Longing and (un)belonging: desire and displacement in the cinematic city

This paper explores the spatial conceptualisation of the themes of diaspora, displacement and desire in cinema, particularly in the work of Nuri Bilge Ceylan (Uzak) , Fatih Akin (Gegen Die Wand) and Michael Winterbottom (Code 46). All three directors explore the imagined cinematic city as a site of multiple (un)belongings and interrogate how notions of identity are displaced and disrupted by geopolitics, by the city and by cinema itself. Both Ceylan and Akin’s visions of Istanbul are haunted by Beyoglu, both as the site of Istanbul’s contemporary cultural regeneration and by unspoken histories repressed by the Republic’s offical rhetoric of Turkish identity. In contrast Akin and Winterbottom’s heterotopias of the hotel and the hospital provide possible metaphors for these dislocated global identities. This paper will engage with a series of questions. What is the (imagined) place created between the viewer and the screen, or is it a non-place? Do the identities/ memories created there produce a ‘third space’? This paper uses Winnicot, Soja and Bhabha to ask what that third space might be and its consequences for a contemporary global Turkish identity. If these films depict a (Freudian) screen memory of dislocated subjectivities then what is being suppressed and sutured?

Elif Şafak in conversation with Alev Adil: What do women novelists really want?

Two prolific novelists talked about their work, the work they admire and the role of women in the European literary scene.

Condition assessment of a 63-year old reinforced concrete structure exposed to the North Sea

This paper describes the condition of a reinforced concrete balustrade consisting of some 1000 individual beam elements all exposed similarly to the hostile marine environment of the North Sea at Arbroath, Scotland since 1943. A comparison is made of the condition of the original construction with the condition of repairs carried out in 1968 and in 1993. It is shown that the 1943 construction shows very little corrosion-induced cracking and little rust staining even though it does not appear to be of high construction quality. Only a very low percentage of the balustrade beams have been replaced. In contrast the beam installed in 1968 and later in 1993 show very considerable and large concrete cracks directly attributable to the corrosion of the longitudinal reinforcement, even though the concrete is of a higher quality and density. A detailed condition survey and statistics of crack sizes are presented in the paper. It is found that the higher corrosion resistance of the 1943 concrete is generally consistent with the concrete electrical resistivity measurements but the degree of corrosion of the reinforcing bars is inconsistent with chloride penetration measurements. The results are compared with the very few observations available in the literature for ageing concrete structures in marine environments. The results cast doubt on the conventional wisdom that chloride content at the reinforcement correlates well with reinforcement corrosion.

Grid effects

Zaha Hadid's Kartal Pendik Masterplan (2006) for a new city centre on the east bank of Istanbul proposes the redevelopment of an abandoned industrial site located in a crucial infrastructural node between Europe and Asia as a connecting system between the neighbouring areas of Kartal in the west and Pendik in the east. The project is organised on what its architects call a soft grid, a flexible and adaptable grid that allows it to articulate connections and differences of form, density and use within the same spatial structure [1]. Its final overall design constitutes only one of the many possible configurations that the project may take in response to the demands of the different areas included in the masterplan, and is produced from a script that is able to generate both built volumes and open spaces, skyscrapers as well as parks. The soft grid in fact produces a ‘becoming’ rather than a finite and definitive form: its surface space does not look like a grid, but is derived from a grid operation which is best explained by the project presentation in video animation. The grid here is a process of ‘gridding’, enacted according to ancient choreographed linear movements of measuring, defining, adjusting, reconnecting spaces through an articulated surface rather than superimposed on an ignored given like an indifferent colonising carpet.