private and public use of the living room - Bilkent University
private and public use of the living room - Bilkent University
private and public use of the living room - Bilkent University
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O<strong>the</strong>r than modern <strong>and</strong> minimal styles, classical, demy- classical, neo- classical,<br />
rustic, country, traditional, <strong>and</strong> eclectic styles were mentioned for 19 ho<strong>use</strong>s.<br />
Dwellers <strong>living</strong> in <strong>the</strong>se ho<strong>use</strong>s have no architectural background <strong>and</strong> only 4 <strong>of</strong> <strong>the</strong>m<br />
are assisted by an interior architect. Although various names are given to <strong>living</strong><br />
<strong>room</strong> styles, <strong>the</strong>y seem to be composed <strong>of</strong> different styles (see Appendix C for<br />
photographs <strong>of</strong> all <strong>living</strong> <strong>room</strong>s). The given style <strong>of</strong> <strong>the</strong> <strong>living</strong> <strong>room</strong> is not necessarily<br />
a well defined style; <strong>the</strong> interior design <strong>of</strong> <strong>the</strong> <strong>living</strong> <strong>room</strong>s was ei<strong>the</strong>r shaped by<br />
intentions related to functions <strong>of</strong> interior design or <strong>the</strong>y were full <strong>of</strong> objects <strong>of</strong><br />
memories <strong>and</strong> objects that reflected <strong>the</strong> status <strong>of</strong> <strong>the</strong> dweller. For example, in <strong>the</strong><br />
<strong>living</strong> <strong>room</strong> which can be seen in Figure 3.30, <strong>the</strong> objects that carry meanings for<br />
<strong>the</strong> dwellers are displayed in <strong>the</strong> <strong>living</strong> <strong>room</strong>. On <strong>the</strong> o<strong>the</strong>r h<strong>and</strong>, in Figure 3.31 <strong>the</strong><br />
objects <strong>of</strong> status shaped <strong>the</strong> <strong>living</strong> <strong>room</strong> interior design. The owner <strong>of</strong> that <strong>living</strong><br />
<strong>room</strong> stated that<br />
I put all <strong>of</strong> <strong>the</strong> valuable objects in my <strong>living</strong> <strong>room</strong> for showing <strong>the</strong>m to <strong>the</strong><br />
guests. All <strong>of</strong> my accessories are exclusive <strong>and</strong> high priced.<br />
(55 years old, female)<br />
The intention <strong>of</strong> <strong>the</strong> dweller is to display her status; <strong>the</strong> concept <strong>of</strong> <strong>the</strong> <strong>living</strong> <strong>room</strong><br />
is not shaped by intentions related to functions or considering a specific style in that<br />
case. The TV in that <strong>living</strong> <strong>room</strong> was never <strong>use</strong>d <strong>and</strong> stays <strong>the</strong>re as an object. This<br />
type <strong>of</strong> intention is supported by <strong>the</strong> point <strong>of</strong> view <strong>of</strong> Riggins (1994) who states that,<br />
<strong>the</strong> <strong>living</strong> <strong>room</strong> is <strong>the</strong> place where most obvious <strong>and</strong> deliberate artifacts are <strong>use</strong>d<br />
for creating an impression.<br />
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