do it yourself (DIY) and playdon’t just look, but see!

participate and personalizetales in between the past and the future

mind the gaiaevents

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İzmir University of Economics Faculty of Fine Arts and Design Magazine

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İzmir University of EconomicsFaculty of Fine Arts and Design

Sakarya Caddesi, No:156 35330 Balçova - İzmir - TURKEY

Tel : +90 (232) 279 25 25Fax: +90 (232) 279 26 26

Web Address: http://fadf.ieu.edu.tr/enE-mail: ffad@ieu.edu.tr

Dergi 5.5, as a publication of İzmir University of Economics, Faculty of Fine Arts and Design, is produced with the contribution of the faculty members. All copyrights are reserved by İzmir University of Economics and the content cannot be used without permission.

Publisher:

Managing Editor:

Ender Yazgan Bulgun (Prof. Dr., Dean of Faculty of Fine Arts and Design)

Şölen Kipöz (Assoc. Prof. Dr., Department of Fashion and Texle Design)

Dergi 5.5 is the publicaon of İzmir University of Economics, Faculty of Fine Arts and Design. ISSN: 2458-9845

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editorial

connections şölen kipözkan ve insan

do it yourself (DIY) and play actual products virtual lives özgür deniz çetin

self shelf

smart phone application for motorcyclists

orbits

reactivating kültürpark

materials that change color: smart materials, intelligent design murat bengisu

participate and personalize computer games: artistic representations and creative uses by players ece güre

bond™ application

sketch and rendering course

(un)forgotten artun özgüner

bits and pieces

t-shirt project: selfportrait as…

mind the gaia

bird house project

izmir wild life park : commercial identity

timelting

namaste

don’t just look, but see!

ilim ilim bilmekdür alessandro segalini

a design experience “under the shadow of time” elif tekcan

sentiva breast milk heater

album cover design for gypsies

objectified bodies and “tyranny of slenderness” merve köksal

tales in between the past and the future

the osophia

wise man

the girl who sold the world

is coolhunting a design profession şölen kipöz

events

robotic fabrication workshop

applied workshop for fashion

ieu - chiba university collaboration

imm cologne furniture fair participation

“las mujeres de almodovar” workshop

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The feedback from the first issue of “Dergi 5.5” has inspired us to develop the clarity of the language and create meaningful prose. To do something for the first time is difficult; it demands courage and hard work. However, once this initial stage has been overcome, we are faced with another challenge: “how do we proceed from here?” The simplest solution is to continue in the same way, as we seem to be on the right track. That is exactly the solution which we adopted, and we have continued on our way, reassured by the notion that “Dergi 5.5” has a high level of autonomy within itself. This time, however, with some little surprises and novelties...

In this issue, we call on everyone to “connect”. This platform, which highlights the connection between different design disciplines is also an ideal medium for connecting different design interpretations with the different roles of design. This connection is constructed at different levels; between amateurs and professional, between student and educator / academic, between word and image, and most importantly, between the magazine and the reader. The content of Dergi 5.5. is shaped through these connections and includes 28 art and design works from students, most of whom have been recognized for their achievement, and academics’ professional and artistic works created within the walls of the Izmir University of Economics Faculty of Fine Arts and Design. Additionally, this issue incorporates 4 impressive articles, one interview, one book review and several memorable events. Looking back over the 2013/14 academic year, in this issue we highlight the works of fall semester.

The thematic subtitles of this issue reflect contemporary design trends, which are clearly illustrated in the featured works. The first section, “Do It Yourself- “DIY and Play”, re-identifies the user as an active and interpretative individual, rather than simply being a passive consumer in the current design system. The second section, “Participate and Personalize”, promises a world in which design can be re-constructed as social and collective experience, allowing us to create user experiences of personalization through a participatory understanding of design. The third section, “Mind the Gaia”, attends carefully to the rhythms and cycles of nature, with a particular focus on the biological lifecycles of ecosystems, and, in a challenge to the anthropomorphic point of view, emphasizes design which meets the needs of all living creatures. The next section, “Don’t just look, but see!” emphasizes the social role of design, and highlights a longing for a more humanistic, ethical, emphatical, forethoughtful and inclusive understanding

of design. The last section, “Tales in between the Past and the Future”, explores imaginary and fictional design stories which navigate between the past and the future, taking a retro-futurist and postmodern point of view.

In regard to the mentioned novelties and surprises, in this issue we discuss in detail the concept of “coolhunting” as one of the promising professional perspectives for young generation, through an interview conducted with one of our workshop guests, the Italian fashion sociologist, Marco Pedroni. Another novelty is a review of the recently published work entitled “Materials that Change Color”, authored by Murat Bengisu, an academic from our own faculty together with Italian designer Marinella Ferrara. Essays authored by our young academics include “Computer Games: Artistic Representations and the Creative Uses by Players” by Ece Güre, “Real Products and Virtual Lives” by Özgür Deniz Çetin, and Elif Tekcan’s “A Design Experience Under the Shadow of Time”. We also included a review of the film “The Devil Wears Prada” by one of our own students, Merve Köksal. I would like to take this opportunity to invite students to contribute to Dergi 5.5, not only with their design projects, but also with their writing. Last, but by no means least, in this issue we have decided to make regular announcements of the most noteworthy events, in order to demonstrate our interactive understanding of education, which in our faculty is not achieved through the courses alone, but also involves workshops and seminars led by internationally recognised design professionals.

On behalf of Dergi 5.5 Creative team, I sincerely hope that, by bringing together commonalities, we have been able to create a language which can be understood by all, and have articulated design ideas in thought-provoking, entertaining and constructive prose. Finally, I would like to remind you of the importance of your feedback for us, and to invite you to download the digitally published magazine from the following address: http://issuu.com/dergi5.5, save it in a special file, enjoy reading it and share it with your friends...

* The Chief Editor and Creative Director, İzmir University of Economic, Faculty of Fine Arts and Design, Department of Fashion and Textiles

connections....şölen kipöz *

1

“ HERE’S ONE CHORD, HERE’S TWO MORE, NOW FORM YOUR OWN BAND”

FROM THE PUNK FANZINE SNIFFIN GLUE, 1970S

actual products virtual lives

HUMAN AGENCY IS BEING MINIMALIZED BY THE TECHNOLOGIES MONITORING OUR DAILY ACTIVITIES; SUCH AS EATING HABITS, MOTIONS, SLEEP AND OUR ENVIRONMENT.

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Are ever increasing advanced-technology designs the consequence of commercial competition? Or, are they miracles, making our lives easier? Perhaps they are visual tools virtualizing us? With the current state of design practice, multifaceted products, services and systems, which are derived from multidisciplinary studies, -appears as a combination of complementary parts. Nowadays, smart phones have become a vital extension of the body for some, while for others, their best friends. While creating new markets, employment opportunities and generating professional new fields, smart phones and smart phone applications are expanding their usage by enchaining products from various industries and usage areas.

Although they have brought simplicity and ease to our lives, smart phones can cause addiction, which has become a concern for social scientists. Fear of being out of mobile contact, unable to use and access to any network has entered the literature as “Nomophobia”. It is likely that this fear will increase in the near future. Some industries such as wearable devices, medical devices, and consumer electronics, have witnessed innovative studies in recent years, creating multifaceted products. These products, combined with mobile applications, are bonding our daily lives to smart phones.

In fact, we had seen similar examples of this change and tendency before. Since 1990’s we have experienced the widespread usage of internet electronic books which have replaced the sensorial experience of printed books with their unique scent and notes taken on the pages, with sliding pixels on bright white screens. Likewise, new products causing similar experiential changes increasingly penetrate our lives. Thus, the virtualization created by these changes steers the user into sensorial and emotional deficiency and artificiality.

Edyn, a company established by ecologist and soil scientist Jason Aramburu in California, USA, brings our relationship with soil and nature to our fingertips. Edyn was launched on Kickstarter website in June of 2014, in order to fund the project by crowdsourcing. Renowned designer Yves Béhar and his team accompanied Aramburu for the project to design the products and system. Edyn is a smart garden system that tracks environmental conditions, and then translates and transmits the tracked data to the user so that plants can grow in proper conditions. It is able to perform this function using a solar powered garden sensor, a separate water valve controlling the existing watering system, and mobile phone application. The garden sensor is inserted into the soil, and analyzes nutrient levels, moisture, sunlight and some other external

özgür deniz çetin *

conditions that affect the health of plants. Edyn App also monitors real time condition of the garden and gives recommendations to keep the garden and plants healthy. Despite providing technical advantages and productivity, this situation may lead to remote, meaningless gardening experiences, even without the need to visit the garden after first installation.

Jawbone, another consumer electronics company based on California, USA, has put UP into use with an integrated system, enabling the user to track how the user sleeps, moves, eats, and providing suggestions to make the user make wiser decisions. The impressively-designed Jawbone UP wristband is composed of a bendable, adjustable spring steel inner-core on which inner electronic components are mounted. All components are coated with a medical grade elastic material using a custom injection molding process. The product tracks and keeps a record of all

* İzmir University of Economics, Faculty of Fine Arts and Design, Department of Industrial Design, Research Assistant

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activities performed by user and finally transfers the data to user’s mobile phone application. The app interprets the data, gives feedback and encourages the user to reorganize the daily actions. A product acting as a personal life coach to guide the user’s daily life recalls the scenarios of dystopic science fiction movies, in which computers and electronic devices become more intelligent than humanity and rule them.

Human agency is being minimalized by the technologies monitoring our daily activities; such as eating habits, motions, sleeping, and also our environment; including the soil, the air, the sun as well as other integrated products that guide our personal decisions and emotions. The products designed by us on our own and equipped with advanced technology started to influence our lives. In this process, we are being dragged into virtual lives, like the virtual babies that glued to children’s hand during 1990’s.

http://www.psychologytoday.com/blog/reading-between-the-headlines/201307/smartphone-addictionhttp://www.edyn.com/http://www.dexigner.com/news/27515https://jawbone.com/

IMAGEShttps://jawbone.com/https://blog.wello.com/announcing-the-jawbone-up-integration/https://www.kickstarter.com/projects/edyn/edyn-welcome-to-the-connected-garden

For the study area and the library which I designed for Koçtaş Open Idea Interior Design Contest, I got inspired from the concept of Pacman. I imagined that Pacman roads seem like shelves, after one of my close friend gave me Pacman concept advice. With this idea, I created a mathematical system that enables all combinations for a practical and changeable library. Finally I designed a library that can be produced easily and at a low cost, as well as taking only a small space. However, the most important specification of this library is to help all users to put shelves and design their own libraries. That’s why I named it “Self Shelf”.

self shelf

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student designer: kaan selçuk*

*İzmir University of Economics, Faculty of Fine Arts and Design, Department of Industrial Design 3rd year Students

Note: This design has been awarded first prize in Koçtaş Open Idea Interior Design Contest.

VCD second year students of graphic design studio were asked to select a marginalized social group, to work with them, and design a social awareness campaign for their needs. Within this project, the students were asked to identify the group’s problems and to define appropriate and effective design requirements and applications.

Koray Kömürcü chooses motorbike users as his study group for this project. He identified that the motorcyclists are in great danger in traffic, and he designed a smartphone application that would alert them about the dangerous areas, traffic accidents etc. and a signage to encourage other drivers to be more careful about the motorcyclists in traffic.

*İzmir University of Economics, Faculty of Fine Arts and Design, Department Visual Communication Design, 2nd year Student

smart phone application for motorcyclists

75 percent of the motorcycle accidents happen course of the other automobile drivers. 66 percent of these accidents, automobile drivers do not give the right of way to motorcycles

AT&T

WarningYou are getting closer to danger.

student designer: koray kömürcü*

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orbits student designers: ezgi yelekoğlu* altuğ toprak*

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Orbits is a space-inspired board game which develops strategic thinking, hand-eye coordination and 3 dimensional perception skills. Orbits improves logical, kinesthetic, spatial intelligence. It is designed to increase creative thinking, problem solving, determination, observation, social abilities. The game offers an endless variety of combinations. The body is made of ABS (Acrylonitrile butadiene styrene). The orbit curves are silicon-covered steel wires. The packaging is made of PET. The production method used for the upper part of body is plastic injection. Silicon injection molding is applied to orbit curves. The production technique of package is thermoforming.

*İzmir University of Economics, Faculty of Fine Arts and Design, Department of Industrial Design 4th year students

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reactivating kültürpark

Senior architecture students considered the Kültürpark, exploring new uses for the underused fair grounds in the center of Izmir.

The project aims to explore the social and spatial implications of new lifestyles, values, attitudes to nature and urban life/experience over patterns of urban space. The main focus is to explore how architecture could contribute to the transformation of the urban park, answering the needs of current urban/social life. The recent Gezi Park protests in Istanbul have also raised questions about building in the urban parks, particularly the way we build, providing access for all, designing cohesive places and bridging the multiple heterogeneities of society. Students were asked to develop a master plan, and to design a building or a cluster of buildings which would use the spatial, socio-cultural potentials of Kültürpark. It is aimed to explore concepts such

Berk Tellioğlu

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as “building/designing in the park”, “exhibiting with the past”, “building the past”, “narrating the memories”, and “designing the memoryscapes”.

The fair/exhibition function will be moved to its new location in 2014, towards in the Uzundere area which is located on the periphery of Izmir. Therefore the future use of the area is on the agenda of urban related strategies. Kültürpark has been losing its importance, especially since 1980s due to the changing local and global circumstances. Although its “symbolic value” is not the same as it was in the past for many Izmirians, the area has important qualities, and potential to contribute to the urban life of Izmir. In this context it is important to decode these memories, and also to build with these memories to be able to sustain the potentials and symbolic values of the park.

Aegean Civilizations MuseumThe proposed Aegean Civilizations Museum will serve to enhance the cultural heritage of the area as well as enlivening Kültürpark. The ground level of the museum has an open plan designs giving way to the sloped green area, which is used for performances. Existing boundaries of the Kültürpark are redesigned according to pedestrian density.

Culinary Center in KültürparkKültürpark has a sharp inside-outside division, so the project works to create integrated spaces both inside and outside the park. The main aim is to decrease the barrier effect of the exterior wall, and exploit to integrate Kulturpark with its surroundings. The architectural design serves as a filter, and increases the infiltration of people from the outside to the inside, between Lozan and Montrö Gates.

Gözde Er

Kültürpark Mediatheque The mediatheque is a futuristic library offering a wide range of activities and events. Kültürpark Mediatheque has the potential to develop into a space that not only offers access to books, but space for communal engagement, inter-cultural and inter-generational learning. People can gather and communicate, learn and socialize, discuss and play in both physical and virtual spaces.

Aegean Civilizations Museum by Berk Tellioğlu

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Design and Education Center In order to create a street character in Kültürpark, a grid system, and follies at certain points which have different functions such as cafes, kiosks, kindergardens and shops are proposed. At the time of the fair they can be used as exhibition pavillions. A

Gözde Er

Culinary Center in Kültürpark by Gözde Er

Gülce Altınkaya

design and education center surrounding the Atlas pavillion has been designed in order to make use of its exhibition function and preserve the identity and the memory of the Atlas pavillion and also the Kültürpark itself.

Hazalsu Kızıl

materials that change color smart materials, intelligent design by marinella ferrara and murat bengisu

SMART MATERIALS PROVIDE NEW SOURCES AND PERSPECTIVES FOR INTELLIGENT DESIGN. THEY ARE EXPECTED TO BE ONE OF THE KEY CONTRIBUTORS TO

REVOLUTIONARY PRODUCTS AND SYSTEMS OF THE NEAR FUTURE.

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The idea of writing a book on materials that change color was born when M. Bengisu from the Dept. of Industrial Design, IEU, and M. Ferrara from Design Dept., Politecnico di Milano were discussing the translation of an Italian book on a similar subject (Materiali Intelligenti, Sensibili, Interattivi) to English. The two academicians met during the Agrindustrial Design Symposium in 2012 hosted by FFAD and have been cooperating ever since. Instead of making a translation, they decided to write a completely new book entitled ‘Materials that Change Color’ focusing on design with chromogenic materials.

After a year of careful selection and analysis of literature, projects,

videos, and applications, the book was completed by the end of 2013. It was published this year by Springer in the series “POLIMI Springer Briefs”. The book presents a design-driven investigation into materials that change color. These materials belong to the new class of high-performance materials, commonly known as smart materials, developed by researchers, engineers, manufacturers, and designers. They are now available to be applied by designers to consumer products.

This book introduces materials that change color with the aim of supplying basic information on them. Various categories of these materials are presented along with their behaviors in relation to

murat bengisu *

Felice LimosaniFelice Limosani

Globe of Science and Innovation Globe of Science and Innovation

the stimuli to which they react and other basic information, like characteristics, advantages, potentialities, production processes, and challenges for applications.

The book also presents a number of case studies: products, projects, concepts and experiments using smart materials, thus mapping out new design territories, roles and opportunities for these innovative materials. These case studies were chosen by the authors based on their capacity to represent state of the art projects and experiments in different fields of design, including product, interior, fashion and communication design.

Within the context of rising sustainable and human-centered design agendas, this book will demonstrate the role and influence of these new materials and technologies on design, and discuss how they can implement and redefine our objects and spaces to encourage more resilient environments. The applications of smart materials are able to safeguard energy and material resources, to enrich product function, aesthetics, safety, and their

* İzmir University of Economics, Faculty of Fine Arts and Design, Department of Industrial Design, Academic Member

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communicative potential, and to contribute to a pleasurable user-product interaction. Once these potentials are put into action in a tangible project, it is possible to talk about intelligent design.

Smart materials provide new sources and perspectives for intelligent design. They are expected to be one of the key contributors to revolutionary products and systems of the near future. This book is meant to be a witness to the first steps toward a more human-centered, sustainable, and hopefully enjoyable future.

IMAGESSquidarella, color changing umbrella by SquidLondon, 2011Felice Limosani, The Art of Transitions, 2012Rainforest Dress with hydrochromic and photochromic ink by Amy Winters, 2011Interior view of the Globe of Science and Innovation, Geneva, using electrochromic glass technology

Squidarella

Rainforest Dress

Rainforest Dress

“YOU’RE BEAUTIFUL, BUT YOU’RE EMPTY...ONE COULDN’T DIE FOR YOU. OF COURSE, AN ORDINARY PASSERBY WOULD THINK MY ROSE LOOKED JUST LIKE YOU. BUT MY ROSE, ALL ON HER OWN, IS MORE IMPORTANT THAN ALL OF YOU TOGETHER, SINCE SHE’S THE ONE I’VE WATERED. SINCE SHE’S THE ONE I PUT UNDER GLASS, SINCE SHE’S THE ONE I SHELTERED BEHIND THE SCREEN. SINCE SHE’S THE ONE FOR WHOM I KILLED THE CATERPILLARS (EXCEPT THE TWO OR THREE BUTTERFLIES). SINCE SHE’S THE ONE I LISTENED TO WHEN SHE COMPLAINED, OR WHEN SHE BOASTED, OR EVEN SOMETIMES

WHEN SHE SAID NOTHING AT ALL. SINCE SHE’S MY ROSE.”

ANTOINE DE SAINT-EXUPÉRY, THE LITTLE PRINCE

Players interact within the game worlds through their virtual representations: avatars1 . The representation of the player in games is solely based on language and visuals, as representations of the players pre-determined by the designers, although the player may have a chance to alter them. The created content that is intended to be used for representational concepts within a game is called “Game Art”2.

The artwork presentations in games are tools for the representation of items from our daily tools; I will call them “items”, the access of the user to them are limited by the designers and programmers. They have two uses, a primary use and a secondary use. For instance, a piece of iron ore as visualized in the virtual world is limited to be used to create iron ingots (Figure 1). It may also have a secondary use, to be used in another trade skill3 , for example,

THE REPRESENTATION OF THE PLAYER IN GAMES IS ACHIEVED BY LANGUAGE AND THE VISUALS WHICH ARE PRE-DETERMINED BY DESIGNERS THAT ALLOWS

PLAYERS TO ALTER THEM. alchemy within the limited possibilities of the virtual world. Can there be a completely spontaneous third use?

It is not possible to create a third meaning in the modern virtual worlds. The use of the items is, as I stated above, limited by the designers. Items are constructed within the system of the game, and it is not possible for the player to modify or alter them. However there is one different game out there, old but still available. Ultima Online, when it was released back in 1997 was the first game to exceed 100.000 subscribers. One of the reasons of the popularity was certainly the freedom of the player. The open world environment and the detailed skill and crafting system gave hundreds of possibilities for the players to explore. These possibilities included being able to craft furniture for houses

ece güre *

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Figure 1. A Forge Mined Ore in 1st Bag Smelted Ingots in 2nd Bag

computer games: artistic representations and creative uses by players

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* İzmir University of Economics, Faculty of Fine Arts and Design, Department of Visual Communication Design, Teaching Assistant

they could place within the wild. The furnishing system worked by throwing an item on the owned space, then locking it down with text commands. This gave the players the opportunity to craft, then design creative furnishings for their houses, using the items either created or found within the game world. Then the design madness started; players spent hours to creating sculptures with the items available (Figure 2).

The technical limitations are needed in order to provide a stable gaming experience to the players. The graphics have become perfect looking, but their uses by the players are more limited than before. Most of the time, an item cannot be used except for its mandatory purposes in the game world, in order to decrease the data load. This leads the mechanical play, and player lose the potential to increase the creativity of their own gaming experience. This leads to a rapid consumption of the graphics, and a repeating patterns og games.

Figure 2: A ”bench” visual A Library Made from “Bench” visuals.

1 “Avatar”: (usually translated from Sanskrit as incarnation) is the graphical representation of the user or the user’s alter ego or character.

2 “Game Art”: The necessary works of visuals for preparing the in-game representations.

3 “Trade Skills”: Necessary skills to be performed by the player in order to participate in the economic system of a game.

bond™ application

Bond™ Application is a smartphone and tablet application. Like in all other applications, Bond™ requires the generation of a user profile. After that, users can start to use the application. The user initially chooses his drink, and then he decides on going to one of the recommended businesses that the application offers according to the chosen drink. When the quota of the business chosen is full, the bartender heads to the Bond™ table and starts the service. After the accomplishment of the first mission, those who want to move on choose what to listen to, and in accordance with their choices, they decide on one of the recommended businesses. At the final step, the users who continue choose a topic among the three trending topics. All three missions finish after the completion of the third step.

In this way, users accomplish three missions in different businesses. For using this application, they get drinks at a 20% discount. Besides, as a reward to the users who finished all the three tasks, a drink, selected by agreement with the business, is given by the final business.

Doğa Usturga

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Designer Students: Ceren Demirkılınç, Hazel Bayındır, Deniz Büküşoğlu, Begüm Özmeriç, Pınar Arabağ, Simge Canbek, Öykü Köyağasıoğlu (İzmir University of Economics, Faculty of Fine Arts and Design, Department of Industrial Design 4th year students)

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Industrial Design Department 1st year students presented their skills developed during Sketching and Rendering Techniques in Industrial Design course in 2013-2014 fall semester, in Fine Arts and Design Faculty showcase. Students stylized their names using their own unique sketching characteristics. Each adapted an iconic industrial design object as a letter of their names, thus also exhibiting historical designs and their designer. Students used a window-painting technique for this practice, and sketches are displayed both individually, and also combined to create a collage of work.

sketch and rendering course

Course Lecturers: Derya Irkdaş, Department of Industrial Design, LecturerÖzgür Deniz Çetin, Department of Industrial Design, Research Assistant

(un)forgotten artist / designer: şölen kipöz*

Tjasa Bavcon and Katja Burger) is noteworthy with a woman’s-body- centered approach to design ethics. These five women started off by reading Clarissa P. Estés’s book Women Who Run With the Wolves, Myths and Stories of the Wild Woman Archetype and were inspired by the pagan culture and the wild women who refused to forsake their immediate and intimate relationship with the nature.

Among these projects which express the female memory, endowed with fertility, with its use of local and sustainable materials, i.e. a series of rag dolls, Kipöz’s Legacy in the Pocket is striking. Inspired by a tale in Estes’s book that tells the story of a girl who reaches maturity with the help of the rag doll she keeps in her pocket, a legacy from her mother, Kipöz incarnates the female memory in rag dolls. The rag dolls are designed by Kipöz, and each derives its own soul and story from their dress makers, who are all members of Ödemiş Women’s Cooperative.

In regard to the souls of rag dolls, their relationship with the pagan cultures comes to mind. Animist beliefs, the belief that objects have souls, are common in cultures that have not lost connection with nature. In this context, the rag dolls may be understood as objects transposing the female memory through generations, and may even be seen as entities animating legacies. Kipöz’s rag dolls act as virtual mnemonic devices which aid women in passing on their connection with nature through the generations in a natural way. This is a common legacy, and we are reminded that the soul breathed into the rag dolls binds women, through collective memory, to a world where fertility and nature are an intrinsic part of one another. The world that the rag doll reminds us of is a world only known and accessible to women, excluded from men, privileged but partially lost.

Thus the common ground of the rag dolls is this partially lost world of femininity, even though the stories that breathe souls into them are quite diverse. For example, the rag doll named Sad Bride carries the soul of a woman who became a bride without a bridesgown, at the age of thirteen, and then a mother at the age of eighteen. Bouquet of Flowers apparently bears the hope of blooming again, leaving the sad past behind, however it is added that the brown cord represents the things that cannot be changed. Another woman designed her rag doll with a beachwear, expressing a longing for the sea, because she never had the chance

The third Port Izmir Triennale, held between 21 March – 26 June, focused on how much art’s power of change is impacted when art is robbed of all its disciplinary weapons, and steps down from its high pedestal. Curator Saša Nabergoj attains this by field-work, inquiring into the potential of artists in changing ideas. This she attains by not only relying on the artists’ expertise on systematic methods, and materials but also found materials and found methods where the artists work. This time there is no forgotten city, no forgotten space.

Among these field works, Body / Clothes / Memory – Slow Design by Şölen Kipöz, Mine Ovacık, and OLOOP Design (Jasminka Fercek,

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artun özgüner**

*İzmir University of Economics, Faculty of Fine Arts and Design, Department of Fashion and Textile Design, Academic Member**İzmir University of Economics, Faculty of Fine Arts and Design, Department of Visual Communication Design, Research Assistant

THE RAG DOLLS MAY BE UNDERSTOOD AS OBJECTS TRANSPOSING THE FEMALE MEMORY THROUGH GENERATIONS, AND MAY EVEN BE SEEN

AS ENTITIES ANIMATING LEGACIES.

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to swim in the sea as a child. These, as Kipöz also expresses, are the stories that women feel deep inside, but men can only superficially understand. I cannot keep myself from asking enviously, whether this feminine wisdom would have refreshed our lives with its quiet depth, if it was not for the modern lifestyle rising on masculine qualities.

Only time will tell whether the Triennale will be a mnemonic device for Izmir like Kipöz’s rag dolls; however, it is evident that it has already been effective against the erosion of memory in our city.

bits and pieces artist: nina kertselli *

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VCD instructor Nina Kertselli had a personal exhibition entitled ‘Bits and Pieces’ in the Kermozade Art Gallery of Mardin Artuklu Univesity’s Faculty of Fine Arts. The artist, who received her education in History and Theory of Architecture at Moscow Architectural Institute, exhibited circa 100 works of drawing on paper and canvas, executed between 2000 – 2012. The works are composed of a series which invite the viewer to perspectival distortions, and draw them to dreamlike spaces.

To create her wide range of works she uses paper that has limited and very personal use, recycling all sorts of scribbles and sketches, paints them over, wraps existing images in intricate lines, extending and deforming them. Diary entries with lines blotted out, imaginary architectural compositions…

Kertselli reorganizes the original “chaos” in her own individual way and makes the tangle of original connections ever more complicated and tight.

In the artist’s work, aberration is given a special place, often, or rather always taking over the norm, questioning the norm itself. Departing from ‘’normal’’, the images are landing in a most enigmatic ‘’everybody’s land’’, creating a web of faintly recognizable symbols, as in memories or in a dream.

Place: Mardin Artuklu University Faculty of Fine Arts and Design Kermozade Art GalleryDate: 18 December 2013-18 January 2014

IN KERTSELLI’S WORK, ABERRATION IS GIVEN A SPECIAL PLACE, OFTEN, OR RATHER ALWAYS TAKING OVER THE NORM, QUESTIONING THE NORM ITSELF.

23

* İzmir University of Economics, Faculty of Fine Arts and Design, Department of Visual Communication Design, Lecturer

“T-shirt project: Selfportrait as…” is a part of VCD course “Drawing Techniques for Print” and an ongoing Project, in which first year VCD students (and several visiting students, guests of our studio)

t-shirt project: selfportrait as…

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are working on realistic self-portraits, choosing an artist from the list given by the instructor, and rework their drawings to depict themselves in the manner of the chosen artists.

Can Aviral / Tim Burton

Uğurcan Özmen / Roy Lichtenstein

Berk Yengül / Malevich

Utku Taykut/ Philippe Druillet

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Erkam Doğrusöz / Jackson Pollock

İlke Karademir / Hokusai Berkay Gürel / Neşet GünalUtku Taykut/ Philippe Druillet

Onur Hoşbak / Egon Schiele

Course Lecturers: Nina Kertselli, Department of Visual Communication Design LecturerBaşak İnce, Department of Visual Communication Design Part Time Lecturer

DRYAD OF THE RAINFOREST; “HOW CAN HUMANS BE HAPPY? FOR EVERY TREE THEY CUT DOWN A FUTURE CHILD DIES AND THERE ARE MORE TREES THAN CHILDREN. SOME PEOPLE KNOW THESE THINGS BUT THEY PLAN TO END THE FOREST IN ONE GENERATION”.

(NOBODY HEARS HER...)

VIVIENNE WESTWOOD, MANIFESTO: “ACTIVE RESISTANCE TO PROPAGANDA”

bird house project

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“Layer House” is designed for the Swallow, which is known for its visual aesthetic, and it nests in the corners of house balconies. Different layers are created for insulation and additional places are designed for birds to perch safely. In addition, the project’s 45 degree angled supplementary layers was applied to create corners, even on flat walls. The bird house was completed, leaving the birds to finish the hollow part of the layers.

The bird houses are designed by the 2nd year Industrial Design students to demonstrate alternatives to bird houses that interact with people and nature. In this project, four designs entitled “Helix House”, “Layer House” , “Misti” and “Stash “ have combined aesthetic and functional values by representing the characteristics of different birds. Two different products are designed in the same family, considering the limitations of materials. Organic materials, such as terracotta, earthenware and wood were used to construct the houses.

layer house: Kardelen Cici

“Helix House “ is designed for the Oven Bird. This bird makes its house from mud. Considering that, the form was left uncompleted, like the original house, and it is thought that the spiral entrance of the house would be completed by the bird itself. Also, the back

part of the house was made with the attribute of hanging places such as walls and trees, by considering the habitat variety of the house.

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misti: canan ertürk

“Misti” is designed for the Mistle Thursh. Its shape is inspired by the bird’s natural house. It ıs designed to be used on the trees which had mistletoe growing on it. Mistletoe is used in the medical

and cosmetic sectors, and it can be pullulated only by birds. Misti is also designed to allow pullulation of mistletoe by the mistle thursh.

helix house: melis akan

izmir wild life park : corporate identity design

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Within the Visual Communication Design second year graphic design studio, students were asked to design a new corporate identity for re-branding İzmir Zoo / İzmir Wild Life Park. These designs were expected to be in coherence with the institution’s identity and be simple to understand, while communicating the

Emine Eren

Businesscard

LetterheadPictogramsPictograms

Logo

Envelope

PictogramsPictograms

İZMİR WILDLIFE PARK

visual information. As part of the project, the students designed letterheads, envelopes, and business cards within the context of the new visual identity, and applied these visuals on signages of metal, wood or other materials.

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İZMİRDOĞALYAŞAMPARKI

İzmir Doğal Yaşam Parkı Sasalı Çiğli / İZMİR 0232 327 30 16 0232 327 30 17 dogalyasam@izmir.bel.tr

İZMİRDOĞALYAŞAMPARKI Şahin AFŞİN

İzmir Doğal Yaşam Parkı Sasalı Çiğli/İZMİR0232 327 30 160232 392 00 46dogalyasam@izmir.bel.tr

Şube Müdürü

İZMİRDOĞALYAŞAMPARKI

İZMİRDOĞALYAŞAMPARKI

İzmir Doğal Yaşam Parkı Sasalı Çiğli / İZMİR 0 232 327 30 16 0 232 327 30 17 dogalyasam@izmir.bel.tr

İZMİRDOĞALYAŞAMPARKI

İZMİRDOĞALYAŞAMPARKI

İZMİR DOĞAL YAŞAM PARKI

Güney Taşçıoğlu

Oğulcan Köstenoğlu

time-melting student designer: tülin gülhan*

The design which is prepared for IF Wedding 2014 National Wedding Dress Design Competition is created with the influence of of concept of cinema. By melting fabrics in high temperature different and remarkable surface was created.

Basically, cinema is a dark room with a projection. This projection shows us our dreams and we leave our own lives behind the door and start to live in that dream for a while. In every movie we find something from ourselves and we re-live that moment. Melting fabrics symbolize the memories that we have lived and the silky flared fabrics symbolize the projection light and our dreams. In that design magical effect has been created by the form of the dress and two long cloaks.

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* İzmir University of Economics, Faculty of Fine Arts and Design, Department of Fashion and Textile Design 4th year Student

namaste student designer: şeyma aslın*

Yoga is a physical, mental and spiritual activity. It aims to clean and empower the one’s aura. Our auras are bounded and dependent on the sun.

Today’s technology, high buildings and fast living cities have generated a personal evolution. We are now surrounded by artificial lights and shadows. This change has had an effect on all areas of our lives and we adjusted these new circumstances.

The Namaste collection started with the idea that our auras are sharp, edgy and shady, and was produced to create an awareness of this.

The Namaste is a collection that does not belong to any trend, but allows for the personal manipulations by manipulating materials and patterns.By pleating and layering, the special designed plastic-coated cotton fabric, I try to achieve sharp geometric forms, and by using only the color white, I try to emphasis the shadows.

* İzmir University of Economics, Faculty of Fine Arts and Design, Department of Fashion and Textile Design 4th year Student

Note: This design has been awarded Cotton Design Special Prize in EIB Fashion Design Contest

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“THE EPITOME OF EMPATHY IS SAID TO BE THE CAPACITY TO LOOK AT THE WORLD THROUGH ANOTHER’S EYES. THOUGH OUR GLANCE ON THE PLANET IS LARGELY DISTORTED BY OUR CROOKED PERSPECTIVES, WE MAY NEVERTHELESS, WITH LUCK OR AGILITY, SEE THE WORLD FOR A MOMENT THROUGH ANOTHER’S EYES AND ELUDE OUR OWN RELATIVITY.”

ALAIN DE BOTTON, KISS AND TELL

ilim ilim bilmekdür** artist: alessandro segalini*

The “İİB” poster (70x100cm) by Alessandro Segalini was originally designed for the exhibition Yunus Emre as part of the 5th “Artistic Reflections of Calligraphy & Typography” event at Eskişehir Anadolu University Library Exhibition Halls, Turkey.

The same year, the poster was selected for the IPEK 2013, International Poster Exhibition Korea (ex Korea International Poster Biennale), 4–9 December, 2013. The event took place at the Korean Design Center (Exhibition Hall) and was hosted by the Korea Institute of Design Promotion, managed by the Visual Information Design Association of Korea. 300 designers exhibited, about 100 from Korea and about 200 international.The text/poster page was made in collaboration with Turkish

poet & translator Oruç Aruoba, and the design is based on CMP layouts (also designed by Segalini, contramundum.net).

Aruoba especially translated Yunus Emre’s poem “İlim ilim bilmekdür” into English for this artwork. None of Yûnus Emre’s poems has ever been translated/rendered in such fashion before. The orthography in Aruoba’s translation has been adopted into stanza form, to conform more to the pronounced (metered/rhymed) oral form than the couplet form of the written version. The original fromwhich the translation is made is to be found in Fatih Sultan Mehmed’s own copy of the complete compilation of the poetry of Yûnus Emre, in Istanbul Topkapı Palace Library (ed. Mustafa Tatçı, 2006).

THE POEM OF YUNUS EMRE IS RE-INTERPRETED WITH THE CALIGRAPHIC DESIGN OF A. SEGALINI AND THE TRANSLATION OF O. ARUOBA

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** Knowledge is to know science

* İzmir University of Economics, Faculty of Fine Arts and Design, Department of Visual Communication Design, Lecturer

–

9/12/13 DecoType SVG

www.decotype.com/svg/ 1/1

FONT SELECT NASKH

Knowledge is to know science

science is to know oneself

.you have not learned yourself

then what good is all reading

.What is the sense in reading

but to come to know the Righteous

when having read you do not know

then ’tis but a withered labour

.Do not say I read have known

have perused many a tome

if you do not know Man as Right

’tis all an exercise good for naught

� e sense of all Four Books

is evident in a single aleph

.you keep uttering aleph Hodja

what does it all amount to

.Yûnus Emre tells you oh Hodja

even if you undertake many a hajj

’tis much better st ill to try

.to enter into a single heart

.‘İlim ‘ilim bilmekdür

.‘ilim kendin bilmekdür

sen kendüni bilmezsin

yâ niçe okumakdur

Okumakdan ma‘nî ne

kişi Hakk’ı bilmekdür

‘çün okudun bilmezsin

hâ bir kurı emekdür

Okıdum bildüm dime

çok tâ‘at kıldum dime

Eri Hak bilmezisen

‘abes yire yilmekdür

Dört Kitâb’un ma‘nîsi

bellüdür bir elifde

sen elif dirsün hoca

ma‘nîsi ne dimekdür

Yûnus Emre dir hoca

gerekse var bin hacca

hepisinden eyüce

bir gönüle girmekdür

(§ /t. a.)

Translation: Oruç Aruoba © September

Design & typesetting: Alessandro Segalini © September , based on Contra Mundum Press layouts (contramundum.net)

Latin typeface: Adobe Jenson by Robert Slimbach © –

Arabic typeface: DecoType Naskh by Mirjam Somers & � omas Milo © –

Special thanks: Rainer J. Hanshe

T’ N : � e original used in the translation [& here given] is to be found in Fatih Sultan Mehmed’s

own copy of the Divan (complete compilation of the poetry) of Yunus Emre, in the Topkapı Palace Library (ed.

Must afa Tatçı, Kültür Bak., ). ¶ � e orthography here has been adopted to st anza (kıta) form, to conform more

to the pronounced (metered /rhymed) oral form than the couplet (beyit) form of the written version.

My thanks go to my friend Ekrem Işın for valuable editorial advice. — O A

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a design experience “under the shadow of time” designer: elif tekcan*

Turkey’s endeavor for being a brand in the field of design gained momentum with the various foundations and associations that broaden the scope of design-related activities for this purpose. These foundations, established to provide cooperation and solidarity among designers, local producers and sector include Design Foundation İstanbul. This foundation, established by architect Faruk Malhan, started to organize design workshops intended for different design disciplines. Under the guidance of professional team leaders, these workshops are now providing an extraordinary design experience for young designers who have unique design approaches.

Considering the limited time currently allocated for creative design process and the methods that were used to achieve the result, the workshops were intended to create an environment in which designers can be productive by thinking, feeling and experimenting more than they can at present. This is important, as the ultimate aim of the workshop is to produce design ideas that can attract the attention of the industry. In addition, this event provides a direct access to cultural objects that can inspire participant designers, providing an opportunity to see local sources and production techniques in context. In this framework, the second workshop (about textile design) organized by the foundation was shaped around the concept of the “Shadow of Time”, on the axis of İstanbul – Gaziantep – Bursa.

The workshop, “Shadow of Time” in which I participated as a designer started with design brief given by Faruk Malhan, after seminars organized in Koleksiyon Tarabya Campus. In these seminars, Prof. Dr. Ender Yazgan Bulgun (the Dean of the Faculty

of Fine Arts and Design), and Asst. Prof. Dilek Himam Er were guest speakers. Dilek Himam Er informed the audience about the designs and history of Sümerbank, which set an important example for the transformation of localness into design. In the continuation of the program, the first expedition, which was intended to create a conceptual background for the products, was made to Gaziantep. Here, Zeugma Museum and an atelier for the manufacture of rarely found “kutnu weavings” were visited. Afterwards, a transformation process of wool into clothing was observed in the Bursa Merinos Factory, which has an important place in Turkish Textile History. The factory has recently been transformed into a Textile and Industry Museum. After cultural visits to Grand Mosque, Silk Bazaar, Karagöz Museum and the City Museum, a design and production process started in the facilities of the sponsor foundation Vanelli Textile. Designs which were visualized using various techniques (2-D, 3-D collage, digital drawing techniques, sketching etc.) were woven using different thread choices and manufacturing methods, and samples were produced. At the end of this workshop, these samples and design processes were demonstrated to the company employees, the members of Design Foundation and to the press.

Design Process

11 designs produced at the end of the workshop, were inspired by historical structures, art works, stories and artistic details which designers found impressive. While pursuing “the shadow of time” in the museums and the other historical locations, I first considered that time, contrary to conjectural understanding, was not composed of a horizontal linearity which combined past to the future.

TURKEY’S ENDEAVOR FOR BEING A BRAND IN THE FIELD OF DESIGN GAINED MOMENTUM WITH THE VARIOUS FOUNDATIONS AND ASSOCIATIONS THAT BROADEN THE SCOPE OF DESIGN-RELATED ACTIVITIES FOR THIS PURPOSE. THESE FOUNDATIONS, ESTABLISHED TO PROVIDE COOPERATION AND SOLIDARITY AMONG DESIGNERS, LOCAL PRODUCERS AND

SECTOR INCLUDE DESIGN FOUNDATION İSTANBUL.

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author /

Cultural objects, belongs to different time periods and communities were observed in the same short space of time, and this situation allowed visitors to create connections between different time periods, and bring new aesthetical understandings during the tour. Similar geometries and figures were transformed according to the spirit of time, and the new intersections, combinations and color choices created an infinite number of design possibilities. The piece that gave me an inspiration was a mosaic that I encountered in Zeugma Museum. The reason why I found it different was the pattern of mosaic, which create various connotations about different historical periods. This pattern might be a decoration inside the dome of a mosque, for instance, it is very similar in structure to a central circle surrounded by 8 circular elements seen on the interior dome of Selimiye.

In this work, I searched for the traces of time on intersecting lines, by analyzing the geometric structure of the pattern. I prepared two design samples, both inspired by the same piece. In the first design, I simplified the pattern to the single line, by intervening in some points, and in the second one, I made the simplification by separating the geometric pattern in different layers, and at each step I decreased the number of overlapping layers. During these decomposition and simplification processes, the pattern gained new temporal and aesthetical connotations, as the connection from its origins were broken. From top to bottom, the progress of the pattern, which started with straight lines, aimed to reflect the concept that both time and the design process are not linear but cumulative notions.

* İzmir University of Economics, Faculty of Fine Arts and Design, Department of Fashion and Textile Design, Research Assistant

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author /

Working mothers can save their milk in deep freeze. When the feeding time comes the person looking after the baby takes the milk and puts into fridge to defrost. After 90 minutes she holds bottle under hot flowing water to warm it, then checks the temperature with her hand.

Sentiva is designed to make this easy. It uses bains-marie method to heat and defrost. It stops and sounds an alarm when the milk’s temperature reaches 35°C. The baby minder takes the milk from the deep freeze and directly puts it into Sentiva. There are

3 options. 1.”Defrost” Option - It defrosts then heats the milk. 2. “Heat” Option - Uses to heat milk that waits few hours in fridge. 3.”Keep Warm” Option - Sometimes baby cannot finish all the milk. Because of degradation, you have to throw away the milk. This option allows the milk to be kept up to 4 hours by maintaining a constant temperature.

* İzmir University of Economics, Faculty of Fine Arts and Design, Department of Industrial Design, 3rd year

sentiva breast milk heater designer student: başak yunatcı*

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VCD second year students of graphic design studio were asked to select a marginalized social group, to work with them and design a social awareness campaign for their needs. Within this Project, the students were asked to identify the group’s problems, and to define appropriate and effective design requirements and applications.

Doğa Usturga selected gypsies for this project. She identified that this group were excluded from the society since they are automatically considered “thieves”. In her design, she decided to present the visual information using the music industry, and therefore designed a CD cover and CD label.

* İzmir University of Economics, Faculty of Fine Arts and Design, Department of Visual Cummunication Design, 2nd year

S E V E R L E RBirbirini

Y A S A Y A M A Z

vebilmedikleriniz...

Gamzeli Yarim

Tepecikli Mi

Ille De Roman Olsun

Mahallenin Güzeli Sezen

Çiçekçi Kız

S E V E R L E RBirbirini

Y A S A Y A M A Z

S E V E R L E RBirbirini

Y A S A Y A M A Z

vebilmedikleriniz...

Gamzeli Yarim

Tepecikli Mi

Ille De Roman Olsun

Mahallenin Güzeli Sezen

Çiçekçi Kız

album cover design for gypsies designer student: doğa usturga*

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objectified bodies and “tyranny of slenderness”merve köksal*

“The Devil Wears Prada” being one of the popular movies of 2000’s, depicts the complex sides of the fashion industry, power balances and idealized beauty in contradictory perspectives. Andrea unwillingly finds herself in the fashion world when she gets a job as a second assistant in prestigious fashion magazine, Runway. Soon, she is surrounded by women obsessed with their looks, and whose clothes cost at least twice as much as their monthly salaries. For a while, Andrea doesn’t compromise on her habits secretly and makes fun of them until Miranda (the woman at the pinnacle) started to denigrate her for her anti-fashion look. Miranda is a strong role model character who expresses female power with every verbal and nonverbal action. The psychological abuse, fear of exclusion, the desire to be in favour with the powerful, and be appreciated by authority led Andrea to make certain changes on her appearance, in her personal relations, and even on her own body.

Throughout the film, almost everthing is objectified to symbolize power, such as the very expensive and stylish clothes. Also, being skinny is necessary method to achieve power, resulting in the objectification of the body. “Tyranny of slenderness” shapes women in mental and pyhsical aspects. The standards of physical attractiveness is determined by the world of fashion. The subjection of the female body through disciplinary practices such as beauty regimes, produce a form of embodiment which conforms to prevailing norms of feminine beauty and attractiveness. There is this obsessive belief that no female can achieve status without an appropriate body, which this is a prevailing fashion tyranny. On the other hand, what we see here is not traditional female figure who is domestic and without personal ambition of any sort. Miranda is proficient at using power. Unlike her, Andrea is a product of a patriarchal society. The most important people in her life represent society’s expectations. In the end, she leaves the artificial unimportant world of fashion and the powerful evil women; rejects the fancy clothes, and gets a job at a traditional

43

newspaper to write stories about important issues. Above all, she starts to work for a male who, according to the patriarchal society’s perspective, is the legitimate holder of power. She changed, before, to be accepted by the world of fashion, and then changes again to regain the support of her friends and relatives.

People have desire to purchase simulacrums rather than products. Goods are fetishes, they are bought for what they represent in a particular socio-cultural context, and not for what they really are. Runway represents the mythical side of fashion, which produces meanings and all products of the fashion industry are designed for profit. Each month, Runway magazine sells billions, and

expectations are increasing with in each issue. In this aggressive competitive environment, everything is in the hands of influential actors of the fashion media. It is the most important part of the chain; a kind of marketing of the ‘image’. It is a seduction process, the consumer wants to live in an imaginary world of commodities, and Miranda has to give it to them to satisfy the stakeholders. It is more than a fashion magazine, it is a monthly Bible for a fashion follower. The culture industry claims that “there is something different for everyone” but in fact they are all variations of the same thing. Yet, in the eyes of Miranda, there are many differences between two belts which look exactly the same at first glance.

* İzmir University of Economics, Faculty of Fine Arts and Design, Department of Fashion and Textile Design, 3rd year

“LET’S TAKE OUR BEARINGS WITHIN ANOTHER TIME-SET. THE ETERNAL, ACCORDING TO SPINOZA, IS NOW. IT IS NOT SOMETHING AWAITING US, BUT SOMETHING WE ENCOUNTER DURING THOSE BRIEF YET TIMELESS MOMENTS WHEN EVERYTHING ACCOMMODATES

EVERYTHING AND NO EXCHANGE IS INADEQUATE.”

JOHN BERGER, HOLD EVERYTHING DEAR

the osophia designer student: buse buluç*

This space is designed as a youth center, which is designed for a movie scenario, created by the designer for the year 2063. In this scenario, people became lonely due to the development of technology, without really being aware of it. Later, a group of young people with a leader decided to build their own space to spend their life. The building is an existing neoclassical building located in Konak, İzmir. It has three floors. The ground floor serves for temple, pool and meditation area, the first floor for bar, dancing and eating area, and the third floor for the enlightenment area.

* İzmir University of Economics, Faculty of Fine Arts and Design, Department of Interior Architecture and Environmental Design, 4th year

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wise man designer student: can ceylaner*

Wise Water Research Center is the concept design project for Wise Man movie. The project was made for fourth year design studio, Visionary and Future Interior Architecture Studies. The project started with a movie scenario and this one is about the last intelligent person on earth: the magnificent Wise Man! In the scenario, a unique research center for the year 2064 is designed. Wise Water Research Center is designed as the highest-security science center. The facility contains offices, meeting rooms, server areas and a special room for the Wise Man. Four great libraries welcome the researchers, and all functional areas are focused on the main mind tube. The ground floor contains more private areas, and first floor is fully designed for the purpose of research. The Building is the Izmir University of Economics’ main library.

*İzmir University of Economics, Faculty of Fine Arts and Design, Department of Interior Architecture and Environmental Design, 4th year

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the girl who sold the world Fashion Editor / Styling : Merve Köksal*

Jacket: MangoShirt: Batik

Trousers: H&M

This editorial photo shooting is prepared within Fashion Criticism course with an intention of publishing in a fashion magazine. This is the story; this is a great time to be a glam chick. Rebellious spirit meets bright, flashy colors of 80s to celebrate David Bowie. Leather leggings, sequined jackets, diamond earrings, furs and shiny velvets are calling us to incompatible effulgence. Bowie’s sense of fashion lies beyond this glamour and still enchants us.

*İzmir University of Economics, Faculty of Fine Arts and Design, Department of Fashion and Textile Design, 3rd year

Fotoğraf: Rohat Türk, İzmir University of Economics, Faculty of Fine Arts and Design, Department of Visual Cummunication Design, 2nd year

Model: Ceren Demirkılınç, İzmir University of Economics, Faculty of Fine Arts and Design, Department of Industrial Design, 4th year

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Fur: Beaumont Blouse: Forever New

Shorts: PiecesShoes: Hotiç

Marco Pedroni is an Italian fashion scholar who completed his Ph.D. in Sociology and Methodology of Social Research. Currently he is working as a Research Fellow at the Università Cattolica of Milan, researching on coolhunting, fashion retail, fashion communication (blogs, fashion-themed TV shows, social network sites), and fashion theory.

He visited our faculty to give a seminar and for conducting a workshop on coolhunting with fashion and textile design students within Fasihon Trends and Predictions course. He is the author of the book “ Coolhunting” (FrancoAngeli, Milan 2010) and the editor of “From Production To Consumption: The Cultural Industry of Fashion” (Interdisciplinary, Oxford 2013) and “Moda e Arte” (with

P. Volonté; FrancoAngeli, Milan 2012). He also published several articles, including “Art Seen from Outside: Non-artistic Legitimation within the Field of Fashion Design” (Poetics, Vol. 42, Issue 2, 2014; with P. Volonté) and “From Fashion Forecasting to Coolhunting. Prevision Models in Fashion and in Cultural Production”, in J. Berry (ed), Fashion Capital: Style Economies, Cities and Cultures. Inter-disciplinary, Oxford (2012), pp. 97-113

Marco Pedroni and Şölen Kipöz (the chief editor of Dergi 5.5) gave a very interesting talk in which they discussed sociological perspectives in understanding fashion, and the role of coolhunting in design and fashion. The following is an interview with Marco Pedroni.

COOLHUNTING MEANS TAKING NOTES ABOUT (ALMOST) EVERYTHING YOU SEE DURING YOUR EVERYDAY LIFE.

Kipöz: How do you use your knowledge and experience on sociology to understand fashion?

Pedroni: Even before fashion became an industry in the second half of the XX century, sociologists were interested in its conceptual strength, as fashion is much more than apparel or costume - it is something which is able to show social relationships. Let’s consider Simmel’s influential essay on fashion: written in 1911, in its final version, it discussed fashion’s ability to create either social inclusion or social exclusion. Of course, it is difficult to convince intellectuals that fashion is a serious subject, because it has apparently to do with the surface and the ephemeral, but academics have worked hard on fashion in the last two decades. Being a sociologist helps me to consider fashion as a social prism, which is able to provide much information about how the human actors interact.

Kipöz: How did you become a coolhunter?

Pedroni: Actually, I would not define myself as a coolhunter, but as a social scientist who uses different research methods. Coolhunting, also known as trendwatching, is an instrument in my toolbox. I conceive it as a technique of ethnographic origin, based on the observation of both offline and online consumption behaviors. I became interested in this technique by chance.

During my PhD, I read an article about this method and I decided to investigate it. I interviewed more than 40 professionals in this field, and I met Carl Rohde, director of the Dutch trendwatching agency, Science of the Time. As he is a professor and a sociologist, I felt his approach was very much in line with my methodological interests, and I started both teaching and practicing coolhunting.

Kipöz: In what ways does the practice of coolhunting guide the understanding of society and fashion?

Pedroni: Coolhunting means taking notes about (almost) everything you see during your everyday life. You do not understand immediately the meaning of the phenomenon you record, regardless of whether it is relevant or not for the comprehension of social life. But after some weeks, or months, you see something similar, or in some way related to the first thing you noticed, and you begin to «join the dots». So, coolhunting has broadened my view, and caused me to take notes about things that I previously ignored. When I have got many notes, I can start doing my work as a social analyst, that of identifying relations between the single phenomena.

Kipöz: What is the difference / relation between coolhunting and trend prediction ? (Are the trends and the coolness the same thing?)

is coolhunting a design profession?şölen kipöz *

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COOLHUNTING IS SOMETHING ATTRACTIVE, INSPIRING AND WITH GROWTH POTENTIAL

Pedroni: The fashion industry invented a forecasting model in the late 60s, but it also turned its attention to fashion related signals. Coolhunting was able to fully understand the power of the street signals (now also of the online signals) even when not related to apparel. I call them «exogenous» trends - they are signals of cultural and social change, and in the end, they are relevant also to the fashion industry. Trend has a statistic and economic meaning, that of a phenomenon whose intensity or popularity increases or decreases over time. Coolness is a mentality, a pattern of consumption, a

model of thought, a «habitus» (sociologically speaking); it is not a property of things, but a property of social actors. My preferred definition of cool is the one provided by Science of the Time: cool is something attractive, inspiring and with future growth potential.Kipöz: What kind of a coolhunter are you?

Pedroni: I am an academic sociologist of culture. I am interested in single signals since they allow me to see how the social world evolves.

* İzmir University of Economics, Faculty of Fine Arts and Design, Department of Fashion and Textile Design, Academic Member

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Kipöz: Can any designer be a coolhunter? What should be the qualities of a good coolhunter?

Pedroni: Many professionals can be good coolhunters, including the designer. I state this because coolhuntİNG is not a job - it is a full time profession just for few people - but it is a professional attitude: the ability to observe and to produce ideas by using the observation as a source of information.

Kipöz: Can you explain how you work with students in coolhunting process?

Pedroni: I think that coolhunters - whether students or professionals - must receive a clear brief: what to observe, how to take notes, which kind of pictures are interesting and which are not. According to Carl Rohde’s methodology, I provide students a short list of subjects (trends) and I ask them to look for the best examples of each single trend, both in the streets (in their city) and online. These themes or trends are not given by chance, but they are the result of my previous activity of research. Sometimes students come up with a totally new, fresh, disruptive example: this is the beginning of

a new trend, something that suggests to me and to Science of the Time an idea that can be developed into a new theme.

Kipöz: What are the main differences between pedagocial and professional coolhunting process?

Pedroni: You can teach coolhunting as an ethnographic technique of observation. It will be useful, whatever the future career of the students. But you cannot promise that they will be able to get a job as full time trendwatchers.

Kipöz: Would you like to talk about the cultural differences you notice while you conduct workshops in different countries? How did you find Turkish design students inparticular?

Pedroni: So far I have met students in Italy, Spain, Turkey and the United Kingdom. In my experience, the cultural difference are related more to the discipline they study than to the country they live in. I mean: designers in Italy and in Turkey are (partially) similar in the way they react to my lesson, while the sociologists and designers I lecture in Italy show many differences.

I KNOW THAT YOUR LOVELY CITY IS NOT REPRESENTATIVE OF THE WHOLE COUNTRY. I LOVED IT BECAUSE, WHILE I WAS ABLE TO BREATHE AN «EASTERN ATMOSPHERE», I FELT AT HOME. BRIEFLY, WHAT I NOTICED IS A UNIQUE AND INTRIGUING MIX OF WESTERN,

EASTERN AND MEDITERRANEAN FEATURES.

Kipöz: What were your takeaways from the workshop in Izmir ?

Pedroni: A very «cool» idea of Turkey. Of course I know that your lovely city is not representative of the whole country. I loved it because, while I was able to breathe an «Eastern atmosphere», I felt at home. Briefly, what I noticed is a unique and intriguing mix of Western, Eastern and Mediterranean features.

Kipöz: Who you would define as the coolest person of our time?

Pedroni: If we use the above mentioned definition of cool as attractive and inspiring, I think that for different reasons, Pope Francis and the Greek politician, Alexis Tsipras are both cooler than the army of famous artists and singers who are usually referred to as being ‘cool’ people.

Kipöz: What is the coolest trend for you ?

Pedroni: The (re)discovery of human, authentic, strong social ties in an era where consumerism and late capitalism have shown all their limits.

Kipöz: If I ask you about the problems of the fashion world, what would be your main points?

Pedroni: The fast fashion logic is one of the main problems: fast fashion brands can promote sustainable campaigns, but they contribute to pollution,since they create new and fast consumption paradigms - you can buy new clothes very frequently since they are not so expensive. This way, if not important if they respect environment and human rights

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- assuming that they do, and this is far from being true: we as consumers are encouraged to buy a lot of stuff. Is not that pollution and waste? Another problem is related to fashion as a factory of social imaginary: unless there are many exceptions, the ideals of beauty and body are monodimensional - fashion is not for everyone, if this «everyone» is not in line with the fashion world’s standards.

Kipöz: In what ways do you think coolhunting could provide some solutions to these problems?

Pedroni: In no way, if it is used for commercial purposes. It is just a tool. You can use it both for reproducing the inequalities of the system (i.e. providing new ideas to the capitalist system of production) or to fight against them (i.e showing that

consumers have different aims, but again, this is a weapon in the hands of the brands).

Kipöz: Would you like to tell us what you have been working on recently ?

Pedroni: I am focusing of gambling. In the European countries it has become a huge social problem, and the governments only think about legalizing it progressively, because of the taxes they can get from this business, but they ignore the social exclusion that gambling creates. Can you see the similarities with fashion? Also fashion can be a way to include or exclude people... The cultural industries more often than not work the same way.

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robotic fabrication workshop

Robotic Fabrication in Architecture Workshop took place in IEU Faculty of Fine Arts and Architecture between 10-12 May, with a KR6 AGILUS brought by Kuka Turkey, organized by Burcu Biçer and Efe Gözen, attended by 4th year Architecture students. The second stage of the workshop has taken place in Kuka Turkey in Istanbul on 19th of June.

A mass-customized panel was generated by workshop attendees in Rhino+Grasshopper, to form a continuous ribbon defining a personal space. A six axis robot with a mill attached was preferred over a three axis CNC for superior fabrication methods.

Attandees were able to mass customize the modules, and immediately generate toolpaths, simultaneously calculating the end-effector orientation, checking for collisions in regard with robotic constraints, and creating the KRL Code for each in an integrated virtual environment. Custom toolpaths were configured for each panel to be fed to KR6 AGILUS, which is used for the milling of the surface patterns, and the flank milling of the panel connections. The parametric design process was followed by the milling of the physical model. The model will be on display in the faculty’s multi-purpose room during the next semester.

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Workshop Coordinators: Burcu Biçer, Department of Architecture, Part Time LecturerEfe Gözen, Department of Architecture, Part Time Lecturer

Attandees: Arda Ağırbaş, Aybüke Geygel, Berfin Şimşek, Cansu Yanık, Damla Turhan, Ece Demirel, Erinç Yıldırım, Ertunç Hünkar,

Gülçin Özbaş, Halil Danış, Korhan Inada, Mistor Iacovici, Sadık Aksu, Sıla Bozdeveci

It is possible to follow the updates and further related events via http://www.flab.nl and http://ecovativelab.wordpress.com.

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applied workshop for fashion

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Department of Fashion and Textile Design has hosted so many professional guests during the 2013-2014 Academic Fall term. Among these guests; Gökay Gündoğdu informed students on brand identity and retailing, one of the most prominent topics in the Fashion Business specialization area. He discussed the fundamentals of brand management in retailing with students, while emphasizing “changing rooms” as one of the most important spaces in which shopping decisions are made. The other well-known name was Gül Ağış, who is a famous fashion designer and owner of the Lug Von Siga brand. Gül Ağış showed design examples from her fashion show performances displayed as part of London Fashion Week, after sharing her success story. Ağış, who carried out a fruitful conversation with students, also mentioned the key points for gaining international success, and described inspiration sources for fashion designers as well. Another guest was the famous textile designer and Shibori artist, Mustafa Kula, who has achieved worldwide success and won prizes in textile design. Kula led an extremely informative and entertaining workshop with students after a seminar on Shibori.

Course Lecturers: Dilek Himam Er, Department of Fashion and Textile Design, Academic Member

Elvan Özkavruk Adanır, Department of Fashion and Textile Design, Academic Member, Head of Department

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ieu - chiba university collaboration

The collaboration between İzmir University of Economics-Dept. of Interior Architecture and Environmental Design and Chiba University-Dept. of Architecture that started in 2007, is continuing to expand. Assoc. Prof. Dr. Deniz Hasırcı, Department Head of Interior Architecture Environmental Design and Prof. Kaname Yanagisawa first met in 2004, and have continued their collaborations since then. In 2007, Yanagisawa visited İzmir with 10 of his students, in 2009, Hasırcı visited Chiba University for a productive week of workshops and seminars, and in 2013, Yanagisawa came twice to İzmir, once on his own to sign an exchange agreement between the two universities, and once with his students to participate in a workshop on Nursery Design.

The next meeting with the Yanagisawa Lab is in the summer of 2014 in Chiba, Japan. 2nd and 3rd year IAED students will be visiting Chiba for a month to complete their summer internships.

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imm cologne furniture fair participation

Izmir University of Economics, Faculty of Fine Arts and Design was the only design school from Turkey chosen to participate to one of the most prestigious fairs, 65th Cologne Furniture Fair between 13-20 January 2014.

This is an important event, which attractred around 120.000 visitors from 129 countries. The exhibition included final products, such as office furnitures, benches, coffee tables from the ‘Furniture Design’ course carried out by the Departments of Industrial Design and Interior Architecture and Environmental Design. The projects that took shape under the supervision of project coordinator Lect. Ertan DEMİRKAN and Lect.Cengiz ULTAV, Lect.Zeynep EDES, Lect.Neptün ÖZİŞ, Re.Asst.Seren BORVALI, Res.Asst.Özgür Deniz ÇETİN within the concept keywords of F(unction).U(ser).N(ature of object), the designs showed that even in a very short and tense period of time, our students were able to create extraordinary products, creating a brilliant impression of diversity, peculiarity

and innovation. Visits and positive feedback from national and international media, along with professionals from all around the world were encouraging and exhilarating as the products themselves.

After the IMM Cologne 2014, the furniture designs were exhibited twice their homeland, Izmir. The first stop was the 25th MODEKO 2014 Furniture fair, and the exhibition was welcomed with a similar excitement and interest. The last occasion, which has started to become an annual meeting, was the AGORA Mall Exhibition.

We are grateful to everyone who contributed their efforts to create such a wonderful collection and make us feel proud so often.

* İzmir University of Economics, Faculty of Fine Arts and Design, Department of Industrial Design, Head of Studio

argun tanrıverdi *

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“las mujeres de almodovar” workshop

Las Mujeres de Almodóvar Workshop consisted of a seminar analyzing different aspects of Pedro Almodóvar’s unique cinematographic language, the screening of the movie ‘Women on the Verge of a Nervous Breakdown’ (1988) and a 2-day workshop in which a hypothetical movie, with its synopsis and characters, was developed and then the real visual communication campaign of this imaginary movie with its

trailer, poster and other promotional material was carried out.

Las Mujeres de Almodóvar Workshop was conceptualized and realized by Asst. Prof. Dr. Zeynep Arda of Visual Communication Design Department and directed by our Spanish guests, Assoc. Prof. Dr. César Fernández Fernández and Estela Bernad Monferrer from Universitat Jaume I / Spain.

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Project Coordinator: Zeynep Arda, Department of Visual Communication Design, Academic Member

Directors: César Fernández Fernández, Estela Bernad Monferrer

Attendees: Arda Çölgezen, Arda Yaraş, Aysu Sani, Behzat Onur Ceylan, Bilkan Balkaya, Buse Bek, Büşra Eryiğit, Can

Aviral, Cihan Çalışkan, Çağdaş Özgün, Deniz İnanç, Ece Akalın, Ecehan Yetik, Ertuğrul Tunalı, Ege Şefik Kurt, Elif Şener, Emre Bölük, Erkam Doğrusöz, Ervin Eryılmaz, Gülkız Özer, Hasan Keleş,İlayda Ürel, Kutay Onur Pabuşçu, Maarten Bijnens, Mehmet Emir Ceren, Meryem Nur Denktaşlı, Mustafa Uluöz, Onur Hoşbak, Sabire Soytok, Selin Soytok, Semra Yücel, Songül Olgun

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ISSN: 2458-9845