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Structural, Exterior, and Interior Medium of Wood as a Holistic Museum Experience: A Case Study of OMM (Odunpazarı Modern Museum)

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The fundamental research inquiry in this study revolves around wood materials’ diverse facets, including structural identities, contextual considerations, interior and external spatial applications, and their user experiences. To address this research, a comprehensive literature review, case study, and survey were conducted. The objective being to elucidate technical, functional, sensory, perceptual, and psychological impacts of wood in a sample structure where it is the primary material in the overarching user experience. The Odunpazarı Modern Museum (OMM), conceptualized by architect Kengo Kuma and inaugurated in 2019 in Eskişehir, stands as a testament to the historical significance of the timber trade in the region. The deliberate choice of wood as the primary construction material serves as a tribute to this historical narrative. The conspicuous incorporation of wooden lath materials into both the external and interior spaces signify a conscious reference to the region’s historical heritage and aligns with sustainability principles in design. Factors such as form characteristics, dimensional distinctions, spatial arrangements, and the extent of surface interactions collectively contribute to the compelling effect of this integrative approach. Within the confines of the museum, unconventional partitioning is implemented, and the strategic arrangement of masses results in multiple facades, even in the absence of overt wooden surfaces. The exterior impact of the wooden shell complements its interior application. For this reason, OMM enabled the understanding and explanation of all dimensions of the wooden material, including physical, technical, and psychosocial.
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Citation: Yalçın, M.; Dedeo˘glu, E.F.
Structural, Exterior, and Interior
Medium of Wood as a Holistic
Museum Experience: A Case Study of
OMM (Odunpazarı Modern
Museum). Buildings 2024,14, 649.
https://doi.org/10.3390/
buildings14030649
Academic Editors: Koen Steemers,
Danijela Domljan, Dina Stober and
Vjekoslav Živkovi´c
Received: 26 December 2023
Revised: 18 February 2024
Accepted: 21 February 2024
Published: 1 March 2024
Copyright: © 2024 by the authors.
Licensee MDPI, Basel, Switzerland.
This article is an open access article
distributed under the terms and
conditions of the Creative Commons
Attribution (CC BY) license (https://
creativecommons.org/licenses/by/
4.0/).
buildings
Article
Structural, Exterior, and Interior Medium of Wood as a Holistic
Museum Experience: A Case Study of OMM (Odunpazarı
Modern Museum)
Meryem Yalçın * and Esin Fakıbaba Dedeo˘glu
Faculty of Architecture and Design, Department of Interior Architecture and Environmental Design,
TOBB University of Economics and Technology, Ankara 06560, Turkey; e.dedeoglu@etu.edu.tr
*Correspondence: myalcin@etu.edu.tr; Tel.: +90-532-285-5536
Abstract: The fundamental research inquiry in this study revolves around wood materials’ diverse
facets, including structural identities, contextual considerations, interior and external spatial applica-
tions, and their user experiences. To address this research, a comprehensive literature review, case
study, and survey were conducted. The objective being to elucidate technical, functional, sensory,
perceptual, and psychological impacts of wood in a sample structure where it is the primary material
in the overarching user experience. The Odunpazarı Modern Museum (OMM), conceptualized by
architect Kengo Kuma and inaugurated in 2019 in Eski¸sehir, stands as a testament to the historical
significance of the timber trade in the region. The deliberate choice of wood as the primary con-
struction material serves as a tribute to this historical narrative. The conspicuous incorporation
of wooden lath materials into both the external and interior spaces signify a conscious reference
to the region’s historical heritage and aligns with sustainability principles in design. Factors such
as form characteristics, dimensional distinctions, spatial arrangements, and the extent of surface
interactions collectively contribute to the compelling effect of this integrative approach. Within the
confines of the museum, unconventional partitioning is implemented, and the strategic arrangement
of masses results in multiple facades, even in the absence of overt wooden surfaces. The exterior
impact of the wooden shell complements its interior application. For this reason, OMM enabled
the understanding and explanation of all dimensions of the wooden material, including physical,
technical, and psychosocial.
Keywords: wood material; interior; exterior; space; user experience
1. Introduction
Wood emerges as a multifaceted material within the construction industry, presenting
designers with a myriad of possibilities. However, beyond its structural integrity, wood
encompasses a diverse array of attributes, including technical specifications, application
domains, typologies, and significances. Therefore, it is imperative for designers to cultivate
a comprehensive understanding that encapsulates the entirety of wood’s dimensions.
The molecular, chemical, and microscopic characteristics of wood have enabled its use
for a wide range of purposes. In addition to these features, its fibrous structure contributes
to its high strength and flexibility in engineering applications. Furthermore, its insulation
properties often make it a preferred choice [
1
]. Despite the extensive history of wooden
constructions across Europe and globally, end-users often harbor concerns that a wooden
building may not endure as well as structures made of steel or concrete. There is a specific
worry that wooden buildings may be more vulnerable to factors such as fire, water damage,
and biological activity or may not exhibit the same level of load resistance. Despite these
concerns, wood possesses inherent properties, including a high strength-to-density ratio,
a tendency to char rather than burn, and good biological resistance, which counteract
these apprehensions. However, it is crucial to acknowledge that not all types of timber can
Buildings 2024,14, 649. https://doi.org/10.3390/buildings14030649 https://www.mdpi.com/journal/buildings
Buildings 2024,14, 649 2 of 15
meet all criteria simultaneously [
2
,
3
]. Managed woodlands are cultivated to meet the high
demand for construction timber. While generally faster-growing and, therefore, considered
sustainable, managed woodlands may have a lower building standard than virgin forests.
Consequently, they are often chemically treated to enhance their construction grade [
3
].
With technological advancements and shifting societal needs, construction materials are
continually undergoing diversification and renewal within their structural applications.
The selection of material assumes a critical role in the development of spatial design, influ-
encing facets such as form, surface texture, physical and chemical structure, fluidity, and
the foundational philosophies embedded in design approaches [4]. Therefore, a thorough
examination of the physical and psychological effects of these materials is imperative.
Understanding the impact of material features on users and recognizing the opportunities
this impact presents are pivotal. This study examines wood as a construction material
that boasts extensive and diverse global usage and presents advantages in production,
availability, trade, and ecological impact, positioning it as a renewable natural resource
characterized by a commendable strength-to-mass ratio [
5
]. Moreover, its positive contri-
bution to carbon storage aligns with the growing emphasis on eco-friendly construction
practices [
6
]. The surge in green construction has underscored the importance of utilizing
renewable materials, with wood emerging as a key component of environmentally sustain-
able structures [7]. Wood’s ready availability, lightness, durability, and ease of processing,
coupled with its diverse natural characteristics, further differentiate its applicability based
on spatial, environmental, and structural objectives.
The psychological considerations pertaining to the interplay between the physical
environment and human well-being constitute a focal point within the academic domain
of environmental psychology [
8
]. As articulated by Ulrich (1983), the contemplation of a
setting incorporating natural elements can instigate a response characterized by aesthetic
affinity, thereby engendering heightened positive affective states [
9
]. In-depth studies of
the technical and functional properties of wood extend beyond its physical characteristics
to encompass its effects on user experience, spatial perception, and sensory engagement.
Wood, as a material, not only contributes to spatial creation but also holds cultural and
historical significance, providing aesthetic satisfaction and influencing psychological and
physical aspects [4].
This study comprehensively explores the multifaceted aspects of wood through a
literature review and a case study of the Odunpazarı Modern Museum (OMM). The OMM,
designed by Kengo Kuma, serves as a unique structure that exemplifies the various applica-
tions and influences of wood on one structure. The investigation involved a questionnaire
to assess users’ spatial experiences within the OMM. Beyond the OMM’s impact on its
physical identity, encompassing location, design applications, and urban integration, mod-
ern museums significantly contribute to the social life of their surroundings by evoking
diverse feelings and emotions among users.
In contrast, situated in Eskisehir with a historical background of wood sources, OMM’s
thick laminated wooden beams reflect the street texture from the Ottoman period. The
formal features of OMM align with Kengo Kuma’s architectural style, emphasizing “Ad-
dition and Integration” in form creation, and utilizing wood to add comfort and warmth
to its surroundings. Kuma’s preference for natural materials, particularly wood, reflects
a deliberate effort to establish a sustainable connection between people and their living
environments, diverging from the predominant use of concrete and steel in contemporary
architecture [10].
Research Question
This study focused on a comprehensive analysis of the physical attributes of wooden
materials, encompassing considerations related to interior and exterior spaces, built-in
furniture applications, and user experience. Correspondingly, it examined the cultural,
psychological, and esthetic sensory effects of wood material within the context of a mu-
seum, utilizing it as a case study. Many studies have been conducted on the impact of
Buildings 2024,14, 649 3 of 15
wooden materials on users. In many of these studies, positive and/or negative concepts
related to users’ subjective judgments have been addressed. Rice et al. (2007) used similar
concepts in the questionnaire administered to participants in their study [
5
]. Likewise,
Masuda (2004) [
11
], Sakuragawa et al. (2005) [
12
], Sakuragawa (2006) [
13
], and Zhang et al.
(2016) [
14
] posed inquiries regarding participants’ experiences and emotions in the surveys
conducted as part of their respective studies.
Consequently, this study uncovered and analyzed the interior, exterior spatial, and
built-in furniture wood material experiences and involved impact assessments of visitors
situated in the sample area. The present study aims to explore how they found wood
material impact throughout the museum in terms of continuity, interior-exterior harmony,
identity, atmosphere, welcoming, flexible, monotone, natural, simple, unity?
The hypotheses were as follows:
H1: The perception of wood material will be more pronounced when observed from the exterior
rather than the interior spaces of the OMM.
H2: Participants will perceive the OMM more as a unique rather than symbolic structure.
H3: Most visitors will express that the repetition of wood in the exterior, interior, and built-in
furniture of the OMM is monotonous or boring.
2. Odunpazarı Modern Museum (OMM)
The OMM assumes a pivotal role as a transportation axis for Eski¸sehir, Akin to Atatürk
Boulevard, solidifying its connection with the city by strategically situating itself on this
thoroughfare. Encompassing approximately 4500 m
2
, the museum integrates exhibition
spaces, event venues, cafés, workshops, and museum shops. Entrances to the three-floor
museum are provided from the +3.50 level, featuring a cafeteria and museum shop, with
works exhibited at elevations of 0.0–+8.00 and +13.80, and warehouses located at the
5.00 level [15] (Figure 1).
Upon closer examination of the OMM, it becomes evident that the guiding design
principles or concepts—specifically “geometry”, “light”, “clustering”, and “wood”—are
thoughtfully implemented in the completion of the structure. The deliberate inclusion
of wood among these thematic elements indicates a purposeful integration of natural
materials indigenous to the geographical context, suggesting that the utilization of wood
goes beyond a semantic connection with Odunpazarı [
10
,
16
]. Physical structures within the
built environment are subject to numerous variables that collectively shape the experience of
individuals. These variables encompass specific qualities of the structures, their functional
values, integration into the urban fabric, visibility, accessibility, and the impressions and
associations they evoke for the observer.
Odunpazarı is the sole area in Eskisehir where traditional neighborhood characteristics
persistently concentrate. Kur¸sunlu Külliye, constructed in 1516, serves as a landmark
evidencing the area’s historical significance during the Ottoman Period. Most houses in this
region exhibit traditional architectural characteristics utilizing timber-frame construction
systems. Identified as one of the central districts of Eskisehir, Odunpazarı thrives not only
on tourism facilitated by the concept of “Odunpazarı Houses”—a trademark resulting from
renovation and restoration projects within the district—but also maintains its historical
prominence through the city’s ongoing development [17] (Figure 2).
The design of the OMM intricately weaves the historical urban texture and cultural
heritage of the region with the aim of establishing a new focal point that supports the
traditional street texture [
18
]. Upon scrutinizing user perspectives within well-defined
conceptual frameworks, namely comfort level, satisfaction level, and perceptual benefit
level, investigations unveil discernible distinctions across diverse age groups, occupa-
tional categories, educational levels, and socio-demographic characteristics. Specifically,
crafted wooden exterior-covering materials envelop the museum, underscoring the sig-
Buildings 2024,14, 649 4 of 15
nificance of wood in the city’s heritage, which is known to provide comfort and a warm
atmosphere [1719]
. This architectural endeavor seeks to forge a symbiotic link between
society and art, positioning itself at the heart of the structure. By focusing on the Odun-
pazarı street texture and human scale, the building creates diverse experiential dimensions
within itself, leaving a lasting impact on the city’s historical narrative and aspiring to be
recognized as a landmark carrying its memory [
16
,
18
]. Beyond its physical attributes, such
as location, design decisions, and integration with the urban fabric, the OMM significantly
shapes the social space in its immediate surroundings by evoking a range of emotions and
sentiments from users.
Buildings 2024, 14, x FOR PEER REVIEW 4 of 16
Figure 1. Odunpazarı Modern Museum plan and section drawings [15].
Upon closer examination of the OMM, it becomes evident that the guiding design
principles or concepts—specically “geometry”, light”, “clustering”, and “wood”—are
thoughtfully implemented in the completion of the structure. The deliberate inclusion of
wood among these thematic elements indicates a purposeful integration of natural mate-
rials indigenous to the geographical context, suggesting that the utilization of wood goes
beyond a semantic connection with Odunpazarı [10,16]. Physical structures within the
built environment are subject to numerous variables that collectively shape the experience
of individuals. These variables encompass specic qualities of the structures, their func-
tional values, integration into the urban fabric, visibility, accessibility, and the impressions
and associations they evoke for the observer.
Odunpazarı is the sole area in Eskisehir where traditional neighborhood characteris-
tics persistently concentrate. Kurşunlu Külliye, constructed in 1516, serves as a landmark
evidencing the area’s historical signicance during the Ooman Period. Most houses in
this region exhibit traditional architectural characteristics utilizing timber-frame construc-
tion systems. Identied as one of the central districts of Eskisehir, Odunpazarı thrives not
only on tourism facilitated by the concept of “Odunpazarı Houses”—a trademark result-
ing from renovation and restoration projects within the district—but also maintains its
historical prominence through the city’s ongoing development [17] (Figure 2).
Figure 1. Odunpazarı Modern Museum plan and section drawings [15].
Buildings 2024, 14, x FOR PEER REVIEW 5 of 16
Figure 2. Exterior view of Odunpazarı Modern Museum [15] and historical texture.
The design of the OMM intricately weaves the historical urban texture and cultural
heritage of the region with the aim of establishing a new focal point that supports the
traditional street texture [18]. Upon scrutinizing user perspectives within well-dened
conceptual frameworks, namely comfort level, satisfaction level, and perceptual benet
level, investigations unveil discernible distinctions across diverse age groups, occupa-
tional categories, educational levels, and socio-demographic characteristics. Specically,
crafted wooden exterior-covering materials envelop the museum, underscoring the sig-
nicance of wood in the city’s heritage, which is known to provide comfort and a warm
atmosphere [17–19]. This architectural endeavor seeks to forge a symbiotic link between
society and art, positioning itself at the heart of the structure. By focusing on the Odunpa-
zarı street texture and human scale, the building creates diverse experiential dimensions
within itself, leaving a lasting impact on the city’s historical narrative and aspiring to be
recognized as a landmark carrying its memory [16,18]. Beyond its physical aributes, such
as location, design decisions, and integration with the urban fabric, the OMM signicantly
shapes the social space in its immediate surroundings by evoking a range of emotions and
sentiments from users.
2.1. Structural Eect of Wood on OMM
In addition to tracing the historical evolution of wooden material utilization in con-
struction, its cultural entanglements, and the psychological and aesthetically gratifying
eects it imparts on daily life, its physical aributes are signicant in shaping spatial and
environmental characteristics.
OMM’s structural system comprises three distinct sections: a masonry base, a timber-
framed upper section, and a timber roof section. The foundation and basement oors are
constructed using rubble stone or mud brick, incorporating horizontal timber beams for
reinforcement. The timber-framed upper section is characterized by the integration of hor-
izontal, vertical, and diagonal elements, forming continuous panels and boxes [10,16]. No-
tably, the structural joints employed include the full lap joint, utilized to create a “T” joint
from timbers of varying depths, while the half-lap joint (also known as the “halving” joint)
is employed to join timbers of similar depths [20] (Figure 3).
Figure 2. Exterior view of Odunpazarı Modern Museum [15] and historical texture.
2.1. Structural Effect of Wood on OMM
In addition to tracing the historical evolution of wooden material utilization in con-
struction, its cultural entanglements, and the psychological and aesthetically gratifying
effects it imparts on daily life, its physical attributes are significant in shaping spatial and
environmental characteristics.
Buildings 2024,14, 649 5 of 15
OMM’s structural system comprises three distinct sections: a masonry base, a timber-
framed upper section, and a timber roof section. The foundation and basement floors are
constructed using rubble stone or mud brick, incorporating horizontal timber beams for
reinforcement. The timber-framed upper section is characterized by the integration of
horizontal, vertical, and diagonal elements, forming continuous panels and boxes [
10
,
16
].
Notably, the structural joints employed include the full lap joint, utilized to create a “T”
joint from timbers of varying depths, while the half-lap joint (also known as the “halving”
joint) is employed to join timbers of similar depths [20] (Figure 3).
Buildings 2024, 14, x FOR PEER REVIEW 6 of 16
Figure 3. Interior and exterior structural timber “T” joint details.
The dierentiation in the natural texture of wood is contingent upon various factors,
including the tree type, climatic exposure, harvesting conditions, drying methods, baking
duration, and post-harvest storage [21]. The OMM employs an intricate interplay of
wooden elements in both interior and exterior spaces, revealing distinctive characteristics.
Although typically dierentiated, the discussion allows for the consideration of interior
surfaces as analogous to facades, elucidating the exceptional craftsmanship evident in the
OMM [18]. Comprising yellow-laminated Russian pine, each surface, approximately 14 m
long and weighing 350 kg, plays a pivotal role in both exterior and interior spaces, oering
a natural material conducive to light-shadow eects due to its inherent texture and phys-
ical properties [15,18]. The repetitive arrangement of these wooden elements, coupled
with their alignment, geometric form, and response to light conditions, yields diverse tex-
tures shaped by the interplay between light and shadow [18,21]. The impeccable aention
to manufacturing details, from precise assembly to decorative elements resembling en-
ergy outputs on the oor, underscores this meticulous approach. In interior spaces, the
structure yields numerous facades that transcend conventional museum walls. Remarka-
bly, the building’s facade remains perceptible from the interior to the exterior space, even
when considering the disassembly of the masses [16,18].
2.2. Environmental Eect of Wood on OMM
Environmental identity is a component of an individual’s self-concept, and repre-
sents a sense of connection to a specic segment of the non-human natural environment.
This connection is established through factors such as historical ties, emotional aach-
ments, and perceived similarities. The formation of environmental identity inuences in-
dividuals’ perceptions and behaviors toward the world, shaping their sense of self in re-
lation to their natural surroundings [22].
In the contemporary urban milieu, the re-evaluation of cities necessitates collabora-
tive eorts from architectural disciplines, local governments, and urban planning to artic-
ulate and brand cities within the global system. Architects Kengo Kuma and Peter Rich,
aligned with the principles of “anti-object”, underscore the ease of creating forms and the
rediscovery of traditional architecture for 21st-century design [23]. The OMM aligns with
this philosophy, assuming a distinctive identity through its physical environment and
contributing to the city’s brand by accentuating aspects that add value. Beyond its physi-
cal aributes such as location, design decisions, and urban texture integration, OMM sig-
nicantly shapes the social space in its vicinity by eliciting diverse emotions and senti-
ments from users [10,21,23].
The claim that the OMM “recreates the traditional street” within its interior circula-
tion may provoke debate. Nevertheless, the undeniable spatial richness within 3582
square meters is evident, characterized by non-uniform sub-units in the plan, elevation
dierences, and triangular staircases, all of which contribute to curator satisfaction. The
building’s consistent engagement with the city and the integration of semi-open spaces
Figure 3. Interior and exterior structural timber “T” joint details.
The differentiation in the natural texture of wood is contingent upon various factors,
including the tree type, climatic exposure, harvesting conditions, drying methods, baking
duration, and post-harvest storage [
21
]. The OMM employs an intricate interplay of
wooden elements in both interior and exterior spaces, revealing distinctive characteristics.
Although typically differentiated, the discussion allows for the consideration of interior
surfaces as analogous to facades, elucidating the exceptional craftsmanship evident in the
OMM [
18
]. Comprising yellow-laminated Russian pine, each surface, approximately 14 m
long and weighing 350 kg, plays a pivotal role in both exterior and interior spaces, offering
a natural material conducive to light-shadow effects due to its inherent texture and physical
properties [
15
,
18
]. The repetitive arrangement of these wooden elements, coupled with
their alignment, geometric form, and response to light conditions, yields diverse textures
shaped by the interplay between light and shadow [
18
,
21
]. The impeccable attention to
manufacturing details, from precise assembly to decorative elements resembling energy
outputs on the floor, underscores this meticulous approach. In interior spaces, the structure
yields numerous facades that transcend conventional museum walls. Remarkably, the
building’s facade remains perceptible from the interior to the exterior space, even when
considering the disassembly of the masses [16,18].
2.2. Environmental Effect of Wood on OMM
Environmental identity is a component of an individual’s self-concept, and represents
a sense of connection to a specific segment of the non-human natural environment. This
connection is established through factors such as historical ties, emotional attachments,
and perceived similarities. The formation of environmental identity influences individuals’
perceptions and behaviors toward the world, shaping their sense of self in relation to their
natural surroundings [22].
In the contemporary urban milieu, the re-evaluation of cities necessitates collaborative
efforts from architectural disciplines, local governments, and urban planning to articu-
late and brand cities within the global system. Architects Kengo Kuma and Peter Rich,
aligned with the principles of “anti-object”, underscore the ease of creating forms and
the rediscovery of traditional architecture for 21st-century design [
23
]. The OMM aligns
with this philosophy, assuming a distinctive identity through its physical environment and
contributing to the city’s brand by accentuating aspects that add value. Beyond its physical
Buildings 2024,14, 649 6 of 15
attributes such as location, design decisions, and urban texture integration, OMM signifi-
cantly shapes the social space in its vicinity by eliciting diverse emotions and sentiments
from users [10,21,23].
The claim that the OMM “recreates the traditional street” within its interior circulation
may provoke debate. Nevertheless, the undeniable spatial richness within 3582 square
meters is evident, characterized by non-uniform sub-units in the plan, elevation differences,
and triangular staircases, all of which contribute to curator satisfaction. The building’s
consistent engagement with the city and the integration of semi-open spaces deviate from
the conventional “white walls” adopted by modern museums [23] (Figure 4).
Buildings 2024, 14, x FOR PEER REVIEW 7 of 16
deviate from the conventional white walls” adopted by modern museums [23] (Figure
4).
Figure 4. The structure yields numerous facades, transcending conventional museum walls.
Functioning as a determinant of cosmic order in the interplay between interior and
exterior realms, the OMM allows for the direct perception of seasonal, daily, and instan-
taneous changes through the senses.
2.3. Spatial Eect of Wood on OMM
As a fundamental aspect of design principles, interior design assigns signicant im-
portance to the eective utilization of materials. This importance is aributed to the OMM
design setup, such as the characteristics of the wood materials used in the structural sur-
faces and furniture within the space [18]. The signicance is contingent on elements such
as the nature of the material used, the manner in which the material is employed, and the
distribution of light [24].
Various types of wood exhibit distinct characteristics in terms of texture, scent, and
appearance. Solid wood, employed as a veneer, accessory, and furniture material, is
sourced domestically and internationally and is now nding applications in interior
spaces [20]. Recognizing the diverse dimensions of wood usage in the OMM—cultural,
historical, sociological, psychological, and demographic—through which the visual qual-
ities of this material interact with individuals and societies and considering an interdisci-
plinary approach, research has gained signicance. The establishment of relationships
that inuence perception, meaning, and behavior is crucial, as is the utilization of applied
techniques (Figure 5).
Figure 5. Structural timber built-in furniture in the interior.
As previously mentioned, in response to advancing technology and evolving de-
mand, there is continuous diversication and renewal of construction materials. The ap-
plication areas of interior design, encompassing walls, oors, cladding, and furniture, are
entirely constituted by the utilization of these materials. The OMM also includes various
species of wood that possess textures, scents, and visual aributes derived from nature.
Solid woods that are both domestically sourced and imported are employed as cov-
erings, accessories, and furniture materials, thus expanding their utility in interior spaces.
The adaptability of wood to various applications is contingent on its physical aributes,
Figure 4. The structure yields numerous facades, transcending conventional museum walls.
Functioning as a determinant of cosmic order in the interplay between interior and
exterior realms, the OMM allows for the direct perception of seasonal, daily, and instanta-
neous changes through the senses.
2.3. Spatial Effect of Wood on OMM
As a fundamental aspect of design principles, interior design assigns significant
importance to the effective utilization of materials. This importance is attributed to the
OMM design setup, such as the characteristics of the wood materials used in the structural
surfaces and furniture within the space [
18
]. The significance is contingent on elements
such as the nature of the material used, the manner in which the material is employed, and
the distribution of light [24].
Various types of wood exhibit distinct characteristics in terms of texture, scent, and
appearance. Solid wood, employed as a veneer, accessory, and furniture material, is sourced
domestically and internationally and is now finding applications in interior spaces [
20
].
Recognizing the diverse dimensions of wood usage in the OMM—cultural, historical, so-
ciological, psychological, and demographic—through which the visual qualities of this
material interact with individuals and societies and considering an interdisciplinary ap-
proach, research has gained significance. The establishment of relationships that influence
perception, meaning, and behavior is crucial, as is the utilization of applied techniques
(Figure 5).
Buildings 2024, 14, x FOR PEER REVIEW 7 of 16
deviate from the conventional white walls” adopted by modern museums [23] (Figure
4).
Figure 4. The structure yields numerous facades, transcending conventional museum walls.
Functioning as a determinant of cosmic order in the interplay between interior and
exterior realms, the OMM allows for the direct perception of seasonal, daily, and instan-
taneous changes through the senses.
2.3. Spatial Eect of Wood on OMM
As a fundamental aspect of design principles, interior design assigns signicant im-
portance to the eective utilization of materials. This importance is aributed to the OMM
design setup, such as the characteristics of the wood materials used in the structural sur-
faces and furniture within the space [18]. The signicance is contingent on elements such
as the nature of the material used, the manner in which the material is employed, and the
distribution of light [24].
Various types of wood exhibit distinct characteristics in terms of texture, scent, and
appearance. Solid wood, employed as a veneer, accessory, and furniture material, is
sourced domestically and internationally and is now nding applications in interior
spaces [20]. Recognizing the diverse dimensions of wood usage in the OMM—cultural,
historical, sociological, psychological, and demographic—through which the visual qual-
ities of this material interact with individuals and societies and considering an interdisci-
plinary approach, research has gained signicance. The establishment of relationships
that inuence perception, meaning, and behavior is crucial, as is the utilization of applied
techniques (Figure 5).
Figure 5. Structural timber built-in furniture in the interior.
As previously mentioned, in response to advancing technology and evolving de-
mand, there is continuous diversication and renewal of construction materials. The ap-
plication areas of interior design, encompassing walls, oors, cladding, and furniture, are
entirely constituted by the utilization of these materials. The OMM also includes various
species of wood that possess textures, scents, and visual aributes derived from nature.
Solid woods that are both domestically sourced and imported are employed as cov-
erings, accessories, and furniture materials, thus expanding their utility in interior spaces.
The adaptability of wood to various applications is contingent on its physical aributes,
Figure 5. Structural timber built-in furniture in the interior.
Buildings 2024,14, 649 7 of 15
As previously mentioned, in response to advancing technology and evolving demand,
there is continuous diversification and renewal of construction materials. The application
areas of interior design, encompassing walls, floors, cladding, and furniture, are entirely
constituted by the utilization of these materials. The OMM also includes various species of
wood that possess textures, scents, and visual attributes derived from nature.
Solid woods that are both domestically sourced and imported are employed as cover-
ings, accessories, and furniture materials, thus expanding their utility in interior spaces.
The adaptability of wood to various applications is contingent on its physical attributes,
including its resistance to environmental conditions [
21
]. Conceptualizing the “courtyard”
as the foundational element of the microcosmic space, the design seamlessly incorporates
natural elements, fostering continual reconsideration of the dynamic interaction between
nature and humanity [10,16,18] (Figure 6).
Buildings 2024, 14, x FOR PEER REVIEW 8 of 16
including its resistance to environmental conditions [21]. Conceptualizing the “court-
yard” as the foundational element of the microcosmic space, the design seamlessly incor-
porates natural elements, fostering continual reconsideration of the dynamic interaction
between nature and humanity [10,16,18] (Figure 6).
Figure 6. Timber “courtyard” in OMM. The wooden core goes from the rst oor to the third oor.
The articulation of wooden elements heightens the spatial density, and their dynamic
eect, which is inuenced by their grouped arrangement and the interplay of light, results
in a visually intricate braiding eect (Figure 7).
Figure 7. Interior of timber “courtyard” in OMM extending from the ground to the third oor.
3. Materials and Methods
The research design was shaped through a comprehensive analysis of the literature,
comprising a case study (observation and analyses) and questionnaire, aiming to under-
stand the interior, exterior spatial, and built-in furniture wood materials. By amalgamat-
ing the ndings from the research and the insights gathered, a design framework was
established to obtain psychosocial data regarding one unique material as a whole.
A literature review was initially conducted on wood material and the eects of wood
as a building material, physical and psychological eects on the user, advantages of the
material, and so forth. Consistent with the information and criteria obtained, a case study
was considered appropriate. Survey data were examined by document analysis.
Survey questions were developed based on a comprehensive literature review. The
survey, comprising four sections, began with four questions that collected participants’
demographic information. The second section consisted of three questions targeting the
research questions, utilizing various concepts to measure the participants’ perceptions of
the eld. The third section assessed the impact of wooden material usage through two
questions, which were evaluated on a ve-point Likert scale ranging from 1 to 5. The nal
section presented an open-ended question that invited participants to provide qualitative
insights. This methodologically sound survey design and its application underscored a
Figure 6. Timber “courtyard” in OMM. The wooden core goes from the first floor to the third floor.
The articulation of wooden elements heightens the spatial density, and their dynamic
effect, which is influenced by their grouped arrangement and the interplay of light, results
in a visually intricate braiding effect (Figure 7).
Buildings 2024, 14, x FOR PEER REVIEW 8 of 16
including its resistance to environmental conditions [21]. Conceptualizing the “court-
yard” as the foundational element of the microcosmic space, the design seamlessly incor-
porates natural elements, fostering continual reconsideration of the dynamic interaction
between nature and humanity [10,16,18] (Figure 6).
Figure 6. Timber “courtyard” in OMM. The wooden core goes from the rst oor to the third oor.
The articulation of wooden elements heightens the spatial density, and their dynamic
eect, which is inuenced by their grouped arrangement and the interplay of light, results
in a visually intricate braiding eect (Figure 7).
Figure 7. Interior of timber “courtyard” in OMM extending from the ground to the third oor.
3. Materials and Methods
The research design was shaped through a comprehensive analysis of the literature,
comprising a case study (observation and analyses) and questionnaire, aiming to under-
stand the interior, exterior spatial, and built-in furniture wood materials. By amalgamat-
ing the ndings from the research and the insights gathered, a design framework was
established to obtain psychosocial data regarding one unique material as a whole.
A literature review was initially conducted on wood material and the eects of wood
as a building material, physical and psychological eects on the user, advantages of the
material, and so forth. Consistent with the information and criteria obtained, a case study
was considered appropriate. Survey data were examined by document analysis.
Survey questions were developed based on a comprehensive literature review. The
survey, comprising four sections, began with four questions that collected participants’
demographic information. The second section consisted of three questions targeting the
research questions, utilizing various concepts to measure the participants’ perceptions of
the eld. The third section assessed the impact of wooden material usage through two
questions, which were evaluated on a ve-point Likert scale ranging from 1 to 5. The nal
section presented an open-ended question that invited participants to provide qualitative
insights. This methodologically sound survey design and its application underscored a
Figure 7. Interior of timber “courtyard” in OMM extending from the ground to the third floor.
3. Materials and Methods
The research design was shaped through a comprehensive analysis of the literature,
comprising a case study (observation and analyses) and questionnaire, aiming to under-
stand the interior, exterior spatial, and built-in furniture wood materials. By amalgamating
the findings from the research and the insights gathered, a design framework was estab-
lished to obtain psychosocial data regarding one unique material as a whole.
A literature review was initially conducted on wood material and the effects of wood
as a building material, physical and psychological effects on the user, advantages of the
material, and so forth. Consistent with the information and criteria obtained, a case study
was considered appropriate. Survey data were examined by document analysis.
Buildings 2024,14, 649 8 of 15
Survey questions were developed based on a comprehensive literature review. The
survey, comprising four sections, began with four questions that collected participants’
demographic information. The second section consisted of three questions targeting the
research questions, utilizing various concepts to measure the participants’ perceptions
of the field. The third section assessed the impact of wooden material usage through
two questions, which were evaluated on a five-point Likert scale ranging from 1 to 5.
The final section presented an open-ended question that invited participants to provide
qualitative insights. This methodologically sound survey design and its application under-
scored a commitment to rigorous research practices, ensuring the collection of diverse and
meaningful insights from participants.
This study was conducted in 2023, between 1 June and 21 December, with visitors to
the OMM who were living in or outside Eski¸sehir. The survey was created using Google
Forms, and participants accessed the survey by scanning the QR code. Respondents were
randomly selected from among the visitors to the OMM; 117 completed questionnaires
were obtained. The analyses of statistical measurements have been conducted using the
SPSS program.
4. Results
The survey, which focused on the use of wooden materials, was administered to a
randomly sampled selection of 117 individuals who visited the OMM. The Case Processing
Summary reveals the absence of any discarded or invalidated data points, thereby affirming
the inclusion of a total of 117 valid survey responses for further analysis. The Cronbach’s Alpha
value exceeding 0.8 indicates a high level of reliability in the data. In the conducted study, the
Cronbach’s Alpha value was determined to be 0.897, further affirming the robustness and
internal consistency of the collected data. The significance of these statistics is underscored
by their pivotal role in assessing the reliability of the survey study. They serve as critical
instruments for gauging the robustness and credibility of the research findings, offering a
quantitative lens through which the data’s dependability can be scrutinized and validated.
The demographic information of the participants is presented in Table 1. Among the
participants, a notable sex difference was observed, with 76.9% being women and 23.1%
being men. It is noteworthy that all respondents had educational qualifications at the
university level or beyond. In terms of age demographics, 45% of the participants fell
within the 18–25 age bracket, 41% were in the 26–35 age range, 18% were in the
36–45 age
category, and 9% were in the 46–55 age cohort. Of the visitors, 87.2% did not live in
Eski¸sehir. The demographic data provide a valuable foundation for subsequent analyses
and interpretation, contributing to a nuanced understanding of the impact of wooden
material usage in the context of the museum visitation experience.
Table 1. Demographic Information.
Demographic Characteristic Value Total
F%F
Gender Female 90 76.9 117
Male 27 23.1
Age
18–25 45 38.5
117
26–35 41 35.0
36–45 18 15.4
46–55 9 7.7
56 and over 4 3.4
Education
Undergraduate 63 53.8
117
Master 36 30.8
PhD 18 15.4
Notes: F: Frequency.
Buildings 2024,14, 649 9 of 15
Table 2provides a comprehensive breakdown of the participant demographics, de-
lineating the percentage distribution based on their respective residential status and dis-
tinguishing between individuals residing in Eski¸sehir and those domiciled outside of the
locale. Approximately 87.2% of respondents are not living in Eski¸sehir. A predominant
trend among participants is their inclination towards visiting the city. This heightened ratio
can be attributed directly to the strategic positioning of the structure within a historically
significant region.
Table 2. The percentage of participants residing in Eski¸sehir and outside.
n = 117 Percentage Number
Yes 12.8% 15
No 87.2% 102
Participants were asked, “How important was it for you to visit OMM on your trip to
Eski¸sehir?” Approximately 61.5% of respondents articulated the importance of including
a visit to OMM in their itineraries when traveling to Eski¸sehir. This underscores the
institutional significance of the museum for these individuals and elucidates its pivotal role
within the framework of their visits to the city (Table 3).
Table 3. Importance of visiting OMM.
N = 117 Strongly
Disagree Disagree
Neither
Agree Nor
Disagree
Agree Strongly
Agree
Percentage 2.6 5.1 15.4 61.5 15.4
Number 3 6 18 72 18
Table 4delineates the responses and corresponding values elicited from the partici-
pants in the study, focusing on the nuanced effects of wooden material utilization pertaining
to the interior-exterior nexus and the experiential and perceptual dimensions of movable
and structural furniture within the interior milieu. The scale used to evaluate the impact
of wooden material usage on the interior-exterior relationship ranged from 1 (Strongly
Disagree) to 5 (Strongly Agree). Participants rated descriptors such as “material continuity”,
“interior-exterior harmony”, “identity”, “natural”, and “unique”, all of which collectively
underscore the substantive import of wooden material employment within the architectural
framework. Notably, expressions such as “natural” garnered predominantly affirmative
ratings, with participants overwhelmingly indicating robust agreement (5) regarding its
pivotal role in augmenting the interior-exterior synergy.
Concurrently, the ramifications of wooden material usage on the experiential and
perceptual dimensions of interior spaces, specifically within the purview of movable
and structural furniture, were examined using a scale ranging from 1 to 5. Participants
rated terms such as “material continuity”, “interior-exterior harmony”, “identity”, “warm
atmosphere”, “welcoming”, and “natural”, which underscore the intrinsic significance of
wooden material applications in imparting these transformative effects to the occupant.
Of particular note is the consistent attribution of affirmative evaluations, particularly for
the term “warm atmosphere”, with participants predominantly concurring and rating it
as “Agree (4)” in the context of assessing wooden material utilization within the realm of
movable and structural furniture. However, participants expressed that the use of wooden
materials in both indoor and outdoor spaces, as well as in furniture, was perceived as
non-monotonous.
Buildings 2024,14, 649 10 of 15
Table 4. Results for the dependent variables show the experiential and perceptual dimensions of
interior/exterior and furniture.
Dependent
Variables
Wood Application Variables
ANOVA Results
Interior-Exterior Space Furniture-Material
M SD M SD F Sig.
Material
Continuity 4.15 a0.90 4.05 0.97 0.233 0.631
Interior-
Exterior
Harmony
4.08 0.90 4.18 0.97 0.234 0.630
Identity 4.26 0.99 4.13 1.06 0.305 0.582
Warm
Atmosphere 3.97 1.04 4.10 0.88 0.345 0.559
Welcoming 3.97 0.99 4.00 0.92 0.014 0.906
Flexible 3.77 0.99 3.85 0.96 0.122 0.728
Monotone 2.44 1.31 2.77 1.33 1.243 0.268
Natural 4.15 1.01 4.03 0.96 0.329 0.568
Simple 3.77 1.06 3.69 1.03 0.105 0.746
Unique 4.08 1.04 3.82 1.02 1.210 0.275
Notes: M: Mean value; SD: Standard deviation; Sig.: significance (p< 0.05 denotes significance).
a
Variable means
ranged from 1 to 5, with higher numbers representing more positive responses.
Participants were asked, “For what reason or reasons would you visit OMM?” The
answers to the question are shown in Figure 8. The main reason for visiting was “cultural”,
with 93% of respondents endorsing this response. The architectural and interior value of
the building were also among the reasons for visiting the OMM, as reported by 75% and
72% of the participants, respectively. In contrast, the lowest percentage was found for the
criterion of “being different” in the structure.
Figure 8. Reasons for visiting OMM.
Buildings 2024,14, 649 11 of 15
The answers to the question “Describe the effect of the building and its environment on
you” are shown in Figure 9. “The value the building adds to the city” was found important
by 72% of the participants. Most participants had the same opinion regarding the harmony
of the building with its environment. In this context, the option “Incompatibility with its
environment”, which is among the effects, had the lowest rate of endorsement among the
options, with 6% of the participants concurring. “Being a city symbol”, “Identity value”,
and “Material” were endorsed by 60% of the participants.
Buildings 2024, 14, x FOR PEER REVIEW 12 of 16
harmony of the building with its environment. In this context, the option “Incompatibility
with its environment, which is among the eects, had the lowest rate of endorsement
among the options, with 6% of the participants concurring. Being a city symbol”, Iden-
tity value”, and “Material” were endorsed by 60% of the participants.
Figure 9. Evaluations of the building and its environmental impact.
The last question asked of the participants was, “Is there any topic(s) you would like
to add, other than those mentioned above, regarding the structural, environmental and
spatial properties of wood material on the structure”. With an open-ended question, the
following commands are given in Table 5. Out of the 117 participants in the survey, 30 did
not provide any comments on this question. According to the results, 23 individuals ex-
pressed opinions similar to those specied in C1. 17 people similarly agreed with the com-
ment in C2. The number of participants who used comments similar to C3 in their re-
sponses is 15. 12 participants supported the comment in C4. While 10 participants ex-
pressed comments similar to those in C5 and its equivalents, 9 participants shared parallel
thoughts regarding the comment in C6. Only one participant provided feedback on the
comment in C7.
Table 5. The Commands Provided by the Open-Ended Questions.
The Commands Provided by the Open-Ended Questions
C1 The building has a semantic value as well as its structural, environmental
,
and spatial features
C2 The material and structure are highly integrated
,
and it is stated that the wooden material used in the
exterior, interior, and furniture are complementary and provides a holistic experience
C3 The building establishes a harmonious relationship with its environment and the wooden material, an
innovative interpretation.
C4 The harmony of the interior-exterior relationship with the experience provided on the façade with the
amphitheater area is also provided in the interior with the wooden cage constructed in the core.
C5 Displaying the joining details of the wooden pillars gives the building a sculptural appearance.
C6 Wooden material used in the building creates a cultural bond with its environment.
C7 One of the participants drew attention to the fire risk of the building.
C: Command.
Figure 9. Evaluations of the building and its environmental impact.
The last question asked of the participants was, “Is there any topic(s) you would like to
add, other than those mentioned above, regarding the structural, environmental and spatial
properties of wood material on the structure”. With an open-ended question, the following
commands are given in Table 5. Out of the 117 participants in the survey, 30 did not
provide any comments on this question. According to the results, 23 individuals expressed
opinions similar to those specified in C1. 17 people similarly agreed with the comment in
C2. The number of participants who used comments similar to C3 in their responses is 15.
12 participants
supported the comment in C4. While 10 participants expressed comments
similar to those in C5 and its equivalents, 9 participants shared parallel thoughts regarding
the comment in C6. Only one participant provided feedback on the comment in C7.
Responses highlight key design considerations observed in the structure. First, em-
phasis is placed on investigating the semantic, structural, environmental, and spatial
dimensions of the building. Participants state that the integration of wooden materials with
the exterior, interior, and furniture involves important and complementary relationships to
obtain a holistic experience. Innovative interpretations of wood contribute to establishing a
harmonious connection between the building and its surroundings. The design also focuses
on creating harmony between the interior and exterior by incorporating features such as
the facade, amphitheater, and wooden lattice in the core. Attention to detail, especially in
combining the wooden columns, enhances the sculptural appearance of the building. In
addition, the use of wooden materials goes beyond aesthetics and creates a cultural bond
with the environment. One of the participants expressed concerns about the fire risk of the
structure in their comments. In fact, since a significant portion of the structure is made of
wood, the combustible nature of this material underscores a noteworthy concern, particu-
larly in the context of fire safety for buildings. Therefore, the architectural plan mandates
the incorporation of fire-resistant materials, along with the installation of sprinkler systems
and other relevant fire protection measures. This is imperative to address the considerable
Buildings 2024,14, 649 12 of 15
apprehension regarding fire safety, as highlighted by the nature of the construction ma-
terial [
25
]. In this context, specific measures have been taken in the examined structure
to mitigate the risk of fire. Finally, considering the concerns expressed by participants,
designers took precautions to minimize the risk of fire. Overall, the comments made by
participants provide a comprehensive guide to an efficient and thoughtful design approach.
Table 5. The Commands Provided by the Open-Ended Questions.
The Commands Provided by the Open-Ended Questions
C1 The building has a semantic value as well as its structural, environmental, and spatial
features
C2
The material and structure are highly integrated, and it is stated that the wooden material
used in the exterior, interior, and furniture are complementary and provides a holistic
experience
C3
The building establishes a harmonious relationship with its environment and the wooden
material, an innovative interpretation.
C4
The harmony of the interior-exterior relationship with the experience provided on the
façade with the amphitheater area is also provided in the interior with the wooden cage
constructed in the core.
C5 Displaying the joining details of the wooden pillars gives the building a sculptural
appearance.
C6 Wooden material used in the building creates a cultural bond with its environment.
C7 One of the participants drew attention to the fire risk of the building.
C: Command.
5. Discussion
As ecological apprehensions intensify and the global populace undergoes rapid ur-
banization, a growing proportion of individuals are opting to dwell in urban locales. In
tandem with this trend, there is a burgeoning interest and momentum surrounding mass
timber solutions [
26
]. Given the evaluations, an analysis was performed on how the usage
of wood material affects the structural, spatial, and interior atmospheric conditions, in what
manner OMM is affected by the environmental conditions within which it exists, and how
it contributes to its context. Four main elements stood out in the design of the OMM: form
organization, incorporation of natural light into the structure, and material selection. The
architectural language of the structure emphasizes the interpretation and utilization of local
architectural elements, materials, and construction techniques. The design is site-specific,
considering harmony with the terrain, environmental context, human scale, and tactility
from an international perspective.
A notable 87.2% of survey participants revealed that they do not reside in Eski¸sehir.
This demographic characteristic lends significance to the role of OMM as a cultural institu-
tion in fostering an understanding of the building’s importance for the city among non-local
visitors. Moreover, a substantial portion of respondents, comprising 61.5% expressing it as
“Important” and 15.4% as “Very Important”, underscored the significance of incorporating
a visit to OMM into their itineraries when journeying to Eski¸sehir. This attests to the
perceived value and relevance of OMM as a destination of cultural interest for travelers
exploring the city.
In the second segment, the utilization of wood in OMM’s structural, interior, and
exterior spaces was assessed employing the ‘Likert technique’. The evaluation encom-
passed key aspects such as material continuity, interior-exterior harmony, identity, a warm
atmosphere, a welcoming ambiance, flexibility, monotony, natural aesthetics, simplicity,
and uniqueness. The recorded values exhibited a noteworthy convergence, ranging closely
between 3.7 and 4.2 for criteria other than monotony. However, the monotony criterion
received ratings of 2.44 and 2.77. Consequently, it is deducible that visitors deem the incor-
Buildings 2024,14, 649 13 of 15
poration of wood significant across all assessed criteria within this architectural framework,
with the exception of the monotony aspect, where opinions are somewhat more divided.
In the comparison tables, diverse reasons for visiting OMM, such as cultural explo-
ration, educational enrichment, entertainment, the uniqueness of its materials, and the
thematic quality of its interior and exterior spaces, were subject to evaluation through the
assignment of ratings to multiple criteria. Similarly, assessments regarding the building
and its environmental impact, including symbolic value, identity, distinctiveness, surprise
factor, perceived value for the city, harmony, amazement, and innovation, were appraised
across various dimensions.
Notably, the rationale behind visiting OMM that received the lowest ratings was
identified as ‘entertainment’ in the first table, coupled with the perception of ‘inharmonious
surroundings’. In the second table, the aspects with the least impact on OMM were
determined to be ‘surprising’ and ‘inharmonious’. Despite these lower ratings in specific
categories, the majority of respondents regarded all other criteria mentioned in both tables
as significant. This underscores a prevailing acknowledgment of OMM’s importance across
diverse factors, with only isolated considerations receiving comparatively lower ratings.
In hypothesis 1, it is given that the exterior perception has been rated at 4.15 and
the interior perception at 4.05 by visitors, the very slight difference between these values
suggests that, from a statistical standpoint, the variation is not deemed significant in terms
of people’s perception. The marginal discrepancy in ratings indicates a close alignment in
how visitors perceive both the exterior and interior aspects of the facility, with no substantial
difference in their assessments. This lack of significant variance underscores a consistency
in the positive perception of both the exterior and interior components of the space by the
surveyed individuals.
Hypothesis 2 was supported. Visitors rated OMM material with an average score of
51, and the theme of the exhibition as 34. Thus, the structural materials were of interest.
According to visitor ratings, OMM’s material received a score of 51, while the theme of the
exhibition garnered a rating of 34. This discrepancy in scores suggests that visitors find the
structural material of OMM more captivating or interesting compared to the theme of the
exhibition. The higher rating for the material aspect may indicate a particular appreciation
for the architectural or construction elements of OMM, emphasizing the significance of the
physical and tangible aspects of the museum’s structure in the eyes of the visitors.
Hypothesis 3 was rejected. Visitors rated the OMM’s continuous wood material
as having the lowest value among all the criteria. On the contrary, the opinions of the
visitors reveal a distinct perspective, with 54 participants expressing their admiration by
rating OMM as “amazing” and an even larger number, 59 individuals, acknowledging the
museums’ innovation. This signifies a substantial portion of the audience finding OMM to
be not only impressive but also recognizing its innovative characteristics. Such positive
assessments underscore the museums’ ability to captivate and engage visitors through
their remarkable and forward-thinking attributes.
6. Conclusions
The predominant response to the question of whether the structure has a unique rela-
tionship with the environment indicates that the building is perceived as having an original
and interesting style. However, the participants seemed hesitant about its compatibility
with the surroundings. This hesitation was attributed to the building’s perceived large
scale and height. Additionally, feedback suggested that the visually striking modern and
new expressions of the structure do not align well with the city’s identity. The reasons for
this mismatch were identified in the responses to the open-ended questions, indicating a
limited degree of suitability in terms of formal and scale-related compatibility with the
surrounding structures.
In the open-ended part of the questionnaire, many valuable commands have been added,
such as OMM’s emphasis on semantic value in addition to its structural, environmental,
and spatial features and wooden material, which is complementary and provides a holistic
Buildings 2024,14, 649 14 of 15
experience. The structure adeptly establishes a harmonious relationship with its environment,
a concept further echoed in the analogous use of the facade design in both the amphitheater
and the internal wooden cage. The meticulous detailing of the wooden pillars, interpreted
as a sculptural manifestation, not only enhances the aesthetic appeal but also serves as
an illuminating addition, aligning seamlessly with OMM’s objectives centered around the
integration and thoughtful utilization of wood as a prominent material in the architectural
narrative. This nuanced approach not only contributes to the overall visual cohesiveness
of the design but also underscores the deliberate and meaningful incorporation of wood in
realizing the artistic and functional aspirations of the OMM project.
The detailed research conducted on the wooden material within the Odunpazarı
Modern Museum has unveiled its multifaceted dimensions. Both the interior and exterior
spaces of the museum, along with its cultural integration into the surrounding environment,
showcase an intricate and integral relationship between structural elements, furniture, and
the utilization of wooden materials. In essence, the museum functions as an open labo-
ratory for scholarly investigation, encompassing a myriad of layered and comprehensive
components. In this manner, the application methods of the material in a single structure
can be examined, allowing for an exploration of the user experience, technical details, and
atmospheric properties of wood in both indoor and outdoor spaces simultaneously.
The material, wood, emerges as more than a mere building block; it serves as a conduit
for exploring and understanding cultural, environmental, psychological, sociological, tech-
nical, detailed, colorful, textured, user-centered, meaningful, perceptual, design-oriented,
and identity-driven aspects. It becomes a lens through which one can examine principles
of design, sustainability, and a host of other considerations.
In the contemporary landscape, diverse design approaches, technologies, and the
incorporation of smart and up-cycled materials are continually evolving. However, the
essence lies in comprehending and harnessing the full spectrum of each material, technique,
or application. The study exemplifies this imperative by vividly demonstrating how
wood, in its myriad dimensions, serves as a rich source for exploration and understanding
across a broad spectrum of disciplines and considerations. Future studies could prioritize
investigating the structural aspects of wood in both exterior and interior applications, as
well as its utilization in furnishing. The research would delve into the mechanical and
physical properties.
Author Contributions: Conceptualization, M.Y. and E.F.D.; methodology, M.Y. and E.F.D.; software,
M.Y. and E.F.D.; validation, M.Y. and E.F.D.; formal analysis, M.Y. and E.F.D.; investigation, M.Y. and
E.F.D.; resources, E.F.D.; data curation, M.Y.; writing—original draft preparation, M.Y. and E.F.D.;
writing—review and editing, M.Y. and E.F.D.; visualization, M.Y. and E.F.D.; supervision, E.F.D.; project
administration, M.Y. All authors have read and agreed to the published version of the manuscript.
Funding: This research received no external funding.
Data Availability Statement: The authors confirm that the data supporting the findings of this study
are available within the article.
Conflicts of Interest: The authors declare no conflicts of interest.
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