One of the world’s leading architectural events, International Architecture Exhibition of la Biennale di Venezia’s next edition will take place on 28 May – 27 November 2016.
The coordinator of the Pavilion of Turkey, the Istanbul Foundation for Culture and Arts (İKSV) is making a two-stage open call to choose the project to be exhibited in the pavilion. The deadline for the first stage applications is 23 October 2015.

The applications, open to all people and institutions working in relevant fields, including architects, designers, artists, historians, curators, theoreticians, and critics, will be evaluated through a two-stage process. The first stage calls for the applications to draft a conceptual framework for an exhibition in the Pavilion of Turkey. The proposals are expected to present a conceptual framework that is capable of discussing the contemporary discourses in the field of architecture on a local, regional, and global context through fresh ideas, and explores the concepts on or beyond architecture through alternative interdisciplinary practices. The projects chosen for the second stage will be evaluated on their method, curatorial team, publications, and budget.

All applications must be submitted by email to the venedikbienali@iksv.org by 18.00 on Friday, 23 October 2015. Detailed information on the terms of application can be found at http://iksv.org/en/biennialofvenice.

The Selection Committee that will chose the project to be exhibited in the Pavilion of Turkey comprises Prof. Dr. Sibel Bozdogan, Kadir Has University, Faculty of Art and Design, Head of Architecture Department; Harvard Graduate School of Design, Lecturer; Levent Calikoglu, Director of Istanbul Modern Museum; Prof. Dr. Arzu Erdem, Abdullah Gül University, Dean of Faculty of Architecture; Prof. Dr. Murat Güvenc, Kadir Has University, Director of Istanbul Studies Centre; Kadir Has University, Faculty of Economic Administrative and Social Sciences, Political Science and Public Administration Lecturer; Yesim Hatirli, Founding Partner in Hatirli Architecture Co.Ltd; Member of Turkish Association of Architects in Private Practice, (TSMD); Middle East Technical University, Department of Architecture, Visiting Lecturer; Prof. Dr. Süha Ozkan, Founding President of International Union of Architects, and Prof. Dr. Ugur Tanyeli, Bilgi University, Dean of Faculty of Architecture.

The allotment of 20 years (from 2014 to 2034) at Arsenale, one of the two main venues of the exhibition, allowed the Pavilion of Turkey to take part for the first time in 2014 in the International Architecture Exhibition, la Biennale di Venezia.

The 15th International Architecture Exhibition, la Biennale di Venezia will take place on 28 May – 27 November 2016 and the main exhibition will be curated by Alejandro Aravena.

For detailed information: iksv.org/en

To follow the Pavilion of Turkey in the 15th International Architecture Exhibition, la Biennale di Venezia on social media:

facebook.com/istanbulkultursanatvakfi

twitter.com/iksv_istanbul

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Beatriz Colomina and Mark Wigley have been appointed curators of the 3rd Istanbul Design Biennial, to be held from 22 October to 4 December 2016 by the Istanbul Foundation for Culture and Arts (İKSV).

 Internationally renowned architectural historian and theorist Beatriz Colomina is Professor of Architecture and Founding Director of the Program in Media and Modernity at Princeton University. Her books include Manifesto Architecture: The Ghost of Mies (Sternberg Press, 2014), Clip/Stamp/Fold: The Radical Architecture of Little Magazines 196X-197X (2010), Domesticity at War (2007), Privacy and Publicity: Modern Architecture as Mass Media (1994) andSexuality and Space (1992). She is curator with a team of Princeton Ph.D. students of the exhibitions Clip/Stamp/Fold: The Radical Architecture of Little Magazines 196X-197X (which opened at Storefront for Art and Architecture, New York, 2006 and has travelled to 11 venues worldwide), Playboy Architecture, 1953-79 (which opened at NAi Maastricht, 2012 and was at the DAM (Deutsche Architektur Museum) in Frankfurt in 2014, and Radical Pedagogies: Architectural Education in a Time of Disciplinary Instability (Lisbon Triennale, 2013 and Venice Biennale 2014).

 

Architecture historian, theorist, and critic from New Zealand based in New York, Mark Wigley is Professor and Dean Emeritus of Columbia University’s Graduate School of Architecture, Planning, and Preservation. He is an architectural theorist, critic, and historian from New Zealand who is based in New York. The author of The Architecture of Deconstruction: Derrida’s Haunt (1993), White Walls, Designer Dresses: The Fashioning of Modern Architecture (1995), and Constant’s New Babylon: The Hyper-Architecture of Desire (1998), he coedited, with Catherine de Zegher, The Activist Drawing: Retracing Situationist Architectures from Constant’s New Babylon to Beyond, (2001) and was one of the founders of Volume magazine. He has curated exhibitions at the MoMA in New York, the Witte de With in Rotterdam, The Drawing Center in New York, and the CCA in Montreal. His forthcoming book is Buckminster Fuller Inc.: Architecture in the Age of Radio.

 

About the Istanbul Design Biennial

 

The Istanbul Design Biennial, taking place since 2012, aims to bring together a diverse cross section of design ideas, exploring a wide range of fields concerning design. Seeding ideas and fostering dialogue and intersections within the creative and academic community, the biennial operates on a network of national and international collaborations with cultural agents, institutions, universities and companies. Using the city as a dynamic space for projects, actions and interventions the biennial tackles global design problems by discussing the notion of design, stimulating critical debate, foregrounding underexplored or overlooked aspects of society and prompting further investigation into and exchange about emerging conditions of our world. Committed to design as a tool for understanding the complex role of design in today’s society the biennial as a progressive discussion platform is in permanent transformation.

The conceptual framework of the 3rd Istanbul Design Biennial, organised by the Istanbul Foundation for Culture and Arts from 22 October to 4 December 2016, will be announced at a press conference in December 2015 by the curators Beatriz Colomina and Mark Wigley.

The 3rd Istanbul Design Biennial Advisory Board Members are managing director of Finnish design company Artek Marianne Goebl; architect and founder of architecture studio Superpool Selva Gürdoğan; designer, historian, architecture critic and curator Gökhan Karakuş; John H. Bryan Chair and Curator of Architecture and Design at the Art Institute of Chicago and curator of the 2nd Istanbul Design Biennial Zoë Ryan; and Founding Director Vitra Design Museum, President C.I.R.E.C.A. Domaine de Boisbuchet Alexander von Vegesack.

Carried out by Istanbul Modern in partnership with The Museum of Modern Art (MoMA) / MoMA PS1, the project for the second temporary installation of the YAP Istanbul Modern: Young Architects Program has been announced: “ALL THAT IS SOLID”. Designed by PATTU (Cem Kozar, Işıl Ünal), the project will be installed in early June in Istanbul Modern’s courtyard. It will host special events addressing especially the young audience and can be used throughout the summer of 2015 by museum visitors of all ages.

PATTU regards “ALL THAT IS SOLID” as a temporary site-specific installation that is inspired by the industrial history of the area. It is a reminder of the past but also a statement about the imminent change the future holds, so we can be more critical about it. According to PATTU: “Buildings are like anchors to memories because they tend to last longer than our human lifespan. But how solid are buildings? The fact that they are made of stone, cement and marble does not really make them last eternally. They can easily be gone in a day. So we borrowed a part of the famous quote ‘All that is solid melts into air.’ Our approach was to dissect the space around Istanbul Modern with all its elements and previous constructions and reassemble them, showing the ephemeral side of architecture. The design borrows geometries from buildings that once stood in the area and crunches them together in a chaotic way. But this chaos starts making sense over the course of a day as the transparent shapes become opaque. Past geometries become visible, and invisible.”

Held biannually during the summer, the YAP Istanbul Modern offers emerging architects the opportunity to design temporary exterior installations through an innovative approach to architectural design. Nominators from across Turkey and the TRNC were contacted. These included architectural academicians, architectural critics, members of periodical publications, and representatives from professional organizations such as the Chamber of Architects and the Association of Architects in Private Practice. On 11 November 2014, 5 finalists were selected from among the 30 young candidates put forth by these nominators who then assessed the portfolios presented by finalists. The finalists were asked to develop proposals for a temporary installation for Istanbul Modern’s courtyard. The selection of January 22 was made from among these proposals. “Whisper of Trees” of Ali Sinan & Hasan Okan Çetin; “House of Ropes” of FLAT C; “Collective Ground” of Herkes İçin Mimarlık (Architecture for All); “The Bosphorus Grove” of Young & Ayata were the other projects developed for Istanbul Modern’s courtyard and presented to the jury on January 22 in addition to “ALL THAT IS SOLID” of PATTU. In addition to the winners, the designs proposed by all the finalists of the YAP International programs will be exhibited at Istanbul Modern, MoMA PS1 (New York), MAXXI (Rome), CONSTRUCTO (Santiago), and MMCA (Seoul).

PATTU (CEM KOZAR, IŞIL ÜNAL)
Founded in 2009 by Cem Kozar and Işıl Ünal, PATTU is active in the fields of architecture, urban research, exhibition design and graphic design. Raised in Antwerp, Belgium, Cem Kozar (1981, Lüleburgaz) received his formal education as an architect (Istanbul Technical University, 2005). After his graduation, he worked for various architectural offices in Istanbul. He published his master’s thesis “Reading the dynamics of the contemporary city” in 2009. Currently he continues working on his Ph.D. dissertation about the relationship between the museum and the city. In the office, he is mostly working on idea and content development, and space/interaction design. Işıl Ünal (1983, İstanbul) is a landscape architect graduated from Istanbul University (2006). She worked with various landscape architecture offices during and after her studies and had been a part of various urban and landscape design projects in Turkey. After founding PATTU together with Cem Kozar, she started working on graphic design and exhibition projects. In the office, she is responsible for the visual language of the projects.

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KEYNOTE SPEAKER: Jeremy Aynsley, Professor of Design History, University of Brighton., Chair, Design History Society UK

THEME: “It was inevitable:”Reads the opening of Nobel Laureate Gabriel Garcia Marquez’s much acclaimed book, Love in The Time of Cholera. “It was inevitable: the scent of bitter almonds always reminded him of the fate of unrequited love.” And it is inevitable: every news item on wars, revolts and disasters reminds us of the fate of people suffering. It is inevitable for designers not to ponder the place of design in a world in turmoil. Turmoil, as a state of great disturbance, confusion, or uncertainty may apply to subjects as well as cultures, societies, and marginalized identities.

What are the potentials and shortcomings of design when people face constant fear, danger, death, hunger and sickness; when they strive to continue their lives in search of new normalcies in unsettling, unhomely and unfriendly environments? Is it possible to talk about an emancipatory position for design under these circumstances? What can be the designer’s capacity and role in anxiety-ridden contexts embedded in uncertainty? How does design respond to turmoil in various scales and define, reinforce, or exacerbate such conditions? Can design resist, preempt, or avert turmoil?

This year’s symposium adresses such questions under specific conditions of displacement, replacement and emplacement. These are highly charged terms, loaded with multiple meanings, some of which are cited below to indicate the span of possible approaches for symposium presentations. Papers are welcome to focus on one of the thematic categories or their intersections at various levels in the context of different design fields including spaces, buildings, industrial products, graphics, clothing and others.

Displacement:  1. The removal of someone or something by someone or something else which takes their place; 2. The enforced departure of people from their homes, typically because of war, persecution, or natural disaster; 3. (Psychoanalysis) The unconscious transfer of an intense emotion from one object to another

  • Geographical displacement, i.e. war and forced migration
  • Cultural displacement, i.e., hybrid cultural practices caused by migration
  • Professional displacement, i.e., unprecedented tasks for established professions
  • Technological displacement, i.e., new media taking the place of the traditional desigers’ role
  • Domestic displacement, i.e. places of the homeless

Replacement:  1. A person or thing that takes the place of another; 2. A person who fills the role of (someone or something) with a substitute; 3. An immediate renewal of an unsuccessful attack, often while still on the lunge

  • Corporeal replacement, i.e. prosthesis after personal turmoil or traumas
  • Replacement of needs and priorities in everyday life
  • Replacement of realities, i.e. the role of histories, memories, dreams and hopes in coping with turmoil.

Emplacement: 1. A structure on or in which something is firmly placed; 2. A platform or defended position where a gun is placed for firing; 3. (chiefly Geology) The process or state of setting something in place or being set in place

  • Geographical emplacement, i.e. refugee camps
  • Urban emplacement, i.e. urban renewal
  • Corporeal emplacement, i.e. migrant enclaves
  • Cultural emplacement, i.e. gentrification

Participants are invited to address these or similar themes as they relate to design discourses, production processes, products, producers and users.

CALL FOR PAPERS Those who are interested in contributing papers to the tenth 4T Symposium are invited to submit a title and an abstract of 250-300 words through EasyChair (https://easychair.org/conferences/?conf=5t2015) by January 30th 2015. Registration to EasyChair is essential in order to submit abstracts. The symposium language is English, therefore all abstracts, presentations and papers should be in English. For any further questions please contact Bahar Emgin (bahar.emgin[at]yasar.edu. tr).

The WordPress.com stats helper monkeys prepared a 2014 annual report for this blog.

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dhoku

Wow!

Since October, İstanbul has welcomed many creative events from arts to innovation, from branding to design. It’s so nice to experience the moment, while this city  is stepping in to a ” design city ” atmosphere every single day.

I listed some of the major events that took place during the last 4 months as below:

September 4-6   // Art International Istanbul, 2nd edition (http://istanbulartinternational.com/)

October 13-18 // Istanbul Fashion Week (http://mbfashionweek.com/istanbul/schedule )

October 28 – December 14 // The Moving Museum @Sishane Autopark ( http://www.themovingmuseum.com/filtered/istanbul )

October 29-30  // preview, Istanbul Design Biennial, 2nd edition ( http://2tb.iksv.org/index.asp )

November 1st – December 14 //  Istanbul Design Biennial + opening of the biennial parallel events

November 3-8  // Brandweek Istanbul+ Felis awards (http://en.brandweekistanbul.com/)

November 5-9 // Istanbul Design Week (http://www.istanbuldesignweek.com/en/index.html )

November 12-13 // Mini MakerFaire Istanbul ( http://www.makersturkiye.com/ )

November 13-16  // Contemporary Art, 9th edition (http://contemporaryistanbul.com/)

dozens of gallery exhibition openings in November in arts and design:

– Salon Dantel @Adahan ( https://www.facebook.com/pages/salon1/134636176549272?fref=ts )

– Solid Air @Gallery74 (http://istanbul74.com/gallery/istanbul-74-presents-defne-koz/ )

– Glass is Tomorrow meets Nude @Autoban ( http://www.glassistomorrow.eu/files/64-GITmeets_Nude_invitation__to_use_.pdf )

– Hiperkaik  Tektonik @311 Artworks

– Instructions/ Interpretatitons @ Dhoku (https://www.facebook.com/dhokurugs?hc_location=timeline )

– Zero Design Festival @Antrepot7 (http://www.zeroistanbul.com/2014/10/30/zero-design-festival2014/ )

November 19-20  // Arkimeet architecture conference ( http://www.arkimeet.com/2014/en/13)

November  28 // Design Turkey Conference and Awards ( https://www.designturkey.org.tr/?__r=8d1e9ad6efd5a9f )

December 4-6  // Innovation Week ( http://www.turkiyeinovasyonhaftasi.com/tr/default.html )

December 18-19  // MARKA conference  ( http://www.markaconference.com/en/marka2014 )

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The 2nd İstanbul Biennia  was free – entrance and reached to the 85.000 visitors this time at both venues:  Galata Greek School and Antrepot 7 , where the academy participants, sponsor booths and Zero design festival was placed. The visitors were reported as over 100.000, together with the side events, which is very alike the former 114.000 visitors recorded in 2012.

The event has  covered a large field of practices from sound to fashion design, products to architecture, crafts to gastronomy. The Greek School became a warm hub for especially young designers and students during the biennial, with its continuous talks and conferences at the main hall;  Kontraakt was a bold motivator for this to happen for sure. The team presented  live broadcasting and radio shows besides workshops and many other events they presented. ( http://www.kontraakt.com/p/the-2nd-istanbul-design-biennial.html )

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It was good to feel that the biennial empowers the design atmosphere to spread  into the city itself; the 1st of November was an unforgettable experience for the design lovers, as more than 5 openings in the Karakoy – Pera route during that day together with the biennial itself realized at the same schedule. This could be planned better, but the joy of not being able to attend all of the events in one single evening was – one of a first time experience –  in İstanbul I guess ( when its about design !) The parallel events all listed above were as much as attractive as the biennial exhibitions itself.

It was no good to hear about a last minute Design Week, which was announced to a very limited amount of people, only a week before the event; not scheduled before, no press meetings even.. Most of the designers were unaware of the event, some of them were not invited ( yes I am also among them ;-), happily someone sent me an online invitation the day before, but I didn’t visit the event ). This, attracted negative response at word of mouth, and I do believe the organizers are more conscious about whats going on this time.

Arkimeet was also a very nice  dynamic event , which brings the architects together. Taking place at the Four Seasons Bosphorus  hotel this time; it was more professional as its participants. The Pecha Kucha night became an Arkimeet Classic at its second year with its brave content and dynamic speakers.

arkimeetthe moving museumthe moving museum

mini makerfaire istanbulcontemporray art

Not only the art, design and architecture events but also the brand events were on the focus of motivating / celebrating creativity this year in İstanbul. The latest and most significant event has just ended ( today !), the MARKA conference which brings over 30 speakers both local and global; all of them are initiators or representatives of leading brands and/or they are themselves are personally unique brands. The event  presented a bold design agenda this time, including names as Sir Bob Geldof, Lady Kinvara Balfour, Can Yalman, Güren Gökyay, Hakan Yıldırım, and Rem Koolhaas, from the creative practices. ( Rem Koolhaas cancelled his participation at last minute – without an excuse – which is I do believe e a very  big issue about one’s ethical values.)  As the moderator BJ Cunningham mentioned, brands are all about belief and promises, we learned an important lesson from the starchitect ! I guess the investors in Turkey would think twice to work with him.

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One of the bold moments about design during the event was  the talk session of  Ayşe Arman ( leading journalist ) together with Bülent Eczacıbaşı ( leading business figure ), titled: “ Can Istanbul become a Design City? ” Eczacıbaşı underlined that being a design city is more about being a sustainable, livable, social and citizen friendly city rather than taking this title as a label by institutions. Arman’s questions  about the affects of conservatism or the aesthetic unconsciousness of Turkish people  reated a worthy discussion where Eczacıbaşı focused more on the positive impact of cultural values and transforming our education system into a more creative one by integrating design thinking processes. The session gave a call on the brand conference audience as well , as representatives of leading brands, to get together and collaborate for adding value to the perception of Istanbul, as a design city.

The Innovation Week organized by TIM (Turkey Exporters Association ) in collaboration with the governmental institutions improved success this year, by the program and exhibitions. The event conquered me at heart, by its free entrance which led high school teachers to bring their students at ages between 10-17 to the event. The innovation book was also gratis to the participants. I do believe the organizers should be more precise to manage the huge crowd including both students and professionals together besides the signage of the huge venue.Time delays at the sessions were also a serious problem. Nicholas Negroponte was among the speakers of the innovation week, and he focused on his studies at MIT.He proposed an “open and public free internet” as a role model for the development of Turkey  ( I guess he was unaware the fact that Istanbul has at least doubled capacity of free internet facility when compared to London or New York 😉 . It was still inspiring .

Türkiye-İnovasyon-Haftası-bu-yıl-4-5-6-Aralık’ta-gerçekleşti

It’s impossible to write all the experience here, but I want to mention that the Gallery 74 was a perfect match for Defne Koz’s amazing 3D printed lighting structures… Gökhan Karakuş’s curation at Hiperkaik Tektonik exhibition was very mind opening  in search for new possibilities and methodologies, both on aesthetic and technical side … and of course the multidisciplinary approach and radical interpretation to a very traditional item ” lace” at SalonDantel exhibition was very attractive . This exhibition was the very first experience of product placement at a whole living venue ( Adahan ) which is in fact an active hotel. The exhibition was curated by Salon Amsterdam team with my co-curation for Turkish participants !

hiperkaik tektonikdefne kozScreen Shot 2014-12-19 at 19.35.19salondantelsalondantelstudio oyo @salondantel

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As a last note about the Istanbul design scene, I have to tell you about one of the recent exhibitions: “Idea Casting ” curated by Erdem Akan, and opened at the amazing new atelier of Ela Cindoruk and Nazan Pak. The ENCP Gallery is welcoming its guests at a cool display atmosphere, including the marvelous jewellery designs of the couple. The space works as a gallery  besides being their workshop at the same time. The designers often commission unique exhibitions in arts, design and crafts. The idea casting exhibition is a showcase of the artistic works of  names as Aşye Birsel, Atila Kuzu, Eray Makal, Sezgin Aksu, Seçkin Pirim, Aziz Sarıyer,Emir Uras, Günnur Özsoy and pays attention to the traditional crafts processes by Fevzi Koz. The exhibition can be seen until the end of January 2015. (http://www.ecnp-jewelry.com )

ecnp gallery, eray makal

Note: Photo credits, can be found at the event links mentioned in this article.

The Design Biennial prepares to take its place in the city’s design memory

The 2nd Istanbul Design Biennial organized by the Istanbul Foundation for Culture and Arts (İKSV) will take place from 1 November to 14 December 2014 and will be held free of charge. Curated by Zoë Ryan and titled The Future Is Not What It Used To Be, the biennial will host more than 50 projects that ask: “What is the future now?” by rethinking the manifesto as a platform to frame pertinent questions, the projects question the role of design, its relationship to society, and its ability to be an active agent for change.

The 2nd Istanbul Design Biennial is co-sponsored by Arçelik, Doğuş Group & Bilgili Holding, ENKA Foundation and VitrA. More companies and organisations will provide support for the biennial.

Preparations have begun at the Galata Greek Primary School

Exhibition preparations began on 15 September at the Galata Greek Primary School, the hub of the 2nd Istanbul Design Biennial. The exhibition spread over all five floors of the school, an area of approximately 2,300 square meters, projects forward, imagining new possibilities that can transform the present and help write new potential futures, while asking: “How do we define the future? Who defines it? And perhaps most importantly, whose future are we talking about?”

The exhibition will feature more than 50 projects by designers working in Australia, China, France, Japan, Mexico, the Netherlands, Turkey and the United States. The projects question the manifesto as a platform for situating ideas and pointing to new directions. They propose alternative manifestos in the form of household objects, fashion accessories, food, menus, maps, buildings, visual languages, systems, and services.

 Arranged in five departments— Broadcast, Personal, Resource, Norms and Standards, and Civic Relations— the projects in the biennial deal with a broad array of concerns and present a surprising set of multiple possible futures.   Formafantasma’s Open Manifesto, proposes new and inventive objects that appropriate and transform existing aesthetics; Moisés Hernández’s Diario (Diary), presents a social, cultural, and design critique through a rethinking of traditional Mexican objects; The Workoutcomputer by Bless is a fun and an active critique of static desk jobs; and Anthony Dunne and Fiona Raby’s United Micro Kingdoms: A Design Fiction, uses scenes from a parallel world to propose alternative values, beliefs, and priorities.

In Use of Shores, a Micro-Manifesto for Micro-Urbanisms, Iyi Ofis designs a buoyant architectural intervention and modular structure for new social links to waterfronts; non-profit organisation Herkes İçin Mimarlık‘s (Architecture for All) #occupygezi architecture, examines the potentials of citizen led building projects; with LEPSIS, designer Mansour Ouranah addresses increasing populations and food shortages with a new kitchen tool for harvesting grasshoppers; with Tools of New Survivalism, Jessica Charlesworth and Tim Parsons’ “bug-out-bags,” explore the idea of personal survival; in each of these manifestos on view at the biennial, designers are actively rethinking our relationship to the world around us.

In addition to the exhibition, the biennial hub at the Galata Greek Primary School will host different events for design enthusiasts daily for six weeks. Within the scope of the biennial, the Kontraakt team’s broadcast programming will be held on Tuesdays, Q&A’s and panels on Wednesdays, film screenings on Thursdays, and Academy Programme workshops on Fridays.

The biennial’s exhibition space, catalogue, and visual identity are designed by Istanbul based Superpool and Project Projects, New York. The promotional campaign of the biennial is prepared by Alametifarika.

The Design Biennial Events Pop-up Across the City

Design Walks, which received great attention at the first edition of the biennial, will continue with newly added routes. Comprised of visits to design studios, stores, manufacturers, and noted buildings in various areas across Istanbul, this year will also see the addition of thematic walks, which will examine the unique textures of the city’s neighbourhoods. While walking the design districts, the participants will be able to learn more about the architectural texture of the city, observe traditional crafts, while soaking up the sights and sounds of this lively metropolis. Design Walks at 15 neighbourhoods on Istanbul’s Asian and European sides will begin in October. Further details can be found at tasarimbienali.iksv.org.

The Academy Programme will feature projects that universities have been working on throughout the academic year to bring new initiatives and reveal different aspects of the biennial theme. Over 30 universities from Istanbul, Ankara, Izmir, the Turkish Republic of Northern Cyprus, as well as from Europe and the United States will take part in the programme with almost 70 projects consisting of workshops, exhibitions, panels, and seminars. Starting 1 November, the Academy Programme exhibition can be viewed at university campuses and at Antrepo no.7.

Off-Site programming will include 72 Hour Urban Action’s project “How To Do Too in Kadıköy,” brought to life through the Istanbul Design Biennial’s partnership with Design Atelier Kadıköy (TAK). Urban furniture will be built using recyclable materials at different points in Kadıköy at the biennial’s opening.

 OPENING WEEK HIGHLIGHTS

The press and professional preview of the 2nd Istanbul Design Biennial will be held on 30-31 October. The opening week will provide special opportunities to hear from a number of the participating designers as well as key experts from a variety of fields and occupations. Kicking off the biennial, Curator Zoë Ryan is joined by curators, designers and thinkers in an informal discussion on Designing Manifestos exploring the key themes of the biennial. Related panels explore the Future of Exhibitions with Paola Antonelli, Jan Boelen and Vasıf Kortun, and the Future of Publishing with biennial associate curator Meredith Carruthers and Adam Michaels (Project Projects). Also included in the opening week’s programme will be personal dialogues by designers such as Jürgen Meyer H., MischerTraxler; a new language created by Sissel Tolaas’ smell dictionary; a book launch by Rural Urban Framework; “paper electronics” workshops by Coralie Gourguechon and New Survivalism “Bug Out Bags” workshop with Jessica Charlesworth & Tim Parsons as well as many additional highlights from designers from all over the world.

To register for media or professional accreditation to the 2nd Istanbul Design Biennial:

http://tasarimbienali.iksv.org/en/press/accreditation

 For more information: tasarimbienali.iksv.org

For high resolution images: http://www.iksvphoto.com

Follow Istanbul Design Biennial on social media: facebook.com/istanbultasarimbienali, twitter.com/tasarimbienali

 For media information please contact: media@iksv.org

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The Ministry of Economy and Turkish Exporters Assembly has recently launched the brand identity for TURKEY.
The new logotype is designed by Saffron Brand Consultant and refers to the Turkish cultural patterns those can be found at the traditional arts and crafts, kilims, carpets, and architecture. It’s said to be representing rise, synergy, world, meeting, east and west, innovation, collaboration and harmony within these 8 major motif.

Turkey has been a hub of ideas and cultures for over 10,000 years. It has been home to Mesopotamia, the Ottoman empire, parts of the the silk road and some even say the wheel was invented here.

Our land and its people have been the home of incredible potential for time out of mind.
Turkey has been a hub of ideas and cultures for over 10,000 years. It has been home to Mesopotamia, the Ottoman empire, parts of the the silk road and some even say the wheel was invented here.

More recently the reforms of Kemal Atatürk brought our country forward into the 20th century and opened our doors to renewed trade.

“Our Potential” is described at the web site as follows:
We Turks don’t wait for change to happen to us. We create it – every day – in our lives and businesses. We push ourselves and our country forward, like we have done for the past 10,000 years.

We change the way we work and live so that we can change the way our clients and partners work and live for the better.

In the products we manufacture and the services we deliver, we’re not afraid to question status-quo and be the first to do something new and do something better.

We truly are the change we wish to see in the world.

Discover The Potential is an invitation to our partners and customers.We’ll help them make the most of the opportunities in front of them. By adding expertise, industrial capacity and reliable delivery to their business equation.

Making sure that they can see their business blossom and innovations come to fruition with Turkey. When our customers win, so do we. Our services and products demonstrate the incredible potential Turkey is discovering every day – and how others can do the same with us at their side.

We become masters of change as a result of the remarkable history our country has.With adaptability, empathy and a practical attitude, Turkish companies export to over 200 countries worldwide. Warm relations with customers and partners build reliable long-term relationships that hold firm in times of rapid change.

Masters of change.

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Our identity

Our visual identity is a vibrant expression of our brand idea and slogan.
The visual translation of our invitation to the world to discover the rich diversity our country can offer and the business potential it provides.

ABOUT TIM:

There were 60 thousand exporting companies in Turkey in 2013 and there are 60 export associations in 26 sectors.
TIM’s headquarter is in Istanbul. The organs of TIM are General Assembly, Council of Sectors, Board of Directors, Board of Advisors, and General Secretaryship. TIM represents all exporters in all levels through the most democratic elections. It establishes and operates the required mechanisms for the involvement of the members in the decision processes. TIM provides contact and coordination between the exporters’ unions and sectors.
Sectors

Herbal products

Water and animal products

Forestry products

Maritime industry

Precius mine and jewellery

Iron and steel

Non-iron metals

Textile

Ready made clothing

Leather

Carpet

Chemical materials

Eletrical and eletronical

Machinery and spare parts

Cement and soil products

Minery

Space aviation

Defense industry

Infomation and communication technologies

Medical optical tools

Hospital equipments and raw materials

Renewable energy

Environmental technologies

Carpet

Chemical materials

Materials technologies

Main activities and export projection of Turkish Exporters Assembly:

TIM, with involvement of relevant stake holders, prepared “2023 Turkey Export Strategy”.

The Republic of Turkey plans to reach 500 billion dollar for exports and 1,1 trillion dollar foreign trade volume in 2023 as the hundredth year of its foundation.
Turkey as the 17th largest economy in the world aims at being among the Top 10 economies in the globe in 2023 as the 100th year of its foundation. TIM is in charge of plans, designs, and works for increasing exports to 500 billion US Dollar and foreign trade volume to 1,1 trillion dollar.
TIM prepared the strategy in the sectoral dimensions, it is aimed to determine Turkey’s export strategy till 2023 in macro level, adapting it for execution, and performance management. Strategy map and the framework of performance program are drawn as the output of the project through which the export vision is evaluated in three five-year periods.

http://www.turkeydiscoverthepotential.com

TIM Office Istanbul

Dış Ticaret Kompleksi Çobançeşme Mevkii
Sanayi Cd. B Blok Kat:9 Yenibosna-İstanbul

Phone: 0212 454 04 90 / 454 04 91
Fax: 0212 454 04 13 / 454 04 83

TIM Office Ankara

Ceyhun Atuf Kansu Cad. No: 120
Balgat Çankaya-ANKARA

Phone: 0312 472 05 60 / 472 05 61
Fax: 0312 472 05 85

PLEASE WATCH TH VIDEO: FOOTSTEPS OF PATTERNS

Özlem yalım Özkaraoğlu is back at her design studio after 5 years of break given for the preparations of the first İstanbul Design Biennial, organized by İKSV in 2012.

One of the products included in Studio OYO’s latest collection, is significant as it focuses on a very traditional arts and crafts technique: quilt making. Her new designed series of quilts come up as a contemporary interpretation of the traditional products.

Similar to many other cultures, quilt and quilt making has an important role in Turkish culture throughout history, as a daily life need. Quilts are still sewed for young ladies as a common dowry tradition, and are maintaining a matter in the villages of Anatolia, but not at the urban life. This craft could be kept only alive with craftsman who is experienced in art of quilting and the tradition passes from father to son; nevertheless, ready-made products are replaced with these hand-made quilts, in the modern life. The main reasons of the increase in the preference of these new substitutes are their feasible prices and the practical materials used, yet they are unnatural synthetic fibers.
The cultural heritage is now on the verge of extinction as the new generation is not willing to continue father’s workmanship, and the number of elderly craftsmen are decreasing day by day.
‘I am impressed by my own environment and interested in modernizing the values in our traditional culture as many of my colleagues’ she states and adds: ‘If we can release these every-day product which is stuck in dowry tradition by reconsidering the materials, colors and patterns, and make people embrace the idea, then we can bring in this traditional craft to the next generations!”
A totally new combination of colors (both at cover textiles and sewing ropes) are used in the new series of design, besides futuristic and modern pattern designs. They are more masculine when compared to the former quilts. They offer a comfortable elegance besides their being 100% natural with their materials. These new quilts are waiting for their new enthusiasts as they are offering a unique, valuable yet healthy night sleep item.
The designer also underlines the fact that :“ The people prefer natural products rather than synthetics which means that its time to remember the value of the former habits!” and adds: “ It was impossible to be interested in such an issue.”
The preliminary product of the series is also important as its being the first one, and is named as “Belis” which is also the intern’s name who worked with the designer during the product development. Also a documentary film has already been launched with the product, in which one can see all the details about the process and meet the craftsman “Cemal Usta” who believed in the designers and put his effort.
The studio is now working on the possibilities of exhibiting the collection abroad.

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I was in NYC as most of the design professionals during the NYCxD ( New  York Design Week).. Besides many attractive exhibitions my focus was on the Turkish participation to the events. A young creative enterepreneur Doğa Kayalar, who works as a public relations professional has created a great opportunity for Turkish designers  within the event Wanted Design.The exhibition is organized for free by Studio M+, a New York-based boutique design collective to give designers from other countries an opportunity to showcase their talent and interact with the global design community.

Co-curated by design experts Sara Bengur and Roya Heidari, it was a showcase of exceptional talent, support cutting edge design trends from Middle East, and promote cross-cultural dialogue. With their inspirational multi-cultural background, curators Bengur and Heidari have creatively combined Eastern and Western elements, working different colors and styles into a surprising and unique balance. Their talented and artistic eyes showed through in the way they blended the audacious colors and patterns of Middle East with modern and sleek Western design aesthetics, thereby shaking up some established conventions about Middle Eastern design and decorations.

The exhibition design was managed by Müzz design, a young couple of talented designers: Erin Türkoğlu and Melodi Bozkurt, their objects were also exhibited during the show.

Wanted Design is one of the most attractive addresses of NYCxD, as the show is organized with the attendance of highly qualified brands and designers, harmonized with a bunch of new talents. Terminal Stores is  a unique and appropriate venue for such a show. The opening night was  a high fashion,as  I saw a long queue in front of the door  even at the beginning hours for the entrance. Paola Navone and Mr. Cappellini were the two known faces that I realized while staring around the designed pieces of works.

I was also influenced by the Rotring workshop taking place at the opening day, and the Parsons New School for Design… The school had collaborated with renowned design brand Aeraware in order to lead the project: Small Things Matter. The third-year studio aims to challenge students to design an inexpensive, point-of-purchase,”impulse -buy” gift item. Students have linked their designs to the charity organizations that will receive a portion of the profits from the sales of these items. The Assistant Professor Daniel Michalik , who leads this studio has warned me for a kind of ” award ceremony”  within the show, soon I enjoyed the excitement of  all those young ones  while waiting to be selected as the winner  by the jury. The dynamic atmosphere created there , was one of the most promising moments of  my visit. Congrats to the winners and of course to  all  participants ! I wish it would be a good example for the freezing design studios here !!!

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Moma, MET or even the Italian Futurism exhibition at the Guggenheim was a total disappointment for me this time, but I had my most satisfying moments during my visit at MAD. I spent a half day at the museum and want to send my congratulations to the director Glenn Adamson.The exhibitions, all of them were fantastic.

During ICFF show, the ICFF talks welcomed Turkish designers for the first time, thanks to Gaye Çevikel, the founder of Gaia Gino.The other speakers were the architect Ali Tayar, who has a studio based in NYC and designer Defne Koz, who lives and works in Chicago. The talk was leaded by Wallpaper editor, Pei-Ru Keh. These 3 leading  figure dominates the Turkish presence abroad with lots of effort and of course by showing high quality work. Dear George Beylerian and Karim Rashid were also among the audience.I was very happy to be a part of this moment and to  have had  the chance to chat with dear Gaye and Defne during  my visit.

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Now, back in İstanbul, and will be visiting Venice next week for the  Architecture Biennial, where Turkey will be presented for the first time…