Interviews med Cenk Ahmet Kaya

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.

I initially designed the primitive form of Od Ana in 2015. Over time, it underwent modifications and refinements, eventually evolving into its present state. Taking the production process into account as well, the entire journey spanned approximately 22 months.

Od Ana is not commissioned; rather, it emerged solely out of my personal requirements.

Od Ana is currently being produced under the umbrella of Cenkkaya Design, an Istanbul-based company of which I am the founder and creative director. So far, I have not considered selling or leasing the production rights to my designs. I design with consideration for the production conditions that I am currently in. Therefore, I refrain from designing things that I cannot produce with my own resources. However, if something were to emerge that surpasses the production technology and conditions I am currently in, why not explore it?

Most of the time, I cannot find what I am looking for. That's why I focus on creating it myself. Then, layer by layer, new ideas are added, refined, and something entirely different emerges. This was the essence of Od Ana too.

Certainly, there are architects and industrial/product designers whom I admire, but no one has ever inspired me with all the pieces. I derive greater pleasure from assembling the pieces within the framework of my own perception rather than simply merging existing elements.

I suppose I can refer to people who share a similar perception. My designs are not intended to cater to everyone's needs. While an analytical and solution-oriented design framework can somewhat homogenize my personal sentiments, my perspective remains heavily involved. The designs I create are not about high technology or impossible things. I believe my clientele consists of a limited number of individuals who share similar sensibilities.

I believe this could potentially involve a focus on clean lines, a minimalist aesthetic, and fundamental functionality. It can be said that through meticulously crafted elements and meticulous attention to detail, it creates a sense of void, stillness, and introspection.

Od Ana derived its name from Turkish mythology's goddess of fire, Od Ana. Described as a silver-haired woman by the Yakut Turks, she is a goddess who protects the fire, which symbolizes the heart of the family and home. Upon encountering this information, I immediately finalized the design's name.

Familiar design processes and tools l employed, though I wouldn't want to bore you by listing them individually. However, even in the simplest of designs, I make use of Rhino.

It is a challenging and ambitious question, and I tend to avoid answering such inquiries. I am someone who combines existing points in my own perspective to reach new conclusions, which is, in a way, the essence of the design itself. Therefore, a designer cannot create something entirely unique; at most, they can offer a different perspective.

Od Ana is composed of stainless steel, larch wood, and electrical components. Rather than focusing on the technical aspects, I was concerned with the craftsmanship and precision in the fabrication of the parts. Hence, I collaborated with skilled artisans who were capable of meticulously working with these materials. Because Od Ana does not have a complex technique.

Od Ana does not embody a high-tech design. It is handcrafted utilizing entirely familiar traditional techniques.

The moisture content of the materials is a crucial factor. Within the wooden fixture of Od Ana, there exists a stainless steel safety reservoir with a thickness of 1 mm, and the components are assembled after being produced in separate workshops. Therefore, when there was any deviation from the pre-calculated moisture content, the parts would never fit together. We resolved this issue by stabilizing the moisture levels.

I made the decision due to the incessant insistence of my friends.

Considering the production conditions I was in, I undoubtedly gained significant insights into the concepts of "patience and perseverance."

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.

Actually, similar reasons and sensitivities are at play. First and foremost, I notice that the concept of 'eco friendly' is often perceived as just a trend. At the same time, people seem to forget that 'recycling' itself carries a cost. Furthermore, there’s a mystery surrounding how much of the recyclable materials are truly recycled. Going back to the beginning, I’m not a designer who produces in thousands of units. None of my designs have been produced in quantities even close to 1,000. The highest production volume I’ve reached this year is with Od Ana Lighting, which hit 300 units. Custom packaging manufacturers have minimum production quotas, usually starting at 1,000 units; they won’t consider orders below that. This represents a substantial recycling cost as well. Therefore, considering both my sensitivities and responsibilities, I needed to find a solution. The packaging design for Od Ana took shape under these conditions.

As a designer, holistic integration is a principle to which I am deeply committed. I dedicate a significant amount of time to each element that comprises the whole, striving to create joints and connection points that feel as though they’ve emerged 'organically.' To allow the user to manipulate the light, I needed to select a type of joint that serves both the x and y planes. Perhaps a custom-designed, concealed bearing system could have elevated Od Ana to a more sophisticated level, yet due to production costs, I had to reconsider this decision. I then explored the possibility of uniting the joints with strong magnets, but as this didn’t yield the desired result, I reverted to the simplest known approach—a nut-and-bolt fastening system. Inside Od Ana's light chamber, 1 mm stainless steel sheet is utilized. It’s a heavy material, so the friction force needed to be high, while the movement of the chamber remained smooth. To meet this requirement, I opted for silicone washers.

This is a question I’m often asked: 'Why didn’t you choose aluminum?' The answer is quite simple: metals have specific thermal expansion coefficients. Aluminum is indeed a lightweight material, but it has a high expansion coefficient. My decision on the metal family wasn’t difficult. From the very beginning, I had decided to use stainless steel. However, with wood, the expansion coefficients are far more complex because wood is anisotropic, meaning it expands differently in different directions. Despite this, I opted not to use an expensive type of wood for the exterior shell. I didn’t want Od Ana to occupy an exclusive price point that might make it less accessible. Adding to these foundational challenges, Od Ana’s metal components were produced in Eskişehir, a city in Turkey, while the wooden elements were crafted in Istanbul, where the final assembly also took place. The initial prototypes were challenging, but in the end, by fine-tuning the humidity calculations, I achieved the desired outcome.

To me, simplicity and banality are like two points positioned side by side on a circle. The difference between these two points is that one represents the starting point, while the other is the ultimate result—the point that completes the circle. Therefore, without experiencing and absorbing the other points that make up this circle, you cannot truly reach simplicity. It’s a filtration system, a way of shedding the unnecessary, and it’s not only applicable to the design discipline; it’s a principle that you can apply to every aspect of your life. From the very beginning, I had made up my mind about the material selection for Od Ana. There are multiple unproduced versions of Od Ana. Initially, the version I wanted to bring to life was made from ceramic and brass. My intent was to merge the traditional decorative techniques of Anatolia with a clean form. The idea was that when you observed Od Ana from afar, you would see clean, distinct lines, yet as you approached, traditional motifs and patterns would begin to reveal themselves. However, that is a more challenging version, so I prioritized the simplest one first. Nonetheless, I will do my utmost to produce the other versions of Od Ana as well.

A' Design Award is a highly esteemed competition, and I’m genuinely honored to have received this recognition. For designers working under similar conditions and from comparable regions, this award brings invaluable encouragement, instilling courage and motivation. As I’ve mentioned, in societies where the value of your work is often overlooked, such an award, if nothing else, renews one’s vitality and belief in oneself. It fosters resilience. I extend my sincere gratitude once again to the distinguished members of the jury.

The selection of a silicone washer joint was driven by the need for a solution that enabled multi-axial movement of the light source. This design allows for precise positioning in both the horizontal and vertical planes, providing the user with greater control over the direction and intensity of the light.

The query is a complex one. While I've strived to execute my design concepts to the fullest extent possible, I'm hesitant to quantify my precise influence on contemporary lighting design. The rapid pace of scientific discovery across multiple disciplines presents an invigorating backdrop to our current moment. My hope is that these advancements will cultivate a more compassionate and discerning global populace. And I look forward to observing its subsequent manifestations in the realm of design.