İstanbul Boğazı'nın görünmeyen zeminleri:Kayıp mekânların keşfi ve kamusal sanatla yeniden değerlendirilmesi
The unsighted grounds of the İstanbul Bosphorus:The discovery of lost spaces and their re-evaluation with public art
Yazar: İLKAY DİLAN TAŞKİREÇ DURUP
Danışman: DOÇ. DR. İSMAİL EREN KÜRKÇÜOĞLU
İstanbul Teknik Üniversitesi / Lisansüstü Eğitim Enstitüsü / Kentsel Tasarım Ana Bilim Dalı / Kentsel Tasarım Bilim Dalı
Derece: Yüksek Lisans, 2024
Konu: Mimarlık = Architecture ; Şehircilik ve Bölge Planlama = Urban and Regional Planning

Özet:
İnsanın varoluşundan itibaren, mekânlarla etkileşim halinde olması, aidiyet duygusuyla kendi kimliğini oluşturarak yaşadığı alanlara şekil vermesi, mekânla kurduğu iletişimin temelini oluşturmuştur. İnsan-mekân ilişkisi, zaman içinde değişen ve gelişen dinamiklerle birlikte evrimleşmiş, günümüzde ise birbirinden ayrılamaz kavramlar olarak varlığını sürdürmektedir. İnsanın bu evrim sürecinde, mekânların karakteri ve ruhu, kendi yaşam tarzı üzerinde etkili bir rol oynamış, kendisini en iyi ifade ettiği var oluş biçimi, içinde bulunduğu mekân olmuştur. Sanat, insanların duygu, düşünce ve eylemlerini etkili bir şekilde aktarabildikleri güçlü bir iletişim aracıdır. Yüzyıllar boyunca, insanlar mekânlarla kurdukları ilişkileri çeşitli sanat dilleriyle anlatarak kültürlerini gelecek kuşaklara aktarmışlardır. İnsanların aidiyet duygusu ve kimlik düşünceleri, sanatsal bir boyut kazandığında, mekânsal etkileri daha da güçlenmekte olduğu anlaşılmaktadır.
İnsanlar, geçmişten bugüne, ihtiyaçlarına uygun mekânlar üreterek, kamusal yaşama önemli katkılarda bulunmuşlardır. Zamanla artan dünya nüfusu, insanların yaşam alanlarındaki dinamiklerin yönetimi ve çözümü konusunda deneyim kazanmasını sağlamıştır. Ancak bu süreçte ortaya çıkan bazı mekânlar, çeşitli nedenlere bağlı olarak âtıl kalmış, tanımsızlaşmış ve göz ardı edilmiş alanlara dönüşmüşlerdir. Bu alanların kent hayatındaki varlığı, kentleri plansızlığa sürükleyebileceği gibi karaktersiz, ruhsuz, güvensiz ve estetikten yoksun yerleşimlere de yol açmaktadır. Aynı zamanda, mekânların kimliksizleşmesine ve belleklerini koruma süreçlerinin sona ermesine de neden olmaktadır. Bu bağlamda, bakımsız ve ihmal edilen alanların kent yaşamına yeniden entegre edilmesi, insanların bağlarını güçlendirmesi ve gelecek nesillere aktarması açısından büyük önem taşımaktadır.
İstanbul Boğazı ve çevresi, coğrafi konumu, tarihi ve kültürel değerleriyle tarih boyunca önemli bir rol oynamıştır. Çalışma, İstanbul Boğazı'nda yer alan kayıp mekânların keşfi ve bu mekânların kentsel hayata kamusal sanat temsilleri aracılığı ile katılımını tartışmaktadır. Boğaziçi yerleşmelerini içine alan bölge, özel bir koruma bölgesi olup Boğaziçi Kanunu ve Boğaziçi İmar Planı tarafından kontrol altındadır. Kanunun ve planın kısıtlayıcı maddeleri nedeniyle birçok parselde yeniden yapılaşma mümkün olamamaktadır. Yeniden yapılaşmanın mümkün olamadığı parseller kanun gereği yeşil alanlar olarak tanımlanmaktadır. Fakat, bu parsellerin genellikle tanımsız bırakıldığı, yeşil alan fonksiyonlarını yerine getirmediği veya farklı eylemler için kullanıldığı görülmektedir.
Bu çalışma, Boğaziçi Öngörünüm Alanı sınırları içinde yer alan dört ilçede yapılan kayıp mekânların keşfi üzerine odaklanmıştır. Trancik ve Villagomez'in belirlediği parametreler, bölgedeki kullanım tipolojileri ile birleştirilerek farklı kategorilerde kayıp mekân tanımlamaları yapılmıştır. Çalışmada, detaylı incelemeler parsel ölçeğinde yapılarak tespitlerde bulunulmuştur. Çalışma sürecinde kamusal sanat temsil türleri araştırılarak, belirli bir sınıflama yapılmıştır. Dünya genelinde kayıp mekânların kamusal sanatla değerlendirildiği örnekler araştırılmış ve bu örnekler belirli değerlendirme kriterleri altında incelenmiştir.
Boğaziçi Öngörünüm Alanı'ndaki kayıp mekânların tespiti tamamlandıktan sonra, parsellerin karakterlerine uygun düşebilecek kamusal sanat türleri ile alandan seçilen kayıp mekân tipleri arasında bir eşleştirme modeli tasarlanmıştır. Kavramsal eşleştirmeler yapılarak, kamusal sanat temsillerinin kayıp mekân parsellerinde, uygulanmaya elverişliliği tartışılmıştır. Kayıp mekanları kente kazandırmadaki önem ve etkileri görebilmek amacıyla, incelenen 10 kayıp mekân parselinin taşıdığı 6 farklı tip özelinde, gösterimi uygun bulunan kamusal sanat temsilleri ile bir kolaj çalışması hazırlanmıştır.
Yapılan kolaj çalışmasında, kayıp mekanların kamusal sanat temsilleri ile dönüşümünde ortaya çıkabilecek muhtemel imajlar anlatılmaktadır. Kayıp mekân parsellerinin kamusal hayata katılımının tartışıldığı, kavramsal bir eşleşme ve dönüşüm modelinin üretildiği bu çalışma; özel nitelikli bir bölge olan Boğaziçi yerleşmelerinde, varlığını sürdürmekte olan tanımsız zeminlerin sadece mekânsal dönüşümünü değil, aynı zamanda kültürel mirasının sağlıklı bir çevre ile korunmasını ve gelecek nesillere aktarılmasını hedeflemektedir.

Abstract:
Istanbul has been one of the important cities of the world throughout history. Undoubtedly, one of the strongest reasons for this is its geographical feature and multi-layered structure. Since ancient times, human beings have sought to acquire a place, primarily to meet their need for shelter, and have concluded this search by intervening in the spaces created by nature. The relationship with place has always been tried to be defined, and this definition has changed over time and been given different meanings. Because; A human being can perceive his own existence, the events in nature and the events around him only by settling in one place.
Istanbul, which has places that people from different cultures have adopted and enriched over time in different periods of history, has places that are integrated with the strait, hills and slopes that it has due to its geography, and even today we encounter it in unexpected and unique places. It is a location frequently preferred by today's users, where many activities take place and where a significant amount of continental and strait crossings occur.
Spaces become places where people connect through their social activities and production. Over time, the increase in population and social relations, technological developments, aesthetic and artistic concerns have differentiated the bond that people establish with the place and have given places specific physical and social characters. It appears that societies with high interaction have different spatial dynamics. However, due to the changing effects over time and their reflections on space, some places have lost their structures or characters and have become unsighted. While these lacks of definitions manifest themselves with the gaps they create in the urban space, it seems that the place of the gaps in the use of urban open space has been forgotten.
The Bosphorus coastline and its surroundings are like a living gallery of the city, with the traces of its accumulated history, places and architectures that need to be protected. These traces combine their influence with today's lifestyle and show it in spaces with an eclectic style. The Bosphorus shores and settlements, which are unique in the world and need protection, are today protected by the Bosphorus Zoning Law. There are hundreds of cultural artifacts that need to be protected and places and structures that have witnessed history within the Bosphorus Front View Area 
Bosphorus Conservation Area, planned with the Bosphorus Implementation Plan, restrictions imposed by the Implementation Plan; since it aims not to increase the population in the Boğaziçi Front View Area, it does not allow the construction of new buildings other than constructions with public purposes. It is stated in the Bosphorus Law that areas in this situation will be allocated as "Green Areas". If buildings that have expired and are not cultural assets are demolished, they cannot be replaced. At the same time, after this plan comes into force, owners of parcels that do not have any buildings on them cannot build new buildings. The restrictions in the plans of the Boğaziçi neighborhoods, which were shaped by the administrations and rules of the time and which cause undefined gaps today, show their effects more and more over time. These are seen in settlements in the form of buildings that have expired and are demolished, abandoned or in ruins, and empty parcels on which new buildings cannot be built. In existing settlements, these undefined spaces have turned into spaces that people cannot make sense of. However, since ancient times, humans have tried to define the places they live in to prove their existence. The aim of establishing a connection with the place and identifying with it enables the creation of a character and identity of the place over time. These relationships that humans establish with space are shaped not only physically but also socially. With the increase in urban population and developing relationships, people who socialize have taken part together in the production processes of common spaces. Places where different people can socialize and share in a common area are defined as public spaces, and these areas are places with high interaction.
The language of art, communication and interaction is a powerful tool. With various art activities in public spaces, the increase in visibility and the involvement of people in a participatory role define and give meaning to the relationships that people establish with places. Art projects in public spaces can be in different representation languages in spaces. By highlighting the places where they exist and integrating with society; it can establish a bond, become a focus and determine the identity of the place.
Places within the city shaped by ongoing rules and plans; it can become undefined due to rigid, incorrect and incomplete applications. It is possible to re-evaluate undefined areas within the city by including these places, which have become lost spaces, into the public space and revitalizing them with various public art tools, creating new experience areas for the users.
The aims of the study are to investigate whether it is possible to interpret these spaces, which have become undefined with the Bosphorus Law and the Bosphorus Implementation Plan, and defining them as lost spaces, where it is not possible to build new buildings or transform them, with today's perception of public design and art. With this study, which aims to include the lost spaces within the Bosphorus Front View border into public life, it is aimed to present a model proposal that has continuity in potential areas. The study aims to find answers to the following main and sub-research questions:
Can lost spaces be re-evaluated and incorporated into public spaces with public art tools? What should be the representations and models to be used during re-evaluation? To what extent should these representations and models be detailed in specific areas?
•	For what reasons did the spaces that became lost spaces, affected by the Bosphorus Law and the Bosphorus Implementation Plan, become undefined? What are the physical and social effects of these spaces on their surroundings in the process of becoming undefined?
•	What should be the criteria when evaluating the current potential of the lost spaces created in the Bosphorus Front View Area?
•	Does public art have the same revitalizing effect for lost spaces of different characteristics within the Bosphorus Front View Area? Is it physically possible to utilize every lost space with public art?
Within the scope of the study, the discovery of lost spaces within the Bosphorus Front View Area, which have become undefined and unusable over time with the Bosphorus Implementation Plan, and the re-evaluation of these spaces through public art representations are discussed. The study, which started with the human and space creation processes, continued with the conceptual definitions of lost spaces and public art, and by exploring the lost spaces in the Bosphorus Front View Area, the contributions of the interventions made throughout history to the creation processes on human-urban space communication were examined. Throughout the study, examples of public open spaces and private areas supported by artistic uses have been examined, and alternative world examples have been discussed to be re-evaluated and opened to users by interpreting them with different representation methods, in line with the potentials of lost spaces and their effects on the environment. As a result of the study, a conceptual matching model was created on the re-evaluation of lost areas within the Bosphorus Front View Area with public art.
The study consists of 4 parts. The first chapter is shaped by the introduction, where human-space relations are defined, the approach in the field of the study is stated, and general information about the identification of the problem is given. Afterwards, the introduction part was completed by showing the flow of the study, including information about the purpose, scope and methods of the study.
In the second chapter, the human-space relationship and space production methods are discussed from various perspectives in the literature, and the concepts of lost space and public space are explained. The reasons affecting the formation of lost places are discussed and examples and studies in which the phenomenon of lost space in urban spaces and special areas were reinterpreted were investigated. By discussing the concept of public art and its effects on society, representations and examples of lost spaces in urban spaces and special areas shaped by public art are included.
In the third chapter, the geography, character and human relations of the Bosphorus settlements and the focuses in the settlements within the Bosphorus Front View Area border were determined. The effects of the Bosphorus Law and the Bosphorus Implementation Plan and their conservation approaches are discussed, and their effects on the space are explained. Urban undefined areas and gaps within the Bosphorus Front View were identified and classified. The effects of these lost spaces on the urban area and the citizens were examined and discussed. Lost spaces in the Bosphorus Front View Area, their type of formation, type of use, typology, etc. by evaluating them with parameters such as and classifying them according to their usage potential, a discussion was made on artistic usage suggestions. Literature reviews and the studies of Trancik and Villagomez were used to determine the parameters of these spaces.
In the last section, answers to the research questions asked at the beginning of the study, which could be the result of the study, were given and an evaluation was made on the designed model.
Since the study aims to understand the Bosphorus settlements, identify the effects of lost spaces and re-evaluate these areas through public art; firstly, the conceptual production processes of spaces and the concepts of lost space and public art are researched and explained. The conceptual framework was determined by literature research and review of relevant publications (theses, reports, articles, etc.). In order to examine the organization of lost spaces and their re-participation in public life through art, lost spaces in urban areas and special areas, public art representations and examples of the world where they were re-evaluated were examined. The Bosphorus Front View Area boundary has been defined as the study area, and within this area, the Bosphorus Law and Bosphorus Implementation Plan applications have been compiled using the archives of the Bosphorus Development Directorate. The analysis of the changes in places over time was made by comparing old cadastral maps and satellite images, and these were determined by the map reading method. The street images of many lost places discovered by simultaneous comparison of archive data and maps within the area border were examined, and the relationships of the places with their surroundings, their physical and social ties, and the way they were perceived were evaluated by putting them into spatial parameters. With the contributions of literature research, the necessary parameters for the description of lost spaces were created together with the spatial dynamics and the lost spaces in the area were categorised. After the identification of the lost spaces in the Bosphorus Front View Area was completed, conceptual matches were made with the types of public art that would suit the characters of the parcels, and the importance and effects of public art in bringing the lost spaces to the city were discussed. This study aims not only at spatial transformation but also at preserving cultural heritage and transferring it to future generations.
The potentials of these lost spaces located in different locations, which can help them to participate in urban life, were discussed and a conceptual matching study was created with public art types. As a result of the matches made; it is understood from the examined and applied world examples that it is possible for lost spaces to participate in urban life through public art representations. At the end of the study; research questions were answered by discussing which types of public art 10 parcels selected from public and foundation areas in the Bosphorus Front View Area would be compatible with.
Since the selected 10 lost spaces encompass six different types of lost space typologies, they have been matched with proposed public art types suitable for different types of lost spaces. From these matched suggestions, some representations have been selected and visualizations have been prepared using collage technique.
To the extent that the contents of public art representations appeal to all segments of society and contain common cultural and social values, they can be seen in many different applications in the city. These representations leave a mark on cultural and social memory, ensuring the transfer of the city heritage to future generations. In the examples examined, it is seen that artistic representations can be made at different scales and sensitivities in special areas. Although the identified lost space types fall into a certain category with their common parameters, they point to one or more types of public art representation that can be applied within the framework of important values such as their special potentials, constraints and proximity to cultural assets. For this reason, it has been determined that any type of public art representation is not feasible in every type of lost space. It has been understood that it is not possible to evaluate all lost space types with public art representation types. Ownership problems, mismatch of the physical structure of the parcel and its environmental conditions, restrictions in legal procedures, etc. For this reason, it has been understood that some public art representations cannot be applied in lost spaces of certain types and characteristics.
However, when this conceptual matching model comes to  fore again with developing new art representations, technological developments, digital updates and next generation planning solutions, the matches will not be at the current rate; in order to bring lost spaces into life, it is obvious that the solution methods discovered will create new public art representations and will not only be limited to public.