SSS10 Proceedings of the 10th International Space Syntax Symposium 020 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. G Y Kayha Cultural events and their location patterns in the ‘Beyoğlu’ urban area 20:1 SSS10 Proceedings of the 10th International Space Syntax Symposium 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 G Y Kayha Cultural events and their location patterns in the ‘Beyoğlu’ urban area 20:2 SSS10 Proceedings of the 10th International Space Syntax Symposium 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. G Y Kayha Cultural events and their location patterns in the ‘Beyoğlu’ urban area 20:3 SSS10 Proceedings of the 10th International Space Syntax Symposium 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. G Y Kayha Cultural events and their location patterns in the ‘Beyoğlu’ urban area 20:4 SSS10 Proceedings of the 10th International Space Syntax Symposium 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. G Y Kayha Cultural events and their location patterns in the ‘Beyoğlu’ urban area 20:5 SSS10 Proceedings of the 10th International Space Syntax Symposium 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. G Y Kayha Cultural events and their location patterns in the ‘Beyoğlu’ urban area 20:6 SSS10 Proceedings of the 10th International Space Syntax Symposium 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) G Y Kayha Cultural events and their location patterns in the ‘Beyoğlu’ urban area 20:7 SSS10 Proceedings of the 10th International Space Syntax Symposium 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 G Y Kayha Cultural events and their location patterns in the ‘Beyoğlu’ urban area 20:8 SSS10 Proceedings of the 10th International Space Syntax Symposium 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) G Y Kayha Cultural events and their location patterns in the ‘Beyoğlu’ urban area 20:9 SSS10 Proceedings of the 10th International Space Syntax Symposium 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 G Y Kayha Cultural events and their location patterns in the ‘Beyoğlu’ urban area 20:10 SSS10 Proceedings of the 10th International Space Syntax Symposium 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. G Y Kayha Cultural events and their location patterns in the ‘Beyoğlu’ urban area 20:11 SSS10 Proceedings of the 10th International Space Syntax Symposium 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. G Y Kayha Cultural events and their location patterns in the ‘Beyoğlu’ urban area 20:12 SSS10 Proceedings of the 10th International Space Syntax Symposium 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 G Y Kayha Cultural events and their location patterns in the ‘Beyoğlu’ urban area 20:13 SSS10 Proceedings of the 10th International Space Syntax Symposium 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. References American Planning Association, (2006). Planning and Urban Design Standards. Hoboken NJ: John Wiley & Sons, Inc. Hiller, B. and Hanson, J. 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