Interview about Od Ana Lighting , winner of the A' Lighting Products and Fixtures Design Award 2023
The primary conceptual foundation of Od Ana consists of simplicity. It's not just function, form, or aesthetics. Considering the design and production conditions, it is the result of an integrative perspective between conscious choice and renunciation. A light source is realized by reinterpreting the aesthetic value of simple components and techniques, without ignoring the emotional impact of its function and form. Thanks to its articulated structure and movable feet, it can be moved according to the needs and mood of the end user and can be used as a desk lamp, table lamp, or floor lamp.
View detailed images, specifications, and award details on A' Design Award & Competition website.
View Design DetailsThank you. This perspective could apply to any designer, product developer, or producer working in limited editions. Simply put, it stems from being on the side of long-lasting, high-quality work or products. It's a technical outcome, connected to how accessible tools and materials are, and shaped by the waste generated in production processes, and costs. Design is a result molded not only by the designer but also by socio-cultural, socio-economic, geographical, ethical, aesthetic, and similar factors, including the society the designer inhabits. We cannot solely speak of the designer's design alone. Therefore, throughout all processes, the designer makes conscious preference and renunciations, always considering the entire set of circumstances they exist within.
Yes, 'versatility' is indeed the right word. This design eliminates the need for consumers to buy separate lighting solutions for each space. Much of the world is now adapting to smaller living spaces, and placing multiple lights in each area only serves to further restrict these already limited environments. From the outset, this was a request I made as a consumer myself: a lighting piece that could move with me through my living space, keeping pace with my needs and adjusting according to my mood or schedule. These were intentional choices, guiding decisions from the beginning of the design process.
Frankly, I am not a designer who envisions things I cannot bring to life myself. Before starting any design process, my first step is always to assess the conditions I’m in—conditions in every sense, as I’ve mentioned before. I live and work in Istanbul, a city of 20 million people in Turkey, where I also produce my designs. Let's say, for instance, that one part of my design requires a 5-axis CNC machine for production. To access this machine, I would need to make an appointment, disrupt the production lines of manufacturers dedicated to mass production, and bear significant costs. In contrast, reaching a skilled woodworker or a local workshop, masters in handcrafting, is far more accessible on every level. This approach grants me a production process where I can think deeply about each detail, devote the necessary care, and allow extended time. By working this way, I am not only supporting local workshops, but also maintaining a certain quality standard, as I choose to produce in limited quantities. This, I believe, ensures a unique level of craftsmanship and attention to detail that aligns with my design philosophy.
Actually, similar reasons and sensitivities are at play. First and foremost, I notice that the concept of 'eco friendly' is often perceived as just a trend. At the same time, people seem to forget that 'recycling' itself carries a cost. Furthermore, there’s a mystery surrounding how much of the recyclable materials are truly recycled. Going back to the beginning, I’m not a designer who produces in thousands of units. None of my designs have been produced in quantities even close to 1,000. The highest production volume I’ve reached this year is with Od Ana Lighting, which hit 300 units. Custom packaging manufacturers have minimum production quotas, usually starting at 1,000 units; they won’t consider orders below that. This represents a substantial recycling cost as well. Therefore, considering both my sensitivities and responsibilities, I needed to find a solution. The packaging design for Od Ana took shape under these conditions.
As a designer, holistic integration is a principle to which I am deeply committed. I dedicate a significant amount of time to each element that comprises the whole, striving to create joints and connection points that feel as though they’ve emerged 'organically.' To allow the user to manipulate the light, I needed to select a type of joint that serves both the x and y planes. Perhaps a custom-designed, concealed bearing system could have elevated Od Ana to a more sophisticated level, yet due to production costs, I had to reconsider this decision. I then explored the possibility of uniting the joints with strong magnets, but as this didn’t yield the desired result, I reverted to the simplest known approach—a nut-and-bolt fastening system. Inside Od Ana's light chamber, 1 mm stainless steel sheet is utilized. It’s a heavy material, so the friction force needed to be high, while the movement of the chamber remained smooth. To meet this requirement, I opted for silicone washers.
This is a question I’m often asked: 'Why didn’t you choose aluminum?' The answer is quite simple: metals have specific thermal expansion coefficients. Aluminum is indeed a lightweight material, but it has a high expansion coefficient. My decision on the metal family wasn’t difficult. From the very beginning, I had decided to use stainless steel. However, with wood, the expansion coefficients are far more complex because wood is anisotropic, meaning it expands differently in different directions. Despite this, I opted not to use an expensive type of wood for the exterior shell. I didn’t want Od Ana to occupy an exclusive price point that might make it less accessible. Adding to these foundational challenges, Od Ana’s metal components were produced in Eskişehir, a city in Turkey, while the wooden elements were crafted in Istanbul, where the final assembly also took place. The initial prototypes were challenging, but in the end, by fine-tuning the humidity calculations, I achieved the desired outcome.
To me, simplicity and banality are like two points positioned side by side on a circle. The difference between these two points is that one represents the starting point, while the other is the ultimate result—the point that completes the circle. Therefore, without experiencing and absorbing the other points that make up this circle, you cannot truly reach simplicity. It’s a filtration system, a way of shedding the unnecessary, and it’s not only applicable to the design discipline; it’s a principle that you can apply to every aspect of your life. From the very beginning, I had made up my mind about the material selection for Od Ana. There are multiple unproduced versions of Od Ana. Initially, the version I wanted to bring to life was made from ceramic and brass. My intent was to merge the traditional decorative techniques of Anatolia with a clean form. The idea was that when you observed Od Ana from afar, you would see clean, distinct lines, yet as you approached, traditional motifs and patterns would begin to reveal themselves. However, that is a more challenging version, so I prioritized the simplest one first. Nonetheless, I will do my utmost to produce the other versions of Od Ana as well.
A' Design Award is a highly esteemed competition, and I’m genuinely honored to have received this recognition. For designers working under similar conditions and from comparable regions, this award brings invaluable encouragement, instilling courage and motivation. As I’ve mentioned, in societies where the value of your work is often overlooked, such an award, if nothing else, renews one’s vitality and belief in oneself. It fosters resilience. I extend my sincere gratitude once again to the distinguished members of the jury.
The selection of a silicone washer joint was driven by the need for a solution that enabled multi-axial movement of the light source. This design allows for precise positioning in both the horizontal and vertical planes, providing the user with greater control over the direction and intensity of the light.
The query is a complex one. While I've strived to execute my design concepts to the fullest extent possible, I'm hesitant to quantify my precise influence on contemporary lighting design. The rapid pace of scientific discovery across multiple disciplines presents an invigorating backdrop to our current moment. My hope is that these advancements will cultivate a more compassionate and discerning global populace. And I look forward to observing its subsequent manifestations in the realm of design.
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