welcome to cem's room

11m² focuses on creating a new user-designer definition through alternating the accumulated, analysed and used information for design. The problematised area becomes my room and furnitures, as a designer’s area of dependance and liabilities. The character trying to define his needs in a personal scale creates his own technical and informative hegemony. He searches for the forms of needs, problems or solutions which isn’t a singular answer. He documents the forms, compositions and meanings created in the simulation. The form turns into a meaning and usage knowledge as it is present in the simulation. The designer figure blurs the lines between user, producer, informed, uninformed, planned and unplanned.

11

The conventional design practices collect, find and extract information in order to focus on the scenario, problem or place. The operations, contents and objects of the scenario-at-hand provide the material for the design processes. To be the aider and provider of the scenario, the extracted information takes a form. This form presents the conclusion of decisions and also a compressed composition of the information. The designer figure adds a form which spots the problem and projects a usage into the scenario. The informed and disciplined state of the designer supports the decisions of the action. Object added to the scenario translates the formed and packaged absoluteness related to its usage. This point where the user and the designer dissociates, brings the thoughts, contexts and predictions into focus alongside the object. The relation between them consists of two states being the informed/uninformed and the user/producer. As these distinctions still exist, ‘new products’ restricts the repeated and renewed content of the design practice. New problems become the insufficient products, areas which needs to be informed and the justifications of a designer in need of an act.

The content of the justifications, shows the insufficiency, inefficiency, pace, slowness, ease, complexity or simplicity of a situation which actually lies in the designer figure. The surplus or fewness of a state gets filtered and creates the decisive acts. When the designer is making these decisions, they come to conclusion from their own lively experiences. As it is a path to approach the designed scenario, experience conveys a delusion of the area we are liable for design. The intervention of design is thought to be referring to a holistic need, yet usage can question its context. A form is inevitable, and the search for usage refers to the existence of a certain form and its necessity. A design object used in different contexts can be the critic of designer’s potency alongside the information gathered in order to generate the design. The reason of its usage in different contexts can be the reference ofchanging and formless state of need, accessibility or purpose. 

 

An equivalent for the formless state of need can be a sequence of circulating knowledge, which is similarly constant and in motion. This knowledge becomes a practice which serves catching the constantly changing state of need, rather than turning into a distilled form pointing to justified needs. As this practice references to the process rather than the conclusion, it can be present in a practice of transferring the knowledge of design.

performances

 
 
 
 
 
 
 
 
 
 
 

@ Poşe, Next Blood is Just a Fresh One, 2019

@ Poşe, Next Blood is Just a Fresh One, 2019

@ Poşe, Next Blood is Just a Fresh One, 2019

 
 
 
 
 
 
 
 
 
 
 

@ Bilgi University, Hemzemin, 2018