伊斯坦布尔的历史建筑修复在现代时期一直是一个充满矛盾的问题。伊斯坦布尔是一个有着6000年历史的城市，可以追溯到新石器时代，有着一层又一层的考古遗迹。现代建筑和城市规划往往不得不与这些层级相抗衡，对城市过去的历史和考古痕迹造成了极大的破坏。伊斯坦布尔的地质、结构和文化历史在大多数情况下被粗略地重新利用，在现代时期往往被完全破坏。现代城市的需求，特别是汽车的道路和新的密集的城市商业中心，意味着拜占庭和奥斯曼时代的著名建筑在很大程度上被从城市景观中抹去。具有建筑价值的建筑，如托普卡比宫附近的奥斯曼帝国的İncili Köşk或法提赫的Direklerarası拜占庭时代的拱廊，在20世纪由于城市道路的发展而被铲除。
The restoration of historical architecture in Istanbul has been a fraught issue in the modern period. Istanbul is a city with a 6000-year-old history dating to the Neolithic period with layers upon layers of archaeological remains. Modern architecture and urban planning have often had to contend with these layers causing great disruptions to exist historical and archaeological traces of the city’s past. The embedded geological, structural, and cultural past of Istanbul has in most cases been roughly repurposed and often completely destroyed in the modern period. The needs of the modern city, especially roads for automobiles and new dense urban commercial centers meant that prominent buildings from the Byzantine and Ottoman eras were largely erased from the cityscape. Buildings with architectural value such as the Ottoman İncili Köşk near the Topkapi Palace or the Direklerarası Byzantine era arcade in Fatih were razed in the 20th century due to the growth of the city’s roads.
最近在过去的三十年里，我们在伊斯坦布尔的城市建设中看到了类似的动态。对城市的历史和城市特征具有重要意义的历史建筑被消除，消除了这些过去的建筑痕迹。但有趣的是，许多这些建筑的重新利用是以一种方式进行的，这些建筑只是以一种非常肤浅的方式被保留下来。诸如贝尤鲁（Beyoglu）的Narmanli Han或卡拉科伊（Karakoy）的客运站等建筑，通过对其结构和内部的重大改变而被改造。这些伊斯坦布尔城市化的地标性建筑被缩减为简化的图标表现，只保留了其建筑和外部元素的一小部分。历史的过去，它的表面、内部、颜色和建筑的形式都被抹去了，永久地去除这些赋予伊斯坦布尔城市特征的物质历史层。
Recently over the past thirty years, we have seen similar dynamics in Istanbul’s urbanism. Historical buildings with great importance to the city’s history and urban character have been eliminated removing these architectural traces of the past. But interestingly the repurposing of many of these buildings has been done in a way these buildings have been preserved by name only in a very superficial manner. Buildings such as the Narmanli Han in Beyoglu or the Karakoy Passenger Terminal in Karakoy were transformed through major changes to their structure and interiors. These landmarks of Istanbul’s urbanism were reduced to simplified iconographic representations retaining scant pieces of their architecture and exterior elements. The historical past, its surfaces, interiors, colors, and forms in architecture were erased, permanently removing these layers of material history that gives Istanbul its urban character.
作为城市集合体的文化遗产被简化为图像，失去了城市背景的三维空间、结构和材料属性。正是在这种重新利用伊斯坦布尔过去的结构、空间和物质现实的框架下，我们回顾了全球建筑发展公司在该市历史悠久的博斯普鲁斯海峡地区的Kurucesme区的新Divan Kurucesme活动和会议中心。博斯普鲁斯海峡是这个城市最突出的特征之一。博斯普鲁斯海峡的海岸、山丘、村庄以及随之而来的主要是住宅建筑，在那里发现了伊斯坦布尔城市生活的活力和生活中心。GAD的策略是保留材料、结构、景观和关键的内部元素，将博斯普鲁斯海峡过去的生活保留到现代建筑中，在概念上重新将Divan Kurucesme作为地理环境的一个戏剧性的新补充。
Cultural heritage as urban assemblage was reduced to images losing 3 dimensional spatial, structural and material properties of the urban context. It is in this framework of repurposing the structural, spatial, and material reality of Istanbul’s past in the present that we review the new Divan Kurucesme event and conference center in the Kurucesme district on the historical Bosphorus zone of the city by Global Architectural Development. The Bosphorus Strait is one of the most prominent features of the city. The Bosphorus shores, hills, villages, and the concomitant largely residential architecture found there a vibrant and living center of Istanbul’s urban life. GAD’s strategy of retaining the materials, structures, views, and critically, interior elements have preserved the past life of the Bosphorus into a contemporary architecture that conceptually repurposes the Divan Kurucesme as a dramatic new addition to the geography.
博斯普鲁斯海峡的文化遗产。建筑、历史和地形 – 伊斯坦布尔的博斯普鲁斯海峡是该市最突出的地形特征，也是伊斯坦布尔身份的重要组成部分。博斯普鲁斯海峡的亚洲和欧洲两岸的海岸线及其历史城市结构是一个文化遗产区，有严格的建筑法规，旨在限制该地区的建筑规模和范围。GAD在博斯普鲁斯海峡欧洲一侧的Kurucesme区为Divan酒店集团（土耳其最大的酒店品牌之一）设计的Divan Kurucesme项目，必须考虑到博斯普鲁斯海峡的历史重要性及其严格的建筑法规，同时也要为活动提供一个符合时代品味的现代环境。
The Cultural Heritage of the Bosphorus: Architecture, History, and Topography – The Bosphorus Strait of Istanbul is the city’s most prominent topographic feature and an important part of Istanbul’s identity. The shoreline of the Bosphorus on both the Asian and European sides of the city with its historical urban fabric is a cultural heritage zone that has strict building regulations designed to the limit size and scope of building in the area. GAD’s Divan Kurucesme project in the Kurucesme district on the European side of the Bosphorus for an event space for the Divan Hotel Group, one of Turkey’s largest hotel brands, had to factor in the historical importance of the Bosphorus and its restrictive building codes while also providing a contemporary setting for events in line with the tastes of the era.
21世纪博斯普鲁斯海峡的现代建筑 – GAD为Divan Kurucesme酒店制定的建筑策略巧妙地引入了一种新的海滨建筑语言，并参考了现有的历史结构，包括砖砌挡土墙、露台、拱顶和属于一对不再存在的博斯普鲁斯海峡雅利或豪宅的拱门。新的可见特征的建设被限制在主要活动大厅露台的扩展上，其起伏的钢结构和顶棚创造了一个 “波浪形 “的屋顶，覆盖了主要的多功能活动沙龙，也反映了前面的博斯普鲁斯海峡的波浪。这个主要用于婚礼和公司会议的空间容纳了这个主要的体量，它在很大程度上消失在玻璃外墙后面，成为最低的露台和下面的厨房和停车区的下部结构的一个隐藏区域。半透明的钢和玻璃顶棚与上面的砖墙、拱门和拱顶突出了博斯普鲁斯海峡的历史结构，在伊斯坦布尔的当代建筑中创造了一个激进的突破。
A Contemporary Architecture for the 21st Century Bosphorus – The architecture strategy by GAD for the Divan Kurucesme subtly introduced a new language for the seaside site drawing references to the existing historic fabric of brick retaining walls, terraces, vaults, and arches belonging to a pair of no longer-extant Bosphorus yali or mansions. Construction of new visible features was limited to the extension of the main event hall terrace with an undulating steel structure and canopy creating a “wavy” roof that covers the main multipurpose event salon and also reflects the waves of the Bosphorus directly in front. This space used primarily for weddings and corporate meetings houses this main volume that largely disappears behind the glass facade as a hidden area on top of the lowest terrace and the substructure of kitchen and parking areas below. The semi-transparent steel and glass canopy with the brick walls, arches, and vaults above accentuates the historical fabric of the Bosphorus creating a radical departure in contemporary architecture in Istanbul.
交织着空间、形式和历史，在现在保留着奥斯曼帝国的过去–这种混合着钢筋混凝土结构的钢篷也促进了一种建筑策略，在空间和结构意义上创造了一种动态的现代建筑。这种空间动态意味着建筑的材料和形式的历史延续性并不必然等同于更新历史建筑的修复模式。相反，现有梯田的裸露遗迹和以前的建筑地基被统一起来，创造出耐人寻味的空间关系，并在场地上下和历史遗迹内，重要的是，从博斯普鲁斯海峡本身看，也是如此。在入口处的水磨石地板上，可以看到旧建筑元素的生动痕迹，如游泳池、土耳其浴室和洗衣设施的图案。
Weaving Space, Form and History, Retaining the Ottoman Past in the Present – This steel canopy mixed with reinforced concrete structure also facilitates an architectural strategy that creates a dynamic, modern architecture in a spatial and structural sense. This spatial dynamism means that historical continuity in materials and forms for the architecture did not equate necessarily with a restoration model for updating historical architecture. Instead, the exposed remains of the existing terraces and previous building foundations have been unified to create intriguing spatial relationships and view up and down the site and within the historic remains and importantly from the Bosphorus itself. Vivid traces of the remains of the older buildings elements such as a pool, hammam, and laundry facility are visible as patterns in the terrazzo flooring of the entrance floor.
这些历史遗迹已经出土，并被移到上面的梯田，作为消失的 “Divan Kurucesme Yali “过去建筑的展览。重要的是，他们的存在仍然在GAD的当代建筑设计中，在这些痕迹的图形应用中，以及在与建筑相融合的原地装置中展示建筑的历史。过去的痕迹活在当下，既是主要会议区的痕迹，也可以在历史建筑展览中观看，使Divan Kurucesme成为雅利建筑的博物馆。最引人注目的是，一个土耳其浴室建筑的地基被原地保留下来，挂在一个钢架上，在主宴会厅的玻璃地板下可以看到。GAD已经把保护和视觉上展示这些历史遗迹作为一个重点，如土耳其浴室。
These historical remains have been unearthed and moved to the upper terraces as an exhibition of the past architecture of the disappeared “Divan Kurucesme Yali”. Critically, their presence is still within the contemporary architectural design by GAD in the graphic application of these traces and an exhibition of the building’s history with in situ installations merged with the architecture. The traces of the past live in the present both as traces in the main meeting areas and also are available to be viewed in an exhibition of the historical architecture making the Divan Kurucesme a museum of yali architecture. In a most dramatic fashion, the foundations of a hammam building have been preserved in situ hung on a steel frame, and visible in the main banquet hall under a glass floor. GAD has made it a point to preserve and visually showcase these historical remains such as the hammam.
Divan Kuruçeşme，过程和结构 – GAD的设计过程始于2008年，2012年开始施工，2022年完工，这本身就创造了许多重新评估建筑战略的机会。重要的是，在此期间，GAD在伊斯坦布尔完成了一些其他的建筑，这些建筑都有类似的问题，即重新利用伊斯坦布尔的历史，如2000年的Changa餐厅、2009年的Borusan音乐屋和附近的2002年的Esma Sultan Yalisi，也是邻近的Ortakoy区的一个活动空间。这些建筑应用了类似的策略，即用结构上的增加和加固来适应现有的结构，同时增加一个技术上的新建筑，以促进新的项目和功能的增加。过去的材料元素，如大理石和砖，从某种意义上说，被重新加工成新的表面。
Divan Kuruçeşme, Process and Structure – GAD’s design process started in 2008 with construction starting in 2012 was completed in 2022 which itself created many opportunities to reassess the architectural strategy. Critically in this period GAD had completed a number of other buildings in Istanbul with similar issues of repurposing Istanbul’s past in buildings such as the Changa Restaurant, 2000, Borusan Music House, 2009 and the nearby Esma Sultan Yalisi, 2002, also an event space in the adjacent district of Ortakoy. The architecture of these buildings applied a similar strategy of adapting the existing structure with structural additions and reinforcements while adding a technical new architecture to facilitate new programs and functional additions. Material elements of the past such as marble and brick, spolia in a sense, were reworked into new surfaces.
因此，在构思Divan Kurucesme的建筑时，GAD的首要任务是了解这两座1805年建造的雅礼的后花园和戏剧性的垂直挡土墙和梯田的现有遗迹如何能够决定当代的建筑风格。正是这些不再存在的博斯普鲁斯海峡边的木制雅礼的比例决定了建筑的体量方式。在这个意义上，中央活动空间的大小和规划是由历史上的各方决定的，并以此来设计，因为它是基于现有历史墙壁的比例。这些在施工过程中出土的现存墙壁和地基在内部和外部设计中都得到了强调，使它们成为建筑新规划和新的现代建筑的一部分。
Therefore when conceiving the architecture for the Divan Kurucesme it was first and foremost the GAD’s task to understand how the existing remains of the back gardens and dramatic vertical retaining walls and terraces of these two yali dating from 1805 could determine the contemporary architectural idiom. It was the proportions of these no longer existing Bosphorus side timber yali that determined the volumetric approach of the architecture. In this sense, the size and planning of the central event space was determined by the historical parties and designed as such, as it was based on the proportions of the existing historical walls. These existing walls and foundations unearthed during construction were emphasized in both interior and exterior design making them a part of the new plan of the building and its new contemporary architecture.
这些大量的石头和砖墙是博斯普鲁斯海峡岸边道路入口处的体验的一部分，并引导游客通过过去的层层向上，走向主宴会厅和更高的梯田。在外墙和人行道上，丰富的砖和赭石表面与科尔登钢表面和绿色大理石融为一体，具有材料和颜色的连续性。景观和建筑之间的这种连续性被延续到技术区的屋顶上，这些屋顶被设计成绿色的梯田，以延长从博斯普鲁斯山坡上垂下的绿色织物的连续性，这些绿色织物位于拱顶和拱门的挡墙系统之上。
These numerous stone and brick walls are part of the experience from the Bosphorus shore road entrance and guide the visitor through past layers upwards towards the main banquet hall and beyond to the upper terraces. There is material and color continuity as rich brick and ochre surfaces meld with corten steel surfaces and green marbles on exterior walls and pavements. This continuity between landscape and architecture is continued onto roofs of the technical areas that are designed as green terraces to extend the continuity of the green fabric hanging down from the Bosphorus hillside above the retaining walls systems of vaults and arches.
Divan Kurucesme的建筑在所有意义上都是固有的结构，因为新的功能已经从奥斯曼时代的拱门和拱顶形成了一个新的集群，而现有的地下区域、蓄水池、挡土墙和从海岸立面向上部立面形成的露台花园被保持原样。建筑结构的真实性是这里的一个关键点，因为在历史结构下增加了一个钢筋混凝土系统的支撑层作为墙体。为了在视觉上赋予这种新旧结构的结合以意义，这些地下和隐蔽的角落被保留为纯结构形式的油漆拱顶和桶形拱顶的组合。水磨石地板在这些拱顶的墙壁前停止，使它们以一种纯粹的方式出现，凹陷的灯光冲刷着两侧，突出了曲线的形式。该建筑以这种方式在结构上表现了历史和现代环境。
The Divan Kurucesme’s architecture is inherently structural in all senses as the new functions have been formed as a new cluster from the Ottoman era arches and vaults while the existing underground areas, cisterns, retaining walls, and terrace gardens formed from the shore elevation towards the upper elevations were kept as they are. The structural veracity of the architecture is a key point here as a reinforced concrete system supporting layers as walls were added underneath the historical structures. To give meaning to this combination of old and new structures visually, these underground and hidden corners were retained as pure structural forms in combinations of painted vaults and barrel vaults. The terrazzo flooring stops before the walls of these vaults allowing them to appear in a pure manner with recessed lighting washing up the sides and accentuating the curvy forms. The architecture is in this way structurally expressive of both the historical and contemporary setting.
在这个建筑和结构组件的中心是用于活动的1000人的多功能宴会厅。这是一个先进的钢和玻璃结构设计工程，位于下面三层的钢筋混凝土结构之上。主厅的钢结构系统包括一个由大型工字钢椽子形成的天棚，设置在钢柱上。这些由两部分组成的波浪形工字钢支撑着上面的泰坦尼克号锌屋顶的主要重量，并以悬垂的屋檐向正面和侧面延伸到外部。屋顶和椽子也通过插入的檩条和连接椽子的对角线钢棒作为横撑来保持张力。这个技术性的钢结构被涂成深色的大地色调，尽管其规模庞大，却巧妙地与博斯普鲁斯海峡的环境和海岸交织在一起。它的波浪形外观既与水道的波浪融为一体，又与挡土墙的拱门相呼应，为博斯普鲁斯海峡创造了一个新的建筑图示。在技术需求方面，海平面下的两层停车场和服务区也被插入到地面以下。还有落客区和接客区被带到面向街道的墙后面，以便在这个受欢迎的海滨地区举办活动时不影响繁忙的交通流。
At the center of this architectural and structural assembly is the central 1000-person multi-purpose banquet hall for events. This is an advanced piece of structural design engineering in steel and glass that sits above three levels of reinforced concrete structure below. The structural steel system of the main hall consists of a canopy formed by large I-beam rafters set on steel columns. These wavy I-beams composed in two sections hold the main weight of the titanic zinc roof above and extend to the exterior in overhanging eaves towards the front and side facades. The roof and rafters are also held in tension by purlins inserted and connecting the rafters with the addition of diagonal steel rods as cross braces. This technical steel structure is painted in dark earth tones and despite its massive size is subtly weaved into the Bosphorus setting and shore. Its wavy appearance both blends in with the waves of the waterway and echoes the arches of the retaining walls to create a new iconography of architecture for the Bosphorus. In terms of technical needs, two parking floors under sea level and service areas are also inserted below grade. There are also drop-off and pick-up areas brought behind the street-facing wall so as not to interfere with the busy flow of traffic during events at this popular seaside location.
总的来说，我们在GAD建筑事务所的Divan Kurucesme建筑中看到了在新的当代建筑和结构形式中保留伊斯坦布尔历史的最成功尝试之一。城市的图标、建筑和自然特征在GAD的设计策略中发挥了作用，在伊斯坦布尔这个时期的建筑中，有少数项目试图将过去的结构、材料和城市特征编织到现在。
Overall we see in the architecture of the Divan Kurucesme by GAD Architecture one of the most successful attempts to retain the historical past of Istanbul in new contemporary architecture and structural forms. The iconography of the city, its architecture, and natural features have played into GAD’s design strategy that has in this period of building in Istanbul one of the few projects that attempts to weave the structures, material, and urban character of the past into the present.
Architects: GAD Architecture
Area : 10346 m²
Year : 2022
Photographs :Cemal Emden, Gizem Uçar
Manufacturers : Ark İnşaaat
Landscape Architecture : DS Architecture
Lighting Design : NA LightStyle
Structural Engineering : Yapı Akademisi Engineering
Electrical Engineering : Elsan Electrical Engineering
HVAC Engineering : Cilingiroglu Engineering & Consultancy
Architectural Project & Design : Gokhan Avcioglu – GAD
Permanent Exhibition Design : Yalı Architecture
Wayfinding Design : Gökhan Karakuş & Gözde Eren
Lighting Designer : Nergiz Arifoğlu
Acoustics : Nurgül Beyazıt
Restoration Specialist : Prof. Dr. Gülsün Tanyeli, Prof. Dr. Şevket Dönmez, Prof. Dr. Hayri Fehmi Yılmaz, Prof. Dr. Feridun Çılı, Prof. Dr. Sait Başaran
Client : Divan Grup
Architects & Interior Design Group : Sinan Kafadar – METEX
Project Ekibi : GAD
Awards : 2015 Green Good Design Award for Divan Kurucesme, The European Centre for Architecture & The Chicago Athenaeum
Architects And Interiors : METEX
Country : Turkey