the spaces within the building are sublet, while others are allocated for workshops. Actually flexibility of the spaces have a direct relationship with the adaptability of the work. In this context flexibility and adaptability can be considered as complementary concepts. One can also comment whether the institution is flexible or not. In this regard it can be commented that SALT is an institution where everything is considered with all aspects before a decision is made. Then one should ask this question : how do we plan architecture for flexibility without being trapped into the didactic impositions of an old building and to maintain the urban fabric.The urban fabric which should be preserved.

[46] “SALT Galata” Accessed April 8, 2014. < http://saltonline.org/en#!/en/42/ salt-galata> [47] Han Tumertekin, interview by Nazli Ergani, March 20, 2014, Mimarlar Office, Istanbul, Turkey

In the case of SALT Galata , through alteration of the stairwell of the old plan, a space was created which was then utilized as an exhibition area. Another space had evolved between the main building and the annex building in the form of a yard which was enjoyed by the employees.

flexibility ‘adaptability’ ‘discussion’ ‘openness’ ‘approached programming’

fig.23

In addition to the flexible program and spaces within SALT, the Garden at SALT Beyoglu which was commissioned to Fritz Haeg in 2010 to create an environment from recycled construction materials is notable. His main purpose was to create an edible garden that creates a recon nection with collective gardening. [48] The garden is extensively used for workshops and for educational purposes , especially for children. It is an experimental space that has been undergoing continuous construction since it has started. The nature and content of the space allows for changes to happen. The space allows for smaller programs regarding the garden to occur, which takes timeline into consideration. This makes the space temporal but reappearing, as it generates time cycles. Overall Edible Estates Regional Prototype Garden #11 is a space operating outside the institution. In a way the garden space becomes the most public element of the institution as the programming of the space is generated by the user group. On the other hand it is located at the most private zone of the building, the rooftop. This generates both a problem and an opportunity. First of all, one needs to enter the buiIding and the institution in order to reach to the the garden. The space seems to be somewhat isolated and the entrance is for the usage of a filtered responsive user group. But it also creates a heavenly protected piece of land that is separated and hidden from the busy traffic and chaos of the lstiklal Street. In a way one could deem that the space is separated to create a nurturing space for the greenery to grow. Ultimately the garden on the roof is allocated for education, however it can be argued how can this space be visually available to even larger public. In this manner SALT’s experimenal garden might work as a pioneer and generate the network of these edible gardens. The utopic idea would foresee that these spaces would spread and grow as an unexpected prospect in the “in-between” of woven fabric of Istanbul.

[48]“Edible Estates garden#11” Accessed April 20, 2014 <http://www.fritzhaeg.com/garden/initiatives/ edibleestates/istanbul.html>

fig.24

hybrid ‘archive’ ‘flexibility’ ‘interdisciplinary’ ‘superimposition’

Spaces of the buiIding also act in a hybrid manner. In this structure different architecture styles and forms merge together into a place creating living archives. Hybrid work style generally emerges in different forms. What makes SALT a unique institution is the fact that many different point of views can find place under the same roof. SALT spaces are not unique. Every space at SALT has been designed distinctively. It can be considered as an institution where every space reflects the strenuous efforts of a different architect. All the spaces are designed to be sustainable. Although the current spaces of SALT seem to be adequate for today, in the future it may be necessary to move to another more convenient place. It is uncertain whether Garanti will be sponsoring SALT then. In SALT, there exists ‘ program hybridity’ along with the ‘ spatial hybridity’ which can be defined as work habits of the employees. This hybridity shows itself in the combined efforts of the participators as a group rather than one single curator’s leadership. The new and the old reigns with this spirit of hybridity.

SALT OFFICES SUPERPOOL SALT RESEARCH SANAL ARCHITECTURE SALT SHOP OMER UNAL DESIGN SALT CAFE MIMARLAR

SALT AUDITORIUM ZOOM

SALT ATELIER TANJU OZELGIN

SALT BATHROOM AUTOBAN

fig.25

During my visit Han Tumertekin emphasized the difficulty of adapting the old buildings to current regulations. He stressed that during these adaptations mechanical problems like fire escape -arose. Tumertekin’s architectural solution to this problem was to hide the fire escape at the first floor with the rare books wall. [49]

identity ‘branding’ ‘archive’ ‘intuition’ ‘authorship’

Identity can be evaluated as SALT’s ego. SALT is a world where “not only” and “never” reigns. The fact that SALT does not have a logo is indeed a logo itself. Non existence of the logo is a branding that SALT has deliberately chosen. Although SALT does not advertise extensive ly nowadays, in the future SALT intends to employ advertisement to attract more visitors. [50] Rather than explaining what SALT is, it may be wiser to explain what SALT is not. Even the ever changing logo is a sign of SALT’s effort to activate selective perception. Actually SALT’s identity is the network created by SALT Indeed SALT is promoting their the corporate identity by advertising through maintaining easy access to the library, enabling the usage of the SALT spaces by the network of university students, academicians, architects and designers. Thus it can be argued that identity is a concept promoted by the user.

[49] Han Tumertekin, interview by Nazli Ergani, March 20, 2014, Mimarlar Office, Istanbul, Turkey [50] Melisa Korkmaz, interview by Nazli Ergani, March 21, 2014, SALT Galata, Istanbul, Turkey

interpretation

fig.26

Interpretation is considered as a tool by SALT. SALT considers different points of view and is fed from these different toughts. SALT under stands how people perceive a research, a process, an exhibition and considers this as an input to the process itself. In essence input can be considered as a positive critical input derived from the reactions of the people.

‘public’ ‘openness’ ‘conversation’ ‘discussion’ ‘research’

fig.27

“ We are against the notion that Garanti has created a nostalgia by utilizing art, which the artists had fought for the political history... In this parallel event named, ‘We were once organized’ we are sending a message to the artist that ‘we are still organized’ . And we are saying that they are still scared of murals.” Protest Spokesperson [53] [51]”SALT Interpretation”Accessed April 15, 2014. < http://saltonline.org/en/240/salt-interpretation-istanbul-provincial-directorate-of-national-education-partnership> [52]”Scared of Murals” Accessed April 15, 2014. < http://saltonline.org/en#!/en/471/duvar-resminden-korkuyorlar?q=duvar> [53] “Salt’ta protesto: ‘Biz hala orgutluyuz’” Accessed April 15, 2014 < http://www.sendika.org/2013/03/saltta-protesto-biz-hala-orgutluyuz/>

Apart from this, SALT runs a program called SALT Interpretation for high school students. [51] Taking this into consideration, one could argue that SALT Interpretation can be termed as a program for recruiting students who can grasp SALT’s ideas. Although there has not been any prominent public yet, in the coming years these high school students will develop with their art appreciation no matter whether they choose the disciplines SALT supports or not, they will eventually tum into individuals who can create a difference. The nature of interpretation can be seen through the art attack or occupy movement that was performed on one of SALT’s exhitibion named, “Scared of Murals”, that stressed on the cultural politics before the 1980’s military coup era. [52] During a parallel event that was running along with the exhibition, a group of students, began their own critical approach to the work. Using stencils and spray paint, they have art attacked with the concept of mural, to the building facade, as well as the exhibition interiors. Their protest was against SALT and Garanti Bank, protesting against the nostalgic realization of the exhibition. The protest is just another scale of interpretation, making the claim of the institution clearer. The role of the research is to bring out the “other”. Protest is a quite brutal example on how uncontrolled public events could be integrated within the institution. This kind of interpretations may start to create a feedback loop that might help the institution to open up even more provocative subjects. [53]

interdisciplinary ‘collaboration’ ‘amalgamation’ ‘knowledge’

Interdisciplinary is one of the modes of application of SALT as well one of its objectives. In this interdisciplinary concept, different disciplines are in interaction and exchange views with each other Knowledge is actually the common denominator. Within SALT, art may be for art or art may be for the public. In reality SALT is a place where identity of art can be questioned by all means and furthermore art does not have to be beautiful or aesthetic. lnterdisciplinary thinking is a concept which develops with the idea of pluralism. This can also be observed within the structure of SALT .Although interdisciplinary is a prominent concept, SALT’s main interpretation is based on concepts fed by each other.

fig.28

i-k

intuition SALT is in fact an institution motivated by intuition. If SALT was not a member Garanti Group and did not have the support of this group, the accomplishments achieved today could not have been realized. SALT is a derivative of the “cooperative responsibility” of Garanti to the public which is clearly indicated in the annual report of Garanti Group. [54] As commented by Alexis Sanal, the owner of Sanal Architecturethe designer of the library section of SALT, the leading management of SALT headed by Mr. Vasif Kortun, are a very well educated group of in tellectuals and SALT has reached to this level of achievement through the intuition of this management team. [55] It can be commented that SALT is unique and has an autonomous management ideology. Furthermore SALT is not afraid of making mistakes and learns from the mistakes made in the course of the events and raises an argument thorough the material available which can be termed as “intuitional moment”. [56]

‘program’ ‘research’ ‘authorship’ ‘temporal’

knowledge ‘libray’ ‘archive’ ‘research’ ‘connection’ ‘exchange’

[54]”Projects on Culture and Art” Accessed April 8, 2014. < http://www.garanti.com.tr/en/our_company/ sustainability/corporate_responsibility/projects_on_art_and_culture.page?> [55] Alexis Sanal, interview by Nazli Ergani, March 20, 2014, Sanal Architecture Office, Istanbul, Turkey [56] Duygu Demir, interview by Nazli Ergani, March 17, 2014, SALT Galata, Istanbul, Turkey

Knowledge by SALT is termed as cultural capital. Indeed we are living at an age where cultural capital is knowledge the age of technology where knowledge reproduces and repurposes itself. This concept also shows itself at the redesign of SALT Galata. The building could have been used with its existing design however if that decision was made, this would not have met the necessities of SALT with the contemporary equipment and required necessary space. To avoid these obstacles,the building was redesigned according to contemporary needs. For example the fire escapes were not a necessity in the design concept of 1900s . Along with the fire escapes, the lifts also showed changes. While the old elevators were covered with wood , the new design utilized glass which also clearly shows the cross section and creates the vertical integrity of the space allocated for the lift.

knowledge Research is the base of knowledge at SALT. SALT Research aims receiving integrity around the corporate idea. In other words, knowledge is the main element of SALT Research. SALT Research is not a typical library. The institution becomes a space for research. It is not only a place for books. It is a place of conversation, a social space and trusts its users.

‘libray’ ‘archive’ ‘research’ ‘connection’ ‘exchange’

Research is in the effort of creating different narratives. The library designed by Sanal Architects and it is aimed to embark ‘trans disciplinary thinking’ through its architecture. It is comprised of two floors with an entrance from the main street and from the foyer to the entrance of SALT there is another door which emphasizes the idea of institution within the institution.

fig.29`

100,000 PRINTED MATERIAL 40,000 TITLES 1 MILLION DIGTAL DOCUMENTS fig.30

library ‘knowledge’ ‘research’ ‘archive’ ‘access’ ‘public’ ‘openness’ ‘conversation’

SALT Research is not a typical Iibrary. The institution becomes a space for research, where it does not limit one to only books. SALT Research is a place of conversation. It is a social space. [57] SALT Research trusts its users, thus when one walks in, one does not face the librarian directly. SALT Research is consists of contemporary narratives that play with the figurative construction. Ms. Alexis Sanal from Sanal Architects, who was commisionned the Iibrary section of SALT Research comments that most of the works performed at Archive was achieved through collaboration and describes the Archive as a place of “probabilistic thinking”. The main purpose for the library to be termed as archive is “ celebration of multiplicity”. [58] Library can be considered as a public tool and emerges as culture. Similar to contribution and collaboration of different designers and architects at SALT, there exists at SALT Research different ideas and concepts For example the works of sculptor- designer- painter Prof. Sadi Ozis and the contemporary furniture designs by Aziz Sariyer, the owner of Derin Design were reconstructed and were displayed at SALT. Alexis Sanal describes this environment as furniture spaces of” figurative playful”. The reason for the foundation of SALT Research is based on the necessity of a library which serves local history, design and architecture. [59]

[57] Sezin Romi, interview by Nazli Ergani, March 19, 2014, SALT Galata, Istanbul, Turkey [58] [59] Alexis Sanal, interview by Nazli Ergani, March 20, 2014, Sanal Architecture Office, Istanbul, Turkey

From the start, a space which serves everybody, which is for every body was foreseen. One of the main details that emerged during the design of the library is the fact that when the user entered the space, he/she first faces the artist archive, a functional item for the filing archive , which be considered as a piece of furniture, then the counter and then the rare book figures.

Three different types of furniture were utiIized in the design of the library. 1.Artist’s archive: When the user enters the space, he/she faces the “column team”figures of construction which were aspired from “play of scale”. There are yellow files in these figures where the works on contemporary artists are archived. Every six months or every year, these artists are requested to update the information in these files. These files are open to all the users and while updating the information in his/ her file, the artist strengthens the tie between him/her and the public user and this leads to’ unexpected expectations”. 2.Event Space: This area is designed as a space where films and videos can be monitored. In the design of the area using appropri ate material, a room is created where satisfactory acoustical conditions were achieved 3.Sound Booth It is a space for reading/working area for the individuals. This area is in the second floor and is aimed to be an workplace for the individual, has perfect insulation acoustically.

fig.31 -a,b,c

Along with this, at the extension of the inner court, there exists another section which is a complementary unit of figurative play. This area investigates the area in a multiple manner and is comprised of mirrors. The mirror panels are programmed to face the sun and turn around a grid and enable the sun rays to enter the inner court at maximum capacity. Although it is open to public, the exact number of users utiIizing SALT Research, which is a digital library is not definite.

[60] Alexis Sanal, interview by Nazli Ergani, March 20, 2014, Sanal Architecture Office, Istanbul, Turkey

fig.32

fig.33

local ‘conversation’ ‘public’ ‘flexibility’ ‘narrative’

fig.34

SALT is part of the growing art scene in Istanbul. [61] The two buildings act as the cornerstones of the local art scene. The area has been under going a vast change especially with the renovation of old buildings imposed by Municipal Laws in preparation for a potential earthquake.. But it is important to note that institutions and artist mainly prefer these spaces t because they provide high ceilings, larger rooms and monumental feeling. The typology of such buildings in the area are convenient spaces for studios. This change also brings a new face to the area. I personally remember from my childhood that Beyoglu was not the safest space one would go to. Starting from Mid 1950s, Beyoglu had undergone drastic changes and many residential spaces were transformed in to commercial lots. but now Beyoglu’s glamorous days are coming back. [62] First of all it has become a safer place. Besides the contemporary artist studios, the area also shelters metal shops, works shops for articrafts, as well as theaters. Beyoglu has eventually become the creative capital of Istanbul. SALT is within this circle and fed from the artist within this area. SALT could have been located elsewhere in an old building in Istanbul, but SALT was strategically located in Karakoy and Beyoglu in order to keep close contact with the artist and galleries in the area. SALT intends to collaborate with other larger art institutes in the area but because every institution can have different priorities, this collaboration is not very possible. However this collaboration is successful during biennale season, when the whole art community comes together. Through such activities SALT makes the local accessible., local being Istanbul in this case.

[61]Parlak, Tuba. “Non Profit Spaces in Istanbul Art Scene” Contemporary Practice, Vol 13. 62-69 < http://www.contemporarypractices.net/ essays/volumeXIII/08.pdf> [62]Hansen, Suzy. “The Istanbul Art- Boom Bubble”. New York Times: February 12, 2012. Accessed February,11,2014. < http://www.nytimes.com/2012/02/12/ magazine/istanbul-art-boom-bubble. html?pagewanted=all&_r=0>

narrative ‘public’ ‘branding’ ‘research’ ‘program’

Narrative is a key component on authorship and it can be considered the end result of interpretation. This can be best understood by analyzing the opening exhibition of SALT named “I am not a studio artist.” where, the exhibition narrates works of Huseyin Bahri Alptekin promoted by four different artists. One of these artists, Boyadjiev, used objects and personal interactions with the artist, ephemera and documents in order to document the artist and how he interprets his works His narration engages materials and dialogue with the materials, enabling to bring out the temporal as well as the personal component. [63] Utilizing a more personal point of view makes both the narrated- and the narrator- pieces of art and research. This brings us back to the idea of the exhibition to be interpreted as a point of research, a point of breathing and feedback.

The narrative might also be found in the artist’s own work. Celine Condorelli’s “Surrounded by the Uninhabitable” an exhibition that was “Specifically for the Forum displayed at SALT Beyoglu’s Forum, carries material and subjects from installation, I was interested her earlier materials. in taking ideas of artworks/ exhibitions as cumulative Narrative operates through incompleteness, openness is made through to a further step, to push the programming of such act. As the free reader states (fig. 35), “One them to an extreme, by day everything will be free”in its name, the reader aims to create an reconfiguring, and recycling open ended critique that is not bound to the final document. my own work into a further The document is ongoing and will be edited constantly with the intake work.” from acts and audiences. Celine Condorelli [64]

[63] “Talk: Luchezar Boyadjiev” Accessed April 14,2014. < http://saltonline.org/en#!/en/507/talk-luchezar-boyadjiev?q=huseyin> [64] “Interview: Celine Condorelli and Vasif Kortun by Ozge Ersoy. Surrounded by the Uninhabitable” Accessed April 15, 2014. < http://www.saltonline.org/en/297/ interview-celine-condorelli-and-vasif-kortun-by-ozge-ersoy>

- Microphones

4th45 FLOOR ENTRANCE

openness

fig.36

Openness is in the nature of SALT and it correlates with means of access. The word open repeats itself within the building. architecturally and institutionally. The “open” archive is a space, meant for collabora tions to happen, In a way openness is the agent that activates the public component of the institution. Openness is in a way which brings in the unrecognized user groups together. For example, if the open archive was not named. “open” it would have been a different experience for the visitor to go up to the 3rd floor of SALT Galata in order to see the exhibition.

‘archive’ ‘access’ ‘transformation’ ‘public’

One feels intrusive, while going up the stairs to visit the one and only designated exhibition area of the building. As one proceeds to the “open” archive, one definitely feels as if he/she shouldn’t be there since there is only a handful of people visiting on regular basis. Besides the openings and group discussions, the public that comes to visit the open archive is not many . May be this is about the openness of the space, its location and its proximity to administration. Another way to interpret openness is about the views that open out from the building to outside, architecturally speaking. It is SALT’s strategic location that determines certain view out the building as it frames the “figurative” Istanbul. The main entry extends through an open corridor, into a picture plane that frames the old city. Regarding this issue, Han Tumertekin had commented that, the building offers open spots that extend beyond the footprint of the building towards the city, thus making the building architecturally weave into the city visually into the context of the institution. These phenomenological experiences within the building further accentuates the building’s relation with the city, making a claim of the local.

fig.35

parallel ‘collaboration’ ‘participation’ ‘fliexibility’ ‘identity’ ‘decentralization’

SALT works on a parallel structure, allowing the roles to shuffle according to type of the exhibitions and or the context of the research. No designated role is decided at the Programs Department, as their roles are subject to change regarding their affiliation with the current programmatic situation of SALT. Coined by L’internationale, this notion relates to what is called decentralized internationalism. [65] Decentralization allows for multiplicity and a range of different thoughts to emerge and it can be considered as the basis of collaboration.

fig.37

participation ‘collaboration’ ‘interdisciplinary’ ‘public’ ‘program’ ‘identity’ ‘access’

[65] “Linternationale” Accessed April 20, 2014 < http://internacionala.mg-lj.si/>

Participation is in the core of collaboration. It enhances multiplicity and learning from others. This is important for SALT especially for educational purposes. Awareness of different points of views allows one to create their own references, and enables them to be individuals who can develop arguments regarding a subject,. SALT in this manner, organizes workshops within the scope of art education systems and educate people who are willing to learn things that they are not familiar with. Education allows the public to be actively engaged within programs that both in the art scene and also at the institutions. In a way this becomes a negation between the public and the institution and space. The participation defines the space that it is organized in and not the architecture.

One of these workshops, was named “creative drama in education lead by dramaturge IIkay Ceyhan” who gave a workshop on imaginative planning and creative strategies in theatre. His approach, was to look at non formal educational settings, introducing methods in education and redefining the teacher, student relationship. This workshop organized by SALT interpretation was open to trainee teachers and was in conformity with SALT’s approach to educate their school of thought to future generations. [66] SALT interpretation is SALT’s key into raising the future user groups that will utilize the institution in a way they have expected the public to use.

program ‘exhibition’ ‘authorship’ ‘exchange’ ‘experiment’ ‘recomposition’ ‘temporal’ [66] “Workshop: Creative Drama in Education” Accessed April 20, 2014. < http://saltonline.org/en/645/workshop-creative-drama-in-education>

Program is the function within the given space. It is the curated image, yet the institution finds it limiting to tell what is curated, and wants to express it as just an exhibition. Program consists of all the “not only”s. Program covers almost everything that is related to research in exhi bition. The lecture in correspondence with the exhibition becomes the a program as well as the film screening. The typology of curation shows itself through a highly collaborative setting, both through people and parts. Program is fragmented, so is the institution. Yet the agent that binds it together is RESEARCH.

p-r

PRESERVE THE PERIPHERY

public ‘participation’ ‘openness’ ‘access’ ‘archive’ ‘research’ ‘local’ “There’s usually a prejudice about archives; that they are closed to the public; that they cannot be accessed easily due to bureaucratic procedures and so on. However, here we present archives in the form of an exhibition. Through [our Open Archive series] we underscore democracy and transparency; we share and visualize archives.” Sezin Romi [69]

research ‘library’ ‘public’ ‘access’ ‘conversation’ ‘exhibition’ ‘discussion’ [67] Melisa Korkmaz, interview by Nazli Ergani, March 21, 2014, SALT Galata, Istanbul, Turkey [68] Gokhan Karakus, interview by Nazli Ergani, March 21, 2014, E-medya Office, Istanbul, Turkey [69]Mandan, Bahar.”Salt explores recent history of contemporary art in Turkey” Today’s Zaman, March 12, 2012. < http://www.todayszaman.com/news274585-salt-explores-recent-history-of-contemporary-art-in-turkey.html> [70]Three Books, Three Partitions, Three Sounds: A Library that Music Runs Through Murat Opus” Accessed April 16, 2014. < http://saltonline.org/en#!/en/839/threebooks-three-partitions-three-sounds-a-librarythat-music-runs-through?q=opus>

INTRODUCE FLEXIBLE PROGRAM WITHIN THE SHELL

INTEGRATE PUBLIC

fig.38

Public is the user and a part of the on going research. Public is the user and should be termed more than a visitor. Public can use any part of SALT free of charge. One can say that SALT could be interpreted as a privately owned, free but controlled public space. SALT allows a filtered public to become a part of the building and the institution: people who appreciate art-scholars, students and the future user groups (high school students who are educated through SALT interpretation programs) [67] On the other hand for the exhibition “Performance of Modernity”, co-curated by Gokhan Karakus and Pelin Dervis, a well know building (Ataturk Cultural Center in Taksim Square) to the public was exhibited as a nostalgia. The exhibition was created from the archive, to open up the archive of the process, the system and the building to the public. This aimed to view the history to fill a gap, as the building is closed down for “renovation” for years. The project aimed to expose the building with its parts at the right time when public wondered more about the building, making the archive a capital for knowledge for the public’s use.[68] SALT considers research as the main component of the building. At SALT, knowledge is the capital, and research accents this notion.Research could be a starting point for an exhibition but also it may be an exhibition, depending on how one,(an artist, curator, critic) interprets. Huseyin Bahri AIptekin archive sets an example to this approach, where six different installations were made by different artists and researchers. As every point of view is different, research allows one to grow out of the zone of knowledge into creating new ways of criticizing a subject. Sixth interpretation was undertaken by musician Murat Opus, who worked with Huseyin Bahri AIptekin previously. [70] Opus’ claim in the reinterpretation of the archive was to reassemble Alptekin’s relation to music. In a way, this approach can be interpreted as interdisciplinary nature of research.

pre/configuration

reconfiguration

fig.39

recomposition ‘authorship’ ‘collaboration’ conversation’ ‘counter-institution’ ‘discussion’ ‘exchange’

“The reason why I’m able to link this back to the Forum is that it opens the study into public space. I’m asking whether there is such a thing as research and study that can first of all happen in public, or rather in a space that is not in the didactic, overly rarified, edited space of the exhibition, nor is it the commercialized space of the street. It’s really the space in between these, which we are trying to re-appropriate.” Celine Condonelli [71] [71] “Interview: Celine Condorelli and Vasif Kortun by Ozge Ersoy. Surrounded by the Uninhabitable” Accessed April 15, 2014. < http://www.saltonline.org/en/297/ interview-celine-condorelli-and-vasif-kortun-by-ozge-ersoy>

For the exhibitions that are brought to SALT from sister institutions, the context is recomposed in order to fit the context of the local under standing of art and research. This is used extensively with the political and cultural background of Istanbul. Recomposition is also synonymous to reinterpretation. Exhibitions that travel, undergo filtering and recomposing. This allows for the better understanding of the subject matter than the object art itself. Recomposition can be regarded in the sense of inscription and re-in sciption, an ongoing idea undertaken by artist Celine Condonelli, in her work. She bases her idea on the domestication of space, allowing people to inhabit the space more than an art installation. She specif ically utiliizes the space of SALT Beyoglu Forum, to further accentuate improvisation and change. [71] Yet, this brings the question of public’s stance towards an object. As the materials of exhibition are choreographed differently in alternative space, it allows for a more advanced dialogue with the crowd. This change considers, recomposition in the scale of a conversation as well as material since it changes one’s behavior towards the space.

s-t

superimposition Superimposition is basically the layered positioning of subjects and material through time.The idea of building/ renovating an old building allows for technology to meet with the history, making the “old” preserved and adding it value with contemporary values. This brings in the question of transparency and how is integrated in the transitioning of the program. One could deem that the building has been aggressively transformed into SALT, yet it is important to acknowledge the soft transitions that values the old “working” parts of the building such as the grand staircase.

‘authorship’ ‘program’ ‘interdisciplinary’

temporal ‘exhibition’ ‘narrative’ ‘conversation’

[72]Garanti Annual Report, 2012, Accessed April 10, 2014. <http://rapor2012.garanti.com.tr/en/images/ pdf/GB_2012_ENG_FaaliyetRaporu_Webuzun. pdf>

Exhibitions come and go at SALT There is a very fast past phase of ongoing research. SALT was initiated in 2011. Garanti cites in their 2012 Annual report that both buildings held, “21 exhibitions and, in parallel to these exhibitions, 280 events, with 92 student-oriented guided tours and workshop activities and have authored 6 comprehensive publications.”, with a total of 374,629 visitors. [72] This temporality adds to the speed of the institution, particularly allowing the institution to become a passage way in a literal sense. A passageway for research and artist, than just public. Even though the public is temporal, in a way it becomes permanent. Especially with the program of the Iibrary, it opens up a space for and research. The public who uses such spaces will return, the next day or sometime in the future to become a permanent part of the archive itself. This is when the switch of “public” to “user” occurs. When temporality becomes a permanent act ,it could be identified as an act that defines space. On the contrary, temporality keeps an institution active, by trying to welcome different crowds by changing the program rapidly. This might even create a psychological barrier for the regular visitor, to feel guilty for missing an exhibition or a program since the schedule moves in a speedy manner. This could be regarded as a part of the branding strategy aiming to create an active architecture community.

fig.40

transformation ‘authorship’ ‘discussion’ ‘exchange’ ‘flexibility’ ‘program’

Both SALT buildings are converted, transformed from- historical buildings, which allow a history to be associated with the program of the institution itself. SALT Beyoglu is transformed from residential apartment, applying an open floor plan to allow exhibitions to take place. SALT Galata was previously used a bank. One could deem that the idea of the bank is carried through the implementation of archive as a program within the building. Bank stores money, which is in constant circulation, but it is not necessarily stored within the building. This idea may have transformed into the circulation of knowledge as the core element, the building replacing the bank.

epilogue

Vasif Kortun, the founder of SALT is aware of the difficulty of SALT’s mission. Kortun emphasizes that SALT undertakes to stimulate debate and learning from criticism. But he also fears that they do not have the tools to enable the quick formation of an audience that will promote collective intelligence. For this reason SALT intends to establish a roadmap which is neither spectacular nor on a disciplinary basis and knows that it takes time to build up a group of engaged audience which will eventually run the institution with its user and their support. SALT understands that ultimately institution has to belong to the people who use it. However, these objectives are disapproved by some critics from a different aspect. Ali Artun, an architect and an art critic criticizes the elitist approach of SALT management. He claims that despite well designed spaces, authoritative management team, the most extravagant communication strategies and boundless resources, it seemed that the galleries were displaying the event solely to themselves. Taking into consideration Artun’s harsh critic regarding SALT’s management team, one can argue that SALT’ s mission to create an engaged and dedicated ‘ public’ has not been accomplished yet. Actually SALT is not the only institution that experiences this mode of behavior. Amy Franchescini ,who mainly comments on the conflict between social and material culture, has discussed this global issue in her conversation at SALT in 14th January 2014 and has emphasized that public art needs the energy and charisma of the hare and the stealth and stamina of the tortoise to survive. She further commented that it is not the public space that matters and it is public time. However, I think that the management of SALT is aware of the fact that this is a time consuming project and will go on with their mission of stimulating debate and learning from criticism and in due time will create the engaged public who will claim the institution.

contributors Duygu Demir Duygu Demir is a programmer at SALT since 2011, starting with SALT’s first exhibition; “I am not a studio artist” , a retrospective of Huseyin Bahri Alptekin. Gökhan Karakuş Gökhan Karakuş is a critic, historian, theoretician and writer as well as a designer. He was one of the curators, of “Performance of Modernity” exhibition which took place at SALT.

Melisa Korkmaz Melisa Korkmaz is a development associate manager at SALT, specializing in the communications department. She manages the cultivation program for SALT.

Sezin Romi Sezin Romi is the library/ SALT RESEARCH manager at SALT. She is the head of archiving division.

Alexis Şanal Alexis Şanal is an architect and urban designer. She is the lead designer on SALT Research.

Han Tümertekin Han Tümertekin is an architect and the lead designer of both SALT Beyoglu and SALT Galata.

SALT Galata Plan

fig.41

SALT Galata Section

fig.42

SALT Beyoglu Plan

fig.43

SALT Beyoglu Section

fig.44

figures fig1. http://photo.cdn.mekanist.net/place/w_500/419d485d-

24b5aac0e111d9f238bdca9b.jpg fig2. Drawn by Nazli Ergani fig3. Drawn by Nazli Ergani fig4.Photo taken by Nazli Ergani fig5.http://istanbulcityportrait.files.wordpress.com/2012/01/img_7374. jpeg fig6.http://universes-in-universe.org/var/storage/images/media/images/nafas/2013/salt_kortun/salt_galata/04/1821473-2-eng-GB/04.jpg fig7.http://i.radikal.com.tr/644x385/2011/11/21/fft5_mf859541.Jpeg fig8. Drawn by Nazli Ergani fig9.Photo taken from Mimarlarâ&#x20AC;&#x2122;s presentation fig10.http://ozgen.fr/wp-content/uploads/2011/11/SALT_Galata_ozgen_charte.jpg fig11.http://projectprojects.com/wp-content/uploads/p10104621.jpg fig12. Drawn by Nazli Ergani fig13.http://saltonline.org/en/tags/cloud fig14.http://static.squarespace.com/static/52972cb8e4b0c313de24a451/t/52e233e3e4b0f4fa68fba6b4/1390556336597/ Screen%20Shot%202014-01-24%20at%2011.32.54%201.png fig15.http://saltonline.org/en/agenda/2014/04 fig16.Drawn by Nazli Ergani fig17.Drawn by Nazli Ergani fig18.Drawn by Nazli Ergani fig19.http://s3-media3.ak.yelpcdn.com/ephoto/XfirnXshRI_n2sp3UImglQ/ml.jpg fig20.https://fbcdn-sphotos-e-a.akamaihd.net/hphotos-ak-prn2/t1/ p480x480/1780612_830261583665961_1858913358_n.jpg fig21.https://fbcdn-sphotos-f-a.akamaihd.net/hphotos-ak-frc3/t1/ s403x403/1507742_834254559933330_1362625077_n.png fig22.http://www.saltonline.org/directus/media/thumbnails/1065-jpg1200-1200-false.jpg fig23.http://universes-in-universe.org/var/storage/images/media/images/nafas/2013/salt_kortun/salt_beyoglu/11/1821406-1-eng-GB/11. jpg

fig24.http://www.archdaily.com/199709/salt-research-center-sanal-architectureurbanism/drawing-section/ fig25.Drawn by Nazli Ergani fig26.http://saltonline.org/tr/470/asli-bostanci-ile-elestirel-sergi-turu-hassan-khan fig27.http://www.kolektifler.net/images/posts_thumb/205A14C7288. jpg fig28.http://www.saltonline.org/en#!/en/555/sponsor?q=sinem fig29.Photo taken by Nazli Ergani fig30.Drawn by Nazli Ergani fig31 a.http://www.archdaily.com/199709/salt-research-center-sanal-architectureurbanism/site-and-sound-figure/ b.http://www.archdaily.com/199709/salt-research-center-sanal-architectureurbanism/light-apperture-04/ c.http://www.archdaily.com/199709/salt-research-center-sanal-architectureurbanism/ornament-view-01/ fig32.http://www.archdaily.com/199709/salt-research-center-sanal-architectureurbanism/drawing-plans/ fig33.http://saltonline.org/en#!/en/191/salt-research fig34. Drawn by Nazli Ergani fig35.http://saltonline.org/en#!/en/294/free-reader?q=incomplete fig36.http://ismd.org.tr/wordpress/wp-content/uploads/writing/project/ secondary/main/Salt6.jpg fig37.http://www.saltonline.org/directus/media/thumbnails/1472-jpg460-5000-false.jpgv fig38. Drawn by Nazli Ergani fig39.http://www.celinecondorelli.eu/selected-work/surrounded-by-the-uninhabitable/2/ fig40.Photo taken from Mimarlar’s presentation fig41.Drawing taken from Mimarlar’s presentation fig42.Drawing taken from Mimarlar’s presentation fig43.Drawing taken from Mimarlar’s presentation fig44.Drawing taken from Mimarlar’s presentation

DISMANTLING THE INSTITUTION

NAZLI ERGANI