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ÖgeSpatialization of fun: Nocturnal heterotopias from counter-society to cyber-society(Graduate School, 2022-06-10)In the main structure of the thesis, it is aimed to determine the fun, which is an important but overlooked part of human life, the social unity that has an important place in the formation of entertainment, and the places that will provide this unity. After the Second World War, with the change of perspective on entertainment, entertainment has become an expression of freedom. However, although the libertarian aura of leisure time manifests itself in the historical process, in order to maintain the stability of the capitalist system, it took control by promoting its own leisure time in order to manage people whose working times were shortened and their leisure time increased with the industrial revolution. In this case, leisure time has ceased to be an area of individual emancipation and personal development and has become a part of the economic system. Individuals have been transformed into a society that is directed to consumption and can be managed within a passive perception of leisure. Perceiving this situation as a problem, when the space typologies that are entertainment-oriented, opposing the capitalist economy, and creating temporary societies are examined with a retrospective view, it has been observed that night spaces arising from the countercultural and countercultural perspective appear as a salvation space. Accordingly, the periodical counterculture types that emerged from the 60s, which was a breaking point for the freedom struggle, and the countercultural nocturnal spaces of those periods were examined in the context of heterotopia with their temporary and contradictory nature. Although the existence of these places is sometimes quite short, considering their overlap with social and political events and technological developments, they have been quite effective in the cultural framework in the long term. Since most of the places examined within the scope of the thesis are located in the past and the ones that remain today have undergone a lot of change, in order to stick to the cultural framework they expressed, the places were interpreted architecturally in the light of literature, documentaries, photographs, and information obtained from the memories of former regulars, and their spatial diagrams were produced. Then, the characteristic examination and atmospheric extraction of these places were carried out. It is important for the people having fun to accept the space they are in so that they can feel safe and liberated, for this the space must coincide with the individual's vision of fun. This situation arises from the relationship of perception with memory and emotions. The sensory stimuli received from the place reach the consciousness by combining with the emotions and memories of the person and determine whether the experience is positive or negative. If the ethos of the place coincides with the user's perception of entertainment, a positive experience for the user emerges. This is the spatial manifestation of the feeling of happiness created by entertainment. Although various findings have been obtained for the physical presence of the space in the studies on emotions and space, it is the atmosphere of the space that creates these feelings in the architecture of the party, so the architectural qualities should remain in the background. Atmospheric parameters obtained from the examined heterotopias were determined as sound, darkness, bodies, temperature/humidity, and smoke/fog. The important thing in entertainment venues is that all these atmospheric parameters can exist simultaneously and in harmony with each other. This simultaneity can be explained by the regenerative and retribalizing properties of experience and the instantaneous architecture where space disappears and time stops. All parameters must be in harmony and simultaneous to provide the atmosphere for the formation of this instant architecture. Within the scope of the study, while the existence of the current manifestations of counterculture and nightlife habits was examined, cyberculture was reached. From this point of view, it is examined that an individual who was socially isolated and in global desperation during the pandemic process turned his home into a resistance area as an area of liberation while participating in virtual parties. For this, the researcher was involved in the research in an autoethnographic way and discovered the Dutch-based Distance Disco, a platform where the participants she followed by participating in 51 different events could transform their interiors over time and create a new community. In the field research part of the thesis, the reflection of entertainment and nightlife on houses, which is a personal space, is examined. Individuals who returned to their homes due to the Covid-19 pandemic, which affected the whole world, produced alternative socialization and nightlife practices. Thus, the spatiality needed for a virtual house party in the digital age, the transformation of one's own interior for this purpose, and the transformation of the concept of a house party in parties made over virtual platforms have been observed. For this reason, the research was carried out with two methods: a questionnaire measuring the accuracy of previous spatial and atmospheric parameters, and semi-structured interviews about the use of the house in virtual parties. As a result of the survey, users prefer places that will create emotions such as excitement, dynamism and joy in night places, but the findings related to the space typologies theorized over these emotions have not been established sufficiently. The measurement of atmospheric parameters, on the other hand, was provided in a healthier way, and it was revealed that only the fog/smoke parameter was not preferred as in the study. These findings make the hypothesis of instant interior space, spaces whose existing architecture is rendered invisible with atmosphere, expressed in the main structure of the thesis correct. Apart from this, the participants, who use part of their homes for virtual parties, briefly stated that they hide their existing character by darkening the spaces in their homes and transforming them by using atmospheric elements. Similar findings were obtained in semi-structured interviews conducted for in-depth analysis. As a final word, most virtual parties and entertainment types lack sensory experience and can currently only provide an auditory and visual experience. Indeed, virtual parties have not emerged to replace physical ones but offer a new kind. It is possible that this new type will offer multisensory experience with the advancement of technology. For this reason, virtual party platforms, which are periodically preferable at the end of the pandemic, can become an experience that can become a part of daily life with the development of technology. In fact, it is possible to create modular virtual party areas inside the houses in the future.