Archives for the month of: January, 2015
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).

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.


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 ( 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] tr).

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

Here’s an excerpt:

A San Francisco cable car holds 60 people. This blog was viewed about 1,200 times in 2014. If it were a cable car, it would take about 20 trips to carry that many people.

Click here to see the complete report.