Mesh type technobiophilic architectural model proposal on hyperobjects plane

Biophilic design, nourished by the fields of environmental psychology, evolutionary psychology and cognitive psychology, is shaped by neuroscientific data and restoration theory and focusing theory (ART). Kellert and many subsequent scientists have presented supporting findings that the parameters of biophilic design are healing design. Proceeding from the hypothesis that the plane in which living things live during the metasynthesis stage is a hyperobjective world, it has been revealed that biophilic design, which is described as healing design, is placebo. By examining the values of biophilic design, which is human-oriented and offers values that give humans a dominant role, biophilic values that consider the benefit of the environment, nature and living things are presented with the object-oriented ontology (NTO) approach. A technobiophilic architecture model has been put forward that supports the formation of mesh in the intermediate space, which supports the life of living things with the support of technology on the hyperobjective plane where living things are damaged, and advocates design with local, cultural and topographic data. The thesis aims to transform technobiophilic architecture from its virtual biophilic platform suggested in the existing literature (Sue Thomas et al.) into a model that is compatible with people's physiological and psychological health and supports symbiosis on a realistic level. Even though virtual platforms contain biophilic objects and values, aspects that do not overlap with biophilia and human physiology have been revealed by research findings based on metasynthesis. In this context, an architectural model in which dynamism and kinetic arts support technobiophilia by getting rid of static artistic approaches (art nevou, classicism) is proposed. In the hyperobjective world where technologies are rapidly advancing, it is not possible to produce technology-independent urban planes and interior spaces. Within the scope of the thesis, today's biophilic architecture examples, which indicate that they are biophilic, were examined in a hyperobjective context. By presenting the definition and criteria of hyperobjectivity, the commodified, globalized and hyperobjectified aspects of biophilic designs are revealed. In awareness of these, Kellert's biophilic design model is examined within the framework of technobiophilia on a hyperobjective plane and a technobiophilic architecture model, compatible with technology and the discipline of architecture and nourished by today's moving arts, is presented. While transforming the discipline of architecture into an experiential architecture as suggested by Kellert, some parameters such as mystery and awe, which are emotional rather than sensory parameters suggested by Kellert and Ryan, were removed from the model. The resulting simplified model has a techno-biophilic experiential aspect that also supports the development of today's kinetic arts. The aim of this experience is no longer for people to feel like they are in nature, but for people to realize the value of nature and not to experience phenomena reminiscent of nature through architectural and technological abstractions. While achieving this, the discipline of architecture will highlight the existence of intermediate spaces in local architecture such as mesh-supported terraces, porticoes, iwans, courtyards and living spaces, and will support biophilic experiences by using technology as a tool. As a result, it is important in the context of sustainability that the model presented is not a global technological architecture model, but a model that emphasizes the communities' own ecological and cultural systems through technology.