Published Papers by Sebnem Timur Ogut
A|Z ITU JOURNAL OF THE FACULTY OF ARCHITECTURE, 2024
This study centers on TikTok videos, which serve as a medium for users to express their active ... more This study centers on TikTok videos, which serve as a medium for users to express their active interactions with products. These videos offer insights into users’ everyday lives and practices, yet design researchers find challenges in recognizing this content due to its unique verbal and visual language, which is distinct from conventional design terminology and literature. This paper highlights the user-empowering videos while emphasizing their capacity to hold innovative design ideas. The primary goal is to familiarize design researchers with this content and enhance its visibility and recognition. To achieve this goal, we address the question: How do users express their experiences of active product use in TikTok videos? In a systematic TikTok search, using a balanced set of everyday objects as keywords, 79 videos were gathered that demonstrate an active user-product relationship. Video content analysis was employed, leading to the identification of six themes that describe the expression ways of active use: “exposing,” “exploring,” “suggesting,” “making,” “testing,” and “narrating.” The themes reveal a broad spectrum of content, from vocal product critiques to unique design experiments. The study shows that seemingly unrelated content can contain implicit meanings with valuable information about design and use. Contrary to the embracing approaches of conventional user-centered design, the videos include peer criticism, where users criticize the actions of other users. By enabling users to exchange information independently, videos on TikTok empower users and carry the potential to be a continuously expanding and up-to-date data pool that could be used in design research.
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Archives of Design Research, 2024
Background: Morphological chart (MC) is a design method used for finding many solutions to a defi... more Background: Morphological chart (MC) is a design method used for finding many solutions to a defined problem. The solutions depend on deconstructing the problem to its sub- functions and generating alternatives to these sub-functions. It is implemented in the form of a grid. Although the method works on dividing the problem and then offering solutions piece by piece; the pieces are combined through a selective process and integrated in the end. The overall nature of the method depends on problem solving and generating an analytical framework to be able to comprehend the whole universe of solutions.
Methods: In this study, MC is used to analyse existing designs in a systematic way. This use is demonstrated through a study, using the outputs of a foundation course in design, which involves more than 300 students’ designs. This design data is evaluated and visually summarised with a created morphological chart.
Results: Sub-functions and sub-solutions of the students’ designs are explored through their design presentation boards. This data formed a matrix, with sub-functions listed vertically while their corresponding solutions are placed horizontally. That matrix is the morphological chart of these designs.
Conclusions: Necessary steps to follow in order to construct a MC for analysing existing designs are defined in this study. This use of the MC can enable easier market research, visualization of design data, and the output which is the morphological chart itself can be used as an input for both idea creation methods for designers, and it can be transferred to a spreadsheet as the input of a computer-generated design software or artificial intelligence applications.
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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.
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Demirbaş, D., & Timur Öğüt, Ş. (2018). Design briefs for industrial design studio courses: Determination of expectations and requirements, Eğitimde Nitel Araştırmalar Dergisi - Journal of Qualitative Research in Education, 6(2), 41- 57. DOI: 10.14689/issn.2148-2624.1.6c2s3m
This study aims to determine the basic elements relating to a tool to be used in Design Studio co... more This study aims to determine the basic elements relating to a tool to be used in Design Studio courses; one of which intertwined with daily life technologies through the usage of patterns and habits of a Design Brief. In order to address the main purpose of the study in a holistic approach, a mixed method research was used combining qualitative and quantitative methods. Data were collected through face-to-face interviews and online survey forms from Design Studio course instructors working in industrial design departments in Turkey. The study presents there is a need to reconstruct some components of the Design Brief in such a way to accompany the dynamic structure of the project process, there are problems related to the current medium, and the attitudes of the new generation students must be taken into consideration when designing a new medium for the Design Brief as a new learning tool.
Öz. Bu çalışma günlük yaşam teknolojileri ile iç içe geçmiş olan Tasarım Stüdyosu derslerinde kullanılacak bir araçla ilgili temel unsurları, Tasarım Tanım Belgesi kullanım pratikleri ve alışkanlıkları ile ilişkili olarak belirlemeyi amaçlamaktadır. Çalışmanın ana amacını bütüncül bir yaklaşımla ele alabilmek için nitel ve nicel yöntemlerin bir arada kullanıldığı karma bir araştırma yöntemi kullanılmıştır. Çalışmada veriler, Türkiye'de Endüstri Ürünleri Tasarımı bölümlerinde çalışan Tasarım Stüdyosu ders yürütücüleriyle yüz yüze görüşmeler ve çevrimiçi anket formlarıyla elde edilmiştir. Çalışma, Tasarım Tanım Belgesinin bazı bileşenlerinin tasarım sürecinin dinamik yapısına eşlik edecek şekilde yeniden yapılandırılması ve bulunduğu mevcut ortamla ilgili sorunlar yaşandığını belirlenlenmiştir. Tasarım Tanım Belgesinin yeni bir öğrenme aracı olarak ele alınmasında kullanılacak yeni bir ortama yönelik yeni nesil öğrencilerin görüşlerinin alınması gerektiğini önerilmektedir.
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Having been awarded the 2006 Nobel
Prize for literature, Orhan Pamuk’s next novel was
entitled Th... more Having been awarded the 2006 Nobel
Prize for literature, Orhan Pamuk’s next novel was
entitled The Museum of Innocence. The novel,
which bears the same name as an actual museum,
is one of a kind, because before writing the novel he
started to collect the items that would be described
in the story, then, or simultaneously, he wrote the
novel and opened a museum that consists of the
The Design Journal
Sebnem Timur Ogut
46
objects depicted in the novel (Pamuk, 2008). He defines the
novel as ‘an annotated catalogue of the museum, relating
in detail the stories of each and every object’ (Pamuk,
2009: 702). This article sets out to explore, first on a semiotic
level, the struggle between the objects and their
meaning; secondly the dilemma between Lyotard’s figural
and discursive fields within the novel/museum; and finally,
with regard to its implications for design, the significance
of objects will be discussed in relation to everyday life and
material culture studies, with an emphasis on memory and
identity.
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ODTÜLÜ: Orta Doğu Teknik Üniversitesi Mezunlarla İletişim Dergisi'nin 53'üncü sayısı Aren Kurtgöz... more ODTÜLÜ: Orta Doğu Teknik Üniversitesi Mezunlarla İletişim Dergisi'nin 53'üncü sayısı Aren Kurtgözü editörlüğünde BEN, TASARIM: BİR FİKİRDEN ÜRÜNE... TASARIM AKLININ HEGEMONYA ÇAĞI temasıyla yayınlandı. Özel bir editoryal emeğin ürünü olan bu sayıya bir yazıyla ben de katkıda bulundum. Yazının başlığı "Ben'in Tasarımı". Tasarım yoluyla kimlik inşa süreci üzerine kısa bir deneme olan bu yazıyı keyifle okumanız dileğiyle...
Timur Öğüt, Şebnem (2014) "Ben'in Tasarımı." ODTÜLÜ: Orta Doğu Teknik Üniversitesi Mezunlarla İletişim Dergisi. [Ben, Tasarım: Bir Fikirden Ürüne... Tasarım Aklının Hegemonya Çağı Sayısı, Sayı Editörü: Aren Kurtgözü], Sayı 53, Temmuz, Ağustos, Eylül 2014 . s.30-32
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In recent years, we see an expansion of schools offering degrees at different levels in the field... more In recent years, we see an expansion of schools offering degrees at different levels in the field of industrial design in Turkey. Reasons for this expansion can well be found outside the design field itself as well as the national education reforms. This shift towards corporatization of universities is a business model usually adapted from foreign models. This adoption in education models also lead to the expansion of industrial design programs especially in private universities. Despite the rapid growth of industrial design education in Turkey, there is relatively little knowledge about the features or qualities that serve to identify these design departments. The main aim of this article is to discuss characteristics of industrial design departments in Turkey as a case regarding programs' profiles in geographical distribution, housing universities and faculties, academic members, student selection criteria and student numbers. Final remarks are recommendations for a prospective state of design education in Turkey.
Türkiye'de Endüstriyel Tasarım Eğitimini Tanımlamak: Güncel Bir Sentez ve Gelecek için Öneriler Özet Türkiye'de endüstriyel tasarım alanında farklı düzeylerde eğitim veren üniversitelerin sayılarında son yıllarda bir artış gözlenmektedir. Bu artışın nedenleri Türkiye'deki eğitim reformlarından kaynaklanmamakla birlikte, tasarım alanı dışındaki geliş-melerde bulunabilir. Üniversitelerin şirketleşme yolundaki evrimi genellikle yabancı modellerden uyarlanmış bir iş modelini takip eder niteliktedir. Benzer eğitim modellerinin benimsenmesi endüstriyel tasarım programlarında da, özellikle özel üniver-sitelerin bünyesinde, genişleme yolunda yönlendirici olmaktadır. Türkiye'de hızla büyümekte olan endüstriyel tasarım eğitimi çerçevesinde ise tasarım departmanlarını tanımlayıcı hizmet özellikleri veya nitelikleri hakkında nispeten az bilgi bulunmaktadır. Bu makalenin temel amacı, Türkiye'de endüstriyel tasarım bölümlerinin özelliklerini; coğrafi dağılımı, ev sahibi üniversiteler ve fakülteler, akademik kadrolar, öğrenci seçme kriterleri ve öğrenci sayılarına referansla tartışmaktır. Türkiye'de tasarım eğitiminin ilerki vadede durumuna dair öneriler ayrıca sunulmaktadır.
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Since the very early days of history, human beings 'designed' things by looking at nature. In our... more Since the very early days of history, human beings 'designed' things by looking at nature. In our days, the use of nature in design has become more systematic and detailed. Although as old as humanity itself, use of nature especially in the field of design still offers novelty and often brings success in solving problems in a sustainable way. When it comes to industrial design education specifically, it seems to be a promising method to mimic the nature in designing new products; however different dynamics effect and sometimes prevent students to use natural analogy in their projects. It is observed that industrial design students aren't eager to use biomimicry which is a type of natural analogy in their design projects although they learn about it in different courses as a creativity method. The study therefore aimed to find out about two issues related to the matter: a) trying to find out and understand the reasons behind this reluctance against the use of nature, b) if they were presented a methodology, in what ways this reluctance would be overcome and they would go beyond taking nature as not only a formal source of inspiration.
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Timur, Sebnem (2006) "The Eastern Way of Time Keeping: The Object and Ritual of Nargile" Design Issues. Vol 22. Issue 2, Spring, MIT Press., 2006
The clock, not the steam-engine, is the key machine of the modern industrial age (Mumford 1963).
... more The clock, not the steam-engine, is the key machine of the modern industrial age (Mumford 1963).
Foreword: A few years ago, when the ideas that motivated writing this paper first emerged, my friends and I had a hard time finding a place to smoke a "nargile (i.e. hookah, shisha)." Aside from our academic interest in objects, culture, and meanings, we really wanted to experience the "nargile" as a ritual. We eventually found a few places, but our quest for the tradition is worth analysis. Basically, we, as people living in big cities of Turkey, wanted to be a part of this mystic ritual. We knew that it was an old tradition with important geographic, historic, and contextual significances, but it was not a part of our daily lives in any sense. Why? The changing life styles dominated by the rules of societal modernization are not in conformity with the speed of such an experience so, except for a few specific places, it was not rational or profitable to sustain this kind of ritual in coffee houses. Yet we were astonished to find out that many other people in Turkey had developed a curiosity and interest in "nargile" smoking.
Today, you can see a lot of places including coffee houses and cafés that offer "nargile" smoking, along with table games that can be associated with other time-consuming pleasures. Capitalism once again found a way to incorporate a cultural element by making it widespread everywhere recklessly. Although this is the case, the emphasis of this paper is not on these formations, but rather on the “essence” of the ritual—if there is any—in contrast with a modern background such as its/our relation to the concept of time; the inner dynamics of modernity and the modern individual, and a sense of identity.
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Bagli, H. ve S. Timur Ogut (2009) "Towards an Analysis of the Signs of the Unknown: Objects with Rituals in Turkish Culture", The Design Journal, Volume 12, Issue 3, London: Berg p. 365-382. , 2009
This paper is an attempt to read certain rituals and objects in Turkish culture from a semiotic a... more This paper is an attempt to read certain rituals and objects in Turkish culture from a semiotic and anthropological framework. The anthropological analysis is based on the terms from social anthropology and structuralism, like rite of passage, myth and transition, to discuss and theorize the cultural background of the phenomenon in more detail. The reason for such an analysis lies in the fact that every object with a ritual could be seen in the material form or a strong reflection of an underlying cosmology or ideology. The common point of the objects chosen for this study is that all depend on a dynamic formal change – from liquid to solid – believed to signify the notion of the 'unknown'. Change in the form in each case recalls the binary oppositions of form/matter and form/function as fundamental debates on design and material culture, especially in a non-Western society.
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Timur Ogut, Sebnem (2009) "Material Culture of Tea in Turkey: Transformations of Design through Tradition, Modernity and Identity", The Design Journal, Volume 12, Issue 3, London: Berg p.339-364. , 2009
Rituals are repeated acts reinforcing the sense of identity for the individual in society, buildi... more Rituals are repeated acts reinforcing the sense of identity for the individual in society, building up the links with a shared past. The ritual of tea drinking along with the values, practices, the kinds of objects and customs associated with this tradition, is significant in Turkish culture. The reason to focus specifically on tea drinking and the involved objects is that tea is brewed in a certain way and the necessary devices have been designed and developed accordingly. With its historical, cultural and physical contexts, the whole event could be said to be standing at the cutting edge of tradition, modernity and identity in modern Turkish society. The problematic centring around these concepts of tradition and identity is their positioning in the modern world. The ways in which these traditions have been transformed, shaped and reinvented within the dynamics of modern Turkish society is the subject of further discussion.
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Timur Ogut, Sebnem (2008) " "Turkish Restaurants in London: An Ethnographic Study on Representation of Cultural Identity through Design" A|Z ITU Journal of the Faculty of Architecture: Quality of Urban Life, Vol 5, Issue 2, Istanbul, p.62-81.
The aim of this study is to explore the ways in which the Turkish culinary culture is represented... more The aim of this study is to explore the ways in which the Turkish culinary culture is represented and reproduced in London. The emphasis is on the production and serving of food by various restaurants owned by Turkish immigrants, and its respective consumption by those outside the Turkish community.
The research is conducted as an ethnographic study and the method of gathering data involved making interviews with the owners, taking pictures of the restaurants to record the material culture of the places visually and conducting questionnaires to the consumers. While issues related to representation, culture and identity made explicit through visual and material forms were elaborated, the meanings attached or the ways that the different types of restaurants function in daily life were the subject of the study.
Restaurants are classified under three main categories, as indicated in the answers of the questionnaires, that are “traditional”, “modern” and “ordinary” Turkish Restaurants. These categories reflect ideas of “designed ethniticies”, “modernized traditions” and the concept of the “ordinary/ typical”. The ways in which these concepts are represented through visuality and design on the forms of material culture were the subject of discussion.
Keywords: Identity, Ethnography, Design, Material Culture, Turkish Restaurants
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Timur, Şebnem (2002) "Meaning and Product Design: Towards a Conception of the Object as Sign/al." Culture & Communication. 5/2, Summer.
Our relationship with products depends on how they communicate with us and where we do put them i... more Our relationship with products depends on how they communicate with us and where we do put them in our entire system of signification. Product design, like most cultural production can be viewed and analysed by language based theories. The basic premise behind this possibility is that every artifact can be read as a sign if there is such a reception. Similarly every artifact can be the subject and object of the signal of the basic communication model in different contexts. The main aim of this paper is to discuss the ways in which the designed product can be the sign of the signification process and the signal of the communication process simultaneously. Emphasizing the difference between communication theories and semiotics, the designed product is discussed as the subject of both areas of inquiry.
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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.
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Timur, Sebnem and Melike Turkan Bagli (2006) "A Bodily Sign of 'Doing Nothing': Loitering or the Silence before the Storm." M/C - A Journal of Media and Culture. Volume 9 Issue 3 Jul. 2006 , 2006
One of the writers of this paper visited America at the end of the ‘90s and came across a curious... more One of the writers of this paper visited America at the end of the ‘90s and came across a curious translation dilemma as a foreigner. In some of the seemingly inauspicious districts of the city, there were signs saying “No Loitering” on the displays of shops or walls of residencies. These signs were causing anxiety for her, because she did not know the actual meaning of the phrase of “No Loitering”. (Her dictionary was still packed away.) Apart from being curious about the meaning of the phrase, she was rather afraid of performing “the act of loitering” since she had no idea what it meant.
When she was settled she looked up to the meaning of the term “loitering”: “waiting, hanging around, lingering, dallying, etc…” (Oxford Encyclopedia). The Oxford Advanced Learner’s Dictionary of Current English defined “to loiter” as “to stand in a public place, usually with no particular or obvious purpose.” Based on this, if a person spends time hanging around or dallying in a public place with no purpose, the act of this person is called “loitering”. In the eyes of the newcomer, we suggest that “loitering” might be equal to more or less “doing nothing”. A person who is acting in the way described is almost inactive. When we view the issue from this framework, the person does not seem to be doing anything dangerous or precarious. In essence, what right or reason does someone have to command another “do not stand here”? Actually, a person who comes across such a warning can comfortably (if ironically) say that they are doing “nothing”.
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Timur, Şebnem ve M.T. Bağlı (2003) "Hiçbir Şey Yapmamanın Göstergeleri: Loitering ve Çekirdek Çıtlama." Kültür ve İletişim. 6/2, Yaz
Bu yazıda boş zaman geçirmekle bağlantılı olarak "loitering" ve çekirdek çıtlama eylemle... more Bu yazıda boş zaman geçirmekle bağlantılı olarak "loitering" ve çekirdek çıtlama eylemleri, hiçbir şey yapmamanın göstergeleri olarak, göstergebilimsel bir analizle ve karşılaştırmalı biçimde ele alınmış ve değerlendirilmiştir. Göstergebilimsel olarak, her bir davranış, ardında yatan birçok anlam ve mesajı ileten bir gösterge olarak okunabilir. “Hiçbir şey” bir boşluk tarif ettiği için “hiçbir şey yapmama”yı hiçbir şey yapmadan göstermek aslında mümkün değildir. Hiçbir şey yapmamayı hiçbir şey yapmadan göstermenin güçlükleri yüzünden, “hiçbir şey yapmamak”zorunlu olarak ancak “bir şey yapmak”la en iyi şekilde temsil edilebilir. “Aylakça dolaşmak, sürtmek, yolda oyalanmak, sallanmak, (zamanı) boş geçirmek, gezmek... (Oxford, 1990)” anlamına gelen "loitering" düzanlamsal düzeyde masumane bir biçimde aşağı yukarıhiçbir şey yapmamayı gösterirken, yananlamsal düzeyde her an işlenebilecek toplumsal bir “suç”u çağrıştırır. Çekirdek çıtlama ise düzanlamsal düzeyde hiçbir şey yapmamakla karşıt biçimde “aktif” bir eylem olarak bir şey yapmaya işaret eder, yananlamsal düzeyde ise bedeni, karnı bile doyurmayan ve başka eylemlerde bulunmayı önleyen bir yeme eylemiyle, yani neredeyse “hiçbir şey”le meşgul ettiği için hiçbir şey yapmamayı gösterir.
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Conference Papers by Sebnem Timur Ogut
Bağlı, Hümanur ve Şebnem Timur. 2022. "MADDENİN HALLERİ VE TASARIM: BİR ANALOJİ" UTAK 2022 UTAK Ulusal Tasarım Araştırmaları Konferansı -Tasarım ve Çoğulculuk, (14-16 Eylül 2022) Orta Doğu Teknik Üniversitesi Mimarlık Fakültesi, Ankara, 2022
Bu yazı, tasarımı üç farklı safhaya ayırmayı dener ve bu farklı safhaları, fizikteki maddenin hal... more Bu yazı, tasarımı üç farklı safhaya ayırmayı dener ve bu farklı safhaları, fizikteki maddenin hallerini analojik bir yapı olarak kullanarak açıklamayı, anlamayı ve geliştirmeyi amaçlar. Tasarımı katı, sıvı ve gaz olarak sıralanan maddenin halleri üzerinden tanımlamaya ve tartışmaya çalışmak, tasarıma dair farklı seviye ve aşamaları kavramsallaştırmakta kolaylık sağlayarak tasarım alanına özgü bir akışı ifade etmektedir. Çalışmada bu üç farklı safhanın işaret ettiği aşamalar “kaynaklar, süreçler ve sonuçlar” olarak ele alınmıştır. Tasarımın içerisinden çıktığı kaynaklar vasıtası ile süreç ve sonuç olarak tasarım, çalışmanın öne sürdüğü ve bu makalenin de üzerine oturduğu çatıyı belirlemekte ve bu kategorizasyon üzerine maddenin halleri olarak katı, sıvı ve gaz analojisi üzerinden bir okuma önerilmektedir. Tasarımın gaz hali olan kaynaklar; tasarımın sıvı hali olan süreçler ve son olarak da katı hal olarak nitelendirilebilecek ürünler veya sonuçlar, mevcut tasarım tanımları, anlayışları, yöntemleri ve oluş biçimlerinin bir tasnifi ve yeni açılımlar için bir çerçeve oluşturacaktır. Bu açıklamanın kendisinin tasarıma farklı bir bakış açısı getirebileceği ve yine bu kategorilerin oluşturduğu döngüselliğin kendisinin yöntemsel bir önermeye ve farklı bağlamlarda kullanılabilecek yeni açılımlara yol açabileceği düşünülmektedir
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Timur, Şebnem ve Murad Babadağ. 2022. "Tasarımın Tesellisi: Özne ve Nesnenin Zoraki Ayrımında Boynu Bükükler." UTAK 2022 UTAK Ulusal Tasarım Araştırmaları Konferansı -Tasarım ve Çoğulculuk, (14-16 Eylül 2022) Orta Doğu Teknik Üniversitesi Mimarlık Fakültesi, Ankara, 2022
Bu yazı, “tasarım”ın ontolojisi üzerine – tasarımın düşünme, üretme, yapma, ifa etme yaklaşımları... more Bu yazı, “tasarım”ın ontolojisi üzerine – tasarımın düşünme, üretme, yapma, ifa etme yaklaşımlarını, ele alış biçimlerini – irdeleyen çalışmalara kapı açan bu davete cevaben kaleme alınmıştır. Heskett tasarımı şöyle tanımlamıştır: “Tasarım, tasarımcılar bir tasarım üretmek için bir tasarım tasarladığında oluşandır (2001).” Bu tanım, “tasarım” kavramının hem fiil, hem isim, hem fiili mümkün kılan disiplin, hem süreç, hem bitmiş ürün anlamında kullanılmasının ne kadar problemli olduğunu ima etmektedir. Buradan hareketle bir tasarım ontolojisinden bahsedilmesi gerektiğinde öncelikle tasarımın hangi katmanından bahsedildiği açıklanmalıdır. Ancak burada, bir katmanı bağımsız ve tekil olarak ele almak yerine tasarımı bütün halleriyle birlikte ve öncesi ve sonrasını da katarak, meseleyi oluşumdan -kullanıma uzanan ve birbiri içine giren bir varoluş biçimi olarak okuma önerilecektir. Tasarımın hallerinin farkları itibariyle dil de dahil olmak üzere temsil/oluş biçimleri irdelenmeye çalışılacaktır. Bunu yaparken “tek başına nesne”nin Antik Yunan düşüncesi sonrası yapılmış özne ve nesne ayrımının bir ürünü ve zorunlu olarak nasıl bir eksikle doğduğu, varoluşunu bu “eksik” üzerine kurduğu ve buna bağlı olarak eğer mümkünse bu eksiğin nasıl tamamlandığına dair olasılıklar açılmaya çalışılacaktır.
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There are objects which " break " the norms of the pseudo-products of the culture industry that c... more There are objects which " break " the norms of the pseudo-products of the culture industry that could be said to be without any spirit. In this respect, the family of the kitsch objects (with a notion of play) and the kind of objects that Lukas (1997) defines as " inconspicuous consumption " become more and more attractive to the metropolitan city-dwellers who experience the " loveless disregard to things (Adorno 1997, 41). " The ways in which the kitsch object could be evaluated as an item of festivity and an arena of subjectivity for the modern individual is the basic discussion. In order to escape the boredom or the routine of everyday life, there should be a break. The kitsch object enables this break to happen through playfulness, resemblance and motion. They open up a space in the boredom of everyday; a space similar to the function of funfair: a mechanical replica of the living things. Everyday, the city dwellers while walking on the street pass through the small funfairs created by the objects of festivity. The atmosphere suggested by those objects, do create a break (paradoxically the break also helps to ensure the routine and enables the cycle to continue), a sense of stopping of time and reference to space, that are resulted by the fascination for the mechanical wisdom and loud theatricality demonstrated by those artifacts. This 'play' notion that kitsch objects offer can be analyzed as part of the emotion-driven design.
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Published Papers by Sebnem Timur Ogut
Methods: In this study, MC is used to analyse existing designs in a systematic way. This use is demonstrated through a study, using the outputs of a foundation course in design, which involves more than 300 students’ designs. This design data is evaluated and visually summarised with a created morphological chart.
Results: Sub-functions and sub-solutions of the students’ designs are explored through their design presentation boards. This data formed a matrix, with sub-functions listed vertically while their corresponding solutions are placed horizontally. That matrix is the morphological chart of these designs.
Conclusions: Necessary steps to follow in order to construct a MC for analysing existing designs are defined in this study. This use of the MC can enable easier market research, visualization of design data, and the output which is the morphological chart itself can be used as an input for both idea creation methods for designers, and it can be transferred to a spreadsheet as the input of a computer-generated design software or artificial intelligence applications.
Öz. Bu çalışma günlük yaşam teknolojileri ile iç içe geçmiş olan Tasarım Stüdyosu derslerinde kullanılacak bir araçla ilgili temel unsurları, Tasarım Tanım Belgesi kullanım pratikleri ve alışkanlıkları ile ilişkili olarak belirlemeyi amaçlamaktadır. Çalışmanın ana amacını bütüncül bir yaklaşımla ele alabilmek için nitel ve nicel yöntemlerin bir arada kullanıldığı karma bir araştırma yöntemi kullanılmıştır. Çalışmada veriler, Türkiye'de Endüstri Ürünleri Tasarımı bölümlerinde çalışan Tasarım Stüdyosu ders yürütücüleriyle yüz yüze görüşmeler ve çevrimiçi anket formlarıyla elde edilmiştir. Çalışma, Tasarım Tanım Belgesinin bazı bileşenlerinin tasarım sürecinin dinamik yapısına eşlik edecek şekilde yeniden yapılandırılması ve bulunduğu mevcut ortamla ilgili sorunlar yaşandığını belirlenlenmiştir. Tasarım Tanım Belgesinin yeni bir öğrenme aracı olarak ele alınmasında kullanılacak yeni bir ortama yönelik yeni nesil öğrencilerin görüşlerinin alınması gerektiğini önerilmektedir.
Prize for literature, Orhan Pamuk’s next novel was
entitled The Museum of Innocence. The novel,
which bears the same name as an actual museum,
is one of a kind, because before writing the novel he
started to collect the items that would be described
in the story, then, or simultaneously, he wrote the
novel and opened a museum that consists of the
The Design Journal
Sebnem Timur Ogut
46
objects depicted in the novel (Pamuk, 2008). He defines the
novel as ‘an annotated catalogue of the museum, relating
in detail the stories of each and every object’ (Pamuk,
2009: 702). This article sets out to explore, first on a semiotic
level, the struggle between the objects and their
meaning; secondly the dilemma between Lyotard’s figural
and discursive fields within the novel/museum; and finally,
with regard to its implications for design, the significance
of objects will be discussed in relation to everyday life and
material culture studies, with an emphasis on memory and
identity.
Timur Öğüt, Şebnem (2014) "Ben'in Tasarımı." ODTÜLÜ: Orta Doğu Teknik Üniversitesi Mezunlarla İletişim Dergisi. [Ben, Tasarım: Bir Fikirden Ürüne... Tasarım Aklının Hegemonya Çağı Sayısı, Sayı Editörü: Aren Kurtgözü], Sayı 53, Temmuz, Ağustos, Eylül 2014 . s.30-32
Türkiye'de Endüstriyel Tasarım Eğitimini Tanımlamak: Güncel Bir Sentez ve Gelecek için Öneriler Özet Türkiye'de endüstriyel tasarım alanında farklı düzeylerde eğitim veren üniversitelerin sayılarında son yıllarda bir artış gözlenmektedir. Bu artışın nedenleri Türkiye'deki eğitim reformlarından kaynaklanmamakla birlikte, tasarım alanı dışındaki geliş-melerde bulunabilir. Üniversitelerin şirketleşme yolundaki evrimi genellikle yabancı modellerden uyarlanmış bir iş modelini takip eder niteliktedir. Benzer eğitim modellerinin benimsenmesi endüstriyel tasarım programlarında da, özellikle özel üniver-sitelerin bünyesinde, genişleme yolunda yönlendirici olmaktadır. Türkiye'de hızla büyümekte olan endüstriyel tasarım eğitimi çerçevesinde ise tasarım departmanlarını tanımlayıcı hizmet özellikleri veya nitelikleri hakkında nispeten az bilgi bulunmaktadır. Bu makalenin temel amacı, Türkiye'de endüstriyel tasarım bölümlerinin özelliklerini; coğrafi dağılımı, ev sahibi üniversiteler ve fakülteler, akademik kadrolar, öğrenci seçme kriterleri ve öğrenci sayılarına referansla tartışmaktır. Türkiye'de tasarım eğitiminin ilerki vadede durumuna dair öneriler ayrıca sunulmaktadır.
Foreword: A few years ago, when the ideas that motivated writing this paper first emerged, my friends and I had a hard time finding a place to smoke a "nargile (i.e. hookah, shisha)." Aside from our academic interest in objects, culture, and meanings, we really wanted to experience the "nargile" as a ritual. We eventually found a few places, but our quest for the tradition is worth analysis. Basically, we, as people living in big cities of Turkey, wanted to be a part of this mystic ritual. We knew that it was an old tradition with important geographic, historic, and contextual significances, but it was not a part of our daily lives in any sense. Why? The changing life styles dominated by the rules of societal modernization are not in conformity with the speed of such an experience so, except for a few specific places, it was not rational or profitable to sustain this kind of ritual in coffee houses. Yet we were astonished to find out that many other people in Turkey had developed a curiosity and interest in "nargile" smoking.
Today, you can see a lot of places including coffee houses and cafés that offer "nargile" smoking, along with table games that can be associated with other time-consuming pleasures. Capitalism once again found a way to incorporate a cultural element by making it widespread everywhere recklessly. Although this is the case, the emphasis of this paper is not on these formations, but rather on the “essence” of the ritual—if there is any—in contrast with a modern background such as its/our relation to the concept of time; the inner dynamics of modernity and the modern individual, and a sense of identity.
The research is conducted as an ethnographic study and the method of gathering data involved making interviews with the owners, taking pictures of the restaurants to record the material culture of the places visually and conducting questionnaires to the consumers. While issues related to representation, culture and identity made explicit through visual and material forms were elaborated, the meanings attached or the ways that the different types of restaurants function in daily life were the subject of the study.
Restaurants are classified under three main categories, as indicated in the answers of the questionnaires, that are “traditional”, “modern” and “ordinary” Turkish Restaurants. These categories reflect ideas of “designed ethniticies”, “modernized traditions” and the concept of the “ordinary/ typical”. The ways in which these concepts are represented through visuality and design on the forms of material culture were the subject of discussion.
Keywords: Identity, Ethnography, Design, Material Culture, Turkish Restaurants
When she was settled she looked up to the meaning of the term “loitering”: “waiting, hanging around, lingering, dallying, etc…” (Oxford Encyclopedia). The Oxford Advanced Learner’s Dictionary of Current English defined “to loiter” as “to stand in a public place, usually with no particular or obvious purpose.” Based on this, if a person spends time hanging around or dallying in a public place with no purpose, the act of this person is called “loitering”. In the eyes of the newcomer, we suggest that “loitering” might be equal to more or less “doing nothing”. A person who is acting in the way described is almost inactive. When we view the issue from this framework, the person does not seem to be doing anything dangerous or precarious. In essence, what right or reason does someone have to command another “do not stand here”? Actually, a person who comes across such a warning can comfortably (if ironically) say that they are doing “nothing”.
Conference Papers by Sebnem Timur Ogut
Methods: In this study, MC is used to analyse existing designs in a systematic way. This use is demonstrated through a study, using the outputs of a foundation course in design, which involves more than 300 students’ designs. This design data is evaluated and visually summarised with a created morphological chart.
Results: Sub-functions and sub-solutions of the students’ designs are explored through their design presentation boards. This data formed a matrix, with sub-functions listed vertically while their corresponding solutions are placed horizontally. That matrix is the morphological chart of these designs.
Conclusions: Necessary steps to follow in order to construct a MC for analysing existing designs are defined in this study. This use of the MC can enable easier market research, visualization of design data, and the output which is the morphological chart itself can be used as an input for both idea creation methods for designers, and it can be transferred to a spreadsheet as the input of a computer-generated design software or artificial intelligence applications.
Öz. Bu çalışma günlük yaşam teknolojileri ile iç içe geçmiş olan Tasarım Stüdyosu derslerinde kullanılacak bir araçla ilgili temel unsurları, Tasarım Tanım Belgesi kullanım pratikleri ve alışkanlıkları ile ilişkili olarak belirlemeyi amaçlamaktadır. Çalışmanın ana amacını bütüncül bir yaklaşımla ele alabilmek için nitel ve nicel yöntemlerin bir arada kullanıldığı karma bir araştırma yöntemi kullanılmıştır. Çalışmada veriler, Türkiye'de Endüstri Ürünleri Tasarımı bölümlerinde çalışan Tasarım Stüdyosu ders yürütücüleriyle yüz yüze görüşmeler ve çevrimiçi anket formlarıyla elde edilmiştir. Çalışma, Tasarım Tanım Belgesinin bazı bileşenlerinin tasarım sürecinin dinamik yapısına eşlik edecek şekilde yeniden yapılandırılması ve bulunduğu mevcut ortamla ilgili sorunlar yaşandığını belirlenlenmiştir. Tasarım Tanım Belgesinin yeni bir öğrenme aracı olarak ele alınmasında kullanılacak yeni bir ortama yönelik yeni nesil öğrencilerin görüşlerinin alınması gerektiğini önerilmektedir.
Prize for literature, Orhan Pamuk’s next novel was
entitled The Museum of Innocence. The novel,
which bears the same name as an actual museum,
is one of a kind, because before writing the novel he
started to collect the items that would be described
in the story, then, or simultaneously, he wrote the
novel and opened a museum that consists of the
The Design Journal
Sebnem Timur Ogut
46
objects depicted in the novel (Pamuk, 2008). He defines the
novel as ‘an annotated catalogue of the museum, relating
in detail the stories of each and every object’ (Pamuk,
2009: 702). This article sets out to explore, first on a semiotic
level, the struggle between the objects and their
meaning; secondly the dilemma between Lyotard’s figural
and discursive fields within the novel/museum; and finally,
with regard to its implications for design, the significance
of objects will be discussed in relation to everyday life and
material culture studies, with an emphasis on memory and
identity.
Timur Öğüt, Şebnem (2014) "Ben'in Tasarımı." ODTÜLÜ: Orta Doğu Teknik Üniversitesi Mezunlarla İletişim Dergisi. [Ben, Tasarım: Bir Fikirden Ürüne... Tasarım Aklının Hegemonya Çağı Sayısı, Sayı Editörü: Aren Kurtgözü], Sayı 53, Temmuz, Ağustos, Eylül 2014 . s.30-32
Türkiye'de Endüstriyel Tasarım Eğitimini Tanımlamak: Güncel Bir Sentez ve Gelecek için Öneriler Özet Türkiye'de endüstriyel tasarım alanında farklı düzeylerde eğitim veren üniversitelerin sayılarında son yıllarda bir artış gözlenmektedir. Bu artışın nedenleri Türkiye'deki eğitim reformlarından kaynaklanmamakla birlikte, tasarım alanı dışındaki geliş-melerde bulunabilir. Üniversitelerin şirketleşme yolundaki evrimi genellikle yabancı modellerden uyarlanmış bir iş modelini takip eder niteliktedir. Benzer eğitim modellerinin benimsenmesi endüstriyel tasarım programlarında da, özellikle özel üniver-sitelerin bünyesinde, genişleme yolunda yönlendirici olmaktadır. Türkiye'de hızla büyümekte olan endüstriyel tasarım eğitimi çerçevesinde ise tasarım departmanlarını tanımlayıcı hizmet özellikleri veya nitelikleri hakkında nispeten az bilgi bulunmaktadır. Bu makalenin temel amacı, Türkiye'de endüstriyel tasarım bölümlerinin özelliklerini; coğrafi dağılımı, ev sahibi üniversiteler ve fakülteler, akademik kadrolar, öğrenci seçme kriterleri ve öğrenci sayılarına referansla tartışmaktır. Türkiye'de tasarım eğitiminin ilerki vadede durumuna dair öneriler ayrıca sunulmaktadır.
Foreword: A few years ago, when the ideas that motivated writing this paper first emerged, my friends and I had a hard time finding a place to smoke a "nargile (i.e. hookah, shisha)." Aside from our academic interest in objects, culture, and meanings, we really wanted to experience the "nargile" as a ritual. We eventually found a few places, but our quest for the tradition is worth analysis. Basically, we, as people living in big cities of Turkey, wanted to be a part of this mystic ritual. We knew that it was an old tradition with important geographic, historic, and contextual significances, but it was not a part of our daily lives in any sense. Why? The changing life styles dominated by the rules of societal modernization are not in conformity with the speed of such an experience so, except for a few specific places, it was not rational or profitable to sustain this kind of ritual in coffee houses. Yet we were astonished to find out that many other people in Turkey had developed a curiosity and interest in "nargile" smoking.
Today, you can see a lot of places including coffee houses and cafés that offer "nargile" smoking, along with table games that can be associated with other time-consuming pleasures. Capitalism once again found a way to incorporate a cultural element by making it widespread everywhere recklessly. Although this is the case, the emphasis of this paper is not on these formations, but rather on the “essence” of the ritual—if there is any—in contrast with a modern background such as its/our relation to the concept of time; the inner dynamics of modernity and the modern individual, and a sense of identity.
The research is conducted as an ethnographic study and the method of gathering data involved making interviews with the owners, taking pictures of the restaurants to record the material culture of the places visually and conducting questionnaires to the consumers. While issues related to representation, culture and identity made explicit through visual and material forms were elaborated, the meanings attached or the ways that the different types of restaurants function in daily life were the subject of the study.
Restaurants are classified under three main categories, as indicated in the answers of the questionnaires, that are “traditional”, “modern” and “ordinary” Turkish Restaurants. These categories reflect ideas of “designed ethniticies”, “modernized traditions” and the concept of the “ordinary/ typical”. The ways in which these concepts are represented through visuality and design on the forms of material culture were the subject of discussion.
Keywords: Identity, Ethnography, Design, Material Culture, Turkish Restaurants
When she was settled she looked up to the meaning of the term “loitering”: “waiting, hanging around, lingering, dallying, etc…” (Oxford Encyclopedia). The Oxford Advanced Learner’s Dictionary of Current English defined “to loiter” as “to stand in a public place, usually with no particular or obvious purpose.” Based on this, if a person spends time hanging around or dallying in a public place with no purpose, the act of this person is called “loitering”. In the eyes of the newcomer, we suggest that “loitering” might be equal to more or less “doing nothing”. A person who is acting in the way described is almost inactive. When we view the issue from this framework, the person does not seem to be doing anything dangerous or precarious. In essence, what right or reason does someone have to command another “do not stand here”? Actually, a person who comes across such a warning can comfortably (if ironically) say that they are doing “nothing”.
Keywords: Turkish Teapot Set, Culture, Innovation, Local-Global, Tea Universe
The project started with reviewing existing board games developed to teach human rights, democracy and citizenship. Most of the existing games had different coloured units that represented different opponent players. The games were structured as a race to reach to an end by answering the questions about human rights. There was a linear succession that is continued by the throwing of dice. It has been argued by the team that this type of game structure with a layout that is familiar to almost all kinds of users/players might help to test the general knowledge about human rights and law (like the articles of Universal Declaration of Human Rights), but the link with the theme of democracy and/or human rights found to be totally thematic in a static and didactic way.
Unlike classical board game designs, the game the team generated consists of a special type of unit, a square divided into four equal parts with different colors representing all of the players in the game. The main idea is to represent not only one player as an isolated individual with one color, but all the players in the game in a communitarian
understanding, placing all of the colors into one unit. So, before one player makes a move it means that he/she has to regard how or in what respect the others are affected by this move, because every move has consequences to the other players. The individual player-individual unit-individual colour synonimities are destroyed by representing all colours/individuals in one piece. One move in the game affects all players in a reciprocal process with all hidden significations about rights, human relationships, democracy, etc. The scoring system also supports the same mentality about regarding how other players could be affected by the moves of one player.
“All- Colors-in-One” (Rengarenk) in teaching children the skills relating democracy and human rights is very illustrative in the sense that it shows the importance of the involvement of designers in an interdisciplinary group and how this can change the whole course of the project, introducing “design thinking” in the development process of the game design. . All-Colors-in-One is also significant as it incorporates a totally different approach from the classical board games with its role distribution and understanding, regarding “the Self/the Other” dichotomy in a totally different manner.
Keywords: Board Game Design, Human Rights Education, Interdisciplinarity and Design, Social Responsibility, Design Thinking, Representation of Self and the Other.
This publication consists of essays based on everyday business experience, best practices, intercultural issues affecting internationalisation, personal experience, facts based on research and of course a look into the future. There are 7 main topics on which the essays have been grouped in this publication.
• Internationalisation
• International exchange
• Intercultural experience
• Practice
• New thoughts
• Personal experience
• A challenge
I hope this publication will give readers a glimpse of how internationalisation is implemented in the art and design education world. And also give a glimpse into the thoughts of the people making this implementation of internationalisation within the art and design institutions possible.
I take this opportunity to thank our special external contributor, Hanneke Teekens to make time to write an introduction for this book. Hanneke has been working in the field of internationalisation of higher education internationally for a very long time and has experienced the different facets of internationalisation in her different roles of being a teacher, tutor, strategy maker, and director. A big thank you to all X-Fileans who have taken the time to write an essay and actually made this publication possible. Also Maria Aasma, Eija Salmi and Justyna Molik for their support all the way. A special thank you to my international team colleague Yolande Kolstee who have spent quite some time in producing this book on “Bearers of Internationalisation”.
Finally, a thank you to the President and board of Cumulus for giving us the opportunity and financial support in order to make this publication a reality.
Enjoy reading “Bearers of Internationalisation”!
Aparajita Dutta
Royal Academy of Art The Hague
Chair X-Files Working Group Cumulus
Keywords: Design, Material Culture, Objects, Tradition, Modernity, Identity, Turkish Teapot Set, Water Pipe.
Keywords: Product Design, Graphic Design, Discourse, Meaning, Semiotics.