In 'The Poetics of Space,' Bachelard attempts to define images phenomenologically, focusing on the images of home, room, closet, drawer, shell, and nest, thereby elucidating the poetics of the home. He states that the image of the home reveals our intimate being and considers the home as a tool for deciphering the human psyche. Moreover, according to him, the home, including its attic, cellar, corridors, corners, secluded spots, and refuges, harbors the rooms of memory, recollection, the past, dreams, and desires. It becomes the corner of the earth for a person thrown into the world, establishing roots. Similarly, in Ahmet Hamdi Tanpınar's novel 'Mahur Beste,' Behçet Bey's room, attic, clocks, mirrors, antique items reflect his identity, past, and memory. In his room and attic, Behçet Bey constructs his own world, reconstructing the lost time by recalling the past. He tries to escape the space woven with realities by seeking refuge in dreams, falling into the void created by his dreams. Due to this relationship, the article will examine Ahmet Hamdi Tanpınar's novel 'Mahur Beste' within the framework of Bachelard's 'The Poetics of Space.' The article will primarily focus on Bachelard's work 'The Poetics of Space,' followed by an evaluation of Behçet Bey's room, attic, and clocks within the context of “The Poetics of Space.”