Emphasizing that the concept of urban interior refers to the "experience" factor, Merve Karadaban emphasized that these spaces should be considered as social "catalysts" when designing public spaces in the city. Then, he emphasized the importance of flexibility in the design process of urban interiors, which are designed by adopting the principle of temporality versus permanence. Here is Merve Karadaban's review:
“While designing public spaces in the city, it is of great importance that these spaces are considered as social 'catalysts', their founding roles in the bond of belonging established between body-space-city relations and the perspectives developed. In this sense, considering the public space with the concept of 'urban interiors' defines the urban relationship established in the focus of 'experience'. The concept of 'urban interior', which details the content of the public space, on the one hand, includes physical design elements such as urban furniture, on the other hand, it also includes the programming of the space in the focus of activities.”
“The urban interior defines a perceptual interior rather than its physical condition, that is, not being closed.”
“Both the effects of these spaces on the user and the way they are produced can be seen as directly related to the discipline of interior architecture. The description of the urban interior, which refers to a 'dynamic' structure, indicates a strong relationship with the city, contacts, and a situation that can keep up with temporal changes. In this sense, for public spaces to be able to create rapid responses to changes, it is necessary to design infrastructures that can get rid of the focus on 'permanence' and cover 'temporary' situations, where flexibility is prominent. In this context, the concept of the urban interior has the potential of a new planning strategy with a focus on temporality and can enable it. John Chase, Margeret Crawford, and John Kaliski (2008) “Urban design and planning has traditionally been concerned with the creation of permanent, static urban conditions, or the definition of open spaces and built form, as with the implementation of infrastructure. However, the reality is a kinetic state and has a temporary nature. They say that it defines its reality and the basis of our experience of a certain urban condition.
“Instead of trying to design an area that is desired to be transformed, designing a process in a way that responds to the wishes of the user in a series of phases can be produced as a method both in terms of sustainability and user-oriented design.”
“In this sense, the plans produced in urban studies can take the form of a very slow implementation of the decisions taken quickly. This can turn into both not being able to read the user's demands correctly and not being able to respond to the user with the progress of time. At this point, it is of great importance to include some experiments to understand user behaviors and demands instead of planning with hasty attitudes. In this context, instead of trying to design an area to be transformed, designing a process in a way that responds to the wishes of the user in a set of phase packages can be produced as a method both in terms of sustainability and user-oriented design. These phase packs are produced as 'es' or stop points to understand the behavior of the user. In each 'es', the relationship of the user with the environment can be questioned and changes can be made according to the feedback received.
In this way, a trilogy can be created between animation-editing-triggering, design, and management, which can always rotate with each other. At the point where the comings and goings between this trilogy are finalized, that is, user requests and behaviors are resolved, it is possible to switch to the permanent process of temporary situations. In short, 'designing with a sense of impermanence', which can be seen as a design method opposite to the definition of 'practices' that is traditionally maintained, means participation and participation with opposition to the attitude of producing everything created by the definition from a single source (it is talking about a single-focused thought created in the design process rather than a single designer). It represents questioning that permeates every phase of design.”
We would like to thank Merve Karadaban for her enlightening information on urban interiors and wish her continued success.
