Elbphilharmonie: Hamburg’s dazzling, costly castle in the air

        In Hamburg, Germany, Herzog & de Meuron just completed its version of a city in a box, the Elbphilharmonie, a mixed-use project featuring a major concert hall and recital chamber wrapped by condos and a hotel, with acres of parking below. The $880 million project, originally budgeted at about $80 million, took 13 years from conception to the opening of its public plaza on the eighth floor earlier this month. The first concert will be held in January.

Starting at a grand piazza in the middle of the building, just above the eight-story parking podium, an elaborate circulation system of stairs cascades through Piranesian spaces and distributes visitors up 18 floors. The architects posit, as Koolhaas implied, that civic life is possible in the heights and bowels of a building, even on upper floors. They urbanize the interior through the topography of a continuously terraced landscape: think the Spanish Steps climbing up a hill, though inside a building, with big programmatic elements—concert halls, restaurant, hotel and condos—attached.

Urban Architecture for Lovers of Culture

The new philharmonic is not just a site for music; it is a full-fledged residential and cultural complex. The concert hall, seating 2100, and the chamber music hall for 550 listeners are embedded in between luxury flats and a five-star hotel with built-in services such as restaurants, a health and fitness centre, conference facilities. Long a mute monument of the post-war era that occasionally hosted fringe events, the Kaispeicher A has now been transformed into a vibrant, international centre for music lovers, a magnet for both tourists and the business world. The Elbphilharmonie will become a landmark of the city of Hamburg and a beacon for all of Germany. It will vitalize the neighbourhood of the burgeoning HafenCity, ensuring that it is not merely a satellite of the venerable Hanseatic city but a new urban district in its own right.

The Archaic Kaispeicher
The Kaispeicher A, designed by Werner Kallmorgen, was constructed between 1963 and 1966 and used as a warehouse until close to the end of the last century. Originally built to bear the weight of thousands of heavy bags of cocoa beans, it now lends its solid construction to supporting the new Philharmonic. The structural potential and strength of the old building has been enlisted to bear the weight of the new mass resting on top of it.

Our interest in the warehouse lies not only in its unexploited structural potential but also in its architecture. The robust, almost aloof building provides a surprisingly ideal foundation for the new philharmonic hall. It seems to be part of the landscape and is not yet really part of the city, which has now finally pushed forward to this location. The harbour warehouses of the 19th century were designed to echo the vocabulary of the city’s historical façades: their windows, foundations, gables and various decorative elements are all in keeping with the architectural style of the time. Seen from the River Elbe, they were meant to blend in with the city’s skyline despite the fact that they were uninhabited storehouses that neither required nor invited the presence of light, air and sun.

But not the Kaispeicher A: it is a heavy, massive brick building like many other warehouses in the Hamburg harbour, but its archaic façades are abstract and aloof. The building’s regular grid of holes measuring 50 x 75 cm cannot be called windows; they are more structure than opening.

The New Glass Building
The new building has been extruded from the shape of the Kaispeicher; it is identical in ground plan with the brick block of the older building, above which it rises. However, at the top and bottom, the new structure takes a different tack from the quiet, plain shape of the warehouse below: the undulating sweep of the roof rises from the lower eastern end to its full height of 108 metres at the Kaispitze (the tip of the peninsula). The Elbphilharmonie is a landmark visible from afar, lending an entirely new vertical accent to the horizontal layout that characterises the city of Hamburg. There is a greater sense of space here in this new urban location, generated by the expanse of the water and the industrial scale of the seagoing vessels.

The glass façade, consisting in part of curved panels, some of them carved open, transforms the new building, perched on top of the old one, into a gigantic, iridescent crystal, whose appearance keeps changing as it catches the reflections of the sky, the water and the city.

The roof structure 

The 7,000-square metre roof of the Elbphilharmonie consists of eight spherical, concavely bent sections that form a uniquely elegant curving silhouette. In addition, 6,000 shimmering giant sequins have been applied to the roof. The roof structure, with its steep curves and high peaks, itself weighs 1,000 tonnes and covers the complex star-shaped steel framework that carries the Grand Hall without any supporting pillars. The roof of the Grand Hall is made up of a steel framework, each element measuring up to 25 metres in length and weighing up to 40 tonnes, the outer and inner shell, floors for the technical equipment, the White Skin with the reflector as well as additional loads. Altogether the roof weighs 8,000 tonnes. 

The bottom of the superstructure also has an expressive dynamic. Along its edges, the sky can be seen from the Plaza through vault-shaped openings, creating spectacular, theatrical views of both the River Elbe and downtown Hamburg. Further inside, deep vertical openings provide ever-changing visual relations between the Plaza and the foyers on different levels.

Construction photos

Takaharu Tezuka on Tokyo's Open-Air Kindergarten

"When you put many children in a quiet box, some of them get really nervous," says Japanese architect Takaharu Tezuka, founder of Tezuka Architects. "In this kindergarten, there is no reason for them to get nervous. There is no boundary." Speaking at TEDxKyoto on his design for an open-air kindergarten in Tokyo, Tezuka discusses his playful and unorthodox approach to the creation of the eccentric building. The unconventional space blurs interior with exterior while accommodating a varied program of athletic, educational and relaxed space. According to Tezuka, the concept was based on a progressive philosophy employed by the school administration: "The principal says: if the boy doesn't want to stay in the room, let him go. He will come back eventually." On children, Tezuka's own philosophy is one of empowerment: "Don't control them. Don't protect them too much. They need to tumble sometimes. They need to get injured. That makes them learn how live in this world."

The client’s brief for this kindergarten was a simple one-liner: to provide a roof house for 500 children. Having visited Tezuka Architects’ Roof House in Hadano (AR October 2001) and having discussed the balance of practicality and delight with its owners, the kindergarten directors wanted their own inhabited roof deck.

While the original provided a shared space for family life - a simple surface for dining and reclining, with ladder access for each family member - this preschool in Tachikawa, 40km west of central Tokyo, provides a magical and stimulating environment for children between the ages of four and six years old.





Using its gently sloping roof to provide extensive external space, the building allows over 500 children to sit together in a circle, legs dangling over the edge, in a unique congregation as a young community. As Takaharu Tezuka is proud to point out, this is the largest kindergarten in Japan.

In accordance with priorities of the Montessori education method, while its simple form can be seen as a novel eye-catching landmark to fun, it also provides a flexible, robust and secure framework within which to encourage key notions of independence and freedom.

The Montessori methodology states that satisfaction, contentment and joy are encouraged when children are able fully to participate in daily activities, individually and collectively, in a place where they can understand, engage with and control their own environment.

As a hands-on approach to learning, which dismisses traditional tests and measurements of achievement, it encourages children to develop skills by doing activities that use the five senses and that promote movement.




In response, this building provides an ideal context for such activities, achieving continuity, containment and interaction in a single move.

With a looping plan that focuses on a central activity space, a continuous ring of interiors that shelter beneath a generous low-lying soffit, and a racetrack-like roof deck, this simple structure creates a wide variety of stimulating environments, without dead ends or unmanageable hidden places.

On the roof it is not uncommon to see children literally running circles around the staff. With some doing as many as 30 laps a day (5km), this is an entertaining and rewarding sight that speaks volumes about the accuracy and pertinence of the architect’s initial concept.




Recalling how his own children instinctively make circles in the ground, running (usually) in a counter-clockwise direction to mark out their territory, while usefully burning energy, the eccentric plan form emerged quickly as Takaharu Tezuka’s first response to site.

With no complicated algorithms or formulae used in the creation of its form, this was very much an intuitive reaction, expressed as a gesture on paper, which was then traced and scaled from the architect’s sketch and marked out on site by contractors.

Incorporating three semi-mature trees, it broadens where it can to maximise space, which also serves to accentuate the structure’s informality, with no obvious hierarchy or order.

Composed entirely of sliding timber screens suspended beneath a flush level soffit, both the internal and external perimeter- walls can be fully retracted for eight months of the year.

In accordance with Montessori’s principle that encourages children to interact with the natural world, such permeability provides seamless continuity between inside and out, unifying the central activity space with smaller pockets of residual space at the perimeter; places that provide more intimate spaces for animal shelters and small gardens where children can plant vegetables or flowers.

Remarkably, despite the relatively large scale of the building and the overwhelming number of children (some of whom travel for up to two hours to benefit from the above average standard of education and environment), the kindergarten only has five rooms.

With the loop broken down into four segments, each enclosure relies on low-level screens for subdivision, with the only full -height wall giving necessary isolation for the staffroom that sits adjacent to the main entrance.

Throughout the building, therefore, sounds (and smells) are free to flow from space to space, to create a sensorially stimulating atmosphere (and environment), which while being theoretically impractical, works well to create an ordered state of chaos that is believed to train each child’s focus and strengthen their ability to concentrate.

Internally, the spaces maintain the Montessori principle that classrooms should be child centric. With child-sized furniture, and no traditional teacher’s desk set in an intimidating position, the need to subdivide spaces was seen as an opportunity to engage and stimulate children.

Using Paulownia (an Asian hardwood that is almost as light as balsa wood), hundreds of feather-light timber boxes were made in four modular sizes that can be re-arranged by the children when directed to do so.

Ideal for storage, screening, sitting on and climbing, these boxes are just about robust enough, without creating opportunities for injury, being soft to the head and with edges softened by 5mm radii.

Within these fully flexible spaces the only anchors that exist are the tree courtyards, that bring light, air and life to the centre of the plans, the open plan lavatories situated at the ends of two segments, and the single sink units that sit in the space like individual village wells, attracting up to eight children at a time who gather round in so-called well conferences.

Other playful touches include the outdoor taps that allow children to clean up and wash down, set on free-draining timber logs; glazed rooflights, that give peep-hole views between roof and classroom; scramble nests around tree trunks; and a slide that provides the most direct route down from the roof.

Clearly the children were the principal client for this project. However, saving something for the teachers, Tezuka has maintained his promise to provide them with their own roof house, with a single stepladder in the staffroom that gives the adults their own direct access and escape route.

Trump Cadde II Container Architecture

It’s so ambitious and courageous that the word food court just falls short.Caddeopens in Mecidiyeköy, Istanbul, bringing more than 25 carefully chosen fashion and lifestyle retailers and of course restaurants on Trump Towers’ roof terrace and turns it in to much more than what you might expect from any other mall.

In using the container – as an every architects dream, breaking the boundaries of modularity, uniformity and ubiquity – the project combines the individual units into a redundant system to transform and change its character from there. Playing with the positve and negative volumes, alternation of open, semi-open and enclosed space, Cadde becomes more than simple a container transformation, but more an integral master plan, re-adding these qualities that we so familiar with from the ancient model of the bazaar and agora into the introverted shoebox design of today.

Atmosphere

The simple and imaginative concept brings modular units to the area between the two towers, creating main alleys and secondary aisles. Criss-cross cuts through that primordial mass then maximize the façade, whilst providing short cuts and thereby create exiting space and individuality at every corner throughout the project.

Different cuisines in a mix with contemporary retail requires a sensitive design for every single unit, establishing and underlining it’s personal identity, thus contributing to a solid overall appearance. The lower level, holding 18 shops and restaurants, provides an urban setting with plazas, wider alleys, down to more narrow shortcuts. Shared seating as well as adjacent, themed terraces invite the visitors to remain, widely openable façades carry the individual atmospheres outside and erasethe boundaries between in- and outside, whilst large glas façades provide transperancy and gorgeous displays.

The second, upper level is much less dense. Green and large deck spaces invite to remain and observe from above. Five restaurants invite to their generous terraces, green areas offer an agreeable sojourn and connect several units. The unifying design approach also becomes most obvious on the terrace level. Each unit resembles outworn shipping containers folding, sliding and swinging open. Where on the lower level corrugated steels facades hold menus and infographics - but in general fall victim to the high density and desired transparency - the container facades on the upper level entirely become the expressive and functional shell of each unit.

Structural & technical

A steel frame construction paired with an underfloor technical layer provides the flexibility of layouts for each unit. Fresh and waste water, electricity and climatization are delivered to the exact point they are needed. This matrix furthermore offers opportunity for a great variety of applicable materials for the individual modules, ranging from 15 to 90 m2, each with a clear 3.00 m head height.

To maximize the usability of the development, the corridors and terraces are openable in the summer, protected from intense sunlight, but entirely closed and heated in the colder period of the year to cultivate the space. The hidden service corridor, as well as a buffer zone to hold goods temporarily during re-stocking, connects to the service elevator and storage areas in the basement; refrigerated trash storage is available both in basement and on site level.

The synthesis of the container theme and the eclectic and colourful interiors define the nature and charm of the project – providing different qualities on the two levels, throughout 25 units, each with it’s own character and style. Well-arranged and staged on the users end, creating a unique urban atmosphere, and orchestrated behind the scenes, providing a strong service infrastructure on the operator’s side,

 

 

  

 

Konteyner Mimarlığı

Evler, apartmanlar, ofisler, acil durum sığınakları... Nakliye konteynerları, büyük kentsel projeleri de içeren bütün mimari amaçlar için hızlı, düşük maliyetli, çevre dostu yapılar.

Konut olarak yaygın olmasa da konteynerların daha çok ofis, stüdyo, restoran, sergi salonu, acil barınma evi, sanat atölyesi gibi yapılarda kullanıldığı görülmekte. Malzemenin yüksek mukavemetli ve sürdürülebilir olması ve maliyet açısından normal yapılara göre son derece ekonomik fiyatlarla karşımıza çıkması konteynerların kullanım oranını yükseltmekte. Dikdörtgen hazır formuyla bir puzzle gibi üst üste ya da yan yana birleştirilerek uygulama yapılabilmesi de yaşanabilecek metre kare alanını çoğaltmakta ve bu da yapının tercih edilirliğini artırmaktadır.

Bu yapı tekniği daha çok inşaat alanı olarak az yer kaplaması gereken ancak büyük bir kullanım alanı sunulmak istenen, çok katlı konut ve ofis alanları için son derece ideal görülmektedir. Geleneksel ahşap, çelik ve beton yapıların yapısal gücünü kendi içinde bulundurduğundan temel tasarımı basittir. Bu da iş gücü, zaman ve finans ekonomisin temelidir. Dış cephe için yüksek bedeller ödenmeyeceğinden de iç tasarımı için daha fazla bütçe ayrılabilmektedir. İnşaat sıkıntısı olan zeminlerin en kolay çözümü olduğu gibi, inşaat süresi de türlü hava koşullarında en az 7 gün sürmektedir.

Mimari tekniğe uygun olarak açılacak pencere boşlukları, kapılar ve iç mekan bölme sistemleriyle tek bir konteyner içinde bile birden fazla yaşam alanı oluşturulabilmektedir.  Öte yandan hammaddenin çelik olması, depreme de en dayanıklı yapı olması anlamına gelmektedir. Yapısı gereği temeli de kendinde olduğundan, taşınabilirlik fonksiyonuna sahiptir.

İlk dezavantajı ısı yalıtımı ve neme karşı korozyon dayanıklılığının artırılmasıyla ilgilidir. Hammadde çelik olduğundan ekstra yalıtım yapılması gerekmektedir. Bu da işin ekonomik kısmında biraz harcama yapılması anlamına gelmektedir. Bir diğer olumsuzluk inşaat sürecinde işçi gücü azalırken, makine gücüne ihtiyaç duyulmasıdır. Ayrıca konteynerların yük taşımaya yönelik ürünler olduğu düşünülürse, dayanıklılığı artıracak bir takım kimyasal boyalarla boyandığı akla gelecektir ki bu da mekan içinde sağlıksız hava yaratacaktır. Bu nedenle de dış cephe ve iç mekanların dezenfekte edilmesi, zararlı kimyasallardan arındırılması gerekmektedir. 

Parco Della Musica Auditorium

Parco Della was designed by Renzo Piano at 1994 ( ninetheen ninety four) in rome. It is a very real city for music, with three halls of differing sizes and acoustic quality, numerous practice rooms and recording studios, conference halls and classrooms. The open-air amphitheatre highlights its commitment as a public space built to host culture and give life back to a great urban void in the Flaminio district.

Parco della  rolling down from Villa Glori, surrounds the Auditorium’s large lutes and two architectural gems such as the Flaminio Stadium and the Palazzetto dello Sport (Sport Palace) and ends up on Viale Tiziano. This gives the City of Rome a large twenty hectare Park inhabited by Music.”

There are three different size concert hall, the biggest one is santa Cecilia hall , second one sinopoli hall and the smallest petrassi hall. The Parco della Musica is not just another new auditorium for Rome, which for decades had been waiting for a permanent concert hall in which to host performances by the Accademia Nazionale di Santa Cecilia and it is situated between  santa Cecilia and sinopoli hall

And ın order to guarantee maximum flexibility of use and the best possible acoustics, piano introduced this new concept to the project. The halls are conceived as giant individual musical instruments, «resonating chambers», sitting in a landscape. The three halls are grouped in a semi-circle, their positions to some extent determined by the discovery,during early excavations, of a roman villa on the site and the wish to incorporate its display within the music centre. This layout results in a fourth space in the centre which became an outdoor amphitheatre known as the “Cavea”, with a capacity of almost 3000, an element which gives particular public and urban dimensions to the site. 

There are three different concert hall plan and 20 hectar park. there is a semi circle  open ampitheater in the middle of three halls and the arkeological remains. Santa Cecilia Hall has 2800 seats. It is reserved for symphonic concerts. Its large size called for a meticulous moulding of the inner space based on sophisticated acoustic studies, simulations and similar tests on large scale models. The stage is practically at the centre, with seating rising to various heights around the orchestra, not dissimilar

to the solution conceived by Hans Scharoum for the Berlin Philharmonic concert hall.

Sinopoli Hall has 1200 seats. While the space has a traditional rectangular auditorium layout, it also has a mobile ceiling and an adjustable stage. This hall is particularly suited to chamber music and dance performances.

Petrassi Hall has 750 seats. It is a workshop dedicated to the study and performance of experimental music, an exceptionally versatile space with a mobile stage, an orchestra pit that can be lowered, and a stage area that can be expanded by eliminating the front four rows of seats. The characteristics of the walls can also be altered in order to obtain the best possible acoustics for each performance.

A limited range of materials were used for the building: travertine for the “Cavea”, the foyer and the entrances; Roman brick for all of the vertical surfaces; pre-oxidised lead for the concert halls’ distinctive roofs. The interior is dominated by wood, carefully chosen for its acoustic qualities, but also for its attractiveness .

Renzo Piano

born in September 1937 in Genoa studied in Florence and in Milan, where he worked in the office of Franco Albini and experienced the first student rebellions of the 1960s. graduated from the Politecnico University in Milan in 1964.  In 1971, he set up the Piano & Rogers office in London with Richard Rogers. In 1981, the Renzo Piano Building Workshop (RPBW) was established

RPBW has designed buildings all around the world.

Renzo’s work is highly regarded as art,each building is innovative, well detailed and each designed with a unique approach. Renzo views light as a “building material” and this is obvious throughout all of his projects.Renzo lists the Renaissance architect, Filippo Brunelleschi among his many inspirations.Depending on your point of view, Piano is either the most corporate avant-garde architect in the world or the most avant-garde corporate one. Increasingly, his firm is the one museums and big companies call on when they want to bridge the gap between iconic, eye-catching architecture and a quieter, more pragmatic and more affordable approach.Piano's current approach couldn't be more different from his early designs. The building that made his reputation the Centre Pompidou in Paris, a modern-art museum also known as Beaubourg is daring, eccentric, and spilling over with energy. Piano designed the Pompidou with the British architect Richard Rogers when both were in their 30s; he's described the building, which opened in 1978, as a "young man's building" and an "act of loutish bravado."

Mekan Yer Hafıza

Konutlarda nitelik kavramı üzerine çalışma yapan araştırmacılar, geleneksel yaşam biçimini yansıtan konut imgelerinin insanların geçmişle bağ kurmaları açısından önemli olduğu görü- şünde birleşmektedir. Bu bağın kurulmasında insanın yaşadığı çevreyle olan etkileşimi ve bu etkileşimi zihninde saklayıp, yeniden anımsama ve geri çağırma yeteneğinin önemi ortaya çıkmaktadır. Bellek, geçmişi saklama ve yeniden meydana getirme yetisidir. Ansal bir işlem olup bilinç işidir. Bellek bir yeti olduğu gibi aynı zamanda özneyle nesne arasındaki etkileşimin sonuçlarını barındırma yeridir.

Mekânda kalıcı bellek “Yaşam boyunca mekânla ilgili duyumların, algılamaların, öğrenmenin, deneyimlerin ve anıların yalnızca kendi bileşenleri ile değil; içinde geçen fenomenlerle, ortam özellikleriyle ve yaşamla birlikte, bir başka deyişle "bağlamı" ile birlikte belleğe kaydedilmesi, ilişkilendirilmesi” olarak tanımlanabilir. Kalıcı mekân belleğinin tanımından yola çıkarak kalıcı bellek;

• Mekanın duyum aşaması, 

• Mekanın algılanması

• Mekanın belleğe kodlanması olarak üç süreçte oluşmaktadır.

Mekânın duyum aşaması olarak ele alınan ilk aşama fiziksel uyaran; renk, görüntü, doku, bi- çim, ses, ışık, yansıma, koku, gibi veriler olarak görme, işitme, koklama, tat alma, dokunma, denge gibi duyular aracılığı ile mekânın fiziksel bileşenlerinin, içinde gerçekleşen fenomenlerin ve tüm bağlamın insan tarafından duyumsanmasını sağlar. Bu aşamada mekânın fiziksel gerçekliği ile bireyin duyu organları sarmal bir yapı oluşturur.

Mekâna ait bileşenlerin oluşturduğu farklı özellikler bireyin duyumsal yapısı ile etkileşime girdiğinde algısal sürecin bilişsel ve zihinsel süreç- leri başlar. Mekânda yer alan sesler ve bu seslerin çeşitliliği ve düzeyleri, dokular, renkler, kokular, yüzeylerin konumu, fiziksel özellikler çok sayıda duyum ile adlandırıldığında birey bunları kendi değerlendirme süzgecinden geçirerek bir takım yargılara erişir ve mekânı algılar.

Mekânsal bir ögenin bellekte saklanması bireyin duyumsal ve algısal süreçte mekânı algılarken mekânla kurduğu ilişkinin boyutlarına göre değiş- ken bir yapı sergiler. Mekân birey için ne kadar çok bağlam içeriyorsa mekân o kadar kalıcıdır. Anılarla, deneyimlerle, algılarla, duyumlarla desteklenmiş bir mekân bellekte ilişkilendirilir, eşleştirilir, yönlendirilir karşılaştırılır ve kodlanır. Bu kodlama uzun süreli belleğe alınma anlamına gelir. Uzun süreli bellekte kodlanan bu öge, bireyin yaşam döngüsü içerisinde tekrar hatırlanmak üzere geri çağrılır.

Antropolog Nathan Wachtel'a göre toplumsal belleğin korunması mekana sabitlenerek gerçekleşebilir. Pierre Nora ise hafızanın mekansal olarak kurulduğuna dikkat çekiyor. Nora'ya göre hafıza, mezarlıklar, katedraller, savaş meydanları, hapishaneler gibi somut ve fiziksel alana eklemlenir. Böylece bellek o coğrafi mekanda yaşam bulur. Anıtlar, müzeler gibi mekanlar hafıza mekanları olarak öne çıkar. Diğer taraftan bir sokak adı bile kollektif belleğin yaşatılmasında rol oynar.

Varolan hafıza mekanlarının yaşatılmasının yanında bellek üzerinden mekanların üretilmesi çabasının da üzerinde durulması gerekiyor. İnkar edilen, unutturulmaya çalışılan hafızanın bir mekanda canlandırılması simgesel bir mekanın üretimini ortaya koyarak toplumsal hafızanın bu mekan üzerinden diri kalmasını sağlıyor. Mimarlık kuramı ve pratiğinin belirleyici isimlerinden biri olan Daniel Libeskind'in Yahudi tarihi üzerinden kurguladığı mekanlar bu bağlamda önem kazanıyor. Yahudilerin Almanya'da silinen izlerini yeniden canlandırmaya girişen Libeskind, belleği mekansallaştırarak Nazi Almanyası'nın kurduğu homojen toplum algısını kırmaya, Yahudiler’in yitirilmiş tarihlerine ışık tutmaya odaklanıyor.

Libeskind'in ortaya koyduğu en tartışmalı ve çarpıcı projesi Berlin'de tasarladığı Yahudi Müzesi. Tasarım anlamında da birçok simgesel göndermesi olan bu müzenin dışıda yarattığı Sonsuzluk Kulesi, Sürgün ve Göç Bahçesi, Soykırım Kulesi anıtlarıyla da hafızayı kentin farklı köşelerinde yeniden, tekrar tekrar canlandırıyor.

Kamusal alanda kolektif, ortak bir bellekten söz edebilir miyiz?  Sorusuna odaklandığımızda ise, Bunu kabullenmek, örneğin kentsel kültür mirası gibi kamusal alanın “korunan” bileşenlerinin üzerinde fikir birliğine varıldığı anlamına da gelir mi? Örneğin Beyoğlu’nun Levanten veya Osmanlı geçmişleri üzerinden kurgulanan söylemler ele alındığında (Keyder, 1999 içinde Bartu:32-39), ortak bir bellek yerine, parçalı pek çok imgenin bir araya geldiği bir kolektif bellek tariflenmektedir. Kamusal alan, bu bağlamda, farklı söylemlerin altını çizmek için iktidar mücadelelerine sahne olmakta ve toplumsal kimlik ve belleğin izlerini taşımaktadır. Hayden’e göre kimlik, belleğe ayrılmaz biçimde bağlıdır (1997:9) ve kültürel kimlikler asla değişmez değerler değildir, aksine tarih, kültür ve iktidar çerçevesinde süregiden bir değişim içindedirler. (Hall,1989:70-72) Bu değişim, iktidarlar tarafından yönlendirilebilir veya kültürel akımlara bağlı olarak biçimlenebilir. Ulusal ikonografinin desteklenmesi için belirli bir anlam çerçevesi içinde kültürel mirasın yeniden yorumlanması gibi uygulamalardan bahsedilebilir.

Kolektif belleğimizi oluşturan önemli bileşenlerden birisi olarak kültürel miras, Graham’a göre, geçmişi hatırlatmak ile ilgili olduğu kadar unutmak ile de ilgilidir. (2002:1006) Politik olarak kültürel mirasa yeni anlamlar yüklenmesi, ulusal kimliğin kurgulanmasında veya desteklenmesinde, ulusal olarak tanımlanan kültürün soyut ve somut bileşenleri yeniden yorumlanmasında da görülmektedir. Mostar Köprüsü, 1993’te yıkılana kadar, önemli etkinliklerin1 ve gündelik hayatın bir parçası olan bir eserdi. Önce Sırplar sonra Hırvatlar tarafından yapılan saldırılar, Hırvat ve Müslüman nüfusu birleştiren ve halklar arasında çok kültürlülüğün sembolü olan köprünün, hatırlattıkları ile beraber, bir arada yaşanan bir dönemin de bitmesini getirmiştir. 2004’te yeniden inşa edilen köprü, farklı kültürleri ve dinleri birleştirmek açısından bir dönemin kapandığını da gösterircesine uluslar arası platformda göz ardı edilmiştir.

Bireysel unutuş, çoğunlukla istemsiz bir hareket olmakla beraber, kolektif unutuş ya da hatırlama/yeniden kurgulama amaçlı, kasten yapılmış ve düzenlenmiş olabilir. Kolektif belleğin bileşenlerini içeren kamusal alanda yapılan müdahaleler, bir iktidar mücadelesinde, toplumsal kimlik üzerine derin etkiler yaratabilir. Bartu’nun belirttiği üzere geçmişe dönük, “düzgün” bir hatırlama, geçmiş, bugün ve gelecek değişmez biçimde birbirini takip ediyor olsaydı mümkündü. (Keyder, 1999 içinde Bartu: 43) Kamusal belleğin oluşumunun ve dönüşümünün bir bileşeni olarak korunan, yeniden tanımlanan, dönüştürülen kültürel miras ve anıtlar gibi kentsel mekândaki anı yapı ve objelerini yakından incelemek gerekir.

http://www.e-skop.com/skopbulten/tezler-degisen-kent-ortaminda-hafiza-mek%C3%A2n-ve-sanat-yapiti-iliskisi/2351

http://itudergi.itu.edu.tr/index.php/itudergisi_a/article/viewFile/217/195

http://tr.imkanmekan.org/files/bellek_kitapcik.pdf

https://www.academia.edu/5731417/Haf%C4%B1za_Mekanlar%C4%B1