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In cinema, space is an important element that provides a foundation for the narrative, establishes the impression of reality, and contributes to the aesthetics of the film. As a cinematic space, “home” also generates meanings in accordance with the universe constructed in the film. In dystopian cinema, the home image offers designs that not only serve as aesthetic elements but also open up new lines of thought at both individual and societal levels. This study aims to trace the image of the home in dystopian cinema, question the individual and societal meanings of the home as a space, and determine how it is positioned within the relevant film genre. To achieve this goal, the film High-Rise is selected as an example, and the spaces of home are examined in relation to Lefebvre’s concept of The Spatial Triad and Freud’s concept of The Uncanny following a two-phased method consisting of formal analysis and conceptual analysis. As a result of the research, it is revealed that due to the dystopian theme present in the relevant film, the home image is abstracted from its personal meanings and represented as a social structure functioning as a practice field for power struggle.

Digital technology has changed the face of design creativity. The traditional dependence on paper and pencil is gradually replaced with the digital approach, which uses digital technologies during the ideation stage. This study explores how digital technology influences the graphic design ideation process and outcomes. This study adopts qualitative methodology as it ontologically assumes a subjective stance and is epistemologically constructive in nature. The methods of data collection adopted are interviews and observation. The twenty-eight (28) participants of the study were made of twenty-four graphic design students and four lecturers from two universities in Ghana. It was discovered that participants used digital devices, design software, and the internet during design ideation. The study also revealed that digital technology aids designers in generating a variety of quality ideas which helps in achieving novelty in design. Vector software is crucial for digital concept illustration, but less than half of the participants use it. It was recommended that students should be exposed to vector software for design ideation as constant use of this software will help them develop the fluency required to create digital design ideation with ease.

Afet sonrası geçici barınaklarda kalan insanlar için küçük bir metrekarede yaşamanın yanı sıra yaz sıcağı ve kış soğuğu gibi iklimsel parametrelerle mücadele edebilmek ve iç ortam termal konfor şartlarını sağlayabilmek en temel gereksinimdir. Ancak kullanılan mevcut geçici barınma ünitelerinde bu koşullar tam manasıyla sağlanamamaktadır. Bu çalışmada Türkiye’de ve dünyada geçici barınma ünitelerinde termal konfor şartlarının iyileştirilmesi adına yapılmış çalışmalar incelenmiştir. Bu konuyla alakalı literatür taranmış, nicel ve nitel karma bir veri toplama yöntemi ile elde edilen veriler sistematik bir biçimde ortaya konulmuştur. Bu sayede afet sonrası süreçte kullanılan barınaklarla ilgili yeterli bilgi birikiminin oluşarak geçici barınma ünitelerinin tasarımında bütünleşik bir tasarım sürecinin oluşturulması ve mekânsal, teknik ihtiyaçların yanında iklimsel faktörler ve termal konfor şatlarının da göz önünde bulundurulmasına dikkat çekilmesi amaçlanmıştır. Bu hedeflerle ortaya konulmuş olan çalışmada, geçici barınma ünitelerinde iklimsel problemlerin giderilmesi ve termal konfor şartlarının sağlanması adına yapılmış çalışmalar dört başlık altında sınıflandırılmıştır. En ekonomik ve sürdürülebilir yaklaşımın mevcutta kullanılan geçici barınma ünitelerinin tasarım ve yapı kabuğu anlamında iklim bölgelerini de dikkate alarak güncellenmesinin en doğru yaklaşım olacağı sonucuna varılmıştır.

Safranbolu is renowned for its traditional architecture and the local tradition of ironworking in Turkey. The importance attached to sustaining ironworking as well as traditional architectural heritage has led to the launch of a research initiative to study examples of ironworking and to encourage diversification of production. This study uses a mathematical analysis to investigate the latch mirrors on traditional Safranbolu house doors. The research methodology consists of several basic steps. These are the literature data that form the background of the research, their interpretation, and the steps used to implement the proposal. After collecting literature and visual data, the research continued with the two-dimensional digital drawings to reveal the form and components of the door latch mirrors. Then, the analysis of the shape of the keyframe in the plate, the most common ornamental area in latch mirrors, was carried out. Finally, new patterns were produced through the algorithmic process using Rhinoceros-Grasshopper plug-in. This study provides valuable information about the ornamentation techniques used in the traditional house doors of Safranbolu and significantly contributes to the maintenance of local craftsmanship. Importantly, it empowers craftsmen by offering practical benefits by providing sample models and suggestions for improving decorative ornamentation.

Movement-experience is a concept that encompasses the relationship, communication, and interaction between the sense, space, and time. This research aims to examine streets as a medium for experiential movement by analyzing sensory, activity, and physical space variables, conducted with a mixed method that combines quantitative and qualitative approaches. These variables include visual, auditory, and olfactory sensations, user activities like standing, sitting, and walking, and physical features such as pavement width, number of trees, number of barriers, and building height. To collect data, 48 walks were conducted on Mevlana Street at different times and days, resulting 768 time-space sections. The variables were recorded and analyzed using advanced data analysis techniques, and descriptive statistics were generated. The study then explored the relationships between time-activity, time-experience, space-activity, space-experience, and activity-experience using multi-factor variance analysis. Based on the findings, this study proposes innovative design and planning criteria for streets that incorporate a multisensory approach to enhance the experiential quality of urban environments.

This research examines instructional texts in art practices from the 1960s to the 1990s. Instructional texts refer to written words by artists for thought experiments and participatory actions. Scholars have previously examined the interplay between instructions and the specific art forms they generate, revealing the complex relationship between control and freedom, order and disorder, as well as organization and risk. However, these relationships are contextually nuanced. By incorporating the social function of instruction as a critical tool and control mechanism, this research adds complexity to the current scholarship on instruction between participatory agency and authorial control. This research focuses on two historical periods: the 1960s and the 1990s. Whereas the 1960s signaled the transition to a post-industrial society that sought creative labor and adopted a more flattened organizational model, the 1990s witnessed the standardization and globalization of demands for entrepreneurial and artistic labor. To explain the resurgence of instructional texts in the 1990s, this research contextualizes these texts within a broader social framework. It argues that commercial co-optation has transformed these instructions’ critical power against the bureaucratic top-down management model in the industrial era into an apparatus of control over creative laborers cultivated in the post-industrial age.

The goal of this study is to develop a studio experience that will allow second-year interior architecture students to incorporate the continuity of traditional Islamic patterns into contemporary designs. Islamic geometric patterns from the Seljuk eras were investigated as part of the study’s focus, and these patterns were used as a foundation for the development of a novel design model. It is important for the systematization of the design process that the working methodology is structured in three phases, namely the analytical phase, the creative phase and the application phase. The process of gathering data is part of the analytical phase, but the creative phase is where the data is abstracted and interpreted. As a result, the study has been presented as a unique one in terms of bringing awareness of conventional and regional patterns in interior architecture education as well as sustainability with motivated, abstract, avant-garde, and contemporary approach.

Television, as a form of mass media, has an indispensable place and an active role in the daily lives of individuals. Among culture-art programs, those focusing on topics such as discussions, design, practical applications and real estate within the discipline of architecture provide educational opportunities for people to learn more about the field. In this context, a study was conducted with students of the architecture department and interior architecture department, who interacted more than normal with mass media, especially television and the internet, during the pandemic process. The study aims to determine whether the architectural programs on television are effective in influencing the career choices of students. In the study, semi-structured survey technique of quantitative research methods was used. First-year students from architecture and interior architecture undergraduate programs participated in the survey. Less than half of the 367 students who participated in the survey responded positively to whether television programs helped them with their career decisions. The majority of students who stated that they had an impact said that they had a moderate or above-average impact. This result can be seen at a low level. However, among the many socio-cultural, environmental, and economic factors affecting career choice, the fact that television programs are also a factor at this level makes it an important parameter.

Camiler Müslüman toplumların günlük yaşamında önemli yer tutan, sosyal yaşam biçimini etkileyerek şekillenen dini yapılardır. İslam’ın kabul edilişinden bu yana, yapı formunda teknoloji, sosyal yaşam ve kültüre bağlı değişimler yaşanmıştır. Kullanılan cami tipolojisi, gelenek ve sosyal yaşam biçiminden aktarılarak oluşmuş hem kültürel hem dinsel çeşitli aşamalardan geçerek yoğrulmuş alışılagelmiş formlara dayanmaktadır. Sayıca az da olsa çağdaş denemeler de mevcuttur. Çalışmanın amacı çağdaş cami tipolojilerinin yapı, iç mekân ve donatı bağlamında ortaya koyduğu değerleri göstergebilimsel analizle okumak, mekândaki anlamsal ilişkileri keşfetmektir. Bu amaçla TBMM Cami iç mekân özellikleri bakımından araştırmanın örneği olarak seçilmiştir. Konuya iç mekân ölçeğinde yaklaşmak amaçlansa da hem İslam felsefesi hem de bu felsefenin mekâna yansıması bakımından mimari kabuk ve ibadet mekânı bir bütün olarak irdelenmiştir. TBMM Cami üzerinden yürütülen durum araştırmasında, veri toplama yöntemleri olarak doküman inceleme ve katılımcı gözlem kullanılmış, veriler göstergebilimsel analizle değerlendirilmiştir. Bu kapsamda cami yapısının geleneksel biçimleri incelenmiş, mimarlıkta göstergebilim konusu irdelenmiştir. Verilen bilgiler ve yapılan gözlemler ışığında örnek yapı, göstergebilim yöntemi ile çözümlenmiştir. Hedeflenen sonuç, örnek olarak incelenen modern uyarlamanın iç mekânda yapıya yüklediği işlevsel ve anlamsal katkılar üzerinde durmak, mimarinin okunabileceğini ortaya koymaktır. Bu çalışma modern cami uyarlamalarında, geleneksel cami tipolojisinde yer edinen anlamsal ve dinsel altyapının yer alıp almadığını anlamaya çalışmaktadır.

Çağın zamanla değişen ihtiyaçlarına karşı yetersiz kalarak işlevsiz hale gelen tarihî yapılar, koruma yöntemleri kapsamında yeniden işlevlendirilerek yaşatılmaktadır. Bu araştırmanın amacı, tarihî kimliği ve yerel mimari özellikleri ile önemli bir değere sahip olan Tarihî Bitlis Belediye Binası’nın doğru işlevle yeniden değerlendirilmesine geleceğe aktarılabilmesine katkı sunmaktır. Yapının, Su ve Otobüs İşletmesi, Sanat Merkezi, Zabıta ve Trafik Amirliği olmak üzere kısa zaman aralıklarıyla farklı amaçlarda kullanıldığı; son durumunda ise Tarihî Bitlis Büryan Salonu adı verilerek özgün kimliğine uzak bir işlevlendirme yapıldığı tespit edilmiştir. Bu doğrultuda ulusal ve uluslararası düzeyde koruma kriterleri çerçevesinde arşiv taraması yapılarak ve yapıya dair katılımcı gözlem yöntemi kullanılarak işlev değişiklikleri kronolojik bir sıralamayla irdelenmiştir. Elde edilen bulgular için nitel araştırma yöntemleri doğrultusunda betimsel analiz yapılmıştır. Sonuç olarak; işlevlendirme sürecinde tarihî mimari dokunun ve kentsel bellekte yarattığı anlamın yitirilmeden yaşatılabilmesi için işlev seçiminde saygılı ve uyumlu bir yaklaşım benimsenmesinin önemi açığa çıkarılmıştır.

Cam, şekillendirilmesi oldukça zor ve maliyetli bir malzemedir. Özellikle geleneksel yöntemler kullanılarak elde şekillendirilen cam, bazı formların oluşturulmasında zorlayıcı olabilmekte, bu durum da camı şekillendiren kişiyi tasarım ve uygulama yönünden sınırlandırabilmektedir. Ancak son zamanlarda araştırmaları ve denemeleri yapılan üç boyutlu cam yazıcıların, gelecekte cam alanında çalışanlar için de alternatif bir şekillendirme yöntemi sunacağı aşikârdır. Bunun sonucunda, cam alanında yapılan araştırma ve çalışmaların hangi aşamada olduğunu analiz etmek ve gelişime yön verebilmek için bu araştırmaya ihtiyaç doğmuştur. Dolayısıyla çalışmanın amacı, cam alanında kullanılan uygulama yöntemlerindeki değişimleri göz önünde bulundurarak, üç boyut yazıcıların cam ürün tasarımında kullanılabilirliğini araştırmaktır. Bu bağlamda çalışmanın araştırılmasında, nitel veri toplama yöntemleri olan gözlem ve doküman analizi kullanılarak üç boyutlu yazıcılar hakkında bilgi elde edilmiştir. Akademik yazılı kaynaklar, internet kaynakları ve çalışmalar incelenerek üç boyutlu yazıcılar ve uygulama çeşitlilikleri hakkında bilgi edinilmiştir. Ayrıca, bu teknoloji ile cam ürün denemeleri yapan özel firmaların ürün üretim süreçleri ve sonuçları incelenerek teknolojinin avantajları ve dezavantajları belirlenmiştir. Çalışmanın sonucunda, üç boyutlu yazıcıların camın şekillendirilmesinde kullanılabilirliği değerlendirilmiş ve bu teknolojiyle üretilen cam nesnelerin henüz prototip aşamasında olduğu gözlenmiştir. Ancak geleneksel yöntemlerle şekillendirilmesi zor olan cam formların, gelişim sürecindeki bu yeni üretim yöntemiyle, gelecekte daha kolay üretilebileceği ve tasarım alanına da adapte edilebileceği görülmüştür.

Domestic space can be considered a cross-disciplinary subject, not only of art and architecture but also of philosophy, sociology, geography, and anthropology, thanks to the multidirectional correlations. This paper examines domestic space as a cross-disciplinary subject, too, with a qualitative phenomenological research method because this research approaches space as the collection of experiences, like in phenomenology, concerning the perception and the body. Through an interdisciplinary literature review, the notions of domesticity and dwelling are investigated focusing on the notion of experience. Following these notions, the concepts of becoming and machine are explored by Deleuze and Guattari to reach the arguments on co-living that connect to critical posthuman thought. Braidotti’s concept of becoming-machine is interpreted together with Haraway’s and Grosz’s contemporary arguments on becoming and co-living. In this scope, the research has reached the concepts on metastability and performativity in relation to posthuman experiences of co-living. These concepts are associated with the examples from the contemporary performance artworks. The performances of Schweder & Shelley, Gómez-Egaña and McRae are analyzed focusing on the experience that includes the posthuman possibilities for domesticity as a result of this research, aiming to rethink the relations between human and non-human in domestic space.

Although the term habitat represents one of the most crucial ecological concepts for describing the relationship between some species and their environment, it is also one of the vaguest. This is why, in the past few years, it has often been replaced by more specific ones, which could clearly identify the relationships at stake. This is the case, for instance, of the term biotope, which recently, with the increasing awareness of ecosystem interconnectivity, has taken more and more relevance in comparison to the previous one. Whereas a habitat, in fact, is the sum of the physical and biotic resources of a place that allows the survival and reproduction of a particular species, a biotope represents the habitat not of a specific population, but of a whole biotic and sympoietic community. A feature that perfectly describes the characteristics of a new design approach, generally called more-than-human, here analyzed from both a theoretical and methodological standpoint, which today, to tackle major environmental challenges, focuses on building architectures in which multiple species can find some terms for cohabitation. And which, therefore, not only entails addressing a new class of subjects but also challenges the role of architects and other practitioners in this field by requiring new ways of designing that enhance interspecies coexistence and collaboration.

Over the past three years, the international debate on architecture and design has been deeply influenced by various crises, including health, environmental, social, and economic emergencies. In this dynamic, post-pandemic context, the integration of new technologies into domestic spaces through personal devices has profoundly altered the way these spaces are utilized. From the initial impact of television screens and computers to the contemporary intrusion of social networks, video games, and artificial intelligence, interiors are constantly evolving and adapting to technological advancements that redefine their functional boundaries. The notion of Post-Domesticity, as introduced by philosopher Paul B. Preciado in his work Pornotopia. An Essay on Playboy’s Architecture and Biopolitics (2014), serves as a precursor to the current scenario marked by the erasure of boundaries between public and private spheres.

This essay offers an insight to the contemporary inhabitant’s relationship to technology as a key to the transition toward a Post-Domestic realm. It does this by contemplating Transhumanism as a model for what I have termed the Trans-Domestic interior, positing that a Postdomesticity does not yet exist. To do this I consider discourses beyond design and domestic environments that have shaped the understanding of the inhabiting self. Using evidence derived from Christian teaching, evolutionary biology, historical fiction and contemporary film, I explore how deviations from traditional socio-spatial arrangements produce other modes of domestic life. Notably, it is Transhuman inhabitants, who are shaped by technologies of connectivity, enhancement and surveillance, that will edge us toward an unknowable realm – the Post-Domestic interior.

The aim of the paper is to examine how the advancement of technology is radically transforming the way we interact with the domestic sphere. The evolution of digital devices has brought new perspectives for redefining living spaces, raising crucial topics about the traditional function-based model. In this context, design plays a key role in shaping the technological revolution of Post-Domestic habitat. This model was challenged by several designer architects, including Joe Colombo and Superstudio. The integration of Augmented Reality (AR) and Artificial Intelligence (AI) allows the creation of heterotopic spaces, inspired by Foucault’s theory. In this perspective, the home environment is transforming into a fluid and mutable space where users can experience new forms of interaction and space relationship. This radical change raises important questions about the future of living.

Bridging interior design with our Anthropocene shift and the eco-material implications of digital practices, our contribution focuses on two case studies that inform us about the sociocultural values embedded in technology. At the level of software, we first investigate The Sims video game: from its embedded representations around nature to the underlying gendered discourses behind its affiliation as a “girl’s game”. At the hardware level, we then follow practices of liquid-nitrogen overclocking: a form of extreme computer tuning and cooling. These two cases enable us to delve into two main axes we use to shed light on the materially and culturally situated nature of our day-to-day technologies. The first axis connects to the way we perceive and control nature: contextualizing our beliefs around nature as an infinite resource to control inside our software and hardware culture. Going further into the body of hardware/software practices of leisure and play, our second axes then shed light on the genderedness of these technologies. In these case studies, we explore how digital and material infrastructures of technology are not neutral but embody gender dynamics in their domestic and built spaces. Finally, we conclude by providing readers with alternative and queer perspectives on computing as methodological tools to deconstruct and distance ourselves from the gendered technologies we inhabit.

This paper is part of a research-creation project entitled RGB tour, which aims to contextualize the evolution and preservation of the bedroom space within the landscape of videos on the YouTube platform. Through a specific analysis of the room tour practice, we will explore how content creators maintain the usages traditionally associated with the bedroom space while transforming it into a technological entity evolving in parallel with emerging technologies and practices within the domestic environment.

This article explores the evolving dynamics of carceral domesticity in the context of Electronic Monitoring (EM) as a contemporary techno-penal practice. While the prison, as the main outlet for punishment, keeps blurring the boundaries between the private and public by challenging traditional conceptions of domesticity, recent prison reforms driven by mass incarceration and overcrowding, have led to the proliferation of EM-based house arrests as alternatives to imprisonment. However, technologies and punitive implications of EM on people and their households remain underexamined. Therefore, drawing on emerging theories, testimonies and government reports through a Post-Domestic lens, this article argues that EM devices, such as wrist bracelets and ankle shackles, complicate notions of privacy, autonomy, dignity, economy and safety within domestic spaces. It further discusses how such techno-carceral practices perpetuate and reinforce existing inequalities, particularly affecting gendered, sexualized, and racialized bodies disproportionately and consolidating the status quo of the criminal justice system. In doing so, the article engages with prison abolitionist theories to speculate on alternative approaches to transforming spaces and justice, by shedding light on the intricate power dynamics inherent in carceral domesticity and EM-based confinement, aiming to contribute to the discourse surrounding the reconfiguration of domestic spaces within the context of harm.

The article discusses the transformation of the Italian domestic environments in the wake of the Covid-19 pandemic and the impact of digital technology. It highlights two key trends: the hybridization of domestic spaces due to remote work, study, training, and socialising facilitated by digital tools, and the increasingly dynamic lifestyles of young people, particularly millennials and Generation Z, who tend to live in rented spaces and embrace remote work. It is then arguable that the identitarian value of domestic spaces is changing, as physical objects and furniture become more interchangeable due to the fast-paced and unpredictable lives of young individuals. This shift must prompt a discussion about how interior design is adapting to such sociological changes. Various options are available for designers to create value through sharing and renting services, drawing inspiration from similar models in the office furniture sector. The primary aim of the paper is to present novel scenarios for the design of domestic spaces, as the servitization of business models offers opportunities to reconsider how products and furniture are acquired and used, particularly as more adults don’t own the homes they live in and frequently change residences. Renting is proposed as an effective model for creating more agile and customizable spaces that align with contemporary lifestyle preferences.

Modern society has always pictured the home and the workplace as two separate entities: the former for personal and private space, the latter for professional growth and productivity. The COVID-19 pandemic disrupted this dichotomy as homes became the only places to work. Companies had to reorganize their dynamics remotely, discovering new communication and resource management methods. Employees adjusted to unconventional workstations and new behaviors led to a domestic new deal. Rooms became flexible areas in which to organize work activities as well as leisure tasks. It has also become clear that the daily commute to the office is not vital, and working from home has both productivity perks and drawbacks on well-being. With the resumption of office work, employees desire to maintain work from home, urging companies to comprehend how to incorporate flexible approaches. This entails striking a balance between the home environment’s opportunities and enhancing the collaborative and physical interaction that the office still provides. To integrate new workspace habits, a multidisciplinary approach is key, merging design practices, organizational management, and behavioral analysis. The contribution aims to explore how new working practices are redefining the functions and dynamics of workspaces. The analysis of the home transformation, through a literature and case study review, will generate insights to improve mixed workplace strategies.

The desire to live vicariously, mirroring behavioural conditions external to one’s own home, gives each home multiple lives in a hyper-functional world. Technology’s fusion with the home produces two outcomes. First, the ability to capture comprehensive, three-dimensional records of a home’s physical conditions and traces using light detection and ranging (LiDAR) data, connects functional layout more concretely to behavioural scripts. Second, virtual mirroring converts transferable information about the home from generalities to hyper-specific singularities. A home’s digital twin can contribute to archives of domestic conditions disseminated as assets for access, download, and manipulation in other media. Behavioural simulation and gaming can simulate exact domestic conditions from throughout the world, rather than interpreted approximations. This paper draws on projects developing digital twins of homes in several locations in Hong Kong. Researchers are using 3D scanning technology to record homes in public housing flats and in the stilt house architecture of Tai O Village. The paper discusses technology and workflows employed, theorizing the technological and social impacts of domestic digital twins in data archives. The paper uses graphic precedents to demonstrate archiving protocols and speculate on influences the post-digital turn will have on domestic environments and behaviour.

With the increasing rise of the Internet, as well as the democratization of technology, people’s pursuit of entertainment and visual stimulation inspired countless new types of creativity. Social media fanatics have surged a myriad of content-creating works that brought this creativity to the forefront; this phenomenon has transformed everyday spaces into settings or backdrops for new narratives. The everyday domesticity we inhabit, such as bodies, activities, objects, furniture, and rooms, have all been involved in the process of creation and work, and these spaces can be described as Everyday Theater. The term scenography is of Greek origin, skēnē, meaning hut or tent, in the theater of ancient Greece, it is a light structure usually at the back of the stage, but over the course of time skēnē underwent fundamental change. The core concept of scenography is the narrative. This core remains even though it is now given a new meaning, as everyday life has become a stage for a new kind of spectacle. In other words, the conventional domestic spaces are re-invented as a setting for new personal narratives and commercial venues. In this context, the domestic spaces have been transformed into a platform, where the performers use their surrounding elements, objects, spaces, homes, and environments as settings for their own narrative. The goal is to create an immersive experience that captures the audience’s attention and transports them into a world that is both familiar and extraordinary.

Through the development of a spatial installation entitled Vanity Chamber, this article reflects upon the role of specular devices within the home and asks how their increased use might affect boundaries between the domestic interior and the world outside. As a result of the Covid-19 pandemic and its associated lockdowns many activities previously reserved for the public domain suddenly had to take place in the home, via videotelephony platforms such as Zoom, Skype, Facetime and Microsoft Teams. Cultivated by a pre-existing intrusion into the home of digital specular devices, such as PCs and smart phones, which supported the increased use of videotelephony software observed during the pandemic, many people experienced a breaching of established domestic boundaries. Facilitated by these leaky thresholds, a simultaneous scrutiny from the spectator and a concern by the voyeur for the public display of the private interior was observed during lockdown. An analysis of historical specular devices has shown that acts of voyeurism and vanity on the limits of the home are far from novel occurrences, and that these porous boundaries were often important liminal thresholds bridging the domestic with the public. Through the Research by Design method that led to Vanity Chamber, this article argues that the domestic interior has once again become an essential part of its surrounding neighbourhood and that it is on this frontier, or rather, within this in-between realm that we must now establish home.

Ageing in place, in a domestic environment rather than in an institution, is people’s preference in an ageing planet. This raises post-domestic design challenges as the home becomes now also a place for care, and most dwellings are not prepared to respond to the growing needs of fragile older people. In this paper we will explore the importance of architectural layouts, strategies, and the incorporation of IT technology for smart homes, as possible answers to these new requirements. The importance of façade depth as a new design strategy for lookout spaces will be discussed in terms of the specific requirements of older residents who are homebound for health reasons or safety rules (as pandemic requirements), thus becoming places for a healthy connection with the outside world. Homebound interior design also requires a new approach: COVID-19 pandemic accelerated the new preference of working from home, no matter the age. New residential spaces are no longer exclusively domestic, and they require IT tech support for different activities. Flexibility of spaces is now a basic requirement: quickly changing or adapting domestic spaces with minor investments under a life-cycle design logic, keeping them safe for all, from grandchildren to grandparents, must become a ground rule for the future. In this paper we will review recent findings on how the post-domestic space must be designed to host a comfortable and active ageing for senior citizens who choose to age in place.

Mobility technologies, since the discovery of the uniaxial wheel, have strongly shaped the forms and times of cities and buildings and their interiors. The paper explores how newly developed flying transports, such as drones, may in the future reshape and alter the interiors of the buildings we inhabit. Utopias about cities with flying cars are a literature full of examples and theories, such as Andrea Branzi/Archizoom’s No Stop City and Instant City and others, but also even more extensive cinematography such as Christopher Nolan’s movie Inception and Stanley Kubrick’s 2001: A Space Odyssey. In fact, the flying vehicles, by which people as well as goods will soon move, introduce a fourth dimension (time) and will allow access to buildings from the roof and facades. They will recover the distributional logic of an iconic and historical typology of Milanese architecture, that of the edificio a ballatoio, in which the distribution of spaces followed a private/public logic that would lend itself perfectly to the buildings of the drone city. The article will explore the transformations in plans, materials, facades, ways of living, and relationships that, this coming revolution, will introduce into the interior spaces of buildings and our existences.

In this second issue devoted to memory and its relationship with the digital, we have chosen the image of an object, a Micronesian navigation chart.2 It originates within a tradition of implicit and empirical knowledge of a territory made experiential and handed down through an actual artefact. Unlike an ancient portulanus (pilot book), the map is physical and tactile and does not realistically reproduce or represent the morphology of the territory but rather a model of it. However, like Western nautical cartographies, this orientation tool embeds different levels of knowledge of a territory, or rather, of a context within which it is necessary to orient oneself in order to interact. Oriented thanks to the stellar compass, they include quantitative and qualitative information on ocean currents, flows, winds and "betia" or time-varying environment-based seamarks.

In the digital age, the democratisation of a series of actions inherent to data management has, in fact, allowed digitisation to be interpreted as an operation to extend and relieve human memory (cognitive offloading, Storm et al., 2016). In the design field, the availability of data contained in the web in a wide but fragmented way would lead to the hypothesis of the advancement of a type of knowledge (and memory) characterised mainly by a spontaneous and disordered growth of information and non-linear narratives (Sendra & Sennet, 2022), as well as a different way of searching and using references in the project field. Referring to this background, with this paper, we aim to investigate the connection between percepts and concepts (Horn, 1998) relating to the use of digital storage in the disciplinary context of Design, integrating the observation of the phenomenon with multidisciplinary points of view. More specifically, it is intended to compose a critical framework within which to understand the characteristics of “designerly knowledge” (Dorst & Lawson, 2009) for the collection and archiving of digital visual material for design use, supporting the discussion through integration with various critical contributions from complexity science, psycholinguistics and perception studies. The aim here is to propose some models of interpretation on the subject that help to understand the organising and systemic modalities of Design for the management of uncertainty as a permanent condition of “contemporary data” (Sendra & Sennet, 2022). In particular, the variety of authors cited contributes to composing the picture that is intended to be returned on the subject of the organisation of digital references for the design of complex content.

The role of data visualization inside companies today, and with increasing emphasis in the near future, will play an essential role not only for the management of discrete and/or isolated events, not only for the achievement of a better reputational positioning on an aesthetic level, but for generating long-term tangible change. The role of visualization in the corporate system of the near future will shape – through the critical lens of design – the organization as a whole and its results, determining its success in terms of sustainable innovation. This contribution explores a new model of intranet, as a functional and operational tool in response to contemporary changes in company dynamics, in individual as well as collective contributions. A tool in response to the need to understand the complexity of the company system, and in response to the need to define, redefine and communicate one’s culture in a more fluid dimension and aimed at exploration by enabling an open, shared, and collaborative environment (Mercanti, 2020). Again, a concrete functional/operational expression of a new business model. A heterarchical model that is not original in its outward appearance as much as in terms of content to qualify and amplify the organizational memory.

In 2015 the conference Between the Discursive and the Immersive: Research in the 21st Century Art Museum by Louisiana and Stedelijk Museum, identified these two terms, discussed mainly concerning exhibitions, as indicators of a shift in the contemporary method of offering culture. Discoursive refers to a new curatorial form of interdisciplinary and synesthetic programming, while immersive looks at the spectacularization of the exhibition. This article, in the first part, introduces the term narrative, in between them. Through a narrative system, exhibitions relate themself to the visitor no longer only in terms of appropriate reproduction of knowledge, but rather in terms of generation of knowledge. Narrative amplifies the meaning of discoursive and declines it as the communicative capacity of the complex relational system “collection-significance-visitor”, opening up to a critical review of the concept of immersive, which often, operatively, it is interpreted in a purely filmic way. The second part introduces the concept of the Post-digital Museum (Parry, 2013) as a construct that contextualizes the “narrative” instance within the recent discourse of museum digital transformation. Any reading of design practices (Mason & Vavoula, 2021) within contemporary museums cannot ignore a paradigm shift in Digital Cultural Heritage, in which digital has become naturalized in museums’ “way of thinking.” This integration “marks a continued development of the museum’s concept and practice” (Arvanities, 2015). The post-digitally discourse will allow us to set the theoretical context and conclude with some reflections and illustrative examples on the practice of visitor experience design (Mason, 2017) in post-digital museums, which is particularly associated with the “design of narrative environments” (Austin, 2020).

Thanks to the development of digital technology, sound has been one of the most valuable contributors to the reactivation of memories in the space of museums. This article mainly focuses on sound design, sonic strategies with digital means and the relationship between sound and memory in European house museums through the lens of exhibition design. The research stated that it became apparent that many museums offer a multi-dimensional sound or musical experience, encouraging visitors to concentrate on the aspects that most deeply resonate with their interests, stories and memories. The foundations of academic literature, case studies, and an analytical tool called Exhibition Sound Score/Partitura sonoro-allestitiva support us in generating a unique typology framework that divides the sonic strategies into three distinct attitudes: the hidden sound, the diffuse sound, and the interactive sound. It analyses how house museums deploy sound elements in an effective way through different aspects, including contents, exhibit artefacts, sound equipment, interaction, the typology of cultural assets shown, and strategy, and identifies innovative sonic strategies that embrace new rituals, enhance omnichannel narratives and achieve immersive engagement.

The contribution deals with the theme of preservation and access to knowledge, with particular attention to the approaches and methodologies employed in the design of digital platforms useful for preserving culture and memory, guaranteeing access for future generations. An analysis of the relevant scientific literature and state of the art shows how, especially in the face of the pandemic emergency, experiences have been consolidated and centered on the design of platforms, such as digital archives, which, while preserving culture and memory, also make them accessible, regardless of the possibility of access to physical structures. The change generated by the digital has redefined the relationship between society and culture, and between people and memory and has led to the need to think about how people access to memory and cultural heritage, in particular to a new category of artifacts, the born-digital ones, which risk dispersion and deterioration due to technological obsolescence. The contribution, therefore, addresses these issues to identify, through context analysis, a methodology useful for the creation of a digital archive, attempting to overcome those limits dictated by self-referential systems, which do not guarantee democratization and access to culture for a non-specialist audience.

From the early 2000s, archives and cultural institutions have been confronted with the repercussions of an unprecedented digital revolution. Web 2.0 technologies have accelerated management and organisational processes that were already in place, enabling the digitisation of huge amounts of data. A process that has undoubtedly facilitated the preservation and use of these materials, but which has nevertheless brought to light new problems. These include the oblivion and non-use of digitised materials, which often remain unknown and unnecessarily processed if not supported by promotion and enhancement policies. Furthermore, new digital ways of engaging visitors are challenging traditional models of power and negotiation of meaning, but cultural institutions are not always ready to respond and support such practices effectively. The paper presents the case study of a smart interactive environment created in 2019 for the Temporary Slovene Dance Archive of the Metelkova Museum of Contemporary Art in Ljubljana. Through this work I critically discuss the role of design in respect to actions of retrieval and reinterpretation of digital heritage beyond the simple search of metadata on digital platforms. In addition the project proposes a physical experience to stimulate public use and understanding of archives.

Today there is a multitude of devices and tools to share technologically mediated memory practices that can be understood as agents collaborating in the “production of the world”. In the field of design of materials, materials libraries started out as cataloguing systems and then became the physical and digital place aimed at conveying material cultures intended as transitions of the intangible and semantic values of a society onto the tangible reality. By configuring repositories of tangible memory, as physical documentary heritage of a territorial and material culture, the role of design emerges in preserving, organising and transmitting the knowledge of the reality that surrounds us. This means transforming the current cultural spaces of the materials libraries to determine design trajectories aimed at making evident the unexpressed opportunities of the materials. The contribution is aimed at investigating the potential of a renewed service as a place of tangible memory, a generative device for conveying identity and valorisation of know-how, the genius loci, and the sense of materials as a potential and source of further design insights, by placing cultural heritage at the centre of the design approach. On the basis of the cataloguing of material samples as “materialised data”, a renewed interactive materials library service can convey the meaning of tangible memory to outline criteria for their knowledge, valorisation and use.

The research addresses the valorisation of Jordanian intangible cultural heritage (ICH), developing the concept of a Digital Library of Living Traditions, a web-based tool to document the Jordanian cultural landscape through its handicraft production. The research aim is to extend the understanding of the collections exhibited at the Folklore and Popular Traditions Museums, part of the Roman theatre archaeological site. This work reports on creating a research and dissemination tool, the DL, to include in the valorisation process of the living culture and folklore of Jordan about objects, places, and techniques beyond the physical collections displayed at the museums. The first part of the paper envisions the role of storytelling and audiovisual archives in the realm of design for ICH, ideating, producing, and representing digital memories with and on digital media, including different genres and formats. The second part describes the DL, which is a multimedia archive that will make accessible a digital repository in which curators and scholars can get visual documentation and information about techniques, raw materials, and fabrication tools for the leading traditional Jordanian handicrafts. The contents will be partially accessible within the museums, enhancing the on-site experience and creating interactive touchpoints for a broad audience. The project also promotes workshop activities and capacity building on digital heritage and multimedia communication strategy.

Born with a very artisanal and manual connotation, knitwear design has evolved into a highly technological industrial practice supported by digital tools and advanced machinery. For this reason, teaching in the field is a constant challenge requiring innovation and updated information, together with a memory of the more traditional aspects. The article reports a research work born at Politecnico di Milano upon the acquisition of the material archive of knitted samples donated to the School of Design by Marina Spadafora, a designer with a long-standing career in the knitwear field. Given the archive as a rich physical resource, collected and classified by the knitwear professional along her creative career as a daily-basis working tool, academic researchers questioned how they could extend its purpose to bring innovation to teaching and learning methods, combining the physical and the digital dimension. The research investigated the needs of knit design students, researchers, and professional designers to identify the advantages and the barriers in consulting the archive and connected the more theoretical notions about knit structures and the increasingly digital practices with the material heritage of the archive to result in a resource that stimulates students’ creativity and increases the learning experience.

The article describes the objectives, the approach, and the results of an experimental didactic experience that engaged design and performing arts students in recovering and restoring the memories of the medieval town of Maranola. The teaching’s main objective was to enhance the memories of the place by designing a narrating multimedia archive that tells and transmits feelings, emotions, and values and strengthens and communicates the collective identity through interactive and multimedia narrative mechanisms. The use of visual storytelling and multimedia communication languages and tools becomes a means to build an emotional and educational physical experience and a digital archive with artistic and historical value since it evokes, narrates, and reconstructs the local reality and allows users to participate in it. Students’ path adds a design component to the historiographical dimension of the traditional archives and contributes to the spread of knowledge of the community, its traditions, and of Maranola’s artistic richness. In fact, since 2011, the town has hosted five editions of the Environmental Art Festival Seminaria Sogninterra. The database of the works created during the past editions of the festival provided inspiration and suggestions for the students. The developed projects exploit interactive and audiovisual tools, work with forms ranging from physical to virtual, and create narratives that metaphorically explore the traditions and memories of the place.

Posters, brochures, advertisements, catalogs, and magazines constitute a fascinating cultural heritage to retrace the history of Italian graphic design. From the 1930s to the 1970s, graphic design enriched Italian communication with a revolutionary visual language. Various societies, foundations, associations, and public or private archives preserve graphic materials today. The result is the difficulty in creating a single place to preserve graphic design projects physically. This condition also reflects the digital archiving process of graphic materials. The absence of official digital conversion has facilitated the emergence of independent entities that make graphic artifacts accessible online. Sometimes online dissemination does not provide historical sources, and it is not primary digitisation. The contribution analyses the online diffusion and immaterial circulation of graphic artifacts. The research presents some emblematic cases to define original and no-original archiving processes. Archivio Storico del Progetto Grafico by Centro di Documentazione sul Progetto Grafico (CDPG), the digitalisation of magazines like Campo Grafico and Stile Industria, or independent projects such as Archivio della Grafica Italiana, are only some examples. The purpose is to identify critical and strong points of these archives and digital platforms, imagining a new digital archive for the Italian graphic design heritage.

The main purpose of this study is to examine, understand and evaluate the aesthetic role of artificial intelligence, which has become increasingly effective in art production in recent years. The article focuses on the artistic creation and aesthetic concepts of artificial intelligence. The research examines the effects of artificial intelligence on artistic creation and the role of this technology on artistic aesthetics through Van Gogh’s “Starry Night” painting. In the article, the descriptive analysis method, one of the qualitative research techniques, and the composition method were applied when interpreting the visuals. In this context, a review and interpretation were made on six studies created with artificial intelligence. The plastic state of the images was revealed and interpreted according to the composition method, art and design principles and elements. According to the research results, works produced with artificial intelligence have aesthetic components of original works of art. However, works produced with artificial intelligence also show some important aesthetic differences from traditional works of art. These differences include color and application, repetition of the prompt and self-development. Artificial intelligence offers an aesthetic experience that changes, expands or clearly reveals the boundaries of traditional artworks. It is understood that artificial intelligence, which applies the formal language of artists through deep learning, has limited potential to convey the emotional expression of the artist. Visuals produced by artificial intelligence seem to create a unique aesthetic while being successful in emulating traditional creative works.

Yeniden işlevlendirme mimarların, iç mimarların, tasarımcıların mevcut yapıların korunması bilincine sahip olmaları açısından en önemli çalışma alanlarından biridir. İşlevini yitirmiş kültürel öneme sahip tarihi yapıların kent içinde hayat bulması, yeniden işlevlendirme ile mümkündür. Bu doğrultuda, kültür varlıklarının korunabilmesi ve gelecek kuşaklara aktarılabilmesi amacıyla Biruni Üniversitesi İç Mimarlık ve Çevre Tasarımı, 2021-2022 Bahar Dönemi, İç Mimari Proje IV dersinin konusu geçici konaklama tasarımı olarak belirlenmiş ve proje alanı olarak İstanbul’da yer alan Üsküdar Paşalimanı Un Fabrikası verilmiştir. Çalışma kapsamında öğrencilerden, kent içinde atıl bir halde bulunan yapıyı, bulunduğu bölgenin kültürel ve sosyal gereksinimlerini gözeterek, geçici konaklama işleviyle tasarlamaları beklenmiştir. Proje stüdyosunda başarı göstermiş 21 öğrenci projesi içinden, 10 proje çalışmanın rastlantısal olmayan benzeşik örneklemini oluşturmak üzere seçilmiştir. Çalışmada, çift eksenli metodoloji kullanılmış ve nicel araştırma yöntemlerinden “nedensel karşılaştırma modeli” kullanılarak, belirlenen değerlendirme ölçütlerine, öğrenci çalışmalarının hangi ölçüde yaklaştıkları tablo üzerinden aktarılmıştır. Sonuç olarak, öğrenci çalışmaları değerlendirildiğinde, hem yapının bütünlüğünü gözeten hem de çağdaş öneriler getiren farklı tasarım yaklaşımlarının geliştirildiği ve koruma kavramının öneminin büyük ölçüde benimsendiği görülmüştür.

This study examines a painting by Kemaleddin Behzad, a Persian miniaturist who utilized space to represent events and action. Within the context of this study, a comparative analysis is conducted between two paintings from the Renaissance period and Behzad’s painting, which focuses on the same historical subject. The purpose of this analysis is to elucidate that Persian painting provides the viewer with an experience through the expression of spatial forms lacking depth and completeness. The method used in the study is an interpretative phenomenological approach that analyzes the paintings independently of historical, technical, and stylistic elements. An additional aim is to explore how non-architectural practices can provide insight into architecture as a multi-disciplinary and multi-practice phenomenon. Here, the completion and incompletion of spatial forms were analyzed in relation to time. As a result, through analysis, it has been determined that finalized spatial forms directly reflect an immediate reality, whereas incomplete or altered forms represent a subjective experience.

Bu çalışmanın amacı farklı ülkelerde lisans düzeyinde bulunan animasyon öğretim programlarındaki derslerin çeşitliliğini ve dağılımını araştırmaktır. Çalışma kapsamında ABD, Avrupa, Birleşik Krallık, Kıbrıs, Singapur ve Türkiye olmak üzere 52 farklı üniversitedeki animasyon lisans öğretim programlarındaki 1030 adet ders incelenmiştir. Çalışmada nicel araştırma yöntemlerinden doküman analizi yöntemi kullanılmış, elde edilen veriler betimsel olarak yorumlanmıştır. Ders ismi-üniversite matrisi, derslerin ait oldukları üniversite-bölüm, zorunlu-seçmeli ders olma durumlarını gösteren belirtke tablosu hazırlanmış ve ders çeşitliliği frekans ve yüzde değerleri halinde sunulmuştur. Araştırma sonucunda, programlarda farklı isimde benzer içerikli, aynı isimde farklı içerikte derslerin bulunduğu, derslerin geleneksel uygulamalı dersler, dijital uygulamalı dersler ve teorik dersler olarak üç ana gruba ayrıldığı görülmüştür. ABD, TR, BK ve AB’de geleneksel tabanlı derslerin %63, dijital tabanlı derslerin %37 oranında yer aldığı sonucuna ulaşılmıştır. Uygulamalı dersler özelinde ise dijitale nazaran geleneksel tabanlı dersler ABD (%62), BK (%58) ve TR (%57) programlarında ağırlıklı yer kapladığı, yalnızca AB programlarında %48 oranı ile dijital uygulamalı derslerin gerisinde kaldığı görülmüştür. Zorunlu ve seçmeli ders dağılımlarında ise zorunlu derslerin oranının ABD (%75), BK (%65), AB (%76) ve TR (%61) programlarında daha yüksek olduğu sonucuna ulaşılmıştır.

Çalışmanın amacı mimarlıkta maddi olmayan meselesinin nasıl ele alındığını göz önüne sermek ve problemin gelişme ufkunu işaret eden eleştirel bir okuma yapmaktır. Çalışmanın kapsamı, ScienceDirect, Web of Science ve Google Scholar veritabanları üzerinden ulaşılan güncel akademik mimarlık literatürüdür. Çalışma, kavramsal inceleme ve düşünümsel tematik analizin birlikte kullanıldığı karma bir nitel araştırma yöntemine dayanmaktadır. Çalışmada, mimarlık literatürünü içine alan akademik veritabanlarında maddi olmayan kavramının, yan anlamlarının ve kavramsal açılımların izinin sürüldüğü bir kelime araması prosedürü takip edilmiştir. Üç tema altında konumlandırılan yaklaşımların pozitivist/materyalist paradigma ve varoluşsal/ontolojik paradigma olarak iki farklı düşünsel paradigma etkisinde şekillendiği gözlenmiştir. Kartezyen özne-nesne ayrımını benimseyen pozitivist/materyalist paradigma içinden gelişen yaklaşımların literatürde sayıca çok olduğu gözlenmiştir. Özne-nesne bütünselliğine dayalı varoluşsal/ontolojik paradigma içinden gelişen yaklaşımların ise maddi olmayanın kelime anlamına tam olarak karşılık vermesine rağmen sayıca az olduğu gözlenmiştir. Bu grup yaklaşımın problem ile ilişkisi derinleştirilmeye değer görülmüş ve araştırma, maddi olmayanın metafizik, ontolojik ve varoluşsal kelime anlamlarını içerecek şekilde genişletilmiştir. Materyalist paradigmada fiziksel olmayan etmenler mekânın oluşumunu materyalist bir düzlemde belirlemektedir. Çalışma sonucunda varoluşsal paradigmada ortaya konan ontolojik ilkelerin de mekânın oluşumunu ontolojik düzlemde belirleyen maddi olmayan etmenler olarak ele alınabileceği önermesine ulaşılmıştır.

This article explores the historical development of Iranian manuscripts and their significance as a platform for artists. The focus is on the page layout of Iranian manuscripts from Seljuk to Safavid Era, aiming to understand the evolution of book design styles. By analyzing various samples, the study reveals the presence of clear and systematic principles governing the page layout of Iranian manuscripts during these eras. The findings suggest that these historical layouts can be extracted and imitated to revive the page layout of modern books. The research employs documentary study methods to examine different sections of Iranian manuscripts, including text and image pages, table of contents pages, cover pages, title pages (Sarlouh), and beginning pages. Each section follows specific visual methods for organizing elements and combining different parts. Over time, the principles of page layout within each category have undergone changes influenced by the artistic principles of the respective era. The article specifically investigates the title (Sarlouh) and the beginning pages of a manuscript to illustrate their interplay and evolution.

This study aims to present the concept of topography as a multi-layered entity and an active given of the architectural design process. Different from the discussions on topography in architecture which reduce topography to its mere physical characteristics, this study’s theoretical framework redefines topography in figural and spatial layers and discusses how they are interpreted in the architectural design practice. To further investigate the insights in the theoretical framework, the case study method is instrumentalized via spatial analysis of the Seattle Central Library. The spatial analysis of the library involves figure ground map and public use diversity and access maps. Accordingly, the diagrammatic representation, the site plan and site section of the project are redrawn in the urban scale of 1:1000 and the building scale of 1:200. Consequently, the design of the Seattle Central Library presented hybrid spaces that are nurtured from connections to the spatial and figural layers of topography. The manipulation of the building envelope, the continuity of the ground floor line and programmatic flexibility of the library’s spaces were critical elements to integrate to the urban topography to create interstitial situations in connection to both figural and spatial layers.

Today, it is observed that the current architectural planning of public spaces, squares, streets, parks and buildings can disappear and change over time, as the Covid-19 pandemic is easily effective on people and settlements on a global and regional scale. The aim of the study, which takes these changes into consideration, is to open the solution suggestions to the discussion in the process of simultaneously exploring the grounded problems while sharing the experiences of the pandemic process within the education of urban design course students. A study was carried out that was interpreted with participant interaction. Current pandemic experiences were utilized within the process of stratifying the structured opinions. The constructivist grounded theory of qualitative research pattern forms the skeleton of this solution-seeking study. Considering the interview answers made with the students, it has been observed that they gave many answers, as well as suggestions for solutions, that the pandemic will experience changes, especially in urban and public spaces and residences. It is noteworthy that the city and the surrounding areas in which they live are uniform places that do not respond to the requests of the users during the pandemic process and that the students realize the inadequacies of these uniform spaces.

İnsanın var olduğu ve yaşamın sürdüğü her alanda hareket vardır. Mobil araçlar, şehir ölçeğinde hareketi sağlayan önemli toplu taşıma araçlarındandır. Sürekli bir döngü halinde olan bu araçlar zamanla ihtiyaçlara cevap verememekte ve gelişen teknolojiye bağlı olarak yenileri ile değiştirilmektedir. Atıl kalan ve artık kullanılmayan mobil araçlar ise çürümeye terkedilmektedir. Kullanılmayan mobil araçların dönüşümü ve yeniden kullanımı mümkündür. Araştırma kapsamında dünya üzerinde yeniden işlevlendirilen tramvay örnekleri incelenmiş, Konya eski tramvay vagonlarının tarihi ve teknik özelliklerine yer verilmiştir. Bu çalışmada Konya ilinde atıl vaziyette bulunan tramvay vagonlarının dönüştürülerek yeni bir işlev kazandırılmasına yönelik kullanıcıların lokasyona bağlı olarak fonksiyon tercihlerinin tespit edilmesi amaçlanmıştır. Araştırma yönteminde mekânsal algı çalışmalarında geçerli ve güvenilir bulunan anlamsal farklılaşma ölçeklerinden yararlanılmıştır. Tramvay vagonlarının dönüşebileceği 5 farklı işlev grubu belirlenmiş olup Konya’da ikamet eden 77 kişiden çevrimiçi bir anket ile bu işlev önerilerini değerlendirmeleri istenmiştir. Çalışma sonucunda tramvay kafe-restoran, tramvay sınıf-atölye-kütüphane ve tramvay büfe-manav-market olumlu karşılanırken; tramvay otel-yurt-pansiyon ve tramvay konut daha olumsuz değerlendirilmiştir. Ayrıca olası kullanıcıların şehir merkezinde en çok tramvay kafe-restoran, kampüs içerisinde ise en çok tramvay sınıf-atölye-kütüphane olmasını tercih ettikleri görülmüştür.

Günümüzde ulusal ve uluslararası konjonktürdeki gelişmelerin ışığında dijitalleşme ile geleneksel eğitim yöntemleri dönüşmekte ve değişmektedir. Covid-19 süreci ile üniversitelerde eğitim çevrimiçi ortama geçmiştir. Bu çalışmada tasarım eğitiminde çevrimiçi ortamın etki ve sonuçları araştırılırken, dijital platform olarak adlandırılan öğrenme yönetim sistemlerinin (ÖYS) arayüzleri ile öğrenci arasındaki etkileşime odaklanılmaktadır. Bu doğrultuda, öğrenci-eğitmen, öğrenci-öğrenci ve öğrenci-içerik etkileşim türlerini içine alan öğrenci-arayüz etkileşimi değerlendirilmekte ve İzmir’de tasarım eğitimi veren iki üniversitede çevrimiçi eğitimde kullanılan “Sakai” ve “Blackboard” arayüzleri üzerinden öğrenci etkileşimi incelenmektedir. Kullanıcı araştırma yöntemlerinden, davranışsal, tutumsal ve niteliksel eksende yer alan odak grup görüşmeleri ve çevrimiçi anket çalışmaları tamamlanmış, elde edilen verilerin niteliksel içerik analizi yapılmıştır. Araştırmada ayrıca kullanılan platformların ve arayüzlerinin tercih edilmemesinin nedenleri, öğrencilerin kullandıkları diğer iletişim araçların rolü ve önemi araştırılmıştır. Öğrenciler ÖYS üzerinden etkileşimlerinin düşük olduğunu belirtmiş, etkileşim düzeyinin fiziksel ortama göre daha az olduğu görülmüştür. Fakat çevrimiçi eğitimde kullanılan diğer araçlar ve platformlar göz önüne alındığında etkileşim düzeyi bir üst seviyeye çıkmıştır. Öğrencilerin güncel düşünce ve yorumları alınarak yapılan bu çalışmanın gelecekteki kullanıcı odaklı dijital tasarımların ve tasarım eğitiminde var olan çevrimiçi koşulların geliştirilmesine katkıda bulunması hedeflenmiştir.

As noted by Mouffe (2005) and Ranciére (2004), the new millennium inaugurated a post-political phase where the idea of consensus replaced that of conflict: the political, understood in its agonistic dimension, is reduced to a series of administrative procedures, in which moments of tension and conflict lose their critical potential and are resolved through a technical and rational calculation. One of the most common expressions with which the post-political phase of consensus has manifested itself, especially in the European context, is the idea of shared memory. In the last twenty years, the development of digital media has radically affected the way collective memory can be constructed, represented, narrated, and disseminated (Blom, 2016). While the intrinsic risks of the digital revolution have been widely discussed (in terms of fake news, historical revisionism, and in general post-truth), the possibility to understand and to approach historical documents and materials as living matter opens up new research trajectories and design approaches able to question the idea of shared memory, and to move closer to the image of entangled memory and mnemography (Feindt et al., 2014). This paper analyses and discusses some projects and practices in the field of infographic design and counter-forensic that could lead to a conflictual or adversarial understanding of collective memory as a contested terrain.

For this first PAD journal issue dedicated to the theme of Digital Memories, we have chosen, as the opening image, a quipu (or khipu). The image represents the artistic interpretation made by Cecilia Vicuña on the occasion of her exhibition, still in progress now, at the Tate Modern’s Turbine Hall. Vicuña has been exploring and transforming the quipu in her work for over five decades, getting inspiration from this ancient recording and communication system used by the Quechua people of the Andes from 2500 BCE through to the 16th century at the time of the Spanish conquest. Literally, quipu means ‘knot’ in the Quechua language and consisted of a long textile cord from which hung multiple strands knotted into different formations and in different colors that were able to encode as much complex information as the alphabet. It is thought that they were used to record statistics, poems, and stories, thereby creating a tactile relationship between memory and the imaginary. This reference seemed perfect to introduce the present issue’s central theme: an ancient, alternative, and complex system of recording memories.