Sevi Merter

Yasar University · Industrial Design

With the aim of understanding the transformation of the pedestal in contemporary art and design through Lickestra as a way of lifting up the experience as the artwork, this study examines the experimental Lickestra project, which is an exemplary, playful artwork, inviting participants and utilizing the simulation of different senses to create the a...

In constructivist learning, learners are responsible for their own learning process in order to acquire specific professional and personal skills. Constructivist learning methods based on prior knowledge of the learner and learning objects (LOs) of the constructivist approach are the conductor and activator of learners' insider knowledge. In such a...

Children with autism have limited interaction and communication skills and participatory design allows designers to elicit direct information about children with autism and understand their life-worlds, strengths, and limitations more deeply in a design process. In participatory design, the aim is not always searching for situated, creative, and ta...

Synesthesia –involuntary cross-modal sensory associations– is in very close relationship with perception, creativity, and imagination. Since design appeals to senses and provides multisensory experiences to users, synesthesia can be developed as a multisensory design method and framework –a multisensory instrument– having the potential to change th...

This study aims to explore the ways of involving children with autism in participatory product design processes. Due to the impaired skills of children with autism, a key aspect of the process is to gain an understanding of the nature of the disorder and how these children interact with their social and material surroundings as well as their daily...

Although the role of the designer and design practices continue to evolve, design education remains conservative in some ways. By focusing on “the basics,” design education does not easily enable students to acquire the skills needed for contemporary design approaches. If design is a living practice that comes from life, exists within, and adds val...

Geleneksel tasarım eğitimine eleştirel bir gözle baktığımızda; temelinde, stüdyo kritikleri, jüri değerlendirmesi ve sonuçta eğitmenin not verdiği, hiyerarşik, demokratik olmayan bir eğitim ilişkisi görüyoruz. Bu hiyerarşinin, öğrencileri edilgenleştiren bir etkileşim biçimi olduğunu düşünüyoruz. Bu etkileşimde, öğrencinin, eğitmenin etkenliğine ve...