CONCEPT

B.C. From 8000 years to today, Seljuk, which houses important historical places like "Temple of Artemis, Virgin Mary's Church and Mausoleum of St. John" in the center of "spirituality", is an important settlement place where spiritual and material events come to light. This spiritual and material unity in the history of Seljuk led to an opportunity to refer to the nature of the combination of matter and form in the philosophy of architecture in the conceptual development of design. Accordingly, the design has been guided by two different perspectives in the context of "matter and form".

In Aristotle's classical perception of matter-form theory, the co-existence of physical material with mental form can be seen as the main contributing body in terms of physical occupancy. This "physical matter-mental form" is the relation that defines the practical function of the space. However, theoretically, it is aimed that the inverse of this situation is evaluated in design as "mental substance-physical form". At this point, it is desirable to make a reference to the concept of harmony "Harmonia", which arises from the unity of the antitheses of the Ephesian Heraklitos on the memory of Seljuk. This abstract substance is conceptually defined as '' memories '' or '' history '' itself in design conception. According to the design context, it is the memories of the mind that characterize and fill the void without a descriptive object. The effect of the physical occupancy created by the ‘’abstract form of the substance felt by the senses’’ in the design of the structure is balanced by the mental occupancy effect of the abstract substance (remembrances) which can be grasped with intelligence (light).

As a "mound", the building, which rises from the ground, functions now with its physical presence; It is intended to fill the void created on the experience of the users and to fill in the memories of their minds and carry the past to the future. The visibility and fullness of this substance, seen as a void, is symbolized by a light column that illuminates the present from the past.

The cosmos is harmony, a harmony that the battle of antagonisms brings. Heraklitos7

SPATIAL COURSE

The building proposal is designed in a single building block with the effect of the area within the program and the height limit. Approach from the inner circle of transportation routes, has cut the building four main axes. This has taken on the role as the defining element of the building approach and building entrances. The area within the axis that cuts the land from the center in the east and west direction defines the main entrance of the building and the exhibition hall. At the same time, this axis also has a separate function of the showroom and service units.

The structure is positioned on the ground as a monolithic mass in the design process.
However, it is desirable to weaken the effect of massive physical occupancy created by mass.
For this reason, by utilizing the concept of driving force, the demonstration hall was pulled to the bottom of the ground and the space left over was emptied. This new space, which has been formed, has been given a function as an open cinema area. The south part of the building block is divided into social and cultural service units. On the ground floor, social spaces protected from direct sunlight are positioned. Workshops and movie theaters are designed to take service from a common ground on the upper floor. At the same time, the mass was pulled backwards on the ground floor to guide the building from the south and to increase the facade surface.  The design of the inner courtyard, formed by this retrograde drawer, is also reflected as a backward draw in the architectural style of the building. This back reflection is a reference to the architectural past of the ancient city of Ephesus, the colonial road and the amphitheater.

A light steel construction system designed to define the empty space on the building within the concept and carry sunshade systems to protect the day from the effects of sunlight and to carry the cinema screen and projector at night. 

STRUCTURAL SYSTEM, MATERIALS AND SUSTAINABILITY

The structure is resolved in two separate carrier systems separated by a dilatation system. While the demonstration hall and cultural service units are covered with reinforced concrete slabs in the sections, the entrance and the opening in the exhibition area are covered with light steel conveyor system and covered with cemented chipboards. The facade material is designated as Corten perforated mesh coating. With the choice of Corten material with wear effect, a contemporary reference to the abrasive effect of history has been made in design.

The perforated structure of the facade material allows the direct sunlight to be controlled in a controlled manner. In this respect, it contributed to lowering the thermal load of the construction in Selçuk with hot climates. Green roof system is used in the roof cover. This decision, together with the perforated facade decision, has taken part in the construction of the building's heat balance. At the same time, the green touch taken from the land allows the roof to be returned. The circular space on the roof allows natural illumination of the upper facade. At the same time, the ground floor has formed an air corridor where the humid air to be collected from the courtyard can ascend and descend from here. In this way, it is possible to create a continuous cool climate. These decisions have come to the forefront as design principles that contribute to energy efficiency.