Serkan Can Hatıpoğlu

This chapter explores the atmospheric dimensions of opera through a detailed analysis of Bluebeard’s Castle (1911), Béla Bartók’s only opera. Focusing on the interplay between music, stage design, and emotional perception, the study investigates how atmosphere functions as a crucial aesthetic and psychological element within the operatic experience. Drawing on theoretical frameworks such as resonance (Rosa, 2019) and atmosphere (Griffero, 2014), it distinguishes between the experiential domains of performers and audiences in opera, emphasizing the shared emotional spaces they inhabit. The work situates Bluebeard’s Castle within Hungarian operatic tradition, linking Bartók’s innovations in harmony and motif development to the broader cultural and historical contexts of early 20th-century modernism. Through a scene-by-scene phenomenological analysis of the opera’s structure—framed around the opening of seven symbolic doors—the chapter highlights how each space within Bluebeard’s castle manifests a unique emotional and spatial atmosphere. Bartók’s orchestration, harmonic symbolism, and libretto collaboration with Béla Balázs collectively transform the castle into a psychological landscape reflecting inner turmoil, gender dynamics, and tragic inevitability. The study also synthesizes major scholarly perspectives on the opera, from narrative structure and gender analysis to contemporary staging and auditory imagination, showcasing the work’s ongoing reinterpretations in modern productions. Ultimately, the chapter argues that opera, and Bluebeard’s Castle in particular, offers a powerful medium through which architecture, music, and affect converge, positioning atmosphere as both an experiential and interpretive key to understanding performative space.

Felsefede farklı dönemlerde değişen kavramların ve olguların okuması yapılmaktadır. Ancak bu kavramların ve olguların temelinde yatan ‘bilgi’nin sorgulanması çoğunlukla bazı ön kabuller eşliğinde bir kenara bırakılır. Lyotard, postmodern çağa girilmesiyle bilginin değişen statüsü üzerine çalışır. Böylelikle bilginin ne olduğunu, nasıl işlediğini, neleri kapsayıp neleri dışladığını, temel ölçütlerinin ne olduğunu, hangi ilkeler ile sistemleştiğini tespit eder. Bu sorgulamalar eşliğinde postmodern bilginin neye dönüştüğüne yönelik çıkarımlar yapar. Bilimsel bilgi, meşrulaştırma, üst anlatıların üretilmesi ve performativite temel problemlerdir. Lyotard’ın dil oyunları yöntemi, sosyal ilişkiler ağını kurar. Ancak sözü geçen problemler sosyal bağdaki ilişkileri kısıtlar, engeller ve sekteye uğratır. Oysa artık kurumlar ve üst anlatılar önemini yitirmiştir. Üst anlatıların parçalanması ile çoğulculuktan yana olan küçük anlatılar mümkün hale gelebilmiştir. Böylelikle dil oyunları - önemli bir potansiyelini tarif eden - esnekliğine kavuşmuştur. Artık bilginin spekülatif hiyerarşisinden uzaklaşılmakta ve sınırları durmadan değişen anlatılardan ve araştırmalardan oluşan bir ağ örülmektedir. Tüm dil oyunları için evrensel kurallar ve üst anlatılar düzenlemek yerine, dil oyunlarının heterojen pragmatik kurallarla örüldüğü kabul edilmelidir. Lyotard’ın gözlem ve önerilerinden yola çıkarak birçok mekânsal çıkarım ve örnekleme yapılabilir. Bu çalışmada postmodern bilginin özellikleri ortaya konmuş ve Lyotard’ın felsefesinin, argümanlarının, postmodern duruma dair gözlemlerinin çeşitli uzamsal yansımalar ile yeniden düşünülmesi hedeflenmiştir.

Düşüncelere uzamsal bir boyut katan mekânın nasıl algılandığı önemli bir felsefe konusudur. Mekânın duyumsanmasına yönelik savları ile mimarlığın felsefesine katkılar sunan düşünürlerin başında Juhani Pallasmaa yer alır. Pallasmaa, görmeye tanınan ayrıcalık nedeniyle diğer duyuların bastırılmasına karşı eleştirilerde bulunur. Çünkü görme de dahil olmak üzere tüm duyular dokunma duyusunun uzantılarıdır. Ancak asıl işaret edilen şey, görme yerine başka bir duyunun konması değil, duyuların doğası gereği bütünleşik olması gerektiğidir. Görme önceliği maddenin ve bedenin önemini arka plana atar ve biçimi önceler. Maddeden yalıtılmak ve çevremizi salt yüzeyler olarak görmek mekânın algılanmasında birçok deformasyona neden olur. Bunun aksine, bedensel deneyime gereken önemi göstermek gerekir. Böylelikle beden algısı ve dünya imgesi tek bir deneyime dönüşebilir, mekandaki yerinden ayrı / ayrıştırılmış bir beden söz konusu olmaz. Bu nedenle bizi salt gözlemci yapan (ve deneyimlenen ile mesafe koyulmasına neden olan) odaklanmış görmeyi bir kenara bırakıp uzamsal ve bedensel bir katılıma imkân veren çevrel görmeyi benimsemeliyiz. Çevrel görme, mekânın ruh haline dair tınıları duyumsamaya, mekânın atmosferini deneyimlemeye imkân verir. Atmosferin salt görsel sunuların baskısı ile ister istemez göz ardı edildiği ortadadır. Mekânın atmosferine verilecek önem ile görmenin sunduğu iki boyutlu yüzey bilgisinin ötesine geçilebilir ve birçok ilişkiyi derinlikleriyle idrak etmeye başlayabiliriz. Böylelikle mekânın varoluşsal katmanları açığa çıkacaktır.

In parallel with the global landscape, the architecture profession is losing its appeal in Turkey, as evidenced by a decline in school occupancy rates to 79%. Accordingly, the Higher Education System (YÖK) has decreased architecture program quotas by an average of 20%. This study establishes a comprehensive model outlining the key factors influencing these orientations to better understand architecture students’ career paths. This paper investigates how architecture students’ perceptions of the construction industry influence their career choices, particularly their likelihood of staying in the sector. The devised model is empirically validated via data collected from 419 online survey questionnaires. Utilizing SPSS 23 and LISREL 8.8 software, a range of analyses, including frequency, validity, reliability, exploratory and confirmatory factor analysis, and structural equation modeling, are conducted. The model posits “intention to stay in the sector (IS)” as a dependent latent variable, affected by independent latent variables like “nature of the profession (NP)”, “prestige (PR)”, “working conditions (WCs)”, “health and stress (HS)”, “salary and benefits (SB)”, “ethical and political processes (EPs)”, “authorities and responsibilities (AR)”, and “conformity to expectations (CE)”. The findings demonstrate that NP, PR, WCs, SB, HS, EPs, AR, and CE significantly influence IS. Particularly, NP and PR substantially impact the preference for the architectural profession and the determination to remain in the sector. In contrast, WCs, HS, SB, and EPs affect IS negatively. This research contributes significantly to the literature on the career intentions of architecture students by presenting a model that captures the factors influencing their career choices. The model is supported by substantial empirical evidence and is based on a comprehensive literature review.

This study examines the complex domain of atmosphere/ambiance, emphasizing its development and importance in many academic fields from 2000 to 2023. By examining significant contributions, it highlights the term “atmosphere” as primarily employed in literature. Analysis of citation patterns reveals a substantial surge in scholarly attention after 2020, primarily driven by English-speaking academic circles. The multidisciplinary aspect of atmospheric studies is apparent, since geography, urban design, philosophy, and cultural studies have made significant contributions. The incorporation of novel methodologies from many fields enhances the body of architectural literature, strengthening both theoretical frameworks and practical implementations in the realms of design and urban planning. This thorough examination highlights the increasing influence of atmospheric studies on environmental policy, urban growth, and the preservation of cultural landscapes. The research highlights the importance of ongoing interdisciplinary involvement to enhance our comprehension of the intricate relationship between the environment, space, and human experience.

ENG: The advancement of artificial intelligence (AI) presents a duality of opportunity and risk. On the one hand, there are potential dangers inherent in the development of AI. However, on the other hand, the advent of AI also offers humanity a multitude of possibilities for improvement and advancement. The aesthetic values and cultural expressions that artists encounter in their environment serve to redefine the aesthetic judgments they form, thus determining the paths they subsequently follow. The objective of this research is to examine the impact of AI on the field of aesthetics and culture to identify the changes and transformations occurring within the world of art and design. In the conventional domain of aesthetics, emphasis is placed upon the finished object as a singular entity that will be interpreted as a completed work. In contrast, the emerging field of ‘new aesthetics’ prioritizes the atmosphere, directing our focus to the physical object, which is perceived as a spatial extension. Accordingly, the object is not defined by its intrinsic content, but rather its capacity to expand and occupy space. Thus, the domain of aesthetics has evolved to encompass a spatial dimension. Despite the growing interest in the aesthetic dimensions of AI, there has been little discussion to date about the relationship between atmosphere and the field of AI. This study aims to highlight the lack of attention given to this topic in academic discourse and to introduce a new approach to it. Several implications (regarding general propositions and constituents AI aesthetics) has been placed and finalized with layers of hallucination. The application of AI enables the augmentation of the hallucinatory capabilities of the imagination. However, a current challenge is the tendency of AI-powered digital assistants, such as ChatGPT, to hallucinate and present unreal information as if it were real. In this sense, the relationship between AI and hallucination is evolving in a manner that is perceived to be negative. This is justified given the problematic nature of this issue in scientific studies. However, when considered from the perspective of artistic production, there may be potential for new avenues of creativity and imaginative expression. A reappraisal of the role of atmospheric factors in space design is required. The introduction of a novel aesthetic layer to the atmosphere through the use of AI is a possibility, given the hallucinatory tendencies of AI. - TR: Yapay zekanın gelişimi, insanlık için önemli fırsatlar sunarken, aynı zamanda yeni zorluklar ve riskler de ortaya çıkarmaktadır. Ancak, doğru bir şekilde yönetildiğinde ve kullanıldığında, yapay zeka teknolojisi insan hayatını önemli ölçüde iyileştirebileceği ve birçok alanda yenilikler getirebileceği ön görülmektedir. Estetik değerler ve kültürel ifadeler, sanatçıların estetik yargılarını yeniden tarif etmekte ve izledikleri yolları belirlemektedir. Bu araştırma sanat ve tasarım dünyasındaki değişim ve dönüşümleri incelemek adına yapay zekanın estetik ve kültür alanına tesirini irdelemektedir. Konvansiyonel estetikte nesneye tamamlanmış bir çalışma olarak yorumlanacak bitmiş bir varlık olarak odaklanılmıştır. Ancak atmosferi merkeze alan yeni estetik, odak noktamızı mekandaki fiziksel bir uzantı olan nesneye yöneltmektedir. Dolayısıyla nesne 'içerdiği' şeyle değil, mekana yayılma şekliyle karakterize edilmektedir. Böylelikle estetik teori mekânsal katmanlar edinmiştir. Yapay zeka bağlamında estetik tartışmalarında bir ivme kazanılmış olsa da aynı hareketlilik atmosfer ile yapay zekanın ilişkisinde henüz kurulmamıştır. Bu çalışma literatürdeki bu eksikliğe işaret etmeyi ve bir giriş yapmayı hedeflemektedir. Tartışma önermeler olarak şu başlıklar altında toplanmıştır: Teknik arkaplandaki atmosfer tecrübesinin önemi; Deneyimi fazla olan aktörlerin hiyerarşisi; Kısmi telif hakkına yönelik ‘kısmi’ tanımlamalarının gerekliliği; Çizim becerisiden atmosfer üretme becerisine bir yolculuk; Kültürel ve bedensel referansların yorumlanabilmesi. Yapay zekanın estetiğine dair yapı taşları ise şu başlıklar altında toplanmıştır: Estetik akıntı; Yarı-geçirgen bir estetik; Yapay zekanın ara-fenomen olarak incelenmesi; Metaforik istemler; Halüsinatif katmanlar ve alternatif değerlendirmeler. Çalışmanın sonunda odaklanılan konu yapay zekanın gücü ile imgelemin halüsinatif katmanları artırılabilme potansiye olmuştur. Halüsinasyona dair şuan gündemde olan yegane konu ChatGPT gibi yapay zeka asistanlarının halüsinasyon görmeleri ve gerçek olmayan bilgilerin gerçekmiş gibi sunulmasıdır. Bu haliyle yapay zekanın halüsinasyon ile ilişkisi negatif bir tandansta ilerlemektedir. Bu bilimsel çalışmalarda bir problem olması sebebiyle haklı bir negativiteye sahiptir. Ancak sanatsal üretim tabanında bakıldığında imgelemde yeni kapılar açılabilir. Bu konu özellikle mekanın tasarımına gelindiğinde atmosferik etmenler yeniden değerlendirilmelidir. Atmosferin yapay zeka ile yeni bir estetik katman açması yapay zekanın halüsinasyon yatkınlıklarıyla gerçekleşebilir.

As a prominent example of the symbiotic relationship between cinema and architecture, Wes Anderson's The Grand Budapest Hotel (2014) is a typical example of his unique narrative approach and has been the subject of many discussions in different disciplines and platforms. There are many lessons to learn as architects and students of architecture, such as the use of color in design, balance in the spatial settings, perception of the space in the movies, and an introductory approach to architectural history. Beyond the basic design principles, the uniqueness it carries comes from Anderson's distinctive approach to storytelling and cinematography that shapes the multi-layered atmosphere supported by cinematic tools such as narrative, architecture, camera techniques, and set design. By analyzing the continuous changes in the atmosphere; the contrasts in the spatial and atmospheric properties of the movie with its events, characters, and feelings, this paper aims to explore the intricate relationship between the atmosphere, emotional tonality, and architecture that enrich the narrative and cinematic experience. The Grand Budapest Hotel demonstrates to architects how space, people, and incidents are tuned by an atmosphere and its emotional tonality. It allows for an exploration of the intricate relationship between the atmosphere, emotional tonality, and architecture to enrich the narrative. The analysis shows that the movie's contrast, superimposed, and hypocritical spaces are an essential part of the unexpected and unusual multi- layered atmosphere in The Grand Budapest Hotel. In that sense, the hypocrisy associated with this movie is artificial since they are Director Wes Anderson's intentional creations.

Literary texts offer an alternative spatial experience to the reader with the atmospheres they construct. The God of Small Things (novel) casts the reader into a dynamic space with its (spatial and corporeal) depictions and fiction. It allows us to read architecture through the atmosphere that diffuses in a non-directional attitude. This diffusion breathes life into space and makes it an organism. What sets the boundaries of the atmosphere is the comprehensibility of experienced feelings. When entering a room, a specific atmosphere is felt. However, it is difficult to determine where precisely it is. Atmospheres diffuse in the space like a haze, clouds of a certain tone of feeling. Similarly, the smell is also not positioned in space in a way that allows us to determine where it is. Smell plays a crucial role in the tone of feeling in the space. In addition, alternative spatialities, architectural components, and others provide potential discussions regarding architectural atmospheres. However, the scope of the study is limited to space as an organism and the affective side of smell. The study aims to examine the spaces in The God of Small Things through their atmospheres. Arundhati Roy demonstrates the importance of the space as an organism in the atmosphere and the smells with diffusive character. In her novel, she constantly reconstructs the atmosphere suspended between the subject and the object through the inspiration of architecture.

The first year of design education is essential for students as it is their initial interaction with the design process. Awareness of the body through dance has the potential to reveal bodily experience in space. Abstraction of embodied experience contributes to realising the significance of the body and its analytical dimension for spatial and structural design. This study investigates the impact of embodied experience and abstraction on the architectural design process and the outcome through correlation and regression analysis. We observed that increasing awareness of the space through bodily movement and its drawn representation positively impacted students’ success in architectural design. Also, the measures related to space and structure mainly advanced students’ success in the final design. However, the association of the abstraction process with the final design remained limited. The study’s contribution is the systematic and statistical evaluation of the relationship between body, movement, abstraction and architectural design by constructing a set of measures from various stages of the design studio. We hope our research will provide a basis for the upcoming discourse.

How could we go beyond the conventional categorization of the five senses and find out a sixth sense in the observation of a building? Let’s call such a sense atmospheric one. Humans are rooted in the atmosphere, generated by things and space, just as the roots of plants in the soil. To observe novel experiences, we aimed to prioritize the atmosphere and affective encounters in space. First, archive photographs and technical drawings were compiled and examined, parallel with the historical evaluation of the building (Eskişehir Esnaf Sarayı) and its context. However, this reading was not only about the mere transfer of archive data but also their affective engagements of them. Further, the atmosphere and its affects were unveiled through the inherent (and personal) experiences of the space.

Considering the propositions of the virtual universe with its short history, there are digital twins and various economic investments. While the Metaverse points out a novel universe, it is able to promise much more than producing a copy of the self and imitation of conventional economic interactions. To reveal these potentials, it is necessary to determine the areas that must be meticulously focused on. Although Metaverse has permeated daily life dialogues, studies in the academic field are limited. Likewise, research about its architecture and space needs to be developed in this area. No matter how far the new universe propositions go, they still stick with the quantitative values of the physical world. This issue obstructs the creation of its own reality. However, the universe's own digitalized digitalised structure does not require that the imagination of the spaces stuck with a quantitative basis. To avoid quantitative and reductive attitudes, focusing on the atmosphere of this universe may be a solution. The study aims to collide the possibilities of the Metaverse and the architectural atmosphere discussions to make an alternative reading of the Metaverse. Developing theories about the atmosphere of spaces and conducting atmospheric studies about Metaverse allow us to develop meta-experiences of the Metaverse. Focusing on the architectural atmosphere, immediate appreciation, ecstatic being and hallucinatory image will deepen the definition of Metaverse and provide a multi-layered experience. The image of the atmosphere and ecstatic being is associated with a ‘hallucinatory image'. The hallucinatory image has a structure that does not narrow down its references to the physical world. With this aspect, it may provide forms of alternative perceptions specific to the Metaverse. The hallucinatory image, parallel with the sensation of an ecstatic being, stimulates us to sense the atmosphere produced by the Metaverse.

Metaverse, başka olanakları olan bir evrenin inşa edilmesine yönelik bir girişimdir. Sanal evren önermelerinin çeşitli süreçlerden geçtikten sonra geldiği bu noktada dijital ikizler ve çeşitli ekonomik yatırımlar söz konusudur. Ne var ki, Metaverse yeni bir evrene işaret ederken benliğin bir kopyasını ve konvansiyonel ekonomik etkileşimlerin imitasyonunu üretmenin çok daha ötesini vaad edebilir. Ancak bu potansiyelleri açığa çıkarabilmek için yoğunlaşılması gereken alanları titizlikle tespit etmek gerekir. Metaverse, gündelik hayat diyaloglarına epey sızmış olsa da akademik alanda yapılan çalışmalar sınırlıdır. Keza mekana dair araştırmaların da bu alana odaklanacak şekilde geliştirilmesine ihtiyaç vardır. Yeni evren önermeleri, ne kadar yol alırsa alsın bir noktada fiziksel dünyanın nicel değerlerine tutunması nedeniyle kendi gerçekliğini yaratmasını engellemektedir. Oysa evrenin kendi altyapısının sayısal sistemlere dayanması, ürettiği ve üreteceği mekanların tahayyülünün de nicel bir tabanda sıkışmasını gerektirmez. Nicel ve indirgemeci tavrı kırabilmek adına bu evrenin atmosferlerine yönelmekte fayda vardır. Çalışmanın amacı Metaverse’ün gündeme getirdiği olasılıkları mimari atmosfer tartışmalarıyla çarpıştırmak ve Metaverse’e dair alternatif bir okuma yapmaktır. Mekanların atmosferine dair teorilerin geliştirilmesi ve atmosferik çalışmaların yapılması, bu öte-deneyimlerin tarif edilmesine imkan verecektir. Mimari atmosfere, anidenliğe, esrik varoluşa ve halüsinatif imgeye odaklanılması Metaverse’ün açılımlarını artıracak ve çok katmanlı bir deneyimi mümkün kılacaktır. Atmosferin özne ve nesne gibi sınırları aşan bir fenomen olduğu öne sürülebilir. İnsanları, yerleri ve şeyleri birbirine bağlamasıyla atmosferler, bağlayıcı ve bütünleyici bir tavra sahiptir. Atmosferin kaynağı olan noktayı tam olarak belirlemek güçtür, mekanı bulutsu bir biçimde doldurur. Bulanık görüyü artıran başka bir özellik de atmosferin birden içine düşüldüğüne yönelik deneyimde yatar. Atmosferin tınıları kendini esrik varoluşta duyumsatır. Esriklik özün doğrudan tezahürü olarak da ele alınabilir. Atmosferin ve esrik varoluşun bağdaştığı imge, ‘halüsinatif imge’ olarak tarif edilebilir. Halüsinatif imgenin referanslarını fiziki dünya ile sınırlamayan bir yapısı vardır. Bu yönü ile Metaverse’e özgü alternatif algıların oluşmasına aracı olabilir. Nitekim halüsinatif imgelem, bulutsu dağılımın içine aniden sürükleniş veya dalma hali ile oluşan imgeleri tarif eder. Esrik varoluşun duyumsanmasına paralel bir şekilde oluşan bu imge, bizi Metaverse’ün ürettiği atmosfere içkin bir hale getirecektir.

The relationship between space and human occurs through the actions performed with the body. The abstraction study as an exploration of the body is one of the significant practices for first-year design students. However, there are not enough investigations for design students regarding body, space and basic design principles. This paper aims to explore the potentiality and limitations of the body-abstraction process by comparing the impact of two different educational models on students' perception and improvement. The applied methodology includes comparing two design processes of the basic design course depending on parameters: Given example, source of the video, type of movement, the number of the selected-used scenes, mode of sketching, the method for production, requested outcome, the scale of the study, the material of models and critique of the video. The results present that the activation of the body through mental practice, drawing and modelling stages is critical to understand its abstract and spatial capabilities. The realisation of the potentials in the relationship between body and abstraction in spatial perception would enable us to create an advanced design process addressing more original concepts.

Architectural space has some triggers for unique experiences and one of them is its atmosphere. The atmosphere has an unstable structure so that it is difficult to define clearly. We are capable of immediate appreciation, such as being inside or outside. Thus, the threshold between bodily experiences and mental emergence becomes a blurred one, like a haze. It is sensed in bodily presence by human beings. The boundaries, such as subject and object, are transgressed through the atmosphere. The subject appears as a body and its movement in this discussion. Recognition of the existence of the body in space plays a significant role throughout the architectural design process. Theatrical dance or dance theatre (Tanztheater) practices provide new horizons for understanding the presence of the body in the space. Pina Bausch, as a choreographer, is one of the pioneers of this genre. The aim of the study is to point out the relations of body, space and atmosphere in Pina movie (2011). This study identifies choreographies with different aspects as follows: (1) In the atmospheric aspect; subject, object and their role in the atmosphere of choreographies by Pina Bausch were observed. (2) In the fictional space aspect; various spaces were examined in the sense of body-object-atmosphere interaction. (3) In the bodily aspect; space which is produced by the body and vice versa in dance theatre was investigated in the volumetric reflections of the body. This research contributes to bridging performative arts and architecture as understanding the space. It can be a guide for an architectural design studio to understand the role of the body through dance theatre.

Post-truth has an impression that the facts have been only corrupted with it. Many examples support this impression. However, it should not be perceived as just a disruption of the truth considering only political events. In different fields, such as creative industries, it may have different implications. Despite studies regarding education, there has not been much discussion on the design process and education. The objective of this research is to develop an introductory examination of what the design process (with statements in the book 'How Designers Think') can produce in post-truth cases and to seek the productive potentials of post-truth. Therefore, the claims were reviewed - as design problems, solutions and process itself - within the framework of the post-truth era. Some of the results are as follows: For design problems, designers need to find a way to oscillate among objectives without based on truth. Post-truth environments may trigger finding out unique spatial possibilities with designs of unique hierarchies. For design solutions, in post-truth era, the only optimal thing is to be apathetic about truth. There is no need to seek the optimal solutions. The ideal of wholeness is expired for the solutions. This situation fosters free circulations of tiny parts of solutions in the post-truth universe. For the design process, the correctness of the process is much more questionable anymore. Identifying problem is a crucial part of the design process. As the truth disappears, it becomes more difficult to discriminate the characteristics and value of the problems.

Architectural space has some triggers for unique experiences and one of them is its atmosphere. The atmosphere has an unstable structure, instead of static affectivity, and it feeds on uncertainties of spatial experience. Thus, instead of analyzing the dynamic atmospheres through reductionist definitions, it is necessary to address the existing ontological ambiguity of it. Theories of the atmosphere mostly correspond to physical spaces. However, COVID-19 brings about exponential enhance of digitalization. These digital interactions require a spatial dimension. The atmosphere, as one of the fundamental elements of space, needs attention in digital experiences. This paper aims to explore the perception of the atmosphere in digital space. First, the character of the atmosphere and its role in the architectural space have been reviewed. Later, physical space and digital space were compared in order to build the atmosphere belonging to digital space. Digital space is able to diffuse itself with tensions. We are capable of immediate appreciations, e.g. being inside or outside. Thus, the threshold between bodily experiences and mental emergence becomes the blurred one. Atmospheric interaction can be part of the digital space and this interaction strengthens the spatial dimension of the digital medium. However, instead of producing a simulation of the atmosphere in the physical space, it is necessary to analyze the characteristics of digital space and build a unique atmosphere specifically for it.

During the idea generation phase of the design process, designers often search for inspirations in external sources of information, such as photographs, written descriptions and physical examples. These sources have potential to enhance creative performance. However, they sometimes become too attached to particular ideas of external precedents or various examples. It refers to fixation which is identified as inadequate adoption of features from existing examples. Influence of the existing examples on creativity and fixation, specifically textual examples, have been discussed in this research. For the nature of design, researchers highlighted the restructuring process of design problem by new sources because the capabilities and boundaries of design problems are not defined very well. Further, the design problem is not knowable at any specific point. Design knowledge identifies itself by its ambiguity. Many models have been developed for design process. The various numbers of divided phases of the models can be seen as having two main areas: (1) idea generation phase (or “ideation”); (2) later phase for details. Idea generation plays an important role in the design process. It is the area of new and creative configurations on design. Creativity is an integral part of the design process. Designers purpose to achieve original ideas to demonstrate their ability and unique designs. External stimuli or inspirational inputs play important roles to increase creativity. They can support moments of stimulation. Associations between information from memory and external stimuli can contribute to the creation of new meanings. Designers are widely influenced by their surroundings in daily lives. However, each stimulus may not be the part of a more creative result Even if designers want to utilize stimulus as an inspirational source, somehow it may fixate their mind to its surface features and they may lose potential creative contributions of the source. It is called fixation. There is much research that shows significant evidence of conformity effects across the design problems. The given examples to designers may cause higher-level fixation and lower-level creativity or vice versa. Fixation may occur when example solutions are introduced, on the other hand, the designers may create more original ideas as well. There is a need for research to find ways to avoid fixation traps or reduce their adverse impact. Thus, this research focuses on variables of the given example. The following claims show some research areas remained unclear: (1) Some researchers investigated textual examples as - one of the modalities of representation - but did not focus on forms of textual examples. (2) Much research has been conducted with examples which are selected by the researcher. Nevertheless, designers can also choose or produce their own stimuli. There is not much research on this possibility. In this context, my research focuses on the following two variables through two studies (Study 1 and 2): (1) forms of textual examples; (2) self-construction of textual examples. First, most of the studies in the literature have focused on visual presentation and there is not enough research on the content and form of the text. The study of textual examples has still not been awarded enough attention especially as various forms of text. Some forms of text are as follows: keyword, paragraph, sentence, poem. These observations lead me to the following research question: Which forms of textual example increase creativity and reduce fixation more? (Study 1). Second, most of the studies regarding textual examples have used prose or keywords. The poems have been ignored. However, poems imply more meaning with fewer words. The structure of the poems enables more creative narratives than structure of prose. Because unusual organization of words stimulates the readers and draws their attention. This activates the creative performance of the reader. The surrealist poem is the extreme form of this activation. It is random assemblies with headlines and sentences which is cut from newspapers. Thus, novel meaning networks are formed. The method of creating a surrealist poem offers a new way of getting inspiration. It is termed as self-construction practice by this research. Through this method, designers create their own example from the given one. Reconstruction of the text may increase the creative process and prevent fixations from the given text. This suggestion led me to the following research question: If the designers write their own poem instead of a given poem (as a self-construction practice), can they internalize the textual example? In addition, does it produce more creative and less fixated designs? (Study 2). Two experimental studies were planned to partially answer the research questions, in which novice students of architecture were asked to solve two different design problems, under different conditions. All of the experimental sessions were conducted in a design education studio. The participants produced sketches and added a written explanation relating to their designs. Fluency, flexibility and repetition of key attributes were calculated by the researcher. Originality, practicality, understanding of the task and quality were ranked by judges. Study 1 shows us tendencies of using various textual forms. Distinctions of keywords and of poems have appeared among them. This emphasizes the role of keyword and poem in the design process as inspirational sources and provides many tips for their potential use. The keyword also leads to a high degree of fixation. However, a low degree of fixation is observed when poems are presented as inspirational examples. In Study 2, the self-constructed poem seems to support develop more successful design ideas from many perspectives. In the context of the surrealist poem, writing and reading the surrealist poem trigger the designers’ imagination. At first, the words and lines of poems seem unrelated to each other and designers try to relate them and solve the puzzle of meaning. Hence, novel meaning networks are formed. It indicates that surrealist poems are able to activate the creative performance of the designers. Writing their own surrealist poems ,as a self-construction practice, motivated designers to begin to produce by having fun. Motivated designers have stimulated themselves to produce creative ideas. In other words, the self-construction process may be added to the design process models in the earlier part of the idea generation phase which is called as pre-design and warm-up phase. This earlier phase makes designers highly motivated and they internalized the given examples. Following the conclusions, several implications and recommendations for the design process and education are discussed.

Interaction with the environment occurs in the perception of movement. Movement is the basic concept of mobility. Development and diversification (i.e., faster transportations, new technological access, etc.) of movement concepts may contribute modern people to become independent of any place. Nomadic cultures constitute the basic principles of mobile architecture with light, portable materials and flexible constructions. In the industrial age, futurist manifesto announced machine-housing concepts. The mechanized perception of the spaces prepared ground for mobilization. Mobility, as a source of independence from places, is sometimes a preference but sometimes the result of urgency. “Individual preference”, “cultural movement” and “forced movement” are key reasons for movements which may differentiate modes of mobile space. The objective of this study to examine distinctive features of mobile spaces of forced movements (i.e., for refugees) by comparing with other types of mobility (individual preference and cultural movement). Various design competitions were held for mobile spaces. The cases were selected for this study, considering the role of the user’s profile (unspecific users; nomads/immigrants; refugees) who live in mobile spaces. We analyzed awarded/selected projects for each type of mobility. As a result of examining the awarded outcomes of the competition the following parameters were detected: quantity of users; designer's choice for location; reaction to the environment; contextual attention; scope of modularity; mode of portability; type of portability; cost of materials and construction; proposal for belonging; sensitivity for sustainability. It seems that current events in the world have transformed the concept of mobility and led to the development of new definitions of mobility. This paper presents one of the new definitions of mobility, specifically for refugees. Many aspects of mobile architecture for refugees, as a new definition of mobility, has shown in this study.

Inspiration has an important role in design education. Searching existing design examples is a widely-used practice for inspiration. There are two different approaches regarding exposure of examples in design process. Some researchers claim that examples can inspire designers and increase the originality of outcomes, while other researchers highlight that examples cause fixedness to their features as a negative effect for creativity. The aim of the study is to analyse different modalities of examples, such as text, photograph, diagram, object as stimulation and to examine the impact of quantity, abstraction, proximity and method on each modality in design education. The paper reviews empirical studies of idea exposure from the existing literature and summarizes results relevant to understanding the effects of the design examples. Overall, to avoid the potential negative effect of using examples in different modalities, designers could pay attention quantity, abstraction, and proximity of examples for each modality.