| ENDÜSTRIYEL TASARIM ÖĞRENCILERI ARASINDA PAYLAŞILAN MESLEK SÖYLEMINDE BIRLIKTE ÇALIŞMA VE ÖZSÖMÜRÜ | PINAR KAYGAN | 2–19 |
| COLLABORATION AND SELF-EXPLOITATION IN THE SHARED DISCOURSE OF PROFESSION AMONG INDUSTRIAL DESIGN STUDENTS | Pınar KAYGAN | 2–19 |
| ARTISTIC REPRESENTATIONS OF ANXIETY | ENGİN ÜMER | 20–40 |
| GIFT GIVING CULTURE IN UNIVERSITY AND DESIGNING GIFT OBJECTS THROUGH CORPORATE VALUES | Nazlı GÜRGAN,Mine OVACIK | 42–66 |
| THE DEVELOPMENT OF TABLEWARES AT ARABIA PORCELAIN FACTORY IN THE MODERN FINNISH DESIGN HISTORY | Ezgi HAKAN VERDU MARTINEZ | 68–91 |
| AGUSTÍN BARRIOS MANGORÉ: THE FOLKLORIC, IMITATIVE & THE RELIGIOUS INFLUENCE BEHIND HIS COMPOSITIONS | Güray ALYÖRÜK | 92–103 |
| ILLUSTRATIVE EXPRESSION FORMS IN POSTER | Melek Burçin GEDİK,MELİKE TAŞCIOĞLU | 104–124 |
| PEYZAJ MİMARLIĞI ÖĞRENCİLERİNİN, ÇEVRE TASARIMINDA BİYOMORFİK ve PARAMETRİK TASARIM YAKLAŞIMLARINA KARŞI TUTUMLARI | Emine TARAKCI EREN,TUĞBA DÜZENLİ,DUYGU AKYOL | 126–143 |
| ATTITUDES OF LANDSCAPE ARCHITECTURE STUDENTS TOWARDS BIOMORPHIC AND PARAMETRIC DESIGN APPROACHES IN ENVIRONMENTAL DESIGN | Emine TARAKÇI EREN, Tuğba DÜZENLİ, Duygu AKYOL | 126–143 |
| SAMPLES OF UNCOMMON ORGANIC MATERIAL USAGE IN CONTEMPORARY JEWELLERY | NEŞEM ERTAN AYATA | 144–154 |
| THE EFFECTS OF OBVARA FIRING TECHNIC, ON BISCUITS, COLORED AND GLAZED BODY | Soner GENÇ,Esra ÖZTÜRK RAZİ,M. Muhammet GÖKSEL | 156–169 |
| BASIC ART / DESIGN CASE –NEW APPROACHES | BERNA KARAÇALI | 170–185 |
| “I WILL HAVE YOU LIVE IN PALACES...” THE TRANSFORMATION OF NEIGHBOURHOOD AND URBANIZATION IN TURKISH CINEMA (1960 to1990) | SEVCAN SÖNMEZ,DİLARA BALCI GÜLPINAR | 186–206 |
| STRING AS A CONTEMPORARY ART MATERIAL | BAŞAK ÖZKENDİRCİ | 208–224 |