General Directorate of Turkish Radio Television Institution

General Directorate of Turkish Radio Television Institution On the main north-south axis of the city of Ankara, Atatürk Boulevard; after passing in front of the main gate of Turkish Great National Assembly, between embassies of two eternal rivals, United States and Russia, an interesting building with few stories and purplish screenings welcomes you. That building is one of the most Figure 1: TRT Building from Atatürk Boulevard. worthy buildings of Ankara to focus on to understand the socio-political and architectural milieu of Turkey in the last quarter of 20th century; which has been a centre of attention for political forces, non-governmental organizations, journalists, technicians and entertainment world: The General Directorate of Turkish Radio and Television Institution. Through the 25 years of occupancy, the institution has flourished from a modest and amateur organization with unimportant experience and capability, to a colossus of media broadcasting with 13 television and 16 radio channels, in Turkey and to five continents of the world.1 As a witness of the social, political and architectural history of Turkey, with its genuine formal and functional approach; and its innate characteristic of being the first building in Turkey which had designed to fulfil the architectural needs of a state broadcaster of television, the building is found worthy to study in the context of the modern architecture of Turkey, between 1950 and 1980. Research for this paper was made in three parts. Firstly, the archival information from the books, articles and newspapers are derived, including video footages from the online archive of TRT 2 and shootings behind the scene made by former TRT employees, as well as the contextual data from the architectural books and articles about the general characteristics of the era. Secondly, the oral history studies were made with TRT employees who worked in this building: Cemile Okyay Mumcu (Chief Architect in Directorate of Construction), Ahmet Fazıl Okyay (Former Chief Setting Designer), Haluk Sezer (Civil Engineer), Zülfikar Yılmaz (Electrical Engineer) and Ali Ulusoy (Architect, made survey of the studios in 2004). Lastly, from the architectural projects and documents, with the support of existing visual materials, an architectural decipherment of the building is done. Turkish Architecture in the 1960’s and 1970’s Figure 2: Emek İşhanı (Tokay & Tayman). Figure 3: DSİ Genel Müdürlüğü (Tokay, Çinici, Doruk) Figure 4: TMO Genel Müdürlüğü (Bektaş, Vural, Özsan) From the strict international rationalism of the 1950’s, the Turkish architecture has tended to a new direction with interesting experiments on new typologies, forms and materials in 1960’s. As Vanlı has mentioned, the 1950’s were an era that the international rationalism was chosen as a style to coalesce with the Western / International zeitgeist, especially on great-scale public buildings and the high rise commercial buildings like Emek İşhanı, rather than seeking for a regional / Mediterranean modern. 3 Nevertheless, the emphasis on program and function created a monotony of single-standing vertical prisms with a horizontal base, and later a scheme of articulated small-scale blocks in architectural competitions at the same time 4. The dissatisfaction from this self-sown (hüdayınabit) situation of the patrons and the architectural community in Turkey was explicit in the words of Bülent Özer: “(...) The generalisations made with leaning to formal phenomenology, namely visual evaluations belonging to the figural development are inevitably loaded with many disabilities, which are because of the fact that the issue of development is only taken as figural, by being loyal to some abstract generalisations and formulas. If the changes of 20th century architecture are not connected to the social, economic and technical factors, not explained with the concrete reasons of changes, and not being interrelated with the forms and determinant factors; this scheme will become a common, universal and preliminary hallmark. What does this means? This means, in the countries having other social, economic and technical characteristics comparing with the West, like us, for the sake of not being outdone; it will be tried to kept in step with the same “universal” scheme. The result of such behaviour is magazine architecture 5 and apery, is international academism! Further, in the periods that individualism is predominant and the examples of mannerism are eminent, as Prof. Pevsner has mentioned, it is a disaster.” 6 1 Because of the fact this contextual debate on architectural authenticity is not the main topic of this paper; it will not be mentioned in detail. However, it is essential to note that the direct copying of the styles and typologies from the Western world is also in parallel with the sociopolitical shift in Turkish society, especially at upper-class. The dominant force of nationalism and production of a homogenized national identity is balanced with a desire of being “little America” and Americanisation, with the political background of Turkey as a NATO partner from the year 1951 and as under the rule of right-wing Democrat Party (DP) and later, Justice Party (AP); which both have taken the mercy of oppression against leftist opposition and built their discourses on the base of the term of “developmentalism”.7 In that sense, the organization of governmental structure under establishment of new directorates, institutions and public economic enterprises had simultaneously happened with development of capitalist economy and its tools, after 1950’s. 8 After 1960 coup d’état, planned economy was adopted as the complimentary principle of mixed economy, appropriating the interventionism of state in five-year development plans. In respect to this approach, all of the great-scale construction, development and investment projects are decided, under the control of state planning organization (DPT). 9 Yet, in most cases, the decided calendars and budgets were not fitting with expectations of political authority and public opinion, so in some cases, populist concessions could be made. The unprecedented growth of TRT in that era was rooted from this reason. The Start of State Television Broadcasting in Turkey The first radio transmission in Turkey was done in 1927, in a room at the basement of Sirkeci Post Office in Istanbul. The diffusion was unregulated and unscheduled until the establishment of Ankara Radio in 1938. The legal definition of the institution of state broadcaster, with its status and impartiality was undefined until 1964, so the state radio was used Figure 5: Ankara Radio House from 1940. VEKAM Ankara, Photo, Postcard and Engraving Archive Property. as an effective apparatus of oppression by CHP government in 1940’s and DP government in 1950’s. 2 Before the coup, one of the major principles that the opposition against DP asserted was the objectivity of state broadcaster. In 1961 constitution, the impartiality and independence of the state broadcaster was defined explicitly, which had later become of one of the major arguments of right-wing governments by accusing the state broadcaster as “the loudspeaker of communists”. On May 1, 1964, a definite state broadcasting law was constituted, under the name of an independent institution called Turkish Radio and Television Institution (TRT). However, in the first five-year development plan legislated in 1963, does not include a goal of starting television broadcasting. 10 Besides, University from had 1952, Istanbul started an Technical experimental diffusion of television in the laboratories of Electrical Engineering in Taşkışla. However, due to the fact that this diffusion was made for academic purposes, its coverage was small and much of the inhabitants of Istanbul did not have an opportunity to watch. 11 Moreover, until 1980’s, television receivers have been Figure 6: Turkish Prime Minister, İsmet İnönü in İTÜ TV studio in Taşkışla, 1963. luxurious household appliances, which were imported with an expensive cost, which much of the people could not afford to watch an experimental broadcast. Nonetheless, after the regulation of TRT has passed in 1964, the television broadcasting by state is defined to be realized soon. Yet, the exact time period was still a mystery. In the tenth chapter of the second five-year development plan, prepared in 1968, included a section about the start of the television diffusion in this plan period, under the title of “Transmission and Telecommunication / Radio and Television”. Regarding the plan, it is estimated that the number of television receivers was around 3000 in Istanbul and 4000 in the southern part of Turkey in that era. In that part, it is also noted that before the start of television broadcasting, the surveys about the television systems in which regions, in how much capacity and on what stages will be developed are going to be finished. 12 For that reasons, two surveys are done according to Aziz, one is by TRT in 1968 and the other was by UNESCO experts in 1971. 13 In those surveys, due to the topography of Turkey, the way of increasing the coverage of television transmission is claimed possible with establishing many 3 small-scale transmitters with production centres in some bigger cities, in relation with general directorate in Ankara. Much of the technical capabilities were fulfilled in 1970’s and 1980’s, with the innovation in satellite broadcasting dominantly in 1980’s. Apart from the technical needs, the qualification of human resources was a serious issue. In 1963, in contrast with the terms of the First Five-Year Development Plan, according to the bilateral agreement with German Federal Republic, a Television Training Centre is started to be established in Ankara. In those terms, the technical equipments will be donated and educators will be provided by Germany, yet this centre is only managed for an educational purpose, close-circuit broadcast 14 . Erecting an appropriate building for television diffusion was a duty of Turkish government, yet this could not be done due to financial inadequacy. The only solution was to merge the basement floors of two apartment buildings in Kızılay, on Mithatpaşa Avenue 15 . After that time, the vicinity of Mithatpaşa Avenue gained an importance, because in 1965, the General Directorate of TRT was moved from parcel post building in Ulus to the five-storey building on Mithatpaşa Avenue, 37 16. Until 1990, the time that construction of the TRT Campus in OR-AN was finished, much of the services of television was scattered around this location, dominantly in the rented offices located in apartment blocks or office buildings. Figure 7: The map of buildings used by TRT in 1970’s. Generated by Cem Dedekargınoğlu. 4 The first test broadcast of TRT Ankara Television was realized in January 31, 1968, at 19:30, from the studios at the basement floor of two apartments in Mithatpaşa Avenue, 49. The broadcast is decided to be made for three times a week. 17 The coverage of Ankara Television Transmitter was 1276 km2 and reaching to one million viewers at that time. In addition, two more studios are planned to be taken in operation and the technical equipments needed Figure 8: The first TV news presented by Zafer Cilasun, in Mithatpaşa Studio. are contracted with German Federal Republic 18. In the first years, TRT was having many difficulties on television broadcasting. Financial resources were insufficient, shortage of power was affecting the time period of broadcasts, and the technical equipments were outdated and out of service for many times. But the most dominant and urgent issue to solve was the problem of space for studios, broadcasting and its services, with proper storages and offices. According to Mahmut Tali Öngören, the first head of department of Ankara Television, the first years in Mithatpaşa Studios were exhausting because of the inefficacy of physical space, and they were trying to work in extremely primordial conditions: “The studio was located at the basement floor of an apartment block that is inappropriate for broadcasting; the decor atelier was at the basement of the next building. The upper apartments of number 49 were the offices of television. A family living in a flat in the same building was complaining from the noise, but I had nothing to do and I could only say they were too unfortunate. When I said that they had to move to another place, they had become angry, yet soon after they needed to move.”19 The fragmentation of service units was another problem. According to Ahmet Fazıl Okyay, the former chief setting designer of TRT, until 1990’s; storages and ateliers of TRT Ankara Television were placed in 17 different building without any planning, like much of the governmental institutions in that period. 20 In any case, a new depot or flat is rented for the urgent needs, and for a media like television that has to be punctual, waiting in traffic to bring the bands for the news hour or moving a sizable decor from atelier to studio was a huge problem. 21 Moreover, the preservation of archival documents and bands could hardly be achieved, and due to lack of blank bands, they were being re-recorded for new programs. 22 5 Apart from that, as we can see from the statistics given in Aziz’s article, the number of personnel was exponentially increasing after 1968 in TRT Television.23 That might be reasonable for the employment of needed qualified experts, but TRT was also a conspicuous place for the people having a political and influential backer behind them. Cem explains that in his memoir from the Year Number Of Personnel 339 347 461 545 759 839 1970 1971 1972 1973 1974 1975 Percentage in Total %12 %14 %16 %17 %21 %21.5 Figure 9: Changes in number of personnel of TRT in years. first day he had started his duty as general director, and claims that every room of the directorate building was squeezed with people without any job. He asserts this comes from two reasons; one is the higher salaries comparing with other governmental institutions and the possibility of TRT to open a cadre without informing a higher authority. Although he states that both are the complementary statues of an independent broadcaster, that was abused by the previous boards of directors. 24 In general, a new building that would gather all the units under a single roof was becoming the most urgent need day by day. Record of the Building TRT General Directorate and Television Facilities Building, as the name mentioned on the architectural drawings, is a nine-storey building, at the address Nevzat Tandoğan Avenue №: 2, Kavaklıdere/Çankaya/Ankara. From the permit given on March 26, 1971, we can detect that the construction had started in March 1971, and finished in October 12, 1973, from the building license. Yet, as far as we know from Cem’s memoir and tender announcement published in daily newspapers, the directorship was the last unit that moved to that building, on January 1975. Figure 10: Construction permit. 25 From these data, we can determine that the building is taken in operation around at the beginning of 1974. From the interview made with Cemile Okyay, it is seen that the building is also named as TARKO building by the personnel. Moreover, the proprietor of the building is noted as Tarım Kredi Kooperatifi Mensupları Emekli Sandığı Vakfı (The Retirement Fund Foundation of Agricultural Credit Unions Members). 26 This Figure 11: Building licence. 6 foundation is also owned another building used by TRT: the building including Arı and Orkut Studios and the Directorate of Agricultural Credit Unions. Moreover, both buildings are erected in the same period, used for a similar purpose, and even the architects of the buildings were the same: Demirtaş Kamçıl and Rahmi Bediz. Figure 12: TRT Building and Kavaklıdere Neighborhood from 1970’s. VEKAM courtesy. Figure 13: Label of TRT TARKO Studios at the entrance of the building. Figure 14: Entrance of Orkut Studio from the year 2001. In the interview made with Zülfikar Yılmaz, it is said that the building has been transferred to Emekli Sandığı in 1982. Unfortunately, it was not possible to find a document or contract about the conditions of tenancy or allocation. However, Haluk Sezer mentioned that both two buildings were designed purposefully for the needs of TRT and later revised for the changing needs. For example, Orkut Studio was firstly designed as a theatre, yet given to TRT in design phase, and Arı studio was once a cinema and in 1986 converted into a television studio. 27 The architectural drawings might delineate a more vivid outline for this situation. On the section drawing BB, we can determine that the floors underground are designed to include the needed spaces for a live broadcast, including a foyer, lounge, direction room, make-up room, storages, carpenter and so on; whereas the floors over ground are only depicted as offices, without further details. The detailed decipherment of the plans will be done in the next part, but only this layout can give an idea about the actual allocation of the building. It is highly suggestible that the building was only including the studios and service spaces of TRT at first, but later with the unprecedented expansion of the institution, the upper floors were also allocated. Figure 15: Section BB drawing. The office spaces are marked with red and the studios and technical spaces are marked with blue. 7 Decipherment of the Building The building is located in Kavaklıdere district of Ankara, one of the places that have a symbolic importance, at the intersection of Atatürk Figure 16: Site plan drawing. Boulevard, Nevzat Tandoğan Avenue and John F. Kennedy Avenue. Facing towards the boulevard, Nevzat Tandoğan Avenue and Ballı Street, the building is surrounded with essential landmarks of Ankara, like the embassy of USA, Chamber of Industry of Ankara, former General Directorate of Türkiye İş Bankası, Ombudsman Institution, Russian Trade Agency (former USSR Figure 17: Third basement floor plan. embassy) and Modern Arts Centre. The ground floor area of the building is 1645.56 m2 and the D A total floor area is 12741 m2. From the construction permit and architectural drawings, it is explicit that the building has a reinforced concrete skeleton coming from raft foundation C B strengthen with static grounding 28 , with nine floors, which three of them are at underground Figure 18: Second basement floor plan. level, ventilated and illuminated partially with areaways placed at eastern, western and southern A sides of the building. Moreover, on the projects, in is depicted that the enclosed spaces would be ventilated with air conditioner. B At underground levels, a live broadcast studio with audiences (Studio A), a recording studio Figure 19: First basement floor plan. (Studio B), a news studio and its direction room (Studio C), a continuity studio (Studio D); control, rehearsal and measurement rooms; photography, video and telecine studios, archive rooms; equipment, costume and accessory storages and service spaces. At the northern side of the building, having an entrance from Ballı Street, a vehicular ramp suitable for trucks is placed and has a direct access to studios on 8 the second basement floor level at -7.20 metres. The studios A and B have a double-space height and the related catwalks in studios are depicted in the project. In Studio A, 16 metres of, and in Studio B, 10 metres of column aperture is passed and the beam system is designed in harmony with Figure 20: Shooting of a live program with audience at Studio A in 1970’s. this prerequisite, with durable to excess weight of steel skeleton of the sound and lighting system. In Studio A, for the needs of live broadcast with sound, the needed sound insulation is depicted. The main entrance with a hall facing towards Nevzat Tandoğan Avenue at the entrance floor was cancelled and converted into offices on the project drawings, which is said to be used by Figure 21: A frame from the special program for inauguration of Studio B on 1975. accountancy and board of advertisement. 29 It is replaced with the corner entrance with stairs at the boulevard intersection, with retracting the façade 5.70 metres. Apart from that, the entrance floor included office spaces, synchrony studios, montage rooms, screening rooms and related technical spaces. The circulation of building is configured with two well holes at west and east wing, including four passenger and freight lifts. Figure 22: Studio B in 2016. The wet spaces are also placed combined with the well holes. On the project, the four upper floors are indicated as normal floors, which are the replica of each. The configuration of office spaces on these floors are not drawn in detail, just left under the name of “the office spaces which will be divided according to the needs”, and the traces are drawn with pencil Figure 23: Ground floor plan on the project drawing. The space in the middle of 9 the building has left empty and created a void that enabled the offices to take sunlight and fresh air from both sides. From the photos, it is possible to see that the offices are located in a “karnıyarık” plan, with a corridor in the middle surrounded with rooms on both sides. At the north side of the west wing, steel spiral fire-escape stairs are placed. The Figure 24: Upper (normal) floor plan chair of general directorate was located at the third floor, as it has been mentioned in Cem’s memoir. 30 The fifth floor was specified as terrace floor, having five-metre setback distance and including cafeteria, kitchen, scullery, maintenance room and storages. Moreover, the balcony planned to be placed at the northern side of the cafeteria is Figure 25: Interior of the offices Figure 26: A frame from corridors marked with a cross and cancelled on the drawing. Flat roof of the building is placed at +18.20 metre height. Even though a definite roof plan cannot be found, for bearing the weight of the needed equipments for diffusion like transmitter and antenna, the roof is thought to be designed as durable to those. The setback distance at terrace was covered with inclined undulating plates. Figure 27: Fifth (terrace) floor plan The rotating aluminium joineries with 60 cm width and 130-200 / 140-200 dimensions, and undulating precast claddings are not drawn in detail. The shop drawings of purplish screenings combined with the façade are also unknown. However, a similar office Figure 28: Precast panels and plexiglas screening on façade. Figure 29: Plexiglas screenings on the façade of Töbank building at Akay Junction, 1980’s. building made in 1970’s, the Töbank (TESK) building at Akay junction, also has greenish screening anchored on façade, which means the use of plexiglas material might be fashionable in that time. The blind façades at north are rendered with roughcast and whitewash. 10 Figure 30: East elevation drawing. Figure 33: South elevation drawing. Figure 31: West elevation drawing. Figure 34: Section AA drawing. The office spaces are marked with red and the studios and technical spaces are marked with blue. Figure 32: North elevation drawing. The Incompleteness of the Building Although the building was useful for TRT to bring together the scattered units of television, the continuous expansion of institution has created the need of new spaces after a few years the building was taken in operation and much of the functions of the building still could not be operated for a few years. This process can be followed from the daily newspapers. For instance, the fire on May 25, 1975, which was reported in the issue of Milliyet on May 26 and 27, damaged much of the new technical equipments at studios at basement floors and that might be one of the reasons of postponement of the Figure 35: The incident of fire on Milliyet. 26.05.1975 p.1, 27.05.1975, p.1. use of new building in full condition at that time. Another example is from the issue of Cumhuriyet, on June 26, 1976. In that news, it is described the technical services of television were reconfigured 11 for rapid production at the new studios under the new building of general directorate, which would be taken into operation soon. From that, it is explicit that in the middle of the year of 1976, the studios were still not in function totally. One other news was published in Cumhuriyet, on October 25, 1976, stating that the Kavaklıdere building would be allocated by television totally, and the technical spaces of the television would be moved to a new building Figure 36: Cumhuriyet, 26.06.1975, p. 10 which was projected to be constructed next to the existing building. On this block (Nevzat Tandoğan Av. 4), according to Zülfikar Yılmaz, an old apartment building was rented for art directorate and archive and named as “Küçük Ev”, in reference to the famous American series, “Little House on the Prairie”.31 Conclusion Despite all the difficulties, TRT has used this building as the headquarters of the state broadcasting for 25 years. In 1991, the new TRT Campus in OR-AN, designed by Erdoğan Elmas, Zafer Gülçur and Figure 37: Cumhuriyet, 25.10.1976, p. 10 Ertur Yener is inaugurated and much of the units in Kavaklıdere building were started to move partially. 29 In 1999, the upper floors of building were emptied and given to Yargıtay as an annex, yet the studios and technical units at the basement floors are still kept in use, which were renovated in 2004 with new technical equipments. 32 Today, the building is still in use as divided between two institutions, and will be used by TRT at least one year more, according to Öztürk-Çiçek. 33 Recently, the building remains on the agenda with the parking and security problem, pit the embassy of USA against Yargıtay. To conclude, it is essential to note the building still protects its genuine characteristics, physically, but more dominantly, socially. Even though the functions have been replaced, the surrounding of building is named with TRT and while looking to the rise of Kavaklıdere Tunalı region as a branch of city centre during 1970’s and 1980’s, it is inevitable to see the role of TRT as part and parcel of the Ankara. 12 Figure 38: Juxtaposition of TRT Building from 1970’s to present. NOTES 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. Derived from the short history of TRT, on TRT Offical Portal. Retrieved May 31, 2017 from: http://www.trt.net.tr/Kurumsal/Tarihce.aspx Numerous footages can be found in http://www.trtarsiv.com. Other than that, a behind the scene shooting made in 2000 by Levent Ulutan can be watched from Youtube. Retrieved May 31, 2017 from: https://www.youtube.com/watch?v=lJkn_t--BAk Vanlı, 2006: 205-215. Yücel, 1984: 129-132. The term of “magazine architecture” is widely used for criticising the issue of importing a stlye of architecture directly from the “fashionable” West, without regarding the innate characteristics of the geography and culture. For more information: Batur, A. (2005). “The Post-War Period: 1950-1960”, A Concise History: Architecture in Turkey during the 20th Century, pp.45-48. Ankara: TMMOB Mimarlar Odası. Özer, 1993: 374. Bozdoğan & Akcan, 2012: 105-107. Batur, 2005: 54-55. Bozdoğan & Akcan, 2012: 172-173. Aziz, 1976: 143. Öztürk-Çiçek, 2017: 201. İkinci Beş Yıllık Kalkınma Planı. Online Document, pp. 589-592. Retrieved June 5, 2017 from: http://www.kalkinma.gov.tr/Lists/Kalknma%20Planlar/Attachments/8/plan2.pdf Aziz, 1976: 145. Cankaya: 2003: 74. Tuğrul, 1975: 14. Cankaya, 2003, 117. Cankaya, 2003: 75. Cankaya, 2003: 79. Öngören, 1983: 16. Uysal, 2011: 44. 13 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. From the interview made with Ahmet Fazıl Okyay on 13.04.2017. Serim, 2007: 74. Aziz, 1976: 202-203. Cem, 1976: 19. Cem, 1976: 151-152. From the interview made with Cemile Okyay Mumcu on 13.04.2017. From the interview made with Haluk Sezer on 13.04.2017. From the interview made with Zülfikar Yılmaz on 13.04.2017. Cem, 1976: 204. From the interview made with Zülfikar Yılmaz on 13.04.2017. Göncü, 2012: 21-34. From the interview made with Ali Ulusoy on 26.04.2017. Öztürk-Çiçek, 2017: 218. REFERENCES • • • • • • • • • • • • • • Aziz, A. (1976) Televizyonun Türk Toplumuna Ekonomik Etkileri in Karacan Armağanı 1976, pp. 139-224. İstanbul: Milliyet Yayınları. Aziz, A. (1999) Türkiye’de Televizyon Yayınlarının 30 Yılı. Ankara: TRT Genel Sekreterlik Basın ve Yayın Müdürlüğü. Bozdoğan, S. and E. Akcan (2012). “Populist Democracy and Post-War Modernism”, “Architecture under Coup d‘Etat”. Turkey. Modern Architectures in History, pp.105-138, 171-201. London: Reaktion Books. Cankaya, Ö. (2003) Bir Kitle İletişim Kurumunun Tarihi: TRT 1927 – 2000, pp. 76-80, 117-119, 187194, 235, 277, 304-307. İstanbul: Yapı Kredi Yayınları. Cem, İ. (1976). TRT’de 500 Gün - ...Bir Dönem Türkiye’sinin Hikayesi, pp. 19, 58, 90, 152. İstanbul: Türkiye İş Bankası Kültür Yayınları. Göncü, Ö. (ed.) (2012). Kamu Hizmetinde Mimarlığa Tanıklık No: 6: Türkiye Radyo Televizyon Kurumu. Ankara: TMMOB Mimarlar Odası Ankara Şubesi. Öngören, M. T. (1983). Ayıptır Söylemesi: TRT’nin İçinden. İstanbul: YAZKO. Özer, B. (1993). “Mimaride Üslûp, Batı ve Biz”, Yorumlar: Kültür, Sanat, Mimarlık, pp. 368-435. Istanbul: Yapı Endüstri Merkezi. Öztürk-Çiçek, Y. (2017). TRT Kurumu Ankara Oran Yerleşkesinin Kurumun Değişen Mekansal İhtiyaçlarını Karşılama Potansiyeli Üzerine Bir Değerlendirme. İn TRT Akademi, 02(03), pp. 197-223. Serim, Ö. (2007). Türk Televizyon Tarihi 1952-2006., pp. 72-89. İstanbul: Epsilon Yayınları. Tuğrul, S. (1975). Türkiye’de Televizyon ve Radyo Olayları: Olaylar, Belgeler, Gerçekler, Açıklamalar, pp. 14-52. İstanbul: Koza Yayınları. Uysal, Y. Y. (2011). Türkiye’de Mimarlık Politikaları ve 1950 Sonrasında İnşa Edilen Kamu Binaları. Dosya, 25, pp. 38-47. Ankara: TMMOB Mimarlar Odası Ankara Şubesi. Vanlı, Ş. (2006). “20. Yüzyıl İkinci Yarının İlk Otuz Yılında Türk Mimarlığı”, Mimariden Konuşmak: Bilinmek İstenmeyen 20. Yüzyıl Türk Mimarlığı. Eleştirel Bakış, 1, pp. 205-344. Ankara: Şevki Vanlı Mimarlık Vakfı Yayınları. Yücel, A. (1984). “Pluralism Takes Command: The Turkish Architectural Scene Today”, in Holod, R. and Ahmet Evin (eds.) Modern Turkish Architecture, pp.123-152. PA: University of Pennsylvania Press. IMAGE REFERENCES: 1. 2. 3. Cem Dedekargınoğlu Archive. Emek İşhanı. Atılım Üniversitesi Ankara Dijital Kent Arşivi. Retrieved June 5, 2017 from: http://ankaraarsivi.atilim.edu.tr/shares/ankara/images/imagebrowser/036m.jpg Devlet Su İşleri Genel Müdürlüğü. Boyutpedia. Retrieved June 5, 2017 from: http://www.boyutpedia.com/ resim.ashx?DocID=5914&imgName=image001.gif 14 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. Toprak Mahsulleri Ofisi Genel Müdürlüğü. Boyutpedia. Retrieved June 5, 2017 from: http://www.boyutpedia.com/resim.ashx?DocID=7707&imgName=image001.gif Ankara Radiohouse in 1940. VEKAM Ankara Photo, Postcard and Engraving Collection, Reference Number: 1822. Turkish Prime Minister İsmet İnönü in İTÜ Tv studio in Taşkışla, 1963. Onedio. Retrieved June 5, 2017 from: https://onedio.com/haber/televizyonla-unutulmus-ilk-bulusmamiz-turkiye-nin-ilk-televizyonkanali- itu-tv-1952--520273 The map of buildings used by TRT in 1970’s. Generated by Cem Dedekargınoğlu for the presentation of the paper. Zafer Cilasun, Wikipedia. Retrieved May 30, 2017 from: https://upload.wikimedia.org/wikipedia/ tr/1/1b/Zafer_Cilasun.jpg Aziz, 1976: 202. Construction permit given by the municipality. From Çankaya Municipality archive. Building licence given by the municipality. From Çankaya Municipality archive. TRT Building and Kavaklıdere Neighbourhood form 1970’s. VEKAM Ankara Photo, Postcard and Engraving Collection, Reference Number: 1822. TRT Tarko Studios Label. Foursquare. Retrieved May 30, 2017 from: https://igx.4sqi.net/img/general/width960/58597945_rrJ23aVht4T0euwzzYoCqpvwQbBIjz1n1uqiEskEuo.jpg Entrance of Orkut Studio from the year 2001. Nuray Güner Bayraktar archive. Section BB Drawing. Retrieved from the drawing copy from Çankaya Municipality archive. Site Plan Drawing. Retrieved from the drawing copy from Çankaya Municipality archive. Third Basement Floor Drawing. Retrieved from the drawing copy from Çankaya Municipality archive. Second Basement Floor Drawing. Retrieved from the drawing copy from Çankaya Municipality archive. First Basement Floor Drawing. Retrieved from the drawing copy from Çankaya Municipality archive. TRT Müzesi, Forum Programı. Retrieved April 27, 2017 from: http://www.trtmuze.com.tr/assets/ Scan0176.jpg TRT Müzesi, B Stüdyosunun (Tarko Std.) Açılışı Özel Programından. Retrieved April 27, 2017 from: www.trtmuze.com.tr/assets/Tarko-B-Std.jpg TRT Tarko Studios. Retrieved April 26, 2017 from: https://igx.4sqi.net/img/general/ width960/54277929_SPWi8ea2aleG1iPwREQYksLOEFJfBx0k7mhkqAJeMKA.jpg Ground Floor Drawing. Retrieved from the drawing copy from Çankaya Municipality archive. Upper (Normal) Floor Drawing. Retrieved from the drawing copy from Çankaya Municipality archive. Interior View 1. Foursquare. Retrieved May 30, 2017 from: https://tr.foursquare.com/v/ yarg%C4%B1tay-trt-ek-bina/4ffc3803e4b033998602e5f1?openPhotoId=527a44db11d2bc2d22e8a35a Interior View 2. Foursquare. Retrieved May 30, 2017 from: https://igx.4sqi.net/img/ general/width960/75229889_LnonkACg8cE1nLKaViE9-XZ7GwU8mN1gwAkcdVIqwKo.jpg Fifth (Terrace) Floor Drawing. Retrieved from the drawing copy from Çankaya Municipality archive. Cem Dedekargınoğlu Archive. Akay Kavşağı. Pinterest. Retrieved June 5, 2017 from: https://s-media-cacheak0.pinimg.com/originals/a5/e4/c1/a5e4c115e075c10b7e2086421bdde459.jpg East Elevation Drawing. Retrieved from the drawing copy from Çankaya Municipality archive. West Elevation Drawing. Retrieved from the drawing copy from Çankaya Municipality archive. North Elevation Drawing. Retrieved from the drawing copy from Çankaya Municipality archive. South Elevation Drawing. Retrieved from the drawing copy from Çankaya Municipality archive. Section AA Drawing. Retrieved from the drawing copy from Çankaya Municipality archive. TRT Binasında Yangın Çıktı. Milliyet. 26.05.1975 p.1. Bilirkişi TRT Yangını ile İlgili Soruşturmaya Başladı. Milliyet, 27.05.1975, p.1. Tv Teknik Servisleri Hızlı Üretim İçin Düzenleniyor. Cumhuriyet, 26.06.1975, p. 10. Kavaklıdere Binası Tümüyle Televizyona Veriliyor. Cumhuriyet, 25.10.1976, p. 10. A photomontage made by Cem Dedekargınoğlu from: Sanat Tarihçi, Kavaklıdere TRT Genel Müdürlük Binası. Retrieved April 27, 2017 from:https://www.sanattarihci.com/wp-content/uploads/2016/01/ Kavakl%C4%B1dere-TRT-Genel-Mu%CC%88du%CC%88rlu%CC%88k-Binas%C4%B1.jpg 15