You studied architecture at Architectural Association School of Architecture in London, in the early 1970s. How did studying architecture shape your practice of art? What are the ways in which you think your practice of working and your perspective have gone through significant change over the years?
Ahmet Ertuğ: I completed my architectural studies at Architectural Association in London between the years 1968-1974. In London, you could feel the wind of 1968, thanks to the energy of which I discovered a whole new world. I turned my commute to school into a cinematographic experience by passing through the British Museum, entering from the front door and leaving from the back.
I occasionally changed my route in the legendary museum and dropped in on the upper floors and side corridors. The mysterious corridors, rooms and spectacular works of art at the British Museum are the foundations of the dramatic perspective that I create behind the camera today.
AA was the freest school in the world back then. There was no class discrimination, and everybody could watch any lesson or conference that they wanted. This freedom and extraordinarily innovative view taught us that architecture had different dimensions. It was always emphasized that every project that we undertook needed to make a special contribution to humanity. We were taught that we didn't necessarily have to design buildings for that to happen.
After graduating from AA, I worked for two years in Iran in the design of the new city of Shushtar. The local architecture of Iran made it possible for me to get to know architecture all over again. After Iran I spent 12 months in Japan as a "Japan Foundation Fellow" between 1978 and 1979. The Japanese architecture and Japanese gardens transcended my values of thought and aesthetics to a whole different level.
On top of all that, upon returning to Istanbul, I had the opportunity to get to know the legendary architect Mimar Sedad Hakkı Eldem, to become good friends with him and to undertake architectural projects with him.
The mixture of AA, Iran, Japan and Sedad Hakkı Eldem left a special mark on my genetics.
About 30 years ago, I purchased a stone building in Beyoglu and started to use it as an architectural office. However, I was unable to complete both of the substantial projects where I worked as an architect due to violations of copyrights, and decided to focus on architecture as a photography artist and work on art books on architectural heritage. I can say that over 30 books that I have worked on so far were inspired by the creative energy that I get from this historical building. I exhibit my large format photographs in two separate galleries.
