Re-Evaluating Modernism Through a Spatial Collection: İstanbul Complex of Retail Shops and Collaboration of Art and Architecture

ITU A|Z • Vol 16 No 2 • July 2019 • 1-17 Re-evaluating modernism through a spatial collection: İstanbul complex of retail shops and collaboration of art and architecture Ezgi YAVUZ [email protected] • Department of Architecture, Gebze Technical University, Kocaeli, Turkey Received: December 2017 • Final Acceptance: March 2019 Abstract The increasing dialogue between the arts and architecture in the period of post-World War Two emerged as a significant issue in the international arena in both architectural discourse and practice, and Turkey was not excluded from this phenomenon at the time. The article rethinks contemporary discussions and the materialized works in Turkey with reference to the wider international frame of the architectural context. Formalized around the concept of ‘situated modernism’ and the publicness of architecture, the example of the Complex of Retail Shops is examined. This subject is questioned with particular focus on the ambivalence between the international and the local in postwar architecture, and the efforts to establish a connection with the public. The novel perspective that the article suggests is a re-reading of the complex together with the questioning process of the international modern and the uneven relationship between the arts and architecture. The article aims to unearth the implicit meaning and the constructive role of this uneven relationship, specially the collaboration efforts, under the circumstances of the period. Keywords Collaboration of arts and architecture, Integration of arts and architecture, doi: 10.5505/itujfa.2019.98852 doi: İstanbul complex of retail shops, Postwar architecture, Publicness. 2 1 1. Introduction İstanbul Complex of retail shops with 1 This paper is After World War Two, the modern various panels and reliefs, the mosaic based on the PhD movement that had dominated early panel by ceramic artist Gencay Kasapçı dissertation titled 20th-century architectural culture for METU Faculty of Architecture, ‘An Aesthetic faced questions regarding its ‘modern’ the ceramic wall in the AKM building Response to an Architectural sense, i.e. contextual considerations by ceramic artist Sadi Diren, and the Challenge: of locality and public meaning, ceramic wall by ceramic artist Jale Architecture’s which actually resulted from current Yılmabaşar in Istanbul Governorship Dialogue with the demands. It was particularly criticized Hall.6 These developments make the Arts in Postwar for preventing adaptation to current postwar period particularly remarkable Turkey’ submitted in 2015 to METU, circumstances. The intricate line of for reading the uneven relationship Architectural questioning that emerged, seeking between the arts and architecture. History Graduate a new architectural discourse, While these examples all have their Program. revealed various perspectives and own dynamics and modes of operation Supervisor: Prof. affected design activity. Meanwhile, related to integrating the arts, the 1958 Dr. Elvan Altan. architecture’s relationship with the arts Brussels Fair Turkish Pavilion and 2 In fact, postwar was also re-evaluated and rethought in İstanbul Complex of retail shops are the architecture an attempt to move beyond the impasse prominent ones in terms of including is a fairly new in modern architecture. artwork as an integral part of an overall topic regarding Similar discussions and practices architectural design. The former, the studies in architectural were witnessed in Turkish art and which could be the subject of another history. There are architectural milieu in this period. It article on its own, situated the mosaic only a few studies seems that the integration of arts into wall at its center as an inextricable part on this topic with architecture was an important issue of the design to link two separate units a focus on Turkey although being barely discussed in the of the structure. While the architects as well. Most of 2 these studies only historiography. When searching the of the latter considered the artworks lightly touch on publications of the day, it is observed even during the initial design process. the integration that several themes arose from these Designed by a team including Doğan of the arts into discussions: how to implement Tekeli, Sami Sisa and Metin Hepgüler, architecture, such collaborative work; the duality İstanbul Complex of Retail Shops or only a few 7 specific examples between the past and the west; issues of exemplifies a ‘spatial collection’. So, are covered and permanency; publicity; functionality; this makes it a remarkable one for mostly discussed and the mutuality of collaboration.3 examining how artworks came to be to emphasize the These considerations brought out integrated into modern architecture artistic results. not only the debates on integrating through publicness and an oscillation Arda, F. (early 1970s). Türkiye’de the arts but also efforts to realize this between the local and the international, Başlangıçtan ideal. One remarkable artistic initiative particularly its use of several artworks Günümüze Kadar was Türk Grup Espas [Turkish Group with traditional roots, its way of locating Duvara Çakılı Espace, 1955], which embarked on artworks within the structure, and Mozaik ve Seramik the idea of synthesis and total design its design process featuring modern Olarak Duvar through team spirit, while another approach with planned integration, Resmi (thesis, 8 not submitted,/ group called Kare Metal [Square meaning a collaboration. Sanatta Yeterlilik Metal, 1955] was closely related to the The main question that emerges Tezi). Istanbul discourse and the practices of Türk related to the postwar modernist Academy of Fine Grup Espas.4 approach to architecture is why, in Arts, Istanbul. Yasa Yaman, Z. (1978). While the integration of the arts into this period in particular, modern Cumhuriyet architecture was sometimes uneven architecture desired to integrate modern Dönemi and precarious - despite starting with art into its structure. In the Turkish Duvar Resmi inexperienced moves- a discursive case, the aim was to bring an ‘aesthetic (Unpublished background was formed from the mid- quality’ and ‘civic-mindedness’ to Graduation thesis). Hacettepe 1950s onwards, especially between modern buildings (Bozdoğan & Üniversitesi, 1955 and 1958, when Türk Grup Espas Akcan, 2012:131). Another argument Ankara. Yavuz, members were active.5 In practical about postwar modernism concerned D. (2008). terms, the 1950s-1970s witnessed a the orientation of postwar architecture Mimarlık-Sanat significant progress, such as the mosaic in Latin America, the Mediterranean, Birlikteliğinde 1950-70 Aralığı. wall by painter Bedri Rahmi Eyüpoğlu, the Middle East and South Asia, Mimarlık, 344, the pylon by sculptor İlhan Koman for which were ‘rewriting’ modernism by 70-76. Yılmaz, A.N. the1958 Brussels Fair Turkish Pavilion, using local references, thus making it (2006). ITU A|Z • Vol 16 No 2 • July 2019 • E. Yavuz 3 appropriate for all localities (Bozdoğan, 1950-1960 and 1960-1980.10 In terms of 2008:64). building facilities, he defines the period This study draws on research between the years 1950-60 as a “search that embraces the critical aspects of for an international solution” that modernism, meaning a cross-reading alludes to the effects of the new political of the local and the international orientation with populist approaches approaches of the modern. The and better international relations. article therefore rereads the Complex Gülsüm Baydar (2012: 119) claims that from a perspective that accentuates the ideology of architectural profession the role of this planned integration paralleled the political ideology of the – collaboration - in ‘rewriting time. For her, this choice was nothing modernism’ and redefining the public less than maintaining their very own meaning of architecture. This raises positions in professional manner the question of whether there was any (Baydar, 2012: 119). So, it can be said connotation in terms of displaying the that the architectural milieu adopted Bir Mekan country’s own form of modernism moves in line with the political scene, Estetiği: ‘Groupe Espace’ ve Türk when collaborating with artists. Also, which consisted of a populist tone in its Sanatındaki regarding the public meaning of attempts and discourses. Yansımaları. Cey architecture, another question can be Meltem Gürel (2016: 3) claims Sanat, 13, 18-22. asked: Does art have a role to play in that Turkey’s architectural milieu Kaçel, E. (2007). responding to criticisms of modern was captivated by the opportunity of Fidüsyer: Bir Kollektif Düşünme architecture when its social utility was participating in the international arena Pratiği. In M. stressed? and impressed by the ‘re-interpreted Cengizkan (ed.), version of inter-war modernism’. Haluk Baysal- 2. Ambivalence between the local This led architects towards solutions Melih Birsel (pp. and the international integrated with modernist discourse, 7-32). Ankara: Mimarlar Odası. Turkey first experienced a multi- while dealing with a new client, Cengizkan, A. party political system after the World the private sector, and new public (2002). Bedri War Two, leading to new economic enterprises. This directly affected Rahmi’nin and socio-cultural developments and architecture, creating fertile ground bilinmeyen a new trajectory in both domestic and for experimenting in new techniques, Mozaiği: Mimarlık 11 ve Duvar Resmi. foreign politics. Turkey integrated materials and approaches. Their 9 In Modernin more into the

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