istanbulmetro . istanbul architecture design

Istanbul nominated Best City in Wallpaper* Design Awards, REX Architecture designs Vakko headquarters, Mike Berg sculpture

Wallpaper* Design Awards 2010

Web  videos on Istanbul in Moncole and Wallpaper, Istanbul nominated as Best City by Wallpaper
The two bastion’s of international in-the-know cool, Monocle and Wallpaper were working the Istanbul theme this week with web videos. Monocle focuses on Arab tourists attracted to Istanbul by popular Turkish soap-opera NOOR, a flop in Turkey but a craze amongst middle and upper class Arab women lured by the rags to riches storyline, Istanbul scenery and the blue eyes of heart throb Kivanç Tatlıtuğ.  Wallpaper* magazine video features the less sexy but still hip Autoban design duo of Seyhan Özdemir and Sefer Cağlar as they expostulate the same old yada yada on east/west, old/new, chaos/order themes in a neat production centered largely in the Beyoğlu area. The City video was a part of Istanbul’s nomination as Best City in the Wallpaper* Design Awards 2010 (which was eventually won by New York).

http://www.monocle.com/sections/culture/Web-Articles/Soap-Opera-Tourists/

http://www.wallpaper.com/video/travel/city-short-istanbul/61718743001

http://www.wallpaper.com/designawards/2010/istanbul

REX Architecture, New York, completes Vakko and Power Media headquarters in Altunizade, Istanbul, January 2010

REX Architects of New York finish Vakko headquarters in Altunizade
REX Architects of New York (ex-Rem Koolhaas, OMA staffers) have finally after a long and arduous process about to complete construction of the Vakko headquarters in the Altunizade district of Istanbul. Vakko, a venerable textile brand led by the Hakko family, reached out to the New York firm to give them a brave new world look for Vakko and the Power Media group. Working with the existing half-built foundations of a hotel project,  the REXers led by front man Joshua Prince-Ramus transformed the concrete box using a plan they had originally design for an office building for Caltech University in California. REX’s design, a glass base surrounded by a jumbled grouping of steel boxes in the interior, presents a dynamic face to a company known more for it’s traditional textile designs.  After London’s Foreign Office Architects Meydan Shoppinging Center REX’s Vakko building becomes one of the few meaningful examples of international architects working in Turkey’s insular building culture. Thanks to REX’s effort and Vakko for the vision, Istanbul has a contemporary piece of architecture worth talking about.

http://www.rex-ny.com/work/vakko-fashion-center/

Mike Berg exhibition, "Heavy Metal", Galeri Nev, Istanbul, January 2010

Mike Berg, Heavy Metal art exhibition opens at Galeri Nev
American artist Mike Berg has been living in Istanbul for almost a decade.  His work concentrating on pattern, abstraction and gesture has seen this native of Washington state delve into the details of eastern and Islamic based geometric abstraction and handicraft. In his latest show HEAVY METAL at Galeri Nev in the Misir Apt in Beyoğlu, Berg shows large rusted steel sculptures and wall hangings that explore the tension between the ephemerality of momentary gestures of the hand and the solidity of the material.  The introspective Berg has long been obsessed with the ma thematic systems in the patterns of the architecture and decorative arts of Islamic cultures.  This can be seen in the apocalypticaly named wall paintings made from chalk lines, From Barbarism, To Decadence, Culture, which surround the viewer in a captivating abstraction that is Berg’s systematic reworking of eastern thought.
Mike Berg, HEAVY METAL, Galeri Nev, through February 6, 2010. Misir Apt., Istiklal Caddesi, Beyoğlu

http://www.galerinevistanbul.com/

Add comment January 18th, 2010

Istanbul Urban Age conference /Architecture and Urbanism Days, Garanti Galeri / Arkitera

Next week finds Istanbul as a subject of a major urbanism conference organized by Urban Age.   According to their web site, Urban Age is a six-year sequence of international conferences held in cities across Africa, Asia, the Americas and Europe between 2005 and 2010 funded by the London School of Economics and the Alfred Herrhausen Society of Deutsche Bank.  You can find the conference program here.

Also Garanti Galeri and Arkitera are co-organizing something called Architecture and Urbanism Days. The conference program can be downloaded here. The high point for me will be the release of Garanti Galeri’s Mapping Istanbul book edited by Pelin Derviş and Meriç Öner.  Also some panels  on architecture and urbanism in Istanbul.

Although I am not an urbanist, the connection of urbanism to architecture does give me some perspective on this issue.  Here are my top 10 aspects of Istanbul urbanism that need to be addressed:

1.  There is no professional group concerned about the design of public spaces in Istanbul and Turkey.   Architects are concerned about their building’s profile, urban planners about the legitimacy of the master plan, landscape architects largely don’t exist.  Who claims urban space and urban design then? Who is responsible for creating “place”?   Take a walk in the Maslak district to understand this.

2.  Istanbul urbanism is driven in important part by informal Anatolian town development dynamics with emphasis on extended family relationships.   Planning of new residential zones does not seem to take this account.

3.  Most buildings in Istanbul are constructed using steel reinforced concrete.  As the dominant construction material of Turkey, reinforced concrete buildings dominate the city.   There will be no major transformation of the city’s urbanism until alternative building systems are made available.

4.  Corruption determines building patterns.   Networks of commercial associations creates the means of construction. Land and building opportunities are speculative enterprises organized in deals behind closed doors.

5. Existing building stock stinks. 95% of the buildings in Istanbul are terrible examples of architecture.   Until these buildings are removed the city’s urbanism is not going to change in a meaningful way.

6. Contemporary architecture in Turkey has no value system.  How do you improve urbanism in Istanbul if most of the architects are rehashing tired modernist design principals? Architecture in Turkey needs to stand for something beyond client’s needs, the architects design sthick or a developer’s marketing strategy.

7.  The concept of  “public” slowly developing, to slowly.   Western based ideas of civic public and public space have only been developed in the past 60/70 years in Istanbul.   The creation of public spaces is a minor aspect of urban growth which is largely driven by commercial public projects such as shopping centers, office buildings and residential complexes. Where are the public spaces that could be the engines of civic culture, the parks, plazas,  public libraries, museums, athletic facilities,  etc.

8.  Urban design planning principals do not exist.  The visage of the city is blighted by a hodge-podge of half-finished, poorly maintained buildings adorned with  nasty signage and dubious decoration.  These outlandish scenes can be seen in high income as well low income areas.  Go stand in front of the Akmerkez Shopping Center for an example.

9. There was a good stretch of decent architecture in Istanbul in the 1950s and 1960s that is under threat.   Quality buildings from this period such as the Istanbul Hilton, the I.M.Ç.,  AKM are for some reason not regarded as historically or architecturally important by the powers that be.  The result being that all these buildings are currently under threat of destruction. The first waves of modernism in  Istanbul need to respected as disciplined and thought-out examples of modernism.  The concept of the ” historic past “in Istanbul needs to incorporate the developments of the 20th century.

10.   The image of the city is static.  The identity of the city is too dependent on historic models (the silhouette of mosques and minarets for example). An integrative forward thinking concept of Istanbul urbanism needs to be identified.

4 comments October 30th, 2009

Some thoughts on the nomadic in İstanbul - Sébah & Joaillier

So there is not a whole lot out there in terms of analysis of the dynamic urban systems of Istanbul.  These would be the manifestations of the nomadic economies of Asian and African origin in Anatolia and Eastern Europe.  Specifically those last 19th century actors of a civilization that had been active for more then 2000 years.  The Euro-Asiatic synthesis based on the micro to the macro movements of people in urban forms of habitation.  From village to town to regional capital to Istanbul the fluid relations coursed threw a dynamic decentralized network adapted from the fluid movement sytems of the steppe and the desert.   The performance of this culture, this ethos, in and by the Anatolian peasantry represented a uniqe synthesis that had its most vociferous exposition in Constantinople/İstanbul.  Of course there is the important work of Stefanos Yerasimos on urbanism in Istanbul.  His analysis of the transformation of the meydan concpet from the Ottoman period into the 19th century.  Maybe you can throw in Zeynep Çelik’s streetwise analysis of a block in Sultanahmet.

Or perhaps one can accept the fact that most persuasive creative statement analyzing 19th century İstanbul comes from artists who lived at the time, the work of   the photographers  Sébah & Joaillier.  From their offices on 493 Grande Rue de Pera they honed a surgical if not fantastic eye on 19th century İstanbul.  Their capturing the systems of the nomadic economy, the various peddlers, hawkers, deliveryman, religious figures and mendicants provide the first and last glimpse to an ancient world that would quickly then disappear.

Sébah & Joaillier

Photograph by Sébah & Joaillier, "Professor and his students"

Add comment March 8th, 2009

Ross Lovegrove exhibit, PRIMORDIAL, at Galerist

Ross Lovegove, Cetacea, 1822 x 705 x 635mm, copper, photography courtesy of Galerıst by Bariş Özçetin

Ross Lovegrove exhibition Primordial shown at Galerist in January/February 2009  features some of the designers signature work produced over the past few years. Utilizing handicraft combined with high technology materials such as aluminum and carbon fiber the designer continues to pursue his interest in abstract geometric forms. Showcased in this exhibition are a number of pulsating and undulating works produced by hand in the shape of benches, tables, chair and a prototype for a motorcycle.  Throughout the exhibition Lovegrove’s mastery of form is evident in the almost supernatural character of these limited edition design objects that could easily also be seen as sculpture.

Lovegrove’s career in design has seen him go through a remarkable development where today he is becoming more known for the creativity of his forms rather then the end products. His disciplined fascination with organic forms and craft  over a career that now spans over twenty years has reached a nadir where one feels that the whole point of what exactly these objects are is beyond the point. Exhibited as they are in an art gallery such as Galerist, the works of the the Primordial exhibit are at the edge of contemporary ideas of form and shape at their most abstract.

Lovegrove’s career in design has seen him rise to beyond the design world to a position as one of the more innovative minds in form. Ross Lovegrove was born in Wales in 1958. After having studied industrial design at the Manchester Polytechnic, in 1980 he entered the Royal College of Art of London. After graduation,  he worked with leading industrial design company Frogdesign in Germany, participating in the design of the Walkman for Sony and computers for Apple. In Paris he worked in the design team of  the furniture manufacturer Knoll International, designing the Alessandri office system, a work which brought him attention in global design circles. Also in France, he was part of the Atelier de Nimes with Philippe Starck and Jean Nouvel, and worked as a consultant for leading brands such as Cacharel, Luis Vuitton, Dupont and Hermès. In the second half of the 1980s Lovegrove returned to London and by 1990, he had opened his own Studio X in Notting Hill. Since setting off on his own  he has worked for international clients, developing a style inspired by the forms of nature combined with a thorough knowledge of ergonomics and advances in technology and production. Armed with these experiences he arrived in Turkey 2004 starting to work with the ceramic and bath fixtures for Vitra. Since his first Istanbul series for Vitra in 2006, Lovegrove has been one of the few international designers and architects with a constant presence in Istanbul.

With Primordial, the Istanbul public has a chance to see first-hand a different approach to design that is part of the current worldwide trend where art and design have almost become the same thing. As Lovegrove himself declares, “I’m an evolutionary biologist, more than a designer.  I don’t know what design is anymore, I create form, I understand form and I’m enjoying the digital age to create it.”  Entering the gallery, one is confronted immediately by one of these art/design hybirids, the amorphous copper Cetacea piece which is the one “art” work in the exhibition.  Cetacea is an elongated tube like structure perforated by lateral openings whose complexity can only be understood upon close inspection. Does one sit on this? Is it sculpture? The relation between observer and object is at once immediate and powerful because of the form and material but is ultimately an indefinite and tense one because what does not exactly what do with this object. Are we supposed to observe and appreciate it, sit on it, can we touch it?

Moving through the gallery to the other “design” objects, two benches, two sets of tables and a bike form, the functional aspects of each of these pieces starts to become to mind in relation to their striking forms . Expertly lit in the gallery installation to produce reflections of their dynamic shapes, the objects are complemented by video projections, digital prints and the dramatic lighting. Expanding beyond their immediate shapes, these objects explode out into the gallery.  It is here in the experience of form itself that one sees the power of the object. It would be absurd to think of using any of these objects on a daily basis. If they have any function at all it as indications of new direction in man’s quest to create physical versions of contemporary culture.

In Primordial, as the title of the exhibition emphasize, Lovegrove is trying to get at the basics of form and shape through innovative materials and techniques.  His evolving design practice has led him to this point where he is almost a god-like form creator producing modern day monoliths to this age’s  ideas on technology, material and shape. Undoubtedly, for the Istanbul public more used to seeing Lovegrove through his Vitra bathroom furnishings, a designer working in this way will seem odd. These objects are all well and good but the question many will ask is…why?  Why a table that will never have anything on it? (Which in fact would probably not look good with something on it.) Why a bench whose materials would be too precious to sit on?

The works in Primordial, all limited edition handcrafted masterpieces,  are important not for any other reason beyond the fact that they are powerful objects.  Their value as creative originates from the fact that they give back to the object an importance that has been lost in our contemporary consumer culture where material objects in the form of products are quickly bought, consumed and discarded. Works such as Lovegroves  reinvest objects with a degree of power they once had before they were mass produced and made anonymous and superfluous. In this exhibition the fascination with the shapes and forms stems partly from the detailed handcraft that was undoubtedly required to produce them. The power of the human hand to create and the human mind to innovate has been actively involved in the conception of these objects that look back deep into the past as much as they point dynamically forward into the future.

Add comment February 10th, 2009

Contemporary Istanbul, Forces on the Move

“Integrated systems: When everything is connected to everything else, for better or worse, everything matters.” Bruce Mau

It is clear from the events of the past year that we are in a critical period of world history. The global financial and economic crisis, the monumental dangers posed by worldwide ecological change and continued wars across the Middle East and Asia, are at the top of the list of serious problems that have shaken the foundations of the global system. The crisis itself has in fact started many people to rethink the values behind the current market based capitalism that seems to be at the root of these problems. As we assess the first wave of globalism that has occurred over the past 20 years, it seems a revision is necessary in the system itself. The time has come to imagine how to live, learn, work, and play together as a global community in a broader way then was possible before.

This line of thought and action requires us to think of what we can do in our own local place that can contribute something unique to the global community. What do I have that I can give to the globe that can add to a new formulation? How is my local applicable to the global? What are the productive and progressive values of my situation that can make be meaningful on the world stage? The next task then becomes one of action. In order for these ideas to filter into a new system, ultimately this optimistic somewhat utopic way of thinking then has to be translated into a new culture, a new global community.

It is here that we the meaning behind Istanbul culture is something to be thought about. Living and working in Istanbul we often take for granted the cultural and creative formulation existent in the city. While thousands come to Istanbul looking for the past, it is ironic the residents of the city live in an uneasy relationship to its present. Contemporary life in Istanbul, its culture, its literature, art and design, exists in a unresolved relation between past and present. For Istanbul to contribute to the global community the contemporary in Istanbul, the meaning of contemporary culture in Istanbul needs to be identified.

Istanbul has been a center of ideas for thousands of years. The often stated “bridge between cultures” role of the city has despite some over use still holds true today. Istanbul’s culture represents a unique synthesis of many things. From its foundations in ancient Greece to the following Roman, Byzantine, Ottoman and contemporary Turkish civilizations, Istanbul is a repository of ideas and qualities that are important historically and for their relevance to a wider cultural perspective.

When thinking of the relevance of Istanbul to the wider world it is to its quality as a place of sharing and diversity. For many years this sense of communities and cultures sharing a common space is a force that motivated the city as place of inclusion and cultural synthesis. The culture of Istanbul in fact can be said to be not a single “authentic culture” but rather an amalgam of cultural forces constantly on the move. Similar to the famous winds that stream over the city from all directions, Istanbul culture is a place of dynamic forces in constant dialogue. It is never just one thing but a collection of things on the move. This dynamism is a central aspect of contemporary culture in Istanbul today. As the noted American writer and poet James Baldwin, a resident of Istanbul throughout the 1960’s commented about the city, “It is both in Europe and in Asia, which means it is neither Christian nor Muslim, neither white nor black.” Not being one idea but a place of interaction between ideas for many years it is important today to focus on how these dynamics can be developed.

In speaking of contemporary Istanbul culture at the start of the 21^st century there are many ideas emerging from its past that can be explored today as a contribution to the global community. This place of interaction, the place of exchange and resolution, the place where differing cultures can co-exist, these dynamic aspects of the urban identity of Istanbul that are coded even into it’s name. The word Istanbul originating from the Greek “is tin polis” means “to the city” itself denotes the sense of dynamic action We do not have time in this short essay to completely detail the qualities of Istanbul culture that contribute to a new global community and ecology, but ideas such as cultural entropy, mobile culture, informal cultures, archeology and the past in the contemporary, bricolage culture, spirituality and consciousness in everyday life are all concepts that exist in contempoary Istanbul in a meaningful way. These concepts form the basis of a dialogue that is continued at many levels and cross-sections of society. These are part of a broader framework of the basic foundations of Istanbul culture that can be explored through the interaction of major global figures with Istanbul.

The task at hand for contemporary culture in Istanbul is to at this most important time in our globe figure out what we have to that can contribute to the global community, to establish a meaningful dialogue with the global community that is about ideas and concepts that we have, to value our concepts and bring them to the world stage. For many years, almost 300 to be exact, we have been concerned with importing culture, gaining validity by bringing in the latest and greatest from the largely the West. It seems now the time to change and move things in the opposite direction. What can contemporary Istanbul give to the world that is unique….

Add comment February 10th, 2009

Miniatürk - a short review

This is a short review of the Miniatürk theme park that I wrote for ID Magazine back in January of 2005. This is my original text that was later shortened by the editors at ID. I thought it was still relevant so I republish it here. The miniature city model park dates back to the early 1950s in Holland with the most famous being the 1:25 scale Madurodam.

General view of Miniatürk, Sütlüce, İstanbul

“It used to be that Americans would go to Epcot Center in Orlando, The Disney Corporation’s theme park for all things worldly to get a quick taste of global culture. Eliminating the muss and fuss of international travel, Epcot’s various country pavilions, modeled in a quirky 90% of normal scale would give visitors a peak at a bite size cliché version of each country’s cuisine, products and architecture. All this complete with real live nationals in traditional gear providing smiley-faced service. Much to the consternation of high-minded critics like Jean Baudrillard who grandly proclaimed the modern theme park as the end of the real as we know it, the theme park and theme park style architecture have been a dominant force in urban life for over two decades. Anyone who’s recently had a chance to visit New York City’s 42nd Street or the lofty cutting-edge-architecture-as-attraction collection of buildings of Berlin’s Potsdamer Platz can attest to that.

The thematization of our cities has reached a point where individual cities and even countries have themed themselves to gain the bounty of tourism dollars. One of the newest of these is the resourcefully named Miniaturk in Istanbul, Turkey. Run by the Municipality of Greater Istanbul, Miniaturk is just that, a theme park containing miniaturized versions of Turkey’s and the former Ottoman Empire’s most famous historical sites in over 100, 1/25 scale models.

Located in the upper Golden Horn, a dusty length of waterway in the industrial center of this frenzied city, Miniaturk’s architectural models arranged in neat pathways around a larger scale version of the city’s Bosphorus Bridge allow sightseers to quickly scan over 2000 years of architecture in about an hour. For visitors to Turkey with not enough time to inspect the country’s superior but far-flung examples of Greek , Roman, Byzantine, Near Eastern and Ottoman architecture, Miniaturk provides a brief glimpse into what you are missing without actually having to miss it. As with the real thing, the great domed mosques of the Ottoman master architect Sinan and the Byzantine Church of Hagia Sophia stand out in a mix of buildings that deteriorates in the modern period into scale model examples of a gas station, a shopping mall and that consummate monument of modern culture, a model of a stretch of modern highway! So successful has Miniaturk been in selling architecture as entertainment that a second example, Minicity, designed by the innovative Turkish architect Emre Arolat has already been built in the Mediterranean coastal city of Antalya, and is set to open later this year.”

Model of Hidiv Kasrı (House of the Khedive of Egypt), Miniatürk, Istanbul

Model of Hagia Sophia, Miniatürk, Istanbul

Model of Süleymaniye Mosque, Miniatürk, Istanbul

Model train, Miniatürk, Istanbul

1 comment May 27th, 2008

This is design in Turkey…Aziz Sariyer for Park, polyethelene outdoor furniture and objects

This collection of outdoor furniture by Aziz Sarıyer for Park actually came out last year. Sorry it’s taken me some time to get to it.

I have to say first of all that in my opinion this is the best piece of design that came out in Istanbul and Turkey in 2007. Sarıyer has in his design work over the past decade gone past the point where style is even an issue. He’s in another zone where it’s about form creation at its most basic, in an epistemological register where archetype meets abstraction in a way that is only possible in the unique geography of Turkey. My treatment of these qualities of geometric abstraction in design in Turkey and by Turkish designers are described at length in my book, Turkish Touch in Design published by Nurus. (If you want to buy the book, contact Nurus).

In this case, Sarıyer is allowed to cogitate on some basic issues in abstract geometry as the client is his daughter. Park is an Istanbul based furniture company run by Sarıyer’s daughter by Dilruba Sarıyer and Mehmet Yucebaşoğlu in 2007. We see Aziz Sarıyer’s signature geometric approach to design at it’s best. Monolithic, geometric, low, objective, abstract yet with a slight residue of symbolism, these are the qualities of design in Turkey that have existed for centuries that Sarıyer so deftly translates into contemporary form ın these polyethelene furniture pieces.

Table, chair, lighting, seating group. PARK. Design by Aziz Sariyer, 2008

Add comment May 19th, 2008

Design Cities exhibit at the Istanbul Modern. I don’t like it. And if you read the discussion I have here with the curator Deyan Sudjic, you can tell why.

Poster, Design Cities, Tasarım Şehirler, İstanbul Modern

Design in Turkey does not seem to have a long or meaningful history. When it is mentioned most people are surprised that contemporary design from Turkey even existed at all. Didn’t Turkish designers just copy from the West? Wasn’t Turkish design just a second rate or third rate version of what was going in Milan, London etc? What of interest could possibly have been created in Turkey of the 1930s or 1950s, 1960s….?

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Add comment May 19th, 2008

Can Yalman Hexa executive desk by Nurus

During the latest Salone del Mobile in Milano, Nurus unveiled Hexa, a new lightweight executive desk, at their stand in the Zona Tortona by the Istanbul based industrial designer Can Yalman. This was the first collaboration between Nurus, Turkey’s premier office furniture company and Yalman, a leading figure in the burgeoning Istanbul design scene.

The Hexa desk was produced by Nurus in the form of a hexagonal double carbon fiber structure. The simple straightforward shape belies a more complex geometry inspired apparently by nanostructure. Inspiration and metaphor aside I like the rawness of the rib skeleton which looks organic and technological at the same time. The whole ensemble might be a bit to stylized for some tastes but I think Yalman is onto something here with this insect exoskeleton meets surfboard design.

Yalman’s recent work has matured greatly especially his mastery of abstract geometry. His fascination with the geometry of nature had been evident for a number of years and could be seen in much of the work he produced for Kale Seramik. With the Hexa desk he seems to have started developing his own taste for geometric abstraction which we hope will lead to further more successful investigations in this important area for design in Turkey.

back view, Hexa executive desk by Nurus designed by Can Yalman, 2008, computer render

front view, Hexa executive desk by Nurus designed by Can Yalman, 2008, computer render

prototype, Hexa executive desk by Nurus designed by Can Yalman, 2008

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Add comment May 14th, 2008

Galata revival…finally, real estate developer NOA walks the walk

NOA’s residential projects in the Galata Tower area

For about 20 years now the area around the Galata tower has been the focus of constant real estate speculation. It has been talked about endlessly as the first big thing in downtown Istanbul’s eventual gentrification. The new Soho, the new Marais, yuppies, wine bars, cafes, urban hipsters etc. etc. the future for the neighborhood that was once home to Istanbul’s Christian community was all but a done deal.

20 years on the area seems to finally be living up to the hype. While up the street in Tünel and Asmalımescit cafe society is booming, down around the tower we will soon soon the completion of a number of residential buildings that is set to make the Galata district Istanbul’s second bourgeois bohemia enclave (after Cihangir). And the credit has to go to the company that is doing the most to realize this effort, the property developers NOA led by the young, dynamic Sarp Tiryakioğlu. You can check out the NOA projects, 3 residential properties of rental apartments on their web site. These are primarily refurbishments of nearly 100 year old buildings with the only contemporary architecture here being the renovation of ALI HOCA 6 building by the architect Elif Özdemir.

I had a chance to visit the as yet to be completed Ali Hoca 6 a couple of weeks back and was impressed by the simple and straightforward design by Özdemir who seems to be expert at doing a lot with a little. Despite a fairly limited budget her direct use of industrial materials against the cleaned up skeleton of the old building creates a agreeable harmony between old and new that brings a contemporary flair to this ancient neighborhood. Both NOA’s Tiryarkioğlu and Özdemir have to be given credit for the detailed and difficult work that will undoubtedly be a benchmark in Galata’s property sector.

Add comment May 13th, 2008