Taksim Urban Design Competition Istanbul

NUTSHELL

Memory in Motion: A New Chapter for Taksim Square

Type
  
Recent, Public, Experimental
  
Location
  
  
Construction Area
  
  
Project Site Area
  
  
Year
  
2021
  
Status
  
Study
  
Architectural Project & Design
  
Gokhan Avcioglu&GAD
  
Team
  
Gokhan Karakus, Ozan Ertug, Jonathan Phillips, Kemal Arda Alkın, Burak Paksoy, Elif Mahya Nebiler, Aylin Degirmen, Batuhan Celebi
  
Awards
APPROACH

Initial memorial typology for place for Taksim

Cemetery and necropolis history / Space turned in to PLACE, placemaking

The body part of the earth does not wait for exploration. The existence of space lives in its own kinesis when it is born.

The body of space grows, moves, flows... It lives and refreshes itself in cycles. The communication way which it chooses depends on stimulus responses of inter-species. Living forms in all layers of the earth met on the hill of the Pera area 1500 years ago. Space turned in to a place when humans pointed the land as a graveyard which makesthe hill a memorial place of Istanbul for the first time.RECALLING THE COLLECTIVE MEMORYWhen Freud presented “Wunderblock” as a model to demonstrate perception, consciousness and subconsciousness as layers of the human psyche, people have already begun to perceive the bottom layer in the model, the beeswax as the medium with which memory is stored. Wunderblock consisted of a celluloid layer on which written word is inscribed, a wax paper layer to transfer the written word to the bottom layer, a thicker beeswax to hold the image even when the top two layers were removed. Freud argued that the human mind recorded memories in the same way, first recording them to their “id” by using the “ego” as a means of transfer and permanently stored them in their “super ego”. The way it is set up, Wunderblock could easily be misconstrued as the way the mind works. Unlike the contraption, the mind not only recalled what was written in the past, but also a host of memories and feelings associated with the event.Therefore, spaces to encompass the collective memories of societies; such as plazas and squares should be designed merely as “topos” that aided the recollection of common memories but should also aid the public to connect to the them beyond their physical mass, adding symbolic meanings to be recalled in the subconscious mind. To this end, the articles of the collective memory should not be confined to places where we safe-keep our past in places such as libraries, archives or museums. Rather, we should express our past in the present to help recall those memories and and create a positive synthesis in our design of public spaces. In other words, we should extract art from the archives of the collective memory and help people attach new sentiments or meanings to them by utilizing them in open, public spaces for all to see.

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