On the initiation of the Istanbul Foundation for Culture and Arts (İKSV) and with the gracious contribution of 21 supporters, Turkey obtains a long-term venue in the Biennale di Venezia, one of world's leading contemporary art and architecture exhibitions. The allotment of 20 years (from 2014 to 2034) at Arsenale, one of the two main venues of the exhibition, allows the Pavilion of Turkey to take part for the first time this year in the 14th International Architecture Exhibition, la Biennale di Venezia.
In its debut year in 2014, the Pavilion of Turkey co-sponsored by Schüco Turkey and VitrA at the 14th International Architecture Exhibition of la Biennale di Venezia that runs from 7 June through to 23 November presents the project Places of Memory, performed by the curator Murat Tabanlıoğlu, the project coordinator Pelin Derviş and a team of exhibitors, Alper Derinboğaz, Metehan Özcan, Candaş Şişman, Ali Taptık and Serkan Taycan. Places of Memory is the first project presented in Turkey’s recently secured venue for 20 years in Arsenale, one of the two main venues of the event.
The Pavilion of Turkey is coordinated by the Istanbul Foundation for Culture and Arts, co-sponsored by Schüco Turkey and VitrA, with the production support of Häfele and the contribution of Istanbul Mineral Exporters’ Association. The Pavilion of Turkey is also realized with the contribution of the Promotion Fund of the Turkish Prime Ministry, under the auspices of Ministry of Foreign Affairs and Ministry of Culture and Tourism, the Republic of Turkey.
İKSV has formed a Scientific Committee to provide with the necessary academic support and counseling in the project. The Scientific Committee members are Istanbul Technical University Architecture Department lecturer Prof. Dr. Arzu Erdem, Istanbul Şehir University Sociology Department lecturer and Director of the Center for Urban Studies Prof. Dr. Murat Güvenç, Aga Khan Award for Architecture former General Secretary and President of the World Architecture Community Prof. Dr. Suha Özkan, and Mardin Artuklu University Dean of Faculty of Architecture Prof. Dr. Uğur Tanyeli.
Places of Memory attempts to explore the theme of ‘absorbing modernity’ via perceptions and experiences, focusing on three areas of Istanbul: Taksim-Karaköy, Bab-ı Ali/Sirkeci and Büyükdere. Curator Murat Tabanlıoğlu states “The concepts ‘place/space’ and ‘memory’, that form both the title and content of the first International Architecture Exhibition mark, in a sense, a beginning, as the first step taken in this new space.” He adds “Following the assessment of a long list we formed with Pelin Derviş, we invited five architect/artists we believed we could create a fertile work environment with” and “as in architectural production, our preferred method was to approach the project as a natural process that develops with contributions, although it began to take shape from the first sketches on, and through consideration of all data we had gathered.”
Tabanlıoğlu explains “In order to retain the spatial qualities [of the Pavilion], we preferred to have a self-standing structure in the middle, as a simple but bold gesture. It has a slit in the middle, creating four planes that enable the exhibitors—whose works have different scales of concentration in the areas we selected to work on—to have their own surfaces.”
The curator continues “Along with the governing idea of ‘architecture, not architects’, specifically underlined within this year’s general theme, we kept in step with the guidelines of the exhibition via individual perception, remembering, and narration.”
“Living in a city like Istanbul—which is experiencing an incredible urban transformation, especially in the last decade—it seems vital to look at what really is happening. Being aware that architecture and the built environment are not solely related to their subjects, but also related to us, in other words, related to our own memories about the place, it seems crucial to ask: what if we lose these? Are we about to lose our own memories? Let’s for a while try to relate to the built environment through our own experiences, through our own past, through a subjective approach to feel what it means to us.”
A book is prepared to accompany the project based on interviews with Murat Tabanlıoğlu, Pelin Derviş, Ali Taptık, Alper Derinboğaz, Candaş Şişman, Metehan Özcan and Serkan Taycan, conducted by Luca Molinari, the curator of the Italian Pavilion at the 12th International Architecture Exhibition of la Biennale di Venezia in 2010. Edited by Pelin Derviş and designed by Aslı Altay (Future Anecdotes Istanbul) who has also designed the communication materials of the project, the book is now available at the opening of the 14th International Architecture Exhibition in English and Turkish, and is subsequently sold in bookstores.
“Büyükdere is a very ambiguous and recently shaped urban fragment of the city. It is [very] hard to understand what’s exactly happening there since there is no real planning process like we know… In relation to this, I looked at process patterns to understand these intricate moments…
I was trying to trace what was [happening] underneath this current fragmented situation by tracing today’s notions to the past. There are various layers that have caused different situations which range from topography to social values or political maneuvers—and which cause a lot of things to transform. As you are following these tracks you don’t even need to mention the actors, like architects, politicians, urban planners and so on. You can shift your perspective and look at what lies behind them, focus on the static data like topography, infrastructure and other things shaping this dynamic city. Bringing the same factors together, the city becomes the actor itself.”
“The most concentrated area in the city where we can easily observe collective memory is squares. If you look at their historical development process, you can also easily understand how the city has been transformed. But at the same time you know that squares are formed of personal memories. Squares are urban public spaces where the dwellers of the city gather, share ideas, criticise social happenings… they are the places where you meet for your first dates, or are places for protests. The city square is a concentration point of the public memory… The squares in these areas [Taksim-Karaköy, Büyükdere and Bab-ı Ali/Sirkeci] all had significant roles considering the public history of Istanbul… That is why I came to the point of depicting the memory of the city in photography by choosing a distant location where I can easily see everything together in one particular picture. It is like taking an x-ray of the square.”
“Nostalgia and memory… are two things that somehow feed into each other… I started feeling under my skin that things have changed too much, too fast. And it brings a strange anxiety, a sense of loss… photography itself is a two-sided blade where you always have to deal with an event which you transform and make part of a history via transformation, so it is always subjective, it is always a construction… I [also] have another kind of memory which doesn’t belong to me, when I close my eyes I try to render how this place was 50 or 100 years ago.
I have a certain longing for the past, but I have to represent or capture this without romanticizing it. I can’t do this with singular images. With a constellation of images, I try to relate certain situations about particular places, and also to connect all these different urban areas to each other.”
“Memory is based on both personal experience and different representations of the building in a context. Once the construction is finished and people start interacting through the building it becomes something else. Layers of images like public and personal photographs form the memory of a building; it is not a singular building anymore… I like to deal with the memory of the user and memory as the representation of identity. Once you move into a house, you design and create the interior space both for your needs and representation of your identity. Even though we define the home as a private space, we can imagine it as the space of the role we assign ourselves in public space. The spatial design we create in our home, the furniture and objects we purchase, construct the definition of not only the person we are, but also the person we want to be… It is often social codes and the proposals of architectural culture that provide guidance for personal decisions.”
“There are different feelings or senses that help us feel the space… One of the important issues for me in creating the conception of my work is the relationship between sound and space with different scales (macro-micro)… I will record sound from different places but I will not use them as they are. I will try to find out the characteristic structure of sound in these places… try to apply almost a microscopic view to extract the fundamental elements of their structures, and then I will try to create a simulation, a new sound based on the abstraction of the structure… The irregular and versatile structure of sounds that come from a variety of sound sources with different temporalities is another important aspect. In this way, unexpected relationships and structures of sound appear… It is like observing a natural phenomenon, you experience a whole formed of the combination of different possibilites which emerge beyond your control, and you become part of it. At that point, you set your concerns, or your conceptual thinking habits aside, become part of the whole and the flow, and experience the moment.”
“It took 23 years for the building [Atatürk Cultural Center, AKM] to open. The foundations were laid in 1946. It took so long due to the economic and political conditions of the period. There are plenty of similar examples in other parts of the world during the same period. In the case of AKM various actors—including architects, design and engineering groups, public, governmental and cultural groups—were passionate about having an opera house for the city. The ups and downs in the planning, construction, and operation of AKM reflected the dynamics of the modernization efforts of the Republic of Turkey as it attempted to create the institutions of a modern state and society.”
A series of panels will be held in the 14th International Architecture Exhibition of la Biennale di Venezia with the participating countries. Turkey will participate in this panel with a large international student workshop to be held on Friday, 31 October from 11.00 to 18.00 at Arsenale Corderie. Murat Tabanlıoğlu is getting organised for the programme with graduate students who are enrolled to his studio in the 2014 spring semester at Istanbul Bilgi University Architectural Design Department. A group of students from Politecnico di Milano and students from various architecture schools in Turkey will participate in the workshop programme that includes an exhibition and discussion of student works in Venice during the biennial.
The sponsoring persons and institutions that have contributed in providing Turkey with a permanent venue in the Venice Biennale include Akbank, Mehveş-Dalınç Arıburnu, Berrak-Nezih Barut, Ali Raif Dinçkök, Vuslat Doğan Sabancı, Füsun-Faruk Eczacıbaşı, Oya-Bülent Eczacıbaşı, Enka Foundation, Nesrin Esirtgen, Eti Gıda San. ve Tic. AŞ, Can Has, Öner Kocabeyoğlu, MAÇAKIZI, Tansa Mermerci Ekşioğlu, Polimeks Holding, SAHA, Taha Tatlıcı, T. Garanti Bankası AŞ, Vehbi Koç Foundation, Zafer Yıldırım, and Yıldız Holding AŞ.
For media relations:
İKSV: Elif.Obdan@iksv.org / firstname.lastname@example.org
Camron PR: Hannah.Cox@camronpr.com / www.camronpr.com
Murat Tabanlıoğlu was born in 1960 in Istanbul. He lives and works in Istanbul. He studied architecture at Vienna Technical University. He founded Tabanlıoğlu Architects in cooperation with Dr. Hayati Tabanlıoğlu in Istanbul in 1990. Their first joint project was Doğan Media Center. Melkan Gürsel Tabanlıoğlu joined the group in 1995. Besides his studio programme at Istanbul Bilgi University, he lectures at universities and various international platforms. As a jury member, in addition to his international contributions, such as AIA and WAF, he served on the Master Jury for the 2013 Cycle of the Aga Khan Award for Architecture. He is a RIBA, Chartered Member and Int'l. Assoc. AIA. Searching for new efficiencies in terms of global and environmental needs and developments, Tabanlıoğlu’s works comprise a wide range of building types such as Expo 2000 Hannover Turkish Pavilion, Kanyon, Sapphire, Levent Loft, Zorlu Levent, Tripoli, Sipopo and Dakar Congress Centers, Konya Selcuklu Congress Center, Istanbul Modern, and renovation project of Atatürk Cultural Center. Tabanlıoğlu has been awarded several international and national prizes, including RIBA International Award for Loft Gardens (2011) and for Bodrum International Airport (2013). Murat Tabanlıoğlu, together with his partner Melkan Gürsel Tabanlıoğlu, was selected as the Architect of the Year in 2010 by MEA- Middle East Architect Award and in 2013 “Architect of the Year” by Big Project ME.
Pelin Derviş was born in Ankara in 1967. She is an architect, who lives and works in Istanbul as an independent editor and curator. She graduated from Istanbul Technical University (1990) and completed her master’s degree at the History of Architecture Program of the same institution. After working in her architectural practice on projects of various types and dimensions ranging from urban inventory projects to spatial and object design for 14 years, she focused on the cultural production aspect of architecture. While working as the director of Garanti Gallery, Istanbul she realized exhibitions, and other parallel events and publications (2005-2010). Some of the publications she contributed to are: Becoming Istanbul (ed.); Tracing Istanbul [from the air]; Mapping Istanbul (ed.); Made in Şişhane: On Istanbul, Small-scale Production, and Design (ed.). Some of the institutions that she has collaborated with are SALT (together with Gökhan Karakuş she took part in founding and developing the Architecture and Design Archive Turkey, and co-curated Performance of Modernity: Atatürk Kültür Merkezi, 1946-1977 exhibition); VitrA & TSMD (coordinator of the exhibitions within the VitrA Contemporary Architecture Series); Istanbul Modern (coordinator of YAP Istanbul Modern: Young Architects Program, 2013 which is realized in partnership with The Museum of Modern Art, MoMA / MoMA PS1). The documentation of modern architectural production in Turkey is her field of interest.
Alper Derinboğaz was born in 1982 in Ankara. He is an architect who lives and works in Istanbul. He graduated from Istanbul Technical University (2005). He won the UCLA Graduate Award for his master’s studies on Architecture and Urbanism. He worked as a senior architect in Los Angeles and Istanbul, and won prizes in competitions. He founded Salon in 2009 as an architecture practice in Istanbul. He realized public space projects that incorporate new media. The following years three of his built works, Gate, Panorama and Augmented Structures were included in the Arkiv Best Architecture Selection, and Derinboğaz received the Arkitera Young Architect Award in 2011. He was selected as one of the five finalists for the YAP Istanbul Modern: Young Architects Program 2013 that was realized in partnership with MoMA and MoMA PS1. Currently he practices at Salon Architects as the founding partner and runs a design studio besides the technology seminar on “Media Architecture” at the Istanbul Bilgi University as an adjunct lecturer. Although Derinboğaz’s designs greatly vary in scale from towers to interiors, his works mostly intend to uncover and question the essential elements of the given site or the theme. His works operate through experiences of flux by the use of novel technologies.
Metehan Özcan was born in 1975 in Istanbul. He lives and works in İzmir. He completed his architecture studies at the School of Polytechnic Studies, University of St. Louis between 1993 and 1995. He received BA degree in Interior Architecture, Bilkent University (2000) and MFA degree in Visual Communication Design, Bilgi University (2012). He currently studies at the Proficiency in Art and Design Program of Dokuz Eylül University. He was commissioned as the photographer in some architectural archive projects like Modern Essays 4 Salon, which was exhibited at SALT Galata (Istanbul, 2012), and Civil Architectural Heritage Between 1930-1980 in Ankara, which was conducted by Başkent University and Vekam (Ankara, 2011-2014). He had solo shows at the Operation Room, the gallery of the American Hospital Istanbul (2010), and Elipsis Gallery (Istanbul, 2013). Among the group exhibitions he participated are at the Slag Gallery, New York (2009) and Istanbul Museum of Modern Art (2013). Özcan mostly focuses on the concept and representation of modernist spatial design. Through the individual’s relation with design culture, he opens discussions on ownership and privacy concepts.
Candaş Şişman was born in 1985 in İzmir. He lives and works in Istanbul. He studied fine arts at İzmir Anadolu High School for Fine Arts and graduated from the Animations Department of Anadolu University in 2009. He spent one year in college receiving multimedia design training in the Netherlands (2006-2007). In 2009 he co-founded Silo1. With Deniz Kader, he founded “NOHlab”, a project that generates collective projects in arts and design (2011). He received several awards since 2007, among which are the Honorary Mention from Prix ARS Electronica Computer Animation/Film/VFX and Best Prize in Sound Design from Roma Viedram Video Festival. He participated in new media festivals, such as Nemo Digital Arts and Film Festival, ARS Electronica and Todaysart Festival. Candaş Şişman’s recent works include “Yekpare” projection mapping with Nerdworking as part of Istanbul 2010 European Capital of Culture activities and ”FLUX,” an audiovisual installation at İlhan Koman Hulda Festival in Istanbul. Şişman aims to manipulate our notion of time, space and motion by his work, using digital and mechanical technologies. The works of Şişman stand on a complex base, but the forms are simple, allowing the audience to engage in intellectual interaction with the artwork in which “process” is the structural element of utmost importance.
Ali Taptık was born in 1983 in Istanbul where he continues to live and work. He graduated from the Faculty of Architecture at Istanbul Technical University (ITU) in 2007 and completed his master’s degree at the History of Architecture Program of the same institution with a thesis that focused on the History of Photography and representation of the City (2011). He is currently a Ph.D. candidate in Architectural Design, ITU and works as an adjunct lecturer at the same university. His first photographic series “Remembering Me” (2000) was followed by “Kaza ve Kader” (Accident and Fate), which was about about interconnected frames of experience of accumulated urban realities, about the relationships, places, people, emotions and coincidences. It was published by Filigranes Editions (France, 2009). With “Familiar Strangers”, a series about the urban structures and the relationship between the subjects of the city with their environment, Taptık continued working on his hometown. “Nothing Surprising” is the second volume in the series of “novels” that started with “Kaza ve Kader” that centers itself around the theme of crisis and resistance in urban context. Taptık collaborated with Uğur Tanyeli and Bülent Erkmen on the double book İstanbul’u Resmetmek–Türkiye’ nin Görsellik Tarihine Giriş [Depicting Istanbul–Introduction to History of Visuality in Turkey]. In 2012 he published ‘there are no failed experiments’ (2012, Filigranes Editions), a personal narrative on the redevelopment projects in Marseille. He is one of the founding members of Istanbul based Publisher’s Collective Bandrolsüz
Serkan Taycan is born in 1978 in Gaziantep. He studied engineering at Yıldız Technical University, Istanbul. In 2004, he completed a master-class on documentary photography at Nordens Fotoskola, Sweden. He continues his master studies of Visual Arts at Sabancı University and Photography at Aalto University. Taycan works primarily with photography and also with maps and uses walking as an art form. The main theme of his works is the ever-changing relationship between urban and rural spaces, consequences of these changes and the people who are affected by these processes of transformation. Taycan presented his work in various venues and festivals among which: Helsinki Photography Biennial (2014), Istanbul Biennial (2013), Photomed-Mediterranean Photography Festival, Sanary (2011), Thessaloniki Photo Biennale (2010), Le Moulin du Roc, Niort (2010), Photographic Center Northwest, Seattle (2010), Promenades Photographiques, Vendome (2009), Malmö Museum (2008), Russian National Centre of Photography, St.Petersburg (2006). His recent exhibition “Shell” made its debut at Elipsis gallery (Istanbul, 2013). He initiated the walking trail “Between Two Seas” which is shown at Istanbul Biennial (2013). His latest work ‘Tumulus’ exhibited at Helsinki Photography Biennial (2014). Taycan is a member of RecCollective, and currently lives and works in Istanbul.