IP_up & down_pages_Kitap.pdf

The Erasmus Intensive Programme named as “A Comparative Study of the contribution of inbetween places to urban life ‘Passing, Passage, Arcades’ as semi-public spaces” relies on the studies have been done since 2009 by MSGSU and ENSAL basically on notion of “passing”. In 2012, PDT joined the team and the subject is extended as semi-public places includes “transmitting”. The basic aim was to study among the intersection of the different scales of architecture and urban planning. This year, the three years IP began in Istanbul with the 15 days workshop. It is a workshop that aims to collect data, accumulate the knowledge in order to compare different forms and make proposals on semi-public transition places in such different cultures and geographies. With the “passing” notion as the main topic, the subtitles can be exemplified as; their formation process during the history, physical features in the city morphology, what are the physical and social determiners compose them, what kind of life do these places carry, how can these traditional/local places change according to today’s expectations and requirements. It is aimed that, attendant schools to organize student workshops, that is generated by the presentations according to the issue identified every year. In these workshops, the objective is to make the student detect, analyze and suggest spatial designs on the semi-public transition places that are placed in the determined areas. These workshops aim to improve the students’ experiences on developing a solution on a specific area, to make them look from a different perspective towards the issue designing semi-public places.

Kültepe-Kanesh, one of the important centres of Anatolia and the Near East in the first quarter of the 2nd millennium BC, is the centre of the commercial system established between Anatolia and Assyria. In this context, the increasing population and commercial mobility in the settlement, which had a cosmopolitan population consisting of both local and foreign merchants, created certain needs in terms of urbanisation. In order to respond to these needs and build a more functional city, the city administration carried out urbanisation activities in many areas including urban planning and infrastructure services. Since 1948, systematic excavations have produced a lot of data and information regarding these transformations. In this context, this study aims to present the architectural traditions, the urban planning, and the structural management of the settlement dated to the building level II of Kültepe-Kanesh Lower City. As a result of the excavations, an area of 5 hectares representing a small part of the settlement was uncovered. Within this area, more than 200 buildings dated to the building level II of the Lower City, which is the subject of this study, were identified. Some of these buildings were found with complete plans, while others are only partially understood in terms of plan or represented only by wall remains. When the distribution of these buildings within the settlement is examined, it is seen that they were built as dense architectural complexes and organised as blocks separated from each other by streets and avenues. When this organisation is reviewed, it emerges that the buildings and blocks in the immediate vicinity of the mound show an organic development and the streets are shaped accordingly. On the contrary, as one moves away from the mound, it is understood that the blocks are in a certain order and positioned according to the streets. When the general plan of the streets and blocks is analysed, it is clear that the settlement of Lower City Level II follows the circular form of the mound and was formed within a planning framework. In addition to this planning, elements such as street and avenue patterns, intersections, squares and water channels within the settlement, show that there was a serious urban planning and infrastructure activity, and that this was organised by the city administration considering the size of the settlement.

The relation between the individual, society and urban areas is decreasing day by day. While the streets, which used to be one of the most important public places in the past, serve only as transportation linkages, parks and squares that are intended to be surrounded by shopping malls. While these transformed urban spaces reduce the connection and relation between space and society, this decrease on the other hand increases the speed of depredation in urban areas. What necessary to be ended of this process is, which affects each other negatively, is to gain and developed connection with space and society. That is having a sense of belonging. Perhaps the simplest method of achieving this is to touch the place. The aim of this thesis is to introduce how to provide the participation in the physical production process of space and by designing this process collectively, to produce space socially and finally how to create a social space sense of belonging on the individual and society. I...

up & down, the hill of the Croix-Rousse 31 MARCH / 11 APRIL 2014 LYON Editors: İnci Olgun, Sinem Özgür, Serim Dinç i F ii 2013-1-TR1-ERA10-48724 The Erasmus Intensive Programme 2014 Lyon Workshop Book 2012-1-TR1-ERA ISBN: 978-605-5005-34-4 Serial Number: 821 Mimar Sinan Güzel Sanatlar Üniversitesi Yayınları, İstanbul, 2015 Editors: Inci Olgun Sinem Özgür Serim Dinç Graphic Design: Serim Dinç Sinem Özgür Cover image: Collage from student proposal of “Group 1” iii A Comparative Study of the contribution of in-between places to urban life, “Passing, Passage, Arcades” as semi-public spaces 2013-1-TR1-ERA10-48724 ERASMUS INTENSIVE PROGRAMME 2014 LYON iv Mimar Sinan Güzel Sanatlar Üniversitesi, Mimarlık Fakültesi Meclis-i Mebusan Caddesi No: 24 Fındıklı 34427 Istanbul t:+90 212 252 1600 e-mail: guzin.konuk@msgsu.edu.tr TEACHERS güzin konuk, coordinator guzin.konuk@msgsu.edu.tr gülşen özaydın gulsenozaydin@yahoo.fr igen kafescioglu igenorcun@yahoo.com inci olgun inci.olgun@gmail.com sinem özgür sinem.ozgur@msgsu.edu.tr derya altıner derya.altiner@gmail.com carlo ravagnati carlo.ravagnati@polito.it marcella graione marcella.graione@polito.it françois tran francois.tran@lyon.archi.fr özlem lamontre-berk ozlem.lamontre-berk@lyon.archi.fr christian marcot christian.marcot@lyon.archi.fr v vi FOREWORD The Erasmus Intensive Program named as ‘A Comparative Study of the contribution of in-between places to urban life, «Passing, Passage, Arcades» as semi-public spaces’ relies on the outgoing studies that have been done since 2009 by MSFAU and ENSAL basically on the notion of “passing”. In 2012, PdT joined the team and the subject extended as semi-public places including transmitting. The basic aim was to study among the intersection of diferent scales; architectural and urban scales. The three years IP program started with 15 days of workshop “by_pass_ing karaköy” in Istanbul at 2013. The main aim of the workshop was to collect data, accumulate the knowledge in order to compare diferent forms and make proposals on semi-public transition places in such diferent cultures and geographies. With “passing” notion as the main topic, the subtitles can be exempliied as; their formation process during the history, physical features in the city morphology, physical and social determiners that compose them, what kind of a life do these places carry, how can these traditional/local places change according to today’s expectations and requirements. It is aimed that attendant schools organize student workshops, which is generated by the presentations according to an identiied issue every year. In these workshops the objective is to make the student detect, analyze and suggest spatial designs on the semi-public transition places that are placed in the determined areas. These workshops aim to improve the students’ experiences on developing a solution on a speciic area, to make them look from a diferent perspective towards the issue of designing semi-public places. The inal product including all these data and the suggestions produced vii during the workshops and meetings of the whole project made every year is published. viii ‘by_pass_ing karaköy Workshop’ was a fruitful experience. The inal projects showed us how in a short time period existence of diferent cultures could enrich a design process, how enthusiasm could bring dynamism and productivity to the studio hours and how workshop ideas could be useful sources for future projects. This encouraged us to continue our aim in order to realize this experience of ‘working on in-between spaces’ in our other two cities, Lyon and Turin. Therewith the workshop of 2014 is organized in Lyon, in order to work on the ‘traboules’ of this city and to concentrate on the subject of ‘transitional spaces’. During this organization and afterwards process, we would like to thank to some powers behind the throne, which contributed crucially to the whole process; Ahmetcan Alpan (MSGSU), Aylin Ayna (MSGSU), all the administration stuf of ENSAL, especially Luc Bousquet and Olivier Chabert. We present proudly this second book, which includes Lyon workshop’s lectures and inal productions of students. Prof.Dr. Güzin Konuk IP Project Coordinator FOREWORD ix x CONTENT 00. INTRODUCTION 01. IP PPA 02. IP 2014 CROIX - ROUSSE/LYON Aim, characteristics, objectives Methodology, assignment, questions of the workshop Study groups Programme Up & Down the Hill of Croix - Rousse Lyon District 1 25 36 38 43 45 48 03. LECTURES Dwelling in/on transition, Figen Kafescioglu, MSGSÜ Imagination and Knowledge in Architectural and Urban Design, Carlo Ravagnati, PdT #neighbour publicity..., Inci Olgun-Sinem Özgür, MSGSÜ ‘Parcours Urbain’ in Dense City Fabric, Özlem Lamontre-Berk, ENSAL 72 84 104 122 xi 04. ANALYSIS Zone 1 Zone 2 Zone 3 Zone 4 Zone 5 138 170 200 240 262 05. PROPOSALS Zone 1 Zone 2 Zone 3 Zone 4 Zone 5 06. GROUP PHOTOS 07. CVs 294 332 342 366 394 431 447 1 00.INTRODUC TION 2 3 00.INTRODUC TION prof. dr. güzin konuk coordinator mimar sinan ine arts university The Erasmus Intensive Program named as ‘A Comparative Study of the contribution of in-between places to urban life, «Passing, Passage, Arcades» as semi-public spaces’ relies on the outgoing studies that have been done since 2009 by MSFAU/Istanbul and ENSAL/Lyon basically on the notion of “passing”. In 2012, PT/Turin joined the team and the subject extended as semi- public places including transmitting spaces inside the city. The basic aim was to study among the intersection of diferent scales in the city; those are architectural and urban scales, which were given an identity to the quality of spaces of the city for its character. The three years IP program (2012/2013/2014) started with 15 days of workshop “by_pass_ing karaköy” in Istanbul at 2013. Than in 2014 the working groups went to Lyon to work on “up&down; the hill of the croixrousse”, which is so unique for the urban design heritage of the city. The main aim of the workshop was to understand the city and collect data, accumulate the knowledge in order to compare diferent forms and make proposals on semi-public transition places in such diferent cultures and geographies. With “passing” notion as the main topic, the subtitles can be exempliied as; their formation process during the history, physical features in the city morphology, physical and social determiners that compose them, what kind of a life do these places carry, how can these traditional/local places change according to today’s expectations and requirements. Lyon is a special city to deine the textile industry and the silk manufacturing for ages now it is time to understand the city of 21st century for sustainable urban design. So groups were working to understand this heritage for the historical quality of the city as a unique element of urban design. 4 IP programs aimed that students will study for the workshop, which is generated by the presentations according to an identiied issue and the cities every year. In these workshops, the objective is to make the student to understand, detect, analyze and suggest spatial designs on the semipublic transition places that are placed in the determined areas. These workshops aim to improve the students’ experiences on developing a solution on a speciic area, to make them look from a diferent perspective towards the issue of designing semi-public places. 5 The inal product including all these data and the suggestions produced during the workshops and meetings of the whole project made every year is published. “by_pass_ing karaköy” workshop was a special and unique experience. The inal projects showed us how in a short time period existence of diferent cultures could enrich a design process, how enthusiasm could bring dynamism and productivity to the studio hours and how workshop ideas could be useful sources for future projects. This encouraged us to continue our aim in order to realize this experience of ‘working on in-between spaces’ in our other two cities, Lyon and Turin. Therewith the workshop of 2014 is organized in Lyon, in order to work on the ‘traboules’ of this city and to concentrate on the subject of ‘transitional spaces’ were so special. We present proudly this second book, which includes Lyon workshop’s lectures and inal productions of students. This is a wonderful chance for all of us to work together, to learn together, to understand the diferent cities together, discuss subjects together, given critique together, to create new ideas together being a kind of family together, so this book is representing all the works within the IP Project process, I may say that it was so successful period of time for all. 00.INTRODUC TION Special thanks to Mr. Ege Hilmi Türemen Consulate General of TURKEY in LYON; we won’t be successful if he did not support us from beginning of the IP to the end. He shared all the process with us, formal and informal way, by joining to the workshop, given critics to works, and inviting to dinner all the members of the IP to his Oicial House, so many thanks for all his collaboration. We are very proud to present the results in this book, now, as a coordinator of the IP Project I would like to say thank you very much to Prof. Yalçın KARAYAĞIZ Rector of Mimar Sinan Fine Arts University for his sensitive supports for all the IP Project process. From organization process to printing of the book he was always with us. 6 And also it was great pleasure for us to work with Madam Nathalie Mezureux, Director of ENSAL in every part of our collaborative and hard works in LYON. So many thanks as especially to her and each member of her group, for all academics and thanks to Özlem Lamontre-Berk for all successful organization. Thanks again to the all members of the IP participants, groups, students, academics, lecturers, from part of each groups, for all their eforts, from beginning to now, inishing by this book. Many thanks for İnci, Sinem and Serim for book organization and result. I am sure that we will be sharing our experience in a diferent way in our future works; I wish my best and thanks for all. Prof.Dr. Güzin Konuk IP Project Coordinator 7 00.INTRODUC TION inci olgun sinem özgür coordination team members mimar sinan ine arts university diversifying scales in faculty of architecture “Education should show and illustrate the multiple facets of human Fate: fate of the human species, individual fate, social fate, historical fate, all these fates mixed together and inseparable. One of the essential vocations of the education of the future will be the investigation and study of human complexity. It will lead to knowledge (prise de connaissance) that will give awareness (prise de conscience) of the common condition of all human beings; the very rich and necessary diversity of individuals, peoples, cultures; and our rootedness as citizens of the Earth... “ (Morin, 1999, s.28-29) Architecture and Urban Planning are such disciplines that have their own specialized knowledge while they are correlated with each other because of their work items. Although they practice “the city” from diferent scales sometimes, their productions, discussions and work base the same point; human creates the city; he transforms, produces, reproduces; he lives it and provides it to low like an organism. However, during education periods, sometimes these two disciplines can be alienated to each other. Sometimes, urban scale remains supericial in architectural education; sometimes, architectural scale, human scale remains such abstract traces in urban planning studios. Alongside, usually, the student’s intellect may get stuck into a reduced point of view towards only one objective while it has to be in a kind of endless low among such diferent scales and diverse perspectives. This situation mostly is because of the constricted curriculum and the studios’ dense programming both in theoretically and practically, 8 that the student has to complete. In higher education, milieu’s multiperspective density, which provides improving the perception capacity, designing, analysis, planning and ability to realization, is very important; since it supplies to interact the diferent disciplines’ knowledge and ability. Especially, the interdisciplinary interaction and education approaches in Design-Architecture Faculties that are in close relation with social sciences, have the potential to improve the perspective towards so many diferent situations and habits with the highest eiciency. Therefore, the interaction of such curriculums, which diferentiates by specialized knowledge although they base the similar subjects, and to make their relation permanent in education is an important education approach. 9 With this point of view, Intensive Programme Projects (IP Projects), which are planned between 2007-2013 by Centre for European Union Education and Youth Programmes, is an important structure for both encouraging the international studies and focusing on improving the curriculums by means of considering feedbacks, arrangements and the current gaps in educational systems. In this context, in order to improve the interaction of Architecture and Urban Planning disciplines in educational systems and to ill the gaps; a two year Intensive Programme Project (IP Project); ‘A Comparative Study of the contribution to urban life of in-between places ‘Passing, Passage, Arcades’ as semi-public spaces’’ carried out with the coordination of Faculty of Architecture, Mimar Sinan Fine Arts University (MSFAU). The irst step was the IP Project numbered; ‘2012-1-TR1-ERA10-36834’, which was carried out as an international workshop; “by_pass_ing karaköy” in İstanbul-Turkey between 25 February-8 March 2013 and MSFAU1. The second step was the IP Project numbered; ‘2013-1-TR1-ERA10-48724’, which was carried out as Workshop web address: http:// e r a s m u s - i p - t re r a 1 0 3 6 8 3 4 m s g s u. b l o g s p o t . co m . t r / p / bypassing-karakoy-workshop. html 1 00.INTRODUC TION Image 1 (left): The poster of “by_pass_ing karaköy” workshop Image 2 (right): The poster of “UP & DOWN, The Hill of the Croix Rousse” workshop Workshop web address: http:// upndown-workshop.wix.com/ info 2 10 an international workshop; “UP & DOWN, The Hill of the Croix Rousse” in Lyon-France between 30 March-12 April 2014 and hosted by Ecole National Supérieure d’Architecture de Lyon (ENSAL)2. The third partner of the project is Politecnico di Torino-II Facoltà di Architettura from Turin, Italy. The project team members are; Güzin Konuk (the coordinator and the Dean of Faculty of Architecture in MSFAU), Gülşen Özaydın (Department of City and Urban Planning, MSFAU), Figen Kafescioğlu (Department of Architecture, MSFAU), İnci Olgun (Department of City and Urban Planning), Sinem Özgür (Department of Architecture, MSFAU), Derya Altıner (Department of City and Urban Planning, MSFAU), François Tran (Department of Architecture, ENSAL), Özlem Lamontre-Berk (Department of Architecture, ENSAL), Marcella Graione (Department of Architecture, PdT), Carlo Ravagnati (Department of Architecture, PdT). There were 29 students participated, from the three institutions in “by_pass_ing karaköy” workshop while there were 53 students in “Up&Down, The Hill of the Croix Rousse-Lyon” workshop. One of the most signiicant educational attainments in these studies was the awareness of the togetherness and collaboration in public space of Architecture and Urban Planning as the close related disciplines, which considers two diferent study scales in city. The common scale of the two disciplines and approach to subject: 11 The project centres upon the scale diference as the point that makes the trouble to interact the two disciplines and it focuses on semi-public spaces as a unique generator of the urban life in public spaces. The subject is chosen as “passing, passages and arcades” since they make vogue the boundaries of the concepts; public and private and they enhance the interaction in city. Within this context; collecting information about semi-public connection places’ genesis formations in historic process, the formation of their physical features in urban morphology, how these places are used in urban life, is aimed in diferent cultures and geographies. Moreover, the study aims collecting information about how they may be improved or used with their traditional, local features and today’s expectations, and make such suggestions by comparing them. In choosing the subject, the problem is described as; Architecture usually focuses the spatiality that are not the urban vacancies as urban spaces and Urban Planning usually studies the higher scale of the city uses. “Passing, Passages and Arcades” provided multi-level productions and discussions by involving the in-between spaces notion, since they are the unique usages in diferent cultures by enhancing the city with diferent lows and public or private usages. 00.INTRODUC TION There was an opportunity for the partner institutions’curriculum, to consider such dense socio-cultural formations of publicity notion. Understanding all the dynamics generate the city and considering this structure not as just a drawing but considering them as resolved structure through the intentions and realities, made, especially the students question their perspective towards design and planning. Also, with all the similarities and dissimilarities, they could relate their own experiences of their life spaces with the study area. One of the unique features of the project is that; the notions, which require interdisciplinary analysis and interpretation eforts; publicity, semi-public, in-between space, are discussed in cultural heritage areas. Especially, the most obvious acquisition and success of the workshop is that; architecture and planning students’ awareness to the subject is enhanced and they were able to see the design process in an integrated inter-scale situation by reinforcing the relation of the concept and design skill. The study not only makes the students, who are about to graduate and want to specialize in the interface of architecture-city, be able to experience and gather knowledge; but also it makes the instructors, who are specialized in diferent geographies on the similar subjects, share their perspectives deeply. Contribution to curriculum and workshop process approach: The education models, which leans traditional point of views, each studio marginalizes the other; so that, the prioritizing of the design or plan scale and decision reasons can be the constant rule of the instructor’s point of view. Today, this approach is about to be left in many institutions; faculties make an efort to connect ideally the departments’ curriculums 12 by competences involves EU standards and real world practice educational models. There is no doubt that students are the equivalent valued actors in this efort, which aims a qualiied educational process. Erasmus mobility that provides an important opportunity to question the education form, content, contribution to the young profession candidates who experienced the whole process apart from the process focuses only the solution, as the most active participants of the IP Project, opens new doors to knowledge’s changing share. The most important acquisition of this project is that inter-cultural sharing. 13 Richard Foque3 emphasizes that a competent way to do a work can be eicient by considering how knowledge transferred to the professional practice and how corroborate by proper professional attitudes. He states that, the educational model should supply all of these; knowledge, ability, and attitudes by considering learning outputs towards them. Although this statement focuses on the professional practice after the higher education; it can also be a reference for Erasmus projects and similar projects. The project, that puts the togetherness of diferent cultures, the analysis, synthesis and analytical ability, knowledge and attitudes in design and planning education, to a common discussion platform. This situation constitutes a structure that strengthens the competence and enhances the quality, which Foque emphasizes. Especially, the discussions made in the study area provide knowledge and experience much more quickly increased. On the other hand, design process is considered as an activity which is innovative/entrepreneur, heuristic and experimental; maintained by 3 Richard Foqué, Ord. Prof. , The Antwerp Academy and The Henry van de Velde Institute, Belgium 00.INTRODUC TION Images 3-4: The study groups’ workshop process at Ecole Nationale Supérieure d’Architecture de Lyon (ENSAL) (photos by Sinem Özgür, 2014) empathy/fellowship, and which focuses on problem-solving process by its very nature. Besides, usually, its boundaries are ambiguous, its solutions are among the diferent disciplines and deined as a process that have to deal with inter-subjected situations (Foque, 2009). This point of view, maintains another signiicant point of the project. The 5 study groups’ diferentiating point of views in analysis and synthesis considerations (groups are consisted of combined with all Turkish, Italian and French students and tutors) is the interdisciplinary approach’s acquisitions of the study. It is observed that, during the workshop process, the students gather from diferent disciplines, students’ professional attitudes could combine the solutions and analysis of an urban structure’s dynamics’ background from plurivocality. The discussion processes that make the student the owner of the project, the tutor of the project and the jury member of the project, enhances the awareness of the participants’ upon the process seriously. The Workshops: The project was planned as three steps with the dense research and pedagogical collaboration of the participant institutions for ive years. The irst two steps are accomplished. 14 In the irst step, 8 students and 2 academicians from Politecnico di Turin; Italy, 8 students and 2 academicians from ENSAL; France, were hosted in İstanbul; there were 14 students and 6 academicians from MSFAU; Turkey. In the second step, there were 15 students from MSFAU, 8 students from Image 5 (left): City tour in Istanbul workshop (photo by Derya Altıner, 2014) Photo 6 (right): Boat tour in Lyon workshop (photo by Derya Altıner, 2014) 15 PdT and 28 students from ENSAL with 11 academicians again from such diferent formations. The richness that participants carry provided the performance increase of the study groups. Especially, the social activities organised in order to recognise the city and the culture made eicient feedbacks for enhancing the sharing. The tutors of the student study groups participated with their lectures and inal judgements during the workshop at both stages. There have been study area tours following with analytical assignments’ presentation in the irst week’s workshop program, and at the weekend there have been a cultural city tours organised by host institution. The workshops were completed by evaluating the inal products and suggestions on the study areas, while the project was inalized by the Final Report that includes project stages and explains the whole process. 00.INTRODUC TION Images 8-11: During the workshop presentation and discussion process, the reports were being prepared for Final Report (photos by Sinem Özgür, 2014) Image 12 (left): Study area of by_pass_ing Karaköy workshop (the map prepared for the workshop) Image 13 (right): Approach to the study area in by_pass_ing Karaköy (the thematic approach for the area) 16 It was submitted to Centre for European Union Education and Youth Programmes, Turkish National Agency. Student evaluation questionnaires in the Final Report have been important evaluation criteria in order to start the next step. Problem identiication, research, data collection, quantitative analysis and aesthetical dimension and design consciousness in verbal and graphical usages of data processing techniques; moving as a team, planning and program designing have been prepared quite suiciently during the ifteen days workshop of the intensive program. In the irst workshop “by_pass_ing karaköy”, which is the irst step of the project, the focus is determined as considering the study area; Galata with its environment and Karaköy’s public and semi-public lifestyles together with passing notion and its transformation processes. 17 Galata and its environment’s permanent transformation and movement, and its structure that encapsulates many types of public usage, have been eicient selected criteria for the study area in the irst workshop. Such features and potentials, for instance; being an important harbour in the past, city’s important transfer point and commercial places in the city features of the area, and opportunity for cultural and art activities today, make the area important for the study subject. Moreover; because the area includes harbour, transformation, trade, etc. functions there have been the opportunity to discuss and study the notions such as; temporality, low, and in-between in diverse dimensions. Another point that is eicient for selecting the study area is that, the area is at the centre of several urban transformation plans. From the past to today, area has always been in transformation process so that it involves so many diverse public and semi-public usages. The functions have been difering, private and public concepts have been interpenetrating to each other; the area becomes a 00.INTRODUC TION place owned by whole of the citizens. In the second study “UP&DOWN, The Hill of the Croix Rousse”; it is aimed to make analysis of semi-public areas’ role in Lyon’s urban life by comparisons and to suggest such designs. The Lyon step of the study, made increase the curiosity and dynamism on passage spaces as semi-public areas especially that diferentiating typologies according to the diferent cultures, so that the product energy was increased and the inal productions’ quality is heightened. 18 Images 14-15 (left and middle) : Examples for “traboule”s visited during study (photos by Derya Altıner, 2014) Image16 (right): Traboule Cour de Voraces (photo by İbrahim Özvarış, 2014) One of the prior targets of the study, which is about passing’s, passages’ and arcades’ spatial formations that are the most unique parts of such diferent patterned cities, have been gathering the intense data and creating the debate environment. The word’s English translation does not exist, however it is possible to deine it a kind of passage unique to Lyon 4 The “traboule”s4 in Lyon urban fabric supports the city by various aspects. “traboule”s which are one of the most important routes of Lyon, were 19 Image 17: The settlement of the “traboule”s in Croix Rousse district in “UP&DOWN, The Hill of the Croix Rousse” workshop included UNESCO World Heritage List in 1998. They are such semi-public spaces; they are the private passing area of the building they belong to and are open to visit in speciic days and times. The formation of the “trabolue”s could supply so many data for the project’s semi-public concept with their diferent and special physical structures, and unique usages. Besides, considered as a unique transportation form that spread to the whole city5, these speciic unites supply such diferent spatial and urban experience for their visitors. Herein, there has been the opportunity to experience the diferent usages that diferentiates in such historical situations and such diferent structural The mentioned network created important transportation paths during the historical silk production and trade, and the rebellions unique to the city by these “trabolue”s in the historical urban fabric 5 00.INTRODUC TION Image18: The directive signboards for traboule paths (photos by İnci Olgun, 2014) formations of passage notion. These passages that become prominent by their unique structures within the scope of the project, supplied the opportunity to the project participants to experience the buildings that are used for such diferent functions and ind out such many in-between places that have meanings beyond their physical existences. The project’s planned next stage will research the arcades that are settled in the main axes of Turin as an example of in-between places.The project’s foundation is composed of the pre-works done with partner institutions for three years. Intensive Program Project started at 2012 by the open call of European Union Education and Youth Programmes, Turkish National Agency and the application have been accepted at July 2012. After that, intensive study commenced. The two activities’ preparation, workshop processes and the post studies like preparation the reports, evaluation meetings, preparation of the workshop products’ book, etc. includes; multiplied education workshop, and studio modules. These modules, supplied the partner institutions become integrated, enriching the knowledge of multiple point of views and accelerated and enriched the output process of the workshop. In such studies and meetings there were many other institutions and 20 Images 19-20: “La Maison des Canuts” silk production atelier (photos by İnci Olgun, 2014) 21 agencies invited and their opinions are taken. In Lyon, Lyon Consulate General of Turkey Hilmi Ege Türemen supported the study. Also, “La Maison des Canuts” supported guided city and “trabolue” tours and seminar. It was important to see and experience the “traboule”s as the structures constitute the identity of the urban fabric as the silk production and path through the port. In project management, MSFAU, as the coordinator institution, leaded up to communication and cooperation between the partners, since the process needed to work in detail and systematically. There was a budget plan and executed exactly, in relation with the deined project activities. Following the pre-studies’ evaluation, according to the time plans and the place where the workshop took place, there were middle-inalization reports. Additionally, especially the coordinator institution, all partners made many works for enhancing the institutional relationship and the service with many diverse sponsorships, beyond the total grant of the project. As process evaluation studies; there were meetings before the workshop processes in order to make the preparations and detail the targets. There were all the participant institutions in the meetings. There have 00.INTRODUC TION Image 21: The cover of the book “by_ pass_ing karaköy” published by Mimari Sinan Güzel Sanatlar Üniversitesi Publications Editors: Sinem Özgür, İnci Olgun ISBN: 978-975-6264-95-9 been discussions about how the process of the workshop will be; the expectations from the analysis and suggestion stages; and evaluated the every tutor’s various ideas about such stages. The work sharing of the tutors and the group properties were decided and the coordination was created. The web pages as blogs were prepared for students in order to meet and reach much information about both the workshop process and the study subject. Additionally, after the workshop process there have been meetings for evaluating and feedbacks of the previous study for the next step of the project with participating all the participants. After all these studies, the book “by_pass_ing karaköy” have been published by the support of the Rectorate of Mimar Sinan Fine Arts University as the irst step’s publication. Now we are appreciate for presenting here the second book of the project. Evaluation and Conclusion: The models of higher education institutions in education, is intensively established a relationship on the supplier and the receiver. There is a very 22 short time to teach the profession during the education and there is much to learn. Therefore, the process may become a one-way low with the interference of the practical and theoretical knowledge transfer, usually. The curriculum that are for the design education, sometimes this situation may be changed and the education process may be much more interactive. Nonetheless, today by the developing world, the knowledge in sharing, the new rights or the idea that there is no one right, and the structure that is multi-actor process not limited the relation between studenttutors makes the student learn by himself in the system and occurs such diverse professional proiles. Architectural faculties live this transformation much more fast because they have a education structure that faces with profession education more that the other disciplines. 23 It is possible to set EU grant calls a privileged place when it is considered that Erasmus programs give opportunity for both academicians and students, and the cooperatives and partnerships for many various institutions and agencies, as a right scheduled program opportunity. The privileged expectation of the study group have been to produce suggestions for the coexistence of the cultural diversities and with the synergy of this supplying the continuousness, supporting not the inal product but the whole process, supporting the acquisition and production for a sustainable process, rise such personal colours of young profession candidates among partnerships, feedbacks of academicians for education, gathering faster of the diferent experience sharing, in open calls for grants. It is an important opportunity to complete a EU Project since it increases the familiarness of the institutions in international platforms, enhances the experience, making individual professions, especially for the coordinator institution. On an on-going basis of the projects, this profession becomes a part of the corporate identity. In a time that knowledge becomes an important fund, every new discovered right have become subjects that raises the level of the education and learning, therefore there is no way out from this situation. References: Foqué, R. (2009). “Mimarlık Eğitiminde Yetkinliklere Dayalı Müfredat Programı Tasarımı İçin Bir Strateji”. Dosya. Çev. Prof.Dr. Nur Çağlar. TMMOB Mimarlar Odası Ankara Şubesi Yayını. Ankara. S.15. s:11-14. Morin E. (1999). “Seven Complex Lessons in Education for the Future”. UNESCO. Özgür, S.; Olgun, İ. (2013), “by_pass_ing karaköy, A Comparative Study of the Contrubution to Urban Life of in-Between Places “Passing, Passage, Arcades” as Semi-Public Spaces IP Proje Kitabı”, Mimar Sinan Güzel Sanatlar Üniversitesi Yayını. İstanbul. *This text’s Turkish version is published in architectural magazine YAPI in 2015, March. 24 25 01.IP PPA 26 27 01.IP PPA Comparative Study of the contribution of in-between places to urban life “Passing, Passage, Arcades” (PPA) as semi-public spaces 28 2013 istanbul 2014 l y o n COURSES AND PREVIOUS WORKS AbOUT THE SUbjECT Intensive Programme (IP) Projects have the main aim to improve and ill the gaps of the current curriculum in high education. PPA aims basically to ill the gap of the educational approaches of two main disciplines; architecture and urban planning, in terms of urban/urban life. PPA aims to integrate the two disciplines’ scales and their point of view towards the city with the scope of “public”. For this purpose there have been such works and such courses are being given. COURSES in MSGSU about the SUbjECT Gülşen Özaydın; “Physical Components Of The Urban Texture” The course aims to instruct a sensitive approach on the decision making process for the physical build-up of cities. 29 SEMINARS Istanbul/January 2010 ENSAL/Lyon, October 2009 Gülşen Özaydın; “Galata–Beyoglu, Un Regard au Developpement d’un Tissu Urbaın a Istanbul dans le Processus Historique” Derin Öncel; “Une Recherche sur Les Passages, Les Impasses et Les Cours à Beyoglu” Figen Kafescioglu; “In-between Figen Kafescioglu; “Passages, Courts Space and Place Concept in and Impasses in Beyoglu as In-Between Architecture” (Liminal) Spaces” The aim of the course is to improve the perception and knowledge of MSGSU/Istanbul, May 2010 architectural space concept and to Francois Tran, “19th Century Passages, investigate the efects of social, cultural Walter Benjamin’s Passages Project” and psychological aspects on the Özlem Lamontre - Berk, “Lyon and production of it with an emphasis on Traboulles - Terminological Analysis on spatial experiences. Passing/Passage ” Derin Öncel; “Typology Concept in the Housing Architecture” The aim of the course is to analyze the relationship between diferent scales on the constitution of the spatial organization of the housing projects. The efects of diachronic development, living types, and the urban morphology on the residential architecture will be studied within the frame of typology concept. ROUND TAbLE MEETING G e ç i t / G e ç i ş / Pa s a j l a r / K a m u s a l Mekân Participants: Besim Dellaloglu, Bülent Tanju, Derin Öncel, Emre Zeytinoglu, Figen Kafescioglu, Gülşen Özaydin, Inci Olgun, Sinem Özgür 01.IP PPA WORKSHOPS INTERNATIONAL SYMPOSIUM SUMMER STUDY & ExHIbITION MSGSU/Istanbul, May 2010 MSGSU/Istanbul, March 2012 “Passing, Passage, Arcade” MSGSU/Istanbul& ENSAL/Lyon “A Look the Architectural Space in the Context of Transition, Path and Passages” ENSAL/Lyon, September, 2011 “In-between spaces, passages” PAPER WOCMES/Barcelona, July 2010 MSGSU/Istanbul, Feb-March 2013 “Rehabilitating and æRevitalizing 19th 2012-1-TR1-ERA10-36834 Century Passages in Beyoglu-Istanbul” Erasmus Intensive Programme Figen Kafescioglu, Derin Öncel, Gülşen A comparative study of the Özaydin contribution of in-between spaces to urban life “Passing, Passage, Arcades” as semipublic spaces by_pass_ing karaköy General coordination and organisation: Güzin Konuk, Inci Olgun, Sinem Özgür, Derya Altıner Teachers: Güzin Konuk, Gülşen Özaydın, Figen Kafesçioglu, Inci Olgun, Sinem Özgür, Derya Altıner, Özlem Lamontre-Berk, François Tran, Carlo Ravagnati, Marcella Graione Instructors: Figen Kafescioglu, Inci Olgun, Derin Öncel, Gülşen Özaydın, Sinem Özgür, Tolga Sayin Students: Deniz Başar, Onur Degirmenci, Serim Dinç, Neslinur Hızlı, Timuçin Kaan Manço, Merve Dilara Yıldırım 30 31 2. IP 2014 CROIX-ROUSSE/LYON 32 *image prepared by ENSAL students for the workshop process 33 02.IP 2014 CROIX-ROUSSE/LYON 34 35 02.IP 2014 CROIX-ROUSSE/LYON aim, characteristics, objectives Aim Urban spaces are the scenes of urbanlife experiences of the citizens; they are formed by the accumulation of diverse cultural layers. Besides the public spaces like avenues, streets, public squares there are diferent types like passages, dead-end streets and courts which can be called as inbetween spaces bearing more privacy. The aim is to understand the logic of generation of the urban structure by analysing the historical layers and the connections of this structure, to realize the spatial identities, and to maintain sustainability. Characteristics The project aims to make research, gather data in order to compare the diferent formations under diferent geographies and to make design proposals for the semi-public spaces under the subtitles as - the physical spatial evolution in the historical process in diferent cultures and geographies, - their spatial features in urban morphology, - under what kind of physical and social inluences they are developed - what kind of functions they have in urban life and - how can these spaces with strong local or traditional features transform according to the current expectations and needs. 36 Image 1: Carte postale ancienne de la place de la Croix-Rousse 37 Image 2: Carte postale du chemin de fer des Dombes 02.IP 2014 CROIX-ROUSSE/LYON Objectives To develop the ability of multi-dimensional thinking and interdisciplinary comprehension on semi-public spaces such as; passage, courtyards and dead-ends; - to provide awareness on the subjects as cultural heritage and sustainability, - to accentuate the holistic approach to spatial problems in the design processes, - to gain the ability of realizing the background factors of similar physical spaces in diferent cultures and enable them to create the ability of designing through this konwledge. Methodology The workshop has two steps; irst is the analysis phase and the second step is the design phase for thinking and inding solutions on the deined problems of the area. Analysis The analysis phase includes the observations, site studies and the research on the documents about the area. Conferences are given to the participants in order to provide knowledge about the area’s history and current situation. The transformations and the contribution of the semipublic spaces to the urban life is analysed by examining the cartographic and printed documents. Following this analysis phase, the problems/ potentials, will be deined about the subject. 38 The study area will be divided into ive zones. Each group of students will work on diferent zones. The analyses will make it possible to develop ideas, programs and scenarios adapted to the urban pattern and the layout of the hill of the Croix-Rousse. The analysis will be consisted of three major parts. 39 - Morphological Analysis will deine the characteristics of the habitat of the slopes of Croix-Rousse (forms, topography, gabarit, pattern, etc.) by putting in evidence the various systems and structures that constitute it. - Use and Meaning Analysis will attempt to identify the practices of the inhabitants and users in order to determine the traic lows (pedestrian, car, bicycle…) and to locate the points of intensity (in terms of animation) as public places or places which presents an architectural heritage interest. - Landscape and Ambience Analysis will relate primarily to the urban landscapes (viewpoints, environmental noise/sounds, visual ambience, lighting ambience, etc….) Having three major parts in the analysis phase will oblige each group to divide into three subgroups. At this point it will be very important to keep the connection and the communication between these subgroups and the cross-connection between diferent groups who work on the same subtheme of the analysis. Design proposals In this phase, participants are supposed to ofer design solutions supporting the urban life, providing sustainability to the urban pattern and obtain the required transformations in the analysed public and semi-public spaces. 02.IP 2014 CROIX-ROUSSE/LYON 40 Image 3: Study areas Assignment Location and the Limits of the Study Area The study area ‘the hill of the Croix-Rousse’ is in the quarter of Croix-Rousse which is divided into two halves, the pentes – the hill in the 1st district (arrondissement) and the plateau in the 4th district (arrondissement). Croix -Rousse which is situated at the north part of the peninsula ‘Presqu’île’ between the two rivers ‘Saône and Rhône’, is known as «the hill that works» as it was home to the silk workers (canuts) until the19th century. This industry has shaped the unique architecture of the area. The patrimonial aspect of the Croix-Rousse has been acknowledged by authorities. Two decisions thus have been taken, irst, in 1994, a part of the slopes has been listed as ‘Zone de Protection du Patrimoine Architectural Urban et Paysager’ (ZPPAUP/ Urban and Landscape Area of Protection of the Architectural Heritage) which has become nowadays ‘Aire de Mise en Valeur de l’Architecture et du Patrimoine’ (AMVAP/ Architectural and Development Area). Moreover, in 1998, the Croix Rousse with the 5th arrondissement and the Peninsula, has been listed as an UNESCO World Heritage Site. 41 The limits of the area which is the subject to our study will be the limits of ZPPAUP plan which is determined by Boulevard de la Croix-Rousse in the north, Place des Terreaux in the south, Saône river on the west side and Rhône river on the east side. Questions of the workshop The passages of the hill of the Croix- Rousse named as “traboules” are urban forms which characterize the habitat of this district. Their history is related mainly to the development of the weaving of silk at the 19th century. Today this activity has disappeared and the use and the status of traboules have changed. Therefore it is needed to evaluate the capacity of these passages in order to adapt them to new uses and enable them to take part in the necessary evolution of the district. Up to what point future urban developments can take into account the network of ‘traboules’ as signiicant urban structure? How to constitute the network of the ‘traboules’ by organizing continuities or discontinuities of the trails/ parcours of which they are the support, while making them become visible? 02.IP 2014 CROIX-ROUSSE/LYON It is needed to pay a special attention to the places which make it possible to connect the traboules between themselves but also with other urban systems by constituting them in nodes of the urban fabric. The development of the project will relate to this questionof articulation of urban morphological structures which will be based mainly on the network of the traboules. The projects will make it possible to renew the ‘architectural heritage’ point of view related to the traboules by constituting them not only like an historical element of the memory of the district but like a profound structure of transformation. 42 43 GROUP 1 GROUP 2 GROUP 3 Anaëlle KISCHENAMA Baptiste BERNARD Claire JOACHIM Cüneyt ŞENTÜRK Estelle MARTIN-LYET Felipe QUINTERO Giorga FAVATA Gözde MERMER Jason HULEUX Mickaël CUILLERAT Sena BARIŞ Aurélia DELSIGNORE Banu AKTAŞ Benjamin POIGNON Eda YALÇINKAYA Margaux DUTILLY Michelle VECCHIA Paula MENDEZ Sinem BOYACI Ugo NATALONI Vanessa BRUGGER Adrien MAGIS Alvara URRUTIA Amandine RIOU Eda AYTEKİN Gülzade ŞENTÜRK Isabelle GOURLAT Mariane PLANCHAIS Michela DONATO Onur DEĞİRMENCİ Rémi GODET Vittoria TRUSSONI Coordinators: Güzin Konuk Marcella Graione Coordinators: François Tran Gülşen Özaydın Coordinators: Brigitte Sagnier Figen Kafescioglu STUDY GROUPS GROUP 4 GROUP 5 Antoine AVALLE Benoit BRET Güher KOÇ Havva NUR BAŞAGAÇ İlke SAL Lara GREGORIE Marie LUDMANN Marine BOUVERESSE Sarah COUDRY Vianney CHARMETTE Viviana PONTE Adam LOURIKI Etienne FRESSONNET Fernand GUISELIN İbrahim ÖZVARIŞ Léa MORGAND Nedjma MAURY Seda TANKA Sezin TÜTÜNCÜOGLU Sophie RUYER Violetta APASSOVA Coordinators: Carlo Ravagnati Özlem Lamontre-Berk Coordinators: Christian Marcot Derya Altıner 44 Coordination: Güzin Konuk Organisation: Derya Altıner, Inci Olgun, Sinem Özgür Day 1 March 31, Monday Day 3 April 2, Wednesday Lycée La Martinière – 18 Place Gabriel Rambaud ENSAL - amphi 09. -11. 30 00 09. -12.00 Welcome Speeches Nathalie Mezureux (Director-ENSAL) Güzin Konuk (Urban Design Research and 30 Practice Center Director-MSFAU) Carlo Ravagnati (Politecnico di Torino) Conferences Lecture 6: Examples of Transitional Spaces in Traditional Urban Fabric, Gülsen Özaydin (MSFAU) Lecture 7: Thoughts and Images Roundtrip, Marcella Grafione (PT) Lunch break Team works on the Project [Analyse process by students] 11.00-12.30 Opening Conferences Lecture 1: Prof.Dr. Güzin Konuk (MSFAU) 12.00-13.30 Lecture 2: The Brief of Lyon, Through 13.30-17.30 the Urban History, Philippe Dufieux 12.30-14.00 14.30-17.00 Lunch break Visiting Croix-Rousse as workshop’s subject area Day 4 April 3, Thursday Visiting ‘La Maison des Canuts’ Lycée La Martinière – 18 Place Gabriel Rambaud and ‘traboules 30 Conferences Announcement of workshop theme 09. -12.00 Lecture 8: #neighbourpublicity... and student groups Inci Olgun, Sinem Özgür (MSFAU) Welcome Ceremony Lecture 9: ‘Parcours Urbain’ in Dense Résidence Consulaire de Turquie City Fabric, Özlem Lamontre-Berk (ENSAL) 45 17.00-18.00 19.00-20.30 (ENSAL) Day 2 April 1, Tuesday 12.00-14.00 14.00-17.30 Lycée La Martinière – 18 Place Gabriel Rambaud 09.30 -12.30 12.00-13.30 13.30-18.00 Conferences Lecture 3: The invisible city: passages as network, François Tran (ENSAL) Lecture 4: Dwelling in/on transition, Figen Kafescioglu (MSFAU) Lecture 5: Imagination and Knowledge in Architectural and Urban Design, Carlo Ravagnati (PT) Lunch break Team works and first impression discussions about the area and the theme of the workshop Lunch break Team works on the Project [Analyse process by students] Day 5 April 4, Friday ENSAL – salle 12 09. -12.30 12.30-14.00 14.00-18.00 30 19.30-05.00 Preparing presentation analyses Lunch break Presentation of analyses and concept statement LaCharette Party (ENSAL) PROGRAMME Day 6 April 5, Saturday 11. -16. 00 30 Organized visits Visiting the historical sites of the city The Gadagne Museum Boat Trip Day 7 April 6, Sunday No program – individual time in Lyon Day 10 April 9, Wednesday ENSAL – studio AFT 09. -12.00 12.00-13.30 13.30-17.30 30 Team works on the Project Lunch break Team works on the Project Day 11 April 10, Thursday ENSAL – studio AFT 09. -12.00 12.00-13.30 13.30-17.30 30 Team works on the Project Lunch break Team works on the Project Day 8 April 7, Monday ENSAL – studio AFT 09. -12. 12.00-13.00 13.00-17.30 30 00 Team works on the Project Lunch break Team works on the Project Day 9 April 8, Tuesday ENSAL – studio AFT 09.30-12.00 12.00-13.30 13.30-17.30 Team works on the Project Lunch break Team works on the Project Day 12 April 11, Friday ENSAL – studio AFT & Salle 10 09. -12.00 30 12.00-13.30 13.30-18.00 18.00-20.00 Preparation of the final presentation Lunch break Final jury for the projects Closing Ceremony Prize - giving best project 46 47 Image 1: Vue du plateau de la CroixRousse Image 2-3: Anthonie Waterloo, vue de la Saône à Lyon 02.IP 2014 CROIX-ROUSSE/LYON the hill of the croix-rousse extract from the book - Lyon colline de la croix-rousse by Corinne Poirieux, Plateau, Pentes, Découvrir la ville autrement (chapter in collaboration with André Pelletier ) up & down the hill of the Croix-Rousse lyon district Little story of the Croix-Rousse The Croix-Rousse is based on a plateau located at the height of 260m: the plateau is composed of a upper layer by sediments lasting from the last glaciation (150 000 years ago). The “Gros caillou” (the great stone) lasts from that period. It has been found on the slope, while digging the “Ficelle” of the Croix-Paquet. Antiquity 48 The irst traces of occupation found on the slopes of the Croix-Rousse last about 10 BC. Remains of tracks has been found at many places of the district. The are the proof that the network of roads has existed. Yet, the main road has been the biggest road of the Rhin river of Agrippa, which from the Saône river pasted through the “rue Sergent Blandan”, and then, the “Montée des Carmélites” and the “Rue des Chartreux”. All over the antiquity period, the settlements has been developed mainly on the lower side of the slopes, while the “ Bourg Saint-Vincent” and the “Montée de la grande côte” have welcomed handcrafts activities (pottery kiln, glass worker shop). However, this inhabited district has been overshadowed by the existence since 12 BC, of the “Sanctuary of the 3 Gauls”. On August 1st of that year, Drusus, stepson of Augustus has decided to gather notables of 3 provinces of the former “Gallia Comata” (conquered by Cesar) to celebrate altogether 49 Rome (the Roman state) and the emperor (Augustus). This ceremony lasted then, until the 3rd century. The new sanctuary was located down the slopes of the Croix-Rousse, roughly bordered by the “Rue Neyret”, and the “Rue Imbert Colomes” on the North, the “Rue Pouteau” and the “Rue Saint Polycarpe” on the East, the “Rue Sainte Catherine” on the South and by the “Place Rey” and the “Montée des Carmélites” on the West. There were at least 3 monuments inside this area, the irst, the oldest, an altar surrounded by two columns surmounted by “Victoires” (coins minted in Lyon have given us a representation of it). The second, the only one still visible today an amphitheatre built around 19AC. And at last, the third, a temple attested by the epigraphy. This sanctuary, called sanctuary of the conluences, has become a symbol of the persecution of Christians from Lyon in 177. There, in the amphitheatre, Blandina and 5 of her coreligionists have been killed. In the 16th century, it is also there that the famous Lyon’s Tablette has been found in the vineyard. It re-transcribed a speech of the emperor Claudius (born in Lyon), delivered in 48 in front of the Senate of Rome. The desertion of the sanctuary (which became then a quarry for Lyon’s inhabitants), in the second half of the 3rd century, has marked the beginning of a dark period of the Croix-Rousse. To the French Revolution During the major part of the middle age, the Croix-Rousse has been a rural area, with cereals on the Plateau and vineyards and orchards on the slopes. Yet, there was a administrative diference. The slopes were under authority of the consulate (and therefore of the town of Lyon), and the plateau was under the authority of the Seigneury of Cuire. Moreover since 1398, the territory of the Croix-Rousse and of some other neighbouring villages was 02.IP 2014 CROIX-ROUSSE/LYON property of the Franc-Lyonnais. The main privilege was to give inhabitants some advantages such as the exemption from tallage and from taxes regarding all the merchandises. That’s the way foodstufs were cheaper at the gates of Lyon. This caused for centuries, proliferation of wine and other products shops along the “Grande rue”, main communication route with the North of the region, until the suppression of the Franc-Lyonnais, in 1790. In 1512, Louis XII decided the building of a 2km fortiication at the top of the slopes, from the fort Saint Jean on the Saone river, to the bastion Saint Laurent, and at the gate of Saint-Clair on the Rhone bastion Saint Laurent, and at the gate of Saint-Clair on the Rhone river. There was an opening on the plateau, in the following of the “Grande Côte”, through the door Saint Sebastian. This rampart, clearly drawn on the “plan scénographique de Lyon” (scenography map of Lyon around (1555), was a physical separation between the slopes (now part of Lyon) and the plateau. On the plateau, a red colored cross made with golden stones from the Monts d’Or, and surrounded by houses, at the tip of the Grande rue. The district had been called “The Croix-Rousse” because of the colour of this cross. Slowly, lands bordering the main road “Grande côte/Grande rue” have been divided in plots. Many religious communities have settled then on the slopes, with the oldest, in 1304, the monastery of the “Déserte”. Then followed the Carthusian in 1584, the Clarisses (Sainte Marie des chaines), the Benedictines, the Bernadine, the “Colinette”, (the Villemanzy), the Ursulines, the Carmelites nuns, the Oratorians, the Capucins, and also the sister of the annunciation of Mary. The congregation of the Feuillants, and the 50 Image 4: «Evenements de Lyon», barriere de la Croix Rousse, 21 et 22 Novembre 1832 (BML) 51 Image 5: La Grande Côte Image 6 (left): «Evenements de Lyon», 9 -14 avril 1834, Gravure de Devrour, Musée Gadagne Image 7 (right): Un atelier de Canut, le tissage de la soie au XIXème siècle. Gravue d’après Férat, Bibl Art Déco 02.IP 2014 CROIX-ROUSSE/LYON reform Augustans. From 1584 to 1665, at least 13 religious communities have settled there. In the middle of the 18th century, there were located over almost all the sides of the slopes, on the North of the “Rue de la Martinière” and the “Rue du Romarin”. Until the French revolution they have stopped the urban expansion of the town towards the North. During the French revolution and for some years, the Croix-Rousse and Cuire have been gathered in a single town. During the siege of Lyon (August 8th-October - 9th, 1793), inhabitants of the Croix-Rousse were pro-Lyon, unlike the ones of Cuire. That’s the way on September 27th, 1793, Cuire has been linked to Caluire and the Croix-Rousse has been an independent town for almost 60 years. 19th century until the annexation (1852) The main consequence of the French revolution has been the sale religious ownerships “Biens Nationaux”. The irst, in Chartreux occurred in 1791, the last, in 1796. The churches Saint Bruno, Saint Polycarpe and Saint Denis, irst coniscated were given back to worship. The “Clos de la Déserte” was given back to the town in 1808. With the “Jardin des plantes” created in 1796, the “Place Sathonay” has been drawn at the place of the cloister. On these liberated grounds, new streets were created, everyone praising the hill for his salubrity and pure air. Many building have been built, without always respecting the urbanism laws. The population on the plateau increased from 3,900 in 1811 to 29,000 in 1847 mainly on the East part. The West part remained mainly rural and was composed of lands, 52 meadows, woods, vineyards (very few), and most of all of markets gardens. This changings has been mainly due to the arrival of silk workers in the Croix-Rousse the “Canuts” (it seems that this name appeared in 1805). During the irst year of the restauration period, the work of silk which used to be done in run-down workshops in the district of Saint-Georges, and of the Peninsula, move to the Croix Rousse, were free lands permitted the building of buildings which loors could welcome the 4m high the new Jacquards looms. Canut’s rebellions 53 The silk industry faced hard time during the French revolution period. In 1801, the silk production was 35% lower than the one in 1789, and the one of the soft furnishings was 80% lower. Thanks to Napoleon 1st, the oicial orders of the state, mainly for the furniture of imperial palaces (in 1811, the one for Versailles amounted 2 millions Francs) helped the rebirth of the silk industry Lyon. The evolution in favour of plane fabric considerably changed the geography of looms. At the same time a double changing occurred in the century, regarding supplying and outlets. Because of the development of the silk worms disease, the “prebine”, around 1850, in France and Italy, Lyon had to redirect deinitively its purchases of silk towards China. Moreover the European market, much more diicult to reach because of trade barriers and the competition of new producers, has been joined by the AngloSaxon market. At least the development of mechanical looms produce 02.IP 2014 CROIX-ROUSSE/LYON new activities, in particular, the dyeing due to chemistry of the irm Gillet. Two big conlicts have marked the 19th century, the irst in 1831, about tarifs. The price set during the empire period, was not applied and used to regularly decrease. In October 1831, the foremen gave the prefect a claim for a revision. On October 25th under the pressure of Canuts’ riot, representatives of the manufacturers and of the workers gave their agreement to a “minimum tarif of the prices of silk material cut”. The main part of the manufacturers then refused to applied the tarif agreed by their delegates and decided to lock out factories to face the threats of strikes actions. On November 21th, violence broke out, workers gained control of the Croix Rousse, driving back the assault of the troops of the General Roguet. At that moment, some republican agitators and some legitimists joined themselves to workers. A black lag was waved and someone shouted “give us some bread and some work!” which became later the famous slogan “to live working or to die ighting”. On November 22th, demonstrators gained control of the peninsula and public buildings. On November 29th, the prefectgot all his powers back and on December 2nd the army entered in town. In 1832 there were hundreds of arrests, but the courts of Riom released the main leaders. The new prefect Gasparin, declared the tarif illegal. In compensation, he took several measures such as the market price list to rule the relationships between wholesalers and weavers, and a reform of industrial tribunal. Yet, these measures haven’t been enough to solve the social problem of the fabric. In July 1833, a irst strike paralysed a thousand looms, and then a new threat of tarifs caused a general strike of the master weavers in February 1834. This latest failed and was repressed with the arrest of many leaders. 54 55 Image 8: Boulevard de la Croix-Rousse Image 9 (left): La Ficelle Image 10 (right): Hôpital de la Croix-Rousse 02.IP 2014 CROIX-ROUSSE/LYON On April 9th, during their trial, an uprising occurred in town and lasted for 6 days. Fights were located in the Croix Rousse and the Vieux Lyon, and in the South centre of the peninsula. Six thousand insurgents took part more or less closely to the ights, they were mainly journeymen. On April 15th the rebellion was put down. There has been over 300 dead and many wounded. There have been 500 arrests. In April 1835, 52 people from Lyon among other republicans arrested have been judged in Paris. The revolution of “Voraces” and the incorporation to Lyon On February 18th, 1848 with the declaration of the republic in Paris, the popular districts in Lyon have risen up, with in particular the most radical group, the Voraces. The group seized canons and took the control on the town until June. On March 30th, an expedition has even been organized, to liberate Chambery from the Piedmontese oppression. On June 15th 1849, the army stopped the rebellion by demolishing the barricades and bombing the houses of the “Grande Rue” and “Rue du Mail”. There were 56 dead on both sides. Leaders were sentenced to jail or to deportation. This uprising speeded up to the incorporation of the Croix-Rousse to Lyon. The central power didn’t want to see any more suburbs as centers of protest causing uprisings. Moreover the Plateau had tax advantages contrary to the town of Lyon. In consequence, on March 24th 1852, the free suburbs Vaise, la Guillotière and of course the Croix Rousse were incorporated to Lyon and became by that way the 4th of the ive districts of the town. The 4th district The irst consequence to the incorporation has been the demolition of 56 Image 11 (left): Atelier de tissage mécanique Image 12 (right): Un atelier de Canut 57 Image 13: Un métier Jacquart, Musée des Tissus 02.IP 2014 CROIX-ROUSSE/LYON the rampart, which was, from now on, located inside the town. It has been downat the initiative to the second empire, in 1865-1867’s. At the place of the rampart, the “Boulevard de la Croix-Rousse” was created. Roads had also to be built. The “Cours Général Giraud” became the junction between the bottom of the slopes and the new “Boulevard de la Croix-Rousse”. Most of all, there has been the construction of the irst funicular of the world in Lyon, the famous “icelle”, unveil in 1862. It linked “Rue Terme” to the “Place de la Croix-Rousse”. The success of the funicular was so important (3 million passenger in 1880), that an other line had to be built from the “Place Croix paquet”. New equipment has been set: the hospital was unveiled in 1861, a new town hall was built between 1867 and 1869, water supply was provided by the “Compagnie Générale des eaux” and gas supply by “Compagnie du gaz de Perrache”. Churches were also built between 1828 and 1883, Saint Denis, Saint Eucher and Saint Bernard, le bon Pasteur, and later on Saint Augustin (1910) have been addd to the oldest churches, Saint Bruno and Saint Polycarpe. The construction of Saint Bernard has not been inished and today the church is no longer in activity. The defeat of 1870 and the fall of the second empire, has consequences on the town of Lyon. On December 20th, 1870 the background of social and political tension, the Canuts shot the commandant Arnaud, commandant of the “national guard”. On April 30th, 1871 the workers of the CroixRousse and Guillotière rose up in sympathy with the “Commune” of Paris. The repression quickly stopped the uprising. The new republic established compulsory state primary education. At the same time, the train teachers, 58 59 Image 14: Postcard Image 15: Map of the Croix-Rousse in 1350 02.IP 2014 CROIX-ROUSSE/LYON the Rhone department decided to inance the building of two teachers training colleges, for men on the “Place Anselme”, (unveiled in 1883), for women, on the Boulevard de la Croix-Rousse ‘unveiled’ in 1888). Up to the present day From the end of the 19th century to the irst half of the 20th, there have been big changes in the silk industry from Lyon. The Croix Rousse has mainly sufered from them. First, mechanical looms replace manual looms because they needed fewer workforces. Then, big factories were settled outside Lyon. In 2005 they were left in Lyon, only 8 silk factories, two of them using manual looms, necessary for the making of some fabrics. At last, the diversiication of raw materials: as soon as in the irst half of the 20th century, manmade threads were invented such as bonded iber, nylon, then also some synthetic threads, polyester, acrylic, chloroiber and at last glass ibers, carbon and Kevlar. All the more, since silk industry has faced many economic crises. In 1877 half of the looms are out of work, in particular between 1929 and 1930. The loss of income regarding silk industry in Lyon was about 75%, and the number of employment decreased from 16,800 to 6,450! In 1954, there were only left few hundreds of looms on the plateau, for former workshops became housings for lower classes. In counterpart, other activities were developed such as the settlement of the Gillet irm in 1853 on the “Quais de Saone”, specialized in dyeing. Gillet has also built a big house, in the middle of as park (chazière), called the“Villa Gillet”. The hosue was sold to the town of Lyon in the 1970’s. At last we should not forget the building of a new weaving school, built by Tony Garnier, on the former lands of the Carthusian monks. The school open its doors in 1934, training every year more than 250 students. Today is called 60 the Lycée technique Diderot. In the 20th century a lot of housing estates have been achieved, irst private hosues on the “Rue Anselme” and at the east of the “Rue Chazière”, then big houses projects such as the “Habitation Bon Marché” (H.B.M/low cost housing), with as the “Cité jardin de Phillipe de Lassalle” in 1921, and the “Clos Jouve” in 1928. Schools complete these equipments, as the primary school “Jean de la Fontaine”. 61 The decrease of the economic activity in the Croix-Rousse goes with a recession of the demography: the population of the fourth district has decreased from 46,000 to 36,000 inhabitants from 1931 to 1954, then again until 1982, with the lowest point reached (30,677 inhabitants), before increasing and being stabilized around 35,000 inhabitants. Nevertheless, the Croix-Rousse has sustained its eforts regarding education. In 1960, the “Ecole des Beaux Arts” was implemented on the “Rue Neyret” above the amphitheatre (categorically identiied thanks to the dedicative inscriptions las- ting from 19 AC). Facilities were made regarding communications: creation of the “Boulevard des Canuts” in 1984, reitting of the “Grande rue de la Croix-Rousse” in 1992. The “Montée des Esses “ and the “Montée de la boucle” have been modernized. The funicular of the “Rue Terme”, closed in 1967, has been replaced by a slopping driving way. The one on the “Croix Paquet” has been linked to the “Terreaux”, and has become the new C line of the subway. It has been linked to the A line in 1978. At last the construction of the tunnel under the Croix-Rousse in 1952 gained an extraordinary improvement to the echanges between the Eastern and Western districts of the town. A second tunnel dedicated to public transports and green transports has 02.IP 2014 CROIX-ROUSSE/LYON Image 16: Map of the Croix-Rousse in 1572 Image 17: Map of the Croix-Rousse in 1635 Image 18: Map of the Croix-Rousse in 1659 Image 19: Map of the Croix-Rousse in 1711 62 Image 20: Map of the Croix-Rousse in 1740 Image 21: Map of the Croix-Rousse in 1766 Image 22: Map of the Croix-Rousse in 1789 Image 23: Map of the Croix-Rousse in 1805 Image 24: Map of the Croix-Rousse in 1830 Image 25: Map of the Croix-Rousse in 1856 Image 26: Map of the Croix-Rousse in 1992 Image 27: Urban and Landscape Area of Protection of Architectural Heritage Map, 1994 63 02.IP 2014 CROIX-ROUSSE/LYON Image 28: Traboules et Cours des Pentes de la Croix-Rousse et du Vieux Lyon Direction de l’Aménagement Urbain - Observatoire Urbain, 1998 64 Image 29: Lyon Unesco World Heritage Site Map, 1998 Image 30: Transports in Lyon : subway + tramway Image 31: Arrondissements de Lyon Lyon Districts Image 32: Tourist map of Lyon 65 02.IP 2014 CROIX-ROUSSE/LYON recently been opened, 2013. The last decades The patrimonial aspect of the Croix-Rousse has been acknowledged by authorities. Two decision have thus been taken, irst, in1994 a part of the slopes has been listed as “Zone de Protection du Patrimoine Architecture Urbain et Paysager” (ZPPAUP/ Urban and Landscaped Area of Protection of the Architectural Heritage) which has become nowadays “Aire de Mise en Valeur de l’Architecture et du Patrimoine” (AVAP/ Architectural and Heritage Devlopment Area). Moreover in 1998, the Croix-Rousse, with the 5th district and the peninsula has been listed as a UNESCO world heritage site. 66 The Croix-Rousse has always kept a peculiar identity: you are from the CroixRousse before being from Lyon. The (supposed) spirit of Canuts is reminded in institutions such as the “République des Canuts” founded in 1986, the “Vogue des marrons”, the September’s big sell-of, the daily market of the boulevard. It is possible to visit the “Traboules” which originality equals the one of the “Vieux Lyon” despite of a diferent function. It is also possible to admire the famous “Mur des Canuts”, made by CitéCréation, and to discover the functioning of looms from the “Maison des Canuts” or the “Soierie vivante”. To develop the inheritance of silk and to counterpart the touristic fashion of “Fourvière” and “Vieux Lyon”, since 2011 the town of Lyon has decided every year to dedicate the second half of November to the “Festival LabelSoie”. It gathers existing events such as the “Novembre des canuts” or the Silk market with new events, Symposiums, exhibitions, fashion shows, visits, using the collections of museums: Gadagne, Museum of Fabrics and Town Archives. Because we should not forget that in the mind of the inhabitants of Lyon, silk is still linked with the Croix-Rousse. That’s why the town has decided to develop one of the treasure of its heritage: the so belove. References: Old pictures 67 Audin A., Fedou R., Garden M., Gascon R., Laferrere M., Latreille A. (1975). Histoire de Lyon et du lyonnais, Collection Univers de la France et des pays francophones. 511p. Reverdy G. (1994). Histoire des routes lyonnaises, Collection Sciences & techniques. 128p. Pelletier A., Rossiaud J. Histoire de Lyon Antiquité et Moyen-Age, des origines à nos jours Tome I Antiquité et Moyen-Age. 478p. Bayard F., Cayez P. Histoire de Lyon Du XVIe siècle à nos jours, des origines à nos jours Tome II Du XVIe siècle à nos jours. 479p. Old maps Plan topographique des pentes de la Croix-Rousse en 1350 Extrait du plan topographique historique de la ville de Lyon en 1350, établi d’après les terriers de cette époque avec le recensement cadastral de 1493 dans la partie où les documents plus anciens font défaut, dressé par Benoît 02.IP 2014 CROIX-ROUSSE/LYON Vermorel, vue d’ensemble. Manuscrit sur calque, colorié. Plan des pentes de la Croix-Rousse 1572, extrait du plan de Braun et Hogenberg Plan des pentes de la Croix-Rousse 1635, extrait du plan de Simon Maupin de 1635, première version du célèbre plan auquel il a donné son nom. Plan des pentes de la Croix-Rousse 1659, extrait du plan intitulé “Description av naturel de la ville de Lyon et paisages alentour d’icelle”, dressé par Simon Maupin, 1659. Gravé sur cuivre. Plan des pentes de la Croix-Rousse 1711, extrait du plan de la ville de Lyon en 1711, anonyme et réalisé sous le règne de Louis le Grand. Plan des pentes de la Croix-Rousse 1766, extrait du projet d’un plan général de la ville de Lyon de 1766, dit plan “Morand”. Plan des pentes de la Croix-Rousse 1789, extrait du “nouveau plan géométral de la ville de Lyon en 1789” Plan des pentes de la Croix-Rousse 1805, extrait du plan de la ville de Lyon et faubourgs par Rudemare, daté de 1805. Plan des pentes de la Croix-Rousse 1856, extrait du “plan de Lyon et de ses nouveaux quartiers”, par J-B Gadola, en 1856. Plan des pentes de la Croix-Rousse 1830, extrait du “plan de Lyon et de ses environs” fait en 1830. Plan des pentes de la Croix-Rousse 1992, extrait du “plan de la direction des systèmes d’informations et de télécommunication de la ville de Lyon” en 1992. Plan des traboules du 1er, Direction aménagement urbain 1998. En violet les traboules fermées. En bleu les traboules ouvertes. Entourées en rouges les traboules “conventionnées”. 68 69 03.LEC TURES igen kafescioğlu, msfau dwelling in/on transition carlo ravagnati, pdt imagination and knowledge in architectural and urban design inci olgun & sinem özgür, msfau #neighbour publicity özlem lamontre-berk, ensal ‘parcours urbain’ in dense city fabrics 70 71 03.LEC TURES igen kafescioğlu mimar sinan ine arts university dwelling on transition This study aims to examine the dwelling action/concept on transition areas in diferent scales of the man-made environment by focusing on the phenomenological dimensions of dwelling which promotes to raise questions about the experientiality of the spaces excluding accurate, frozen deinitions. Transition, derived from the Latin preix Trans-, means the process of change from one state, form, style or place to another. In this study, transitional space deines the in-between spaces where inside and outside are relativized or where a continuous movement in diverse directions takes place like plazas, urban squares as well as the places where a connection has been settled between the two diferent sides of landscape/ urbanscape by transition movement like bridges, passages etc. Urban landscape has many kinds of transition areas where the limits of inside and outside are dissolved or temporary appropriations are realized which fulill the phenomenological meaning of dwelling. These spaces which have been turned into places eliciting diverse dwelling experiences on them enable ephemeral inside/outside settings, and physical arrangements by letting the users to feel like dwellers. Spatiality/being/Dwelling Although the lexical meaning of the term dwelling refers to a physical, concrete structure for shelter, it means something more from the view of phenomenological thought. The term has been deeply analyzed in philosophy and human sciences. The human behavior and environmental studies have also dealt with the concept of dwelling while studying on the 72 interaction between the physical world and man on earth. Being one of the watchwords of phenomenology, besides return-tothings, intentionality, and afectivity, spatiality is one of the primal aspects of human experience on the world. “The spatiality of the life world is a correlate of one’s corporeality, and it is the subject’s spatiality that makes it possible to understand an inhabited space rather than its representation: the subject-as-dweller by her or his very need to exist, “spatializes”, that is, inds shelter, arranges places for the sphere of her or his possessions, makes room for the diferent institutions of her or his life-in-society and so forth1.” 73 In his paper “Building Dwelling Thinking”2 Heidegger primarily deals with the etymology of the term “dwelling” and he goes to the roots of the word dwell to display the mutuality of the terms dwell and build. In Heidegger’s thought, language contains the whole of reality. This means that everything known is known through language. The old English and high German word for building is buan which means to dwell and buan is the root of the verb bin in German (bauen buan beo bin) and to be in English. ich bin=I am=I dwell or du bist=you are= you dwell According to Heidegger, this equation explains that dwelling is equal to the existence of men on earth; “to be a human being means to be on earth as a mortal and it means to dwell. To dwell, to be set at peace, means to remain at peace within the free sphere that safeguards each thing in its nature. The fundamental character of dwelling is this sparing and preserving. It Villela-Petit, M., L’espace chez Heidegger: Quelque reperes; via Serfaty-Garzon, P., Experience and Use of the Dwelling, Home Environments Human Behavior and Environment, Advances in Theory and Research, Vol. 8, Plenum Press, NY and London, 1985, p.65-86. 1 Heidegger, M., Building, Dwelling, Thinking in Poetry, Language, Thought, (translated by Albert Hofstadter), Harper Colophon Books, New York, 1971 2 03.LEC TURES 3 Heidegger, M., ibid. pervades dwelling in its whole range. Man’s relation to locations, and through locations to spaces, inheres in his dwelling. The relationship between man and space is none other than dwelling, strictly thought and spoken.” 3 We can understand from Heidegger’s in-depth analyzing of language that the forgotten (oblivion) meaning of dwelling as being on earth covers the activities of mankind of making place for staying in peace in a safe point on earth and inding space for realizing the main physiological and psychological needs. Norberg-Schulz, C., Genious Loci, Towards a Phenomenology of Architecture, Academy Editions,London, 1980, p.5 4 The thoughts of Christian Norberg Schulz on dwelling support this explanation of dwelling; “Man dwells when he can orientate himself within and identiies himself with an environment, or in short, when he experiences the environment as meaningful. Dwelling therefore implies something more than shelter. It implies that spaces where life occurs are places, in the true sense of the world. A place is a space which has a distinct character. Spaces receive their being from location and not from space.” 4 This existential thinking about space leads us to explain space as the interpretation of life by taking possession of the environment. And it is found in the thought of C. Norberg-Schulz again; “to create a new space means to implement existential patterns in a given environment.” (Image 1). The word implement here is similar to dwell, meaning the settling of people in marked areas with many diferent types of concrete, physical forms deining the existence of himself both to himself and to other people. 74 Image 1: Cumalıkızık, 2007 (top, left) Prag, 2005 (top,right) NewYork, 2014 (bottom) Photos by Figen Kafescioğlu 75 This deinition of dwelling by C. Norberg-Schulz means something more than having a roof over our head and a certain number of square meters at our disposal.5 He deines four modes of dwelling; natural dwelling (Image 2) is the settlement in relation to its natural environment, the collective dwelling (Image 3) meaning the basic forms of human togetherness in the urban space, implying the dwelling of men in the sense of experiencing the richness of the world in urban space, public dwelling (Image 4) recalls the dwelling in the public or institutional building to denote what is shared Norberg-Schulz, C., The Concept of Dwelling, Electa Rizzoli, New York, 1985, P. 7 5 Image 2 (left): Van, 2013 Image 3 (right): Rue Petit/Brussels, 2009 Photos by Figen Kafescioğlu 03.LEC TURES Image 4 (left): Flagey/Brussels, 2009 Image 5 (right): Afyon, 2013 Photos by Figen Kafescioğlu by the community, and private dwelling (Image 5) is the fourth mode of being on earth to deine one’s own identity mostly denoting the house or home. These four constitute a total environment. C. Norberg-Schulz addresses at the common denominator of these four modes which satisfy the need for dwelling in the existential sense of the word. When dwelling is accomplished, it fulills the need for belonging and participation which is also one of the focal points of behavior and environment studies. Serfaty-Garzon, P., Experience and Use of the Dwelling, In Home Environments Human Behavior and Environment, Advances in Theory and Research Volume 8, Ed. Irwin Altman, 1985, New York, P.6586. 6 Serfaty deines the fundamental characteristics of dwelling in her paper6 in which she reveals the relations of environment/behavior studies with the phenomenological approach to spatiality and dwelling; setting up an inside/outside, visibility, appropriation where the second raised from the irst and the last have raised from the second. Inside-Outside/ Visibility/Accessibility Norberg-Schulz, C, Architecture, Meaning and Space, Electa/Rizzoli, New York, 1986, p.33 7 This inside/outside opposition has been much scrutinized in the research for space/place studies in phenomenological thought. Schulz‘s words; “Only when man has taken possession of space, deining what is inside and what remains outside we may say that he dwells”7 denote to the opposition of 76 inside/outside as the irst determinant of dwelling on earth also revealing the diferentiation of space and place (Image 6). An inside is a place which is shifted from space or outside by creating boundaries in various forms and types and by the appropriations the owner or inhabitant realizes according to his or her needs, culture or opportunities in this limited part of space. Image 6: (left) Hacopulo Passage, 2009 (right) Paris, 2009 Photos by Figen Kafescioğlu 77 An inside is described by Serfaty as; a place which makes room for being for dwelling through the events that constitute the gestures and the human relationships that develop in it8. According to this explanation an inside is a place where there is a meaningful social position enabling a meaningful action, visibility to the individual and a sense of place free of deinite description of its physical limits (Image 7). Each type of inside can be deined by the occurrence of an outside at the same time, inside and outside are established together. Serfaty-Garzon, P., ibid. p. 73 8 Image 7: Washington Square Park/New York Photo by Figen Kafescioğlu, 2014 Each space which has been shifted to “place-inside” by its added 03.LEC TURES Serfaty-Garzon, P.,ibid. p.73 9 qualiications can be named as dwelling. A dwelling doesn’t have to have static, permanent or inalterable limits or qualiications to be called dwelling. Ephemeral, unstable appropriations letting people pass time, come together, socialize can provide visibility which Serfaty names as one of the phenomenological dimensions of dwelling deining as the gaze directed at oneself, the gaze of others upon oneself9 (Image 8). Image 8: (left) MACBA/Barcelona, 2010 (right) Cafe du Flore/Paris, 2009 Photos by Figen Kafescioğlu 78 The boundaries which constitute the limits or qualiications of visibility also enable to create sort of hierarchy from publicity to privacy. The determinant of the hierarchy in a place is relative to the degree of accessibility by the dwellers/inhabiters of the area (a house or school or an oice building, etc.) and the respective responsibility of supervision it gives to them. An open area in the urban space or the units of a house may be conceived either as a more or less private or public relative to the diferences of usage, the number of the dwellers and time. The bedroom in a house is private because it is inhabited by one person who has the responsibility to take care of it compared to the living room shared by all the people living in the house, or a classroom is more private compared to the communal hall, but the hall which is used by the students of a school is more private than the street because the street is for community. The living room of a house is less private when there are guests in the house as it is in an urban park when it is full of people on a summer weekend compared to a winter time ofering a quieter and calm space to the visitor (Image 9). Image 9: (left) Covent Garden/London, 2010 (right) Lyon, 2014 Photos by Figen Kafescioğlu 79 Considering the above concepts, it is possible to suppose that dwelling can be performed; not only in the spaces with strict or preixed boundaries but wherever these phenomenological dimensions can be realized, with lexible elements of enclosure which constitute inside and outside and with a better accessibility, by providing place for people to realize acts of self-actualization where individuals or groups can realize appropriations through articulations or modiications on the space. Transition/In–between Transitional spaces literally are the spaces where a transition movement takes place. Transitional spaces are the in-between areas where the opposition of inside/outside or public/private is blurred, the passage from inside to outside or vice versa loses its sharpness. The distinct diference of being inside or outside is loosened and the occupied space is also changeable according to the time of the day on these so called liminal spaces. Flexible and non ixed design equipments are the tools of this variable surroundings. 03.LEC TURES Spaces with diferent levels of accessibility like squares, streets, passages, entrances etc. can be described as transitional spaces with transition movements in diverse directions and with lexible physical boundaries creating inside outside diferentiations (Image 10). Mobile elements (banks, seperators etc.), ambulatory bufets, loor arrangements contribute to the temporary dwelling by creating changing focal points. People who take place around diferent performances also yield to temporary dwelling (Image 11). Image 10: (left) New York streets, 2014 (right) New York 45th street, 2014 Photos by Figen Kafescioğlu 80 Image 11: (left) Barcelona, 2010 (right)Place Flagey/Brussels, 2009 Photos by Figen Kafescioğlu Another type of transitional area is the spaces where the direction of transition movement states the physical form. The bridges with habitations or trading areas can be named as one of the examples of that type of dwelling. The bridge is shown as the symbol of unity by Heidegger and it is the line where two separated natural edges (banks of a river) united by men. The bridge itself is an element of transition between two lands; the bridges with habitable areas create grades of accessibility. It is possible to ind bridges uniting two banks also giving the opportunity to dwell in many cultures through the history which are shaped according to the conditions of their construction time (Image 12). Image 12: (left) Irgandı Bridge/Bursa, 2013 (right) Ponte Vecchio/Florence Photos by Figen Kafescioğlu 81 Whether it is described as the liminal intervals between private interiors and public exteriors or the diferent parts of urbanspace (streets, squares, passages, bridges) with continuous movement traces, transitional spaces can bear overlapping areas of passing (luent) or gathering, standing (stagnant) sub areas letting people temporarily dwell and create a sense of place. The dwelling on transitional space creates the opportunity of encounter and reconciliation between the street and private domain or between the sub areas of urbanspace with blurred limits creating diferent levels of spatial accessibility. Thus the transitional space gives a chance to dwell on the overlapping areas on thresholds (on blurred limits of the buildings) or on the city scape to create in-between spaces. The “third space” 10 concept described as a fully lived space, a simultaneously real-and-imagined, actual-and-virtual locus of structured individuality and collective experience and agency by Soja as the sum of irst space, the Soja, E., Thirdspace: Journeys to Los Angeles and other Realand- Imagined Places,WileyBlackwell, 1996 10 03.LEC TURES physical space and the second space the imagined, perceived space. These “third spaces” where the everyday practice of post-industrial city occurs. These spaces are the in-between spaces where the experience of life takes place having the features of both inside and outside, both public and private. They are the spaces of spatial and temporal transition of change and interpretation, letting men to root on urban space. Grosz, E., In Between: The Natural in Architecture and Culture in Architecture from the Outside, MIT, 2001, p.91-92 11 Instead of conceiving of relations between ixed identities, between entities or things that are only externally bound, the in-between is the only space of movement, of development or becoming. The space of the in-between is the locus for social, cultural, and natural transformations: it is not simply a convenient space for movements and realignments but in fact it is the only place-the place around identities, between identities-where becoming, openness to futurity outstrips the conversational impetus to retain cohesion and unity.11 This representation of Elisabeth Grosz subtends to the liminal space where the groups of people temporarily dwell on the transition areas in architectural space. These so called transitional spaces are the spaces where the transitions that relect the city as a social ideal. This character of in-between lets the urban space to be conceived as a lived experience by the ones who experience enabling them to create the properties that shape, govern and sustain it. 82 83 03.LEC TURES carlo ravagnati politecnico di torino lyon, for example imagination and knowledge in architectural and urban design “Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand”. (A. Einstein) A project, in order to be thought, proposed and discussed inside the architectural culture, must cover three functions: - a polemic function towards other projects about the same topic or site that fall in error; - an inventiveness function that ills an emptiness due to the oversight of something that is crucial to that theme or that place; - a creative function to introduce a new concept or a new idea of city. I think that these three functions are included into a scientiic vision of the architectural and urban planning. My research starts on the hypothesis that the architectural and urban design is an acknowledgement activity for both the place and the discipline. In general terms thus, my job is to develop within a “rationalist engagement”, therefore a culture that has never ceased of aspiring to architecture and to “architecture of the city and the territory” based on logical relections. Compare ourselves with a logical system means to check and modify the same system continuously, free from the problem to start again every time. This kind of theoretical construction has changed the static or deterministic 84 relationship between theory and practise that had characterized the modernity. In fact, in this theoretical idea take place peculiar procedures able to act on the same theory just transforming it from a speculative moment, in which it’s possible ix things already given, to productive moment, in which the same things take new meanings. Radicalizing, we could say that there is only the thought produced by processes at the same way there is no other object of study more than the construction techniques of the same thought. For this reason, I have always been interested in the technical and practical aspects of the art work, in order to try to understand which thought is hidden behind the techniques and is transmitted through them. 85 For this reason, I have always been captivated from Michelangelo’s Pietà Rondanini, because it shows technical process and its result at the same time. For this reason, I have always preferred reading books as Sculpture. Processes and Principles by Rudolph Wittkower, which explains plastic invention through a path of marble techniques processing, rather than systematic and closed theories. It is the same reason that drives me towards those artists that dedicate themselves not only to the ideation of the artwork but also to the invention of an original technique: Cézanne above all, but also Pollock, Brancusi, Picasso and Fontana. In architecture this problem is strongly transmitted in some theoretical 03.LEC TURES objects. I call “theoretical objects” those projects or constructions, inside and outside time, which put in relationship design process and its theoretical content: I think, for example, about the Colonna Traiana, the Plan Obus for Algeri by Le Corbusier, the Houses at Checkpoint Charlie by Peter Eisenman or the Wall House by John Hejduck, the Palazzo Massimo alle Colonne by Baldassarre Peruzzi, a project of sixteenth century, a building extraordinarily modern. For this reason, all my previous studies have had conventional subjects: the studies of the ancient Rome and the projects for the basilica of San Pietro at Vaticano in the Renaissance Age; the techniques of the urban morphological analysis and the production of urban artefacts theories of and architectural and urban design theories; but the true aim was to understand the thought production mechanisms’ that, in architecture, concern balance between imagination and knowledge. 86 This is a crucial point in formation of a “logic of project”. So I would like to talk about the intricate, contradictory and indissoluble role of imagination, which is an important element of design activities, in the production of knowledge. I will try to detect technical and teachable aspects of imagination for underlining its importance and necessity in knowledge growing. 1. What is Knowledge activity in architectural design I realize that every distinction between idea and knowledge in architectural design is always forced: architectural design is, in fact, a techné, an indissoluble heap of art and technique. However, for the purposes of these considerations, I will start to analyze separately knowledge activities and imagination activities, showing their mutual inluences. In order to explain what I mean with “knowledge activities that develops through project” I have to tighten the ield of studies. In every science and in every age the knowledge needs, in fact, a single theme of application. I would like to talk about relationship between geographical characters and urban morphology. Geomorphology and urban morphology have always represented two ields of studies joined together into the construction of urban space. The contemporary crisis of the cities idea may ind in the reconstruction this dialogue interrupted in modern age, precious tools for a new cities idea. 87 Let’s take a city: Lyon, for example. Let’s have a look to its anchoring in the soil and link it with one stories of the city. In order to do it, we can found our speech on military maps preserved in Bibliothèque National de France of Paris. Why military maps? Maps and studies about cities and territories made by military corps are interesting because, irst of all, they describe a construction system to the ground. The art of controlling geographical space through military architecture, as well as for diferent aspects through hydraulic engineering, represents an important opportunity for retake, in the urban studies context, a technical and theoretical look that has been left behind architectural discipline, since two centuries. In addition to consider military architecture as a defensive system, we could look at it as a settlement principle. This settlement principle chooses, for strategic necessity, to establish a mutual relationship with Earth’s shape and to bring forward city’s expansion over its limits. 03.LEC TURES The case study of Lyon shows some interesting elements. The fortiication system, illustrated on a map of 1649 (Image 1), represents a kind of didactic description of geographical characters. Around the original site of Lugdunum, such as “the fortress of Lúg (the god) on dunum (hill)” placed on Fourvières hill, the city walls develop to protect a site crossed by a river and surrounded by high grounds. In this portion of territory the Rhône serves as a defensive structure, on the boundary of urban shape, instead the Saône, with its bridges and public spaces, represents the city river along which city life takes place. 88 Image 1: Plan de la ville de Lyon, 1649 The two rivers have two diferent roles, given by defensive system (Image 2). A late project of expansion of city walls in 1856 adjudges to the Rhône the same role. The riverbed is redirected and its loodplain transformed in a domestic and public space (Image 3). From siege maps in 1793, we could see the settlement logic preview of future expansions both beyond the Rhône, in Part-Dieu and Brotteaux, and beyond city walls in front of Croix Rousse hill. These military strategies organize the territory positioning bridgehead, a typical military technique of ground appropriation, on which future city will ind a previous coniguration to start an urban expansion outside city walls (Image 4-5). 89 Image 2: S. Wolf, Plan de Lyon et de ses environ, 1818 03.LEC TURES On Croix Rousse hill defensive and ofensive lines are placed crosswise the medieval burg built along a territorial route. These lines are signs come from Earth’s crust and that, regardless of their impermanence, will remain as marks in urban morphology. Indeed military architecture is just soil architecture; there isn’t the will of shape, but just the need of it. Bastions, towers, wells, platforms, galleries and trenches, relect the relationship between Architecture and Earth, beyond each formalism. They show the Architecture of the Earth. 90 Image 3: M. Denonfoux, Plan de la ville de Lyon avec ses projets d’agrandissements d’assainissement et ’embellissement, 1856 91 Image 4: A. Aveline, Lyon. Ville Capitale de la Province et du Gouvernement général du Lyonois, 1700 Image 5: Vue perspective du siege et bombardement de la ville de Lyon, 1793 03.LEC TURES This way to link one story city, a military history, with a real fact, the anchoring of city at the ground, produces a knowledge improvement of the city and its architecture, which is also a project. It is also a project because this is an operation that asks to look at objects in diferent ways. What is project if it’s not the assignment of new meanings to already known objects? This way to think project produces knowledge, moving it from a ield to another, that comes from urban history to urban artefact theory. It produces a theory or an idea of city that is an idea of Lyon, but also a general idea of cities. Therefore, producing knowledge through project requires to “move” the knowledge itself. Dismissing knowledge from its conventional ield and write it in a diferent context: brief, this is an operation comparable to surrealist artwork. However, to real understand as this investigation is already a project, to real look at the project, we need to associate the second term of our relection: imagination. Without imagination we cannot understand as we are already inside the project: we are not simply putting in order some military maps of Lyon. Pablo Picasso wrote, “There are painters who transform the sun to a yellow spot, but there are others who with the help of their art and their intelligence, transform a yellow spot into sun”. 92 2. What is Imagination in architectural design “Logic will get you from A to Z; imagination will get you everywhere”. (A. Einstein) I realize that every distinction between idea and knowledge in architectural design is always forced: architectural design is, in fact, a techné, an indissoluble heap of art and technique. However, for the purposes of these considerations, I will start to analyze separately knowledge activities and imagination activities, showing their mutual inluences. 93 I aspire to a kind of architectural design, which aim is the knowledge of architecture, city, territory and the design itself, thus an architectural design that requires an imagination work. On one side, knowledge sets terms of the analytic character in architectural design; on the other side, imagination deines terms of poetic character. Here, analytic and poetic are not seen how separate and alternative moments, but as two moments of same process, which it is not possible identify precession. Analytic and poetic are like a “double bind”, where one needs the other and vice versa. After have explained the role of knowledge in project, now it is necessary to clarify what I mean for “imagination” within project practice, or rather which are my references about imagination studies. Jean Paul Sartre has deined imagination a peculiar activity of thought that makes present an absent being. In the essay The imagination, he uses 03.LEC TURES the example of a blank sheet laid on a table. Its shape, colour and position are present for one who look. In the meantime, shape, colour and position of the sheet exist in themselves, they don’t depend by conscience of “one who look” (remembering that conscious is always “becoming conscious of” another thing, another fact). This inertia, the being itself, safeguards things and conserves its autonomy. But if the observer’s gaze turns away from the table on which is placed the sheet, it is not present anymore to the eyes, yet it still appears in its shape, colour and position. It still exists, it is still visible, but changed its essence: it no longer exists as object, exists in image. So, image and object are diferent beings. In order to make present an image, Sartre wrote, we need to develop what has been deined as an emotion or a feeling. Now, we are at a crossroads: on one side there is a research on imagination aimed to understand how represents an emotion, on the model of Gilles Deleuze on Francis Bacon; on the other side, another research aimed to explain how imagination may be essential for discovering the “vocation of a thing, of a place or, even, of an utopia”. Imagination, in this second meaning, becomes an essential tool to be able to see the possible transformations of real world. It is a tool for thinking about a compatibletransformationwiththereality,atransformationthatmayarisefrom knowledge of reality. Of course, my interest is inclined to the second meaning. But in order that this “vocation of a place” can be developed through a project, should be recognized that any form of analytical knowledge is never objective. It is always necessarily partial and subjective. If it is true the assertion by Le Corbusier according to which “every architectural project is an idea of world”, imagination is just the tool that 94 allows you to anticipate and guide this project, this dream with open eyes and a clear mind. But in order that this “vocation of a place” can be developed through a project, should be recognized that any form of analytical knowledge is never objective. It is always necessarily partial and subjective. If it is true the assertion by Le Corbusier according to which “every architectural project is an idea of world”, imagination is just the tool that allows you to anticipate and guide this project, this dream with open eyes and a clear mind. 95 As Gaston Bachelard wrote in L’Eau et les Rêves, “imagination opens to the future. Its reckless nature helps us to distance ourselves from our immutable certainties”. As every psychic fact, imagination has a shape and a structure. Bachelard has distinguished two kinds of imagination, “an imagination that produces formal cause and an imagination that gives life to material cause or, briely, formal imagination and material imagination”. Bachelard’s material imagination theory, closer to productive use of imagination in architecture, subtract imagination to the sphere of irrational evasion and allows to identify diferent types of imagination starting from diferent material elements. Bachelard has explained this concept for ire and water, but also for cities we can suppose an own imagination. Imagination in architectural design just needs knowledge of the city. It is said that any architect must know at least a city. About city, paraphrasing Bachelard, we could speak about a material imagination grafted. “Graft” is the keyword to understand the productivity of imagination in architectural design. 03.LEC TURES “It’s the graft that can truly give the exuberance of forms of material imagination. It is the graft that can transmit richness and density to the material imagination” wrote Bachelard. If art is a graft on nature, city is a graft in the geography of a place. The graft has a double meaning: on one side, it expresses the idea of an originalcontamination between city and geography that refers to origin of city; on the other side, it proposes a strategically interpretation which provides to overthrow the metaphysical opposition that would like city and nature as terms of a binary opposition. The graft is always the hierarchically predetermined connection of one or more secondary bodies on a main body. 96 From one point of view, thinking the graft of city in the geography of place means thinking a series of grafts in absence of a main body. In fact, city is always placed inside diferent geographical theaters that always require recognizing diferent bodies. The diferent geographical theaters always refer to diferent geographical scales that ofer a variety of bodies. In my studies, imagination is involved in a work of graft on the nature forms of architecture and its archetypes. Do not be fooled, however, from the misunderstanding of the organic architecture. This not involve, in fact, the study on natural forms as references for an architecture deformation and its archetypes, instead; the problem is the research of the balance point between architecture and Earth’s forms. Picasso took a lifetime to learn to paint like a child. For me it’s to dedicate a lifetime to learn to draw the Earth through architecture, as did Anaximander with his map of Mediterranean Sea reduced to a huge agora. Let’s go back to the city of Lyon. Introducing a igurative description form, typical of architectural design, produces an intentional rêverie. Intentionality it is the moment of fusion between knowledge activities and inventive process; it is the moment that allows you to steal the rêverie to “the leeting moment of an hour” and transfer it in collective memory useful to construction of an architectural project. In the irst work (Image 6), I have tried to explain, with two layers overlapped, the igures that emerge from military structure of territory during the siege of 1793 (Image 7). 97 The schema of ixed fortiications represented topographically and the schema of temporary placements in the theater of war of Croix Rousse hill are overlapped in diferent scales, in this work. On the right we can see a repetition of defensive lines climbing from river to hill up to linear settlement outside city walls. Beyond, we see instead buildings or embankments positioned strategically on the heights. These points are similar to infrastructure elements on which will build the city. In this second work (Image 8), instead, I tried to show how the traboules tracings that cut through Lyon’s urban blocks, may be precisely linked to those paths, trenches and embankments products of military genius. Traboules can be used to explain how the theme of military architecture, in its origin closed to mining architecture, could have a domestic dimension. They represent a kind of geological infrastructure that, after been hiding into the city bowels, now it could be contain the rules its 03.LEC TURES 98 Image 6: C. Ravagnati, So ephemeral, so permanent, mixed technique on canvas, cm. 30x30, 2014 transformation. So, this third work (Image 9) wishes to discover the earthly and mining vocation of these unusual places, hidden in urban blocks; a vocation shown in a special way in their layouts or in their sections. In this sequence of small works, therefore, I sought the presence of architectural shapes in logic urban construction in Lyon. Their purpose is to transform the initial knowledge, based on historical maps, in a theme of project. In order to this aim, we have to work about the imagination, as I tried to explain earlier, an imagination linked to material that consists the city. 99 In my experiences, precisely in the construction of these preparatory works, happens the intersection of knowledge with imagination. Image 7: P. Genot, Carte des environs de Commune-Afranchie, où sont représentés les travaux du siège soutenu par cette ville rebelle pendant les mois d’août et de septembre 1793, 1801. 03.LEC TURES These objects contain and reproduce, in their turn, a series of unexpected images. They are not real architectural projects of course, but they deine the topic and prelude to possible projects (Image 10). After these works, the project can only take one direction. Within this imagined history in fact, the design of Traboules that we are going to develop could indicate a way for thinking an idea of city. 100 Image 8: C. Ravagnati, Hidden blueprint in urban blocks, mixed technique on canvas, cm. 30x30, 2014 The Traboules can be seen as structures created to solve functional problems not opened anymore, we could say that they are “useless objects” or “ixed objects at their last known action”. But also we can see them as monuments to a logical construction of city, as infrastructural elements of an invented urban geography that explains the relationship between city and Earth’s crust, the same form that has oriented the constructive process of Lyon. So the project becomes an explanation of city, becomes knowledge of city, and suggests a plan and a world vision, through imagination. 101 Image 9: C. Ravagnati, Mining section, mixed technique on canvas, cm. 30x30, 2014 03.LEC TURES 102 Image 10: C. Ravagnati, Scòli, (“Scòli” is lost in translation: in Italian “Scòli” means “remarks written in margin of a book page”, but also “a place where lowing liquid waste”), mixed technique on canvas, cm. 30x30, 2013 103 03.LEC TURES inci olgun sinem özgür mimar sinan ine arts university #neighbourpublicity “The man is only half himself, the other half is his expression.” Ralph Waldo Emerson (Essays, Second Series / The Poet /1844) Public sphere has a wide variety of deinitions in many diferent academic disciplines from Social Sciences to Architecture and Urban Planning. These descriptions include social meetings, the reception of art works and debates about them, liberty that social medium provides and of course any kind of political discussions. Well then, what about “Public Space”? Do public spaces work as democratic device’s spatial component that can generate the debates by aiding and abetting the crowd of people that can trigger the collective public movement, or do they supply a platform for using the civil rights? Or, do all these happenings should be considered as individual experiences? Where does the “Public Space” start? Today, all over the world, it is acknowledged that, the strategies produced in order to revive public space usage cannot only be comprehended with a project-based approach that only leans on “aesthetics”. It is expected that strategies should make spatial decisions - interwoven together with activities-, meet on a common ground with cultural diversity through the participation of multiple actors in order to create a shared wisdom. As the term “public sphere” involves socialization and functionality; an abstract understanding of public sphere is grounded solely by the deinition of a measurable space (or a discursive communication in Habermasian terms), but also by the aliveness and qualities it brings to urban life. Therefore, the term “public space” needs to include an experiential level understanding 104 of the space, which means consideration of passing places as semi-public places. These passing places can also be an important source of inspiration for life with their usage and temporalities. The social events, activities, rituals, and social familiarity with certain places within the movement of daily life serves as the stage of the users’ common culture but also inspires them through these countless interactions. Seasonal changes and spatial patterns, colour codes, textures result in urban reoccurring patterns. This makes “the place”, or the experiences space, have its own social-spatial character and makes memorable. 105 In contemporary public space designs it is regarded that landscape design, user proile, the architectural volumes and their functions within these spaces changes the social interactions among people and the main discussion among designers is based on how to reinforce the usage public spaces. Since public spaces are always the spaces of social life it is important to support their evolution with creative patterns. Public spaces respond to the changes in society directly because discussions of individual and collective agency are integral to the description of public spaces. Thus, through creating thematic social meetings and through countless encounters, they increase the passive/active interactions among people with diferent backgrounds. Especially semi-public spaces can be considered as the spaces, which assemble the experience of diverse togetherness. They are the spaces, which create the neighbourhood; these are the spaces where the ideas of social life are embodied. These places protect the praxis of life by making it continuous and that’s why they cannot be merely deined as “space” with its physical borders. The publicness and usage of these spaces cannot be controlled especially in larger geographic areas since there is a large body of users. 03.LEC TURES In his book “The Fall of the Public Man”, Sennett (2010) mentions that public space becomes a temporary space rather than places to be lived in, at the same time it becomes a threat for “the other”. He argues that, in modern life just watching quietly becomes the public life’s only custom and we, as the people of the post-modern globalizing world, live in this viewer situation which domesticates us into our own small private lives. From this point of view, it can be said that, a single human being who is moving among the buildings, which are compressed and inhumanly high, becomes lonely and “the public man” falls. On the other hand, the city economy, which takes place in its compressed spatial forms in capital metropolitan cities, plans and therefore manipulates the publicness the citizens can take part in by paying for it (e. g. shopping malls, itness centres, global cafes, etc.). According to Bayat (2014), in today’s neo-liberal cities, especially the open-air economies should be expressing themselves with public visibility as a necessity and this is a new perspective about publicness. Nevertheless, a citizen wants to diferentiate herself, even within the modern compressed time, she wants to live the publicness of the closed settlements that are by deinition less “downtown”. However, the city doesn’t give the time for leisure to create more intimate relationships. The ones who don’t live in this compressed time –the ones who live in an enclosed settlement in the city centre- are both limited and deined by the settlement’s borders, and they create their own routines and public lives. However, it is not enough for them just to encounter with the ones who can aford these spaces; they cannot fulil the desire for energizing what they need (Gehl, 1986), and therefore become unhappy. Since they are not able to ind any space or medium, which they can move around like 106 a laneur in the city because of their chosen enclosures, they move around without a purpose in Internet “like a laneur”. Zizek deines them as “cyber” or “the social networks” (2001). Designers through keeping the concept of laneur activity in mind should increase the possibilities of random encounters. These random encounters create the necessary openness in social life for it to evolve and be an active member of it. Through this openness citizens create opportunities of agency for themselves (Dereli, 2010). 107 “The city appears to you as a whole where no desire is lost and of which you are a part, and since it enjoys everything you do not enjoy, you can do nothing but inhabit this desire and be content.” Italo Calvino Invisible Cities / Cities and Desire 2 / 1974 / p:12 Because of their mix-use value, the public spaces such as the central parks, or more generally open areas makes it easier to hybridize all the diferent social classes and interwove diferent point of views. They create collaborations; serve as the spaces to participate in civil rights, freedom and imagination. These spaces work as a precondition of many citizens’ inancial income and their social/cultural re-productions of themselves as individuals and collectives (Bayat, 1997a 1997; Bayat&Deniz, 2000). These spaces, where versions of social-spatial praxis’ are formed and political perspectives are presented, can become signiicant threshold spaces for poor people’s lives’through exclusion. Despite this, open public spaces are the places that by deinition refer to the non-pecuniary, the requisite, the participant, the productive and the free interactions among people (Bayat, 2014). 03.LEC TURES Today, (in our geography) we live in an era, where both the public sphere and space are threatened existentially. Therefore the opportunities for the society to discuss their common interests, their possibility to become a public body and form a public opinion about “common good” is threatened through the increase of social inequalities (Karaca&Kiper, 2011). With 2013 May Uprising the happenings in Gezi Park, had been a case of the public to ask what belongs to them. It is a need stronger than ever for citizens to break the neoliberal state monopolies over public spaces such as Gezi Park. Yet, erosion of our public spaces, where the most important practices of public kindness take place, breaks down the daily life’s entities of the city, which by deinition need to be multi-cultured and multifaceted. William Shakespeare/ Coriolanus 1 This appropriation of public space by citizens is very important because it creates new forms of publicness with many diverse public forums and results in many activities in Istanbul’s many neighbourhood parks. The activities that take place in Kadıkoy’s parks are considerable even when compared to the wholesome of Istanbul. The local characteristics of Kadıkoy are the main actors that make the neighbourhood a lively place with identity and deine the terms of belonging through semi-public space usages. Moreover these signiicant local characteristics make Kadıkoy a place. Anyway, “What is the city but the people?” 1 #neighbourpublicity as raining buckets and Kadıköy characteristics < daily life < semi-public spaces < kadıköy < neighbourpublicity Kadıköy is Istanbul’s one of the most crowded and cosmopolite neighbourhoods. Its ancient Byzantine name is Khalkedonia. It is located on the Asian side of Bosporus. According to a legend, a soothsayer told 108 Byzas that he would establish his city facing the blind people’s city. When he saw Kalkhedonia, he decides that this is the right place; because only blind people can settle at Kalkhedonia rather establishing a city on the spot he was standing on, at the entrance of the Golden Horn. Than spot became the centre of Byzantium and later it was the Ottoman Empire (Belge, 2002). In 18th century Kadıköy had four windmills that was meeting Istanbul’s need. The neighbourhood was densely inhabited parallel to Haydarpaşa Station’s and moles construction in 1908. Over time, Kadıköy received many immigrants from the rural areas and has become one of the liveliest districts. To this day Kadikoy protects Istanbul’s cosmopolite population with its diverse worship places belonging to diferent religious groups. 109 Around the old bookshelves of the corners bookstores where you can hear songs from the past, and just next to them, the familiar pose of the bibliopole that never gives an efort to present his books if not asked… On the other side, the shoe and outit shops with their showcases that are changed a few times every season… Retro shops and the all kinds of shops where you can ind everything with all their miscellaneous dimensions… The best though; the centre of Kadıköy Çarşı with its stands full of lively, fresh and tasteful goods for gourmets… The rhythms of all the spaces in the city, which forms the opinions and motives of the society, are diferent than each other and each space creates diverse constellations that have diferent temporalities. In the city of Istanbul, being a part of Kadıköy occurs by enhancement of such diferent interactions by living its spaces, by being a part of its spaces, by meetings in these spaces, by being in touch with its countless active/passive encounters. Kadıköy, which is a place for its inhabitants and for its guests to live these all interactions, has the richness of experience that makes so 03.LEC TURES 110 Image 1: The main ingredients of Kadıköy’s history (Made by İnci Olgun and Sinem Özgür) many diferent proiles come together and be in contact with each other. In historical process, Kadıköy has established a connection to whole Istanbul in terms of its low and speed within its open areas that has signiicant importance in social life. At the same time, the human landscape of Kadiköy is a part of its identity. Kadiköy continuously remakes its connection to contemporary form and context within its human low. 111 Kadıköy becomes an important centre for the entire city life with its location in Istanbul and through its strong public space potentials for the population. Especially as a deiner of the neighbourhood’s settlement, Kurbağalıdere Valley, as a natural threshold had been at the forefront with its green identity. Although today it has lost most of its ecological features, because of its open area characteristic, it is still one of the most popular urban spaces. Kurbağalıdere area has strong connection to public transportation because it is near to many transit transfer centres. Areas such as these that are easily accessible have the capacity of generating many urban, spatial and socially intense centres. Beside houses and business places, everyday the dense commerce area enlarges. This intensiies the district’s traic load that in return results in their loss of the quality and quantity of pedestrian public interactions. Kuşdili Meadow is one of the most valuable areas in the Kadiköy neighbourhood that satisies Kadıköy citizens’ recreational needs since for a long time. Once Kuşdili was one of the most important excursion spots, now it is squeezed in between the dense urban texture of the buildings. It has now become one of the spaces in the city that has to be protected at all costs. This urban space, which was used as grove, meadow, excursion spot, marketplace and at last a parking place respectively, has a history of being the ancient Khalkhedon Port till 680s BC. Including the stadium settled 03.LEC TURES Kart al eşm ık Ç ıl Ayr Kurbağalıdere esi Kadıköy İskelesi Kadıköy Belediyesi da Mo 112 Kuşdili Çayırı Söğütlüçeşme Şükrü Saraçoğlu Stadyumu Yoğurtçu Parkı Eğitim Aktarma Etkinlik Spor Kamusal - Yeşil Dereağzı Forum Image 2: Kadıköy’s publicity usage alongside Kurbagalidere River (Made by Aylin Ayna, Serim Dinç, İnci Olgun, Sinem Özgür) Ge bze Kurbağalıdere Metrobüs Karayolu Deniz Ulaşım Hattı Kent İçi Metro - Yüksek Hızlı Tren Marmaray Nostaljik Tramvay Bisiklet Yolu Kadıköy - Kartal Metro Hattı Yaya Yolu Lastikli Araç Toplu Taşıma Hattı ray rma Ma Kart al eşm ık Ç ıl Ayr Kadıköy İskelesi Kurbağalıdere esi 113 Kadıköy Belediyesi da Mo Kuşdili Çayırı Söğütlüçeşme Şükrü Saraçoğlu Stadyumu Yoğurtçu Parkı Dereağzı Ge bze Image 3: Public usage and pedestrian relations and accessibility of Kadıköy as a whole (Made by Aylin Ayna, Serim Dinç, İnci Olgun, Sinem Özgür) 03.LEC TURES 114 (Made by Hazal Şerifoğlu) Kurbağalıdere Kadıköy İskelesi Kadıköy Belediyesi Kuşdili Çayırı Söğütlüçeşme 115 Şükrü Saraçoğlu Stadyumu Yoğurtçu Parkı Dereağzı Image 4: User proiles of public spaces (Made by Aylin Ayna, Serim Dinç, İnci Olgun, Sinem Özgür) 03.LEC TURES very near, the whole area is the home of the phrase: “I am from Kadıköy”. When Kadıköy’s publicity’s intensiied spaces is classiied; 116 Kadıköy is a place where “being from Kadıköy” becomes a label that people can feel entitled to quite easily even when one doesn’t live there in an enclosure. The children of the district experience the publicness of the neighbourhood through observing and being a part of this social medium. The emotional and aesthetic expressions, which are produced in the spaces that are beyond the borders of houses and therefore “private”, has the potential of being deeply enrooted in politicals. This social mould of the street is sometimes blended with commercial activities, but usually the political actions rise from a diverse community’s efort to interact. Pavements, playgrounds, public transportation, district bazaars and central bazaar of Kadıköy are some of the nodes of the urban social network in the neighbourhood. 2013 june... After June 2013, like many places in Turkey, open public spaces in Kadıköy became a part of the public forum networks of the people who took back their occupied public life from the authorities. The organized activities became a diferent form of creating debates and public opinions on social issues. Our public spaces, which are settled in a cognitive structure beyond being a physical and distinguished phenomenon, began establishing the spatial identities that demand to shift the neutralized power relations with emphatic and hybridized ones. 117 Istanbul’s every district has a diferent image; Kadıköy’s image is the “bull”. The bull statue is a focal point and a landmark that is referred in any address description in the neighbourhood. It is also a politically relevant symbol of Istanbul’s current love afair with publicness with Istanbullers’ newly reremembered and re-framed agency. Social platforms with their power to expose and to make their followers simultaneously a part of the experience became a part of this “movement of publicness” and made it easier to mobilize. The oppositions and protests, which started with Gezi Park and its surrounding urban areas strongly kept their existence through the time of the protests. Diferent spatial experiences were made possible by the help of new technologies and but their accessibility varied by the levels of connections to them. E-mail, postings of digital sound and videos, photos via mobile phones, tablet pcs, computers in every social medium; high technological capital was used during the oppositions. Therefore, the community experiences lived in 03.LEC TURES the real space carried to cyber medium and there had been an important interaction between online and oline worlds. As a beginning, but not a result; Public man did not fall in Kadıköy; since the characters and characteristics of this particular place is quite diferent. Spatial experience difuses and integrates to social interactions continuously. Kadıköy is a place that generates simultaneous public life’s aliveness with the spatial fragments that allows the individual to practice their own agency. Kadıköy is a cultural 118 Image 5: Kamusal mekanın taşındığı sosyal medya ağları. (Made by Hazal Şerifoğlu) environment that creates social acts/behaviours. There is no artiicial manner of spatial “D”esign; the energy and rhythms of life belong to the space itself. The fall of the public man in Kadıköy, is out of the question. The most important reason of this is that local characters continue their lives in harmony with diversity. Identities and feelings of belonging in both public and semi-public spaces are very strong in its streets, cafes, and passages made into continuous bookstores, with its famous wedding hall, ice cream shops… Everything in the neighbourhood contributes to the desire of living in Kuşdili Meadow. 119 References: Bayat, A. (2014). Tersyüz-olmuş-şehir’de Siyaset. Mekan Meselesi. İstanbul: Türkçe Yayın. s:29-54. Belge, M. (2002). İstanbul Gezi Rehberi. İstanbul: Tarih Vakfı Yurt Yayınları. Calvino, I. (1974). Invisible Cities. USA: Harcourt Brace & Company. Dereli, H. C. (2010). Kentsel Mekanda Gündelik Yaratıcılık. Yüksek Lisans Tezi. İTÜ, FBE, Istanbul. Karaca, S. & Kiper, N. (2011). Kentsel Mekanda Kamu Yararı Arayışı ve Kültürel Planlama. Toplum ve Demokrasi Hakemli Sosyal Bilimler Dergisi, Cilt.5, Sayı. 11-12. s.75-96. Sennett, R. (1992). The Fall of Public Man. W. W. Norton & Company. Reissue Edition. Zizek, S. (2001). Kırılgan Temas. Istanbul: Metis Yayınları. 03.LEC TURES 120 121 03.LEC TURES özlem lamontre-berk école nationale supérieure d’architecture de lyon Urban ways ~ parcours urbain ? The beginning of this lecture started with the uneasiness of translation of the term ‘parcours urbain’ in French. Further in this text you will observe our efort and wish in order to ind out the correct term to use concerning the content of the word ‘parcours’ in an urban context. Finally the term ‘way’ seemed to be more convenient when we advance in a displacement and an action of ‘discovery’ and the term ‘itinerary’ when we are facing a ‘proposed and organised path’. However, sometimes in the text the word ‘parcours’ will be reused without any translation with the worry of losing the real sense. Whenever we are concerned with any kind of design based activity in an urban environment we confront the indispensable signiication of ‘urban ways’. When this urban environment is the ‘Croix-Rousse’ district the analysis and the comprehension of the formation process of those ‘proposed ways’ becomes inevitable in order to understand the urban structure, history and socio-characteristics of this district. Currently there are ive urban itineraries organised on the hill of the CroixRousse. − Parcours Amphithèatre des Trois Gaules (Image 1) − Parcours Flesselles (Image 2) − Parcours Soulot (Image 3) − Parcours Voraces (Image 4) − Parcours de la Grande Côte (Image 5) 122 Image 1 (left): Parcours Amphithèatre des Trois Gaules http://www.lyon-les-pentes.com/ parcours/parcours%20amphi.pdf Image 2 (right): Parcours Flesselles http://www.lyon-les-pentes.com/ parcours/parcours%20flesselles2.pdf Image 3 (left): Parcours Soulot http://www.lyon-les-pentes.com/ parcours/parcours%20soufflot2.pdf 123 Image 4 (right): Parcours Voraces http://www.lyon-les-pentes.com/ parcours/parcours%20voraces1.pdf Image 5: Parcours de la Grande Côte http://www.lyon-les-pentes.com/ parcours/parcours%20grande%20 cote2.pdf All those ive itineraries are related to the architectural, economical, social and political history of the district. Those itineraries are introduced mostly to the tourists and random visitors of the hill. In this lecture, we will try 03.LEC TURES to put forward the development of urban environment especially for the regular visitors and habitants of the district. As Ben Slama mentions the urban ways engage to social and cultural, but at the same time very important physical and environmental dimensions. This notion of ‘urban way’ refers to the dynamism of urban spaces themselves and but also to the movement of the citizens in public spaces. The urban ways are in close relationship with the concept of environment insofar as it supposes to take into account and to integrate the intersensory dimension of crossed spaces. From this point of view, the experiment of urban is not only of a visual nature. But as Chelkof and Thibaud mentions: “Our body lives space by means of each one of its directions, surely as visual spaces but also sound, tactile, thermal and olfactory. 124 Each traversed space engages the various methods of perception, those which are related to the built forms and the materiality of those spaces (voids which articulate the built masses, the urban ceiling and the urban ground, vertical walls, street furniture, etc…). The deinition of a ‘way~parcours’ The notion of parcours in French is diicult to understand. It indicates commonly various meanings: it can be a movement (cheminement), a way (trajet), a crossing (traversée), a circuit, an itinerary (itinéraire)… This action associates at the same time to the act of moving and to the space trough which we advance. It combines together space, time and action. For certain researchers this advance can be summarised as the displacement of human body in space and for others, it is the association of a context (environment) and an advancing (movement in space). According to Ben Slama this ‘displacement’ is thus treated like “an exposure in real time” which is a chain of acts like, to walk, to see, to read, to stare, to listen, to move away, to remember, to tell about this advance. And this displacement, thus, gives a meaning to this space. Etymologically the word ‘parcours’ comes from Late Latin ‘percursus’ which is the past participle of Latin ‘percurrere’. We are able to ind the earliest use in 1268. ‘Per’ means ‘par en par’ – across or through and ‘cursus’ is course. We will be interested in the meaning of ‘course’ which is related to the urban terminology and it is the one that was used in Italy in the 17th century. Avenue. Thus the course is approaching an avenue right through. The course is the avenue and the ‘parcours’ is the crossing that we are doing. 125 We can dissociate the two terms ‘urban’ and ‘parcours’ in order to simply the comprehension. In usual dictionaries, the way~parcours is a journey, a way to follow, or followed by a vehicle, a person, a thing, or a natural element. We ind here the idea that the ‘way’ claims an active attitude from the one that follows it. Parcours as deines ‘Le Robert’ «un chemin qu’accomplit ou que doit accomplir une personne , un vehicule ou un cours d’eau, pour aller d’un point à un autre. » We can translate as “A way which achieves or which must achieve a person, a vehicle or a waterway, to go from one point to another“. The ‘urban’ term used in adjectival form, indicates all that is «city-de la ville». Consequently, we can just develop the irst deinition of ‘urban way’ (parcours urbain) as : “It is a way or an itinerary which one can undertake to go from one point to another in the city “. As a result, it is diicult to specify and qualify the urban way in a precised 03.LEC TURES manner, but we can airm that there is a clear physical existence in the space. Moreover, it is its spatiality which guides and directs the displacement. We have to underline that the concept of parcours is very often used in description of the urban landscape, in particular by Kevin Lynch which is one of the pioneers in this ield. The characteristics of a ‘way~itinerary~parcours’ Based upon the deinitions and the issues that we have mentioned we can say that a way~parcours, − has an aim, an objective, − has a main idea, a unity, − has a departure and an arrival point which could be identical, − is continuous, has an itinerary, − asks for a displacement, a movement, − compares diferent steps, events and pauses, − connects diferent steps according to a certain rhythm which belongs to itself: as alternation of walk, diferent pauses, repetition of events... − it leaves the freedom of choice to the recipient of the itinerary according to the will of the director of the itinerary. It is thus determined and deined, because, either it is followed by a person and in this case it is this person that determines according to the goal to reach (for example the itinerary of a person doing shopping), or it is to be followed by a person and in this case somebody else determine the itinerary for this person, by leaving him/her a free will. As one can realise in the characteristics the terms ‘way’ and ‘itinerary’ are used according to the diferent objective and advance of the displacement. 126 All the characteristics that are found in the uses could be a way in order to structure the interior spaces of a building: that is named as ‘the architectural walk’, or those of a city: urban ways or urban itinerary. It exists in architecture a way to learn and build a space by the movement according to an organised itinerary. We can see this in some spatial organisations that Le Corbuiser has developed. As the main theme of this lecture is related to the urban scale we will concentrate on urban ways, itineraries.... ‘parcours urbain’... Ways or itineraries in the city 127 In his work ‘Analyse Urbaine’, Philippe Panerai (1999) present the urban itineraries like a constituent of urban landscape as for example the node, the site, the limits and the landmarks. Thus the urban itinerary takes place in picturesque analysis of the city where the observer in the city perceives this itinerary as a parade of pictures/paintings. According to Panerai in the crossing of the city and its analysis the observer associates images to itinerary and to time. The urban walk, just as the architectural walk, uses a displacement, that is the movement of the image. It is a part of a scenario with a series of varied landscapes and sequences more or less broken from one landscape to another. It is deined again as a series of events and this is the deinition of the parcours which arises from here. The Picturesque of Urban Landscape The picturesque appears as a way to increase the value a land not only by its monuments but also by its pictures, images and the landscape that it proposes to the observer while he/she takes a walk. Panerai puts 03.LEC TURES froward the idea that the notion of picturesque today constitutes a new approach of the perception of the city by urban landscape. We can talk about picturesque analysis, glossary of picturesque, introduction to the picturesque in the project, the coming out the urban picturesque. Here we could ask such a question ‘what kind of precautions related to the urban structure and the composition and hierarchy of urban elements and volumes that we could ind in an urban space can be developed in order to enrich the urban itineraries and especially urban itineraries of everyday life?’. Developing / Constructing a parcours From this characteristics of the continuation of events, we can consider that the urban parcours is consisted of a series of adjusting/centring of the ield of vision of the observer as he/she goes along. Consequently, each position of the observer corresponds to a visual angle and to an observed scene (or the direction of look) which are induced by contours of the elements that frames the scene. Milan (2001), in her work ‘Un parcours de découverte sue les pentes de la Croix-Rousse’, proposes a method in order to build an urban itinerary by choosing a certain number of sights interesting for which we will deine the position of the observer, the observed scene and the visual angle that frames this scene. It is needed to develop a mechanism in order to develop perspectives (as Milan used references in the work of Le Corbusier) or a series of pictures as the work of Panerai. Two cases arise for the sequences of the sights (Image 6). 128 129 Image 6 Reproduction from ‘Un Parcours de Découverte sur les Pentes de la Croix-Rousse’, Milan Béatrice, TPFE, Ecole d’Architecture de Lyon, 2001 Case 1. The last observed scene contains the next scene to see. The framing of scene 1 contains the one of scene 2. We will be able thus to play on these two elements in order to cause the displacement towards the next position of the observer. If the framing of scene 1 follows a horizontal scanning then it suggests a panorama and invites rather to a pause. If it follows a vertical scanning, then the glance will more easily be centred as the framing will be more closed. In this case the observer is more invited to displace. Case 2. The coming scene that we have to observe is external with the 03.LEC TURES last scene that we have observed. That is to say the next position of the observer is visible from the point of scene 1 and we will be able to exploit on this position and on the framing of scene 1 for the sequence of the scenes. That is to say this position is not visible, and in this case, only the framing of scene 1 can cause the sequence of the scenes. In such a situation hesitation and curiosity should arise! In Panerai’s sequence analysis he talks about the tools or the decisions which will make it possible to carry out these framings needs some perceptive rules which will make it possible to create a state of balance or imbalance to encourage the observer -according to the scene – to take a pause or to continue his displacement. In his work ‘Prolégomènes à une psychologie de l’architecture’ Wollin (1976) mentions that according to the observed scene , the produced efects will depend primarily on a good delimitation of space and internal unit of the scene. This unit can rise from the proportions of the forms, in other words, of the capacity to balance the height and the width, the vertical and the horizontal in order to reach the efects of lightness, ight against gravity or then to feel the calm and the rest. This advance in the city abounds codes that user does not have the complete control, but he/she must assimilate to be able to practice it. In public space the user has to cope with a layout of coniguration imposed by urbanism. He/she always manages to create places of withdrawal (a walk close to a pavement, a public bench, a corner in a square…) and a walk for use or pleasure which will be his/her own traces at once. The ‘way’ appears in the ield where the relation between space and time is most favourable when a user displaces to another place when he/she begins the itinerary 130 by foot from his/her own dwelling. It is a piece of the city which represents a path distinguishing private space from the public one: it is what results as a crossing, a succession of steps in a street or an avenue, meant little by little by its link with the dwelling or the workplace. Urban way~parcours of everyday life When we are working in the hill of the Croix-Rousse the notion of ‘daily urban ways’ becomes important. The urban way of everyday life requires a progressive learning process, which progresses by the repetition of commitment of the body of the user in public space until exerting a kind of habituation. 131 According to Ben Slama, the daily banality of this process shared by citizens, hides its complexity as a cultural practice. Because of the frequency of the use of an itinerary, it becomes daily. It is a way to adapt public space. The itinerary of everyday life ensures a solution of continuity between what is it more intimate (dwelling) and what is most unknown (the whole of the city itself ). Ben Slama mentions that the itinerary of everyday life represent a set of initiated trajectories beginning from the place of dwelling (as departure point towards other destinations). It is the place of the relation to others like being social. The inhabitant is thus registered in a network of social signs (neighbours, coniguration of the places, etc), which represents his/her everyday life and which includes all that is familiar to him/her. In the repeated two-way trip of the inhabitant, he/she creates a certain habituation to the ambiances of a way which is the daily urban parcours. 03.LEC TURES Special case of daily urban way~parcours: the itinerary of residence / work In the work of Hanène this type of ‘way’ is marked by the pressure related to space-time, which requires to traverse a certain distance in a possible minimum time to reach the workplace. The daily language, as tells us Michel De Certeau (2011) in his work “the practice of everyday life”, brings an enough precise description to talk about this usual and ordinary act: “to jump out of the bed”, “to grab a quick breakfast”, “to catch his train”, “to plunge in the subway”, “to arrive on the dot”… It is what means to the author (and also commonly) to join his workplace. Ben Slama underlines the diference which exists between the two directions of this route: residence/work or work/residence. Contrary to the irst the second supports a diferent use diferent urban space, not only inalized by its functional use. It happens that the way on the return at the end of the day aims at granting the maximum of wandering, strolling (déambulation), the approach becomes that of a walker who dreams of a travel in front of such a shop front, who allows short breaks, who appreciates odours under the trees of the large avenue, remembers the parcours since his/her own childhood… He/she advances in the same parcours, a chain of sequences of emotion, attention, meeting, discovery, memories that he/ she lives while advancing. It is obvious that the urban itinerary, even it is of everyday life is never stable. The organisation of environmental elements even when they are controlled is dynamic and complex. The user records a certain number of familiar images which helps to structure his representation of urban space. On the other hand an unusual landscape can generate a certain surprise or disturbance at the observer. With the sight of inhabitual situations perception will be accompanied with interrogations and worries. 132 How can we overcome them? Above we have talked about the existing urban itineraries that was proposed to visit the hill of the Croix-Rousse with certain themes related to history and culture of the city. 133 When we are concerned about the development of the urban itineraries for the regular visitors we must think about the diferent types of visitors we could face during the design process. Ben Slama has worked on an explorative typology of regular visitors . According to him in general the regular visitor of the public spaces is guided by his/her habits. He/ she connects a serie of procedures without questioning his/her own unconscious practice. To be able to develop a typology of the visitors they have develop certain criteria. Visitors according to the way that they pay attention, their practical commitment and inally the way they expressed themselves. Finally proiles (expert, disinterested, in a rush, historian, anxious, nostalgic, disoriented, discoverer, blind, stroller-lâneur) Image 7 ‘Parcours Urbains Quotidiens, l’Habitude dans la Perception des Ambiances’, Hanène Ben Slama, Thèse ENSAG, 2007, p.154 03.LEC TURES and combined proiles (expert, nostalgic and historian regular visitor disinterested, anxious, in a rush visitor) were grouped (Image 7). Through all those relections that we have mentioned about the notion of urban ways we can retain certain necessary conditions in order to develop well organised continuity of an urban way~parcours. It should introduce an itinerary, it should courage a displacement, contain events, pauses and points of departure and arrival. It should respect the characteristics of continuity, it should be a guide to discover the urban places, but it should not create the feeling of ‘obligation to follow’. So the next question appears as ‘how to organise an itinerary in order to enrich the urban ways of everyday life without limiting the liberty of the action of the habitant and visitor?’. References: De Certeau, M. (2011). The Practice of Everyday Life (3 ed.). Hanène, B. S. (2007). Parcours Urbains Quotidiens. l’Habitude dans la Perception des Ambiances. Thèse ENSAG. Milan, B. (2001). Un Parcours de Découverte sur les Pentes de la Croix-Rousse. TPFE, Ecole d’Architecture de Lyon. Panerai, P. (1999). Analyse Urbaine. Ed. Parentheses. Sitte, C.; Choay, F. (1996). L’Art de batir les Villes. Paris: Ed. Du Seuil. Wöllin, H. (1976). Prolegomena in the psychology of architecture. Ed. M.I.T. 134 135 04.ANALYSIS 136 137 04.ANALYSIS ZONE 1 Sena Barış Baptiste Bernard Mickaël Cuillerat Giorga Favata Jason Huleux Claire Joachim Anaëlle Kischenama Estelle Martin-Lyet Gözde Mermer Felipe Quintero Cüneyt Şentürk This group has worked on the area beginning from Boulevard de la Croix Rousse on the North ending on Quai St Vincent on the South and between the Rue de la Tourette, Rue Ornano, Rue St François d’Assise on the West and ending with Rue du Bon Pasteur Montées des Carmelitas on the East. Morphological Analyzes of the zone consists of the typology of the structuring elements; the stairs, the terraces to igure out the determining effect on the slopy topography of the Zone 1 and the efects they have on the connections of the site. Figure and ground graphics are drawn to see the density and typology of urban forms. The early settled lower parts of the area are more dense and intricate with spine forming texture while the urban texture is looser with green and open areas in the midst and on the upper parts in the zone with planned blocks. Use and meaning analyzes shows the topographic structure is lat on the North, sloping in the mid and again lat on the river banks. Circulation, points of intensity, the analyzes of sound in the area, using types and densities according to time intervals of the day are examined to perceive the using quality and meaning. The historical and monumental buildings and public spaces are shown to distinguish the facilities of the area. Coordinators: Güzin Konuk Marcella Graione Landscape and ambiance analyzes puts forth the quality of the limits of the area. The colours and the efect of light on the facades, the perceived skyline from diferent points are tried to be detected. The heights of the facades of passages, the enclosing walls of the squares, the urban corridors perpendicular to the curves and traverse organic corridor urban courtyards are examined by various sections. 138 139 04.ANALYSIS _morphological analysis 140 Complete Morphology 141 04.ANALYSIS 142 FULL AND EMPTY AREA_DENSITY AND URBAN FORMS _Spine _Open junk space _Rue Corridor _Regular Urban Blocks 143 04.ANALYSIS 144 145 04.ANALYSIS _use and meaning 146 TOPOGRAPHIC LIMITS _Road Limits 147 _Circulation _Points of Intensity 04.ANALYSIS SOUND IN THE AREA _left: Map of sound (grand.lyon.fr) _right: Map of acoustic feelings in the site 148 TIMELINE: DIFFERENTS AREA, DIFFERENTS TEMPORALITY Bus Cars Shops Pedestrian _Saone Banks Actually the river banks are not used by the inhabitant because of the noise and the traic. But in few yeard the project which is coming from the north of the river will renovate all the face of the banks which will be a new public space below the road. 149 _Mur des Lyonnais (People of Lyon Wall) This wall has been painted on a blind wall of an apartment building on the saone river bank. This 6 stories high ediice shows a typical housing building of lyon with its inhabitants. however, the inhabitants are not common people, they are all famous writers, inventors, chefs, scientiics, artists... who were born or lived in lyon. nowadays, it is hard to have a set back to contemplate the painted wall as there is no space around it. Moreover it is completely saturated with cars. 04.ANALYSIS _Clos Saint Benoit (Saint Benoit Courtyard) It is a small square build in a dense area. it seems like a building has been destroyed and they built a square instead. it is a lot mineral with a few trees. A children playing area set in the middle. it is a very calm and quiet place. As it is completely hidden from the river banks only the inhabitants knows about it. it is a very intimate space. _Place Soeur Louise It is a very secret place you have (Sister Louise Square) to know about to go there. it is hidden behind a housing building, you can access it through a very narrow street, it is still not visible when you enter the courtyard because the irst half is a parking lot. Therefore it is not used by the public but by the inhabitants. The garden part of the courtyard has many colored lowers which create an happy space to hang around. surprisingly, there is no bench to sit down. 150 _Place Rouville (Rouville Square) 151 The Rouville square is called square but it is more a belvedere looking down at the river and the city. you also got a stunning view on fourvière and the surroundings of the hill. The square is divided into 2 parts, a green corridor bordering the road and the belvedere part with the view. on this square you can ind a few benches but a recent contest used the space to promote the furniture of an artist. _Place Lieutenant Morel (Square Lieutenant Morel) The square has been transformed as a circulation knot. Therefore the street cuts the square into two diferent parts. one part at the south of the rue des chartreuse has been landscaped as a park by its inhabitants. one half of this garden is fenced and is used as a vegetable garden by its inhabitants. it is also possible to recycle earth. The other part is open and slopping down. 04.ANALYSIS _Sutter Park This park is big compare to the other one on the site. it is all slopping down, therefore you have a lot of staircases going through diferent paths. The vegetation varies between grass, bushes and trees. you also get nice points of views on lyon peninsula. The problem with this park is that it is a dead hand, therefore you don’t feel like going all the way down to go all the way up after that. 152 _Montée du Lieutenant Allouche (Lieutenant Allouche Up Hill) This bending road ends on the top of the croix-rousse hill on a nice belvedere where you can contemplate the view. it is nicely vegetelised with trees as pine trees. _left: Uses of Squares and Public Spaces _right: Uses of Streets 153 _Diferents area of the zone: The hill which pray? 04.ANALYSIS MONUMENTS AND HERRITAGE ? 154 PUBLIC SPACES USED LIKE ARTISTIC PLACES / WALL AND GRAFFITI PUBLIC SPACES USED LIKE ARTISTIC PLACES 155 04.ANALYSIS EVENTS / CROIX ROUSSE BOULEVARD _Market of the croix rousse Happen everyday from 6 to 1.30pm except on Monday. On Tuesday the market is more specialized on manufactured products as cosmetics, clothes, shoes, bags... saturday morning will be more organic food. Nevertheless, every market day you can see an organized market with on the left hand side food items (fruit, vegetables, bread, cheese, ishes, and meats) whereas on the right hand side it will be the manufactured products. This market high in color is really appreciated by the inhabitants of la croix-rousse but also by the people from lyon. it is also visited by the tourist who want to get the true french experience with buying groceries at a traditional market. It used to be well known for the good bargains you can do because of the low price which is not true anymore. _Christmas market Every year you can ind the christmas market selling items and food. You also ind the traditional christmas farm which kids and older people love because of the animals exhibition. _Vogue des Marrons; (chestnut festival) The «vogue des marrons» is 150 years old, it is a true Croix-Rousse tradition. you can taste delicious hot chestnut and the irst white wine of the season. Now it is a popular event where you can ind a lot of attractions (the kind of one that you have in an amusement park). Indeed, you can amuse yourself with the big wheel, the carousel, the bumper cars, the hook a duck for the youngest... Also you can’t miss the candyloss and tofee apple food. _Grande braderie: clearance sale Every year, the croix-rousse organize the clearance sale where artists and craftsmen exhibit their products. It is also a good occasion for the inhabitants to get rid of their stufs by selling them. _Croix Rousse en fête it is the perfect occasion to ind the newest or the more original pro- ducts that have been made by local craftsmen and artists. The retail traders of the Croix Rousse also exhibit their products. 156 157 04.ANALYSIS _landscape and ambience analysis 158 LIMITS AND COLORS 159 POINTS OF VIEW 04.ANALYSIS 160 PLACE ROUVILLE: SKYLINE 161 TOP OF THE CROIX ROUSSE 04.ANALYSIS _Passages _Public Spaces Squares 162 _Diferent Typologies of Spaces and Landscapes DIFFERENT TYPOLOGIES AND LANDSCAPES: Urban corridors perpendicular to the curves 163 04.ANALYSIS DIFFERENT TYPOLOGIES AND LANDSCAPES: Traverse organic corridor 164 DIFFERENT TYPOLOGIES AND LANDSCAPES: Stairs 165 04.ANALYSIS DIFFERENT TYPOLOGIES AND LANDSCAPES: Green Spaces 166 DIFFERENT TYPOLOGIES AND LANDSCAPES: Urban courtyards 167 04.ANALYSIS 168 169 04.ANALYSIS ZONE 2 Banu Aktaş Sinem Boyacı Vanessa Brüggera Aurélia Delsignore Margaux Dutilly Paula Mendez Ugo Nataloni Benjamin Poignon Michelle Vecchia Eda Yalçınkaya This group has worked on the area beginning from Boulevard de la Croix Rousse on the North ending on Quai St Vincent on the South and between rue St François d’Assise and Rue du Bon Pasteur Montées des Carmelitas on the West and ending with on the Montée de la Grande Coté and Rue Pouteau and Rue St Polycarpe East. Morphological analyzes: The group studying on the second zone beginning from Boulevard de la Croix Rousse on the North until the banks of Saone between Montée de la Grand Coté and Rue Fernand Rey and Montée des Carmélites has revealed the morphology of green areas, streets and squares related to the topography of the area showing the heterogeneous density of buildings. Morphological typology and heights of the buildings, igure-ground comparisons has igured out the vernacular, 19th Century and modern planning structure of the zone. Use and Meaning analyzes: of the zone tries to reveal functions and facilities, plan of lows, intensity and public uses, traboules map and their usage types and the abandoned places, Coordinators: François Tran Gülşen Özaydın Landscape and Ambiance Analyzes: They have tried to reveal the ambiance of the area by asking people about their perception of the area, meaning of main points in the area, viewpoints, open space, traboules and Street atmospheres by analyzing the efects of their enclosureness, colours, the degree of noise and sounds, lighting degrees and quality. 170 171 04.ANALYSIS _morphological analysis 172 Situation of the Hill of Croix Rousse GREEN MAP 173 04.ANALYSIS STREET MORPHOLOGY 174 SQUARE MORPHOLOGY 175 04.ANALYSIS WALLS IN TOPOGRAPHY 176 _Regional _Photograph _Topography Cross Section SECTION 177 04.ANALYSIS HEIGHT OF BUILDINGS 178 HISTORICAL MAPS: Evolution of the city between 1856 and nowadays: new blocks, streets opened, densiication 179 04.ANALYSIS FACADES 180 TRABOULES MAPS 181 04.ANALYSIS _use and meaning 182 Traboules:Uniication/Segregation PLAN OF FUNCTIONS AND FACILITIES 183 PLAN OF FLOWS 04.ANALYSIS INTENSITY AND PUBLIC SPACE USES 184 WHAT TO DO WITH ALL THESE ABANDONED PLACES? 185 04.ANALYSIS WHAT DOES THE 3 GAULES AMPHITHEATRE MEANS TO YOU? 186 187 04.ANALYSIS _landscape and ambience analysis 188 Viewpoints VIEWPOINTS 189 04.ANALYSIS 190 VIEWPOINTS 191 04.ANALYSIS NOISE AND SOUNDS 192 OPEN SPACES ATMOSPHERES 193 04.ANALYSIS STREET ATMOSPHERES 194 TRABOULES ATMOSPHERES 195 04.ANALYSIS OPEN - CLOSED SPACES. CONTRASTS AND EXPERIENCE 196 LIGHTING NIGHT AMBIENCE 197 04.ANALYSIS CONCLUSION 198 199 04.ANALYSIS ZONE 3 Eda Aytekin Onur Değirmenci Michela Donato Rémi Godet Isabelle Gourlat Adrien Magis Mariane Planchais Amandine Riou Gülzade Şentürk Augusta Trussoni Alvara Urrutia Coordinators: Figen Kafescioglu Brigitte Sagnier weaving the hill from traboules to the rooftops The third group has studied on the zone beginning from the Boulevard on the North to the Place des Terreaux on the South and between the streets Montée de la Grande Coté and Rue Pouteau and Rue St Polycarpe. This narrow zone has the two parcours of the Unesco World Heritage Area; Parcours Des Voraces and Parcours de la Grande Coté. This part is perhaps the most steepy and the most dense traboules zone of the area with large building blocks compared to the other parts of the city and the hill causing intricate and mostly enclosed spaces. Morphological analyzes: Begin with examining the vertical and horizontal traversal linkages of the area on historical maps. Besides the limiting vertical streets, the two Unesco Parcours passing through some of the traboules constitute important vertical linkages in the area. The transversality of the area is strong because of the large building lots with courts inside. The igure-ground graphics reveal the dense texture of the area. The vertical direct stairway passing through Jardin de la Grand Coté and the passages through the traboules with courts constitute the passage types of the zone. The efect of the traboules is an important issue in the intricate texture and the transition movement of the zone. The site includes an important renovation project realized in 1970s of social housing blocks and social facilities around Jardin de la Grand Coté and the the arrangements on Montée de la Grande Coté. The quality of restorations are considered besides the search about the states of the green areas whether they are designed or naturally grown. 200 Use and Meanings analyzes: In the area are followed by using the historical maps showing the usages of the hill. The area with its public or private traboules has turned to be more touristic and popular in the last years. The usage type of the buildings is mostly residential. Landscape and Ambience analyzes: These analyzes of the zone are revealed by the quality and quantity of natural light and shading and sounds through the traboules, through the transversal and vertical streets in the area. 201 04.ANALYSIS 202 203 04.ANALYSIS _morphological analysis 204 DIFFERENT BLOCK SHAPE _Block in the Croix Rousse (4) 205 _Block in the Peninsula (1) _Block in the East of The River 04.ANALYSIS TOPOGRAPHY _Geographic Topography of The Hill _The lines are more narrow 206 _Two squares to connect _The most direct way HISTORIC EVOLUTION 207 _The Hill in 1350 _The Hill in 1766 _The Hill in 1672 _The Hill in 1830 04.ANALYSIS THE VERTICALITY 208 THE TRANSVERSALITY 209 04.ANALYSIS OPEN SPACES / BUILT SPACE 210 COURTYARDS _New Buildings From The 70’s 211 _Old Buildings 04.ANALYSIS NEW BUILDING / OLD BUILDING 212 HUMAN SCALE: TYPOLOGY OF THE PASSAGES 213 04.ANALYSIS 214 HUMAN SCALE: TYPOLOGY OF THE PASSAGES 215 04.ANALYSIS 216 217 04.ANALYSIS _use and meaning 218 Chronological Maps up: Farmers Activity (1350) bottom: Monastery Activity (1659) CHRONOLOGICAL MAPS _Canuts, silk activity (1856) 219 _Unsafe traboules (1980) _Touristic Activity (2014) 04.ANALYSIS PARCOURS 220 REPORT OF THE INTERVIEWS 221 04.ANALYSIS MAP OF THE USES ROADS AND TRAFFIC 222 TYPOLOGY OF THE TRABOULES 223 04.ANALYSIS NATURAL LIGHT AND SHADING _Light 224 SONORE AMBIENCE _Day sounds 225 _Night sounds _Day sounds _Night sounds 04.ANALYSIS SONORE AMBIENCE 226 CLEANLINESS / FILTHINESS _Dirty 227 04.ANALYSIS _landscape and ambience analysis 228 HOW TO FIND THE TRABOULES? _Easy to ind 229 _Not easy to ind 04.ANALYSIS RESTORATION STATE _Contemporary restoration _New buildings _New 230 RESTORATION STATE _No restoration 231 _Old _Old not restorated street 04.ANALYSIS RESTORATION STATE _Old building _Old and restored _Old and damaged 232 RESTORATION STATE _Restored street 233 _Restored _All 04.ANALYSIS VIEWPOINTS _ 360° views _Framed views 234 VIEWPOINTS _Open views 235 _Closed views 04.ANALYSIS GREEN LANDSCAPE _Green 236 237 04.ANALYSIS 238 239 04.ANALYSIS ZONE 4 Antoine Avalle Havva Nur Başağaç Marine Bouveresse Benoit Bret Vianney Charmette Sarah Coudry Lara Gregori Güher Koç Marie Ludmann Viviana Ponte İlke Sal Fourth group has studied on the zone limited by Montéé Saint Sebastien and Rue Pouteau on East and West and Boulevard de la Croix Rousse and Place Louis Pradel on the North and South. The area has been deined in three morphological types; “monteés, (climbing up system)”, “transversals (crossing system)”, “ground loors (parallel system)” by the group. Morphological analyzes of the zone begins with setting three layers; the vertical streets climbing up to the Boulevard on both sides of the zone, the transversal passages lying parallel to the slope with two types of sytems; main system of streets, and the traboules that dig into the blocks. The volumetric structure have been drawn to reveal the typologies and the connection with the ground aof these voids. Use and Meaning analyzes consist of the quality and the quantity of human traic and the low and the usage types at the vertical limits and horizontal traverses, the state of the existing traboules, potential places to stay in the area. The population living on the area, most common functions of the ground level are also analyzed to detect the functioning of the zone. Coordinators: Carlo Ravagnati Özlem Lamontre-Berk Landscape and Ambiance analyzes include the classiication of the potential of the views in the area (“oriented” or “giving view to belvedere”, or a possibility for a “skyview”). The sun light received during the day and the efect it gives to the streets, the traboules and the facades have been also analyzed to deine the ambiance of the zone and found that the traversing streets are mostly shadowy because of the high facades and the South facing vertical streets are mostly sunny during the day. 240 241 04.ANALYSIS _morphological analysis 242 MONTÉES: CLIMBING-UP SYSTEM 243 04.ANALYSIS THE PARADOX OF THE CROIX - ROUSSE 244 TRANSVERSALS: TRABOULES AS A NEW BY-PASS SYSTEM 245 04.ANALYSIS GROUNDFLOORS: DIGGING INTO THE GROUNDFLOOR 246 247 04.ANALYSIS _use and meaning 248 Groundloors: Populatıon of the slopes MONTÉES:TRAFIC AT THE LIMITS 249 04.ANALYSIS FUNCTIONS ALONG THE MONTÉES 250 TRANSVERSALS: PLACES WHERE PEOPLE STAY 251 04.ANALYSIS TRANSVERSALS: STATE OF THE EXISTING TRABOULES 252 TRANSVERSALS: POTENTIALITY OF THE TRABOULES 253 04.ANALYSIS TRANSVERSALS: POTENTIALITY OF THE TRABOULES 254 THE SPIRIT OF THE SLOPES SPECIFIC AREAS FOR SPECIFIC USES 255 AMBIGUITY BETWEEN STRONG ACTIVITY AND ABANDONED PLACES 04.ANALYSIS _landscape and ambience analysis 256 Sequences SEQUENCES 257 04.ANALYSIS POINT OF VIEW 258 LIGHTS AND SHADOWS Based on the colors of the facades’ building, this mental map represents the colorimetry and the britghness of the diferents systems as la montée and crossing, including the traboules. With this map, we can easily remark the diverses lights according to the diverses places. _LA MONTÉES 259 Oriented east/west, the transversals streets are most of the day dark places because of the hightness of the buildings _CROSSING STREETS 04.ANALYSIS A traboule ofers a sequence of various atmospheres, passing from darkness to light, from narrow tunnels to open places _TRABOULES 260 261 04.ANALYSIS ZONE 5 Violetta APASSOVA Etienne FRESSONNET Fernand GUISELIN Adam LOURIKI Nedjma MAURY Léa MORGAND İbrahim ÖZVARIŞ Sophie RUYER Seda TANKA Sezin TÜTÜNCÜOĞLU urban traboule “Le Gros Caillou” and “Place Louis Pradel” on the North and South, Montéé Saint Sebastien on the West and by Rhone on the East, limited the ifth group’s area. The area is the Eastern end of the hill of Croix Rousse formed by upper and lower part separated by cutting slopped green area: Garden Croix Paquet. Morphological analysis: The zone is formed by the topography and the natural elements. Three historical streets, Montée Saint Sébastien-Rue des Fantasque and Rue Alsace Lorraine, compose the main axes of the zone since 1350s, and they are parallel with the slope. The blocks are also formed by following the topography and traversed by streets, stairs and traboules, which are perpendicular to the slope. The group created a timeline and determined 3 typologies for 3 periods of urbanization. The blocks, which are built before 18th Century, are open and porous, they incorporate opened and they corner the traboules. Contrarily “ilot Soulot” contain a dense and closed morphology, composed on 2 axes and embodied direct crossing traboules. The 19th Century blocks are completely closed and they have longitudinal axe composition. Coordinators: Christian Marcot Derya Altıner Use and Meaning analysis: The use and meaning analysis consists of the inventory of activities, lows and noise analysis. In the zone, the usage of the buildings is mostly residential but on ground level, cafes/bars, oices and commercial uses igured out. Although the use of cars is more intensely on the riverbanks, inland pedestrian low stands out. Because of the car traic, the noisiest part of the area is the riverbank. 262 Landscape and Ambiance analysis: The zone is marked out by breaks in the particularly dense tissue of Croix Rousse, embodied by squares, small spaces and green spaces based on topography. It is tried to reveal on that area diferent perceptions by climbing and descending, modiications on the perception by a vegetal treatment according diferent seasons and the contrast between the entrances of traboules and the environment perceived while crossing. 263 04.ANALYSIS 264 265 04.ANALYSIS _morphological analysis 266 HISTORY TIMELINE 267 04.ANALYSIS 268 269 04.ANALYSIS THE HISTORICAL ROADS _The “fork” formed by the cross of Montée Saint Sébastien & Rue des Fantasques 270 MORPHOLOGY AND TOPOGRAPHY 271 04.ANALYSIS AN HISTORIC DATATION 272 EMPTY SPACES 273 04.ANALYSIS BLOCK TYPOLOGY _3 typologies for 3 periods of urbanisation 274 TYPOLOGY BLOCK 1: “LES FEUILLANTS” (BEFORE 18th CENTURY) _An opened traboule’s entrance _Open and porous morphology block _Historical and classical cloister morphology block _Opened and corner traboules 275 _An opened courtyard _”Les Feuillants” stairs (1662) 04.ANALYSIS TYPOLOGY BLOCK 2: “ÎLOT SOUFFLOT” (18th CENTURY) _Entrance of notable building _Dense and closed morphology block _Composition on 2 axes (Central system y Soufflot) _Direct crossing traboule 276 _Entrance in a Soulot block _Quai Lacassagne traboule TYPOLOGY BLOCK 3: WORKERS BUILDING (19th CENTURY) _A public traboule _Morphology of closed blocks _Longitudinal axe composition _Horizontal and vertical axes 277 _A closed courtyard _Private stairs in public traboule 04.ANALYSIS _use and meaning 278 Boundary and relations with surroundings PRESENTATION OF SITE _Zone structured by Rhone and Garden Croix - Paquet _Zone structured by longitudinal axes parallel in the slopes 279 _Zone structured by transverse and perpendicular in the slope _Inventory of the activities 04.ANALYSIS URBAN’S FLOW MAP _Situation _Cars 280 _Pedestrian _Bicycle URBAN’S FLOW MAP _General map of Urban Flows 281 _Sensation felt by the pedestrian 04.ANALYSIS APPROPRIATION OF SITE 282 TWO IMPORTANT AREAS ON SITE _Two diferents atmospheres 283 04.ANALYSIS TRANSVERSAL SECTION OF THE LOWER AREA 11’ AND THE UPPER AREA 22’ _Lower Area: Established relations between garden Croix-Paquet and Rhone _Upper Area: Established relations between boulevard Croix-Rousse and Rhone 284 _Lower Area: Privated traboules with strong architectural quality _Upper Area: Popular traboules 285 04.ANALYSIS _landscape and ambience analysis 286 Green spaces GENERAL ANALYSIS 1_Inluence of the topography/capsizing of the hill 2_Construction are in abutment on the East side, who directs breakthroughs on the great East 3_The zone is marked out by breaks, embodied by squares and small spaces/a breath in the particulary dense tissue of X-Rousse 4_Green spaces based on topography 287 04.ANALYSIS GENERAL ANALYSIS 5_The construction of public places where the to- 6_Notion of “inverted” landscape pography and the landscape establish full facades up: transversals bottom: from banks 288 7_A skyline which allows to distinguish strata successive of construction of the city THE VALUATION OF THE LANDSCAPE 1_Construction of the visible areas 289 2_Conventional spaces as the street furniture suggests 3_Color range the orientation favored to observe the landscape 04.ANALYSIS PASSAGES AS PART OF LANDSCAPE IDENTITY 1_The ascent following contour lines allows a dynamic apprehension of the landscape 2_Contrast between the entrances of traboules and the environment perceived once those crossed 3_Spaces thresholds embodied by the traboules which begin perception to come from the landscape _Inlexion point (rooftop) _Vegetal front (summer) _Transparancy (winter) 290 291 05.PROPOSALS 292 293 05.PROPOSALS ZONE 1 Sena Barış Baptiste Bernard Mickaël Cuillerat Giorga Favata Jason Huleux Claire Joachim Anaëlle Kischenama Estelle Martin-Lyet Gözde Mermer Felipe Quintero Cüneyt Şentürk This group has been divided into three subgroups in the Project stage each group studying to design proposals as points, lines or surfaces with the aim of developing a new transition possibility in the area using the open spaces. FROM THE TOP TO THE BOTTOM, and why not more? UP & DOWN THE WALL OF THE CROIx-ROUSSE Points of view, meeting points, traboules and urban staircases have been used to structure the new grid on which three parcours have been drawn passing connecting green areas and parcs using the existing walls and terraces creating art walls and new spaces under the terraces. This line connecting the upper parts to the river banks passing through the green areas constituting a telepherique to the other side of the Saone. ExPANDING STREET ART The group that has dealt with the surfaces have proposed to create public and semi- public areas used as children play grounds, workshop studios, exhibition places with forms rooting from the Roman urban grid plans and to spread this art objects are placed on the area above the squares. Coordinators: Güzin Konuk Marcella Graione 294 295 296 line Mickaël Cuilleratö, Jason Huleux, Gözde Mermer USE WALLS AND TERRACES _Terraces like park 297 _Walls and art, a culture of Lyon _Activities, point of view _Use underground space and modules hung at walls _Connect up and down _Connect up and down with stairs hung at walls with stairs inside walls 05.PROPOSALS CONNECTION POINTS 298 A GREEN AXE CONNECT THE UP TO THE DOWN 299 05.PROPOSALS THE MAIN AXE 300 What a sad street.. 301 A new linear park for pedestrians and students A new place for inhabitants and students 05.PROPOSALS 302 _Walls and terraces structure space 303 _The axe like a contemporary traboule _A new connection with the hill of Fourvière 05.PROPOSALS _A telepherique connect Croix Rousse and Fourvière _A telepherique from Rouville Square to the ‘Parc Des Hauteurs’ on Fourvière Hill 304 _A connection between the hills / A connection from the top to the down of the Croix-Rousse _Parks from the east of the hill enter in the city 305 _The new riverbanks and the telepherique _Diferents terraces / Diferents activities 05.PROPOSALS MONTÉE LIEUTENANT ALLOUCHE A CONTEMPORARY TRABOULE 306 EXISTING TRABOULES 307 _open spaces _traboules and use of spaces 05.PROPOSALS 308 309 310 surfaces Baptiste Bernard, Giorga Favata, Anaëlle Kischenama, Cüneyt Sentürk MASTER PLAN 311 REFERENCES 05.PROPOSALS URBAN PROGRAM / STREET ART 312 313 05.PROPOSALS INTERVENTION ZONE / GENERAL PLAN / CULTURAL CENTER OF STREET ART 314 315 05.PROPOSALS INTERVENTION ZONE / GENERAL PLAN / CULTURAL CENTER OF STREET ART 316 THEATER / JARDIN DES CHARTREUX 317 EXHIBITION SQUARE / HANGING GARDEN / CLOS ST BENOIT 05.PROPOSALS VEGETAL TRABOULE / CLOS ST BENOIT / HOUSING VEGETAL TRABOULE / CLOS ST BENOIT / LIFT 318 319 PROPOSALS 320 321 05.PROPOSALS 322 323 324 point Sena Baris, Claire Joachim, Estelle Martin-Lyet, Felipe Quintero CONCEPT OF THE PATHS _3 colored wires of silk lowing down the hill 325 PATHS AND EVENTS: PARCOURS 05.PROPOSALS TYPOLOGY: The Activity Pavilion TYPOLOGY: The Inhabited Staircase 326 TYPOLOGY: The Bridge and Vertical Circalation TYPOLOGY: The Tunnel 327 TYPOLOGY of The Vertical Infrastructure TYPOLOGY: The River Bank 05.PROPOSALS TYPOLOGY: of The Vertical Infrastructure 328 TYPOLOGY: Artistic Appropriation 329 05.PROPOSALS _Linterlace Playground. Singapore. by Carve 330 _Urban Revitalization. Superkilen. by BIG 331 05.PROPOSALS ZONE 2 Banu Aktaş Sinem Boyacı Vanessa Brüggera Aurélia Delsignore Margaux Dutilly Paula Mendez Ugo Nataloni Benjamin Poignon Michelle Vecchia Eda Yalçınkaya Coordinators: François Tran Gülşen Özaydın In the second week of the workshop this group has proposed a walking line originating from the leading function of the traboules beginning from the Boulevard passing accross through the private terraces and Garden of La Grand Coté passing through the Church of Bon Pasteur and the old school of Fine Arts considering them as the important points of the line. These two buildings are used for lexible public functions. There is a bridge connecting these two buildings over the street to maintain the continuity of the artiicial traboule line. The next step of the parcour is an open walking line as an alternative to the existing garden parcour which strolls through the terrace next to the Amphiteatre de Trois Gaules connecting Rue des Table Claudiens to Place Sathoney. Terrace surfaces which have been added to the parcours enable to view Lyon and the lower parts of the hill. Tunnel-like short passages, trenches and fences arrange the parcour line passing from both public and private terraces. 332 333 05.PROPOSALS ANALYSIS AND INTENTIONS PROJECT PROPOSALS 334 335 05.PROPOSALS 336 GROUND PLAN 337 SEQUENTIAL SECTION PLACE OF THE SEQUENTIAL SECTION 05.PROPOSALS 338 2 PARCOURS POINTS OF VIEW PUBLIC - PRIVATE THRESHOLD SERIE 339 05.PROPOSALS 340 341 05.PROPOSALS ZONE 3 Eda Aytekin Onur Değirmenci Michela Donato Rémi Godet Isabelle Gourlat Adrien Magis Mariane Planchais Amandine Riou Gülzade Şentürk Augusta Trussoni Alvara Urrutia Coordinators: Figen Kafescioglu Brigitte Sagnier Third group has worked together while creating the theme of a system consisting of punctual, linear and planar (surface) solutions. Weaving the Hill In the proposals stage of the workshop the group has adopted the idea of the weaving function of the silk production in Croix Rousse. They have designed a continuous walking line on diverse elevations dropping of on some points constituting surfaces to be used for public or semi public recreation facilities. By this strolling walking line an alternative transition opportunity has been created to help to promote the vertical movement against the strong horizontal transversality of the zone. The new parcours passing through the large building lots lies between the buildings sometimes by dropping on the roof of a building sometimes leads the walker to the ground contributing to the usage of the existing traboules. The uses of the new weaving is assigned according to the existing ambiance and facilities the building lots already have like green and sports, music, cinema events,housing area with buccolic, calm ambiance, party and bars or restaurants. The shape of the weaving line is designed to be a breathing, round shaped, light, surface like and dynamic structure to sembolize the silk thread. The line meets with the ground on three points being the irst on the top with a traboule, the second in the midst of the zone on a terrace and the last on the lower parts in Passage Thiafait. These three points are studied in detail for the facilities they will have and about their construction methods and the materials to be used on the new surfaces for their compliance with the ambiance of the area. 342 CONCEPT. Weaving The Hill: From The Traboules To The Roofs _High Line, New York 343 _Bridge City By Bernard Tschumi, Lausanne 05.PROPOSALS _ground loor _parcours of the traboules _the connecting points _the parcours of the rooftops 344 PROJECT. The Rooftops of The Croix - Rousse 345 05.PROPOSALS 346 SURFACES: Uses of The Rooftops 347 05.PROPOSALS 348 349 05.PROPOSALS 350 351 05.PROPOSALS 2 LINES: PARCOURS OF THE ROOFTOPS 352 2 LINES: CONNECTION BETWEEN THE SURFACES 353 05.PROPOSALS 354 355 05.PROPOSALS 356 357 PROPOSALS 358 3 POINTS: ENTRANCES, VERTICALITY, CONNECTION POINT 359 05.PROPOSALS FIRST POINT UP THE HILL (SPORT BLOCK) SECOND POINT TERRASSE (SUN BLOCK) 360 THIRD POINT UP THE HILL (PARTY BLOCK) PASSAGE THIAFFAIT (ART BLOCK) _Le Village de Createurs 361 The Art House Tacheles_Berlin Expositions Reggio Emilia Ateler of Createurs 05.PROPOSALS FOCUS. BEACH BAR _Uses and Ambiance 362 _Structure _Decomposition DECOMPOSITION 363 GENERAL VIEW 05.PROPOSALS VIEW 364 365 05.PROPOSALS ZONE 4 Antoine Avalle Havva Nur Başağaç Marine Bouveresse Benoit Bret Vianney Charmette Sarah Coudry Lara Gregori Güher Koç Marie Ludmann Viviana Ponte İlke Sal In the proposal stage the group has worked in three sub groups, one for creating solutions as points, the other as lines and the last for creating surfaces in the area. Floating Points The point group has focused on the existing traboules. They have proposed a new structure by vertical extrusion of the courts (points)used as public spaces public uses reaching sunlight on an upper point of the void. They are connected with a stair case from the ground. 366 Red line White box The line group has stated their gole to create a succession of passages (line) in between the several heritages solving the transversal discontinuity by creating a way to climp-up the hill by passing through traboules and typical passages of the site. They have realized new arrangements in the courtyards of the existing buildings like tearing of the adjacent walls to connect the voids and new public open areas on the new parcour. Coordinators: Carlo Ravagnati Özlem Lamontre-Berk How to better integrate the urban structure of the hill in the passages ? Surfaces group has tried to better integrate the horizontal urban blocks of the hill by designing new transversal open areas (surfaces) on diferent levels by functioning them as new public park surfaces. These new horizontal open green areas constitute belvederes to the east where they meet with Montée Saint Sebastien which they name as the vertical spine. FLOATING POINTS 367 05.PROPOSALS TRABOULE STRUCTURE EXTRUSION CONNECT WITH THE STAIR CASE FOR ALL USERS AND USES LET THE SUN COME IN 368 369 05.PROPOSALS 370 371 05.PROPOSALS 372 REDLINE WHITEBOX 373 05.PROPOSALS What is a Traboule currently? What is the currently state of the Croix-Rousse’s Traboules? What is our main goal? _A succession of Passages and Dilatations _Creating a way to climp-up the hill by passing through Traboule and typical passages of the site _Transversal Discontinuity 374 _A line between the several herritages 375 IMPLANTATION ALONG THE SITE _The problem of transversal connexions _The new Transversal Traboules 05.PROPOSALS MASTER PLAN SCHEMA OF THE RED LINE 376 377 05.PROPOSALS _Section AA Courtyard _Section CC Courtyard 378 _Section BB Courtyard _Section DD Courtyard 379 05.PROPOSALS 380 SURFACES: HISTORICAL PRACTICE AND SHAPING OF THE SLOPES 381 05.PROPOSALS ARTIFICIAL STRUCTURE OF THE SLOPE 382 THE WALLS OF CONTAINMENT _The Levels and The Topography 383 _At The Hill Scale 05.PROPOSALS THE WALLS OF CONTAINMENT _In Urban Blocks PROJECT MASTERPLAN _New Transversal Inside Surfaces 384 PROJECT MASTERPLAN _New Public Park Surfaces 385 CURRENT BASEMENT 05.PROPOSALS PROJECTED BASEMENT _New Transversal Walls of Containment 386 LOCALIZED PROJECT _Current Closed Organisation 387 _Optimization of The Diferent Inside Levels 05.PROPOSALS MONTÉE ST SEBASTIEN AS A SPINE _A succesion of public belvederes _Opening of the urban blocks _Transversal terrasses and scaling 388 LOCALIZED PROJECT FOR THE BASEMENT _Current basement _Protected basement _Functional Thicknesses MORPHOLOGICAL GENESIS 389 1 4 2 3 5 1_Current state 2_Current state in section 3_Destruction and opening 4_Transversal terrasses 5_Final state 05.PROPOSALS NEW USES FOR THE WALLS 390 LOCAL SECTION 391 05.PROPOSALS INSIDE PERSPECTIVE 392 393 05.PROPOSALS ZONE 5 Violetta APASSOVA Etienne FRESSONNET Fernand GUISELIN Adam LOURIKI Nedjma MAURY Léa MORGAND İbrahim ÖZVARIŞ Sophie RUYER Seda TANKA Sezin TÜTÜNCÜOĞLU The group has been divided into three subgroups and proposed projects based on punctual, linear and planar solutions. Acupuncture “The point group” irstly deined dark, green and historical area in their zone. Since their objective is to enlighten the dark areas, enhance the green areas and increase the awareness of the historical areas by beneiting these areas’ overlapping relationships, as a common tool, they aimed to establish a walking-track. According the theme they specialized, the identity of each traboule as; “green system”, “light system” and “historical part” besides integrating the traboules to the proposed path marked by signs. They tried to revitalize the existing traboules by using performance arts and green touches in unused spaces as an urban acupuncture system. Urban traboule “The line group” aimed to generate continuity between the top and the bottom of the city, mineral and vegetal parts and the river by creating one urban traboule. They deined alternative courses to go from the square of “Le Gros Caillou” to Rhone level by revealing the mystery of traboules, by integrating water element and vertical vegetable lines into traboules and by designing a mall area at the riverbanks. Coordinators: Christian Marcot Derya Altıner 394 The Vertical Traboules “The Surface group” focused on the discontinuity between the existing traboules. They searched for a solution to have a porous system. They have proposed a new structure by creating vertical traboules for the continuity between all diferent strata: the existing traboules, historical underground system and the new tunnel. In that system, for the valorisation of the historical/patrimonial underground system unknown by inhabitants, they have suggested new punctual uses as exposition, theatre…etc. And for the existing traboules they deined new uses as space sharing, co-working and cultural activities. 395 05.PROPOSALS 396 397 398 urban traboule Violetta Apassova, Nedjma Maury, Seda Tanka LONGITUDINAL LINES, PRIMARY STRUCTURE OF THE SITE _Formed by the topography and the natural elements These lines continue on plan, take diferent thicknesses.... 399 Problematic Create a continuity between: - The top and the bottom of the City - Mineral & vegetal parts and the river ...by Creating one Urban traboule _Formed by the parallel streets 05.PROPOSALS _Street are formed by contour lines and followind topography _Bloks are formed also by contour lines and following topography _Bloks are traversed by streets, stairs and traboules 400 BREAKS ON THE SITE _Formed by the topography, the natural elements and urban tissue 401 05.PROPOSALS GLOBAL STRATEGY OF INTERVENTION _Connecting the top and the bottom of the city and create a connection with the other side by the Rhone CONCEPT CONNECTING THE TOP AND THE BOTTOM OF THE CITY _Creation of a weaving between the mineral, the vegetable and the Rhone Rıver 402 MASTER PLAN. URBAN TRABOULES 403 MASTER PLAN. URBAN TRABOULES. WAY 1 05.PROPOSALS MASTER PLAN. URBAN TRABOULES. WAY 2 _Vegetated Stairs 404 _Plan of Terraces _View of The Vertical Garden From Magneva Street _View of The Stairs From Bellevue Street _View of The Terraces From Lassagne Quay MASTER PLAN. URBAN TRABOULES. WAY 3 CROIX PAQUET GARDEN REVEAL THE MYSTERY OF TRABOULSE _Plan of Croix Paquet Garden 405 _View of The Accesses From The Park To The Doors of Traboules _View of The Building Yard 05.PROPOSALS The water returns again in the traboule, overhung by vertical, vegetable lines _View of The Building Yard 406 _Plan of André Lassagne Quay _View of The Building Yard _View of André Lassagne Quay 407 408 the vertical traboules Etienne Fressonnet, Léa Morgand, Sezin Tütüncüoğlu 409 05.PROPOSALS 410 411 05.PROPOSALS 412 413 05.PROPOSALS 414 415 05.PROPOSALS 416 417 05.PROPOSALS 418 419 acupuncture 420 acupuncture Fernand Guiselin, Adam Louriki, İbrahim Özvarış, Sophie Ruyer ANALYSIS _Traboules _Dark zones _Green areas _Historical areas _Relation between areas _The soulot course 421 05.PROPOSALS INTENTIONS _Complete the soulot course and making it more complex _And passing by traboules _Increasing the green zone 422 _Enlighting of dark areas _Respect of historical traboules _Relation between intentions PROCESS _Including traboules in the course 423 _Specialize the identity of each traboule / Green System, Light System, Historical _An urban acupuncture system: A path marked by signs 05.PROPOSALS INTERVENTIONS 424 SIGNALETIC 425 05.PROPOSALS LIGHT 426 GREEN 427 05.PROPOSALS LIGHT 428 GREEN 429 05.PROPOSALS 430 431 06.GROUP PHOTOS 432 433 06.GROUP PHOTOS 434 435 06.GROUP PHOTOS 436 437 06.GROUP PHOTOS 438 439 06.GROUP PHOTOS 440 441 06.GROUP PHOTOS 442 443 06.GROUP PHOTOS 444 445 06.GROUP PHOTOS 446 447 07.CVs 448 449 07.CVs derya altıner architect Derya Altıner is research assistant at Mimar Sinan Fine Arts University (MSGSU), Faculty of Architecture, Department of Urban and Regional Planning. She studied architecture in Mimar Sinan Fine Arts University (MSGSU), and continues to master studies in Restoration-Conservation and Renovation Program in MSGSU. Her academic interests are: urban conservation and regeneration, new design in historic urban sites and methods of intervention. Until 2013 she worked for many restoration and construction projects: Marmaray BC1 Project (Delta İnşaat), Oinoanda archaeological ield survey, Amcazade Hüseyin Paşa Yalısı (German Archaeological Institute), Hüseyin Rahmi Gürpınar House - Museum in Heybeliada (NNY Mimarlık)…etc. She is member of Istanbul Chamber of Architects and MSGSÜ Anatolian Culture and Art Research and Application (AKSAM). 450 Figen Kafescioglu was born in İstanbul. She has graduated from TED Ankara College in 1981 and from the University of Mimar Sinan in 1986 with master degree. She began working in MSFAU as a research assistant in 1990 and got her Phd in 2001 by the thesis “The Evaluation of the Afordances of the Man-made Environment on the Spatial Processes of Elderly People” from from MSFAU Institute of Technology and Science and became an assistant professor in 2002. She teaches in the Architectural Department and in Instıtute of Technology and Science in MSFAU participating in design studios and theory courses in undergraduate and master degrees. 451 Her research subjects are; “interaction between man and the built environment”, “the impact of the built environment on the pschology of elderly people”, “urban morphology”, “architectural space” and “in-between space concept” She has participated in international conferences by paper presentations. She has conducted MSGSU funded research projects concerning the spatial transfomations of the Ottoman House in İstanbul and on the passage buildings in the nineteenth century and now conducts research for the present situations of the projects of Prof. Muhlis Türkmen who is one of the leading characters of the 20th Century architecture in Turkey. She has degrees in Architectural Competitions. She has been an editor for periodic and the ‘Students’ Works’ book of the Architectural Branch of MSFAU. She is a member of the Chamber of Architects of Turkey and a member of the advisory committees of the periodic “Mimarist” published by the Istanbul Branch of Chamber of Architects of Turkey and the periodical ICONARP published by Konya Selcuk University Architectural Branch. figen kafescioğlu architect 07.CVs Gülşen Özaydın graduated from Istanbul Technical University, Maçka Architectural Faculty in 1982. During the years 1982-1984, she studied in the Urban Design Program at the University of Mimar Sinan Science Institute, Urban Planning Department. She completed her Phd studies in the same department and obtained the title Doctor in 1993. In 1985 she became research assistant in the Urban Planning Department of Mimar Sinan University, then assistant professor in 1994, associate professor in 2000 and professor in 2009. gülşen özaydın architect, urban designer At present she is professor at the same department since 2012. She had been the director of MSGSU Anatolian Culture and Art Research and Application Centre in 2009-2015 where organized many conferences and meetings about cities in the constitution of City and Regional Planning Department that she is leading. She continues her academic researches in the ields of urban design, urban conservation and urban morphology. Since 2005, she has been involved in the interdisciplinary workshops in which is also included Grenoble National School of Architecture in France, since 2009 she has been involved to International Project called “Transition,gates, Passages” with Lyon National School of Architecture in France, since 2010 she has been took oice to sustain cultural cooperation with research center IRCA of Italy University of Tor Vergata and since 1991, she has been working in the organisation group for the Urban Design Symposium realized every year in Mimar Sinan Fine Arts University. Between 2003-2008, she was a member and director of the Committee of Istanbul 3. Conservation Area -Republic of Turkey Ministery of Culture and Tourism- as a member of the Council of Higher Education (YÖK). At present she is a member of the Chamber of Architects of Turkey and of the advisory board of the magazine called Mimarist, the publication of the same Chamber. She is been lecturing both in license and master degrees about urban Design, Urban Morphology and Urban Interfaces in her own department parallel to mentoring her thesis students. There are many of her national and international publications can be found. 452 453 Prof. Dr. Güzin KONUK is the member of Mimar Sinan Fine Arts University, Faculty of Architecture, Department of Urban and Regional Planning. She was the Dean of the faculty last six years (2009 to 2015) for two terms. She has been working in the area of Urban Design by focusing on urban design techniques,urban design guidelines,urban projects and urban landscape lectures for post graduade students in many Universities. After having completed her degree in Architecture in Istanbul and Urban Design Masters Degree in England, Prof. Konuk has conducted several research, participated in several projects and published various articles in the ield of Urban Design. She has also contributed to several international conferences in the ield and has been supervising European Union Intensive Programme Projects for the last ive years IP 2010 to 2014. Her academic and conference lectures also include such topics as Green Cities, Energy and Sustainable Development within the Green Age Concept. She is the Head of Mimar Sinan Fine Arts University Urban Design Research and Implementation Center in İstanbul. güzin konuk architect, urban designer 07.CVs inci olgun architect, urban designer After the architecture undergraduate education, she began the site researches between the scales and the project studies through the Urban Design master program at Mimar Sinan Fine Arts University [M.S.G.S.U] and she completed doctoral thesis upon the urban memory and site readings. Olgun, who began her career as a free architect through the project implementation and design studies, has been carried on her studies as an executive at Mimar Sinan Fine Arts University, Department of Urban and Regional Planning, planning and urban design studios since the year 2001. Olgun took place in the researches and projects with regard to the natural and artiicial systems supporting the built environment and to the urban design strategies, carried out publications, workshops, expositions and book studies with regard to the titles in question and was involved in a great deal of international organizations. Some of these studies are “Mardin History City Centre Field Determination Studies and Fabric Analyses”, “Urban Dreams Workshops” and “Green Age” organization. Olgun, who received national and international awards on the Architectural and urban design scale, is elaborating her studies with regard to the urban ecology and urban scenarios on a multi-disciplinary platform. Especially the sustainability, ecological planning and design, urban design and rural design guide, public culture and spatial coniguration compromises the content of the project studies which she still carries out intensely. She is the board member of M.S.G.S.U. Urban Design Research and Application Center [KENTTAM]. 454 Serim Dinç graduated from Urban and Regional Planning in Mimar Sinan Fine Arts University (MSFAU) in 2012. During her study, she took part in the many national and international workshops, such as “Valley of Gresivaudan (Grenoble): Sustainable Use of Spaces As A Constituent Structure In A Metropolitan Area”, “Mardin Historical City Centre Field Determination Studies and Fabric Analyses” , “Encouraging Construction of Local Structures and Architectural Characteristic in Rural Areas: Examples of Balıkesir Villages” and “Suburban Mobility Architecture and New Forms of Urban Life”, in exhibitions and publications as an urban planning student; also, in “Urban Dreams Workshop” as a coordinator. She has national awards, such as “YKM While You Have Opportunity Make Your Voice Heard: Live Your Street” in 2011, “Final Project Competition between Urban Planning Students” and “Future Istanbul” in 2012. 455 Along with starting her irst master degree which was Urban Design Program in MSFAU, she has been working with members of MSFAU Urban Design Research and Application Center (KENTTAM). Besides collaborating urban projects in Istanbul, she has continued her second Master Degree of Urban and Territorial Planning in Universidad Politécnica de Madrid (UPM) and her profesional life at Ezquiaga Arquitectura Sociedad y Territorio SL. where she works on the projects of urban and territorial planning, such as “State of Campeche (Mexico): Framework of Regional and Territorial Planning”, “Special Plan of Historical City Centre of Sigüenza, Guadalajara” and “Strategy of Territorial Development for Boundary Area of Tajo International” since 2014. serim dinç urban planner 07.CVs sinem özgür architect Sinem Özgür (Iskenderun,1984) graduated from Istanbul Technical University (ITU) in 2009 as an architect and inished her M.Arch. in 2011 at ITU. Since 2010, she has been working as a Research Assistant at Mimar Sinan Guzel Sanatlar Universitesi (MSGSU), Department of Architecture, Building Design Division. She is studying her PhD at ITU, Architectural Design Doctorate Program since 2012. Some of the scopes she is interested in architectural research are; design theory, knowledge in architectural design, visual representation, mimesis, dwelling, urban transformation. She has national and international awards from architecture and idea competitions, such as 2013 IABA (2nd International Architecture Biennial), 2012 Future Istanbul. She has editorships in peer-reviewed magazine “tasarım+kuram” and such students’ study books. Besides assisting the Basic Design, Spatial Organization and Architectural Project classes in MSGSU, she continues many national and international workshops, researches and projects collaboratively. 456 He teaches “theories and practices in architectural and urban design” as Associate Professor (exceptional class ) at the National Superior School of Architecture of Lyon-FRANCE. He is the co-person in charge of the department “ Architecture, Forms and Transformations” in Master 2. He was the director of the ‘Laboratory for Analysis of Architectural Forms’ (LAF) from 2007 till 2014 and the chairman of the board of directors of ENSAL from 2010 till 2014. 457 As a researcher, he is a member of the laboratory LAURE ( Lyon’s Architecture and Urban Research) since 2014. The ields of research that he focuses on are: morphological identity of architectural and urban objects in their semiotic dimension, process of heritagization in architecture, analysis of the representations of architecture and city in theoretical speeches and media. françois tran architect 07.CVs özlem lamontre-berk architect She graduated from Istanbul Technical University (I.T.U.) in 1988 as an architect, and from master programme of I.T.U., Institute of Science and Technology in 1990. She worked as an academician at I.T.U. Architectural Faculty between 1989 - 2003. She continued her professional practice as a designer in several national and international architectural competitions during the same period. Today she works as a teacher in the discipline of ‘Theories and Practices in Architectural and Urban Design’ and beside her teaching activities in diferent years of the curriculum she works as coresponsible of the architectural studio of Master 2 ; ‘Architectural Heritage’ and ‘Architecture, Forms, Transformations’ at ENSAL since 2007. Concerning research activities she was a member of the ‘Laboratory for Analysis of Architectural Forms’ (LAF) from 2008 till 2014. In this period, she continued her researches within the framework of international academic cooperatives about the research subjects; ‘Changes in Architecture Terminology’, ‘Transformations in architecture’ and ‘In-between spaces’. Since 2014 she is a member of the research laboratory LAURE and she mainly focuses on ‘media as universe of reference in architectural discourses’ and ‘process of heritagization in architecture’. Beside teaching and research activities she also works as a freelance architect and realized several projects since 2007 in France. National Superior School of Architecture of Lyon – FRANCE (ENSAL) Lyon’s Architectural & Urban Research Laboratory (EVS-LAURE) 458 Carlo Ravagnati (Milan 1966), graduated in architecture at the “Politecnico di Milano”, received his PhD in Architectural Composition at the “Istituto Universitario di Architettura di Venezia”. After being research fellow at the Department of Architecture and Industrial Design of “Politecnico di Torino”, from 2007 to 2011 is Assistant Professor in Architectural and Urban Composition at the Department of Housing and Town of the same university. Since 2012 he joins in Interuniversity Department of Regional and Urban Studies; in 2015 he move in Department of Architecture and Design. He teaches Architectural and Urban Design at the College of Architecture of the “Politecnico di Torino” and he is member of college at PhD in “Cultural Heritage”, where he directs thesis and holds courses. carlo ravagnati architect 459 In addition to numerous essays, designs and projects appeared in collective volumes in Italy and abroad, he has published the books L’invenzione del territorio (2012), Dimenticare la città (2008), L’Architettura delle Acque e della Terra (2006, with G. Motta and A. Pizzigoni), Tecniche di ripetizione (2003). Besides he has edited the books Atlante di progettazione architettonica (2014, with R. Palma), Cartograia di iume per il progetto di città (2009, with G. Motta), Alvei meandri isole e altre forme urbane (2008, with G. Motta), Macchine nascoste. Discipline e tecniche di rappresentazione nella composizione architettonica (2004, with R. Palma), Cartograia e progetto (2003, with R. Palma and A. Pizzigoni). He is responsible for projects of national and international research on the issues of the relationship between geography and architecture. His architectural designs and paintings are published in Italy and abroad. 07.CVs She graduated from Architecture at Polytechnic of Turin in 2002 and in 2008 received her PhD in Architecture and building design in the same Polytechnic and in collaboration with the Warburg Institute Archive, School of Advanced Study University of London. marcella graffione architect After being a research fellow at the Department of Architecture and Industrial Design of “Polytechnic of Turin”, from 2008 to 2011, she’s currently Adjunct Professor of Architectural Design at the Department of Architecture and Design of Polytechnic of Turin. The center of her theoretical research focuses on the relationship between the images of memory and their role in the architectural design, and this research develops at diferent scales: from urban design, developing the theme of urban and territorial cartography, to architectural design, developing the theme of the relationship between devices and techniques of architectural representation and the production of architectural images. On these two lines are based her publications and her architectural projects. As well as several essays in collective volumes, she has published Nell’Oicina di Warburg. Le immagini della memoria nel progetto di architettura, FrancoAngeli, Milano, 2012; La memoria, percorsi delle immagini e scelte di progetto, in G. Motta, A. Pizzigoni (R. Palma a cura di), La Nuova Griglia Politecnica, FrancoAngeli, Milano, 2011; Immagini di città. La rappresentazione cartograica, in Monestiroli A., Semerani L. (a cura di), La casa. Le forme dello stare, Skira, Milano 2011. 460

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