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Multiculturalism, as a set of ideas and policies, is one of the normativeapproaches to the current situation of cultural diversity in multicultural cities.But how can the ideas of multiculturalism be translated into the reality of urbanform? The overall aim of this dissertation is to provide a theoretical andconceptual frame of reference for distilling and identifying the ideas ofmulticulturalism which can be translated into spatial form, and in this way, tohighlight the role urban form may play in addressing the situation of living‘together-in-difference’. In this study, the relation between the materiality ofurban form and the political framework of multiculturalism is at the core of thediscussion.In its exploration into multiculturalism, the thesis identifies theoretical lacunae inexplaining the spatial dimensions of multiculturalism. To be able to discussmulticulturalism in urban form terms, the dissertation chooses the position of a‘civility of indifference’, developed by Amin (2012), as one of many possiblestances within this discourse as an operative conception for such an exercise.Adopting the logical argumentation as the research strategy, the thesis delvesdeep into the conceptual domain mapped by space syntax theory as a primarysystem in this endeavour, and accordingly, describes how the spatial form of thecity, by way of human movement, has the potential to create a variety of socialgroupings. Thereupon the thesis develops a secondary conceptual system withexplanatory applicability to the relation between multiculturalism and spatialform. Supported by these systems of argumentation, the study describes how thespatial morphology of the city may have influence on the situation of livingtogether. It is suggested that overlapping spaces represent the spaces whereurban structure potentially can provide the spatial viability for the emergence ofa ‘civility of indifference’ and its two organizing principles of co-presence andmultiplicity.Hence, the dissertation intends to contribute to theoretical efforts into theexperience of living ‘together-in-difference’ from architectural and urban designperspectives, and argues that multiculturalism distinctly possesses spatialdimensions, which should be conceptualized and addressed through thetheoretical lens of spatial form. Hence, the thesis defends that notwithstandingbeing a complex of social processes, the spatial dimensions of multiculturalismshould not be belittled in efforts to address the situation of living together in themulticultural cities of the West. / <p>QC 20150522</p>

This thesis presents a series of human psychophysical experiments designed to examine the interaction between the reliability of spatial form information and the neural mechanisms responsible for the processing of sub-second durations. Duration discrimination sensitivity was found to be lower when event durations were defined by stimulus characteristics that caused reductions in spatial form sensitivity. This form-duration sensitivity coupling persisted across stimuli defined both by crossed and uncrossed retinal disparity and within monocularly visible texture-defined stimuli. The interaction was also observed when spatial form was degraded by physical instability within shape borders, and when physically stable borders became perceptually unstable. These effects could not be attributed to artefacts of stimulus visibility, temporal coherence or stimulus size. Adaptation experiments generated aftereffects of perceived duration within stimuli whose durations were defined solely by retinal disparity, providing the first demonstration of duration selectivity within exclusively cortical duration encoding mechanisms. The selectivity of these aftereffects was then investigated using adapting and testing durations defined by matching or opposing retinal disparities. Duration aftereffects were maximal when adapt and test disparities were matched. However, there was partial transfer of duration aftereffects across large changes in retinal disparity, implicating contributions from higher-level extra-striate mechanisms. Collectively, these experiments provide support for duration processing mechanisms that are inextricably linked to the mechanisms underpinning spatial processing across multiple levels of the visuo-spatial hierarchy.

Public space has been an important social and political space throughout the history. Although there are various definitions of the term public space in the literature, it can be defined as a place of interaction and social contact among different groups and individuals. Besides, the meaning, form and function of public spaces differ due to different socio-cultural structures of societies. The form of a public space is an essential urban design issue. Moreover, the meaning and function of a space have been also considered as the urban spatial form through the urban design processes. Since the period when Ankara has been conceived and designed as a spatial project of the Turkish Republic in 1924, Hacibayram Square has been transformed within the historical meaning, urban function and spatial form. Through changing contradictions and actors, these transformations have been experienced. Hacibayram Square with its meaning, function and form in the 1930s shows differences from Hacibayram Square in the first map of Ankara (1839), which is drawn by Von Vincke. However, although the meaning, function and form of the Square have been transformed with the effects of every urban project, the political character of the square transformed but protected itself. Through this study, it is aimed to analyze how the historical meaning, urban function and spatial form of Hacibayram Square have been transformed within a historical perspective.

During the Modernist period, generally defined between the years 1890 and 1945, artists were attempting to break away from previous forms and styles. For example, writers like Henry James and Virginia Woolf sought to change the novel by exploring the consciousness of characters, while playing with the ideas of time and space to create the present moment. The thesis explores the modernist techniques used by James and Woolf, but also connects the work of the writers with the architecture of Frank Lloyd Wright. Using Joseph Frank's theory of spatial form, my work explores the similarities between Wright's designs of private residences with the design of space in the novel. All three artists, I argue, are working with spatial form, blending interior with exterior, to provide the reader and the dweller with the opportunity to experience an organic unity, which ultimately results in a freezing of the moment. In addition to Frank's theory, I also incorporate Stanley Fish and Reader Response theory and William James's Principles of Psychology. The reader and the dweller must actively engage with the structure, whether a text or the home, to develop and realize the possibilities of spatial form. Also, William James's ideas about the mind and consciousness influenced Henry James and Virginia Woolf, especially in their focus on character, rather than description. I have chosen James's The Turn of the Screw and The Wings of the Dove along with Woolf's To the Lighthouse and The Waves to study with Wright's Prairie and Usonian residences. Each chapter looks at one novel and Wright's corresponding work during approximately the same time period. By connecting literature and architecture, the thesis provides new ways of thinking about the two disciplines, especially concerning interiority and consciousness. James, Woolf, and Wright are all experimenting with time and space to create a unified experience, and the striking parallels between their work deserves more attention.

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維珍妮亞‧吳爾芙《燈塔行》揉合小說與繪畫，在作者創新的手法、精湛的技巧背後藏有模仿人物情緒、情感最纖細的體味。《燈塔行》不論筆觸、內容或意境在在表現出吳爾芙追尋主題、濃厚的繪畫知性與感性傾向，對吳爾芙而言，生命與藝術的追求便是唯善至美的永久追求。本論文第一章試就作品“空間模式”的技巧運用檢視其分裂斷折的文字敘述，框化的造形藝術，視覺官能的虛擬情境。第二章說明“空間模式”中不可或缺的時間因素，進而將時空互動關係演至“空”這觀念，說明吳爾芙的生命觀與追尋的價值。在作者形象語言中，追尋具有圖案或圖畫，不管是藍姆西先生的線條邏列、藍姆西太太的靜態平面、或第三章中討論的莉莉‧柏斯蔻的畫作，都可以感受到這些人物對世間萬事萬物的企圖和努力。 / This study examines Virginia Woolf's innovative form and style in <u>To the Lighthouse</u> designed to imitate the confusion of thoughts, emotions, and views of life and to reveal man's search for life's meaning and his struggle to give shape to his experiences. Chapter One of this thesis investigates the spatial form of the text, particularly the disrupted narrative, the use of frames and the focus on virtual reality. In this chapter, I try to show that the spatial writing in fact produces simultaneity and that simultaneity often makes the thoughts and emotions arise all at once. Chapter Two discusses the notion of the spatio-temporal interdependence with demonstrations of the Ramsays' search patterns, the line and the surface, the facing and the fusing. This chapter explains the idea of man's searching for order through time and the empty space as exemplified by the novel's middle part, "Time Passes." In using the similar plastic language of colors and shapes, Mr and Mrs. Ramsay suggest their common destiny, a quest for order and unity that is extended to the final chapter. Chapter Three follows and develops the search motif in Lily Briscoe's painting process, a process that combines visual actualities and memories.

In Turkey, by 1980, a transformation has been observed on both the character of the societal opposition and the meaning, function, and spatial form of public spaces, which were characterized to be essential political spaces of a period. Kizilay Square was &lsquo / the preferred space&rsquo / by the opposition during the struggle against Democrat Party in 1960&rsquo / s / however demonstrations were expelled out of the square by legal regulations and sanctions. On one hand, legally, Kizilay Square could not be the scene of societal opposition / on the other hand the meaning on the base of being a &lsquo / political scene&rsquo / has continued. However, spatial implementations, regulated by Ankara Metropolitan Municipality, occurred as an attempt to turn the square from a possible pedestrian zone to a junction. Since the period it has been conceived and designed as a socio-spatial project of new established republic in 1925, Kizilay Square has been transformed within its (historical) meaning, (urban) function and (spatial) form through changing contradictions and actors within political, social and economic context. This transformation has been experienced through political contradiction and struggle. Between the years 1960 and 1980, during which the societal opposition arouse, with respect to differentiating actors and movements, the conflict over meaning, function and form of the square also has differentiated from the meaning, form and function determined in the nation state construction process. Through this research, it is aimed to examine how the political contradiction and struggle on three dimensions of Kizilay Square has been transformed, within a historical perspective.

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This is a thesis in the field of information design with a spatial design focus. The purpose of the study has been to investigate how methods and theories in information design can be applied to communicate and inform activity zone functions in activity-based outdoor offices within the spatial form of the room.  The methodological work includes a physical site analysis, one survey, interviews and workshops, and a scenario-based evaluation. The methods conducted to examining users’ attitudes towards study-related work in an outdoor environment, analyze demands and needs of activity zones and investigate different spatial forms’ informative attributes, what they communicate and why. Together with support from collected empirical evidence and relevant theories, a design has been created that exemplifies an activity-based outdoor office for university students, focusing on the use of informative spatial forms. This to facilitate a correct use of space and to enable a good working environment. The idea is to create a spatial design that guides users with a communicative spatial form of the room towards the appropriate activity zone. / Denna studie är ett examensarbete inom informationsdesign med inriktning rumslig gestaltning. Syftet med studien har varit att undersöka huruvida metoder och teorier inom informationsdesign kan tillämpas för att aktivitetszoner i ett aktivitetsbaserat utomhuskontor ska kunna kommunicera och informera dess funktion med hjälp av rumsformer. Studien inkluderar ett metodiskt arbete som innefattar en fysisk platsanalys, enkätundersökning, semistrukturerade intervjuer och workshops samt en scenarioutvärdering. Metoderna genomfördes med syfte att undersöka användarnas attityder gentemot studierelaterat arbete i utomhusmiljö, efterfrågan och behov av aktivitetszoner, samt vad olika rumsformer kommunicerar och varför.Baserat på teori kombinerat med insamlade data och empiri, har ett gestaltningsförslag tagits fram som exemplifierar utformningen av ett aktivitetsbaserat utomhuskontor för högskolestudenter, med fokus på användningen av informativa rumsformer. Detta för att kontorsformen ska kunna brukas enligt korrekt syfte och därmed möjliggöra en god arbetsmiljö som både verkar funktionellt i den mening att de tillmötesgår användarbehoven, samtidigt som rumsformen ska vägleda användarna till sin plats i det nya rummet.