Şevin Yıldız: First of all, I would like to specially ask you about masterplans. As an urban planner do you think that masterplans are still valid in this century where everything is changing so rapidly, so unexpectedly? In our country, we, as architects and planners, have a little bit of a suspicion towards masterplans because it takes too much time to do it and afterwards it looses its validity. And, as a tool mostly we can not use it very effectively, so I would like to ask you your approach upon this subject?

Kees Christiaanse

Kees Christiaanse: We love to make masterplans exactly, because of the reasons that you just mentioned. Nowadays, you can not design a region, and then because of implementation reasons, it can only be ready in the next ten years. It’s not possible, because in every two years something else happens. So, you must work with something that takes into account unexpected social, demographic, political conditions, that can work with different speeds or accomodate varying programs, that has all kinds of flexibilities. Now the question is can you make a masterplan or not? We say “yes” because, we have been developing a working method in making masterplans that have this potential of flexibility, but at the same time, have a very strong quality of public space and also very strong quality in design principles.

So, for instance, we prepeare masterplans which have a very self-evident basic structure and sustainable for many years probably.And, then we test different phasings and rules on the building plots which are also flexible. So, we experiment with the valids between flexibility and fixation. Therefore in that respect, we think it’s very interesting to make masterplans nowadays. We also find it necessary, because if you do not make masterplans, it brings a total anarchy. In addition to that if you make fixed urban visions, you have no way of getting there again.


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Türkiye’deki mimarlık üretiminin ve müellif mimarların çeşitli ortamlarda zaman zaman uluslararası meslektaşları ile ve onların ürettikleri ile kıyaslandığını görüyoruz. Çoğu zaman da bu kıyaslamayı mimar adaylarının veya mesleğe yeni adımını atmış genç mimarların farklı ortamlardaki tepkilerinden algılıyoruz. Arkitera Forum’da da zaman zaman bu çerçevede konular açılıp tartışmalar sürüyor. “Neden Türkiye’den dünya çapında bir mimar çıkmıyor?” veya “Sizce Türkiye’deki en Star(!) mimar kim?” gibi kuru rekabet ve karşılaştırma seviyesinden öteye geçmeyen tartışmaların altında çok daha farklı bir sorun yatıyor aslında.

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