The Ij-plein: Housing At the Threshold of Urban Policies

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Transforming the historical waterfront: An(r/t)repo in Istanbul

Aquest article se centra en la transformació en curs dels magatzems de Antrepo construïts en els molls a Salipazari Harbor, en el seu efecte sobre el domini públic, i en la protesta dels veïns contra l'ús d'intervencions artístiques utilitzades amb fins purament comercials, la qual cosa resulta en un procés de gentrificació. Planejats i dissenyats per Sedad Eldem, un dels pioners del moviment modern a Turquia a finals de 1950, Salipazari Harbor funciona com el principal port internacional d'Istanbul. A més del fet que els magatzems del moll van ser allotjats anteriorment en Tophane, Salipazari té una immensa importància històrica i cultural; se situa enfront de la península històrica, es troba pròxim al museu obert d'arquitectura otomana que data del segle XVII, i és un lloc d'art contemporani. La zona del port està formada per set magatzems que van funcionar fins a l'any 1990. Des de llavors, tres dels magatzems han estat renovats pera convertir-se, respectivament, en la galeria d'art modern d'Istanbul, en una galeria d'exposicions d'art, i en el lloc de la Biennal d'Art de Istanbul. Des d'inicis de la dècada de 1990, aquesta zona ha estat sota la gran amenaça del projecte "Galataport", que té com a objectiu transformar l'actual port, en un port de creuers amb instal·lacions residencials i comercials, reduint d'aquesta manera l'accés públic a la zona del port històric i transformant-la en un territori de gentrificació. Aquest pla per a l'adaptació i la reutilització dels magatzems va generar una gran oposició per part delpúblic. En aquest article, per tant, examina l'estatut de l'art utilitzat com una eina per generar capital i aconseguir la gentrificació contra els ciutadans, les vides van a ser afectats pels canvis proposats. S'ocupa de com s'avalua l'art des de diferents perspectives en la transformació urbana, sobre la base dels interessos socials i polítics, prenent l'exemple el port de Salipazari.This article focuses on the ongoing transformation of Antrepo buildings (warehouses) built on the piers in Salıpazarı Harbor, its effect on the public domain, and the outcry of the residents against using venues of art used for purely commercial purposes, resulting in gentrification. Planned and designed by Sedat Hakkı Eldem, one of the pioneers of the Modern Movement in Turkey in the late 1950s, Salıpazarı Harbor functions as the main international port of İstanbul. Besides the fact that the warehouses of the pier were housed in Tophane earlier, Salıpazarı has immense historical and cultural importance; it faces the Historical Peninsula, is adjacent to the open museum of Ottoman architecture dating to the seventeenth century, and is a contemporary art venue.The harbor area consists of seven warehouses that were functional until 1990. Since then, three of the warehouses have been renovated to become, respectively, the İstanbul Modern art gallery, an art exhibition gallery, and the İstanbul art biennial venue. Beginning with the 1990s, this area has come under great threat with the announcement of the “Galataport” project, which aims to transform the harbor into a cruise port with residential and trade facilities, thereby reducing public access to the historical waterfront area and becoming another site of gentrification. This plan for the adaptation and reuse of the warehouses drew a great deal of opposition from the public.This article, therefore, examines the status of art used as a tool to generate capital and bring about gentrification versus the public, whose lives are going to be affected by these proposed changes. It addresses how art is evaluated from different perspectives in urban transformation, based on social and political interests, taking the example of the Salıpazarı Harbor.Este artículo se centra en la transformación en curso de los almacenes de Antrepo construidos en los muelles en Salipazari Harbor, en su efecto sobre el dominio público, y en la protesta de los vecinos contra el uso de intervenciones artísticas utilizadas con fines puramente comerciales, lo que resulta en un proceso de gentrificación. Planeados y diseñados por Sedad Eldem, uno de los pioneros del movimiento moderno en Turquía a finales de 1950, Salipazari Harbor funciona como el principal puerto internacional de Estambul. Además del hecho de que los almacenes del muelle fueron alojados anteriormente en Tophane, Salipazari tiene una inmensa importancia histórica y cultural; se sitúa frente a la península histórica, se encuentra próximo al museo abierto de arquitectura otomana que data del siglo XVII, y es un lugar de arte contemporáneo.La zona del puerto está formada por siete almacenes que funcionaron hasta el año 1990. Desde entonces, tres de los almacenes han sido renovados para convertirse, respectivamente, en la galería de arte moderno de Estambul, en una galería de exposiciones de arte, y el lugar de la Bienal de Arte de Estambul. Desde inicios de la década de 1990, esta zona ha estado bajo la gran amenaza del proyecto "Galataport", que tiene como objetivo transformar el actual puerto, en un puerto de cruceros con instalaciones residenciales y comerciales, reduciendo de este modo el acceso público a la zona del puerto histórico y transformándola en un territorio de gentrificación. Este plan para la adaptación y la reutilización de los almacenes generó una gran oposición por parte del público.En este artículo, por lo tanto, examina el estatuto del arte utilizado como una herramienta para generar capital y lograr la gentrificación contra los ciudadanos, cuyas vidas van a ser afectados por los cambios propuestos. Se ocupa de cómo se evalúa el arte desde diferentes perspectivas en la transformación urbana, sobre la base de los intereses sociales y políticos, tomando el ejemplo el puerto de Salipazari

Transforming the historical waterfront: An(r/t)repo in Istanbul

This article focuses on the ongoing transformation of Antrepo buildings (warehouses) built on the piers in Salıpazarı Harbor, its effect on the public domain, and the outcry of the residents against using venues of art used for purely commercial purposes, resulting in gentrification. Planned and designed by Sedat Hakkı Eldem, one of the pioneers of the Modern Movement in Turkey in the late 1950s, Salıpazarı Harbor functions as the main international port of İstanbul. Besides the fact that the warehouses of the pier were housed in Tophane earlier, Salıpazarı has immense historical and cultural importance; it faces the Historical Peninsula, is adjacent to the open museum of Ottoman architecture dating to the seventeenth century, and is a contemporary art venue.The harbor area consists of seven warehouses that were functional until 1990. Since then, three of the warehouses have been renovated to become, respectively, the İstanbul Modern art gallery, an art exhibition gallery, and the İstanbul art biennial venue. Beginning with the 1990s, this area has come under great threat with the announcement of the “Galataport” project, which aims to transform the harbor into a cruise port with residential and trade facilities, thereby reducing public access to the historical waterfront area and becoming another site of gentrification. This plan for the adaptation and reuse of the warehouses drew a great deal of opposition from the public.This article, therefore, examines the status of art used as a tool to generate capital and bring about gentrification versus the public, whose lives are going to be affected by these proposed changes. It addresses how art is evaluated from different perspectives in urban transformation, based on social and political interests, taking the example of the Salıpazarı Harbor.Este artículo se centra en la transformación en curso de los almacenes de Antrepo construidos en los muelles en Salipazari Harbor, en su efecto sobre el dominio público, y en la protesta de los vecinos contra el uso de intervenciones artísticas utilizadas con fines puramente comerciales, lo que resulta en un proceso de gentrificación. Planeados y diseñados por Sedad Eldem, uno de los pioneros del movimiento moderno en Turquía a finales de 1950, Salipazari Harbor funciona como el principal puerto internacional de Estambul. Además del hecho de que los almacenes del muelle fueron alojados anteriormente en Tophane, Salipazari tiene una inmensa importancia histórica y cultural; se sitúa frente a la península histórica, se encuentra próximo al museo abierto de arquitectura otomana que data del siglo XVII, y es un lugar de arte contemporáneo.La zona del puerto está formada por siete almacenes que funcionaron hasta el año 1990. Desde entonces, tres de los almacenes han sido renovados para convertirse, respectivamente, en la galería de arte moderno de Estambul, en una galería de exposiciones de arte, y el lugar de la Bienal de Arte de Estambul. Desde inicios de la década de 1990, esta zona ha estado bajo la gran amenaza del proyecto "Galataport", que tiene como objetivo transformar el actual puerto, en un puerto de cruceros con instalaciones residenciales y comerciales, reduciendo de este modo el acceso público a la zona del puerto histórico y transformándola en un territorio de gentrificación. Este plan para la adaptación y la reutilización de los almacenes generó una gran oposición por parte del público.En este artículo, por lo tanto, examina el estatuto del arte utilizado como una herramienta para generar capital y lograr la gentrificación contra los ciudadanos, cuyas vidas van a ser afectados por los cambios propuestos. Se ocupa de cómo se evalúa el arte desde diferentes perspectivas en la transformación urbana, sobre la base de los intereses sociales y políticos, tomando el ejemplo el puerto de Salipazari

Entrar o no entrar: instalaciones arquitectónicas

[EN] This article focuses on the conceptualization of the architectural installation, which is at the intersection of architecture and art. Installations, which today have an important place as an artistic activity, emerge in the 1960s and include various arrangements and exhibition activities of architects in relation to gallery space. These artistic activities include temporary or permanent, playful, poetic installations, sculptures and exhibition spaces. As a nexus for the arts and other disciplines, architectural installations enable artists to distance their work from the constraints of the real world, resulting in creative and questioning works. Architectural installations are discussed within intersections with the open-ended, experimental, and questioning features of architecture, such as site-specificity, temporality, variability, and monolithic character. Land art and public art, in which art installations verge conceptually on architectural space, can be used by artists in gallery space, open space, and on an urban scale.  [ES] Este artículo estudia la conceptualización de la instalación arquitectónica, que se encuentra en la unión de la arquitectura y el arte. Las instalaciones, que hoy tienen un lugar importante como actividad artística, surgen en la década de 1960 e incluyen diversas disposiciones y actividades expositivas realizadas por los arquitectos en relación con el espacio de la galería. Estas actividades artísticas engloban instalaciones poéticas, lúdicas, temporales o permanentes, esculturas y espacios expositivos. Como nexo entre las artes y otras disciplinas, las instalaciones arquitectónicas permiten a los artistas distanciar su trabajo respecto de las limitaciones del mundo real, lo que da como resultado obras creativas y cuestionadoras. Las instalaciones arquitectónicas se discuten en relación a los cuestionados conceptos de la arquitectura no concluida y experimental, como por ejemplo la especificidad del sitio, la temporalidad, la variabilidad y el carácter monolítico. El arte en la naturaleza y el arte público, en los que las instalaciones artísticas rayan conceptualmente en el espacio arquitectónico, pueden ser utilizados por artistas en espacios de galerías, espacios abiertos y a escala urbana.Özdamar, EG. (2022). To enter or not to enter: architectural installations. EN BLANCO. Revista de Arquitectura. 14(32):122-129. https://doi.org/10.4995/eb.2022.16960122129143

Çağdaş Konutun Olay Örgüsüne Disiplinlerötesi Yaklaşım: İstanbul, Viyana, Amsterdam

Bu makale, günümüzün transmodernparadigma olarak tanımlanan ve küreselölçekte değişen düşünme biçimleri, kentselmekansal örüntüleri ve yeni kent anlatılarınıyönlendiren bir çerçevede, çağdaş konutunoluşum stratejilerini (olay örgüsünü) yenidenokumaya dayalıdır. Küreselleşmenin kentyapılarına getirdiği değişim / dönüşümolgusunu tetikleyen fragmanlar odakalınarak yapılan yeniden okuma, düşünümsel(refleksif) bir çerçeve modele dayanır veçağdaş konut, kent ve alımlayıcı arasındabeliren yeni ilişki ağları üzerindendisiplinlerötesi bir yaklaşımla ele alınır.Çalışmada, kent yaşamının parçalılığınıvurgulayan ve fragmanlar olarak tanımlanankavramlar üzerinden kent-konut-alımlayıcıilişkilerinin birbirine eklemlenme sorunsalıtartışılmaktadır. Amaç; fragmanların çağdaşkonutta geçici ve dönüştürücü birerpotansiyel oluşlarına değinerek, değişenkoşullar altında konutun yenidenanlamlandırılmasına yöneliktir. Bu yaklaşım,Deleuze ve Guattari’nin köksap (rizom)kavramı ile örtüşen ve “üç boyutlu bir anlatısorgulama mekanı”nın yaratımı ile ilgilidir.Bu çalışma; çağdaş konuta dair bir yenidenokuma modeli önerisi olarak; araştırmacınında alımlama sürecinin önemli bir parçasıolduğu; dünyayı gözlemlemek veaçıklamaktan çok, anlama ve yorumlamayadayalı olan “fenomenolojik veyorumsamacı” bir yaklaşımla, sanatsalaraştırmanın da teknikleri kullanılarak elealınmaktadır. İstanbul Narcity, ViyanaDonau City ve Amsterdam Doğu LimanBölgesi konut örneklemleri üzerindenyapılan görüşmeler ve eşzamanlı olarakgerçekleştirilen disiplinlerötesi deneysel birsanat çalışması ile çağdaş konutun olayörgüsündeliteratür araştırması ilebelirlenenhız, deneysellik ve esneklikfragmanlarının dönüştürücü etkenler olduğuortaya çıkmaktadır. Bu çalışmada,Massumi’nin terminolojisiyle “içerik” ve“ifade” haline gelen fragmanların “biraradalık” durumuna işaret ettiği, geleceğinkentlerinde konut alanlarının belirsizliklerkarşısında göstereceği esneklik açısından birplanlama stratejisi olarak imgesiz bir durumyarattığı ileri sürülmektedir.This article is a re-reading of narrative of contemporary housing within the framework of transmodern paradigm which orients changing ways of thinking, urban-spatial patterns and new urban narratives in a global context. Re-reading by focusing on the fragments that trigger the change / transformation phenomenon that globalization brings to urban structures is based on a reflexive framework model and contemporary housing is evaluated with a transdisciplinary approach emerging from new networks of relationships emerging between the city and the perceiver. In the article, the problem of articulation emerging between the urban-housing-perceiver relationships is discussed in terms of the concepts which emphasize the fragmentation of urban life and which are defined as fragments. The aim is to reinterpret housing under changing circumstances by referring to the potentiality of the fragments as temporary and transformative in contemporary housing. This approach is concerned with the concept of rhizome, defined by Deleuze and Guattari and overlaps with the creation of threedimensional narrative inquiry space. As a model proposal for re-reading of contemporary housing, this study is conducted through a phenomenological and hermeneutical approach based on understanding and interpretation rather than observation and explanation of the world and using techniques of artistic research, where the researcher is also an important part of the perception process. Depending on the interviews and simultaneously conducted transdisciplinary art project, Istanbul Narcity, Vienna Donau City and Amsterdam Eastern Dockland housing areas display speed, experimentality and flexibility determined by the literature research as emerging fragments as the transformative factors of the contemporary housing. In this study, it is suggested that these fragments that became the “content” and “expression” in terms of Massumi’s terminology, refer to an in-betweenness state, creating an imageless condition as a planning strategy in terms of the flexibility against uncertainties that housing areas may confront in future cities

TEKİRDAĞ’DA MODERNİZM İLE KARŞILAŞMALAR: MİMARLIK, BETON VE HARABE

Arapçada “eski yapı”, “yıkılmış, yıkılmaya yüz tutmuş yapı veya kent, yıkı”, Latincede ise “düşmek”anlamına gelen ve ruere’den türetilen harabe (ruin), Rönesans’tan günümüze dek süblim, estetik, nostalji veyeni anlamlar üretme potansiyelleri bağlamında birçok düşünür tarafından ele alınmıştır. Modern harabe,Sotomayor’un deyimiyle malzemenin değişim ve yok oluşuna tanıklık eden aktif bir katılımcıyı da yapınınyaşlanma ve ayrışmasına (material decomposition) dahil eden, zamanın askıya alındığı bir süreç yaratır.Bu makale ise modernite ve harabe arasındaki ilişkilere değinerek bu ilişkileri Tekirdağ-Marmara Ereğlisikarayolu üzerinde yer alan ve modernist dilleriyle ön plana çıkan, günümüzde ayakta kalabilmeyi başarmışdört adet betonarme yapı üzerinden irdeler: 1960 ve 1980’li yıllarda inşa edilen Başak Sigorta Eğitim veDinlenme Tesisleri, Şeker Sigorta Tesisleri, Güneş Sigorta Eğitim Tesisleri ve Bağkur Dinlenme Tesisleri.2000’li yıllardan itibaren sahipleri tarafından atıl durumda bırakılan, yok olmaya karşı direnen ya da işlevdeğiştirerek ayakta kalan bu yapılar, kıyı peyzajı içinde; yalın yerleşim planları, cephe düzenleri, piloti verölyefleri ile izleyiciyi sahille ilişki kurmaktan çok çevrelerinden belirgin bir biçimde ayrımlaşma yaratırve “hem yapı olarak, hem de bir harabe olarak” var olmaya başlar. Böylelikle “her daim hayatta kaldıklarıizlenimi” yaratan bu modernist yapılar, beton ve harabenin çelişkisini gündeme getirir

Fugindo da caverna de Platão: rumo a um enfoque holístico em habitação urbana em Istambul

This paper aims to address the effects of speed as an urban fragment in the city and suggests finding ways to change perceptions toward the negative effects of speed in ?stanbul. It is supposed that changing our perception or ways of approaching the built environment can raise awareness or reactions that are steps to criticizing urban transformation from different perspectives. Thus, it is proposed that Plato’s cave allegory be taken as an example for the dwellers of Istanbul. This allegory can be represented in the urban realm through intertwined layers of construction. Against these layers of boundaries, Breaking from Plato’s cave is suggested as a metaphor for constructing an alternative strategy to change our way of perception of rapid construction in urban space. For the demolishment of the boundaries between the ideal and real worlds, which speed has aggrandized, there can be an escape by playing with the displayed reality through developing a holistic approach and a non-schismogenic artistic intervention. A dweller today needs to act in order to escape the invisible frontiers through unfolding reality. In breaking from Plato’s cave, there is a search for a way to break down this “reality” as it is perceived by many dwellers through play and active participation.Key words: speed, breaking from Plato’s cave, ?stanbul, urban housing, metaphorical thinking, holistic approach.Este artigo tem como objetivo abordar os efeitos da velocidade como um fragmento urbano da cidade e sugere encontrar maneiras de mudar as percepções em relação aos efeitos negativos da velocidade em Istambul. Supõe-se que mudar a nossa percepção ou formas de abordar o ambiente construído pode aumentar a consciência ou reações que são meios para criticar a transformação urbana a partir de diferentes perspectivas. Assim, propõe-se que alegoria da caverna de Platão seja considerada como um exemplo para os moradores de Istambul. Esta alegoria pode ser representada na esfera urbana através de camadas entrelaçadas de construção. Contra essas camadas de limites, fugir da caverna de Platão é sugerida como uma metáfora para a construção de uma estratégia alternativa de mudar a nossa forma de percepção da construção rápida no espaço urbano. Para a demolição das fronteiras entre os mundos ideais e reais, que a velocidade tem engrandecido, pode haver uma fuga, jogando com a realidade apresentada através do desenvolvimento de uma abordagem holística e uma intervenção artística não cismogênica. Hoje, um morador de Istambul precisa agir a fim de escapar das fronteiras invisíveis através de desdobramento realidade. Ao fugir da caverna de Platão, há uma busca por uma maneira de romper com esta “realidade” como ela é percebida por muitos moradores através de brincadeiras e participação ativa.Palavras-chave: velocidade, fuga da caverna de Platão, Istambul, habitação urbana, o pensamento metafórico, abordagem holística

Urban Landscapes

The issue focuses on philosophies and designs that shape our cities on a broader scale; exploring different approaches between architecture, built environment, and nature; from material to medicinal plants, from plant scale to urban and social sciences. The issue examines the natural and built environment in Istanbul through the relationship between urban planning, urban space, architecture, and landscape architecture. It focuses on designs made in different parts of Istanbul between natural areas and built areas in the city. The urban landscape is an effective and important design process that includes the interaction of architecture, city planning, and landscape architecture disciplines and creates the living environment of people within and between buildings. It has a complementary and important effect in the process of providing and maintaining the physical, physiological, psychological, and social needs of its users. It covers structural design and furniture location selection and design as well as planting. The special issue on Urban Landscape covers this concept; It has a content setup that starts from the upper scale and shrinks towards the building scale.info:eu-repo/semantics/publishedVersio

A Non-Schismogenic Approach to Housing Policy in IStanbul

This article aimed to develop a new, experimental approach to housing by investigating dwellers' perceptions in Turkey through an experimental art project called Okkito, which is a parody of TOKI (Housing Development Administration). Using artistic and transdisciplinary research methodology, Okkito revealed a non-schismogenic pattern in housing, a term derived from the anthropologist Gregory Bateson, which refers to asymmetrical and non-complementary modes of social practice. The project investigated the contradiction between the dynamics of urban life and the static structure of current housing corporations through two symbolic houses installed on a 1:1 scale in Sefakoy, a small district in Istanbul. To understand the close relationship between dwellers, housing, and the beliefs of housing corporations, a survey that enabled a platform for in-depth interviews was administered to two participant groups of dwellers. When administrations or corporations do not have a rooted understanding of or stance in relation to existing housing policies, this creates an in-between situation, which results in problems of articulation and disconnectedness of the dweller with the home environment. Therefore, Okkito aimed to adopt a more holistic research strategy and a hermeneutical understanding of life, opening up new potentials for future housing in the context of assemblage thinking.Istanbul Technical University, Institute of Science and Technology Scientific Research Project [32358]; Istanbul Metropolitan Municipality Istanbul 2010 European Capital of Culture Visual Arts Directorate, Fabrikart, HakteksIstanbul Technical University, Institute of Science and Technology Scientific Research Project (2008-2011, Number: 32358), Istanbul Metropolitan Municipality Istanbul 2010 European Capital of Culture Visual Arts Directorate, Fabrikart, Hakteks