We had the distinct pleasure to interview award winning designer Cenk Ahmet Kaya about their original and creative Lighting design work. Cenk Ahmet Kaya is an award-winning industrial designer, that makes our world a better place with their original lighting works.
Cenk Ahmet Kaya ("CAK") answered Design Interview ("DI") questions about their award-winning work Od Ana Lighting . Interview questions prepared by Frank Scott.
CAK : 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.
CAK : 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.
CAK : 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.
CAK : 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.
CAK : Od Ana is not commissioned; rather, it emerged solely out of my personal requirements.
CAK : 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?
CAK : 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.
CAK : 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.
CAK : 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.
CAK : 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.
CAK : 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.
CAK : 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.
CAK : 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.
CAK : 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.
CAK : Od Ana does not embody a high-tech design. It is handcrafted utilizing entirely familiar traditional techniques.
CAK : 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.
CAK : I made the decision due to the incessant insistence of my friends.
CAK : Considering the production conditions I was in, I undoubtedly gained significant insights into the concepts of "patience and perseverance."
