IZMIR UNIVERSITY OF ECONOMICS TERM PROJECT
EVALUATING THE VISUAL QUALITIES CREATING ‘’AUTHENTICITY’’ FOR PLACE PROMOTION IN HISTORICAL URBAN ENVIRONMENT: THE CASE OF SIĞACIK KALEİÇİ
Master of Science Program in Architecture
Graduate School of Natural and Applied Sciences
D.
The neighborhood 'Sığacık' were located in Seferihisar district of Izmir, which is a 47 kilometers away from the ancient city of Teos, known as the center of the art and with its kaleiçi houses that have been shed for 60 years until 2014 when they were restored. And the old atmosphere of the kaleiçi has been keeping its calm for many years. It was an important harbor city that has been a stage for various public activities starting from the 7th century B.C. The Sığacık Castle was built in 1521-22 by the commander of the Navy, Parlak Mustafa Pasha, on the order of the Kanuni Sultan Suleyman, to prepare for the Rhodes expedition. (Daş, 2007)
In addition to defending the city, it was also used for commercial activities during the Ottoman Empire. In the 19th century, it was an export port that was administratively connected to Seferihisar and regulated commercial relations with the Aegean Islands. It is known that Seferihisar and its environs play an active role in their commercial relations with the Aegean islands and especially with Chios Island (Daş, 2007). Beside Castle's previous commercial usages, today, benefiting its historical culture by the Municipality, the authentic architectural style that was represented on the style of the building facades inside the castle, serves different types of commercial purposes and aims to revitalize the neighborhood. The new houses built in recent history, which have traditional architectural themes currently, were brought to the fore and invested in them to create an aesthetically appealing environment.
In the area bounded by the castle walls, there are a large number of houses today. The houses built in adjacent order are usually two storeys, and most of them have been recently constructed as cargo or reinforced concrete. During the observations conducted in 2007, it was realized that some of them were abandoned and most of them were still in use and these houses were built in the middle of the 20th century (Daş, 2007). Until they took shape today, the houses were used by the local people for dwelling purposes and sometimes used as temporary accommodation in relation to fishing activities near the Kaleiçi.
After the membership of Seferihisar to the Cittaslow Movement in 2006, applied policies in the first slow city became a base for the new development of Sığacık Kaleiçi. By continuing the path of the Cittaslow Movement about the architectural decision, the combination of localization and globalization influenced Sığacık's cityscape. Due to a large number of localized touristic points in İzmir and their sameness, in order to increase tourism mobility,
the decision of Seferihisar Municipality was to revive Sığacık Kale's history in a distinctive way of architectural implementations. After realized the value of historical heritage, today, the local culture of the Sığacık was wanted to be reflected on the facades by investing in these houses. This renovation project implemented in 2014, which was carried out artificially, has brought a noticeable dynamic to the tourism activities of the Sığacık Kaleiçi focusing only on the importance of architectural visuality. Since the project aimed to use local culture and its traditional images on space production about to boost tourism, today the local life is almost ended by the migrations. However, life culture and architectural heritage remains an artificial tourism element and is still used as a marketing tool to attract people. And these rebuilt structures bring vitality and commercial flow to the inner castle by preservation and restoration in accordance with the architectural style.
While there are studies on the position of Cittaslow movement and urban policies in place promotion at the Sığacık, the perceived insufficiency of urban studies is mainly showed that the effects of focal architectural solutions based on the image of the Sığacık, were not investigated in accordance with tourism activities and local life. Therefore, the purpose of this study is to understand the effects of visual elements on the users and the practices of the municipality who want to benefit from these effects from the touristic point of view, as a result of the Cittaslow movement.
II. Problem Statement
Research objective:
This research aims to describe and understand the impacts of visual qualities of urban environment created in Cittaslow movement with the perception of authentic qualities, on place promotion and destination attractiveness in Sığacık Kaleiçi houses.
Research question:
How has Sığacık Kaleiçi combined the place promotion efforts and the authenticity of the built environment created as a result of Cittaslow?
The purpose of the research question is to identify the visual trends that set the ground for the design in the selected urban environment under the impact of Cittaslow movement. The question will lead to the identification of the key variables that will enable us to measure the impact of adopted architectural strategies in terms of visual dimensions constitutes
‘’authentic look’’ that is under the one of the macro area of Cittaslow movement which is ‘’Quality of Urban Life Policies’’ which is based on enhancing the quality of the urban fabric.
III. Significance of the Research
The purpose of this paper is to investigate visual focal points of adopted architectural style at Sığacık Kaleiçi built environment and to understand the effects and reasons of applied 'Authentic Design' approaches that focused on visual dimensions of urban space as a result of Cittaslow membership. In other words, the purpose of this study is to understand the effects of visual elements on the users and the practices of the municipality who want to benefit from these effects from the touristic point of view. The primary concern of this study is to observe how Sığacık Kaleiçi has embraced Cittaslow principles and has been affected from urban policies of the municipality, which are based on revealing history, boosting tourism and culture of the neighborhood by visually oriented urban decisions. Furthermore, investigations aim to determine the concrete responses of these changes, through the urban literature in terms of several visual approaches introduced in reviews. In the beginning, related theories of visual dimensions of the urban environment and Cittaslow movement with the destination attractiveness are overall reviewed. Following those findings of spatial, archival and media analysis will be interpreted based on a theoretical framework. And additional urban analysis method ‘serial vision’ introduced by Gordon Cullen and ‘Great Sections’ will be conducted on the field and will be interpreted in the objective of Cullen’s analysis method and Camillo Sitte’s picturesque approach.
IV. Literature Review
The main framework for this study is to find out visual patterns in creating an authentic environment and how this process impacts the perception of place-occupants in Sığacık Kaleiçi and is used to create 'attractive' touristic place within the Cittaslow membership. There are two major parts in the research: First part is a theoretical review focusing on the significance to create destination attractiveness to touristic places distinguish themselves in a global competitive area and understanding the role of Cittaslow in creating uniqueness in terms of urban quality. The second part is a visual analysis approach of the built environment, which is related to the perceptions of humans based on psychological and social facts as the overarching domain in the literature. The literature review is organized into two parts. The first part focuses on the theoretical concepts on tourism competitiveness
literature and the second part is related to the methodological approaches of different authors dealing with visual perceptions of urban spaces and the ways to establish successful visual communication through the architectural elements which later enlighten us to evaluate urban quality.
A. Destination Attractiveness and Cittaslow Movement
Since global tourism is becoming a more and more competitive market, all touristic destinations tend to distinguish themselves by revealing their attractiveness and uniqueness. In this way, competitiveness has particular importance for tourism given internationalization of this economic activity. Dwyer and Kim (2003) describe competitiveness as that ''The ability of a destination to deliver goods and services that perform better than other destinations on those aspects of the tourism experience considered to be important by tourists.''. Additionally, the Organization for Economic Co-operation and Development (OECD) (2007) defines destination competitiveness as a place's ability to differentiate itself by optimizing its attractiveness in order to deliver quality and attractive tourism services to consumers; thus to gain market shares on the domestic and global area.
There is another definition of destination competitiveness which is introduced by Hu and Ritchie (1993) which focuses on tourists’ satisfaction and economic aspects. According to Hu and Richie, a destination becomes competitive when it has the ability ''To increasingly attract visitors while providing them with satisfying, memorable experiences, and to do so in a profitable way.'' In this regard, to become a competitive destination tourist place gathers together all those attractions that motivate a tourist to visit a destination. Hence it is possible to say the attractiveness of a tourism destination is mostly referred to the opinions of visitors about the destination’s perceived ability to satisfy their needs. So destination attractiveness as fundamental of tourism defines basic criteria’s appeal to visitors including created and natural environments (Vengesayi et. al., 2009). Researches on destination attractiveness provide an understanding of the elements that encourage people to travel (Formica, 2002). Therefore, many scholars have noticed the importance of tourism as one of the most important determinants of the target competitiveness. Tourism attraction centers are defined as the qualities of the tourism destination that attracts or motivates tourists to visit the specific tourism destination with its specific characteristics.
As Kresic mentioned about Ritchie and Crouch's model of the destination competitiveness (2005), their model put the tourism attractions in the central position and they argue that the
tourism attractions are the main element of the destination’s appeal; thus, its impact on touristic flow primarily depends on attractiveness, as a principal factor which motivates tourists to visit a particular tourism destination.
According to the Vengesayi et al. (2009) destination attractiveness is associated with the analysis of destination image since the notions of destination image and destination attractiveness are closely tied and conceptually interconnected, whereas the level of destination attractiveness is largely influenced by the destination image and vice versa. As Lew (1987) indicated, the image of a place is the most important aspect of a tourism attraction from a marketing point of view. It also contributes to the fundamental impact on the user's cognitive experience of place.
In another point of view, Kresic et al. (2011) indicated that the tourism attractions can be considered as the physical manifestation of the destination attractiveness; so, the destination attractiveness is accepted as a mental image of the destination that is formed on the basis of the physical attractions visually recognized in the destination. Based on this idea, Kresic et al. (2009) mentioned that Mayo and Jarvis (1981) argue that attractiveness can be defined as the perceived ability of the destination to deliver individual benefits. In addition to it, Hu and Ritchie (1993) define ''destination attractiveness as the reflection of the feelings, beliefs, and opinions that an individual has about the destination’s perceived ability to satisfy the special vacation needs of that person.''
There are numerous classifications of tourism attractions can be found in the literature. One of the basic classifications about tourism attractiveness is introduced by the UNWTO (McIntyre, Hetherington & Inskeep, 1993) which classifies all destination attractiveness factors into the following categories: Natural tourist resources; Cultural and historical heritage in tourism; Climate conditions; Infrastructure; Tourist services and facilities. On the other hand, the most recent classifications of tourism attractions which is also widely accepted by the scholars is the classification proposed by Ritchie and Crouch (2005), in which all tourism attractions are separated to seven main categories; Physiography and climate, Culture and history, Mix of activities, Special events, Entertainment, Superstructure, Market ties. To consider these classifications will provide us to choose relevant attractiveness factor which contributes to architectural perspectives of location. In regard to reveal visual implementations 'Culture and History' factor will be taken into consideration. Understanding the significance of cultural and historical environment in
touristic place promotion, which means a set of destination qualities that have the ability to meet the intellectual needs of visitors, helps to make sense of adopting an 'Authentic Design' approach to create a destination image architecturally. These elements include the tradition and lifestyle of target residents, the destination's gastronomy, architectural characteristics and the language spoken by residents, and many other Target features that have the ability to offer a unique and non-routine experience. To select 'Culture and History' factors in destination attractiveness supports the usage of architectural elements as authentic figures on place promotion by showing the effect of creating a point of attraction in increasing mobility.
Apart from the theories discussed below, another approach to globalized cultures is the Cittaslow movement. Standardization, which is one of the consequences of modern life, has led us to lose our towns' identities, and our local cultures have been unable to save themselves with being transferred to the next generations. The characters of globalized cities are mixed and the difference between our traditions and global habits is lost. While changing modern society and globalization bring opportunities, also it threatens the identity and heritage of our small towns. At this point, the Cittaslow movement supports the preservation of local culture by ecological and sustainable methods, the local economy and producer against the global economy (Cittaslow.org, 2019). “Cittaslow which means ‘slow city’ is an international network of small towns that originated in Italy with the aim of addressing the ‘Slow Food’ philosophy in their urban design and planning” (Mielle, 2008, p. 136). The movement demonstrates a model that represents the identity of a local community that deals with rapid modern life without unduly affected by globalization. In order to provide all requirements, regulated by Cittaslow, cities should be applied them in 7 macro areas; energy and environmental policies, infrastructure policies, quality of urban life policies, agricultural, touristic and artisan policies, policies for hospitality, awareness, and training, social cohesion and partnerships (Cittaslow.org, 2019). While becoming a member of Cittaslow brings challenges against standardization by emphasizing specific location's distinctiveness, it is also creating attractive points by its uniqueness creating destination attractiveness in a touristic manner. Focusing on one of the seven macro areas of Cittaslow Movement, which is 'Quality of urban life policies', will be used to explain contributions of 'Requalification and reuse of marginal areas' (Cittaslow.org, 2019) to destinations in our case. Revitalization of these 'Marginal areas' involves gathering cultural and historical values in the use of the built environment. At this point, understanding the assessments of
the Cittaslow movement under the selected section will contribute to determine the importance of the built environment in place promotion. In understanding destination attractiveness in Cittaslow cities, I will have a specific focus on the built environment and how facade renovations and aesthetic preferences shape the quality of urban space.
B. Patterns and Aesthetic Orders in Understanding of Urban Environment
In the created built environment user experiences along the architecture constitute aesthetic appreciation thanks to human's sensitivity to surroundings. Although the experience of the urban environment involves all human senses, vision becomes especially the most dominant sense. As Carmona et al. (2003) indicated visual appreciation of our surroundings is an outcome of our perception and cognition. So that is, what stimulants we perceive from our surroundings, how we perceive them regarding solid objects, how we process this vision in our subjective mind, how we interpret and judge the information gathered, and also how it appeals to our mind and emotions by a solid view. In short, meanings of these visual elements depend on how they are interpreted in our mature mind as a result of experiences and how it determines the image of the visual. That process is also significant to shape human's feelings about in a particular built environment or object. In this case, visual satisfaction, which takes a great deal of the user's experience, increases the quality of the space and establishes a relationship within architectural aesthetics in the built environment. Also, users realize the environment as a whole instead of a particular part, at first sight, the experience of the interconnected environment as a whole without focusing the singular point. Thus, the overall view or image of the environment becomes the matter that needs to be focused on carefully. While designing an urban environment that needs to be appealed to users, it is important to consider some psychological facts. Carmona et al. (2003, p.131) quoted Arnheim (1977) and Von Meiss (1990) based on Gestalt's arguments about urban space-making as that ''To make them more ordered, visually coherent and harmonious, however, we select and choose some features. Gestalt psychologists have argued that aesthetic order and coherence comes from the grouping and recognition of patterns, and that to make environments more coherent visually we use principles of organization or grouping to create 'good' form from the parts''. That is to say in human's perceptions mentally grouping elements from a visual point, may become a factor of coherence in relation to the sense of pleasure or dissatisfaction that we assign to an image.
Selecting Gestalt as a foundation will help us to understand how a similar design approach creates a visually appealing environment for users. Furthermore, Gestalt principles are providing a basis for many other theories that help us to understand the visual dimensions of the urban environment in order to define their impacts on user perceptions.
Since the image of an object or architectural elements are highly affected by visual perception under the Gestalt's principles, ensuring the coherence in built environments come into prominence. In order to constitute this coherence and harmony for human's visual perception in the urban design process, there are four distinct components indicated by Smith (1980, p. 74) to deal with;
1. Sense of rhyme and pattern: Rhyme refers to the coexistence of the complexity created simultaneously, although it contains a similarity between the elements that make up the structure or the structures that make up the environment. This assumes that these modules, which carry the similarity and differentiation, may come together at the same time and in the environment. This is not a simple repetition, but rather a significant closeness between these elements.
2. Appreciation of rhythm: Differing from rhyme, rhythm refers a visual repetition of elements ''Rhythm is produced by the grouping of elements to create emphasis, interval, accent and/or direction, etc. To avoid monotony, contrast and variety are essential in achieving interesting rhythms '' (Carmona et al., 2003)
3. Recognition of balance: Balance often qualifies for harmony between elements that form a whole visual stage and is the order and form that harmonizes. Balance can be revealed through detailed analysis in complex scenes with chaotic atmospheres.
4. Sensitivity to harmonic relationships: Harmony puts emphasis on relationships between different parts and how they come together to form a coherent whole. Some relationships, such as the Golden Ratio, also contribute to the quality of harmony. Intentionally a harmony can be crated by perspective effects and distraction strategies.
One of the most prevalent emphases in both principles of Gestalt and Smith is to construct a balance between complexity and orders within the urban environment. This approach will help us to find out and make sense of visual patterns and characteristics observed in the urban environment. And revealing the existence of these patterns in our case will lead us to affirm their perceptual impacts on users.
Other literature shifts towards focusing on the importance of visuals on the dynamic experiences of users. In addition to the static state of urban space, dynamic movements create differences in perception of the elements of the environment that are visually constructed, because it can express different meanings according to the moving subject. Environmental design with considered dynamic conditions influences the perception of moving users. Our experiences of the urban environment are connected to dynamism which includes the activity of movement, so our kinaesthetic experience is catalyzed by connection to the visual dimensions through the movement follows the urban space. Cullen (1961) states that ''Environments are experienced as a dynamic, emerging, unfolding temporal sequence to describe the visual aspect of townscape''. He emphasized that a city must be designed depending on the moving people; thus, the whole urban environment becomes an experience that engages various images and contributes the way of seeing for them. Cullen's idea helps us in terms of revealing the effects of surrounding build environments for moving people and the serial vision method will help us to understand how the built environment is comprehended integrally through the visual perception of moving subjects. In this way understanding the way of perception of visual elements, make sense of using them in influencing the mobile touristic environments.
Another distinguishable approach in these visual dimensions of the urban spaces considers the built environment as a whole draw regarding the design of urban spaces, Camillo Sitte developed the approach of '' Picturesque'' (1889) which means to assume urban environment as a canvas on which formal decisions and organized visuals painted. Sitte (1889) addressed a list of aesthetic principles based on his initial observations at naturally growing historical towns. Following his observations, Sitte's decisions about the significant features of urban design focused on formal characteristics under the four criteria which are enclosure, freestanding sculptural mass, shape, and monument. Related to this research enclosure should be considered. According to Sitte, that means, in order to prevent the feeling of uncanny by being in an infinite space, spaces should be ''enclosed entities'' (Sitte, 1889).
This approach is relevant to our research on exploring the role of picturesque form in the aesthetic experience of the urban environment with an eye toward affecting pedestrian behavior. An inclusive understanding of picturesque will provide a basis to answer how do the physical elements contribute to the aesthetic appeal of the urban pedestrian environment.
After understanding the visual effects of the built environment most specifically including architectural facades, design approaches about them must be drawn. Concentrating on the
building facades, Buchanan (1988) observed some features which make them seen as a visual object depending on the facade's radiance or purpose, instead of their functional aims. Based on his realization of repetitive and boring facade examples which are manufactured to be located on the building quickly, he determined some criteria to better design facades. (Carmona et. al.,2003). According to Buchanan, good facades should follow these criteria; Create a sense of place, Mediate between inside and out and between private and public space, providing gradations between the two, Have windows that suggest the potential presence of people and that reveal and 'frame' internal life, Have character and coherence that acknowledge conventions and enter into a dialogue with adjacent buildings, Have compositions that create rhythm and repose and hold the eye, Have decoration that distracts, delights and intrigues.
Consideration of these methods introduced by Buchanan in order to design successful architectural facades that appeal to users, helps us the understand their impact on users and to determine if an architectural facade is successful in terms of specified theory. Furthermore, understanding their value on users contributes to developing a similar approach which suits in our case study to comprehend visual values of surrounding architectural facades.
V. Methodology A. Synthesis of Research Methods
This research consists of two major parts of the historical area: municipality's urban renewal project, visual dimensions of implementations and their effects on visual characteristics of the site on user flow and local life. Using archival approach and interviews, the development process of Sığacık kaleiçi is examined, focusing on the evolving paths of manufacturing visual image into touristic attractions. In the field research, spatial transformations are examined empirically and more interviews and independent observations are conducted, with the detailed spatial analysis in Siğacik Kaleiçi. The spatial, visual transformations and spatial usage of old settlements inside of the Castle at Sığacık are also examined in detail. The visual and tourism-related implications of Sığacık Kaleiçi project are discussed in the impact study, based on comprehensive literature reviews.
The social and political implications of Sığacık Kaleiçi are discussed in the impact study, based on comprehensive literature reviews and interviews with both locals and authorities, touching upon issues that reflect the roles Sığacık kaleiçi played in Seferihisar’s tourism
developments process, including community interests, gentrification, urban planning policy and recent trends of urban practices. In brief, the study uses the following methods:
• Archival Research
• Media Research
• Field Research
• Spatial Analysis
B. Archival and Media Research
In order to prove increased tourism mobility and effects of renewal project on transient user profile, archival research is the basis of this research including data collecting from media research, reading and analysing data leading to the findings. to clearly understand municipality's implementations as visual products of tourism agenda, the archival research includes literature review of books, journals, newspapers and magazines. Furthermore, governmental documents, activity reports, maps, municipality documents are involved to the sources and to the evaluation of Sığacık Kaleiçi, such as their design and planning intentions, their publicness and usage, their impact to the surroundings, policy making procedures, and future development trends in the regeneration of area. Many of the key archival sources are collected from İzmir Metropolitan Municipality, National Media Agency, İzmir Municipality Urban Planning Centre.
C. Field Research, Interviews and Spatial Analysis
The field research is conducted, in the frame of interviews, photographing, video recording, field walk with independent measure and observations. The field works are conducted focusing on aspect of physical context including architectural characteristics and scales, spatial significance, entrances, boundaries, linkages and urban context including its impact on environment, user perception and tourism activities.
In order to understand relation of tourism activities and visual quality of urban environment, first, tourism mobility must be proven by the perception of property owners, hotel administrators, sellers in addition to media analysis. Interviews provide a data to evaluate the success of the urban qualities in Kaleiçi and help to determine the effects of created urban environment on human perception and if the tourism mobility has been increased after the governmental urban renovation. Interviews will be focus on three different groups pension owners, local people who live there and visitors. To question background of
pension and hotel owner will help to understand tourism potential in Sığacık Kaleiçi. Further interview with locals and visitors will provide an understanding of impact of urban environment on creating touristic attraction and we will be able to define concrete responses towards specific urban qualities. Due to reactions of local people to the interview, the study does not focus on affects of visual elements in local's subjective life, only focuses in the part of it contributes to their commercial activities.
Since the usage of photography by visitor is popular during their vacation or trips, phototaking activity analysis will be conducted on site. The points in which most of the photographs are taken by visitors will be recorded by video and will be mapped. And the results lead us to determine focal attraction points in Sığacık Kaleiçi. Later, it provides us to define visual pattern of these attraction points visually created in built environment.
Additionally, the idea of 'serial vision' which based on revelation of views surrounds user while moving along the streets, conceived by Gordon Cullen will be conducted on site. This method based on taking photographs in a determined distance from same angle. The points of where photographs are taken are signed on map, in order to understand movement and changing environment in the user’s point of view. And serial vision is used in the way of to determine how the environment is designed to be suit and appeal to the observers within the elements are included to visually built environment. It enables us to comprehend the built environment as a whole and understand the patterns and elements which constitutes the unity of urban environment.
After defining effects of urban qualities based on visual dimensions and visual characteristics which mostly appeals to place occupants, in order to find out visual characteristics of created architectural facades and settlements the method of serial vision by Gordon Cullen (1961), interviews and tracing, conducted on site. In addition to these methods, great streets method by Allan Jacobs (1993) will be used to understand effects of the building facades on increasing tourism mobility by appealing to visitors. These methods also help to understand how successfully renewed the site in terms of visual urban dimensions as indicated by Carmona et. al (2003). And it will be possible to answer how spatial qualities in Sığacık kaleiçi implemented by municipality of Seferihisar is combined with touristic attractiveness focusing on architectural style which emphasized by Cittaslow movement. The site investigations mainly focus on how applied policies found a response for itself on aesthetic elements of architecture and findings provide a basis for exploring its
potential as characteristics of environment by determining visual contributions to urban quality of Sığacık.
4. Findings and Discussions
A. Destination Attractiveness and Tourism Activities of Sığacık Kaleiçi
While global tourism is becoming a more and more competitive market, all touristic destinations tend to distinguish themselves by revealing their attractiveness and uniqueness. Destination attractiveness as fundamental of tourism defines basic criteria appeal to visitors including created and natural environments (Vengesayi et. al., 2009).
According to Vengesayi et al. (2009) destination attractiveness is associated with the analysis of destination image since the notions of destination image and destination attractiveness are closely tied and conceptually interconnected, whereas the level of destination attractiveness is largely influenced by the destination image and vice versa. As Lew (1987) indicated, the image of a place is the most important aspect of a tourism attraction from a marketing point of view. It also contributes to the fundamental impact on the user'S cognitive experience of place.
As Kresic et al. (2011) indicated that the tourism attractions can be considered as the physical manifestation of the destination attractiveness; thus, the destination attractiveness is accepted as a mental image of the destination that is formed on the basis of the physical attractions visually recognized in the destination. Based on this idea, Kresic et al. (2009) mentioned that Mayo and Jarvis (1981) argue that attractiveness can be defined as the perceived ability of the destination to deliver individual benefits. Additionally, Hu and Ritchie (1993) define ''destination attractiveness as the reflection of the feelings, beliefs, and opinions that an individual has about the destination’s perceived ability to satisfy the special vacation needs of that person.''
Kresic mentioned about Ritchie and Crouch's model of the destination competitiveness (2005), their model put the tourism attractions in the central position and they argue that the tourism attractions are the main element of the destination’s appeal; thus, its impact on touristic flow primarily depends on attractiveness, as a principal factor which motivates tourists to visit a particular tourism destination.
In the line of the thoughts mentioned above, due to the trade activities was largely catalyzed by proximity to the waterfronts, many trade and settlement activities have occurred in this area; thus, the location of Sığacık owes its importance to the historical heritage and activities which took place since the Ottoman Empire period (Daş, 2007). Thus, it offers many opportunities to become a touristic destination thanks to its history, marine activities as a result of closeness to the sea, local culture displayed in Kaleiçi settlements and authenticity. Based on the media research announced by Seferihisar municipality and official newspapers, the increase in the tourism activities is observed in Sığacık. According to the processed knowledge, it is realized that these increase highly effected by Seferihisar's membership to the Cittaslow movement at the first step. Further increase of touristic flow centered on Sığacık Kaleiçi's activities which were conducted by Seferihisar municipality starting from 2010. (Seferihisarbelediyesi, 2010). Lastly, the third bounce on the flow of tourism was started after the rehabilitation project of inner castle buildings and streets and also the involvement of pension culture and organic bazaar in Sığacık Kaleiçi.
Along these factors included Kaleiçi's touristic success, especially the rehabilitation project played a big role in boosting tourism activities. Based on interviews, conducted in Kaleiçi on December 2018, with local sellers and pension owners, it has been found that it is more pleasant to walk at the streets after it has become 'beautiful' with renovations happened in 2014 and that the region is moving especially with its market activities take place in renovated streets. Evidential results explained the main involvement of features given to the urban environment with the rehabilitation project regarding the increased tourism activities.
B. Cittaslow Movement as city branding at Seferihisar
1. New Municipality and urban decisions
First of all, it is worth considering the start-up point of all these changes on tourism mobility, provided by architectural implementations, brought the movement to Sığacık. In 2009, Tunç Soyer was elected mayor of Seferihisar from the Republican Party (CHP). In the first year of the mayor's office, he moved the International Local Development Model Cittaslow movement to Turkey and made it spread to the country. “Cittaslow which means ‘slow city’ is an international network of small towns that originated in Italy intending to address the ‘Slow Food’ philosophy in their urban design and planning” (Mielle, 2008, p. 136) The
movement demonstrates a model which represents the identity of the local community who deals with rapid modern life without unduly affected by globalization.
2. Membership of Seferihisar in Cittaslow and its Effects
The intentions to be a Cittaslow has resulted in 2009 with a membership of Seferihisar as being the first in Turkey. In order to provide all requirements, regulated by Cittaslow, municipality applied them in 7 macro areas; energy and environmental policies, infrastructure policies, quality of urban life policies, agricultural, touristic and artisan policies, policies for hospitality, awareness and training, social cohesion and partnerships (Cittaslow.org, 2018).
3. Rehabilitation Projects of Streets and Facades
In our contexts, the most significant points are policies of Cittaslow which were still continued to be applied during the rehabilitation project of Sığacık in 2014. With the same principles, Izmir Metropolitan Municipality and Seferihisar Municipality jointly implemented the ''rehabilitation project of the streets of the Sığacık Kaleiçi'' application joint service protocol was signed with a ceremony. Izmir Metropolitan Municipality Mayor Aziz Kocaoğlu and Seferihisar Mayor Tunç Soyer signed the protocol. (Izmirbelediyesi, 2012).
Based on media research and archival documents found in Municipality's official website, it has been found that following the tender of the Metropolitan Municipality, the works started in May 2013. Metropolitan Municipality and within the scope of the protocol, the Municipality of Seferihisar transformed these streets; 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137 are located within the castle of the Sığacık (Izmirbelediyesi, 2013).
The mayor supported street health studies carried out in the streets and the bazaar area. The perception of the historical texture has been achieved in these parts. Within the scope of the project, repair of the plaster which lost its quality on the fronts was carried out. The 'Teos stones' in the region were protected on the front and cleaned up in accordance with the restoration principles. In the materials found on the facade, deep fracture, breakage, where there is a lack of innovation was made. Within the scope of the project, repair in some places, door, window, roof, and shutters have interfered with changes, electrical and water connections were made.
The original equipment was renewed in accordance with the original. As a precaution to rain waters, open channel system was made to discharge the sea. As part of the studies, the roads were paved with granite jar stones while electricity and water connections were made (Izmirbelediyesi, 2014).
Source:<http://www.seferihisartaksi.com/sigacik-kaleici-evleri-tatil-koyunedonusturuluyor.html> ( Accessed on: 25.12.18)
Interviews about the project showed that people mostly benefit from Kaleiçi's visual satisfactions. Pension owners (Table-3) commonly indicated that people come here basically to take photos in front of the buildings and also thanks to location's popularity based on media, about this tourist attraction and movies were filmed here. Moreover, they come here for Organic Bazaar, conducted in 2010 firstly by the municipality, after food activities, they take a walk along with the buildings and observe them. They also said that the historical character of architecture appeals to visitors to experience authenticity. After the rehabilitation of streets, the material and appearance have changed and walking on narrow streets with aesthetic architectural panorama became more pleasurable according to the results of interviews. And gained an identity of architectural styles boosted tourism thanks to its authentic attractivity.
4. Pension Culture and Hospitality Training
Under the highlight of the Cittaslow Movement, considering its policies for hospitality, which is included 7 macro-areas, the decision-makers provided training for Pension ownership following the rehabilitation project. This was another factor, was supported by Municipality and Yaşar University, also mobilized tourism activities is pension culture, constituted inside. Seferihisar Mayor Tunç Soyer aimed to introduce the world a different tourism model by creating a house pension with 600 beds in Kaleiçi, the oldest holiday village in the world (Seferihisarbelediyesi, 2014)). Thus, after the restoration work, some of the buildings redesigned according to the pension program and it was decided to implement the training program to cover the Kaleiçi inhabitants with the protocol made with Yaşar University. Within the “home hostel” training, guest welcome and hospitality were taught to the house owners in Kaleiçi and hosts who completed the training program received the certificate with 2015 and started to host their guests. (Yasar University, 2014). To find different activities offered by Kaleiçi settlements, which created vitality based on interview results of pensions, hotels and pensions were supposed to prove to the visitor profile that this is a point of attraction. and rather than temporary visits, long-lasting experiences have been offered to people to discover this re-created experience of the inner castle. And emphasizing this historical Holiday Village concept, as a result of a serious advertising success in the social media and newspapers, the original visual image of the castle has been emphasized based on media research (Appendix-11) and as observed from other studies, these investments have led to serious increases in tourism activities.
C. Visitor Responses towards Visual Quality of Municipality Project
As mentioned previously in section '4.2.3', tourism activities centered on two main factors; historical attractiveness of architecture and organic bazaar which takes place on Sundays. In order to understand the role of architectural visuals on visitor's perception, conducted interviews highlighted their aims to come to Kaleiçi. Interview results showed that visitors come here mostly to take photos in front of the buildings because of its authentic style of architecture and its fame as a result of the image.
Firstly, regarding the interview findings, emerged purpose was to investigate the points of photographs that also focus on representing the visual style of architecture. For defining the focal visual points of photography activities, the amount of the people was counted at the selected streets which are 127, 128, 129, 131, 136. Results showed that 129th,131th, and 136th streets are the points where the photo-taking activities are most performed.( Appendix-11 , Appendix-12 ). Also considering the serial vision analysis of those streets, findings proved that when the bazaar is opened, due to it covered of facades by bazaar table and shadowing, people are not able to perceive facades and they are not able to take photos of the buildings. But only streets which are empty during the bazaar time are 129th arts street, 131th, and 136th streets, because of their emptiness, it is clear to see buildings' facades and take photos.
Secondly, another result has been found to prove visitor responses to the renovated facades is tracing people. One couple was followed for 30 minutes while taking photos on 139 Street (Figure-5), then they stopped on several architectural fronts and continued to take pictures and following that they saw the Organic Bazaar where food activities took place.
To sum up, by this analysis, the architectural focus on the purpose of visiting Kaleiçi was determined and the visual image that influenced the tourism activities, while gaining destination attractiveness identity after the municipality project, was emphasized. Main
tourism activities have been observed to be organic market and historical buildings. Therefore, with the visitor's tendency towards the facade of the building, the architectural image has been proven to be of importance to the region and established the destination attractiveness thanks to ist authentic visuality.
D. Reviewing the Urban Renewal at Sığacık Kaleiçi in the Scope of Visual Dimensions
After receiving the significance of the architectural image, the reason why this visual combination appeals to visitors has to be comprehended through the visual dimensions of urban design (Carmona et al., 2003).In this section, conducted an analysis that surveys visual features of the built environment based on selected theories is evaluated in relation to the site.
First of all, in the frame of 'Patterns and Aesthetic orders in Urban Environment' defined by Smith, four principles, which response on Gestalt's rules, highlight the reason behind that why visitors enjoy with the architectural image in rehabilitated Sığacık Kaleiçi streets. As the 'Sense of Rhyme and Pattern' strongly affects the user's willingness to complete the whole image, the rhyme, here, does not refer to the repetition of the same objects. Since we are able to see the flow of the façade along the results of serial vision, it is possible to read the rhyme on the fronts as the same wooden materials on the fronts are used in different variations and colors, while the sameness is still based on the most simple historical typology which is wanted to be represented.
The second principle, 'Appreciation of Rhythm' is observed through the visual analysis. Thanks to chained views offered by the Serial Vision method by Gordon Cullen, it became easier to follow repetition, similarities distinctions, while following the facades which are perceived as chained to each other. Through the serial viewing of streets (Appendix-4-5-67-8-9-10), the most recognizable elements were the windows, doors, canopies, whitecolored buildings in human scale, narrow streets and enclosed nodes. The rhythm here is observed focusing on especially facade elements as windows and it is produced by a grouping of consisted of facade elements to constitute a character to the buildings. It prevented the monotony by the variations of color, scales on elevations keeping its inherent form and material of historical style.
A third principle, 'Recognition of balance' is realized along the streets which can be understood from the unification of elements in harmony. While randomly walking at Kaleiçi streets, although there are many different facade elements and houses which have a different amount of floors limited to two, harmony within their distinctions are perceived by the user as accepting the whole place as a ''pictorial scene or pictoresque'' (Sitte, 1889)
Lastly, the fourth principle which is a combination of the other three principles is 'Sensitivity to harmonic relationships'. ''Harmony concerns the relationships between different parts, and how they fit together to form a coherent whole. Certain relationships, such as those of the Golden Section, also contribute to the quality of harmony.''(Carmona et al., 2003). In our case may be the main reason behind people's pleasure about the visual scene is depending on the harmonic relationship between buildings which are restricted to the sharp rules by the municipality.
Other visual dimensions of urban spaces defined by Carmona et al. (2003) concentrate on facade designing under Buchanan's principles (1988). Attempting to understand what makes good or pleasurable a building facade is depending on its comprising of several features.
According to Buchanan (1988), a facade must be seen as an object and should create a sense of place, in this way Sığacık's building facades contribute to creating a sense of place by distincting themselves with a unique style which was aimed to be created about revealing the history. This approach, implemented by municipality, gave specific character to the site and without removing the local life inside, authentic culture was represented.
Considering the feedbacks by the visitor to the pension owners the sense of place is achieved regarding visitor's defining this area with some specific words as authentic.
After careful examination of construction zoning law in Sığacık Kaleiçi, results showed that in forming the second principle, the role of the municipal restriction policies is large. Due to restrictions about building facades, positioning the contrarian and incompatible elements to the surrounding buildings is prevented. Thus, Buchanan's view that there must be rules between buildings and that buildings are coherent and cohesive with each other in terms of character is embodied in this land thanks to standardized building typology.
Another feature must be applied is ''having windows that suggest the potential presence of people and that reveal and 'frame' internal life.'' (Buchanan, 1988). In Kaleiçi streets, thanks to narrow streets and being close to the facades, constructing a communication with facades
is easily achievable. Also, the scale of the buildings are suitable for humans; because of that, even windows close to the ground and perceivable by a walking person and doors do not tend to precede the human scale. The life inside the buildings and on the streets is interpenetrated. So, it is easy to connect interior spaces due to visual elements' scale and windows and doors show what is behind them.
And lastly, focusing on additional visual elements must be added to buildings, was indicated by Buchanan (1988). These buildings should have compositions that create rhythm and repose and hold the eye, likewise Smith's principles, he also highlighted the rhythm on the facades. Anh he also stressed the requirements of decoration which distracts people, delights and intrigues. In this way, Kaleiçi Buildings'S facades were examined and according to the counting of photograph takers and video-recording methods, the attraction of visual elements detected. Video recording at the 129th streets shows that people always distracted by the visual elements on facades. In 30 min video, 16 people stopped and took photos in front of the buildings. In addition to this number, along the street X person stopped and look at the object-facades. The results show that Sığacık House's visual elements attract people and it reflects on their behavior. According to Buchanan's principle, the location becomes successful on including relevant to the facade designing process.
5. Conclusion
The Cittaslow movement’s fundamental approach includes several focal points in order to save the identity of the less populated settlements, their own potential should bring out by revealing history, bringing the needs of the era, showing their uniqueness. In this way an increase in the quality of urban living, cultural values, and differences, becomes significant. In our case, these decisions were adopted by the municipal administration, started with the membership of Seferihisar to the Cittaslow Movement in 2006. Regarding its policies, the municipality implemented several projects which aim to boost tourism activities. Within these projects, 'Rehabilitation of Sığacık Kaleiçi Streets and Facades' is the most significant case in relevant to investigation of visual dimensions. After the overall review of related theories, archival and media research conducted to find out detailed implementations and their impact on tourism mobility. Furthermore, interviews helped to understand increasing tourism activities, and reason for visitor's preferences to come to Sığacık Kaleiçi. Based on results, the activity of photography analysis is conducted on-site, realized photo-taking
tendency of building facades pointed out that significant role of architectural elements on creating a destination attractiveness. Starting from this point the reason why Kaleiçi Building's facades attract people is investigated by using serial vision methods of Gordon Cullen and counting people who stop to pay attention to facades. Later, visual dimensions of structures in Kaleiçi was analyzed in the scope of Buchanan's facade-designing principles ( 1988) and Smith's Patterns and Aesthetic orders in Urban Environment (1998). According to the results, the inclusion of visual elements through the architectural facades brought a destination attractiveness to the site. And in terms of selected visual dimension theories, municipality's investments on the street rehabilitation and facade design were found successful meeting the requirements indicated by visual dimensions.
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6. Appendecies
Appendix-1, Land-Use Mapping and Interviewed Pensions
Appendix -10, Serial Vision of street 129, part 2
Appendix-11, Counting of Photography Activities
Appendix-12,Photography Points
