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İç Mimarlık Bölümü

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Browsing İç Mimarlık Bölümü by Author "17487"

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    Article
    Citation Count: Tunca, Gülru Mutlu. (2013). A historical project: Doubling INDL exhibition catalogue. Metu journal of the faculty of archıtecture. 30(2). 195-214.
    A historical project: Doubling INDL exhibition catalogue
    (Orta Doğu Teknik Üniversitesi, 2013) Tunca, Gülru Mutlu; 17487
    There exist, in the history of architecture and art, in general, particular moments or singular “cases” that assume a critical determining value for the comprehension of the entire cultural cycles.
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    Article
    Citation Count: Boysan, Aysu; Tunca, Gülru Mutlu (2023). "DESIGN AND COUNTER DESIGN AGAINST CONSUMPTION: 1972 “ITALY, THE NEW DOMESTIC LANDSCAPE” EXHIBITION (1)", Metu Journal of the Faculty of Architecture, Vol. 40, No. 1, pp. 151-174.
    DESIGN AND COUNTER DESIGN AGAINST CONSUMPTION: 1972 “ITALY, THE NEW DOMESTIC LANDSCAPE” EXHIBITION (1)
    (2023) Boysan, Aysu; Tunca, Gülru Mutlu; 17487
    In Western Europe, the 1960s and 1970s covered the radical criticism of some European designers against mass production and consumption. Several Italian Radical designers raised the most compelling objection at an exhibition on the other side of the ocean: “Italy: The New Domestic Landscape” (INDL), curated by Emilio Ambasz in the Museum of Modern Art, New York, in 1972. INDL marked a significant moment in contemporary design history. For the show, Ambasz selected more than a hundred “objects” produced by Italian manufacturers and displayed them in specially designed cases in the garden area. Moreover, he invited eleven Italian designers to create unique “microenvironments” by interpreting concepts assigned by a “special design program,” such as environmental psychology, locality, urbanism, micro and macro-scale housing, consumerism, and mass production. Although the “objects” displayed in the garden were of great importance - since the event was one of the first instances of Italian design’s introduction to the American public-this study concentrates on the contradicting responses of Italian designers, under headings “design and counterdesign as postulation” for understanding the design philosophy behind the appearance of “design versus non-design” dialectics of that era, which is still a recognized topic in contemporary architectural theory. This study, therefore, analyzes the eclectic and postmodern approaches of six Italian designers in the “design” category and the provocative denials of Radical designers presented under the “counterdesign” category. It aims to understand better the impact of this discursive opposition made visible by the exhibition on the anticonsumerist approaches and the search for alternative methodologies, which subsequently increased among designers.
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    Article
    Citation Count: Boysan, A.; Tunca, G.M. (2023). "Design And Counter Design Against Consumption: 1972 "Italy, The New Domestic Landscape" Exhibition (1)", Metu Journal Of The Faculty Of Architecture, Vol.40, No:1, pp.151-174.
    Design And Counter Design Against Consumption: 1972 "Italy, The New Domestic Landscape" Exhibition (1)
    (2023) Boysan, Aysu; Tunca, Gülru Mutlu; 17487
    In Western Europe, the 1960s and 1970s covered the radical criticism of some European designers against mass production and consumption. Several Italian Radical designers raised the most compelling objection at an exhibition on the other side of the ocean: "Italy: The New Domestic Landscape" (INDL), curated by Emilio Ambasz in the Museum of Modern Art, New York, in 1972. INDL marked a significant moment in contemporary design history. For the show, Ambasz selected more than a hundred "objects" produced by Italian manufacturers and displayed them in specially designed cases in the garden area. Moreover, he invited eleven Italian designers to create unique "microenvironments" by interpreting concepts assigned by a "special design program," such as environmental psychology, locality, urbanism, micro and macro-scale housing, consumerism, and mass production. Although the "objects" displayed in the garden were of great importance -since the event was one of the first instances of Italian design's introduction to the American public-this study concentrates on the contradicting responses of Italian designers, under headings "design and counterdesign as postulation" for understanding the design philosophy behind the appearance of "design versus non-design" dialectics of that era, which is still a recognized topic in contemporary architectural theory. This study, therefore, analyzes the eclectic and postmodern approaches of six Italian designers in the "design" category and the provocative denials of Radical designers presented under the "counterdesign" category. It aims to understand better the impact of this discursive opposition made visible by the exhibition on the anti -consumerist approaches and the search for alternative methodologies, which subsequently increased among designers.
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    Article
    Citation Count: Mutlu Tunca, G.; Demirbaş, G.U. (2021). "Designing parametric rhizomes in architectural space", GRID - Architecture Planning and Design Journal, Vol.4, No.2, pp.163-192.
    Designing parametric rhizomes in architectural space
    (2021) Mutlu Tunca, Gülru; Demirbaş, Güler Ufuk; 17487; 17572
    The technological developments in the world present a challenge to design studio students and educators alike since the incorporation of computer-aided design software into design education has become a necessity. This paper focuses on the 2019-2020 Spring Semester of INAR 302 Interior Design Studio IV at Çankaya University, which is a parametric design studio where students are encouraged to experiment and utilize computer-based form-finding strategies, concentrating on the interior space. The rhizome concept of Deleuze and Guattari is reinterpreted by Studio 302 as a design methodology, allowing students to experience the unorthodoxy of space-user dialectics in the inner voids of the parametric forms over the term project of re-functioning a part of Ulus Square Office Complex as a city hotel with a futuristic extension. The study examines and evaluates the students' works, which derive conceptual ideas from the formal analyses of ceramic artworks in the Anafartalar Bazaar and environmental analyses of the historic site, transforming them into the parameters of futuristic architectural form and diverse rhizome interpretations. The findings indicate that students' reinterpretations of "variations" in the ceramic artworks uncover multifaceted outcomes of digital design strategies, maintaining diverse rhizomatic progress, which synchronically determines and is determined by the functional mutations.