Contemporary Urban Affairs 2019, Volume 3, Number 3, pages 51– 66 Scrutinising The Production Of Space On The Example Of Regent Street and Painting A Modern Life By The Agencies Of Regency * Dr. Hidayet Softaoğlu Royal Central School of Speech and Drama, MA Scenography Graduate, London, UK 1 Email: [email protected] A R T I C L E I N F O: A B S T R A C T The main aim of this study is to analyse the production of space and how human and Article history: non-human entities function as space producers or devices. The scope of this study is Received 8 November 2018 the Regent Street from 1818 to 1848. This paper aims to answer the following Accepted 3 January 2019 question: could space be a product that we can produce or what other things involved Available online 11 August 2019 in this production process? Numerous theorists contribute to the spatial analyses of this historical research. This paper puts special emphasis on the Lefebvrian spatial triad as a methodological decoder along with the Actor-Network Theory (ANT) to Keywords: analyse the 19th century-Regent Street. The combination of the triad, as well as the Regent Street; ANT, will be deployed as an original tool to analyse spaces with their data; then they Production of Space; will be used to create a spatial map. To do so, visual and written sources will also be Actor-Network used as data to decode and re-map or re-paint the modern life of Regent Street during Theory, the Regency Period. Urban Mapping. CONTEMPORARY URBAN AFFAIRS (2019), 3(3), 51-66. https://doi.org/10.25034/ijcua.2019.v3n3-5 T his work is licensed under a C reative Commons Attribution - NonCommercial - NoDerivs 4.0. "CC-BY-NC-ND" www.ijcua.com Copyright © 2019 Contemporary Urban Affairs. All rights reserved. 1 . Introduction history of London; the plan of the city was London is a striking place as it went through a amended to design the Regent Street. rapid social transformation because of its quick adaptation to the machinery following The dictionary meaning of the term the Industrial Revolution. Especially, the “production” is described as the Regency period (1811-30) displayed a “the process of making or growing goods to fascinating range of art, architecture, and be sold or the amount of something that is literature. Considering the fact that the city of made or grown by a country or a company”. London had never been changed even due *Corresponding Author: to the Great Fire of London (1666) until the Royal Central School of Speech and Drama, MA Regency period, this was the first time in the Scenography Graduate, London, UKE-mail address: [email protected] How to Cite this Article: Softaoğlu H. (2019). Scrutinising the Production of Space on The Example of Regent Street and Painting A Modern Life by the Agencies of Regency. Journal of Contemporary Urban Affairs, 3(3), 51-66. https://doi.org/10.25034/ijcua.2019.v3n3-5 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 3(3), 51-66/ 2019 However, spatially speaking, this term becomes a bit problematic, since we start 3. First Phase of Regent Street: Conceived questioning “what kind of goods could a Space space bear or who the manufacturers would Lefebvre describes the conceived space as be? Could space be assessed as if it is mass- representations of space. He argues that the produced and if so, who the buyers are then? “conceptualized space is the space of In the heart of this paper, the subjects or scientists, planners, urbanists, technocratic objects, such as “manufactures, buyers, users, subdividers and social engineers, as of a sellers” who played a role in the production of certain type of artist with a scientific bent” this modern thoroughfare are situated. By (Lefebvre 1991, 38). It is the production of proposing the Lefebvrian Triad & the ANT as a landowners, developers and the architects. useful combination to analyse space, this Following Lefebvre’s theory, De Certeau, paper aims to offer a map to display the coins a new term, the believable space producers of the space as if they are devices because its function stood for spatial or tools that contribute to this process while it appropriations since it should carry some also discusses what modern means in the early realistic approaches so that it could be built 19th-Regency society. and most of the time it needed “geometrical, space of visual, panoptical, or theoretical 2. Methodology construction” (Certeau 1984, p. 93). As it can The main methodology of this study is based be received from both views, conceived on Henri Lefebvre (1901- 1991)’s triad; space ought to be the earliest phase of conceived, perceived and lived space Regent Street, where the concept of this (Lefebvre 1991, p.38-39). Lefebvre categorises development came into being. the phases of production according to the According to Lefebvre, all forms, geometry, mode of developments, such as dreaming a approaches stands for a political ideology or space and developing it in an abstract way strategy that triggers a production. (Lefebvre (conceived), concrete development of 1991, p.39). Therefore, social, cultural, political drawn space (perceived) and experiencing reasons behind Regent Street constitute the and redeveloping the concrete space (lived). necessity of the street. People with their Parsing out the Regent Street into three strategies, tactics, drawings or things that phases, accordingly, will demonstrate human involved in this phase should be thought as a or non-human elements (buyers, seller, manufacturer of conceived space. manufactures) who were involved in the production of space. The Actor-Network 3.1. The necessity for Regent Street Theory (ANT) will be used to create a network The 19th century streets of London were more among those users and manufacturers of than a connection or a road, but they were Regent Street. Originally, the ANT was also the venues for encounters and eventually developed by Bruno Latour and Michel Callon embodied the link between the King and his in the 1980s. It is usually considered as a tool people since the streets were the only places instead of a true theory. According to ANT, where paupers could see and communicate agencies could consist of people who are with or even attack to their monarch (figure called actors; they might also be non- 1). The Prince Regent knew that he could be humans/non-living things that are actants vulnerable in those streets and yet he (Latour 1999, p. 15-25). ANT uses actors and nevertheless was inclined towards luxury, actants as agencies to discuss the urban beauty, fashion and indulgence,(Priestley imaginary in terms of non-material, symbolic 1969, p. 197) which was seen as a reason and physiological dimensions that construct behind the creation of the Regent Street. cities (Rydin, Tate 2016, p. 112-113). Thus ANT will be used as a brush to paint a new form of urban-spatial analysis of Regent Street by taking the agencies of the street as different colours. Dr. Hidayet Softaoğlu 52 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 3(3), 51-66/ 2019 building. This interrupted access was unsatisfactory in the eyes of the Prince Regent. Accordingly, he wanted to get rid of the front the unwanted paupers around the vicinity of his residential quarters in the south, whilst creating a shortcut to his prospective northern palace (Hobhouse 2008, p. 5-11). All these reasons paved the way to the design of Regent Street. Figure 1: Gillray, J. (1795, 1 November). The Republician Attack. (URL 1) There were two main reasons for the construction of Regent Street. The first reason was the competition between Napoleon’s Paris and Prince Regent’s London. Since Great Britain has involved in the Napoleonic war, the war did not take place on the battlefield but also in the form of rivalry between the two Figure 2: Anonymous (1802) A new Plan of London. (URL cities. Additionally, France was the fashion 2). centre of Europe, and in times of peril, Paris was not welcoming the British people to shop. 3.2 Conceptual Design of Regent Street and its As a result, Great Britain needed to take care tactics of this problem and come up with its own Regent Street was conceptualised so as to fashion industry and style. Napoleon promise a new and pleasant thoroughfare commissioned a new Parisian shopping that would create a direct axial link between promenade, Rue de Rivoli, as a majestic the north and south of central London while grand axis in the 1800s, (Ayers 2004, p. 43) isolating the unwanted lower class bodies in while London only had one such elegant the street (figure 3). To realise his dream, the shopping promenade on Bond Street and the Prince Regent contracted his architect1 John more modest Oxford Street. Nash to build a new north-south axis in 1811. The second reason seemed to be speculative Nash designed a shopping thoroughfare that since the Prince Regent personally wanted to made the Prince Regent reportedly have said: get a gentrification project going to "It will quite eclipse Napoleon” (Armytage accommodate the needs of the upper-class 1968 p. 39). circles. When Prince Regent ordered a new magnificent street, he was living in two different places; first was the Carlton House on the south that was situated on a threshold between the wealthy west London and dirty East London (figure 2). The second location was in Marylebone place on the north, which was one of the Crown estates, yet it was a vast empty area. Many of the members of the upper class, including the Members of Parliament (MPs) live around the Portland Place in the Marylebone district (to the north), while the House of Parliament was adjacent to the Whitehall, which was close to the Prince Figure 3: Faden, W. (1814). Plan of a street. (URL 3) Regent’s mansion, the Carlton House, to the south. The members of the upper class had to use the untidy and winding, meandering roads of the north to get to the Parliament 1 Since Prince was the Patron of Nash for his Brighton Pavilion, he liked Nash’s monumental and neoclassic style. Dr. Hidayet Softaoğlu 53 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 3(3), 51-66/ 2019 In his first proposal, Nash drew two axial lines between Marylebone and the Carlton House. He decided to follow Portland Place’s (the widest street in London) track to create an axial line between Marylebone Place to the Carlton House and proposed a Royal Park for the vast area at Marylebone Place (figure 4). The new street would take people directly to the south without passing through the dirty and untidy lives of the lower classes. As it also has drawn sharp borders for those who arrived from the East, it visually and physically tried to interrupt the movement from the slums of east London. However, this plan was rejected by many people, including the landowners and building leasers because many of the Figure 5: Faden, W (1814) Plan of a street. (URL 3) buildings would have to be demolished, leaving many homeless. The concept was still the same, creating a straight and the shortest connection between the North and South London. However, the orientation of the street needed to be altered as Nash changed the alignment of the street where Swallow Street, which was believed to be an “ugly and grimy old thoroughfare.” stood in the South. It was situated within the Crown Estate land in the West where upper- class residents lived close by. Nash apparently had in mind a project which would satisfy his patron, the Prince Regent, and his upper-class circle of friends with the creation of a Figure 4: Nash followed the line of the Portland Place in fashionable street. He wanted to create a between the Carlton House repaint by the author. "boundary and complete separation between the streets and squares occupied by the Being rejected on the first proposal, Nash Nobility and Gentry, and the narrow streets presented the second proposal in which and meaner Houses occupied by mechanics he again used the guidelines with the and the trading part of the community" (The Portland Place in the north but the Universal Magazine 1813, p. 16). The new street would sharply curtail the southern axis covered and swept away communication with the East side of the Swallow Street where many of the street; working and lower classes and their buildings belonged to the Crown (figure traffic would be avoided (figure 6). 5), so compulsory purchase orders were not necessary. The redevelopment would increase the value of the lands owned by the Crown so the monarch could gain more financially from this modern and fashionable trade centre (Hobhouse 2008, p. 4-9) Figure 6: Nash’s second proposal in 1818 and the joints created by the author Dr. Hidayet Softaoğlu 54 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 3(3), 51-66/ 2019 The new body of the street was called Regent Street that was named after its patron. Regent Street comprised of five main parts from North to South that were Pall Mall (Carlton House), Lower Regent Street, the Quadrant, Upper Regent Street, and Park Crescent with Portland Place. Between these five parts, Nash had drawn the curvy joints to create a fluid street eliminating any zigzags or dark, hidden corners. Figure 8: Boys, TS (1842) Regent Street, Quadrant. (URL 5) 3.2.1. Segments of the Regent Street Portland Place or Upper Regent Street was Nash was not the only decision-maker in this designed with private residential houses huge redevelopment plan. The project also (especially for Members of Parliament), All involved various architects of the period, Souls Church, as well as shops. Also, group of namely John Soane, Burton and R.C. Cockerel surgeons (No: 311), a Polytechnic Institution2 along with different investors (Richardson (No 309) and some manufacturers were 2001, p. 42). Construction literally began in located among the houses of here. front of Carlton House (1818), and it has always been the Southern terminal of the street that was called Waterloo Place and Lower Regent Street (figure 7). Figure 7: Sutherland T. (1817). Carlton House. (URL 4) Figure 9: Heath, C (1825) All Souls Church. (URL 6) Here was unlikely to have been a residential While having a direct link between North and area for families since there were hotels where East axis, Regent Street was dreamed like a foreigners came to stay; housing, clubs, and complex where one can find almost anything chambers mostly served the Westerners and from health to education. In this initial phase, the upper class. However, there were also the production of Regent Street was more warehouses, opticians and carpenters and mental and abstract because it was based on hosiers, where lower-class and middle-class various desires and concepts of the Prince people were able to work. and the architects who were in charge of the Compared to Waterloo Place, Regent Street projects. Maps, plans, drawing and diagrams & Quadrant was part of the commerce and are necessary sources to survey the shopping of the metropolis (figure 8). The conceived space of Regent-street as it is also Quadrant, as a singular and unique place, known as a representation of space where an provided a curvilinear connection between idea, ideologies, political or architectural Regent Street and Carlton House. The shops visions are embedded in and visually were on the ground floor and the bachelor represented (Lefebvre 1991, p. 9). Network 1, apartments on the upper levels. That is, mixed- as seen in Figure 10, stands for this relationship use buildings where a range of shops for food and fashion from tailors to biscuit and bread 2 The Polytechnic Institution at 309 Regent Street (1838) was created baker could be found (Tallis& Jackson 2002). in order to demonstrate new technologies and inventions, played a significant role in the popularisation of science. It is now University of Westminster. https://www.westminster.ac.uk/about-us/our- university/our-heritage Dr. Hidayet Softaoğlu 55 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 3(3), 51-66/ 2019 amongst the elements that contributed to the development of conceived space. Network 1: The relationship between the actors / actants in conceived space, created by the Author. 4.1. Agencies of the Regent Street: While the street was shaped by its Actors and actants are essential elements to manufacturers like Prince Regent, John Nash, understand perceived and lived space other builders and architects, it also produced because such space will be analysed by the its own buyers (visitors or occupants). These senses or perceptions of the people, including occupants would have a crucial role in the touch, taste, sound, smell and sight. production of the perceived and the lived spaces since these two productions could only be possible through the actors and actants of Regent Street. 4. Second Phase: Perceived Space Lefebvre says that: “…spatial practice embodies a close association within perceived space, between daily reality (routine) and urban reality (the routes and networks which link up the places) set aside for work, 'private' life and leisure” (Lefebvre 1991, p. 38). Consequently, the perceived Figure 10: Ackermann (1822) View in Regent Street, space is analysing the users or manufacturers; Piccadilly. (URL 7) it is possible through observing the daily experiences, urban actors or practitioners in The perception of space in the19th century- Regency London would only be received the urban realm. through visual or verbal media such as Although Nash dedicated the street to nobility architectural drawings, satirical cartoons, and gentry, there were various buildings in diaries, novels and some architectural reports. Regent Street designated for different Figure 10 represents the actors, fashionable functions including insurance offices, shops, women wearing softly coloured dresses, and and private apartments. Besides the mobility men wearing dark-coloured suits and hats and gentry, there were many lower and and both sexes shopping, strolling along, working-class people ready to serve upper- working or just passing through the street. The class members in these shops and apartments. actants are the carriages with their horses, gas People from different classes were the actors lamps with metal frames, signs in the shop (occupants) of the street to provide windows, and whitish buildings with their continuation of the action, and they created neoclassical styles. The ANT believes that a texture with various activities, memories or society is an assemblage in which the experiences regarding their background. relationship between elements, rather than the elements themselves, are the key focus (Rydin & Tate 2016, p. 4). The visual images display 3-dimensional spatial practices in the street along with visible actors and actants, Dr. Hidayet Softaoğlu 56 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 3(3), 51-66/ 2019 yet it hides many codes and invisible agencies Neoclassical revival (Kemp 2000, p.265). that are also embedded in the urban Thanks to the grand tours travelling to ancient structure. Nonetheless, agencies of Regency cities like Rome, Athens and Cairo, travellers in drawings or illustrations usually concern the (especially the architects) began to learn upper classes since many of the literate about the values and aesthetics of the people were among rich (like ladies and classical world, their governing systems and gentlemen), or they were the only customers lifestyles. The Neoclassical style impacted on to buy visual sources like paintings or cartoons. art, architecture and fashion (figure 11) in a Yet, still, they are usefull elements to shed light similar way (Palmer 2019, p.186). The British into invible agencies and make an played a very different role in the quick assumption on perceptual space of Regent adaptation of the Neoclassical Style. Between Street out of their intrepration. 1801 and 1805, Lord Elgin, the British ambassador to the Ottoman Empire, 4.1.1 Ladies of the Regent Street: depatriated about half of the remaining And the ladies are pleased their sweet face to sculptures from the fallen ruins of the show Off to all when Regent Street ‘ shopping’ Acropolis, Athens with the permission of the they go, And often I marvel how much they all Ottoman authorities. As Lord Elgin was buy-Not one day in the week but ‘a shopping’ passionate about ancient Greek art, he they hie! This Regent Street quite like Rue de la transported those marbles to Britain. From 1807 Paix And les elegants here, too, spend most of onwards, he exhibited them in his temporary the day, And lounging about- for what else museum in London for a number of years. The should they do? (Best 1829, p. 102). Elgin Marbles assisted architects who wanted to observe the antique details first hand. As Best has indicated the body of female Georgian and Regency architects who went visitors in his poem, Regent Street cannot be abroad or observed the Elgin Marbles created imagined without women and especially their own architectural style by being aware wealthy female bodies who were most likely of their stylistic freedom. Moreover, the idea of to buy items to represent the grace via their liberty could be seen in different aspects in fashionable bodies. To analyse the the architecture of Regent Street, such as perceptions out of women as actors; the ANT providing a welcoming space for both sexes scrutinises actors and actants as a system of and all classes or producing a space which symbols to discover perceptions behind the was designed in the spirit of architectural scene to map all perceptions that are linked freedom, that is completed by free and to an agency. sometimes eclectic facades of the buildings For example, the figure 10 shows the Regency (figure 11). ladies wearing fashionable Neoclassical style dress in front of the neoclassical buildings that cannot be coincidence according to ANT since buildings and ladies fashion shared the same political, historical and cultural perceptions. The French Revolution and conflicts between England and France triggered the development and concept of liberty, and the atmosphere in Europe transformed the way of thinking about freedom, self-consciousness and power (Clark, 2013, 120-268). Freedom in art, architecture, Figure 11: Anonymous.(1828). Waterloo Place. (URL 8) and fashion was seen particularly in England and France which moved away from the Sir John Summerson points out that three extravagant style of Rococo to prove and concepts of revivals characterise the 18th and show that they were more conscious and 19th century periods (Summerson 1958, p. 92 ). earnest about the world (Moores 2015, p. 73) Summerson says that: as they believed that their style ought to “First, the concept of art through express their personality. Subsequently, they archaeology, that is, of the enrichment returned to the serious and sensible philosophy of the present by a persistent inquiry of Greek and Rome by means of a Dr. Hidayet Softaoğlu 57 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 3(3), 51-66/ 2019 into the nature of past (as opposed to the acceptance of the traditional theory of antiquity). Second a wider concept of eclecticism, of the power to choose between styles or to combine elements from different styles. Third by the analogy, the concept of a modern style, a style uniquely characteristic of the present” (Summerson 1953, p. 17). Network 2: Network among female bodies and urban/ Eclecticism can be witnessed in parallel in architectural elements created by the authour both the faces of the ladies and the 4.1.2 Gentlemen of the Regent Street architecture around them. Coordinating Just as women’s bodies had benefitted from different designers and builders, Nash was the democratic ideals of the Enlightenment, the creator of this freedom and men too soon after found the freedom to opportunism in the street, and these express their clothing tastes in a simpler and concepts can even be discerned in the more subtle style. They used mainly blue, eclectic and free facades of the buildings black-buff, white, dark colour coats, polished (figure 11-12). boots and elaborately knotted cravats. Regency men were the patrons of the Regency world as many of them were politicians who governed the country or generals and admirals who led the armed forces at war. By being aware of the conflicts and uncanny situation of the world, Regency patrons combined a certain seriousness of the uniform dress with machinery and politics. Thus the modern English men display a dark, sharp and modern silhouette as if it is an engine or a machine, and Beau Brummel was the creator Figure 12: Tingle, J (1827) St Philip's Chapel.( URL 9) of this style (figure 13). The presence of these stylish ladies and the neoclassical buildings in Regent Street are the signifier of various notions, (perceptions) such as ancient Greece with the Elgin Marbles, the Grand Tour, beauty and grace. Furthermore, these signifiers were linked to liberty and personal freedom, class differentiation, war with France, the Industrial Revolution since they were the actants, yet they were not explicitly represented howered they all liked to each other as it can be seen on Network 2. Figure 13: Locke M. E. (2015) Modern Englishman Style of Brummel (URL 10) A reflection of this modern and mechanistic look of men can be seen in the substantial metal frames of the windows, and the metal works in the balconies on the domes to the Dr. Hidayet Softaoğlu 58 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 3(3), 51-66/ 2019 top of the building (Figure 14). While large and contained mixed-use buildings. Considering exclusive windows provided bright shops and practicality and the functionality of the street, interiors during the day, the street could Nash also proposed a sewer system to be remain bright at night as well at night as the utilised by all classes in the street since London street (gas) lamps that were installed by The was threatened by the epidemics due to the Prince Regent for the first time (1818) to poor hygienic conditions of the country illuminate the area in front of his door at the (Figure 15). beginning part of Lower Regent Street. Willis shared his feelings on the gas lamps as: “..and so think, apparent the multitudes of people , who stroll up and down the clean and broad London sidewalk, gazing in at the gorgeous succession of shop windows, and by the day bright glare of the illumination exchanging nods and smiles- the street, indeed, becoming gradually a fashionable evening promenade, as cheap as it is amusing and delightful” (Willis, 1854, p. 538). Figure 15: Webb, R. (2001) Installing the sewer system in between the Quadrant Moreover, there were the street sweepers to clean Regent Street that was covered with wood first and then replaced by a granite stone pavement which was believed to be safe and more efficient at absorbing the filth (Newton 1839, p.338). Regent Street became a practical and functional by generating a perception of modern and practical living space. As it is seen on Network 3 things that do not seem related to each other are actually Figure 14: Anonymous (1840-1850), No. 45 Regent Street. (URL 11) connected to one another to create perceptions, memories in space and ANT Regent Street bodies followed the same demonstrates a network that stands for configuration as modern Englishmen, and it perception generator of the street. turned into a practical machine that Network 3: Network among the agencies of the Street. Dr. Hidayet Softaoğlu 59 JOURNAL OF CONTEMPORARY URBAN AFFAIRS, 3(3), 51-66/ 2019 5. Lived Space and Social Production of protected people from bad weather (figure Regent Street 16). When Soja describes the spatiality, historicity and sociality of the space, he uses the notion of a third space that he coined himself (Soja, 1996). He asserted that “I described the critical method used by Lefebvre and Foucault3 as “thirding”, a deconstruction of prevailing binary logic and the creation of a third, an alternative, a significantly different logic of perspective”4. More explicitly, the notion “third” concerns the fluidity of spaces with the constructing and reconstructing of Figure 16: Anonymous (1848) The Quadrant. (URL 12). identity, and the space where identity is not However, by the 1840s, this protective shelter fixed and as such is the feature of any kind of had begun protecting the bodies of East End spatial existence5. De Certeau used the term prostitutes. Since the street was dedicated to dream spaces to define where a new and the West End upper-classes, the bodies of the carved version of the old space merged and Eastern poor were not welcome and made that space an infant. Both dream and especially the women of this particular trade. third spaces correspond to the Lefebvrian The Parliamentary Papers of 1846 lived space and he explains it through demonstrated that, “congregation of the low perceived space (representational space) and vicious has so far injured the reputation of because lived space (social production) was the Quadrant, and obtained for it an an extension of the spatial practice unfortunate notoriety, that we have good (perceived space) through the course of time. reason to believe many ladies are deterred As he points out, from visiting it, to the serious injury of our “Representational space is alive: it trade”, referring to the vice and prostitution speaks. It has a valid kernel or centre: taking place in the shelter of the Quadrant ego, bedroom, dwelling, and house or: (Parliamentary Papers 1846, p. 511). Hence, it square, church, graveyard. It was not a safe place for respectable, decent embraces the loci of passion, of action women. Many letters of complaint and and living situation and thus criticisms were answered by the immediately implies time” (Lefebvre Commissioners of Her Majesty’s Woods with an 1991, p. 42). agreement for the demolition and deconstruction of the Quadrant in 1848 (figure In the context of Regent Street, from 1811 to 17). 1848, one can observe a new fluid or third/alternative space. It was the year 1818 when the street was born, and then it was in 1848 when the first deconstruction was started by the removal of the arcades in Quadrant. Nash himself designed this junction as a barrier to prevent the entry of the people who came from the dirty streets of Soho and provided an exclusive atmosphere with its great shelter for West Londoners at the same time. Doric shaped columns created a dramatic atmosphere with an exclusive shelter that Figure 17: Archer, J.W. (1848) Deconstruction of the 3 Soja refers Foucault’s Heterotopia in Of Other Spaces: Utopias and Quadrant. (URL 13). Heterotopias. http://web.mit.edu/allanmc/www/foucault1.pdf 4 https://www.tandfonline.com/doi/abs/10.1080/1600910X.2002.967 This removal was not appreciated by those 2816?journalCode=rdis20 who used to enjoy the shelter it provided on a 5 rainy day. The Punch magazine criticised the http://shodhganga.inflibnet.ac.in/bitstream/10603/184562/14/9_ch apter3.pdf roofless Quadrant again, and it published a Dr. Hidayet Softaoğlu 60