Oyku Ilerlemek | Design

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Industrial Design

<font color="#ffffff" style=""><span style="font-size: 14px; font-weight: 400;">Alışveriş deneyiminizi iyileştirmek için yasal düzenlemelere uygun çerezler (cookies) kullanıyoruz. Detaylı bilgiye&nbsp;</span><a href="https://tolgacelebi.myikas.com/pages/cerez-politikasi?_gl=1*p67f7*_gcl_au*MTM1MjE5NjUyNi4xNzUzOTAxNzky" rel="noopener noreferrer" target="_blank" style="font-weight: 400; font-size: 14px;"><u>Gizlilik ve Çerez Politikası</u></a><span style="font-size: 14px; font-weight: 400;">&nbsp;sayfamızdan erişebilirsiniz.</span></font>

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<p style="text-align: right; "><font color="#636363">contact@oykuilerlemek.com</font></p><p><div style="text-align: right;"><font color="#636363">0(539) 339 20 35</font></div><div style="text-align: right;"><font color="#636363">Caferağa Mah. Safa Sk. 13/1, Kadıköy / İstanbul</font></div></p>

From the Studio

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          <p class="editor-paragraph"> The modernist design principle form follows function, attributed to architect Louis Sullivan in the late 19th century, has long dominated the discourse around object-making. This idea; namely, that the shape of an object should be primarily determined by its intended use; has shaped everything from architecture to product design. However, when it comes to objects of adornment such as jewelry, the functionalist paradigm reveals its limitations. </p><p class="editor-paragraph"> Jewelry is rarely governed by function alone. While aspects such as wearability and durability are not irrelevant, they do not exhaust the reasons why jewelry is designed, made, or worn. As theorist Marcia Pointon argues, jewelry is “a vehicle for the expression of identity and status, but also for the performance of memory, desire, and affect.”¹ Its function is not primarily utilitarian, but symbolic and emotional. </p><p class="editor-paragraph"> In this sense, the design of jewelry is often driven by what could be called affective function. This encompasses the capacity of an object to carry, evoke, or mediate emotional meaning. Jewelry frequently commemorates intimate moments, marks transitions, or becomes part of a personal ritual. Its form, therefore, cannot be explained purely in relation to mechanical or ergonomic necessity. </p><p class="editor-paragraph"> Philosopher Glenn Adamson notes that craft objects, of which jewelry is a prominent example, are “small acts of meaning,”² often operating in a register that exceeds the purely visual or tactile. In other words, their form is informed not just by how they work or look, but by what they signify and how they make us feel. In this context, form follows emotion becomes not a rejection of function, but a redefinition of what function means. </p><p class="editor-paragraph"> This perspective does not disregard craftsmanship or technical considerations; rather, it integrates them into a broader understanding of design as a communicative and affective act. The weight of a ring, the surface texture of a pendant, or the combination of materials; all can function as silent carriers of narrative or feeling, whether consciously intended or not. </p><p class="editor-paragraph"> In contemporary jewelry practice, especially within independent and studio-based contexts, emotional resonance often takes precedence over traditional luxury cues or material value. This does not mean that quality is sacrificed; instead, quality is re-evaluated in terms of experiential depth, conceptual clarity, and emotional truth. </p><p class="editor-paragraph"> As the field of design continues to shift from problem-solving to meaning-making, the phrase form follows emotion may offer a more accurate framework for understanding the objects that accompany us not only in daily life, but also in memory, identity, and expression.<br><br> </p><p class="editor-paragraph"> <i>¹ Marcia Pointon, Brilliant Effects: A Cultural History of Gem Stones and Jewellery (Yale University Press, 2009).<br>² Glenn Adamson, The Invention of Craft (Bloomsbury Academic, 2013).</i> </p>
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Form Follows Emotion

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          <p class="editor-paragraph"> Between utility and intimacy. </p><p class="editor-paragraph"> The contemporary jewelry field occupies a liminal space; straddling the realms of applied art, design, and industrial production. This dual positioning generates both creative potential and disciplinary ambiguity. While traditionally associated with adornment and craft, jewelry increasingly assumes a conceptual and material complexity that reflects industrial aesthetics and design logics. </p><p class="editor-paragraph"> In the 20th century, especially with the influence of the Bauhaus and other modernist movements, there emerged an emphasis on rational forms and the functionality of designed objects. Jewelry, too, was affected by this shift. Instead of being solely decorative, it began to be understood as a design object, subject to principles of serial production, material experimentation, and ergonomic consideration (Dormer, 1994). </p><p class="editor-paragraph"> Unlike unique art objects, industrial design products are often evaluated based on their reproducibility, usability, and systemic integration into daily life. Jewelry that engages industrial paradigms, through techniques like casting, laser cutting, or CNC machining; mirrors this logic. As Raphaëlle Ziemba notes, industrial jewelry challenges “traditional notions of craftsmanship by embedding the logics of mass production into the language of the body” (Ziemba, 2019). </p><p class="editor-paragraph"> However, this shift does not negate the symbolic, emotive, or cultural value of jewelry. Rather, it allows these dimensions to emerge within new material frameworks. The artist or designer who utilizes industrial techniques does not necessarily abandon artistic intention. Instead, they participate in what Peter Dormer (1994) calls “a redefinition of craft” where the hand and the machine co-constitute form. </p><p class="editor-paragraph"> Moreover, the wearability of jewelry adds another layer of complexity. Unlike static industrial objects, jewelry operates through interaction with the human body. Its function is not only mechanical or ergonomic, but social and semiotic. As Bernhard Schobinger argued, “the meaning of a piece of jewelry is completed only in its wearing” (Schobinger, 2003). </p><p class="editor-paragraph"> Thus, jewelry as an industrial object is not a negation of ornament but a reconfiguration of it, one that attends to repetition, standardization, and material logic while still engaging with the intimate and symbolic realms traditionally associated with adornment.<br><br> </p><h3>References</h3><ul><li>Dormer, P. (1994). The Art of the Maker: Skill and its Meaning in Art, Craft and Design. Thames and Hudson.
</li><li>Ziemba, R. (2019). “Serial Forms: Industrial Jewelry and the Body.” Design Issues, Vol. 35, No. 4.
</li><li>Schobinger, B. (2003). Jewellery and Meaning. In: Peter Skubic (Ed.), Thinking Jewellery. Arnoldsche Art Publishers.</li></ul>
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SEPET

DESIGN TALKS

Form Follows Emotion

Rethinking function in Jewelry Design.

Jewelry as Industrial Object

Between utility and intimacy.