{"id":6324,"date":"2026-02-02T17:49:59","date_gmt":"2026-02-02T17:49:59","guid":{"rendered":"http:\/\/archworks.agu.edu.tr\/?p=6324"},"modified":"2026-02-02T17:49:59","modified_gmt":"2026-02-02T17:49:59","slug":"beyond-the-eyeball-sulenur-senses","status":"publish","type":"post","link":"http:\/\/archworks.agu.edu.tr\/index.php\/2026\/02\/02\/beyond-the-eyeball-sulenur-senses\/","title":{"rendered":"BEYOND THE EYEBALL \/ \u015eULENUR \u015eENSES"},"content":{"rendered":"<p><strong>BEYOND THE EYEBALL \/ \u015eULENUR \u015eENSES <\/strong><\/p>\n<p><span data-contrast=\"auto\">Located adjacent to Dolmabah\u00e7e Palace, the <\/span><b><span data-contrast=\"auto\">Sensory\u00a0Museum<\/span><\/b><span data-contrast=\"auto\">\u00a0is\u00a0conceived\u00a0as an\u00a0experiential\u00a0architectural\u00a0proposal\u00a0that\u00a0critically\u00a0questions\u00a0the\u00a0established\u00a0conventions\u00a0of\u00a0contemporary\u00a0museology. On a global\u00a0scale,\u00a0dominant\u00a0museum\u00a0practices\u00a0largely\u00a0reduce\u00a0knowledge\u00a0to\u00a0visual\u00a0representation,\u00a0positioning\u00a0the\u00a0visitor\u00a0as a\u00a0passive\u00a0observer\u00a0at a\u00a0distance\u00a0from\u00a0exhibited\u00a0objects.\u00a0This\u00a0\u201clook-but-don\u2019t-touch\u201d model\u00a0embodies\u00a0a\u00a0fundamental\u00a0epistemological\u00a0flaw, as\u00a0human\u00a0perception\u00a0and\u00a0cognition\u00a0are\u00a0not\u00a0constructed\u00a0through\u00a0vision\u00a0alone. Knowledge\u00a0emerges\u00a0through\u00a0embodied\u00a0experience,\u00a0shaped\u00a0by\u00a0multisensory\u00a0engagement\u00a0and\u00a0physical\u00a0interaction\u00a0with\u00a0space.<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">This\u00a0project\u00a0positions\u00a0the\u00a0acquisition\u00a0of\u00a0knowledge\u00a0through\u00a0the\u00a0senses\u00a0as a\u00a0core\u00a0architectural\u00a0design\u00a0input.\u00a0Within\u00a0the\u00a0Sensory\u00a0Museum,\u00a0space\u00a0is not a\u00a0neutral\u00a0container\u00a0for\u00a0exhibition\u00a0but an\u00a0active\u00a0interface\u00a0through\u00a0which\u00a0knowledge\u00a0is\u00a0produced.\u00a0The\u00a0visitor\u00a0learns\u00a0by\u00a0engaging\u00a0directly\u00a0with\u00a0the\u00a0architecture\u2014through\u00a0touch,\u00a0movement,\u00a0sound,\u00a0light,\u00a0and\u00a0atmospheric\u00a0variations.\u00a0Surfaces\u00a0invite\u00a0physical\u00a0contact,\u00a0auditory\u00a0layers\u00a0guide\u00a0perception,\u00a0and\u00a0controlled\u00a0shifts\u00a0in\u00a0light,\u00a0temperature,\u00a0and\u00a0scent\u00a0cultivate\u00a0heightened\u00a0awareness. Learning\u00a0thus\u00a0transcends\u00a0intellectual\u00a0transmission\u00a0and\u00a0becomes\u00a0a\u00a0bodily,\u00a0intuitive,\u00a0and\u00a0multi-layered\u00a0process.<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Situated\u00a0within\u00a0the\u00a0historically\u00a0charged\u00a0and\u00a0representational\u00a0context\u00a0of Dolmabah\u00e7e,\u00a0the\u00a0building\u00a0deliberately\u00a0challenges\u00a0the\u00a0distanced\u00a0and\u00a0monumental\u00a0narrative\u00a0language\u00a0of\u00a0traditional\u00a0museum\u00a0spaces.\u00a0Rather\u00a0than\u00a0functioning\u00a0as a\u00a0structure\u00a0that\u00a0merely\u00a0preserves\u00a0and\u00a0displays\u00a0objects,\u00a0the\u00a0museum\u00a0operates\u00a0as a\u00a0dynamic\u00a0system\u00a0that\u00a0activates\u00a0perception,\u00a0the\u00a0body,\u00a0and\u00a0critical\u00a0thought. Knowledge is not\u00a0delivered\u00a0to\u00a0the\u00a0visitor; it is\u00a0constructed\u00a0through\u00a0lived\u00a0experience.<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">The\u00a0Sensory\u00a0Museum\u00a0understands\u00a0architecture\u00a0not as a\u00a0passive\u00a0physical\u00a0shell, but as an\u00a0operative\u00a0medium\u00a0directly\u00a0involved\u00a0in\u00a0the\u00a0formation\u00a0of\u00a0knowledge.\u00a0In\u00a0this\u00a0sense,\u00a0the\u00a0project\u00a0constitutes\u00a0a\u00a0critical,\u00a0experience-driven\u00a0museological\u00a0manifesto,\u00a0engaging\u00a0with\u00a0contemporary\u00a0learning\u00a0theories\u00a0that\u00a0foreground\u00a0sensory\u00a0perception,\u00a0embodiment,\u00a0and\u00a0interaction\u00a0as\u00a0fundamental\u00a0to\u00a0understanding.<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-6326\" src=\"http:\/\/archworks.agu.edu.tr\/wp-content\/uploads\/2026\/02\/sensessulenur_236_661699_FINALSUBMISSION_Sayfa_1.jpg\" alt=\"\" width=\"14043\" height=\"9933\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>BEYOND THE EYEBALL \/ \u015eULENUR \u015eENSES Located adjacent to Dolmabah\u00e7e Palace, the Sensory\u00a0Museum\u00a0is\u00a0conceived\u00a0as an\u00a0experiential\u00a0architectural\u00a0proposal\u00a0that\u00a0critically\u00a0questions\u00a0the\u00a0established\u00a0conventions\u00a0of\u00a0contemporary\u00a0museology. On a global\u00a0scale,\u00a0dominant\u00a0museum\u00a0practices\u00a0largely\u00a0reduce\u00a0knowledge\u00a0to\u00a0visual\u00a0representation,\u00a0positioning\u00a0the\u00a0visitor\u00a0as a\u00a0passive\u00a0observer\u00a0at a\u00a0distance\u00a0from\u00a0exhibited\u00a0objects.\u00a0This\u00a0\u201clook-but-don\u2019t-touch\u201d model\u00a0embodies\u00a0a\u00a0fundamental\u00a0epistemological\u00a0flaw, as\u00a0human\u00a0perception\u00a0and\u00a0cognition\u00a0are\u00a0not\u00a0constructed\u00a0through\u00a0vision\u00a0alone. Knowledge\u00a0emerges\u00a0through\u00a0embodied\u00a0experience,\u00a0shaped\u00a0by\u00a0multisensory\u00a0engagement\u00a0and\u00a0physical\u00a0interaction\u00a0with\u00a0space.\u00a0 This\u00a0project\u00a0positions\u00a0the\u00a0acquisition\u00a0of\u00a0knowledge\u00a0through\u00a0the\u00a0senses\u00a0as a\u00a0core\u00a0architectural\u00a0design\u00a0input.\u00a0Within\u00a0the\u00a0Sensory\u00a0Museum,\u00a0space\u00a0is not a\u00a0neutral\u00a0container\u00a0for\u00a0exhibition\u00a0but an\u00a0active\u00a0interface\u00a0through\u00a0which\u00a0knowledge\u00a0is\u00a0produced.\u00a0The\u00a0visitor\u00a0learns\u00a0by\u00a0engaging\u00a0directly\u00a0with\u00a0the\u00a0architecture\u2014through\u00a0touch,\u00a0movement,\u00a0sound,\u00a0light,\u00a0and\u00a0atmospheric\u00a0variations.\u00a0Surfaces\u00a0invite\u00a0physical\u00a0contact,\u00a0auditory\u00a0layers\u00a0guide\u00a0perception,\u00a0and\u00a0controlled\u00a0shifts\u00a0in\u00a0light,\u00a0temperature,\u00a0and\u00a0scent\u00a0cultivate\u00a0heightened\u00a0awareness. Learning\u00a0thus\u00a0transcends\u00a0intellectual\u00a0transmission\u00a0and\u00a0becomes\u00a0a\u00a0bodily,\u00a0intuitive,\u00a0and\u00a0multi-layered\u00a0process.\u00a0 Situated\u00a0within\u00a0the\u00a0historically\u00a0charged\u00a0and\u00a0representational\u00a0context\u00a0of Dolmabah\u00e7e,\u00a0the\u00a0building\u00a0deliberately\u00a0challenges\u00a0the\u00a0distanced\u00a0and\u00a0monumental\u00a0narrative\u00a0language\u00a0of\u00a0traditional\u00a0museum\u00a0spaces.\u00a0Rather\u00a0than\u00a0functioning\u00a0as a\u00a0structure\u00a0that\u00a0merely\u00a0preserves\u00a0and\u00a0displays\u00a0objects,\u00a0the\u00a0museum\u00a0operates\u00a0as a\u00a0dynamic\u00a0system\u00a0that\u00a0activates\u00a0perception,\u00a0the\u00a0body,\u00a0and\u00a0critical\u00a0thought. Knowledge is not\u00a0delivered\u00a0to\u00a0the\u00a0visitor; it is\u00a0constructed\u00a0through\u00a0lived\u00a0experience.\u00a0 The\u00a0Sensory\u00a0Museum\u00a0understands\u00a0architecture\u00a0not as a\u00a0passive\u00a0physical\u00a0shell, but as an\u00a0operative\u00a0medium\u00a0directly\u00a0involved\u00a0in\u00a0the\u00a0formation\u00a0of\u00a0knowledge.\u00a0In\u00a0this\u00a0sense,\u00a0the\u00a0project\u00a0constitutes\u00a0a\u00a0critical,\u00a0experience-driven\u00a0museological\u00a0manifesto,\u00a0engaging\u00a0with\u00a0contemporary\u00a0learning\u00a0theories\u00a0that\u00a0foreground\u00a0sensory\u00a0perception,\u00a0embodiment,\u00a0and\u00a0interaction\u00a0as\u00a0fundamental\u00a0to\u00a0understanding.\u00a0<\/p>\n","protected":false},"author":10,"featured_media":6325,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[22],"tags":[],"class_list":["post-6324","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-f25-arch301"],"_links":{"self":[{"href":"http:\/\/archworks.agu.edu.tr\/index.php\/wp-json\/wp\/v2\/posts\/6324","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/archworks.agu.edu.tr\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/archworks.agu.edu.tr\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/archworks.agu.edu.tr\/index.php\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"http:\/\/archworks.agu.edu.tr\/index.php\/wp-json\/wp\/v2\/comments?post=6324"}],"version-history":[{"count":1,"href":"http:\/\/archworks.agu.edu.tr\/index.php\/wp-json\/wp\/v2\/posts\/6324\/revisions"}],"predecessor-version":[{"id":6327,"href":"http:\/\/archworks.agu.edu.tr\/index.php\/wp-json\/wp\/v2\/posts\/6324\/revisions\/6327"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/archworks.agu.edu.tr\/index.php\/wp-json\/wp\/v2\/media\/6325"}],"wp:attachment":[{"href":"http:\/\/archworks.agu.edu.tr\/index.php\/wp-json\/wp\/v2\/media?parent=6324"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/archworks.agu.edu.tr\/index.php\/wp-json\/wp\/v2\/categories?post=6324"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/archworks.agu.edu.tr\/index.php\/wp-json\/wp\/v2\/tags?post=6324"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}