Faculty of Art and Design

This article presents the story of hand-woven Pomak fabric and the associated
traditions, which have been transmitted from mother to daughter and
father to son. The research relates to certain applications of traditional,
social, and cultural mechanisms refl ecting traits that have been lost and
forgotten in many spheres of Turkish life. Since underlying the cultural
unifi cation of the Turkish nation is a variety of diverging cultural identities,
traditions, languages, and living styles, the existence of sub-cultures each
forming part of the whole permits a more inclusive approach to social
cohesion and the idea of national cultural unity. Beneath a very similar style
of modern-day living, Turkey’s ethnic cultures have formed their unique
presence through the long process of historical development. Ethnic minority
groups, which differ widely in their folkways and customs, having different
traditional modes of production and life styles, as displayed in dress and
traditions, crafts, adornments, diet, folk dances, marriage, and funerals,
have managed to preserve their traditions.
The arts and crafts of ethnic cultures have a splendid legacy, among which
hand-weaving has survived as a way of life in Pomakian villages, where
every hand-weaving loom still works in the old way, and where the ancient
craft of weaving is continued despite modern yarn preparing and dyeing
techniques. This skill has survived without much diffusion because of the
isolation of Pomak villages in south-eastern Europe (Thrace) over a long
period, before their migration to Turkey. Yet the skill and craft of the weaver
and the persistence of Pomak villagers, who refuse to let this craft die,
contributed much to this preservation since they have been settled in
Turkey. Today, although hand-woven Pomak fabrics are not found tailored
into stylish garments of the type sold in fashionable boutiques, the craft and
associated traditions are still set alive in many Pomak homes in modern
Turkey.
To conduct this research, many villages in the mountainous parts of Biga
county of Çanakkale in Turkey such as Elmalı, Işıkeli, Kaynarca, Ilıcabaşı,
Yolindi, Arabaalan, and Camialan were visited. We selected Çanakkale
because of the vast number of Pomak villages and their eagerness to
POMAK WEAVING TRADITION, A BRIEF HISTORY 113
participate in this research. Besides, we had previously conducted research
into the preservation of their traditions. A questionnaire of twenty questions
and an observation form were administered to the villagers in order to
document the hand-weaving tradition of Pomaks.
keywords Pomaks, crafts, traditional weaving, spinning, dyeing, Turkey

Yag˘lı Güreş (oil wrestling) is one of the most highly regarded traditional
activities in Turkey. It embraces spiritual principles including a modest style
of living, which is based on a religious and a cultural background, but also
relates to the physical and mental aspects of life, as it requires work to
develop strength of body and mind. Wrestling as a sport has certainly been
a feature of many ancient civilizations, but in Turkey it had a particular
importance, as it was originally practised almost as a lifestyle by Oghuz
Turks long before they accepted Islam. Among many styles of wrestling,
the most important style is oil wrestling, which was used to condition the
Sultan’s yeniçeri (Janissary). In 2010, the 649th oil-wrestling tournament
(the Kırkpınar Wrestling Games) was organized between 21 and 28 June,
and 1493 pehlivans (wrestlers) from different cities competed in a seven-day
elimination tournament, which became more interesting because of the
visit of a traditional Japanese Sumo wrestling team. Evidence from Ottoman
chronicles and documents indicate that the Kırkpınar Games have been held
every year since 1362 and Guinness Book of World Records accepts this as the
world’s oldest continuous sporting competition. The athletes compete for
the title of Başpehlivan (chief wrestler) and for the golden belt. During these
matches a pehlivan wears the kıspet, strong leather breeches reaching from
the waist to below the knees, leaving his upper body naked. Being a special
traditional garment without zipper, buttons, or hooks, cords are used to
hold it in place. For this reason, the pehlivan wraps cords around his knees
to block the opening of the cuffs, in order to prevent his opponent being
able to tackle him from the rear and bring him down by grasping and pulling
the cuffs of his kıspet. Many national and international visitors, famous and
master pehlivans, celebrities and representatives of government attend this
event, together with the sponsors of the ceremonies, and many aspects of
the activities of the festival-like tournament are all recognized parts of the
annual Kırkpınar Oil Wrestling Games. However, the research presented
here reveals that there is only one master of kıspet-making left, who is about
to retire from his craft, and that the future for perhaps the most ancient
traditional craft of Anatolia appears to be bleak. As time passes there may
104 FATMA NUR BAŞARAN and BANU HATICE GŰRCŰM
be no one to make this important traditional garment with the same level
of craftsmanship, faith and skill as the past masters, and this is not a
garment that can properly be produced by mechanical means.

Nature produces unique solution methods to against the problems. Human creates a transformation for excellent and intricate designs found in nature to fully discover and technologies inspired by nature to reveals in the understanding of engineering and aesthetic design. As a result this, complex designs found in nature are being studied by scientists and engineers and for years.  Sometimes, they are trying to imitate. The most important features of design in nature, which exists in getting the most productivity with the least amount of materials and energy, be recycled, be durable, be aesthetically, etc. basic features have been instrumental in the start of the biomimetic themes in the design.
“Biomimetics” term first appeared in 1957 by Otto Schmitt and has taken place in Webster's dictionary in 1974. “Bionics” term has appeared first in 1960 by Steele and has taken place in Webster's dictionary at the same year. It is called systems science. "Biomimicry" term removed from biology, which means imitation or copying. It is a term that emerged at the beginning of 1982 and is derived from the words that "Bios" and "mimesis". “Bios” means life and “mimesis” means imitation in Greece. Similarly, “bioinspiration” and “bioinspired” words are derived from “biomimetic” word.
Nature has always shown the way to mankind from past to present. According to ancient philosopher Aristo and Eflatun, mimesis (imitation, emulation) is a basic rule of the act of artistic creation and means of re-presentation of nature. It is a basic feature that separates the arts from other forms of creation and fields. Especially according to Aristo, Human are animals that making art that mimicking and knows how to emulate (BATIRBAYGİL, 1996). Mimesis concept remained as one of the starting point in the other arts. Imitate or emulation thought that work on the analogy that exists in nature connects us to nature and affects us (BATIRBAYGİL, 1996).
One of the first examples in the field of biomimetic studies is inspired from birds to fly. At first, although not the invention of a flying machine, Leonardo da Vinci (1452-1519) observed the anatomy of the flight of birds, received several notes and drew sketches. A variety of flying machines have designed taking advantage of these sketches. Wright brothers have performed the first flight action inspired by the flight of pigeons in 1903. Although the origin of biomimetic studies based on very old times, rapid development in technology causes to slide to technology (machine) of studies. Today biomimetic studies have become important again. They are environmentally friendly and solution methods that people use to be more practical and effective. It helps to increase works in this direction.
As a result, superior design of nature guides to science in 21.Century. It has examples of new technology with its extraordinary mechanism. Biomimetic studies have been made in many fields about functional Surfaces, thermal insulating, optical systems, etc. As seen from the examples, the relationship between man and nature, form and structure of nature has been transferred to the structure with an analogy. Even today, inspiration from nature, learning and practice what is learned are performed with the biomimesis, biomimetic, etc. terms.
The supportability of the studies in this field is increasing year by year. It will not surprising to see the using of the biomimetic designs by more people and witnessing the transformation in textile year after year. Day by day consciousness human asks questions about the nature and has the opportunity to answer with the based on human well-planned observations and experiments. 18th and 19th centuries have witnessed the development of mathematics, physics, astronomy and biology. During this period, textile design also undergone a significant transformation such as other industries with the reasons that advancement of scientific studies, formation of industrialization, the establishment of industrial cities and the emergence of different business areas etc. and there have been significant developments in this area. With the progress of science and multidisciplinary study has appeared and has been in search of answers to the new quest.

İnsan,çağlar boyunca farklı temelihtiyaçlarasahipolmuştur.Bu ihtiyaçlarınarasındabeslenme,örtünme,barınma ve/veyakorunmaönemlibiryertutmaktadır.Gelişenihtiyaçlarabağlıolaraktekstilürünlerindenbeklenenözelliklerdezamanlaartmıştır.Örtünmesadeceinsanlariçindeğilaynızamandaeşyalariçindeönemlibirkonumagelmiştir.Buihtiyacabağlıolarak“TeknikTekstiller”olaraktanımlananyenibirtekstilalanıortayaçıkmıştır.Butekstillerinkullanımyerlerigelişenteknolojiyebağlıolarakhızlaartmıştır.İnşaat,ziraat,sanayi,sağlıkvb.gibibirçokalandatekniktekstillerinkullanımıyaygınlaşmıştır.Gelişenteknolojiyebağlıolarakgelecektefarklıalanlardakullanılacaktekniktekstilmiktarınınönemlibirartışgöstereceğidüşünülmektedir.Artanbukullanımalanınaparalelolaraksanayideönemlibirpayadasahipolacaktır.
Kullanımyeriveamacınagöretekstilelyafvemalzemeleribazentekbaşına,bazendediğerpolimerve/veyamalzemelerlekarıştırılarakkullanılmaktadırvekompozityapıeldeedilmektedir.Gelişenteknolojiveihtiyaçlarabağlıolarakörtünmevesüslemeninyanındafarklıfonksiyonlarasahipözellikleride(çokfonksiyonlu)bünyesindebulundurmaktadır.Ortayaçıkanbuinteraktiftekstillerinüretimivekullanımızamanlayaygınlıkkazanmaktadır.
Özellikle2007’densonrayapılançalışmalarincelendiğindetekniktekstilleriçerisindeyeralanakıllıtekstillerinprototipolmaktançıkıpgünlükyaşantımızagirdiğinigörmekteyiz.Kalitesiniispatlayarakmarkaolmuşfirmalarelektronikvetekstiliniçiçeolduğutekstiltasarımlarınayönelmişlerdir.Budatasarımcılarındikkatinibunoktayaçekmesinenedenolmuştur.Bugelişiminsonucuolaraksanat,modaveteknolojibirbiriiledisiplinlerarasıbirbağlantıkurmayabaşlamıştır.
Projemizdebirelektroniktekstilolanakıllıperdetasarlanmıştır.Buperdehemestetikhemdeişlevselolarakyenibirtasarımdır.Tasarlanandevregüneşışığınınmiktarınagöreperdeyebağlananmotorlarıilerigerihareketettirereksisteminaçılıpkapanmasınısağlamaktadır.Sistemaçıkalanlarda,pastanelerde,otellerdevb.yerlerdeuygulamaalanı bulabilecektir.

Extensive efforts have been made in the research and development of smart textile systems in recent years. One of these developments in smart materials is shape memory applications. Shape memory materials (SMM) are smart materials that can remember and recover substantial programmed deformation upon activation and exposing to an external stimulus such as chemicals, temperature, pH, light, a magnetic field, etc. Shape memory materials have been used in many areas and textile application of this technology has covered a wide usage recently.
Today’s textile concept isn’t the similar to past and expectations of people from textile have been changing more and more. In this point, shape memory materials can answer these needs in textile due to it’s smart features. Shape-memory materials can be used in textile as clothing, yarn and fabric. The application possibilities are only limited by our imagination and creativity, so shape-memory productions have been able to gain a different aspect to textile.

Ülkelerin ekonomik hayatları için maden varlığı ve zenginliği ne kadar önemli ise, o madenlerin çıkarılıp işlenmesini sağlayan iş gücü de o denli önemlidir. Bu amaç için işçilerin çalışma şartlarının olabildiğince iyi olması gerekmektedir. Maden ocaklarında çalışanların sağlığı ve güvenliğini tehdit eden birçok tehlike bulunmaktadır. Bunlar, genellikle göçükler, çökmeler, ocaklarda meydana gelen infilak kazaları, gaz sızıntıları ve grizu patlamaları olup, önemli ölçüde ölümlere sebebiyet vermektedirler. Bunlar arasında en önemlilerinden birisi de grizudur. Grizu, metan (CH4) ve hava karışımıdır.
Metan havaya göre daha hafif olduğu için tavanda toplanır ve hava içinde çok çabuk dağılır. Metan zehirli bir gaz değildir, oksijen azlığı nedeniyle boğucudur. Metanın asıl tehlikesi yanıcı ve patlayıcı bir gaz olmasıdır. Hava ile % 9,5 oranında karışım oluşması durumunda metan, 650⁰C’de 10 saniyede patlar. Grizu’lu ocakların bütün kısımlarında, her gün, her vardiyada, teknik nezaretçi veya bu konuda yetiştirilmiş yetkili kimseler tarafından metan ölçümleri yapılmaktadır. Madenlerde meydana gelen kazaların tamamen önlenmesi teknolojinin sunduğu yardımlara rağmen mümkün değildir. Bu tespit günümüz için de geçerlidir. Ancak alınacak tedbirlerle kayıpların daha aza indirilmesi elbette mümkündür.
Projemizde, maden ocaklarında çalışma esnasında ortaya çıkan gazlar ve bu gaz miktarının ölçümleri üzerinde durulacaktır. Yapılacak olan sensörlü sistem ile ortamda bulunan patlayıcı gaz olan metanın miktarı tespit edilecektir. Bu gazların çalışma şartlarında belirlenen değere yaklaşması halinde sistem çalışan kişilere görsel ve işitsel olarak uyarı verecektir. Çalışanların da bu uyarılar karşısında gereken önlemi alması sağlanacaktır. Oluşturulan bu sistem, maden ocaklarında çalışan kişilerin giysilerine tasarlanacak ve çalışma esnasında bile ölçüm sonuçları kişilere bildirecektir. Bu proje Türkiye de bu konuda yeni bir tasarım oluşturacak. Elektronik tekstil uygulamaları yeni bir ivme kazanacaktır. İş kazalarının maliyetlerini azaltmak, iş gücü kayıplarını azaltmak bu çalışmanın esas hedefleri arasında yer almaktadır. Özellikle gelişmiş ülkelerde iş sağlığı ve güvenliği konusundaki hassasiyet yüksek olduğundan yapılacak olan çalışma ile ortaya çıkacak ürünün ileri ki uygulamalarında üretici desteği ile ticari olarak ülkemize döviz katkısı sağlayacağı düşünülmektedir.

Abstract
Etymologically, ethnography comes from the Greek words ethnos (nation, people) and graphia (writing) and means therefore a written presentation of a people or a population and seeks to identify and interpret its universal traits. With its roots in cultural anthropology, ethnography focuses on small-scale societies and the original central concept remains within the meaning of culture. In anthropology, ethnography developed a way to explore the everyday realities of people living in small scale, non-western societies and to make understandings of those realities explicit and available to others. The approach relied on the ability of all humans to figure out what is going on through participation in social life. The techniques ethnographers use follow the routine of the everyday life. Thus the research techniques and strategies of ethnography developed and evolved over the years to provide ways for the ethnographer to “be present" for the mundane, the exceptional, and the extraordinary events in people's lives. With the advent of postmodernism, ethnographic perspective became a valuable tool in the design of new technologies. This has presented a new set of challenges for designers as they design and built applications that leverage powerful, digital technologies for use by people of all societies and cultures. The field of design has been an adjunct to art and craft and in a postmodern context. With the transformation of design into an industrial discipline came responsibilities that the field of design studies has only recently begun to address methodologies. Design is now becoming a generalizable discipline that may as readily be applied to processes, interfaces. To understand design as a discipline that can function within any of these frames means developing a general theory of design. From methodological perspective there is no solid theoretical framework which can assist the craftsman or the novice textile designer to consciously integrate their culture in designing products. For this reason this paper challenges designers to gain a deeper understanding of the importance of ethnographic research in textile design and explain qualitative techniques that can be used in ethnographic researches for textile design, searching for meaning in socially constructed reality or a traditional context.
Keywords: Ethnographic research, textile design, design science research

Öz Tasarım en genel anlamıyla hem teorik disiplinleri, hem de uygulama alanlarını ilgilendiren ve bu alanların içinde gelişerek filizlenen bir süreçtir. Tasarımcının tasarım tercihlerini yaparken onları kullanacak kişinin zevkini, tüketici gereksinimlerini ve ürünün işlevlerini de düşünerek üretim, tüketim, kullanma alışkanlıkları, ekonomiklik, satılabilirlik, tutundurma gibi finansal boyutları da düşünmesi gerekmektedir. Bu çok yönlü zihinsel problem, sadece geçmişi inceleyerek çözülemez. Sosyo kültürel unsurların cevaplarının bulunmasında tekstil tasarımcısına etnografik metodlar faydalı olacaktır. Bu çalışma tekstil tasarımının bilimsel metodolojisi olan bir disiplin olarak ele alınması ve yaratıcılık, özgünlük gerektiren tekstil tasarım sürecinde etnografik araştırmaların tasarım araştırma tekniği olarak kullanılması düşüncesiyle ortaya konmuştur. Anahtar Kelimeler: Tasarım Araştırma Teknikleri, Etnografik Araştırmalar, Etnometodoloji, Nitel Yaklaşım, Tekstil Tasarımı. Abstract Design is a process regarding application fields and develops in these fields.Designer while making design preferences, has to keep the taste of the customer, the needs of consumers, the functions of the product, techical aspects and production other than aesthetics, the habits of buying, using consumption, the approaches of purchasing,the financial and economical sides of retail, sales, presentation, etc. in mind. This kind of multidimensional problem can not be solved only by studying the past and the meaning of the cultural heritage. One has to examine sociocultural parameters like person in the modern society, companies, production and consumption, society and culture, trends, fashion or fads, groups, needs, luxury, the meaning underlying the product inside the design problem. Thus, ethnography can be used to investigate critical and compucated design problems.If the aim is the usability of the designed object by getting inside of the design problem by the ethnographic study.This study is conducted in order for the textile design to be accepted as a discipline requiring a scientific methodology and for the ethnographic research methods to be employed in the process of textile design which needs mental activity, creativity and uniqueness.