The indispensable relationship between city and economy often remains incomprehensible and rather conceptual, as they do not meet in a concrete environment. In the most general sense, the economy represents production and consumption activities in which urban residents participate, yet there is no tangible space in cities where this relationship is physically exhibited and witnessed. The reason being that the industry though a keystone of the economy, has not survived the evolution of the urban tissue, resulting in the consequent lack of synergy between humans and the act of production. Etymologically, the term industry appears as a synonym of ‘diligence’ and ‘hard work’ which allusively refers to that of humans. Though throughout the years the word represented the means of production, this is now out of sight. Production, once indispensable to human existence and the urban tissue, is no longer a part of everyday life. The functioning of the machines led to pollution and inadequate sources, while the industry needed bigger and cheaper lands which were hard to possess within the dense city center. This ever-changing dynamic resulted in the subsequent isolation of industry and production to the outskirts; resulting in segregated urban planning where it was not possible to witness the act of making. Production is an everyday actor which plays a vital role in the urban flow. Gleaning the industry, collecting and giving it a new meaning, can reintroduce this everyday forgotten existence of production to its city. This way, production would not only represent the economy but also become an urban catalyst to evoke new possible interactions such as the sense of collectiveness. This collectiveness is provided by the ever-changing urban dynamics and; as a result, by a new understanding of urban culture. This approach offers shared urban spaces for different types of users, urban residents, makers, manufacturers, and workers. After having been pushed away for years, the industry is now ready to be celebrated, offering unconventional perspectives for new urban and architectural explorations. By enabling many dualities such as humans and machines, contextuality and universality, etc. to exist together, it intends to form a more homogenous urban atmosphere.

Since the beginning of humanity, art and architecture have had an inseparable relationship. They have always been interrelated subjects connected through many domains. This dissertation, however, aims to explore more profound than the surface that creates this interconnectivity. It focuses on turning this surface into a frame through which art and architecture can communicate, change their scales. That is to say, it engages itself with the Interchangeable Scale of Art and Architecture. The scale between these two disciplines shifted from time to time; architecture got shrunk into paintings, and the paintings got shrunk into architecture. The tension between the two worlds offered many possibilities and opened doors to discoveries. Dutch painter, architect, engineer, town planner, draughtsman, glass painter Hans Vredeman de Vries(1526-1609) mastered one of these discoveries, perspective, and invented his imaginary worlds with his pen and paper. He was a unique figure who contained many scales of and between art and architecture. By visiting antiquity and going through the frame of artworks, this paper investigates this playful dynamism between art and architecture in the world of Hans Vredeman de Vries.