Dissertation by Design

arch776_dissertation by design, 2021/2022

student number:10741562

design through the effects of experience in intermediate spaces on the sense of belonging to the space

This research looks into the phenomenon of performance, which aims to create a new reality by constructing spontaneous random e vents to investigate the performative modifications of the city. Public urban spaces play the most critical role in forming social practises by providing access to all individuals. These intersections of social movements, spon taneous, random performances, and fictionalised urban performances. As a result, the interactions at these points change/transform the city. Moments between incidental and fictional public performances feed urban culture. To beg in, we use the field to define the area. Another aspect is that architecture is about making space active through body movement. In other words, the problem of action, the presence of the body, and the associated experiences o r feelings. “Human consciousness is embodied, and the world is organised around a sensory and bodily centre. "I am my body," says Gabriel M arcel, "I am what is around me," says Wallace Stevens, and "I am the space, where I am," says Noel Arnaud. Finally, Ludwig Wittgenstein says, "I am my world."

So my primary motivation for this dissertation is to conduct extensive research and investigate the theoretical foundations to determine how we can make urban action designs more permanent by considering experience and performance. Voids as social interactions and reflections of everyday habits generate a new concept known as experience. By foc using on experience, the sense of belonging was investigated. The concepts of alienation and not belonging were examined. The second part of the study discusses the relationships established by the urban space user.

A phenomenological approach investigates human relationships with space and other people. It begins with space and progresses t o body movement and perception in the literature. It is questioned during the relationship between the person himself and other bodies. In this section, Mikhail Bakhtin's conceptual framework for his design is presented. The n arrative employs space and time as narrative forms, and common areas are used to create an experimental architectural design method. In addition, 15 artists who are professional performers were interviewed. Establishing a dialogue between body and space allows a fresh approach to creating architectural data. This dialogue can potent ially push the performer and the citizen beyond the boundaries of the traditional methodology. When creating building experiences, movements and bodies will not be standardised. When creating building experiences, activiti es and bodies will not be regulated. Finally, due to shared perspectives on space, a collaboration between the performing arts and design is proposed to improve arc hitectural design methods.

key words: experience / adaptive / sense / belonging / space / perception / culture / social / interactions/ connections

CONTENTS

FIELD OF STUDY / s3-6

INTRODUCTION / s7-9

METHODOLOGY / s10-11

SENSE OF BELONGING / s12

the concept of sense s12-13

the term of ‘of’ / s14

the concept of belonging/ s16-17

sense of place / s18

place identity s18

place dependence / s19

place attachtment / s19

space experience s20

lack of sense non-belonging (estrangement) / s20-21

THE BODY / s22

body - experience space s22

body - movement s23

body - performance s23-24

body - relations / s24

body - urban / s24-25

body - time - sense / s25-26

DESIGNING EXPERIENCE / PERFORMANCE / s27-s29

INTERVIEWS WITH PERFORMANCE ARTISTS s30-31

CLOSING THOUGHTS / s32

REFERENCES / s33

FIELD OF STUDY / QUESTIONS

HOW CAN WE EXAMINE THE SENSE OF BELONGING GENERATED TH BODY IN RELATION WITH OTHER BODY IN RELATION WITH OTHER BODIES IN SPACE?

HOW TO STIMULATE PERCEPTION OF SPACE BETWEEN TWO BODIES’S SPATIAL INTERACTION?

HOW THIS CREATE NOT JUST INTERACTION, BUT ALSO SENSE OF BELONGING?

INTRODUCTION

Project 0 / Adaptive Performance

Key References

Ash Amin

Bernard Tchumi

David Leatherbarrow

Henri Lefebre

Project 1 / The Forgetten

StoryProject 2A / Connecting Networks

Concept Words

Experience

Vibrant

Productivity

Adaptive

Performative

How will our new areas of experience reflect our traditions and habits, and will the city that best reflects this become the best city?

A good city is the voids that can change because of society and personal attitudes. These voids need to be a space of experience and social interaction for the public. A good city should be able to turn the voids into spaces to be performed like a stage with experience and differentiation. That is, good city should be able to perform, adapt and use the spaces instantly So, they can make themselves watched and create live scenes.

Key References

David GabrieleHockney

d’ Annuzio

Henri Matisse

Juhani Pallasmaa

Concept Words

OpenExperienceSpace

Perception

Synaptic

Estrangement

Sensory

Through estrangement we will consider and amplify the conditions found on the site where once we thought it bland, we now find it littered with interaction points, destined to be enchanced. Challenging perception with estrangement has resulted in us analysing areas through our playful imaginations, which is after all how our minds work when moving through spaces. Taking a playful style with our work has enabled us to analyse with greater visual resonance and leaves the audience with a longer-lasting impression.

Key References

Aldo Rossi

Kevin Lynch

Mikhail Bahktin

Robert Venturi

Concept Words

Interacted Vehicle Performance Society Revival Locality Culture Art

The way of transforming area is finding points and elements in the history of Plymouth. Things that were important in the past but not so live in the present days. The purpose of evoking these points is the rejuvenate Searching for the connections and identifying to create a network among different valuable concepts. The creation of regenerated area comes after making contemporary interventions. The vehic e here is being arts and street activities which can be performative and adaptive.

_interactive journey

Cansu Ba at c /10741562

Inferences from the previous three projects have revealed concepts that will guide me in the design process. The priority of th ese concepts can be summarized as movement and performance, the city being a stage and daily human movements as a situation to be watched.

Another issue is to be able to revisit the cultural and architectural heritage issues while transforming the city and bring the m to light together with the concept of performance. Keywords to be considered and emerged as a result of basically 3 projects are heritage, movement, performance, interaction and connection.

In addition to these, the subject chosen as a mediator is art, and it is the auxiliary field of the intervention that will tran sform the project area. The place chosen as the project area is the Royal Palace theater, one of the most well-known places in the city history.

The urban area intervention to be made is the creation of an open space that allows the performance of contemporary and perform ance-based art and street activities as a result of the analysis. The program chosen as the main and which will shape the project around it is the Parkour.

A kind called sport is also a combination of exercises in art, and moreover, it is seen as a productive effort since it has a v ery open philosophy to creativity and freedom.

This project is examining the performative designability of urban spaces through body and movement relations. The perception of space in urban spaces is based on performance and experience which come from movements. Designed spaces might make movement fictional , which can make the urbaner a audience. That is also means that a city might be a place that produces a performance. However, the perception of audience might not be full while in the movements. This might be result of lack of variations. The pleasure of urban space’ experience depends on no t only designed movements but also , not fictionalised movements like arts and activities. Those things help to build cultural or social urban spaces. Morover, n the changing world, some areas need to be transformed. In architecture this is mostly means generification. When architects i nterfere spaces, the sense of space might change. There might be some displacements. The spatial experience of displacement or negative sense o f belonging might occur. This study wants to investigate space in terms of performance phenomenon. The essay questions that can the urban intervention become experience itself. It also examine The parkour sport, wh ich is considered as an art of body movements, as an example of using space and its background of being created of usage of the city elements performative. Parkour uses the materials on the street to move fr eely as their bodies allow, without a certain rule. Since architecture is a discipline that loves rules and systematics, the concept of art, which is the expression of the movemen ts through the body, can clash with each other in many places. In this context, this design aims to be an experimental design. In short, this study examines the concept of performance in ord er to ensure that the performative transformation of an urban area gains reality and permanence through the parkour, which is like a contemporary artistic expression of the body and movement.

INTRODUCTION

Beyond spatial knowledge of the space, architects' movements and bodies are used in architectural design through users' daily needs/actions. Architectural space specifically designed for these movements The movement area, wall, window, door, and so on can be used as architectural elements after the architects' creation.

This is one definition of the architectural design method. "Is it possible to escape the system?"

To create or feel a space based on architectural experience and performance? It is putting the concept to the test using concepts of belonging. The interested is questioning the idea of space, Generally, we start by defining the field by activating the field. Another dimension is that architecture is about activating space through the movement of bodies. In other words, the problem of movement and presence of the body and the experience or feelings that go or come with it. Anyone who experience the place, where the performance happens, thinks that the reality, that is, the performative, is the events that are happening at that moment. So, in some ways it might mean that coherence and continuity cannot be permanent. So my main motivation for this dissertation is to make deep r esearch and to investigate the theoretical background to find out how can we make urban interventions projects more permanent by consideration of experience and performance. Voids as social interactions and reflections for usual habits. Those terms create a new concept which is experience. Cities are made by spaces which means, they are one of the social products.

This study will examine the performative designability of urban spaces through body and movement relations. The perception of space in urban spaces is based on performance and experience which come from movements. Designed spaces might make movement fictional, which can make the inhabitant, an audience. That is also means that a city might be a place that produces a performance. However, the perception of audience might not be full while in the movements. This might be result of lack of variations. The pleasure of urban space’ experience depends on not only designed movements but also, not fictionalised movements like arts and activities. Those things help to build cultural or social urban spaces. Moreover, in the changing world, some areas need to be transformed. When architects interfere spaces, the sense of space might change. There might be some displacements. The spatial experience of displacement or negative sense of belonging might occur.

This essay wants to investigate space in terms of performance phenomenon. The essay questions that can the urban intervention become experienced itself.

In this context, this article aims to be an in-depth research article of an experimental design. In short, this thesis examines the concept of performance in order to ensure that the performative transformation of an urban area. To understand the perception of space, and connection between perception of space and performing arts.

This study aims to show that an architectural space can be created by focusing on space. The concepts of body, movement, and space create a sense of belonging by establishing a relationship based on interaction and erception. It is a versatile architectural design method. Its purpose is to demonstrate the state of creation. Philosophical, perceptual, and architectural resources To develop an architecture, all theoretical resources are synthesised.

The created ion's goal was to create a dynamic environment.

INTRODUCTION

Gaston Bachelard employs the concept of "home" in a poetic allusion to memory, space, and imagination. He comes across the term "images" and their role in life (NoorMohammadi, 2015). The examples he gave on the bird's nest and the snail shell influenced Heidegger's allegory of the jug in the context of positive-negative space. "The Production of Space" also looks at Henry Lefebvre's space defence. Perception, psychology, sociology, and culture are all areas of study. Among the many highlights of this thesis are his ideas about the dynamism of space and how it is produced.

Perhaps the most well-known philosopher working on space perception is Maurice Merleau-Ponty. Merleau-body Because the world is made of body material, Ponty's phenomenology can help us understand the world and space (Merleau-Ponty, 2016)

. Pallasmaa will be another useful resource for understanding the limits of perception and sensation. His book "The Eyes of the Skin" discusses how modern architecture is moving away from more humanistic spaces and how we can reclaim these humanistic features through our senses and bodies.

The work of Mikhail Bakhtins on Dostoevsky's novel Between Spaces will also be mentioned. The study of the philosophical foundations of various sensational situations in an architectural context is required for the definition of their central concept.

People's daily movements and bodies are considered when designing architectural spaces. This architectural space is a volume After the architects have created this space, including walls, windows,and doors archite ctural elements are placed. This research aimed to develop a new experimental architecture method based on the collaboration of performance and experience.

This architectural method aims to create more flexible and humanistic spaces by utilising the body and movement in a performative context. Establishing a dialogue between body and space makes it possible to bring a new perspective to the production of architectural data.

This conversation can potentially push the player and the citizen beyond the boundaries of the traditional methodology. When designing building experiences, movements and bodies will not be standardised. While building experiences are being created, movements and bodies will be irregular.

It is interaction within an objective life, social relations, and space. As a result, it is the city from the purchase/transformation of its fiction over time. Urban objects are shaped not by their monuments and spatial spaces but by actual historical and social lines. This is critical in the management structure.

This is achievable with vehicles that will become familiar with the roads. On this occasion, art appears to be created with itself, with space, and without healing. Interactions and interactions in the lived event can be interpreted and directed at tensions in the artwork. As a result, art is shaped by practices and the management of the network of relationships with these practises. Movement, random and relevant turns in the city are shaped by the experiences of objects and subjects in their environments.

INTRODUCTION

"Performance," which emerged as a re-evaluation of human beings, has emerged as the strongest instrumental drawing of this expression. The goal of urban performance art with a stage is to share the "moment" and to be enthusiastic by inferring the structure of the ordinary audience and the city's citizens from the vehicles to be displayed.

The subject of the physical context is a more intense and intellectual performer in the city of the human body. The body is a familiar concept for the audience, allowing citizens to create their imaginations by planning space and boundaries for their bodies. These coincidental, fictional shares give the city its soul, and when combined with some structures, form a little fantasy and a few natural city spaces. The interaction of architecture and art disciplines on the outskirts emphasises what the space allows rather than what it is. Urban evaluations of architects or artists following their fields or the interaction of adjacent disciplines, the search for space, the search for public and private spaces, all constitute important information seeking data because they are critical, innovative, and questioning. Examining the formal and spiritual atmosphere of the space or space provides insight into the city's liveability. In this study, the spaces in the city centre where the centres of movement are examined evaluate the performance activity that plans to gain a new activity from the planning activities that will be redesigned in collaboration with the disciplines of architecture and art.

METHODOLOGY

When attempting to test a design idea and develop a design method in architecture, a qualitative approach is used. The body and movement relations are utilized investigate the performative design of urban spaces. There are points where people's relationships one another in public intersect with their sense of belonging. It is discussed how people's perceptions of their interactions with one another in urban areas can influence design.

First, concepts such as perception, meaning, belonging and identity, which are in different disciplines, are associated with space in order to understand and read the relationships that people establish with themselves and their environment through space. Studies on the interaction of space, identity and belonging were examined. The sense of belonging was examined by focusing on experience, and then researches related to the concept of not belonging and alienation were examined. In the second part of the study, the relationships that the user of urban space establishes with himself and other people are examined with a phenomenological approach. Literature that starts with space and continues with body movement and perception has been examined.

Then, the state of the sense of belonging as a sense of belonging in architecture was questioned during the relationship between the person himself and the other bodies. In this section, the conceptual framework that Mikhail Bakthin brought about the design of space and time in the novel as a narrative form, which he called chronotope, was examined. The concept of space-time has been examined in terms of the meaning of the novel as the main determining element and their connection with each other through body-space-movement and perception. The difference in the sense of alienation or the difference in behaviour in the relationship between the body and another body in the storytellers' stories lived in the context of time-space has been analysed.

METHODOLOGY

Common areas were used to create an experimental architectural design method. In addition, due to the desire of the design method to be dynamic and performative, the concepts of performance and experience come to the fore in this study, which investigates how a perceptual experience can be reflected physically. For this reason, interviews were conducted with 15 artists who are professionally interested in performing arts. Most of these artists are dancers, but there are also theatre artists and singers.

“Human consciousness is embodied, and the world is organised around a sensory and bodily centre. "I am my body," says Gabriel Marcel, "I am what is around me," says Wallace Stevens, and "I am the space, where I am," says Noel Arnaud. Finally, Ludwig Wittgenstein says, "I am my world."

The task of architecture is to maintain the differentiation and qualitative articulation of existential space. Instead of contributing to the homogenization of space and the acceleration of human experience, architecture must slow down experience, halt time, and defend the natural slowness of human perception. Architecture must protect us from excessive stimuli, noise, and speed. However, the most profound task of architecture is to maintain and defend silence. "Nothing has changed the nature of man more than the loss of silence," warns Max Pickard, the philosopher of silence. (Pallasmaa,2009)

SENSE OF BELONGING the concept of sense

Sense is defined as a biological system that processes the process of responding of responding to stimulants and gathering information about living environment and creating a sensation. This means interpreting and responding to the signals transmitted to the brain from the sense that collect information from stimuli for human being. Thus, a sense is a process that occurs in the presence of individual’s experiences and differs according to personal knowledge.

In Cambridge sense defined as an ability to understand, recognize, value, or respond to something, as any of the five physical abilities to sight, hearing, smell, taste and feeling, and it is stated that a general feeling or understanding. (Cambridge,2016) In other words, it is a process in which states of emotion and understanding that result in cognitive abilities begin to emerge with our physical senses. “Although, traditionally the five human senses (sight, smell, touch, and hearing) were known, it is now recognized there are many more.” (Bradford,2017)

When we start by introducing the experience obtained as a result of a mental process is sensation and the ways in which the feelings and understandings, we acquire make sense. These are basically our five sense organs which are sight, hearing, smell, touch and taste. We also have internal perceptual senses as well as physical abilities. These are also called sense of balance, sense of time, sense of temperature and sense of motions.

The first stimuli from our environment are information gained and transformed by our sense of sight and contribute to visual perception. It is the perception that our sense of sight allows us to experience as vision. In psychology, this can be clarified with the Gestalt Theory, which explains that the whole has a different meaning from its constituent units. And it explains that people can think of it separately and perceive the whole, even if the elements are not complete. “The ‘Gestalt’ is a pattern or a whole that emerges as more than the sum of its parts, where parts and wholes are co-dependent- we do not simply perceive an objective world, rather we organize parts to construct wholes.’’ (Arnheim, 1954) ) ‘Wertheimer formulated three rules necessary to reflect a unity of elements: similarity (items that are like each other), proximity (elements that are close together), and continuity (elements that show good continuity, even is interrupted).” (Behrens,1998) In addition, other elements such as symmetry, alignment, simplicity, closure, rhythm, and proportion are considered within the theory. However, since each person’s perception of sight reflects their own experience, it has been observed that the evaluations result in different.” What the theory wants to create can be summarized by finding and associating the common aspects of basic design concepts such as harmony, order, proportion, size, symmetry, colour, texture and space.

“(Rand,1965)

The emotions and feelings that make up our experience are the reactions of our minds after perceiving our environment with our senses. How we reflect this situation ourselves is our sense.

In cognitive science, the secondary sensory system after vision is often treated as hearings. It is considered a less effective and variable perception than vision. “Hearing occurs with sound waves through the ear organ. At this stage, air pressure is shown as a single data, and since there are two ears, there are at most two inputs. Thus, since the variables are not different according to visual perception, the event is short and temporary and is evaluated instantly.” (Lotto, 2011) Scientifically, it is the organ responsible for the balance of the human body. Thus, it provides a sense of balance and orientation towards spatial orientation.

SENSE OF BELONGING

the concept of sense o f sense

The sense of touch, which is our next sense, is formed by the data transferred from the skin. “Although it is a sense that is thought to be the centre of perceptual experience and one of the first senses developed by humans, it lags behind vision in philosophy and psychology.” (Fulkerson, 2015) The sense of touch, like hearing, gives a perception about individual objects. “it does not offer a rich feeling like sight. In the discussions, it is accepted that the sense of touch provides a weaker awareness then the perception of vision.” (Fulkerson, 2015) In addition, the issue that distinguishes the sense of touch from other senses seems to be that it creates bodily awareness. “Being able to establish a relationship between the body and space, which is called proprioception, being aware of the position and orientation of our body, is thought to be a feeling that the perception of touch helps.” (Fulkerson,2015)

Another sense is the sense of taste. It is basically divided into four taste perceptions: sweet, salty, sour and bitter.” In discussions, it is stated that the sense of taste helped human evolution. It is stated that as people taste foods, they have made a connection between their rotten or beneficial ingredients and bitter or sweet taste. “(Bradford,2017)

Finally, unlike the other senses discussed so far, “the sense of smell is directly connected to the stimuli they transmit by the receptors involved in both our sense of smell and taste. It is stated that the difference of these perceptions is not a process that needs to be interpreted in the feelings, but neural state.” (Privitera,2022) “Apart from how stimuli arrive, our memories of activity patterns are thought to underline our subjective smell experience.” (Shepherd,2005) This means that the smells of some places can cause memories to come to life in our minds, cinema or hospitals can be given as an example.

the term of “of”

This term is a possessive preposition. As a function word, it is used to indicate reason or motives and components or items. In Cambridge, it is defined as used to show ownership, belonging, or origin. (Cambridge,2016) It has a structure that can connect with the word used in a sentence. It is meaningless on its own. It establishes a relationship between the word that comes after it and the word that comes before it.

the concept of belonging

Belonging is defined as a positive sense of acceptance and welcome in one's environment and a sense of being happy and comfortable in mutual social relationships. It is often said that it is a need rather than a feeling. It is stated that "being happy and comfortable is familiarity with the environment or situation, or being a part of something, as well as the need to receive and give love, that is, belonging is an emotional desire." (Fiske,2004) Although there is no specific scale, it is stated that people ar e urged to establish and maintain permanent and valuable relationships with people other than themselves, which is the essential point of feeling belonging. "The needed desire to belong is a human motivation." (Baumeister and Leary, 1995) Happiness and comfort are the mood s that arise when this impulse is acted upon. This strengthens the feelings towards life. All these create a sense of mental satisfact ion in the person and increase the sense of integrity in the abstract. According to Baumeister and Leary (1995), belonging is a social concept as it is the feeling gained from establishing and maintaining relational bonds between people. Thus, it is stated that the elements that make up the sense of belonging are bonds and relationships. It is also characterized as the emergence of a feeling that occurs alone in interaction with other people. However, although belonging is seen as an abstract meaning, it has been accepted that its reflections are expressed in spaces. "The conc ept of belonging is a concept that emerges with social relations, and physical elements are also a factor in forming this feeling. Because socia l interaction happens through physical space, Although the emotional bond the person develops to the place is individual, it is due to interaction. T he concept of spatial belonging emerges." (Miligan,1998) The sense of belonging arises from the interactions one has with other people.These interactions natur ally occur in spaces. People emotionally give each interaction a code within themselves. And these codes create their feeling.The important thing her e is that this feeling cannot occur without space. The concept of belonging can be felt in many ways, but it really emerges when there is a space phenomenon. "Feeling belonging to the environment arises from having the physical space phenomenon where social interactions can take place." (Monzo and Perkins, 200 6) In this case, the loaded codes, meanings, vary according to the nature of the people. "Attribution of symbolic meaning to a place is common. When people see their own experience in the space as special, they attribute special meanings to it." (Williams and Vaske, 2003) This shows that the sense of belonging is emotional and subjective. At the same time, since the environment in which the individual interacts in society, in the case of establishing relations, th e person has a place in the communities and a sense of belonging to this position. "Various events or places describe the relationship and interaction of people with p hysical elements. These interactions produce dialogue. Ultimately, it affects the individual's view of society and society's view of the individual. As a result of the relationships arising from these dialogues a person's place in society is formed." (Shamsuddin and Ujang, 2008) In this context, when there is a positioning in the societ y, it depends on the sense of belonging. As a result of all their interactions, the desire to belong to something or a place brings the sense of belonging to the fore. In this case, it is accepted that the sense of belonging is a social and a cultural phenomenon. Belonging can also be explained as what we add to the interaction or what we get from it when we enter a mutual mental and individual relationship with the society.

This is a social experience. Another issue related to belonging, when we accept the people individually, it seems that the identity phenomenon emerges so that the social experience can contribute to the belonging. Related to this issue, it has been stated that the sense of belonging also raises the issue of identity." Identity can crystallize around a sense of belonging predicated on hierarchically defined rights of access to territory, which then serve to stratify social groups according to perceived origin." (Lovell,1998) According to Relph," An authentic sense of place is a direct and genuine experience of the entire complex of the identity of places, not mediated and distorted through a series of quite arbitrary social and intellectual trends about how that experience should be, nor following stereotyped conventions." (Relp,1976) The identity of a place, like the identity of a person, is related to the spaces. Identity carries a sense of belonging with it. The sense of belonging often fluctuates in people. o ple.

sense of belonging

"From the moment the individual interacts with the society, she/he has sought or tried to construct a space that allows her to create her own existence and identity" (Cresswell,2004) "Establish these relationships and feeling belonging to them is also very important for adapting to the environment and life." (Shifron,2010) It is emphasized in the literature that social interactions are very important for human nature. According to Maslow, when human physiological needs and safety needs are met, the individuals want to establish close relationships with others and be in a group. (Maslow,1943) In addition to tactilely perceiving the physical boundaries in which they are or live, people are attached to space. It is also stated that places define or change the self-perception. In other words, the phenomena of being in space and identity should not be considered separately." The sense of personality is structured by physical environment, which also defines daily life in various ways." (Proshansky,1978) As people relate to their surroundings in physical spaces, they add meaning and the sense of belonging increases. One's identity is formed through the vital environment." As the individual enters social relations, the sense of belonging becomes stronger. Staying connected with communities depends on the continuation of such interactions." (Fried,2000) These phenomena, which are formed through perception, seek continuity even if the environment changes. One's own sense of identity also tries to find common meanings with the sense of identity of the environment through perception. "Meaningful environments show not only what behaviours people can exhibit in that environment, but also the symbolic and emotional relationships between the person and the physical environment"

(Bonnes and Secchiaroli, 1995)

According to Hagerty ad Patusky, sense of belonging is the experience of being an integral part of a system and being able to participate personally for individuals. It is conceptualized as valuable participation and harmony. While valuable participation is the experience of feeling valued, desired and accepted, adaptation includes the perception of the individual's characteristics with the environment or system." (Hagerty and Patusky,1995)

"At the end of a long process, the city began to be seen as a place. During this time, the elements that make up the city were seen as the city's geography, cultural level, architecture, lifestyle and historical background." (Relph,1976) "Consideration of belonging through physical perception, independent of physical space, began to become a point of criticism in the 1970s.It is emphasized that first of all the importance in establishing an individual sense of belonging and spatial belonging." (Schulz,1985 and Pretty,2003) "Studies focusing on the relationship between physical space and belonging are discussed in the context of urban transformation, gentrification and urban renewal practices. It is generally seen that the focus is on how the place affects the individual." (Tweed, Sutherland, 2007; Sekor,2008, Ragb,2011)

The ability of an individual to create an environment in which they will have a sense of belonging might be considered one of the aspects that increases this emotion. The process may also be inadequately expressed if the idea of physical touch is simply used to evaluate the sensation of belonging to one's physical environment.

"Humans do not have a place with their existence, on the contrary produce and form their shape." (Pretty,2003). "The physical environment offers the individual a sense of belonging through its natural or man-made structure, and with this feeling, the person has individual consciousness of the location where she or lives." (Enachea and Craciun, 2013) The relationship between place and sense of belonging is handled in the research literature among sub-concepts. The first consideration is the meaning of the place or how its guests interpret it. "One of the identities of defining the significance in a place is the sense of place" (Norberg and Schulz, 1984). "Other concepts, such as place attachments and identity, also need to find a meaning in context." (Casakin, Kreitler,2008; Relph,1976) Relationships between place attachment and personality are tightly intertwined. As one's emotional identity changes, it also does.

"As a result, place attachment is ingrained in a person's appearance as a whole and plays a crucial part in the development of such fundamental concepts as personal identity and a sense of belonging." (Fullilove,1996; Twigger-Ross and Uzzel,1996, cited in Casakin and Kreitler,2008)

When talking about a person's sense of belonging, the ideas of place attachment, place dependence, and place spirit are also mentioned. According to the arguments, these concepts can be arranged inside the framework of a general attitude, which is described as cognitive, emotional, and behavioural responses. "Place concepts like attachment, dependence, and identity can each be viewed as emotional, behavioural, and cognitive characteristics, and they are better understood in this way." (Bonnes and Secchiaroli, 1995) As factors encompass the sense of place, the concepts of place, attachment, place dependence, and place identity are also defined.)

sense of place

The three-place structures of place identity, place dependence, and place attachment are commonly mentioned in the literature on environmental psychology. "These concepts share a significant amount of similarities, but they also have unique qualities." (Bonnes and Secchiaroli,1995)

Spatial perception is one of the fundamental components of how people and their environment interact. People's awareness of a place's physical attributes is mainly based on their spatial perception, and their perception of its physical attributes heavily influences their opinion of that place. The person's behaviour in that environment is impacted by and shaped by these evaluations. How a person perceives space is affected by how long or how little time they have spent in or near it and how they recall it. Merleau-Ponty, in this respect, also bases spatial perception on the concept of 'experience', claiming that the change of perception into awareness occurs with reference and that each perception occurs with links from the previous one throughout existence.

Kevin Lynch investigated spatial perception at the urban scale. In the process of reading and making sense of the city, he determined how people perceive the city. According to him," The city classified the components needed for space perception into five categories: urban image element / urban image components, roads, regions, borders, nodes / focal points, and sign elements." (Lynch, 2010) The spatial organization elements that comprise spatial perception, according to Norberg-Schulz, are "centre or place(approach), directions and paths(continuity), and areas/interests(boundary)" (Norberg-Schulz, 1972)

It has been clarified that people's experiences, in connection with the city's balances, create spatial perception. Perception of space is a sensory and mental process. Belonging and perception are influenced by acquired culture and experiences, as well as social interactions within the space.

place identity

"A place is built both physically and mentally by interpreting feeling, perceiving, narrating, and briefly living it. This means that a place cannot exist unless it is named, identified, and defined by people." (Gierny, 2000). According to Massey, "the sense of place encompassed more than just one person's emotions for a specific place." (Massey,1994) Instead, she stressed the significance of social emotions on the sense of place. She asserts that it is characterized by social gatherings occurring everywhere. "Place identity refers to 'the dimensions of self that define the individual's personal identity in relation to the physical environment through a complex pattern of conscious and unconscious ideas, beliefs, preferences, feelings, values, goals, and behavioural tendencies and skills relevant to this environment.' 'Place identity,' as a cognitive structure, is a substructure of a larger self-identification, in the same way, that gender identity and role-identity are." (Proshansky,1983)

It is seen that the debates on place identity continued over social identity after the 1970s. "I regarded place identity as one of the components of social identity. Since what happens in space gives it meaning and identity, social structure, relations, and identity are more addressed than physical structure and physical identity." (Proshansky,1978) It is easier to define and explain the sense of place and belonging through the identity of the place when we look at the social relations that occur in spaces.

place dependence

In studies, place dependence is defined as the need or desire to continue living in a place by developing a solid relationship with it. "Being in a strong relationship with the place creates place dependence." (Stokols and Shumaker, 1981) The connection is referred to as perceptually in this context, which means that if people perceive themselves as having a solid relationship w ith the place, they are dependent on it. Brown defines place dependence as "dependence arising from the achievement of various goals." (Brown,1987) This means that a general subjective opinion cannot be specified. There is a subjective quality state in t his situation when there is a sense of dependency. In other words, a specific place may appear different or more meaningful to some people than to others. "Two components essentially explain place dependence. The first is environmental characteristics, and th e second is personal comparisons with other societies and alternatives." Moreover, the concept underlying the individual's assessment of dependency with space is function." The orderly organization of these functions is the comparative process of the existing place and the quality of its alternative. (Stokols and Shumaker,1981 ) Place dependency is defined as the features that present the place to the user and the conditions that distinguish that place f rom others.

"Place attachment is a concept that refers to the perception of social interactions over time as opposed to relationships with the physical environment." (Jorgensen, 2001) Attachment to place has been identified as an emotional component of a sense of belonging. It i s stated that the concepts of place dependence and place identity interact to create a sense of attachment to the place they construct. And t he combination of these elements produces a sense of belonging. Attachment to place is a fundamental component of a sense of belonging. "Human s feel connected to places where they create improvements that reflect and represent them; they consider themselves to be a part of th at place." (Harris,1996). "Simultaneously, individuals feel secure and at ease in that place, which they preserve and bring meaning to." (Brown,2003; Hidalgo,2001; McAndew,1998; Hay,1998)

"Positively experienced connections that grow over time from cognitive and behavioural ties between individuals and groups and their socio-physical surroundings are referred to as place attachment. These bonds, which have stabilizing and dynamic properties, provide a basis f or individual and communal aspects of identity." (Brown and Perkins, 1992)

"Place identity is affected by both physical and emotional aspects of environmental experience. It is also related to a place's symbolic significance as a folder for relationships and emotions that give direction and significance to life and reflect a sense of belonging"

(Proshansky,1995, Shamai,1991, cited in Ujang,2012). "Place dependence is the perceived strength of a person's relationship wit h the place, which is related to the current place's characteristics and the quality of other places that are comparable to the actual lace. Place dependence and attachment as a platform for activities and social interaction are influenced by physical and functional qualities of place ." (Ujang,2012)

space experience

"As a phenomenological-experiential entity, the place combines natural elements, social relations and meaning. A phenomenological experience of place includes all three realms, each influencing our actions in place." (Creswell,1992) The spatial practice of daily life is another component of belonging that has been discussed. "Belonging is primarily a sense o f place and a time" (Massey,1994). "People's daily spatial activities construct a sense of belonging." (De Certeau,1984) Individual and collective experience is gained as a result of the variability of spatial activities. When these movements diffe r, the perception of the experience shifts. Spatial experience, in this case, belongs to both individual and the community. It is unique by nature due to its location and time.

lack of sense / non-belonging(estrangement)

"A sense of belonging is also thought to play a significant role in an individual's psychological and physical well-being." (Hagerty and Patusky,1995). "A sense of belonging also acts as a shield against the individual's prospective feelings of pain and loneliness caused by estrangement and social isolation." (Hagerty,1992) It is claimed that a lack of sense of belonging has an adverse influence and causes a variety of deprivations. "When a person's need to belong in not met, it can result in frustra tion, aimlessness, and emotional-psychological issues." (Baumeister and Larry, 1995) According to McMillian and Chavis, when a person's sense of belonging is lost, they feel insecure. (1986). "Individuals who lack a sense of belonging may experience feelings such as estrangement, loneliness, and social isolation." (Ferguson,2010). People feel safe when they believe they belong in their surroundings. Loss of trust creates a sense of alienation. When an individual feels complete as a part of the w hole, it affects the individual's life adaptability. In this case, it is concluded that the individual's general state is related to society's well-being. "Based on the idea that individual well-being and societal well-being are linked, general mental health improves wh en everyone in the society feels like they belong." (Ferguson,2010)

THE BODY

body-experience-space

Humans perceive our surroundings through our bodies. As we move through spaces or the built environment, our bodies shape our experiences. In this case, our body is the most crucial factor influencing our perception and feelings. "The phenomenological approach is widely accepted as a good starting point for investing space and body interactions" (Manzo,2003)" According to phenomenology, spaces are a relative world that depends on people's interpretations and meanings." (Eyce,2011) For architecture, phenomenology is used to understand the spatial relationship between architectural form and humans. Bachelard, who is one of those who analyze the space from this perspective, evaluated the relationship that people establish with the house." It is essential to examine the impression in the individual's consciousness." (Bachelard,1996) Heidegger, another theorist, accepted space as a venue of interaction and experience. " Individuals create a sense of their environment by first settling in and expressing their emotional responses." (Shar,2013) Noel Arnaud's "I am the space where I am" is used by Bachelard. "The body moves through the buildings and streets. The body and the architecture supplement each other." (Pallasmaa,2005) Every day, the human body interacts with architectural space, both mentally and physically. Every second, the body interacts with the architecture.

Merleau-Ponty is a thinker who studies the relationship between matter and realm in the context of perception and experience. Perception, according to him, is the link between the world's beings and the subject. This perception causes us to have an experience. (Merleau-Ponty,2005)" The body exists in space, holding and changing it. Because our body is in space, it can start moving. (Merleau-Ponty,2017)

According to Lefebvre, understanding space begins with recognizing the body. Because understanding is necessary for making sense of space, and perception exists only in the body. "My body is primarily my space. Moreover, my shadow and reflection. Space is the crossing point of these two." (Lefebvre,2014) The perceived lived and designed spaces are social spaces in this context, where the main thing is the production of space. In this case, where society creates these spaces. "Space is a dynamic element that changes perception, living and creation. In everyday life, the main component of space is dynamism. The perceived lived and designed spaces are social spaces in this context, where the primary concern is the production of space. In this case, dynamic spaces occur where society creates these spaces" (Lefebvre,2014)

body-movement

"The human body is defined by its ability to appropriate significant cores that transcend and transfigure its natural powers in an infinite series of discontinuous acts." (Merleau-Ponty,1945) Merleau-Ponty considers the human body to be the centre of experience and believes that its senses are a way of connecting with the outside world. While the space that is perceived as set in the perception of its movement is the body itself, the body's passive movement is perceived as stationary, and the experience is in mind. Smith claims that the human body and architecture both stimulate the 'internal system of rhythmization'. Furthermore, Smith contends that architecture, like the body, is a series of repetitive rhythmic actions that define territory to regulate the 'chaos' of the external world, or what Merleau-Ponty refers to as an 'indefinite series of discontinuous acts. (1945)" Human bodies and architecture are neither different things nor disconnected aspects. Both are examples of 'material flow.'

(Ballantyne and Smith,2011)

"It is a multi-layered spatial experience that includes movement and memory." (O'Neill,2001)

"The body creates movement, movement creates the experience of space, and space creates the body in creating perception and experience about itself, and the body's movement provides data. These data are information for the body's senses because of movement. It is a change in space that the body can perceive through its senses."

(Merleau-Ponty,2002)

This perception of experience created by the body's movements in space is acquired due to various interactions. This situation appears to interact with space design and involuntary movements. Urban rhythms emerge from the rhythms. These rhythms are felt perceptually due to the city's general flow. This is the movement that causes the flow. When the movement's positive perceptions match the data in the person, the movement confirms the space.

With the exemplary practice of fashion and architecture, Orta Lucy's works emerge socio-cultural phenomenon. Orta describes fashion work as a 'visual contrast'. Orta stated that "it's about getting art out of the institutional place and street." (Quinn,2003) Orta challenges the objectivist functionality of urban space and the human body. In this context, the human body is an urban cultural performance that produces complicated narratives " among movement and stillness, between the visible and the invisible." (Quinn,2003)" Because living in space involves adopting it as a part of your body", Orta says, 'your clothes become an architectural residence.'

(Quinn,2003) According to Lucy Orta, one of the materials of architecture is human, and the body contributes to the flow of movements and coexists with the community.

body-performance

The body first makes mental and physical contact with the space and excites the performance in that space. Pile claims that the entire environment is experienced with the whole body. The body sees colours, shapes, movement, and shadows but smells, hear, touches, and moves. According to Lynch's argument, people only act and live in the world. In this case, the generalised mental picture of the physical external world and the environmental image organised by the individual is the strategic links in the way-finding process. This image results from immediate sensation and knowledge of past experiences; it is used to interpret information and guide actions. The need to understand and pattern our environment is critical and has a long history. This image has both practical and emotional significance for the individual. Pile has translated them as "Real," "Imaginary," and "Symbolic" spatiality to avoid undermining the argument. Individuals' collective structure forms social relations. The psychological and physical movements and experiences of urban objects will guide the understanding of the concept of the city to understand and develop this structure. Thoughts are produced by interacting with specific brain regions with internal and external stimuli and body-specific responses. The brain records and compares actions and reactions to create patterns." These images are the result of the bodily activity or activity perceived to be related to the body. In both cases, images correspond to changes in the body and its surroundings." (Castells,2009) Thus, improving the body's ability to perceive its surroundings will help both urban bodies and the city to have a dynamic structure open to transformation. To remove the environmental limits of perception in his theatre works, Antonin Artaud speaks of the "body without organs." This is not a body in the organic sense; it is a suffering, incomplete, diseased body in a constant cycle of destruction and regeneration. "It is a violent but self-controlled exploration of potential elements of the body's coincidence and external factors." (Artaud, "Once you have formed your body organ-free, you will have released it from all of its automatic reactions and achieved true freedom." (Ballantyne,2012)

"The organless body, or body unstructured by interactions, reactions, or concepts, is taken up and deterritorialised, transforming it into a dynamic concept referring to the elimination of all acquired habits and identity. We become organless bodies by postponing our identities. We leave the actual world, where we function well, the stable world of common sense, and enter the virtual world, where anything can happen." (Ballantyne,2012)

Constructing a clear association between urban spaces and individuals - the city is a performance stage, and people are the dancing bodies on it - will allow users to extend the boundaries of their interactive relationship with the space and transform it into an imagined, fantastic performance. Exploring performative bodies interacting in the city is a continuous activity mediated by space. Collective fields form that connect bodies to physical and psychological experiences and sensations.

"The interaction of the body with space is the primary factor in city social formation. Similarly, changes in living environments have an impact on body formation." (Pile,1996)

The actions that the body is subjected to in the relationship established between bodies and the reactions that the body develops in response to them create social tension. "This tension affects individuals' questioning and creative identities, filters their interactions with their environment through psychological and physical filters, and consequently the transformation of urban bodies and spaces begins." (Pile,1996) According to Pile, 'body-ego-space' identification methods, physical defence mechanisms, internalised authorities, and intense emotions are zoned, destroyed and rezoned by the flow of power and meaning. Bodies are formed in particular aggregations of personal relationships. However, these are not simply passive bodies that take up or place; they also construct the earth. They each create their own emotional maps. They talk about their feelings and their place in the world. In their own body-ego-space, they establish internal and external border dialogue. Finally, bodies inhabit, create, and r eproduce in multiple realities, in never-innocent, imaginary, and symbolic spaces of power and resistance. (Pile,1996)

The Refuge Wear by Lucy Orta (Source: Quinn, 2003)

body-urban

The relationship established between the space that it recognises and redefines in the performative acts in which the body is used as a tool is that it creates itself conceptually in space before the physical one, transforms the space with itself, and creates a new perception of space.

Wodiczko is an artist who works to reveal the complexities underlying everyday life and urban experiences. He claims that architecture and bodily experiences shape our place in society; with his anti-monument works, he reveals texts hidden among the city's structures and brings the text's readers to face to face with their bodies. He emphasised the distinction between "urban readings and lived experiences; thus, the distinction between 'ideal (mathematical-logical) space categories and social practises and real space' experience while addressing a building. (Kaye,2006)

body-relations

Massey makes a similar claim about Bernard Tschumi's architecture, describing his creations as "the new concept of time and space." Because according to Messey, his goal is to demonstrate that the city we live in is made up of random places that are fragmented by challenging the city's known symbols and concepts. (Massey,2008)

According to Tschumi, space is not only a three-dimensional reflection of a mental image but also rests and acts accordingly. Determines eye range of motion; thus, spaces of senses and spaces of society begin to articulate; dances and bodily movements fuse the representation of space and the space of the model. Bodies not only move here, but they also make room. With body movement, events infiltrate architectural spaces. These events generate scenarios or programmes that are spatially independent but inseparable, free of moral or functional implications. The events that occur with the existence of the body and the programmes formed by the fictionalisation of the events shape space.

According to Bernard Tschumi, architecture is not only about space and form but also about movement and gesture in space. "Perception is an action that occurs in the presence of an object and concludes in understanding that object through the senses.

The bodies that make the first contact with space filter the physical world they perceive through a mental filter. This information is found in the body's physical and psychological counterparts. Performative bodies confront every variable new possibility of existence in the city. Dynamic social environments and social cohesion can be achieved if city residents leave their perceptions open to these changes. To expose perception, the body must recognise that coincidences surround it. As a result, he can investigate potential elements of the outside world. Bodies devoid of organs, formless, disordered, and unstratified, become a productive machines in which desire multiplies and fluctuates.(Pile,1996)

"The individual cannot draw oneself with the same city, but how can he be with the city, by establishing this unique, harmonious with oneself and with its organic acceptance." (Paquoy,2011) The individual's relationship with the city is highest in the public spotlight. The individual is not the only variable here; the social environment clarifies urban potential. We will need a variety of tools to establish this one-of-a-kind relationship. The first of these tools is art, and it is also the most intense form of relationship.

Performative interventions, over time, break up the city's monotonous daily life rhythm. A rhythmic person is constantly in and out of the city. The 'rhythm' that emerges when viewing the individual from this – spatial structure should be explored; as a result, the tools required to transform the city into a harmonic structure rather than a single static rhythm are being discovered.

It includes all needs defined by peace and adventure, work and play organisation, predictability and unpredictability, similarity and difference, seclusion and encounter, independence and communication, immediate and long-term. Humans desire to accumulate, spend, and even waste energy by playing games. As a result, the city cannot be viewed as a series of interconnected routines but rather as a timeline with symbols and a distinct style.

Individuals' interactions with the city and others are essential aspects of daily life. The individual divides daily time into activities and fragments it. "There is a struggle to live in the diversity of subjects and objects, between time as a more ideal and real, more complex unity whose rhythms are measured, imposed, external and internal, where opposites find and recognise each other." (Meyer,2008)

Bernard Tschumi defends human and spatial movement. He claims that architecture is continuously transformed by multiple events within and around it. (Tchumi,1994) Architecture, according to him, is defined by the actions witnessed within the walls. "The architect's influence on actions; If the architect explains the space; If he can consciously use tools like repetition, distortion, and sequencing, why can't he do the same for the activities within these walls?" (Hill,2005)

According to Tschumi," the programme is based on social behaviour and habits, whereas the event is based on unexpected behaviours".(Tschumi,2000) He claims that discussing a location without mentioning an incident is impossible. He believes unanticipated uses will emerge by diversifying the relationships established by the activity and the programme'. (Tschumi,1996)

According to him, 'architecture is not only about space and form but also about the event and actions in space. Architecture cannot exist without events, actions, or activities. Tschumi defines everyday life as the intersection of "event" and "action," and "scenarios" occur at the boundaries of events in space.' (Tschumi,1996)

Creating dynamic relationships and the movement of people in space is an essential aspect of architectural structure construction. Tschumi refers to the movement of people within a structure as flow and the forces that propel this movement as vectors. 'Flow and vectors meet in "the space in between." The movement of the people in the space activates the full potential of the space. Possibilities allow for the occurrence of unexpected events in space. "(Tschumi,2000)

The 'Parc de la Villette' project is assessed to examine Tschumi's view of event space and designs and the realisation of the 'event' in the architect's repetition of these original concepts. "Elements such as galleries, stairs, bridges, bridge ramps, and platforms direct the flow. These elements form the public face of buildings that host stimulating and unexpected events." (Tschumi,2000). "The city has the potential to host complex and interactive events. As a result, he is an example of "event-cities" and "city events." (Tschumi,1994) Tschumi uses various concepts to explain the possible relationships between space and programme. One is programming. Combining two or more programmes means adding a new activity to an already planned activity. In this case, the newly added programme may conflict with or contain spatial requirements to support the first. (Tschumi,1994)

Vectors like stairs, bridges, and bridge ramps were important design data for Tschumi. In this regard, he also created graphics describing the compositions of the guide elements. These elements include spiral and linear stairs, ramps, and platforms. He linked them with a vertical axis setup.)

body-time-sense

"Time is learned in childhood as both a concept and as a social institution that forms an inseparable whole with this concept. Everyone who grows up in society recognises and understands 'time' as a social institution at a young age." (Elias,2000) "To conquer space, I must first conquer time. Space and time are like Siamese twins. One cannot be considered without the other These are our two constant companions, each holding one of our arms. Experts say they make an unusual couple because time is singular and space is plural." (Carriere,1999). As a result, with chronic time knowledge based on a deterministic principle, the meaning of events occurring in space, namely "movement," is possible. In other words, time, a necessary condition for all phenomena, also provides the conceptual basis for movement in space. According to Aristotle, "every action has its time." (Aristotales, Heidegger,2007) "Assume there is a space with things in it. If it is nothing, then there can be nothing in it. But if it's anything, it'll be in the area; this space will be in space, and the process will go on indefinitely." (Capalle,1994) "Time, as a form of perceptual knowledge (like space), is a law that appears to be born with our thinking." (Heimsoeth,1986) Everything happens in space and time. As a result, all phenomena, and events, in short, must exist in a specific space and time, according to the laws of the human mind. From a phenomenological standpoint, Edmund Husserl explains time with a system of thought that the senses can perceive. "Man sees universally and clearly that meaning and appearance expand across the temporal domain in a certain style and order, and that their continuity forms a unity" (Husserl,1997). Husserl focuses on the present, which the senses can perceive, and concludes that it does not exist, even though time and space are one of the most general principles of the mind, that is, something other than essence. "Phenomenologists do not categorise lived experiences in terms of any specific reality." (Husserl,1997) It only deals with reality as it is conceived, conceived, intuited, or conceptualised. That means dealing with lived time experiences when it comes to time.

According to Einstein, time and space change depending on the reference object. So everything in space-time has a "relativity" to everything else; thus, time and space must be considered together.

Based on Einstein's theory of relativity, Russian literary theorist Mikhail Bakhtin introduces the concept of "chronotope" in her work "Concluding Views on Time and Chronotope Forms in the Novel". According to Mihail Bahtin, they are inextricably linked; thus, time cannot be considered apart from the space it occupies. Time, an abstract and transparent concept, gains a concrete and intense feature over time. Space. According to Gaston Bachelard, "space compresses time in the thousands of eyes of honeycombs." (Bachelard,1958). "On the other hand, the narrative becomes meaningful only to the extent that it displays the characteristics of temporal experience." (Ricoeur,1983)

Bakhtin draws attention to the distinction between the textual and real worlds after discussing literary images' temporal and spatial values. The purely external composition shapes the author's and listener's time spaces and the work's external material existence. Outside of the text, this is the real world. The real world also creates the text world or fictional time. The representative world's time-spaces emerge from the real world's time-spaces. The location evolves as a real place in the story world over time and is a fictional location created later. Because time and space are considered together when writing a fictional text, they also play an integrative and decisive role in the reading process. While reading, he imagines the work's imaginary time and place.

Mikhail Bakhtin examines the time/space relationship and the values of this relationship in art-literary works using the concept of chronotope. "Kronos" refers to time, and "topos" refers to space. According to Bakhtin's importance on this concept, time and space cannot be considered separately in a work of art. According to Bakhtin, the chronotype, which functions as "concrete time in space," is not just the coexistence of time and space but also the emotional value they carry. While considering time and space together, the fact that these two concepts share a familiar feeling clarifies the definition of chronotope. The chronotope makes time tangible and visible. Time-space thus contributes to the concretisation, and life of the narrative's events.

Parc de la Villette by Bernard Tshumi,1983

"The chronotope, which functions as "concrete time in space," represents the coexistence of time and space and the emotional value they carry. While considering time and space together, the fact that these two concepts share a familiar feeling clarifies the definition of chronotope. The chronotope makes time tangible and visible. Time-space thus contributes to the concretisation, concretisation, and life of the narrative's events." (Bakhtin,1981) Chronotopes organise the novel's main narrative events. Chronotopes, to which narrative knots are tied and joined, serve primarily to represent. Time is touched and made visible by the chronotope. Events become materialised and come to life.(Bakhtin,1981)

Chronotopes embody the lived and narrated time-space, time in space, and events and help to connect and unify the narrative. It also serves as a representation in this sense. They can be crucial in determining the narrative's period, setting, and genre. To understand the novel's and story's organic relationship between event, person, time, place, and narrator, the functions of the chronotopes must be determined and put into practice, not just in theory.

Mikhail Bakhtin lists and briefly examines some Spatio-temporal values of varying degrees and scopes after analysing the main time-spaces that survive as genres in the early stages of the novel's development. (Bakhtin,1981)

"The encounter's chronotope is dominated by the temporal element, and its distinguishing feature is the high intensity of emotions and values." The encounter's road chronotope is distinguished by greater scope but the lower intensity of emotion and evaluation. (Bakhtin,1981)

"This may be associated with the motif of time-space encounter, but we find its most basic example as the chronotope of a turning point and breaking in life. The word 'threshold' has a symbolic meaning in everyday usage. It is associated with a life-breaking point, a crisis, a turning point, or a life-changing decision (or indecision that cannot change a life). , fear of going beyond the threshold)."

The threshold chronotope is always figurative and symbolic in literature, sometimes explicitly but more often implicitly. For example, in Dostoevsky, the threshold and related chronotopes—stairs, front hall and corridor chronotopes, as well as street and square chronotopes that carry these spaces to the open air—are the main action spaces; they are the places where crisis events, declines, resurrections, renewals, manifestations, and decisions that determine a person's entire life take place. Time is instantaneous in this chronotope as if it had no duration and had sprung from the ordinary course of biographical time.

In his book The Problems of Dostoevsky's Poetics, Bakhtin discusses other chronotopes that can be mentioned alongside the threshold chronotope. The leading ones are the corridor, lobby, stairs, stair descent, and stair steps. "In Raskolnikov's dream, space is significant in the carnival's entire symbol system." (Bakhtin,1981) Up, down, stairs, threshold, lobby, stair descent, crisis, radical change, and unexpected change of fate all take on the meaning of 'the point where decisions are made, the forbidden line is crossed, the person is renewed or dies. Bakhtin lists other time-spaces related to the threshold by examining Dostoyevsky's novels as follows: "The threshold, the lobby, the corridor, the landing, the stairs, the steps, the rooms leading to the stairs, the doors to the front and back courtyards." squares, streets, building facades, taverns, marshes, bridges, slaughterhouses This is the story's plot. Nothing here is unrelated to the threshold." (Bakhtin,1981)

"Because Raskolnikov is at the top of the ladder, a crowd forms on the ladder and in the street below This is the image of the carnival's phoney king, whose crown was reclaimed before the crowds mocked him. As a result, elements like up, down, stairs, threshold, descending, descending, and transcendence leading to death or rebirth, which represent points of crisis and transformation, demonstrate that we are dealing with a chronotope in which space is critical. Such 'threshold' scenes are common in Dostoevsky's fictional world, serving as the equivalent of borderline threshold situations." (Bakhtin,1981)

The square is frequently mentioned in Gaston Bachelard's article "Round Phenomenology," which Bakhtin says briefly in The Problems of Dostoevsky's Poetics but does not see as a separate chronotope. "The round sound of a round making the sky round in a dome," writes Gaston Bachelard. And what a joy it is for a philosophy teacher to be able to cut ties with all beings out there. And begin a metaphysics lesson with the phrase "Existence is round." (Barchelard,2014)

The significance of chronotopes is particularly significant in event-based narratives. The time and space are the same in the concept of chronotope, which is very important in terms of functionality. It combines with people and objects within the frame, creating time like a photograph. Remains fixed. Literary it enriches the semantic world of the text by gaining various emotional values. Thus, chronotope refers to the multiple layers of meaning and background in a novel or story According to Bakhtin, the chronotope's function is to "incarnate time in space." When these concepts are considered together, they should have a similar feeling. Chronotopes, which embody the location and time of an event, serve essential functions in terms of narrative representation and event representation. Bakhtin created chronotopes based on his studied novels, including encounters, provincial town, chateau, guesthouse-hall, and threshold. According to Bakhtin, different chronotopes can be identified by examining temporal-spatial values in various literary works. Square, door, corner, basement-attic, cabinet-drawer-chest are examples of chronotopes..

designing experience/performance

"While the structure is shaped around human existence, so are people's movements. In other words, buildings designed by architects to meet people's needs are inhabited due to their interaction with the installation." (Sharr,2017) "Architecture must address not only the inhabitants' physical needs but also their mental and emotional aspirations." (NoorMohammadi,2015) "While the structure is shaped around human existence, so are people's movements. In other words, buildings designed by architects to meet the needs of their users become inhabited as a result of their interaction with the building." (Sharr,2017) Each design action has a design object and a design object. During the design process, the subject uses the senses to extract an object from the natural order. Relating next imagines, feels and thinks the object into the world of design. As a result, even the most explicit confirmation of a piece of information is a design. "The building, developed with more comprehensive experiences, stimulates users' senses more. Once space entirely enhances our sensory field, it enters into a deeper relationship with our mental images." (NoorMohammadi,2015)

Bachelard emphasises the concept of "home." For him, the house becomes the centre of the living universe. (Bachelard,2017) According to Peter Zumthor, he designs buildings with atmospheres in thought. For him, the atmosphere is defined by the experiences that users have inside the building. (Sharr,2017) "Essential architectural experiences are verbs, not nouns. As a result, architectural experiences exist as actions rather than as objects. The leading architecture is not only the visual design of the door but also the act of entering." (Pallasmaa,2005) As a result, Pallasmaa mentions Alvar Aalto's article "Door to Common Room (1926)" because it discusses entering the room rather than the door. This acknowledges the interaction between architecture and action. (Pallasmaa,2005)" The 'knowing' body is on the field, not the mind." (Pallasmaa,2005)

The city reflects individuals' social existence; social and behavioural practices are areas of cultural compromise where they can exist individually and collectively. These cultural formation zones are where social movements, spontaneous, random performances, and fictionalised urban performances collide. As a result, the interactions at these points initiate change/transformation in the city.

"A city event is analogous to a heartbeat in a body; just as the body dies when the heart stops, so does the city without incident." ( Gausa, M., Guallart, V., Muller, W., Soriano, F., Porras, F. ve Morales, J., 2003) The fact that the public sphere can be perceived as a plot rather than routine actions stratifies citizens' experience of transitioning from the private to the public sphere. According to Sennett, as the gap between public and private life widens, people will express themselves less. In other words, nothing gives a person more pleasure than being in the process of replacing his life. We must recognise that we are mentally in a time continuum, and it is the task of architecture to make this experience possible in the material world. Architecture must tame not only infinite space so that we can live in it but also infinity so we can exist in a time continuum. (Pallasmaa,2005)

Recognising that the seemingly unrelated, random, and coincidental events we observe daily are part of a massive order in and of themselves is necessary. Cities do not exist solely through their architectural textures. Above all, urban spaces, public spaces, urban individuals living in them, and their performances generate an urban performance. The city can be considered a living organism if these components are present. The concept of performance enables us to read the topics covered from a more comprehensive standpoint. While performance handles the relationship between social reality and life-related concepts, the processes of these two interactive realities combine intellectual space, performative space, and body.

rhythmically growing in-between space design experiments

interviews with performance artists

"Due to its interdisciplinary nature, performance art gained acceptance as an art movement in the twentieth century and was referred to as "Events," "Action," and "Body Art." Conceptual art staged in front of an audience is known as performance art. Performance Art has defied convention, and its body is an art form in and of itself, serving as a medium. Every interaction between the body and its environment constitutes a performance. It is no longer a staged work due to the evolution of art. This feature strengthens the viewer's connection to the artistic creation while incorporating transformat ive effects into the performance.

One of the works with 15 artists was written in its entirety. In the rest, the most frequently asked answers were written as ke ywords

How would you name the experience you get, when you perform with your body? (Free-fun…)

It changes according to the dance, if we are working on a dance type with rules like ballet, it can sometimes be difficult, but lyrical dances like Latin dances make us feel free and allow us to reflect our own personality.

Can you say that this sense of experience chances with different places?

Yes, it changes according to the place and audience, for example, let me speak on behalf of folk dances. We can convey the danc e of the region to the audience in a festival in Turkey, but it is not possible in foreign festivals because folk dances are mostly performed on animal imitations or a subject situation or event in the country. It is not possibl e to make the other party feel.

Do you think that the place where you perform has a sense of belonging- feeling fit- and does this affect your performance?

Of course, the fact that the place and sharing that stage with many more people causes a more enthusiastic performance most of the time. In one of the scenes in New York, it was as if the place had a language, as if it reflected all the historicity it had to us, and we performed folk dances for 4 hours on that stage, and when the play was over, it was re ad from the eyes of all our dancer friends, with whom we have performed our best performance so far.

Do you think the form of the place where you perform affects your perception of space with the concern of interactions with oth ers? (Your teammates) – related to barriers or boundaries that we set in our minds

If the stage is small, the light is insufficient, the costume is missing, etc. Such situations, of course affect our performanc e. And we would experience a bad decline.

When you watch the performance as an audience, can you say the sense of belonging changes according to the space?

Or as being both-performer and audience, can you say the space can has an affect that make people feel outsider?

I watched many of my performances and yes our dance speaks as much as the space does.

What effect do you think the form of space has on the repetitive rhythmic bodily movements in your performance? How perception of space makes your performance feel like?

As I said before, is the stage is missing a small screen or there is not enough room for everyone in the backstage, the mode wi ll inevitably drop. This is reflected in both the dance and the mood, we would be missing a smile where you need to laugh

Can

spatial difference

in

size

of place

affect

in the

interaction

of one person with another person?

Spatial difference does not affect us because no matter where we are in our branch, when we hear the music of our dance, whethe r on the top of a mountain or on the shore of a goal, we put on that attitude, as if we are on stage, and even if we are alone, we feel as if thousands of people are watching us.

Finally, do you think that a performance with bodily rhythmic movements can question the perception of space?

(Think both as a viewer and performance artist)

Of course, if the acoustics of the venue is insufficient, both the audience and the dancer may have difficulty hearing the musi c and catching the rhythm. For example, while dancing in an theatrical work, acoustics are necessary so that the person sitting in the back can hear and watch the dancer. If this is not okay, this is the questioned place. Stage dancing and stage psychology are inseparable. I think that if the dancer is not comfortable in the place where he will perform, if he has deficiencies, this affects his psychology and indirectly affects his dance.

How would you name the experience you get, when you perform with your body? (Free-fun…) challenging / therapeutic effect / a trance / free and restful / own personality /discipline / perseverance and stability/

Can you say that this sense of experience chances with different places? of course / yes / definitely / yes / of course/

Do you think that the place where you perform has a sense of belonging- feeling fit- and does this affect your performance? helps express your emotions and find your rhythm between body and movements / if the place had a language

Do you think the form of the place where you perform affects your perception of space with the concern of interactions with oth ers? (Your teammates) – related to barriers or boundaries that we set in our minds would experience a bad decline / easier to use the space / rehearse and take the stage / the process of harmony and support wit h.

When you watch the performance as an audience, can you say the sense of belonging changes according to the space? Or as being both-performer and audience, can you say the space can has an affect that make people feel outsider? our dance speaks as much as the space does//movement language looks in the eyes of the audience/entering the spirit of the work /certain motivation and enthusiasm.

What effect do you think the form of space has on the repetitive rhythmic bodily movements in your performance? How perception of space makes your performance feel like?

The feeling that the boundaries of the scene are not clear affects the performance better. /would be missing a smile where you need to laugh /deeply affect our liberating spirit

Can spatial difference in size of place affect in the interaction of one person with another person? like a café or a city /more intimate atmosphere /more belonging and freer /the top of a mountain or on the shore of a goal

Finally, do you think that a performance with bodily rhythmic movements can question the perception of space? (Think both as a viewer and performance artist) to respond to any rhythm, beat or action that happens in space /the stage works as if it is the limit of the artist. /dancing a nd stage psychology are inseparable /The perception of space is one of our most important elements,

CLOSING THOUGHTS

Architectural space is created by considering people's daily movements and bodies. This architectural space represents a space. Architects place architectural elements such as walls, windows, doors, and so on after creating this space. This study sought to develop a new experimental architectural method based on the collaboration of performance and experience. Using the body and movement in the performative context, this architectural method aims to create more flexible and humanistic spaces.

First and foremost, the sense of belonging and the concept of the body were investigated in philosophy, psychology, and sociology. Second, the body's experience in space and perception of space in the interaction of the body with the body were studied separately. These analyses were examined, and common characteristics between performance and architecture were discovered. The dissertation used these common characteristics to develop an experimental architectural design method. The work then moved on to Mikhail Bakhtin's spatial perception and experience. Following the analysis, each Bakhtin concept was drawn in the same manner as the chronotope. These actions, according to chronophotographic drawings, create a vacuum. Finally, we plotted the possible positive parts of this experimental space. Architectural elements such as the table, circulation, and door are examples of positive features. In addition, a semi-structured interview with a performance artist with architectural experience was conducted and analysed. The common aspects of space and body were mentioned during the interview.

In modern architectural debates, there are many reasons to think about perceptual sensitivities such as smell, sound, or the body's position and position in space; however, the architectural tradition tends to train students more visually. Students express themselves through drawings and three-dimensional models throughout their education. Furthermore, successful renders are frequently rewarded by institutions for visually appealing buildings. Through movement and close contact, people can better connect with their built and natural environments. Not just on the surface (O'Neill, 2001).

Tactile perception necessitates a thorough understanding of three-dimensional space. The word "haptic" literally means "to grasp." This way of looking at the world has a more complex structure that includes all senses, location awareness, and the body's memory of previous experiences (O'Neill, 2001). As a result, tactile perception is far more critical than visual perception in this situation, particularly in the architectural design discipline. When discussing the haptic experience, it is necessary to mention the relationship between body and space. Body and space create a temporary equilibrium known as "tension."

The body and the space are positioned concerning one another, creating tension. Settlement occurs when the body and space collide and shape each other. The housing process is the component of production that shapes the space and the body. Haptic experience is critical in this process because we perceive our surroundings with our tactile and visual senses. Instead of real-world visual experiences, we learn most of the world's information through tactile perception and basic orientation (Bloomer and Moore, 1979). In other words, tactile perception and the basic orientation system are the most critical aspects of our space in daily life. We use our eyes often, but tactile experiences shape our spatial cognition in everyday life.

Tactile perception is directly related to actions and the space they sweep in the dissertation. The moving body creates a memory of the space by leaving visible or invisible traces. Space accumulates visible or invisible traces with each movement. This situation produces the haptic perception of Heidegger's jug allegory. For him, actions (in this case, negative space) are not objects but rather the main thing (positive space in this thesis case). Because people associate the jug with the actions of filling and emptying (Sharr, 2017), tactile perception should take precedence over visual perception. Negative space is about positive space.

Architects can develop an awareness of tactile sensations and orientations to understand better the experiences of those who live in a space. In addition, architects can observe residents' interactions with the appropriate environment to understand the diversity of the residents' experiences, who are very diverse in terms of age, health, gender, and body size (O'Neill, 2001).

Establishing a dialogue between body and space makes it possible to bring a new perspective to the production of architectural data. This conversation can potentially push the performer and the citizen beyond the limits of the traditional methodology. Movements and bodies will not be standardised when designing building experiences. Movements and bodies will not be regularised when creating building experiences.

Finally, a collaboration between performative arts and design is proposed to improve architectural design methods due to shared perspectives on space.

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