Günümüzde teknolojik kültür, üretim araçları, bilgisayarda modelleme programları ve iletişim alan... more Günümüzde teknolojik kültür, üretim araçları, bilgisayarda modelleme programları ve iletişim alanında yaşanan gelişmelerle birlikte mimaride görmenin hegemonyası giderek güçlenmektedir. Modern hayatın karmaşıklığı ve hızı, bir anda etkili olan uyarıları gerektirmekte, tasarım, ağırlıklı olarak görme duyusu üzerinden değerlendirilen, gösterme ve gösterilme düzeylerine göre ölçülen bir bakış açısına indirgenmektedir. Oysa mimarlık, insanın zihinsel, algısal, bedensel olarak ilişki kurduğu, yaşamını biçimlendiren, çok duyulu deneyimler yoluyla algılanabilen ve anlatılabilen bir kavramdır. Mimari mekan tasarımında bütünleşik deneyim kavramı fenomenolojik felsefe ile birlikte özne-mekân ilişkisinin mimarlar ve düşünürler tarafından irdelenmesiyle öne çıkmış; göz dışındaki duyuların rolü üzerinde düşünülmeye başlamıştır. İnsan deneyimini temel alan fenomenolojik yaklaşım, mekanları bedensel hareketin ve duyumsamanın ön plana çıktığı bir anlayışla değerlendirmeye çalışır. Bu bakış açısıyla bazı mimarların doku, detay ve doğal ışık gibi öğelerin ve özellikle yapıya kimliğini veren ana unsurlardan biri olan malzemenin kullanımına yönelik özgün yaklaşımlar geliştirdiği gözlemlenmiştir. Malzemenin bağlamla ilişki kurma biçimiyle Steven Holl, malzemenin doğayla etkileşimiyle Tadao Ando, eski değerlerin malzemeler yoluyla canlandırımlasıyla Peter Zumthor, malzeme-form ilişkisini deneysel boyutta ele almasıyla Kengo Kuma, tasarımcı kimlikleri malzemeyi kullanma biçimleri ile özdeşleşmiş çağdaş mimarlara örnek olarak seçilmiş ve yapıtları üzerinden incelenmiştir. Fenomenolojik yaklaşımın mimaride tasarımcı kimliği ve malzeme üzerinden bir okumasını yapmayı amaçlayan bu çalışmada konuya altyapı oluşturan kaynaklar literatür taraması yöntemi ile irdelenmiş, toplanan tasarım örnekleri analiz edilmiş ve yorumlanmıştır.
This study considers installation as an experiential learning method that supports design educati... more This study considers installation as an experiential learning method that supports design education. Providing active interactions with the environment, enabling a connection between theory, practice and requiring a pre-design phase, installation correlates with design practice. Moreover, it not only provides the opportunity for students to freely express themselves but also contributes to the point of acquiring space with new dimensions. In current literature, installation is considered a branch of art; yet, there are no academic studies regarding its effects on educational outputs. Regarding this aspect, after a literature research about the topic, the study consisted of an installation workshop organized with interior design students, which was followed by the results of a related questionnaire. In this regard, the use of installation art in design education has been evaluated; leading subjects in the steps of idea production, reflection, practice and its potential contributions to students have been put under debate.
Today, in design education, designers can focus on image production rather than the experience of... more Today, in design education, designers can focus on image production rather than the experience of the space and the tactile qualities of the materials used. The study which was held with reference to this situation, aims to develop holistic perception skills; to discuss the interactive roles of the senses in perception and representation; to raise awareness about the concepts of place, volume, space; and to use this awareness in design. Within the scope of the workshop conducted with the undergraduate students of Mimar Sinan Fine Arts University, Department of Interior Architecture, the participants were asked to do sensory reading exercises in the places they chose and then to represent their sensations and to use this data in the design of a city furniture. After the design process a survey was conducted to get feedback from the students. The results confirm that vision is the primary sense in perception; the fact that students focus on different senses in the space did not change this situation. In the stage of representation, the form and movement elements in the spaces were the most effective. The significant relationship between reflection and design phases showed that representation studies have positive effects on design processes and that such practices can be included more frequently in education programs.
While the increasing product diversity, developing presentation, production and communication opp... more While the increasing product diversity, developing presentation, production and communication opportunities bring forward individualism in design, forming a unique and consistent view needs thinking about individual identity and clarifying designer definitions. In contrast to its contemporary importance, the subject of identity is not given a sufficient place in design education programs and literature. Realized with the undergraduate students of interior architecture, this study required identity definitions that reflected them through verbal and visual representations and asked them to design furniture based on these. At the end of the study, a questionnaire related to representation methods and design processes was held, followed by the analyses of effects of related usage of different modalities and presentation of the outcomes. The results show that students usually prefer visual techniques while reflecting themselves. In addition, verbal representations which significantly contribute to design processes can widely be used under guidance. Besides, studying with different representation systems help students think conceptually and ask new questions. Aimed at researchers studying on education and students, the goal of this study is to discover the positive role of coordinated use of different modalities on thought-development processes and present a developmentable method in reflecting designer identity.
IV. Uluslararası Sosyal Bilimlerde Yeni Yönelimler Sempozyumu, 2018
Metafor bir kavramı başka bir kavrama taşıma yoluyla anlamlandırmaya yarayan ve tasarımda sıklıkl... more Metafor bir kavramı başka bir kavrama taşıma yoluyla anlamlandırmaya yarayan ve tasarımda sıklıkla kullanılan bir transfer tekniğidir. Metaforların tasarımda kullanımı ile ilgili yazılı kaynaklarda pek çok veriye ulaşılabilirken, eğitimle ilgili yayınlarda konu ile ilgili yapılan çalışmalar sınırlıdır. Bu makalede, öğrencilerin tasarım çizgilerini oluştururken metafor kullanmalarının çalışma sürecine etkileri araştırılmıştır. İç mimarlık bölümü mobilya tasarımı dersinde, üçüncü sınıfta okuyan kırk bir lisans öğrencisiyle yapılan araştırmada, öncelikle metafor konusu teorik olarak anlatılmış, sonra öğrencilerden kendilerini bir metafor kullanarak tanımlamaları ve mobilya tasarımlarına yansıtmaları istenmiştir. Öğrenciler son aşamada tasarladıkları ürünleri ve geçirdikleri tasarım sürecini değerlendirmişlerdir. Ortaya çıkan sonuçlar tasarım sürecinde metaforların özellikle kendine yönelik sorular sorabilmeye, esnek düşünebilmeye ve probleme farklı açılardan bakabilmeye yönelik katkı sağladığını göstermektedir.
Öz Bu makalede enstalasyon sanatının ticari mekanlarda kullanımı ele alınmış ve güncel örnekler ü... more Öz Bu makalede enstalasyon sanatının ticari mekanlarda kullanımı ele alınmış ve güncel örnekler üzerinden bir inceleme yapılmıştır. Günümüzde firmalar arası rekabet artmakta, değişen satın alma biçimleri, teknolojik gelişmeler, ürün ve sunum çeşitliliği markaların piyasada talep görmeye yönelik yeni yaklaşımlar aramasına neden olmaktadır. Bu yarışta öne çıkabilmek adına kimi markalar mekanlarını hatırlanabilir kılan sanatsal düzenlemelere yer vermektedir. Çalışmanın amacı, markaların enstalasyon sanatı ile kurduğu ilişkileri deneyim ekonomisi ekseninde incelemek, hedef, kurgu ve yöntemlere ilişkin sonuçlara ulaşmaktır. Araştırma sürecinde önce konu ile ilgili literatür taraması yapılmış; ticari mekan görselleri incelenmiş, tasarımcı görüşlerine yer verilmiş ve bir sınıflandırmaya varılmıştır. Örnekler incelendiğinde enstalasyonların hatırlanabilir müşteri deneyimleri yaratmaya, estetik, sembolik ve işlevsel boyutta değişen ihtiyaçlara cevap vermeye, müşterinin mekanla/ürünle etkileşimini arttırmaya ve kurum kimliğine ilişkin mesajlar vermeye yönelik amaçlar taşıdığı görülmektedir. Abstract In this article, use of installation art within commercial spaces has been assessed and a review has been carried out through recent examples. As competition between companies is getting tougher, brands are seeking demand through changing procurement methods, technological improvements and diversity in presentation. Some lead by allowing their places for artistic arrangements. The goal of the research is to study the relations between brands and installation art in the axis of experiment economy and deliver the results in terms of target, construction and method. During the research, a literature scan had been done first, then images were reviewed, opinions of designers were shared and a classification has been reached. When examples are analysed, it can bee seen that such installations convey the intention to create memorable customer experiences and satisfy the need of aesthetic, symbolic and functionally fluctuating demands.
3rd International Conference on New Trends in Architecture and Interior Design, 2017
In this study, it is aimed to examine the furniture in the communication axis and to classify the... more In this study, it is aimed to examine the furniture in the communication axis and to classify the marks that the furniture carries. The resources which will form infrastructure for the subject have been examined; collected design examples have been analyzed and interpreted comparatively, and as a result of this, new definitions related to the furniture have been achieved. The research starts with the definition of the concepts of design, symbol and metaphor in communication axis and then propounded headings have been explained over examples. The classification of the indicators and symbols on the furniture by analyzing them can form resources for the designer trends and present a new series of concepts for the design readings and make contributions to the evaluation and design processes.
2nd World Conference on Technology, Innovation and Entrepreneurship, 2017
Furniture, the indicator of the identity, belief and prestige, being always in interaction with p... more Furniture, the indicator of the identity, belief and prestige, being always in interaction with person's life, is in addition to its function, a meaning carrier and communication object. Furniture, which were previously manufactured due to practical, aesthetic and status based needs, but started to be used deliberately in order to transmit messages by the beginning of the last century; has reached a broad meaning content and diversity by the influence of the technological developments at present, too. Contemporary artists and designers d eem this form as a tool which transmits thoughts, philosophy, ideologies, statements, ideas, feelings and can at the same time be used as an application area where experimental manufactures, composite materials, scientific researches, contemporary design and production methods can be tried out. 1.FURNITURE DESIGN THROUGH HISTORY Furniture design and production has significantly diverged its direction by the social developments broke out at the beginning of the 20 th century; and the handicraft based productions were replaced by designs, shaped by rationalist-functionalist principles and serially produced, in parallel with the materials and new production technologies introduced by the industrialization process. The modernism period are the years, where designers and architects had started to reflect their thoughts, philosophies, feelings, ideologies via the furniture form. And in the 1980s, when the principles of modernism reversed, ornamentalism revived; and independent designers started to produce one-off and limited quantity furniture. The influence of the post-modernist philosophy, felt in every field of life, has supported symbolism and the use of metaphors, and outlined the communication feature in design. Designers, working in this field, were able to express themselves more freely by their designs, where wide forms and materials were used since they are not subject to serial production limitations.
2nd World Conference on Technology, Innovation and Entrepreneurship, 2017
Nowadays, competition among firms is increasingly intensified and brands are looking for new appr... more Nowadays, competition among firms is increasingly intensified and brands are looking for new approaches to get attention in t he market. Most brands, in order to come forward in this race, organize their spaces in a recollective way in specific themes, and some adopt the concept of personalisation in design. While shop windows are becoming new focus points for communication, the virtual reality environments and augmented reality applications that are shaped by modern technologies lead to the emergence of new types of experience. Experience phenomenon which is deemed to be one of the ways to create value in today's economy is to be examined within this article through examples from commercial spaces.
Günümüzde teknolojik kültür, üretim araçları, bilgisayarda modelleme programları ve iletişim alan... more Günümüzde teknolojik kültür, üretim araçları, bilgisayarda modelleme programları ve iletişim alanında yaşanan gelişmelerle birlikte mimaride görmenin hegemonyası giderek güçlenmektedir. Modern hayatın karmaşıklığı ve hızı, bir anda etkili olan uyarıları gerektirmekte, tasarım, ağırlıklı olarak görme duyusu üzerinden değerlendirilen, gösterme ve gösterilme düzeylerine göre ölçülen bir bakış açısına indirgenmektedir. Oysa mimarlık, insanın zihinsel, algısal, bedensel olarak ilişki kurduğu, yaşamını biçimlendiren, çok duyulu deneyimler yoluyla algılanabilen ve anlatılabilen bir kavramdır. Mimari mekan tasarımında bütünleşik deneyim kavramı fenomenolojik felsefe ile birlikte özne-mekân ilişkisinin mimarlar ve düşünürler tarafından irdelenmesiyle öne çıkmış; göz dışındaki duyuların rolü üzerinde düşünülmeye başlamıştır. İnsan deneyimini temel alan fenomenolojik yaklaşım, mekanları bedensel hareketin ve duyumsamanın ön plana çıktığı bir anlayışla değerlendirmeye çalışır. Bu bakış açısıyla bazı mimarların doku, detay ve doğal ışık gibi öğelerin ve özellikle yapıya kimliğini veren ana unsurlardan biri olan malzemenin kullanımına yönelik özgün yaklaşımlar geliştirdiği gözlemlenmiştir. Malzemenin bağlamla ilişki kurma biçimiyle Steven Holl, malzemenin doğayla etkileşimiyle Tadao Ando, eski değerlerin malzemeler yoluyla canlandırımlasıyla Peter Zumthor, malzeme-form ilişkisini deneysel boyutta ele almasıyla Kengo Kuma, tasarımcı kimlikleri malzemeyi kullanma biçimleri ile özdeşleşmiş çağdaş mimarlara örnek olarak seçilmiş ve yapıtları üzerinden incelenmiştir. Fenomenolojik yaklaşımın mimaride tasarımcı kimliği ve malzeme üzerinden bir okumasını yapmayı amaçlayan bu çalışmada konuya altyapı oluşturan kaynaklar literatür taraması yöntemi ile irdelenmiş, toplanan tasarım örnekleri analiz edilmiş ve yorumlanmıştır.
This study considers installation as an experiential learning method that supports design educati... more This study considers installation as an experiential learning method that supports design education. Providing active interactions with the environment, enabling a connection between theory, practice and requiring a pre-design phase, installation correlates with design practice. Moreover, it not only provides the opportunity for students to freely express themselves but also contributes to the point of acquiring space with new dimensions. In current literature, installation is considered a branch of art; yet, there are no academic studies regarding its effects on educational outputs. Regarding this aspect, after a literature research about the topic, the study consisted of an installation workshop organized with interior design students, which was followed by the results of a related questionnaire. In this regard, the use of installation art in design education has been evaluated; leading subjects in the steps of idea production, reflection, practice and its potential contributions to students have been put under debate.
Today, in design education, designers can focus on image production rather than the experience of... more Today, in design education, designers can focus on image production rather than the experience of the space and the tactile qualities of the materials used. The study which was held with reference to this situation, aims to develop holistic perception skills; to discuss the interactive roles of the senses in perception and representation; to raise awareness about the concepts of place, volume, space; and to use this awareness in design. Within the scope of the workshop conducted with the undergraduate students of Mimar Sinan Fine Arts University, Department of Interior Architecture, the participants were asked to do sensory reading exercises in the places they chose and then to represent their sensations and to use this data in the design of a city furniture. After the design process a survey was conducted to get feedback from the students. The results confirm that vision is the primary sense in perception; the fact that students focus on different senses in the space did not change this situation. In the stage of representation, the form and movement elements in the spaces were the most effective. The significant relationship between reflection and design phases showed that representation studies have positive effects on design processes and that such practices can be included more frequently in education programs.
While the increasing product diversity, developing presentation, production and communication opp... more While the increasing product diversity, developing presentation, production and communication opportunities bring forward individualism in design, forming a unique and consistent view needs thinking about individual identity and clarifying designer definitions. In contrast to its contemporary importance, the subject of identity is not given a sufficient place in design education programs and literature. Realized with the undergraduate students of interior architecture, this study required identity definitions that reflected them through verbal and visual representations and asked them to design furniture based on these. At the end of the study, a questionnaire related to representation methods and design processes was held, followed by the analyses of effects of related usage of different modalities and presentation of the outcomes. The results show that students usually prefer visual techniques while reflecting themselves. In addition, verbal representations which significantly contribute to design processes can widely be used under guidance. Besides, studying with different representation systems help students think conceptually and ask new questions. Aimed at researchers studying on education and students, the goal of this study is to discover the positive role of coordinated use of different modalities on thought-development processes and present a developmentable method in reflecting designer identity.
IV. Uluslararası Sosyal Bilimlerde Yeni Yönelimler Sempozyumu, 2018
Metafor bir kavramı başka bir kavrama taşıma yoluyla anlamlandırmaya yarayan ve tasarımda sıklıkl... more Metafor bir kavramı başka bir kavrama taşıma yoluyla anlamlandırmaya yarayan ve tasarımda sıklıkla kullanılan bir transfer tekniğidir. Metaforların tasarımda kullanımı ile ilgili yazılı kaynaklarda pek çok veriye ulaşılabilirken, eğitimle ilgili yayınlarda konu ile ilgili yapılan çalışmalar sınırlıdır. Bu makalede, öğrencilerin tasarım çizgilerini oluştururken metafor kullanmalarının çalışma sürecine etkileri araştırılmıştır. İç mimarlık bölümü mobilya tasarımı dersinde, üçüncü sınıfta okuyan kırk bir lisans öğrencisiyle yapılan araştırmada, öncelikle metafor konusu teorik olarak anlatılmış, sonra öğrencilerden kendilerini bir metafor kullanarak tanımlamaları ve mobilya tasarımlarına yansıtmaları istenmiştir. Öğrenciler son aşamada tasarladıkları ürünleri ve geçirdikleri tasarım sürecini değerlendirmişlerdir. Ortaya çıkan sonuçlar tasarım sürecinde metaforların özellikle kendine yönelik sorular sorabilmeye, esnek düşünebilmeye ve probleme farklı açılardan bakabilmeye yönelik katkı sağladığını göstermektedir.
Öz Bu makalede enstalasyon sanatının ticari mekanlarda kullanımı ele alınmış ve güncel örnekler ü... more Öz Bu makalede enstalasyon sanatının ticari mekanlarda kullanımı ele alınmış ve güncel örnekler üzerinden bir inceleme yapılmıştır. Günümüzde firmalar arası rekabet artmakta, değişen satın alma biçimleri, teknolojik gelişmeler, ürün ve sunum çeşitliliği markaların piyasada talep görmeye yönelik yeni yaklaşımlar aramasına neden olmaktadır. Bu yarışta öne çıkabilmek adına kimi markalar mekanlarını hatırlanabilir kılan sanatsal düzenlemelere yer vermektedir. Çalışmanın amacı, markaların enstalasyon sanatı ile kurduğu ilişkileri deneyim ekonomisi ekseninde incelemek, hedef, kurgu ve yöntemlere ilişkin sonuçlara ulaşmaktır. Araştırma sürecinde önce konu ile ilgili literatür taraması yapılmış; ticari mekan görselleri incelenmiş, tasarımcı görüşlerine yer verilmiş ve bir sınıflandırmaya varılmıştır. Örnekler incelendiğinde enstalasyonların hatırlanabilir müşteri deneyimleri yaratmaya, estetik, sembolik ve işlevsel boyutta değişen ihtiyaçlara cevap vermeye, müşterinin mekanla/ürünle etkileşimini arttırmaya ve kurum kimliğine ilişkin mesajlar vermeye yönelik amaçlar taşıdığı görülmektedir. Abstract In this article, use of installation art within commercial spaces has been assessed and a review has been carried out through recent examples. As competition between companies is getting tougher, brands are seeking demand through changing procurement methods, technological improvements and diversity in presentation. Some lead by allowing their places for artistic arrangements. The goal of the research is to study the relations between brands and installation art in the axis of experiment economy and deliver the results in terms of target, construction and method. During the research, a literature scan had been done first, then images were reviewed, opinions of designers were shared and a classification has been reached. When examples are analysed, it can bee seen that such installations convey the intention to create memorable customer experiences and satisfy the need of aesthetic, symbolic and functionally fluctuating demands.
3rd International Conference on New Trends in Architecture and Interior Design, 2017
In this study, it is aimed to examine the furniture in the communication axis and to classify the... more In this study, it is aimed to examine the furniture in the communication axis and to classify the marks that the furniture carries. The resources which will form infrastructure for the subject have been examined; collected design examples have been analyzed and interpreted comparatively, and as a result of this, new definitions related to the furniture have been achieved. The research starts with the definition of the concepts of design, symbol and metaphor in communication axis and then propounded headings have been explained over examples. The classification of the indicators and symbols on the furniture by analyzing them can form resources for the designer trends and present a new series of concepts for the design readings and make contributions to the evaluation and design processes.
2nd World Conference on Technology, Innovation and Entrepreneurship, 2017
Furniture, the indicator of the identity, belief and prestige, being always in interaction with p... more Furniture, the indicator of the identity, belief and prestige, being always in interaction with person's life, is in addition to its function, a meaning carrier and communication object. Furniture, which were previously manufactured due to practical, aesthetic and status based needs, but started to be used deliberately in order to transmit messages by the beginning of the last century; has reached a broad meaning content and diversity by the influence of the technological developments at present, too. Contemporary artists and designers d eem this form as a tool which transmits thoughts, philosophy, ideologies, statements, ideas, feelings and can at the same time be used as an application area where experimental manufactures, composite materials, scientific researches, contemporary design and production methods can be tried out. 1.FURNITURE DESIGN THROUGH HISTORY Furniture design and production has significantly diverged its direction by the social developments broke out at the beginning of the 20 th century; and the handicraft based productions were replaced by designs, shaped by rationalist-functionalist principles and serially produced, in parallel with the materials and new production technologies introduced by the industrialization process. The modernism period are the years, where designers and architects had started to reflect their thoughts, philosophies, feelings, ideologies via the furniture form. And in the 1980s, when the principles of modernism reversed, ornamentalism revived; and independent designers started to produce one-off and limited quantity furniture. The influence of the post-modernist philosophy, felt in every field of life, has supported symbolism and the use of metaphors, and outlined the communication feature in design. Designers, working in this field, were able to express themselves more freely by their designs, where wide forms and materials were used since they are not subject to serial production limitations.
2nd World Conference on Technology, Innovation and Entrepreneurship, 2017
Nowadays, competition among firms is increasingly intensified and brands are looking for new appr... more Nowadays, competition among firms is increasingly intensified and brands are looking for new approaches to get attention in t he market. Most brands, in order to come forward in this race, organize their spaces in a recollective way in specific themes, and some adopt the concept of personalisation in design. While shop windows are becoming new focus points for communication, the virtual reality environments and augmented reality applications that are shaped by modern technologies lead to the emergence of new types of experience. Experience phenomenon which is deemed to be one of the ways to create value in today's economy is to be examined within this article through examples from commercial spaces.
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