ECSAC
EUROPEAN CONFERENCE ON SCIENCE, ART & CULTURE April 19-22, 2018 Antalya / TURKEY
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Edited by: Prof. Hasan Arapgirlioğlu, PhD Assoc. Prof. Atilla Atik, PhD
Yayın Koordinatörü / Publication Coordinator • Yaşar HIZ Genel Yayın Yönetmeni / Editor in Chief • Assoc. Prof. Dr. Atilla ATİK PhD Editör / Editors • Prof. Hasan Arapgirlioğlu, PhD Assoc. Prof. Atilla Atik, PhD Kapak Tasarım / Cover Design • Selin TEMANA İç Tasarım / Interior Design • Pelin TEMANA Sosyal Medya / Social Media • Betül AKYAR Birinci Basım / First Edition • © EYLÜL 2018 / ANKARA ISBN • 978-605-288-553-6 © copyright Bu kitabın yayın hakkı Gece Kitaplığı’na aittir. Kaynak gösterilmeden alıntı yapılamaz, izin almadan hiçbir yolla çoğaltılamaz. The right to publish this book belongs to Gece Kitaplığı. Citation can not be shown without the source, reproduced in any way without permission. Gece Kitaplığı Adres: K ızılay Mah. Fevzi Çakmak 1. Sokak Ümit Apt No: 22/A Çankaya/ANKARA Tel: 0312 384 80 40 web: www.gecekitapligi.com e-posta:
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Evaluation of Denizli-Babadağlılar Bazaar as a City Image 437
Evaluation of Denizli-Babadağlılar Bazaar as a City Image OP-113
Latif Gürkan Kaya1, Cengiz Yücedağ*1, Hüseyin Samet Aşıkkutlu1, Rümeysa Keskin2 1. INTRODUCTION Urban designers throughout the world today sketch out the elements of cities they are designing as paths, edges, nodes, landmarks, and districts – the underlying elements of city form that Lynch identified – and draw on his theories and practical suggestions to strengthen the city image. There seems to be a public image of any given city which is the overlap of many individual images (Lynch, 1960). The image is important because the ability to perceive and environment is crucial for being able to act and attain psychological satisfaction. Each person has a unique image, but it is also a collective image of the city, which can be described as the sum of personal images. In recent years the concept has become the subject of place branding which is idealized as a great opportunity to be involved in the global competition for attracting investments, tourists and capital. The main motivation of the place is to design an attractive image for the city by using spatial and non-spatial attributes to provide added-value in the competition among cities (Eraydın, 2014). It is therefore of high interest for government officials, planners, decision-makers, and researchers to obtain quantifiable records for the spatial and temporal growth of any city, infrastructure and buildings (Al-Ruzouq et al., 2018). Lynch (1960) put forth three main components for an urban image as; identity, meaning and structure. Identity is the special characteristics of the environment that separate it from others. A legible environment should have “emotional or practical” meanings for its users. According to him the five elements (path, node, district, edge, and landmark) and their characteristics create a legible environment (Eraydın, 2014). On the other hand, the identity of urban identity includes all the physical, cultural, historical, and economical features that distinguish it from the other cities. Symbol buildings or landmarks, which are the ones that reflect the urban identity, play a significant role in remembrance and recognition of the city (Diker and Çolpan Erkan, 2017). In short, research over the last decades has clearly established the important role landmarks play in our understanding of and communication about space (Richter, 2013). In this study, the importance of the Babadağlılar bazaar as a landmark has been determined for both urban residents and visitors from outside the city.
2. LANDMARKS Lynch (1960) defined a landmark to be a readily identifiable object which serves as external reference point. This definition is frequently picked up in the literature, often resulting in landmarks being conceived as point-like features along a route. Three key characteristics of landmarks that influence this salience: (1) singularity, i.e., contrast with surroundings; (2) prominence of spatial location; (3) content, i.e., meaning or cultural significance (Richter, 2013). Landmarks, by their pure existence, structure environments. They form cognitive anchors, markers, or reference points for orientation, wayfinding and communication. They appear in our sketches, in descriptions of meeting points or routes, and as the remarkable objects of an environment in tourist brochures (Richter and Winter, 2014). Wikipedia defines a landmark “including anything that is easily recognizable, such as a monument, building, or other structure.” Particularly useful for the purpose of this book is the reference to recognition in this definition. Cognition and embodied experience will play a significant role in our exploration of landmarks. Merriam Webster distinguishes three meanings: “(1) an object or structure on land that is easy to see and recognize, (2) a building or place that was important in history, or (3) a very important event or achievement (Richter and Winter, 2014). *: Corresponding Author:
[email protected] 1 Mehmet Akif Ersoy University, Faculty of Engineering and Architecture, Dep. of Landscape Architecture, 15030, Burdur-Turkey 2 Mehmet Akif Ersoy University, Graduate School of Natural and Applied Sciences, Dep. of Spatial Planning and Design, 15030, Burdur-Turkey
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Landmark can be a good sign for urban spaces in the cities (Figure 1). Landmark as a word is used in different fields. Linguists as well as urban planners define landmark anything that is easily recognizable. Landmarks generally have a country, a culture or a history in the history. In that aspect landmarks have important roles in the city. Humans acquire spatial knowledge of a new environmental space-a space, which is not perceivable (Alkan Bala, 2016).
Figure 1. Landmark samples for different cities Alkan Bala (2016) reported that landmarks are defined six different groups as; 1. Landmark as City Memory-Historical, 2. Landmark as City Landscape/Square, 3. Landmark as High Rise/Skyscraper, 4. Landmark as Daily Life/City Usage, 5. Landmark as Personal Memory/Personal Perception and 6. Landmark as Circulation Pattern
3. EVALUATION OF BABADAĞLILAR BAZAAR AS A LANDMARK Denizli is located to the southwest of the Anatolian Peninsula and to the east of the Aegean Region. It is a gateway among the Aegean, Central Anatolia and the Mediterranean Regions (Figure 2). The province of Denizli is located between 28°30’ - 29°30’ eastern meridians and 37°12’ - 38°12’ northern parallels. Burdur, Afyon, Aydin, Manisa from the west, Uşak from the north, and Muğla from the south are its neighbors. Surface area of the province is 11.868 square kilometers. It occupies about 1.5% of Turkey and 18.5% of the Aegean Region. The mean altitude is 354 meters (URL-1 2018).
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Figure 2. Location and Situation plan of Denizli-Babadağlılar Bazaar Denizli, eye brand of the world city with entrepreneur and helpful people and the capital of textile, is one of the locomotives of Turkey. It is in the forefront as an industrial center despite the advantage of economic accumulation of İzmir and Manisa in the Aegean Region. Such development is considered as a miracle by the State Planning Organization in Turkey and is proposed as a model for the development of the backward regions of the country. It is one of the most important gateways of Turkish economy for exportation. Denizli, which is an important center for the production of towels and bathrobes, meets approximately one third of the annual export of the country in terms of this field and is accepted as the world capital in the field of cotton textile. Denizli, which offers service for twelve months to domestic and foreign tourism, is found within the first 5 provinces in Turkey in the order of the ones that attract numerous tourists (URL-1 2018). The greatest development in textile industry of Denizli was realized in the 1980s when the Turkish economy opened out. Production made in or under the houses of Babadağ, Kızılcabölük and Buldan, the most important counties of Denizli in the field of weaving, has been transformed into that made in the factory. In the 1990s, the technology used in production was renewed and in the 2000s, important innovations and developments in the design and quality of the products were recorded (İrmiş et al., 2014). The construction of Babadağlılar Bazaar was completed in 1976 and registered in 2012 (Figure 3). In the earthquake that occurred on the day when it was opened, it is one of 5-10 buildings which have no crack even in its plaster. From 1976 to 1990s Babadağlılar bazaar continued as a place for wholesale trade. There was just haberdashery, garments and a few shoemakers as retail in the bazaar. After 90 years, Babadağlılar Bazaar was completely transformed into retail trade with the development of domestic tourism. It became a market place for the goods produced in the counties of Denizli. One of the most important features of Babadağlılar Bazaar is known as mostly selling traditional products (İrmiş et al., 2014).
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Figure 3. A view from building of Babadağlılar bazaar An important feature of community entrepreneurship is that the enterprise is based on the traditions of in question district and is often integrated with its traditional production and resources. Babadağlılar Bazaar, established for not only textile products but also the marketing for many different products in the first years, has become an organization where wholesale and retail sales of textile products in Denizli in a short time. Babadağlılar Bazaar, which continues its existence with the purposes such as the delivery of the textile production to the local consumer, the presentation of quality local production to the bazaar and the development and development of the domestic producer, is one of the important examples of community entrepreneurship (Figure 4). Another important benefit of Babadağlılar Bazaar is the service that was made for Turkish culture. The customer who is not looking for another place to buy textile can come directly to this bazaar and buy a wide variety of products at much cheaper prices as wholesale or retail. This case provides benefit not only for customers in Denizli but also textile wholesalers in many parts of Turkey. Babadağ Bazaar has to complete its conventionalism with modern production and marketing tools. It needs to be known much more and get a wider market especially with ads to be made from the internet (İrmiş et al., 2014).
Figure 4. Views from interior design of Babadağlılar bazaar As understood from the mentioned-above, Babadağ Bazaar is well known as one of the oldest trade buildings in Turkey. As one of the urban heritage in the city of Denizli, the bazaar has commercially unique landmark for the Turkish and other communities. With time, the quality of the environment has degraded and the image of the building has become obscure. The revitalization of the building would improve the
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quality of its urban environment that at the end would positively impact on the image of the Denizli as a whole. The importance of place’ image and identity has to be considered in enhancing the new or future development within a city. This idea can make the city more meaningful and memorable for the visitors. Today, the shopping mall is one of the major landmarks in contemporary cities anymore. Its rapid expansion and diffusion suggests the reconsideration of new forms of building and spatial organization of places oriented to the distribution and consumption of goods and services (Gasca-Zamora, 2017). In addition, current urban design approaches should orientate to strengthen the visual quality, the visibility and total visual quality of an existing landmark, which is already a component of urban space, in the daily experience of its users and citizens at large (Kalın and Yılmaz, 2012).
4. CONCLUSIONS There is strong competitiveness among cities on the global, national and regional market, which makes them to know their visitors thoroughly and create new strategies. According to perception of Denizli as a cultural and historical city situated in the pleasant natural surroundings, we recommend domestic tourism market to build the image of Denizli. Findings provide valuable insight for city decision makers and add specific focus on differences between future and current visitors.
5. REFERENCES A. İrmiş, B. Akça, H. Çoban, M. Sarıkaya, “Topluluk Girişimciliği: Denizli Babadağlılar Çarşısı Örneği,” International Conference on Eurasian Economies, 1-3 July 2014, Skopje, Macedonia, 2014. A. Kalın, D. Yılmaz, “A study on visibility analysis of urban landmarks: the case of Hagia Sophia (Ayasofya) in Trabzon,” METU JFA, 29(1): 241-271, 2012. H. Alkan Bala, “Landmarks in Urban Space as Signs,” Current Urban Studies, 4: 409-429, 2016. J. Gasca Zamora, “Centros comerciales de la Ciudad de México: el ascenso de los negocios inmobiliarios orientados al consume,” EURE, 43(130): 73-96, 2017. K. Lynch, “The Image of the City,” Massachusetts Institute of Technology, England, 1960. K.F. Richter, “Prospects and Challenges of Landmarks in Navigation Services,” M. Raubal et al. (eds.), Cognitive and Linguistic Aspects of Geographic Space, Lecture Notes in Geoinformation and Cartography, Springer-Verlag Berlin Heidelberg, 2013. K.F. Richter, S. Winter, “Introduction: What Landmarks Are, and Why They Are Important,” In: Landmarks. Springer, Cham, 2014. M. Diker, N. Çolpan Erkan, “Religious Building for the City Identity: The Case of Antioch,” Planlama, 27(2):180-192, 2017. R. Al-Ruzouq, A. Shanableh, Z. Boharoon, M. Khalil, “Calibrated Multi-Temporal Edge Images for City Infrastructure Growth Assessment and Prediction,” GeoInformation for Disaster Management (Gi4DM), 1821 March 2018, Istanbul, Turkey, 2018. Z. Eraydın, “The global image of the city: Impacts of place branding on the image of Ankara,” Middle East Technical University, Doctoral Thesis, Ankara, 2014. URL-1 2018. Geography and economy of Denizli, http://www.denizli.gov.tr (Accessed Date: 20.02.2018).
