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.

The Light and its Disappearance in the Darkness; The chapter begins with the question of what can be found in the integration of architecture and cinema and continues exploring light in the context of cinematic architecture theory. This is followed by a discussion of the illusions of light that emerge in spaces where cinema and architecture meet. The thought then reaches Paul Virilio's conception of the aesthetics of architecture as a metaphor for cinema from the experience of space, the image of disappearance. It suggested I make a film work, 'Hiroshima Through Light', in the AA. The Experimentation in the AA Diploma Unit 3; This chapter describes the exploration of cinematic architecture under the tutelage of Pascal Schöning, a unit master of the AA, which includes philosophy, aesthetics, and challenges to urban and social issues, along with his unique methodology. He explains to his former students the importance of a more philosophical approach to the notion at the end of Diploma Unit 3. That is when I see Juhani Pallasmaa's description of the need for architects to look at people's daily lives and society through a phenomenological approach, like filmmakers. My awareness moves on to a study of the architects depicted by filmmakers. Image of Architects Depicted in Film; The images of architects in the films of Michelangelo Antonioni, Terrence Malick and Hirokazu Kore-eda are discussed. It indicates that they are entrusted with a role of building human relationships. Cinématic Architecture Tokyo; This chapter outlines activities in Japan that are being rolled out in the form of workshops, lectures and exhibitions to develop the theory of cinematic architecture. The theme of the workshops held in the Hokuriku region was the revitalisation of declining local urban communities, which is also related to the previous chapter on “building human relationships”. This year, the projection attempted to embody poetic images to illuminate memories that are being lost. Conclusion; In addition to reflecting on essential elements such as the aesthetics of disappearing light, memory, history, poetic imagery, narrative and social issues, adding a focus on the significance of communication design, fields of sense and spatial quality, could bring new perspectives to the integration of architecture.

François Penz, in his essay titled as "What I saw in Venice – biennale 2021" shared his experiences about workshop in Venice – VENICINEMA, Understanding Cities Through Film – in September 2022 at the European Cultural Academy. To get to know a city though cinema is always an enjoyable and informative task, which varies depending on whether one has a prior knowledge of the city or not. But a prior knowledge of a city through film can only provide a ‘theoretical’ insight that only gets ‘realised’ while actually being physically present in time and place. In other words, ‘watching a city film can be a three-way process: we see a film and gain a knowledge of a city; we then visit this city and experience a form of déja vu; we then watch the film again and the experience of having seen the place acts as a memory recall that gives a much stronger emotional connection to both the film and the city. Venice offers a layered richness of experience through cinema as a place to be discovered not only for foreigners but even for Italians. The aim of this workshop was to engage the participants’ interest in the various facets of the relationship between cinema and Venice, the opportunity to reflect on its characterisation in the movies. The study of Venetian narrative films not only opened the path to an innovative reflection on the complexity of the city as experience but also provide a basic understanding of screen language that equipped participants to make their own short films.

Studio studies can easily be defined as the cornerstone of the discipline in departments giving architectural education. Although the educational process differs in educational institutions and among the educators, its main purpose is always to give the best experience on design process to the students and to bring together different space designs and functions with certain criteria. Although it is often stated to the contrary, it is generally difficult to get the necessary support from the social sciences in studio work. For students, considering the design with sociological data and creating a concept can be perceived as a waste of time, since the user experience cannot be observed in a project that will not be implemented in the real life and it will often create differences that cannot be measured. Dealing with form, color, and material instead can help impress teachers and other students in the studio much more easily. Students often act pragmatically and choose the method that promises them a higher score in a shorter way, as creating a charming product in studio will seem more powerful while a deep research on the sociologic and ecologic background cannot reflect themselves easily on a render. Although very different user profiles were determined for the same area at the beginning of the design process, it may cause that the resulting products cannot create enough characteristic differences in the end. The aim of this research is to examine whether the projects differ in terms of functionality regarding their different user profiles determined by the students, based on the studio work of Karadeniz Technical University, Department of Landscape Architecture within the scope of Environmental Design and Project II course. As a result of the examination, it has been determined that although the designer and customer profile are different, the morphological differences in designs are not perceived very easily, which means the methodology in the studios should be examined again.

Threshold values for climate elements have been determined and some indices have been developed, especially with studies on human comfort. It is a fact that the feeling of comfort is subjective and there are different psychological and physical factors affecting this feeling. However, the presentation of threshold values and indices is very interesting in determining the current state of the climate conditions of the environment in terms of average and optimal values and the extent of deviation from the most appropriate values. The values of the climate elements that need to be looked at in order to provide bioclimatic comfort; it as a combination of 21-27.5 °C temperature, 30-65% relative humidity and wind speed up to 5 m/s in open area. These values have been used in many bioclimatic assessments. In addition to being an effective factor in almost every aspect of people's lives, bio comfort is also important in the periods when tourism activities are carried out. Thus, it is extremely important to determine the regions that are not suitable for bio comfort in the season of tourism in the regions that tourism activities are carried out. The aim of this research is to determine the suitable and unsuitable areas in terms of bio comfort in summer by using New Summer Index throughout Ordu province via GIS. As a conclusion, it has been determined that the area covering approximately 57.62% of the southern part of the province is cold, and the most comfortable part of the province is the part covering approximately 11.12% of the province and located by the sea in the north of the province.

This study exemplifies the practical application of the Discrete Event Simulation (DES) approach for evaluating the effectiveness of suggested processes and design modifications in improving the existing bottlenecks of an Emergency Department. EDs are under escalating pressure to deliver efficient care while handling considerable challenges, such as overcrowding, delays, length of stay, safety risks, or staffing. Many ED appointments are non-urgent and can be treated in an alternative outpatient setting. Suitable demand-capacity matching and adjusted admission protocols reduce ED patients' Length of Stay (LOS) and improve boarding times. Alternatively, new design suggestions include applying results-pending areas where lower acuity patients wait for their pending lab or imaging results. In this study, DES assesses underlying conditions and existing bottlenecks in an existing ED. The current ED flow involved a "pull-until-full" for exam room boarding and bedside registration after triage fulfillment. Nonetheless, the ED experienced boarding delays for patients waiting to be admitted into the hospital. This study explored two scenarios in DES as potential alternatives for reducing LOS: the implication of a "rapid-admit" protocol and a "results-pending" area. Findings showed that the Rapid-Admit process reduced the admitted patient's LOS by 16%. On average, the results-pending implication reduced the admit LOS by an average of 32% across all ESI levels. These findings suggest the importance of process, staffing, and spatial modifications to achieve ED operational improvements. DES enabled a data-driven approach to evaluate bottlenecks, enhance architect-owner communication, and optimize the system for future design and process improvement alternatives.

Daylight is an integral part of our lives as the most important element in places. Efficient and appropriate use of daylight reduces the need for adequate illumination of the volumes and artificial lighting. Today, windows that are not designed correctly cause energy waste by increasing the use of artificial lighting instead of natural lighting. The seriousness of this situation is increasing today and regulations and standards regarding daylight use are published. The disappearance of this traditional Turkish architecture has also reduced the effective use of natural light. Study is focused on daylight penetration in traditional Turkish houses in the context of EN-17037 and a traditional Turkish house evaluated as case study. Natural lighting measurements of the selected building were calculated using the daylight simulation program, at 09:00, 12:00 and 15:00 for the months of March 21, June 21, September 21, and December 21 under average sky conditions. In line with the results obtained from the simulation program, the illumination levels (Lux), daylight factor (DF) and daylight performance classification (%) of the spaces are presented. As a result of the evaluation made in the context of EN 17037 standard, attention was drawn to the importance of openings as windows in traditional Turkish houses. And additionaly, architectural similarities and differences with the contemporary building is highlighted in results.

The functions, values, and meanings of cities, which have been in constant change and transformation throughout history, are changing in response to rapidly changing conditions, particularly in recent times. The areas where this change can be observed most concretely are generally urban spaces. Some places in the city, which cannot keep up with this speed, may lose their structural or functional use over time and remain idle when they are not fed or equipped with suitable activities that will integrate with the environmental character and bring vitality. Therefore, within the very valuable urban land, they may become lost spaces for the city. It seems very important to regain such spaces in the rhythm of daily urban life, considering that they have strong economic, social, and physical potential, as well as being lost. From this point of view, the aim of the study is to identify the lost spaces in the historical city center of Konya, which was chosen as the sample area, and to identify the urban space(s) that should be intervened in with priority among the identified lost spaces. The Trancik method was used to find the lost spaces in the area using detailed analysis. With the help of figure-ground, linkage, and place theories in Roger Trancik's book titled "Finding Lost Space: Theories of Urban Design" (1986), both morphological analyses (figure-ground and linkage analyses) and questionnaires and cognitive maps were used to understand "place" and measure its perceptibility. The research to understand the "place" was carried out with a total of 50 people using the random sampling technique. Then, within the scope of the study, all the findings obtained from figure-ground, linkage, and place analyses were synthesized, and all lost spaces within the sample area were determined. Among these identified lost spaces, Kılıçarslan Square and its environs were determined to be the most undetected, unused, disliked, and first intervention requested by the participants. This result underlines the necessity of saving an important public space in the heart of the city from its current transition space and using it more effectively through scientific evidence. This result underlines the necessity of saving an important public space in the heart of the city from its current transition space and using it more effectively through scientific evidence. With its effective use, the area will be reintroduced to the city.

Rural areas have generous variety that combines local geographical features, buildings planned according to climatic conditions and the tradition of using local building materials, social relations and habits of the local people in their daily life. The purpose of this study is to determine the rural architectural heritage that is about to disappear; evaluate conservation proposals and developing policies to increase the interest in rural. In this study, the rural architectural heritage and conservation problems of Gölpazarı and its villages were evaluated as a representative area which has been an important settlement from prehistoric times until today in Central Anatolia. The architectural features have been examined with the settlement characteristics, analyzes, building typologies, construction techniques and materials. Rural areas have conservation problems such as immigration, socio-economic changes, and improper architectural interventions at the settlement and building scale. These problems have been analyzed through Gölpazarı, which is in danger of losing its original identity with structurally as well as socially. Based on the findings, conservation proposals for the building and settlement scale were interpreted. The cultural, social, economic and tourism potential of the settlement were evaluated to ensure the protection and sustainability. There has not been noteworthy research in this context in Gölpazarı and its surroundings. This study has potentials to be an example for developing rural heritage management in Anatolia.

In light of the studies related to the theory of interpretation of cultural heritage sites, the holistic interpretation approach of heritage areas has developed, and a new interpretation culture has emerged. It includes new approaches, local and regional interpretation strategies, new policies and comprehensive analysis and evaluations. The new interpretation culture is important not only to produce interpretation themes, but also to the transfer and sustainability of the values of heritage sites that need to be preserved to the society. In this context, studies are being brought up in order to find the most appropriate ways to understand and transfer living urban heritage sites; tangible and intangible values, existing or non-existent urban structures, ongoing or non-existent social and cultural practices, used or ongoing structures and all cultural and historical layers of areas. Beyond the current interpretation studies carried out for the heritage sites, it is important to develop interpretation strategies including the historical importance of the areas for living urban heritage sites and therefore complex cultural heritage areas, the connections to the places, cultural and social relations networks, urban memory, and the spirit of the place. For this purpose, the study focuses primarily on the critical viewpoint of theoretical content of the interpretation of cultural heritage sites. In the light of theoretical and practical knowledge, the research then concentrates on key themes and discussions on heritage interpretation in the UK. Accordingly, the research discusses the interpretation strategies in the Jewellery Quarter, Birmingham which is the one of the most influential areas by means of historical urban-industrial heritage site.

While rising urban populations, as a result of industrialization, narrowed the buildable areas in cities, at the same time the World Wars I and II increased the demand for housing. In addition, the change of social dynamics and production models and the development of technology have also been influential in the search for flexibility. Flexibility, which can be considered in many ways, is examined in this article with the space organization, equipment/outfit and time in kitchen design. At this point, the research aims to measure user-specific expectations about flexibility in kitchens design. A survey was proposed in the study, considering that the determination of spatial habits in the kitchen is determinative in terms of which parameters should be taken into account in flexibility. The aforementioned survey was applied to people between the ages of 25 and 40 who live in apartments in Istanbul and work overtime. The survey has revealed that spatial habits in the kitchen vary with the square-meter of houses and their organization scheme according to it. For example, in 1+1 and studio apartments, the connection of the kitchen with daily life is stronger, however there are difficulties in use in terms of equipment and spatial organization. On the other hand, in relatively larger residences, it was seen that not preferring to spend time in the kitchen is due to the fact that the psycho-social requirements of the functional and flexibility of the kitchens were ignored during the building production process. In the study, it is argued that while it is possible to develop more creative and multifunctional kitchen solutions in changing square-meters, it is due to the imitation of the same plan templates of build-and-sell managerships in the apartment building process in big cities.

With their various physical differences, pets have to live with their owners in interiors, which is designed according to human scale. On the other hand, human-specific anthropometric measurements, which are the basic parameters in space design, are not sufficient to provide ergonomics in indoor spaces, which are also living spaces for pets. The hypothesis of this study, in which current examples of interior and furniture designs suitable for the physical needs of pets, whose numbers are increasing day by day, are discussed with an inclusive approach in interior architecture; It has been determined as 'when the interiors where pets live are redesigned according to the characteristics of the animals, ergonomics is provided for 'all living things' in the common living areas. The subject of common living space in the literature; Although it has been investigated in interdisciplinary fields such as cognitive psychology, zoology, and architecture on topics such as biodiversity, sustainability, animal welfare, and animal behavior, the subject of 'space organization of shared living spaces shared with domestic animals' as a new approach in the field of interior architecture has not been sufficiently discussed. For this reason, the research is a pioneering and descriptive study in terms of drawing attention to current practices in terms of conceptual infrastructure, architectural design, space organization, application examples and experimental models, making a systematic review of existing studies on the subject, and identifying new trends in the field of interior architecture. The aim of the research is to expand the interior design, which is a multidimensional subject, to include spaces designed for living with pets, in particular the arrangement of common living spaces. Since subjects such as interior design, interior architecture, and design have a wide field of research, the scope of the study is limited to the specific space and furniture designs designed for pets in terms of ease of research. In the descriptive study, the survey model, one of the quantitative research methods, was preferred as a research method to review the existing status of the researches in the field of design within the existing sample applications. As a result of the study, it has been understood that the 'interior and furniture design for pets' approach is a design approach that is open to development, is an inclusive application in the interior and has a high potential to be preferred.

Despite a great deal of effort has been made to present systematic models of design process, in practice, a lot of designs still proceed through unsystematic methods. It seems that the reason for this is too much emphasizing on describing the final design (product) and little attention to the design process; such that, there is no clear method so as to research-based design. This led to illustrate a distinct pattern from configuration of "design protocol" in terms of research-based design process. The aim of this study is to develop a model that can be used in the architecture educational system. So at first step, the readers of this research are architecture students, and designers can also benefit from it in the next steps. So that all the readers of this research using this model, in a logical process, can recognize the right information for design and ultimately achieve an optimal architectural design. In this research, our preferred context is architecture, and the focus is on research-oriented design; therefore, any given example would be in the field of architecture. In this paper, the proposed process is the result of experience gained from five years teaching architectural design (2) in master's degree that includes three milestones as follows: 1) Statement of problem 2) The scheme and 3) Design protocol. "Statement of design problem" is obtained from people's concerns about "design subject" integrated in its "bed". The scheme, itself, constitutes the expectations, goals and mission representing two sets of information (cognitive and distinction) about design that finally leads to establish a "spatial-body program" of the project. As proceeding from the onset of diagram into the end, we passed from "analyze" into "synthesize" phase. In fact, in «analyze» phase, designer decides to collect and analyze information; however, as the process goes forward, he/she combines the information from the previous phase in order to achieve novel findings. Finally, we hope that by taking advantage of the proposed process, designers can find the best way to accomplish their design projects within a defined framework.

Due to the adaptability, durability, and affordability of synthetic polymers, their usage has been increasing in the global industry. These petroleum-based polymers remain intact in nature for many years after they expire and cannot be included in the natural recycling network in any way. Producing polymers using fossil resources increasingly day by day threatens existing resources and affects the circular economy negatively. Considering the various negative effects of polymers on the environment, biopolymers could be seen as a strong alternative; which is a polymer group formed by living organisms such as plants, animals, and microorganisms. Ecological, low-emission, and recyclable biopolymers open up new and a broad range of topics in the field. Composite materials created with these biopolymer materials that act as natural adhesives; have different developing areas of applications such as packaging industry, textile, furniture, and industrial design sectors, architectural designs, and structural insulation materials. Fungal mycelium, a biopolymer, consists of fibrous filaments called hyphae, which can be defined as elongated cells, mainly composed of chitin, glucan, and proteins. The ability of fungal mycelium to digest and grow through organic matter makes it possible to produce biocomposites from mycelium. Mycelium-based composites are mixed with fungal mycelium, forming an interpenetrating three-dimensional filamentous network that binds the raw material to the material, and after completing the growth period, the mycelium growth is stopped by heat, thus offering an alternating fabrication paradigm based on the growth of materials. In this study, firstly, it was tried to find the most efficient ratio among different mixing ratios by using the mycelium of the genus Pleurotus Ostreatus and the same raw materials. Afterward, it was aimed to investigate the mechanical and physical properties through experimental studies, especially the production process, of mycelium-based composites formed by mixing different raw materials in determining proportions.