This article presents the basic design course applications based on the design education of first-year interior architecture students. This study aims to emphasize the importance of education in the design-oriented thinking process with practice through the content of the basic design course. Within the scope of the study, art-based research in interior architecture education was carried out and the intersections of its results are described. In the studio, basic design elements and principles were conveyed with the techniques commonly taught in schools and architectural movements were given to students as term papers for research. The study directs the student to create 2D and 3D compositions by combining the studies he/she has done during the term and the research assignment. The findings show that students can reflect on their research on architectural movements to new three-dimensional abstract spaces by combining them with basic design education. While grounding this reflection, design process of the students is based on form and elements without color. The results also show a significant correlation between students’ practices and Gestalt Principles. This article emphasizes the importance of applying basic elements and principles of design and being integrated with field-specific studies to achieve better results in design education. This study is an experimental and original studio product. With the basic design education given only in the first semester, the students were given examples to determine and understand forms and approaches without color knowledge, especially through basic principles, using architectural movements instead of abstract expression.

Energy simulation model of the building of Eskişehir Technical University Industrial Engineering Department Academic and Administrative Staff rooms were created in this study carried in the scope of energy efficiency and performance of buildings. In the aforementioned energy simulation mode, in line with the International Measurement, Verification and Energy Needs Standards and Protocol (IPMVP) “energy consumption verification”; heating energy, indoor-outdoor environment and climate data were defined, energy consumption verification was carried out and a realistic model was achieved. Using the realistic model achieved, alternative directions were applied to alternative window wall ratios thereby calculating “reference energy consumptions” in “reference building models”. Energy consumptions, calculated by applying alternative glass types to reference models, were then compared with reference energy consumptions

Architects and planners typically rely on past experiences and exclusive methods to determine the allocation of space and planning costs. However, the actual space allocations and physical attributes of laboratory and workplace environments require further exploration, highlighting the need for more research. To address this knowledge gap, this study compared three medical research facilities' architectural, casework, and module properties to identify essential space allocations, physical attributes, and future research directions. The study utilized REVIT models to collect floor plans of three medical research facilities within the last twelve years, with variables of interest including room classification size, Building Gross Footage (BGSF), Departmental Gross Footage (DGSF), laboratory module size, and module quantity per laboratory. Space Syntax analysis was used to compare connectivity measures across the three buildings. The findings demonstrated a trend towards laboratory spaces that maximize collaboration, flexibility, and efficiency while balancing open and private workspaces. Laboratory support spaces per laboratory room increased, potentially due to a demand for greater flexibility and spatial needs. Lab workstations were relocated outside laboratory areas to enhance safety and reduce costs. The analysis also revealed a shift towards smaller lab modules with larger widths to reduce redundancy, support safer distances, reduce travel distances, and increase the number of modules per lab. Furthermore, contemporary lab workspaces had higher connectivity values, indicating a trend towards more connected, collaborative spaces that encourage meetings and spontaneous interactions. This study highlights the importance of continuously evaluating and optimizing laboratory space allocation and design to promote productivity, efficiency, and collaboration in medical research facilities. Future research should conduct longitudinal studies using empirical data to address the limitations of current research.

Since the advent and usage of artificial intelligence approaches in architecture, a significant number of studies have focused on integrating technological solutions to architectural issues. Artificial intelligence applications in architectural design range from intelligent material design to architectural plan solutions. The ubiquity and distribution of research in this field, as well as the rising use of artificial intelligence techniques to solve design challenges, require an analytical classification of the essential literature review. This article presents a descriptive and analytical review of the work on artificial intelligence applications in architecture. A strong review has been made that identifies and addresses the gaps in artificial intelligence and architecture; and the literature review is transformed into statistical plots. The study's findings indicate a growing interest in artificial intelligence in the field of architecture. There is a need for novel research to be conducted in these areas using advanced technology and techniques.

Individual residential investors are influenced by the media and their environment in their investment preferences, as they lack the experience of property investors and professional residential investors. Concerns about regret, fears of further property price rises and social circumstances put pressure on investors. Under these conditions, are individual housing investors seeing all the opportunities in the housing market? What types of buyers are taking advantage of these opportunities? This study aims to create tools to help individual residential investors identify opportunity periods in the market, analyse such opportunities retrospectively and test consumer behaviours in response to these opportunities. We analysed the opportunity for access to housing, the opportunity of lower loan interest rates and the opportunity of lower housing prices in Türkiye in the 120 months between 2013 and 2022 using the income-housing price scale. We analysed residential sales (total, credit and cash) in the opportunity periods resulting from the equations set up for the opportunity periods. We tested the criteria for selecting opportunity periods using the analysis of variation (ANOVA) method. We analysed changes in consumer preferences for credit and cash home purchases during periods of opportunity. We found that residential investors did not use the opportunity of accessing residential properties, and that cash home buyers used the opportunities of residential loan interest rates and residential price declines.

The common thread to urban movements happening worldwide in recent years is the fact that urban public space is used as a significant setting by city dwellers for expressing their “objections”. What has been experienced throughout urban movements when public spaces have been occupied enables us to grasp the meaning of occupied spaces in the city thus allowing us to get to know societies and cities. Therefore, this research has investigated the impact of urban public space on the consciousness, interaction and gathering of city dwellers as well as urban movements. Within the scope of the research, eight “rebel cities” have been analyzed, and have interviews with participants of urban movements from these cities. These are Tunis, Cairo, Barcelona, London, New York, Dublin, Paris, and Hamburg, respectively. The places where urban movements were visible in urban space and their surroundings have been analyzed using the Space Syntax method, and the gathering/unification/integration potential of public space has been spatially investigated by determining the characteristics of urban patterns. Accordingly, the city affects the formation of urban movements with its spatial pattern. In the case of Merida city, which constitutes the control sample and which was not affected by the urban movements that spread to the whole world, this finding is also supported. With the results obtained in the research, the significance of public space, as an essential element contributing to the formation of urban movements, has been proven. This study further reveals the possibility of urban spaces allowing social encounters and its importance in terms of democracy.

In this study, the spatial distribution of pharmacies is investigated in Istanbul by taking into consideration their important role for the health care delivery system. First, the growth of the number of pharmacies is compared with the growth rate of population at the city level during the last two decades within perspective of changes in health care delivery policies. Then, the growth of the number of pharmacies is compared with respect to the population growth rate of the core, intermediate and peripheral zones. The second, the changes in the pharmacy market areas are compared at the city level and in the core, intermediate and peripheral zones within the same period. Third, the regression analysis is used to show the relationships between the number of pharmacies in the districts and the population, number of hospital beds and number of physicians during the same period of time. Suggestions are made for more balanced distribution of pharmacies in order to prevent bankruptcies while sufficient accessibility provided for the customers, and for future research.

The term "citizen science" refers to scientific activity done entirely or in part by members of the public, frequently in cooperation with or under the guidance of licensed scientists. To better manage natural resources, monitor endangered species, and maintain protected areas, decision-makers, and non-governmental organizations increasingly turn to citizen science-based programs. A broad field, citizen science, offers numerous strategies for involving volunteers in research in various ways while including a whole range of research methodologies. Thus far, citizen science initiatives have been successful in advancing scientific understanding, and the advancements made by citizen scientists give a significant amount of data globally. The subject of citizen science is spreading rapidly, and its legitimacy is increasing. It also involves enhancing scientific research by utilizing a variety of subjects and data sources. Citizen science has the potential to increase stakeholder engagement, bring in new perspectives, and foster new forms of participation. Also, many initiatives are being developed in cutting-edge scientific fields. These programs now aim to solve an urgent issue or provide an answer to a research question while simultaneously enhancing community participation in science and influencing long-term policy implementation. The study utilizes to examine the citizen science projects in Izmir, Turkey according to the concepts and categorizations in the literature review in a systematic way to understand their participation levels and their potential.

As production and economic activities shaped the growth of cities during the pre-industrial era, they are still the most important factors explaining modern urbanization. Economic restructuring is being reshaped with agglomeration economies, bringing spatial restructuring with it. Regional economic growth, emergence of new centers and production foci are formed in the equilibria of positive and negative externalities of agglomeration. Positive externalities do not arise solely from internal economies of scale related to factors of production such as easy accessibility in the region. It also results from external economies of scale, including economies of localization and urbanization. On the other hand, as cities grow the attractiveness of large agglomeration and advantages of economies of scale decrease. Negative externalities in the larger agglomerations may eventually lead to decreasing returns to scale in cities. Economic view of regional science and geography considers cities maintaining equilibrium between two competing forces, i.e., centripetal forces (agglomeration) and centrifugal forces (dispersion). This study examines recent agglomeration and dispersion processes in the settlement pattern from the relationship between urbanization and economic growth. To do so, we take Izmir as a case and use general explanatory variables such as population and employment. Specifically, we investigate spatial agglomeration in the Izmir city region and metropolitan area by using population and employment data of 2009 and 2019. Based on empirical results, we discuss new sub-regions, urban centers, and clustering that emerged due to economies of scale as well as positive and negative externalities of agglomeration.

Systemic risks possess a high level of complexity and uncertainty that can be latent behind the veil of initial stress of possible disasters. They refer to, on the one hand, the functionality of interconnected systems and, on the other hand, the probability of indirect losses which can propagate through larger territories. Once considering the solid definition of resilience by the United Nations, the emphasis tends on systems’ ability to different facets of disturbance rather than the performance of the sum of each singular entity confronting the main shock. This paper aims to provide a broader perspective and a systematic review focusing on the commons of resilience and systemic risks in the frame of risk mitigation. The outcomes highlight the urgency of multidisciplinary actions, which have not been achieved yet since the 1999s earthquakes.

Starting from Gilles Deleuze's (1989, p.59) concepts of "worldization" or/and "world-image" we should consider the intersection of cinema, architecture and storytelling as an act of thinking about "world-building". Because only such action takes us through creative and political stories that will enable us to understand why the cities of the future are migrant camps. Flashdrive doesn't just give us a refugee camp story; also maps the spatio-temporal distinctions of the survival journey. It presents a migration story shaped by media dispositifs and spatial dispositifs in which power and knowledge are articulated.

Encounters with interior spaces are influenced by past experiences and state of mind. Much of how architecture is experienced therefore is not readily apparent and is sensed rather than seen. Psyche impacts this experience of lived space, from an individual’s awareness of themselves within it, to the perception of space itself. Film offers a distinctive representation of this subjective experience through its narrative form and command of visual, audio and temporal language. The emotive and visceral power of film render it an accessible and immersive medium, and as such make it uniquely placed to communicate less tangible qualities of space and character. This paper analyses the use of interior space in the film Joker (Todd Phillips, 2019). The acutely intimate discernment of the protagonist’s interior environment is the result of environmental and psychological disruption, where boundaries break down between the real and imaginary, and the surreal intrudes upon the tangible depiction of the interior. The exposition of the character’s damaged psyche within space is analysed at key points within the narrative, using collage as an exploratory, visual methodology to analyse and experiment with, to potentially reveal the less perceivable, yet invasive intangible layers of lived space. This article addresses the frequent oversight of psychological qualities of the interior in architectural discourse, through an analytical and experimental method rendering the psychological content of space visible. Defining this intangible nature of architecture as the psychosphere (or the psychological atmosphere), I term this technique the ‘psychospheric collage method’. The process consists of interrogating expressive film language and content through an architectural lens documented through sketching, storyboarding and textual enquiry. From these fragmented components I compose a new visual language capable of signifying the layered psychological atmosphere in which a character resides, thus facilitating its consideration within architectural design and enabling articulation of our intimate encounter with the interior.

The French Philosopher Michel Foucault argues that power extends to all areas at the micro level in Bentham's Panopticon theory, which was inspired by the architectural design of the Panopticon. He extends this metaphor to speak of Panoptisism as a social phenomenon used to discipline workforces through implicit strategies. Like Bentham, he does not limit his panoptic rhetoric to a mere prison setting, but instead applies it to schools, mental hospitals, hospitals and factories. The panopticon basically ensures the ubiquity of power by seeing it unseen. This article aims to reveal how panoptiism, a particular mode of disciplinary power used by Foucault, is normalized in superhero films. When surveillance and gaze practices are approached from the point of view of cinema; the question of how the gaze is positioned through the camera, where and through whose eyes the audience is looking, arises. The narrator of The Batman (2022) is Batman, and the narrative begins with the superhero reading his diary. In the film, it is determined that Gotham city has been transformed into a panoptic universe and Batman, who watches over this universe, is in the position of a guard.

In this article Andrei Tarkovsky’s films are studied through the lens of existential philosophical traditions. At the heart of Tarkovsky’s narratives lies a yearning for authenticity, a need for freedom and an intention to communicate with otherness in its various manifestations. Whereas spirituality is clearly an important factor in Tarkovsky’s aesthetic explorations, we focus on materiality and corporeality: a violent sensuality, associated to what Albert Camus perceives as a revolt of the flesh, plays a crucial part in Tarkovsky’s seven films. A desire to escape oppressive aspects of everyday reality in order to approach an ideal location (mostly related to memories of childhood) gives rise to the urgent need for transcendence described in Tarkovsky’s body of work. The two key terms, the notions of transcendence and space, are closely related to one another. The importance of poetry, not as a literary term, but as a way to interpret and challenge everyday reality, will be a key factor in the reading of this process.

Abstract The 1960 Italian film Rocco and His Brothers (Rocco e i suoi Fratelli) is one of the greatest exemplars of Italian post-war cinema. The film depicts the disintegration and deterritorialization of an immigrant family from Lucania, a southern Italian village in Basilicata, and their relocation to Milan. The director of the film, Luchino Visconti, continuously alludes to the protagonist’s fascination with their hometown (paese). This nostalgic and wholesome image of paese contrasts the ubiquitous alienation and exploitation in the industrial North. The film is replete with signs and metaphors which explicitly and implicitly reinforce the evident tension between the immigrant family and an industrialized metropolis. Based on an interview with Mario Licari, Visconti’s assistant who accompanied him on location visits, this article offers an opportunity to revisit significant locations of the film such as Quartiere Fabio Filzi, the Alfa Romeo Factory, Milan Duomo, Ponte Della Ghisolfa, Parco Sempione, Stazione Centrale and Circolo Arci Bellezza. Underpinned by the theories of Giorgio Agamben, Antonio Gramsci and Andre Bazin this essay creates a theoretical framework that works in parallel with a detailed analysis of the scenes, original archival material, dialogues, places, and history of architecture of the locations. The article demonstrates how urban and architectural spaces not only accommodated the narrative of the film but shaped, twisted and structured the story of the masterpiece. The paper shows how Visconti succeeded in visualizing a ‘hidden’ Milan that was never appeared on the silver screen before Rocco and His Brothers.

This essay will examine a place and community in the city of Haifa, Israel, that no longer exists - a resilient community that survived destruction for decades, until it gave in to the attempts of destruction and evacuation by the municipality of Haifa. The essay will review the history of the urban planning of the place as appears in surveys, maps and planning schemes, in parallel, the essay will explore the history of the place as narrated through a series of essay-form documentary films. The paper will explore the potential for a variegated, full and rich history of the resilient Wadi Rushmia and its inhabitants. It will describe the formal history of Wadi Rushmia as it appears in historical documents and planning materials such as maps and plans, and then examine its history through documentary films that use self-narrated stories of inhabitants and poetic point of view of the film maker, to challenge conventional top down planning practices. It will be argued that the destruction of the community and nature of the Wadi and its replacement by a network of roads, has turned it from what Augé (1995) refers to as a 'place', in which people have lived their everyday life, accumulating memories, time spent together, and collective history, into a 'non-place' a space of transience, in which the time of living and social communication is replaced by an accelerated temporality. The paper will then refer to film, to demonstrate the immense generative potentials presented by the filmmaking medium to research of the built environment and that using particular filming methodologies may contribute to the accumulation of multi-media knowledge of place. Film, it will be argued, works against these processes of destruction of the place, as it captures the spatial and temporal experience of the daily lives of the Wadi's community, in its final years. It will be argued that films form an alternative archive of the everyday lives of ordinary people, an archive which will not only guard the past, but also project into the future, to the imagination of a more ethical and sustainable urban reality.

Space settlement as a science fiction theme has been very popular in the last 70 years in cinema and television. Gaining its roots from scientific and technological developments, the topic evolved throughout decades to become much more comprehensive nowadays. The evolution that started with physical models to depict the space station as a pure geometric form continues today with much more complex structures that express the infrastructure, features, and appearance of a space settlement. Through developments in space technologies, together with the progress in computer generated imaging methods, contemporary movies represent space stations and settlements in a much detailed way. Therefore, the architecture of the space settlement in cinema and TV becomes a remarkable theme. Consequently, the role of architects in the design of space settlements in cinema and TV increases. This paper presents an analysis of the architectural evolution of space stations and settlements in cinema and TV through examples with a chronological order from 1950s to 2000s. The analysis is based on the relationship of scientific requirements of a space settlement and existing scientific studies on the design of space settlements with their reflections on the cinema and television industries. The outcomes of the analysis put forth that the detail level, functionality, and architectural style of space settlements in movies evolved through time. Therefore, architects’ role in movies and the design of space settlements shall increase thanks to the developments in representation, production, and construction technologies

Modern architecture, a reaction to the industrialization of the 19th-century, is characterized by a lack of applied decoration, exposed structural members, materials kept in their natural state and “flat” roofs. It developed in Europe in the 1920s and 1930s, particularly in Germany, the Netherlands and France, and spread to the rest of the world after World War II. Depending on your point of view, Modern architecture can either be exciting and exhilarating or inhuman and oppressive. This article surveys these two opposite representations of Modern architecture in the cinema, beginning from its first appearance in the 1920s until today. Films directed by Marcel L’Herbier (The Inhuman Woman, 1924), Alfred Hitchcock (North by Northwest, 1959), Jacques Tati (Mon Oncle, 1958, and Playtime, 1967), Jean-Luc Godard (Contempt, 1963, Alphaville, 1965, and Two or Three Things I Know About Her, 1967), as well as several from the James Bond series (Dr. No [Terence Young, 1962], Goldfinger [Guy Hamilton, 1964], and Diamonds are Forever [Guy Hamilton, 1971]) are highlighted. Culminating in a survey of like-minded films since the 1980s, the article concludes that Modern architecture in the cinema is here to stay and will continue to play an integral role in the making of films.

Developments in computer and communication technologies, which constitute the starting point of concepts such as decentralization, virtuality, simulation, augmented reality and metaverse, have also brought new forms of expression and designs in art to the agenda. In addition to the decentralized data architecture and metaverse areas that emerged in parallel with the development of network technologies, applications that increase the user's interaction and beleaguered experience such as virtual reality, augmented reality and mixed reality have increased their effectiveness in this field. The metaverse spaces that emerge with the cooperation of software, art and architecture offer their users a more similar life simulation of natural life through augmented reality vehicles or screens. Here, users can perform new experiences for artistic production and consumption as well as daily life practices such as socialization and communication. Metaverse spaces, which include the design of a three-dimensional virtual universe that can be supported by augmented reality, are free from all the constraints of the real world as a cinematic plateau. It is seen as a great advantage that the real film set can create a cinematic work without expensive equipment such as cameras, lights, and sound away from all the negativities of the natural shooting conditions. The fact that the production, distribution and screening of cinema works can be realized within this field brings a new understanding of decentralized cinema to the agenda. Decentralized cinema, which has begun to rise in the expanding virtual geography of the metaverse virtual space with its advantages such as virtual characters and scenes and creative space fictions, is an art form worth examining. This study focuses on the possible future transformations of cinema in terms of production and representation in the context of the relationship of virtual and augmented reality technologies with developing metaverse areas. The emergence of a new cinematic ecology; The opportunities and obstacles it provides to producers are examined with the philosophical criticism method through concepts such as virtual and augmented reality, web 3.0, metaverse in terms of audience experiences it offers for screening. As a result of the study, it was concluded that the metaverse area has many advantages in terms of the production of cinema works, democratization of the production and distribution of works, digital privacy and security for metaverse artists, and recognition of ownership for digital works of art.

This paper explores the idea of film as a medium that has been used to celebrate, develop and ultimately sustain cultural traditions in an age of globalization and technological and cultural change. It borrows ideas from the sector of heritage, namely intangible cultural heritage, and uses this to offer a framework for understanding the work of two key mid 20th century film directors, Jean Renoir and Yasujiro Ozu. Through a detailed analysis of the cinematography employed by both directors, their use of architectural space and the cultural traditions that they drew heavily upon, it explores examples how both directors used film as a medium for the reutilization of their particular cultural artistic traditions in a contemporary setting.