Reconstruction of Ghost Buildings: Taksim Artillery Barracks

Total Page:16

File Type:pdf, Size:1020Kb

Reconstruction of Ghost Buildings: Taksim Artillery Barracks RECONSTRUCTION OF GHOST BUILDINGS: TAKSIM ARTILLERY BARRACKS A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY BERRAK KIRBAŞ IN PARTIAL FULLFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE IN ARCHITECTURE JUNE 2014 Approval of the thesis: RECONSTRUCTION OF GHOST BUILDINGS: TAKSIM ARTILLERY BARRACKS submitted by BERRAK KIRBAŞ in partial fulfillment of the requirements for the degree of Master of Architecture in Department of Architecture, Middle East Technical University by, Prof. Dr. Canan Özgen _______________ Dean, Graduate School of Natural and Applied Sciences Assoc. Prof. Dr. Güven Arif Sargın _______________ Head of Department, Architecture Instructor Dr. M. Haluk Zelef _______________ Supervisor, Architecture Dept., METU Examining Committee Members: Prof. Dr. Zeynep Mennan _______________ Architecture Dept., METU Instructor Dr. M. Haluk Zelef _______________ Architecture Dept., METU Assoc. Prof. Dr. Namık Günay Erkal _______________ Architecture Dept., METU Assoc. Prof. Dr. Elvan Altan Ergut _______________ Architecture Dept., METU Assoc. Prof. Dr. Neşe Gurallar _______________ Architecture Dept., Gazi University Date: 25.06.2014 I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last Name: Berrak, Kırbaş Signature : iv ABSTRACT RE-CONSTRUCTION OF GHOST BUILDINGS: TAKSIM ARTILLERY BARRACKS Kırbaş, Berrak M.Arch., Department of Architecture Supervisor: Inst. Dr. M. Haluk Zelef June 2014, 178 pages This thesis is a critical assessment of the re-construction project of Taksim Artillery Barracks in the place of Taksim Gezi Park. In the meantime, it is an attempt to discuss the tendency of re-construction in architecture in relation to the “ghosts” in architectural discourse. In the scope of the thesis, the stimulation behind the resurrections of the “ghost” of the barracks and other “ghost buildings” are examined within three themes; “ghosts” in architectural discourse, “ghost building” as the haunted re-constructions, and the case study: Taksim Artillery Barracks; current controversial “ghost building” project in Turkey. Thus, the “ghosts” in architecture are revealed, while the re-constructions and the replica project of the Barracks are studied within the framework of the “ghost building” concept. Several “ghost building” examples from Turkey and all around the world are grouped and analyzed into different categories. The researches on diverse cases demonstrate the process of a building to transform into a “ghost building”, and expose the “ghosts” behind their re-constructions. Likewise, Taksim Artillery Barracks is studied in the context of its urban setting along with its “ghosts” which have impact on its v “resurrection” process. Besides, the replica project of the barracks is discussed in comparison to other examples as the conclusion of the study. Keywords: re-construction, ghosts, ghost buildings, Taksim Artillery Barracks vi ÖZ HAYALET BİNARLARIN YENİDEN İNŞA EDİLMESİ: TAKSİM TOPÇU KIŞLASI Kırbaş, Berrak Yüksek Lisans, Mimarlık Bölümü Tez Yöneticisi: Öğr. Gör. Dr. M. Haluk Zelef Haziran 2014, 178 sayfa Bu tez Taksim Topçu Kışlası’nın Taksim Gezi Park’ına yeniden inşa edilme projesinin eleştirel bir değerlendirmesidir. Aynı zamanda, mimarlıkta yeniden inşa etme eğilimini mimarlık yazınındaki “hayaletlerle” birlikte tartışmayı amaçlamaktadır. Tez kapsamında, kışlanın “hayaletinin” ve diğer “hayalet binaların” yeniden diril(til)mesinin arkasındaki etmenler üç ana başlık altında incelenmiştir; mimarlığın içindeki “hayaletler”, yeniden inşa edilen perili “hayalet bina” örnekleri ve güncel bir “hayalet bina” projesi olan Taksim Topçu Kışlası projesi. Böylece mimarlığın içindeki “hayaletler” ortaya çıkarken, yeniden inşa edilen örnekler ve kışlanın replika projesi “hayalet bina” kavramı çerçevesinde tartışılır. Dünyadan ve Türkiye’den birçok “hayalet bina” örneği farklı kategoriler altında gruplandırılarak incelenir. Farklı örnekler üzerine yapılan bu incelemeyle, binaların replikalarının yeniden yapılmasının arkasındaki sebepler ve onların birer “hayalet yapıya” dönüşümü ortaya konmuştur. Aynı şekilde, tezin odak noktası olan Taksim Topçu Kışlası yeniden inşa projesi kentsel bağlamında yeniden “diriltilme” sürecine vii etki eden hayaletleri ile birlikte incelenir. Çalışmasının sonucu olarak ise, incelenen diğer örneklerle Taksim Topçu Kışlası projesi karşılaştırmalı olarak tartışılır. Anahtar Kelimeler: yeniden inşa etmek, hayaletler, hayalet binalar, Taksim Topçu Kışlası viii To My Family ix ACKNOWLEDGMENTS First and foremost, I would like to express my deepest gratitude to my supervisor Instructor Dr. M. Haluk Zelef especially for his contribution, guidance, motivating comments and criticisms throughout the whole study. I owe special thanks to him for accompanying my enthusiasm from the beginning of the research with his profound knowledge and experience. Without his inspiration and encouragement, and also his friendship and kindness, this study could have never been completed; any thank would be an understatement. I would like to thank Prof. Dr. Zeynep Mennan not only being a jury member, but for invaluable comments from the early stages of my study. I would like to present my appreciation other members of my jury committee, Assoc. Prof. Dr. Namık Günay Erkal, Assoc. Prof. Dr. T. Elvan Altan Ergut, Assoc. Prof. Dr. Neşe Gurallar for their valuable discussions and helpful comments. I would like to thank to my professors and co-workers in the department of architecture in Yıldız Technical University. I wish I could write all the names, but I owe special thanks to Prof. Dr. Deniz Erinsel Önder and also to my co-workers: Özde Özdal, Semin Erkenez, Neslinur Hızlı and Burçin Mızrak for their friendship and kindness. I owe special thanks to Dr. Senem Kaymaz Koca and Öze Uluengin for their understanding and support when I constantly desired to talk about my thesis. Besides, I would like to thank Assoc. Prof. Dr. Yasemen Say Özer for her encouraged comments, and invaluable small talks about my studies. I present my honest thanks and gratitude to my parents, Hüseyin and Nursel Kırbaş, whose love, and support I always feel by my side throughout a lifetime. I owe special thanks to my sister Başak Baloğlu for her contribution during the writing process. I am x grateful to her especially for her support when I got confused and panic. Besides, I also want to thank my little sister, Beril Kırbaş for her understanding when I have to choose studying on my thesis instead of spending time with her. The last but not the least, I would like to thank my best friends: Sıdıka Toptaş, Merve Eroğul and Alp Esmer and their beloved spouses for their support and love about ten years of my life both in Ankara and İstanbul. In addition to all, I would like to thank Jacques Derrida whose “ghosts” (his ghost and his concept at the same time) consistently haunted me and lead me to write this thesis. I sincerely hope his ghosts stop haunting me in my doctorate studies. xi TABLE OF CONTENTS ABSTRACT ................................................................................................................. v ÖZ ............................................................................................................................... vii ACKNOWLEDGMENTS ............................................................................................ x TABLE OF CONTENTS ........................................................................................... xii LIST OF TABLES .................................................................................................... xiv LIST OF FIGURES .................................................................................................... xv CHAPTERS 1. INTRODUCTION ................................................................................................... 1 1.1 The Aims of the Thesis..................................................................................... 3 1.2 Research Methods ............................................................................................ 4 1.3 Organization of the Thesis................................................................................ 7 2. ”GHOSTS” IN ARCHITECTURAL DISCOURSE ............................................. 11 2.1 Architecture as a Body: Emergence of the “Ghosts” ..................................... 11 2.1.1 Ghost as Potential for Future “Yet to Come” .......................................... 11 2.1.2 History ..................................................................................................... 26 2.1.3 Mourning and Memory ........................................................................... 28 2.2 Architecture as a Haunted Discipline ............................................................. 29 2.2.1 The Ghosts in Architectural History ....................................................... 29 2.2.2 Ghost Buildings as a Part of the Culture of the City ............................... 36 3. GHOST BUILDINGS ........................................................................................... 43 3.1 Concept and Content of the Term “Ghost Building” .................................... 43 3.2 Ghost Building Examples in Turkey and All Around the World.
Recommended publications
  • L'hantologie Résiduelle, L'hantologie Brute, L'hantologie Traumatique*
    Playlist Society Un dossier d’Ulrich et de Benjamin Fogel V3.00 – Octobre 2013 L’hantologie Trouver dans notre présent les traces du passé pour mieux comprendre notre futur Sommaire #1 : Une introduction à l’hantologie #2 : L’hantologie brute #3 : L’hantologie résiduelle #4 : L’hantologie traumatique #5 : Portrait de l’artiste hantologique : James Leyland Kirby #6 : Une ouverture (John Foxx et Public Service Broadcasting) L’hantologie - Page | 1 - Playlist Society #1 : Une introduction à l’hantologie Par Ulrich abord en 2005, puis essentiellement en 2006, l’hantologie a fait son D’ apparition en tant que courant artistique avec un impact particulièrement marqué au niveau de la sphère musicale. Évoquée pour la première fois par le blogueur K-Punk, puis reprit par Simon Reynolds après que l’idée ait été relancée par Mike Powell, l’hantologie s’est imposée comme le meilleur terme pour définir cette nouvelle forme de musique qui émergeait en Angleterre et aux Etats-Unis. A l’époque, cette nouvelle forme, dont on avait encore du mal à cerner les contours, tirait son existence des liens qu’on pouvait tisser entre les univers de trois artistes : Julian House (The Focus Group / fondateur du label Ghost Box), The Caretaker et Ariel Pink. C’est en réfléchissant sur les dénominateurs communs, et avec l’aide notamment de Adam Harper et Ken Hollings, qu’ont commencé à se structurer les réflexions sur le thème. Au départ, il s’agissait juste de chansons qui déclenchaient des sentiments similaires. De la nostalgie qu’on arrive pas bien à identifier, l’impression étrange d’entendre une musique d’un autre monde nous parler à travers le tube cathodique, la perception bizarre d’être transporté à la fois dans un passé révolu et dans un futur qui n’est pas le nôtre, voilà les similitudes qu’on pouvait identifier au sein des morceaux des trois artistes précités.
    [Show full text]
  • The Focus Group and Belbury Poly by Mark Fisher
    Nostalgia for Modernism: The Focus Group and Belbury Poly ‘Myself and my friend Jim Jupp had been making music, independently and together for a while, and also obsessing over the same things – the cosmic horror of Machen, Lovecraft, the Radiophonic Workshop, weird folk and the occult. We realised that we wanted to put our music out, but also create our own world where we could play with all these reference points. Starting our own label was the only way to do it.’ Julian House is describing how he and his school-friend Jim Jupp came to found the Ghost Box label. Off-kilter bucolic, drenched in an over-exposed post-psyche-delic sun, Ghost Box recordings are uneasy listening to the letter. If nostalgia famously means ‘homesickness’, then Ghost Box sound is about unhomesickness, about the uncanny spectres entering the domestic environment through the cathode ray tube. At one level, the Ghost Box is television itself; or a television that has disappeared, itself become a ghost, a conduit to the Other Side, now only remembered by those of a certain age. No doubt there comes a point when every generation starts pining for the artefacts of its childhood – but was there something special about the TV of the 1970s which Ghost Box releases obsessively reference? ‘I think there definitely was something powerful about the children’s TV from that period,’ House maintains. ‘I think it was just after the 60s, these musicians and animators, film makers had come through the psychedelic thing and acid folk, they had these strange dark obsessions that they put into their TV programmes.
    [Show full text]
  • Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music
    Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption.
    [Show full text]
  • Ghosts of My Life Writings on Depression, Hauntology and Lost Futures CONTENTS
    Ghosts Of My Life Writings on Depression, Hauntology and Lost Futures CONTENTS 00: Lost Futures 1 'The Slow Cancellation of the Future' 2 Ghosts Of My Life 30 01: The Return of the 70s 49 No Longer the Pleasures: Joy Division 50 Smiley's Game: Tinker, Tailor, Soldier, Spy 64 The Past is an Alien Planet: The First and Last Episodes of Life on Mars 76 'Can the World be as Sad as it Seems?': David Peace and his Adapters 80 Now Then, Now Then: Jimmy Savile and 'the 70s on Trial' 88 02: Hauntology 97 London After the Rave: Burial 98 Downcast Angel: Interview with Burial 101 Sleevenotes for The Caretaker's Theoretically Pure Anterograde Amnesia 109 Memory Disorder: Interview with The Caretaker 112 Home is where the Haunt Is: The Shining's Hauntology 120 Hauntological Blues: Little Axe 128 Nostalgia for Modernism: The Focus Group and Belbury Poly 133 The Ache of Nostalgia: The Advisory Circle 139 Someone Else's Memories: Asher, Philip Jeck, Black To Comm, G.E.S., Position Normal, Mordant Music 143 'Old Sunlight From Other Times and Other Lives': John Foxx's Tiny Colour Movies 152 Electricity and Ghosts: Interview with John Foxx 160 Another Grey World: Darkstar, James Blake, Kanye West, Drake and 'Party Hauntology' 171 03: The Stain of Place 183 'Always Yearning For The Time That Just Eluded Us' - Introduction to Laura Oldfield Ford's Savage Messiah 184 Nomadalgia: The Junior Boys' So This is Goodbye 193 Grey Area: Chris Petit's Content 199 Postmodern Antiques: Patience (After Sebald) 202 . The Lost Unconscious: Christopher Nolan's Inception 208 Handsworth Songs and the English Riots 221 'Tremors of an Imperceptible Future': Patrick Keiller's Robinson in Ruins 225 .
    [Show full text]
  • Download Download
    The Child’s Place in Pop Music —Larissa Wodtke Rekret, Paul. Down with Childhood: Pop Music and the Crisis of Innocence. Repeater, 2017. 115 pp. $15.95 pb. ISBN 9781910924495. While scholars have studied the fraught figure of the and 90s citing the corruption and disappearance of child musical star (O’Connor; Warwick), the perceived childhood. Björn Sundmark, too, gestures toward the child-likeness of adult pop and rock stars (Alberti; child in popular music by discussing children’s roles and Whiteley), actual children’s performance of and representation in popular music videos and how they are interaction with music throughout history and geography “exploited and ‘voiced over’ by other generations with (Boynton and Kok; Lury), and music written for a child stronger ‘voices’” (328). Framed by this omission in the audience (Askerøi; Bickford; Maloy, “Children’s”; Maloy fields of childhood studies, popular music studies, and “Why”), few have examined the figure of the child in cultural studies more generally, Paul Rekret’s book Down pop music and its ideological implications. In “The with Childhood: Pop Music and the Crisis of Innocence is Obvious Child: The Symbolic Use of Childhood in a welcome and thought-provoking intervention. Contemporary Popular Music,” Roger Neustadter argues Published by Repeater, a para-academic1 press in that pop music of the 1980s and 1990s, such as Michael the UK, Down with Childhood is not peer-reviewed Jackson’s “Heal the World,” Whitney Houston’s “The and is meant to reach a wide audience; accordingly, Greatest Love of All,” and Paul Simon’s “The Obvious it is shorter and written in a more colloquial style than Child,” sentimentally and nostalgically celebrates the typical academic monographs.
    [Show full text]
  • The Alphabet of Hauntology
    AdamCzas Repucha, TheKultur Poltergeister’s Visit.y/ FromEnglish Exorcism… Abstract The article is devoted to the history of apparatuses for sound repro- duction and to nineteenth-century speculations about the presence of ghosts in electric appliances. Its aim is to explore the relationship Thebetween sound recordingsAlphabet and home space in light of the concept of hauntology described by Jacques Derrida in Specters de Marx and reinterpreted by Simon Reynolds. The metaphor of the poltergeist ofsuggested Hauntology in the article characterises the contemporary aural expe- rience, which grows out of the contemporary concept of fidelity, and is reflected in the production of music and such operations on sound Olgaas remastering, Drenda the compression of soundtracks and the purification and “crystallisation” of recordings. Bio Adam Repucha (b. 1983) – a Ph.D. candidate in the Department of Film and Audiovisual Culture at the Institute of Polish Culture at the University of Warsaw. His research interests include the prob- lems of sound, voice and the practices and history of listening. He is working on a Ph.D. thesis on the role of the reproduction of sound in twentieth-century Polish culture. translated by Joanna Maciulewicz 2/2013 45 CzasKultury/English 2/2013 The Alphabet of Hauntology Olga Drenda What comprises a spectral, music-related genre such as hauntology? The list presented below is an attempt to pinpoint the most essential ingredients of this nebulous phenomenon, to catalogue its most significant representatives and indicate its affinities with other genres – both in music and in other creative fields. A for Advisory Circle “Remember, electricity cannot be seen or heard.
    [Show full text]
  • The Contemporary Avant-Garde: Classification, Organization, Spatiality and Practices of Resistance
    The Contemporary Avant-garde: Classification, Organization, Spatiality and Practices of Resistance Matthew John Spokes Doctor of Philosophy University of York Sociology September 2014 1 2 Abstract The intention of the thesis is to explore and make visible the sociological importance of contemporary avant-garde music by investigating the ways in which associated cultures are constituted through the interplay between technologically mediated forms of dialogue and destabilizing practices. Through the case study of hauntology, the present work explores the interrelationship between different participant groups (building on, and problematizing, aspects of Becker's Art Worlds) and how they negotiate and collaborate with one another. Methodologically-speaking, the thesis adopts multiple approaches to data collection and analysis in an effort to develop a series of conceptual research tools predicated on the partial connections and assemblages observed during field work. The research is participant-focused, dealing primarily with the ways in which these groups engage in meaning-making activities within their own interpretive frameworks. The empirical focus of the thesis is fourfold. In the first instance, this involves detailing classificatory work on genre and boundary formation as enacted by participants through differing forms of dialogue in a variety of virtual locations. Secondly, an assessment of the organizational structures developed by artists (such as the record label) and audience members (the archive) is undertaken, in an effort to understand how information is collated and stored and how the development of a mediated 'aesthetic', or metadiscourse, is facilitated by these systems. Thirdly, co- operation between social actors is examined in relation to spatial associations and participant-led acts of destabilization (read through the work of Lefebvre).
    [Show full text]
  • Newcastle University School of Arts and Cultures British Independent
    Newcastle University School of Arts and Cultures British Independent Record Labels, Memory and Mediation – Situating Music Objects in Physical and Digital Contexts Elodie Amandine Roy Submitted in partial fulfilment of the degree of PhD May 2014 ii Abstract This thesis examines the changing relationship between the material culture of music (in the form of recorded music objects) and memory (as it is sedimented in, and mediated by, the work of a selection of British independent record labels). The principal aim of this work is to explore the significant but often-overlooked material paradigm of recorded music, from Edison’s invention of the phonograph in 1877 up until the early twenty-first century, increasingly characterised by the digital archiving, collecting and consumption of music. Drawing from a broad range of cultural theorists (including Benjamin, Straw, Sterne, Kittler, Gitelman and Huyssen), this research seeks to situate recorded sound within broader discourses on memory and mediation, technology and cultural transmission. The thesis is structured around the analyses of several British independent record labels from the recent past and the present: Sarah Records (1987- 1995), Ghost Box Records (2004-) and reissue record labels, including Finders Keepers (2004-). By focusing on specific record labels and situated configurations of the material culture of music, both physical and digital, I identify and map various aspects of the music object and clarify the particular socio-technological contexts within which such configurations arise. iii Acknowledgements I would like to thank my supervisor Dr. Ian Biddle for his pragmatic approach to the research process and reading suggestions. Dr. Richard Elliott has been an inspiring mentor even since we first met in the Spring of 2010; he did not spare his encouragements, advice, or time despite being far away.
    [Show full text]