SOUNDSCAPERethinking Life Patterns and Voids as Soundscapes in Human ScaleProject Title: Rethinking Life Patterns and Voids as Soundscapes in Human ScaleProeject Place: Edirne, City centerProject Period: 2009 Fall Semester/ 4th year courseMain context: Edirne was a 2nd capital of the Ottoman Empire, related to this situation in the history, there are lost of structures and concrete city center, maintaining itself from the past to today. Most of the buildings under the pretection and they should be protected actually. Related to this inviolable situation around, I tried organize the city center with the sound of the city.Soundscapes and soundcollages are acapable of creating a strong sense of time, place and context. Listeners not only recognize the patterns but also knows how to interpret those patterns based on the wider knowledge of the world.Soundsignals could be worked on the basis of own acoustic characters which may represent a recognized code or pattern to their usesubjectively, by their individually perceived meaningshistorically, according to their evolution within given social contextcomperatively, by type and function in different cultures or periodssymbolically, according to their cannotative – associative meaningsListening in Context:In Islamic Cultures, the call to prayer sounds five times in a day. For native Muslims, it would be a sound signal to gather for prayer. For native but non-Muslims, the event will be the keynote and for non-native but non-Muslims, the event will be a soundmark. Ways we which perceive sonic environments are very much dependent on context in which we have grown up and live.Therefore I tried to define different environments. Such as: housing, civil, religious or public. I had kind a splitter works to define the structure for me in order to define its environment. It works such a way:facesSOUNDconstructusesneedsenseshumanWhen I asked about the faces and sounds relations I got the needed construction type, when I asked about the uses and sounds relations I got the needed activities in the that environment. Same happeneden in the senses and users typology. This gadget resulted in the soundenvironments, soundgardens and soundmemories.Here are some of the researchs and results:Housing environment: isolation, everytime - Commercial area: signals, daytime - Natural area: covering, everytime - Transitional area: intermittent, hurtling1/5000 Defining the permanent soundedges: According to this scale I defined the soundedges of Edirne in order to understand the characteristics of the area and their connections to each other in a day and night.1/2000 Defining the environment according to sound edges in the city with same material and plantations: This scale would show us the soundedges in the city center. That would help us to understand how they affect each other and what do this situation cause in city life for the users.1/500 Defining the tahmis square according to the sound edges within a context: a mosque, a bazaar and a caravansary: I worked in the Tahmis square for this level. Because of the area has lots of difference in the use and levels and types of sounds, the limits of the environment was quite definite. That helped me to define my limits clearly. Old mosque has definite relationship to the area with the call to the prayer, so I should define a pattern that would be used for the five time in a day for its specific users. The caravansary has a clear connection to whole area and a connection to the main axis of the city. That I could connect the detached areas.1/200 Connecting the two museum with the environment: This area was quite important for the Edirne. It just take place behind the Selimiye and has no clear use of the area that is why I choose this area. The two museum couldn’t connect and the area between became meaningless.As a result of this subtitles and scales I designed a glass, steel and plant structure in order to maintain humanscale visibility in the sounscape. I did not want to cut the general sound in the environment, I just wanted to organize it in the humanscale. That’s why I propose leveled glass civic structures, gabion walls and plant supporters contiuned through the design area.