A tese Difusão e Construção do Design no Brasil: o papel do MASP foi construído sobre as bases lançadas pela pesquisadora em sua dissertação de mestrado Do Desenho Industrial ao Design - Uma Bibliografia Crítica para a Disciplina. Como a pesquisa anterior, de caráter antológico, o presente texto contém um amplo levantamento das atividades expositivas dedicadas à discussão do design realizadas no Museu de Arte de São Paulo (MASP) entre os anos 1947 e 1989, anos da gestão de Pietro Maria Bardi. Vistas, enquanto conjunto, essas atividades oferecem um panorama geral das diversas questões propostas pelo Museu e sua contribuição para o debate da disciplina durante o período de consolidação do design no Brasil. Se, por um lado, as duas pesquisas têm objetivo semelhante - a reunião de fontes importantes sobre o debate do design no País - por outro, diferem no modo de organização. Em lugar de uma divisão cronológica, adotou-se aqui a divisão temática para a apresentação das exposições realizadas pelo Museu e, como resultado, são apresentados sete ensaios precedidos por uma breve introdução contextual. Essa escolha se dá na medida em que muitos dos temas são recorrentes ao longo de toda a atividade de Pietro Maria Bardi como conservador-chefe do Museu, ao lado de Lina Bo Bardi. Assim, tais ensaios, longe de limitarem-se à apresentação das exposições, têm como objetivo enunciar os principais temas propostos pelo Museu entre as décadas de 1950 e 1980 e contextualizá-los dentro do panorama da historiografi a do design brasileiro. Ao anexo desta pesquisa, caberá o papel de apresentar brevemente a totalidade das exposições, bem como seus objetivos e as fontes localizadas no Centro de Documentação do Museu; tornando-se instrumento para futuras pesquisas àqueles interessados na análise e crítica da produção cultural para o design no Brasil. Deste amplo panorama, o destaque e análise dos principais temas recorrentes no discurso das exposições constitui uma metodologia original para a consolidação da historiografi a da disciplina, ao demonstrar a importância do discurso das exposições como refl exo relevante do pensamento de uma época. E é justamente a análise deste discurso realizada ao longo dos ensaios propostos, que permitirá o enriquecimento do panorama da área por meio do resgate de uma visão original do Museu para o design, ao contrário de grande parte das refl exões presentes no debate da disciplina durante a segunda metade do século XX, cuja bandeira foi a construção de fronteiras claras a outros campos do conhecimento e, particularmente, à arte, como forma de afi rmação. Nestes termos, o Museu, desde sua fundação, ao adotar uma visão ampliada do campo da arte - arte como consequência do meio - compreenderá, sem distinções, o design também como manifestação artística. E por esta afi rmação, o design é elemento importante da cultura como um todo, condição necessária para confi guração do ambiente cotidiano e refl exo da multifacetada complexidade, desejos e atitudes de uma sociedade. Considerada esta posição, é possível afi rmar que o MASP anteciparia, desde a sua fundação e ao longo de suas atividades, uma visão não só contemporânea do design, mas avessa a discursos restritivos, na qual design é resposta às exigências da modernidade, que, por sua vez, estão condicionadas às relativas noções de espaço e tempo, determinantes para a complexidade da disciplina. Esta leitura proporcionará, portanto, uma contribuição valiosa, um balanço do importante papel do Museu para a difusão e construção do design no Brasil e oferecerá, assim, uma base oportuna à teoria e prática do design na atualidade. / The thesis DIFFUSION AND CONSTRUCTION OF DESIGN IN BRAZIL: THE ROLE OF MASP was built on the foundations laid by the researcher in her Masters dissertation FROM INDUSTRIAL DESIGN TO DESIGN - A CRITICAL BIBLIOGRAPHY FOR THE DISCIPLINE. As the previous research, of an anthological character, the present text contains a comprehensive survey of the exhibiting activities dedicated to the discussion of design held at the São Paulo Museum of Art (MASP) between the years 1947 and 1989, under the management of Pietro Maria Bardi. Viewed as a whole, these activities provide an overview of the various issues proposed by the Museum and its contribution to the debate of the discipline during the consolidation period of design in Brazil. If, on the one hand, the two researches have similar goals - the gathering of major sources of debate about design in the country - on the other, they differ in the mode of organization. Instead of a chronological division, we have adopted here, the thematic division for the presentation of exhibits held by the Museum, and, as a result, seven essays are presented preceded by a brief contextual introduction. This choice was made because many of the themes recur throughout the activity of Pietro Maria Bardi as chief conservator of the museum, together with Lina Bo Bardi. So these essays, far from being confi ned to a presentation of exhibits, aim to outline the main themes proposed by the museum between the 1950s and 1980s, and contextualize them within the panorama of the historiography of Brazilian design. The attachment in this research plays the role of briefl y presenting all of the exhibitions, as well as their goals and the sources located in the Documentation Center of the Museum; becoming a tool for those interested in further research and critical analysis of the cultural production for design in Brazil. From this broad panorama, highlighting and analyzing the main recurring themes in the discourse of the exhibits constitutes an original methodology for consolidating the historiography of the discipline, by demonstrating the importance of the discourse as a relevant refl ection of the thought of an epoch. And it is precisely this discourse analysis, performed over the proposed essays, that will enrich the panorama of the area through the rescue of an original vision of the Museum towards design, unlike most of the refl ections present in the debate of the discipline during the second half of the twentieth century, whose motto was to build clear boundaries towards other fields of knowledge, and particularly towards art, as way of assertion. Accordingly, the Museum, since its foundation, by adopting a broader view of the fi eld of art - art as consequence of the social sphere - has included, without distinction, design also as artistic manifestation. And by this statement, design has been an important element of culture as a whole, a necessary condition for setting the daily environment and refl ecting the multifaceted complexity, desires and attitudes of a society. Considering this position, it is possible to state that MASP has anticipated, since its founding and over its activities, not only a contemporary view of design, but also averse to restrictive speeches, in which design is a response to the demands of modernity, which, in turn, are conditioned to the relative notions of space and time, determinants for the complexity of the discipline. This reading will provide, therefore, a valuable contribution, an overview of the important role the Museum has played towards the diffusion and construction of design in Brazil, and will offer, thus, a timely basis for the theory and practice of design today.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-03-17T11:56:13Z No. of bitstreams: 1 Eduardo Eiji Ono.pdf: 2983486 bytes, checksum: 555fd173b51e9b918419662dff14295d (MD5) / Made available in DSpace on 2017-03-17T11:56:13Z (GMT). No. of bitstreams: 1 Eduardo Eiji Ono.pdf: 2983486 bytes, checksum: 555fd173b51e9b918419662dff14295d (MD5) Previous issue date: 2017-03-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study aims to elaborate a comparison between the applications of graphical, management and computational design in Brazil and the US. Because the digital revolution, technology companies primarily in Silicon Valley, USA began to implement new design applications not only in the graphics area, but also in technology and business management and changed the concept of building physical products. However in Brazil, the situation is more precarious because the design application is still limited to the use of graphic software due to several factors such as the lack of design students, deficient academic education and the low usage of the design in business. This research wants to collaborate with an updated view of design in Brazil using international methods and concepts / Este estudo pretende elaborar um comparativo entre as aplicações do design gráfico, de gestão e computacional no Brasil e nos EUA. Com a Revolução Digital, empresas de tecnologia principalmente no Vale do Silício, EUA, começaram a implantar novos métodos de aplicação do design não somente na área gráfica, mas também em tecnologia e na gestão de negócios e ajudaram a mudar o conceito até então vinculado com o projeto de produtos físicos. Porém no Brasil, a situação é precária, pois a aplicação do design ainda encontra-se limitada ao uso de softwares gráficos devido a diversos fatores como a pouca quantidade de formandos, a formação acadêmica deficiente e ao baixo aproveitamento do designer no mercado. Esta pesquisa quer colaborar com uma visão mais atualizada do design no Brasil utilizando métodos e conceitos consolidados em empresas internacionais de tecnologia

[pt] O interior à margem: o papel do gênero no processo de profissionalização do Design de Interiores analisa o processo de reformulação da Decoração, atividade originalmente doméstica, amadora e, crucialmente, feminina na nova disciplina e profissão conhecida atualmente como Design de Interiores. Este processo, ocorrido entre as útimas décadas do século XIX e as primeiras do século XX, foi resultado da incorporação de inovações técnicas e valores do Modernismo na Arquitetura e no Design. Foi também influenciado diretamente por outros aspectos da modernidade, como a distinção entre as esferas pública e privada, a urbanização acelerada, a produção em série e a revolução dos hábitos de consumo. Crucialmente, este processo foi marcado ainda por estratégias de legitimação do status profissional da atividade que tiveram como cerne a discriminação de gênero. Partindo da constatação que a maioria das publicações sobre o tema pesquisadas baseavam a História do Design de Interiores exclusivamente nos seus pontos de contato com a Arquitetura e na obra de consagrados arquitetos modernos, este trabalho busca analisar e evidenciar a contribuição determinante de mulheres à este processo. Em busca de uma abordagem feminista e feminina da História do Design de Interiores é destacada a importância da contribuição de mulheres desde lugares não profissionais de produção, assim como são apresentadas trajetórias de profissionais que obtiveram êxito na área apesar da oposição oferecida pelos estereótipos de gênero. / [en] The interior at the margin: the role of gender in the process of professionalizing Interior Design analyzes the process where Decoration, an activity originally domestic, amateur and, crucially, feminine was transformed in a new discipline and profession known today as Interior Design. This process, which occurred between the last decades of the 19th century and the first decades of the 20th century, was a result of the incorporation of technical innovations and values of Modernism in Architecture and Design. It was also directly influenced by other aspects of modernity, such as the distinction between the public and private spheres, urbanization, mass production, and emerging consumer habits. Crucially, this process was also marked by strategies to legitimize the professional status of the activity that had gender discrimination as its core. Based on the observation that the (relatively few) existing publications on the subject based a History of Interior Design exclusively in its points of contact with Architecture and in iconic modern male architects, this research analyzes and emphasizes the contribution of women to this process. In search of a feminist and feminine approach to the History of Interior Design, the importance of the contribution of women from non-professional places of production is highlighted, as well as the trajectories of professionals who have succeeded in the area despite the opposition offered by gender stereotypes.

A tese Difusão e Construção do Design no Brasil: o papel do MASP foi construído sobre as bases lançadas pela pesquisadora em sua dissertação de mestrado Do Desenho Industrial ao Design - Uma Bibliografia Crítica para a Disciplina. Como a pesquisa anterior, de caráter antológico, o presente texto contém um amplo levantamento das atividades expositivas dedicadas à discussão do design realizadas no Museu de Arte de São Paulo (MASP) entre os anos 1947 e 1989, anos da gestão de Pietro Maria Bardi. Vistas, enquanto conjunto, essas atividades oferecem um panorama geral das diversas questões propostas pelo Museu e sua contribuição para o debate da disciplina durante o período de consolidação do design no Brasil. Se, por um lado, as duas pesquisas têm objetivo semelhante - a reunião de fontes importantes sobre o debate do design no País - por outro, diferem no modo de organização. Em lugar de uma divisão cronológica, adotou-se aqui a divisão temática para a apresentação das exposições realizadas pelo Museu e, como resultado, são apresentados sete ensaios precedidos por uma breve introdução contextual. Essa escolha se dá na medida em que muitos dos temas são recorrentes ao longo de toda a atividade de Pietro Maria Bardi como conservador-chefe do Museu, ao lado de Lina Bo Bardi. Assim, tais ensaios, longe de limitarem-se à apresentação das exposições, têm como objetivo enunciar os principais temas propostos pelo Museu entre as décadas de 1950 e 1980 e contextualizá-los dentro do panorama da historiografi a do design brasileiro. Ao anexo desta pesquisa, caberá o papel de apresentar brevemente a totalidade das exposições, bem como seus objetivos e as fontes localizadas no Centro de Documentação do Museu; tornando-se instrumento para futuras pesquisas àqueles interessados na análise e crítica da produção cultural para o design no Brasil. Deste amplo panorama, o destaque e análise dos principais temas recorrentes no discurso das exposições constitui uma metodologia original para a consolidação da historiografi a da disciplina, ao demonstrar a importância do discurso das exposições como refl exo relevante do pensamento de uma época. E é justamente a análise deste discurso realizada ao longo dos ensaios propostos, que permitirá o enriquecimento do panorama da área por meio do resgate de uma visão original do Museu para o design, ao contrário de grande parte das refl exões presentes no debate da disciplina durante a segunda metade do século XX, cuja bandeira foi a construção de fronteiras claras a outros campos do conhecimento e, particularmente, à arte, como forma de afi rmação. Nestes termos, o Museu, desde sua fundação, ao adotar uma visão ampliada do campo da arte - arte como consequência do meio - compreenderá, sem distinções, o design também como manifestação artística. E por esta afi rmação, o design é elemento importante da cultura como um todo, condição necessária para confi guração do ambiente cotidiano e refl exo da multifacetada complexidade, desejos e atitudes de uma sociedade. Considerada esta posição, é possível afi rmar que o MASP anteciparia, desde a sua fundação e ao longo de suas atividades, uma visão não só contemporânea do design, mas avessa a discursos restritivos, na qual design é resposta às exigências da modernidade, que, por sua vez, estão condicionadas às relativas noções de espaço e tempo, determinantes para a complexidade da disciplina. Esta leitura proporcionará, portanto, uma contribuição valiosa, um balanço do importante papel do Museu para a difusão e construção do design no Brasil e oferecerá, assim, uma base oportuna à teoria e prática do design na atualidade. / The thesis DIFFUSION AND CONSTRUCTION OF DESIGN IN BRAZIL: THE ROLE OF MASP was built on the foundations laid by the researcher in her Masters dissertation FROM INDUSTRIAL DESIGN TO DESIGN - A CRITICAL BIBLIOGRAPHY FOR THE DISCIPLINE. As the previous research, of an anthological character, the present text contains a comprehensive survey of the exhibiting activities dedicated to the discussion of design held at the São Paulo Museum of Art (MASP) between the years 1947 and 1989, under the management of Pietro Maria Bardi. Viewed as a whole, these activities provide an overview of the various issues proposed by the Museum and its contribution to the debate of the discipline during the consolidation period of design in Brazil. If, on the one hand, the two researches have similar goals - the gathering of major sources of debate about design in the country - on the other, they differ in the mode of organization. Instead of a chronological division, we have adopted here, the thematic division for the presentation of exhibits held by the Museum, and, as a result, seven essays are presented preceded by a brief contextual introduction. This choice was made because many of the themes recur throughout the activity of Pietro Maria Bardi as chief conservator of the museum, together with Lina Bo Bardi. So these essays, far from being confi ned to a presentation of exhibits, aim to outline the main themes proposed by the museum between the 1950s and 1980s, and contextualize them within the panorama of the historiography of Brazilian design. The attachment in this research plays the role of briefl y presenting all of the exhibitions, as well as their goals and the sources located in the Documentation Center of the Museum; becoming a tool for those interested in further research and critical analysis of the cultural production for design in Brazil. From this broad panorama, highlighting and analyzing the main recurring themes in the discourse of the exhibits constitutes an original methodology for consolidating the historiography of the discipline, by demonstrating the importance of the discourse as a relevant refl ection of the thought of an epoch. And it is precisely this discourse analysis, performed over the proposed essays, that will enrich the panorama of the area through the rescue of an original vision of the Museum towards design, unlike most of the refl ections present in the debate of the discipline during the second half of the twentieth century, whose motto was to build clear boundaries towards other fields of knowledge, and particularly towards art, as way of assertion. Accordingly, the Museum, since its foundation, by adopting a broader view of the fi eld of art - art as consequence of the social sphere - has included, without distinction, design also as artistic manifestation. And by this statement, design has been an important element of culture as a whole, a necessary condition for setting the daily environment and refl ecting the multifaceted complexity, desires and attitudes of a society. Considering this position, it is possible to state that MASP has anticipated, since its founding and over its activities, not only a contemporary view of design, but also averse to restrictive speeches, in which design is a response to the demands of modernity, which, in turn, are conditioned to the relative notions of space and time, determinants for the complexity of the discipline. This reading will provide, therefore, a valuable contribution, an overview of the important role the Museum has played towards the diffusion and construction of design in Brazil, and will offer, thus, a timely basis for the theory and practice of design today.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-21T11:25:43Z No. of bitstreams: 1 André Luís Reis Santos.pdf: 1915872 bytes, checksum: be1e1f7aa2835ccb684a3a187fc6bf98 (MD5) / Made available in DSpace on 2017-12-21T11:25:43Z (GMT). No. of bitstreams: 1 André Luís Reis Santos.pdf: 1915872 bytes, checksum: be1e1f7aa2835ccb684a3a187fc6bf98 (MD5) Previous issue date: 2017-12-12 / The aim of this thesis is to create a Design Mnemosine to analyze this practice historically, with a focus on the so-called Digital Design. For this, we will use every day experiences to create a reflection on design in contemporary society. The foundations of Peircean, Barthesian and Gestalt semiotics will be the basis for arguing the construction of a possible Design Science in the digital age. The methodology will have as support the bibliographical and documentary survey about the subject, besides field research of qualitative character to investigate the phenomena that involve the professionals of the digital design area. This study will have as objectives: 1) the analysis related to the etymology of the word Design, in addition to other words correlated to the design or elements that compose and accompany the design stages in their social and economic impacts related to Industrial Revolutions; 2) analysis of the characteristics of design in its relationship with society and with technology; 3) study the marks and technical revolutions that interfered in the production and communication of the design function; 4) to study design in the information age, so that the concepts related to the theme and its events help analyze the different ways of producing, doing, thinking and communicating design. With these objectives, it will be possible to understand the technical and projective changes in order to define what Design is in the digital age, tracing its characteristics based on the new form of collaborative and distributed power that characterizes the third Industrial Revolution / O objetivo desta tese é criar uma Mnemosine do Design a fim de analisar historicamente esta prática, com foco no chamado Design Digital. Para isso, utilizaremos as experiências do cotidiano para criar uma reflexão sobre o design na sociedade contemporânea. Os fundamentos da semiótica peirceana, barthesiana e da gestalt serão a base para argumentar a construção de uma possível Ciência do Design na era digital. A metodologia terá como apoio o levantamento bibliográfico e documental acerca do tema, além de pesquisa de campo de caráter qualitativo para investigar os fenômenos que envolvem os profissionais da área do design digital. Este estudo terá como objetivos: 1) a análise relacionada à etimologia da palavra Design, além de outras palavras correlacionadas ao design ou aos elementos que compõem e acompanham as etapas do design nos seus impactos sociais e econômicos relacionados às Revoluções Industriais; 2) análise das características do design em sua relação com a sociedade e com a técnica; 3) estudo das revoluções técnicas que interferiram na produção e na comunicação da função do design; 4) estudo do design na era da informação, para que os conceitos relacionados ao tema e seus acontecimentos auxiliem as análises dos distintos modos de produzir, fazer, pensar e comunicar design. Com estes objetivos, será possível entender as mudanças técnicas e projetivas a fim alcançar uma possível definição do Design na era digital, traçando suas características baseadas na nova forma de poder colaborativo e distribuído que caracteriza a terceira Revolução Industrial

This project's purpose is to relocate traditional paper-based library content about typographic history to a website, curated as a digital museum. The project process is defined as three distinct parts: 1. Scholarship and research. 2. Model-building and website creation. 3. Deployment, testing and evaluation. To support this, the project included the following sub stages: An informal needs analysis generated by reflection on practice. A survey of contemporary typeface classification systems, type education literature and online resources for typographic study. The building of animated and three-dimensional prototype models. The creation of a database of 100 historically significant typeface designs. The sourcing of samples, references, images and the gathering of reproduction permissions from designers, institutions and foundries whose work features in the database. The writing, editing, design and launch of the website at http://www.100types.com Peer feedback and review. An evaluation study of the website with students at AUT University in Auckland, New Zealand. A series of revisions to the website structure and presentation. The writing up of the research process and findings. I chose this topic as the direct result of my experiences teaching typography at AUT University and other tertiary institutions. The need for graphic design students to demonstrate competencies in typography (as a sub-discipline of graphic design) has always been present, but has been fore grounded over the last two decades; however, a recent PhD thesis on the subject has argued that traditional delivery of print-based typographic knowledge no longer serves undergraduate requirements for today's divergent screen-based media (Yee, 2006, p.11). This has been accompanied by a significant rise in the number of available typefaces (Cahalan, 2004, p.62). Unfortunately the means with which to study them has not kept pace with these developments (Dixon, 2002, p.4).Changes occurring within the type manufacturing industry and the wider field of creative industries during the last two decades have made the historical, background context of typography harder to comprehend from an undergraduate point of view. Students complain that they are under-resourced for information (in their preferred research medium) about the typefaces they must demonstrate care and deliberation in choosing. From experience gained in observing an online-learning pilot scheme in 2005, I elected to develop an online reference resource designed for self-directed research of typographic history as a complement to the existing tuition of typographic applications face-to-face in the classroom. While the project offers a useful example of how practice-led research can augment a teaching situation, and is concerned with the promotion of student-centred and self-directed learning at AUT University, this is not its only objective as a public-access location on the internet. In keeping with the rising philosophy of open content for web-based education resources, a conscious decision was made at the project's inception to host and present the website independently of AUT University and its online learning environment.

The meaning of the architectural surface was thoroughly reconsidered by architects and historians in England and Europe between early and mid-nineteenth century. There were two major trends. The first one was historicist. Ornament and colour was considered important because it represented the origins of architecture. The second approach was rational and tectonic. It suggested that an honest surface had to be created by emphasizing the structure and by truthfully expressing materials. An unusual response to these debates was John Ruskin??s history of medieval and Renaissance architecture. This was published as The seven lamps of architecture (1849), and the three volume study, The stones of Venice (1851-1853). Ruskin??s writings were difficult to grasp. On the one hand, they were fragmented, historically inaccurate, and lacking in explanatory power. On the other hand, they emphasized surface ornament, without ever indicating its architectural ??use??. As a result, nineteenth and twentieth century historians and architects declared Ruskin??s writings as being irrelevant to architectural theory and practice. By examining Ruskin??s writings on architecture through the theoretical lens of dress, body, and gender, the thesis demonstrates that he proposed the theory of the adorned ??wall veil??.This was a two-part theory. Firstly, architecture was defined by the presence of planar walls. The masonry structure of these walls was masked and decorated by a seamless dress-like surface, consisting of relief and polychromatic ornaments. Secondly, Ruskin distinguished between the ideal and the corrupt dress. The ideal dress celebrated the spiritual aspects of the body (surface, skin, and colour). The corrupt dress represented the scientific image of the body (depth, bones and muscles, and form). The ideal dress was reflected by the surfaces of medieval buildings, and the corrupt dress was mirrored by the Renaissance architectural surface. Through these arguments, the thesis makes two major contributions. Firstly, it shows that Ruskin??s views were consistent with the architectural modernism of the twentieth century, in which the free fa??ade and the atectonic surface were key concerns. Secondly, it establishes that Gottfried Semper??s writings were not the sole origin of the debates on dress and architecture. It shows that Ruskin developed a critical theory of dress by synthesizing debates on gender, science, and spirituality. He used this theory to suggest a new approach towards architecture.

This paper focuses on how interior decoration and taste was seen and taught in relation to the vision of the ideal home in 1940s Sweden. Two phenomena that are focused on are surveys of how people actually lived, and the attempts made to alter that way of living. The activities of Svenska Slöjdföreningen (SSF, the Swedish Society of Industrial Design) is used as a prism for discerning the discourse on domestic interior reform, and the study consists of a close reading and analysis based on archival material and publications linked to SSF. Part of the archival material consists of survey protocols and photograph, of Swedish homes, from a survey into “dwelling habits” initiated by the Association of Swedish Architects (SAR) and the SSF. In the late 1930s and early 1940s, these kinds of surveys were made in order to analyse the standard of living, and the usage of homes and furniture with the aim to find adequate ways of building better housing, of producing better furniture, and of educating people to be more modern and enlightened consumers and home-makers. Based on these findings, courses were given on how to furnish and decorate the home. Through courses in how to furnish and decorate the home, the ideal home was to become real. I mean that the concept of “taste” was almost as important as the concept of “home” in the vision of what modern Swedish society should be like, but that manifesting “good taste” in the home in the 1940s meant something more than merely creating an aesthetically pleasing or beautiful interior. Taste was, above all, seen as an indicator of the degree of modernity and social awareness of people.

Exhibitions have played a significant role within the dynamics that have been effective in the development of industrial design in the West. Similarly, exhibitions have recently become a significant issue in the history of industrial design in Turkey. This study first looks into the exhibitions in the West and the dynamics that have been effective behind them, and draws an analytical framework accordingly, then presents the historical development of industrial design in Turkey. Through the key factors that have been effective in the development of industrial design in Turkey, this study aims to analyze the relationship between design exhibitions and the development of industrial design in Turkey.

Vast consumption of natural resources threats the human life. Growing scarcity of fresh water is posing a great challenge to humanity as well. Thus many governments take special measures for efficient use of freshwater. There are many products that use too much fresh water. Toilet is among these products. In search of new solutions for lack of fresh water, designers design alternative toilets. However, it is necessary to understand the evolution of toilets and current state to develop better new technologies and products. This thesis investigates the evolution of toilet design throughout the history. Factors affect toilet design, and changes in their improvement throughout the evolution of toilets are examined. The study also aims to investigate advantages and disadvantages of squat and flushed toilets and their current state.