WHO'S DESIGN…?

The world has experienced a big change and transformation across the board with globalization. The focal point of the political, economic, social and cultural change is the fluidity of the cultures. Human being( outside of war and epidemic diseases) who spend his life in an area up to 20 km from where he was born two centuries ago is now able to overcome the continent within a few hours and can communicate with anywhere in the world. As a result, the concept of space and time may become “other place” within a few seconds. Therefore, it is a fact that we are not the same. Because now perceptual frameworks are formed through more intertwined process of cultural values exchanges.
Within the framework of Majunev and Toynbe’s approach, indissolubility of social and cultural structure requires the exchange of these two cases occur within the same cooperation. We know that the free exchanges of cultural changes are formed by the cultures affected by each other's culture owing to the improvement of the relationships of communities and countries with each other. The people who see a social system and the institution of a community useful show the tendency to take it and apply. When the desire for innovation in the people’s nature is added to this, cultural exchanges gain speed. In the new century began to configure the effects of the different cultures and the new life forms that the new age brought especially after 1980 in Turkey. However, Turkey’s unique and original position as historical, political and cultural is a real. Accumulation of cultural space which has a rich history both in design and at the point of perception and location ID in this change and conversion process unfortunately couldn’t be protected and remained under the influence of different cultures and wind. Because the use of furniture and space –on the point of placing the furniture relationship into user perception, furniture culture has gained its role in the community and social life too late.

This paper includes a critical perspective on exterminator effects of imported design approaches from outside to existing cultural values although richness of the cultural history and historical heritage of design.