Bici Nasır, Esra

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Profile URL
https://hdl.handle.net/20.500.14365/6873
Name Variants
Nasir, Esra Bici
Bici Nasir, Esra
Nasır, Esra
Job Title
Email Address
esra.nasir@ieu.edu.tr
Main Affiliation
06.03. Industrial Design
Status
Current Staff
Website
ORCID ID
0000-0002-6468-0215
Scopus Author ID
57213590458
Turkish CoHE Profile ID
21BE315D445ECC3F
Google Scholar ID
zRSTCwYAAAAJ
WoS Researcher ID
AAT-1308-2020
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Esra-Bici-Nasir.png (108.58 KB)

Sustainable Development Goals

5

GENDER EQUALITY
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Research Products

9

INDUSTRY, INNOVATION AND INFRASTRUCTURE
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1

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13

CLIMATE ACTION
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8

DECENT WORK AND ECONOMIC GROWTH
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14

LIFE BELOW WATER
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17

PARTNERSHIPS FOR THE GOALS
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1

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1

NO POVERTY
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2

ZERO HUNGER
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4

QUALITY EDUCATION
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11

SUSTAINABLE CITIES AND COMMUNITIES
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16

PEACE, JUSTICE AND STRONG INSTITUTIONS
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3

GOOD HEALTH AND WELL-BEING
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CLEAN WATER AND SANITATION
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12

RESPONSIBLE CONSUMPTION AND PRODUCTION
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10

REDUCED INEQUALITIES
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15

LIFE ON LAND
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AFFORDABLE AND CLEAN ENERGY
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Documents

6

Citations

11

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Documents

2

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Scholarly Output

8

Articles

5

Views / Downloads

15/496

Supervised MSc Theses

0

Supervised PhD Theses

0

WoS Citation Count

7

Scopus Citation Count

4

WoS h-index

1

Scopus h-index

1

Patents

0

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0

WoS Citations per Publication

0.88

Scopus Citations per Publication

0.50

Open Access Source

2

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0

JournalCount
Design Journal1
Desıgn Journal1
Home Cultures1
International Journal of Food Design1
Journal of Design History1
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Now showing 1 - 8 of 8
  • Thumbnail Image
    Article
    Citation - Scopus: 4
    Between Mass-Market Conventions and Everyday Life: the Domestication of Dining Furniture in Urban Istanbul
    (Intellect Ltd., 2021) Nasir E.B.
    Although dining tables and chairs function as the main furniture stereotypes valued for hosting in traditional Turkish households, this practice has been subject to changes and challenges in contemporary urban life in Istanbul. This qualitative study of dining furniture brings insights into the design, production, purchase and use of furnishings from a broad review of literature and from semi-structured in-depth interviews undertaken in the homes of young urban professionals in Istanbul between the years 2013 and 2016. Prescribed as indispensable stereotypes in the furniture retail stores and considered as essential domestic units by the interviewees, dining tables and chairs are found out as not fulfilling their intended hosting functions efficiently or being often replaced by centre tables or coffee tables, because of an increase in casual rather than formal occasions. Domestication of the dining table as an open buffet was considered a practical way to help hold the food and drinks that were also on couches and coffee tables. In addition, the dining table was used for completely different functions unrelated to eating, as study desks or as surfaces for folding and ironing laundry, whereas dining chairs were used as places to drape coats or clothing. Interrogating the disconnect between the consumption and use context of the dining suites yields deeper discussion about the level of intellectual capital of Turkish furniture industry and the consumer culture which advices the enactment of norms. Insights in these complex, chang-ing and sometimes contradictory patterns may influence the design of domestic furnishings in Turkey. Therefore, more user-based design research and a further examination of contemporary patterns of use in urban households are needed to activate this potential for the Turkish furniture design industry. © 2021 the Author(s). Published by Intellect Ltd Article. English language.
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    Article
    Redesigning Hereke Carpets: A Modernization Path Through Patterns and Compositions at Sümerbank in 1960s Turkiye
    (Taylor and Francis Ltd., 2024) Yavuz Velipasaoglu, D.; Nasir, E.B.
    This study examines the mythologization of Anatolian handicrafts created by a group of artists at Sümerbank, a Turkish state enterprise, in the 1960s, which aimed to foster a sense of patriotism (vatan). These designs, emerging with the onset of Turkiye’s multi-party period and the postcolonial context worldwide, provide a framework for exploring local modernism in Turkiye. This study explores how the 1960s were shaped by the prevailing ideology of the time and involved efforts to adopt Western modernist aesthetics, principles of abstraction, and the Bauhaus approach to art and design, in the case of Sümerbank Hereke carpets. © 2025 Elsevier B.V., All rights reserved.
  • Thumbnail Image
    Book Review
    Domestic Space in France and Belgium: Art, Literature and Design (1850-1920)
    (Oxford Univ Press, 2023) Bici Nasır, Esra
    [No abstract available]
  • Thumbnail Image
    Review
    Beyoglu Culture Route
    (Routledge Journals, Taylor & Francis Ltd, 2023) Bici Nasır, Esra
    Selcuk Artut's works, which take their reference from geometric patterns, have often had influence, sparking many new ideas and generating innovative thinking. His recent exhibition, entitled as Geomart-ut7, in the Beyoglu Culture Route programme, located at Ataturk Cultural Centre in Istanbul, creates a multi-layered venue for contemplation. The geometric patterns which move, float, diverge and converge by the means of computer coding on tall digital screens, and most of these take their inspiration from the marvels of geometrical artworks that are observed throughout history. However when we carefully observe these animated geometrical patterns, we see that the artist's works are not merely the replicas of traditional patterns; through animation, the geometrical patterns, which are animated by coding techniques, change their angles and directions, yielding intermediary figures. The current creation process, which was defined by the artist himself as Dialectical Creativity, emerges because of mutual interactions between the artist and the computer, which he uses to communicate through the code language. The fundamentals of this artistic production cover the themes of repetition, meditative effect and infinity; thus, it is very appropriate to consider Artut's artworks in the contemporary age. Here we see the attempt of the artist to derive ideas from his deeply-rooted heritage, and make the meaningful connections with the past, even while emerging onto the contemporary art scene.
  • Thumbnail Image
    Review
    Citation - WoS: 1
    Making Homes: Ethnography and Design
    (Routledge Journals, Taylor & Francis Ltd, 2025) Nasir, Esra Bici
  • Thumbnail Image
    Book Review
    Design Dispersed: Forms of Migration and Flight
    (Sage Publıcatıons Inc, 2023) Bici Nasır, Esra; Doğramacı, Burcu; Pinther, Kerstin
    [No abstract available]
  • Thumbnail Image
    Article
    Citation - WoS: 6
    Living Rooms Occupied: Narratives on the Recontextualization of the Museum-Salon Practice in Modern Turkish Domesticity
    (Routledge Journals, Taylor & Francis Ltd, 2019) Bici Nasır, Esra; Timur, Sebnem; Gurel, Meltem O.
    This article discusses the notion of museum-salon and the changes in its perception and practices in the context of Turkish middle-class home cultures. Many authors have discussed the meaning of a prestigious living room allocated for guests only and addressed the existence of this room as an isolated space, detached from the household's everyday routines. Constructing these rooms with Western-style furniture and objects has been tied to Turkish modernization and the attempts to create modern civic identities and lifestyles, especially following the founding of the Republic of Turkey. This study questioned the role of an iconic living room with unused displays as a means to modern living, arguing, in fact, that the museum-salon both sustained and negotiated traditional domestic practices. Interpretation of the qualitative data gained through fieldwork conducted in Istanbul contributes to the ongoing discussion in which utilization of the living room for everyday life was considered an objectification of modernity and an internalization of individuality. Through the rejection of the isolated living room through use and customization around notions of individuality and anti-communitarianism, it traced the changing local notions of modern living. The changes and differences are related to the idea of habitus, as discussed by Bourdieu (1984), rather than simply being viewed as generational preferences. Open living rooms that were subservient to everyday life now defined the modern habitus, whereas closed ones were associated with being traditional and local. It could be inferred that this is the result of a belated modernity in the context of Turkish living rooms as people cultivate themselves, satisfy their everyday needs, and use the largest space in their homes according to their autonomies.
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    Book Part
    Hena Thrones, Fancy Toilets, and Other Kitsch: Research on the Sign-Objects of Kezban Taste
    (Istanbul Univ Press, Istanbul Univ Rectorate, 2021) Bici Nasır, Esra
    Since the 1940s, in the context of accelerated immigration flowing from rural villages to Istanbul, settled city dwellers have perceived the immigrants as a threat to their urban values and have developed several distinctive discriminatory attitudes and practices. In the urban cultural sphere, where modern Western values are embraced, Eastern and rural practices and the relevant consumer culture have been assessed and judged as inferior. The social groups who abandoned their home villages but still lacked the symbolic capital that would enable them to live out an urban lifestyle considered mass consumption to be a shortcut for adapting to city life. Thus, they developed an inappropriate aesthetic style, also referred to as the field of kitsch. The rosary, the typical sign-object of the Haciaga stereotype suggesting nouveau riche men, or the thick golden necklace that is emblematic of the Maganda stereotype with its vulgar masculinity or inappropriate combinations of whiskey and lahmacun, exemplify disseminated judgements embodied through objects. The Kezban profile was initially that of a naive country girl in popular movies of the 1970s; however, in the following decades, she was portrayed as a vulgar woman in various media productions. Kezban, with her consumption patterns, taste, and worldview, represents distaste for the modern urban woman. Through the sample, composed of 18 urban middle-class participants, possible sign-objects of the Kezban profile were investigated. Qualitative analysis informed the use of emerging repetitive thematic patterns such as 'decorations disjointed from the function' and 'the ostentatious appropriations of local agents'. The objects under these themes are discussed in the category of kitsch and show similarities with the aesthetics of 'arabesque'.