53

A SERIES OF READERS
PUBLISHED BY THE

INSTITUTE OF NETWORK CULTURES
ISSUE NO.:

LOCALIZING 
DESIGN STUDIES: 

PERSPECTIVES 
ON TURKEY

EDITED BY 
DENIZ HASIRCI, 

TUBA DOĞU, DENIZ AVCI, 
GOZDE DAMLA TURHAN-

HASKARA, AYBÜKE TAŞER



LOCALIZING 
DESIGN 

STUDIES
PERSPECTIVES  

ON TURKEY



Theory on Demand #53 

Localizing Design Studies: Perspectives on Turkey

Edited by: Deniz Hasirci, Tuba Doğu, Deniz Avci, Gözde Damla Turhan-Haskara and Aybüke 
Taşer

Authors: Deniz Hasirci, Deniz Avci, Tuba Doğu, Gözde Damla Turhan-Haskara, Filiz Özbengi 
Uslu, Elif Karakuş, Selen Çiçek, Mine Özkar, Hande Yıldız Çekindir, Gökçe Çağatay, Tuba 
Doğu, Anıl Dinç Demirbilek, Canberk Yurt, Sölen Kipöz, Özgül Kılınçarslan, Osman Demirbaş 

Cover Design: Katja van Stiphout  

Production: Carolina Valente Pinto, Ksenia Rybak and Tommaso Campagna

Published by the Institute of Network Cultures, Amsterdam, 2024

ISBN: 9789083412597

Contact  Institute of Network Cultures Amsterdam University of Applied Sciences (HvA) Email: 
info@networkcultures.org  Web: www.networkcultures.org 

Order a copy or download this publication for free at: www.networkcultures.org/publications

This publication is licensed under the Creative Commons Attribution NonCommerical Sha-
reAlike 4.0 Unported (CC BY-NC-SA 4.0). To view a copy of this license, visit www.creative-
commons.org/licences/by-nc-sa/4.0./



ACKNOWLEDGEMENTS 
 
The editors would like to thank, all authors who have wholeheartedly contributed to this col-
lective work, Director of the IUE Graduate School-Prof. Dr. Efe Biresselioğlu, Dean of Faculty of 
Fine Arts and Design-Prof. Dr. Ender Yazgan Bulgun, FFAD and Izmir University of Economics 
administration and leadership  for their valuable support of the IUE Design Studies program 
endeavors.

The editors are grateful for the kind words of encouragement from Professor John M. Woodham 
and Professor Tevfik Balcıoğlu on the book cover.

This book would not have been possible without the generous support of Geert Lovink, Carolina 
Valente Pinto, Katja van Stiphout, Ksenia Rybak, Alice Picco, Tommaso Campagna, and the 
Institute of Network Cultures-Theory on Demand community. We thank the team for their 
guidance and effective collaboration throughout the creation of this book.



4 THEORY ON DEMAND 

CONTENTS

 
 
Preface - Design Horizons: Exploring Boundaries  
and Possibilities in Design 6

Introduction - International and Interdisciplinary 
Design Studies with Turkish Roots 8

Deniz Hasirci

 
PART I - DESIGN STUDIES WITH TURKISH ROOTS

Rethinking Fashion: Bio-Design Approach to  
Enhance Well-Being 16

Filiz Özbengi Uslu

Design Challenges in The Sustainable Use of Props  
in Scenic Design 30

Elif Karakuş, Deniz Hasirci

Opening up the Design Space of the Basic Design Studio 44

Selen Çiçek and Mine Özkar

Design Factory Model Based on Design Thinking a  
Local Case: Izmir Design Factory 57

Hande Yıldız Çekindir

Visual Violence in Turkish Cinema: Perspectives  
from Southeastern Anatolia (1960-1990) 70

Gökçe Çağatay, Tuba Doğu and Deniz Avci

Re-Conceptualization of Production/Consumption in  
Contemporary Value-Creation Ecosystem: The Rise of  
Makers & Prosumers 85

Canberk Yurt



5LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

From Social Innovation to Open Innovation: A Framework on 
Open Paradigm Clusters in Design Research on Providing  
Systemic Change Through Crowdsourcing 98

Anıl Dinç Demirbilek

PART II - DISCUSSIONS AND FUTURE DIRECTIONS

Design Studies: Context, Content, and Development  
Paradigm 109

Şölen Kipöz

Why Design Studies? What Makes/Should Make Us  
Unique Today? 115

Özgül Kılınçarslan 

Crossovers And Collaborations: Reconsidering  
Design Studies Through 4th Generation University 125

Osman Demirbaş

Learnings from Izmir University of Economics  
Design Studies Program 137

Deniz Avci, Tuba Dogu

Author Biographies 145



6 THEORY ON DEMAND 

PREFACE - DESIGN HORIZONS: EXPLORING 
BOUNDARIES AND POSSIBILITIES IN DESIGN
This book is the outcome of the Design Studies Symposium that took place in June 2023 at the 
Izmir University of Economics, Graduate School, Faculty of Fine Arts and Design. The research 
presented in the symposium and the articles in this book as the symposium’s outcome delve 
into diverse fields of design with varying scales and forms, tackling contemporary challeng-
es that push the boundaries of the design field and offer new possibilities for its expansion. 
Although the content may initially appear unrelated, subtle diversities emerge, offering mul-
tiple avenues that reflect the role of design as a methodology and an instrument. Among the 
arguments, these prevailed: What explorations emerge on the horizon in response to trends? 
What functions do these recent developments serve, and how are they challenging design?

The research presented in the symposium ranges from case/field implementation ideas  
to quantitative/scientific data surveys to social, theoretical, and historical studies from all 
subfields of design to address the countless parallel and overlapping realities of design 
 in the post-pandemic era. The post-Covid period and unprecedented earthquake have made 
us question the role of design in our everyday lives, while the advent of dynamic technologies 
in design has made us reconsider the design realities that surround us. For this book, quali-
ty papers were collected from authors from different Graduate Programs related to the field  
of design.

In terms of context, the aim within the framework of the book is to bring together opinions 
from various design and/or disciplinary backgrounds to develop a common and integrat-
ed design understanding through philosophy, culture, history, theory, and contemporary 
discourse, and also by considering the interactions between the arts and science fields. To 
explore these inquiries, this book explores and interrogates the intersections across diverse 
fields of design, encompassing visual communication, fashion, architecture, interior architec-
ture, and industrial design. Treating these diverse approaches offers a look into how design 
methodologies evolve over time and how contemporary underpinnings inform the design 
process and resulting products.

In her exploration of the role of bio-design and craft, Filiz Özbengi Uslu questions whether 
design approaches embrace circular and ecologically compatible alternatives to current 
models of fashion production, and how these alternatives in the fashion design field foster 
emotional attachment to clothes. As discussed in the paper, the field of design is affected by 
the convergence of sustainability and biodesign, as well as by tensions arising from techno-
logical advances and the limitations imposed by the crisis environment. In relation to these 
concerns, Elif Karakuş and Deniz Hasırcı explore the challenges of using, transporting and 
storing props in sustainable stage design. Driven by the contemporary environmental chal-
lenges posed by waste materials in scenic design, this research comprehensively examines 
obstacles inherent in the design process. Their research further explores how professionals 
working in this particular field navigate and address these challenges, proposing concurrently 
novel and practical solutions responding to these urgent issues at hand.



7LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

Hande Yıldız Çekindir explores the theoretical foundations and practical applications of 
“design thinking” in higher education by focusing on the case of Izmir Design Factory. Izmir 
Design Factory is analyzed as a bridge between academia and industry, emphasizing interdis-
ciplinary collaboration, skill development, and problem solving. Selen Çiçek investigates the 
multifaceted nature of design space in computational design within educational frameworks 
such as basic design studios and explores the role of evolving generative AI in reconstructing 
design problems and solutions. Anıl Dinç Demirbilek discusses the concept of open paradigm 
(OP) in the design field. OP exemplifies a shift from “closed and exclusive” to “open and 
transparent” design process in a transitioning design system.

Gökçe Çağatay, Tuba Doğu and Deniz Avci focus on the intersection of gender and space, 
analyzing eleven selected films to reveal how domestic and public spaces contribute to the 
perpetuation of violence against women, arguing that the cinematic portrayal of violence 
serves as both a reflection of societal realities and a tool for storytelling, raising questions 
about its unconscious exploitation and social implications.

Prior to moving into localized discussions in the field of design specific to Turkey and examin-
ing future directions and challenges, Canberk Yurt explores the dualities immanent in the pro-
duction and consumption patterns. The focus in the paper is on understanding the dynamics 
of supply and demand within the value-creation ecosystem. Drawing on the conceptual frame-
work that analyzes the transitions from consumer to user and user to maker and prosumer 
concepts, the author conducts a comparative analysis to reveal relational discussions among 
stakeholders who are the representatives of the actions under value-creation and transfer.

Deniz HASIRCI (Head of Design Studies Graduate Programs)

Tuba DOĞU (Design Studies Graduate Programs Coordinators)

Deniz AVCI (Design Studies Graduate Programs Coordinators)

Gözde Damla TURHAN-HASKARA (Design Studies Graduate Programs Assistant)



8 THEORY ON DEMAND 

INTRODUCTION - INTERNATIONAL AND 
INTERDISCIPLINARY DESIGN STUDIES WITH 
TURKISH ROOTS

DENIZ HASIRCI

Condensed Background

Now that everyone is a designer of sorts and that “design” has become a household concept, 
what does it really meant to be in the field of Design Studies, a graduate of Design Studies, 
and what do we really mean by design studies in various contexts, and with a focus on a 
Turkish localization?

We planned this book as an edited manuscript on various issues surrounding Design Studies, 
written in literary essay form, as think-pieces, rather than defensive academic papers, with 
research that ranges from case/field implementation ideas to quantitative/scientific data 
surveys to social, theoretical, and historical studies from all subfields of design to address 
the countless parallel and overlapping realities of design in the post-pandemic era. The post-
Covid period and unprecedented earthquake that has taken place at the beginning of 2023 
in Turkey, have made us question the role of design in our everyday lives, while the advent of 
dynamic technologies in design has made us reconsider the design realities that surround us.

The year 2023 had a significance for Turkey as it was the 100th year of the Turkish Republic 
founded in 1923. With celebrations still ongoing, there are more pluralities than ever, with 
every citizen celebrating a different aspect of the republic –be it freedom of speech, women’s 
rights, educational privileges, marriage, or freedoms about clothing. One aspect of the republic 
that one can readily observe, is design in all its many forms, shapes, and fields. Design, in 
this text, does not refer to any one field as is often the case. Design, here, is referred to in a 
wider sense, encompassing human creativity in any medium from fashion to architecture. 
This interdisciplinary approach is useful to understand both the Turkish context and intricate 
cultural references and nuances, as well as the approach to Design Studies in the framework 
of this book.

A country of rapid socio-economic change and a dynamic flux of ideas pouring both from 
Asia and Europe and with land on both continents, design has always been at the center of 
discourse and a matter of national and personal identity in Turkey. Although often discussed 
alongside Westernization, progress and modernization in Turkey was always in touch with its 
roots. Even in efforts establish classical music in the international sense in the new Turkish 
Republic in 1924 through the establishment of the Risayet-i Cumhur Musiki Heyeti (today, the 
Presidential Symphony Orchestra), the aim was to aspire to develop music that was based in 
a folkloric background. Signifying the importance of music as an essential element of mod-
ernization and developmental feature of identity, Atatürk, the founder of the Republic stated;



9LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

You do not need music in life. This is because life itself is music. A creature that has 
nothing to do with music is not a human being. If the issue is life, there is an exist-
ence of music, life without music cannot exist anyway. Music is the joy, soul, life, and 
everything. And thus, one must aspire to create quality music…1

This statement also involves the contextual design of the culture of music, taken in its general 
and interdisciplinary sense, with its architecture, interior design, furniture, communication, 
and clothing.

As another example of localized internationalization of design acting as representation of a 
modernizing people, both nationally and internationally, the third and new building of the 
Grand National Assembly of Turkey (GNAT, designed in 1936 and opened its doors in 1961) 
was designed by the Austrian architect Clemens Holzmeister, with several Anatolian and 
Turkish materials, patterns, textures, and practices embedded into design decisions at each 
scale.2Perhaps, partly as an effect of being one of the youngest populations in Europe, the 
Turkish response to new design has been relatively in favor of adaptation even if there was to 
be a process of resistance at first. One can observe this even if it meant to change behavioral 
habits for the design, as one can observe in the changing of bathroom habits to more West-
ernized ones in the early 30s and 40s, learning the use of the classic lavatory, bidet, and sink, 
rather than allaturca toilet, kurna, and hammams. These behavior changes through design 
were further followed by multidisciplinary design competitions that included ceramics artists, 
industrial designers, interior designers, and architects, to explore where design could take 
us (Figure 1).3

Figure 1. Localized interpretations of modern Turkish hygienic practices, 1970s.4

1 Ekici, S. (2008). Türk Müziği Devlet Konservatuvarlarının Bugünü Üzerine Düşünceler, “Millî Folklor”, 
20: 77; Atatürk Kültür, Dil ve Tarih Yüksek Kurumu Atatürk Araştırma Merkezi. (2006). 5th ed. Arsan, N. 
Atatürk’ün Söylev ve Demeçleri, Atatürk Kültür, Dil ve Tarih Yüksek Kurumu Atatürk Araştırma Merkezi, 
Atatürk’ün Söylev ve Demeçleri, Vol: I, Ankara: Divan Yayıncılık Ltd. Şti.

2 Hasirci, D., & Tuna Ultav, Z. (2020). “The multiple stories behind the modern ceramic coffee tables 
of the Grand National Assembly of Turkey,” Journal of Design History, 33(3): 225-242; Hasirci, D., & 
Tuna Ultav, Z. (2019). “Mid-century modern furniture representing modern ideals in the grand national 
assembly of Turkey”, Journal of Interior Design 45(2): 11-33.

3 Ekici, S. (2008). Türk Müziği Devlet Konservatuvarlarının Bugünü Üzerine Düşünceler, “Millî Folklor”, 20: 
77; Asatekin, M. 2021. Online communications by Deniz Hasirci, archived by DATUMM: Documenting 
and Archiving Turkish Modern Furniture, http: linktree/datumm, datumm.org.

4 Asatekin, M. 2021. Online communications by Deniz Hasirci, archived by DATUMM: Documenting 



10 THEORY ON DEMAND 

Following these years, modern design always reflected these interpretations and adaptations. 
Each coffee table designed by the modernist SİM Mobilya furniture company was unique 
as they carried interpretations of local patterns and textures of the working women at the 
production factory (Figure 2).5 SİM Mobilya had carried this interpretive modernism to every-
thing from their paperwork to the architecture of their headquarters and practice. Although 
this particular company does not exist today, this was a general trend in all fields of design, 
as both producers and consumers demanded that they see recognizable features in the 
ever-changing world around them at great speed.

Figure 2. Localized interpretations of modern Turkish furniture, SİM Mobilya furniture company, 1960s.6

Defining Design Studies in Turkey

Defining Design Studies in Turkey requires this back and forth movement in time and scale, 
with the need to connect to Turkish roots as well as current events such as the distinct expe-
rience of the Covid-19 pandemic and devastating earthquakes of the past years; but at the 
same time, following fast-paced developments at the international scale, in the most visionary 
and advanced manner possible. For this book, quality papers were collected from authors 
from different Graduate Programs related to the field of design. The book mainly discusses 
responses to the following questions:

• What role does design play in the light of these challenges and developments?

• How do these realities bind and unbound the designers?

• What are the new limits and/or horizons of design?

• How is the field of design expanding?

• Within the context of these facts, what happens to other design-related subfields?

and Archiving Turkish Modern Furniture, http: linktree/datumm, datumm.org; DATUMM: Documenting 
and Archiving Turkish Modern Furniture, http: linktree/datumm, datumm.org; Tuna Ultav, Z., Hasırcı, 
D., Borvalı, S., & Atmaca, H. (2016). DATUMM: Documenting and Archiving Turkish Modern Furniture 
İzmir: İzmir Ekonomi Üniversitesi.

5 DATUMM: Documenting and Archiving Turkish Modern Furniture, http: linktree/datumm, datumm.org.
6 DATUMM: Documenting and Archiving Turkish Modern Furniture, http: linktree/datumm, datumm.org.



11LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

• What are the current dilemmas in these subfields and what are the new approaches?

• Are these also defined by boundaries? Or, have past boundaries been broken?

• How do digital technologies (AI, VR/AR/XR, metaverse etc.) influence our expectations 
of design?

• How do disasters inform design?

In terms of context; the aim within the framework of the book is to bring together opinions from 
various design and/or disciplinary backgrounds develop a common and integrated design 
understanding through philosophy, culture, history, theory and contemporary discourse, and 
also by considering the interactions between arts and science fields.

In our book, we put the post-pandemic era at the focus. The pandemic, earthquakes, fires, 
elections, large threats, carry great significance in reminding us of community with its various 
levels and of the reasons for which we do what we do in design academia, especially after/
during a devastating time for our planet. Now, we face yet another era where AI will be active-
ly and increasingly be present. I do not mean this in the sense of Terminator or the Matrix, 
where AI is immediately labeled as the evil forces. I mean this in the most objective way; this 
is here, how will we choose to integrate it in design practice and discourse? The issue will not 
be about the use of Chat GPT in research papers in academia; it will be on a larger scale and 
affecting our whole lives, bringing an end to organic life on earth. Studio Snoop presented the 

"world's first AI designer" at the Milan design week. This report introduces the world's first AI 
designer developed by Studio Snoop. This AI designer, with its powerful machine learning and 
generation algorithms, is able to automatically and quickly create designs with a unique style.7

Recently, in the face of AI design, designers and practitioners are really looking forward to 
and afraid of being hurt, maybe designers can hold a "if you can't fight it, join it" attitude, 
and learn more about the ability and future development of AI design. This can be done 
by thinking of AI as a partner rather than a competitor: The advent of AI designers does 
not mean that designers will be replaced, but rather provides a new model of collaboration. 
Designers should learn to work with AI and make good use of AI technology to enhance their 
design abilities. Understand the application scenarios and limitations of AI and see it as a 
powerful tool to work with AI to create better designs. Moreover, one will need to adopt an 
attitude of continuous learning and updating skills: The rapid development of AI design tech-
niques requires designers to maintain an attitude of continuous learning. Designers should 
be actively informed about the latest AI techniques and tools and apply them in practice. At 
the same time, one will need to continuously update design skills and develop the expertise 
and skills needed to work with AI in order to stay competitive. There will also be an emphasis 
on creativity and humanistic care: While AI can deliver efficient and fast design solutions, 
designers have unique creativity and emotional connection as well as hands on experience, 

7 Kamalov, Firuz, David Santandreu Calonge, and Ikhlaas Gurrib. 2023. "New Era of Artificial Intelligence 
in Education: Towards a Sustainable Multifaceted Revolution" Sustainability 15, no. 16: 12451.



12 THEORY ON DEMAND 

that AI cannot replace (at least for now). Designers will need to focus on cultivating their own 
creative mind and humanistic care, using design as a way to express and connect human 
emotions, conveying values and social meaning through design.

Design Sciences

In the design fields, science appears to be a candle in the dark that makes one uncomfortable 
at first, but provides a solid basis in design processes with related meaning attached. Design 
sciences helps one understand and predict. Oftentimes, science creates more questions 
rather than answers. We depend on science. If one were to be in a dire situation, such as 
choking, would they wish for a prayer or a Heimlich maneuver? I respond to the trivializing 
attitude some show regarding design sciences with bafflement. Design research cannot be 
understood as a matter of individual profit and/or loss. It is, rather, for the collective good; it is 
important voluntary input into the wider system of contributing to knowledge and academic 
publishing upon which the contemporary academic profession is symbiotically dependent, 
as well as inform good design that is not only neutral to, but beneficial for the health of our 
planet. In the “scientification” of design and the search for truth in design, quantification has 
increasingly become a requirement. The instrument is almost the first discussion in several 
PhD meetings I have attended. We are often drowned in data that is devoid of meaning.

In a comparison of Aldous Huxley’s Brave New World to Orwell’s dark prophecy in 1984, Neil 
Postman states;

Orwell feared those who would deprive us of information. Huxley feared those who 
would give us so much that we would be reduced to passivity and egoism. Orwell 
feared that the truth would be concealed from us. Huxley feared the truth would be 
drowned in a sea of irrelevance.8

In this case, not ideally, method almost becomes more important than the questions and 
ideas. I believe that the current approach to Design Studies needs to continue to be unique 
in that sense. Design studies communications also includes close contact with publishers, 
authors, readers, and reviewers (our students). It appears we will need to put communications 
at the heart of the program. Communication is defined as9; a process by which information 
is exchanged between individuals through a common system of symbols, signs, or behavior; 
information communicated: information transmitted or conveyed; a system (as of telephones 
or computers) for transmitting or exchanging information.

Furthermore, enriched communications require; reading (understanding the main argument, 
but also analyzing the structure of the book and where the book stands in relation to oth-
er academic work and to the author’s own work); evaluation (weakness and strength); and 

8 Postman, N. (1985). Amusing Ourselves to Death: Public Discourse in the Age of Show Business. USA: 
Penguin Books.

9 Merriam-Webster. An Encyclopædia Britannica Company (2024). https://www.merriam-webster.com/. 
1.4.2024.



13LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

writing (in a way that brings an insightful approach to the work at hand). Naturally, science 
communication necessitates both written and oral communication; word, the rhetoric, oral 
communication; writing in both a scientific way, but also a clear and understandable way, 
where application not only includes research, but also in design, there is also the visual com-
munication. As one is not the ornament of the other, and the search for truth and critical 
curiosity are involved in all, critical discussion is a key feature in design studies.

In Conclusion

Thus, here, Design Studies has been defined as; not a practical overarching name, but one 
with definition and purpose. A significant aspect of design, and design studies is perhaps its 
adaptability, flexibility to the needs of the times. The discussions aim to contribute to designers 
developing their own creative, theoretical and practical abilities for developing a critical and 
interdisciplinary insight into design; extending their design knowledge and understanding 
within an interdisciplinary approach; familiarize themselves with a wide range of interdisci-
plinary research; analyze and discuss the history, theory, philosophy and discourse of different 
design disciplines together at an advanced level. The topics include; design thinking; design 
and science; design ethics; mixed methods; equality, social justice, participatory design; 
user-experience design; and experiential design. Hopefully, the critical discussions in this 
book are a step in that direction and young design researchers have gained insight from this 
experience. We leave the word to them today.

As a final word; the disasters of the past few years have taught us one thing in particular, and 
that is to see that everything is finite. Therefore, let us rejoice in being alive and what we 
produce, and to cherish the time we have on this earth.

Richard Dawkins, Unweaving the Rainbow (1998) book intro:

We are going to die, and that makes us the lucky ones. Most people are never going 
to die because they are never going to be born. The potential people who could have 
been here in my place but who will in fact never see the light of day outnumber the 
sand grains of Arabia. Certainly, those unborn ghosts include greater poets than 
Keats, scientists greater than Newton. We know this because the set of possible 
people allowed by our DNA so massively outnumbers the set of actual people. In the 
teeth of these stupefying odds, it is you and I, in our ordinariness, that are here. We 
privileged few, who won the lottery of birth against all odds, how dare we whine at our 
inevitable return to that prior state from which the vast majority have never stirred?10

I love this book and its message. We have won the lottery and have the privilege to explore, 
change and adapt within the increasingly exciting and expanding field of Design Studies. Togeth-
er with Tuba Doğu, Deniz Avcı, Gözde Damla Turhan, and Aybüke Taşer who have been a wonder-
ful support with several of their initiatives embedded in the preparation of this book, we welcome 
you to the Design Studies discussions and hope that you will enjoy what you may find inside.

10 Dawkins, R. (1998). Unweaving the Rainbow. London: Houghton Mifflin.



14 THEORY ON DEMAND 

References
Atatürk Kültür, Dil ve Tarih Yüksek Kurumu Atatürk Araştırma Merkezi. (2006). 5th ed. Arsan, N. 
Atatürk’ün Söylev ve Demeçleri, Atatürk Kültür, Dil ve Tarih Yüksek Kurumu Atatürk Araştırma Merkezi, 
Atatürk’ün Söylev ve Demeçleri, Vol: I, Ankara: Divan Yayıncılık Ltd. Şti.

Asatekin, M. 2021. Online communications by Deniz Hasirci, archived by DATUMM: Documenting and 
Archiving Turkish Modern Furniture, http: linktree/datumm, datumm.org.

DATUMM: Documenting and Archiving Turkish Modern Furniture, http: linktree/datumm, datumm.org.

Dawkins, R. 1998. Unweaving the Rainbow. London: Houghton Mifflin.

Ekici, S. 2008. Türk Müziği Devlet Konservatuvarlarının Bugünü Üzerine Düşünceler, “Millî Folklor”, 20: 
77.

Hasirci, D., & Tuna Ultav, Z. 2020. “The multiple stories behind the modern ceramic coffee tables of 
the Grand National Assembly of Turkey,” Journal of Design History, 33(3): 225-242.

Hasirci, D., & Tuna Ultav, Z. 2019. “Mid-century modern furniture representing modern ideals in the 
grand national assembly of Turkey”, Journal of Interior Design 45(2): 11-33.

Kamalov, Firuz, David Santandreu Calonge, and Ikhlaas Gurrib. 2023. "New Era of Artificial Intelli-
gence in Education: Towards a Sustainable Multifaceted Revolution" Sustainability 15, no. 16: 12451.

Merriam-Webster. An Encyclopædia Britannica Company. 2024. https://www.merriam-webster.com/. 
1.4.2024.

OECD Data. 2024. Young population. https://data.oecd.org/pop/young-population.htm. Accessed: 
4.1.2024.

Postman, N. 1985. Amusing Ourselves to Death: Public Discourse in the Age of Show Business. USA: 
Penguin Books.

Tuna Ultav, Z., Hasirci, D., Borvali, S. and Atmaca, H. 2015. DATUMM: Documenting and Archiving – 
Turkish Modern Furniture. İzmir: İzmir University of Economics.



15LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

PART I 
DESIGN STUDIES WITH  

TURKISH ROOTS



16 THEORY ON DEMAND 

RETHINKING FASHION: BIO-DESIGN APPROACH TO 
ENHANCE WELL-BEING

FILIZ ÖZBENGI USLU

Introduction

In an era of growing environmental concerns, a reconsideration of the complex relationship 
between fashion, sustainability, circularity, and holistic well-being is at the forefront of the 
current discourse. Historically characterized by rapid trends and mass consumption, the 
fashion industry now faces the urgent need for transformative actions that address both 
planetary boundaries and societal well-being. As sustainable textiles emerge as an important 
response to environmental challenges, their impact on promoting well-being is becoming a 
central inquiry.

Wellbeing and Fashion: Significance of Well-being in the Con-
text of Planetary Boundaries

The concept of planetary boundaries is essential in exploring a refined understanding of 
well-being, as it interweaves the well-being of humanity with the delicate balance of our 
natural environment. The basic premise of the concept of planetary boundaries lies in the 
complex link between human well-being and the proper functioning of the natural environ-
ment. This perspective suggests that by consciously adhering to and operating within the 
defined boundaries set by planetary boundaries, we have the capacity not only to sustain 
but also to enhance human well-being.1 This perspective goes beyond ecological concerns 
to include dimensions of social justice, and the aim is to create a safe ecological space for 
all living beings. In the face of global ecological crises and the rapid decline of biodiversity, 
conventional frameworks often fail to bridge the gap between environmental restoration and 
the wider quest for equitable well-being.

In exploring the relationship between well-being and planetary boundaries, the concept of 
well-being has been linked to economic growth, particularly in Western societies. Criticisms 
of subjective interpretations of well-being highlight the unsustainable emphasis on material 
criteria, driven by limitless human desires. To address these challenges, the discussion shifts 
towards ecopsychology, which advocates for a paradigm shift towards achieving genu-
ine well-being through our deep connection with nature.2 Maintaining the integrity of the 
Earth system and the vital ecosystem services requiresa considered definition in which the  

1 Will Steffen et al., "Planetary Boundaries: Using Early Warning Signals for Sustainable Global 
Governance," in Planetary Boundaries and Human Opportunities, ed. Steve Carpenter (Edward Elgar 
Publishing, 2013), 259–275.

2 Duane D. N. Winter and Susan M. Koger, The Psychology of Environmental Problems, 2nd ed. 
(Lawrence Erlbaum Associates, Inc., 2004).



17LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

persistence of species and populations is protected to the extent that they are able to persist 
into the future. Within this framework, organisms are given the opportunity not only to exist, 
but to thrive and achieve a comprehensive state of well-being.

In exploring this discourse, it becomes clear that a broad understanding of well-being goes 
beyond the mere survival of species. It encompasses the dynamic processes that allow organ-
isms to adapt, evolve and coexist harmoniously within the complex pattern of the Earth system 
and includes the flourishing of life in all its different manifestations.

Review of Well-being Through the Perspective of Body  
and Clothing

The dynamics between human well-being and this broader environmental context are broad 
and diverse, encompassing physical and mental health as well as subjective well-being, a 
realm in which individual happiness and satisfaction find expression. Tracing the historical 
roots of defining well-being, eudaimonical well-being is a concept rooted in Aristotelian philos-
ophy.3 As opposed to a constant outcome, eudaimonia is the pursuit of realizing one's essen-
tial nature, promoting virtues, and living in harmony with oneself. Hedonic well-being, a parallel 
definition, offers a contrasting perspective on well-being by focusing on human emotions.4

The concept that bridges these dimensions is the concept of ‘flourishing’ which defines pos-
itive emotions, engagement, relationships, meaning, and achievement as the five elements 
of flourishing according to PERMA theory.5 Considering the connection of well-being with 
the body and clothing, well-being, which is no longer limited to the fields of philosophy and 
psychology, has emerged as an important movement in recent decades, intertwined with the 
fashion industry. The industry's interest in well-being stems from the rejection of unrealistic 
body ideals and the global health crisis that catalyzed the financial recession of the early 
2000s.

Within this consumer-centered view, clothing becomes an important factor in the well-being 
narrative that can contribute to psychological well-being in two ways: hedonic well-being, 
where clothing evokes pleasure and positive emotions, and eudaimonic well-being, where 
clothing provides a sense of fulfillment or meaning. The psychological impact of clothing is 
also emphasized as a process of transforming socially approved conventions into self-ap-
proved values. Conformity to social norms is seen as crucial for psychological well-being 
as it fosters feelings of belonging and competence. Beyond its social context, the integral 
link between body and clothing is widely recognized and fashion is defined as an embodied 
practice. Clothing is not just an outer layer; it is a tool that shapes emotions and influences 

3 John Moran, "Aristotle on Eudaimonia ('Happiness')," Think 17, no. 48 (2018): 91-99.
4 Richard M. Ryan and Edward L. Deci, "Self-determination theory and the role of basic psychological 

needs in personality and the organization of behavior," in Handbook of Personality: Theory and 
Research, ed. Oliver P. John, Richard W. Robins, and Lawrence A. Pervin (The Guilford Press, 2008), 
654–678.

5 Martin E. P. Seligman, Flourish: A Visionary New Understanding of Happiness and Well-Being (Free 
Press, 2011).



18 THEORY ON DEMAND 

cognitive experiences. Autobiographical memories associated with clothing play an important 
role in the creation and maintenance of a coherent narrative identity deemed essential for 
psychological well-being.

A significant issue emerges in this connection between well-being, body, and clothing; do the 
practices of the fashion industry enhance these effects or create an illusion? In delving into 
this issue, the complex relationship between individual well-being, environmental concerns, 
and the impact of the fashion industry on our sense of self-image comes to the forefront, 
prompting a deeper reflection on the symbiotic relationship between our well-being and the 
choices we make in fashion.

Integrating Well-being: A Focus on Fashion Design and Industry

In the world of fashion design and industry, the concept of well-being needs to extend beyond 
aesthetic concerns to embrace ethical practices throughout garment production. From design 
to distribution, there is a growing discourse exploring new materials and economic models 
to reduce the ecological impact of fashion. However, the roots of the global fashion indus-
try go into the deep and are entangled with the history of human-environment interactions 
affecting ecosystems. Today, the fashion industry is at the forefront of an environmental crisis 
that negatively impacts nature and humanity. The fashion industry contributes significantly 
to climate change, biodiversity loss, and social justice concerns.6 The extensive use of water, 
chemicals, and excess energy usage in the supply chain is impacting the planet, especially 
the developing countries. Recent efforts to reduce the negative impacts of the fashion industry 
have focused predominantly on the supply side, focusing on changes in products or outcomes. 
Product-oriented strategies aim to improve the environmental sustainability of production pro-
cesses by incorporating measures such as the use of more sustainable materials and energy 
sources. Alternatively, outcome-oriented approaches address how products are marketed, 
distributed, or disposed of. However, the generalised categorisation of all natural materials 
as inherently safe and all synthetic materials as harmful overlooks and oversimplifies the 
multiple environmental and social externalities associated with textiles, which include both 
natural and man-made varieties. In this case, a paradigm shift is imperative. The emphasis 
on well-being through alternative economic models, such as the post-growth approach, is 
compatible with a circular fashion economy that addresses both social and environmental 
factors. This requires material innovation in fashion design and production, with a focus on 
circular materials that reduce waste.7

6 Ellen MacArthur Foundation, "A New Textiles Economy: Redesigning Fashion’s Future," [Online] 
Available at: https://www.ellenmacarthurfoundation.org/publications/a-new-textiles-economy-
redesigning-fashions-future.

7 Kate Fletcher, Craft of Use: Post-growth Fashion (Routledge, 2016).



19LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

Accordingly, how can material innovation be seen as a remedy to the problem of waste gen-
erated by the fashion industry, before addressing consumption patterns, and can textiles 
promoted as ‘sustainable’ and ‘green’ meet this challenge?

A Brief Examination of Sustainable Textiles and Their Influence 
on Well-being in Fashion

Marked by rapid trend changes, the world of fashion is constantly giving birth to new garments, 
leaving a significant impact on the economy and the global environment. However, the wave 
of ‘fast fashion’, synonymous with disposable, affordable clothing, has led to reflections that 
require close examination. This fast-paced fashion paradigm has become a major contribu-
tor to environmental and social degradation, with the sector's notorious water consumption, 
chemical pollution, and significant carbon emissions.8 The consequences, ranging from 
resource exploitation to negative impacts on workers and complex supply chain intricacies, 
underscore the urgent need for environmentally friendly and socially responsible alternatives.

Textile production, which has historically relied on synthetic fibers derived from non-renew-
able resources such as petroleum, increases environmental damage. The high carbon diox-
ide emissions and energy consumption associated with synthetic fibers, combined with the 
release of non-biodegradable microfibers into the environment during washing, have negative 
impacts on aquatic ecosystems and biodiversity. In response to this ecological crisis, it has 
gained importance in response to the call for sustainable textiles. Natural fibers such as 
organic cotton, bamboo, hemp, jute, and ramie are emerging as signifiers of sustainability on 
this transformative path. However, even with textiles derived from these natural fibers, which 
are considered sustainable and included in the scope of bio-based textiles, challenging prob-
lems remain. Although these materials have long been considered sustainable, the extensive 
industrialization of the sector creates its own challenges. While bio-based textiles have the 
potential to reduce greenhouse gas emissions, they often require significant water and land 
use.9 In the case of cotton, a densely grown natural fabric that requires a significant amount 
of water consumption. The textile industry's impact on the world's clean water supply, with 
20% of pollution attributed to fabric dyeing, processing chemicals, and pesticide use, fur-
ther underlines the urgency for change. Moreover, the textiles that are often associated with 
sustainability can carry hidden complexities. Textiles such as viscose and modal, which are 
often touted for their comfort, can contain synthetic and chemically processed components, 
challenging the narrative of their sustainable impact unless their production processes are 
transparent.10

Given all these complex but interconnected problems, it is clear that the fashion industry 

8 Valentina Jacometti, "Circular Economy and Waste in the Fashion Industry," Laws 8, no. 4 (2019): 27.
9 Ming Zhao et al., "Virtual Carbon and Water Flows Embodied in Global Fashion Trade–A Case Study of 

Denim Products," Journal of Cleaner Production 303 (2021): 127080.
10 Subramanian S. Muthu and Miguel Angel Gardetti, eds., Sustainability in the Textile and Apparel 

Industries (Springer, 2020), 163-187.



20 THEORY ON DEMAND 

requires innovative materials that can be maintained in a closed loop, where raw materials 
based on renewable resources replace those using non-renewable resources, and that can 
continue this loop with minimal waste.

Bio-design and Fashion

As the fashion industry continues to evolve and adapt, new approaches are emerging that 
combine the worlds of biology and design. These innovative approaches, known as bio-de-
sign, have added a new dimension to the ecological and social challenges created by fashion, 
drawing inspiration from the natural world and incorporating biological principles to create 
innovative and circular fashion design solutions.

Addressing New Materials in Fashion Within Bio-design

In an era of increasing awareness of environmental crises fostered by unsustainable practices 
in the fashion industry, bio-design is emerging as a source of promise toward a more circular 
and innovative future. Located at the intersection of biomimicry, bioengineering, and synthetic 
biology, bio-design represents a transformative design approach that integrates basic biolog-
ical principles and extends to the construction of structures, objects, and tools.11 Bio-design 
challenges the status quo in the fashion industry by emphasizing regenerative production 
models, the use of biodegradable materials, and circular economic models. The move away 
from traditional carbon-intensive practices opens avenues for rethinking and redefining the 
relationship between planetary boundaries and human well-being. Bio-design is at the fore-
front of the development of a range of materials derived from plants and organic systems 
and is evidence of the industry's commitment to circular practices. Since this study focuses 
on the material part of bio-design and concepts including 'bio' are often confused with each 
other, Figure 1 shows how bio-based and bio-fabricated materials are positioned in literature.

From reusing agricultural or food waste to producing yarn from unusual sources such as 
orange peel, seaweed, and even leather from grape or apple skins, the possibilities are 
expanding. Innovations like Flora Fur, a sustainable, biodegradable fur made from milkweed 
(Figure 2) and Algiknit, a seaweed-based, entirely biodegradable material (Figure 3), exemplify 
the fusion of creativity and circularity in fashion.12

11 William Myers and Paola Antonelli, Bio Design: Nature, Science, Creativity (Thames & Hudson, 2012).
12 Claudia Del Gesso, "Sustainable Fashion: From Material to Immaterial through Biodesign," PAD 14 

(PAD# 20 Fashion and Textile Design Reconstruction) (2021): 130-151.



21LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

Figure 1. Positioning ‘Bio’ Terms (Adapted from Biofabricate and Fashion for Good, 2020)

Figure 2. Flora Fur, Milkweed Based Fur (Source: circumfauna.org, 2021)

Figure 3. Algiknit, Bioyarn Molded From Algae (Source: www.materialdriven.com, 2020)



22 THEORY ON DEMAND 

Taking bio-design to the next level, some designers are creating fashion products produced 
by living organisms. Roya Aghighi's Biogarmentry collection (Figure 4), for instance, is made 
from algae that photosynthesize the air, requiring care akin to tending to a plant.13 These 
initiatives are reshaping the market, with even luxury fashion brands investing intensively in 
this transformative space.

Figure 4. Biogarmentry, Clothes Made From Algae (Source: dezeen.com, 2019)

While many bio-design and fashion collaborations may seem like speculative material exper-
iments, advancements in technology and ongoing research suggest a transformative role in 
the fashion design process. The functional capabilities of bio-designed materials not only 
cater to aesthetic and functional needs but also indirectly contribute to the well-being of plan-
etary boundaries and human flourishing. When we consider the material in the relationship 
between bio-design and fashion, textiles, defined as bio-based and bio-fabricated materials 
are not only experimental but also reshape the circularity of fashion. Derived from biomass 
such as plants or animals, bio-based textiles offer an environmentally friendly alternative to 
traditional petroleum-based textiles. Often produced using living organisms, these materials 
offer an opportunity to challenge the linear economy model of the fashion industry.14 How-
ever, it is crucial to recognize that not all bio-based materials are produced ethically, as their 
environmental impact depends on factors like raw material sources, cultivation practices, 
and processing methods.

Apart from bio-based materials, bio-fabricated materials, a term originally associated with 
the medical sector, have expanded to include the production of complex living and non-living 
biological products. With their biological origin and circular potential, bio-fabricated materials 

13 Reza Aghighi, "What if Our Clothes Were Alive and Photosynthesized?" APRIA Journal 1, no. 1 (2020): 
120-128.

14 Biofabricate and Fashion for Good, "Understanding ‘Bio’ Material Innovation: A Primer for the Fashion 
Industry" (2020).



23LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

are attracting significant research. These materials not only offer an alternative to traditional 
production models but also contribute to social transformation by reducing labor exploitation, 
which is particularly prevalent in global textile production. While bio-based and bio-fabricated 
materials often aim to replicate existing alternatives, there's a need to appreciate their unique 
qualities. From vitality to impressionability and responsiveness, these emerging materials pos-
sess distinctive characteristics that extend beyond mimicking properties of traditional coun-
terparts. Future research in this realm should broaden its scope, delving into the experiential 
aspects and the nuanced environmental and social impacts of these innovative materials.

The Need for Bio-design to Create a Circular Fashion System

Understanding the interconnectedness of all life with nature and with other life is to realize 
what it means to design in a genuinely biological and circular way. Criticized for its environ-
mental damage, the fashion industry is undergoing a transformative shift towards circular 
fashion. This paradigm seeks to minimize resource dependency and water consumption, 
recognizing the urgent need for change in an industry that is responsible for 63% of gar-
ment fibers derived from plastics.15 As a response to this crisis, bio-fabricated materials are 
emerging as a promising solution, in line with the ethos of the circular fashion paradigm to 
responsibly close the production loop. At the center of this evolution is the garment produc-
tion process, a crucial stage where designers traditionally favor materials with significant 
environmental impacts. This decision shapes the final products on the market, perpetuating 
the ecological consequences of the industry.

Bio-design, in particular, challenges the entrenched pillars of fast fashion, proposing a depar-
ture from the relentless production schedules dictated by current economic models and 
seasonal fashion trends. In terms of materials that are grown or fabricated with a bio-design 
approach, circular design revolves around the creation of regenerative systems that minimize 
waste, optimize resource efficiency, and promote the well-being of both the environment 
and societies. While circularity also suggests a system in which materials are continuously 
reused, the principle of continuous reuse of materials is in contradiction with the fact that 
materials in bio-design are often produced to be short-lived and highly biodegradable. This 
biodegradability and compostability principles encourage the development of bio-based and 
bio-fabricated materials that naturally degrade without harming the environment. These can 
be organisms that do not require land use or pesticides as they grow in salty seawater such as 
brown algae, food waste that goes to landfills such as citrus or eggshells, ethically harvested 
oyster shell waste or plants, or myceliums that are grown through fermentation and decom-
position process and require far less energy, water and other resources than conventional 
material production. However, as we embrace the potential of bio-design, questions arise 
about its ability to effect social and ecological transformation. Critics argue that for bio-design 
to fulfill its promise, it needs to lead us toward diverse, equitable models that prioritize the 

15 European Environment Agency (EEA), Plastic in Textiles: Towards a Circular Economy for Synthetic 
Textiles in Europe (Brussels: European Commission, 2021), [Online] Available at: https://www.eea.
europa.eu/publications/plastic-in-textiles-towards-a



24 THEORY ON DEMAND 

flourishing of all biologies, not just human well-being.16 This raises an important question 
about the role of the fashion designer within this evolving circular system.

As the industry moves forward at the intersection of innovation and social responsibility, the 
fashion designer becomes a key actor tasked with shaping a future where circular fashion 
is not just a buzzword, but a tangible and transformative reality. The shift towards a circular 
paradigm through bio-design is forcing both the industry and its practitioners to embrace a 
more responsible, interconnected vision.

Examining Bio-designed Textiles from a Well-being Perspective

In the current quest for well-being and environmental sustainability, bio-design seems to 
have emerged as a pioneer, offering innovative solutions that go beyond traditional pharma-
ceutical approaches. The fashion industry is witnessing an increase in products and process-
es designed not only for aesthetics but also for technical functionality. When exploring the 
field of well-being and bio-designed textiles, much of the existing literature revolves around 
smart textiles and wearable technologies.17 Among these, medical and paramedical textiles 
are notable, attracting attention in applications ranging from cosmetics to skincare and the 
improvement of thermal comfort.

An outstanding example is Mi Terro, which specializes in probiotic-infused textiles by con-
verting agricultural waste into high-quality, low-cost, and scalable textiles (Figure 5). This 
innovative approach not only challenges microplastics but also maximizes the use of bio-
mass through a blend of biopolymers and natural fibers. When it comes to incorporating 
herbs, SmartSilk produces bedding with a blend of silk and Aloe Vera fibers (Figure 6). 
Aloe Vera is known for its skin-soothing properties. Infusing these fibers into sheets and 
pillowcases creates a sleep environment that nurtures skin health and overall well-being.  
It is a good indication that this type of textile can have an industrial counterpart in terms of 
being quite commercial.18

16 Alexandra Daisy Ginsberg and Natsai Audrey Chieza, "Editorial: Other Biological Futures," Journal of 
Design and Science (2018).

17 Yvonne van der Meer, "Sustainable Bio-Based Materials: Opportunities and Challenges," in Proceedings 
of the Biotech France 2017 International Conference, Paris, France, June 28, 2017, pp. 1-5.

18 Paolo D’Olivo and Elvin Karana, "Materials Framing: A Case Study of Biodesign Companies’ Web 
Communications," The Journal of Design, Economics, and Innovation 7, no. 3 (2021): 403–434.



25LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

Figure 5. Mi Terro, Bioplastic from Bio-mass (Source: www.miterro.com, 2021)

Figure 6. SmartSilk, Bedding From Silk and Aloe Vera (Source: smartsilk.com, 2022)



26 THEORY ON DEMAND 

Venturing beyond traditional textiles, Vollebak, an avant-garde clothing line, integrates 
algae into its fabrics (Figure 7). The photosynthetic feature of algae enables these garments  
to actively contribute to air purification, fostering a microenvironment that supports  
respiratory health.

Figure 7. Biodegradable T-shirt Made From Plants and Algae (Source: www.fibre2fashion.com, 2020)

The scope of bio-design extends to bio-pigment production, utilizing organisms like bacteria, 
yeasts, fungi, and algae to naturally synthesize pigments. These pigments find applications 
in various industries, from textiles to cosmetics, pharmaceuticals, and food, offering novel 
properties beneficial for both human health and the environment.19

The most prominent example of this innovation continues with new dyeing applications in 
textiles exemplified by the new technology of the Living Colour bio-design initiative. In col-
laboration with ArtEZ CoE Future Makers, Wageningen University & Research and designers, 
they have carried out studies to improve the growth conditions and patterns, pigment quality 
and colour spectrum of bacteria (Figure 8).

Offering an alternative to artificial textile dyes, which are extremely harmful to the planet and 
human health, textile dyes derived from bacteria are used in collaboration with sportswear 
brand Puma to produce a collection of various moisture-absorbent natural fibres that change 
colour according to the season of the garment, emphasising environmental concerns as well 
as user experience (Figure 9).

19 Hajiya Maryam Usman et al., "Bacterial Pigments and Its Significance," MOJ Bioequiv Availab 4 (2017): 
285–288.



27LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

Figure 8. Bacteria Dye by Living Colour (Source: livingcolour.eu, 2019)

Figure 9. Design to Fade, Living Colour & Puma (Source: designtofade.puma.com, 2020

In the field of bio-design, it is possible to analyze the social and cultural factors involved in 
the creation of medical and therapeutic textiles. Moreover, exploring these factors within the 
bio-design can reveal ways of incorporating these new-generation textiles into everyday life 
as a means of promoting biodiversity at a local dimension. With a better understanding of 
bio-design, creating new materials using scalable and responsible technologies could indi-
rectly provide a valuable collaborative strategy for reassessing biodiversity.



28 THEORY ON DEMAND 

Conclusion

The concept of well-being in fashion design has been closely associated with ethical and 
socially responsible practices. This paper argues for a comprehensive reassessment of fashion 
practices, addressing issues such as overconsumption, the problem of waste and material 
innovation. It emphasizes the need to move from a growth-oriented fashion system to one 
that values post-growth principles and actively promotes individual and societal well-being. 
The discourse extends to bio-based and bio-fabricated materials, emphasizing their impor-
tance in reshaping the fashion industry towards circularity, while the evolving role of the 
fashion designer is portrayed as a key player in the symbiotic relationship between design 
and biology. As envisioned in bio-design, to establish a collaborative working relationship 
with a living organism, designers need to provide a suitable growth environment. In return, 
the living organism will produce a material or perform a function. Designers can now grow 
their materials and manipulate their morphology as they grow, rather than relying on existing 
pre-fabricated materials.

Fashion designers in particular are demonstrating that it is possible to go beyond the tradi-
tional boundaries of their discipline in testing materials, hybridizing them with science, engi-
neering, and biotechnology, and adopting an increasingly transdisciplinary approach. Fashion 
designers are now interested in the conceptualization of the material and it is becoming a real 
driving force and collaborator. Furthermore, exploring the scalability and responsible appli-
cation of bio-design technologies in the fashion industry remains a critical area of research. 
Understanding how these inventions can be efficiently incorporated into everyday life by 
promoting biodiversity is a promising direction for further research.

References
Aghighi, Reza. 2020. "What if Our Clothes Were Alive and Photosynthesized?" APRIA Journal 1, no. 1 
(2020): 120-128.

Biofabricate and Fashion for Good. 2020. "Understanding ‘Bio’ Material Innovation: A Primer for the 
Fashion Industry."

D’Olivo, Paolo, and Elvin Karana. 2021. "Materials Framing: A Case Study of Biodesign Companies’ 
Web Communications." The Journal of Design, Economics, and Innovation 7, no. 3 (2021): 403–434.

Del Gesso, Claudia. 2021. "Sustainable Fashion: From Material to Immaterial through Biodesign." PAD 
14 (PAD# 20 Fashion and Textile Design Reconstruction): 130-151.

Ellen MacArthur Foundation. 2017. "A New Textiles Economy: Redesigning Fashion’s Future." [Online] 
Available at: https://www.ellenmacarthurfoundation.org/publications/a-new-textiles-economy-rede-
signing-fashions-future.

European Environment Agency (EEA). 2021. Plastic in Textiles: Towards a Circular Economy for 
Synthetic Textiles in Europe. Brussels: European Commission. [Online] Available at: https://www.eea.
europa.eu/publications/plastic-in-textiles-towards-a

Fletcher, Kate. 2016. Craft of Use: Post-growth Fashion. Routledge.

Ginsberg, Alexandra Daisy, and Natsai Audrey Chieza. 2018. "Editorial: Other Biological Futures." 
Journal of Design and Science.

https://www.ellenmacarthurfoundation.org/publications/a-new-textiles-economy-redesigning-fashions-future
https://www.ellenmacarthurfoundation.org/publications/a-new-textiles-economy-redesigning-fashions-future
numbering.xml
numbering.xml


29LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

Jacometti, Valentina. 2019. "Circular Economy and Waste in the Fashion Industry." Laws 8, no. 4 
(2019): 27.

Moran, John. 2018. "Aristotle on Eudaimonia ('Happiness')." Think 17, no. 48 (2018): 91-99.

Muthu, Subramanian S., and Miguel Angel Gardetti, eds. 2020. Sustainability in the Textile and Appar-
el Industries. Cham: Springer, 163-187.

Myers, William, and Paola Antonelli. 2012. Bio Design: Nature, Science, Creativity. London: Thames & 
Hudson.

Ryan, Richard M., and Edward L. Deci. 2008. "Self-determination theory and the role of basic psycho-
logical needs in personality and the organization of behavior." In Handbook of Personality: Theory and 
Research, edited by Oliver P. John, Richard W. Robins, and Lawrence A. Pervin, 654–678. The Guilford 
Press.

Seligman, Martin E. P. 2011. Flourish: A Visionary New Understanding of Happiness and Well-Being. 
London, UK; New York, NY, USA: Free Press.

Steffen, Will, Johan Rockström, Ida Kubiszewski, and Robert Costanza. 2013. "Planetary Boundaries: 
Using Early Warning Signals for Sustainable Global Governance." In Planetary Boundaries and Human 
Opportunities, edited by Steve Carpenter, 259–275. Edward Elgar Publishing.

Usman, Hajiya Maryam, Nafeesat Abdulkadir, Mohammed Gani, and Hassan Muhammad Maiturare. 
2017. "Bacterial Pigments and Its Significance." MOJ Bioequiv Availab 4 (2017): 285–288.

van der Meer, Yvonne. 2017. "Sustainable Bio-Based Materials: Opportunities and Challenges." In Pro-
ceedings of the Biotech France 2017 International Conference, Paris, France, June 28, 2017, pp. 1-5.

Winter, Duane D. N., and Susan M. Koger. 2004. The Psychology of Environmental Problems. 2nd ed. 
Mahwah, NJ: Lawrence Erlbaum Associates, Inc.

Zhao, Ming, Yang Zhou, Jing Meng, Hui Zheng, Yu Cai, Yuli Shan, Dabo Guan, and Zhifeng Yang. "Vir-
tual Carbon and Water Flows Embodied in Global Fashion Trade–A Case Study of Denim Products." 
Journal of Cleaner Production 303 (2021): 127080.



30 THEORY ON DEMAND 

DESIGN CHALLENGES IN THE SUSTAINABLE USE OF 
PROPS IN SCENIC DESIGN

ELIF KARAKUŞ, DENIZ HASIRCI

Introduction

This chapter discusses the scenic design process regarding the use, transportation, and stor-
age of props and to discuss how to apply sustainability to scenic design. In this context, there 
are several challenges and solutions to these challenges. The design process, the main actors 
in this process, design elements; selection, making, transportation, storage, and recycling of 
props are discussed through this paper with the help of existing literature and guidance by 
professionals in different fields related to scenic design.

According to Brako and Gilbert,1 designing and building of scenery backgrounds for theatre, 
film, and television is called, scenic design. Theatre, film, and television scenic design have 
similar approaches, similar techniques, and aesthetic requirements.

The existing publications lack research on the current issues and the problems of the scenic 
design process in live performing arts, the use of props in contemporary performances, the 
challenges of the use, transportation, storage of props, and possible solutions with the help 
of various design strategies, and scenic design in the world and Türkiye. New insights are 
required in using design solutions to deal with these issues, particularly in the context of 
Turkish and international scenic design in performing arts.

Therefore, this paper aims to focus on scenic design in Türkiye, to discover the challenges 
regarding the use, transportation, and storage of props in scenic design, and to suggest several 
solutions such as modular design, reuse and storage of props, and the use of digital technology 
in design under the name of sustainability. The study focuses on the challenges regarding 
the use, storage, and transportation of the design materials and possible solutions to avoid 
the waste of materials, and how to apply sustainability to the scenic design process. Meth-
ods include interviews with professionals in this field such as digital artists, scenic designers, 
theatre organizations, and municipal theatres; and a survey applied to the selected scenic 
designers. The outcomes of the interviews explain the scenic design process in Türkiye and 
how it works, the challenges dealt with during a scenic design process, existing solutions 
for the challenges and how effective they are, the problems to be solved, and suggested 
solutions from the interviewed professionals and how effective they can be, individuals that 
are responsible during the process, the possible scenic design developments such as to find 
the most suitable material use for each prop, to get the lowest cost during the scenic design 

1 Daniel Kofi Brako and Samuel Johnson Gilbert, "Elements and Principles of Design in Scenic Design in 
Ghana’s Most Beautiful Reality TV Show: An Aesthetic Evaluation," Journal of African History, Culture 
and Arts 2, no. 2 (2022): 83–93.



31LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

process in the most efficient way and to apply the sustainability to the scenic design focusing 
on modular design, reuse-storage, and digital technology in Türkiye.

Findings from meetings with municipal and private theatres and interviews with scenic design-
ers and digital artists show that there are challenges related to the lack of professionals that 
are working and the budget problems in municipal theatres. Solutions, such as, work shared 
between existing members of a production team, to select plays with low costs, making props 
in the workshop of the theatre, and reuse them by storing or modifying them are created by 
the head of the municipal theatre and other individuals. In addition, private theatres have 
similar challenges, including the transportation of props. Budget, storage, and reuse of props 
often present difficulties that are common for both municipal and private theatres. There is 
lack of awareness of sustainable scenic design in Türkiye, as well as digital technology use 
and awareness in scenic design mainly caused by the cost.

With the help of sustainability, design strategies and digital technology, alternative solutions 
for material use and design process in scenic design are suggested and these solutions are 
compared to find the most effective solution with the help of professionals and articles. It is 
aimed that solutions to be gained from this study may benefit scenic designers, producers 
and performing artists.

Scenic Design

Scenic design is visualizing a specific scene of a performance for the audience by using design 
strategies. The expression that is aimed to be given to the audience is designed by a scenic 
designer with the help of production team members.

According to Bergfelder, Harris, and Street,2 scenic (set) design provides a movie its unique 
appearance and places it in historical, social, and cultural settings. Sets help with charac-
ter identification and psychological expression in addition to offering material details and 
environmental conditions. Sets create mood and atmosphere by working in harmony with 
lighting and sound design to evoke feelings that either support or contradict the story. The 
storytelling is greatly impacted by the perspective of scenic designer, which also affects audi-
ence perspective, spatial dynamics, color, materials, and temporal components for improved 
narrative coherence and flow.

Wolf and Block,3 point out that each theatre form has its own needs. If the form is literary 
where the spoken words play an important part in the performance, the design visualizes 
the atmosphere where the event is happening at that point when the actors are having a 
conversation. The musical forms, including musicals or dance performances, have a scenic 
design which has to be comfortable for the movement of the performers. Because of the bigger 

2 Tim Bergfelder, Sue Harris, and Sarah Street, Film Architecture and the Transnational Imagination: Set 
Design in 1930s European Cinema in Transition (Amsterdam: Amsterdam University Press, 2007).

3 R. Craig Wolf and Dick Block, Scene Design and Stage Lighting (Stamford, CT: Wadsworth, Cengage 
Learning, 2014).



32 THEORY ON DEMAND 

moves the musical performers have than the literary form theatre performers, the space has 
to be designed as the props will allow the performers to move freely. However, literary formed 
theatres also need a perfectly designed space for each movement of the performers; each 
second of the performance will be thought wisely and the props will be designed as they will 
not cause trouble with the movement of the performers. Scenic design includes stage lighting, 
decoration, costumes, set construction, and set placement.4 It is the process of visualizing the 
script or a visual way of storytelling. There are several challenges before the design process, 
during the design process, and after the design process. This thesis discusses the process 
of the design, the actors and the elements of the design process, the challenges, the issues, 
and possible solutions to several problems.

Elements of Scenic Design: Props and Flats

The word “prop” is the short term for ‘property’ and is any object used in a performance. “Prop 
is defined as “any portable article, as an article of costume or furniture, used in acting a play: 
a stage requisite, appurtenance, or accessory.5 The Oxford English Dictionary finds the first 
usage of “props” in 1841, while the singular form of “prop” appeared in 1911.

A wide variety of items essential to scenic design and performances are referred to as props. 
They consist of props used by actors, furnishings, and structural components of the stage like 
the walls and floors. These materials, which can be divided into three categories: hand props, 
personal props stored in costumes, and action props, all add to the overall mood, enhance 
actor interactions, and improve the visual story.

Props can be bought from auctions, consignment shops, retail stores, thrift shops, salvage 
yards, garage sales, or online marketplaces. Using pieces from a collection or stock is gener-
ally referred to as pulling.6 Even though buying pieces may be the easiest option, the props 
still might need to be repainted, resized, or adapted to fit within the overall design concept 
and contribute effectively to the storytelling.7 Utilizing their own inventory of a theatre can 
save money and give quick access to the needed props and costumes.8 However, if an item 
is modified, added, or removed, the inventory needs to be updated to avoid confusion and 
misleading those searching for those items. If theatres build a relationship with each other, it 
will be beneficial for both sides since they can borrow props from each other. Collaborative 
prop and costume sharing among theatres, especially for smaller ones with budget constraints, 
reduces costs, enhances creativity, and promotes idea exchange among designers during 
the pulling process.

4 J. Michael Gillette, Theatrical Design and Production: An Introduction to Scene Design and Construction, 
Lighting, Sound, Costume, and Makeup (Palo Alto, CA: Mayfield, 1987).

5 Andrew Sofer, The Stage Life of Props (Michigan: University of Michigan Press, 2010).
6 Amy Mussman, The Prop Master: A Guidebook for Successful Theatrical Prop Management (Colorado: 

Meriwether, 2008).
7 Sandra J. Strawn, The Properties Director’s Handbook: Managing a Prop Shop for Theatre (Burlington, 

MA: Focal Press, 2013).
8 Chuck B. Gloman and Rob Napoli, Scenic Design and Lighting Techniques: A Basic Guide for Theatre 

(Amsterdam: Elsevier, 2007).



33LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

Gloman and Napoli,9 examine flats by their forms: vertical and horizontal. Flats are vertical 
pieces that serve as backdrops or walls, while platforms are horizontal structures that pro-
vide a surface for performers to stand on. Basically, there is a need for a horizontal element 
for people to stand on and something vertical behind them in order to create an ideal space 
to tell the stories. Flats are simpler versions of walls with less structure, less cost, and less 
time to build. But there is more to the use of flats. To create scenery that is lighter and more 
portable than a wall, flats are built. Meanwhile, walls are built where they are meant to be 
built, flats are constructed somewhere else than they will be used, and they are stored and 
set up when it is required.

The process of designing a prop begins when the scenic designer closely examines the script 
to understand the needs for both practical and aesthetic props. Determining the quantity 
and significance of props for the story is guided by an extensive understanding of the script. 
A consistent design language is ensured by efficient communication throughout the design 
team. Durability, safety, authenticity, and aesthetic are all considered while choosing mate-
rials. If building is needed, the designer works with craftspeople; otherwise, props might be 
rented from prop houses. To guarantee operation and safety, performances are followed by 
extensive testing.

Props must be transported safely to avoid damage while being moved between storage, 
rehearsal areas, and performance sites. Prop size, quantity, and features all have a role in 
the choice of vehicle; little cars work well for smaller plays, while trucks or vans work well for 
larger ones. Careful loading and unloading are ensured by specialized personnel to prevent 
damage. Temperature and humidity control during transportation are essential. To avoid any 
delays, loading, unloading, and transportation must all be completed on time.

The storage of props is highly required to avoid the waste of stage materials and keep them 
for reuse in other productions. Therefore, it decreases the unnecessary use of materials to 
build a new prop every time. The Turkish scenic designer Serkan Kavurt (the scenic designer 
of the “Tatavlada Son Dans / Last Dance in Tatavla” play) states that each production has its 
own storage of props. The production stores the props considering the reuse of the props 
or the materials that the props are made of, such as fabrics, metal structure and more. The 
organization of the storage has to be well designed for easy access to the needed props. The 
other purpose of the prop storage is to avoid the mess of materials in working fields. Props are 
stored in a variety of sizes, from the smallest ones to huge flats. There are different ways of 
storing. The most common storage type is the shelf system for each type of prop or the box.10

Props waste is the term used to describe the incorrect treatment and disposal of props used 
in theatrical productions in the context of scenic design. This may involve storing an excessive 
amount of unneeded or extra props, as well as treating and throwing them improperly after 

9 Andy Wilson, Making Stage Props: A Practical Guide (Ramsbury, Marlborough, Wiltshire: Crowood, 
2003).

10 Punished Props Academy, "How to Build a Material Storage Shelf for Prop & Costume Making Supplies," 
Video File, YouTube, https://www.youtube.com/watch?v=UkFaiX7aAQs, 2018.



34 THEORY ON DEMAND 

use. The waste of props can be caused by several reasons. Scenic designers can decrease 
waste, lower resource consumption, and encourage more eco-friendly approaches to the-
atrical productions by using sustainable techniques and conscious management of props.

Sustainable Design

Shedroff 11 states that an approach to design and development known as sustainability sets a 
focus on environmental, social, and economic factors. Sustainable solutions aim to improve 
the various systems that support our way of life, including the effective use of natural resources, 
efficient use of capital and markets, and reduction of pollution and waste in the environment, 
all without negatively impacting people all over the world. Sustainability highlights practical, 
cost-effective solutions that benefit people, the environment, and companies. According to 
Shedroff, sustainability can be examined under five main topics which are reduce, reuse, 
recycle, restore, and process. The methods for reducing material and energy use are the focus 
of the reduction part. It starts with designing or redesigning process because reducing the 
use from the very beginning has a big impact on sustainability. Reuse focuses on methods 
that make products, services, environments, and mechanisms last longer to avoid unneces-
sary production. The life span of these elements can be extended by using smart design and 
engineering strategies. In order to develop products that are more easily recycled helps to 
prevent the unnecessary use of raw materials. However, something being recyclable does 
not mean that it is recycled. This process needs to be controlled to make sure the produc-
tion process is suitable recycling the product. The use of a sustainable product or service is 
impactful; however, the storage is just as important. There is still a lot of work to do in order 
to make changes for the effects we have had in the past, in addition to reducing the impact 
the actions will have in the future. Once awareness of the methods is provided, it has to be 
known how to include them in the daily processes.

Hart,12 approaches sustainability as an essential requirement in stage design. In many ways, 
the field of props is currently environmentally friendly. The props that would be thrown away 
are mostly kept and stored for future use, and especially for those who are working in low-bud-
get productions or educational settings, recycling, reusing, repurposing, and upcycling mate-
rials are required.

Understanding Practical Applications in Türkiye

According to Schwarz and Sudman,13 the quality of a survey depends on the answers the 
survey respondents provide, and through an online survey was selected for this study, it was 
easier to reach the needed number of participants from different places in Türkiye in a short 
time. The survey responses were supported by meetings and interviews with professionals 
to get more detailed information.

11 Nathan Shedroff, Design is the Problem: The Future of Design Must Be Sustainable (Brooklyn, NY: 
Rosenfeld Media, 2009).

12 Eric Hart, The Prop Building Guidebook: For Theatre, Film, and TV (New York: Focal Press, 2017).
13 Norbert Schwarz and Seymour Sudman, Answering Questions (Hoboken, NJ: Jossey-Bass, 1996).



35LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

As a first step, the meetings with municipal and private theatres were arranged with the intent 
of getting general information about the production team, the scenic design process, and 
the challenges they face during this process. Interviews with one selected digital artist and 
scenic designers followed the meetings. It was aimed at getting practical information from 
professionals who work actively in the field.

Meetings

Municipal Theatres

Meetings were the first step of the study, so that the raw data collected from previous studies 
and literature determined the questions for the meetings. The first aim was to contact the 
municipal theatres to explore how the scenic design process is handled and who the author-
ities are in this process. Additionally, it was aimed to ask the challenges and their solutions if 
any exists. Meetings with the provincial director of culture and tourism and the head of the 
city theatres were arranged. The related municipality chose not to disclose its name due to 
privacy issues.

After the meeting, I was informed that it is a hard process to get permission to get budget infor-
mation. It is stated that there is a lack of financial support for the city theatres and because 
of budget problems, plays with a minimum royalty rate have to be chosen, or they write their 
own plays that will cost the minimum. Usually, at least two plays are arranged per year, and 
each member of the team deals with each issue during the process. The municipal theatre 
of the city that is chosen for this study commonly chooses theatre plays for children since its 
scenic design process is the easiest and the cost is the lowest. It is also discussed that there 
is not a professional design team, as discussed in previous chapters. After the play is chosen 
by the head, with the help of a craftsman and other team members, the scenic design gets 
completed. Previous props are mostly stored backstage or in the prop rooms downstairs. 
There is not enough space for all of the properties; therefore, even the backstage is used as 
storage. The main issues arising from the discussion with the municipal theatre including 
insufficient financial support, leading to the selection of plays with the easiest and least costly 
design processes, a lack of a qualified and professional design team, and inadequate storage 
spaces for props.

Private Theatres

The status of municipal theatre directed the study to private theatre organizations. Hasan 
Özkaya Organization is chosen for the study. After contact with the owner of the organization, 
permission was given to witness the process of installation of two plays, Muhteşem İkili (The 
Great Duo, directed by Atilla Şendil), and Tatavlada Son Dans (Last Dance in Tatavla, directed 
by Berfin Zenderlioğlu). Hasan Özkaya, the owner of the organization, discussed the process 
for private theatres and stated several problems.

Hasan Özkaya mentioned some of the problems, such as budget limitations, lack of materials 
and equipment in theatres, transportation, and more. Due to the lack of financial support, the 



36 THEORY ON DEMAND 

organization has a limited budget for each theatre play. It is arranged to use a minimum of 
vehicles for transportation; in fact, sometimes even the actors use the same vehicle with the 
scenic design equipment. The technician also mentioned that the lighting designer has to 
consider each situation and design lighting according to it because the lighting equipment 
may not be enough.

The first example of an assessed theatre play is Great Duo, and the main material that is 
used in the play is theatre flats. Each flat has a different size, a different design, and different 
openings. Even though the main idea behind each flat is the same as a framed wooden flat, 
each piece has a unique design and gathers to create the whole background of the scenic 
design (Figure 1).

Figure 1. Muhteşem İkili (The Great Duo, directed by Atilla Şendil)

The process of the installation begins as the props and design elements are brought by the 
vehicle. Firstly, technicians measure the stage and adapt the design according to the mea-
surement. The reuse of the scenic background of this play is possible since the materials are 
theatre flats, which are basically wooden frames with coverings. If the coverings are removed, 
it is possible to reuse the wooden frames for future plays (Figures 2, 3).

Figure 2. Muhteşem İkili (The Great Duo, directed by Atilla Şendil)



37LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

Figure 3. Muhteşem İkili (The Great Duo, directed by Atilla Şendil)

The Last Dance in Tatavla play has a political topic, and the design concept is a collapsed con-
struction. The background of the stage was made of pieces that have a more complex design 
than traditional theatre flats. They have the same purpose, yet the joints are more complex.

The structure has a stone texture to represent the era when the buildings were damaged and 
people were forced to migrate (Figures 4, 5, 6). The damaged texture is supported by lighting 
to create the feeling. The designer, Kavurt, stated that this structure has a detailed calcula-
tion to keep it balanced. He also mentioned that it is hard to reuse this design considering  
the removal process for the elements. It has to be done wisely to use some of the elements 
for recycling.

Figure 4. Tatavlada Son Dans (Last Dance in Tatavla, directed by Berfin Zenderlioğlu)



38 THEORY ON DEMAND 

Figures 5 and 6. Tatavlada Son Dans (Last Dance in Tatavla, directed by Berfin Zenderlioğlu)

The illuminated structure behind the main design represents undamaged buildings. The 
designer mentioned that even though it is hard to reuse the tyrofoam structure, the metal 
frames in the background can be used for similar purposes (Figures 7, 8). The lighting also 
supports the design (Figure 9).

Figure 7. Tatavlada Son Dans (Last Dance in Tatavla, directed by Berfin Zenderlioğlu)



39LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

Figure 8. Tatavlada Son Dans (Last Dance in Tatavla, directed by Berfin Zenderlioğlu)

Figure 9. Tatavlada Son Dans (Last Dance in Tatavla, directed by Berfin Zenderlioğlu)

The owner of the organization, Hasan Özkaya, faces several challenges, including a lack of 
financial support, insufficient materials and equipment in the theatre halls, and the need to 
minimize the use of vehicles due to transportation costs.

Interviews

The research questions of the study aim to find out the challenges regarding the use of props 
in sustainable scenic design and possible solutions to the challenges with the help of the 
understanding of Shedroff (2009), which is that sustainability can be examined under five 
main topics, which are reduce, reuse, recycle, restore, and process; digital technology use 
and alternative design strategies.

The first interviewee was a digital artist, Can Büyükberber, who has widely known works. The 
aim of the questions was to acknowledge the artist and his works, his approach to digital 
technology use in art and scenic design; his understanding of sustainability, and the use of 
digital technology in sustainable design.



40 THEORY ON DEMAND 

According to Büyükberber, in a design process, dates are determined by the places where 
the art will be held, such as venues, galleries, and the like the preparation process is also con-
sidered. If the artwork is custom designed, it requires time for design, rendering, and sound 
design. Mutual understanding, transparency, and consensus with curators or brands are also 
important factors in the communication between the artist and the client. If there is a budget 
limitation for a new design, licensing an existing work shortens the timeline and costs less.

Through the technology called StageCraft, developed by Lucasfilm, the large-scale LED 
screens allow artists to create backgrounds with various environments, such as deserts or 
poles. Thus, once the LED screens are provided, it requires less material than a scenic design 
created with physical props and costs less in the long term. It also provides realistic camera 
movements, various reflections on actors, and real-time lighting opportunities.

Digital technology also provides communication speed. It significantly reduces logistical chal-
lenges and energy inefficiencies associated with the transportation of physical materials from 
one place to another.

The idea of modular design in sustainable design was inspired by the scenic design of the 
theatre play “Evlat” (Child). The second interview was arranged with the scenic designer of 
this play, Sıla Karakaya, who actively takes part in important projects in Türkiye. The questions 
were created in order to find out the challenges of the scenic design process, the solutions if 
any exist, the sustainable design approach of Karakaya, and her opinion on modular design.

The design concept was determined by the needs of the producer. According to Karakaya, 
It is not ethical to use one of the designs of a designer by other designers; therefore, it is not 
possible to create a modular design that will be utilized in different designs. However, an 
efficient modular design could help sustainability if it is designed wisely.

Although LED screens provide dynamic visual possibilities, because of the high cost of long-
term renting, their use during theatrical tours may not be economically advantageous. How-
ever, using LED panels for one-off projects like movies and commercials seems to be more 
advantageous. The highlight of the discussion was the storage of the theatre flats. She suggest-
ed that a storage system for theatre flats could be efficient for sustainable design and reuse.

Survey

The survey questions are prepared in order to support the research questions of the thesis. It 
has nine multiple-choice questions, one with check boxes, and ten open-ended questions, for 
a total of twenty questions. The first question aims to find out their approach to sustainability 
and sustainable scenic design. The purpose of the question two through eight is to discover 
how aware they are of sustainable design and to what extent they implement sustainability 
in their design process. The following questions are aimed at getting detailed answers for 
sustainable design challenges and solutions.



41LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

A solution proposal that emerged from the survey results is to educate team members about 
sustainability and promote strong and effective communication among team members. Addi-
tionally, as mentioned by Bordelon,14 members of the design team should be skilled in order 
to propose solutions for sustainability, enabling them to use materials and equipment more 
consciously and efficiently. Collaboration within the design team, as highlighted by Jonīte,15 is 
also a crucial factor. The stronger the communication within the team, the faster sustainability 
recommendations can be identified, implemented, and thus, time can be saved.

Discussion and Conclusion

The primary challenges in scenic design emanate from financial constraints and a shortage 
of qualified professionals, resulting in restricted quality, design, and sustainability practices. 
Budget limitations inadvertently guide designers towards sustainable methods like reuse, 
recycling, and efficient storage. However, communication issues, time constraints, and restric-
tive guidelines impede designer’s ability to fully integrate sustainability into their creations.

Storage-related challenges include inadequate space, material congestion, and a lack of 
systematic storage systems, leading to repeated production of items and unnecessary waste. 
Transportation challenges include cost constraints that encourage designers to minimize 
vehicles and employ lightweight, easily installable designs. While designers exhibit sustainable 
choices, the extent of their conscious decision-making remains uncertain, often driven by 
budget, supply, and space considerations. To enhance sustainability, organizing awareness 
events and establishing systematic storage, rental, and borrowing systems are recommended.

Survey findings and interviews underscore challenges in fitting entire play designs onto stag-
es and ensuring stability and durability of stage elements for crew and actor safety. Cus-
tom designs can limit reusability, but exploring modular or adaptable designs is suggested for 
increased sustainability. However, ethical considerations regarding design limitations may arise.

The use of digital technology in stage design, particularly LED screens, is posited as a sus-
tainable alternative, reducing material consumption and transportation energy. Nonetheless, 
concerns about cost and feasibility in theatre productions on extended tours temper enthu-
siasm for widespread adoption. The digital environment allows quick transmission of designs 
to distant locations, aligning with sustainability goals.

In brief, scenic design faces multifaceted challenges, necessitating a balance between finan-
cial constraints and sustainable practices. Recommendations include awareness initiatives, 
systematic storage solutions, and judicious exploration of digital technologies to foster a more 
sustainable future in scenic design.

14 Grace Bordelon, "What Does an Art Producer Do?" Chronicle, Available at: https://work.chron.com/art-
producer-do-17636.html (Accessed June 8, 2023).

15 Dita Jonīte, "Horeogrāfija Vai Scenogrāfija? Dejotāju Koris Latvijas Nacionālā Teātra Iestudējumā “Pūt, 
Vējiņi!”" (Choreography or Living Scenography? The Dancers’ Chorus of the Production “Blow, in the 
Wind!” Staged in the Latvian National Theatre), Aktuālās Problēmas Literatūras Un Kultūras Pētniecībā 
Rakstu Krājums (Current Issues in Research of Literature and Culture) 26, no. 1 (2021): 296-309.



42 THEORY ON DEMAND 

This study focusing on scenic design process in performing arts, dwelled particularly on the 
design challenges regarding the sustainable use of props in scenic design to answer the 
following research questions;

1. To what extent do scenic designers in Türkiye possess awareness regarding the utilization 
of sustainability in scenic design?

2. What design strategies do scenic designers in Türkiye employ, and what types of materials 
do they prefer to utilize in order to incorporate sustainability and recycling into scenic design?

Applied research method was selected for this study, which aims to find a solution for an 
immediate problem facing a society or an industrial or business organization.16

The study, initiated to address prop wastage in scenic design, sought sustainable solutions 
amid a lack of detailed studies in the field. Existing literature formed the basis, supplemented 
by data collected from professionals. The research focused on identifying reasons for the scar-
city of literature and studies on the topic in Türkiye, highlighting challenges such as budget 
limitations, professional shortages, and issues related to prop use, transportation, and storage.

Data from literature, interviews, and surveys identified main problems as financial constraints, 
lack of sustainability education, theater equipment, and insufficient prop storage space. Pro-
posed solutions involved integrating sustainable design practices, considering the historical 
development of scenic design, and exploring the potential of digital technology, modular 
design, and sustainability in the field. Meetings with theaters and professionals, including 
scenic designers revealed shared challenges and provided insights into the stage installa-
tion process. Sustainable solutions, including modular design, digital technology usage, and 
sustainable prop creation and storage processes, were recommended based on gathered 
data. Survey results indicated positive attitudes toward sustainability among scenic designers, 
despite challenges like financial constraints and inadequate storage. Suggestions included 
documenting stage materials, education on sustainability, effective communication, and 
collaboration within design teams. Digital technology and modular design were proposed 
as potential solutions, but their effectiveness varied based on performance requirements.

The study aimed to fill knowledge gaps in scenic design sustainability awareness. It proposed 
practical solutions, emphasizing documentation, education, communication, and collabora-
tion. The findings could benefit professionals in the field and guide future research, urging 
a broader exploration of sustainable practices, technologies, and materials in scenic design.

16 C. R. Kothari, Research Methodology: Methods and Techniques, 2nd ed. (New Delhi: New Age 
International (P) Limited, Publishers, 2004).



43LOCALIZING DESIGN STUDIES: PERSPECTIVES ON TURKEY

References

Bergfelder, Tim, Sue Harris, and Sarah Street. 2007. Film Architecture and the Transnational Imagina-
tion: Set Design in 1930s European Cinema in Transition. Amsterdam: Amsterdam University Press.

Bordelon, Grace. 2022. "What Does an Art Producer Do?" Chronicle. Available at: https://work.chron.
com/art-producer-do-17636.html. (Accessed June 8, 2023).

Brako, Daniel Kofi, and Gilbert, Samuel Johnson. 2022. "Elements and Principles of Design in Scenic 
Design in Ghana’s Most Beautiful Reality TV Show: An Aesthetic Evaluation." Journal of African History, 
Culture and Arts 2, no. 2 (2022): 83–93.

Gillette, J. Michael. 1987. Theatrical Design and Production: An Introduction to Scene Design and 
Construction, Lighting, Sound, Costume, and Makeup. Palo Alto, CA: Mayfield.

Gloman, Chuck B., and Rob Napoli. 2007. Scenic Design and Lighting Techniques: A Basic Guide for 
Theatre. Amsterdam: Elsevier.

Hart, Eric. 2017. The Prop Building Guidebook: For Theatre, Film, and TV. New York: Focal Press.

Jonīte, Dita. 2021. "Horeogrāfija Vai Scenogrāfija? Dejotāju Koris Latvijas Nacionālā Teātra Iestudē-
jumā “Pūt, Vējiņi!”" (Choreography or Living Scenography? The Dancers’ Chorus of the Production 

“Blow, in the Wind!” Staged in the Latvian National Theatre). Aktuālās Problēmas Literatūras Un 
Kultūras Pētniecībā Rakstu Krājums (Current Issues in Research of Literature and Culture) 26, no. 1: 
296-309.

Kothari, C. R. 2004. Research Methodology: Methods and Techniques. 2nd ed. New Delhi: New Age 
International (P) Limited, Publishers.

Mussman, Amy. 2008. The Prop Master: A Guidebook for Successful Theatrical Prop Management. 
Colorado: Meriwether.

Punished Props Academy. 2018. "How to Build a Material Storage Shelf for Prop & Costume Making 
Supplies." Video File. YouTube. https://www.youtube.com/watch?v=UkFaiX7aAQs.

Schwarz, Norbert, and Sudman, Seymour. 1996. Answering Questions. Hoboken, NJ: Jossey-Bass.

Shedroff, Nathan. 2009. Design is the Problem: The Future of Design Must Be Sustainable. Brooklyn, 
NY: Rosenfeld Media.

Sofer, Andrew. 2010. The Stage Life of Props. Michigan: University of Michigan Press.

Strawn, Sandra J. 2013. The Properties Director’s Handbook: Managing a Prop Shop for Theatre. Burl-
ington, MA: Focal Press.

Wilson, Andy. 2003. Making Stage Props: A Practical Guide. Ramsbury, Marlborough, Wiltshire: 
Crowood.

Wolf, R. Craig, and Dick Block. 2014. Scene Design and Stage Lighting. Stamford, CT: Wadsworth, 
Cengage Learning.

numbering.xml


44 THEORY ON DEMAND 

OPENING UP THE DESIGN SPACE OF THE BASIC 
DESIGN STUDIO

SELEN ÇIÇEK AND MINE ÖZKAR

Introduction: Hermeneutical cycle of the basic design studio

The concept of design space holds a crucial position in the theoretical landscape of compu-
tational design and engineering, yet its diverse assumptions—ranging from a mere display 
medium for solution alternatives to a potential interactive platform between designers and 
design problems—remain enigmatic. The chapter delves into the unexplored territory of the 
design space within educational frameworks, with a specific focus on the challenges posed 
by basic design studios for novice designers. By reframing the design space within the context 
of the basic design studio and revisiting its theoretical foundations, this exploration aims to 
unravel the creative potential inherent in design space as a medium for to “see-move-see” 
by reconstructing design problems and representing solutions. The potential strategies for 
generating the design space are contemplated, especially in the dynamic realm of evolving 
generative AI. This chapter delves into the uncharted possibilities of the design space, pic-
turing it as a conceptual tool woven into the context of the basic studio process—a medium 
fostering the "see-move-see" dynamic.

Basic design studio stands as the foundation for all design related disciplines for teaching nov-
ice designers how to reason for design. Despite its crucial role, first year of design education 
is generally conceived as the most challenging phase of whole curriculum, when it is asked 
to fellow graduates. The reason behind this statement can be extended into a variety of dif-
ferent factors in the studio. However, the main reason and the underlying cause of previously 
mentioned situations might be the “design reasoning” concept, which novice designers have 
not been acquainted with, yet. Since the novice students have no previous design experience, 
to solve ambiguous design problems that are not well- defined, guiding them is significantly 
important in the journey of understanding the rationality behind the design proce