Kentsel tasarım kapsamında tarihi kentsel mekanlarda arayüzlerin düzenlenmesine sistemli bir yaklaşım

Abstract

m ABSTRACT Many researchs are taken into consideration in several countries as a result of the sharp contrast between urban development and visual quality in 1960's afterwards. One of the actual common features of Turkish cities which everyone related or not agreed upon are the poor visual quality and the lack of spatial identity which domiates almost everywhere. The basic framework of this thesis, `INTERFACE'S are surfaces made of the total of architectural facades at the crossection of urban exteriors and built areas of cities. `Interfaces` are surfaces enough suitable to show urban transformations as well as one of the most concrete means to exhibit general level of social structure. The present state of `interfaces` as an outcome of sophisticated relationships and togetherness of various elements out of given architectural style is the basic problem area which is tuckled as a whole within the framework of the thesis. First chapter is an introduction which defines `interfaces` as considered within the frame of urban structure and urban fabric, as an outcome of mutual relationships and influence of urban typology, morphology and topology between and upon to each other. According to this definition there is an `interface` between natural and urban, negative and positive space, space and meaning and activity and form. `Interface` physically develops as a loading gauge and semantically within the frame of architectural elements. The second chapter İs a collection of some examples from abroad which underlines the techniques, methods and evaluations related with the `interfaces` And `interfaces` are considered within the context of urban design including more sensitive approaches in historic urban texture.IV Following third chapter is devoted to local examples which shows in traditional urban textures `intertacial` differences of climate, geography and socio-economic conditions are only reflections of local variations, not true differentiations. Which provides an almost uniform visual quality in such areas is the use of at common vernacular style. However this is mostly changed as a result of westernization which affects the society in different ways since the Late Ottoman Period Transformation is mostly visible in spatial structure, dimensions and in taste of design. In Republican Period `interfaces` are examined within the context of building, building regulations and architectural style and the facts that `good`, `beautiful` and `true` genuine architectural taste which exists naturally inside of almost everyone is transformed to a `bad`, `disguising` and `false` achitecture and hereby the reality that traditional urban textures are not well preserved are pointed out as a final result. Now `interfaces` are currently shaped with chaotic forms (against of order) individual approaches (in contrast with environmental harmony) and varied styles (difference of unity). Within the legal aspects of subject matler many similar `interfaces` appeared as an outcome of building regulations in planning procedures of Turkey. However `interfaces` are common interest of urban planning, urban design and architecture, therefore, a cooperated attempt on this subject is highly crucial. Undefined legal base and techical frame of urban design between architecture and urban planning in Turkey is a real obstacle for a proper practice of urban design. As a result, the fourth chapter is a proposal for designing `interfaces` in historic urban fabrics and in urban design within the scape of systems approach. Here the basic problem is the definition of design criteria for a harmonious unity between the old and the new. The model therefore aims at an integration within the area of urban desgin and within the context of cultural continuity and, thus, at a contribution to the studies on the third dimension. For the model proposed an example area study in İstiklal Street at Beyoğlu, İstanbul is also added.