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Cultural events and their location patterns in the
‘Beyoğlu’ urban area
Güzin Yeliz Kahya
Middle East Technical University; Erciyes University
yelizkahya@gmail.com
Abstract
The paper addresses the duality of the spatial and transpatial relationships among people related to
particular cultural events in the ‘Beyoğlu’ urban area of Istanbul. With focus on the transpatially
structured ‘public’ that such cultural events have the potential to engage, the paper addresses the spatial
structure of these events through an analysis of their particular locations in Beyoğlu. The study analyses
the syntactic distribution of 141 cultural events, held between January 2011 and January 2013, and their
pattern of proximity along the open space network of Beyoğlu. Throughout this exploration, the paper
extracts practical case-specific knowledge on the spatial structuration of the different kinds of cultural
events in the Beyoğlu urban area, generating speculative arguments on the spatial and transpatial
dimensions of cultural event-mediated encounters and co-existences.
Keywords:
Spatiality, transpatiallity, cultural event, open space network, locations.
1. Introduction
In response to the multi-facetted set of geographically dispersed social networks, individuals nowadays
tend to engage in extended social relations outside their home territories by developing cross-spatial
social relations. (Kadushin, 2012, Wellman, 1979, Wellman et all, 2003) The social ties that exist between
people have gained a global dimension; and what is shared among them today goes beyond established
territorial boundaries, extending across vast distances that encompass the globe. Driven by this
momentum, the consolidation of cultural tastes, preferences, interests and even sensibilities into
distinguishable patterns of collectively experienced spatial practices tends to take place at a global level
in the contemporary age. Transculturally shared and shaped cultural values have become drivers in the
generation of new patterns of relationships among people, regardless of their spatial identities. With
emphasis on the extensity, intensity and velocity of cultural flows, cultural events in the contemporary
age can, in the scope of this paper, be seen as spatial practices with the potential to extend the
dimensions of the urban experience to a global scale through the introduction of multiple forms of global
interconnectedness and the worldwide mobility of people, works of art and artists. At the same time,
places are established that facilitate such forms of encounters and coexistences among globally
assembled groups of people who have the potential to share similar cultural tastes and interests.
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Over a period of 15 years, a significant number of cultural events aimed at those with transculturally
shared and shaped cultural interests have been organized in Istanbul’s urban milieu, most notably in the
‘Beyoğlu’ urban area, which has come to be known historically as the main cultural hub of the city. The
main stakeholders in cultural activities have come to prefer to use the urban fabric of Beyoğlu for the
staging of their events or for the establishment of their cultural venues. Investors have appropriated
many buildings in the district for art and cultural events, and over time, some arteries have emerged as
the main focus of cultural events. By examining 141 events that were staged between January 2011 and
January 2013 in Beyoğlu, this paper addresses the duality of spatial and transpatial relations when
encounters and coexistences are mediated by these events in particular locations.
The paper approaches these events primarily on the basis of the ‘public’ that they intend to engage. As
substructures of the spaces set aside for transcultural exchange, online publications, blogs and websites
carrying news of both the contemporary urban culture of Istanbul and the thriving global art scene are
used to promote events to the potentially interested public. The paper uses these means of mass
communication in order to identify the events with the potential to extend urban experience at global
scale. By extension, it is emphasized that event-mediated encounters and coexistences result in a
pattern of ‘transpatial’ integration among the population who are engaged in these events.
Exploring the notion of ‘transpatiallity’ issued in the book entitled ‘The Social Logic of Space’ by Hiller
and Hanson (1984), the focus of the research shifts towards the spatial counterpart of this transpatial
integration. In short, the paper addresses several questions through an analysis of the spatial
structuration of these 141 cultural events in Beyoğlu. The fundamental question is whether these events
take advantage of the potentials of accessibility of the Beyoğlu’s open space network through their
locations and, by inference, of its exposure to the high densities of the background movement.
To this end, the syntactic distribution of the 141 events and their pattern of proximity along the
Beyoğlu’s open space network are explored. This pursuit calls for a set of spatial analysis techniques,
including an axial line analysis introduced by the Space Syntax Community and an analysis based on line
segments through the application of ArcGIS based tools. These techniques derive the relevant measures
to evaluate to what extent the structural qualifications of the open urban space network make these
events more accessible to regular dwellers, which are not necessarily the potential participants of the
events in Beyoğlu.
After generating an argument on the transpatial and spatial dimensions of Beyoğlu’s cultural events, the
paper continues by determining the 141 cultural events that were staged between January 2011 and
January 2013 by tracking 31 digital media resources and several blogs, and then distinguishing the events
on basis of in which online publications they appeared. This introduction at the same time aids to
characterize differences in the motivational role of the events in mediating encounters and coexistences
at specific locations in Beyoğlu. After the locations of these events subjected to the spatial analyses are
mapped out, the derived outcomes from each spatial analysis are presented and discussed in terms of
their implications on the accessibility of the events. Thus, these implications enable conclusively the
generating of such speculative arguments on actual event-mediated encounters and coexistences in
Beyoğlu.
2. Spatial and Transpatial Dimensions of Cultural Events-mediated Urban Experience in Beyoğlu
Flows of commodities, people, works of art and capital, in crossing the territories, characterize the
contemporary global contexts, just as the situated art and cultural events in the Beyoğlu urban area of
Istanbul characterize the local level. When assessing the cultural events-mediated urban experience in
Beyoğlu, one can talk about the ‘spatial’ and ’transpatial’ dimensions of the relationships that exist
among people. While transpatiallity highlights the conceived dimension of integration among the
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population that engage in cultural events, spatiality refers to the relationships that emerged alongside
the materialization of these events by which they are necessarily located.
According to Hiller and Hanson (1984, p.222), transpatial integration can result in patterns of space that
are based on an integration of people with similarities in their beliefs and group structures; in other
words, it creates an ideological superstructure in which people’s relationships are maintained through a
ritualization of life, and they are not at all interchangeable. Any social system that is structured in this
way requires the categorization of the individuals that exists within in it. Hiller and Hanson distinguish
between transpatial and spatial relations, referring to both mechanical and organic solidarity, in line with
the general view of sociology put forward by Durkheim. (ibid. p. 18) This dual conception of solidarity
implies two forms of relationship: at one end, the relationship is structured through space, functioning as
a relator of differences; while the other relationship is conceptually maintained, regardless of what space
relates, meaning that space is an entity that is related by the conceptual frames. While the former is
based on the interdependence of differences, such as those resulting from the division of labour, the
latter is based on the integration of similarities of belief and the group structure.
There may be two spatial formations in effect on basis of this distinction: an organically agglomerated
space that is dense and integrated, and generates relationships based on spatial proximity; and a
mechanically agglomerated space that is segregated and dispersed due to the conceptually constructed
integration. The former corresponds to a spatial integration in which relationships are constructed
through spatial entities; meaning that spatial proximity is important element in the generation of
relationships; while the latter corresponds to a transpatial integration, through which objects are
summed into composite entities with no regard for either the indicators of spatial connections or the
references to the objects’ locations. Hiller and Hanson (1984, p.12-40) define the latter as discrete spatial
systems that are composed the elements and relations whose reference points are not simply within the
system, but outside it, in other comparable systems. (Hiller and Hanson, 1984, p.12-40)
By the same token, the recently cultivated cultural scene in Beyoğlu seems to operate according to an
expanding range of mechanical solidarities. The more the empowered agents of the Istanbul’s cultural
sector pave the ways for the global cultural flow and interconnectedness of culture, the more
opportunities there is to bring together individuals who do not necessarily inhabit the same urban
geography, maintaining their coexistences and encounters at particular locations. These people can thus
partake simultaneously in different kinds of extended social and cultural networks on the basis of their
tastes, interests and preferences. The potential urban experience that opens to them will thus no longer
be limited to the boundaries of one particular neighborhood, district or the city; becoming rather
strongly asymmetric and widely distributed.
That said, individuals are both spatially and transpatially defined (Hiller and Hanson, 1984), meaning that
the cultural events-mediated urban experience in Beyoğlu can be completely understood through the
duality of spatial and transpatial relations. While the events introduce a transpatial superstructure,
applying control over encounters and coexistences, the spatial dimension may perform in another way.
Looking at the spatial counterpart of this transpatial integration, it can be said that these events
constitute clusters by being situated at very proximate locations in Beyoğlu, and if this is the case, their
location pattern should guarantee a diversity of spatial interactions. Taking this perspective, the rest of
the paper analyses a set of events that were held between January 2011 and January 2013 on the basis
of their potential public access; while also addressing several questions on the morphological
relationships that exist among them in relation to the urban fabric of Beyoğlu.
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3. Different Kinds of Cultural Events and their Publicity
The exposure of cultural events, representing transculturally shaped and shared interests, is increased
among the general public through use of appropriate online media sources. In the course of this
research, 141 events were identified through the regular tracking of the 31 webpages and online
publications, ranging from Istanbul event guides (Time-Out, Lecool, Gongo Live, Zero, The Guide Istanbul)
to international travel guides (Guardian Travel, NY Times, Frommer’s Travel Guide), from mainstream
contemporary art publications (Frieze, Artdaily, Art forum, Art&Auction, Visualartbeat, Art Radar Asia,
Artclue, Artaganeda, e-flux) to local websites (grizine, bantmag, futuristika, XoXo, bananamag) and art
blogs (yeryuz. blogspot, boyalikus, fotografium, amalgi, atilkunst).
In general, these events should be tackled by a new inquiry that considers the change in an
understanding of art and culture and their contemporary means of engagements with the public.
Despite their similarity to the leisure time activities, works of art have a central place in these events,
and they differ slightly from one to another in terms of the intentions of the organizers or directors and
their contexts. Their impact on the city’s economic and social prosperity may also differ, although they
collaborate to revitalize the urban experience in accordance with the flow of global circumstances, and
create fashionable and ‘cool’ places that can compete in the global scene. Istanbul has been counted
among the ‘coolest’ cities in the world on list in travel guides, charting ‘must see’ places to visit; and
these events have appeared in both the global and local media describing the contemporary urban
culture in Istanbul.
This paper categorizes these 141 events under two headings on the basis of their capacity of exposure to
the global public, distinguishing between events promoted in internationally recognized online presses,
including newspaper travel guides, contemporary art publications, and blogs and websites focused on
contemporary art, and events promoted in internationally recognized contemporary art publications,
web blogs and websites. The former category relates to events with wider global exposure, which by
implication would appeal more to global community than the other events, aimed at attracting the
global, internationally mobile population, including tourists, visitors, art lovers, professional art and
culture communities and so on. The second category is the sub-cluster of the former, containing events
that receive global artistic recognition. These events would be more likely to appeal to global art lovers,
especially the internationally mobile and those with an enthusiastic interest in culture and art.
Based on this categorization, 55 out of 141 events are published in the internationally recognized online
presses, as illustrated in Figure 1. This category includes both the mainstream and self-organized events
within wider global exposure, such as those organized by mainstream cultural groups or prestigious
galleries, and those organized by artist-run spaces or artists’ initiatives. It seems that global exposure
does not necessarily equate to being operated by mainstream agents. On some occasions, self-organized
and small-scaled events may have a wider potential global reach than some mainstream events.
Of these 55 events, 49 were publicized in the internationally recognized online presses, but with specific
focus on contemporary art. (See in Figure 1) These long running events that are organized by the leading
cultural institutions of Istanbul have a wider global reach, but seem to not to appeal primarily to the
global professional art communities. It is interesting to note that some so-called ‘fringe’ events,
appealing to very specific groups or interest-based communities, are more visible in the online media
with specific focus on contemporary art, and this provides them with wider global exposure than most
of the institutionally organized events on the list.
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Figure 1. Categories of the Cultural Events
Among the 141 events, the Istanbul Biennale is the best example of a contemporary art event, breaking
the traditional barriers that exist between differently categorized art practices. As in all biennales
around the world, the event brings the public together on the basis of the issues that are on the top of
agenda, and in this way, people become involved in the most engaged debates and have opportunity to
see thought-provoking artworks of our time. Practically, they seem to address primarily contemporary
art lovers, professionals and artists from all around the world, and so are the most visible events in the
global media, including travel guides, event calendars and prestigious art publications and even local
web blogs.
Pera Fest, another event on the list, is an annual event highlighting the multicultural authenticity of old
Pera’s (today’s ‘Beyoğlu’) that has been inherited from past, and promotes culture to revitalize its
economy. During the festival, a range of art and culture venues and even bookstores and cafes are
appropriated for special concerts, workshops, talks, shows, displays and exhibitions. Each activity being
staged or exhibited may appeal to different segments of public, and due to its relatively insignificant
artistic value at a global level, the event is not covered in either mainstream contemporary art
publications or in newspaper travel guides, being promoted only though city guides and local art-blogs.
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The Bicycle Film Fest, on the other hand, is a small-scaled, self-organized event that brings together
people who identify themselves with film, art and cycling. The event is held in different cities in each
year, and Istanbul was selected to host the event in 2011. The festival addresses very specific interestbased communities, and although it is a transnationally oriented event, it was not promoted neither in
art publications nor in travel guides, but only through weblogs, other web pages and local Istanbul event
guides.
Similarly, the VJ Fest is another self-organized, small-size event that aims to attract public attention to
the urban blight in the Tarlabaşı neighborhood through music and video art. The event brings together
several video artists from overseas to share their knowledge through demonstrations of their works of
art. The event appeals to specific tastes and preferences, primarily artists and people who are interested
in new media art, and who wish to reinforce their networks in Istanbul and the world. This event is not
publicized in the global mainstream media, however some specific webpages dealing new media art
cover the event.
4. Syntactic Distribution of Cultural Events
A total of 201 locations hosted these 141 events, ranging from museums to jazz clubs, and from theaters
to open spaces. While some of the venues have culture as their main programmatic function, others,
such as churches, libraries, cafes, schools, abandoned buildings, parks and squares are temporary
venues for the hosting of art events. The Beyoğlu urban area covers 53.8 hectares around Istiklal
Avenue, as shown in Figure 2.
When distinguishing the locations of the events within wider global reach and those receiving global
artistic recognition, no remarkable difference can be seen in their patterns. However, in leaving some
events on the list out of these two categories of events results in gaps in the continuity of the location
pattern in these new figures.
In these new figures the underlying order in which one location falls occasionally within the boundaries
of the walkability radius of another location has changed. It can be said that the pattern of locations
with the potential to engage overseas visitors is more dispersed than the overall location pattern of the
events.
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Figure 2. Locations of Cultural Events
In order to understand the syntactic distribution of these events, an axial line analysis is applied to the
wider urban area bounded by Istanbul E5 freeway and Barbaros Avenue, covering an area of around
1800 hectares. This area contains 5,831 axial lines, which is derived though an edited portion of the axial
map of the Istanbul metropolitan area created by Kubat et all. (2007), and which has been kindly made
available by the authors. For the purposes of the initial analysis, the axial lines of the urban area are
visualized in terms of their syntactic values, respectively the global, local integration values, and their
connectivity. (See in Figures 3, Figure 4 and Figure 5)
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Figure 3. Visualization of Axial Line Analysis of Beyoğlu According to their level of Global Integration
Figure 4. Visualization of Axial Line Analysis of Beyoğlu According to their level of Local Integration
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Figure 5. Visualization of Axial Line Analysis of Beyoğlu According to their level of Connectivity
Figure 6. Correlations Between Global and Local Syntactic Values (Above: All Axial Lines, Below: The Axial Lines
Associated with The Events)
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As shown in Figure 6, correlations among the syntactic values of all axial lines reveal differences
between local and global characteristics in the configuration of the open urban space network. Within
the boundaries of Beyoğlu, when local integration is around its mean value, global integration ranges
between its lowest and highest values, while the globally less-integrated spaces have remarkably higher
local integration values. Similarly, the correlation between connectivity and the global integration values
of axial lines is low. Although the relationship between connectivity and global integration is not linear,
one particular value of connectivity is enough to produce a high correlation coefficient. The unlikely
characterization of local and global attributes of the open space network indicates a lower intelligibility
of the entire system, which results in lower impact of the urban spaces on people to make judgments on
which way one spatial entity relates to the entire system. (Yun and Funito, 2013, pp.23-38)
Next, each of the 141 events is assigned to the axial lines associated with their locations. An analysis of
the events and the associated syntactic values draws a distinction between the axial lines within events
and the lines without events in the network in terms of global and local integration and connectivity
values. The events are, as can be expected, associated with more integrated axial lines, both globally
(radius n) and locally (radius 3), and also with more connected lines (n= 6134, F=27.9066, p<0.0001; n=
6134, F=449.2434, p<0.0001; n= 6134, F=896.2471, p<0.0001 respectively).
The following stage of the analysis draws a distinction among the differently categorized events
according to their mean syntactic values. The syntactic distributions of the events within wider global
reach and of those receiving global artistic recognition are separately analyzed. As shown in Figure 7, the
events with wider global reach and those receiving more global artistic recognition are associated with
the locations of weaker global integration (n= 457, F=4.4809, p=0.0348 / n=457, F=6.4025, p=0.0117),
but not with a significantly weaker local integration (n=457, F=0.3363, p=0.5623 / n= 457, F=0.1341,
p=0.7144) or connectivity (n= 457, F=0.1174, p=0.7320 / n=457, F=0.0163, p=0.8983).
Figure 7. Syntactic Distribution of Locations of Different Kinds of Events
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Figure 8. Correlation of Events within Wider Global Reach by Means of Global Integration (on left) / Correlation of
Events Receiving Global Artistic Recognition by Means of Global Integration (on right)
Based on the above analyses, regarding the overall density of the events in Beyoğlu, the evidence
suggests that the locations of all events take advantage of the integration and connectivity potentialities
of the network, and, by inference, of the exposure to high densities of background movement in
Beyoğlu. In contrast, the events within wider global reach and those receiving global artistic recognition
do not. By implication, it can be assumed that these events are not necessarily organized to effectively
engage the inhabitants of the area in which they are held.
5. Proximity Pattern of Cultural Events
An analysis is made based on the line segments matrix to uncover the proximity pattern of cultural
events afforded by the structure of the open space network of Beyoğlu. To this end, the events within a
250-meter boundary (Supposing a walking speed of 1 meter per second, as specified in the American
Planning Association Planning and Urban Design Standards, according to which 250 meters is equal to
four minutes) for any location in the network is calculated and visualized through the application of a set
of calculations using ArcGIS tools. Integrating these calculations with a statistical analysis, the spatial
choice value afforded by the structure of the Beyoğlu’s open space network is derived, which
alternatively provides percentile information on to what extend the network makes the events
accessible to anyone in the network.
As shown in Figure 9, the total network distance within four minutes walking distance from the locations
of events is 94 km of the 139 km long the total segment length of the network, corresponding to more
than half of the total segment length. This means that a person anywhere along 94 of these kilometers,
in other words, 67.6 percent of the total length of the street, is never too far from one or more of these
locations.
Going a step further, the number of events accessible within four minutes walking distance in the
network is calculated by pursuing similar sets of steps. For 806 of 2,780 segments no event falls within
the boundaries of a 250-meter network distance, while the rest of the segments are all associated to at
least one event. Of these, 477 segments are associated with one event location, while 258 are associated
with two. Finally, two of the segments are associated with 35 event locations, as the highest figure.
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Figure 9. Visualization of Total Service Area Distance of 250m originated from Event
The evidences demonstrates that a person living or walking in Beyoğlu often has several venues or
events t choose from within 4 minutes walking distance, which becomes a measure of spatial choice. In
45 percent of the road segments (1,239 out of 2,780), a person is within 250 meters, or a four-minute
walk of at least three venues. In 38.09 percent of the roads segments (1,059 out of 2,780), one is within
250 meters, or four-minute walk of at least four venues. When walking toward Istiklal Avenue, around
Galatasaray Square, the choice rises to 35 venues within a four-minute walk.
Furthermore, a calculation of the number of alternative categories of events within the boundaries of
each segment line (that is, within a 250-meter network distance around each segment line) provides a
measure of to what extent the urban network maintain access to differently categorized events. For this
measurement, 1,974 segments out of the 2,780 associating with at least one event location are
distinguished. In almost 50 percent of the road segments (1363 and 1372 out of 2780 segments), one is
within a 250-meter walk of at least two differently categorized events in terms of their potential public
access (respectively, events with wider global reach and those receiving global artistic recognition). This
evidence confirms that the measure of spatial choice for alternative events is high in most parts of
Beyoğlu.
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Figure 10. Distribution of The Segments with Access to Alternative Choices of Events
The data provided by the above-mentioned analysis shows that the structural layout of Beyoğlu’s open
space network makes these events accessible to the inhabitants who may not necessarily the largest
audience for these events. Alternatively, this implies that the network provides residents with the
opportunity to visit events without prior information. Indeed the proximity pattern of the events
supports easy access to a number of cultural events, and on several occasions, provides them easy
access to several different categories of events. In nearly 70 percent of the network, events with both
wider global reach and the signature events of global art and cultural scenes are easily accessible within
250 meters as those not promoted in the global media.
6. Conclusion
As the evidences show, the Beyoğlu urban area of Istanbul is a cultural hub where art and cultural events
gravitate towards globally and locally more integrated and connected streets, and the events are so
distributed as to offer a rich range of proximate and more distant destination choices to those moving
around the city. These evidences imply that the 141 events subjected analyses in this study are located
on the streets with denser natural movement during the day, which ensures a certain degree of
accessibility to the events by local residents. The fine-scaled urban blocks and rampant street pattern of
Beyoğlu, which affords between one to 35 choices of events to inhabitants within a 4-minute walk,
strengthen their accessibility significantly.
The evidence derived when bringing the art and cultural events locations into a dialogue with their
potential exposure to the global public shows that the events with greater global reach are associated
with syntactically more segregated, and naturally less accessible spaces, or with the locations of special
value in Beyoğlu. This finding implies that the locations of the events with greater global exposure tend
to result in stronger and more isolated spatial boundaries, as long as the transpatial ties between people
who engage these events. This tendency would thereby limit the accessibility of such events to the local
residents, to some extent. Of course the topological segregation of events within greater global exposure
from other events reinforces their particular group identity. Their metric proximity, however, regardless
of event category, implies that these specified events cannot operate in isolation, but only in interaction
with the other events and their external urban environment. Even though they are located in relatively
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segregated streets, they do not fall outside a four-minute walking distance of other events, in most
cases.
The duality of spatial and transpatial relations appears in all social formations, just as social solidarity is
defined by the cultural events-mediated urban experience in Beyoğlu. While the cultural events analyzed
here mediate encounters and coexistences at particular locations in Beyoğlu in a transpatial manner, the
physicality of Beyoğlu, most notably, the topological features of the urban network, with the selforganized uses of locations for the purposes of cultural events, exemplifies the form of organic solidarity
along the space. That us too say, the spatial relations that are embedded in the use of space strengthen
the benchmark richness of the cultural context of Beyoğlu by strengthening the accessibility to such
events by local residents.
Acknowledgments
I would like to acknowledge the guidance and advice provided by Professor John Peponis during my stay
at the School of Architecture, Georgia Institute of Technology, in the period when most of the spatial
analyses issued in the paper were developed.
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