Revisiting Social Space : The Case of Balçova Cemevi
Selin Azbar & Ezgi Altay
Architect Doc. Meltem Eranıl
Izmir University of Economics/Faculty of Fine Arts/Interior Architecture And Environmental Design
IA 494 GRADUATION THESIS COURSE, 2024 fall semester
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ABSTRACT
This thesis investigates the complicated interaction between architecture, interior design, and social usefulness in religious places, with a particular focus on the Balçova Cemevi in Izmir, Turkey. As a key gathering place for the Alevi community, the cemevi is important for spiritual practice as well as social bonding. The study looks at how the Balçova Cemevi's physical arrangement and interior architecture support Alevi religion rites, cultural activities, and community connections. The research focuses on Nevzat Sayın's architecture, which combines modern elements with ancient Alevi values, stressing spiritual democracy, equality, and oneness. This thesis analyzes how the space fulfills numerous roles, ranging from ceremonial activities to educational and social meetings, using a careful examination of the building's design. The study also looks at the cemevi's architectural language, symbolic features, and spatial hierarchy, with an emphasis on how these design decisions contribute to its users' spiritual and social experiences. By investigating the interaction between the space and its occupants during rituals, this study hopes to shed light on how modern cemevi design might retain traditional authenticity while meeting contemporary demands.
Keywords: User interaction, Cultural Represantation, Identity, Sacred space, Cultural authenticity, Spatial hierarchy
1 INTRODUCTION
The complex interplay between sacred architecture, interior design, and social functionality has long been a crucial aspect of religious spaces, shaping both spiritual experience and community interaction. In Turkey, cemevis - the gathering houses of the Alevi community - represent a unique architectural and social phenomenon that merits detailed academic attention. This thesis focuses specifically on the Balçova Cemevi in Izmir, examining how its interior design elements and spatial organization facilitate both religious practices and social cohesion within the Alevi community. One of the most well-known cemevis in Izmir, Turkey, BALÇOVA CEMEVI is an important cultural and religious center for the Alevi community, one of the respected but historically oppressed minorities of the country. In the Alevi understanding, a cemevi is a multifunctional area where the practices and maintenance of the Alevi people, their culture and religious beliefs take place, where worship, culture and socialization take place. Through each of its components, BALÇOVA CEMEVІ establishes the relationship between culture and society through the buildings and devices, spatial order and rituals that take place there, just like BALÇOVA CEMEVІ does. (Kocaeli Üniversitesi Mimarlık ve Yaşam Dergisi, 2016) The structure selected for examination for this purpose is the Izmir Balçova Cemevi project, designed by Nevzat Sayın Architecture Services and completed in 2022. The reason for choosing this structure is that there is no fixed typological equivalent for Cemevi places of worship and that its architect defined the project as “not producing tradition, but doing something new by holding on to tradition”. Sayın himself states that he is “an architect curious about mystical teachings and mystical spatial understandings of various beliefs”. Although structures such as Meclis Mosque (1989- Behruz and Can Çinici) and Sancaklar Mosque (2013- Emre Arolat), which were previously considered outside the typology of traditional places of worship, have been studied in the literature (Taşar & Düzenli, 2020, ss. 299-332; Şahin & Sennou, 2023, ss. 46-61), the importance of bringing the newly opened Balçova Cemevi to the literature is among the reasons for choosing this.
The Alevi faith, with its distinct philosophical outlook and ritualistic practices, demands spaces that differ significantly from traditional mosque architecture. Cemevis must accommodate various functions: from the circular cem ceremonies and semah rituals to educational activities and community gatherings. The Balçova Cemevi, situated in one of Izmir's dynamic districts, offers a compelling case study of how modern cemevi design addresses these diverse needs while maintaining cultural authenticity.
BALÇOVA CEMEVI further integrates contemporary influences into the building design while depicting Alevi traditions. The geometric forms of the space are in most cases circular or semicircular, which symbolizes the Alevi semah, a circular dance performed during rituals, which expresses unity, equality and harmony with the cosmos. This layout includes provisions for rituals where participants face each other, as rituals are social activities, which emphasizes the principles of the Alevi belief in equal distance between each member of the ritual. Like all other religious architectures such as mosques structured in a hierarchical order, cemevi structures are compatible with the Alevi ideals of spiritual democracy, as they advocate direct contact with God without a focal point or a high pulpit. (Journal of Architecture and Life, 2024, ss. 195-216) This research explores the intricate relationship between spatial design and social practice within the Balçova Cemevi, analyzing how interior arrangements, symbolic elements, and functional spaces work together to create a meaningful environment for worship and community engagement. By examining the architectural vocabulary, spatial hierarchy, and design elements, this study aims to understand how the physical environment supports and shapes the spiritual and social experiences of its users.
This study will answer the following questions: How does the space interact with its users during rituals? How does the versatility of the interior benefit the spiritual journeys of the users of the space? Why is the interior a semi-open space while appearing completely closed from the outside? What distinguishes this cemevi from other cemevis? How do religious spaces contribute to urban life? What sub-meanings can the user infer when entering the space? How is the social space produced by the users during their spiritual journeys? How does the building communicate with the neighborhood?
LITERATURE REVIEW
The Balçova Cemevi, designed by NSMH and scheduled to be completed in 2022, is located in Izmir's Balçova neighborhood. The structure spans 1118 m² of a 1571 m² site. It has a courtyard, classrooms, a library, a dining hall, a lokma room, a dede room, and a cem hall with colorful cushions, as well as functional facilities in the basement such as storage and kitchens. The design, led by Nevzat Sayın and his team, combines Alevi traditions and modernism. Sayın blocked off the outer walls for solitude and contrasted it with an open circular courtyard representing the Semah rite. Olive and cypress trees native to the area were planted, and a central "pencil fountain" was added for symbolic depth. gives an opportunity for spiritual leaders to advise the community. The "square house" with its red ochre entrance and lack of windows represents thresholds and privacy in Alevi tradition. Balçova Cemevi is described by NSMH as, “Our aim was not to produce a tradition, but to create something new by holding on to it, and now the structure we have achieved with all this simple and plain reasoning seems to be a timeless structure, as well as being based on traditional themes and belonging to today.” (YAPI Dergisi, 2024) The cemevi's design incorporates major Alevi symbols, such as the number 12, which refers to the 12 Imams, and "four doors," which reflect the stages of spiritual progression: Sharia, Tarikat, Marifet, and Hakikat. The pyramidal roofs over the cem hall and other areas allow for natural light and ventilation, emphasizing the relationship between the sky and religious teachings.
Significant places, such as the Lokma Room and Dede Room, embody Alevi values. The Lokma Room represents sharing and love through the distribution of lokma, whilst the Dede Room allows spiritual leaders to instruct the community. The use of red throughout, inspired by the phrase "Kizilbash," emphasizes Alevi identity and resilience. This intelligent design combines history and modern architectural sensibilities, resulting in a valuable cultural and spiritual place.
Figure 1
Nevzat Sayın's architectural approach integrates human, social, and cultural components of space, blending aesthetics and utility. Architecture, he believes, is more than just developing physical structures; it is also about creating environments that support people's daily experiences. Sayın explores the impact of architecture on the quality of life for individuals and society, focusing on residential and public spaces. With this approach, he asserts that architecture is more than just a technical profession, but also an interdisciplinary cultural production field.
According to Sayın, architecture has a social and political duty. He makes the case that design procedures ought to concentrate on resolving pressing societal issues while maintaining a critical viewpoint on public areas and the built environment of cities. In this regard, he balances local and global principles in the construction of structures appropriate for the Mediterranean environment, even as he states that architecture should be attentive to local dynamics. His projects combine a contemporary design approach with the cultural characteristics of the surrounding area.
Sayın, who tackles architecture from a straightforward, practical, and ecological perspective, stays away from superfluous adornment and is careful to use financial and environmental resources wisely. His architectural designs prioritize user-centeredness, space usefulness, and simplicity. He also highlights the ethical and social obligations architects have to society; in his view, architecture ought to be a creative and critical field that looks for answers to societal issues.
Through his architectural conversations and social media posts, Nevzat Sayın hopes to make architecture a topic that everyone can discuss. According to him, architecture should be debated in a participatory manner with all facets of society, not only architects. According to his understanding, architecture is a potent instrument that changes people's lives, molds society, and perpetuates cultural beliefs. (YAPI Dergisi, 2024)
The debate over the recognition of Cemevis has been ongoing for years. The words mosque and cem come from the same root. Cem means "meeting" in Arabic, and mosque means "place of gathering". They are the lodges that carry out the Cem in their original form. The most concrete aspect that reveals that the Alevi-qualified ocaks and groups generally shape their understanding of worship within the patterns of religious order life and devote themselves more to this area is the central location of the “cem”, which is a religious order ritual or “zikir ceremonial” (Üçer, 2015a: 355) However, the cemevi is not just a place of worship in the classical sense, it also contains social, cultural and communal functions. The cemevi is accepted as a symbol of social solidarity and cooperation within the framework of Alevi belief values. These are places where the Alevi community finds solutions to their social problems and where mutual aid and solidarity are provided. Financial aid, funeral ceremonies, condolence reception and social support services are provided. Teaching Alevi belief values and culture to young people is provided through courses such as semah, bağlama and deyish training. In this way, the cultural heritage is preserved and passed on to the new generations. It is important for people of different beliefs to come together in order to ensure the unity of society through tolerance and understanding. Cemevis are seen as places of tolerance that contribute to social peace.
Four Doors and Forty Ranks: Cem worship aims for the individual to mature in accordance with the “four doors and forty ranks” teaching. These four gates are the gates of sharia, tarikat, marifet and truth. Each gate represents the stages that the individual must go through on his spiritual journey and the experiences he has gained.
Control Your Hands, Waist and Tongue: In the Alevi society, individuals are expected to be honest, act morally and keep their word. These values are frequently emphasized in Cem worship and their importance for social peace is emphasized.
Etiquette Cem: During Cem, those who have committed injustice and mistakes in society are asked for forgiveness and reconciled with society. In etiquette cem, resentments between individuals are resolved, individuals are rehabilitated into society by accepting their mistakes.
Cemevi and Cem worship are the areas where the spiritual journey and self-awareness philosophy of the Alevi belief find their most concrete expression. Cemevi brings people together with people, society with each other and God with people. During Cem worship, people put aside their hierarchy, status and material differences; they approach each other and God with the same sincerity. Cem worship reflects the desire in Alevi philosophy to be right with the right, that is, to be one with God.
According to the idea, led by the Cem Foundation, Alevism is a religious teaching that is completely intertwined with Islam but fused with Anatolian beliefs, emphasizes human values, and is fundamentally distinguished from other Islamic sects by the extreme importance given to the last great caliph Hz. Ali. Even its name means those who follow the path of Ali, those who are connected to the house of Ali. It was spread in Anatolia by Hacı Bektaşı Veli, a disciple of the great Islamic scholar Ahmed Yesevi. Their respect and love for Hz. Muhammad, the Quran and other great caliphs are no different from other sects.
One of the most important cornerstones of Alevism is companionship, “fellowship”. Every Alevi must choose a companion before entering the right path. No religious ceremony can be attended without a companion. The institution of companionship, which is between two men and therefore between two families, is a social institution of mutual aid, solidarity and self-control (Bozkurt 2005: 108-109). The core of Alevism, the Dedes, have made it their goal to educate and transmit Alevi customs and beliefs to future generations, ensuring that this belief has endured for millennia. Because of its structure, the institution of dede is typically lineage-oriented and dependent on lineage; as a result, when a dede passes away, his son takes over. In the Alevi tradition, this phenomena is referred to as "ocak." Each dede has an ocak, and ocaks symbolize the family's religious validity, which is thought to have originated with the Prophet and the Twelve Imams. Within the deeply ingrained organization of Dedelik, there are three levels of hierarchy: "murshid, pir, and guide." The handbook is the most authoritative source of information. The pir depends on the guide, and the guide depends on the pir. One of these three cannot exist without the others; they are all complementary to one another. The Grandfathers' "Hand in hand, Hand to God" hierarchy symbolizes task division, internal order, and spiritual dedication to the "way."
Of course, there are traces of being influenced by many cultures within the understanding of Alevism depending on the historical process. From the oldest Turkish beliefs in Central Asia to the Khorasan Melami, Kalenderism and Hurufism, many understandings have taken place within Alevism. But the main and fundamental element that forms the basis of Alevism is the Islamic belief. Today, the leaders of the faith, the Alevi dedes, who have an important position within Alevism, insist on this and clearly state that they accept Alevism within Islam. This perspective has never changed throughout the historical process, and the Alevis who continue their existence and express themselves within the Islamic super-identity have not claimed a different religion (Özcan, 2024)
3. THEOROTICAL FRAMEWORK:
The link between space and society is at the heart of Henri Lefebvre's theory of space, which emphasizes that space is a social construct rather than a universal abstraction. Lefebvre incorporates topics like everyday life, urban space, and the "right to the city" into his theory of space, which holds that societal dynamics both influence and are influenced by space. Lefebvre offers a thorough framework for examining spatial production by considering space as multidimensional, which promotes a continuous investigation of the mechanisms that influence it. This viewpoint emphasizes how historical continuity, spatial production, and societal change interact. Like any commodity or social superstructure, space is not a concept that only exists in its physical location. As a result of social interactions and collective effort, it turns into a product of production (Lefebvre, 2013). Space is a mode of production that does not isolate the productive forces, social relations, division of labor, nature, and the state; it cannot be viewed solely as a product. This multi-layered view of space holds that social space is not a single object but rather is made up of numerous clusters that overlap and converge. Lefebvre’s thesis centers on the notion that social behaviors shape environments, which are then impacted by cultural, political, and economic factors. He popularized the idea of "the right to the city," which emphasizes that residents, not only members of the political or economic elites, should shape and run metropolitan areas.
For Bourdieu, physical and social space are closely related. He wrote in Pascalian Meditations, “social space tends to be translated, with more or less distortion, into physical space, in the form of a certain arrangement of agents and properties,” and argued that physical space is “reified social space” Bourdieu's conception of social space is connected to his more comprehensive ideas of capital and social fields. According to his theory, social space is influenced by people's social standing, which is established by their access to resources such as social, cultural, and economic capital. "Social maps" or "social fields," which depict the different places people or groups hold within a society according to their accumulation of various types of capital, are used to visualize this idea. Bourdieu's method emphasizes the relational and hierarchical character of social spaces, demonstrating the relationships between various social positions and the ways in which people or groups maintain or change their places within them.
social space is seen as something fluid and dynamic, where both social practices and power structures shape the environment and vice versa. The theory highlights how spatial arrangements are not neutral but are shaped by social forces and, in turn, influence social relations.
4. CASE STUDY ANALYSIS:
Every structure is designed to serve a particular purpose. They have a clear, important, and defining purpose, even though they may fulfill several roles. For Alevis, this building can be seen as a place of worship. For Alevis, the building we called Cemevi is essentially a place of worship. Nevertheless, it also encompasses essential elements of Alevi belief, such group meals, reading, playing instruments, and singing folk tunes. As a result, the building mostly consists of a library, a common dining area termed "aşevi," and a place for worship known as "meydan evi." They're all arranged around a courtyard. The library and dining room (aşevi), which face outward, as well as the entirely enclosed "meydan evi," are located in the most remote section of this building. And because of the problem of secrecy, confidentiality, and exclusivity that are inherent in the beliefs and teachings, which are kept closed to outsiders, all of this, encased in a shell, essentially represents an inward-looking framework. All of these functions are connected by the courtyard, which acts as an interface when we enter.
The courtyard we are in is semi-open, and given the climate of the Aegean part of the Mediterranean belt, it provides a natural means of coping with the heat through ventilation and shading rather than heating or cooling.
Actually, the foundation of the Alevi worship style called "semah," which consists of a rotating dance, is the circular delineation of the space. These kinds of places, known as Cemevi, are found at the conclusion of a lengthy path, which we call "entering the path," just like in traditional education.
As a result, it permits individuals who are acquainted with one another to design and construct their own environments, incorporating elements of the mystical and secular worlds to create a spatial pattern that allows them to be who they are in the area. Technically, the edifice adheres to the teaching's tenets in all of these areas, including its design, materials, and construction techniques. One of the teaching's foundational principles, "the four gates," for instance, has a four-sided pyramidal structure as its formal depiction. Since the pyramid is sliced from the top, the light coming in from above is actually the sky intruding into the inside, indicating an axis connecting the sky and the earth. And in certain photos, that axis is easily visible when the light streams in straight from the top. However, the interior layout of historic "Cemevi" buildings—the ones that seem to blend in with the exterior—is shaped by this pyramidal structure, which has a pattern like a sort of dome. Red plaster covers the shell that encapsulates all of this spatial arrangement. Plaster in earthy red and ochre hues is what creates the structure's language, keeping everything together and concealing the various components behind it while maintaining the integrity of its exterior. The plaster changes, turning the spiritual into concrete patterns, and with its all-encompassing expression, it becomes the structure's language, which is different from any other building in the area but, strangely, can only be a Cemevi for everyone.
Thus, when combining various materials, plaster—which is very practical—becomes the most obvious symbol of the architectural style that emphasizes the narrative we are attempting to tell and the lesson we are participating in. As a result, it's critical that the businesses you collaborate with are not only product vendors but also your solution partners when it comes to the technical infrastructure and material quality in all of this. (Baumit, 2023, s. 65)
Nevzat Sayın believes that it is appropriate to employ the largest texture feasible when selecting surface textures for his projects in areas where he is aware that he cannot guarantee extremely smooth infrastructure. "This preference allows us to feel the time on the surface of the building and allows shadows to give a variable façade effect, especially in very sunny places and at different hours," he says. According to him, Nevzat Sayın views color in architecture as being similar to literary punctuation in his own work. He claims that we use them as a sort of "catalyst" to spotlight, pause, call our attention, or put in the background.
In the cemevi, an Alevi place of worship, the color red soil was chosen as a significant means for Alevis, who have always had a special place for red, to express themselves. This is known as "kizilbash," and ultimately, this is exactly what transpired. In this context, color functions as a huge punctuation mark, similar to three dots followed by an exclamation point The colors of these punctuation marks also vary depending on the building's location, function, and whether it is monolithic or fragmented.
Figure 2
Regarding what he considers as the “sustainability” principles in his projects, he states, “If we consider this issue again in the context of this structure, we can say that the pyramidal roofs and the openable roof windows at the tops make an important contribution in terms of ventilation, that the courtyard in the middle is a useful semi-open space obtained by arranging the natural environment data as necessary to host a large number of people in the climate of Izmir, and that it can be used without the need to heat and cool every place at the same time unless necessary. The sum of these provides a considerable positive in terms of “sustainability” in a structure of this scale.” (Baumit, 2023, s. 65)
Nevzat Sayın: "Plaster is the thin shell of structures. So thin that it often resembles skin rather than shell."Since it adheres to the walls that make up the structure's body, totally covering these enormous bodies. Its primary purpose is protection. That tiny layer shields even a strong stone wall from the sun, wind, and rain. It is simple to construct and maintain, and it is simple to fix when it breaks, cracks, or falls off. Plastering is done by hand in rural places. Another facet of seasonal maintenance is this. Plaster not only provides protection but ultimately contributes to the structures' personality. It calculates the mass and makes it readable and observable. Sometimes it is constructed using local materials, which helps to conceal and keep the structure secret; other times, its whiteness, which is designed to reflect the sun and shield the structure from heat, makes the structure obvious. In the Aegean, the idea that white is a color is most clearly felt. Alternatively, if we use a broader definition, in the Mediterranean The difference between blue and green is made visible by those whites. Between an unending blue-green, a white that resembles a dot makes its surroundings readable and distinct on its own. In the field of architecture, colors are compared to punctuation. It's true that we don't understand punctuation; as a substitute, we understand what is stated before and after it. The most effective signs are those that are inconspicuous when they are most noticeable and reveal what they wish to convey. Plaster is similar in that it highlights the mass. It gives the exterior visibility and the interior obscurity. It must be the wisdom of red, yellow, blue, and colored plasters applied where they belong, in addition to the wisdom of white.
Figure 3
The ones that immediately spring to mind are the reds of Aldo Rossi's oxide yellow and oxide reds, the blue of Yves Saint Laurent's Marrakesh house, the red of Balçova Cemevi, the purples, pinks, and yellows of Luis Barragan's houses in Pedregal, the white plasters of Bodrum houses, and the essential razor-white plastered structures of Alvaro Siza. Who knows what else might be out there? They are the color-related ones. Additionally, the plasters contain textures. It might be as flat and smooth as paper, as finely textured as a seashore, or as rough as a rocky surface at different times. The way the sun "gets" captured in each of these textures varies; the way the sun gets stuck determines how shadows develop, and the way the shadows show determines how the plaster becomes textured. The texture resembles the skin of the structure's body at first, followed by the skin of the graceful pergola legs in the structure's annexes, and last, a gently curved extension that leads to the ground. There is no end to the structure. The earth hue is the most recognizable in this expansion. It is the most recognizable since adobe structures' earth plasters. The contradicting plasters are more likely to be seen, but in any event, the skin of an amazing plastic mass is more likely to vanish if it is the color of the soil next to the building. Le Corbusier's statement, "Architecture is the skillful, correct, and magnificent play of masses brought together under light," can also be read as if it were a description of plaster: "The task of the architect is to make the surfaces of these masses live without allowing them to become parasites, to consume and devour the mass for their own benefit." In fact, plaster is the surface layer that exposes the mass without consuming it for its own gain. It knows that its true purpose is to expose the mass, even when it is the most textured, carries the influences of sun and shade the most, and is the most itself. Because of this, the structure disregards the painted surfaces of the mass without considering them. The best course of action is to paint—or rather, plaster—the entire bulk in a single, well-chosen color. This will neatly save the situation in the event that something were to happen to it and it emerged from the shattered edge (Baumit, 2023, s.117)
5. DISCUSSION AND CONCLUSION
Nevzat Sayın's design for the Balçova Cemevi provides a deep examination of the relationship between contemporary architecture and traditional practices. The project serves as an example of how modern architecture can honor and enhance cultural and religious values while meeting changing community demands. Sayın's method, which combines Alevi ideas with modernism, strikes a careful balance between tradition, function, and symbolic expression. The use of important Alevi symbols, such the number 12 and the "four doors," strengthens the bond between the area and the Alevi spiritual path. These components act as metaphysical guidelines within the architectural layout in addition to being essential to the community's religious practices. One of the most important elements of the design is the courtyard, which symbolizes the Semah rite, a crucial part of Alevi ceremonies. This open, circular area serves as a meeting place and promotes community cohesion and continuity. Additionally, the symbolic pencil fountain and the well-placed olive and cypress trees foster a contemplative and spiritually rejuvenating atmosphere. By providing an aesthetic experience that is grounded in the local context, these natural components highlight the close relationship between architecture and the surrounding nature.
Sayın's focus on ecological responsibility and simplicity in the design is particularly noteworthy. His simple and user-centered architectural concept guarantees that the Cemevi is not only a place for religious activities but also a building that is socially and environmentally responsible. Sustainable techniques, energy-efficient designs, and the use of local materials all fit with Sayın's larger goal of developing structures that meet the requirements of both people and the environment.
The Balçova Cemevi is a cultural and spiritual statement that embodies the depth of Alevi traditions while adjusting to modern architectural sensibilities. It is more than just an architectural endeavor. By skillfully fusing the past and present, Nevzat Sayın's design makes sure that the Cemevi serves as a communal hub and a place of worship, encouraging ideals of spiritual development, education, and togetherness. In addition to providing for the Alevi community's utilitarian necessities, the Cemevi provides a place for both individual and group reflection by fusing important cultural symbols, natural elements, and well-considered physical layouts.
This project demonstrates how architecture has the power to influence cultural identity, societal values, and communal life. Sayın's design philosophy, which places a high value on ecological sustainability, cultural sensitivity, and simplicity, is an example of how modern architecture may interact with long-standing customs while encouraging creativity. By striking a balance between contemporary architecture and cultural resonance, the Balçova Cemevi is an enduring addition to the design of places of worship and community, guaranteeing that Alevi customs and values will be upheld and honored for many years to come.
Both Pierre Bourdieu and Henri Lefebvre make important contributions to our knowledge of the relationship between place and society. According to Lefebvre's theory of spatial production, space is socially formed via interactions, practices, and social connections, challenging conventional notions of space as solely a physical reality. Lefebvre argues that space is a result of historical, political, and social factors rather than being neutral or static. This dynamic view of space, which takes into account aspects of everyday life, urban settings, and social dynamics, encourages a critical analysis of the ways in which power structures influence and are influenced by locations.
However, Bourdieu also links physical and social space in a way that stresses hierarchy and relational dynamics in his theory of social space, which is based on his larger ideas of capital and social fields. According to Bourdieu, the allocation of different types of capital—economic, cultural, and social—creates social space. A person's position in a social field is influenced by several types of capital, and these positions are reflected and reproduced in physical areas. As a result, social space is dynamic and molded by encounters, power dynamics, and continuing social activities. This perspective is consistent with Lefebvre's idea that space is a byproduct of social relations, but Bourdieu goes one step further by showing how capital accumulation and power dynamics are spatially expressed.
Henri Lefebvre and Pierre Bourdieu's theories offer a sophisticated perspective on the interplay between society and space. Lefebvre's theory of spatial production highlights the importance of daily activities, politics, and the fight for access to urban areas, providing a comprehensive and dynamic view of how social relations shape and construct environments. In contrast, Bourdieu's theory of social space highlights how capital and power shape the social order in physical settings, highlighting the hierarchical character of social relationships. According to both views, space is an active social construct that reflects and maintains societal systems rather than a passive backdrop. These theories are still essential for comprehending how social, political, and economic factors continue to influence the places we live in and how those spaces influence our social interactions and behaviors in today's quickly evolving urban settings.
6. REFERENCES
Figure 1, 12 column corridor
Figure 2, A frame from the saz lesson
Figure 3, The circular courtyard of the Cemevi
Baumit, A. (2023). Book of Possibilities with Baumit (s. 65)
Baumit, A. (2023). Book of Possibilities with Baumit (s. 117)
Olğun, T. N., & Akyıldız, N. A. (2021). Conservation of Djemevies within the context of faith-space relationship: Malatya Arapgir Onar Village's Djemevies. Nevşehir Hacı Bektaş Veli Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, Aralık
Yüksel, C. (2021). Conservation of Djemevies within the context of faith-space relationship: Malatya Arapgir Onar Village's Djemevies. Dicle Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 28, 337. (Journal of Architecture and Life, 9(1), Nisan Sayısı, 2024), (195-216)
Kral, L. A. (2018). Henri Lefebvre and the right to the city. In S. M. Meagher, S. Noll, & J. S. Biehl (Eds.), Routledge handbook of philosophy of the city (pp. 76–86). Routledge.
Kocaeli Üniversitesi Mimarlık ve Yaşam Dergisi. (2016–). Kocaeli Üniv. mimar. yaşam derg. (Online) – Architecture and Life. Kocaeli: Kocaeli Üniversitesi Mimarlık ve Tasarım Fakültesi. (NSMH (2023). BALÇOVA CEMEVİ. YAPI DERGİSİ, 485
Özcan, H. (2024). Sosyokültürel boyutlarıyla Alevilik. Çukurova Üniversitesi Türkoloji Araştırmaları Merkezi. Erişim tarihi 2 Aralık 2024
Sayın, N. (2024). Possibilities with Baumit - Great Stories Behind Great Buildings: Balçova Cemevi [Interview]. Baumit. Erişim tarihi 27 Aralık 2024
Üçer, C. (2018). Cemevi: Manners and ceremonies are performed. Türk Kültürü ve Hacı Bektaş Veli Araştırma Dergisi, 88, 123-145.
YAPI Dergisi. (2024, Aralık 2). Nevzat Sayın: Mimarlık, istisnasız hepimizin içinde olduğu ama hiçbirimizin üzerinde konuşmadığı bir dünya. Erişim tarihi 2 Aralık 2024
Publisher’s Perspective: From Social Space to Thoughtful Interior Design
The following commentary is provided by SAGIST GROUP LUXURY and is separate from the original thesis.
Architecture shapes how people gather, interact and experience a place. The research above explores these relationships through cultural identity, spatial arrangement, material expression, daylight and shared activity.
For architects, interior designers and project developers, the study offers a starting point for asking how an interior can support its users while respecting its cultural setting. These questions also have relevance to hospitality and residential design, where privacy, belonging, circulation and the character of communal spaces form part of the project brief.
Cultural Identity and Contemporary Hospitality
Gensler’s discussion of its 2026 hospitality outlook identifies cultural immersion and wellness as themes influencing guest experience. [4] In our editorial interpretation, the thesis’s attention to identity and shared space can inform the questions asked when planning boutique hotel interiors, resort lounges, restaurants and private residences.
This connection concerns the design process: understanding people, place and intended use before specifying furniture and finishes. It does not imply that the thesis studied hotels or established hospitality performance outcomes.
For a hotel lobby, those questions might concern how furniture arrangements support conversation, how circulation accommodates different users, and how materials communicate the destination’s character. For a restaurant, the focus might include the relationship between seating, privacy and shared dining. For a residence, it might involve the balance between family gathering spaces and individual retreat.
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Supplementary Linked Sources and Publication Notes
The following sources supplement the original bibliography. They provide project information, further academic reading and context for the publisher’s commentary.
[1] NSMH — Balçova CemeviOfficial project record from Nevzat Sayın Mimarlık Hizmetleri.View the official project
[2] YAPI Dergisi — Balçova CemeviProject account credited to NSMH, with architectural and project information.Read the project account
[3] Nane, P.; Kanlı, D.; Duygun, E. (2024)Spi/ritüel: Balçova Cemevi Üzerine Bir İnceleme. Architecture and Life, Volume 9, Number 1. Related academic reading, provided separately from the thesis’s original references.View the academic article
[4] Gensler — Trends to Watch: What’s Next for Hotels and HospitalityA discussion of hospitality themes associated with Gensler’s 2026 Design Forecast.Read the hospitality outlook
[5] SAGIST GROUP LUXURY — Official Team DirectoryThe company’s team page lists Selin Azbar as Interior Architect.View the team directory
Editorial clarification: The original thesis remains unchanged. The official NSMH project record lists 2021, a construction area of 1,118 m² and a site of 1,571 m². YAPI Dergisi lists completion in 2022 and a total construction area of 1,235 m². These sources use different date and area descriptions; this republication preserves the thesis’s original statements.
Project attribution: Balçova Cemevi is an NSMH project. SAGIST GROUP LUXURY publishes this thesis as an academic contribution shared by its employee Selin Azbar. This publication does not establish a Sagist Group design, manufacturing or construction role in the case-study building.
Permission and academic credit: Published with Selin Azbar’s permission. The original academic credits, including Ezgi Altay and Meltem Eranıl, are retained. Third-party quotations, illustrations and referenced materials remain attributable to their respective rights holders.
Balçova Cemevi, Social Space, Interior Architecture, Sacred Architecture, Cultural Identity, Alevi Architecture, Community Spaces, Spatial Organization, Architectural Research, Nevzat Sayın, NSMH Architecture, Selin Azbar, Ezgi Altay, Cultural Authenticity, Religious Architecture, Social Interaction, Spatial Hierarchy, Courtyard Architecture, Natural Light in Architecture, Passive Ventilation, Material Expression, Architectural Symbolism, Cultural Heritage, Contemporary Turkish Architecture, User Centered Design, Henri Lefebvre, Pierre Bourdieu, Social Production of Space, Interior Design Research, Sagist Group Luxury
#BalcovaCemevi, #SocialSpace, #InteriorArchitecture, #SacredArchitecture, #CulturalIdentity, #AleviArchitecture, #CommunitySpaces, #SpatialDesign, #ArchitecturalResearch, #NevzatSayin, #NSMH, #SelinAzbar, #EzgiAltay, #CulturalAuthenticity, #ReligiousArchitecture, #SocialInteraction, #SpatialHierarchy, #CourtyardArchitecture, #NaturalLight, #PassiveVentilation, #MaterialExpression, #ArchitecturalSymbolism, #CulturalHeritage, #TurkishArchitecture, #UserCenteredDesign, #HenriLefebvre, #PierreBourdieu, #SocialProductionOfSpace, #InteriorDesignResearch, #SagistGroupLuxury
Frequently Asked Questions About Balçova Cemevi and Social Space
These editorial questions and answers supplement the original thesis and do not form part of its unedited academic text.
What is “Revisiting Social Space : The Case of Balçova Cemevi” about?
The graduation thesis examines the relationship between interior architecture, cultural identity and social interaction through Balçova Cemevi in Izmir, Türkiye. It considers how spatial organization, architectural symbolism and shared activities contribute to the experience of a religious and community setting.
Who are the authors of the thesis?
The original title page names Selin Azbar and Ezgi Altay and also includes Meltem Eranıl. The work belongs to the IA 494 Graduation Thesis Course, 2024 fall semester, at Izmir University of Economics, within Interior Architecture and Environmental Design. The original academic credits are preserved in this publication.
Who is Selin Azbar?
Selin Azbar is an Interior Architect and an official employee of SAGIST GROUP LUXURY. She shares this graduation thesis on the company’s blog with her permission. Her professional role appears in the official Sagist Group team directory.
Who designed Balçova Cemevi?
Balçova Cemevi was designed by Nevzat Sayın Mimarlık Hizmetleri, known as NSMH. The building is the subject of the thesis; publishing this research does not establish a Sagist Group design, manufacturing or construction role in the project.
What is a cemevi?
A cemevi is a place of gathering and worship associated with Alevi communities. In the case examined by this thesis, religious activities are considered alongside educational, cultural and communal functions.
What does “social space” mean in this study?
Social space describes space as something shaped by people’s relationships, activities and cultural practices. The thesis draws on Henri Lefebvre and Pierre Bourdieu to explore how physical environments and social life influence one another.
Why is the courtyard important in the thesis?
The thesis discusses the courtyard as a connection between different building functions and a setting for gathering. It also considers the relationship between the semi-open courtyard, shading, ventilation and the local climate.
How does the thesis examine natural light and ventilation?
The study discusses roof forms and openings in relation to daylight, ventilation and architectural symbolism. These observations are part of its architectural interpretation; the thesis does not present measured energy-performance results.
What role do colour and texture play in the study?
The thesis examines red plaster, surface texture, light and shadow as elements of the building’s architectural expression. It connects these material qualities to cultural meaning, identity and the experience of space.
How can this research inform hospitality interior design?
As an editorial application, the research can encourage designers to ask how communal areas support gathering, how materials express local identity, and how spatial arrangements balance privacy and interaction. The thesis itself studies a cemevi rather than a hotel, so these hospitality connections are interpretations rather than tested research findings.
Has the original thesis been rewritten for this publication?
The original thesis wording is retained. Online formatting, selected hyperlinks and separately identified publisher commentary have been added. The original academic references remain distinct from supplementary editorial sources.
Where can readers explore related Sagist Group services?
Readers can explore hotel furniture and hospitality FF&E, restaurant furniture, bespoke home furniture and office furniture. The official Sagist Group website provides further information about bespoke manufacturing and turnkey interior services.
Research Summary
“Revisiting Social Space : The Case of Balçova Cemevi” is an English-language graduation thesis examining a building designed by Nevzat Sayın Mimarlık Hizmetleri in Izmir, Türkiye. The study explores interior architecture, Alevi cultural identity, sacred space, community interaction and spatial organization. Its theoretical discussion draws on Henri Lefebvre’s social production of space and Pierre Bourdieu’s relationship between social and physical space.
The thesis considers how courtyard organization, natural light, material expression and architectural symbolism contribute to the interpretation of the building. Published on the SAGIST GROUP LUXURY blog with Selin Azbar’s permission, the work retains its original academic credits and wording.
Academic Research and Professional Practice
Selin Azbar is an Interior Architect at SAGIST GROUP LUXURY. Sharing this academic work provides readers with insight into the architectural questions explored in her university studies, including how people experience communal environments and how design relates to cultural context.
For architects, interior designers and developers, these questions can support thoughtful project briefing: who will use a space, which activities it must accommodate, how people will move and gather, and how materials can express a place’s identity.
SAGIST GROUP LUXURY’s separate professional services include bespoke furniture manufacturing, architectural joinery and coordinated turnkey interior delivery. Readers interested in applying a project-specific design brief can explore the company’s hospitality FF&E services or visit www.hotelmobilya.com.
Publication Context
Work: Revisiting Social Space : The Case of Balçova CemeviNames on the original title page: Selin Azbar, Ezgi Altay, Meltem EranılAcademic institution: Izmir University of EconomicsAcademic context: IA 494 Graduation Thesis Course, 2024 fall semesterCase-study location: Balçova, Izmir, TürkiyeBuilding architect: Nevzat Sayın Mimarlık Hizmetleri — NSMHPrincipal subjects: Social space, interior architecture, cultural identity, sacred architecture and community interactionBlog publisher: SAGIST GROUP LUXURYSharing contributor: Selin Azbar, Interior Architect at SAGIST GROUP LUXURYPublication basis: Shared with Selin Azbar’s permission, with original academic credits retained
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