i̇lk i̇stanbul tasarim bi̇enali̇`ne uluslararasi basindan

Transkript

İLK İSTANBUL TASARIM BİENALİ’NE
ULUSLARARASI BASINDAN BÜYÜK İLGİ
İstanbul Kültür Sanat Vakfı (İKSV) tarafından bu yıl ilki gerçekleştirilen ve şehri uluslararası bir
tasarım vitrinine dönüştüren İstanbul Tasarım Bienali, kapılarını açtığı 13 Ekim’den bu yana
yoğun ilgi görüyor. Açılışından bu yana 300’ün üzerinde uluslararası basın mensubunu ağırlayan
İstanbul Tasarım Bienali dünyanın önde gelen pek çok yayın organında geniş yer buldu.
İstanbul Tasarım Bienali, açılış haftasında, ABD, Almanya, Avusturya, Belçika, Brezilya, Fransa, Hindistan,
Hollanda, Hong Kong, İngiltere, İspanya, İsveç, İtalya, Japonya, Kanada ve Rusya gibi ülkelerin önde gelen
gazetelerinin temsilcileri ve tasarım eleştirmenleri olmak üzere 300‘ün üzerinde basın mensubunu İstanbul‘da
ağırladı. İstanbul Tasarım Bienali, şu ana dek New York Times, Financial Times, Wall Street Journal,
Forbes.com, Der Spiegel, Die Tageszeitung gibi pek çok yayın kuruluşunda geniş yer buldu.
New York Times gazetesinde, tasarım yazarlarından Alice Rawsthorn tarafından İstanbul Tasarım Bienali
küratörlerinden Joseph Grima ile yapılan röportaj, 9 Eylül tarihinde yayımlandı. Rawsthorn, “Adhokrasi, tasarımın
hızla değişen rolü hakkında devam eden tartışmaya yapıcı bir katkıda bulunabilecek ve alışılmadık derecede
tutkulu bir çaba. Eğer başarılı olabilirse, İstanbul Kültür Sanat Vakfı tarafından düzenlenen İstanbul Tasarım
Bienali, küresel tasarım takvimine dinamik bir ilave olarak eklenebilir” görüşlerini vurguladı.
Wall Street Journal gazetesinin 5 Ekim tarihli sayısında Thorsten Gritschke imzasıyla yer alan makalede ise,
küratörlüğünü Emre Arolat ve Joseph Grima‟nın üstlendiği İstanbul Tasarım Bienali‟nin, kusurluluk temasını bir
ilham kaynağı olarak kullandığı ve çeşitli tasarım disiplinleri üzerinde bir konuşma noktası olarak yeniden keşfettiği
vurgulandı.
9 Ekim tarihinde Almanya‘nın önde gelen gazetelerinden Der Spiegel‘de yayımlanan Tobias Becker imzalı
röportajda İstanbul Tasarım Bienali Direktörü Özlem Yalım Özkaraoğlu‘nun, İstanbul Tasarım Bienali‟nin,
dünyadaki diğer bienallerin aksine, sadece turistik bir amaç taşımadığı, Türkiye‟de toplumsal hayatı yakından
etkileyen çeşitli sorunlara çözüm arayan bir platform olduğu sözlerine yer verildi. Haberde Özkaraoğlu‘nun, İstanbul
Tasarım Bienali‟nin özellikle Batı Avrupa‟nın Türkiye‟deki tasarıma yönelik algısını değiştirmeyi hedeflediğine dair
yorumuna da dikkat çekildi.
İstanbul Tasarım Bienali‘ni açılış haftasında ziyaret eden tasarım eleştirmenleri de bienalden övgü dolu sözlerle
bahsettiler. İngiliz Telegraph gazetesi yazarı David Nicholls, İstanbul‟un ilk Tasarım Bienali‟nin gelecek için
mükemmel bir temel oluşturduğunu, tasarım odaklı iş kollarının bienal ile birlikte ekonomiye artan katılımını görmeyi
merakla beklediğini ve İstanbul‟un bu sayede gitgide daha cazip ve dinamik bir şehir haline geldiğini aktardı.
İngiliz The Guardian gazetesinden Justin McGuirk, İstanbul Tasarım Bienali‟nin küresel kültür ağına son derece
başarılı bir giriş yaptığının altını çizerek; ―bienalin yalnızca tasarımın değişen doğasına odaklanarak değil, aynı
zamanda İstanbul‟un farklılaşan yüzünün tartışıldığı bir platform da oluşturarak, ilk andan itibaren rüştünü ispat
ettiğini‖ vurguladı.
Wall Street Journal yazarı Helen Kirwan-Taylor ise, Istanbul Tasarım Bienali‟nin İstanbul‟un enerjisi ve yükselen
tasarım piyasası hakkında keyifli bir deneyim sunduğunu, etkinliğin yalnızca yerleşik markaları değil, aynı zamanda
tasarım öğrencilerinin üretimlerini ve yeni ortaya çıkan tasarımcıları da keşfetme olanağı yarattığını belirtti. KirwanTaylor, ayrıca Türk tasarımlarının, eski ve yeniyi özgün ve son derece ilginç biçimde harmanlamayı başardığını
sözlerine ekledi. Bu üç eleştirmenin yazılarının önümüzdeki günlerde Telegraph, The Guardian ve Wall Street
Journal‘de yer alması bekleniyor.
İngiltere‘nin bir diğeri önemli gazetesi Financial Times‘ın 13 Ekim tarihli sayısında, batı ve doğu ile yeni ve eskiyi
bir arada barındırabilen İstanbul‟un tasarım ve tasarımcılarla olan ilişkisini ele alan Rin Simpson imzalı makalede,
İstanbul Tasarım Bienali küratörlerinden Joseph Grima‟nın “Neden İstanbul? (Çünkü) Istanbul adeta patlama
biçimindeki büyüme hızı ve her şeye rağmen taşıdığı iyimserlik duygusuyla derin bir dönüşüm geçiriyor”
cümlesinden hareketle İstanbul Tasarım Bienali‘nin önemine ve varoluş sebebine değinildi.
16 Ekim tarihli New York Times T Magazine‘de yer alan Shonquis Moreno imzalı haberde, Kusurluluk temasına
İstanbul kadar mükemmel biçimde anlam yükleyebilecek pek az şehir olduğuna dikkat çekilerek, İKSV tarafından
gerçekleştirilen ilk İstanbul Tasarım Bienali‟nin 46 ülkeden 300‟den fazla tasarımcı ve mimarın projelerini bir araya
getiren iki sergisi ve kataloğuyla, tasarımın zenginliğini ve her an her yerde olma durumunu gözler önüne serdiği
belirtildi.
ABD kökenli dünyaca ünlü Forbes dergisindeki 16 Ekim tarihli “Neden bu sonbaharda İstanbul ziyaret edilmeli:
İstanbul Tasarım Bienali” başlıklı yazısında Ann Abel‘in şu yorumlarına yer verildi: ―İstanbul bu sonbaharda
tasarım ve şehir planlama konularına ilgi duyanlar için yepyeni bir heyecan sunuyor. Tarihsel mirası gelişmekte
olan tasarım sahnesini sıklıkla gölgede bırakan İstanbul‟un, İstanbul Tasarım Bienali‟nin iddialı iki sergisi ve geniş
kapsamlı programı sayesinde gündem oluşturabileceğini gösteriyor.”
Alman Die Tagezeitung gazetesinin 16 Ekim tarihli sayısında yayımlanan makalesinde Ingo Arend, ilk İstanbul
Tasarım Bienali‟nin, tasarımın yalnızca gereğinden fazla üretime hizmet eden estetik bir bileşen olmadığına dair
güçlü bir kanıt oluşturduğunu belirtti. Arend ayrıca, bienaldeki fikirlerin en büyük başarısının, tasarımı, topluma
sosyal ve ekolojik bir reform süreci olarak sunması olduğunu söyledi.
Mimarlık ve tasarım alanlarının önde gelen mecralarından Dezeen dergisinin baş editörü Marcus Fairs, 18 Ekim
tarihli haberinde, İstanbul Tasarım Bienali açılışında İKSV Yönetim Kurulu Başkanı Bülent Eczacıbaşı‘nın
“İstanbul‟un tasarıma diğer şehirlerden daha fazla ihtiyacı var‟‟ sözlerini manşete taşırken, Eczacıbaşı‘nın,
„Designed in Turkey‟ tabirinin arzu edilen bir nitelik haline gelmesiyle İKSV‟nin bu alandaki misyonunu tamamlamış
olacağı sözlerine de yer verdi. Dezeen‘de İstanbul Tasarım Bienali‘nin açılışından bu yana küratör ekipleriyle
yapılan röportajlar ve sergi projeleriyle ilgili detaylı haber ve yorumlar yer almaya devam ediyor.
AD India dergisi yazarı Nonie Niesewand ise İstanbul Tasarım Bienali deneyimini şu sözlerle aktardı: “Bugüne
kadar ziyaret ettiğim fuarlar ve bienaller arasında, İstanbul Kültür Sanat Vakfı tarafından gerçekleştirilen ilk İstanbul
Tasarım Bienali kadar provokatif olanına hiç rastlamamıştım. Bu bienalde ilgi çekici nesneler, sandalyeler, kaideler
üzerinde sergilenen lambalar ya da paparazzilere poz veren ünlü tasarımcılar yok. Bunun yerine İKSV, 21. yüzyıl
yaşamının tasarımcı, mimar, politikacı, kent planlamacı ve tüm kent sakinleri tarafından görülmesi gereken detaylı
bir planını sunuyor.” Kapsamlı bir İstanbul Tasarım Bienali dosyası AD India‘nın Kasım sayısında yer alacak.
İstanbul Tasarım Bienali, açılış haftasının hemen ardından tasarım dünyasının online mecralarından Designboom,
Domus, LS:N Global, It’s Nice That ve Wallpaper* da birçok farklı haberle geniş şekilde yer almaya devam
ediyor. Bienal haberlerinin önümüzdeki dönemde Metropolis, Dwell, Blueprint, Architectural Record, Elle
Decoration, Disegno, Conde Naste International, Stylus, Interni, Abitare, DDN, AD Spain, AD France, Form,
Designlines, Interior Design, TL, Objekt, RUM gibi farklı ülkelerden birçok tasarım mecrasında yer alması
bekleniyor.
İstanbul Kültür Sanat Vakfı tarafından, Eren Holding, Koray Şirketler Topluluğu, Vestel ve VitrA eş
sponsorluğunda gerçekleştirilen İstanbul Tasarım Bienali, Emre Arolat ve Joseph Grima küratörlüğünde, iki
farklı sergi mekânında 46 ülkeden 300’e yakın tasarımcı ve mimarın 100’ün üzerinde projesini bir araya
getiriyor. İstanbul Tasarım Bienali, 12 Aralık tarihine kadar ziyaretçilerle buluşacak iki serginin yanı sıra, kentin
farklı noktalarına yayılan çeşitli etkinlikleriyle, İstanbul‘u bir tasarım kentine dönüştürüyor.
Uluslararası basında yer alan haberler ekte bulunabilir.
Ayrıntılı bilgi için:
istanbultasarimbienali.iksv.org
İstanbul Tasarım Bienali‘ni sosyal medyada takip etmek için:
facebook.com/istanbultasarimbienali
twitter.com/tasarimbienali
İstanbul Tasarım Bienali‘nden yüksek çözünürlüklü görseller için: www.iksvphoto.com
İstanbul Tasarım Bienali‘nden görüntüler için: www.onlinefilefolder.com/3fbkDax06zG5Ul
Uluslararası Basın Haberleri
New York Times
In the Shifting World of Product Design, the User Now Has a Voice
The open-end process devised by Unfold, an Antwerp-based design group that will be exhibiting at the
Istanbul Design Biennial, in operation.
By Alice Rawsthorn
Published: September 9, 2012
LONDON — How do you design a toaster? By that, I don‘t mean what skills and materials will be needed,
but rather what the design process consists of. Would you be surprised if I suggested that it might begin
with a manufacturer describing what type of toaster is required to a designer who envisages exactly what it
will look like and how it will be made, then sends detailed specifications to a factory? Of course not.
Countless products have been designed in that way since the Industrial Revolution.
But a very different process was applied to the design of the toasters as well as of the vacuum cleaners,
kettles, vases and toys that are to be exhibited at the first Istanbul Design Biennial, which opens on Oct.
13. All of those products were developed by the new genre of open-ended design processes, which deploy
advanced production technologies, like 3-D printing, to enable the people who will use the finished objects
to take critical design decisions about them.
―The traditional model of the designer and manufacturer foisting a finished product on to the market is no
longer relevant in many fields,‖ said Joseph Grima, editor of the Italian design and architecture magazine
―Domus,‖ who is co-curating the Istanbul biennial with the Turkish architect Emre Arolat. ―We want to
explore what happens when the design process becomes open-ended and unfinished, rather than closed,
and to look at the way it is transforming design culture.‖
The new design and manufacturing systems, including 3-D printing, enable objects to be made at such
speed and so precisely that the specifications of each one can be customized to adopt a shape or style
chosen by its eventual user. Mr. Grima has invited some of the designers who are pioneering the
development of these technologies to participate in ―Adhocracy,‖ a program of exhibitions, workshops and
performances scheduled throughout the biennial.
Among them are Thomas Lommée and Jesse Howard, who work in Brussels and Amsterdam respectively,
and Unfold, a design group in Antwerp, Belgium, co-founded by Claire Warnier and Dries Verbruggen.
Meanwhile, Cyrus Kabiru, Norbert Okec and other participants in the Maker Faire Africa events in Lagos,
Nairobi and Cairo are to take up residencies in Istanbul where they will forge collaborations with Turkish
designers, manufacturers and artisans.
―Adhocracy‖ is not the first attempt to explore the impact of the new production technologies on design.
The same theme was analyzed by an exhibition presented by ―Domus‖ in Milan in April during the city‘s
annual furniture fair, and is now being scrutinized in ―The Machine: Designing a New Industrial Revolution,‖
running through Oct. 7 at the C-mine Design Center in Genk, Belgium. But ―Adhocracy‖ is an unusually
ambitious endeavor, which could make a constructive contribution to the ongoing debate about the rapidly
changing role of design.
If it succeeds, it will also establish the Istanbul Design Biennial, which is organized by the Istanbul
Foundation for Culture and Arts, as a dynamic addition to the global design calendar. The new biennial
comes at a particularly busy time in the design year because dozens of design festivals take place in
different cities all over the world every September and October. Despite cuts in public funding for such
projects in many countries, this month‘s schedule includes events in Beijing, Brussels, London, Paris and
Shanghai as well as the opening of Vienna Design Week and a flurry of activity in Helsinki as the city nears
the end of its year as World Design Capital. The events in October range from Dutch Design Week in
Eindhoven, Netherlands, and the annual design festivals in Prague and the Polish city of Lodz, to the
biennials in Istanbul and Kortrijk in Belgium.
Many of the early autumn design fests revolve around commercial projects. The London Design Festival is
dominated by the 100% Design furniture fair, as is Shanghai Design Week by the China International
Furniture Expo. But the London festival also embraces scores of fringe events ranging from an exhibition of
sticky tape from around the world in the Shoreditch shop of the industrial designer Jasper Morrison, to a
survey of the eating and cooking products designed by Sebastian Bergne and Corin Mellor at the David
Mellor store in Chelsea.
The most influential design fests tend to be the ones that are driven by cultural, rather than commercial
agendas. The most talked-about event of last autumn was the Gwangju Design Biennial in South Korea
where the Chinese artist and activist Ai Weiwei co-curated an exhibition ―Unnamed,‖ which challenged
conventional definitions of design. So far, the new Istanbul biennial looks like the strongest contender to
succeed Gwangju this year.
A promising development is that some cultural events, which have traditionally focused on art or
architecture, are adopting a more thoughtful and provocative approach to design. Among them is
Manifesta, the roving European contemporary art biennial running through Sept. 30 in Flanders. It includes
work by the Beehive Design Collective, an experimental U.S. design group, and the Dutch book designer
Irma Boom.
Another example is the Venice Architecture Biennale, which opened late last month and runs through Nov.
25. Traditionally, it has focused (unsurprisingly) on architecture and ignored other aspects of design, with
occasional exceptions — mostly implausible, uncomfortable chairs designed by architects — but not this
time.
Mr. Morrison is participating in ―Common Ground,‖ the exhibition curated by the biennale‘s director, the
British architect David Chipperfield, and other designers have contributed to the national pavilions in the
Giardini di Castello. The German industrial designer Konstantin Grcic was part of team responsible for his
national pavilion, as was the Dutch graphic designer Joost Grootens for the Belgian Pavilion. Among the
dozens of socially motivated projects exhibited in the U.S. Pavilion were pieces by community design
groups, design activists and information designers.
For the first time, design features in the Venice Architecture Biennale not as a prop, but by making an
incisive contribution to the issues under discussion. In other words, it has been included for the same
reasons that art often is — just as it should be.
Wall Street Journal
By Thorsten Gritschke
Published: October 5, 2012
What’s On Around Europe
Istanbul
Turkish Design Delights
Curated by architects Emre Arolat and Joseph Grima, the first "Istanbul Design Biennial" explores the
theme of imperfection as a source of inspiration and talking points for various design disciplines. Mr. Grima
will investigate current trends and changes in the world of design in a presentation titled "Adhocracy." The
eight-week-long event will include discussions, presentations and exhibitions of contemporary design and
architecture.
Various venues
Oct. 13-Dec. 12
istanbuldesignbiennial.iksv.org
Der Spiegel
Von Tobias Becker
Design-Biennale Istanbul Die unperfekte Stadt
Makellos schön? Was für ein Quatsch! Erst kleine Macken entfachen große Liebe. Die erste DesignBiennale Istanbul wettert zwei Monate lang gegen das Pathos der Perfektion - in einer Stadt, die
man nicht designen sollte.
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Türkisches Design nimmt Fahrt auf - nicht nur dank Autoban, dem wohl bekanntesten Istanbuler
Designstudio. 2004 gab es auf der Frankfurter Messe Tendence Lifestyle die erste Ausstellung zu
türkischem Design außerhalb der Türkei, 2007 folgte im Stuttgarter Haus der Kunst die InnenarchitekturAusstellung "alla turca", 2011 im Herforder Museum Marta die Möbel-Schau "Spagat". Und dennoch: Über
türkisches Design weiß man in Westeuropa noch recht wenig.
Das will nun eine Frau ändern, die 2004 in Frankfurt die erste Schau mitorganisierte: Özlem Yalim
Özkaraoglu. Sie ist die Direktorin der ersten Istanbuler Design-Biennale, die vom 13. Oktober bis 12.
Dezember die internationale Designszene an den Bosporus lockt. Beteiligt sind Gestalter aller Genres:
Stadtplanung, Architektur, Innenarchitektur, Produktdesign, Modedesign, Grafikdesign, Mediendesign.
Das Thema der neuen Biennale heißt Kusurluluk - Unperfektheit. Angeregt hat es Deyan Sudjic, Direktor
des Designmuseums London und Mitglied des Biennale-Beirats. "Die Stadt Istanbul ist weit entfernt von
Perfektion", glaubt er. "Ihre spezielle Qualität ist es, dass sie so viel macht aus dem Unperfekten, dem
Unexakten, dem Provisorischen". Özlem Yalim Özkaraoglu ergänzt: "Diese Stadt kann man nicht
designen, man kann sie nicht verwandeln in eine Stadt, die aussieht wie Paris oder London."
Das Problem: Stadtumbau im Turbo-Tempo
Man kann es vielleicht nicht, man sollte es auch nicht, aber man versucht es zurzeit: Istanbul baut und
baut und baut. Neue Hotels und neue Einkaufszentren, neue Geschäftshäuser und neue GatedCommunity-Wohnanlagen, eine dritte Bosporus-Brücke und einen U-Bahn-Tunnel unter dem Goldenen
Horn. "Jeden Tag erfahren wir von einem neuen Projekt", sagt Özkaraoglu. "Es fallen historische
Entscheidungen für das öffentliche Leben, aber die Öffentlichkeit fragt kaum nach". Auf der Strecke
bleiben früher oder später der Charme der Stadt und die soziale Gerechtigkeit.
Unweit des zentralen Taksim-Platzes zum Beispiel verändert das Armenviertel Tarlabasi täglich sein
Gesicht, heruntergekommene Jugendstil-Häuser werden entkernt oder ganz abgerissen und mit pseudohistorischer Fassade wieder aufgebaut, die zumeist kurdischen und afrikanischen Bewohner müssen
weichen. Eine Turbo-Gentrifizierung. Eine Säuberung. "Wir nehmen den Menschen ihre Häuser und
verpflanzen sie an den Stadtrand. Das ist ein riesengroßes soziales Problem", sagt Özkaraoglu. "In der
Türkei können Investoren machen, was sie wollen, wenn sie nur das Geld dazu haben." Die türkischen
Medien hätten zwar angefangen, darüber zu berichten, "aber wir können nicht von freien Medien sprechen
in der Türkei." Die Besitzer von Zeitungen und Fernsehsendern seien meist auch in anderen Branchen
tätig, etwa im Baugewerbe, und somit abhängig von Staatsaufträgen.
Die Istanbul Foundation of Culture and Arts hingegen hat Glück im Unglück: Sie profitiert gewissermaßen
davon, dass der türkische Staat kaum Geld für Kultur ausgibt; nur drei Prozent ihres Etats stammen aus
Steuergeldern. "Wir sind niemandem verantwortlich, wir sind eine sehr demokratische Plattform", sagt
Özkaraoglu. "Während der Biennale werden wir daher all die heiklen Themen auf den Tisch legen. Wir
wollen, dass die Istanbuler sich darüber bewusst werden, was hier gerade geschieht."
Die Lösung: Das Bewusstsein für Design schärfen
Zwar hat der türkische Kultur- und Tourismusminister Erturul Günay soeben seine Landsleute in der
Tageszeitung "Today's Zaman" zu mehr ästhetischer Sensibilität bei der Gestaltung von Straßen,
Gebäuden und Cafés aufgefordert, um die Tourismus-Erlöse zu steigern. Zwar hat Bülent Eczacibasi, Chef
der Istanbul Foundation for Culture and Arts und Vorstandsvorsitzender der Eczacibasi Holding, einem
Mischkonzern mit Pharma-, Kosmetik- und Baustoffen, der Design-Biennale im Konkurrenzblatt "Hürriyet
Daily News" soeben mit auf den Weg gegeben, sie solle das kreative Potential der Türkei wecken, um die
Wirtschaft innovativer zu machen und unabhängiger vom Wettbewerb um die niedrigsten Preise. Doch
Özkaraoglu geht es im Kern um etwas anderes: "Ich will nicht das Design-Geschäft ankurbeln", sagt sie.
"Ich will das öffentliche Bewusstsein für Design-Entscheidungen schärfen. Wir nutzen Design jeden Tag,
aber wir sind uns nicht bewusst darüber." Andere Design-Biennalen würden natürlich veranstaltet, um das
touristische Potential einer Stadt zu erhöhen oder die Aufmerksamkeit für ihre lokalen Designprodukte.
Aber das könne in Istanbul nicht die einzige Aufgabe sein: "Wir haben hier viel mehr Probleme."
Es mag ein Mangel sein, dass Westeuropa noch recht wenig versteht von türkischem Design. Der größere
Mangel aber ist es, dass die Türkei nicht viel mehr versteht.
Eine der beiden Hauptausstellungen der Biennale beschäftigt sich denn auch mit Stadtplanung. Kuratiert
vom türkischen Architekten Emre Arolat, widmet sich die Schau "Musibet" im Museum Istanbul Modern
unter anderem vier Istanbuler Großtrends: Bauprojekten, die ihr Umfeld vernachlässigen, sozialen
Ungleichheiten, die durch Stadtplanung reproduziert oder gar verschlimmert werden, gefaketen
historischen Formen, die Gebäuden künstliche Identitäten überstülpen sowie Versuchen von Regierungen,
Stadtplanung als Vehikel zur Machtdemonstration zu missbrauchen.
Die zweite Hauptausstellung kuratiert Joseph Grima, Herausgeber des italienischen Design- und
Architekturmagazins "Domus". Seine Schau "Adhocracy" in der ehemaligen Griechischen Grundschule
Galata beschäftigt sich mit sogenanntem Open-ended-Design, passend zum Biennale-Thema
"Unperfektheit". Im Zeitalter der Massenproduktion hieß Perfektion bislang, Millionen von identischen
Produkten fertigen zu können, verstanden als Kopien eines Originals. Grima hingegen interessiert sich
mehr für Produkte, die ihre eigenen individuellen Qualitäten haben, eine Aura, wie der Kulturphilosoph
Walter Benjamin gesagt hätte. Ihm geht es darum, das Industrielle zu zähmen, den Objekten mit den
Methoden der Massenproduktion etwas Individuelles zu verleihen, etwa indem die Endverbraucher
Einfluss auf die Gestaltung nehmen.
Die Strategie: eine akademische Biennale
Zu den beiden Hauptausstellungen gibt es ein großes Begleitprogramm: 300.000 Studenten aus 74
Fakultäten von 26 türkischen Universitäten haben sich Gedanken gemacht zum Thema "Unperfektheit"
und organisieren kostenlose Ausstellungen, Seminare und Workshops auf ihren Universitätsgeländen. "Wir
veranstalten eine akademische Biennale", sagt Özkaraoglu. Hinzu kommen Dutzende Istanbuler
Designfirmen, die zu Veranstaltungen in ihre Räume einladen. Verzeichnet sind alle Programmpunkte in
einem kreativen Stadtplan, den das Architekturduo Superpool entwickelt hat; er kann auf der BiennaleHomepage runtergeladen werden.
Superpool ist auch nominiert für den Audi Urban Future Award, einen Stadtentwicklungs-Wettbewerb, der
am 18. Oktober auf der Biennale verliehen wird. Ebenso wie fünf andere Designbüros aus fünf anderen
Megacitys hat das Istanbuler Team Visionen urbaner Mobilität entworfen: Wie werden die Grenzen einer
Stadt zukünftig definiert? Wie kann Transformation hin zu nachhaltiger Mobilität aussehen? Wie können
nachhaltige Stadtentwicklung und individuelle Mobilität in Einklang gebracht werden? Die Antworten sind
bis zum 26. Oktober in einer Ausstellung in der Hasköy Iplik Fabrikasi zu sehen.
Hoffentlich haben der türkische Ministerpräsident Recep Tayyip Erdogan und der Istanbuler
Oberbürgermeister Kadir Topbas ihre Einladungen nicht verlegt. Topbas immerhin müsste wissen, um was
es geht: Er ist von Hause aus Architekt.
Design-Biennale Istanbul: 13. Oktober bis 12. Dezember. Hauptausstellungen: "Musibet" im Istanbul
Modern, Meclis-i Mebusan Cad. Liman Isletmeleri Sahasi Antrepo No: 4, Karaköy und "Adhocracy" in der
ehemaligen Griechischen Grundschule Galata, Kemeralti Cad. No: 25, Galata. Eintritt 20 Türkische Lira,
ermäßigt 10. Führungen 20 Türkische Lira, ermäßigt 10.
Financial Times
By Rin Simpson
A bridge over the Bosphorus
Istanbul’s creatives are merging east and west, old and new
Istanbul has long been a city divided. Straddling the Bosphorus, a strait of water that forms part of the
boundary between Europe and Asia, the city has a tumultuous history. Founded in the seventh century BC
as Byzantium, it has been captured and reinvented several times in the past two and a half millennia, and
formed the capital of four empires: Roman, Byzantine, Latin and Ottoman.
Today Istanbul is a forward-thinking city, the business hub for many of Turkey‘s international organisations
and home to 13.4m people. One of the industries most keenly benefiting from the city‘s progressive
attitude is design.
This year sees the inaugural Istanbul Design Biennial, which opens this weekend and runs until midDecember at the Istanbul Museum of Modern Art and the Galata Greek Primary School, in the modern
quarter of the city, above the Golden Horn, an inlet of the Bosphorus. The event will showcase designs in
architecture, interior design, graphics and fashion.
Joseph Grima, a Milan-based architect and editor of Domus magazine, is one of the biennial‘s curators. He
says: ―Why Istanbul? [Because] Istanbul is undergoing a profound transformation with quite explosive
growth and a sense of optimism.‖
Istanbul may indeed be carving a place for itself in the contemporary design world but many in the industry
say the city remains deeply indebted to its past. One glance at the skyline is enough to demonstrate how
the interplay between old and new gives the city its unusual character. Along the Bosphorus are the
picturesque yalis, the late Ottoman-era chalet mansions built by the aristocracy in the 19th century.
Nearby, on the hills overlooking the river, are the gecekondular, shanty homes thrown up in the latter half
of the 20th century – with little thought for quality or planning – to feed the demand caused by rapid
population growth. Elsewhere, in the historic part of the city, the 15th-century Topkapi Palace and the city‘s
Grand Bazaar stand beside towering residential skyscrapers, high-end hotels and international chain
shops.
Seyhan Ozdemir, co-owner of design firm Autoban, which combines architecture with interior and furniture
design, describes the past as being an important influence on her work: ―Istanbul is full of history,‖ she
says. ―It is impossible to avoid. There‘s also a young generation emerging which is very energetic, and
there‘s a real mix of cultures, which we treat as an advantage. As there is no particular culture to follow,
people are much more open to new things here.‖
Can Yalman is a product and furniture designer who is co-ordinating the Musibet Exhibition Project as part
of the Istanbul Design Biennial. This event will see a replica of a Charles Eames La Chaise chair placed in
various locations around the city.
Educated in both Turkey and New York City, Yalman is well aware of the contemporary design culture, as
well as the influence the west has had over his native city, from the effects of the 18th-century Ottoman
campaign to the contemporary condos decorated in European luxe style, with plenty of gold and marble.
―The beginning of the influence probably goes back to the 1700s, when the Ottoman empire sent
ambassadors throughout the world to westernise the architecture, art, literature and so on [back home],‖ he
says. ―This collective knowledge of western thinking has had many influences on the culture. There are
great palaces that have been built by architects educated in Europe like Sarkis Balyan, and glasswork
coming from great manufacturers in Europe, like Baccarat.‖
In Yalman‘s work Turkey‘s historical roots are very clear. ―[When] designing table accessories we look into
the tea ceremony and the Turkish coffee culture, while for tiles and bath products the hamam culture is
researched extensively,‖ he says.
―Traditional glass-making styles such as Beykoz, Cesm-i-Bulbul and Byzantine glass are a great [inclusion]
to bottle design and packaging. Bronze and copper works from the Seljuk era give amazing detail that can
be incorporated into all types of products.‖
More contemporary Turkish examples can be seen in the work of interior designer Zeynep Fadillioglu, who
designed Istanbul‘s Sakirin Mosque in 2009 to international acclaim. She has worked all over the world,
creating homes and hotels throughout Europe and the Middle East, often incorporating metals, glass and
rich colour schemes throughout her projects.
As a result of globalisation the line between eastern and western influences has, inevitably, become harder
to define. Architect and interior designer Ozgun Baskeles, who studied at Istanbul Technical University and
now works freelance in London on a range of commercial and residential projects, has seen this for
herself. ―I do not think the way of life in a big city like Istanbul is different from living in another big city,‖ she
says. ―My clients‘ requests are more or less the same. Reclaimed materials and furniture are very popular.
Industrial-era and original or reproduction vintage furniture, metal chairs, lamps from the early 20th
century, rough materials and surfaces are hip.‖
This is the core philosophy of Istanbul‘s new wave of creative talent – the bringing together of different
elements of the city‘s past and present, of home-grown and foreign influences. If the new generation of
designers have their way, Istanbul will no longer be a city of division but one of many facets.
―Instead of seeing Istanbul as a split, I feel more of a connection, a bridge through history to the
contemporary, [from] east to west,‖ Baskeles says. ―These all become a part of you when you are
exploring the city. Its culture and history are so intense that every time you look into a building or a street,
you see a different aspect of it.‖
New York Times T Magazine
By Shonquis Moreno
People Powered | Istanbul Design Biennial
There are few places more perfect to weigh the value of imperfection than Istanbul. And imperfection is the
theme of the Istanbul Design Biennial, Turkey‘s first, which is organized by the Istanbul Foundation for
Culture and Arts and runs through Dec. 13. It consists of two separately curated exhibitions; together, they
feature work by more than 300 designers and architects from 46 countries, and catalog the richness and
increasing ubiquity of ad hoc design.
In Istanbul, it is common to see freshly washed carpets drying in the sun, clipped to a wall by the legs of
what is, essentially, an improvised ―clothespin‖: one of those plain, plastic outdoor chairs familiar the world
over. Although some things are dictated top-down in Turkey, design isn‘t one of them. ―Istanbul has been
carrying design in its genes for centuries,‖ says Emre Arolat, one of the biennial‘s curators and a secondgeneration architect, ―but combining the words ‗design‘ and ‗Istanbul‘ is new.‖
Arolat and his fellow curator, Joseph Grima, the editor of the Italian design magazine Domus, have pulled
together projects from Monrovia, Liberia to St. Lamsbrecht, Austria, among other spots around the world.
Grima‘s exhibition, ―Adhocracy,‖ fills the neo-Classical rooms of a disused 19th-century school whose
windows look out onto crumbling domes. But it illustrates the ways that advancing technology — like micromanufacturing tools, Kickstarter-like platforms or hacker culture — is shifting design away from corporate,
factory production to grass-roots projects by artisans, activists and amateurs. Indeed, Mathew Ho and
Assad Muhammad, two Toronto teenagers with $400, some Styrofoam, a modified weather balloon, a
parachute and hand warmers, sent a Lego man into space this year, recording the journey with an ordinary
point-and-shoot camera. And a film on the roof of the school documents how, over the course of a year,
UX, an underground Parisian collective known for its stealth restoration efforts, secretly repaired the
Pantheon‘s long-broken clock — and were promptly, and unsuccessfully, sued by the government.
―Adhocracy‖ is a living exhibition, a lab that puts projects into practice. For example, Street Food Printing,
an initiative by two Spanish architects, a Spanish chef, and a Turkish architect, is 3-D printing with cheese
and chocolate. The Belgian design office Unfold is represented by Stratigraphic Manufactury, which it calls
―a new model for the distribution and digital manufacturing of porcelain,‖ and Kiosk 2.0, in which Unfold will
ply city streets with a vendor‘s cart, digitally printing objects on demand. But the show is also the most
detailed depiction thus far of how, instead of finished products, design is increasingly offering templates,
kits of parts, loose instruction manuals and consultation. For instance, one exhibit looks at farmers and
scientists in Maysville, Ohio who operate an open-source database of machinery components, the Global
Village Construction Set, that can be assembled by almost anyone with a toolbox and the need for, say, a
tractor.
Across the boulevard, in a dim warren of rooms at the Istanbul Museum of Modern Art, Arolat‘s exhibition
does not provide the tidy white space and clear-cut solutions that Grima‘s does. Like his subject, it is
chaotic and layered. Entitled ―Musibet‖ (Turkish for ―difficult experience‖), it refers to the saying that ―One
musibet is worth a thousand pieces of advice.‖ Arolat welcomed his first visitors at the threshold of a
replica of a jail door: ―Now this depressing space is the entrance,‖ he said. ―Everything is not bright and
shiny.‖ Inside, cramped circulation necessitates spontaneous negotiations among viewers, while exhibits
like ―40 Nasihat‖ describe the ―adhocracy‖ native to Istanbul, listing lessons to be learned from inhabitants
who design the city each day — with carpet clothespins — for better or worse.
Forbes Magazine
By Ann Abel
Why To Visit Istanbul This Fall: The Istanbul Design Biennial
Yes, the timing could be better, but Istanbul is newly exciting this fall for design aficionados and anyone
interested in urban planning. The city—whose historical treasures tend to outshine its thriving and
compelling contemporary-design scene—is aiming to rectify that, and to make headlines for something
other than bad news, by launching the Istanbul Design Biennial, an ambitious pair of exhibitions and
related activities that will run through December 12.
The organizer is the Istanbul Foundation for Culture and Arts (IKSV, as it‘s known by its Turkish acronym),
whose contemporary museum has long been a refuge for any visitor who gets Ottomanned out. (It
happens.) IKSV brought in two architects, one local and one foreign, to curate the show, which explores
urban design, architecture, industrial design, graphic design, fashion, and new media. Between them, they
assembled nearly 300 architects and designers from 46 countries, whose exhibits address the theme of
―Imperfection,‖ a topic particularly suited to Istanbul, with its layered history and often chaotic changedriven present—think lots of crowdsourcing, 3-D printing, and commentaries on urban development run
amok.
If you‘re looking for a contemporary confirmation of Istanbul‘s reputation as a crossroads of East and West,
this is it. Mexico City artist Pedro Reyes‘s provocative collection of guns repurposed as musical
instruments and tools shares a gallery with Ireland-based photographer Frank Abruzzese‘s surreal tintshifted time-lapse images, and both are upstairs from Kenyan multimedia artist Cyrus Kabiru‘s mixedmedia eyeglasses (to mention a few of my favorites).
The major installations are rounded out with a full complement of academy programs, workshop
exhibitions, film screenings, seminars, and walking ―art tours‖ the let you into ateliers and design studios in
eight of Istanbul‘s most interesting neighborhoods. If you‘re looking for an excuse to visit—or one in
addition to the Byzantine and Ottoman treasures—this could well be it.
Die Tagezeitung
Von Ingo Arend
Design-Biennale in Istanbul
Design und Revolution
Ist Design der Schlüssel zum Weltmarkt? Die 1. Design-Biennale in Istanbul
setzt auf die Werkzeuge sozialer und ökologischer Veränderungen.
In Zukunft werden wir uns die Staubsauger aus dem Netz laden und ausdrucken: Jesse Howards
Projekt „Transparent Tools―. Bild: IKSV
Agent der totalitären Konsumwelt. So rechnete der amerikanische Kunstkritiker Hal Foster mit dem
Design ab. Schon der Titel seines letzten Buches verriet, was er von dem ubiquitär gewordenen
Genre Design hält. Frei nach Adolf Loos‗ kunsthistorischem Klassiker „Ornament und Verbrechen―
nannte er den Band programmatisch - „Design und Verbrechen―.
Wenn es eines Beweises bedurft hätte, dass dieses verrufene Genre viel mehr sein kann als der
ästhetische Knecht der Überproduktion, dann dürfte ihn die 1. Design-Biennale geliefert haben, die
vergangenes Wochenende in Istanbul eröffnete. Deren Besucher bekamen nämlich gerade keine
polierten Oberflächen, Markenklamotten und global brands zu sehen. Sondern Module aus
gräulichem Plastik oder unbehandeltem Stahl. Und etwas, was man in coolen Kreativstudios selten
findet: Anleitungen zum zivilen Ungehorsam.
Dass diese Design-Biennale gerade jetzt am Bosporus veranstaltet wird, ist kein Zufall. Auf der
einen Seite komplettiert die verdienstvolle Istanbuler Stiftung für Kunst und Kultur (IKSV), ohne die
im türkischen Kulturleben fast nichts geht, mit ihrem jüngsten Baby ihre Produktpalette. Zu ihrem
Jazz-Fest, dem Theater-Festival, dem Film-, Musikfest und ihrer berühmten Kunst-Biennale kommt
nun auch eine zum Design.
Historisch gesehen war das Auftauchen des Design in der Türkei aber immer auch Indiz eines
gesellschaftlichen Modernisierungsdrucks. Das gilt für das Jahr 1830, als Sultan Mahmud II. seiner
Armee eine neue Uniform nach französischem Vorbild verpasste und den Fes als Kopfbedeckung
einführte. Den Mustafa Kemal Atatürk hundert Jahre später durch einen europäischen Hut ersetzte
- zwei der ersten Design-Acts in der türkischen Geschichte.
Symbolische Qualitäten
Heute will die Türkei den Weltmarkt erobern. Bis 2023, dem 100. Jahrestag der Republikgründung,
will sie zu den zehn Topökonomien der Welt gehören. Weil es da auf symbolische Qualitäten
ankommt, schielt auch das Land am Bosporus auf die Creative Industries. Doch was in Istanbul zu
sehen ist, will nicht so recht zur Idee vom Design als dem „Schlüssel zum internationalen
Wettbewerb― passen. Obwohl den Bülent Eczasibasi noch zur Eröffnung beschwor. Er ist in
Personalunion Chef des Industriekonzern, dem die IKSV-Stiftung gehört und zugleich deren
Chairman. Zu offensichtlich haben es die über 300 Designer, die die Kuratoren der Schau, der
türkische Architekt Emre Arolat und der Mailänder Designjournalist Joseph Grima, nach Istanbul
eingeladen haben, auf eine Gesellschaft abgesehen, in der anders gelebt, gearbeitet und
produziert wird.
―Imperfection―, das Motto der Schau, entlehnten die Veranstalter der Ästhetik einer Stadt, der das
Unperfekte und Provisorische zur zweiten Natur geworden ist. Ihm entspricht Jesse Howards
Projekt „Transparent Tools―. Denn die Kaffeemühle, der Staubsauger und der Wasserkocher, die
der niederländische Designer entworfen hat, kommen ganz ohne spektakuläre Formensprache
aus. Howards hat die Alltagsgegenstände aus frei verfügbaren Modulen einer Open-SourceWebsite zusammengefügt. Die der Verbraucher mit einem 3D-Drucker zu Hause selbst herstellen
und zusammensetzen kann. Hier entwirft der Designer keine verehrungswürdige Ikone mehr.
Stattdessen lernt der Verbraucher, die Komplexität technischer Garäte zu verstehen. Er kann sie
selbst reparieren oder neu zusammensetzen.
Das markiert nicht nur einen Paradigmenwechsel innerhalb des Genre. Sondern auch die Abkehr
von der bürokratisch gelenkten, industriellen Massenproduktion. Nichts anderes meint Joseph
Grimas „Adhocracy― übertitelter Ausstellungsteil. Hier wird das Design zum Pionier des
Postfordismus.
Das Markanteste an dieser Schau: Wie häufig hier die Grenze zum Aktivismus ins Fließen gerät.
Das fängt bei den Bierflaschen an, die der niederländische Designer John Habrakens schon 1963
für die Heineken-Brauerei entwickelte: Die ziegelsteinförmigen Glasbehälter lassen sich nach
Gebrauch zum Hausbau verwenden. Und hört bei Acik Kents Open-Urban-Projekt auf. In einer
Megacity wie Istanbul, wo über Nacht ganze Stadtviertel - wie in diesen Tagen der historische
Bezirk Tarlabasi - planiert werden, bedeutet diese Plattform, auf der Informationen über die
Machenschaften der Stadtplanung gesammelt und geteilt werden, eine Revolution.
Verbrechen sehen anders aus
Mit „Formgebung― im klassischen Sinn haben auch das „Imagine―-Projekt des mexikanischen
Architekten Pedro Reyes oder der „Drohnenjournalismus― der polnischen Designer von Robokopter
nichts zu tun. Der eine hat illegale Waffen aus dem Drogenkrieg eingesammelt und zu
Musikinstrumenten umbauen lassen. Die anderen haben eine Drohne entwickelt, mit der Aktivisten
die Einsatzplanung der Polizei bei Demonstrationen ausspähen können. Es sind Arbeiten wie
diese, mit denen das junge Design in Istanbul einen Staunen machenden Musterkoffer sozialökologischer Gesellschaftsveränderung öffnet -derjenigen, die der Politik nie recht gelingen will.
Nicht alle Ideen dürften zu der großen Veränderung führen, die vielen Designer vorschwebt. Ihr
größtes Verdienst liegt aber darin, einem Massenpublikum einen Begriff von Design als sozialökologischem Reformprozess näherzubringen. Bei dem die Bereitschaft zur kritischen Reflexion
über die Folgen des eigenen Handelns zur ideologischen Grundausstattung gehört.
Eindrucksvoll demonstrierte das die Modemacherin Bahar Korcan. Als die international
ausgezeichnete Künstlerin, Jahrgang 1970, vor acht Jahren ihre Boutique in dem verfallenen
Quartier um Istanbuls Galata-Turm eröffnete, war das der Startschuss für die rapide Gentrifizierung
eines von kleinen Handwerkern und armen Leuten bewohnten Viertels. Zur Biennale hat Korcan
eine Videoinstallation mit dem Titel „Precise Rhythms― beigesteuert. Zwischen Kleidern und
Entwürfen aus Korcans Kollektionen erzählen ihre Nachbarn von den Veränderungen in der
Serdar-i Ekrem-Straße in Galata. Verbrechen sehen anders aus.
Dezeen Magazine
By Marcus Fairs
Turkey “needs design more than other countries”– Istanbul Design Biennial
organiser
Istanbul Design Biennial: Turkey‘s frenetic, unplanned growth means it needs good design more than
most other countries, according to the organiser of the inaugural Istanbul Design Biennial, which opened
this week.
―We need cities that are better designed, we need products that are better designed,‖ said Bülent
Eczacıbaşı (pictured below), chairman of the Istanbul Foundation for Culture and Arts (IKSV), which
organised and sponsored the biennial. ―We all know that a design culture is very important but also our
need for good design is more important than other countries.‖
Eczacıbaşı, speaking at a press lunch in Istanbul, added: ―In industry we need to spread the understanding
that products from Turkey need to be better designed. If one day we can make Designed in Turkey a
desirable attribute our mission will have been accomplished.‖
The Turkish economy expanded by 8.5% last year, making it the world‘s second-fastest growing economy
after China, yet there is concern in Turkey about the chaotic nature of development.
―We have to stop and think a bit,‖ said Emre Arolat (pictured below), an architect and the curator of
Musibet, one of the two main exhibitions at the biennial. ―Things are changing very fast and at this speed
it‘s not possible to manage change well.‖
Musibet, which means ―plague‖ or ―sickness‖ in Arabic, features 32 projects that respond to the
phenomenal growth of Istanbul, which has a population approaching 17 million and which covers more
than 5,000 square kilometres.
―This exhibition is not putting a solution on the table but it is asking lots of questions that are not being
asked,‖ Arolat told Dezeen. ―People are really excited about the transformation. The public here is very
positive; they accept everything the government says. We don‘t have any economic crisis; construction is
the main thing in the economy at the moment. The mainstream press is not asking any questions about
this because they‘re really happy about the situation.‖
Arolat cited plans to build two new cities outside Istanbul, which would destroy the ancient forests that act
as the city‘s ―lungs‖, yet which have received little critical analysis in Turkey.
Musibet, along with the Adhocracy exhibition covered in our earlier story, responds to the biennial‘s central
theme of ―imperfection‖. The theme was proposed by Deyan Sudjic, director of the Design Museum in
London and a member of the biennial‘s advisory board.
―There is nowhere better to explore [imperfection] than in Istanbul, a city of infinite layers, charged with the
vitality that comes from engaging with rapid urban, social and cultural change‖ Sudjic writes in the biennial
catalogue. ―Istanbul as a city, is far from perfect, yet it is one of the most exhilarating and dynamic centres
in the world. Its special quality is that it makes so much from the imperfect, the inexact and the provisional.‖

i̇lk i̇stanbul tasarim bi̇enali̇`ne uluslararasi basindan

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