SANTRAL ISTANBUL MUSEUM OF CONTEMPORARY ARTS & ENERGY MUSEUM
DESIGN BY EMRE AROLAT, HAN TUMERTEKIN,
MURAT TABANLIOGLU & NEVZAT SAYIN
SANTRAL ISTANBUL MUSEUM OF CONTEMPORARY ARTS & ENERGY MUSEUM
DESIGN BY EMRE AROLAT, HAN TUMERTEKIN,
MURAT TABANLIOGLU & NEVZAT SAYIN
Istanbul Bilgi University seeked for the renovation of Silahtaraga Power Plant, a typical modern industrial setting formed between 1910′s and 1950′s, to be transformed into a museum, recreational and educational center. This institution covers a site of 107.000 m², between the rivers Alibeykoy and Kagithane, at the end of Golden Horn that had been the center and main scene of Istanbul for many centuries, that had been discredited and become worn from the end of 19th century to 1990’s and that has started to glare once again with many projects after being rediscovered in last 15 years.
At the first phase of the project studies, in order to open up the ways for convincing conservation and renovation approaches, an interpretation base including all accessible layers of the setting was aimed. At the end of those investigations, the results proved that the traces of the preliminary project prepared in 1910′s were kept on but its strict decisions have been loosened through 40 years of construction, formal invasions have been done with pragmatic moves, the engine&boiler buildings and employee apartments accommodated typical features of the industrial era they were built up although they had diverse stylistic qualities and building structures. Those data, that was combined by the spontaneous sense of place that came into being by the time spent at the site and with the deepening of the investigations, entered into the process as valuable clues of the design decisions of renovation and conservation. The main denominator of various fragmets of this quite spread project has been the careful renovation approach that puts into consideration the situation and the subject in hand, and that each specific time appreciates it once again.
Among the various buildings that were dealt with in this context, the two large boiler houses, that were demolished years ago and of which only foundation traces existed, were handeled with an interpretation that implied to their new function, in a way of abstraction in the design. The two buildings, that were detached but stood very close to each other to complete the surrounding building mass, were planned in a way proper to the volumetric existence of their older functions, but with a kind of “timeless” approach on surface qualities. The most prevailing factor of the design principles for the museum building was the motivation of being a part of the place without an engagement to a specific time segment, in contrast to habitual attempt of being contemporary, holding just the current architectural specifications and being disintegrated from the historical context it stands.
Just like the old buildings, new structures are composed of a dense and heavy inner core and a light, semi-transparent exterior sheathing that covers the core without touching to the possible extend. Instead of the punced state created by the walls and windows on the surfaces of the old buildins, a metal mesh that this time homogenises the sense of the whole building is simply placed on the concrete base. In this sense, it was considered that the buildings should evoke a kind of insignaficance by intervening into the aura of the environment at daytime, but should turn out to be a simple lighthouse with the interior lighting of the museum that makes the metal mesh invisible at night time.
The building was designed with an attempt that it should keep its existence by being insistently intraverted, despite the glorious architectural activity that rises in capitalist liberal societies and that changes nearly all buildings into museum objects with its embraced criterions and star architect mechanisms. It was a matter of interest how this Santral Istanbul Museum will be faced with the “Society of Spectacle.” If it will be possible, it is clear that there will be need for at least a few years to comprehend its state.
Santral Istanbul Museum Contemporary Art’s Project information had taken by Emre Arolat Architect’s web page. Some photographs had taken by Archdaily and photographer Thomas Mayer’s web page.
SANTRAL ISTANBUL ENERGY MUSEUM
The Silahtarağa Power Plant's first two engine rooms, built in 1913 and 1921 respectively, were reinforced and converted into the , retaining as many original elements as possible.
The first step in the power plant’s conversion to was to halt the corrosion of the turbine generators and other machinery which had set in as a result of disuse since the plant’s decommissioning in 1983. Teams of experts moved in to clean up the machinery and apply a protective anti-corrosion sealant. Thereafter, the number one turbine generator group was restored to its original appearance of 1931. Meanwhile, the number three turbine generator group, which had been dismantled when production stopped at the plant, was preserved exactly as left.
In the 's number one and two Engine Rooms, visitors currently have the chance to see the AEG, Brown Boveri, Siemens and Thomson Houston made turbine generator groups. These were the key components of electricity generation at the Silahtarağa Power Plant and reflect the advanced technology of the age.
The , which oversaw the generation of electricity and its transmission to different districts around Istanbul, has been preserved intact, complete with elaborate control devices and equipment. Throughout the long and painstaking preservation process, the exact position of missing or damaged items was marked and surviving items cleaned and sealed against corrosion.
The ground floor of the , a fun-meets-science space featuring 22 interactive exhibits. It’s here that visitors get to generate electricity themselves, to morph into batteries, make magnetic sculptures, struggle with a stubborn suitcase, touch thousands of volts without thinking twice and dabble in many more scientific experiments. Besides, most of the panels, seminars and talks realized within since its foundation, were held at the Cinema/Seminar Room situated on the ground floor of the . is given over to the
EMRE AROLAT ARCHITECTS
EAA - Emre Arolat Architects was founded in May 2004 by Emre Arolat and Gonca Paşolar in Istanbul, as the continuation of Emre Arolat’s architectural practices which he started at his parents’ office, Arolat Architects, as an associate designer in 1987. Since its establishment, EAA has turned out to be one of the largest architectural offices in Turkey with a team of more than 50 people, with the attendance of Sezer Bahtiyar and reintegration of parents Şaziment and Neşet Arolat as partners. The firm continues its practice at the offices in İstanbul and London with projects that range from mixed-use buildings occupying millions of square meters, to a small place of worship counting only five hundred square meters.
EAA has taken place in many prestigious and important national and international projects. Cooperation with worldwide known engineering and consultancy firms has extensively been performed, which is being carried out by means of several computer programming of the latest technology. The projects are being developed completely in three dimensional models, from concept design to the details in depth, which is also valid for coordination with engineering systems. Design is pursued till the smallest detail, comprehensively elaborated, solved and drawn. Further than the power of design, the amount and quality of detailing, and supportive supervision in all stages of construction has gained special exclusivity to EAA services among its so-called equivalents in the market. The belief that the exact success of a design may only be enhanced by extensive detailing, in all disciplines, has reached to commitment to a full design package.
The group also has a considerable presence in the academic world. The founder Emre Arolat has been active at various schools of architecture with lectures, jury contributions and studio tutorage, such as Berlage Institute at Delft, Pratt Institute at New York, Middle East Technical University at Ankara, CEPT University at Ahmedabad, several institutions in Istanbul like Mimar Sinan Fine Arts Academy, Istanbul Technical University, Yıldız Technical University and Bilgi University where was among the founders of Graduate Program. Apart from himself, group leaders in EAA perform in similar contributions.
Architectural significance of the group was supported by many awards, most notably of which are Aga Khan Award, The European Union Prize for Contemporary Architecture - Mies van der Rohe Award, World Architecture Festival Awards and AR Emerging Architecture Award.
Han Tümertekin is a practicing architect based in Istanbul and principal of Mimarlar + Han Tümertekin that he established in 1986. Previously, he worked in Paris as an architect. His work include residential, commercial and institutional projects primarily in Turkey, as well as in Netherlands, Japan, United Kingdom, France, China, Mongolia and Kenya.
Mr. Tümertekin was trained in architecture at Istanbul Technical University and completed graduate studies in historic preservation at the University of Istanbul. In addition to his built work, he has been teaching architecture since 1992 at several universities, such as; Harvard University Graduate School of Design; Istanbul Technical University; Ecole Polytechnique Fédérale de Lausanne; Ecole Spéciale d'Architecture, Paris; Yıldız Technical University, Istanbul; Uludag University, Bursa; Strasbourg, Ecole d'Architecture. He is among the founders of the graduate programme in architecture at Bilgi University, Istanbul, where he still teaches.
Mr. Tümertekin’s work have been widely published in international architectural journals, including Domus, Abitare, AV, Oris, Architecturel Review, L'architecture d'Aujourd'hui, the World Atlas of Contemporary Architecture, the Phaidon Atlas of 21st Century World Architecture etc. A monograph of his work was published by Harvard University Press in 2006.
Recipient of several prizes of architecture, Tümertekin was presented a 2004 Aga Khan Award for Architecture for the B2 House. He served on the Aga Khan 2007 Master Jury and he is a member of the awards steering committee.
After graduating from IEL, he studied architecture at Vienna Technical University. After graduating in 1992 he returned to Istanbul. He founded Tabanlioglu Architects in cooperation with Dr. Hayati Tabanlioglu in Istanbul in 1990. Besides his atelier program at Bilgi University, he lectures at universities and various international platforms and serves as a juror at academic programs and competitions. Murat Tabanlioglu is a Chartered Member of RIBA.
Tabanlioglu Architects develop innovative, yet efficient and economically viable design alternatives, considering the uniqueness of the place and the individuality of requirements.
The practice focuses on the matters of building in global terms; yet for the achievement of best design quality the architects evaluate the expressions of each country, region and zone, distinctively.
Every location offers special conveniences or engenders challenges that require specific solutions. Identifying the impact of the building on the local landscape and present values is as important as the architectural design of the building, in accordance with the needs, as well as new technologies in the changing world.
We advocate transparent spaces being an extension of public zones in the urban context, aiming to motivate an interactive, lively social mood; our architectural attitude aspire new social routines towards a more extrovert urban lifestyle. We trust the transitivity and synergy born out of architecture will encourage the environmental transformation.
Visionary thinking and innovative approaches need collaboration with other engineering and planning disciplines. We also believe that architects must cooperate in a spirit of global alliance and commit to sustainable patterns of production, to contribute to global progress by means of the man-made environment.
Founded by Nevzat Sayın in Kuzguncuk, 1986, with the aim of architectural services. He graduated from Ege University, Faculty of Fine Arts, Architecture Department in 1978. Worked with Cengiz Bektaş for post-academic education through 1980-1984.
The firm was restructured in 1992, with a sense of participatory management and execution. This participatory approach, as well as other architectural groups and disciplines in order, inter – Office teams, which forms the basis for an efficient working environment. The core team of 14 architects with a flexible organizational structure but at the same time has a structure that can change scale depending on needs. Up to this day, NMH has created 270 projects, totaling 3.000.000 square meters of indoor and 12.000.000 square meters of outdoor space.
Conducted project studios in Bursa Uludağ University and Yıldız Technical University.
Founding member of the Postgraduate Architecture Program in Bilgi University.
Attended summer schools and juries for various schools of architecture in Turkey.
Published essays and interviews on architecture. Participated in exhibitions of both architecture and photography.
The projects, Ürgüp – "A Void Below Ground" (1990), Gön Leather Factory 1 (1992), Gön Leather Factory 2 (1996) and Tekirdağ/Saray "The White House On An Empty Land" (1998) were awarded by the Chamber of Architects
Aga Han Prize of Architecture Nominee with his restorations and new buildings in Dikili Yahşibey Village twice.
The book "Nevzat Sayın-Dreams-Thoughts-Works" was published in 2004.