After the Rain - Urban Transformations and Public Sculpture in Istanbul

Aug 26, 2026

After the Rain examines Istanbul’s post-1980 transformation through urban redevelopment, globalization-driven architecture, and the contrasting growth of Gecekondu shantytowns. It links Berlin and Istanbul via their ability to reconfigure themselves after major political ruptures, then reads Auke de Vries’ installations and photomontages as spatial narratives balancing instability, temporality, and standardization. The Yaya exhibition placement on Galata Bridge frames sculpture as a public-space improvisation shaping future identity.

LanguageEnglish

CategoryLiterature

FormatPDF

Pages2

Reading Time3 min

AccessFree to download

After the Rain

Istanbul’s Post-1980 Urban Renewal

Gecekondu and the Effects of Globalization

Auke de Vries’ Spatial “Fairytales”

The Yaya Exhibition and the Galata Bridge Installation

Reimagining Public Sculpture

After the Rain Certainly, Berlin and Istanbul relate to each other as Berlin houses one of the largest Turkish community living in Europe. However, the relation spoken of here belongs to the very intrinsic natures of the two cities: their capacity to transform themselves. After the demolition of the Berlin Wall, the city has been repositioning itself for a new beginning and has become the largest construction site of Europe, like Istanbul. Istanbul, a giant organism that feeds on motion and speed, transforms itself constantly, especially, after 1980’s. This period marks the date of the oppressive coup d’etat and the adaptation of a liberal economic model which was the first step towards integration into the economic globalization. With the process of globalization, Istanbul has been going through a series of drastic cultural, social, economic and urban transformations. 1980’s witnessed radical urban renewal projects such as the construction of the second bridge over the Bosphorus, new high ways and boulevards, an underground metro, a second international airport as well as new docks and ports on the Asian coast. Shifting, relocating and restructuring the already existing business, finance, media centers and urban spaces related to transportation has changed the existing balances and given way to the emergence of new locations for concentration of diverse purposes. In addition to all these structural renewals, the best locations of the city were reserved for the five-star hotel chains in the expectation of accommodating “world elites” and the entrepreneurs of global capital. Gigantic shopping malls, fashion designer boutiques, clubs for the world music, speciality restaurants, etc, followed to fulfill the emerging demands created by the new lifestyles ofthe citizens of the desired “global city”. The undesirable majority of the ever-increasing population of Istanbul also took part in these hasty preparations by creating new shantytowns as alternative habitats and lifestyles. Mostly illegal, shantytowns like a chorus, have been emerging and extending their circumferences in the hearths of the most elite districts, at the back of highways, in the midst of skyscrapers or on the hills of the Bosphorus. Referring to the practicality and speed of their construction, the shantytowns in Turkish called Gecekondu (founded-by-night or landed-by-night) . In addition to what the name implies, with the diversity and variety of materials and methods with which these Gecekondus were built, and with the resulting unrecognizable architectural notes of which they consist, they recall spaceships that have landed at night, just like the sculptures ofAuke de Vries. The high-rise towers are considered as the sign of high civilization and global cities. The shantytowns, on the other hand, reflect the side effects of globalization. Architecturally speaking, while the high-rise buildings are stamped by the standardization of globalization, shantytowns are stamped by uniqueness of form and construction. Auke de Vries deals with these urban as well as social issues in his work. He creates spatial “fairytales” related to the architectural settings and urban complexities as well as temporality, process and instability. His architectural sculptures refer to architecture and non-architecture simultaneously. While it refers to the trivial, instable, off-balanced, incomplete structures of shantytowns, it also points out to the perfection and rigidity of the contemporary architecture by contrast. In his “Gelandet”(2002) on the top of the DaimlerChrysler building by Renzo Piano at Postdamer Platz, Auke de Vries brings together these contrasting forces to unfold the content and context of both. The sculpture was placed on the building in such a subtle in-balance that the verticality of the erected building is balanced by the over-turned pose of the sculpture and creates a narrative. In his photomontage that he placed one of his sculpture on top of a high-ri

FAQs

What major idea connects Berlin and Istanbul in After the Rain?

Both cities are linked by their intrinsic capacity to transform themselves, especially after pivotal political moments and redevelopment pressures.

How does the text describe Istanbul’s 1980s transformations?

It highlights oppressive coup-era timing and rapid adoption of liberal economic models, followed by large-scale infrastructure projects and shifts in transportation-related business and media centers.

What role does Auke de Vries’ work play in interpreting globalization’s urban effects?

His sculptures and photomontages juxtapose standardized high-rise architecture with the unique, unstable forms of Gecekondu, reflecting different social strata and alternative lifestyles.

Aug 26, 2026

Upload by River Wang