Od Ana Lighting

The main principles behind my design are refinement and simplicity. I firmly believe that good design should focus on simplicity, functionality, and aesthetics. I strive to combine form and function in perfect harmony. I draw inspiration from the world around me, observing how people interact with objects and the environment. I aim to create products that are user-friendly, intuitive, and timeless. By eliminating unnecessary elements and embracing clean lines, I strive to achieve clarity and elegance in my designs. Ultimately, my goal is to enhance people's lives through thoughtful and enduring design solutions.

I focused on a solution that doesn't confine itself to the traditional categories of interior lighting. I aimed to create a versatile lighting solution that can function as a desk lamp when needed, a floor lamp at other times, or even as a bedside lamp for nighttime use. Therefore, it was crucial for the light to be easily manipulable, allowing it to adapt seamlessly to various living spaces. As a result, Od Ana came into existence.

I am currently working on variations of the "Od Ana" design. Od Ana possesses a clear and pristine form, allowing one to discover intricate surface details upon closer inspection. I aim to take this communication further by integrating the traditional arts of Anatolia with the Od Ana design. If I can modernize patterns used in crafts such as mother-of-pearl inlay, woodwork, or copper processing, I thought for Od Ana will achieve a deeper level of design.

Thank you. This perspective could apply to any designer, product developer, or producer working in limited editions. Simply put, it stems from being on the side of long-lasting, high-quality work or products. It's a technical outcome, connected to how accessible tools and materials are, and shaped by the waste generated in production processes, and costs. Design is a result molded not only by the designer but also by socio-cultural, socio-economic, geographical, ethical, aesthetic, and similar factors, including the society the designer inhabits. We cannot solely speak of the designer's design alone. Therefore, throughout all processes, the designer makes conscious preference and renunciations, always considering the entire set of circumstances they exist within.

Yes, 'versatility' is indeed the right word. This design eliminates the need for consumers to buy separate lighting solutions for each space. Much of the world is now adapting to smaller living spaces, and placing multiple lights in each area only serves to further restrict these already limited environments. From the outset, this was a request I made as a consumer myself: a lighting piece that could move with me through my living space, keeping pace with my needs and adjusting according to my mood or schedule. These were intentional choices, guiding decisions from the beginning of the design process.

Frankly, I am not a designer who envisions things I cannot bring to life myself. Before starting any design process, my first step is always to assess the conditions I’m in—conditions in every sense, as I’ve mentioned before. I live and work in Istanbul, a city of 20 million people in Turkey, where I also produce my designs. Let's say, for instance, that one part of my design requires a 5-axis CNC machine for production. To access this machine, I would need to make an appointment, disrupt the production lines of manufacturers dedicated to mass production, and bear significant costs. In contrast, reaching a skilled woodworker or a local workshop, masters in handcrafting, is far more accessible on every level. This approach grants me a production process where I can think deeply about each detail, devote the necessary care, and allow extended time. By working this way, I am not only supporting local workshops, but also maintaining a certain quality standard, as I choose to produce in limited quantities. This, I believe, ensures a unique level of craftsmanship and attention to detail that aligns with my design philosophy.