Journal articles on the topic 'Biennale Venezia'

En este artículo de reflexión proponemos abordar la historia de la Bienal de Venecia a través de varios enfoques, el primero en relación a la historia de su modelo expositivo, el segundo en relación a la construcción de la memoria del evento a través de su archivo histórico y el tercero en relación a su actualidad a través de la última versión presentada, la 58ª Bienal de Venecia que lleva por título May you live in interesting times. El artículo busca situar la importancia de este mega-evento aún en tiempos de coyunturas difíciles que no constituyen una excepción de la actualidad sino son consustanciales a la trayectoria de esta institución.

Este artigo tem como objetivo a discussão de alguns aspectos apontados na correspondência enviada pelo crítico de arte Marco Valsecchi ao secretário da Biennale di Venezia, Rodolfo Pallucchini, em novembro de 1951, a propósito de suas impressões acerca da primeira Bienal de São Paulo. Esta correspondência localizada no Arquivo da Biennale di Venezia é bastante relevante na medida em que ilumina não somente a opinião e expectativas dos italianos sobre a mostra brasileira, mas também os bastidores de sua realização.

Durante la 47 versión de la Biennale di Teatro1 se presentaron, por primera vez en la historia de este encuentro internacional –realizado desde 1934–, dos obras chilenas y las únicas latinoamericanas que se han mostrado en este foro: Realismo (2016) y Estado vegetal (2017), de la dramaturga Manuela Infante. Se trata de un momento prolífico para la visibilidad de algunas manifestaciones artísticas chilenas en el extranjero,2 esto debido a la autogestión, la intervención del sistema privado –como fundaciones, asociaciones o centros culturales– y el paulatino interés de la institucionalidad estatal que, desde algunos años, comenzó a identificar, entre sus prioridades de política cultural, “potenciar la difusión, circulación y exhibición internacional” (“Política nacional” 84).Recibido: 06 de septiembre de 2019Aceptado: 26 de febrero de 2020

Abstract Based on previously unpublished archive material, the text details the troubled organization of the Russian Hall commissioned by Sergei Diaghilev for the Venice Biennale of Fine Arts in 1907. Its focus is on the correspondence between the “Esposizione”’s Secretary General, Antonio Fradeletto, and Diaghilev, a discourse saturated by national stereotypes and mutual ignorance, which, because of mistrust and deep incompatibilities, ends up relying on a wide network of mediators, among which figure international diplomats and socialites.

In September 2018 City Space Architecture organized a three day event in Venice titled ‘Knowledge sharing toward implementation of the New Urban Agenda’, included in the ‘Past Present and Future of Public Space’ international conference series started in 2014 with an inaugural three day event in Bologna. City Space Architecture signed a cooperation agreement with La Biennale di Venezia within the 16th International Architecture Exhibition (Venice Architecture Biennale) - titled FREESPACE, curated by Yvonne Farrell and Shelley McNamara[1] - in order to be included in the ‘Biennale Sessions’, a special program for Universities and Higher Education Institutions. The 2018 conference in Venice was organized in partnership with UN-Habitat, ISOCARP – the International Society of City and Regional Planners, University of Auckland (New Zealand), and Hunan University (China). It was willing to strengthen City Space Architecture's efforts around the implementation of the New Urban Agenda adopted at the Habitat III conference and to continue the discussion on the importance of public space in cities, with the participation of students and young researchers. [1] 16th International Architecture Exhibition FREESPACE, curated by Yvonne Farrell and Shelley McNamara: https://www.labiennale.org/en/architecture/2018.

สาระในหนังสือเล่มนี้คือสัมฤทธิ์ผลที่เกิดจากการศึกษาภายใต้กรอบแนวคิดการวิจัย (Research framework) 5 ประเด็น คือ 1) การวิเคราะห์โครงสร้างที่เกิดจากการก่อ (Analysis of masonry structure) 2) การศึกษาการออกแบบและพัฒนาโครงสร้างด้วยแผนภาพแรง (Graphical analysis and design methods) 3) การใช้ระเบียบวิธีเชิงคอมพิวเทชั่นในการค้นหารูปทรงของโครงสร้างที่เหมาะสม (Computational form finding and optimization) 4) การออกแบบเพื่อการประกอบแบบไร้วัสดุประสาน (Design of discrete assemblies) และ 5) ระบบการผลิตและก่อสร้างด้วยเทคโนโลยีดิจิทัลแฟบริคเคชั่น (Digital fabrication) โดยกลุ่มวิจัยบล็อก (The Block Research Group : BRG) สถาบันเทคโนโลยีแห่งสหพันธ์สวิสในซูริก ภายใต้การนำของศาสตราจารย์ ด็อกเตอร์ ฟิลิป บล็อก และ ด็อกเตอร์ ทอม เวน เมล หนังสือเล่มนี้แบ่งเนื้อหาออกเป็น 2 ส่วนตามสาระที่ถูกจัดแสดงในนิทรรศการสถาปัตยกรรมนานาชาติ เวนิสเบียนาเล่ พ.ศ. 2559 (La Biennale di Venezia, the 15th International Architecture Exhibition in 2016) ซึ่งประกอบด้วย 1) Beyond Bendingและ 2) The Making of the Armadillo Vault เนื้อหาทั้ง 2 ส่วนนี้ไม่เพียงนำเสนอฐานความรู้เชิงทฤษฎีและกรณีศึกษาต่าง ๆ ของกลุ่มวิจัยบล็อกเท่านั้นแต่ยังนำเสนอความรู้เชิงเทคนิค ระเบียบขั้นตอนการออกแบบ การผลิต การประกอบ และก่อสร้างทุกขั้นตอนตลอดจนไปถึงการรื้อถอนโดยละเอียด

The article examines a group of exhibitions that took place in the late seventies and early eighties and are useful for grasping what was at stake regarding the debates on the tensions between modernist and post-modernist architecture. Among the exhibitions that are examined are Europa-America: Architettura urbana, alternative suburbane, curated by Vittorio Gregotti for the Biennale di Venezia in 1976; La Presenza del passato, curated by Paolo Portoghesi for the Biennale di Venezia in 1980; the French version of La presenza del passato—Présence de l’histoire, l’après modernisme—held in the framework of the Festival d’Automne de Paris in 1981; Architectures en France: Modernité/post-modernité, curated by Chantal Béret and held at the Institut Français d’Architecture (18 November 1981–6 February 1982); La modernité, un projet inachevé: 40 architectures, curated by Paul Chemetov and Jean-Claude Garcias for the Festival d’Automne de Paris in 1982; La modernité ou l’esprit du temps, curated by Jean Nouvel, Patrice Goulet, and François Barré and held at the Centre Pompidou in 1982; and Nouveaux plaisirs d’architecture, curated by Jean Dethier for the Centre Pompidou in 1985, among other exhibitions. Analysing certain important texts published in the catalogues of the aforementioned exhibitions, the debates that accompanied the exhibitions and an ensemble of articles in French architectural magazines such as L’Architecture d’aujourd’hui and the Techniques & Architecture, the article aims to present the questions that were at the centre of the debates regarding the opposition or osmosis between the modernist and postmodernist ideals. Some figures, such as Jean Nouvel, were more in favour of the cross-fertilisation between modernity and postmodernity, while others, such as Paul Chemetov, believed that architects should rediscover modernity in order to enhance the civic dimension of architecture. Following Pierre Bourdieu’s approach, the article argues that the tension between the ways in which each of these exhibitions treats the role of the image within architectural design and the role of architecture for the construction of a vision regarding progress is the expression of two divergent positions in social space.

This essay on the work of the Bosnian artist Mladen Miljanović, born in Zenica, Yugoslavia, in 1981, is wrought around an account of the divided place in which his art is mobilised. Following a short military term, Miljanović enrolled at the Academy of Arts, in Banja Luka, where he still lives. A potent opposition to a divisive ethno-nationalist politics ever-present in the post-conflict, post-socialist, transition era of Bosnia-Herzegovina, Miljanović deploys what he calls an artistic-military practice. Incorporating cartographic and military surveying techniques learnt at a reserve officer military school, Miljanović deconstructs his own soldierly past and interrogates, through his artistic-military practice, an ethno-nationalist militarised Bosnia-Herzegovina. I focus in the main here on the artist’s recent attempt to represent post-conflict Bosnia-Herzegovina at the 55th Biennale di Venezia, a granite triptych entitled, The Garden of Delights.

Mesostructured patterns are a modern and efficient concept based on designing the geometry of structural material at the meso-scale to achieve desired mechanical performances. In the context of bending-active structures, such a concept can be used to control the flexibility of the panels forming a surface without changing the constituting material. These panels undergo a formation process of deformation by bending, and application of internal restraints. This paper describes a new constructional system, FlexMaps, that has initiated the adoption of bending-active mesostructures at the architectural scale. Here, these modules are in the form of four-arms spirals made of CNC-milled plywood and are designed to reach the desired target shape once assembled. All phases from the conceptual design to the fabrication are seamlessly linked within an automated workflow. To illustrate the potential of the system, the paper discusses the results of a demonstrator project entitled FlexMaps Pavilion (3.90x3.96x3.25 meters) that has been exhibited at the IASS Symposium in 2019 and more recently at the 2021 17th International Architecture Exhibition, La Biennale di Venezia. The structural response is investigated through a detailed structural analysis, and the long-term behavior is assessed through a photogrammetric survey.

Este artículo reseña la 56ª Bienal de Venecia 2015, comisariada por Okwui Enwezor. En primer lugar presentamos una breve historia de la Bienal de Venecia y los procesos que en las últimas décadas le otorgaron su configuración actual. Luego, analizamos el concepto curatorial de la 56ª edición, donde El Capital de Marx es utilizado como instrumento crítico para desplegar una reflexión sobre el impacto del arte en la sociedad actual. Para ilustrar este punto destacamos algunas de las obras seleccionadas por Enwezor, así como una breve descripción de algunos pabellones nacionales. Posteriormente, incidimos sobre la destacada representación peruana. Concluimos con un análisis sobre la 56ª Bienal, con énfasis en suformato de exhibición y en el papel social y crítico del arte en el siglo XXI. Palabras clave: Bienal de Venecia, Okwui Enwezor, Karl Marx, Perú, exhibición, arte y sociedad AbstractThis article reviews the 56th Venice Biennale 2015, curated by Okwui Enwezor. First we give a brief history of the Venice Biennale and the processes that it went through in the last decades which defined its current configuration. Then, we explore the 56th edition’s curatorial concept, that uses Marx’s Capital as a critical tool to unfold a reflection about the impact of art in current society. To illustrate this point, we briefly highlight some works selected by Enwezor as well as a brief description of some national pavilions. Subsequently, we emphasize on this year’s outstanding Peruvian representation. We conclude with an analysis of the 56th Biennial, with an emphasis on both its exhibition format as well as thesocial and critical role of art in the XXI century. Keywords: Venice Biennale, Okwui Enwezor, Karl Marx, Peru, exhibition, art and society

Mekânsal bir fikrin ifadesi temsiller aracılığıyla sağlanır. Buradaki temsil sözcüğü hem mekânsal fikri içeren şey hem de bu şeyin nesneleştirilmesinde kullanılan araca gönderme yapar; çizim, fotoğraf, makale gibi. Bu araçlardan biri de mimarlık sergileridir. Mimarlık sergileri literatürde çoğunlukla çeşitli temsil araçlarının bir araya getirilerek izleyiciler ile buluştuğu ortamlar yani temsil nesnelerinin iletiminde yararlanılan birer araç olarak nitelendirilir. Ancak mimarlık sergileri temsil aracı olmanın ötesinde bir potansiyel taşırlar ve geçmişten bu yana kolektif mimari görüşün değişiminde ya da mekânsal yaklaşımların dönüşümünde etkili olmuşlardır. 1980 yılında ilk sergisi düzenlenen Venedik Mimarlık Bienali bu alanda bir dönüm noktası oluşturur ve sergi yapma/sergi için yapma biçimlerinin çeşitlenmesine öncülük eder. Bu nedenle Venedik Mimarlık Bienali üzerine odaklanan çalışma, Bienal arşivinde yer alan veriler ve Bienal sergilerine ilişkin yayınlardan yola çıkarak sergilerin tarihsel süreçteki düşünsel ve mekânsal dönüşümünün izlerini sürer. Araştırma sonucunda serginin tarihindeki önemli kırılma noktaları tespit edilmiş, farklı sergi yaklaşımlarına ve sergi nesnesinin dönüşümüne dikkat çekilmiştir.

Camilian Demetrescu es un pintor, escultor, escritor y teórico del Arte rumano. Disconforme con las ideologías totalitarias, abandona el realismo socialista para dedicarse al arte abstracto. Exiliado en Italia, expone en diversas ciudades europeas, participa en la Biennale de Venecia y es comisario técnico de la X Quadriennale de Roma. Su larga trayectoria deja un extenso patrimonio cultural. Sin embargo, es una figura poco conocida en el panorama artístico actual. Este trabajo presenta el perfil biográfico del artista rumano vinculado a los contextos histórico-artísticos de sus primeras etapas creativas.

It seems inherent in the nature of contemporary artist’s book production to continue to question the context for the genre in contemporary art practice, notwithstanding the medium’s potential for dissemination via mass production and an unquestionable advantage of portability for distribution. Artists, curators and editors operating in this sector look to create contexts for books in a variety of imaginative ways, through exhibition, commission, installations, performance and, of course as documentation. Broadening the discussion of the idea of the book within contemporary art practice, this paper examines the presence and role of book works within the context of the art biennale, in particular the Venice Art Biennale of which the 58th iteration (2019) is entitled ‘May You Live In Interesting Times’ and curated by Ralph Rugoff, with an overview of the independent International cultural offerings and the function of the ‘Book Pavilion’. Venetian museums and institutions continue to present vibrant diverse works within the arena of large-scale exhibitions, recognising the position that the book occupies in the history of the city. This year, the appearance for the first time, of ‘Book Biennale’, opens up a new and interesting dialogue, taking the measure of how the book is being promoted and its particular function for visual communication within the arts in Venice and beyond.

Em seu volume 10, a Revista Muitas Vozes apresenta uma conversa com o artista visual e poeta experimental Sérgio Monteiro de Almeida. Artista intermídia, Sérgio participa desde 1984, do movimento artístico do Paraná e do circuito internacional de arte postal. Como poeta visual, publicou em inúmeras antologias e revistas especializadas, tanto no Brasil como no exterior, por exemplo CULT (Brasil) e Rampike Magazine (Canadá). O artista participou de importantes exposições de poesia visual como Bienal Internacional de Poesia Visual e Alternativa no México (1987, 1990, 1992, 1996 e 2010); Post-Art International Exhibition of Visual/Experimental Poetry (San Diego State University - USA, 1988); Bienal de Veneza (2005 e 2009, curadoria de Caterina Davinio); Harvard’s Visual Poetry exhibition (Harvard University, USA, 2004, 2005); Biennale Internationale de Poesie Visuelle (França, 2015, 2017, 2019, 2021). Recentemente, teve poemas publicados nos livros Davinio C. Virtual Mercury House, Planetary & Interplanetary Events (Itália, 2012); Zúñiga A, Espinosa C. La mirada transgressora - literatura expandida(México, 2017); Dencker KP. ÜberViele/S- Begegnungen 1960–2020 (Alemanha, 2021).

Article is devoted to a research of a role and the place of art installation in the modern world. At the same time the retrospective analysis of a role of art installation in the past and comparative characteristic with the present is carried out. The Ukrainian context of development of art installation is also revealed. At the same time it is found out that installation is not only an important component of modern art, but also an integral part of historical discourse. Due to its visual functions, the installation actively influences the viewer. For the most part, installations are not just an object in space, it is what is the very space - how much the installation work has the ability to fill the space, integrate into it organically and holistically. At the same time, the main factor in the creation and existence of an installation in the exhibition space, as well as in other relevant arts, is its relationship with the viewer. In this study, the socio-cultural aspect of the installation is important, understanding of the significance of this form of contemporary artistic practices for a common worldview system. Such problems as the assimilation of new experience from the point of view of global processes, on the one hand, and the preservation of the national cultural identity in contemporary art, on the other – actualize the pattern of the process of perception of a new culture. In article it is found out that graphic schools are based on existence of certain art and educational institutions where graphic artists who carry out the teaching activity and own creativity a high mission of formation of new generation of masters create. Not less important factor is acceptance of experience of teachers and its further development in creativity of pupils and followers. Art of installation is an integral part of the modern fine arts of Ukraine. Emergence and development of this art form in the national cultural environment became possible under conditions of intensive creative activity of artists which reached the high level of mastery in connection with deeply philosophical judgment of problems of the present. At the end of XX – the beginning of ХХІ century, looking for new ways of development, the Ukrainian artists addressed installation which as it is possible better answered esthetic inquiries of an era and became a symbol of spiritual updating of the personality. Installation turns into a key factor of development of different spheres of culture, thereby playing a noticeable role in development of national culture. Installation in the modern art helps to be focused and inform of the idea and understanding of global problems to adherents of different genres of art, the audience of different age categories and social groups. Since declaration of independence development of the independent state and formation of own cultural policy aimed at providing free development of national culture and preservation of cultural inheritance begins. The state forms the legislative base which can provide cultural development and an open entry of all citizens to its achievements. In 1992 the Verkhovna Rada of Ukraine accepts "Principles of the legislation of Ukraine about culture" where the basic principles of public policy in the sphere of culture directed to revival and development of the Ukrainian national culture, ensuring freedom of creativity, free development of cultural and art processes, realization of the rights of citizens to access to cultural values, creation of material and financial conditions of cultural development were declared. It is found out that installation is an art equipment which uses the three-dimensional objects intended for change of perception of space by the person. The term "installation" in English appeared long ago – in the XV century. It means process of construction, collecting, drawing up something (now use it also for establishment definition, for example, of the software). With the advent of different technologies – videos, and later and the computer – arose also different types of installations which now peacefully coexist with other arts, for example, painting or a sculpture, without being inferior to them. Hardly somebody will be able to designate exact date of emergence of installations and their judgment as art form. Now installation represents the certain room according to the decision of the author transformed to art space. It is filled with a number of objects to which the symbolical value is often provided. Harmonious connection of things, their arrangement indoors is also art. Installations can be the constant objects exposed in the museums or be created temporarily in public and private spaces. The space of installation can include different types of the things and images circulating in our civilization: pictures, drawings, photos, texts, video, movies, tape recordings, virtual reality, Internet, etc. Installations are regularly presented at the international exhibitions of the modern art, such as Venetian the biennial. The most prestigious art museums and art galleries of the world give to installation art the best platforms from time to time. At the same time, the research of this form of art lags behind the progressing shaping a little. The phenomenon of installation is considered as a part of a performance that is entirely logical. But install processes, especially the last decades, proved what is absolutely self-sufficient the cultural phenomena which need serious scientific approach and judgment, require attention to a research of characteristics install the practician, activity of certain artists, a tipologization and the scientific analysis of modern processes

In 2022, the Swiss branch of the international publishing house Springer published a book, a collection of papers entitled Military Geoscience: A Multifaceted Approach to the Study of Warfare. It consists of selected contributions by international researchers in the field of military geoscience, presented at the 13th International Conference on Military Geosciences, held in Padua in June 2019. The first paper is by the editors, Aldin Bondesan and Judy Ehlen, and provides a brief overview of understanding the concept of military geoscience as an application of geology and geography to the military domain, and the historical development of the discipline. It should also be pointed out that the International Conferences on Military Geosciences (ICMG), which organises this biennial international conference, has over the past two decades also covered other aspects, such as conflict archaeology. The publication is further divided into three parts. The first part comprises three contributions covering military geoscience up to the 20th century. The first paper, by Chris Fuhriman and Jason Ridgeway, provides an insights into the Battle of Marathon through topography visualisation. The geography of the Marathon field, the valley between Mt. Cotroni and Mt. Agrieliki, allowed the Greek defenders to nullify the advantage of the Persian cavalry and archers, who were unable to develop their full potential. This is followed by a paper by Judy Ehlen, who explores the geological background of the Anglo-British coastal fortification system along the English Channel, focusing on the Portsmouth area of Hampshire. The author thus points out that changes in artillery technology and naval tactics between the 16th and 19th centuries necessitated changes in the construction of coastal fortifications, both in terms of the form of the fortifications and the method of construction, including the choice of basic building materials, as well as the siting of the fortifications in space. The next article is then dedicated to the Monte Baldo Fortress in north-eastern Italy, between Lake Garda and the Adige River. In his article, Francesco Premi analyses the presence of the fortress in the transition area between the Germanic world and the Mediterranean, and the importance of this part of Italy (at the southernmost part of the pre-Alpine mountains) in military history, as reflected in the large number of important military and war relics and monuments. The second part of the book, which is the most comprehensive, focuses on the two World Wars and consists of nine papers. The first paper in this part provides an analysis of the operation of trench warfare training camps in the Aube region of France. The group of authors, Jérôme Brenot, Yves Desfossés, Robin Perarnau, Marc Lozano and Alain Devos, initially note that static warfare training camps have not received much attention so far. Using aerial photography of the region dating from 1948 and surviving World War II photographic material, they identified some 20 sites where soldiers of the Entente forces were trained for front-line service in trenches. Combined archaeological and sociological fieldwork followed, confirming the presence of these camps, both through preserved remains and the collective memory. The second paper in this volume also concerns the survey on trenches, located in northern Italy in the Venezia Tridentina Veneto area in northern Italy. The authors Luigi Magnini, Giulia Rovera, Armando De Guio and Giovanni Azzalin thus use digital classification methods and archaeology to determine how Italian and Austro-Hungarian First World War trenches have been preserved or, in case they have disappeared, why this was the case, both from the point of view of the natural features as well as from the anthropological point of view of the restoration of the pre-war settings. The next paper, by Paolo Macini and Paolo Sammuri, analyses the activities of the miners and pioneers of the Italian Corps of Engineers during the First World War, in particular with regard to innovative approaches to underground mine warfare. In the Dolomites, the Italian engineers, using various listening devices, drilling machinery and geophysical methods, developed a system for drilling underground mine chambers, which they intended to use and actually used to destroy parts of Austro-Hungarian positions. The paper by Elena Dai Prà, Nicola Gabellieri and Matteo Boschian Bailo concerns the Italian Army's operations during the First World War. It focuses on the use of tactical maps with emphasis on typological classification, the use of symbols, and digital cartography. The authors thus analysed the tactical maps of the Italian Third Army, which were being constantly updated by plotting the changes in positions and tactical movements of both sides. These changes were examined both in terms of the use of new symbols and the analysis of the movements. This is followed by a geographical presentation of the Italian Army's activities during the First World War. The authors Paolo Plini, Sabina Di Franco and Rosamaria Salvatori have thus collected 21,856 toponyms by analysing documents and maps. The locations were also geolocated to give an overview of the places where the Italian Army operated during the First World War. The analysis initially revealed the complexity of the events on the battlefields, but also that the sources had misidentified the places of operation, as toponyms were misidentified, especially in the case of homonyms. Consequently, the area of operation was misidentified as well. In this respect, the case of Vipava was highlighted, which can refer to both a river and a settlement. The following paper is the first on the Second World War. It is the article by H. A. P. Smith on Italian prisoners of war in South Africa. The author outlines the circumstances in which Italian soldiers arrived to and lived in the southern African continent, and the contribution they made to the local environment and the society, and the remnants of their presence preserved to the present day. In their article, William W. Doe III and Michael R. Czaja analyse the history, geography and significance of Camp Hale in the state of Colorado. In doing so, they focus on the analysis of the military organization and its impact on the local community. Camp Hale was thus the first military installation of the U.S. Army, designated to test and train U.S. soldiers in mountain and alpine warfare. It was here that the U.S. 10th Mountain Division was formed, which concluded its war path on Slovenian soil. The Division's presence in this former camp, which was in military use also after the war until 1965, and in the surrounding area is still visible through numerous monuments. This is followed by a paper by Hermann Häusler, who deals with German military geography and geology on the Eastern Front of the Second World War. A good year before the German attack on the Soviet Union, German and Austrian military geologists began an analysis of the topography, population and infrastructure of the European part of the Soviet Union, which led to a series of publications, including maps showing the suitability of the terrain for military operations. During the war, military geological teams then followed the frontline units and carried out geotechnical tasks such as water supply, construction of fortifications, supply of building materials for transport infrastructure, and analysis of the suitability of the terrain for all-terrain driving of tracked and other vehicles. The same author also authored a paper in the next chapter, this time focusing on the activities of German military geologists in the Adriatic area. Similarly to his first contribution, the author presents the work of military geologists in northern Italy and north-western Slovenia. He also focuses on the construction of fortification systems in northern Italy and presents the work of karst hunters in the Operational Zone of the Adriatic Littoral. Part 3 covers the 21st century with five different papers (chapters). The first paper by Alexander K. Stewart deals with the operations of the U.S. Army specialised teams in Afghanistan. These Agribusiness Development Teams (ADTs) carried out a specialised form of counter-guerrilla warfare in which they sought to improve the conditions for the development of local communities through agricultural assistance to the local population. In this way, they were also counteracting support for the Taliban. The author notes that, in the decade after the programme's launch, the project had only a 19% success rate. However, he stresses that such forms of civil-military cooperation should be present in future operations. The next chapter, by Francis A. Galgan, analyses the activities of modern pirates through military-geographical or geological methods. Pirates, who pose a major international security threat, are present in four regions of the world: South and South-East Asia, East Africa and the Gulf of Guinea. Building on the data on pirate attacks between 1997 and 2017, the author shows the temporal and spatial patterns of pirate activities, as well as the influence of the geography of coastal areas on their activities. This is followed by another chapter with a maritime topic. Mark Stephen Blaine discusses the geography of territorial disputes in the South China Sea. Through a presentation of international law, the strategic importance of the sea (sea lanes, natural resources) and the overlapping territorial claims of China, Taiwan, Malaysia, Vietnam and Indonesia, the author shows the increasing level of conflict in the area and calls for the utmost efforts to be made to prevent the outbreak of hostilities or war. M. H. Bulmer's paper analyses the Turkish Armed Forces' activities in Syria from the perspective of military geology. The author focuses on the Kurdish forces' defence projects, which mainly involved the construction of gun trenches, observation towers or points, tunnels and underground facilities, as well as on the Turkish armed forces' actions against this military infrastructure. This involved both mountain and underground warfare activities. While these defensive infrastructures proved to be successful during the guerrilla warfare period, direct Turkish attacks on these installations demonstrated their vulnerability. The last chapter deals with the current operational needs and limitations of military geosciences from the perspective of the Austrian Armed Forces. Friedrich Teichmann points out that the global operational interest of states determines the need for accurate geo-data as well as geo-support in case of rapidly evolving requirements. In this context, geoscience must respond to new forms of threats, both asymmetric and cyber, at a time when resources for geospatial services are limited, which also requires greater synergy and an innovative approach to finding solutions among multiple stakeholders. This also includes increased digitisation, including the use of satellite and other space technologies. The number of chapters in the publication illustrates the breadth and depth of military geoscience, as well as the relevance of geoscience to past, present and future conflicts or military operations and missions. The current military operations in Ukraine demonstrate the need to take into account the geo-geological realities of the environment and that terrain remains one of the decisive factors for success on the battlefield, irrespective of the technological developments in military engineering and technology. This can also be an incentive for Slovenian researchers and the Slovenian Armed Forces to increase research activities in the field of military geosciences, especially in view of the rich military and war history in the geographically and geologically diverse territory of Slovenia.

In the area of interest about the perception of Latin American art in Italy, the article focuses on the role played by the Italo-Latin American Institute (IILA) for the promotion of Latin American art in Italy, in particular through its repeated participation in the Venice Biennale International Exhibition with its own pavilion.

Il saggio indaga le modalità attraverso le quali l’opera d’arte riesce a riconfigurare le esperienze traumatiche incidendo sulle dinamiche con cui esse si iscrivono nei contesti collettivi. I processi creativi di modellizzazione offerti dall’opera d’arte generano un effetto di trasgressione che apre un campo figurale in cui il trauma si fa immagine e si dà a vedere. Tre sono le principali strategie esaminate: quella della rappresentazione, quella della presentazione, quella della testimonianza. Si tratta di tre diverse modalità estetiche di riconfigurazione del trauma che verranno analizzate attraverso le opere di Nelson Rangelosky, Teresa Margolles e Shilpa Gupta, esposte durante la Biennale Arte di Venezia del 2019 curata da Ralph Rugoff.

Resumen La Bienal de Arquitectura de Venecia es uno de los eventos más importantes al mundo para la arquitectura y el debate disciplinario. Dos de las pasadas bienales: la que tuvo como curador el holandés Rem Koolhaas en 2014 y la curada por el chileno Alejandro Aravena en 2016; con sus marcadas diferencias y oposiciones, son utilizadas como pretexto para una reflexión crítica sobre dos tendencias que pudieran definirse “hemisféricas”. La bienal de Koolhaas presentó una valiosa investigación histórico-enciclopédica, que emanaba una latente inquietud. La bienal de 2016, la primera Bienal curada por un arquitecto del “hemisferio sur” del mundo, intentaba de contra mostrar en su amplitud un panorama de trabajos socialmente más comprometidos, pero a su vez sesgaba hacia un exceso de pragmatismo. Posiblemente valorar en una reflexión comparativa estos dos enfoques pueda restituir más nitidez al pensamiento y a la acción, gracias a la síntesis entre posiciones antitéticas que, por si mismas parecen no abrazar el amplio espectro de las posibilidades y de las necesidades disciplinarias contemporáneas. Palabras clave: Alejandro Aravena; composición; diseño arquitectónico; investigación proyectual; Premio Pritzker; proyectoarquitectónico; Rem Koolhaas Abstract The Venice Architecture Biennale is one of the most important events in the world for architecture and disciplinary debate. Two of the past biennials: the one that was curated by the Dutchman Rem Koolhaas in 2014 and the one curated by the Chilean Alejandro Aravena in 2016; with their marked differences and oppositions, they are used as a pretext for a critical reflection on two tendencies that could be defined as "hemispheric". The Koolhaas Biennial presented valuable historical-encyclopedic research, which emanated a latent concern. The 2016 Biennale, the first Biennial curated by an architect of the “southern hemisphere” of the world, tried to show in its breadth a panorama of socially more committed works, but in turn skewed towards an excess of pragmatism. Possibly assessing these two approaches in a comparative reflection can restore more clarity to thought and action, thanks to the synthesis between antithetical positions that, by themselves, do not seem to embrace the broad spectrum of contemporary disciplinary possibilities and needs. Keywords: Alejandro Aravena; composition; architectural design; project research; Pritzker Prize; architectural project; Rem Koolhaas Recibido: agosto 28 / 2018 Evaluado: septiembre 24 / 2019 Aceptado: diciembre 6 / 2019 Publicado en línea: diciembre de 2019 Actualizado: diciembre de 2019

Die 57. Biennale von Venedig beinhaltet zahlreiche Projekte mit Wissenschaft-Kunst-Bezug. Der Pavillon Österreichs befasst sich mit Fragen von Selbstwahrnehmung und Kommunikation, die dem Betrachter durch Spiegel-Objekte und Licht-Installationen näher gebracht werden. Der Pavillon Griechenlands greift in Videoarbeiten übergeordnete Fragen von Ethik und Moral auf. Die Workshops und Ausstellungen im Research Pavillon haben einen intensiven Dialog von Kunst und wissenschaftlicher Forschung anhand von Themen wie virtueller Realität zum Ziel.

The Teatrino del Mondo of Aldo Rossi, a performance space set on a barge that could be reached by boat (1979-80), became an iconic metaphor for the first Venetian Biennale of Architecture. At the Venetian Biennale of Architecture 2018, this metaphorical representation was engaged by Caribbean contemporary poets Lasana M. Sekou and Charles Matz II and visual artists Cozbi Sanchez Cabrera and Jean-Ulrick Désert. In exploring ties that link the vessels of Caribbean contemporary literature and art to Venice, witness is the audacity of their opera, created while confronting intensifying natural disasters such as earthquakes and hurricanes, and recalling horrifying unnatural conditions of Slavery and war. The artists participated in collateral events in which poetry or visual art intersected marvellously with Venetian idioms.

Zahlreiche Projekte der 58. Biennale von Venedig widmen sich wissenschaftsbezogenen Themen. Der Pavillon Österreichs befasst sich mit Fragen im Grenzbereich von Kunst und Philosophie, der Pavillon Islands mit der psychologischen Wirkung von Farben. Arbeiten im kanadischen und im griechischen Pavillon setzen sich mit Traditionen der Geschichtsschreibung auseinander. Im Zentrum des Research Pavillons stehen Fragen zum Verhältnis von Kunst und Ökologie. Installationen und Groß-Skulpturen im Zentral-Pavillon und im Arsenale sind das Ergebnis einer engen Kooperation von Künstlern, Wissenschaftlern und Ingenieuren.

François Penz, in his essay titled as "What I saw in Venice – biennale 2021" shared his experiences about workshop in Venice – VENICINEMA, Understanding Cities Through Film – in September 2022 at the European Cultural Academy. To get to know a city though cinema is always an enjoyable and informative task, which varies depending on whether one has a prior knowledge of the city or not. But a prior knowledge of a city through film can only provide a ‘theoretical’ insight that only gets ‘realised’ while actually being physically present in time and place. In other words, ‘watching a city film can be a three-way process: we see a film and gain a knowledge of a city; we then visit this city and experience a form of déja vu; we then watch the film again and the experience of having seen the place acts as a memory recall that gives a much stronger emotional connection to both the film and the city. Venice offers a layered richness of experience through cinema as a place to be discovered not only for foreigners but even for Italians. The aim of this workshop was to engage the participants’ interest in the various facets of the relationship between cinema and Venice, the opportunity to reflect on its characterisation in the movies. The study of Venetian narrative films not only opened the path to an innovative reflection on the complexity of the city as experience but also provide a basic understanding of screen language that equipped participants to make their own short films.

Quando Mário Krüger mostrava numa aula o cartaz Vient de paraître, pensei substituir naquela imagem a capa do livro de Le Corbusier pela capa d’O Problema da Casa Portuguesa de Fernando Távora. A dedicatória que Távora escrevera no meu exemplar de 1947: “com simpatia e parabéns pela aquisição destes pequenos ‘Lusíadas’”, parecia reforçar a analogia. O Corporema da Casa Portuguesa de 2004 repensa o texto de Fernando Távora a partir da noção de corporema de Paulo Cunha e Silva, indagando sobre a hipótese de existirem teorias em Arquitectura que, apesar de concisas, seriam estruturantes numa determinada identidade complexa. O Corporema da Casa Portuguesa tem ainda em conta que entre 2002 e 2003 o ciclo de exposições Influx, Arquitectura portuguesa recente, tinha dado alguns motes para o confronto da capacidade teórica do texto de Távora com a contemporaneidade, e que, uma vez transformado em Metaflux, mostrava Duas gerações na arquitectura portuguesa recente à 9ª Bienal de Veneza de 2004, parecendo querer reivindicar que “identidades nacionais” deveriam ser substituídas por uma espécie de supra “identidade urbana europeia”. Esta separação entre identidade nacional e europeia tornava legítima a ainda-curiosidade: Qual é afinal o embate do texto de Távora com a consciência de uma vontade de internacionalização, de uma “identidade europeia”? _ When Mário Krüger showed, during his class, the poster Vient de paraître, I thought of replacing, in that image, the cover of Le Corbusier's book by the cover of O Problema da Casa Portuguesa of Fernando Távora. The dedication that Távora wrote in my copy of 1947: "with sympathy and congratulations on your purchase of these little 'Lusíadas'", seemed to reinforce the analogy. O Corporema da Casa Portuguesa of 2004, rethinks Távora’s text from the notion of corporema by Paulo Cunha e Silva, searching for the existence of theories in architecture, that, although small, would be structural in a certain complex identity. O Corporema da Casa Portuguesa also takes into account that between 2002 and 2003 the cycle of exhibitions Influx, Recent portuguese architecture, had given some arguments for the confrontation of the theoretical capacity of Távora's text with the contemporaneity; and that, once turned into Metaflux, showing two generations in Portuguese architecture to the 9th Venice Biennale in 2004, seemed to claim that "national identities" should be replaced by a kind of supra "european urban identity." This separation between national and European identity legitimized the still-curiosity: What is the clash between the text of Tavora and the awareness of a will for internationalization, for an "European identity"?

Introduction Despite the emphasis on the theoretical definitions of the concept of “creativity“ and its impact on cities, it is still uncertain, difficult to measure and limited. Creativity and its impacts are difficult to generalise because of the multiplicity of approaches and a lack of comparative analysis. The concept of creativity and its reflection on cities represents a paradigm that brings together academics from different fields, including cultural economists, those working on economic development and innovation, sociologists, economic geographers, and urban planners. The creative economy has been associated with the knowledge economy and innovation since its onset in the 2000s and extends to the creative industries (Caves), the creative class (Florida), and creative cities (Landry; Florida et al.). Given that the term "creative" is still primarily associated with the arts and sciences, Landry points out that two major issues shape our understanding of creativity: first, the power of thoughts and ideas in shaping our mindset, and second, the significance of culture as a creative resource (Landry). Creativity is generally accepted as a critical urban phenomenon, and is viewed as one of the determining factors in the development and growth of cities. For a city to be defined as ‘creative’, it would be characterised by many aspects of ‘cultural cities’ (Scott) and ‘cities of knowledge’ (Yigitcanlar et al.). Creative industries, which provide the foundation for the production of culture and creative products, require a unique environment supported by the public sector to flourish, and they thrive on proximity and strong networks that enable information sharing and exchange. Although accepted as a crucial element of contemporary cities, the use of ‘creativity’ in city development may not be a straightforward task. Globalisation plays an important role in spotlighting creative cities as drivers of global change and innovation. The emphasis on creativity as part of the global city culture incentivises cities to focus on these activities as valuable assets. This view has been reinforced by global initiatives such as the designation of the European Capital of Culture (ECoC). City administrators view innovation and creativity as critical drivers for a more sustainable and inclusive means of urban development. This article lays out how drivers of creative output, design events, and creative industries contribute to local initiatives in the global city of Istanbul: a city that accommodates some of the most long-standing and established craft spaces as well as newly developing creative and design industries. This article provides a critical perspective on cultural frameworks from the perspective of local stakeholders and networks in Istanbul's Tomtom neighbourhood, the most invested district in terms of the city's cultural future, where creative industries are the main focus. Using the Creative Cities Network as a Creative City Identity The creative city concept is used by urban sociologists, geographers, urban planners, and economists to focus on developing a segment of society that is intertwined with the cultural and creative sphere. It represents a crucial and strategic industry for renewing the local economy and sustaining urban growth. Moreover, it has become a robust development paradigm adopted by many urban governments (d’Ovidio). The creative city, according to Costa, is a notion defined by three key elements. The first is the concept of creativity as a toolset for urban development; the second is the concept of the creative city as a collection of creative activities and businesses; the third promotes the concept of the creative city as a human resource capable of attracting creative competencies (Costa et al.). Successful creative cities have some common points, such as visionary individuals, creative organisations, physical and social assets, and a political culture that shares a clear purpose. Leadership was found in the public, private, and non-profit sectors, and it manifested itself in bold public efforts, frequently risky investments, and a web of interrelated undertakings, whether for profit or the common good (Landry). International recognition provides a building ground for attracting attention to local initiatives. UNESCO created the Creative Cities Network (UCCN) in 2004. It was conceived from the very beginning as an interactive process to bridge the possible isolation of cities and their inhabitants as a tool for multi-stakeholder collaboration. In other words, it was a relevant response, analysed in a comprehensive overview of the literature on the problem of urban branding. However, it gradually became clear that a kind of network structure alone was insufficient to combat fragmentation (Rosi). The network's purpose is to foster international cooperation among the selected cities in order to promote "joint development partnerships in line with UNESCO's worldwide priorities of "culture and development" and "sustainable development". A city's participation in the network allows it to communicate with other designated foreign metropoles and to carry out joint projects (Stocker). The 2007 global financial crisis and the ensuing recession led to movements that responded to the commodification of urban public space through applied, community-based activities and independent cultural production. This has resulted in new paths for reorienting the creative city strategy around the concept of "making" (Grodach). Scholars have linked creative placemaking to a long history of arts-based economic growth dating back to the late nineteenth-century City Beautiful movement. However, the reification of "creative placemaking" as a discursive practice guided and enforced by government agencies, funders, and other institutions elevates it above previous forms of arts-based economic development or cultural planning (Zitcer). It seeks to go beyond purely economic motivations and pursue multidimensional outcomes ranging from the economic to bringing "diverse people together to celebrate, inspire and be inspired" (Grodach). Place-selling, or communicating certain features of a place through logos, slogans, advertising campaigns, or public relations exercises, is one of the most prevalent actions carried out under the broad umbrella of place-making and marketing. Physical interventions and communication tactics that pick specific components of local 'identity', 'history', and 'culture' can be used to produce this "forging of associations" between places, their attributes, and specific target audiences (Colomb). This new outlook reflects Landry's emphasis on creative collaboration, but the impetus is on cross-agency partnerships and new funding sources for design and art that foster ‘creative’ cities. Placing Istanbul on the Cultural Map If the world was only one country, Istanbul would be its capital. — Napoleon Bonaparte Istanbul is one of the world's largest metropoles, with approximately 15 million inhabitants. It has served as a crossroads for civilisations, cultures, and international trade throughout its history, leaving behind a multi-layered cultural legacy that inspires new design concepts and is a rich source for traditional arts and crafts. The robust creative economy in Istanbul employs 140,000 people and generates 74.5 percent of Turkey's turnover. As a design hub, Istanbul hosts over 20 globally famous design events each year, including the Istanbul Design Biennial, Design Week Turkey, and Fashion Week Istanbul. In 2016 there were 41 conference centres and 225 art galleries in the city. In the same year, Istanbul's cultural institutions hosted 4,315 events, including international film, music, and theatre festivals, as well as art and design biennials. Events such as Contemporary Istanbul have been important in establishing a network of non-governmental organisations that have also been instrumental in the 2010 designation as the European Capital of Culture (ECoC) and membership in the UNESCO Creative Cities Network (UCCN). It has also served three times as United Cities and Local Governments (UCLG) leader. For previous ECoC cities, national or local governments had nominated their cities for the ECoC program, but in Istanbul non-governmental organisations spearheaded and managed the nomination process (Öner). This has lead to a slow and stunted start for the programs which were greatly diminished due to the difficulties in securing the required funding. ​​After becoming an ECoC in 2010, Istanbul joined the UNESCO Creative Cities Network in 2017, joining 246 cities worldwide. UNESCO defines Istanbul as “a geography where craft and craftsmanship have emerged in many different ways in the historical and cultural codes of creative production and everyday life” (UCCN About Us). Because of its cultural heritage, Istanbul can be considered an inspiration for the design sector and promotes its productive capacity. Due to Istanbul’s geographically unique position, there are significant opportunities, experiences, and potentials to reveal new scenarios to promoting a productive future by enhancing innovative approaches for contemporary design. Participating in the UCCN undoubtedly has significant benefits for Istanbul. First of all, it has the opportunity to share its knowledge experience with other cities in the network, and it can have the opportunity to promote its work through networking events organised regularly within Design Cities. In Istanbul, which is the locomotive of the Turkish economy, the vision of the 2014-2023 Regional Plan, prepared by the Istanbul Development Agency, identifies the city as "a city of innovation and culture with its creative and free people; unique Istanbul". Moreover, one of the three essential components of this vision is "a high added value, innovative and creative economy with a voice in the global economy" (ISTKA). This component reveals the importance of innovation and creativity-oriented growth in Istanbul for the gains created in the economic field to bring social development and realise holistic development. Although these frameworks have provided a strong ‘creative’ identity to the city, the lack of specific programs and funding opportunities for ‘creative industries’ that fall under these headings have not allowed these initiatives to be felt at the local scale. Fig. 1: Location of Beyoğlu district. In this article we chose Beyoğlu (fig. 1) as the local case study, due to the existence of cultural/creative industries since the nineteenth century. When we look at previous periods, there were times when Beyoğlu fell out of favour, and different segments gave up coming to Beyoğlu for various reasons. However, Beyoğlu has always recovered and regained its identity as a historical, touristic, and cultural centre (Türkün). Beyoğlu has been the scene of social and spatial changes. Especially a rapid renewal process has been in process since the 1980s. As a result most of the buildings were restored, leading to wide-scale gentrification, and many new buildings were built throughout Istiklal Street, its main avenue. The roads on both sides of the pedestrian street are filled with cafes, art galleries, bookstores, and antique shops, making Beyoğlu a 'Turkish SoHo' (Gül). A Critical Perspective from Tomtom Neighbourhood Tomtom is one of the 45 neighbourhoods of the Beyoğlu district with a historic identity and cultural richness (fig. 2). It has hosted many diplomatic institutions and historical buildings such as the Venetian Palace, the French Palace, the Italian, Russian, Dutch, and French embassies, ​​and continues to house many consulates and foreign schools (Akın). Because it is located in the centre of Galata, Çukurcuma, and Karaköy, since the beginning of the 2000s the Tomtom neighbourhood has become very attractive due to low rental prices in the transformation process in Beyoğlu. With the low-cost renovation practices, the creative class, which has a weak economic accumulation, and has a high artistic quality, has started to open their galleries in this district. In addition to this, cafés, boutique hotels, and entertainment venues opened in succession, and this class transformation attracted the attention of capital owners. The district had to face not only the danger of gentrification caused by this class migration but also the results of the Galataport project, a real estate capital initiative (Kütükoğlu). Fig. 2: Map of the Tomtom neighbourhood and its surroundings. A case study was conducted between September 2018 and August 2021 using secondary data, observation, and in-depth interviews to provide a critical perspective on cultural frameworks from the perspective of local stakeholders and networks in this neighbourhood. In the case study, in-depth interviews were conducted with 30 design studios and art galleries that have moved to Tomtom in the last decade. These interviews were held in three separate periods: the first was in September 2018, following the start of the Tomtom Designhood Project; the second in August 2019; and the last in June 2021. The Missing Ingredients As mentioned above, some criteria are required to be a booming creative city. As a result of the fieldwork carried out in the Tomtom neighbourhood, Istanbul's trajectory in becoming a creative city has been discussed under three headings: ownership and patronage, financial support, and resilience. The creative cluster in the Tomtom neighbourhood started as a neighbourhood revitalisation effort by a real estate investment firm to create a cultural hub in Istanbul, with the creation and promotion of an annual design event since 2017: Tomtom Designhood, inspired by similar events across Europe. However, this business approach did not suit the cultural businesses moving into the neighbourhood. Relying on the market alone and expecting up-and-coming cultural businesses to ‘invest’ in promoting their neighbourhood has not been a sustainable growth model for Tomtom. Interviews with firms in the area have demonstrated that social networks have been a more reliable means for attracting and maintaining design firms in the area. These networks appear to create a sense of belonging and identity, with a high level of personal investment, trust, and support as the foundation of relationships. The slow-paced relocation of businesses within close social networks has been more promising in establishing the cultural hub. The results show that the creative cluster grew slowly due to the lack of support by local authorities and the limited resources for the businesses relocating into the area. In recent years, multidisciplinary design events have been taking place in this new creative neighbourhood. Tomtom Designhood generally organises these events, some of them with the cooperation of the annual design event Contemporary Istanbul, and invites everyone to explore this creative neighbourhood with pop-up events, food and drink, and art and design exhibitions. In addition to design activities that recur periodically, there are also one-time events such as 'Back to Home', 'Tomtom Designwalks', and 'Portugal Is in Istanbul'. The main goal of these events is accessible art. Moreover, they aim to bring together art galleries, institutions, collectors, art students, and people of all ages who want to learn and know art better, especially young people and art professionals. These design events, which were put forward with the idea of "accessible art for everyone", have lacked patronage and backing from donors or government funding and thus had to be self-sustaining. Furthermore, the Tomtom events have been shifted to ‘money-making’ initiatives which further degraded their acceptance in the local neighbourhood. The design events and festivals in the neighbourhood are not directly connected with the creative community around the UCCN. The case study explores the effects of the large-scale design events on local dynamics and has also touched upon the effects of the Covid-19 pandemic, and reveals that the most critical factor in the creative industries' resilience in times of crisis has been support by public policies and advocates. The Covid-19 pandemic, which can be described as a global crisis, has affected the creative sectors at Tomtom and tested the resilience of the design firms in the area. Due to the lockdown measures, restrictions on international mobilities, and social distancing measures implemented in this process, some creative sectors could not continue their operations. There were no specific funding support systems for design professionals. Stating that the most significant potential of this area has been foreign tourists, the designers commented that their work has come to a standstill due to the complete stoppage of the tourist flow during the pandemic. On the other hand, it has been determined that some designers explored new business forms by developing new skills, not affected by the pandemic or relatively less affected. In addition, designers who sell products that appeal to higher-income groups also stated that they have not been economically affected by this process. ‘The City of Design’ title was expected to bring some visible changes to Istanbul, especially in an emerging creative neighbourhood like Tomtom, and even in the entire Beyoğlu district. However, unfortunately, it is not possible to see the effects of these even in a crucial creative neighbourhood like Tomtom. A positive step was taken at the last point of the whole place branding process, and Tomtom was included in the "Beyoğlu Culture Road" project carried out by the Ministry of Culture and Tourism in June 2022 (fig. 3). In this project, which is defined as "the branding project that transfers the cultural heritage of a city to future generations", many paid and free design events were held for two weeks in crucial creative and touristic areas such as Galataport, Atatürk Cultural Center, and French Street, with the participation of many national and international designers and artists. Many people had the opportunity to get to know Tomtom as a design neighbourhood, thanks to various concerts, workshops, festivals, design product exhibitions, and food and beverage areas held during this event for two weeks. Fig. 3: Posters for the Tomtom Designhood event in 2018 (left) and 2022 (right). (Source: Tomtom Designhood.) From Istanbul's perspective, the reciprocal relationship between creativity and Istanbul results in more creative industries, strengthening Istanbul's position in the global network. This study proves that a successful cultural policy needs to include financial support and local government cooperation for a more sustainable strategy. From an urban policy perspective, social networks seem a crucial player for a better and more sustainable support system that provides answers to the needs of the creative industries. It is hoped that the results of this study will provide new perspectives on understanding the importance of the collaboration of private, public, and civil society actors in order to strengthen cultural industries in creative cities and promote the diversity of cultural expressions. In Tomtom, as Colomb argued and authors focussed on place-making and branding have argued, specific local culture, history, identity, and aesthetics are picked, sanitised, commodified, and promoted to be consumed by target groups such as tourists or high-income locals as part of the place-making process. However, in this local neighbourhood, this process can negatively affect the spaces and social groups involved, particularly with gentrification pressure from its surrounding neighbourhoods, resulting in a loss of authenticity or outright displacement in the future. Acknowledgment The research was undertaken, in part, thanks to funding from the TUBITAK 2214-A International Research Scholarship Program. Sources Maps in fig. 1 and fig. 2 were developed by the authors using mapstyle.withgoogle.com. Posters in fig. 3 are from Tomtom Designhood: https://www.facebook.com/Tomtom-Designhood-363369284116558/. References Akın, Nur. 19. yüzyılın ikinci yarısında Galata ve Pera. No. 24. Literatur, 1998. Caves, Richard E. Creative Industries: Contracts between Art and Commerce. Harvard UP, 2000. Colomb, Claire. Staging the New Berlin: Place Marketing and the Politics of Urban Reinvention Post-1989. Routledge, 2013. D'Ovidio, Marianna. The Creative City Does Not Exist: Critical Essays on the Creative and Cultural Economy of Cities. Ledizioni, 2016. Florida, Richard. The Rise of the Creative Class. Basic Books, 2019. Florida, Richard, Tim Gulden, and Charlotta Mellander. "The Rise of the Mega-Region." Cambridge Journal of Regions, Economy and Society 1.3 (2008): 459-476. Grodach, Carl. "Urban Cultural Policy and Creative City Making." Cities 68 (2017): 82-91. Gül, Murat, Trevor Howells, and Aras Neftci. Istanbul Architecture. Watermark Press, 2013. ISTKA. 2014-2023 İstanbul Regional Plan. 10 Feb. 2022 <http://www.istka.org.tr/>. Kütükoğlu, İlker. Mimarlık ve Seçkinleştirme: Cihangir Örneği. Diss. Fen Bilimleri Enstitüsü, 2006. Landry, Charles. The Creative City: A Toolkit for Urban Innovators. Routledge, 2012. Martí-Costa, Marc, and Marc Pradel I. Miquel. "The Knowledge City against Urban Creativity? Artists’ Workshops and Urban Regeneration in Barcelona." European Urban and Regional Studies 19.1 (2012): 92-108. Öner, Oğuz. "Istanbul 2010 European Capital of Culture: Towards a Participatory Culture?" Orienting Istanbul. Routledge, 2010. 283-294. Rosi, Mauro. "Branding or Sharing? The Dialectics of Labeling and Cooperation in the UNESCO Creative Cities Network." City, Culture and Society 5.2 (2014): 107-110. Scott, Allen J. "The Cultural Economy of Cities." International Journal of Urban and Regional Research 21.2 (1997): 323-339. Stocker, Karl. "The Power of Design." A Journey through the 11 UNESCO Cities of Design. 2013. Türkün, Asuman. “Arafta Bir Beyoğlu: Tarihsel Kesitleriyle Bir Semt Yıllar İçinde Değişimler” 5 Apr. 2022 <https://www.araftabirbeyoglu.com/tr/>. UCCN. “About Us.” 2 Feb. 2022 <http://en.unesco.org/creative-cities/content/about-us>. UCCN. “UNESCO Creative Cities Network for Sustainable Development.” 2 Feb. 2022 <https://unesdoc.unesco.org/ark:/48223/pf0000375210>. Yigitcanlar, Tan, Koray Velibeyoglu, and Cristina Martinez‐Fernandez. "Rising Knowledge Cities: The Role of Urban Knowledge Precincts." Journal of Knowledge Management (2008). Zitcer, Andrew. "Making Up Creative Placemaking." Journal of Planning Education and Research 40.3 (2020): 278-288.