Ayşenur Kandemir

The present study investigates the spatial characteristics of craft practice in glass workshops and the contribution of interior design to the cultural tourism experience in a row of historic towns in Eskişehir known as Odunpazarı. In my view, craft workshops are production sites rather than hybrid spaces that mix production, experience, and narrative. This study, which follows a comparative case study design, is specifically crafted around three active glass workshops in Odunpazarı, Eskişehir, Turkey. Supplementing the previous qualitative research framework, data collection included on-site observation, photography, and spatial analysis of the workshops. They were then considered in terms of their spatial organisation, production visibility, thresholds, sensory qualities, and the producer-to-visitor interaction model. The analysis demonstrates that the workshops differ from one another not because of their common regional background, but because each workshop has its own spatial logics: participatory/porous; institutional/pedagogical; and domestic/memory-oriented. The positioning of the workbenches, the circulation routes, and the proximity or distance of the materials to each other turn the craft practice into a site where visitors can observe a performance space for technical practice. It demonstrates that the sensory qualities of the space, such as heat, light, and sound, are part and parcel of shaping visitors' experience with authenticity. In modern life, interior design contributes significantly to the continuity of crafts and transfers cultural heritage from one generation to another. The workshop's spatial organization is a cultural interface between local identity and the global tourism economy. To maintain traditional techniques, it is critical to find spatial environments where crafts can be displayed as living know-how.

Text-to-image generative artificial intelligence tools are increasingly used in interior architecture and design education, yet it remains unclear whether biomimicry and sustainability retain their distinct design intentions when visualized through such tools. This study comparatively examines biomimicry (B), sustainability (S), and combined (B + S) conditions in AI-generated interior images from 22 student projects in a Biomimicry and Space Design course, using descriptive content analysis. Visual-aesthetic similarity (VA1–VA5, Gower), biomimetic representation (B1–B4), sustainability strategies (S1–S7), and integration level (IL0–IL3) were coded as separate layers, with prompt (P-) and visual-output (V-) levels analyzed independently. The B and S outputs showed high visual-aesthetic similarity (mean Gower 0.82; 81.8% of projects scoring ≥0.80); however, biomimetic representation was strong at formal and structural levels but was verified in no project at the functional-mechanism level (V-B4). Sustainability prompt–output correspondence was 26.3% overall, 66.7% for visually assessable strategies, and 0% for strategies requiring specification or performance evidence. Combined outputs remained additive or coordinated (IL1–IL2), and none reached synergistic integration. In this course-based dataset, nature-oriented visual features were represented more readily than functional and performance-related dimensions; visual similarity is not equivalent to environmental performance, suggesting that prompt literacy and critical evaluation deserve attention in design education.

This study presents and pilot-tests the Biomimetic Design Education Framework, a structured pedagogical model developed to systematize the translation of biological knowledge into furniture design within studio-based educational contexts. Positioned as a pilot implementation, the study introduces the Biomimetic Transfer Matrix as an accompanying analytical tool for assessing the depth of biological knowledge integration in student design work. It is based on 18 student projects developed during a furniture design course, assessed through qualitative content analysis. The projects were evaluated according to four types of biomimetic transfer: formal, structural, mechanical, and functional/behavioral. Results reveal that structural transfer was the most prevalent category (38.9%), followed by functional/behavioral transfer (33.3%), formal transfer (16.7%), and mechanical transfer (11.1%). This distribution indicates that structured pedagogical guidance can successfully direct students beyond surface-level morphological imitation toward deeper principle-based biological abstraction, while also identifying mechanical and system-based transfer as areas requiring targeted curricular development. On this basis, the study presents the Biomimetic Design Education Framework and introduces the Biomimetic Transfer Matrix as an analytical tool for examining different levels of biomimetic knowledge transfer in design. Results underline the importance of structured approaches to support deeper levels of biological abstraction in design education. The findings contribute to SDG 4 (Quality Education) by advancing evidence-based approaches to biomimetic design instruction.

Bu çalışma, Geç Osmanlı ve Erken Cumhuriyet Dönemi’nde Türk ressamlar tarafındanüretilen portre ve iç mekân temsillerinde yer alan oturma elemanlarını, biçimsel, kültürel vesimgesel açıdan incelemeyi konu almaktadır. Çalışmanın amacı, sanat eserlerinde betimlenenmobilyalar aracılığıyla, söz konusu dönemdeki yaşam biçimleri, sınıfsal ayrımları,estetik anlayışı ve modernleşme sürecini anlamaya yönelik kültürel kodları çözümlemektir.Bu doğrultuda, Türk resim sanatında modernleşme sürecine doğrudan katkı sunan üç kuşağıtemsil eden Halil Paşa, Namık İsmail, İbrahim Çallı ve Şeref Akdik gibi sanatçıların1899–1960 yılları arasında ürettikleri dokuz tablo, amaçlı örnekleme yöntemiyle seçilerekgöstergebilimsel çözümleme modeli ile düz-anlam ve yan-anlam düzeylerinde analiz edilmiştir.Analizler, oturma elemanlarının biçimi, malzemesi, renkleri ve mekândaki konumlandırılmasının;dönemin sosyal statü ve estetik anlayışı, kültürel modernleşme süreciyledoğrudan ilişkili olduğunu ortaya koymuştur. Sedir ve divan gibi geleneksel mobilyalarınkolektif yaşama; koltuk ve kanepe gibi Batı kökenli hareketli mobilyaların ise bireyselleşmeve toplumsal değişim sürecine işaret ettiği tespit edilmiştir. Özellikle kadın figürlerin bumobilyalarla kurduğu ilişkiler, ev içindeki yeni rollerini, modernleşme sürecindeki temsillerinive kazandıkları bireysel kimliği yansıtmaktadır. Çalışma, oturma elemanlarının Türk resim sanatındaki temsilleri üzerinden kültürel kodları çözümleyerek mobilya tarihi ilesanat tarihi arasında disiplinler arası bir bağ kurmakta ve literatürdeki önemli bir boşluğuözgün bir yaklaşımla doldurmaktadır.

Daylight performance in architectural spaces is influenced not only by latitude but also by local climatic conditions. However, comparative studies examining daylight characteristics in similar architectural spaces located at the same latitude but in different climatic regions remain limited. This study investigates how climatic variations influence daylight performance in glass-covered passages located in cities situated at approximately the same latitude. A descriptive comparative research approach supported by daylight simulation analysis was employed. A standardized glass-covered passage model was analysed using VELUX Daylight Visualizer software for the cities of Rome, Barcelona, and Istanbul. Simulations were conducted at three different times of the day (09:00, 12:00, and 15:00) during four representative months (January, April, July, and October). The numerical results indicate that the highest illuminance levels were observed in July at 12:00, reaching values above 3000 lux on ceiling surfaces, while the lowest values occurred during winter months with higher cloud cover. The findings demonstrate that even in cities located at the same latitude, daylight performance varies significantly depending on climatic factors such as cloud cover, sunshine duration, and seasonal atmospheric conditions. The study contributes to daylight-oriented architectural design by highlighting the importance of integrating regional climatic parameters into daylight performance evaluations of glass-covered transitional spaces.

Bu çalışma, on yedinci yüzyılda Hollanda’daki barok mobilya tasarım unsurlarının, dönemin tabloları üzerinden incelenmesini konu almaktadır. Barok mobilyalar hakkında araştırmalar yapılmış olmasına karşın, bu çalışmalar genellikle İtalya ve Fransa ile sınırlı kalmış, üslubun on yedinci yüzyılda alt ülkeler olarak nitelendirilen Hollanda bölgesini nasıl etkilediğine dair akademik çalışmaların oldukça kısıtlı olduğu görülmüştür. Dolayısıyla bu çalışma, barok üslubun mobilya tasarımına etkisinin bölgesel olarak farklılaşmasına dikkat çekmek, dönemin tabloları üzerinden barok mobilya tasarım unsurlarını sistematik bir şekilde incelemek bakımından önemlidir. Çalışmanın amacı on yedinci yüzyıl barok üslubun mobilya tasarımı üzerindeki etkisini kapsamlı bir şekilde ölçmek ve analiz etmektir. Barok mobilya unsurlarının analiz edilmesi için nitel araştırma yöntemlerinden içerik analizi tercih edilmiştir. Ele alınan mobilya tasarımları oturma elemanı, masa ve dolap ile sınırlandırılmıştır. Barok üslubunun mobilya tasarımı üzerindeki etkisini analiz etmek için iç mekânın gerçekçi bir biçimde ele alındığı Hollanda Altın Çağı tabloları, örneklem olarak seçilmiştir. Tüm bunlar, barok mobilya tasarımını şekillendiren sosyal, kültürel ve ekonomik bağlamların anlaşılmasına katkıda bulunmuştur.

The current study investigates the intersection of biomimicry, a design approach inspired by nature, and artificial intelligence, a product of technological innovation. Biomimicry offers solutions by drawing from biological mechanisms to address design challenges, allowing designers to create efficient materials and solutions. Designers using this approach apply insights from studying organisms and natural processes, but conventional computer-aided design software is limited in translating complex biological forms into practical applications. Artificial intelligence (AI)-supported design tools, however, overcome these constraints and provide designers with greater creative freedom. Although studies have brought together the biomimicry approach and furniture design, few studies in English literature systematically analyze the impact of AI-supported software on biomimicry-based furniture design processes. The present research aims to highlight the significance of AI software in facilitating the creation of nature-inspired designs by making the design process more adaptable and innovative. Through a comparative analysis of furniture designs generated with various AI visualization tools, this research examines differences in material use, aesthetic quality, and incorporation of technological advancements. The findings reveal that furniture designs created with AI-supported tools demonstrate notable variations in terms of material efficiency, visual appeal, and representation of contemporary technological trends, emphasizing AI's pivotal role in advancing the field of biomimicry furniture design.

This study examines how Starbucks, as a global brand, employs glocalization strategies in its interior design by incorporating local architectural elements into standardized global formats. The primary objective is to analyze how local and global elements are integrated into the design of the second-wave coffee shops, a globally recognized brand, and to evaluate the balance between these elements from a design perspective. To achieve this, six Starbucks stores, selected as the sample for the current study, located in the EMEA (Europe, Middle East, and Africa), Asia-Pacific, and Japan regions were examined. The research focused on key interior design components, including vertical structural elements, flooring, ceiling features, openings, furniture, and decorative details, assessing them within the framework of local and global characteristics. A qualitative research approach was adopted, employing content analysis to systematically evaluate the selected stores. The originality of this study lies in its structured examination of how glocalization strategies manifest in interior spaces through regional variations. The findings reveal that local elements such as ceiling types, materials, and seating styles were consistently integrated to reflect regional identities, while standardized lighting and furniture layouts preserved the brand's global coherence. Thus, the findings show that integrating local motifs into spatial design enables global brands to establish a meaningful connection with the local cultural context while maintaining their global identity. This balance not only enhances user experience but also reinforces brand identity through culturally resonant spaces. Overall, the research underscores the significance of preserving cultural codes in interior design as a means of fostering commercial success for global brands. By offering a framework for incorporating glocalization strategies in spatial design, this study provides valuable insights for designers and brands aiming to achieve cultural sustainability while maintaining a strong global presence.

The current study examines spatial perception in digital experience museums and exhibitions from the user's perspective. The analyses conducted on the cases, "Ephesus Experience Museum," "IMM Digital Experience Museum," and "Kandinsky: Journey of the Blue Rider Digital Exhibition", address the sensory factors that influence the perception of space through a holistic approach. Evaluations on color, light, texture and material, form and shape, scale and proportion, temperature, sound, and smell demonstrate that digital exhibitions, unlike traditional museum spaces, offer a multisensory experience. The findings reveal that digital projections, holograms, and interactive technologies redefine spatial boundaries, creating an immersive experience where visual, auditory, and cognitive stimuli converge. Digital experience spaces transform visitors from passive spectators into active participants, shaping spatial perception on individual, cultural, and sensory levels. Consequently, digital museums/exhibitions are considered aesthetic tools for transmitting contemporary art and cultural heritage and user-oriented perceptual experience environments. This study highlights the innovations brought by digitalization to the spatial perception dimension of museology and exhibition design, contributing to future research in the field.

Bu çalışma, Erken Cumhuriyet Dönemi’nde, Türkiye’nin elektrik altyapısının gelişme sürecinde inşa edilen Bakırköy Elektrik Muhavvile Merkezi’nin mimari özelliklerini incelemektedir. Bu bağlamda araştırma, Erken Cumhuriyet Dönemi mimari yaklaşımının Bakırköy Elektrik Muhavvile Merkezi’nin tasarımına nasıl yansıdığını ortaya koymayı amaçlamaktadır. Ayrıca yapının mimarlık tarihi içindeki yerini güçlendirmek ve endüstri mirasının korunmasına yönelik farkındalık yaratmak da çalışmanın hedefleri arasındadır. Mevcut literatürde santral ve fabrika gibi büyük ölçekli endüstri yapılarına odaklanılmışken, bu çalışmada daha küçük ölçekli bir enerji altyapı binasının mimari özelliklerinin ele alınması, çalışmanın özgün yönünü oluşturmaktadır. Erken Cumhuriyet Dönemi elektrik altyapısının gelişimi çerçevesinde Bakırköy Elektrik Muhavvile Merkezi binasının tarihsel süreci, mimari özellikleri, cephe tasarımı ve süsleme unsurları, çalışmanın kapsamını meydana getirmektedir. Çalışmada nitel araştırma yöntemi benimsenmiş; veri toplama aracı olarak doküman analizi ve yerinde inceleme tekniklerinden yararlanılmıştır. Elde edilen bulgular, Bakırköy Elektrik Muhavvile Merkezi’nin Birinci Ulusal Mimarlık Akımı’nın karakteristik unsurlarını taşıdığını ortaya koymuştur. Sivri kemerli kapı ve pencereler, geniş saçaklar ve süsleme detayları, yapının yalnızca işlevsel bir altyapı unsuru olmanın ötesinde, dönemin ulusal kimlik oluşturma çabalarının endüstri mimarisine nasıl yansıdığını göstermektedir.