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Urban Parasites: Re-Appropriation of Interstitial Spaces in Architecture Through the Act of Graffiti

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URBAN PARASITES: RE-APPROPRIATION OF INTERSTITIAL SPACES IN ARCHITECTURE THROUGH THE ACT OF GRAFFITI A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY SENEM YILDIRIM IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE IN ARCHITECTURE SEPTEMBER 2013 URBAN PARASITES: RE-APPROPRIATION OF INTERSTITIAL SPACES IN ARCHITECTURE THROUGH THE ACT OF GRAFFITI submitted by SENEM YILDIRIM 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 Prof. Dr. Güven Arif Sargın _____________________ Head of Department, Department of Architecture Prof. Dr. Aydan Balamir _____________________ Supervisor, Department of Architecture, METU Examining Committee Members: Prof. Dr. Güven Arif Sargın, _____________________ Department of Architecture, METU Prof. Dr. Aydan Balamir, _____________________ Department of Architecture, METU Prof. Dr. Abdi Güzer, _____________________ Department of Architecture, METU Assoc. Prof. Dr. Müge Akkar Ercan, _____________________ Department of City and Regional Planning, METU Prof. Dr. Zeynep Uludağ, _____________________ Department of Architecture, Gazi University Date: _________________ 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. Senem Yıldırım iv ABSTRACT URBAN PARASITES: RE-APPROPRIATION OF INTERSTITIAL SPACES IN ARCHITECTURE THROUGH THE ACT OF GRAFFITI Yıldırım, Senem M.Arch., Department of Architecture Supervisor : Prof. Dr. Aydan Balamir September 2013, 161 pages This thesis focuses on parasitic spaces as areas of re-appropriation displaying radical stands against sterility of urban environment. The aim is to search for the potential of the formation and spread of urban parasites in the city for a new method in designing architectural environment. Urban parasites are indicated in the study as areas of individual intervention formed in interstitial spaces of city. They form alternative zones within the urban fabric that emerge from spatial and symbolic connection of individually transformed interstices sharing the same context. As a unique form of urban parasites, the study grounds on the act of graffiti, since it forms an architectural discourse on reconstruction of interstices, and encourages alternative spatial configurations. Referred as observers of city, graffiti artists are studied as creators of urban scenes and intervenors of new foregrounds for alternative territories. The process of choosing graffiti spots is researched as a way of recognizing and interacting with interstices of city, through the act of walking. While choosing spots, graffiti artists provide the continuity of parasitic zones by spatially and symbolically referring to other spots. To trace back the development of interstitial spaces, parallel with the heritage of graffiti forming them, this thesis focuses on the city of Berlin as a significant case on the subject. To observe urban parasites formed by connection of graffiti spots and examine the changing identity of interstices in different contexts, the graffiti map of Berlin is reinterpreted along the route from Mitte, the center of former East Berlin, to Friedrichshain, the housing district of former East Berlin. By producing maps based on personal observations and comparing them with other available maps, the study traced the continuity of urban parasites overlapping with graffiti spots in Mitte and Friedricshain before and after Berlin Wall, while documenting the changing identity of interstitial nodes by observing Kunsthaus Tacheles in Mitte and Yaam in Friedrichshain. Keywords: Urban Parasites, Interstitial Spaces in Architecture, Re-Appropriation of Space, the Act of Graffiti, Berlin v ÖZ KENT PARAZİTLERİ: MİMARİDE ARA MEKANLARIN GRAFİTİ MÜDAHALESİ İLE YENİDEN SAHİPLENİLMESİ Yıldırım, Senem Yüksek Lisans, Mimarlık Bölümü Tez Yöneticisi: Prof. Dr. Aydan Balamir Eylül 2013, 161 sayfa Bu tez, yeniden sahiplenme alanları olan ve varolan kentsel çevrenin sterilliğine karşı radikal duruşlar sergileyen parazit mekanlara odaklanmaktadır. Tezin amacı, kent parazitlerinin biçimlenişi ve kent içinde yayılmasının mimari çevrenin tasarlanması için yeni bir method olma potansiyelini araştırmaktır. Kent paraziti kavramı tezde kentin ara mekanlarında şekillenen bireysel müdahale alanlarını işaret etmektedir. Kent parazitleri, aynı bağlamı paylaşan dönüştürülmüş ara-mekanların, mekansal ve sembolik olarak birbirine bağlanmasıyla oluşan, kent dokusu içinde alternatif bölgeler oluşturur. Dikkate değer bir kent paraziti örneği olarak grafiti, ara-mekanların yeniden tasarlanması üzerine mimari bir söylem ileri sürdüğü ve alternatif mekansal biçimlenmeleri teşvik ettiği için, çalışmanın temelini oluşturmaktadır. Tezde kent gözlemcileri olarak anılan grafiti sanatçıları, kent görünümünün yaratıcıları ve alternatif mekanların oluşabilmesi için yeni zeminler hazırlayan kent müdahalecileri olarak incelenmiştir. Potansiyel grafiti noktalarının seçimi, yürüme eylemini kullanarak kent mekanını gözlemleme ve onunla etkileşmenin bir metodu olarak araştırıldı. Grafiti sanatçısı, grafiti noktalarını seçerken, mekansal ve sembolik olarak diğer noktalara referans vererek kent parazitlerinin sürekliliğini sağlar. Çalışma, ara-mekanların, onları şekillendiren grafiti mirasına paralel olarak, farklı zaman aralıklarında gelişiminin izini sürmek için, bu konuda önemli bir örnek olan Berlin şehrine odaklandı. Ara mekanların farklı bağlamlara göre değişen kimliklerini incelemek ve grafiti noktalarının birleşmesi ile şekillenen kent parazitlerini gözlemlemek için; eski Doğu Berlin merkezi Mitte’den eski Doğu Berlin’in toplu konut bölgesi Friedrichshain’e uzanan rota üzerinde Berlin grafiti haritası yeniden çizildi. Kişisel gözlemlere dayanarak hazırlanan ve mevcut diğer görsellerle karşılaştırılan haritalar aracılığıyla, tez, Berlin Duvarı ve sonrası Mitte ve Friedrichshain’de grafiti noktalarıyla kesişen kent parazitlerinin devamlılığının izini sürdü, bu sayede, ara mekanların düğüm noktaları oluşturduğu Mitte’de Kunsthaus Tacheles ve Friedrichshain’de Yaam’ı gözlemleyerek, parazitlerin bağlamlarına göre değişen kimliklerini belgeledi. Anahtar Kelimeler: Kent Parazitleri, Mimaride Ara Mekan Kavramı, Mekanın Yeniden Örgütlenmesi, Grafiti, Berlin vi To My Family vii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my advisor, Prof. Dr. Aydan Balamir for all her incredible supports, guidance and patience throughout this research. I would also like to thank the examining committee, Prof. Dr. Güven Arif Sargın, Prof Dr. Abdi Güzer, Assoc. Prof. Dr. Müge Akkar Ercan, and Prof. Dr. Zeynep Uludağ for their guidance all through my undergraduate and graduate years and also for their valuable suggestions and comments for the thesis. I owe special thanks first and foremost to Erkan Kerti for his support, help and caring throughout this difficult process, without him I wouldn’t be able to finish this thesis. I would like to offer my special thanks to all my professors at Middle East Technical University and Gazi University, and my colleagues at Gazi University for their supports throughout my thesis studies. I will always be grateful; to Su Ertürkmen, Beril Kapusuz and Oya Memlük who has always accompanied me with such patience. I would also like to thank Marli King for all her contributions to this thesis whom I have taken advice throughout the whole process, and all others whom I forget to name for their contributions to this thesis but also for their moral support. Last but upmost I would like to express my appreciation to my family for all their love and support: To my brother Ahmet Yıldırım for being so caring and supportive, my father Mustafa Yıldırım, my mother Zeynep Yıldırım and my aunt Neriman Yıldırım for always helping me out and taking care of me. viii TABLE OF CONTENTS ABSTRACT……………….……………………………………………………….……….. v ÖZ ………………………………………………………………………………………….. vi ACKNOWLEDGEMENTS ……………………………………………………..……….. viii TABLE OF CONTENTS ………………………………………………………….………. ix LIST OF FIGURES ………………………………………………………..……………... xii CHAPTERS 1. INTRODUCTION ……………………………………………………………… 1 1.1. Definition of the Problem …………………………………………….. 1 1.2. Aim and Scope of the Thesis …………………………………………. 2 1.3. Method of the Study ……………………………….………………….. 4 2. OF INTERSTITIAL SPACES …………………………………..……………... 11 2.1. Conditions of Space: Placing the Place-less Individual in the Post- Modern City Space ……………………………………………………..… 11 2.2. Intervention to Architectural Space: Re-Appropriating Urban Space ………………………………………………………………..….… 15 2.2.1. Do-It-Yourself Urbanism ……………………………….. 17 2.2.2. Minor Geographies …………...…………………………. 18 2.3. Parasitic Spaces: A Reading of Interstitial Spaces for the Creation of the Re-Appropriated Spaces in the Existing Architectural Fabric …………… 19 2.3.1. Architectural Parallax ………………………………...…. 21 2.3.2. The Fold ……………………………...………………….. 23 2.3.3. Heterotopias …………………………...………………… 24 2.4. Interconnections in Architectural Space: Binding Urban Parasites: A semiological search of urban parasites in the city space …………………. 26 2.4.1. The Cell .......................................................................….
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    24 CAA Conference Information 2006 ARTspace is a conference within the Conference, tailored to the interests and needs of practicing artists, but open to all. It includes a large­ audience session space and a section devoted to the video lounge. UNLESS OTHERWISE NOTED. ALL ARTSPACE EVENTS ARE IN THE HYNES CONVENTION GENTER, THIRD LEVEl, ROOM 312. WEDNESDAY, FEBRUARY 22 ------------------- 7:30 AM-9:00 AM MORNING COFFEE, TEA, AND JUICE 9:30 AM-NOON SlOPART.COM BRIAN REEVES AND ADRIANE HERMAN Slop Art corporate representatives will share popular new product­ distribution and expression-formatting strategies they've developed to address mounting consumer expectation for increasing affordability, portability, familiar formatting, and validating brand recognition. New franchise opportunities, including the Slop Brand Shippable Showroom™, will be outlined. Certified Masterworks™ and product submission guidelines FREE to all attendees. 12:30 PM-2:00 PM RECENT WORK FROM THE MIT MEDIA LAB Christopher Csikszelltlnihalyi, a visual artist on the faculty at the MIT Media Lab, coordinates a presentation featuring recent faculty work from the MIT Media Lab; see http;llwww.media.mit.edu/about! academics.htm!. 2:30 PM-5:00 PM STUDIO ART OPEN SESSIOII PAINTING Chairs; Alfredo Gisholl, Brandeis University; John G. Walker, Boston University Panelists to be announced. BOSTON 25 THURSDAY, FEBRUARY 23 2:30 PM-5:00 PM STUDIO ART OPEN SESSIOII 7:30 AM-9:00 AM PRINTERLY PAINTERLY: THE INTERRELATIONSHIP OF PAINTING AND PRINTMAKING MORNING COFFEE, TEA, AND JUICE Chair: Nona Hershey, Massachusetts College of Art Clillord Ackley, Museum of Fine Arts, Boston 9:00 AM-5:30 PM Michael Mazur, independent artist James Stroud, independent artist, Center Street Studio, Milton Village, VIDEO lOUNGE: EXPANDED CINEMA FOR THE DIGITAL AGE Massachusetts A video screening curated by leslie Raymond and Antony Flackett Expanded Cinema emerged in the 19605 with aspirations to explore expanded consciousness through the technology of the moving image.
  • Street Art: Lesson What Is Street Art? 9 How Is It Diferent from Grafti? Why Can It Be Perceived As Controversial?

    Street Art: Lesson What Is Street Art? 9 How Is It Diferent from Grafti? Why Can It Be Perceived As Controversial?

    Street Art: Lesson What is Street Art? 9 How is it diferent from Grafti? Why can it be perceived as controversial? LESSON OVERVIEW/OBJECTIVES Students will learn about Street Art, its history and evolution. They will explore the differences between Street Art and Graffti and talk about why Street Art can be controversial. Students will learn about a well known street artist named Banksy and his work and style as well as look at samples of street art from aroud the world. Students will use stencils, paints and pens to create their own personal brand in the form of street art. KEY IDEAS THAT CONNECT TO VISUAL ARTS CORE CURRICULUM: Based on Utah State Visual Arts Core Curriculum Requirements (3rd Grade) Standard 1 (Making): The student will explore and refne the application of media, techniques, and artistic processes. Objective 1: Explore a variety of art materials while learning new techniques and processes. b. Use simplifed forms, such as cones, spheres, and cubes, to begin drawing more complex forms. d. Make one color dominant in a painting. e. Create the appearance of depth by drawing distant objects smaller and with less detail than objects in the foreground. Objective 3: Handle art materials in a safe and responsible manner. a. Ventilate the room to avoid inhaling fumes from art materials. b. Dispose and/or recycle waste art materials properly. c. Clean and put back to order art making areas after projects. d. Respect other students’ artworks as well as one’s own. Standard 2 (Perceiving): The student will analyze, refect on, and apply the structures of art.
  • A Culture of Appropriation: Strategiesof Temporaryreuse in Eastgermany by Michaelaheinemann Diplom-Ingenieurarchitektur Technicaluniversity of Berlin

    A Culture of Appropriation: Strategiesof Temporaryreuse in Eastgermany by Michaelaheinemann Diplom-Ingenieurarchitektur Technicaluniversity of Berlin

    A Culture of Appropriation: Strategies of Temporary Reuse in East Germany by Michaela Heinemann Diplom-Ingenieur Architektur Technical University of Berlin 2002 CA'HUSE INS OF T ECHNOLOI~V Submitted to the Department of Architecture in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies LIBRARIES at the Massachusetts Institute of Technology June, 2005 ROTCH) Signature of Author Michaela Heinemann, Department of Architecture, May 19, 2005 Certified by Professor Mark JartornbekWs,6ciate Professor of History and Architecture, Thesis Supervisor Accepted by - Professor Julia< inart, Professor &FAkhitecture, Chair, Committee on Graduate Students Copyright 2005 Michaela Heinemann. All Rights Reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. S,0jlMML Reader Caroline Jones Associate Professor of the History of Art History, Theory and Criticism Department of Architecture 3 A Culture of Appropriation: Strategies of Temporary Reuse in East Germany by Michaela Heinemann Submitted to the Department of Architecture in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies Abstract This thesis examines the possibilities of creative appropriation of existing spaces. It defines interstitial practices as both critical and imaginative forces that actively participate in the production of social space. Temporary interventions assert their topicality by inserting themselves into specific urban discourses in which they have the potential to act as cultural catalysts. Two recent festivals, Volkspalast (2004) in Berlin and Hotel Neustadt (2003) in Halle (Saxony-Anhalt), serve as case studies that exemplify different strategies of the temporary.