Theses supervised by Prof. Dr. Tayyibe Nur Çağlar
13 theses · TOBB Economics and Technology University, Gazi University
Architect and brand collaboration: Stuart Weitzman stores designed by Zaha Hadid
In the past and present, luxury fashion brands cooperate with well-known architects as successful as they are in their fields and offer the designs of these stores that they are planning to be built. Such collaborations contribute to the value of the brand as well as a store belonging to the brand in terms of spatial quality; can also become the reason for the brand's products to be preferred by the potential customers of the brand. There are some features that luxury fashion brands seek for, in the architect they will work together for the design of their stores. In addition to the recognition of the architect, it is expected by the employer that the design language establishes a relationship with the brand which will provide a meaningful language integrity between the products belonging to the brand and the place where these products are exhibited. The main criteria for the architect to be a "brand" is the design quality of the spaces that they designed and the quantity of the designs that they achieved can also be an indication of their preference. A similar assessment is also valid for the architect. Zaha Hadid had designed a unique style of structures in terms of their position, function and characteristics (material, form, color, etc.) and at the same time is an indicator of their selectivity and doing business with a well-known luxury fashion brand will be a good reference for her as well that is an inevitable fact in today's consumption world. In this study, the contribution of such cooperation between architect and brand, to the design quality of the space is examined from the completed examples. The method of the study is to examine the transition to product exhibitions as a result of the changing consumption culture and the reflection of this change on consumption spaces. Then, to clarify the quality of spaces created by the touch of an architect in order to contribute to the brand power with the design of these exhibition spaces. Thus, by the works that the architect has done in the past using their distinctive design language, their style become recognized and this identity provides them to become a brand. By accommodation with the main suggestion that the spaces which can be qualified each as an artwork emerging from Zaha Hadid and Stuart Weitzman collaboration, also achieving its purpose of the brand's stores to be recognized visually as well and provides "experiential shopping" which is a new expansion as a conclusion of the thesis, is reached.
Perspectives of space on violence: Establishing the relationship between space and violence through Ankara Bentderesi
Violence is an expansive and intricate concept analyzed across various disciplines. Although it is frequently perceived as an interpersonal phenomenon, violence is profoundly interconnected with spatial dynamics. The space associated with violence is not merely a physical environment; it serves as a locus where social relationships, power dynamics, and economic processes are materialized. Consequently, violence is exemplified not only through physical assaults or destruction but also through processes such as displacement, discrimination, poverty, and social exclusion, all of which occur from the disruption of social and economic structures. The main aim of this thesis is to examine how violence emerges through socio-spatial decisions, economic changes, and individual behaviors within space, to evaluate the physical, psychological, economic, structural, and symbolic impacts of these processes, and to determine which actions can be defined as violence. In line with this aim, the thesis targets to evaluate spatial violence using an interdisciplinary and multi-dimensional approach, and to uncover how different political regimes and urban/spatial planning strategies have perpetuated violence in various forms throughout history. xi For these purposes, Bentderesi and its surroundings, located in the Altındağ district of Ankara, have been chosen as a specific case study. Bentderesi has experienced significant social and spatial transformations over time, has harbored some of the most dangerous neighborhoods where even law enforcement hesitated to enter, and has been stigmatized by associations with brothels and prostitution, all while its historical, natural, and cultural heritage has been systematically eroded. It is a marginalized urban area where violence shapes the spatial environment, spatial transformation shapes violence, and this cyclical dynamic becomes evident. Thus, reinterpreting and redefining the concept of violence through a spatial lens requires a thorough re-reading of Bentderesi. The methodology employed in this thesis is grounded in David Riches' theory of violence, which explores violence from the perspectives of the performer, victim, and witness. This theoretical framework encourages a comprehensive understanding of spatial violence and its expressions within the built environment. The analysis conducted through this tripartite perspective reveals that space can function as a perpetrator, provoking violence, as a victim, suffering harm from political and individual actions, and as a witness, retaining the imprints of violence. This classification makes visible the underlying processes that contribute to urban spaces' destructive, fear-inducing, criminal, and harmful outcomes. Keywords: Spatial violence, Spatial transformation, Urban politics and human behavior, Perspectives of violence, Bentderesi
Çağdaş mimarlıkta cephe/yüzey kavramı tartışmaları
Bu çalışma tarihsel bir süreklilikte cephe ve yüzey kavramları bağlamında mekânın çeperlerine odaklanmaktadır. Bu çerçevede önemli bir soru, bir mimarlık gerçekliği ve soyut ifadeler olarak cephe ve yüzey kavramlarının mimarlık uygulamaları ve kuramsal alanlarındaki pozisyonlarına yöneltilmiştir. Mimarlıkta Cephe/yüzey nedir sorgulaması çeperlerin ne olduğunun, ne ifade ettiğinin, nasıl kullanıldığının ve mimarların çeperleri nasıl yapılandırdığının kuram ve uygulamada sonuçlarını içerir.Cephe kavramı Rönesans ve Postmodern mimarlık aralığında anlamları ve mekânsal karşılıkları bakımından analiz edilmiştir. Kavramın dilde ve mimarlık düşüncesindeki yeri seçilen mimarlar ve binaları bağlamında ele alınmıştır.Ondokuzuncu yüzyılda, cephe kavramının yüzey kavramı yönünde dönüşümü ve yüzeyin hem tarihi hem de kuramsal bir kaygı olarak mimarlar tarafından nasıl inşa edildiği önemlidir. Özellikle Gottfried Semper teorileri ile yüzey kavramının anlamlı hale gelmesinde önemli bir kaynak olarak çalışmada incelenmiştir.Yüzey kavramının çağdaş mimarlıktaki içeriği/niteliği Coop- Himmelb(l)au, Toyo Ito, Bernard Tschumi, Herzog & de Meuron, Rem Koolhaas, FOA, Jean Nouvel, Frank Gehry gibi mimarların söylem ve uygulamalarında analiz edilmiş ve çeperlerin içeriğini şekillendiren etmenler ve binaların yer aldığı bir grafik ifade hazırlanmıştır.Yüzeyin estetik bir unsur olarak temsilin kaynağı olması, üretim ve yapım arasındaki bağı kurması ile farklı yüzey tasarımlarının oluştuğu gözlemlenmiştir. Bu farklılıkların genel bir ifade ile yüzey başlığı altında adlandırılması ile çeperlerde oluşturulmuş anlam zenginliğini ve mekânsal niteliklerin indirgendiği savlanmaktadır. Bu çerçevede çalışma güncel mimarlıkta yüzey kavramının anlam çeşitliliğini, özgünlüğünü ifade edecek kavram ve sıfat önerileri ile hazırlanmış bir okuma modelini içerir.Araştırmadan ile elde edilen bulgular bir yüzey kuramı önerisi ile sonuçlandırılmıştır. Yüzey kuramı çağdaş yüzeyin duyusal etkiler, nesnelliğini şekillendiren sabitler ve değişkenler olarak belirlenmiş/açıklanmış temel nitelikleri kapsamında program, endüstriyel ve dijital üretim modelleri, mimarın kişisel tutumları, para-bağlamsalcılık, arkitekturesk ve para-imgesellik olarak tanımlanmış kavramlar ile oluşturulmuştur.
Sanatta 'Mekan'ın deneyimlenmesi: Yerleştirme (Enstalasyon) çalışmaları
ivSANATTA MEKANIN DENEYİMLENMESİ: YERLEŞTİRME(ENSTALASYON) ÇALIŞMALARI(Yüksek Lisans Tezi)Burcu AYÖZCAN ATALARGAZİ ÜNİVERSİTESİFEN BİLİMLERİ ENSTİTÜSÜEylül 2006ÖZETSanat, `mimarlığın konusu olan mekanı; `mekan', `nesne', `gözlemci-özne' ve`zaman' kavramlarının etkileşimi içerisinde değerlendirmekte, estetik vekavramsal iletinin bir aracı olarak ortaya koymaktadır. Bu çalışmanın amacı,sanatın bu etkileşimlerle yarattığı `deneyimlenen mekanları' ve bu mekanlarınsunduğu farklı `mekansal deneyimleri' incelemektir.Endüstrileşme ve seri üretim teknikleri, `gözlemci ve `sanat eseri' arasındakiilişkide dönüşümün önemli etkenleri olmuştur. Çalışmada, bu dönüşümün sanatortamındaki yansımalarına yer verilmiştir. Kişinin `algısal deneyimini' konualan, `deneyimlenen mekanlar' üreten, `mekan, nesne ve gözlemci özne vezaman' birlikteliği ile yalnızca `seyredilen' değil, aynı zamanda `deneyimlenensanat' ortaya koyan `yerleştirme çalışmaları' ele alınmıştır.`Deneyimsellik' ve `algısallık' kavramları eşleştirilirken, Rudolf Arnheim veChristian Norberg-Schulz'un mekan üzerindeki tanımları incelenmiştir.Bunların sonucu olarak `yerleştirme' çalışmaları örneklenmiş; `mekan, nesne,gözlemci-özne ve zaman' kavramlarının ürünü olan `deneyimlenen mekanlar'üreten çalışma biçimi olarak ortaya konmuştur.vBu çalışmaların; yapı mekanında, kentsel mekanda ve doğal çevrede sunduklarıfarklı mekansal deneyimler örneklenmiştir. Ayrıca çalışmada, ikisi de mimarolan sanatçılar Frederick Kiesler ve Gordon Matta Clark'ın çalışmalarında`mekan, nesne (sanat eseri), gözlemci-özne ve zaman' kavramları örneklerledetaylı olarak incelenmiştir.Sonuç olarak, yerleştirme çalışmaları, mimarlığın temeli olan `mekan'ı estetik,sağlamlık ve kullanımın gereklerinden; ekonomik kısıtlardan, sosyalsorumluluklardan, ideolojik yönlenmelerden özgür olarak tasarlamakta;yalnızca `estetik' (görsel) ve kavramsal amaçlarla `mekan' yaratan çalışmalarortaya koymaktadır. Sonuçta bu çalışmalar, farklı mekansal deneyimlersunabilme imkanları yaratmaktadır.Bilim Kodu : 802.1.100Anahtar Kelimeler : Yerleştirme çalışmaları, Mekan, Nesne,Gözlemci-Özne, ZamanSayfa Adedi : 132Tez Yöneticisi : Prof .Dr. T. Nur Çağlar
A new research area for intricate landscape of cities: Paradisciplinarity
Nowadays, cities and disciplines become intricate. The concept of intricacy*, includes the model of connections of different elements that combined without resolving within each other. While these elements protects their main focuses, they should adopt and transform due to the relations which have been built. Each and every relation within architectural/urban studies should be evaluated as a skein without tyring to be separated. When the architectural/urban studies become intricate, the concepts and comprehansions become insuffiecient. This insufficiency, within this research, examined through three headings: city, discipline and technological developments. Through the examination of the relations, Michel Faucault's four similitudes which are convenientia, aemulatio, analogy and sympathies, have been used in order to comprehand this skein. Afterwards, the historical process has been discussed under the relative periods that includes disciplinary relations. They are Antiquity, Renaissance, Modernity and Post-Modernity. As a part of disciplinary relations, the separation of design disciplines during Modernity caused several problems such as becoming intricate, impossible to comprehand and started to create its own concepts such as in Post- Modernity. Within this research, todays' conditions and concepts such as inter-, multi-, cross-, trans- disciplinarity are insuffiecient while understanding the knowledge within architectural/urban studies, paradisciplinarity will be discussed as a new approach. Due to the examination of the concepts mentioned above related with the disciplinarity, there is a tendecy towards one individual can manage all with the help of technological developments and the easy accessibility of the knowledge. Last but not least, the intellectual position of professionals required looking through different aspects, relating concepts over and over again and re-evaluating the definitions of professions.
An experimental study on blurred margins between architecture and landscape
The contemporary built environment has many examples that utilize transdisciplinary approaches. However, the products/ outcomes that are generated with this approach have complexity and hybridity, which will not be produced and cannot be comprehended with a single discipline knowledge. The products/ outcomes have already exceeded the classical terminology and theoretical framework of architecture and landscape. The discursive content, techniques and the production of new territory of the built environment are not at the intersection of distinct knowledge-basis any more. Neither architectural nor conventional concepts of landscape are not adequate to comprehend the new circumstances. Furthermore, all products in the city form the "scape" of it. Working on the concept of urban and urban products in the context of landscape and architecture will broaden the boundaries of architecture discipline. In this sense, the aim is to internalize the term landscape, which is described as "outside" according to the architecture seen as "habitus" in the thesis. The interaction levels of the two disciplines that constituties the study area of this thesis were examined and were classified in three main categories according to the qualification of products/ outcomes. These have been designated as "reproduction, combination and invention/ innovation" and they have formed the thesis structure. The evolutionary transformation, rather that of genealogy, of the process that started with the emergence of landscape architecture was revealed by the determined breaking points. These breaking points are expressed with disciplinary situations that reveal their consequences. The association that started with a multidisciplinary approach seems to have left its place to supra-disciplinary comprehending in the historical process. With these factors in mind, it can be claimed that a new spatial production that is expressed as "neither this nor that or that it is both this and that" –third genus- emerged. It was observed that the two disciplines interpenetrate each other in this uncomprehended new circumstance, which destroys the distinction between architecture and landscape. Ultimately, the contemporary modes of spatial production bring a singularity that cannot be understood under any current classification. Thus, it seemed that every production or intervention produces or derives new and authentic concepts of its own that are supra disciplinary. Hybridity, complexity, fusion were given as examples of these concepts.
An experimental approach to the understanding of architecture through concept-pairs
Today, the buildings that have become the product of the obsession with fleeting trends, instantaneity, fast fashion, and the lack of a sense of place have turned architecture into a consumer object, causing a concern for the future of architecture. Architecture has become self-referential and self-motivated. In this century, architecture moves towards a situation that only reveals ideas through measurable, tangible, visible concepts, thereby motivating only one side of architecture and encouraging one-sided thinking. The thesis aims a new way of thinking through complementary concepts to develop an experimental approach to architectural understanding, keeping away from one-sided thinking. This experimentality directs the understanding of architecture to the "interaction field" which is defined as open, blurring and dynamic, by removing it from the field that is defined as closed and strictly defined. The proposed new way of thinking suggests that a new understanding is developed based on concept-pairs by criticizing the idea of understanding architecture through individual concepts. At this point, the thesis defines the potential relationships between concepts by establishing the causality of concept-pairs, specifically based on both the philosophy of Plato as one of Western Ancient Ideas and the philosophy of Yin-Yang as one of Eastern Ancient Ideas. It exemplifies the potential relationships through complementary concepts-pairs such as rational-intuitive, focus-whole in harmony and accumulation-content. The argument of the thesis is based on developing a new point of view on architecture by thinking through concept-pairs rather than attaching importance to the concept-pairs presented. The complementary concepts would eventually lead to a diverse form of architectural thinking. As a result, this new experimental approach to architectural understanding sets a new conception of architecture by establishing a balance between concepts considered independently. Thus, the pairs that are proposed and have also potential to be proposed would create new "planes" for the understanding of architecture.
Understanding the raison d'être of urban parks and gardens
This thesis suggests that the raison d'etre of urban parks as a part of the urban collage are beyond the properties of their physical existence. The main aim of the thesis is to reveal and examine the reason d'etre of urban parks and gardens. In order to examine the causes of the existence of the parks and to discuss the relationship established within the context of the city, four concepts have been defined in the thesis. These concepts are defined as follows; social play, everyday life, revolution, and ideology. In order to explain the associations, Foucault's book titled Order of Things was examined. The concepts described under the chapter titled "The Four Similitudes" in this book have been transformed and used as reference point in this thesis. The main focus of the thesis is to show that the reason for the existence of urban parks and gardens is dependent on such a relationship which could be defined as the concepts have established with each other and urban parks, along with all of the actions and events that take place in urban parks as open public spaces. In this thesis, the effects of urban parks on everyday life as social playgrounds, the function of play as a revolutionary tool against the point where everyday urban life is stuck, and the relation between the ideology of these concepts and urban space are discussed in detail. The relationships of the concepts with each other and urban parks, along with the transformations and their effects, are discussed through the urban parks and gardens found in Ankara. The effects of the presence and absence of urban parks on the city have been examined in the framework of such perspectives. Through the relationships revealed in the thesis, it has been discussed that the reason for the existence of urban transcends their physical assets and that urban parks carry an important role within the urban reality.
A glance at the spatial interaction of inside and outside: From void to place
One of the most important aspects of designing an architectural project is to envision its architectural and urban spaces together rather than thinking of them as lost spaces. This paper discusses the potential of urban voids in the city by focusing on the transformation of voids into places, while at the same time creating a sense of place. To this end, this thesis proposes that the transformation of voids has a potential to integrate both site and building, which helps to strengthen the place. Within this consideration, discussions on the interaction of voids have been commonplace in the architectural agenda. A main aim of this study is to find a possible way for place identity by determining the use of urban voids and the in-between spaces as active interfaces within an architectural design, namely as a generator that would trigger new urban life. In this respect, these generative voids can be explained through diverse viewpoints. Within the context of this thesis, these viewpoints describe the relation of a building to a site and landscape, within its cultural context and with its metaphysical-poetic-physical origins. All of these aspects, in turn, create a sense of place and enhance the quality of the urban life. In this regard, the concept of void is scrutinized in detail with an approach through which both diverse theoretical and practical architectural projects are examined. Another key objective emphasizes the importance of the integration of the people's lives and the design fields. In addition to this, it is argued that the rehabilitation of urban living conditions and the reclamation of the lost spaces within the city create new paths and opportunities for the fields of landscape and architectural design. Consequently, the concept of place could gain a new or additional meaning with the transformation of voids and the co-existence of inside and outside. This co-existence would show a new approach to architectural design in the future and offer a new paradigm with regard to urban life. Keywords: Void, In-between space, Urban void, Place, Inside-Outside interaction.
Reviewing the changes of architectural sensibilities within the scope of Pritzker architecture prize
Change is inevitable in the field of architecture due to social, cultural, environmental, technological, economic and politic global developments. The transformations ensued from these developments inherently have an impact on the discourse of architecture and this study aims to explore the changing intentions through the discourse of one of the most prestigious architectural award programs – the Pritzker Architecture Prize. The establishment of the Pritzker Prize in 1979 corresponds to the period of rising anti-modernist discourses and postmodern influences. The pluralistic character of this period affected the architectural mediums and productions in the world including the award programs and their evaluation criteria. The research begins with an overview of the emerging pluralist tendencies and paradigms/themes which shaped the theory of contemporary architecture, as reviewing the main architectural themes of the last forty years helps to establish a theoretical framework for the thesis study. After this review, the study is focused on mapping the website of the Pritzker, in order to reveal the reflections of these themes/concepts within the qualities of the laureates through a comprehensive discourse analysis of the jury citations, ceremony speeches and all kind of textual sources included in the content. Since, one of the main objectives of the study is to explore the potential of the website as an information source. The proposed method for mapping is developed by using the concepts and tools of digital humanities, which helps producing visual representations of the information (infographics) extracted from the website of the prize, considered as the main database of the study. During this visualization process, the aim is to explore the invisible information and make it visible with the application of computerized tools and digital techniques, which is finally defined as a new form of knowledge production. The infographics serve to understand the highlighted themes finding place in the discourse of Pritzker that is shaped by the international practices of prize-winners. Indeed, the thematic distributions over the laureates reflect the shifting sensibilities emphasized by the award program. Reconsidering the information obtained from the website and reinforced with some arguments from literature, it is seen that the Pritzker Architecture Prize, particularly in recent years, underlines the expanding role of the architect which pave the way for a more humanitarian architecture, sensible to the priorities and needs of the society. In this respect, the award program's stance is distinctive and supportive to environmental and local issues. Therefore, this thesis study intends to reshape the architectural sensibilities. Besides, developing a research method having its source in websites is expected to be a framework for architecture as well as for other disciplines.
Reviewing the changes of architectural sensibilities within the scope of Pritzker architecture prize
Change is inevitable in the field of architecture due to social, cultural, environmental, technological, economic and politic global developments. The transformations ensued from these developments inherently have an impact on the discourse of architecture and this study aims to explore the changing intentions through the discourse of one of the most prestigious architectural award programs – the Pritzker Architecture Prize. The establishment of the Pritzker Prize in 1979 corresponds to the period of rising anti-modernist discourses and postmodern influences. The pluralistic character of this period affected the architectural mediums and productions in the world including the award programs and their evaluation criteria. The research begins with an overview of the emerging pluralist tendencies and paradigms/themes which shaped the theory of contemporary architecture, as reviewing the main architectural themes of the last forty years helps to establish a theoretical framework for the thesis study. After this review, the study is focused on mapping the website of the Pritzker, in order to reveal the reflections of these themes/concepts within the qualities of the laureates through a comprehensive discourse analysis of the jury citations, ceremony speeches and all kind of textual sources included in the content. Since, one of the main objectives of the study is to explore the potential of the website as an information source. The proposed method for mapping is developed by using the concepts and tools of digital humanities, which helps producing visual representations of the information (infographics) extracted from the website of the prize, considered as the main database of the study. During this visualization process, the aim is to explore the invisible information and make it visible with the application of computerized tools and digital techniques, which is finally defined as a new form of knowledge production. The infographics serve to understand the highlighted themes finding place in the discourse of Pritzker that is shaped by the international practices of prize-winners. Indeed, the thematic distributions over the laureates reflect the shifting sensibilities emphasized by the award program. Reconsidering the information obtained from the website and reinforced with some arguments from literature, it is seen that the Pritzker Architecture Prize, particularly in recent years, underlines the expanding role of the architect which pave the way for a more humanitarian architecture, sensible to the priorities and needs of the society. In this respect, the award program's stance is distinctive and supportive to environmental and local issues. Therefore, this thesis study intends to reshape the architectural sensibilities. Besides, developing a research method having its source in websites is expected to be a framework for architecture as well as for other disciplines.
Reviewing the changes of architectural sensibilities within the scope of Pritzker architecture prize
Change is inevitable in the field of architecture due to social, cultural, environmental, technological, economic and politic global developments. The transformations ensued from these developments inherently have an impact on the discourse of architecture and this study aims to explore the changing intentions through the discourse of one of the most prestigious architectural award programs – the Pritzker Architecture Prize. The establishment of the Pritzker Prize in 1979 corresponds to the period of rising anti-modernist discourses and postmodern influences. The pluralistic character of this period affected the architectural mediums and productions in the world including the award programs and their evaluation criteria. The research begins with an overview of the emerging pluralist tendencies and paradigms/themes which shaped the theory of contemporary architecture, as reviewing the main architectural themes of the last forty years helps to establish a theoretical framework for the thesis study. After this review, the study is focused on mapping the website of the Pritzker, in order to reveal the reflections of these themes/concepts within the qualities of the laureates through a comprehensive discourse analysis of the jury citations, ceremony speeches and all kind of textual sources included in the content. Since, one of the main objectives of the study is to explore the potential of the website as an information source. The proposed method for mapping is developed by using the concepts and tools of digital humanities, which helps producing visual representations of the information (infographics) extracted from the website of the prize, considered as the main database of the study. During this visualization process, the aim is to explore the invisible information and make it visible with the application of computerized tools and digital techniques, which is finally defined as a new form of knowledge production. The infographics serve to understand the highlighted themes finding place in the discourse of Pritzker that is shaped by the international practices of prize-winners. Indeed, the thematic distributions over the laureates reflect the shifting sensibilities emphasized by the award program. Reconsidering the information obtained from the website and reinforced with some arguments from literature, it is seen that the Pritzker Architecture Prize, particularly in recent years, underlines the expanding role of the architect which pave the way for a more humanitarian architecture, sensible to the priorities and needs of the society. In this respect, the award program's stance is distinctive and supportive to environmental and local issues. Therefore, this thesis study intends to reshape the architectural sensibilities. Besides, developing a research method having its source in websites is expected to be a framework for architecture as well as for other disciplines.
Architect and brand collaboration: Stuart Weitzman stores designed by Zaha Hadid
In the past and present, luxury fashion brands cooperate with well-known architects as successful as they are in their fields and offer the designs of these stores that they are planning to be built. Such collaborations contribute to the value of the brand as well as a store belonging to the brand in terms of spatial quality; can also become the reason for the brand's products to be preferred by the potential customers of the brand. There are some features that luxury fashion brands seek for, in the architect they will work together for the design of their stores. In addition to the recognition of the architect, it is expected by the employer that the design language establishes a relationship with the brand which will provide a meaningful language integrity between the products belonging to the brand and the place where these products are exhibited. The main criteria for the architect to be a "brand" is the design quality of the spaces that they designed and the quantity of the designs that they achieved can also be an indication of their preference. A similar assessment is also valid for the architect. Zaha Hadid had designed a unique style of structures in terms of their position, function and characteristics (material, form, color, etc.) and at the same time is an indicator of their selectivity and doing business with a well-known luxury fashion brand will be a good reference for her as well that is an inevitable fact in today's consumption world. In this study, the contribution of such cooperation between architect and brand, to the design quality of the space is examined from the completed examples. The method of the study is to examine the transition to product exhibitions as a result of the changing consumption culture and the reflection of this change on consumption spaces. Then, to clarify the quality of spaces created by the touch of an architect in order to contribute to the brand power with the design of these exhibition spaces. Thus, by the works that the architect has done in the past using their distinctive design language, their style become recognized and this identity provides them to become a brand. By accommodation with the main suggestion that the spaces which can be qualified each as an artwork emerging from Zaha Hadid and Stuart Weitzman collaboration, also achieving its purpose of the brand's stores to be recognized visually as well and provides "experiential shopping" which is a new expansion as a conclusion of the thesis, is reached.