The 3rd Istanbul Design Biennial has announced its participants and project titles. More than 70 projects are being produced for the exhibition entitled ARE WE HUMAN? : The Design of the Species: 2 seconds, 2 days, 2 years, 200 years, 200,000 years. Organized by the Istanbul Foundation for Culture and Arts (İKSV), Beatriz Colomina and Mark Wigley are curating the show that will include “designers, architects, artists, theorists, choreographers, filmmakers, historians, archaeologists, scientists, labs, centers, institutes and NGOs.”

The biennial will run from October 22nd through November 20th at five sites throughout the city of Istanbul. These venues include the Galata Greek Primary School, Studio-X Istanbul, Depo in Karaköy, Alt Art Space in Bomonti, and Istanbul Archaeological Museums in Sultanahmet. The work will also be divided into four “Clouds.” Themes for these “Clouds” are Designing the Body, Designing the Planet, Designing Life, and Designing Time. Each of them takes a look at the changing relationship of design and the world around us.

The show will also include six curatorial interventions lead by Colomina and Wigley. The interventions are the work of Princeton and Columbia students who have been working in seminars for the past year. The interventions will be installed in the exhibition with the other participants’ works.

The range of participants, from five continents, range from individual practices to well-established design firms.

The projects and the participants include:

The Shepherd, Bager Akbay (Turkey)

Mutant Space, Atif Akin (Turkey)

Observer Affect / Observer Effect, Zeynep Çelik Alexander (Turkey), Vanessa Heddle, Elliott Sturtevant (Canada)

Mixed Being, Lucia Allais (United Kingdom/Italy)

Archaeology of Things Larger than Earth, Pedro Alonso & Hugo Palmarola (Chile)

Milano Animal City, Stefano Boeri (Italy)

Window Behaviorology, Atelier Bow-Wow / Yoshiharu Tsukamoto Lab. at Tokyo Institute of Technology / YKK AP Window Research Institute (Japan)

Space Design by Galina Balashova, Galina Balashova (Russia), Philipp Meuser (Germany)

Fictional Humanisms: A Critical Reportage, Marco Brizzi & Davide Rapp (Italy)

1 Brain, 100 Billion Neurons, 100 Trillion connections, Brown Institute for Media Innovation, Center for Spatial Research with the Zuckerman Institute, Columbia University (USA)

Texas City Landscan, Center for Land Use Interpretation (USA)

Conflict Urbanism: Aleppo, Laura Kurgan (South Africa/USA) and the Center for Spatial Research (USA)

The Immortal, Revital Cohen (United Kingdom), Tuur Van Balen (Belgium)

Going Fluid: The Cosmetic Protocols of Gangnam, Common Accounts, Igor Bragado (Spain), Miles Gertler (Canada)

Art Fiction, François Dallegret (Canada)

Human Treasure, Tacita Dean (United Kingdom)

Kontrollraum / Control Room, Thomas Demand (Germany)

Unspoken, Diller Scofidio + Renfro (USA)

World Brain: Automatism, Stéphane Dougoutin (France), Gwenola Wagon (Canada)

The Unstable Object (II), Daniel Eisenberg (USA)

You will not be able to do it, Keller Easterling (USA)

The Designer Designed by the Humans, estudio Herreros (Spain)

Portable Indo Pacific, Fake Industries Architectural Agonism and UTS (Spain/Australia)

A Natural History of Human Rights, Forensic Architecture in collaboration with FIBAR: Baltasar Garzón, m7red and Irendra Radjawali (United Kingdom/Spain/Brazil/Argentina)

City of Abstracts and Lectures from Improvisation Technologies, William Forsythe (Germany/USA)

The Breaking Point, or The Paradox of Origins, Anselm Franke (Germany)

Welcome to the Anthropocene, Globaïa (Canada)

Space Debris 1957-2016, Stuart Grey (United Kingdom)

5TH HELENA, Mathew Hale (United Kingdom)

51Sprints, Het Nieuwe Instituut (Netherlands)

City of 7 Billion, Joyce Hsiang, Bimal Mendis (USA)

MUSSELxCHOIR, Natalie Jeremijenko (Australia)

GUINEA PIGS; A Minor History of Engineered Man, Lydia Kallipoliti, Andreas Theodoridis (Greece/USA)

Anatomy and Safe, Ali Kazma (Turkey)

“It is obvious from the map,” Thomas Keenan (USA) and Sohrab Mohebbi (Iran), with Charles Heller (USA) and Lorenzo Pezzani (Italy)

Embodied Computation, Axel Kilian (Germany)

The Perfect Human, Jørgen Leth (Denmark)

The Anthropophagic Body and the City: Flavio de Carvalho, Jose Lirá (Brazil)

Open Future, The Living / Sculpting Evolution Group, MIT Media Lab (USA)

Maropeng Acts I & II, Lesley Lokko (Ghana)

Memex, Marshmallow Laser Feast, Analog, FBFX, Duologue (United Kingdom)

Köçek Dance Floor, m-a-u-s-e-r (Germany/Turkey)

Glitter Disaster, McEwen Studio (USA)

The Institute of Isolation, Lucy McRae in collaboration with Lotje Sodderland (United Kingdom)

Ines-table, Enric Miralles (Spain) & Benedetta Tagliabue (Italy)

Manchas Mies, Domi Mora (Spain)

An Unfinished Encyclopedia of Scale Figures Without Architecture / Model Furniture, MOS Architects (USA)

Architektur / Räume / Gesten, Antoni Muntadas (Spain)

Nine Islands: Matters Around Architecture, NEMESTUDIO, Neyran Turan & Mete Sonmez (Turkey)

Please let me go, away…, New Territories / M4 with Pierre Huyghe (Thailand/France)

Frederick Kiesler’s Magic Architecture: Caves, Animals, and Tools from the Prehistoric to the Atomic Era, Spyros Papapetros (Greece)

A Media Archaeology of Ingenious Designs, Jussi Parikka (Finland), Ayhan Ayteş (Turkey)

Objects of Daydreaming, PATTU, Cem Kozar, Işıl Ünal (Turkey)

South Africa on the Cusp of Revolution, Martha Rosler (USA)

Beirut Bombastic!, Rana Salam (Lebanon)

White on White, Alfredo Thiermann & Ariel Bustamante (Chile)

Spidernauts… Dark webs…, Tomás Saraceno (Argentina)

The Connectome: A New Dimension of Humanity, Seung Lab, H. Sebastion Seung & Amie R. Sterling (USA)

The Visit, SO? (Turkey)

Autonomy of Images, Hito Steyerl (Germany)

Portable Person, Studio Works (USA)

Archaeology of Violence (The Forest as Design), Paulo Tavares (Brazil) & Armin Linke (Germany)

The Microbial Design Studio: 30-day Simit Diet, Orkan Telhan (Turkey)

Museum of Oil—Deep Space and After Fire Territorial Agency (Italy/Finland/United Kingdom)

Voyager—Humanity in Interstellar Space, Universal Space Program, Evangelos Kotsioris (Greece) and Rutger Huiberts (Netherlands)

The Hand—The Whole Man in Miniature, Madelon Vriesendrop (Netherlands)

Detox USA, Mark Wasiuta (Canada), Florencia Alvarez (Argentina)

Information Fall-Out: Buckminster Fuller’s World Game, Mark Wasiuta (Canada), Adam Bandler (USA)

Delusional Mandala, Lu Yang (China)

Virtual Interior Istanbul, Annett Zinsmeister (Germany)

Istanbul’s Ramadan tradition of Jazz in Ramadan is back for a seventh straight year with big names in the world of jazz appearing for evening performances throughout the holy month.

This year’s Jazz in Ramadan concerts, which started on June 10 with an opening concert by the Mustonen Art Jazz Quartet at Sakıp Sabancı Museum, will be held until June 27 in Istanbul.

German group Ensemble Olivinn, composed of soloist Begüm Tüzemen, pianist-composer Sinem Altan, Anatolian saz player Özgür Ersoy and percussionist Axel Meier, will be on the same stage on June 18.

Hindi Zahra will also be at Jazz in Ramadan this year with her mesmerizing voice and popular songs that blend different genres of music. She will perform her biggest hits like “Beautiful Tango,” “Stand Up” and “Silence” at the Zorlu PSM Main Theater Stage on June 21.

The famous German composer and trumpet player Markus Stockhausen will also be in Istanbul for the first time. Another German contribution to the world of jazz, talented pianist Florian Weber, will play at SSM Garden on June 23.

Rich and colorful compositions from both musicians will be heard live, as inspired improvisation and intuitive musicality unite to become a harmonious entity and unimaginable sounds are coaxed from the instruments.

The last concert of the festival will be given by Norwegian pianist Jon Balke accompanied by Mouna Boutchebak on vocals and Snorre Bjerck on percussion on June 27. Balke will also share the stage with guitarist Cenk Erdoğan, who will appear as a guest artist.

The Hırka-i Şerif or Holy Cloak, so named since it was worn by Prophet Muhammad, was opened to visitors on Friday in Istanbul with Muslims hailing from around Turkey who came to see one of the few relics from the era of Islam’s prophet.

The Hırka-i Şerif Mosque in Istanbul’s Fatih district, where the cloak will be on display throughout the Muslim holy month of Ramadan, hosted an event attended by the city’s administrators and a large congregation for the launch of the exhibition.

Clerics recited prayers at the ceremony, which was held on the first Friday of Ramadan, a sacred day for Muslims. Rahmi Yaran, mufti of Istanbul, said they were pleased and honored to see the holy relic on display again and that the faithful had convened to “receive [the Prophet’s] blessing.”

Gülay Köprülü, a descendant of Owais al-Qarani was among those attending the ceremony. Al-Qarani of Yemen was a soldier who lived during the lifetime of Prophet Muhammad. But to millions of Muslims, he is better known as a devout man who set out on a journey from Yemen to Saudi Arabia to meet the prophet. Though he could not meet the prophet and returned to Yemen because of his duties on a military expedition, al-Qarani received the cloak of the prophet after Muhammad’s death from the prophet’s companions, who gave it to him at the prophet’s will. Köprülü’s family is custodian of the cloak and she said that she was happy to fulfill her duty to protect “an important relic” and find more people interested in seeing it.

The mosque, which is closed for restoration, will have a section open exclusively for visitation of the Hırka- i Şerif. A new elevator will allow the sick, disabled, elderly and pregnant to see the cloak without having to wait in line.

Istanbul has hosted most of its holy relics in Topkapı Palace since Sultan Selim’s conquest of Egypt in the 16th century where he seized items of the prophet in the custody of the Mamluk caliphate, along with the control of the global caliphate of the Muslims. Among them is a battle standard from the prophetic era, a tooth of the prophet and hair from the prophet’s beard, as well as his sandals and a bowl he used to use.

If you visit the basement floor of Istanbul Modern this summer, you will come across a hall devoted to photography in Turkey. Running until Dec. 18, “People Attract People” attracts visitors on the lookout for the surprising revelation, the humorous detail and the subtle angle that turns an ordinary moment into a striking artwork.

The exhibition opens with works by Othmar Pferschy, a leading figure of documentary photography in the Republican era. Born in Austria in 1898, Pferschy worked as an assistant to Romanian Jewish artist Jean Weinberg and then opened his Istanbul studio in 1931. After his death, Pferschy’s archive had been bequeathed to Istanbul Modern by his daughter.

Pferschy’s photographs of girls working with typewriters in a classroom and boy scouts in uniforms are bold, modernist and iconic. “Othmar Pferschy was one of the leading exponents of documentary photography in the Republican era who introduced the developing and revitalized face of young Turkey to the world,” the exhibition catalogue informs us.

Photography studios opened in Istanbul’s Pera district played a crucial role in the development of photography in Turkey. A similarly defining factor was Vedat Nedim Tör, head of the General Directorate of the Press, who worked with Pferschy to promote a new image of Turkey. “The use of Pferschy’s meticulously taken photographs in books, magazines, banknotes, and stamps laid the foundations of a tradition that has virtually continued into our day. The subsequent photography personnel in particular would take the precision and meticulousness of these photographs as a model. In landscape photography, at first photographers were inclined toward Turkey’s natural and historical fabric, and later toward the daily life of the newly developing big cities, primarily Istanbul.”

“There was great excitement when the General Directorate of the Press found Pferschy thanks to Vedat Nedim Tör,” the show’s curator Merih Akoğul told me in an interview last week. “Up to that date, there was no photographer who could record the new republic of Turkey in a way matching its image technically and aesthetically,” he said. “It was only after this initiative that Turkey’s changing face became visible in the West. Photographers who came after Othmar took the compositions and the technical mastery of his photographs as their model.”

Akoğul’s show features works by 80 artists, a great group of artists including Manuel Çıtak, İsa Çelik, Şakir Eczacıbaşı, Şahin Kaygun, İzzet Keribar, Fikret Otyam and Selahattin Sevi.

Akoğul recalled how he came up with “People Attract People,” the title of the exhibition. “The title comes from a friend of mine who told me a story about 35 years ago. One night, in a deserted square, an elderly men stepped on my friend’s foot and told him: ‘Well, people attract people’ before disappearing into the night. I used this mysterious story for the title of this exhibition, and my starting point was the Turkish verb ‘çekmek.’ When a photographer takes a picture, she makes a choice. While making this choice her camera is directed to one object or subject among numerous others in a mysterious way. The law of attraction in the universe applies to people as well. The choices made by the photographer point to the existence of a special space of attraction in between people.”

“People radiate energy and photographers capture this energy,” Akoğul is quoted as saying in the catalogue. “Beyond simply taking pictures, photography requires seeing the energy radiated by people and reflecting that energy. While the exhibition sheds light on different periods, it also presents, in a harmonious and integrated manner, snapshots taken through the eyes of artists, journalists, and academics.”

İstanbul, which is renowned for its rich history and culture got its own internet domain names .istanbul and .ist following the signing of a protocol between the Municipality of Istanbul and the Internet Corporation for Assigned Names and Numbers (ICANN).

Starting Wednesday, domain names designated for Istanbul will be available, ICANN’s vice president David Olive said, and added that ‘everybody will know Istanbul soon.’

Istanbul mayor Kadir Topbaş also praised the initiative and said that it is an innovative project which will make Istanbul a national brand.

Topbaş noted that the domain names will be available for public institutions after March, followed by organizations and foundations. He added that individual applications will be accepted after May 10.

Istanbul mayor’s personal website has been changed as as a surprise and he said that everyone else who would like to get their own website with .istanbul can do so from now on.

A total of 160 boats were sold or ordered for a total of 50 million euros during the 35th International Istanbul Boat Show on Oct. 6-11.

Small sailboats and motor yachts, sold for between 64,000 and 150,000 euros, were the most popular products at the fair, which was held at the Pendik Marintürk Istanbul City Port.

Numerous yachts, motor yachts and ultra-luxurious boats, worth around 250 million euros, were exhibited at the 2015 edition of the International Istanbul Boat Show, which was visited by over 15,000 people.

Around $450 million worth of yachts are sold in Turkey annually. The total volume of the sector is estimated at around $5.5 billion in Turkey, which ranks third world-wide in mega-yacht production, according to sector representatives. There are 62 yacht marinas in the country with a docking capacity of 17,500 units, much lower than another Mediterranean country, Italy, which has the capacity of 178,000 docking spaces.

Around 1 million yachts cruise in the Mediterranean Sea annually.
The global yacht charter market has made a steady recovery since the financial crisis, and a new report by Future Market Insights (FMI) estimates it to amplify at a compound annual growth rate of 6.5 percent through 2020. According to the report, titled “Yacht Charter Market: Global Industry Analysis and Opportunity Assessment 2015-2020,” Eastern Europe (including Russia and Turkey), the rest of Europe (north, south and west) and North America are the most lucrative regions for the yacht market. FMI’s analysis found these three regions collectively accounted for nearly 75 percent of the market share in 2014.

The yacht charter market in Eastern Europe is projected to witness 7.2 percent growth through 2020, according to the report. FMI estimated the Eastern Europe yacht charter market to be worth $13.6 billion by 2020. Turkey is the most popular charter destination in Eastern Europe, according to the report.

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