Videos by Esra Bici Nasır
Designers have a great potential to slow environmental degradation in respect to the economists,... more Designers have a great potential to slow environmental degradation in respect to the economists, politicians, businesses and even environmentalists. The power of designers is catalytic. Once a new, more environmentally benign design penetrates markets its beneficial effects multiply. Businesses spend less on raw materials and production and so realize better profits, users enjoy more efficient, better-value products, government reduce spending on regulatory enforcement and the net gain is an improved environment and quality of life. Designers have many concerns and strategies through the basis of ecology and sustainable development. Many ecological strategies are being developed like using recyclable materials, renewable materials and use of waste materials (Fuad-Luke, 2007).
In this project, we concentrated on designing with existing recyclable materials. The materials were some existing items that were not used anymore in the garden of Municipality. We focused on the materials that 4 views
Conference Presentations by Esra Bici Nasır
1st International Conference on Educational Theory and Research – ICETR 2016 proceedings, 2016
According to the updated definition, "Industrial design is a strategic problem solving process ap... more According to the updated definition, "Industrial design is a strategic problem solving process applicable to products, systems, services and experiences which result in innovation, business success and better quality of life. It is a trans-disciplinary profession that links innovation, technology, business, research and customers in harnessing creativity and visualization to resolve problems and create solutions". In the context of industrial design, for both of the realms as education and professional practice, the required assets are supoosed to be linked with liberating the mind from the norms and conventions, such as 'out of box thinking', and 'creativity'. But the students starting their design education at ages 18-19, however have a preoccupied minds with norms, conventions and rules. The focus of this paper is to create a discussion platform for his dilemma between the formation of the higher education and the expected outputs of the undergraduate industrial design education. The authentic qualities and practices throughout the industrial design undergraduate education are revealed that requires the liberated mind and liberated self of the individual. These hot points of free mind performance are covered not only in the design activity in itself but also in the process forms of the design education, like the form of examination and form of the acquirement of the information and formation. For example, design assignments and projects are presented via jury presentations which is very different from the examinations through the higher education. As well as examination form, gathering knowledge requires a much more different state of mind from higher education. The individual is supposed to obtain his own data and develop his own data gathering techniques for starting his design project. However, the preoccupied mind of the student which is used to get the ready data or to memeorise the information often gets lost in such a autonomus atmosphere of education. The aim of this paper is mainly depicting and discussing the mismatching points between the norm-driven dispoisitions of higher eduacation formation and the autonomus realms of the industrial design undergraduate education
İstanbul Üniversitesi / Şehrin Dili Kongresi/ Congist'2019/ Bildiriler Kitabı , 2019
Alaturka/Alafranga, doğulu/batılı, geleneksel/modern, kentli/kırsal Türkiye'de beğeni sistemleri... more Alaturka/Alafranga, doğulu/batılı, geleneksel/modern, kentli/kırsal Türkiye'de beğeni sistemlerinin altyapısını oluşturan önemli ikiliklerdir. Türkiye'nin modernleşme sürecinde, Batı medeniyetini ve kültürünü içselleştirme ve batılı pratiklere uyum sağlama, toplumsal statü kodları bağlamında bir prestij göstergesi olmuştur. Batılı modern değerlerin egemen olduğu kültürel kürede, aynı zamanda, zıt alanda bulunan doğulu, kırsal ve geleneksel pratikler, alışkanlıklar ve bunları karakterize eden nesneler değersizleştirilmiştir. Bu değersizleştirme, gündelik dilde hızlı ve belki biraz karikatüristik çağrışımlar üretmiştir: Kezban bunlardan biridir. Bazen isim, bazen sıfat olarak kullanılan Kezban, hayali geleneksel bir köylü kızını temsil eder. Bazen bu terimin görgüsüz veya sonradan görme kişilerin durumunu anlatmak için kullanıldığı da görülür. Giysileriyle, takılarıyla, adetleriyle, tüketim örüntüleriyle, yaşamı anlayış ve kavrayış biçimiyle modern kentli bir kadının karşıt-beğenisini oluşturur. Bu çalışmada, 'Kezban' ifadesinin hangi nesneler için kullanıldığına bakılacaktır. Kentli orta sınıf bireylerin hangi dinamiklerle, hangi nesneleri tasvir etmek için 'Kezban' sözünü kullandıkları araştırılacaktır. Bunun için kentli orta sınıf bir örneklemin katılımcılarıyla ucu açık sorulardan oluşan yarı yapılandırılmış röportajlar yapılacaktır.
The Cost of Design: 2019 Annual Conference of the Design History Society , 2019
Turkish vernacular furniture had its characteristic qualities as being mobile and lightweight yie... more Turkish vernacular furniture had its characteristic qualities as being mobile and lightweight yielding a multifunctional domestic space practice in a sustainable manner. In the Westernization process in the late 19th century Ottoman society, consuming neo-classical Western furniture became a status symbol for upper classes yielding the abandonment of local furniture. After the establishment of Turkish Republic in 1923, modern furniture was consumed as a sign of modern identities. Whether the style was neo-classic or modern, these furniture was designed and produced on the basis of emulation of Western trends and counterparts. In the context of Turkish design profession and the furniture industry, the design potential of the vernacular furniture like floor tables, built-in closets and sedir has hardly been recognized and evaluated. In this study, the withdrawal of the vernacular furniture and of the relevant traditional use practices is considered as missing a rich source. The inquiry is about envisioning possible contemporary Turkish design if the vernacular system were taken as a prime source or if contemporary units had evolved from the vernacular. One of the important cases is Turkish Modern Concept Store based in both San Francisco and Istanbul. Custom daybeds and multifunctional benches are important products of this company which is inspired from vernacular by texture, form and function. Another case to be discussed is a global one to improve insights: Mah Jong Sofa produced by the French furniture company, Roche Bobois. Designer of Mah Jong Sofa, Kenzo Takada took inspiration from ancient kimonos used in the Noh Theatre, re-interpreting their patterns and colours to create fine and sophisticated harmonies. Taking cues from a prominent global case and a local example, the path of Turkish vernacular design to be renovated and modernized will be discussed thoroughly.
Constructed as a think piece, this paper aims to unfold the aesthetic construction of iPhones, or... more Constructed as a think piece, this paper aims to unfold the aesthetic construction of iPhones, or in a wider scope, of Apple products. This investigation started in opposition to the idea suggesting that only a small portion of iPhone design had aesthetic content, whereas the main design activity was about engineering design. In this article, this assertion was critically interpreted as a prejudice made by design researchers on the side of the engineering fields. The engineering aspects around the production of the iPhone are indeed extensive but this does not invalidate the aesthetic qualities that the iPhone is possessed of. Moreover, the denied or neglected aesthetics quality of electronic multimedia devices are included in a new paradigm of unconventional aesthetics, along with their micro-chips inside them. But beside this, Steve Jobs, Apple co-founder and former CEO, and Jonathan Ive, the company's Senior Vice President of Industrial Design shared an admiration for Dieter Rams' design philosophy, which espoused a modernist view that emphasizes minimalism and simplicity. Was it possible to underestimate the modernist design aesthetics that has been established for decades and which had a marked influence on many product designers and companies? Or was it appropriate to assume that the overt simplicity-one of the core design values of Apple company by means of both form and function – as being indicative of small aesthetic content? This study attempted to gather and create ideas about these discussions.
The content of product design has surprassed the preceding principles of the pure, refined modern... more The content of product design has surprassed the preceding principles of the pure, refined modernist design culture which had implied absolute conventions excluding some design areas like garments, shoes, etc. Although shoes are produced by mass production since the beginning of the twentieth century, it is hardly possible to mention about "shoe design" in product design literature until the last two decades. Shoes have been recognized under the category of fashion design for centuries. The state of ‘change’ which forms the core of the fashion is structured in a regular system providing the production and the consumption cycles The way the fashion designers consider ‘shoes’ has been due to this system. As the boundaries between disciplines get blurred and shoe production obliged product design process, product designers got involved with designing shoes concerning the issues like the ergonomy of the shoe, the process of walking, the relationship with the human and the shoe. As well as developing the basic usage, they also designed new functions and usabilities. Moreover, they challenged the traditional shoe making methods which evolved slightly for centuries.
In this paper, the approaches, methods and criteria of the two disciplines (product design and fashion design) will be discussed focusing on the same product (shoes). Both of the disciplines get involved with shoes but in their own way. The divergencies and convergencies of the two disciplines in methodoly and philosophy will be discussed. The common and different conditions will be explained. An evaluation will be made how the designers from each discipline react in the case of designing shoes. Shoe design examples from internationally known product designers and fashion designers will be given. In the end, the findings of a field study that includes 6 product designers and 6 fashion designers dealing with shoes will be presented.
In this paper, it is aimed to perform a reading on the different qualities of the notion of the m... more In this paper, it is aimed to perform a reading on the different qualities of the notion of the multi-functionality of the domestic space and relevant units, furniture, artefacts and items through three different phenomena that have emerged throughout the analysis of the repertoire of the home cultures of Turkish society. Firstly, the phenomenon of ‘Multi-functional Central Space and the Mobile Objects’ which traditional and local lifestyles dominate is considered. After that, the multifunctionality qualities of the domestic space and the related units are analysed through the adoption process with modernization and Westernization tendencies after the foundation of Turkish Republic. Along with the analysis of the dichotomies between the family sitting room and the living room and related use notions, the phenomenon of ‘Multi-functional Sitting Room and the Inconspicuous Objects’ is defined and interpreted. For the contemporary era, the multifunctionalities of the living room and the furniture is considered through everyday practices to the living room area which has also a more informal identity than the previous periods. In this case, the multi-uses of the stable furniture together with different equipments are discussed. For the analysis of the contemporary living rooms and furniture, the recent issues of the home magazines were analysed. Through this analysis, the third phenomenon around the multi-functionality axe emerged: ‘Multi-functional Living Room and the Multi-functional Objects’.
CIPED VI Abstract Book
The literature of Product Semantics is a fairly old paradigm with its basis on semiotics with an ... more The literature of Product Semantics is a fairly old paradigm with its basis on semiotics with an understanding that all cultural phenomena are structured like language, which makes its emphasis seem more linguistic based with a focus on the representation of functions and values rather than subjective choices of users. However the mainstream literature of Product Semantics gives importance to user and the subjective choices of the individual users, most of the cases and exercises of product design based on the methods of product design are designer based or has a limited relationship with the user. Especially compared to the methods like ethnography, we can see how semantic approach is making use of linguistics, rather than real subjective needs and choices of the potential users. The aim of this paper is to present a small workshop performed together with graduate students of design to see the possible extensions of methods or approaches can reach the desires, wants, and perspectives of user by using only the main categories that Burnette presented years ago (1989). This exercise tries to transfer an old paradigm of design into a new and fresh one with a new look to the users and how they see their material world and how a designer can extract new clues about design.
Greenage 1st International Symposium Proceedings, Nov 2010
This study is based on my master of science thesis with the title ‘Same Product in Two Different ... more This study is based on my master of science thesis with the title ‘Same Product in Two Different Disciplines: The Research About the Approaches of the Product Designers and Fashion Designers on Shoe Design’ that I performed with my supervisior, Prof.Dr. H. Alpay Er. In this thesis, a research method based on ‘comparison’ is used and a field study is held relatively. The main aim of this paper is to examine the situation of the fashion system, that dominates today’s society and instigates the consumption, from the viewpoint of the sustainable development; also to search about the existences of the products which are included in the fashion system beyond this system. ‘Shoes’ are determined as the concreting tool for the study and ‘industrial design discipline’ as the alternative approach for the fashion system. In the structure of the study, firstly, the fashion system is explained. The focus is on the aspects like continuously changing structure of the fashion system, its mechanism that provides the production and consumption cycles and the atmosphere that it creates which leads people go shopping. The contradiction of these aspects with the sustainable development is discussed. After that, the reflections of the fashion system approach on the shoe design are given. In the second part, the definitions, design approaches, criteria and principles of the industrial design discipline are mentioned. It is discussed how the depicted approaches deal with the sustainable development. It is argued how the criteria of the industrial design, like being useful for the human and the environment, increasing the efficiency of the use function of the products comply with sustainable development. After this, the shoe designs of the industrial designers that go beyond the fashion system are presented.
Published Papers by Esra Bici Nasır
Interiors: Design/Architecture/Culture, 2024
Sedad Hakkı Eldem, primarily an architect, was a prominent member of the group that sought a path... more Sedad Hakkı Eldem, primarily an architect, was a prominent member of the group that sought a path to modernization that preserved elements of the traditional and the vernacular in seeking a Turkish national design identity starting in the late 1920s. Eldem was inspired by traditional Turkish Houses and extended his design thinking to interiors and furniture. This study explores Eldem’s interior illustrations and furniture sketches, part of the inventory of 23 sketchbooks that also contained personal notes and his internal dialogue recorded in Paris, Berlin, and Munich between 1928 and 1930. In these cities of Western and Central Europe, Eldem aimed to incorporate Modern design and his visionary Turkish House projects. The content of these sketchbooks reveal Eldem’s main goal: to incorporate objects from European domestic life of the late 1920s, whether it be chaise lounges or wall-mounted lighting units, with traditional elements, such as built-in closets or seating bays. Through the lens of the revised sketches of recurring themes dating to 1936, in the aftermath of Eldem’s return to İstanbul, the architect’s attitude toward the refinement, appropriation, and modernization of traditional furniture units is discussed within the framework of the concept of design, national identity, and the practice of Gesamtkunstwerk.
International Journal of Food Design, 2021
Although dining tables and chairs function as the main furniture stereotypes valued for hosting i... more Although dining tables and chairs function as the main furniture stereotypes valued for hosting in traditional Turkish households, this practice has been subject to changes and challenges in contemporary urban life in Istanbul. This qualitative study of dining furniture brings insights into the design, production, purchase and use of furnishings from a broad review of literature and from semi-structured in-depth interviews undertaken in the homes of young urban professionals in Istanbul between the years 2013 and 2016. Prescribed as indispensable stereotypes in the furniture retail stores and considered as essential domestic units by the interviewees, dining tables and chairs are found out as not fulfilling their intended hosting functions efficiently or being often replaced by centre tables or coffee tables, because of an increase in casual rather than formal occasions. Domestication of the dining table as an open buffet was considered a practical way to help hold the food and drinks that were also on couches and coffee tables. In addition, the dining table was used for completely different functions unrelated to eating, as study desks or as surfaces for folding and ironing laundry, whereas dining chairs were used as places to drape coats or clothing. Interrogating the disconnect between the consumption and use context of the dining suites yields deeper discussion about the level of intellectual capital of Turkish furniture industry and the consumer culture which advices the enactment of norms. Insights in these complex, changing and sometimes contradictory patterns may influence the design of domestic furnishings in Turkey. Therefore, more user-based design research and a further examination of contemporary patterns of use in urban households are needed to activate this potential for the Turkish furniture design industry.
Home Cultures The Journal of Architecture, Design and Domestic Space, 2020
This article discusses the notion of “museum-salon” and the changes in its perception and practic... more This article discusses the notion of “museum-salon” and the changes in its perception and practices in the context of Turkish middle-class home cultures. Many authors have discussed the meaning of a prestigious living room allocated for guests only and addressed the existence of this room as an isolated space, detached from the household’s everyday routines. Constructing these rooms with Western-style furniture and objects has been tied to Turkish modernization and the attempts to create modern civic identities and lifestyles, especially following the founding of the Republic of Turkey. This study questioned the role of an iconic living room with unused displays as a means to modern living, arguing, in fact, that the museum-salon both sustained and negotiated traditional domestic practices. Interpretation of the qualitative data gained through fieldwork conducted in Istanbul contributes to the ongoing discussion in which utilization of the living room for everyday life was considered an objectification of modernity and an internalization of individuality. Through the rejection of the isolated living room through use and customization around notions of individuality and anti-communitarianism, it traced the changing local notions of modern living. The changes and differences are related to the idea of habitus, as discussed by Bourdieu (1984), rather than simply being viewed as generational preferences. Open living rooms that were subservient to everyday life now defined the modern habitus, whereas closed ones were associated with being traditional and local. It could be inferred that this is the result of a belated modernity in the context of Turkish living rooms as people cultivate themselves, satisfy their everyday needs, and use the largest space in their homes according to their autonomies.
XXI: MİMARLIK TASARIM MEKAN, 2018
İstanbul’da, geçtiğimiz yılın kasım ayının ilk haftaları, Türkiye Tasarım Haftası ve CNR Expo’dak... more İstanbul’da, geçtiğimiz yılın kasım ayının ilk haftaları, Türkiye Tasarım Haftası ve CNR Expo’daki İstanbul Mobilya Fuarı gibi önemli tasarım etkinlik ve sergileriyle dolu dolu geçti. Lütfi Kırdar Uluslararası Kongre ve Sergi Sarayı’nda düzenlenen Türkiye Tasarım Haftası’nın belirlenen gündemi "Tasarımın Potansiyeli" temasıydı. Bu temanın “tasarımın gücü konusunda farkındalık sağlamak, tasarım kültürü oluşturmak, Türk tasarımcıları dünyaya tanıtmak ve rekabetçi üstünlük sağlamak” gibi amaçları vardı. Geniş kapsamlı etkinlik pek çok önemli sergiyi de bünyesinde barındırıyordu. Bu sergilerde, çeşitli gözlemler, yerli ve yabancı akademisyen ve tasarımcılarla istişareler yapma fırsatı buldum. Bu tartışmalar beni, bizim mobilya meselesini, özellikle de ulusal tasarım kimliği bağlamında sorgulamaya yöneltti.
International Journal of Food Design, 2016
Searching for vernacular concepts in the contemporary scene: The Turkish floor table as a source ... more Searching for vernacular concepts in the contemporary scene: The Turkish floor table as a source of design inspiration Abstract Following reforms resulting from westernization, domestic culture in Turkey and related styles of using household items changed considerably. In the context of transformations regarding the withdrawal of vernacular items and practices, adapted, globally sourced forms of furniture became common in Turkish middle-class homes. This article focuses on the furniture and items related to eating, in which the modern dining table, connoting an established residence, is depicted as very different from the floor table which was representative of nomadic culture. Thus, the vernacular floor table and the contemporary dining table and other eating units are analysed in terms of their dichotomies—mobility/stability, lightness/heaviness, visibility/invisibility and emptiness/fullness—to ascertain ways to encourage the possibility of wider adoption of vernacular design qualities. Text and visual analyses were conducted on recent interior architecture and decoration magazines to seek out relationships to the vernacular design qualities to assess their adaptability to the contemporary environment. Research results illustrate that mobility, lightness, invisibility and emptiness are highly desired concepts but with novel diffractions and interpretations, still making the floor table a rich source of design inspiration.
Intercultural Understanding, 2015
Structured as a think piece, this study examines the transformation of Turkish middle-class livin... more Structured as a think piece, this study examines the transformation of Turkish middle-class living room practices and their material settings from the 1930s to the 2010s in accommodating the changing uses of that space. First, the spatial division between the public and private aspects of domestic interiors in the culture of the early Turkish Republic is discussed, with a focus on the change from traditional uses to more Westernized and modern functions and styles; through the review of relevant literature, the development of the living room as it reflects changes in the domestic culture of the early Turkish Republic is traced. Next, the closed-salon practice, which excludes daily routines and everyday clutter and requires a high level of cleanliness and order, is discussed as the dominant prototype. Finally, the paper analyzes the transformation of this prototype to meet the evolving role of the living room in the middle-class Turkish home.
Papers by Esra Bici Nasır
Journal of Modern Craft, 2025
This study examines the mythologization of Anatolian handicrafts created by a group of artists at... more This study examines the mythologization of Anatolian handicrafts created by a group of artists at Sümerbank, a Turkish state enterprise, in the 1960s, which aimed to foster a sense of patriotism (vatan). These designs, emerging with the onset of Turkiye's multi-party period and the postcolonial context worldwide, provide a framework for exploring local modernism in Turkiye. This study explores how the 1960s were shaped by the prevailing ideology of the time and involved efforts to adopt Western modernist aesthetics, principles of abstraction, and the Bauhaus approach to art and design, in the case of Sümerbank Hereke carpets.
Journal of visual culture, Aug 1, 2023
Journal of Design History, Jul 19, 2023
Nineteenth-century French society experienced a great transformation in almost every aspect of li... more Nineteenth-century French society experienced a great transformation in almost every aspect of life, due to new technologies, advances in industrialization, as well as an increasingly modern cultural perspective in bourgeois life. As Baudelaire stated: “The old Paris is no more. The shape of a city changes faster than a human heart”.1 The rapid changes, which made fin-de-siècle Paris an epicenter of the new style, were equally reflected in domestic interiors. The fundamentals of many seemingly self-evident concepts of domesticity are generally considered traceable to such cultural transience in the nineteenth century, including the distinction of workspace from home or the domestic practices of status display. Indeed, the core of such emerging concepts in domestic life was intimately intertwined with the emerging bourgeois culture and lifestyles. The new domestic themes grew under the influence of new cultural forms on the art scene and the literary world. This brilliant and impressively edited anthology, Domestic Space in France and Belgium encompasses an eloquent analysis of how literature and art reflected the transience in domestic interiors. The chapters of this absorbing and revealing book, edited by Claire Moran, portrays domesticity as a main narrative via the distinctive contributions by the valuable eminent scholars in the field. The parts which constitute the book are consecutively: “Representing the Domestic Interior,” “Gender and Domestic Space,” and “Aesthetics and the Domestic Interior.” As studies on domesticity have a broad range of focus due to their interdisciplinary nature, this categorization of the approaches worked well for a comprehensive reading.
Design Journal, Jan 20, 2023
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Videos by Esra Bici Nasır
In this project, we concentrated on designing with existing recyclable materials. The materials were some existing items that were not used anymore in the garden of Municipality. We focused on the materials that
Conference Presentations by Esra Bici Nasır
In this paper, the approaches, methods and criteria of the two disciplines (product design and fashion design) will be discussed focusing on the same product (shoes). Both of the disciplines get involved with shoes but in their own way. The divergencies and convergencies of the two disciplines in methodoly and philosophy will be discussed. The common and different conditions will be explained. An evaluation will be made how the designers from each discipline react in the case of designing shoes. Shoe design examples from internationally known product designers and fashion designers will be given. In the end, the findings of a field study that includes 6 product designers and 6 fashion designers dealing with shoes will be presented.
Published Papers by Esra Bici Nasır
Papers by Esra Bici Nasır
In this project, we concentrated on designing with existing recyclable materials. The materials were some existing items that were not used anymore in the garden of Municipality. We focused on the materials that
In this paper, the approaches, methods and criteria of the two disciplines (product design and fashion design) will be discussed focusing on the same product (shoes). Both of the disciplines get involved with shoes but in their own way. The divergencies and convergencies of the two disciplines in methodoly and philosophy will be discussed. The common and different conditions will be explained. An evaluation will be made how the designers from each discipline react in the case of designing shoes. Shoe design examples from internationally known product designers and fashion designers will be given. In the end, the findings of a field study that includes 6 product designers and 6 fashion designers dealing with shoes will be presented.
Türkiye bağlamında canlandırmacı pratiğe baktığımızda, 1908- 1930 yılları arası arasında cereyan etmiş Birinci Milli Mimari Akımdan söz edebiliriz. Bu akım hem yerel hem de klasik Osmanlı yapılarında yer alan mimari öge ve süslemelere önem vermiştir. Bu akımın ismi Neoklasik Türk üslubu veya Osmanlı canlandırmacılığı olarak da adlandırılmıştır. 1940-50 yılları arasında da İkinci Milli Mimari Akımı vuku bulmuştur. Milli mimari akımları, içmekan tasarımlarına ve mobilya stillerini de etkilemiş olsa da, özellikle evcil mekana dair uygulamaların ve içselleştirmelerin mimari akımın seyriyle farklılıklar oluşturduğu söylenebilir.
Osmanlı canlandırmacılığı günümüzde de, mimari, sanat ve tasarım pratiklerinde, gündelik yaşam ve tüketim kültüründe de karşımıza sıklıkla çıkan bir tema olmuştur. Bu akımın Osmanlı geçmişinin ve İslam gerçeğinin temsilcisi olmasına dair algı güçlüdür. Navaro-Yaşın’ın (2002) da belirttiği gibi muhafazakar orta sınıf çoğunlukla estetik biçemlerle bir kimlik sunmak istediğinde ve kendisini oryantalize ettiğinde İslam ve Osmanlı geçmişinden esinlenmektedir. Neoklasik üsluplar, laleler, bereket kapları, tuğralar ve benzeri sembolik ögeler bir İslam gerçeğinin ve Türk otantikliğinin simgesi haline gelmiştir. Yeniden canlandırma içeriği, tüketilen metaların - ister mimari bir yapı, ister kıyafet veya bir koltuk olsun – hem bir özgül tüketim kültürü inşa ederken, hem de maneviyata hitap etmesini sağlar. Gerçi Başer’in de belirttiği gibi, İslami burjuvazi olarak da anılan kesimin gündelik yaşam pratikleri içinde, prestij ve statü sağlayıcı unsurlara ulaşmayı istemesi, muhafazakarlık ve gösteriş arasındaki mesafeyi arttırabilmektedir. Bir yandan, güzel ve estetik olana sahip olmak dini açıdan pek sorun teşkil etmese de, beğeni kavramlarının popülerlik, moda veya trendlerle belirlenir olması da arzu mekanizmalarını devreye sokmaktadır (Başer, 2015).
‘Mekanizma çözümlemesi için Güner Hoca’ya danışacağım’. ODTÜ Endüstri Ürünleri Tasarımı Bölümünde, benim bulunduğum dönemlerden sonraki dönemlerde neler oldu bilmem ama, benim ve arkadaşlarımın sıklıkla kullandığımız bir ifade olmuştur bu cümle, tasarım stüdyosu derlerinde. Kendisini kaybetmiş olmanın şaşkınlığı ve acısı içinde nedense ilk aklıma gelen bu ifade ısrarla bilincimin yüzeyinde tutunuyor. Belki de bu somut ve gündelik ifade ile ölümünü kabullenmeyi reddetmeye çalışıyorum. Geri dönüp bakıldığında elbette detay ve mekanizmalar konusundaki uzmanlığı ile birlikte, üretkenliği, üstün yetenekleri, zekası, mütevazi kişiliği, olağanüstü mizah yeteneği ve hoşgörüsü gibi çok üstün özellikleri beliriveriyor kesiştiği insanların zihinlerinde hiç şüphesiz.
Son dönemlerde, betonun, bir yapı malzemesi olarak kullanımının yanı sıra farklı alanlarda, farklı ürün kategorilerinde de kullanıldığını görüyoruz. Betondan tasarlanmış ürünlere baktığımızda çoğunlukla aydınlatma üniteleri, mobilya, raf üniteleri gibi iç mekanları tanımlayan, iç mekanların yapısal özellikleriyle doğrudan bağlantılı ürünlerle karşılaşıyoruz. Bunların yanında, diş fırçalıklarından meyve tabaklarına; cep telefonu standlarından notluklara pek çok ürünün de betondan tasarlanıp üretildiğini görmek mümkün. Böylelikle beton gündelik yaşamımızın daha özel bir parçası haline geliyor. Betondan gündelik eşya nesnelerinin tasarlanması, betonla ilgili algımızı tamamen değiştiriyor. Kanıksadığımız, üzerinde çok da düşünmediğimiz ‘beton’un belleğimizin, ücra bir kenarından malzeme olanaklarını, potansiyelini tartmaya başlıyoruz bu sefer. Betonun küçük ölçekli ürünlerdeki uygulanma olanağını, kırılma riskini sorguluyoruz.
Bu toplantıda sunulan bildirilerde mekanları, zamanları ve insanları; evsellik, aile, cinsiyet, mahremiyet, barınma, konut, ev kültürü kavramları ve kamusallık/mahremiyet, hane/aile, ev/yuva, iş/ev temaları üzerinden irdeleyen güncel araştırmalar sunuldu ve bu çalışmaların mimarlık tarihi alanında ürettiği yeni bilgi tartışıldı.