A STUDY ON ARCHITECTURAL ELEMENTS OF

SPACE IDENTITY: ATAKULE

A THESIS
SUBMITTED TO THE DEPARTMENT OF
INTERIOR ARCHITECTURE AND ENVIRONMENTAL DESIGN
AND THE INSTITUTE OF FINE ARTS
OF BİLKENT UNIVERSITY
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE OF
MASTER OF FINE ARTS

By
Tuğba Şeyda Akşehir
Sept, 2003
I certify that I have read this thesis and that in my opinion it is fully adequate, in
scope and in quality as a thesis for the degree of Master of Fine Arts.

Dr. Maya Öztürk (Principal Advisor)

I certify that I have read this thesis and that in my opinion it is fully adequate, in
scope and in quality as a thesis for the degree of Master of Fine Arts.

Assist. Prof. Dott- Arch. Markus Wilsing

I certify that I have read this thesis and that in my opinion it is fully adequate, in
scope and in quality as a thesis for the degree of Master of Fine Arts.

Assoc. Prof. Dr. Nur Çağlar

Approved by the Institute of Fine Arts

Prof. Dr. Bülent Özgüç, Director of the Institute of Fine Arts

ii
 A STUDY ON ARCHITECTURAL ELEMENTS OF
SPACE IDENTITY: ATAKULE

Tuğba Şeyda Akşehir

M.F.A in Interior and Environmental Design
Supervisor: Dr. Maya Öztürk
Sept. 2003

The study addresses the concept of space identity. Space identity, especially when
buildings, which aim at diverse symbolic impacts, are concerned, need be studied
through a comprehensive framework. Usually, space identity is studied by means of
plans, formal composition, facades, etc, which actually address the important aspects
of the image, rather than the identity of a building. Thus, historical, cultural and
social significances of these elements and the social context of the building remain
unexplored in conventional studies. In this study, in addition to such image forming
elements, location, site and program are proposed and discussed from these diverse
perspectives. These are essential theoretical foundations to the expression of
intentions regarding space identity. The study also addresses the intended identity of
spaces and changes in the perceived one in time. The changes of symbolic
significances of these elements and meanings of the above mentioned elements of
space identity are emphasized to discover reasons for shifting and degrading of status
of identity. Within this framework Atakule is studied as a case, which allows
exploring the proposed framework through viewing the elements as to their effects
on appearance and perception of Atakule as a symbol of national identity and public
space. It is concluded that although the image of Atakule did not change, the changes
in tangible and intangible elements of space identity resulted in degrading in the
status of the building.

Keywords: space identity, tangible elements of space identity, intentions and

perceptions of identity, public space and symbol.

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 MEKAN KİMLİĞİNİ OLUŞTURAN MİMARİ ELEMANLAR
ÜZERİNE BİR ÇALIŞMA: ATAKULE

Tuğba Şeyda Akşehir

İç Mimarlik ve Çevre Tasarımı Bölümü
Yüksek Lisans
Tez Yöneticisi: Dr. Maya Öztürk
Eylül, 2003

Bu çalışma mekan kimliği bağlamı üzerine kurulmuştur. Çeşitli sosyal etkileri olan
binaların mekan kimlikleri tartışılırken daha geniş kapsamlı bir çalışma yapılması
zorunludur. Genelde, mekan kimliği, yapının kimliğinden çok imajı etkileyen plan,
biçimsel kompozisyon ve görünüş gibi öğeler aracılığıyla tartışılır. Bu sebepten,
bugüne kadar yapılan çalışmalarda, bu elemanların tarihi, kültürel ve sosyal önemleri
ile yapının sosyal bağlamı değinilmemiş kalır. Bu çalışmada imge oluşturan
elemanlara ek olarak yer, çevre ve mimari programda farklı açılardan ele alınarak
tartışılmıştır. Bu tartışmalar mekan kimliği konusundaki yaklaşımları ifade etmekte
gerekli kuramsal temeli oluşturur. Çalışmada ayrıca başlangıçta belirlenen mekansal
kimlikle, zaman içindeki değişikliklerin etkilediği algılanan kimlik de
tartışılmaktadır. Yapının kimlik statüsündeki değişim ve başkalaşımın nedenlerini
ortaya çıkarmak üzere sembolik önem taşıyan elemanlar ile yukarıda belirtilen
mekan kimliğini oluşturan elemanlardaki anlam değişiklikleri üzerinde durulmuştur.
Önerilen kuramsal çerçeve aracılığı ile mekansal kimliği oluşturan tüm elemanların
kamusal mekan ve ulusal kimlik simgesi olarak Atakule’nin algılanmasındaki etkileri
ortaya konmuştur. Atakule’nin imajında bir değişiklik olmasada , bütün bu
elemanlardaki değişikliklerin binanın statüsündeki başkalaşıma sebep olduğu
sonucuna varılmıştır.

Anahtar Sözcükler: mekan kimliği, mekan kimliğini oluşturan elemanlar, kimlik

yaklaşımları ve algılanması, kamusal alan ve sembol

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 ACKNOWLEDGEMENTS

Foremost, I would like to thank Dr. Maya Öztürk for her invaluable help, support and
tutorship, without which this thesis would have been a much weaker one, if not
totally impossible.

I would like to thank my sister Selda Akşehir for her continual belief. Although we
are concerned with different areas, she helped me to enlarge my vision both on this
particular assignment and in my personal life.

Last, but not least, thanks to Canan Seyhun for her endless support and friendship.
She helped me figure out many of the things that I would not figure out by myself.

I dedicate this work to my sister Selda, my mother İlksen and father Osman Akşehir.

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 TABLE OF CONTENTS

1. INTRODUCTION..................................................................................................1
1.1 Framework, aim and method of the thesis................................................1
1.2 Structure of the work................................................................................4

2. A FRAMEWORK ON IDENTITY.......................................................................9

2.1 The concept of identity..............................................................................9

2.1.2 Space, Time and Identity……………………………....13
2.1.3 National identity……………………………………….16
2.2 Building of a national identity in Turkey………………………………..19
2.2.1 The republican period………………………………….21
2.2.2 The 1980s……………………………………………...30
2.2.3 Atakule in publications………………………………...32
2.3 The Architect…………………………………….………………………36
2.3.1 The architect in history and his relations with other
design actors…………………………………………...37
2.3.2 The role of the architect within the process of
national identity ………………………………………40
2.3.3 The architect of Atakule……………………………….41

3. FORMULATING AND CONSTRUCTING INTENTIONS…………………44

3.1 The elements of space identity……………………………………………...44

3.2 Formulating and defining intentions on space identity……………………...48
3.2.1 Location……………………………………………………………….48
3.2.1.1 Location in theory……………………………………48

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 3.2.1.2 Location as an element of space identity in Atakule...49
3.2.2 Site…………………………………………………………………….52
3.2.2.1 The site in theory…………………………………… 51
3.2.2.2 Site as an element of identity in
Atakule……………………………………………… 54
3.2.3 Program…………………………………………………………………57
3.2.3.1 The program in theory……………………………….57
3.2.3.2 Program as an element of identity in
Atakule……………………………………………….61
3.3 Constructing and expressing intentions………………………………………64
3.3.1 The building- elements constituting the image and their effect………...64
3.3.1.1 The Plan……………………………………………...65
3.3.1.2 Formal Composition………………………………... 74
3.3.1.3 Interior Spatial Structure…………………………….77
3.3.1.4 Choice of materials and techniques………………….81
3.3.1.5 Scale…………………………………………………87

3.4 Re-reading of intentions of the architect……………………………………..89

3.4.1 The User……………………………………………………………….90
3.4.1.1 Spectator, viewer and the user…………………………...92
3.4.1.2 User models in design philosophies……………………..93
3.4.1.3 The users of Atakule…………………………………….96
4. SOME CHANGES IN THE IDENTITY OF ATAKULE…………………..101
4.1 Image vs. Identity………………………………………………………102
4.2 Identifying changes…………………………………………………….104
4.2.1 Location………………………………………………105
4.2.2 Site……………………………………………………107
4.2.3 Program….…………………………………...……….110
4.2.4 Plan………………………………...…………………111

4.3 Analysis and evaluations of the changing status of Atakule…………………...112

5. CONCLUSION………………………………………………………………...120

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BIBLIOGRAPHY………………………………………………………………124

APPENDICIES………………………………..………………...………………130

viii
List of tables

Table 1 Showing the visiting time of Atakule

Table 2 Evaluation of interior and the building as a whole

Table 3 Preferences in shopping mall usage

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List of Figures

Figure 1 Atakule- general view

(taken from www.balsoy.com/Turkiye/inpictures/pi/ankara04.html)

Figure 2 A representation as locus of modern forms for Ankara

(Bozdoğan 69)

Figure 3 Examples from modern cities published in Turkish magazines

(Bozdoğan 117)

Figure 4 The main axis according to Jansen plan

(Vale 100)

Figure 5 The development of the center by 1990

(Vale 101)

Figure 6 Approval of plan change

Figure 7 Permission of building

Figure 8 A sample example of nature of designing

(Millier 29)

Figure 9 A schematic representations of the elements and factors

Figure 10 The shift in city centers from north to south and the main axis

Figure 11 Site plan and the site circulation

Figure 12 A simple bubble diagrams for a shopping mall showing not only the
functional but also the spatial relationships (featured by the author)

Figure 13 Photographs illustrating the variety of the use potential of the atrium
space- as performances for dance shows, meetings and etc.
(taken from www.atakule.com.tr/html/etkinlikler.html)

Figure 14 Showing different spatial relation models affecting the plan derived from
Hillier (97)

Figure 15 Plan and interior view of Maison Curutchet

(Lapunzina 110)

Figure 16 Initial plans of Atakule

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Figure 17 A photo taken (2003)from Çankaya caddesi showing the terraces with
view to the park- upper open (featured by the author)

Figure 18 A photo taken (2003) from Botanic Park showing the design of north
view- plan specifies the appearance of the facade (featured by the author)

Figure 19 View of the atrium space of Atakule (1989)

Figure 20 A view from Pompidou Center in Paris

(taken from www.bc.edu/bc_org/avp/cas/fnart/arch/20thc/pompidou08.jpg)

Figure 21 A photo taken (2003) from Cinnah caddesi showing the exterior surface
reflecting the distorted images of the existing environment (featured by the
author)

Figure 22 A photo taken (2003) from Cinnah caddesi showing the entrance and its
monumental effect (featured by the author)

Figure 23 A photo taken (2003) from Botanic Park showing the structure of the
tower (featured by the author)

Figure 24 Shopping malls in the city by 2003

Figure 25 A photo taken (2003) from the staircases next to Karum to show the effect
of the entrance (featured by the author)

Figure 26 Plan changes in Atakule

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 I. INTRODUCTION

1.1 Framework, aim and method of the thesis

Architecture is not only a problem of appearances where it can be discussed in terms

of forms and styles. In different ways, symbolically as well as physically, it gives

form to life. Hence, it needs to be considered as an appropriation of space from

complex socio-political contexts, through to patterns of movement, perception and

experience. Design of a space bears responsibility over such broad range of effects,

which also should help the architect to specify not only the appearance of the

building, but also the intentions on space identity. As the architect gives form to

identity of the space, he does this within a partially predetermined framework:

location, site and program. However, the appearance of the space is completed in the

use and the reception of the user.

This is especially valid for important buildings aiming at great symbolic and social

impact and at particular identity and status. It is the belief, that the study of such

buildings involves a broader framework of thought and discussion. Accordingly

elements proposed and selected as influential on the space identity include but

exceed the customary image forming descriptive elements like plan, formal

composition and spatial structure. It is the belief that to evaluate a building of such

1
status, it is important to identify clearly the intentions leading to its construction as

well as the actual terms of appropriation of the space. It is also important to seek to

explain certain discrepancies between them. To do so, this thesis proposes to extend

the framework by including the study of location, site and program. Moreover, all of

these are discussed in a sociopolitical context, revealing our factors frequently

effective on space identity. At the end combining problems of divergence between

constructed and received identities, intended and realized status of such important

buildings can be discussed more effectively.

The assumption of this study is that differences between the intended and perceived

space identity occur leading to degrading of space. In this study an attempt will be

made also to isolate and discuss such elements of space identity like location, site

program and tangible elements constituting the image, which are important to the

construction of intentions and appropriation of space.

Selecting Atakule for the study is appropriate because it has double role as a

landmark, a symbol, and as a shopping mall. Moreover it can be explored also over

time duration of ten years since its construction. Although its image in terms of

appearance did not change, it can be perceived how its identity has undergone

changes in time regarding its status. This can be observed on city scale regarding the

number and kind of users and visitors, the number and quality of shops, the

configuration of space as an effort to meet new demands. The necessity to isolate and

explore these elements is important for the formation of space identity through this

specific example, because the discussions will involve these multiple roles of

Atakule in sociopolitical context as well. This study will address such and related

2
issues by discussing how these affect Atakule’s identity today, what is the identity of

a building really made up of, which of these elements are important to the identity of

Atakule, what kind of changes can be observed here and how do these reflect on the

appropriation of the space.

To explore the answers of these questions, a method is developed. The methodology

assembles a variety of different perspectives on space identity and its constitution

through tangible elements as way to find out eachs’ effect on formation of identity.

Firstly, the elements constituting the identity are investigated theoretically and in the

case of Atakule. Secondly, a comparison is made between Atakule’s initial identity

and the current one. To emphasize that there are differences between the intended

statuses of Atakule a pilot study is conducted among the users and evaluation of the

architect has been asked. Lastly, the changes in the symbolic significances of the

elements constituting the appearance are discussed while possible reasons are

isolated, which may have led to the shift in Atakule’s status. Although the image

maintains its appearance, different perceptions about the identity of the space

occurred through time. This is due to the change in the interpretation of implicit and

explicit elements constituting the identity relative to the changes in city image,

development of social context of architecture, the social and economical conditions.

The theoretical framework interrelates insights provided by diverse perspectives on

space. Accordingly, from these relations, intangible and tangible elements of space

identity are derived.

3
1.2 Structure of the work

One of the factors that have an important effect on the defining intentions about the

identity is the sociopolitical context. It controls the initial intentions about a space.

The sociopolitical dimensions that can have influence on appearance of Atakule as a

landmark and as a shopping mall is discussed in terms of the politics and authority

status of 1980s. As Atakule is seen as a symbol of a new national identity, which is

defined by uniqueness and contemporariness, the social context and authority is

employed to architecture demanding of a preferred image is discussed in the second

chapter.

Moreover, the second chapter investigates the concept of identity depending on

various theories. Firstly, space and identity are reconsidered within the time context

because time appears as factor on formation of identities through a particular space

and on space identity. A definition of national identity is made, regarding how it is

constituted, formed and passed through generations. It can be redefined according to

new conditions. It can assert, assimilate or accommodate new values, beliefs,

institutions and etc. These changes or the political powers, seeking to form their

preferred identities, may change the physical representations of national identity.

With such changes of sociopolitical construction, mental forms and behavioral

models are altered accordingly. Thus, space, clothing, ceremonies and other tools

expressing identity are identified within the process identification. Turkey presents

such examples.

The project and construction time of Atakule, 1980s, were years of an economy

opening to world markets. The governmental economy politics needed to be

4
legitimized as modern through iconic appropriation. Yet such appropriation was to

be independent from the past, from traditional architectural forms and representing

more of a new developing global city and a new national identity. The need to

formulate a new national identity through Atakule appears as a force with impact on

its architectural form. The formulator of this intention, the architect is also

introduced in the second chapter. His role in the process of national building and in

the design process is investigated further to understand the contribution of his ideals

and views. Here the architect needed to be the translator of the expectations of the

society to a concrete form. Therefore the role of the architect, Mr. Buluç, is also

investigated to understand his contribution to process of national building and the

elements he has isolated to construct the desired image. He analyzed the elements

that the authority employed to symbolize the power. These are determined as

location, site, and program.

In the third chapter, these elements which appear as kind of predetermined and prior

to design with possible attributions to the space identity are discussed more in detail.

Location in theory is discussed in terms of this possible effect on identity. The

meanings and historical, cultural and political significances of location have effects

on determinations about the identity of a building. In this respect, location of Atakule

is investigated with its importance in city scale. The character of the location is

determined to identify which of its meanings is attributed in the design of Atakule.

Site in this order was investigated so as to discuss the characteristics of the site and

its effect on defining the intentions on space identity. The site as a context is another

influencing area either natural or man made (Miller 29). As Miller also indicates how

we choose to respond to our surroundings affects the “fit” of our design. Thus, site

5
characteristics and site circulations are named in order to find out the ones that have

influenced a shift in the appearance of Atakule. Another feature through which the

society or the client communicates with the architect are the programmatic features.

These determine not only the functional relationship within the space but also the

spatial ones, hence the perception of the space and the image. Thus, the requirements

of a principle shopping mall and international fundamental concepts of them are

compared to the program of Atakule. The discussion is about whether and how

Atakule embodies such a universal program of a shopping mall, or what are its in

capabilities of responding these concepts.

The third chapter continues with the sections in which, the tools of the architect to

formulate and construct the concrete forms of this predetermined social contexts are

discussed. The architect transforms the findings of the analysis of location, site and

program to an image. This image is constructed by reference to forms, interior

configurations, plans, materials, technology and scale. The architect may refer to

significant ways of construction or propositions in formal composition to transfer his

intentions and expectations of the client to the users and receivers. There are ways

that a material or a technology is attributed to express these intentions and create the

desired image and identity. The use of technology, the reference to scale differences

and proportional decisions are all presented as the ways to achieve the desired

identity and create the preferred image.

The users receive the intentions and acknowledge the identity also through these

symbolic meanings of the image. The last part of this chapter deciphers the modes of

receptions of the users. It discusses different perceptional modes such as being a

6
spectator, viewer and inhabitor, which according to their degree of integration and

familiarity change the identification of space and impressions of these symbolic

codes. Although the symbolic meanings of the elements constituting the image

broadcast messages to our impressions, they can be perceived in various ways due to

these different modes. This part discusses the different user models and how they

have been integrated to the defining intentions stage also. In different design

philosophies the status of the user is exemplified to show that their needs and

requirements should be considered as a design constraint which may affect the

perceptions on space identity. The prospective users of Atakule are discussed in this

part. Through an interview, the architect is asked to clarify which of these receptional

modes he had referred and the stage he located the users in the design process. They

are introduced as important factors shaping and reshaping the identity. The views of

the current users are asked to get their opinion about today’s status of Atakule. They

all emphasized a change in its identity and status.

The architect of Atakule also identifies a change in the identity of the building. The

forth chapter focuses on the possible reasons for the shift in the status of Atakule. It

begins with a discussion that although the image of the building has not changed in

case of material, form and composition, the perception of space differs from the

initial one. The changes in program and plan also imply this kind of a shift. It was

initially planned as a shopping mall, but most of it is being used as a branch office of

a bank today. This is a very simple example to show the gap between the intentions

and the current situation. This leads to a discussion of what constitutes the identity is

not totally dependent on the image of the building. The perception of the identity

may differ according to a broad and physical context. However, in this study the

7
emphasis is on the tangible elements like location, site, and program constituting the

image which are viewed from a larger perspective. By change in location, the thesis

investigates on the changes of symbolic meanings and messages of location or site

that was attributed in the time of construction and which has radically changed. The

analysis will discuss the relative weight and effects of the proposed elements

regarding the status of Atakule.

The conclusion addresses the validity of the framework with respect to the space

identity. It also proposes directions for a further step. Social sciences or other

disciplines can conduct investigations so as to understand the effects of changes

occurring in society economically, culturally and politically on preferences and

perceptions of space identity.

8
 2. A FRAMEWORK ON IDENTITY

Atakule is situated in Ankara which is the capital city of Turkey since the republican

period. Therefore, the building’s location in Ankara attains meanings to its space

identity (Figure 1 p.10). Thus, Atakule must also be examined in terms of the socio-

political context of the development of Ankara as a capital city in addition to the

development of social context of architectural character of the city. Atakule was built

as a symbol of modern and contemporary Turkish national identity. The image and

space identity of Atakule had been implicitly and explicitly affected from

sociopolitical conditions of the period. Thus, a brief investigation of the effects of

sociopolitical context on development of Turkish architecture since early republican

period is due. It is also the concept of national identity with its relation to time and

space which should be clarified. This section discusses the concept of identity, the

notion of national identity and its representations in physical environments in

general, as well as in Turkey.

2.1 The concept of identity

Collins dictionary gives various meanings for identity, but it emphasizes a common

point, that identity is about how you are seen and how your otherness can be

observed and identity is all the qualities, beliefs and ideas which make you feel that

9
you are different from everyone else, or that you belong to a particular group (718).

Some definitions of them explain the meaning of identity referring to the condition of

being one and not another (Rapoport 10).

Figure 1 Atakule-general view

(taken from www.balsoy.com/Turkiye/inpictures/pi/ankara04.html)

“Social and cultural theories approach the concept of identity from various

perspectives. Sociologists give emphasis on its social determinations. Freud’s

psychoanalytic account of the unconsciousness has shown the inherent split

of self identification. Saussurean linguistics has posited the self as the

product, rather than the author of symbolic codes and systems. Foucault and

others define the process of subjectification of self by cultural apparatus and

technologies” (Carter viii).

10
From these views, it can be stated that identity is constructed, defined, set up, and

attributed, whether it is communal or individual.

The tools that define the identity, some of which are language, religion, ethnicity,

culture, behavioral models, clothing, ceremonies and physical environments, can be

redefined. Rapoport mentions the importance of these tools in process of formulating

the identity (11). The process starts with stating the distinctiveness of the

community. Then, a boundary must be drawn between the group and the “others”

(Rapoport 11). How identity is known or made known, hence how it is indicated and

reinforced must also be questioned because the congruent structure of identity is

manipulated due to changing conditions of the global world.

The notion of identity is also discussed in terms of the time component. The essential

outcome of change in the global world is the process of acculturation. In time, the

significance of acculturation on renewed identity is increased by the formation of

new interest groups like feminist, lesbian and gay communities, WWF, Greenpeace,

as the need of which arises as a result of life shaped after post-modernism and

globalism. These new social groups are seeking particular identification within the

group by making their culture, behavioral models, clothing, etc, known to others. The

process of acculturation prevents destruction of cultures and it is important to

illustrate that formation of identity is not a stable process in time. Culture can be

upgraded to adopt societies to changing demands and conditions. Indeed, there has to

be a balance between continuity and discontinuity such as to enable the society to

absorb new developments and new demands without suffering from identity

diffusion (Dean 2).

11
Kristeva in “Strangers to Ourselves” explains that identity formation is not a

historical process, especially when the national identity is considered. Accordingly

“we”, namely the group identity, is something fluid and changeable. “We” is

something attributed according to changing cultural currents and demands as

exemplified above. Thus, we are consistently defining ourselves while adapting to

the changing world. The psychoanalytical perspective asserts that there is nothing

like “we”. The terminology of psychology defines the foreigner who is uncanny and

strange to ourselves (Kristeva 191). According to this argument foreigners delegate

the repressed identities in us. The repression occurs unconsciously. When

acculturation occurs, like accepting gays and lesbians as members of society,

renewed identity appeals to our consciousness. Thus, the tools of the identity,

clothing, language, ceremonies consequently change.

According to Rapoport, the built environment, too, can act as a tool to reflect identity

(17). The discussions of postmodern life have largely focused on the urban cultural

changes associated with shopping, consumption and fashion (Hetherington 7). Thus,

development of shopping malls all around the world as a result of the consumption

interest in public domain, is also an example to spaces reflecting changing social

identities. Public interests increasingly control those commercial interests and […]

determine what land and buildings can be assigned for large projects (Glazer and

Lilla xiv). As Shirvani points out, architecture has to explore this sociopolitical

context. Furthermore, he even proposes that the architect has to except these

changing demands and expectations of the public domain as an ethical code (182). In

any way, a necessity to respond to new conditions occurs, as the perceptions in the

public realm alter. Hetherington in “Expressions of Identity” explains this relation by

12
combining space and identity politics. He exemplifies how these altered identities

can produce new spaces and demand a change in the established ones because

identity as well as being about identification and organization, is also about spatiality

[…] and involves identification with particular places (105). This relative relation is

also projected to the image that represents these identities. The image that is

constituted reflects these new expectations through a use of a new material, new

technology, a new organization of plan and etc.

The relation between space and identity has two sides, either identity requires a space

for identification, or a space character develops new identities. Stating identity as a

continuous process of formation in relation to space is essential to understand how

national identity can also be (re)constructed through political, cultural and financial

agenda and how its tools of representation can change in time.

2.1.2 Space, Time and Identity

The task of thinking about national identity requires “…a successful connection of a

representative building to the history which it must engage. Synthesizing materials

and form in a particular space can achieve a relationship to both past and present”

(Finch 27). Most of the theories on space and identity agree that “…architecture and

the built environment are key elements of the transmission of cultural identities from

one generation to the next” (Finch 27). This point of view is often stated in order to

legitimize “…the idea of that authorities should recognize the importance of

contemporary architecture, because the architecture can help to create identity-

generating elements” (Heynen 374).

13
Hyett also agrees that architects are forced to use identity generating elements as

cultural changes challenge them to do so. He mentions that the post World War II

period changed populations all around the world. Dynamic cosmopolitan

communities consisting of diverse ethnic groups with great variety of religious and

cultural interests need to find expressions in new forms of architecture (20). The

common point in these three different approaches of Finch, Heynen and Hyett is that

time is always a component, when identity formation through space is considered.

Space is expected to either be an agent in transmitting the identity to generations, or

it is meant to project the consequences of cultural changes occurring through time, or

expected to connect past and present identity. However, the relationship between

space and time in this research is investigated in terms of its affects on space identity.

Although, space is modified through time, it may also act as referent to past selves

and actions, and for some people it maintains a link between past and present,

providing a sense of continuity to their identity (qtd. in Ünsalan). Thus the old place

becomes a symbol of old self, and the new place represents an opportunity to develop

new identities. But what happens to the old place, if its identity does not represent the

new social attributions, is it meant to deteriorate?

There are ways to prevent places from being deteriorated. Alexander believes that it

is the differences between the building processes which make them dead or alive. He

also proposes a single common process called pattern language. Through pattern

language, he links the patterns of events that take place in a space to the layout of the

space itself rather than focusing on geometrical criteria alone (qtd. in Mitchell 52).

Alexander points out that “…pattern language gives each person who uses it the

14
power to create an infinite variety of new and unique buildings just as his ordinary

language gives him the power to create an infinite variety of sentences” (xi). Thus,

the ageless character of the building can emerge if these implicit patterns which

“…grows out directly from the inner nature of the people, plants and matter” namely

the environment are rediscovered (7). Mitchell claims that “…through the use of

pattern language, the design process, is radically transformed; the principal benefits

is that the people affected by designing become empowered to shape their

environment for themselves” (56) which can be recalled as a way of keeping the

building alive. Pultar’s proposition of technical, percepto-cognitional and, most

important of all socio-cultural values (162) as conceptual basis of building ethics is

another way of keeping the buildings alive. It is clear that when the architect gives

special attention to these values, buildings may gain timeless values which may

enable them to be inhabited and appropriated in the expected way over time.

Political powers attach meanings to physical environments as discussed before.

When another power takes hold, it seeks to form its new identities through physical

environments and the old places are left as representatives of an old identity as

frequently not inhabited in the intended way. Thus, spaces can be defined with these

timeless values to prevent these shifts because they are meant to occupy valuable

lands in the city for long periods of time unless they are destroyed.

For instance, the symbol of the Turkish capital has changed several times: from Ulus

as old governmental center, Hittite Monument, then to the new governmental center,

Bakanlıklar, to mosque Kocatepe. Atakule can be seen in this context as an attempt

to continue this spatial axis. Atakule’s space identity can also be discussed as a

15
representation of the national identity that is reconstructed by the governors of that

time in accordance to the changing global world and conditions. The formulation of

national identity through space as agent of political regimes and politics in the case

of Turkey before Atakule is exemplified in the following parts.

2.1.3 National identity

The identity is the referential sign of a fixed set of customs, practices and meaning,

an enduring heritage, a readily identifiable sociological category, a set of shared

traits and/or experiences (J. Scott 5). Balibar defines cultural identity as a metaphor

of national identity (179). What he refers to as metaphor is the expression,

representation of identity that is simple, common and unified. Nation building theory

tries to constitute this uniqueness through ideas, rituals, symbols, behavioral models

which can all be categorized as cultural subjects. The formal representations of these

models can be institutions, ideas, monarchs (Bloom 61). Likewise, important

governmental buildings, and landmarks are kinds of buildings that represent an

authority and idiom of a whole nation in the process of identification with the nation.

From here it can be derived that, especially when the representation of a national

identity is considered, the location, image, relation to other sites and its appearance

in the city scape, all become elements, that help and contribute to formation of the

identity as a landmark or as a symbol. The proceeding chapter aims to uncover these

elements formulating the space identity of a landmark and symbol of the state, and

isolate factors constituting this identity in relation to the particular example of this

thesis: Atakule. This thesis considers Atakule’s positioning in the city as a landmark

resulting from the intention of representing a process of nation building, as a modern

16
and idealized symbol. Thus, it is firstly crucial to state what nationalism or national

identity is.

Gellner defines nationalism as “...a theory of political legitimacy which holds that the

political and national unit should be congruent” (qtd in Vale 45). Also, Elvan,

discusses that nationalism inscribes and broadcasts messages to the society

legitimizing and defining the nation as a homogeneous, unified and stable entity (20).

Thus, it has to be understood both in political and cultural contexts. Sarup mentions

that “...national identity occurs as an expression of a way of life and it has a powerful

appeal because it is made of self fulfillment” (130). Identification with a nation is a

question of a need of, as Smith also points out, an “analysis that is grounded in a

wider perspective whose focus is national identity treated as a collective cultural

phenomenon” (vii). McCrone argues that the discussion about national identity

belongs to a broader debate that the new political structures and the concomitant

decline of older ones seem to have focused on the issue of identity (34). Thus, the

discontinuity, dislocation and fragmentation of social arrangements mean that no

meta-identity seems possible (McCrone 34). Thus, the concept of identity can not be

divorced from matters of economic, political and material development. Similarly,

the building of a nation is an ongoing process.

This ongoing process of building of a nation frequently deals with discontinuity in

image: introducing terms like invention, imagination, fabrication and creation (Elvan

28). Benedict Anderson’s fundamental discussion also demonstrates that nationalism

should be understood as inherited or invented, primordial or constructed (qtd in

Calhoun 14).

17
The reason why nationalist ideology is treated as a destabilized process is that it is a

product of changes in the condition of material and social existence (Dunn 7). The

grounds of discourse, especially contemporary discussions on identity, must shift to

the understanding of post-modern and global world because they have unleashed

older cultural boundaries of nationalism and ethnicity (Dunn 129). According to

Jameson, the emergence of global technologies and communication networks created

a new space which transcends national boundaries in ways that strain the collective

sense of national identity and belonging (qtd. in Dunn 134). An important question

would be whether for example, post-modern architecture represents and identifies the

texture of this global culture, disregarding nationalism and regionalism?

It is obvious that a constantly changing world creates unstable conditions of politics,

finance and technology and raises the serious questions of representation of national

identity. Alsayyad believes that architecture can only hope to “symbolize national

identity as observed by a single individual or groups of individuals at a specific point

in time” (21). Still, there are many dimensions linking architecture and politics. All

political parties have their own national identity politics. When they become

governors, they demand this identity to be represented. This is one example to how

they are interrelated. However, time, and, as stated earlier, constantly changing

conditions of global world and culture modifies the politics of identities and their

representations in space and in public buildings. Atakule is a representative of an

attempt to redefine identity of a nation which is said to have a transformation in life

style due to global conditions. Turkey has experienced these transformations all

through its history while turning from a strict regime to a more democratic one.

Atakule is one of the latest concrete symbols of this transformation in the ideas of

18
society and in the identity of the nation as a whole. Thus, the following chapter is

worth investigating because this will allow understanding the transformation that

Turkey experienced in constructing a national identity. It will also help to indicate

the importance of historically, politically and culturally charged location and site of

Atakule in capital city Ankara that has affected its space identity as well as the above

social context.

2.2 Building of a national identity in Turkey

The Turkish- State was founded on 1923 following the war of independence. The

new Republic had many structural problems practically and ideologically (Tekeli

10). Tekeli pointed out that this struggle depended on the reason that Turkey

“…while being integrated into the world economic system, underwent diverse

transformations. During these transformations, it had to be a nation on the one hand,

and it had to be a part of the international system on the other” (31). These

transformations included an attempt to break all associations with the Ottoman past

(Yavuz and Özkan 51). This meant creating a national identity by defining cultural

values that are distinctly its own (Tekeli 31). Thus, in the process of nation building

in Turkey after the Ottoman Empire, the oppositions of national and international,

past and future, modern and traditional, East and West became the main arguments

of national identity in Turkey (Elvan 44). Said focuses on existing literature about

the East published in the West. He points out that in each work the eastern identity

defined as weaker and poorer (54). This is due to a need in the West to form an

“otherness” that will enable the West to attain the precious universal values. Then the

“other” was expected to imitate them. However, Elvan mentions that every society

19
discovers nationalism at a certain point of its own development and consequently

forms its own “nation-state” (32).

Upon this conflicting background, what Mustafa Kemal Atatürk had done, was to

define the new national identity of the country with Western codes. The desired

Turkish identity originated in the West in accordance with the global spread of

capitalism (Elvan 43). The preferred definition for new Turkish identity lead to be

formulated through media, objects, artifacts, demonstrations and institutions like the

Historical Association (1931) and the Turkish Language Association (1932) which

would enable the nation- state to discover its own nationalist ideologies. Elvan

exemplifies these processes through exhibitions and museums, where identity

politics is associated with the cultural education of public (80).

“[…] the practice of exhibiting and the place where exhibition performs, refer

to the idea of providing unity between the people and the state. In 1930s the

nationalist ideology broadcasted through the messages of artifacts, education

and media as well as space ” (Elvan 80).

Considering that space has a significant symbolic role in the production of identities

(Hetherington 18), architecture also became an agent in representing the relationship

between formation of national identity and politics in Turkey. Sargın questions this

relation, the identification of a nation with space, in a larger scale where public

spaces are introduced as the operative areas of the new identities (13). He takes the

entire capital city Ankara as an example of the practice of nation building (36).

20
2.2.1 The republican period

Generally, the symbolic role of a modern capital is defined by Vale as follows

“...the seat of government and the focus of its symbolic presence.

Programmatically the modern capital is expected to be both practical and

symbolic focus of national administration and especially it is expected to

serve as the focus of efforts to promote a sense of national identity. In

these ways it differs from other cities” (15).

Many political regimes attach symbolic meaning of physical environment to assert

power; hence architecture and urban design are being manipulated in service of

politics (Vale 3).

Ankara as a capital city bears all of these conditions. It provides an area to construct

a new national identity through architecture. Aksoylu claims that Ankara is chosen as

the capital of Turkey due to a demand of a center representing national and organic

unity of the nation (45). For Tekeli choosing Ankara as the capital city was a break

away from a network of old economic dependencies, too:

“Istanbul had been a part of a network of harbor cities developed

throughout the ninetieth century to serve the economic interests of the

Great Powers. […] Moreover, the move meant the

rejection of the cosmopolitan cultural values of Istanbul. The republic

sought to release itself from the Ottoman image and to create a national

bourgeoisie inculcated with Republican ideals” (Tekeli 10).

21
İstanbul had been the city of power and authority as the capital city of the Ottoman

Empire for five centuries. It would not have been easy to obtain new forms and new

spaces to represent the Republican ideals of new life, cities and new national identity

in Istanbul.

The preferred image of new cities and new life styles, new common identities are

best illustrated in Bozdoğan’s book which are quoted in Figure 2 and 3 (p. 23).

Figure 2 is an illustration of future Ankara, the new capital represented with modern

forms and technologies (qtd. in Bozdoğan 69). The magazines like Muhit (1929) in

figure 3 demonstrated these new forms, new cities by publishing examples from the

world (qtd in Bozdoğan 117). It is mentioned in the advertisement that the most

important feature of civilization is to quit the ordinary forms and images. The

illustrations demonstrated new way of life styles, spatial relationships and

environments.

This kind of a large scale transformation was impossible to conduct in Istanbul which

has been associated and charged with Ottoman power for centuries. The attempt of

constructing a new national identity united in construction of a new capital. In other

words, compared to cosmopolitan Istanbul, Ankara provided a tabula rasa upon

which all of these new spatial relations could be constructed and applied (Batur 71).

Tekeli pointed out that “… the development of Ankara as a modern city, which was

identified with success of Republican regime presented the architectural profession

with major challenge” (10). The following section summarizes how architects

attempted to construct nation-state identity and space relationship since early

22
republican period starting with the First National Style. Later, Atakule is represented

as a contemporary example of this relation between space and politics in the capital

city.

Figure 2 A representation as locus of modern forms for Ankara

(Bozdoğan 69)

Figure 3 Examples from modern cities published in Turkish magazines

(Bozdoğan 117)

The First National Style

Ankara as the new capital became the face of the new republic. Yavuz and Özkan

mentioned that this Anatolian town of 20,000 people, with narrow, winding streets

23
and simple mud brick houses, was transformed by a vast building program which

aimed to adorn the new capital with monumental buildings symbolizing the victory

and ambitions of the new state (51). A plan proposed a reconstruction of the old

town, with a few roads and squares cutting into the existing urban texture and for the

development of the area between the commercial section and the train station as a

government sector. The second part of the plan consisted areas to provide housing

for government officials (Yavuz and Özkan 52).These parts were the basis of a larger

city plan which was prepared by Herman Jansen in 1928 (Figure 4 p.26). The central

organizing feature of Jansen’s plan was a south- north boulevard named after

Atatürk. It connected the oldest part of the town beneath the citadel- Ulus, at the site

of the first parliament building to south to the govermental complex by crossing over

the railway line. This axis, since then, has served to promote both power and national

identity through different symbols over time (Vale 103) (Figure 5 p.27). Atakule is

also situated on this axis.

The first examples located on and near to the boulevard are designed under the

influence of what is called the First National Style. However, the earliest “national

style” buildings representing the new modern identity are close to what Bozdoğan

calls the Turkification of Ottoman forms (34). This neo-Ottoman and neo- Seljuk

First National Style “…reflect the influences of neo-Renaissance styling were filled

with building elements from the classical Ottoman period such as painted arches,

wide eaves and carved mouldings like İş Bankası headquarters in Ulus (Yavuz and

Özkan 59). Although the forms were under the effect of Ottoman nostalgia, 1930-

1940 is an important period in the development of Republic architecture (Batur 68)

due to the building program in the early republic containing the reconstruction of the

24
war-stricken Anatolian cities, the founding of the new capital and the construction of

bridges and rail roads (69). The first national Style was developed further on 1930s

as the public buildings also recognized as the hallmark of a contemporary society.

The demands of a new modern life like service and industrial buildings, educational

and housing units begun to be designed by recharging architectural forms of Ottoman

Empire (Batur 69).

The Second National Style

Alsaç mentions that Atatürk did not favor the First National Style. “It is highly

charged imaginary and its symbolic references to a particular kind of Ottomanism

was not acceptable to him” (94). Atatürk believed that the republic should develop its

own art. It must meet with Western forms of music, architecture and etc. and derive

its own motifs (Alsaç 94). The replacement of First National style by international

functionalism begun in the middle of thirties but the World War II influenced the

development of Second National Movement. Alsaç mentioned that by the starting of

the war, the import of building materials such as steel glass come to an end (94).

There are similarities between the First and Second National Style. Both movements

are affected with the contribution of foreign architects especially during the World

War II, the German architects, like Paul Bonatz, visiting Turkey introduced

European Modernism codes to the Turkish architecture. It was also the period of

Second National Style when local architects started to defend regional architecture

against foreign architects and foreign architecture dominating the physical

environments (Sözen 65).

25
26
27
However, this period of time did not only contain one stylistic choice (Bozdoğan 53).

The education of young Turks in the school of engineering enforced the new

modernist approach while an older generation could not depart from classical

Ottoman Empire rival so easily (Bozdoğan 54). This period also contained different

attitudes to design due to changing sociopolitical context. Since 1940, Kızılay and

Ulus in Ankara served as political arenas representing the national identity and the

power of political regime. After 1940s, as trading developed in Kızılay and Ulus,

they began to loose their political meanings as a result of increased international

trade and financial relations within the area (Batuman 55). By the end of the war

(1945), the ideas of nationalism in architecture were discredited. This was due to the

reason that the reinforcement of national feelings was no longer necessary. Turkey

“opened itself to the world after a long isolation by activating the commercial and

trading life” and the ending of war also demonstrated this integration (Alsaç 101).

1950-1980

1950s was a period of major transformation in many aspects of Turkish life. A two

party system was established in 1946. The Democrat Party began to rule the country

with the election on May 14, 1950. The development strategies focused on private

capital bourgeoisie. These close economic ties of commerce and trading with the

West, in other words being dependent on foreign credit for development, brought the

use of new construction methods and international forms and styles (Tapan 106).

Kortan mentions that this period experienced a new way of architectural movement

leaving international-national and regional-traditional dualities (22). However, Tapan

summarizes that this period including inconsistencies that architects began to employ

28
an International style rather than Ottoman forms and images which were heavily

influencing in second national movement (107).

By 1960s due to the revolutionary changes in social and political life, the

architectural approach to formation of national identity began to have references

from different styles and philosophies. Although this period expanded architectural

thinking according to new social needs, economic goals and technology, Sözen

believes that Turkish architecture could not escape being a formal representative of

governments and an agent of sovereign identity until the second half of the 20th

century (75). It was the period 1960-1980 in which architecture generated new

ideologies due to sociopolitical changes. Yücel defines the same period as pluralism

taking control in the Turkish architectural scene (119). He believes that the closer

relationship with the western world affected not only the intellectual life and

institutions but also the life styles (121). The two decades between 1960 and 1980

experienced new developments such as the growth of industry and business, the

emergence of pluralistic world view and new concepts. These changed the problems,

concepts and ideologies in architecture. Architecture was not only a matter of

constituting the nationalist ideology anymore. Office building programs of big

business and state enterprises became new challenges of architecture in mid- 1970s

(Yücel 121). The end of 1970s was a milestone not only for Turkey but for the whole

world. The effect of globalism began to take over after this period. The wealthy

economies of western world used World Bank (WTO) and International Monetary

Fund (IMF) to promote political globalization and expansion in developing countries

(Short 4) like Turkey. To impose these codes of liberalization, firstly economic,

cultural and political norms needed to be adopted. The intention of forming new

29
identities depending on these global norms favored the pluralism furthermore in

physical environments, and architecture was liberated from being a representative of

one sovereign identity.

2.2.2 The 1980s

After 1980, a transformation occurred in Turkey’s social, economical and political

life.

“During twentieth century the Kemalist prescription for national identity and

progress seemed to be unquestioned. In the last years of the century, however

the model came under renewed by several ideas of globalism and spread effect

of capitalism. After 1980, the Turkish economy increasingly liberalized which

meant that the country lost its earlier self- containment within the government

led-command systems” (Beeley 1).

As the nation state economy politics transformed into a global market various social

identity types emerged, such as the consumer identity. These identity shifts changed

individual demands and life styles and required new types of spaces. Thus, as Usta

mentions, populism characterized the architectural identity of 1980s in terms of

social, economical and cultural context (194). Şenyapılı avoids defining the

architecture of 1980s with ideologies, because the populist culture was the only guide

in the architectural trends. He argues that except for the I. and II. National Style, one

can not define Turkish architecture within an ideological framework (251).

Individualism, which is a consequence of post- modernism, caused the nation-states

to loose their power on a theory of a congruent identity. This situation had an

influence on meaning and identity in architecture, as it did all around the world. The

30
process of departure from the intention of representing one solitary identity had been

perceived as a process of becoming a democratic regime (Sözen 75). On the other

hand, this individualist approach allowed various political ideologies to be

represented in architecture like Islamic identities in Turkey.

Between 1980 and 1990 an open liberal economy had been declared by the political

regime as the only way to adopt Turkey to the changing world. New economic

decisions were taken on January 24, 1980. These allowed big capital flow in the

market especially in the second half of 1980-1990. The “applied economy policies of

1980s resulted in open, but dependent economy”, and promoted the consumption

identity (Manisalı 49). Hence, systematically imposed market strategies needed

spaces to satisfy a consumer identity. Atakule is the first example to form and

represent this tendency. Thus, in discussing the space identity of Atakule, both the

nationalist discourse and the economy politics of 1980s, have to be considered as

factors of the design process. Its appearance both as a formal symbol of modern

Turkey and as a shopping mall demonstrates this approach.

All around the world, to promote the idea of free markets, globalism imposed market

liberalization codes on third world countries, forcing them to leave their conservative

models (Short 4). This was not only a consequence of an economical revolution; it

also caused a large scale sociopolitical and cultural change in the society. As Akın

and Çelik mention, these new economic models and ideologies of political authority

of 1980s were to be legitimized also through iconic appropriation (107). They also

defined this attempt in which national identity emerges in terms of codes of imposed

politics of modern life styles “knowing where to eat, what to wear, where to go and

31
how to communicate” (107). Atakule is the product of 1980’s authority aiming to

enforce a consumer identity which would enable an open liberal economy to be

adopted as an economic system more easily.

2.2.3 Atakule in publications

How the society responded to the aim of building a 125 meter tower and a shopping

mall in the time of construction, is stated in this part. To understand the initial

perceived identity and image of Atakule, it is important to investigate newspaper and

magazine critics of the time of construction. These give an idea about the public

opinion on its appearance, and allow discussing the sociopolitical context in the

perceiving of space identity. The most important criticism of Atakule addresses the

tower due to its height. Lots of critics, town planners and architects criticize it as

being destructive not only to the immediate environment, but also to the city as a

whole. Locating Atakule at the highest point of the city –Çankaya- is seen not only

as act against the local regulations, but also as a distractive behavior to the

environment in general.

In the case of Atakule, most of the discussions and disagreements occurred in this

context. Kural stated that it was a disappointment to have a simple high tower where

we can only see a dusty Ankara then to have a green sport center for young people in

a year -1985- declared to be the youth year. Soysal implied that the politics of the

time, especially the economy politics required this kind of a system where a 125

meter tower is called “revolutionary”. So, the critics seem to be having two sides.

There are the ones who believed that the decision of building a new symbol for the

city was a political attempt to legitimize the economy politics and the others who

32
acknowledged it as a modern symbol for a developing nation. There is another group

who judged the building with its environmental effect.

The ones who argued the political effect on determining the space identity of Atakule

mainly pointed out to the relationship of municipality and the president. The head of

the municipality is from the same party with the president Özal who made the

January 24, 1980 economical decisions declaring that the free open market was the

only way to adopt Turkey to the global world. Another words, they were sharing the

same ideals. The municipality has categorized Atakule as the commercial building

(Akın and Çelik 108). Figure 6 (p.34) and 7 (p.35) includes the approval of changing

13583-2 numbered land- the place of Atakule- to a recreation area and the permission

of building and the These all prepared the necessary conditions of attaining Atakule

the preferred meaning as a commercial center and as a symbol. The place of Atakule

at the end of the main axis which’s geopolitical meaning has been discussed before,

thus, also been used to produce that identity and meaning about this specific place.

On the other hand there were others who were pleased that the capital had a new

representation. Önsezgin argues that Eiffel had also been protested, but it is the tower

which is the most important feature of Paris, representing the city to the outer world

as a global market, tourism center and a metropolis. He indicates that in the buildings

having only aesthetic and symbolic priorities, functionality can not be discussed (57).

Magazines indicated that this symbol also promoted a brand new space that can

gather people to drink coffee, have a chat and experience new public relations which

was lacking in Ankara for a long time.

33
34
35
Atakule’s identity has been redefined due to changing demands and attitudes in the

society through time. In Yücesan words, it wrote its own novel. This section

analyzed the sociopolitical reasons behind the appearance of Atakule as a landmark

and symbol of national identity in sociopolitical context. Moreover, it tried to state

the conditions of that period as a factor in defining the intentions about the space

identity of the building. The perceived image of Atakule has been stated in the same

context by investigating the publications. Today’s social conditions differ from

1980s in many ways. The consumption politics offers more than what Atakule can

offer like larger food courts, more shopping units and etc. Thus, the social context, as

well as being effective in appearance and design of Atakule has also been effective in

its contemporary perception.

2.3 The Architect

The discussions focusing on sociopolitical context indicates what architect might

have mostly accepted as the factors defining his intentions on the identity and the

image in the case of Atakule. Location, site, and program satisfied the expectations

of the governor group in Atakule. The architect did not completely contribute to the

site or the location discussions. However, as concrete indications of what the client

expect as space identity, is projected through the preferences on location, site and

program, has been affected on the decisions of design and image. As a transformer of

these expectations, the architect of Atakule evaluated which of these elements have

been mostly isolated to produce the desired image and identity. However, before that

it is important to understand the role of the architect and his relations with the design

actors: clients, constructors, legal authorities and his participation on decisions about

36
location, site and program, to understand his operative area on deciding his intentions

about space identity.

2.3.1 The architect in history and his relations with other design actors

The word architect comes from the Greek word archikton meaning chief craftsman,

and implies a wider and more general understanding for the role of the architect.

Chief craftsman is a man who controls all the design stages. He plans, designs and

supervises the actual building operations. In ancient Greek and Egyptian times, the

architect was responsible for gathering all the qualified workers, design structures

and finally built form (Thompson 7).

Between 12th and 16th century, the position of the architect changed. Later on, the

heavy construction of Gothic Architecture had taken hold, and much more was left to

the craftsman in these centuries. In the Renaincance from 15th to 18th century the

architect regained his position as a builder and designer parallel to the importance

given to art and science in this period. The architect was expected to be an artist,

sculptor, scientist and mathematician. By 19th century, civil engineering and

architecture formed two distinct professions (Thompson 10).

As Lewis also indicates the industrial revolution changed the craft of building (165).

The advent of new materials, machines, building requirements caused a necessity of

specialization within the profession. The architectural discipline received new

considerations as the architect’s role as an agent between the sociopolitical

expectations and their solutions, was distinguished by then. The architect’s operative

area was not only defined with his own wisdom and creativity intentions any more.

37
Gutman lists the architect’s possible difficulties in defining, materializing and

communicating his intentions. Firstly, he has to visualize and depict the intended

space in a meaningful way to his clients and prospective users. Secondly, he must be

compatible enough to use and borrow different theoretical and technical information

to shape his intentions. Thirdly, architects must realize the importance of social

structures and mental forms that are investigated by social and behavioral scientists.

Fourthly, he must transform all these information to a form that satisfies all

prospective users and inhabitors (106).

However, “…many architects believe the production of space requires concentration

on issues that are important to the audience of fellow architects and to this audience

only” (Gutman 107). Some of the architects perceive their clients as part of this

audience (Cuff 99). It needs to be argued that the clients must participate actively in

materializing of intentions. Cuff calls this kind of a participation of the client as

“mirror” (99); the mirror of social structure, mental forms and collective identity.

Considering that the client himself is a member of the same historical and

sociopolitical construction, he may be seen as a translator of what the whole society

demands and expects. Holl is right saying that “…the client provides the material for

architectural interpretation and the beginning references for a search into cultural

essences” (qtd. in Cuff 99). Thus, the client and his perception and demands must be

considered in determining the identity of a specific space. Accepting the client as

part of the audience may help the architect to determine his intentions adequately

when the sociopolitical context is considered.

38
The client forwards these expectations through program. The program appears to be

a way of communication as a concrete form of sociopolitical expectations. It is also

discussed that programmers and designers are separate specialties because the

problem of each is different. Programming is defined as a process that is leading to

the statement of an architectural problem and the requirements to be met in offering a

solution. The idea behind programming is the search of sufficient information to

clarify, to understand, to state the problem (Pena 16). Thus, Hershberger proposes

that architects must have the role of programmers or at least be participants in the

programming. “It is important to do so to ensure that the enduring values of the

architecture are not forgotten so that the subsequent programming decisions about

goals, objectives, needs and relationships relate to these as well as the client- or

programmer- expressed values” (“Values: A Theoretical Foundation for

Architectural Programming” 11).

Another relationship that may have an effect on formulating the identity, is the one

between the architect and the user. User may be an actor in the design stage, with

whom the architect may or may not have a direct communication but as Lewis also

mentions they are the real clients to the architect (182). The user is the ultimate

consumer of architecture, and the communities of people, who will finally see, touch,

occupy, live in and move through the finished product (Lewis 182). Thus, the

architect must give the same importance and attention to the prospective users as his

clients. The user is located in architectural theories differently according to the

degree of this consideration. At design stage, they are assigned as formulators, but

how architecture locates its users and how it communicates with them is changed

39
with the changes brought by post modern sensitivities, such as new demands and

perceptions of postmodern codes.

2.3.1 The role of the architect within the process of nation building

The design of a building with a status of national identity can not be explained only

as “a search for forms that satisfy a program” (Lynch “Site Planning” 127). Thus the

elements are more complex in determining the identity of this kind of a space.

“If architects and designers are well informed about the institutional and

group relations that exist in a capital complex, they may be encouraged to

design more flexibly. Only building is able to change along with the rapidly

changing society around it can it avoid being the projection of some frozen

moment in political and cultural history associated with a single regime’s

iconographical preferences” (Vale 278).

Besides that an architect has to consider the symbolic meaning of the building

through time, he also has to combine these with his own ideals. Although he/she is

not likely to work against the aims of his governmental clients, through his/her

building important objections may be raised.

As Vale points out above, in designing a symbol of national identity, the architect’s

duty is to formulate architectural identity of this significant space depending on the

political concerns. Thus, the main factor producing the identity becomes the

governing unit’s expectation. However, the architect must also communicate with

other members of society such as the user, to be able to formulate the expectations so

40
as to achieve the desired identity. How a pre-determined framework of designing an

icon in the case of Atakule affected the identity is exemplified in the following

sections.

2.3.2 The architect of Atakule

The architect of Atakule is Mr. Ragıp Buluç. An interview with him had been

conducted on December 2, 2002 (APPENDIX B.6). The main purpose of the

interview was to clarify how he himself defines and perceives architecture and the

role of the architect. This interview is supported by various sources, where the

architect expressed his opinions about architecture in his web page. In his home page

he defines that architecture, “…. is all about perceiving a new type of living style and

being able to define it. This has never changed and will never change; otherwise, it

means that you have done something different” (Buluç).

In his talk in Buenos Aires (1993), he defined architecture as “…changing its skin.

Nowadays, if one person still defends, with conviction, the values that our generation

has learned, or has been taught at the beginning of one’s careers, he/she will most

probably be called "conservative"” (Buluç). He mentions that he has been educated

with modernist codes, understandings and styles but “…today, there is as much

architecture as architects. I feel the need to indulge in this new freedom” (Buluç).

This individualist approach allows the architect to represent his/her own view,

feeling and mind as he/she becomes the 5th dimension of the building.

In the interview, he was asked about the architectural elements that he highlighted

while he was defining his intentions about the space identity of Atakule. He preferred

41
to discuss Atakule within the conditions of 1980s, rather than evaluate from today’s

point of perception of the building. Atakule was as an attempt of a symbol of its

time. Mr. Buluç mentioned in the interview that after Atatürk, the country was

unable to define an identity. He saw Atakule as a synthesis of discussions on Turkish

identity, within the east/west and traditional/universal debate. What he defined as

architecture and space identity is that, which does not change through time. He

believed that a building can be called successful if it represents universal values. The

architect expected Atakule to be perceived as a representative of these universal and

humanity values. It can be concluded that it was the sociopolitical assertions he had

considered as element shaping the intentions about the space identity and the image

itself. Atakule was expected to propose a new life and life style. Depending on its

uniqueness as a shopping mall in the city for that period, it can also be concluded that

it succeed in introducing a new way of identity and life style which is consumption

and consumer identity. This juxtaposed with the demand of new national identity that

focuses on consumption complying with the open liberal market of Turkey. In order

to create a new identity a consumption behavioral pattern should be created.

Shopping malls of the West were the best places to realize this identity. In that

respect it was obvious that all the communication channels were open between the

client and the architect. Mr. Buluç informed that he had close relationships both with

the municipality and the governors to understand the expectations. He also

mentioned that what he was expected to create something unique and original

considering that it would be the first example of its kind in the capital city. He

pointed out the meaning and messages that the site and location assert to the project

and that he was aware of the value of the particular location. He indicated that the

42
location is best used as a vantage point to the whole city and that was what he had

done through Atakule.

The architect designed the building with reference to the effects of location, site and

program. The newspapers and magazines critics, as discussed before, focused on the

choices about these elements even before the image appeared. As derived from the

discussions on national identity, spaces developed as landmark and symbol should be

discussed through location, site and program. This are all indicated to deepen the

discussion on identity which the image is part of it, the concrete forms, location, site

and program, of social context as one of the determinants of identity must be

reconsidered. The above reasons convey the importance of these elements in defining

space of identity of Atakule, hence deserve to be investigated further.

43
 3. FORMULATING AND CONSTRUCTING INTENTIONS

The important point in this chapter is to investigate the tangible elements, with their

symbolic codes, meanings, significances which may have been effective on the

constitution of both image and the identity of space. Location, site and program have

been stated as important elements in the design of a symbol due to their immediate

relation to social and political context. In addition to these elements, which propose a

larger perspective to decode space identity, the elements customarily used to study an

architectural image such as plan, formal composition, material and scale are seen as

tangible elements that may have possible effect on defining and constructing

intentions. These are derived from design processes.

3.1 The elements of space identity

The inputs for design can be identified in many different ways. Millier sees these in

relation to several critical aspects (29). The central issue, on which Figure 8 (p.45)

focuses, is the elements contributing to the outcome, and image. According to the

aims of this study, the chart can be elaborated so to make a distinction between these

elements that determine not only the image and but also the space identity. Here, the

image is seen as one part of constituting the identity. Site, location and program are

other tangible elements, constituting the image in addition to plan, materials,

technology and scale which are seen as determinants of not only of the image, but

also the space identity.

44
Figure 8 A sample example of nature of designing
(Millier 29)

Figure 9 (p.47) is an attempt to visualize the proposition to extend the scope of study

in order to include these elements contributing to formulation and construction of

intentions of space identity in relation to the society and client expectations acting as

the determinant, the architect as the translator, and the user as the receiver and the

participator. Layer 1 includes factors like sociopolitical conditions and expectations

of the society. They do not have an immediately visible effect on the concrete form

of the image, but they implicitly declare their desires about space identity by their

preferences on location, site and program. In addition to these, Layer 2 contains the

elements which this study sees as constituting the image like plan, formal

composition, materials, and technology. They are affirmed as tools of construction of

intentions about space identity. Such concrete forms of space are discussed as the

ways in which the architect manifests himself. Layer 3 includes the actors of

defining, constructing intentions stage. The architect is included the design process at

this stage if he has not contributed to the choice of location and site. He is expected

to realize the predefined intentions of the society to a concrete form or image by

45
using the above mentioned tools. The givens that are derived from the specifics of

site and location may not only determine the formal composition or the positioning in

site. This would be a narrow approach to elements of identity. This thesis especially

focuses on symbolic, historical and social meanings of these tools to indicate that the

identity of the building is perceived in a larger perspective. While deciding on which

tools to refer the architect does not only determine the form, interior spatial structure,

scale or the material, in other words image, he also attribute to the symbolic

significances and meanings of these tools to achieve the desired identity.

It is obvious that it is important to consider who perceives the image, in other words,

the characteristics of the addressed user group is also important. The reading of

intentions as a process is discussed because identity differs according to the one who

perceives it. Different receptional modes of the spectators, viewers and inhabitors

may allow different ways of identifications. In the case of Atakule, a comparative

study on opinions of the initial users and current perception cannot be done; therefore

this thesis discusses the user thorough architect’s reference to user models and

reception modes as well as in terms of a sample study of user opinion today. These

layers are discussed separately in the proceeding chapters to clarify further their

effect on identity. Considering that the sociopolitical conditions as a factor has been

discussed in the previous chapter, the first part of this chapter covers the importance

of location, site and program as elements according to their role in designing a

symbol.

46
 Expectations of the society, client
FACTORS & user requriements Image

ELEMENTS Location Site Program Plan Formal Int.spatial Material

composition structure &tech. Scale

PROCESS AND Formulating intentions

ACTORS Constructors, legal authorities, client

47
Constructing the intentions on space identity;
the architect

Reading intentions; the user

IDENTITY

Figure 9 A schematic representation of the elements and factors

3.2 Formulating and defining intentions on space identity

This section develops location, site and program as elements of identity. Especially

when the location and site as determinants of the intentions and identity are

considered, the messages they broadcast must be analyzed carefully. This analysis

must not only determine the physical givens. The site, for example, can be a design

constraint by an attribution to its ecological character, climatic influence on design

decisions, positioning of the building within the site. However, in this part of the

thesis, the study also focuses on their culturally, historically and environmentally

installed meanings that can be effective in defining the space identity.

3.2.1 Location

3.2.1.1 Location in theory

In Dictionary of Architecture and Construction, location is only defined as a plan of

construction site showing the positions and dimensions and contours the lot (447).

However, this thesis sees location as an element in formulating the space identity,

especially concerning its importance in city scale. When landmarks are concerned, as

in the case of Atakule, locating a structure within the city shows charges of

sociopolitical intentions and location becomes a signifier in the design process and

constituting the identity. As derived from the discussions on national identity, this

significance is mediated though places, landmarks and governmental buildings,

which all refer to significant symbolic meanings of the location within the city,

especially in cities like the “capital cities that are identifiable and instructive in

character” (Vale 13). In this respect, designing landmarks in capital cities have

political, geopolitical and strategical meanings, and the structure is identified with its

location even if it is not intended so.

48
Capital cities also “…act as a mediator among collection of people, who, one way or

another has come to be recognized as a single sovereign state” (Vale 16). Thus, when

designing landmark with an identity that is supposed to represent the sociopolitical

conditions and the national identity, the architect is also to respond to such

expectations.

Considering the above factors, it can be concluded that location can express the

intentions on space identity in many ways. Sanoff calls them “nonverbal

environmental messages” while pointing out the importance of visual comprehension

of the environment while designing (xiii). In this thesis, the site and location are seen

not only as sources that exert visual messages upon us, but also as elements having

physiological and social attributions attached to them.

3.2.1.2 Location as an element of identity in Atakule

The location of Atakule is in the capital city of Turkey, Ankara. Atakule has gained

part of its identity due to its location in Ankara. It is located on the main axis cutting

the city in north-south direction. The plan prepared by Jansen (Figure 4 page 26) was

aiming to turn Ankara from a small Hittite town to a modern capital. Starting with

the Hittite bronze sculpture representing the connection between the deep Hittite

past, “the urban design form of Turkish national identity is given on this axis which

is named after Atatürk” (Vale 103).

Figure 10 (p. 51) shows Atatürk Boulevard in color and Ankara’s consequent city

centers. There it becomes perceivable how the city centers shifted gradually from

Ulus to Kızılay and Kızılay to Çankaya on the same axis. The sociopolitical

49
development of Ankara and the boulevard, Çankaya, where Atakule is located, has

for long been associated with protocol and prestige terms. Akın and Çelik believe

that it was a conscious attempt to choose the highest point of the city in constructing

Atakule (107). In addition to this strategic location, the image differing in form,

material and technology enhances its identification as a landmark and symbol. It’s

positioning in site as a shopping center changed the social, economical and

environmental structure of the area (APPENDIX A.1). Before its construction, the

area was a strictly residential one including governmental residences. One could

observe how a gradual change for the district occurred, converting residences into

offices with large signs, which occurred after Atakule was constructed. This way a

political agenda was realized aiming to turn the area to a shopping district and create

a new city symbol (Akın et al 107).

Dovey mentions that the power is mediated through built form by, for example,

naturalizing the historically constructed meaning to legitimize power. The location of

Atakule, as discussed above has already been charged with social and political

meanings. The presence of Atakule in Çankaya benefits not only from this property

but also attempts to be the only symbol of this political and social meaning. This

occurs by creating a “power over” (Dovey 15). The attitude of Atakule within the site

and its formal composition is this kind of a naturalization process of the historical

and social meanings of the site. The historical and cultural meaning of location is

manipulated so as to highlight the changing image of whole area through Atakule. It

can be concluded that, the historical and political meaning of the axis on which

Atakule is situated, promoted and enabled this idea to be realized.

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Moreover, at the time of its construction, Atakule was the only representative of the

new kind of social/commercial space as a shopping mall in the city.

3.2.2 Site

3.2.2.1 Site in theory

Collins dictionary defines site as a piece of ground that is used for particular purpose

(1360). In more architectural terms, it can be categorized as an area or plot of ground

with defined limits on which a building project, park and etc. is located or proposed

to be located. It is the specific place of a building or buildings (446). The site can be

considered in terms of an established environment that affects both our physical and

psychological life. Thus, site as an architectural element can be discussed not only

considering its ecological character and land form. Kuban mentions that whether

natural or artificial, the physical environment, which this thesis categorizes as site,

determines and directs our perceptions, behaviors and attitudes because every

element constituting this environment or the character of the site like streets, squares,

roads, parks and public buildings become the part of our daily lives (9). People begin

to live and behave in these predetermined conditions. Thus, any attempt to change a

site not only changes the ecological order but also the spatial relations between

humans and environment causing new relations or redefining the established ones.

Todd believes that to design a structure independently of its site is to invite

unplanned space and uncomfortable visual or physical relationship between the built

and unbuilt spaces (5). As Todd also points out designing of planned space is the

integration of design “… consideration of all aspects of the project including site and

structure from the start” to prevent visual, physical as well as spatial distractions (5).

However, Miller categorizes the site context as an option that the architect may

52
choose to respond (30). In other occasions, it may force the architect to pay attention

to the surrounding by law or public will (Millier 30). If the site context is historically,

naturally, ethnically, religiously charged with meanings, the architect may choose the

former and this makes the site one of the most important determinants of the

intentions on space identity.

If a site has not been selected, as Todd also mentions, the design process or the initial

propositions for a specific program can be used to help a client choosing the most

appropriate site for a project. Unless a predetermined site exist for that use, the

process of site selection concentrates on analyzing the suitability of several possible

sites for that project (Todd 10).

In search for the possible sites, the contributors of the project have to consider many

other factors like landscaping, climate, building ecology and site circulation which

Miller defines as the basics of the design process (23). The circulation systems

become important because it is the vital linkages that relate activities and uses on the

land to the city. The vehicular systems in particular produce one of the primary

structuring elements of site planning (Rubenstein 57). The site circulation is

important that we have to make our “sites visible, accessible and understandable”

because this process ends up in perceiving the planned structure as it was intended

(Miller 27). This kind of perception “… beginning with circulation and approach to

the site needs a recognition through entry to the site, identifying the building entry

and moving inside” (Miller 27). This is a conclusion on importance of site and

structure relationship in formulating the intentions about space identity that “…the

53
site and the purpose for which it will be used are interrelated” in many ways (Lynch

“Site Planning” 29).

Evidently the site has important influence on the building process as well as on

defining intentions stage. If a site has been selected, the existing construction of the

environment in terms of buildings, parks, pedestrian connections, car passing may

give senses of alternatives and considerations for the design. Thus, any of these

factors may have a possible effect on plan, form hence the image and consequently

the identity of the space.

3.2.2.2 Site as an element of space identity in Atakule

The site that has been chosen for construction of Atakule contains many spatial and

physical constraints and potentials. One of these is the green zone adjacent to the

north side of the building (Figure 11 p.55). The park is called Botanic Park. It is one

of the most important green areas in the city that extends from Çankaya to

Kavaklıdere. The site was a traditional site to view the city and this park. The

architect made use this feature of the existing environment by proposing view

terraces on its side wing. However, it only remained as a visual interaction. Atakule

utilizes no other adjacency with the Park other than this visuality (APPENDIX A.4).

Indeed Atakule acts as a wall between the park and the adjacent city quarters. In

addition to this, the architect does not benefit from the pedestrian linkages. This is a

vital linkage for a mall, to be more accessible and keep its liveliness. Parlar states

that the integration of the shopping mall within the urban context “can be evaluated

through its site massing and contextual role, connection of the mall to streets as well

as maximization of public access and use” (59).

54
55
In this respect, Atakule missies some of these above principals, therefore does not

really provide some of the necessities that a shopping mall has to.

Having busy mass transportation traffic as a site specific in the case of Atakule yet

one can argue, that the pedestrian access within the area is very limited. The site is at

the highest point of Çankaya. People have to climb all through Cinnah Caddesi to

reach the building. Although, Atakule is close to one of the most important shopping

district in the city, Tunalı- Kavaklıdere, due to distance and slope, it does not benefit

sufficiently from this potential population. To the other side Çankaya Caddesi

connects the building complex to the area, Gaziosmanpaşa, a residential district.

There are governmental residences between G.O.P and Atakule but they are far each

other for a walk from these residential units to Atakule. Due to these features of

neighborhoods Atakule lacks pedestrian potentials.

Figure 11 (p.55) exemplifies these draw backs. Cinnah Caddesi and Çankaya

Caddesi in each side of the mall are dense traffic roads. The main entrance to the

mall is from the intersection of the walkways next to these roads. This entrance is

also defined with outdoor stairs which also defines a break from this circulation

(APPENDIX A.2). The terraces are also reached by stairs and their entrances are far

away from the main pedestrian connections. The shops facing Çankaya Caddesi are

not at the street level (APPENDIX A.2). These can be seen as an indication of how

Atakule’s connection and response to the site is. The building is closed in itself.

Public buildings, specifically, a shopping mall “…plan and design interior and

exterior must be in relation with each other enhance continuum in spatial experience,

56
provide transition spaces in the entrance, treat entrances in a way to minimize barrier

effect of the doors, create a sense of orientation by relating the circulation to the

central space, support orientation by the ground and surface treatment both in the

exterior and interior (Parlar 59). Although Parlar claims that a mall has to construct

these relations within the site, Atakule seem to be more introvert. These are all

effects that increase the importance of traffic connection of the building. Atakule

demands to be visited on purpose, as an end in itself, lacking a spontaneous

discovery. However, as can be seen from figure 11 (p.55), the private transportation

connection is a weak one for a building which requires attention and user from every

part of the city. There is only one entrance and exit from the parking area. On the

other hand the public transportation to the site is available by public buses. There is

no preexisting transportation network except for these buses. This difficulty in

constituting relation with the site may be seen as a consequential to its double

identity as a landmark and as a public building. It both has to derive solutions

depending on the site to provide the necessary accessibilities inside but it also has to

create a power over the site and the location by naturalizing some of these relations.

The lacking relation of Atakule to the Park not only affected the interior atmosphere

of the building but also the character of the site as a whole.

3.2.3 The program

3.2.3.1 The program in theory

Lynch defines program as “...a principal instrument of communication” (“Site

Planning”108) between public land developer agencies, clients, constructors, users

and architects. Architectural program principally defines functional goals or

objectives. The organization of these functional relationships can by itself be

57
considered as a “…programmatic strategy which respond […] to a specific goal”

(Cherry 188). This thesis considers program in a larger perspective giving

importance to the functional use and relations it proposes. Moreover, through the

program, intentions on configuration and assembly of functional units are

determined. The establishment of these functional requirements, for example, even in

a most common and popular way like the bubble diagrams, as Cherry (188)

exemplifies, (Figure 12 p.59) gives interpretation not only about the functional

relationships, but also about the spatial organization, layout and consequently

appearance and image.

Todd also defines the program as the basis for all subsequent design decisions.

“Programming defines the needs and desires of the client and uses as the guides in

developing satisfactory use areas. The program statement should identify any special

requirements of the project associated with the land or easements on the land” (11).

He agrees that the architect and the client must have a close communication

especially when the architectural program of a project is considered. He argues that

the designer is likely to create a far more sensitive and functional design, because the

input of groups of people, and kinds of the use of the building, is clear to him. Hence

in the program different occupational models like staff, service people, delivery

people and visitors and most important of all clients is solicited (Todd 11).

There are different ways of architectural programming. Hershberger defines 4 types.

The first one is design-based architectural programming. In this type of

programming, usually the architect and the client meet and discuss on the client’s

design problem and the architect takes notes as the discussion proceeds (7). The

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second type of architectural programming is knowledge-based architectural

programming, which was affected during 1960s by the social and behavioral

scientists. These began to direct their attention to the built environment (14). The

social sciences analysis and environmental analysis became the principal

determinants of the program components. The third one is the agreement based

approach to programming (17). The key participants of this programming are the

organizational and departmental heads who generate the needed programmatic

information. The last types’ most important figure is Frank Lloyd Wright. This is a

way of developing the program by excellent understanding constraints and

opportunities of the site, climate, budget and the like (25). “Value- based

programming makes certain that the most important design issues are addressed in

the programming document” (Hershberger “Architectural Programming and

Predesign Manager” 31).

Entrance

Atrium

Shopping Shopping
units Food units
courts

Services

Figure 12 A simple bubble diagrams for a shopping mall showing not only the
functional but also the spatial relationships (featured by the author)

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In any case, the specifications of program firstly involve a close analysis of

components. Especially complex and multi purpose programs are considered. The

program of a shopping mall is such a problem that contains multiple functions and

requirements. The client asks for a retail area. The architect is supposed to formulate

it and identify the space firstly with shopping mall design strategies. Altoon points

out that the examination of shopping centers around the globe shows that the success

and failure of a shopping mall is directly dependent to an understanding of the

elements that form the basic structure of shopping mall program (191). The basic and

common components of the program in a shopping mall are the shops, outlet centers,

promotional areas supported by food courts, restaurants, cinemas, children’s play

area, interactive entertainment, social use areas, relaxation spaces, and parking.

Shopping mall programs indicate certain functional relations between shopping units,

food courts and parking levels. These common components of shopping center must

be carefully analyzed and designed so as to articulate the spatial behavior.

The identity of the interior providing amenities like shopping, dining, exhibition,

information, and sitting, should be supported by other design elements contributing

to distinction of the spaces like using plants and trees and controlling shop front

designs to achieve coherence (Parlar 59). These are all settled through the program.

As the malls rapidly change, the competitive basis for the affordances of the

shopping malls differ in time. Contemporary shopping malls not only respond to the

needs and the demands of the society in terms of shops but also provide opportunity

for various activity patterns. They turn out to be the places where a variety of leisure

pursuits are available. Çalgüner believes that mall environment is one of the

important factors that can support leisure in shopping malls (36). The slow walking

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is another feature to support this idea. Thus, how the program is articulated has

influence on identity as received. Further development of the space functionally to

respond to the new demands and activity patterns is directly related to a complete

and correct analysis of these components in the programming stage.

3.2.3.2 Program as an element of identity in Atakule

Atakule is the first example of a Western model shopping center in Ankara. The

traditional shopping environments were rather different from what Atakule

functionally proposed in its initial program. In his interview December 02, 2002 the

architect has mentioned that the program of Atakule has been revised 30-40 times

during the design process and even in the implementation stages, to improve on its

universal requirements of a shopping mall (APPENDIX B.6).

The discussion of program in theory tried to define some features of shopping malls

in terms of common components for the space to act effectively as a shopping mall.

Accordingly, as a shopping mall, the official program of Atakule responds to such

requirements providing shopping units, restaurants and parking areas. The

articulation of the program leads to the possible changes that may redefine the space

activities. Atakules’ programmatic requirements are met within three large bodies.

These are the main body designed around the atrium, the north- east wing and the

tower. Each of them contains different functions depending on the different

components of the program.

The towers’ height is 125 meters. Altitude from the top is measured as 1182 meter. It

includes a revolving restaurant and two panoramic elevators. The tower mostly

61
functions as a symbol. The restaurant located at the top was designed to encourage

the users to visit the top of the tower, but due to some technical and economical

reasons the restaurant did not operate as it was intended.

There are also food courts designed within the main body of the mall. The initial

qualities of the revolving restaurant and the ones in the food courts differ from each

other, in that the ones inside the mall have a property of fast food type, and they are

situated two floors below the ground floor. This floor contained only the food courts

and an entertainment area for the children ‘Dreamland’. The architect grouped the

components of the program that seem to be related each other. The contemporary

distribution of the food courts and dining areas has changed, and was carried to the

upper floors. The reason for this is that people who come to only for dining to

Atakule never get integrated to other parts, so the mall was not benefiting from the

potential of these users. Thus the separately articulated form of the program affected

the mall’s liveliness.

The second part of the complex is the north-east wing, which according to initial

program also included shops. These shops also do not benefit from the potential of

the dynamic nature of the mall because there is no direct relation between them and

the main body of the mall. Although they are part of the components of the program

as retailing units, they were not functionally related because the program attributed a

different type of character to these shops than the ones inside the main body. They

face Çankaya street and mostly refer to the street potential of visitors.

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The third part of the program contains the shopping center. The area it covers is

23.500 m2. The parking area is 5520 m2 of two levels. The estimated retails’ area

capacity is 10245 m2. The number of shops was 155 initially. The density of the

program mostly including the shopping units is distributed to four floors. The initial

shops were different in their character, but they can be grouped as accessory shops,

shoe shops, cosmetics, men, woman, children and sports wear, jewelry, stores, media

markets, toy and music shops, amusement center ‘Dreamland’, restaurants, food

centers and etc. This list is taken from the official web page of Atakule (see

www.atakule.com.tr). However depending on the observations in the field, it can be

concluded that most of the shops have changed in quality and quantity. The changes

are discussed in Chapter 4.

Figure 13 exemplifies some of the exhibitions and events take place in the atrium and

this gallery in recent years. This satisfies the program of a shopping mall defined as

not only with retailing spaces but also with leisure and entertainment areas.

However, as shopping malls developed in the city even these kinds of events become

insufficient. Thus, there occurred specific changes in the program or in the

functioning of the program as a shopping mall.

Figure 13 Photographs illustrating the variety of the use potential of the atrium
space- as performances for dance shows, meetings and etc.
(taken from www.atakule.com.tr/html/etkinlikler.html)

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3.3 Constructing and Expressing intentions

As discussed in the previous parts, the sociopolitical context defines the intentions on

a significant space. The architect receives such expectations defined in social and

environmental manner, transforms and materializes them. In other words, he is a

translator between the politically defined intentions and their realizations. In this

section the architect role and the user role are discussed in these terms. The client

and the user are the members of the society which determine certain aspects of

sociopolitical considerations. The communication between the architect and these

members assists in defining the architectural elements which will form the identity.

Their relations and its effect on identity are discussed in this section. This part is also

the investigation of elements of identity like plan, formal composition, materials, and

scale so as to understand their role in defining the image and expressing the

intentions of an identity on to that image. They are also investigated as elements

having an impact on perception of the identity.

3.3.1 The Building as image - elements constituting the image and their effects

The architect’s role in architectural design is to transform the givens of location, site,

and program to an image. Some of these become the givens within which he realizes

the idea about the appearance and identity of the building. This part of the thesis

focuses on the tangible elements through which the architect produces the image, in

other words, realizes and materializes his intentions. In this study such tangible

elements are perceived as the plan, the formal composition and interior spatial

structure, the choice of materials, techniques, and the scale of the building. These

elements while constructing a symbol, are used in the effect of their newness,

uniqueness, the expensiveness of scale and the form, the technology applied and the

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new function of a public space it proposes (Akın and Çelik 109). Thus, the study of

these tangible elements is important, because the constructed image is also perceived

through the symbolic significances of these elements. In other words, the users,

spectators, and viewers receive the intentions or perceive the identity of the building

also through this image. As Meiss indicates, the experience of architecture is visual

and kinaesthetic, that is to say the phenomena of perception is about seeing and

noticing (15). Thus, this section is dedicated to a descriptive analysis of the building

through plan and perceptual qualities of the building.

To develop the discussions on architectural elements of space identity furthermore, it

is essential to understand their contribution to express intentions about space identity

and their effect on perception of the intentions through this image. The image will be

discussed as to its construction through plan, formal composition, and choice of

material, techniques, interior spatial structure as mentioned above. Moreover, it is

important to consider the scale and its effect on the image of the building, which in

the case of a landmark with symbolic properties. Scale can be discussed at three

perceptual levels: the city level, the existing immediate environment, and the in

terms of perception of the user. Thus, the determined tangible elements will be

discussed in terms of their perceptual symbolic meanings and how they have been

attributed in the design of Atakule as well as their effect on these different

perceptions.

3.3.1.1 The Plan

The transition of the idea incorporating the specifics of the location, site, program

and to a plan and image “…is created less through schematic application of rules”

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and simple enclosure but rather as a defined pattern of configuration, particularizing

spatial relationships and representing the architect’s initial intentions (Oswald xiii).

The plan, thus, can act as a tool to study configuration, which affect our

interpretation about the image. Thus a descriptive analysis of the building can be

given to through the plan, and proceed to understand what kind of spatial

configurations and formal composition the architect defines in the case of Atakule,

and how we might interpret them.

It is important to understand the ways a plan can be used as a tool to construct the

intentions firstly. It is essential to perceive how a plan indicates various spatial codes

to our interpretation. Figure 14, shows the proposition of Hillier exemplifying the

messages of various arrangements. The arrangements of different elements “a” and

“b” that are rooms, halls and corridors, imply or integrate various spatial codes (96).

The models “a” being next to “b” and the distance between them represent a different

configurational pattern than “a” being in the neighborhood of “b”. “b” being at the

top of “a” implies rather a complex model relation than others.

b
a b a b

Figure 14 Showing different spatial relation models affecting the plan derived from
Hillier (97)

In a different view, Meiss, mentions that the organization of such spatial elements,

the according to demands of rationality, compactness of the grouping spaces and

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structural regularity, which he calls the geometry, is a prime necessity to the

discipline like certain elementary geometric figures asserting spatial characteristics

themselves like square having great compactness.

(113).

Another aspect of the plan which deserves consideration is its relations to structure,

volume and form. This relation is important because as Zannos also indicates, the

work of architecture depends on the type of bearing structure that receives and loads

to the ground (13). On the other hand, bearing structure of a building does not always

articulate the plan or the form of the building. Especially after ninetieth century, the

building techniques and technologies developed so as to free plan and form from the

structure. As Corbusier exemplifies reinforced concrete brought a revolution in the

aesthetic of construction (63). In Le Corbusier’s Maison Curutchet the spaces are

designed separately from the bearing system (Figure 15 p.68). Thus, the plan

becomes a plastic tool of the architect to organize, materialize and generate the

preferred configurations and behavior settings

The above remarks on plan are about how it can be used as an element that helps to

express the intentions and may underline the image that represents them. There is

another aspect of plan that it has an effect on perception of the identity. The plan

needs to be considered in terms of the configuration that the user recognizes these

configurational relations unconsciously (Hillier 40). This largely unconscious

activity directly affects the behavioral models within the spatial organizations of the

built form. Architecture has the effect of imposing spatial and formal configuration

to the world we live in. These codes in this sense play important role in social

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knowledge. In the case of public space plans can also be rendered as representatives

of social knowledge and behavior.

(Lapunzina 70)

Figure 15 Plan and interior view of Maison Curutchet

(Lapunzina 110)

Considering the above discussion, it becomes important to understand the principal

structure of a shopping mall, as expressed in its plan. Plan as an indicator of the

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performance of interior in relation to exterior “…enhance continuum in spatial

expression, provide transition spaces in the entrance […] create a sense of orientation

and support orientation” (59). Thus, the plan of shopping mall not only focuses on

needs of the retail trade like display of goods but also arranges functions, allocates

spaces for functions and defines relations between spaces.

Still, the most important components that need be planned in a shopping mall are the

shops. Thus, they must be significantly placed so that they can stand out as

individual trading elements (N. Scott 60). The organization of the mall, firstly, must

make these trading units to be red clearly. In doing that it must respond and appeal to

certain spatial perceptions like using day light to bring the space to life, emphasizing

the power of the space by avoiding visual clutter, giving it human scale by

articulating floors, terraces, balconies or special windows (Parlar 59). Another

feature of the mall is the interrelation between the different level floors. The plan

must resolve the visual and physical connections between the separate floors.

Different vantage points should be designed in the plan configuration so as to attract

the view to the lower and upper floors. Dynamic interplays of light, texture,

movement and sharp angles can attack the shopper to move freely so as to discover

the ever changing structure of the inner space (Parlar 52). The trading success of a

mall depends on careful organization of relations of these features based on the plan.

Figure 16 (p.72) shows the plans of Atakule. Here a general description of the

different units within the plan is due. The three large parts of the plan; the main

shopping mall, the wing annex and the tower are analyzed separately, and as to their

connections. These three main parts are colored in Figure 16. The blue colored area

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shows the atrium in the mall and the red colored area are the retailing units that

constitute the mall. The grey area indicates the location of the tower in the plan and

the wing annex is colored in green.

The mall

The mall includes the small shopping units connecting to the large space, the atrium,

through the circulation systems. These linkages connect these small parts to large

spaces like leisure/social spaces within the atrium. The architect himself defines

these large and small spaces as the major and minor spaces (APPENDIX B.6). The

functional elements of Atakule as a shopping mall can be named in these terms that

the plan arranged in small spaces accompanies the retailing units and the large spaces

include the entertainment units. The particularly different features of the program,

the trading and the entertainment are distributed in these units within the mall. The

shops are arranged so as to create a pattern around the atrium. Most of them face this

large space. This pattern is mostly described with corridors and hallways. They allow

an experience of a street shopping within the mall. They are designed next to each

other except for the north- west side block that defines a more closed pattern due to

the arrangements of the shops facing each other. However, these arrangements in the

functional elements have an effect on the use because the pattern that is described

around the atrium prevents a direct integration to these large spaces that serve as

leisure areas. The atrium as a larger space connects the shopping floors through

escalators. The plan of these circulation systems also does not assert a direct

integration within the mall because they are designed as separate entities from the

main pattern that is defined around the atrium.

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Besides the effect of the arrangement of the mall within itself, its schematic relation

with the other parts: the tower and the wing annex, should be clarified to understand

the intended patterns and its effect on use. The mall connects to the wing annex and

tower in -2 floor. This area (colored in yellow) also contains the food courts and has

views to the park (Figure 17 p.74). The access to the panoramic elevators of the

tower is through this yellow colored area (see -2 floor plan). When we consider the

plan arrangement where the tower and the mall intersect, there is another level that

may have been used to define a functional relationship between these bodies. It is the

-1 floor. This floor plan as can be followed from the other plan planes includes both

the tower and the mall. However, it is the last level where the two intersect through a

terrace in two dimensional relationships. After -1 floor in ascending floors, there are

neither functional nor compositional relations between the tower and the mall in any

dimension including the volumetric appearance. In plan plane, this connection seems

to be functioning because it tries to define another access to the mall from the

Çankaya Street ( Figure 16 -1 Floor plan). However, this entrance in size, value or

positioning in the plan does not imply another access for the mall because it is not

possible to perceive the door from the street where the terrace is also separated from

the street with staircases (APPENDIX A.5). On the other hand, there is no functional

relationship between the mall and the wing annex that this separateness defined in

plan surface is exposed on the volumetric composition except for a visual connection

through +2 Floor. The plan does not assert any other functional relation different

than that.

71
72
The tower

The tower is designed as a separate entity. It connects to the mall in the above

mentioned relations. Its arrangement in the plan can only be defined and allocated

where it intersects with the mall in two different levels. However, the plan of the

tower defines no other relation in these terms than above mentioned context. It

neither defines any connection with wing annex. The tower also contains the

panoramic elevators to the top rotating restaurant.

The wing annex

The wing annex contains shopping units similar to the mall. However, the plan

defines the relation of these units with the city which is totally different form the

ones in the shopping mall. The plan arrangement prevents this block also to benefit

from the dynamic interior of the shopping mall, because there is no functional

relationship defined in the plan plane between the annex and the mall. While the mall

is introvert around inner atrium, the shops address the street in the wing. Besides, the

plan arranges these units so as to have a direct relationship with Çankaya Street.

However, they are not on the street level (APPENDIX A.3). This is a disadvantage

for the shops of this block that they do not benefit from the pedestrian and the

shopper potential on this street. Thus, the plan arrangements not only resolve the

relationships within the units but also the relationships to the site, pedestrian

networks and accessibilities. How plan have been rearranged in Atakules’

contemporary situation due to the sufficiency or insufficiency of these relations that

the plan constructs is discussed in the following sections.

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Figure 17 A photo taken (2003)from Çankaya caddesi showing the terraces with
view to the park- upper open (featured by the author)

3.3.1.2 The Formal Composition

Form can be defined as the “contour and structure of an object, as distinguished from

its substance or from the matter composing it. Its distinctive appearance is

determined by its visible lines, outline, configuration and profile” (Burden 223).

Planes, edges, volumes contour the object so as to shape its form, expressing the

desired identity in space. Thus form can begin to act as “…a phenomenon having

functional, spatial, spiritual, symbolic and schematic and other predicates

determining the relationship of the architectural product with its social and physical

environment” rather than as a simple attempt to define a volume (Onat 2).

The formal composition of Atakule is investigated so as to discuss it as another

element that constitute the image, hence the identity. The exterior image is discussed

in terms of formal composition to understand how it affected the perception of the

user. The formal and volumetric composition of Atakule is rather intimately related

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to its plan. The three major parts; the tower, the mall and the wing annex are

formally expressed in the composition as they appear in the plan.

The mall

The mall as 3D form as discussed in the plan section, contains the atrium as the

largest space. In the atrium the leisure and social spaces are arranged as well as the

shopping units as the smaller spaces. The proportional differences between these

different spaces are expressed on the design of the volumetric and formal

composition of the building. The vaulted atrium as the largest space in the plan

plane, is expressed to the outside which cuts through the composition (APPENDIX

C. 3 and C.4). The architect chose to reflect the defined relations between spaces and

functions on the volumetric form. Figure 18 (p.77) is a photo taken from Botanic

Park showing how the arrangements of the shopping units dominate the design of the

facades.

The formal composition of the mall does not stand out on the city scale. Although it

is situated at the highest level of Çankaya, it is not possible to perceive the building

as a whole from any part of the city. In terms of the immediate environment the

height of the volumes and their shapes, it agrees with the existing residential

buildings. In other words the mall does not dominate the existing environment in

terms of size and height but only as a form. On user scale, it is not possible to

perceive all three parts of the composition. However, in the entrance, the domination

of the atrium is indicated formally and volumetrically. As Akın also mentions the

entrance also asserts monumentality. The height of the vault as a form implies a

symbolic significance for this monumental approach (110). The space that is left in

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front of the entrance emphasizes this effect and the entrance. The way how user is

made to reach the main entrance, stairs, can be perceived as another effect on this

monumental character (APPENDIX A.2).

The Tower

The tower designed separately not only on the plan plane but also in terms of

volumetric and formal composition. It is the most dominant form that is perceived in

the city scale. The viewer or who is approaching to the building by car or by walk

does not acknowledge the tower or accomplish a full perception of the whole

composition. Only the tower as the most dominant form is seen as an image on the

top of Çankaya with an emphasis on monumentality and symbol.

The wing annex

The appearance of the wing annex in the formal composition is determined according

to the same strategy that units are reflected on the surfaces. The perception of the

wing annex in terms of volumetric and formal composition gives the same

impression to the user on the city scale and the existing environment. In volumetric

composition, the annex is connected to the main body, the mall through +1 and +2

floors. The tower, the annex and the mall, then, appears as the separate entities

forming the formal and volumetric appearance each referring to different modes of

perception.

The composition of these forms is not perceived at once by any type of user;

spectator, viewer or the inhabitor. Thus, the formal composition constituting the

image defined separately referring to three different perceptual scales; the city, the

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existing environment and the human scale all having attributions to building’s

symbolic character. However, three distinct formal units connected by proximity,

material and technology.

Figure 18 A photo taken (2003) from Botanic Park showing the design of north
view- plan specifies the appearance of the facade (featured by the author)

3.3.1.3 Interior Spatial Structure

By interior spatial structure, this study aims to discuss the organization and

perception of the different functional and spatial elements in their relations as

perceived in the interior. N. Scott determines the criteria in design of spatial elements

in interior as the use of daylight in the mall, planting within the interior; the water

effect defines a stage where a model of this miniature city is projected on (72).

Atakule employs most of these features within the interior. The most important of

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them is the effect of the atrium. At the very first moment of entrance to the building,

the atrium is observed as a whole due to its structure and height compatible to the

perception of user. The atrium has a glass structure on the roof that gives the daylight

effect to the interior and this emphasizes the live –giving effect. At the very first

moment of entrance to the building, the atrium is observed as a whole connecting all

the floors visually and spatially. The verticality of the atrium and its life-giving effect

defines the largest, widest and most dynamic space in the mall. However, the pattern

defined around the atrium does not allow a direct access to this widest area from the

main entrance to the building. Instead, the user firstly perceives this area from a

gallery at the moment of entrance and has to move through the corridors around the

atrium, which are defined as the streets by Akın (112), and find staircases to reach

this area (Figure 16-ground floor plan p.72). However, the places of the staircases

and the corridors at the back do not fit to the main path around the atrium and

produce dispersed areas distorting the fluidity that the plan imposes (Akın et al 112).

Although N. Scott mentions that the success of a trading center has“…nothing to do

with the straightness of the plan (59), their irregularity of the plan must define a

sense of order especially in a shopping mall where trading units are expected not to

be masking one another front displays (57).

In the plans of Atakule (Figure 16 p.72), it can be easily seen that the side pocket of

shops specifically draw backs the fluidity of the movement and prevent each of the

shops to be noticed in the same degree. On the other hand, most of the shops face the

atrium and allow visual interaction with upper and lower floors. The atrium is

surrounded by balconies and galleries and crossed by bridges and stairs to ensure the

user’s attention to these floors (Figure 19 p.80). These give the atrium a human scale

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and enforce the upper and lower floor connections. However, as Akın mentions,

these divisions distort the effect of atrium as a gathering space that supposed to be

perceived as a whole (112) turning it rather into a circulation space. This is an

opportunity missed in the design of interior spatial structure that can define the

interior as a new public space. The usage of escalators and the design of the main

staircase at the north can be perceived as an attempt to keep the atrium lively and

give this effect. However, they are not enough; they more look like “kinetic

sculptures” because the main circulation is defined around the atrium (Akın et al

112). Public/social functions and spatial units are hardly integrated to the space

defined by the atrium.

The perception of the atrium through different entry points must also be discussed

because it directly effects and changes the identification of this most dominant

component of the space. The entry from the parking lot is from just the opposite side

of the main entrance. It is also the first floor above the two level parking. The user

who enters the mall through the stairs connecting this floor and the parking lots

firstly perceives this floor. The doors of the elevators from the parking lots open to

the park side not to the atrium. The user has to make a choice between going left,

right, above or below without having any indication about the interior and the shops.

Thus, it can be concluded that the spatial structure proposes different impressions

depending on the user’s movement path in the interior.

The interior spatial structure also affects the experience and perception of the mall.

The discussions above indicate that the plan of Atakule has an impact on interior

spatial structure. However, in this section it is also important to discuss other factors

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that can affect the perception of the interior. These can be categorized as the clarity

of the composition, the orientation and accessibility. The ways of orientation is

directly related to the configuration of the plan and the spatial structure which

propose a movement around the atrium. This enables an access to most of the

shopping units.

Figure 19 View of the atrium space of Atakule (1989)

Other qualities of the interior like climatic control, security, maintenance rather

belong to the general properties of a shopping mall. They only partially depend on

the spatial structure, such as security. The design of interior spatial structure

elements like the space defined by the atrium, corridors operating as streets around

the atrium and use of elevators and staircases propose this street-like identity for the

interior. Atakule with both its formal composition and interior spatial structure shows

tendency to exclude outside which was defined as an attempt to create a world inside

(Akın et al 110).

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3.2.2.1.4 Choice of materials and techniques

The choice of material and techniques can be considered as another important

element participating the formation of image of a building. Materials have not only

structural but also expressive and symbolic qualities. These are also elements that

may “…evoke subjective impressions like wood classified as softer and easier to

work” in our perceptions of the image (Meiss 181). Next to layout, form and scale,

the texture of materials are “… all elements of communication that each of the

elements helps the designer convey the viewer the various aesthetic, social, political

and historical message purposely instilled in the structure” (Llyod103). The above

listed tangible elements enable the architect to produce the image and communicate

it. Thus the architect’s evaluation of the material, structural systems and modulation

that is going to be applied to exterior and the interior space may differ from the

evaluation of the contractor, who focuses mainly on the economic aspects (Meiss

180). The architect makes his choices considering the symbolic impressions, making

sure that the nature of material would be corresponding to the building techniques,

which together help expressing his intentions. Meiss specifies the importance of the

material by saying that the way they are prepared and put in place is a way of

qualification of the form and space (180). As Corbusier exemplifies “the potential of

surface modulation” (qtd in Meiss 189), the surface texture, the color of the material,

the modulation are all the other elements that “give the space its status and

temperature” (Meiss 190). Baker, too gives examples to such symbolic significance,

pointing out that stone, for instance, increases the sense of monumentality, […] brick

gives a more human scale to buildings whereas the smooth finish of reinforced

concrete appear to be hostile (33). In that respect glass and steel, and especially

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reflective mirror glass can also act hostile, because they can create a sense of

impenetrability, which may be unsuitable for certain design tasks (Baker 33).

As the technology and materials developed in the twentieth century, cladding with

glass, brick or granite allowed the architect to produce surfaces in any color and

texture. Materials were liberated from structure to produce the desired effects. Thus

the building technologies themselves enter to the materialization of intentions as

“…the justification of an architectural code” (Meiss 168).

Uses of techniques allow the architect to give the intended impressions to space

identity. The structural system of the building can be designed separately from the

plan and this enables the architect to work with space defining elements like walls,

ceilings and openings as he wishes. The architect may or may not choose to express

either the materials or the system of construction. However, considering the high-

tech examples, it is clear that the construction methods become an element that helps

producing the image itself, as can be exemplified in the Pompidou Center- a public

center- in Paris (Figure 20 p.82) whose image is entirely based on the expressive

properties of the construction techniques and structure.

Figure 20 A view from Pompidou Center in Paris

(taken from www.bc.edu/bc_org/avp/cas/fnart/arch/20thc/pompidou08.jpg)

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Pompidou Center is important not only as having “aesthetic properties of its forms

derived from bearing systems” (Zannos 123) but also as an example breaking the

symbolic significance that high tech gained as a “representation of high culture”

(Davies 13). It redefined the usage of “high tech as a servant of industrial society,

ready to receive instructions from those in power” by disassociating the form from

“narrow range of building types” and by “making it accessible to a wider

public”(Davies 13).

Thus, when the architect is choosing which material to use, which structural system

to conduct or which color to apply, he is not simply deciding on the construction

method. The process is rather collecting the proper and adequate tools with

attributions to required meanings for expressing intentions. These meanings of

structural modulation, texture, color, material produce the desired image, as well

influence perception in accordance to intentions.

For Atakule’s image a major decision about the choice of material concerns the

reflective mirror glass constituting the exterior surfaces. Mr. Buluç states several

reasons for this choice. On one hand side, it has an energy saving property. On the

other hand, the reflective character of the material ensures that the facade mirrors the

existing environment as a surface on which the seasons and time are projected

(Hürriyet 1989). However, precisely this feature of the material interrupts the visual

link between inside and outside and is ambiguous about their kind of separation. This

creates an impression of an isolated space, without giving clues of the interior.

Rather differently than a stone, brick or concrete wall would work as Akın points out

that what can be seen on the exterior surface are the distorted images of the existing

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environment (109) not the mall itself (Figure 21 p.84). With Atakule a new material

and a new way of presenting an old function of shopping was introduced to the city,

and as a shopping mall surface in the existing environment. It appears to set a trend

because after Atakule, other examples with the same material appeared especially in

the immediate surrounding of Atatürk Boulevard, like Şekerbank Building. In

Cumhuriyet (1989), it was mentioned that the increasing popularity of this material

could create a “technological monster” in the city image. In the same newspaper Mr.

Buluç described this material as having the symbolic significance of being

contemporary. He also declared that he was disturbed with the frequent use of this

material in a wrong way- as cladding of older structures because this degrades the

image and the symbolic significance of the material in the perception of the

spectator. If it turns out to be a trend, he points out, the material may loose its

meaning and context in its usage. The application of this material to Atakule was

based on the intention to produce an image which would be recognized within the

city as representative of modern national Turkish identity.

Figure 21 A photo taken (2003) from Cinnah caddesi showing the exterior surface
reflecting the distorted images of the existing environment (featured by the
author)

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The use of this material can also be seen as an indication of an intention to separate

the mall from the city and emphasize the alternative life inside (Akın et al 110). The

aim was to close to outside, but integrate the inside. For this aim, glass is used as the

dominant material in the interior design. Mr. Buluç employed to the true nature of

glass as a transparent material especially in the atrium’s surface of the entrance

facing Çankaya Street, and the park. On behalf of giving an impression of

transparency, the usage of this material emphasizes an axis through the atrium

between the main street and the park by connecting them through the building

visually. Full perception of user in north-south direction trough the axis is

encouraged by the nature of glass material on these two surfaces of the building. The

usage of this material is successful in terms of creating a visual interaction at the

entrance (Figure 22 p.85). However, having just one access from the main street and

having a closed surface to the park, the power of the atrium as a connector and an

axis diminishes. Thus, it remains only as a visual connection. Akın criticizes this as

an example to contradictory attitudes concerning the reference to the existing

environment in one respect and completely ignoring it in any other (110).

Figure 22 A photo taken (2003) from Cinnah caddesi showing the entrance and its
monumental effect (featured by the author)

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Technology is also an important tool in constituting the image of Atakule. Mr. Buluç

used the technology which helped him to define the desired image. The structure of

the tower of Atakule (Figure 23 p.87) can be discussed considering the meaning it

attributed to the building complex. In Engineering News (1989), where Atakule is

introduced as the newest landmark, it is mentioned that the architect purposely

selected this structure depending on its symbolism. Mr. Buluç says, “I choose the

dome to represent the great tradition and beauty of many Islamic domes throughout

cities in Turkey. […] The modern version on the top floor represents the uplifting of

Turkey, both economically and philosophically, into a new European economic-

industrial center” (66). The dome of the tower has symbolic meaning in Turkish

society as Mr. Buluç also indicated. It included a rotating restaurant and a panoramic

elevator in its initial plan. Both the rotating restaurant and the panoramic elevator

were perceived with excitement in the city when they were built. Similar to other

high tech examples, the modern technology of building applied for the tower

emphasizes the desired identity of Atakule as contemporary, unique and new.

Within the interior, the intention of making a “technology show” continues with the

escalators and steel structures (Akın et al 110). Although Yücesan believes that

hiding the main staircases and the elevator at the deep end of each level makes user

discover the space slowly, Akın says that they only block the connection of the

atrium, which has expressed longitudinal axis to the park. However, the material and

the technique used in Atakule were new for a period of time but as they become

familiar to the experience of the city, they lost their initial effects (110).

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Figure 23 A photo taken (2003) from Botanic Park showing the structure of the
tower (featured by the author)

3.3.1.5 Scale

Scale in architecture is defined with reference to how we perceive the size of a

building element or space relative to other elements in space (Ching 326).

Accordingly, there are two types of scales:

1. “The size of a building element is relative to other forms in its context” and it is

called the generic scale (Ching 326)

2. “Scale is the aspect in architecture that makes buildings intelligible to us, it gives

us a sense of how to relate to the building and it does so in a way that either attracts

us and reinforces our values or repels and contradicts our values” (Orr 9).

The definitions are concerned with the relation between the human scale and the

building. Orr even proposes that a good scale in architecture can be defined

according to a relationship of visual elements to the whole (11). When scale is

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considered one can add proportion as a principle of design. Burden makes a

distinction between proportions and scale saying that although both deal with the

relative size of the things, proportion deals with “size relationship within a

composition whereas scale deals with size compared to something else like human

body” (56). However, the effects of scale and proportion in architecture are used in

many ways. One of them is to communicate the user about the intentions of the

architect on the building, that are not fully provided by aspects of physical form like

size shape and form (Orr 26). For example, when monumentality is considered, the

scale of building tends to make the user or the viewer feel smaller and less significant

in relation to their overall sizes (Orr 31).

The intention to construct an object identified as a landmark also requires a specific

consideration of scale. Lynch defines that landmarks and symbols, which are visible

reference points, depends on their scale and that through it they become elements

giving identity to a city by their appearance, but also by their differing sizes and

scales (qtd in Nasar 7). When a building as symbol and a landmark is considered, the

architect’s considerations about the existing environment in relation to his design can

not only be defined in terms of things fit together or fit to environment.

Similarly, the scale of Atakule can and need be discussed in relation to three different

settings. These can be categorized as the city, the immediate existing environment

and the user. Regarding the city, Atakule complex refers to city image through its

tower. Atakule achieves its landmark and symbol status by the tower as a component

on city scale. The tower is 125 meters high. It was defined as the tallest structure in

Ankara at the time of construction. Through different vantage points of the city only

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the tower of Atakule complex is perceived. Thus, from the perception of the

spectator, the complex is identified only by the tower. Even the name of the building,

Atakule is determined considering the impact of the tower in city image. ‘Ata’ is the

shorten form of the name of the founder of Turkey, Atatürk and ‘kule’ means tower

in Turkish.

Another term of reference is provided by the immediate existing environment. Here

the shopping mall is in harmony. The building texture of Çankaya consists of five/six

storey residential buildings. The design of the complex was developed that although

Atakule has 5 floors, from street level, the spectator only perceives the height of

three floors, the ground floor, +1 and + 2 from Cinnah Street. These three floors

having average height of 12 meters correspond to the five residential floors of the

setting. The only view point that five floors can be perceived is the park side and the

part of Çankaya Caddesi. However, this five floor appearance does not overwhelm

because in scale, size and height it tends to disappear towards to the fully grown

trees. Thus, scale reference and its different perceptions are valid in constituting the

image of Atakule. However, the tower is the greatest for landmark that its association

with scale as an element constituting the image becomes the most important of all

whereas the immediate setting scale and human scale are connected as the experience

along the street and from the park offer continuity and harmony.

3.4 Re-reading of intentions of the architect

In Figure 9 (p. 47), the user is represented as an actor shaping and even reshaping the

final appearance. This section tries to develop how different modes of reception of

space affect the final image and identity. Considering that buildings are constructed

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depending not only on designer’s vision but also with political and social contexts, as

a representater of the society, the user is also integrated to defining and formulating

the intentions of identity. In that respect similar to clients, the users need to be

considered as a factor.

3.4.1 The User

There are some theorists who claim that architecture is about only itself. In other

words, architecture has to free itself from every kind of relative contexts like social,

political and economical. However, even such theories which the “sociological,

economical and political concerns are taken as the most important obstacles for the

designer to be able to concentrate on the central problem of architecture itself” could

not resist the impact of user in defining intentions (Lefaivre 24). Theoreticians, who

believed that the architecture can not be disassociated from all of its social context,

nevertheless proposed an in-between status and defined architecture as “…an activity

structuring our environment to facilitate the achievement of human purposes where

the purposes are incompletely known at the outset and cannot be extra ported from

human purposes” (Anderson 34).

As it is pointed out by the above theories, the user as a formulator of needs,

requirements and expectations of the society can not be abjected from the design

process. The user is integrated to the formulation of space, as well as in reading of

the intentions space. In every attempt of a building activity, the resulting image is

interpreted by others. Although, a building with status of an icon is based on the

ideas of a governing group, the product is said to represent the national identity of a

whole society. It is perceived by others. Thus, the judgmental criteria of the user

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group, the ways of perception, and the perceptual models become important in

shaping the final reception of the building. Users are the key actors of reading and

perceiving the intentions. They attribute the final identity to those spaces; hence their

perception must be considered as one of instance where intended ones are or are not

received. Individually, their perception or judgmental criteria are affected by lists of

factors like their education, sex, age and social and economic conditions, yet this

thesis emphasizes rather that the perception of identity of space or the understanding

the attributed values differs according to the degree of interaction of the user with the

space.

As well as on the elements of identity, it is also important, for this thesis, to discuss

what kind of user models the architect attempted to address and which means he

emphasized in design. The proceeding chapters firstly try to identify the character of

the prospective users in Atakule as initially defined and analyze their reception

modes by combining these with a theoretical framework. Secondly, the reading of

identity is discussed through a pilot study conducted in Atakule to have at least a

point of view about today’s impression of the building. To clarify some of these

issues, a pilot study was conducted among current users of Atakule. As it was

impossible to identify the initial reactions of the users in 1989, and compare them to

the contemporary ones, such a survey can form opinion only about the current status

according to users like shop owners and visitors. Still, the pilot study reflected their

experiences and their opinions about the status of Atakule which helped to look

critically on the initial intentions and perceptions.

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3.2.3.1 Spectator, viewer and the user

Hill makes a proposition on user’s degree of interaction and its effect on perception

(179). What he calls the ‘architecture fan’, here referred to as the spectator,

experiences and derives judgments from “…seeing its forms, spaces, textures and so

on, as if it were a complex large-scale kind of sculpture” (180). The spectator may

participate only imaginatively in the experience of space, supposing what it would be

like to work in that office, eat in that restaurant, and etc (Hill 180). Similarly, the

other category the visitor or the temporal user, does indeed experience just the same

things with the user; seeing, hearing and touching the building in very similar ways.

For another category, Hill exemplifies the ‘office worker’ who can be called as the

inhabitor or the permanent user, and a tourist, who can be defined as the viewer, the

visitor or the temporal user (180). The former differs from the latter by paying more

attention to the inconveniences of heating, cooling, lighting and acoustic designs.

This enables a conclusion that neither the visitor, nor the spectator is expected to

perceive the identity in the same way as the permanent users.

Lynch has a broader definition of users as all of those who “…interact with the place

in any way, live in it, work in it, pass through it, repair it, control it” (“Site Planning”

67). Thus even a spectator may judge on the appearance of the building. But the

variations in these reactions and responses is a matter of whether they own it or not,

use it frequently or are tourists or depend on it for livehood (Lynch “Site Planning”

69). Thus the spectators, viewers, inhabitors can be expected to react and respond to

the appearance of Atakule or perceive the identity and image in different modes. It

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was mentioned before that the scale reference refers to the spectator, to the

architectural fan, who may acknowledge the tower as a sculptural work in terms of

its effect in city scale. The viewer who is passing by is attracted to the mall which is

as dominant functionally and visually as the tower. The viewer can be categorized as

the shopper or any visitor to the site. Lastly, the permanent user or the inhabitor can

be defined as the shop owners in the case of Atakule. However, the interior spatial

structure and the formal composition enforce the same preferred identity that it is

unique, new and contemporary to all of these different modes of receptions. It can be

concluded that, Atakule considered three different modes of perception to forward

the initial intentions on space identity to the prospective users and make these

intentions readable in the intended way as much as possible.

3.4.2 User models in design philosophies

Design philosophies since industrialization considered the user as a factor either in

defining intentions stage, or in reading of intentions stage or in both of them, as an

actor. Thus the following section is important to exemplify these models and their

impact on the formation of identity. Accordingly the user model that the architect has

described in the case of Atakule and its effect on perception of identity is discussed.

The very first example of these theories is the Modernism. Modernism was the first

large scale movement after the industrial revolution. Instead of rejecting the

industrial process, supporters choose to embrace it to realize their aims about a new

lifestyle and new environments. Considering the metaphor of factory which became

a key symbol of industrialized societies, the modernist view of architecture based the

theories on standardization and mass production (Mitchell 5).

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Walter Gropius stated that the blurring of differences between individuals by

standardization, in universal user was embodied in new standard types of buildings.

This he believed increased their quality and decreased their cost. Eventually this

raised the standard of living of the community as a whole. According to these ideas,

not a robotization of the individual; but on the contrary, blurring of the differences

frees the architect from much necessary dead-weight allowing him to operate on an

open area (Mitchell 6). Such ideas resulted in environments and buildings that treated

all the people in the same way.

This means to that the modes of reception; the differences in ways of perceiving and

receiving, are more or less stylized because all buildings treated all people in the

same way. What happened is that a lot of detail was abounded, a clear style was

established. There was less variety of receptional differences. The occupational and

behavioral patterns in buildings are suggested according to these ideas of user which

consequently determine the character of the space.

On the other hand, Post modernist theory and architects differs from Modernists in

acknowledging the different taste codes of the public as a source to their design.

They believe different forms will help them to communicate more with their users.

However, they paid more importance to environmental interventions made by non-

designers (Mitchell 15).

Venturi’s Learning From Las Vegas exemplifies how post modern theory defines

architecture in relation to the views of users. Venturi mentions that if a hot dog

shaped building serves its function as a place which sells hot dogs then this explicit

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sign can be seen as a source of architecture within pluralism considering user or

inhabitor values (qtd. in Mitchell 14). However, pitfalls of such ideas appear at the

same point, they do not go far enough to acknowledge users and try to understand the

reason behind building such symbolic values, but simply accepted them (Mitchell

17).This caused post modernist theory to discuss architectural devices. Some of the

theorists defined it as a mixture of eclectism.

These are mainly the deconstructivists. Peter Eisenman states that architecture is

about architecture, it does not have to contain moral values of all of its users nor does

it not have to assert a new way of life to the societies (qtd in Mitchell 21). This

ideology is called as deconstruction questioning every element in architecture not

only to reconfigurate the function, the structure and program of architecture but its

relationship with users also. Although they judged post modernists “…being modest

in their aims, adopting familiar symbolism in an attempt to make their work better

understand by the public”, deconstrictivists were themselves criticized for creating an

unmoral and antisocial architecture completely disregarding the users needs

(Mitchell 28).

On the contrary, late modernity differs from all of these stating that architecture has

to consider user wishes to a degree. Pre-design research studies and post- occupancy

evaluation strategies were developed to derive strategies for architectural theories

considering the user as an element of identity who gives the final appearance to it by

different ways of seeing and occupational models.

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The debate on user’s integration to the process of design becomes problematic issues

in all of these design philosophies. The above remarks are made to clarify those

different considerations on user, and his integration to design process which leads to

different perceptions on space identities. In addition to the perceptional mode the

architect of Atakule referred to which is investigated in previous section, the

following part will discuss the user model in his mind while he is clarifying his

intentions.

3.2.3.3 The users of Atakule

The architect of Atakule mentioned in the interview (December 02, 2002) that he did

not really have a prospective group of user in his mind while he is designing. He also

said that there are important differences in the judgmental criteria of the actual users

and professionals, and that sometimes the actual users may have a more sensitive

understanding of meaning and identity of a space because they inhabit the space

(APPENDIX B.6). He believes that architecture can educate people while

architecture itself may receive references from them. What he has considered about

the user group, he mentioned, was some kind of national taste codes. The preference

codes of the society at that period were associated with the east and west synthesis.

He indicated that this was the main argument in determining the possible taste of

user group as a design input and a potential factor of space identity.

In normal circumstances the role of the user on the identity of the structure can be

discussed in two ways; either in defining intentions stage, or in reading of intentions

stage, as an actor. In the case of Atakule, its double meaning as a shopping mall and

an icon requires consideration of three modes of seeing, as a spectator, visitor and

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user. As mentioned in the role of the architect section, Ragıp Buluç did not have a

defined user at the beginning of the project because he was the first to construct a

shopping mall which aims to create a new kind of consumption identity in Turkey.

That’s why he rather designed the building for a spectator, who will perceive the

initial identity in terms of aesthetic appeal. Secondly the inaccessibility of

information on initial perceptions among users of 1989 prevents the study to explain

the changed identity from user side because of that user can not be the evidence of

altered identity. However, a pilot survey was conducted to at least learn the

impressions of users for the existing situation of the building.

The thesis accepts the change in the identity of Atakule and it tries to find out the

reason of this shift. The questionnaire is used just to emphasize this shift. Thus, the

questionnaire includes only twenty users. Ten of them are permanent users such as

the shop owners, or people working there. The questionnaire (APPENDIX B.7)

includes questions that may help to clarify the user profile and some of the factors

that may have effect on their perceptions like the frequency of use. The first five

questions are prepared accordingly. In rest of the questionnaire they are mostly asked

to evaluate the quality of inner space and the building as a whole in terms of

aesthetic appeal or else, that can be effective in their perceptions of the building. The

survey also considered their possible preferences on shopping malls asking to choose

between Atakule and others in the city to probe into a possible shift in the status of

the building as a shopping mall. The reasons for the change in the preferences are

discussed in the following section in light of the results of this part of the

questionnaire. They were also asked to make suggestions about the thing they

acknowledge as lacking in Atakule.

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 Visiting Time of Atakule

Since opening day

In recent tim es
Job

Table 1 Showing the visiting time of Atakule

Table 1 is important because it shows that the people, with whom the questionnaire is

conducted, have a memory of the status of the complex and identity since its opening

day. This makes their answers on the perceived identity more accurate to conduct a

discussion on. Table 2 (p.99) shows their perception of interior and building as a

whole. What needs to be pointed out is that the users are mostly pleased with

conditions like lightning, flexibility in use, or security, that may affect their

impressions of space identity. Another aspect that has to be pointed out is the user’s

answers to the question about the relationship of the building with the site. Most of

them are aware of the weakness of the building in terms of accessibility. The last

table, table 3 (p.99) shows their preferences about places for shopping and leisure

rates in other shopping center in Ankara. As it can be seen from the table Atakule is

not any more preferred for shopping, nor for leisure. Preferences go to Migros, which

is one of the farthest shopping center from the city center. Regarding leisure, it can

be concluded that Atakule becomes preferable due to the cinema and food courts that

has opened recently. Karum which is very near to Atakule has close rates in case of

shopping and leisure. But Atakule is perceived more as a center with various

activities rather than a shopping mall. This is directly related to the changes in

symbolic significances, which are discussed in the proceeding chapter in detail that

has been attributed in design of Atakule.

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 Evaluation of Atakule

14
12
10 Excellent
8 Good
6 Fair Good
4 Poor
2
0
Lightening Comfort Flexibility Aesthetics Aesthetics Safety Space and Relation
in usage of interior of exterior plan with the site
relation

Table 2 Evaluation of interior and the building as a whole

The important point is that both the temporary users and the permanent ones are

aware that something is lacking in Atakule. Most of them stated the parking problem

as the main problem of Atakule. There are others who mentioned the insufficient

resting areas and shopping units.

Shopping Mall Usage

9

4
Leisure
3
Shopping
2

0
Armada Karum Migros Atakule Carrefour Other

Table 3 Preferences in shopping mall usage

They proposed that other facilities like the cinema, art gallery must be opened

because this is the only way to make Atakule gain its dynamism. The pilot study has

implied that the users are aware of the insufficiency in the affordances of Atakule.

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They are mostly comparing with the other shopping malls in the city in scale, quality

and quantity. These malls have changed the impression of a mall that the symbolic

meanings that Atakule attributes becomes not enough to maintain its status as a

shopping mall. The proceeding chapter also compares these malls with Atakule with

their implicit effects on the elements like location, site and program, image that

constitute the identity of Atakule.

From this survey several clues to possible aspects of consideration regarding the

status and image of a shopping complex can be hinted at. This survey indicated that

not only image and architectural quality are factors but more importantly the quality

of the shops, the variety in their properties effect the user’s perception; hence the

reading of intentions.

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 4. SOME CHANGES IN THE IDENTITY OF ATAKULE

In the previous sections, this study attempted to isolate some of the elements used to

define and transform intensions to a materialized form. A framework was

constructed for discussing the identity and status of Atakule. The identity was

defined as a constantly changing entity, redefined according to new demands and

conditions; similarly an identity of a physical environment also changes to

accommodate new demands. Regarding Atakule, changes in its identity can be

identified but these are still ambiguous. There is no difference in the appearance of

Atakule which this thesis refers to as the image. An image, it has been accepted, act

as a source creating an identification of an object or a building, participating in, but

not the identity itself. Identity is composite, involving the user profile, evaluations of

the users, the architect’s evaluation of social context and the architect’s relation with

the clients and users.

Moreover, identity and status involve, but do not totally depend on the architectural

image. It comprises also effects, which need be evaluated on a broader scale, such as

the city and its public space network and places. These can be studied through

analysis of elements like location, site and program. The case of Atakule

demonstrates this argument that social context, the architect’s relation with the

municipality has directly affected the decisions on Atakule’s formation, as discussed

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in the previous chapters. Although the image of the structure appeals to our

interpretations as a symbol, and has not changed, there are indications that the space

is degrading according to its changed status. This part of the work tries to uncover

some reasons for such degrading. Besides, it tries to find out why Atakule is not any

more perceived in the intended way, by detailing the discussion so as to cover the

symbolic significances of location, site and program today. The changes of social

context and its possible effect on space perception will show that the space identity

includes more features than pure formation of the image and that there are other

reasons affecting the symbolic significance of the complex of Atakule.

4.1 Image and Identity

The dictionary meaning of image is as follows; “if you have an image of something

or someone, you have a mental picture of it, and you have an idea of what it is like”

(Collins 723). Greene attributes to these mental pictures that they are associated with

meanings while he is discussing the image and mind relation:

“One value of image is that its sense data can be arranged to bring about

awareness of experiences from other times and other places (1). An image is

built of components. The image maker must organize the components so that

they do not form merely an assemblage of unrelated bits. The organization

depends on previously developed patterns of meanings (10)”.

Lynch points out that “any given form […] will have a high or a low probability of

evoking a strong image among various observers” (“The Image of the City” 7). He

also develops the components of the image as identity, structure and meaning:

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 “Firstly a workable image requires the identification of an object, which

implies its distinction from other things, its recognition as a separate entity.

This is called identity. […] Second, the image must include the spatial or

pattern relation of the object to the observer and to other objects. Finally, this

object must have some meaning for the observer, whether practical or

emotional” (“The Image of the City” 8).

The components of the image are isolated, to focus on the impressions they broadcast

to our mental processes. Using high tech and brand new materials, for instance, is

this kind of an attempt to evoke an impression. It was also made clear that as the

impressions of these components and what they evoke, changes like a material

getting familiar in usage, our impressions also change. But this can not be the only

way that can help us explain the differences between the intended space identity and

the perceived one. Thus, this thesis refers to image so as to emphasize the appearance

of the built form, and identity as the symbolic significances of it, in terms of social,

political and environmental contexts. It is clear that the tools used to define and

formulate the intentions on space are the elements that also determine the image.

This is the reason why image is investigated so as to find how the changes in

symbolic meanings affect the perception in other words our mental processes. The

image is represented as a process of a larger procedure. In this larger perspective, the

architect’s operative area may attribute many historical, social, political or cultural

meanings to the design even before the image is defined. The preferences on

location, site and program do not imply a concrete form, shape or an object that will

appeal to our interpretations, but it attributes some characteristic or properties to its

identity long before the designing process begins or the image is produced. The

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critics on newspapers about the Atakule’s construction decision, before the building

even appears, are important examples for this situation. These properties distinguish

the structure from everything else, in other words determine the identity.

The image that has been conducted will be judged within this social context and

historical, environmental charges. This thesis sees such kind of limited approach to

formulation of identity as the main reason for effects of degrading of spaces. The

problem of location, site and program in design procedure must not only be defined

as fitting to existing environment. A broader analysis must be made carefully, to

understand the cultural, social issues, the development of the site or the location

because through time, as the meanings of them change the interpretation of the

complex may change, even tough the image in visual terms remains the same. This

thesis claims that some of the changes in the status of elements lead to a change in

the interpretation of the image. In the case of Atakule, the social and cultural

developments to follow, the changes in the city, in the surrounding environment and

daily life has been effected the identification of the building. Thus, these are

investigated with their contemporary conditions to understand their influences.

4.2 Identifying changes

Although, the location of Atakule did not change, the meaning and significances

attached to it, differs now from the situation in 1989. These changes are discussed by

comparing the social meaning of the location with today’s conditions to understand

its possible effect on Atakule’s identification and status. Site, too, is discussed in

these terms. It is important for this part of the research to determine the possible

connection that Atakule could have constructed with the site to gain new meanings.

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Program and plan in this section are discussed as indicators that, contrary to the

visual image, there really occurred changes in the content of the building as a

shopping mall, affecting its identity as a public interior.

4.2.1 Location

It was indicated before that there were political arguments about the determination of

the location of Atakule. The building is situated on Atatürk Boulevard, which as

discussed before, is a main axis cutting the city from north to south. Thus, it is

charged with representations of national identity of modern, developing Turkey. This

historical and political meaning of the boulevard leads Atakule to be perceived as the

symbol of idealized and contemporary national achievements. The location maintains

this status as being charged with protocol and prestige. Due to its positioning in the

city, the interpretation of Atakule maintained part of its symbolic effect, even tough

higher and more complicated structures have been built since. However, the city has

undergone radical changes and so programs of development. The governors are

operating in far more different global conditions than the ones in 1980s. The

demands of a new authority for a new symbol are not far away from today. Today

politicians are seeking for new symbols in the city already. For instance, there are

plans for a new tower that is going to be constructed in Keçiören whose head of

municipality is from the same party of the governing group in 2003 (APPENDIX

B.1). It is designed by the architect of Atakule, Mr. Buluç. As in Atakule, it will

provide a sightseeing of Ankara from the highest level and it will be called as the

“Republican Tower”. The architectural program has similarities to Atakule- it will

also have a rotating restaurant at the top. Nonetheless it differs from Atakule in many

ways. It will have a museum, an exhibition center and various souvenir shops. The

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important point is it is going to be 166 meters high. It is also presented as the tallest

building in Turkey in the same newspaper. This is an indication that Atakule’s

identity as a symbol of technology achievement and national identity is shifting.

On the other hand, its identity as a shopping mall has already been challenged.

Atakule offered an introvert and isolated world inside. The spatial structure of the

interior was discussed in the previous sections. Features of plan, configuration and

decoration indicated a climatically regulated city environment inside. But within

fourteen years, new city centers and shopping malls have been opened. They afford

more than what Atakule affords as a miniature city. Bilkent Center, Armada, Migros-

Akköprü, Karum (APPENDIX A.6) are some of the most important competitors of

Atakule. They have larger retailing areas, food courts and entertainment units. They

are designed as alternatives of cities and even they are advertised depending on this

property. Bilkent Center is promoted with tag lines like “Bırakın Şehir Sizi Özlesin”

-Let the city miss you- dispersing the life of city center. The capacity of Atakule

became insufficient in meeting growing consumption demands, which are larger

trading units, more entertainment areas and specialized food courts in the new

complexes. This large scale structures became new city centers and new landmarks.

Although the political meaning of the axis remained the same, the society’s attraction

is re-oriented and directed by these new formations.

The significance of Atakule’s location at the time of construction was based on its

singularity. Now, as political importance gives way to economic concerns, its’

location status looses its importance. The development of new centers is also

effective in this degrading. The location of them is shown in Figure 24 (p. 108). It

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indicates the location of other shopping malls constructed in 1990-2003. Although

they are, too, away from the city center, they reduce the image and impression of

Atakule’s location. Atakule could maintain its status due to its competitor’s capacity

and scale.

4.2.2 Site

The relations of Atakule to its site have been discussed in section 3.2.2.2. It had been

concluded that one of the weaknesses it has, is the relation it constructs with the

existing environment. This degraded the perception of the space as a shopping mall.

Considering that public buildings can not only be considered with their individual

structures, but with their “role in defining interior and exterior public spaces”, it can

be evaluated that Atakule lacks this transitions between the interior and the existing

structures (Parlar 49). As indicated in the previous chapter, its competitors

diminished its identification as a shopping mall as well.

How these linkages caused a different perception about the identity of the space in

the case of Atakule can be exemplified through one of its competitors, Karum.

Karum is the nearest shopping mall to Atakule (Figure 24 p.108). It has a larger

retailing area. However, this is not the only reason why it maintains its status as a

shopping mall. It is also situated at a crucial site- at the end of the previously

mentioned shopping district Tunalı Hilmi Caddesi and is integrally connected to it. It

leaves a large area (Figure 25 p.109) just in front of the building which operates as a

gathering space for people coming from Tunalı Hilmi Caddesi or entering it.

Especially on weekends it acts as a meeting place for pedestrians which help the

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108
building to maintain its dynamism and liveliness. In other words due to its

appropriate connection with the site, Karum benefits from the pedestrian potential of

Tunalı. For Atakule such pedestrian potential does not exist. Moreover, it even

missies the advantage of being situated next to Botanic Park, which might provide

such pedestrian connections.

Figure 25 A photo taken (2003)from the staircases next to Karum to show the effect
of the entrance (featured by the author)

By a connection to the park, it could have gained new meanings and accessibilities.

It’s disconnected from the park. Its separateness from the site circulation damages its

identity as collector, generator of social space. It also prevents the formation of the

new space identity.

Other competitors of Atakule, except for Karum, are also situated outside the city

center. This prevents them, also, from benefiting and using the potential of the city

center. However, because they define and offer an inner city which has many

complexes and facilities, they achieve to attract people. In Atakule, too, that inner

city idea was attempted. But it does not have programmatic features or offer the same

variation in other shopping malls and it was constructed as three separate units. This

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fails to make people prefer Atakule. The only way it could have protected its status is

by being in interaction with the site but the design composition refuses this

interaction at first stage. As a result, it cannot gain new possible meanings, develop

site, generate life and act as a lively a shopping mall.

4.2.3 Program

Compared to the initial functional distribution according to the program,

contemporary functional program of Atakule shows a tendency to include other

functions more extensively. Rather than a shopping mall, it acts as a cultural center

including a cinema, an art gallery, a branch office of a bank and a wedding office. On

the other hand, it can be observed that there is a real reduction in the number of

retailing shops. This thesis tries to consider such changes within the architectural

program of Atakule as an indication of a change in the space identity. Visually, in

terms of image and appearance, the users apprehend no change relative to the

programmatic changes. It is obvious that some of the inner divisions of units have

been redesigned to adopt the space for new usages, like a cinema, but these are not

reflected to the appearance of the building. However, as it was discussed in the views

of the users, in chapter 3, this new programmatic features affected the perception of

the space, frequency of usage and preferences about Atakule. From the discussions

on program, it can also be derived that the perception of identity of the space must be

discussed in a larger perspective in addition to image. The relations that the building

conducts with the city and new meanings it gained through programmatic

manipulations have an undeniable effect on perception of space identity.

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4.2.4 Plan

The most important physical indication that the space identity has changed, is the

plan modification. The modifications on the original plan did not only intend to meet

the needs of new programmatic elements. Figure 26 (p.115-119) shows the plan and

configuration by 2003. When this figure is compared with the initial plans, it can be

observed that, the unused areas, like corridors and hallways, which were not defining

any other functions, mostly turned out to be the modified programmatic elements.

The problematic design of interior spatial structure demonstrated this transformation

in program as discussed in 3.3.1.3. Thus, not only the changes in symbolic meanings

of site and location caused a shift in the status of Atakule, but also the problems

caused by the initial plan configurations within the interior space, which have only

weak cross connection between the components of the complex, and demonstrate this

change.

The changes in each floor plan are colored in grey in Figure 26 (p.115-119). The

north-west trading block which was also discussed as a part separated from main

circulation path has completely turned to a branch office of Vakıfbank, the current

owner of Atakule. They choose to use a part of the mall, especially the part which

initially seemed to be problematic in integrating the movement around the atrium.

The branch office has an entrance from the ground floor, but also has a separate

entrance from Cinnah Caddesi (APPENDIX A.7). This is the only change that is

reflected to the appearance of the building. The architect informed me that his

permission was asked for this change. The presence of the bank issued other

changes. First floor includes the Vakıfbank art gallery and Vakıfbank Investment

Office. The changes seem to be only in control of the owners, but this caused some

111
problems which may turn Atakule to a bank building. To prevent this, several other

functions are emphasized. One of them is the cinema which is opened on second

floor. The cinema on this floor caused some of the food courts and cafes to shift to

upper floors. The new dining areas are also indicated in the same plan. While the

number of the shops are continuously decreasing in Atakule, the number of fast food

restaurants is increasing in the same rate. The grey colored areas in -2 floor indicates

the arrangements in the initial plan so as to include more restaurants. The demand of

larger dining areas goes parallel to the increase in the trading and work offices in the

neighborhood. Most of the people working in these offices prefer these restaurants

and Atakule for lunch. Considering that these offices occurred with the change that

Atakule caused upon the area, it is also the only thing it benefits in return.

4.3 Analysis and evaluations of the changing status of Atakule

The investigation on location, site and program showed that due to the social and

economical developments in the city, Atakule experienced a shift in its status as a

shopping mall and symbol of a new consumerist social identity. The project has also

been criticized as being an attempt to create a consumer identity and an agent to

introduce new consumerist codes to the society by some of the critics. With

development towards consumer identities in the society, Atakule became unable to

respond to this economical, social status as successful as its competitors. Another

reason that can be isolated for the change in the case of Atakule depends on the

relations and connections it establishes with city life and its immediate environment.

The site gives important attributions to design process, some of which the architect

chose to ignore when he was planning the structure. A more diverse interpretation of

the structure to the site might have enabled the complex to gain new meanings and

112
identities. Location and site of Atakule, nevertheless helped to partially maintain its

status as a landmark and its image as a city symbol.

The director of the managerial office of Atakule, has informed that a grocery store,

Tansaş will be opened soon in the -2 floor (Fig 26 p.119). He also mentioned that the

parking will be free who do shopping from this store.

It is obvious that these kinds of managerial decisions about space will be effective on

this transformation. However, Tansaş is one of the well known grocery markets in

Turkey. It can be clearly seen that the owners are trying to benefit from the existing

condition as much as they can. They are using part of the building for themselves.

Managerial department are transforming floors to cinemas and food courts that can

bring back the liveliness of the building. They are trying to attract people through

these well known market names which are really a radical contradiction to spatial

structure and will surely change the inner circulation of the building. Probably, all of

these market names will demand a sign or a label which will indicate their presence

not only to the neighborhood but also to the whole city. The question may rise how

this kind of a sign will affect the identity of the building where the location and site

of it are still acknowledged with protocol terms although they lost their initial

impacts on city image.

In terms of these programmatic changes, it can be concluded that a new identity is

being subscribed for Atakule. The opening of an art gallery, cinema and food courts

are indicators that it is attaining entertainment and leisure space identity, rather than

a shopping mall.

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Nevertheless an important outcome of this work was to discover the possible

meanings that the building could have gained if the location and site has been

investigated in more diverse ways. The space could have met the changing

conditions of the society and interpretations if a search has been conducted with

consideration of future demands.

114
117
118
119
 5. CONCLUSION

The perception of a building depends on various contexts. In this thesis, it is accepted

that the perception of a building and its identification at city scale may differ from

the intended and initial one that is proposed by the architect. Such differences can be

regarded as reason for degrading in the spaces. The visitors’, spectators’ and

inhabitors’ identification of a specific building may change through time, although

the appearance and the image the building remain the same. This condition indicates

that a theoretical framework could be developed to explore identity as to the

elements by which it is constituted, in a broader perspective. The design process is

seen within a socio-political context, which is elaborated so as to extend the

meanings and the contribution of the elements that are integrated to the design

decisions.

There are many elements that contribute to space identity. Regarding the specific

example of this thesis, Atakule as a symbol, as a landmark and as a shopping mall,

the ones that helped the architect to define the identity of the building with these

terms are specifically selected. The importance of location of the building in the city

development, the site’s historical, cultural and environmental meanings, and a brand

new architectural program as a shopping mall in the city, are stated as the most

important elements that defined the intentions on space identity of Atakule. The

study of these elements theoretically and in the social context of the period indicated

120
and showed that Atakule gained its identity as a landmark and as a symbol depending

on the symbolic significances and meanings of these elements.

In that respect, a sociopolitical perspective was needed to understand how location

and site have been historically charged through time. These attributed meaning to

Atakule long before its image had appeared. In addition, important components of

the identity were approached through contents and operations of the shopping malls

which are discussed to clarify how the architectural program also shaped the

intentions in the case of Atakule.

Aside of location, site and program, Atakule is analyzed in terms of more customary

elements regarding the image: such as formal composition, interior spatial structure

and choice of material and technology. These discussions showed some of the

reasons for choices made by the architect about specific tools of new materials, scale,

form and technology. These tools are discussed in terms of the visual messages they

assert. However, the thesis focuses on the tangible elements of identity formation

which are interpreted in broader perspective. Such approach and framework is

needed especially when buildings with symbolic status are concerned. A comparative

study of location, site and program, which partially constituted its symbolic meaning,

also indicated some of the weaknesses of Atakule regarding its incapability to

achieve the identity of a shopping mall. This is due to the changes on city scale and

in society’s perception and experience of a new and large scale public buildings and

familiarity of materials and technology used in the building. This indicates that it is

necessary to consider the identity of a specific building in a larger perspective while

121
formulating the intentions. The investigation on specific example Atakule also

showed how and why these changes in space identity may occur.

The theoretical framework not only allowed discussing the elements of space identity

but it also indicated that the difference occurring in the meaning and symbolic

significances of these elements may be the possible reason for the degrading in these

spaces. Thus, this framework may be addressed when the reasons for change in the

identification of significant buildings in public realm alter. In such a case, the social-

context where the building is built and perceived, and the significances of elements

constituting its image become the key cases that can be analyzed to find out the

possible reasons for changes in the space identity of these buildings.

The framework developed in this study is based on the consequential effect of

society’s social and economical development on the meanings of location, site and

program and investigation of some tangible elements of identity through different

perspectives. However, the effect of cultural and social development of users and

society in understanding, judging and perceiving of these elements remained undone.

Discussions of such aspects can be developed by help of other disciplines, like social

studies which can focus on the sociopolitical development of the societies,

perceptions and their demands. Thus, new symbols and representation through

physical environments might be seen through a changing socio-cultural framework.

From such views architecture discipline can benefit in a further discussion on ways

to prevent a degrading of spaces and offer new design considerations.

122
It is clear that the responsibility of designing a space does not cover only the issue of

appearances but is a problem of theoretical and ethical behavior nature in defining

the proper constitution of elements of space identity. It is the only way to attain the

appropriate functions and spatial organizations that will lead the building to survive

in time duration. This study on elements of space identity appears as attempt to

formulate a frame work of this kind, which allows discussions in accordance with

different contexts.

123
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APPENDICES

130
APPENDIX A

APPENDIX A. 1 taken from in front of Atakule showing the change in the

environment from residents to trading offices (2003)

APPENDIX A. 2 taken from opposite side of the main entrance showing the
monumental effect and the outdoor stairs at the entrance of the building (2003).

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APPENDIX A. 3 taken from the main entrance facing Çankaya street showing the
north- east wing shops and walkway relation (2003).

APPENDIX A. 4 taken from Botanic Park showing nonadjacent relation with the
park (2003).

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APPENDIX A. 5 taken from the staircases connecting the terrace to walkways
showing the staircases connecting the two terraces (2003).

ARMADA- photo taken from Eskişehir Road (2003)

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 MİGROS- photo taken from Konya Road (2003)

BİLKENT CENTER- photo taken from Bilkent University (2003).

APEENDIX A. 6 Other shopping centers in the city; Armada, Migros, Bilkent

respectively

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APPENDIX A. 7 taken from Cinnah Street showing Vakıfbank entrance-west
elevation (2003).

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APPENDIX B.1 SABAH- Pazar - 13 JULY 2003

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APPENDIX B.2 Examples from paper news about Atakule

GÜNAYDIN – 17 OCT. 1989

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APPENDIX B.3 Examples from paper news about Atakule

CUMHURİYET - 20 AUG. 1989

138
APPENDIX B.4 Examples from paper news about Atakule

MİLLİYET – 31 DEC. 1985

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APPENDIX B.5 Examples from paper news about Atakule

HÜRRİYET – 9 MARCH 1989

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APPENDIX B.6 Interview with the architect of Atakule- RAGIP BULUÇ

Atakule bir ihtiyaç olarak nasıl karşınıza çıktı ve siz bu sürece nasıl dahil
oldunuz?

R.B: Anıtlar kurulunun açtığı bir yarışma vardı. Onların önceden belirlediği
mimarlar arasında yer alıyordum. Çeşitli elemelerden sonra sayımız üçe düştü.
Bizlerde önerilerimizi sunduk, benim önerim kabul edildi. Mimari programda
125 m uzunluğunda bir kule ve 10.000 m2 lik bir çarşı vardı. Çarşı daha sonra
25.000 m2 ye çıkarıldı.

Bir ön araştırma süreci yaşandı mı? Sizi kısıtlayan tasarım girdileri neler oldu
örneğin yatırımcıyla ilişkileriniz nasıldı?

R.B: Kuruma yeni açılan alışveriş merkezlerini gezmek istediğimi ilettim.

Japonya’ya seyahatlerim oldu. Kurumla yakın çalışma içindeydik.O zamanda
Ankara da hatta Türkiye de bu çeşit örnekler yoktu. 1985’de yeni açılan böyle
alışveriş merkezlerinde cam ve ağaç kullanımı yaygındı. Fakat ben daha çok
özellikle Japonya da insanların mekanlara verdiği tepkilerden çok etkilenmiştim.
Böyle bir tasarım isteğiyle başladım. Proje 30-40 kere revizyondan geçti. Mal
sahibi ortadaki boşluğu görünce çok şaşırdı, böyle bir şey beklemiyordu; o pasaj
niteliğinde bir şeyler düşünmüştü. Etrafındaki örnekler onlar olduğu için bu da
çok doğal tabii.

Bu kadar değişiklik geçiren bir projede istediklerinizi mekana

yansıtabildiğinizi söyleyebilir misiniz?

R.B: %90 istediklerim oldu. Bina hem yapıldı hem de proje devam etti. Temel
bir kere atıldı mı bir daha değiştiremiyorsunuz haliyle bu biraz kısıtlayıcı oldu
ama proje çok çabuk bitti. 1.5 senede projeyi, 2.4 senede ise binayı tamamladık.

Bugünkü Atakule’yi nasıl tarif ediyorsunuz?

R.B: Erken doğmuş olarak . Bütün hayatı değiştirebileceğini düşünmüyordum.

Mimari her şeyle değişir, müzikle bile. Mimarın elinde olmayan birçok şeyle de
değişir; milli gelirin artması, milli kültürün artması. Bunlar sadece mimara ya da
mal sahibine bağlı bir durum değil. Mimarlığın geldiği seviyede çok fazla girdi
var. Ama her şeye rağmen halkı eğittiğimi düşünüyorum.

Bugünkü duruma müdahale etmek ister miydiniz ya da etmenize izin var mı

diye sorayım soruyu?

R.B: Vakıflar bankası yönetiyor şu anda. Sinemayla ilgili ya da Cinnah caddesi

cephede banka için açılan kapıyla ilgili fikrimi sordular. En azından onlar
istediğim gibi oldu. İç mekandaki dönüşümü kabul edemiyorum, dükkan
sahiplerine bu malları içeride sergile diyemiyorsun. Projenin başında vitrinlerde
dükkan tabelalarında neon ışıklar kullanılacak ve vitrinin içine yerleştirilecekti.
Bunların tasarımı da benim kontrolümdeydi ama böyle olmadı.

141
 Dükkanların böyle kullanımı sizce kullanıcı profilini değiştirdi mi?
R.B: Kullanıcılar hakkında, aralarındaki farklar hakkında yorum yapmak
istemiyorum. Yılbaşında Noel müziği çalıyoruz diye bile kızanlar oldu ama bir
yere kadar mekanın bu durumu değiştirdiğini de düşünüyorum.

Kullanıcıları bir yana bırakırsak tasarımıza doğrudan etki eden girdiler

nelerdi?

R.B: Atakule yapıldığı dönemin koşullarıyla değerlendirmek gerekir. Atakule

Atatürk’ten sonra düştüğümüz batı-doğu, geleneksel-global tartışmaların bir
sentezi. O noktada Ankara çok güzel izlenir. Çocukluğumdan beri bilirim.
Aslında bunu yeniden inşası. O yerin öneminin tarihsel sürecine kendim de
şahidim. Atakule de bu göz önünde bulunduruldu.

Mimarın mekan üzerindeki denetimi bir süre sonra kayboluyor mu?

R.B: Sanatçı yaptığı şeyden yaptığı andan sonra kurtulur. Elinden kayıp gider.
Nasıl çalıştığı sorusu mimarlığın yanlış anlaşılıyor olması ile alakalı. Benim için
Atakule de değişmeyen her şey mimarlıktır. Ölçülebilir değerler üzerine
kurduğum, kattığım ölçülemeyen her şeyi mimarlık olarak tarif ediyorum.

Değerlendirmeleriniz için çok teşekkürler...

R.B: Ben teşekkür ederim....

Other Works of the architect

Erken Başarı School

142
 Republic Tower , Keçiören – Ankara

Oktay Serici House

for more information check www.ragipbuluç.com

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APPENDIX B.7 Questionnaire for the users

1.How often do you visit Atakule?

Once a week.......... Twice a week......... Lesser.......... More.......... (please

indicate)

2.Why do you come to Atakule?

Shopping ............... Cinema-food........ Visit............ Other......... (please

indicate)

3. How many times you have been to the Tower for visit?

Once...................... More than once ......................... Never.........

4. How do you come to Atakule?

By car.............. By walk................. Public transformation............... It depends

.....................

5. Do you recognize Atakule from other parts of the city?

Yes....................... No........................... I did not pay attention................

6. Please rate the quality of the interior space in terms of the following:

Ex G F P

a) Adequacy of space....................................

b) Lighting....................................................

c) View to the outside...................................

d) Esthetic Appeal.........................................

e) Flexibility of use........................................

7. Please rate the quality of the building as a whole in terms of the following:

Ex G F P

a) Esthetic quality of the exterior.......................

b) Security....................................................….

c) Maintenance...................................................

d) Relationship of space/layout..........................

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8. Which one do you mostly prefer for visit? And why?

a)Karum b) Akköprü- Migros c) Carrefour d) Armada e) Atakule

.........................................................................................................................................
...........
shopping? And why?

Karum b) Akköprü- Migros c) Carrefour d) Armada e) Atakule

.........................................................................................................................................
.............

9. Please identify important elements which are currently lacking in Atakule?

10. Please make any other suggestions you wish for physical or managerial
improvements in the building?

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APPENDIX C.1 Site Plan

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APPENDIX C.2 Sections and Elevations

147
APPENDIX C.3 Sections and Elevations

148
APPENDIX C.4 Elevations

149