Architects in the history of architecture try to be understood by their ideas that their designs need to be present on earth. Turgut Cansever (1920-2009) is an important opponent architect who was prized by Aga Khan Awards for architecture three times in his professional life and established his architectural understanding of the architecture of Ottoman and Islamic culture. This study aims to describe the life and work of the architect and his opinion about Islamic-Ottoman Architecture. Setting his architectural conception on a broader belief, Cansever strengthens his apprehension of architecture with his practice and literature studies. This unique approach in his works is shaped by a point of view that criticizes modernity but aims to validate it by reinterpreting in line with Islamic architecture. The references in the background of the structures of Cansever is thought to be too complex to read at a time. The understanding of Cansever's original designer perspective will be possible through the discussion of his synthesis resulted from the thoughts of Islamic architecture, Ottoman Architecture and modern architecture, and their reflections on his structures.

It is possible to say that the concept of a "Turkish House" is mainly a product of Islam, although the form of dwelling tents in the nomadic period indicates there are some common features with a Turkish house. The religion of Islam and the culture of the Turks in Middle Asia show great integration in the Turkish house. The matriarchal family system of the ancient Turks, before they adopted Islam, was inverted to a patriarchal social order such that it affected the traditional Turkish house. Turkish houses mainly show common socio-cultural aspects affected by religious precepts and execute identical features, depending on the region. Thus, it is important to emphasize that the male-dominated belief of the Turco-Islamic family had not changed until the modern period; and the position of women in the society and the house mostly determines the character of a Turkish house. Religious beliefs bring an introverted form and privacy within the Turkish house; because in Islam, cultural privacy of the family members from the others and from the street is important. In addition to that, the privacy of the women family members or guests in the house is most significant; so the privacy, position and actions of the women in Islam is the most important factor shaping the spatial organization of the house. The traces and reflections of Islam can be directly read into spaces such as the haremlik and selamlık, the orientation of the rooms; and the architectural elements such as the windows, doors or some specialized ones; the relationship between streets and the house, the characteristics of courtyard walls, the location of the toilet, the separation of actions and spaces for toilet and bath, the orientation of spaces to the qibla, and even the knockers of outdoor doors. In the light of this, the purpose of this study is first to assert the concept of "Turkish house", and then its relationship with the religious factors, to reveal this connection specifically to the Islamic Turkish house and to scrutinize the spaces and elements of the Turkish house within this context.

Mimarlığın temsile dayalı, görsel ve deneyimsel yönlerinin birlikteliği, dönüşen zaman-mekân-beden ilişkisinin sürekliliğinde durmadan yeni anlamlar ve bağlantılar üretir. Zaman içinde fiziksel olandan sanal olana doğru dönüşen zaman-mekân-beden algı ve ilişkisinin ortaya koyduğu, deneyimlerin imgelerle de edinilip değişebildiği, imgelerin her yerde oluşuyla biçimlenen, yeni bir bilgi alanı belirmiştir. İmgeler, mekânların kendisinin ve temsil ettikleri dönemler ve fikirlerin dışında değişken nitelikte bir başka anlam katmanı açmaktadır. İmgelerin, mimarlığın temsil ettiği şeyler ile temsili sağlayan yapı-mekân arasındaki arayüzler olarak kabul edilip edilemeyeceğiyle ilgili sorular sorulabilir. Bu imgeler temsil edilen ile temsil eden geriliminde sonsuz anlamlar, yorumlar ve iletişim kanalları açmakta; somut ve somut olmayan tüm unsurların biçimlendirdiği kent deneyimini fiziksel olmayan bir üst mekânda dönüştürmektedir. Bu çalışmada, kendinden menkul hale gelen ve yapıların mevcut anlamlarına yeni bir anlam katmanı olarak eklemlenen imgelerin, kenti algılamadaki etkileri, kent deneyimini nasıl dönüştürdükleri, bellek, imge ve kent deneyimi üzerinden ele alınmıştır.