REGENERATIVE URBAN I S M METU MASTER OF URBAN DESIGN STUDIO SPRING 2018/19 METU MASTER OF URBAN DESIGN STUDIO | SPRING 2018/19
REGENERATIVE URBANISM REGENERATIVE URBANISM Editor Müge Akkar Ercan
M E T U - M I D D L E E A S T TECHNICAL UNIVERSITY FAC U LT Y O F A R C H I T E CTURE D E PA R T M E N T O F C I T Y AND REGIONAL PLANNING
Edited by Müge Akkar Ercan
REGENERATIVE URBANISM Editor Müge Akkar Ercan
Contributors Müge Akkar Ercan . Selen Karadoğan . Sabrina Shurdhi . Tuğçe Sözer . Yasemen Kaya . Yasin Yağız Kaya . Zeynep Elif Kar
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idealkent Press:
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Editor Müge Akkar Ercan Regenerative Urbanism Editorial Director: Concept Consultant:
Emir Osmanoğlu Yusuf Sunar
Typeset-Page layout: Cover Design: Cover Photo:
Selen Karadoğan, Yasemen Kaya, Zeynep Elif Kar Selen Karadoğan Müge Akkar Ercan
E-ISBN: ISBN: Certificate Number: © ADAMOR Ltd. Co. 2019 Published, 2019
978-605-68927-4-5 978-605-68927-5-2 46320
©All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
METU MIDDLE EAST TECHNICAL UNIVERSITY FACULTY OF ARCHITECTURE DEPARTMENT OF CITY AND REGIONAL PLANNING MASTER OF URBAN DESIGN İdealKent Press is an imprint of the ADAMOR Limited Company Nasuh Akar Mahallesi 1403. Sok. 10/5 Balgat-Çankaya/Ankara Tel: 0312 285 53 59 • Fax: 0312 285 53 99 Web: www.idealkent.com.tr • e-mail: idealkent@gmail.com
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REGENERATIVE URBANISM Editor Müge Akkar Ercan
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Contributors Müge Akkar Ercan She is the faculty member of the Department of City and Regional Planning, Faculty of Architecture at Middle East Technical University (METU). She received her BSc degree in City Planning and MSc degree in Urban Policy Planning and Local Governments from METU, and her PhD degree from the School of Architecture, Planning and Landscape at University of Newcastle, UK. She worked in national and international research projects. Her research focus on urban design, public spaces, urban regeneration and conservation, sustainability and sustainable community development. She lectured in several different universities in Europe and China. Her recent publications: • The role of public spaces on social cohesion and inclusivity: Metamorphosis of a historic park in Ankara, Turkey, Public Space Design and Social Cohesion. P. Aelbrecht, Q. Stevens (eds) (2019) (co-authored by O. Memlük); • ‘Evolving’ or ‘lost’ identity of a historic public space? The tale of Gençlik Park in Ankara, Journal of Urban Design (2016); • Daha yaşanabilir kentler için mikro ölçek bir yürünebilirlik modeli, METU Journal of the Faculty of Architecture (2016) (co-authored by Z.S. Belge); • Endüstri-sonrası kentlerin değişen ve dönüşen kamusal mekanları, Planlama (2016); How to value heritage? What are the roles of place-makers? (ed.) (2016); • Tarihi ve kültürel miras alanlarında devingen ve evrimsel bir yer kimliği kavramsallaştırması, IDEALKENT; • More inclusive than before? The tale of a historic urban park in Ankara, Turkey, Urban Design International (2015) (co-authored by O. Memlük); • Urban regeneration and sustainable community development in historic neighborhoods of Istanbul, The Routledge Companion to Urban Regeneration. M.E. Leary, J. McCarthy, ed. (2013); • Kamusal sanatın kamusallığı: Erişim, aktör, fayda yaklaşımı, İDEALKENT (2013); • Developing sustainable communities in historic neighbourhoods of Istanbul, Tijdschrift voor economische en sociale geografie (2011); • Challenges and conflicts in achieving sustainable communities in historic neighbourhoods of Istanbul, Habitat International, (2011); • How to shape up conservation-led regeneration initiatives regarding community needs?, METU Journal of Faculty of Architecture, (2010); • Searching for a balance between community needs and conservation policies in historic neighbourhoods of Istanbul, European Planning Studies, (2010); • Less or more public than before? Public space improvement in Newcastle city centre, Whose Public Space? International case studies in urban design and development, A. Madanipour, ed. (2010); • Public spaces of post-industrial cities and their changing roles, METU Journal of Faculty of Architecture, (2007); • The changing ‘publicness’ of contemporary public spaces: A case study of the Grey’s Monument Area, Newcastle upon Tyne, Urban Design International, (2005); • Questioning the ‘publicness’ of public spaces in post-industrial cities, Traditional Dwellings and Settlements Review, (2005); • Questioning ‘inclusivity’ of public spaces in post-industrial cities: The case of Haymarket Bus Station, Newcastle upon Tyne, METU Journal of Faculty of Architecture, (2005).
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Selen Karadoğan She is a doctoral candidate and a research assistant at the Department of City and Regional Planning, METU. She received her BSc degree from the Department of City and Regional Planning, METU, in 2016. In 2019, she graduated from the Urban Design Master Program, METU. Her research interest includes public space design, sustainable design and public space history. Sabrina Shurdhi She is a graduate student of Urban Design Program at the Department of City and Regional Planning, Faculty of Architecture at METU. She received her BSc degree from the Department of City and Regional Planning, METU in 2016. Tuğçe Sözer She is a graduate student of Urban Design Program at the Department of City and Regional Planning, Faculty of Architecture at METU. She received her BSc degree from the Department of City and Regional Planning of Institute of İzmir Yüksek Teknoloji in 2014. She worked between 2015 and 2016 at Egeplan Planlama as a city and regional planner. Since 2016, she has been working at the Municipality of Sapanca. Yasemen Kaya She is a graduate student of Urban Design Program at the Department of City and Regional Planning, Faculty of Architecture at METU. She received her BA degree in architecture in 2005 from İstanbul Kültür University. She worked at MultiTurkMall between 2005 and 2007, at the municipality of Kuşadası in 2007, and at Gökmen Architects between 2007 and 2010 as an architect. She started her own company in 2011 and since then she has been working on several projects at different urban and architectural scales. Yasin Yağız Kaya He is a graduate student of Urban Design Program at the Department of City and Regional Planning, Faculty of Architecture at METU. He received his BA degree in architecture in 2015 from İstanbul Bilgi University. He completed Domus Academy Master in Urban Vision and Architectural Design Program in 2016. Since 2015, he has been working at Modül Planlama. Zeynep Elif Kar She is a graduate student of Urban Design Program at the Department of City and Regional Planning, Faculty of Architecture at METU. She received her BA degree in architecture in 2017 from the Faculty of Achitecture, METU. Between 2017 and 2018, she worked at Motto Architects as an architect.
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CONTENTS
ACKNOWLEDGEMENT
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PREFACE & INTRODUCTION, Müge Akkar Ercan
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WHAT IS CODING IN URBAN DESIGN?, Selen Karadoğan I. An Integrated Network Model for Cappadocia Region, Yağız Kaya
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II. An Experimental Critical Regionalism by Pattern in Uchisar, Zeynep Elif Kar
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III. Ludic Public Space Network Between The Fairy Chimneys and Daily Life Realm, Yasemen Kaya
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IV. Water as A Regenerative Agent: Creating Blue-Green Network in Avanos, Tuğçe Sözer
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V. Organized Complexity in A Coherent Commercial High Street, in Avanos, Sabrina Shurdhi
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ACKNOWLEDGEMENT
PROF. DR. MÜGE AKKAR ERCAN
The Urban Design Master Studio is primarily an outcome of a collaborative endeavour of studio critics and students of the Department of City and Regional Planning in Middle East Technical University. I would like to thank Asst. Prof. Dr. Cansu Canaran from TED University and Research Assistant Selen Karadoğan who greatly contributed to the conduct of this studio. I would like to express my great appreciation to the master students, i.e. regenerative urbanists, of UD 502 Urban Design Studio II: Elif Kar, Yağız Kaya, Yasemen Kaya, Tuğçe Sözer and Sabrina Shurdhi. They showed a huge effort not only to grasp the framework of the design studio, but also to put forth new design ideas, by continuously searching, elaborating and integrating them to the context of Cappadocia’s future for regenerative urbanism. I would also like to extend my gratitude and appreciation to a number of people and agencies who helped us to conduct this studio by providing insight information about Cappadocia and their locality: • Aslı Özbay and Hakan Mahiroğlu, Argos Yapı • M.Abdullah Yazıcı, Ministry of Environment and Urbanism, Director of Conservation Department of Natural Assets, Nevşehir • Atıf Emre Bayındır, Ministry of Environment and Urbanism, Amasya • Nevşehir Büyükşehir Belediyesi • Avanos Belediyesi • Göreme Belediyesi • Mükremin Tokmak, Hotel owner in Avanos • Atıl Cüce, Middle Earth Travel • Ali Yavuz, Hotel owner and walking tour guide, Göreme • Yiğit Acar, Bilkent University, Department of Architecture • Olgu Çalışkan, METU, Department of City and Regional Planning
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PREFACE & INTRODUCTION
Regenerative Urbanism: PROF. DR. MÜGE AKKAR ERCAN
Envisioning New Agents for Planning and Designing of Urban Space ‘Regenerative system’ is a system providing for “continuous replacement, through its own functional processes, of the energy and materials used in its operation” (Lyle, 1994: 10). ‘Regenerative urbanism’ (RU) is a ‘catchword’ of Urban Design Studio for the Spring term of 2018-2019 in the Master of Urban Design of Middle East Technical University. Students and staff who are involved in the studio works are expected to be ‘regenerative urbanists’, experience a regenerative planning and design process to co-create ‘regenerative spaces’.
Who are Regenerative Urbanists? Regenerative urbanists can be specialists such as architects, city planners, urban designers, landscape architects, sociologists, cultural geographers, engineers or any expert in his/her own field. They can also be creative entrepreneurs, civic leaders, place-healers, fostering entrepreneurial creatives or unique local businesses bringing new arts and crafts into localities. Regenerative urbanists are connectors, (re)searchers, proposers and defenders, i.e., transformative actors of space.
What do Regenerative Urbanists? Similar to skilful, successful managers who build on the existing strengths of an organisation, regenerative urbanists build on the existing sources, assets and potentialities. Regenerative urbanists first seek to discover overt/covert, closed/open, tangible/intangible sources, assets and potentials of space, engage others to consider how to earn very best returns from these resources, assets and potentials, envision best possibilities, propose and defend them by representing in various different ways.
How to practice regenerative urbanism (RU)? RU is asset-based (resource or value-laden) and need-driven. Instead of focusing deficits and problems of space as a starting point, it seeks to discover two sides of urban space: needs and assets, resources or values, and it builds on what is integral to people and locales—their prima materia, prime material or DNA. Although clarifying deficits and problems of space is a part of its planning and design approach, it aims to enhance regenerative places by using the existing conditions of localities, including history, culture, natural landscapes, built environment, neighbourhoods, businesses, schools, cultural institutions, as well as the ideas, talents, and skills of community members. In this way, RU may not only help the design and development of attractive places for national and global businesses, but also may contribute to the operation of existing local businesses and support the creation of new business incentives. Focusing on historic buildings and districts, it aims to protect historic and cultural assets, support the rich diversity of our communities, and use expressive arts and culture, and the wide range of creativity and expertise in any given place. Additionally, it seeks to use, protect, reclaim and enhance environmental values and assets in the design of city, and its integral parts, such as districts and neighbourhoods. It often connects public space systems and integrates more nature into the city. In the process, RU aims to set into motion a generative, dynamic and self-adaptable feedback mechanism which will enable communities to build creatively on their strengths in a continuous fashion. While forward-looking, RU also values, protects and sustains traditions, rather than mimicking history. For instance, it may value Cappadocia’s traditions by being creative and innovative. It actively (re)uses these traditions and historic and cultural values as the driving forces for growth; but, at the same time, it seeks for a balance between development and conservation of several traditions and values simultaneously, rather than preferring one to the other. RU adopts an agent-based regeneration approach. Students are asked to adopt an agent which can be xı
human and non-human. Recurrent themes of RU can be slow, flow, low, and local. In a rapidly changing and uncertain worlds where multiple networks flow at the global and local levels simultaneously, and put pressure on localities, how the local will respond to the dynamism of global forces? As Mae West says, “anything worth doing is worth doing slowly”. Slowness is also apparent in appeals for incremental urbanism (Alexander et al., 1987; Attoe & Logan, 1989; Kemmis, 1995). While local movements such as Citta Slow, Slow Food are some responses of localities, how Cappadocia can tackle with the global pressures, while preserving its natural beauty, the circuit of local economy, natural and historic heritage, local culture, and social fabric? RU defines the localities within their evolving contexts. That is, it seeks to find existing flows, value them, and/or unblock them to clear physical, social and other hinderances. The responses of RU are multi-scalar; that is, the planning and design solutions to local problems can be large and/or small-scale. Although RU strongly supports a comprehensive understanding of urban space and responds to the local problems with an integrated planning and design approach, it also greatly values incremental planning and design interventions and solutions. Sometimes, the most simple, elegant, and efficient urban design solutions are often low-impact and low-tech (Ellin, 2013). RU aims to propose alternative ideas and technologies, and to generate new energy for locality. Ultimately, it seeks to improve quality of life by enhancing ‘quality of place’. To achieve this end, it uses agent-based vision and design scenarios to bring people and stakeholders together to start dialogues. Besides its multi-scalar design approach, it also seeks to develop a design guideline to show how the vision can be implemented in different temporal instances despite the emergent and evolving circumstances. Rather than using fear and control, RU applies the simulation and modelling of inspirational design schemes at multiple spatial scales starting from region, city, district scales to neighbourhood, street, square, park and house scales. Hence, RU transforms the greatest problems into the greatest solutions by revealing hidden blessings, or by making virtue of necessity. RU seeks to create incessantly a path towards prosperity by taking six steps: vision, refinement and sophistication, plan, model and simulate, support, and present. It engages in urban acupuncture by removing hinderances and blockages in urban space, networks and agents, thereby bringing multi-dimensional revitalisation and liberating the life force of a city. Therefore, RU restores connections between people and nature, between body and soul, and among people that have been accelerated over the past century. Cities, societies, communities and people have lost one of the most important virtue of humanity: trust. As trust has eroded with the economic, social and urban fragmentation from the second half of the twentieth century, the strength and resilience of relationships and communities also eroded, bringing along an “architecture of fear” to occupy the void (Ellin, 1997). RU aims to provide some design solutions which may foster community by cultivating relationships through a process that engages and builds mutually supportive networks of people. This regenerative process may also help to re-build the feeling of trust on which relationships and communities depend. RU combines strategy with serendipity. In contrast to popular efforts to “conspire with reality,” RU is not principally tactical. The tactical approach might be covert and self-serving, or, may be specific interventions, skirting political processes (Lydon et al., 2011), often cynical, and sometimes passive-aggressive (Ellin, 2013). RU aims clearly and idealistically to enhance places for all people, invests in planning and designing the process, and obtains successful returns and products. Both process and product contribute to create synergies, efficiencies, and relationships. RU is generative and proactive, rather than reactive. It moves beyond the professional, and beyond competition of power, prestige, and profits. Bringing both top-down and bottom-up approaches together, RU seeks to consider and reflect on the possibilities in urban design. At the same time, it dwells on the idea of a procedural urbanism, in which segments of decision-makers, urban design professionals, and xıı
communities working side by side towards mutually beneficial ends. RU invites professional urbanists and stakeholders to participate, welcomes them when they do, and partners with them to bring ideas to life. Ultimately, RU aims to generate liveable, creative, adaptive, and transitive places. Likewise, it creates connective places where people feel connected with themselves, others, nature, locales, the sacred, the past, and the future. It envisions best possibilities and rallies resources to realize them, in a world that needs these now more than ever. It does this by rendering the latent manifest and the improbable inevitable.
Cappadocia as a Regenerative Space Cappadocia is a unique natural heritage setting in the world. It is a miraculous nature wonder, covered by the provinces of Aksaray, Nevşehir, Niğde, Kayseri and Kırşehir in the Central Anatolian region (Figure 1). The special landscape of this region was first formed as a result of the volcanic eruptions of Mount Erciyes, Hasandağ and Göllüdağ around 10-2 million years ago. The lava produced by these volcanoes formed a layer of tufa on the plateaus, lakes and rivers which varied in hardness, and was between 100 and 150 meters thick. With the action of smaller, secondary volcanoes and the actions of rivers, wind and flood waters, this layer of tuff has slowly, but steadily been eroded to produce the rock formations seen today, and known as ‘fairy chimneys’ (Figure 2). Cappadocia became the home of many civilizations dating back to prehistoric periods, i.e. the Neolithic and Chalcolithic ages. The Assyrian civilization’s home zone later was inhabited by the Hittite, Frig, Pers, Byzantine, Seljuk and Ottoman civilizations. The first Christians who escaped from the persecution of the Roman Empire came to this region in the second century and built underground cities. As they had to live underground for long durations without going out, they developed provisions rooms, ventilation chimneys, wine production places, churches, abbeys, water wells, toilets and meeting rooms. The biggest underground city here is Derinkuyu Underground City, beside the ones in Kaymaklı and Özkonak (Figure 1). There are basically four main zones in Cappadocia: a) Nevşehir, b) Uçhisar and Güvercinlik Valley, Ürgüp, Göreme, c) Avanos, d) Güzelyurt, Ihlara Valley, and its environs (Figure 1). By the end of the second century, a large Christian community had lived in Cappadocia. This was basically due to the close proximity of two bishoprics, one in Kayseri and the other in Malatya. By the third century, Cappadocia had become a lively centre of Christian activity. Göreme Open-Air Museum is the place where the religious education started (Figure 4). In Avanos, where the main traditional economic activity is pottery, a craft dating back to the Hittite period, the red clay of Kızılırmak River (also called Red River) is used by local craftsmen (Figures 3 and 4). Ürgüp (Assiena) is one of the most important centres in Cappadocia. Figure 1. Cappadocia region in Turkey and the central Anatolia (http://www.anatoliajournal.com/kongre_arsivi/graduate/5.graduate/cappadocia.htm; Kapadokyaweb.com, 2019
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Soğanlı and Ihlara Valleys have provided settlement and religious centre systems, and served ideal places for the seclusion and worship of monks, and a hideaway and defence area for people during time of invasion. The Cappadocia has very unique historic and cultural heritage values that can be seen in the architectural specificities, art and crafts, such as the cave houses, buildings reflecting architectural styles and building technics from different historic periods (Figure 7). Cappadocian architecture with a rich variety and Seljuk caravansaries are other critical values of the region. Likewise, the Cappadocian dove cotes, which date back to the end of the nineteenth century and beginning of the twentieth centuries, are another important cultural heritage mainly found on the sides of canyons and valleys.
Aims/Objectives of the Urban Design (UD) Studio
Figure 2. Fairy chimneys in Göreme, one of the main historic towns in Cappadocia (Photos: Akkar Ercan, 2019)
This studio aims to use and implement the notion of RU as a generic theme, get urban design students familiar with this theme, and become a medium for them to use it in their design research and project. Hence, the design studio seeks to act as a medium to help students to be active specialists, researchers, designers, as well as place-healers, creative entrepreneurs in the design process of a regenerative urban space. The outcomes and the urban design process experienced by students and academic staff are to help students to be acquainted with the urban design process, act as professionals to evolve towards complete regenerative urbanists, and produce high-quality urban design projects. The design studio also aims to help students to use, develop, discover and gain new skills in the design process. Creative and innovative, strategic and critical thinking are the key skills that will be pushed to be developed to this end.
Programme and Design Methodology of the UD 502 Urban Design Studio
Figure 3. Avanos and Kızılırmak running through and dividing the city into two main parts (Photos: Akkar Ercan, 2019)
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The programme of urban design studio aims to integrate the idea of design thinking with research. It constitutes six main phases: • Selection of a regenerative agent/s by each
Figure 4. Göreme Open-air Museum (Photo: Akkar Ercan, 2019)
Figure 6. Canyons and valleys which are unique geomorphological features of Cappadocia and Erciyes Mountain (Photo: Akkar Ercan, 2019)
student and its/their justification • Envisaging how to employ regenerative agent/s in the local context • Field trip • Interim Jury: Reflection of field trip: 1) early design proposals 2) detailed analysis • Design process including several subsequent workshops which will lead you to produce the final design projects • Final jury Each design workshop which is limited with a short period of time (a week) helps students to deal with different phases of design process. Being in the form of design research and design practice, workshops enable students to build up an overall design experience on the design project and experience different phases of design that require multiple ways of strategic, creative and contingency thinking by design. In this way, students are also able to experience the process of research by design and design by research. By design workshops, not only the ideal alternatives for future, but also the worstcase scenarios can be presented to steer a rational discussion on design. Thematic and spatial research is important to quickly grasp the real-world context, and adapt the new agent-led design production in order to contextualise and use the design ideas properly. Both traditional and creative data mapping
Figure 7. Cappodocian architecture and artefacts (Photos: Akkar Ercan, 2019)
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and visualisation technics (i.e., conceptual diagrams, detail design, sections/elevations, or web design graph technics, design simulations) can be used for multi-dimensional analyses (morphological, cultural, social, or thematic), and for contextualization of design ideas, clarification of design tools, and representation of design ideas properly. Students are expected to develop illustrations not only the existing form, but also the transformation of urban space both retrospectively and/or prospectively via speculative design simulations1 . It is possible to develop spatial typologies, and can be mapped out as typological sections. In response to the dynamic nature of urban space, the new design proposals of the students are expected to reflect the specific characteristics of flexibility, adaptability and resilience occurring in different cycles of change. Therefore, design simulations over multiple time-frames showing how an area would trans-form from existing situation to that of future are the expected outcomes of the studio projects. In this regard, the studio projects are expected to represent adaptive (trans)formations of the design patterns rather than the presentations of blue-prints depicting the end-result with single leaps. This requires first codifying the typical parts of the regenerative urban space, and second formulating generic and focused design
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For a good example to creative mapping technique visualizing the possible transformation with reference to the existing forms and patterns, see: Campoli, J., Humstone, E., MacLean A. (2002) Above and Beyond: Visualizing Change in Small Towns and Rural Areas, American Planning Association Press: Chicago.
models from a strong typo-morphological point of view (as opposed to the static nature of master plans). This design thinking will not only respond to the contemporary view in development control by design2 but also enable the smart and holistic control over all kinds of possible fragments to emerge in the territory in future. Even after the site-specific design schemes put forward by the student projects, formulation of a comprehensible design guideline comprising generic design principles for the similar settlements in type is the expected outcome of the design researches. A series of generative codes of urban architectural and landscape design (especially on building massing, façade articulation, rooflines, materiality and plantation etc.) is to be produced by students to achieve a characteristic image of the ‘new urban regenerative space’.
Design Steps
Each student/student group selects a regenerative theme or agent to employ his/her/their design project. This agent should be generic which can be applicable and adaptable for any locality, but at the same time should acquire specific features when it is adapted to a specific local context. Each student is expected to justify why s/he chooses this agent within a regenerative urban concept. Deliverables: A ppt presentation with written statements showing ideas
Each student/student group makes a research on the selected regenerative theme or agent. This will address several questions: How is it defined? What are the components of this regenerative agent? What could be possible alternative ways of re-considering a regenerative agent -a potential or problem? How different design approaches respond to it? Their characteristics within their context: show one approaching the agent as a potential and another one as a problem. Deliverables: A ppt presentation with written statements showing ideas
Each student/student group is expected to study Cappadocia, and think and define how she/he/they can employ the regenerative agent in this specific locality. This search should show the possibilities to accommodate the agent in different sub-localities and contexts. It is also expected to clarify steps to approach research (what will be the spatial focus, its scale/s, what data to be collected, who will be contacted with) that will help and lead one to the design process. Deliverables: A ppt presentation with written statements showing ideas
After the justification of the design problem, its key ingredients and steps, research strategies to find needs and values of the research project site, each student/student group is expected to prepare more detail lists of actions (visual data to be collected -maps, photos, etc.-, reports, archival documents, plans and projects, questionnaires or interview questions to be asked to the main stakeholders -users of space, municipal officers, architects of the earlier project, etc. and a program for the field trip. Deliverables: A ppt presentation with written statements showing ideas 2. See: Campbell, K. (2011) Massive Small: The Operating Programme for Smart Urbanism, Urban Exchange: London.
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Each student is expected to do the field trip together with the studio teachers. Four-day field trip is carried out to get familiar with the space, and gather data for the individual design research and project.
In the very first week of the field trip, each student/ student group is expected to focus on the preliminary analysis of his/her/their project and earlier ideas for his/her/their project by responding the following three questions: Which local needs and values are critical? How these needs can be responded? Which values should be accentuated? Deliverables: A ppt presentation with written statements showing ideas
Each student/student group is expected to present his/her/their field trip findings in a systematic way by using visual mapping tools, accompanied with a report.
This jury constitutes the presentation of outcomes of the project over the seven weeks. It is expected to include the systematic presentation of the regenerative agent, the conceptualization of the design project within the context of the regenerative agent (how to use it for developing possibilities of regenerative urban landscape), results of the research findings from the locality and preliminary design thoughts and sketches. Deliverables: A ppt presentation with written statements showing ideas with printed A0s
After the preliminary jury results, each student/student group focuses on his/her/their proposal, revise and concretize their basic design vision and strategies by using different graphic communication and mapping technics. The design vision and strategies should lead every student/student group to propose conceptual schemes visualising the main scenario to be used in the transformation of the selected site. Each student or student group is expected to write a scenario on future (trans)formation of ‘regenerative urban space’. Deliverables: A ppt presentation with written statements showing ideas
Each student/student group focuses on a more elaborated design ideas about how the basic design vision and strategies can be implemented in the project site. More detailed design ideas should be developed in the detail components of the scheme that will lead students towards the final outcome. Here some generic and specific design principles and ideas are implemented. Deliverables: A ppt presentation with written statements showing ideas
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Based on the studio teachers’ comments on the projects, each student/student group is given extra time to finalise his/her/their design projects. At the end of this two-week time, each student/student group is expected to produce the key design policy, strategy and principles for his/her/their urban design project to attain a regenerative space through the regenerative agent. This includes a presentation including text and spatial design configurations, mapping and 3-D modelling and simulations. This period is critical to produce: a) Design rules – defining the spatial strategies and interventions and what design components, tools and operations involved for each intervention to achieve the key design vision. You can prepare a flow chart (algorithm) and/or complementary matrices. This will show how to proceed in time to attain his/her/their ultimate design vision. These rules should always accommodate the possibilities of coming across difficulties, hinderances, and what to do for such circumstances and conditions. – Design workshop 4 b) Design simulations – 3-D digital modelling and simulations to show the existing condition and the proposed ways of (trans)formations. 3-D digital modelling needs to be complemented by 2-D layout plans, sections and elevations – Design workshop 5
Each student/student group presents his/her/their project from the very early stage to the end, but in a very concise and professional way, showing his/her/their expertise in the field. The final jury is also expected to include the guests and design critics/commentators from the faculty members and local actors from the Cappadocia region. Deliverables: A ppt presentation with written statements showing ideas with printed A0s
Student Projects An integrated network model for Cappadocia region by Yasin Yağız Kaya This project develops an ‘integrated network’ model for the Cappadocia region. ‘Network’ as a regenerative agent is chosen to create this integrated network, which has to be planned and designed not only for the local citizens but also for visitors. The ultimate aim is to pursue a sustainable and smart regenerative urbanism, which will not only preserve this unique, world-wide known UNESCO heritage site, but also help us plan and manage the sustainable regional development without damaging its natural, historical and cultural heritage values. The project examines a variety of networks (topographic, geographic, water, green, settlements, heritage and natural values, and transportation) in the Cappadocia region. To achieve an integrated network model in the region, it suggests a possible scenario enriched with these key ingredients of this network. Network problems are identified through not only direct observations, but also through the interviews and communications with the local stakeholders. The new networks and smart tools are suggested to address the heritage and local community values, but also the needs of locality and local business stakeholders. Hence, the design solutions, as well as some technology-based proposals, are widely considered and put forth. The project also aims to show that urban design projects are not necessarily only focused on urban context. The problems in the non-urban, peri-urban, rural, natural sites or regional-scale issues can be perfectly addressed by the design projects. Such projects and design thinking can be also very inspiring and fruitful for developing smart tools as well. xıx
An experimental critical regionalism by pattern in Uçhisar by Zeynep Elif Kar This project mainly focuses on Uçhisar, a small town in the middle of Cappadocia. It is a natural rock citadel with a spectacular inns, hotels, pensions and rental houses. The citizens of Uçhisar were moved by the state to the new part of the town due to the safety and security reasons. The citizens carried some parts of their homes -literarily the upper layer of the old town- in time to the sites of their new homes to continue their daily domestic life. As a result, the upper layer or the skin of the old town was taken out and the old caves have appeared. This part of the old town has been continuously restored, regenerated and re-constructed by the tourism investors. Some of the investors have sensitively restored the old caves, while also creating a new design codes merging with the old ones. The project is opted to use ‘pattern’ as the key agent of regenerative urbanism. Rather than focusing on the old town’s conservation and regeneration problems, it concentrates on the new town. However, it conducted in-depth morphological analyses of the old town and its pattern language. By discovering and learning the rules and codes of the pattern language of the old town (‘the past’), it seeks to create a consistent urban spatial organisation and pattern in the new town similar to the old town. In this way, its aims to integrate the old and new spatial values together. It also aims to show that without large-scale and comprehensive interventions, it is possible to create a harmonious urban pattern with incremental design interventions and practices. Such interventions, however, should be carried out consistently and continuously in order to achieve a sustainable and harmonious pattern language in urban space.
Ludic public space network between the fairy chimneys and daily life realm by Yasemen Kaya The project, focusing on Göreme, is chosen ‘city image’ as the key agent and ‘identity’ and ‘perception’ as the sub-agents of regenerative urbanism. The primary aim of the project is to create a ludic public space network in Göreme, which will be in harmony with the unique urbanscape, comprising fairy chimneys, human-built environment and playful topography of the town. The term of serial vision (Cullen, 1971) is used to analyse this ludic form of the public space network and to decode the design elements which generate this visually rich urbanscape in terms of architecture, design elements, usages and relations among them. In this way, the elements and relationships among these elements are tried to be revealed to understand how the city images in Göreme appear in the people’s mind. Based on the potentials, needs and problems of the public spaces in Göreme, a design scenario is suggested to create a ludic public space network comprising the town and its close proximity (i.e. Love Valley, Göreme Centre, Göreme Open-Air Museum and Meskendir Valley). This organised ludic public space network, which is suggested by the project, aims to enhance the playful city image including several nuances, choices, diversities within a unity. Analysing the urban pattern through two and three-dimensional models, and then developing sub-scenarios for different zones of Göreme helps to develop different design scenarios, principles and codes for the town.
Water as a regenerative agent. Creating blue-green network in Avanos by Tuğçe Sözer “Water is life, and life on earth is linked to water”, is the starting motto of this project. The project, defining water as the key agent of regenerative urbanism, tackles the problem of climate change, water scarcity and flooding problems through design thinking. In the middle of Anatolia, the Cappadocia region is lucky, being within the Red River Basin. However, similar to many settlements in the region, especially Avanos faces severe problems of flooding and water scarcity. Hence, this design project seeks to provide a solution, covering not only water supply, but also other issues such as biodiversity, eco-hydrology, waste water treatment, storm water management and water infrastructure. At the end, the project come up with a design solution at the regional scale (i.e., for Cappadocia region which xx
is within the Red River Basin, and then at the city level (i.e., Avanos and its environs). At every scale, the key design research question is: how to develop a blue-green network and how to achieve a sustainable and water-sensitive design solutions. Multi-scalar planning and design schemes and key design principles are offered to provide a comprehensive approach at the regional, city, and district, neighbourhood, and microspace levels. Urban codes and design guidelines, focusing on some street sections, green space networks and blue networks at the micro-space level are suggested. All are open to creative elaborations, place-based specific design research.
Organized complexity in a coherent commercial high street in Avanos” by Sabrina Shurdhi The project seeks to understand the multi-layered urban form in the main commercial street of the historical city in Avanos. The project aims to create a coherent urban form in this specific location. Thus, the key agent of regeneration is ‘coherence’. The project seeks to spatially analyses three types of inconsistency in urban space: functional, aesthetic and physical. In a space-time continuum, it seeks to understand how these inconsistencies have been generated and how urban design can address these inconsistencies in the urban form. The project seeks to develop a multi-scalar urban design approach by using Salingaros’ rules to achieve morphological coherence.
Limitations of the Design Studio and Lessons to be learned
The studio works were divided into small tasks as assignments and workshops to make students work in a systematic way, and feedbacks were given regarding the outcomes of students and their progress process. Each assignment and design workshop graded systematically and comments were given to improve and strengthen the design ideas and representation technics of the projects. As the number of students was small in the design studio, it was not possible for students to work as a multi-disciplinary team which in general include one city planner, one architect and one landscape architect. Although each student has had an individual freedom to work and make decisions on his/her own, the workload for each student for such a program was high. This brought about extra working hours to finalise their design projects, as foreseen by the programme. Nonetheless, the students worked very hard to fulfil the requirements of the studio. In the end, some targets regarding the phases of detail designs and design guidelines in the programme were achieved to a limited extent due to the shortage of time. It is anticipated that such a programme -whether for a large group or small group- can be more successful if it is implemented for the duration of the two academic terms. This was also claimed by the students who were involved in the project. Nonetheless, they also added that such a fascinating region such as Cappadocia is rather inspiring and educative for them. It could have been more successful, if they could have had more chance to set a dialogue with local communities and stakeholders. During the field trip, all students had the opportunity to communicate with several local stakeholders and people from the local communities to learn about their needs, values and aspirations. But, they could not sufficient opportunity to share their design ideas with them. This could be achieved in the following years, while setting more close relations with the local authorities and regional development agencies.
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References Alexander, C., Neis, H., Anninou, A., King, I. 1(987). A New Theory of Urban Design. New York: Oxford University Press. Attoe, W., & Logan, D. (1989). American Urban Architecture: Catalysts in the Design of Cities. Berkeley: University of California Press. Campbell, K. (2011) Massive Small: The Operating Programme for Smart Urbanism, Urban Exchange: London. Campoli, J., Humstone, E., MacLean A. (2002) Above and Beyond: Visualizing Change in Small Towns and Rural Areas, American Planning Association Press: Chicago Ellin, N. (2013) Good Urbanism: Six Steps to Creating Prosperous Places, Metropolitan Planning + Design, DOI 10.5822/978-1-61091-447-5. Ellin, N., (ed.) (1997). Architecture of Fear. New York: Princeton Architectural Press. Gladwell, Malcolm (2000) The Tipping Point. Boston: Little, Brown. Kapadokyaweb.com Kapadokya Gezi ve Konaklama Rehberi. (no date) https://www.kapadokyaweb.com/ fotograf/kapadokya-haritasi-1. Accessed 15.08.2019. Kemmis, D. (1995). The Good City and the Good Life. New York: Houghton Mifflin. Lydon, M., Bartman, D., Woudstra, R. & Khawarzad, A. (2011). Tactical Urbanism. http://patterncities.com/ archives/175. Lyle, J. (1994) Regenerative Design for Sustainable Development. New York: John Wiley and Sons. McKibben, B. (2007). Deep Economy: The Wealth of Communities and the Durable Future. New York: Macmillan. Oldenburg, R. (2007). “The Character of Third Places.” In Urban Design Reader, ed. Matthew Carmona and Steve Tiesdell, 163–69. Boston, MA: Architectural Press. Originally published in The Great Good Place: Cafés, Coffee Shops, Bookstores, Bars, Hair Salons, and the Other Great Hangouts at the Heart of a Community, 2nd ed. (Cambridge, MA: Da Capo, 1999).
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2018-2019 UD 502 URBAN DESIGN STUDIO Spring 2019 PROGRAM Academic members Prof. Dr. Müge Akkar Ercan (coordinator) Asst. Prof. Dr. Cansu Canaran Selen Karadoğan (MSc. in Urban Design), PhD candidate in City and Regional Planning (teaching assistant)
Students Yasin Yağız Kaya Zeynep Elif Kar Yasemen Kaya Tuğçe Sözer Sabrina Shurdhi
Figure 8. Post-graduate students and academic staff of UD 502 Urban Design Studio, March 2019: Selen Karadoğan, Yasemen Kaya, Zeynep Elif Kar (left), Tuğçe Sözer, Müge Akkar Ercan, Yağız Kaya (right) (Photo: M. Akkar Ercan, 2019)
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WHAT IS CODING IN URBAN DESIGN? Design Control and Guideline Design control is the power of shaping urban environment to enhance a better process of place making for the context of the UD 502 Urban Design Studio. It gives the opportunity to intervene the ‘space’ and generally referred as the ability to regulate urban form. Term ‘control’ is emphasized since, it is a process-oriented structure that is built on ‘tools’. Çalışkan (2013, p. 187) classifies that tools as ‘norms and standards, doctrines, guides and codes. Design guidelines are the tools that ease the understanding and reflecting the intention of designer to reality by clear set of instructions and directions. They are the control mechanisms that preserve place character and identity while ensuring place potential by allowing creative processes. With reference to the ‘discovering possible future scenarios’, guidelines are tools that are highly generative that is the source of freedom for the designer. Guidelines and codes are product of ‘need of flexibility’ for urban areas (Ünlü, 1999). Guidelines may include visuals; maps, diagrams, schemes and written documents that describes the process. “Urban Design Guidelines are documents that are clear, explanatory and guiding tools defining rules” (T.C. Çevre ve Şehircilik Bakanlığı, 2017). Guidelines are considered under two main categories; actors and multi scholar planning and design approach. Therefore, these tools are expected to be developed within a planning and design approach and fictionalized by a leading agent. Produced guidelines are all, focus on a generic and thematic study in specific to selected sites for each student within a regenerative urban concept. Urban design guideline tools are considered with design processes as an inseparable whole, since the main aim is not obtaining a final design proposal but to learn defining the process of design via ‘language’ of urban design. It is also a very social process that are encouraged by communities to ensure the continuity of their society along with the physical environment. It is very common to come across with design guidelines that published by local communities and provides their control on design process (Ünlü, 1999; Habe, 1989).
Coding “A code is a form of detailed guidance” (CABE, 2003). Coding thematically corresponds to a systematization of things, in order to use them in a selected manner. In design by coding, it is the organization of design principles and actions. On the other hand, Cowan (2002) states that “a ‘design code’ is a document (with detailed drawings or diagrams) setting out some precision how the design and planning principles should be applied to development in a particular place” (cited in Carmona et al., 2006, p. 224).Carmona et al. defines it as “a system that specifies the attributes of urban components or building components to influence the character or function of the whole urban development” (2006, p.241). As it is referred, it is a language, a way of defining the process in a specific context, in that case prescription of urban design guideline. Codes provide the most definite structure of design control on various scales from building to streets on the control of the urban form (Carmona, Marshall & Stevens, 2006, p.224). Codes are to increase quality (CABE, 2003). Since they boost the design control mechanism, the outcome in this case urban environment is expected to have higher quality. The main idea is generating principles for common needs, basic decisions that are valid in most of the cases. Therefore, other than specific prescriptions, they also standardize the general steps of design process. “A code as a process is only a means, not an end” (CABE, 2003). Aim is not producing the code, but rather to achieve better urban environments, codes must be considered within instrumentality. “The term urban coding therefore embraces a diversity of practices, traditions and formats, extending from urban scale locational regulations to prescription of architectural design details and from abstract legalistic ordinances to illustrated examples in building manuals” (as cited by Marshall from Carmona, 2006). xıv
RES. ASST. SELEN KARADOĞAN
“Codes are part of the hidden language of place-making” (Marshall, 2012, p.1). Namely, what we see outside the window that have ‘order’ and ‘character’ such themes, is no product of random architectural decisions, but rather visualization of a system that is defined by plans and codes (Marshall, 2012). Along with a thematic perspective, harmony and similarity are also terms that are definable with the codes via floor heights, facades, openings for building scale. Coding helps achieving a generic tool that works in and in-between scales that consists of actions varying from building to city scale. “A code is not a design, but a specification of generic elements and their relationships” (Marshall, 2012, p.4). Codes take place in producing a generic planning and design, it is a tool that works in-between scales. It does not strictly aim to continuously reproduce a single format for cities, it may introduce innovation for design or it may simply put out possible scenarios and alternatives for selected site. As it is exemplified in a study made on ‘walkability’ by Akkar Ercan and Belge (2017), first parameters defined, and then urban codes are used. This move from general to the specific features shows that these elements are used as an alternative technique for researches in urban design. The authors emphasize that coding in urban design offers solutions in accordance with the problematic of contemporary urban planning. In other words, coding is a response to the needs of modern planning and design. CABE (2003) classifies urban codes in 2 main components; 1) 3d master plan with masses, orientation, distribution of uses, densities etc. 2) A written document explaining plan and addressing more detailed issues There are different types of codes; generative codes and form-based codes are examples of it. These two types are investigated in order to reveal the deterministic structure of form and freedom of design of generative codes duality is explicit. Classifying areas and using a coding system provides guidance through planning and design processes. Codes may include sections, different ways and scales to define a desired structure. For example; Crewkerne Eastham Development uses general design principles, urban codes (street dimensions, layout etc.) and architectural codes (building design). Codes are used to clarify areas with characteristic features, typological decisions (type of spaces), structure of masses (volumes, dimensions and relations) and even complementary urban elements as landscape and urban furniture elements (Crewkerne Report, 2005). Form-based codes; Talen (2009) mentions about form-based codes that are not working identically with guidelines; they are mandatory rather than advises on appearances. New Town is a specific example of that type of codes, “a unified control of land and buildings” (Rybczynski, 1989). Examples of form-based codes are possible to find since Hammurabi codes to modern day planning regulations. Recent practices on urban coding examples and types; generative codes in Center for environmental Structure US and Seaside urban code in Florida. Seaside is an example of planning idea implemented via codes. It is “prescription of 3d forms and urban components” (Marshall, 2012, p.3). Secondly mentioned type of codes is generative codes. “A generative code is a system of unfolding steps that enable people in a community to create a wholesome and healthy neighborhood” (Center for Environmental Structure, n.d.). This type of codes are recognized with the effort of Christopher Alexander in US (Talen, 2009). Generative codes provide flexibility to the designer. They draw a framework that intervention can take place without damaging others (Talen, 2009). Hakim (2001, p. 22) describe them as “a bottom-up system of selfregulation, and thus democratic in spirit”. “Rules that protected adjacent properties against negative effects, but allowed great latitude in property use, were codified as early as the 6th century by the Byzantine emperor, Justinian I, whose code had roots in even earlier laws of the ancient Near East” (Talen, 2009; Hakim, 2001). Talen (2009) also mentions Islamic Codes as generative codes; even if they are deterministic rules, they do not describe a single form, but rather defines the assemblance of units with reference to terms as ‘privacy’. Looking at the history, from the Byzantine codes to modernity, some key concepts are emphasized; the aim xxv
is not purely production of space but rather regulation on urban life that have affects via built form. Property rights, privacy, health are the prominent concepts related to space. Codes have been experienced as we know today since Renaissance; the most popular developments since then as Garden Villages are going back to evaluation and use of codes (CABE, 2003). To give an example for form-based codes, New Town in Scotland, has reproduced its new town as a continuum of the old town. It is possible to say that the areas ‘new urbanism’ has date back to 1760 (Youngson, 1970; Marshall, 2012).
Future of Coding Hakim (2008) summarizes some principles for the future of urban coding. Some of them are listed below; • “The system must operate by a Generative Program and not a Descriptive Program. • The generative program must be non-linear in nature, that is, it should rely on decisions that are informed by feedback. • The system must also be Self-Regulating. • At the micro level Agents behave in Adaptive ways, and they form the next level of Aggregate Agents who in turn form another layer and so on. An agent could be an individual or a household.”
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References Akkar Ercan, M., & Belge, Z.S. (2017) Daha Yaşanabilir Kentler İçin Mikro Ölçek Bir Yürünebilirlik Modeli. METU Journal of The Faculty Of Architecture, 34(1): 231-265. Baba, Y. (2009) Urban 2.0 Urban Coding as an Alternative to Planning?. The 4th International Conference of the International Forum on Urbanism (IFoU) 2009. Amsterdam/Delft. CABE (Commission for Architecture & the Built Environment) (2003) The Use of Urban Design Codes – Building Sustainable Communities. London: CABE. Carmona, M., Marshall, S., & Stevens, Q. (2006) Design codes: their use and potential. Progress in Planning, 65(4): 209-289. Castells, M. (1977) The Urban Question. Cambridge, Mass.; MIT Press. Çalışkan, O. (2013) Pattern Formation in Urbanism: A Critical Reflection On Urban Morphology, Planning and Design, published doctoral dissertation. Delft: TU Delft Repositories. Center for Environmental Structure (n.d.) Generative Codes. Retrieved from http://www.livingneighborhoods. org/ht-0/gcwelcome.htm. Accessed 13 July 2019. Habe, R. (1989) Public Design Control in American Countries, Town Planning Review, 60(4): 195-219. Hakim, B. (2001) Julian of Ascalon’s treatise of construction and design rules from sixth-century Palestine. Journal of the Society of Architectural Historians, 60 (1): 4–25. Hakim, B. S. (2007) Generative processes for revitalizing historic towns or heritage districts. Urban Design International, 12(2-3): 87-99. Hakim, B. (2008) Mediterranean urban and building codes: Origins, content, impact, and lessons. Urban Design International, 13(1): 21–40. Marshall, S. (Ed.) (2012) Urban Coding and Planning. London, New York: Routledge. Mehaffy, M. W. (2008) Generative methods in urban design: a progress assessment. Journal of Urbanism, 1(1): 57–75. Rybczynski, W. (1989) Architects must listen to the melody. New York Times. (September 24). Talen, E. (2009) Design by the rules: The historical underpinnings of form-based codes. Journal of the American Planning Association, 75(2): 144-160. T.C. Çevre ve Şehircilik Bakanlığı (2017) Yerel Yönetimler İçin Kentsel Tasarım Rehberi Hazırlama El Kitabı, Ankara: T.C. Çevre ve Şehircilik Bakanlığı. https://webdosya.csb.gov.tr/db/mpgm/icerikler/kt-rehber-hazirlama-el-k-tabi-kasim-2017-20180322122217.pdf The Prince’s Foundation for the Built Environment (2005), Crewkerne Key Site 1; October Easthams Architectural & Design Code
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AN INTEGRATED NETWORK MODEL
YASİN YAĞIZ KAYA architect
AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION 1. “NETWORK” AS A REGENERATIVE AGENT 1.a Definition of Network and Integrated Network Model For Urban Environments Cambridge dictionary defines network as a large system consisting of many similar parts that are connected together, to allow movement or communication between or along the parts, or between the parts and a control centre. It can also be defined as a multi-layered geometry consisting of nodes, lines and others. Along the same line, Cappadocia region is a multi-layered environment involving many different characteristics such as the nature itself, the fairy chimneys, the valleys, the topograph topography, the gastronomy, the touristic attraction quality and definitely the wine. The integrated network model aims to gather this multi-layerness of any urban environment in the same network with a smart manner to provide better experiences for both the visitors and the locals. One of the major issues encountered in Cappadocia during the site visitations was the difficulty of accurately experiencing the region. This difficulty is constituted by many factors such as small scale substandard objects dispersed throghout landscape, miscellanous combinations of objects generating unfavorable conditions and the lack of wholism in nearly every aspect of the region.
Using these sub-agents, firstly, it is aimed to define&map the multi-layered values(wine, nature etc.), types of roads&movement(hiking, biking etc.), production&production areas(vineyard, pottery etc.) in the region. Searching for methods to enhance these multi-layered features and at the same time communicating with the locals searching for a better communication way between locals&visitors is the second step. 2. APPLICATION TO CAPPADOCIA | ANALYSIS
In such a region with full of different characteristics, containing multi-layers in every sense, how can an urban designer connect these layers on the same integrated network is the scope of investigation of this project. Therefore, the main agent is defined as “network” and within the scope of it there are 5 sub-agents that summarizes the approach to the numerous features of the Cappadocia region.
In this stage finding a convenient way to represent Cappadocia’s multi-layerness will be investigated. A regional map showing the multi-layers of the region such as the fairy chimneys, vegetation, valleys, topography etc. will be produced in a comprehensible and minimal manner. After this mapping stage, paying regard to the experiences during the site visits, the problems and potentials in the region will be defined and finding ways to enhance the potentials or solve the problems will be the next stage. With these defined problems and potentials, a design strategy will be specified. The answer of the question “what to do ?” will become clear at this point. Finally the design principles will be identified which will answer the question “how to do ?”. In brief, a regional scale strategy will be proposed including subscale interventions architecturally even including the urban furnitures.
AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
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2.a. Mapping the Multi-layers of Cappadocia
Figure 1: Satellite Image of the Region From Google Maps
Figure 3: Global Heat Map of the Region Showing the Mostly Used Routes
Figure 2: Topography of the Region with Contour Lines Every 20 m
Figure 4: Main Transportation Network of the Region
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AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
2.a. Mapping the Multi-layers of Cappadocia
1. “NETWORK� AS A REGENERATIVE AGENT
2. APPLICATION TO CAPPADOCIA
Definition of network and integrated network model for urban environments.
2.a. Mapping the multi-layers 2.b. Defining the problems&potentials
What is Network ? A large system consisting of many similar parts that are connected together, to allow movement or communication between or along the parts, or between the parts and a control centre.(1) Integrated Network
Figure 5: Produced Map Representing Main Settlements, Terrain, Water Bodies
Figure 7: Produced Map Representing Rural Roads
Figure 6: Produced Map Representing Motorways
Figure 8: Produced Map Representing Vegetation and Fairy Chimney Locations
AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
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2.a. Mapping the Multi-layers of Cappadocia
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AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
2.b. Defining the Problems and Potentials in the Region During the site visitation, observations were made while experiencing Cappadocia with the object of defining the problems and potentials in the region. One of the first things encountered in the area is that there are low quality sales units in significant points lacking a holistic approach in terms of architecture and the relation between the topography. Randomised units are everywhere in the region with no order or defined quality standards, lacking relation with the region’s own nature. However this problem is at the same time a potential ie,id est by rehabilitating these randomised units with a holistic approach considering all region might contribute to both the local product sellers and the shopper tourists. The lack of holism in terms of commercial units shows itself in different fields. Such as the lack of communication between the district municipalities in the region. Each district has different strategies contrasting with each other and this underpins the lack of holism in the region. The public transportation for example is so complicated that it is so difficult for a foreign tourist to use efficiently. So much so that there are no public transportation connection between some major districts in the region making it very difficult for the tourists to tour easefully in order to experience the region better.
Figure 9: Low Quality Sales Units Lacking Relation With the Nature
Urban furnitures and information boards in the region does not have a common design for all the region. In each settlement there are different uses of urban furnitues and information boards. There are some completed municipality projects about the urban furniture and guidance boards in the valleys of the region but they lack relation with the regions topography and today they are in an unused state. For a tourist in Cappadocia it is almost impossible to travel the region by himself/herself without a tourist guide because of these complicated organisation. With the help of smart technologies and a holistic approach to the region in terms of many aspects, it can be easier for the tourists to hike Cappadocia.
Figure 10: Unused&Rough Interventions Implemented in the Valleys
One of the major problems is that, small scale, substandard objects are dispersed throghout the landscape as it can be seen from the taken photos. These miscellaneous combinations of noted objects generate unfavorable conditions such as a satellite receiver on top of a fairy chimney. The best way to experience Cappadocia is to hike&bike the region. By this method it is possible to encounter with the beauty of the natural valleys, unique topographical forms where no car or any other transports can access. However there is a lack of a comprehensible regional map showing all the valleys and other multi-layers of the region. All the maps dispensed in the region to the tourists are generated by tour companies and they are far from comprehensibility. AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
Figure 11: Low Quality Sales Units Without Order 6
Figure 12: Substandard Resting Point Inside a Valley
Figure 15: Substandard Guidance Boards
Figure 13: Substandard Objects Dispersed Throghout Landscape
Figure 14: Multi-layered Tracks on the Ground(ATV, Trekking, Biking, Horse Ride) 7
Figure 16: Substandard Objects Dispersed Throghout Landscape AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
3. DESIGN STRATEGY The main aim is to create a smart network system on the macro scale for the Cappadocia travelers, including specified focal points, specified trekking&biking routes, and the intervention points on the routes. The first step is to identify the trekking routes according to their different characteristics. 8 trekking routes are selected according to their multi-layerness, different characteristics and difficulty levels for the hikers considering the terrain. These 8 routes are named as wine, love, water&stone, hillside, monaster monastery, museum, church and pigeon routes. Second step is to identify the focal points on the macro scale. The main settlements in the region and the two big open-air museums are selected as the focal points of the strategy. The final step is to identify the intervention points on the routes. These are defined as viewpoints, pit-stop points, service points, intersection points, balloon take-off points, bird observatories, street furniture, structures. Briefly the question “what to do ?” is answered in this stage. Designed trekking&biking routes, focal and intervention points holistically for enhancing the travelers’ experience with a smart manner.
Figure 17: Selected Area
AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
Figure 18: Preliminary Sketch on Macro-Scale Scenario, Focal Points and Routes
Figure 19: Selected Routes
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2. APPLICATION TO CAPPADOCIA 2.a. Mapping the multi-layers 2.b. Defining the problems&potentials
Figure 20: Strategy Diagram, Components of the Network
Figure 21: The Network (Focal Points, Routes and Intervention Points)
Since we define network as a geometry consisting of nodes and lines, the focal points of the strategy which are the main settlements like Ürgüp and Göreme and the open-air museums can be defined as the “main nodes” of this network. Between these main nodes there are lines that are connecting them. These lines can be referred as the selected trekking&biking routes for the travelers. On those lines there are secondary points which are the intervention points mentioned before. In the end these elements generate the smart network model. One of the intervention points will be the balloon take-off point near Göreme open air museum which is totally undesigned in the current situation. By the help of this intervention, a more organised way of taking-off for the balloons is aimed to be obtained considering the parking lots and other necessary elements. Also 8 different trekking routes will be designed, each route containing different intervention points on the routes, and each route having a different concept focusing on different unique characteristics of the region. By the help of a smartphone application, a more easy to travel Cappadocia is aimed contributing to both visitors and locals. 9
Figure 22: Subscale Focus Point (Balloon Take-Off Point) AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
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AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
4. DESIGN PRINCIPLES After the identification of the routes and focal points, the intervention points on the routes will be designed on the subscale. On each route, there will be different different intervention points that are mentioned before, at some specific locations according to the terrain.
On each route there will be different intervention points. In the entrance of each route, an information board with a route map will show which intervention points will appear on the route. In the start of every route there will be facilities like bike parking, car parking, cafe etc. Also in some points there will be wi-fi connection, local product&wine tasting etc.
These intervention points will be viewpoints on specific vista locations, pit-stop points in the middle of the routes for resting and eating local product activities, balloon take-off points on specific locations for a more organised balloong taking off, service points on the routes for resting, bird observatory specific to the pigeon route in the pigeon valley, other structures and urban furnitures with local construction materials such as the stone of NevĹ&#x;ehir, helping the travelers. No permanent structures will be constructed in any location, mostly permanent and as a material, local and nature friendly construction materials also in relation with Cappadocia’s nature will be used rather than concrete such as stone and wood. Figure 24: Existing Satellite Image of a Sample Intersection Point
Figure 25: Terrain of the Intersection Point
Figure 23: Sample Route Plan AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
Figure 26: The Area of Intervention 12
4. DESIGN PRINCIPLES SELECTED ROUTE | ROUTE 6: MUSEUM ROUTE Ortahisar - Çavuşin - Göreme Open Air Museum(Goam)
Figure 27: Selected Route Plan 13
AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
4. DESIGN PRINCIPLES Using the selected route as an example&representative of other routes and interventions, from point 1 to 7, all of the proposals will be shown respectively. Within these 7 point, an example of an intersection point, a service point, a pit-stop point and a balloon take-off point are included. All the other routes and all the other interventions will be designed with the same design principles applied to the selected route in terms of scale, material use etc. Museum route, which is the selected route starts with an intersection point betweeen Gรถreme and Ortahisar. At this point you can find an information board, bike racks, other services and car parking. After using these facilities and getting the information, the travelers start the route from this point with either by bike or by walking. There are options like parking the car and continuing with the bike by bike renting. In the proposed site plan, a small parking lot not blocking the road and a pedestrian based square containing bike racks and a info wall visible from the road are suggested.
Figure 31: 1 | Intersection Point | Proposed Site Plan
Figure 29: 1 | Intersection Point | Satellite Image
Figure 32: 2 | Service Point | Satellite Image
Figure 30: 1 | Intersection Point | Existing Site Plan
Figure 33: 2 | Existing Site Plan
AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
14
4. DESIGN PRINCIPLES
1. “NETWORK” AS A REGENERATIVE AGENT Definition of network and integrated network model for urban environments. What is Network ?
After a few kilometers passing the starting point 1(intersection point), the travelers arrive to the point 2(service point). Here they can use this place for resting and wc. This point also contains bike rack and information wall. Passing point 2, the travelers arrive to point 3 which is a viewpoint located on a top level having a wide view of the Cappadocia’a nature with its vista points. A winehouse is suggested at this point for both tasting local products and enjoying the view at the same time. This activity may help the local producers as well selling their products in a beautiful spot.
A large system consisting of many similar parts that are connected together, to allow movement or communication between or along the parts, or between the parts and a control centre.(1) Integrated Network
Figure 34: 2 | Service Point | Proposed Site Plan
Figure 37: 3 | Viewpoint | Proposed Site Plan
Figure 35: 3 | Viewpoint | Satellite Image
Figure 36: 3 | Viewpoint | Existing Site Plan 15
Figure 38: 3 | Viewpoint | Vista Terraces AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
4. DESIGN PRINCIPLES The winehouse is located on the natural terrace looking to the Red valley, embedded to the ground. Using the elevation difference and the slope, only one facade of the structure is visible which is permeable with the material glass enabling to see the view while tasting the local products in the lounge at the bottom level. There are two entrances to the winehouse. One in the upper level where you enter the structure from the stairs in the terrace. There is also open air seatings in this terrace where the travelers can enjoy the view. In the bottom level there is a lounge&bar for both resting and tasting the local food during the journey. The travelers have the chance to buy the local wines and wine tasting courses, workshops can be organised in this structure both benefiting local and visitors again.
Figure 39: 3 | Viewpoint | Winehouse Bottom Level Plan
From the bottom level of the winehouse there is an access to the main terrace where there are also bike racks, urban furnitures, benches. If the travelers are riding bikes, they can use the racks for parking and enter the winehouse. In the existing site plan it can be seen that there are not any organised parking lot in the area resulting randomly parked cars on the road. A parking lot is also suggested for both individual cars and also the tour busses. The car traffic and the pedestrian&bike traffic is totally separated. After a few kilometers passing this point the travelers arrive to the fourth intervention point which is another service point where a small rest can be taken. Also there is a chance to not finish the route completely, finishing the tour at this viewpoint location in the winehouse.
Figure 40: 3 | Viewpoint | Winehouse Upper Level Plan
Figure 41: 3 | Viewpoint | Winehouse Section AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
16
Figure 42: 4 | Service Point | Satellite Image
Figure 45: 5 | Pit-Stop Point | Satellite Image
Figure 43: 4 | Service Point | Existing Site Plan
Figure 46: 5 | Pit-Stop Point | Existing Site Plan
Figure 44: 4 | Service Point | Proposed Site Plan
Figure 47: 5 | Pit-Stop Point | Proposed Site Plan
17
AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
Passing the fifth and sixth intervention points, the travelers arrive to the final point of this selected route. Which is the balloon take-off point near the Gรถreme open air museum. Currently the balloons are taking off randomly from a rubbed unused land without any organisation.
Figure 48: 6 | Service Point | Satellite Image
Figure 51: 7 | Balloon Take-Off Point | Satellite Image Figure 49: 6 | Service Point | Existing Site Plan
Figure 50: 6 | Service Point | Proposed Site Plan AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
Figure 52: 7 | Balloon Take-Off Point | Existing Site Plan 18
4. DESIGN PRINCIPLES A more organised balloon take-off point is proposed containing parking lot for both individual cars and tour busses. Since the taking off happens very early in the morning, there is a necessity of a facility that will provide services for breakfast and as a cafe. Using this facility, while having their breakfast the travelers will wait their balloons taking off time. There are 16 different boarding points according to the perimeter of the different balloons. Different sizes of ballons are in Cappadocia from with 2 people capacity on ones to 30 people. There is no specific design for a balloon take-off point in Cappadocia at the moment, since the balloons are taking off randomly from unused lands randomly. In a region like Cappadocia where nearly 300 balloons take off daily, there is a necessity of a design for a balloon take-off point. With this intervention point, a traveler who followed route 6, the museum route, finishes the journey of nearly 7 km arriving to the Gรถreme open air museum. Figure 54: 7 | Balloon Take-Off Point | Proposed Site Plan
Figure 53: 7 | Balloon Take-Off Point | Intervention Area
19
Figure 55: 7 | Balloon Take-Off Point | Overlap
AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
5. THE APPLICATION An application is aimed to design for both the Cappadocia travelers’ and locals’ benefit. With the help of this application, all of the different routes, intervention points mentioned before will be available in this app, thus experiencing Cappadocia individually for a first-time visiter will be much easier. The application shows the different trekking, hiking and biking routes according to their difficulty level and different characteristics. More experienced bikers can prefer high difficulty routes with more slopes while beginner bikers can select the easy difficulty routes. Also there are options to buy/taste local products. By means of this application, the travelers can connect with the local producers. An offline Cappadocia map will be available because of the lack of internet inside the valleys, also there will be options like renting a bike in Cappadocia, again collaborating with the local bike companies benefiting both the local people and the tourists. There will also be the profiles of the local producers that will be rated by the tourists according to their quality of service. Local producers that have limited access to the travelers may benefit from this application using the new social smart networks power. The last stage of integrated network model for Cappadocia is connecting Cappadocia people with not only the architectural places, but also with social networkin networking. Figure 57: Bike Renting, Wine Tasting, Local User Grading Options
SELECTED ROUTE
YOU ARE HERE
EMIN’S PLACE | Pit-Stop Point
Figure 56: Mobile Application of Cappadocia for Visitors and Locals AN INTEGRATED NETWORK MODEL FOR CAPPADOCIA REGION
Figure 58: Specifying the Routes to the Specific Locations 20
CRITICAL REGIONALISM BY PATTERN
ZEYNEP ELÄ°F KAR architect
AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN IN UCHISAR 1. REGENERATIVE URBANISM
2. CONTEXT
1.a. Regenerative System - “continuous replacement, through its own functional processes, of the energy and ma terials used in its operation” (Lyle, 1994) - in urban design field, used as an asset-based and need-driven urbanism approach. - values, protects and maintains traditions -not mimicking history - learn from the existing practices and utilize these practices to create generative, dy namic and self-adaptable urban systems 1.b. Agent: PATTERN The recurrent spatial models emerged by local spatial practices which are identified by the synergy/association of various components. Thus, the motto is to look for multiscalar patterns (1) in the old settlements and current urban needs, (2) for intervention/new development and (3) by regenerative urbanism. In the light of critical regionalism, patterns in the old city are filtered and reinterpreted to fulfill the current social and spatial needs.
Figure 1: Uçhisar, general view
2. CONTEXT 2.a. Location & Population Uchisar is located in the Cappadocia region which is an extensive natural heritage site emerged by natural forces on volcanic tuff to create a unique environment involving various geographic forms. The architectural practice is also affected by the material which is soft and easy to carve out. Thus, the unique habitat is shaped to host people by sculpting the soft rocks as well as masonry building techniques with cut-stone made by the same material. There are 3800 people living in Uchisar. The population projection is foreseen to be 6500 in 2030 as stated in the town plan report. However, the current conditions lack vivid common spaces and their coherent connections that nourished by the substantial urban practices.
Figure 2: Güvercinlik Valley, south-east
2.b. History In 1960s, the old settlement area is determined as the erosion and landslide risk area. Then, the area was discharged leaving the residents AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
Figure 3: Cevizlibağ, north-west 22
Figure 4: Streetscape of Uรงhisar, vault as a street element
Figure 6: Streetscape of Uรงhisar, different architectural/urban elements
Figure 5: Streetscape of Uรงhisar
Figure 7: Streetscape of Uรงhisar, different architectural/urban elements
Figure 8: Townscape of Uรงhisar, the new settlement 23
AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
be obliged to abandon their houses and move to new residences built on the southern-downhill-of-the-old-settlement (the new settlement area) through the agency of the state. Having the necessary building practice know-how, locals dismentaled their houses to add-up or reshape their new houses which is a unique insident, however, common in the Cappadocia region. 2.c. Tourism Cappadocia and Uçhisar were enlisted at UNESCO’s World Heritage List in 1985. Northern and south-eastern areas surrounding the town are determined as the natural and urban conservation areas. Figure 10: Contemporary interventions in the new settlement area
Figure 9: Current conditions of most buildings in the new settlement area
Figure 11: Contemporary interventions in the new settlement area
Figure 12: Urban voids in the new settlement area AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
24
3. VISION 3.a. Values & Problems & Needs Values: - incremental, self-building know-how: The residents are mostly able to built their houses on their own. As mentioned earlier, they know the local materials and built techniques. It is seen from the habitated houses -old and new- that people are willing to manipulate their places. - levels of spatial hierarchy & ‘gradual togetherness’: Like many mediterranean countries or organic built practices, the spatial hierarchy is in a wide spectrum, which enables different families, genders and neighbors to live together. I personally call this phenomena ‘the gradual togetherness’ since the gradual and articulated characteristics of spatial hierarchy enables a dense togetherness. - compact, collaborative urban life: The old settlement is rather compact which proposes daily encounters, familiarity and a collaborative urban life.
Figure 13: Current urban layout pattern
Figure 14: Proposed urban layout pattern 25
Problems: - standardized and non-vivid urban spatial organisations: The new settlement is composed of garden houses side by side with wide vehicular roads around. There are few public spaces; moreover, the streets are not welcoming to pedestrians. - loose, sprawling urban fabric: The urban fabric is not intended to be dense as in the case of old settlement area, which sprawls towards the fruitful farmlands. This semi-controlled urban growth damages the unique nature and farmlands in time.
Figure 15: Proposal through icons AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
Needs: - densification in the new settlement area: The new additions are as to densify the existing new settlement. - re-establishment of levels of spatial hierarchy: The value of the wide spectrum of spatial hierarchy is to be re-established. - incremental development: The new development is to be incremental with the collaboration of the residents by using local material and human resourses. 3.b. Visions on Macro Scale Densification in the new settlement area: The new settlement area is envisioned to be densified in order to enhance the quality of life and re-establish the old local spatial values. The densification mechanism is studied only morphologically in the scope of this work. The legitimization system to apply this morphology is the subject of a further work. Incremental infill: The new settlement area is proposed to be densified by additive infills between garden houses and edges of the urban blocks. The locations of new infills are determined according to the morphological composition. If there is a need for green, open public space, car park, educational and/ or cultural facilities, the infills will adapt themselves accordingly. Defined urban growth limit: The urban growth limit is open to sprawl which can be observed the old and current plan of the town. However, this project proposes a welldefined and merging-with-the-surrounding-farmlands urban growth limit. The aim of this limitation is both to preserve the unique nature and valuable farmlands as well as forcing a densification in the town. Agrotourism on the skirts of the planned town: The surrounding farmlands are proposed to be protected from further urban growth. While protecting these lands, it is aimed to enable people to experience these places and turn this value into a touristic, economic and social benefit. The new town settlement is proposed to be extended towards the fields by means of agrotourism centers. These agrotourism centers are arranged on a road system which is an extention of the access roads, so that residents as well as the tourists accomodating in the town-center can easily walk or cycle towards these centers. By doing so, the urban growth limit is also to be controlled and merged with the surrounding. AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
Figure 16: Examples of placeses for infill and materials to enhance quality
26
CEVIZLIBAG
OLD SETTLEMENT
NEVSEHIR
GUVERCINLIK VALLEY
Figure 17: Existing land-use plan
In the above figure, the existing land-uses and main transportation system of Uçhisar with the surroundings are shown. The urban growth limit is depicted as a dotted-line since it is not permenant and prone to extend further. The regional link road coming from the west -Nevşehir- leads to Göreme. It defines one of the main roads in the town. The other three main roads of the town are also arranged as fingers from the town center to other nearby towns. These fingers are connected via radial connector roads. In between these main roads, the city fabric is planned as an 27
organic grid. The north-east part which is one of the current touristic parts is the old settlement of Uçhisar. It is located on a foothill. The Uçhisar Castle -one of the main touristic destinations of the town- is carved out from this uniques tuff hill. The Güvercinlik Valley and Cevizlibağ are easily observed from that peak. The town-center is located between the old settlement and new settlement. Commercial buildings, market place, schools, mosque, the town hall, the health center are placed in this center. AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
NEVSEHIR
Figure 18: Proposed changes on land-use plan
The above figure indicates the intervention to the existing town plan. The darker yellow color expresses the area of densification through infills, while the lighter yellow color does the buffer zone between residential units and urban agrotourism centers. The densification through infills is intended to create a compact and more homogenous town-center(s). It is suggested that if the infills bring new land-uses to the existing voids such as culture, commerce and recreational green, the vividity of the ‘residential zone’ will be increased to enable encounters and a new way AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
togetherness. The ligher yellow area, which is composed of the urban green, urban farming and the existing residences, is conceived as a buffer zone between agricultural activities and urban life since it bears both types of activities. The densification is not proposed here, so that the current density of built environment is stabilized to protect the town from further sprawl for the time being. That is, the area is to be densified in a future when it is socially and economically inevitable. The purple color indicates the proposed agrocultural tourism lands which is expressed below. 28
The conditions of the transportation and circulation is proposed to be more pedestrian-friendly and enabling alternative transportation methods such as bicycle and horse-driving (not coach, self-driving). Since the town is within walkable limits (~750m radius) and mostly a flat ground (~0.01% slope), if the walking conditions are advanced, the residents are supposed to be more eager to be in the streets. As shown in the figure 20, the commerce and cultural activities are proposed to be distributed on the access roads which draws a ring in the town. This access road system also integrated with the green layout which is shown in the figure 21. - walkable city - encouragement of alternative ways of transportation - reach to services in walkable distances - traffic calming (arnavut kaldırımı, speed bumper, traffic lights, narrow lanes etc.) and reformation of the conditions of walkways (wide surface, walkable material, frequent crosswalk, street furniture for shade and rest etc.) - green network - cycle lane - no-zoning, redistribution of landuse on the circulation/transportation paths
100m
Figure 20: Land-use on the circulation map
residential streets access road
1/5000
authentic street to be conserved collector road connecter road in-city link road regional link road agroturism farm lands
100m
Figure 19: Circulation & transportation map 29
100m
Figure 21: Green network map AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
50m
Figure 22: Agrotourism map with juxtaposed green network and circulation & transportation maps AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
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4. PATTERNS FOR GUIDELINE 4.a. Decoding Existing Patterns
Figure 27: Site sketches of street sections, buildings and relations Figure 23, 24, 25, 26: Streetscape of Uรงhisar and preliminary privacy analysis
decoding existing interface patterns:
performance criteria of elementary relations
Figure 28: Elementary relation catalog and simulation toolbox (utilized types) 31
AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
In this work, the main aim is to learn from the past and integrate the old spatial values to the new intervention practices. For the scope of the work, new emergent types are intended to be developed from the existing private-public interface. That is, the main focus about the spatial arrangements is on the street and building sections. For this purpose, the building placements and intersection elements are observed and analysed during the site visit. The figures 23, 24, 25, 26 and 27 show several examples of these analysis. The sections are examined to reveal the hierarchical layers and the way of communication with the streets. The spatial elements in the interface are mostly courtyards, stairs, vaults, iwans and balconies. However, the spatial arrangement of these elements widely vary to create novel responces to the public space. To detect and analyse all the buildings were not feasible due to the time and workload constraints, so an experimental approach is utilized in the project: Several building sections are chosen with different uses of the elements mentioned above. The redundant relations are eliminated to reveal the elementary relations between bare inter-spaces or connecting elements and street; for example, the elementary relations between street and elevated courtyard, street and lowered vault entrance etc. The spaces are not named one by one, but they are organized under three main categories: building faรงade, building entrance and street passage.
building frontage pedestrian walkway urban furniture bicycle lane carpark 2-way
The sections underneath each axonometric representation indicate the change and variety of the spatial hierarchy through sections. The form-based qualities are utilized while assessing these sections. They are under the titles of permeability and restrictiveness. Permeability referred here as visual and spatial permeability. Under this category, the relations are assessed based on whether enabling visual contact and enabling direct pass from one space to another, or not. On the other hand, restrictiveness is utilized here as whether or not a permission is required while passing through. That is, the privacy difference between two spaces. 4.b. Proposed Road Sections and Plans As mentioned above, the conditions of circulation and transportation are proposed to be improved so as to create a more vivid urban life in the town. In this section, the roads that pass through the town are divided into four categories which together create a coherent and wholistic circulation and transportation system. The position of each road type and their composition in the town are shown in the figure 19. The main concern is to determine a pedestrian-privileged approach in the planning and urban design.
building frontage pedestrian walkway urban furniture bicycle lane
building frontage pedestrian walkway urban furniture bicycle/horse lane
2-way
1-way
building frontage pedestrian walkway urban furniture bicycle/horse lane carpark
Figure 29: Proposed road sections AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
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5. DESIGN SIMULATION
20m
Figure 30: Design simulation plan 33
AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
Figure 31: Design simulation axonometric drawing AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
34
Figure 32: The section is proposed for the street section 1 (collector road) due to its clear buffer zone between public space and private space. The residents can observe the exterior easily, and experience an in-between space with a proper proximity/distance to public space.
In this section, a design simulation is composed to test the ideas developed since then. In this simulation, the location is chosen due to that it is in a good proximity to the current town-center, which means that it is one of the first locations to be densified. Also, it is near the traditional old city which it is intended to be in a coherency with. In the simulation, firstly different street section alternatives (the types extracted from the old spatial arrangements, in the figure 28) are assigned to each road. While determining which section is for which road, the desired performance criteria which are mentioned above are taken into consideration. Therefore, the assigned sections determine the characteristics of each road by means of spatial hierarchy. This approach is considered as an experimental way of critical regionalism in such a traditional area. The extracted types are utilized as a toolbox to chose and apply for desired spatial conditions in a coherence with the traditional spatial habits.
Figure 33, 34: The section is proposed for the street section 1 (collector road) due to its clear buffer zone between public space and private space. The residents can observe the exterior easily, and experience an in-between space with a proper proximity/distance to public space.
Figure 35: Design simulation axonometric drawing 35
AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
The figures 30 and 31 show the design simulations on the plan and axonometric drawing. On the plan, the dark gary colored plots, and on the axonometric drawing, the marked buildings with black lines express the proposed infill areas. The strategy of the infill is to fill the voids between buildings with respect to the depth, width and height of them. As mentioned earlier, in this project, only the morphological experimentation of this approach is implemented. It is suggested to compromise with the residents and public authorities to turn this densification project into social and economic benefits for everyone. The below figures show the general logic of the road sections 1 and 2. The plans of and related explanations about these streets are mentioned in previous pages. On the left-hand side, the sections are the alternatives for the street section 1 which is a collector road. On the right-hand side, the sections are the ones that chosen for the street section 2 which is a residential street.
Figure 37: The section is proposed for the street section 2 (residential street) due to its spatial characteristics as if the street is the extention of the private space. The residents can observe the exterior easily, and do not need a clear in-between space with a proper proximity/distance to public space.
Figure 38, 39: The section is proposed for the street section 2 (residential street) due to its spatial characteristics as if the street is the extention of the private space. The residents can observe the exterior easily, and do not need a clear in-between space with a proper proximity/distance to public space.
Figure 36: Design simulation axonometric drawing AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
36
Figure 40: The section is proposed for the street section 3 (connecter road) due to its clear buffer zone between public space and private space. The residents can observe the exterior easily, and experience an in-between space with a proper proximity/distance to public space.
Figure 43: Design simulation axonometric drawing Figure 41, 42: The section is proposed for the street section 3 (connecter road) due to its clear buffer zone between public space and private space. The residents can observe the exterior easily, and experience an in-between space with a proper proximity/distance to public space.
The above figures show the general logic of the road sections 3 and 4. On the left-hand side, the sections are the alternatives for the street section 3 which is a connecter road. On the right-hand side, the sections are the ones that chosen for the street section 4 which is an access road. 6. REFERENCES & IMAGE SOURCES 6.a. References - Alexander, Christopher, (1977). A Pattern Language. New York: Oxford University Press. - Frampton, K. (1983). ‘Towards a Critical Regionalism: Six Points for an Architecture of Resistance’ in Foster, H. (ed) The Anti-aesthetic. 1st ed. Seattle: Bay Press, pp. 16-31.
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AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
Figure 45: The section is proposed for the street section 4 (access road) due to its spatial characteristics as if the street is the extention of the private space. The residents can observe the exterior easily, and sometimes need a clear in-between space with a proper proximity/distance to public space.
Figure 44: Design simulation axonometric drawing
- Hakim, Besim S. Mediterranean Urbanism: Historic Urban: Building Rules and Processes. Springer, 2016. -Lyle, J. (1994). Regenerative Design for Sustainable Development. New York: John Wiley and Sons. - National Association of City Transportation Officials, (2013). Urban Street Design Guide. New York: Island Press. - Plan Report of Uçhisar, 2014.
Figure 46, 47: The section is proposed for the street section 4 (access road) due to its spatial characteristics as if the street is the extention of the private space. The residents can observe the exterior easily, and sometimes need a clear in-between space with a proper proximity/distance to public space.
6.b. Image Sources Figure 1: https://www.wikizero.com/en/Uçhisar Figure 2, 8: Mercan Yavuzatmaca’s archive Figure 17, 18: https://studio.mapbox.com/styles/irisia/ (Rest of the figures are either taken or drawn by the author.) AN EXPERIMENTAL CRITICAL REGIONALISM BY PATTERN, IN UCHISAR
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LUDIC PUBLIC SPACE NETWORK
YASEMEN KAYA architect
LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM 1. PROJECT KEY Project Site: Göreme / Cappadocia Regenerative Agent: City Image Subagents: Perception + Identity Aim: Enhancing / re-building the Cappadocia image Objectives: Playing with the physical settings, articulating topography Research Questions: • How did the geomorphic features of the landscape in Cappadocia, effect the building processes of the built environment? • How did the locals, being inspired from the geomorphic features, adapt to the place itself? • The language in Cappadocia is magnificent, but buried itself due to the scruffiness, what kind of a design guideline of a public space LUDIC PUBLIC SPACE network should there be to unveil this very language? project site: göreme cappadocia
each held by some number of citizens. Such group images are necessary if an individual is to operate successfully within his environment and to cooperate with his fellows. Each individual picture is unique, with some content that is rarely or never communicated, yet it approximates the public image, which, in different environments, is more or less compelling, more or less embracing.’’(Lynch, 1960: p.46) That is why when we see the Eiffel Tower, we think of Paris. This specific image of a specific locality is unique. The object of the image is the identity, it is integrated to its place and time. City image is the sum of the possibilities that the place allows, it is what the place offers. ‘‘Glasgow is a magnificent city,’ said thaw.’ … Think of Florence, Paris, London, New York. Nobody visiting them for the first time is a stranger, because he’s already visited them in paintings, novels, history books and films. But if a city hasn’t been used by an artist not even the inhabitants live there imaginatively.’(Gray, 1981: 243) 1.b. Subagents: Identity and Perception Montgomery (1998) distinguished between ‘identity’, what a place is actually like, and ‘image’, a combination of this identity with perception of the place by the individual with their own feelings about, and impressions of, it. City image components may be put out as identity and perception according to Montgomery’s definition and thereby, being the subagents.
1.a. Project Site: Göreme
Avanos
Göreme
Ürgüp Nevşehir
Uçhisar
Figure 1: Map showing project site
1.b. Agent: City Image ‘‘There seems to be a public image of any given city which is the overlap of many individual images. Or perhaps there is a series of public images, LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
Figure 2: Diagram showing city image components 40
1.d. Cappadocia Image Components
Identity Identity Physical settings
Daily routine activities
Physical settings Topography
Daily routine activities Terrace usage
Fairy chimneys Topography
Terrace usage
Fairy chimneys
Urban fabric
Courtyard usage
Carved-out towering Urban fabric rock formations Carved-out towering rock formations
Courtyard usage
Cappadocia Cappadocia image image components components
Colour Greys, yellows, beiges, Colour browns Greys, yellows, beiges, browns Fabric Tuff, fairy chimneys,Fabric stone houses, artefacts, carvedTuff, fairyout chimneys, toweringstone rock houses, artefacts, carvedformations, earth out towering rock pathways, accessories, formations, earth sinuous roads, courtyards, pathways, accessories, rooftops, gates, walls, sinuous courtyards, rhythmicroads, windows, arches, rooftops, vaults, gates, stairs, walls, rhythmic windows, arches, vaults, stairs, Perception Perception Figure 3: Cappadocia image components diagram 41
LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
1.e Values / Potentials / Needs / Problems
2 SCENARIOS Ludic Public Space
Values
2.a Macro Scale Scenario
Foci Points In Göreme
Scenario At Macro Scale
• The geomorphic features of the landscape, the topography • Carved-out towering rock formations
Göreme National Park
Potentials • Vernacular architecture • Still more new places waiting to be discovered
Meskendir Love Valley
Valley
Göreme
Needs
Open Göreme Centre
• Poor state of preservation • Local people being unaware, acting unconsciously
Air Museum
Problems • Motorised traffic intensity • Rubbish and waste problems • Scruffy places 1.f. Cappadoxian Experience Environments are experienced as a dynamic, emerging, unfolding temporal sequence (Carmona, 2004, p.134). Experiencing CappadociaGöreme means PLAY, NUANCE, CHOICE, DIVERSITY WITHIN UNITY. Experiencing act happens in the public spaces. Public space is the stage upon which the drama of communal life unfolds. The streets, squares and parks of a city give form to the ebb and flow of human exchange. These dynamic spaces are an essential counterpart to the more settled places and routines of work and home life, providing the channels for movement, nodes for communication and common grounds for play and relaxation (Carr, Francis, Rivlin, and Stone, 1992). The city must be a place of waste, for one wastes space and time; everything mustn’t be foreseen and functional . . . The most beautiful cities were those where festivals were not planned in advance, but there was a space where they could unfold. (Lefebvre 1987: 36) Göreme is a place providing the observer with surprises. Enhancing city image but for an organised public space. This place already is a playful setting with its morphology; fairy chimneys, with houses attached to those fairy chimneys at some areas, carved-out towering rock formations, with its topography providing rises and falls, twists and turns, shadows and lights… LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
LUDIC PUBLIC SPACE
connecting the four foci via ludic public space network Figure 4: Foci points in Göreme zones with differing characteristics at macro scale
Figure 5: Zones with differing characteristics in Göreme
roads
Love valley: experiencing fairy chimneys by trekking through earth Göreme Centre: Experiencing fairy chimneys with houses attached Göreme Open Air Museum: carved-out towering rock formations Meskendir Valley: Experiencing the geomorphology by trekking 42
Connection between Göreme centre and its network Göreme centre ludic public space network Connection between Göreme centre and Göreme open air museum Göreme Open Air Museum ludic public space network
43
Connection between Göreme and Meskendir l. p. s. n. Meskendir Valley ludic public space network
Connection between Göreme centre and Love Valley l. p. s. n. Love Valley ludic public space network
Connecting the four foci via ludic public space network
Çavuşin
Love Valley Meskendir Valley
Göreme Centre Göreme Open Air Museum
Ürgüp
Uçhisar
Figure 6: Map showing macro scale scenario
LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
2.b Meso Scale Scenario Arterial roads Collector roads Local roads Paths
Avanos
Uçhisar Ürgüp Topography
Solid
Fairy chimney
Walls
Cave
Stairs
Road
Figure 10: Existing road network / Göreme
Figure 7: Solid-void / Göreme
Uçhisar Ürgüp
Zones with differing characteristics Zone I built spaces with the development regulation Zone II interplay between the fairy chimneys and formed spaces Zone III the fairy chimneys surrounding the city Arterial roads to Avanos, Uçhisar, Ürgüp Collector roads
Avanos Figure 8: Topography model / Göreme
Avanos
Uçhisar Avanos
Uçhisar Ürgüp
Ürgüp Figure 9: Topography model / Göreme LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
Figure 11: Zones with differing characteristics shown at meso scale 44
City centre (commerce, administrative, educational, and health services) Tourism (cave house hotels, cafes, restaurants, parks) Housing (residential, parks, mosques) Potential designated residential areas Green belt (green sites, agricultural sites, cemetery) Mixed use (housing and hotels)
Figure 12: Land use map / Gรถreme 45
LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
Connecting five different areas with differing characteristics via ludic public space network
Potential designated residential ludic public space network Housing ludic public space network Tourism ludic public space network Tourism + housing mixed use ludic public space network City centre ludic public space network Vista point
Figure 13: Map showing meso scale scenario LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
46
2.c Micro Scale Scenario Tourism ludic public space network Vista point
Figure 14: Map showing micro scale scenario 47
LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
LUDIC PUBLIC SPACE
having a closer look at a specific vista point Having a closer look at a specific vista point
Topos Graphia I Place Writing
scenario at micro scale
twist and turn rise and fall
ARTICULATING TOPOGRAPHY
PLAY
scenario at micro scale
volume dimensions light shadow
CHOICE
private public visible hidden social anti-social
DIVERSITY WITHIN UNITY
LUDIC PUBLIC SPACE
plan of the vista point focused on
NUANCE
Figure 15: Vista point focused on
singular navigational experience towards a central theme
Figure 17: Topos graphia diagram
To articulate a topography is to study the location and position of each LUDIC element on a PUBLIC landscape,SPACE outline its function and utility, and classify them. view from the vista point focused on Topography means play, nuance, choice, diversity within unity. scenario at micro scale
Figure 16: Plan of the vista point LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
photo credit: muge akkar ercan taken in 2019
Figure 18: View from the vista point focused on 48
Choice
Play Rise or fall
Twist and turn
Visible
Hidden
Public
Figure 19: Play diagram
Figure 21: Choice diagram
Perambulating topographies creates a sense of entanglement and play, allowing an information rich environment to appoint users. Each twist and turn, each rise and fall introduces new vistas and new perspectives.
Appointing nuanced topographies allows users to come across within a bouquet of options. Private, public, visible or hidden, social or antisocial, topography opens up many options for entanglement.
Nuance
Diversity within unity Shadow
Volume
Towards a main theme
Figure 20: Nuance diagram
Figure 22: Diversity within unity diagram
By employing topography, we create nuances, with differing perspectives and eye-levels, differing experiences of volume and dimensions, and of light and shadow.
Topographies create a singular navigational experience, that allow a consolidating idea to permeate through the space, moving towards a central theme.
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LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
3 TOWNSCAPE COMPONENTS 3.a Walls
Figure 30: Topography
3.c Fairy Chimneys
Figures 23,24, 25, 26, 27, 28, 29: Walls
• Different levels separated • Private / public (boundary) 3.b. Topography • • • • • •
Rises and falls Visible - hidden Lights - shadows Different vistas Different perspectives Many options for engagement
LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
Figures 31, 32: Fairy chimneys
• Landmark • Closed vista • Defining an edge 50
3.d Gates
Gates: the opening 3.e Courtyards
Figures 41, 42, 43, 44: Courtyards
Courtyards: the indoor room and enclosure 3.f Windows
Figures 45, 46, 47, 48: Windows
Figures 33, 34, 35, 36, 37, 38, 39, 40: Gates 51
• Rhythmic • Rectangular LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
3.g Stairs
3.i Terraces
Figures 56, 57, 58, 59: Terraces
• Different eye-levels: all views are exploited (Cullen, 1971) • The datum-line Figures 49, 50, 51, 52, 53: Stairs
•Being above it: sense of authority, privilege •Being below it: sense of intimacy, protection (Cullen, 1971)
3.j Accessories and Artefacts
• The observation of undulation (Cullen, 1971) • The sloping plane that joins two levels being unusable (Cullen, 1971) 3.h. Carved-out Towering Rock Formations
Figures 60, 61: Accessories and artefacts Figures 54, 55: Carved-out towering rock formations
• Defining an edge
LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
• • • •
Cultural heritage Belonging to a place Identity Characteristics
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3.k Arches and Vaults
4 DESIGN GUIDELINE 4.a Proposed Road Network
Figures 68: Proposed road network
Main artery: 28 metres wide • Pedestrian • Bicycle • Vehicle Collector: 18 metres wide • Pedestrian • Bicycle • Vehicle Local: 6 metres wide • Pedestrian • Vehicle Figures 62, 63, 64, 65, 66, 67: Arches and vaults
Arches: • The effect of infinity • Hereness and thereness (Cullen, 1971) Vaults: • The unknown that the shades create (Cullen, 1971)
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Local: 4 metres wide • Pedestrian • Vehicle (may enter in an emergency) Local: 3 metres wide • Pedestrian Local: 2 metres wide • Pedestrian LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
design guideline for the suggested road types / 28 metres wide roads 4.b Roaddesign Types Guideline guideline
Mini Bus Stop
C SPACE
Bicycle Lane
ide Roads
Car Parking
line Figure 69: 28 metres wide road guideline
• • • • •
Distinctive entrances on both sides; one at the avanos entrance, other at the uchisar entrance • the Two-way traffic – two lanes each (each lane 3.5 metres wide) Two-way traffic – two lanes each (each lane 3.5 mt wide) • Two-way bicycle lanes (each 1.50 metres wide) Two-way bicycle lanes (each 1.50 mt wide) • Pedestrian - two lanes (each 5.50 metres wide Pedestrian • Street furniture (benches, trees /locust tree – noise cancelling, traffic Street furniture lights, signage) o Benches • Bus stops o Trees (top akasya / locust tree – noise cancelling) • Street parking on both sides of the road (each 2.5 mt wide, 5.25 mt o Traffic lights o Signage long) • Street lamps • Bus stops Three types: small, big, wall mounted • Street parking on both sides of the road (each 2.5 mt wide, 5.25 mt long) • Zebra crossings Distinctive Entrance ctive Entrance • Street lamps (three types) o Small 4.b.ii 18 Metres Wide Roads Bicycle Bicycle Lane o Lane Big o Wall mounted • Distinctive entrances on both sides Pedestrian Pedestrian • Two-way traffic – one lane each (each lane 3.5 mt wide) • Zebra crossings • Two-way bicycle lanes (each 1.50 mt wide) • Pedestrian on both sides (each 3.00 mt wide) Figure 70: 16 metres wide road guideline • Zebra crossings • Street lamps 4.b.i 28 Metres Wide Road e entrances on both sides One type: small ones along the way ne traffic 3.5–mt one wide) lane each (each lane 3.5 mt wide) • Distinctive entrances on both sides; one at the Avanos entrance, the • Street furniture de) bicycle lanes (each 1.50 mt wide) Benches, flower pots other at the Uçhisar entrance wide) n on both sides (each 3.00 mt wide)
ossings mps (one type) LUDIC PUBLIC SPACE all ones along the way niture
NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
54
28 metres road and 18 metres road junction 28 Metres Road and 18 Metres Road Junction
design guideline
Figures 71, 72: 28 metres road and 18 metres road junction 55
LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
design guideline 6 Metres, 4 Metres and 2-3 Metres Roads
LUDIC PUBLIC SPACE 4 metres wide roads design guideline
• distinctivePUBLIC entrances bothSPACE at the end and start of the road LUDIC one-way traffic – one lane (lane 3.25 mt wide) 2•• metres wide roads and 3 metres wide ones pedestrian on both sides (each 3.00 mt wide) • zebra crossings
design guideline • street lamps; only the small ones along the way in between the pedestrian and the motorised traffic lane • street furniture o benches o flower pots o no trees o cubes (for the artefacts and accessories)
• distinctive entrances • only for pedestrian, in an emergency vehicles allowed • street furniture o benches o flower pots o no trees o cubes LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM • street lamps o wall mounted
Figures 73, 74, 75: 6 metres, 4 metres and 2-3 metres roads 56
4.b.iii 6 Metres Wide Roads • • • • •
4.c. Proposed Building Example
Distinctive entrances both at the end and start of the road Views from Different Angles One-way traffic – one lane (lane 3.25 mt wide) Pedestrian on both sides (each 3.00 mt wide) Zebra crossings Street lamps; only the small ones along the way in between the pedestrian and the motorised traffic lane proposed building - views from different angles • Street furniture Benches, flower pots, no trees, cubes (for the artefacts and design guideline accessories)
LUDIC PUBLIC SPACE
4.b.iv 4 Metres Wide Roads • • • •
Distinctive entrances Only for pedestrian, in an emergency vehicles allowed Street furniture Benches, flower pots, no trees, cubes Street lamps Wall mounted
4.b.v 3 Metres Wide Roads • • • •
Distinctive entrances Pedestrian Street furniture Benches, flower pots, no trees, cubes Street lamps (wall mounted – sconces)
4.b.vi 2 Metres Wide Roads
• movable units (boxes) providing with flexible spaces • Distinctive entrances o also causing spaces like terraces, • Pedestrian arches and city windows to be • Street furniture formed Benches, flower pots, no trees, cubes • Street lamps (wall mounted – sconces)
• with a shell covering the whole body made of tuff-like material • housing and retail - mixed use • ludic • in harmony with the topography Figures 76, 77, 78, 79: Views from different angles of the 3d model
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LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
Ludic public space Proposed building - views from different angles Design guideline
Arch City window
Shell
Moving boxes
Core (lifts, stairs, toilets and storage)
House Retail Terrace Figures 80, 81, 82: Views from different angles of the 3d model LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
58
o o
Volumes and dimensions Lights and shadows
•
Proposed Building Examined with the Topography Articulation Components
o Social/anti-social Diverse within unity o Towards a singular main theme
Rise
Visible
Fall
Dimension
Hidden
Public
Private
Semi-public Singular main theme
Public
Light
Volume
Anti-social
Social
Shadow Figures 83, 84: Views from different angles of the 3d model
• Movable units (boxes) providing with flexible space Terraces Arches City windows • • • •
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With a shell covering the whole body made of tuff-like material Housing and retail - mixed use In harmony with the topography Ludic Rises and falls
• With nuance Volumes and dimensions Lights and shadows • Choicely Private/public Visible/hidden Social/anti-social • Diverse within unity Towards a singular main theme LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
Probable Plan Layout
1 Retail 2 Service 3 House 4 Shell
Building analysis key Commerce Housing Service Shell
Elevation
1 2 Ground floor plan
3
2
First floor plan
3
2
4
Second floor plan
4
Roof plan Figure 88: Plan layout LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
60
Ground Floor Plan
1 Retail 2 Storage 3 Lifts 4 Stairs 5 Toilets 6 Service lift 7 Fire escape stairs
2
Building analysis key Public Private Semi-public Service Pedestrian Vehicular
1
Normal floor projection
5
1
2
1
2
1
2
5
4
2
1
7
3
7
3 1 6
2 6
Normal floor projection
Figure 89: Ground floor plan 61
LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
Normal Floor Plan
1 House 2 Terrace 3 Lifts 4 Stairs 5 Storage 6 Service lift 7 Fire escape stairs
Building analysis key Public Private Semi-public Service Pedestrian Vehicular 2 5 5 5 5 1
4 1
7
1
3
7
3 6
6
1 2
Figure 90: Normal floor plan LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
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5 DESIGN GUIDELINE APPLIED 5.a Project Site
Avanos
Ürgüp
Uçhisar
Figure 91, 92: Project site 63
LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
Figure 93, 94: 3d model renders LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
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6 REFERENCES AND IMAGE SOURCES 6.a References • Gray, A. (1981). Lanark, Edinburgh: Polygon. • Cullen, G. (1971), The Concise Townscape, Architectural Press, London. • Lynch, K. (1960), The Image of the City, MIT Press, Cambridge, Mass. • Montgomery, J. (1998), Making a City: Urbanity, Vitality and Urban Design, 3, 93-116. • John Ralston Saul, LaFontaine–Baldwin Lecture, 2000. 6.b. Image Sources • Figures 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 19, 20, 21, 22, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94 by the author • Figures 18, 56, 57, 60, 61by Muge AKKAR ERCAN • Figures 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 58, 59, 62, 63, 64, 65, 66, 67 https://yandex.com.tr/maps/?ll =27.134556%2C38.428822&z=13
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LUDIC PUBLIC SPACE NETWORK BETWEEN THE FAIRY CHIMNEYS AND DAILY LIFE REALM
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66
WATER AS A REGENERATIVE AGENT
TUĞÇE SÖZER city planner
WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS “One can first of all simply wonder at the fact that it is only recently that humanity has begun to ponder the evolution and fate of water in the world when the very survival of our species depends on it.� Lord Selborne, The Ethics of Freshwater Use, 2000 1. WATER AS A REGENERATIVE AGENT Water is life and life on earth is linked to water. Our existence is dependent on water, or the lack of it, in many ways, and one could say that our whole civilization is built on the use of water. Water is a renewable but a finite resource. It can be recycled but not replaced, and faces severe pressure from increasing demands to satisfy the needs of a growing population, rapid urbanization, pollution and climate change. Cooperation is essential to strike a balance between the different needs and priorities and share this precious resource equitably. One of the most challenging problems that urban areas will face in the future is adaptation to the effects of climate change, particularly with regard to local problems of water management. Local management of water calls for approaches that connect technical and ecological solutions with urban design aspects and socioeconomic factors. In regard to this, design with water has a critical role in delivering adaptive, liveable and creative cities which are main aims of Regenerative Urbanism.
Figure 1: Water Challenges Diagram
2. WATER HARVESTING ELEMENTS AND SPACE REQIREMENTS By calculating the individual capacity of elements that selected for the project, we can calculate and adapt it to the project site Avanos and also to Cappadocia region in terms of agriculture. Studies showing that the scale for a total water harvesting system it should be minimal of 2000 to 5000 persons to be economically interesting. Seperated treatment adopted for the project has many advantages because grey water has a lower concentration of nutrients. The treated water has been discharged in the most cases in an urban water feature but it can be used for hydration in water scarce areas.
To think about water, we have to think about all the different facets of water: water supply, biodiversity, eco-hydrology, wastewater treatment, storm water management, and water infrastructure. All are important aspects of one integrated urban cycle to deal with flooding and water scarcity.
Figure 2: Water Cycle Diagram of the Project WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
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3. AREA ASSESMENT
Avanos
Göreme Uçhisar
Ortahisar
Ürgüp
avanos cappadocia
Red River Basin
Cappadocia
Avanos
Urban Protected Area
The Kızılırmak Delta is the largest and the best preserved wetlands ecosystem. The Kızılırmak Delta was formed by the alluvions carried by Turkey’s longest domestic river, the Kızılırmak. Kızılırmak Delta is defined as an Important Bird Area, Important Plant Area and Key Biodiversity Area (KBA) in different publications, reflecting its value. The Kızılırmak is the longest river situated entirely within Turkey, with a total drainage area of about 78 180 km2. The river flows for a total length of 1355 km, rising in Eastern Anatolia. The region of Cappadocia is located on the banks of Kızılırmak River, or “Red River,” which is the longest river in the second largest basin in Turkey. While the Kızılırmak has played an active role in both the physical formation and cultural structure of the region, it has had a greater effect on the identity, development, and economic structure of the settlement of Avanos, located on the river’s banks. Here, the “water element” includes not only the Red River, but all water resources, such as streams that feed the river and ground water. Although Cappadocia is located in a space that is very rich in terms of water source, for too long we have been designing water out of it when we should have been designing it in. One of the most challenging problems that Kızılırmak or Cappadocia will face in the future is flooding and water scarcity because of the effects of climate change, particularly with regard to local problems of water management. Apart from very basic precautions Cappadocia Region do not have useful solutions. Cooperation is essential to strike a balance between the different needs and priorities and share this precious resource equitably. So making Kızılırmak a sub-regenerative agent in the design process, creates a chance to make this important source an opportunity for the region.
Figure 3: Existing Condition of Cappadocia 69
Figure 4: Flooding in Avanos WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
4. STRATEGIC PERSPECTIVE 4.a. Vision The main vision of the project is to create adaptive, liveable and creative settlement with the water sensitive urban design. By integrating blue green network to the old and new settlements, it has aimed to deal with flooding, water scarcity and to conserve the local identity of the area. The project aims to enhance the quality and improve functionality of public areas for the benefit of local people and visitors. 4.b. Strategies Integration of water cycle management measures with urban design, Sustainable and water sensitive applications and implementations in every design scale, Creating urban recreational spaces with connected pedestrian streets, Making streets more pedestrian friendly with water components, Deal with flooding risk in Kızılırmak, Create continious street pattern along the settlement, Conserve the local identity, Creating urban recreational spaces via blue green network, Improving the quality of neighborhood life, Prevention of urban sprawl, Creating self sufficient settlement, Define different applications for old and new settlement Redesign undefined voids with water sensitive design elements. 4.b. Macro Scale Decisions
Figure 5: Comparison of Old & New Avanos by Mustafa Taşkın WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
By calculating the need for irrigation in Cappadocia region stormwater and grey water components has identified and proposed as a network. This network contains constructed wetlands to treat water, water collecting street for collection and detention ponds for storage and also for recreational places. The main aim is to make Cappadocia self-efficient in terms of water as this regional network provide water for agriculture and settlements are self-sefficient eco neighborhoods in terms of urban water. 70
Figure 6: Existing Condition 71
WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
Figure 7: Macro Scale Proposal WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
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4.c. Problems / Needs / Values / Potentials
Urban Sprawl
4.c.1 Avanos Although Avanos is located in a space that is very rich in terms of water source, it has never designed with the water. One of the most challenging problems that Kızılırmak will face in the future is flooding and water scarcity, because of effects of climate change, particularly with regard to water management in Avanos. Apart from very basic precautions, Avanos do not have useful solutions. Cooperation is essential to strike a balance between different needs and priorities and share this precious resource with the settlement. Making Kızılırmak a sub-regenerative agent in the design process, creates a chance to make this source an opportunity for the region. Using urban voids as a water sensitive design component and create a green network with them has been set to use the site’s opportunities.
Recreational Spaces near the River
Urban Flooding
No Hierarchy in Street Network
Loss of Agricultural Lands Undefined Streets
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WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
4.c.2 Urban Protected Area
E
C F A D
B
WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
74
recreational pedestrian street
historic mosque
pedestrian street & car park
E 75
F WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
4.d. Meso Scale Decisions Avanos, mostly northern part, has already historic identity, dealing with water scarcity and flooding andface to face with nonfunctional public spaces. To create new water and social infrastructure, new landscape is being created. The elements: people, hydrology and ecology are fundamental for to create blue - green network.
Figure 8: Meso Scale Proposal
WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
76
4.e. Micro Scale Decisions 4.e.1 Design Principles establish new blue-green network
invite the river
Figure 9-10: Design Principles
These new landscapes which were undefined voids, are connected as a part of the dynamic network.
creating inlet on several points to allow the dynamic of the river to come inside the embankments with water sensitive design elements.
linear
natural
patches
infrastructural
sensorial
natural landscape
GREEN
constructed
private space
BLUE
hydrology
gathering
semi - private space
COMMUNITY
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flow
ecology
people
public space
built landscape WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
4.e.2 Plan
Figure 11: Site Diagram
Figure 12: 1/1000 Street & Building Pattern WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
78
4.e.3 Water Sensitive Street Pattern vehicular traffic / water treatment controlled traffic / water harvesting pedestrianized street
Figure 13: Proposed Street Pattern
4.e.3.1 Main Road
Figure 14: Main Road Plan 79
Figure 15: Main Road Section WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
4.e.3.2 Street Furniture
Figure 16: Main Road Section
Figure 17: Street Furniture
4.e.3.3 Vehicular Road
4.e.3.4 Pedestrianized Street 150 m2 water collected from 2m streets
1 1
7
0.25 0.75
1
Figure 18: 7 m road
1
Figure 18: 2 m road
4.e.3.5 Controlled Road
0.5
185 m2 water collected from 3m streets
4
0.5
Figure 19: 5 m Road WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
0.5
1.5
1
Figure 20: 3 m road 80
4.e.4 Open Green System and Landscaping
constructed wetland
dry detention basin
urban forestry
water harvesting
parking lot storage
4.e.5 Water Collecting form Buildings
intensive roof semi-intensive roof extensive roof
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WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
5. DESIGN SIMULATION
WATER AS A REGENERATIVE AGENT: CREATING BLUE-GREEN NETWORK IN AVANOS
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6. REFERENCES 1. Water as a Resource. (2011). Oxford Big Ideas 7. World Health Organization Waster Scarcity. (2018, February 7). Retrieved from https://www.who.int: https://www.who.int/ news-room/fact-sheets/detail/drinking-water 2. H.Jouhara. (2017). Municipal waste management systems for domestic use. Energy, 485-506. Saleh, D., Taher, P., & Noaman, P. (2017). Manual for 3. Rooftop Rainwater Harvesting Systems. Yemen: MetaMeta, The Netherlands. 4. http://www.rainwaterharvesting.org/whatiswh.htm 5. A Handbook Of Constructed Wetlands 6. C.Polprasert. Constructed Wetlands for Wastewater Treatment: Principles and Practices (2004) 7. http://www.waterhistory.org/ Retrieved February 2019 8. France, R. L. (2002). Handbook of Water Sensitive Planning and Design. Florida: CRC Press LLC. 9. https://issuu.com/allegrafornaca/docs/allegra_fornaca_no_ retreat_from_cha 10. Howe, C., & Mitchell, C. (2012). Water Sensitive Cities. London: IWA. 11. http://grant-associates.uk.com/projects/gardens-by-thebay/ 12. https://www.planetizen.com/node/87198/place-waterurban-design-international-perspective 13. https://www.theguardian.com/sustainable-business/watersensitive-design-urban-planning 14. http://www.unesco.org/new/en/unesco/events/prizes-andcelebrations/celebrations/international-days/international-dayfor-biological-diversity-2013/ 15. https://www.ciria.org/Resources/Free_publications/Water_ Sensitive_Urban_Design.aspx 16.http://dergipark.gov.tr/download/article-file/393614/
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ORGANIZED COMPLEXITY
Sabrina Shurdhi
city planner
ORGANIZED COMPLEXITY IN A COHERENT COMMERCIAL HIGH STREET, IN AVANOS 1. TIME IN REGENERATIVE URBANISM 1.a. The multilayered character of time It has long been accepted that time and space are no longer separetaly operating entities. Their undeniable unity displays itself in urban form and when this unity is not taken into consideration in multiscalar implementations the result is inclined toward interconnected inconsistencies. All inconsistencies generated in years within or related to the urban form can be traced to the character of time as multilayered. Time is not unidirectional and this character of time is best displayed in urban form as a superposition of different time-space entities which occasionally creates a state of entropy. In this study ime in the urban space-time continuum is approached within the context of coherence.
entropic superposition of time layers. Randomized structure in all scales leads to an informational collapse. Unorganized structure causes a variety of interdependent ‘inconsistencies in proximity’. To reach a ‘coherent urban form’ inconsistencies in proximities should be traced in the given context and then organized to create a successful urban form serving its purpose. An organized complexity of urban form can be achieved once the interconnectedness of all inconsistencies as a derivation of an unorganized and not intricatelly thought superposition of ‘time layers’ has been clearly understood in morphology. The inconsistencies in proximity in the context of Avanos will be categorized under three main themes with their components overlapping in their respective fields: 1) Functional Inconsistency 2) Aesthtic Inconsistency 3) Physical/Structural Inconsistency
1.b. ENTROPY of the Urban Form Entropy as the state of chaos in the urban form makes time unidirectional leading thus into de-coherence as an irreversible collapse of superpositions of states to a single state. The superposition of states in urban form is a result of time character as an entity to be studied within the ‘back to’, ‘with’ and ‘towards’ context as defined by Heidegger in Time and Being (1927). To preserve the multilaredness character of time “urban coherence” should be set as a goal before any intervention. In the context of Avanos this character of time as led to a state of entropy due to unorganized practice of design and building. 1.c. Consistency in Proximity In defining inconsistencies leading to a ‘decoherent urban form’ the term ‘consistency in proximity’ will be used. As defined by Alexander who bases his theory on biological coherence reseblence of successful pattern, ‘consistency in proximity’ relationships among the integral parts, in essence, accords with the idea of wholeness that has already been claimed to be the foundation for organic and artificial coherence(2001). 1.c. Agent: URBAN COHERENCE Urban form is successful by connecting functionally, emotionally and visually with the user through its complexity. This success can be achieved via organizing the randomized complexity resulting from the
ORGANIZED COMPLEXITY IN A COHERENT COMMERCIAL HIGH STREET, IN AVANOS
Figure 1: Morphological Inconsistencies in Urban Form
2. CONTEXT-Analysis Figure 1 shows the interconnectedness of three main inconsistencies determining the success of urban form together with their components. To observe how this inconsistencies affect coherence and thus success of Avanos commercial high street several mapping and analysis were conducted. On a two dimensional level urban texture on both sides of the high street was analyzed using the figure-ground method.
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Figure 2: Figure Ground Analysis, voids due to topography(in green) and voids due to wall remnants (in red)
2.a. Texture Inconsistency In the Figure-ground analysis apart from the obvious difference between fine-grain and coarse-grain in the urban fabric some unexplained voids were pointed out which could be justified by the presence of ruins and topography. Apart from grain the attraction force between units is another inconsistency we can indicate. ‘Attraction force between units’ can be defined as the strength of connection and communication of the individual buildings. The idea of the attraction force was based on Salingaros’ nature of strong links(2000) and it is established when elements reinforce eachother: -visually -geometrically -structurally -functionally -or all these together. 87
A simple juxtaposition does not neccessatily mean that elements interact with each other. There are several rules which increase attraction force between units and thus dictate interaction among them. There rules do not only determine planar successful juxtapositions. Simultaneously they allow us to elevate the success of the plan on a three-dimensional level where time and space cease being separate entities. Fine-grain is easily decomposable to larger units whose elements are strongly interacting. At this point distance between units, namely ‘proximity’ and the character of boundaries between units of various scales become an important indicator of structural and functional ‘attraction force’. This force gets weaker as we move from east to west along the commercial high street and it becomes especially obvious in new development houzing where the connection is lost due to separate yards defining a considerable distance between units and walls as boundaries creating restriction. ORGANIZED COMPLEXITY IN A COHERENT COMMERCIAL HIGH STREET, IN AVANOS
Figure 3: Multilayeredness of the existing buildings due to vernacularity
2.b. Vernacularity of the existing buildings Figure 3 is an analysis of the existing buildings in terms of an approximated age, vernacularity and traditional values. Juxtaposing both maps let as know that the vernacularity and traditional values of thebuildings correspond with the higher ‘attraction force’ and a stronger interaction not only as a dependent factor of proximity and fine-grain but also depending on what the boundaries between them are. Being attached to each other units categorized as ‘registered traditional buildings’ have as boundaries walls framing their own structure. This strong connection requires a distance approximationg ‘0’ and a skin, and scale that doesnt impose disconnection. As we move from east to west not only the grains’ size increases but at the same time the number of floors gets higher. On a planar level the strong links dont appear to change but this relation should be observed on a three-dimensional street level to come up with a more holistic analysis as to the interaction of units ORGANIZED COMPLEXITY IN A COHERENT COMMERCIAL HIGH STREET, IN AVANOS
As regards functionality of the buildings mixed-use character is observed but a revitalization of it is needed in an interaction between the street itself and the buildings of a commercial character. Humans’ emotional, visual and functional connection with the street strictly depends on life and complexity of the urban components of the high street, thus at the core of urban coherence is human himself. People get disconnected with a randomized complexity in their surrounding.
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Figure 4: Potential sub-areas in the commercial high street
2.c. Subspaces in the High street Along the high street voidsnot used efficently are present and due to their lack in meaning and place-sense. The character of this subspaces will define one of the most prominent problems thet will set afurther goal for our project, the elimination of cars form the street. 2.d. Problems in the high street Transitional Inconsistency is observed in all scales in the street. Potential open subspaces are filled with cars and on the facades an inactive commercial is present on the ground floor. No active green that ignites human interaction is existent along the high street, Planting is applied rarely on the sidewalk. Locational , aesthetic and formal inconistencies have laid the basisfor a randomized complexity with an informational collapse. The existing character of the street does not serve connectivity of the form with human but instead a connectivity with cars. As a result 91
Figure 5: Voids filled with cars ORGANIZED COMPLEXITY IN A COHERENT COMMERCIAL HIGH STREET, IN AVANOS
which goes against the one and only purpose of a coherent urban form ‘A coherent commercial street for People’ is instead now ‘ A street for cars’. Moreover, the superposition of time layers has not made the conditions for our coherent commerical high street any better. The following pictures prove that the street is problematic enough as regards urban de-coherence and randomized complexity. With loss of what previously had an eminent potential of strong connections and interaction, new disconnecting elements have been added.
Figure 6: Inefficiently used voids along the high street
The High Street runs from the East to the West of Avanos and possesses not only different names, but also differnet characters that to some extent pertain to the different names. Our analysis will focus on the Eastern segment of the street were the concentration of vernacular and traditional buildings is higher. Components themselves and their features will be extracted from this segment, ‘Ataturk Street’and will be used in the reproduction of a more coherent form during the design proces. The school and the monumental mosque are the life generative components.
Figure 8: undefined square surrouded by school, mosque and vernacular buildings
The leveled platforms along the highstreet are potential gathering places for people. However no matter the level changes these spaces are still occuppied by cars and tracks. Space has not suceeded in becoming place in any of the spots in purple as shown in the map.
In figure 9 the commercial character of the ground floor is clearly seen via the exterior openings, yet no flow of pedestrians is pointed out throughout Ataturk Street. This lack starts from the material of the pavement, an important component of skin and ends with the treatment of sidewalk.
Figure 7: Minimum connection of the facades with the street
Figure 9: Commercial character of the gorund floor
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increasing number of floors
commercial ground floor
commercial ground floor Pedestrian paths occuppied by cars
CAR STREET
Figure 10: Vertical connecting paths blocked by cars
With the final picture taken from the selected segment of the high street we have collected enough problems before stating the vision. 3. VISION STATEMENT Geometry should be reconnected to revitalize the form and thus have a commercial street with life and organized complexity. In the project our goal is to have o coherent commercial high street connected emotionallycuntionally and visibly with the user via organized complexity that serves as a space for life and rarmony
All of the following will be taken in consideration in a coherent high street: - Location - Seating - Size - Planting - Visual complexity - Level Changes - Uses & Activities - Public Art - Boundaries & Transitions - Subspaces - Circulation - Accessibility
Figure 11: Vision and its components 93
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Figure 12: Large Sclae interventions(red-primary connection, orange-secondary connection, yellow-tertiary connection, green- pedestrian circulation, purple- tram+pedestrian) ORGANIZED COMPLEXITY IN A COHERENT COMMERCIAL HIGH STREET, IN AVANOS
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4. DESIGN 4.a. Rules for generating a coherent Street formulated by Salingaros Step 1: Understanding the derived universal MORPHOLOFICAL COHERENCE as to Geometry
rules
preceding
The following rules are of a universal generic character and they should be adjusted and explained within the context of Avanos. To lay the foundations for a well-defined process questions arising during the process should be answered and concretized with examples within the context of Avanos. Rule 1. COUPLINGS: Strongly-coupled elements on the same scale form a module. There should be no unconnected elements inside a module. Figure 13: Strategies and intervantions coming from larger scale decisions
3.a. Upper Scale decisions -Eliminating Cars on the High Street -Proposing a trackless tram line that connects with the transportation system -A commercial high Street for people and bicycle users -Enhancing vertical connections to strengthen coherence and identity of the Avanos Commercial High Street 3.b. Design Process Designing the process of design and assigning Avanos related rules from the smallest scale to the largest. A complex relationally interlocked system of inconsistencies developed in the previous steps of the research will be explained in detail by placing two important concepts at the center of the regenerative agent: SKIN and GEOMETRIC/STRUCTURAL INCONSISTENCIES. Within the context of the commercial high street of Avanos a SOCIAL GEOMETRY will be defined. This social geometry is supported by the targeted coherent urban form decomposable into internally coherent modules connected brought together in a way that they reinforce each other visually, geometrically, structurally and functionally. Internal interaction and interaction among the modules will be provided by carefully thought rules of juxtaposition which consider an organized complex URBAN SKIN and a HARMONIZED GEOMETRY OF STRUCTURE. Both functional inconsistencies and coherence will be presented as an outcome of what is spoken by the independent relationship of SKIN and GEOMETRY STRUCTURE. 95
Rule 2. DIVERSITY: Similar elements do not couple. A critical diversity of different elements is needed because some will catalyze couplings between others. Rule 3. BOUNDARIES: Different modules couple via their boundary elements. Connections form between modules, and not between their internal elements. Rule 4. FORCES: Interactions are naturally strongest on the smallest scale, and weakest on the largest scale. Reversing them generates pathologies. Rule 5. ORGANIZATION: Long-range forces create the large scale from well-defined structure on the smaller scales. Alignment does not establish but can destroy shortrange couplings. Rule 6. HIERARCHY: A system’s components assemble progressively from small to large. This process generates linked units defined on many distinct scales. As a design approach, it is necessary to develop urban design projects at different scales with their components. ORGANIZED COMPLEXITY IN A COHERENT COMMERCIAL HIGH STREET, IN AVANOS
Figure 14: Plan of coherent commercial Street ORGANIZED COMPLEXITY IN A COHERENT COMMERCIAL HIGH STREET, IN AVANOS
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Figure 15: Transparent commercial high street for people only
4.b. What comprises a module? The character of the module is defined by the aim and the scale of the design. It consists of strongly coupled elements on the same scale (Rule 1). The modules will be defined in various scales feedbacking each-other in both low and large ranges. Street Scale Module 1: A pedestrian oriented street coupling with the commercial ground floor. Module1 ab; Ground floor coupling with the sidewalk. Module 1bc: Sidewalk coupling with the street. Coherence Catalyst: Sidewalk (generator of the inductive coupling) Geometric and skin character of Module 1: intermediate catalyst Figure 16: Sub-spaces of new character and level change
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Figure 17: Vertical connections along the High Street, linking viewpoints with the river shore
Figure 18: Re-evaluation of previously meaningless subspaces on the High Street ORGANIZED COMPLEXITY IN A COHERENT COMMERCIAL HIGH STREET, IN AVANOS
Figure 19: Subspaces converted into open interactive green spaces for people 98
Figure 20: Sub spaces as inermediate catalysts of urban coherence
Figure 21: Bicucle lanes and alternative pathc for pedestrians 99
Figure 22: Seating And Water Element ORGANIZED COMPLEXITY IN A COHERENT COMMERCIAL HIGH STREET, IN AVANOS
Figure 23: Arch Element in Vaults and Archades- DIVERSITY on both sides of the high street(Shaded walking experience+ Experience of vernacular architecture)
Figure 24: Level Change, track line, bus lane, pedestrian and seating ORGANIZED COMPLEXITY IN A COHERENT COMMERCIAL HIGH STREET, IN AVANOS
Figure 25: Implementation on level changes considering all users(Ramps+Stairs) 100
Figure 25: Volumetric operations for a newly generated successful form 101
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6. REFERENCES 1. Alexander, C. (2001) The nature of order: book 1 the phenomenon of life (Center for Environmental Structure, University of California, Berkeley, CA). 3. Heidegger, M. (1927/2011). Being and Time (J. Macquarrie & E. Robinson, Trans.). New York, NY: Harper & Row 2.Salingaros, N. (2000) ‘Complexity and urban coherence’, Journal of Urban Design 5, 291–316. 4.Yandex: Pictures used in analysises.
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METU MIDDLE EAST TECHNICAL UNIVERSITY FACULTY OF ARCHITECTURE DEPARTMENT OF CITY AND REGIONAL PLANNING MASTER OF URBAN DESIGN
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