{"title":"Industrial Design","description":"","products":[{"product_id":"sketchup_348862-html","title":"SketchUp","description":"\u003cp\u003eAnyone with a computer can do 3D design!\u003c\/p\u003e\u003cp\u003eCAD software is generally very complex, difficult to use, hard to learn, and very, very expensive. Google SketchUp, on the other hand, designed specifically for architects, engineers, and filmmakers, is an exception in every respect when it comes to CAD software: SketchUp is free, extremely easy, quick to learn, and a small-sized software... Being very popular due to its efficient use of system resources and ease of use, SketchUp also allows users to benefit from designs created and made publicly available by others...\u003cbr\u003e \u003c\/p\u003e\u003cp\u003eAhmet Turan Köksal, an expert in both IT book writing and computer-aided design, used his teaching experience while writing this first and only resource on SketchUp. 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In this respect, the work offers a focused and field-specific examination for readers who wish to understand the methodological infrastructure of design education.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eWho is this for?\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e\u003cspan\u003eStudents studying in architecture and design departments\u003c\/span\u003e\u003c\/li\u003e\n\n\u003cli\u003eAcademics leading design studios\u003c\/li\u003e\n\n\u003cli\u003eResearchers interested in form generation and form finding processes\u003c\/li\u003e\n\n\u003cli\u003eReaders examining methods and pedagogy in design education\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\n\u003c\/div\u003e","brand":"Gece Akademi","offers":[{"title":"Default Title","offer_id":39408982196419,"sku":"9786057623553","price":319.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786057623553.jpg?v=1616017624"},{"product_id":"temel-tasarim","title":"Fundamentals of Design","description":"\u003cp\u003eYEM Yayın has published a new book titled \u003cstrong\u003e\u003cem\u003eBasic Design\u003c\/em\u003e\u003c\/strong\u003e, which aims to serve as a fundamental and preparatory resource in the academic programs of higher education institutions offering fine arts, architecture, and design education.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe book \u003cstrong\u003e\u003cem\u003eBasic Design\u003c\/em\u003e\u003c\/strong\u003e evaluates the purpose, function, and current understanding of “Basic Design” education through a historical projection, from the Bauhaus, where it first appeared in the curriculum, to the present day.\u003cbr\u003eThe fundamental dynamic of science and art is formed by the interaction of human beings, the subject of these fields of activity, with objects. In this context, the book addresses the human potentials that are decisive in comprehending objects and in all existential endeavors, as well as the perception mechanisms and their functioning that form the basis of creative actions. Among all perceptual inputs, visual perception, which has the highest proportion, is examined in detail for its foundational role in the visual arts. \u003cbr\u003eThe book aims to present “Basic Design” education as an essential discipline that, by its very nature, opposes rules, prejudices, traditional and conventional educational approaches, and instead prepares for the future and requires continuous renewal. Basic concepts are discussed in a way that avoids rigid definitions or prescriptive guidelines, and examples are chosen solely for their explanatory value in illustrating the subject.\u003cbr\u003eProf. Dr. Ali Seylan, the author of the book, which aims to assist young people beginning their art and design education at the very start of the process, states the following in summary:\u003cbr\u003e“Art education is seen as a complex process determined by the unique aspects of art, and the subjective dimensions of art educators and students. This multifaceted environment in which it must develop turns art education into a problematic area. The 'Basic Design' course, which serves as an introduction\/starting point for art education, has the identity of a discipline that aims to provide students with theoretical and practical foundational gains for the future. An educational activity, regardless of the characteristics of the individual, group, or mass it targets, and their levels of readiness, is expected to fulfill the functions of progressively ensuring knowledge acquisition, skill acquisition and development, and the acquisition of attitudes, behaviors, and dispositions where the gains from previous stages form a special value and direction. Therefore, the aim is for students who undergo this process to be able to develop a systematic approach to art and artistic problems with these fundamental gains, and to see their connections with the gains of other courses.”\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e \u003cbr\u003e\u003cstrong\u003eCONTENTS\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePART I\u003c\/strong\u003e - \u003cstrong\u003eBASIC DESIGN EDUCATION\u003c\/strong\u003e 16\u003cbr\u003eDefinition of Basic Design Course 22\u003cbr\u003eRationale and Aims of the Basic Design Course within the Framework of General Objectives of Art Education 24\u003cbr\u003eBASIC DESIGN EDUCATION PRACTICES DURING THE BAUHAUS PERIOD 32\u003cbr\u003eItten’s Basic Design Education Practices 32\u003cbr\u003eAlbers-Nagy and Basic Design Education Practices 36\u003cbr\u003eKlee-Kandinsky and Basic Design Education Practices 40\u003cbr\u003eRussian Industrial Art Schools: VKHUTEMAS, a Parallel Development and Interaction with Bauhaus 44\u003cbr\u003ePOST-BAUHAUS DEVELOPMENTS 46\u003cbr\u003eBlack Mountain College 46\u003cbr\u003eChicago (New Bauhaus) School 47\u003cbr\u003eGestalt School\/Ulm School of Design 48\u003cbr\u003eReflections of Bauhaus and the Art Education Movement on Our Education System 49\u003cbr\u003e\u003cstrong\u003ePART II - HUMAN'S INTERNAL DYNAMICS \/ NATURAL ENDOWMENTS AS THE SUBJECT OF DESIGN EFFORT\u003c\/strong\u003e 57\u003cbr\u003eDevelopment of Analytical Thinking Ability and Creativity 65\u003cbr\u003ePhenomenon of Consciousness: Impression-Sensation-Perception-Consciousness 67\u003cbr\u003eMental Processes and Cognition 74\u003cbr\u003eCognition-Affection and Thinking 78\u003cbr\u003eConvergent and Divergent Processes in Cognitive Skills 79\u003cbr\u003eConvergent and Divergent Thinking Abilities 79\u003cbr\u003eCreation in the Context of Perception-Imagination and Thinking 80\u003cbr\u003eLearning-Teaching Equation in the Development of Analytical Thinking Ability and Creativity 81\u003cbr\u003eEducator Profile for Creative Problem Solving 84\u003cbr\u003e\u003cstrong\u003ePART III\u003c\/strong\u003e - \u003cstrong\u003ePHYSIOLOGICAL AND PSYCHOLOGICAL FOUNDATIONS OF VISUAL PERCEPTION\u003c\/strong\u003e 92\u003cbr\u003ePHYSIOLOGY OF VISUAL PERCEPTION 92\u003cbr\u003eBINOCULAR SYSTEM AND DEPTH PERCEPTION 94\u003cbr\u003ePERCEPTUAL ORGANIZATION 100\u003cbr\u003eLIGHT-SHADOW RELATIONSHIP IN THE COMPREHENSION OF SPACE 111\u003cbr\u003eCOLOR SENSATION 112\u003cbr\u003eColor Theories 113\u003cbr\u003eColor Mixing Methods 117\u003cbr\u003eContrast Theory and Relativity in Color 121\u003cbr\u003eColor Perception as a Process of Meaning-Making 124\u003cbr\u003e\u003cstrong\u003ePART IV\u003c\/strong\u003e - \u003cstrong\u003eMETHODOLOGICAL AND THEORETICAL PROPOSALS FOR THE IMPLEMENTATION OF THE BASIC DESIGN COURSE\u003c\/strong\u003e 127\u003cbr\u003ePoint 127\u003cbr\u003eLine 137\u003cbr\u003eSurface 143\u003cbr\u003eForm 146\u003cbr\u003eColor 162\u003cbr\u003eCATEGORIES OF VISUAL EFFECT IN THE PERCEPTION PROCESS 176\u003cbr\u003eMovement\/Motion 176\u003cbr\u003eRhythm 179\u003cbr\u003eBalance 180\u003cbr\u003eHarmony\/Cohesion\/Accord 183\u003cbr\u003eBIBLIOGRAPHY 193\u003cbr\u003e \u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210504947,"sku":"9786058043442","price":490.0,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786058043442.jpg?v=1616017675"},{"product_id":"yaratici-tasarimin-temelleri","title":"Fundamentals of Creative Design","description":"\u003cp data-mce-fragment=\"1\"\u003eFoundations of Creative Design, like other books in the Literature Academic Foundations Series, introduces visual arts students to the main elements of graphic design and the ideas that produce them. These books offer an introduction to applied visual arts with diagrammatic, inspiring visuals, prepared with examples from the work of students and professionals.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eToday, it is increasingly difficult to create designs as the number of competitors vying to be noticed, make a good impression, and attract clients in the field of graphic design has grown. Foundations of Creative Design offers ways to fully master the basics of producing eye-catching and effective designs, and guides the reader step-by-step through the stages of the creative process. Topics covered in the book include format, page layout, grids, typography, color, imagery, printing, and finishing.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFoundations of Creative Design is an important guide to graphic design, containing information on design theories and history, as well as practical issues that contemporary designers, academics, and students may encounter in the design process.\u003c\/p\u003e","brand":"Literatür Yayıncılık","offers":[{"title":"Default Title","offer_id":43385743245555,"sku":"9789750406461","price":712.5,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/0004842_yaratici-tasarimin-temelleri-2-basim.jpg?v=1742300664"},{"product_id":"mobilya-tasariminda-malzeme-ve-detay","title":"Material and Detail in Furniture Design - 7th Edition","description":"\u003cp\u003eProf. Dr. Genco Berkin's new book, \u003cem\u003eMaterial and Detail in Furniture Design\u003c\/em\u003e, prepared primarily for industrial design, interior architecture, and architecture students, as well as designers and practitioners just starting their careers, has been published by YEM Yayın.\u003c\/p\u003e\n\u003cp\u003eThe book, along with \u003cem\u003eMaterial and Detail in Architecture\u003c\/em\u003e and \u003cem\u003eMaterial and Detail in Interior Architecture\u003c\/em\u003e, which were also prepared by Genco Berkin in previous years and quickly became fundamental reference sources due to their popularity, forms YEM Yayın's \"Material and Detail Series.\"\u003c\/p\u003e\n\u003cp\u003eAs with the previous books in the series, the book, with graphic design and illustrations by Sedef Sav, features contemporary furniture designs of 10 different types by 40 world-renowned designers and architects. Along with the selected designers, the aim is to take a brief journey through 'the history of contemporary furniture design,' presenting both the 40 pioneering figures and their masterful works to the reader.\u003c\/p\u003e\n\u003cp\u003eTo achieve successful results in furniture design, it is first necessary to determine the material. Looking at the recent history of furniture, it can be seen that important designers used innovative production techniques that highlighted the material to add a different quality to the product. In \u003cem\u003eMaterial and Detail in Furniture Design\u003c\/em\u003e, especially for young designers, the material selection criteria and data supported by details of pioneering designers are conveyed in a simple and easy-to-understand manner, accompanied by carefully prepared drawings, with the aim of supporting the design process focusing on detail and material.\u003c\/p\u003e\n\u003cp\u003eIn the book \u003cem\u003eMaterial and Detail in Furniture Design\u003c\/em\u003e, the 40 designers and their furniture, such as Michael Thonet (Chair No. 14), Kaare Klint (Faaborg and Safari Chair), Gunnar Asplund (Grace Cinema Seat), Lilly Reich (Reich Curtains), Eileen Gray (Transat Chair), Richard Neutra (Camel Table), Alvar Aalto (Paimo Armchair), Vico Magistretti (Cinqueterre Kitchen), Vladimir Kagan (Serpentine Sofa), Carlo Scarpa (Doge Dining Table), Ettore Sottsass (Sistema 45 Office Furniture), Norman Foster (Nomos Office Desk), Aziz Sarıyer (Mono Armchair), Philippe Starck (WW Stool), Toyo Ito (Ripples Bench), Atilla Kuzu (Open Kitchen), were selected either for having a valuable story in terms of ergonomics or for pioneering breakthroughs in production technology.\u003c\/p\u003e\n\u003cp\u003eThe book was planned considering that those new to furniture design often lack the courage to imagine new furniture and therefore struggle to start designing. To spark the inspiration needed for an initial design, the educational processes, sources of inspiration, and cultural backgrounds of globally known designers are presented with rich narrative examples to encourage young designers.\u003c\/p\u003e\n\u003cp\u003eProf. Dr. Genco Berkin summarizes the rationale and content of the book as follows:\u003c\/p\u003e\n\u003cp\u003eMy aim in writing the book \u003cem\u003eMaterial and Detail in Furniture Design\u003c\/em\u003e is to make architects, interior architects, and industrial product designers say, 'I can design furniture!' after reading the book and internalizing the information provided. They say, 'Half the battle of finishing a job is starting it.'\u003cbr\u003eI realized that many of my students participating in interior architecture project courses lacked sufficient knowledge about furniture design, preventing them from having the courage to imagine new furniture, and thus experiencing difficulty in starting their designs. In fact, what will make that initial start is the very inspiration that will come to them. Inspiration emerges after a person gains knowledge, is nourished by environmental factors, and internalizes them. Therefore, narratives enriched with cases and examples formed the main structure of this book. For this reason, I tried to present the mentors and cultural backgrounds that influenced many designers' inspirations within their development processes. On the other hand, since the design process is enriched by the accumulation of a visual repertoire, I prepared a selection supported by material selection criteria and details to create awareness in this regard, touching upon 10 different types of furniture designs by 40 pioneering designers.\u003c\/p\u003e\n\u003cp\u003eIn furniture design, detailing begins primarily with determining the material; then comes the shaping of the material (e.g., obtaining profiles + bending processes), and finally, it is completed by joining with the same or different materials (e.g., stitching, welding, or riveting). Looking at the recent past of furniture, we see that pioneering designers used innovative production techniques to highlight the material to add a different characteristic to the product. Thus, designs acquire the quality, as Otto Wagner said, of 'reflecting their era.'\u003c\/p\u003e\n\u003cp\u003eThis book examines the masterpieces of 40 famous furniture designers and architects. The designers and furniture discussed and analyzed are those with a valuable story in terms of ergonomics or those that pioneered breakthroughs in production technology. Of course, many other valuable pieces of furniture have been produced besides these designs. However, I was compelled to create a didactic selection. I tried my best to identify the most important designers and discuss their prominent works...\u003c\/p\u003e\n\u003cp\u003eConsidering that the book is one of the few works written and published on furniture design and designers in Turkish literature, it is expected to greatly contribute to interior architecture, architecture, and industrial product design students, new graduates of these departments, and furniture manufacturers in the sector. As a faculty member, I hope that the number of such books will rapidly increase. I owe my thanks to everyone who contributed to the preparation of this beautiful book.\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWHO IS PROF. DR. GENCO BERKIN?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBorn in Niğde in 1971, Genco Berkin completed his secondary education at Kadıköy Anatolian High School in 1990. Genco Berkin, who studied architecture at Brighton (England) and European University of Lefke (TRNC), began his academic career as a research assistant in 1995 after receiving an offer from his alma mater.\u003c\/p\u003e\n\u003cp\u003eIn 1998, he completed his master's degree with his thesis \"Architectural Utopias\" in the field of Architectural History at Eastern Mediterranean University. In 2006, he earned his Ph.D. with his work at Mimar Sinan University, Faculty of Architecture, Department of Building Physics and Materials; in 2015, he became an associate professor; in 2020, he became a professor at Fatih Sultan Mehmet Vakıf University, Faculty of Architecture and Design.\u003c\/p\u003e\n\u003cp\u003eGenco Berkin, who teaches architecture and interior architecture courses at various universities, has conducted research and development studies on \"ecological glass in architecture\" and developed ideas on \"improving project-design courses.\" Berkin, who particularly focuses on combining ergonomics and technology in furniture designs, has also produced numerous works on this subject. Prof. Dr. Genco Berkin currently serves as the Dean of the Faculty of Art and Design at Istanbul Nişantaşı University.\u003c\/p\u003e\n\u003cp\u003eBooks by Genco Berkin published by YEM Yayın:\u003c\/p\u003e\n\u003cul\u003e\n\n\u003cli\u003e\u003cem\u003eMaterial and Detail in Furniture Design\u003c\/em\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cem\u003eMaterial and Detail in Interior Architecture\u003c\/em\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cem\u003eMaterial and Detail in Architecture\u003c\/em\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cem\u003eIn the Footsteps of Wood: A Dictionary of Forest Products in Design\u003c\/em\u003e\u003c\/li\u003e\n\n\u003cli\u003e\u003cem\u003eModulor and Le Corbusier's Cabin\u003c\/em\u003e\u003c\/li\u003e\n\n\u003cli\u003e\n\u003cem\u003eFrom Square to Plan: Module and Architecture\u003c\/em\u003e (with Yusuf Civelek)\u003c\/li\u003e\n\n\n\u003c\/ul\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370208997619,"sku":"9786257008600","price":420.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/MOBILYA_TASARIMINDA_MALZEME_DETAY_KAPAK.jpg?v=1667892368"},{"product_id":"gorsel-tipografi-sozlugu","title":"Visual Typography Dictionary","description":"\u003cspan\u003eThis book is a guide that includes many of the most frequently used terms in typography. 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It aims to assist architecture, interior architecture, and industrial design students, as well as artists, in visualizing shapes in three dimensions and developing their visual intelligence.\u003c\/p\u003e\n\n\u003cp\u003eFehmi Kızıl speaks about this meticulous work, which complements his books \"Technical Drawing in Architecture\" and \"Artistic Perspective,\" essential references in Turkish architectural and design education:\u003cbr\u003e\n\"In this book, prior to starting the orthographic projection exercises, information has been provided to facilitate the comprehension of the exercise questions. This includes explanations of orthographic projection and its epure representation, how to read orthographic projections, the graphic representation of tangent surfaces where no intersection occurs in orthographic projection, rules applied in three-dimensional graphic representation (perspective), the meaning of line types used in orthographic projection drawings, special position planes, and the three basic projections.\u003cbr\u003e\nIn three-dimensional perspective drawings made with parallel projection, even though a reduction ratio is applied to edges parallel to axes other than those at a 90° angle, no reduction ratio was applied to edges parallel to the axes in the perspectives provided in the exercises in this book – this is to facilitate an easier relationship between the object's perspective and its orthographic projection.\u003cbr\u003e\nIn the perspective drawing of objects that do not have edges parallel to the front view direction, the lines parallel to the axes used in creating the perspective are shown with dotted lines; this ensures easier comprehension of the axis parallel to the front view direction and the object's position relative to the front view direction, thereby preventing errors in determining the object's orthographic projections.\u003cbr\u003e\nThe orthographic projection exercise questions are organized into four stages, progressing from easy to difficult. In the first, second, and third stages of the exercise questions, information to assist in answering the questions has been provided. In the supplementary information, 154 objects are given as examples, and 261 objects are used in the exercise questions.\u003cbr\u003e\nThe objects used in the orthographic projection exercises are shapes formed by plane, cylinder, cone, and sphere surfaces, which are easy to understand. The orthographic projection exercise questions are arranged from easily comprehensible shapes to more complex ones.\u003cbr\u003e\nIn the first and second stages of the exercises, questions are included that do not require mental visualization of the object. Instead, by providing the object's three-dimensional graphic representation (perspective) and its front view direction, these questions aim to help in understanding the object's specially positioned planes and identifying its three basic projections (views) from among options.\u003cbr\u003e\nIn the third stage of the exercises, to develop the skill of mentally visualizing the object, participants are asked to correctly select the missing projection from options, given one or two basic projections (views) of the object.\u003cbr\u003e\nIn the fourth stage of the exercises, to develop the skill of mentally visualizing the object, questions are included that require identifying incorrect lines or lines in the object's three basic projections (views).\u003cbr\u003e\nThe solutions to the exercise questions are provided with explanations in the 'Solutions' section.\"\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206114035,"sku":"9786257008952","price":315.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/ESLENIKDIKIZDUSUM_KAPAK.jpg?v=1736431511"},{"product_id":"endustriyel-tasarimda-malzeme-ve-detay-genco-berkin","title":"Material and Detail in Industrial Design","description":"\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eGenco Berkin’s new book, Materials and Details in Industrial Design, prepared for designers and practitioners new to the profession, especially industrial design and interior architecture students, has been published by YEM Yayın.\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eMaterials and Details in Industrial Design, prepared for industrial design, interior architecture, and architecture students, as well as product designers and practitioners new to the profession, brings together 40 different product designs, design approaches, characteristics and processing of raw materials, issues designers should consider in material selection, and detail analyses for industrial product design, presented with original drawings.\u003c\/p\u003e\n\n\u003cp\u003eDespite the thousands, even millions, of products that can fall under industrial design, to open a thoughtful window for designers new to the profession, the topics are covered under the sections \u003cstrong\u003eEVERYDAY ITEMS, HOUSEHOLD ITEMS, SPORTS EQUIPMENT, VEHICLES, DEFENSE INDUSTRY, and ADDITIONS\u003c\/strong\u003e; ranging from forks, spoons, and knives to jewelry, shoes to thermoses, chandeliers to irons, bicycles to tennis rackets, Audis to Harley-Davidsons, airplane seats to UAVs, thus covering a very broad perspective. \u003c\/p\u003e\n\n\u003cp\u003eProf.Dr. Genco Berkin summarizes the rationale and content of the book as follows: “This book has been written for Industrial Design Department students and recent graduates. Although the topics covered in the book belong to a specific sector, due to the common areas of contemporary professions in both production and consumption, the content of the book partly concerns interior architects and even, to a considerable extent, architects. Historically, the professional fields of architecture, interior architecture, and industrial design have never been as close as they are today. The primary factor enabling this is standardization in production. All the tools and equipment mentioned in the \"Household Items\" section, which is one of the chapters in this book, are actually systems that can be integrated into buildings. Moreover, for thousands of years, there has been a transfer of knowledge from the industrial sector to architecture... The book consists of five main sections; each section contains eight current topics. In some topics, you will see that products traditionally made have also been manufactured using modern materials and production techniques as alternatives... This work serves as a guide for today's design world and also acts as a kind of record book bequeathed to the future. I believe that the book will be a fundamental resource for industrial design students in reinforcing their professional knowledge.”\u003cbr\u003e\nProf.Dr. Önder Küçükerman says the following in the Foreword of the book: “With this book, in which it is pointed out that ‘every product originates from a very special design culture and has separate application areas,’ Genco Berkin reveals that very interesting and realistic design lessons are hidden behind all the products around us, telling designers to act in accordance with these realities and to approach problems from the material-detail axis; he states that for industrial design, planning and production processes ‘should be resolved not only with general rules, but by delving into the root of multifaceted real problems’...”\u003c\/p\u003e\n\n\u003cp\u003eIn Materials and Details in Industrial Design, all data (such as ergonomics, materials, functionality, chemical knowledge, etc. necessary for designing a product) is presented in a simple and easily understandable manner through carefully prepared drawings, with the aim of providing young designers, in particular, with complete equipment to support the product design process from a detail and material perspective.\u003c\/p\u003e\n\n\u003cp\u003eThe book, along with Architecture in Materials and Details and Interior Architecture in Materials and Details, Furniture Design in Materials and Details, Stainless Steel and Glass in Interior Architecture (co-authored with Gökhan Mermi), all previously prepared by Genco Berkin and considered fundamental reference sources, forms YEM Yayın’s “Material and Detail Series.”\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eWHO IS GENCO BERKIN?\u003c\/strong\u003e\u003cbr\u003e\nBorn in Niğde in 1971, Genco Berkin completed his secondary education at Kadıköy Anatolian High School in 1990. Genco Berkin, who studied architecture at Brighton (England) and European University of Lefke (TRNC), started his academic career as a research assistant in 1995 upon an offer from the university he graduated from. \u003cbr\u003e\nIn 1998, he completed his master's degree at Eastern Mediterranean University with his thesis “Architectural Utopias” in the field of Architectural History. In 2006, he earned his doctorate (Ph.D.) with his studies at the Building Physics and Materials Department of Mimar Sinan Fine Arts University, Faculty of Architecture; in 2015, he became an associate professor; and in 2020, he became a professor at Fatih Sultan Mehmet Vakıf University, Faculty of Architecture and Design. \u003cbr\u003e\nGenco Berkin, who teaches architecture and interior architecture at various universities, has conducted research and development studies on “ecological glass in architecture” and developed ideas on “improving project-design courses.” Berkin, especially considering combining ergonomics and technology in furniture designs, has also produced many works in this field. \u003cbr\u003e\nProf.Dr. Genco Berkin is currently a faculty member at Istanbul Nişantaşı University, Faculty of Art and Design.\u003cbr\u003e\nGenco Berkin's books published by YEM Yayın:\u003cbr\u003e\n• Materials and Details in Architecture\u003cbr\u003e\n• Materials and Details in Interior Architecture\u003cbr\u003e\n• Materials and Details in Furniture Design\u003cbr\u003e\n• Stainless Steel and Glass in Interior Architecture (co-authored with Gökhan Mermi)\u003cbr\u003e\n• In the Footsteps of Wood: A Glossary of Forest Products in Design\u003cbr\u003e\n• Modulor and Le Corbusier’s Cabin\u003cbr\u003e\n• Module and Architecture from Square to Plan (co-authored with Yusuf Civelek)\u003cbr\u003e\n• Materials and Details in Industrial Design\u003c\/p\u003e\n","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206867699,"sku":"9786259710204","price":350.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/ENDUSTRIYEL_TASARIMDA_MALZEME_DETAY_KAPAK.jpg?v=1744733796"},{"product_id":"cagdas-fuar-stant-tasarimlari","title":"Contemporary Fair Stand Designs","description":"\u003cp\u003eSon on iki yılda, Baba Mimarlık tarafından dünyanın ve Türkiye’nin önemli fuarları için hazırlanan AGT stantlarını, teşhirlerin tasarım hikâyelerini, üretim teknolojileri ve süreçlerine ilişkin deneyimi bir araya getiren “Çağdaş Fuar Stant Tasarımları \/ Contemporary Fair Stand Designs” adlı kitap YEM Yayın tarafından yayımlandı.\u003c\/p\u003e\n\u003cp\u003eAGT Ağaç San. Tic. A.Ş.’nin değerli katkılarıyla Türkçe ve İngilizce olarak yayınlanan, Mehmet Baba tarafından kaleme alınan kitap Esma Curavcı tarafından yayıma hazırlandı.\u003c\/p\u003e\n\u003cp\u003eMUSTAFA HULUSİ SÖYLEMEZ: “... Arkadaşlarım bu kitap fikrini önerdiklerinde içten bir mutluluk duydum. AGT olarak çalışma hayatım boyunca biriktirdiğimiz tecrübeleri, bugünün genç tasarımcılarına ve ürünlerini dünyaya tanıtmak isteyen girişimcilere aktarabilme fikri benim için çok değerli. Elinizdeki kitabı okurken sadece ürünlerimizi değil, fuarlara ve AGT olarak emeğe bakış açımızı da bulacaksınız. Bu kitap, bizler için yalnızca geçmişin bir özeti değil, aynı zamanda geleceğe de küçük bir katkı sunabilme çabasını temsil etmektedir. Kitabın sayfaları arasında dolaşırken sizlere biraz olsun ilham verebilirsek, ne mutlu bize...”\u003c\/p\u003e\n\u003cp\u003eMEHMET BABA: “Stant tasarımlarında öncelikli olarak, fuar ziyaretçilerinin akıcı ve güvenli bir dolaşımının olması, ürünlerin en etkili biçimde sergilenmesi ve görüşme alanlarının işlevselliği esas alınmaktadır. Fuar standı tasarımında ölçek ve işlevselliğin yanı sıra malzeme ve detay çözümleri de büyük önem taşımaktadır. Sergi yerleri, geçici bir mimari üretim olmasına rağmen, markaların pazarlama stratejilerinin ayrılmaz bir parçasıdır. Bu nedenle her stant yalnızca bir teşhir alanı olarak değil, aynı zamanda bir mekânsal deneyim ve markayı yansıtan bir mimari kurgu olarak ele alınmıştır. Ziyaretçi dolaşımı, işlevsellik, modüler sergileme sistemleri, akustik düzenlemeler, aydınlatma teknikleri ve mekânsal algıyı yönlendiren tasarım kararları bu süreçte temel ölçüt olarak ele alınmıştır. Açık ve yarı kapalı plan çözümleri, merkezi çekirdek sistemleri, ürün odaklı teşhir düzenleri ve değiştirilebilir görüşme alanları ile her stant, fuar alanındaki konumuna, ziyaretçi hareketlerine ve tercihlerine göre düşünülmüştür... Stant tasarımlarında, ürün teşhirini yalnızca bir sergileme nesnesi değil, mekânsal bir bileşen olarak ele alan bütünsel yaklaşım, her projeye özgü bir kavram veya tema üretilmesini mümkün kılmıştır...”\u003cbr\u003e \u003cbr\u003eLEVENT ERDEN: “Stant işi çoklu kültür, çoklu yetenek, çoklu disiplin ve bunların optimum uyumda işlemesini sağlayacak orkestrasyon gerektirir. Pazarlamadan malzemeye, ürünlerden markaya, hedef müşteriden kullanım alanlarına kadar her konuyu kapsayan uzmanlık ve ustalık ister. Stant, ayakları üzerinde dik durmak, dayanabilmek anlamlarını taşır. Yani stant, markanın ayakta kalıp koşmasının önemli bir taşıyıcısıdır. Alt tarafı stant ama üst tarafı bilgi, birikim, deneyim, sürekli merak, araştırma, geliştirme, arama, deneme, sorgulama ve sürekli ileri doğru yenilenme gerektirir. Baba Mimarlık bu kitapta, stant üzerinden bir mimari tasarım sürecinin çok ötesinde, bir markanın rekabet ve başarı yolculuğunda, çoklu işbirliğinin getirdiği mükemmeliyeti anlatıyor.”\u003cbr\u003e \u003cbr\u003eMEHMET BABA KİMDİR?\u003cbr\u003eAntalya, Alanya’da dünyaya gelen Mehmet Baba, ilk ve orta öğrenimini Alanya’da, lise öğrenimini ise Ankara Özel Arı Fen Lisesi’nde tamamlamıştır. Mimarlık eğitimini Yıldız Teknik Üniversitesi Mimarlık Fakültesi’nde alan Baba, üniversite hayatının hemen ardından kendi ofisini açarak serbest mimarlık hayatına başlamıştır. Prof.Dr. Ece Ceylan Baba ile Baba Mimarlık’ı kuran Mehmet Baba, meslekte geçirdiği 22 yılda yurt içinde ve dışında birçok mimari ve iç mimari projeyi hayata geçirmiş; halihazırda Baba Mimarlık kurucu ortağı olarak mesleki çalışmalarını sürdürmektedir. Baba Mimarlık’ta gerçekleştirmekte olduğu projelerde özellikle ticari mekânlar üzerine yoğunlaşan Mehmet Baba, birçok şirket ve kuruluşa bu konuda danışmanlık hizmetleri de vermektedir.\u003c\/p\u003e\n\u003cp\u003e--------------------------------------------------------------------------------------------\u003c\/p\u003e\n\u003cp\u003eThe book titled “Çağdaş Fuar Stant Tasarımları \/ Contemporary Fair Stand Designs”, which brings together AGT stands prepared by Baba Architecture for important fairs in the world and Turkey in the last twelve years, the design stories of the exhibitions, and the experience regarding production technologies and processes, was published by YEM Publishing.\u003c\/p\u003e\n\u003cp\u003eThe book, which was published in Turkish and English with the valuable contributions of AGT Ağaç San. Tic. A.Ş. and written by Mehmet Baba, was prepared for publication by Esma Curavcı.\u003c\/p\u003e\n\u003cp\u003eMUSTAFA HULUSİ SÖYLEMEZ: “... I have had a sincere happiness when my colleagues proposed the concept of this book. The idea of transferring our experience through our lives as AGT, to young designers of today and entrepreneurs who are willing to promote their products to the world is precious to me. While you are reading the book that you hold now you will not only find out our products but also our point of view to labour and effort, and to fairgrounds as AGT. This book is not merely a resume of the past; it represents an attempt to offer a small contribution to the future. We would be happy, if we gave you an inspiration as you wander along the pages...”\u003c\/p\u003e\n\u003cp\u003eMEHMET BABA: “In stand design, the priority is on having a safe and fluid circulation for fair visitors, showcasing products in the most effective way, and ensuring the functionality of meeting areas. Besides scale and functionality of fair stand design, material selection and detailing play a significant role. Although temporary in nature, exhibition spaces are indispensable fragment of brands’ marketing strategies. That’s why every stand has been considered not only as a display area but also as an architectural scenario and editing of a spatial experience and reflecting the brand. Visitor circulation, functionality, modular systems of display, acoustic arrangements, lighting techniques, and design decisions that orient spatial perception have been studied as fundamental criteria throughout the process. Every stand with its open and semi-closed plan solutions, central core systems, product-oriented display arrangements, and flexible movement patterns and location in the fair area, has been carefully designed... The holistic approach in those stand designs, where product display has been treated not just as a show front but as an integral spatial component, enabled the development of a unique concept or a theme for each project...”\u003c\/p\u003e\n\u003cp\u003eLEVENT ERDEN: “Stand design and implication requires an organization which will provide an integrated environment for cultural diversity, design and presentation skills, inter-disciplinarity. It needs an expertise on various subjects from marketing to materials, from products to the brand, and from target customer groups to function areas. The stand means to raise on its feet, to resist. Namely, the stand is one of the significant representatives of the brand by means of sustainability and by withstanding. It is only a stand but a lot more requirement of knowledge, accumulation, experience, continuous curiosity, research, development, quest, trial, questioning, and sustainable renewal. Baba Architecture talks about the adventure of multi-collaborative perfection in a brand’s competition and success journey, via stands far more beyond architectural design in this book.”\u003c\/p\u003e\n\u003cp\u003eABOUT MEHMET BABA\u003cbr\u003eBorn in Alanya, Antalya, Mehmet Baba completed his primary and secondary education in Alanya and his high school education at Ankara Arı Private Science High School. Baba, who received his architectural education at Yıldız Technical University Faculty of Architecture, started his freelance architecture career by opening his own office right after his university education. Mehmet Baba, who founded Baba Architecture with Prof.Dr. Ece Ceylan Baba, has implemented many architectural and interior architecture projects in Turkey and abroad in the 22 years he has spent in the profession; he currently continues his professional work as the founding partner of Baba Architecture. Mehmet Baba, who focuses especially on commercial spaces in the projects he carries out at Baba Architecture, also provides consultancy services to many companies and organizations in this regard.\u003cbr\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370206605555,"sku":"9786259710273","price":630.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/YEM_STANT_TASARIMI_KAPAK.jpg?v=1751307026"},{"product_id":"seramik-ve-cini-terimleri-sozlugu","title":"Glossary of Ceramic and Tile Terms","description":"\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eThe book titled \"Dictionary of Ceramic and Tile Terms\", prepared by Cahit Yılmaz to contribute to a healthier definition of Turkish tile and ceramic art, was published by YEM Yayın.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eThe book offers a broad perspective ranging from tile and ceramic production materials, tools, techniques, and methods to motif and color usage; from historical production centers to regional characteristic details; and from famous tile masters to styles. Enriched by including terms from ceramics, pottery, archaeology, and architecture, in addition to tiles, the book provides information that goes beyond a mere dictionary, with original examples of the concepts explained accompanied by numerous color photographs and drawings. Thus, a very rich collection of works, many of which are in private collections and presented for the first time in this book, is shared with the reader.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eCahit Yılmaz, who says, \"Tile art is perhaps the most magnificent of all decorative arts,\" explains his reason for preparing such a work as follows:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003e\"A significant problem noted in research and publications on tile art is that tile terminology is not sufficiently systematic and lacks coherence. We see that the same concepts are used differently by different authors. The definitions, scopes, similarities, or differences between terms have not been clearly established. Especially the word 'çini' (tile) has been expressed with different terms in different geographies. While this art form was called 'kaşi' in Iran, Turkestan, and Anatolia, the word 'çini', which later entered Turkish, became widespread and established. Although it is not possible to go back, thinking about the origin and use of this word is an important part of the terminology discussion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eWe can say that a similar confusion exists in Western languages. The French called this concept 'céramique', the English 'ceramic' or 'tiles', and the Germans 'keramik'. Researchers in Turkey directly adopted these terms according to their own schools, often using the words 'çini', 'seramik', and 'keramik' interchangeably. However, there are significant differences in meaning between these terms. Based on these observations, I realized that terminology is of great importance in the writing, narration, and learning processes related to tile art. Terminology is the alphabet of art; it is impossible to read or write without knowing the alphabet…\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eDuring my 25 years of service in Kütahya, I developed an interest in tile art and had the opportunity to learn this art firsthand from its masters. With both theoretical and practical knowledge, I started producing tiles; I held three personal exhibitions, wrote seventeen articles, and prepared three books that are in the printing stage. For approximately 40 years, I have directly experienced Kütahya tile art... My goal is to provide a solid reference source for those who want to learn, teach, and research this ancient art. I hope that this work will inspire the writing of more comprehensive and qualified works...\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eWHO IS DR. CAHİT YILMAZ?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eHe was born in 1950 in Arhavi, Artvin. Married with one child, Cahit Yılmaz graduated from medical school in 1976; in 1980, he received the title of ophthalmologist. He served as an ophthalmologist in Kütahya, where he was appointed in 1983, for 25 years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eIn Kütahya, considered the capital of tile art, he developed a great interest and sympathy for this ancient art. He had the opportunity to learn all the stages and intricacies of tile making, both theoretically and practically. With the meticulousness of an eye surgeon, he began to produce his own tile works by etching his motifs and compositions underglaze.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eProving the adage \"everything comes out of medicine, sometimes even doctors,\" he held three personal exhibitions in Kütahya, Bursa, and Ankara to share his works in the field of tile art. For 25 years, he collected comprehensive information about the history of Kütahya tile art by directly contacting local artists. As a result of these researches, he wrote 17 articles on the history of Kütahya tile art and created a valuable archive. He has directly witnessed the Kütahya tile art of the last 40 years and continues his efforts without interruption to transfer the information he has compiled during this process to future generations by publishing it in various books, aiming to preserve our cultural and artistic heritage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"EN-US\"\u003eCahit Yılmaz, who has two books, \"Hafız Mehmet Emin Efendi, The Great Master of Turkish Tiles\" (Dergâh Yayınları, 2024) and \"Dictionary of Ceramic and Tile Terms\" (YEM Yayın, 2025); the publication preparations for his books titled \"Architectural Structures with Tile Decorations in Ankara\", \"Piers with Tile Decorations in Istanbul\", \"Motifs Used in Turkish Tile Decoration\", \"Turkish Tile Production Centers\", \"Istanbul, The World of Piers\", \"History of Kütahya Tile and Ceramics\" are also being carried out by YEM Yayın.\u003c\/span\u003e\u003c\/p\u003e","brand":"YEM Yayın","offers":[{"title":"Default Title","offer_id":48370210078963,"sku":"9786259710280","price":490.0,"currency_code":"TRY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/files\/SERAMIKVECINITERIMLERISOZLUGU_KAPAK.jpg?v=1751362412"}],"url":"https:\/\/yemkitabevi.com\/en-us\/collections\/endustri-urunleri-tasarimi\/basimtarihi_mart-2026.oembed","provider":"YEM Kitabevi","version":"1.0","type":"link"}